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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick in Today's movie on Weird

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Speaker 3: House is the nineteen sixty eight Mario Bava film Danger Diabolic,

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Speaker 3: a movie that straddles many genres. It is a comic

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Speaker 3: book adaptation, it is a crime thriller, it's an action movie.

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Speaker 3: And I've even seen people refer to it as a

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Speaker 3: spy movie or a euro spy thriller. This is sometimes

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Speaker 3: also called like spaghetti spy movies. These are all these

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Speaker 3: movies that came out in the sixties, I think somewhat

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Speaker 3: writing on the success of the first James Bond films

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Speaker 3: that have characters named things like James Taunt or something.

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Speaker 3: And while that spy designation does not accurately describe the

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Speaker 3: plot of this movie, I can see why pill say that,

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Speaker 3: because Danger Diabolic takes part in a lot of the

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Speaker 3: same aesthetic trends you might find in sixties spy stuff

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Speaker 3: like the early James Bond films in these other continental

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Speaker 3: European espionage capers. So Danger Diabolic is about a thief,

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Speaker 3: but it feels like it's about a spy, but really,

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Speaker 3: more than anything, it's about love.

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Speaker 2: That's right, It's ultimately a movie about love. Though our

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Speaker 2: heroes are definitely criminals, there's no doubt about it, but

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Speaker 2: we'll discuss the flavor of crime that they're really involved in.

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Speaker 2: I think ultimately you would classify this film as a

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Speaker 2: super crime movie. These are super criminals engaging in super crime.

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Speaker 2: They're not quite super villains per se, though I'm sure

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Speaker 2: that the people they're stealing from see them as such.

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Speaker 2: So yeah, it's interesting because on one hand, there's not

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Speaker 2: a speculative element here, like this is not really a

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Speaker 2: sci fi film or a horror of fantasy or you know,

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Speaker 2: the typical genres we cover here, but it is still

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Speaker 2: packed with plenty of weirdness. It reminds me in our

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Speaker 2: build up to this, you even brought this up, Joe,

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Speaker 2: you were like, I'm not sure it'll be weird enough.

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Speaker 2: But I think now that we've both rewatched it, we

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Speaker 2: have found there's plenty of weirdness to be had in Diabottle.

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Speaker 3: Well, I guess you know, we've always gone intuitively on

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Speaker 3: like what counts as weird for weird house cinema. Usually

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Speaker 3: it's got to have some kind of major anti realism

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Speaker 3: element in the plot. It's either got to be about

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Speaker 3: something kind of like magical or supernatural, or something sufficiently

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Speaker 3: has enough science fiction distance from reality that it's really

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Speaker 3: weird diabolic has. It takes place in a world of

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Speaker 3: light science fiction possibilities. Actually, much like most spy movies,

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Speaker 3: do you know, kind of like James Bonder Mission Impossible

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Speaker 3: movies have very light sci fi elements, just sort of

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Speaker 3: slight exaggerations of what's possible in reality, And this is

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Speaker 3: kind of like that, except it has a much CARTOONI

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Speaker 3: or style that is free to more free to experiment

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Speaker 3: with what would be plausible in terms of like what

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Speaker 3: people would actually do, Like would people actually make a

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Speaker 3: gold ingot the size of a tanker truck because reasoning

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Speaker 3: that it will be harder to steal that way.

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Speaker 2: Well, this is I love that detail on the plot

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Speaker 2: because that particularly feels like folkloric or mythic. It seems

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Speaker 2: like the kind of thing that that various heroes in

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Speaker 2: you know, Sagas and Tales of Old would have engaged in. Oh,

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Speaker 2: you know, the trickster was going to steal the gold

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Speaker 2: so we just need an enormous gold ingot. But ah,

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Speaker 2: the mighty Hero Diabolic stole it anyway.

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Speaker 3: So I actually hadn't seen this movie until a couple

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Speaker 3: of weeks ago, and a good friend of mine has

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Speaker 3: been telling me about it for years. I can going

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Speaker 3: back probably a deck him saying this movie is actually great,

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Speaker 3: and I think for a long time my expectations about

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Speaker 3: it were miscalibrated by the knowledge that this movie was

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Speaker 3: featured on an episode of Mystery Science Theater three thousand,

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Speaker 3: which I've never seen. By the way, the very last episode.

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Speaker 3: You know, that's a show I love. But that places

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Speaker 3: this movie in strange company because Danger Diabolic is not

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Speaker 3: like Soul Taker. It is not like Final Sacrifice or

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Speaker 3: Mitchell or most of the kinds of movies that end

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Speaker 3: up on Mystery Science Theater. Danger Diabolic is a wonderful movie.

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Speaker 3: In fact, I would even say that it possesses a

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Speaker 3: kind of genius.

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Speaker 2: Yeah, yeah, I mean we could go in into an

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Speaker 2: entire tangent on MST three K movies and the fact that, yeah,

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Speaker 2: I think there are a lot of great movies that

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Speaker 2: were riffed over the years, and I think there are

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Speaker 2: people out there who take offense sometimes on behalf of

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Speaker 2: movies that were riffed. I I don't view it like that.

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Speaker 2: I think for me in particular, and for a lot

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Speaker 2: of people. You are Slash were introduced to this whole

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Speaker 2: world of weird cinema through Mystery Science Theater three thousand

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Speaker 2: and they taught in different ways to enjoy films. But yeah,

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Speaker 2: this was a film that I long associated with ms

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Speaker 2: th three K because it was episode one ninety seven

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Speaker 2: back in nineteen ninety nine. It was for a very

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Speaker 2: long time the final episode of MST three K before

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Speaker 2: it came back in twenty seventeen, and it's still the

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Speaker 2: final mic episode of MST three K, so it was

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Speaker 2: always bittersweet for that reason. Solid riffing, but the end

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Speaker 2: of an era. I had never watched Diabolic or Danger

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Speaker 2: Diabolic as it's known in the West. I'd never watched

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Speaker 2: it unriffed until today. And it's, you know, like a

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Speaker 2: lot of these films, it's so much fun. It certainly

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Speaker 2: holds its own You don't need the rifting to experience it.

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Speaker 2: That can't be said of every film that was a

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Speaker 2: feature in MST three K. There are some that are

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Speaker 2: bad enough that you really need a little something extra

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Speaker 2: to get you through. But it is a very watchable,

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Speaker 2: very fine, very sexy, good time.

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Speaker 3: Absolutely all of those things. And also this is a

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Speaker 3: movie that I think has special appeal to people who

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Speaker 3: are interested in the process of filmmaking because it's one

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Speaker 3: of those movies where you can just you can just

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Speaker 3: feel the steady hand of a director working with absolute finesse.

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Speaker 3: Mario Bava's shadow hanging over this movie is just so powerful.

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Speaker 3: It's like, in some ways I would compare it to

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Speaker 3: though I'm not really sports fan, but what I imagine it's

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Speaker 3: like to, you know, really appreciate an incredible athlete, somebody

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Speaker 3: who just does inhuman things with their muscles that would

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Speaker 3: be impossible for other people to do, but they make

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Speaker 3: it look easy. That's what I would compare the filmmaking

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Speaker 3: in this movie too. It's just like it is such

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Speaker 3: an effortless, feeling display of of absolute confidence and finesse

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Speaker 3: in how sets and costumes and color schemes are used

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Speaker 3: and how shots are framed. It's you just feel like

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Speaker 3: he is taking it easy and making a perfect movie

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Speaker 3: and not breaking a sweat.

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Speaker 2: Yeah, yeah, I mean he makes it seem easy, and

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Speaker 2: at the same time you're in awe of some of

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Speaker 2: the shots that he puts together and the way he

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Speaker 2: approaches scenes that would just be so throwaway in other films.

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Speaker 2: I will say that there are plenty of hypnotic shots

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Speaker 2: in this movie, but since this one is more action

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Speaker 2: themed compared to the other two Mario Baba films that

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Speaker 2: we've talked about on the show, it has a different

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Speaker 2: feel overall to it. There may be fewer of those

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Speaker 2: like long hypnotizing sequences, but there's still plenty of moments

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Speaker 2: like that in the film.

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Speaker 3: So I want to formally apologize to my friend Ben

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Speaker 3: for taking like ten years or more to watch this movie,

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Speaker 3: which he's been recommending to me the whole time. You

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Speaker 3: were right, this movie is great. It's great. It's great,

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Speaker 3: And this is a caveat I sometimes have to issue

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Speaker 3: on the show. I sometimes fear that the more I

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Speaker 3: love a movie, the harder it is for me to

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Speaker 3: make a good weird House episode about it. So I'm

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Speaker 3: gonna try to do my best here and not just

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Speaker 3: let this turn into a NonStop, repetitive overt gushing. But yeah,

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Speaker 3: please please understand. I feel like I'm working with that handicap,

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Speaker 3: I think I like this movie too much.

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Speaker 2: Yeah, I know the feeling. Sometimes if I come into

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Speaker 2: an episode and I'm like particularly attached to the film,

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Speaker 2: I worry how that's gonna impact the episode. But I

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Speaker 2: think it's gonna be great. There's a lot to talk

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Speaker 2: about here.

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Speaker 3: Okay, what's your elevator pitch for danger Diabolic?

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Speaker 2: I've got to channel a little meat loaf here, and

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Speaker 2: I would say it is I would steal anything for love,

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Speaker 2: and I will absolutely steal that because it's all for

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Speaker 2: love in this movie, Absolutely all for love.

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Speaker 3: Yes, Why else take down the largest shipment of dollars

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Speaker 3: in human history unless it's for love?

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Speaker 2: Yeah, And that's why. And that's one of the reasons

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Speaker 2: they in Diabolic. They're like, we don't understand his motivations.

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Speaker 2: Why does he do the things that he does. Well,

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Speaker 2: it's because he's operating on a different wavelength from you

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Speaker 2: old fogies that are ruling the world on both sides

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Speaker 2: of the law. He has his own agenda and we'll

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Speaker 2: get into that. That's right.

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Speaker 3: They want the money because it's money. He wants the

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Speaker 3: money because it's his girlfriend's birthday.

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Speaker 2: Yes, all right, let's listen to a little trailer audio here.

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Speaker 2: I don't know if we'll listen to the full trailer,

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Speaker 2: and I do want to advise anyone out there that

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Speaker 2: if you're interested in watching this movie in full, don't

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Speaker 2: watch the classic trailer for it, because this is one

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Speaker 2: of those trailers that just spoils absolutely everything. Nothing is

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Speaker 2: spared visually anyway.

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Speaker 3: Warning that much like the trailer, we will get into

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Speaker 3: some spoiler territory. But Diabolic has a lot of excellent

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Speaker 3: twists all throughout the movie, so things will be revealed.

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Speaker 3: If you want to go into it knowing nothing, you

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Speaker 3: should watch it before you finish this episode.

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Speaker 2: All right, let's have a listen.

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Speaker 4: Me Diabolic a bank Robin Hood baffles the cops. He

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Speaker 4: robs from the rich to give to the girls. Ask Eva, Oh,

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Speaker 4: you shouldn't have done it. She can't get a good

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Speaker 4: night's sleep unless she's covered with money. Master Sportscar Racer, Masters,

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Speaker 4: skin Diver, Master, lover Master, Ask keeper Diabolic the absolute

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Speaker 4: gold plated end, askba.

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Speaker 2: All right, Well, if you want to go out and

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Speaker 2: watch Diabolic or Danger Diabolic before proceeding through the rest

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Speaker 2: of the episode, Well, luckily for you, it's widely available

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Speaker 2: in all formats, including a nice twenty twenty Shout Factory

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Speaker 2: release on Blu Ray. And if you really like the music,

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Speaker 2: we'll get into the score in a bit. The score

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Speaker 2: is available on vinyl from Audio Clarity Great Score.

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Speaker 3: Should we start by talking about Mario Bava? How many

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Speaker 3: Bava films did you say? We've done?

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Speaker 2: This would be the third one. So we've watched what

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Speaker 2: Black Sabbath, and we've watched Planet of the Vampires Planet

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Speaker 2: the Vampires from sixty five.

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Speaker 3: Black Sabbath was the anthology horror film that we did.

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Speaker 3: Was it last October or maybe the October before it is?

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Speaker 3: So that's one that's got like three segments, and one

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Speaker 3: of them, the one that stuck with us the most,

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Speaker 3: I think, is the one that has Boris Karloff as

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Speaker 3: the verdu Lac, this kind of Serbian or Carpathian mountain

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Speaker 3: vampire type creature, and it has all those beautiful shots

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Speaker 3: where he's just like got purple light dripping off of

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Speaker 3: his face as he comes in from the cold and

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Speaker 3: looks menacingly at his HouseGuest.

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Speaker 2: Yeah. Yeah, And that was kind of a follow up

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Speaker 2: to the nineteen sixty Black and White film he did

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Speaker 2: Black Sunday, but it is, you know, in many ways.

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Speaker 2: It's hard to imagine, you know, Mario Baba working in

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Speaker 2: black and white, because when I think of Bob, I

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Speaker 2: think of those rich colors, those rich gels, which he

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Speaker 2: use with a master's stroke.

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Speaker 3: Well, let me stand up for his black and white films.

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Speaker 3: Baba is best once the colors get pumping and he

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Speaker 3: can use yeah, the gel lights and all that, but

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Speaker 3: his black and white films look very good. He did

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Speaker 3: an early proto Jallo film that's kind of a murder

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Speaker 3: mystery thriller set in Rome called The Evil Eye or

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Speaker 3: The Girl who Knew Too Much. Their title, I think

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Speaker 3: those are titles. Ones for the American cut and ones

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Speaker 3: for the original cut, and that movie it's not the

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Speaker 3: best of the ones I've seen because of some like

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Speaker 3: it's not the best script he's ever worked with, but

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Speaker 3: it's a fantastic looking film, even in black and white.

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Speaker 3: He uses very high contrast black and white and uses

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Speaker 3: makeup to a great effect. So there's always kind of

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Speaker 3: eyeliner and shading of the actors' faces and stuff, and

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Speaker 3: I assume a lot of that rests on makeup, though

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Speaker 3: probably some of it is use of light and shadow

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Speaker 3: as well. But that one looks great. Oh my god.

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Speaker 3: Black Sunday is amazing. I can't remember have you seen

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Speaker 3: that or not.

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Speaker 2: I haven't seen Black Sunday now.

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Speaker 3: Oh that one. It is also in black and white.

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Speaker 3: It is one of the most visually striking black and

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Speaker 3: white films I have ever seen. Also uses a lot

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Speaker 3: of high contrast.

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Speaker 2: Well, anyway you slice it. Yeah. Mario Bava legendary Italian

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Speaker 2: director with an unmistakable obsessive and at times just phantasmagorical

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Speaker 2: emphasis on visual composition. Strong still from a Bava film

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Speaker 2: is often just instantly identifiable. He lived nineteen fourteen through

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Speaker 2: nineteen eighty and was the father of director Lomberto Bava.

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Speaker 2: We've talked more about him on the previous episodes discussing

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Speaker 2: his films, and you know, I have a feeling we'll

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Speaker 2: come back for more Bava in the future.

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Speaker 3: I just looked it up to check. I thought so, Lambertobava,

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Speaker 3: his son is the director of Demons and Demons too.

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Speaker 2: There you go. Well, one way or another, we'll come

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Speaker 2: back to above at some point. All Right. We don't

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Speaker 2: always mention the producer on a film, but this one's

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Speaker 2: notable because this is Dino di Laurentis of nineteen nineteen

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Speaker 2: through twenty ten. De larentis, legendary Italian and naturalized American

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Speaker 2: film producer, really one of the biggest names of all

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Speaker 2: time when it comes to production, both in Italian cinema

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Speaker 2: but also international cinema. Started producing in the late forties

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Speaker 2: and continued on till his death. Not everything he was

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Speaker 2: involved in was golden, but he had a hand in

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Speaker 2: the lavish, such lavish productions as sixty eight's Barberella, nineteen

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Speaker 2: eighties Flash Gordon, which I would I would argue those

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Speaker 2: two films and Diabolic kind of are kind of a

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Speaker 2: stylistic trilogy.

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Speaker 3: I think you could absolutely say that, Yeah, there's there's

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Speaker 3: a lot of uh, there's a lot of sinew in

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Speaker 3: common there also, didn't he Wasn't he the driving force

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Speaker 3: between hiring David Lynch to adapt to Dune in the eighties.

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Speaker 2: I believe, so, yeah, he was involved in David Lynch's

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Speaker 2: Dune Conan the Barbarian from eighty two, as well as

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Speaker 2: the sequels and also the sort of sequel Red Sonia.

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Speaker 2: He was a producer on Halloween two and three, so

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Speaker 2: technically we have covered one of his productions before, multiple

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Speaker 2: Stephen King adaptations, including Maximum Overdrive, and also all of

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Speaker 2: the Hannibal movies except for the Silence of the Lambs.

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Speaker 3: Oh, so he did all the best ones.

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Speaker 2: Yeah, well, you know he did some. He was involved

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Speaker 2: with some good stuff. I mean, Manhunter.

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Speaker 3: Oh okay, and yeah, and I actually, you know, I

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Speaker 3: have sort of a soft spot for what's it called

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Speaker 3: the sequel to Silence of the Lambs that had Julian

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Speaker 3: Moore as Hannial Is starling Hannibal. Oh, it's just called Hannibal. Yes, yeah,

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Speaker 3: that one. I understand why critics didn't like it. It's got

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Speaker 3: some flaws, but there there's a lot to love about

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Speaker 3: that movie.

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Speaker 2: If memory served. I'm just going off memory here, but

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Speaker 2: I believe his original working title, Harris's working title for

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Speaker 2: the novel was The Morbidity of the Soul, which I

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Speaker 2: think was ultimately a more fitting title for both the

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Speaker 2: book and the film A book. The book I kind

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Speaker 2: of hated when it came out, but I have a

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Speaker 2: feeling like if I went back and at least watched

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Speaker 2: the movie again, I would find a lot to love

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Speaker 2: about it, Like it is a very strange movie. It's

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Speaker 2: very strange story overall, agreed, all right. The writing credits

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Speaker 2: for Diabolic for Danger Diabolic here. Several names involved here.

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Speaker 2: So this movie is based on the comic book of

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Speaker 2: the same name by Angela Gusani and Luciana Gusani. Angela

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Speaker 2: lived nineteen twenty two through nineteen eighty seven and Luciana

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Speaker 2: lived nineteen twenty eight through two thousand and one. They

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Speaker 2: were sisters. They also share story credits with Dino Mayori,

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Speaker 2: who lived nineteen sixteen through nineteen eighty four, Andreona Barraco

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Speaker 2: who lived nineteen oh seven through nineteen seventy six. Screenplay

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Speaker 2: credits go to Bava Maori, Brian Dagas who lived nineteen

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Speaker 2: thirty five through twenty twenty, and Tutor Gates who lived

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Speaker 2: nineteen thirty through two thousand and seven.

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Speaker 3: Okay, so we got a lot of writers going on here,

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Speaker 3: and that can often be a bad sign for a film.

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Speaker 3: But it turned out great here, And I guess with

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Speaker 3: the Jusani sisters. They they were the creators of the

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Speaker 3: character Diabolic, who was a comic book character before it

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Speaker 3: was ever adapted to film.

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Speaker 2: That's right. They were inspired to create a grown up

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Speaker 2: comic book for essentially for Italian commuters, something that could

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Speaker 2: be printed in in a small format you could easily,

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Speaker 2: you know, stuff in your pocket and then pull out

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Speaker 2: when you're on the train on your commute and read

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Speaker 2: offering kind of a phantomas inspired crime adventure, that sort

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Speaker 2: of thing. So it ended up being a huge success

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Speaker 2: in Italy when it debuted in the early sixties, and

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Speaker 2: then also enjoyed international appeal afterwards. This was a French

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Speaker 2: Italian co production, so like, you know, the Italian popularity

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Speaker 2: is obvious, but it would have also been popular in France.

