1 00:00:03,000 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow your Mind, a production of 2 00:00:05,360 --> 00:00:15,040 Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. My 3 00:00:15,120 --> 00:00:18,160 Speaker 1: name is Rob Lamb and I'm Joe McCormick. And today 4 00:00:18,200 --> 00:00:21,920 Speaker 1: it's that old anthology feeling once again. Rob. I know 5 00:00:22,040 --> 00:00:25,680 Speaker 1: you're a horror anthology man. What is it about you 6 00:00:25,800 --> 00:00:29,040 Speaker 1: that that makes you gravitate towards the anthology? Well, I 7 00:00:29,040 --> 00:00:30,960 Speaker 1: mean you're talking about two different things, of course, when 8 00:00:30,960 --> 00:00:35,400 Speaker 1: you're talking about horror anthologies on TV and those in 9 00:00:35,400 --> 00:00:37,320 Speaker 1: the film, Because on TV s it's like it's a 10 00:00:37,360 --> 00:00:41,400 Speaker 1: different generally, it's a different story every week. And with 11 00:00:41,600 --> 00:00:45,160 Speaker 1: anthology films like the one we're gonna be talking about today, 12 00:00:45,560 --> 00:00:49,159 Speaker 1: you instead of getting one complete film, you get like 13 00:00:49,360 --> 00:00:53,320 Speaker 1: three or four shorter pieces that are stitched together and 14 00:00:53,400 --> 00:00:56,920 Speaker 1: been presented to you. Uh So, I guess maybe part 15 00:00:56,920 --> 00:00:59,080 Speaker 1: of it is just out of love for for creepy 16 00:00:59,120 --> 00:01:02,000 Speaker 1: short stories, in the fact that that short stories don't 17 00:01:02,040 --> 00:01:04,840 Speaker 1: have to obey the same rules as novels, and they're 18 00:01:05,000 --> 00:01:07,039 Speaker 1: in also short films don't have to obey the same 19 00:01:07,120 --> 00:01:11,080 Speaker 1: rules as as complete films. Um. I guess it's also 20 00:01:11,720 --> 00:01:14,119 Speaker 1: nice that they're only going to be They're only gonna 21 00:01:14,120 --> 00:01:16,520 Speaker 1: feel so long, you know they're going to get to 22 00:01:16,600 --> 00:01:19,360 Speaker 1: the point they can only be so drawn out. And 23 00:01:19,360 --> 00:01:21,240 Speaker 1: and it's also like a little sampler box. Like if 24 00:01:21,280 --> 00:01:23,560 Speaker 1: if if an anthology film is coming at you and 25 00:01:23,600 --> 00:01:25,640 Speaker 1: you know it's going to present you with, say three 26 00:01:25,720 --> 00:01:29,040 Speaker 1: to four tales, well you can figure there's gonna be 27 00:01:29,200 --> 00:01:32,800 Speaker 1: maybe one dud in the bunch. Uh, but at the 28 00:01:32,880 --> 00:01:36,240 Speaker 1: very least still have one that's pretty good. Right, There's 29 00:01:36,280 --> 00:01:39,120 Speaker 1: gotta be like like one central pillar holding up the 30 00:01:39,200 --> 00:01:41,640 Speaker 1: roof of the thing. Well, another way I would come 31 00:01:41,640 --> 00:01:44,959 Speaker 1: at it is that even if they're all bad, it's 32 00:01:45,000 --> 00:01:49,760 Speaker 1: more fun to have bad variety than bad monotony. Yeah. Yeah, 33 00:01:49,800 --> 00:01:52,320 Speaker 1: I would say so, like you're you're into the badness 34 00:01:52,320 --> 00:01:54,640 Speaker 1: and then you're out again, and then you're into some 35 00:01:54,680 --> 00:01:57,600 Speaker 1: fresh badness. Yeah. I think I would really come back 36 00:01:57,640 --> 00:02:00,560 Speaker 1: to what you were saying about the compare Harrison to 37 00:02:00,640 --> 00:02:02,800 Speaker 1: the lengths of horror fiction. This came up in a 38 00:02:02,880 --> 00:02:05,040 Speaker 1: recent episode where we were talking I think it was 39 00:02:05,080 --> 00:02:08,320 Speaker 1: in The Thing from Another World where we were talking 40 00:02:08,360 --> 00:02:11,839 Speaker 1: about how, Uh, it's hard to survey to be sure 41 00:02:11,840 --> 00:02:15,639 Speaker 1: about this, but my feeling is that horror novels tend 42 00:02:15,720 --> 00:02:19,720 Speaker 1: to gravitate more towards some semblance of a quote happy ending, 43 00:02:19,800 --> 00:02:22,679 Speaker 1: maybe not happy, but some way in which the protagonist 44 00:02:22,919 --> 00:02:26,920 Speaker 1: is at least partially victorious or escapes or something, whereas 45 00:02:26,960 --> 00:02:31,440 Speaker 1: horror short stories tend more toward uh, bleak and cruel 46 00:02:31,639 --> 00:02:35,600 Speaker 1: endings or endings that are that are a really mean 47 00:02:35,680 --> 00:02:38,520 Speaker 1: and ironic twist of fate. And obviously I think there 48 00:02:38,520 --> 00:02:40,880 Speaker 1: are a lot of reasons why people who enjoy horror 49 00:02:40,880 --> 00:02:43,320 Speaker 1: fiction are drawn to endings of that sort, but they 50 00:02:43,440 --> 00:02:45,840 Speaker 1: they're harder to pull off at the end of a 51 00:02:45,880 --> 00:02:48,720 Speaker 1: really long narrative where you're more invested with the characters, 52 00:02:48,720 --> 00:02:51,040 Speaker 1: You've spent more time with them, and it hurts more 53 00:02:51,120 --> 00:02:54,600 Speaker 1: to see them just sort of like ruined at the end. Yeah, 54 00:02:54,680 --> 00:02:57,120 Speaker 1: And I think another thing that you certainly see in 55 00:02:57,160 --> 00:03:00,920 Speaker 1: short fiction is it's sometimes short fiction exists in a 56 00:03:00,960 --> 00:03:03,680 Speaker 1: space where it doesn't have to concern itself with the 57 00:03:03,680 --> 00:03:06,600 Speaker 1: ins and outs of a complex plot or some sort 58 00:03:06,600 --> 00:03:10,080 Speaker 1: of fantastic character arc. You know, their characters don't have 59 00:03:10,120 --> 00:03:12,799 Speaker 1: to evolve and change and learn lessons about themselves. It 60 00:03:12,840 --> 00:03:16,160 Speaker 1: can be more about trotting out and interesting idea or 61 00:03:16,639 --> 00:03:18,760 Speaker 1: you know, or or or in the in the case 62 00:03:18,840 --> 00:03:21,880 Speaker 1: of of of horror, just just a fun monster or 63 00:03:21,919 --> 00:03:25,600 Speaker 1: some you know, diabolical scenario. That's sort of thing, right. 64 00:03:25,760 --> 00:03:28,200 Speaker 1: I think you're correct. I think that the um the 65 00:03:28,280 --> 00:03:31,760 Speaker 1: horror genre especially really does lend itself well to the 66 00:03:31,800 --> 00:03:34,360 Speaker 1: anthology format. I mean, there are plenty of movies that 67 00:03:34,400 --> 00:03:36,920 Speaker 1: are not horror that you could argue are in one 68 00:03:36,920 --> 00:03:39,920 Speaker 1: way or another anthology films of a sort. Uh. I 69 00:03:39,960 --> 00:03:43,080 Speaker 1: think one thing I've read is that, uh, is that 70 00:03:43,240 --> 00:03:46,680 Speaker 1: pulp fiction was actually the concept for pulp fiction was 71 00:03:46,720 --> 00:03:49,760 Speaker 1: partially inspired by the movie that we're going to talk 72 00:03:49,760 --> 00:03:52,280 Speaker 1: about today. Of course, pulp fiction is not horror, but 73 00:03:52,360 --> 00:03:56,120 Speaker 1: today's movie is today's selection for weird house Cinema is 74 00:03:56,200 --> 00:04:01,480 Speaker 1: the Mario Baba nineteen sixty three Italian anthology horror series 75 00:04:02,120 --> 00:04:06,240 Speaker 1: Black Sabbath, or in Italian it's called etre Voulti dela Para. 76 00:04:06,400 --> 00:04:08,040 Speaker 1: I had to look up what that means. It means 77 00:04:08,080 --> 00:04:11,360 Speaker 1: the three Faces of Fear, which is a more accurate 78 00:04:11,360 --> 00:04:13,920 Speaker 1: title because if you're if you're checking out Black Sabbath 79 00:04:13,960 --> 00:04:19,560 Speaker 1: expecting witchcraft and you know, Satan worshippers dancing around a 80 00:04:19,600 --> 00:04:22,119 Speaker 1: fire or some sort of like pagan ordeal or something 81 00:04:22,120 --> 00:04:24,640 Speaker 1: going on, you're going to be disappointed because there is 82 00:04:24,680 --> 00:04:28,359 Speaker 1: no actual Black Sabbath, real or imagined in this picture. No, 83 00:04:28,440 --> 00:04:30,400 Speaker 1: I would say the closest we come to that and 84 00:04:30,440 --> 00:04:32,640 Speaker 1: it still doesn't really get there, but that there's sort 85 00:04:32,680 --> 00:04:35,440 Speaker 1: of that vibe in the middle segment of this movie, 86 00:04:35,920 --> 00:04:38,839 Speaker 1: and by far my favorite the WORDU Lac, which is 87 00:04:39,560 --> 00:04:42,240 Speaker 1: I think just an absolutely tremendous segment and I can't 88 00:04:42,240 --> 00:04:45,800 Speaker 1: wait to talk about it. But yeah, at least the 89 00:04:45,839 --> 00:04:47,919 Speaker 1: other two really don't have anything to do with that 90 00:04:48,000 --> 00:04:50,479 Speaker 1: at all. Now, another interesting thing about the title for 91 00:04:50,480 --> 00:04:53,200 Speaker 1: this film is that this is um that this is 92 00:04:53,240 --> 00:04:57,000 Speaker 1: said to be where the band Black Sabbath got their name. 93 00:04:57,400 --> 00:05:00,359 Speaker 1: Oh yeah, And I think I could be wrong about this, 94 00:05:00,360 --> 00:05:03,440 Speaker 1: but I remember hearing It's not even from them necessarily 95 00:05:03,560 --> 00:05:06,040 Speaker 1: seeing the movie. I think it was like they walked 96 00:05:06,040 --> 00:05:08,480 Speaker 1: past a movie theater and this was on the Marquee 97 00:05:08,560 --> 00:05:12,000 Speaker 1: and they're like, right, yeah, I think there's a there's 98 00:05:12,040 --> 00:05:13,800 Speaker 1: another version of the tale. And I don't know how 99 00:05:13,880 --> 00:05:16,520 Speaker 1: much this sounds almost too perfect, so I it sounds 100 00:05:16,520 --> 00:05:18,680 Speaker 1: like maybe it was embellished. But there I read a 101 00:05:18,760 --> 00:05:22,000 Speaker 1: version where they were playing at a theater and then 102 00:05:22,040 --> 00:05:25,840 Speaker 1: across the street Black Sabbath was playing, and the line 103 00:05:26,360 --> 00:05:28,159 Speaker 1: was was far longer to get in to see the 104 00:05:28,200 --> 00:05:30,880 Speaker 1: movie as opposed to getting in to see them play. 105 00:05:30,920 --> 00:05:32,800 Speaker 1: And they're like, what we need to do is change 106 00:05:32,839 --> 00:05:34,720 Speaker 1: our name. We need to be Black Sabbath, and then 107 00:05:34,760 --> 00:05:37,520 Speaker 1: the people will line up for us. It's like when 108 00:05:37,720 --> 00:05:40,560 Speaker 1: Patty and Selma proposed changing the name of Springfield the 109 00:05:40,640 --> 00:05:43,000 Speaker 1: sign fell. Do you just look at what's popular now 110 00:05:43,040 --> 00:05:46,600 Speaker 1: and and try to leach up. Yeah, so, I mean 111 00:05:46,680 --> 00:05:48,440 Speaker 1: I don't know. So I don't know which of those 112 00:05:48,440 --> 00:05:51,839 Speaker 1: stories is true to what extent, but uh, certainly it 113 00:05:51,839 --> 00:05:54,560 Speaker 1: would be. It's hard to imagine the band Black Sabbath 114 00:05:54,839 --> 00:05:58,320 Speaker 1: without the name Black Sabbath because that the theme runs 115 00:05:58,320 --> 00:06:01,840 Speaker 1: so deep through all of their music. Um, before they 116 00:06:01,839 --> 00:06:05,760 Speaker 1: were called Black Sabbath, they were called Earth. Uh that 117 00:06:05,839 --> 00:06:07,960 Speaker 1: was not very convenient because I think there was another 118 00:06:08,000 --> 00:06:10,800 Speaker 1: band at the time in that area called Earth. It 119 00:06:11,120 --> 00:06:16,120 Speaker 1: has a different taste on the tongue. Initially, Yeah, if 120 00:06:16,120 --> 00:06:17,919 Speaker 1: you're if you're thinking about going to hear Earth, you 121 00:06:17,920 --> 00:06:22,520 Speaker 1: have totally different expectations versus Black Sabbath. Well as a 122 00:06:22,600 --> 00:06:25,240 Speaker 1: huge fan of the at least like the first six 123 00:06:25,279 --> 00:06:27,320 Speaker 1: Black Sabbath albums, that I don't really get into the 124 00:06:27,360 --> 00:06:29,479 Speaker 1: d O years verty much, but the but like the 125 00:06:29,520 --> 00:06:32,600 Speaker 1: first six Sabbath albums, I think, are they're a megalith, 126 00:06:32,760 --> 00:06:34,880 Speaker 1: you know, they're they're like one of those stone monuments 127 00:06:34,880 --> 00:06:38,080 Speaker 1: from the ancient world and uh and and it's really 128 00:06:38,120 --> 00:06:40,920 Speaker 1: hard to get under them. But I can't imagine how 129 00:06:40,960 --> 00:06:42,800 Speaker 1: I would feel about them if they weren't by a 130 00:06:42,800 --> 00:06:46,520 Speaker 1: band called Black Sabbath that's so wrapped up in the feeling. Yeah, 131 00:06:46,600 --> 00:06:51,040 Speaker 1: can you imagine Nativity and Black by Earth? It just 132 00:06:51,120 --> 00:06:55,080 Speaker 1: doesn't make sense war Pigs by Earth. However, I could 133 00:06:55,160 --> 00:06:57,719 Speaker 1: propose an alternative, which is that if they wanted to 134 00:06:57,800 --> 00:07:00,120 Speaker 1: drill in and get to the heart of what makes 135 00:07:00,160 --> 00:07:03,320 Speaker 1: Mario Baba's Black Sabbath really great, they could have changed 136 00:07:03,360 --> 00:07:07,039 Speaker 1: the name of their band to the word las. Oh yeah, yeah, 137 00:07:07,040 --> 00:07:09,240 Speaker 1: that's that's that's a fun name for a band, and 138 00:07:09,320 --> 00:07:11,760 Speaker 1: it would imply that they've been in the mountains for 139 00:07:11,800 --> 00:07:14,320 Speaker 1: five days and come back in a state of God 140 00:07:14,400 --> 00:07:18,120 Speaker 1: knows what. All right, Well, let's go ahead and give 141 00:07:18,160 --> 00:07:21,080 Speaker 1: everyone a taste of the trailer on this one, because 142 00:07:21,320 --> 00:07:24,160 Speaker 1: this is a pretty good trailer. I love the narration here. 143 00:07:29,440 --> 00:07:37,080 Speaker 1: Do you believe in Ghosts, This is the Night twin 144 00:07:37,240 --> 00:07:41,280 Speaker 1: fear and Horror of Walk hand in Hand, This is 145 00:07:41,480 --> 00:07:52,800 Speaker 1: Black Sabbath, starving the incomparable Boris Karloff, the personable Mark Damon, 146 00:07:53,320 --> 00:07:56,760 Speaker 1: and lush and lovely women, even though one is from 147 00:07:56,760 --> 00:08:03,600 Speaker 1: the nether world, a vampire, a burderlack. Black Sabbath as 148 00:08:03,720 --> 00:08:08,080 Speaker 1: ancient as superstition, as modern as the telephone. So it's 149 00:08:08,120 --> 00:08:10,040 Speaker 1: obvious from the trailer, but I don't think we mentioned 150 00:08:10,080 --> 00:08:14,560 Speaker 1: that this movie has Boris Karloff in multiple capacities, so 151 00:08:14,760 --> 00:08:18,480 Speaker 1: he is not only the star of one of the 152 00:08:18,560 --> 00:08:21,640 Speaker 1: three segments in the anthology, but he's also sort of 153 00:08:21,680 --> 00:08:26,400 Speaker 1: the the pitchman. He is the company spokesperson at the 154 00:08:26,400 --> 00:08:28,520 Speaker 1: beginning and end of the film. And of course this 155 00:08:28,600 --> 00:08:31,240 Speaker 1: is perfect because in later years he also served as 156 00:08:31,240 --> 00:08:33,920 Speaker 1: a horror host on television shows such as Thriller and 157 00:08:34,040 --> 00:08:36,719 Speaker 1: Out of This World. As as I think we've often 158 00:08:36,800 --> 00:08:40,680 Speaker 1: driven home though, like, there's such a wealth of of 159 00:08:40,679 --> 00:08:44,280 Speaker 1: of TV horror anthologies out there, so for instance, um, 160 00:08:44,520 --> 00:08:48,920 Speaker 1: if you just glance at listings for Boris Karloff's Thriller, 161 00:08:49,160 --> 00:08:51,199 Speaker 1: you'll see, oh, it only went two seasons, but it 162 00:08:51,240 --> 00:08:54,800 Speaker 1: went two seasons in the nineties sixties. So those two 163 00:08:54,800 --> 00:09:00,480 Speaker 1: seasons consist of sixty seven episodes. Wow, yeah, it's it's crazy, 164 00:09:00,559 --> 00:09:02,440 Speaker 1: And man, I thought it was long seasons. When you 165 00:09:02,440 --> 00:09:04,360 Speaker 1: go back and watch a show from the nineties or 166 00:09:04,360 --> 00:09:06,760 Speaker 1: something where there's like twenty episodes in the season, that 167 00:09:06,800 --> 00:09:10,560 Speaker 1: seems like a huge amount. But wow. Yeah. Now, to 168 00:09:10,600 --> 00:09:16,199 Speaker 1: be clear, Thriller aired uh sixty one, I mean sorry, 169 00:09:14,920 --> 00:09:20,360 Speaker 1: sixty two, so it actually aired in America at least 170 00:09:20,400 --> 00:09:22,679 Speaker 1: before Black Sabbath came out, So that might have been 171 00:09:22,720 --> 00:09:26,600 Speaker 1: part of the rationale here is like, well, audiences are 172 00:09:26,640 --> 00:09:29,440 Speaker 1: are used to Boris carl Off presenting material to them. 173 00:09:29,600 --> 00:09:31,880 Speaker 1: He's already in it. Let's also get him up on 174 00:09:31,880 --> 00:09:34,440 Speaker 1: the screen introducing this stuff for us. Well, you can 175 00:09:34,480 --> 00:09:36,400 Speaker 1: hear it right in the narration of the trailer. There's 176 00:09:36,440 --> 00:09:40,080 Speaker 1: the part where it says like, uh, starring the incomparable 177 00:09:40,160 --> 00:09:43,000 Speaker 1: Boris carl Off. I guess he is incomparable. But then 178 00:09:43,280 --> 00:09:47,680 Speaker 1: the other cast members they introduce are the personable Mark Damon, 179 00:09:47,760 --> 00:09:50,360 Speaker 1: which I thought was hilarious. And then they say and 180 00:09:50,640 --> 00:09:55,200 Speaker 1: lush and lovely women gone unnamed, come on, duds, and 181 00:09:55,240 --> 00:09:57,040 Speaker 1: we will list some of their names here in a 182 00:09:57,080 --> 00:09:59,960 Speaker 1: bit Um, there's some nice performances in here. Oh wait 183 00:10:00,240 --> 00:10:03,480 Speaker 1: I left off, though, I think the trailer qualifies that says, 184 00:10:03,679 --> 00:10:05,760 Speaker 1: uh so the women in this movie, Hey, we got 185 00:10:05,800 --> 00:10:08,200 Speaker 1: beautiful women, even though one of them is from the 186 00:10:08,240 --> 00:10:10,920 Speaker 1: nether world. I was trying to think back after having 187 00:10:10,960 --> 00:10:13,120 Speaker 1: seen it, which woman is it talking about. I'm not 188 00:10:13,160 --> 00:10:16,719 Speaker 1: even sure. Uh yeah, there's not really one that's definitely 189 00:10:16,760 --> 00:10:18,560 Speaker 1: from the nether world. I mean a lot of bad 190 00:10:18,600 --> 00:10:22,520 Speaker 1: supernatural things happen um to people and to some women 191 00:10:22,520 --> 00:10:24,719 Speaker 1: in this, uh this motion picture, but I don't think 192 00:10:24,760 --> 00:10:27,400 Speaker 1: any of them are from the nether world. All Right, Well, 193 00:10:27,400 --> 00:10:30,160 Speaker 1: I guess before we talk anymore about the actual contents 194 00:10:30,160 --> 00:10:31,880 Speaker 1: of the movie, we should we should discuss some of 195 00:10:31,920 --> 00:10:35,280 Speaker 1: the connections, and obviously the place to start is with 196 00:10:35,320 --> 00:10:39,760 Speaker 1: the director, Mario Bava. Mario Bava who lived nineteen fourteen 197 00:10:39,800 --> 00:10:43,839 Speaker 1: through nineteen eighty. Um, he was the director, but also 198 00:10:44,520 --> 00:10:47,559 Speaker 1: collaborated on the screenplay. He was the cinematographer, he did 199 00:10:47,559 --> 00:10:51,000 Speaker 1: matt paintings, he did special effects. Uh. This is the 200 00:10:51,559 --> 00:10:57,079 Speaker 1: legendary Italian director with an unmistakable obsessive and phantasmagorical emphasis 201 00:10:57,120 --> 00:11:02,600 Speaker 1: on visual composition. So if you can just look up 202 00:11:02,600 --> 00:11:04,640 Speaker 1: stills from his from his movies, and I feel like, 203 00:11:04,679 --> 00:11:08,800 Speaker 1: once you've gotten a taste of of how Baba directs 204 00:11:08,880 --> 00:11:12,000 Speaker 1: and how he composes a shot, a strong still from 205 00:11:12,160 --> 00:11:15,680 Speaker 1: any of his films is just instantly identifiable. Um it 206 00:11:15,800 --> 00:11:18,920 Speaker 1: just it pops with a certain um. It's not only 207 00:11:18,960 --> 00:11:21,880 Speaker 1: the color hue, because I want to stress it's not 208 00:11:21,920 --> 00:11:24,360 Speaker 1: just a matter of oh, well, Mario Baba used some 209 00:11:24,440 --> 00:11:26,760 Speaker 1: cool gels here and there, like, No, it's the complete 210 00:11:26,800 --> 00:11:29,480 Speaker 1: it's his use of light and reflections and just the 211 00:11:29,559 --> 00:11:33,280 Speaker 1: overall composition of of every every shot in the film. 212 00:11:33,720 --> 00:11:37,040 Speaker 1: You ever see one of those animated movies in which 213 00:11:37,080 --> 00:11:41,280 Speaker 1: there is a magical gym or artifact that glows with 214 00:11:41,440 --> 00:11:47,000 Speaker 1: magic power, Mario Baba's movies are like that. There's something 215 00:11:47,040 --> 00:11:50,520 Speaker 1: about the way they look that the frames from the 216 00:11:50,600 --> 00:11:56,600 Speaker 1: movie glow with magic power. Yeah, even when there's there's 217 00:11:56,720 --> 00:11:59,480 Speaker 1: less of a reason for it to be glowing. So, 218 00:12:00,160 --> 00:12:03,000 Speaker 1: like I was thinking as I was watching this particular 219 00:12:03,040 --> 00:12:07,160 Speaker 1: picture that it's it's like an alien civilization that that 220 00:12:07,240 --> 00:12:11,439 Speaker 1: communicates through like synesthesia is trying to speak through the picture. 221 00:12:11,520 --> 00:12:15,600 Speaker 1: You know. It's like it's that obsessive. Like the colors 222 00:12:15,640 --> 00:12:19,480 Speaker 1: are are clearly of of of great importance to Bava 223 00:12:19,559 --> 00:12:22,960 Speaker 1: and all of this, though I will say that I 224 00:12:23,040 --> 00:12:25,520 Speaker 1: totally agree with you. Color is a big part of it, 225 00:12:25,559 --> 00:12:31,280 Speaker 1: and Bava frequently used sort of expressive colorful lighting, color 226 00:12:31,360 --> 00:12:34,960 Speaker 1: colored lighting in in his movies that is not strictly realistic, 227 00:12:35,000 --> 00:12:38,080 Speaker 1: meaning it's not reflecting a color you would actually expect 228 00:12:38,120 --> 00:12:40,080 Speaker 1: to see if this scene were taking place in the 229 00:12:40,120 --> 00:12:43,920 Speaker 1: real world, but rather colors that sort of reflect feelings 230 00:12:43,960 --> 00:12:47,400 Speaker 1: coming through uh and and reflects sort of other worldly, 231 00:12:47,480 --> 00:12:52,360 Speaker 1: unseen influences. But there are also visual sensibilities he has 232 00:12:52,360 --> 00:12:54,720 Speaker 1: where that kind of glowing comes through even when it's 233 00:12:54,760 --> 00:12:57,600 Speaker 1: not in color. Like the example that comes to my 234 00:12:57,640 --> 00:13:01,120 Speaker 1: mind is his earlier movie Black Sunday, which is in 235 00:13:01,240 --> 00:13:05,040 Speaker 1: black and white, and yet it still glows with magic power. Yeah, 236 00:13:05,080 --> 00:13:07,440 Speaker 1: that one was from nineteen sixty and it is interesting 237 00:13:07,480 --> 00:13:10,679 Speaker 1: to imagine this, this leap from black and white to 238 00:13:10,800 --> 00:13:12,920 Speaker 1: color from Mario Baba, where they're like, oh, by the way, 239 00:13:12,960 --> 00:13:16,640 Speaker 1: you can shoot in color now, and uh and and 240 00:13:16,640 --> 00:13:20,320 Speaker 1: and and and you can imagine his excitement at being 241 00:13:20,320 --> 00:13:24,320 Speaker 1: able to do so. So um. Baba's background is interesting. 242 00:13:24,600 --> 00:13:28,359 Speaker 1: He was the son of an early Italian cinematographer Eugenio 243 00:13:28,440 --> 00:13:32,640 Speaker 1: Bava and Mario trained as a painter, venturing into the 244 00:13:32,679 --> 00:13:37,120 Speaker 1: world of cinematography as well in the late thirties in 245 00:13:37,160 --> 00:13:40,560 Speaker 1: the early forties, but then he eventually started directing as well. 246 00:13:41,040 --> 00:13:44,440 Speaker 1: It began with some documentary shorts and some uncredited directing 247 00:13:44,440 --> 00:13:47,600 Speaker 1: work on some various genre films. But then in nineteen 248 00:13:47,720 --> 00:13:51,640 Speaker 1: sixty that's when Black Sunday came out that he directed that, 249 00:13:52,120 --> 00:13:56,599 Speaker 1: and that was a very well regarded and financially successful film, 250 00:13:56,679 --> 00:13:59,720 Speaker 1: and so Black Sabbath is very much the color follow 251 00:13:59,800 --> 00:14:03,320 Speaker 1: up to that. Thus the similar release title again kind 252 00:14:03,320 --> 00:14:07,920 Speaker 1: of coming back to the like studio thought here, it's like, well, uh, 253 00:14:08,200 --> 00:14:10,560 Speaker 1: black Sunday did pretty good, welcome and called the next one, 254 00:14:10,800 --> 00:14:13,880 Speaker 1: let's call it a Black sap There we go. Well 255 00:14:14,000 --> 00:14:16,560 Speaker 1: this maybe if that is indeed where the title comes from. 256 00:14:16,640 --> 00:14:18,880 Speaker 1: I gotta say this is the rare case where I 257 00:14:18,880 --> 00:14:21,680 Speaker 1: would go with the marketing over the original because once again, 258 00:14:21,720 --> 00:14:25,240 Speaker 1: the three faces of fear, that may be more literally 259 00:14:25,280 --> 00:14:27,640 Speaker 1: descriptive of what you're getting with the movie, but it 260 00:14:27,680 --> 00:14:30,560 Speaker 1: doesn't really have the same punch to it. Yeah, So 261 00:14:30,680 --> 00:14:34,640 Speaker 1: Mario Baba directed into the nineteen seventies. Initially he retired. 262 00:14:34,880 --> 00:14:36,600 Speaker 1: Then he came back at the behest of a new 263 00:14:36,640 --> 00:14:40,040 Speaker 1: generation of the tag in horror filmmakers, including his own son, 264 00:14:40,200 --> 00:14:44,720 Speaker 1: director Lomberto Bava. Um. He came back to direct nine Shock, 265 00:14:45,160 --> 00:14:47,360 Speaker 1: and this would prove to be his last feature film, 266 00:14:47,480 --> 00:14:50,640 Speaker 1: as he then died in nineteen eighty. But uh, he 267 00:14:50,680 --> 00:14:53,480 Speaker 1: directed a number of pictures, so we're not gonna touch 268 00:14:53,520 --> 00:14:55,640 Speaker 1: on them all, but I thought we might talk about 269 00:14:55,680 --> 00:14:58,680 Speaker 1: a few of them here. One of them is Planet 270 00:14:58,680 --> 00:15:02,480 Speaker 1: of the Vampires from nine teen Rob Can you see 271 00:15:02,520 --> 00:15:05,040 Speaker 1: the Planet of the Vampires poster right behind me on 272 00:15:05,080 --> 00:15:07,320 Speaker 1: the wall? I do? I see that you have it 273 00:15:07,400 --> 00:15:09,160 Speaker 1: right there up on the wall behind you, so you 274 00:15:09,200 --> 00:15:12,920 Speaker 1: know obviously you're a fan. Um I. I finally got 275 00:15:12,920 --> 00:15:17,120 Speaker 1: around to watching this in full this year, and um, 276 00:15:17,360 --> 00:15:21,720 Speaker 1: I have to say it wasn't the most enthralling motion 277 00:15:21,760 --> 00:15:24,880 Speaker 1: picture when it came to acting and the and the plot, 278 00:15:25,520 --> 00:15:29,280 Speaker 1: but uh, such a gorgeous science fiction film to watch. 279 00:15:29,360 --> 00:15:32,240 Speaker 1: Like all of the visuals in it, um he does 280 00:15:32,360 --> 00:15:36,240 Speaker 1: an amazing job and devotes the vast majority of the 281 00:15:36,240 --> 00:15:39,680 Speaker 1: film's energy and limited budget have to add to create 282 00:15:39,960 --> 00:15:45,680 Speaker 1: highly effective and colorful alien landscapes. Haunted Spaceship Hallways also 283 00:15:45,760 --> 00:15:50,240 Speaker 1: has just some incredible costumes. Absolutely so, I love Planet 284 00:15:50,240 --> 00:15:54,000 Speaker 1: of the Vampires, but I usually watch it without sound. 285 00:15:54,240 --> 00:15:57,000 Speaker 1: It's a movie that I love to put on, like 286 00:15:57,040 --> 00:15:59,520 Speaker 1: in the background while I'm hanging out with friends and 287 00:15:59,560 --> 00:16:02,600 Speaker 1: listening to music. That's that's the ideal Planet of the 288 00:16:02,680 --> 00:16:05,560 Speaker 1: Vampire's experience for me, because it's one of those movies. 289 00:16:05,600 --> 00:16:07,680 Speaker 1: It's a rubbed the fur movie. It's a movie that's 290 00:16:07,680 --> 00:16:10,880 Speaker 1: not really about the plot or what happens in it. 291 00:16:10,880 --> 00:16:14,600 Speaker 1: It is about the visual textures on screen, and that 292 00:16:14,640 --> 00:16:17,520 Speaker 1: includes everything from like you you single out the costumes. 293 00:16:17,600 --> 00:16:21,160 Speaker 1: The space farers in the movie are wearing these bizarre 294 00:16:21,400 --> 00:16:26,080 Speaker 1: black leather space suits with these leather helmets, um and 295 00:16:26,080 --> 00:16:28,560 Speaker 1: and yeah, the lighting and the sets are are just 296 00:16:28,680 --> 00:16:32,160 Speaker 1: absolutely wonderful. Yeah. And it reminds me of a quote 297 00:16:32,200 --> 00:16:34,600 Speaker 1: that I ran across from Mario Baba where he said 298 00:16:34,640 --> 00:16:39,840 Speaker 1: that that horror films are sevent lighting and and I 299 00:16:39,840 --> 00:16:41,240 Speaker 1: think he has a strong point. I mean, you definitely 300 00:16:41,240 --> 00:16:44,520 Speaker 1: see that in his work. But you we've we've talked 301 00:16:44,560 --> 00:16:46,800 Speaker 1: about various examples on the show before where we say 302 00:16:46,800 --> 00:16:49,120 Speaker 1: things like, oh, well, the monster costume wasn't great, but 303 00:16:49,480 --> 00:16:52,160 Speaker 1: in this scene, the lighting is amazing, so it absolutely 304 00:16:52,200 --> 00:16:54,920 Speaker 1: works well. Like in the Thing from Another World. Yeah, 305 00:16:55,000 --> 00:16:58,720 Speaker 1: there was like if you look at the costume James 306 00:16:58,840 --> 00:17:01,720 Speaker 1: RNs is wearing, like actually, in full lighting, it doesn't 307 00:17:01,760 --> 00:17:04,240 Speaker 1: look very impressive, but they found a way to make 308 00:17:04,280 --> 00:17:07,440 Speaker 1: it look good within the narrative by either keeping him 309 00:17:07,440 --> 00:17:10,160 Speaker 1: in silhouette backlit so you can't really see him, he's 310 00:17:10,200 --> 00:17:12,720 Speaker 1: just a frame, and or just by giving you quick 311 00:17:12,720 --> 00:17:15,360 Speaker 1: glimpses of him where you can't really understand what's going on. 312 00:17:15,720 --> 00:17:18,520 Speaker 1: Like that, they make do in a very effective manner, 313 00:17:18,920 --> 00:17:22,800 Speaker 1: with some some limitations in terms of costuming and makeup effects. 