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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb.

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Speaker 1: Today we are rerunning an episode that originally published three

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Speaker 1: twenty two, twenty twenty four. It is Dead Mountaineers Hotel.

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Speaker 1: This is a weird one. This is very thought provoking.

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Speaker 1: If you haven't seen it, I recommend checking this movie out.

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Speaker 1: Either way, we hope you enjoy our episode on Dead

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Speaker 1: Mountaineer's Hotel.

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

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Speaker 1: Hey, welcome to Weird House Cinema. My name is Rob Lamb.

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Speaker 3: I am Joe McCormick.

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Speaker 1: So it's time to check another country off of the

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Speaker 1: Weird House Cinema list. You know, we can imagine our

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Speaker 1: global map and we're putting pens in the different countries

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Speaker 1: that we've visited via the cinematic output of set Nation.

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Speaker 1: This time we're going to Estonia and sorry, rants, we'll

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Speaker 1: get to you with it.

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Speaker 3: That's right. Today we're going to be talking about the

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Speaker 3: nineteen seventy nine Estonian Soviet sci fi detective film Dead

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Speaker 3: Mountaineers Hotel, directed by Grigory Kromanov, based on a story

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Speaker 3: by the brothers Boris and Arcati. Strugatsky, who also wrote

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Speaker 3: the source material for another one of my favorite weird

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Speaker 3: Soviet films, which is Tarkovsky's Stalker. In fact, that movie

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Speaker 3: was released the same year as this movie. Both came

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Speaker 3: out in nineteen seventy nine, so a big year for

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Speaker 3: the brothers Strugatsky. I had never seen Dead Mountaineer's Hotel

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Speaker 3: before this past week. I was attracted to it after

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Speaker 3: I saw some very intriguing stills online featuring weird sets

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Speaker 3: full of mirrors and some very striking shot composition with

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Speaker 3: interesting use of color. And then I read reviews characterizing

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Speaker 3: this movie as a bizarre but generally quite well liked

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Speaker 3: Eastern European film noir with subversive science fiction themes and

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Speaker 3: several heaping spoonfuls of what is going on? So this

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Speaker 3: is the sort of pull toward the film was was

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Speaker 3: amplified when I went to Videodrome and I saw the

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Speaker 3: employees there had posted a recommendation on this film, so

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Speaker 3: I decided that I had to get it check it out.

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Speaker 3: So it was Estonian sci fi detective week for me.

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Speaker 3: And you know, despite all of that, Prepper I was

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Speaker 3: still incredibly surprised by this film I'll do a short

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Speaker 3: synopsis of the setup, the sort of first third of

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Speaker 3: the movie. It is about a police inspector named Glebski

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Speaker 3: working in some country in capitalist western Europe. Did they

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Speaker 3: ever specify what country it is? I think it's unnamed.

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Speaker 1: I think it is unnamed. It's just miscellaneous European country,

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Speaker 1: which is sometimes my favorite country to go to in cinema.

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Speaker 3: Right. So, he's a policeman working somewhere further western Europe,

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Speaker 3: in some alpine region, and he is called to a

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Speaker 3: remote ski lodge up in the mountains known as the

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Speaker 3: Dead Mountaineers Hotel. But once he arrives, it seems he

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Speaker 3: was summoned on a false alarm. The other guests at

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Speaker 3: the hotel behave very strangely and something is not what

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Speaker 3: it seems. Then suddenly there is at the same time

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Speaker 3: an avalanche cutting the guests off from the rest of

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Speaker 3: the world and a murder putting Inspector Glebsky, sort of

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Speaker 3: taking him out of vacation mode and putting him back

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Speaker 3: into on duty mode.

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Speaker 1: Yeah, because initially he's like, well, it took me so

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Speaker 1: long to get up here, and it's a little misty

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Speaker 1: out I'm clearly going to have to spend the night

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Speaker 1: here and drink something exactly. But then yeah, back on

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Speaker 1: duty when the murder occur.

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Speaker 3: I'm gonna have to dance to some really good Estonian

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Speaker 3: proud rock. Now at this point, I think we're gonna

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Speaker 3: have to go ahead and deal with something, which is

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Speaker 3: that this film has major surprises that develop across its

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Speaker 3: run time, and it would be rob I think you'd agree,

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Speaker 3: basically impossible for us to talk about this movie without

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Speaker 3: spoiling its big twists.

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Speaker 1: Right right, And we were talking about this a little

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Speaker 1: bit off Mike beforehand. This is not a film that

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Speaker 1: is so dependent upon the twist that you cannot enjoy it.

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Speaker 1: In fact, you might enjoy it a little bit more

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Speaker 1: knowing the sort of territory you will get in.

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Speaker 3: I read a blog post somewhere online where the writer

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Speaker 3: was reviewing the film and said that they thought that

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Speaker 3: it actually worked better if you went in already knowing

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Speaker 3: what the twist would be. I'm not sure about that,

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Speaker 3: but that could be the case. I went in already

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Speaker 3: knowing the twist and still greatly enjoyed the movie. But

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Speaker 3: if you suspect that might not be the case for

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Speaker 3: you, you want your chance to duck out and not know

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Speaker 3: what happens later in the film. Here's your moment. Let's

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Speaker 3: do some spoiler avoidance, walk out music, flee and terror

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Speaker 3: from the revelations to come.

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Speaker 2: Your mind is not ready, Your mind is not ready.

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Speaker 3: Your mind is okay. But here you are with us

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Speaker 3: to know what happens later in the film. But you know,

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Speaker 3: part of the difficulty is that even the genre designation

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Speaker 3: of the movie spoils the twist because it is called

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Speaker 3: like a neo noir or detective science fiction film, and

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Speaker 3: there is nothing science fiction about the movie until the

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Speaker 3: twist is revealed, which is that well, one part of

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Speaker 3: the twist is not necessarily sci fi. It's more sort

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Speaker 3: of crime thriller themed, and that is that some of

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Speaker 3: the hotel guests are secretly gangsters and or terrorists. I

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Speaker 3: wasn't quite sure exactly what kind of criminal this is

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Speaker 3: supposed to be. But then beyond that, some other hotel

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Speaker 3: guests are robots, and yet other guests are aliens.

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Speaker 1: Yeah, yeah, And I have to add, like, knowing that

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Speaker 1: we selected this for weird House Cinema, you might already

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Speaker 1: suspect that there will be something speculative in the plot.

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Speaker 1: But I also have to highlight that the movie is

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Speaker 1: weird enough in its texture and its tone that I

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Speaker 1: think we could have covered it even had it not

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Speaker 1: involved robots in aliens.

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Speaker 3: Oh yeah, because people have pointed this out about especially

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Speaker 3: like the sets and the music created very otherworldly atmosphere

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Speaker 3: before any technically speculative plot elements are introduced, like this

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Speaker 3: is a ski resort in the mountains, but it feels

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Speaker 3: like a set from Blade Runner.

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Speaker 1: Yeah. Yeah. And then the score is very abstract and electronic.

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Speaker 1: We'll get into that in a bit too, But all

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Speaker 1: of this sort of you know, sets the board, and

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Speaker 1: by the time aliens and robots come around, I have

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Speaker 1: a feeling that even if you didn't know they were

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Speaker 1: going to occur, they it would not feel completely out

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Speaker 1: of left field. You would be like, oh, well, yeah,

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Speaker 1: of course. I mean, a number of human beings have

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Speaker 1: to be robots and aliens. That's where I am in

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Speaker 1: my worldview after experiencing this much of the film.

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Speaker 3: I mean, a lot of the characters are acting incredibly weird,

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Speaker 3: and so it seems something would have to be up

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Speaker 3: to explain the way they behave and the films I

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Speaker 3: would say the film's themes don't fully come into focus

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Speaker 3: until the final act, when, after the revelation of the

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Speaker 3: presence of aliens and robots, the policeman Glebski is put

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Speaker 3: in a position to think independently given new information, even

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Speaker 3: unprecedented information, and he has to choose whether to blindly

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Speaker 3: charge ahead, deferring his individual judgment and performing his official duties,

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Speaker 3: or to think for himself and act as a human being.

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Speaker 3: And we see Glebsky really struggling with this choice. He

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Speaker 3: feels very strongly pulled to just act out his official

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Speaker 3: duties as a policeman, even if they don't really make

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Speaker 3: sense in the scenario, and it would spell disaster for

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Speaker 3: visitors from another world.

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Speaker 1: Yeah. Yeah, So the making of Retrospective feature at on

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Speaker 1: the Blu Ray edition that we both watched more than

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Speaker 1: that in a minute. It shed some interesting light on

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Speaker 1: the production. So, first of all, just a bit of background,

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Speaker 1: since we're dealing with Estonian cinema here. At the time

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Speaker 1: Dead Mountaineer's Hotel was made, Estonia was the Estonian Soviet

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Speaker 1: Socialist Republic. This is essentially what it was known as

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Speaker 1: nineteen forty through nineteen forty one and then nineteen forty

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Speaker 1: four through around nineteen ninety one. The asterisk by that

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Speaker 1: date I'll explain in a second. And while Estonia had

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Speaker 1: its own distinct film, TV and theater scenes, there seems

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Speaker 1: to have to a large extent been a shared ecosystem

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Speaker 1: with Moscow based film production at the time. You know,

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Speaker 1: you seem to have a very Soviet film bureaucracy in

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Speaker 1: place governing the production of this film and other films

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Speaker 1: that were occurring throughout the than Soviet Union. For instance,

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Speaker 1: composer sim Gruenberg talks about composing music for the film

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Speaker 1: on the train back to Moscow, where he then would

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Speaker 1: record in the same studio that like later in the day,

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Speaker 1: another composer was going to be using to score nineteen

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Speaker 1: seventy nine Stalker, a Soviet Russian production that we just referenced.

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Speaker 3: Oh okay, yeah, And so given this context, one thing

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Speaker 3: that I've read about the film that makes it kind

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Speaker 3: of interesting is that, despite its the weirdness, and I

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Speaker 3: would argue subversiveness of the final product, this is a

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Speaker 3: film that was made under, from what I understand, a

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Speaker 3: heavy hand of censorship.

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Speaker 1: Yeah, yeah, yeah. The film was seemingly the product of

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Speaker 1: very bureaucratic film production process. In some ways it does

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Speaker 1: seems like it held it back, and we'll discuss examples

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Speaker 1: of that, but it also meant that it seems like

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Speaker 1: they had everything lined up when they were about to shoot,

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Speaker 1: Like when they actually went out there, it was a

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Speaker 1: pretty well oiled machine to a large extent, very streamline production.

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Speaker 1: But yeah, it seems like it maybe did limit and

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Speaker 1: in case in other cases almost limited the creativity of

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Speaker 1: the project as well.

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Speaker 3: I was reading about the making of the film in

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Speaker 3: a piece by an Estonian film critic named Carlo Funk.

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Speaker 3: It was an article published by the Estonian Film Institute,

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Speaker 3: and Funk was sort of writing about how there were

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Speaker 3: certain things you could do if you wanted to tell

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Speaker 3: a certain kind of story under this environment, that you

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Speaker 3: could have more leeway with your storytelling. For example, setting

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Speaker 3: it in the West rather than setting it like in

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Speaker 3: Estonia or something allowed more freedom allegedly to depict characters

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Speaker 3: as sort of like flawed and conflicted in their official duties.

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Speaker 1: Because you could you essentially be saying like this is

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Speaker 1: the kind of potential depravity that can be going on elsewhere,

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Speaker 1: but not within these four rides. Just to a quick

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Speaker 1: cap on the note about Estonia. Estonia became I believe,

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Speaker 1: the first of the then Soviet controlled countries to declare

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Speaker 1: independence from Moscow and the Soviet Union, and by nineteen

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Speaker 1: ninety one, I believe the sixth of September nineteen ninety one,

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Speaker 1: the Soviet Union recognized Estonian independence. Now key to all

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Speaker 1: of this, of course, is the hotel, the Dead Mountaineer's Hotel,

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Speaker 1: which we'll get into. We'll talk a lot about this hotel,

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Speaker 1: and and you know, it's film, So you have exteriors

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Speaker 1: and interiors at this place. And I think if you

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Speaker 1: know anything about a filmmaking at all, you know that

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Speaker 1: these don't have to necessarily match up. Sometimes the place

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Speaker 1: where a film is shot the interiors, we are also

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Speaker 1: using the exteriors of set location. Sometimes you'll have the

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Speaker 1: have exterior shots for a particular place in your film,

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Speaker 1: and the inside of that place you're utilizing via another

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Speaker 1: location or perhaps sets. So in this film, we have

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Speaker 1: the exterior of the hotel, which does have its own

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Speaker 1: kind of character. It has this kind of like boxy

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Speaker 1: look that I quite like. It doesn't look completely rustic.

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Speaker 1: It has sort of a modern flare to it.

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Speaker 3: Yeah, it is an asymmetrical architecture that does look like

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Speaker 3: I don't know, some modern homes you would see that

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Speaker 3: are like a you know, a rectangle rising up here

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Speaker 3: and a slanted roof there. And it's not just like

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Speaker 3: your standard sort of boxy resort hotel shape right right.

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Speaker 1: And of course it is very remote and surrounded by

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Speaker 1: all of these snowy mountains and all very captivating. But

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Speaker 1: instead of using this location or some other kind of

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Speaker 1: like ski lodge location for the interiors, and instead of

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Speaker 1: engaging in perhaps the kind of expected rustic or perhaps

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Speaker 1: well worn interiors of an actual remote ski lodge, they said, no, no, no,

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Speaker 1: this is a science fiction film. This film deals with

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Speaker 1: futuristic ideas. We need to have a futuristic set, and

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Speaker 1: so they ended up building out these sets, and what

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Speaker 1: we have is this highly stylized like black and mirrored interior.

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Speaker 1: There's neon and the featurette on the disc describes this

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Speaker 1: as all being very much in line with Estonian hyperrealism

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Speaker 1: of the time period.

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Speaker 3: I don't know exactly what that is, but it's hyper something.

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Speaker 3: It's yes, yeah, it it doesn't feel like a real hotel, like,

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Speaker 3: it doesn't it does not at all suggest hospitality. Instead,

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Speaker 3: it is an environment that suggests mystery and doubt. And

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Speaker 3: yet despite this, it does still have some of the

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Speaker 3: features that can make a hotel or resort an exciting

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Speaker 3: location for a mystery story, like the maze like nature

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Speaker 3: of hallways and a hotel like that you never really

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Speaker 3: understand like what part of the building you're in or

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Speaker 3: which direction you're facing. You're just going around corners, and

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Speaker 3: this movie does. The sets do have that feeling. There's

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Speaker 3: a kind of like confusing layout of the place and

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Speaker 3: it almost suggests that it's like not physically plausible.

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Speaker 1: Yeah, and it sounds like the set itself had this

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Speaker 1: kind of like maze like quality. They were talking about

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Speaker 1: like there being lots of places that crew members could

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Speaker 1: sort of hide and you know, have a drink or

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Speaker 1: snack and so forth. And it was apparently quite a

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Speaker 1: struggle to get everybody to be quiet for the for

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Speaker 1: the shoot. But yeah, it was a pretty elaborate build.

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Speaker 1: It wasn't cheap and on the other end, and so

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Speaker 1: I have to stress that it does not feel like

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Speaker 1: a set in that it feels like a real place,

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Speaker 1: like even though we are getting into this hyper realistic

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Speaker 1: idea of what a remote ski lodge could be. It

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Speaker 1: totally works within the context of the film, and you're

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Speaker 1: never like, oh, look at this set, unless you know,

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Speaker 1: unless I guess you're engaging in the film, you know,

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Speaker 1: outside of the film's context. But it's hard to imagine

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Speaker 1: this film having the same impact or the same flavor

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Speaker 1: at all if it were set in a more traditional

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Speaker 1: or rustic ski lodge setting, you know, that kind of

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Speaker 1: like well worn, perhaps not as easily maintained environment that

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Speaker 1: some of us may have experienced in one form or

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Speaker 1: another in remote locations. It just I can't help but

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Speaker 1: suspect that if that had been the case with this movie,

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Speaker 1: even if it still had the terrific score, the terrific

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Speaker 1: performances and this weird plot, this film might have been

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Speaker 1: more easily forgotten and it wouldn't stand out as this

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Speaker 1: kind of shining gem of Estonian film from this time period.

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Speaker 3: When you read people talking about this movie, they will

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Speaker 3: end up saying a lot of things, but often the

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Speaker 3: first thing they say is something about the striking visual

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Speaker 3: nature of it.

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Speaker 1: Yeah. Absolutely, And we'll keep touching on more specific examples

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Speaker 1: of that as we go. I'll also point out that

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Speaker 1: the featurette described this as being part of the first

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Speaker 1: and only, at least at the time that this featurette

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Speaker 1: was produced, wave of Estonian science fiction of the mid

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Speaker 1: and late nineteen seventies. So there's like this brief blip

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Speaker 1: where suddenly, and we'll touch on why some why this

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Speaker 1: might have been the case where suddenly Estonian cinema was

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Speaker 1: more concerned with science fiction and then it kind of

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Speaker 1: dies off. Though just looking around a little bit, it

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Speaker 1: looks like it looks like in recent years we have

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Speaker 1: seen more Estonian science fiction come out. So it's not like,

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Speaker 1: you know, Estonian creatives completely abandoned the idea of science fiction.

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Speaker 1: It's more a question of, like what was being funded,

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Speaker 1: what was being produced, especially during this time period in which,

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Speaker 1: like we already we discussed like there were a lot

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Speaker 1: of bolts in place on what sort of films would

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Speaker 1: see the light of day.

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Speaker 3: Okay, what's your elevator pitch for the movie?

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Speaker 1: It's simple, it's ski lodge madness, Estonian style.

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Speaker 3: In a world where the ski lodge is full of robots,

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Speaker 3: one man will be a cop and not think too

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Speaker 3: much about it.

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Speaker 1: Oh, I don't know, there's a lot of thinking. There's

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Speaker 1: a lot of contemplative characters in this. Well, let's go

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Speaker 1: ahead in here just a little bit of the trailer audio.

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Speaker 1: This is from the I believe, the the Estonian trailer,

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Speaker 1: so we're not going to play all of it, but

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Speaker 1: maybe just a little bit to give you some flavor.

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Speaker 1: Milli Luma. All right, Now, before we go into the

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Speaker 1: rest of the episode, let's talk about where you can

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Speaker 1: watch this movie as well, especially if you want to

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Speaker 1: watch it before listening to us talk about all the

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Speaker 1: details of the plot. I can't speak for other regions,

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Speaker 1: but currently over here it looks like the only way

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Speaker 1: to stream it legit is perhaps via cultpic dot com

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Speaker 1: looks like they have it. I'm not familiar with cultpick,

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Speaker 1: but it pops up on letterbox as being a place

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Speaker 1: you can stream it. We watched it on the all

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Speaker 1: region Blu ray from Camera Obscura, which also features an

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Speaker 1: optional German dub. It has English subs and an interesting

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Speaker 1: making op documentary that I've referred to already and I

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Speaker 1: may refer to again.

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Speaker 3: Yeah, this was a good disc I liked it.

