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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick.

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Speaker 2: Today we're discussing a film that is broadly considered to

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Speaker 2: be one of the big three British folk horror films

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Speaker 2: of the late sixties and early seventies, and as such

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Speaker 2: one of the legs of the folk car tripod, if

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Speaker 2: you will, that kind of holds up the rest of

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Speaker 2: the subgenre. Everything that comes afterwards built on these three films.

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Speaker 2: It's sometimes arcute. The other two films in this tripod

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Speaker 2: are Robin Hardy's The wicker Man from seventy three, which

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Speaker 2: we've covered previously on Weird House Cinema and a two

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Speaker 2: parter Go back and find that one in the audio

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Speaker 2: archives of Weird House Cinema and Stuff to Blow your

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Speaker 2: Mind wherever you get your podcasts. And then the other

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Speaker 2: leg of the tripod is nineteen seventy one's The Blood

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Speaker 2: on Satan's Claw. Today's film, though, is going to be

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Speaker 2: that third leg. It's going to be nineteen sixty eight's

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Speaker 2: which finder general three films that I want to give

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Speaker 2: everyone a warning that we're going to we're going to

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Speaker 2: discuss some level of spoilers for all three films, which

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Speaker 2: I know might be more of a might drive off

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Speaker 2: some listeners and they're like, I don't want to get

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Speaker 2: into spoilers. We're mostly talking about which finder general, but

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Speaker 2: in discussing the way that this film is pivotal, we're

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Speaker 2: going to discuss some of the some of the spoilers

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Speaker 2: about the other two.

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Speaker 3: Yeah, and I guess we should. Since we're issuing warnings,

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Speaker 3: we should say warning that all three movies in their

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Speaker 3: own ways have disturbing violence in them, you know, so

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Speaker 3: if you're going in be aware that that's that's something

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Speaker 3: you should be prepared for. I'd say the Wickerman the

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Speaker 3: least of the three. The other two more disturbing in

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Speaker 3: their own ways. But all three, of course, do not

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Speaker 3: to spoil too much, do have some some pretty messed

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Speaker 3: up stuff going on.

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Speaker 2: Absolutely, But if you are up for a British Folk

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Speaker 2: Are triple feature, if you're going to watch all three

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Speaker 2: films on a weekend, or all three films back to back,

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Speaker 2: I do recommend watching them in their release order, which

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Speaker 2: is the opposite order in which I ultimately watched them.

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Speaker 3: Yeah, same here.

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Speaker 2: Yeah. Now, my original intent for this episode of Weird

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Speaker 2: House Cinema was for us to discuss the Blood on

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Speaker 2: Satan's Claw, and that's why we both watched it this weekend.

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Speaker 2: It is a tremendously weird and disturbing film about rural

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Speaker 2: eighteenth century English farmers who unearthed the remains of a

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Speaker 2: disfigured body in the earth, which unleashes a string of

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Speaker 2: bizarre and destructive incidents that include madness, delusions, self mutilation,

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Speaker 2: ritual murder, corrupted youth, and all of it culminates in

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Speaker 2: the earth freed Creature's attempt to reclaim the skin, the

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Speaker 2: hairy skin that it's been growing on the bodies of

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Speaker 2: its corrupted human followers, and only a brutal witchfinder with

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Speaker 2: a massive sword can set things right.

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Speaker 3: He shall use methods undreamed of.

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Speaker 2: Yes, it's a it's a fabulous line in the film,

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Speaker 2: but also at the end of I was like, I

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Speaker 2: could have dreamed of that. I think I could drink giants.

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Speaker 3: You take a big sword and hit them with it.

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Speaker 2: Yeah, just with a big sword, but still great line,

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Speaker 2: great delivery. So with Blood on Satan's Claw, the Weird

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Speaker 2: Highs are pretty dizzy, fabulously weird film, and that alone

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Speaker 2: would have made for an excellent weird house discussion. But

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Speaker 2: the disturbing scenes are pretty disturbing and would have been

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Speaker 2: a much heavier lift for us, So we passed it

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Speaker 2: up and naturally pivoted to the other remaining leg of

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Speaker 2: the Unholy Tripod UH sixty eighth witch Finder General. Here.

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Speaker 3: Fortunately, nothing too disturbing in this.

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Speaker 2: No, this is plenty disturbing.

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Speaker 3: Yeah, yeah, but yeah. You can see how these two

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Speaker 3: films are, I think in a way, though they're very

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Speaker 3: different from each other, Blood On Satan's Claw and witch

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Speaker 3: Finder General I think have more in common thematically than

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Speaker 3: the Wicker does, because while you can see how they

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Speaker 3: all three share, these elements that would come to people

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Speaker 3: would come to associate with full core like rural settings,

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Speaker 3: like maybe a city dweller of some kind comes out

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Speaker 3: to a rural setting, encounters older beliefs being unearthed, or

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Speaker 3: at least the allegation of older beliefs being unearthed. Kind

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Speaker 3: of a dangerous structure of power that is being acted

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Speaker 3: upon because of or empowered by superstition. You can see

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Speaker 3: all that stuff, But the things that Blood On Satan's

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Speaker 3: Claw and Witchfinder General really have in common is that

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Speaker 3: they are about witch hunting in the end, but their orientation,

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Speaker 3: like the moral orientation to witch hunting, is totally reversed

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Speaker 3: between them.

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Speaker 2: That's right. The Blood on Satan's Claw is very much

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Speaker 2: a film in which the supernatural threat is real, and

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Speaker 2: therefore witches to some extent, to a large extent, are real.

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Speaker 2: The devil is even physically real, and therefore a witch

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Speaker 2: Finder General is just free to use whatever means they're

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Speaker 2: necessary to fight evil. I guess, but which Finder General

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Speaker 2: is situated in a cinematic take on the reality of

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Speaker 2: historic witchcraft persecution in the sixteen hundreds concerning fictionalized versions

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Speaker 2: of historic persons and its evil is confined to that

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Speaker 2: of human barbarism and misogyny and various other horriblenesses in

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Speaker 2: a time of chaos and civil war.

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Speaker 3: Right, So, Witchfinder General is a movie with no magic

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Speaker 3: in it. There are horrors, but they are horrors of

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Speaker 3: human making.

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Speaker 2: It's kind of interesting to remind oneself that that the

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Speaker 2: Wickerman also has no overt magic. There's no real, definite

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Speaker 2: supernatural element there. I guess you could read into it

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Speaker 2: that it does but it does not state it in

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Speaker 2: any clear fashion.

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Speaker 3: I don't think it encourages a supernatural reading, and did

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Speaker 3: want to take a supernatural reading on it, that would

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Speaker 3: be speculative. But in Blood on Satan's Claw, it's just

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Speaker 3: totally it's a supernatural movie. Yeah, it's about witchcraft and

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Speaker 3: the devil are real.

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Speaker 2: Yeah. Another thing I would point out about these two films,

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Speaker 2: about Satan's Claw and Which Finder, both of them were

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Speaker 2: from a production level related. They were both productions of Tigon,

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Speaker 2: British Film Productions, and yeah, like like you reverenced earlier,

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Speaker 2: at the very least, Blood on Satan's Claw is described

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Speaker 2: as sort of building upon the success of Which Finder General.

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Speaker 2: So I don't think it's a rehash, but clearly they

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Speaker 2: were like, let's take a little of this, let's add

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Speaker 2: a little village of the damn you know, throwing a

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Speaker 2: couple of other things, and let's see what we can create. Yeah. Now,

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Speaker 2: I want to set expectations in the right place though,

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Speaker 2: for Which Finder General. For example, when I rented the

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Speaker 2: blu ray of it from Atlanta's own Video Drum, a

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Speaker 2: couple of folks there, Matt and Jordan, they warned me

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Speaker 2: that well, you know, it's maybe not as full car

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Speaker 2: as some people expect it to be, knowing its reputation.

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Speaker 2: And they also said it's like a lot of screaming.

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Speaker 2: It's it's like mostly screaming, which is also true. But yeah, indeed,

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Speaker 2: if you're going into it expecting more of like a

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Speaker 2: wicker Man like experience or certainly a blood on Satan's

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Speaker 2: Claw like experience, is going to be different. It's a

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Speaker 2: different sort of beast. And I have to admit, like

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Speaker 2: going into which Finder General right after Satan's Claw, at

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Speaker 2: first it felt like a little bit of a let

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Speaker 2: down to me because it was coming up from like

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Speaker 2: this speculative weirdness, you know, with magic and demons, and

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Speaker 2: also just a very sort of fractured plot, a lot

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Speaker 2: of mysteries, things that didn't make sense, either intentionally or

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Speaker 2: unintentionally into this film, which is I think, in many

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Speaker 2: ways a lot tighter and also telling a real world story,

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Speaker 2: certainly highly fictionalized, but nothing in Which Finder General couldn't happen.

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Speaker 2: And I think it's fair to say that most of

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Speaker 2: the things, not character specific, but most of the things

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Speaker 2: that we see in the film actually did happen to

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Speaker 2: someone at some point unfortunately.

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Speaker 3: Yeah, I would also say of the three, which Finder

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Speaker 3: General is structurally the most familiar, Like it has a

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Speaker 3: pretty standard kind of movie plot structure that we can

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Speaker 3: talk about, and it also is just the clearest in

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Speaker 3: its meaning. The other movies I think invite a lot

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Speaker 3: more ambiguity and interpretations. It seems to me Which Finder

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Speaker 3: General is a very rhetorical film. It's making a point,

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Speaker 3: and it's very obvious what that point is.

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Speaker 2: For instance, it's very clear who the bad guys are.

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Speaker 2: There's not even a hint of doubt, like whose side

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Speaker 2: you could be on, Whereas I feel like wicker Man

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Speaker 2: certainly engages in that question, and to a much more

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Speaker 2: limited extent, so does Satan's Claw. Yeah, but yeah, Which

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Speaker 2: Finder General is very good? There are certainly times, I

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Speaker 2: think in the notes I even may have stated that

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Speaker 2: it was my least favorite of the three. And I

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Speaker 2: don't know if I don't like to rank things, but

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Speaker 2: I think initially that's how I felt about it. I'm

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Speaker 2: kind of coming up now that I've worked in the

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Speaker 2: notes and thought a bit more about the film, my

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Speaker 2: esteem for Which Finder General has come up a fair amount.

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Speaker 3: Oh okay, interesting, Well, if we are going to talk

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Speaker 3: about ranking anyway, Personally, I don't know exactly how I

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Speaker 3: would negotiate Blood on Satan's Claw versus Which Finder. General,

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Speaker 3: I would absolutely agree that Wickerman is the best of

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Speaker 3: the three. People will probably not be surprised to hear

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Speaker 3: me say that, since I've talked on the show before

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Speaker 3: about how it's one of my all time favorite movies.

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Speaker 3: It's definitely the weirdest, the most surprising, the funniest, and

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Speaker 3: the most horrifying and the most thematically complex in a

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Speaker 3: good way. It's all of that at once. And I

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Speaker 3: don't know, I just can't say enough good things about Wickerman.

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Speaker 3: Every time I see it, like I discover new ways

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Speaker 3: of thinking about it. So Wickerman is in a class

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Speaker 3: of its own. The other two movies, I don't know

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Speaker 3: exactly how i'd rank, but I thought they were They

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Speaker 3: both gave me a lot to think about. I thought

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Speaker 3: they were interesting.

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Speaker 2: Blood on Satan's Claw, weirdly enough, does have at least

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Speaker 2: one really funny scene involving the discussion of which dunking,

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Speaker 2: But that kind of speaks also to how disjointed that

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Speaker 2: film can be at times, which I've read is in

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Speaker 2: part due to the fact that it was originally conceived

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Speaker 2: as an anthology, like different stories set in the same town,

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Speaker 2: and then they all become one story.

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Speaker 3: I think actually the patchwork and disjointed nature of Blood

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Speaker 3: on Satan's Claw works in its favor. That comes to

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Speaker 3: make it feel a little more You're a little more

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Speaker 3: disoriented in terms of the plot structure, and it makes

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Speaker 3: it less predictable what's coming next, because you have these

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Speaker 3: scenes that feel kind of out of place, or like

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Speaker 3: they're picking up from some other movie you haven't seen,

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Speaker 3: or things like that.

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Speaker 2: Yeah. Yeah, it begins to feel like a bad dream. Yeah,

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Speaker 2: but of course Which Finder also can feel like a

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Speaker 2: really bad dream at times as well.

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Speaker 3: Yeah, that's true. So there were some things that I

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Speaker 3: did think were really interesting about Which Finder General, and

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Speaker 3: I want to talk about some of those things here.

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Speaker 3: One is about playing with genre. I am certainly not

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Speaker 3: the first person to notice this, but Which Finder General

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Speaker 3: is basically a Western.

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Speaker 2: That's an amazing point. I didn't think about it, but

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Speaker 2: now that you've said it, like everything lines up.

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Speaker 3: Yeah, it doesn't look like a Western because of the setting,

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Speaker 3: So it's not set in nineteenth century. In the nineteenth

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Speaker 3: century American West. It's set in the seventeenth century in

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Speaker 3: British East Anglia during the English Civil War, so the

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Speaker 3: eastern part of England English Civil Wars going on. But

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Speaker 3: there are a lot of things that if you just

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Speaker 3: kind of like substitute out the historical setting, it's a

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Speaker 3: western's So instead of like dry desert landscapes and dusty

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Speaker 3: cowboys with six shooters, we have these lush green forests

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Speaker 3: and meadows and mud booted, roundheaded soldiers with musket pistols.

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Speaker 3: And if you look for them, there are a lot

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Speaker 3: of the forms and sensibilities of the Western in here.

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Speaker 3: You've got chases on horseback, deadly gun play with handheld firearms,

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Speaker 3: in this case it's matchlock pistols. There is this sense

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Speaker 3: of lawlessness where higher authorities are absent or failed and

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Speaker 3: small towns are preyed on by roaming groups of men

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Speaker 3: with various kinds of power. Even the musical score to

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Speaker 3: me sounded a lot like the score to a Western,

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Speaker 3: so it's got a couple of influences. The music does

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Speaker 3: have a strong sense of English folk ballads, things like

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Speaker 3: John Barleycorn and Green Sleeves, but it also has sections

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Speaker 3: that feel like they're from a Western epic, like the

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Speaker 3: Score to the Searchers with John Wayne.

