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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind, it is November,

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Speaker 1: so we are celebrating November like a lot of film

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Speaker 1: fans out there. So this is our newar November episode

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Speaker 1: from last year. It is the nineteen forty one Peter

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Speaker 1: Lorie film The Face Behind the Mask. Let's jump right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob

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Speaker 1: Lamb and this is Joe McCormick. In today's episode of

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Speaker 1: Weird House Cinema. We're getting in on the Near November festivities.

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Speaker 1: If you're not familiar with this, this is a yearly,

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Speaker 1: month long celebration of near cinema, a concept introduced in

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Speaker 1: twenty ten by film critic Maria E. Gates. Film noir is,

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Speaker 1: of course, a turn that covers a lot of ground

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Speaker 1: and bleeds into a number of different subgenres and adjacent genres.

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Speaker 1: I mean it ultimately becomes just sort of a shade,

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Speaker 1: you know, and a stylistic flourish that may be employed

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Speaker 1: even just in key scenes in a particular picture, but

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Speaker 1: in its arguably truest form, we're talking about black and

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Speaker 1: white old Hollywood crime dramas, full of cynicism, amoral characters

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Speaker 1: and style, heavy dash of German expressionism, plenty of cigarette smoke.

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Speaker 1: Throw all that in and you're good to go. There's

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Speaker 1: also much to be said about this genre emerging out

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Speaker 1: of the Great Depression. Lots of moving parts, so you

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Speaker 1: can identify noir in everything from such films as The

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Speaker 1: Maltese Falcon from nineteen forty one nineteen forty two's Casablanca

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Speaker 1: to stuff like nineteen eighty twos Blade Runner and multiple

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Speaker 1: you know, neo noir films from the likes of the

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Speaker 1: Cohen Brothers and David Lynch. And we haven't really gotten

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Speaker 1: in on this Noirvember thing before. You know, I've seen it.

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Speaker 1: I've seen it celebrated at Videodrome, the rental store here

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Speaker 1: in Atlanta, I've seen it celebrated online in various places,

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Speaker 1: and you know, it feels right. November is a really

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Speaker 1: choice month for all of this, because wordplay aside, it's

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Speaker 1: a month of continued descent through fall and into winter.

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Speaker 1: It's a month often typified by things like elections or

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Speaker 1: corporate layoffs. It's a bleak time for bleak hearts, so

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Speaker 1: what better time than now to dive into the black

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Speaker 1: and white world of private detectives and professional criminals. So

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Speaker 1: what is today's movie? It is nineteen forty one's The

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Speaker 1: Face Behind the Mask, And yeah, it actually comes out

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Speaker 1: nine months before The Maltese Falcon, which is sometimes considered

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Speaker 1: the first big film noir picture, but it also ultimately

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Speaker 1: depends on how you slice it. You can also reach

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Speaker 1: back into the thirties for possible examples of forerunners in

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Speaker 1: the genre. And also, this is a picture that I'm

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Speaker 1: to understand wasn't actually viewed a lot after its initial release.

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Speaker 1: It's kind of built up a following over time.

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Speaker 3: Yeah, so your selection this week got me really thinking

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Speaker 3: about what is it that makes a movie film noir.

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Speaker 3: I don't really know exactly what the primary criteria are.

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Speaker 3: It's one of those things where it's defined by a

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Speaker 3: number of different sort of plot conventions and stylistic conventions.

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Speaker 3: And if a movie has a critical mass, if it

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Speaker 3: has enough of these different things in it, then it

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Speaker 3: starts to feel like noir. But I don't know what

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Speaker 3: the core things are. Though you mentioned a minute ago

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Speaker 3: The Maltese Falcon, the Humphrey Bogart movie and I feel

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Speaker 3: like that's kind of the prototype film noir, right, Like

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Speaker 3: that's or the archetype. I don't know which is the

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Speaker 3: right term there. It's like it's the type example that

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Speaker 3: you think of, or at least that I think of

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Speaker 3: for film noir. So it has a tough, cynical detective.

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Speaker 3: It has a lot of people running around chasing after money,

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Speaker 3: It has cynical crime themes. It has a maybe somewhat

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Speaker 3: gloomy outlook on human nature, but also has a sense

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Speaker 3: of humor, a kind of dark sense of humor. And

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Speaker 3: in fact, it has an actor in common with the

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Speaker 3: movie we're going to be talking about today, because a

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Speaker 3: major character actor in the Maltese Falcon is Peter Lourie

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Speaker 3: in the role of Joel Cairo, who is the main

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Speaker 3: character in the face behind the mask. So I would say,

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Speaker 3: almost to the same extent that I associate Humphrey Bogart

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Speaker 3: with noir, I also associate Peter Lourie with it.

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Speaker 1: That's right. If you're cooking film noir, either during this

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Speaker 1: time period or in later decades, Peter Lourie, or at

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Speaker 1: least the ghost of Peter Laurie, is very much on

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Speaker 1: the spice Rack, as is Humphrey Bogart, as are various

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Speaker 1: other elements. Like you can also throw in things that

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Speaker 1: are not president in this picture, such as the fem fatale.

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Speaker 1: It's very often an employed to some degree in a

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Speaker 1: noir picture. So there are, yeah, all these different things

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Speaker 1: that may or may not be added to the finished product.

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Speaker 1: But when you taste the soup, you know, ah, this

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Speaker 1: is film noir.

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Speaker 3: Yeah, cigarettes, fried eggs, black coffee, revolvers, Fedoras, trench coats.

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Speaker 3: That's what's going on here. And Peter Lourie is part

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Speaker 3: of the mix.

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Speaker 1: Yeah. So as far as weird House cinema selections go,

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Speaker 1: it's notable that this is our This is only our

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Speaker 1: fourth selection from the nineteen forties, following Doctor Cyclops, The

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Speaker 1: Beast with Five Fingers, and The Devil Bad. It's our

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Speaker 1: second picture directed by Robert Florey, and our third Peter

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Speaker 1: Lori picture. It's also one of our infrequent picks to

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Speaker 1: not feature a speculative element, though I would say it's

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Speaker 1: weird enough in its own way for our purposes. I

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Speaker 1: also want to stress that this film is also very

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Speaker 1: strongly a melodrama, so it's not subtle in its manipulation

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Speaker 1: of the heart strings. You know, it's a bit of

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Speaker 1: a morality play. Well, so it's yeah, it's a it's

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Speaker 1: a good picture. I was really pleased with. It is

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Speaker 1: one that's kind of been on my short list for

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Speaker 1: a long time. Often held up as one of Laurie's

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Speaker 1: best performances. A picture where he is the lead and

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Speaker 1: gets to bust out a number of his tools and

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Speaker 1: you know, not just be the villain or a side

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Speaker 1: villain or a side quirky character. He is the main

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Speaker 1: event here.

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Speaker 3: This, this really is a look at my range movie

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Speaker 3: for Peter Loriie. There are some scenes where he is

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Speaker 3: so wholesome and so precious, He's just cute, adorable, wonderful,

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Speaker 3: other scenes where he is the creepiest creep and he

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Speaker 3: gets to do both in the same film.

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Speaker 1: Yeah, So for like an absolute Peter Lourie picture, it's

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Speaker 1: like this and Mad Love or I think Neck and Neck.

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Speaker 1: You don't, they don't, But each film hit slightly different notes.

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Speaker 1: You know, you don't get the same array of Peter

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Speaker 1: Lourie in both films, but added together, I mean you

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Speaker 1: get to see so many different colors from him.

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Speaker 3: But you're also right in saying that this is not

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Speaker 3: a subtle film. I mean, this is not a film

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Speaker 3: where the drama takes place reading between the lines. It's

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Speaker 3: all on the lines here. So there are extremely overt

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Speaker 3: monologues in which the themes of the film are pretty

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Speaker 3: explicitly stated, and we get like swelling music while they're delivered,

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Speaker 3: and they're delivered in almost kind of a stage performance way.

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Speaker 3: You know, characters kind of borderline shout their lines and

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Speaker 3: they're full of overt passion. But if you know, if

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Speaker 3: you know that's what you're in for, it's not really

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Speaker 3: a bad thing. It's just a different way to tell

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Speaker 3: a story.

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Speaker 1: Yeah. Another point about this picture we'll keep coming back

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Speaker 1: to is that it's a pretty fast ride. This film's

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Speaker 1: only sixty nine minutes long, and I think it's the

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Speaker 1: rare weird house cinema selection where I have to say

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Speaker 1: I don't think it is long enough. I feel like

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Speaker 1: I needed a little bit more from it. I mean,

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Speaker 1: what we have is tremendous, but you know, I wanted

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Speaker 1: to see scenes that are alluded to but not shown

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Speaker 1: to us. And yeah, it doesn't have a lot of

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Speaker 1: time to even necessarily further explore some of the ideas

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Speaker 1: that it brings up, which you know isn't necessarily a

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Speaker 1: bad thing.

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Speaker 3: Many of the most pivotal scenes in the plot happen

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Speaker 3: off screen. They're like the big turning points are like

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Speaker 3: you see what's leading up to it, and then you

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Speaker 3: see the characters talking about it afterwards, but you don't

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Speaker 3: see the thing itself.

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Speaker 1: Yeah, but you know, so it's like Frank Herbert would

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Speaker 1: dig that. But it's like, it's not battle scenes that

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Speaker 1: are left out, you know, it's not like big budget

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Speaker 1: things that I don't know, you know, maybe it was

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Speaker 1: a budgetary decision to not show some of like the

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Speaker 1: key heists that become important later on, but you know,

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Speaker 1: they make a lot out of the time they have here.

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Speaker 3: Do you think they left out the safe cracking scene?

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Speaker 3: Like it was it cut for content that was just

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Speaker 3: like too spicy for audiences at the time.

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Speaker 1: I don't know, I really Yeah, we'll talk about when

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Speaker 1: we get to that point in the plot, but yeah,

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Speaker 1: I really wanted to see this first big heist that

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Speaker 1: that Jagosh is involved in. But more on that in

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Speaker 1: a bit. Now.

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Speaker 3: I am, by no means an expert in film noir,

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Speaker 3: but I associate several different plot types with this genre.

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Speaker 3: The most common, I would say, is the private detective story.

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Speaker 3: You know, somebody shows up with a strange case for

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Speaker 3: a private detective, and the detective goes down the rabbit hole,

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Speaker 3: you know, figuring out all the twists and turns and

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Speaker 3: all that. Maltese Falcon is of that sort. But if

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Speaker 3: there is a second type of plot structure I most

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Speaker 3: associate with film noir, it is the plot that we

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Speaker 3: get in the face behind the mask, which is an

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Speaker 3: originally good hearted person is lured or forced into a

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Speaker 3: life of crime.

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Speaker 1: Yeah, fallen angel, breaking bad, yes, you know. Yeah. And

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Speaker 1: one of the interesting things about it is that this

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Speaker 1: is of course also an immigrant story, and so the

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Speaker 1: good person at the heart of this is someone who

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Speaker 1: is entering America for the first time and has all

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Speaker 1: these ideas and all these dreams, dreams that he has absorbed,

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Speaker 1: you know, from Afar, the American dream, and so his

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Speaker 1: fall is also about realizing the flaws and the American

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Speaker 1: dream and the things that you know, that he had

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Speaker 1: built up in his head that just aren't part of

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Speaker 1: the reality.

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Speaker 3: Yeah, that his hopes are sort of crash against the

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Speaker 3: rocks of reality and of circumstances beyond his control, and

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Speaker 3: that just happens over and over until he is forced

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Speaker 3: into becoming the gang story that he once feared.

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Speaker 1: Yeah, all right, Now, I don't have any trailer audio

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Speaker 1: for this one, but if you want a little dash

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Speaker 1: of the trailer audio, look up Joe Dante's Trailers from

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Speaker 1: Hell feature on it. It's pretty fun. It's just, you know,

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Speaker 1: Joe Dante talking a little bit about this picture and

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Speaker 1: then sharing some audio and video from the trailer. But

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Speaker 1: I couldn't find that trailer anywhere else for us to sample,

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Speaker 1: so I'll just say go ahead and check out what

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Speaker 1: Joe Dante has to share about that trailer. Now you

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Speaker 1: might be wondering at this point, Hey, I haven't seen

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Speaker 1: Face behind the Mask. I'd like to before continuing on

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Speaker 1: with the episode. Well, fair enough. I support that. This one, however,

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Speaker 1: is not, to my knowledge, currently available in the US

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Speaker 1: on disc, but it is currently part of the streaming

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Speaker 1: options over at the Criterion channel. That's the streaming platform

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Speaker 1: and app brought to you by the Criterion Collection. The

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Speaker 1: Face behind the Mask is currently featured as part of

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Speaker 1: their Noir November Essentials collection. We don't champion a lot

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Speaker 1: of streaming options on stuff to blow your mind. But

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Speaker 1: the Criterion Channel is, in my unpaid four opinion, here

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Speaker 1: a great streaming option for film fans. You can try

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Speaker 1: it for free for a week, you know that sort

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Speaker 1: of thing. But you can watch everything from Brida Frankenstein

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Speaker 1: and Scanners to the Story of Ricky and Raising Arizona.

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Speaker 1: And they have some really tantalizing playlists of films, including

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Speaker 1: I was just looking at it this morning. There's one

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Speaker 1: that's just synth scores, so all sorts of cool electronic

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Speaker 1: scores for the pictures selected. And then they have one

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Speaker 1: that's just hopping vampires, so it's like, I think it's

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Speaker 1: all just mister Vampire pictures. And of course we talked

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Speaker 1: about the first Mister Vampire film on the show a

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Speaker 1: while back.

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Speaker 3: Yes, also in my unpaid for opinion, I greatly enjoyed

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Speaker 3: the Criterion Channel, though I should issue a warning to

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Speaker 3: people because I was confused by this at first. You

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Speaker 3: can't assume just because a movie has a Criterion Collection

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Speaker 3: release that it will be featured streaming on the Criterion Channel.

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Speaker 3: Some movies have a disc from Criterion, but they're not

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Speaker 3: on there. But it's still a good channel.

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Speaker 1: Right, and likewise, there are plenty of pictures on there

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Speaker 1: that I don't think have discs on Criterion, but it's

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Speaker 1: just it's a great selection, and a number of weird

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Speaker 1: house cinema pictures are in there as of this recording.

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Speaker 1: All right, let's run through some of the people involved here.

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Speaker 1: The director is, of course Robert Florey, who lived nineteen

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Speaker 1: hundred through nineteen seventy nine. Industrial strength French American director

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Speaker 1: who worked from the twenties through the sixties, amassing one

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Speaker 1: hundred and eighteen credits and just really cranking out pictures

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Speaker 1: during the nineteen thirties. His early career was apparently more

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Speaker 1: avant garde expressionism, but he became one of these kind

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Speaker 1: of like cinematic workhorse types of guys from a purely

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Speaker 1: horror standpoint. He's perhaps best known for directing Murders in

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Speaker 1: the Rue Morgue in nineteen thirty two, based on the

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Speaker 1: Edgar Allen post story and starring Hungarian American film legend Lagosi,

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Speaker 1: as well as ape suit legend Charles Goemora. Also of

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Speaker 1: note was the noir film Daughter of Shanghai from thirty seven.

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Speaker 1: That one featured a female Chinese American elite in the

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Speaker 1: form of Anime Wong, another legendary name from a lot

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Speaker 1: of noir pictures, as well as Korean American actor Philip An.

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Speaker 1: Flori is also noted for having been the initial director

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Speaker 1: on nineteen thirty one's Frankenstein with Lego we see attached

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Speaker 1: to play the monster during those early stages before Legosi

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Speaker 1: like leaving the picture because he didn't want to play

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Speaker 1: like this. You know what we might think of is

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Speaker 1: just like a killing machine Frankenstein monster. And you know,

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Speaker 1: of course Flories ends up being replaced by James Whale,

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Speaker 1: and we get the nineteen thirty one Frankenstein that we

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Speaker 1: all know and love. Florie later directed a lot of

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Speaker 1: TV and his last film credit is an episode film

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Speaker 1: or TV credit is an episode of the original Outer

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Speaker 1: Limits series titled Moonstone. He also did three Twilight Zone episodes.

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Speaker 1: All right, now, as far as the story and screenplay

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Speaker 1: here goes, there are four different names, some of which

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Speaker 1: I don't have a lot of information on. Apparently the

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Speaker 1: story is based on a radio play called Interim by

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Speaker 1: Thomas Edward O'Connell who lived nineteen fifteen through nineteen sixty one.

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Speaker 1: I couldn't find out much about this. The screenplay for

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Speaker 1: the film, however, was apparently very much put together with

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Speaker 1: Peter Lourie in mind for the lead. Let's see author

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Speaker 1: Levinson has a story credit note relation obviously to I

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Speaker 1: think there's a contemporary author Levinson who's involved with like

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Speaker 1: Apple computers or something different. Guy. There's Alan Vincent who

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Speaker 1: has a screenplay credit, who lived nineteen oh three through

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Speaker 1: nineteen seventy nine, actor and screenwriter who appeared in such

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Speaker 1: films as nineteen thirty three's Mystery of the Wax Museum.

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Speaker 1: This is his first screenplay credit. And then we also

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Speaker 1: have a screenplay credit for Paul Jericho, who lived nineteen

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Speaker 1: fifteen through nineteen ninety seven. OSCAR nominated American screenwriter here

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Speaker 1: for nineteen forty two's Tom Dick and Harry, who was

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Speaker 1: later blacklisted during the McCarthy era for his ties to

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Speaker 1: the Communist Party and alleged subversive content. During this time, though,

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Speaker 1: he produced the nineteen fifty four film Salt of the Earth,

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Speaker 1: which was a project that entailed a handful of other

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Speaker 1: blacklisted filmmakers and was well received and I think it

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Speaker 1: continues to be well received. Often worked uncredited or under

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Speaker 1: a pseudonym his other and it's also included nineteen sixty

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Speaker 1: two's All Night Long, All Right, But of course our

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Speaker 1: star playing Janosh Johnny Zabo, we have Peter Lorii. Yeah,

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Speaker 1: nineteen oh four through nineteen sixty four. Austro Hungarian actor

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Speaker 1: of Jewish descent who made it big in Fritz Lung's

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Speaker 1: Im Back in thirty one, sometimes singled out as an

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Speaker 1: early noir picture, are certainly very influential on noir films

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Speaker 1: to follow, before he ended up fleeing the rise of

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Speaker 1: anti Semitism under the Nazi regime. A legendary character actor who,

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Speaker 1: of course appeared in one of our first Weird House

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Speaker 1: Cinema episodes covering nineteen thirty five's Mad Love. He is

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Speaker 1: best remembered for his various roles in such noir mainstays

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Speaker 1: as Casablanca, Maltese Falcon thrillers like nineteen thirty four's The

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Speaker 1: Man Who Knew Too Much, as well as such horror

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Speaker 1: films as nineteen sixty three as The Raven, and even

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Speaker 1: such big budget productions as nineteen fifty four to twenty

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Speaker 1: thousand Leagues under the Sea. He wrote and directed a

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Speaker 1: single film, nineteen fifty one's the Lost One, and he

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Speaker 1: was technically the first actor to play a Bond villain,

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Speaker 1: appearing in the nineteen fifty four TV adaptation of Casino Royale.

