1
00:00:00,440 --> 00:00:06,760
Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

2
00:00:10,960 --> 00:00:14,360
Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

3
00:00:14,280 --> 00:00:15,680
Speaker 3: And this is Joe McCormick.

4
00:00:16,280 --> 00:00:19,400
Speaker 2: This week we are returning to the wild world of

5
00:00:19,440 --> 00:00:23,360
Speaker 2: Mexican cinema. Six episodes ago, we watched a non lucha

6
00:00:23,480 --> 00:00:26,799
Speaker 2: vampire film in the form of nineteen sixty two's The Brainiac,

7
00:00:27,320 --> 00:00:29,840
Speaker 2: and so it feels fitting that today's episode is a

8
00:00:29,880 --> 00:00:33,519
Speaker 2: werewolf movie, and not just any werewolf movie. It's widely

9
00:00:33,560 --> 00:00:38,360
Speaker 2: considered the first Mexican werewolf film. Nineteen sixty five's La

10
00:00:38,400 --> 00:00:39,960
Speaker 2: Loba or The.

11
00:00:39,880 --> 00:00:44,159
Speaker 3: She Wolf really the first one in nineteen sixty five, huh.

12
00:00:44,080 --> 00:00:48,240
Speaker 2: Yeah, yeah yeah, So to give that a little context

13
00:00:49,280 --> 00:00:53,680
Speaker 2: in comparison, just to the wider cinematic tradition, nineteen thirteen's

14
00:00:53,760 --> 00:00:57,760
Speaker 2: The Werewolf, which is now presumed to be lost in

15
00:00:57,760 --> 00:01:00,840
Speaker 2: one of the studio fires. The Werewolf nineteen thirteen is

16
00:01:00,840 --> 00:01:04,560
Speaker 2: considered to be the very first werewolf film period, and

17
00:01:04,800 --> 00:01:09,759
Speaker 2: interestingly enough, it too centers around a female werewolf. So

18
00:01:10,240 --> 00:01:13,759
Speaker 2: I'd been wanting to cover some sort of female werewolf

19
00:01:13,760 --> 00:01:17,360
Speaker 2: movie for a while here. Most of your werewolf films,

20
00:01:17,880 --> 00:01:21,840
Speaker 2: they tend to employ some sort of a male, hyper

21
00:01:21,920 --> 00:01:24,240
Speaker 2: masculine werewolf. We'll get into some of this in a bit,

22
00:01:24,920 --> 00:01:27,080
Speaker 2: and looking around, it's like some of the possibilities for

23
00:01:27,280 --> 00:01:30,160
Speaker 2: like a female centered werewolf film. I mean, there are

24
00:01:30,200 --> 00:01:34,200
Speaker 2: some standouts. Ginger Snaps is often held up as a

25
00:01:34,280 --> 00:01:38,800
Speaker 2: kind of a classic of its own sort. There's nineteen

26
00:01:38,800 --> 00:01:42,399
Speaker 2: seventy six is Werewolf Woman starring Anique Borel, which is

27
00:01:42,480 --> 00:01:46,080
Speaker 2: pretty great if you're looking for grindhouse ridiculousness. And then,

28
00:01:46,120 --> 00:01:48,440
Speaker 2: of course, female werewolves also play into a number of

29
00:01:48,480 --> 00:01:51,520
Speaker 2: really good lik in films. Joe Dante is the Howling

30
00:01:51,600 --> 00:01:54,560
Speaker 2: for one. Two thousand and seven's Trick or Treat has

31
00:01:54,600 --> 00:01:57,120
Speaker 2: some really cool female werewolves in one of its sequences

32
00:01:57,120 --> 00:02:01,560
Speaker 2: if I remember correctly. For my money, however, none of

33
00:02:01,560 --> 00:02:04,680
Speaker 2: these films are as great as a Lolova. Lelova, I think,

34
00:02:04,720 --> 00:02:08,800
Speaker 2: does a great job of telling its own little mad

35
00:02:08,880 --> 00:02:15,279
Speaker 2: science infused Gothic horror tale with lots of werewolf intrigue

36
00:02:16,280 --> 00:02:17,920
Speaker 2: and just some terrifying sequences.

37
00:02:17,960 --> 00:02:21,760
Speaker 3: In general, I have some real questions about the backstory

38
00:02:21,880 --> 00:02:26,520
Speaker 3: in this movie. There are hints as to where the

39
00:02:26,520 --> 00:02:28,600
Speaker 3: were wolves came from, or I'd say more than hints.

40
00:02:28,639 --> 00:02:31,520
Speaker 3: It is strongly suggested where the were wolves came from,

41
00:02:31,919 --> 00:02:36,600
Speaker 3: but we're not exactly told, and there are elements that

42
00:02:36,760 --> 00:02:39,520
Speaker 3: don't really fit with other elements of the story, Like

43
00:02:40,240 --> 00:02:45,000
Speaker 3: it is suggested that doctor Bernstein's research is what created

44
00:02:45,160 --> 00:02:48,760
Speaker 3: the two main werewolves in this movie. But also there's

45
00:02:48,800 --> 00:02:52,720
Speaker 3: a character who seems to have pursued a werewolf around

46
00:02:52,800 --> 00:02:56,200
Speaker 3: the world searching for revenge, and that doesn't fit with

47
00:02:56,240 --> 00:02:58,720
Speaker 3: the Bernstein thing. So I don't know what's going on,

48
00:02:58,840 --> 00:03:02,600
Speaker 3: but I like the ambiguity, as I often do, and

49
00:03:02,960 --> 00:03:05,840
Speaker 3: maybe I'm on record saying this about enough films at

50
00:03:05,840 --> 00:03:08,360
Speaker 3: this point that is just a part of what my

51
00:03:08,440 --> 00:03:10,480
Speaker 3: taste is. But I kind of like it when it's

52
00:03:10,480 --> 00:03:12,600
Speaker 3: not exactly clear what the backstory is.

53
00:03:13,320 --> 00:03:16,400
Speaker 2: Yeah, this film does have its ambiguity about it, and

54
00:03:16,840 --> 00:03:19,720
Speaker 2: I want to drive home that the tone is pretty

55
00:03:19,760 --> 00:03:23,680
Speaker 2: serious and ultimately quite grizzly and grim, especially for the

56
00:03:23,720 --> 00:03:26,880
Speaker 2: time period. This is not, again, not a luchador or

57
00:03:26,960 --> 00:03:31,200
Speaker 2: luchadora movie. Nobody in a shining mask is going to

58
00:03:31,240 --> 00:03:32,480
Speaker 2: show up and save the day.

59
00:03:33,320 --> 00:03:36,600
Speaker 3: No, though more loosely defined, there is a good bit

60
00:03:36,640 --> 00:03:39,160
Speaker 3: of wrestling in it, it doesn't have like all the

61
00:03:39,160 --> 00:03:42,400
Speaker 3: definable moves that you see in a Luca film, even

62
00:03:42,440 --> 00:03:46,400
Speaker 3: the Luca genre crossovers, but it does have a lot

63
00:03:46,440 --> 00:03:48,680
Speaker 3: of like grappling and rolling around.

64
00:03:49,120 --> 00:03:51,520
Speaker 2: Yeah. Yeah, there is a brawl towards the end of

65
00:03:51,520 --> 00:03:54,840
Speaker 2: the picture that I look forward to talking about. And

66
00:03:54,880 --> 00:03:59,440
Speaker 2: while it is not strongly Luca in its vibe, there's

67
00:03:59,480 --> 00:04:01,360
Speaker 2: a little lou just sprinkled in there. I mean, it

68
00:04:01,400 --> 00:04:04,400
Speaker 2: was unavoidable. So yeah, we'll come back to that in

69
00:04:04,440 --> 00:04:07,560
Speaker 2: a bit. Coming back to the female werewolf aspect of

70
00:04:07,800 --> 00:04:11,240
Speaker 2: the movie, We've had plenty of tales of female were wolves,

71
00:04:11,320 --> 00:04:14,080
Speaker 2: you know, dating back hundreds of years and so forth,

72
00:04:15,080 --> 00:04:18,760
Speaker 2: but again, male like inthropes often receive more attention. I'm

73
00:04:18,800 --> 00:04:21,799
Speaker 2: currently reading a book titled she Wolf, a Cultural History

74
00:04:21,800 --> 00:04:24,680
Speaker 2: of Female Werewolves that it did by Hannah Priest, and

75
00:04:24,880 --> 00:04:27,760
Speaker 2: one thing it points out is that we can often

76
00:04:28,000 --> 00:04:31,440
Speaker 2: so there's sort of like two ways. There's one primary

77
00:04:31,480 --> 00:04:35,520
Speaker 2: way you tend to see where wolf tales in general handled,

78
00:04:35,760 --> 00:04:40,320
Speaker 2: and that is to trace it back to humanity's prehistoric history,

79
00:04:40,880 --> 00:04:45,000
Speaker 2: the domestication of wild wolves, our relationship with wild wolves,

80
00:04:45,000 --> 00:04:47,880
Speaker 2: looking at wild wolves, and so forth. But one thing

81
00:04:48,080 --> 00:04:50,920
Speaker 2: that the authors in this book point out is that

82
00:04:51,000 --> 00:04:54,120
Speaker 2: you can also, perhaps more even more accurately, look at

83
00:04:54,160 --> 00:04:58,400
Speaker 2: where wolf tales is something that really emerged specifically during

84
00:04:59,279 --> 00:05:03,800
Speaker 2: an agricult era, so narratives in which a male landowner

85
00:05:03,960 --> 00:05:06,760
Speaker 2: is threatened in the case of a male werewolf, by

86
00:05:06,800 --> 00:05:10,840
Speaker 2: a dangerous outsider and in the case of female werewolves,

87
00:05:11,000 --> 00:05:15,039
Speaker 2: by a threat within his own house or community. And

88
00:05:15,080 --> 00:05:18,080
Speaker 2: as we'll discuss, it's notable, you know, perhaps by accident,

89
00:05:18,279 --> 00:05:21,960
Speaker 2: that today's film Lelova manages to reflect both of these models,

90
00:05:22,000 --> 00:05:25,000
Speaker 2: the werewolf as a threatening outsider and the werewolf as

91
00:05:25,000 --> 00:05:28,880
Speaker 2: some sort of interior threat within the family or social unit.

92
00:05:29,279 --> 00:05:30,320
Speaker 3: Oh that's interesting.

93
00:05:30,400 --> 00:05:33,520
Speaker 2: Yeah, another thing I want to say, and we'll come

94
00:05:33,560 --> 00:05:35,280
Speaker 2: back to this as well as we can get into

95
00:05:35,440 --> 00:05:39,640
Speaker 2: the specifics from the film. But cinematic werewolf visions are always,

96
00:05:39,640 --> 00:05:42,240
Speaker 2: I think a careful balancing act. How are you going

97
00:05:42,320 --> 00:05:45,200
Speaker 2: to stylishly deliver on a concept that is in many

98
00:05:45,240 --> 00:05:49,159
Speaker 2: ways like deeply rooted in the human psyche, but do

99
00:05:49,240 --> 00:05:51,920
Speaker 2: it in a believable way, make us buy into it

100
00:05:52,040 --> 00:05:55,440
Speaker 2: with our heart but also with our skepticism, you know.

101
00:05:56,560 --> 00:06:00,440
Speaker 2: And so werewolf effects can absolutely connect with us on

102
00:06:00,480 --> 00:06:02,880
Speaker 2: a primal level and a picture, but they can also

103
00:06:03,040 --> 00:06:05,799
Speaker 2: flounder and fail, and we see that occur at pretty

104
00:06:05,880 --> 00:06:08,920
Speaker 2: much every budget and artistry level. You know, you can

105
00:06:09,000 --> 00:06:11,839
Speaker 2: throw millions and millions of dollars at your werewolf effects

106
00:06:12,240 --> 00:06:15,280
Speaker 2: and it doesn't mean I'm necessarily going to buy it.

107
00:06:15,040 --> 00:06:16,400
Speaker 2: It's a fine line.

108
00:06:16,960 --> 00:06:19,080
Speaker 3: Well, yeah, and that's true on multiple levels. I mean,

109
00:06:19,120 --> 00:06:21,960
Speaker 3: in one sense, that's true of basically any monster design.

110
00:06:22,080 --> 00:06:23,719
Speaker 3: Like we've talked on the show before. I think this

111
00:06:23,800 --> 00:06:26,600
Speaker 3: came up in our episode on the Thing from Another World,

112
00:06:26,680 --> 00:06:31,800
Speaker 3: where the presence of the monster is way more than

113
00:06:31,880 --> 00:06:34,480
Speaker 3: just the monster makeup or the monster suit. It's very

114
00:06:34,560 --> 00:06:37,480
Speaker 3: much in how it is framed, how it is lit,

115
00:06:37,839 --> 00:06:39,920
Speaker 3: how much of it you get to see, and in

116
00:06:39,960 --> 00:06:44,160
Speaker 3: what context, the kind of management of music and tension

117
00:06:44,200 --> 00:06:46,520
Speaker 3: and all these things in the lead up to our

118
00:06:46,560 --> 00:06:49,280
Speaker 3: glimpse of it on the screen. So, in the context

119
00:06:49,320 --> 00:06:51,960
Speaker 3: of a movie, in a story, a monster is a

120
00:06:51,960 --> 00:06:55,320
Speaker 3: lot more than just you know, it's costume design. So yeah,

121
00:06:55,360 --> 00:06:58,720
Speaker 3: you can have cheaper costumes or cheaper makeup effects that

122
00:06:58,760 --> 00:07:01,640
Speaker 3: can be used quite well, and vice versa. But I

123
00:07:01,640 --> 00:07:03,599
Speaker 3: think maybe part of what you were getting at is

124
00:07:03,600 --> 00:07:07,320
Speaker 3: that there's something about the werewolf in particular that's kind

125
00:07:07,320 --> 00:07:10,520
Speaker 3: of difficult to manage in this way. Some movies really

126
00:07:10,560 --> 00:07:14,560
Speaker 3: do pull it off well, but it's just a kind

127
00:07:14,600 --> 00:07:19,160
Speaker 3: of monster design that's maybe harder not as easy as some.

128
00:07:19,960 --> 00:07:23,200
Speaker 2: Yeah, And it's made me think about one of the

129
00:07:23,240 --> 00:07:27,440
Speaker 2: reasons that I find myself preferring like an actor ensued

130
00:07:27,480 --> 00:07:31,800
Speaker 2: effect as opposed to CGI stop motion animatronics. And to

131
00:07:31,800 --> 00:07:34,559
Speaker 2: be clear, there are plenty of examples of CGI stop

132
00:07:34,600 --> 00:07:37,840
Speaker 2: motion and animatronic werewolves that I very much enjoy. But

133
00:07:37,920 --> 00:07:42,200
Speaker 2: I think, maybe you know, like I've been reading about

134
00:07:42,320 --> 00:07:45,160
Speaker 2: the various traditions that entail the use of a specific

135
00:07:45,200 --> 00:07:49,239
Speaker 2: animals have pelt in a werewolf transformation, or the taking

136
00:07:49,280 --> 00:07:51,800
Speaker 2: on of an animal's skin or human bodies that are

137
00:07:51,840 --> 00:07:55,760
Speaker 2: revealed when the skin of the wolf falls away or

138
00:07:55,840 --> 00:07:59,160
Speaker 2: is peeled away from the defeated monster. And of course

139
00:07:59,200 --> 00:08:03,120
Speaker 2: this goes beyond werewolf myths, but also like various transformation

140
00:08:03,240 --> 00:08:06,760
Speaker 2: into animals and transformation of animals into humans that you

141
00:08:06,840 --> 00:08:10,320
Speaker 2: find in various traditions. So I wonder if it is

142
00:08:10,360 --> 00:08:13,320
Speaker 2: important on some level, maybe even a crucial level, to

143
00:08:13,520 --> 00:08:16,640
Speaker 2: understand that we're looking at a person in a werewolf costume,

144
00:08:16,920 --> 00:08:19,680
Speaker 2: at a human dressed in a skin you know, tying

145
00:08:19,720 --> 00:08:26,239
Speaker 2: into ritualistic embodiment and shamanistic transformation underlying like the power

146
00:08:26,280 --> 00:08:28,960
Speaker 2: of cinema in these instances. I'm not saying that it's

147
00:08:29,040 --> 00:08:33,040
Speaker 2: its key to all cinema, but maybe for just Werewolf pictures,

148
00:08:32,800 --> 00:08:37,440
Speaker 2: it's like a shamanistic act where we're viewing. There is

149
00:08:37,440 --> 00:08:40,720
Speaker 2: a sacredness to watching someone like lan Jenny Junior or

150
00:08:40,760 --> 00:08:42,439
Speaker 2: Paul Nashi perform their art.

151
00:08:42,960 --> 00:08:44,840
Speaker 3: Yes, I can see what you're saying. So like the

152
00:08:45,000 --> 00:08:48,520
Speaker 3: versions of Werewolf design that look more clearly like a

153
00:08:48,559 --> 00:08:53,360
Speaker 3: person in a furry suit have a more religious feeling,

154
00:08:53,440 --> 00:08:56,080
Speaker 3: a kind of ancient mythical feeling, than the ones where

155
00:08:56,080 --> 00:09:00,280
Speaker 3: somebody is just fully transformed into a convincing cana k

156
00:09:00,440 --> 00:09:03,880
Speaker 3: nine morph like where it's just a human covered in

157
00:09:03,880 --> 00:09:07,000
Speaker 3: fur that feels more like a priest donning an animal

158
00:09:07,000 --> 00:09:08,640
Speaker 3: skin to do some kind of ritual.

159
00:09:09,000 --> 00:09:10,960
Speaker 2: Yeah, or when the person just turns into a full

160
00:09:10,960 --> 00:09:13,160
Speaker 2: blown German shepherd right there on the screen, which we've

161
00:09:13,160 --> 00:09:13,800
Speaker 2: seen before.

162
00:09:14,760 --> 00:09:17,079
Speaker 3: I might come back to more about how this movie's

163
00:09:17,120 --> 00:09:20,120
Speaker 3: form of where Wolf fits more into movie history, but

164
00:09:20,360 --> 00:09:21,680
Speaker 3: maybe later in the plot section.

165
00:09:22,240 --> 00:09:25,440
Speaker 2: All right, moving on to elevator pitch mine is simply

166
00:09:25,800 --> 00:09:27,680
Speaker 2: house of usher, but make it wear wolves.

167
00:09:27,920 --> 00:09:34,040
Speaker 3: Yep, there's some weird family energy here, like arriving at

168
00:09:34,240 --> 00:09:39,200
Speaker 3: a cursed mansion and somebody's you know, a suitor is

169
00:09:39,240 --> 00:09:43,920
Speaker 3: there to marry various family members. There are actually multiple versions.

170
00:09:44,120 --> 00:09:46,600
Speaker 3: I was thinking of it as if this were a

171
00:09:46,600 --> 00:09:49,520
Speaker 3: ClickHole article, it would be quiz, which of my garbage

172
00:09:49,559 --> 00:09:50,600
Speaker 3: wolf daughters are you?

173
00:09:52,440 --> 00:09:55,200
Speaker 2: That's good too, all right, So, as far as I know,

174
00:09:55,360 --> 00:09:57,520
Speaker 2: there's not a trailer for this picture, so maybe we'll

175
00:09:57,520 --> 00:09:59,720
Speaker 2: just get a little taste of some of the Spanish dialogue.

176
00:10:04,040 --> 00:10:09,680
Speaker 1: U paria sambo kan trapia.

177
00:10:10,920 --> 00:10:14,239
Speaker 3: See that that's for number in Lobo.

178
00:10:16,600 --> 00:10:25,760
Speaker 2: In love, La sieniocha existentialpaendpino te mismo.

179
00:10:26,040 --> 00:10:28,320
Speaker 3: No what I can think about?

180
00:10:34,120 --> 00:10:37,000
Speaker 2: All right, if you would like to see nineteen sixty

181
00:10:37,080 --> 00:10:39,719
Speaker 2: five's La Loba, first of all, just make sure you're

182
00:10:39,960 --> 00:10:42,440
Speaker 2: if you're looking for Lo Lobo or she Wolf, make

183
00:10:42,480 --> 00:10:44,640
Speaker 2: sure you're throwing that nineteen sixty five. Because these titles

184
00:10:44,679 --> 00:10:48,640
Speaker 2: have been used a lot. There are some DVDs floating around,

185
00:10:49,080 --> 00:10:51,640
Speaker 2: but I can't speak to their quality. I think if

186
00:10:51,679 --> 00:10:53,880
Speaker 2: I had to do it over again, I would have

187
00:10:54,000 --> 00:10:55,439
Speaker 2: gone out of my way to try and get my

188
00:10:55,520 --> 00:10:57,959
Speaker 2: hands on one of these DVDs on just the chance

189
00:10:58,040 --> 00:11:01,160
Speaker 2: that the quality could be a little better because we

190
00:11:01,280 --> 00:11:04,679
Speaker 2: had to depend on like archive dot org and some

191
00:11:04,800 --> 00:11:08,320
Speaker 2: other streaming options. They're just there's not a high quality

192
00:11:08,400 --> 00:11:10,600
Speaker 2: physical release out there as far as I can tell,

193
00:11:11,280 --> 00:11:13,880
Speaker 2: and I would love to see such a release occur

194
00:11:14,000 --> 00:11:15,160
Speaker 2: in the future for this movie.

195
00:11:15,679 --> 00:11:18,520
Speaker 3: Oh yeah, Crisp Blu ray of this would be really nice.

196
00:11:18,760 --> 00:11:21,719
Speaker 3: I would love to see what treasures there are in

197
00:11:21,800 --> 00:11:24,240
Speaker 3: all the corners of the frame. Even the version we

198
00:11:24,320 --> 00:11:27,080
Speaker 3: were watching, I think, which seems like the best streaming

199
00:11:27,120 --> 00:11:30,120
Speaker 3: option out there, it's kind of cropped, like you can't

200
00:11:30,160 --> 00:11:34,360
Speaker 3: see the full frame, and it's certainly a little bit

201
00:11:34,440 --> 00:11:37,920
Speaker 3: fuzzy around the edges everywhere. So yeah, if you're out

202
00:11:37,960 --> 00:11:39,520
Speaker 3: there and you can get the rights to this thing,

203
00:11:39,640 --> 00:11:42,040
Speaker 3: please release in the highest quality possible.

204
00:11:42,320 --> 00:11:44,920
Speaker 2: Yeah, Because I mean, this film does have its following.