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Speaker 2: Yeah, yeah, absolutely.

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Speaker 3: Yeah. So, as I said, I'm not the first person

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Speaker 3: to notice critics have talked about this before, but I

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Speaker 3: think I would have gotten to this observation independently because

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Speaker 3: it's really strong. It really comes through. Another thing I

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Speaker 3: think is really interesting about Witch Finder general is the

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Speaker 3: way that it portrays its witch hunter characters. I was

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Speaker 3: thinking about this in contrast to other ways that witch

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Speaker 3: hunters are imagined on film. So one way you can

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Speaker 3: do it is basically witch hunters are the good guys.

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Speaker 3: For example, in Blood on Satan's Claw, the witchcraft is real,

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Speaker 3: and it is terrible and frightening, and it requires a

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Speaker 3: violent response. And so this is where we get the

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Speaker 3: judge played by Patrick Wymark saying I shall use undreamed

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Speaker 3: of measures. As you said, it's a sword, but it is.

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Speaker 3: You know, he's bringing the sword to a witch fight,

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Speaker 3: and obviously anything can work within the bounds of fantasy.

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Speaker 3: It is kind of hard to take this witch Hunters

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Speaker 3: as good guy's vision as having any relevance to actual

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Speaker 3: witch hunting.

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Speaker 2: Yeah. Yeah, and it can even feel just a real

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Speaker 2: a little bit wrongheaded, depending on how vers you are

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Speaker 2: in the history of things. But I don't know, it

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Speaker 2: becomes a part of a lot of a lot of

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Speaker 2: different franchises and so forth. You see it in like

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Speaker 2: Warhammer and Warhammer forty k. But even then, I think

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Speaker 2: those franchises are playing with the like the dark nature

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Speaker 2: of the thing, like these kind of anti heroes, you know,

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Speaker 2: people doing horrible things in a horrible world where maybe

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Speaker 2: the worst choice is also the best choice, that sort

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Speaker 2: of thing. But yeah, Whymark's judge is kind of presented

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Speaker 2: as a learned man who, upon examining the facts, just

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Speaker 2: kind of invents witch hunting for himself.

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Speaker 3: Yeah, I'm the first person to think of this.

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Speaker 2: Yeah, But at the same time, fiery conclusion of that

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Speaker 2: film kind of suggests that maybe the judge is as

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Speaker 2: much a devil as the twisted creature from the ground.

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Speaker 3: I didn't really think about it that way in Blood

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Speaker 3: on Satan's Claw. That's interesting. I'll have to look out

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Speaker 3: for that next time we watch. Okay, So another way

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Speaker 3: that you can put together a witch hunt story is

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Speaker 3: showing the witch hunters as figures that highlight the dangers

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Speaker 3: of fanaticism. So a story like this is going to

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Speaker 3: be a statement usually about religion and belief. Witch hunting

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Speaker 3: harms innocent people, to show us what happens when people

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Speaker 3: give in to superstition and unchecked religious mania. It's like

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Speaker 3: an it's an absence of reason, an absence of rationality.

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Speaker 3: That is usually the you know, what's really gone wrong

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Speaker 3: in these types of stories.

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Speaker 2: And I think people are perhaps more used to this

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Speaker 2: sort of witch hunting trope in terms of like general

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Speaker 2: storytelling and also just common language, because if someone is

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Speaker 2: accusing something of being a witch hunt, which they do,

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Speaker 2: they're generally trying to make a point that it's some

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Speaker 2: sort of like ridiculous, over zealous persecution of the innocent,

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Speaker 2: and so I think we're all rather acquainted with that,

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Speaker 2: and we see direct examples of that in various shows

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Speaker 2: and stories and which you know, there are religious zealots

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Speaker 2: that are actively going after women and accusing them of

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Speaker 2: being witches and then doing horrible things to them.

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Speaker 3: Yeah, and you can get, of course mixes of these

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Speaker 3: different types as well. So I think the example of

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Speaker 3: the Crucible, you know, it has elements of the dangers

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Speaker 3: of fanaticism, but also the next category I'm going to

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Speaker 3: talk about, which is dangers of authoritarianism, whereas the last

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Speaker 3: category is about religion and belief. These types of stories

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Speaker 3: are more a statement about power and systems of law

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Speaker 3: and justice. So witch hunters operate under the aegis of

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Speaker 3: some state or church authority, and they use that power

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Speaker 3: vested in them in an extreme and oppressive way. These

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Speaker 3: stories are often analogized to the actions of even secular

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Speaker 3: authoritarian governments. So you know, if you could think about

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Speaker 3: to whatever extent, the Crucible is about this type of

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Speaker 3: witch hunting abuse, it was also an analogy for McCarthyism,

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Speaker 3: but which Finder General offers, I would a a slightly

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Speaker 3: different model from any of those because the villains of

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Speaker 3: this film, Matthew Hopkins and John Stern, which again are

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Speaker 3: based on real historical figures. It's fictionalized for the movie,

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Speaker 3: but there really were, you know, there are there are

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Speaker 3: historical figures at the core of these characterizations. How they

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Speaker 3: are portrayed in the movie is not at all as

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Speaker 3: authentic puritanical fanatics, and they're also not exactly an expression

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Speaker 3: of like top down authoritarian terror, because this comes through

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Speaker 3: in the movie. But it was also historically true that

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Speaker 3: Hopkins and Stern did not actually have the approval of

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Speaker 3: any central authority or institution that people at the time

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Speaker 3: would have viewed as legitimate. They were essentially murder scammers,

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Speaker 3: and that is how they're portrayed in the movie. I

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Speaker 3: think that's the best way to think of them. They're

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Speaker 3: running a griff and it just happens to involve killing

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Speaker 3: people for alleged witchcraft.

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Speaker 2: That is a great point. Yeah, because neither man is

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Speaker 2: portrayed as being a dangerous zealot. They don't they don't

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Speaker 2: seem to really be religiously invested in what they're doing.

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Speaker 2: I mean, Stern is definitely a detestable statist, but Hopkins

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Speaker 2: is just Hopkins is more complex. But yeah, I like

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Speaker 2: the description that they're both murder scammers because that does

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Speaker 2: drive home what they're doing here.

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Speaker 3: Right, So the different model you get in this movie

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Speaker 3: is witch hunters as sadistic, opportunistic predators. They are taking

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Speaker 3: advantage of the environment of superstition and fanaticism among the locals,

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Speaker 3: and they're also taking advantage of the lawlessness and confusion

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Speaker 3: introduced by the Civil War in order to run a

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Speaker 3: scam where they travel from town to town pretending to

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Speaker 3: be legitimate authorities authorized by Parliament to solve the dangerous

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Speaker 3: witchcraft problem that is plaguing the land, when in reality

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Speaker 3: they're just torturing, murdering, and preying on random innocent people,

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Speaker 3: then demanding money from local authorities and compensation, and then

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Speaker 3: packing up and moving on. So it is like a

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Speaker 3: traveling scam. It's a traveling medicine show almost in a way.

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Speaker 3: It just involves like torturing and executing people.

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Speaker 2: Yeah, And a really telling detail that I thought was

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Speaker 2: important is that that Hopkins doesn't just roll up music

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Speaker 2: man style and convince the town that it needs some

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Speaker 2: witch finding, though how amazing would that have been. Now

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Speaker 2: he is called, he is paid, and he has no

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Speaker 2: problem whatsoever finding locals to willingly and even enthusiastically aid

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Speaker 2: him in his cruelty.

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Speaker 3: Yeah. So I think this is a really interesting take

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Speaker 3: on witch hunting, and it highlights a type of violence

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Speaker 3: and exploitation that still very much exists today. You might

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Speaker 3: think of this as like the witch hunting entrepreneur, people

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Speaker 3: who take advantage of chaotic and confusing situations to fake

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Speaker 3: their way into being granted trust by people who are

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Speaker 3: looking for safety and order, and then abusing that trust

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Speaker 3: for their own personal and often actually sadistic gain.

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Speaker 2: Yeah, today they would be influencers properly or or you know,

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Speaker 2: I don't know, even people with some sort of a

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Speaker 2: nebulous government position in certain you know, certain certainly and

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Speaker 2: fascist waning regimes in the world today.

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Speaker 3: Yeah, authoritarian entrepreneurs.

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Speaker 2: Yeah, yeah. Yeah.

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Speaker 3: So this is one way in which I would say

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Speaker 3: that Witchfinder General is distinct from a lot of the

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Speaker 3: other full corror movies you might be thinking of, because

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Speaker 3: a lot of those really are concerned with with belief

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Speaker 3: and ritual and religion, like with pagan beliefs or witchcraft itself,

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Speaker 3: you know, with what these belief systems actually involve and

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Speaker 3: what their rituals are. That's kind of beside the point

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Speaker 3: in which Finder General it's not even really about the

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Speaker 3: religion of the oppressors either, because you know, the Christianity

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Speaker 3: of the witch Finders seems maybe they believe it, but

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Speaker 3: it's kind of lightly held. They're mainly like they have

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Speaker 3: found a way to do to stamp out what they

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Speaker 3: believe is heresy in a way that is profitable.

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Speaker 2: They're a lucrative loophole.

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Speaker 3: Yes, So it is different in that regard I think

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Speaker 3: in that it is less focused on religion and ritual

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Speaker 3: and belief in magic and all that kind of stuff,

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Speaker 3: and more on just murderous bureaucracy and opportunistic predators that

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Speaker 3: look for vacuums of power.

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Speaker 2: All right, well, let's go ahead, and we'll just mention

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Speaker 2: now that if you're looking to watch this movie for yourself,

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Speaker 2: it's widely available. I believe the version I ran it

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Speaker 2: from video drone is the eighty eight Films Blu ray,

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Speaker 2: which I guess is region free because I was able

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Speaker 2: to play it always checking. I'm never an expert on

390
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Speaker 2: the regions of these things, so do check before you

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Speaker 2: purchase a disc. But you can also find it on

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Speaker 2: various streaming sites, including MGM plus and two B. I'll

393
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Speaker 2: also note that when it was released in the US,

394
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Speaker 2: it was released as The Conqueror Worm, with an intro

395
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Speaker 2: in outro featuring Vincent Price reading the Edgarllan Poe poem,

396
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Speaker 2: apparently in a loose attempt to tie it in with

397
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Speaker 2: the Price po cycle of Roger Korman films. But this film,

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Speaker 2: it actually has nothing to do with the works of

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Speaker 2: ed Ground Poe.

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Speaker 3: Nothing, and it's not Yeah, it's not. It does have

401
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Speaker 3: Vincent Price, it's not Roger Korman. It doesn't have to

402
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Speaker 3: do with Poe. Yeah, they just tack the I actually watched.

403
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Speaker 3: My disc has a way of watching the original intro

404
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Speaker 3: and outro with the with the reading of the poem.

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Speaker 3: You know, I love Vincent Price reading a poem, but

406
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Speaker 3: I'm gonna say, honestly, it doesn't really add much here.

407
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Speaker 3: I'd probably watch without.

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Speaker 2: Yeah.

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Speaker 3: By the way, the version I watched was the Shout

410
00:23:03,840 --> 00:23:06,920
Speaker 3: Factory Vincent Price collection, which is very good. Has Pitt

411
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Speaker 3: in the Pendulum, Mask of the Red Death, Haunted Palace,

412
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Speaker 3: follow the House of Usher, Abominable Doctor Fibes, and witch

413
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Speaker 3: Finder General. So excellent. Oh, excellent list there. This collection

414
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Speaker 3: is worth it.

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Speaker 2: Yeah, some great flicks on that desk for sure, right

416
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Speaker 2: in that set. All right, let's get into the people

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Speaker 2: who made this movie. Starting at the top of the

418
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Speaker 2: writer director. It's Michael Reeves, who lived nineteen forty three

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Speaker 2: through nineteen sixty nine. Tragically short lived director. He only

420
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Speaker 2: directed three full length films, She Beast in nineteen sixty six,

421
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Speaker 2: The Sorcerers in sixty seven, which we previously covered on

422
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Speaker 2: Weird House Cinema. That one had Boris Karloff in it. Yeah,

423
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Speaker 2: and then and then The Witch Finder General in sixty eight,

424
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Speaker 2: his final film. He subsequently died of an accidental d overdose.

425
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Speaker 2: She be starred English actor and Italian horror movie queen

426
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Speaker 2: Barbara Steele. That one sounds like it's a lot of fun,

427
00:24:09,160 --> 00:24:11,919
Speaker 2: but I haven't seen it. And which Finder General is?

428
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Speaker 2: I think generally regarded as his best film and certainly

429
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Speaker 2: his most famous, And part of that is just the

430
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Speaker 2: quality of the film itself. But I think also was

431
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Speaker 2: kind of like maybe the mystique of a young director

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Speaker 2: dying young after having made it. Yeah, he was only

433
00:24:26,680 --> 00:24:29,800
Speaker 2: in his mid twenties when he made this film, and

434
00:24:29,880 --> 00:24:31,760
Speaker 2: so we can't help but imagine, you know, what else

435
00:24:31,800 --> 00:24:34,160
Speaker 2: he might have accomplished, had he, you know, had a

436
00:24:34,200 --> 00:24:36,840
Speaker 2: you know, a longer life and longer career.

437
00:24:37,320 --> 00:24:40,679
Speaker 3: Yeah. I have read that this is a movie that

438
00:24:40,800 --> 00:24:45,240
Speaker 3: critics really warmed up to over time, that at first

439
00:24:45,320 --> 00:24:48,760
Speaker 3: critics were not very thrilled with it, but over time

440
00:24:48,800 --> 00:24:51,359
Speaker 3: people really came back to it and thought there was

441
00:24:51,400 --> 00:24:52,439
Speaker 3: something special about it.