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Speaker 3: This is the Thing that was an adaptation of Casino

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Speaker 3: Royale that had Barry Nelson as James Bond. Barry Nelson

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Speaker 3: is the guy who plays the hotel manager at the

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Speaker 3: beginning of the shining. He's like the guy hiring Jack Nicholson.

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Speaker 1: This is back when James Bond was played by an

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Speaker 1: American and presented as an American character.

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Speaker 3: Oh that's so good, But man, I would watch Peter

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Speaker 3: Laurie as La Chief that that'd be good.

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Speaker 1: Yeah, yeah, I'm whatever else is going on, Yeah yeah,

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Speaker 1: I mean Peter Laurie is such an intriguing icon, you know,

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Speaker 1: like iconic in ways that are hard to overstress, you know,

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Speaker 1: like he becomes this like you go ack and you

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Speaker 1: watch old Bugs Bunny cartoons and they'll have a Peter

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Speaker 1: louri character. I think plenty of people still like doing

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Speaker 1: like if you have I have a Dungeons and Waggin's

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Speaker 1: character that uses a Peter Lorrie voice. I feel like

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Speaker 1: a lot of other people haven't leave even Dungeon Masters

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Speaker 1: have probably done some version of a Peter Lourie voice

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Speaker 1: at some point. You know, he's just he's that iconic.

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Speaker 3: Yeah, he's so iconic that my Christoph Lambert voice is

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Speaker 3: actually a Peter Lorrie voice.

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Speaker 1: Yeah. Yeah, I mean, he's just tremendous, you know. And

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Speaker 1: he was frequently typecast as sinister foreigners, and his career

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Speaker 1: has some real ups and downs, absolutely, but especially during

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Speaker 1: his prime here, he's always there's always something about his performance.

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Speaker 1: It's a treat. And this is a film much like Madlove,

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Speaker 1: where we get to enjoy him as the star of

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Speaker 1: the picture. He gets to play a lot of different

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Speaker 1: notes in his performance that we don't otherwise get to experience.

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Speaker 1: I want to point out too, that he was thirty

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Speaker 1: six when they filmed this, and he looks thirty six.

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Speaker 1: But there are different points where they would call him

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Speaker 1: like kid or are they talking about him as if

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Speaker 1: he's like this young boy who just in America. It's

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Speaker 1: like he's clearly a grown man, but fair enough.

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Speaker 3: Oh yeah, I don't know. Early in the film, he's

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Speaker 3: so full of hope. He almost has a kind of

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Speaker 3: newborn quality.

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Speaker 1: Yeah, I mean, he is totally bought into the American

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Speaker 1: mythology that he's been presented with, and yeah, it's just

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Speaker 1: overflowing with optimism and it is a bit naive, as

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Speaker 1: we'll discuss, all right. So that's Peter Laurie. More on

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Speaker 1: his performance as we proceed. The love interest here, the

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Speaker 1: eventual blind love interest for our protagonist is the character

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Speaker 1: Helen Williams, played by Evelyn Keyes who lived nineteen sixteen

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Speaker 1: through two thousand and eight. She was an American actress

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Speaker 1: who played supporting roles in some pretty big films, including

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Speaker 1: nineteen thirty nine's Gone with the Wind and nineteen fifty

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Speaker 1: five's The Seven Year Itch. Other credits include nineteen fifty

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Speaker 1: one's The Prowler and then much later in her career,

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Speaker 1: Larry Cohen's A Return to Salem's Lot in nineteen eighty seven.

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Speaker 3: So we were just mentioning there's a part of the

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Speaker 3: movie where where Peter Lourie is full of hope and optimism,

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Speaker 3: but the character of Helen appears later in the film

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Speaker 3: after all of Peter Laurie's hope and optimism is gone,

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Speaker 3: and she's sort of like the energy beat. She's like

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Speaker 3: an energy weapon of happiness, just blasting into the film

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Speaker 3: from orbit, and you know what it's like. She really

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Speaker 3: does completely change the tone of the movie when she appears.

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Speaker 3: But of course, you know, this is film noir, so

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Speaker 3: they're gonna have to play this romance for tragedy ultimately.

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Speaker 1: Yeah. Yeah, I mean she's great in this. She's delightful,

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Speaker 1: you know, totally buy into this, this light of optimism

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Speaker 1: you know that she brings. But also like obviously she's

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Speaker 1: a doomed angel, you know, like, yeah, you know where

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Speaker 1: this is going. Too good for this world, all right.

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Speaker 1: We also have Don Beto playing Lieutenant James Jim O'Hara.

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Speaker 1: He lived nineteen oh three through nineteen ninety one. Yeah,

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Speaker 1: he's a sympathetic New York police officer who helps Janosher

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Speaker 1: early on. Played by an American character actor whose credits

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Speaker 1: include nineteen fifty five Is the Night of the Hunter

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Speaker 1: and nineteen forty six is The Best Years of Our Lives.

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Speaker 1: He performed on Broadway prior to this movie and prior

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Speaker 1: to his going into film and television. According to Joe Dante,

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Speaker 1: he's an actor known for a lot of milk toast rolls,

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Speaker 1: but he thinks this is one of his best performances,

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Speaker 1: and then we have the character of Dinky. Dinky. This

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Speaker 1: is the character that really surprised me because I came

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Speaker 1: into this expecting the great Peter Lorrie performance. But I

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Speaker 1: really think George E. Stone is terrific here as Dinky,

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Speaker 1: the criminal with a heart of gold.

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Speaker 3: He's the guy who he just can't he can't stop

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Speaker 3: doing crime, but he's actually a really nice guy.

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Speaker 1: Yeah, he didn't want to do crimes, but like, things

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Speaker 1: keep happening and he keeps falling back down the ladder,

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Speaker 1: and then he has no choice, you know. Yeah. Stone

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Speaker 1: lived nineteen oh three through nineteen sixty seven. Published born

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Speaker 1: American actor of vaudeville, Broadway, film, and TV. Played a

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Speaker 1: lot of scrappy Prohibition era New York characters often described

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Speaker 1: as runyon esque. This is not really terminology I was

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Speaker 1: familiar with, but this is a reference to the writings

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Speaker 1: of author Damon Runyon, who invoked a lot of colorful

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Speaker 1: New York City slang in his writings.

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Speaker 3: Oh yeah, so like when we very first meet Dinky,

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Speaker 3: he comes out of the shadows to pick up the

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Speaker 3: wallet that was dropped by like a wealthy you know,

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Speaker 3: Wall Street trader who gets scared by Peter Lorii's face

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Speaker 3: in the middle of the movie scene and Dinky he

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Speaker 3: picks up the wallet and he goes like, hey, let's

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Speaker 3: see what Sandy Claus left for us.

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Speaker 1: Yeah, Like, I didn't know what runyon esque was beforehand,

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Speaker 1: but now that I've seen this performance and I have

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Speaker 1: heard the word, now I can recognize runyon esque elsewhere

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Speaker 1: in pictures, Like there are definitely characters in Santa Claus

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Speaker 1: Conquers the Marsh that are runing esque. Yeah, even though

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Speaker 1: they're Martians. I don't know why they're runying esque, but anyway,

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Speaker 1: but yes, Stone is terrific in this his film roles.

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Speaker 1: Other film roles include nineteen thirty one's Little Caesar, nineteen

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Speaker 1: fifty fives Guys and Dolls, and nineteen fifty nine Some

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Speaker 1: Like It Hot. Yeah, it's a great performance. Like, he's

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Speaker 1: very likable and he has a lot of heart, and

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Speaker 1: he is a characters will discuss that very much saves

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Speaker 1: Janosh at a very dark point in his life. Yeah. Now,

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Speaker 1: to the extent that this movie has a villain, like

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Speaker 1: a centralized individual villain, it is jeff Jeffries. I guess

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Speaker 1: his full name would be Jeffrey Jeff jeffries a man

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Speaker 1: so Jeff they named him twice, played by James c

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Speaker 1: who lived nineteen fourteen through nineteen ninety two.

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Speaker 3: I was banging my head trying to figure out where

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Speaker 3: I recognized this guy from because he was very familiar,

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Speaker 3: and I finally realized it was from a Miracle on

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Speaker 3: thirty fourth Street.

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Speaker 1: Oh yeah, who does he play in that?

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Speaker 3: He's like, I think there are two psychiatrists in it,

429
00:24:07,520 --> 00:24:09,720
Speaker 3: and there's like the one mean one who's sort of

430
00:24:09,720 --> 00:24:12,040
Speaker 3: the antagonist, and then there's the one nice one. And

431
00:24:12,119 --> 00:24:14,040
Speaker 3: I think he's the nice one. I could be remembering

432
00:24:14,040 --> 00:24:16,639
Speaker 3: that wrong, but I know he's in the film.

433
00:24:16,640 --> 00:24:20,679
Speaker 1: He has a very memorable chin, and in this picture anyway,

434
00:24:20,760 --> 00:24:24,919
Speaker 1: has very memorable shoulders, Like Jeff's suit has shoulders so

435
00:24:25,080 --> 00:24:27,600
Speaker 1: broad that they made me think of the Dick Tracy

436
00:24:27,680 --> 00:24:32,399
Speaker 1: villain shoulders, Like it's basically the same dimensions. Yeah, and

437
00:24:32,560 --> 00:24:35,480
Speaker 1: he's absolutely towering over all the shorter character actors in

438
00:24:35,520 --> 00:24:38,920
Speaker 1: the picture. Like, his shoulders are as broad as Peter

439
00:24:39,040 --> 00:24:41,439
Speaker 1: Laurie is like long if you laid him out, you know,

440
00:24:41,560 --> 00:24:44,880
Speaker 1: Like that's how broad these shoulders are. It's ridiculous. It's

441
00:24:44,960 --> 00:24:48,359
Speaker 1: laugh inducing at least from our modern perspective.

442
00:24:49,480 --> 00:24:54,080
Speaker 3: The effect created by his outfit. And it's a standard forties,

443
00:24:54,800 --> 00:24:57,680
Speaker 3: you know, gang member outfit. So it's a suit with

444
00:24:57,840 --> 00:25:02,119
Speaker 3: a black fedora, you know, big shoulder pads, the vest

445
00:25:02,200 --> 00:25:04,800
Speaker 3: of the tie. And if this makes any sense, it

446
00:25:04,880 --> 00:25:07,840
Speaker 3: has the effect of like he's in football pads. He's

447
00:25:08,080 --> 00:25:10,960
Speaker 3: fully suited up. He's suited up for game time.

448
00:25:11,960 --> 00:25:14,359
Speaker 1: And yeah, I end up having this like real reaction

449
00:25:14,480 --> 00:25:17,439
Speaker 1: to him too, because like Laurie is obviously like, you know,

450
00:25:17,480 --> 00:25:21,200
Speaker 1: he was a much shorter guy. You know, he's he's

451
00:25:21,320 --> 00:25:24,879
Speaker 1: not leading your typical leading man material, you know, like

452
00:25:24,920 --> 00:25:27,640
Speaker 1: he really I attached to Peter Laurie more is like

453
00:25:28,080 --> 00:25:30,400
Speaker 1: he is like a nerd, you know, he's one of us.

454
00:25:30,920 --> 00:25:34,560
Speaker 1: And Jeff Jefferies is total jock here. James c is

455
00:25:34,680 --> 00:25:37,960
Speaker 1: like total jock mode, and like it's instantly I identify

456
00:25:38,080 --> 00:25:41,000
Speaker 1: him as a danger to our our hero and our

457
00:25:41,200 --> 00:25:41,720
Speaker 1: icon here.

458
00:25:42,040 --> 00:25:44,280
Speaker 3: But there's there's a scene where Peter Lourie like beats

459
00:25:44,359 --> 00:25:44,879
Speaker 3: him up.

460
00:25:44,840 --> 00:25:49,280
Speaker 1: Yeah and makes us believe it. Like I like we

461
00:25:49,359 --> 00:25:51,359
Speaker 1: build up to that encounter and I'm like, Okay, how

462
00:25:51,400 --> 00:25:53,320
Speaker 1: are you gonna make me believe this? Like this dude

463
00:25:53,359 --> 00:25:57,520
Speaker 1: is enormous, but you know, Laurie does it. But uh yeah,

464
00:25:57,560 --> 00:25:59,960
Speaker 1: See See pops up in a number of different things,

465
00:26:00,000 --> 00:26:02,680
Speaker 1: so you might have seen him in things like fifty ones,

466
00:26:02,720 --> 00:26:05,439
Speaker 1: The Day the Earth Stood Still, fifty four's Killers from

467
00:26:05,480 --> 00:26:09,040
Speaker 1: Outer Space, and I think I probably recognize. I don't

468
00:26:09,080 --> 00:26:10,800
Speaker 1: know who he was in this because I haven't seen

469
00:26:10,840 --> 00:26:12,720
Speaker 1: it forever because nobody will put it out on disk,

470
00:26:13,000 --> 00:26:16,000
Speaker 1: But nineteen fifty seven is the amazing Colossal Man. Also

471
00:26:16,080 --> 00:26:17,399
Speaker 1: features a James ce.

472
00:26:17,320 --> 00:26:20,000
Speaker 3: Roll Oh and Rob you had this note. He was

473
00:26:20,040 --> 00:26:21,960
Speaker 3: also in the Beginning of the End, which is a

474
00:26:21,960 --> 00:26:24,679
Speaker 3: Burt Eye Gordon film. This is the one with the

475
00:26:24,720 --> 00:26:26,000
Speaker 3: giant grasshoppers.

476
00:26:26,640 --> 00:26:28,919
Speaker 1: Yeah, yeah, yeah, that's another one. I don't think I've

477
00:26:28,920 --> 00:26:31,280
Speaker 1: ever seen that one in full. And he's not the

478
00:26:31,320 --> 00:26:34,639
Speaker 1: star in that one. He's like, you know, mid cast.

479
00:26:35,000 --> 00:26:36,280
Speaker 1: That one stars Peter Graves.

480
00:26:36,800 --> 00:26:40,320
Speaker 3: I think See Here was known for often playing like

481
00:26:40,480 --> 00:26:45,000
Speaker 3: a military commander or some government bureaucrat. He's like somebody

482
00:26:45,040 --> 00:26:48,720
Speaker 3: you would cut away to and they're just giving orders. Yeah,

483
00:26:48,760 --> 00:26:51,440
Speaker 3: and so he's got a more substantial role in this movie.

484
00:26:51,440 --> 00:26:53,280
Speaker 3: But it does turn out because I've seen Beginning of

485
00:26:53,320 --> 00:26:55,840
Speaker 3: the End and I've seen some of these other sci

486
00:26:55,840 --> 00:26:58,160
Speaker 3: fi movies, so it's not just Miracle on thirty fourth Street.

487
00:26:58,200 --> 00:26:59,920
Speaker 3: I know him from him, but that is what was

488
00:27:00,160 --> 00:27:02,520
Speaker 3: in my mind when I was seeing him here in

489
00:27:02,520 --> 00:27:04,520
Speaker 3: his crime uniform.

490
00:27:04,680 --> 00:27:08,920
Speaker 1: Yeah, all right. Two more behind the scenes credits to mention.

491
00:27:09,240 --> 00:27:12,400
Speaker 1: Franz Planner, who HAVED eighteen ninety four through nineteen sixty three,

492
00:27:12,480 --> 00:27:16,879
Speaker 1: is the cinematographer Austria, Hungarian cinematographer and five time Oscar nominee.

493
00:27:17,200 --> 00:27:20,720
Speaker 1: His other credits include nineteen fifty threes The five Thousand

494
00:27:20,800 --> 00:27:23,680
Speaker 1: Fingers of Doctor t that is one that has been

495
00:27:23,920 --> 00:27:28,000
Speaker 1: recommended for Weird House numerous times, also Roman Holiday, as

496
00:27:28,040 --> 00:27:30,520
Speaker 1: well as nineteen fifty fourth twenty Thousand Leagues under the Sea,

497
00:27:31,119 --> 00:27:33,800
Speaker 1: which of course has Peter Lourie and it's a pretty

498
00:27:33,840 --> 00:27:39,640
Speaker 1: vast ensemble cast. And then finally, Sidney Kuttner is credited

499
00:27:39,680 --> 00:27:42,440
Speaker 1: with music on this nineteen oh three through nineteen seventy one.

500
00:27:42,440 --> 00:27:45,080
Speaker 1: But this is all pretty much stock music, I'm to understand,

501
00:27:45,119 --> 00:27:47,240
Speaker 1: and there are some other music credits in there that

502
00:27:47,280 --> 00:27:52,320
Speaker 1: are clearly labeled as stock. So you know, there's nothing

503
00:27:52,880 --> 00:27:55,159
Speaker 1: out of the ordinary as far as the music for

504
00:27:55,440 --> 00:27:58,399
Speaker 1: Face Behind the Mask, but it's effective it does the job.

505
00:27:58,640 --> 00:28:08,800
Speaker 3: It's nice and melodramatic, all right, So I guess we're

506
00:28:08,840 --> 00:28:11,680
Speaker 3: doing the plot now. So the movie opens with some

507
00:28:11,920 --> 00:28:15,680
Speaker 3: text gives us the setting, and it says it's set

508
00:28:16,080 --> 00:28:18,840
Speaker 3: just a few years ago, when a voyage to America

509
00:28:19,000 --> 00:28:22,399
Speaker 3: an adventure, not flight, when a quota was a number,

510
00:28:22,600 --> 00:28:25,480
Speaker 3: not a lottery prize to be captured by a lucky few.

511
00:28:26,680 --> 00:28:29,400
Speaker 3: I guess the contrast between adventure and flight there being

512
00:28:29,440 --> 00:28:31,560
Speaker 3: that this movie was released during World War Two.

513
00:28:32,240 --> 00:28:34,840
Speaker 1: Yeah, so yeah, it's already kind of like calling back

514
00:28:34,920 --> 00:28:38,080
Speaker 1: to the inter war period here.