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Speaker 2: And I have to say they're still making Diabolic films.

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Speaker 2: I haven't seen any of them, but I looked up

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Speaker 2: some of the stills and yeah, it's still clearly Diabolic.

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Speaker 2: It don't look like they're messing with like the basic

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Speaker 2: visual chemistry of the thing.

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Speaker 3: When I was in Italy in like two thousand and

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Speaker 3: seven or so, I bought a Diabolic comic book off

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Speaker 3: of a news stand. Ah, and I knew nothing about it.

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Speaker 3: I just saw the art and I was like, that

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Speaker 3: guy looks cool. I like the mask, yeah, or the

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Speaker 3: kind of anti mask actually, because what Diabolic wears is

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Speaker 3: like a It's like the Domino mask in negative. His

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Speaker 3: entire head is covered in a skin tight mask except

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Speaker 3: for the area around the eyes and the top of

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Speaker 3: the nose, which is just his face is revealed.

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Speaker 2: That's right. Yeah, it's like the mask is so skin

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Speaker 2: tight that it's just ridiculous. It's like a vacuum seal

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Speaker 2: to his face.

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Speaker 3: Yeah. So I was reading a bit about Diabolic. So

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Speaker 3: the one I bought was in Italian, so I can't read,

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Speaker 3: but I I've been reading a bit about the character

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Speaker 3: Diabolic in the comics, and from what I understand, he's

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Speaker 3: originally imagined as a master thief who you know, can

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Speaker 3: steal anything and is constantly foiling the police and their

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Speaker 3: attempts to capture him. And he in a way is

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Speaker 3: he can do anything. You know, he knows all the sciences,

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Speaker 3: and he can make any kind of gadget, and he

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Speaker 3: can solve any kind of problem. So he's he's one

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Speaker 3: of these like superhumans, the kind of you know, pre

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Speaker 3: Jason Bourne type person who can they can just do anything.

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Speaker 3: But then also what I've read is that there's an

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Speaker 3: arc and we've talked about similar arcs in films before

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Speaker 3: on this show where in the early in the early

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Speaker 3: Diabolic comics, he is closer to an evil alignment, like

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Speaker 3: he does crime and he'll just kill people whoever gets

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Speaker 3: in his way to steal the thing he wants to steal.

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Speaker 3: From what I've read, there was kind of an arc

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Speaker 3: where as the series of comics went on, Diabolics nature

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Speaker 3: became a little more like chaotic good rather than i

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Speaker 3: don't know, neutral evil or something that he became more

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Speaker 3: of a Robin Hood figure who was stealing from people

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Speaker 3: who were understood to be powerful and bad in some way.

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Speaker 3: You know, he was stealing from other criminals and crime lords, rich, rich,

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Speaker 3: dangerous people and often doing good along the way. But

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Speaker 3: that was later on, and you know, there's a kind

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Speaker 3: of there's a kind of gravity pushing anti hero characters

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Speaker 3: in that direction. I think we were talking about this

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Speaker 3: with the This is a hilarious comparison with Riddick with

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Speaker 3: Vin Diesel. You know, you start off trying to make

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Speaker 3: them look really hard and they're really close to the

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Speaker 3: evil designation. You know that the strong emphasis on the

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Speaker 3: anti and anti hero, and then over time there's this

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Speaker 3: tendency to just make him be like, ah, they're actually

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Speaker 3: pretty good.

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Speaker 2: Yeah, coming back to Hannibal, you see that with Hannibal

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Speaker 2: electra to a certain extent, like bye bye Hannibal. Uh,

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Speaker 2: you know, he's he's awful. He's awful. He's he's a

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Speaker 2: serial killer. It's it's it's clear he's a cannibal. But

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Speaker 2: he's not as bad as Mason Viger. Mason Virger is

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Speaker 2: presented as like is the ultimate evil in so many

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Speaker 2: other ways.

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Speaker 3: Right, so yeah, he mostly kills other killers in that one.

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Speaker 2: All right, well let's talk who on earth do you

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Speaker 2: get to play the enigmatic diabolic? Well you get John

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Speaker 2: Phillip Law to do it.

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Speaker 3: This is a truly inspired bit of casting. John Philip

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Speaker 3: Law is perfect in this role.

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Speaker 2: Yeah, Like just his physicality. Uh he has this this

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Speaker 2: wiriry kind of spidery body, very muscular, but but also yeah,

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Speaker 2: kind of like thin, like he's like he's he's grown

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Speaker 2: up in orbit or something, you know. And then also

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Speaker 2: key is that you could you can find a lot

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Speaker 2: of actors of the day and a lot of actors

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Speaker 2: they're working in cinema right now to play diabolic that

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Speaker 2: could maybe physically look like diabolic, but they've got to

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Speaker 2: have the eyes you've got to have these just wide,

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Speaker 2: kind of sinister, unblinking eyes that just register from across

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Speaker 2: the room, but also in close up, and John Philip

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Speaker 2: Law definitely has this look down.

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Speaker 3: You have to be able to make that bird of

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Speaker 3: prey v with your eyebrows as well.

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Speaker 2: Yes, yeah, the bird of Prey is a good comparison here,

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Speaker 2: because he is there is a he is dangerous. Danger

404
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Speaker 2: diabolic is the title, and it is a warning. This

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Speaker 2: is a dangerous man. And if he's looking in your direction,

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Speaker 2: well watch out. So John Philip Law lived nineteen thirty

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Speaker 2: seven through two thousand and eight American actor of stage, screen,

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Speaker 2: and television. He did some early Italian cinema work which

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Speaker 2: helped establish him there, while at the same time attracting

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Speaker 2: the attention of Hollywood director Norman Jewison, who cast him

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Speaker 2: in the nineteen sixty six film The Russians Are Coming.

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Speaker 2: The Russians Are Coming. This led to a co star

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Speaker 2: role in Auto Primager's Hurry Sundown from sixty seven. He's

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Speaker 2: co star in that Jane Fonda. Jane Fonda had a

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Speaker 2: big upcoming role in a movie produced by Dino di

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Speaker 2: Laurentez Barbarella. So she said Hey, I met this guy.

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Speaker 2: He's great. You should have him play this weird shirtless

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Speaker 2: angel dude that it's going to be in Barbarella.

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Speaker 3: I haven't It's been a long time since I've seen Barbarella.

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Speaker 3: I don't remember anything about what he does except that

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Speaker 3: he's shirtless and has wings.

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Speaker 2: He doesn't. Yeah, he doesn't have a lot to do

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Speaker 2: in that. I think if you're only exposure to John

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Speaker 2: Philip Blauer that movie, you might think that he's more

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Speaker 2: of say the rocky horror level of actor, like because

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Speaker 2: he doesn't really do much there. But you know, this

427
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Speaker 2: is a guy who did have stage credentials, like you know,

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Speaker 2: he's definitely a experienced actor at this point. But there

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Speaker 2: were delays in making Barbarella, and those delays allowed him

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Speaker 2: to star in the spaghetti western Death Rides a Horse

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Speaker 2: from sixty seven with Lee van Cleef in addition to

432
00:25:13,000 --> 00:25:14,920
Speaker 2: this production Diabolic.

433
00:25:15,400 --> 00:25:19,159
Speaker 3: Okay, so while he's working on developing his Bird of

434
00:25:19,200 --> 00:25:25,000
Speaker 3: Prey face, he's also playing a gunslinger in this western movie.

435
00:25:25,200 --> 00:25:29,879
Speaker 2: Yes, yeah, maybe being trained in the ways of eye

436
00:25:30,200 --> 00:25:34,720
Speaker 2: forward acting by Lee van Cleef. I don't know. But anyway,

437
00:25:34,760 --> 00:25:38,280
Speaker 2: after a Diabolic, his Hollywood career had a little more

438
00:25:38,320 --> 00:25:41,159
Speaker 2: steam in it, but he had lasting international star appeal,

439
00:25:41,240 --> 00:25:43,720
Speaker 2: especially in Europe. I think he also worked at least

440
00:25:43,760 --> 00:25:47,840
Speaker 2: on a couple of films that were Taiwanese productions. Other

441
00:25:47,880 --> 00:25:50,480
Speaker 2: films of note here, at least for US include seventy

442
00:25:50,480 --> 00:25:53,399
Speaker 2: one's The Last Movie, Roger Corman's The Red Baron in

443
00:25:53,440 --> 00:25:57,640
Speaker 2: seventy one. Seventy three is The Golden Voyage of Sinbad, Ah.

444
00:25:57,600 --> 00:26:00,440
Speaker 3: Notable for a lot of excellent ray hair house in

445
00:26:00,520 --> 00:26:01,560
Speaker 3: special effects.

446
00:26:02,760 --> 00:26:06,280
Speaker 2: Nineteen seventy six is The Cassandra Crossing. Seventy nine's Ring

447
00:26:06,320 --> 00:26:09,280
Speaker 2: of Darkness. That's a Satanist movie that I have not seen,

448
00:26:09,280 --> 00:26:11,800
Speaker 2: but it has a great poster. Nineteen eighty five's Night

449
00:26:11,840 --> 00:26:15,560
Speaker 2: Train to Terror, nineteen eighty eight Space Mutiny, an MST

450
00:26:15,640 --> 00:26:19,200
Speaker 2: three K favorite, and nineteen eighty eight Blood Delirium, which

451
00:26:19,359 --> 00:26:20,920
Speaker 2: I haven't seen that one either, but I know it's

452
00:26:21,040 --> 00:26:23,879
Speaker 2: recently been re released on Blu Ray and has a

453
00:26:23,920 --> 00:26:27,680
Speaker 2: really eye catching a bit of poster art for it.

454
00:26:28,040 --> 00:26:31,239
Speaker 3: John Philip Law plays the villain in Space Mutiny, if

455
00:26:31,240 --> 00:26:35,480
Speaker 3: I recall correctly, Yeah, he's what klgon I think hal Gone,

456
00:26:35,640 --> 00:26:40,760
Speaker 3: driving those go karts around and sneering to compare his

457
00:26:40,840 --> 00:26:43,159
Speaker 3: two Mystery Science Theater entries. I'm gonna go ahead and

458
00:26:43,200 --> 00:26:45,520
Speaker 3: say Diabolic is better than Space Mutiny.

459
00:26:46,320 --> 00:26:49,399
Speaker 2: Yeah, it's it's it's a cut above a hefty cutbuff.

460
00:26:49,760 --> 00:26:52,359
Speaker 2: But Space Mutiny might be a better episode of the show.

461
00:26:53,080 --> 00:26:56,080
Speaker 2: Oh yeah, Space Mutiny is a classic MST three K

462
00:26:56,200 --> 00:27:00,199
Speaker 2: episode for sure. Great riffing in that ridiculous film, but

463
00:27:00,240 --> 00:27:02,439
Speaker 2: still a lot of neat ideas in it that are

464
00:27:02,480 --> 00:27:06,160
Speaker 2: not that don't really come to life, or an interesting

465
00:27:06,240 --> 00:27:08,240
Speaker 2: cast as well.

466
00:27:08,280 --> 00:27:12,639
Speaker 3: But Diabolic would be nowhere without the love of his life,

467
00:27:12,920 --> 00:27:16,919
Speaker 3: Eva Kant, who is a character who apparently also comes

468
00:27:16,960 --> 00:27:20,840
Speaker 3: from the comics and is his partner in crime and

469
00:27:20,880 --> 00:27:23,160
Speaker 3: the love of his life in this movie, played by

470
00:27:23,240 --> 00:27:24,080
Speaker 3: Marissa mel.

471
00:27:24,720 --> 00:27:28,040
Speaker 2: That's right, Austrian actor who lived nineteen thirty nine through

472
00:27:28,119 --> 00:27:30,760
Speaker 2: nineteen ninety two. She played a lot of fem fatale

473
00:27:30,840 --> 00:27:34,000
Speaker 2: type characters. Her other big films include nineteen sixty nine's

474
00:27:34,040 --> 00:27:37,000
Speaker 2: One on Top of the Other Luccio Folci thriller, in

475
00:27:37,040 --> 00:27:40,800
Speaker 2: which she plays a dual role, seventy five's Mahogany, and

476
00:27:40,840 --> 00:27:44,880
Speaker 2: also in Berto Lindsay's Seven blood Stained Orchids in nineteen

477
00:27:44,920 --> 00:27:48,560
Speaker 2: seventy two. She also appeared in She appeared in Ring

478
00:27:48,600 --> 00:27:52,119
Speaker 2: of Darkness with John Philip Law, and also she pops

479
00:27:52,200 --> 00:27:55,720
Speaker 2: up in nineteen sixty six's Secret Agent Super Dragon, which

480
00:27:55,800 --> 00:27:58,240
Speaker 2: was also featured on Mister Sen's Theater three thousand.

481
00:27:58,880 --> 00:28:01,600
Speaker 3: She and John Philip Law have such great chemistry in

482
00:28:01,640 --> 00:28:03,679
Speaker 3: this movie. We will explore more as we go on,

483
00:28:03,840 --> 00:28:06,359
Speaker 3: but it's this has got to be one of my

484
00:28:06,640 --> 00:28:09,000
Speaker 3: all time favorite screen couples.

485
00:28:09,040 --> 00:28:11,879
Speaker 2: Now. Yeah, in the past, we've talked about occult power

486
00:28:12,000 --> 00:28:14,679
Speaker 2: couples in various movies. This is I would say this

487
00:28:14,720 --> 00:28:17,919
Speaker 2: is a super crime power couple. Yes, all right, But

488
00:28:18,000 --> 00:28:21,200
Speaker 2: of course since they're doing supercrimes, they're running up against

489
00:28:21,280 --> 00:28:23,920
Speaker 2: the law and they're also running up against other criminals.

490
00:28:23,920 --> 00:28:25,680
Speaker 2: So let's hit the law first.

491
00:28:26,200 --> 00:28:28,639
Speaker 3: Well, to fight super crime, you need a super cop,

492
00:28:28,720 --> 00:28:31,720
Speaker 3: and too bad, because there aren't any in this movie. Instead,

493
00:28:32,040 --> 00:28:33,879
Speaker 3: you get a very underwhelming cop.

494
00:28:34,200 --> 00:28:38,960
Speaker 2: That's right. We have Inspector Jinko played by the French actor, producer,

495
00:28:39,040 --> 00:28:44,120
Speaker 2: and film director Michel Piccoli, who lived nineteen twenty five

496
00:28:44,160 --> 00:28:47,400
Speaker 2: through twenty twenty, whose other works include seventy four is

497
00:28:47,440 --> 00:28:51,800
Speaker 2: The Phantom of Liberty, Jean lu Goddard's Passion from nineteen

498
00:28:51,840 --> 00:28:54,600
Speaker 2: eighty two, as well as his film Contempt from sixty three.

499
00:28:55,000 --> 00:28:57,640
Speaker 2: He also pops up in the twenty twelve weird movie

500
00:28:57,680 --> 00:28:58,760
Speaker 2: Holy Motors.

501
00:28:59,080 --> 00:29:01,400
Speaker 3: Okay, so I think this guy, this guy worked in

502
00:29:01,480 --> 00:29:06,320
Speaker 3: some prestige cinema as well. Yeah, but I didn't mean

503
00:29:06,400 --> 00:29:10,600
Speaker 3: to sell short his performance by saying we have underwhelming police.

504
00:29:10,800 --> 00:29:13,280
Speaker 3: That's how it's written. The police in this movie are

505
00:29:13,360 --> 00:29:17,320
Speaker 3: just not up to the task of capturing Diabolic. In fact,

506
00:29:17,360 --> 00:29:20,640
Speaker 3: they have to outsource their work to other super criminals

507
00:29:20,880 --> 00:29:23,600
Speaker 3: in order to catch him. And so this this police

508
00:29:23,640 --> 00:29:27,600
Speaker 3: inspector is very put upon and just he's out there

509
00:29:27,640 --> 00:29:32,200
Speaker 3: having a hard time. And so the actor, the casting

510
00:29:32,240 --> 00:29:35,720
Speaker 3: here is interesting. The actor reminds me sort of of

511
00:29:36,600 --> 00:29:39,480
Speaker 3: Christopher Lee in a way, but without the gravitas. I

512
00:29:39,560 --> 00:29:42,480
Speaker 3: was thinking kind of a kind of a stepped down,

513
00:29:42,920 --> 00:29:48,120
Speaker 3: humiliated Christopher Lee, somewhat combined with the Canadian character actor

514
00:29:48,160 --> 00:29:51,880
Speaker 3: Elias Koteis, who was in a bunch of different things.

515
00:29:52,040 --> 00:29:53,280
Speaker 3: You've seen him all over the place.

516
00:29:53,680 --> 00:29:57,000
Speaker 2: Yeah, yeah, yeah, I think that makes sense. Yeah, and

517
00:29:57,040 --> 00:29:59,760
Speaker 2: he's not a character like, he's not a twisted, corrupt

518
00:29:59,800 --> 00:30:02,000
Speaker 2: cop up or anything like. He's you get the impression

519
00:30:02,040 --> 00:30:04,320
Speaker 2: like he's a good guy trying to fight the good fight,

520
00:30:05,000 --> 00:30:08,400
Speaker 2: but maybe in a system that is is that is

521
00:30:08,400 --> 00:30:13,480
Speaker 2: is a little corrupt, though he himself is not corrupted. Yeah,

522
00:30:13,520 --> 00:30:15,880
Speaker 2: it's a like you're rooting for him, but you don't

523
00:30:16,320 --> 00:30:17,960
Speaker 2: really want him to win. But then you at the

524
00:30:18,800 --> 00:30:21,720
Speaker 2: end of the day you realize, well, diabolic is a criminal,

525
00:30:22,000 --> 00:30:25,360
Speaker 2: and I'm I guess he needs to be caught. Maybe

526
00:30:25,440 --> 00:30:27,280
Speaker 2: if someone's gonna catch him, it needs to be this guy.

527
00:30:27,600 --> 00:30:29,320
Speaker 3: No, he doesn't need to be caught. He needs to

528
00:30:29,320 --> 00:30:33,000
Speaker 3: get away with all of it. I don't think anybody

529
00:30:33,040 --> 00:30:35,840
Speaker 3: wants the police inspector to win in this movie. You

530
00:30:35,960 --> 00:30:38,080
Speaker 3: just want to see him get foiled and foiled and

531
00:30:38,120 --> 00:30:40,040
Speaker 3: foiled again and keep going damnity.

532
00:30:40,480 --> 00:30:42,800
Speaker 2: You know, there's a similar case in Hannibal. Coming back

533
00:30:42,840 --> 00:30:46,120
Speaker 2: to Hannibal, we have remembered the Italian investigator who is

534
00:30:46,200 --> 00:30:51,040
Speaker 2: looking for Hannibal in John Carlo. Yeah, yeah, yeah, great actor,

535
00:30:51,200 --> 00:30:53,800
Speaker 2: great role, and also I think one of the most

536
00:30:53,880 --> 00:30:57,360
Speaker 2: interesting characters in that story. You're rooting for him to

537
00:30:57,400 --> 00:30:59,160
Speaker 2: a certain extent because he seems like a good guy

538
00:30:59,160 --> 00:31:01,360
Speaker 2: trying to do his job, and also he doesn't want

539
00:31:01,400 --> 00:31:04,360
Speaker 2: his wife to be killed by the serial killer monster.