442
00:24:52,640 --> 00:24:56,439
Speaker 2: Yeah. Yeah, let's see the writing credits on this. We

443
00:24:56,520 --> 00:24:59,639
Speaker 2: have Tom Baker, not to be confused with the actor

444
00:25:00,480 --> 00:25:03,320
Speaker 2: this is a not much that I could find out

445
00:25:03,320 --> 00:25:06,120
Speaker 2: about this guy age not public record. He also worked

446
00:25:06,119 --> 00:25:09,679
Speaker 2: on the screenplay for The Sorcerers. Then we also have

447
00:25:10,400 --> 00:25:13,359
Speaker 2: Lewis M. Hayward, who lived nineteen twenty through two thousand

448
00:25:13,400 --> 00:25:17,120
Speaker 2: and two, an Emmy nominated screenwriter and producer whose other

449
00:25:17,200 --> 00:25:19,879
Speaker 2: writing credits include the English version of the screenplay to

450
00:25:19,920 --> 00:25:23,480
Speaker 2: sixty five's Planet of the Vampires, Doctor Goldfoot and the

451
00:25:23,520 --> 00:25:27,080
Speaker 2: Girl Bombs and The Ghost in the Invisible Bikini, both

452
00:25:27,119 --> 00:25:29,720
Speaker 2: from sixty six, and then The Crimson Colt from sixty eight.

453
00:25:29,920 --> 00:25:32,399
Speaker 2: As a producer, he produced a number of sixties and

454
00:25:32,400 --> 00:25:36,800
Speaker 2: seventies horrors films, including Scream and Scream Again in nineteen seventy,

455
00:25:36,840 --> 00:25:39,880
Speaker 2: which we've talked about on the show, both Fibes movies,

456
00:25:40,040 --> 00:25:41,760
Speaker 2: and we've covered both of those on the show, and

457
00:25:41,800 --> 00:25:45,520
Speaker 2: then also Curtis Harrington's Whoever Slew Anti Rue in seventy two.

458
00:25:45,920 --> 00:25:49,480
Speaker 3: Wow, Okay, I mean that's a list. Yeah, have you

459
00:25:49,520 --> 00:25:51,280
Speaker 3: seen Ghost in the Invisible Bikini?

460
00:25:52,000 --> 00:25:54,240
Speaker 2: I feel like I've seen bits and pieces of these

461
00:25:54,320 --> 00:25:59,399
Speaker 2: various bikini movies with I'm not even sure off the

462
00:25:59,400 --> 00:26:01,600
Speaker 2: top of my head which one Vincent Price shows up

463
00:26:01,600 --> 00:26:02,600
Speaker 2: in and so forth.

464
00:26:02,960 --> 00:26:07,240
Speaker 3: I think he's in He's in, well, he's the Goldfoot Okay,

465
00:26:07,280 --> 00:26:10,399
Speaker 3: I think because I remember Doctor Goldfoot and in the

466
00:26:10,440 --> 00:26:13,760
Speaker 3: Bikini Machine, which is like it's like one of those

467
00:26:13,880 --> 00:26:16,920
Speaker 3: sandwich shop toasters on a conveyor belt, except I think

468
00:26:16,920 --> 00:26:18,520
Speaker 3: it just puts out ladies and bikinis.

469
00:26:18,760 --> 00:26:22,560
Speaker 2: Okay, yeah, I mean yeah, maybe I'll have to to

470
00:26:22,560 --> 00:26:25,080
Speaker 2: see one of those at some point. Summer would be

471
00:26:25,119 --> 00:26:30,320
Speaker 2: a good time for high art, let's see. Oh and

472
00:26:30,359 --> 00:26:31,919
Speaker 2: the other thing about the writing is all this was

473
00:26:32,080 --> 00:26:35,880
Speaker 2: based on a novel, an original novel by Ronald Bassett,

474
00:26:35,880 --> 00:26:38,520
Speaker 2: who lived nineteen twenty fourth through nineteen ninety six, a

475
00:26:38,560 --> 00:26:42,200
Speaker 2: British writer of mostly historical fiction, and the novel came

476
00:26:42,200 --> 00:26:45,680
Speaker 2: out in sixty four. All right, well, let's get into

477
00:26:45,680 --> 00:26:49,320
Speaker 2: the cast, starting with, of course, Vincent Prize playing Matthew

478
00:26:49,359 --> 00:26:53,240
Speaker 2: Hopkins here. Price lived nineteen eleven through nineteen ninety three.

479
00:26:53,280 --> 00:26:56,280
Speaker 2: This is our eighth Vincent Price film and Weird House Cinema.

480
00:26:56,359 --> 00:26:59,080
Speaker 2: So he's tied with Christopher Lee right now for our

481
00:26:59,119 --> 00:27:01,960
Speaker 2: most watched for four So, since we've talked about him before,

482
00:27:01,960 --> 00:27:04,240
Speaker 2: I'm not going to do the full bio treatment here,

483
00:27:04,320 --> 00:27:06,760
Speaker 2: but instead try and place this film in his life.

484
00:27:06,800 --> 00:27:09,920
Speaker 2: In filmography, Price would have been in his mid fifties

485
00:27:09,920 --> 00:27:13,360
Speaker 2: at the time. This was after the Corman post cycle,

486
00:27:14,040 --> 00:27:17,400
Speaker 2: after his appearance on TV's Batman as the villain Egghead,

487
00:27:18,240 --> 00:27:20,520
Speaker 2: so you know, he was certainly hamming it up plenty

488
00:27:20,560 --> 00:27:23,679
Speaker 2: at this point. But this was also before sixty nine's

489
00:27:23,720 --> 00:27:27,400
Speaker 2: Oblong Box, before Scream and Scream Again, and also before

490
00:27:27,520 --> 00:27:32,520
Speaker 2: The Abominable Doctor Fibes in seventy one. Price was, of

491
00:27:32,520 --> 00:27:35,680
Speaker 2: course an American actor and is here playing a British

492
00:27:35,760 --> 00:27:40,000
Speaker 2: character in a British production, not his first but still notable.

493
00:27:40,320 --> 00:27:43,119
Speaker 2: Also worth noting that correct me if I'm wrong here, Joe,

494
00:27:43,119 --> 00:27:44,679
Speaker 2: because this is one of those things that I watched

495
00:27:44,680 --> 00:27:47,600
Speaker 2: the movie, didn't think about it once, and then came

496
00:27:47,640 --> 00:27:49,359
Speaker 2: back and I was like, oh, I guess that was

497
00:27:49,400 --> 00:27:51,639
Speaker 2: the case. Like, he doesn't do a British accent here,

498
00:27:51,720 --> 00:27:54,160
Speaker 2: does he? Does? He just you use his standard transit,

499
00:27:54,200 --> 00:27:55,240
Speaker 2: the Atlantic accent.

500
00:27:56,400 --> 00:27:59,320
Speaker 3: I didn't even think about it. Whatever he was doing

501
00:27:59,359 --> 00:28:02,720
Speaker 3: did not catch my attention in terms of accents. Yeah,

502
00:28:02,880 --> 00:28:04,920
Speaker 3: it just it just passed as normal.

503
00:28:05,080 --> 00:28:07,879
Speaker 2: Yeah. Yeah, it's like something up since Vincent Price's like

504
00:28:07,960 --> 00:28:11,920
Speaker 2: theatrical voice and essentially his actual voice, and you hearman interviews.

505
00:28:13,040 --> 00:28:16,240
Speaker 2: I don't know it. It's so distinctly him. And it

506
00:28:16,359 --> 00:28:21,040
Speaker 2: also is not like accent wise tied to a particular

507
00:28:21,280 --> 00:28:24,200
Speaker 2: part of the United States. He just it feels right

508
00:28:24,240 --> 00:28:26,040
Speaker 2: that he should be in this picture. And I never

509
00:28:26,160 --> 00:28:27,400
Speaker 2: questioned it a single time.

510
00:28:27,760 --> 00:28:30,360
Speaker 3: Yeah, somehow was just not thinking about accents at all.

511
00:28:31,680 --> 00:28:35,000
Speaker 3: So I would say Vincent Price is great in this movie,

512
00:28:35,080 --> 00:28:38,120
Speaker 3: but it is not a typical Vincent Price performance. You know,

513
00:28:38,480 --> 00:28:42,120
Speaker 3: we love him when he does his his high theatrical

514
00:28:42,440 --> 00:28:45,560
Speaker 3: style or when he embraces camp and that's not going

515
00:28:45,600 --> 00:28:49,280
Speaker 3: on here. This is a I would say the closest

516
00:28:49,400 --> 00:28:52,960
Speaker 3: thing we've seen to this is his performance in The

517
00:28:53,040 --> 00:28:58,200
Speaker 3: Last Man on Earth. This is a serious and much

518
00:28:58,240 --> 00:29:00,959
Speaker 3: more subdued style of Vincent Price.

519
00:29:01,040 --> 00:29:01,360
Speaker 2: He is.

520
00:29:01,720 --> 00:29:02,720
Speaker 3: He's not hamming it.

521
00:29:02,720 --> 00:29:06,520
Speaker 2: Up, that's right. Prices Hopkins is a cold and dead

522
00:29:06,520 --> 00:29:10,200
Speaker 2: eyed opportunist, and you know, we gather he's in no

523
00:29:10,280 --> 00:29:13,040
Speaker 2: hurry to actually do most of the dirty work of

524
00:29:13,080 --> 00:29:17,920
Speaker 2: interrogation and execution himself. But yeah, he does not oppose

525
00:29:17,920 --> 00:29:20,880
Speaker 2: it on moral grounds at all. He has no moral grounds.

526
00:29:20,920 --> 00:29:25,200
Speaker 2: He's a ruthless man of calculating exploitation and is in

527
00:29:25,240 --> 00:29:28,120
Speaker 2: No Ways fun and in No Ways and then in

528
00:29:28,120 --> 00:29:29,920
Speaker 2: in No Way Hammy. So if you're looking for like

529
00:29:29,960 --> 00:29:33,280
Speaker 2: a really visually interesting I mean, I'll take that. It's

530
00:29:33,280 --> 00:29:35,840
Speaker 2: a very visually interesting performance. Is a great performance. But

531
00:29:35,880 --> 00:29:38,040
Speaker 2: if you're looking for sort of the you know, the

532
00:29:38,440 --> 00:29:43,080
Speaker 2: high melodrama or high Hammy Vincent Price, that's not where

533
00:29:43,080 --> 00:29:45,400
Speaker 2: you're gonna find here. You're gonna find something a lot

534
00:29:45,480 --> 00:29:48,400
Speaker 2: more grounded and really scary.

535
00:29:48,560 --> 00:29:51,440
Speaker 3: One another way I'll put it is Price kind of

536
00:29:51,480 --> 00:29:56,440
Speaker 3: specialized in portraying villains that are still kind of lovable

537
00:29:56,680 --> 00:30:00,760
Speaker 3: in an ironic way. Like so in Mass the Red Death,

538
00:30:00,760 --> 00:30:04,720
Speaker 3: he's playing Prince Prospero, who's like trying to He's trying

539
00:30:04,760 --> 00:30:07,120
Speaker 3: to be the most evil man alive. You know, I'm

540
00:30:07,160 --> 00:30:09,760
Speaker 3: just like, I'm going to explore all types of evil.

541
00:30:10,960 --> 00:30:15,200
Speaker 3: But even despite like his evil, he's just delicious. He's

542
00:30:15,240 --> 00:30:18,560
Speaker 3: just lovable on screen. And it's part it's that hamminess

543
00:30:18,560 --> 00:30:22,000
Speaker 3: and theatrical style. You can't help but love him. None

544
00:30:22,080 --> 00:30:25,160
Speaker 3: of that going on here. Matthew Hopkins in this movie

545
00:30:25,280 --> 00:30:32,640
Speaker 3: is a detestable, disgusting character, and Price does it very well,

546
00:30:32,680 --> 00:30:34,000
Speaker 3: like he fits right in.

547
00:30:34,320 --> 00:30:39,200
Speaker 2: Yeah, absolutely a Price apparently clashed with the young Reeves,

548
00:30:39,520 --> 00:30:43,520
Speaker 2: the director on the production. Reeves reportedly, in like early

549
00:30:43,560 --> 00:30:46,640
Speaker 2: goings and early pre production, really wanted Donald Pleasants for

550
00:30:46,680 --> 00:30:48,720
Speaker 2: the role. And if you're familiar with the work of

551
00:30:48,720 --> 00:30:51,920
Speaker 2: Donald Pleasants, you can, I mean, Pleasants had had a

552
00:30:52,040 --> 00:30:55,200
Speaker 2: range of his own and certainly wasn't confined to just

553
00:30:55,240 --> 00:30:57,400
Speaker 2: one type of character. But you know, the sort of

554
00:30:57,400 --> 00:31:00,320
Speaker 2: take Donald Pleasants would have likely had here definitely old

555
00:31:00,680 --> 00:31:05,000
Speaker 2: calculating and so forth, And so he pushed for that.

556
00:31:05,520 --> 00:31:08,160
Speaker 2: The studio, on the other hand, pushed for Vincent Price

557
00:31:08,200 --> 00:31:10,880
Speaker 2: and said, you know, you're getting Vincent Price, and so

558
00:31:11,720 --> 00:31:15,280
Speaker 2: Reeves ends up pushing for you know this more like

559
00:31:15,440 --> 00:31:22,600
Speaker 2: nuanced you know, less theatrical performance from Vincent Price, and

560
00:31:23,200 --> 00:31:26,560
Speaker 2: this apparently led to some tension, at least at first.

561
00:31:27,040 --> 00:31:29,240
Speaker 2: Also there was some other stuff that apparently happened, like

562
00:31:29,240 --> 00:31:31,840
Speaker 2: there's a point where Reeves directed Price to fire a

563
00:31:31,880 --> 00:31:35,080
Speaker 2: pistol from horseback, and it resulted in Price being thrown

564
00:31:35,120 --> 00:31:37,800
Speaker 2: from the horse. So you know, that's not going to

565
00:31:37,840 --> 00:31:42,600
Speaker 2: help your working relationship. But later on, Vincent Price apparently,

566
00:31:42,640 --> 00:31:45,240
Speaker 2: you know, ultimately judged at one of his best performances

567
00:31:45,280 --> 00:31:48,479
Speaker 2: and and you decided, yeah, that was the right direction

568
00:31:48,600 --> 00:31:54,280
Speaker 2: to go in. I've also I've read different accounts of

569
00:31:54,520 --> 00:31:57,560
Speaker 2: a supposed interaction that occurred between the two of them.

