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

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Speaker 2: All right, all aboard, Welcome to Weird House Cinema. This

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Speaker 2: is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And actually I was just thinking, Rob,

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Speaker 3: is this technically our first Weird House Cinema episode of

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Speaker 3: the Halloween season? Or are you counting Absurd the movie

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Speaker 3: we did last week even though it wasn't October yet.

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Speaker 2: I'm gonna go ahead and count absurd.

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Speaker 3: Yeah, Okay, you were jumping the gun a bit, but

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Speaker 3: that's okay.

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Speaker 2: If Lowe's and Home Depot can do it, then so

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Speaker 2: can so can we?

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Speaker 3: Have I told you about how my daughter has been

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Speaker 3: getting Halloween brained?

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Speaker 2: You've told me a little bit about this. I've seen

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Speaker 2: some some curious illustrations from your house as well.

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Speaker 3: Oh yeah, Rachel may have showed you. Okay, So, my

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Speaker 3: daughter is almost two years old, and I didn't do

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Speaker 3: this on purpose. I don't know how this happened. She

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Speaker 3: has become obsessed with skeletons, and so one of her

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Speaker 3: favorite activities over the past I don't know, probably two

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Speaker 3: or three weeks now, has been demanding that that my

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Speaker 3: wife and I draw skeletons for her and extend, you know,

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Speaker 3: any friends or family visiting the house. Also, they are

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Speaker 3: supposed to draw skeletons. So we have big pieces of

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Speaker 3: cardboard on the back porch and she'll she'll like lead

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Speaker 3: you out under the porch and say, draw sketon. Draw sketon,

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Speaker 3: and so we do, and then she wants another one,

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Speaker 3: and another one and another one, and the demand for

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Speaker 3: skeletons is unlimited. She will keep asking you to draw

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Speaker 3: them until you just say no, I am done, no

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Speaker 3: more skeletons. And then she also likes to name them.

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Speaker 3: The other day, I think I drew four of them

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Speaker 3: and they were named teeth, teeth, big teeth, and teeth,

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Speaker 3: and so somehow, I don't know if it's genetic or whatever,

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Speaker 3: but she she has got Halloween on the brain.

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Speaker 2: Oh that's awesome. Yeah, you guys got to bust out

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Speaker 2: some skeleton based media here.

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Speaker 3: Yeah. I don't know if there are any child friendly

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Speaker 3: skeleton movies.

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Speaker 2: Now. I haven't watched it in a while, so I

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Speaker 2: can't speak to anything that might be inappropriate in it.

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Speaker 2: Because this is the case when you get into some

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Speaker 2: of these older cartoons. But the nineteen twenty nine Skeleton

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Speaker 2: Dance Silly Symphony from Walt Disney Dancing Skeletons. That is

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Speaker 2: a lot of fun and pretty tame unless there's something

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Speaker 2: that I am not remembering. At the top of my head,

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Speaker 2: I think it's on Disney Plus, so maybe that's a

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Speaker 2: good sign that maybe it's and there's nothing objectionable in it,

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Speaker 2: But I'm not.

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Speaker 3: Sure technically, I don't even know if she knows that

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Speaker 3: skeletons are supposed to be scary. Maybe just no one

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Speaker 3: has communicated to her that this is frightening material.

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Speaker 2: Does she know that there's one inside each of us.

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Speaker 3: We've talked about this. I don't know if the fact

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Speaker 3: has really sunk in, but yeah, we've told her that

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Speaker 3: she has a skeleton, and we all have skeletons. They're

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Speaker 3: all under the skin.

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Speaker 2: Such an exciting time.

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Speaker 3: Oh but sorry to divert us along the Baby Looked

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Speaker 3: at Me track. Today on Weird House Cinema, we are

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Speaker 3: going to be talking about the nineteen seventy two train

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Speaker 3: horror thriller Horror Express, Daring, Christ fh Lee, Peter Cushing,

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Speaker 3: Sylvia Tortosa, and Telly Sivalis. Now you might automatically think

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Speaker 3: based on the cast list, especially the first two names,

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Speaker 3: that this is a Hammer Film production, but actually it

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Speaker 3: is not. I have no proof of this, but I

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Speaker 3: would suspect the filmmakers were consciously trying to get some

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Speaker 3: Hammer special sauce on their product by casting both Lee

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Speaker 3: and Cushing. That's your classic, you know, Dracula movie or

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Speaker 3: Mummy movie, whatever it is. The Hammer Film's pairing. Usually

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Speaker 3: Christph Lee is Dracula, Peter Cushing is van Helsing. Here

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Speaker 3: they play with formula a little formula a little bit.

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Speaker 3: Neither one of them is the villain of the film,

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Speaker 3: but you do get both.

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Speaker 2: That's right. Yeah, yeah. This was actually a British Spanish

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Speaker 2: co production. On the British side of things, we have

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Speaker 2: Benmark productions. They would go on to make or they

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Speaker 2: made Psychomania, which came out this following year. Wonderful film

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Speaker 2: that we've discussed in the show before.

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Speaker 3: I think about Psychomania all the time. That was one

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Speaker 3: of our supernatural biker movies. It is the one where

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Speaker 3: the a British biker gang does witchcraft and realizes they

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Speaker 3: can come back from the dead. I think, what's the catch?

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Speaker 3: They just have to like really believe that it'll work

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Speaker 3: or something, and so they get to come back from

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Speaker 3: the dead and be undead biker revenants and ride around

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Speaker 3: like knocking things over in grocery stores and terrorizing motorists.

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Speaker 2: Yeah. It's a wonderful film with a nice grim sense

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Speaker 2: of humor at the heart of everything.

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Speaker 3: Yeah.

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Speaker 2: So yeah, Ben Mar Productions. On the British side, and

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Speaker 2: then on the Spanish side of things, we have Granada Films,

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Speaker 2: which I'm not one certain on this, but as best

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Speaker 2: I can tell, this is a separate entity from Granada Television,

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Speaker 2: which was a British company named after a city in

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Speaker 2: Spain that the founder had just visited on holiday. It

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Speaker 2: was like Granada, That's that's what I should name my

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Speaker 2: television production company. That'll go on to make Trelock Comes

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Speaker 2: TV and so forth. This would be a separate Granada

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Speaker 2: as far as I understand it.

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Speaker 3: Yeah, and also separate from the Hello Matta, Hello Fata.

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Speaker 2: Oh yes, of course. So Horror Express is a film

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Speaker 2: we've been looking to do for a while and we

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Speaker 2: just kind of wanted to line it up with core

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Speaker 2: episodes of stuff to blow your mind that had to

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Speaker 2: do with trains. So it finally worked. But This movie

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Speaker 2: is a lot of things. It is a splendid looking

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Speaker 2: period horror film and the hammer tradition set in Imperial Russia.

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Speaker 2: It's a monster movie. It's a murder on a train story.

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Speaker 2: It's also a science fiction tale with of the loosest

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Speaker 2: and sloppiest sigh ever to back up some thigh but

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Speaker 2: it also manages to stir the viewers' thoughts and imagination,

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Speaker 2: even as it at times insults your understanding of science.

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Speaker 2: It's a film built around the classically trained performances of

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Speaker 2: Cushing and Lee, but it's also a showcase for native

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Speaker 2: Spanish talent other international talent, and I guess the brasher

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Speaker 2: acting style of America's Telly Savalis that's right.

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Speaker 3: I'm excited to talk about his role.

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Speaker 2: So again, there's a lot of things, but it is delightful, unique,

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Speaker 2: and I think often highly effective as well. Like it

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Speaker 2: does fill a little sloppy and loose in places, and

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Speaker 2: can be a little confusing in places also, but I

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Speaker 2: think largely succeeds, and that's why it's developed a cult

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Speaker 2: following over the decades.

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Speaker 3: It is known as ludicrous, but also I think it's

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Speaker 3: super entertaining. The twists just keep coming, and they're very

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Speaker 3: I don't know, to my mind at least very fun twists.

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Speaker 3: It also, like you're saying, it has this excellent cast

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Speaker 3: of unusual characters. I will say a limitation is the

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Speaker 3: first time I saw it, my attention was slightly divided

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Speaker 3: on first viewing, and I ended up mixing up several

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Speaker 3: of the characters in my head and getting extremely confused

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Speaker 3: as to who was who. I think I was mixing

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Speaker 3: up Inspector Mirov and the engineer who knows about science

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Speaker 3: and rockets and gravity, and then I was also mixing

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Speaker 3: up Sylvia Tortosa and Helga Line possibly some other characters

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Speaker 3: as well. Also, I showed this movie to some good

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Speaker 3: friends last night, and I could tell it a couple

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Speaker 3: of parts. I think they were confused because they had

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Speaker 3: mixed up a couple of characters. Also, so warning it

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Speaker 3: is one of those sometimes this happens, especially with older movies.

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Speaker 3: But do not let that discourage you. Horror Express is

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Speaker 3: just wonderful. Even if you get a few of the

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Speaker 3: characters mixed up, it's gonna be okay. Also, despite the

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Speaker 3: problems it creates with remembering all the different identities, the

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Speaker 3: large cast of characters is useful for the plot because

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Speaker 3: the monster really runs through them at a quite efficient pace. Yeah,

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Speaker 3: a couple of other acting notes about this. I was

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Speaker 3: thinking about this movie made me think about how there

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Speaker 3: are really two different types of Christopher Lee Rolls. So

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Speaker 3: Christopher Lee, I think you could argue, is the main

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Speaker 3: protagonist of this film, though I don't know. It's more

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Speaker 3: of an ensemble cast. I would say, but Christph Lee

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Speaker 3: is like the person who speaks in the opening narration,

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Speaker 3: so we're with him before anyone else. And so the

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Speaker 3: two different types of Christopher Lee Rolls are the jolly,

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Speaker 3: ironic Christopher Lee and the severe Christopher Lee. And in

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Speaker 3: this movie we do get the severe christ fher Lee.

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Speaker 3: I would say. The jolly Christopher Lee prototype in my

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Speaker 3: mind is the Lord Somerle performance in The Wickerman. And

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Speaker 3: there are two very different kinds of presences. And so

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Speaker 3: maybe we can talk later on about, you know, what

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Speaker 3: the difference in feeling is and why you deploy each one.

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Speaker 3: But I thought that was kind of interesting because he's

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Speaker 3: also with Peter Cushing in this film, and Peter Cushing

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Speaker 3: kind of gets to be the more jolly or ironic

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Speaker 3: version of Christopher Lee here Peter Cushing usually I don't know,

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Speaker 3: he plays a slightly cheekier, jollier, more enthusiastic character than

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Speaker 3: Peter Cushing often does.

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Speaker 2: Yeah, I mean Peter Cushing and what I saw an

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Speaker 2: extra with the director of this film pointed out that

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Speaker 2: Peter Cushion could often play a warmer character. Now, at

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Speaker 2: the same time, Peter Cushion could also play evil characters

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Speaker 2: and could play you know, ridiculous and silly characters. He

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Speaker 2: was a highly skilled and professional actor. But yeah, Christopher Lee,

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Speaker 2: there's the jolly and there's the stern. Though it is

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Speaker 2: clear which one of these two Christopher Lees, you know,

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Speaker 2: cash the paychecks.

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Speaker 3: Yeah, Yeah, it's the.

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Speaker 2: Stern Christopher Lee that most people wanted to cast. And

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Speaker 2: so there's even a spectrum there where you have like

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Speaker 2: the stern hero side of things, like the lead character

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Speaker 2: and the devil rides out, Yes, which.

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Speaker 3: Simon, I'd rather see you dead than practicing black magic.

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Speaker 2: Yeah, a character that is at once the hero and

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Speaker 2: also so stern as to be thoroughly.

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Speaker 3: Unlikable, constantly sending other characters to bed. Yeah.

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Speaker 2: And in this film, we you know, we have a

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Speaker 2: stern Christopher Lee. That also has a few wrinkles to

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Speaker 2: the character that I think make it a little more

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Speaker 2: interesting than that. And then of course there's a whole

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Speaker 2: other realm of stern villain Christopher Lee, where you have

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Speaker 2: the likes of Dracula and sorrow Man. So yeah, this

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Speaker 2: is this is I think one of the more nuanced

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Speaker 2: and human Christopher Lee performances we've discussed on the show before.

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Speaker 3: Yes, this severe Christopher Lee is very different than the

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Speaker 3: one in The Devil Rides Out, the one in The

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Speaker 3: Devil Rides Out. This is a good point you make,

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Speaker 3: and the Devil Rides Out, he is moralistic and paternalistic,

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Speaker 3: and that's not how he is here. Instead, he is

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Speaker 3: very a cold and amoral and intellectual until he sort

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Speaker 3: of has to have a heroic moment at the end.

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Speaker 2: Yeah, and is also eventually self aware a little bit. Yeah,

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Speaker 2: Like there's a part where a character asks him if

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Speaker 2: he doesn't care about the people that have died so far,

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Speaker 2: which at that point was like a thief and a

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Speaker 2: man that worked in the baggage car, and he's like, no,

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Speaker 2: I don't care, but I should. Like it's an interesting

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Speaker 2: wrinkle to the character that he realizes that he's cold

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Speaker 2: and insensitive, and he should strive to be better.

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Speaker 3: I would be a better man if I did care. Yeah.

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Speaker 3: But also on the acting front, I think this movie

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Speaker 3: is interesting because it is part of a category of

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Speaker 3: films that you might call the third act takeover films,

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Speaker 3: in films in which a brand new character shows up

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Speaker 3: in the final third of the movie and completely seizes

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Speaker 3: command of the screen. I don't know if you would

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Speaker 3: agree with me, but that's how I feel. That's what

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Speaker 3: I feel Telly Savalis does in this movie. Once Telly

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Speaker 3: Savalis shows up, the movie just becomes the Tellisavalis show

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Speaker 3: until he is until he is dispatched by the monster.

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Speaker 2: Yeah, yeah, absolutely, I agree. It's interesting too that he

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Speaker 2: was clearly prominently featured in the promotional material for this movie,

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Speaker 2: but he doesn't show up for an hour, and even

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Speaker 2: then it's like he's not really he's not a major character.

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Speaker 2: He plays an important role and when he is on

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Speaker 2: screen thoroughly captivating. But yeah, definitely a third act takeover.

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Speaker 2: I like that terminology.

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Speaker 3: Listeners right in with other examples of this. I want

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Speaker 3: to start making a list.

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Speaker 2: Yeah, I mean, I guess one of the chief examples

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Speaker 2: would be Kurts and Apocalypse Now another charismatic bald man performance. Yeah, so,

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Speaker 2: I don't know how many third act takeovers are by

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Speaker 2: charismatic bald men. I would be interested to know. Maybe

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Speaker 2: it's just these two listeners. Let us know, all right,

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Speaker 2: what's the elevator pitch here, Joe?

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Speaker 3: Well, so, the official tagline on the poster is I

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Speaker 3: think one of the worst I've ever heard. It says,

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Speaker 3: your non stop ride to Hell boards at eight pm?

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Speaker 3: Can it be stopped? I don't know. Is it NonStop

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Speaker 3: or isn't it? I think that could. That could stand

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Speaker 3: a bit of work shopping.

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Speaker 2: But I do like that it gets into some of

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Speaker 2: the ideas we discussed about train horror fiction on the

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Speaker 2: core episodes of Stuff to Blow Your Mind this week,

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Speaker 2: the idea that the train cannot be stopped, that the

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Speaker 2: train is a journey of fate. Yes, and perhaps that

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Speaker 2: fate is very much in question. What will happen to

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Speaker 2: us at the end of this line?

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Speaker 3: M Yeah, that's a good point. But what's our weird

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Speaker 3: house cinema elevator pitch? I'm gonna say, climb aboard a

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Speaker 3: human being, disembark with butt cheek brain.

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Speaker 2: I feel like you're gonna have to go ahead and

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Speaker 2: explain butt cheek brain. So people, No, you're not just

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Speaker 2: being ann here.

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Speaker 3: No, just wait, wait, the listeners will wait. We'll talk

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Speaker 3: about it in the plot section.

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Speaker 2: All right, it is related to the plot. It is

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Speaker 2: related to the plot. All right. Let's go ahead and

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Speaker 2: listen to just a little bit of the trailer audio

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Speaker 2: from this picture because it has some fun narration boo.

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Speaker 2: For two million years, in these subterranean caves, a creature

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Speaker 2: of superhuman evil was entombed in a wall of ice,

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Speaker 2: waiting to be free, waiting to live again. Travel with

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Speaker 2: us on the journey into a world where nightmare.

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Speaker 1: Becomes reality. Are you telling me that, at eight two

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Speaker 1: million years ago, got off to that crate, kill the

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Speaker 1: baggage man and put.

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Speaker 3: Him in there.

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Speaker 2: Yes, I am, it's alive.

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Speaker 3: It must be. Travel with us if you dare on

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Speaker 3: the Horror Express.

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Speaker 2: All right, If you would like to go watch Horror

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Speaker 2: Express before proceeding with the rest of this episode, we

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Speaker 2: encourage it. Go watch it or rewatch it. It is

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Speaker 2: widely available. I watched it on the excellent severin Blu Ray,

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Speaker 2: rented from Atlanta's own videodrome here. There also seems to

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Speaker 2: be an excellent Aero Films Blu ray with many of

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Speaker 2: the same special features. I'm not sure which one is

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Speaker 2: the most recent release and which one's more easily accessible

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Speaker 2: if you're ordering this online, but as usual, we just

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Speaker 2: urge you to watch it in the best quality find,

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Speaker 2: be that physical or digital, because it's actually a great

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Speaker 2: looking film, and I think it long circulated in subpar quality,

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Speaker 2: so yeah, get as good of a cut as you

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Speaker 2: can find.

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Speaker 3: There. I think is a version streaming on Amazon Prime

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Speaker 3: that does not look very good, So I don't know

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Speaker 3: if there are multiple versions on there. Maybe there's a

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Speaker 3: better looking one than the one I initially watched, but

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Speaker 3: at least one of them on there is not the best,

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Speaker 3: so yeah, seek it out in the good quality. Also,

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Speaker 3: you know, we were talking about how the cast list

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Speaker 3: seems to be trying to call to mind Hammer films.

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Speaker 3: It also looks like a Hammer film, And did you

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Speaker 3: notice that the use of the technicolor, the sets, the photography,

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Speaker 3: the costumes, it's all. It has an extremely Hammer reminiscent

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Speaker 3: visual style.

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Speaker 2: Yeah. Absolutely, I think they do a great job of

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Speaker 2: creating a like a period look that you completely buy,

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Speaker 2: even as the film delves increasingly into speculative and wild territory.

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Speaker 2: All right, let's talk about the people involved here, Beginning

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Speaker 2: with the director. It's Eugenio Martin, who lived nineteen twenty

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Speaker 2: five through twenty twenty three, Spanish director, probably best known

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Speaker 2: internationally anyway for this film and a handful of other

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Speaker 2: horror pictures. Nineteen sixty two's Hypnosis, nineteen seventy one is

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Speaker 2: The Fourth Victim starring Carol Baker, nineteen seventy three is

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Speaker 2: a Candle for the Devil starring Judy Gleeson, nineteen eighty's

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Speaker 2: The House and the Outskirts, and nineteen eighty two's Return

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Speaker 2: of the Poltergeist, which features one of the best bits

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Speaker 2: of terrible VHS box art ever.

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Speaker 3: Is that the one that looks like a like a

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Speaker 3: werewolf aerobic exercise tape.

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Speaker 2: Yeah, like it's scripping a bowling ball or something. I

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Speaker 2: don't know, but it looks pretty wild. He also directed

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Speaker 2: the nineteen sixty six western The Ugly Ones and the

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Speaker 2: nineteen seventy two film Pancho Villa starring Telly Savas, and

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Speaker 2: the film Panchovia is actually a key to understanding this film.