205
00:11:45,000 --> 00:11:48,240
Speaker 2: It's considered a cult classic in many regards. It just

206
00:11:48,320 --> 00:11:58,600
Speaker 2: needs a better releases off. All right, let's get into

207
00:11:58,640 --> 00:12:01,319
Speaker 2: the people behind this pick sure, starting at the top

208
00:12:01,400 --> 00:12:06,560
Speaker 2: with the director. It's Rafael Baldon, who lived nineteen nineteen

209
00:12:06,640 --> 00:12:11,360
Speaker 2: through nineteen ninety four, Mexican Golden Age actor director screenwriter

210
00:12:11,520 --> 00:12:15,480
Speaker 2: and producer, whose nineteen fifty seven film The Savages was

211
00:12:15,559 --> 00:12:18,400
Speaker 2: nominated for a Golden Lion at the Venice Film Festival.

212
00:12:19,040 --> 00:12:21,640
Speaker 2: This is just one of several horror movies that he directed,

213
00:12:21,679 --> 00:12:25,280
Speaker 2: including nineteen fifty seven's Swamp of the Lost Monster, which

214
00:12:25,320 --> 00:12:28,480
Speaker 2: has a little creature from the Black Lagoon action going

215
00:12:28,520 --> 00:12:31,600
Speaker 2: on there, nineteen fifty nine's The Man and the Monster,

216
00:12:32,360 --> 00:12:35,120
Speaker 2: in nineteen sixty three He's the Curse of the Crying Woman.

217
00:12:35,520 --> 00:12:39,160
Speaker 2: Both of these two Man and Monster Crying Woman, those

218
00:12:39,200 --> 00:12:42,079
Speaker 2: had Abel Salazar in them, who was under the Brainiac.

219
00:12:42,600 --> 00:12:45,280
Speaker 2: He also did nineteen sixty four's Museum of Horror and

220
00:12:45,400 --> 00:12:47,360
Speaker 2: nineteen sixty nine's per Verse Doll.

221
00:12:48,080 --> 00:12:50,439
Speaker 3: Oh, I just realized we've talked about Swamp of the

222
00:12:50,480 --> 00:12:53,840
Speaker 3: Lost Monster before. I think it was in chat one time,

223
00:12:53,960 --> 00:12:57,439
Speaker 3: because it's one of the great examples of like mismatch

224
00:12:57,600 --> 00:13:00,480
Speaker 3: between what the monster looks like on the poster versus

225
00:13:00,600 --> 00:13:04,599
Speaker 3: in the movie. On the poster, well, you're getting the

226
00:13:04,640 --> 00:13:07,360
Speaker 3: classic the Tor Johnson framing where the monster is carrying

227
00:13:07,440 --> 00:13:11,240
Speaker 3: an unconscious woman and the monster looks like a cross

228
00:13:11,360 --> 00:13:15,439
Speaker 3: between the brain mutant from This Island Earth and Kiff

229
00:13:15,679 --> 00:13:19,559
Speaker 3: from Futurama. But in fact, in the movie it is

230
00:13:19,800 --> 00:13:23,079
Speaker 3: like it looks like a killer clownfish. I guess it

231
00:13:23,640 --> 00:13:26,560
Speaker 3: looks like a weird little fish with teeth going eh,

232
00:13:27,559 --> 00:13:30,000
Speaker 3: nothing like it. And also there's another poster for this

233
00:13:30,120 --> 00:13:32,719
Speaker 3: movie that is boring as all get out, doesn't have

234
00:13:32,840 --> 00:13:34,640
Speaker 3: the monster on it and instead it's just like a

235
00:13:34,720 --> 00:13:37,760
Speaker 3: cowboy on horseback. Why would you make that your your

236
00:13:37,880 --> 00:13:38,920
Speaker 3: monster movie poster.

237
00:13:39,920 --> 00:13:42,280
Speaker 2: I don't know. Maybe in some markets you were going

238
00:13:42,360 --> 00:13:45,559
Speaker 2: more for the cowboy film crowd as opposed to the

239
00:13:45,640 --> 00:13:46,760
Speaker 2: monster movie film crowd.

240
00:13:46,800 --> 00:13:50,040
Speaker 3: I don't know. Well, having seen Loloba, now I'm impressed

241
00:13:50,160 --> 00:13:52,200
Speaker 3: enough that I do want to seek out these other movies.

242
00:13:52,880 --> 00:13:55,880
Speaker 2: All right, Moving on to the story and screenplay credit,

243
00:13:56,000 --> 00:13:59,720
Speaker 2: we have Raman o'ban, who lived nineteen sixteen through nineteen

244
00:13:59,760 --> 00:14:03,720
Speaker 2: six costa Rican born writer whose credits include a number

245
00:14:03,760 --> 00:14:08,360
Speaker 2: of Lucca horror western in action films, including Swamp of

246
00:14:08,400 --> 00:14:12,199
Speaker 2: the Lost Monster nineteen fifty Eight's The Vampire's Coffin with

247
00:14:12,320 --> 00:14:15,360
Speaker 2: Abel Salazar nineteen fifty nine, is The Black Pit of

248
00:14:15,440 --> 00:14:19,720
Speaker 2: Doctor m. Perverse Doll nineteen seventy six is Santo versus

249
00:14:19,800 --> 00:14:22,480
Speaker 2: the She Wolves, which yeah, we had to have some

250
00:14:22,640 --> 00:14:26,640
Speaker 2: Lady werewolves in that as well, seventy seven's The Black Widow,

251
00:14:26,960 --> 00:14:30,120
Speaker 2: and he also directed nineteen sixty five's one hundred Cries

252
00:14:30,160 --> 00:14:33,280
Speaker 2: of Terror. Just one hundred, just one hundred. I mean,

253
00:14:33,320 --> 00:14:35,400
Speaker 2: you know, you have to fit it all within a

254
00:14:35,480 --> 00:14:41,080
Speaker 2: certain run time. But yeah, he's the historian screenplay credit here.

255
00:14:41,200 --> 00:14:42,840
Speaker 2: And I have to say, I think it's a nice

256
00:14:42,920 --> 00:14:46,760
Speaker 2: amalgam of gothic horror and mad science, with a kind

257
00:14:46,840 --> 00:14:50,560
Speaker 2: of like provincial Mexican feel to it as well, like

258
00:14:50,640 --> 00:14:52,080
Speaker 2: almost a full Carr vibe.

259
00:14:52,600 --> 00:14:55,320
Speaker 3: When does this movie take place?

260
00:14:56,440 --> 00:14:57,560
Speaker 2: That is a great question.

261
00:14:58,040 --> 00:15:02,360
Speaker 3: Definitely riding around in cart yeah, like horse strong buggies,

262
00:15:02,480 --> 00:15:04,760
Speaker 3: and I don't think we ever see a motor car

263
00:15:05,000 --> 00:15:09,120
Speaker 3: in the film. And yet there are industrial freezers. There's

264
00:15:09,160 --> 00:15:12,040
Speaker 3: like a walk in freezer, and microscopes and the.

265
00:15:12,160 --> 00:15:15,680
Speaker 2: Most advanced microscope. We were looking at it. It just

266
00:15:15,720 --> 00:15:18,360
Speaker 2: looks like a standard microscope, but we're told it's very good.

267
00:15:19,320 --> 00:15:21,560
Speaker 2: All right. Well, let's move on to the cast. And

268
00:15:22,040 --> 00:15:25,720
Speaker 2: this film concerns the Fernandez family, so let's meet the

269
00:15:25,760 --> 00:15:29,000
Speaker 2: Fernandezes here. First of all, we have the patriarch of

270
00:15:29,040 --> 00:15:32,680
Speaker 2: the Fernandez family, a brilliant scientist working in the field

271
00:15:32,920 --> 00:15:39,480
Speaker 2: of Metaplasia. This is Professor Fernandez, played by Jose Eleas Moreno.

272
00:15:40,840 --> 00:15:44,200
Speaker 2: Ladies and gentlemen, it's Mexico Santa Claus himself. This is

273
00:15:44,280 --> 00:15:48,000
Speaker 2: the guy who played Santa Claus in Santa Claus, which

274
00:15:48,040 --> 00:15:50,640
Speaker 2: we previously talked about on Weird House Cinema. That film

275
00:15:50,720 --> 00:15:51,840
Speaker 2: was just six years earlier.

276
00:15:52,280 --> 00:15:56,080
Speaker 3: I thought he seemed familiar. Now. Wouldn't it have been

277
00:15:56,120 --> 00:15:59,160
Speaker 3: horrible if the Santa Claus movie ended with him getting

278
00:15:59,280 --> 00:16:01,240
Speaker 3: mauled by wolf like him this one.

279
00:16:01,760 --> 00:16:06,160
Speaker 2: Yeah, that would have been tough for the kids for sure. Yeah,

280
00:16:06,200 --> 00:16:08,160
Speaker 2: he does not have a beard in this film. I

281
00:16:08,200 --> 00:16:09,720
Speaker 2: don't think he had a beard in real life. He

282
00:16:09,760 --> 00:16:13,320
Speaker 2: does have a mustache, as does I think every male

283
00:16:13,600 --> 00:16:17,960
Speaker 2: actor in the picture, So you can't really tell anybody

284
00:16:18,000 --> 00:16:19,880
Speaker 2: apart purely based on their facial hair.

285
00:16:20,200 --> 00:16:21,400
Speaker 3: Oops, all mustaches.

286
00:16:21,720 --> 00:16:27,680
Speaker 2: Yeah. So. Moreno was an Aerial Award winning character actor,

287
00:16:27,840 --> 00:16:31,240
Speaker 2: largely known outside of the Santa Claus role for playing

288
00:16:31,320 --> 00:16:35,880
Speaker 2: heavies and sometimes villains. His other credits include nineteen fifty

289
00:16:35,920 --> 00:16:37,520
Speaker 2: two is the Magnificent Beast.

290
00:16:37,560 --> 00:16:38,080
Speaker 3: This is the one.

291
00:16:38,160 --> 00:16:42,360
Speaker 2: He was awarded an Aerial Award for nineteen sixty nine's

292
00:16:42,440 --> 00:16:44,760
Speaker 2: Night of the Bloody Apes, and he also played an

293
00:16:44,840 --> 00:16:49,600
Speaker 2: ogre in Renee Cardona's nineteen fifty eight movie Polgrisito. I

294
00:16:49,640 --> 00:16:51,120
Speaker 2: think it's great for me to finally see him in

295
00:16:51,200 --> 00:16:53,680
Speaker 2: something other than Santa Claus, which I've seen so many times,

296
00:16:53,760 --> 00:16:56,000
Speaker 2: because I think he's really good here. It's a very

297
00:16:56,040 --> 00:17:01,600
Speaker 2: expressive performance. He's not a villain, but he's I guess,

298
00:17:01,760 --> 00:17:04,600
Speaker 2: kind of a morally complicated character at the center of

299
00:17:04,640 --> 00:17:05,080
Speaker 2: things here.

300
00:17:05,440 --> 00:17:11,119
Speaker 3: Well, he's a cursed, troubled man who has maybe turned

301
00:17:11,160 --> 00:17:14,000
Speaker 3: his daughter into a werewolf or just happens to be

302
00:17:14,160 --> 00:17:17,920
Speaker 3: working on werewolf related research. Meanwhile, one of his colleagues

303
00:17:17,960 --> 00:17:19,880
Speaker 3: fell in love with his daughter and turned her into

304
00:17:19,920 --> 00:17:21,200
Speaker 3: a were wolf. Which one is it?

305
00:17:21,600 --> 00:17:25,840
Speaker 2: We don't know, but he seems to hold a great

306
00:17:25,920 --> 00:17:29,240
Speaker 2: deal of guilt in this. Is it because he created

307
00:17:29,280 --> 00:17:32,680
Speaker 2: the lacanthropy that is in his daughter or daughters we

308
00:17:32,720 --> 00:17:35,359
Speaker 2: don't know early on in the picture, or is it

309
00:17:35,840 --> 00:17:39,159
Speaker 2: because he's aware of it and like out of perhaps

310
00:17:39,600 --> 00:17:42,680
Speaker 2: a bit out of like professional pride and also out

311
00:17:42,680 --> 00:17:44,879
Speaker 2: of love for his daughters, thinks that he can cure it,

312
00:17:45,400 --> 00:17:47,760
Speaker 2: even if deep down he knows that he cannot and

313
00:17:47,840 --> 00:17:51,280
Speaker 2: should have put a different stop to things earlier. You know,

314
00:17:51,480 --> 00:17:57,000
Speaker 2: it's all left rather ambiguous. Now. A note on the

315
00:17:57,080 --> 00:18:00,280
Speaker 2: Aerial Awards. By the way, I've mentioned them in passing

316
00:18:00,359 --> 00:18:01,800
Speaker 2: on the show before, and I'm going to mention them

317
00:18:01,840 --> 00:18:04,960
Speaker 2: several times here, but I'm not sure we've ever stopped

318
00:18:05,000 --> 00:18:07,639
Speaker 2: to define this for those not familiar. These are in

319
00:18:07,720 --> 00:18:10,280
Speaker 2: some ways the oscars of Mexican cinema, and they've been

320
00:18:10,359 --> 00:18:11,920
Speaker 2: going on since nineteen forty six.

321
00:18:12,520 --> 00:18:13,080
Speaker 3: All right, So.

322
00:18:13,400 --> 00:18:17,080
Speaker 2: Sticking with the Fernandez family here, we're going to move

323
00:18:17,119 --> 00:18:21,520
Speaker 2: on to Marcella de Fernandez. This is Professor Fernandez's wife

324
00:18:21,800 --> 00:18:26,800
Speaker 2: and mother to his two daughters, played by Columba Dominguez.

325
00:18:27,280 --> 00:18:30,959
Speaker 2: She lived nineteen twenty nine through twenty fourteen. Mexican actress,

326
00:18:31,040 --> 00:18:35,639
Speaker 2: best known for the nineteen forty nine film Maclovia, for

327
00:18:35,760 --> 00:18:39,280
Speaker 2: which she won the Best Supporting Actress Aeriel Award. Frequently

328
00:18:39,359 --> 00:18:43,720
Speaker 2: worked with Roberto Conedo and once co starred with Japanese

329
00:18:43,760 --> 00:18:47,119
Speaker 2: acting legend to Shira Mafuni in nineteen sixty one's The

330
00:18:47,240 --> 00:18:51,240
Speaker 2: Important Man, which was nominated for an Oscar. Now, I

331
00:18:51,280 --> 00:18:54,800
Speaker 2: will say it was rather confusing at times because mom

332
00:18:54,960 --> 00:18:57,280
Speaker 2: in this picture does not look any older than her

333
00:18:57,359 --> 00:19:01,119
Speaker 2: daughter's in fact, the actress here playing the mom is

334
00:19:01,200 --> 00:19:03,679
Speaker 2: only six years older than one of the actresses playing

335
00:19:03,960 --> 00:19:04,760
Speaker 2: one of the daughters.

336
00:19:05,240 --> 00:19:08,520
Speaker 3: I also found that confusing. I the first time I

337
00:19:08,640 --> 00:19:12,080
Speaker 3: watched it, I was mighty confused by the family relationships,

338
00:19:12,200 --> 00:19:16,800
Speaker 3: especially because there is I believe intentional misdirection at first

339
00:19:16,880 --> 00:19:19,639
Speaker 3: on which one of the daughters is the werewolf.

340
00:19:20,080 --> 00:19:22,840
Speaker 2: Right, Yeah, this film we've kind of already spoiled to

341
00:19:22,880 --> 00:19:25,760
Speaker 2: a certain extent. This film is sort of a werewolf

342
00:19:25,800 --> 00:19:28,440
Speaker 2: who'd done it? But I have to say doesn't lean

343
00:19:28,640 --> 00:19:32,720
Speaker 2: heavily enough on that gimmick to where it's it's absolutely necessary.

344
00:19:32,920 --> 00:19:34,880
Speaker 3: It's only a werewolf who've done it for like twenty

345
00:19:35,000 --> 00:19:37,400
Speaker 3: or thirty minutes at most. Yeah, I mean you get

346
00:19:37,480 --> 00:19:39,639
Speaker 3: to the who way before the end.

347
00:19:40,040 --> 00:19:43,240
Speaker 2: Yes, all right, Now, getting to the daughters, the Fernandez daughters,

348
00:19:43,240 --> 00:19:47,800
Speaker 2: We're gonna start with Claressa Fernandez, played by Kitty de Oyos,

349
00:19:48,280 --> 00:19:52,159
Speaker 2: who lived nineteen forty one through nineteen ninety nine. This

350
00:19:52,280 --> 00:19:54,520
Speaker 2: is the Professor's favorite daughter, or it must be so,

351
00:19:55,040 --> 00:19:58,440
Speaker 2: because she's played by our top buill performer, Golden Age

352
00:19:58,480 --> 00:20:02,520
Speaker 2: starlett Kitty Dei, an actress of stage and screen and

353
00:20:02,600 --> 00:20:05,959
Speaker 2: an enormously famous sex symbol of the day in Mexican cinema.

354
00:20:06,280 --> 00:20:09,080
Speaker 2: She's sometimes called the Marilyn Monroe of Mexico.

355
00:20:09,400 --> 00:20:10,240
Speaker 3: Hmm okay.

356
00:20:10,920 --> 00:20:13,159
Speaker 2: So she was the daughter of an opera singer and

357
00:20:13,359 --> 00:20:16,280
Speaker 2: she took to acting early, and her film credits go

358
00:20:16,400 --> 00:20:20,200
Speaker 2: back to the mid nineteen fifties. Apparently the nineteen fifty

359
00:20:20,280 --> 00:20:23,800
Speaker 2: sixth film as opposed Us in felis really Skyrocket Career.

360
00:20:23,880 --> 00:20:29,600
Speaker 2: This is like the This is like a drama about infidelity,

361
00:20:30,080 --> 00:20:32,119
Speaker 2: and she only has a bit part in it, but

362
00:20:32,440 --> 00:20:37,919
Speaker 2: it features artistic nudity or at least, you know, topless nudity,

363
00:20:38,800 --> 00:20:41,760
Speaker 2: which got a lot of people talking and ultimately Mexican

364
00:20:41,880 --> 00:20:46,720
Speaker 2: censors talking, but it very much put her on the map. Afterwards,

365
00:20:46,760 --> 00:20:50,280
Speaker 2: she often played fem fatale type characters, though appeared in

366
00:20:50,320 --> 00:20:53,800
Speaker 2: both serious films and comedies. Her best known films include

367
00:20:53,880 --> 00:20:57,680
Speaker 2: nineteen sixties to Each his Own, nineteen sixty five's Adventures

368
00:20:57,720 --> 00:20:59,680
Speaker 2: at the Center of the Earth. If you look around

369
00:21:00,200 --> 00:21:03,080
Speaker 2: online you can find some screenshots some promotional images from

370
00:21:03,119 --> 00:21:04,880
Speaker 2: that in which she's being carried around by some sort

371
00:21:04,920 --> 00:21:08,919
Speaker 2: of a bat creature, and also another couple of films

372
00:21:08,920 --> 00:21:13,199
Speaker 2: from nineteen sixty six, The Witch Riders and the Crows

373
00:21:13,280 --> 00:21:16,840
Speaker 2: are in mourning, the latter being I think, another gothic

374
00:21:16,920 --> 00:21:17,600
Speaker 2: horror picture.

375
00:21:18,240 --> 00:21:20,399
Speaker 3: Now, maybe we should have said this earlier for listeners

376
00:21:20,440 --> 00:21:22,879
Speaker 3: who were new, But as usual, we're going to be

377
00:21:22,960 --> 00:21:26,280
Speaker 3: talking about various twists and turns in the plot and reveal.

378
00:21:26,480 --> 00:21:28,640
Speaker 3: So if you want to go into the movie unspoiled,

379
00:21:28,640 --> 00:21:32,359
Speaker 3: you should probably pause and go do that now. But okay,

380
00:21:32,520 --> 00:21:36,000
Speaker 3: so now on the other side of that, Kenny Doios's

381
00:21:36,080 --> 00:21:39,159
Speaker 3: character is of course the daughter who is the werewolf,

382
00:21:39,680 --> 00:21:44,199
Speaker 3: and one thing that I did find kind of strange

383
00:21:44,480 --> 00:21:47,600
Speaker 3: was I couldn't tell exactly what they were going for,

384
00:21:47,760 --> 00:21:50,480
Speaker 3: And a couple of the transformation scenes like is this

385
00:21:50,640 --> 00:21:53,760
Speaker 3: supposed to be scary or is this supposed to be sexy?

386
00:21:53,880 --> 00:21:57,480
Speaker 3: And I think maybe it's both. Understanding her as like

387
00:21:57,680 --> 00:22:01,639
Speaker 3: a known star in Mexican cinema as the Marilyn Monroe

388
00:22:01,760 --> 00:22:05,160
Speaker 3: of Mexican cinema makes more sense of like the nude

389
00:22:05,320 --> 00:22:10,200
Speaker 3: transformation scenes where no significant nudity is revealed, But I

390
00:22:10,280 --> 00:22:13,240
Speaker 3: think clearly these scenes are supposed to be somewhat exciting

391
00:22:13,280 --> 00:22:13,840
Speaker 3: to the viewer.

392
00:22:14,480 --> 00:22:17,440
Speaker 2: Yes, yeah, I think so, And I have to say,

393
00:22:17,520 --> 00:22:20,760
Speaker 2: as a performer, perfectly fine when she's a human, but

394
00:22:20,880 --> 00:22:23,320
Speaker 2: I feel like she really shines when she's the were wolf,

395
00:22:24,280 --> 00:22:27,840
Speaker 2: and I feel like it's a really great physical performance.

396
00:22:28,280 --> 00:22:31,280
Speaker 3: Oh. I actually quite like her in some of the

397
00:22:31,359 --> 00:22:34,840
Speaker 3: human drama scenes because she brings a danger to the

398
00:22:34,960 --> 00:22:38,760
Speaker 3: character even when she's not in wolf mode. There is

399
00:22:38,880 --> 00:22:43,080
Speaker 3: a I don't know, a kind of harshness in her

400
00:22:43,200 --> 00:22:46,320
Speaker 3: eyes where there are things that are never said out

401
00:22:46,400 --> 00:22:49,560
Speaker 3: loud in the film. But you since that maybe she

402
00:22:49,880 --> 00:22:53,560
Speaker 3: is accepting of the idea that, yeah, she will transform

403
00:22:53,680 --> 00:22:56,440
Speaker 3: and go out and kill in exchange for having some

404
00:22:56,800 --> 00:23:00,000
Speaker 3: kind of some kind of other power, some kind of experience.