570
00:31:57,960 --> 00:32:02,400
Speaker 2: There's a frequently cited this regular Zinger exchange when Vincent

571
00:32:02,440 --> 00:32:05,360
Speaker 2: Price supposedly says young man, I've made eighty four films,

572
00:32:05,360 --> 00:32:07,440
Speaker 2: what have you done? And Reeve's responds, I've made two

573
00:32:07,480 --> 00:32:10,280
Speaker 2: good ones. And I've read accounts that make this seem

574
00:32:10,320 --> 00:32:15,280
Speaker 2: like a really biting back and forth. But more reputable

575
00:32:15,320 --> 00:32:18,200
Speaker 2: accounts seem to indicate that like Price laughed at this

576
00:32:18,360 --> 00:32:22,080
Speaker 2: zinger and complied and maybe wasn't. I don't know, you

577
00:32:22,120 --> 00:32:25,320
Speaker 2: know how this goes with behind the scenes dirt. Sometimes

578
00:32:25,320 --> 00:32:27,760
Speaker 2: it's played up to be far more toxic than it was,

579
00:32:28,120 --> 00:32:30,480
Speaker 2: And in the write up that I found from Will

580
00:32:31,040 --> 00:32:34,000
Speaker 2: Hodgkinson and The Guardian, it sounds like it was a

581
00:32:34,480 --> 00:32:37,200
Speaker 2: far less toxic than it somehow may sometimes made out

582
00:32:37,200 --> 00:32:41,320
Speaker 2: to be. But I agree, absolutely evil character, not a

583
00:32:41,320 --> 00:32:44,240
Speaker 2: lovable character. And it's fitting because again Matthew Hopkins was

584
00:32:44,280 --> 00:32:47,640
Speaker 2: a real person and a central actor in the witchcraft

585
00:32:47,640 --> 00:32:51,800
Speaker 2: craze of the English Civil War, responsible for at least

586
00:32:51,840 --> 00:32:54,680
Speaker 2: something like two hundred and thirty and maybe many more

587
00:32:54,760 --> 00:32:58,760
Speaker 2: deaths between the year sixteen forty four and sixteen forty seven.

588
00:32:59,040 --> 00:33:02,320
Speaker 2: And his interrogation methods, the cruelty that he employed are

589
00:33:02,440 --> 00:33:04,880
Speaker 2: on the whole what you see in the film. You know,

590
00:33:04,920 --> 00:33:07,760
Speaker 2: the film can only go so far. And then also

591
00:33:07,760 --> 00:33:09,720
Speaker 2: the film does a little bit of an invention. But

592
00:33:10,240 --> 00:33:13,360
Speaker 2: for the most part, like this is this is very believable.

593
00:33:13,800 --> 00:33:17,360
Speaker 3: From what I've read, I think Hopkins and Stern alone

594
00:33:17,720 --> 00:33:22,520
Speaker 3: accounted for like the bulk of witchcraft executions in this period.

595
00:33:23,000 --> 00:33:26,600
Speaker 3: There were other people persecuting alleged witches at this time,

596
00:33:26,720 --> 00:33:31,440
Speaker 3: but Hopkins and Stern were real overachievers. They were they

597
00:33:31,520 --> 00:33:36,840
Speaker 3: killed so many had very outsized impact in this domain.

598
00:33:38,520 --> 00:33:40,840
Speaker 2: All right, So that's our central villain and we'll come

599
00:33:40,880 --> 00:33:42,800
Speaker 2: back to Stern in just a second. Well, no, I'll

600
00:33:42,800 --> 00:33:44,760
Speaker 2: go ahead and cover Stern since we're talking about it.

601
00:33:45,080 --> 00:33:49,920
Speaker 2: So John Stern is played by Robert Russell. Robert Russell

602
00:33:49,960 --> 00:33:53,240
Speaker 2: lived nineteen thirty six through two thousand and eight. And yeah,

603
00:33:53,400 --> 00:33:57,520
Speaker 2: just on one level, like just an absolutely hateable Hinchman,

604
00:33:57,640 --> 00:34:01,480
Speaker 2: but it's more nuanced than just like villain and Hinchman,

605
00:34:01,600 --> 00:34:07,320
Speaker 2: like they are uneasy partners in this murder. Con exercise,

606
00:34:07,800 --> 00:34:10,359
Speaker 2: and they do not love each other. There is a

607
00:34:10,360 --> 00:34:13,480
Speaker 2: fair amount of animosity between the two of them, and

608
00:34:13,560 --> 00:34:17,719
Speaker 2: clearly Hopkins Hopkins has no love for this guy, no

609
00:34:17,840 --> 00:34:19,800
Speaker 2: loyalty to him, and it kind of goes both ways.

610
00:34:20,360 --> 00:34:23,520
Speaker 3: Yeah, they have slightly different styles. It's true that they're

611
00:34:23,560 --> 00:34:26,360
Speaker 3: not loyal to each other at all. They kind of

612
00:34:26,440 --> 00:34:29,680
Speaker 3: need each other to keep this thing going. That's clearly

613
00:34:29,880 --> 00:34:33,640
Speaker 3: what they're mainly concerned with is just keeping this thing rolling. Yeah,

614
00:34:34,719 --> 00:34:39,200
Speaker 3: but they're portrayed is different. They're both sadists and they're

615
00:34:39,200 --> 00:34:42,920
Speaker 3: both evil, but Stern comes off as a hot blooded,

616
00:34:43,120 --> 00:34:48,239
Speaker 3: kind of lustful, chaotic evil, whereas Hopkins comes off as

617
00:34:48,520 --> 00:34:53,400
Speaker 3: cold blooded, kind of lawful evil or neutral evil. Hopkins

618
00:34:53,480 --> 00:34:57,560
Speaker 3: likes to project an air of civility and gentility in public,

619
00:34:57,680 --> 00:35:00,759
Speaker 3: so like there will be these conflicts between them where

620
00:35:00,800 --> 00:35:05,960
Speaker 3: Hopkins does not publicly endorse torture, you know, he's like, oh,

621
00:35:06,000 --> 00:35:08,480
Speaker 3: we don't do that, but then privately he's fine with it.

622
00:35:08,719 --> 00:35:11,680
Speaker 2: Yeah, yeah, or we're fine with things that are maybe

623
00:35:11,719 --> 00:35:17,560
Speaker 2: not legally like legally torture under the laws at the time,

624
00:35:17,640 --> 00:35:20,879
Speaker 2: Like for instance, I think historically in England, at least

625
00:35:21,520 --> 00:35:25,520
Speaker 2: you weren't going to find like thumbscrews used in these interrogations,

626
00:35:25,560 --> 00:35:27,960
Speaker 2: but all other sorts. There were a number of other

627
00:35:28,000 --> 00:35:30,200
Speaker 2: things that were allowed because they were like, oh, you're

628
00:35:30,239 --> 00:35:32,239
Speaker 2: testing you know this, or that. We'll get into the

629
00:35:32,840 --> 00:35:35,680
Speaker 2: techniques that are explored in the film later on.

630
00:35:36,080 --> 00:35:38,319
Speaker 3: I mean it reminds me, though sadly, of things in

631
00:35:38,440 --> 00:35:41,560
Speaker 3: much more recent history where it's like, oh, we don't

632
00:35:41,560 --> 00:35:44,560
Speaker 3: do torture, I mean we will do water boarding or

633
00:35:44,600 --> 00:35:47,160
Speaker 3: these other things that are obviously torture. Is just making

634
00:35:47,239 --> 00:35:50,160
Speaker 3: these stupid distinctions, like we don't call that torture for

635
00:35:50,200 --> 00:35:50,640
Speaker 3: some reason.

636
00:35:50,719 --> 00:35:53,200
Speaker 2: Yeah, or sleep deprivation, which is something you see in

637
00:35:53,200 --> 00:35:57,000
Speaker 2: that category today and was absolutely one of the or

638
00:35:57,040 --> 00:36:00,360
Speaker 2: at least allegedly was one of the tactics that that

639
00:36:00,440 --> 00:36:03,320
Speaker 2: they used that these two gentlemen used. A gentleman he

640
00:36:03,400 --> 00:36:06,200
Speaker 2: used lightly, but these two men used in their crimes.

641
00:36:06,440 --> 00:36:07,680
Speaker 3: Yeah.

642
00:36:08,440 --> 00:36:12,920
Speaker 2: So, But anyway, detestable character John Stern, but also very

643
00:36:12,920 --> 00:36:15,879
Speaker 2: well played by Robert Russell, who live thirty six through

644
00:36:15,960 --> 00:36:19,480
Speaker 2: two thousand and eight. His other credits include Sitting Target

645
00:36:19,560 --> 00:36:21,520
Speaker 2: from seventy two, and he was on episodes of both

646
00:36:21,560 --> 00:36:26,120
Speaker 2: Blake seven and Doctor Who. I also should note I

647
00:36:26,160 --> 00:36:28,279
Speaker 2: was looking at this this actor and it's like, oh man,

648
00:36:28,320 --> 00:36:31,799
Speaker 2: he's six' three at least he's built as, such And

649
00:36:31,960 --> 00:36:34,759
Speaker 2: Vincent price is taller than, him towering over him in

650
00:36:34,760 --> 00:36:35,920
Speaker 2: these SCENES i had to look AT i had to

651
00:36:36,000 --> 00:36:39,759
Speaker 2: be reminded That Vincent price was six.' four so a towering. Duo.

652
00:36:39,880 --> 00:36:43,520
Speaker 3: HERE interesting i did Not clock russell as.

653
00:36:43,680 --> 00:36:47,640
Speaker 2: Especially, TALL yeah i mean he's a he's a kind

654
00:36:47,680 --> 00:36:50,360
Speaker 2: of a it's got like a, wrestler's physique, you know

655
00:36:50,520 --> 00:36:53,239
Speaker 2: kind of like he's, he's tall but also, you know

656
00:36:53,239 --> 00:36:56,480
Speaker 2: like broad in a very. Intimidating, way yeah he's more

657
00:36:56,560 --> 00:37:00,480
Speaker 2: also a physical Scrapper. Than hopkins's, Yeah movie hopkins likes

658
00:37:00,520 --> 00:37:03,759
Speaker 2: to stand back and order other people to do the,

659
00:37:04,080 --> 00:37:07,080
Speaker 2: dirty Work but stern likes to get in there with his. Own.

660
00:37:07,120 --> 00:37:10,120
Speaker 2: Hands yeah, all right let's talk a little bit about

661
00:37:10,120 --> 00:37:13,680
Speaker 2: the good, guys here the good guys and, the victims because,

662
00:37:13,800 --> 00:37:16,480
Speaker 2: let's see first, of all We Have ian Ogilvie Playing.

663
00:37:16,680 --> 00:37:22,560
Speaker 2: Richard marshall this Is our commonwealth soldier and ultimately our

664
00:37:22,680 --> 00:37:27,440
Speaker 2: key revenger active in. The picture ogilvie was born nineteen

665
00:37:27,520 --> 00:37:29,840
Speaker 2: forty three and as of this recording is Still around

666
00:37:30,320 --> 00:37:33,120
Speaker 2: british actor WHO'S been i think he's. Still active has

667
00:37:33,120 --> 00:37:35,799
Speaker 2: been active since fifty eight and he appeared in all

668
00:37:35,840 --> 00:37:39,319
Speaker 2: Three of reeves's, Feature Films So, she Beasts, the sorcerers

669
00:37:39,680 --> 00:37:42,719
Speaker 2: And Witch. Finder general he's worked a lot over the

670
00:37:42,760 --> 00:37:46,800
Speaker 2: eight decades he's. Been active his later credits Included Seventies,

671
00:37:47,400 --> 00:37:51,320
Speaker 2: wuthering heights the Seventy four amicus horror Anthology from Beyond,

672
00:37:51,360 --> 00:37:54,040
Speaker 2: the grave seventy four Is The, gathering storm seventy SIX Is,

673
00:37:54,080 --> 00:37:57,279
Speaker 2: i claudius and Let's see old nineteen ninety two's death

674
00:37:57,320 --> 00:37:58,960
Speaker 2: becomes her And puppet.

675
00:37:58,960 --> 00:38:02,239
Speaker 3: Master, five Oh puppet. Master five there. You go, that's

676
00:38:02,239 --> 00:38:02,719
Speaker 3: why that's where.

677
00:38:02,719 --> 00:38:07,160
Speaker 2: It, culminates, yeah yeah but solid lead. Performance HERE and

678
00:38:07,360 --> 00:38:09,799
Speaker 2: i should also point out my wife watched this one,

679
00:38:09,840 --> 00:38:12,040
Speaker 2: with me and she pointed out that She, thought ogilvy

680
00:38:12,120 --> 00:38:14,879
Speaker 2: or at least the person that we see Riding, as

681
00:38:14,880 --> 00:38:18,760
Speaker 2: ogilvy is a. Good horseman and the Same With. Vincent

682
00:38:18,800 --> 00:38:21,359
Speaker 2: Price vincent price or whoever was standing in for him

683
00:38:21,360 --> 00:38:23,080
Speaker 2: on horseback was a pretty.

684
00:38:23,120 --> 00:38:25,680
Speaker 3: Good, rider yeah horseback action is important in.

685
00:38:25,719 --> 00:38:27,480
Speaker 2: This, movie yeah there's a lot. Of, it again it's

686
00:38:27,520 --> 00:38:28,160
Speaker 2: Like a western in.

687
00:38:28,160 --> 00:38:31,279
Speaker 3: That, regard yeah now this is a movie that really

688
00:38:31,400 --> 00:38:34,759
Speaker 3: is more about its villains than about. Its HEROES but

689
00:38:34,920 --> 00:38:38,960
Speaker 3: i like our. HEROES here i Like The ian Oglevie,

690
00:38:39,480 --> 00:38:42,719
Speaker 3: as RICHARD and I Like hillary Dwyer. As sarah like

691
00:38:42,719 --> 00:38:45,759
Speaker 3: they've got, a nice, wholesome energy and we're going to

692
00:38:45,800 --> 00:38:47,960
Speaker 3: see their lives destroyed by these horrible.