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Speaker 1: Yeah, Yeah, I had no problem playing it on an Xbox,

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Speaker 1: for example, which sometimes isn't the case with international blu

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Speaker 1: rays and so forth. All right, let's get into the

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Speaker 1: people who made this film, starting at the top with

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Speaker 1: the director, Grigory Kromanov, who lived nineteen twenty six through

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Speaker 1: nineteen eighty four Estonian director and occasionally actor, best known

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Speaker 1: internationally for this film, which was also his last of

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Speaker 1: six films. I believe this was his only genre film.

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Speaker 1: Other films included the nineteen sixty nine nineteen seventy historic

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Speaker 1: drama also described sometimes as a swashbuckler, the last.

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Speaker 3: Relet, Yeah, that's how I've seen it, described as sort

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Speaker 3: of historical adventure.

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Speaker 1: Yeah, and then the screenplay. The screenplay is credited to

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Speaker 1: Arkadi and Boris Strugatsky, who also wrote the novel upon

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Speaker 1: which it is based. So they adapted their own novel

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Speaker 1: here Okay. Arcatti lived nineteen twenty five through nineteen ninety

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Speaker 1: one and Boris lived nineteen thirty three through twenty twelve,

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Speaker 1: So they were Soviet Russian science fiction authors and brothers

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Speaker 1: who collaborated throughout their careers. Their best known novel is

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Speaker 1: nineteen seventy two's Roadside Picnic, which Tarkovski adapted into the

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Speaker 1: nineteen seventy nine film Stalker, which we already mentioned here.

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Speaker 1: This movie is based on the nineteen seventy novel Dead

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Speaker 1: Mountaineers Hotel, a detective story that veers increasingly into the

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Speaker 1: into weird territory. Both of these books, by the way,

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Speaker 1: are widely available in English translation. I think you can

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Speaker 1: even get audiobooks of them, so you know, they're they're

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Speaker 1: they're available out there, along with other works of theirs

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Speaker 1: and by the way, in two thousand and nine, the

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Speaker 1: novel Dead Mountaineers Hotel was adapted into a point and

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Speaker 1: click mystery video game. What Joe, I sent you the

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Speaker 1: trailer for this and we were looking at this earlier.

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Speaker 3: Yeah, I watched this trailer for the game. I would

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Speaker 3: not have imagined this would this adaptation would take place.

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Speaker 3: That was a surprise for me, So, you know, it

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Speaker 3: got me thinking about how oh Man, back in the day,

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Speaker 3: I really did enjoy some of those those point and

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Speaker 3: click adventure games like you know, The King's Quest and

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Speaker 3: Maniac Mansion and things like that. This could be a

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Speaker 3: lot of fun.

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Speaker 1: Yeah, yeah, and giving the source material, I guess it

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Speaker 1: could be like I wonder, what's if you had a

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Speaker 1: video game that was not only adapted from the source material,

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Speaker 1: but based on this particular cinematic vision of said book, Like,

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Speaker 1: what would it look like? What kind of choices would

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Speaker 1: you have when you pointed and clicked on characters? You know,

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Speaker 1: would you always have the option to drink and or smoke?

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Speaker 3: Hold on? I'm just thinking, was there at some point

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Speaker 3: a Blade Runner point and click adventure game?

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Speaker 1: That sounds right. I never played any of the Blade

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Speaker 1: Runner video games, but there certainly were some video games

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Speaker 1: I think some PC game of Nah, I mean, it

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Speaker 1: is a it seems like a genre of video game

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Speaker 1: that is well adapted to you know, detective story and.

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Speaker 3: You click on the little clues and apply things to

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Speaker 3: other things in the environment. But yeah, so that's an

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Speaker 3: interesting So, as you said, this game was adapted from

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Speaker 3: the novel, so it doesn't actually pull in a lot

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Speaker 3: of the aesthetic choices from the movie adaptation. So I

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Speaker 3: was looking at it and I was like, this doesn't

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Speaker 3: seem familiar. Actually, m.

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Speaker 1: All right, So we have our inspector here, Inspector Peter Glebski,

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Speaker 1: played by Oldest Poopsies who lived nineteen thirty seven through

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Speaker 1: to the year two thousand. Yeah, this is one rugged detective. Like,

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Speaker 1: we get a lot of close ups of this guy's

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Speaker 1: face and it's perfect. It is the perfect like hard

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Speaker 1: boiled detective's face. The lines, the almost like geologic texture

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Speaker 1: to his face, you know, the depths of his eyes.

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Speaker 1: Everything you want out of a noir detective who's having

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Speaker 1: troubled thoughts. This is the guy for you.

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Speaker 3: Yeah, he I mean we talk about square jaws on

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Speaker 3: this show. Sometimes this is a jaw that is like

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Speaker 3: fractally square. I'm trying to think what actor I'm more

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Speaker 3: familiar with to compare him to. He's almost got a

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Speaker 3: kind of Jack Palin energy, you know.

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Speaker 1: Yeah, he reminded me a bit too of Sean Bean.

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Speaker 1: He has just facial features and also the kind of

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Speaker 1: like stern, distant eyed characters that that Bean has sometimes played.

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Speaker 3: Oh yeah, I can see that because he does there

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Speaker 3: is a weariness about him. Has He very well does

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Speaker 3: that thing that's familiar to us from a lot of

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Speaker 3: movies now of the the police detective who's just sort

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Speaker 3: of worn out and tired of it all.

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Speaker 1: Yeah, he's so ripe, he's about to fall off the trip.

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Speaker 1: I think maybe that's what that line means. That's the

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Speaker 1: line will we'll come back.

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Speaker 3: I don't know what that means, but that could be. Yeah,

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Speaker 3: I accept that interpretation.

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Speaker 1: Yeah, okay, So this is easily this actor's best known

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Speaker 1: film internationally, but he was active in TV and film

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Speaker 1: of the region from the late seventies to the late

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Speaker 1: nineties and he was a Lappvian MM. Okay, so again,

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Speaker 1: absolutely strong presence in the film, you know, a nice

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Speaker 1: central performance and physical performance to base everything.

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Speaker 3: I read somewhere online somebody saying that the casting in

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Speaker 3: this movie has almost the sensibility of like a caricaturist,

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Speaker 3: that the cast is really selected for extremely distinctive looks. Yeah,

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Speaker 3: and I would say that's the case of the next

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Speaker 3: actor and character we're going to talk about, the hotel manager,

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Speaker 3: Alex Snavar.

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Speaker 1: That's right, played by Yuri Jarvitt, lived nineteen nineteen through

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Speaker 1: nineteen ninety five, playing the owner, the weird owner of

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Speaker 1: the hotel, weird owner of a weird hotel. Estonian actor

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Speaker 1: who was also in the Last Relic and played the

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Speaker 1: lead in a nineteen seventy adaptation of King Lear, which

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Speaker 1: I think fitting given that he has a very haunted

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Speaker 1: look at times in this production and he is most

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Speaker 1: famously in Tarkowsky's nineteen seventy two science fiction film Solaris.

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Speaker 1: I believe he actually had third billion in that.

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Speaker 3: Okay, I don't remember exactly, but I think he's one

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Speaker 3: of the scientists on the base.

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Speaker 1: He's a doctor character.

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Speaker 3: Yeah, yeah, yeah, this guy. What I'm about to say

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Speaker 3: might feel like it doesn't make any sense, but stick

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Speaker 3: with me. I would almost describe his energy as sweet,

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Speaker 3: cuddly Kinsky, Like if you could imagine a mirror image,

427
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Speaker 3: like like, suck all the evil and poison out of

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Speaker 3: Klaus Kinski and make like a sweet, nice version of him,

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Speaker 3: That's what this guy makes me think of.

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Speaker 1: Yeah, I can see that. I can definitely see that,

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Speaker 1: all right. The next character is Simone Simonet. He's our

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Speaker 1: wall crawling physicist played by Limbeth Peterson born nineteen fifty three,

433
00:23:45,520 --> 00:23:48,119
Speaker 1: Estonian actor and once more, this is probably the actor's

434
00:23:48,200 --> 00:23:49,480
Speaker 1: best known film internationally.

435
00:23:49,720 --> 00:23:53,560
Speaker 3: This guy's got a very nervous kind of high strong

436
00:23:53,680 --> 00:23:57,080
Speaker 3: energy and you really don't know what his deal is

437
00:23:57,080 --> 00:24:00,880
Speaker 3: for most of the movie. But I liked him all right.

438
00:24:00,920 --> 00:24:05,000
Speaker 1: And the next character is Hinkus. This is the only

439
00:24:05,080 --> 00:24:08,960
Speaker 1: name that has ever attributed to him, played by Mick Mickever,

440
00:24:09,080 --> 00:24:11,800
Speaker 1: who lived nineteen thirty seven through two thousand and six.

441
00:24:12,280 --> 00:24:15,520
Speaker 1: Estonian actor whose credits include some of the expected sort

442
00:24:15,520 --> 00:24:18,280
Speaker 1: of dramas you would imagine, because again there are a

443
00:24:18,280 --> 00:24:20,959
Speaker 1: lot of more traditional dramas, less speculative work that you've

444
00:24:21,000 --> 00:24:23,760
Speaker 1: seen a lot of these actors work during this time period,

445
00:24:24,119 --> 00:24:28,400
Speaker 1: but also another key player in the short lived Estonian

446
00:24:28,480 --> 00:24:31,440
Speaker 1: sci fi wave as well as some Russian science fiction.

447
00:24:31,560 --> 00:24:34,320
Speaker 1: He appears in the Russian nineteen eighty seven film The

448
00:24:34,400 --> 00:24:37,040
Speaker 1: End of Eternity based on the work of Isaac Asimov,

449
00:24:37,359 --> 00:24:41,320
Speaker 1: as well as the bonkers looking Estonian Indiana Jones esque

450
00:24:41,320 --> 00:24:44,760
Speaker 1: sci fi adventure The Curse of Snake Valley from nineteen

451
00:24:44,840 --> 00:24:45,240
Speaker 1: eighty eight.

452
00:24:45,320 --> 00:24:47,800
Speaker 3: He sent me a link to this one. It looked

453
00:24:48,359 --> 00:24:49,320
Speaker 3: I gotta see this.

454
00:24:50,440 --> 00:24:54,959
Speaker 1: Yeah, this one looked It looks less great. Yeah, in

455
00:24:55,000 --> 00:24:58,600
Speaker 1: some respects like it looks like it's more like bonkers

456
00:24:58,600 --> 00:25:01,840
Speaker 1: and kind of like B cinema in its flavor, but

457
00:25:01,960 --> 00:25:05,440
Speaker 1: also looks just irresistible. So if I, if I, if

458
00:25:05,440 --> 00:25:07,680
Speaker 1: you said, okay, you have to do another Estonian film

459
00:25:07,720 --> 00:25:10,639
Speaker 1: next week, it would it would have to be the

460
00:25:10,640 --> 00:25:12,879
Speaker 1: Curse of the Snake Valley. I'm not sure how widely

461
00:25:12,880 --> 00:25:14,320
Speaker 1: available this one is, though.

462
00:25:15,080 --> 00:25:16,760
Speaker 3: Yeah, I've got to see it at some point. I

463
00:25:16,800 --> 00:25:18,479
Speaker 3: don't know if we'll talk about it, but I've got

464
00:25:18,520 --> 00:25:18,959
Speaker 3: to see it.

465
00:25:20,400 --> 00:25:22,720
Speaker 1: Mick of Her is quite great in this and has

466
00:25:22,960 --> 00:25:25,000
Speaker 1: numerous places where he really gets to shine.

467
00:25:25,080 --> 00:25:26,760
Speaker 3: Yes, yeah, all right.

468
00:25:26,800 --> 00:25:28,800
Speaker 1: Next we have a couple of Moses to consider. There's

469
00:25:28,800 --> 00:25:32,320
Speaker 1: mister Moses and there's miss missus mos uh okay, and

470
00:25:33,080 --> 00:25:35,800
Speaker 1: I I'll start with mister Moses played by Carlos Cebus

471
00:25:36,880 --> 00:25:39,840
Speaker 1: nineteen fourteen through two thousand and nine, Latvian born actor

472
00:25:40,119 --> 00:25:43,080
Speaker 1: who played Gloucester in that King Lear adaptation that I

473
00:25:43,119 --> 00:25:49,280
Speaker 1: referenced earlier. And then we have Irena Crazati born nineteen

474
00:25:49,359 --> 00:25:54,439
Speaker 1: fifty two as Missus Moses, Lithuanian actress best known for

475
00:25:54,520 --> 00:25:57,439
Speaker 1: this film. But she really gets to run wild with

476
00:25:57,800 --> 00:26:00,040
Speaker 1: a kind of weird performance.

477
00:25:59,440 --> 00:26:02,400
Speaker 3: Here, does she ever? Yeah, she was one of my favorites.

478
00:26:03,359 --> 00:26:07,200
Speaker 1: Like her. Her character's fashion sense in general demeanor is

479
00:26:07,359 --> 00:26:13,880
Speaker 1: basically that of a post a zule Dana from Ghostbusters.

480
00:26:13,880 --> 00:26:17,320
Speaker 3: I would yes, and she really loves daredevil cops.

481
00:26:17,760 --> 00:26:20,480
Speaker 1: Yes, yes, you're a cop. You must be a daredevil.

482
00:26:20,920 --> 00:26:24,800
Speaker 1: Next we have Lurevic played by Sue lev Luik, who

483
00:26:24,800 --> 00:26:28,240
Speaker 1: lived nineteen fifty four through nineteen ninety seven, Estonian actor again.

484
00:26:28,320 --> 00:26:31,000
Speaker 1: This was this was his first film, but he worked

485
00:26:31,080 --> 00:26:33,879
Speaker 1: up until his untimely death in nineteen ninety seven. His

486
00:26:33,960 --> 00:26:37,240
Speaker 1: other credits include nineteen ninety three's Tear Up the Prints

487
00:26:37,280 --> 00:26:40,359
Speaker 1: of Darkness, a horror film concerning a cursed ring in

488
00:26:40,400 --> 00:26:42,760
Speaker 1: the days before the outbreak of the Second World War,

489
00:26:43,320 --> 00:26:45,480
Speaker 1: and that one, by the way, is from the director

490
00:26:45,800 --> 00:26:46,919
Speaker 1: of Curse of Snake.

491
00:26:46,720 --> 00:26:56,040
Speaker 3: Valley sounds thematically loaded. Yeah, this actor brings an intriguing

492
00:26:56,119 --> 00:26:58,199
Speaker 3: sort of doomed mime energy.

493
00:26:59,359 --> 00:27:04,000
Speaker 1: Yes us and I believe by the time we really

494
00:27:04,040 --> 00:27:04,960
Speaker 1: sing a lot from him.

495
00:27:05,080 --> 00:27:05,600
Speaker 3: I'm like, this.

496
00:27:05,640 --> 00:27:08,119
Speaker 1: Dude's a robot, there's no way this yeah, or an

497
00:27:08,160 --> 00:27:09,000
Speaker 1: alien or both.

498
00:27:09,280 --> 00:27:11,760
Speaker 3: Wait, but he's actually not a robot. He's an alien.

499
00:27:11,840 --> 00:27:12,879
Speaker 3: The other guy's a robot.

500
00:27:14,280 --> 00:27:17,000
Speaker 1: Yeah, But I feel like the line between robot and

501
00:27:17,040 --> 00:27:21,080
Speaker 1: alien is kind of gray in this film, especially since

502
00:27:21,080 --> 00:27:25,040
Speaker 1: we never get to see alien faces or like robot interiors,

503
00:27:25,080 --> 00:27:26,399
Speaker 1: you know what I'm saying, Like, this is not that

504
00:27:26,560 --> 00:27:29,119
Speaker 1: kind of film. It could have leaned into that a

505
00:27:29,160 --> 00:27:31,399
Speaker 1: little bit, and I would have totally would have been

506
00:27:31,400 --> 00:27:34,480
Speaker 1: okay with it, but it doesn't need it.

507
00:27:35,280 --> 00:27:38,520
Speaker 3: Agreed, But yeah, you are correct that even though this

508
00:27:38,600 --> 00:27:40,920
Speaker 3: guy is said to be an organic alien, he does

509
00:27:41,000 --> 00:27:47,080
Speaker 3: behave like the robots. Speaking of robots, this ski lodge

510
00:27:47,119 --> 00:27:49,800
Speaker 3: also has like hot robots.

511
00:27:50,400 --> 00:27:53,680
Speaker 1: That's right. The first character is this guy, old Off,

512
00:27:54,119 --> 00:27:59,280
Speaker 1: played by tit Harm born nineteen forty six, acclaimed Estonian

513
00:27:59,359 --> 00:28:02,760
Speaker 1: ballet dan turned actor who also went on to be

514
00:28:02,760 --> 00:28:06,719
Speaker 1: a ballet master, ballet manager, ballet choreographer. Like this is.

515
00:28:06,800 --> 00:28:09,920
Speaker 1: This is a guy that's actually pretty big in the

516
00:28:10,040 --> 00:28:13,920
Speaker 1: Estonian ballet scene and I think probably well known internationally

517
00:28:14,240 --> 00:28:18,680
Speaker 1: if you were like into ballet. This is his best

518
00:28:18,680 --> 00:28:21,600
Speaker 1: known film. He did some acting here and there, and

519
00:28:21,720 --> 00:28:24,880
Speaker 1: we do get to see him dance, and he's good.

520
00:28:25,000 --> 00:28:27,040
Speaker 1: You can you can easily knowing that he's a dancer

521
00:28:27,080 --> 00:28:29,120
Speaker 1: and watching him move you're like, yes, this checks out.

522
00:28:29,520 --> 00:28:32,440
Speaker 1: But he does mention in the extras that the set

523
00:28:32,520 --> 00:28:34,119
Speaker 1: was really cramped and so they didn't give him a

524
00:28:34,160 --> 00:28:35,840
Speaker 1: lot of space to work with, so he's having to

525
00:28:35,880 --> 00:28:39,280
Speaker 1: figure out how to move his body in a space

526
00:28:39,400 --> 00:28:42,880
Speaker 1: that is not enabling him to do much.

527
00:28:43,040 --> 00:28:46,600
Speaker 3: His dancing choices, though, are intriguing and a lot of

528
00:28:46,640 --> 00:28:50,640
Speaker 3: fun because he's essentially doing ballet ish kinds of moves

529
00:28:50,760 --> 00:28:53,800
Speaker 3: to the sounds of Estonian prog rock.

530
00:28:54,800 --> 00:28:58,680
Speaker 1: Yeah. Yeah, it's interesting to think about these these limitations.

531
00:28:59,280 --> 00:29:02,960
Speaker 1: You know, all right, you're a famous ballet dancer. We

532
00:29:03,040 --> 00:29:06,600
Speaker 1: want you to dance, but this is the space you

533
00:29:06,640 --> 00:29:09,320
Speaker 1: get to do it in. And I'm also guessing they

534
00:29:09,360 --> 00:29:12,400
Speaker 1: might not have even had the finish music. They'll be like,

535
00:29:12,440 --> 00:29:14,240
Speaker 1: we don't know what you're dancing to yet, but just

536
00:29:14,240 --> 00:29:16,400
Speaker 1: go ahead and do it. Do it in a way

537
00:29:16,560 --> 00:29:17,960
Speaker 1: that's not going to harm your reputation.

538
00:29:18,040 --> 00:29:21,160
Speaker 3: Imagine you're an intergalactic robot dancing to King Crimson.