515
00:28:38,280 --> 00:28:41,840
Speaker 3: Yeah. So we see a boat streaming into harbor in

516
00:28:41,960 --> 00:28:44,480
Speaker 3: New York City, passing in front of the Statue of Liberty,

517
00:28:45,120 --> 00:28:48,000
Speaker 3: and on the musical track, the orchestra plays a couple

518
00:28:48,000 --> 00:28:50,080
Speaker 3: of bars of my country tis of thee when we

519
00:28:50,120 --> 00:28:54,280
Speaker 3: see the statue. So again, this movie is not subtle.

520
00:28:54,160 --> 00:28:55,920
Speaker 1: No, it lays it on pretty thick.

521
00:28:56,720 --> 00:29:00,280
Speaker 3: And then on the boat, two passengers gaze out over

522
00:29:00,360 --> 00:29:02,560
Speaker 3: the water. So there's one man who's sort of taller

523
00:29:02,640 --> 00:29:05,080
Speaker 3: with a mustache, looking a little bit hopeful, but his

524
00:29:05,160 --> 00:29:08,960
Speaker 3: expression is more tempered and he walks away, leaving only

525
00:29:09,000 --> 00:29:11,760
Speaker 3: the other guy there. The other guy in the background

526
00:29:11,840 --> 00:29:15,360
Speaker 3: is Peter Lourie looking out at the scene with wide eyed,

527
00:29:15,440 --> 00:29:20,239
Speaker 3: almost childlike giddiness. And this is our protagonist Janosh, a

528
00:29:20,400 --> 00:29:24,080
Speaker 3: watchmaker by trade who is a new arrival to America

529
00:29:24,080 --> 00:29:27,920
Speaker 3: from Hungary. Yanosh approaches a crew member on the deck

530
00:29:27,960 --> 00:29:30,200
Speaker 3: of the ship with excitement and he asks him for

531
00:29:30,240 --> 00:29:33,280
Speaker 3: a match, and the kindly man offers him a match,

532
00:29:33,320 --> 00:29:35,719
Speaker 3: and then Janosh says, no, thank you, I don't smoke.

533
00:29:36,240 --> 00:29:38,320
Speaker 3: And then he asks for the time. The man tells

534
00:29:38,360 --> 00:29:41,000
Speaker 3: him it's a quarter past ten. Yanosh checks his own

535
00:29:41,080 --> 00:29:44,360
Speaker 3: watch and agrees that is indeed the time. Janosh then

536
00:29:44,440 --> 00:29:48,680
Speaker 3: reveals with an infectious giggle that he is simply practicing

537
00:29:48,840 --> 00:29:52,560
Speaker 3: his English and again, I can't drive home enough. How

538
00:29:52,720 --> 00:29:55,080
Speaker 3: sweet Peter Lourie is at the beginning here.

539
00:29:55,560 --> 00:29:58,760
Speaker 1: Yes, yeah, he really is. There's a childlike innocence here.

540
00:29:59,440 --> 00:30:01,720
Speaker 3: So he points out over the water at the Statue

541
00:30:01,720 --> 00:30:05,400
Speaker 3: of Liberty and he says, look, she's beautiful, and the

542
00:30:05,440 --> 00:30:07,840
Speaker 3: boat worker agrees, says, yeah, I'd love to see it

543
00:30:07,880 --> 00:30:10,400
Speaker 3: every time every time we come into port here, and

544
00:30:10,840 --> 00:30:14,360
Speaker 3: Janosh then shows him a picture of a woman folded

545
00:30:14,440 --> 00:30:17,400
Speaker 3: in his wallet in his wallet and says, she is

546
00:30:17,520 --> 00:30:22,280
Speaker 3: very beautiful too. This is his beloved Maria. Yanosh explains

547
00:30:22,400 --> 00:30:25,680
Speaker 3: that after he establishes himself in America, she's going to

548
00:30:25,720 --> 00:30:27,760
Speaker 3: make the journey to join him, and then they will

549
00:30:27,800 --> 00:30:31,640
Speaker 3: be married when she arrives. So Yanosh arrives on the

550
00:30:31,640 --> 00:30:33,840
Speaker 3: streets of New York and we see him walking around.

551
00:30:34,240 --> 00:30:36,640
Speaker 3: He stops a stranger to ask him where he can

552
00:30:36,680 --> 00:30:39,280
Speaker 3: find a good hot and cold water hotel, and the

553
00:30:39,280 --> 00:30:43,680
Speaker 3: stranger gives him directions to the Carlton Plaza. He's like,

554
00:30:43,800 --> 00:30:46,480
Speaker 3: go six blocks up, one block over, two blocks to

555
00:30:46,520 --> 00:30:49,160
Speaker 3: the left, and then he says, they're waiting for you.

556
00:30:49,480 --> 00:30:51,640
Speaker 3: I think this went over my head a bit, but

557
00:30:51,880 --> 00:30:54,720
Speaker 3: I assume the joke is that this is a ridiculously

558
00:30:54,800 --> 00:30:57,560
Speaker 3: fancy hotel and they're waiting for you, as like their

559
00:30:57,680 --> 00:30:59,520
Speaker 3: their advertising slogan or something.

560
00:30:59,720 --> 00:31:01,840
Speaker 1: Yeah, I think that's the dig here.

561
00:31:02,520 --> 00:31:05,440
Speaker 3: But then up the street, Janos stops to buy a

562
00:31:05,560 --> 00:31:08,160
Speaker 3: juice from a street vendor and discovers that all of

563
00:31:08,160 --> 00:31:10,880
Speaker 3: his money is gone. The fifty nine dollars he arrived

564
00:31:10,880 --> 00:31:14,040
Speaker 3: with it's all missing from his wallet. So he runs

565
00:31:14,080 --> 00:31:15,880
Speaker 3: to a nearby policeman for help.

566
00:31:16,480 --> 00:31:19,080
Speaker 1: And yeah, and at this point he's like he's begging

567
00:31:19,080 --> 00:31:21,600
Speaker 1: the policeman to help him, and again we have more

568
00:31:21,600 --> 00:31:24,840
Speaker 1: of this like over the top a naivety and an

569
00:31:24,880 --> 00:31:28,960
Speaker 1: optimism from Janosh. But he has this line though, that

570
00:31:29,080 --> 00:31:32,680
Speaker 1: is so dumb that it does actually succeed in being

571
00:31:33,320 --> 00:31:40,080
Speaker 1: really funny. He's like, I've been gangstered. But but then

572
00:31:40,120 --> 00:31:41,920
Speaker 1: he like calms down a bit like the This is

573
00:31:41,960 --> 00:31:44,000
Speaker 1: where we meet O'Hara for the first time, and O'Hara

574
00:31:44,080 --> 00:31:45,640
Speaker 1: is here to sort of talk him down, and it's like,

575
00:31:45,640 --> 00:31:47,520
Speaker 1: all right, well, buddy, when when did you last see

576
00:31:47,560 --> 00:31:50,160
Speaker 1: your money? And then he's able to get Janos to

577
00:31:50,200 --> 00:31:52,640
Speaker 1: calm down enough to realize, oh, I still have the

578
00:31:52,680 --> 00:31:53,280
Speaker 1: money on me.

579
00:31:53,360 --> 00:31:55,480
Speaker 3: I have it under my shirt, that's right. So I

580
00:31:55,600 --> 00:31:57,720
Speaker 3: was afraid in this scene. Oh no, he's going to

581
00:31:57,800 --> 00:32:00,440
Speaker 3: run into a crooked cop who's going to double skin him.

582
00:32:00,920 --> 00:32:04,320
Speaker 3: But fortunately the detective he meets is friendly and helpful,

583
00:32:04,360 --> 00:32:07,640
Speaker 3: so O'Hara talks him through it, and then he remembers

584
00:32:07,840 --> 00:32:10,960
Speaker 3: he was listening to a man on the boat talk

585
00:32:11,040 --> 00:32:15,120
Speaker 3: about gangsters in America and he became afraid. And you know,

586
00:32:15,200 --> 00:32:18,280
Speaker 3: I don't know if the like Tommy Gunn Gangster was

587
00:32:18,320 --> 00:32:21,240
Speaker 3: as big a media sensation at this point in American

588
00:32:21,280 --> 00:32:23,440
Speaker 3: history as it had been like a decade earlier. I

589
00:32:23,920 --> 00:32:27,240
Speaker 3: think of like the early thirties as the heyday of

590
00:32:27,320 --> 00:32:29,920
Speaker 3: the you know, the big gangster stories about John Dillinger

591
00:32:29,960 --> 00:32:34,200
Speaker 3: and so forth. Maybe I'm wrong about that, but yeah,

592
00:32:34,360 --> 00:32:36,240
Speaker 3: I wonder if that's sort of what they're playing on.

593
00:32:36,680 --> 00:32:38,840
Speaker 1: Yeah, I mean, at any rate, we're all familiar with

594
00:32:38,840 --> 00:32:41,520
Speaker 1: the sort of chewed up by the big city trope,

595
00:32:41,880 --> 00:32:45,120
Speaker 1: which of course is reflected in that wonderful Simpsons episode

596
00:32:45,160 --> 00:32:48,440
Speaker 1: where Homer has to come back to New York City

597
00:32:48,520 --> 00:32:52,000
Speaker 1: to pay for to get a boot off of his car. Right, yes,

598
00:32:52,080 --> 00:32:54,880
Speaker 1: And it's just you know, absolute I d in his

599
00:32:54,920 --> 00:32:56,840
Speaker 1: mind that this is a hell city that will you know,

600
00:32:56,960 --> 00:33:00,800
Speaker 1: that will come at you. So yeah, I was afraid

601
00:33:00,840 --> 00:33:04,800
Speaker 1: too that Yanosh was about to run into another scam

602
00:33:04,960 --> 00:33:06,800
Speaker 1: and just be all the worse off for it.

603
00:33:07,160 --> 00:33:10,080
Speaker 3: Oh yeah, because in that Simpsons episode there's a scene

604
00:33:10,080 --> 00:33:12,560
Speaker 3: where he gets his camera stolen, then he goes to

605
00:33:12,680 --> 00:33:15,200
Speaker 3: complain to a police officer, and then the police officer

606
00:33:15,240 --> 00:33:19,680
Speaker 3: steals his suitcase. But anyway, like you said, he remembers

607
00:33:19,720 --> 00:33:21,320
Speaker 3: that he just hid his money in the shirt he

608
00:33:21,360 --> 00:33:25,240
Speaker 3: finds it again. So everything's okay. Then the policeman takes

609
00:33:25,320 --> 00:33:27,600
Speaker 3: Yanosh for a cold drink of some kind. It looks

610
00:33:27,600 --> 00:33:30,720
Speaker 3: like they're having like an ice cream float. They're at

611
00:33:30,760 --> 00:33:34,200
Speaker 3: a soda shop and Janosh tells O'Hara about all of

612
00:33:34,240 --> 00:33:36,120
Speaker 3: his hopes and dreams. He wants to get a job

613
00:33:36,160 --> 00:33:38,760
Speaker 3: and make money, then bring Marie over the ocean with

614
00:33:38,880 --> 00:33:41,840
Speaker 3: him to get married, and then have children. He wants

615
00:33:41,880 --> 00:33:44,360
Speaker 3: to have his sons follow him into his trade, which

616
00:33:44,440 --> 00:33:50,560
Speaker 3: is watchmaking and watch repair. And Ohara tries to help

617
00:33:50,640 --> 00:33:52,880
Speaker 3: Yanosh by telling him, Hey, I know of a hotel

618
00:33:53,000 --> 00:33:55,920
Speaker 3: that's clean, comfortable and cheap. You go to the Excelsior.

619
00:33:56,000 --> 00:33:58,320
Speaker 3: It's run by a guy named Finnegan. So he gives

620
00:33:58,400 --> 00:34:00,200
Speaker 3: him directions sends him on his way.

621
00:34:01,000 --> 00:34:01,520
Speaker 1: Now, at the.

622
00:34:01,440 --> 00:34:04,040
Speaker 3: Hotel, Yanosh not only rents a room, but he gets

623
00:34:04,040 --> 00:34:07,040
Speaker 3: a job washing dishes at the cafe on the ground floor,

624
00:34:07,160 --> 00:34:09,799
Speaker 3: where it seems like he does extremely good work. We

625
00:34:09,880 --> 00:34:12,640
Speaker 3: see a scene of him efficiently drying off plates and

626
00:34:12,680 --> 00:34:16,120
Speaker 3: teacups while singing to himself. The gist is that Yanosh

627
00:34:16,200 --> 00:34:19,040
Speaker 3: is a machine. He's a real good worker, and he's

628
00:34:19,080 --> 00:34:19,799
Speaker 3: friendly to boot.

629
00:34:20,280 --> 00:34:20,480
Speaker 1: Yeah.

630
00:34:20,880 --> 00:34:23,440
Speaker 3: Now at this hotel, we learned from the manager. There

631
00:34:23,480 --> 00:34:25,879
Speaker 3: are a couple of rules if you're a guest. First

632
00:34:25,920 --> 00:34:28,480
Speaker 3: of all, no ironing for some reason. I think he

633
00:34:28,520 --> 00:34:32,200
Speaker 3: says it overloads the circuits or something. But then the

634
00:34:32,239 --> 00:34:35,200
Speaker 3: other thing is no cooking your own food. And the

635
00:34:35,280 --> 00:34:38,680
Speaker 3: reason given is explicitly that the cafe is not making

636
00:34:38,760 --> 00:34:42,320
Speaker 3: enough money and the hotel needs the business from the guests,

637
00:34:42,400 --> 00:34:45,000
Speaker 3: so you can't make your own food. Well, one night,

638
00:34:45,040 --> 00:34:47,600
Speaker 3: we see Yanosh relaxing in his hotel bed after a

639
00:34:47,640 --> 00:34:50,920
Speaker 3: long shift at work. He's sort of chattering away lovingly

640
00:34:51,040 --> 00:34:55,240
Speaker 3: to his photo of Maria, and then meanwhile, in another room,

641
00:34:55,520 --> 00:34:59,200
Speaker 3: a guest is doing such wickedness. He is breaking one

642
00:34:59,239 --> 00:35:02,680
Speaker 3: of the two amandments. He is cooking in his room,

643
00:35:02,920 --> 00:35:05,160
Speaker 3: and we get a close up of his little hot plate,

644
00:35:05,640 --> 00:35:08,920
Speaker 3: and unfortunately, the black and white photography is not kind

645
00:35:09,040 --> 00:35:12,080
Speaker 3: to whatever he's cooking in this spot. It's some gleaming,

646
00:35:12,200 --> 00:35:16,520
Speaker 3: wretched slop. It looks like he's boiling glass beads in

647
00:35:16,560 --> 00:35:19,480
Speaker 3: a broth of nail polish. It does not look good.

648
00:35:19,719 --> 00:35:21,840
Speaker 1: Yeah, I can figure out what this was. It was like,

649
00:35:21,960 --> 00:35:24,360
Speaker 1: is he doing like some sort of reduction of marachino

650
00:35:24,480 --> 00:35:26,160
Speaker 1: cherries or something. I don't know.

651
00:35:26,400 --> 00:35:29,560
Speaker 3: Yeah, he's like tasting it. He's stirring it with a

652
00:35:29,600 --> 00:35:33,799
Speaker 3: fork and tasting yum, yum yum. Well, old man Finn again,

653
00:35:33,840 --> 00:35:37,160
Speaker 3: the guy who runs this place. He's roaming the halls,

654
00:35:37,320 --> 00:35:40,480
Speaker 3: sniffing around at the doors for illegal cookery, and he

655
00:35:41,120 --> 00:35:43,799
Speaker 3: detects He detects the cooking, so he zeros in on

656
00:35:43,840 --> 00:35:46,520
Speaker 3: the culprit, pulls up a ladder and tries to snoop

657
00:35:46,640 --> 00:35:49,600
Speaker 3: through the transom over the door to the room. But

658
00:35:49,640 --> 00:35:52,839
Speaker 3: the guest wises up real quick. He realized he hears

659
00:35:52,880 --> 00:35:56,319
Speaker 3: something outside, and then he hides his hot plate and

660
00:35:56,360 --> 00:35:59,600
Speaker 3: the pot of stew in the drawer of his wooden dresser.

661
00:36:00,400 --> 00:36:04,280
Speaker 3: Seems like a predictable outcome from this, so the guest

662
00:36:04,440 --> 00:36:06,200
Speaker 3: like he hides it in the dresser and then he

663
00:36:06,239 --> 00:36:08,640
Speaker 3: puts on a hat and coat leaves the room. He

664
00:36:08,640 --> 00:36:11,760
Speaker 3: gives a wink to the old man that the manager.

665
00:36:11,800 --> 00:36:14,719
Speaker 3: He's like, ah, I thought you could catch me, huh. Now,

666
00:36:14,719 --> 00:36:17,239
Speaker 3: as you might guess, putting the hot plate and the

667
00:36:17,280 --> 00:36:20,880
Speaker 3: pot inside the wooden furniture starts a fire, and the

668
00:36:20,920 --> 00:36:23,800
Speaker 3: fire grows out of control and then rages through the hotel.

669
00:36:24,800 --> 00:36:28,600
Speaker 3: So this scene turns horrifying. Yano should have been having such

670
00:36:28,600 --> 00:36:31,279
Speaker 3: a sweet time earlier. He was doing well at work. He's,

671
00:36:31,400 --> 00:36:35,400
Speaker 3: you know, dreaming about his beloved. Suddenly he's awoken to

672
00:36:35,440 --> 00:36:38,800
Speaker 3: find himself in a crumbling inferno. He tries to escape

673
00:36:38,840 --> 00:36:41,560
Speaker 3: the hotel, but he is hit by falling debris and

674
00:36:41,600 --> 00:36:45,799
Speaker 3: he ends up badly injured, very badly burned. By the way,

675
00:36:45,840 --> 00:36:47,600
Speaker 3: I just wanted to point out rob there's one part

676
00:36:47,640 --> 00:36:49,440
Speaker 3: where he's like coming down the stairs and he's hit

677
00:36:49,520 --> 00:36:52,560
Speaker 3: by burning debris that falls from above and then tumbles

678
00:36:52,600 --> 00:36:55,680
Speaker 3: over the staircase railing. I just thought this was a

679
00:36:55,719 --> 00:36:58,560
Speaker 3: pretty impressive and dangerous looking stunt. I don't know how

680
00:36:58,600 --> 00:36:59,359
Speaker 3: they pulled this off.