405
00:23:00,080 --> 00:23:01,720
Speaker 3: It's beyond life and death.

406
00:23:02,720 --> 00:23:04,639
Speaker 2: Oh. Absolutely, Yeah, that is a great point. I mean,

407
00:23:04,680 --> 00:23:07,800
Speaker 2: she does have a terrific monologue about all of this

408
00:23:08,000 --> 00:23:10,680
Speaker 2: later on in the picture. And oh and then that

409
00:23:10,800 --> 00:23:13,400
Speaker 2: great piano playing sequence which you'll get to as well.

410
00:23:13,720 --> 00:23:16,600
Speaker 3: The piano scene, which it's almost like the piano playing

411
00:23:16,680 --> 00:23:20,719
Speaker 3: scene in Reefer Madness, but less funny and more serious

412
00:23:20,760 --> 00:23:24,320
Speaker 3: where she's It's like, right when we're coming up to

413
00:23:24,359 --> 00:23:28,520
Speaker 3: the climax of the film, she is furiously madly playing

414
00:23:28,600 --> 00:23:31,000
Speaker 3: the piano, and the lead up to win the Full

415
00:23:31,080 --> 00:23:34,040
Speaker 3: Moon is going to be revealed and she I think

416
00:23:34,200 --> 00:23:36,800
Speaker 3: it's implied that she knows she is going to change

417
00:23:36,840 --> 00:23:38,560
Speaker 3: and that she is going to kill, that she's going

418
00:23:38,640 --> 00:23:39,400
Speaker 3: to kill innocence.

419
00:23:39,880 --> 00:23:44,080
Speaker 2: Yeah. Meanwhile, her sister, Alicia Fernandez is complaining, like, you

420
00:23:44,080 --> 00:23:45,960
Speaker 2: shouldn't be playing the piano. You're supposed to be mourning

421
00:23:47,359 --> 00:23:52,480
Speaker 2: and yeah. Alicia is played by Adriana Roel. She lived

422
00:23:52,520 --> 00:23:56,040
Speaker 2: nineteen thirty four through twenty and twenty two. She was

423
00:23:56,119 --> 00:23:59,600
Speaker 2: an Aerial Award winning actress herself for nineteen seventy nine's

424
00:24:00,160 --> 00:24:03,840
Speaker 2: Anacrusa and twenty fourteen She doesn't want to sleep Alone.

425
00:24:04,200 --> 00:24:07,720
Speaker 2: She also has a supporting part in One Lopez Mantuzuma's

426
00:24:07,800 --> 00:24:11,600
Speaker 2: nineteen seventy seven horror film A Lookarta.

427
00:24:11,720 --> 00:24:13,080
Speaker 3: Spell that backwards, folks.

428
00:24:13,320 --> 00:24:15,040
Speaker 2: Yeah, and it's a Dracula.

429
00:24:17,480 --> 00:24:19,400
Speaker 3: A dracula means non Dracula.

430
00:24:21,240 --> 00:24:23,720
Speaker 2: I need to watch that one for myself. But I've

431
00:24:23,800 --> 00:24:27,560
Speaker 2: seen at least one film by one Lopez Mantuzuma and

432
00:24:27,840 --> 00:24:30,680
Speaker 2: I was very impressed by it. So at some point

433
00:24:30,840 --> 00:24:34,040
Speaker 2: I'd like to watch one of his films for weird House,

434
00:24:34,080 --> 00:24:36,159
Speaker 2: but I'm not sure just yet which one it's gonna be.

435
00:24:36,640 --> 00:24:39,520
Speaker 3: But wait, Okay, so that's the Fernandez family, but both

436
00:24:39,760 --> 00:24:42,480
Speaker 3: of the adult daughters in the Fernandez family. I was

437
00:24:42,640 --> 00:24:44,760
Speaker 3: gonna have to mention this at some point because it's

438
00:24:44,800 --> 00:24:49,399
Speaker 3: a weird plot decision. Both of the daughters, the adult

439
00:24:49,480 --> 00:24:52,800
Speaker 3: daughters are dating coworkers of the father.

440
00:24:53,640 --> 00:24:57,280
Speaker 2: Well, this is what happens when you lock your suspected

441
00:24:57,320 --> 00:25:00,159
Speaker 2: werewolf daughters up all the time. You don't let them

442
00:25:00,240 --> 00:25:02,320
Speaker 2: go out into the world and meet people. They're just

443
00:25:02,359 --> 00:25:04,399
Speaker 2: gonna end up following in love with your various like

444
00:25:04,520 --> 00:25:07,280
Speaker 2: co authors and fellow scientists.

445
00:25:07,480 --> 00:25:09,600
Speaker 3: Yeah. So the two other doctors who come to do

446
00:25:09,720 --> 00:25:13,880
Speaker 3: werewolf research at the mansion just happens to be like, Wow,

447
00:25:13,920 --> 00:25:15,960
Speaker 3: I've never seen another man before. I guess we're gonna

448
00:25:15,960 --> 00:25:16,960
Speaker 3: get married. Yeah.

449
00:25:17,200 --> 00:25:21,320
Speaker 2: Yeah, So Clarissa has a suitor in the form of

450
00:25:21,720 --> 00:25:26,720
Speaker 2: doctor Alejandro Bernstein played by Joaquim Cordero, who lived nineteen

451
00:25:26,760 --> 00:25:30,600
Speaker 2: twenty three through twenty thirteen. Mexican actor of stage, screen

452
00:25:30,640 --> 00:25:32,960
Speaker 2: and TV actor for active from the mid forties through

453
00:25:33,320 --> 00:25:37,359
Speaker 2: twenty eleven. His career particularly picked up in the nineteen

454
00:25:37,440 --> 00:25:40,920
Speaker 2: fifties when he won nineteen fifty one Aerial Award for

455
00:25:41,200 --> 00:25:44,639
Speaker 2: The Two Little Orphans. His credits include nineteen fifty four's

456
00:25:44,680 --> 00:25:48,280
Speaker 2: The River and Death. Nineteen sixty six is Doctor Satan,

457
00:25:49,080 --> 00:25:52,640
Speaker 2: in which he plays the title character Doctor Satan, who

458
00:25:52,920 --> 00:25:55,920
Speaker 2: I'm to understand is kind of like a super criminal

459
00:25:56,040 --> 00:25:58,359
Speaker 2: character and a bit of a hypnotist with maybe some

460
00:25:58,760 --> 00:26:04,480
Speaker 2: occult flavor hm okay. He returns to play Doctor Satan

461
00:26:04,560 --> 00:26:07,879
Speaker 2: Wants More in nineteen sixty eight Doctor Satan Versus Black Magic.

462
00:26:08,760 --> 00:26:11,159
Speaker 2: Then there's nineteen sixty nine's The Book of Stone, and

463
00:26:11,400 --> 00:26:13,920
Speaker 2: certainly a few Luca movies in there, including a couple

464
00:26:14,000 --> 00:26:17,639
Speaker 2: of Santo films and nineteen sixty nine's Wrestling Women Versus

465
00:26:17,720 --> 00:26:18,560
Speaker 2: The Killer Robot.

466
00:26:19,240 --> 00:26:22,640
Speaker 3: I liked this guy as well, so he is again.

467
00:26:22,720 --> 00:26:26,200
Speaker 3: He's kiddy to OOS's character's suitor, and they play well

468
00:26:26,280 --> 00:26:28,440
Speaker 3: together in their scenes. There's one of their scenes is

469
00:26:28,560 --> 00:26:32,720
Speaker 3: sort of the central motivation scene in the movie, where

470
00:26:32,760 --> 00:26:35,240
Speaker 3: he sort of explains what he wants. I'll talk about

471
00:26:35,240 --> 00:26:39,000
Speaker 3: the monologue later on, which is echoed Mike Clarissa in

472
00:26:39,080 --> 00:26:41,359
Speaker 3: a voiceover later in the film. But he gives this

473
00:26:41,520 --> 00:26:45,879
Speaker 3: monologue about how he wants some kind of secret, some

474
00:26:46,080 --> 00:26:50,320
Speaker 3: kind of pleasure or possibility that exists only beyond life.

475
00:26:50,480 --> 00:26:55,000
Speaker 3: So he's a he's got a kind of death drive embodied,

476
00:26:55,240 --> 00:26:57,880
Speaker 3: embodied in a way like he wants something that cannot

477
00:26:57,920 --> 00:27:02,040
Speaker 3: be achieved as a mortal, only be achieved beyond death.

478
00:27:02,520 --> 00:27:05,560
Speaker 3: And we really don't get a lot of explanation of

479
00:27:05,720 --> 00:27:09,240
Speaker 3: what that is except it is somehow related to lycanthropy.

480
00:27:10,280 --> 00:27:14,720
Speaker 3: And in the way he announces his desire for this

481
00:27:14,960 --> 00:27:18,399
Speaker 3: thing beyond death, he has a quality that reminds me

482
00:27:18,480 --> 00:27:22,200
Speaker 3: of some other cool characters in movies we've watched. It,

483
00:27:22,400 --> 00:27:25,439
Speaker 3: kind of like the antagonist beater Beck in the Doctor

484
00:27:25,520 --> 00:27:33,000
Speaker 3: Fibes sequel. You know, this character who is strong, driven, focused,

485
00:27:33,119 --> 00:27:36,080
Speaker 3: and kind of beyond good and evil. Not quite a villain,

486
00:27:36,200 --> 00:27:40,360
Speaker 3: but not necessarily good either, just like on a kind

487
00:27:40,359 --> 00:27:43,920
Speaker 3: of amoral quest that has no precedent.

488
00:27:44,359 --> 00:27:46,920
Speaker 2: Yeah, I think that's a good way of framing it.

489
00:27:47,359 --> 00:27:51,200
Speaker 2: So that's Clarisis suitor. But then we have another suitor

490
00:27:51,240 --> 00:27:54,320
Speaker 2: in the mix, and that is doctor Gonzalez played by

491
00:27:54,840 --> 00:27:59,400
Speaker 2: Roberto Canado who lived nineteen eighteen through nineteen ninety ninety eight.

492
00:28:00,000 --> 00:28:01,480
Speaker 2: This is an actor we've talked about on the show

493
00:28:01,520 --> 00:28:04,040
Speaker 2: before because he played the Doctor of Doom in nineteen

494
00:28:04,040 --> 00:28:08,560
Speaker 2: sixty three's Doctor of Doom the Luchadora picture. He's the

495
00:28:08,880 --> 00:28:10,720
Speaker 2: mad scientist in that one, which is a bit of

496
00:28:10,760 --> 00:28:13,840
Speaker 2: a spoiler, but a really fun role for him because

497
00:28:13,880 --> 00:28:17,240
Speaker 2: he got to play like the meek, friendly scientist but

498
00:28:17,320 --> 00:28:21,159
Speaker 2: also like his secret, true identity, that of a raving

499
00:28:21,280 --> 00:28:25,119
Speaker 2: mad man who wants to do all sorts of unspeakable

500
00:28:25,200 --> 00:28:29,840
Speaker 2: experiments and transplant I can't remember if it's I think

501
00:28:29,880 --> 00:28:33,800
Speaker 2: it's gorilla brains into or some sort of beast brains

502
00:28:33,960 --> 00:28:36,000
Speaker 2: into the bodies of luchadoras.

503
00:28:36,200 --> 00:28:39,920
Speaker 3: Yeah, transplanting gorilla brains into women, I think, or vice versa,

504
00:28:40,120 --> 00:28:42,719
Speaker 3: maybe both. Yeah, But this is a great role. It's

505
00:28:42,720 --> 00:28:45,400
Speaker 3: a great double role in that it's not that he's

506
00:28:45,440 --> 00:28:48,560
Speaker 3: playing Clark Kent and Superman is playing He's playing Clark

507
00:28:48,640 --> 00:28:49,800
Speaker 3: Kent and doctor Doom.

508
00:28:50,240 --> 00:28:53,520
Speaker 2: Yeah. So that's a fun one. Go back and watch

509
00:28:53,560 --> 00:28:55,800
Speaker 2: that one slash listening to our episode on it if

510
00:28:55,800 --> 00:29:00,400
Speaker 2: you haven't already. But Canado was a talented Mexican performer

511
00:29:00,480 --> 00:29:02,600
Speaker 2: during the golden age of Mexican cinema. He acted in

512
00:29:02,760 --> 00:29:05,400
Speaker 2: over three hundred pictures, which included a lot of B

513
00:29:05,600 --> 00:29:09,000
Speaker 2: films but also some serious dramas. On the B cinema

514
00:29:09,240 --> 00:29:11,880
Speaker 2: end of things, he pops up in several Santo Pictures,

515
00:29:12,320 --> 00:29:15,640
Speaker 2: nineteen sixty eight's The bat Woman, which is pretty great,

516
00:29:16,200 --> 00:29:19,400
Speaker 2: as well as a nineteen eighty six slasher film called

517
00:29:19,640 --> 00:29:23,280
Speaker 2: Bestia Nocturna in the nineteen eighty nine Mexican slasher film

518
00:29:23,320 --> 00:29:27,520
Speaker 2: Grave Robbers. Two of his most well received films include

519
00:29:27,840 --> 00:29:30,960
Speaker 2: Pulverina from nineteen forty nine and an adaptation of Crime

520
00:29:31,000 --> 00:29:32,680
Speaker 2: and Punishment from nineteen fifty one.

521
00:29:33,160 --> 00:29:35,520
Speaker 3: So I may have misspoke earlier when I framed both

522
00:29:35,600 --> 00:29:40,440
Speaker 3: of the medical colleagues of doctor Fernandez as like werewolf researchers.

523
00:29:41,240 --> 00:29:44,200
Speaker 3: Rob corrects me if you disagree, But I think Gonzalez

524
00:29:44,360 --> 00:29:47,200
Speaker 3: is not a werewolf researcher. I think he's just a

525
00:29:47,520 --> 00:29:51,640
Speaker 3: general medical colleague and it's only Bernstein who is working

526
00:29:51,720 --> 00:29:54,800
Speaker 3: on the werewolf frequency with Fernandez. Is that how you

527
00:29:54,920 --> 00:29:55,160
Speaker 3: took it?

528
00:29:55,560 --> 00:29:58,520
Speaker 2: Yes, Yeah, this guy's not in on any of like

529
00:29:58,680 --> 00:30:02,200
Speaker 2: the more scandalous research operations that are going on. He's

530
00:30:02,240 --> 00:30:05,960
Speaker 2: just a doctor. He's doing doctory type business in the

531
00:30:06,120 --> 00:30:10,960
Speaker 2: area and beyond, including advising the local law enforcement officers

532
00:30:11,000 --> 00:30:13,920
Speaker 2: about mutilated corpses that suddenly pop up.

533
00:30:14,360 --> 00:30:17,239
Speaker 3: Yeah, he's like, here is the attacker's blood. I can

534
00:30:17,280 --> 00:30:19,320
Speaker 3: tell you what kind of creature it came from that

535
00:30:19,440 --> 00:30:22,520
Speaker 3: sort of thing. Actually, though, in keeping with his role

536
00:30:22,640 --> 00:30:24,400
Speaker 3: in Doctor of Doom, where I said he was a

537
00:30:24,480 --> 00:30:28,520
Speaker 3: Clark Kent slash Doctor Doom. In this movie, he really

538
00:30:28,560 --> 00:30:31,880
Speaker 3: has an impressive range, which is he goes from I

539
00:30:31,960 --> 00:30:36,560
Speaker 3: would say the most kind of like handsome and capable

540
00:30:37,440 --> 00:30:41,160
Speaker 3: Indiana Jones looking character in the film to making the

541
00:30:41,320 --> 00:30:44,560
Speaker 3: goofiest reaction face I've ever seen in a movie.

542
00:30:46,080 --> 00:30:51,000
Speaker 2: He does. It happens pretty early on. He pulls this

543
00:30:51,120 --> 00:30:55,400
Speaker 2: wonderful face when he uncovers a mutilated corpse, and it's amazing.

544
00:30:56,240 --> 00:30:59,320
Speaker 2: It's like the toilet has overflown reaction face here.

545
00:31:00,560 --> 00:31:03,520
Speaker 3: Oohoo, you know what it is. It's that face they

546
00:31:03,600 --> 00:31:06,840
Speaker 3: put on YouTube thumbnails to make people click on them.

547
00:31:07,240 --> 00:31:12,600
Speaker 2: Yeah, oh yeah yeah, or Netflix thumbs for films like

548
00:31:12,720 --> 00:31:16,240
Speaker 2: if l Loba was a modern film and was featured

549
00:31:16,280 --> 00:31:18,960
Speaker 2: on Netflix, it would be this face or some other

550
00:31:19,120 --> 00:31:21,880
Speaker 2: ridiculous face that somebody's pulling. All right, we have two

551
00:31:21,960 --> 00:31:25,640
Speaker 2: more characters, two more actors. Really to highlight here. We

552
00:31:25,720 --> 00:31:28,280
Speaker 2: have a character by the name of Krumba. He's a

553
00:31:28,440 --> 00:31:31,520
Speaker 2: stoic man, kind of dread. We were talking about this

554
00:31:31,600 --> 00:31:34,640
Speaker 2: off Mike kind of dressed like a barbarian who aids

555
00:31:34,680 --> 00:31:38,160
Speaker 2: Professor Fernandez and owes him some sort of mysterious life dead.

556
00:31:38,760 --> 00:31:42,720
Speaker 3: Crumba is cool. Every time he's on screen. I was like, Okay,

557
00:31:42,800 --> 00:31:44,280
Speaker 3: we're in good hands. Yeah.

558
00:31:44,760 --> 00:31:48,920
Speaker 2: He mostly just stands around, smokes a pipe. Occasionally, man's

559
00:31:48,960 --> 00:31:52,880
Speaker 2: the Secret Passage cranks, but he has a very chill,

560
00:31:54,200 --> 00:31:58,400
Speaker 2: intimidating five So. Crumba is played by Crux Alvarado, who

561
00:31:58,400 --> 00:32:02,960
Speaker 2: lived nineteen ten through nineteen eighty four, costa Rican luchador

562
00:32:03,160 --> 00:32:07,160
Speaker 2: referee and cartoonists turned actor, best known actually for various

563
00:32:07,200 --> 00:32:09,640
Speaker 2: heart throt roles during the golden age of Mexican cinema.

564
00:32:09,680 --> 00:32:11,560
Speaker 2: If you look up pictures of him, you'll see a

565
00:32:11,600 --> 00:32:15,080
Speaker 2: lot of like very like. Sometimes he's shirtless and doing

566
00:32:15,160 --> 00:32:17,760
Speaker 2: like a you know, muscle poses. Other times, you know,

567
00:32:17,840 --> 00:32:21,880
Speaker 2: looks very dapper, with a pencil thin mustache and all.

568
00:32:22,640 --> 00:32:25,560
Speaker 2: He's perhaps best known for playing the Professor in nineteen

569
00:32:25,600 --> 00:32:28,320
Speaker 2: fifty sevens The as Tech Mummy and it's fifty eight

570
00:32:28,440 --> 00:32:31,600
Speaker 2: sequel The Robot Versus the as Tech Mummy. He's also

571
00:32:31,760 --> 00:32:34,240
Speaker 2: in nineteen sixty eight's The Batwoman Man.

572
00:32:34,320 --> 00:32:37,080
Speaker 3: I would not have guessed he played romantically. I'm not

573
00:32:37,120 --> 00:32:39,400
Speaker 3: saying he's ugly or something, but just the way he's

574
00:32:39,440 --> 00:32:41,120
Speaker 3: done up in this movie. They've got him in this

575
00:32:41,360 --> 00:32:44,440
Speaker 3: leather tunic that again it looks like like a D

576
00:32:44,600 --> 00:32:49,520
Speaker 3: and D barbarian outfit. And his hair is interesting. It's

577
00:32:49,680 --> 00:32:52,880
Speaker 3: just like straight up on top and nothing on the sides. Actually,

578
00:32:52,920 --> 00:32:56,120
Speaker 3: it's kind of like some of those trendy haircuts with

579
00:32:56,240 --> 00:32:58,080
Speaker 3: the kids, and I don't know if it's still today

580
00:32:58,160 --> 00:33:03,280
Speaker 3: but in recent years, and the pipe and everything, it's

581
00:33:03,400 --> 00:33:05,240
Speaker 3: just like it's not a heart throb look.

582
00:33:05,440 --> 00:33:08,160
Speaker 2: Yeah, yeah, kind of like a bohemian barbarian thing he's

583
00:33:08,160 --> 00:33:11,400
Speaker 2: got going on here. Later on in the picture, we

584
00:33:11,480 --> 00:33:14,160
Speaker 2: also meet a character by the name of Kazadar de

585
00:33:14,280 --> 00:33:19,800
Speaker 2: Lobos played by Noeh Murayama who lived nineteen thirty through

586
00:33:19,880 --> 00:33:23,040
Speaker 2: nineteen ninety seven. We will find out that this is

587
00:33:23,120 --> 00:33:26,160
Speaker 2: in fact a wandering foreign werewolf hunter with his own

588
00:33:26,240 --> 00:33:32,040
Speaker 2: special werewolf hunting dog named Jack. Murayama was a Mexican

589
00:33:32,120 --> 00:33:35,520
Speaker 2: actor of Japanese and Mexican descent who often played villains.

590
00:33:36,040 --> 00:33:38,880
Speaker 2: He won a claim for his performance in nineteen sixty

591
00:33:39,000 --> 00:33:44,800
Speaker 2: two's Tleo Khan and later for nineteen eighty threes Lapachanga

592
00:33:45,760 --> 00:33:47,760
Speaker 2: that was the one he was nominated for an Aerial

593
00:33:47,800 --> 00:33:51,080
Speaker 2: Award for. He also starred in some grimy nineteen eighty

594
00:33:51,120 --> 00:33:54,560
Speaker 2: eight exploitation films that have their own following. You can

595
00:33:54,600 --> 00:33:57,000
Speaker 2: look them up. I'm not going to mention the title here.

596
00:33:57,520 --> 00:33:59,520
Speaker 3: He is a cool character. I like it when he

597
00:33:59,560 --> 00:34:03,200
Speaker 3: shows up. He brings a very different layer to the film,

598
00:34:03,280 --> 00:34:07,320
Speaker 3: a kind of a folklore layer that's otherwise not there

599
00:34:07,520 --> 00:34:11,480
Speaker 3: in what is otherwise I guess a science fiction were

600
00:34:11,560 --> 00:34:16,040
Speaker 3: wolf movie. Once again brings up questions about like is

601
00:34:16,160 --> 00:34:19,160
Speaker 3: this sci fi or is this fantasy horror, because like

602
00:34:19,360 --> 00:34:23,640
Speaker 3: the implements that he has that can affect a where

603
00:34:23,719 --> 00:34:28,239
Speaker 3: wolf feel very magical in nature, not very science fiction.