539
00:29:22,240 --> 00:29:27,160
Speaker 1: Yeah he pulls it off though, all right, So that's Oloff,

540
00:29:27,200 --> 00:29:31,200
Speaker 1: and Oloff is kind of running around with this character Brune.

541
00:29:31,840 --> 00:29:36,680
Speaker 1: Brune is played by Lithuanian actress n Joel Oslet born

542
00:29:36,760 --> 00:29:39,560
Speaker 1: nineteen fifty four. I don't have much to add about

543
00:29:39,720 --> 00:29:43,640
Speaker 1: her career, but she's very good in this. And again,

544
00:29:43,720 --> 00:29:46,200
Speaker 1: this is a film that generally lets a lot of

545
00:29:46,200 --> 00:29:49,440
Speaker 1: its actors play a range of different emotions, you know,

546
00:29:49,560 --> 00:29:54,640
Speaker 1: from just sort of detached modern living to like a

547
00:29:54,760 --> 00:29:57,600
Speaker 1: robot or alien level of detachment, and also getting into

548
00:29:57,640 --> 00:29:58,440
Speaker 1: fear and horrors.

549
00:29:58,560 --> 00:30:01,760
Speaker 3: Yeah, the character of brune High behind sunglasses for most

550
00:30:01,840 --> 00:30:05,000
Speaker 3: of the runtime, but then later reveals her emotions and

551
00:30:05,040 --> 00:30:06,040
Speaker 3: they're quite interesting.

552
00:30:07,200 --> 00:30:13,560
Speaker 1: Yeah. And then finally we have this character called Keza

553
00:30:13,680 --> 00:30:19,040
Speaker 1: I believe, and she's she's like the housekeep, the housekeeper,

554
00:30:19,960 --> 00:30:22,040
Speaker 1: and so she's mostly in the background in a lot

555
00:30:22,080 --> 00:30:24,880
Speaker 1: of these scenes. But she's played by Karen Rad who

556
00:30:24,880 --> 00:30:28,120
Speaker 1: lived nineteen forty two through twenty fourteen, an Estonian theater

557
00:30:28,200 --> 00:30:31,920
Speaker 1: director and actor. And then the music, this is this

558
00:30:32,000 --> 00:30:35,000
Speaker 1: is a this was again the music in this film.

559
00:30:35,080 --> 00:30:39,640
Speaker 1: The score is just exceptionally effective. And this is the

560
00:30:39,680 --> 00:30:43,000
Speaker 1: work of Spin Grunberg born nineteen fifty six.

561
00:30:44,440 --> 00:30:47,320
Speaker 3: We've summoned the spirit of Spin a number of times.

562
00:30:47,360 --> 00:30:48,840
Speaker 3: Now we have to explain who he is.

563
00:30:50,160 --> 00:30:54,240
Speaker 1: Yeah, So the score here, it is. It's contemplative, it's

564
00:30:54,280 --> 00:31:00,320
Speaker 1: suggestively astral in its vibes. It's an electronic score, definitely

565
00:31:00,320 --> 00:31:04,960
Speaker 1: a synth score by Estonian synth masters Vin Grunberg, whose

566
00:31:05,000 --> 00:31:08,320
Speaker 1: career has also taken him into the realms of prog

567
00:31:08,480 --> 00:31:12,760
Speaker 1: rock and also Tibetan Buddhism. Prior to watching this film,

568
00:31:12,840 --> 00:31:16,440
Speaker 1: I listened to his nineteen eighty one album Hingus or Breath,

569
00:31:17,040 --> 00:31:19,840
Speaker 1: which is widely available on music streaming platforms. So this

570
00:31:20,000 --> 00:31:23,640
Speaker 1: is not somebody whose work is like, you know, super

571
00:31:23,640 --> 00:31:26,600
Speaker 1: hard to find. He really made a name for himself

572
00:31:27,200 --> 00:31:30,720
Speaker 1: and it is And yeah, Hingus is quite a wonderful

573
00:31:31,520 --> 00:31:35,280
Speaker 1: collection of ambient electronic tracks, and it's kind of in

574
00:31:35,400 --> 00:31:38,000
Speaker 1: keeping with the music we see here. His work is

575
00:31:38,040 --> 00:31:42,120
Speaker 1: typically abstract and experimental. He's well worth looking up if

576
00:31:42,120 --> 00:31:44,360
Speaker 1: you're into this sort of sort of sound like I am.

577
00:31:44,520 --> 00:31:46,400
Speaker 1: You know, a lot of a lot of ambient DNA

578
00:31:46,480 --> 00:31:49,920
Speaker 1: in his work. And and Dead Mountaineer the hotel, his

579
00:31:50,040 --> 00:31:54,160
Speaker 1: music plays again a huge role in establishing the atmosphere

580
00:31:54,320 --> 00:31:58,280
Speaker 1: both inside of this strange hotel and its mini twists

581
00:31:58,320 --> 00:32:03,760
Speaker 1: and mirrors, but also when when we're we're contemplating the exteriors,

582
00:32:03,800 --> 00:32:06,520
Speaker 1: when we're like looking up at the mountains and these

583
00:32:06,600 --> 00:32:11,600
Speaker 1: just like haunting pure blue skies and these like gleaming

584
00:32:13,120 --> 00:32:17,880
Speaker 1: snow banks and so forth. Yeah, the score here is

585
00:32:17,960 --> 00:32:18,920
Speaker 1: just highly effect.

586
00:32:18,880 --> 00:32:23,200
Speaker 3: It's a great example of musical compositions that somehow, without

587
00:32:23,200 --> 00:32:27,240
Speaker 3: even having lyrics, sound like the themes you're trying to

588
00:32:27,240 --> 00:32:30,480
Speaker 3: get the audience to think of. So there is a

589
00:32:30,560 --> 00:32:35,560
Speaker 3: sort of recurring synthesizer theme that sounds so it'll be

590
00:32:35,640 --> 00:32:38,240
Speaker 3: it'll happen when you're like panning up over the mountaintops

591
00:32:38,280 --> 00:32:41,600
Speaker 3: and seeing the snow drifts and the glaciers, and it

592
00:32:41,640 --> 00:32:45,280
Speaker 3: will sound like ice in a way, almost like snow

593
00:32:45,480 --> 00:32:48,720
Speaker 3: or like kind of a freezing process, ice crackling. It

594
00:32:48,760 --> 00:32:52,400
Speaker 3: has a kind of high drone. But then also as

595
00:32:52,440 --> 00:32:56,520
Speaker 3: the camera sort of pans to include the sky, it

596
00:32:57,120 --> 00:33:03,440
Speaker 3: morphs to suggest cosmic themes, and it's really as you say, yeah,

597
00:33:03,640 --> 00:33:06,560
Speaker 3: it evokes the themes with the sounds quite well.

598
00:33:07,960 --> 00:33:11,320
Speaker 1: Yeah. And so it's it's interesting, like you know, went

599
00:33:11,360 --> 00:33:13,720
Speaker 1: into this having a taste for his music, then you know,

600
00:33:13,760 --> 00:33:17,120
Speaker 1: really appreciating the score itself, and then knowing about how

601
00:33:17,160 --> 00:33:19,920
Speaker 1: other aspects of the production we were, you know, so

602
00:33:20,120 --> 00:33:22,760
Speaker 1: planned in advanced and all. It was kind of surprising

603
00:33:23,360 --> 00:33:26,680
Speaker 1: to read then on Deepbaltic dot com this is a

604
00:33:26,680 --> 00:33:31,360
Speaker 1: culture blog centering in on Estonia, Latvia and Lithuania, that

605
00:33:31,440 --> 00:33:34,760
Speaker 1: Gruenberg was kind of a last minute replacement in this

606
00:33:34,840 --> 00:33:39,800
Speaker 1: production for esteemed Estonian composer Arvaux part and as a result,

607
00:33:39,840 --> 00:33:42,400
Speaker 1: and since no work had apparently been done on it yet,

608
00:33:42,720 --> 00:33:44,560
Speaker 1: he had a great deal of freedom. So it's like

609
00:33:45,080 --> 00:33:47,600
Speaker 1: everything was already late nothing like, none of the music

610
00:33:47,640 --> 00:33:50,000
Speaker 1: had been turned in. They needed music. He didn't have

611
00:33:50,080 --> 00:33:52,560
Speaker 1: much time, but it also meant that he got to

612
00:33:52,920 --> 00:33:55,480
Speaker 1: really open up and try whatever he wanted.

613
00:33:55,640 --> 00:33:58,080
Speaker 3: I read in one of those articles I was looking at,

614
00:33:58,080 --> 00:34:00,960
Speaker 3: I think it was the one by Carl Funk from

615
00:34:01,000 --> 00:34:06,240
Speaker 3: the Estonian Film Institute, saying something about Soviet censors being

616
00:34:06,280 --> 00:34:10,520
Speaker 3: concerned that the movie was trying to trying to get

617
00:34:10,560 --> 00:34:12,919
Speaker 3: some like slip some Pink Floyd in there.

618
00:34:14,239 --> 00:34:16,880
Speaker 1: Yeah. I read this on the Deep Baltic article as well.

619
00:34:17,480 --> 00:34:20,880
Speaker 1: The author here writes, quote, the tiny budget only allotted

620
00:34:20,920 --> 00:34:24,160
Speaker 1: him a few precious moments with an EMS synth one

621
00:34:24,239 --> 00:34:27,520
Speaker 1: hundred in Moscow, and even then what he created almost

622
00:34:27,600 --> 00:34:30,880
Speaker 1: got barred by Soviet censors who are convinced that Ball

623
00:34:31,400 --> 00:34:34,439
Speaker 1: was a lesser known track by Pink Floyd Ball, I guess,

624
00:34:34,440 --> 00:34:36,120
Speaker 1: being one of the titles or one of the tracks

625
00:34:36,480 --> 00:34:37,040
Speaker 1: on the score.

626
00:34:37,120 --> 00:34:39,719
Speaker 3: I wonder if that's the sort of proggy sounding track

627
00:34:39,800 --> 00:34:41,880
Speaker 3: that tit harm and everyone are dancing to.

628
00:34:43,120 --> 00:34:45,319
Speaker 1: I guess so. Yeah, I kept looking around to try

629
00:34:45,320 --> 00:34:48,040
Speaker 1: and find it. I would love to see the score

630
00:34:49,000 --> 00:34:52,360
Speaker 1: and or soundtrack, you know, featured as a release. I

631
00:34:52,400 --> 00:34:56,040
Speaker 1: don't think it's released anywhere. I couldn't find any evidence

632
00:34:56,080 --> 00:34:58,080
Speaker 1: of it, so I also couldn't find a listing of

633
00:34:58,120 --> 00:35:00,399
Speaker 1: what tracks were actually called. But yeah, this, this might

634
00:35:00,440 --> 00:35:03,920
Speaker 1: be that prog rock dance number that everybody's grooving out to.

635
00:35:04,120 --> 00:35:15,520
Speaker 1: And it is a great number, all right. One on

636
00:35:15,600 --> 00:35:17,720
Speaker 1: that note, let's start get into the plot here.

637
00:35:18,000 --> 00:35:21,640
Speaker 3: All right. So the opening shot is ridges and peaks

638
00:35:21,680 --> 00:35:24,319
Speaker 3: of the high Alps covered in snow, and there is

639
00:35:24,440 --> 00:35:27,719
Speaker 3: eerie music. This synthesizer music that we were talking about

640
00:35:27,760 --> 00:35:32,399
Speaker 3: already sounds kind of like drops and wheezes panning from

641
00:35:32,440 --> 00:35:34,920
Speaker 3: one side to the other. And we see the lonely

642
00:35:34,960 --> 00:35:39,839
Speaker 3: mountaintops and very cold feeling sunlight, and we zoom in

643
00:35:40,000 --> 00:35:42,799
Speaker 3: on a snow covered road winding through the rocks, and

644
00:35:42,840 --> 00:35:46,440
Speaker 3: a car comes around the corner, and here begins the voiceover.

645
00:35:46,600 --> 00:35:49,800
Speaker 3: This is a man's voice. It's gruff, weary. This is

646
00:35:49,840 --> 00:35:53,399
Speaker 3: the voice of Glebsky, the detective, and he tells us

647
00:35:53,480 --> 00:35:56,440
Speaker 3: I was on a call driving to a mountain lodge

648
00:35:56,480 --> 00:36:00,600
Speaker 3: called the Dead Mountaineers Hotel. It was quite a difficult drive.

649
00:36:01,000 --> 00:36:04,279
Speaker 3: Many years have passed now, but on dull shifts or

650
00:36:04,360 --> 00:36:07,799
Speaker 3: during sleepless nights, I often recall what happened, and even

651
00:36:07,840 --> 00:36:10,440
Speaker 3: now I cannot decide whether I was right or not.

652
00:36:11,440 --> 00:36:14,759
Speaker 3: And as he narrates, we see him driving through the

653
00:36:14,800 --> 00:36:18,120
Speaker 3: mountains and here. One thing that I really like is

654
00:36:18,160 --> 00:36:23,680
Speaker 3: that there are some shots that include the sun facing

655
00:36:23,800 --> 00:36:28,120
Speaker 3: directly into the camera. And this is obviously this is

656
00:36:28,160 --> 00:36:30,279
Speaker 3: not something you would normally do, you know, when you're

657
00:36:30,440 --> 00:36:33,120
Speaker 3: shooting outside, as aim the camera right at the sun,

658
00:36:34,000 --> 00:36:37,160
Speaker 3: But it works here and it happens throughout the movie.

659
00:36:37,200 --> 00:36:41,160
Speaker 3: These shots with the camera just like blasting the or sorry,

660
00:36:41,280 --> 00:36:45,000
Speaker 3: with the sun just blasting the camera lens. They capture

661
00:36:45,040 --> 00:36:48,360
Speaker 3: the way the sun sometimes feels when you're on a

662
00:36:48,400 --> 00:36:53,560
Speaker 3: snowy mountaintop, where the sunlight seems colder and weirder, and

663
00:36:53,760 --> 00:36:56,879
Speaker 3: it lacks that quality of gentle warmth that you might

664
00:36:56,920 --> 00:36:59,520
Speaker 3: get on like a nice sunny day at sea level. Instead,

665
00:36:59,560 --> 00:37:04,720
Speaker 3: it feels like just a bombardment, a blasting source of pale,

666
00:37:05,160 --> 00:37:06,320
Speaker 3: hostile radiation.

667
00:37:08,080 --> 00:37:11,440
Speaker 1: Yeah. Yeah, it really makes this whole landscape feel alien

668
00:37:11,480 --> 00:37:13,480
Speaker 1: and other worldly. Quite fittingly.

669
00:37:13,520 --> 00:37:16,560
Speaker 3: So, there's also another shot Rob I don't know if

670
00:37:16,560 --> 00:37:18,239
Speaker 3: you noticed at the beginning here, but I liked it

671
00:37:18,280 --> 00:37:21,000
Speaker 3: a lot. There's like a framing of a gap in

672
00:37:21,080 --> 00:37:25,360
Speaker 3: a giant rock face that suggests gates or a gateway.

673
00:37:25,800 --> 00:37:28,560
Speaker 3: And when we see this mountain gate, the soundtrack suddenly

674
00:37:28,600 --> 00:37:32,759
Speaker 3: explodes with heavy synth and an emerging beat, and the

675
00:37:32,880 --> 00:37:35,359
Speaker 3: narration goes on to say, what's strange is I can

676
00:37:35,400 --> 00:37:38,880
Speaker 3: tell no one how it actually happened, not my wife,

677
00:37:39,239 --> 00:37:42,960
Speaker 3: my friends, or the authorities. Only I know the whole truth.

678
00:37:43,640 --> 00:37:46,560
Speaker 3: So we start with this idea already that Glebsky is

679
00:37:46,560 --> 00:37:50,560
Speaker 3: isolated in his knowledge of what we're about to see unfold.

680
00:37:51,400 --> 00:37:54,440
Speaker 1: Yeah, luckily he's going to tell us what's happening.

681
00:37:55,800 --> 00:37:59,160
Speaker 3: So as Glebsky approaches the hotel in his car, the

682
00:37:59,239 --> 00:38:03,040
Speaker 3: narration died away, and instead we just get the ambient

683
00:38:03,160 --> 00:38:06,719
Speaker 3: sounds of the car ride, the sedan bumping and jostling

684
00:38:06,760 --> 00:38:10,760
Speaker 3: over uneven mountain road, and there's a tiny voice chattering

685
00:38:10,760 --> 00:38:14,040
Speaker 3: on the radio. It sounds like it's speaking French, so

686
00:38:14,440 --> 00:38:17,200
Speaker 3: made me wonder if this is supposed to if it's

687
00:38:17,239 --> 00:38:20,640
Speaker 3: suggesting this is taking place in France, or I guess

688
00:38:20,640 --> 00:38:25,800
Speaker 3: also in Switzerland, where parts of Switzerland they speak French. Anyway,

689
00:38:26,000 --> 00:38:29,000
Speaker 3: Globski arrives, he walks the snow covered path to the entrance.

690
00:38:29,360 --> 00:38:31,960
Speaker 3: He's dressed in a brown leather trench coat, and I

691
00:38:31,960 --> 00:38:33,680
Speaker 3: have to say, I think he looks very cool.

692
00:38:34,120 --> 00:38:37,400
Speaker 1: Yeah yeah, Like I said, this guy's perfect, and he's

693
00:38:37,520 --> 00:38:40,799
Speaker 1: the costuming's great. He is our weary detective who just

694
00:38:40,840 --> 00:38:44,240
Speaker 1: had a grueling drive up into the mountains on indeed

695
00:38:44,320 --> 00:38:48,960
Speaker 1: some very snow covered and terrifying looking roads. Now he

696
00:38:49,040 --> 00:38:52,080
Speaker 1: has to look into some sort of perhaps a murder.

697
00:38:52,440 --> 00:38:54,640
Speaker 1: I just love somebody get this manager.

698
00:38:54,760 --> 00:38:56,360
Speaker 3: I just look at this guy and I think, you

699
00:38:56,400 --> 00:38:58,840
Speaker 3: know what, he's gonna end up taking it too personal.

700
00:38:59,040 --> 00:39:02,520
Speaker 1: I think, oh, yeah, yeah, you know. Oh.

701
00:39:02,560 --> 00:39:06,080
Speaker 3: And during this moment, interesting thing like we look up

702
00:39:06,080 --> 00:39:08,439
Speaker 3: in the sky we see hang gliders. We see them

703
00:39:08,480 --> 00:39:13,600
Speaker 3: swooping around, sometimes apparently upside down, though it's possible that

704
00:39:13,680 --> 00:39:16,759
Speaker 3: I guess the film is just upside down. And it

705
00:39:16,920 --> 00:39:21,840
Speaker 3: suggests like, are these hang gliders watching him approach the hotel?

706
00:39:22,200 --> 00:39:24,400
Speaker 1: Yeah? I think they are. I think that the footage

707
00:39:24,400 --> 00:39:28,480
Speaker 1: is inverted here to make it feel all the more haunting. Also,

708
00:39:28,560 --> 00:39:31,439
Speaker 1: this is we'll find out later that this is old

709
00:39:31,440 --> 00:39:34,240
Speaker 1: Off and Brun up there in the sky tearing around.