681
00:37:00,080 --> 00:37:02,680
Speaker 1: Yeah, I'm not sure. Like the stunt double of they

682
00:37:02,719 --> 00:37:04,760
Speaker 1: have for Lori here, I assume it's a stunt double

683
00:37:05,440 --> 00:37:09,279
Speaker 1: and looks just like him, And yeah, very terrifying. I

684
00:37:09,280 --> 00:37:14,240
Speaker 1: tend to find most fire effects terrifying in films these days,

685
00:37:14,320 --> 00:37:17,839
Speaker 1: but yeah, it absolutely feels like a raging inferno here.

686
00:37:18,520 --> 00:37:21,680
Speaker 3: So Yanos survives and he's taken to the hospital, but

687
00:37:21,840 --> 00:37:25,280
Speaker 3: he has suffered extensive third degree burns over his face

688
00:37:25,360 --> 00:37:28,000
Speaker 3: and head, and we see him in his hospital bed

689
00:37:28,040 --> 00:37:31,240
Speaker 3: with his head wrapped up completely in bandages like a mummy,

690
00:37:32,000 --> 00:37:36,080
Speaker 3: and his policeman friend O'Hara comes to the hospital showing concern.

691
00:37:36,480 --> 00:37:40,239
Speaker 3: He says he feels responsible for Yanosh's injuries because he's

692
00:37:40,280 --> 00:37:42,680
Speaker 3: the one who sent him to that hotel, and he

693
00:37:42,800 --> 00:37:44,640
Speaker 3: pays for some of his care. I think he gives

694
00:37:44,680 --> 00:37:48,439
Speaker 3: five dollars to pay for his hospital care, and then

695
00:37:48,480 --> 00:37:51,720
Speaker 3: he leaves a business card for Yanosh, writing a note

696
00:37:51,760 --> 00:37:54,520
Speaker 3: on the back that he should call him when he's recovered.

697
00:37:55,040 --> 00:37:57,319
Speaker 1: Yeah, or I think the wording is something like when

698
00:37:57,360 --> 00:38:00,560
Speaker 1: things are okay. It's a little bit more vague, and

699
00:38:00,600 --> 00:38:02,560
Speaker 1: that's going to be important later on. That's right.

700
00:38:02,600 --> 00:38:05,640
Speaker 3: I think it says call me when okay. So Janosh

701
00:38:05,760 --> 00:38:08,040
Speaker 3: retains the use of his hands, but as the healing

702
00:38:08,080 --> 00:38:10,520
Speaker 3: process goes on, it becomes clear that he's going to

703
00:38:10,520 --> 00:38:13,399
Speaker 3: have extensive scarring on his face and he will never

704
00:38:13,440 --> 00:38:16,799
Speaker 3: look the same. The scene where the doctor removes his

705
00:38:16,880 --> 00:38:20,960
Speaker 3: bandages is extremely dark and it's played like a horror film.

706
00:38:21,120 --> 00:38:23,920
Speaker 3: The doctor draws the shades on the window and then

707
00:38:24,040 --> 00:38:26,520
Speaker 3: covers the mirror in the corner of the room before

708
00:38:26,560 --> 00:38:29,880
Speaker 3: he takes the wrappings off. And while the doctor is

709
00:38:29,920 --> 00:38:34,319
Speaker 3: removing everything. Yanosh is still his friendly, optimistic self. He's

710
00:38:34,400 --> 00:38:36,520
Speaker 3: going on and on about how he's excited to go

711
00:38:36,600 --> 00:38:39,799
Speaker 3: back out and look for work. He's talking about how

712
00:38:39,960 --> 00:38:41,960
Speaker 3: he's saying, I'm very skilled with my hands. I have

713
00:38:42,040 --> 00:38:45,160
Speaker 3: experience as a watchmaker, but also in other mechanical jobs.

714
00:38:45,200 --> 00:38:48,160
Speaker 3: I once worked in an airplane factory. I even flew

715
00:38:48,200 --> 00:38:51,399
Speaker 3: airplanes when I was in the Armed Forces. And so

716
00:38:51,440 --> 00:38:54,600
Speaker 3: he's going on about the future. He's very hopeful. But

717
00:38:54,920 --> 00:38:57,879
Speaker 3: once his face is revealed, the nurses in the room

718
00:38:58,000 --> 00:39:01,439
Speaker 3: shut their eyes and WinCE. One nurse even walks into

719
00:39:01,440 --> 00:39:03,160
Speaker 3: the room and screams in horror.

720
00:39:03,880 --> 00:39:08,080
Speaker 1: Yeah, this scene instantly made me think of a nineteen

721
00:39:08,080 --> 00:39:11,440
Speaker 1: eighty nine Batman, the Tim Burton picture. We have that

722
00:39:11,480 --> 00:39:15,160
Speaker 1: great scene with the removal of the bandages on Jack

723
00:39:15,239 --> 00:39:18,880
Speaker 1: Nicholson's joker in that and you know it's not you know,

724
00:39:18,960 --> 00:39:23,040
Speaker 1: one to one here. But I can't help but ponder

725
00:39:23,400 --> 00:39:26,440
Speaker 1: to what extent like this picture and what other pictures

726
00:39:26,440 --> 00:39:27,960
Speaker 1: may have influenced that scene.

727
00:39:28,040 --> 00:39:31,240
Speaker 3: You know, Yeah, I see strong similarity. I would agree

728
00:39:31,239 --> 00:39:35,200
Speaker 3: it's a likely influence. But of course, you know, these

729
00:39:35,239 --> 00:39:38,400
Speaker 3: reactions they start to alarm you and ocean he becomes upset,

730
00:39:38,480 --> 00:39:41,040
Speaker 3: so he runs to the mirror, pulls away the towel

731
00:39:41,120 --> 00:39:44,720
Speaker 3: that's hiding the glass, and is confronted with his new face.

732
00:39:45,719 --> 00:39:48,160
Speaker 3: Every inch of it is scarred and it has sort

733
00:39:48,200 --> 00:39:51,799
Speaker 3: of a melted texture, And it's interesting that this is

734
00:39:51,880 --> 00:39:55,480
Speaker 3: basically the only time the movie actually gives you a

735
00:39:55,480 --> 00:39:58,799
Speaker 3: good look at his injuries after this scene. For a

736
00:39:58,840 --> 00:40:03,319
Speaker 3: long time, until there's another plot development, his face will

737
00:40:03,320 --> 00:40:06,600
Speaker 3: be always turned away from the camera or otherwise hidden.

738
00:40:07,640 --> 00:40:10,040
Speaker 3: At a certain point, he's going to acquire a customized

739
00:40:10,160 --> 00:40:12,840
Speaker 3: mask that makes him look like Peter Lourie again, but

740
00:40:12,880 --> 00:40:16,600
Speaker 3: a sort of altered lory, like Uncanny Laurie, And I

741
00:40:16,640 --> 00:40:19,239
Speaker 3: don't unless I'm forgetting it. There's really not any other

742
00:40:19,280 --> 00:40:21,280
Speaker 3: time they show him with his injuries.

743
00:40:22,040 --> 00:40:25,360
Speaker 1: Yeah, they we get, we get some pretty solid glances

744
00:40:25,400 --> 00:40:27,759
Speaker 1: of it, like in the mirror and so forth. But yeah,

745
00:40:27,760 --> 00:40:29,800
Speaker 1: for the most part, they they don't show it to

746
00:40:29,960 --> 00:40:34,120
Speaker 1: us directly. It's focused more on him becoming a creature

747
00:40:34,160 --> 00:40:38,840
Speaker 1: of the shadows and people, you know, having this terrible

748
00:40:38,840 --> 00:40:42,600
Speaker 1: reaction to seeing him. And then once the mask is acquired,

749
00:40:43,320 --> 00:40:45,799
Speaker 1: it is quite interesting because it gives it ends up

750
00:40:45,800 --> 00:40:49,920
Speaker 1: giving Janosh this kind of weird, almost otherworldly beauty. You know,

751
00:40:50,000 --> 00:40:53,840
Speaker 1: he's like like an angel, like a fallen angel certainly,

752
00:40:53,960 --> 00:40:57,920
Speaker 1: you know, but this clearly this being that's caught between realities,

753
00:40:58,320 --> 00:41:01,879
Speaker 1: Like it's smooths out Peter Laurie's face. So yeah, yeah,

754
00:41:02,160 --> 00:41:05,440
Speaker 1: he takes on this strange but not like, you know,

755
00:41:05,600 --> 00:41:07,680
Speaker 1: monstrous appearance. Yeah.

756
00:41:07,840 --> 00:41:11,720
Speaker 3: So after seeing his face, Janosh temporarily loses his mind.

757
00:41:11,760 --> 00:41:15,280
Speaker 3: He starts screaming where is my face? And he thrashes about,

758
00:41:15,320 --> 00:41:19,640
Speaker 3: shouting and attacking the doctor until finally he is forcefully sedated.

759
00:41:21,040 --> 00:41:24,280
Speaker 3: So after this, some time passes and we see things

760
00:41:24,320 --> 00:41:27,640
Speaker 3: continuing to go bad for Yanosh. He goes out looking

761
00:41:27,640 --> 00:41:30,640
Speaker 3: for work, dressed in a black fedora and a dark

762
00:41:30,680 --> 00:41:33,120
Speaker 3: coat with the collar pulled up around his face to

763
00:41:33,560 --> 00:41:36,920
Speaker 3: hide himself. So he's dressed kind of like a cross

764
00:41:36,960 --> 00:41:40,520
Speaker 3: between your standard hard boiled PI but also a bit

765
00:41:40,560 --> 00:41:44,120
Speaker 3: of Dracula in there, somewhere in between the two. And

766
00:41:44,280 --> 00:41:48,440
Speaker 3: everywhere he goes, including a watchmaker shop and an airplane factory,

767
00:41:48,960 --> 00:41:51,680
Speaker 3: he asks for work, but he is turned away once

768
00:41:51,760 --> 00:41:55,520
Speaker 3: the boss sees his face. And there's some very gloomy

769
00:41:55,560 --> 00:41:57,840
Speaker 3: atmosphere in this part of the film, like I'm thinking

770
00:41:57,840 --> 00:42:01,280
Speaker 3: particularly of the scene where he goes to the watchmaker's shop,

771
00:42:01,400 --> 00:42:04,600
Speaker 3: or it seems to be nighttime outside and the windows

772
00:42:04,640 --> 00:42:08,399
Speaker 3: are illuminated from inside, so he goes in to talk,

773
00:42:08,440 --> 00:42:11,080
Speaker 3: but once the watchmaker sees him, he's like, sorry, I

774
00:42:11,160 --> 00:42:13,040
Speaker 3: forgot to take the sign out of the window. We

775
00:42:13,080 --> 00:42:15,719
Speaker 3: don't have any positions and sends him away, and we

776
00:42:15,760 --> 00:42:19,120
Speaker 3: see Peter Lorie walking off down the sidewalk where he's

777
00:42:19,800 --> 00:42:23,840
Speaker 3: illuminated by like he should be illuminated by this lamp

778
00:42:23,880 --> 00:42:25,799
Speaker 3: that we see in the foreground, but it's like none

779
00:42:25,840 --> 00:42:28,560
Speaker 3: of the light touches him somehow, like he's just a

780
00:42:28,600 --> 00:42:33,040
Speaker 3: pure shadow from head to toe. Yeah, we see him

781
00:42:33,040 --> 00:42:36,360
Speaker 3: becoming increasingly desperate when he goes to talk to the

782
00:42:36,400 --> 00:42:39,560
Speaker 3: manager of the airplane factory, like he's turned away from

783
00:42:39,600 --> 00:42:42,520
Speaker 3: the camera, but he says, please, my face makes no

784
00:42:42,600 --> 00:42:44,759
Speaker 3: difference to how I can work with my hands, and

785
00:42:44,800 --> 00:42:49,640
Speaker 3: he's showing the manager his hands, but the manager just says, sorry,

786
00:42:49,640 --> 00:42:53,200
Speaker 3: there's nothing doing here, and then we get maybe the

787
00:42:53,239 --> 00:42:57,040
Speaker 3: most heartbreaking scene in the entire film, a scene where

788
00:42:57,120 --> 00:43:01,120
Speaker 3: Janosh writes a letter to his love back home to Maria,

789
00:43:01,719 --> 00:43:05,440
Speaker 3: which we see part of it translated into English. And

790
00:43:05,480 --> 00:43:08,160
Speaker 3: the part we see says, I must hurt you, dear Maria,

791
00:43:08,360 --> 00:43:11,120
Speaker 3: just once, then you can forget me forever. I have

792
00:43:11,239 --> 00:43:13,719
Speaker 3: met a girl, a very pretty girl. We are going

793
00:43:13,719 --> 00:43:19,000
Speaker 3: to be married. Goodbye, Maria, forgive and forget Janosh. Obviously

794
00:43:19,040 --> 00:43:21,959
Speaker 3: this is not true, but he can't face her now,

795
00:43:22,000 --> 00:43:24,360
Speaker 3: so he lies to make her move on with her life.

796
00:43:24,400 --> 00:43:25,440
Speaker 3: And this part was so.

797
00:43:25,560 --> 00:43:28,960
Speaker 1: Sad, absolutely heartbreaking. This one legitally made me tear up

798
00:43:29,360 --> 00:43:30,480
Speaker 1: when I was watching the picture.

799
00:43:30,880 --> 00:43:33,760
Speaker 3: But then we're going to get another slight reversal of fortune.

800
00:43:33,800 --> 00:43:36,080
Speaker 3: So here we come up on the scene where Yanosh

801
00:43:36,120 --> 00:43:40,160
Speaker 3: meets Dinky. Now, the setup to this scene visually is

802
00:43:40,480 --> 00:43:45,560
Speaker 3: very moody and beautiful. Yanosh is standing in his dark costume,

803
00:43:45,800 --> 00:43:49,560
Speaker 3: covered by the coat and the hat, at the railing

804
00:43:49,640 --> 00:43:53,480
Speaker 3: of a concrete walkway overlooking the ocean, and the moonlight

805
00:43:53,760 --> 00:43:56,920
Speaker 3: reflects off of the water and casts these white ripples

806
00:43:56,960 --> 00:44:00,480
Speaker 3: across the whole scene. It seems to imply Yana is

807
00:44:00,520 --> 00:44:03,560
Speaker 3: thinking about jumping from the railing and ending his life,

808
00:44:03,600 --> 00:44:08,400
Speaker 3: but hope comes through a series of unusual events. So

809
00:44:08,480 --> 00:44:11,520
Speaker 3: a well dressed man approaches Janosh to ask for a

810
00:44:11,560 --> 00:44:13,799
Speaker 3: match to light his cigar and This is kind of

811
00:44:13,800 --> 00:44:15,920
Speaker 3: interesting in how it plays on the very first thing

812
00:44:15,960 --> 00:44:17,880
Speaker 3: we ever heard from Yanosh, when he walks up to

813
00:44:17,920 --> 00:44:20,239
Speaker 3: the guy working on the boat at the beginning and

814
00:44:20,280 --> 00:44:23,319
Speaker 3: asks for a match to practice his English. This guy

815
00:44:23,320 --> 00:44:25,360
Speaker 3: comes up to ask for a match, and then Janosh

816
00:44:25,400 --> 00:44:27,640
Speaker 3: tries to give him one, but when the man sees

817
00:44:27,719 --> 00:44:30,960
Speaker 3: Janosh's face up close, the cigar falls out of his

818
00:44:31,040 --> 00:44:34,440
Speaker 3: mouth and he runs away, screaming. Suddenly, from out of

819
00:44:34,480 --> 00:44:37,400
Speaker 3: the shadows behind a bunch of crates and barrels comes

820
00:44:37,400 --> 00:44:40,279
Speaker 3: a third man, and this is Dinky, who's going to

821
00:44:40,280 --> 00:44:44,160
Speaker 3: become a major character. Dinky notices that the well dressed

822
00:44:44,160 --> 00:44:47,120
Speaker 3: man dropped his wallet as he was running away, so

823
00:44:47,160 --> 00:44:50,320
Speaker 3: he approaches Yanosh without fear. He picks up the wallet

824
00:44:50,840 --> 00:44:53,200
Speaker 3: and he's like, you know, oh, hey thought I was

825
00:44:53,200 --> 00:44:55,600
Speaker 3: a cop, didn't you. Well, let's see what Sandy Claus

826
00:44:55,640 --> 00:44:57,920
Speaker 3: left for us, And he starts going through the wallet,

827
00:44:58,560 --> 00:45:03,520
Speaker 3: and Dinky is a but he's also instantly likable, Like

828
00:45:03,560 --> 00:45:06,520
Speaker 3: he gets the cash out of the wallet and he's like, ah,

829
00:45:06,560 --> 00:45:09,880
Speaker 3: what a cheap skate, only twelve bucks, but he splits

830
00:45:09,920 --> 00:45:12,879
Speaker 3: the cash with Yano. She gives him half, so they

831
00:45:12,920 --> 00:45:16,680
Speaker 3: introduce themselves to each other, and Dinky is a little squirrely,

832
00:45:16,960 --> 00:45:20,319
Speaker 3: but unlike everyone else, he doesn't react with horror at

833
00:45:20,400 --> 00:45:24,120
Speaker 3: Yanosh's face. Instead, he treats him like a friend, like

834
00:45:24,360 --> 00:45:26,759
Speaker 3: when Yanosh is like, aren't you afraid of me? And

835
00:45:26,920 --> 00:45:30,759
Speaker 3: Dicky says, what your face? Ah, that's nothing, And they

836
00:45:31,080 --> 00:45:35,800
Speaker 3: start talking about Yanosh's apparent thoughts of jumping from the wall,

837
00:45:35,840 --> 00:45:38,360
Speaker 3: and Dinky has has a kind of casual way of

838
00:45:38,400 --> 00:45:41,759
Speaker 3: bringing some cheer to the situation. He says, what do

839
00:45:41,840 --> 00:45:44,200
Speaker 3: you get out of being dead lying around in a grave?

840
00:45:44,280 --> 00:45:47,120
Speaker 3: Ain't my idea of a good time? And he's a

841
00:45:47,120 --> 00:45:50,240
Speaker 3: sympathetic ear. Yanos starts to tell him about his troubles.

842
00:45:50,280 --> 00:45:51,960
Speaker 3: No one will give him work and no one will

843
00:45:51,960 --> 00:45:54,359
Speaker 3: look him in the face or talk to him, and

844
00:45:54,680 --> 00:45:57,719
Speaker 3: Dinky says like, Hey, I'm looking, I'm looking at you,

845
00:45:57,800 --> 00:45:59,520
Speaker 3: I'm talking to you. Let me take you out for

846
00:45:59,560 --> 00:46:02,200
Speaker 3: a hot meat. So he takes him to eat and

847
00:46:02,400 --> 00:46:05,040
Speaker 3: takes him back to the hotel where he's crashing, and

848
00:46:05,080 --> 00:46:06,960
Speaker 3: they start to become fast friends.