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Speaker 2: So that was an Italian Spanish spaghetti western featuring several

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Speaker 2: connections to this film, but most notably the train itself,

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Speaker 2: which the producers had purchased for the production of Pancho Villa,

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Speaker 2: and in order to maximize their investment, they said, well,

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Speaker 2: what else can we do with this train? Let's do

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Speaker 2: another train movie. Somebody get me another script, and this

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Speaker 2: eventually led to the creation of the script for Horror Express,

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Speaker 2: reusing the same train, so you know the slash location,

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Speaker 2: slash train and presumably the really I thought excellent train model.

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Speaker 2: So any of these external, moving wide shots of the

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Speaker 2: train in this movie are model shots.

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Speaker 3: Oh wow, I didn't realize that. I thought some of

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Speaker 3: them were real.

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Speaker 2: Yeah, same here. It wasn't until I went into the

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Speaker 2: extras on the disc and there's an interview with the

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Speaker 2: director here with Martin, and he's like, oh, yeah, we

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Speaker 2: had a lot of fun with this train, Like Peter

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Speaker 2: Cushion and Christopher Lee were there with me and we

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Speaker 2: would just run this train around. But it's like a

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Speaker 2: large scale model, so it doesn't look as small. And

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Speaker 2: they did a I think a great job with the

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Speaker 2: landscapes for it, so excellent model train, Like you don't

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Speaker 2: even think about it being a model train until like

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Speaker 2: one key scene towards the end of the picture.

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Speaker 3: We were talking in our episode about the Green Slime

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Speaker 3: about how I love miniature models even when they're bad.

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Speaker 3: But these are good. These are like really realistic, solid,

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Speaker 3: excellent looking crossing the Siberian landscape.

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Speaker 2: All right, Moving on to the riders, we have Arnaud Dussau,

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Speaker 2: who lived nineteen sixteen through nineteen ninety American playwright and

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Speaker 2: B movie screenwriter, The son of noted Silent era screenwriter

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Speaker 2: and director Leon do So and actress O'tala Nesmith. Arnault

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Speaker 2: here wrote some serio plays. He wrote nineteen forty one's

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Speaker 2: Lady Scarface as well as a handful of other projects,

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Speaker 2: but his career seems to have been impacted by the

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Speaker 2: Hollywood Blacklist in nineteen fifty. He was also a writer

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Speaker 2: on nineteen seventy three Psychomania. Likewise, we should mention that

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Speaker 2: this film, as with Pancho Villa, was produced by American

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Speaker 2: writer producer Bernard Gordon, who was also forced to work

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Speaker 2: in exile, mostly in Spain, due to the Hollywood Blacklist.

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Speaker 2: His productions include Flesh and Fury from fifty two, Earth

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Speaker 2: Versus The Flying Saucers from fifty six, fifty five, Days

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Speaker 2: at Pee King from sixty three, and The Day of

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Speaker 2: the Triffids nineteen sixty three. On some films he ended

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Speaker 2: up working like uncredited due to his blacklisted status.

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Speaker 3: Mmmm. Oh but wait, So with Dusseau here, it's not

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Speaker 3: just the same production company on the British side as Psychomania,

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Speaker 3: but literally one of the same writers.

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Speaker 2: Yeah, yeah, okay, two very different films. Like they don't

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Speaker 2: feel like spiritual siblings, but in a sense they are.

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Speaker 2: I guess, can dgin.

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Speaker 3: If Christopher Lee had been in Psychomania, how good it

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Speaker 3: would be?

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Speaker 2: Oh man, Yeah, yeah, I mean there was a role

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Speaker 2: for him there, but yeah, it would have been a yeah,

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Speaker 2: it would have been a different trajectory for that picture.

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Speaker 2: I think, you know, if you get a name like

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Speaker 2: Lee in there. Let's see, there's another writer credit, and

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Speaker 2: that's Julian Zimmett, who lived nineteen nineteen through twenty seventeen,

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Speaker 2: American born writer whose other screenwriting credits include Pancho Villa

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Speaker 2: and Psychomania.

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Speaker 3: Wow.

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Speaker 2: Now getting into the cast here, we have a number

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Speaker 2: of repeat performers for weird house. So as usual for

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Speaker 2: names like this, we're not going to go add deep

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Speaker 2: into their filmographies. We're just going to maybe try and

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Speaker 2: put them in the context of this production. Starting at

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Speaker 2: the top top build, we have of course Christopher Lee

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Speaker 2: playing Professor Sir Alexander Saxton. Lee lived nineteen twenty two

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Speaker 2: through twenty fifteen, British horror legend. I here cast as

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Speaker 2: as we said, essentially the good guy scientist. He's, you know,

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Speaker 2: but it's also again it's interesting because he's a bit cold,

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Speaker 2: but he's he acknowledges that he's a bit too cold

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Speaker 2: and unfeeling. He's also the guy who unleashes a murderous

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Speaker 2: monster on everyone. And he's also I thought I enjoyed

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Speaker 2: some of the details about him being a bit naive

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Speaker 2: about the realities of international travel.

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Speaker 3: Yeah. Yeah. When he first shows up at the train

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Speaker 3: station at the beginning of the movie, you know, he

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Speaker 3: can't get aboard the train and he's like, but I

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Speaker 3: have arranged I have arranged passage, and they're like, yeah, sorry,

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Speaker 3: you're not on the books. And then Peter Cushing just

402
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Speaker 3: walks in. He's like, you're supposed to pay them a bribe. Look,

403
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Speaker 3: here's the here's how you do the bribe, and Lee

404
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Speaker 3: is like, I refuse and instead just like throws all

405
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Speaker 3: the guy's stuff off his desk and bullies him into

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Speaker 3: getting him on the train. So, yeah, I don't know

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Speaker 3: what's what's the morally superior act there to participate in

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Speaker 3: a corrupt system and give a bribe or to or

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Speaker 3: to bully the station master until they let you on

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Speaker 3: the train.

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Speaker 2: I mean, I guess there's maybe a case to be

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Speaker 2: made that they're both they're both examples of some sort

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Speaker 2: of British ideal.

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Speaker 3: Yeah.

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Speaker 2: Yes, So this film came out the same year as

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Speaker 2: Dracula AD nineteen seventy two, and also alongside the London

417
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Speaker 2: underground cannibal film Deathline, as well as there's a Spanish

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Speaker 2: absurdist movie that has Lee in it from the same

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Speaker 2: year as well, umbrackel Oom Broussel. I'm not sure exactly

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Speaker 2: how to say this, but a less known absurdist film.

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Speaker 2: I don't know that Lee even has a big role

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Speaker 2: in it, but he is credited.

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Speaker 3: I don't know anything about that. Are we going to

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Speaker 3: talk about Deathline one day?

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Speaker 2: I hope. So that is a film about underground Cannibals.

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Speaker 2: It has Christopher Lee in a very typical Christopher Lee role,

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Speaker 2: but then it has Donald Pleasance in a wonderfully atypical

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Speaker 2: casting as a blue collar police inspector. It's a lot

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Speaker 2: of fun, but the monsters just kind of like gross.

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Speaker 3: Yeah, it's Cannibal's in the tube. I think we talked

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Speaker 3: about this movie not in a weird house, but we

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Speaker 3: talked about it in passing. In a core episode we

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00:24:04,920 --> 00:24:07,080
Speaker 3: did about the London underground mosquitoes.

434
00:24:07,320 --> 00:24:10,879
Speaker 2: Hmmm, that's right, that's right. Peter Cushing, of course, is

435
00:24:10,920 --> 00:24:13,920
Speaker 2: in this plays Doctor Wells. He lived nineteen thirteen through

436
00:24:14,000 --> 00:24:18,760
Speaker 2: nineteen ninety four, legendary horror icon frequently co star, and

437
00:24:19,040 --> 00:24:22,480
Speaker 2: Cushing's character has elements of his often type cast role

438
00:24:22,480 --> 00:24:26,280
Speaker 2: as a relatable elder scientist or investigator, though again with

439
00:24:26,560 --> 00:24:30,119
Speaker 2: a few added touches of a proper British scoundrel that

440
00:24:30,200 --> 00:24:32,919
Speaker 2: I liked. You know, he knows how to bribe local officials.

441
00:24:34,040 --> 00:24:35,919
Speaker 2: He seems to be maybe a bit of a flirt.

442
00:24:36,320 --> 00:24:38,199
Speaker 3: He's got a bit more of a twinkle in his

443
00:24:38,240 --> 00:24:39,920
Speaker 3: eye in this movie than he does in a lot

444
00:24:39,920 --> 00:24:44,240
Speaker 3: of his roles. More often, he plays a very straight forward.

445
00:24:44,480 --> 00:24:47,679
Speaker 3: Good guy here. He's a bit of a rascal, and

446
00:24:47,720 --> 00:24:48,320
Speaker 3: I like that.

447
00:24:49,440 --> 00:24:53,120
Speaker 2: This film is notable in Cushing's careers. It occurs, as

448
00:24:53,240 --> 00:24:56,880
Speaker 2: a number of other films do in this period, directly

449
00:24:56,920 --> 00:25:00,439
Speaker 2: following the death of his wife Violet, which orally had

450
00:25:00,440 --> 00:25:02,800
Speaker 2: it just a devastating effect on him, to the point

451
00:25:02,840 --> 00:25:05,359
Speaker 2: that he initially expressed his desire to just not do

452
00:25:05,440 --> 00:25:09,080
Speaker 2: this film. He apparently like flew out to meet the

453
00:25:09,119 --> 00:25:10,879
Speaker 2: director and was like, look, I wanted to tell you

454
00:25:10,960 --> 00:25:13,400
Speaker 2: this in person, but I don't think I can do this.

455
00:25:14,040 --> 00:25:17,199
Speaker 2: And it was Christopher Lee, who was not only his

456
00:25:17,240 --> 00:25:19,439
Speaker 2: frequent co star but a close friend, who convinced him

457
00:25:19,480 --> 00:25:22,520
Speaker 2: to press on, you know, to keep working and supported

458
00:25:22,600 --> 00:25:25,520
Speaker 2: him through the production. And Cushing seems to have, yeah,

459
00:25:25,560 --> 00:25:28,440
Speaker 2: really thrown himself into work during this period, because there

460
00:25:28,440 --> 00:25:30,720
Speaker 2: are six different films from this year featuring Cushing. There's

461
00:25:30,760 --> 00:25:33,960
Speaker 2: Tales from the Crypt, Dracula eighty nineteen seventy two, Doctor

462
00:25:34,000 --> 00:25:38,120
Speaker 2: Five's Rises Again, Asylum, Fear the Night, and Horror Express.

463
00:25:38,240 --> 00:25:40,720
Speaker 2: And really, I mean, Cushing is always such a consummate

464
00:25:40,800 --> 00:25:44,680
Speaker 2: professional and so great on screen. You know. I see

465
00:25:44,720 --> 00:25:47,680
Speaker 2: people review these films and discuss ways in which they

466
00:25:47,720 --> 00:25:51,720
Speaker 2: can see this effect on his performance, but I've never

467
00:25:51,760 --> 00:25:54,280
Speaker 2: been able to see that. I feel like like Cushing

468
00:25:54,359 --> 00:25:59,080
Speaker 2: is still the consummate pro. He's still great at embodying

469
00:25:59,119 --> 00:26:02,200
Speaker 2: a character on screen. I don't, for my money, I

470
00:26:02,480 --> 00:26:05,959
Speaker 2: would not notice this inner suffering that may have been

471
00:26:05,960 --> 00:26:08,560
Speaker 2: going on at a time. Again, it's a fun role

472
00:26:09,760 --> 00:26:12,359
Speaker 2: and not you know, sometimes he would play, even in

473
00:26:12,800 --> 00:26:15,359
Speaker 2: films from around this time period, a more haunted character,

474
00:26:15,440 --> 00:26:18,640
Speaker 2: which I guess might reflect what he was going through more.

475
00:26:18,680 --> 00:26:20,600
Speaker 2: But this is this is not a haunted character. This

476
00:26:20,680 --> 00:26:22,960
Speaker 2: is a guy who's I think, mostly having a good

477
00:26:23,000 --> 00:26:27,720
Speaker 2: time as he travels across the continent. M all right,

478
00:26:27,760 --> 00:26:29,640
Speaker 2: we mentioned Telly Savalas. This is the first time we've

479
00:26:29,680 --> 00:26:33,280
Speaker 2: talked about a film with Telly Savalis. He plays a

480
00:26:33,359 --> 00:26:37,560
Speaker 2: Cossack by the name of Captain Kazan, who, again, as

481
00:26:37,560 --> 00:26:40,320
Speaker 2: you said, shows up an hour into the picture in

482
00:26:40,359 --> 00:26:41,000
Speaker 2: the third act.

483
00:26:41,680 --> 00:26:44,200
Speaker 3: If you've only seen the movie once a long time ago,

484
00:26:44,880 --> 00:26:48,439
Speaker 3: you will probably misremember him as being there throughout the

485
00:26:48,600 --> 00:26:51,040
Speaker 3: entire movie because he makes such an impression when he

486
00:26:51,080 --> 00:26:53,800
Speaker 3: shows up. As we said earlier, he just takes over

487
00:26:53,960 --> 00:26:58,080
Speaker 3: once he arrives, and it's his movie until he's gone, yeah.

488
00:26:58,200 --> 00:26:59,960
Speaker 2: Plus, I mean it is the kind of character he plays.

489
00:27:00,280 --> 00:27:06,399
Speaker 2: It's a yeah, a belligerent captain who is tyrannical to

490
00:27:06,480 --> 00:27:09,520
Speaker 2: everybody except for the you know, the count of the Countess.

491
00:27:10,880 --> 00:27:14,000
Speaker 2: So yeah. Savalis lived nineteen twenty two through nineteen ninety four.

492
00:27:14,560 --> 00:27:17,199
Speaker 2: Third build on this and often a key part of

493
00:27:17,240 --> 00:27:19,840
Speaker 2: the promotion for the film, even though he doesn't appear

494
00:27:19,920 --> 00:27:23,480
Speaker 2: till later. It's a very memorable role. He believes it

495
00:27:23,560 --> 00:27:27,399
Speaker 2: brings a lot of chaotic energy, you know, a different

496
00:27:27,440 --> 00:27:32,359
Speaker 2: acting style. Martin and the extras talked about how with

497
00:27:32,680 --> 00:27:35,879
Speaker 2: Cushing and Lee you got pretty much the same, the

498
00:27:35,920 --> 00:27:38,600
Speaker 2: same thing every take because they, you know, they had

499
00:27:38,720 --> 00:27:40,719
Speaker 2: everything down in their head and they knew exactly how

500
00:27:40,720 --> 00:27:42,280
Speaker 2: they were going to play it, and they'd give you

501
00:27:42,320 --> 00:27:46,040
Speaker 2: the same thing again. But Savalis had just a different

502
00:27:47,240 --> 00:27:51,359
Speaker 2: operating method in place, Like he might try radically different things.

503
00:27:51,359 --> 00:27:53,240
Speaker 2: He'd want to mix it up, he'd want other things

504
00:27:53,280 --> 00:27:55,560
Speaker 2: to be different so that he could like act off

505
00:27:55,600 --> 00:27:58,280
Speaker 2: of them. And I think you see that in some

506
00:27:58,320 --> 00:27:59,959
Speaker 2: of these when he's a board, he's like he's take

507
00:28:00,160 --> 00:28:03,080
Speaker 2: a shot of vodka and just throwing the shot glass,

508
00:28:03,800 --> 00:28:07,199
Speaker 2: you know, across the train car. Things like that do

509
00:28:07,320 --> 00:28:10,520
Speaker 2: feel wild, and he has essentially taken the whole train

510
00:28:10,640 --> 00:28:13,440
Speaker 2: hostage during the sequence as well, so it makes sense.

511
00:28:13,960 --> 00:28:17,000
Speaker 3: What would you say the alignment of this character is.

512
00:28:17,080 --> 00:28:21,400
Speaker 3: I feel like he vacillates between sort of chaotic neutral,

513
00:28:21,600 --> 00:28:23,879
Speaker 3: lawful evil and then chaotic evil.

514
00:28:24,320 --> 00:28:29,040
Speaker 2: I think, so, yeah, there's a waffling there. He's there

515
00:28:29,080 --> 00:28:32,640
Speaker 2: to just impose his will as much as actually solve anything.

516
00:28:33,160 --> 00:28:35,720
Speaker 2: But we'll get more into the details of his arrival

517
00:28:36,400 --> 00:28:38,800
Speaker 2: when we get to it in the plot. But you

518
00:28:38,840 --> 00:28:41,400
Speaker 2: know American actor here, who's TV credits date back to

519
00:28:41,440 --> 00:28:43,800
Speaker 2: the late nineteen fifties. He came up in radio and

520
00:28:43,840 --> 00:28:47,400
Speaker 2: then television insteadily got more and more into TV acting

521
00:28:47,480 --> 00:28:50,360
Speaker 2: and then film. But everything apparently changed for him when

522
00:28:50,360 --> 00:28:52,960
Speaker 2: he finally shaved that beautiful head of his for the

523
00:28:53,080 --> 00:28:56,080
Speaker 2: role of Pontia's Pilot and the Greatest Story Ever told

524
00:28:56,160 --> 00:28:58,680
Speaker 2: from nineteen sixty five, a look that he's stuck with

525
00:28:58,960 --> 00:29:01,400
Speaker 2: for the rest of his life. He obviously had a

526
00:29:01,400 --> 00:29:05,680
Speaker 2: great nag for playing tough guys, heavies, villains, and characters

527
00:29:05,720 --> 00:29:10,240
Speaker 2: of dubious moral character, which of course culminates in such

528
00:29:10,320 --> 00:29:13,600
Speaker 2: roles as Blofeld in nineteen sixty Nine's On Her Majesty's

529
00:29:13,600 --> 00:29:14,440
Speaker 2: Secret Service.

530
00:29:15,200 --> 00:29:17,160
Speaker 3: That's a James Bond movie that kind of stands out

531
00:29:17,200 --> 00:29:21,040
Speaker 3: because it was the only film to feature George Lazenby

532
00:29:21,160 --> 00:29:23,440
Speaker 3: in the role of James Bond. But it also stands

533
00:29:23,440 --> 00:29:26,560
Speaker 3: out for a number of reasons. A lot of people

534
00:29:26,640 --> 00:29:28,520
Speaker 3: rank it as like one of the best or the

535
00:29:28,560 --> 00:29:30,840
Speaker 3: best of the series. I really love it because it

536
00:29:30,880 --> 00:29:35,000
Speaker 3: has Diana Rigg as the character of Teresa, who James

537
00:29:35,000 --> 00:29:37,640
Speaker 3: Bond gets married to. People forget that James Bond gets

538
00:29:37,680 --> 00:29:42,000
Speaker 3: married in one of these movies. Yeah, she locked him

539
00:29:42,040 --> 00:29:46,720
Speaker 3: down briefly. Unfortunately the movie ends tragically with her death,

540
00:29:47,400 --> 00:29:50,400
Speaker 3: but yeah, Telly Sabalis is the villain in this one.

541
00:29:50,520 --> 00:29:55,360
Speaker 3: He plays Blofeld, a Blofeld who is oddly concerned with

542
00:29:56,280 --> 00:29:59,400
Speaker 3: trying to get a claim to being part of some

543
00:29:59,520 --> 00:30:02,840
Speaker 3: kind of kind of British nobility verified by some kind

544
00:30:02,880 --> 00:30:05,520
Speaker 3: of I don't know, a house that like verifies your

545
00:30:05,560 --> 00:30:09,840
Speaker 3: heraldry or something. So that's like James Bond's in into

546
00:30:09,840 --> 00:30:12,800
Speaker 3: Blofeld's organization in this movie. He pretends to be somebody

547
00:30:12,840 --> 00:30:16,320
Speaker 3: who like verifies that somebody is part of a British

548
00:30:16,320 --> 00:30:21,200
Speaker 3: aristoocratic line, and so Blofeld is doing that, and he's

549
00:30:21,240 --> 00:30:24,160
Speaker 3: running an allergy clinic I think in the Swiss Alps,

550
00:30:24,200 --> 00:30:25,680
Speaker 3: and so there are all these people there who are

551
00:30:25,680 --> 00:30:28,760
Speaker 3: trying to get cured of their allergies. And so that

552
00:30:28,880 --> 00:30:34,040
Speaker 3: leads to this bizarre Telesivalis recorded monologue where somebody was

553
00:30:34,200 --> 00:30:38,280
Speaker 3: apparently allergic to chicken and he's he's giving this hypnotic

554
00:30:38,320 --> 00:30:41,080
Speaker 3: speech about adote. You remember how I taught you to

555
00:30:41,240 --> 00:30:46,720
Speaker 3: love chickens, their taste, their voice.

556
00:30:48,160 --> 00:30:51,200
Speaker 2: Oh man, it's been a while since I've seen that one. Yeah,

557
00:30:51,320 --> 00:30:55,160
Speaker 2: let's see. He also played a memorable, memorable sinister role

558
00:30:55,320 --> 00:30:58,160
Speaker 2: in Mario Bavo's Lisa and the Devil from seventy three.

559
00:30:58,400 --> 00:31:01,000
Speaker 2: I say memorable, but I I really couldn't make it

560
00:31:01,040 --> 00:31:02,800
Speaker 2: through that picture. Maybe it was just the wrong time

561
00:31:02,800 --> 00:31:03,800
Speaker 2: for me to try and watch it.

562
00:31:04,200 --> 00:31:06,960
Speaker 3: I love Mario bava That was one of my least

563
00:31:07,040 --> 00:31:08,880
Speaker 3: favorites of his that I've tried to watch.

564
00:31:09,520 --> 00:31:12,600
Speaker 2: He also played El Sleie'zo Tough in nineteen seventy nine

565
00:31:12,680 --> 00:31:13,520
Speaker 2: is the Muppet Movie?

566
00:31:13,920 --> 00:31:14,160
Speaker 3: You know.

567
00:31:14,440 --> 00:31:17,640
Speaker 2: Silvalis is one of those guys that, especially as his

568
00:31:17,720 --> 00:31:22,240
Speaker 2: career matured, he became like just a staple like celebrity,

569
00:31:22,280 --> 00:31:24,720
Speaker 2: you know, he was just He's Telly Savalis, who loves

570
00:31:24,720 --> 00:31:27,680
Speaker 2: your baby. He did a lot of action films and

571
00:31:27,760 --> 00:31:31,040
Speaker 2: various European productions, though including in nineteen seventy one spaghetti

572
00:31:31,080 --> 00:31:34,040
Speaker 2: western titled A Town called Bastard that I've heard good

573
00:31:34,120 --> 00:31:37,480
Speaker 2: things about, and on TV. He's best remembered for, of course,

574
00:31:37,480 --> 00:31:42,720
Speaker 2: playing police detective and lollipop aficionado Kojak, with a whole

575
00:31:42,760 --> 00:31:45,440
Speaker 2: thing being of course that Kojack is quit smoking, so

576
00:31:45,520 --> 00:31:48,680
Speaker 2: he's using lollipops all the time to stand in for

577
00:31:48,880 --> 00:31:51,840
Speaker 2: cigarettes or what have you, which apparently is what Telly

578
00:31:51,880 --> 00:31:53,800
Speaker 2: Savalas himself was doing in real life.

579
00:31:54,280 --> 00:31:55,280
Speaker 3: Dentists hate him.

580
00:31:56,880 --> 00:32:00,600
Speaker 2: Savallas is apparently a big personality and had a reputation

581
00:32:00,760 --> 00:32:03,080
Speaker 2: for if you were his friend, you know, he stood

582
00:32:03,160 --> 00:32:04,800
Speaker 2: up for you, he'd help you out, he'd get you

583
00:32:04,840 --> 00:32:07,600
Speaker 2: some work. And we'll get to an example of that

584
00:32:07,680 --> 00:32:09,719
Speaker 2: here in a bit when we get to the music

585
00:32:09,760 --> 00:32:10,400
Speaker 2: for this film.

586
00:32:10,720 --> 00:32:14,400
Speaker 3: Oh okay, oh, but hey, hold on, This movie essentially

587
00:32:14,440 --> 00:32:17,000
Speaker 3: has a rasputant in it that we've got to talk about.

588
00:32:17,960 --> 00:32:21,680
Speaker 2: Yeah, what is this character's name again? It's father Pujar

589
00:32:21,760 --> 00:32:27,280
Speaker 2: Gardov Yeah, played by the excellent Alberto de Mendoza of

590
00:32:27,680 --> 00:32:32,000
Speaker 2: nineteen twenty three through twenty eleven. Sometimes Mendoza's given higher

591
00:32:32,000 --> 00:32:35,120
Speaker 2: billing than Savalis, as he should, because he plays a

592
00:32:35,160 --> 00:32:38,680
Speaker 2: far more pivotal and I think equally memorable role in

593
00:32:38,680 --> 00:32:43,560
Speaker 2: the picture. A resputant esque Eastern Orthodox monk and advisor

594
00:32:43,720 --> 00:32:46,800
Speaker 2: to the Count and countest, just a wonderful screen presence,

595
00:32:46,840 --> 00:32:50,680
Speaker 2: a real worm tongue who begins starts out devoted to

596
00:32:50,720 --> 00:32:53,640
Speaker 2: the mysteries of our Lord, but is ready to instantly

597
00:32:53,720 --> 00:32:56,800
Speaker 2: jump ship to Satan or any other power that provides

598
00:32:56,840 --> 00:32:59,360
Speaker 2: better evidence of the unseen world.

599
00:33:00,200 --> 00:33:02,800
Speaker 3: Is actually a scene earlier in the movie where I

600
00:33:02,880 --> 00:33:07,480
Speaker 3: realized upon second viewing this is telegraphed because he presents

601
00:33:07,560 --> 00:33:10,200
Speaker 3: himself as a principled man of God who will not

602
00:33:10,280 --> 00:33:13,280
Speaker 3: be swayed. And then late, yeah, later he jumpship to Satan.

603
00:33:13,760 --> 00:33:16,640
Speaker 3: But early on there's a scene where he's like trying

604
00:33:16,680 --> 00:33:19,400
Speaker 3: to convince the Count and Countess not to do something

605
00:33:19,480 --> 00:33:23,720
Speaker 3: unseemly or evil, and the Count is like, shut up,

606
00:33:23,760 --> 00:33:26,160
Speaker 3: I am the Count, I rule over you, and Father

607
00:33:26,200 --> 00:33:30,280
Speaker 3: Pujardov is like, forgive me, Master, I guess.

608
00:33:30,040 --> 00:33:31,840
Speaker 2: Wasn't it like she was gonna wear a blue dress

609
00:33:31,920 --> 00:33:32,640
Speaker 2: or something.

610
00:33:32,480 --> 00:33:34,640
Speaker 3: She was gonna wear. She was going to wear, I

611
00:33:34,640 --> 00:33:37,440
Speaker 3: think a somewhat revealing dress while she goes and makes

612
00:33:37,480 --> 00:33:41,320
Speaker 3: an appeal to the Englishman because you know, they know

613
00:33:41,400 --> 00:33:44,440
Speaker 3: they can, you can manipulate the Englishman with a bit

614
00:33:44,440 --> 00:33:48,880
Speaker 3: of bosom showing, and so that's the idea. And he's like, no, no, no,

615
00:33:48,920 --> 00:33:50,880
Speaker 3: you can't do that. And then the count is like,

616
00:33:51,000 --> 00:33:53,200
Speaker 3: but I am in charge, and he's like, that's right,

617
00:33:53,280 --> 00:33:54,200
Speaker 3: you are in charge.

618
00:33:56,240 --> 00:33:58,880
Speaker 2: Yeah. It is a This is such a fun character.

619
00:33:59,120 --> 00:34:01,680
Speaker 2: Mendoz is great. He was an Argentine actor who, in

620
00:34:01,720 --> 00:34:04,960
Speaker 2: addition to work in Argentine cinema, also crossed over into

621
00:34:05,080 --> 00:34:08,799
Speaker 2: numerous spaghetti westerns and European productions for a time. His

622
00:34:08,880 --> 00:34:11,760
Speaker 2: many credits include seventy one's Lizard in a Woman's Skin

623
00:34:12,400 --> 00:34:15,160
Speaker 2: and the Case of the Scorpion's Tale, as well as

624
00:34:15,239 --> 00:34:17,800
Speaker 2: nineteen seventy six is The People Who Own the Dark.

625
00:34:18,560 --> 00:34:21,960
Speaker 2: This last one, The People Who Owned the Dark, also

626
00:34:22,000 --> 00:34:26,640
Speaker 2: featured Spanish horror icon Paul Nashi in a small role. Incidentally,

627
00:34:26,680 --> 00:34:32,000
Speaker 2: I've seen this role of Father PUJARDIV incorrectly credited to

628
00:34:32,160 --> 00:34:36,719
Speaker 2: Paul Nashi, including on the current Wikipedia page for Horror Express.

629
00:34:36,920 --> 00:34:39,439
Speaker 2: What Yeah, I don't know. I mean, I guess there's

630
00:34:39,480 --> 00:34:41,080
Speaker 2: sort of a reism once there. But as much as

631
00:34:41,120 --> 00:34:43,440
Speaker 2: I love Paul Nashi, he is not in this film.

632
00:34:43,640 --> 00:34:46,320
Speaker 2: It's Alberto de Mendoza and he's incredible.

633
00:34:46,840 --> 00:34:48,840
Speaker 3: That's funny. I know I looked at that wiki, but

634
00:34:48,880 --> 00:34:53,160
Speaker 3: I did not catch that mistake. That's funny, not Paul Nash.

635
00:34:53,239 --> 00:34:58,880
Speaker 2: All right. We mentioned the Countess, Countess Irina Petrowski played

636
00:34:58,920 --> 00:35:02,000
Speaker 2: by Silvia torteu So who lived nineteen forty seven through

637
00:35:02,000 --> 00:35:06,200
Speaker 2: twenty twenty four. Spanish actress active from sixty four through

638
00:35:06,200 --> 00:35:08,759
Speaker 2: at least twenty twenty one, if I remember correctly. We've

639
00:35:08,800 --> 00:35:11,000
Speaker 2: discussed her on the show before because she appeared in

640
00:35:11,360 --> 00:35:16,359
Speaker 2: Armando Diosario's nineteen seventy three film The Lareles grasp Here.

641
00:35:16,400 --> 00:35:20,480
Speaker 2: She's a Russian countess de facto damsel in distress and

642
00:35:20,600 --> 00:35:25,000
Speaker 2: wife to the Count Marian Petrowski played by Argentine actor

643
00:35:25,280 --> 00:35:29,000
Speaker 2: Jorge Regod who lived nineteen oh five through nineteen eighty four.

644
00:35:29,560 --> 00:35:32,239
Speaker 3: She's also quite good in this and has some very

645
00:35:32,239 --> 00:35:35,040
Speaker 3: funny scenes where she's trying to butter up the Englishman

646
00:35:35,840 --> 00:35:39,359
Speaker 3: being like, oh, you know, we love England. We'll get

647
00:35:39,400 --> 00:35:42,040
Speaker 3: more into this later. While she's holding a dog that's

648
00:35:42,080 --> 00:35:45,440
Speaker 3: squirming and basically screaming to get out of her arms.

649
00:35:45,760 --> 00:35:49,239
Speaker 2: Oh god, that's a great scene because of course the

650
00:35:48,560 --> 00:35:52,919
Speaker 2: father of Prijordov is like, he smells death. This train

651
00:35:53,040 --> 00:35:54,000
Speaker 2: smells like death.

652
00:35:54,239 --> 00:35:58,480
Speaker 3: Yes, the dog smells the devil on the strain. But

653
00:35:58,719 --> 00:36:01,680
Speaker 3: she's great. But I forgot that Silvia Tortosa was also

654
00:36:01,800 --> 00:36:04,240
Speaker 3: in The Luralized Grasp because we have at least two

655
00:36:04,320 --> 00:36:06,799
Speaker 3: actors who are in lauralized Grasp. But don't we Helga

656
00:36:06,880 --> 00:36:07,640
Speaker 3: Line is in this.

657
00:36:07,880 --> 00:36:12,280
Speaker 2: Yes, Helgaalnee she played the l in The Lauralis Grasp

658
00:36:12,640 --> 00:36:15,319
Speaker 2: and she was also in seventy three's horror Rizes from

659
00:36:15,360 --> 00:36:19,000
Speaker 2: the Tomb, part of the Occult Power couple with Paul Mashi.

660
00:36:20,120 --> 00:36:24,160
Speaker 2: And in this she plays Natasha, a suspicious character on

661
00:36:24,200 --> 00:36:29,160
Speaker 2: the train, a very stylish character who wears this like

662
00:36:29,280 --> 00:36:34,480
Speaker 2: green dragon dress. But yeah, she as we've previously discussed,

663
00:36:34,719 --> 00:36:38,279
Speaker 2: she you know, stunning German born redhead who played a

664
00:36:38,360 --> 00:36:41,920
Speaker 2: lot of a lot of fem fatles but also a

665
00:36:41,920 --> 00:36:45,279
Speaker 2: lot of supernatural vixens in both of the films. That

666
00:36:45,320 --> 00:36:48,360
Speaker 2: we've covered. She plays some sort of supernatural creature or

667
00:36:48,480 --> 00:36:53,040
Speaker 2: being or you know, magic user, and here she's it's

668
00:36:53,160 --> 00:36:56,760
Speaker 2: a little less exciting, but she's still it's still always

669
00:36:56,760 --> 00:36:58,360
Speaker 2: a treat when she's in a picture, Like, what's she

670
00:36:58,480 --> 00:37:01,000
Speaker 2: up to? Probably nothing good. It may not be raising

671
00:37:01,040 --> 00:37:04,319
Speaker 2: the dead, but she's got some sort of scheme. You

672
00:37:04,360 --> 00:37:07,560
Speaker 2: just know it. And then oh, we have the character

673
00:37:07,680 --> 00:37:12,160
Speaker 2: Inspector Mirov played by Julio Pena lived nineteen twelve through

674
00:37:12,239 --> 00:37:14,520
Speaker 2: nineteen seventy two, another great role in the picture, a

675
00:37:14,600 --> 00:37:19,000
Speaker 2: doomed investigator aboard the Horror Express. He was a Spanish

676
00:37:19,040 --> 00:37:22,400
Speaker 2: actor with credits going back to nineteen thirty who died

677
00:37:22,400 --> 00:37:24,280
Speaker 2: shortly after the completion of this film.

678
00:37:24,640 --> 00:37:27,239
Speaker 3: It's funny we're saying the Horror Express, like that is

679
00:37:27,239 --> 00:37:29,760
Speaker 3: the name of the train canonically in the film.

680
00:37:29,840 --> 00:37:30,200
Speaker 2: It is not.

681
00:37:30,320 --> 00:37:32,640
Speaker 3: I don't remember what they call it, but I think

682
00:37:32,640 --> 00:37:35,799
Speaker 3: it's supposed to be going on the Trans Siberian Railroad, right, Yeah.

683
00:37:35,840 --> 00:37:38,960
Speaker 2: I think the Spanish title, the actual original title, translates

684
00:37:39,000 --> 00:37:42,360
Speaker 2: to like panic on the Trans Siberian Railway or something,

685
00:37:42,840 --> 00:37:45,239
Speaker 2: So nobody calls it the Horror Express, but it's easy

686
00:37:45,280 --> 00:37:48,480
Speaker 2: to think of it as like all aboard Horror Express leaving. Yeah,

687
00:37:48,520 --> 00:37:53,960
Speaker 2: pack up your possessed apes, it's time to go, all right.

688
00:37:54,040 --> 00:37:56,920
Speaker 2: A couple of the small credits here. The baggage man

689
00:37:57,000 --> 00:37:59,720
Speaker 2: is very memorable. This is Victor Israel, who lived nineteen

690
00:37:59,719 --> 00:38:02,920
Speaker 2: twenty nine through two thousand and nine. Prolific Spanish actor

691
00:38:03,280 --> 00:38:06,680
Speaker 2: with something like two hundred and fifteen credits. Very memorable face,

692
00:38:06,840 --> 00:38:10,360
Speaker 2: very memorable eyes. He's got a look. He's bald, but

693
00:38:10,480 --> 00:38:15,480
Speaker 2: with tremendous mutton chops. Yeah. And then oh, this is

694
00:38:15,480 --> 00:38:17,799
Speaker 2: one of those situations where I can't even point out

695
00:38:17,840 --> 00:38:20,120
Speaker 2: which role he's playing here, he's just one of the

696
00:38:20,160 --> 00:38:26,160
Speaker 2: Russian guards. But it is a Spanish actor, Jose Canalas,

697
00:38:26,600 --> 00:38:29,720
Speaker 2: who lived nineteen twenty five through twenty fifteen. He played

698
00:38:29,719 --> 00:38:33,440
Speaker 2: the creepy character Murdo in nineteen seventy three's Return of

699
00:38:33,480 --> 00:38:35,920
Speaker 2: the Blind Dead that we talked about in the show previously.

700
00:38:36,360 --> 00:38:38,200
Speaker 3: Oh, the kind of gravedigger guy.

701
00:38:38,800 --> 00:38:41,960
Speaker 2: Yeah, the grave digger guy who sells out the town

702
00:38:42,120 --> 00:38:43,480
Speaker 2: to undead templars.

703
00:38:43,560 --> 00:38:46,839
Speaker 3: Yeah, that's right, Okay, looked a bit like Stephen King.

704
00:38:47,080 --> 00:38:47,799
Speaker 3: Do I remember that?

705
00:38:47,920 --> 00:38:50,560
Speaker 2: Right? Yep, yep, So you have fun role in that

706
00:38:50,719 --> 00:38:53,840
Speaker 2: here he's basically invisible, but he's in there somewhere. And

707
00:38:53,880 --> 00:38:57,440
Speaker 2: then finally the composer. It's John Cassavas who lived nineteen

708
00:38:57,480 --> 00:39:01,480
Speaker 2: thirty through twenty fourteen. There's a fun interview with him

709
00:39:01,880 --> 00:39:04,640
Speaker 2: on as a Blu Ray extra on a couple of

710
00:39:04,680 --> 00:39:08,120
Speaker 2: the discs that I referenced earlier American composer who'd previously

711
00:39:08,400 --> 00:39:11,440
Speaker 2: worked as an arranger on sixty seven's The Dirty Dozen,

712
00:39:11,840 --> 00:39:15,000
Speaker 2: and did I believe the theme song for Pancho Villa.

713
00:39:15,520 --> 00:39:18,160
Speaker 2: He'd previously met Telly Savalis in London and the two

714
00:39:18,200 --> 00:39:21,720
Speaker 2: became fast friends. So Savalas helped him break into film

715
00:39:21,719 --> 00:39:24,640
Speaker 2: scores with this movie. And I have to say it's

716
00:39:24,640 --> 00:39:26,799
Speaker 2: a pretty fun score. You got this like haunting little

717
00:39:26,880 --> 00:39:30,719
Speaker 2: melody that keeps recurring. And then how would you describe

718
00:39:30,760 --> 00:39:32,600
Speaker 2: the electric guitar work in this picture?

719
00:39:32,680 --> 00:39:36,360
Speaker 3: Joe ah Well, full disclosure. Actually just had to pause

720
00:39:36,400 --> 00:39:38,080
Speaker 3: recording for a second to go look it up because

721
00:39:38,080 --> 00:39:41,239
Speaker 3: I'd forgotten what you were referring to. But yeah, it's

722
00:39:41,280 --> 00:39:43,960
Speaker 3: an interesting electric guitar sound. I mean, in some cases

723
00:39:44,000 --> 00:39:46,880
Speaker 3: it's almost a bit surf rock. There's a lot of reverb,

724
00:39:47,040 --> 00:39:52,759
Speaker 3: it's a kind of echoee vibe, electric guitar sound, some

725
00:39:53,600 --> 00:39:56,520
Speaker 3: kind of droning notes, a lot of arpeggios, but then

726
00:39:56,560 --> 00:39:59,400
Speaker 3: also yeah, it'll hit a big chord and just.

727
00:39:59,560 --> 00:40:05,799
Speaker 2: Bah, I love it. Cassavas composed the scores as well

728
00:40:05,840 --> 00:40:08,960
Speaker 2: to nineteen seventy three's The Satanic Rites of Dracula, various

729
00:40:08,960 --> 00:40:12,680
Speaker 2: other pictures, and moved into TV work in Hollywood, working

730
00:40:12,719 --> 00:40:16,600
Speaker 2: on a number of mainstream TV series, including of course Kojak.

731
00:40:16,840 --> 00:40:19,680
Speaker 2: Because who loves your baby, Tellis Savalis loves you and

732
00:40:19,920 --> 00:40:22,520
Speaker 2: can help you get some work. So that's the fun connection.

733
00:40:22,600 --> 00:40:27,440
Speaker 2: Back to tell Savalis sticking up for his friends, the Cassavas.

734
00:40:27,440 --> 00:40:30,359
Speaker 2: Here in the interview, extra has shares a story about

735
00:40:30,360 --> 00:40:33,880
Speaker 2: how he was He met Savalis at a hotel and

736
00:40:33,880 --> 00:40:35,640
Speaker 2: Savalas was like, I'm gonna go up and take a nap,

737
00:40:36,560 --> 00:40:40,160
Speaker 2: and so Cassavas is waiting downstairs, and like some guy

738
00:40:40,200 --> 00:40:42,760
Speaker 2: comes in who had worked with them on a previous picture,

739
00:40:42,800 --> 00:40:45,600
Speaker 2: and like Savalas comes down and gives him, you know,

740
00:40:45,600 --> 00:40:47,319
Speaker 2: a couple hundred bucks or something. You know, it's just

741
00:40:47,440 --> 00:40:50,399
Speaker 2: apparently always doing things like that for people that were

742
00:40:50,719 --> 00:40:51,680
Speaker 2: in his good graces.

743
00:41:01,239 --> 00:41:03,240
Speaker 3: All right, are you ready to talk about the plot.

744
00:41:03,640 --> 00:41:05,280
Speaker 2: Yes, let's jump right into it.

745
00:41:05,200 --> 00:41:06,799
Speaker 3: All right, A couple of things right at the top

746
00:41:06,840 --> 00:41:08,800
Speaker 3: of this section here. First of all, I will say

747
00:41:09,320 --> 00:41:13,080
Speaker 3: this movie has a number of twists and reveals in

748
00:41:13,120 --> 00:41:17,760
Speaker 3: it that I found mighty pleasing to experience for myself.

749
00:41:18,480 --> 00:41:21,719
Speaker 3: They're ludicrous twists, and so I would be really sad

750
00:41:21,760 --> 00:41:25,960
Speaker 3: if I spoiled them without warning, so be warned. I

751
00:41:26,080 --> 00:41:28,839
Speaker 3: think this movie is a lot of fun to see

752
00:41:28,880 --> 00:41:32,440
Speaker 3: without having anything spoiled and to get to experience the

753
00:41:32,560 --> 00:41:37,480
Speaker 3: WTF moments for yourself, so please do take that into consideration.

754
00:41:37,600 --> 00:41:40,239
Speaker 3: I think this one is really fun to learn the

755
00:41:41,080 --> 00:41:44,400
Speaker 3: weird developments in real time as you watch it. But

756
00:41:44,760 --> 00:41:46,200
Speaker 3: if you haven't seen it and you want to keep

757
00:41:46,239 --> 00:41:49,719
Speaker 3: listening anyway, that is okay. One thing I will do

758
00:41:49,840 --> 00:41:52,560
Speaker 3: to kind of preserve some of the surprise later on,

759
00:41:52,600 --> 00:41:54,080
Speaker 3: though we are going to talk about some of the

760
00:41:54,120 --> 00:41:57,520
Speaker 3: weirdest reveals, is I think we'll get fuzzier in our

761
00:41:57,520 --> 00:42:00,880
Speaker 3: description of the plot as we go on, so we

762
00:42:01,000 --> 00:42:04,280
Speaker 3: might kind of do a pretty detailed first act description

763
00:42:04,440 --> 00:42:07,160
Speaker 3: and then and then zoom out to to focus more

764
00:42:07,200 --> 00:42:10,840
Speaker 3: on the on the big movements. Yeah, so the credits

765
00:42:10,880 --> 00:42:14,560
Speaker 3: begin with kind of sad, dreamy music. It's this melody

766
00:42:14,640 --> 00:42:18,360
Speaker 3: that we will hear repeated many times throughout the film,

767
00:42:18,480 --> 00:42:21,719
Speaker 3: sometimes whistled by a mysterious character. You don't know quite

768
00:42:21,719 --> 00:42:24,040
Speaker 3: who it is, but the other characters are hearing it,

769
00:42:24,120 --> 00:42:28,400
Speaker 3: sometimes played by the Countess on the piano, sometimes just

770
00:42:28,760 --> 00:42:31,399
Speaker 3: in the background on the soundtrack, But we get this sad,

771
00:42:31,520 --> 00:42:35,480
Speaker 3: dreamy melody. We see the darkness of a tunnel, blinding

772
00:42:35,520 --> 00:42:39,480
Speaker 3: headlamps in the distance, and the sound of railcars clattering

773
00:42:39,600 --> 00:42:44,080
Speaker 3: over the tracks. The action begins with a long pan

774
00:42:44,400 --> 00:42:49,000
Speaker 3: over a chain of black, jagged mountaintops with a starless

775
00:42:49,040 --> 00:42:54,280
Speaker 3: blue twilight behind them, and the unmistakable voice of Christopher

776
00:42:54,360 --> 00:42:58,200
Speaker 3: Lee comes in narrating. Here's what Christopher Lee says. He says,

777
00:42:58,719 --> 00:43:01,960
Speaker 3: the following report to the Royal Geological Society by the

778
00:43:02,040 --> 00:43:06,239
Speaker 3: undersigned Alexander Saxton is a true and faithful account of

779
00:43:06,239 --> 00:43:11,120
Speaker 3: events that befell the Society's expedition in Manchuria. As the

780
00:43:11,200 --> 00:43:14,680
Speaker 3: leader of the expedition, I must accept responsibility for its

781
00:43:14,840 --> 00:43:17,880
Speaker 3: ending in disaster, but I leave to the judgment of

782
00:43:17,920 --> 00:43:21,120
Speaker 3: the honorable members the decision as to where the blame

783
00:43:21,239 --> 00:43:24,960
Speaker 3: for the catastrophe lies. After seeing the whole movie. I

784
00:43:25,320 --> 00:43:27,279
Speaker 3: think I know where the blame lies. I'm not that

785
00:43:27,520 --> 00:43:31,040
Speaker 3: it seems pretty clear to me. Another thing about the

786
00:43:31,080 --> 00:43:33,759
Speaker 3: beginning of this movie is that we are getting constantly

787
00:43:34,120 --> 00:43:39,239
Speaker 3: contradictory signals about geographic locations within China. Did you notice this?

788
00:43:40,120 --> 00:43:42,200
Speaker 2: Yeah? Yeah, this is one of the areas where the

789
00:43:42,200 --> 00:43:44,080
Speaker 2: film feels a little sloppy.

790
00:43:44,360 --> 00:43:48,400
Speaker 3: Yeah. Like, so, the monologue says that they're in Manchuria,

791
00:43:48,440 --> 00:43:50,839
Speaker 3: but then there's a title on the screen that says

792
00:43:50,840 --> 00:43:54,040
Speaker 3: the mountains are in Sichuan Province, which are different places.

793
00:43:54,600 --> 00:43:57,320
Speaker 3: And then later when we get to the train station,

794
00:43:57,680 --> 00:43:59,680
Speaker 3: there's a title on the screen that says it's in

795
00:44:00,040 --> 00:44:03,720
Speaker 3: Pea King, which is Beijing, but the characters are talking

796
00:44:03,719 --> 00:44:05,000
Speaker 3: about being in Shanghai.

797
00:44:06,719 --> 00:44:07,160
Speaker 2: Yeah.

798
00:44:07,200 --> 00:44:11,120
Speaker 3: Anyway, So back to either Sichuan Province or Manchuria, whichever

799
00:44:11,160 --> 00:44:15,600
Speaker 3: it's supposed to be. As this monologue unfolds, we see

800
00:44:15,640 --> 00:44:18,799
Speaker 3: a team of men dressed in heavy furs tramping through

801
00:44:18,880 --> 00:44:21,879
Speaker 3: the remote mountains in the snow, and then they come

802
00:44:22,000 --> 00:44:25,279
Speaker 3: upon an icy cavern with Christopher Lee in command. So

803
00:44:25,320 --> 00:44:28,239
Speaker 3: he's going into the cavern with an old man as

804
00:44:28,280 --> 00:44:32,520
Speaker 3: a guide. And in this role, Christopher Lee, he has

805
00:44:32,640 --> 00:44:36,399
Speaker 3: a very I don't know, it's a very pompous kind

806
00:44:36,400 --> 00:44:40,040
Speaker 3: of look, even for Christopher Lee. He's sporting a black mustache,

807
00:44:40,239 --> 00:44:43,040
Speaker 3: He's wearing a long red scarf and has this tall,

808
00:44:43,160 --> 00:44:47,080
Speaker 3: boxy fur hat. I love his look for the outdoor

809
00:44:47,080 --> 00:44:50,720
Speaker 3: weather here. But the question is what lies within the cave.

810
00:44:51,400 --> 00:44:55,319
Speaker 3: Why it's a humanoid figure frozen solid in ice. So

811
00:44:55,360 --> 00:44:58,840
Speaker 3: it's a toothy, waxy dude, a bit skeletal and a

812
00:44:58,840 --> 00:45:03,439
Speaker 3: bit resinous, with sunken eyes and missing the cartilage part

813
00:45:03,440 --> 00:45:06,400
Speaker 3: of the nose. And of course we get a dramatic

814
00:45:06,480 --> 00:45:09,480
Speaker 3: music cue and a zoom in on the skeleton when

815
00:45:09,520 --> 00:45:11,359
Speaker 3: they find it. Or is it a skeleton? I guess

816
00:45:11,400 --> 00:45:12,560
Speaker 3: it does have flesh on it.

817
00:45:14,040 --> 00:45:17,680
Speaker 2: We're getting into one of the big questions of the

818
00:45:18,080 --> 00:45:20,960
Speaker 2: picture here, and that is what is a fossil because

819
00:45:20,960 --> 00:45:23,239
Speaker 2: the movie Share as Hell doesn't seem to know it.

820
00:45:23,320 --> 00:45:27,080
Speaker 3: Does a stone robbed? A fossil means a stone.

821
00:45:27,160 --> 00:45:31,160
Speaker 2: Yes, But then also it can thaw out and move around.

822
00:45:31,520 --> 00:45:36,600
Speaker 2: It's like there's, yeah, there's some inconsistency regarding the condition

823
00:45:36,760 --> 00:45:37,640
Speaker 2: of this specimen.

824
00:45:38,040 --> 00:45:43,360
Speaker 3: Yeah, so we see later that this fossil quote unquote

825
00:45:43,480 --> 00:45:46,759
Speaker 3: has you know, a frozen body slash fossil has been

826
00:45:46,840 --> 00:45:49,840
Speaker 3: locked inside a large crate wrapped in a canvas cloth

827
00:45:49,960 --> 00:45:54,880
Speaker 3: and chains with a padlock, and Saxton's companions are hauling

828
00:45:54,960 --> 00:45:58,640
Speaker 3: the box down the mountain side. So they eventually arrive

829
00:45:58,719 --> 00:46:01,920
Speaker 3: at a train station. Again the confusion because the thing

830
00:46:01,960 --> 00:46:06,080
Speaker 3: on the screen says it's in Peaking, and then characters

831
00:46:06,120 --> 00:46:09,160
Speaker 3: start talking about being in Shanghai. It's possible I'm just

832
00:46:09,239 --> 00:46:12,200
Speaker 3: missing something or confused here, but it really it looks

833
00:46:12,239 --> 00:46:15,600
Speaker 3: to me like a goof on the filmmaker's part. But anyway,

834
00:46:15,840 --> 00:46:18,680
Speaker 3: either way, Saxton is here at the train station looking

835
00:46:18,719 --> 00:46:21,799
Speaker 3: to transport his great find back to Europe by way

836
00:46:21,840 --> 00:46:25,279
Speaker 3: of the Trans Siberian Railroad. And here's where we get

837
00:46:25,320 --> 00:46:28,279
Speaker 3: to the drama about Saxton having booked passage on this

838
00:46:28,400 --> 00:46:31,120
Speaker 3: train weeks in advance, but when he arrives, the station

839
00:46:31,280 --> 00:46:34,920
Speaker 3: master is like, yeah, sorry, nothing, Yeah, I don't have

840
00:46:34,960 --> 00:46:37,319
Speaker 3: any record of this, and so he's supposed to be

841
00:46:37,320 --> 00:46:40,160
Speaker 3: paying a bribe, but eventually he just kind of muscles

842
00:46:40,160 --> 00:46:43,320
Speaker 3: his way onto the train by throwing the station masters

843
00:46:44,120 --> 00:46:46,480
Speaker 3: all the contents of his desk on the floor. I

844
00:46:46,480 --> 00:46:49,400
Speaker 3: think he also gets some backup because some British soldiers

845
00:46:49,520 --> 00:46:54,319
Speaker 3: arrive and they're like, station master, do what Christopher Lee

846
00:46:54,360 --> 00:46:57,600
Speaker 3: says and they're like, okay, I will anyway. Here at

847
00:46:57,640 --> 00:47:00,719
Speaker 3: the train station, Saxton runs into a couple of other characters.

848
00:47:01,040 --> 00:47:03,840
Speaker 3: We meet another scientist. I think he's supposed to be

849
00:47:03,960 --> 00:47:07,799
Speaker 3: a friendly professional rival, but either way, he's known to

850
00:47:07,840 --> 00:47:10,880
Speaker 3: Saxon and his name is doctor Wells. This is the

851
00:47:10,960 --> 00:47:14,160
Speaker 3: character played by Peter Cushing. Did you interpret him as

852
00:47:14,200 --> 00:47:16,719
Speaker 3: a professional rival, like they sort of know each other,

853
00:47:16,760 --> 00:47:19,600
Speaker 3: but they're working at odds against one another in a way.

854
00:47:19,880 --> 00:47:24,879
Speaker 2: Yes, we don't really learn a lot regarding Wells's activities,

855
00:47:24,920 --> 00:47:29,400
Speaker 2: like why exactly he's out this far and he seems

856
00:47:29,480 --> 00:47:32,640
Speaker 2: reluctant to really engage in his profession. Like there's a

857
00:47:32,680 --> 00:47:34,600
Speaker 2: great scene earlier where they're like, doctor, we need you,

858
00:47:34,640 --> 00:47:36,440
Speaker 2: and he's like, well, can it wait till I finish

859
00:47:37,040 --> 00:47:40,680
Speaker 2: my meal? You know, he's not eager to get to work.

860
00:47:40,719 --> 00:47:43,000
Speaker 2: He's like, I'm just going to enjoy this train ride.

861
00:47:43,280 --> 00:47:46,240
Speaker 3: They're clearly both members of the Royal Society, because Wells

862
00:47:46,320 --> 00:47:50,400
Speaker 3: is very curious about what Saxton has discovered and Saxton

863
00:47:50,520 --> 00:47:52,360
Speaker 3: is like, you will find out about it when I

864
00:47:52,400 --> 00:47:53,840
Speaker 3: present to the Royal Society.

865
00:47:54,160 --> 00:47:57,239
Speaker 2: I guess there is some evidence there for if they're

866
00:47:57,239 --> 00:48:01,600
Speaker 2: not rivals. He he's very curious to the point of

867
00:48:02,640 --> 00:48:05,520
Speaker 2: paying somebody to mess with the crate. Yeah, so not

868
00:48:05,600 --> 00:48:08,319
Speaker 2: quite sabotage his work, but like, if you need to

869
00:48:08,360 --> 00:48:10,840
Speaker 2: remove some screws on this, great, if you need to

870
00:48:10,920 --> 00:48:13,040
Speaker 2: drill a few holes and it, go for it. Yeah,

871
00:48:13,080 --> 00:48:14,440
Speaker 2: here's here's a twenty.

872
00:48:14,520 --> 00:48:17,480
Speaker 3: Yes, but within the context of this plot. Once again,

873
00:48:18,200 --> 00:48:22,279
Speaker 3: Christopher Lee's character is very rigid and brittle and serious,

874
00:48:22,600 --> 00:48:25,480
Speaker 3: and Doctor Wells is a little more. He goes with

875
00:48:25,520 --> 00:48:29,239
Speaker 3: the flow. Yeah. Also, we meet doctor wells assistant, a

876
00:48:29,320 --> 00:48:34,120
Speaker 3: bacteriologist named Miss Jones, played by Alice Reinhardt, and I

877
00:48:34,200 --> 00:48:34,719
Speaker 3: love her.

878
00:48:35,360 --> 00:48:37,680
Speaker 2: Yeah, I wasn't familiar with her. She lived nineteen ten

879
00:48:37,760 --> 00:48:39,680
Speaker 2: through nineteen ninety three, and this was one of her

880
00:48:39,760 --> 00:48:41,960
Speaker 2: last films, but it came off a lot of TV

881
00:48:42,160 --> 00:48:44,040
Speaker 2: and radio work. I think she was like a staple

882
00:48:44,120 --> 00:48:48,040
Speaker 2: in TV soap operas for a very long time. I'm sorry,

883
00:48:48,160 --> 00:48:51,600
Speaker 2: radio soap operas, but possibly TV soap operas as well,

884
00:48:51,600 --> 00:48:53,080
Speaker 2: but definitely radio soap operas.

885
00:48:53,440 --> 00:48:56,000
Speaker 3: Ah, Okay, well, yeah, I like her. She makes it.

886
00:48:56,080 --> 00:49:01,719
Speaker 3: She makes like some cheeky jokes. Yeah, and you know so.

887
00:49:01,840 --> 00:49:06,160
Speaker 3: Wells describes Saxon to Miss Jones by saying he dabbles

888
00:49:06,280 --> 00:49:09,640
Speaker 3: in fossils and bones. I think a little bit of

889
00:49:09,680 --> 00:49:13,399
Speaker 3: ribbing there no pun intended, but anyway, they are going

890
00:49:13,440 --> 00:49:15,680
Speaker 3: to be aboard the train where Saxton is looking to

891
00:49:15,680 --> 00:49:19,000
Speaker 3: get a spot. Now, as the two scientists are catching

892
00:49:19,080 --> 00:49:22,359
Speaker 3: up out on the platform, Saxton's crate is waiting to

893
00:49:22,360 --> 00:49:24,759
Speaker 3: be loaded in with the rest of the freight, and

894
00:49:24,960 --> 00:49:28,520
Speaker 3: a thief comes along. A thief in a very well

895
00:49:28,600 --> 00:49:32,000
Speaker 3: dressed thief in like a brand new hat comes along

896
00:49:32,040 --> 00:49:34,680
Speaker 3: and picks the lock on the box or on the

897
00:49:34,760 --> 00:49:38,160
Speaker 3: chains holding the box shut. He wants to get what's inside.

898
00:49:38,880 --> 00:49:41,080
Speaker 3: But shock when we cut back to the crate a

899
00:49:41,080 --> 00:49:44,520
Speaker 3: few moments later, a local man finds there's like a

900
00:49:44,560 --> 00:49:47,880
Speaker 3: body sprawled out on the ground on the platform, and

901
00:49:47,920 --> 00:49:51,080
Speaker 3: the local man pulls the sheet from over the body

902
00:49:51,200 --> 00:49:53,920
Speaker 3: and reveals that it is a dead man. It is

903
00:49:54,000 --> 00:49:57,440
Speaker 3: the thief, and he's dead and only the whites of

904
00:49:57,520 --> 00:50:01,600
Speaker 3: his eyes are showing pure white. Also, the viewing slot

905
00:50:01,680 --> 00:50:04,280
Speaker 3: on the crate is hanging mysteriously open.

906
00:50:04,760 --> 00:50:07,600
Speaker 2: It's a shame that this nameless thief played here by

907
00:50:08,239 --> 00:50:11,640
Speaker 2: Hiroshi Kitatawa is really the only Asian character in the film,

908
00:50:11,680 --> 00:50:16,040
Speaker 2: despite a clear Asian setting and numerous background Asian characters

909
00:50:16,040 --> 00:50:19,480
Speaker 2: throughout the picture. So I would say missed opportunity here.

910
00:50:19,840 --> 00:50:22,920
Speaker 3: Yep, yep. So the thief is lying dead on the ground,

911
00:50:23,040 --> 00:50:25,920
Speaker 3: and then a strange monk comes out of nowhere or

912
00:50:26,600 --> 00:50:29,320
Speaker 3: actually so, I don't know exactly about all the offices

913
00:50:29,360 --> 00:50:32,960
Speaker 3: and hierarchies of the Russian Orthodox Church, but I don't know.

914
00:50:33,040 --> 00:50:36,200
Speaker 3: But I think this guy is presented as a monk,

915
00:50:36,239 --> 00:50:40,120
Speaker 3: but people are also calling him father, which in my knowledge,

916
00:50:40,120 --> 00:50:43,200
Speaker 3: which would mostly come from Catholicism, I think would be

917
00:50:43,280 --> 00:50:45,839
Speaker 3: a priest and not a monk. I think a monk

918
00:50:45,840 --> 00:50:48,319
Speaker 3: would be brother. But I don't know. Maybe I don't

919
00:50:48,320 --> 00:50:51,200
Speaker 3: know what I'm talking about there. Anyway, they call somebody

920
00:50:51,200 --> 00:50:54,200
Speaker 3: calls him a monk, but he's also called father. He

921
00:50:54,320 --> 00:50:57,320
Speaker 3: is some kind of religious official. He's in all black.

922
00:50:57,360 --> 00:50:59,800
Speaker 3: He kneels next to the thief's body and he begins

923
00:50:59,800 --> 00:51:03,759
Speaker 3: to chant. And this is father Poojardov. Again. He has

924
00:51:03,880 --> 00:51:08,320
Speaker 3: notes of Rasputant, a tangled, greasy, black beard, haunted eyes.

925
00:51:09,280 --> 00:51:11,479
Speaker 3: I think they put like dark makeup under his eyes

926
00:51:11,520 --> 00:51:15,720
Speaker 3: to make him look look kind of unwell in some way.

927
00:51:16,200 --> 00:51:19,200
Speaker 3: He looks like a man who has obsessions and who

928
00:51:19,320 --> 00:51:21,400
Speaker 3: is maybe just like not doing so hot.

929
00:51:22,040 --> 00:51:24,640
Speaker 2: Yeah, yeah, a lot of a lot of worm telling

930
00:51:24,760 --> 00:51:27,200
Speaker 2: energy to this character. Again, I love him anytime he's

931
00:51:27,239 --> 00:51:28,640
Speaker 2: on the screen. Yeah, he's a treat.

932
00:51:29,719 --> 00:51:33,040
Speaker 3: Now we meet another character as well. This is Inspector Mirov,

933
00:51:33,280 --> 00:51:36,120
Speaker 3: who is a guy who has sideburns connecting to a

934
00:51:36,200 --> 00:51:39,799
Speaker 3: mustache with no beard. So that's a good look. He

935
00:51:40,040 --> 00:51:42,759
Speaker 3: arrives on the platform and says that he knew the

936
00:51:42,840 --> 00:51:45,920
Speaker 3: dead man. He was a locksmith who operated as a

937
00:51:45,920 --> 00:51:48,280
Speaker 3: thief on the side. Or he calls him a locksmith.

938
00:51:48,320 --> 00:51:50,040
Speaker 3: I don't know if maybe that just means like he's

939
00:51:50,040 --> 00:51:53,360
Speaker 3: a thief who was good at picking locks, but anyway,

940
00:51:53,400 --> 00:51:56,120
Speaker 3: he says that he could open any lock with a hairpin,

941
00:51:56,840 --> 00:51:59,359
Speaker 3: and then father Poojardov says, but wait a minute, how

942
00:51:59,400 --> 00:52:02,480
Speaker 3: could this guy be a thief because he is blind

943
00:52:02,680 --> 00:52:04,799
Speaker 3: and they show his face again referring to the all

944
00:52:04,800 --> 00:52:08,520
Speaker 3: white eyes, and Inspector Mirov is shocked to see this

945
00:52:08,640 --> 00:52:11,600
Speaker 3: and he says, like, my god, implying he was not

946
00:52:11,800 --> 00:52:15,360
Speaker 3: like this before. So he's previously known to this policeman,

947
00:52:16,160 --> 00:52:19,240
Speaker 3: but was not always like this, So something has happened

948
00:52:19,280 --> 00:52:23,560
Speaker 3: to him, and Pujardov starts to get really amped up

949
00:52:23,600 --> 00:52:26,000
Speaker 3: here he says that it's the work of the devil,

950
00:52:26,360 --> 00:52:28,480
Speaker 3: and then he turns his attention to the crate. He

951
00:52:28,560 --> 00:52:31,040
Speaker 3: runs over to the crate starts shaking it to pry

952
00:52:31,080 --> 00:52:34,320
Speaker 3: it open, but he is interrupted by Saxton. So Christopher

953
00:52:34,400 --> 00:52:37,560
Speaker 3: Lee comes out wearing this tall black what do you

954
00:52:37,600 --> 00:52:39,120
Speaker 3: call this kind of hat? I don't know, It's like

955
00:52:39,160 --> 00:52:43,479
Speaker 3: the sort of cylindrical black Russian hat, and he says,

956
00:52:43,480 --> 00:52:47,480
Speaker 3: can I be of any assistance father, And Poujardov says,

957
00:52:47,520 --> 00:52:49,480
Speaker 3: you know, whatever you've got in this crate here is

958
00:52:49,719 --> 00:52:54,560
Speaker 3: unholy and it must be destroyed. And Saxton explains to

959
00:52:54,760 --> 00:52:57,600
Speaker 3: Inspector Mirov that the death could not have been caused

960
00:52:57,640 --> 00:52:59,920
Speaker 3: by the contents of the crate because the crate contains

961
00:53:00,080 --> 00:53:03,480
Speaker 3: only fossils. And here is where we get the explanation.

962
00:53:04,080 --> 00:53:06,480
Speaker 3: Mirov is like, what is a fossil? I've never heard

963
00:53:06,480 --> 00:53:14,000
Speaker 3: of that, and Saxton explains that a fossil is a stone. Now,

964
00:53:14,320 --> 00:53:17,520
Speaker 3: for some reason, Poojardov is not calmed by this. He's

965
00:53:17,600 --> 00:53:20,480
Speaker 3: like stones, And then we get a chiming of an

966
00:53:20,560 --> 00:53:23,120
Speaker 3: ominous bell, which at first I thought was on the soundtrack,

967
00:53:23,200 --> 00:53:25,520
Speaker 3: but I think it's actually the train. It's a you know,

968
00:53:25,680 --> 00:53:29,839
Speaker 3: diegetic sound effect of the train. And then Father Poujardov

969
00:53:29,920 --> 00:53:33,719
Speaker 3: goes on to explain, quote, where there is God, there

970
00:53:33,800 --> 00:53:36,960
Speaker 3: is always a place for the cross, even on this

971
00:53:37,160 --> 00:53:40,040
Speaker 3: stone floor. Just so. So he pulls out a piece

972
00:53:40,080 --> 00:53:44,000
Speaker 3: of chalk and he draws across on the train platform,

973
00:53:44,360 --> 00:53:48,640
Speaker 3: and then he says, but Satan is evil, and where

974
00:53:48,680 --> 00:53:51,440
Speaker 3: there is evil, there is no place for the cross.

975
00:53:51,800 --> 00:53:54,680
Speaker 3: And then he tries to draw across on the canvas

976
00:53:54,719 --> 00:53:57,080
Speaker 3: on the side of the crate, and the chalk won't

977
00:53:57,120 --> 00:54:00,880
Speaker 3: leave a mark. I have questions about this. Does chalk

978
00:54:00,920 --> 00:54:06,400
Speaker 3: normally draw well on canvash this?

979
00:54:05,960 --> 00:54:09,160
Speaker 2: This is ludicrous, you know, It's like this seems like

980
00:54:09,200 --> 00:54:11,799
Speaker 2: a place for something that's a little more ambiguous, like

981
00:54:12,200 --> 00:54:15,879
Speaker 2: birds will not light on this crate, which means there's

982
00:54:15,880 --> 00:54:18,160
Speaker 2: something on holy in it, or you know, a common

983
00:54:18,200 --> 00:54:21,160
Speaker 2: thing is oh well, cats hiss at it, dogs bark

984
00:54:21,200 --> 00:54:23,839
Speaker 2: at it, that sort of thing. But you can't draw

985
00:54:23,880 --> 00:54:27,000
Speaker 2: on it with chalk. It's a little harder to buy,

986
00:54:27,800 --> 00:54:31,120
Speaker 2: like you probably can. And if you can't, the answer

987
00:54:31,239 --> 00:54:35,680
Speaker 2: is entirely material. It's not based on like holiness.

988
00:54:35,920 --> 00:54:38,279
Speaker 3: Well, it's even more than that. So it's not just

989
00:54:38,320 --> 00:54:40,400
Speaker 3: that you can't draw on it. It's that you can't

990
00:54:40,520 --> 00:54:41,840
Speaker 3: draw a cross.

991
00:54:42,600 --> 00:54:44,120
Speaker 2: So you should be able to at least start the

992
00:54:44,120 --> 00:54:46,080
Speaker 2: cross and not finish it exactly.

993
00:54:46,160 --> 00:54:48,360
Speaker 3: Yeah, you should be able to draw like one line,

994
00:54:48,360 --> 00:54:50,720
Speaker 3: but I don't know. The second line wouldn't work or something.

995
00:54:51,320 --> 00:54:53,920
Speaker 3: Satan will tolerate a line, but if.

996
00:54:53,800 --> 00:54:56,880
Speaker 2: You draw the cross upside down, Satan's okay with it.

997
00:54:57,120 --> 00:54:58,200
Speaker 2: But then you flip the crate.

998
00:54:58,360 --> 00:55:03,960
Speaker 3: What happened. Satan must know that you're planning on drawing

999
00:55:04,000 --> 00:55:06,480
Speaker 3: across before you start, and that's why he won't even

1000
00:55:06,520 --> 00:55:07,800
Speaker 3: let you get the one line.

1001
00:55:08,360 --> 00:55:11,120
Speaker 2: Yeah, at any rate, this is how it goes down.

1002
00:55:11,320 --> 00:55:15,719
Speaker 2: And of course the non religious types present don't buy it.

1003
00:55:15,719 --> 00:55:17,240
Speaker 2: They're like, this is some sort of a trick.

1004
00:55:17,160 --> 00:55:22,200
Speaker 3: Or whatever exactly. Saxton says, rubbish, a conjuous trick. Anyway,

1005
00:55:22,360 --> 00:55:24,919
Speaker 3: they take the body of the locksmith away. They load

1006
00:55:24,960 --> 00:55:27,800
Speaker 3: the fossil crate into the train and the baggage car.

1007
00:55:28,800 --> 00:55:31,360
Speaker 3: Somewhere in here, there's a moment where Saxton and Wells

1008
00:55:31,440 --> 00:55:34,239
Speaker 3: are standing next to the crate and the crate kind

1009
00:55:34,280 --> 00:55:39,280
Speaker 3: of groans, and then Saxton checks inside but nothing seems amiss.

1010
00:55:39,560 --> 00:55:42,480
Speaker 3: But Wells has questions. He's like, you know, ooh, I

1011
00:55:42,480 --> 00:55:44,200
Speaker 3: want to know, you know, what's in the crate. And

1012
00:55:44,600 --> 00:55:46,600
Speaker 3: Saxon isn't gonna tell him anything. He's like, you can

1013
00:55:46,640 --> 00:55:49,920
Speaker 3: read about it in the Society's annual report. You know,

1014
00:55:49,960 --> 00:55:53,200
Speaker 3: it's just a fossil. But Wells is not buying it.

1015
00:55:53,239 --> 00:55:56,560
Speaker 3: He's like, you heard it's making sounds. There is something

1016
00:55:56,640 --> 00:55:59,719
Speaker 3: alive in there, and Saxton is like, nope, nope, nothing

1017
00:55:59,719 --> 00:56:03,200
Speaker 3: a lot there. And there's some joke that really I

1018
00:56:03,239 --> 00:56:06,719
Speaker 3: think does not land very well. Wells says, you won't

1019
00:56:06,760 --> 00:56:09,840
Speaker 3: need to feed it then, and Saxton says the occupant

1020
00:56:09,880 --> 00:56:13,239
Speaker 3: hasn't eaten in two million years, and Wells says, that's

1021
00:56:13,280 --> 00:56:15,400
Speaker 3: one way to economize on food bills.

1022
00:56:16,200 --> 00:56:19,080
Speaker 2: Yeah, they have. There are a few gags thrown in

1023
00:56:19,120 --> 00:56:22,640
Speaker 2: here at times between these two, and sometimes they land,

1024
00:56:22,680 --> 00:56:23,439
Speaker 2: sometimes they don't.

1025
00:56:23,800 --> 00:56:26,040
Speaker 3: I feel like that one could have used another few

1026
00:56:26,040 --> 00:56:27,120
Speaker 3: minutes in the writer's room.

1027
00:56:27,880 --> 00:56:29,160
Speaker 2: There's a good one coming up though.

1028
00:56:37,840 --> 00:56:40,560
Speaker 3: Now. As the train leaves the station for the Trans

1029
00:56:40,560 --> 00:56:44,440
Speaker 3: Siberian Railroad, we start to meet more of the characters.

1030
00:56:44,520 --> 00:56:48,400
Speaker 3: We meet the character of Countess Irena. This is Silvia Tortosa.

1031
00:56:48,760 --> 00:56:51,040
Speaker 3: She comes into the baggage car with a dog in

1032
00:56:51,080 --> 00:56:55,480
Speaker 3: her arms, and so, I don't know how you interpreted this.

1033
00:56:56,000 --> 00:57:00,040
Speaker 3: The dog is supposed to be freaking out because it

1034
00:57:00,080 --> 00:57:03,520
Speaker 3: doesn't like whatever's in the crate. But it looked to

1035
00:57:03,560 --> 00:57:06,760
Speaker 3: me like this dog was just not into filming this scene.

1036
00:57:06,840 --> 00:57:09,520
Speaker 3: It's like squirming trying to get out of her arms.

1037
00:57:09,560 --> 00:57:11,200
Speaker 3: It does not want to be in this movie.

1038
00:57:11,960 --> 00:57:14,080
Speaker 2: So maybe they didn't go with an actor dog. They

1039
00:57:14,160 --> 00:57:17,520
Speaker 2: went with just somebody's untrained pet.

1040
00:57:17,920 --> 00:57:21,120
Speaker 3: They got what they could get anyway. The countess is

1041
00:57:21,160 --> 00:57:23,840
Speaker 3: here to drop off a valuable parcel to be stored

1042
00:57:23,880 --> 00:57:25,840
Speaker 3: in the safe in the baggage car. She hands it

1043
00:57:25,840 --> 00:57:28,160
Speaker 3: off to the baggage man. But she also gets to

1044
00:57:28,200 --> 00:57:31,920
Speaker 3: meet our English heroes. So her intro is to come

1045
00:57:32,000 --> 00:57:35,360
Speaker 3: up to Christopher Lee and she's like, a Linka is

1046
00:57:35,400 --> 00:57:37,480
Speaker 3: afraid of whatever you have in that crate. The dog's

1047
00:57:37,560 --> 00:57:40,920
Speaker 3: name is a Linka, and he responds there's nothing in

1048
00:57:40,960 --> 00:57:43,480
Speaker 3: this crate that would interest a Linka, And then the

1049
00:57:43,520 --> 00:57:48,600
Speaker 3: conversation gets weird. The countess says, normally she likes englishmen

1050
00:57:48,960 --> 00:57:56,920
Speaker 3: all we polls do oh yes, England Queen Victoria crumpets Shakespeare. Okay,

1051
00:57:57,880 --> 00:58:01,200
Speaker 3: Saxton says, I admire Poland I believe there is a

1052
00:58:01,240 --> 00:58:04,760
Speaker 3: bond between our two countries. And then the Countess says,

1053
00:58:04,800 --> 00:58:08,080
Speaker 3: my husband, the count Petrowski says that in the fifteenth century,

1054
00:58:08,120 --> 00:58:11,760
Speaker 3: your king Henry betrayed us to the Russians. Mmmm, and

1055
00:58:11,880 --> 00:58:16,240
Speaker 3: Saxton's like, well, I apologize, And the whole time the

1056
00:58:16,320 --> 00:58:21,600
Speaker 3: dog is going nuts. Eventually, Saxton and the Countess leave

1057
00:58:21,640 --> 00:58:24,480
Speaker 3: to go back to the passenger carriage. He escorts her

1058
00:58:24,480 --> 00:58:27,040
Speaker 3: back to her car, but on the way we get

1059
00:58:27,040 --> 00:58:30,360
Speaker 3: to meet another character. He actually says, I think that

1060
00:58:30,400 --> 00:58:33,600
Speaker 3: he's an engineer, but he is our scientist character. This

1061
00:58:33,760 --> 00:58:39,560
Speaker 3: is Yev Tushenko, and Saxton stops along the way and

1062
00:58:39,800 --> 00:58:43,360
Speaker 3: leans into his compartment because he I don't know. I

1063
00:58:43,400 --> 00:58:45,960
Speaker 3: think he's dropped something or oh, yeah, it's a chess

1064
00:58:45,960 --> 00:58:48,000
Speaker 3: piece or something like that. No, no, no, well wait

1065
00:58:48,120 --> 00:58:49,480
Speaker 3: is it a chess piece or is it a piece

1066
00:58:49,520 --> 00:58:51,840
Speaker 3: of chalk? Because the scene involves a piece of chalk.

1067
00:58:52,200 --> 00:58:55,080
Speaker 2: Is so he is furiously playing chess with himself. The

1068
00:58:55,120 --> 00:58:57,720
Speaker 2: whole time we see pretty much, but this scene he

1069
00:58:57,760 --> 00:59:00,440
Speaker 2: does have the piece of chalk, because he's like, the

1070
00:59:00,480 --> 00:59:02,720
Speaker 2: piece of chalk that would not write on the crate.

1071
00:59:02,760 --> 00:59:06,520
Speaker 2: I collected it and I analyzed it, and it is

1072
00:59:06,640 --> 00:59:08,240
Speaker 2: just normal chalk bump bump.

1073
00:59:08,080 --> 00:59:11,200
Speaker 3: Bum, Right. I am an engineer, a scientist, and this

1074
00:59:11,240 --> 00:59:14,320
Speaker 3: is ordinary chalk. But I don't know how do you

1075
00:59:14,440 --> 00:59:18,080
Speaker 3: determine that. Are you a specialist in chalk? I'm I'm

1076
00:59:18,080 --> 00:59:20,440
Speaker 3: a I have a degree in chalk studies.

1077
00:59:20,320 --> 00:59:23,280
Speaker 2: I guess. Or then it also raises the question, It's like,

1078
00:59:23,280 --> 00:59:25,800
Speaker 2: like you could never just use mundane chalk to pull

1079
00:59:25,800 --> 00:59:27,840
Speaker 2: off some sort of a scam or a trick.

1080
00:59:27,720 --> 00:59:30,840
Speaker 3: Right, yeah, yeah, that's right, So you have two Shanko

1081
00:59:31,000 --> 00:59:33,840
Speaker 3: is like, because I'm a scientist, I can verify that

1082
00:59:33,920 --> 00:59:36,160
Speaker 3: this should have written on the canvas on the side

1083
00:59:36,160 --> 00:59:38,160
Speaker 3: of the crate. Why did it not write on the crate?

1084
00:59:38,520 --> 00:59:43,760
Speaker 3: And Saxton says, hypnosis yoga. These mystics can be terribly convincing.

1085
00:59:43,920 --> 00:59:48,040
Speaker 3: They can even hypnotize themselves. It doesn't seem like an answer.

1086
00:59:48,280 --> 00:59:51,520
Speaker 2: The power of yoga can can definitely keep you from

1087
00:59:51,560 --> 00:59:52,680
Speaker 2: marking on things with chalk.

1088
00:59:53,520 --> 00:59:56,120
Speaker 3: Meanwhile, Cushing is back in the baggage car and this

1089
00:59:56,200 --> 00:59:58,360
Speaker 3: is where he's offering a bribe to the baggage man

1090
00:59:58,440 --> 01:00:01,000
Speaker 3: to drill a hole in Saxony box and take a

1091
01:00:01,000 --> 01:00:04,560
Speaker 3: look at what's inside. Wells is really interested in this,

1092
01:00:04,680 --> 01:00:08,400
Speaker 3: he really wants to know. Later, we meet another character.

1093
01:00:08,440 --> 01:00:12,760
Speaker 3: We meet Helga Line as Natasha. She is in the

1094
01:00:12,800 --> 01:00:17,800
Speaker 3: compartment with Wells and she's like, I'm in trouble. I

1095
01:00:17,840 --> 01:00:19,480
Speaker 3: have to get out of Shanghai, but I don't have

1096
01:00:19,520 --> 01:00:23,120
Speaker 3: a ticket. I need to stay in your compartment. Oh

1097
01:00:23,160 --> 01:00:26,240
Speaker 3: and for some reason, also, Wells and Saxton are bunk

1098
01:00:26,280 --> 01:00:29,400
Speaker 3: mates on the train. It's just sort of an odd

1099
01:00:29,400 --> 01:00:29,920
Speaker 3: couple thing.

1100
01:00:30,360 --> 01:00:32,200
Speaker 2: Yeah, there are parents, all three of them are staying

1101
01:00:32,240 --> 01:00:36,200
Speaker 2: in this one cabin somehow. Yes, so they're making it work,

1102
01:00:36,240 --> 01:00:40,000
Speaker 2: you know, but I'm not sure where everybody's sleeping here.

1103
01:00:40,600 --> 01:00:43,440
Speaker 3: Anyway. This is all working up to the very first

1104
01:00:43,600 --> 01:00:47,040
Speaker 3: murder on board the train. So we did have one

1105
01:00:47,120 --> 01:00:49,840
Speaker 3: murder at the station, but now something is on the

1106
01:00:49,880 --> 01:00:54,680
Speaker 3: train itself. So the baggage man, this is the bald

1107
01:00:54,720 --> 01:00:58,000
Speaker 3: guy with the tremendous mutton chops. He has been paid

1108
01:00:58,000 --> 01:01:01,560
Speaker 3: off by Wells to peek inside Saxton's crate and see

1109
01:01:01,560 --> 01:01:04,680
Speaker 3: what's in there. So in the night he drills a

1110
01:01:04,720 --> 01:01:08,280
Speaker 3: hole in the wood and he peeps in to see

1111
01:01:08,280 --> 01:01:11,440
Speaker 3: what's inside, and then he steps away for a minute.

1112
01:01:11,880 --> 01:01:15,440
Speaker 3: And while he has stepped away, we see a hairy

1113
01:01:15,480 --> 01:01:20,840
Speaker 3: fossil hand reaching out from the crate and ooh, it's good.

1114
01:01:20,920 --> 01:01:23,080
Speaker 3: It's a good hand. I was thinking of it as

1115
01:01:23,080 --> 01:01:25,120
Speaker 3: a were wolf hand. I know the creature is not

1116
01:01:25,200 --> 01:01:28,400
Speaker 3: a were wolf, but we see a lot of its

1117
01:01:28,520 --> 01:01:31,560
Speaker 3: body without seeing its face in the movie, and every

1118
01:01:31,560 --> 01:01:34,160
Speaker 3: time you see its hand or something, it's were wolf.

1119
01:01:34,480 --> 01:01:37,000
Speaker 2: Yeah. I guess. It's like it's technically supposed to be

1120
01:01:37,200 --> 01:01:41,560
Speaker 2: some sort of an ape creature, I guess, but it

1121
01:01:41,600 --> 01:01:44,120
Speaker 2: doesn't like straight up look like an ape creature. It's

1122
01:01:44,120 --> 01:01:46,160
Speaker 2: really if we see more and more of it, I

1123
01:01:46,200 --> 01:01:49,600
Speaker 2: think it's a pretty quality monster. A costume it like,

1124
01:01:49,680 --> 01:01:53,520
Speaker 2: it doesn't read just undead gorilla. It doesn't read were wolf.

1125
01:01:53,600 --> 01:01:56,080
Speaker 2: It feels unique unto itself.

1126
01:01:55,960 --> 01:01:58,240
Speaker 3: Sort of red eyed skeleton yetti.

1127
01:01:58,920 --> 01:01:59,520
Speaker 2: Yeah.

1128
01:01:59,600 --> 01:02:03,840
Speaker 3: Anyway, what does this wolfhand do? Well, it reaches out

1129
01:02:03,920 --> 01:02:07,160
Speaker 3: of out of the hole in the crate, and it

1130
01:02:07,280 --> 01:02:11,520
Speaker 3: feels around in its environment, and it finds a nail,

1131
01:02:11,760 --> 01:02:14,600
Speaker 3: and it picks up the nail and it bends the

1132
01:02:14,640 --> 01:02:17,320
Speaker 3: tip of the nail and then inserts the tip of

1133
01:02:17,360 --> 01:02:20,920
Speaker 3: the nail into the lock, the padlock on the chains

1134
01:02:20,920 --> 01:02:23,600
Speaker 3: around the crate and picks the lock.

1135
01:02:24,360 --> 01:02:26,880
Speaker 2: Yeah, which is it seems pretty astounding at this point.

1136
01:02:27,000 --> 01:02:30,000
Speaker 2: Usually you don't think about your crate dwellers being capable

1137
01:02:30,080 --> 01:02:34,600
Speaker 2: of creating an impromptu lock pick and dealing with a

1138
01:02:34,640 --> 01:02:38,880
Speaker 2: mechanism like this. Certainly the crate dweller in Stephen King's

1139
01:02:38,880 --> 01:02:41,880
Speaker 2: creep Show wouldn't have pulled this off, that's right. But

1140
01:02:42,160 --> 01:02:43,880
Speaker 2: it'll all make sense as we proceed.

1141
01:02:44,160 --> 01:02:47,080
Speaker 3: That's right. This creature has powers that the crate dweller

1142
01:02:47,120 --> 01:02:50,640
Speaker 3: does not. So the baggage man returns, and when he does,

1143
01:02:50,720 --> 01:02:54,840
Speaker 3: we get our first image of what happens. What the

1144
01:02:54,920 --> 01:02:57,840
Speaker 3: creature in this movie does to people. It is the

1145
01:02:58,080 --> 01:03:02,120
Speaker 3: eye beam lock. Wait, I guess that's kind of confusing

1146
01:03:02,160 --> 01:03:04,640
Speaker 3: because an i beam is actually something used in construction.

1147
01:03:04,720 --> 01:03:09,200
Speaker 3: But can we describe what it does? It looks out

1148
01:03:09,280 --> 01:03:12,960
Speaker 3: with red eyes into the eyes of its victim, and

1149
01:03:13,040 --> 01:03:15,920
Speaker 3: a type of fatal hypnosis begins.

1150
01:03:16,480 --> 01:03:18,480
Speaker 2: Yeah, with I think a single red eye, like it

1151
01:03:18,520 --> 01:03:21,760
Speaker 2: only has one functional eyeball anymore, but it glows red

1152
01:03:22,160 --> 01:03:25,440
Speaker 2: and it instantly like captivates you and then has a

1153
01:03:25,480 --> 01:03:29,520
Speaker 2: fatal effect on you, leaving you with like boiled egg,

1154
01:03:29,600 --> 01:03:33,680
Speaker 2: white eyes, blood coming out of your pores and your face,

1155
01:03:34,160 --> 01:03:35,400
Speaker 2: and you are of course dead.

1156
01:03:35,680 --> 01:03:38,600
Speaker 3: Yeah, that's right, pingpong ball eyes, blood coming out of

1157
01:03:38,600 --> 01:03:41,080
Speaker 3: the eyes, blood coming out of the nose, dead on

1158
01:03:41,120 --> 01:03:46,400
Speaker 3: the floor. And what happens after that, who knows. So anyway,

1159
01:03:46,480 --> 01:03:50,320
Speaker 3: elsewhere on the train, we go to the private car

1160
01:03:50,360 --> 01:03:54,480
Speaker 3: of Countess Irena, Father Poojardov, and a new character, Count Petrowski,

1161
01:03:55,200 --> 01:03:59,760
Speaker 3: IRENA's husband. So it's a luxurious first class cabin with

1162
01:03:59,800 --> 01:04:04,560
Speaker 3: fan furniture, drapes, embroidered drapes and so forth, and Pujardov

1163
01:04:04,640 --> 01:04:07,000
Speaker 3: is like, there's a stink of hell on this train.

1164
01:04:07,120 --> 01:04:10,400
Speaker 3: Even the dog knows it. And the Count and the

1165
01:04:10,440 --> 01:04:14,720
Speaker 3: Countess are discussing what dress the Countess should wear to

1166
01:04:14,840 --> 01:04:20,480
Speaker 3: best manipulate the Englishman, and Pujardov disapproves of this conversation.

1167
01:04:20,960 --> 01:04:24,000
Speaker 3: He's like, you're making a mockery, you're jesting with her

1168
01:04:24,040 --> 01:04:28,040
Speaker 3: immortal soul. And the count says, that's why we keep you, Pujardov.

1169
01:04:28,080 --> 01:04:32,040
Speaker 3: Our immortal souls are your concerns. So they're outsourcing holiness.

1170
01:04:33,280 --> 01:04:38,000
Speaker 3: And then after he has chastened Father Pujardov says, forgive

1171
01:04:38,040 --> 01:04:40,960
Speaker 3: me your excellency and my concern for the spiritual welfare

1172
01:04:40,960 --> 01:04:44,200
Speaker 3: of the Countess. I forgot myself. I will pray for humility,

1173
01:04:44,920 --> 01:04:48,320
Speaker 3: and the count says, pray hard, Poojardov, or you will

1174
01:04:48,360 --> 01:04:52,240
Speaker 3: find yourself praying for a job too. So Pujardov. You

1175
01:04:52,280 --> 01:04:56,280
Speaker 3: know he fancies himself this this unshakable principled man of God.

1176
01:04:56,320 --> 01:04:59,120
Speaker 3: But really he's a craven worshiper of power and he

1177
01:04:59,160 --> 01:05:00,240
Speaker 3: wants that paycheck.

1178
01:05:00,560 --> 01:05:03,200
Speaker 2: Yeah. I love how he's like, you know, or else

1179
01:05:03,240 --> 01:05:05,240
Speaker 2: you'll find yourself praying for a job. But you know what,

1180
01:05:05,400 --> 01:05:09,960
Speaker 2: but Jordov is already shopping around. He's been updating his

1181
01:05:10,320 --> 01:05:13,080
Speaker 2: spiritual LinkedIn profile. He's ready to go.

1182
01:05:13,720 --> 01:05:16,800
Speaker 3: Oh. Also in the scene, it's notable that they the

1183
01:05:16,920 --> 01:05:21,000
Speaker 3: characters in this carriage, they hear the repeatedly whistled melody,

1184
01:05:21,280 --> 01:05:23,520
Speaker 3: you know, the melody that we heard in the opening credits,

1185
01:05:23,520 --> 01:05:25,800
Speaker 3: and the Countess tries to like play along on the piano.

1186
01:05:26,640 --> 01:05:28,880
Speaker 2: Yeah. I have no idea how I was supposed to

1187
01:05:28,920 --> 01:05:32,000
Speaker 2: interpret that is, this is the fossil beast whistling somewhere

1188
01:05:32,000 --> 01:05:35,480
Speaker 2: on the train and they're overhearing it. I'm not sure,

1189
01:05:35,640 --> 01:05:38,560
Speaker 2: but still it's such a great little creepy ditty. I'm

1190
01:05:38,560 --> 01:05:40,040
Speaker 2: happy to hear it every time they play it.

1191
01:05:40,880 --> 01:05:45,480
Speaker 3: Anyway, there is a confrontation after the baggage man goes missing.

1192
01:05:45,600 --> 01:05:48,760
Speaker 3: Inspector Mirov is sort of the police presence for this

1193
01:05:49,040 --> 01:05:54,160
Speaker 3: portion of the film, and he questioned Saxton on the crate.

1194
01:05:54,240 --> 01:05:55,959
Speaker 3: He's like, what exactly have you got in that crate?

1195
01:05:56,000 --> 01:05:57,680
Speaker 3: I need you to open it, And at one point

1196
01:05:57,680 --> 01:06:02,720
Speaker 3: he has his soldiers threatened. Threatened Saxton say give me

1197
01:06:02,760 --> 01:06:06,720
Speaker 3: the key to the padlock or or you know, or else.

1198
01:06:06,760 --> 01:06:08,280
Speaker 3: I guess we're gonna hit you with the butt of

1199
01:06:08,280 --> 01:06:11,640
Speaker 3: the s gun. And Saxton is very brittle as usual.

1200
01:06:11,680 --> 01:06:13,680
Speaker 3: He's like no, and he throws the key out the

1201
01:06:13,680 --> 01:06:17,920
Speaker 3: window of the moving train. That's how how protective he

1202
01:06:18,040 --> 01:06:22,000
Speaker 3: is of his quote fossil. But they get it open anyway.

1203
01:06:22,040 --> 01:06:24,360
Speaker 3: I think they just get a guy with an axe too.

1204
01:06:24,760 --> 01:06:27,480
Speaker 3: This is I remember, one of the least convincing looking

1205
01:06:27,520 --> 01:06:29,920
Speaker 3: effects shots in the movie is the guy using the

1206
01:06:29,960 --> 01:06:32,160
Speaker 3: axe to open the crate because he's just kind of going.

1207
01:06:34,280 --> 01:06:36,680
Speaker 3: But they get it open, and what do they find inside?

1208
01:06:36,800 --> 01:06:39,880
Speaker 3: Is it the fossil? No, it is the baggage man

1209
01:06:40,120 --> 01:06:42,680
Speaker 3: with the hard boiled egg eyes and the blood running

1210
01:06:42,680 --> 01:06:46,240
Speaker 3: down his face, and thus the murder mystery begins.

1211
01:06:46,720 --> 01:06:48,960
Speaker 2: Yeah, not only did the fossil beasts pick the lock

1212
01:06:49,360 --> 01:06:52,280
Speaker 2: and climb out, but killed the man, put him back

1213
01:06:52,320 --> 01:06:55,720
Speaker 2: in in in his place inside the crate, and then

1214
01:06:55,760 --> 01:06:56,320
Speaker 2: locked it up.

1215
01:06:56,640 --> 01:06:58,840
Speaker 3: Okay, from here on I think we should we should

1216
01:06:58,880 --> 01:07:01,280
Speaker 3: go in a little bit less by scene detail and

1217
01:07:01,360 --> 01:07:03,760
Speaker 3: instead talk in some of the broad strokes. But there

1218
01:07:03,840 --> 01:07:07,480
Speaker 3: is a lot of good stuff left to discuss. One

1219
01:07:07,560 --> 01:07:10,160
Speaker 3: of the things is, oh, you remember there's this there's

1220
01:07:10,200 --> 01:07:12,680
Speaker 3: this great scene where some of the scientific themes of

1221
01:07:12,720 --> 01:07:16,920
Speaker 3: the movie are articulated. So the Countess comes to visit

1222
01:07:17,680 --> 01:07:21,680
Speaker 3: Professor Saxton in his room while they're all dining, you know.

1223
01:07:21,800 --> 01:07:24,280
Speaker 3: So there's a shot in the dining car where Professor

1224
01:07:24,280 --> 01:07:28,960
Speaker 3: Wells and I believe Natasha are having dinner and Wells

1225
01:07:29,160 --> 01:07:32,720
Speaker 3: ends up seeing a boiled fish and its eyeball is

1226
01:07:32,880 --> 01:07:35,760
Speaker 3: entirely white, and he's like, look, the eyeball is white,

1227
01:07:35,880 --> 01:07:40,080
Speaker 3: and yet yet Vushenko, oh yev Tushenko, I think is

1228
01:07:40,720 --> 01:07:42,400
Speaker 3: his name, he's there and he's like, oh, yes, of

1229
01:07:42,400 --> 01:07:44,720
Speaker 3: course it's white. It's a boiled fish, and this is

1230
01:07:44,760 --> 01:07:48,840
Speaker 3: a reveal for some reason. But we also get the

1231
01:07:48,880 --> 01:07:52,600
Speaker 3: scene with Saxton and the Countess in his compartment where

1232
01:07:52,640 --> 01:07:55,920
Speaker 3: he's dining alone and she joins him, and she asks

1233
01:07:56,000 --> 01:07:58,520
Speaker 3: him about what it was in the crate, the importance

1234
01:07:58,560 --> 01:08:01,360
Speaker 3: of this fossil, and he says, well, well, this fossil

1235
01:08:01,400 --> 01:08:04,200
Speaker 3: is very important. It could change our entire understanding of

1236
01:08:04,280 --> 01:08:08,000
Speaker 3: science because it could prove correct the theory of evolution.

1237
01:08:08,640 --> 01:08:11,120
Speaker 3: And she's like, oh, no, evolution, that's immoral.

1238
01:08:11,760 --> 01:08:18,839
Speaker 2: Yeah, sounds evil or something. Yeah. It's like like no, no, no, no.

1239
01:08:18,800 --> 01:08:21,240
Speaker 3: But I think that's how we're supposed to understand Professor Saxton.

1240
01:08:21,320 --> 01:08:24,320
Speaker 3: He's just very much devoted to the advancement of science

1241
01:08:24,360 --> 01:08:27,120
Speaker 3: and knowledge, to the point that, you know, if murders happen,

1242
01:08:27,200 --> 01:08:32,599
Speaker 3: that's just none of my business. Eventually, there are some

1243
01:08:32,760 --> 01:08:37,400
Speaker 3: more murders, and we get more scenes of characters becoming isolated,

1244
01:08:38,000 --> 01:08:41,880
Speaker 3: and when they get isolated, something comes up behind them

1245
01:08:42,320 --> 01:08:44,719
Speaker 3: and looks at them with red eyes, and then they

1246
01:08:44,760 --> 01:08:47,599
Speaker 3: too are left with the hard boiled egg eyes and

1247
01:08:47,680 --> 01:08:50,880
Speaker 3: the blood running out of them, and are eventually discovered.

1248
01:08:50,960 --> 01:08:54,880
Speaker 3: So there are there are multiple deaths by red eye

1249
01:08:54,960 --> 01:08:58,400
Speaker 3: hypnosis eventually leading up to a scene where there's sort

1250
01:08:58,400 --> 01:09:01,960
Speaker 3: of a false resolution of the conflict because there is

1251
01:09:02,000 --> 01:09:07,760
Speaker 3: a scene where Inspector Mirov catches the fossil creature, the

1252
01:09:08,360 --> 01:09:11,800
Speaker 3: sort of prehistoric ape creature with the red eye, in

1253
01:09:11,880 --> 01:09:14,280
Speaker 3: the act of doing a murder and then shoots it

1254
01:09:14,400 --> 01:09:20,200
Speaker 3: and it seems to fall down dead. The movie's over, right, So.