710
00:39:35,440 --> 00:39:37,080
Speaker 1: I have questions about how they got up there, but

711
00:39:37,320 --> 00:39:39,839
Speaker 1: I don't know. I take it for granted that they

712
00:39:39,920 --> 00:39:42,200
Speaker 1: knew how to do it, but yeah, it's an excellent

713
00:39:42,239 --> 00:39:46,440
Speaker 1: weird sequence very early in the film here, especially as

714
00:39:46,480 --> 00:39:48,640
Speaker 1: it is combined with the music to create this kind

715
00:39:48,640 --> 00:39:52,200
Speaker 1: of horror of the empty blue sky feel that I

716
00:39:52,239 --> 00:39:55,360
Speaker 1: know I've personally long connected with since I was a child,

717
00:39:55,440 --> 00:39:57,919
Speaker 1: you know, there being something about like a perfect blue

718
00:39:58,040 --> 00:40:01,480
Speaker 1: sky that feels kind of overwhelming in a little uncanny,

719
00:40:02,080 --> 00:40:03,759
Speaker 1: So a very creepy moment at least for me.

720
00:40:04,040 --> 00:40:07,799
Speaker 3: Totally. Yes, So Glebsky goes inside. The lobby of the

721
00:40:07,800 --> 00:40:11,840
Speaker 3: hotel is empty, it's cavernous. His footsteps echo. This doesn't

722
00:40:11,880 --> 00:40:13,640
Speaker 3: feel like what you'd think of when you think a

723
00:40:14,040 --> 00:40:18,880
Speaker 3: mountain ski lodge, which you know you think cozy, roaring fire.

724
00:40:19,120 --> 00:40:22,240
Speaker 3: I don't know that kind of stuff. No, this place

725
00:40:22,360 --> 00:40:27,880
Speaker 3: feels cavernous and dank, and it's just a vibe. Like

726
00:40:28,040 --> 00:40:30,759
Speaker 3: Rabbi attached a screenshot from the lobby that we can

727
00:40:30,800 --> 00:40:35,920
Speaker 3: talk about here. There are sickly green tones over the

728
00:40:35,920 --> 00:40:40,279
Speaker 3: white marble tile. There is black darkness in the recesses

729
00:40:40,320 --> 00:40:43,080
Speaker 3: of the room. In the middle of the lobby, there

730
00:40:43,120 --> 00:40:46,839
Speaker 3: is a prominent portrait. It's a man with shaggy hair

731
00:40:47,000 --> 00:40:51,320
Speaker 3: wearing sunglasses with what looks like a neon orange tube

732
00:40:51,440 --> 00:40:54,040
Speaker 3: light tracing the outline of the top of his head,

733
00:40:54,080 --> 00:40:58,080
Speaker 3: suggesting a sort of tech noir halo. And the inspector

734
00:40:58,080 --> 00:41:01,440
Speaker 3: stops to examine the portrait and again, something about this

735
00:41:01,440 --> 00:41:04,360
Speaker 3: place feels not quite like a hotel. It feels like

736
00:41:04,440 --> 00:41:05,920
Speaker 3: some other kind of place.

737
00:41:07,280 --> 00:41:10,120
Speaker 1: Yeah, it really feels like this could be a corporate

738
00:41:10,120 --> 00:41:12,879
Speaker 1: headquarters from an early Cronenberg film.

739
00:41:13,000 --> 00:41:17,400
Speaker 3: Yeah, but something you pointed this out in the in

740
00:41:17,440 --> 00:41:20,279
Speaker 3: the notes, Rob, there's something about the portrait of the

741
00:41:20,680 --> 00:41:23,840
Speaker 3: mountaineer here, because we will find out that the face

742
00:41:23,920 --> 00:41:27,560
Speaker 3: we see in this portrait is the titular dead mountaineer

743
00:41:27,600 --> 00:41:32,400
Speaker 3: of the Dead Mountaineer's hotels. It suggests not just like

744
00:41:32,520 --> 00:41:37,719
Speaker 3: a portrait, but something almost kind of like religious or

745
00:41:38,120 --> 00:41:40,400
Speaker 3: there's like, yeah, it's like a shrine or something.

746
00:41:41,320 --> 00:41:43,400
Speaker 1: Yeah, yeah, totally so.

747
00:41:43,480 --> 00:41:46,760
Speaker 3: Glebsky's wandering around in this weird lobby and suddenly somebody

748
00:41:46,800 --> 00:41:49,319
Speaker 3: starts to speak from the shadows behind him. It's a

749
00:41:49,320 --> 00:41:52,120
Speaker 3: man's voice, and he says, speaking of the portrait, that's

750
00:41:52,160 --> 00:41:55,520
Speaker 3: the mountaineer. He was caught in an avalanche. He was

751
00:41:55,560 --> 00:41:59,160
Speaker 3: carried five hundred meters to his death. And there's a

752
00:41:59,200 --> 00:42:03,560
Speaker 3: reverse shot and see the man speaking, and again this

753
00:42:03,640 --> 00:42:05,279
Speaker 3: is just like what is going on? I guess this

754
00:42:05,400 --> 00:42:08,040
Speaker 3: is the front desk of the hotel, but it could

755
00:42:08,080 --> 00:42:12,200
Speaker 3: not be less hospitable. There's an old man in sort

756
00:42:12,239 --> 00:42:14,879
Speaker 3: of a black turtleneck standing in the shadows in front

757
00:42:14,920 --> 00:42:18,080
Speaker 3: of a window shutter. He looks like count Orlock. And

758
00:42:18,120 --> 00:42:21,960
Speaker 3: there's a cherry red lamp in the foreground. Something about

759
00:42:21,960 --> 00:42:25,759
Speaker 3: it gives it suggests blood. And then also there is

760
00:42:25,800 --> 00:42:28,400
Speaker 3: a Saint Bernard panting on the in the right of

761
00:42:28,400 --> 00:42:31,040
Speaker 3: the frame. Just a dog sitting there like what's a

762
00:42:31,560 --> 00:42:32,520
Speaker 3: leak and drool.

763
00:42:32,600 --> 00:42:36,120
Speaker 1: Enormous, enormous dog, which turns out to be a real sweetheart.

764
00:42:36,160 --> 00:42:38,040
Speaker 1: But you know, initially it's just like that.

765
00:42:38,000 --> 00:42:40,920
Speaker 3: Dog's here, yes, And this man who looks like maybe

766
00:42:40,920 --> 00:42:44,799
Speaker 3: he just drank someone's blood. He introduces himself as Alex Snavar,

767
00:42:45,320 --> 00:42:47,960
Speaker 3: owner of the hotel as well as the valley and

768
00:42:48,000 --> 00:42:50,759
Speaker 3: the surrounding mountains. That's what he says. And I was like, wait,

769
00:42:50,800 --> 00:42:54,840
Speaker 3: you can own a mountain. I guess he can, but

770
00:42:55,040 --> 00:42:57,560
Speaker 3: you know he actually the same thing happens with Alex

771
00:42:57,600 --> 00:43:01,440
Speaker 3: Snavar that happens with the dog, because Snavar looks kind

772
00:43:01,440 --> 00:43:03,200
Speaker 3: of threatening at first, but he will turn out to

773
00:43:03,239 --> 00:43:06,720
Speaker 3: be a sweetheart. Yeah, we learned that the Saint Bernard

774
00:43:06,800 --> 00:43:09,640
Speaker 3: is named Lel, and he goes to sit underneath the

775
00:43:09,680 --> 00:43:14,000
Speaker 3: portrait of the mountaineer. Snavar explains that the dog was

776
00:43:14,080 --> 00:43:17,680
Speaker 3: the mountaineer's faithful companion before the accident, So the accident

777
00:43:17,719 --> 00:43:21,560
Speaker 3: can have happened all that long ago, and Lel now

778
00:43:21,719 --> 00:43:23,719
Speaker 3: likes to sit and gaze at the image of his

779
00:43:23,760 --> 00:43:27,960
Speaker 3: old friend. So Glebsky, of course, he wants to know

780
00:43:27,960 --> 00:43:30,040
Speaker 3: why he was summoned to the hotel. Somebody called the

781
00:43:30,040 --> 00:43:32,960
Speaker 3: police and here he is, but Snavar has no answers.

782
00:43:33,000 --> 00:43:35,040
Speaker 3: He claims he never called them. It must have been

783
00:43:35,080 --> 00:43:38,920
Speaker 3: a guest. So Glebsky he rings up his captain and

784
00:43:39,000 --> 00:43:41,600
Speaker 3: tells him, you know, it's too late to return through

785
00:43:41,600 --> 00:43:43,600
Speaker 3: the mountain fog. He's gonna have to stay the night

786
00:43:43,600 --> 00:43:46,600
Speaker 3: at this resort hotel, and he's gonna have to try

787
00:43:46,640 --> 00:43:48,880
Speaker 3: some of the hotel's famous Adelweiss vine.

788
00:43:50,280 --> 00:43:52,680
Speaker 1: Yeah, so, like we were saying earlier, he's kind of

789
00:43:52,680 --> 00:43:55,040
Speaker 1: going into vacation mode. It's like, all right, false alarm,

790
00:43:55,120 --> 00:43:57,320
Speaker 1: but I've at least got the night.

791
00:43:59,040 --> 00:44:01,239
Speaker 3: No taking it to person. And for me tonight I'm

792
00:44:01,239 --> 00:44:04,959
Speaker 3: gonna I'm gonna relax. Oh and I like how well

793
00:44:05,080 --> 00:44:07,160
Speaker 3: the Saint Bernard is the bell hop here at the

794
00:44:07,160 --> 00:44:10,600
Speaker 3: hotel like snae Bar tells the dog Glebsky's room number,

795
00:44:10,640 --> 00:44:12,680
Speaker 3: and the dog picks up his bag and his big

796
00:44:12,719 --> 00:44:15,080
Speaker 3: slobbery mouth and takes it to the room.

797
00:44:15,600 --> 00:44:15,880
Speaker 1: Yep.

798
00:44:17,040 --> 00:44:20,440
Speaker 3: So we see the inspector settling in outside his window,

799
00:44:20,880 --> 00:44:23,560
Speaker 3: he sees a shadow in the snow. It looks like

800
00:44:23,600 --> 00:44:27,480
Speaker 3: the silhouette of someone on the roof of the hotel

801
00:44:27,920 --> 00:44:31,080
Speaker 3: drinking and throwing bottles over the edge. So here we

802
00:44:31,080 --> 00:44:34,200
Speaker 3: start to get glimpses of the other guests. Those two

803
00:44:34,280 --> 00:44:37,319
Speaker 3: people hang gliding from earlier. They come in after they

804
00:44:37,640 --> 00:44:40,399
Speaker 3: finish their hang gliding, and we learned that these are

805
00:44:40,440 --> 00:44:43,920
Speaker 3: Olof and brune. Olof Is is the man played by

806
00:44:44,120 --> 00:44:46,719
Speaker 3: played by the dancer tit Harm and brune Is is

807
00:44:46,760 --> 00:44:50,000
Speaker 3: the woman. Uh. And then also up on the roof

808
00:44:50,080 --> 00:44:53,480
Speaker 3: there is a man in a fur coat admiring the mountains.

809
00:44:53,520 --> 00:44:56,880
Speaker 3: He's in like a sort of lawn chair, and we

810
00:44:56,920 --> 00:45:00,319
Speaker 3: meet him and learn that his name is Hincus. And

811
00:45:00,640 --> 00:45:02,440
Speaker 3: I wanted to add a note about this. You know,

812
00:45:02,480 --> 00:45:06,959
Speaker 3: there's that Spinn Greenberg album called Hingus, which, as you said,

813
00:45:07,000 --> 00:45:11,040
Speaker 3: is Estonian for breath. So I'm wondering if this is

814
00:45:11,080 --> 00:45:15,120
Speaker 3: actually different or if it's basically suggesting that this character's

815
00:45:15,200 --> 00:45:16,160
Speaker 3: name is breath.

816
00:45:17,800 --> 00:45:20,960
Speaker 1: I don't know, but yeah, it's a you can't help

817
00:45:21,040 --> 00:45:22,200
Speaker 1: him make that connection.

818
00:45:22,239 --> 00:45:25,480
Speaker 3: And it would be thematically appropriate because Hinkus tells Glebski

819
00:45:25,960 --> 00:45:28,600
Speaker 3: that he is here at the hotel because he has

820
00:45:28,640 --> 00:45:31,439
Speaker 3: tuberculosis and the doctors have told him that he must

821
00:45:31,440 --> 00:45:34,640
Speaker 3: breathe fresh mountain air in order to recover. Now Here

822
00:45:34,680 --> 00:45:37,200
Speaker 3: comes a funny moment next, because Glebsky hears the dinner

823
00:45:37,200 --> 00:45:39,440
Speaker 3: bell and so on the way down to dinner with

824
00:45:39,480 --> 00:45:42,920
Speaker 3: all the other guests, he encounters a man wedging himself

825
00:45:42,960 --> 00:45:46,120
Speaker 3: between the walls up near the ceiling and the staircase,

826
00:45:47,120 --> 00:45:49,719
Speaker 3: and the guy hops down and introduces himself. He says,

827
00:45:49,760 --> 00:45:54,640
Speaker 3: I'm Simone Simine, commander of the cyber Forces. But then

828
00:45:54,680 --> 00:45:57,120
Speaker 3: he says he's a he's a physicist, actually, and this

829
00:45:57,280 --> 00:46:00,520
Speaker 3: is his first vacation in four years. He says, Project

830
00:46:00,600 --> 00:46:05,200
Speaker 3: Midas heard of it top secret, then why would you

831
00:46:05,200 --> 00:46:08,759
Speaker 3: have heard of it? But Simone Cimine says that he

832
00:46:08,840 --> 00:46:11,440
Speaker 3: came here to climb the mountain, but there's too much snow,

833
00:46:11,560 --> 00:46:13,400
Speaker 3: so he can't climb the mountain, so he climbs the

834
00:46:13,440 --> 00:46:18,640
Speaker 3: walls instead. He says that the doctors prescribed him sensory pleasures.

835
00:46:21,760 --> 00:46:25,440
Speaker 3: Now at the dinner table, here Snavevar introduces Glebsky to

836
00:46:25,440 --> 00:46:28,359
Speaker 3: the other guests. There is a young lady in an

837
00:46:28,360 --> 00:46:34,040
Speaker 3: orange top wearing huge, weird sunglasses. This is the woman Brune.

838
00:46:34,480 --> 00:46:36,520
Speaker 3: Next to her is this handsome young man in a

839
00:46:36,560 --> 00:46:40,680
Speaker 3: blue shirt and an orange ascot with a shaggy mulletish haircut.

840
00:46:40,719 --> 00:46:44,440
Speaker 3: This is Olof again, Brun and Oloff for the hang gliders,

841
00:46:44,800 --> 00:46:46,520
Speaker 3: and they seem to be an item. They're kind of

842
00:46:46,560 --> 00:46:50,040
Speaker 3: just smooching and cuddling. At the dinner table, we also

843
00:46:50,120 --> 00:46:54,200
Speaker 3: meet missus Moses, a woman in a lavender outfit with

844
00:46:54,239 --> 00:46:58,600
Speaker 3: a first hole, curly hair and sort of frightening makeup.

845
00:47:00,120 --> 00:47:04,640
Speaker 1: Yeah again, roughly post zul Dana and Ghostbusters. That's her fashion.

846
00:47:04,719 --> 00:47:08,600
Speaker 3: That's exactly right right on the nose. And so Glebski

847
00:47:08,640 --> 00:47:12,080
Speaker 3: comes in and she's like, she says, I love Policeman, heroes,

848
00:47:12,160 --> 00:47:16,160
Speaker 3: Daredevil's are you a daredevil inspector and he's like, nope,

849
00:47:16,280 --> 00:47:20,120
Speaker 3: just just regular and she says, no, no, no, no,

850
00:47:20,200 --> 00:47:23,200
Speaker 3: any man who looks like you must be a daredevil.

851
00:47:25,560 --> 00:47:28,560
Speaker 3: And the next here comes mister Moses. He's sort of

852
00:47:28,760 --> 00:47:31,480
Speaker 3: a boring seeming older man with gray hair and a

853
00:47:31,520 --> 00:47:34,200
Speaker 3: gray card. Again, he he almost kind of blends into

854
00:47:34,200 --> 00:47:36,400
Speaker 3: the background. It's like you're you're not really supposed to

855
00:47:36,440 --> 00:47:40,160
Speaker 3: notice him. Yeah, And then there's also the housekeeper at

856
00:47:40,160 --> 00:47:44,120
Speaker 3: the hotel here, this is Kaisa. So everybody settles in

857
00:47:44,160 --> 00:47:46,759
Speaker 3: and the hotel manager is like, anyway, as I was

858
00:47:46,800 --> 00:47:49,880
Speaker 3: saying before you arrived, I am in total agreement with

859
00:47:49,960 --> 00:47:54,560
Speaker 3: mister Eric von Danakin. Aliens have repeatedly visited Earth, and

860
00:47:54,719 --> 00:47:57,040
Speaker 3: I was I could not believe what we were in

861
00:47:57,080 --> 00:47:58,960
Speaker 3: for here was I did not know we would get

862
00:47:58,960 --> 00:48:02,200
Speaker 3: an Eric von danik and reference in the movie. This

863
00:48:02,239 --> 00:48:05,040
Speaker 3: is in the real world. The author of the book

864
00:48:05,280 --> 00:48:06,400
Speaker 3: Chariots of the.

865
00:48:06,280 --> 00:48:11,600
Speaker 1: Gods, Yeah, with the with the question Mark, which.

866
00:48:11,400 --> 00:48:15,320
Speaker 3: Is a famous book alleging on the basis of incredibly

867
00:48:15,320 --> 00:48:18,640
Speaker 3: poor evidence and reasoning that aliens have repeatedly visited Earth

868
00:48:18,680 --> 00:48:21,520
Speaker 3: in the in the past and are responsible for I

869
00:48:21,560 --> 00:48:23,600
Speaker 3: don't remember exactly what he connects it to probably the

870
00:48:23,880 --> 00:48:26,320
Speaker 3: various ancient stories and monuments and stuff.

871
00:48:27,239 --> 00:48:31,879
Speaker 1: Yeah, the whole alien astronaut hypothesis situation, which which we

872
00:48:32,040 --> 00:48:34,520
Speaker 1: recorded a few episodes of stuff to blow your mind

873
00:48:34,560 --> 00:48:36,480
Speaker 1: about a few years.

874
00:48:36,239 --> 00:48:39,640
Speaker 3: Back, analyzing from a from a skeptical perspective, and then

875
00:48:39,680 --> 00:48:42,440
Speaker 3: we ended up talking about like Carl Sagan's point of

876
00:48:42,520 --> 00:48:45,160
Speaker 3: view on like if aliens had visited Earth, what kind

877
00:48:45,200 --> 00:48:47,520
Speaker 3: of evidence you would actually expect to see and stuff

878
00:48:47,560 --> 00:48:52,799
Speaker 3: like that. Yeah, so yeah, so Snaevar, He's like, I

879
00:48:53,000 --> 00:48:55,880
Speaker 3: love Eric Vondanakin. Aliens have been here, I know it,

880
00:48:56,040 --> 00:49:00,239
Speaker 3: and Simone and the physicist is like, Fondanakin is a Charlott,

881
00:49:00,560 --> 00:49:03,680
Speaker 3: no way, and Stevar rebukes him, basically saying that his

882
00:49:03,760 --> 00:49:07,560
Speaker 3: opinion doesn't count because he is a scientist and thus biased,

883
00:49:08,400 --> 00:49:10,839
Speaker 3: and he says that the question of aliens is one

884
00:49:10,880 --> 00:49:11,640
Speaker 3: of poetry.

