WEBVTT - Weirdhouse Cinema Rewind: The Oily Maniac

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<v Speaker 1>Hey, you welcome to Weird House Cinema rewind. This is

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<v Speaker 1>Rob Lamb and I have to tell you. For the

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<v Speaker 1>rest of the month, we're playing a little ketchup. We're

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<v Speaker 1>airing some older rewind episodes. Most of these are from

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<v Speaker 1>the first year of Weird House Cinema, so you know,

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<v Speaker 1>they might be a little rougher than what you're used to,

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<v Speaker 1>but maybe we were still figuring out exactly what we

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<v Speaker 1>were doing with this movie series. It's now several years running.

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<v Speaker 1>This is going to be an episode that originally aired

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<v Speaker 1>one twenty two, twenty twenty one. It seems an impossibly

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<v Speaker 1>long time ago. Now, this is the nineteen seventy six

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<v Speaker 1>Shop Brothers horror film The Oily Maniac. It's a little slazy,

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<v Speaker 1>it's very oily, has a pretty cool monster in it.

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<v Speaker 2>Let's have it.

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<v Speaker 3>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Weird House Cinema.

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<v Speaker 2>I'm Rob Lamb and I'm Joe McCormick.

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<v Speaker 1>And today we are looking at Weird House Cinema's first

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<v Speaker 1>Chinese selection nineteen seventy six. Is Yu Guzi or It's

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<v Speaker 1>just it's known elsewhere at the oily maniac, though I

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<v Speaker 1>believe a more accurate translation of the original title would

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<v Speaker 1>be the oil devil. You is oily er greasy and

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<v Speaker 1>a guzi is devil, often used as a pejorative in Mandarin.

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<v Speaker 1>But yeah, this is this is our first Chinese film

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<v Speaker 1>that we're covering here. It is a Shaw Brothers picture,

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<v Speaker 1>but it is a horror movie, not a kung fu movie,

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<v Speaker 1>though there's bound to be a little kung fu in there. Anyway.

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<v Speaker 1>It's manufactured in a facility that also processes martial arts.

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<v Speaker 2>This one was very so how did you come across

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<v Speaker 2>this one?

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<v Speaker 1>I think this one I got. I was turned onto

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<v Speaker 1>by scrolling through the Amazon Prime Films, you know, which

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<v Speaker 1>is Amazon Prime, which they're not paying for this promotion,

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<v Speaker 1>but they are generally my go to for streaming weird

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<v Speaker 1>and older movies because you know, there's some of these

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<v Speaker 1>other channels they're just focused on the whatever the new

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<v Speaker 1>thing is, you know, I want like the old, forgotten stuff,

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<v Speaker 1>some of the stuff that's like maybe public domain and

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<v Speaker 1>has like three different listings within the app. So I

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<v Speaker 1>ran across this thumbnail for this like crazy looking monster,

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<v Speaker 1>which we'll describe here in a bit, and with glowing

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<v Speaker 1>eyes and it was called the Oily Maniac. And I'm like, okay,

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<v Speaker 1>I'm You've got my attention. I'm in and I flagged

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<v Speaker 1>it for later.

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<v Speaker 2>What an oily maniac it is? This is a great monster. Now,

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<v Speaker 2>this movie has something I guess we should address right

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<v Speaker 2>at the top. Let's somebody be tempted to dive in

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<v Speaker 2>and watch this themselves. I will say this movie has

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<v Speaker 2>an excellent schlock monster that I'm excited to talk about

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<v Speaker 2>in some Shaw Brothers energy, which is very good. But

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<v Speaker 2>this is one where I personally don't think I can

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<v Speaker 2>actually recommend anybody watch the movie in full because and

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<v Speaker 2>this is an experience that's worth talking about on this

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<v Speaker 2>show because it happens a good bit when you are

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<v Speaker 2>digging through weird, lesser known movies, especially genre films from

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<v Speaker 2>the seventies and eighties. Well, you know that feeling when

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<v Speaker 2>you get excited to watch a movie because you see

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<v Speaker 2>it's got some great, odd looking monster or something like that,

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<v Speaker 2>But then you get a ways into it and you realize,

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<v Speaker 2>oh no, it's one of those Yeah, and this movie

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<v Speaker 2>was kind of like that for me. We're not going

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<v Speaker 2>to dwell on this aspect of the film in the podcast,

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<v Speaker 2>but be warned that this film has various kinds of

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<v Speaker 2>extreme sexual grossness and misogyny of different sorts that make

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<v Speaker 2>it an unpleasant watch in many parts of the movie.

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<v Speaker 2>So this might be one that if you're actually interested

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<v Speaker 2>in checking it out, I might recommend seeking out a

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<v Speaker 2>clip compilation of the monster scenes instead of watching the

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<v Speaker 2>whole thing, because the monster scenes are an absolute delight.

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<v Speaker 2>I wish the entire rest of the film could match them.

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<v Speaker 2>It's such a shame when what could have otherwise been

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<v Speaker 2>a purely delightful, lipid monster romp is ruined by that

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<v Speaker 2>kind of stuff.

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<v Speaker 1>Yeah, yeah, absolutely, because again, the monster is great. This

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<v Speaker 1>is a revenge horror film, and so the monster is

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<v Speaker 1>the vehicle of vengeance. So the monster scenes in the

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<v Speaker 1>film are wonderful. They're just like you said, These are

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<v Speaker 1>just the monster wailing on the various villains and also

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<v Speaker 1>some innocent bystanders in the film. But the things that

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<v Speaker 1>he's avenging are sometimes sexual assault, which are depicted in

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<v Speaker 1>the film. So that's the main stumbling point to really

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<v Speaker 1>fully enjoying this film and being able to fully recommend

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<v Speaker 1>it to everyone out there.

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<v Speaker 2>But in some ways that it is somewhat thematically appropriate

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<v Speaker 2>because this movie, i'm to understand, sort of loosely ties

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<v Speaker 2>into some folklore from Malaysia about a folk monster belief.

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<v Speaker 1>Yeah, it certainly does, and we'll get back to that

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<v Speaker 1>towards the end of the film. But yeah, it's tied

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<v Speaker 1>into some folklore that is inherently linked to sexual violence. So,

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<v Speaker 1>you know, on one hand, I guess it's once you

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<v Speaker 1>have all the cards on the table, it's perhaps unavoidable

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<v Speaker 1>those elements would be in a film like this.

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<v Speaker 2>Yeah, but of course the movie doesn't. It's not like

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<v Speaker 2>the movie is a serious exploration of those themes or something.

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<v Speaker 2>It's more in the exploitation vein it. I mean, the

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<v Speaker 2>really sad part of it is that it like it

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<v Speaker 2>trivializes that kind of stuff.

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<v Speaker 1>Yeah, and you know, I'm playing armshair quarterback a bit here.

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<v Speaker 1>But I feel like the film would have been great

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<v Speaker 1>if they had just had him avenging just straight up crimes,

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<v Speaker 1>like wailing on some bank robbers, wailing on you know,

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<v Speaker 1>some just stereotypical gangsters and so forth. It really wasn't necessary,

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<v Speaker 1>but it's there in the film.

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<v Speaker 2>Well. I like that he goes after corrupt lawyers. But yeah,

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<v Speaker 2>so if you had just like been the batman, like

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<v Speaker 2>a like a lipid soaked back man of corrupt lawyers

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<v Speaker 2>who were who were helping the rich steal from the poor.

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<v Speaker 1>Yeah, so that's basically the elevator pitch here. When corruption

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<v Speaker 1>and violence run rampant in late nineteen seventies Malaysia, one

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<v Speaker 1>man sees no alternative but to turn to black magic

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<v Speaker 1>and become a rampaging, oily monster.

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<v Speaker 2>Maybe we should hit that trailer audio.

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<v Speaker 1>Let's listen to it, Lisa.

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<v Speaker 2>He's been a coup since I wash shine. He said

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<v Speaker 2>it this way. We're so.

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<v Speaker 1>All right. So, as you might have guessed from that

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<v Speaker 1>trailer audio, this is a film that is entirely in Mandarin,

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<v Speaker 1>and I do not believe a dubbed version exists. Maybe

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<v Speaker 1>it does, but I could I didn't run across it.

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<v Speaker 1>A lot of those Shaw Brothers films were dubbed into

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<v Speaker 1>English and released internationally, but I didn't across this one

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<v Speaker 1>is certainly the copy that you'll find streaming everywhere and

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<v Speaker 1>on DVD and Blu ray. It seems to be in

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<v Speaker 1>Mandarin with subtitles, which is an interesting proposition for some

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<v Speaker 1>of the films we watch here because a lot of

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<v Speaker 1>the films that we watch for a weird house, you

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<v Speaker 1>you can sort of think about other things, you can

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<v Speaker 1>sort of multitask. But I don't know. When I'm watching

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<v Speaker 1>a film with subtitles, I do have to focus more

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<v Speaker 1>on it because I need to read as well as watch.

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<v Speaker 1>So that's one of the reasons, you know, I didn't

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<v Speaker 1>even think about doing any kind of like prime watch

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<v Speaker 1>party for this one, because everybody needs to be reading

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<v Speaker 1>the text on the screen, not texting other people.

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<v Speaker 2>Now, I would say the biggest thing as far as

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<v Speaker 2>connections go here is that this is a Shaw Brothers film,

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<v Speaker 2>and the Shaw Brothers studio, of course, is very historically important.

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<v Speaker 1>Yeah, I have to say, I love it when when

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<v Speaker 1>you watch a Shaw Brothers film and you're hit with

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<v Speaker 1>that logo. They have a tremendous logo. It's like this

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<v Speaker 1>glittering rainbow mirror backdrop and there's the SB on the

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<v Speaker 1>shield with.

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<v Speaker 2>The it's kind of like a dimpled frosted glass. I

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<v Speaker 2>don't know exactly what you call that, and then yeah,

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<v Speaker 2>the various different colors behind it. It really is a

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<v Speaker 2>gorgeous title card.

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<v Speaker 1>Yeah, it's what I get excited about a nice title

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<v Speaker 1>card and this one definitely does it for me.

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<v Speaker 2>So yeah.

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<v Speaker 1>Shaw Brothers Studio Film. This studio operated in one name

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<v Speaker 1>or another from nineteen twenty five through twenty eleven. It

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<v Speaker 1>was one of It was the largest film production company

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<v Speaker 1>in Hong Kong, making it a significant giving it a

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<v Speaker 1>significant impact not only on Chinese cinema, but international cinema

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<v Speaker 1>as well. The Shaws were Chinese film entrepreneurs. Three of

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<v Speaker 1>the four Shaw brothers, Runji, run Me and Rundi, founded

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<v Speaker 1>a film distribution company in nineteen twenty five, operating out

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<v Speaker 1>of Shanghai and Singapore, and then run Me and their

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<v Speaker 1>youngest brother, run Run Shaw operated the Singapore Base, which

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<v Speaker 1>would then become the Shaw Organization, before taking over the

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<v Speaker 1>Hong Kong based sister company Shaw and Sons Limited, and

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<v Speaker 1>then in nineteen fifty eight a new company, Shaw Brothers

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<v Speaker 1>was born. Now run Me lived at nineteen one through

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<v Speaker 1>nineteen eighty five and run Run Shaw lived nineteen oh

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<v Speaker 1>seven through twenty fourteen.

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<v Speaker 2>And the Shaw Brothers Studio put out different kinds of films.

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<v Speaker 2>I would say the ones that I'm most familiar with

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<v Speaker 2>tend to be like crime thrillers and kung fu movies,

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<v Speaker 2>but there are different kinds they did as well, right.

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<v Speaker 1>Yeah, And this is a prime example because this is

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<v Speaker 1>not a martial arts film, though there's a little bit

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<v Speaker 1>of kicking in there. It's not a crime film, though

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<v Speaker 1>there's certainly crime in there. This is primarily a horror film.

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<v Speaker 1>And even specifically we'll get into the ins and outs

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<v Speaker 1>of this later. It is a black magic horror film

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<v Speaker 1>that's sort.

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<v Speaker 2>Of like a type of movie. It's like a genre

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<v Speaker 2>in Hong Kong cinema.