314 00:17:23,920 --> 00:17:26,640 Speaker 1: Of course, the Planet of the Vampires was highly influential. 315 00:17:27,040 --> 00:17:29,280 Speaker 1: You know, it's sometimes been asked, would we even have 316 00:17:29,480 --> 00:17:32,120 Speaker 1: Alien and all the films that came after Alien had 317 00:17:32,160 --> 00:17:35,880 Speaker 1: it not been for Planet of the Vampires, Um, and 318 00:17:35,960 --> 00:17:39,840 Speaker 1: uh and uh and perhaps not. You know, certainly Baba 319 00:17:39,960 --> 00:17:43,200 Speaker 1: was a very influential filmmaker. Yeah. I mean one of 320 00:17:43,240 --> 00:17:45,679 Speaker 1: the big things I think that's called out with respect 321 00:17:45,720 --> 00:17:48,720 Speaker 1: to Alien is there's a scene in Planet of the Vampires, 322 00:17:48,760 --> 00:17:51,040 Speaker 1: and Planet of the Vampires came much before it was 323 00:17:51,040 --> 00:17:54,600 Speaker 1: the nineteen six five Is that right? Yet there's a 324 00:17:54,640 --> 00:17:58,399 Speaker 1: scene where the astronauts are on this on this desolate planet, 325 00:17:58,440 --> 00:18:00,119 Speaker 1: and they go into a cave and they find a 326 00:18:00,280 --> 00:18:04,760 Speaker 1: giant alien skeleton stretched out on this surface, and they're 327 00:18:04,880 --> 00:18:08,120 Speaker 1: very much like with the discovery of the Derylic spacecraft 328 00:18:08,200 --> 00:18:11,480 Speaker 1: with the bizarre sort of alien skeleton fused to the 329 00:18:11,560 --> 00:18:15,960 Speaker 1: chair in in Alien. So ultimately, I think Black Sabbath 330 00:18:16,520 --> 00:18:19,840 Speaker 1: moves moves along a lot, a lot better. It has 331 00:18:19,920 --> 00:18:23,919 Speaker 1: better pacing uh than Planet of the Vampires Um. But 332 00:18:24,119 --> 00:18:27,760 Speaker 1: there were still times in this film as within as 333 00:18:27,840 --> 00:18:30,280 Speaker 1: as in A Planet of the Vampires, where I felt 334 00:18:30,280 --> 00:18:33,080 Speaker 1: myself disconnected from whatever was happening or supposed to be 335 00:18:33,080 --> 00:18:36,280 Speaker 1: happening in the plot, But I was still completely drawn 336 00:18:36,359 --> 00:18:39,359 Speaker 1: in to the visual world presented on the film, you 337 00:18:39,400 --> 00:18:41,560 Speaker 1: know what I mean? Yeah, totally. I mean I really 338 00:18:41,600 --> 00:18:43,840 Speaker 1: appreciated the plot, especially in the word you lack, But 339 00:18:44,800 --> 00:18:47,879 Speaker 1: through and through it looks pretty great. Another Baba film 340 00:18:47,960 --> 00:18:52,199 Speaker 1: that I'm a fond of is danger Um Diabolique from nine. 341 00:18:53,720 --> 00:18:57,720 Speaker 1: This is a stunning, stylish spy crime yarn starring John 342 00:18:57,720 --> 00:19:02,240 Speaker 1: Philip Law and Udall False Silly Uh. People might remember 343 00:19:02,320 --> 00:19:05,560 Speaker 1: him as the villain from Thunderball Uh to James Bond film. 344 00:19:05,840 --> 00:19:08,800 Speaker 1: Terry Thomas is also in it. This was featured on 345 00:19:08,920 --> 00:19:11,280 Speaker 1: Mystery Science Theater three thousand back in the day, and 346 00:19:11,320 --> 00:19:15,800 Speaker 1: it is indeed quite ridiculous, but stunning from a visual perspective. Basically, 347 00:19:16,080 --> 00:19:20,120 Speaker 1: it has that sixties Bond vibe, focused you know, all 348 00:19:20,160 --> 00:19:22,440 Speaker 1: on comic book crime and then turned up to about 349 00:19:22,480 --> 00:19:25,399 Speaker 1: a thousand Baba style. I think it was actually the 350 00:19:25,680 --> 00:19:28,800 Speaker 1: very last episode of the main run of Mystery Science Theater. 351 00:19:29,200 --> 00:19:31,919 Speaker 1: That's right, it was, uh And it's kind of a 352 00:19:31,920 --> 00:19:35,080 Speaker 1: strange choice there, because I don't know, I would actually 353 00:19:35,160 --> 00:19:37,080 Speaker 1: argue that movie is not all that bad. I mean, 354 00:19:37,200 --> 00:19:40,520 Speaker 1: it's silly in in a way that a lot of 355 00:19:40,560 --> 00:19:43,119 Speaker 1: these movies would be silly, but it's also I don't know, 356 00:19:43,400 --> 00:19:47,720 Speaker 1: it's it's stylishly executed in a very pleasing way. I mean, 357 00:19:47,760 --> 00:19:50,520 Speaker 1: the best films on Mystery Science Theater three thousand, and 358 00:19:50,560 --> 00:19:53,359 Speaker 1: often the best episodes of Mystery Science three thousand revolve 359 00:19:53,400 --> 00:19:56,800 Speaker 1: around movies that are on their own very watchable. I 360 00:19:56,840 --> 00:19:59,680 Speaker 1: know you're thinking about Jack Frost. Oh yeah, I think 361 00:19:59,680 --> 00:20:01,879 Speaker 1: that's a that's a great example. They're multiple example. I 362 00:20:01,920 --> 00:20:04,080 Speaker 1: think when I think of my favorite episodes, they're often 363 00:20:04,119 --> 00:20:08,120 Speaker 1: films that that I can and sometimes have watched on 364 00:20:08,119 --> 00:20:11,800 Speaker 1: on on my own, you know, without without the riffing. Now, 365 00:20:11,920 --> 00:20:15,679 Speaker 1: Mario Baba was was again highly influential, and one of 366 00:20:15,720 --> 00:20:18,880 Speaker 1: his most famous students was Dario Argento. If you've ever 367 00:20:18,920 --> 00:20:23,360 Speaker 1: seen Argento's nine seventy seven classics Expiria, then you've certainly 368 00:20:23,400 --> 00:20:27,600 Speaker 1: bathed your eyeballs in a very Baba inspired color scheme. Yeah, 369 00:20:27,640 --> 00:20:31,480 Speaker 1: I think it's it's pretty much unquestionable that Argento picked 370 00:20:31,560 --> 00:20:34,840 Speaker 1: up where Baba left off with the expressive colorful lighting, 371 00:20:35,400 --> 00:20:39,199 Speaker 1: especially for his Jalo films. M h uh, And I 372 00:20:39,280 --> 00:20:43,719 Speaker 1: mentioned Mario's son, Lamberto Bava Uh. He directed such films 373 00:20:43,720 --> 00:20:47,280 Speaker 1: that went on to direct such films as Demons, which 374 00:20:47,320 --> 00:20:50,080 Speaker 1: is excellent, along with a couple of sequels to that 375 00:20:50,640 --> 00:20:54,479 Speaker 1: US devil Fish, which is not so excellent. It's basically 376 00:20:54,640 --> 00:20:57,479 Speaker 1: a Jaws cash in, one of one of many. But 377 00:20:57,920 --> 00:21:00,680 Speaker 1: Lamberto Bava is still making movies. He had a horror 378 00:21:00,760 --> 00:21:06,400 Speaker 1: movie starring Gerard de Bardu come out this year really yeah, 379 00:21:07,240 --> 00:21:09,919 Speaker 1: called Twins, I believe, and I had to jack it 380 00:21:09,920 --> 00:21:14,240 Speaker 1: has nothing to do with the Arnold Um movie. Okay, 381 00:21:14,480 --> 00:21:25,120 Speaker 1: I gotta look that up, all right, let's let's see 382 00:21:25,119 --> 00:21:28,520 Speaker 1: a few other people involved in this film. Marcello Fondato 383 00:21:29,359 --> 00:21:33,080 Speaker 1: has a screenplay credit, lived two thousand and eight, Italian 384 00:21:33,080 --> 00:21:35,240 Speaker 1: screenwriter and a direct and director, though I don't really 385 00:21:35,280 --> 00:21:40,919 Speaker 1: know any of their films. Um. Then there's Alberto Bivillakua, 386 00:21:41,200 --> 00:21:44,439 Speaker 1: who lived ninety four through two thousand thirteen, has a 387 00:21:44,480 --> 00:21:49,399 Speaker 1: screenplay collaboration credit. Also was a screenwriter on Planet of 388 00:21:49,440 --> 00:21:54,680 Speaker 1: the Vampires, as well as the satanic Panic documentary Witchcraft seventy, 389 00:21:54,920 --> 00:21:58,879 Speaker 1: which was narrated by Jack Palace. Now the film, and 390 00:21:58,960 --> 00:22:01,640 Speaker 1: certainly this comes out in the trailer. The film claims 391 00:22:01,760 --> 00:22:05,840 Speaker 1: that the three stories in it are based upon fictions 392 00:22:05,840 --> 00:22:09,800 Speaker 1: by check Off, Tolstoy, and Snyder. Uh and specifically it's 393 00:22:09,800 --> 00:22:12,240 Speaker 1: supposed to break down like this, uh the drop of 394 00:22:12,320 --> 00:22:16,240 Speaker 1: Water by Ivan Chekov uh, though seemingly connected to a 395 00:22:16,280 --> 00:22:21,760 Speaker 1: story by Franco Lucentini, and then the Telephone by F. G. Snyder, 396 00:22:22,320 --> 00:22:26,560 Speaker 1: And then a story not by not by Leo Tolstoy, 397 00:22:26,720 --> 00:22:30,120 Speaker 1: as that might uh legion to believe, but one by 398 00:22:30,760 --> 00:22:34,399 Speaker 1: Alexei Tolstoy. And this would be the one allegedly by 399 00:22:34,440 --> 00:22:37,439 Speaker 1: Alexei Tolstoy, would be the word lack the one that 400 00:22:37,640 --> 00:22:40,439 Speaker 1: is the one with Boris Karloff in it. Yeah, well 401 00:22:40,520 --> 00:22:43,879 Speaker 1: let's talk about Boris Karloff then. Uh. Boris Karlov plays 402 00:22:43,960 --> 00:22:47,280 Speaker 1: Gorka in this and he's also the host. Uh. He 403 00:22:47,320 --> 00:22:51,400 Speaker 1: lived eight seven through nineteen sixty nine, a bona fide 404 00:22:51,440 --> 00:22:54,959 Speaker 1: cinema legend, going beyond genre films and horror films and 405 00:22:55,000 --> 00:22:58,320 Speaker 1: weird films. I mean, he's he's just one of these, uh, 406 00:22:58,440 --> 00:23:03,400 Speaker 1: these these icons of sin. His horror charisma is unmeasurable 407 00:23:03,520 --> 00:23:07,760 Speaker 1: in this it's just it's off the screen. Yeah, absolutely. Um. 408 00:23:07,840 --> 00:23:12,720 Speaker 1: Karloff was a British actor born William Henry Pratt. Uh 409 00:23:12,800 --> 00:23:14,720 Speaker 1: So you know this is very much his stage name. 410 00:23:14,840 --> 00:23:18,840 Speaker 1: Boris Karloff. UM probably is just gonna be ever forever 411 00:23:19,040 --> 00:23:23,200 Speaker 1: associated with Frankenstein because he played the monster in James 412 00:23:23,200 --> 00:23:28,480 Speaker 1: Whale's two adaptation of Mary Shelley's Frankenstein. Um, and then 413 00:23:28,520 --> 00:23:30,760 Speaker 1: he went on to play the role in other pictures 414 00:23:30,760 --> 00:23:33,879 Speaker 1: as well, including the excellent nineteen thirty five film The 415 00:23:34,200 --> 00:23:37,760 Speaker 1: Bride of Frankenstein. Other key horror films from karl Off 416 00:23:37,840 --> 00:23:41,159 Speaker 1: include thirty two is the Mummy, Uh, thirty four's The 417 00:23:41,200 --> 00:23:45,680 Speaker 1: Black Cat, nineties Black Friday and much more. The Black Cat. 418 00:23:45,760 --> 00:23:49,040 Speaker 1: He actually stars opposite Belle Legosi, and I think that 419 00:23:49,160 --> 00:23:52,040 Speaker 1: was the first movie where they had both done that. 420 00:23:52,119 --> 00:23:54,399 Speaker 1: And I actually haven't seen that one, but I've been 421 00:23:54,440 --> 00:23:57,840 Speaker 1: meaning to see it for a long time, and apparently 422 00:23:57,880 --> 00:23:59,920 Speaker 1: it's a lot of fun. I've heard great things of 423 00:24:00,000 --> 00:24:02,040 Speaker 1: about it. I've heard that it's it's it holds up 424 00:24:02,040 --> 00:24:05,840 Speaker 1: really well, so I have checked that out now. Karloff 425 00:24:05,880 --> 00:24:08,879 Speaker 1: was also famously the non singing voice of the Grinch 426 00:24:08,920 --> 00:24:13,040 Speaker 1: in the nineteen sixty six animated version from Chuck Jones. Um. 427 00:24:13,280 --> 00:24:16,200 Speaker 1: He's so. The thing about karl Off is that he 428 00:24:16,320 --> 00:24:18,399 Speaker 1: worked a lot, and even though he's best remembered for 429 00:24:18,440 --> 00:24:21,359 Speaker 1: his horror roles today, he acted in a wide variety 430 00:24:21,400 --> 00:24:24,720 Speaker 1: of of of films. He worked stage and screen, he 431 00:24:24,760 --> 00:24:29,320 Speaker 1: did television. We already mentioned his horror host gigs. Um. 432 00:24:29,440 --> 00:24:32,960 Speaker 1: He did a lot, Yes, and I will say that. 433 00:24:33,280 --> 00:24:35,560 Speaker 1: So I just saw this movie Black Sabbath for the 434 00:24:35,600 --> 00:24:38,480 Speaker 1: first time this week, and I gotta say this is 435 00:24:38,480 --> 00:24:41,480 Speaker 1: a new favorite Carlof role for me. We'll discuss the 436 00:24:41,480 --> 00:24:43,840 Speaker 1: details of the word lack in a little bit, but 437 00:24:44,200 --> 00:24:49,159 Speaker 1: he plays this wild, hairy, wind blown patriarch of the 438 00:24:49,200 --> 00:24:53,399 Speaker 1: Carpathian mountains, who has this demonic energy and it's so 439 00:24:53,400 --> 00:24:56,440 Speaker 1: so powerful. I don't know exactly how he's doing it, 440 00:24:56,880 --> 00:24:59,840 Speaker 1: but in every line he feels so at truly like 441 00:24:59,840 --> 00:25:03,040 Speaker 1: a man just hardened by the wilderness who has met 442 00:25:03,119 --> 00:25:07,119 Speaker 1: something unspeakable upon the mountaintop. Yeah, he's really able to 443 00:25:07,200 --> 00:25:09,320 Speaker 1: channel a lot of energy through this role, and it's 444 00:25:09,359 --> 00:25:13,000 Speaker 1: it's it's especially interesting considering that this, again is late 445 00:25:13,240 --> 00:25:16,199 Speaker 1: career Karloff. He was seventy five or seventy six at 446 00:25:16,200 --> 00:25:19,399 Speaker 1: the time when they filmed this. But he's still incredible 447 00:25:19,440 --> 00:25:22,280 Speaker 1: and apparently was just always a pleasure to work with. 448 00:25:22,359 --> 00:25:25,160 Speaker 1: I noticed that that Baba singled him out as being 449 00:25:25,200 --> 00:25:29,560 Speaker 1: just a great guy to work with. Now, another interesting, uh, 450 00:25:29,760 --> 00:25:31,919 Speaker 1: late Karloff film. I don't know if you've seen this one. 451 00:25:31,960 --> 00:25:35,080 Speaker 1: Joe Peter Bogdanovich did a film in nineteen sixty eight 452 00:25:35,080 --> 00:25:38,240 Speaker 1: called Targets. Yes, I have seen this one, in which 453 00:25:38,320 --> 00:25:42,560 Speaker 1: Karloff essentially plays himself. I mean, he plays a character, 454 00:25:42,760 --> 00:25:46,240 Speaker 1: but the character he plays is named like uh, named 455 00:25:46,280 --> 00:25:49,880 Speaker 1: like Doris or Lock or something, and he and he's 456 00:25:49,920 --> 00:25:52,879 Speaker 1: an aging horror film star and he has to go 457 00:25:52,960 --> 00:25:56,920 Speaker 1: up against like a crazed mass murderer. Yeah, like he 458 00:25:57,000 --> 00:25:59,399 Speaker 1: ends up confronting an active shooter at a drive in 459 00:25:59,560 --> 00:26:03,400 Speaker 1: movie theater. It's like it's a serious, serious film. Um. 460 00:26:04,040 --> 00:26:06,320 Speaker 1: From a young Peter Bogdanovitch would of course go on 461 00:26:06,400 --> 00:26:10,480 Speaker 1: to director The Last Picture Show Um, but he was 462 00:26:10,560 --> 00:26:13,359 Speaker 1: one of Roger Corman's crew at the time, and for 463 00:26:13,400 --> 00:26:16,479 Speaker 1: this film, Corman apparently told Bogdanovitch that he could make 464 00:26:16,520 --> 00:26:18,720 Speaker 1: any kind of film he wanted to. There were just 465 00:26:18,800 --> 00:26:21,600 Speaker 1: two two things he needed to make sure of. One 466 00:26:21,760 --> 00:26:25,840 Speaker 1: he had to use stock footage from The Terror and 467 00:26:26,160 --> 00:26:29,359 Speaker 1: he had to use Boris Karloff for the two days 468 00:26:29,400 --> 00:26:35,200 Speaker 1: of filming that he still owed Corman. But as it was, 469 00:26:35,280 --> 00:26:38,479 Speaker 1: it worked out. Karloff loved the script and shot a 470 00:26:38,520 --> 00:26:42,720 Speaker 1: total of five days and refused additional pay. Uh. So 471 00:26:43,200 --> 00:26:45,880 Speaker 1: it's a fun story, but also I remembered as being 472 00:26:45,880 --> 00:26:47,520 Speaker 1: a good movie. I haven't seen it in a long time, 473 00:26:47,560 --> 00:26:50,040 Speaker 1: but I remember being impressed with it. Yeah. A good 474 00:26:50,040 --> 00:26:53,200 Speaker 1: friend of mine showed me this movie many many years ago, 475 00:26:53,280 --> 00:26:56,720 Speaker 1: back before I really was in the weird house cinema mode. 476 00:26:57,600 --> 00:26:59,719 Speaker 1: I think I didn't know who Roger Corman was at 477 00:26:59,720 --> 00:27:02,760 Speaker 1: the time time or anything, but I remember being very 478 00:27:02,960 --> 00:27:07,320 Speaker 1: uh enthralled and impressed by it. It's it's a very stark, scary, 479 00:27:07,560 --> 00:27:11,520 Speaker 1: realistic kind of movie. Uh different than very different than 480 00:27:11,600 --> 00:27:15,720 Speaker 1: the stylish fantasy horror that bore Scarloft did for most 481 00:27:15,720 --> 00:27:19,000 Speaker 1: of his career. Yeah, what should we talk about the 482 00:27:19,000 --> 00:27:23,080 Speaker 1: personal Mark Damon? Oh? Yeah, as he's introduced in the trailer, 483 00:27:23,280 --> 00:27:27,120 Speaker 1: the personable Mark Damon, I'd say he's he's a he's 484 00:27:27,119 --> 00:27:30,160 Speaker 1: a seven or eight on the personability scale. Yeah, he's 485 00:27:30,320 --> 00:27:32,080 Speaker 1: I guess he's the closest that we have to like 486 00:27:32,119 --> 00:27:35,640 Speaker 1: a male hero character in the in the whole picture, 487 00:27:36,200 --> 00:27:40,200 Speaker 1: Uh plays that cared what Vladimir dirf drf A. He 488 00:27:40,200 --> 00:27:43,560 Speaker 1: he plays a a count or some kind of aristocrat 489 00:27:43,600 --> 00:27:46,359 Speaker 1: who rides through this village in the wordy lack again. 490 00:27:46,400 --> 00:27:48,199 Speaker 1: I guess we'll discuss more of the plot details of 491 00:27:48,200 --> 00:27:50,080 Speaker 1: that in a bit. But yeah, he's the closest thing 492 00:27:50,240 --> 00:27:52,800 Speaker 1: the movie has to sort of a dashing leading man. 493 00:27:53,359 --> 00:27:55,440 Speaker 1: But even in that story, I don't know if he's 494 00:27:55,480 --> 00:27:58,199 Speaker 1: exactly that, because he comes off to me is in 495 00:27:58,200 --> 00:28:01,159 Speaker 1: that story is kind of glib cal and confused, not 496 00:28:01,240 --> 00:28:05,119 Speaker 1: really recognizing the weight of the supernatural power he's up 497 00:28:05,160 --> 00:28:10,760 Speaker 1: against Yeah, he's he's doomed this guy. But Mark Damon 498 00:28:10,840 --> 00:28:12,600 Speaker 1: is interesting though, because of the first all. He was 499 00:28:12,640 --> 00:28:15,600 Speaker 1: born nineteen thirty three, still alive as of this recording, 500 00:28:16,080 --> 00:28:19,320 Speaker 1: UM and still active, not as an actor though at 501 00:28:19,359 --> 00:28:22,080 Speaker 1: least not since UM. I think he retired in the 502 00:28:22,160 --> 00:28:24,560 Speaker 1: late seventies or or I'm not sure about the late 503 00:28:24,600 --> 00:28:26,800 Speaker 1: say at some point in the seventies he retired from acting, 504 00:28:27,080 --> 00:28:29,480 Speaker 1: and I think a few little bits here and there, 505 00:28:30,160 --> 00:28:33,840 Speaker 1: the most recent being in But he's continued to produce. 506 00:28:34,200 --> 00:28:37,280 Speaker 1: He's been a producer or an executive producer on sixty 507 00:28:37,359 --> 00:28:40,760 Speaker 1: seven pictures and counting. And those titles that he has 508 00:28:41,040 --> 00:28:44,800 Speaker 1: has a credit on include dos Boot, The Never Ending Story, 509 00:28:45,040 --> 00:28:48,200 Speaker 1: Clan of the Cave Bear, nine and a half Weeks, 510 00:28:48,240 --> 00:28:54,120 Speaker 1: Short Circuit, Flight of the Navigator, The Lost Boys, Beastmaster two, UM, 511 00:28:54,160 --> 00:28:57,720 Speaker 1: not one but two different Universal Soldier sequels, and and 512 00:28:57,760 --> 00:29:00,800 Speaker 1: then just a bunch out. So he's seems kind of 513 00:29:00,800 --> 00:29:03,680 Speaker 1: like a big money player in Hollywood. Maybe he's the 514 00:29:03,720 --> 00:29:06,640 Speaker 1: producer who came in and demanded that The Lost Boys 515 00:29:06,720 --> 00:29:11,040 Speaker 1: feature more footage of that saxophone guy. Could be like, 516 00:29:11,080 --> 00:29:15,840 Speaker 1: I want ten minutes a saxophone guy at least now 517 00:29:15,920 --> 00:29:19,200 Speaker 1: acting wise, Damon was also in Roger Corman's nineteen sixty 518 00:29:19,280 --> 00:29:22,880 Speaker 1: film House of Usher, which starred Vincent Price, and he 519 00:29:22,960 --> 00:29:26,160 Speaker 1: has one writing credit. And I found it interesting because 520 00:29:26,200 --> 00:29:30,240 Speaker 1: it's The Devil's Wedding Night from nineteen seventy three, on 521 00:29:30,280 --> 00:29:36,000 Speaker 1: which Joe Diamatto apparently did some uncredited directing, uh, which 522 00:29:36,000 --> 00:29:39,520 Speaker 1: is always a great sign um. And then Damon plays 523 00:29:39,600 --> 00:29:42,720 Speaker 1: not one, but two different roles in it. Um. So 524 00:29:42,880 --> 00:29:45,640 Speaker 1: I I looked it up. The poster looks fabulous, it 525 00:29:45,680 --> 00:29:51,040 Speaker 1: looks it looks very nineteen seventies international horror, okay, featuring 526 00:29:51,080 --> 00:29:55,080 Speaker 1: the personable George Eastman. No, there's no no George Eastman 527 00:29:55,120 --> 00:29:58,239 Speaker 1: in this one, though I will say that that that 528 00:29:58,280 --> 00:30:01,200 Speaker 1: Mario Baba directed at least east one film that had 529 00:30:01,200 --> 00:30:04,800 Speaker 1: George Eastman. I can confirm at least one George Eastman project. 530 00:30:05,080 --> 00:30:07,360 Speaker 1: Was he in Bay of Blood? No, he was in 531 00:30:07,400 --> 00:30:09,480 Speaker 1: What Rabid Dogs? He might have been in Bay of Blood? 532 00:30:09,880 --> 00:30:12,960 Speaker 1: Um there there there's a little Eastman just sprinkled throughout 533 00:30:13,520 --> 00:30:17,840 Speaker 1: the cinematic universe. Alright, let's talk about some of the 534 00:30:17,840 --> 00:30:20,200 Speaker 1: the other players in the in in in these three 535 00:30:20,240 --> 00:30:23,280 Speaker 1: different segments. Uh. Now, a lot of these are actors 536 00:30:23,320 --> 00:30:25,960 Speaker 1: that I'm not really familiar with, and there aren't a 537 00:30:26,000 --> 00:30:29,040 Speaker 1: lot of titles that they were in that really connected 538 00:30:29,080 --> 00:30:31,600 Speaker 1: with me, So there's there's not a lot to really 539 00:30:31,680 --> 00:30:35,600 Speaker 1: go through here. But let's start with their Susie Anderson, 540 00:30:35,720 --> 00:30:39,520 Speaker 1: who played uh, what's the what's this character's name stank Stenka, 541 00:30:41,280 --> 00:30:44,600 Speaker 1: which no offense to people who actually have that name, 542 00:30:44,720 --> 00:30:47,280 Speaker 1: but in English that name does sound funny because it 543 00:30:47,280 --> 00:30:50,800 Speaker 1: sounds like stinker. Yeah, but this is a one, This 544 00:30:50,840 --> 00:30:54,400 Speaker 1: is I guess, our gorgeous love interest for Damon's character. 545 00:30:55,160 --> 00:30:59,120 Speaker 1: She was born ninety Croatian actor who worked during the 546 00:30:59,200 --> 00:31:03,520 Speaker 1: nineteen sixties. And then there's Rica Deliana who plays Maria 547 00:31:03,680 --> 00:31:07,240 Speaker 1: born in nineteen four. Greek actor with extremely expressive eyes 548 00:31:07,760 --> 00:31:11,320 Speaker 1: um or at least Mario Blava was able to to 549 00:31:11,320 --> 00:31:13,560 Speaker 1: to shoot her in many scenes where she has really 550 00:31:13,560 --> 00:31:17,000 Speaker 1: expressive eyes. She's she's the mother, I believe, uh in 551 00:31:17,040 --> 00:31:19,680 Speaker 1: these sequences and we'll discuss her in a bit, But 552 00:31:19,880 --> 00:31:23,000 Speaker 1: she had a long career, mostly in Greek cinema and TV. Now, 553 00:31:23,000 --> 00:31:26,880 Speaker 1: these are all actors who were in the WORDERLAC segment um, 554 00:31:26,960 --> 00:31:28,480 Speaker 1: but there are a couple of other segments of the 555 00:31:28,480 --> 00:31:30,240 Speaker 1: movie that I guess we've been focusing on lust. Do 556 00:31:30,240 --> 00:31:32,640 Speaker 1: we want to mention some of the actors in these 557 00:31:32,680 --> 00:31:37,120 Speaker 1: segments before coming back to describe them. Yeah. So the Telephone, 558 00:31:37,400 --> 00:31:40,280 Speaker 1: which which will discuss, has a very small cast. The 559 00:31:40,280 --> 00:31:43,640 Speaker 1: main character is Rosie played by Michelle Mercier, who is 560 00:31:43,680 --> 00:31:47,080 Speaker 1: a French actor who worked across multiple decades, born nine, 561 00:31:47,280 --> 00:31:50,680 Speaker 1: still alive as of this recording. And then the other 562 00:31:50,720 --> 00:31:54,480 Speaker 1: major character in that is Mary played by Lydia Alfonsi, 563 00:31:54,600 --> 00:31:57,440 Speaker 1: who was born in ninety eight, also still alive as 564 00:31:57,440 --> 00:32:00,680 Speaker 1: of this recording, Italian actor who was theyve well into 565 00:32:00,720 --> 00:32:04,560 Speaker 1: the nineteen nineties. Her last film was the much acclaimed 566 00:32:04,640 --> 00:32:08,280 Speaker 1: Life Is Beautiful from and she also appeared in a 567 00:32:08,400 --> 00:32:12,520 Speaker 1: Steve Reeves Hercules movie in ninety eight. So I don't 568 00:32:12,560 --> 00:32:15,120 Speaker 1: really love the Telephone. We can explain more about our 569 00:32:15,160 --> 00:32:18,000 Speaker 1: feelings about the individual segments in a bit. The Telephone 570 00:32:18,080 --> 00:32:20,400 Speaker 1: was definitely my least favorite of the three, but I 571 00:32:20,440 --> 00:32:23,600 Speaker 1: do really like Lydia Alfonsi in it because she has 572 00:32:24,000 --> 00:32:27,600 Speaker 1: does a very good job of acting creepy. Yes, all right. 573 00:32:27,640 --> 00:32:30,400 Speaker 1: And then finally we have the segment the Drop of Water. 574 00:32:31,480 --> 00:32:34,320 Speaker 1: I'm gonna highlight three different actors in this. Uh. There's 575 00:32:35,200 --> 00:32:41,959 Speaker 1: Jacqueline Peru who lived thousand and five, plays Helen Chester, 576 00:32:42,480 --> 00:32:45,320 Speaker 1: so she was a French actor actor from the early 577 00:32:45,520 --> 00:32:49,520 Speaker 1: forties through the nineteen seventies, and she's the mother of 578 00:32:49,600 --> 00:32:54,160 Speaker 1: French actor and director Jean Pierre Loud, who starred in 579 00:32:54,200 --> 00:32:58,160 Speaker 1: The Four Hundred Blows. Uh. There's also a character in 580 00:32:58,200 --> 00:33:00,920 Speaker 1: this that is referred to as the aid, and it's 581 00:33:00,960 --> 00:33:05,480 Speaker 1: played by Millie no less name. Uh. Millie who lived 582 00:33:05,520 --> 00:33:07,840 Speaker 1: nineteen o five through nineteen eighty was an Italian singer, 583 00:33:07,920 --> 00:33:11,040 Speaker 1: actress and cabaret performer and apparently something of a pop 584 00:33:11,040 --> 00:33:15,040 Speaker 1: star of the day. So she she's older when this 585 00:33:15,120 --> 00:33:18,200 Speaker 1: movie was made. So she she plays a maid who 586 00:33:18,240 --> 00:33:21,640 Speaker 1: sort of uh comes and goes while the main character 587 00:33:22,120 --> 00:33:26,360 Speaker 1: played by Jacqueline Peru is is sort of contemplating doing 588 00:33:26,440 --> 00:33:29,400 Speaker 1: something very ill advised with respect of the spirit world. 589 00:33:29,400 --> 00:33:32,959 Speaker 1: But the maid is this kind of mundane influence, flitting 590 00:33:32,960 --> 00:33:35,600 Speaker 1: in and out of the room while this deliberation goes on. 591 00:33:36,960 --> 00:33:39,840 Speaker 1: And then finally there is a neighbor character in this 592 00:33:40,000 --> 00:33:44,080 Speaker 1: played by Harriet Nadine who lived nineteen fourteen through two 593 00:33:44,120 --> 00:33:47,479 Speaker 1: thousand and five, an American actor who relocated to Italy 594 00:33:47,560 --> 00:33:50,520 Speaker 1: with the USO after War two. She has a pretty 595 00:33:50,520 --> 00:33:54,800 Speaker 1: great filmography, with such titles as Death Rays two thousand, 596 00:33:55,280 --> 00:33:57,800 Speaker 1: which is a fun flick. We've talked about that before, 597 00:33:58,080 --> 00:34:01,960 Speaker 1: The Witches of Eastwick, Schlaw and The Terminator, and when 598 00:34:02,000 --> 00:34:05,800 Speaker 1: she plays the role of customer customer where I was 599 00:34:05,800 --> 00:34:07,680 Speaker 1: trying to figure I was looking around, you know, short 600 00:34:07,720 --> 00:34:11,120 Speaker 1: of actually watching Terminator again, I'm not sure. I can't 601 00:34:11,120 --> 00:34:13,040 Speaker 1: imagine she's in the gun. She's probably one of those 602 00:34:13,040 --> 00:34:17,160 Speaker 1: sequences where the terminator steals a bunch of stuff because 603 00:34:17,239 --> 00:34:19,160 Speaker 1: a lot, a lot of the Terminator is just him 604 00:34:19,320 --> 00:34:21,799 Speaker 1: robbing places so he can have clothes, robbing people in 605 00:34:21,840 --> 00:34:24,000 Speaker 1: places so he can have close at guns, or the 606 00:34:24,000 --> 00:34:26,839 Speaker 1: good guy played by Michael Bean robbing people. Yeah, it's 607 00:34:26,880 --> 00:34:31,360 Speaker 1: a whole sequence. It's just naked Dud's committing various crimes 608 00:34:31,360 --> 00:34:34,480 Speaker 1: and robberies. Maybe she's walking out of Dick Miller's gun 609 00:34:34,560 --> 00:34:39,040 Speaker 1: store when Arnold Schwartzenegger is walking in possibility, she rubs 610 00:34:39,080 --> 00:34:41,920 Speaker 1: she bought the last plasma rifle. I was just remembering 611 00:34:42,160 --> 00:34:45,399 Speaker 1: the part in Terminator that's actually really great. When Schwarzenegger 612 00:34:45,760 --> 00:34:48,560 Speaker 1: rips that guy out of the phone booth, he doesn't 613 00:34:48,600 --> 00:34:51,000 Speaker 1: really harm him. It's just a guy on a phone 614 00:34:51,400 --> 00:34:54,680 Speaker 1: at a phone booth, and and the terminator grabs him 615 00:34:54,680 --> 00:34:56,480 Speaker 1: by the shoulder and sort of throws him down on 616 00:34:56,520 --> 00:34:59,239 Speaker 1: the sidewalk so he can use the telephone book. Yeah, 617 00:34:59,280 --> 00:35:01,719 Speaker 1: that's pretty good. And why would would the terminator and 618 00:35:01,800 --> 00:35:05,360 Speaker 1: machine use any more force or effort than was necessary 619 00:35:05,360 --> 00:35:07,440 Speaker 1: in any given task. Yeah, and you can hear the 620 00:35:07,440 --> 00:35:13,920 Speaker 1: guy going, you've got a serious attitude problem. That's good alright. Finally, 621 00:35:14,000 --> 00:35:17,319 Speaker 1: the music on this film is interesting because from one 622 00:35:17,320 --> 00:35:20,360 Speaker 1: thing you have two different scores. The original score was 623 00:35:20,360 --> 00:35:25,600 Speaker 1: was by Italian jazz band leader Roberto Nicolosi, but American 624 00:35:25,600 --> 00:35:29,600 Speaker 1: International Pictures replaced his score with one by Less Baxter, 625 00:35:30,480 --> 00:35:32,640 Speaker 1: who is, of course the king of exotica, and also 626 00:35:32,880 --> 00:35:39,160 Speaker 1: later did the minimal electronic score for Frogs. Oh I 627 00:35:39,200 --> 00:35:42,840 Speaker 1: remember that now? Yeah? Yeah, I mean it's it's, I 628 00:35:42,880 --> 00:35:45,120 Speaker 1: guess it the memorable score, but it's it's not very 629 00:35:45,120 --> 00:35:48,280 Speaker 1: It's not an exotica score for frogs. And this also 630 00:35:48,480 --> 00:35:53,200 Speaker 1: is not particularly exotic music either. It's ctainly not electronic. Um. 631 00:35:53,239 --> 00:35:54,799 Speaker 1: But I liked it well enough because I could pick 632 00:35:54,880 --> 00:35:58,239 Speaker 1: up on some Baxter sensibilities in it. Um, but it 633 00:35:58,320 --> 00:36:00,439 Speaker 1: made I was curious after that because I'm thinking, well, 634 00:36:00,440 --> 00:36:02,360 Speaker 1: what did it replace? Because we can all think of 635 00:36:02,400 --> 00:36:05,719 Speaker 1: examples where a score has been replaced by something superior 636 00:36:06,040 --> 00:36:09,839 Speaker 1: on also cases where a score has been replaced by something, um, 637 00:36:09,880 --> 00:36:14,399 Speaker 1: maybe less effective, uh you know, for a different audience. Um. 638 00:36:14,680 --> 00:36:17,839 Speaker 1: So I was listening to the Nicolosi score a bit 639 00:36:17,880 --> 00:36:20,279 Speaker 1: and it sounded good as well. I don't know, I 640 00:36:20,320 --> 00:36:23,000 Speaker 1: liked I like them both. Maybe Baxter score is a 641 00:36:23,040 --> 00:36:26,400 Speaker 1: little bit more dramatic and a little bit more you know, American. 642 00:36:26,560 --> 00:36:28,440 Speaker 1: I don't know, you know. To be honest, I just 643 00:36:28,719 --> 00:36:30,840 Speaker 1: did not really notice the music much at all, So 644 00:36:30,920 --> 00:36:33,040 Speaker 1: I don't have much of a comment on it. Yeah, 645 00:36:33,080 --> 00:36:34,400 Speaker 1: I don't know if I would have really looked at 646 00:36:34,400 --> 00:36:36,320 Speaker 1: it that closely had had it not been for the 647 00:36:36,400 --> 00:36:40,880 Speaker 1: Less Baxter connection. Uh, because I have, I do listen 648 00:36:40,880 --> 00:36:43,799 Speaker 1: to a fair amount of like Less Baxter and some 649 00:36:44,000 --> 00:36:47,839 Speaker 1: like Bossonova music. Uh, generally like very late afternoon. There's 650 00:36:47,840 --> 00:36:50,680 Speaker 1: a point in the late afternoon where, um where you know, 651 00:36:50,719 --> 00:36:53,239 Speaker 1: I have to put aside the synth music and the 652 00:36:53,640 --> 00:36:57,960 Speaker 1: and the rock music and and only Exotica or Bossonova 653 00:36:58,000 --> 00:37:01,160 Speaker 1: will do the t K drink hour. Yeah, I guess 654 00:37:01,200 --> 00:37:04,000 Speaker 1: even generally, I'm not I'm not actually having a tiki drink. 655 00:37:04,000 --> 00:37:07,279 Speaker 1: I'm generally like cooking supper or something. Um, but it 656 00:37:07,320 --> 00:37:17,960 Speaker 1: feels right, it feels appropriate. All right, Now that we've 657 00:37:18,000 --> 00:37:19,759 Speaker 1: got all that out of the way, let's get back 658 00:37:19,800 --> 00:37:24,440 Speaker 1: into the plot of these three horror stories that look fabulous, 659 00:37:24,480 --> 00:37:27,600 Speaker 1: have great people in them, but ultimately have some interesting 660 00:37:27,640 --> 00:37:30,840 Speaker 1: ideas as well. Yeah. Yeah, so I would say, and 661 00:37:30,920 --> 00:37:32,600 Speaker 1: you have you and I may have had some different 662 00:37:32,640 --> 00:37:36,840 Speaker 1: reactions to these, but I would say that, um, it's 663 00:37:36,840 --> 00:37:39,680 Speaker 1: this is an interesting movie to recommend because while there 664 00:37:39,680 --> 00:37:43,080 Speaker 1: are three segments, uh, and in my opinion, one of 665 00:37:43,120 --> 00:37:46,799 Speaker 1: them is astonishingly good, another is quite good, and the 666 00:37:46,960 --> 00:37:51,280 Speaker 1: third for me, I found kind of boring and unpleasant. Um, 667 00:37:51,320 --> 00:37:53,799 Speaker 1: but there's still I think some interesting things to talk 668 00:37:53,840 --> 00:37:56,680 Speaker 1: about with it. And while I think that there were 669 00:37:56,680 --> 00:38:00,000 Speaker 1: different releases of this movie that put them in different 670 00:38:00,040 --> 00:38:03,560 Speaker 1: and orders, the version I saw starts with the one 671 00:38:03,600 --> 00:38:06,520 Speaker 1: of the three that was for me by far the weakest. 672 00:38:07,280 --> 00:38:11,040 Speaker 1: So this would be the Telephone. Ah, yes, the telephone. 673 00:38:11,320 --> 00:38:13,440 Speaker 1: So the Telephone, unlike the other two, is a more 674 00:38:13,520 --> 00:38:17,000 Speaker 1: realistic story, and the basic premise is is pretty simple. 675 00:38:17,160 --> 00:38:20,879 Speaker 1: It is a psychological thriller about a young woman who 676 00:38:20,960 --> 00:38:24,760 Speaker 1: is terrorized by a threatening, voyeuristic creep who won't stop 677 00:38:24,800 --> 00:38:27,200 Speaker 1: calling her on the phone. And so I gotta say 678 00:38:27,239 --> 00:38:29,640 Speaker 1: this is the one I didn't really super enjoy. I 679 00:38:29,760 --> 00:38:32,000 Speaker 1: like it picked way up with the second one for 680 00:38:32,080 --> 00:38:34,279 Speaker 1: me when you get to the word alack. This one 681 00:38:34,400 --> 00:38:37,400 Speaker 1: kind of has a lot of things I don't really 682 00:38:37,440 --> 00:38:40,600 Speaker 1: love about Italian horror movies of this period, and not 683 00:38:40,719 --> 00:38:43,239 Speaker 1: as much of the stuff that I do love. It's 684 00:38:43,320 --> 00:38:45,480 Speaker 1: it's weird because, especially from the trailer, you get the 685 00:38:45,480 --> 00:38:49,000 Speaker 1: impression that they moved the telephone to the opening because 686 00:38:49,000 --> 00:38:51,320 Speaker 1: they thought it would connect with audiences more like maybe 687 00:38:51,440 --> 00:38:54,920 Speaker 1: they thought audiences didn't want that this gothic horror tale. 688 00:38:55,239 --> 00:38:58,560 Speaker 1: Instead they would want something that's tied into technology, and 689 00:38:58,800 --> 00:39:02,120 Speaker 1: you know, feels more cutting and dangerous. And yet at 690 00:39:02,120 --> 00:39:04,800 Speaker 1: the same time I was reading it sounds like American 691 00:39:04,840 --> 00:39:08,600 Speaker 1: International Pictures had they asked them to cut down on 692 00:39:08,680 --> 00:39:10,239 Speaker 1: some of the what they would have probably thought of 693 00:39:10,280 --> 00:39:13,480 Speaker 1: it as dangerous aspects of the of that of that 694 00:39:13,600 --> 00:39:18,280 Speaker 1: opening uh segment um Supposedly a I p asked for 695 00:39:18,560 --> 00:39:21,880 Speaker 1: lesbian romance. Aspects of the segment to be reduced and 696 00:39:21,960 --> 00:39:26,360 Speaker 1: that a supernatural element h be sort of implied. But 697 00:39:26,480 --> 00:39:28,880 Speaker 1: I have to say, at least in the version I watched, 698 00:39:29,320 --> 00:39:32,719 Speaker 1: um I mean, I still got the sense that there 699 00:39:32,760 --> 00:39:34,960 Speaker 1: was some sort of past romantic connection between the two 700 00:39:34,960 --> 00:39:38,440 Speaker 1: female characters, and I don't remember anything supernatural in this segment. 701 00:39:38,640 --> 00:39:41,120 Speaker 1: It seemed very based in the real world, though of 702 00:39:41,160 --> 00:39:44,840 Speaker 1: course through that fabulous Baba lens. Yeah. Well, to be honest, 703 00:39:44,840 --> 00:39:46,840 Speaker 1: now that I think about it, I'm not sure which 704 00:39:47,080 --> 00:39:49,640 Speaker 1: version of the movie it was that I saw. One 705 00:39:49,680 --> 00:39:52,399 Speaker 1: thing I've seen comparing them is that the I think 706 00:39:52,440 --> 00:39:55,760 Speaker 1: it was the original Italian version had the more beautiful colors, 707 00:39:55,800 --> 00:39:58,279 Speaker 1: and that the American release might have had some more 708 00:39:58,400 --> 00:40:01,800 Speaker 1: muted colors. The vision I saw I had very beautiful colors, 709 00:40:01,800 --> 00:40:03,680 Speaker 1: So I'm thinking in the version I saw, of course 710 00:40:03,760 --> 00:40:06,239 Speaker 1: was in Italian with subtitles, it wasn't the same here. 711 00:40:06,280 --> 00:40:08,840 Speaker 1: I don't know if there is a dubbed version of 712 00:40:08,880 --> 00:40:13,400 Speaker 1: the movie. I think there is, but I didn't I 713 00:40:13,440 --> 00:40:15,799 Speaker 1: was able to find uh as when I rented it. 714 00:40:15,840 --> 00:40:18,600 Speaker 1: I rented it through UM uh Well. I went into 715 00:40:18,680 --> 00:40:21,080 Speaker 1: to Apple and then I did a like a seven 716 00:40:21,160 --> 00:40:23,440 Speaker 1: day trial of AMC plus and that's how I got 717 00:40:23,520 --> 00:40:25,319 Speaker 1: to watch it. And then when I pulled it up, 718 00:40:25,360 --> 00:40:27,200 Speaker 1: I was expecting it to be dubbed, but then I 719 00:40:27,239 --> 00:40:29,480 Speaker 1: saw that as oh it's in Italian with with no 720 00:40:29,560 --> 00:40:33,600 Speaker 1: option for other audio channels and just with subtitles. But 721 00:40:33,600 --> 00:40:36,080 Speaker 1: but I greatly enjoyed it. But I see I see 722 00:40:36,080 --> 00:40:38,120 Speaker 1: examples of people saying that they grew up watching a 723 00:40:38,200 --> 00:40:41,400 Speaker 1: version in which they here Boris Karlov's actual voice. So 724 00:40:42,840 --> 00:40:44,879 Speaker 1: that makes me think there is a dubbed version of it, 725 00:40:45,239 --> 00:40:47,879 Speaker 1: But this was not it. So with the telephone, I'd 726 00:40:47,880 --> 00:40:50,719 Speaker 1: say that I guess I kind of like the simplicity 727 00:40:50,760 --> 00:40:53,200 Speaker 1: of it. It does proceed at a very slow pace, 728 00:40:53,520 --> 00:40:57,359 Speaker 1: but then it has some very nice twists in it. Um. 729 00:40:57,400 --> 00:41:00,279 Speaker 1: It does not have that gothic feel that that the 730 00:41:00,480 --> 00:41:03,279 Speaker 1: second segment has. Um, you know, it doesn't have that 731 00:41:03,400 --> 00:41:07,160 Speaker 1: supernatural sense of other worldliness. Uh. The interiors in this 732 00:41:07,239 --> 00:41:11,000 Speaker 1: segment are, at first glance, a lot more muted. We 733 00:41:11,040 --> 00:41:13,600 Speaker 1: spent a lot of time with beautiful women with perfect 734 00:41:13,680 --> 00:41:17,400 Speaker 1: skin and kind of porcelain colored garments moving through wedding 735 00:41:17,440 --> 00:41:21,720 Speaker 1: cake color departments. Uh. But even this is very finely 736 00:41:21,800 --> 00:41:26,960 Speaker 1: crafted and wonderfully punctuated by various colorful items in the background. 737 00:41:27,320 --> 00:41:29,040 Speaker 1: I don't know if you you noticed this or not, Joe, 738 00:41:29,040 --> 00:41:30,799 Speaker 1: but they'll be like, you know, everything's this kind of 739 00:41:30,800 --> 00:41:33,560 Speaker 1: wedding cake porcelain world. And then they'll be like one 740 00:41:33,719 --> 00:41:37,320 Speaker 1: jade statuette on a shelf in the background, and somehow, 741 00:41:37,560 --> 00:41:40,040 Speaker 1: like through that Mario Baba magic, it makes the whole 742 00:41:40,040 --> 00:41:43,000 Speaker 1: thing pop. And I don't even notice that. I'm um 743 00:41:43,200 --> 00:41:45,719 Speaker 1: that the pop plot is moving along so slowly because 744 00:41:45,719 --> 00:41:51,000 Speaker 1: I'm just admiring the shot or the red telephone, red telephone. Uh. 745 00:41:51,040 --> 00:41:53,600 Speaker 1: And and then you know, it moves at a slow pace, 746 00:41:53,640 --> 00:41:56,520 Speaker 1: and then alarming things will happen. There's a great um, 747 00:41:56,520 --> 00:42:01,200 Speaker 1: creepy eyes peering in through the window of the apartment. Uh. 748 00:42:01,239 --> 00:42:03,919 Speaker 1: That that scene really shook me when I saw it. Oh, 749 00:42:04,000 --> 00:42:08,879 Speaker 1: this movie is all about windows. Yeah, windows, mirrors as well, 750 00:42:08,920 --> 00:42:11,399 Speaker 1: but certainly windows. And I think I think you see 751 00:42:11,440 --> 00:42:14,919 Speaker 1: that another Bava films as well, lots of mirrors, people 752 00:42:15,000 --> 00:42:18,080 Speaker 1: looking through glass, and it makes sense given his um 753 00:42:18,120 --> 00:42:21,880 Speaker 1: his focus on the visual medium. So I think you 754 00:42:21,960 --> 00:42:25,560 Speaker 1: sort of raised the idea that this segment is kind 755 00:42:25,600 --> 00:42:29,640 Speaker 1: of a proto Jalo film, and I wanted to explore 756 00:42:29,719 --> 00:42:32,920 Speaker 1: that idea a little more so for people who aren't familiar. 757 00:42:33,080 --> 00:42:37,560 Speaker 1: Jealo films are a particular sub genre of Italian murder 758 00:42:37,640 --> 00:42:41,640 Speaker 1: mystery thrillers that were popular in the sixties through the eighties, 759 00:42:42,160 --> 00:42:44,759 Speaker 1: and some of the big name directors of jalo you 760 00:42:44,840 --> 00:42:50,760 Speaker 1: might recognize our Dario Argento. Uh. Usually his supernatural movies 761 00:42:50,800 --> 00:42:54,279 Speaker 1: like Suspiria are not usually considered jello films that they 762 00:42:54,320 --> 00:42:57,640 Speaker 1: share a lot in common with them. Stylistically, Usually jello 763 00:42:57,719 --> 00:43:01,239 Speaker 1: films are thought to be to have basically realistic causation. 764 00:43:01,400 --> 00:43:04,600 Speaker 1: They're they're not like about witchcraft and magic and stuff. 765 00:43:04,640 --> 00:43:07,680 Speaker 1: They're about like a murderer who wields a razor blade 766 00:43:07,760 --> 00:43:11,040 Speaker 1: or something like what the woman with the crystal is 767 00:43:11,640 --> 00:43:13,799 Speaker 1: the bird with the crystal plumage, Yeah, bird with the 768 00:43:13,800 --> 00:43:16,760 Speaker 1: crystal plumage. I mean Argento made these naturalistic jello films 769 00:43:16,760 --> 00:43:20,200 Speaker 1: as well, Bird with the Crystal Plumage, Deep Red, Cat 770 00:43:20,200 --> 00:43:24,200 Speaker 1: of Nine Tales, Tenebree. These are all jallow films he did. 771 00:43:24,920 --> 00:43:28,400 Speaker 1: But other big names in in jalo or Sergio Martino, 772 00:43:28,480 --> 00:43:31,680 Speaker 1: Luccio Fulci, and the director of the movie we're talking 773 00:43:31,680 --> 00:43:35,640 Speaker 1: about today, Mario Bava. Bava was the director of Blood 774 00:43:35,640 --> 00:43:38,720 Speaker 1: and Black Lace from nineteen sixty four, just one year 775 00:43:38,800 --> 00:43:41,719 Speaker 1: after Black Sabbath, and I think Blood and Black Lace, 776 00:43:41,760 --> 00:43:44,160 Speaker 1: I think is often considered sort of the archetype of 777 00:43:44,200 --> 00:43:47,359 Speaker 1: the early Jallo movie that a lot of Jallo descends from. 778 00:43:47,400 --> 00:43:49,799 Speaker 1: Blood and Black Lace. I'd love to watch that one 779 00:43:49,840 --> 00:43:52,720 Speaker 1: someday because I'd noticed just today that it has Cameron 780 00:43:52,719 --> 00:43:55,759 Speaker 1: Mitchell in it. Oh, that's right, it does. It's been 781 00:43:55,800 --> 00:43:57,279 Speaker 1: a little while since I've seen it, so I don't 782 00:43:57,280 --> 00:43:59,840 Speaker 1: remember much in particular about what he does in it. 783 00:44:00,080 --> 00:44:02,160 Speaker 1: But yeah, anyway, one of the things I noticed is 784 00:44:02,239 --> 00:44:04,120 Speaker 1: that Blood and Black Lace I think has a lot 785 00:44:04,120 --> 00:44:09,360 Speaker 1: of stylistic similarity with the telephone segment in this movie, 786 00:44:09,400 --> 00:44:14,160 Speaker 1: except the stylization is turned way up. So I'll get 787 00:44:14,200 --> 00:44:16,000 Speaker 1: back to that in just a minute. But to discuss 788 00:44:16,040 --> 00:44:19,480 Speaker 1: some of the main characteristics of Jello movies, they very 789 00:44:19,520 --> 00:44:23,360 Speaker 1: often feature a murderer who strikes again and again, whose 790 00:44:23,400 --> 00:44:27,120 Speaker 1: identity is unknown, often masked or with their face hidden 791 00:44:27,160 --> 00:44:31,240 Speaker 1: in shadow, and they will very often wear a similar outfit, 792 00:44:31,320 --> 00:44:34,120 Speaker 1: like a long trench coat and black gloves and maybe 793 00:44:34,120 --> 00:44:38,520 Speaker 1: a hat. In Jello movies, the murders are usually sort 794 00:44:38,560 --> 00:44:42,680 Speaker 1: of creative or grizzly or of a creepy and squeamish nature. 795 00:44:42,760 --> 00:44:44,719 Speaker 1: So they're usually not just going to be like the 796 00:44:44,800 --> 00:44:47,720 Speaker 1: killer shoots somebody with a gun. They might kill somebody 797 00:44:47,760 --> 00:44:51,920 Speaker 1: with a barber's razor or a needle or something. Jello 798 00:44:52,000 --> 00:44:55,520 Speaker 1: movies also tend to be kind of voyeuristic and sexually charged, 799 00:44:55,560 --> 00:44:59,759 Speaker 1: often mixing sexuality and violence in an unsettling way, and 800 00:44:59,800 --> 00:45:04,279 Speaker 1: to varying extents, they tend to be highly stylized. Uh not, 801 00:45:04,280 --> 00:45:06,640 Speaker 1: not all of the directors are like this, but a 802 00:45:06,640 --> 00:45:09,920 Speaker 1: lot of them are. They'll use these lurid colors and 803 00:45:10,400 --> 00:45:14,640 Speaker 1: creative cinematography. This is typically the opposite, by the way, 804 00:45:14,680 --> 00:45:16,680 Speaker 1: of what I would say are the dominant trends in 805 00:45:16,800 --> 00:45:20,000 Speaker 1: murder mystery films, say in the United States, which I 806 00:45:20,040 --> 00:45:24,880 Speaker 1: think are overwhelmingly they tend toward a gritty, realistic or 807 00:45:25,040 --> 00:45:27,919 Speaker 1: muted look with kind of matter of fact camera work. 808 00:45:27,960 --> 00:45:30,360 Speaker 1: It's like they're trying to make it look like real life, 809 00:45:31,040 --> 00:45:34,360 Speaker 1: whereas Italian jello films tend to love these you know, 810 00:45:34,480 --> 00:45:38,080 Speaker 1: weird red and purple gel lights and tilted camera angles 811 00:45:38,120 --> 00:45:40,480 Speaker 1: and shots reflected in a mirror and all kinds of 812 00:45:40,480 --> 00:45:43,480 Speaker 1: stuff like that. To say, nothing of the music. Yeah, 813 00:45:43,560 --> 00:45:46,560 Speaker 1: oh yeah, famously, like the Argento jello movies have have 814 00:45:46,719 --> 00:45:50,640 Speaker 1: wonderful scores, usually that you know in both Goblin or 815 00:45:50,719 --> 00:45:54,800 Speaker 1: Argento himself in some way. There's another strange recurring detail 816 00:45:54,920 --> 00:45:58,040 Speaker 1: that I noticed in a lot of Italian jello movies, 817 00:45:58,200 --> 00:46:01,600 Speaker 1: especially the movies of Dario arch Into. But a really 818 00:46:01,640 --> 00:46:06,600 Speaker 1: common recurring thing is that the protagonist will witness an 819 00:46:06,719 --> 00:46:10,279 Speaker 1: image or a scene early on in the movie that 820 00:46:10,440 --> 00:46:15,040 Speaker 1: contains some clue that would serve as the master key 821 00:46:15,080 --> 00:46:19,040 Speaker 1: to solving the mystery. And this this scene or this 822 00:46:19,200 --> 00:46:22,840 Speaker 1: memory keeps replaying in their mind, but they're unable to 823 00:46:23,000 --> 00:46:26,440 Speaker 1: recall or figure out what that key detail is until 824 00:46:26,520 --> 00:46:30,000 Speaker 1: the final resolution. So I think about the museum murder 825 00:46:30,040 --> 00:46:32,680 Speaker 1: scene in the Bird with crystal plumage, or the face 826 00:46:32,719 --> 00:46:36,560 Speaker 1: in the hallway and deep red and so forth. Interesting. 827 00:46:36,960 --> 00:46:39,680 Speaker 1: So looking back through this lens, like, is the telephone 828 00:46:39,800 --> 00:46:43,359 Speaker 1: sort of a short form proto Jallo in a way, 829 00:46:43,760 --> 00:46:45,880 Speaker 1: I think it kind of is it. It has some 830 00:46:45,960 --> 00:46:51,359 Speaker 1: of that same naturalistic terror mystery sensibility. It has a 831 00:46:51,440 --> 00:46:54,719 Speaker 1: clue detail in the room, except the protagonist I don't 832 00:46:54,719 --> 00:46:56,480 Speaker 1: know if she sees it. I don't think she does, 833 00:46:56,560 --> 00:46:58,640 Speaker 1: but I'm thinking about the zoom in on the eyes 834 00:46:58,719 --> 00:47:01,759 Speaker 1: and the window looking through the blinds, which is very creepy. 835 00:47:01,800 --> 00:47:05,520 Speaker 1: It does have that that creepy, voyeuristic and sexually charged 836 00:47:05,520 --> 00:47:08,360 Speaker 1: sensibility which I do not always enjoy in these movies, 837 00:47:08,400 --> 00:47:11,600 Speaker 1: to be honest, though it is not as stylized as 838 00:47:11,640 --> 00:47:14,439 Speaker 1: a lot of later Jello, which I would have enjoyed more. 839 00:47:14,480 --> 00:47:16,279 Speaker 1: I mean, I kind of wish Boba had played up 840 00:47:16,360 --> 00:47:19,800 Speaker 1: his his visual sense more in this segment, but with 841 00:47:20,520 --> 00:47:23,040 Speaker 1: blood and Black Lace that comes later. I almost wonder 842 00:47:23,120 --> 00:47:26,759 Speaker 1: if bab a sort of cross fertilized different parts of 843 00:47:26,760 --> 00:47:29,520 Speaker 1: his own creative process after Black Sabbath, like if he 844 00:47:29,560 --> 00:47:32,560 Speaker 1: started thinking, Okay, what if I did a story that 845 00:47:32,680 --> 00:47:35,160 Speaker 1: was more like this said in the modern world. It's 846 00:47:35,200 --> 00:47:39,560 Speaker 1: sort of a naturalistic mystery terror, uh, like the Telephone, 847 00:47:39,640 --> 00:47:43,680 Speaker 1: But I filmed it with that other worldly visual sensibility 848 00:47:43,800 --> 00:47:46,520 Speaker 1: that I used in The Worderlack where where everything glows 849 00:47:46,560 --> 00:47:50,440 Speaker 1: with magic power. Yeah. Interesting, Well, let's talk about the 850 00:47:50,600 --> 00:47:53,200 Speaker 1: the worderlock or the Verdi lock here. Oh yeah, we 851 00:47:53,239 --> 00:47:55,960 Speaker 1: gonna are, we gonna, we are, We're gonna um what 852 00:47:56,040 --> 00:47:57,640 Speaker 1: if what should they use in the film? I thought 853 00:47:57,680 --> 00:48:00,520 Speaker 1: I was hearing of the But but we can go 854 00:48:00,560 --> 00:48:03,279 Speaker 1: either way. I don't think the monster's mind. I'm gonna 855 00:48:03,320 --> 00:48:07,040 Speaker 1: go let's let's let's assume that's authentic and then try it. 856 00:48:07,120 --> 00:48:09,600 Speaker 1: We could be wrong. Um, but yeah, how about the 857 00:48:09,719 --> 00:48:14,040 Speaker 1: vertil ax. So the Verdelac I think, picking up after 858 00:48:14,080 --> 00:48:16,799 Speaker 1: the first segment, which I which I didn't especially love, 859 00:48:17,160 --> 00:48:21,759 Speaker 1: the Vertilac I think is extraordinary. Um, it's this Carpathian 860 00:48:21,920 --> 00:48:26,400 Speaker 1: Gothic tale where these auroras of weird color just dripped 861 00:48:26,480 --> 00:48:29,239 Speaker 1: from the crags. Like I said earlier, it's a new 862 00:48:29,480 --> 00:48:31,680 Speaker 1: you know, it goes on my list of favorite Boris 863 00:48:31,719 --> 00:48:38,919 Speaker 1: karl Off roles. He plays this shaggy, wild purple Kurt Vonnegut. 864 00:48:40,200 --> 00:48:44,000 Speaker 1: You notice he looks like uh. And and this whole 865 00:48:44,000 --> 00:48:48,640 Speaker 1: segment is just full of awesome slavic twang. And this 866 00:48:48,800 --> 00:48:53,640 Speaker 1: Menace of the Hills absolutely wonderful. The visual world that 867 00:48:53,760 --> 00:48:57,799 Speaker 1: Baba creates in here that that maybe isn't noticeable right 868 00:48:57,840 --> 00:49:01,880 Speaker 1: at first, but then just really uh leeches in. He 869 00:49:02,200 --> 00:49:05,880 Speaker 1: creates this dark domain that is occupied entirely by fog 870 00:49:06,080 --> 00:49:11,879 Speaker 1: and ruins and desolate farm houses. Um. Multiple just absolutely 871 00:49:11,920 --> 00:49:16,080 Speaker 1: creepy scenes and sequences. Uh, yeah, I absolutely loved it. 872 00:49:16,320 --> 00:49:18,319 Speaker 1: In fact, if you have never watched this film and 873 00:49:18,320 --> 00:49:20,960 Speaker 1: you're gonna pick it up, I I give you I 874 00:49:20,960 --> 00:49:22,759 Speaker 1: I think you should watch it in its entirety. But 875 00:49:22,800 --> 00:49:24,799 Speaker 1: if you need to, you can go ahead and skip 876 00:49:24,800 --> 00:49:27,439 Speaker 1: the telephone and go straight to this h go straight 877 00:49:27,480 --> 00:49:30,240 Speaker 1: to the vote lock. So to do a very quick 878 00:49:30,280 --> 00:49:32,560 Speaker 1: plot description on it, I don't want to spoil everything 879 00:49:32,600 --> 00:49:36,480 Speaker 1: about it, but it begins with the personable Mark Damon, 880 00:49:37,280 --> 00:49:40,680 Speaker 1: who is he plays a an aristocrat, he's a counter 881 00:49:40,800 --> 00:49:43,200 Speaker 1: or something. I don't recall exactly what he is, but 882 00:49:43,239 --> 00:49:46,719 Speaker 1: he's he's riding through the mountains and he's clearly in 883 00:49:46,800 --> 00:49:50,440 Speaker 1: a in a rural, rustic area, and he comes across 884 00:49:50,480 --> 00:49:54,279 Speaker 1: a corpse just lying there by a riverside. And so 885 00:49:54,320 --> 00:49:56,839 Speaker 1: this is a corpse that's had its head removed and 886 00:49:56,880 --> 00:49:59,239 Speaker 1: it has been stabbed through the heart with a very 887 00:49:59,280 --> 00:50:02,680 Speaker 1: distinctive dagger. And so he's like, oh, I guess I 888 00:50:02,680 --> 00:50:04,759 Speaker 1: gotta do something about this. So he picks up the 889 00:50:04,760 --> 00:50:08,680 Speaker 1: corpse and he carries it with him, uh to a 890 00:50:08,760 --> 00:50:11,640 Speaker 1: nearby village or I don't know if it's even a village. 891 00:50:11,640 --> 00:50:14,680 Speaker 1: It might just sort of be the compound of one family. 892 00:50:14,760 --> 00:50:17,160 Speaker 1: You know that under the heading of this one patriarch 893 00:50:17,239 --> 00:50:20,759 Speaker 1: in his house. Yea. So yeah, he comes to this 894 00:50:20,840 --> 00:50:23,360 Speaker 1: house out in the mountains and he goes into to 895 00:50:23,480 --> 00:50:25,920 Speaker 1: meet the people who lived there and he says, hey, 896 00:50:25,960 --> 00:50:29,799 Speaker 1: I found this corpse, and immediately they know what's going on. 897 00:50:29,840 --> 00:50:32,840 Speaker 1: They're like, oh, yes, that is our father's dagger you 898 00:50:32,920 --> 00:50:35,960 Speaker 1: found through the heart of this corpse. And that's because 899 00:50:36,200 --> 00:50:40,000 Speaker 1: our father has gone out to kill the wordilac. Or well, 900 00:50:40,080 --> 00:50:43,719 Speaker 1: let's see, I remember, did they establish the being he 901 00:50:43,760 --> 00:50:46,520 Speaker 1: was trying to kill they knew was a wordilac or 902 00:50:46,719 --> 00:50:49,279 Speaker 1: did they just think it was a local highwayman and 903 00:50:49,360 --> 00:50:51,319 Speaker 1: murderer that their father was going out to kill. There 904 00:50:51,400 --> 00:50:53,279 Speaker 1: was sort of blurring in the lines. Yeah, there were, 905 00:50:53,320 --> 00:50:56,720 Speaker 1: There was both, because they're clearly this region is dealing 906 00:50:56,760 --> 00:51:00,560 Speaker 1: with a serious vertilac problem. But then the Verdilac has 907 00:51:00,600 --> 00:51:03,719 Speaker 1: also been identified as a particular individual who is also 908 00:51:03,760 --> 00:51:07,400 Speaker 1: a notorious highwayman. Right, so from this they conclude, oh, okay, 909 00:51:07,400 --> 00:51:09,960 Speaker 1: our father succeeded in his quest. You know, he went 910 00:51:09,960 --> 00:51:12,719 Speaker 1: out into the mountains to find this criminal, this highwayman 911 00:51:12,880 --> 00:51:16,600 Speaker 1: and kill him, and here's his body. But where where's Pop? 912 00:51:16,840 --> 00:51:19,560 Speaker 1: You know, you would think he would have come back 913 00:51:19,600 --> 00:51:22,839 Speaker 1: by now. And uh so the family members here they 914 00:51:22,840 --> 00:51:26,360 Speaker 1: include the I believe, the two sons and the daughter 915 00:51:26,680 --> 00:51:30,920 Speaker 1: of Boris Karloff's character, and then the oldest son's wife 916 00:51:30,960 --> 00:51:33,359 Speaker 1: and child as well, And so they tell the story 917 00:51:33,360 --> 00:51:35,879 Speaker 1: while our father went out into the mountains to hunt 918 00:51:35,920 --> 00:51:40,279 Speaker 1: down this this brigand and and possible supernatural menace, the 919 00:51:40,360 --> 00:51:43,560 Speaker 1: vertiloc and and kill him. And then he but they 920 00:51:43,760 --> 00:51:47,920 Speaker 1: but he warned us, if I come back after five days, 921 00:51:48,120 --> 00:51:51,440 Speaker 1: don't let me in because then I'm going to be 922 00:51:51,480 --> 00:51:55,359 Speaker 1: a word of lact probably by that time. And there's 923 00:51:55,360 --> 00:51:58,799 Speaker 1: a great plot device of ambiguity because when does Boris 924 00:51:58,880 --> 00:52:02,239 Speaker 1: Karloff show up right at the toll of midnight on 925 00:52:02,320 --> 00:52:05,160 Speaker 1: the fifth day, So he's like coming in right on 926 00:52:05,239 --> 00:52:08,680 Speaker 1: the line, and you don't know one way or another. Yeah, though, 927 00:52:08,960 --> 00:52:12,239 Speaker 1: I mean, I think one of the one of the 928 00:52:12,520 --> 00:52:14,799 Speaker 1: messages of this this the whole sequence here, is that 929 00:52:14,840 --> 00:52:17,880 Speaker 1: if Grahampa says he might be a vertiluck, just go 930 00:52:17,880 --> 00:52:20,520 Speaker 1: ahead and assume he's a verti luck, because it's going 931 00:52:20,600 --> 00:52:31,680 Speaker 1: to be the safer assumption some of you might be wondering, 932 00:52:31,840 --> 00:52:34,560 Speaker 1: is is a vertilock really a thing. Well, I did 933 00:52:34,560 --> 00:52:37,040 Speaker 1: look it up, and according to Folklori's Carol Rose, who 934 00:52:37,120 --> 00:52:40,799 Speaker 1: often refer to with my monster career careers here, uh, 935 00:52:40,800 --> 00:52:43,759 Speaker 1: it's it's actually more werewolf than vampire. But in the 936 00:52:43,800 --> 00:52:47,640 Speaker 1: Slavic tradition the two concepts are kind of interlocked. Um. 937 00:52:47,719 --> 00:52:50,880 Speaker 1: One version at least was that when a werewolf is killed, 938 00:52:50,880 --> 00:52:54,520 Speaker 1: it transforms into a vampire that could then reassume the 939 00:52:54,560 --> 00:52:59,400 Speaker 1: form of a wolf and vote luck apparently means wolf's hair. Um. 940 00:52:59,400 --> 00:53:02,239 Speaker 1: But in this movie, what we see is is essentially 941 00:53:03,080 --> 00:53:07,560 Speaker 1: a take on the vampire legend with with a fun twist. Well, 942 00:53:07,600 --> 00:53:09,080 Speaker 1: I don't know if it's fun depending on which end 943 00:53:09,120 --> 00:53:10,759 Speaker 1: of it. If you're just enjoying the horror of it, 944 00:53:10,760 --> 00:53:12,640 Speaker 1: it's uh, I guess it's fun. If your character in 945 00:53:12,680 --> 00:53:14,520 Speaker 1: the in the story not so fun. And that is 946 00:53:14,960 --> 00:53:18,120 Speaker 1: that the monster when it comes back, when it takes 947 00:53:18,120 --> 00:53:20,799 Speaker 1: on the form of those that is killed, it's going 948 00:53:20,840 --> 00:53:24,040 Speaker 1: to be drawn most to those that it loved in life. 949 00:53:24,360 --> 00:53:26,640 Speaker 1: Those are going to be the ones that it focuses 950 00:53:26,680 --> 00:53:29,840 Speaker 1: all of its monstrous intensity on. Yeah, this is a 951 00:53:30,000 --> 00:53:34,560 Speaker 1: vampire as betrayer of trust, not just a vampire that 952 00:53:34,600 --> 00:53:37,200 Speaker 1: needs blood. Anybody's blood just got to have a meal 953 00:53:37,239 --> 00:53:40,080 Speaker 1: of blood. This is a vampire that specifically comes for 954 00:53:40,239 --> 00:53:45,200 Speaker 1: its loved ones. Yeah, which, Uh, I was thinking about 955 00:53:45,200 --> 00:53:47,520 Speaker 1: this a little bit because again, the pacing of the 956 00:53:47,560 --> 00:53:50,759 Speaker 1: film I think invites contemplation and also an enjoyment of 957 00:53:50,800 --> 00:53:53,880 Speaker 1: the visuals. Uh. But like, well, what is wonder what 958 00:53:53,960 --> 00:53:58,320 Speaker 1: this this? Uh? The sequence and what this this legend is? Um? 959 00:53:58,320 --> 00:54:01,959 Speaker 1: Like what does it say about like love and bereavement? Uh? 960 00:54:02,000 --> 00:54:04,680 Speaker 1: You know the twisted way that our our strongest positive 961 00:54:04,719 --> 00:54:08,960 Speaker 1: emotions can become negative emotions. Uh. And then ultimately, is 962 00:54:09,040 --> 00:54:13,560 Speaker 1: this story advising us not to love anybody because because 963 00:54:13,600 --> 00:54:16,600 Speaker 1: that alone would protect us from monsters? Well, that's a 964 00:54:16,600 --> 00:54:18,600 Speaker 1: good question. And then I want to take that a 965 00:54:18,600 --> 00:54:25,480 Speaker 1: step further. A lot of horror movies have very weakly 966 00:54:25,600 --> 00:54:29,080 Speaker 1: earned love stories where you know, the characters fall in 967 00:54:29,120 --> 00:54:31,439 Speaker 1: love with each other. You don't really see a lot 968 00:54:31,520 --> 00:54:33,640 Speaker 1: of reason for them to fall you know, you don't 969 00:54:33,640 --> 00:54:35,839 Speaker 1: see a lot of like scenes of chemistry of them, 970 00:54:36,080 --> 00:54:39,120 Speaker 1: you know, finding things they like about one another just 971 00:54:39,200 --> 00:54:42,600 Speaker 1: kind of happens because the script says so this story, 972 00:54:42,680 --> 00:54:46,920 Speaker 1: the Vertiloc has a couple of characters who seem to 973 00:54:47,000 --> 00:54:49,440 Speaker 1: fall in love with each other very quickly and in 974 00:54:49,520 --> 00:54:52,799 Speaker 1: this sort of weakly justified way. But I wonder if 975 00:54:52,880 --> 00:54:57,240 Speaker 1: that's not intentional in this case, uh, saying something about 976 00:54:57,280 --> 00:55:00,359 Speaker 1: like falling, you know, loving too easily, and the being 977 00:55:00,400 --> 00:55:03,160 Speaker 1: a kind of danger in that. Yeah. Yeah, the character 978 00:55:03,200 --> 00:55:06,839 Speaker 1: that Damon plays, Um, you do kind of feel that, right, 979 00:55:06,840 --> 00:55:08,360 Speaker 1: It's like, like, what do you do? You're so in 980 00:55:08,480 --> 00:55:10,839 Speaker 1: your you're in love. You just met her and you're 981 00:55:10,880 --> 00:55:13,040 Speaker 1: so in love with her that you are going to 982 00:55:13,200 --> 00:55:17,960 Speaker 1: risk incurring the wrath of her you know, undead transformed family. Uh, 983 00:55:18,000 --> 00:55:21,520 Speaker 1: it seems it seems foolish, and it seems like, uh, 984 00:55:21,680 --> 00:55:24,600 Speaker 1: as a fool in a short horror work, you are 985 00:55:24,600 --> 00:55:28,160 Speaker 1: going to be punished for this foolishness. Well yeah, and 986 00:55:28,200 --> 00:55:31,240 Speaker 1: it also says something about family. I think. Because again, 987 00:55:31,440 --> 00:55:33,399 Speaker 1: so this will be a minor spoiler. I don't think 988 00:55:33,400 --> 00:55:35,360 Speaker 1: it will ruin your enjoyment of the segment, which you 989 00:55:35,400 --> 00:55:37,280 Speaker 1: can enjoy even if you read the whole plot ahead 990 00:55:37,280 --> 00:55:40,360 Speaker 1: of time, but warning to spoil the ending. So I 991 00:55:40,640 --> 00:55:43,320 Speaker 1: think it is basically the fact that Mark Damon's character, 992 00:55:43,360 --> 00:55:46,600 Speaker 1: he comes in, he very quickly and maybe unjustified, le 993 00:55:46,760 --> 00:55:50,719 Speaker 1: falls in love with Stenka and then Sidenka apparently sort 994 00:55:50,719 --> 00:55:54,280 Speaker 1: of reciprocates, you know, she likes him to um. And 995 00:55:54,719 --> 00:55:56,960 Speaker 1: you get the impression that it's interesting that at first 996 00:55:57,440 --> 00:55:59,960 Speaker 1: Mark Damon's character is not really threatened by the vers 997 00:56:00,040 --> 00:56:02,080 Speaker 1: to luck because he's not a member of the family 998 00:56:02,120 --> 00:56:05,200 Speaker 1: and it only wants its own family. But it's once 999 00:56:05,280 --> 00:56:08,319 Speaker 1: she reciprocates his feelings and they fall in love with 1000 00:56:08,360 --> 00:56:11,719 Speaker 1: each other that then he is also subject to the 1001 00:56:11,760 --> 00:56:15,279 Speaker 1: threat of having his blood drank, drink and drunk, uh, 1002 00:56:15,320 --> 00:56:18,279 Speaker 1: you know, of being attacked by the supernatural creature. It's 1003 00:56:18,360 --> 00:56:20,920 Speaker 1: once there is a bond of love between him and 1004 00:56:20,960 --> 00:56:25,240 Speaker 1: her that now he is fair game for this monster. Yeah. Yeah, 1005 00:56:25,280 --> 00:56:30,320 Speaker 1: I mean it's there's probably something telling and there about attachments. Uh. 1006 00:56:30,360 --> 00:56:32,920 Speaker 1: But at the same time, it's like he's he clearly 1007 00:56:32,960 --> 00:56:37,480 Speaker 1: is loving strongly and loving deeply um, albeit very briefly. 1008 00:56:37,960 --> 00:56:40,160 Speaker 1: Uh So maybe it's all worth it. It's worth all 1009 00:56:40,239 --> 00:56:44,160 Speaker 1: the the english and death because the love was that strong. 1010 00:56:45,360 --> 00:56:46,880 Speaker 1: It seems to have there there is a sort of 1011 00:56:46,880 --> 00:56:51,319 Speaker 1: a bittersweet romantic element to the to the way this 1012 00:56:51,320 --> 00:56:54,640 Speaker 1: this wraps up. Yeah, yeah, but I mean, overall, every 1013 00:56:54,680 --> 00:56:58,400 Speaker 1: everything else we've said about the Vertilock. The atmosphere is 1014 00:56:58,480 --> 00:57:02,160 Speaker 1: just amazing, and there are such wonderful scenes of looking 1015 00:57:02,200 --> 00:57:05,920 Speaker 1: out the window and maybe seeing Boris Karloff in his 1016 00:57:06,040 --> 00:57:09,200 Speaker 1: in his purple Kurt Vonnegut with the with the shaggy 1017 00:57:09,680 --> 00:57:13,680 Speaker 1: furry hood. Oh god, it's just so so good. Oh 1018 00:57:13,800 --> 00:57:17,200 Speaker 1: the sequence with the child crying for the mother who's 1019 00:57:17,360 --> 00:57:20,280 Speaker 1: super creepy. That one gave me the shivers. Uh oh. 1020 00:57:20,360 --> 00:57:22,880 Speaker 1: Another great thing about this sequence is it has a 1021 00:57:23,000 --> 00:57:26,880 Speaker 1: great decapitated head. So at this point in my life 1022 00:57:26,880 --> 00:57:29,400 Speaker 1: and my film film Going Life, and I imagine you're 1023 00:57:29,480 --> 00:57:32,600 Speaker 1: much the same, Joe, I've seen a vast spectrum of 1024 00:57:32,640 --> 00:57:36,320 Speaker 1: decapitated head effects, ranging from just the laughable to the 1025 00:57:36,440 --> 00:57:40,360 Speaker 1: you know, at times shockingly realistic. Um though that that's 1026 00:57:40,600 --> 00:57:43,080 Speaker 1: it's interesting to think of like realistic and non realistic 1027 00:57:43,080 --> 00:57:46,440 Speaker 1: decapitated head effects because I think most all of us 1028 00:57:46,560 --> 00:57:49,640 Speaker 1: don't have anything to judge it against, you know, And 1029 00:57:49,720 --> 00:57:51,600 Speaker 1: I think that's ultimately a good thing. We can't really 1030 00:57:52,080 --> 00:57:54,080 Speaker 1: we we don't look at a decapitated head and go like, 1031 00:57:54,120 --> 00:57:56,800 Speaker 1: wait a minute, that's not what a decapitated head looks like. 1032 00:57:57,520 --> 00:58:00,680 Speaker 1: I saw a decapitated head this morning to get out 1033 00:58:00,680 --> 00:58:05,080 Speaker 1: my faces of death videos, but in any right, there's 1034 00:58:05,560 --> 00:58:09,680 Speaker 1: I love even a hokey beheading effect. But this film 1035 00:58:09,720 --> 00:58:15,600 Speaker 1: has has not one, but two beautifully disturbing corpse head sculpts. Uh. 1036 00:58:15,640 --> 00:58:20,560 Speaker 1: And these were actually created by Mario Baba's father, Eugenio Baba, 1037 00:58:20,960 --> 00:58:23,760 Speaker 1: which I thought was interesting that they're They're both absolutely 1038 00:58:24,040 --> 00:58:28,880 Speaker 1: beautiful and of course terrifying. Well, speaking of beautiful and 1039 00:58:29,040 --> 00:58:32,320 Speaker 1: terrifying corpses, we got to also mentioned the third segment 1040 00:58:32,400 --> 00:58:35,560 Speaker 1: in this movie, A Drop of Water, which for me, 1041 00:58:35,640 --> 00:58:37,800 Speaker 1: the Vertilock is the standout, but a Drop of Water 1042 00:58:37,840 --> 00:58:40,600 Speaker 1: I thought was also very very good. Uh, and it 1043 00:58:40,680 --> 00:58:43,480 Speaker 1: has I gotta say, one of the creepiest movie corpses 1044 00:58:43,560 --> 00:58:46,680 Speaker 1: I have ever seen, along with a wonderful twist and 1045 00:58:46,800 --> 00:58:50,480 Speaker 1: some really great set in lighting choices. Yeah, this one 1046 00:58:51,320 --> 00:58:54,440 Speaker 1: again the telephone things are a little maybe more subdued, 1047 00:58:54,560 --> 00:58:58,480 Speaker 1: but still pretty pretty brilliant, but subdued for Baba Vertilock 1048 00:58:59,000 --> 00:59:02,040 Speaker 1: colorful and wonder full and out there. This one too 1049 00:59:02,160 --> 00:59:05,920 Speaker 1: is just just absolutely touching your eyeballs with its with 1050 00:59:06,000 --> 00:59:10,280 Speaker 1: its color scheme. Um. Specifically, the thing that stuck with 1051 00:59:10,320 --> 00:59:12,560 Speaker 1: me most about the Drop of Water there were two things. 1052 00:59:13,160 --> 00:59:17,920 Speaker 1: One is that it has this marvelous, creepy corpse design. 1053 00:59:18,960 --> 00:59:22,440 Speaker 1: But the other was that the main character in this 1054 00:59:22,520 --> 00:59:25,360 Speaker 1: play is a nurse who lives in an apartment that 1055 00:59:25,440 --> 00:59:29,280 Speaker 1: has this oval shaped window, and outside the window is 1056 00:59:29,320 --> 00:59:35,760 Speaker 1: a constantly, gently pulsing green light. And I don't know 1057 00:59:35,800 --> 00:59:38,240 Speaker 1: what exactly that was supposed to be in terms of realism. 1058 00:59:38,240 --> 00:59:40,439 Speaker 1: I think there's a quick shot from outside at first 1059 00:59:40,440 --> 00:59:42,680 Speaker 1: where it's raining out and and maybe it's supposed to 1060 00:59:42,680 --> 00:59:45,080 Speaker 1: be some kind of rotating sign or something. I'm not 1061 00:59:45,120 --> 00:59:48,000 Speaker 1: I'm not quite positive, but the effect within the apartment 1062 00:59:48,080 --> 00:59:52,960 Speaker 1: is these pulses of green that are I just love it. 1063 00:59:53,040 --> 00:59:55,320 Speaker 1: I love it. I want to live in that. Yeah. 1064 00:59:55,400 --> 00:59:59,440 Speaker 1: That that window is absolutely amazing. It's like a um 1065 00:59:59,640 --> 01:00:03,240 Speaker 1: horror ontole oval shape and it has this uh this 1066 01:00:03,360 --> 01:00:07,120 Speaker 1: kind of uh like iron lattice work cross in the 1067 01:00:07,120 --> 01:00:10,720 Speaker 1: middle of it. Um. I have never seen anything quite 1068 01:00:10,720 --> 01:00:13,120 Speaker 1: like it. And yeah, and then this pulsating lights. So 1069 01:00:13,320 --> 01:00:15,720 Speaker 1: this was very much a sequence in the film where 1070 01:00:15,920 --> 01:00:18,160 Speaker 1: I think I was a little uncertain about, like what 1071 01:00:18,240 --> 01:00:20,320 Speaker 1: was supposed to be happening, and when you know, what's 1072 01:00:20,320 --> 01:00:23,160 Speaker 1: supposed to be pulling me along character wise or plot wise. 1073 01:00:23,320 --> 01:00:26,120 Speaker 1: But I could not look away from that window, and 1074 01:00:26,440 --> 01:00:29,280 Speaker 1: it was reminding me of something too, and I realized 1075 01:00:29,280 --> 01:00:31,880 Speaker 1: it was it was reminding me of a scene from 1076 01:00:31,960 --> 01:00:37,000 Speaker 1: the sci fi film Event Horizon, Um, which show which 1077 01:00:37,120 --> 01:00:40,080 Speaker 1: I know you've seen as well, Joe. Uh, there's a 1078 01:00:40,120 --> 01:00:43,320 Speaker 1: sequence where there is a corpse floating aboard the Event 1079 01:00:43,360 --> 01:00:47,000 Speaker 1: Horizon spaceship and it's floating in front of this cross 1080 01:00:47,080 --> 01:00:50,960 Speaker 1: shaped window that has kind of bluish greenish uh space 1081 01:00:51,080 --> 01:00:54,200 Speaker 1: lights pulsating behind it, And you think it was influenced 1082 01:00:54,240 --> 01:00:57,440 Speaker 1: by this short. I wonder if it was, because, for 1083 01:00:57,440 --> 01:00:59,840 Speaker 1: for for starters, Event Horizon is a film that is 1084 01:01:00,000 --> 01:01:03,560 Speaker 1: not shy about taking inspiration from other films. I love it, 1085 01:01:03,640 --> 01:01:06,440 Speaker 1: but like you, like, you see the DNA of these 1086 01:01:06,440 --> 01:01:10,400 Speaker 1: other films in it. Um, it's all about that and 1087 01:01:10,520 --> 01:01:14,040 Speaker 1: uh so yeah, I'm wondering if the cinematographer an Event Horizon, 1088 01:01:14,280 --> 01:01:16,880 Speaker 1: an individual by the name of Atrian Biddle, who worked 1089 01:01:16,880 --> 01:01:19,800 Speaker 1: on Aliens and Judge Dread and various other films. I 1090 01:01:19,880 --> 01:01:23,560 Speaker 1: wonder if this particular scene is kind of a nod 1091 01:01:23,840 --> 01:01:27,760 Speaker 1: to Baba, because it, uh, it feels Baba asked um, 1092 01:01:27,800 --> 01:01:29,800 Speaker 1: you know, it feels it feels like it might be 1093 01:01:30,000 --> 01:01:32,560 Speaker 1: a slight tip of the hat. Event Horizon could be 1094 01:01:32,600 --> 01:01:34,680 Speaker 1: an interesting movie to come back to because I find 1095 01:01:34,680 --> 01:01:38,200 Speaker 1: it to be a very uh, very strange and an 1096 01:01:38,320 --> 01:01:43,439 Speaker 1: unusual combination of very inspired and very hack. Yeah, yeah, 1097 01:01:43,440 --> 01:01:45,680 Speaker 1: I know what you mean. Yeah, there's a there. I 1098 01:01:45,720 --> 01:01:49,000 Speaker 1: loved Event Horizon when it came out, and then uh, 1099 01:01:49,560 --> 01:01:51,840 Speaker 1: when I rewatched it several years ago, there were still 1100 01:01:51,880 --> 01:01:54,000 Speaker 1: things I absolutely loved about it, but some things were 1101 01:01:54,040 --> 01:01:57,080 Speaker 1: like I kind of sighed and groaned at but still 1102 01:01:57,120 --> 01:01:59,000 Speaker 1: but it has a place in my heart. Well, I 1103 01:01:59,000 --> 01:02:01,400 Speaker 1: guess you could say, much like The Telephone. The plot 1104 01:02:01,440 --> 01:02:05,320 Speaker 1: of A Drop of Water is pretty straightforward. So a 1105 01:02:05,400 --> 01:02:09,600 Speaker 1: nurse uh is called out to the apartment of a 1106 01:02:09,880 --> 01:02:12,000 Speaker 1: woman that she has been taken care of who has 1107 01:02:12,080 --> 01:02:15,840 Speaker 1: just died, and this woman apparently was involved in the occult. 1108 01:02:15,920 --> 01:02:18,640 Speaker 1: I think they say that she died during a seance, 1109 01:02:19,320 --> 01:02:22,120 Speaker 1: and so then the nurse must go into the room 1110 01:02:22,200 --> 01:02:24,720 Speaker 1: where her her dead body is laying and helped prepare 1111 01:02:24,800 --> 01:02:27,160 Speaker 1: the corpse. But when she goes into the room, she 1112 01:02:27,280 --> 01:02:31,240 Speaker 1: notices that the the cadaver here has a has a splendid, 1113 01:02:31,400 --> 01:02:34,880 Speaker 1: very expensive looking piece of jewelry on it, a beautiful 1114 01:02:35,040 --> 01:02:37,560 Speaker 1: ring that has maybe a sapphire in it or something, 1115 01:02:38,640 --> 01:02:40,360 Speaker 1: and she looks at it and it's like, well, is 1116 01:02:40,400 --> 01:02:41,880 Speaker 1: this just you know, is this ring going to go 1117 01:02:41,880 --> 01:02:44,160 Speaker 1: to waste? Is this expensive piece of jewelry just going 1118 01:02:44,200 --> 01:02:46,480 Speaker 1: to go into a coffin and then rotting the ground? 1119 01:02:46,680 --> 01:02:48,560 Speaker 1: I could grab that thing and take it with me 1120 01:02:48,640 --> 01:02:51,480 Speaker 1: and then uh, and you you get the sense that 1121 01:02:51,560 --> 01:02:53,640 Speaker 1: the nurse is sort of living in poverty like that 1122 01:02:53,760 --> 01:02:56,680 Speaker 1: she could she could use a big cash in at 1123 01:02:56,680 --> 01:03:01,080 Speaker 1: the pawn shop, um to put over that to be window. Yeah, 1124 01:03:01,120 --> 01:03:05,439 Speaker 1: exactly sleep at night. Um. So she grabs the ring, 1125 01:03:06,200 --> 01:03:08,480 Speaker 1: but of course I don't know if you want to 1126 01:03:08,520 --> 01:03:10,560 Speaker 1: grab the ring off the corpse of a lady who 1127 01:03:10,640 --> 01:03:13,960 Speaker 1: just died while being involved with the occult right, And 1128 01:03:14,040 --> 01:03:17,960 Speaker 1: so the rest of this segment has some wonderful uh 1129 01:03:18,200 --> 01:03:21,240 Speaker 1: scenes of the haunting of a guilty conscience. And then 1130 01:03:21,240 --> 01:03:24,200 Speaker 1: there's also an excellent twist at the ending of of 1131 01:03:24,280 --> 01:03:27,160 Speaker 1: this segment to Yeah, i've kind of downplayed the like 1132 01:03:27,200 --> 01:03:30,680 Speaker 1: the plotting of Baba films, I guess in general here 1133 01:03:30,720 --> 01:03:34,040 Speaker 1: but but but yeah, I think all three sequences have 1134 01:03:34,160 --> 01:03:37,720 Speaker 1: some some fun um, some some fun plot twists and 1135 01:03:37,760 --> 01:03:40,439 Speaker 1: some fun developments. Uh. You know that you you don't 1136 01:03:40,480 --> 01:03:42,840 Speaker 1: really know where everything's gonna go, and things don't follow 1137 01:03:43,440 --> 01:03:48,000 Speaker 1: a clearly defined path, which which is rather pleasurable. I agree. 1138 01:03:48,080 --> 01:03:50,280 Speaker 1: So I mean, as we were saying at the beginning, 1139 01:03:51,000 --> 01:03:54,120 Speaker 1: or horror anthologies are often kind of you know that 1140 01:03:54,520 --> 01:03:56,760 Speaker 1: your different segments are going to be of different quality. 1141 01:03:56,840 --> 01:03:59,440 Speaker 1: But I would say, after, I guess if we're wrapping 1142 01:03:59,560 --> 01:04:01,880 Speaker 1: up here at the end, I really enjoyed two out 1143 01:04:01,880 --> 01:04:04,040 Speaker 1: of three segments. But if you only check out one 1144 01:04:04,080 --> 01:04:06,800 Speaker 1: of the segments from this movie, definitely I would say 1145 01:04:06,880 --> 01:04:10,240 Speaker 1: the Vertilac, the Vertilac, Vertilac. Yeah, come for the verti 1146 01:04:10,320 --> 01:04:14,920 Speaker 1: loc stay for the drop of water, uh, and find 1147 01:04:15,000 --> 01:04:17,560 Speaker 1: something to love in the telephone. Oh. But then also 1148 01:04:17,720 --> 01:04:19,320 Speaker 1: we should we have to put come back to our 1149 01:04:19,360 --> 01:04:22,000 Speaker 1: host here because one of the fun things about the 1150 01:04:22,000 --> 01:04:26,000 Speaker 1: American International Pictures um A release of it is that, yeah, 1151 01:04:26,120 --> 01:04:29,480 Speaker 1: we we added us this intro bit from Boris Karloff. Uh. 1152 01:04:29,520 --> 01:04:33,560 Speaker 1: And apparently they filmed some segments of Boris Karloff that 1153 01:04:33,640 --> 01:04:37,000 Speaker 1: would have gone between each of the segments, but they 1154 01:04:37,000 --> 01:04:39,760 Speaker 1: didn't use those. So we just go from segment one 1155 01:04:39,800 --> 01:04:42,120 Speaker 1: to segment two to segment three. But then when segment 1156 01:04:42,200 --> 01:04:46,040 Speaker 1: three ends, we come back to Boris Karloff. Uh, And 1157 01:04:46,240 --> 01:04:49,440 Speaker 1: weirdly enough, he's he's like in his his he seems 1158 01:04:49,440 --> 01:04:52,040 Speaker 1: to be in costume from the Verdi lock. He's riding 1159 01:04:52,080 --> 01:04:55,480 Speaker 1: a horse, but he has this kind of almost crip 1160 01:04:55,560 --> 01:05:00,480 Speaker 1: keeper esque um uh, you know, jovial atmosphere about him. 1161 01:05:00,480 --> 01:05:02,880 Speaker 1: And I can't even remember what he's telling us because 1162 01:05:02,920 --> 01:05:05,800 Speaker 1: as he's saying, you know, wrapping up for everybody, we 1163 01:05:05,880 --> 01:05:09,480 Speaker 1: pan out and we have this kind of um um, 1164 01:05:10,960 --> 01:05:14,720 Speaker 1: holy mountain moment where we pan out and we see 1165 01:05:14,760 --> 01:05:17,240 Speaker 1: that it's a set. We see a cameraman, we see 1166 01:05:17,360 --> 01:05:20,720 Speaker 1: people holding up these bushes that are supposed to be um, 1167 01:05:20,800 --> 01:05:23,480 Speaker 1: you know, uh, rushing past him as he rides this horse, 1168 01:05:23,520 --> 01:05:25,800 Speaker 1: and we see that the horse itself is just a 1169 01:05:25,880 --> 01:05:29,600 Speaker 1: saddle on, like a fake horse rump that's that's being 1170 01:05:29,600 --> 01:05:32,680 Speaker 1: put into motion. Uh. And it's such a weird ending. 1171 01:05:32,800 --> 01:05:35,040 Speaker 1: I was thinking about It's like, why why did we 1172 01:05:35,080 --> 01:05:39,720 Speaker 1: punctuate this film Black Sabbath, this trio of horrifying tales, 1173 01:05:39,760 --> 01:05:42,480 Speaker 1: each with a dark ending? And I was wondering if 1174 01:05:42,520 --> 01:05:45,320 Speaker 1: it was because they thought, well, you know, nineteen three 1175 01:05:45,360 --> 01:05:48,240 Speaker 1: audiences don't want to go home feeling depressed. They need 1176 01:05:48,280 --> 01:05:50,080 Speaker 1: to go home with a smile on their face. So 1177 01:05:50,400 --> 01:05:52,800 Speaker 1: we need this, Uh, we need a fund ending, we 1178 01:05:52,840 --> 01:05:55,600 Speaker 1: need we need Boris Karla reminding them that it's all 1179 01:05:55,640 --> 01:05:57,400 Speaker 1: just a movie. It's no, none of this is real. 1180 01:05:58,040 --> 01:06:01,480 Speaker 1: Um it's it was weird. Yeah, I'm not really sure 1181 01:06:01,520 --> 01:06:04,040 Speaker 1: what motivated that ending. Maybe you just yeah, like you're saying, 1182 01:06:04,240 --> 01:06:06,680 Speaker 1: cinnemon with a smile on their face. But I loved 1183 01:06:06,680 --> 01:06:10,520 Speaker 1: it or Rachel and I both really appreciated the pulling 1184 01:06:10,520 --> 01:06:12,520 Speaker 1: back to see especially the best part of it for 1185 01:06:12,560 --> 01:06:15,440 Speaker 1: me was the people running around with the potted plants 1186 01:06:15,480 --> 01:06:17,600 Speaker 1: to move them in front of the camera to simulate 1187 01:06:17,720 --> 01:06:21,240 Speaker 1: the horse actually traveling through stuff in the foreground. Yeah, 1188 01:06:21,920 --> 01:06:27,440 Speaker 1: it's it's something I guess thinking to other horror host environments, 1189 01:06:27,480 --> 01:06:29,120 Speaker 1: like you need to do one of two things. Either 1190 01:06:29,160 --> 01:06:32,240 Speaker 1: you have the horror host punctuate the terror or the 1191 01:06:32,280 --> 01:06:35,480 Speaker 1: cerebrial nature of it, you know, like the the voiceover 1192 01:06:35,520 --> 01:06:38,080 Speaker 1: for the Outer Limits is all about really driving home 1193 01:06:38,160 --> 01:06:41,560 Speaker 1: the serious message of the piece, um, you know, or 1194 01:06:41,600 --> 01:06:44,600 Speaker 1: if you're watching twilight Zone, it's all about reminding you 1195 01:06:44,640 --> 01:06:47,000 Speaker 1: of how dark and mysterious things really are. But the 1196 01:06:47,000 --> 01:06:50,680 Speaker 1: crypt Keeper, he just comes back to make several punny 1197 01:06:50,800 --> 01:06:54,840 Speaker 1: jokes and uh and so you know what Karlof is 1198 01:06:54,840 --> 01:06:57,000 Speaker 1: doing here is very much in the crypt keeper mode 1199 01:06:57,040 --> 01:07:01,040 Speaker 1: of of lightening the mood. I feel, all right, well, 1200 01:07:01,040 --> 01:07:03,000 Speaker 1: we're gonna go ahead close this one out, but we 1201 01:07:03,080 --> 01:07:05,840 Speaker 1: recommend everybody. Yeah, this is the Halloween season, so if 1202 01:07:05,880 --> 01:07:08,880 Speaker 1: you need a nice gothic atmospheric film to to watch, 1203 01:07:09,400 --> 01:07:12,440 Speaker 1: check out Black Sabbath. Um. This is also a fine one, 1204 01:07:12,680 --> 01:07:14,520 Speaker 1: you know, just to play visually in the background. If 1205 01:07:14,520 --> 01:07:17,560 Speaker 1: you just want some really strong visuals, this one's this 1206 01:07:17,600 --> 01:07:21,080 Speaker 1: one's good to go. Um. Black Sabbath is widely available 1207 01:07:21,120 --> 01:07:23,760 Speaker 1: for digital rental or purchase. Again, I watched it on 1208 01:07:23,800 --> 01:07:26,480 Speaker 1: an Apple TV by doing a free preview of AMC Plus, 1209 01:07:26,920 --> 01:07:30,080 Speaker 1: but it's also widely available on disc and cleaning, including 1210 01:07:30,160 --> 01:07:32,720 Speaker 1: Keno Classics. They have a blu ray of it, though 1211 01:07:32,760 --> 01:07:35,880 Speaker 1: I guess I will leave the research to you figuring 1212 01:07:35,920 --> 01:07:39,840 Speaker 1: out what version you're about to purchase or rent, because yeah, 1213 01:07:39,840 --> 01:07:42,800 Speaker 1: we both watched the Italian language version subtitled, but I 1214 01:07:42,840 --> 01:07:45,360 Speaker 1: think there is a dubbed version as well. I don't 1215 01:07:45,400 --> 01:07:47,600 Speaker 1: know what the availability on that is. I can't speak 1216 01:07:47,640 --> 01:07:49,920 Speaker 1: to it personally. I can't comment on that, but I 1217 01:07:50,280 --> 01:07:53,160 Speaker 1: do think there are different versions that have different levels 1218 01:07:53,160 --> 01:07:56,160 Speaker 1: of sort of color saturation and all that. Try to 1219 01:07:56,240 --> 01:07:59,600 Speaker 1: find one with the really intense colors. Yeah, that's the 1220 01:07:59,640 --> 01:08:03,440 Speaker 1: most part of thing. Yeah, the colors speak volumes. The 1221 01:08:03,480 --> 01:08:07,360 Speaker 1: colors speak in ways that the dialogue and the subtitles 1222 01:08:07,400 --> 01:08:09,920 Speaker 1: are going to are going to pale in comparison to 1223 01:08:10,600 --> 01:08:12,440 Speaker 1: all Right, we'll be We'll be back next week with 1224 01:08:12,480 --> 01:08:16,679 Speaker 1: another I think thoroughly Halloween e selection. But in the meantime, 1225 01:08:16,720 --> 01:08:19,439 Speaker 1: you can listen to Weird House Cinema every Friday, and 1226 01:08:19,479 --> 01:08:22,000 Speaker 1: the Stuff to Blow your Mind podcast feed were primarily 1227 01:08:22,040 --> 01:08:25,680 Speaker 1: a science podcast with core episodes on Tuesdays and Thursday's 1228 01:08:25,760 --> 01:08:28,439 Speaker 1: Artifact on Wednesday. You'll listen to mail on Monday, but 1229 01:08:28,520 --> 01:08:31,360 Speaker 1: on Friday's we take a little time to just discuss 1230 01:08:31,360 --> 01:08:35,400 Speaker 1: a weird film like Black Sabbath. Huge thanks as always 1231 01:08:35,400 --> 01:08:38,760 Speaker 1: to our wonderful audio producer Seth Nicholas Johnson. If you 1232 01:08:38,760 --> 01:08:40,759 Speaker 1: would like to get in touch with us with feedback 1233 01:08:40,800 --> 01:08:43,000 Speaker 1: on this episode or any other, to suggest a topic 1234 01:08:43,040 --> 01:08:44,880 Speaker 1: for the future, or just to say hello, you can 1235 01:08:44,960 --> 01:08:48,040 Speaker 1: email us at contact at Stuff to Blow your Mind 1236 01:08:48,200 --> 01:08:57,760 Speaker 1: dot com. Stuff to Blow Your Mind. It's production of 1237 01:08:57,800 --> 01:09:00,920 Speaker 1: I Heart Radio. For more podcasts my radio, visit the 1238 01:09:00,960 --> 01:09:03,679 Speaker 1: I heart Radio app, Apple podcasts, or wherever you listen 1239 01:09:03,800 --> 01:09:04,679 Speaker 1: to your favorite shows.