540
00:31:05,560 --> 00:31:09,880
Speaker 2: But then ultimately you're also rooting for Hannibal to avoid capture.

541
00:31:10,280 --> 00:31:13,360
Speaker 3: Things don't turn out well for him. Inspector Jinko does

542
00:31:13,400 --> 00:31:16,080
Speaker 3: not have things go as bad for him as they

543
00:31:16,120 --> 00:31:18,440
Speaker 3: go for gian Carlo in Hannibal.

544
00:31:18,800 --> 00:31:21,320
Speaker 2: All right, So anyway, the inspector here is going to

545
00:31:21,400 --> 00:31:24,800
Speaker 2: have to join forces with one of his enemies, a

546
00:31:24,840 --> 00:31:31,360
Speaker 2: crime boss by the name of Ralph Valmont, played by Adolfocelli,

547
00:31:31,560 --> 00:31:34,440
Speaker 2: who lived nineteen twenty two through nineteen eighty six Italian

548
00:31:34,440 --> 00:31:37,479
Speaker 2: actor and director, best known internationally, I think for his

549
00:31:37,560 --> 00:31:43,200
Speaker 2: turn as Bond villain Emilio Largo in nineteen sixty five's Thunderball,

550
00:31:43,240 --> 00:31:45,320
Speaker 2: which keeps coming up on the show for some reason.

551
00:31:45,440 --> 00:31:47,200
Speaker 3: Yeah, what we were just talking about this last week

552
00:31:47,200 --> 00:31:48,160
Speaker 3: for some reason, weren't we.

553
00:31:48,880 --> 00:31:50,160
Speaker 2: Yeah, yeah, I think we were. I don't know. I

554
00:31:50,200 --> 00:31:52,200
Speaker 2: think it's just a lot of people worked in Thunderball.

555
00:31:52,560 --> 00:31:54,960
Speaker 3: Well, yeah, So he played the villain in Thunderball, the

556
00:31:54,960 --> 00:31:58,040
Speaker 3: guy he's got the really fast driving yacht. I think

557
00:31:58,080 --> 00:32:02,280
Speaker 3: he's trying to steal a law a nuclear warhead that

558
00:32:02,560 --> 00:32:05,000
Speaker 3: crashed on a plane or something. But he's the guy

559
00:32:05,000 --> 00:32:07,440
Speaker 3: who puts sharks in his swimming Pool.

560
00:32:08,120 --> 00:32:11,520
Speaker 2: Yeah, yeah, this actor was. He was also in the

561
00:32:11,520 --> 00:32:14,440
Speaker 2: Phantom of Liberty as well as nineteen sixty five, The

562
00:32:14,480 --> 00:32:17,720
Speaker 2: Agony in the Ecstasy, seventy two's I in the Labyrinth,

563
00:32:17,920 --> 00:32:20,840
Speaker 2: Gordon Hessler's Murders in the Room Orgue from seventy one,

564
00:32:20,920 --> 00:32:24,440
Speaker 2: Franco Zepharelli's brother Son Sister Moon from seventy two, and

565
00:32:24,480 --> 00:32:28,680
Speaker 2: we absolutely cannot forget nineteen sixty seven's Operation Kid Brother,

566
00:32:29,080 --> 00:32:32,920
Speaker 2: in which he basically rehashes his role from Thunderball opposite

567
00:32:33,160 --> 00:32:37,760
Speaker 2: the character doctor Neil Connery played by Neil Connery, Sean

568
00:32:37,800 --> 00:32:42,600
Speaker 2: Connery's brother. It's a total cash grab, obviously, and also

569
00:32:42,720 --> 00:32:46,440
Speaker 2: one that was riffed on MST three K. But Shelley

570
00:32:46,960 --> 00:32:51,040
Speaker 2: great Italian actor with a clear knack for playing heavies

571
00:32:51,080 --> 00:32:54,640
Speaker 2: and villains. He has just this great sneer, you know,

572
00:32:54,720 --> 00:33:00,200
Speaker 2: this great sort of sort of stereotypical mob boss physicality.

573
00:33:00,880 --> 00:33:04,760
Speaker 3: I think he had a cigar permanently implanted between his

574
00:33:04,840 --> 00:33:09,040
Speaker 3: teeth surgically, so he would just gnaw without end for.

575
00:33:09,000 --> 00:33:11,440
Speaker 2: The rest of that and his character in this is

576
00:33:11,480 --> 00:33:14,160
Speaker 2: just a complete brute, like no sympathy for this character,

577
00:33:14,280 --> 00:33:17,360
Speaker 2: like this is just a horrible crime boss he's rude

578
00:33:17,400 --> 00:33:22,200
Speaker 2: to everyone. You know, no method is off the table

579
00:33:22,280 --> 00:33:25,000
Speaker 2: for this guy. So this is exactly the sort of

580
00:33:25,000 --> 00:33:29,600
Speaker 2: fella that we're cheering on Diabolic to steal, to steal from.

581
00:33:29,680 --> 00:33:31,560
Speaker 3: Well, as we've said, it's always good to have a

582
00:33:31,640 --> 00:33:34,240
Speaker 3: character like this in a movie with a criminal anti hero.

583
00:33:34,840 --> 00:33:37,560
Speaker 3: Diabolic is a criminal, but we love him, we want

584
00:33:37,600 --> 00:33:40,160
Speaker 3: him to win. It's good to be reminded what a

585
00:33:40,320 --> 00:33:44,960
Speaker 3: really nasty, cigar knowing criminal is like. For contrast, that's

586
00:33:45,040 --> 00:33:46,160
Speaker 3: right now.

587
00:33:46,200 --> 00:33:47,680
Speaker 2: He has a lot of Hinchmen, and I'm not going

588
00:33:47,760 --> 00:33:49,680
Speaker 2: to mention them all, but i am going to mention one.

589
00:33:50,160 --> 00:33:55,400
Speaker 2: This is his Hinchman, Joe, played by Federico Boido, who

590
00:33:55,480 --> 00:33:59,080
Speaker 2: lived nineteen forty through twenty fourteen. He may stand out

591
00:33:59,360 --> 00:34:01,080
Speaker 2: and he probably still out to you, Joe, because this

592
00:34:01,160 --> 00:34:04,800
Speaker 2: Italian actor was also in nineteen sixty five's Planet of

593
00:34:04,800 --> 00:34:09,239
Speaker 2: the Vampires playing Keir. He's in Roger Vadim Spirits of

594
00:34:09,280 --> 00:34:11,040
Speaker 2: the Dead from sixty eight, and he was also in

595
00:34:11,080 --> 00:34:17,320
Speaker 2: seventy two super Fly TNT. Just a good background stooge

596
00:34:17,400 --> 00:34:20,279
Speaker 2: or hinchman, and he has a great hinchman look. And

597
00:34:20,280 --> 00:34:24,319
Speaker 2: then finally, in terms of the actors, here we have

598
00:34:24,719 --> 00:34:27,600
Speaker 2: the Minister of the Interior, and I think his title

599
00:34:27,680 --> 00:34:29,959
Speaker 2: changes later on in the film. But this is played

600
00:34:29,960 --> 00:34:33,239
Speaker 2: by Terry Thomas, who lived nineteen eleven through nineteen ninety. Yes,

601
00:34:33,280 --> 00:34:36,239
Speaker 2: it's Terry hyphen Thomas. You might remember him as the

602
00:34:36,239 --> 00:34:41,600
Speaker 2: dirty movie enthusiast from The Abominable Doctor Fibes, British comedian

603
00:34:41,600 --> 00:34:45,400
Speaker 2: and character actor who excelled at playing bumbling fops. He

604
00:34:45,480 --> 00:34:47,279
Speaker 2: was in a ton of pictures, but you might know

605
00:34:47,360 --> 00:34:50,239
Speaker 2: him from It's a Mad, Mad, Mad Mad World from

606
00:34:50,280 --> 00:34:53,600
Speaker 2: sixty three. He also voiced Sir Hiss in the Disney

607
00:34:53,680 --> 00:34:57,479
Speaker 2: Robin Hood film from seventy three. Oh he just cake, Yeah,

608
00:34:57,640 --> 00:35:02,600
Speaker 2: the snake. He has a great hissing voice in general,

609
00:35:02,920 --> 00:35:05,320
Speaker 2: and yeah, he's fun in this. He just Terry Thomas

610
00:35:05,360 --> 00:35:06,919
Speaker 2: is all over the place. Yeah.

611
00:35:06,960 --> 00:35:09,920
Speaker 3: He has some really good scenes where he's giving press

612
00:35:09,960 --> 00:35:15,200
Speaker 3: conferences appealing to people's patriotism while while clearly kind of

613
00:35:15,239 --> 00:35:19,200
Speaker 3: squirming like a only a bug under a microscope?

614
00:35:19,640 --> 00:35:22,680
Speaker 2: All right, real quick Production design credit goes to Carlo Rombaldi,

615
00:35:22,719 --> 00:35:24,680
Speaker 2: who lived nineteen twenty five through twenty twelve. He's come

616
00:35:24,760 --> 00:35:28,040
Speaker 2: up before on the show. He's involved in a number

617
00:35:28,040 --> 00:35:30,040
Speaker 2: of great productions over the years, including Planet of the

618
00:35:30,120 --> 00:35:33,439
Speaker 2: Vampires The Never Ending Story. He also had a hand

619
00:35:33,480 --> 00:35:39,279
Speaker 2: in designing et so some wonderful credits assigned to this man,

620
00:35:39,360 --> 00:35:43,719
Speaker 2: sometimes credited just as Rambaldi. And then the music for

621
00:35:43,800 --> 00:35:46,040
Speaker 2: the film. I think we mentioned this already, but it's

622
00:35:46,080 --> 00:35:48,600
Speaker 2: a score by and Neil Morricone, who lived nineteen twenty

623
00:35:48,640 --> 00:35:52,600
Speaker 2: eight through twenty twenty. You know, the huge name Italian composer,

624
00:35:53,760 --> 00:35:58,680
Speaker 2: soundtrack master. He was responsible for many amazing scores. But

625
00:35:59,480 --> 00:36:02,759
Speaker 2: the two films that we've talked about previously that had

626
00:36:02,760 --> 00:36:06,200
Speaker 2: a Morricone score were probably not that great as far

627
00:36:06,239 --> 00:36:08,800
Speaker 2: as examples go. They were nineteen seventy nine, so The Humanoid,

628
00:36:08,800 --> 00:36:11,640
Speaker 2: which I think had its moments in nineteen eighty three's

629
00:36:11,719 --> 00:36:15,920
Speaker 2: Treasure of the Four Crowns, which soundtrack wise was nothing special.

630
00:36:16,520 --> 00:36:19,520
Speaker 3: Well, I think Diabolic breaks that streak. This is an

631
00:36:19,520 --> 00:36:22,520
Speaker 3: excellent score. I love the theme music here, or the

632
00:36:22,719 --> 00:36:25,680
Speaker 3: music that's used all throughout, has got these great uh

633
00:36:26,000 --> 00:36:29,120
Speaker 3: uh these kinda there are there are themes that are

634
00:36:29,160 --> 00:36:33,239
Speaker 3: tagged to specific types of emotional moments in the movie.

635
00:36:33,280 --> 00:36:36,520
Speaker 3: So like anytime there's a big twist, there are these

636
00:36:36,880 --> 00:36:39,720
Speaker 3: these voices that I they're the ones I was thinking

637
00:36:39,760 --> 00:36:42,520
Speaker 3: of is going backwards up a slide? So these like

638
00:36:42,719 --> 00:36:44,040
Speaker 3: choir of voices going.

639
00:36:43,880 --> 00:36:49,480
Speaker 2: Oh yeah, yeah, there's some there. I think some of

640
00:36:49,520 --> 00:36:51,920
Speaker 2: this music has like a sitar kind of a vibe

641
00:36:51,960 --> 00:36:54,879
Speaker 2: going on oh yeah that I really liked. There's also

642
00:36:54,960 --> 00:36:57,320
Speaker 2: there are also some tracks that really lean into the groovy

643
00:36:57,400 --> 00:37:01,040
Speaker 2: fun angle of the thing, which is totally totally valid,

644
00:37:01,080 --> 00:37:03,880
Speaker 2: totally you know, on point for this picture. And then

645
00:37:03,880 --> 00:37:07,120
Speaker 2: there are some great suspenseful moments as well. So I agree,

646
00:37:07,160 --> 00:37:09,600
Speaker 2: I think this is a great score. It's certainly head

647
00:37:09,640 --> 00:37:12,759
Speaker 2: and shoulders above the previous Morricone scores that we've talked

648
00:37:12,760 --> 00:37:16,120
Speaker 2: about here. Oh and he also wrote the theme song

649
00:37:16,200 --> 00:37:18,800
Speaker 2: deep Down that we hear I feel like two or

650
00:37:18,800 --> 00:37:20,840
Speaker 2: three times in the film.

651
00:37:20,920 --> 00:37:22,520
Speaker 3: Do you have a favorite Morcone score?

652
00:37:23,800 --> 00:37:24,040
Speaker 4: Yeah?

653
00:37:24,120 --> 00:37:26,400
Speaker 2: I mean, as I've mentioned before, I think, you know,

654
00:37:26,440 --> 00:37:29,560
Speaker 2: the mission is amazing, you know, of course I love

655
00:37:29,719 --> 00:37:32,319
Speaker 2: eighty two's John Carpenter is the thing, you know, and

656
00:37:32,520 --> 00:37:34,200
Speaker 2: the Good, the Bad and the Ugly from sixty six

657
00:37:34,320 --> 00:37:38,000
Speaker 2: is a classic as well. But so many, so many scores,

658
00:37:38,040 --> 00:37:39,359
Speaker 2: and the Lord knows I haven't heard them all.

659
00:37:48,040 --> 00:37:50,359
Speaker 3: Well, are you ready to talk about the plot?

660
00:37:50,560 --> 00:37:54,120
Speaker 2: Yeah, let's dive into the life and times of diabolic Reminder.

661
00:37:54,160 --> 00:37:56,480
Speaker 3: Again, this movie is full of surprises, so if you

662
00:37:56,560 --> 00:37:59,480
Speaker 3: want to see it without having any of those surprises spoiled,

663
00:37:59,560 --> 00:38:02,920
Speaker 3: please watch it before we spoil them all here.

664
00:38:03,320 --> 00:38:05,160
Speaker 2: Well, there's no surprise how this is going to start.

665
00:38:05,239 --> 00:38:09,320
Speaker 2: This is a movie in which money or valuables are stolen,

666
00:38:09,600 --> 00:38:12,239
Speaker 2: so you have to begin with some unstolen valuables.

667
00:38:12,520 --> 00:38:15,880
Speaker 3: That's right, We're gonna start with the prologue heist the

668
00:38:16,000 --> 00:38:20,960
Speaker 3: largest shipment of dollars in human history. So there we

669
00:38:21,280 --> 00:38:24,080
Speaker 3: come up on like the sound of sirens, engines gunning.

670
00:38:24,760 --> 00:38:28,200
Speaker 3: There was a massive procession of police motorcycles riding in

671
00:38:28,280 --> 00:38:30,960
Speaker 3: double file through the gates of a big, austere looking

672
00:38:31,000 --> 00:38:35,480
Speaker 3: building complex. It's all concrete and corners and walls, and

673
00:38:35,760 --> 00:38:39,520
Speaker 3: there are snipers lining the roofs and guards with machine

674
00:38:39,560 --> 00:38:42,640
Speaker 3: guns that are standing along the alleyways within, and we

675
00:38:42,680 --> 00:38:46,920
Speaker 3: see a shipment of yellow bags being loaded into an

676
00:38:47,120 --> 00:38:50,200
Speaker 3: armored transport vehicle. One thing to go ahead and mention

677
00:38:50,320 --> 00:38:54,640
Speaker 3: here is that there is something really inspired about the

678
00:38:54,840 --> 00:38:59,280
Speaker 3: braiding in and out of different color themes in different

679
00:38:59,320 --> 00:39:04,120
Speaker 3: sequences in the movie. So, for example, everything with the police,

680
00:39:04,200 --> 00:39:07,920
Speaker 3: and the opening sequence here has these flourishes of yellow

681
00:39:07,960 --> 00:39:10,640
Speaker 3: and black, kind of like the stripes on a bee

682
00:39:10,719 --> 00:39:13,040
Speaker 3: or on a yellow jacket, which could put you in

683
00:39:13,120 --> 00:39:16,680
Speaker 3: mind of like hives and workers and mindless drones all

684
00:39:16,719 --> 00:39:20,080
Speaker 3: carrying out orders, or it could put you in the

685
00:39:20,080 --> 00:39:22,480
Speaker 3: mind of something that can sting or something that can

686
00:39:22,520 --> 00:39:25,360
Speaker 3: harm you. So I don't know, maybe I'm reading too

687
00:39:25,440 --> 00:39:27,640
Speaker 3: much into it, but I see a kind of genius

688
00:39:28,040 --> 00:39:30,400
Speaker 3: in the way color is used throughout the whole film,

689
00:39:30,480 --> 00:39:35,040
Speaker 3: like that there are color selections that resonate thematically with

690
00:39:35,120 --> 00:39:38,440
Speaker 3: what's going on on screen, and kind of interesting and

691
00:39:38,680 --> 00:39:40,200
Speaker 3: oblique indirect ways.

692
00:39:40,920 --> 00:39:44,080
Speaker 2: Yeah. Absolutely, I mean Bob is a master of color,

693
00:39:44,120 --> 00:39:45,000
Speaker 2: among other things.

694
00:39:45,239 --> 00:39:48,799
Speaker 3: So we see several of the officials who are overseeing

695
00:39:48,840 --> 00:39:52,600
Speaker 3: this truck transport having a private conversation. One of them

696
00:39:52,760 --> 00:39:56,960
Speaker 3: loads up taped stacks of blank paper into one of

697
00:39:56,960 --> 00:39:59,839
Speaker 3: the yellow bags and says, you know, I wonder how

698
00:40:00,000 --> 00:40:02,680
Speaker 3: security would feel if they knew they were guarding waste

699
00:40:02,719 --> 00:40:07,160
Speaker 3: paper instead of ten million dollars. That got me thinking

700
00:40:07,640 --> 00:40:10,960
Speaker 3: how much would it cost to simulate ten million dollars

701
00:40:10,960 --> 00:40:13,480
Speaker 3: with blank paper? Like how much does the paper you

702
00:40:13,520 --> 00:40:14,760
Speaker 3: would use for that cost?

703
00:40:15,800 --> 00:40:20,080
Speaker 2: I mean significantly less than ten million dollars. One would hope, like.

704
00:40:20,080 --> 00:40:24,400
Speaker 3: I'm gonna spend five thousand dollars on paper to simulate

705
00:40:24,440 --> 00:40:25,520
Speaker 3: ten million dollars.

706
00:40:25,960 --> 00:40:28,080
Speaker 2: If it keeps you ten million dollars from being stolen

707
00:40:28,120 --> 00:40:30,919
Speaker 2: by super criminal, then I guess it totally works out.

708
00:40:31,320 --> 00:40:35,719
Speaker 3: Too bad, It's not going to work anyway. So secretly,

709
00:40:36,160 --> 00:40:38,520
Speaker 3: you know, we got a trap being set up. This

710
00:40:38,719 --> 00:40:42,640
Speaker 3: armored vehicle is full of bags of fake money, so

711
00:40:42,680 --> 00:40:45,200
Speaker 3: somebody's trying to set up a trap. And then looking

712
00:40:45,400 --> 00:40:48,720
Speaker 3: on from a window above is the decoy truck motors

713
00:40:48,760 --> 00:40:51,440
Speaker 3: away we see one of the main characters of this movie.