604
00:34:28,840 --> 00:34:32,160
Speaker 2: Yeah, he's he is dressed kind of like a wizard. Also,

605
00:34:32,360 --> 00:34:34,319
Speaker 2: he looks very much like he could be a part

606
00:34:34,360 --> 00:34:36,920
Speaker 2: of some sort of like I'm guessing like nineteen seventies

607
00:34:37,880 --> 00:34:39,880
Speaker 2: heavy metal band kind of a thing, kind of like

608
00:34:39,960 --> 00:34:47,000
Speaker 2: a some sort of like a Japanese Mexican Black Sabbath

609
00:34:47,239 --> 00:34:49,440
Speaker 2: or something. You know, He's got all sorts of like

610
00:34:49,520 --> 00:34:53,239
Speaker 2: cool occult imagery going on. And yeah, he very much

611
00:34:53,320 --> 00:34:57,640
Speaker 2: brings the folk horror, the supernatural interpretation of the werewolf

612
00:34:57,719 --> 00:35:01,400
Speaker 2: to the table. And arguably has the better case compared

613
00:35:01,400 --> 00:35:02,080
Speaker 2: to the scientist.

614
00:35:02,640 --> 00:35:05,040
Speaker 3: Also weird that we never learn his name. We learn

615
00:35:05,120 --> 00:35:06,080
Speaker 3: his dog's name, but.

616
00:35:06,200 --> 00:35:08,680
Speaker 2: Not his Yeah. I think the name that I cited

617
00:35:08,800 --> 00:35:11,400
Speaker 2: is just from the credits. I don't remember them actually

618
00:35:11,600 --> 00:35:13,680
Speaker 2: referring to him by name. They're just kind of like, hey, stranger,

619
00:35:14,320 --> 00:35:14,799
Speaker 2: well the.

620
00:35:14,880 --> 00:35:17,719
Speaker 3: Name you said, Casador de Lobos is just a wolf hunter,

621
00:35:17,920 --> 00:35:18,720
Speaker 3: hunter of wolves.

622
00:35:19,280 --> 00:35:21,880
Speaker 2: There you go, all right? And then finally, the music

623
00:35:22,719 --> 00:35:26,280
Speaker 2: is the work of raul Lo Vista. He lived nineteen

624
00:35:26,360 --> 00:35:29,440
Speaker 2: thirteen through nineteen eighty Aeriel Award winning composer whose credits

625
00:35:29,440 --> 00:35:34,200
Speaker 2: include nineteen fifties elombresen Rostro nineteen sixty twos, The Exterminating

626
00:35:34,280 --> 00:35:37,759
Speaker 2: Angel in nineteen seventy five's Darker than Night. I have

627
00:35:37,840 --> 00:35:39,120
Speaker 2: to say effective score.

628
00:35:39,160 --> 00:35:40,759
Speaker 3: Yeah, I think so. In fact, we can talk about

629
00:35:40,760 --> 00:35:43,080
Speaker 3: it here in the opening if you want. You ready

630
00:35:43,120 --> 00:35:45,400
Speaker 3: for the plot, Yeah, let's dive right in. So we

631
00:35:45,520 --> 00:35:49,480
Speaker 3: get some great hand lettered credits playing over a misty landscape.

632
00:35:49,480 --> 00:35:51,480
Speaker 3: I think at the beginning we're looking at a hill

633
00:35:51,640 --> 00:35:54,120
Speaker 3: covered in vegetation. Honestly, it's kind of hard to tell,

634
00:35:54,880 --> 00:35:57,040
Speaker 3: but yeah, that music is playing. It's a bunch of

635
00:35:57,160 --> 00:36:02,040
Speaker 3: ominous drums. It's got skittering spider violins and horns blasting

636
00:36:02,080 --> 00:36:04,960
Speaker 3: in a minor key. So the action opens in a

637
00:36:05,080 --> 00:36:09,240
Speaker 3: cemetery on a hillside, surrounded by forest, with rude grave

638
00:36:09,400 --> 00:36:12,320
Speaker 3: markers leaning this way. In that you've got banks of

639
00:36:12,480 --> 00:36:16,520
Speaker 3: fog blowing swiftly over the earth. And we cut away

640
00:36:16,600 --> 00:36:20,040
Speaker 3: to the sky and see what I take is a

641
00:36:20,280 --> 00:36:23,919
Speaker 3: full moon. But it looks almost as bright as the sun.

642
00:36:24,239 --> 00:36:27,279
Speaker 3: And that makes sense because this was obviously shot in

643
00:36:27,400 --> 00:36:29,880
Speaker 3: the daytime, like noonday daytime.

644
00:36:30,880 --> 00:36:34,520
Speaker 2: Yeah, yeah, I After I watched the film the next day,

645
00:36:34,840 --> 00:36:37,640
Speaker 2: I showed just the opening part to my wife, and

646
00:36:38,760 --> 00:36:41,560
Speaker 2: when I pointed out, like the brightness of the quote

647
00:36:41,640 --> 00:36:45,600
Speaker 2: unquote moon and the day for night shooting here, she said, oh, no,

648
00:36:45,719 --> 00:36:49,319
Speaker 2: that's not day for night, that's just day. And indeed, yeah,

649
00:36:49,360 --> 00:36:52,880
Speaker 2: we have far less of the sort of telltale dimming

650
00:36:53,200 --> 00:36:55,680
Speaker 2: of the overall opacity that you sometimes see with day

651
00:36:55,719 --> 00:36:59,440
Speaker 2: for night shots. I've grown kind of I've grown to

652
00:36:59,520 --> 00:37:02,480
Speaker 2: kind of love of old old fashioned day for night

653
00:37:02,520 --> 00:37:06,040
Speaker 2: shoots and these various pictures, and this one I also dug.

654
00:37:06,120 --> 00:37:08,920
Speaker 2: But it is just so bright. It's so bright that

655
00:37:09,120 --> 00:37:11,160
Speaker 2: I think the way I ended up processing it was like,

656
00:37:11,320 --> 00:37:13,600
Speaker 2: this is just how bright the full moon is if

657
00:37:13,640 --> 00:37:16,480
Speaker 2: you were a werewolf. You know, it's just like inescapable.

658
00:37:16,520 --> 00:37:19,920
Speaker 2: It illuminates everything and it's just blinding in its intensity.

659
00:37:20,280 --> 00:37:23,520
Speaker 3: Oh that's a good reading on it. Yeah, you know.

660
00:37:23,640 --> 00:37:26,800
Speaker 3: Sometimes you said there's no indication that it's nighttime, that

661
00:37:27,040 --> 00:37:30,400
Speaker 3: there's visually no indication, but they do put some cricket

662
00:37:30,480 --> 00:37:31,160
Speaker 3: sound effects, and.

663
00:37:31,280 --> 00:37:33,880
Speaker 2: Yes they do. Yeah, I mean I ended up buying

664
00:37:33,920 --> 00:37:35,600
Speaker 2: it as nighttime. I knew what they were going for,

665
00:37:35,840 --> 00:37:39,040
Speaker 2: and like I was able to fully suspend disbelief.

666
00:37:39,719 --> 00:37:42,520
Speaker 3: So in the Graveyard, we zoom in on a crusty

667
00:37:42,920 --> 00:37:48,040
Speaker 3: topside stone vault, like a coffin vault, and suddenly the

668
00:37:48,239 --> 00:37:52,120
Speaker 3: lid starts to creak open, and then out through the

669
00:37:52,200 --> 00:37:56,920
Speaker 3: crack in the lid emerge two furry knob knuckled hands

670
00:37:57,040 --> 00:38:01,080
Speaker 3: with huge bugle claws on each fingertip. And I thought

671
00:38:01,120 --> 00:38:04,960
Speaker 3: this was a funny inversion because the coffin lid creaking

672
00:38:05,080 --> 00:38:08,800
Speaker 3: open and a sinister hand coming out is a trope

673
00:38:08,840 --> 00:38:11,200
Speaker 3: from vampire movies, not werewolf movies.

674
00:38:11,680 --> 00:38:13,719
Speaker 2: Yeah. Yeah, I can't think of another film where we

675
00:38:13,760 --> 00:38:16,160
Speaker 2: see a werewolf crawl out of a coffin. But I

676
00:38:16,360 --> 00:38:18,560
Speaker 2: like it here we're talking about it. It's turning heads.

677
00:38:19,160 --> 00:38:22,800
Speaker 3: Another thing that really sets this wolf movie apart is

678
00:38:22,920 --> 00:38:27,720
Speaker 3: that it does not begin with our protagonist wandering toward

679
00:38:27,840 --> 00:38:32,560
Speaker 3: an encounter with a werewolf, like you know them starting unchanged,

680
00:38:32,680 --> 00:38:34,920
Speaker 3: the meeting a were wolf, getting bitten or something, and

681
00:38:35,000 --> 00:38:39,680
Speaker 3: then being changed. Instead, we begin with a werewolf already

682
00:38:39,800 --> 00:38:43,960
Speaker 3: in wolf mode, launching into an attack on the world

683
00:38:44,200 --> 00:38:46,480
Speaker 3: from below, just like coming out like a like a

684
00:38:46,640 --> 00:38:48,080
Speaker 3: missile out of a hidden silo.

685
00:38:48,920 --> 00:38:52,520
Speaker 2: Oh yeah, and boy does she ever this. I think

686
00:38:52,600 --> 00:38:54,640
Speaker 2: one of the things that I love the most about

687
00:38:54,640 --> 00:38:58,279
Speaker 2: this film is just the way that our she wolf

688
00:38:58,400 --> 00:39:01,920
Speaker 2: is realized on the screen, the speed with which she

689
00:39:02,080 --> 00:39:05,440
Speaker 2: travels like with this we'll talk about it as we

690
00:39:05,560 --> 00:39:09,239
Speaker 2: proceed her, but just bounding and pouncing across the landscape

691
00:39:09,320 --> 00:39:13,320
Speaker 2: with just lethal ferocity. I like, I don't I'm not

692
00:39:13,400 --> 00:39:17,239
Speaker 2: used to seeing where wolves move this swiftly in just

693
00:39:17,480 --> 00:39:19,640
Speaker 2: films in general. I can't think of another one where

694
00:39:19,880 --> 00:39:21,880
Speaker 2: like we had this sense of just like they're just

695
00:39:22,440 --> 00:39:26,000
Speaker 2: where wolf can just shoot across the forest and just

696
00:39:26,640 --> 00:39:28,480
Speaker 2: get to you like a missile. I think a missile

697
00:39:28,600 --> 00:39:30,480
Speaker 2: leaving the silo is a great analogy here.

698
00:39:31,480 --> 00:39:34,840
Speaker 3: The opening rampage here is like a runaway train. She

699
00:39:35,040 --> 00:39:38,000
Speaker 3: just gets right to business. So the order of events

700
00:39:38,120 --> 00:39:40,279
Speaker 3: is she comes out of the coffin, runs up the hill,

701
00:39:40,760 --> 00:39:44,600
Speaker 3: and then she like pushes through some brush into the

702
00:39:44,719 --> 00:39:47,160
Speaker 3: camp site of a guy with a tent and a campfire.

703
00:39:47,200 --> 00:39:49,600
Speaker 3: He's like cooking food on there, and she just jumps

704
00:39:49,680 --> 00:39:52,440
Speaker 3: on him like he This guy's got a wide brimmed

705
00:39:52,480 --> 00:39:55,400
Speaker 3: fedora again to invoke Indiana Jones, got kind of an

706
00:39:55,440 --> 00:39:57,920
Speaker 3: Indiana Jones hat, and.

707
00:39:58,400 --> 00:40:01,439
Speaker 2: She like looks so confident too. He's like, oh, time

708
00:40:01,520 --> 00:40:04,160
Speaker 2: to start the day or the night or whatever. But he,

709
00:40:04,280 --> 00:40:05,759
Speaker 2: you know, he's like, yep, I've got a lot of

710
00:40:05,800 --> 00:40:09,400
Speaker 2: work to do. Nothing's gonna stop old handsome me. But

711
00:40:09,560 --> 00:40:12,800
Speaker 2: then here comes to where wolf flying across the woods

712
00:40:13,239 --> 00:40:17,320
Speaker 2: like yeah, I mean yeah, pouncing from like I don't know,

713
00:40:17,480 --> 00:40:21,120
Speaker 2: like what one hundred yards. I know, it's impressive.

714
00:40:21,320 --> 00:40:24,320
Speaker 3: We see her leap onto this guy from like a

715
00:40:24,640 --> 00:40:28,719
Speaker 3: like a forested overhang with arms outstretched. So she's doing

716
00:40:28,840 --> 00:40:31,239
Speaker 3: like a like a trapeze artist dive or like an

717
00:40:31,280 --> 00:40:32,800
Speaker 3: Olympic diver or something.

718
00:40:33,360 --> 00:40:36,400
Speaker 2: Yeah, it's amazing, Like I would say, if you're on

719
00:40:36,480 --> 00:40:39,000
Speaker 2: the fence about watching this film in its entirety, at

720
00:40:39,080 --> 00:40:42,440
Speaker 2: least watched the first fifteen minutes, it will amaze you.

721
00:40:42,800 --> 00:40:46,279
Speaker 3: Yeah, So she tackles that guy commences clawing his face

722
00:40:46,400 --> 00:40:49,360
Speaker 3: and chewing out his throat. Later we're gonna learn that

723
00:40:49,480 --> 00:40:51,920
Speaker 3: she rips out his heart, but we don't see that here,

724
00:40:52,719 --> 00:40:54,880
Speaker 3: and then we just move right onto the next victim.

725
00:40:55,000 --> 00:40:57,200
Speaker 3: So there are a couple of peasants laboring in the woods.

726
00:40:57,600 --> 00:41:00,399
Speaker 3: A man is chopping firewood with an axe, a woman

727
00:41:00,520 --> 00:41:04,399
Speaker 3: gathering fallen sticks, and ooh, there's this good creepy shot

728
00:41:04,480 --> 00:41:07,959
Speaker 3: where the wolf woman climbs up on the root ball

729
00:41:08,080 --> 00:41:10,759
Speaker 3: of a giant fallen tree to spy on the woman

730
00:41:10,880 --> 00:41:13,200
Speaker 3: from behind. I've got a screenshot before you hear Rob.

731
00:41:14,080 --> 00:41:17,240
Speaker 3: I really like the way this is framed. But once again,

732
00:41:17,480 --> 00:41:20,040
Speaker 3: a flying leap from above. We just see her like

733
00:41:20,440 --> 00:41:23,960
Speaker 3: like like launched across the frame, as like out of

734
00:41:24,040 --> 00:41:26,680
Speaker 3: a bow or something. Yeah, it is.

735
00:41:26,880 --> 00:41:29,000
Speaker 2: It is amazing and terrifying. And yeah, and I love

736
00:41:29,040 --> 00:41:31,799
Speaker 2: these sequences in between, with her crawling around and these

737
00:41:31,880 --> 00:41:34,759
Speaker 2: broken fallen trees and all. Yeah, it's great.

738
00:41:35,239 --> 00:41:38,040
Speaker 3: So where wolf mauls the woman and then she lies

739
00:41:38,080 --> 00:41:41,600
Speaker 3: screaming on the ground with streams of blood running across

740
00:41:41,640 --> 00:41:45,000
Speaker 3: her face. The man chopping wood hears this woman crying

741
00:41:45,080 --> 00:41:48,000
Speaker 3: out and then comes to help for some reason. I

742
00:41:48,040 --> 00:41:50,440
Speaker 3: didn't quite understand why this happened, but he like throws

743
00:41:50,600 --> 00:41:54,160
Speaker 3: his axe into a nearby tree, and then the wolf

744
00:41:54,239 --> 00:41:58,160
Speaker 3: turns and begins to maul the man. But suddenly the

745
00:41:58,239 --> 00:42:02,520
Speaker 3: wolf is interrupted because the full moon passes behind a cloud,

746
00:42:03,360 --> 00:42:07,640
Speaker 3: and it's like that does something. It maybe drains the

747
00:42:07,719 --> 00:42:12,160
Speaker 3: wolf of motivation or power, and the werewolf suddenly runs

748
00:42:12,200 --> 00:42:15,120
Speaker 3: away into the dark wood. Now on the way back

749
00:42:15,200 --> 00:42:18,560
Speaker 3: to her hiding place, she crosses paths with a man

750
00:42:18,800 --> 00:42:22,719
Speaker 3: driving a carriage along the forest path. And I think

751
00:42:22,840 --> 00:42:25,200
Speaker 3: this is doctor Bernstein in the carriage, isn't it.

752
00:42:25,400 --> 00:42:25,920
Speaker 2: I believe so.

753
00:42:26,360 --> 00:42:29,839
Speaker 3: Yeah, And so he watches the wolf woman run by

754
00:42:30,000 --> 00:42:32,560
Speaker 3: with a kind of knowing and apprehensive look and then

755
00:42:32,680 --> 00:42:36,600
Speaker 3: just moves on toward his destination. And as the wolf

756
00:42:36,640 --> 00:42:40,160
Speaker 3: woman is fleeing, we also see a well equipped man

757
00:42:40,200 --> 00:42:42,200
Speaker 3: in the woods, a guy with a rifle and a hat,

758
00:42:42,960 --> 00:42:45,800
Speaker 3: surveying the devastation at the campsite with the tent. He

759
00:42:45,920 --> 00:42:49,319
Speaker 3: comes upon the first victim, and this is doctor Gonzalez

760
00:42:49,360 --> 00:42:52,719
Speaker 3: played by Roberto Canedo, and this is the scene where

761
00:42:53,000 --> 00:42:55,319
Speaker 3: he pulls back the tent flap and sees the dead

762
00:42:55,400 --> 00:42:59,719
Speaker 3: man and is just like, oh, oh man.

763
00:43:00,200 --> 00:43:01,960
Speaker 2: So we're off to a great start here. And I

764
00:43:02,040 --> 00:43:04,319
Speaker 2: want to drive home that the she Wolf costume here

765
00:43:05,120 --> 00:43:08,879
Speaker 2: worn by Kitty, though probably not in the shots where

766
00:43:08,920 --> 00:43:11,960
Speaker 2: she's flying like a human cannonball across the wilderness. I'm

767
00:43:11,960 --> 00:43:15,080
Speaker 2: assuming that with a stunt person or a luchador or

768
00:43:15,160 --> 00:43:18,360
Speaker 2: a trapeze artist or some sort of a professional stunt person.

769
00:43:18,480 --> 00:43:22,520
Speaker 2: But the costume I thought was really effective. It seems

770
00:43:22,600 --> 00:43:26,200
Speaker 2: to depend on a skin type bodysuit with added hair

771
00:43:26,600 --> 00:43:30,680
Speaker 2: and tail and combined with the actress's slender form, and

772
00:43:30,840 --> 00:43:34,200
Speaker 2: like the ferocity of her physical performance is a real

773
00:43:34,400 --> 00:43:37,680
Speaker 2: savagery to the scenes where the she Wolf is maueling

774
00:43:37,760 --> 00:43:41,560
Speaker 2: her prey. There's also a carnality to the act as well,

775
00:43:42,040 --> 00:43:46,320
Speaker 2: which kind of reminds me of our recent Nosferatu adaptation.

776
00:43:46,560 --> 00:43:51,400
Speaker 2: You know, both feature a kind of like you know,

777
00:43:51,800 --> 00:43:55,320
Speaker 2: slender being that is feasting, but in a way that

778
00:43:55,440 --> 00:44:05,279
Speaker 2: also feels kind of like erotically charged. Here.

779
00:44:05,360 --> 00:44:07,680
Speaker 3: I want to do a sidebar because I wonder if

780
00:44:07,719 --> 00:44:10,160
Speaker 3: you have insights on this from this book you've been

781
00:44:10,239 --> 00:44:16,040
Speaker 3: reading about the history of female werewolves. So we've talked

782
00:44:16,120 --> 00:44:20,880
Speaker 3: before on the show about the different common werewolf types

783
00:44:21,080 --> 00:44:26,280
Speaker 3: in movies. So one type would be the quadrupedal wolf form.

784
00:44:26,840 --> 00:44:29,719
Speaker 3: This is the classic vision of the werewolf. Actually in

785
00:44:29,800 --> 00:44:31,759
Speaker 3: a lot of folklore, maybe not all, but you know,

786
00:44:31,840 --> 00:44:34,400
Speaker 3: in a lot of the old werewolf stories from before

787
00:44:34,440 --> 00:44:39,200
Speaker 3: the cinematic era, the werewolf itself is not a hybridized form.

788
00:44:39,320 --> 00:44:43,840
Speaker 3: The hybrid element is simply that a person transforms into

789
00:44:43,960 --> 00:44:46,360
Speaker 3: a wolf, usually a big, ferocious wolf.

790
00:44:46,960 --> 00:44:49,040
Speaker 2: Yeah. Like a lot of times it's like, oh, there

791
00:44:49,120 --> 00:44:52,160
Speaker 2: was this deadly wolf. It was killing people and or

792
00:44:52,960 --> 00:44:56,600
Speaker 2: killing livestock. We've managed to kill it and lo and behold,

793
00:44:56,640 --> 00:44:58,439
Speaker 2: it turned into an old woman, or it turned into

794
00:44:58,520 --> 00:45:00,960
Speaker 2: this mysterious man that we've never seen before, that sort

795
00:45:01,000 --> 00:45:03,040
Speaker 2: of thing, or the skin came off and there was

796
00:45:03,080 --> 00:45:04,000
Speaker 2: a person underneath.

797
00:45:04,440 --> 00:45:07,919
Speaker 3: Right. So you get versions of the quadrupedal wolf form

798
00:45:08,120 --> 00:45:11,279
Speaker 3: in some werewolf movies as well. Often it's a kind

799
00:45:11,320 --> 00:45:15,480
Speaker 3: of beefed up version of the quadrupedal wolf, So like

800
00:45:15,680 --> 00:45:19,440
Speaker 3: in American Werewolf in London or in the Twilight series.

801
00:45:19,960 --> 00:45:23,400
Speaker 3: In these movies, the werewolf is essentially canine in shape.

802
00:45:23,680 --> 00:45:26,240
Speaker 3: It runs on all fours, it's got the long snout,

803
00:45:26,840 --> 00:45:30,080
Speaker 3: but it is larger than any real wolf and often

804
00:45:30,200 --> 00:45:32,799
Speaker 3: with the monstrosity elements beefed up.