849
00:46:07,600 --> 00:46:09,920
Speaker 1: Yeah, Dinky almost has kind of a what a run

850
00:46:10,000 --> 00:46:12,640
Speaker 1: and ask zen quality to him? You know he lives

851
00:46:12,760 --> 00:46:14,839
Speaker 1: very much in the moment that's right.

852
00:46:14,960 --> 00:46:17,960
Speaker 3: So back at Dinky's place, Dinky's like having a bath

853
00:46:18,160 --> 00:46:21,239
Speaker 3: and sermonizing to Yanosh about his life philosophy.

854
00:46:21,320 --> 00:46:24,439
Speaker 1: Oh and by Dinky's place, we mean a hotel room

855
00:46:24,440 --> 00:46:26,480
Speaker 1: that they were able to pay for for just one night,

856
00:46:26,800 --> 00:46:29,279
Speaker 1: you know, because again Dinky lives in the moment is

857
00:46:29,320 --> 00:46:30,480
Speaker 1: one night at a time, you know.

858
00:46:30,680 --> 00:46:35,040
Speaker 3: Yeah, that's right. Yeah, So Dinky says, I've been on

859
00:46:35,080 --> 00:46:37,680
Speaker 3: my own since I was fifteen. I learned my lesson early.

860
00:46:37,760 --> 00:46:40,160
Speaker 3: You got to go for the free rides in this world.

861
00:46:40,200 --> 00:46:43,000
Speaker 3: You got to grab everything you can for yourself before

862
00:46:43,040 --> 00:46:46,240
Speaker 3: somebody else grabs it first. Only don't get too greedy.

863
00:46:46,320 --> 00:46:48,719
Speaker 3: I grabbed one thing too many once and got free

864
00:46:48,800 --> 00:46:52,280
Speaker 3: room and board in a reform school. And Yano says,

865
00:46:52,280 --> 00:46:55,560
Speaker 3: what you stole? And Dinky says, well, that's what they

866
00:46:55,600 --> 00:46:58,920
Speaker 3: called it. And Yanosh just like, but Dinky, it is

867
00:46:58,960 --> 00:47:02,239
Speaker 3: wrong to steal. You can't do wrong and find happiness

868
00:47:02,280 --> 00:47:05,399
Speaker 3: in life. And here there was big like Lupita from

869
00:47:05,520 --> 00:47:06,640
Speaker 3: Santa Claus energy.

870
00:47:07,160 --> 00:47:13,359
Speaker 1: Yes, absolutely, yeah, yeah. The morality play aspects of this

871
00:47:13,440 --> 00:47:16,520
Speaker 1: picture very interesting because it's like the police in this

872
00:47:16,600 --> 00:47:21,880
Speaker 1: picture are absolutely good. Criminals can go either way, and

873
00:47:22,760 --> 00:47:25,040
Speaker 1: then of course, Gianos, at least at this portion. In

874
00:47:25,080 --> 00:47:26,960
Speaker 1: this portion of the picture, is very much of the

875
00:47:27,040 --> 00:47:29,200
Speaker 1: idea that like there is an absolute right and wrong,

876
00:47:29,280 --> 00:47:31,360
Speaker 1: there is a firm line between the two, there is

877
00:47:31,440 --> 00:47:34,560
Speaker 1: no gray area, and you cannot cross over that line.

878
00:47:34,960 --> 00:47:35,720
Speaker 3: Really, it's funny.

879
00:47:35,800 --> 00:47:36,000
Speaker 1: Yeah.

880
00:47:36,040 --> 00:47:38,680
Speaker 3: The cops in the movie are good, even though I

881
00:47:38,719 --> 00:47:41,480
Speaker 3: expected them to be crooked. The criminals are a mix.

882
00:47:41,680 --> 00:47:45,399
Speaker 3: The really like bad lot are hiring managers.

883
00:47:45,080 --> 00:47:48,000
Speaker 1: Yeah, yeah, yeah yeah. And they cast a bit of

884
00:47:48,040 --> 00:47:50,759
Speaker 1: shade too on the guy who dropped the wallet. I

885
00:47:50,760 --> 00:47:53,200
Speaker 1: think they were they were They prefer to him being

886
00:47:53,239 --> 00:47:54,839
Speaker 1: like a Wall Street guy or something. Right.

887
00:47:55,160 --> 00:47:57,520
Speaker 3: Yeah, Dinky's attitude is like, what is he going to

888
00:47:57,560 --> 00:48:00,280
Speaker 3: come back for this money? He's not gonna miss it. Yeah,

889
00:48:00,360 --> 00:48:03,120
Speaker 3: But Dinky also explains it's not like he really wants

890
00:48:03,200 --> 00:48:06,600
Speaker 3: to be in a life of crime the way he

891
00:48:06,640 --> 00:48:08,399
Speaker 3: thinks about it. He says, what do you get out

892
00:48:08,400 --> 00:48:10,480
Speaker 3: of going straight? I tried to go straight six or

893
00:48:10,520 --> 00:48:14,080
Speaker 3: seven times, but something always went wrong, something always happened.

894
00:48:14,680 --> 00:48:17,720
Speaker 3: So we sort of get the picture forming that Dinky

895
00:48:17,800 --> 00:48:21,360
Speaker 3: is a small time crook, but he's not really malicious.

896
00:48:21,560 --> 00:48:24,279
Speaker 3: He's kind of a sweetheart, and he keeps trying to

897
00:48:24,719 --> 00:48:28,000
Speaker 3: set things right, Like you find out that he's got

898
00:48:28,040 --> 00:48:30,520
Speaker 3: a mother living out on a farm in the Midwest,

899
00:48:30,840 --> 00:48:33,960
Speaker 3: hoping he'll come home sometime, and he keeps meaning to

900
00:48:33,960 --> 00:48:36,000
Speaker 3: save up some money so he can take some money

901
00:48:36,000 --> 00:48:37,759
Speaker 3: and go back to her and help her buy a

902
00:48:37,840 --> 00:48:40,640
Speaker 3: chicken ranch she's always dreamed of and work on the

903
00:48:40,719 --> 00:48:44,120
Speaker 3: ranch with his mom, And it seems it's a really

904
00:48:44,160 --> 00:48:47,120
Speaker 3: sweet intention, but he just never manages to get it together,

905
00:48:47,200 --> 00:48:49,560
Speaker 3: often because of stuff outside of his control, like he

906
00:48:50,520 --> 00:48:52,760
Speaker 3: They never say exactly what it is, but it's implied

907
00:48:52,800 --> 00:48:55,879
Speaker 3: that Dinky has some kind of chronic disease that occasionally

908
00:48:55,920 --> 00:48:58,360
Speaker 3: flares up, and then he gets sick and has to

909
00:48:58,400 --> 00:49:01,000
Speaker 3: go to the hospital, which in the past has caused

910
00:49:01,080 --> 00:49:04,120
Speaker 3: him to lose whatever legitimate job he had at the time.

911
00:49:04,239 --> 00:49:05,920
Speaker 3: So then when he gets out of the hospital, he

912
00:49:05,960 --> 00:49:09,719
Speaker 3: has to do crime again. So they compare their attitudes.

913
00:49:09,800 --> 00:49:13,080
Speaker 3: Janosh is is now very hopeless and fatalistic about his

914
00:49:13,200 --> 00:49:18,920
Speaker 3: situation in life. Dinky is relatively carefree. He says, Yanosh Is, like,

915
00:49:18,960 --> 00:49:20,719
Speaker 3: what's going to happen when we run out of the

916
00:49:20,760 --> 00:49:24,600
Speaker 3: money that we got tonight? Dinky's like, you know, something

917
00:49:24,600 --> 00:49:27,400
Speaker 3: else always comes along he mentions that he has an

918
00:49:27,400 --> 00:49:32,080
Speaker 3: associate named Jeff. This will be Jeffrey, Jeff Jeffries who

919
00:49:32,280 --> 00:49:34,839
Speaker 3: is doing a stretch up the river, like doing time

920
00:49:34,840 --> 00:49:37,239
Speaker 3: in prison, and when he when he gets out, he

921
00:49:37,280 --> 00:49:40,360
Speaker 3: will have plenty of jobs for the both of them. Janosh,

922
00:49:40,719 --> 00:49:43,600
Speaker 3: not fully understanding the criminal implications here, is like, oh

923
00:49:43,640 --> 00:49:48,839
Speaker 3: boy jobs, and he goes to sleep, dreaming that things

924
00:49:48,840 --> 00:50:01,839
Speaker 3: will turn up. So Dinky and Yano, who Dinky calls

925
00:50:01,920 --> 00:50:06,160
Speaker 3: Yanosh Johnny. They go on living in cheaper and cheaper motels.

926
00:50:06,200 --> 00:50:08,479
Speaker 3: You see a kind of montage of the like four

927
00:50:08,520 --> 00:50:12,480
Speaker 3: rent signs getting lower and lower prices, until finally they

928
00:50:12,520 --> 00:50:15,800
Speaker 3: get thrown out of a real fleabag and they're living

929
00:50:15,800 --> 00:50:18,799
Speaker 3: in a junkyard. And Dinky at this point he's had

930
00:50:18,840 --> 00:50:21,359
Speaker 3: some kind of health flare up. He's sick and in

931
00:50:21,400 --> 00:50:24,319
Speaker 3: need of a doctor. And here is where the plot

932
00:50:24,360 --> 00:50:27,040
Speaker 3: takes a turn. Dinky is supposed to go out on

933
00:50:27,120 --> 00:50:29,759
Speaker 3: a job tonight, but he's too sick, and he sends

934
00:50:29,840 --> 00:50:32,799
Speaker 3: Janosh off to tell his associates that he's not going

935
00:50:32,840 --> 00:50:35,280
Speaker 3: to be able to be there to do the job.

936
00:50:36,040 --> 00:50:39,760
Speaker 3: Instead of that, Yanosh goes to his associates and pulls

937
00:50:39,800 --> 00:50:43,200
Speaker 3: the job off in Dinky Stead, and we learned that

938
00:50:43,239 --> 00:50:46,200
Speaker 3: the job was straight up crime. It was cracking into

939
00:50:46,200 --> 00:50:49,440
Speaker 3: a safe and pulling off a jewel heist. I think

940
00:50:49,480 --> 00:50:52,560
Speaker 3: we're to assume, you know, they talked multiple times before

941
00:50:52,600 --> 00:50:55,640
Speaker 3: about how Yanosh has skilled hands. He has mechanical skill

942
00:50:55,719 --> 00:50:57,920
Speaker 3: with his hands, So I think we're to assume that

943
00:50:58,040 --> 00:51:02,240
Speaker 3: these skills transferred, you know, his watchmaker skills were transferable

944
00:51:02,320 --> 00:51:03,800
Speaker 3: to opening a locked safe.

945
00:51:04,080 --> 00:51:07,279
Speaker 1: Yeah, he's got that eighteen dexterity, so he's able to

946
00:51:07,320 --> 00:51:10,560
Speaker 1: get in there and break into some safe. But yeah,

947
00:51:10,719 --> 00:51:15,520
Speaker 1: we don't see this heist, this this safe cracking scene

948
00:51:15,560 --> 00:51:19,320
Speaker 1: at all. It's alluded missing. Yeah, scene absolutely missing it.

949
00:51:19,880 --> 00:51:21,440
Speaker 1: I would have loved to have seen it, like I

950
00:51:21,480 --> 00:51:25,280
Speaker 1: wanted to. I wanted to see like the gears turning

951
00:51:25,320 --> 00:51:28,680
Speaker 1: in Yanosh's head as he realizes like what this job is,

952
00:51:29,239 --> 00:51:32,120
Speaker 1: as he you know, actually you know, gets the determination

953
00:51:32,239 --> 00:51:35,279
Speaker 1: together to go ahead and pull it off, like this

954
00:51:35,360 --> 00:51:39,120
Speaker 1: seems like a great dramatic sequence that I guess it

955
00:51:39,200 --> 00:51:41,360
Speaker 1: was just never filmed, And I don't know what the

956
00:51:41,360 --> 00:51:43,680
Speaker 1: full story is here. If they never intended to, it's

957
00:51:43,719 --> 00:51:45,920
Speaker 1: just that's not the sort of picture it is, or

958
00:51:46,080 --> 00:51:47,800
Speaker 1: if it's something they were going to film and didn't

959
00:51:47,800 --> 00:51:49,319
Speaker 1: have the funds for. I don't know.

960
00:51:50,239 --> 00:51:52,080
Speaker 3: Yeah, I don't know. I would have liked to see

961
00:51:52,080 --> 00:51:54,520
Speaker 3: it too. But anyway, Janosh makes so much money from

962
00:51:54,560 --> 00:51:57,759
Speaker 3: the job he is able to take Dinky to the

963
00:51:57,800 --> 00:52:00,680
Speaker 3: doctor and get medicine to make him better. So Dinky's

964
00:52:00,719 --> 00:52:04,400
Speaker 3: recovering now. But while he's he's in bed and Ianosh

965
00:52:04,480 --> 00:52:06,480
Speaker 3: is there by his side, some tough guys show up

966
00:52:06,520 --> 00:52:10,480
Speaker 3: to demand money that Dinky owes them, and they're like, Hey,

967
00:52:10,520 --> 00:52:12,840
Speaker 3: this new guy's real good. Let's put him to work.

968
00:52:14,520 --> 00:52:17,319
Speaker 3: Just another note, This doesn't feel like a comment on

969
00:52:17,400 --> 00:52:20,040
Speaker 3: their character, or at least not an intentional one. But

970
00:52:20,160 --> 00:52:22,960
Speaker 3: I should note that the other criminals also do not

971
00:52:23,040 --> 00:52:26,080
Speaker 3: seem phased by Janosh's scars the way that like anybody

972
00:52:26,120 --> 00:52:28,080
Speaker 3: who's offering a legitimate job does.

973
00:52:28,760 --> 00:52:31,080
Speaker 1: Yeah, this is interesting, isn't it. I hadn't really thought

974
00:52:31,120 --> 00:52:33,360
Speaker 1: about this as much, But they they just see the

975
00:52:33,640 --> 00:52:36,120
Speaker 1: dollar signs. They're like, Oh, this guy can crack a

976
00:52:36,160 --> 00:52:39,279
Speaker 1: safe and in no time. Well, yeah, of course we

977
00:52:39,320 --> 00:52:41,920
Speaker 1: want to keep doing business with him. Yeah, but in

978
00:52:42,000 --> 00:52:47,399
Speaker 1: ways that other legitimate businesses refuse to consider. On all

979
00:52:47,480 --> 00:52:49,879
Speaker 1: these job interviews he was going for and so forth.

980
00:52:50,760 --> 00:52:53,839
Speaker 3: Anyway, so the path is now on offer. They can

981
00:52:53,920 --> 00:52:56,399
Speaker 3: keep lining up more jobs for yan Ocean. He can

982
00:52:56,400 --> 00:52:59,600
Speaker 3: make them all filthy rich. Now Yah There's initially does

983
00:52:59,640 --> 00:53:02,160
Speaker 3: not want this. He still thinks it is wrong to steal,

984
00:53:02,640 --> 00:53:04,960
Speaker 3: but Dinky knows how to make the appeal to him.

985
00:53:05,000 --> 00:53:07,480
Speaker 3: He's like, Janosh, I know what you want more than

986
00:53:07,520 --> 00:53:10,600
Speaker 3: anything else in the world. You want your face back.

987
00:53:11,040 --> 00:53:13,239
Speaker 3: And there are these people out there called I think

988
00:53:13,280 --> 00:53:17,279
Speaker 3: he calls them plastic doctors. He's talking about plastic surgeons.

989
00:53:17,560 --> 00:53:20,080
Speaker 3: He says, if you have enough money, they can they

990
00:53:20,080 --> 00:53:23,640
Speaker 3: can give you your old face back. And Yanosh is

991
00:53:23,840 --> 00:53:26,359
Speaker 3: entranced by this idea. He's like, really, I didn't even

992
00:53:26,400 --> 00:53:29,359
Speaker 3: know that was possible. So he says, could they fix

993
00:53:29,440 --> 00:53:31,680
Speaker 3: my face so that people can look at me? And

994
00:53:31,760 --> 00:53:35,799
Speaker 3: Dinky says, all you need is money. So it's impossible

995
00:53:35,880 --> 00:53:38,200
Speaker 3: for Janosh to resist. Now, a new face would be

996
00:53:38,239 --> 00:53:40,960
Speaker 3: a new life. So he's like, okay, crime me up,

997
00:53:41,000 --> 00:53:41,800
Speaker 3: I will do crime.

998
00:53:42,320 --> 00:53:45,560
Speaker 1: This bit of dialogue between Dinkie and Janosh it really

999
00:53:45,560 --> 00:53:47,640
Speaker 1: feels like the heart of the picture, and it's the

1000
00:53:47,640 --> 00:53:50,680
Speaker 1: part of the picture that I feel like gives us

1001
00:53:50,680 --> 00:53:53,480
Speaker 1: the most to chew on and figuring out what its

1002
00:53:53,520 --> 00:53:56,759
Speaker 1: message is. You know this bit where he's saying it's

1003
00:53:56,800 --> 00:53:59,040
Speaker 1: being done every day. Yeah, all you have to have

1004
00:53:59,120 --> 00:54:02,120
Speaker 1: is money, you know, buying yourself a new face and

1005
00:54:02,200 --> 00:54:05,200
Speaker 1: so forth. Yeah, it's a lot to chew on. It's

1006
00:54:05,239 --> 00:54:10,360
Speaker 1: really it's as if Dinky is really opening Janosh's eyes

1007
00:54:10,760 --> 00:54:13,239
Speaker 1: to the real American dream, Like here is the real

1008
00:54:13,280 --> 00:54:15,760
Speaker 1: America and this is how you climb here.

1009
00:54:16,160 --> 00:54:19,479
Speaker 3: Yeah. So there's a scene where Yanosh goes to visit

1010
00:54:19,520 --> 00:54:22,360
Speaker 3: the plastic surgeon, but unfortunate, once he gets there, the

1011
00:54:22,400 --> 00:54:25,520
Speaker 3: answer isn't as straightforward as Dinky led him to believe.