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<v Speaker 1>Yeah, yeah, apparently so so run run Shaw has the

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<v Speaker 1>sole production credit on The Oily Maniac, one of three

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<v Speaker 1>hundred and sixty four production credits listed on IMDb, including

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<v Speaker 1>such notable films as The thirty sixth Chamber of Shaolin

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<v Speaker 1>from seventy eight, which is heavily sampled in the first

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<v Speaker 1>Wu Tang Clan album, which I imagine a lot of

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<v Speaker 1>you are familiar with. And he shares co executive producer

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<v Speaker 1>credits on on a little nineteen eighty two film that

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<v Speaker 1>some of you may have heard of called Blade Runner.

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<v Speaker 1>I believe that was part of a last minute funding

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<v Speaker 1>shift that required them to reach out to other investors,

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<v Speaker 1>and so Shaw kicked in seven point five million and

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<v Speaker 1>took international distribution rights for Blade Runner.

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<v Speaker 2>Oh, I bet that panned out nicely.

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<v Speaker 1>Yeah, one would think one would think, Actually.

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<v Speaker 2>I don't know. I have a question. So Blade Runner

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<v Speaker 2>is a critical hit, was it? Was it a commercial

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<v Speaker 2>success or did it bomb?

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<v Speaker 1>I don't know. That's a great question. It's one of

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<v Speaker 1>those films that that I was just assumed that it was,

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<v Speaker 1>you know, critical and commercial success, but certainly it was

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<v Speaker 1>more of a critical and cold hit in the way

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<v Speaker 1>that I interact with it. I don't think I've ever

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<v Speaker 1>looked up the numbers on Blade Runner. What do you

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<v Speaker 1>have that out in front of you.

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<v Speaker 2>No, Now, I got to take a step even further

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<v Speaker 2>back even know if it was a critical success upon

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<v Speaker 2>initial release, did that change over time? Let's see here, Well,

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<v Speaker 2>the critical consensus on Rotten Tomatoes reads misunderstood when it

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<v Speaker 2>first hit theaters. The influence of Italy Scott's mysterious neo

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<v Speaker 2>noir Blade Runner has deepened with time. That sounds to

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<v Speaker 2>me like like they're trying to summarize that exact dynamic

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<v Speaker 2>of people not really getting it at first.

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<v Speaker 1>So who knows run run Shaw might have bought into

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<v Speaker 1>a lemon there, at least initially. Well, let's talk about

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<v Speaker 1>the director of this film. Meanhaho, who lived nineteen twenty

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<v Speaker 1>three through two thousand and nine, directed fifty seven films,

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<v Speaker 1>mostly in the sixties and seventies, including the movie The

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<v Speaker 1>Flying Guillotine from seventy five. Now that's not to be

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<v Speaker 1>confused with Master of the Flying Guillotine, which came out

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<v Speaker 1>in seventy six, so Hoe directed the film that seemed

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<v Speaker 1>to it, if at least, kicked off a lot of

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<v Speaker 1>the bizarre weapons popularity, though I'm not sure his film

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<v Speaker 1>originated the use of the weapon on screen e because

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<v Speaker 1>I think there's also a nineteen seventy three non Shop

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<v Speaker 1>Brothers film that featured that flying guillotine weapon, that sort

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<v Speaker 1>of strange basket hat contraption on a chain that a

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<v Speaker 1>martial arts character will throw. It'll go over the individual's head,

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<v Speaker 1>slice the head off, and then you can retrieve it.

0:12:17.320 --> 0:12:20.280
<v Speaker 2>I've actually never seen the original Flying Guillotine movie. I've

0:12:20.320 --> 0:12:21.359
<v Speaker 2>only seen Master.

0:12:21.200 --> 0:12:25.319
<v Speaker 1>Of Yeah, I watched one of them. No, I think

0:12:25.360 --> 0:12:27.080
<v Speaker 1>I watched both of them, So I think I've seen

0:12:27.120 --> 0:12:29.880
<v Speaker 1>The Flying Guillotine, but I don't remember. I get the

0:12:29.920 --> 0:12:32.800
<v Speaker 1>too confused, like one of them is like the origin

0:12:32.880 --> 0:12:35.000
<v Speaker 1>story of the Flying Guillotine and the other ones like

0:12:35.040 --> 0:12:37.400
<v Speaker 1>an international street fighter like tournament.

0:12:37.720 --> 0:12:40.160
<v Speaker 2>Yes, that's Master of the Flying Guillotine. It's a street

0:12:40.200 --> 0:12:43.120
<v Speaker 2>fighter tournament. It's the hero of the movie is the

0:12:43.120 --> 0:12:46.239
<v Speaker 2>one armed boxer and the Master of the Flying Guillotine

0:12:46.280 --> 0:12:49.240
<v Speaker 2>is the villain, and he I don't remember exactly what

0:12:49.280 --> 0:12:51.320
<v Speaker 2>the plot is, but he's trying to, I don't know,

0:12:51.360 --> 0:12:54.439
<v Speaker 2>do something bad with the tournament, and our hero has

0:12:54.480 --> 0:12:56.120
<v Speaker 2>to fend off not only the Master of the Flying

0:12:56.120 --> 0:12:59.720
<v Speaker 2>Guillotine himself, but various fighters from other countries around the world.

0:12:59.920 --> 0:13:04.240
<v Speaker 1>Well, now, the screenwriter on this one is mildly interesting

0:13:04.280 --> 0:13:08.480
<v Speaker 1>as well. It's this guy who wrote it as Ssiland,

0:13:08.520 --> 0:13:11.520
<v Speaker 1>but his name was Lamb Chua and he's This is

0:13:11.559 --> 0:13:14.600
<v Speaker 1>one of only two screenwriting credits for this guy. But

0:13:14.800 --> 0:13:17.080
<v Speaker 1>he went on to be a producer and produced some

0:13:17.240 --> 0:13:20.600
<v Speaker 1>Jackie Chan films, such as nineteen ninety seven's Mister Nice Guy,

0:13:21.080 --> 0:13:24.400
<v Speaker 1>in nineteen eighty six's Armor of God, and in nineteen

0:13:24.440 --> 0:13:27.800
<v Speaker 1>ninety one he was one of the producers on legendary

0:13:27.920 --> 0:13:32.160
<v Speaker 1>martial arts gore picture Ricky Oh. The Story of Ricky Ah.

0:13:32.240 --> 0:13:36.679
<v Speaker 2>Now that's another movie that sort of combines elements of

0:13:36.679 --> 0:13:39.400
<v Speaker 2>different genres in the same way this movie does. In

0:13:39.440 --> 0:13:43.560
<v Speaker 2>the same way that this is horror but also a

0:13:43.559 --> 0:13:47.599
<v Speaker 2>little bit martial arts and a little bit like I

0:13:47.640 --> 0:13:52.520
<v Speaker 2>don't know, seventies exploitation sleeves, Ricky Oh, is it's like,

0:13:52.720 --> 0:13:55.760
<v Speaker 2>got the gore of a horror movie, but it's a

0:13:55.800 --> 0:13:56.800
<v Speaker 2>martial arts movie.

0:13:57.160 --> 0:14:00.920
<v Speaker 1>Yeah. It is the bloodiest, gooriest martial arts movie you

0:14:00.920 --> 0:14:04.560
<v Speaker 1>could ask for, with amazing gore effects that are also

0:14:04.920 --> 0:14:06.640
<v Speaker 1>at least when I watched. It's been a while since

0:14:06.640 --> 0:14:09.000
<v Speaker 1>I've watched it, but I found it just so over

0:14:09.040 --> 0:14:13.040
<v Speaker 1>the top that it wasn't It doesn't make you cringe

0:14:13.200 --> 0:14:14.960
<v Speaker 1>or you know, it doesn't affect you in the way

0:14:14.960 --> 0:14:17.200
<v Speaker 1>that violence in some films do because it's just so

0:14:17.960 --> 0:14:22.240
<v Speaker 1>ridiculously bloody and squishy. It's like it's really itchy and

0:14:22.280 --> 0:14:23.560
<v Speaker 1>scratchy level of violence.

0:14:23.640 --> 0:14:26.440
<v Speaker 2>Yes, yeah, that's a very good comparison. Yeah, ricky Oh,

0:14:26.480 --> 0:14:28.200
<v Speaker 2>it's itchy and scratchy live action.

0:14:28.640 --> 0:14:32.560
<v Speaker 1>Yeah. All right, let's talk about our lead in the

0:14:32.600 --> 0:14:37.600
<v Speaker 1>Oily Maniac. That is Danny Lee playing Shun Yawn, And

0:14:38.160 --> 0:14:41.000
<v Speaker 1>yeah he was. He's a Hong Kong actor film producer, screenwriter,

0:14:41.160 --> 0:14:44.880
<v Speaker 1>director who apparently made it kind of a career playing

0:14:44.920 --> 0:14:47.200
<v Speaker 1>you know, like police officer type characters. I think that

0:14:47.280 --> 0:14:49.040
<v Speaker 1>was like a common role for him.

0:14:49.240 --> 0:14:51.680
<v Speaker 2>He's in The Killer. I don't think if he's in

0:14:51.880 --> 0:14:54.640
<v Speaker 2>other John wu movies, but he's definitely in The Killer.

0:14:55.040 --> 0:14:58.680
<v Speaker 1>Yeah, Okay, Yeah, he has twelve directing credits. Yeah. And

0:14:58.680 --> 0:15:01.520
<v Speaker 1>in this he plays shin on our hero anti hero

0:15:01.720 --> 0:15:05.080
<v Speaker 1>who becomes the titular Oily Maniac. And he does a

0:15:05.080 --> 0:15:07.160
<v Speaker 1>pretty solid job here with kind of there's kind of

0:15:07.400 --> 0:15:09.840
<v Speaker 1>a Doctor Jekyl sort of intensity to him. You know,

0:15:09.880 --> 0:15:12.840
<v Speaker 1>he's he's a tormented character. First, he's tormented by the

0:15:12.880 --> 0:15:17.360
<v Speaker 1>fact that he is his handicapped. What he suffered from

0:15:17.360 --> 0:15:20.560
<v Speaker 1>illness earlier in life that the character did. Is it

0:15:20.600 --> 0:15:22.520
<v Speaker 1>supposed to be polio?

0:15:22.840 --> 0:15:26.280
<v Speaker 2>Yeah, he uses crutches, and I think it's implied that

0:15:26.320 --> 0:15:28.160
<v Speaker 2>it's from a childhood polio infection.

0:15:28.720 --> 0:15:32.080
<v Speaker 1>Okay, So he has a lot of emotions about this,

0:15:32.320 --> 0:15:36.640
<v Speaker 1>and then as a number of hardships occur in his life,

0:15:36.680 --> 0:15:39.760
<v Speaker 1>which we'll get into, becomes even more tormented by all

0:15:39.760 --> 0:15:42.160
<v Speaker 1>of this. And then of course he learns the secret

0:15:42.200 --> 0:15:45.600
<v Speaker 1>of the Oily Maniac, which brings In this Doctor Jekyl

0:15:45.600 --> 0:15:49.160
<v Speaker 1>and mister hide quality to everything, which essentially leads him

0:15:49.160 --> 0:15:50.960
<v Speaker 1>on a disastrous road to doom.

0:15:51.280 --> 0:15:53.720
<v Speaker 2>I really like the guy who plays Uncle Ba, who

0:15:53.840 --> 0:15:56.440
<v Speaker 2>sort of sets the motion of the film in action.

0:15:56.640 --> 0:16:00.320
<v Speaker 2>He's the person who introduces black magic into the film.

0:16:00.560 --> 0:16:02.640
<v Speaker 1>Yeah, this guy really jumped out at me as well.

0:16:02.760 --> 0:16:07.480
<v Speaker 1>This character is played by Finn Ku and he yeah,

0:16:07.480 --> 0:16:09.720
<v Speaker 1>he's an interest. Guy was born in nineteen thirty and

0:16:09.800 --> 0:16:12.440
<v Speaker 1>he's apparently still out there acting. He had a film

0:16:12.440 --> 0:16:15.480
<v Speaker 1>come out in twenty twenty. He's known for such movies

0:16:15.520 --> 0:16:19.720
<v Speaker 1>as Tiger Killer, Deathkick, The Five Deadly Venoms and he

0:16:19.720 --> 0:16:22.040
<v Speaker 1>seems to have played a lot of commanders, heavies, and

0:16:22.120 --> 0:16:25.000
<v Speaker 1>wizards in his career. And yeah, I thought he had

0:16:25.000 --> 0:16:27.520
<v Speaker 1>a nice haunting scene in this film is he as

0:16:27.520 --> 0:16:31.360
<v Speaker 1>a condemned prisoner relates the secrets of the oil to Shinyong.