714
00:40:51,480 --> 00:40:55,880
Speaker 3: It is Inspector Jinko, the police detective who is involved

715
00:40:55,880 --> 00:41:00,680
Speaker 3: in the planning of this operation, and he is stern lawful.

716
00:41:00,920 --> 00:41:03,759
Speaker 3: He's driven to catch his mark, but there's all there's

717
00:41:03,760 --> 00:41:06,319
Speaker 3: also something a little bit weary in the eyes and

718
00:41:06,400 --> 00:41:09,040
Speaker 3: kind of pitiful about him, and you kind of wonder

719
00:41:09,360 --> 00:41:12,840
Speaker 3: is he finding fulfillment filling up armored trucks with blank paper?

720
00:41:14,239 --> 00:41:16,160
Speaker 2: Yeah, one suspects not so.

721
00:41:16,440 --> 00:41:20,440
Speaker 3: Inspector Jenko is talking to an ally in the scheme

722
00:41:20,840 --> 00:41:23,560
Speaker 3: who says to him, I've never seen such precautions. Just

723
00:41:23,600 --> 00:41:26,160
Speaker 3: to get a shipment to the port, and Jinko says,

724
00:41:26,280 --> 00:41:29,319
Speaker 3: the whole underworld worries me less than a single man.

725
00:41:29,880 --> 00:41:31,920
Speaker 3: And then the other guy, he gets very quiet and

726
00:41:31,960 --> 00:41:37,759
Speaker 3: he whispers the name Diabolic. So Jinko goes into the

727
00:41:37,760 --> 00:41:41,000
Speaker 3: other room where the police are loading the real ten

728
00:41:41,080 --> 00:41:45,000
Speaker 3: million dollars into different yellow bags which are being hidden

729
00:41:45,080 --> 00:41:49,160
Speaker 3: inside a chauffeured luxury car. And this thing, wouldn't it

730
00:41:49,200 --> 00:41:51,040
Speaker 3: be better to hide it inside a cheap car?

731
00:41:51,320 --> 00:41:53,240
Speaker 2: I don't know. Yeah, yeah, because they're kind of fixing

732
00:41:53,280 --> 00:41:56,080
Speaker 2: it up, like like this is a a chauffeur ride

733
00:41:56,160 --> 00:41:58,560
Speaker 2: with swells in it. So it seems like that might

734
00:41:58,600 --> 00:42:00,960
Speaker 2: attract a super criminals at anyway.

735
00:42:00,840 --> 00:42:03,279
Speaker 3: Yeah, I guess so. But they've got a whole system here.

736
00:42:03,320 --> 00:42:07,080
Speaker 3: So they've got a bunch of tough police or government operatives,

737
00:42:07,080 --> 00:42:11,280
Speaker 3: some kind of tough guys who are disguised as diplomats

738
00:42:11,280 --> 00:42:14,640
Speaker 3: with top hats and cravats, very formal, and they're going

739
00:42:14,719 --> 00:42:17,880
Speaker 3: to ride along with the money. So the convoy of

740
00:42:17,960 --> 00:42:22,600
Speaker 3: cars carrying the real money, those cars depart the police

741
00:42:22,640 --> 00:42:25,000
Speaker 3: station and they head toward the port. Well, we get

742
00:42:25,040 --> 00:42:27,640
Speaker 3: a taste of one of the sweet musical themes. This

743
00:42:27,760 --> 00:42:31,040
Speaker 3: is the one the kind of nervous sounding descending guitar riff.

744
00:42:31,680 --> 00:42:35,000
Speaker 3: And also there's some kind of wind instrument warbling in

745
00:42:35,040 --> 00:42:37,640
Speaker 3: the background, maybe a saxophone or something. I'm not sure

746
00:42:37,640 --> 00:42:39,680
Speaker 3: what it is. Can we get a taste of that theme?

747
00:42:39,760 --> 00:42:49,600
Speaker 3: JJ nice? And then following the convoy, we catch our

748
00:42:49,640 --> 00:42:53,520
Speaker 3: first glimpse of what Jared Harris might call the Jaguar.

749
00:42:55,120 --> 00:42:57,839
Speaker 3: I'm not a car guy, so I don't usually get

750
00:42:57,840 --> 00:43:00,799
Speaker 3: excited about cars in movies or fancy sports cars in

751
00:43:00,840 --> 00:43:04,200
Speaker 3: any context really, but for some reason this broke through

752
00:43:04,200 --> 00:43:07,680
Speaker 3: to me. Diabolics jaguar is so cool.

753
00:43:08,200 --> 00:43:11,200
Speaker 2: Absolutely, this is a cool looking car. And I believe

754
00:43:11,200 --> 00:43:14,360
Speaker 2: he buys them by like the dozen, yeah, because they're

755
00:43:14,440 --> 00:43:18,239
Speaker 2: just completely disposable to Diabolic. Diabolic is a very successful

756
00:43:18,280 --> 00:43:23,000
Speaker 2: super criminal. He has super riches, so he's operating with

757
00:43:23,160 --> 00:43:26,920
Speaker 2: a budget well beyond any other criminal you've seen in

758
00:43:26,960 --> 00:43:27,600
Speaker 2: another film.

759
00:43:27,800 --> 00:43:30,360
Speaker 3: I think this might be present in the original comics

760
00:43:30,400 --> 00:43:32,359
Speaker 3: as well, but it's definitely here in the movie where

761
00:43:32,600 --> 00:43:35,759
Speaker 3: Diabolic and Eva both have their own Jaguar. I think

762
00:43:35,840 --> 00:43:38,400
Speaker 3: it's a Jaguar E type, and he drives a black

763
00:43:38,760 --> 00:43:41,080
Speaker 3: Jaguar and she drives a white one.

764
00:43:41,640 --> 00:43:42,440
Speaker 2: Oh nice.

765
00:43:42,719 --> 00:43:45,360
Speaker 3: So the police and the money shipmen arrive at the port.

766
00:43:45,400 --> 00:43:47,040
Speaker 3: I guess it's going to be loaded on a boat,

767
00:43:47,120 --> 00:43:50,800
Speaker 3: and they're driving under the giant cranes and monstrous equipment

768
00:43:51,160 --> 00:43:54,880
Speaker 3: used to unpack container ships. And as they pass underneath

769
00:43:54,960 --> 00:44:00,600
Speaker 3: these rusting technological archways, suddenly another musical theme strikes. This

770
00:44:00,800 --> 00:44:04,240
Speaker 3: is the eerie chorus of voices going backwards up the slide.

771
00:44:05,400 --> 00:44:07,600
Speaker 3: I love it. It makes me want to run with scissors.

772
00:44:07,640 --> 00:44:15,080
Speaker 3: Can we hear a sample of this? So we've got

773
00:44:15,080 --> 00:44:19,000
Speaker 3: these evil fairy voices ringing out on the soundtrack. Suddenly

774
00:44:19,520 --> 00:44:22,560
Speaker 3: the convoy of cars is enveloped in a haze of

775
00:44:22,640 --> 00:44:26,719
Speaker 3: multicolored smoke. We've got yellow, green, purple smog. They can't

776
00:44:26,719 --> 00:44:29,680
Speaker 3: see anything. Inspector Jinko and the others get out of

777
00:44:29,719 --> 00:44:33,480
Speaker 3: their cars to investigate. But when we finally realize what's

778
00:44:33,520 --> 00:44:35,960
Speaker 3: going on, the car stuffed with all the money is

779
00:44:36,000 --> 00:44:38,400
Speaker 3: being hoisted away on a crane. It's up in the air,

780
00:44:38,840 --> 00:44:42,200
Speaker 3: and then there is a silhouette barely visible through the smoke.

781
00:44:42,560 --> 00:44:46,040
Speaker 3: It is a tall, dark, lean figure climbing on the

782
00:44:46,120 --> 00:44:48,760
Speaker 3: rigging of the crane. And then there is a fast

783
00:44:48,880 --> 00:44:51,160
Speaker 3: zoom or a fast pull focus. I'm not sure what

784
00:44:51,160 --> 00:44:54,160
Speaker 3: the terminology is, but the camera just charges in for

785
00:44:54,239 --> 00:44:58,080
Speaker 3: a close up on his face and it is danger diabolic.

786
00:44:58,160 --> 00:45:00,680
Speaker 3: We get the title. It says danger diet Ballock. We

787
00:45:00,719 --> 00:45:04,000
Speaker 3: see his eyes glowering out from the kind of butterfly

788
00:45:04,160 --> 00:45:08,359
Speaker 3: shaped gap in his mask, and he laughs. So he's

789
00:45:08,360 --> 00:45:11,200
Speaker 3: got a sinister laughter and he's beaten them again.

790
00:45:11,920 --> 00:45:14,359
Speaker 2: Yes, I love the sinister laughter to laughter to him

791
00:45:14,719 --> 00:45:17,760
Speaker 2: to remind you that, yes, there is a fun evil

792
00:45:17,840 --> 00:45:19,920
Speaker 2: to diabolic. He is diabolical.

793
00:45:24,560 --> 00:45:26,840
Speaker 3: Did you want to do a thing about his his costume,

794
00:45:26,960 --> 00:45:28,720
Speaker 3: this like skin tight suit he wears.

795
00:45:29,440 --> 00:45:31,400
Speaker 2: Uh, yeah, yeah, I think we talked a little bit

796
00:45:31,520 --> 00:45:33,840
Speaker 2: of the mask, but yeah, the whole outfit is basically,

797
00:45:33,880 --> 00:45:36,000
Speaker 2: I think supposed to be kind of like a catsuit.

798
00:45:37,239 --> 00:45:39,880
Speaker 2: As it's realized in the film. It's maybe like a

799
00:45:39,920 --> 00:45:42,839
Speaker 2: little less catsuit and more like leather pants and then

800
00:45:42,880 --> 00:45:46,040
Speaker 2: some sort of a kind of a turtleneck type thing.

801
00:45:46,680 --> 00:45:50,000
Speaker 2: It varies, but but yeah, he has this this this

802
00:45:50,160 --> 00:45:55,680
Speaker 2: black outfit that he's like a ninja ninja with but

803
00:45:55,760 --> 00:45:59,239
Speaker 2: with a mask that just clings to every detail of

804
00:45:59,280 --> 00:45:59,760
Speaker 2: his face.

805
00:46:00,400 --> 00:46:02,440
Speaker 3: I did like when you said it was like his

806
00:46:02,560 --> 00:46:04,080
Speaker 3: face was vacuum packed.

807
00:46:04,600 --> 00:46:07,040
Speaker 2: It is like you vacuum sealed the face. Yeah, a

808
00:46:07,160 --> 00:46:08,400
Speaker 2: face mask into the face.

809
00:46:08,480 --> 00:46:10,160
Speaker 3: Yeah, souv diabolic.

810
00:46:10,680 --> 00:46:13,040
Speaker 2: Mm hmm. And I do have to add, I don't

811
00:46:13,080 --> 00:46:17,080
Speaker 2: know that we ever see him blink. I think, I mean,

812
00:46:17,360 --> 00:46:20,320
Speaker 2: he's not always wide eyed. Sometimes he's looking at things

813
00:46:20,400 --> 00:46:24,360
Speaker 2: or reading things, et cetera. But I didn't think to

814
00:46:24,440 --> 00:46:26,680
Speaker 2: watch the whole movie with this in mind. But it's

815
00:46:26,800 --> 00:46:29,600
Speaker 2: very possible that Bava does not include a single frame

816
00:46:29,880 --> 00:46:31,280
Speaker 2: of John Philip Law blinking.

817
00:46:31,600 --> 00:46:34,680
Speaker 3: I think you're right about that. So Diabolic removes the

818
00:46:34,680 --> 00:46:37,200
Speaker 3: money from the car while the cops are shooting at him,

819
00:46:37,200 --> 00:46:40,160
Speaker 3: by the way, but Diabolic doesn't care, not afraid of bullets.

820
00:46:40,840 --> 00:46:43,640
Speaker 3: He throws the money down into a speedboat waiting below,

821
00:46:43,800 --> 00:46:47,080
Speaker 3: dives into the water to escape, drives the speedboat away.

822
00:46:47,080 --> 00:46:50,680
Speaker 3: We get credits, so the credit sequences, you know, we

823
00:46:50,760 --> 00:46:53,839
Speaker 3: see the credits running while there's like a spinning glass

824
00:46:54,280 --> 00:46:57,200
Speaker 3: colored painted glass thing. I don't know exactly what's going on.

825
00:46:57,280 --> 00:47:00,000
Speaker 3: It's kind of a groovy sixties Italian party song playing.

826
00:47:00,080 --> 00:47:02,440
Speaker 2: Mm hmm. Yeah, this would be this would be the

827
00:47:02,680 --> 00:47:04,359
Speaker 2: Marconi theme somewhat deep down.

828
00:47:04,800 --> 00:47:08,400
Speaker 3: Oh okay, So he escapes with the ten million dollars.

829
00:47:08,400 --> 00:47:11,040
Speaker 3: So he's in the boat and then he just transitions

830
00:47:11,080 --> 00:47:13,280
Speaker 3: to now he's in a car. He's driving the Jaguar,

831
00:47:13,560 --> 00:47:15,879
Speaker 3: and then there's a helicopter on his tail. Oh no,

832
00:47:15,920 --> 00:47:18,439
Speaker 3: there's a machine gun fire coming from above. So what's

833
00:47:18,480 --> 00:47:21,120
Speaker 3: he gonna do? Well, he kind of bobs and weaves.

834
00:47:21,120 --> 00:47:23,319
Speaker 3: He eludes them for a while by like driving under

835
00:47:23,360 --> 00:47:26,799
Speaker 3: some some greenery, some foliage, but they find him again,

836
00:47:26,880 --> 00:47:28,880
Speaker 3: and then oh no, maybe it seems like they're going

837
00:47:28,920 --> 00:47:32,480
Speaker 3: to catch him, but there's a brilliant twist. Diabolic drives

838
00:47:32,480 --> 00:47:36,359
Speaker 3: into a tunnel where there is already waiting the love

839
00:47:36,400 --> 00:47:40,480
Speaker 3: of his life, his perfect partner in crime, Evacan't she

840
00:47:40,840 --> 00:47:43,640
Speaker 3: she's here with her white Jaguar while he was driving

841
00:47:43,640 --> 00:47:46,560
Speaker 3: the black one, and they do a car swap. So

842
00:47:46,640 --> 00:47:50,160
Speaker 3: he sends his car speeding in reverse back out of

843
00:47:50,200 --> 00:47:52,480
Speaker 3: the tunnel and it go or maybe he sends it

844
00:47:52,520 --> 00:47:54,560
Speaker 3: out of the front, I don't know. Anyway, his car

845
00:47:54,640 --> 00:47:57,360
Speaker 3: goes out of the tunnel, goes speeding over a cliff,

846
00:47:57,640 --> 00:48:00,279
Speaker 3: so the police see it crash and they think, oh,

847
00:48:00,360 --> 00:48:04,080
Speaker 3: Diabolic has been killed. Meanwhile, he and Eva speed away

848
00:48:04,480 --> 00:48:09,560
Speaker 3: to their secret hideout, probably furiously kissing the entire time.

849
00:48:09,680 --> 00:48:11,960
Speaker 3: They do not respect the eyes on the road rule.

850
00:48:12,920 --> 00:48:14,840
Speaker 2: There is a lot of screen time in this movie

851
00:48:14,880 --> 00:48:21,800
Speaker 2: devoted to Diabolic and Eva making out. It's great. Yeah,

852
00:48:21,360 --> 00:48:22,920
Speaker 2: it's what you're here for.

853
00:48:23,560 --> 00:48:26,279
Speaker 3: I think it's time to talk about Diabolic and Eva's

854
00:48:26,320 --> 00:48:27,360
Speaker 3: secret layer.

855
00:48:28,080 --> 00:48:30,799
Speaker 2: Oh my goodness, it is amazing. It's like the It's

856
00:48:30,840 --> 00:48:34,600
Speaker 2: like the bat Cave, except on some sort of groovy

857
00:48:34,640 --> 00:48:36,920
Speaker 2: cocktail of sixties hallucinogens.

858
00:48:37,520 --> 00:48:41,120
Speaker 3: Yes, so maybe before we get inside, I want to

859
00:48:41,160 --> 00:48:44,360
Speaker 3: mention the door that opens to let them inside. So

860
00:48:45,080 --> 00:48:47,759
Speaker 3: it's supposed to look like a hidden trap door in

861
00:48:47,800 --> 00:48:50,480
Speaker 3: the earth, you know, so like they are just like

862
00:48:50,640 --> 00:48:53,000
Speaker 3: rocks and earth. And then it opens up, pops up

863
00:48:53,080 --> 00:48:56,040
Speaker 3: like the top of a pedal bin to allow them

864
00:48:56,040 --> 00:48:58,640
Speaker 3: to drive down the ramp, and then it closes behind them.

865
00:48:59,160 --> 00:49:02,040
Speaker 3: And this is a in the movie by I think,

866
00:49:02,360 --> 00:49:06,319
Speaker 3: a very simple force perspective effect. It's a you know,

867
00:49:06,440 --> 00:49:09,880
Speaker 3: little things popping up in the foreground, A little miniature

868
00:49:09,920 --> 00:49:12,080
Speaker 3: door in the foreground pops up, and then they drive

869
00:49:12,120 --> 00:49:15,080
Speaker 3: the car behind it. In the background, it looks like

870
00:49:15,160 --> 00:49:17,920
Speaker 3: they're driving down into the earth. And the movie is

871
00:49:18,200 --> 00:49:22,840
Speaker 3: full of effects like this that seem relatively cheap and

872
00:49:23,000 --> 00:49:27,640
Speaker 3: easy to accomplish, and they're kind of the word might

873
00:49:27,680 --> 00:49:30,880
Speaker 3: be kind of stagy. Like you can tell they're obviously

874
00:49:30,920 --> 00:49:34,160
Speaker 3: not real if you're looking out for it, but if

875
00:49:34,160 --> 00:49:37,719
Speaker 3: you're not, I don't know, if you're not applying a

876
00:49:37,800 --> 00:49:41,440
Speaker 3: critical type of attention to it, they just wash right

877
00:49:41,520 --> 00:49:44,560
Speaker 3: over you. Like so they fit into the action and

878
00:49:44,600 --> 00:49:47,239
Speaker 3: the aesthetic of the film perfectly. And I would not

879
00:49:47,440 --> 00:49:51,400
Speaker 3: want these beautiful, cheap, simple little effects replaced with higher

880
00:49:51,440 --> 00:49:55,000
Speaker 3: budget counterparts, like they actually build a giant you know,

881
00:49:55,080 --> 00:49:57,560
Speaker 3: door in the ground and drive into it, or replace

882
00:49:57,600 --> 00:50:00,200
Speaker 3: it with you know, really realistic looking CGI or any

883
00:50:00,200 --> 00:50:04,120
Speaker 3: of that. There there's something about these cheap, simple effects

884
00:50:04,400 --> 00:50:07,080
Speaker 3: that is so nice and feels so good. It's like

885
00:50:07,120 --> 00:50:11,400
Speaker 3: a real sense of confidence and finesse and playfulness in

886
00:50:11,600 --> 00:50:13,799
Speaker 3: Bova's filmmaking instincts here. Yeah.