1012
00:54:28,000 --> 00:54:33,040
Speaker 3: It's interesting the surgeon isn't presented as giving him giving

1013
00:54:33,120 --> 00:54:37,200
Speaker 3: him impossible promises. Instead, the surgeon seems to be fairly

1014
00:54:37,239 --> 00:54:41,879
Speaker 3: measured in his initial analysis. He's like, well, I'll need

1015
00:54:41,920 --> 00:54:45,080
Speaker 3: to consult another doctor from the practice and compare notes,

1016
00:54:45,120 --> 00:54:48,799
Speaker 3: but we think full reconstructive surgery would be expensive and protracted,

1017
00:54:49,239 --> 00:54:51,880
Speaker 3: might not be possible at all. In the meantime, I

1018
00:54:51,880 --> 00:54:54,240
Speaker 3: can make you a rubber mask of your old face

1019
00:54:54,360 --> 00:54:57,600
Speaker 3: based on your passport photo, and the mask will serve

1020
00:54:57,719 --> 00:55:00,640
Speaker 3: until we can do a full rundown. And see what

1021
00:55:00,680 --> 00:55:02,080
Speaker 3: the prospects for surgery are.

1022
00:55:02,760 --> 00:55:05,080
Speaker 1: Yep. So Janosh is like, mask me up. Let's go

1023
00:55:05,120 --> 00:55:06,680
Speaker 1: with the mask and then I'll come back for that

1024
00:55:06,719 --> 00:55:07,400
Speaker 1: next apploytment.

1025
00:55:07,600 --> 00:55:10,680
Speaker 3: Yeah, the mask will also be expensive. So Janosh does

1026
00:55:10,719 --> 00:55:14,839
Speaker 3: have to do more crimes. So he goes from reluctant

1027
00:55:14,880 --> 00:55:18,680
Speaker 3: safe cracker to just NonStop crime boss. He not only

1028
00:55:18,760 --> 00:55:22,640
Speaker 3: it becomes a safe cracker, he takes over the gang

1029
00:55:22,840 --> 00:55:24,839
Speaker 3: like he all the you know, the tough guys who

1030
00:55:24,840 --> 00:55:27,120
Speaker 3: were showing up at Dinky's plays, Now they're all working

1031
00:55:27,239 --> 00:55:30,960
Speaker 3: for Janosh. And he pulls off highest affter heist. We

1032
00:55:31,000 --> 00:55:34,640
Speaker 3: get the newspaper headlines, scenes of the police getting chewed

1033
00:55:34,640 --> 00:55:38,000
Speaker 3: out by their superiors because they can't catch this criminal mastermind.

1034
00:55:38,760 --> 00:55:40,680
Speaker 3: In fact, it seems like the main detective on the

1035
00:55:40,680 --> 00:55:43,360
Speaker 3: case is Yanosh's old friend, Lieutenant O'Hara.

1036
00:55:44,320 --> 00:55:45,480
Speaker 1: Of course it is. Yeah.

1037
00:55:46,840 --> 00:55:49,680
Speaker 3: Also somewhere along this process, Yanosh ends up not only

1038
00:55:49,680 --> 00:55:52,360
Speaker 3: with a lot of money, but ends up with an airplane,

1039
00:55:52,480 --> 00:55:55,080
Speaker 3: or at least flying an airplane like he They mentioned

1040
00:55:55,200 --> 00:55:57,440
Speaker 3: multiple times that he goes out flying an airplane.

1041
00:55:57,840 --> 00:56:00,319
Speaker 1: Yeah. Yeah, so he's he has become the boss. He's

1042
00:56:00,360 --> 00:56:04,520
Speaker 1: running this entire operation, and we'll get some more of

1043
00:56:04,600 --> 00:56:07,400
Speaker 1: crime boss yanovsch But this is another part of the

1044
00:56:07,400 --> 00:56:10,040
Speaker 1: picture where it's like I really wanted more. I needed

1045
00:56:10,080 --> 00:56:14,400
Speaker 1: like another solid twenty minutes of Yanov's just being the boss,

1046
00:56:15,160 --> 00:56:18,640
Speaker 1: you know, enforcing his will, being a little scary with people,

1047
00:56:18,680 --> 00:56:21,440
Speaker 1: and so forth. We get all that, but you know,

1048
00:56:21,440 --> 00:56:22,640
Speaker 1: it just leaves you wanting.

1049
00:56:22,400 --> 00:56:25,160
Speaker 3: More now next to I'm sure we're all dying to

1050
00:56:25,200 --> 00:56:27,759
Speaker 3: see the mask. Well, we do get to see it,

1051
00:56:27,840 --> 00:56:30,400
Speaker 3: and of course when we finally see it, it is a

1052
00:56:30,440 --> 00:56:32,960
Speaker 3: bit creepy, because I guess a realistic mask sort of

1053
00:56:33,000 --> 00:56:36,279
Speaker 3: always is. But I'll also say it's not bad for

1054
00:56:36,280 --> 00:56:38,640
Speaker 3: a nineteen forties mask, Like I can tell that it

1055
00:56:38,680 --> 00:56:39,919
Speaker 3: is supposed to be Peter LORII.

1056
00:56:41,160 --> 00:56:45,439
Speaker 1: It looks better than some decapitated head effects I've seen,

1057
00:56:45,480 --> 00:56:45,759
Speaker 1: for sure.

1058
00:56:45,880 --> 00:56:48,600
Speaker 3: Yes, And then when he puts it on. You were

1059
00:56:48,600 --> 00:56:51,960
Speaker 3: talking about this earlier, rob So when he puts the

1060
00:56:52,000 --> 00:56:56,319
Speaker 3: mask on, we go back to the cameras showing Peter

1061
00:56:56,440 --> 00:57:00,200
Speaker 3: Lourie's face again, but now his skin looks tight and

1062
00:57:00,239 --> 00:57:04,400
Speaker 3: sort of pinched up and unnatural. I don't know exactly

1063
00:57:04,440 --> 00:57:06,799
Speaker 3: how they accomplished this effect. I guess it's some kind

1064
00:57:06,840 --> 00:57:10,080
Speaker 3: of makeup effect, because ironically, the mask we're now seeing

1065
00:57:10,120 --> 00:57:12,759
Speaker 3: I believe is just Peter Lourie's real face, but with

1066
00:57:12,880 --> 00:57:14,720
Speaker 3: some makeup and manipulations.

1067
00:57:15,000 --> 00:57:16,920
Speaker 1: Yeah yeah, Like I say, it kind of like smooths

1068
00:57:17,000 --> 00:57:20,520
Speaker 1: him out a bit more and gives him this slightly

1069
00:57:20,640 --> 00:57:21,800
Speaker 1: uncanny appearance.

1070
00:57:22,320 --> 00:57:24,640
Speaker 3: It's like Peter LORII with an intense facelift.

1071
00:57:25,080 --> 00:57:25,560
Speaker 1: Yeah.

1072
00:57:26,200 --> 00:57:28,880
Speaker 3: After this, there's this one sequence where they pull off

1073
00:57:28,920 --> 00:57:32,280
Speaker 3: some kind of opera robbery. I'm not sure I didn't

1074
00:57:32,320 --> 00:57:35,360
Speaker 3: fully get the details here, but it involves an opera

1075
00:57:35,680 --> 00:57:38,280
Speaker 3: and then like going to the opera and like looking

1076
00:57:38,320 --> 00:57:40,640
Speaker 3: at each other during a certain time in the show,

1077
00:57:40,720 --> 00:57:43,000
Speaker 3: and then we just see like I think an orchestra

1078
00:57:43,120 --> 00:57:45,320
Speaker 3: conductor tied up and they've got a bunch of money.

1079
00:57:45,720 --> 00:57:47,520
Speaker 1: Yeah, I mean, I guess so they didn't have access

1080
00:57:47,560 --> 00:57:48,840
Speaker 1: to montage technology.

1081
00:57:51,040 --> 00:57:53,920
Speaker 3: Yeah, okay, But anyway, while the gang is counting up

1082
00:57:53,920 --> 00:57:56,560
Speaker 3: all their money from the opera heist, they are interrupted

1083
00:57:56,600 --> 00:58:00,000
Speaker 3: by a real nasty customer. Remember old Jeff we heard

1084
00:58:00,120 --> 00:58:04,800
Speaker 3: about earlier, Jeff Jeffrey Jeffreyes. Well, anyway, he's out of

1085
00:58:04,800 --> 00:58:07,640
Speaker 3: prison now, and he wanders into the to the gang's

1086
00:58:07,880 --> 00:58:11,040
Speaker 3: counting room with a gun and insists he's in charge now.

1087
00:58:11,800 --> 00:58:14,280
Speaker 3: Jeff says, we're going to live just as swell. Only

1088
00:58:14,320 --> 00:58:17,040
Speaker 3: one thing will change. We don't need him appointing at

1089
00:58:17,120 --> 00:58:20,680
Speaker 3: yanosh Ooh. But then twist. I didn't see this coming.

1090
00:58:20,720 --> 00:58:23,960
Speaker 3: Peter Lourie like muscles this much bigger guy. He slaps

1091
00:58:24,040 --> 00:58:26,080
Speaker 3: him around. He's like, I'm in charge now.

1092
00:58:26,720 --> 00:58:29,400
Speaker 1: Yeah, this is great. It's very much like little dog

1093
00:58:31,080 --> 00:58:33,720
Speaker 1: putting a bigger dog in its place. Sort of energy here,

1094
00:58:34,160 --> 00:58:36,200
Speaker 1: and you know, Laurie brings it like he makes you

1095
00:58:36,280 --> 00:58:38,680
Speaker 1: believe it, like seconds before it to Kurt. You feel

1096
00:58:38,680 --> 00:58:40,360
Speaker 1: like something like that is going to have to happen

1097
00:58:41,560 --> 00:58:45,680
Speaker 1: in order to put Jeff in his place. But you're like,

1098
00:58:45,720 --> 00:58:47,360
Speaker 1: I don't know if LORI can do it. No, he

1099
00:58:47,400 --> 00:58:49,120
Speaker 1: totally did it. He pulled it off. I believe it.

1100
00:58:49,480 --> 00:58:52,960
Speaker 3: Yeah, And so I think the line he says is

1101
00:58:53,040 --> 00:58:56,320
Speaker 3: these were your boys, their mine. Now we can all

1102
00:58:56,320 --> 00:58:58,520
Speaker 3: be friends. If you want to play friendly, it's up

1103
00:58:58,560 --> 00:59:01,720
Speaker 3: to you. So Jeff cools his attitude and he gets

1104
00:59:01,720 --> 00:59:04,360
Speaker 3: absorbed into the gang. But you can see in this

1105
00:59:04,480 --> 00:59:07,280
Speaker 3: scene that's he's swallowing his pride for the moment, but

1106
00:59:07,480 --> 00:59:10,080
Speaker 3: it might not be going away. He's still hanging on

1107
00:59:10,120 --> 00:59:10,920
Speaker 3: to a grudge.

1108
00:59:11,360 --> 00:59:13,200
Speaker 1: Yeah. So this this is a great scene. So this

1109
00:59:13,560 --> 00:59:16,320
Speaker 1: Yanosh in his villain era here, it's tremendous.

1110
00:59:17,200 --> 00:59:20,120
Speaker 3: So some more plot developments. Yanosh goes back to a

1111
00:59:20,240 --> 00:59:23,840
Speaker 3: follow up appointment with his plastic surgeons, and during this

1112
00:59:23,920 --> 00:59:26,840
Speaker 3: appointment they explain, you know, after really looking at things,

1113
00:59:27,080 --> 00:59:30,640
Speaker 3: we cannot in good conscience recommend an operation to you

1114
00:59:31,280 --> 00:59:34,360
Speaker 3: because your burns are too extensive, too severe to be repaired.

1115
00:59:34,720 --> 00:59:37,000
Speaker 3: They say, you know, if it's possible at all, it

1116
00:59:37,040 --> 00:59:40,280
Speaker 3: would take like thirty operations over fifteen years to even

1117
00:59:40,320 --> 00:59:43,040
Speaker 3: really give you a chance of looking like your old self.

1118
00:59:43,520 --> 00:59:46,120
Speaker 1: Yeah, we get that great bit of that great line

1119
00:59:46,160 --> 00:59:50,080
Speaker 1: from janoshras just repeats that. He just says fifteen years.

1120
00:59:50,400 --> 00:59:53,000
Speaker 1: You know, is it really sinks in that this path

1121
00:59:53,040 --> 00:59:55,040
Speaker 1: that he's chosen for himself, that he's picked up is

1122
00:59:55,400 --> 01:00:00,120
Speaker 1: a temporary change to get back on track is a

1123
01:00:00,200 --> 01:00:04,160
Speaker 1: long term track apparently, and potentially the rest of his life.

1124
01:00:04,520 --> 01:00:07,800
Speaker 3: Yeah, to him, it means fifteen years of crime.

1125
01:00:08,120 --> 01:00:08,960
Speaker 1: Yeah.

1126
01:00:09,160 --> 01:00:11,760
Speaker 3: So Janos's furious, but on his way out of the

1127
01:00:11,800 --> 01:00:14,720
Speaker 3: building he has a chance encounter that will change his life.

1128
01:00:14,840 --> 01:00:18,919
Speaker 3: Yet again, we keep having these reversals of fortune here.

1129
01:00:19,360 --> 01:00:22,200
Speaker 3: So he bumps into a woman on the sidewalk and

1130
01:00:22,600 --> 01:00:26,240
Speaker 3: makes her drop all her things. And this is the

1131
01:00:26,320 --> 01:00:28,720
Speaker 3: romantic meat cute in the middle of the film noir

1132
01:00:28,800 --> 01:00:32,040
Speaker 3: about a good man's desperate and hellish descent into crime.

1133
01:00:32,440 --> 01:00:35,720
Speaker 3: It's a strange change of tone, but this character is

1134
01:00:36,480 --> 01:00:39,320
Speaker 3: the one we mentioned earlier. Helen, played by Evelyn Keys.

1135
01:00:40,040 --> 01:00:44,400
Speaker 3: Helen is blind and works as a jewelry maker, stringing necklaces.

1136
01:00:44,440 --> 01:00:46,960
Speaker 3: I think she does. She string them for a department store.

1137
01:00:47,480 --> 01:00:49,560
Speaker 1: I believe so. Yeah, yeah, and she was.

1138
01:00:49,520 --> 01:00:52,720
Speaker 3: Transporting project boxes when they ran into each other on

1139
01:00:52,760 --> 01:00:58,120
Speaker 3: the sidewalk. Helen is friendly, and she's funny and optimistic,

1140
01:00:58,200 --> 01:01:01,160
Speaker 3: and her positivity just cut through the gloom of the

1141
01:01:01,200 --> 01:01:05,720
Speaker 3: story like a laser. Janosh is instinctively rude to her

1142
01:01:05,760 --> 01:01:08,320
Speaker 3: at first because he's feeling so bad, but he quickly

1143
01:01:08,360 --> 01:01:11,800
Speaker 3: softens and he helps her pick up her things. And

1144
01:01:12,120 --> 01:01:13,880
Speaker 3: in this scene, I don't know if you notice the

1145
01:01:13,920 --> 01:01:17,560
Speaker 3: same thing, Rob, but you can hear in Peter Lourie's

1146
01:01:17,680 --> 01:01:22,120
Speaker 3: vocal performance, his voice changes as as he became the

1147
01:01:22,200 --> 01:01:27,560
Speaker 3: crime boss. His voice changed to become very tight and

1148
01:01:27,720 --> 01:01:30,960
Speaker 3: gruff that he uses this tight gruff voice with his

1149
01:01:31,000 --> 01:01:34,680
Speaker 3: gangster accomplices, but when he talks to Helen, he quickly

1150
01:01:34,680 --> 01:01:37,000
Speaker 3: starts to sound more like he did at the beginning

1151
01:01:37,080 --> 01:01:39,360
Speaker 3: of the movie when he first arrived in America, with

1152
01:01:39,600 --> 01:01:42,160
Speaker 3: a softer, higher pitched voice.

1153
01:01:42,400 --> 01:01:45,920
Speaker 1: Yeah yeah, yeah. It reawakens the old Yanos.

1154
01:01:45,560 --> 01:01:48,240
Speaker 3: Heare, so Yanosh offers to walk with her and carry

1155
01:01:48,280 --> 01:01:52,080
Speaker 3: her things, and she accepts, and so they go back

1156
01:01:52,120 --> 01:01:54,760
Speaker 3: to her apartment and they get to know one another.

1157
01:01:54,880 --> 01:01:58,439
Speaker 3: Helen talks about how she enjoys living independently. She likes

1158
01:01:58,560 --> 01:02:01,000
Speaker 3: keeping up her apartment and listening to music on the

1159
01:02:01,080 --> 01:02:04,520
Speaker 3: radio from the neighbor's next door. And she's so charming

1160
01:02:04,760 --> 01:02:07,760
Speaker 3: it is easy to see why Janosh's crime boss heart

1161
01:02:07,840 --> 01:02:10,560
Speaker 3: is melting. Will probably come as no shock that this

1162
01:02:10,600 --> 01:02:14,160
Speaker 3: is the beginning of a romance story. He asks if

1163
01:02:14,200 --> 01:02:16,200
Speaker 3: he can come back and visit her sometime, and she

1164
01:02:16,280 --> 01:02:18,960
Speaker 3: says she'd like that. So the two of them get

1165
01:02:18,960 --> 01:02:22,120
Speaker 3: to know each other, they become friends. The love story blossoms.

1166
01:02:22,320 --> 01:02:24,480
Speaker 3: They spend lots of time together and one day they

1167
01:02:24,520 --> 01:02:28,080
Speaker 3: go out walking in the country among the oak trees. Here,

1168
01:02:28,240 --> 01:02:33,200
Speaker 3: Helen gives this monologue sort of sharing her perspective on life.

1169
01:02:33,200 --> 01:02:37,440
Speaker 3: Why she's so optimistic and has such a sense of

1170
01:02:37,440 --> 01:02:41,280
Speaker 3: good humor about everything, And she explains from her point

1171
01:02:41,320 --> 01:02:45,080
Speaker 3: of view, being blind, she's able to find beauty in

1172
01:02:45,160 --> 01:02:48,160
Speaker 3: things more easily, so she says, like, you know, when

1173
01:02:48,200 --> 01:02:50,640
Speaker 3: I feel the fur, even of a scrawny alley cat,

1174
01:02:50,680 --> 01:02:53,640
Speaker 3: I can imagine it's the most regal beast. Or just

1175
01:02:53,640 --> 01:02:56,680
Speaker 3: by putting one fresh flower in a jar in my apartment,

1176
01:02:56,720 --> 01:03:00,360
Speaker 3: I feel like I'm living in a spring meadow. Kind

1177
01:03:00,360 --> 01:03:02,920
Speaker 3: of interfaces with stuff. She said earlier about how much

1178
01:03:03,000 --> 01:03:05,120
Speaker 3: pleasure she gets in listening to the radio.