805
00:45:33,360 --> 00:45:36,120
Speaker 2: I would say the Gomork from an Nevering story is

806
00:45:36,160 --> 00:45:39,839
Speaker 2: also a good example of this, and I think all

807
00:45:39,920 --> 00:45:42,080
Speaker 2: of these examples also point to the other reality here.

808
00:45:42,320 --> 00:45:44,040
Speaker 2: This is a very hard one to pull off on

809
00:45:44,200 --> 00:45:47,640
Speaker 2: screen because it's not a wolf, it's not a humanoid.

810
00:45:47,880 --> 00:45:50,200
Speaker 2: It's somewhere in between. You're gonna have to depend on

811
00:45:50,320 --> 00:45:54,120
Speaker 2: some rather elaborate special effects and is it going to

812
00:45:54,160 --> 00:45:56,920
Speaker 2: be enough to fully convince me exactly?

813
00:45:57,040 --> 00:45:59,640
Speaker 3: So that's your your one type, the four foot four

814
00:45:59,680 --> 00:46:03,080
Speaker 3: feet on the ground quadrupedal were wolf. Then you've got

815
00:46:03,200 --> 00:46:06,920
Speaker 3: your bipedal variants. You've got the wolf Man is what

816
00:46:07,000 --> 00:46:11,560
Speaker 3: I'll call him, which is bipedal, short snout, human shaped

817
00:46:11,600 --> 00:46:15,320
Speaker 3: head but covered with fur and having fangs in the mouth.

818
00:46:15,480 --> 00:46:18,399
Speaker 3: This is your Lawn Cheney Junior, your Paul Nashy type

819
00:46:18,560 --> 00:46:19,640
Speaker 3: universal werewolf.

820
00:46:20,080 --> 00:46:21,960
Speaker 2: Can't go wrong with it. Love to see more of it.

821
00:46:22,320 --> 00:46:24,279
Speaker 2: Were Wolf by Night is one of these as well,

822
00:46:24,360 --> 00:46:28,680
Speaker 2: in the recent Disney TV special, which I highly recommend.

823
00:46:28,960 --> 00:46:31,360
Speaker 3: Then after that you've got what I might call the

824
00:46:31,560 --> 00:46:37,440
Speaker 3: man wolf, which is bipedal also but long snout, wolf

825
00:46:37,560 --> 00:46:41,400
Speaker 3: shaped head as seen in movies like The Howling or

826
00:46:41,520 --> 00:46:42,400
Speaker 3: Dog Soldiers.

827
00:46:43,080 --> 00:46:44,920
Speaker 2: And I like this one too. I like all of them,

828
00:46:44,960 --> 00:46:47,480
Speaker 2: but this one, this one is in a zone that

829
00:46:47,560 --> 00:46:51,880
Speaker 2: I feel like is achievable by competent special effects artists.

830
00:46:52,880 --> 00:46:55,360
Speaker 3: Oh yeah, totally. But anyway, here's where I wanted to

831
00:46:55,400 --> 00:47:01,040
Speaker 3: come back to the interplay between cinematic werewolves and so

832
00:47:01,440 --> 00:47:03,400
Speaker 3: I think one thing that's kind of interesting is that

833
00:47:03,840 --> 00:47:08,200
Speaker 3: usually in the movies, both of the bipedal forms of

834
00:47:08,280 --> 00:47:12,120
Speaker 3: the werewolf are shaped in a way that is very

835
00:47:12,520 --> 00:47:17,400
Speaker 3: stereotypically masculine and rob I've got images for you to

836
00:47:17,480 --> 00:47:19,879
Speaker 3: look at here from like The Howling and from Dog

837
00:47:20,040 --> 00:47:23,360
Speaker 3: Soldiers and The wolf Man, just a few things to survey.

838
00:47:23,880 --> 00:47:26,719
Speaker 3: I was really trying to think of counter examples, and

839
00:47:27,040 --> 00:47:28,839
Speaker 3: they're not really coming to mind. I'm not saying it's

840
00:47:28,960 --> 00:47:33,800
Speaker 3: never happened, but most of the bipedal movie werewolves I

841
00:47:33,840 --> 00:47:37,800
Speaker 3: can think of are shaped like the typical form of

842
00:47:38,200 --> 00:47:42,759
Speaker 3: male body builders. You have like massive shoulders, chest and

843
00:47:42,920 --> 00:47:47,879
Speaker 3: upper body tapering down to narrow hips and waste kind

844
00:47:47,920 --> 00:47:51,040
Speaker 3: of a v shape, they're structured like Arnold Schwarzenegger in

845
00:47:51,080 --> 00:47:56,440
Speaker 3: the seventies. Yeah, so it's a quite interesting variation in

846
00:47:56,520 --> 00:48:00,239
Speaker 3: this film to get a bipedal humanoid werewolf where the

847
00:48:00,320 --> 00:48:04,919
Speaker 3: body is shaped in a more stereotypically feminine form, even

848
00:48:04,960 --> 00:48:06,400
Speaker 3: with long hair. Actually.

849
00:48:06,800 --> 00:48:07,000
Speaker 2: Yeah.

850
00:48:07,680 --> 00:48:12,240
Speaker 3: And also something about like the fur pelt worn by

851
00:48:12,320 --> 00:48:15,560
Speaker 3: the Clarissa werewolf in this movie almost looks in some

852
00:48:15,760 --> 00:48:18,719
Speaker 3: shots like she is wearing a short dress but made

853
00:48:18,760 --> 00:48:19,080
Speaker 3: of fur.

854
00:48:20,280 --> 00:48:23,799
Speaker 2: Yeah. Yeah, it's interesting the way that like the mind

855
00:48:23,880 --> 00:48:30,520
Speaker 2: reads the femininity of the monster here. And this movie

856
00:48:30,640 --> 00:48:33,000
Speaker 2: is mentioned at least in passing in the book I

857
00:48:33,120 --> 00:48:37,320
Speaker 2: referenced earlier in the chapter by Peter Hutchings titled the

858
00:48:37,360 --> 00:48:40,000
Speaker 2: she Wolves of Horror Cinema. And one of the things

859
00:48:40,040 --> 00:48:42,879
Speaker 2: that he's talking about here is that we often see

860
00:48:42,880 --> 00:48:44,800
Speaker 2: if we have a female character that's turning into a

861
00:48:44,880 --> 00:48:48,360
Speaker 2: were wolf. Oftentimes that were wolf is just going to

862
00:48:48,400 --> 00:48:51,040
Speaker 2: be a straight up wolf, and the gender of that

863
00:48:51,080 --> 00:48:55,880
Speaker 2: wolf may be ambiguous because it's a wolf. And on

864
00:48:56,000 --> 00:48:58,719
Speaker 2: the other hand, sometimes they'll transform into some sort of

865
00:48:58,800 --> 00:49:03,439
Speaker 2: a hybrid creature that is overtly masculine. And in this case,

866
00:49:03,520 --> 00:49:06,640
Speaker 2: the way they read Leloba is that we have a

867
00:49:06,719 --> 00:49:10,799
Speaker 2: feminine character turning into a more masculine form, but one

868
00:49:10,840 --> 00:49:13,320
Speaker 2: that is still distinguishable as feminine.

869
00:49:13,840 --> 00:49:17,560
Speaker 3: That's interesting. So I didn't think about her transforming into

870
00:49:17,600 --> 00:49:21,000
Speaker 3: a more masculine form, but I guess you could maybe

871
00:49:21,080 --> 00:49:22,600
Speaker 3: read it that way. Yeah, I don't know.

872
00:49:22,680 --> 00:49:26,360
Speaker 2: I just agree with it myself, but as their techon it.

873
00:49:26,760 --> 00:49:28,680
Speaker 3: But either way, I thought it was interesting that this

874
00:49:28,960 --> 00:49:33,400
Speaker 3: is a bipedal humanoid werewolf form that looks more stereotypically

875
00:49:33,480 --> 00:49:36,560
Speaker 3: feminine than any basically any other examples I can think

876
00:49:36,600 --> 00:49:40,680
Speaker 3: of in horror movies, and it kind of makes you wonder, like,

877
00:49:40,920 --> 00:49:43,719
Speaker 3: why are all the other werewolf examples I can think

878
00:49:43,760 --> 00:49:47,320
Speaker 3: of coded as masculine morphs? Like is there a particular

879
00:49:47,480 --> 00:49:50,759
Speaker 3: reason for this, I guess beyond the just kind of

880
00:49:51,120 --> 00:49:54,560
Speaker 3: unquestioned sexism of a lot of culture where that takes

881
00:49:54,560 --> 00:49:57,640
Speaker 3: sort of like the male as default. Is there something

882
00:49:57,680 --> 00:50:00,920
Speaker 3: about the wolf form, or the werewolf form in particular,

883
00:50:01,640 --> 00:50:05,880
Speaker 3: that causes people to think of human masculinity because I

884
00:50:06,000 --> 00:50:08,680
Speaker 3: know that the same assumption does not go with vampires,

885
00:50:08,920 --> 00:50:14,120
Speaker 3: because we get plenty of typically stereotypically feminine vampires. Though

886
00:50:14,120 --> 00:50:17,080
Speaker 3: of course that's kind of different because vampires are basically

887
00:50:17,239 --> 00:50:21,080
Speaker 3: human in form anyway, So I don't know. One thing

888
00:50:21,120 --> 00:50:23,920
Speaker 3: I was wondering about is if there is a general

889
00:50:24,080 --> 00:50:29,520
Speaker 3: trend in the imagination, in our tendency to imagine monsters

890
00:50:30,120 --> 00:50:33,440
Speaker 3: that thinks of them as when you have a creature

891
00:50:33,520 --> 00:50:39,000
Speaker 3: that's becoming less human in appearance, whatever humanoid elements remain,

892
00:50:39,680 --> 00:50:43,200
Speaker 3: are more likely on average to be imagined as masculine

893
00:50:43,239 --> 00:50:46,560
Speaker 3: by default, or maybe more more likely to be imagined

894
00:50:46,560 --> 00:50:48,200
Speaker 3: as masculine by default by men.

895
00:50:49,080 --> 00:50:52,000
Speaker 2: Yeah, that's a great point, I guess. Another. I mean,

896
00:50:52,040 --> 00:50:54,080
Speaker 2: there's so many different ways to tease this apart when

897
00:50:54,120 --> 00:50:57,560
Speaker 2: you get into like the way gender is treated in

898
00:50:58,520 --> 00:51:03,880
Speaker 2: culture and in storytelling. One point they bring up in

899
00:51:03,960 --> 00:51:06,960
Speaker 2: the book is that body hair is one way of

900
00:51:07,000 --> 00:51:10,239
Speaker 2: potentially looking at it, Like there may be a resistance

901
00:51:10,320 --> 00:51:13,319
Speaker 2: to want to put a bunch of hair on your

902
00:51:13,400 --> 00:51:17,840
Speaker 2: female character even as they turn into the wolf, and

903
00:51:17,960 --> 00:51:20,200
Speaker 2: at the very least, like maybe they have to get

904
00:51:20,239 --> 00:51:23,360
Speaker 2: a little more specific with how you're going to do it. Like,

905
00:51:23,400 --> 00:51:27,040
Speaker 2: for instance, we don't see like a completely fur covered

906
00:51:27,080 --> 00:51:29,880
Speaker 2: face of our she wolf here, though there is fur

907
00:51:30,000 --> 00:51:32,800
Speaker 2: on her face. Likewise, there's fur on her body, but

908
00:51:33,160 --> 00:51:35,080
Speaker 2: not the sense that the whole body is covered in

909
00:51:35,200 --> 00:51:37,759
Speaker 2: thick fur. So there's probably a lot of just like

910
00:51:37,880 --> 00:51:42,800
Speaker 2: cultural ideas of body, hair and hair and gender that

911
00:51:42,920 --> 00:51:46,319
Speaker 2: get thrown into the mix when conceptualizing these things.

912
00:51:46,719 --> 00:51:49,759
Speaker 3: I think that's right. That is interesting to point out. Yeah,

913
00:51:49,760 --> 00:51:52,279
Speaker 3: when we see because we get a male were wolf

914
00:51:52,360 --> 00:51:55,239
Speaker 3: and a female were wolf in this movie, and the

915
00:51:55,320 --> 00:51:59,160
Speaker 3: lady wolf she has a smoother face than the dude does.

916
00:51:59,320 --> 00:52:02,520
Speaker 2: Yeah, so I get the impression they put a lot

917
00:52:02,600 --> 00:52:04,480
Speaker 2: of thought into this. How are we going to turn

918
00:52:04,600 --> 00:52:09,200
Speaker 2: Kitty into a werewolf in a way that makes her

919
00:52:09,520 --> 00:52:14,280
Speaker 2: frightening but also still like alluring to the vast majority

920
00:52:14,280 --> 00:52:17,280
Speaker 2: of the audience, you know, that's still retaining her Marilyn

921
00:52:17,360 --> 00:52:20,200
Speaker 2: Monroe image. How are we going to keep all of

922
00:52:20,239 --> 00:52:23,120
Speaker 2: that in the mix while also transforming her into a

923
00:52:23,200 --> 00:52:23,800
Speaker 2: wolf person?

924
00:52:24,320 --> 00:52:29,279
Speaker 3: Yeah, that is interesting also, So my first question was

925
00:52:29,400 --> 00:52:32,080
Speaker 3: like why that trend? I think we got some good

926
00:52:32,120 --> 00:52:35,160
Speaker 3: ideas there. But the second thing is, the second thing

927
00:52:35,239 --> 00:52:40,560
Speaker 3: I was wondering is how does a more typically feminine

928
00:52:40,920 --> 00:52:45,520
Speaker 3: humanoid werewolf work differently on film than the more kind

929
00:52:45,560 --> 00:52:49,680
Speaker 3: of like beef bodybuilder guy where wolf does? I think

930
00:52:49,719 --> 00:52:52,000
Speaker 3: in our opening here you may get one kind of

931
00:52:52,080 --> 00:52:56,080
Speaker 3: answer about the tendencies filmmakers will have when dealing with

932
00:52:56,200 --> 00:52:59,960
Speaker 3: these different types of werewolves. In this movie, the werewolf

933
00:53:00,200 --> 00:53:03,880
Speaker 3: is depicted less as one that overwhelms you with physical

934
00:53:04,120 --> 00:53:07,600
Speaker 3: size and book and braun and instead as a kind

935
00:53:07,640 --> 00:53:11,000
Speaker 3: of murder acrobat, like flying through the air out of

936
00:53:11,120 --> 00:53:12,760
Speaker 3: hiding to claw and slash.

937
00:53:13,880 --> 00:53:16,000
Speaker 2: Yeah, and they make a convincing argument for it. I mean,

938
00:53:16,040 --> 00:53:20,680
Speaker 2: it's it's so well executed on the screen. I think

939
00:53:20,800 --> 00:53:24,600
Speaker 2: some other female were wolf shows definitely lean into the

940
00:53:24,719 --> 00:53:28,160
Speaker 2: idea of seduction as being part of their character as well.

941
00:53:28,600 --> 00:53:30,520
Speaker 2: Like I believe that's an aspect of the Trick or

942
00:53:30,560 --> 00:53:33,920
Speaker 2: Treat example where the lady where wolves are also a

943
00:53:33,920 --> 00:53:37,719
Speaker 2: little seductive, at least at first before they transform, you know,

944
00:53:37,880 --> 00:53:40,000
Speaker 2: kind of tying into various like you know, sort of

945
00:53:40,080 --> 00:53:43,280
Speaker 2: succubus ideas of some sort of seductive creature that's actually

946
00:53:43,320 --> 00:53:47,440
Speaker 2: a monster. But yeah, I do like this idea of

947
00:53:47,600 --> 00:53:50,720
Speaker 2: the of the she wolf as like a swift, stealth

948
00:53:51,680 --> 00:53:52,560
Speaker 2: oriented killer.

949
00:53:53,120 --> 00:53:55,560
Speaker 3: Anyway, to come back to the plot, at the end

950
00:53:55,640 --> 00:53:58,440
Speaker 3: of this rampage, the wolf woman retreats to the coffin

951
00:53:58,560 --> 00:54:00,799
Speaker 3: she climbed out of in the beginning. But here's where

952
00:54:00,840 --> 00:54:03,680
Speaker 3: the twist comes in, because you might think it's like

953
00:54:03,840 --> 00:54:05,680
Speaker 3: the vampire. You know, the vampire just lays in the

954
00:54:05,760 --> 00:54:08,960
Speaker 3: coffin until at a certain point they open the lid

955
00:54:09,040 --> 00:54:11,680
Speaker 3: and get out and do their business. This coffin is

956
00:54:11,760 --> 00:54:14,320
Speaker 3: not merely a coffin. The wolf is not going in

957
00:54:14,440 --> 00:54:18,080
Speaker 3: there to lie down. It is in fact a secret passageway.

958
00:54:18,600 --> 00:54:21,520
Speaker 2: Ah yeah, and this is going to tie into some dialogue,

959
00:54:22,160 --> 00:54:24,320
Speaker 2: that monologue we referenced earlier, you know, the idea of

960
00:54:24,440 --> 00:54:26,600
Speaker 2: death as a door. I don't know if they're really

961
00:54:27,000 --> 00:54:30,080
Speaker 2: deliberately trying to connect these two things, but I couldn't help.

962
00:54:30,120 --> 00:54:30,920
Speaker 2: But notice I.

963
00:54:30,960 --> 00:54:34,160
Speaker 3: Didn't make that connection. That's a good one. So from here,

964
00:54:34,320 --> 00:54:37,279
Speaker 3: the camera retreats to a nearby mansion surrounded by a

965
00:54:37,360 --> 00:54:39,879
Speaker 3: high wall that is sort of nestled at the edge

966
00:54:39,880 --> 00:54:43,080
Speaker 3: of the woods. And here in the upper floors of

967
00:54:43,160 --> 00:54:48,040
Speaker 3: this house, we meet Krumba. He is not formally introduced yet,

968
00:54:48,120 --> 00:54:50,760
Speaker 3: we'll get more of his backstory later, but he appears

969
00:54:50,800 --> 00:54:54,320
Speaker 3: as this muscle man dressed again as the party's barbarian,

970
00:54:54,320 --> 00:54:57,360
Speaker 3: and he's wearing like a leather tunic, and he shows

971
00:54:57,400 --> 00:55:01,600
Speaker 3: a look of concern and then appear like he goes

972
00:55:01,680 --> 00:55:04,920
Speaker 3: into a woman's bedroom and starts well, actually, no, I

973
00:55:04,960 --> 00:55:06,720
Speaker 3: think I was gonna say. He goes into the bedroom

974
00:55:06,760 --> 00:55:09,120
Speaker 3: and starts cranking the chain, but I think the giant

975
00:55:09,200 --> 00:55:12,320
Speaker 3: pole chain is in a different room. He like locks

976
00:55:12,440 --> 00:55:15,000
Speaker 3: the door to a woman's bedroom and then goes to

977
00:55:15,080 --> 00:55:18,320
Speaker 3: a room nearby and starts cranking this giant chain. And

978
00:55:18,440 --> 00:55:21,560
Speaker 3: as he does this, we cut over to the hearth

979
00:55:21,840 --> 00:55:25,360
Speaker 3: at the one end of the bedroom and see a

980
00:55:25,520 --> 00:55:28,680
Speaker 3: panel on the back of the fireplace lift away. It's

981
00:55:28,719 --> 00:55:31,440
Speaker 3: a secret door. And who should crawl out of it

982
00:55:31,640 --> 00:55:33,480
Speaker 3: but our wolf woman here she comes.

983
00:55:33,840 --> 00:55:36,120
Speaker 2: Oh man, this is great and I love that. I mean,

984
00:55:36,160 --> 00:55:38,719
Speaker 2: we did those whole episodes on We did a series

985
00:55:38,760 --> 00:55:40,320
Speaker 2: of episodes and stuff to blow your mind about the

986
00:55:40,400 --> 00:55:44,239
Speaker 2: hearth as a gateway for supernatural threats. And here we

987
00:55:44,320 --> 00:55:47,800
Speaker 2: have a hearth that's an actual literal gateway for a

988
00:55:47,960 --> 00:55:49,040
Speaker 2: monstrous humanoid.

989
00:55:49,480 --> 00:55:52,360
Speaker 3: Yeah, and this seems very creepy. The wolf woman crawls

990
00:55:52,400 --> 00:55:56,280
Speaker 3: in on all fours, slowly creeping, as if maybe wounded

991
00:55:56,480 --> 00:55:59,920
Speaker 3: or drained of energy. She comes into the room, collapses

992
00:56:00,120 --> 00:56:03,759
Speaker 3: on the floor, unconscious, and here the camera stays on

993
00:56:03,960 --> 00:56:08,680
Speaker 3: her as we get a slow, dissolved transformation sequence. Gradually,

994
00:56:08,760 --> 00:56:12,480
Speaker 3: the claws dissolve into human fingers, and the suit of

995
00:56:12,600 --> 00:56:15,800
Speaker 3: fur fades away and leaves behind only smooth human skin,

996
00:56:16,280 --> 00:56:18,439
Speaker 3: and we see that it is a young woman lying

997
00:56:18,560 --> 00:56:23,160
Speaker 3: nude on the floor. So what it's like if you

998
00:56:23,239 --> 00:56:25,280
Speaker 3: don't know anything at this point, you're like, this family

999
00:56:25,400 --> 00:56:29,399
Speaker 3: has a chain and muscleman operated doggy door for its

1000
00:56:29,480 --> 00:56:31,160
Speaker 3: werewolf woman inhabitant.

1001
00:56:32,000 --> 00:56:35,759
Speaker 2: Yeah, like, clearly this family has some issues. We've got

1002
00:56:35,840 --> 00:56:36,760
Speaker 2: that already.