693
00:38:48,000 --> 00:38:48,200
Speaker 2: Witch.

694
00:38:48,280 --> 00:38:48,720
Speaker 3: Hunters.

695
00:38:48,920 --> 00:38:53,520
Speaker 2: Yeah Yeah hillary dwyer as she's credited later On Became,

696
00:38:53,600 --> 00:38:56,279
Speaker 2: hillary heath and that's how you'll find her listed in.

697
00:38:56,320 --> 00:38:59,280
Speaker 2: The databases but she lived nineteen forty five through. Twenty

698
00:38:59,320 --> 00:39:02,799
Speaker 2: twenty british actress active in front of the camera from

699
00:39:02,960 --> 00:39:06,320
Speaker 2: sixty five through, seventy six during which she Appeared Alongside

700
00:39:06,320 --> 00:39:11,600
Speaker 2: timothy dalton in Nineteen Seventies. Worthering, heights, this However witch

701
00:39:11,600 --> 00:39:14,880
Speaker 2: finder was her first feature. Film role she also appeared

702
00:39:14,880 --> 00:39:18,440
Speaker 2: in Sixty Nine's The oblong box in Nineteen seventies cry Of.

703
00:39:18,480 --> 00:39:22,080
Speaker 2: The bansheet she later Won A Cable ace award for

704
00:39:22,520 --> 00:39:25,359
Speaker 2: the nineteen eighty Eight Series The, worst witch on which

705
00:39:25,400 --> 00:39:28,040
Speaker 2: she served as, a producer and she was active as

706
00:39:28,040 --> 00:39:31,239
Speaker 2: a producer from eighty three through. Twenty fourteen mother of

707
00:39:31,280 --> 00:39:35,360
Speaker 2: composer and Record Producer, daniel heath who has frequently Worked

708
00:39:35,360 --> 00:39:38,759
Speaker 2: with Lena, del ray who we actually mentioned In Our

709
00:39:39,200 --> 00:39:42,759
Speaker 2: dog Days of summer series that We're doing unstuffed to blow.

710
00:39:42,800 --> 00:39:44,000
Speaker 2: YOUR mind i think just the.

711
00:39:44,040 --> 00:39:49,440
Speaker 3: Other, episode, yeah okay we got some other. Good characters

712
00:39:49,760 --> 00:39:54,600
Speaker 3: we have The character, sarah's uncle, the priest Played Named,

713
00:39:54,760 --> 00:39:55,719
Speaker 3: john lowe is Played By.

714
00:39:55,760 --> 00:39:59,920
Speaker 2: Rupert davies, That's right davies, livelet's say nineteen sixteen through nineteen,

715
00:40:00,040 --> 00:40:03,319
Speaker 2: Seventy six british character actor whose other credits include fifty

716
00:40:03,400 --> 00:40:06,879
Speaker 2: Five's quator, mass two Sixty Five's the Spy Who came

717
00:40:06,920 --> 00:40:09,680
Speaker 2: in From, the cold Sixty eight's dracula has risen from

718
00:40:09,680 --> 00:40:12,720
Speaker 2: the grave or is it? HIS grave i can't remember

719
00:40:12,760 --> 00:40:14,520
Speaker 2: the man of the title wrong in my notes here.

720
00:40:14,440 --> 00:40:16,680
Speaker 3: Sixty eight from somebody. Else's grave he.

721
00:40:16,680 --> 00:40:20,000
Speaker 2: Rises from, a grave, that is he's certainly authorized to.

722
00:40:20,000 --> 00:40:23,959
Speaker 2: Be there i'm Not. Questioning Dracula non and then also

723
00:40:24,000 --> 00:40:28,759
Speaker 2: sixty Nine's The. Oblong box. Let's, see oh we have

724
00:40:28,800 --> 00:40:32,920
Speaker 2: some other other soldier characters in, the mix And So

725
00:40:33,960 --> 00:40:38,320
Speaker 2: ian Ogleby's Character, richard marshall his kind of like best

726
00:40:38,360 --> 00:40:42,120
Speaker 2: bud in, the Ranks Is, trooper swallow and he's Played By,

727
00:40:42,200 --> 00:40:45,280
Speaker 2: nicki hinson who of nineteen forty five through Twenty nineteen

728
00:40:45,520 --> 00:40:47,480
Speaker 2: british actor with a long Career in british FILM. And

729
00:40:47,520 --> 00:40:51,839
Speaker 2: tv his Credits. And cluelessee he was in two thousand And.

730
00:40:51,840 --> 00:40:55,719
Speaker 2: Five syriana he was in three Episodes Of downton abbey

731
00:40:55,760 --> 00:40:58,520
Speaker 2: as well as episodes Of. East enders but we previously

732
00:40:58,560 --> 00:41:00,520
Speaker 2: talked about him on the show because he played the

733
00:41:00,600 --> 00:41:04,200
Speaker 2: lead biker in nineteen Seventy. Three psychomania.

734
00:41:04,760 --> 00:41:07,440
Speaker 3: AMAZING catch i didn't notice this, at ALL though i

735
00:41:07,480 --> 00:41:09,320
Speaker 3: did notice his soldier friend.

736
00:41:09,360 --> 00:41:12,759
Speaker 2: Looked, familiar YES when i that Guy, FROM yeah i

737
00:41:12,760 --> 00:41:15,120
Speaker 2: didn't make the CONNECTION till i was putting the. Notes together,

738
00:41:15,160 --> 00:41:17,919
Speaker 2: i'm like oh, my god it's the Guy. From psychomania

739
00:41:18,000 --> 00:41:22,400
Speaker 2: he's the Biker. Lich king and an even crazier weird

740
00:41:22,440 --> 00:41:25,160
Speaker 2: connection for, us anyway IS that i started pulling up

741
00:41:25,200 --> 00:41:28,759
Speaker 2: images of Him from PSYCHOMANIA and i realized there's this

742
00:41:29,080 --> 00:41:33,920
Speaker 2: redheaded biker Dude in psychomania played by, This Actor. Dennis

743
00:41:33,960 --> 00:41:37,280
Speaker 2: gilmour and he also played one of the coven Members

744
00:41:37,280 --> 00:41:39,080
Speaker 2: In the Blood On. Satan's claw so.

745
00:41:39,480 --> 00:41:42,800
Speaker 3: He's the redheaded kid who He tells Fibbs In. Sunday

746
00:41:42,840 --> 00:41:45,279
Speaker 3: school and then you start with that and then it

747
00:41:45,360 --> 00:41:45,680
Speaker 3: ends up.

748
00:41:45,719 --> 00:41:49,560
Speaker 2: With. Murder, Yeah yeah so a lot of connections Between

749
00:41:49,560 --> 00:41:53,640
Speaker 2: these british genre films at, this point at, this period this.

750
00:41:53,760 --> 00:41:56,080
Speaker 2: Next one i'm only mentioning because sometimes you just got

751
00:41:56,080 --> 00:41:59,680
Speaker 2: to mention a unique name in. The cast i'm talking About,

752
00:41:59,719 --> 00:42:03,320
Speaker 2: alf joint who lived nineteen twenty seven through two thousand.

753
00:42:03,360 --> 00:42:05,960
Speaker 2: And five he plays a century. In this he was

754
00:42:06,000 --> 00:42:08,600
Speaker 2: primarily a stunt man who worked on such films as Eighty,

755
00:42:08,640 --> 00:42:12,080
Speaker 2: one's outland Eighty Five's, life force and he pops up,

756
00:42:12,080 --> 00:42:14,759
Speaker 2: in small, you know little background roles and stuff like

757
00:42:14,800 --> 00:42:19,839
Speaker 2: Sixty four's goldfinger in nineteen seventy One's A. CLOCKWORK orange.

758
00:42:21,000 --> 00:42:22,160
Speaker 3: I didn't clock Who alf.

759
00:42:22,239 --> 00:42:25,680
Speaker 2: JOINT was i kept seeing the name and, the Credits and, i'm, like,

760
00:42:25,719 --> 00:42:28,080
Speaker 2: oh man alf, joined nice, all.

761
00:42:28,040 --> 00:42:30,480
Speaker 3: Right that's a good name. To have when you're like

762
00:42:30,520 --> 00:42:34,160
Speaker 3: a list of, you know casting resumes in, The pile,

763
00:42:34,239 --> 00:42:37,680
Speaker 3: it's like we got to Give alf joint, to collback Contact.

764
00:42:37,760 --> 00:42:39,959
Speaker 2: ALF joint i Want alf joint. For this And What's

765
00:42:40,000 --> 00:42:45,280
Speaker 2: dick warlock? Up TO can I? Get? Warlock yeah let's

766
00:42:45,560 --> 00:42:48,880
Speaker 2: see a girl. At bar this is just one of the,

767
00:42:48,880 --> 00:42:52,000
Speaker 2: supporting characters just hanging Out with stern and his goons

768
00:42:52,040 --> 00:42:55,160
Speaker 2: at one point Played By, margaret nolan who lived nineteen

769
00:42:55,200 --> 00:42:58,360
Speaker 2: forty three through Twenty twenty english model, and actress notable

770
00:42:58,440 --> 00:43:02,640
Speaker 2: for playing the Massage therapist bank in nineteen Sixty. Four's

771
00:43:02,640 --> 00:43:05,440
Speaker 2: goldfinger so not the one who gets painted gold, to

772
00:43:05,560 --> 00:43:08,240
Speaker 2: death that Was, surely eden but the Other.

773
00:43:08,080 --> 00:43:11,040
Speaker 3: One, OKAY yeah i don't remember who.

774
00:43:11,000 --> 00:43:14,080
Speaker 2: She, WAS anyway a small, CONNECTION there i had to.

775
00:43:14,200 --> 00:43:17,840
Speaker 2: Point out and then we were talking about this, Actor Earlier,

776
00:43:18,520 --> 00:43:22,560
Speaker 2: patrick wymark So veteran british actor of nineteen twenty six

777
00:43:22,640 --> 00:43:26,319
Speaker 2: through nineteen seventy who played the Judge In the Blood On,

778
00:43:26,400 --> 00:43:28,680
Speaker 2: satan's claw the guy with the sword we were. Talking

779
00:43:28,719 --> 00:43:33,239
Speaker 2: about He plays cromwell In this cromwell pops up for

780
00:43:33,280 --> 00:43:37,040
Speaker 2: like one scene laid in, the Picture And patrick wymark

781
00:43:37,120 --> 00:43:37,439
Speaker 2: is playing.

782
00:43:37,480 --> 00:43:40,719
Speaker 3: IT now i thought it was an interesting choice To

783
00:43:41,200 --> 00:43:44,680
Speaker 3: put cromwell actually in. The, movie ultimately he's the general

784
00:43:44,760 --> 00:43:48,319
Speaker 3: Who the parliamentarians are fighting under at this point in

785
00:43:48,360 --> 00:43:51,960
Speaker 3: the historically In The English, civil war so he's historically

786
00:43:52,000 --> 00:43:56,359
Speaker 3: significant for, the setting but actually having him appear in

787
00:43:56,400 --> 00:44:00,320
Speaker 3: person for a scene was an, interesting choice ESPECIALLY because

788
00:44:01,040 --> 00:44:04,240
Speaker 3: i don't know if you felt any differently the movie,

789
00:44:04,239 --> 00:44:08,239
Speaker 3: to me did not really seem interested In characterizing cromwell

790
00:44:08,360 --> 00:44:11,160
Speaker 3: one way or. The, other like he does not come

791
00:44:11,200 --> 00:44:14,399
Speaker 3: off as especially noble, or heroic nor does he really

792
00:44:14,400 --> 00:44:17,120
Speaker 3: come off. As villainous he's just kind of he's. About

793
00:44:17,160 --> 00:44:18,200
Speaker 3: business he's trying to win.

794
00:44:18,239 --> 00:44:20,960
Speaker 2: The, war yeah that was the same VIBE that. I got,

795
00:44:21,000 --> 00:44:23,040
Speaker 2: AND yeah i. WAS curious i, WAS like i knew

796
00:44:23,040 --> 00:44:24,600
Speaker 2: he was going to. SHOW up i Knew That patrick

797
00:44:24,600 --> 00:44:27,400
Speaker 2: weimark was going To play cromwell in this and then

798
00:44:27,440 --> 00:44:29,560
Speaker 2: when he does, Show, up yeah he's like, you said,

799
00:44:29,600 --> 00:44:32,839
Speaker 2: he said He's, Business cromwell he's just he's just he's

800
00:44:32,840 --> 00:44:36,239
Speaker 2: focused on. Other things and all of the real villainous

801
00:44:36,360 --> 00:44:39,680
Speaker 2: energy of the film is taking place just kind of in,

802
00:44:39,840 --> 00:44:42,480
Speaker 2: you know far beneath him in. The, ranks yes you,

803
00:44:42,480 --> 00:44:45,759
Speaker 2: could say, you know he has no really direct role

804
00:44:45,800 --> 00:44:46,480
Speaker 2: in it one way or.

805
00:44:46,560 --> 00:44:50,160
Speaker 3: The other he has not authorized The witch hunters in,

806
00:44:50,239 --> 00:44:52,760
Speaker 3: the movie though again they're gonna they're gonna be claiming

807
00:44:52,840 --> 00:44:55,680
Speaker 3: that their authority Comes. From parliament in reality it.