1179
01:03:05,440 --> 01:03:05,720
Speaker 1: Yano.

1180
01:03:05,800 --> 01:03:09,160
Speaker 3: She gave her her own radio as a gift sometime earlier,

1181
01:03:09,640 --> 01:03:11,840
Speaker 3: and she loves the music, of course, but she even

1182
01:03:11,920 --> 01:03:15,840
Speaker 3: finds pleasure in the advertisements, even if she's not interested

1183
01:03:15,880 --> 01:03:18,880
Speaker 3: in the product they're selling. She just likes listening to

1184
01:03:18,960 --> 01:03:21,520
Speaker 3: the enthusiastic appeals of friendly strangers.

1185
01:03:21,960 --> 01:03:24,840
Speaker 1: Yeah, and she likes her work. It's mentioned in one

1186
01:03:24,840 --> 01:03:26,440
Speaker 1: of these bits from her where she talks about like

1187
01:03:26,440 --> 01:03:28,720
Speaker 1: she enjoys listening to the radio and beating you know.

1188
01:03:28,800 --> 01:03:33,240
Speaker 3: Yeah, Yano, she's so taken with her way of seeing

1189
01:03:33,280 --> 01:03:36,280
Speaker 3: the good and everything, And he says he wishes he

1190
01:03:36,280 --> 01:03:38,320
Speaker 3: could see the world the way she does, he would

1191
01:03:38,360 --> 01:03:41,760
Speaker 3: imagine himself as a noble king. But she's like, dude,

1192
01:03:41,760 --> 01:03:44,360
Speaker 3: you are a king. You are unselfish and thoughtful, and

1193
01:03:44,400 --> 01:03:48,080
Speaker 3: that's the most noble thing of all. And during the scene,

1194
01:03:48,160 --> 01:03:52,200
Speaker 3: Yanosh breaks down, he starts to cry, and he says

1195
01:03:52,240 --> 01:03:54,800
Speaker 3: that if she were able to see his burned face,

1196
01:03:54,920 --> 01:03:57,640
Speaker 3: the face behind the mask, the title of the film,

1197
01:03:58,040 --> 01:04:00,320
Speaker 3: she would run away and terror like everybody else else.

1198
01:04:00,400 --> 01:04:04,000
Speaker 3: But she rejects this. She wants to know what he's

1199
01:04:04,040 --> 01:04:06,960
Speaker 3: been hiding, what's troubling him, and invites him to tell

1200
01:04:06,960 --> 01:04:07,440
Speaker 3: his story.

1201
01:04:07,520 --> 01:04:08,120
Speaker 1: So he does.

1202
01:04:08,200 --> 01:04:11,400
Speaker 3: He relents, and he tells her his whole history, everything

1203
01:04:11,440 --> 01:04:14,840
Speaker 3: that happened, though he tells her off screen, as many

1204
01:04:15,080 --> 01:04:18,200
Speaker 3: pivotal scenes they do take place off screen. Though I

1205
01:04:18,200 --> 01:04:20,200
Speaker 3: guess this is a common this is a fair thing.

1206
01:04:20,240 --> 01:04:22,400
Speaker 3: We don't want to see a character recap the entire

1207
01:04:22,440 --> 01:04:24,600
Speaker 3: film so far, that makes sense.

1208
01:04:24,640 --> 01:04:27,120
Speaker 1: But there would have been some really emotional moments in

1209
01:04:27,160 --> 01:04:29,960
Speaker 1: that that we miss out on. But we know what's

1210
01:04:30,000 --> 01:04:33,040
Speaker 1: going to happen. She is going to accept him for

1211
01:04:33,120 --> 01:04:36,640
Speaker 1: who he is, and she sees the true face behind

1212
01:04:36,680 --> 01:04:38,240
Speaker 1: the mask, She sees his heart.

1213
01:04:38,520 --> 01:04:40,479
Speaker 3: That's right, and I guess that's the play on the title.

1214
01:04:40,520 --> 01:04:42,720
Speaker 3: There are two different kinds of face behind the mask.

1215
01:04:42,800 --> 01:04:45,240
Speaker 3: When Yanosh thinks of the face behind the mask, he

1216
01:04:45,280 --> 01:04:48,560
Speaker 3: thinks of his scars, his physical face, And when she

1217
01:04:48,680 --> 01:04:50,640
Speaker 3: thinks of it, she thinks of the real hymn, his

1218
01:04:50,720 --> 01:04:51,240
Speaker 3: good heart.

1219
01:04:51,920 --> 01:04:58,840
Speaker 1: Yeah.

1220
01:05:00,240 --> 01:05:03,840
Speaker 3: So Yanosh's conscience is now awakened again by his love

1221
01:05:03,880 --> 01:05:06,200
Speaker 3: for Helen, and he goes back to his gang and

1222
01:05:06,400 --> 01:05:08,760
Speaker 3: is like, boys, I'm out. I'm going to clean my

1223
01:05:08,800 --> 01:05:11,320
Speaker 3: whole act up, and he is. He is out of

1224
01:05:11,360 --> 01:05:12,560
Speaker 3: the life of crime for good.

1225
01:05:13,160 --> 01:05:15,800
Speaker 1: This always works. You can always walk away from a

1226
01:05:15,840 --> 01:05:18,360
Speaker 1: life of crime. We know that from so many pictures.

1227
01:05:18,680 --> 01:05:21,600
Speaker 3: Well, it's funny because he tries to tell Jeff like, hey,

1228
01:05:21,640 --> 01:05:23,760
Speaker 3: you're going to get what you always wanted. Now, boys

1229
01:05:23,760 --> 01:05:27,600
Speaker 3: are yours again. You're in charge now. But you get

1230
01:05:27,640 --> 01:05:31,480
Speaker 3: the sense that Jeff maybe has enjoyed coasting on Yanosh's

1231
01:05:31,480 --> 01:05:35,080
Speaker 3: crime skills and just sniping from the sidelines. Now that

1232
01:05:35,200 --> 01:05:36,560
Speaker 3: he's in charge, he's mad.

1233
01:05:37,280 --> 01:05:41,360
Speaker 1: Yeah, I mean, now Jeff will have to deliver as

1234
01:05:41,400 --> 01:05:44,520
Speaker 1: the boss of this crew that has become accustomed to

1235
01:05:44,560 --> 01:05:48,120
Speaker 1: a higher level of success. So, yeah, good luck, Jeff.

1236
01:05:48,160 --> 01:05:50,200
Speaker 1: Let's see how this works. Out for you.

1237
01:05:50,600 --> 01:05:52,600
Speaker 3: It's what he wanted, but now that he has it,

1238
01:05:52,760 --> 01:05:56,439
Speaker 3: he's not happy. He's just doing, but he can't stop

1239
01:05:56,520 --> 01:05:59,400
Speaker 3: Yanosh from leaving. Yanosh has a house out in the

1240
01:05:59,440 --> 01:06:03,000
Speaker 3: country and plans to move there with Helen. Yanosh gives

1241
01:06:03,040 --> 01:06:05,720
Speaker 3: his new address to Dinky in secret and says, if

1242
01:06:05,720 --> 01:06:07,760
Speaker 3: you ever you know, you ever need me, you ever

1243
01:06:07,760 --> 01:06:09,600
Speaker 3: want to get out of the life, look me up here.

1244
01:06:10,240 --> 01:06:13,320
Speaker 3: So Yanosh and Helen make their plans. They pack things up,

1245
01:06:13,400 --> 01:06:15,120
Speaker 3: They make plans to move out to a house with

1246
01:06:15,200 --> 01:06:20,080
Speaker 3: green shutters. They talk about this detail and Yanosh oh

1247
01:06:20,120 --> 01:06:23,360
Speaker 3: he buys a secondhand car, one with a radio because

1248
01:06:23,360 --> 01:06:27,240
Speaker 3: he knows Helen likes to listen to the radio so much. Meanwhile,

1249
01:06:27,280 --> 01:06:30,960
Speaker 3: at crime headquarters, Jeff is stewing again. He got what

1250
01:06:30,960 --> 01:06:34,160
Speaker 3: he wanted, but he's still angry. He starts digging around

1251
01:06:34,200 --> 01:06:37,800
Speaker 3: through Yanosh's old things and he finds something curious. He

1252
01:06:37,920 --> 01:06:42,400
Speaker 3: finds the business card of a police detective. This is

1253
01:06:42,480 --> 01:06:45,680
Speaker 3: the card that O'Hara left for Yanosh in the hospital

1254
01:06:45,760 --> 01:06:49,200
Speaker 3: way back when. But not understanding what it is, Jeff

1255
01:06:49,280 --> 01:06:52,560
Speaker 3: jumps to a conclusion, and that conclusion is Janosh wanted

1256
01:06:52,640 --> 01:06:55,040
Speaker 3: out of the business because he is ratting the gang

1257
01:06:55,120 --> 01:06:59,000
Speaker 3: out to the cops, and Jeff says, I figured it out.

1258
01:06:59,080 --> 01:07:01,040
Speaker 3: We got to get revenge against Janosh.

1259
01:07:01,680 --> 01:07:05,800
Speaker 1: Yeah. Again, the cryptic nature of that original scrawl message,

1260
01:07:06,200 --> 01:07:10,480
Speaker 1: now out of context, is interpreted to me, oh, Yanosh

1261
01:07:10,600 --> 01:07:11,680
Speaker 1: is in a league with the police.

1262
01:07:12,000 --> 01:07:15,480
Speaker 3: That's right. And here's where the potential happy ending turns

1263
01:07:15,520 --> 01:07:18,080
Speaker 3: to tragedy, as it must in a movie like this.

1264
01:07:18,840 --> 01:07:22,280
Speaker 3: Jeff and the gang find Dinky and they torture him

1265
01:07:22,320 --> 01:07:26,120
Speaker 3: for information about where to find Yanosh. Finally they threaten

1266
01:07:26,160 --> 01:07:29,320
Speaker 3: to burn his feet in the fireplace, and he tells

1267
01:07:29,320 --> 01:07:32,400
Speaker 3: where yan Osh and Helen are hiding. So the next

1268
01:07:32,480 --> 01:07:35,640
Speaker 3: day yan oshan Helen and an adorable scruffy dog by

1269
01:07:35,640 --> 01:07:39,800
Speaker 3: the way, really old dog, big cute dog. They move

1270
01:07:39,840 --> 01:07:43,560
Speaker 3: out to their house in the country you never you know,

1271
01:07:43,600 --> 01:07:45,880
Speaker 3: and they like settle in and everything's so happy. You

1272
01:07:45,960 --> 01:07:48,520
Speaker 3: never want to be a movie character saying it's all

1273
01:07:48,600 --> 01:07:51,360
Speaker 3: so perfect unless you're in the last like two minutes

1274
01:07:51,360 --> 01:07:53,400
Speaker 3: of the film and I say, we have another fifteen

1275
01:07:53,520 --> 01:07:54,439
Speaker 3: twenty to go here.

1276
01:07:54,720 --> 01:07:59,680
Speaker 1: Uh oh, not good. But yeah, they seem like the

1277
01:08:00,080 --> 01:08:02,680
Speaker 1: this seems to be the dream, right, the dog, the house.

1278
01:08:03,440 --> 01:08:05,960
Speaker 1: There's a scene though, where Janosh tells Helen that she

1279
01:08:06,000 --> 01:08:08,160
Speaker 1: doesn't have to do her bead work anymore because she'll

1280
01:08:08,160 --> 01:08:10,600
Speaker 1: have this house to run, and part of me was

1281
01:08:10,640 --> 01:08:12,160
Speaker 1: kind of like, yeah, no, she know. She had this

1282
01:08:12,200 --> 01:08:14,120
Speaker 1: whole bit where she talked about how much joy she

1283
01:08:14,200 --> 01:08:17,040
Speaker 1: derived from her work. But I likes it. It's a

1284
01:08:17,160 --> 01:08:19,679
Speaker 1: nineteen forty one film. It's supposed to be well intended

1285
01:08:20,000 --> 01:08:22,240
Speaker 1: by it. But yeah, I think she can still do

1286
01:08:22,280 --> 01:08:22,879
Speaker 1: her beadwork.

1287
01:08:23,880 --> 01:08:27,920
Speaker 3: So everything is beautiful until knock on the door and

1288
01:08:27,960 --> 01:08:32,880
Speaker 3: it's Jeff. Jeff arrives and he makes menacing comments to Yanosh.

1289
01:08:33,040 --> 01:08:36,400
Speaker 3: They have a confrontation, but it does not escalate to violence.

1290
01:08:36,840 --> 01:08:37,639
Speaker 1: He leaves.

1291
01:08:37,640 --> 01:08:39,840
Speaker 3: He says like, I won't even waste a bullet on you.

1292
01:08:40,400 --> 01:08:42,000
Speaker 3: But when he gets back to the car, when Jeff

1293
01:08:42,040 --> 01:08:43,960
Speaker 3: gets back to the car with his boys, they revealed

1294
01:08:43,960 --> 01:08:47,000
Speaker 3: that they had planted a bomb in Yanosh's car. It's

1295
01:08:47,040 --> 01:08:51,200
Speaker 3: wired to the radio. And then the gangsters are driving

1296
01:08:51,240 --> 01:08:54,000
Speaker 3: away and they conclude that they're done with Dinky, so

1297
01:08:54,040 --> 01:08:56,400
Speaker 3: they throw him out of the moving car onto the highway.

1298
01:08:56,479 --> 01:08:59,200
Speaker 3: It's unclear if they thought they had killed him or

1299
01:08:59,240 --> 01:09:01,760
Speaker 3: if they meant to leave him alive. I wasn't sure

1300
01:09:01,840 --> 01:09:02,439
Speaker 3: there did.

1301
01:09:02,439 --> 01:09:04,160
Speaker 1: They shoot him first in the back.

1302
01:09:04,040 --> 01:09:06,320
Speaker 3: Think, so do you hear like a you don't see

1303
01:09:06,320 --> 01:09:08,479
Speaker 3: a gun, but you hear a gun sound effect? And

1304
01:09:08,520 --> 01:09:10,240
Speaker 3: then they throw him out of the side of the car.

1305
01:09:11,240 --> 01:09:13,840
Speaker 3: But Dinky manages, despite his injuries, to get to a

1306
01:09:13,920 --> 01:09:16,800
Speaker 3: nearby service station and place a phone call. And then

1307
01:09:16,880 --> 01:09:21,280
Speaker 3: the logistics of this climax scene get really complicated. Dinky

1308
01:09:21,520 --> 01:09:26,200
Speaker 3: calls a neighbor of Janosh's. I guess Janosh and Helen

1309
01:09:26,240 --> 01:09:28,960
Speaker 3: don't have a phone yet. He calls the neighbor. The

1310
01:09:29,040 --> 01:09:32,880
Speaker 3: neighbor cranks his car up, drives to Yanosh's house, picks

1311
01:09:32,920 --> 01:09:35,840
Speaker 3: up Yanosh drives him back to his house to take

1312
01:09:35,920 --> 01:09:38,840
Speaker 3: Dinky's call, only for the call to be like, don't

1313
01:09:38,840 --> 01:09:42,320
Speaker 3: start your car, Yano, she don't use your radio, And

1314
01:09:42,600 --> 01:09:45,920
Speaker 3: unfortunately it's a it's a Godfather scenario, you know, it's

1315
01:09:45,960 --> 01:09:50,240
Speaker 3: Apollonia in Sicily. Janosh rushes back home to stop Helen

1316
01:09:50,320 --> 01:09:53,080
Speaker 3: from using the car. But Helen, she's been loading things

1317
01:09:53,120 --> 01:09:55,120
Speaker 3: into the car. She wants to listen to the radio.

1318
01:09:55,320 --> 01:09:58,720
Speaker 3: She turns it on and there's a terrible explosion and

1319
01:09:58,760 --> 01:10:02,240
Speaker 3: she dies. So it's incredibly.

1320
01:10:01,720 --> 01:10:05,080
Speaker 1: Sad, and the dog dies too. Like that makes it

1321
01:10:05,120 --> 01:10:07,800
Speaker 1: even more heartbreaking, obviously, because she's in the car with

1322
01:10:07,920 --> 01:10:09,920
Speaker 1: the dog and she's like, all right, scruffy, let's turn

1323
01:10:09,960 --> 01:10:13,480
Speaker 1: on the radio. I love listening to the radio. And yeah, explosion.

1324
01:10:14,240 --> 01:10:18,120
Speaker 3: So now Janosh's only hope of love and happiness is gone,

1325
01:10:18,520 --> 01:10:20,640
Speaker 3: and he decides there is only one thing left for

1326
01:10:20,760 --> 01:10:24,439
Speaker 3: him and it is revenge. This leads to the final

1327
01:10:24,479 --> 01:10:28,200
Speaker 3: sequence of the movie, which is the airplane revenge plot.

1328
01:10:28,400 --> 01:10:32,040
Speaker 3: So Jeff and the gang have plans to fly an

1329
01:10:32,120 --> 01:10:36,040
Speaker 3: airplane somewhere for some are they doing Are they trying

1330
01:10:36,040 --> 01:10:37,880
Speaker 3: to get to a job or are they trying to

1331
01:10:37,880 --> 01:10:38,639
Speaker 3: do it get away?

1332
01:10:39,120 --> 01:10:40,600
Speaker 1: I thought it was more of a getaway, like we

1333
01:10:40,640 --> 01:10:43,600
Speaker 1: got to flee to Mexico. Boys, that's the desert. But

1334
01:10:44,680 --> 01:10:46,599
Speaker 1: I mean, they probably have some jobs lined up there.

1335
01:10:46,640 --> 01:10:48,200
Speaker 1: They got to keep working, gotta stay busy.

1336
01:10:48,720 --> 01:10:50,439
Speaker 3: Yeah, I didn't remember. But they're in a plane for

1337
01:10:50,479 --> 01:10:53,280
Speaker 3: some reason. And Yanosh, remember he's a pilot, he can

1338
01:10:53,320 --> 01:10:57,080
Speaker 3: fly a plane. He impersonates the pilot and he takes

1339
01:10:57,120 --> 01:10:59,280
Speaker 3: the role flying the plane that all the gang is

1340
01:10:59,320 --> 01:11:02,799
Speaker 3: in except Dinky's left behind. But all the bad guys

1341
01:11:02,800 --> 01:11:05,920
Speaker 3: in the gang, they're in the plane and he flies

1342
01:11:05,960 --> 01:11:08,479
Speaker 3: them out to the middle of nowhere in the desert,

1343
01:11:08,600 --> 01:11:11,680
Speaker 3: landing the plane when it has no fuel left, and

1344
01:11:11,720 --> 01:11:14,639
Speaker 3: then he explains to them their predicament. He's like, there's

1345
01:11:14,680 --> 01:11:17,439
Speaker 3: no fuel, there's nowhere to go. I just want you

1346
01:11:17,520 --> 01:11:19,960
Speaker 3: to know I have my revenge.