1003
00:56:37,680 --> 00:56:40,239
Speaker 3: Meanwhile, a guest arrives at the manor. It is the

1004
00:56:40,320 --> 00:56:44,160
Speaker 3: guy we saw on the road, doctor Bernstein. He's met

1005
00:56:44,200 --> 00:56:46,200
Speaker 3: by one of the servants and then he's brought inside

1006
00:56:46,560 --> 00:56:50,600
Speaker 3: and greeted by the patriarch of the house, doctor Fernandez. Again,

1007
00:56:50,719 --> 00:56:54,920
Speaker 3: Doctor Fernandez. That's Santa Claus from Santa Claus. Yes, Fernandez

1008
00:56:55,000 --> 00:56:57,959
Speaker 3: is an older man in a white lab coat. Doctor

1009
00:56:58,000 --> 00:57:00,960
Speaker 3: Bernstein is a young man. Both have mustaches. They all

1010
00:57:01,040 --> 00:57:05,000
Speaker 3: have mustaches, and we learned that they are colleagues, both

1011
00:57:05,080 --> 00:57:09,640
Speaker 3: involved in cutting edge medical research. Fernandez is curious if

1012
00:57:09,680 --> 00:57:13,000
Speaker 3: Bernstein has come to deliver professional news from a recent

1013
00:57:13,120 --> 00:57:16,200
Speaker 3: conference he attended, but no, the main purpose of his

1014
00:57:16,360 --> 00:57:19,880
Speaker 3: visit is personal. Doctor Bernstein has come to ask to

1015
00:57:20,040 --> 00:57:24,800
Speaker 3: marry Clarissa, one of doctor Fernandez's two daughters. Now, to

1016
00:57:24,880 --> 00:57:27,200
Speaker 3: clarify once again, we mentioned this during the cast list,

1017
00:57:27,280 --> 00:57:30,880
Speaker 3: but the two daughters are Clarissa, who is in love

1018
00:57:30,920 --> 00:57:34,959
Speaker 3: with doctor Bernstein, and then Alicia. Alicia is the other daughter.

1019
00:57:35,280 --> 00:57:38,360
Speaker 3: Both of the daughters are adults, but their rooms are

1020
00:57:38,400 --> 00:57:41,120
Speaker 3: full of creepy toys that would belong to a sickly

1021
00:57:41,200 --> 00:57:45,680
Speaker 3: aristocratic Victorian child. You know, they've got all these porcelain

1022
00:57:45,800 --> 00:57:49,560
Speaker 3: dolls and music boxes that play creepy tunes, and bird

1023
00:57:49,680 --> 00:57:50,840
Speaker 3: cages and that sort of.

1024
00:57:50,880 --> 00:57:55,200
Speaker 2: Thing, little wind up toys that do all sorts of

1025
00:57:55,240 --> 00:57:55,800
Speaker 2: little tricks.

1026
00:57:56,400 --> 00:57:59,480
Speaker 3: So Bernstein and Clarissa, we find out, have secretly been

1027
00:57:59,520 --> 00:58:02,400
Speaker 3: in love for some time, but now now he's here

1028
00:58:02,480 --> 00:58:05,280
Speaker 3: to ask for her hand in marriage, and he wants

1029
00:58:05,360 --> 00:58:08,560
Speaker 3: the blessing of her father, and the father seems torn.

1030
00:58:08,680 --> 00:58:12,240
Speaker 3: He likes doctor Bernstein, but he fears that if they marry,

1031
00:58:12,640 --> 00:58:17,440
Speaker 3: some terrible consequence will unfold, and he suggests that Bernstein

1032
00:58:17,640 --> 00:58:19,520
Speaker 3: stay at the house while he makes up his mind.

1033
00:58:20,160 --> 00:58:22,320
Speaker 3: And he says, you know, you could continue your research

1034
00:58:22,360 --> 00:58:25,200
Speaker 3: here anyway. I've got all of the best equipment facilities

1035
00:58:25,240 --> 00:58:26,840
Speaker 3: in the world. I think he says, like, I have

1036
00:58:26,920 --> 00:58:28,560
Speaker 3: the best microscope on the planet.

1037
00:58:28,920 --> 00:58:30,600
Speaker 2: Yeah, and there it is. It's right there on the table.

1038
00:58:30,800 --> 00:58:34,280
Speaker 3: Yeah. Now I mentioned this earlier, but one kind of

1039
00:58:34,320 --> 00:58:38,600
Speaker 3: interesting thing is it's not immediately clear which daughter is

1040
00:58:38,800 --> 00:58:42,040
Speaker 3: the werewolf because I think they try to fake you

1041
00:58:42,120 --> 00:58:45,040
Speaker 3: out here by like the first daughter you see after

1042
00:58:45,200 --> 00:58:49,440
Speaker 3: the werewolf transformation scene is Alicia the other daughter. And

1043
00:58:49,560 --> 00:58:52,240
Speaker 3: we also have a scene where Alicia goes to her

1044
00:58:52,360 --> 00:58:55,680
Speaker 3: mother and like confesses having this terrible dream about like

1045
00:58:55,840 --> 00:58:57,880
Speaker 3: running through the woods at night and having blood on

1046
00:58:58,000 --> 00:58:58,560
Speaker 3: her hands.

1047
00:58:59,160 --> 00:59:02,120
Speaker 2: Yeah. Yeah, we're supposed to be unsure which of the

1048
00:59:02,160 --> 00:59:03,600
Speaker 2: two daughters is the werewolf.

1049
00:59:03,680 --> 00:59:05,600
Speaker 3: Well, we know, we know it's one of them though,

1050
00:59:05,640 --> 00:59:10,880
Speaker 3: as I also said earlier, of the two, Clarissa definitely

1051
00:59:10,960 --> 00:59:15,120
Speaker 3: feels the most dangerous in her personality, in her presence,

1052
00:59:15,160 --> 00:59:19,080
Speaker 3: so there's something a bit more unhinged and threatening about

1053
00:59:19,080 --> 00:59:32,400
Speaker 3: the way she just looks at people and talks. Yeah. Meanwhile,

1054
00:59:32,480 --> 00:59:34,200
Speaker 3: we got a little side plot going on at the

1055
00:59:34,280 --> 00:59:37,440
Speaker 3: local police station. We meet some more characters, the police

1056
00:59:37,480 --> 00:59:40,800
Speaker 3: inspector and his deputy, and we meet doctor Gonzalez played

1057
00:59:40,920 --> 00:59:43,520
Speaker 3: by Roberto Canado. Actually we met him earlier because he

1058
00:59:43,640 --> 00:59:46,360
Speaker 3: was at the camp site, but they are examining the

1059
00:59:46,480 --> 00:59:50,240
Speaker 3: dead bodies from the werewolf rampage the say, previous night

1060
00:59:50,400 --> 00:59:52,720
Speaker 3: or the same night, not sure when this is all

1061
00:59:52,800 --> 00:59:57,840
Speaker 3: one big night. It's exactly one big night. And they

1062
00:59:58,000 --> 01:00:01,000
Speaker 3: notice the victims in this case were not only killed,

1063
01:00:01,120 --> 01:00:04,080
Speaker 3: the attacker opened up the chest and tore out the heart,

1064
01:00:04,600 --> 01:00:06,840
Speaker 3: and the inspector says, it's disgusting.

1065
01:00:07,680 --> 01:00:09,800
Speaker 2: It is. We get a nice close up of the wound,

1066
01:00:09,920 --> 01:00:12,040
Speaker 2: and you know, it's all black and white, but it's

1067
01:00:12,560 --> 01:00:15,120
Speaker 2: it's gooey, it's it's uh, it's juicy.

1068
01:00:15,120 --> 01:00:17,720
Speaker 3: In this one. Still, I got the wound looks like lips.

1069
01:00:18,560 --> 01:00:21,160
Speaker 2: Yeah, yeah, yeah, it does. Yeah, it's like a lip

1070
01:00:21,280 --> 01:00:22,080
Speaker 2: made out of ribs.

1071
01:00:22,960 --> 01:00:26,360
Speaker 3: But the doctor says, we've got a clue. The attacker's

1072
01:00:26,440 --> 01:00:29,240
Speaker 3: blood is left on the victim, and he says, I

1073
01:00:29,320 --> 01:00:31,200
Speaker 3: can collect the attack. I don't know how he tells

1074
01:00:31,280 --> 01:00:33,960
Speaker 3: the difference, but he says, I can collect this blood

1075
01:00:34,520 --> 01:00:37,480
Speaker 3: and analyze it and determine what kind of creature it

1076
01:00:37,560 --> 01:00:39,280
Speaker 3: came from, so we can know if it was a

1077
01:00:39,520 --> 01:00:41,480
Speaker 3: you know, a wolf for a bear or whatever that

1078
01:00:41,560 --> 01:00:43,640
Speaker 3: attacks them, or maybe a human. Yeah.

1079
01:00:43,760 --> 01:00:45,600
Speaker 2: Forensic subplot up and running.

1080
01:00:45,640 --> 01:00:48,720
Speaker 3: Right, So back at the house, doctor Fernandez is showing

1081
01:00:48,760 --> 01:00:52,760
Speaker 3: off his lab to Bernstein and he explains his research

1082
01:00:52,960 --> 01:00:58,840
Speaker 3: into metaplasia, changing one form of life into another, and

1083
01:00:59,280 --> 01:01:03,240
Speaker 3: this research involves a giant walk in freezer, which he

1084
01:01:03,480 --> 01:01:06,800
Speaker 3: shows that he's used to flash freeze plants and even

1085
01:01:06,880 --> 01:01:11,680
Speaker 3: some animals to essentially put them into hibernation or arrest

1086
01:01:11,840 --> 01:01:14,000
Speaker 3: their development in a particular state. I think he says,

1087
01:01:14,080 --> 01:01:16,960
Speaker 3: like something was dying and he could freeze it until

1088
01:01:17,040 --> 01:01:21,080
Speaker 3: it could heal without the damage progressing anymore. So he

1089
01:01:21,120 --> 01:01:25,640
Speaker 3: has a cryo chamber essentially, yes, and he explains what

1090
01:01:26,440 --> 01:01:29,240
Speaker 3: his research is really getting at. He says, mutations of

1091
01:01:29,400 --> 01:01:33,760
Speaker 3: nature the metamorphosis of cells. They're all equal and all

1092
01:01:33,920 --> 01:01:37,880
Speaker 3: succeed themselves. And he notes that through his techniques one

1093
01:01:37,920 --> 01:01:41,720
Speaker 3: could learn to transform the cells from one creature into

1094
01:01:41,840 --> 01:01:46,080
Speaker 3: that of another, even on Lobo. And then I also

1095
01:01:46,160 --> 01:01:49,680
Speaker 3: want to flag here Chekhov's really hard to open freezer door.

1096
01:01:50,160 --> 01:01:50,320
Speaker 2: Yeah.

1097
01:01:50,360 --> 01:01:52,080
Speaker 3: I don't know why you'd make it that way, but

1098
01:01:52,640 --> 01:01:57,400
Speaker 3: they show multiple times characters struggling intensely to open the

1099
01:01:57,480 --> 01:02:00,760
Speaker 3: freezer from the inside. It's hard to get this door over. Yeah.

1100
01:02:00,800 --> 01:02:02,880
Speaker 2: Yeah, even Crumba has a hard time with this one

1101
01:02:02,960 --> 01:02:04,520
Speaker 2: we see in a subsequen scene.

1102
01:02:05,000 --> 01:02:07,960
Speaker 3: For oh I like how in the lab. Here, Fernandez

1103
01:02:08,000 --> 01:02:11,320
Speaker 3: also explains that the moon is crucial to his experiments

1104
01:02:11,360 --> 01:02:15,320
Speaker 3: because of the power it exerts over the function of cells. Okay,

1105
01:02:16,720 --> 01:02:18,680
Speaker 3: but this is also where we learn a bit of

1106
01:02:18,720 --> 01:02:21,640
Speaker 3: the backstory of Crumba. We learned that Fernandez once saved

1107
01:02:21,680 --> 01:02:25,919
Speaker 3: Crumba's life and now Crumba has this unrepayable debt to him,

1108
01:02:26,400 --> 01:02:29,560
Speaker 3: and so he works for Fernandez like a watchdog. He's

1109
01:02:29,680 --> 01:02:33,440
Speaker 3: very very loyal, very dependable, and you know he will

1110
01:02:33,520 --> 01:02:36,680
Speaker 3: never give up on Fernandez to repay his life debt.

1111
01:02:37,200 --> 01:02:39,800
Speaker 2: Yeah, when the bell rings in the night and someone

1112
01:02:39,880 --> 01:02:42,640
Speaker 2: has to go answer the front door, it's Crumba that doesn't.

1113
01:02:43,320 --> 01:02:46,640
Speaker 3: Now Here, we come to this scene where Alicia explains

1114
01:02:46,720 --> 01:02:49,400
Speaker 3: her recurring nightmare to her mother. She says, you know,

1115
01:02:49,560 --> 01:02:52,400
Speaker 3: she dreams that she is awake in the night and

1116
01:02:52,520 --> 01:02:55,520
Speaker 3: she's running through the woods and she hears someone coming

1117
01:02:55,680 --> 01:02:58,840
Speaker 3: and then hides herself and then she's overcome with rage

1118
01:02:58,920 --> 01:03:02,280
Speaker 3: and confusion. She does understand what she's doing until she

1119
01:03:02,440 --> 01:03:07,200
Speaker 3: realizes that her hands are covered in blood. And so again,

1120
01:03:07,240 --> 01:03:09,640
Speaker 3: at this point, we don't know which daughter is the werewolf.

1121
01:03:09,680 --> 01:03:12,520
Speaker 3: We're being led to think it might be Alicia. But

1122
01:03:12,600 --> 01:03:15,240
Speaker 3: Alicia wants to know why she and her sister are

1123
01:03:15,280 --> 01:03:17,840
Speaker 3: always kept locked in their rooms on the full moon.

1124
01:03:18,040 --> 01:03:18,800
Speaker 3: Isn't that weird?

1125
01:03:18,920 --> 01:03:19,160
Speaker 2: Mom?

1126
01:03:19,320 --> 01:03:22,600
Speaker 3: And Mom's like, well, it's your father's orders. We have

1127
01:03:22,720 --> 01:03:25,320
Speaker 3: to do what he says, And Alicia literally says the

1128
01:03:25,400 --> 01:03:29,800
Speaker 3: line from step Brothers, this house is a prison. Meanwhile,

1129
01:03:30,000 --> 01:03:32,640
Speaker 3: and I thought this was funny, Like while they're having

1130
01:03:32,720 --> 01:03:35,880
Speaker 3: this argument, we cut away to Clarissa in the other

1131
01:03:36,000 --> 01:03:39,320
Speaker 3: room and she's just like playing with cursed music boxes

1132
01:03:39,400 --> 01:03:40,680
Speaker 3: and grinning like a clown.

1133
01:03:41,560 --> 01:03:43,360
Speaker 2: There's not a lot to do here if you're not

1134
01:03:43,520 --> 01:03:45,920
Speaker 2: actively engaged in mad science research.

1135
01:03:46,280 --> 01:03:50,640
Speaker 3: Yeah. Oh, and also we later see Alicia. We would

1136
01:03:50,640 --> 01:03:53,360
Speaker 3: get like some humanizing stuff where Alicia goes to the

1137
01:03:53,480 --> 01:03:56,320
Speaker 3: quarters of some of the servants at the house and

1138
01:03:56,640 --> 01:04:00,560
Speaker 3: the servant woman's daughter is there. The daughter is named Alita,

1139
01:04:00,800 --> 01:04:04,720
Speaker 3: and she is deaf and mute, and so Alicia seems

1140
01:04:04,760 --> 01:04:08,440
Speaker 3: to be teaching Adalita to read and trying to give

1141
01:04:08,480 --> 01:04:11,320
Speaker 3: her some kind of speech therapy. She's like putting her

1142
01:04:11,400 --> 01:04:14,840
Speaker 3: fingers around her throat while she's trying to enunciate words.

1143
01:04:15,400 --> 01:04:18,080
Speaker 2: So it's not all just frivolous playing around with toys

1144
01:04:18,120 --> 01:04:22,120
Speaker 2: and dresses and so forth. She's also doing some good

1145
01:04:22,160 --> 01:04:22,600
Speaker 2: in the world.

1146
01:04:23,200 --> 01:04:26,960
Speaker 3: But back in the lab, the plot thickens, so Bernstein

1147
01:04:27,000 --> 01:04:30,080
Speaker 3: and Fernandez are still there, and Bernstein is saying, you

1148
01:04:30,160 --> 01:04:34,280
Speaker 3: know what, I confess you've told me you're working on metaplasia.

1149
01:04:34,760 --> 01:04:38,640
Speaker 3: I am also working on something rather alike metaplasia. And

1150
01:04:38,720 --> 01:04:42,840
Speaker 3: then Fernandez just guesses. First guess he says like aanthropy,

1151
01:04:43,480 --> 01:04:48,120
Speaker 3: and Bernstein says, yes, So, like, where did everybody get

1152
01:04:48,200 --> 01:04:51,120
Speaker 3: the metaplasia research bug? Why are they all working on

1153
01:04:51,240 --> 01:04:57,920
Speaker 3: werewolf science? It's implied that this is not that they

1154
01:04:58,000 --> 01:05:00,960
Speaker 3: didn't coordinate on this. It's like a incidents that they're

1155
01:05:01,040 --> 01:05:03,920
Speaker 3: just both working on like anthropy, but their colleagues.

1156
01:05:04,640 --> 01:05:07,000
Speaker 2: Yeah, I mean they both certainly have their reasons, as

1157
01:05:07,040 --> 01:05:09,760
Speaker 2: we'll learn, but but yeah, this kind of just kind

1158
01:05:09,800 --> 01:05:11,760
Speaker 2: of this kind of comes up in the conversation where

1159
01:05:11,800 --> 01:05:15,560
Speaker 2: it's like, like, so you're working on where wolves is like, yeah, yeah,

1160
01:05:15,600 --> 01:05:17,800
Speaker 2: well that's that's secretly what I'm working on too. We're

1161
01:05:17,840 --> 01:05:18,640
Speaker 2: in the same business.

1162
01:05:19,000 --> 01:05:23,760
Speaker 3: Bernstein says, science denies the existence of like anthropy, conceptualizes

1163
01:05:23,800 --> 01:05:26,800
Speaker 3: it as something unreal. Do you have the same opinion,

1164
01:05:27,280 --> 01:05:30,600
Speaker 3: and Fernandez says no, because I have powerful reasons to

1165
01:05:30,680 --> 01:05:33,720
Speaker 3: believe in it. So they're on the same page here.

1166
01:05:33,840 --> 01:05:37,240
Speaker 3: But then the question comes up, is like aanthropy a disease?

1167
01:05:37,880 --> 01:05:41,080
Speaker 3: And Bernstein says, no, it is not a disease, it

1168
01:05:41,200 --> 01:05:45,080
Speaker 3: is something much more. Science could not understand these secrets.

1169
01:05:45,200 --> 01:05:50,080
Speaker 3: Only I can decipher them. But suddenly here they're interrupted

1170
01:05:50,160 --> 01:05:53,600
Speaker 3: because Claressa runs in, so the lovers are reunited, and

1171
01:05:53,720 --> 01:05:57,680
Speaker 3: then they go off to speak privately, and once they're alone,

1172
01:05:58,040 --> 01:06:01,840
Speaker 3: they have an interesting conversation. Earnstein says, nothing is impossible.

1173
01:06:02,000 --> 01:06:05,160
Speaker 3: See I am here with you, and Clarissa says, I

1174
01:06:05,240 --> 01:06:09,800
Speaker 3: am afraid afraid to awaken her. Who is her afraid

1175
01:06:09,840 --> 01:06:13,800
Speaker 3: to awaken her? Bernstein says, it's not an illusion, Clarissa,

1176
01:06:13,960 --> 01:06:18,800
Speaker 3: it's reality. And then Clarissa confesses to Alejandro here that

1177
01:06:19,000 --> 01:06:22,280
Speaker 3: she is also having horrible dreams. She dreams that she's

1178
01:06:22,360 --> 01:06:26,120
Speaker 3: kissing him, but then some confusion falls over her and

1179
01:06:26,240 --> 01:06:28,520
Speaker 3: she can't find him, doesn't know where he is or

1180
01:06:28,560 --> 01:06:33,880
Speaker 3: what's happening, and then we get this wonderful monologue. Bernstein says,

1181
01:06:33,960 --> 01:06:37,280
Speaker 3: in the end, it's always the same to die, but

1182
01:06:37,480 --> 01:06:40,560
Speaker 3: not even those who died can escape from its destiny.

1183
01:06:41,040 --> 01:06:43,960
Speaker 3: The life of a mortal one realizes time only in

1184
01:06:44,040 --> 01:06:49,120
Speaker 3: an instant because after death comes the eternity, the region

1185
01:06:49,280 --> 01:06:54,200
Speaker 3: without dimension, infinite in time and space. Reaching it is

1186
01:06:54,320 --> 01:06:58,240
Speaker 3: the most important. It's there where our love will last forever.

1187
01:06:58,880 --> 01:07:02,760
Speaker 3: Life will soon pass, And oh my god, Like I

1188
01:07:02,960 --> 01:07:05,240
Speaker 3: was not prepared for this at this point in the movie.

1189
01:07:05,520 --> 01:07:09,520
Speaker 3: He's got some kind of necro erotic thing going on,

1190
01:07:09,840 --> 01:07:12,919
Speaker 3: like he yearns for death because that's the only place

1191
01:07:12,960 --> 01:07:16,440
Speaker 3: where eternity is possible, where their love can be forever.

1192
01:07:16,640 --> 01:07:19,400
Speaker 3: He thinks he has some kind of key to the

1193
01:07:19,520 --> 01:07:23,720
Speaker 3: gateway to something, some kind of expanded existence beyond death.

1194
01:07:24,680 --> 01:07:26,360
Speaker 2: Yeah, this is one of the many ways of this

1195
01:07:26,480 --> 01:07:29,680
Speaker 2: film is so deeply weird. You know, you kind of

1196
01:07:29,800 --> 01:07:33,600
Speaker 2: expect of your older black and white monster pictures to

1197
01:07:33,720 --> 01:07:37,680
Speaker 2: have some very cut and dry morality involved in how

1198
01:07:37,760 --> 01:07:41,840
Speaker 2: your human characters are relating or you're presumably human characters

1199
01:07:41,880 --> 01:07:47,080
Speaker 2: are relating to threats. But everyone, everyone in this picture

1200
01:07:47,720 --> 01:07:49,480
Speaker 2: has a little bit of the madness in them, and

1201
01:07:49,880 --> 01:07:52,960
Speaker 2: I really like that. I mean, except for Gunzalz. Gunzalez

1202
01:07:53,040 --> 01:07:56,040
Speaker 2: is a rock. He's straight straight down the middle.

1203
01:07:56,640 --> 01:07:58,760
Speaker 3: I'd say Alicia has kind of a straight shooter or two,

1204
01:07:58,800 --> 01:07:59,120
Speaker 3: I guess.

1205
01:07:59,320 --> 01:07:59,520
Speaker 2: Yeah.