885
00:49:13,400 --> 00:49:15,439
Speaker 1: I kind of like that. I feel like we would

886
00:49:15,440 --> 00:49:18,400
Speaker 1: be better off if all alien conspiracy theorists were so

887
00:49:18,520 --> 00:49:20,799
Speaker 1: honest and self reflective where they were like, you know,

888
00:49:21,520 --> 00:49:24,000
Speaker 1: this isn't a fact based thing. This is about This

889
00:49:24,080 --> 00:49:27,360
Speaker 1: is about feelings, This is about art. Yeah, Like, I know,

890
00:49:27,480 --> 00:49:30,600
Speaker 1: this doesn't actually connect with reality. This is about like

891
00:49:30,640 --> 00:49:33,040
Speaker 1: a mythic understanding of the world.

892
00:49:32,880 --> 00:49:35,319
Speaker 3: Or something, right, Yeah, this is I'm talking about this

893
00:49:35,480 --> 00:49:38,840
Speaker 3: for fun, because it's you know, it's interesting and exciting

894
00:49:38,880 --> 00:49:41,960
Speaker 3: to my emotions, not because you know, I'm insisting that

895
00:49:42,000 --> 00:49:44,360
Speaker 3: the evidence is it must be real.

896
00:49:45,520 --> 00:49:48,680
Speaker 1: Yeah, but already we get a little flavor here of Yeah,

897
00:49:48,719 --> 00:49:51,720
Speaker 1: there's like, on one hand, the logical, on the other hand,

898
00:49:52,040 --> 00:49:56,040
Speaker 1: something that seems illogical, but also might conform to a

899
00:49:56,160 --> 00:50:00,200
Speaker 1: different reality or different expectations of reality.

900
00:50:00,000 --> 00:50:04,560
Speaker 3: They ask the police inspector's opinion, and Glebsky identifies himself

901
00:50:04,600 --> 00:50:07,160
Speaker 3: as a rationalist, and I guess that means he agrees

902
00:50:07,239 --> 00:50:13,560
Speaker 3: with simone he doubts Eric Vandanakin. So later some time

903
00:50:13,680 --> 00:50:15,600
Speaker 3: passes and there are a few different scenes of the

904
00:50:15,840 --> 00:50:19,279
Speaker 3: guests hanging out together. One is some kind of billiard's game.

905
00:50:19,320 --> 00:50:23,520
Speaker 3: I assume this is not, unfortunately snooker. The billiards game

906
00:50:23,560 --> 00:50:26,239
Speaker 3: featured in what was it called Billy the Kid in

907
00:50:26,280 --> 00:50:30,160
Speaker 3: the Green Bays Vampire, a previoushouse pick. I don't could

908
00:50:30,200 --> 00:50:31,920
Speaker 3: you recognize what game they're playing round?

909
00:50:33,080 --> 00:50:37,919
Speaker 1: I don't have a good good eye for these related games. Yeah,

910
00:50:38,000 --> 00:50:39,960
Speaker 1: it looked like they were playing with all white balls

911
00:50:40,000 --> 00:50:41,720
Speaker 1: at one point. I don't know if that means anything.

912
00:50:41,960 --> 00:50:43,359
Speaker 3: I don't know what all white balls means.

913
00:50:44,040 --> 00:50:47,080
Speaker 1: Yeah, pool enthusiast and write analysts.

914
00:50:46,719 --> 00:50:50,400
Speaker 3: But they have this conversation about whether or not the

915
00:50:50,440 --> 00:50:55,279
Speaker 3: inspector is going to turn Oloff into food. But then

916
00:50:55,280 --> 00:50:58,759
Speaker 3: interesting thing is that like Oloff is so good at

917
00:50:58,760 --> 00:51:01,200
Speaker 3: the game that it's like not any fun because he

918
00:51:01,360 --> 00:51:05,400
Speaker 3: just like Snink, he sinks every shot with absolute precision.

919
00:51:05,520 --> 00:51:08,520
Speaker 3: So Olof is like the ultimate Billiard's hustler here.

920
00:51:09,680 --> 00:51:10,879
Speaker 1: Yeah, and then he's like I'm out.

921
00:51:11,200 --> 00:51:14,799
Speaker 3: Yeah, So it'd be great to see him go up

922
00:51:14,800 --> 00:51:17,200
Speaker 3: against the Green Bays Vampire Alan Armstrong.

923
00:51:18,280 --> 00:51:21,120
Speaker 1: Yeah, that would have been a logical sequel, right, Green

924
00:51:21,160 --> 00:51:23,799
Speaker 1: Bays Vampire versus a robot versus tit.

925
00:51:23,760 --> 00:51:28,399
Speaker 3: Harm Yeah yeah, Okay. So later that night we get

926
00:51:28,440 --> 00:51:30,840
Speaker 3: the scene where this is the dancing scene we've referred

927
00:51:30,840 --> 00:51:33,280
Speaker 3: to a few times where everybody's like dancing to heavy

928
00:51:33,320 --> 00:51:36,720
Speaker 3: prog rock. Oloff and Brun are dancing with these jerky

929
00:51:36,800 --> 00:51:40,799
Speaker 3: whipping movements with their arms going out. Mister Moses is

930
00:51:40,800 --> 00:51:44,239
Speaker 3: playing chess with somebody I wasn't sure who, and then

931
00:51:44,280 --> 00:51:48,200
Speaker 3: Glebsky talking to Snavar, is he has questions. He's like,

932
00:51:48,239 --> 00:51:51,640
Speaker 3: who is this mister Moses, and Snavar says, he's registered

933
00:51:51,640 --> 00:51:54,919
Speaker 3: as a traveling businessman, but I have no idea where

934
00:51:54,920 --> 00:51:58,200
Speaker 3: he's traveling. The road ends here. The only way is back.

935
00:51:59,000 --> 00:52:01,799
Speaker 1: It's a good points, great little party. We gotta say, like,

936
00:52:01,960 --> 00:52:03,600
Speaker 1: I kind of want to go to this party. Oh yeah,

937
00:52:03,600 --> 00:52:05,440
Speaker 1: because there's some cool dance and great music. And if

938
00:52:05,440 --> 00:52:07,800
Speaker 1: you don't want to dance, well, you know, have yourself

939
00:52:07,800 --> 00:52:11,360
Speaker 1: a drink and play some chess. We've got activities for everyone.

940
00:52:12,080 --> 00:52:17,840
Speaker 3: Extroverts and introverts are welcome. Yeah. Yeah, So Glebsky dances

941
00:52:17,880 --> 00:52:21,640
Speaker 3: with missus Moses here again. She's she seems very into him.

942
00:52:21,719 --> 00:52:24,399
Speaker 3: She's got like a big white feather in her hat

943
00:52:24,520 --> 00:52:27,759
Speaker 3: or on her head. He seems kind of hypnotized. I

944
00:52:27,800 --> 00:52:29,719
Speaker 3: wasn't sure what this was supposed to mean. Did you

945
00:52:29,719 --> 00:52:31,839
Speaker 3: get the same impression that Glebsky's like sort of out

946
00:52:31,840 --> 00:52:32,640
Speaker 3: of his mind here?

947
00:52:33,840 --> 00:52:37,040
Speaker 1: Yeah? I mean I assumed he was drunk. That was

948
00:52:37,080 --> 00:52:38,000
Speaker 1: where I was at it.

949
00:52:38,239 --> 00:52:40,120
Speaker 3: That would make sense because.

950
00:52:39,880 --> 00:52:41,920
Speaker 1: He did say he wanted to have that wine, and

951
00:52:42,000 --> 00:52:45,000
Speaker 1: he at this point he's just like I'm off the clock.

952
00:52:45,080 --> 00:52:47,319
Speaker 1: You know, there's no there's no crime to investigate here,

953
00:52:47,360 --> 00:52:48,520
Speaker 1: I might as well have a good Yeah.

954
00:52:48,520 --> 00:52:51,040
Speaker 3: And so basically everybody at the hotel's partying except for

955
00:52:51,080 --> 00:52:53,920
Speaker 3: Hankas they say, he's still up on the roof. He

956
00:52:54,360 --> 00:52:56,120
Speaker 3: just doesn't come down to party. He's on the roof

957
00:52:56,160 --> 00:52:59,200
Speaker 3: all the time. And there was somewhere in here there's

958
00:52:59,239 --> 00:53:01,480
Speaker 3: a shot I really like this creepy shot of a

959
00:53:01,520 --> 00:53:04,040
Speaker 3: big evergreen tree back lit by the moon.

960
00:53:05,400 --> 00:53:05,960
Speaker 1: Yeah.

961
00:53:06,000 --> 00:53:08,160
Speaker 3: So Glebsky was dancing with miss and Moses, but then

962
00:53:08,160 --> 00:53:10,440
Speaker 3: Simone comes in for his dance. He's like, hey, you

963
00:53:10,480 --> 00:53:12,440
Speaker 3: want to dance with a with a cyber commander of

964
00:53:12,480 --> 00:53:18,120
Speaker 3: cyber forces, And so she dances with Simon a and Globsky,

965
00:53:18,239 --> 00:53:20,720
Speaker 3: admitting in the narration that he was drunk, he steps

966
00:53:20,719 --> 00:53:23,479
Speaker 3: away from the party. He goes outside for some night air,

967
00:53:24,160 --> 00:53:27,000
Speaker 3: and then he discovers that someone he doesn't know who

968
00:53:27,440 --> 00:53:31,040
Speaker 3: has slipped an anonymous note into his pocket. He opens

969
00:53:31,040 --> 00:53:33,960
Speaker 3: the note to read it on this snowy pathway lit

970
00:53:34,000 --> 00:53:37,160
Speaker 3: by these globe shaped lamps, and the note is cut

971
00:53:37,200 --> 00:53:39,840
Speaker 3: and pasted with letters from a magazine like those ransom

972
00:53:39,920 --> 00:53:43,840
Speaker 3: notes in the movies, and it reads, Hincus is part

973
00:53:44,040 --> 00:53:48,760
Speaker 3: of a criminal organization. He is a dangerous terrorist called

974
00:53:49,200 --> 00:53:51,160
Speaker 3: owl owl o w L.

975
00:53:53,880 --> 00:53:57,400
Speaker 1: That's fitting creepy nightbird with you know, various supernatural connotations

976
00:53:57,440 --> 00:53:58,200
Speaker 1: in different cultures.

977
00:53:58,360 --> 00:54:01,080
Speaker 3: Yeah, this this struck is funny. When I was watching,

978
00:54:01,160 --> 00:54:03,960
Speaker 3: just because my daughter is currently obsessed with owls. She

979
00:54:04,080 --> 00:54:06,560
Speaker 3: loves to tell us what an owl says. It says

980
00:54:06,640 --> 00:54:07,080
Speaker 3: who who?

981
00:54:08,400 --> 00:54:09,480
Speaker 1: Oh, that's correct.

982
00:54:10,080 --> 00:54:12,800
Speaker 3: But anyway, the note goes on to say a murder

983
00:54:12,880 --> 00:54:17,319
Speaker 3: is planned. Do something. So Glebski is troubled by this,

984
00:54:17,440 --> 00:54:20,600
Speaker 3: and he looks up on the roof to see the

985
00:54:20,600 --> 00:54:22,560
Speaker 3: outline of Hinkas still in the chair up there, and

986
00:54:22,600 --> 00:54:25,640
Speaker 3: he calls out to him. He yells hink OUs hing oos.

987
00:54:26,520 --> 00:54:32,000
Speaker 3: But unfortunately this shout seems to trigger something. There is

988
00:54:32,040 --> 00:54:35,240
Speaker 3: some kind of rumbling in the snow covered peaks above.

989
00:54:36,120 --> 00:54:42,120
Speaker 3: This was an unfortunate Hincus and the ominous like, there's

990
00:54:42,160 --> 00:54:46,080
Speaker 3: this ominous droning sound, Matt, this pad underneath everything that

991
00:54:46,160 --> 00:54:49,840
Speaker 3: begins here, and Hinkus from the roof does not respond.

992
00:54:49,920 --> 00:54:52,600
Speaker 3: So Glebski runs up there, and when he arrives, he

993
00:54:52,640 --> 00:54:55,640
Speaker 3: finds that the silhouette in the chair that he believed

994
00:54:55,760 --> 00:54:59,040
Speaker 3: to be Hinkas is actually just Hinkus's coat stuffed with

995
00:54:59,160 --> 00:55:02,400
Speaker 3: balls of snow. It was like a decoy snowman. So

996
00:55:02,640 --> 00:55:07,360
Speaker 3: where is Hincus. Well, the rumbling which started after Glebsky's

997
00:55:07,360 --> 00:55:09,799
Speaker 3: shout begins to reach a sort of peak of intensity,

998
00:55:10,200 --> 00:55:13,400
Speaker 3: and then the hotel guests see out the windows an

999
00:55:13,440 --> 00:55:15,520
Speaker 3: avalanche coming down the mountain side.

1000
00:55:16,680 --> 00:55:19,879
Speaker 1: Oh man, So first he's Ferris buellerd by Hinkas here,

1001
00:55:20,360 --> 00:55:22,759
Speaker 1: and then we get the avalanche. And I have to

1002
00:55:22,760 --> 00:55:26,719
Speaker 1: point out they apparently induced avalanches for the sequences we

1003
00:55:26,800 --> 00:55:29,800
Speaker 1: see in the film. They weren't relying on stock footage

1004
00:55:29,880 --> 00:55:33,440
Speaker 1: or anything. No, I don't know the full details. They

1005
00:55:33,480 --> 00:55:37,560
Speaker 1: may have aligned that with like planned induced avalanches that

1006
00:55:37,600 --> 00:55:40,280
Speaker 1: were done for safety reasons.

1007
00:55:40,960 --> 00:55:42,799
Speaker 3: Yeah, oh yeah, it looked totally real. I was like,

1008
00:55:42,840 --> 00:55:44,000
Speaker 3: these aren't special effects.

1009
00:55:44,480 --> 00:55:47,560
Speaker 1: Yeah, these are terrifying because at least later in the

1010
00:55:47,560 --> 00:55:49,640
Speaker 1: picture I can't remember this sequence so much. But later

1011
00:55:49,680 --> 00:55:50,920
Speaker 1: in the picture we get one where it's you know,

1012
00:55:50,960 --> 00:55:54,040
Speaker 1: it's coming right at the camera and like, that's a

1013
00:55:54,080 --> 00:55:56,080
Speaker 1: lot of snow, that's a lot of mass coming out.

1014
00:55:56,120 --> 00:56:00,239
Speaker 3: You totally agree, Yeah, very effective shots. So when the

1015
00:56:00,280 --> 00:56:03,360
Speaker 3: avalanche happens, the power goes out at first, and we

1016
00:56:03,400 --> 00:56:05,880
Speaker 3: will discover that the avalanche has blocked the road and

1017
00:56:05,960 --> 00:56:08,880
Speaker 3: trapped them on the hotel grounds. It has also knocked

1018
00:56:08,880 --> 00:56:11,680
Speaker 3: out the telephone lines, and according to Snavar in a

1019
00:56:11,719 --> 00:56:15,239
Speaker 3: later scene, it will probably be days before the authorities

1020
00:56:15,239 --> 00:56:18,520
Speaker 3: can clear the road and they can leave. So Glebsky's

1021
00:56:18,560 --> 00:56:20,040
Speaker 3: sort of on the case. He's trying to figure out

1022
00:56:20,040 --> 00:56:23,920
Speaker 3: what's going on. He investigates Hnkas's room and finds it empty.

1023
00:56:23,960 --> 00:56:27,440
Speaker 3: He searches through Hankas's belongings and finds a small pistol

1024
00:56:27,520 --> 00:56:31,279
Speaker 3: in his suitcase, and then Glebsky narrates though that this

1025
00:56:31,440 --> 00:56:34,479
Speaker 3: is not the weapon of a career criminal. He thinks

1026
00:56:34,480 --> 00:56:37,560
Speaker 3: somebody must be trying to set Hankas up, but who

1027
00:56:40,320 --> 00:56:44,279
Speaker 3: next thing, Snavar and Kaisa brings someone in from outside

1028
00:56:44,320 --> 00:56:48,040
Speaker 3: the hotel, someone who appears to be unconscious, and Glebsky

1029
00:56:48,080 --> 00:56:50,560
Speaker 3: goes to help and they're like, who is this. We

1030
00:56:50,640 --> 00:56:54,880
Speaker 3: don't know what's wrong, possibly hypothermia, And they're like, get brandy,

1031
00:56:54,920 --> 00:56:55,720
Speaker 3: gotta have liquor.

1032
00:56:57,880 --> 00:57:00,720
Speaker 1: Yeah, this is one of those movies where hard spirits

1033
00:57:00,719 --> 00:57:04,919
Speaker 1: are essentially potions of healing, you know what. They're two called,

1034
00:57:05,280 --> 00:57:10,640
Speaker 1: get him some liquor. Oh, the injured liquor, the delirium, unconscious,

1035
00:57:10,719 --> 00:57:14,080
Speaker 1: and whatever it is. Surely hard spirits can can solve

1036
00:57:14,080 --> 00:57:14,680
Speaker 1: the problem.

1037
00:57:15,000 --> 00:57:16,800
Speaker 3: I mean, I don't know why Hinkus is not just

1038
00:57:16,880 --> 00:57:20,680
Speaker 3: taking cotton candy flavored vodka for his for his tuberculosis,

1039
00:57:20,720 --> 00:57:26,640
Speaker 3: you know. Anyway, so Snaevar guesses maybe this is a

1040
00:57:26,640 --> 00:57:30,640
Speaker 3: friend of Hincus because he heard Hinkus dictating a telegram

1041
00:57:30,680 --> 00:57:33,680
Speaker 3: earlier telling someone to come quickly to join him at

1042
00:57:33,720 --> 00:57:37,280
Speaker 3: the hotel. Sohnkus has summoned someone earlier in the day,

1043
00:57:37,880 --> 00:57:39,840
Speaker 3: and we don't know who, but maybe this is who

1044
00:57:39,840 --> 00:57:51,800
Speaker 3: he called. Anyway, they give the guy some brandy and

1045
00:57:51,800 --> 00:57:53,560
Speaker 3: get him to say a couple of words. But all

1046
00:57:53,600 --> 00:57:55,440
Speaker 3: he can say is the name of Oloff.

1047
00:57:55,920 --> 00:57:56,040
Speaker 1: Oh.

1048
00:57:56,160 --> 00:57:58,720
Speaker 3: Remember, Olof's already a guest here at the hotel. This

1049
00:57:58,760 --> 00:58:01,600
Speaker 3: is this is the dancer guy. So they go to

1050
00:58:01,680 --> 00:58:05,560
Speaker 3: check out Oloff's room. But when they get there, uh oh,

1051
00:58:05,600 --> 00:58:10,080
Speaker 3: they find him lying out on the floor, pale, motionless. Dead.