1347
01:11:20,000 --> 01:11:22,439
Speaker 1: And I believe they actually filmed the sequence out in

1348
01:11:22,439 --> 01:11:25,200
Speaker 1: the Arizona desert, so this is like real desert. I

1349
01:11:25,200 --> 01:11:27,360
Speaker 1: think we get some stock footage some desert from when

1350
01:11:27,400 --> 01:11:29,559
Speaker 1: they're flying around, but then yeah, we're out here on

1351
01:11:29,600 --> 01:11:30,120
Speaker 1: the sands.

1352
01:11:30,680 --> 01:11:32,960
Speaker 3: So the gang is furious, but they have nothing to do,

1353
01:11:33,240 --> 01:11:35,600
Speaker 3: you know, they can't get out of the situation. So

1354
01:11:35,640 --> 01:11:38,680
Speaker 3: they tie Yanosh to the plane. They start exploring in

1355
01:11:38,680 --> 01:11:41,720
Speaker 3: different directions, but they just get you know, beaten down

1356
01:11:41,760 --> 01:11:44,320
Speaker 3: by the sun. They find no not a hint of

1357
01:11:44,360 --> 01:11:49,519
Speaker 3: civilization anywhere nearby. They start fighting over water rations, turning

1358
01:11:49,560 --> 01:11:52,320
Speaker 3: on each other, shooting at each other, and it's a

1359
01:11:52,320 --> 01:11:58,479
Speaker 3: real desperate scene. Now, finally, there's a thing we established earlier,

1360
01:11:58,520 --> 01:12:01,840
Speaker 3: which is that Yano sent a note to O'Hara, to

1361
01:12:01,880 --> 01:12:04,400
Speaker 3: the police, to his old friend saying, hey, if you

1362
01:12:04,439 --> 01:12:07,640
Speaker 3: want to find the gang who's been doing these robberies,

1363
01:12:07,720 --> 01:12:09,559
Speaker 3: come to this place in the middle of the desert.

1364
01:12:09,600 --> 01:12:12,160
Speaker 3: Here are the coordinates at this time on this day.

1365
01:12:12,880 --> 01:12:15,560
Speaker 3: And so the police take him up on that. I

1366
01:12:15,600 --> 01:12:18,800
Speaker 3: guess they're like, surely, yeah, let's believe this anonymous tip.

1367
01:12:19,960 --> 01:12:23,240
Speaker 3: So they arrived by plane several days later, finding all

1368
01:12:23,280 --> 01:12:26,719
Speaker 3: of the gang and Yanosh dead. And when they find

1369
01:12:26,760 --> 01:12:29,559
Speaker 3: to Jeff in the desert, collapsed in the sand, they

1370
01:12:29,600 --> 01:12:32,200
Speaker 3: observed that he was trying to escape, but they say

1371
01:12:32,240 --> 01:12:35,439
Speaker 3: he just kept walking in one big circle. It seems

1372
01:12:35,479 --> 01:12:36,519
Speaker 3: thematically loaded.

1373
01:12:37,160 --> 01:12:39,760
Speaker 1: Yeah. Yeah, and leading up to this moment we get

1374
01:12:39,800 --> 01:12:44,439
Speaker 1: some great desert sand and hour glass imagery which I

1375
01:12:44,479 --> 01:12:46,639
Speaker 1: also really like tickets a little artsy here.

1376
01:12:47,320 --> 01:12:51,120
Speaker 3: Yeah. So when O'Hara finds Janosh's body, there's a note

1377
01:12:51,120 --> 01:12:54,719
Speaker 3: waiting for him explaining explaining who he is and saying like, hey,

1378
01:12:54,760 --> 01:12:57,479
Speaker 3: remember me when we first met, you were kind to me.

1379
01:12:57,680 --> 01:13:00,040
Speaker 3: Wanted to thank you that for that, and also to

1380
01:13:00,120 --> 01:13:04,000
Speaker 3: repay you the five dollars that I owe you. And

1381
01:13:04,680 --> 01:13:06,519
Speaker 3: you know, however long ago that was. I don't know

1382
01:13:06,560 --> 01:13:09,360
Speaker 3: if they make explicit how long how much time has

1383
01:13:09,400 --> 01:13:13,240
Speaker 3: passed in between, but O'Hara is reminded and he he says,

1384
01:13:13,320 --> 01:13:15,679
Speaker 3: it says you were kind to me. These men here

1385
01:13:15,800 --> 01:13:18,800
Speaker 3: they were not, and he says, I have forgotten either,

1386
01:13:19,439 --> 01:13:21,960
Speaker 3: And so the music swells on a scene of the

1387
01:13:22,000 --> 01:13:24,160
Speaker 3: men standing in the shadow of the airplane in the

1388
01:13:24,160 --> 01:13:26,840
Speaker 3: middle of the desert, and it's a it's a very

1389
01:13:26,880 --> 01:13:29,680
Speaker 3: bleak ending. Though there is one happy element to it,

1390
01:13:29,720 --> 01:13:33,320
Speaker 3: which is that I don't remember if if we get

1391
01:13:33,360 --> 01:13:36,559
Speaker 3: an indication whether Dinky survives in the end or not.

1392
01:13:36,720 --> 01:13:39,840
Speaker 3: But he does. Janosh does have a big pot of

1393
01:13:39,920 --> 01:13:43,800
Speaker 3: money and he oh no, wait, no, there's reward money

1394
01:13:43,840 --> 01:13:45,000
Speaker 3: for the capture of the gang.

1395
01:13:45,080 --> 01:13:47,120
Speaker 1: He arranged it to go to Dinky's mother.

1396
01:13:47,479 --> 01:13:51,000
Speaker 3: That's right, Yes, so he has the reward money sent

1397
01:13:51,160 --> 01:13:52,040
Speaker 3: to Dinky's mother.

1398
01:13:52,640 --> 01:13:54,400
Speaker 1: Yeah, so there is this sense, and I'm going to

1399
01:13:54,439 --> 01:13:56,599
Speaker 1: take it. I'm going to assume it works out that

1400
01:13:56,760 --> 01:13:58,600
Speaker 1: Dinky's mom is going to get to fix up the

1401
01:13:58,880 --> 01:14:01,960
Speaker 1: chicken farm. He gets to go out there and settle down,

1402
01:14:02,560 --> 01:14:06,280
Speaker 1: support his mother, live there, and in his own way,

1403
01:14:06,360 --> 01:14:08,840
Speaker 1: live happily. Ever after, you got to take your victories

1404
01:14:08,840 --> 01:14:09,639
Speaker 1: where you can find him.

1405
01:14:09,720 --> 01:14:12,160
Speaker 3: Yes, no, that's it. That's there is a glimmer of

1406
01:14:12,160 --> 01:14:14,080
Speaker 3: happiness in this mostly bleak ending.

1407
01:14:14,560 --> 01:14:17,680
Speaker 1: Yeah. So, yeah, that's the face behind the mask. You know,

1408
01:14:17,760 --> 01:14:23,479
Speaker 1: it's uh, you know, Columbia Pictures B movie, but it

1409
01:14:23,520 --> 01:14:27,440
Speaker 1: has as has a great look, has some very nice performances,

1410
01:14:27,439 --> 01:14:29,800
Speaker 1: and it great Peter Lori performance at the center of

1411
01:14:29,840 --> 01:14:33,800
Speaker 1: everything obviously, uh, and you know it it it's it's

1412
01:14:33,920 --> 01:14:35,960
Speaker 1: very much uh, you know, it's very much on the rails.

1413
01:14:36,000 --> 01:14:38,640
Speaker 1: And like I say, it's a short run time, but

1414
01:14:38,840 --> 01:14:40,600
Speaker 1: it does give you some stuff to chew on it.

1415
01:14:40,760 --> 01:14:45,280
Speaker 1: It does, in its own way examine some fairly complex

1416
01:14:45,320 --> 01:14:49,479
Speaker 1: issues and uh, you know, morality and uh and and

1417
01:14:49,600 --> 01:14:53,040
Speaker 1: ambition and and even the American dreams. So it's uh,

1418
01:14:53,800 --> 01:14:56,280
Speaker 1: it's a much better film than I was anticipating. Like

1419
01:14:56,320 --> 01:14:58,679
Speaker 1: I was, I was expecting something that was just gonna

1420
01:14:58,720 --> 01:15:02,559
Speaker 1: mostly be centered in the Lori performance, you know, where

1421
01:15:02,600 --> 01:15:05,040
Speaker 1: I might just be appreciating it for its own sake.

1422
01:15:05,400 --> 01:15:07,400
Speaker 1: Is this is sometimes the case with great character actors,

1423
01:15:07,479 --> 01:15:09,760
Speaker 1: you know, like sometimes it's just a gem in the

1424
01:15:09,840 --> 01:15:12,479
Speaker 1: rough and you appreciate that gem for what it is.

1425
01:15:12,520 --> 01:15:15,760
Speaker 1: But I think as a whole, the picture's quite good. Yeah,

1426
01:15:15,800 --> 01:15:16,360
Speaker 1: I agree.

1427
01:15:16,800 --> 01:15:19,920
Speaker 3: Can I actually revise my judgment about something we said earlier?

1428
01:15:19,920 --> 01:15:23,599
Speaker 3: We said we said that the movie is not subtle,

1429
01:15:23,840 --> 01:15:26,080
Speaker 3: and I think that that's true about a lot of

1430
01:15:26,120 --> 01:15:28,920
Speaker 3: things about it, but there are elements that are subtle.

1431
01:15:29,000 --> 01:15:31,760
Speaker 3: I think actually what I would say is that some

1432
01:15:31,960 --> 01:15:36,080
Speaker 3: things about it are incredibly unsubtle, Like it has very

1433
01:15:36,320 --> 01:15:41,519
Speaker 3: overt themes and very overt use of the tools of cinema,

1434
01:15:41,640 --> 01:15:45,360
Speaker 3: music and you know, and you know heavy like visual

1435
01:15:45,400 --> 01:15:48,800
Speaker 3: foreshadowing and things like that. Some of that stuff is

1436
01:15:48,840 --> 01:15:52,480
Speaker 3: not subtle. But there is also some subtle stuff that

1437
01:15:52,560 --> 01:15:56,200
Speaker 3: you know, you get by implication, the death of Jeff

1438
01:15:56,240 --> 01:15:58,200
Speaker 3: at the end, you know, walking around in circles. They

1439
01:15:58,200 --> 01:16:01,840
Speaker 3: don't state that connection to the theme too overtly. And

1440
01:16:01,920 --> 01:16:04,720
Speaker 3: also some things about Peter Laurie's performance, like in some

1441
01:16:04,760 --> 01:16:08,400
Speaker 3: scenes he is just very overtly like stating his emotions

1442
01:16:08,400 --> 01:16:12,519
Speaker 3: and motivations and performing them very forcefully. But in other scenes,

1443
01:16:12,600 --> 01:16:15,599
Speaker 3: I think there is some subtlety. There's some subtlety about

1444
01:16:15,640 --> 01:16:22,920
Speaker 3: like exactly what is so beautiful to him about Helen's attitude.

1445
01:16:22,960 --> 01:16:25,599
Speaker 3: You know, that's not all stated explicitly, like he mentions

1446
01:16:25,600 --> 01:16:28,880
Speaker 3: her optimism, but the stuff about like the way that

1447
01:16:28,960 --> 01:16:32,640
Speaker 3: she finds the best in everything that seems to kind

1448
01:16:32,680 --> 01:16:35,439
Speaker 3: of like remind him of his earlier self. But like

1449
01:16:35,680 --> 01:16:38,320
Speaker 3: he never says that explicitly, So I don't know, I

1450
01:16:38,400 --> 01:16:39,599
Speaker 3: think there's some good subtle stuff.

1451
01:16:39,640 --> 01:16:42,000
Speaker 1: Actually this is interesting because we might in a way

1452
01:16:42,200 --> 01:16:44,559
Speaker 1: be getting back into the idea of what is noir.

1453
01:16:44,960 --> 01:16:46,960
Speaker 1: You know, and you know, you think about these black

1454
01:16:47,000 --> 01:16:51,240
Speaker 1: and white pictures with you know, deep midnight blacks and

1455
01:16:51,280 --> 01:16:54,600
Speaker 1: you know, contrasted by the white, and you know, we

1456
01:16:54,640 --> 01:16:57,000
Speaker 1: think about like, you know, good and evil, but then

1457
01:16:57,040 --> 01:17:00,599
Speaker 1: all of these like areas of ambiguity in between, even

1458
01:17:00,680 --> 01:17:03,840
Speaker 1: though you know, obviously noir pictures often also play with

1459
01:17:04,280 --> 01:17:05,960
Speaker 1: severe absolutes as well.

1460
01:17:06,600 --> 01:17:10,080
Speaker 3: Yeah, some stuff is very heavy handed and some stuff

1461
01:17:10,160 --> 01:17:13,759
Speaker 3: is more subtle. In fact, I wonder to over extend

1462
01:17:13,760 --> 01:17:16,400
Speaker 3: the metaphor perhaps I wonder if you could almost think

1463
01:17:16,439 --> 01:17:18,439
Speaker 3: of this as kind of like a stage magician, that

1464
01:17:18,520 --> 01:17:22,120
Speaker 3: a stage magician is going to be through misdirection, being

1465
01:17:22,400 --> 01:17:25,040
Speaker 3: very flamboyant with what they do with one hand in

1466
01:17:25,160 --> 01:17:27,840
Speaker 3: order to you know, sort of keep your attention off

1467
01:17:27,880 --> 01:17:30,680
Speaker 3: of what they're doing with the other hand. Could that

1468
01:17:30,840 --> 01:17:33,240
Speaker 3: could that be the case with some noir storytelling like

1469
01:17:33,280 --> 01:17:36,479
Speaker 3: we see here, that it makes the subtle elements all

1470
01:17:36,600 --> 01:17:41,320
Speaker 3: the more the more emotionally resonant, that they're kind of

1471
01:17:41,400 --> 01:17:45,720
Speaker 3: hidden by this heavy handed, overt storytelling style in some

1472
01:17:45,760 --> 01:17:46,639
Speaker 3: of the other choices.

1473
01:17:47,160 --> 01:17:48,920
Speaker 1: Yeah, I think that's a pretty solid way to look

1474
01:17:48,960 --> 01:17:51,519
Speaker 1: at it. And obviously we'd love to hear what listeners

1475
01:17:51,560 --> 01:17:53,479
Speaker 1: have to say about all of this, you know, think

1476
01:17:53,520 --> 01:17:56,920
Speaker 1: about it in terms of your favorite noir pictures, be

1477
01:17:57,000 --> 01:18:00,760
Speaker 1: it you know, old timey noir or neo you know,

1478
01:18:00,800 --> 01:18:03,400
Speaker 1: the various noir elements that you'll find in various works

1479
01:18:03,439 --> 01:18:07,280
Speaker 1: of science fiction, anime, and so forth. Right in, we'd

1480
01:18:07,320 --> 01:18:09,679
Speaker 1: love to have that discussion with you and think about

1481
01:18:09,680 --> 01:18:13,160
Speaker 1: it as we proceed through the month of November. Is

1482
01:18:13,200 --> 01:18:16,479
Speaker 1: there another or neo noir picture you would like for

1483
01:18:16,600 --> 01:18:19,800
Speaker 1: us to consider on Weird House Cinema, you know, in

1484
01:18:19,840 --> 01:18:23,080
Speaker 1: the future, right in, and let us know. For instance,

1485
01:18:23,120 --> 01:18:25,560
Speaker 1: I was my backup for this one was going to

1486
01:18:25,600 --> 01:18:28,240
Speaker 1: be a Coen Brother's picture, and at some point I

1487
01:18:28,280 --> 01:18:29,880
Speaker 1: think I would like to come back and do a

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Speaker 1: Cohen Brothers picture. Some of my favorite filmmakers and a

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01:18:34,520 --> 01:18:36,439
Speaker 1: number of those films are very close to my heart.

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Speaker 3: Oh, I think I know exactly what movie you have

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01:18:38,840 --> 01:18:41,360
Speaker 3: in mind. Yeah, we could come back to the Coen

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01:18:41,400 --> 01:18:42,439
Speaker 3: Brothers in a number of ways.

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Speaker 1: Actually, Oh yeah, yeah, just a reminder to everybody that

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01:18:45,520 --> 01:18:47,600
Speaker 1: Stuff to Blow Your Mind is primarily a science and

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01:18:47,640 --> 01:18:50,000
Speaker 1: culture podcast with core episodes on Tuesdays and Thursdays, but

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01:18:50,080 --> 01:18:52,600
Speaker 1: on Fridays we set aside most serious concerns to just

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01:18:52,600 --> 01:18:54,840
Speaker 1: talk about a weird film here on Weird House Cinema.

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01:18:55,240 --> 01:18:56,720
Speaker 1: And if you want to see a full list of

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01:18:56,760 --> 01:18:58,960
Speaker 1: the films we've covered over the years, and sometimes a

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01:18:59,000 --> 01:19:02,439
Speaker 1: peak ahead what's coming up next, go to letterbox dot

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01:19:02,479 --> 01:19:06,040
Speaker 1: com look for our username there it is weird House

1502
01:19:06,439 --> 01:19:09,559
Speaker 1: and you'll find that list. Likewise, if you're on Instagram,

1503
01:19:09,600 --> 01:19:13,000
Speaker 1: follow us at STBYM podcast. That's another way to keep

1504
01:19:13,080 --> 01:19:14,880
Speaker 1: up with what we're doing in the Stuff to Blow

1505
01:19:14,880 --> 01:19:17,080
Speaker 1: Your Mind feed in general, be it Core episodes or

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01:19:17,120 --> 01:19:18,120
Speaker 1: Weird House Cinema.

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01:19:18,280 --> 01:19:22,280
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

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01:19:22,640 --> 01:19:24,320
Speaker 3: If you would like to get in touch with us

1509
01:19:24,320 --> 01:19:26,799
Speaker 3: with feedback on this episode or any other, to suggest

1510
01:19:26,800 --> 01:19:28,920
Speaker 3: a topic for the future, or just to say hello,

1511
01:19:29,000 --> 01:19:31,679
Speaker 3: you can email us at contact at stuff to Blow

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01:19:31,680 --> 01:19:39,280
Speaker 3: your Mind dot com.

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01:19:39,360 --> 01:19:42,320
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

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01:19:42,400 --> 01:19:45,200
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

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Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows,