Speaker 1: Welcome to Stuff to Blow your Mind, a production of
Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. My
Speaker 1: name is Rob Lamb and I'm Joe McCormick. And today
Speaker 1: it's that old anthology feeling once again. Rob. I know
Speaker 1: you're a horror anthology man. What is it about you
Speaker 1: that that makes you gravitate towards the anthology? Well, I
Speaker 1: mean you're talking about two different things, of course, when
Speaker 1: you're talking about horror anthologies on TV and those in
Speaker 1: the film, Because on TV s it's like it's a
Speaker 1: different generally, it's a different story every week. And with
Speaker 1: anthology films like the one we're gonna be talking about today,
Speaker 1: you instead of getting one complete film, you get like
Speaker 1: three or four shorter pieces that are stitched together and
Speaker 1: been presented to you. Uh So, I guess maybe part
Speaker 1: of it is just out of love for for creepy
Speaker 1: short stories, in the fact that that short stories don't
Speaker 1: have to obey the same rules as novels, and they're
Speaker 1: in also short films don't have to obey the same
Speaker 1: rules as as complete films. Um. I guess it's also
Speaker 1: nice that they're only going to be They're only gonna
Speaker 1: feel so long, you know they're going to get to
Speaker 1: the point they can only be so drawn out. And
Speaker 1: and it's also like a little sampler box. Like if
Speaker 1: if if an anthology film is coming at you and
Speaker 1: you know it's going to present you with, say three
Speaker 1: to four tales, well you can figure there's gonna be
Speaker 1: maybe one dud in the bunch. Uh, but at the
Speaker 1: very least still have one that's pretty good. Right, There's
Speaker 1: gotta be like like one central pillar holding up the
Speaker 1: roof of the thing. Well, another way I would come
Speaker 1: at it is that even if they're all bad, it's
Speaker 1: more fun to have bad variety than bad monotony. Yeah. Yeah,
Speaker 1: I would say so, like you're you're into the badness
Speaker 1: and then you're out again, and then you're into some
Speaker 1: fresh badness. Yeah. I think I would really come back
Speaker 1: to what you were saying about the compare Harrison to
Speaker 1: the lengths of horror fiction. This came up in a
Speaker 1: recent episode where we were talking I think it was
Speaker 1: in The Thing from Another World where we were talking
Speaker 1: about how, Uh, it's hard to survey to be sure
Speaker 1: about this, but my feeling is that horror novels tend
Speaker 1: to gravitate more towards some semblance of a quote happy ending,
Speaker 1: maybe not happy, but some way in which the protagonist
Speaker 1: is at least partially victorious or escapes or something, whereas
Speaker 1: horror short stories tend more toward uh, bleak and cruel
Speaker 1: endings or endings that are that are a really mean
Speaker 1: and ironic twist of fate. And obviously I think there
Speaker 1: are a lot of reasons why people who enjoy horror
Speaker 1: fiction are drawn to endings of that sort, but they
Speaker 1: they're harder to pull off at the end of a
Speaker 1: really long narrative where you're more invested with the characters,
Speaker 1: You've spent more time with them, and it hurts more
Speaker 1: to see them just sort of like ruined at the end. Yeah,
Speaker 1: And I think another thing that you certainly see in
Speaker 1: short fiction is it's sometimes short fiction exists in a
Speaker 1: space where it doesn't have to concern itself with the
Speaker 1: ins and outs of a complex plot or some sort
Speaker 1: of fantastic character arc. You know, their characters don't have
Speaker 1: to evolve and change and learn lessons about themselves. It
Speaker 1: can be more about trotting out and interesting idea or
Speaker 1: you know, or or or in the in the case
Speaker 1: of of of horror, just just a fun monster or
Speaker 1: some you know, diabolical scenario. That's sort of thing, right.
Speaker 1: I think you're correct. I think that the um the
Speaker 1: horror genre especially really does lend itself well to the
Speaker 1: anthology format. I mean, there are plenty of movies that
Speaker 1: are not horror that you could argue are in one
Speaker 1: way or another anthology films of a sort. Uh. I
Speaker 1: think one thing I've read is that, uh, is that
Speaker 1: pulp fiction was actually the concept for pulp fiction was
Speaker 1: partially inspired by the movie that we're going to talk
Speaker 1: about today. Of course, pulp fiction is not horror, but
Speaker 1: today's movie is today's selection for weird house Cinema is
Speaker 1: the Mario Baba nineteen sixty three Italian anthology horror series
Speaker 1: Black Sabbath, or in Italian it's called etre Voulti dela Para.
Speaker 1: I had to look up what that means. It means
Speaker 1: the three Faces of Fear, which is a more accurate
Speaker 1: title because if you're if you're checking out Black Sabbath
Speaker 1: expecting witchcraft and you know, Satan worshippers dancing around a
Speaker 1: fire or some sort of like pagan ordeal or something
Speaker 1: going on, you're going to be disappointed because there is
Speaker 1: no actual Black Sabbath, real or imagined in this picture. No,
Speaker 1: I would say the closest we come to that and
Speaker 1: it still doesn't really get there, but that there's sort
Speaker 1: of that vibe in the middle segment of this movie,
Speaker 1: and by far my favorite the WORDU Lac, which is
Speaker 1: I think just an absolutely tremendous segment and I can't
Speaker 1: wait to talk about it. But yeah, at least the
Speaker 1: other two really don't have anything to do with that
Speaker 1: at all. Now, another interesting thing about the title for
Speaker 1: this film is that this is um that this is
Speaker 1: said to be where the band Black Sabbath got their name.
Speaker 1: Oh yeah, And I think I could be wrong about this,
Speaker 1: but I remember hearing It's not even from them necessarily
Speaker 1: seeing the movie. I think it was like they walked
Speaker 1: past a movie theater and this was on the Marquee
Speaker 1: and they're like, right, yeah, I think there's a there's
Speaker 1: another version of the tale. And I don't know how
Speaker 1: much this sounds almost too perfect, so I it sounds
Speaker 1: like maybe it was embellished. But there I read a
Speaker 1: version where they were playing at a theater and then
Speaker 1: across the street Black Sabbath was playing, and the line
Speaker 1: was was far longer to get in to see the
Speaker 1: movie as opposed to getting in to see them play.
Speaker 1: And they're like, what we need to do is change
Speaker 1: our name. We need to be Black Sabbath, and then
Speaker 1: the people will line up for us. It's like when
Speaker 1: Patty and Selma proposed changing the name of Springfield the
Speaker 1: sign fell. Do you just look at what's popular now
Speaker 1: and and try to leach up. Yeah, so, I mean
Speaker 1: I don't know. So I don't know which of those
Speaker 1: stories is true to what extent, but uh, certainly it
Speaker 1: would be. It's hard to imagine the band Black Sabbath
Speaker 1: without the name Black Sabbath because that the theme runs
Speaker 1: so deep through all of their music. Um, before they
Speaker 1: were called Black Sabbath, they were called Earth. Uh that
Speaker 1: was not very convenient because I think there was another
Speaker 1: band at the time in that area called Earth. It
Speaker 1: has a different taste on the tongue. Initially, Yeah, if
Speaker 1: you're if you're thinking about going to hear Earth, you
Speaker 1: have totally different expectations versus Black Sabbath. Well as a
Speaker 1: huge fan of the at least like the first six
Speaker 1: Black Sabbath albums, that I don't really get into the
Speaker 1: d O years verty much, but the but like the
Speaker 1: first six Sabbath albums, I think, are they're a megalith,
Speaker 1: you know, they're they're like one of those stone monuments
Speaker 1: from the ancient world and uh and and it's really
Speaker 1: hard to get under them. But I can't imagine how
Speaker 1: I would feel about them if they weren't by a
Speaker 1: band called Black Sabbath that's so wrapped up in the feeling. Yeah,
Speaker 1: can you imagine Nativity and Black by Earth? It just
Speaker 1: doesn't make sense war Pigs by Earth. However, I could
Speaker 1: propose an alternative, which is that if they wanted to
Speaker 1: drill in and get to the heart of what makes
Speaker 1: Mario Baba's Black Sabbath really great, they could have changed
Speaker 1: the name of their band to the word las. Oh yeah, yeah,
Speaker 1: that's that's that's a fun name for a band, and
Speaker 1: it would imply that they've been in the mountains for
Speaker 1: five days and come back in a state of God
Speaker 1: knows what. All right, Well, let's go ahead and give
Speaker 1: everyone a taste of the trailer on this one, because
Speaker 1: this is a pretty good trailer. I love the narration here.
Speaker 1: Do you believe in Ghosts, This is the Night twin
Speaker 1: fear and Horror of Walk hand in Hand, This is
Speaker 1: Black Sabbath, starving the incomparable Boris Karloff, the personable Mark Damon,
Speaker 1: and lush and lovely women, even though one is from
Speaker 1: the nether world, a vampire, a burderlack. Black Sabbath as
Speaker 1: ancient as superstition, as modern as the telephone. So it's
Speaker 1: obvious from the trailer, but I don't think we mentioned
Speaker 1: that this movie has Boris Karloff in multiple capacities, so
Speaker 1: he is not only the star of one of the
Speaker 1: three segments in the anthology, but he's also sort of
Speaker 1: the the pitchman. He is the company spokesperson at the
Speaker 1: beginning and end of the film. And of course this
Speaker 1: is perfect because in later years he also served as
Speaker 1: a horror host on television shows such as Thriller and
Speaker 1: Out of This World. As as I think we've often
Speaker 1: driven home though, like, there's such a wealth of of
Speaker 1: of TV horror anthologies out there, so for instance, um,
Speaker 1: if you just glance at listings for Boris Karloff's Thriller,
Speaker 1: you'll see, oh, it only went two seasons, but it
Speaker 1: went two seasons in the nineties sixties. So those two
Speaker 1: seasons consist of sixty seven episodes. Wow, yeah, it's it's crazy,
Speaker 1: And man, I thought it was long seasons. When you
Speaker 1: go back and watch a show from the nineties or
Speaker 1: something where there's like twenty episodes in the season, that
Speaker 1: seems like a huge amount. But wow. Yeah. Now, to
Speaker 1: be clear, Thriller aired uh sixty one, I mean sorry,
Speaker 1: sixty two, so it actually aired in America at least
Speaker 1: before Black Sabbath came out, So that might have been
Speaker 1: part of the rationale here is like, well, audiences are
Speaker 1: are used to Boris carl Off presenting material to them.