1255
01:09:20,400 --> 01:09:22,799
Speaker 2: At this point, as we've just got we've had bodies

1256
01:09:22,840 --> 01:09:25,960
Speaker 2: piling up, and then we also get the creature itself

1257
01:09:26,400 --> 01:09:29,840
Speaker 2: seemingly dead. We're gonna have to have some autopsies. We

1258
01:09:29,920 --> 01:09:33,080
Speaker 2: have like numerous autopsy scenes in this film, and they're

1259
01:09:33,120 --> 01:09:36,519
Speaker 2: all pretty great in that they're nice and gory and

1260
01:09:36,600 --> 01:09:40,400
Speaker 2: feel you feel like they're actually cutting into something. You

1261
01:09:40,439 --> 01:09:43,080
Speaker 2: know that the lighting's really nice. But we get some

1262
01:09:43,120 --> 01:09:46,080
Speaker 2: weird take homes from these autopsies and necropsies.

1263
01:09:46,160 --> 01:09:48,120
Speaker 3: Oh boy, do we ever. So yeah, there are a

1264
01:09:48,120 --> 01:09:50,880
Speaker 3: couple of different autopsies that reveal different things. One of

1265
01:09:50,880 --> 01:09:55,200
Speaker 3: them is the dissection of the victims of the prehistoric

1266
01:09:55,240 --> 01:09:58,200
Speaker 3: ape creature. So you know they're looking at them like, wow,

1267
01:09:58,240 --> 01:10:00,360
Speaker 3: the eyes are all messed up. But then for some

1268
01:10:00,439 --> 01:10:03,080
Speaker 3: reason doctor Wells is like, well, let's just saw this

1269
01:10:03,240 --> 01:10:05,840
Speaker 3: cranium open, get a look at that brain. I want

1270
01:10:05,840 --> 01:10:08,400
Speaker 3: to see the brain. So, you know, they cut the

1271
01:10:08,439 --> 01:10:10,760
Speaker 3: head open and they look at the brain and what

1272
01:10:10,840 --> 01:10:13,840
Speaker 3: do you know, there is not a wrinkle on it.

1273
01:10:14,040 --> 01:10:17,000
Speaker 3: There's a line involving one of my least favorite cliches

1274
01:10:17,040 --> 01:10:20,439
Speaker 3: in the English language. Miss Jones is looking at the

1275
01:10:20,479 --> 01:10:22,680
Speaker 3: dead guy's brain and she goes, smooth, it is a

1276
01:10:22,720 --> 01:10:27,160
Speaker 3: baby's bottom. And they show it and you know what,

1277
01:10:27,280 --> 01:10:29,880
Speaker 3: it's exactly right. There are no wrinkles. The brain just

1278
01:10:29,920 --> 01:10:33,160
Speaker 3: looks like it's like a butt. It's like a you know,

1279
01:10:33,200 --> 01:10:35,360
Speaker 3: it's got the line the hemisphere line down the middle,

1280
01:10:35,400 --> 01:10:36,599
Speaker 3: but it's like two butt cheeks.

1281
01:10:36,960 --> 01:10:39,720
Speaker 2: Yeah. Whatever this creature is doing to people, it is

1282
01:10:39,800 --> 01:10:43,519
Speaker 2: completely smoothing out their brain and turning it into just

1283
01:10:43,760 --> 01:10:46,559
Speaker 2: a big mass of smoothed out silly putty.

1284
01:10:46,960 --> 01:10:50,439
Speaker 3: Now, these scientists in the movie begin to explain what's

1285
01:10:50,479 --> 01:10:53,680
Speaker 3: going on there. They're like, well, you know, all the

1286
01:10:53,720 --> 01:10:58,440
Speaker 3: wrinkles in the brain represent all of your knowledge and memories.

1287
01:10:58,720 --> 01:11:02,080
Speaker 3: So if this creature is stealing the wrinkles out of

1288
01:11:02,080 --> 01:11:05,839
Speaker 3: people's brains and leaving the brain smooth as a baby's bottom,

1289
01:11:06,280 --> 01:11:08,840
Speaker 3: that means it is stealing all of their memories, so

1290
01:11:09,160 --> 01:11:11,760
Speaker 3: by killing them, it gains all of their knowledge.

1291
01:11:12,200 --> 01:11:16,200
Speaker 2: Okay, So at this point we can safely reveal that

1292
01:11:16,320 --> 01:11:20,519
Speaker 2: whatever this creature is, it keeps absorbing people's memories, absorbing

1293
01:11:20,520 --> 01:11:24,800
Speaker 2: their minds and moving forward through the train, through the

1294
01:11:24,800 --> 01:11:27,840
Speaker 2: plot with enhanced mental capabilities.

1295
01:11:28,000 --> 01:11:31,519
Speaker 3: That's right. And so it knows things like remember when

1296
01:11:31,520 --> 01:11:33,080
Speaker 3: we saw it bend to the nail and know how

1297
01:11:33,120 --> 01:11:35,280
Speaker 3: to pick a lock. One of the people it had

1298
01:11:35,280 --> 01:11:39,439
Speaker 3: already killed was the lock picker. Yeah, and so who

1299
01:11:39,479 --> 01:11:41,799
Speaker 3: all has it killed at this point? Wow, it really

1300
01:11:41,840 --> 01:11:44,200
Speaker 3: starts to get all kinds of knowledge. I think it

1301
01:11:44,200 --> 01:11:47,760
Speaker 3: gets the knowledge of because it kills Hellga Lina and

1302
01:11:47,800 --> 01:11:50,000
Speaker 3: she is revealed to be a spy, is that right?

1303
01:11:50,160 --> 01:11:52,840
Speaker 2: It had or a jewel thief, a jewel thief and

1304
01:11:52,960 --> 01:11:56,080
Speaker 2: or a spy. Okay, But because I think it gets

1305
01:11:56,080 --> 01:11:58,920
Speaker 2: her while she's stealing some jewels that are locked up

1306
01:11:58,920 --> 01:11:59,920
Speaker 2: in a safe.

1307
01:12:00,040 --> 01:12:02,120
Speaker 3: So it gets her kind of knowledge as a spy

1308
01:12:02,320 --> 01:12:04,439
Speaker 3: or a thief. It already has some thief knowledge about

1309
01:12:04,479 --> 01:12:07,559
Speaker 3: picking locks. It has the knowledge of the baggage man,

1310
01:12:07,600 --> 01:12:09,519
Speaker 3: which I guess is knowledge about like how the train

1311
01:12:09,640 --> 01:12:12,080
Speaker 3: works and everything. So it's just becoming more and more

1312
01:12:12,479 --> 01:12:16,439
Speaker 3: intellectually powerful as it piles up victims.

1313
01:12:16,760 --> 01:12:19,679
Speaker 2: Until it's shot and seemingly killed dead.

1314
01:12:19,840 --> 01:12:24,120
Speaker 3: Right, that's right. But once the ape creature is shot,

1315
01:12:24,560 --> 01:12:27,920
Speaker 3: they oh my god. Then begins another different type of

1316
01:12:28,360 --> 01:12:31,800
Speaker 3: dead body dissection, which is even better than the last one.

1317
01:12:31,840 --> 01:12:34,559
Speaker 3: So last time we learned about butt cheek brains. This

1318
01:12:34,640 --> 01:12:38,360
Speaker 3: time we're going to learn about how eyes work and

1319
01:12:38,400 --> 01:12:41,400
Speaker 3: the way eyes work in this movie. This is science

1320
01:12:41,920 --> 01:12:45,400
Speaker 3: is that if you stick a needle into an eyeball

1321
01:12:45,640 --> 01:12:48,240
Speaker 3: and extract some of the liquid inside it. I think

1322
01:12:48,280 --> 01:12:53,240
Speaker 3: in reality that's called aqueous humor or vitreous humor. The

1323
01:12:53,320 --> 01:12:56,120
Speaker 3: humor is inside the eyeball. You extract some of that

1324
01:12:56,200 --> 01:12:59,400
Speaker 3: in a needle, You squirt it out on a plate,

1325
01:12:59,560 --> 01:13:02,519
Speaker 3: and you put it under a magnifying glass. You can

1326
01:13:02,600 --> 01:13:05,840
Speaker 3: look into the liquid and see. At first, they say

1327
01:13:06,000 --> 01:13:11,240
Speaker 3: the last thing that the dead person saw before they died.

1328
01:13:11,640 --> 01:13:15,439
Speaker 3: And this actually does correspond to a pseudo scientific belief

1329
01:13:15,479 --> 01:13:20,520
Speaker 3: that people used to have what's this called retinal optography.

1330
01:13:21,160 --> 01:13:24,280
Speaker 2: Yeah, yeah, this is something I remember discussing this with

1331
01:13:24,360 --> 01:13:27,320
Speaker 2: Christian at one point back on an older episode of

1332
01:13:27,320 --> 01:13:29,760
Speaker 2: Stuff to Blow Your Mind. And yeah, it was the

1333
01:13:29,800 --> 01:13:35,040
Speaker 2: idea that you could that you could, as a forensic

1334
01:13:35,120 --> 01:13:39,320
Speaker 2: technique look at a person's eye and get an image

1335
01:13:39,320 --> 01:13:42,240
Speaker 2: of the last thing they saw, And so it ended

1336
01:13:42,320 --> 01:13:46,400
Speaker 2: up it was like cutting edge forensic info that was

1337
01:13:46,479 --> 01:13:49,000
Speaker 2: used in a lot of fiction of the time period

1338
01:13:49,040 --> 01:13:52,599
Speaker 2: of late nineteenth early twentieth century. So you know, by

1339
01:13:52,640 --> 01:13:56,200
Speaker 2: the time this movie is written and produced, it is

1340
01:13:56,479 --> 01:14:00,439
Speaker 2: very outdated and it's definitely been debunked. So it's but

1341
01:14:00,479 --> 01:14:03,559
Speaker 2: it is also kind of an interesting curio to throw in.

1342
01:14:04,120 --> 01:14:06,559
Speaker 2: It is always really stood out as just another like

1343
01:14:06,680 --> 01:14:10,160
Speaker 2: ludicrous aspect of this plot, along with discussions of what

1344
01:14:10,320 --> 01:14:12,840
Speaker 2: is and isn't a fossil and so forth.

1345
01:14:13,560 --> 01:14:16,800
Speaker 3: Right, well, no, it gets weirder because so I think

1346
01:14:16,840 --> 01:14:19,519
Speaker 3: the idea of that is you would look at the retina,

1347
01:14:19,560 --> 01:14:22,120
Speaker 3: you would like project through the retina and look on it,

1348
01:14:22,160 --> 01:14:24,040
Speaker 3: and you'd be able to see the last thing the

1349
01:14:24,080 --> 01:14:27,400
Speaker 3: person saw when they died, which is not correct, but

1350
01:14:27,479 --> 01:14:31,040
Speaker 3: this is like they're extracting little droplets of liquid from

1351
01:14:31,120 --> 01:14:32,280
Speaker 3: inside the eye.

1352
01:14:32,439 --> 01:14:35,400
Speaker 2: Right, they take it one step beyond, Like initially they

1353
01:14:35,439 --> 01:14:38,120
Speaker 2: pull up an image of the inspector shooting the monster. Okay,

1354
01:14:38,360 --> 01:14:42,520
Speaker 2: fair enough within the confines of the fiction of optography.

1355
01:14:42,560 --> 01:14:45,799
Speaker 2: That makes sense. But then they pull out an image

1356
01:14:45,840 --> 01:14:49,760
Speaker 2: of a dinosaur and they're looking at it on the microscope.

1357
01:14:49,760 --> 01:14:52,760
Speaker 2: It's like, look, this creature existed in the time of dinosaurs,

1358
01:14:52,800 --> 01:14:56,400
Speaker 2: because here is clear medical evidence that it once saw

1359
01:14:56,439 --> 01:14:58,160
Speaker 2: a brontosaurus in the wild.

1360
01:14:58,760 --> 01:15:03,160
Speaker 3: Right. It's looking at a Encyclopedia illustration from nineteen sixty

1361
01:15:03,479 --> 01:15:07,439
Speaker 3: seven of a brontosaurus, and it's just beautiful. This might

1362
01:15:07,439 --> 01:15:09,439
Speaker 3: have been my favorite moment of the whole movie when

1363
01:15:09,439 --> 01:15:13,320
Speaker 3: they got to the dinosaur. Yes. Oh, And it doesn't

1364
01:15:13,320 --> 01:15:16,080
Speaker 3: stop at the dinosaur because they're like, okay, so this

1365
01:15:16,120 --> 01:15:19,120
Speaker 3: thing was alive at the same time as dinosaurs, which

1366
01:15:19,160 --> 01:15:22,880
Speaker 3: is not true of any hominid human ancestor, you know,

1367
01:15:23,080 --> 01:15:26,840
Speaker 3: mammals at the time, there were no hominids. Yet then

1368
01:15:27,040 --> 01:15:29,559
Speaker 3: it gets weirder because they're like, okay, what's the next

1369
01:15:29,640 --> 01:15:32,559
Speaker 3: thing we can extract. They pull some more jelly out

1370
01:15:32,640 --> 01:15:34,360
Speaker 3: and they put it on another plate and they're looking

1371
01:15:34,400 --> 01:15:36,720
Speaker 3: at it and they're like, what's that. Oh, it's not

1372
01:15:36,840 --> 01:15:40,000
Speaker 3: a map. This is a picture of the Earth as

1373
01:15:40,040 --> 01:15:43,840
Speaker 3: seen from space. I was actually, I think this is

1374
01:15:43,880 --> 01:15:45,960
Speaker 3: a good scientific question. I don't know the answer right now.

1375
01:15:45,960 --> 01:15:47,920
Speaker 3: Maybe we can come back to this in listener mail

1376
01:15:48,000 --> 01:15:51,400
Speaker 3: or something. I was like, would somebody at the supposed

1377
01:15:51,640 --> 01:15:56,519
Speaker 3: time of this movie be able to recognize a picture

1378
01:15:56,560 --> 01:15:59,200
Speaker 3: of Earth from space? Obviously they never had a photograph

1379
01:15:59,240 --> 01:16:05,240
Speaker 3: of Earth's but would they have enough sort of ability

1380
01:16:05,280 --> 01:16:08,200
Speaker 3: to simulate what that would look like that they would

1381
01:16:08,240 --> 01:16:10,120
Speaker 3: recognize a real image.

1382
01:16:09,800 --> 01:16:13,000
Speaker 2: Of it, Well, especially if the imagery is lo fi,

1383
01:16:13,360 --> 01:16:16,040
Speaker 2: as seems to be the case here. Yeah, it seems

1384
01:16:16,080 --> 01:16:18,400
Speaker 2: like there maybe would be more room to misinterpret it

1385
01:16:18,439 --> 01:16:19,360
Speaker 2: as something else.

1386
01:16:19,400 --> 01:16:21,439
Speaker 3: But they immediately know what it is. They're like, this

1387
01:16:21,479 --> 01:16:25,160
Speaker 3: is the Earth from space, which means bomb, bumb bomb.

1388
01:16:25,479 --> 01:16:28,920
Speaker 3: This creature is not only from the time of the

1389
01:16:28,920 --> 01:16:33,360
Speaker 3: dinosaurs and able to absorb people's memories through its eyes,

1390
01:16:33,960 --> 01:16:36,080
Speaker 3: it also is an alien from outer space.

1391
01:16:36,720 --> 01:16:40,240
Speaker 2: Yeah, and this is the point where it's worth mentioning

1392
01:16:40,280 --> 01:16:42,880
Speaker 2: that some people say, well, this is obviously drawing a

1393
01:16:42,960 --> 01:16:46,639
Speaker 2: bit on the nineteen thirty eight sci fi horror novella

1394
01:16:46,880 --> 01:16:50,160
Speaker 2: by John W. Campbell, Who Goes There, which of course

1395
01:16:50,240 --> 01:16:52,559
Speaker 2: was the basis for the Thing from Another World John

1396
01:16:52,600 --> 01:16:55,640
Speaker 2: Carpenter's The Thing and so forth, Right, And you know,

1397
01:16:55,720 --> 01:16:57,640
Speaker 2: there are some parallels there. I don't know to what

1398
01:16:57,760 --> 01:17:02,280
Speaker 2: extent they you know, actually direct we based the plot

1399
01:17:02,520 --> 01:17:06,000
Speaker 2: of this film on who goes there, but you know,

1400
01:17:06,120 --> 01:17:07,880
Speaker 2: undeniable similarities.

1401
01:17:08,200 --> 01:17:11,519
Speaker 3: So we are learning all this, but roughly the same time,

1402
01:17:11,600 --> 01:17:14,880
Speaker 3: in the middle of the movie, you think that the

1403
01:17:15,240 --> 01:17:19,160
Speaker 3: monster has been killed, but strangely, we're seeing some kind

1404
01:17:19,160 --> 01:17:23,760
Speaker 3: of other creature whose face is not revealed, sneaking around

1405
01:17:23,840 --> 01:17:27,040
Speaker 3: on the train with another werewolf hand. It's got the claws,

1406
01:17:27,080 --> 01:17:30,920
Speaker 3: it's got the fingers. What's going on here, Well, it

1407
01:17:31,000 --> 01:17:34,679
Speaker 3: seems that the creature has created a copy of itself

1408
01:17:34,720 --> 01:17:38,960
Speaker 3: through sort of backwards eyeball hypnosis, so it can steal

1409
01:17:39,080 --> 01:17:42,439
Speaker 3: other people's minds by staring into their eyes. But we

1410
01:17:42,520 --> 01:17:46,120
Speaker 3: learn it can also transmit its own soul with all

1411
01:17:46,160 --> 01:17:48,479
Speaker 3: of its memories, out of its eyes, so it can

1412
01:17:48,560 --> 01:17:52,400
Speaker 3: upload or download into somebody else's brain, and it has

1413
01:17:52,520 --> 01:17:56,719
Speaker 3: done that with Inspector Mirror. Bumb bumb boom, yet another twist.

1414
01:17:57,040 --> 01:17:59,519
Speaker 2: It makes sense though, because like the Missing Link was

1415
01:17:59,560 --> 01:18:02,240
Speaker 2: not its original form, it's just a form it occupied,

1416
01:18:02,320 --> 01:18:05,000
Speaker 2: and now it has a new host, but the whole

1417
01:18:05,080 --> 01:18:09,040
Speaker 2: monster hand, like now Mirov has the monster hand. And

1418
01:18:09,320 --> 01:18:12,360
Speaker 2: when I first saw that in my recent rewatch of it,

1419
01:18:12,400 --> 01:18:14,479
Speaker 2: I was like, did I miss something? How did has

1420
01:18:14,560 --> 01:18:16,960
Speaker 2: he get the monster hand on his body? There's no

1421
01:18:17,000 --> 01:18:18,800
Speaker 2: explanation for that, as I recall.

1422
01:18:18,840 --> 01:18:21,639
Speaker 3: Yeah, I don't. It just kind of grows that way

1423
01:18:21,720 --> 01:18:24,080
Speaker 3: once you transfer the soul through the eyes. I think.

1424
01:18:24,400 --> 01:18:26,639
Speaker 2: I mean, I love the results. It's a great monster

1425
01:18:26,720 --> 01:18:29,719
Speaker 2: hand and it adds to the creepiness of the host

1426
01:18:29,800 --> 01:18:33,880
Speaker 2: character here. But I never understood why this was supposed

1427
01:18:33,920 --> 01:18:37,360
Speaker 2: to happen. It doesn't seem to happen in subsequent transfers,

1428
01:18:37,880 --> 01:18:46,000
Speaker 2: just this one.

1429
01:18:47,320 --> 01:18:49,559
Speaker 3: Now, it's interesting that in this section of the movie,

1430
01:18:49,640 --> 01:18:54,360
Speaker 3: Mirov becomes a little bit while the monster is in Mirov.