887
00:50:13,800 --> 00:50:16,520
Speaker 2: Plus, I think we've mentioned before with Baba, there's a

888
00:50:16,520 --> 00:50:20,000
Speaker 2: structural completeness to everything, so that when you have a

889
00:50:20,160 --> 00:50:24,120
Speaker 2: lower budget effect in place, or you know, or even

890
00:50:24,160 --> 00:50:27,240
Speaker 2: something that is that is maybe like that the writing

891
00:50:27,400 --> 00:50:30,280
Speaker 2: is a little sub bar et cetera, Like everything else

892
00:50:30,640 --> 00:50:35,400
Speaker 2: is positioned just so that nothing feels out of place

893
00:50:36,560 --> 00:50:39,360
Speaker 2: and I think that definitely applies here as well. Yeah,

894
00:50:39,560 --> 00:50:42,480
Speaker 2: now once we get down into the headquarters themselves, oh

895
00:50:42,520 --> 00:50:45,120
Speaker 2: my goodness, it's it's it really has a sci fi

896
00:50:45,239 --> 00:50:47,440
Speaker 2: feel to it. It feels like this is something that

897
00:50:47,520 --> 00:50:52,279
Speaker 2: was built by aliens that were primarily interested in futuristic

898
00:50:52,400 --> 00:50:53,960
Speaker 2: romantic interior design.

899
00:50:54,400 --> 00:50:57,280
Speaker 3: Yeah, it's like a It's like a Bond villain layer

900
00:50:57,360 --> 00:51:00,680
Speaker 3: in a way. It's a giant underground with all these

901
00:51:00,680 --> 00:51:04,600
Speaker 3: elaborate structures and oh god, I wish I knew more

902
00:51:04,680 --> 00:51:06,880
Speaker 3: of the terminology of style. I mean, I think it's

903
00:51:06,960 --> 00:51:10,000
Speaker 3: kind of like a kind of a mod decor style.

904
00:51:10,760 --> 00:51:14,920
Speaker 3: It's that cool, hip sixties looking decor with you know,

905
00:51:15,040 --> 00:51:17,880
Speaker 3: weird choices about shapes and colors and all that. So

906
00:51:17,960 --> 00:51:23,719
Speaker 3: it's just gorgeous. And so what we do next really

907
00:51:23,800 --> 00:51:26,560
Speaker 3: is we spend some time at home with Eva and Diabolic.

908
00:51:27,040 --> 00:51:30,240
Speaker 3: And I mean this in all seriousness. Diabolic and Eva

909
00:51:30,320 --> 00:51:33,720
Speaker 3: are so sweet. I already said one of my favorite

910
00:51:33,719 --> 00:51:37,440
Speaker 3: screen couples of all time. They are absolutely mad about

911
00:51:37,440 --> 00:51:42,080
Speaker 3: each other. And really the whole elaborate crime plot is

912
00:51:42,280 --> 00:51:45,040
Speaker 3: just about them being in love and trying to have fun,

913
00:51:45,760 --> 00:51:47,759
Speaker 3: which in a way makes this kind of a perfect

914
00:51:47,920 --> 00:51:51,120
Speaker 3: date movie. Couples should watch Danger Diabolic together.

915
00:51:52,160 --> 00:51:54,799
Speaker 2: Yeah, absolutely, because it is I mean, it is a

916
00:51:54,920 --> 00:51:59,359
Speaker 2: movie about the power of their love and how their

917
00:51:59,440 --> 00:52:03,000
Speaker 2: love can be is tested but cannot be overcome by

918
00:52:03,040 --> 00:52:06,040
Speaker 2: these other forces in the world. And then on top

919
00:52:06,080 --> 00:52:10,000
Speaker 2: of that though, it's just extremely groovy. It's outrageous, you know,

920
00:52:10,120 --> 00:52:14,839
Speaker 2: it's it's never too serious, you know, these two never

921
00:52:14,840 --> 00:52:18,520
Speaker 2: getting into arguments or squabbles about anything. And yeah, we

922
00:52:18,520 --> 00:52:21,000
Speaker 2: spend just a lot of time with them here at

923
00:52:21,000 --> 00:52:25,440
Speaker 2: home in their super sexy sci fi luxury underground pad

924
00:52:25,800 --> 00:52:27,799
Speaker 2: that feels like it must have been I don't know,

925
00:52:27,880 --> 00:52:33,760
Speaker 2: built by again ancient aliens underneath the surface of another planet.

926
00:52:33,800 --> 00:52:34,239
Speaker 2: I don't know.

927
00:52:34,880 --> 00:52:37,840
Speaker 3: Yeah, it was built by the aliens from two thousand

928
00:52:37,840 --> 00:52:43,279
Speaker 3: and one of Space Odyssey and Buckminster Fuller and the

929
00:52:43,920 --> 00:52:46,719
Speaker 3: and I don't know the members of the who like

930
00:52:46,960 --> 00:52:51,320
Speaker 3: it's how would you like their bedroom and their bathroom?

931
00:52:51,360 --> 00:52:55,160
Speaker 3: Their bedroom, they have a giant like ring shaped bed

932
00:52:55,280 --> 00:52:58,319
Speaker 3: that rotates on a motor, and then next to it,

933
00:52:58,360 --> 00:53:02,200
Speaker 3: they've got these things that are just backed polygons. I

934
00:53:02,200 --> 00:53:03,680
Speaker 3: don't even know what to call them. I don't think

935
00:53:03,680 --> 00:53:06,919
Speaker 3: they're functional. They don't look like shelves. They're just polygons

936
00:53:06,920 --> 00:53:09,080
Speaker 3: that are lit from behind, so they kind of glow

937
00:53:09,160 --> 00:53:11,719
Speaker 3: with the soft white through all their corners. And then

938
00:53:11,719 --> 00:53:16,080
Speaker 3: in their bathroom they have his and hers glass shower

939
00:53:16,280 --> 00:53:22,040
Speaker 3: enclosures with planters full of living plants in the showers.

940
00:53:21,800 --> 00:53:24,480
Speaker 3: That's a choice I've never seen before, but I love it.

941
00:53:25,080 --> 00:53:28,880
Speaker 2: Yeah. And also each shower has like a blurry circle

942
00:53:28,920 --> 00:53:33,080
Speaker 2: bit that covers them up from the camera's view, though

943
00:53:33,840 --> 00:53:37,040
Speaker 2: it's certainly in Eva's case, like only barely.

944
00:53:38,320 --> 00:53:40,359
Speaker 3: You can just tell that. As much as these two

945
00:53:40,600 --> 00:53:43,800
Speaker 3: love to go out and get into dangerous adventures together,

946
00:53:43,880 --> 00:53:46,640
Speaker 3: they also love chilling at home. You know, they have

947
00:53:46,719 --> 00:53:49,680
Speaker 3: a great time, like putting on a movie or something. Well,

948
00:53:49,680 --> 00:53:51,480
Speaker 3: I don't know, it's nineteen sixty eight. I don't know

949
00:53:51,480 --> 00:53:54,239
Speaker 3: about home video yet, but they, you know, they watch

950
00:53:54,280 --> 00:53:56,879
Speaker 3: the news on TV and make cracks about how we're

951
00:53:56,880 --> 00:53:58,080
Speaker 3: going to steal that necklace.

952
00:54:00,160 --> 00:54:01,920
Speaker 2: So we spend a long time with them, but then

953
00:54:01,960 --> 00:54:03,239
Speaker 2: we have to cut out. We have to see what's

954
00:54:03,280 --> 00:54:04,319
Speaker 2: going on in the rest of the world.

955
00:54:04,400 --> 00:54:07,400
Speaker 3: Right, Yeah, time to check in with the squares. No,

956
00:54:07,719 --> 00:54:10,799
Speaker 3: we got consequences for the cops. Inspector Jenko is in

957
00:54:10,880 --> 00:54:14,040
Speaker 3: trouble with Terry Thomas, who is playing some kind of

958
00:54:14,080 --> 00:54:17,680
Speaker 3: bureaucrat who's been deeply embarrassed by all of the crime

959
00:54:17,800 --> 00:54:20,560
Speaker 3: and the theft of the ten million. He says, it's

960
00:54:20,600 --> 00:54:23,120
Speaker 3: absurd that one man can make a laughing stock of

961
00:54:23,160 --> 00:54:27,040
Speaker 3: the entire police force, and Terry Thomas says, you know, obviously,

962
00:54:27,560 --> 00:54:30,440
Speaker 3: if you think about it, logically, Diabolic's next move is

963
00:54:30,480 --> 00:54:32,279
Speaker 3: going to be to find a way to get the

964
00:54:32,400 --> 00:54:34,640
Speaker 3: money out of the country, So maybe we can catch

965
00:54:34,719 --> 00:54:38,920
Speaker 3: him that way. Inspector Jenko says, logical, sir, but not

966
00:54:39,120 --> 00:54:42,840
Speaker 3: helpful in this situation. Diabolic, he plays by his own rules.

967
00:54:42,880 --> 00:54:45,640
Speaker 3: He will find some other way to put that money

968
00:54:45,680 --> 00:54:50,160
Speaker 3: to use, and then cut straight to Diabolic and Eva

969
00:54:50,520 --> 00:54:53,040
Speaker 3: using the money as a bed, as sort of a

970
00:54:53,040 --> 00:54:53,640
Speaker 3: love nest.

971
00:54:54,400 --> 00:54:57,799
Speaker 2: Yes, that's right, it turns out presumably they stole all

972
00:54:57,800 --> 00:55:02,880
Speaker 2: that money just so they could make love on it. Yes,

973
00:55:03,680 --> 00:55:06,880
Speaker 2: because again, yeah, it's that you can't you can't approach

974
00:55:06,960 --> 00:55:09,880
Speaker 2: Diabolic like any other criminal. His motives are not the same.

975
00:55:10,280 --> 00:55:12,719
Speaker 2: He is not like the rest of them. But it's yeah,

976
00:55:12,760 --> 00:55:17,080
Speaker 2: it completely is a great sequence, very tastefully done, and

977
00:55:17,239 --> 00:55:21,720
Speaker 2: just completely outrageous. So again, something that elevates this film

978
00:55:21,719 --> 00:55:25,440
Speaker 2: into the sort of the flash Gordon Barbarella realm of

979
00:55:26,160 --> 00:55:28,040
Speaker 2: just you know, outrageous cinema.

980
00:55:28,160 --> 00:55:31,560
Speaker 3: Yeah. Also, there's a very funny scene with a press

981
00:55:31,600 --> 00:55:34,799
Speaker 3: conference where Terry Thomas comes out to announce that in

982
00:55:34,880 --> 00:55:38,080
Speaker 3: order to crush the current wave of crime sweeping the country,

983
00:55:38,120 --> 00:55:42,560
Speaker 3: the government has mercifully restored the death penalty. And at

984
00:55:42,600 --> 00:55:47,480
Speaker 3: this press conference, Diabolic and Eva show up in hilarious disguises.

985
00:55:47,560 --> 00:55:52,960
Speaker 3: Diabolic looks like that will Will Ferrell character on SNL

986
00:55:53,000 --> 00:55:55,400
Speaker 3: where he had the tiny, the tic tac sized cell phone.

987
00:55:56,480 --> 00:55:57,880
Speaker 2: Oh I don't remember this character.

988
00:55:58,120 --> 00:56:00,600
Speaker 3: Well that's what Diabolic looks like. Here. He's got these

989
00:56:00,880 --> 00:56:05,200
Speaker 3: square sunglasses and a turtleneck under a blazer. He looks great.

990
00:56:06,000 --> 00:56:09,440
Speaker 2: Yeah. They do a lot of this, showing up really

991
00:56:09,480 --> 00:56:13,640
Speaker 2: close to the heat in disguise as the most fashionable

992
00:56:13,640 --> 00:56:15,560
Speaker 2: people present.

993
00:56:16,120 --> 00:56:20,840
Speaker 3: And nobody blinks an eye but he Diabolic decides to

994
00:56:21,000 --> 00:56:26,840
Speaker 3: humiliate Terry Thomas and Inspector Jinko by by releasing laughing

995
00:56:26,880 --> 00:56:29,600
Speaker 3: gas in the room while the press conference is going on.

996
00:56:29,680 --> 00:56:31,520
Speaker 3: He pretends, I guess to be a reporter and he's

997
00:56:31,560 --> 00:56:35,120
Speaker 3: doing like, uh, you know, flashbowl camera photography and When

998
00:56:35,160 --> 00:56:37,200
Speaker 3: the flash bowl goes off, it releases a kind of

999
00:56:37,239 --> 00:56:40,560
Speaker 3: puff of stuff, and it turns out that is laughing gas,

1000
00:56:40,600 --> 00:56:44,240
Speaker 3: and everybody starts laughing, except, of course, Diabolic and Eva,

1001
00:56:44,320 --> 00:56:46,880
Speaker 3: who took antidote pills before they did it.

1002
00:56:47,200 --> 00:56:48,600
Speaker 2: They have everything figured out.

1003
00:56:48,719 --> 00:56:50,880
Speaker 3: Terry Thomas says, he's certainly not going to make a

1004
00:56:50,880 --> 00:56:54,440
Speaker 3: fool of me. Then I can't stop laughing.

1005
00:56:54,880 --> 00:56:58,200
Speaker 2: Yes, he looks. It looks very foolish. Great Terry Thomas sequence.

1006
00:56:58,719 --> 00:57:01,440
Speaker 3: All right, So after this, Inspector Jinco he's got to

1007
00:57:01,440 --> 00:57:04,080
Speaker 3: come up with a plan to stop Diabolic once and

1008
00:57:04,160 --> 00:57:08,800
Speaker 3: for all. So here the movie introduces the character Valmont.

1009
00:57:08,920 --> 00:57:12,080
Speaker 3: We learned about him through newspaper headlines linking him to

1010
00:57:12,120 --> 00:57:15,920
Speaker 3: a bunch of crimes, jim theft, drug dealing, all that stuff,

1011
00:57:16,360 --> 00:57:19,320
Speaker 3: and he seems to be kind of the ultimate crime kingpin.

1012
00:57:19,760 --> 00:57:24,080
Speaker 3: And now Inspector Jinco is looking for him. Maybe that's

1013
00:57:24,280 --> 00:57:28,520
Speaker 3: maybe somehow he can use Valmont to get to Diabolic.

1014
00:57:29,040 --> 00:57:31,919
Speaker 3: And here we get you know, somebody comes to Jenko

1015
00:57:32,000 --> 00:57:33,720
Speaker 3: and says, Inspector you know, we have a lead at

1016
00:57:33,720 --> 00:57:36,840
Speaker 3: one of Valmont's nightclubs. So here we're going to go

1017
00:57:36,920 --> 00:57:42,080
Speaker 3: see a swinging switched on sixties nightclub. I guess the

1018
00:57:42,080 --> 00:57:45,560
Speaker 3: movie isn't set in Italy, but I see some Italian

1019
00:57:45,600 --> 00:57:49,360
Speaker 3: sensibilities in how this this hippie night club is realized.

1020
00:57:50,000 --> 00:57:52,360
Speaker 2: As best I can tell, this movie takes place in

1021
00:57:52,400 --> 00:57:56,920
Speaker 2: the country of Europe, Like it's never really clear, and

1022
00:57:56,960 --> 00:57:58,600
Speaker 2: I guess you're not supposed to think too long and

1023
00:57:58,640 --> 00:58:02,200
Speaker 2: hard about it. But yeah, the nightclub sequence is amazing.

1024
00:58:02,280 --> 00:58:08,080
Speaker 2: We got go go dancers, medieval troubadours, blurry lighting, dope,

1025
00:58:08,160 --> 00:58:13,040
Speaker 2: smoke gels, just an overall miasthma of just hippie grooviness

1026
00:58:13,320 --> 00:58:15,360
Speaker 2: all through the Mario Bava lens.

1027
00:58:16,200 --> 00:58:19,800
Speaker 3: Yeah, the club seems to be part chemistry lab because

1028
00:58:19,840 --> 00:58:23,360
Speaker 3: there are glass beakers and tubes everywhere, but also a

1029
00:58:23,360 --> 00:58:28,040
Speaker 3: little bit secret Commonwealth themed, like there's over on in Titanya.

1030
00:58:28,200 --> 00:58:31,280
Speaker 3: They're dancing in the corner, and this is a club

1031
00:58:31,280 --> 00:58:33,680
Speaker 3: where if you're not careful and elf is going to

1032
00:58:33,720 --> 00:58:38,200
Speaker 3: make your cows sick. So we see various elfin and

1033
00:58:38,320 --> 00:58:43,080
Speaker 3: fairy looking people around. But then also there is a

1034
00:58:43,120 --> 00:58:45,400
Speaker 3: pirate playing guitar for good measure.

1035
00:58:46,640 --> 00:58:49,640
Speaker 2: Will let you. Lady chills out on a bed wearing flowers.

1036
00:58:49,760 --> 00:58:52,600
Speaker 3: Yeah, yeah, I think she's sort of one of the

1037
00:58:52,640 --> 00:58:55,440
Speaker 3: elf or fairy themed people. Like she's got the garlands

1038
00:58:55,440 --> 00:58:57,800
Speaker 3: of leaves and flowers all around her. She seems like

1039
00:58:58,000 --> 00:58:59,760
Speaker 3: a hidden folk of the forest.

1040
00:59:00,560 --> 00:59:01,360
Speaker 2: Yeah, that's right.

1041
00:59:01,720 --> 00:59:04,720
Speaker 3: But also the guy. So there's like loud music playing

1042
00:59:04,720 --> 00:59:07,000
Speaker 3: at the club because it's a dance club, you know,

1043
00:59:07,120 --> 00:59:10,240
Speaker 3: it's like deafening. And this guy's sitting here playing an

1044
00:59:10,280 --> 00:59:13,040
Speaker 3: acoustic guitar in a pirate hat. He can't hear himself

1045
00:59:13,080 --> 00:59:15,080
Speaker 3: play in this Why is he playing?

1046
00:59:15,960 --> 00:59:17,720
Speaker 2: You know, I guess it doesn't mean you can't noodle

1047
00:59:17,680 --> 00:59:20,800
Speaker 2: a little bit. He's probably he's probably on the wacky weed.

1048
00:59:21,080 --> 00:59:24,280
Speaker 3: That's true. Also, this place has xylophone stairs. I've never

1049
00:59:24,320 --> 00:59:26,600
Speaker 3: seen xylophone stairs in reality before.

1050
00:59:27,760 --> 00:59:29,760
Speaker 2: Yeah, this is great. And then all we get the

1051
00:59:29,800 --> 00:59:32,800
Speaker 2: greatest blunt passing scene in the history of cinema as well.

1052
00:59:33,120 --> 00:59:36,760
Speaker 3: Within the rotation is a guy who looks like William H. Macy.

1053
00:59:36,920 --> 00:59:39,920
Speaker 3: But then also a sequence of people who look like

1054
00:59:40,080 --> 00:59:43,760
Speaker 3: Mozart's Bad News Vienna Party friends in Amadaeus.

1055
00:59:46,400 --> 00:59:49,480
Speaker 2: So anyway, this is Valmont's club. But you know, we

1056
00:59:49,480 --> 00:59:51,600
Speaker 2: don't get a sense that the club is bad. The

1057
00:59:51,640 --> 00:59:54,520
Speaker 2: club seems hip and groovy and so forth. But uh

1058
00:59:54,880 --> 00:59:57,120
Speaker 2: uh oh, something's about to happen.

1059
00:59:57,240 --> 00:59:59,840
Speaker 3: Here come the fizz. I think there's some drugs and

1060
01:00:00,080 --> 01:00:02,000
Speaker 3: this club. In fact, I know there are because we

1061
01:00:02,080 --> 01:00:05,560
Speaker 3: saw that blunt rotation. So there is a police rate

1062
01:00:05,640 --> 01:00:10,320
Speaker 3: on the club and this this gets the attention of Valmont,

1063
01:00:10,400 --> 01:00:15,920
Speaker 3: who again this is the largo from Thunderball Adolfocelli. So

1064
01:00:16,080 --> 01:00:18,760
Speaker 3: Valmont is finding out that the police are onto him

1065
01:00:18,800 --> 01:00:22,800
Speaker 3: and he does not like that. So we go see

1066
01:00:22,880 --> 01:00:25,080
Speaker 3: Valmont on his boat and as we said before, you

1067
01:00:25,360 --> 01:00:28,160
Speaker 3: Valmont is just he's the worst. You know, he makes

1068
01:00:28,240 --> 01:00:29,439
Speaker 3: Diabolic look great.

1069
01:00:30,480 --> 01:00:31,560
Speaker 2: Yeah, he's just a complete pick.

1070
01:00:32,120 --> 01:00:35,320
Speaker 3: So Valmont calls up Inspector Jinko with a proposal. In

1071
01:00:35,400 --> 01:00:39,440
Speaker 3: exchange for leniency in his own police troubles, Valmont offers

1072
01:00:39,480 --> 01:00:43,720
Speaker 3: to help Jinko catch Diabolic. After all, it takes a

1073
01:00:43,760 --> 01:00:47,480
Speaker 3: thief to catch a thief, and Jinko is intrigued. So

1074
01:00:47,640 --> 01:00:50,280
Speaker 3: we get a scene on Valmont's airplane where he's meeting

1075
01:00:50,320 --> 01:00:53,800
Speaker 3: with the other members of his criminal syndicate and they're

1076
01:00:53,840 --> 01:00:56,760
Speaker 3: going to vote on whether to proceed with the plan

1077
01:00:57,360 --> 01:01:01,280
Speaker 3: to catch Diabolic, and you can tell there's there's some descent.

1078
01:01:01,440 --> 01:01:03,440
Speaker 3: There are those who vote against the plan because you

1079
01:01:03,440 --> 01:01:05,760
Speaker 3: don't want to mess with diabolic That's right.

1080
01:01:05,760 --> 01:01:08,240
Speaker 2: I mean, this is a dangerous guy. Not everyone wants

1081
01:01:08,280 --> 01:01:10,960
Speaker 2: to wants to toy with him. You know, let's let it,

1082
01:01:11,040 --> 01:01:13,000
Speaker 2: let him do his thing. We just hope he ignores

1083
01:01:13,000 --> 01:01:13,880
Speaker 2: our stuff.

1084
01:01:14,280 --> 01:01:17,760
Speaker 3: So several members of the criminal sindicit vote against the plan,

1085
01:01:17,880 --> 01:01:22,040
Speaker 3: and Valmont responds by shooting them, and he also he shoots.

1086
01:01:22,040 --> 01:01:24,400
Speaker 3: He accidentally shoots a hole in the fuselage of the plane,

1087
01:01:24,400 --> 01:01:26,680
Speaker 3: which one of his henchmen plugs with chewing gum.

1088
01:01:27,120 --> 01:01:30,080
Speaker 2: Yeah, this is Joe, I believe cool. Joe is henchman.

1089
01:01:30,720 --> 01:01:33,280
Speaker 3: Yes, Valmont. Also he tries to shoot one guy, but

1090
01:01:33,320 --> 01:01:35,960
Speaker 3: I think he misses, and then the guy is begging

1091
01:01:36,000 --> 01:01:39,680
Speaker 3: for mercy. He's like, please, please, don't shoot, and Valmont says,

1092
01:01:39,720 --> 01:01:42,480
Speaker 3: since you said please, I won't shoot. So instead he

1093
01:01:42,560 --> 01:01:45,120
Speaker 3: presses a button on his desk which opens a trap

1094
01:01:45,160 --> 01:01:47,960
Speaker 3: door beneath the guy's feet and drops him out of

1095
01:01:48,000 --> 01:01:53,800
Speaker 3: the airplane. Ten out of ten bond villain trapdoor deployment.

1096
01:01:53,840 --> 01:01:57,560
Speaker 3: Here love a villain with a trap door. Absolutely, that's

1097
01:01:57,720 --> 01:01:59,320
Speaker 3: key villain infrastructure.

1098
01:02:00,080 --> 01:02:01,920
Speaker 2: Yeah, and it's going to come. It's going to be

1099
01:02:01,920 --> 01:02:03,200
Speaker 2: important later on as well.

1100
01:02:03,400 --> 01:02:07,840
Speaker 3: That's right, So, so you know, now what's going on

1101
01:02:07,920 --> 01:02:10,440
Speaker 3: is we've got a dangerous and ruthless collection of violent

1102
01:02:10,480 --> 01:02:13,480
Speaker 3: crime bosses who are working together under Valmont's command to

1103
01:02:13,640 --> 01:02:26,880
Speaker 3: capture Diabolic and turn him over to the police. So

1104
01:02:27,080 --> 01:02:29,120
Speaker 3: on to the next act. We gotta have another heist.

1105
01:02:29,160 --> 01:02:30,960
Speaker 3: It's been a bit since we had a heist. So

1106
01:02:31,400 --> 01:02:35,520
Speaker 3: Diabolic and Eva are watching TV together and he's like, oh, hey,

1107
01:02:35,560 --> 01:02:37,360
Speaker 3: your birthday is coming up. What do you want for

1108
01:02:37,400 --> 01:02:40,320
Speaker 3: your birthday? And right then we see a news report

1109
01:02:40,520 --> 01:02:44,120
Speaker 3: there are visiting diplomats i think from the UK coming

1110
01:02:44,160 --> 01:02:48,200
Speaker 3: to Europe wherever this is uh and one of them

1111
01:02:48,360 --> 01:02:53,240
Speaker 3: is going to be wearing the world famous Axon emerald necklace.

1112
01:02:53,760 --> 01:02:58,040
Speaker 3: And if this is a necklace with eleven totally unique

1113
01:02:58,120 --> 01:03:01,280
Speaker 3: giant emeralds in it, of the most valuable pieces of

1114
01:03:01,360 --> 01:03:03,960
Speaker 3: jewelry in the world, and they'll be staying at Saint

1115
01:03:04,200 --> 01:03:06,400
Speaker 3: just Castle. So the news report is like, here's where

1116
01:03:06,440 --> 01:03:08,080
Speaker 3: you can find them if you would like to steal

1117
01:03:08,120 --> 01:03:11,840
Speaker 3: these emeralds, and Ava she sees them. She's like, ooh,

1118
01:03:11,880 --> 01:03:15,560
Speaker 3: those emeralds, and you can just see Diabolic he squints.

1119
01:03:15,600 --> 01:03:18,040
Speaker 3: He's he's working it out already in his mind.

1120
01:03:18,560 --> 01:03:21,160
Speaker 2: Again. He will steal anything for love, and he will

1121
01:03:21,240 --> 01:03:22,600
Speaker 2: absolutely steal that.

1122
01:03:22,600 --> 01:03:26,920
Speaker 3: That's right. So uh, Next we see Diabolic and Eva

1123
01:03:27,000 --> 01:03:30,040
Speaker 3: doing some kind of role play outside the castle. He

1124
01:03:30,160 --> 01:03:33,280
Speaker 3: like drives up in a car. She apparently has disguised

1125
01:03:33,320 --> 01:03:36,720
Speaker 3: herself as a sex worker and done some recon inside

1126
01:03:36,760 --> 01:03:40,120
Speaker 3: the castle and it's full, she reports, Okay, here's what

1127
01:03:40,160 --> 01:03:43,000
Speaker 3: she figured out. Is full of police. They're disguised as waiters,

1128
01:03:43,000 --> 01:03:47,080
Speaker 3: many of them wearing wigs. Uh. There are guards outside

1129
01:03:47,080 --> 01:03:52,200
Speaker 3: with rifles. There are CCTV cameras everywhere. Looks basically impossible,

1130
01:03:52,600 --> 01:03:53,840
Speaker 3: but not for Diabolic.

1131
01:03:54,400 --> 01:03:58,160
Speaker 2: Yep. They just love the challenge. They're in it for

1132
01:03:58,160 --> 01:04:00,320
Speaker 2: the fun. They're they're they're in they enjoy there.

1133
01:04:00,280 --> 01:04:03,880
Speaker 3: Were that's right, and he oh. She says, I didn't

1134
01:04:03,880 --> 01:04:07,120
Speaker 3: see Inspector Jenko there, And he says, if you didn't

1135
01:04:07,160 --> 01:04:08,680
Speaker 3: see him, that means he's there.

1136
01:04:10,800 --> 01:04:13,000
Speaker 2: The reverse is also true. I guess, I guess so.

1137
01:04:14,960 --> 01:04:17,320
Speaker 3: But so oh, it's not just the police who were

1138
01:04:17,400 --> 01:04:21,720
Speaker 3: involved in this trap. Valmont has recruited women who saw

1139
01:04:21,840 --> 01:04:25,560
Speaker 3: Eva snooping around snooping around the castle, and he knows

1140
01:04:25,640 --> 01:04:28,360
Speaker 3: that this woman they saw must be the infamous Eva

1141
01:04:28,440 --> 01:04:32,600
Speaker 3: can't partner in crime to diabolic himself. He figures that out,

1142
01:04:32,680 --> 01:04:34,960
Speaker 3: so he's like, if we can find her, we can

1143
01:04:34,960 --> 01:04:37,560
Speaker 3: get to him. So he wants the women who saw

1144
01:04:37,600 --> 01:04:42,600
Speaker 3: her to describe her, and then we get this bizarre looking,

1145
01:04:42,760 --> 01:04:47,800
Speaker 3: amazing animated scene where they're doing like a forensic reconstruction

1146
01:04:48,080 --> 01:04:50,520
Speaker 3: of Eva's face with the help of this computer.

1147
01:04:51,760 --> 01:04:54,960
Speaker 2: Yeah. I didn't remember this sequence from the MST three

1148
01:04:55,040 --> 01:04:56,960
Speaker 2: K episode, which I hadn't seen in a very long

1149
01:04:57,000 --> 01:04:58,680
Speaker 2: time anyway, so I don't know if it was in

1150
01:04:58,720 --> 01:05:01,400
Speaker 2: there or it was cut. I was when they started

1151
01:05:01,480 --> 01:05:03,120
Speaker 2: rolling this out, I'm like, Okay, we're going to have

1152
01:05:03,160 --> 01:05:07,000
Speaker 2: a forensic sketch sequence and whatever. I mean, maybe I'll

1153
01:05:07,080 --> 01:05:10,480
Speaker 2: check my notes, but no, it's amazing. It's like whoever,

1154
01:05:10,560 --> 01:05:14,120
Speaker 2: I don't know whose decision this was and and everything,

1155
01:05:14,160 --> 01:05:16,600
Speaker 2: but like they this is this is great. This is

1156
01:05:16,600 --> 01:05:20,040
Speaker 2: a great use of what would otherwise be a throwaway sequence.

1157
01:05:19,960 --> 01:05:23,840
Speaker 3: Totally fast cuts, mixing and matching different facial elements. It's

1158
01:05:23,920 --> 01:05:26,720
Speaker 3: kind of like rapidly clicking the randomized button on a

1159
01:05:26,840 --> 01:05:29,360
Speaker 3: video game character creator mm hmm.

1160
01:05:29,600 --> 01:05:30,360
Speaker 2: Yeah.

1161
01:05:30,400 --> 01:05:33,240
Speaker 3: But then finally they zero in on a drawing of

1162
01:05:33,280 --> 01:05:38,080
Speaker 3: Eva that's her and Valmont's the next part. I've seen

1163
01:05:38,120 --> 01:05:40,400
Speaker 3: this couple of times recently, and I still never caught

1164
01:05:40,480 --> 01:05:44,040
Speaker 3: exactly how he does this. Valmont manages to somehow get

1165
01:05:44,080 --> 01:05:48,919
Speaker 3: in contact with Eva's doctor, and he's going to use

1166
01:05:49,040 --> 01:05:52,520
Speaker 3: Eva's doctor to find Eva and then use Eva to

1167
01:05:52,560 --> 01:05:54,040
Speaker 3: catch diabolic Yeah.

1168
01:05:54,080 --> 01:05:58,160
Speaker 2: I'm not sure what the connection here is. Like there's

1169
01:05:58,360 --> 01:06:01,360
Speaker 2: did he go to every doctor in and said, Hey,

1170
01:06:01,400 --> 01:06:03,440
Speaker 2: I'm looking for this lady. Have you seen this lady?

1171
01:06:03,560 --> 01:06:05,920
Speaker 2: You're a doctor, right, you see, lady patience. I don't know,

1172
01:06:06,000 --> 01:06:08,320
Speaker 2: it's not explained. There's a lot that's not explained in

1173
01:06:08,360 --> 01:06:11,640
Speaker 2: this movie, but most of it you don't really pause to.

1174
01:06:11,720 --> 01:06:14,120
Speaker 3: Question, Yeah, don't worry about it, and yeah, and.

1175
01:06:14,120 --> 01:06:15,640
Speaker 2: I guess this, you might as well just roll with it.

1176
01:06:15,640 --> 01:06:19,200
Speaker 2: But somehow he's able to make some connection and he

1177
01:06:19,240 --> 01:06:21,400
Speaker 2: starts knocking on who turns out to a guy who

1178
01:06:21,400 --> 01:06:24,240
Speaker 2: turns out to be her doctor, and ask hey, have

1179
01:06:24,280 --> 01:06:25,040
Speaker 2: you seen this lady?

1180
01:06:25,920 --> 01:06:28,160
Speaker 3: He tries to cover for her. He tries to lie

1181
01:06:28,200 --> 01:06:30,600
Speaker 3: and say no, I don't know her, but that'll come

1182
01:06:30,600 --> 01:06:32,080
Speaker 3: back to bite him.

1183
01:06:32,400 --> 01:06:34,680
Speaker 2: I think maybe the idea is he's a doctor who

1184
01:06:34,720 --> 01:06:36,680
Speaker 2: only works with criminals. I don't know.

1185
01:06:36,840 --> 01:06:37,880
Speaker 3: Oh, that might be it.

1186
01:06:38,000 --> 01:06:42,600
Speaker 2: Yeah, but even then this is a tenuous connection at best.

1187
01:06:42,880 --> 01:06:45,160
Speaker 3: Okay, Meanwhile, the heist has got to go on, so

1188
01:06:45,200 --> 01:06:47,640
Speaker 3: we got to check back in with Diabolic and Eva

1189
01:06:47,680 --> 01:06:49,720
Speaker 3: as there. You know, he's gonna Diabolic is going to

1190
01:06:49,760 --> 01:06:52,680
Speaker 3: be trying to get into the Just Castle. And there

1191
01:06:52,760 --> 01:06:54,720
Speaker 3: was a cool moment I don't know if you caught this,

1192
01:06:54,800 --> 01:06:57,560
Speaker 3: where there's like a juxtaposition of showing Eva in the

1193
01:06:57,640 --> 01:07:01,280
Speaker 3: car with her eyes reflected in the rear view mirror,

1194
01:07:01,400 --> 01:07:04,160
Speaker 3: and there's like all this dark shadowy stuff outside of

1195
01:07:04,240 --> 01:07:06,800
Speaker 3: the windshield ahead of her, and it's kind of framing

1196
01:07:06,840 --> 01:07:11,560
Speaker 3: her eyes the same way that Diabolic's suit frames his eyes,

1197
01:07:11,680 --> 01:07:13,880
Speaker 3: and then it like cuts between them. So I thought

1198
01:07:13,880 --> 01:07:14,400
Speaker 3: that was cool.

1199
01:07:14,960 --> 01:07:16,800
Speaker 2: Oh yeah, that was cool. And then also, I mean

1200
01:07:16,800 --> 01:07:20,200
Speaker 2: it also bears mentioning that Mario Bava. You know, you're

1201
01:07:20,240 --> 01:07:21,800
Speaker 2: in a Mario Bava film when you have a lot

1202
01:07:21,800 --> 01:07:26,280
Speaker 2: of these shots of things seen through other portals or windows,

1203
01:07:26,520 --> 01:07:30,240
Speaker 2: a lot of shots of things seen in reflection. He

1204
01:07:30,320 --> 01:07:32,040
Speaker 2: really makes great use of these effects.

1205
01:07:32,240 --> 01:07:35,080
Speaker 3: All right, So Diabolic swims up to the shore outside

1206
01:07:35,120 --> 01:07:38,120
Speaker 3: the castle and he goes onto the beach. He takes

1207
01:07:38,160 --> 01:07:40,520
Speaker 3: out some of the guards and here maybe we should

1208
01:07:40,560 --> 01:07:44,400
Speaker 3: discuss the morality of Diabolic in this movie, because Diabolic

1209
01:07:44,600 --> 01:07:47,760
Speaker 3: does kill people who are not necessarily like criminals or

1210
01:07:47,800 --> 01:07:51,000
Speaker 3: people trying to kill him. This is a harder edged

1211
01:07:51,080 --> 01:07:54,480
Speaker 3: criminal anti hero than we might be used to. So

1212
01:07:54,520 --> 01:07:57,840
Speaker 3: he throws knives into guard's throats to and kills them

1213
01:07:57,920 --> 01:07:59,800
Speaker 3: just to get past them, to get to the neck

1214
01:08:00,080 --> 01:08:03,040
Speaker 3: u And in this scene, with like the framing and

1215
01:08:03,080 --> 01:08:06,600
Speaker 3: the costume, he looks absolutely evil, and clearly he is

1216
01:08:06,640 --> 01:08:10,280
Speaker 3: supposed to. So I don't know, I feel like the

1217
01:08:10,280 --> 01:08:15,440
Speaker 3: tendency now for anti heroes is to is to have

1218
01:08:15,520 --> 01:08:18,439
Speaker 3: them be less anti, you know, to be they wouldn't

1219
01:08:18,520 --> 01:08:20,120
Speaker 3: kill somebody who wasn't in the game.

1220
01:08:20,479 --> 01:08:22,519
Speaker 2: Yeah, they wouldn't shoot first, right, that's yeah.

1221
01:08:22,600 --> 01:08:24,960
Speaker 3: But he does. He does. He's just like, these are

1222
01:08:25,000 --> 01:08:27,799
Speaker 3: just people in his way and he's throwing throwing knives

1223
01:08:27,840 --> 01:08:28,599
Speaker 3: into their necks.

1224
01:08:29,240 --> 01:08:31,880
Speaker 2: Was like your observation earlier. Yeah, he's a bird of prey.

1225
01:08:32,240 --> 01:08:35,200
Speaker 2: He is dangerous. He's a loner though outside of his

1226
01:08:35,600 --> 01:08:38,920
Speaker 2: life mate, you know, no one else really means anything to.

1227
01:08:38,960 --> 01:08:44,519
Speaker 3: Him, That's right. So this Diabolic is not Robinhood yet.

1228
01:08:44,240 --> 01:08:47,920
Speaker 2: Right, And he'll only kind of later on the film,

1229
01:08:47,920 --> 01:08:50,800
Speaker 2: he may get into some Robinhood territory, but not because

1230
01:08:50,800 --> 01:08:52,880
Speaker 2: he really just wants to help everybody. There are other

1231
01:08:52,920 --> 01:08:54,800
Speaker 2: motives and situations that lead to that.

1232
01:08:55,040 --> 01:08:57,400
Speaker 3: Yeah, maybe he wants to help people. Maybe he just

1233
01:08:57,439 --> 01:08:58,439
Speaker 3: wants to get revenge.