808
00:44:55,680 --> 00:45:00,560
Speaker 2: Does, not yeah so it's a. Small scene whymark's they

809
00:45:00,560 --> 00:45:04,160
Speaker 2: give him the signature Moles. OF cromwell, I noticed so

810
00:45:04,160 --> 00:45:07,759
Speaker 2: there's some special effects makeup to. Transform him, but yeah

811
00:45:08,239 --> 00:45:10,800
Speaker 2: he's really good and he's Great in Blood On. Satan's

812
00:45:10,800 --> 00:45:13,480
Speaker 2: claw he was. An actor he was an actor Of The,

813
00:45:13,480 --> 00:45:15,960
Speaker 2: british STAGE with tv credits going back to the. Mid

814
00:45:16,000 --> 00:45:20,320
Speaker 2: fifties FIRST non tv film was Nineteen Sixty the League,

815
00:45:20,360 --> 00:45:23,440
Speaker 2: of gentlemen as Well As The Concrete Jungle let's see

816
00:45:23,440 --> 00:45:25,560
Speaker 2: in nineteen sixty three at his supporting Role In Disney's

817
00:45:25,600 --> 00:45:30,600
Speaker 2: doctor sin alias Alias. The scarecrow sorry this Was a patrick,

818
00:45:30,719 --> 00:45:35,560
Speaker 2: McGowan Film And. Let's see he also had a supporting

819
00:45:35,640 --> 00:45:38,319
Speaker 2: role in sixty Four as children Of. The damned he

820
00:45:38,360 --> 00:45:41,880
Speaker 2: played the Landlord In Roman polanski's repulsion in, sixty five

821
00:45:42,360 --> 00:45:45,880
Speaker 2: and also appeared the same Year Alongside peter Cushing And

822
00:45:45,960 --> 00:45:49,800
Speaker 2: christopher Lee In the skull that was Directed By, freddie

823
00:45:49,800 --> 00:45:53,280
Speaker 2: francis and then he Starred In freddy francis's nineteen Sixty

824
00:45:53,280 --> 00:45:59,360
Speaker 2: six Amicus Thriller. The psychopath some might also might remember

825
00:45:59,440 --> 00:46:03,800
Speaker 2: him From The The Rather deep Cast For Where eagles

826
00:46:03,880 --> 00:46:08,640
Speaker 2: dare from, sixty eight the Wartime thriller you never seen.

827
00:46:08,640 --> 00:46:10,880
Speaker 2: That one. It's good THAT'S one i remember watching as

828
00:46:10,920 --> 00:46:14,040
Speaker 2: a kid who CAME on tbs all. The, time yea, but,

829
00:46:15,040 --> 00:46:17,920
Speaker 2: yeah yeah. Great actor i'd love to see him in.

830
00:46:17,960 --> 00:46:21,799
Speaker 2: More things Blood On satan's claw was his, penultimate film by.

831
00:46:21,840 --> 00:46:24,239
Speaker 2: The way he just did one other film after that

832
00:46:24,320 --> 00:46:25,280
Speaker 2: and then.

833
00:46:25,360 --> 00:46:28,719
Speaker 3: Passed away wait did you say he's in? ANOTHER movie

834
00:46:29,000 --> 00:46:31,440
Speaker 3: i see in the notes he was in another Movie About,

835
00:46:31,719 --> 00:46:34,560
Speaker 3: oliver cromwell but he did Not Play. Oliver cromwell.

836
00:46:34,880 --> 00:46:38,080
Speaker 2: That's, right yeah he has a supporting role in the

837
00:46:38,160 --> 00:46:42,080
Speaker 2: really stacked Cast To ken hughes nineteen seventy Historical, attic

838
00:46:42,200 --> 00:46:47,200
Speaker 2: Cromwell which i've seen that ages and. AGES ago, i think,

839
00:46:47,320 --> 00:46:49,840
Speaker 2: you KNOW when i was maybe like junior high. Or

840
00:46:49,960 --> 00:46:54,319
Speaker 2: Younger But richard Harris plays cromwell. IN that i don't

841
00:46:54,360 --> 00:46:57,719
Speaker 2: remember if they put the Moles On richard harris's face, for,

842
00:46:57,800 --> 00:46:59,880
Speaker 2: THAT though i. Don't know they're more accurate.

843
00:47:00,080 --> 00:47:02,759
Speaker 3: This, picture now one element of this MOVIE that i

844
00:47:02,800 --> 00:47:06,920
Speaker 3: think is very strong is. The score and actually there

845
00:47:07,200 --> 00:47:09,880
Speaker 3: FROM what, i recall there's kind of sparing use, Of

846
00:47:10,000 --> 00:47:14,200
Speaker 3: music like a lot of scenes are just silent, environmental

847
00:47:14,280 --> 00:47:16,800
Speaker 3: sounds but when the music, COMES in i think, it's

848
00:47:16,920 --> 00:47:19,719
Speaker 3: strong kind of rousing, music THAT like, i said has

849
00:47:19,760 --> 00:47:25,360
Speaker 3: some elements Of like western and other elements Of like english. Folk, tunes,

850
00:47:25,960 --> 00:47:27,239
Speaker 3: yeah yeah it's a.

851
00:47:27,280 --> 00:47:30,759
Speaker 2: Solid score and the composer Here Is, paul ferris who

852
00:47:30,760 --> 00:47:34,279
Speaker 2: of nineteen forty one through nineteen. Ninety five his other

853
00:47:34,320 --> 00:47:37,920
Speaker 2: Scores Include the sorcerers and also Sixty Eight's The Blood,

854
00:47:37,960 --> 00:47:40,880
Speaker 2: beast terror as well as seventy Three Is The. Creeping

855
00:47:40,960 --> 00:47:45,120
Speaker 2: flesh That's A lee cushing outing that had some cool elements,

856
00:47:45,120 --> 00:47:48,520
Speaker 2: to it but also wallows and, some unpleasantness so it's not.

857
00:47:48,640 --> 00:47:52,200
Speaker 2: My Favorite but ferris also has a cameo in. THIS

858
00:47:52,239 --> 00:47:55,120
Speaker 2: film i did not notice, it myself but he does

859
00:47:55,160 --> 00:47:58,480
Speaker 2: show up at some point under the Name Of morris

860
00:47:58,600 --> 00:48:00,840
Speaker 2: jar playing a Character. Named, paul.

861
00:48:10,000 --> 00:48:11,520
Speaker 3: Okay are you ready to talk about?

862
00:48:11,560 --> 00:48:12,319
Speaker 2: The plot let's. Do.

863
00:48:12,360 --> 00:48:14,920
Speaker 3: It okay i'm not going to do as close a

864
00:48:15,000 --> 00:48:18,080
Speaker 3: scene by scene narration with this MOVIE as i do

865
00:48:18,239 --> 00:48:20,160
Speaker 3: for some of. The movies i'm going to talk in

866
00:48:20,200 --> 00:48:22,680
Speaker 3: a little more of a, summary way and maybe we

867
00:48:22,719 --> 00:48:26,000
Speaker 3: can make some observations about the themes and stylistic choices as.

868
00:48:26,040 --> 00:48:29,440
Speaker 3: We go but, so again the movie is Set In

869
00:48:29,680 --> 00:48:32,480
Speaker 3: east anglia in sixteen. Forty five this is going to

870
00:48:32,480 --> 00:48:35,719
Speaker 3: be at the height Of The English, civil war and

871
00:48:35,880 --> 00:48:38,719
Speaker 3: in this war you have the supporters of, the monarchy

872
00:48:38,840 --> 00:48:42,400
Speaker 3: the royalists called cavaliers by. Their enemies and then on

873
00:48:42,440 --> 00:48:46,000
Speaker 3: the other side you have the parliamentarians called roundheads by.

874
00:48:46,040 --> 00:48:51,400
Speaker 3: Their enemies and our main good characters are a young

875
00:48:51,480 --> 00:48:53,760
Speaker 3: couple who are very much in love from a Place

876
00:48:53,800 --> 00:48:57,960
Speaker 3: called Brandiston. And suffolk and these are these Characters Are,

877
00:48:58,040 --> 00:49:01,640
Speaker 3: sarah lowe's the niece of the kindly Village Priest, john

878
00:49:01,719 --> 00:49:06,719
Speaker 3: Lowe's And, richard marshall a MAN who i think does

879
00:49:06,760 --> 00:49:09,960
Speaker 3: not come. From money he's a young roundhead soldier who

880
00:49:10,000 --> 00:49:13,680
Speaker 3: has been serving in the, parliamentarian army but he's coming

881
00:49:13,719 --> 00:49:17,560
Speaker 3: home for a brief leave to see His. Beloved sarah

882
00:49:17,800 --> 00:49:21,000
Speaker 3: and then meanwhile you've got our, primary villains and They

883
00:49:21,040 --> 00:49:25,960
Speaker 3: Are matthew Hopkins And, john stern two men who travel

884
00:49:26,160 --> 00:49:29,920
Speaker 3: from village to village amidst the chaos, of war hunting

885
00:49:30,000 --> 00:49:36,919
Speaker 3: alleged witches under fake, parliamentary credentials charging fees and accommodations from,

886
00:49:37,000 --> 00:49:42,479
Speaker 3: local leaders and satisfying their sadism and their perverted desires as.

887
00:49:42,520 --> 00:49:46,440
Speaker 3: They go and to give himself the impromoter, Of government

888
00:49:46,520 --> 00:49:51,560
Speaker 3: hopkins styles himself The Witch. Finder general so their reputation

889
00:49:51,880 --> 00:49:55,000
Speaker 3: precedes them and as you, Noted, earlier rob they are

890
00:49:55,080 --> 00:49:58,600
Speaker 3: often summoned by, local leaders not just arriving out. OF

891
00:49:58,600 --> 00:50:03,040
Speaker 3: nowhere i think there is a nasty synergy going on

892
00:50:03,200 --> 00:50:06,960
Speaker 3: because they have found a they have found a grift

893
00:50:07,040 --> 00:50:09,399
Speaker 3: that is. In, DEMAND actually i think there's a lot

894
00:50:09,440 --> 00:50:13,600
Speaker 3: of fear, and confusion and they have found a way

895
00:50:13,640 --> 00:50:16,360
Speaker 3: to take advantage of that fear and confusion in a

896
00:50:16,400 --> 00:50:19,479
Speaker 3: way that. Excites people, they're, like yeah maybe these witch

897
00:50:19,520 --> 00:50:22,319
Speaker 3: hunters can come set our, lives right can come.

898
00:50:22,400 --> 00:50:25,560
Speaker 2: Bring, order yeah because every town is going to have

899
00:50:25,800 --> 00:50:28,799
Speaker 2: it's beset by chaos. And confusion they're going to be

900
00:50:28,840 --> 00:50:32,520
Speaker 2: marginalized members of. The community there are going to be

901
00:50:32,680 --> 00:50:35,680
Speaker 2: these these vendettas. And attitudes there are going to be

902
00:50:35,800 --> 00:50:40,080
Speaker 2: local people that are themselves bloodthirsty and just need that

903
00:50:40,200 --> 00:50:43,759
Speaker 2: excuse in order to act. Upon it and that's where

904
00:50:43,800 --> 00:50:44,439
Speaker 2: these guys. Come.

905
00:50:44,440 --> 00:50:47,080
Speaker 3: In yeah so when these guys arrive at, a village

906
00:50:47,120 --> 00:50:50,920
Speaker 3: their imo seems to be that they will target either

907
00:50:51,840 --> 00:50:56,000
Speaker 3: locals who are despised for some reason, by somebody and

908
00:50:56,040 --> 00:50:59,920
Speaker 3: this can be like outcasts or, religious dissenters or minority

909
00:51:01,160 --> 00:51:04,800
Speaker 3: or any kind Of, OTHER also, i, think yeah people

910
00:51:04,840 --> 00:51:08,040
Speaker 3: who the local leaders are already mad at for, some

911
00:51:08,239 --> 00:51:12,640
Speaker 3: reason or it also seems just. Random women so there's

912
00:51:12,680 --> 00:51:16,239
Speaker 3: a lot of just ambient misogyny at play in how they're.

913
00:51:16,239 --> 00:51:21,480
Speaker 3: Targeting people once they apprehend, their suspects they basically assume

914
00:51:21,560 --> 00:51:25,040
Speaker 3: guilt until innocence, is proven which and it, never is

915
00:51:25,160 --> 00:51:29,280
Speaker 3: except maybe in. Some cases as a reward for submitting

916
00:51:29,360 --> 00:51:33,560
Speaker 3: to financial or, sexual extortion they demand that the. Guilty

917
00:51:33,640 --> 00:51:38,800
Speaker 3: confess they subject their victims to various tests to detect evidence,

918
00:51:38,880 --> 00:51:43,240
Speaker 3: of witchcraft and these tests include what they call pricking

919
00:51:43,480 --> 00:51:48,239
Speaker 3: to find the. Devil's mark so they will stab the

920
00:51:48,320 --> 00:51:52,400
Speaker 3: victim with a needle or like a, thin blade reasoning

921
00:51:52,520 --> 00:51:55,560
Speaker 3: that they say the devil gives his servants a patch

922
00:51:55,600 --> 00:52:00,120
Speaker 3: of skin that is supernaturally protected and does not bleed,

923
00:52:00,200 --> 00:52:03,480
Speaker 3: when pierced so when they keep they'll be piercing people on,

924
00:52:03,600 --> 00:52:06,200
Speaker 3: the back and they just keep, piercing them and when

925
00:52:06,239 --> 00:52:08,759
Speaker 3: all the, wounds bleed, They, say wow the devil is

926
00:52:08,840 --> 00:52:11,239
Speaker 3: hidden his mark. Very well we'll have to search. Even

927
00:52:11,280 --> 00:52:17,279
Speaker 3: harder another test is the, swimming test where the victim is,

928
00:52:17,400 --> 00:52:20,399
Speaker 3: tied up their hands and feet, are bound and then

929
00:52:20,440 --> 00:52:25,040
Speaker 3: they are thrown or lowered into water and the, reasoning

930
00:52:25,080 --> 00:52:27,919
Speaker 3: goes if they sink to, the bottom That was god

931
00:52:28,040 --> 00:52:31,240
Speaker 3: showing them to. Be innocent if they float, or swim

932
00:52:31,360 --> 00:52:34,520
Speaker 3: this is the water rejecting them and proof that they. Are,

933
00:52:34,560 --> 00:52:39,360
Speaker 3: guilty now this is. So stupid it has been parodied a.

934
00:52:39,400 --> 00:52:42,120
Speaker 3: Million times you've probably seen versions.

935
00:52:41,800 --> 00:52:44,160
Speaker 2: Of This In mony python And The holy, grid Exactly The.