0:16:31.920 --> 0:16:33.600
<v Speaker 1>But the rest of the cast is full of people

0:16:33.640 --> 0:16:36.240
<v Speaker 1>who were also just longtime players in Hong Kong cinema,

0:16:36.280 --> 0:16:39.000
<v Speaker 1>including some other actors that went on to have successful

0:16:39.040 --> 0:16:43.200
<v Speaker 1>directing careers, such as Corey Yun, who plays a very

0:16:43.240 --> 0:16:45.520
<v Speaker 1>bit part in this as a road worker who's scared

0:16:45.520 --> 0:16:49.560
<v Speaker 1>away by the Monsters, but jun Co directed The Transporter

0:16:49.680 --> 0:16:52.160
<v Speaker 1>for Western audiences as well as two thousand and six

0:16:52.280 --> 0:16:56.320
<v Speaker 1>is doa Dead or Alive the video game movie. But

0:16:56.360 --> 0:16:59.240
<v Speaker 1>he also did some really big Chinese films. In fact,

0:17:00.040 --> 0:17:02.080
<v Speaker 1>luck would have it, we had a listener named William

0:17:02.400 --> 0:17:04.880
<v Speaker 1>write in on the Stuff to Blow your Mind discussion

0:17:04.920 --> 0:17:07.280
<v Speaker 1>module on Facebook and say, quote, I have a good

0:17:07.359 --> 0:17:11.520
<v Speaker 1>suggestion for a Hiroki Sonata film. I think it's the

0:17:11.520 --> 0:17:14.160
<v Speaker 1>best martial arts film of its time and there isn't

0:17:14.160 --> 0:17:17.880
<v Speaker 1>a close second, honestly, incredibly underrated and unknown for how

0:17:17.880 --> 0:17:20.359
<v Speaker 1>good it is. It is streaming on multiple resources now.

0:17:20.480 --> 0:17:24.639
<v Speaker 1>And he's talking about Ninja in the Dragon's Den, which

0:17:24.680 --> 0:17:27.960
<v Speaker 1>is a nineteen eighty two film directed by Corey Yun.

0:17:28.359 --> 0:17:29.119
<v Speaker 2>I've never seen it.

0:17:29.320 --> 0:17:31.560
<v Speaker 1>No, I mean either, but it sounds interesting. But yeah,

0:17:31.600 --> 0:17:34.920
<v Speaker 1>so even in just the backgrounds in the bit players

0:17:34.920 --> 0:17:36.719
<v Speaker 1>in this you have some people who went on to

0:17:36.720 --> 0:17:37.520
<v Speaker 1>have quite a career.

0:17:46.119 --> 0:17:48.159
<v Speaker 2>Okay, well, should we get into an overview of at

0:17:48.240 --> 0:17:51.520
<v Speaker 2>least some of what happens in the film, Yes, okay, Well,

0:17:51.560 --> 0:17:54.400
<v Speaker 2>the first thing we see in this movie is there's

0:17:54.440 --> 0:17:58.280
<v Speaker 2>an opening text, and it's in translation the subtitles in

0:17:58.320 --> 0:18:02.560
<v Speaker 2>the version I saw said, The text reads, this story

0:18:02.640 --> 0:18:05.600
<v Speaker 2>is a rewrite of a nan Yang tall tale. It

0:18:05.640 --> 0:18:09.200
<v Speaker 2>bears the moral that justice does prevail. I'm not sure

0:18:09.200 --> 0:18:11.919
<v Speaker 2>if it bears that moral. But then it says the

0:18:11.920 --> 0:18:15.280
<v Speaker 2>film is extensively shot in Malaysia, and our story begins

0:18:15.320 --> 0:18:18.480
<v Speaker 2>in a coconut oil garden, and then all the while,

0:18:18.520 --> 0:18:21.240
<v Speaker 2>in the background, while this text is on the screen,

0:18:21.680 --> 0:18:24.560
<v Speaker 2>there is boiling slime and tortured screaming.

0:18:26.160 --> 0:18:28.239
<v Speaker 1>Yeah. So, I didn't know what to make of this

0:18:28.320 --> 0:18:30.520
<v Speaker 1>text at first, because I thought, well, maybe they're just

0:18:30.560 --> 0:18:35.160
<v Speaker 1>doing a Texas chainsaw massacre or Fargo type thing where

0:18:35.720 --> 0:18:38.919
<v Speaker 1>they're just trying to add at fristy to it. But

0:18:38.960 --> 0:18:43.000
<v Speaker 1>it turns out this is basically true, and interestingly enough,

0:18:43.040 --> 0:18:46.000
<v Speaker 1>it does remind me of the stories in Pusong Ling

0:18:46.119 --> 0:18:49.840
<v Speaker 1>strange Stories from a Chinese studio, because a lot of

0:18:49.880 --> 0:18:52.320
<v Speaker 1>those stories open up with just like a kind of

0:18:52.320 --> 0:18:54.879
<v Speaker 1>a disclaimer like this, saying this is a true story

0:18:54.920 --> 0:18:59.600
<v Speaker 1>that such and such person told me. So possible connection

0:18:59.680 --> 0:19:03.199
<v Speaker 1>there to the tradition of stuff telling strange stories in

0:19:03.320 --> 0:19:04.080
<v Speaker 1>Chinese culture.

0:19:04.280 --> 0:19:06.840
<v Speaker 2>Well, like several moments in this movie, there is some

0:19:06.960 --> 0:19:11.560
<v Speaker 2>hilariously sudden cutting to happy music, so you get the

0:19:11.600 --> 0:19:14.760
<v Speaker 2>opening text and the screaming and the boiling oil, and

0:19:14.760 --> 0:19:17.960
<v Speaker 2>then ah in the background, and then immediately cut to

0:19:19.240 --> 0:19:21.720
<v Speaker 2>how the best I could describe it as like it's

0:19:21.760 --> 0:19:25.959
<v Speaker 2>mid century cruising music. It's the soundtrack to a scene

0:19:26.000 --> 0:19:28.800
<v Speaker 2>of driving along the Pacific Coast Highway in an early

0:19:28.880 --> 0:19:29.800
<v Speaker 2>sixties film.

0:19:30.119 --> 0:19:32.960
<v Speaker 1>Yeah, we go from this monstrous boiling scene, which I

0:19:33.000 --> 0:19:34.680
<v Speaker 1>guess is kind of like saying, hey, we better show

0:19:34.680 --> 0:19:36.680
<v Speaker 1>in the monster early. It's gonna be seventeen minutes before

0:19:36.680 --> 0:19:39.560
<v Speaker 1>they see anything else like this, and then we cut

0:19:39.600 --> 0:19:42.359
<v Speaker 1>to what those early stages of the film. It looks

0:19:42.400 --> 0:19:46.040
<v Speaker 1>like a nineteen seventies tourist tourist video, you know, promotional

0:19:46.119 --> 0:19:48.760
<v Speaker 1>video for Malaysia. You're just like, oh, this place looks great.

0:19:49.119 --> 0:19:52.000
<v Speaker 2>Yeah, So we go to this coconut farm and actually,

0:19:52.560 --> 0:19:54.439
<v Speaker 2>one of the most interesting things I thought of the

0:19:54.440 --> 0:19:57.160
<v Speaker 2>movie was right at the very beginning, when it shows

0:19:57.520 --> 0:20:01.080
<v Speaker 2>coconut farm workers making the use of tree climbing monkeys

0:20:01.160 --> 0:20:03.160
<v Speaker 2>to help them with the harvest of coconuts.

0:20:03.400 --> 0:20:04.440
<v Speaker 1>Yeah, that was cool.

0:20:04.720 --> 0:20:06.280
<v Speaker 2>Is that a real thing? I assume it is.

0:20:06.440 --> 0:20:08.560
<v Speaker 1>Yeah, Yeah, and I know I've read about it before.

0:20:08.680 --> 0:20:11.800
<v Speaker 2>Yeah, I had no idea. Well, that was interesting to me.

0:20:12.600 --> 0:20:16.400
<v Speaker 2>But so the conflict starts almost immediately we meet some characters.

0:20:16.400 --> 0:20:19.359
<v Speaker 2>We meet Shin Yon played by Danny Lee, who, yeah,

0:20:19.800 --> 0:20:24.080
<v Speaker 2>he's this thoughtful, sensitive young lawyer. And then we meet

0:20:24.520 --> 0:20:28.080
<v Speaker 2>Chung Yue and we meet Len Young Ba and again

0:20:28.280 --> 0:20:31.280
<v Speaker 2>Ba is Danny Lee's uncle who works here at the

0:20:31.320 --> 0:20:36.160
<v Speaker 2>Coconut oil garden. And immediately there's this tense legal dispute.

0:20:36.200 --> 0:20:39.320
<v Speaker 2>I think the family that owns the coconut oil garden

0:20:39.520 --> 0:20:42.120
<v Speaker 2>is in debt to some bad dudes, and the bad

0:20:42.200 --> 0:20:45.320
<v Speaker 2>dudes have come to collect and a fight breaks out

0:20:45.359 --> 0:20:48.000
<v Speaker 2>when they say they can't pay the debt they owe.

0:20:48.440 --> 0:20:50.240
<v Speaker 1>Yeah, and this is one of the when the fights

0:20:50.280 --> 0:20:53.280
<v Speaker 1>break out in this movie, you definitely see the Hong

0:20:53.400 --> 0:20:57.439
<v Speaker 1>Kong action cinema come out. Like every male character in

0:20:57.480 --> 0:21:01.119
<v Speaker 1>this film has like at least a sixteen dexterity because

0:21:01.160 --> 0:21:04.919
<v Speaker 1>when they pop into action, Yeah, it's pretty intense.

0:21:05.160 --> 0:21:08.479
<v Speaker 2>Yeah. So Uncle Back gets dragged into the fight and

0:21:08.560 --> 0:21:11.520
<v Speaker 2>he kills one of the goons from the bad guys

0:21:11.560 --> 0:21:15.760
<v Speaker 2>in self defense, and then we see him getting captured

0:21:15.800 --> 0:21:18.119
<v Speaker 2>by the police. For some reason, he does not seem

0:21:18.160 --> 0:21:21.639
<v Speaker 2>to be able to deploy a self defense explanation to

0:21:21.720 --> 0:21:24.040
<v Speaker 2>this crime. It seems like they were sort of trying

0:21:24.040 --> 0:21:25.520
<v Speaker 2>to explain that in the movie, but I think it

0:21:25.560 --> 0:21:29.199
<v Speaker 2>went over my head, something about how like Danny Lee

0:21:29.280 --> 0:21:31.679
<v Speaker 2>couldn't be a witness at the trial for some reason.

0:21:32.160 --> 0:21:34.600
<v Speaker 1>Yeah, I missed that as well. It just seems like

0:21:34.640 --> 0:21:37.040
<v Speaker 1>it's on one second he's being arrested and the next

0:21:37.080 --> 0:21:38.400
<v Speaker 1>it's like he's on death row.

0:21:38.560 --> 0:21:41.520
<v Speaker 2>Yeah, it's just immediately he's about to be executed. And

0:21:41.600 --> 0:21:46.400
<v Speaker 2>so Shinyuan is visiting Uncle Bah in prison and it's

0:21:46.480 --> 0:21:49.359
<v Speaker 2>like their last meeting before the uncle's going to go

0:21:49.400 --> 0:21:53.320
<v Speaker 2>off to get executed. And how to describe this scene.