1206
01:07:59,680 --> 01:08:03,080
Speaker 3: Yeah. Anyway, so they get interrupted by the return of

1207
01:08:03,160 --> 01:08:05,800
Speaker 3: doctor Gonsalez. He's here to speak with Fernandez about the

1208
01:08:05,840 --> 01:08:09,000
Speaker 3: heart ripping in the woods. Apparently one of the victims

1209
01:08:09,160 --> 01:08:12,240
Speaker 3: was his best friend, and he stops to speak with Alicia,

1210
01:08:12,320 --> 01:08:14,919
Speaker 3: who is troubled by her dreams and by worries about

1211
01:08:14,960 --> 01:08:19,440
Speaker 3: what's happening. And this is where we learned that Gonzalez

1212
01:08:19,680 --> 01:08:23,680
Speaker 3: is a colleague of doctor Fernandez and that he is

1213
01:08:23,800 --> 01:08:26,559
Speaker 3: the beloved of Alicia. So this is where I first

1214
01:08:26,640 --> 01:08:30,559
Speaker 3: realized what is weird that both of this guy's daughters

1215
01:08:30,600 --> 01:08:32,960
Speaker 3: are engaged to his coworkers. Yeah.

1216
01:08:34,040 --> 01:08:36,439
Speaker 2: Again, they don't get to leave the compound much. These

1217
01:08:36,479 --> 01:08:38,200
Speaker 2: are the only men outside of their family that they

1218
01:08:38,240 --> 01:08:38,680
Speaker 2: get to meet.

1219
01:08:39,479 --> 01:08:43,560
Speaker 3: That's a rough dating scene. Yeah. So doctor Gonzalez is

1220
01:08:43,640 --> 01:08:47,360
Speaker 3: here to use Fernandez's microscope because he's got to figure

1221
01:08:47,360 --> 01:08:49,760
Speaker 3: out what kind of blood the killer had, remember that. Yeah,

1222
01:08:50,120 --> 01:08:53,680
Speaker 3: and I think ultimately this plot goes nowhere, right, it's inconclusive.

1223
01:08:54,080 --> 01:08:56,760
Speaker 2: Yeah, they're just like, it's not a beast, not a man.

1224
01:08:57,840 --> 01:09:02,640
Speaker 2: There's no possible space betweeneen those two categories, so.

1225
01:09:02,720 --> 01:09:05,599
Speaker 3: We're not sure. Oh, here we also get the scene

1226
01:09:05,720 --> 01:09:09,920
Speaker 3: where the girl, the child Adalita, sneaks out at night.

1227
01:09:10,880 --> 01:09:13,120
Speaker 3: So in the anatomy of a sneak out here, because

1228
01:09:13,120 --> 01:09:15,920
Speaker 3: we've got a couple of scenes like this. She goes

1229
01:09:15,960 --> 01:09:18,560
Speaker 3: out of the window and climbs fences and goes to

1230
01:09:18,640 --> 01:09:21,320
Speaker 3: the woods to play with the tin soldier that bangs

1231
01:09:21,360 --> 01:09:24,160
Speaker 3: on a dramas like a little wind up toy, and

1232
01:09:24,320 --> 01:09:26,519
Speaker 3: she the place she goes out to play in the

1233
01:09:26,560 --> 01:09:29,280
Speaker 3: woods at night is said this like the ruins of

1234
01:09:29,640 --> 01:09:32,320
Speaker 3: an old house with exposed rafters.

1235
01:09:32,960 --> 01:09:36,800
Speaker 2: Yeah, she's completely fearless going out into the night, into

1236
01:09:36,840 --> 01:09:40,880
Speaker 2: this wilderness where multiple murders have just occurred, and goes

1237
01:09:40,960 --> 01:09:43,960
Speaker 2: to like the spookiest location you could possibly seek out

1238
01:09:44,439 --> 01:09:46,040
Speaker 2: because she left a toy.

1239
01:09:45,880 --> 01:09:49,960
Speaker 3: There or something. Meanwhile, doctor Bernstein is having an argument

1240
01:09:50,000 --> 01:09:53,360
Speaker 3: with Fernandez about marrying Clarissa. Long and short is you know.

1241
01:09:53,760 --> 01:09:55,720
Speaker 3: Fernandez is like, I don't know about this. I don't

1242
01:09:55,760 --> 01:09:58,840
Speaker 3: think it's a good idea, and Bernstein is like, well,

1243
01:09:58,920 --> 01:10:00,640
Speaker 3: we're going to do it in any you know, you

1244
01:10:00,720 --> 01:10:04,880
Speaker 3: can't stop us. But then as soon as Bernstein is

1245
01:10:04,960 --> 01:10:08,439
Speaker 3: left alone, uh, oh, it's a full moon, and he

1246
01:10:08,560 --> 01:10:11,040
Speaker 3: gets a crazy look in his eye, and the full

1247
01:10:11,120 --> 01:10:14,160
Speaker 3: moon just like it bugs out of the sky. And

1248
01:10:14,360 --> 01:10:17,000
Speaker 3: then whoa, he is a were wolf too. We got

1249
01:10:17,120 --> 01:10:18,679
Speaker 3: a second werewolf in the movie.

1250
01:10:19,120 --> 01:10:22,000
Speaker 2: Yeap, yeah, he starts twitching. He starts itching. You know

1251
01:10:22,080 --> 01:10:22,719
Speaker 2: what's gonna happen.

1252
01:10:23,360 --> 01:10:26,240
Speaker 3: So I guess we should describe the setup to this

1253
01:10:26,439 --> 01:10:30,120
Speaker 3: attack on Adalita. Fortunately, the child is not harmed. For

1254
01:10:30,280 --> 01:10:34,160
Speaker 3: the for the the gene siskels in the audience, you

1255
01:10:34,280 --> 01:10:37,040
Speaker 3: can't stand the movie scenes where a child is threatened.

1256
01:10:37,200 --> 01:10:41,040
Speaker 3: Adalita is gonna be okay, but it's looking perilous for

1257
01:10:41,120 --> 01:10:43,200
Speaker 3: her because she's just sitting there playing with this toy

1258
01:10:43,840 --> 01:10:48,040
Speaker 3: and the Bernstein werewolf is creeping up on her in

1259
01:10:48,160 --> 01:10:50,719
Speaker 3: the woods again at the ruins of a building.

1260
01:10:50,800 --> 01:10:50,960
Speaker 2: Here.

1261
01:10:52,160 --> 01:10:54,880
Speaker 3: Now a new thing we get in this scene is

1262
01:10:55,320 --> 01:10:57,639
Speaker 3: the presence of a character who I don't think we've

1263
01:10:57,720 --> 01:11:01,760
Speaker 3: seen before, the werewolf Hunter and his dog, the Lee Car.

1264
01:11:02,560 --> 01:11:05,080
Speaker 2: Yes, Jack Jack is the dog's name.

1265
01:11:05,560 --> 01:11:08,720
Speaker 3: How would you describe the werewolf hunter when he first appears.

1266
01:11:08,960 --> 01:11:12,599
Speaker 2: Again, He has kind of an outsider bohemian vibe similar

1267
01:11:12,680 --> 01:11:15,920
Speaker 2: to crumbas bit different. He looks like a little he

1268
01:11:15,960 --> 01:11:18,680
Speaker 2: looks a little metal a little occult, but it is

1269
01:11:18,720 --> 01:11:21,559
Speaker 2: also like clearly has some sort of an international vibe

1270
01:11:21,600 --> 01:11:25,200
Speaker 2: to him, and indeed we will learn in subsequent scenes

1271
01:11:25,240 --> 01:11:28,400
Speaker 2: that he is from across the ocean, so he is

1272
01:11:28,560 --> 01:11:31,879
Speaker 2: of some sort of Asiatic origin.

1273
01:11:32,680 --> 01:11:36,400
Speaker 3: He's a wanderer though, Yeah, he's been everywhere.

1274
01:11:36,479 --> 01:11:39,560
Speaker 2: And his business is, we will learn, hunting werewolves. And

1275
01:11:40,400 --> 01:11:42,960
Speaker 2: he's in the right place because we've got more than

1276
01:11:43,000 --> 01:11:44,240
Speaker 2: one of them running around now.

1277
01:11:52,800 --> 01:11:55,840
Speaker 3: So the Bernstein werewolf is creeping up on little Italyita.

1278
01:11:55,920 --> 01:11:59,519
Speaker 3: But before he gets there and does anything, the werewolf

1279
01:11:59,640 --> 01:12:03,280
Speaker 3: is a hacked by a dog by the the werewolf

1280
01:12:03,360 --> 01:12:06,760
Speaker 3: hunter's dog, and they tussle around, they roll around, the

1281
01:12:06,840 --> 01:12:09,640
Speaker 3: dog is sort of mauling the werewolf, and then the

1282
01:12:09,760 --> 01:12:13,240
Speaker 3: werewolf is severely wounded and runs away and then Attalie

1283
01:12:13,320 --> 01:12:17,320
Speaker 3: to leaves, I think, never realizing anything that anything almost happened.

1284
01:12:17,439 --> 01:12:19,800
Speaker 2: Yeah, completely oblivious like so many children.

1285
01:12:20,680 --> 01:12:23,240
Speaker 3: So as the injured werewolf staggers back to the mansion,

1286
01:12:23,320 --> 01:12:28,280
Speaker 3: he transforms back into doctor Bernstein. Shirtless. Now he collapses

1287
01:12:28,360 --> 01:12:32,320
Speaker 3: into Crumba's arms and we see Fernandez and his colleagues

1288
01:12:33,080 --> 01:12:36,160
Speaker 3: sort of come into intervene. Actually, the first thing we

1289
01:12:36,240 --> 01:12:37,800
Speaker 3: see of them. Is that we just cut to them

1290
01:12:37,880 --> 01:12:41,200
Speaker 3: in scrubs and they're like doing surgery. They're operating on

1291
01:12:41,360 --> 01:12:45,080
Speaker 3: Bernstein here, and Fernandez says he is moments from death.

1292
01:12:45,240 --> 01:12:47,479
Speaker 3: The only way to save him is to freeze him

1293
01:12:47,840 --> 01:12:51,320
Speaker 3: a giant freezer with the conspicuously difficult to open door.

1294
01:12:52,080 --> 01:12:56,200
Speaker 2: That's right. Yeah, it's like our the man that we

1295
01:12:56,360 --> 01:12:59,559
Speaker 2: don't know is a werewolf is about to die from

1296
01:12:59,760 --> 01:13:02,880
Speaker 2: a like a bite to the heart from a dog.

1297
01:13:04,439 --> 01:13:06,040
Speaker 2: The only thing we can do is put him on

1298
01:13:06,120 --> 01:13:09,680
Speaker 2: ice and hopefully he'll be able to heal or we

1299
01:13:09,760 --> 01:13:11,439
Speaker 2: can figure out how to heal him later.

1300
01:13:11,840 --> 01:13:14,080
Speaker 3: Yeah. They're also like, we cannot tell the daughters.

1301
01:13:14,560 --> 01:13:14,760
Speaker 2: Yes.

1302
01:13:15,920 --> 01:13:18,080
Speaker 3: So next there's a scene at the police station with

1303
01:13:18,160 --> 01:13:21,040
Speaker 3: the werewolf hunter, and you know, the deputy says to

1304
01:13:21,880 --> 01:13:24,559
Speaker 3: the chief, I think they're like, we've captured the killers.

1305
01:13:24,760 --> 01:13:26,560
Speaker 3: Here he is, you know, it's the guy. It's this

1306
01:13:26,720 --> 01:13:30,200
Speaker 3: guy and his dog. They are obviously the murderers. And

1307
01:13:30,280 --> 01:13:33,120
Speaker 3: the werewolf hunter says that his dog did not harm anyone.

1308
01:13:33,240 --> 01:13:35,920
Speaker 3: His dog likes humans. He would never hurt him, never

1309
01:13:36,000 --> 01:13:40,799
Speaker 3: hurt them, and he says dogs are not hypocrites like men. Instead,

1310
01:13:40,840 --> 01:13:44,000
Speaker 3: he gives of some of his backstory. He says he's

1311
01:13:44,080 --> 01:13:47,400
Speaker 3: from very distant lands across the sea, from a small village.

1312
01:13:47,520 --> 01:13:50,240
Speaker 3: It's not even on the map. He says he has

1313
01:13:50,360 --> 01:13:54,320
Speaker 3: had this dog, Jack since he was a boy. He says,

1314
01:13:54,640 --> 01:13:56,320
Speaker 3: is it a crime for a man to take his

1315
01:13:56,479 --> 01:13:59,200
Speaker 3: dog for a ride? And then they ask what's the

1316
01:13:59,240 --> 01:14:02,439
Speaker 3: deal with that medel around your dog's neck? And the

1317
01:14:02,479 --> 01:14:05,719
Speaker 3: werewolf hunter explains this means the dog is a leakar,

1318
01:14:06,240 --> 01:14:10,400
Speaker 3: a dog trained to fight against a lichenthrope. The cops are,

1319
01:14:10,439 --> 01:14:13,640
Speaker 3: of course incredulous. They're like, what's a lichen thrope? And

1320
01:14:14,320 --> 01:14:16,680
Speaker 3: one of them says to the other one, it's a werewolf,

1321
01:14:16,800 --> 01:14:20,160
Speaker 3: an old superstition of theirs. And I was thinking, what

1322
01:14:20,520 --> 01:14:21,480
Speaker 3: of who's.

1323
01:14:23,080 --> 01:14:26,040
Speaker 2: The people? The non police? I guess, okay.

1324
01:14:27,120 --> 01:14:30,000
Speaker 3: But they also find out this guy is in possession

1325
01:14:30,040 --> 01:14:33,880
Speaker 3: of a special dagger, which is engraved in Latin, says

1326
01:14:34,160 --> 01:14:36,440
Speaker 3: use it only at the time of revenge.

1327
01:14:37,680 --> 01:14:41,160
Speaker 2: So I really love how they're laying out this basically

1328
01:14:41,520 --> 01:14:46,120
Speaker 2: the model for how you kill werewolves in this film. Bullets,

1329
01:14:46,280 --> 01:14:50,559
Speaker 2: as we'll learn, are useless. Human weapons useless. The things

1330
01:14:50,640 --> 01:14:55,880
Speaker 2: that work are an ivory dagger or the bite of

1331
01:14:56,000 --> 01:14:59,960
Speaker 2: a highly trained domesticated dog, and the dog itself is

1332
01:15:00,080 --> 01:15:02,880
Speaker 2: interesting choice because you're talking essentially about a tamed wolf

1333
01:15:03,280 --> 01:15:05,400
Speaker 2: an instrument to use against the were wolf, which is

1334
01:15:05,479 --> 01:15:08,640
Speaker 2: kind of like rewilded human. I like the synergy of that,

1335
01:15:09,200 --> 01:15:11,880
Speaker 2: and I like the idea that in both cases, like

1336
01:15:12,040 --> 01:15:15,240
Speaker 2: you need a weapon of the tooth or the tusk

1337
01:15:15,600 --> 01:15:18,479
Speaker 2: to use against the were wolf, like you need a

1338
01:15:18,960 --> 01:15:21,920
Speaker 2: like a biological weapon, you need a weapon of nature,

1339
01:15:21,960 --> 01:15:27,400
Speaker 2: a weapon of predatory aggression. Only these weapons will actually

1340
01:15:27,520 --> 01:15:28,400
Speaker 2: hurt the beast.

1341
01:15:29,240 --> 01:15:31,679
Speaker 3: Yeah. I like that as well, And it's more magical

1342
01:15:31,800 --> 01:15:34,400
Speaker 3: than the sci fi premise. It's kind of mixing all

1343
01:15:34,439 --> 01:15:39,360
Speaker 3: the different shades together. Now there's another line he says

1344
01:15:39,400 --> 01:15:41,840
Speaker 3: here that I think is interesting when he says many

1345
01:15:41,920 --> 01:15:45,080
Speaker 3: people traveled the world in hunt of the wolf, the

1346
01:15:45,160 --> 01:15:48,360
Speaker 3: wolf that killed the one they love, and pairing that

1347
01:15:48,479 --> 01:15:52,040
Speaker 3: with the line on the deck or about revenge, it's

1348
01:15:52,160 --> 01:15:57,600
Speaker 3: really confusing. Actually, well, I don't mean this against the

1349
01:15:57,640 --> 01:16:00,400
Speaker 3: movie because I liked it this way, but like minute,

1350
01:16:00,760 --> 01:16:04,040
Speaker 3: so are the were wolves here like a project of

1351
01:16:04,360 --> 01:16:08,400
Speaker 3: doctor Bernstein's that is quite recent in origin, because you know,

1352
01:16:09,360 --> 01:16:10,840
Speaker 3: Clarissa and Bernstein are.

1353
01:16:10,760 --> 01:16:11,439
Speaker 2: Not that old.

1354
01:16:13,479 --> 01:16:17,000
Speaker 3: How would they have killed the person that this man

1355
01:16:17,200 --> 01:16:20,800
Speaker 3: loved I don't know, like, and he chased them around

1356
01:16:20,840 --> 01:16:22,920
Speaker 3: the world. That just doesn't seem to make a lot

1357
01:16:22,960 --> 01:16:25,080
Speaker 3: of sense. But who knows that. I guess we do

1358
01:16:25,320 --> 01:16:28,479
Speaker 3: learn that Bernstein has traveled a lot. So maybe maybe

1359
01:16:28,520 --> 01:16:31,160
Speaker 3: Bernstein did kill the one he loved somewhere else.

1360
01:16:31,479 --> 01:16:35,599
Speaker 2: Yeah. Or maybe it's just a general, you know, vow

1361
01:16:35,840 --> 01:16:40,800
Speaker 2: taken against all were wolves based on like a specific

1362
01:16:40,960 --> 01:16:43,720
Speaker 2: loss to a different were wolf, like once they were

1363
01:16:43,720 --> 01:16:45,240
Speaker 2: a wolf killed a member of my family, and so

1364
01:16:45,439 --> 01:16:47,080
Speaker 2: now I must always hunt were wolves.

1365
01:16:47,640 --> 01:16:48,400
Speaker 3: That could make sense.

1366
01:16:49,080 --> 01:16:50,880
Speaker 2: Also, you got that highly trained dog. I mean, you're

1367
01:16:50,920 --> 01:16:52,920
Speaker 2: you're kind of married to the profession. At that point,

1368
01:16:53,120 --> 01:16:55,320
Speaker 2: you're locked in. Yeah, I mean the dog's got to work.

1369
01:16:55,400 --> 01:16:56,160
Speaker 2: It's a working dog.

1370
01:16:56,520 --> 01:16:57,280
Speaker 3: Sunk costs.

1371
01:16:57,600 --> 01:16:58,599
Speaker 2: Yeah. Oh.

1372
01:16:58,680 --> 01:17:00,800
Speaker 3: Also, at some point the cops said him free because

1373
01:17:00,800 --> 01:17:04,519
Speaker 3: another murder takes place while he's in custody. Yeah. Ooh,

1374
01:17:04,600 --> 01:17:06,960
Speaker 3: And there's a whoopsie at night. So the girl's mother

1375
01:17:07,120 --> 01:17:09,640
Speaker 3: in the in the mansion comes wandering down into the

1376
01:17:09,720 --> 01:17:12,240
Speaker 3: lab one night. Maybe this is just all one night.

1377
01:17:12,920 --> 01:17:20,200
Speaker 3: Who knows this is Fernandez's wife, Yes, this is the matriarch, Marcella. Yeah, yeah,

1378
01:17:20,920 --> 01:17:24,000
Speaker 3: she sees Bernstein frozen in the freezer. Through the window.

1379
01:17:24,120 --> 01:17:26,360
Speaker 3: She like looks in the people, you know, through the

1380
01:17:26,400 --> 01:17:29,240
Speaker 3: little window. It's like, oh no, he's frozen in there.

1381
01:17:29,680 --> 01:17:32,400
Speaker 3: And she goes in to investigate. I guess because they

1382
01:17:32,439 --> 01:17:33,519
Speaker 3: didn't tell her, They.

1383
01:17:33,479 --> 01:17:35,720
Speaker 2: Didn't tell anybody else in the household what was going on.

1384
01:17:36,080 --> 01:17:38,240
Speaker 2: You can peek through the window and see a body

1385
01:17:38,320 --> 01:17:38,599
Speaker 2: in there.

1386
01:17:39,000 --> 01:17:42,080
Speaker 3: I think this is Fernandez's fault. You could argue that

1387
01:17:42,280 --> 01:17:45,080
Speaker 3: this could have been prevented if he'd just told his

1388
01:17:45,200 --> 01:17:47,000
Speaker 3: wife and daughters what was happening.

1389
01:17:46,920 --> 01:17:48,800
Speaker 2: Or put a sticky note up, you know, just so

1390
01:17:49,040 --> 01:17:52,000
Speaker 2: like like, hey, do not open this body's supposed to

1391
01:17:52,040 --> 01:17:55,040
Speaker 2: be in there. I'd be where wolf do not though, But.

1392
01:17:55,120 --> 01:17:57,639
Speaker 3: She goes in to investigate, and then she becomes trapped.

1393
01:17:58,000 --> 01:18:00,240
Speaker 3: She's like trying to open the door again to get out,

1394
01:18:00,280 --> 01:18:03,280
Speaker 3: but she can't get it open because it's difficult. And

1395
01:18:03,400 --> 01:18:05,560
Speaker 3: then I guess she's freezing at the freezer. So she

1396
01:18:05,680 --> 01:18:08,240
Speaker 3: turns off all the levers on the freezer, I think,

1397
01:18:08,320 --> 01:18:12,520
Speaker 3: to prevent herself from freezing to death. But then Bernstein

1398
01:18:12,760 --> 01:18:15,960
Speaker 3: starts to thaw, and we see ice crystals on his

1399
01:18:16,120 --> 01:18:21,479
Speaker 3: face melting. Oh no, the werewolf awakens. That's right. So

1400
01:18:21,680 --> 01:18:25,080
Speaker 3: later we come back to the house and Alicia finds

1401
01:18:25,160 --> 01:18:27,720
Speaker 3: her mother dead on the living room floor with her

1402
01:18:27,800 --> 01:18:32,200
Speaker 3: heart torn out. That's no good, and Clarissa is horrified,

1403
01:18:32,240 --> 01:18:34,599
Speaker 3: of course and runs to her room. Though I guess

1404
01:18:34,640 --> 01:18:37,120
Speaker 3: it's kind of implied it was Bernstein that we never

1405
01:18:37,439 --> 01:18:39,800
Speaker 3: see it, right, so we don't know which werewolf it

1406
01:18:40,080 --> 01:18:40,679
Speaker 3: was for sure.

1407
01:18:41,600 --> 01:18:44,760
Speaker 2: Yeah, yeah, I think we know. Ultimately we know we

1408
01:18:44,920 --> 01:18:47,760
Speaker 2: know it was Bernstein, but in general it's left a

1409
01:18:47,760 --> 01:18:48,320
Speaker 2: little vague.

1410
01:18:48,600 --> 01:18:50,919
Speaker 3: So here, I guess we're setting up for the final showdown.

1411
01:18:51,000 --> 01:18:53,320
Speaker 3: We have the mother's funeral, which is at the cemetery

1412
01:18:53,400 --> 01:18:56,519
Speaker 3: on the hillside where we started the movie. I was

1413
01:18:56,600 --> 01:18:59,240
Speaker 3: thinking it would be really funny if the plot, like

1414
01:18:59,360 --> 01:19:02,120
Speaker 3: the spot went to bury her in was the place

1415
01:19:02,160 --> 01:19:04,559
Speaker 3: where you know, they start digging, and it's just there's

1416
01:19:04,600 --> 01:19:08,160
Speaker 3: a secret passageway they are going to the going to

1417
01:19:08,280 --> 01:19:13,120
Speaker 3: the fireplace. But after the mother's funeral, the werewolf hunter

1418
01:19:13,360 --> 01:19:15,960
Speaker 3: sets out a bear trap in the cemetery to catch

1419
01:19:16,000 --> 01:19:19,160
Speaker 3: the creatures, and we see lots of characters. We kind

1420
01:19:19,160 --> 01:19:21,639
Speaker 3: of get the what do you call that montage where

1421
01:19:21,680 --> 01:19:25,160
Speaker 3: you see everybody looking kind of stern, frightened, or determined

1422
01:19:25,280 --> 01:19:28,040
Speaker 3: right before. We're leading up to the climax.

1423
01:19:28,640 --> 01:19:31,960
Speaker 2: Yeah, yeah, everybody's kind of getting in the zone one

1424
01:19:31,960 --> 01:19:34,280
Speaker 2: way or another, even though they don't know exactly what's coming.

1425
01:19:34,640 --> 01:19:37,200
Speaker 3: We're getting all the pieces positioned on the board. Basically,

1426
01:19:37,280 --> 01:19:39,600
Speaker 3: we learn that everybody is going to be in and

1427
01:19:39,800 --> 01:19:43,120
Speaker 3: around the mansion tonight, almost as if they suspect the

1428
01:19:43,160 --> 01:19:45,839
Speaker 3: climax of the film is coming. Like the police inspector

1429
01:19:45,920 --> 01:19:48,280
Speaker 3: decides he's got to stay with the Fernandez family for

1430
01:19:48,360 --> 01:19:49,439
Speaker 3: their protection tonight.

1431
01:19:49,960 --> 01:19:50,160
Speaker 2: Yeah.

1432
01:19:50,560 --> 01:19:53,280
Speaker 3: Oh. In the lead up to the climax, here we

1433
01:19:53,360 --> 01:19:57,040
Speaker 3: get another child in peril scene because Adelita goes into

1434
01:19:57,080 --> 01:19:59,880
Speaker 3: Clarissa's room. She sneaks out of her quarters goes in

1435
01:20:00,120 --> 01:20:02,640
Speaker 3: Clarissa's room secretly because she wants to play with the

1436
01:20:02,680 --> 01:20:04,439
Speaker 3: creepy dolls, that's right.

1437
01:20:04,479 --> 01:20:09,040
Speaker 2: So she's in there playing and looking at dolls and all. Meanwhile,

1438
01:20:09,840 --> 01:20:14,240
Speaker 2: this is when we have Clarissa playing the piano downstairs.

1439
01:20:14,920 --> 01:20:18,760
Speaker 2: She's feeling a number of emotions about the death of

1440
01:20:18,800 --> 01:20:20,680
Speaker 2: her mother and is going to take it out on

1441
01:20:20,760 --> 01:20:24,000
Speaker 2: the piano. And boy does she ever. She's playing this

1442
01:20:24,120 --> 01:20:28,519
Speaker 2: like this furious piano number there. It's pissing off her sister.

1443
01:20:29,280 --> 01:20:32,639
Speaker 2: It's apparently not a morning vibe that's being created here,

1444
01:20:33,000 --> 01:20:38,479
Speaker 2: and even Crumba is clearly concerned about what's happening here.

1445
01:20:38,720 --> 01:20:41,280
Speaker 3: Yeah, he's watching her play the piano and just looking like,

1446
01:20:41,400 --> 01:20:45,080
Speaker 3: oh boy, here we go. And then I think that

1447
01:20:45,240 --> 01:20:48,280
Speaker 3: he senses the full moon is coming out. So just

1448
01:20:48,400 --> 01:20:51,920
Speaker 3: before the change takes hold, Crumba grabs Clarissa and carries

1449
01:20:51,960 --> 01:20:55,280
Speaker 3: her up to her room and locks her inside, unfortunately

1450
01:20:55,439 --> 01:20:59,160
Speaker 3: not realizing that Adalita is in there. So Adalita hides

1451
01:20:59,240 --> 01:21:02,200
Speaker 3: under the bed and Clarissa begins to change in the

1452
01:21:02,320 --> 01:21:04,560
Speaker 3: light of the full moon in a scene that is

1453
01:21:04,760 --> 01:21:10,400
Speaker 3: pretty scary. But so she goes through this dissolved transformation

1454
01:21:10,680 --> 01:21:13,599
Speaker 3: kind of like we've seen earlier, but in the opposite direction,

1455
01:21:14,479 --> 01:21:17,600
Speaker 3: and just as she's leaving out the secret passageway in

1456
01:21:17,640 --> 01:21:22,240
Speaker 3: the fireplace, she hears a toy that Adelita had been

1457
01:21:22,280 --> 01:21:24,960
Speaker 3: playing with is like a wind up toy that gets dropped,

1458
01:21:25,400 --> 01:21:28,400
Speaker 3: and she's drawn back into the room by it. Adalita

1459
01:21:28,680 --> 01:21:32,360
Speaker 3: escapes by climbing down out of a window, but the

1460
01:21:32,400 --> 01:21:35,680
Speaker 3: she wolf chases, and this chase leads out to the

1461
01:21:35,800 --> 01:21:39,200
Speaker 3: ruined house with exposed rafters where Adalita was playing earlier,

1462
01:21:39,680 --> 01:21:43,519
Speaker 3: and this leads to a showdown between the Clarissa Wolf

1463
01:21:43,720 --> 01:21:46,599
Speaker 3: and the werewolf Hunter. So here's the first of our

1464
01:21:46,640 --> 01:21:50,360
Speaker 3: big fights and the werewolf hunter. He's got his ivory

1465
01:21:50,439 --> 01:21:53,200
Speaker 3: dagger there and he's trying to fend her off, but

1466
01:21:53,320 --> 01:21:56,439
Speaker 3: she's slashing and clawing and mauling at him and they're

1467
01:21:56,520 --> 01:21:59,519
Speaker 3: rolling around on the ground. So here's the first wrestling match.

1468
01:22:00,600 --> 01:22:01,040
Speaker 3: That's right.

1469
01:22:01,320 --> 01:22:05,880
Speaker 2: Meanwhile, back in the house's what's happening with the male

1470
01:22:05,960 --> 01:22:10,120
Speaker 2: were wolf. Well, he's back in action and Crumba is

1471
01:22:10,200 --> 01:22:12,360
Speaker 2: there to fight him, and this is where we get

1472
01:22:12,400 --> 01:22:16,400
Speaker 2: a big, slobbery knocker of a battle between these two

1473
01:22:16,760 --> 01:22:19,639
Speaker 2: with a little bit of Lucha libre esque action kind

1474
01:22:19,680 --> 01:22:23,719
Speaker 2: of sprinkled in. Nothing too overt, but at one point

1475
01:22:24,200 --> 01:22:27,800
Speaker 2: I do love that the were wolf grabs Crumba in

1476
01:22:28,120 --> 01:22:30,120
Speaker 2: some form of a full nelson, kind of like a

1477
01:22:31,360 --> 01:22:34,960
Speaker 2: but instead of locking his fingers behind Crumba's neck, he

1478
01:22:35,280 --> 01:22:38,320
Speaker 2: like puts his claws on Crumbus's face, So I think

1479
01:22:38,360 --> 01:22:41,720
Speaker 2: it should be called the full moon nelson instead, like

1480
01:22:41,800 --> 01:22:44,680
Speaker 2: a were wolf variant of a hold. I like it,

1481
01:22:44,920 --> 01:22:47,479
Speaker 2: but this is a pretty good fight. They're throwing furniture around,

1482
01:22:48,360 --> 01:22:51,080
Speaker 2: it does not end well for Crumba. Oh and I

1483
01:22:51,080 --> 01:22:53,240
Speaker 2: should And also it doesn't end well for the professor.

1484
01:22:53,520 --> 01:22:58,080
Speaker 2: This were wolf also brutally murders Professor Fernandez as well.

1485
01:22:58,479 --> 01:23:01,800
Speaker 2: So the body count is really beginning to stack up here,

1486
01:23:02,240 --> 01:23:05,800
Speaker 2: and characters are dying in graphic detail, the black and

1487
01:23:05,840 --> 01:23:06,879
Speaker 2: white blood everywhere.

1488
01:23:07,439 --> 01:23:10,439
Speaker 3: Alicia escapes the scene out out of the house and

1489
01:23:10,640 --> 01:23:14,200
Speaker 3: is pursued. She does get her Oh she's she gets

1490
01:23:14,280 --> 01:23:16,639
Speaker 3: caught in the werewolf hunter's bear trap.

1491
01:23:16,840 --> 01:23:19,600
Speaker 2: Oh does Oh god, I was not expecting that. I

1492
01:23:19,640 --> 01:23:22,000
Speaker 2: should have expected it. They set the trap, you know,

1493
01:23:22,240 --> 01:23:25,120
Speaker 2: it's it's been established. But then when she stepped in

1494
01:23:25,160 --> 01:23:27,000
Speaker 2: it and that thing clamped on her foot, I was like,

1495
01:23:27,080 --> 01:23:31,599
Speaker 2: oh god, you know that caught me off guard. Very

1496
01:23:31,640 --> 01:23:32,040
Speaker 2: well done.

1497
01:23:32,760 --> 01:23:35,400
Speaker 3: So several more of our good characters are attacked or

1498
01:23:35,479 --> 01:23:39,040
Speaker 3: threatened by the two by the two werewolves. Ultimately, though,

1499
01:23:39,479 --> 01:23:43,599
Speaker 3: the werewolves are defeated in one case by being mauled

1500
01:23:43,680 --> 01:23:47,120
Speaker 3: by the leekr dog the werewolf killing dog, and then

1501
01:23:47,160 --> 01:23:49,639
Speaker 3: the other case being stabbed I think by the police

1502
01:23:49,720 --> 01:23:52,560
Speaker 3: inspector with the ivory knife that was dropped by the

1503
01:23:52,640 --> 01:23:56,240
Speaker 3: werewolf Hunter is unfortunately killed in action. But then the

1504
01:23:56,320 --> 01:23:58,920
Speaker 3: police inspector comes along and picks up the ivory knife

1505
01:23:59,000 --> 01:24:01,599
Speaker 3: and is able to fit one of the two were wolves.

1506
01:24:01,920 --> 01:24:04,599
Speaker 2: Yes, I believe our she wolf is killed by the knife.

1507
01:24:05,080 --> 01:24:08,920
Speaker 2: Our male wolf is killed by the bite. And then

1508
01:24:08,920 --> 01:24:11,719
Speaker 2: we get that sad scene with Jack the dog laying

1509
01:24:11,800 --> 01:24:14,800
Speaker 2: there by the side of his now deceased master.

1510
01:24:15,280 --> 01:24:18,280
Speaker 3: And it's kind of interesting because we get multiple like

1511
01:24:18,400 --> 01:24:22,800
Speaker 3: it's juxtaposed with the kind of lovers isn't the right

1512
01:24:22,840 --> 01:24:24,439
Speaker 3: word for the guy and his dog, but kind of

1513
01:24:24,720 --> 01:24:28,280
Speaker 3: the companions united in the end because the dog lays

1514
01:24:28,320 --> 01:24:30,240
Speaker 3: down next to the were wolf hunter. They're kind of

1515
01:24:30,320 --> 01:24:33,680
Speaker 3: there together, and though the dog is still alive. But

1516
01:24:33,840 --> 01:24:36,240
Speaker 3: then the two were wolves lay down next to each

1517
01:24:36,240 --> 01:24:38,519
Speaker 3: other as they die, and then they both transform back

1518
01:24:38,560 --> 01:24:39,679
Speaker 3: into their human forms.

1519
01:24:40,320 --> 01:24:45,720
Speaker 2: Yeah, and she's naked and he's I think wearing like

1520
01:24:45,880 --> 01:24:49,760
Speaker 2: torn pants in this. But it's really nicely framed, the

1521
01:24:49,840 --> 01:24:53,880
Speaker 2: bodies of our cursed lovers finally coming together, entangled in

1522
01:24:53,960 --> 01:24:57,880
Speaker 2: the moonlight as our survivors look on, and we get

1523
01:24:58,080 --> 01:25:01,360
Speaker 2: a repetition of that freedom and death monologue from earlier,

1524
01:25:01,400 --> 01:25:03,679
Speaker 2: and it woo it hits pretty hard, like the ending

1525
01:25:04,360 --> 01:25:07,160
Speaker 2: of this film takes no prisoners it's pretty brutal.

1526
01:25:07,400 --> 01:25:11,639
Speaker 3: Well, yeah, that does raise the question. So Bernstein thought

1527
01:25:11,720 --> 01:25:16,360
Speaker 3: that they would achieve some kind of like ascension after death,

1528
01:25:16,560 --> 01:25:18,960
Speaker 3: like that would be an empowering thing where they could

1529
01:25:19,000 --> 01:25:21,880
Speaker 3: have eternity. Do they get that we never see the

1530
01:25:21,960 --> 01:25:25,080
Speaker 3: other side of death. Are they living on somehow? What's happening?

1531
01:25:25,680 --> 01:25:25,840
Speaker 3: You know?

1532
01:25:26,240 --> 01:25:29,479
Speaker 2: One can imagine a cut of this picture in which

1533
01:25:29,720 --> 01:25:32,280
Speaker 2: we go right from this scene to a heavenly wear

1534
01:25:32,320 --> 01:25:38,360
Speaker 2: wolf wedding. They're both in full like hybrid werewolf form though,

1535
01:25:38,560 --> 01:25:41,120
Speaker 2: you know, with bow ties and veil and all, and

1536
01:25:41,840 --> 01:25:43,800
Speaker 2: they are wetted and they become husband and wife.

1537
01:25:44,200 --> 01:25:46,920
Speaker 3: But that's not what we get here, Bernstein and Clarissa are.

1538
01:25:47,400 --> 01:25:50,720
Speaker 3: They're like met by Dante the sphere of Venus in

1539
01:25:50,800 --> 01:25:51,560
Speaker 3: the Paradiso.

1540
01:25:52,200 --> 01:25:55,240
Speaker 2: Yes, and the family members in attendance, they're all like

1541
01:25:55,439 --> 01:25:59,120
Speaker 2: bleeding from open wounds like American werewolf in London style.

1542
01:25:59,600 --> 01:26:00,880
Speaker 2: But I don't I don't mean to make light of

1543
01:26:00,920 --> 01:26:02,600
Speaker 2: the endit here, because I think the ending here is

1544
01:26:02,680 --> 01:26:07,559
Speaker 2: really strong and definitely fulfills on like the vision they

1545
01:26:07,600 --> 01:26:10,599
Speaker 2: seem to have for the picture. It's again, it's it's grim,

1546
01:26:11,760 --> 01:26:14,560
Speaker 2: it's it's not pulling any punches, but we do have

1547
01:26:15,360 --> 01:26:19,240
Speaker 2: our three survivors, I guess four survivors, but three main

1548
01:26:19,360 --> 01:26:21,880
Speaker 2: survivors that we have like real attachment to.

1549
01:26:22,120 --> 01:26:25,200
Speaker 3: Yeah, Alicia, Gonzalez and Adalita are all okay, and then

1550
01:26:25,560 --> 01:26:28,760
Speaker 3: the cop survives to Yeah, and I guess that's the

1551
01:26:28,880 --> 01:26:29,599
Speaker 3: end of La Loba.

1552
01:26:29,880 --> 01:26:31,679
Speaker 2: Yeah. And I have to say this one is really strong.

1553
01:26:31,800 --> 01:26:34,320
Speaker 2: A big fan of La Looba. Again, I may have

1554
01:26:34,439 --> 01:26:37,519
Speaker 2: to try and find whatever kind of whatever kind of

1555
01:26:37,600 --> 01:26:41,400
Speaker 2: DVD is actually out there, and I'm hoping that somebody

1556
01:26:41,479 --> 01:26:43,719
Speaker 2: puts out a better physical release of this in the future,

1557
01:26:43,840 --> 01:26:46,559
Speaker 2: because I think this is a film that deserves it. Again,

1558
01:26:46,640 --> 01:26:49,640
Speaker 2: it has its own cult status. Looking around, I did

1559
01:26:49,800 --> 01:26:53,800
Speaker 2: notice there are multiple instances in which a video game

1560
01:26:54,200 --> 01:26:57,120
Speaker 2: or a piece of work of written fiction has a

1561
01:26:57,280 --> 01:27:00,320
Speaker 2: female werewolf in it, and they name the where wolf

1562
01:27:00,400 --> 01:27:04,040
Speaker 2: character of Kitty, which is I think a clear reference

1563
01:27:04,080 --> 01:27:06,880
Speaker 2: to this picture. And it also works on another level

1564
01:27:06,920 --> 01:27:10,800
Speaker 2: because like Kitty Cat wear a wolf dog. It's also

1565
01:27:10,880 --> 01:27:13,120
Speaker 2: a little bit funny but also a nice deep cut

1566
01:27:13,439 --> 01:27:16,760
Speaker 2: into Mexican horror cinema. All Right, We're gonna go ahead

1567
01:27:16,760 --> 01:27:18,400
Speaker 2: and close this episode up, but we'd love to hear

1568
01:27:18,479 --> 01:27:20,720
Speaker 2: from everyone out there. If you have thoughts on where

1569
01:27:20,840 --> 01:27:23,920
Speaker 2: wolf movies in general, write in, We'd love to hear

1570
01:27:24,000 --> 01:27:26,639
Speaker 2: from you. Specifically, if you have some other great examples

1571
01:27:26,720 --> 01:27:30,560
Speaker 2: of female were wolf pictures or fiction in general, or

1572
01:27:30,680 --> 01:27:32,920
Speaker 2: folk tales and so forth, write in on that as well.

1573
01:27:33,240 --> 01:27:35,760
Speaker 2: I do want to note there are some examples I

1574
01:27:35,880 --> 01:27:39,880
Speaker 2: did not bring up, because sometimes in were Wolf who Done,

1575
01:27:39,960 --> 01:27:44,519
Speaker 2: it's the female were wolf is the twist, because again,

1576
01:27:44,600 --> 01:27:47,720
Speaker 2: you get so used to your wolf man that if

1577
01:27:47,720 --> 01:27:50,040
Speaker 2: it's if it is a female character that's secretly the

1578
01:27:50,120 --> 01:27:52,920
Speaker 2: were wolf, well sometimes that's the big twist. So I

1579
01:27:53,000 --> 01:27:55,040
Speaker 2: didn't reference any of those by name, but maybe we

1580
01:27:55,120 --> 01:27:57,040
Speaker 2: could get into that in Listener Male with you know

1581
01:27:57,120 --> 01:27:58,120
Speaker 2: some spoiler warnings.

1582
01:27:58,640 --> 01:28:02,759
Speaker 3: Yeah, playing your your gender assumptions against you in misdirection, Yeah.

1583
01:28:02,640 --> 01:28:04,360
Speaker 2: That's one way to get your heart ripped out in

1584
01:28:04,400 --> 01:28:08,559
Speaker 2: the woods folks. All right, just a reminder that Stuff

1585
01:28:08,600 --> 01:28:11,360
Speaker 2: to Blow Your Mind is primarily a science and culture podcast,

1586
01:28:11,439 --> 01:28:14,440
Speaker 2: with core episodes on Tuesdays and Thursday, short form episodes

1587
01:28:14,800 --> 01:28:19,280
Speaker 2: on Wednesdays, which coincidentally are currently dealing with werewolves, and

1588
01:28:19,439 --> 01:28:21,800
Speaker 2: then on Fridays, we set aside most serious concerns to

1589
01:28:21,880 --> 01:28:24,880
Speaker 2: just talk about weird films on Weird House Cinema. If

1590
01:28:24,920 --> 01:28:27,560
Speaker 2: you want to follow Weird House Cinema on social, go

1591
01:28:27,680 --> 01:28:30,320
Speaker 2: to letterbox dot com. Our username is weird house and

1592
01:28:30,439 --> 01:28:32,960
Speaker 2: we have a wonderful list of all the films we've

1593
01:28:33,280 --> 01:28:36,160
Speaker 2: we've considered thus far. I believe we're on one ninety eight.

1594
01:28:36,479 --> 01:28:38,599
Speaker 2: We're about to do one ninety nine, and then we'll

1595
01:28:38,640 --> 01:28:41,639
Speaker 2: do the two hundredth episode or the two hundredth movie

1596
01:28:41,680 --> 01:28:43,360
Speaker 2: selection for Weird House Cinema.

1597
01:28:44,000 --> 01:28:47,799
Speaker 3: Here's thanks, as always to our excellent audio producer, JJ Posway.

1598
01:28:48,160 --> 01:28:49,559
Speaker 3: If you would like to get in touch with us

1599
01:28:49,640 --> 01:28:52,080
Speaker 3: with feedback on this episode or any other, to suggest

1600
01:28:52,120 --> 01:28:54,120
Speaker 3: a topic for the future, or just to say hello,

1601
01:28:54,520 --> 01:28:57,200
Speaker 3: you can email us at contact at stuff to blow

1602
01:28:57,240 --> 01:28:58,200
Speaker 3: your Mind dot com.

1603
01:29:05,080 --> 01:29:08,000
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1604
01:29:08,120 --> 01:29:11,920
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1605
01:29:12,040 --> 01:29:13,799
Speaker 1: or wherever you listen to your favorite shows.