Speaker 1: He's already in it. Let's also get him up on
Speaker 1: the screen introducing this stuff for us. Well, you can
Speaker 1: hear it right in the narration of the trailer. There's
Speaker 1: the part where it says like, uh, starring the incomparable
Speaker 1: Boris carl Off. I guess he is incomparable. But then
Speaker 1: the other cast members they introduce are the personable Mark Damon,
Speaker 1: which I thought was hilarious. And then they say and
Speaker 1: lush and lovely women gone unnamed, come on, duds, and
Speaker 1: we will list some of their names here in a
Speaker 1: bit Um, there's some nice performances in here. Oh wait
Speaker 1: I left off, though, I think the trailer qualifies that says,
Speaker 1: uh so the women in this movie, Hey, we got
Speaker 1: beautiful women, even though one of them is from the
Speaker 1: nether world. I was trying to think back after having
Speaker 1: seen it, which woman is it talking about. I'm not
Speaker 1: even sure. Uh yeah, there's not really one that's definitely
Speaker 1: from the nether world. I mean a lot of bad
Speaker 1: supernatural things happen um to people and to some women
Speaker 1: in this, uh this motion picture, but I don't think
Speaker 1: any of them are from the nether world. All Right, Well,
Speaker 1: I guess before we talk anymore about the actual contents
Speaker 1: of the movie, we should we should discuss some of
Speaker 1: the connections, and obviously the place to start is with
Speaker 1: the director, Mario Bava. Mario Bava who lived nineteen fourteen
Speaker 1: through nineteen eighty. Um, he was the director, but also
Speaker 1: collaborated on the screenplay. He was the cinematographer, he did
Speaker 1: matt paintings, he did special effects. Uh. This is the
Speaker 1: legendary Italian director with an unmistakable obsessive and phantasmagorical emphasis
Speaker 1: on visual composition. So if you can just look up
Speaker 1: stills from his from his movies, and I feel like,
Speaker 1: once you've gotten a taste of of how Baba directs
Speaker 1: and how he composes a shot, a strong still from
Speaker 1: any of his films is just instantly identifiable. Um it
Speaker 1: just it pops with a certain um. It's not only
Speaker 1: the color hue, because I want to stress it's not
Speaker 1: just a matter of oh, well, Mario Baba used some
Speaker 1: cool gels here and there, like, No, it's the complete
Speaker 1: it's his use of light and reflections and just the
Speaker 1: overall composition of of every every shot in the film.
Speaker 1: You ever see one of those animated movies in which
Speaker 1: there is a magical gym or artifact that glows with
Speaker 1: magic power, Mario Baba's movies are like that. There's something
Speaker 1: about the way they look that the frames from the
Speaker 1: movie glow with magic power. Yeah, even when there's there's
Speaker 1: less of a reason for it to be glowing. So,
Speaker 1: like I was thinking as I was watching this particular
Speaker 1: picture that it's it's like an alien civilization that that
Speaker 1: communicates through like synesthesia is trying to speak through the picture.
Speaker 1: You know. It's like it's that obsessive. Like the colors
Speaker 1: are are clearly of of of great importance to Bava
Speaker 1: and all of this, though I will say that I
Speaker 1: totally agree with you. Color is a big part of it,
Speaker 1: and Bava frequently used sort of expressive colorful lighting, color
Speaker 1: colored lighting in in his movies that is not strictly realistic,
Speaker 1: meaning it's not reflecting a color you would actually expect
Speaker 1: to see if this scene were taking place in the
Speaker 1: real world, but rather colors that sort of reflect feelings
Speaker 1: coming through uh and and reflects sort of other worldly,
Speaker 1: unseen influences. But there are also visual sensibilities he has
Speaker 1: where that kind of glowing comes through even when it's
Speaker 1: not in color. Like the example that comes to my
Speaker 1: mind is his earlier movie Black Sunday, which is in
Speaker 1: black and white, and yet it still glows with magic power. Yeah,
Speaker 1: that one was from nineteen sixty and it is interesting
Speaker 1: to imagine this, this leap from black and white to
Speaker 1: color from Mario Baba, where they're like, oh, by the way,
Speaker 1: you can shoot in color now, and uh and and
Speaker 1: and and and you can imagine his excitement at being
Speaker 1: able to do so. So um. Baba's background is interesting.
Speaker 1: He was the son of an early Italian cinematographer Eugenio
Speaker 1: Bava and Mario trained as a painter, venturing into the
Speaker 1: world of cinematography as well in the late thirties in
Speaker 1: the early forties, but then he eventually started directing as well.
Speaker 1: It began with some documentary shorts and some uncredited directing
Speaker 1: work on some various genre films. But then in nineteen
Speaker 1: sixty that's when Black Sunday came out that he directed that,
Speaker 1: and that was a very well regarded and financially successful film,
Speaker 1: and so Black Sabbath is very much the color follow
Speaker 1: up to that. Thus the similar release title again kind
Speaker 1: of coming back to the like studio thought here, it's like, well, uh,
Speaker 1: black Sunday did pretty good, welcome and called the next one,
Speaker 1: let's call it a Black sap There we go. Well
Speaker 1: this maybe if that is indeed where the title comes from.
Speaker 1: I gotta say this is the rare case where I
Speaker 1: would go with the marketing over the original because once again,
Speaker 1: the three faces of fear, that may be more literally
Speaker 1: descriptive of what you're getting with the movie, but it
Speaker 1: doesn't really have the same punch to it. Yeah, So
Speaker 1: Mario Baba directed into the nineteen seventies. Initially he retired.
Speaker 1: Then he came back at the behest of a new
Speaker 1: generation of the tag in horror filmmakers, including his own son,
Speaker 1: director Lomberto Bava. Um. He came back to direct nine Shock,
Speaker 1: and this would prove to be his last feature film,
Speaker 1: as he then died in nineteen eighty. But uh, he
Speaker 1: directed a number of pictures, so we're not gonna touch
Speaker 1: on them all, but I thought we might talk about
Speaker 1: a few of them here. One of them is Planet
Speaker 1: of the Vampires from nine teen Rob Can you see
Speaker 1: the Planet of the Vampires poster right behind me on
Speaker 1: the wall? I do? I see that you have it
Speaker 1: right there up on the wall behind you, so you
Speaker 1: know obviously you're a fan. Um I. I finally got
Speaker 1: around to watching this in full this year, and um,
Speaker 1: I have to say it wasn't the most enthralling motion
Speaker 1: picture when it came to acting and the and the plot,
Speaker 1: but uh, such a gorgeous science fiction film to watch.
Speaker 1: Like all of the visuals in it, um he does
Speaker 1: an amazing job and devotes the vast majority of the
Speaker 1: film's energy and limited budget have to add to create
Speaker 1: highly effective and colorful alien landscapes. Haunted Spaceship Hallways also
Speaker 1: has just some incredible costumes. Absolutely so, I love Planet
Speaker 1: of the Vampires, but I usually watch it without sound.
Speaker 1: It's a movie that I love to put on, like
Speaker 1: in the background while I'm hanging out with friends and
Speaker 1: listening to music. That's that's the ideal Planet of the
Speaker 1: Vampire's experience for me, because it's one of those movies.
Speaker 1: It's a rubbed the fur movie. It's a movie that's
Speaker 1: not really about the plot or what happens in it.
Speaker 1: It is about the visual textures on screen, and that
Speaker 1: includes everything from like you you single out the costumes.
Speaker 1: The space farers in the movie are wearing these bizarre
Speaker 1: black leather space suits with these leather helmets, um and
Speaker 1: and yeah, the lighting and the sets are are just
Speaker 1: absolutely wonderful. Yeah. And it reminds me of a quote
Speaker 1: that I ran across from Mario Baba where he said
Speaker 1: that that horror films are sevent lighting and and I
Speaker 1: think he has a strong point. I mean, you definitely
Speaker 1: see that in his work. But you we've we've talked
Speaker 1: about various examples on the show before where we say
Speaker 1: things like, oh, well, the monster costume wasn't great, but
Speaker 1: in this scene, the lighting is amazing, so it absolutely
Speaker 1: works well. Like in the Thing from Another World. Yeah,
Speaker 1: there was like if you look at the costume James
Speaker 1: RNs is wearing, like actually, in full lighting, it doesn't
Speaker 1: look very impressive, but they found a way to make
Speaker 1: it look good within the narrative by either keeping him
Speaker 1: in silhouette backlit so you can't really see him, he's
Speaker 1: just a frame, and or just by giving you quick
Speaker 1: glimpses of him where you can't really understand what's going on.
Speaker 1: Like that, they make do in a very effective manner,
Speaker 1: with some some limitations in terms of costuming and makeup effects.
Speaker 1: Of course, the Planet of the Vampires was highly influential.
Speaker 1: You know, it's sometimes been asked, would we even have
Speaker 1: Alien and all the films that came after Alien had
Speaker 1: it not been for Planet of the Vampires, Um, and
Speaker 1: uh and uh and perhaps not. You know, certainly Baba
Speaker 1: was a very influential filmmaker. Yeah. I mean one of
Speaker 1: the big things I think that's called out with respect
Speaker 1: to Alien is there's a scene in Planet of the Vampires,
Speaker 1: and Planet of the Vampires came much before it was
Speaker 1: the nineteen six five Is that right? Yet there's a
Speaker 1: scene where the astronauts are on this on this desolate planet,
Speaker 1: and they go into a cave and they find a
Speaker 1: giant alien skeleton stretched out on this surface, and they're
Speaker 1: very much like with the discovery of the Derylic spacecraft
Speaker 1: with the bizarre sort of alien skeleton fused to the
Speaker 1: chair in in Alien. So ultimately, I think Black Sabbath
Speaker 1: moves moves along a lot, a lot better. It has
Speaker 1: better pacing uh than Planet of the Vampires Um. But
Speaker 1: there were still times in this film as within as
Speaker 1: as in A Planet of the Vampires, where I felt
Speaker 1: myself disconnected from whatever was happening or supposed to be
Speaker 1: happening in the plot, But I was still completely drawn
Speaker 1: in to the visual world presented on the film, you
Speaker 1: know what I mean? Yeah, totally. I mean I really
Speaker 1: appreciated the plot, especially in the word you lack, But
Speaker 1: through and through it looks pretty great. Another Baba film
Speaker 1: that I'm a fond of is danger Um Diabolique from nine.
Speaker 1: This is a stunning, stylish spy crime yarn starring John
Speaker 1: Philip Law and Udall False Silly Uh. People might remember
Speaker 1: him as the villain from Thunderball Uh to James Bond film.
Speaker 1: Terry Thomas is also in it. This was featured on
Speaker 1: Mystery Science Theater three thousand back in the day, and
Speaker 1: it is indeed quite ridiculous, but stunning from a visual perspective. Basically,
Speaker 1: it has that sixties Bond vibe, focused you know, all
Speaker 1: on comic book crime and then turned up to about
Speaker 1: a thousand Baba style. I think it was actually the
Speaker 1: very last episode of the main run of Mystery Science Theater.
Speaker 1: That's right, it was, uh And it's kind of a
Speaker 1: strange choice there, because I don't know, I would actually
Speaker 1: argue that movie is not all that bad. I mean,
Speaker 1: it's silly in in a way that a lot of
Speaker 1: these movies would be silly, but it's also I don't know,
Speaker 1: it's it's stylishly executed in a very pleasing way. I mean,
Speaker 1: the best films on Mystery Science Theater three thousand, and
Speaker 1: often the best episodes of Mystery Science three thousand revolve
Speaker 1: around movies that are on their own very watchable. I
Speaker 1: know you're thinking about Jack Frost. Oh yeah, I think
Speaker 1: that's a that's a great example. They're multiple example. I
Speaker 1: think when I think of my favorite episodes, they're often
Speaker 1: films that that I can and sometimes have watched on
Speaker 1: on on my own, you know, without without the riffing. Now,
Speaker 1: Mario Baba was was again highly influential, and one of
Speaker 1: his most famous students was Dario Argento. If you've ever
Speaker 1: seen Argento's nine seventy seven classics Expiria, then you've certainly
Speaker 1: bathed your eyeballs in a very Baba inspired color scheme. Yeah,
Speaker 1: I think it's it's pretty much unquestionable that Argento picked
Speaker 1: up where Baba left off with the expressive colorful lighting,
Speaker 1: especially for his Jalo films. M h uh, And I
Speaker 1: mentioned Mario's son, Lamberto Bava Uh. He directed such films
Speaker 1: that went on to direct such films as Demons, which
Speaker 1: is excellent, along with a couple of sequels to that
Speaker 1: US devil Fish, which is not so excellent. It's basically
Speaker 1: a Jaws cash in, one of one of many. But
Speaker 1: Lamberto Bava is still making movies. He had a horror
Speaker 1: movie starring Gerard de Bardu come out this year really yeah,
Speaker 1: called Twins, I believe, and I had to jack it
Speaker 1: has nothing to do with the Arnold Um movie. Okay,
Speaker 1: I gotta look that up, all right, let's let's see
Speaker 1: a few other people involved in this film. Marcello Fondato
Speaker 1: has a screenplay credit, lived two thousand and eight, Italian
Speaker 1: screenwriter and a direct and director, though I don't really
Speaker 1: know any of their films. Um. Then there's Alberto Bivillakua,
Speaker 1: who lived ninety four through two thousand thirteen, has a
Speaker 1: screenplay collaboration credit. Also was a screenwriter on Planet of
Speaker 1: the Vampires, as well as the satanic Panic documentary Witchcraft seventy,
Speaker 1: which was narrated by Jack Palace. Now the film, and
Speaker 1: certainly this comes out in the trailer. The film claims
Speaker 1: that the three stories in it are based upon fictions
Speaker 1: by check Off, Tolstoy, and Snyder. Uh and specifically it's
Speaker 1: supposed to break down like this, uh the drop of
Speaker 1: Water by Ivan Chekov uh, though seemingly connected to a
Speaker 1: story by Franco Lucentini, and then the Telephone by F. G. Snyder,
Speaker 1: And then a story not by not by Leo Tolstoy,
Speaker 1: as that might uh legion to believe, but one by
Speaker 1: Alexei Tolstoy. And this would be the one allegedly by
Speaker 1: Alexei Tolstoy, would be the word lack the one that
Speaker 1: is the one with Boris Karloff in it. Yeah, well
Speaker 1: let's talk about Boris Karloff then. Uh. Boris Karlov plays
Speaker 1: Gorka in this and he's also the host. Uh. He
Speaker 1: lived eight seven through nineteen sixty nine, a bona fide
Speaker 1: cinema legend, going beyond genre films and horror films and
Speaker 1: weird films. I mean, he's he's just one of these, uh,
Speaker 1: these these icons of sin. His horror charisma is unmeasurable
Speaker 1: in this it's just it's off the screen. Yeah, absolutely. Um.
Speaker 1: Karloff was a British actor born William Henry Pratt. Uh
Speaker 1: So you know this is very much his stage name.
Speaker 1: Boris Karloff. UM probably is just gonna be ever forever
Speaker 1: associated with Frankenstein because he played the monster in James
Speaker 1: Whale's two adaptation of Mary Shelley's Frankenstein. Um, and then
Speaker 1: he went on to play the role in other pictures
Speaker 1: as well, including the excellent nineteen thirty five film The
Speaker 1: Bride of Frankenstein. Other key horror films from karl Off
Speaker 1: include thirty two is the Mummy, Uh, thirty four's The
Speaker 1: Black Cat, nineties Black Friday and much more. The Black Cat.
Speaker 1: He actually stars opposite Belle Legosi, and I think that
Speaker 1: was the first movie where they had both done that.
Speaker 1: And I actually haven't seen that one, but I've been
Speaker 1: meaning to see it for a long time, and apparently
Speaker 1: it's a lot of fun. I've heard great things of
Speaker 1: about it. I've heard that it's it's it holds up
Speaker 1: really well, so I have checked that out now. Karloff
Speaker 1: was also famously the non singing voice of the Grinch
Speaker 1: in the nineteen sixty six animated version from Chuck Jones. Um.
Speaker 1: He's so. The thing about karl Off is that he
Speaker 1: worked a lot, and even though he's best remembered for
Speaker 1: his horror roles today, he acted in a wide variety
Speaker 1: of of of films. He worked stage and screen, he
Speaker 1: did television. We already mentioned his horror host gigs. Um.
Speaker 1: He did a lot, Yes, and I will say that.
Speaker 1: So I just saw this movie Black Sabbath for the
Speaker 1: first time this week, and I gotta say this is
Speaker 1: a new favorite Carlof role for me. We'll discuss the
Speaker 1: details of the word lack in a little bit, but
Speaker 1: he plays this wild, hairy, wind blown patriarch of the
Speaker 1: Carpathian mountains, who has this demonic energy and it's so
Speaker 1: so powerful. I don't know exactly how he's doing it,
Speaker 1: but in every line he feels so at truly like
Speaker 1: a man just hardened by the wilderness who has met
Speaker 1: something unspeakable upon the mountaintop. Yeah, he's really able to
Speaker 1: channel a lot of energy through this role, and it's
Speaker 1: it's it's especially interesting considering that this, again is late
Speaker 1: career Karloff. He was seventy five or seventy six at
Speaker 1: the time when they filmed this. But he's still incredible
Speaker 1: and apparently was just always a pleasure to work with.
Speaker 1: I noticed that that Baba singled him out as being
Speaker 1: just a great guy to work with. Now, another interesting, uh,
Speaker 1: late Karloff film. I don't know if you've seen this one.
Speaker 1: Joe Peter Bogdanovich did a film in nineteen sixty eight
Speaker 1: called Targets. Yes, I have seen this one, in which
Speaker 1: Karloff essentially plays himself. I mean, he plays a character,
Speaker 1: but the character he plays is named like uh, named
Speaker 1: like Doris or Lock or something, and he and he's
Speaker 1: an aging horror film star and he has to go
Speaker 1: up against like a crazed mass murderer. Yeah, like he
Speaker 1: ends up confronting an active shooter at a drive in
Speaker 1: movie theater. It's like it's a serious, serious film. Um.
Speaker 1: From a young Peter Bogdanovitch would of course go on
Speaker 1: to director The Last Picture Show Um, but he was
Speaker 1: one of Roger Corman's crew at the time, and for
Speaker 1: this film, Corman apparently told Bogdanovitch that he could make
Speaker 1: any kind of film he wanted to. There were just
Speaker 1: two two things he needed to make sure of. One
Speaker 1: he had to use stock footage from The Terror and
Speaker 1: he had to use Boris Karloff for the two days
Speaker 1: of filming that he still owed Corman. But as it was,
Speaker 1: it worked out. Karloff loved the script and shot a
Speaker 1: total of five days and refused additional pay. Uh. So
Speaker 1: it's a fun story, but also I remembered as being
Speaker 1: a good movie. I haven't seen it in a long time,
Speaker 1: but I remember being impressed with it. Yeah. A good
Speaker 1: friend of mine showed me this movie many many years ago,
Speaker 1: back before I really was in the weird house cinema mode.
Speaker 1: I think I didn't know who Roger Corman was at
Speaker 1: the time time or anything, but I remember being very
Speaker 1: uh enthralled and impressed by it. It's it's a very stark, scary,
Speaker 1: realistic kind of movie. Uh different than very different than
Speaker 1: the stylish fantasy horror that bore Scarloft did for most
Speaker 1: of his career. Yeah, what should we talk about the
Speaker 1: personal Mark Damon? Oh? Yeah, as he's introduced in the trailer,
Speaker 1: the personable Mark Damon, I'd say he's he's a he's
Speaker 1: a seven or eight on the personability scale. Yeah, he's
Speaker 1: I guess he's the closest that we have to like
Speaker 1: a male hero character in the in the whole picture,
Speaker 1: Uh plays that cared what Vladimir dirf drf A. He
Speaker 1: he plays a a count or some kind of aristocrat
Speaker 1: who rides through this village in the wordy lack again.
Speaker 1: I guess we'll discuss more of the plot details of
Speaker 1: that in a bit. But yeah, he's the closest thing
Speaker 1: the movie has to sort of a dashing leading man.
Speaker 1: But even in that story, I don't know if he's
Speaker 1: exactly that, because he comes off to me is in
Speaker 1: that story is kind of glib cal and confused, not
Speaker 1: really recognizing the weight of the supernatural power he's up
Speaker 1: against Yeah, he's he's doomed this guy. But Mark Damon
Speaker 1: is interesting though, because of the first all. He was
Speaker 1: born nineteen thirty three, still alive as of this recording,
Speaker 1: UM and still active, not as an actor though at
Speaker 1: least not since UM. I think he retired in the
Speaker 1: late seventies or or I'm not sure about the late
Speaker 1: say at some point in the seventies he retired from acting,
Speaker 1: and I think a few little bits here and there,
Speaker 1: the most recent being in But he's continued to produce.
Speaker 1: He's been a producer or an executive producer on sixty
Speaker 1: seven pictures and counting. And those titles that he has
Speaker 1: has a credit on include dos Boot, The Never Ending Story,
Speaker 1: Clan of the Cave Bear, nine and a half Weeks,
Speaker 1: Short Circuit, Flight of the Navigator, The Lost Boys, Beastmaster two, UM,
Speaker 1: not one but two different Universal Soldier sequels, and and
Speaker 1: then just a bunch out. So he's seems kind of
Speaker 1: like a big money player in Hollywood. Maybe he's the
Speaker 1: producer who came in and demanded that The Lost Boys
Speaker 1: feature more footage of that saxophone guy. Could be like,
Speaker 1: I want ten minutes a saxophone guy at least now
Speaker 1: acting wise, Damon was also in Roger Corman's nineteen sixty
Speaker 1: film House of Usher, which starred Vincent Price, and he
Speaker 1: has one writing credit. And I found it interesting because
Speaker 1: it's The Devil's Wedding Night from nineteen seventy three, on
Speaker 1: which Joe Diamatto apparently did some uncredited directing, uh, which
Speaker 1: is always a great sign um. And then Damon plays
Speaker 1: not one, but two different roles in it. Um. So
Speaker 1: I I looked it up. The poster looks fabulous, it
Speaker 1: looks it looks very nineteen seventies international horror, okay, featuring
Speaker 1: the personable George Eastman. No, there's no no George Eastman
Speaker 1: in this one, though I will say that that that
Speaker 1: Mario Baba directed at least east one film that had
Speaker 1: George Eastman. I can confirm at least one George Eastman project.
Speaker 1: Was he in Bay of Blood? No, he was in
Speaker 1: What Rabid Dogs? He might have been in Bay of Blood?
Speaker 1: Um there there there's a little Eastman just sprinkled throughout
Speaker 1: the cinematic universe. Alright, let's talk about some of the
Speaker 1: the other players in the in in in these three
Speaker 1: different segments. Uh. Now, a lot of these are actors
Speaker 1: that I'm not really familiar with, and there aren't a
Speaker 1: lot of titles that they were in that really connected
Speaker 1: with me, So there's there's not a lot to really
Speaker 1: go through here. But let's start with their Susie Anderson,
Speaker 1: who played uh, what's the what's this character's name stank Stenka,
Speaker 1: which no offense to people who actually have that name,
Speaker 1: but in English that name does sound funny because it
Speaker 1: sounds like stinker. Yeah, but this is a one, This
Speaker 1: is I guess, our gorgeous love interest for Damon's character.
Speaker 1: She was born ninety Croatian actor who worked during the
Speaker 1: nineteen sixties. And then there's Rica Deliana who plays Maria
Speaker 1: born in nineteen four. Greek actor with extremely expressive eyes
Speaker 1: um or at least Mario Blava was able to to
Speaker 1: to shoot her in many scenes where she has really
Speaker 1: expressive eyes. She's she's the mother, I believe, uh in
Speaker 1: these sequences and we'll discuss her in a bit, But
Speaker 1: she had a long career, mostly in Greek cinema and TV. Now,
Speaker 1: these are all actors who were in the WORDERLAC segment um,
Speaker 1: but there are a couple of other segments of the
Speaker 1: movie that I guess we've been focusing on lust. Do
Speaker 1: we want to mention some of the actors in these
Speaker 1: segments before coming back to describe them. Yeah. So the Telephone,
Speaker 1: which which will discuss, has a very small cast. The
Speaker 1: main character is Rosie played by Michelle Mercier, who is
Speaker 1: a French actor who worked across multiple decades, born nine,
Speaker 1: still alive as of this recording. And then the other
Speaker 1: major character in that is Mary played by Lydia Alfonsi,
Speaker 1: who was born in ninety eight, also still alive as
Speaker 1: of this recording, Italian actor who was theyve well into
Speaker 1: the nineteen nineties. Her last film was the much acclaimed
Speaker 1: Life Is Beautiful from and she also appeared in a
Speaker 1: Steve Reeves Hercules movie in ninety eight. So I don't
Speaker 1: really love the Telephone. We can explain more about our
Speaker 1: feelings about the individual segments in a bit. The Telephone
Speaker 1: was definitely my least favorite of the three, but I
Speaker 1: do really like Lydia Alfonsi in it because she has
Speaker 1: does a very good job of acting creepy. Yes, all right.
Speaker 1: And then finally we have the segment the Drop of Water.
Speaker 1: I'm gonna highlight three different actors in this. Uh. There's
Speaker 1: Jacqueline Peru who lived thousand and five, plays Helen Chester,
Speaker 1: so she was a French actor actor from the early
Speaker 1: forties through the nineteen seventies, and she's the mother of
Speaker 1: French actor and director Jean Pierre Loud, who starred in
Speaker 1: The Four Hundred Blows. Uh. There's also a character in
Speaker 1: this that is referred to as the aid, and it's
Speaker 1: played by Millie no less name. Uh. Millie who lived
Speaker 1: nineteen o five through nineteen eighty was an Italian singer,
Speaker 1: actress and cabaret performer and apparently something of a pop
Speaker 1: star of the day. So she she's older when this
Speaker 1: movie was made. So she she plays a maid who
Speaker 1: sort of uh comes and goes while the main character
Speaker 1: played by Jacqueline Peru is is sort of contemplating doing
Speaker 1: something very ill advised with respect of the spirit world.
Speaker 1: But the maid is this kind of mundane influence, flitting
Speaker 1: in and out of the room while this deliberation goes on.
Speaker 1: And then finally there is a neighbor character in this
Speaker 1: played by Harriet Nadine who lived nineteen fourteen through two
Speaker 1: thousand and five, an American actor who relocated to Italy
Speaker 1: with the USO after War two. She has a pretty
Speaker 1: great filmography, with such titles as Death Rays two thousand,
Speaker 1: which is a fun flick. We've talked about that before,
Speaker 1: The Witches of Eastwick, Schlaw and The Terminator, and when
Speaker 1: she plays the role of customer customer where I was
Speaker 1: trying to figure I was looking around, you know, short
Speaker 1: of actually watching Terminator again, I'm not sure. I can't
Speaker 1: imagine she's in the gun. She's probably one of those
Speaker 1: sequences where the terminator steals a bunch of stuff because
Speaker 1: a lot, a lot of the Terminator is just him
Speaker 1: robbing places so he can have clothes, robbing people in
Speaker 1: places so he can have close at guns, or the
Speaker 1: good guy played by Michael Bean robbing people. Yeah, it's
Speaker 1: a whole sequence. It's just naked Dud's committing various crimes
Speaker 1: and robberies. Maybe she's walking out of Dick Miller's gun
Speaker 1: store when Arnold Schwartzenegger is walking in possibility, she rubs
Speaker 1: she bought the last plasma rifle. I was just remembering
Speaker 1: the part in Terminator that's actually really great. When Schwarzenegger
Speaker 1: rips that guy out of the phone booth, he doesn't
Speaker 1: really harm him. It's just a guy on a phone
Speaker 1: at a phone booth, and and the terminator grabs him
Speaker 1: by the shoulder and sort of throws him down on
Speaker 1: the sidewalk so he can use the telephone book. Yeah,
Speaker 1: that's pretty good. And why would would the terminator and
Speaker 1: machine use any more force or effort than was necessary
Speaker 1: in any given task. Yeah, and you can hear the
Speaker 1: guy going, you've got a serious attitude problem. That's good alright. Finally,
Speaker 1: the music on this film is interesting because from one
Speaker 1: thing you have two different scores. The original score was
Speaker 1: was by Italian jazz band leader Roberto Nicolosi, but American
Speaker 1: International Pictures replaced his score with one by Less Baxter,
Speaker 1: who is, of course the king of exotica, and also
Speaker 1: later did the minimal electronic score for Frogs. Oh I
Speaker 1: remember that now? Yeah? Yeah, I mean it's it's, I
Speaker 1: guess it the memorable score, but it's it's not very
Speaker 1: It's not an exotica score for frogs. And this also
Speaker 1: is not particularly exotic music either. It's ctainly not electronic. Um.
Speaker 1: But I liked it well enough because I could pick
Speaker 1: up on some Baxter sensibilities in it. Um, but it
Speaker 1: made I was curious after that because I'm thinking, well,
Speaker 1: what did it replace? Because we can all think of
Speaker 1: examples where a score has been replaced by something superior
Speaker 1: on also cases where a score has been replaced by something, um,
Speaker 1: maybe less effective, uh you know, for a different audience. Um.
Speaker 1: So I was listening to the Nicolosi score a bit
Speaker 1: and it sounded good as well. I don't know, I
Speaker 1: liked I like them both. Maybe Baxter score is a
Speaker 1: little bit more dramatic and a little bit more you know, American.
Speaker 1: I don't know, you know. To be honest, I just
Speaker 1: did not really notice the music much at all, So
Speaker 1: I don't have much of a comment on it. Yeah,
Speaker 1: I don't know if I would have really looked at
Speaker 1: it that closely had had it not been for the
Speaker 1: Less Baxter connection. Uh, because I have, I do listen
Speaker 1: to a fair amount of like Less Baxter and some
Speaker 1: like Bossonova music. Uh, generally like very late afternoon. There's
Speaker 1: a point in the late afternoon where, um where you know,
Speaker 1: I have to put aside the synth music and the
Speaker 1: and the rock music and and only Exotica or Bossonova
Speaker 1: will do the t K drink hour. Yeah, I guess
Speaker 1: even generally, I'm not I'm not actually having a tiki drink.
Speaker 1: I'm generally like cooking supper or something. Um, but it
Speaker 1: feels right, it feels appropriate. All right, Now that we've
Speaker 1: got all that out of the way, let's get back
Speaker 1: into the plot of these three horror stories that look fabulous,
Speaker 1: have great people in them, but ultimately have some interesting
Speaker 1: ideas as well. Yeah. Yeah, so I would say, and
Speaker 1: you have you and I may have had some different
Speaker 1: reactions to these, but I would say that, um, it's
Speaker 1: this is an interesting movie to recommend because while there
Speaker 1: are three segments, uh, and in my opinion, one of
Speaker 1: them is astonishingly good, another is quite good, and the
Speaker 1: third for me, I found kind of boring and unpleasant. Um,
Speaker 1: but there's still I think some interesting things to talk
Speaker 1: about with it. And while I think that there were
Speaker 1: different releases of this movie that put them in different
Speaker 1: and orders, the version I saw starts with the one
Speaker 1: of the three that was for me by far the weakest.
Speaker 1: So this would be the Telephone. Ah, yes, the telephone.
Speaker 1: So the Telephone, unlike the other two, is a more
Speaker 1: realistic story, and the basic premise is is pretty simple.
Speaker 1: It is a psychological thriller about a young woman who
Speaker 1: is terrorized by a threatening, voyeuristic creep who won't stop
Speaker 1: calling her on the phone. And so I gotta say
Speaker 1: this is the one I didn't really super enjoy. I
Speaker 1: like it picked way up with the second one for
Speaker 1: me when you get to the word alack. This one
Speaker 1: kind of has a lot of things I don't really
Speaker 1: love about Italian horror movies of this period, and not
Speaker 1: as much of the stuff that I do love. It's
Speaker 1: it's weird because, especially from the trailer, you get the
Speaker 1: impression that they moved the telephone to the opening because
Speaker 1: they thought it would connect with audiences more like maybe
Speaker 1: they thought audiences didn't want that this gothic horror tale.
Speaker 1: Instead they would want something that's tied into technology, and
Speaker 1: you know, feels more cutting and dangerous. And yet at
Speaker 1: the same time I was reading it sounds like American
Speaker 1: International Pictures had they asked them to cut down on
Speaker 1: some of the what they would have probably thought of
Speaker 1: it as dangerous aspects of the of that of that
Speaker 1: opening uh segment um Supposedly a I p asked for
Speaker 1: lesbian romance. Aspects of the segment to be reduced and
Speaker 1: that a supernatural element h be sort of implied. But
Speaker 1: I have to say, at least in the version I watched,
Speaker 1: um I mean, I still got the sense that there
Speaker 1: was some sort of past romantic connection between the two
Speaker 1: female characters, and I don't remember anything supernatural in this segment.
Speaker 1: It seemed very based in the real world, though of
Speaker 1: course through that fabulous Baba lens. Yeah. Well, to be honest,
Speaker 1: now that I think about it, I'm not sure which
Speaker 1: version of the movie it was that I saw. One
Speaker 1: thing I've seen comparing them is that the I think
Speaker 1: it was the original Italian version had the more beautiful colors,
Speaker 1: and that the American release might have had some more
Speaker 1: muted colors. The vision I saw I had very beautiful colors,
Speaker 1: So I'm thinking in the version I saw, of course
Speaker 1: was in Italian with subtitles, it wasn't the same here.
Speaker 1: I don't know if there is a dubbed version of
Speaker 1: the movie. I think there is, but I didn't I
Speaker 1: was able to find uh as when I rented it.
Speaker 1: I rented it through UM uh Well. I went into
Speaker 1: to Apple and then I did a like a seven
Speaker 1: day trial of AMC plus and that's how I got
Speaker 1: to watch it. And then when I pulled it up,
Speaker 1: I was expecting it to be dubbed, but then I
Speaker 1: saw that as oh it's in Italian with with no
Speaker 1: option for other audio channels and just with subtitles. But
Speaker 1: but I greatly enjoyed it. But I see I see
Speaker 1: examples of people saying that they grew up watching a
Speaker 1: version in which they here Boris Karlov's actual voice. So
Speaker 1: that makes me think there is a dubbed version of it,
Speaker 1: But this was not it. So with the telephone, I'd
Speaker 1: say that I guess I kind of like the simplicity
Speaker 1: of it. It does proceed at a very slow pace,
Speaker 1: but then it has some very nice twists in it. Um.
Speaker 1: It does not have that gothic feel that that the
Speaker 1: second segment has. Um, you know, it doesn't have that
Speaker 1: supernatural sense of other worldliness. Uh. The interiors in this
Speaker 1: segment are, at first glance, a lot more muted. We
Speaker 1: spent a lot of time with beautiful women with perfect
Speaker 1: skin and kind of porcelain colored garments moving through wedding
Speaker 1: cake color departments. Uh. But even this is very finely
Speaker 1: crafted and wonderfully punctuated by various colorful items in the background.
Speaker 1: I don't know if you you noticed this or not, Joe,
Speaker 1: but they'll be like, you know, everything's this kind of
Speaker 1: wedding cake porcelain world. And then they'll be like one
Speaker 1: jade statuette on a shelf in the background, and somehow,
Speaker 1: like through that Mario Baba magic, it makes the whole
Speaker 1: thing pop. And I don't even notice that. I'm um
Speaker 1: that the pop plot is moving along so slowly because
Speaker 1: I'm just admiring the shot or the red telephone, red telephone. Uh.
Speaker 1: And and then you know, it moves at a slow pace,
Speaker 1: and then alarming things will happen. There's a great um,
Speaker 1: creepy eyes peering in through the window of the apartment. Uh.
Speaker 1: That that scene really shook me when I saw it. Oh,
Speaker 1: this movie is all about windows. Yeah, windows, mirrors as well,
Speaker 1: but certainly windows. And I think I think you see
Speaker 1: that another Bava films as well, lots of mirrors, people
Speaker 1: looking through glass, and it makes sense given his um
Speaker 1: his focus on the visual medium. So I think you
Speaker 1: sort of raised the idea that this segment is kind
Speaker 1: of a proto Jalo film, and I wanted to explore
Speaker 1: that idea a little more so for people who aren't familiar.
Speaker 1: Jealo films are a particular sub genre of Italian murder
Speaker 1: mystery thrillers that were popular in the sixties through the eighties,
Speaker 1: and some of the big name directors of jalo you
Speaker 1: might recognize our Dario Argento. Uh. Usually his supernatural movies
Speaker 1: like Suspiria are not usually considered jello films that they
Speaker 1: share a lot in common with them. Stylistically, Usually jello
Speaker 1: films are thought to be to have basically realistic causation.
Speaker 1: They're they're not like about witchcraft and magic and stuff.
Speaker 1: They're about like a murderer who wields a razor blade
Speaker 1: or something like what the woman with the crystal is
Speaker 1: the bird with the crystal plumage, Yeah, bird with the
Speaker 1: crystal plumage. I mean Argento made these naturalistic jello films
Speaker 1: as well, Bird with the Crystal Plumage, Deep Red, Cat
Speaker 1: of Nine Tales, Tenebree. These are all jallow films he did.
Speaker 1: But other big names in in jalo or Sergio Martino,
Speaker 1: Luccio Fulci, and the director of the movie we're talking
Speaker 1: about today, Mario Bava. Bava was the director of Blood
Speaker 1: and Black Lace from nineteen sixty four, just one year
Speaker 1: after Black Sabbath, and I think Blood and Black Lace,
Speaker 1: I think is often considered sort of the archetype of
Speaker 1: the early Jallo movie that a lot of Jallo descends from.
Speaker 1: Blood and Black Lace. I'd love to watch that one
Speaker 1: someday because I'd noticed just today that it has Cameron
Speaker 1: Mitchell in it. Oh, that's right, it does. It's been
Speaker 1: a little while since I've seen it, so I don't
Speaker 1: remember much in particular about what he does in it.
Speaker 1: But yeah, anyway, one of the things I noticed is
Speaker 1: that Blood and Black Lace I think has a lot
Speaker 1: of stylistic similarity with the telephone segment in this movie,
Speaker 1: except the stylization is turned way up. So I'll get
Speaker 1: back to that in just a minute. But to discuss
Speaker 1: some of the main characteristics of Jello movies, they very
Speaker 1: often feature a murderer who strikes again and again, whose
Speaker 1: identity is unknown, often masked or with their face hidden
Speaker 1: in shadow, and they will very often wear a similar outfit,
Speaker 1: like a long trench coat and black gloves and maybe
Speaker 1: a hat. In Jello movies, the murders are usually sort
Speaker 1: of creative or grizzly or of a creepy and squeamish nature.
Speaker 1: So they're usually not just going to be like the
Speaker 1: killer shoots somebody with a gun. They might kill somebody
Speaker 1: with a barber's razor or a needle or something. Jello
Speaker 1: movies also tend to be kind of voyeuristic and sexually charged,
Speaker 1: often mixing sexuality and violence in an unsettling way, and
Speaker 1: to varying extents, they tend to be highly stylized. Uh not,
Speaker 1: not all of the directors are like this, but a
Speaker 1: lot of them are. They'll use these lurid colors and
Speaker 1: creative cinematography. This is typically the opposite, by the way,
Speaker 1: of what I would say are the dominant trends in
Speaker 1: murder mystery films, say in the United States, which I
Speaker 1: think are overwhelmingly they tend toward a gritty, realistic or
Speaker 1: muted look with kind of matter of fact camera work.
Speaker 1: It's like they're trying to make it look like real life,
Speaker 1: whereas Italian jello films tend to love these you know,
Speaker 1: weird red and purple gel lights and tilted camera angles
Speaker 1: and shots reflected in a mirror and all kinds of
Speaker 1: stuff like that. To say, nothing of the music. Yeah,
Speaker 1: oh yeah, famously, like the Argento jello movies have have
Speaker 1: wonderful scores, usually that you know in both Goblin or
Speaker 1: Argento himself in some way. There's another strange recurring detail
Speaker 1: that I noticed in a lot of Italian jello movies,
Speaker 1: especially the movies of Dario arch Into. But a really
Speaker 1: common recurring thing is that the protagonist will witness an
Speaker 1: image or a scene early on in the movie that
Speaker 1: contains some clue that would serve as the master key
Speaker 1: to solving the mystery. And this this scene or this
Speaker 1: memory keeps replaying in their mind, but they're unable to
Speaker 1: recall or figure out what that key detail is until
Speaker 1: the final resolution. So I think about the museum murder
Speaker 1: scene in the Bird with crystal plumage, or the face
Speaker 1: in the hallway and deep red and so forth. Interesting.
Speaker 1: So looking back through this lens, like, is the telephone
Speaker 1: sort of a short form proto Jallo in a way,
Speaker 1: I think it kind of is it. It has some
Speaker 1: of that same naturalistic terror mystery sensibility. It has a
Speaker 1: clue detail in the room, except the protagonist I don't
Speaker 1: know if she sees it. I don't think she does,
Speaker 1: but I'm thinking about the zoom in on the eyes
Speaker 1: and the window looking through the blinds, which is very creepy.
Speaker 1: It does have that that creepy, voyeuristic and sexually charged
Speaker 1: sensibility which I do not always enjoy in these movies,
Speaker 1: to be honest, though it is not as stylized as
Speaker 1: a lot of later Jello, which I would have enjoyed more.
Speaker 1: I mean, I kind of wish Boba had played up
Speaker 1: his his visual sense more in this segment, but with
Speaker 1: blood and Black Lace that comes later. I almost wonder
Speaker 1: if bab a sort of cross fertilized different parts of
Speaker 1: his own creative process after Black Sabbath, like if he
Speaker 1: started thinking, Okay, what if I did a story that
Speaker 1: was more like this said in the modern world. It's
Speaker 1: sort of a naturalistic mystery terror, uh, like the Telephone,
Speaker 1: But I filmed it with that other worldly visual sensibility
Speaker 1: that I used in The Worderlack where where everything glows
Speaker 1: with magic power. Yeah. Interesting, Well, let's talk about the
Speaker 1: the worderlock or the Verdi lock here. Oh yeah, we
Speaker 1: gonna are, we gonna, we are, We're gonna um what
Speaker 1: if what should they use in the film? I thought
Speaker 1: I was hearing of the But but we can go
Speaker 1: either way. I don't think the monster's mind. I'm gonna
Speaker 1: go let's let's let's assume that's authentic and then try it.
Speaker 1: We could be wrong. Um, but yeah, how about the
Speaker 1: vertil ax. So the Verdelac I think, picking up after
Speaker 1: the first segment, which I which I didn't especially love,
Speaker 1: the Vertilac I think is extraordinary. Um, it's this Carpathian
Speaker 1: Gothic tale where these auroras of weird color just dripped
Speaker 1: from the crags. Like I said earlier, it's a new
Speaker 1: you know, it goes on my list of favorite Boris
Speaker 1: karl Off roles. He plays this shaggy, wild purple Kurt Vonnegut.
Speaker 1: You notice he looks like uh. And and this whole
Speaker 1: segment is just full of awesome slavic twang. And this
Speaker 1: Menace of the Hills absolutely wonderful. The visual world that
Speaker 1: Baba creates in here that that maybe isn't noticeable right
Speaker 1: at first, but then just really uh leeches in. He
Speaker 1: creates this dark domain that is occupied entirely by fog
Speaker 1: and ruins and desolate farm houses. Um. Multiple just absolutely
Speaker 1: creepy scenes and sequences. Uh, yeah, I absolutely loved it.
Speaker 1: In fact, if you have never watched this film and
Speaker 1: you're gonna pick it up, I I give you I
Speaker 1: I think you should watch it in its entirety. But
Speaker 1: if you need to, you can go ahead and skip
Speaker 1: the telephone and go straight to this h go straight
Speaker 1: to the vote lock. So to do a very quick
Speaker 1: plot description on it, I don't want to spoil everything
Speaker 1: about it, but it begins with the personable Mark Damon,
Speaker 1: who is he plays a an aristocrat, he's a counter
Speaker 1: or something. I don't recall exactly what he is, but
Speaker 1: he's he's riding through the mountains and he's clearly in
Speaker 1: a in a rural, rustic area, and he comes across
Speaker 1: a corpse just lying there by a riverside. And so
Speaker 1: this is a corpse that's had its head removed and
Speaker 1: it has been stabbed through the heart with a very
Speaker 1: distinctive dagger. And so he's like, oh, I guess I
Speaker 1: gotta do something about this. So he picks up the
Speaker 1: corpse and he carries it with him, uh to a
Speaker 1: nearby village or I don't know if it's even a village.
Speaker 1: It might just sort of be the compound of one family.
Speaker 1: You know that under the heading of this one patriarch
Speaker 1: in his house. Yea. So yeah, he comes to this
Speaker 1: house out in the mountains and he goes into to
Speaker 1: meet the people who lived there and he says, hey,
Speaker 1: I found this corpse, and immediately they know what's going on.
Speaker 1: They're like, oh, yes, that is our father's dagger you
Speaker 1: found through the heart of this corpse. And that's because
Speaker 1: our father has gone out to kill the wordilac. Or well,
Speaker 1: let's see, I remember, did they establish the being he
Speaker 1: was trying to kill they knew was a wordilac or
Speaker 1: did they just think it was a local highwayman and
Speaker 1: murderer that their father was going out to kill. There
Speaker 1: was sort of blurring in the lines. Yeah, there were,
Speaker 1: There was both, because they're clearly this region is dealing
Speaker 1: with a serious vertilac problem. But then the Verdilac has
Speaker 1: also been identified as a particular individual who is also
Speaker 1: a notorious highwayman. Right, so from this they conclude, oh, okay,
Speaker 1: our father succeeded in his quest. You know, he went
Speaker 1: out into the mountains to find this criminal, this highwayman
Speaker 1: and kill him, and here's his body. But where where's Pop?
Speaker 1: You know, you would think he would have come back
Speaker 1: by now. And uh so the family members here they
Speaker 1: include the I believe, the two sons and the daughter
Speaker 1: of Boris Karloff's character, and then the oldest son's wife
Speaker 1: and child as well, And so they tell the story
Speaker 1: while our father went out into the mountains to hunt
Speaker 1: down this this brigand and and possible supernatural menace, the
Speaker 1: vertiloc and and kill him. And then he but they
Speaker 1: but he warned us, if I come back after five days,
Speaker 1: don't let me in because then I'm going to be
Speaker 1: a word of lact probably by that time. And there's
Speaker 1: a great plot device of ambiguity because when does Boris
Speaker 1: Karloff show up right at the toll of midnight on
Speaker 1: the fifth day, So he's like coming in right on
Speaker 1: the line, and you don't know one way or another. Yeah, though,
Speaker 1: I mean, I think one of the one of the
Speaker 1: messages of this this the whole sequence here, is that
Speaker 1: if Grahampa says he might be a vertiluck, just go
Speaker 1: ahead and assume he's a verti luck, because it's going
Speaker 1: to be the safer assumption some of you might be wondering,
Speaker 1: is is a vertilock really a thing. Well, I did
Speaker 1: look it up, and according to Folklori's Carol Rose, who
Speaker 1: often refer to with my monster career careers here, uh,
Speaker 1: it's it's actually more werewolf than vampire. But in the
Speaker 1: Slavic tradition the two concepts are kind of interlocked. Um.
Speaker 1: One version at least was that when a werewolf is killed,
Speaker 1: it transforms into a vampire that could then reassume the
Speaker 1: form of a wolf and vote luck apparently means wolf's hair. Um.
Speaker 1: But in this movie, what we see is is essentially
Speaker 1: a take on the vampire legend with with a fun twist. Well,
Speaker 1: I don't know if it's fun depending on which end
Speaker 1: of it. If you're just enjoying the horror of it,
Speaker 1: it's uh, I guess it's fun. If your character in
Speaker 1: the in the story not so fun. And that is
Speaker 1: that the monster when it comes back, when it takes
Speaker 1: on the form of those that is killed, it's going
Speaker 1: to be drawn most to those that it loved in life.
Speaker 1: Those are going to be the ones that it focuses
Speaker 1: all of its monstrous intensity on. Yeah, this is a
Speaker 1: vampire as betrayer of trust, not just a vampire that
Speaker 1: needs blood. Anybody's blood just got to have a meal
Speaker 1: of blood. This is a vampire that specifically comes for
Speaker 1: its loved ones. Yeah, which, Uh, I was thinking about
Speaker 1: this a little bit because again, the pacing of the
Speaker 1: film I think invites contemplation and also an enjoyment of
Speaker 1: the visuals. Uh. But like, well, what is wonder what
Speaker 1: this this? Uh? The sequence and what this this legend is? Um?
Speaker 1: Like what does it say about like love and bereavement? Uh?
Speaker 1: You know the twisted way that our our strongest positive
Speaker 1: emotions can become negative emotions. Uh. And then ultimately, is
Speaker 1: this story advising us not to love anybody because because
Speaker 1: that alone would protect us from monsters? Well, that's a
Speaker 1: good question. And then I want to take that a
Speaker 1: step further. A lot of horror movies have very weakly
Speaker 1: earned love stories where you know, the characters fall in
Speaker 1: love with each other. You don't really see a lot
Speaker 1: of reason for them to fall you know, you don't
Speaker 1: see a lot of like scenes of chemistry of them,
Speaker 1: you know, finding things they like about one another just
Speaker 1: kind of happens because the script says so this story,
Speaker 1: the Vertiloc has a couple of characters who seem to
Speaker 1: fall in love with each other very quickly and in
Speaker 1: this sort of weakly justified way. But I wonder if
Speaker 1: that's not intentional in this case, uh, saying something about
Speaker 1: like falling, you know, loving too easily, and the being
Speaker 1: a kind of danger in that. Yeah. Yeah, the character
Speaker 1: that Damon plays, Um, you do kind of feel that, right,
Speaker 1: It's like, like, what do you do? You're so in
Speaker 1: your you're in love. You just met her and you're
Speaker 1: so in love with her that you are going to
Speaker 1: risk incurring the wrath of her you know, undead transformed family. Uh,
Speaker 1: it seems it seems foolish, and it seems like, uh,
Speaker 1: as a fool in a short horror work, you are
Speaker 1: going to be punished for this foolishness. Well yeah, and
Speaker 1: it also says something about family. I think. Because again,
Speaker 1: so this will be a minor spoiler. I don't think
Speaker 1: it will ruin your enjoyment of the segment, which you
Speaker 1: can enjoy even if you read the whole plot ahead
Speaker 1: of time, but warning to spoil the ending. So I
Speaker 1: think it is basically the fact that Mark Damon's character,
Speaker 1: he comes in, he very quickly and maybe unjustified, le
Speaker 1: falls in love with Stenka and then Sidenka apparently sort
Speaker 1: of reciprocates, you know, she likes him to um. And
Speaker 1: you get the impression that it's interesting that at first
Speaker 1: Mark Damon's character is not really threatened by the vers
Speaker 1: to luck because he's not a member of the family
Speaker 1: and it only wants its own family. But it's once
Speaker 1: she reciprocates his feelings and they fall in love with
Speaker 1: each other that then he is also subject to the
Speaker 1: threat of having his blood drank, drink and drunk, uh,
Speaker 1: you know, of being attacked by the supernatural creature. It's
Speaker 1: once there is a bond of love between him and
Speaker 1: her that now he is fair game for this monster. Yeah. Yeah,
Speaker 1: I mean it's there's probably something telling and there about attachments. Uh.
Speaker 1: But at the same time, it's like he's he clearly
Speaker 1: is loving strongly and loving deeply um, albeit very briefly.
Speaker 1: Uh So maybe it's all worth it. It's worth all
Speaker 1: the the english and death because the love was that strong.
Speaker 1: It seems to have there there is a sort of
Speaker 1: a bittersweet romantic element to the to the way this
Speaker 1: this wraps up. Yeah, yeah, but I mean, overall, every
Speaker 1: everything else we've said about the Vertilock. The atmosphere is
Speaker 1: just amazing, and there are such wonderful scenes of looking
Speaker 1: out the window and maybe seeing Boris Karloff in his
Speaker 1: in his purple Kurt Vonnegut with the with the shaggy
Speaker 1: furry hood. Oh god, it's just so so good. Oh
Speaker 1: the sequence with the child crying for the mother who's
Speaker 1: super creepy. That one gave me the shivers. Uh oh.
Speaker 1: Another great thing about this sequence is it has a
Speaker 1: great decapitated head. So at this point in my life
Speaker 1: and my film film Going Life, and I imagine you're
Speaker 1: much the same, Joe, I've seen a vast spectrum of
Speaker 1: decapitated head effects, ranging from just the laughable to the
Speaker 1: you know, at times shockingly realistic. Um though that that's
Speaker 1: it's interesting to think of like realistic and non realistic
Speaker 1: decapitated head effects because I think most all of us
Speaker 1: don't have anything to judge it against, you know, And
Speaker 1: I think that's ultimately a good thing. We can't really
Speaker 1: we we don't look at a decapitated head and go like,
Speaker 1: wait a minute, that's not what a decapitated head looks like.
Speaker 1: I saw a decapitated head this morning to get out
Speaker 1: my faces of death videos, but in any right, there's
Speaker 1: I love even a hokey beheading effect. But this film
Speaker 1: has has not one, but two beautifully disturbing corpse head sculpts. Uh.
Speaker 1: And these were actually created by Mario Baba's father, Eugenio Baba,
Speaker 1: which I thought was interesting that they're They're both absolutely
Speaker 1: beautiful and of course terrifying. Well, speaking of beautiful and
Speaker 1: terrifying corpses, we got to also mentioned the third segment
Speaker 1: in this movie, A Drop of Water, which for me,
Speaker 1: the Vertilock is the standout, but a Drop of Water
Speaker 1: I thought was also very very good. Uh, and it
Speaker 1: has I gotta say, one of the creepiest movie corpses
Speaker 1: I have ever seen, along with a wonderful twist and
Speaker 1: some really great set in lighting choices. Yeah, this one
Speaker 1: again the telephone things are a little maybe more subdued,
Speaker 1: but still pretty pretty brilliant, but subdued for Baba Vertilock
Speaker 1: colorful and wonder full and out there. This one too
Speaker 1: is just just absolutely touching your eyeballs with its with
Speaker 1: its color scheme. Um. Specifically, the thing that stuck with
Speaker 1: me most about the Drop of Water there were two things.
Speaker 1: One is that it has this marvelous, creepy corpse design.
Speaker 1: But the other was that the main character in this
Speaker 1: play is a nurse who lives in an apartment that
Speaker 1: has this oval shaped window, and outside the window is
Speaker 1: a constantly, gently pulsing green light. And I don't know
Speaker 1: what exactly that was supposed to be in terms of realism.
Speaker 1: I think there's a quick shot from outside at first
Speaker 1: where it's raining out and and maybe it's supposed to
Speaker 1: be some kind of rotating sign or something. I'm not
Speaker 1: I'm not quite positive, but the effect within the apartment
Speaker 1: is these pulses of green that are I just love it.
Speaker 1: I love it. I want to live in that. Yeah.
Speaker 1: That that window is absolutely amazing. It's like a um
Speaker 1: horror ontole oval shape and it has this uh this
Speaker 1: kind of uh like iron lattice work cross in the
Speaker 1: middle of it. Um. I have never seen anything quite
Speaker 1: like it. And yeah, and then this pulsating lights. So
Speaker 1: this was very much a sequence in the film where
Speaker 1: I think I was a little uncertain about, like what
Speaker 1: was supposed to be happening, and when you know, what's
Speaker 1: supposed to be pulling me along character wise or plot wise.
Speaker 1: But I could not look away from that window, and
Speaker 1: it was reminding me of something too, and I realized
Speaker 1: it was it was reminding me of a scene from
Speaker 1: the sci fi film Event Horizon, Um, which show which
Speaker 1: I know you've seen as well, Joe. Uh, there's a
Speaker 1: sequence where there is a corpse floating aboard the Event
Speaker 1: Horizon spaceship and it's floating in front of this cross
Speaker 1: shaped window that has kind of bluish greenish uh space
Speaker 1: lights pulsating behind it, And you think it was influenced
Speaker 1: by this short. I wonder if it was, because, for
Speaker 1: for for starters, Event Horizon is a film that is
Speaker 1: not shy about taking inspiration from other films. I love it,
Speaker 1: but like you, like, you see the DNA of these
Speaker 1: other films in it. Um, it's all about that and
Speaker 1: uh so yeah, I'm wondering if the cinematographer an Event Horizon,
Speaker 1: an individual by the name of Atrian Biddle, who worked
Speaker 1: on Aliens and Judge Dread and various other films. I
Speaker 1: wonder if this particular scene is kind of a nod
Speaker 1: to Baba, because it, uh, it feels Baba asked um,
Speaker 1: you know, it feels it feels like it might be
Speaker 1: a slight tip of the hat. Event Horizon could be
Speaker 1: an interesting movie to come back to because I find
Speaker 1: it to be a very uh, very strange and an
Speaker 1: unusual combination of very inspired and very hack. Yeah, yeah,
Speaker 1: I know what you mean. Yeah, there's a there. I
Speaker 1: loved Event Horizon when it came out, and then uh,
Speaker 1: when I rewatched it several years ago, there were still
Speaker 1: things I absolutely loved about it, but some things were
Speaker 1: like I kind of sighed and groaned at but still
Speaker 1: but it has a place in my heart. Well, I
Speaker 1: guess you could say, much like The Telephone. The plot
Speaker 1: of A Drop of Water is pretty straightforward. So a
Speaker 1: nurse uh is called out to the apartment of a
Speaker 1: woman that she has been taken care of who has
Speaker 1: just died, and this woman apparently was involved in the occult.
Speaker 1: I think they say that she died during a seance,
Speaker 1: and so then the nurse must go into the room
Speaker 1: where her her dead body is laying and helped prepare
Speaker 1: the corpse. But when she goes into the room, she
Speaker 1: notices that the the cadaver here has a has a splendid,
Speaker 1: very expensive looking piece of jewelry on it, a beautiful
Speaker 1: ring that has maybe a sapphire in it or something,
Speaker 1: and she looks at it and it's like, well, is
Speaker 1: this just you know, is this ring going to go
Speaker 1: to waste? Is this expensive piece of jewelry just going
Speaker 1: to go into a coffin and then rotting the ground?
Speaker 1: I could grab that thing and take it with me
Speaker 1: and then uh, and you you get the sense that
Speaker 1: the nurse is sort of living in poverty like that
Speaker 1: she could she could use a big cash in at
Speaker 1: the pawn shop, um to put over that to be window. Yeah,
Speaker 1: exactly sleep at night. Um. So she grabs the ring,
Speaker 1: but of course I don't know if you want to
Speaker 1: grab the ring off the corpse of a lady who
Speaker 1: just died while being involved with the occult right, And
Speaker 1: so the rest of this segment has some wonderful uh
Speaker 1: scenes of the haunting of a guilty conscience. And then
Speaker 1: there's also an excellent twist at the ending of of
Speaker 1: this segment to Yeah, i've kind of downplayed the like
Speaker 1: the plotting of Baba films, I guess in general here
Speaker 1: but but but yeah, I think all three sequences have
Speaker 1: some some fun um, some some fun plot twists and
Speaker 1: some fun developments. Uh. You know that you you don't
Speaker 1: really know where everything's gonna go, and things don't follow
Speaker 1: a clearly defined path, which which is rather pleasurable. I agree.
Speaker 1: So I mean, as we were saying at the beginning,
Speaker 1: or horror anthologies are often kind of you know that
Speaker 1: your different segments are going to be of different quality.
Speaker 1: But I would say, after, I guess if we're wrapping
Speaker 1: up here at the end, I really enjoyed two out
Speaker 1: of three segments. But if you only check out one
Speaker 1: of the segments from this movie, definitely I would say
Speaker 1: the Vertilac, the Vertilac, Vertilac. Yeah, come for the verti
Speaker 1: loc stay for the drop of water, uh, and find
Speaker 1: something to love in the telephone. Oh. But then also
Speaker 1: we should we have to put come back to our
Speaker 1: host here because one of the fun things about the
Speaker 1: American International Pictures um A release of it is that, yeah,
Speaker 1: we we added us this intro bit from Boris Karloff. Uh.
Speaker 1: And apparently they filmed some segments of Boris Karloff that
Speaker 1: would have gone between each of the segments, but they
Speaker 1: didn't use those. So we just go from segment one
Speaker 1: to segment two to segment three. But then when segment
Speaker 1: three ends, we come back to Boris Karloff. Uh, And
Speaker 1: weirdly enough, he's he's like in his his he seems
Speaker 1: to be in costume from the Verdi lock. He's riding
Speaker 1: a horse, but he has this kind of almost crip
Speaker 1: keeper esque um uh, you know, jovial atmosphere about him.
Speaker 1: And I can't even remember what he's telling us because
Speaker 1: as he's saying, you know, wrapping up for everybody, we
Speaker 1: pan out and we have this kind of um um,
Speaker 1: holy mountain moment where we pan out and we see
Speaker 1: that it's a set. We see a cameraman, we see
Speaker 1: people holding up these bushes that are supposed to be um,
Speaker 1: you know, uh, rushing past him as he rides this horse,
Speaker 1: and we see that the horse itself is just a
Speaker 1: saddle on, like a fake horse rump that's that's being
Speaker 1: put into motion. Uh. And it's such a weird ending.
Speaker 1: I was thinking about It's like, why why did we
Speaker 1: punctuate this film Black Sabbath, this trio of horrifying tales,
Speaker 1: each with a dark ending? And I was wondering if
Speaker 1: it was because they thought, well, you know, nineteen three
Speaker 1: audiences don't want to go home feeling depressed. They need
Speaker 1: to go home with a smile on their face. So
Speaker 1: we need this, Uh, we need a fund ending, we
Speaker 1: need we need Boris Karla reminding them that it's all
Speaker 1: just a movie. It's no, none of this is real.
Speaker 1: Um it's it was weird. Yeah, I'm not really sure
Speaker 1: what motivated that ending. Maybe you just yeah, like you're saying,
Speaker 1: cinnemon with a smile on their face. But I loved
Speaker 1: it or Rachel and I both really appreciated the pulling
Speaker 1: back to see especially the best part of it for
Speaker 1: me was the people running around with the potted plants
Speaker 1: to move them in front of the camera to simulate
Speaker 1: the horse actually traveling through stuff in the foreground. Yeah,
Speaker 1: it's it's something I guess thinking to other horror host environments,
Speaker 1: like you need to do one of two things. Either
Speaker 1: you have the horror host punctuate the terror or the
Speaker 1: cerebrial nature of it, you know, like the the voiceover
Speaker 1: for the Outer Limits is all about really driving home
Speaker 1: the serious message of the piece, um, you know, or
Speaker 1: if you're watching twilight Zone, it's all about reminding you
Speaker 1: of how dark and mysterious things really are. But the
Speaker 1: crypt Keeper, he just comes back to make several punny
Speaker 1: jokes and uh and so you know what Karlof is
Speaker 1: doing here is very much in the crypt keeper mode
Speaker 1: of of lightening the mood. I feel, all right, well,
Speaker 1: we're gonna go ahead close this one out, but we
Speaker 1: recommend everybody. Yeah, this is the Halloween season, so if
Speaker 1: you need a nice gothic atmospheric film to to watch,
Speaker 1: check out Black Sabbath. Um. This is also a fine one,
Speaker 1: you know, just to play visually in the background. If
Speaker 1: you just want some really strong visuals, this one's this
Speaker 1: one's good to go. Um. Black Sabbath is widely available
Speaker 1: for digital rental or purchase. Again, I watched it on
Speaker 1: an Apple TV by doing a free preview of AMC Plus,
Speaker 1: but it's also widely available on disc and cleaning, including
Speaker 1: Keno Classics. They have a blu ray of it, though
Speaker 1: I guess I will leave the research to you figuring
Speaker 1: out what version you're about to purchase or rent, because yeah,
Speaker 1: we both watched the Italian language version subtitled, but I
Speaker 1: think there is a dubbed version as well. I don't
Speaker 1: know what the availability on that is. I can't speak
Speaker 1: to it personally. I can't comment on that, but I
Speaker 1: do think there are different versions that have different levels
Speaker 1: of sort of color saturation and all that. Try to
Speaker 1: find one with the really intense colors. Yeah, that's the
Speaker 1: most part of thing. Yeah, the colors speak volumes. The
Speaker 1: colors speak in ways that the dialogue and the subtitles
Speaker 1: are going to are going to pale in comparison to
Speaker 1: all Right, we'll be We'll be back next week with
Speaker 1: another I think thoroughly Halloween e selection. But in the meantime,
Speaker 1: you can listen to Weird House Cinema every Friday, and
Speaker 1: the Stuff to Blow your Mind podcast feed were primarily
Speaker 1: a science podcast with core episodes on Tuesdays and Thursday's
Speaker 1: Artifact on Wednesday. You'll listen to mail on Monday, but
Speaker 1: on Friday's we take a little time to just discuss
Speaker 1: a weird film like Black Sabbath. Huge thanks as always
Speaker 1: to our wonderful audio producer Seth Nicholas Johnson. If you
Speaker 1: would like to get in touch with us with feedback
Speaker 1: on this episode or any other, to suggest a topic
Speaker 1: for the future, or just to say hello, you can
Speaker 1: email us at contact at Stuff to Blow your Mind
Speaker 1: dot com. Stuff to Blow Your Mind. It's production of
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