0:21:53.400 --> 0:21:58.399
<v Speaker 2>There is a scene involving a magical back tattoo where

0:21:58.920 --> 0:22:00.959
<v Speaker 2>Uncle Bos says, you know, before I go, I have

0:22:01.040 --> 0:22:03.679
<v Speaker 2>to explain something to you. And he says, your father

0:22:03.880 --> 0:22:07.200
<v Speaker 2>was a shaman, a sort of exorcist. He got an

0:22:07.200 --> 0:22:10.960
<v Speaker 2>incurable disease, and so he gave me the spell before

0:22:11.000 --> 0:22:14.280
<v Speaker 2>he passed away. He copied it down for me, hurry up,

0:22:14.320 --> 0:22:17.119
<v Speaker 2>write it down. But the place where he copied it

0:22:17.160 --> 0:22:20.359
<v Speaker 2>down was apparently a tattoo on his brother's back, and

0:22:20.440 --> 0:22:22.159
<v Speaker 2>so we have a back tracing scene.

0:22:22.600 --> 0:22:25.439
<v Speaker 1>Yes, I don't know why I put tattooed it like,

0:22:25.440 --> 0:22:29.560
<v Speaker 1>couldn't have a lot of questions come up regarding that

0:22:29.680 --> 0:22:31.239
<v Speaker 1>as a way to pass it on, because then how

0:22:31.240 --> 0:22:32.879
<v Speaker 1>do you read it. You gotta have a mirror, you

0:22:32.920 --> 0:22:35.439
<v Speaker 1>gotta have two mirrors or a friend to trace it

0:22:35.480 --> 0:22:35.760
<v Speaker 1>for you.

0:22:36.119 --> 0:22:38.600
<v Speaker 2>Maybe it's literally to make it more difficult to use,

0:22:38.680 --> 0:22:41.480
<v Speaker 2>because we know that this magic is dangerous. With great

0:22:41.520 --> 0:22:46.920
<v Speaker 2>power comes great responsibility. Here because Uncle Bob tells Danny Lee,

0:22:46.960 --> 0:22:50.000
<v Speaker 2>he says, please remember one thing. This can only be

0:22:50.160 --> 0:22:53.320
<v Speaker 2>used to help the less fortunate. You can't use it

0:22:53.359 --> 0:22:57.119
<v Speaker 2>with a wrong intent, or you'll die. You'll die in

0:22:57.200 --> 0:23:01.440
<v Speaker 2>a very very bad way. Of course, with the caveat

0:23:01.480 --> 0:23:04.200
<v Speaker 2>that this is all in the English subtitles, something maybe

0:23:04.280 --> 0:23:05.200
<v Speaker 2>getting lost there.

0:23:05.680 --> 0:23:08.360
<v Speaker 1>Yeah, I can't help but wonder if that the actual

0:23:08.560 --> 0:23:11.440
<v Speaker 1>lines and Mandarin or relate more to like a shameful

0:23:11.520 --> 0:23:14.560
<v Speaker 1>death or you know, dishonor or something, because because that's

0:23:14.600 --> 0:23:17.600
<v Speaker 1>that's ultimately the direction things go in. And yeah, I

0:23:17.600 --> 0:23:19.639
<v Speaker 1>love this setup. This is a great setup for the

0:23:19.680 --> 0:23:23.080
<v Speaker 1>black magic to come and it you know, ultimately it

0:23:23.119 --> 0:23:24.520
<v Speaker 1>deserves a better movie.

0:23:24.840 --> 0:23:28.840
<v Speaker 2>Yes, So, so Danny Lee takes this information back home.

0:23:28.880 --> 0:23:31.680
<v Speaker 2>He's copied out the spell from from his uncle's back

0:23:32.320 --> 0:23:35.760
<v Speaker 2>and he goes home. He gets frustrated. I think he

0:23:36.400 --> 0:23:40.600
<v Speaker 2>feels like he is he is sort of a he's

0:23:40.640 --> 0:23:45.240
<v Speaker 2>got unrequited love for you a And he gets frustrated

0:23:45.280 --> 0:23:48.120
<v Speaker 2>in his house and then just gets out a pickaxe,

0:23:48.680 --> 0:23:51.280
<v Speaker 2>digs a hole in the floor in the middle of

0:23:51.280 --> 0:23:55.720
<v Speaker 2>his house, takes his shirt off, starts chanting, give me

0:23:55.880 --> 0:24:01.160
<v Speaker 2>peace and power, and then crude oil or some kind

0:24:01.160 --> 0:24:05.200
<v Speaker 2>of gray sudsy dishwater type liquid, it bubbles up from

0:24:05.240 --> 0:24:07.840
<v Speaker 2>the ground. This is one of many sequences in the

0:24:07.880 --> 0:24:11.840
<v Speaker 2>film that just have like gray sudsy oil coming up

0:24:11.880 --> 0:24:16.119
<v Speaker 2>out of something and it covers him, and then we

0:24:16.200 --> 0:24:19.040
<v Speaker 2>get the transformation for the first monster sequence.

0:24:19.359 --> 0:24:21.560
<v Speaker 1>Yeah, yeah, now I have to drive home. He digs

0:24:21.560 --> 0:24:24.120
<v Speaker 1>that hole and then he climbs into the hole. Yeah,

0:24:24.080 --> 0:24:26.760
<v Speaker 1>and then it fills up with the oily mess. And

0:24:27.800 --> 0:24:29.680
<v Speaker 1>I think this is very fitting because on one hand,

0:24:30.040 --> 0:24:32.200
<v Speaker 1>you have like the earthly origins of oil. It's like

0:24:32.240 --> 0:24:36.080
<v Speaker 1>he's communing with spirits of the ground. And then also

0:24:36.320 --> 0:24:42.159
<v Speaker 1>he is about to embark on the profession of revenge,

0:24:42.760 --> 0:24:45.400
<v Speaker 1>you know, and so he's kind of digging his own

0:24:45.480 --> 0:24:48.119
<v Speaker 1>grave here to begin, which is a fitting symbol for

0:24:48.160 --> 0:24:50.320
<v Speaker 1>what he's about to try and achieve.

0:24:50.960 --> 0:24:53.840
<v Speaker 2>Right, so we get a monster transformation. It is not

0:24:54.040 --> 0:24:57.879
<v Speaker 2>quite American werewolf in London level. He's just sort of

0:24:57.920 --> 0:25:02.199
<v Speaker 2>suddenly this monster and how to describe the creature. It

0:25:02.320 --> 0:25:06.840
<v Speaker 2>is basically human shaped but very bulky, like a person

0:25:06.920 --> 0:25:12.840
<v Speaker 2>in a firefighter's suit. And the exterior texture of his

0:25:13.040 --> 0:25:18.280
<v Speaker 2>body is kind of it's so it's oily and it's wrinkly,

0:25:18.720 --> 0:25:22.760
<v Speaker 2>and it's wet and it's it looks like a sort

0:25:22.800 --> 0:25:26.919
<v Speaker 2>of a black garbage bag covered in slime and water.

0:25:27.480 --> 0:25:30.399
<v Speaker 1>Yeah, but but well done for the most part. I mean,

0:25:30.600 --> 0:25:33.480
<v Speaker 1>it depends how it's shot. Like some sometimes it looks

0:25:33.520 --> 0:25:35.520
<v Speaker 1>better than other times in the film. But for the

0:25:35.520 --> 0:25:40.239
<v Speaker 1>most part, it's an impressive monster suit with a lot

0:25:40.320 --> 0:25:41.320
<v Speaker 1>of bizarre details.

0:25:41.440 --> 0:25:43.520
<v Speaker 2>Well, I think we should be clear impressive in the

0:25:43.560 --> 0:25:45.960
<v Speaker 2>schlock sense and that it's fun to look at. It's not.

0:25:46.600 --> 0:25:49.359
<v Speaker 2>I would not say this is an especially beautifully designed suit.

0:25:49.400 --> 0:25:53.119
<v Speaker 2>But yes, for as for like schlock monster, it's up there.

0:25:53.720 --> 0:25:55.879
<v Speaker 1>Yeah, there's an element, there's kind of a sense of

0:25:56.000 --> 0:25:59.159
<v Speaker 1>swamp thing to it. Yeah, there's a there's kind of

0:25:59.280 --> 0:26:02.640
<v Speaker 1>a sense of just like oily mess gollum to it.

0:26:03.359 --> 0:26:05.480
<v Speaker 1>But yeah, if this think it came and running at me,

0:26:05.520 --> 0:26:06.320
<v Speaker 1>I'd be terrified.

0:26:06.640 --> 0:26:11.080
<v Speaker 2>So it's got glowing fossilized amber for eyes. They don't

0:26:11.080 --> 0:26:12.760
<v Speaker 2>say that that's what it looks like. This this kind

0:26:12.800 --> 0:26:17.199
<v Speaker 2>of yellow, glassy or plasticky material that lights behind it.

0:26:18.080 --> 0:26:19.920
<v Speaker 2>You kind of get the feeling that if you leaned

0:26:19.920 --> 0:26:21.560
<v Speaker 2>in close and looked in the eyes, you might see

0:26:21.560 --> 0:26:24.920
<v Speaker 2>a mosquito, like in mister Hammond's cane. And then it's

0:26:24.960 --> 0:26:28.760
<v Speaker 2>got a toothy red mouth that is permanently cocked up

0:26:28.760 --> 0:26:30.639
<v Speaker 2>to one side as if smirking.

0:26:31.080 --> 0:26:31.920
<v Speaker 1>Yeah. Yeah.

0:26:31.960 --> 0:26:35.120
<v Speaker 2>And then the weirdest feature. I don't think they ever

0:26:35.200 --> 0:26:37.080
<v Speaker 2>explained this in the movie, or if they did, I

0:26:37.160 --> 0:26:37.560
<v Speaker 2>missed it.

0:26:38.320 --> 0:26:38.439
<v Speaker 1>There.

0:26:38.800 --> 0:26:43.040
<v Speaker 2>It has an exposed red beating heart that pokes out

0:26:43.080 --> 0:26:46.240
<v Speaker 2>from the rest of the oily exterior. It looks like

0:26:46.280 --> 0:26:49.879
<v Speaker 2>a sort of red heart that's beating but trapped behind plastic.

0:26:50.280 --> 0:26:52.800
<v Speaker 1>Yeah, it looks It looks really cool, and it it

0:26:53.320 --> 0:26:56.520
<v Speaker 1>looks like such a bull's eye that you assume that

0:26:56.560 --> 0:26:59.000
<v Speaker 1>it's going to somehow factor into the plot or into

0:26:59.000 --> 0:27:00.840
<v Speaker 1>the way that the monster eventually dies.

0:27:01.000 --> 0:27:02.960
<v Speaker 2>Right, but it does stay through the heart or something.

0:27:03.240 --> 0:27:04.920
<v Speaker 1>Yeah, but it does, And it just looks cool.

0:27:05.359 --> 0:27:07.040
<v Speaker 2>What would be what would be the best way? So

0:27:07.359 --> 0:27:09.120
<v Speaker 2>I really feel like they could have played with better

0:27:09.119 --> 0:27:11.639
<v Speaker 2>ways to defeat the oil Monster in this movie, like

0:27:11.760 --> 0:27:13.000
<v Speaker 2>using soap or something.

0:27:13.680 --> 0:27:15.200
<v Speaker 1>Yeah, yeah, they could have. They could have been a

0:27:15.240 --> 0:27:19.560
<v Speaker 1>little more chemically aware, I guess h As it turns out,

0:27:19.640 --> 0:27:24.280
<v Speaker 1>they just stick with fire. Yeah, petroleum consuming microbes. That

0:27:24.280 --> 0:27:27.160
<v Speaker 1>would be like a modern version. I guess that would

0:27:27.160 --> 0:27:27.520
<v Speaker 1>be good.

0:27:28.640 --> 0:27:31.320
<v Speaker 2>But so everything else on this exterior, yes, just these

0:27:31.359 --> 0:27:35.280
<v Speaker 2>oily you know, black garbage bag mud tentacles. And he

0:27:35.359 --> 0:27:38.399
<v Speaker 2>screams with rage. The monster often screams with rage.

0:27:38.680 --> 0:27:40.960
<v Speaker 1>Yeah, there's some sort of like reverb added to the

0:27:41.040 --> 0:27:43.960
<v Speaker 1>rage scream too that makes it feel like nice and otherworldly,

0:27:44.119 --> 0:27:45.960
<v Speaker 1>because again, he's not a he's not a product of

0:27:46.000 --> 0:27:47.959
<v Speaker 1>mad science. He's a product of black magic.