1052
00:58:10,520 --> 00:58:15,760
Speaker 1: Oloff is dead, all right, So now we really have

1053
00:58:15,800 --> 00:58:18,520
Speaker 1: a murder story going on here. It's time for our

1054
00:58:18,560 --> 00:58:21,080
Speaker 1: inspector to get back on the clock. He's got some work.

1055
00:58:21,160 --> 00:58:23,360
Speaker 3: Yeah. In fact, Oloff is not just dead, like his

1056
00:58:23,480 --> 00:58:26,600
Speaker 3: head is twisted around unnaturally. It's kind of the Exorcist

1057
00:58:27,000 --> 00:58:31,240
Speaker 3: going on here. So of course Glebsky concludes what strength

1058
00:58:31,360 --> 00:58:33,720
Speaker 3: the killer must have had, and we see him like

1059
00:58:33,840 --> 00:58:36,240
Speaker 3: lie down on the floor and try to mimic like

1060
00:58:36,360 --> 00:58:41,920
Speaker 3: twisting his head around. But they also see that Olof's

1061
00:58:41,920 --> 00:58:44,800
Speaker 3: hand was stretching out toward the handle of a suitcase,

1062
00:58:44,840 --> 00:58:46,760
Speaker 3: so it's like he was reaching for the suitcase when

1063
00:58:46,800 --> 00:58:51,200
Speaker 3: he died. In another room, they find Hinkus finally, but

1064
00:58:51,480 --> 00:58:55,280
Speaker 3: he is found tied to a bed. He says he

1065
00:58:55,320 --> 00:58:57,720
Speaker 3: was attacked by someone and he does not know who,

1066
00:59:00,040 --> 00:59:04,320
Speaker 3: and then the weird behavior just continues. We encounter Simone.

1067
00:59:04,960 --> 00:59:09,080
Speaker 3: Simone Simone, a physicist. He's running around in his tidy whiteies,

1068
00:59:09,160 --> 00:59:12,160
Speaker 3: trying to hide behind a sheet that he's like holding

1069
00:59:12,240 --> 00:59:15,760
Speaker 3: up with his hands. That's not gonna work, buddy, And

1070
00:59:15,800 --> 00:59:19,720
Speaker 3: we get a confession from him. Missus Moses is dead.

1071
00:59:20,040 --> 00:59:22,320
Speaker 3: He swears he didn't kill her. He says that he

1072
00:59:22,400 --> 00:59:25,080
Speaker 3: went into her room and she was already lying cold

1073
00:59:25,120 --> 00:59:28,520
Speaker 3: on the floor when he went in there. The wait, no,

1074
00:59:28,560 --> 00:59:31,280
Speaker 3: not lying cold on the floor, she was standing upright,

1075
00:59:31,480 --> 00:59:34,560
Speaker 3: but cold and dead. And then her wig fell off,

1076
00:59:34,680 --> 00:59:38,880
Speaker 3: revealing a bald head. Things are getting stranger.

1077
00:59:39,920 --> 00:59:42,240
Speaker 1: Yeah, yeah, we're getting a kind of a Blue Sunshine

1078
00:59:42,360 --> 00:59:43,480
Speaker 1: vibe going on in this one.

1079
00:59:43,560 --> 00:59:46,840
Speaker 3: Yeah, exactly. Yeah, maybe she took the Blue Sunshine acid

1080
00:59:46,920 --> 00:59:51,360
Speaker 3: and now she's ready to activate. But then they go

1081
00:59:51,440 --> 00:59:54,800
Speaker 3: to missus Moses's room to check this out, and she's

1082
00:59:54,800 --> 00:59:57,960
Speaker 3: not dead. She's in there, alive, reading a book. She's fine.

1083
00:59:58,000 --> 01:00:00,680
Speaker 3: She smiles at them. So something really weird is a

1084
01:00:00,680 --> 01:00:04,480
Speaker 3: foot now, and Glebsky is starting to get frustrated because

1085
01:00:04,480 --> 01:00:06,120
Speaker 3: I think when it was just a murder, he was

1086
01:00:06,160 --> 01:00:08,200
Speaker 3: sort of like, he was like, Okay, I'm on the case,

1087
01:00:08,240 --> 01:00:10,720
Speaker 3: But now everything's so weird. He's like, I don't know

1088
01:00:10,720 --> 01:00:13,480
Speaker 3: what's going on, and I don't like it. So back

1089
01:00:13,520 --> 01:00:17,600
Speaker 3: in Semone's rooms, Semine showers, he tries to sober up,

1090
01:00:17,640 --> 01:00:20,560
Speaker 3: and Glebsky shows him a strange contraption that he found

1091
01:00:20,560 --> 01:00:24,560
Speaker 3: with Olaf. It's this weird device inside the suitcase that

1092
01:00:24,560 --> 01:00:27,600
Speaker 3: Oloff had been reaching for. It has this soft pulsing

1093
01:00:27,720 --> 01:00:31,360
Speaker 3: light and it emits low beeping sounds, and Simone says

1094
01:00:31,400 --> 01:00:32,800
Speaker 3: he doesn't know what it is, but it could be

1095
01:00:32,840 --> 01:00:38,080
Speaker 3: something military or from outer space. Better be careful. Then

1096
01:00:38,080 --> 01:00:41,680
Speaker 3: he runs away in fear, so they I think they

1097
01:00:41,760 --> 01:00:44,240
Speaker 3: like lock up this contraption in a cabinet under the

1098
01:00:44,280 --> 01:00:47,400
Speaker 3: dog bed, and Glebsky has the only key, so he's

1099
01:00:47,440 --> 01:00:49,840
Speaker 3: the only person who can get to this suitcase. Now

1100
01:00:51,000 --> 01:00:53,680
Speaker 3: he goes and tries to talk to Brune, and the

1101
01:00:53,720 --> 01:00:56,560
Speaker 3: mystery just keeps developing. He tries to talk to Brune

1102
01:00:56,600 --> 01:01:00,919
Speaker 3: about what happened. She apparently Sawhnkas walking in the hall

1103
01:01:01,040 --> 01:01:05,280
Speaker 3: after he claimed to have been attacked. And then we

1104
01:01:05,640 --> 01:01:07,800
Speaker 3: go and check with Hinkus about this, what was going on?

1105
01:01:08,040 --> 01:01:11,120
Speaker 3: You know, were you lying? And he says that it

1106
01:01:11,280 --> 01:01:14,800
Speaker 3: was him that he tied himself up. The implication here

1107
01:01:14,920 --> 01:01:18,040
Speaker 3: is that there is another one of him.

1108
01:01:17,960 --> 01:01:20,360
Speaker 1: And this is a great scene. It's especially a great

1109
01:01:20,400 --> 01:01:24,400
Speaker 1: place for the actor Mick mcavver playing Hinkus to really

1110
01:01:24,440 --> 01:01:28,680
Speaker 1: shine because it's he's not just saying oh yeah, yeah,

1111
01:01:28,720 --> 01:01:30,280
Speaker 1: I encountered me and I tied him up, like no,

1112
01:01:30,400 --> 01:01:35,800
Speaker 1: this the character is clearly confronting this moment of horror,

1113
01:01:35,840 --> 01:01:40,640
Speaker 1: this moment of duplication where he encountered like his own double,

1114
01:01:40,760 --> 01:01:44,840
Speaker 1: his own doppelganger here and had this kind of violent

1115
01:01:44,920 --> 01:01:49,200
Speaker 1: interaction with them and is clearly just traumatized and confused

1116
01:01:49,200 --> 01:01:50,120
Speaker 1: by the whole incident.

1117
01:01:50,240 --> 01:01:52,960
Speaker 3: Yes, agree that Micaver is great in the scene, and

1118
01:01:53,400 --> 01:01:57,080
Speaker 3: Glebsky is totally disturbed at this point. He wanders through

1119
01:01:57,080 --> 01:02:00,400
Speaker 3: the hotel by himself thinking over the case. Like here,

1120
01:02:00,960 --> 01:02:04,640
Speaker 3: there's a visual motif of flickering lights, Like often somewhere

1121
01:02:04,640 --> 01:02:07,480
Speaker 3: in the background a light will flutter on and then

1122
01:02:07,560 --> 01:02:12,840
Speaker 3: flutter off on a loop throughout a scene. Yeah, there's

1123
01:02:12,880 --> 01:02:16,360
Speaker 3: also a moment in here where somebody is watching TV,

1124
01:02:16,520 --> 01:02:18,720
Speaker 3: or at least there's a TV on somewhere, like in

1125
01:02:18,760 --> 01:02:21,200
Speaker 3: the lobby of the hotel, and it looks like what

1126
01:02:21,240 --> 01:02:24,240
Speaker 3: it's showing is like news clips of people falling out

1127
01:02:24,240 --> 01:02:25,080
Speaker 3: of buildings.

1128
01:02:26,400 --> 01:02:29,000
Speaker 1: Yeah, this was very disturbing. So this is like in

1129
01:02:29,040 --> 01:02:31,320
Speaker 1: a I think this kind of like circular room with

1130
01:02:31,360 --> 01:02:35,000
Speaker 1: one of these neat like central circular stoves warming everything up,

1131
01:02:35,040 --> 01:02:39,360
Speaker 1: and there's a TV. And Yeah, it was disturbing because

1132
01:02:39,360 --> 01:02:41,200
Speaker 1: on one hand, I kind of have to assume this

1133
01:02:41,240 --> 01:02:43,680
Speaker 1: is real footage of people falling to their deaths here,

1134
01:02:44,320 --> 01:02:46,640
Speaker 1: So it's outside of the context of the film, it's

1135
01:02:46,640 --> 01:02:48,600
Speaker 1: disturbing to see that kind of thing. But even within

1136
01:02:48,640 --> 01:02:51,439
Speaker 1: the context of the film, why is it playing here

1137
01:02:51,480 --> 01:02:53,360
Speaker 1: in the lobby of the hotel. Did they just play

1138
01:02:53,400 --> 01:02:55,080
Speaker 1: Faces of Death on repeat here?

1139
01:02:55,240 --> 01:02:55,720
Speaker 3: Yeah?

1140
01:02:55,800 --> 01:03:00,560
Speaker 1: Do they tune into the outlaw videodrome snuff channels in

1141
01:03:00,680 --> 01:03:05,880
Speaker 1: Cronenberg's video drama film gets It's just weird and strange

1142
01:03:05,960 --> 01:03:10,160
Speaker 1: and just adds to that level of uncertainty about where

1143
01:03:10,240 --> 01:03:11,680
Speaker 1: we're going in this film. Yeah.

1144
01:03:11,760 --> 01:03:15,520
Speaker 3: Yeah, So there were more interrogation scenes where Glebsky's trying

1145
01:03:15,560 --> 01:03:18,360
Speaker 3: to figure out what's happening. He interrogates Brune about what

1146
01:03:18,480 --> 01:03:21,720
Speaker 3: happened earlier when she went to Oloff's room. She said

1147
01:03:21,720 --> 01:03:24,840
Speaker 3: that they were they're dancing, kissing, having a wild time,

1148
01:03:24,880 --> 01:03:27,960
Speaker 3: and then suddenly they see the avalanche beginning outside the

1149
01:03:28,000 --> 01:03:31,720
Speaker 3: window of the room, and Oloff panics and throws Brune

1150
01:03:31,760 --> 01:03:33,720
Speaker 3: out of the room into the hall, and then later

1151
01:03:33,800 --> 01:03:38,400
Speaker 3: he's found dead. Glebsky and Alex sort of talk over

1152
01:03:38,480 --> 01:03:42,840
Speaker 3: the mystery together. Snaevar's sort of Glebsky's confidant. He's playing

1153
01:03:42,840 --> 01:03:48,320
Speaker 3: his doctor Watson, and Alex says that Glebsky's rational investigatory

1154
01:03:48,360 --> 01:03:52,160
Speaker 3: tools are useless here. He says, like time at greater

1155
01:03:52,280 --> 01:03:56,760
Speaker 3: than light speed, that's a strange comparison, but then he says,

1156
01:03:56,840 --> 01:03:59,919
Speaker 3: there is nothing we can do. You are not ripe yet,

1157
01:04:00,120 --> 01:04:02,400
Speaker 3: And this is the moment when Glebsky says, I'm so

1158
01:04:02,680 --> 01:04:04,600
Speaker 3: ripe I will fall off the trees soon.

1159
01:04:06,800 --> 01:04:09,760
Speaker 1: I love this exchange. It's I assume something is lost

1160
01:04:09,760 --> 01:04:13,880
Speaker 1: in translation here, like it doesn't fully translate into English

1161
01:04:13,400 --> 01:04:17,320
Speaker 1: from the original Estonian, but I still sort of get it,

1162
01:04:17,400 --> 01:04:19,400
Speaker 1: like it's still it still feels very true.

1163
01:04:19,560 --> 01:04:20,720
Speaker 3: Yeah, yeah.

1164
01:04:20,760 --> 01:04:20,840
Speaker 1: So.

1165
01:04:21,000 --> 01:04:25,520
Speaker 3: In the scene also they talk about the concept of zombies,

1166
01:04:25,720 --> 01:04:29,840
Speaker 3: and Snavar wonders if perhaps zombie is the third state

1167
01:04:29,960 --> 01:04:32,439
Speaker 3: of living organisms, beyond life and death.

1168
01:04:34,120 --> 01:04:34,880
Speaker 1: Yeah, very high.

1169
01:04:35,160 --> 01:04:38,600
Speaker 3: So Glebsky falls asleep listening to Snavar talk about zombies,

1170
01:04:38,640 --> 01:04:41,320
Speaker 3: and then he has dreams of skiing down a vast

1171
01:04:41,400 --> 01:04:44,320
Speaker 3: snow covered mountain side and he's going so fast. He

1172
01:04:44,920 --> 01:04:47,680
Speaker 3: seems to be smiling at first, but then maybe it

1173
01:04:47,720 --> 01:04:50,560
Speaker 3: seems his expression is actually one of fear. There are

1174
01:04:50,640 --> 01:04:54,280
Speaker 3: weird tones on the soundtrack that sound like animals wheezing.

1175
01:04:54,600 --> 01:04:57,080
Speaker 3: And then suddenly in the dream, Glebsky goes off the

1176
01:04:57,160 --> 01:04:59,760
Speaker 3: edge of a cliff and he falls and falls into

1177
01:04:59,800 --> 01:05:03,280
Speaker 3: the snow down below, and then from up above a

1178
01:05:03,440 --> 01:05:07,040
Speaker 3: figure looks down at his body. We zoom on the

1179
01:05:07,040 --> 01:05:09,720
Speaker 3: figure and there are two figures. In fact, it is

1180
01:05:10,000 --> 01:05:13,040
Speaker 3: the dead mountaineer from the portrait and his dog Lell.

1181
01:05:15,080 --> 01:05:18,240
Speaker 1: Yeah. Really great moment, you know, haunting and also makes

1182
01:05:18,320 --> 01:05:20,120
Speaker 1: us think back to that kind of the shrine like

1183
01:05:20,240 --> 01:05:23,400
Speaker 1: qualities of the dead mountaineer's portrait. You know, is the

1184
01:05:23,440 --> 01:05:27,640
Speaker 1: dead mountaineer like a even in the context of dream here?

1185
01:05:27,680 --> 01:05:30,400
Speaker 1: Is it like a ghost? Is it a divine force?

1186
01:05:30,960 --> 01:05:32,520
Speaker 1: And I also have to point out this may be

1187
01:05:32,560 --> 01:05:35,480
Speaker 1: the only sequence in the film where anybody does any skiing. Yeah,

1188
01:05:35,520 --> 01:05:36,800
Speaker 1: and it is within a dream.

1189
01:05:36,920 --> 01:05:39,200
Speaker 3: No, there is some skiing later, but it happens without

1190
01:05:39,240 --> 01:05:40,560
Speaker 3: skis and in the wrong direction.

1191
01:05:41,320 --> 01:05:43,760
Speaker 1: Yes, yes, and by by robots.

1192
01:05:43,840 --> 01:05:43,960
Speaker 3: Yes.

1193
01:05:44,840 --> 01:05:46,840
Speaker 1: I guess. Well, we did see the hang gliding earlier,

1194
01:05:46,880 --> 01:05:48,960
Speaker 1: and I guess maybe that involves skiing. I don't know

1195
01:05:48,960 --> 01:05:51,040
Speaker 1: how they got up there. Maybe they skied off of something.

1196
01:05:51,200 --> 01:05:55,080
Speaker 3: I'm not sure. We'll come back to that in a minute. So,

1197
01:05:55,080 --> 01:05:57,480
Speaker 3: So Glebski is woken up by the saint Bernard Lell

1198
01:05:57,800 --> 01:06:01,280
Speaker 3: like slobbering on his face, and the dog has brought

1199
01:06:01,360 --> 01:06:05,920
Speaker 3: him something. It is a gun covered in drool. So

1200
01:06:06,360 --> 01:06:08,720
Speaker 3: Glebsky's like, where did it come from? Boy? And lel

1201
01:06:08,840 --> 01:06:11,040
Speaker 3: leads him outside into the snow and shows him where

1202
01:06:11,040 --> 01:06:14,040
Speaker 3: the gun was. Glebsky deduces that it must have been

1203
01:06:14,160 --> 01:06:18,360
Speaker 3: thrown from the roof, so did it belong to Hinkus? Next,

1204
01:06:18,520 --> 01:06:22,360
Speaker 3: Snaevar brings news, I remember that unconscious guy we found outside.

1205
01:06:22,400 --> 01:06:26,520
Speaker 3: He's conscious now, so they go to interrogate him. And

1206
01:06:26,680 --> 01:06:29,120
Speaker 3: now that he's awake, he really looks like death. There's

1207
01:06:29,160 --> 01:06:31,760
Speaker 3: this dark makeup under his eyes. His skin is pale,

1208
01:06:31,880 --> 01:06:34,520
Speaker 3: even kind of blue in places. The whites of his

1209
01:06:34,600 --> 01:06:37,680
Speaker 3: eyes are bloodshot, and he just stares ahead in a daze.

1210
01:06:38,560 --> 01:06:42,480
Speaker 3: And Glebsky interrogates him, finds out that his name is Lurevic,

1211
01:06:43,000 --> 01:06:48,480
Speaker 3: mister Lurevic, Luarvic. He is looking for Oloff, and he

1212
01:06:48,520 --> 01:06:50,640
Speaker 3: won't say a whole lot. Glebsky's like, who are you?

1213
01:06:50,720 --> 01:06:53,520
Speaker 3: Are you a foreigner? And the man says, yes, a foreigner.

1214
01:06:54,640 --> 01:06:57,600
Speaker 3: And also in this scene, mister moses remember him. He

1215
01:06:57,720 --> 01:07:00,440
Speaker 3: was kind of like nondescript earlier on. He tries to

1216
01:07:00,480 --> 01:07:03,480
Speaker 3: sneak in on the interrogation, but Glebsky chases him away

1217
01:07:04,360 --> 01:07:07,640
Speaker 3: and Lurevic, on finding out that Oloff is dead doesn't

1218
01:07:07,680 --> 01:07:10,760
Speaker 3: seem all that concerned. He says, well, he still needs

1219
01:07:10,840 --> 01:07:13,560
Speaker 3: to see Oloff anyway, to conduct some business with him.

1220
01:07:14,120 --> 01:07:17,160
Speaker 3: And Glebsky's like, no, he's dead, and Lurevic is like, yeah,

1221
01:07:17,240 --> 01:07:21,959
Speaker 3: let me talk to him. But in this whole scene,

1222
01:07:22,080 --> 01:07:26,160
Speaker 3: Luorovic is dreamy, languid, kind of unconcerned, but does look

1223
01:07:26,240 --> 01:07:29,280
Speaker 3: like he's in a bad state, and he does identify

1224
01:07:29,320 --> 01:07:33,120
Speaker 3: Oloff's body. He says, he recognizes he recognizes him, and

1225
01:07:33,160 --> 01:07:37,240
Speaker 3: he knew him from elsewhere. And this was one scene.

1226
01:07:37,280 --> 01:07:39,080
Speaker 3: Yet again, this is all throughout the movie. But I

1227
01:07:39,120 --> 01:07:41,880
Speaker 3: really noticed the presence of like the modular mirrors in

1228
01:07:41,920 --> 01:07:44,320
Speaker 3: the sets in the scene.

1229
01:07:44,560 --> 01:07:47,680
Speaker 1: Yeah, and it's fitting, especially at this point in the picture,

1230
01:07:47,840 --> 01:07:50,680
Speaker 1: because we have already come head to head with this

1231
01:07:51,320 --> 01:07:54,920
Speaker 1: with a theme of duplication here, of doppel gangers and doubles,

1232
01:07:54,960 --> 01:07:58,000
Speaker 1: and so yeah, I feel like we're constantly seeing characters

1233
01:07:58,000 --> 01:08:01,760
Speaker 1: in mirrors or multiple mirrors, and the hotel eventually feels

1234
01:08:01,760 --> 01:08:03,800
Speaker 1: like a place that's not only in the edge of

1235
01:08:03,800 --> 01:08:06,320
Speaker 1: the wilderness, but also in the edge of the known universe.

1236
01:08:06,480 --> 01:08:09,720
Speaker 3: Yeah. Yeah, So Lurevic says he's looking for the suitcase

1237
01:08:09,760 --> 01:08:12,640
Speaker 3: that olof had and Glebsky says, I'm not just going

1238
01:08:12,720 --> 01:08:14,680
Speaker 3: to give it to you. You got to answer questions first.

1239
01:08:14,720 --> 01:08:16,920
Speaker 3: But of course Luvic he doesn't want to answer questions.

1240
01:08:17,080 --> 01:08:20,200
Speaker 3: He just wants the suitcase instead of answering questions. He

1241
01:08:20,240 --> 01:08:22,920
Speaker 3: gets very slow and says that he must lie down,

1242
01:08:23,040 --> 01:08:25,120
Speaker 3: and then he just sort of slumps back and appears

1243
01:08:25,160 --> 01:08:28,880
Speaker 3: to go to sleep with his eyes open. Somewhere in

1244
01:08:28,920 --> 01:08:31,600
Speaker 3: here there's a scene with Snavar playing the organ and

1245
01:08:31,680 --> 01:08:35,120
Speaker 3: he's not good at it, and Glebsky's just kind of

1246
01:08:35,120 --> 01:08:38,439
Speaker 3: lounging stoically, smoking a cigarette and listening to the bad

1247
01:08:38,560 --> 01:08:43,400
Speaker 3: organ concert. And so, you know, they again have one

1248
01:08:43,400 --> 01:08:46,360
Speaker 3: of their detective consultation sessions. They talk to each other

1249
01:08:46,400 --> 01:08:50,360
Speaker 3: about what could be going on, and Glebsky says, you know,

1250
01:08:50,400 --> 01:08:55,400
Speaker 3: he's nearly convinced that Lurevic Oloff and mister Moses, or

1251
01:08:55,640 --> 01:08:58,000
Speaker 3: either mister or missus Moses, maybe both of them. He

1252
01:08:58,000 --> 01:09:01,360
Speaker 3: doesn't say who. He says they belong to the same gang,

1253
01:09:01,400 --> 01:09:05,879
Speaker 3: which doesn't want publicity, and he thinks Hnkas is somehow

1254
01:09:05,880 --> 01:09:08,839
Speaker 3: connected to them as well because of the gun he found.

1255
01:09:09,160 --> 01:09:11,200
Speaker 3: So Glebsky comes up with a plan. He says he's

1256
01:09:11,240 --> 01:09:14,519
Speaker 3: gonna stop detaining Hnkas and set him free, quote like

1257
01:09:14,560 --> 01:09:19,000
Speaker 3: a fox into a chicken coop to see what happens. Meanwhile,

1258
01:09:19,000 --> 01:09:22,120
Speaker 3: Glebsky is busy playing with a metal wind up robot toy.

1259
01:09:22,360 --> 01:09:24,320
Speaker 3: I don't know about this plan, Glebski. Is that a

1260
01:09:24,320 --> 01:09:25,960
Speaker 3: good police police work plan?

1261
01:09:27,280 --> 01:09:29,920
Speaker 1: Yeah, seems like this is more like rogue cop territory. Yeah.

1262
01:09:30,000 --> 01:09:33,479
Speaker 3: Yeah, So everybody comes down for breakfast the next morning.

1263
01:09:33,520 --> 01:09:36,479
Speaker 3: I guess when he's gonna set Hankus loose. And Simon

1264
01:09:36,520 --> 01:09:39,080
Speaker 3: A says, I sense the smell of death in here,

1265
01:09:39,560 --> 01:09:42,840
Speaker 3: and Bruin says, beautiful weather today. Poor Olof didn't live

1266
01:09:42,880 --> 01:09:46,400
Speaker 3: to see it. And Lurevic is now at breakfast with

1267
01:09:46,439 --> 01:09:47,880
Speaker 3: the rest of him. He has to be guided to

1268
01:09:47,920 --> 01:09:50,639
Speaker 3: his breakfast chair and he eats some piece of fruit,

1269
01:09:50,840 --> 01:09:54,000
Speaker 3: like letting this juice run all over his face. I

1270
01:09:54,360 --> 01:09:57,840
Speaker 3: think Hinkas arrives to breakfast wearing a tuxedo. That's kind

1271
01:09:57,840 --> 01:10:03,000
Speaker 3: of that's a choice. But Glebsky says, you know, quote,

1272
01:10:03,040 --> 01:10:06,000
Speaker 3: it appears some crooks selected this hotel as a place

1273
01:10:06,040 --> 01:10:08,960
Speaker 3: to settle their scores. With the help of mister Snavar,

1274
01:10:09,120 --> 01:10:12,559
Speaker 3: I sent word to the police by pigeon. The police

1275
01:10:12,600 --> 01:10:16,400
Speaker 3: helicopter will arrive shortly, the criminals will get their just desserts.

1276
01:10:16,680 --> 01:10:22,240
Speaker 3: I advise that criminal activity be ceased. Of course, what

1277
01:10:22,360 --> 01:10:24,880
Speaker 3: is Missus Moses's reaction to this going to be? Of course,

1278
01:10:24,920 --> 01:10:28,000
Speaker 3: she's like, oh boy, how exciting killers among us? I

1279
01:10:28,040 --> 01:10:28,400
Speaker 3: love it.

1280
01:10:29,479 --> 01:10:32,840
Speaker 1: Stop doing crimes, everybody, because the helicopter will shoot.

1281
01:10:32,920 --> 01:10:35,519
Speaker 3: Yes, I got the pigeon to bring a helicopter that

1282
01:10:35,560 --> 01:10:38,719
Speaker 3: will stop you from doing crimes. Of course, the pigeon

1283
01:10:38,760 --> 01:10:41,280
Speaker 3: thing was actually a bluff. Glebsky knows he is on

1284
01:10:41,439 --> 01:10:45,560
Speaker 3: his own now. This leads up to the interrogation of

1285
01:10:45,640 --> 01:10:48,759
Speaker 3: Hankas scene. Hankas is like the last one eating breakfast,

1286
01:10:48,800 --> 01:10:52,559
Speaker 3: and then Glebsky watches him and pulls him aside. He's like, okay,

1287
01:10:52,560 --> 01:10:55,040
Speaker 3: I know about you from the note I received. You're

1288
01:10:55,120 --> 01:10:58,719
Speaker 3: this criminal called Owl, and Hankas says, no, I'm not Owl.

1289
01:10:58,840 --> 01:11:01,080
Speaker 3: I don't know what you're talking about. He's asked about

1290
01:11:01,080 --> 01:11:03,639
Speaker 3: the gun. He denies that it's his, but then suddenly

1291
01:11:04,040 --> 01:11:07,680
Speaker 3: he sort of busts out and unleashes martial arts that

1292
01:11:07,760 --> 01:11:11,839
Speaker 3: he would not have seemed prepared to deliver, Like he's

1293
01:11:11,880 --> 01:11:15,000
Speaker 3: been playing like he's in poor health, but he easily

1294
01:11:15,040 --> 01:11:18,559
Speaker 3: beats up Glebsky, knocks him nearly unconscious, takes the gun

1295
01:11:18,600 --> 01:11:21,400
Speaker 3: with him, and then while the inspector is lying on

1296
01:11:21,439 --> 01:11:24,759
Speaker 3: the floor, we hear Hankas fighting with someone else off camera,

1297
01:11:25,840 --> 01:11:29,680
Speaker 3: and somehow I guess it is Simone the physicist. Like

1298
01:11:29,720 --> 01:11:34,680
Speaker 3: Simon a beat bestshnkas and then helps Glebski up. That's unexpected.

1299
01:11:35,800 --> 01:11:39,840
Speaker 1: Yeah, so now it's time to interrogate Hankas once.

1300
01:11:40,000 --> 01:11:43,439
Speaker 3: Yeah, round two here and Hankas finally spills the beans.

1301
01:11:43,439 --> 01:11:46,280
Speaker 3: He's like, okay, here's the deal. Have you heard of

1302
01:11:46,320 --> 01:11:48,599
Speaker 3: the hit squads? That's what he says. I was a

1303
01:11:48,600 --> 01:11:51,479
Speaker 3: member of one of them. Something terrible is going on here.

1304
01:11:51,640 --> 01:11:55,960
Speaker 3: Supernatural forces are at work. He explains that quote. Half

1305
01:11:55,960 --> 01:11:58,599
Speaker 3: a year ago, some guy approached us. No one knew

1306
01:11:58,600 --> 01:12:02,040
Speaker 3: his name. They called him Master. They assigned him the

1307
01:12:02,040 --> 01:12:05,960
Speaker 3: hardest jobs, remember the second National Bank job. That was

1308
01:12:06,000 --> 01:12:09,040
Speaker 3: his doing. But then he quit working for us, left

1309
01:12:09,120 --> 01:12:11,559
Speaker 3: us high and dry. Oh. Yes, he was always a

1310
01:12:11,600 --> 01:12:15,160
Speaker 3: bit eccentric. Wouldn't let us kill hostages or anyone. He said,

1311
01:12:15,200 --> 01:12:17,760
Speaker 3: we shouldn't. That's why we had a fight with the

1312
01:12:17,800 --> 01:12:21,360
Speaker 3: boss and then he disappeared, along with his assistant and

1313
01:12:21,439 --> 01:12:24,679
Speaker 3: his wife. I was ordered by the boss to find them,

1314
01:12:25,160 --> 01:12:28,040
Speaker 3: And Glebsky says, and you found them here? Who are they?

1315
01:12:28,160 --> 01:12:31,240
Speaker 3: And Hankas says, no, you tell me who they are.

1316
01:12:31,320 --> 01:12:33,240
Speaker 3: What man could get the better of me as if

1317
01:12:33,280 --> 01:12:35,920
Speaker 3: I were a kitten. So you think he's talking about

1318
01:12:35,920 --> 01:12:39,000
Speaker 3: Semone here because Simine just like beat him up after

1319
01:12:39,040 --> 01:12:42,120
Speaker 3: the first interrogation, and we look at Semine. But actually

1320
01:12:42,160 --> 01:12:45,240
Speaker 3: it goes in a different direction. Hankas says, this woman

1321
01:12:45,840 --> 01:12:48,960
Speaker 3: Moses knows I would not let him live, so he

1322
01:12:49,080 --> 01:12:51,880
Speaker 3: set his wife against me. She was coming right at me.

1323
01:12:52,120 --> 01:12:55,519
Speaker 3: You don't believe me, but I was approaching myself. And

1324
01:12:55,560 --> 01:12:58,960
Speaker 3: so we see in Hankas's flashback Missus Moses in her

1325
01:12:59,000 --> 01:13:03,639
Speaker 3: fur coat seeming to transform into a doppelganger of Hnkas

1326
01:13:03,800 --> 01:13:06,960
Speaker 3: and then attack him by pushing him out a glass window.

1327
01:13:08,439 --> 01:13:11,519
Speaker 3: So what's going on? I don't know, But missus Moses

1328
01:13:11,520 --> 01:13:16,200
Speaker 3: apparently can become can like transform her appearance and become

1329
01:13:16,280 --> 01:13:18,480
Speaker 3: copies of people and attack them.

1330
01:13:19,000 --> 01:13:21,160
Speaker 1: Yeah, we have shape shifters among us now.

1331
01:13:22,400 --> 01:13:25,639
Speaker 3: Sohnkus admits he's here to hunt down this guy, the

1332
01:13:25,680 --> 01:13:31,240
Speaker 3: Master and his assistant and his wife. Now, Hinkas says

1333
01:13:31,240 --> 01:13:33,559
Speaker 3: he doesn't actually know what happened to Olaf. He says

1334
01:13:33,560 --> 01:13:36,439
Speaker 3: he never laid a finger on him. But his gang

1335
01:13:36,479 --> 01:13:39,599
Speaker 3: boss is coming with three or four guys to finish

1336
01:13:39,640 --> 01:13:42,960
Speaker 3: the job, to kill mister Moses, who, in fact, the

1337
01:13:43,000 --> 01:13:46,920
Speaker 3: nondescript mister Moses, who seemed so innocent and you know,

1338
01:13:47,000 --> 01:13:51,360
Speaker 3: not even very remarkable, was in fact this this criminal mastermind,

1339
01:13:51,439 --> 01:13:54,640
Speaker 3: the master who did the second National Bank job, and

1340
01:13:55,080 --> 01:13:58,040
Speaker 3: except he got into some kind of squabble with this

1341
01:13:58,160 --> 01:14:08,800
Speaker 3: terrorist or criminal gang and now they're looking for revenge.

1342
01:14:14,160 --> 01:14:19,000
Speaker 1: All right, So we've reached the secret mob members level

1343
01:14:19,000 --> 01:14:20,000
Speaker 1: of the big reveal here.

1344
01:14:20,000 --> 01:14:22,840
Speaker 3: But then there's going to be another reveal, which is

1345
01:14:23,080 --> 01:14:25,920
Speaker 3: so there's a confrontation where Glebsky goes into a room

1346
01:14:26,600 --> 01:14:30,880
Speaker 3: with Snaevar and Simone. They're all here gathered in the room,

1347
01:14:31,439 --> 01:14:35,000
Speaker 3: and when Glebsky enters the room, he sees himself what

1348
01:14:36,200 --> 01:14:39,400
Speaker 3: but then the other hymn transforms back into someone else.

1349
01:14:39,760 --> 01:14:42,240
Speaker 3: He realizes that here in the room are mister and

1350
01:14:42,280 --> 01:14:46,000
Speaker 3: missus Moses and someone else. Luarvic sitting doubled over in

1351
01:14:46,040 --> 01:14:50,320
Speaker 3: a chair, and Glebsky tries to say, okay, based on

1352
01:14:50,400 --> 01:14:54,120
Speaker 3: the testimony of Hincus, mister Moses, you are guilty of

1353
01:14:54,160 --> 01:14:56,960
Speaker 3: the robbery of the Second National Bank and of the

1354
01:14:57,080 --> 01:14:59,920
Speaker 3: murder of Oloff, and I'm going to have to arrest you.

1355
01:15:01,120 --> 01:15:03,639
Speaker 3: But Simone is there and he explains, no, no, no,

1356
01:15:03,840 --> 01:15:07,320
Speaker 3: you don't get it, Inspector, these are not humans. They're

1357
01:15:07,360 --> 01:15:10,000
Speaker 3: aliens from another planet. He says, I don't know where

1358
01:15:10,040 --> 01:15:13,360
Speaker 3: they're from, another dimension or galaxy, but they're in trouble

1359
01:15:13,800 --> 01:15:17,000
Speaker 3: and we have to help them. He says, mister Moses

1360
01:15:17,080 --> 01:15:20,400
Speaker 3: arrived here as an observer, but he made a fatal mistake.

1361
01:15:20,680 --> 01:15:25,120
Speaker 3: He should not have contacted humans. And mister Moses explains that.

1362
01:15:25,160 --> 01:15:27,360
Speaker 3: He says, it's true. I wasn't supposed to interfere with

1363
01:15:27,439 --> 01:15:29,719
Speaker 3: human life, but when I saw how you were living,

1364
01:15:29,960 --> 01:15:33,080
Speaker 3: I broke the rule. I wanted to help you so much,

1365
01:15:33,160 --> 01:15:36,000
Speaker 3: but your life proved to be too complex for me.

1366
01:15:38,720 --> 01:15:42,920
Speaker 3: So somehow this part is a little murky for me.

1367
01:15:43,040 --> 01:15:47,479
Speaker 3: But somehow mister Moses, being an alien observer of Earth

1368
01:15:47,479 --> 01:15:49,400
Speaker 3: who was supposed to look at human life but not

1369
01:15:49,520 --> 01:15:53,000
Speaker 3: interfere with it, decided that he took pity on us

1370
01:15:53,080 --> 01:15:56,160
Speaker 3: because of all the human suffering and got involved. But

1371
01:15:56,240 --> 01:15:58,760
Speaker 3: the way he got involved was with some kind of

1372
01:15:58,760 --> 01:16:02,400
Speaker 3: criminal gang. I'm not quite sure I'm making the connection there.

1373
01:16:03,479 --> 01:16:05,800
Speaker 1: Yeah, maybe there's some sort of robin Hood thing going

1374
01:16:05,840 --> 01:16:08,479
Speaker 1: on there, or maybe he was like, crime is doing

1375
01:16:08,520 --> 01:16:10,080
Speaker 1: a lot of damage. I'm going to get in there

1376
01:16:10,120 --> 01:16:12,559
Speaker 1: and do crime really well, but not hurt anybody. Yeah yeah,

1377
01:16:12,600 --> 01:16:15,120
Speaker 1: and that why so I don't know, you know, he's

1378
01:16:15,200 --> 01:16:21,160
Speaker 1: going up against very difficult societal and yeah, yeah, problems

1379
01:16:21,200 --> 01:16:21,719
Speaker 1: and so forth.