1234
01:09:00,280 --> 01:09:03,000
Speaker 2: Oh but this is when we get limited edition white

1235
01:09:03,040 --> 01:09:05,800
Speaker 2: Diabolic because he's in the black suit.

1236
01:09:06,080 --> 01:09:08,519
Speaker 3: Yeah. Do you think that was supposed to be functional?

1237
01:09:08,560 --> 01:09:10,960
Speaker 3: Like he blends in better with the wall that he's

1238
01:09:11,000 --> 01:09:12,479
Speaker 3: going to be climbing in the white suit.

1239
01:09:13,040 --> 01:09:15,400
Speaker 2: I think that's the idea. But also, of course it's

1240
01:09:15,400 --> 01:09:18,080
Speaker 2: just visually appealing. It's like it's just snazzy.

1241
01:09:18,479 --> 01:09:20,360
Speaker 3: Okay, here we are at the heist. He comes to

1242
01:09:20,400 --> 01:09:22,599
Speaker 3: the tower where the diplomats are staying at the top

1243
01:09:23,000 --> 01:09:25,280
Speaker 3: and the emeralds are on the table in their room.

1244
01:09:26,160 --> 01:09:29,160
Speaker 3: But the emeralds have been placed in a very special location.

1245
01:09:29,520 --> 01:09:31,559
Speaker 3: Inspector Jinko is in there and he's going he plays

1246
01:09:31,600 --> 01:09:35,479
Speaker 3: them right in front of a police CCTV camera. So

1247
01:09:35,840 --> 01:09:38,280
Speaker 3: how is Diabolic going to get them? Well, first, how's

1248
01:09:38,320 --> 01:09:39,439
Speaker 3: he going to get up that wall?

1249
01:09:40,320 --> 01:09:42,920
Speaker 2: Well, he pulls out some suction cup devices. We were

1250
01:09:42,960 --> 01:09:46,000
Speaker 2: just talking about this in our our episodes on Stickiness.

1251
01:09:46,439 --> 01:09:48,679
Speaker 2: He has these suction cup things that are you hold

1252
01:09:48,720 --> 01:09:52,320
Speaker 2: with your hands, and they allow him to stick to stone.

1253
01:09:53,439 --> 01:09:55,559
Speaker 3: Yeah, I don't know about that. I think the stone

1254
01:09:55,600 --> 01:09:57,679
Speaker 3: looks a little too rough for a suction cup to work.

1255
01:09:58,720 --> 01:10:00,920
Speaker 2: But within the context of the film, it works, and

1256
01:10:00,960 --> 01:10:04,920
Speaker 2: he's able to scale that the sheer surface of that tower.

1257
01:10:05,400 --> 01:10:07,880
Speaker 3: He's diabolic, he can do anything. So yes, the suction

1258
01:10:07,960 --> 01:10:10,800
Speaker 3: cups work. He climbs the tower. He goes in through

1259
01:10:10,840 --> 01:10:14,320
Speaker 3: the window. He hears the diplomats argue is the it's

1260
01:10:14,360 --> 01:10:17,120
Speaker 3: the husband and wife who are the diplomats and they're

1261
01:10:17,120 --> 01:10:20,400
Speaker 3: in the bedroom arguing. The old guy says like, have

1262
01:10:20,479 --> 01:10:23,839
Speaker 3: you arranged my toy soldiers again? Where is my general

1263
01:10:23,960 --> 01:10:25,960
Speaker 3: under the bed? And she goes, you can play with

1264
01:10:26,000 --> 01:10:27,160
Speaker 3: your general in the morning.

1265
01:10:27,920 --> 01:10:30,080
Speaker 2: I don't know why he brought his minis on a trip.

1266
01:10:30,120 --> 01:10:32,280
Speaker 2: I mean, it's always tempting, but you gotta you gotta,

1267
01:10:32,479 --> 01:10:33,400
Speaker 2: you gotta scale back.

1268
01:10:34,000 --> 01:10:38,000
Speaker 3: So Diabolic goes into the room with the emeralds. But

1269
01:10:38,080 --> 01:10:42,479
Speaker 3: he realizes that the necklace is being monitored by CCTV camera,

1270
01:10:42,760 --> 01:10:45,720
Speaker 3: So how's he gonna get him? Obviously he's going to

1271
01:10:45,760 --> 01:10:47,519
Speaker 3: be seen if he goes to get it. What's he

1272
01:10:47,560 --> 01:10:49,600
Speaker 3: gonna do photo trickery.

1273
01:10:50,400 --> 01:10:53,599
Speaker 2: Sneak up there, get take a polaroid, and then use

1274
01:10:53,640 --> 01:10:57,000
Speaker 2: a little doudad to position the polaroid in front of

1275
01:10:57,120 --> 01:10:59,240
Speaker 2: the camera. I feel like this is this is a

1276
01:10:59,280 --> 01:11:01,800
Speaker 2: scheme that is been utilized in some other films as well.

1277
01:11:01,840 --> 01:11:03,880
Speaker 2: I just can't remember which ones off hand.

1278
01:11:04,040 --> 01:11:05,719
Speaker 3: Oh, they do the same thing in all the modern

1279
01:11:05,720 --> 01:11:09,160
Speaker 3: Mission impossible movies. Oh they Yeah, They'll put like a video,

1280
01:11:09,720 --> 01:11:12,679
Speaker 3: a video playback or a picture or something in front

1281
01:11:12,760 --> 01:11:16,759
Speaker 3: of a of a security camera and it works every time.

1282
01:11:17,320 --> 01:11:17,760
Speaker 2: All right.

1283
01:11:18,960 --> 01:11:22,280
Speaker 3: So Diabolic gets the necklace, but then soon after he

1284
01:11:22,320 --> 01:11:24,160
Speaker 3: gets it, the police are onto him and a chase

1285
01:11:24,200 --> 01:11:27,640
Speaker 3: breaks out. He is pursued up the spiraling stairwell to

1286
01:11:27,680 --> 01:11:29,840
Speaker 3: the roof of the castle and then he gets there.

1287
01:11:29,840 --> 01:11:32,400
Speaker 3: He's cornered. The police are they'll be there any second.

1288
01:11:32,439 --> 01:11:34,240
Speaker 3: He's on the roof. What's he gonna do? How will

1289
01:11:34,240 --> 01:11:38,000
Speaker 3: he escape? And then suddenly we see Diabolic lock eyes

1290
01:11:38,080 --> 01:11:42,960
Speaker 3: on a catapult. For a moment, I was like what,

1291
01:11:43,400 --> 01:11:46,360
Speaker 3: And so the police rush up on a rush up

1292
01:11:46,360 --> 01:11:49,040
Speaker 3: onto the roof. We see the catapult fling out something

1293
01:11:49,080 --> 01:11:52,479
Speaker 3: that looks like Diabolic and they shoot at it and

1294
01:11:52,680 --> 01:11:55,519
Speaker 3: they They're like, I think I got him. But then

1295
01:11:55,640 --> 01:11:57,840
Speaker 3: as they as they leave the roof, we get a

1296
01:11:57,880 --> 01:12:02,240
Speaker 3: catapult fake out where a naked Diabolic now peaks up

1297
01:12:02,320 --> 01:12:06,519
Speaker 3: from behind the catapult and he apparently launched his limited

1298
01:12:06,640 --> 01:12:11,240
Speaker 3: edition white Diabolic catsuit by itself in the catapult and

1299
01:12:11,280 --> 01:12:12,799
Speaker 3: they just shot his clothes.

1300
01:12:13,120 --> 01:12:16,280
Speaker 2: Oh wow, perfect, perfect master of strategy.

1301
01:12:16,560 --> 01:12:19,120
Speaker 3: So Diabolic and Eva escape by car. I guess they

1302
01:12:19,200 --> 01:12:21,320
Speaker 3: got a new black Jaguar after they blew up the

1303
01:12:21,400 --> 01:12:22,000
Speaker 3: last one.

1304
01:12:22,360 --> 01:12:24,040
Speaker 2: Oh they have, Yeah, they have, Like they buy him

1305
01:12:24,040 --> 01:12:26,760
Speaker 2: by the dozen. We saw the whole rows of them

1306
01:12:26,880 --> 01:12:28,280
Speaker 2: in the Layer.

1307
01:12:28,520 --> 01:12:30,680
Speaker 3: The vibes in this movie and in this scene are

1308
01:12:30,760 --> 01:12:33,800
Speaker 3: so good. The feeling of freedom and fun as they

1309
01:12:33,840 --> 01:12:36,479
Speaker 3: are escaping with the emerald necklace in the scene, and

1310
01:12:36,760 --> 01:12:40,519
Speaker 3: as they like put up a this like mirror across

1311
01:12:40,560 --> 01:12:43,920
Speaker 3: the roadway to fool the cars that are chasing them.

1312
01:12:44,240 --> 01:12:48,519
Speaker 2: Yes, yeah, all the wonderful technology they utilize, and yeah,

1313
01:12:48,560 --> 01:12:52,240
Speaker 2: the youthful rebellion energy of this film is really strong, because, yeah,

1314
01:12:52,280 --> 01:12:55,120
Speaker 2: certainly there's the hippie vibe and all of the late sixties,

1315
01:12:55,160 --> 01:12:58,080
Speaker 2: but also at heart we have a pair of young lovers,

1316
01:12:58,320 --> 01:13:01,439
Speaker 2: our power couple here, for whom all this crime is

1317
01:13:01,520 --> 01:13:04,240
Speaker 2: mere for play, for whom money is a mere tool

1318
01:13:04,400 --> 01:13:07,360
Speaker 2: in their romance, while at the same time money is

1319
01:13:07,479 --> 01:13:11,880
Speaker 2: just the all consuming and all corrupting power of the

1320
01:13:11,880 --> 01:13:15,280
Speaker 2: elder authorities on both sides of the law. So their enemies,

1321
01:13:15,920 --> 01:13:19,240
Speaker 2: law and crime, now united and maybe not that dissimilar,

1322
01:13:20,240 --> 01:13:23,960
Speaker 2: are coming after their love. But I think we'll find

1323
01:13:24,000 --> 01:13:28,320
Speaker 2: that they underestimate the power of their love. So very

1324
01:13:28,360 --> 01:13:31,719
Speaker 2: strong our love versus the world vibes in this movie.

1325
01:13:31,840 --> 01:13:35,559
Speaker 3: I think that's an excellent, correct and profound interpretation. Yeah,

1326
01:13:35,600 --> 01:13:39,000
Speaker 3: that's exactly what's going on. So the only real threat

1327
01:13:39,080 --> 01:13:43,080
Speaker 3: to Diabolic and Eva is a threat to their integrity

1328
01:13:43,120 --> 01:13:46,599
Speaker 3: as a couple. So here we get the next attack.

1329
01:13:47,120 --> 01:13:49,280
Speaker 3: The next act, Eva is kidnapped.

1330
01:13:50,479 --> 01:13:53,880
Speaker 2: Yeah, the whole doctor's angle thing pays off, and he

1331
01:13:53,960 --> 01:13:57,400
Speaker 2: shows up with his goons. They murder the doctor and

1332
01:13:57,439 --> 01:13:58,360
Speaker 2: they kidnap Eva.

1333
01:13:59,240 --> 01:14:02,000
Speaker 3: That's right of Valmont personally shows up at the doctor's

1334
01:14:02,040 --> 01:14:05,160
Speaker 3: office to kill the doctor by shooting him with a

1335
01:14:05,200 --> 01:14:08,840
Speaker 3: machine gun in an ex pattern, and I think he says,

1336
01:14:08,880 --> 01:14:11,000
Speaker 3: like I told you, I would mark your name off

1337
01:14:11,000 --> 01:14:15,360
Speaker 3: of the human register. And so, of course, now Eva's

1338
01:14:15,360 --> 01:14:18,559
Speaker 3: been kidnapped, Diabolic will do anything to save her. So

1339
01:14:18,680 --> 01:14:22,280
Speaker 3: he calls Valmont. Apparently Valmont placed like an ad in

1340
01:14:22,320 --> 01:14:26,519
Speaker 3: the classifieds trying to sell her jaguar, her jaguar, and

1341
01:14:26,600 --> 01:14:30,120
Speaker 3: that is how Diabolic knows who to contact. He calls

1342
01:14:30,160 --> 01:14:33,280
Speaker 3: him up, he says, what do you want? And Valmont says,

1343
01:14:33,320 --> 01:14:36,840
Speaker 3: I want ten million dollars plus an emerald necklace, and

1344
01:14:36,920 --> 01:14:41,360
Speaker 3: so Diabolic says, I will pay. So Valmont lures Diabolic

1345
01:14:41,439 --> 01:14:44,080
Speaker 3: onto his private airplane, the one, the one with the

1346
01:14:44,080 --> 01:14:46,120
Speaker 3: trapdoor in the floor that will launch you out of

1347
01:14:46,120 --> 01:14:49,759
Speaker 3: the fuselage. So a Diabolic brings the money, he brings

1348
01:14:49,800 --> 01:14:53,360
Speaker 3: the necklace. But what happens here? We get another great reversal?

1349
01:14:54,200 --> 01:14:58,040
Speaker 2: Oh yeah, because you know, Valmont could shoot him right

1350
01:14:58,040 --> 01:15:00,000
Speaker 2: there on the plane, right he could drop him out

1351
01:15:00,000 --> 01:15:02,760
Speaker 2: out of that trap door, and it looks like that's

1352
01:15:02,760 --> 01:15:05,879
Speaker 2: where it's going. But then no, I mean, he's Valmont's

1353
01:15:05,880 --> 01:15:07,559
Speaker 2: too cruel and evil for this. He has some other

1354
01:15:07,640 --> 01:15:09,840
Speaker 2: kind of scheme in mind, it would seem. But on

1355
01:15:09,840 --> 01:15:12,040
Speaker 2: the other level, we also know he's working with the police.

1356
01:15:12,439 --> 01:15:16,920
Speaker 2: He this whole thing, this whole uh, this whole cooperation

1357
01:15:17,120 --> 01:15:21,280
Speaker 2: is about turning Diabolic over alive to law enforcement. So

1358
01:15:21,320 --> 01:15:23,120
Speaker 2: He's like, no, if you want Eva, you need to

1359
01:15:23,160 --> 01:15:25,639
Speaker 2: take this parachute and jump out of the trap door.

1360
01:15:26,120 --> 01:15:30,560
Speaker 2: He opens the trap door, but then oh crap, Diabolic

1361
01:15:31,040 --> 01:15:34,040
Speaker 2: has he has the the parachute on and he grabs

1362
01:15:34,120 --> 01:15:37,080
Speaker 2: Valmont and then pulls him with him as they both

1363
01:15:37,240 --> 01:15:40,480
Speaker 2: fall out of the airplane, and then as they're plummeting,

1364
01:15:40,680 --> 01:15:42,559
Speaker 2: the airplane explodes above them.

1365
01:15:42,920 --> 01:15:46,439
Speaker 3: That's right, so Diabolic says, I brought a magnetic I

1366
01:15:46,439 --> 01:15:48,920
Speaker 3: guess a bomb with him to blow up the airplane.

1367
01:15:49,520 --> 01:15:52,800
Speaker 3: And now he's got Valmont. He's like interrogating Valmont as

1368
01:15:52,840 --> 01:15:55,760
Speaker 3: they're plummeting through the air about like you know, who's

1369
01:15:55,960 --> 01:15:58,240
Speaker 3: are the police down there? And he admits, yes, they are.

1370
01:15:58,360 --> 01:16:00,920
Speaker 3: Is Eva down there? And he says, yes, is. So

1371
01:16:01,000 --> 01:16:04,040
Speaker 3: they parachute into this trap and Diabolic does manage to

1372
01:16:04,080 --> 01:16:07,160
Speaker 3: rescue Eva, but the police are waiting for him, so

1373
01:16:08,080 --> 01:16:10,240
Speaker 3: he sends Eva off on her own to escape while

1374
01:16:10,240 --> 01:16:12,639
Speaker 3: he draws the fire of the police, and then there's

1375
01:16:12,640 --> 01:16:15,839
Speaker 3: a big shootout the police and the Valmont, the Valmont,

1376
01:16:15,880 --> 01:16:18,679
Speaker 3: the police and Valmont on one side, Diabolic on the other.

1377
01:16:18,720 --> 01:16:22,599
Speaker 3: They've got him surrounded and at one point Diabolic seems

1378
01:16:22,640 --> 01:16:25,679
Speaker 3: out of Ammo or something maybe, but he has an idea.

1379
01:16:25,760 --> 01:16:27,600
Speaker 3: You see him look at like the clip on his

1380
01:16:27,720 --> 01:16:31,040
Speaker 3: machine gun, and then the voices going backwards up the

1381
01:16:31,080 --> 01:16:33,759
Speaker 3: slide play and ooh, you know, the hair is raised

1382
01:16:33,760 --> 01:16:36,000
Speaker 3: on the back of my neck. Something good's gonna happen.

1383
01:16:36,520 --> 01:16:40,120
Speaker 3: Diabolic pops out and he shoots Valmont dead, and then

1384
01:16:40,160 --> 01:16:42,360
Speaker 3: you see him take some kind of pill. So the

1385
01:16:42,400 --> 01:16:45,760
Speaker 3: police come and find him, and Diabolic himself appears to

1386
01:16:45,800 --> 01:16:49,360
Speaker 3: be dead when they find him, and we see Inspector

1387
01:16:49,439 --> 01:16:52,080
Speaker 3: Jenko later he's talking to a colleague of his and

1388
01:16:52,120 --> 01:16:54,280
Speaker 3: saying in a way it says, though he's become part

1389
01:16:54,280 --> 01:16:57,439
Speaker 3: of my life. I can't believe he's really dead. And

1390
01:16:57,479 --> 01:17:00,280
Speaker 3: you know what, Inspector, I can't believe it either. I

1391
01:17:00,360 --> 01:17:01,360
Speaker 3: don't think he is.

1392
01:17:02,120 --> 01:17:04,439
Speaker 2: We thought he was dead at least one other time

1393
01:17:04,439 --> 01:17:06,320
Speaker 2: in the film, and it seems like it's probably something

1394
01:17:06,360 --> 01:17:08,400
Speaker 2: that happens every time he pulls.

1395
01:17:08,200 --> 01:17:10,760
Speaker 3: Off high that's right. So we later we're in the

1396
01:17:10,800 --> 01:17:14,800
Speaker 3: morgue and we see doctors preparing diabolics body for an autopsy,

1397
01:17:15,160 --> 01:17:17,200
Speaker 3: but just as the scalpel is about to go in,

1398
01:17:17,320 --> 01:17:22,360
Speaker 3: his eyes pop open. Oh is still alive, and one

1399
01:17:22,400 --> 01:17:26,040
Speaker 3: of the doctors is Eva in disguise, and we get

1400
01:17:26,040 --> 01:17:30,000
Speaker 3: a whole explanation. Diabolic says he used a pill that

1401
01:17:30,320 --> 01:17:34,080
Speaker 3: was I think originally used by Tibetan lamas to enter

1402
01:17:34,120 --> 01:17:36,519
Speaker 3: a state of apparent death. And he says, if you

1403
01:17:36,600 --> 01:17:39,400
Speaker 3: let it go for twenty four hours without the antidote,

1404
01:17:39,520 --> 01:17:43,400
Speaker 3: the death becomes permanent and real. But Eva delivered the

1405
01:17:43,439 --> 01:17:45,920
Speaker 3: antidote just in time to save him. She got there

1406
01:17:46,000 --> 01:17:47,960
Speaker 3: just like with seconds to spare.

1407
01:17:48,600 --> 01:17:50,120
Speaker 2: They like to play it close to the edge.

1408
01:17:50,320 --> 01:17:51,920
Speaker 3: Oh, but then he gets back on the table and

1409
01:17:51,920 --> 01:17:53,679
Speaker 3: they cover him up with the cloth and she wheels

1410
01:17:53,760 --> 01:17:56,200
Speaker 3: him out through the crowd of police and reporters, which

1411
01:17:56,240 --> 01:17:59,679
Speaker 3: was hilarious. Then if that wasn't a good enough twist,

1412
01:18:00,080 --> 01:18:03,760
Speaker 3: second twist, which is just amazing. So there's a moment

1413
01:18:03,760 --> 01:18:06,679
Speaker 3: where the police are talking about Valmont's death as well.

1414
01:18:06,680 --> 01:18:09,160
Speaker 3: They're like, oh, we got the reports from his autopsy.

1415
01:18:09,520 --> 01:18:13,360
Speaker 3: Turns out he died of eleven gunshot wounds. And then

1416
01:18:13,400 --> 01:18:16,559
Speaker 3: Inspector Jenko, you see, if we get like his inner monologue,

1417
01:18:16,600 --> 01:18:21,000
Speaker 3: he says, eleven bullets, eleven emeralds. There were eleven emeralds

1418
01:18:21,000 --> 01:18:24,800
Speaker 3: on the necklace, and then cut to Diabolic already at

1419
01:18:24,800 --> 01:18:28,920
Speaker 3: the morgue, pretending to be a relative of Valmont's, talking

1420
01:18:28,960 --> 01:18:31,200
Speaker 3: to the funeral director, saying like he was, he was

1421
01:18:31,360 --> 01:18:37,120
Speaker 3: really a good boy Valmont's. He's there to collect Valmont's ashes,

1422
01:18:37,160 --> 01:18:41,880
Speaker 3: which now contain the emeralds that Diabolic I think somehow

1423
01:18:42,000 --> 01:18:45,840
Speaker 3: used as bullets to shoot into Valmont's body back in

1424
01:18:45,880 --> 01:18:47,639
Speaker 3: the desert that they parachuted into.

1425
01:18:48,080 --> 01:18:50,360
Speaker 2: And now I think I think that's the idea. As

1426
01:18:50,439 --> 01:18:52,439
Speaker 2: ridiculous as that is, I think that's what happened.

1427
01:18:52,800 --> 01:18:56,799
Speaker 3: That is that's an all time, like top five movie twist.

1428
01:18:57,840 --> 01:19:00,000
Speaker 2: We don't understand it, but we're not as good with guns.

1429
01:19:00,160 --> 01:19:02,040
Speaker 2: Diabolic like he knows what he's doing.

1430
01:19:02,240 --> 01:19:05,920
Speaker 3: He used the emeralds as bullets. So wait a minute.

1431
01:19:05,920 --> 01:19:07,920
Speaker 3: The main villain is dealt with, and there's like a

1432
01:19:07,920 --> 01:19:09,519
Speaker 3: whole other act of the movie to go.

1433
01:19:10,360 --> 01:19:12,320
Speaker 2: Yeah, I mean, a lot of film's gonna just call

1434
01:19:12,439 --> 01:19:16,400
Speaker 2: it here, but it's clearly not presented with that kind

1435
01:19:16,400 --> 01:19:19,960
Speaker 2: of like movie capping finale kind of a feel to it. Yeah,

1436
01:19:19,960 --> 01:19:21,040
Speaker 2: clearly there's more to go.

1437
01:19:21,520 --> 01:19:24,639
Speaker 3: There's also a great lovely scene back at the hideout

1438
01:19:24,640 --> 01:19:27,639
Speaker 3: where Diabolic and Eva are. You know, they're reunited, they're

1439
01:19:27,680 --> 01:19:31,200
Speaker 3: hanging out by the pool, and Diabolic like like sticks

1440
01:19:31,240 --> 01:19:33,280
Speaker 3: all of the emeralds to Eva. He I guess he

1441
01:19:33,320 --> 01:19:35,600
Speaker 3: doesn't have the necklace part, but he has all of

1442
01:19:35,640 --> 01:19:37,719
Speaker 3: an emerald, so he just like sticks him to her skin.

1443
01:19:38,360 --> 01:19:40,920
Speaker 2: Yeah, tells her heavy birthday, and then they start kissing,

1444
01:19:40,960 --> 01:19:43,080
Speaker 2: and then they like fall into the water and presumably

1445
01:19:43,400 --> 01:19:45,559
Speaker 2: all those emeralds just fall right off of her chest

1446
01:19:45,560 --> 01:19:47,519
Speaker 2: and sink to the bottom of the pool, which is

1447
01:19:47,560 --> 01:19:51,000
Speaker 2: totally in keeping with their vibe because those emeralds have

1448
01:19:51,080 --> 01:19:54,360
Speaker 2: no intrinsic value to our power couple outside of their

1449
01:19:55,400 --> 01:19:57,559
Speaker 2: their role in enhancing their romance.

1450
01:19:57,680 --> 01:19:59,840
Speaker 3: Right, They're not going to sell these on a secondary market.

1451
01:20:00,000 --> 01:20:02,679
Speaker 3: We don't care about the cash value of the emeralds.

1452
01:20:02,760 --> 01:20:06,000
Speaker 3: They only matter as a token of love, that's right.

1453
01:20:06,920 --> 01:20:09,040
Speaker 3: So the last heist I am going to cover in

1454
01:20:09,160 --> 01:20:13,160
Speaker 3: less detail, but this one has a really fun, ludicrous

1455
01:20:13,200 --> 01:20:16,960
Speaker 3: premise as well. So the new plan to catch Diabolic

1456
01:20:17,080 --> 01:20:19,879
Speaker 3: is there's a one million dollar reward for his capture,

1457
01:20:20,760 --> 01:20:24,519
Speaker 3: and in response, Diabolic destroys all of the government's tax

1458
01:20:24,600 --> 01:20:28,120
Speaker 3: offices and records. And then we see Terry Thomas coming

1459
01:20:28,120 --> 01:20:31,479
Speaker 3: on TV actually kind of again squirming and saying I

1460
01:20:31,520 --> 01:20:35,760
Speaker 3: APPEALTLS sense of national pride. Please pay your taxes. You

1461
01:20:35,800 --> 01:20:38,439
Speaker 3: know we don't have any record of what you owe anymore.

1462
01:20:39,200 --> 01:20:40,920
Speaker 3: I know you will not turn your back on.

1463
01:20:40,960 --> 01:20:45,280
Speaker 2: Me, he says, absolutely hilarious. Yeah, we're on the honor

1464
01:20:45,320 --> 01:20:46,840
Speaker 2: system now right.

1465
01:20:47,400 --> 01:20:49,879
Speaker 3: And for some I don't remember the mechanics they explained,

1466
01:20:49,880 --> 01:20:53,519
Speaker 3: But this leads to the creation of the ingot, one

1467
01:20:53,520 --> 01:20:57,080
Speaker 3: of the funniest plot devices I can think of any movie.

1468
01:20:57,200 --> 01:21:00,679
Speaker 3: They say they're going to create a single giant ingot

1469
01:21:00,720 --> 01:21:03,240
Speaker 3: of gold. It's like the size of a tanker truck.

1470
01:21:03,720 --> 01:21:06,799
Speaker 3: I think the idea is that it will be harder

1471
01:21:06,840 --> 01:21:07,880
Speaker 3: to steal this way.

1472
01:21:08,360 --> 01:21:10,360
Speaker 2: Yeah, it's just too big to steal. He could steal

1473
01:21:10,520 --> 01:21:13,479
Speaker 2: a lot of little gold bars, or maybe some amount

1474
01:21:13,479 --> 01:21:14,960
Speaker 2: of the gold bars, but if we just made one

1475
01:21:14,960 --> 01:21:18,080
Speaker 2: gigantic gold bar, surely he would not be able to

1476
01:21:18,120 --> 01:21:21,400
Speaker 2: steal this. Again, this is just like almost folkloric and

1477
01:21:21,439 --> 01:21:22,760
Speaker 2: mythic qualities to it.

1478
01:21:23,040 --> 01:21:26,360
Speaker 3: Can diabolic steal it? Of course he can diabolic and

1479
01:21:26,400 --> 01:21:29,559
Speaker 3: Eva together they do some great tag teaming. They work

1480
01:21:29,600 --> 01:21:34,520
Speaker 3: together to this one involves like car chases and submarines.

1481
01:21:34,560 --> 01:21:37,920
Speaker 3: There is some underwater stuff, but it's not too much

1482
01:21:38,040 --> 01:21:38,920
Speaker 3: underwater stuff.

1483
01:21:39,280 --> 01:21:42,080
Speaker 2: Yeah, they keep it to sub thunderball levels to maintain

1484
01:21:42,120 --> 01:21:42,639
Speaker 2: our interest.

1485
01:21:42,920 --> 01:21:46,120
Speaker 3: Right, So eventually Diabolic and Eva get the gold and

1486
01:21:46,160 --> 01:21:48,640
Speaker 3: get back to the secret hideout. But how are they

1487
01:21:48,680 --> 01:21:51,439
Speaker 3: going to get the gold out of the steel case

1488
01:21:51,560 --> 01:21:54,920
Speaker 3: that it has been enclosed in. So the plan is

1489
01:21:55,000 --> 01:21:57,200
Speaker 3: they like drill a hole in the case and they're

1490
01:21:57,200 --> 01:21:59,840
Speaker 3: going to melt the gold out of there, so it'll

1491
01:22:00,120 --> 01:22:03,479
Speaker 3: run out through the hole. And Diabolic is going to

1492
01:22:03,560 --> 01:22:05,880
Speaker 3: do this using a suit, he says, with such thermal

1493
01:22:05,960 --> 01:22:08,000
Speaker 3: protection that it would allow you to walk on the

1494
01:22:08,040 --> 01:22:09,280
Speaker 3: surface of the sun.

1495
01:22:09,600 --> 01:22:10,479
Speaker 2: No questioning that.

1496
01:22:10,920 --> 01:22:14,799
Speaker 3: But uh oh, police raid on the hideout. They finally

1497
01:22:14,880 --> 01:22:17,440
Speaker 3: discovered Diabolic and EVAs.

1498
01:22:18,200 --> 01:22:22,160
Speaker 2: They radiated part of the gold or the container won

1499
01:22:22,360 --> 01:22:25,720
Speaker 2: so that they could track him. And so now the

1500
01:22:25,760 --> 01:22:28,240
Speaker 2: gig is truly up, Like the police are starting to

1501
01:22:28,360 --> 01:22:29,479
Speaker 2: raid the bat cave.

1502
01:22:29,600 --> 01:22:32,280
Speaker 3: That's right. So the police come there, they're shooting at

1503
01:22:32,320 --> 01:22:34,479
Speaker 3: him and all this there's a big final showdown with

1504
01:22:34,520 --> 01:22:40,200
Speaker 3: the police in which the molten gold from the ingot

1505
01:22:40,320 --> 01:22:45,000
Speaker 3: gets like splattered out of the case all over Diabolic

1506
01:22:45,280 --> 01:22:48,720
Speaker 3: in his thermal protection suit. So the gold is like

1507
01:22:49,000 --> 01:22:52,519
Speaker 3: flung over him like ribbons. That sort of harden in place,

1508
01:22:52,960 --> 01:22:55,720
Speaker 3: and he is frozen in this pose with his arm

1509
01:22:55,840 --> 01:22:58,679
Speaker 3: up over his head and apparently dead.

1510
01:22:59,200 --> 01:23:02,120
Speaker 2: Eva has destroy Yeah, we see part of the face

1511
01:23:02,360 --> 01:23:05,360
Speaker 2: that the glass, you know, the clear face plate of

1512
01:23:05,439 --> 01:23:08,639
Speaker 2: the suit there, and we see his eye just staring

1513
01:23:08,680 --> 01:23:13,920
Speaker 2: out his face, you know, totally totally still seemingly dead.

1514
01:23:14,400 --> 01:23:16,880
Speaker 2: And yeah, then they start doing a press conference around this,

1515
01:23:17,160 --> 01:23:20,680
Speaker 2: and you know, the inspector Jenko is like, oh, you know,

1516
01:23:20,680 --> 01:23:22,880
Speaker 2: it feels feels weird to parade his body like this.

1517
01:23:23,080 --> 01:23:26,080
Speaker 2: You know, this was an honorable foe and so forth.

1518
01:23:27,479 --> 01:23:29,840
Speaker 2: But then we get you know, the final twist, and

1519
01:23:29,880 --> 01:23:33,479
Speaker 2: it's absolutely great because in this moment, it seems like,

1520
01:23:33,920 --> 01:23:36,439
Speaker 2: you know, like their love has been defeated, you know,

1521
01:23:36,479 --> 01:23:40,479
Speaker 2: the powers that be seem victorious. Diabolic is entombed in gold,

1522
01:23:40,880 --> 01:23:44,880
Speaker 2: and as the crowd begins to depart, Eva arrives dressed

1523
01:23:44,920 --> 01:23:49,920
Speaker 2: all in black to grieve. But even this separation is

1524
01:23:50,000 --> 01:23:52,840
Speaker 2: temporary because if she's looking up, what does she see?

1525
01:23:53,479 --> 01:23:56,200
Speaker 2: She sees suddenly there's movement and he winks at her.

1526
01:23:56,560 --> 01:23:58,880
Speaker 3: I knew it was coming, but still it felt like

1527
01:23:58,920 --> 01:24:00,120
Speaker 3: It's such a pleasing.

1528
01:23:59,800 --> 01:24:03,439
Speaker 2: So absolutely yeah, and of course if you take it

1529
01:24:03,479 --> 01:24:06,960
Speaker 2: literally this is quite outlandish and unbelievable, but you know

1530
01:24:07,000 --> 01:24:10,559
Speaker 2: it really takes on this almost supernatural air death cannot

1531
01:24:10,560 --> 01:24:13,720
Speaker 2: separate them and defeat their love. Only instead of this

1532
01:24:14,040 --> 01:24:16,880
Speaker 2: being presented in kind of like a religious manner or

1533
01:24:16,920 --> 01:24:19,320
Speaker 2: certainly a horror themed flavoring, we see this kind of

1534
01:24:20,040 --> 01:24:23,519
Speaker 2: thing occurring with like our occult power couples a lot.

1535
01:24:24,120 --> 01:24:28,400
Speaker 2: But instead it's cloaked in style and super science, super crime,

1536
01:24:28,439 --> 01:24:32,479
Speaker 2: super science. You know, where our anti hero has been

1537
01:24:32,520 --> 01:24:36,599
Speaker 2: turned into art by splattering gold. But no, he's still

1538
01:24:36,600 --> 01:24:39,479
Speaker 2: alive in there, and even as that Eva is taken

1539
01:24:39,520 --> 01:24:43,240
Speaker 2: away then by the inspector, it's clear they're still hope,

1540
01:24:43,439 --> 01:24:44,919
Speaker 2: not only hope, their certainty.

1541
01:24:45,520 --> 01:24:47,880
Speaker 3: In fact, you just know she's going to find a

1542
01:24:47,880 --> 01:24:50,720
Speaker 3: way to get him out. That's right, And then they'll

1543
01:24:50,760 --> 01:24:53,080
Speaker 3: steal more. They'll steal more, by god.

1544
01:24:53,320 --> 01:24:56,040
Speaker 2: Yes, they'll just keep stealing. And then that's the end.

1545
01:24:56,400 --> 01:24:58,120
Speaker 2: And it's not at the end with a question mark.

1546
01:24:58,160 --> 01:24:59,720
Speaker 2: I thought they were going to show the question throw

1547
01:24:59,720 --> 01:25:01,160
Speaker 2: the question mark in there. But I think we do

1548
01:25:01,200 --> 01:25:03,120
Speaker 2: get one last diabolical laugh, don't we.

1549
01:25:03,640 --> 01:25:06,519
Speaker 3: I think so. I couldn't be sure, but yeah, that

1550
01:25:06,600 --> 01:25:07,120
Speaker 3: sounds right.

1551
01:25:07,560 --> 01:25:09,880
Speaker 2: If it's not there, it's implied because yeah, I think

1552
01:25:09,880 --> 01:25:13,799
Speaker 2: he looks at the camera, he winks again, he will.

1553
01:25:13,560 --> 01:25:16,840
Speaker 3: Be back danger diabolic. This has got to go on

1554
01:25:16,840 --> 01:25:19,599
Speaker 3: my best of list. This is one of my favorite

1555
01:25:19,640 --> 01:25:22,439
Speaker 3: films we've covered on Weird House Cinema. And yeah, it

1556
01:25:22,520 --> 01:25:26,040
Speaker 3: may not have that sci fi or supernatural speculative element,

1557
01:25:26,080 --> 01:25:29,240
Speaker 3: but it's also just for style reasons, one of the

1558
01:25:29,320 --> 01:25:32,280
Speaker 3: weirdest films we've done. It's pure joy.

1559
01:25:33,240 --> 01:25:36,520
Speaker 2: Absolutely, it's a really fun one, so I highly recommend

1560
01:25:36,680 --> 01:25:39,599
Speaker 2: you check it out. All Right, as we close out here,

1561
01:25:39,600 --> 01:25:42,599
Speaker 2: we're just gonna remind everybody that, yeah, as usual, stuffed

1562
01:25:42,600 --> 01:25:44,759
Speaker 2: to blow your mind as a science podcast with core

1563
01:25:45,000 --> 01:25:48,400
Speaker 2: episodes on Tuesdays and Thursdays, but on Fridays we set

1564
01:25:48,400 --> 01:25:50,840
Speaker 2: aside most serious concerns to just talk about a weird

1565
01:25:50,840 --> 01:25:53,880
Speaker 2: film here on Weird House Cinema. If you want to

1566
01:25:53,920 --> 01:25:55,479
Speaker 2: see a list of all the movies we've covered over

1567
01:25:55,560 --> 01:25:58,639
Speaker 2: the years, I blog about these movies at Sumudi music

1568
01:25:58,680 --> 01:26:02,200
Speaker 2: dot com. Also, you can go to letterbox dot com.

1569
01:26:02,200 --> 01:26:03,760
Speaker 2: It's L A T T E R B O x

1570
01:26:03,840 --> 01:26:07,000
Speaker 2: D dot com. You'll find our profile there Weird House

1571
01:26:07,040 --> 01:26:08,599
Speaker 2: and there's a whole list of all the movies we've

1572
01:26:08,640 --> 01:26:10,120
Speaker 2: covered over the years, and you can do lots of

1573
01:26:10,160 --> 01:26:12,920
Speaker 2: neat things like divide them up by year and genre

1574
01:26:12,960 --> 01:26:15,080
Speaker 2: and so forth and see what we've talked about.

1575
01:26:15,439 --> 01:26:19,040
Speaker 3: Huge thanks, as always to our regular audio producer Jjposway

1576
01:26:19,080 --> 01:26:23,080
Speaker 3: and to our guest producer today Chandler Mays. If you

1577
01:26:23,120 --> 01:26:25,680
Speaker 3: would like to get in touch with us with feedback

1578
01:26:25,720 --> 01:26:28,799
Speaker 3: on this episode or any other, to suggest a topic

1579
01:26:28,880 --> 01:26:31,200
Speaker 3: for the future, or just to say hello, you can

1580
01:26:31,240 --> 01:26:33,960
Speaker 3: email us at contact at stuff to Blow your Mind

1581
01:26:34,040 --> 01:26:41,320
Speaker 3: dot com.

1582
01:26:41,439 --> 01:26:44,400
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1583
01:26:44,479 --> 01:26:47,280
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1584
01:26:47,439 --> 01:26:50,680
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.