0:27:48.280 --> 0:27:50.840
<v Speaker 2>Right, And so from here on out the film is

0:27:50.880 --> 0:27:55.600
<v Speaker 2>mostly greasy violence. The the oil Monster hunts and pummels

0:27:56.119 --> 0:27:59.880
<v Speaker 2>and kills people. I think we're to understand that most

0:28:00.080 --> 0:28:03.560
<v Speaker 2>the people he kills are like bad dudes who deserve it.

0:28:03.600 --> 0:28:06.879
<v Speaker 2>But then the sort of like the bad sexual politics

0:28:06.880 --> 0:28:08.879
<v Speaker 2>come through. Like one of the people he attacks is

0:28:08.920 --> 0:28:12.440
<v Speaker 2>a woman who is portrayed as like a scheming woman

0:28:12.480 --> 0:28:15.120
<v Speaker 2>who falsely accuses men of sexual assault.

0:28:15.480 --> 0:28:18.720
<v Speaker 1>Right, And then there's another scene where he wreaks vengeance

0:28:18.920 --> 0:28:23.560
<v Speaker 1>on a crooked plastic surgeon. But then there's a patient

0:28:23.640 --> 0:28:26.040
<v Speaker 1>in the room when he goes on his rampage and

0:28:26.080 --> 0:28:28.800
<v Speaker 1>he just like throws her up against the wall too. Yeah,

0:28:28.840 --> 0:28:31.879
<v Speaker 1>So it's like he's very indiscriminate in his vengeance and

0:28:32.000 --> 0:28:34.359
<v Speaker 1>rage here. Sometimes the first thing he'll do when he

0:28:34.400 --> 0:28:37.040
<v Speaker 1>comes into a room full of people to exact vengeance

0:28:37.359 --> 0:28:39.280
<v Speaker 1>is just smash all the glass items.

0:28:39.400 --> 0:28:41.560
<v Speaker 2>Yes, yeah, yeah, which is a.

0:28:41.440 --> 0:28:46.160
<v Speaker 1>Solid monster costume move. I feel like that from the

0:28:46.160 --> 0:28:48.680
<v Speaker 1>Blood Waters of Doctor ze or Za did much the

0:28:48.720 --> 0:28:50.840
<v Speaker 1>same thing, and it was a very similar costume in

0:28:50.880 --> 0:28:54.240
<v Speaker 1>some ways bulky probably very difficult to see out of.

0:28:55.280 --> 0:28:59.120
<v Speaker 2>Yeah, And we should mention that one of my favorite

0:28:59.120 --> 0:29:01.200
<v Speaker 2>I would say, actually my single favorite thing about this

0:29:01.280 --> 0:29:05.719
<v Speaker 2>movie is when the oil Monster is chasing after someone,

0:29:05.800 --> 0:29:09.800
<v Speaker 2>because we get an animated oil slick that slithers along

0:29:09.840 --> 0:29:12.600
<v Speaker 2>the floor while the Jaws music plays, just straight up

0:29:12.600 --> 0:29:13.440
<v Speaker 2>the Jaws music.

0:29:13.760 --> 0:29:16.600
<v Speaker 1>Yeah, he melts down into a gleaming puddle that's obviously

0:29:16.640 --> 0:29:19.240
<v Speaker 1>animated and then zooms after I mean zooms like you

0:29:19.360 --> 0:29:20.960
<v Speaker 1>be able to chase a speeding automobile.

0:29:21.160 --> 0:29:25.360
<v Speaker 2>Yeah, and then the grease So other general characteristics of

0:29:25.440 --> 0:29:30.680
<v Speaker 2>the of the lipid monster attacks. The Greaseman sometimes runs

0:29:30.880 --> 0:29:34.920
<v Speaker 2>flailing his arms in a helicopter pattern, which doesn't make

0:29:35.000 --> 0:29:37.600
<v Speaker 2>him look as menacing as I think it's supposed to.

0:29:38.480 --> 0:29:43.360
<v Speaker 1>Well I was menaced, but yeah, it is kind of cartoonish.

0:29:43.360 --> 0:29:45.800
<v Speaker 1>He's also a really good jumper, Let's not forget that.

0:29:46.080 --> 0:29:48.880
<v Speaker 2>Well. He has a special kind of superpower, which is

0:29:48.920 --> 0:29:53.120
<v Speaker 2>reverse footage leaping abilities. So sometimes even as a dummy,

0:29:53.160 --> 0:29:55.360
<v Speaker 2>there are great scenes where he jumps up, you know,

0:29:55.480 --> 0:29:58.600
<v Speaker 2>three stories at once and looks oddly kind of like

0:29:58.720 --> 0:30:01.640
<v Speaker 2>flaccid and inanimate. And I think it's just because they're

0:30:01.680 --> 0:30:04.560
<v Speaker 2>like dropping a stuffed suit and then reversing the footage.

0:30:04.840 --> 0:30:08.400
<v Speaker 1>Yeah, very good now, but a lot of his particular

0:30:09.040 --> 0:30:11.920
<v Speaker 1>moves during it, and he has the helicopter spin. Generally,

0:30:11.960 --> 0:30:13.480
<v Speaker 1>he's doing what I think of is just sort of

0:30:13.520 --> 0:30:17.560
<v Speaker 1>pro wrestling clubren on folks, Like he's just wailing on

0:30:17.640 --> 0:30:19.800
<v Speaker 1>him with his arms. Sometimes he looks like he's even

0:30:19.800 --> 0:30:22.640
<v Speaker 1>doing like a double axe handle thing. He's stomping. He'll

0:30:22.640 --> 0:30:26.880
<v Speaker 1>stop people in the ribs. He'll apply an oily choke,

0:30:27.640 --> 0:30:30.719
<v Speaker 1>but with one notable exception. Those are his keys, his

0:30:30.880 --> 0:30:33.760
<v Speaker 1>key moves that he pulls out in his fights.

0:30:34.200 --> 0:30:37.560
<v Speaker 2>Yeah, and so there is. The plot of the movie

0:30:37.600 --> 0:30:40.920
<v Speaker 2>includes that there's like this furor generated about the Oily

0:30:40.960 --> 0:30:44.280
<v Speaker 2>Maniac attacks, Like there is a scene where he's supposedly

0:30:44.320 --> 0:30:48.400
<v Speaker 2>going around punishing evildoers. There's one scene where he kills

0:30:48.440 --> 0:30:53.640
<v Speaker 2>a rapist, and then it cuts to newspaper headlines and

0:30:53.920 --> 0:30:57.880
<v Speaker 2>it says Tin Kin Young was killed by the Oily Maniac.

0:30:57.960 --> 0:31:00.480
<v Speaker 2>That's the translation we get of the newspaper head line,

0:31:00.560 --> 0:31:04.240
<v Speaker 2>and then another one says the oil Maniac slays Tin Kinyong.

0:31:04.960 --> 0:31:08.400
<v Speaker 2>And again I'm wondering if something is lost in translation,

0:31:08.520 --> 0:31:12.400
<v Speaker 2>because that would imply that the reader already knows who

0:31:12.560 --> 0:31:15.560
<v Speaker 2>the culprit in, who the culprit is by name, and

0:31:15.840 --> 0:31:18.520
<v Speaker 2>would know who or what the oil Maniac is.

0:31:19.600 --> 0:31:22.960
<v Speaker 1>Yeah, yeah, it's I mean, on one hand, I can

0:31:23.080 --> 0:31:25.720
<v Speaker 1>imagine that the Oily Maniac it might be eluded, like

0:31:25.760 --> 0:31:28.280
<v Speaker 1>his name being in the headlines might be alluding to

0:31:28.320 --> 0:31:31.120
<v Speaker 1>the fact that, okay, this is an established bit of folklore.

0:31:31.280 --> 0:31:34.200
<v Speaker 1>And also there's kind of a cryptid aspect to this

0:31:34.520 --> 0:31:37.680
<v Speaker 1>as well in real life that occasionally you'll see headline.

0:31:37.680 --> 0:31:42.280
<v Speaker 1>Think in twenty twelve, it even made headlines internationally when

0:31:42.320 --> 0:31:45.080
<v Speaker 1>there was a little edge sighting of an oil man

0:31:45.840 --> 0:31:48.680
<v Speaker 1>somewhere in Malaysia or Singapore, I can't remember which.

0:31:48.880 --> 0:31:52.360
<v Speaker 2>Okay, So this could be tying into the actual folklore

0:31:52.600 --> 0:31:55.040
<v Speaker 2>basis of the premise of this film.

0:31:55.080 --> 0:31:58.640
<v Speaker 1>Right, but certainly for most Western viewers if you're watching this,

0:31:58.720 --> 0:32:00.000
<v Speaker 1>that's going to be lost on you.

0:32:00.560 --> 0:32:03.560
<v Speaker 2>There is so But anyway, so the police are investigating

0:32:03.600 --> 0:32:07.160
<v Speaker 2>the oil maniac attacks. There's one part I really liked

0:32:07.160 --> 0:32:11.080
<v Speaker 2>where a detective is like, I deduce that the culprit

0:32:11.160 --> 0:32:13.840
<v Speaker 2>covers himself in oil to get away faster.

0:32:15.480 --> 0:32:16.320
<v Speaker 1>That's a great line.

0:32:16.440 --> 0:32:18.080
<v Speaker 2>I don't know if he's thought that through. I don't

0:32:18.120 --> 0:32:19.160
<v Speaker 2>know how well that would work.

0:32:19.920 --> 0:32:22.360
<v Speaker 1>Now, speaking of covering and oil, though, one of the

0:32:22.360 --> 0:32:27.920
<v Speaker 1>cool things is that when Danny Lee initially transforms into

0:32:27.920 --> 0:32:30.760
<v Speaker 1>the oil monster, or if you want to calm something

0:32:31.280 --> 0:32:33.040
<v Speaker 1>like hip or I would say you could refer to

0:32:33.080 --> 0:32:36.440
<v Speaker 1>him as the crude dude. When he makes this initial transformation,

0:32:36.480 --> 0:32:40.080
<v Speaker 1>there's the whole ritual in the pit. But later apparently

0:32:40.080 --> 0:32:42.280
<v Speaker 1>all he has to do is just get some oil

0:32:42.400 --> 0:32:45.680
<v Speaker 1>on him in order to transform Like there's a scene

0:32:45.920 --> 0:32:49.640
<v Speaker 1>at a roadside construction site where there's just an open

0:32:49.720 --> 0:32:53.520
<v Speaker 1>barrel of like seemingly boiling oil and he just goes

0:32:53.600 --> 0:32:56.040
<v Speaker 1>up and starts putting it on himself and then jumps in.

0:32:56.840 --> 0:32:59.320
<v Speaker 2>Yeah, there's another one where he just walks up to

0:32:59.360 --> 0:33:02.960
<v Speaker 2>a gas takes out the diesel pump, sprays it all

0:33:03.000 --> 0:33:06.120
<v Speaker 2>over himself, and transforms. And the stuff that comes out

0:33:06.160 --> 0:33:09.080
<v Speaker 2>of the diesel pump is it's I guess supposed to

0:33:09.080 --> 0:33:11.920
<v Speaker 2>be crude oil. It's like this dark liquid, but again

0:33:11.920 --> 0:33:14.800
<v Speaker 2>it's kind of gray and sudsy, like like old dishwater,

0:33:15.800 --> 0:33:18.400
<v Speaker 2>and I just don't think that's what diesel fuel looks like.

0:33:19.680 --> 0:33:22.680
<v Speaker 2>So one scene in this movie that is not a

0:33:22.720 --> 0:33:26.040
<v Speaker 2>monster attack scene and is also not revolting but it's

0:33:26.080 --> 0:33:29.680
<v Speaker 2>just fun is the Curry disappointment scene. Can you explain this?