936
00:52:44,280 --> 00:52:48,120
Speaker 3: Monty python but the crazy thing is tests like these

937
00:52:48,239 --> 00:52:51,840
Speaker 3: were really used in a lot of historical, witch trials

938
00:52:51,880 --> 00:52:56,640
Speaker 3: including by The historical Hopkins. And stern sinking in this

939
00:52:56,719 --> 00:53:01,080
Speaker 3: test the innocence condition sometimes led to death by drowning

940
00:53:01,480 --> 00:53:03,839
Speaker 3: if the accused was not pulled up out of the water.

941
00:53:03,960 --> 00:53:06,799
Speaker 3: Soon enough and that outcome is depicted in.

942
00:53:06,840 --> 00:53:09,680
Speaker 2: This, movie yeah and this movie plays it straight and

943
00:53:09,719 --> 00:53:13,400
Speaker 2: it's it's. It's, Horrifying yeah so it DOES nicely i

944
00:53:13,440 --> 00:53:17,200
Speaker 2: think counterbalance the scenes depicting the sort of thing that

945
00:53:17,239 --> 00:53:20,359
Speaker 2: you find in, other Movies including Blood On, satan's clock

946
00:53:20,400 --> 00:53:23,280
Speaker 2: where it's it's, employed there but it's kind of employed

947
00:53:23,280 --> 00:53:26,359
Speaker 2: as like the one main comedic scene in the. Entire.

948
00:53:26,400 --> 00:53:30,200
Speaker 3: Picture yeah and when you say it's played straight in,

949
00:53:30,280 --> 00:53:33,719
Speaker 3: THE movie i would say that a lot of the

950
00:53:33,840 --> 00:53:37,440
Speaker 3: violence in the movie is made more horrifying by the

951
00:53:37,480 --> 00:53:40,879
Speaker 3: way that. It is it is treated very flatly by

952
00:53:41,000 --> 00:53:47,120
Speaker 3: the camera and by like it's often without cinematic flourishes

953
00:53:47,239 --> 00:53:51,359
Speaker 3: that might accompany violence in. Other movies that actually makes

954
00:53:51,400 --> 00:53:55,200
Speaker 3: it feel even more just kind of ugly and sad.

955
00:53:55,280 --> 00:53:57,960
Speaker 3: And bad the way that it's just matter of, fact

956
00:53:58,000 --> 00:54:01,520
Speaker 3: photography and also the way the actors play it is

957
00:54:01,640 --> 00:54:04,560
Speaker 3: just KIND of i, don't Know like i'm half heartedly

958
00:54:04,600 --> 00:54:07,600
Speaker 3: doing this thing that's maybe killing. A, person, yeah. Yeah,

959
00:54:07,640 --> 00:54:13,120
Speaker 3: yeah also so in, The movie Hopkins and stern appear

960
00:54:13,239 --> 00:54:17,480
Speaker 3: to have a slightly nuanced relationship to the idea of

961
00:54:17,600 --> 00:54:21,960
Speaker 3: just direct beating and torture to. Extract confessions stern. Loves

962
00:54:22,000 --> 00:54:24,240
Speaker 3: it he does it. For fun he loves beating people.

963
00:54:24,280 --> 00:54:30,400
Speaker 3: And torturing hopkins like formally publicly, condemns TORTURE and i

964
00:54:30,400 --> 00:54:33,040
Speaker 3: think in some scenes Even to stern, says like, YOU

965
00:54:33,080 --> 00:54:35,960
Speaker 3: know i, Don't torture we don't. Do that but also

966
00:54:36,040 --> 00:54:38,760
Speaker 3: he's fully Aware that stern, does it and he doesn't

967
00:54:39,000 --> 00:54:41,640
Speaker 3: make a serious attempt to, stop him and other times

968
00:54:41,920 --> 00:54:43,600
Speaker 3: is fully encouraging.

969
00:54:43,680 --> 00:54:43,799
Speaker 2: Of.

970
00:54:43,840 --> 00:54:48,120
Speaker 3: It yeah so it's just like there is a hypocrisy

971
00:54:48,320 --> 00:54:51,359
Speaker 3: in the Way that hopkins presents himself to have this

972
00:54:52,120 --> 00:54:53,439
Speaker 3: public facing air.

973
00:54:53,560 --> 00:54:53,680
Speaker 2: Of.

974
00:54:53,680 --> 00:54:59,640
Speaker 3: Civility yeah so eventually their Method goes after all these

975
00:54:59,680 --> 00:55:03,560
Speaker 3: tests and all, The torture Hopkins in stern inevitably, determined

976
00:55:03,640 --> 00:55:06,919
Speaker 3: yes all of the accused are either guilty or they've

977
00:55:06,960 --> 00:55:09,960
Speaker 3: been killed by the tests that proved. Their innocence now

978
00:55:09,960 --> 00:55:13,200
Speaker 3: it's time to. Execute them and initially in the movie

979
00:55:13,239 --> 00:55:15,480
Speaker 3: this is done, by hanging but later on in, The

980
00:55:15,480 --> 00:55:20,440
Speaker 3: film hopkins seems to be searching about for execution methods

981
00:55:20,480 --> 00:55:23,239
Speaker 3: that are even more cruel. And barbarous it's like the

982
00:55:23,320 --> 00:55:26,160
Speaker 3: hangings no longer give him the kick that. He craves

983
00:55:26,520 --> 00:55:29,479
Speaker 3: he needs something. More extreme so later in the film

984
00:55:29,520 --> 00:55:33,239
Speaker 3: we get him experimenting with these horrific mechanisms for execution.

985
00:55:33,360 --> 00:55:36,520
Speaker 2: By. Burning YEAH and i think historically and, in general

986
00:55:36,680 --> 00:55:39,959
Speaker 2: accused whiches were not Burned. In england they, were hung

987
00:55:40,239 --> 00:55:45,120
Speaker 2: which is plenty disturbing in and. Of itself and while

988
00:55:45,320 --> 00:55:50,319
Speaker 2: judicial torture was, illegal again things like thumbscrews or the

989
00:55:50,400 --> 00:55:53,319
Speaker 2: rack or whatever you happen to have to come to.

990
00:55:53,360 --> 00:55:57,640
Speaker 2: Mind here even though there were methods that were, certainly

991
00:55:57,680 --> 00:56:01,279
Speaker 2: illegal witch finders had loopholes like those depicted in the

992
00:56:01,280 --> 00:56:05,000
Speaker 2: film like we've been talking about things that seem more, Vested, in, like,

993
00:56:05,040 --> 00:56:07,920
Speaker 2: oh well this is, An experimentation like this is how

994
00:56:07,960 --> 00:56:10,640
Speaker 2: you tell if they're. A witch we're, not actually, you know.

995
00:56:10,760 --> 00:56:13,040
Speaker 2: Torturing somebody but it's of course. It's, torture.

996
00:56:13,320 --> 00:56:17,359
Speaker 3: YEAH exactly I, mean hopkins the Real historical hopkins wrote

997
00:56:17,360 --> 00:56:20,400
Speaker 3: a Book Called the Discovery of witches in which he

998
00:56:20,480 --> 00:56:24,080
Speaker 3: detailed these methods for figuring out how whether or not

999
00:56:24,120 --> 00:56:27,279
Speaker 3: somebody was. A witch, and, so yeah they're stabbing stuff while.

1000
00:56:27,320 --> 00:56:30,399
Speaker 3: Obviously torture he, was, like no that's, not torture, that's

1001
00:56:30,480 --> 00:56:33,200
Speaker 3: investigation that's getting the information.

1002
00:56:33,360 --> 00:56:33,480
Speaker 2: We.

1003
00:56:33,560 --> 00:56:38,080
Speaker 3: Need yeah so at the beginning of, the story we

1004
00:56:38,120 --> 00:56:41,160
Speaker 3: Meet Young richard marshall out riding with a Group of

1005
00:56:41,320 --> 00:56:44,080
Speaker 3: roundhead soldiers under the command of a Man Named, captain

1006
00:56:44,080 --> 00:56:48,720
Speaker 3: gordon and while they stop for arrest in, the forest

1007
00:56:48,880 --> 00:56:52,560
Speaker 3: they are ambushed by, cavalier snipers and this leads to

1008
00:56:52,560 --> 00:56:55,120
Speaker 3: a skirmish Where the roundheads chase the enemy into the

1009
00:56:55,120 --> 00:56:57,400
Speaker 3: woods and. Defeat them and then at the end of,

1010
00:56:57,400 --> 00:57:01,279
Speaker 3: this Fight young richard proves his capability by shooting a

1011
00:57:01,320 --> 00:57:05,359
Speaker 3: cavalier who was sneaking up behind. His captain so here

1012
00:57:05,560 --> 00:57:08,120
Speaker 3: are we kind Of like richard seems to be coming

1013
00:57:08,200 --> 00:57:10,960
Speaker 3: up in. The ranks he's being recognized for his for

1014
00:57:11,040 --> 00:57:13,120
Speaker 3: his bravery and daring do.

1015
00:57:13,320 --> 00:57:13,400
Speaker 2: In.

1016
00:57:13,480 --> 00:57:17,720
Speaker 3: Battle uh and, After this richard is given leave to

1017
00:57:17,840 --> 00:57:21,840
Speaker 3: ride back to his Hometown, of Brandiston Where, sarah lows

1018
00:57:21,960 --> 00:57:25,480
Speaker 3: the woman, he loves is waiting. For him sarah lives with,

1019
00:57:25,520 --> 00:57:28,640
Speaker 3: her uncle the, Village Priest, john lowe's and you can

1020
00:57:28,680 --> 00:57:31,440
Speaker 3: Tell that richard really is in Love with sarah because

1021
00:57:31,480 --> 00:57:33,919
Speaker 3: he's talking about her all the time to his army

1022
00:57:33,960 --> 00:57:36,960
Speaker 3: buddies when, he's away despite them totally mocking him. For

1023
00:57:37,120 --> 00:57:44,560
Speaker 3: it it's very much like you like. A girl, i mean,

1024
00:57:44,600 --> 00:57:45,320
Speaker 3: not really.

1025
00:57:45,080 --> 00:57:48,880
Speaker 2: But there's there's. A, bit, yeah yeah like he's he's he's. Clearly.

1026
00:57:48,960 --> 00:57:52,800
Speaker 3: Smitten Yeah so Richard and sarah when he, gets back

1027
00:57:52,800 --> 00:57:56,880
Speaker 3: they have a passionate Reunion and Richard Asks uncle john

1028
00:57:57,160 --> 00:58:01,400
Speaker 3: for his permission To. Marry sarah john not only grants,

1029
00:58:01,400 --> 00:58:04,200
Speaker 3: the permission he wants it to. Happen fast what he

1030
00:58:04,240 --> 00:58:07,360
Speaker 3: wants Is for Richard and sarah to marry and leave the,

1031
00:58:07,440 --> 00:58:12,760
Speaker 3: village Immediately because john has a sense that danger. IS

1032
00:58:12,960 --> 00:58:16,840
Speaker 3: imminent i don't know exactly what. He worries it's from

1033
00:58:16,920 --> 00:58:19,520
Speaker 3: whether from the war or from the witch hunters. Or

1034
00:58:19,560 --> 00:58:22,600
Speaker 3: both but he Thinks that sarah needs to be away

1035
00:58:22,640 --> 00:58:26,520
Speaker 3: from Here, AND john i think in this part he

1036
00:58:26,640 --> 00:58:28,920
Speaker 3: mentions that He and sarah are hated by some of

1037
00:58:28,960 --> 00:58:31,880
Speaker 3: the villagers who call them papists and accuse them of

1038
00:58:31,920 --> 00:58:35,440
Speaker 3: sympathy With the. King's forces and this is. Parliamentary territory

1039
00:58:36,880 --> 00:58:40,320
Speaker 3: so before they, Can marry richard has to return to

1040
00:58:40,360 --> 00:58:44,080
Speaker 3: the army and. Finish, serving now this is somewhat portrayed

1041
00:58:44,120 --> 00:58:46,280
Speaker 3: as kind of up, to him like he, has to,

1042
00:58:46,520 --> 00:58:49,800
Speaker 3: you know he, has ambitions and he doesn't have much

1043
00:58:50,080 --> 00:58:52,360
Speaker 3: money or anything that he can bring to, their union

1044
00:58:52,480 --> 00:58:55,440
Speaker 3: but maybe he has chances for advancement in. The army

1045
00:58:55,840 --> 00:58:58,880
Speaker 3: though also they make clear that in this world desertion

1046
00:58:59,040 --> 00:59:02,240
Speaker 3: is punishable, by, yeah YEAH so i think he sort

1047
00:59:02,280 --> 00:59:05,560
Speaker 3: of has to. Go back but on the Night that

1048
00:59:05,680 --> 00:59:08,880
Speaker 3: richard leaves the village, on horseback he crosses paths with

1049
00:59:08,920 --> 00:59:11,400
Speaker 3: a group of men who are waiting to meet to

1050
00:59:11,440 --> 00:59:13,840
Speaker 3: meet some people who are on, the road and then

1051
00:59:13,880 --> 00:59:17,360
Speaker 3: eventually he crosses paths with the two men that those

1052
00:59:17,400 --> 00:59:20,360
Speaker 3: guys are, waiting for the, witch Hunters with Stern. And

1053
00:59:20,440 --> 00:59:23,400
Speaker 3: hopkins they ask him for directions to, the village and

1054
00:59:23,480 --> 00:59:26,760
Speaker 3: he supplies them unaware of what is about. To happen

1055
00:59:27,280 --> 00:59:29,520
Speaker 3: and so this is the first scene where we get

1056
00:59:30,320 --> 00:59:35,680
Speaker 3: a Picture of Stern and hopkins and. THEIR relationship i

1057
00:59:35,720 --> 00:59:38,360
Speaker 3: don't know any thoughts you have about their relationship when

1058
00:59:38,360 --> 00:59:41,640
Speaker 3: we first. Meet them one just THING that i noticed

1059
00:59:41,640 --> 00:59:45,200
Speaker 3: immediately is they're not. Buddy buddy they're somewhat hostile to,

1060
00:59:45,240 --> 00:59:47,880
Speaker 3: each other but they need each other to keep this,

1061
00:59:47,960 --> 00:59:50,200
Speaker 3: thing going so they tolerate.