1431
01:18:54,479 --> 01:18:56,439
Speaker 3: You get a little bit of sympathy for the monster

1432
01:18:56,600 --> 01:19:00,320
Speaker 3: because Mirov like goes to you have Tushenko, the scienceist,

1433
01:19:01,040 --> 01:19:04,400
Speaker 3: and he's like, hey, you're a scientist, right, you know

1434
01:19:04,560 --> 01:19:08,160
Speaker 3: things about gravity? Right? Do you know of any way

1435
01:19:08,200 --> 01:19:11,400
Speaker 3: to escape Earth's gravity? Yeah, which would be kind of

1436
01:19:11,439 --> 01:19:15,960
Speaker 3: a strange question coming from just a Russian imperial investigator.

1437
01:19:17,000 --> 01:19:20,080
Speaker 3: But the scientist is like, oh, yes, actually, my mentor

1438
01:19:20,600 --> 01:19:24,000
Speaker 3: was the inventor of rockets. We can discuss rockets. And

1439
01:19:24,360 --> 01:19:27,960
Speaker 3: Mirov's like, no need to discuss, and then he hypnotdes

1440
01:19:28,000 --> 01:19:30,400
Speaker 3: him in the eyes kills him, steals all of his

1441
01:19:30,479 --> 01:19:33,759
Speaker 3: rocket knowledge. So this this creature just wants to get home.

1442
01:19:33,880 --> 01:19:36,559
Speaker 3: I think it wants to build a rocket and escape Earth.

1443
01:19:36,960 --> 01:19:39,400
Speaker 2: I think the other interesting thing to look at with

1444
01:19:39,479 --> 01:19:44,880
Speaker 2: this character, the being from another world here is that

1445
01:19:45,840 --> 01:19:50,960
Speaker 2: as it absorbs information from each victim, that alters its

1446
01:19:50,960 --> 01:19:54,639
Speaker 2: identity to some extent. And so in a way, by

1447
01:19:55,439 --> 01:20:00,760
Speaker 2: absorbing rational characters and even you know character with not

1448
01:20:00,800 --> 01:20:04,520
Speaker 2: only rationable but maybe you know, you know, other sensibilities,

1449
01:20:05,200 --> 01:20:10,680
Speaker 2: these end up changing its own cognitive state. And so

1450
01:20:11,000 --> 01:20:14,759
Speaker 2: you know, it is more relatable at this point because

1451
01:20:14,760 --> 01:20:17,880
Speaker 2: of who it is killed and absorbed. But if it

1452
01:20:17,960 --> 01:20:21,080
Speaker 2: makes some missteps in who it kills and absorbs, well

1453
01:20:21,680 --> 01:20:24,439
Speaker 2: things could change, and we do see that change coming up.

1454
01:20:25,000 --> 01:20:27,280
Speaker 3: That's right. So all this middle of the movie Intrigue

1455
01:20:27,320 --> 01:20:30,080
Speaker 3: goes on for a while, there are more murders, more

1456
01:20:30,160 --> 01:20:32,840
Speaker 3: plotting by the being in the guise of Mirov. But

1457
01:20:32,920 --> 01:20:36,120
Speaker 3: eventually a big sort of shift occurs because the train

1458
01:20:36,360 --> 01:20:39,720
Speaker 3: is stopped along the way and the authorities intervene, and

1459
01:20:39,800 --> 01:20:43,880
Speaker 3: that authority is in the form of Tellisivalis Now. I

1460
01:20:43,920 --> 01:20:47,320
Speaker 3: gotta be honest, I don't even remember what Telly Sivalis's

1461
01:20:47,439 --> 01:20:49,559
Speaker 3: goal is when he gets on the train, I think

1462
01:20:49,600 --> 01:20:51,840
Speaker 3: he's just like something is going wrong on the train

1463
01:20:51,920 --> 01:20:55,040
Speaker 3: and he's intervening for some reason. But he shows up

1464
01:20:55,360 --> 01:20:58,280
Speaker 3: and just starts barking orders at Everybody's like everyone on

1465
01:20:58,320 --> 01:21:01,000
Speaker 3: this train is under arrest, all under arrest.

1466
01:21:01,680 --> 01:21:05,920
Speaker 2: Basically, he's a drunken regional tyrant. Yes, and he is

1467
01:21:06,000 --> 01:21:08,880
Speaker 2: totally going to enact his will on the train. And

1468
01:21:08,960 --> 01:21:10,560
Speaker 2: his whole thing is like, you've got some sort of

1469
01:21:10,640 --> 01:21:12,240
Speaker 2: murders going on here. Well, I think we just need

1470
01:21:12,280 --> 01:21:16,439
Speaker 2: to like apply beatings to everybody until we get the truth. Yes,

1471
01:21:16,520 --> 01:21:18,960
Speaker 2: and he's not. He's just into the beatings as he

1472
01:21:19,120 --> 01:21:22,880
Speaker 2: is into finding the truth, if not more into the beatings. Again,

1473
01:21:23,040 --> 01:21:26,160
Speaker 2: regional tyrant, and it is endangering everything.

1474
01:21:26,600 --> 01:21:29,960
Speaker 3: There's also a whole subplot here where like I think

1475
01:21:30,080 --> 01:21:34,120
Speaker 3: the Count is trying to transport some special kind of steel.

1476
01:21:34,320 --> 01:21:37,760
Speaker 3: There's like a like a technology spy caper going on.

1477
01:21:37,840 --> 01:21:38,320
Speaker 3: You remember this.

1478
01:21:38,920 --> 01:21:42,559
Speaker 2: Yeah, it seems seems a little much for the duration

1479
01:21:42,680 --> 01:21:44,760
Speaker 2: of the picture to have this as an added B

1480
01:21:44,920 --> 01:21:46,479
Speaker 2: or C plot, but okay, we haven't.

1481
01:21:46,560 --> 01:21:48,720
Speaker 3: That's I think that's just yet another thing that the

1482
01:21:48,760 --> 01:21:51,200
Speaker 3: alien kills somebody to absorb. He's like, tell me about

1483
01:21:51,240 --> 01:21:57,880
Speaker 3: this steel hypnotade. And then eventually what happens, though, is

1484
01:21:57,920 --> 01:22:01,320
Speaker 3: that teleisivalis after giving this eight monologue scene where he's

1485
01:22:01,320 --> 01:22:04,240
Speaker 3: just bullying everybody around on the train, there is a

1486
01:22:04,320 --> 01:22:08,800
Speaker 3: violent confrontation and he mortally wounds Merov. He and his

1487
01:22:08,880 --> 01:22:11,759
Speaker 3: men do and so what's gonna happen? Oh, the creature

1488
01:22:11,800 --> 01:22:14,560
Speaker 3: is trapped in there. Well, meanwhile, we've seen some developments

1489
01:22:14,560 --> 01:22:18,160
Speaker 3: in Father Pooh Jardov, who is I don't know, not

1490
01:22:18,360 --> 01:22:20,959
Speaker 3: quite so committed to the Christian God anymore.

1491
01:22:21,960 --> 01:22:26,439
Speaker 2: He sees clear evidence that the Inspector is possessed, and

1492
01:22:26,520 --> 01:22:29,280
Speaker 2: he believes it to be Satan. He's like, like, Satan,

1493
01:22:29,400 --> 01:22:30,120
Speaker 2: let me serve you.

1494
01:22:31,280 --> 01:22:34,640
Speaker 3: Yeah, it's like Satan. Satan is where it's at, you know.

1495
01:22:34,720 --> 01:22:36,720
Speaker 3: He's if you can't be with the one you love,

1496
01:22:36,840 --> 01:22:40,479
Speaker 3: love the one you're with, and it's Satan. So he

1497
01:22:40,560 --> 01:22:42,680
Speaker 3: thinks it's Satan, and he's like, Satan, come in to me,

1498
01:22:42,920 --> 01:22:45,439
Speaker 3: come in to me, and so the Satan does.

1499
01:22:45,680 --> 01:22:47,519
Speaker 2: I can't remember if he actually explains this, but it

1500
01:22:47,560 --> 01:22:50,439
Speaker 2: maybe becomes a little clear that I'm not actually Satan.

1501
01:22:51,000 --> 01:22:54,679
Speaker 2: I'm an alien from another world. Who's been trapped in

1502
01:22:54,720 --> 01:22:57,240
Speaker 2: life forms throughout Earth's history.

1503
01:22:57,360 --> 01:22:57,840
Speaker 3: Good enough.

1504
01:22:58,080 --> 01:23:00,920
Speaker 2: Yeah, was like works for me over, let's do it.

1505
01:23:02,439 --> 01:23:05,400
Speaker 2: But he's he's like, he's like, come into me, and

1506
01:23:05,479 --> 01:23:07,400
Speaker 2: he's like, I don't want you. There's nothing in your

1507
01:23:07,439 --> 01:23:09,560
Speaker 2: mind I need, which is you know him kind of

1508
01:23:09,600 --> 01:23:13,200
Speaker 2: you know, as a slam. But it's also it implies

1509
01:23:13,360 --> 01:23:17,040
Speaker 2: like it knows that if I absorbed this man's consciousness

1510
01:23:17,040 --> 01:23:19,959
Speaker 2: and thoughts, it is going to perhaps be a detriment

1511
01:23:20,040 --> 01:23:22,920
Speaker 2: to my mission and my attempt to escape here because

1512
01:23:23,240 --> 01:23:26,640
Speaker 2: this is an unhinged individual with a lot of dangerous

1513
01:23:27,000 --> 01:23:28,960
Speaker 2: ideas and values in his head.

1514
01:23:29,320 --> 01:23:33,599
Speaker 3: Yes, uh, yeah, so I love this relationship. Actually it's

1515
01:23:33,680 --> 01:23:35,800
Speaker 3: it's funny and it's weird and all that. But he

1516
01:23:35,880 --> 01:23:38,719
Speaker 3: does end up going into the body of the monk.

1517
01:23:39,200 --> 01:23:44,120
Speaker 2: Yeah. And this leads into our big showdown where a

1518
01:23:44,200 --> 01:23:48,120
Speaker 2: number of things are happening at once. There's the raising

1519
01:23:48,160 --> 01:23:50,400
Speaker 2: of the dead, like all the people that have been

1520
01:23:50,479 --> 01:23:55,040
Speaker 2: killed thus far are brought back as red eyed zombies. Uh.

1521
01:23:55,120 --> 01:24:00,759
Speaker 2: There's an attempt to to to get the survivor into

1522
01:24:00,960 --> 01:24:06,040
Speaker 2: the baggage car and then detach it because at the

1523
01:24:06,080 --> 01:24:09,720
Speaker 2: same time, the authorities have received a signal that oh, well,

1524
01:24:09,720 --> 01:24:11,559
Speaker 2: we need to send this train off the side of

1525
01:24:11,560 --> 01:24:14,080
Speaker 2: a cliff because there's something terrible on it. And they're like,

1526
01:24:14,120 --> 01:24:15,560
Speaker 2: why would we have to do that. I mean, it

1527
01:24:15,640 --> 01:24:18,000
Speaker 2: must be something related to war, so we got to

1528
01:24:18,040 --> 01:24:20,479
Speaker 2: do it. So a number of things here coming to

1529
01:24:20,920 --> 01:24:23,960
Speaker 2: a head. And we also get a big final showdown

1530
01:24:24,040 --> 01:24:30,400
Speaker 2: between Christopher Lee's character Saxton and the alien that is

1531
01:24:30,439 --> 01:24:34,679
Speaker 2: possessing now Father poojardiv's body, and we get some nice

1532
01:24:34,680 --> 01:24:37,080
Speaker 2: discussion about their goals.

1533
01:24:37,400 --> 01:24:40,559
Speaker 3: I think the alien tries to tempt Saxton into helping

1534
01:24:40,600 --> 01:24:44,280
Speaker 3: it by offering him knowledge, you know. Yeah, and this

1535
01:24:44,360 --> 01:24:47,080
Speaker 3: is what Saxton was saying earlier on. Saxton was like,

1536
01:24:47,200 --> 01:24:49,240
Speaker 3: I don't really care about the people who have died.

1537
01:24:49,320 --> 01:24:52,200
Speaker 3: I only care about advancing scientific knowledge. And then what

1538
01:24:52,240 --> 01:24:54,320
Speaker 3: do you know, at the end of the aliens like, look,

1539
01:24:54,439 --> 01:24:56,800
Speaker 3: just let me kill all these people and I'll give

1540
01:24:56,840 --> 01:25:00,439
Speaker 3: you great technology and knowledge. You can advance science by

1541
01:25:00,439 --> 01:25:01,400
Speaker 3: one hundred years.

1542
01:25:01,680 --> 01:25:04,879
Speaker 2: Yeah. Yeah, So it's you know, it's it's a legitimate temptation.

1543
01:25:05,080 --> 01:25:07,439
Speaker 2: I think, you know, here is someone who has or

1544
01:25:07,640 --> 01:25:13,080
Speaker 2: something that has existed, you know, through for large expanses

1545
01:25:13,120 --> 01:25:17,479
Speaker 2: of Earth's history, and also has knowledge of worlds beyond

1546
01:25:17,479 --> 01:25:23,080
Speaker 2: the earth and technologies beyond earth capabilities. But is it

1547
01:25:23,160 --> 01:25:27,080
Speaker 2: worth all of this death and perhaps future death and madness?

1548
01:25:27,439 --> 01:25:31,400
Speaker 2: And ultimately, Christopher Lee's character says no, I don't want

1549
01:25:31,400 --> 01:25:32,040
Speaker 2: any part of that.

1550
01:25:32,439 --> 01:25:36,240
Speaker 3: Saxton refuses, and in the end, the heroes work together

1551
01:25:36,680 --> 01:25:40,320
Speaker 3: to uncouple the what is it the break car something

1552
01:25:40,400 --> 01:25:42,120
Speaker 3: want one of the cars from the rest of the

1553
01:25:42,160 --> 01:25:45,439
Speaker 3: train so that it can separate, while the rest of

1554
01:25:45,479 --> 01:25:47,679
Speaker 3: the train is sent off the edge of a cliff

1555
01:25:47,760 --> 01:25:49,920
Speaker 3: with all of the with the alien and all of

1556
01:25:49,960 --> 01:25:52,280
Speaker 3: the zombies it has created within it. Wait, I can't

1557
01:25:52,320 --> 01:25:53,960
Speaker 3: did you already say it resurrects zombies.

1558
01:25:54,000 --> 01:25:56,560
Speaker 2: It's yeah, resurrected a bunch of red eyed zombies. So

1559
01:25:56,680 --> 01:26:01,000
Speaker 2: even like undead Telly Savalis is walking around. Yeah, So

1560
01:26:01,080 --> 01:26:03,640
Speaker 2: I like the commitment because these look like very uncomfortable

1561
01:26:03,720 --> 01:26:06,519
Speaker 2: contacts that everyone is wearing. Yes, and I'm kind of

1562
01:26:06,600 --> 01:26:09,240
Speaker 2: I'm kind of glad that even the bigger build stars

1563
01:26:09,240 --> 01:26:12,200
Speaker 2: also had to wear them. But yeah, the train goes

1564
01:26:12,200 --> 01:26:14,280
Speaker 2: off a cliff, blows up, and this is the first

1565
01:26:14,280 --> 01:26:16,840
Speaker 2: time we really or at least I really realized, oh,

1566
01:26:16,920 --> 01:26:19,720
Speaker 2: this is a model train, mainly because you know, they're

1567
01:26:19,720 --> 01:26:22,719
Speaker 2: not going to send an actual train, multiple train cars

1568
01:26:22,720 --> 01:26:24,920
Speaker 2: off of a cliff. But it still looks pretty good,

1569
01:26:25,040 --> 01:26:26,719
Speaker 2: still looks it's a pretty good model.

1570
01:26:26,760 --> 01:26:29,160
Speaker 3: Nonetheless, And do I remember right that we get no

1571
01:26:29,320 --> 01:26:32,000
Speaker 3: comment whatsoever from our heroes at the end of the film.

1572
01:26:32,120 --> 01:26:35,560
Speaker 3: It's just the car goes the train goes off the tracks, explodes,

1573
01:26:35,600 --> 01:26:36,280
Speaker 3: and that's the end.

1574
01:26:36,520 --> 01:26:39,240
Speaker 2: There's no closing monologue. I think you know it's the

1575
01:26:39,520 --> 01:26:43,360
Speaker 2: it's the seventies at this point. You know, the preachiness

1576
01:26:43,360 --> 01:26:46,880
Speaker 2: of the fifties and sixties is over. In the seventies,

1577
01:26:47,360 --> 01:26:50,080
Speaker 2: it's more of a gosh, what can I tell you?

1578
01:26:50,520 --> 01:26:54,000
Speaker 2: There's ancient evil out there in the world, and the

1579
01:26:54,000 --> 01:26:57,040
Speaker 2: future is uncertain. I'm not going to sugarcoat it for you.

1580
01:26:57,600 --> 01:26:59,839
Speaker 2: Sometimes you just got to run trains off of a cliff.

1581
01:27:00,280 --> 01:27:03,240
Speaker 3: Can you imagine if we had had christ Perlee saying

1582
01:27:03,360 --> 01:27:07,440
Speaker 3: he learned almost too late that man is a feeling creature.

1583
01:27:07,840 --> 01:27:10,800
Speaker 2: It would have sort of worked, you know, all right?

1584
01:27:10,840 --> 01:27:14,559
Speaker 2: So that's horror express it sure is. Again, this is

1585
01:27:14,560 --> 01:27:17,960
Speaker 2: a super fun one. I highly recommend seeking it out

1586
01:27:17,960 --> 01:27:20,519
Speaker 2: if you haven't seen it, and if you have seen it, hey,

1587
01:27:20,600 --> 01:27:23,040
Speaker 2: this is a fun one to revisit, you'll always find

1588
01:27:23,080 --> 01:27:26,639
Speaker 2: something new, a lot of fun plot elements, a lot

1589
01:27:26,640 --> 01:27:30,600
Speaker 2: of fun performances, a real treat. Just a reminder to

1590
01:27:30,640 --> 01:27:32,800
Speaker 2: everyone that Stuff to Blow Your Mind is primarily a

1591
01:27:32,840 --> 01:27:36,000
Speaker 2: science and culture podcast, with core episodes on Tuesdays and Thursdays.

1592
01:27:36,040 --> 01:27:38,799
Speaker 2: This week they were both train related, related to Haunted

1593
01:27:38,840 --> 01:27:41,439
Speaker 2: Trains and ghost Trains, so check those out if you

1594
01:27:41,479 --> 01:27:44,439
Speaker 2: haven't already. But on Fridays we set aside most series

1595
01:27:44,439 --> 01:27:46,320
Speaker 2: concerns to just talk about a weird film, such as

1596
01:27:46,320 --> 01:27:48,360
Speaker 2: this one on Weird House Cinema. If you want a

1597
01:27:48,400 --> 01:27:50,200
Speaker 2: full list of all the movies we've covered on Weird

1598
01:27:50,240 --> 01:27:51,960
Speaker 2: House over the years, and even a peek ahead at

1599
01:27:51,960 --> 01:27:54,840
Speaker 2: what's coming up next, go to letterbox dot com. It's

1600
01:27:54,960 --> 01:27:56,439
Speaker 2: L E T T E R B O x D

1601
01:27:56,560 --> 01:27:59,280
Speaker 2: dot com and our user name there is weird House.

1602
01:27:59,360 --> 01:28:00,440
Speaker 2: That's what you'll find.

1603
01:28:01,040 --> 01:28:05,040
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1604
01:28:05,439 --> 01:28:07,000
Speaker 3: If you would like to get in touch with us

1605
01:28:07,000 --> 01:28:09,400
Speaker 3: with feedback on this episode or any other, to suggest

1606
01:28:09,400 --> 01:28:11,559
Speaker 3: a topic for the future, or just to say hello,

1607
01:28:11,800 --> 01:28:14,519
Speaker 3: you can email us at contact at stuff to Blow

1608
01:28:14,520 --> 01:28:22,040
Speaker 3: your Mind dot com.

1609
01:28:22,160 --> 01:28:25,120
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1610
01:28:25,200 --> 01:28:28,000
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1611
01:28:28,160 --> 01:28:31,360
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.