0:33:30.240 --> 0:33:33.480
<v Speaker 1>Okay, so there are this is not really a movie

0:33:33.520 --> 0:33:37.440
<v Speaker 1>for great female characters, but no, he essentially has two

0:33:37.600 --> 0:33:42.240
<v Speaker 1>potential love interests. One is the you know, the the

0:33:43.120 --> 0:33:46.680
<v Speaker 1>the poor woman who's it was her father right or

0:33:47.280 --> 0:33:51.400
<v Speaker 1>that that died right, that was executed. No, trying to

0:33:51.400 --> 0:33:53.600
<v Speaker 1>remember what her relationship is to any other character.

0:33:54.000 --> 0:33:56.040
<v Speaker 2>I think she works with Danny and she just works

0:33:56.080 --> 0:33:56.560
<v Speaker 2>with him stuff.

0:33:56.840 --> 0:33:59.880
<v Speaker 1>She no, no, no, there's the law. There's basically there's

0:34:00.040 --> 0:34:03.360
<v Speaker 1>work love interest, and then there's the other love interest.

0:34:03.680 --> 0:34:07.880
<v Speaker 1>There's UA and yeah, so there's u A and then

0:34:07.880 --> 0:34:12.520
<v Speaker 1>there's work lady. Okay, okay, so's he's totally smitten with

0:34:12.640 --> 0:34:17.080
<v Speaker 1>u A, but he's he keeps getting help from this

0:34:17.160 --> 0:34:21.080
<v Speaker 1>lady at work. He comes over to her apartment and

0:34:21.120 --> 0:34:23.480
<v Speaker 1>of course he's just sort of saying, oh, everything's the worst,

0:34:23.520 --> 0:34:26.160
<v Speaker 1>you know, I'm having all these problems. And she's like,

0:34:26.640 --> 0:34:28.680
<v Speaker 1>what do you do You like curry? And he's like, oh,

0:34:28.719 --> 0:34:31.000
<v Speaker 1>I love curry, but I only love her curry. Anything

0:34:31.000 --> 0:34:33.640
<v Speaker 1>else just disgust me. And then we sort of pan

0:34:33.680 --> 0:34:35.879
<v Speaker 1>out and she's like, but I made curry. And there's

0:34:35.880 --> 0:34:39.080
<v Speaker 1>like this full table set with this luscious looking curry

0:34:39.120 --> 0:34:41.080
<v Speaker 1>dish and.

0:34:40.640 --> 0:34:46.080
<v Speaker 2>The passion in this scene the remorse after he disappoints

0:34:46.080 --> 0:34:49.319
<v Speaker 2>her about the curry that plays remorse music. It's like

0:34:49.360 --> 0:34:51.720
<v Speaker 2>the remorse theme from The Oily Maniac.

0:34:52.120 --> 0:34:56.080
<v Speaker 1>Yeah, so the curry disappointment scene is great. I recommend it.

0:34:56.840 --> 0:35:01.319
<v Speaker 1>Another interesting scene that occurs that doesn't involve monsters or

0:35:01.320 --> 0:35:04.400
<v Speaker 1>anything is this. I was impressed by the speed with

0:35:04.440 --> 0:35:07.759
<v Speaker 1>which the police tap all the office phones, and I

0:35:07.760 --> 0:35:10.760
<v Speaker 1>couldn't help but wonder, Okay, is this just movie logic

0:35:10.960 --> 0:35:14.600
<v Speaker 1>or is this an actual, like accurate representation of phone

0:35:14.640 --> 0:35:17.680
<v Speaker 1>tapping by law enforcement in Malaysia or Hong Kong at

0:35:17.680 --> 0:35:19.080
<v Speaker 1>the time, I'm not sure.

0:35:19.320 --> 0:35:21.960
<v Speaker 2>Yeah, I wonder. Well, anyway, it all builds up to

0:35:22.000 --> 0:35:26.719
<v Speaker 2>a final confrontation between the Oily Maniac and the many

0:35:26.840 --> 0:35:29.560
<v Speaker 2>forces of evil and corruption in this movie, which are

0:35:29.960 --> 0:35:34.680
<v Speaker 2>a loosely affiliated group of I don't know, criminals and gangsters.

0:35:35.000 --> 0:35:38.160
<v Speaker 1>Yeah. So it's a massive battle with like all the

0:35:38.160 --> 0:35:41.680
<v Speaker 1>oily special effects they can muster, and it's pretty fabulous.

0:35:41.840 --> 0:35:43.680
<v Speaker 2>Yeah. Again, if you're if you're tempted to see part

0:35:43.719 --> 0:35:45.879
<v Speaker 2>of this movie, it might be and you just want

0:35:45.920 --> 0:35:47.480
<v Speaker 2>to check out one scene, it might be best to

0:35:47.560 --> 0:35:50.160
<v Speaker 2>just skip skip to the end and watch this ending

0:35:50.239 --> 0:35:51.000
<v Speaker 2>battle scene.

0:35:51.360 --> 0:35:53.840
<v Speaker 1>Though I will say there is an excellent kill in

0:35:53.880 --> 0:35:57.839
<v Speaker 1>the film before that, where the evil lawyer and his

0:35:58.040 --> 0:36:00.759
<v Speaker 1>mistress are you know, have sped away and they've gone

0:36:00.840 --> 0:36:02.920
<v Speaker 1>to like a makeout place and they're like gonna make

0:36:02.920 --> 0:36:05.720
<v Speaker 1>out in the car, and then the oily Maniac attacks

0:36:05.719 --> 0:36:08.080
<v Speaker 1>and it's a great scene where he starts dripping down

0:36:08.200 --> 0:36:11.759
<v Speaker 1>all the windows. You know, it's very blob asque, and

0:36:11.800 --> 0:36:15.040
<v Speaker 1>then suddenly he's in the back seat and then he

0:36:15.600 --> 0:36:18.640
<v Speaker 1>grabs the lawyer's head and crushes it like a coconut,

0:36:18.680 --> 0:36:20.560
<v Speaker 1>And we don't see much of it, which actually kind

0:36:20.560 --> 0:36:22.520
<v Speaker 1>of helps make it work more. But yeah, there is

0:36:22.560 --> 0:36:25.280
<v Speaker 1>a head burst scene, and that's probably the most violent,

0:36:25.880 --> 0:36:28.600
<v Speaker 1>physically violent thing we see the monster do to anybody.

0:36:28.840 --> 0:36:33.080
<v Speaker 2>Yeah, Otherwise it's mostly just beat downs's traditional beatdowns, martial

0:36:33.160 --> 0:36:37.520
<v Speaker 2>arts film style style beatdowns. Though the Oil Monster does

0:36:37.560 --> 0:36:40.040
<v Speaker 2>have tricks other than just like kicking and punching that

0:36:40.120 --> 0:36:42.680
<v Speaker 2>we've already said. He's got the reverse footage jump, but

0:36:42.760 --> 0:36:45.200
<v Speaker 2>he also has a trick he reveals, i think only

0:36:45.239 --> 0:36:47.960
<v Speaker 2>in that final battle, which is that he can spray

0:36:48.120 --> 0:36:51.120
<v Speaker 2>oil out of his mouth. And this is kind of

0:36:51.160 --> 0:36:53.799
<v Speaker 2>like the James Bond car trick where it shoots out

0:36:53.800 --> 0:36:56.719
<v Speaker 2>the oil slicks so the other cars behind skid all

0:36:56.719 --> 0:37:00.160
<v Speaker 2>over the place, but in this case, he just vomits

0:37:00.200 --> 0:37:02.960
<v Speaker 2>oil all over the faces of his attackers.

0:37:03.400 --> 0:37:05.880
<v Speaker 1>Yeah. Also an R two D two trick by the way.

0:37:05.920 --> 0:37:08.880
<v Speaker 2>Oh I forgot about that. Yeah, but he's got but

0:37:08.880 --> 0:37:12.120
<v Speaker 2>he's got powers that make him very too difficult to defeat.

0:37:12.160 --> 0:37:15.680
<v Speaker 2>So the enemies hack him with machetes and stuff or

0:37:15.719 --> 0:37:18.040
<v Speaker 2>swords and like they can lop his arm off, but

0:37:18.080 --> 0:37:21.239
<v Speaker 2>then it just regenerates because he's got the oil magic right.

0:37:21.280 --> 0:37:22.680
<v Speaker 1>And there are a couple of times where they shoot

0:37:22.719 --> 0:37:24.600
<v Speaker 1>him full of bullets and then he'll melt down into

0:37:24.640 --> 0:37:28.080
<v Speaker 1>a puddle and then he'll like regenerate back up to

0:37:28.120 --> 0:37:31.080
<v Speaker 1>full strength. They're really proud of that effect because he's

0:37:31.120 --> 0:37:32.400
<v Speaker 1>they rolled out about twice.

0:37:33.000 --> 0:37:36.280
<v Speaker 2>Yeah, But in the end, the Oily Maniac is defeated

0:37:36.320 --> 0:37:38.000
<v Speaker 2>by who would a thunk it fire?

0:37:38.560 --> 0:37:40.920
<v Speaker 1>Yeah, because he goes too far, Like he has the

0:37:40.960 --> 0:37:43.400
<v Speaker 1>police and he's about to crush their heads in a

0:37:43.440 --> 0:37:46.160
<v Speaker 1>double headlock sort of situation, and she's like, no, you

0:37:46.520 --> 0:37:48.799
<v Speaker 1>have to stop, you have to leave them alone. He

0:37:48.840 --> 0:37:51.239
<v Speaker 1>won't do it, so he gets torched.

0:37:51.200 --> 0:37:54.279
<v Speaker 2>Yep, and then we see his like body on the

0:37:54.320 --> 0:37:57.160
<v Speaker 2>ground burning up and it sort of it burns like

0:37:57.239 --> 0:38:01.440
<v Speaker 2>old newspaper. And then once again there is a really

0:38:01.520 --> 0:38:05.120
<v Speaker 2>sudden and funny music transition where the Oily Maniac is

0:38:05.160 --> 0:38:09.320
<v Speaker 2>blown away like burned newspaper, and then soft happy music

0:38:09.440 --> 0:38:10.400
<v Speaker 2>just kicks right in.

0:38:11.160 --> 0:38:15.239
<v Speaker 1>Yeah, I do like the old school monster movie ending

0:38:15.320 --> 0:38:18.919
<v Speaker 1>of the monster is dead, the end. There's no there's

0:38:18.920 --> 0:38:31.759
<v Speaker 1>no at all. Yeah, I do want to get back

0:38:31.800 --> 0:38:37.520
<v Speaker 1>to the Malaysian roots here, the folkloric roots, because indeed,

0:38:37.560 --> 0:38:40.480
<v Speaker 1>there is a creature in Malaysian folklore known as the

0:38:40.560 --> 0:38:44.840
<v Speaker 1>Orang Mignac or oily man and according to the University

0:38:44.840 --> 0:38:48.839
<v Speaker 1>of Southern California Digital Folklore Archives, yeah, the oily man

0:38:48.920 --> 0:38:53.160
<v Speaker 1>is a creature of Malaysian folklore with appearances in Thailand, Indonesia, Malaysia,

0:38:53.200 --> 0:38:56.840
<v Speaker 1>and Singapore. And the main constant in the folk tradition

0:38:56.960 --> 0:38:59.640
<v Speaker 1>is that we have an oily humanoid that assaults women

0:38:59.640 --> 0:39:04.000
<v Speaker 1>at night, especially virgins, and the origins vary quite a bit.

0:39:04.120 --> 0:39:06.239
<v Speaker 1>Sometimes it's said to be just a dark creature of

0:39:06.280 --> 0:39:09.560
<v Speaker 1>the spirit world. Other times he's a human, a quote

0:39:09.719 --> 0:39:13.359
<v Speaker 1>spurned lover that has powers due to his solicitation of

0:39:13.400 --> 0:39:17.319
<v Speaker 1>either a bomo, a Malaysian witch doctor, or a contract

0:39:17.320 --> 0:39:19.240
<v Speaker 1>with a creature from the spiritual world.

0:39:19.480 --> 0:39:21.080
<v Speaker 2>So this makes it seem like maybe a lot of

0:39:21.600 --> 0:39:25.160
<v Speaker 2>the creepy sexual associations of the oily maniac or not

0:39:25.480 --> 0:39:28.760
<v Speaker 2>just in the movie, but they're also in the folk

0:39:28.800 --> 0:39:30.520
<v Speaker 2>tales that the movie is based on.

0:39:31.040 --> 0:39:32.759
<v Speaker 1>Yes, it would seem to be the case. Like it

0:39:32.920 --> 0:39:36.040
<v Speaker 1>is a it is a like a folkl ort creature,

0:39:36.120 --> 0:39:40.840
<v Speaker 1>sometimes again a cryptid even it's this dark, oily creature

0:39:40.840 --> 0:39:44.239
<v Speaker 1>that creeps around in the night and attacks women, hard

0:39:44.280 --> 0:39:46.239
<v Speaker 1>to see in the dark, slippery if you grab him.

0:39:46.440 --> 0:39:49.000
<v Speaker 1>Also in some versions, apparently he likes to steal things,

0:39:50.280 --> 0:39:52.040
<v Speaker 1>but I didn't find a lot of details on that.

0:39:52.560 --> 0:39:54.640
<v Speaker 1>The other interesting thing is that this was not the

0:39:54.680 --> 0:39:58.080
<v Speaker 1>first oily maniac film or oil man film. There was

0:39:58.120 --> 0:40:00.399
<v Speaker 1>a series of these that were produced in sing Poor

0:40:00.640 --> 0:40:02.759
<v Speaker 1>in the fifties and sixties, such as Curse of the

0:40:02.760 --> 0:40:05.160
<v Speaker 1>Oily Man in fifty six and The Oily Man in

0:40:05.200 --> 0:40:08.520
<v Speaker 1>fifty eight. So it was already an established movie monster

0:40:08.560 --> 0:40:10.839
<v Speaker 1>before the Shaw Brothers came around and gave it not

0:40:10.880 --> 0:40:14.320
<v Speaker 1>just an oily naked human appearance, but this awesome swamp

0:40:14.360 --> 0:40:18.000
<v Speaker 1>thing asks treatment and apparently, yeah, there are still supernatural

0:40:18.040 --> 0:40:22.080
<v Speaker 1>sightings of the Orong Mignac in contemporary Malaysia. I've ran

0:40:22.120 --> 0:40:25.000
<v Speaker 1>across a twenty twelve I nine article about it, and

0:40:25.080 --> 0:40:28.000
<v Speaker 1>there was even a live science article by Benjamin Radford

0:40:28.040 --> 0:40:31.040
<v Speaker 1>about it, who made a special made special mention of

0:40:31.160 --> 0:40:36.440
<v Speaker 1>cryptid enthusiasts getting in on the oily man legend and saying, well,

0:40:36.880 --> 0:40:39.359
<v Speaker 1>we think it might be a sasquatch of some sort.

0:40:39.520 --> 0:40:42.600
<v Speaker 2>Oh yeah, the old hidden primate theory.

0:40:43.000 --> 0:40:47.680
<v Speaker 1>Yeah, but yeah, I don't think there's any reality to that.

0:40:49.120 --> 0:40:54.160
<v Speaker 1>My opinion on the possible presence of oily primates.

0:40:53.600 --> 0:40:55.880
<v Speaker 2>I would agree. And I think it's also interesting that

0:40:56.080 --> 0:40:58.400
<v Speaker 2>you see this with some other types of cryptid legends,

0:40:58.440 --> 0:41:04.080
<v Speaker 2>a connect between certain types of alleged cryptid sightings and

0:41:04.239 --> 0:41:08.600
<v Speaker 2>taboo fixations, people who are having kind of scary thoughts

0:41:08.160 --> 0:41:10.640
<v Speaker 2>at the boundaries of sex and violence.

0:41:11.080 --> 0:41:14.680
<v Speaker 1>Yeah. Now I want to get into this film's place

0:41:14.800 --> 0:41:17.280
<v Speaker 1>in Hong Kong cinema for a few minutes as well,

0:41:18.200 --> 0:41:21.680
<v Speaker 1>because yeah, I mean it's important to note, yeah, this

0:41:21.840 --> 0:41:24.640
<v Speaker 1>is a again, a black magic film, a Hong Kong

0:41:24.680 --> 0:41:27.399
<v Speaker 1>black magic film, and granted, black magic has long been

0:41:27.440 --> 0:41:30.880
<v Speaker 1>part of Chinese myths and legends, but then we see

0:41:31.520 --> 0:41:34.919
<v Speaker 1>this film as part of a shift in how it's

0:41:34.960 --> 0:41:40.120
<v Speaker 1>treated cinematically. Apparently, according to James Mudge of Easternkicks dot Com,

0:41:40.600 --> 0:41:44.000
<v Speaker 1>in an article titled black Magic and Sleezy Spells, the

0:41:44.040 --> 0:41:47.000
<v Speaker 1>Shaw Brothers Horror Films, the horror output of the Shops

0:41:47.280 --> 0:41:50.040
<v Speaker 1>Shaw Brothers between the late fifties and the mid eighties

0:41:50.360 --> 0:41:53.759
<v Speaker 1>was hugely influential on Hong Kong horror cinema, and it

0:41:53.800 --> 0:41:57.600
<v Speaker 1>wouldn't be till Samo Hung's Spooky Encounters films of the

0:41:57.719 --> 0:42:00.680
<v Speaker 1>nineteen eighties that the style took a different turn. But

0:42:00.800 --> 0:42:05.319
<v Speaker 1>even then, Mudge Rights Shaw inspired sleazy sorcery and grotesque

0:42:05.320 --> 0:42:08.960
<v Speaker 1>black magic played a major role in the nineteen nineties

0:42:09.160 --> 0:42:12.480
<v Speaker 1>boom in what are referred to as category three rated

0:42:12.520 --> 0:42:15.840
<v Speaker 1>genre cinema. Category three is like the was the extreme

0:42:16.200 --> 0:42:20.800
<v Speaker 1>exploitation rating, So again this was part of a movement

0:42:20.840 --> 0:42:24.880
<v Speaker 1>of films that had a real impact of the oily

0:42:24.920 --> 0:42:28.640
<v Speaker 1>maniac In particular, Mudge Rights quote the film is a

0:42:28.640 --> 0:42:32.160
<v Speaker 1>wacky affair, dripping with sleeves and jarring shifts of tone,

0:42:32.600 --> 0:42:35.200
<v Speaker 1>and though it makes little sense in both some hilariously

0:42:35.280 --> 0:42:37.880
<v Speaker 1>cheap special effects, it has become a firm favorite of

0:42:38.000 --> 0:42:41.400
<v Speaker 1>trash cinema fans. And then I also found an article

0:42:41.640 --> 0:42:45.320
<v Speaker 1>by this was by Danny chen wing Kit from twenty

0:42:45.400 --> 0:42:50.640
<v Speaker 1>nineteen published in Hong Kong Studies titled Spectralizing Southeast Asia

0:42:50.760 --> 0:42:53.879
<v Speaker 1>Hong Kong Cinema of Black Magic, and in this wing

0:42:54.000 --> 0:42:57.400
<v Speaker 1>Kit makes an interesting point about Oily Maniac's place in

0:42:57.440 --> 0:43:00.640
<v Speaker 1>the history of Hong Kong black magic films. Films such

0:43:00.719 --> 0:43:03.959
<v Speaker 1>as this and seventy five's Black Magic and seventy six

0:43:04.120 --> 0:43:07.840
<v Speaker 1>is Black Magic Part Two, they dealt with black magic

0:43:07.920 --> 0:43:11.360
<v Speaker 1>beyond the limits of Hong Kong and modern urban living

0:43:11.640 --> 0:43:15.080
<v Speaker 1>quote a haunted community kept at bay from Hong Kong.

0:43:15.600 --> 0:43:20.400
<v Speaker 1>But later films they write across the boundary, bringing the

0:43:20.440 --> 0:43:24.120
<v Speaker 1>black magic into the city. And in this wing Kin

0:43:24.280 --> 0:43:28.000
<v Speaker 1>Rights we see an example of cultural bias and prejudice

0:43:28.160 --> 0:43:31.759
<v Speaker 1>towards Southeast Asian cultures, and this becomes even more key

0:43:31.880 --> 0:43:34.640
<v Speaker 1>during the eighties as Hong Kong searches for its place

0:43:34.680 --> 0:43:38.120
<v Speaker 1>in the world. Quote in Hong Kong's Black Magic Cinema,

0:43:38.360 --> 0:43:41.560
<v Speaker 1>a spectralized Southeast Asia is one of the most sought

0:43:41.600 --> 0:43:46.040
<v Speaker 1>after imaginaries of otherness for the city to compensate for

0:43:46.120 --> 0:43:47.600
<v Speaker 1>its national ambiguity.

0:43:47.960 --> 0:43:49.840
<v Speaker 2>Okay, So maybe the idea is that in some of

0:43:49.880 --> 0:43:56.160
<v Speaker 2>these early sleazy Sorcery films, it was imagining non Chinese

0:43:56.239 --> 0:43:59.759
<v Speaker 2>Southeast Asia as a place kind of like, I don't know,

0:44:00.760 --> 0:44:03.120
<v Speaker 2>like the you know, the rural texas of the Texas,

0:44:03.200 --> 0:44:07.760
<v Speaker 2>Chainsaw mass exactly like this dangerous, this dangerous other place

0:44:07.800 --> 0:44:11.760
<v Speaker 2>where there are savage forces afoot. But then over time

0:44:12.719 --> 0:44:16.200
<v Speaker 2>there is a shift in cinema where those forces are

0:44:16.280 --> 0:44:19.080
<v Speaker 2>are sort of moved inward and migrated back into the

0:44:19.120 --> 0:44:19.760
<v Speaker 2>home base.

0:44:20.440 --> 0:44:24.160
<v Speaker 1>Yeah, sort of the Jason takes Hong Kong movement, it

0:44:24.200 --> 0:44:24.920
<v Speaker 1>takes Manhattan.

0:44:25.040 --> 0:44:26.480
<v Speaker 2>Yeah.

0:44:26.640 --> 0:44:28.920
<v Speaker 1>So anyway, I thought that was interesting. It's you know,

0:44:28.920 --> 0:44:31.200
<v Speaker 1>looking at how this film is sort of like what

0:44:31.360 --> 0:44:34.360
<v Speaker 1>role it plays in the history of Hong Kong horror films,

0:44:34.640 --> 0:44:38.440
<v Speaker 1>and also what it may reveal, according to this one

0:44:38.480 --> 0:44:42.960
<v Speaker 1>author anyway, about about Hong Kong and its culture and

0:44:43.000 --> 0:44:47.040
<v Speaker 1>it's and how it viewed you know, the other parts

0:44:47.080 --> 0:44:48.959
<v Speaker 1>of the world as well.

0:44:49.239 --> 0:44:52.160
<v Speaker 2>Now, one thing that's certainly worth mentioning here is the

0:44:53.080 --> 0:44:57.160
<v Speaker 2>monster science parallel between the oily maniac and plenty of

0:44:57.520 --> 0:45:01.000
<v Speaker 2>creatures in the real world which do sometimes cover themselves

0:45:01.080 --> 0:45:05.200
<v Speaker 2>with different types of fluids, oils, lipids, slimes of various

0:45:05.280 --> 0:45:08.040
<v Speaker 2>kinds in order to actually improve their survival odds.

0:45:08.400 --> 0:45:11.319
<v Speaker 1>Yeah. And of these creatures, and there are many, the

0:45:11.320 --> 0:45:14.800
<v Speaker 1>best example is probably always going to be the hagfish

0:45:14.960 --> 0:45:20.560
<v Speaker 1>of class mixinny and the order Mixiniformis. And these are

0:45:20.760 --> 0:45:22.719
<v Speaker 1>if you haven't seen these, you should look them up

0:45:22.719 --> 0:45:26.320
<v Speaker 1>because they're they're bizarre. They're they're weird creatures. And you

0:45:26.880 --> 0:45:29.640
<v Speaker 1>read the writings the Scientific journal writings of people who

0:45:29.680 --> 0:45:32.360
<v Speaker 1>study them, and they totally agree. They're like, these creatures

0:45:32.400 --> 0:45:35.440
<v Speaker 1>are weird. We still don't understand everything about that. They

0:45:35.480 --> 0:45:39.640
<v Speaker 1>are strange because they are eel like, they are jawless,

0:45:39.640 --> 0:45:42.720
<v Speaker 1>their marine fish that can produce vast quantities of slime

0:45:42.800 --> 0:45:46.120
<v Speaker 1>when threatened, and then they can tie themselves in a

0:45:46.320 --> 0:45:49.520
<v Speaker 1>traveling knot which they use to sort of slip free

0:45:49.560 --> 0:45:51.959
<v Speaker 1>of their own slime, to sort of wring their own

0:45:52.040 --> 0:45:57.759
<v Speaker 1>limbless bodies free of the slimy ooz that they've secreted.