1380
01:16:21,760 --> 01:16:24,439
Speaker 3: So but given all the backstory we already got from Hinkas,

1381
01:16:24,479 --> 01:16:26,880
Speaker 3: now we know that the gang bosses are hunting down

1382
01:16:27,160 --> 01:16:32,439
Speaker 3: these these fugitive aliens, and so mister Moses is here

1383
01:16:33,400 --> 01:16:35,920
Speaker 3: at the hotel so he could leave the planet. They say,

1384
01:16:35,920 --> 01:16:38,080
Speaker 3: here in the mountains is our launch pad, but the

1385
01:16:38,120 --> 01:16:43,679
Speaker 3: avalanche destroyed the generator that powered our robots. So Missus

1386
01:16:43,720 --> 01:16:48,439
Speaker 3: Moses and Oloff are the robot helpers of mister Moses

1387
01:16:48,920 --> 01:16:52,559
Speaker 3: and Luarvic. The man they discovered outside is the pilot

1388
01:16:52,600 --> 01:16:55,880
Speaker 3: of the alien spaceship, and he was severely injured to say,

1389
01:16:55,880 --> 01:17:00,160
Speaker 3: his spacesuit is torn. He's becoming weaker every second. So

1390
01:17:00,160 --> 01:17:03,479
Speaker 3: so what I mean this reveal is very sudden, and

1391
01:17:03,520 --> 01:17:05,920
Speaker 3: it's just kind of like poured on Glebsky and like,

1392
01:17:05,960 --> 01:17:07,200
Speaker 3: how is he supposed to react?

1393
01:17:08,200 --> 01:17:12,000
Speaker 1: Yeah, and again it doesn't come with reveals of robotic

1394
01:17:12,040 --> 01:17:13,840
Speaker 1: interiors to human bodies or anything like.

1395
01:17:14,040 --> 01:17:17,200
Speaker 3: Right, but they say that remember that suitcase Olof was

1396
01:17:17,240 --> 01:17:21,360
Speaker 3: reaching for, It actually has another battery and if they

1397
01:17:21,439 --> 01:17:24,839
Speaker 3: return it, if they if Glebsky will return the battery

1398
01:17:24,880 --> 01:17:27,519
Speaker 3: to them, Oloff can be revived and then he won't

1399
01:17:27,560 --> 01:17:29,280
Speaker 3: be dead at all. He's just a robot who's on

1400
01:17:29,320 --> 01:17:31,679
Speaker 3: low power and they'll give him more power and he's fine,

1401
01:17:31,840 --> 01:17:35,400
Speaker 3: so this won't actually be a murder. But Glebsky thinks

1402
01:17:35,439 --> 01:17:38,200
Speaker 3: this is all madness. He says that every crime can

1403
01:17:38,280 --> 01:17:42,080
Speaker 3: be explained by appealing to fantasy, and this leads to

1404
01:17:42,240 --> 01:17:45,720
Speaker 3: arguments between Glebsky and Semone. Simina is saying like, look,

1405
01:17:45,760 --> 01:17:48,840
Speaker 3: you're being offered proof right now, see for yourself. But

1406
01:17:48,920 --> 01:17:52,880
Speaker 3: Glebsky says, interestingly, quote, I'm not a scientist, I'm a

1407
01:17:52,920 --> 01:17:56,520
Speaker 3: police officer. I've heard too many lies about the suitcase.

1408
01:17:56,920 --> 01:18:00,720
Speaker 3: So he's sort of saying that he operates not just

1409
01:18:00,880 --> 01:18:05,639
Speaker 3: on physical evidence, but by primarily suspicion of motive, which

1410
01:18:05,680 --> 01:18:07,919
Speaker 3: can even override physical evidence.

1411
01:18:08,840 --> 01:18:10,160
Speaker 1: Hmmm. Oh.

1412
01:18:10,240 --> 01:18:12,360
Speaker 3: We also find out here that mister Moses is the

1413
01:18:12,360 --> 01:18:15,400
Speaker 3: one that called the police and slipped the note into

1414
01:18:15,400 --> 01:18:17,720
Speaker 3: Glebsky's pocket, and it's because he wanted to be rid

1415
01:18:17,760 --> 01:18:19,960
Speaker 3: of Hinkus and he knew Hankus was there. He was

1416
01:18:20,000 --> 01:18:22,720
Speaker 3: the criminal who was hunting him. And so at one

1417
01:18:22,800 --> 01:18:26,800
Speaker 3: point in this conversation, mister Moses laments. He's like, it's

1418
01:18:27,240 --> 01:18:30,120
Speaker 3: it's troubling that you won't be convinced because our robots

1419
01:18:30,200 --> 01:18:32,760
Speaker 3: are too convincing as humans. You know, if they were

1420
01:18:32,800 --> 01:18:35,960
Speaker 3: just obviously robots, then maybe you'd believe us. He says,

1421
01:18:35,960 --> 01:18:38,240
Speaker 3: it's a pity I can't show you my real face.

1422
01:18:39,479 --> 01:18:41,280
Speaker 1: So yeah, this is kind of getting to my earlier

1423
01:18:41,320 --> 01:18:43,240
Speaker 1: point about this is not the sort of film that

1424
01:18:43,320 --> 01:18:46,200
Speaker 1: is that that needs to show you the alien face

1425
01:18:46,240 --> 01:18:48,479
Speaker 1: that the robotic interiors. Again, I wouldn't have said no

1426
01:18:48,600 --> 01:18:51,120
Speaker 1: to it, but you can understand this choice based on

1427
01:18:51,240 --> 01:18:52,120
Speaker 1: this interaction. Yeah.

1428
01:18:52,200 --> 01:18:55,600
Speaker 3: Yeah, but here we get this this conflict with Glebsky

1429
01:18:55,640 --> 01:18:58,519
Speaker 3: where he's like, no, I must turn you into the law.

1430
01:18:59,640 --> 01:19:02,919
Speaker 3: So he's he's conflicted, and he wanders around the hotel alone.

1431
01:19:02,960 --> 01:19:05,120
Speaker 3: At one point he even picks up a phone receiver

1432
01:19:05,560 --> 01:19:07,880
Speaker 3: and then says in voiceover narration that he wishes the

1433
01:19:07,960 --> 01:19:11,880
Speaker 3: phone would simply give him orders to follow because he

1434
01:19:12,200 --> 01:19:14,600
Speaker 3: sort of feels like he can't think for himself, he

1435
01:19:14,640 --> 01:19:17,760
Speaker 3: can't decide what's the right thing to do. So he

1436
01:19:17,960 --> 01:19:21,000
Speaker 3: walks out into the snow and he meets Brune out there.

1437
01:19:21,040 --> 01:19:23,639
Speaker 3: Remember Brune was the one who was in love with Olaf,

1438
01:19:24,280 --> 01:19:26,960
Speaker 3: and Brune begs him to give the battery to them

1439
01:19:27,000 --> 01:19:29,240
Speaker 3: so they can revive Oloft. So she's read into the

1440
01:19:29,240 --> 01:19:33,520
Speaker 3: whole theory now and she believes it. He's like, Glebsky

1441
01:19:33,560 --> 01:19:36,000
Speaker 3: tries to tell her this is nonsense, it's a fairy tale,

1442
01:19:36,760 --> 01:19:39,479
Speaker 3: but she says, if there's something that even might help him,

1443
01:19:39,479 --> 01:19:41,639
Speaker 3: you've got to give it a try. And she says,

1444
01:19:41,720 --> 01:19:44,519
Speaker 3: if Olof is an android, maybe she's an android too.

1445
01:19:44,640 --> 01:19:47,799
Speaker 3: She says, how could I know? So this all finally

1446
01:19:47,920 --> 01:19:52,759
Speaker 3: leads to a conclusion where Glebsky is trying to arrest

1447
01:19:53,040 --> 01:19:56,960
Speaker 3: mister Moses and won't give the battery back, but eventually

1448
01:19:57,040 --> 01:20:01,280
Speaker 3: he is sort of overpowered and overruled by Simone and

1449
01:20:01,360 --> 01:20:05,160
Speaker 3: by Snaevar, who both they are aware of the aliens

1450
01:20:05,160 --> 01:20:07,519
Speaker 3: and robots, and they want to help them, so they

1451
01:20:07,560 --> 01:20:10,439
Speaker 3: sort of restrain Glebsky, and they get the suitcase and

1452
01:20:10,479 --> 01:20:13,120
Speaker 3: they give it to the Aliens so that Oloft can

1453
01:20:13,120 --> 01:20:17,720
Speaker 3: be powered back up. And there are these moments in

1454
01:20:17,760 --> 01:20:21,160
Speaker 3: here where Semine is reflecting on the tragedy of the situation.

1455
01:20:21,360 --> 01:20:24,679
Speaker 3: Simone says, here is the first encounter between two worlds.

1456
01:20:24,720 --> 01:20:27,840
Speaker 3: Think of how amazing this is, but think that they

1457
01:20:27,960 --> 01:20:31,200
Speaker 3: arrive from god knows where. First they meet terrorists, and

1458
01:20:31,240 --> 01:20:34,240
Speaker 3: then they meet a police officer like you, Glebsky, sort

1459
01:20:34,240 --> 01:20:37,360
Speaker 3: of saying like you're showing them the worst side of humanity.

1460
01:20:38,640 --> 01:20:42,200
Speaker 3: But finally, as the Aliens get the battery back and

1461
01:20:42,280 --> 01:20:45,120
Speaker 3: they are allowed to escape, like the whole building starts

1462
01:20:45,120 --> 01:20:48,799
Speaker 3: shaking and rumbling like something huge is coming. Glass shatters

1463
01:20:48,800 --> 01:20:54,400
Speaker 3: in the windows and we hear a voice echoing saying

1464
01:20:54,439 --> 01:20:58,360
Speaker 3: goodbye humans. Real contact is yet to come. And then

1465
01:20:58,400 --> 01:21:00,479
Speaker 3: we get one of the most striking shots the movie,

1466
01:21:00,560 --> 01:21:06,240
Speaker 3: which is the aliens departing. They're like cloaked figures seemingly

1467
01:21:06,360 --> 01:21:10,000
Speaker 3: skiing uphill without skis to the top of the mountains

1468
01:21:10,040 --> 01:21:11,679
Speaker 3: so they can get in their spaceship and leave.

1469
01:21:12,920 --> 01:21:17,439
Speaker 1: Yeah, just just robots, moving swiftly, unnaturally over the surface of.

1470
01:21:17,439 --> 01:21:20,280
Speaker 3: The syn Right, so Missus Moses is carrying mister Moses,

1471
01:21:20,320 --> 01:21:25,960
Speaker 3: Olaf is carrying Luarvic and they're gonna escape to the stars. Unfortunately, Oh,

1472
01:21:26,000 --> 01:21:29,240
Speaker 3: here comes a helicopter. And at first you might think, oh,

1473
01:21:29,280 --> 01:21:32,240
Speaker 3: the helicopter, that's that's gonna be their rescue, right, No,

1474
01:21:32,880 --> 01:21:36,639
Speaker 3: it's the gang. It's the gang members. It's Hnkas's gang arriving,

1475
01:21:37,560 --> 01:21:41,679
Speaker 3: and the helicopter buzzes over their heads. Finally, after Snavar

1476
01:21:41,800 --> 01:21:44,480
Speaker 3: sees it and says God forgive us all, the helicopter

1477
01:21:44,600 --> 01:21:47,400
Speaker 3: unleashes its guns and it kills the two Aliens and

1478
01:21:47,439 --> 01:21:50,400
Speaker 3: the the androids and they lie dead in the snow.

1479
01:21:51,240 --> 01:21:55,240
Speaker 1: Yeah, blows them right up. Aliens robots completely destroyed.

1480
01:21:56,360 --> 01:21:59,160
Speaker 3: So the helicopter we see like the Saint Bernard howling

1481
01:21:59,200 --> 01:22:03,160
Speaker 3: in pity. The hell copter leaves Silent Mountain peaks with

1482
01:22:03,240 --> 01:22:07,200
Speaker 3: this with again the creepy, squeaking synthesizers playing out the story,

1483
01:22:08,040 --> 01:22:10,559
Speaker 3: and in the end, the camera zooms in on the

1484
01:22:10,640 --> 01:22:13,280
Speaker 3: sun and then zooms out from the hotel. There is

1485
01:22:13,320 --> 01:22:16,000
Speaker 3: a lot of zooming of the camera in this film,

1486
01:22:16,800 --> 01:22:20,120
Speaker 3: and a huge avalanche approaches billowing over the mountain side,

1487
01:22:20,120 --> 01:22:22,680
Speaker 3: finally enveloping the camera. This is one of these avalanche

1488
01:22:22,680 --> 01:22:25,320
Speaker 3: shots we talked about earlier, and the final shot of

1489
01:22:25,320 --> 01:22:29,160
Speaker 3: the film is actually Glebsky later in black and white,

1490
01:22:29,160 --> 01:22:32,599
Speaker 3: suddenly staring directly into the camera and he asks why

1491
01:22:32,640 --> 01:22:35,800
Speaker 3: you're looking at them looking at him. He insists that

1492
01:22:35,880 --> 01:22:38,680
Speaker 3: he acted correctly. He says, by upholding the law, he

1493
01:22:38,760 --> 01:22:42,360
Speaker 3: performed his duty and the law is sacred, and he's

1494
01:22:42,400 --> 01:22:46,080
Speaker 3: sort of like he gets defensive and angry, and it

1495
01:22:46,200 --> 01:22:50,479
Speaker 3: just repeatedly insists directly into the audience's face that he

1496
01:22:50,640 --> 01:22:54,040
Speaker 3: was right, he did the right thing, and considerations to

1497
01:22:54,080 --> 01:22:56,160
Speaker 3: the contrary are just being illogical.

1498
01:22:57,400 --> 01:23:00,280
Speaker 1: Now corning to the feature D, this scene, this apper

1499
01:23:00,320 --> 01:23:02,639
Speaker 1: at the end in black and white, with him speaking

1500
01:23:02,640 --> 01:23:05,439
Speaker 1: directly to the camera. This is actually footage from this

1501
01:23:05,520 --> 01:23:08,559
Speaker 1: is casting footage for the film, and they added it

1502
01:23:08,640 --> 01:23:11,479
Speaker 1: in post because the studio thought that the ending wasn't

1503
01:23:11,520 --> 01:23:12,120
Speaker 1: clear enough.

1504
01:23:13,720 --> 01:23:16,000
Speaker 3: That's interesting, which which.

1505
01:23:15,760 --> 01:23:18,800
Speaker 1: Is Yeah, I mean I think it still works. You know,

1506
01:23:18,840 --> 01:23:21,680
Speaker 1: it reminds me a bit of you know, some of

1507
01:23:21,680 --> 01:23:28,400
Speaker 1: those those fourth wall breaking moments in Baraka or the

1508
01:23:28,520 --> 01:23:32,120
Speaker 1: ending of the mission. You know, there's a and and

1509
01:23:32,160 --> 01:23:34,000
Speaker 1: it makes sense. It's not completely out of contact with

1510
01:23:34,000 --> 01:23:36,040
Speaker 1: the film, because we get those scenes where he's narrating,

1511
01:23:36,080 --> 01:23:38,240
Speaker 1: he's speaking to us, and then it seems kind of

1512
01:23:38,280 --> 01:23:40,439
Speaker 1: fitting that at the end he is looking at us,

1513
01:23:40,439 --> 01:23:44,800
Speaker 1: He is addressing us directly about this strange encounter that

1514
01:23:44,880 --> 01:23:46,720
Speaker 1: he had and these choices that he had to make.

1515
01:23:46,800 --> 01:23:50,200
Speaker 3: Yeah, and I guess that does it for Dead Mountaineer's Hotel.

1516
01:23:50,280 --> 01:23:53,679
Speaker 3: But I found this a really interesting film. It does

1517
01:23:53,800 --> 01:23:56,840
Speaker 3: actually raise interesting themes in the end, but they kind

1518
01:23:56,840 --> 01:23:59,320
Speaker 3: of come late in the film, these themes about like,

1519
01:24:00,240 --> 01:24:04,880
Speaker 3: can this bureaucratic functionary, this policeman make a decision that

1520
01:24:05,000 --> 01:24:07,640
Speaker 3: makes sense given what he's just encountered, or can he

1521
01:24:07,760 --> 01:24:10,120
Speaker 3: just like not accept what's in front of him and

1522
01:24:10,200 --> 01:24:12,479
Speaker 3: sort of act as a as almost as a machine,

1523
01:24:12,520 --> 01:24:13,679
Speaker 3: as a robot himself.

1524
01:24:14,920 --> 01:24:18,360
Speaker 1: Yeah. Yeah, it's a fascinating film. I really enjoyed diving

1525
01:24:18,360 --> 01:24:22,800
Speaker 1: into it. I enjoyed getting into this realm of Estonian cinema.

1526
01:24:23,160 --> 01:24:25,400
Speaker 1: So yeah, we'll throw it out to our listeners there.

1527
01:24:25,439 --> 01:24:27,800
Speaker 1: If you've seen Dead Mountaineer's Hotel, or if you've read

1528
01:24:27,800 --> 01:24:33,480
Speaker 1: the source material, or are you yourself listening of from Estonia,

1529
01:24:34,080 --> 01:24:36,839
Speaker 1: do you do you have additional insight about Estonian culture

1530
01:24:36,840 --> 01:24:41,080
Speaker 1: and cinema locations, actors, and so forth, write in We

1531
01:24:41,120 --> 01:24:43,600
Speaker 1: would love to hear from you. Just a reminder of

1532
01:24:43,600 --> 01:24:45,280
Speaker 1: the Stuff to Blow Your Mind is primarily a science

1533
01:24:45,280 --> 01:24:48,519
Speaker 1: and culture podcast, with new episodes, core episodes on Tuesdays

1534
01:24:48,560 --> 01:24:53,839
Speaker 1: and Thursdays, short form episode on Wednesdays, listener mail on Mondays,

1535
01:24:53,880 --> 01:24:55,920
Speaker 1: but then on Fridays, we just set aside most serious

1536
01:24:55,920 --> 01:24:57,880
Speaker 1: concerns to just talk about a weird film on Weird

1537
01:24:57,880 --> 01:24:59,720
Speaker 1: House Cinema. If you want a full list of the

1538
01:24:59,720 --> 01:25:01,960
Speaker 1: movies we've covered over the years, go to letterbox dot com.

1539
01:25:01,960 --> 01:25:03,400
Speaker 1: That's L E T T E R B O x

1540
01:25:03,520 --> 01:25:06,320
Speaker 1: D dot com. Our username is weird House. You'll find

1541
01:25:06,320 --> 01:25:08,080
Speaker 1: a list there of everything we've covered so far, and

1542
01:25:08,160 --> 01:25:10,559
Speaker 1: sometimes a peek ahead at what's coming up next.

1543
01:25:10,960 --> 01:25:14,080
Speaker 3: Our regular audio producer Jjposway is out this week, so

1544
01:25:14,200 --> 01:25:17,599
Speaker 3: huge thanks to our guest producer Andrew Howard for helping

1545
01:25:17,680 --> 01:25:21,160
Speaker 3: us out today. Appreciate it, Andrew. If you would like

1546
01:25:21,200 --> 01:25:23,200
Speaker 3: to get in touch with us with feedback on this

1547
01:25:23,240 --> 01:25:26,080
Speaker 3: episode or any other, to suggest a topic for the future,

1548
01:25:26,200 --> 01:25:28,400
Speaker 3: or just to say hello, you can email us as

1549
01:25:28,439 --> 01:25:49,200
Speaker 3: always at contact at Stuff to Blow Your Mind dot com.

1550
01:25:40,680 --> 01:25:43,640
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1551
01:25:43,680 --> 01:25:46,479
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1552
01:25:46,640 --> 01:25:49,400
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.