0:45:58.120 --> 0:45:59.560
<v Speaker 2>I think we should stop for a moment, though, and

0:45:59.600 --> 0:46:03.440
<v Speaker 2>appreciate just how much slime a hagfish can produce. When

0:46:03.520 --> 0:46:05.960
<v Speaker 2>I've read about this in the past, it was mind

0:46:06.000 --> 0:46:07.719
<v Speaker 2>boggling and I just had to look it up again.

0:46:08.200 --> 0:46:10.560
<v Speaker 2>There's a great article by Ed Young in The Atlantic

0:46:10.600 --> 0:46:13.440
<v Speaker 2>about hagfish, and I want to read a quote here.

0:46:13.520 --> 0:46:17.239
<v Speaker 2>He says, quote, Typically, a hagfish will release less than

0:46:17.280 --> 0:46:20.120
<v Speaker 2>a teaspoon of gunk from the hundred or so slime

0:46:20.200 --> 0:46:23.719
<v Speaker 2>glands that line its flanks, and in less than half

0:46:23.760 --> 0:46:28.320
<v Speaker 2>a second that little amount will expand by ten thousand times,

0:46:28.680 --> 0:46:32.200
<v Speaker 2>enough to fill a sizeable bucket. Reach in, and every

0:46:32.280 --> 0:46:34.640
<v Speaker 2>move of your hand will drag the water with it.

0:46:35.080 --> 0:46:38.440
<v Speaker 2>Wow and the knee, quotes a researcher named Douglas Fudge

0:46:38.440 --> 0:46:41.200
<v Speaker 2>of Chapman University, who says it doesn't feel like much

0:46:41.239 --> 0:46:44.960
<v Speaker 2>at first, as if a spider has built a web underwater,

0:46:45.920 --> 0:46:48.000
<v Speaker 2>But then ed writ's quote. But try to lift your

0:46:48.040 --> 0:46:50.759
<v Speaker 2>hand out, and it's as if the bucket's contents are

0:46:50.800 --> 0:46:52.040
<v Speaker 2>now attached to you.

0:46:52.560 --> 0:46:55.680
<v Speaker 1>Wow. That's incredible. Yeah, and yeah, that bucket's worth of

0:46:55.719 --> 0:46:59.160
<v Speaker 1>content that's often going to potentially going to be the

0:46:59.200 --> 0:47:01.520
<v Speaker 1>mouth of the creek the sea creature that tried to

0:47:01.600 --> 0:47:04.440
<v Speaker 1>eat it. So the idea is they just clog up

0:47:05.000 --> 0:47:08.040
<v Speaker 1>the creature that tried to consume them, and then they

0:47:08.200 --> 0:47:14.040
<v Speaker 1>move away and then they're free. There are some hagfish

0:47:14.120 --> 0:47:17.480
<v Speaker 1>that may use their slime offensively while hunting, apparently, but

0:47:17.560 --> 0:47:20.760
<v Speaker 1>most hagfish thrive on the bottom of the ocean, feasting

0:47:20.800 --> 0:47:23.880
<v Speaker 1>on rotten carcasses, and the slime is for when they

0:47:23.920 --> 0:47:25.200
<v Speaker 1>are agitated by something.

0:47:25.640 --> 0:47:28.759
<v Speaker 2>Now there's another parallel actually between the hagfish and the

0:47:28.760 --> 0:47:31.480
<v Speaker 2>Oily Maniac and then they've got a weird heart, right.

0:47:31.920 --> 0:47:35.480
<v Speaker 1>That's right. Hagfish are also notable for their quote unquote

0:47:35.560 --> 0:47:39.400
<v Speaker 1>zombie hearts, which can keep beating for thirty six hours

0:47:39.400 --> 0:47:43.200
<v Speaker 1>without any oxygen, allowing them to thrive in deep oxygen

0:47:43.239 --> 0:47:46.040
<v Speaker 1>deprived environments. So yeah, I can't help but wonder if

0:47:46.080 --> 0:47:48.360
<v Speaker 1>that is a zombie heart we see beating in the

0:47:48.360 --> 0:47:49.600
<v Speaker 1>Oily Maniac's chest.

0:47:50.040 --> 0:47:52.440
<v Speaker 2>Very nice? Okay, well, I guess that does it for

0:47:52.480 --> 0:47:55.920
<v Speaker 2>the Oily Maniac again. I will say I can't really

0:47:56.000 --> 0:47:59.360
<v Speaker 2>recommend watching the whole movie. It is a kind of

0:48:00.239 --> 0:48:02.960
<v Speaker 2>it is a kind of disturbing and morally bad affair.

0:48:03.120 --> 0:48:06.239
<v Speaker 2>But you should definitely check out those monster scenes, the

0:48:06.280 --> 0:48:10.359
<v Speaker 2>monster fights or it's it's the best lipid mankung fu

0:48:10.440 --> 0:48:11.400
<v Speaker 2>you will ever see.

0:48:11.920 --> 0:48:13.719
<v Speaker 1>Yeah, I'd love to again. I'd love to see this

0:48:13.800 --> 0:48:16.760
<v Speaker 1>monster get a better treatment and a less sleazy film.

0:48:16.800 --> 0:48:18.400
<v Speaker 1>I want. I want the film to be greasy but

0:48:18.440 --> 0:48:19.600
<v Speaker 1>not sleazy.

0:48:19.400 --> 0:48:22.480
<v Speaker 2>Right, Yeah, I just want some good, clean greaseman fun.

0:48:22.960 --> 0:48:25.719
<v Speaker 1>Yeah, exactly, just have him wailing on bad guys the

0:48:25.760 --> 0:48:28.279
<v Speaker 1>whole time. I have to say, in looking around on

0:48:28.360 --> 0:48:31.880
<v Speaker 1>Google scholar for any like academic mention of him. I

0:48:31.960 --> 0:48:34.560
<v Speaker 1>did run across a I think it was like a

0:48:34.560 --> 0:48:38.479
<v Speaker 1>bachelor's degree thesis in game design where someone was making

0:48:38.520 --> 0:48:41.400
<v Speaker 1>the argument. They were like, we need stealth games that

0:48:41.480 --> 0:48:44.680
<v Speaker 1>feature the Oily Maniac. And I didn't read the whole thing,

0:48:44.680 --> 0:48:47.520
<v Speaker 1>so I don't know how how pervasive that argument is

0:48:47.160 --> 0:48:50.080
<v Speaker 1>this treatment, but they were like like, yeah, he's like

0:48:50.080 --> 0:48:52.120
<v Speaker 1>a naturally skealthy he can you know, he can melt

0:48:52.200 --> 0:48:55.600
<v Speaker 1>underdoors and all. So I don't know, maybe if that

0:48:55.600 --> 0:48:59.120
<v Speaker 1>that potential game designer like feel strongly about it enough

0:48:59.239 --> 0:49:02.680
<v Speaker 1>will eventually see an Oily Maniac stealth video game.

0:49:02.880 --> 0:49:05.279
<v Speaker 2>That is a heck of a concept. Tap X to

0:49:05.320 --> 0:49:06.160
<v Speaker 2>reverse footage.

0:49:06.400 --> 0:49:09.839
<v Speaker 1>Yeah all right, So where can you see this if

0:49:09.880 --> 0:49:13.120
<v Speaker 1>you dare? Again, we've given you the the disclaimers that

0:49:13.160 --> 0:49:15.319
<v Speaker 1>are necessary, I think, But if you want to watch

0:49:15.360 --> 0:49:17.720
<v Speaker 1>the Oily Maniac or just skip to the key scenes

0:49:17.760 --> 0:49:20.400
<v Speaker 1>we mentioned, you can stream this baby on Amazon Prime.

0:49:20.800 --> 0:49:22.960
<v Speaker 1>You can buy it or rent it digitally other places

0:49:22.960 --> 0:49:26.239
<v Speaker 1>as well. It's in Mandarin with English subtitles. DVDs and

0:49:26.239 --> 0:49:28.200
<v Speaker 1>Blu rays are also available, though I can't make any

0:49:28.200 --> 0:49:31.840
<v Speaker 1>promises about region and so forth. I also want to

0:49:31.880 --> 0:49:35.600
<v Speaker 1>point out that when this film came out in Uzbekistan.

0:49:35.640 --> 0:49:40.080
<v Speaker 1>According to IMDb, the video CD title was Zombie twelve

0:49:40.360 --> 0:49:45.520
<v Speaker 1>The Insane Oily Free, which we've encountered Zombie with other films,

0:49:45.560 --> 0:49:48.239
<v Speaker 1>generally with Italian films right where it's just anything that

0:49:48.680 --> 0:49:52.719
<v Speaker 1>can remotely be tied into into the Zombie franchise, into

0:49:52.760 --> 0:49:55.920
<v Speaker 1>Don of the Dead, and so this sequel. Yeah, so

0:49:56.000 --> 0:49:58.360
<v Speaker 1>it sounds like this was even more the case in

0:49:58.440 --> 0:50:00.640
<v Speaker 1>Uzbekistan where someone's like, oh, we got another movie, as

0:50:00.640 --> 0:50:02.480
<v Speaker 1>I've got a monster in it, Zombie twelve.

0:50:03.280 --> 0:50:05.680
<v Speaker 2>Only way to see it is in the original loosebec.

0:50:07.080 --> 0:50:10.320
<v Speaker 1>All right, well, we're gonna go ahead and close close

0:50:10.360 --> 0:50:12.640
<v Speaker 1>the drum on this one, but obviously we'd love to

0:50:12.640 --> 0:50:15.200
<v Speaker 1>hear from anybody who has thoughts on this film or

0:50:15.239 --> 0:50:19.440
<v Speaker 1>its place in Hong Kong cinematic history, et cetera. In

0:50:19.480 --> 0:50:21.840
<v Speaker 1>the meantime, if you want to check out other episodes

0:50:21.840 --> 0:50:24.840
<v Speaker 1>of Weird House Cinema, it publishes every Friday in the

0:50:24.880 --> 0:50:27.719
<v Speaker 1>Stuff to Blow Your Mind podcast feeds, so you can

0:50:27.760 --> 0:50:29.319
<v Speaker 1>find it by looking up the Stuff to Blow your

0:50:29.320 --> 0:50:31.880
<v Speaker 1>Mind podcast feed wherever you get your podcasts. We do

0:50:31.920 --> 0:50:33.959
<v Speaker 1>ask the U rate, review and subscribe it's a great

0:50:33.960 --> 0:50:37.120
<v Speaker 1>way to support the show. And also I have a

0:50:37.480 --> 0:50:42.120
<v Speaker 1>personal website. It's some Muda music dot com Somemuda music

0:50:42.239 --> 0:50:45.320
<v Speaker 1>like in Dune, and I just do some blog posts

0:50:45.320 --> 0:50:47.879
<v Speaker 1>about these movies as we put them out, so if

0:50:47.880 --> 0:50:49.480
<v Speaker 1>you're interested you can find that there.

0:50:49.719 --> 0:50:52.399
<v Speaker 2>Huge thanks as always to our excellent audio producer Seth

0:50:52.480 --> 0:50:54.520
<v Speaker 2>Nicholas Johnson. If you would like to get in touch

0:50:54.520 --> 0:50:56.640
<v Speaker 2>with us with feedback on this episode or any other,

0:50:56.920 --> 0:50:59.279
<v Speaker 2>to suggest a topic for the future, just to say hello,

0:50:59.400 --> 0:51:02.120
<v Speaker 2>you can email us at contact. That's Stuff to Blow

0:51:02.160 --> 0:51:10.080
<v Speaker 2>your Mind dot Com.

0:51:10.200 --> 0:51:13.120
<v Speaker 3>Stuff to Blow Your Mind is production of iHeartRadio. For

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