1062
00:59:50,280 --> 00:59:52,800
Speaker 2: Each. Other yeah it reminds me a little bit of

1063
00:59:52,840 --> 00:59:56,920
Speaker 2: the dynamic in The book dune With the baron And

1064
00:59:58,440 --> 01:00:03,920
Speaker 2: His twisted men tat Pyder, to vere's where where you

1065
01:00:03,960 --> 01:00:07,320
Speaker 2: know that they they are, not friends they hate, each

1066
01:00:07,320 --> 01:00:09,600
Speaker 2: other but need, each other and there's a there's always

1067
01:00:09,600 --> 01:00:12,080
Speaker 2: a sense of danger there and we see that play

1068
01:00:12,120 --> 01:00:14,000
Speaker 2: that that certainly plays out in. This. Film.

1069
01:00:14,360 --> 01:00:17,440
Speaker 3: Yeah uh and and they have their differences. In temperament

1070
01:00:17,480 --> 01:00:20,880
Speaker 3: as we. Discussed earlier stern is more, openly vicious this

1071
01:00:21,040 --> 01:00:24,800
Speaker 3: wolf like kind, of Figure whereas hopkins is just, as

1072
01:00:24,880 --> 01:00:27,680
Speaker 3: cruel just, as evil but hides it behind this veneer

1073
01:00:27,800 --> 01:00:31,439
Speaker 3: of dignity. And respectability and like there's this moment where

1074
01:00:31,440 --> 01:00:33,840
Speaker 3: He admonishes stern not to call him by his. First,

1075
01:00:33,920 --> 01:00:39,080
Speaker 3: name yeah you don't Call. Me matthew So when Hopkins

1076
01:00:39,160 --> 01:00:42,480
Speaker 3: and stern Arrive, in brandiston they set about their. Horrible

1077
01:00:42,520 --> 01:00:45,400
Speaker 3: work They Target john lowe's. Among others they go to,

1078
01:00:45,440 --> 01:00:49,360
Speaker 3: his home they subject him to bloody prickings like we,

1079
01:00:49,480 --> 01:00:53,280
Speaker 3: described earlier and to other bizarre tests like making him

1080
01:00:53,360 --> 01:00:56,440
Speaker 3: run laps around his dining room table after having been

1081
01:00:56,480 --> 01:01:02,640
Speaker 3: stabbed all, these times and they. Demand, Confession eventually sarah

1082
01:01:02,760 --> 01:01:05,960
Speaker 3: is able to save her uncle from immediate death by

1083
01:01:06,120 --> 01:01:09,920
Speaker 3: submitting to, sexual Extortion so hopkins says he'll come to

1084
01:01:09,960 --> 01:01:12,680
Speaker 3: her room at night to be shown special evidence that

1085
01:01:12,720 --> 01:01:16,640
Speaker 3: will assure Him of. John's innocence so because, of this

1086
01:01:16,920 --> 01:01:20,280
Speaker 3: instead Of sending john straight through the torture and, Execution

1087
01:01:20,440 --> 01:01:24,280
Speaker 3: process Hopkins orders john confined to a cell and. Left,

1088
01:01:24,320 --> 01:01:29,720
Speaker 3: Alone meanwhile stern just acts out his sadistic process on

1089
01:01:29,760 --> 01:01:33,040
Speaker 3: the other, suspected witches and then every night he drinks

1090
01:01:33,080 --> 01:01:38,000
Speaker 3: and carouses in. The tavern So eventually stern becomes aware

1091
01:01:38,360 --> 01:01:41,600
Speaker 3: Of what hopkins is Doing, to sarah And when hopkins

1092
01:01:41,840 --> 01:01:45,880
Speaker 3: leaves one day to visit a, Nearby village stern attacks And.

1093
01:01:46,040 --> 01:01:50,640
Speaker 3: Rapes Sarah after hopkins returns and finds out. What happened

1094
01:01:50,840 --> 01:01:54,040
Speaker 3: he seems to just kind of decide he's done with,

1095
01:01:54,120 --> 01:01:57,160
Speaker 3: this place so He betrays sarah and then has her

1096
01:01:57,240 --> 01:02:00,120
Speaker 3: uncle tortured and executed along with the, other women And

1097
01:02:00,560 --> 01:02:01,720
Speaker 3: then Hopkins and stern.

1098
01:02:01,880 --> 01:02:03,320
Speaker 2: Leave, town yeah.

1099
01:02:03,600 --> 01:02:06,760
Speaker 3: Absolutely, Brutal yeah and it's in, this section by, the

1100
01:02:06,800 --> 01:02:10,160
Speaker 3: way that we get like the depiction of the, swimming test,

1101
01:02:10,240 --> 01:02:12,320
Speaker 3: you know or they're like throwing the people into the

1102
01:02:12,360 --> 01:02:17,360
Speaker 3: water with the ropes. Around them So eventually, richard returns

1103
01:02:17,520 --> 01:02:22,160
Speaker 3: only To discover. Sarah traumatized he learns, what happened and

1104
01:02:22,320 --> 01:02:27,240
Speaker 3: he swears revenge Against both Hopkins. And stern and then,

1105
01:02:27,320 --> 01:02:31,320
Speaker 3: After this Sarah and richard are married in secret in

1106
01:02:31,400 --> 01:02:35,200
Speaker 3: a chapel that is desecrated with graffiti it says witch on,

1107
01:02:35,600 --> 01:02:39,800
Speaker 3: the walls with no priest or. Efficient present it seems

1108
01:02:40,120 --> 01:02:43,240
Speaker 3: like a kind of thematically, significant moment like the wedding

1109
01:02:43,920 --> 01:02:46,720
Speaker 3: that they have is on no one's authority but. Their

1110
01:02:46,760 --> 01:02:49,280
Speaker 3: Own like richard just holds a sword up in the

1111
01:02:49,320 --> 01:02:50,360
Speaker 3: air like this is.

1112
01:02:50,440 --> 01:02:53,160
Speaker 2: My, Priest, yeah YEAH because i mean that seems to

1113
01:02:53,160 --> 01:02:55,880
Speaker 2: be how things work now in. The world everything's torn

1114
01:02:55,880 --> 01:02:59,640
Speaker 2: apart by this war, and yeah this is how the

1115
01:02:59,680 --> 01:03:03,720
Speaker 2: witch are. Are operating THIS is i guess how weddings

1116
01:03:03,720 --> 01:03:05,280
Speaker 2: are going to. Work too you just you just.

1117
01:03:05,320 --> 01:03:09,120
Speaker 3: Do, It Yeah so sarah goes to the nearby Village

1118
01:03:09,160 --> 01:03:13,120
Speaker 3: of lavianum to Hide until richard can finish his mission

1119
01:03:13,520 --> 01:03:15,720
Speaker 3: mission of REVENGE and i guess also his work with

1120
01:03:15,760 --> 01:03:17,960
Speaker 3: the army and then come back. To her so she's

1121
01:03:18,000 --> 01:03:23,480
Speaker 3: going into. Hiding nearby so This. Is richard he's on the. Revenge, rails, now, yeah.

1122
01:03:23,240 --> 01:03:26,240
Speaker 2: Yeah this is the point where it definitely becomes clear

1123
01:03:26,280 --> 01:03:29,479
Speaker 2: that this is a. Revenge movie and, In general i'd

1124
01:03:29,480 --> 01:03:32,160
Speaker 2: say that revenge movies are often my one of my least,

1125
01:03:32,200 --> 01:03:36,360
Speaker 2: favorite subgenres in part because of the like the the,

1126
01:03:36,440 --> 01:03:38,800
Speaker 2: structure is it's very much on. The rails you generally

1127
01:03:38,800 --> 01:03:40,920
Speaker 2: know how revenge film is going. To go and it's

1128
01:03:40,920 --> 01:03:43,040
Speaker 2: also it's going to be, pretty dark like it's either

1129
01:03:43,080 --> 01:03:46,160
Speaker 2: gonna even if it has a, happy ending that ending

1130
01:03:46,280 --> 01:03:50,240
Speaker 2: is just murders and in a lot of cases it's

1131
01:03:50,240 --> 01:03:52,840
Speaker 2: going to be a more realistic dig two graves sort

1132
01:03:52,840 --> 01:03:58,360
Speaker 2: of a situation, where vengeance murderous vengeance is is, pulled

1133
01:03:58,400 --> 01:04:01,680
Speaker 2: off but like nothing's really everyone's. Just dirty by. The

1134
01:04:01,720 --> 01:04:05,000
Speaker 2: exercise but that, BEING said i have to acknowledge that

1135
01:04:05,040 --> 01:04:07,120
Speaker 2: it is a solid structure for. A film those are

1136
01:04:07,160 --> 01:04:11,400
Speaker 2: some solid storytelling rails to, be on and the movie

1137
01:04:11,400 --> 01:04:13,400
Speaker 2: does really pick up its pace when it becomes clear

1138
01:04:13,400 --> 01:04:16,560
Speaker 2: that it's fully a. Revenge film and there's also that, incentive,

1139
01:04:16,560 --> 01:04:19,480
Speaker 2: that oh this is a, revenge film we Might see

1140
01:04:19,680 --> 01:04:22,680
Speaker 2: Hopkins and stern actually get.

1141
01:04:22,720 --> 01:04:26,280
Speaker 3: Their, comeuppance yeah which is not feel good in the

1142
01:04:26,360 --> 01:04:28,840
Speaker 3: end of, the movie but is somewhat satisfying just because

1143
01:04:28,840 --> 01:04:33,400
Speaker 3: of how disgusting and awful the. Villains, ARE unfortunately i

1144
01:04:33,440 --> 01:04:36,800
Speaker 3: think there was not any such justice in the real.

1145
01:04:36,960 --> 01:04:40,600
Speaker 3: HISTORICAL case I think hopkins just died.

1146
01:04:40,640 --> 01:04:44,120
Speaker 2: At, HOME yeah i think it's suspected that he died

1147
01:04:44,120 --> 01:04:47,600
Speaker 2: of tuberculosis or something, like that as opposed to any

1148
01:04:47,680 --> 01:04:51,560
Speaker 2: sort of more fitting. Come uppance and certainly they are

1149
01:04:51,640 --> 01:04:55,000
Speaker 2: legends that. Suggest that but, you know it's the way of.

1150
01:04:55,040 --> 01:04:57,959
Speaker 2: The world sometimes the villains do not get what's coming,

1151
01:04:58,000 --> 01:04:59,200
Speaker 2: to them but in.

1152
01:04:59,160 --> 01:05:01,880
Speaker 3: The movie they, they will even though it's not exactly a.

1153
01:05:01,880 --> 01:05:13,160
Speaker 3: Happy ending so all through the middle of, THE movie

1154
01:05:13,320 --> 01:05:16,560
Speaker 3: i wanted to, point out did you notice this recurring

1155
01:05:16,600 --> 01:05:20,960
Speaker 3: theme of the roundheads needing horses they're just like very

1156
01:05:21,560 --> 01:05:23,920
Speaker 3: like we need we need to get, more horses we

1157
01:05:23,960 --> 01:05:26,920
Speaker 3: need to protect. Our horses they're just like very. Into.

1158
01:05:27,000 --> 01:05:30,960
Speaker 3: Horses uh and at one point this becomes significant for

1159
01:05:31,000 --> 01:05:34,920
Speaker 3: the plot because a Troop of roundhead Soldiers stop Hopkins

1160
01:05:34,920 --> 01:05:37,600
Speaker 3: and stern on their way to the. Next village, they,

1161
01:05:37,640 --> 01:05:40,480
Speaker 3: say hey we. Need horses we're gonna buy. Your horses

1162
01:05:41,120 --> 01:05:44,000
Speaker 3: hopkins tries, to say we're, not selling but the, soldier

1163
01:05:44,080 --> 01:05:47,919
Speaker 3: says you. Are selling and this scene felt very much

1164
01:05:47,920 --> 01:05:51,320
Speaker 3: to me like something out Of, a western these classic western.

1165
01:05:51,400 --> 01:05:55,840
Speaker 3: Standoff movies and this leads into a fight and both

1166
01:05:56,320 --> 01:06:00,240
Speaker 3: where Sterns and Stern and hopkins. Become Separated so hopkins

1167
01:06:00,280 --> 01:06:04,120
Speaker 3: bolts on horseback and he. Gets away stern is, initially

1168
01:06:04,200 --> 01:06:07,520
Speaker 3: caught but then manages to kill his captor and he escapes.

1169
01:06:07,560 --> 01:06:10,680
Speaker 3: As well and then in a, LOCAL pub i Think

1170
01:06:10,920 --> 01:06:14,480
Speaker 3: somehow richard happens to cross Paths, with, stern right he

1171
01:06:14,560 --> 01:06:17,760
Speaker 3: just comes into the pub and, he's There and richard

1172
01:06:17,800 --> 01:06:20,560
Speaker 3: tries to, kill Him but stern they Fight and stern,

1173
01:06:20,680 --> 01:06:25,880
Speaker 3: escapes again so eventually he reunites Uneasily with hopkins and

1174
01:06:25,960 --> 01:06:28,360
Speaker 3: tells him that this soldier is looking. For them so

1175
01:06:28,560 --> 01:06:31,840
Speaker 3: they Know That riches richard is coming. For. Revenge.

1176
01:06:32,120 --> 01:06:34,760
Speaker 2: Yeah yeah initially, it's like You think stern is maybe

1177
01:06:35,040 --> 01:06:38,600
Speaker 2: there To kill hopkins for, abandoning him and certainly accuses him,

1178
01:06:38,640 --> 01:06:41,640
Speaker 2: of Such and hopkins pulls a gun, on Him but

1179
01:06:42,160 --> 01:06:44,720
Speaker 2: hopkins is able to convince him, it's like, come on

1180
01:06:44,800 --> 01:06:47,400
Speaker 2: let's get back. To, business, then yeah that's what.

1181
01:06:47,440 --> 01:06:50,600
Speaker 3: They do so they move on to the, next village

1182
01:06:50,640 --> 01:06:54,560
Speaker 3: which is uh Oh lavin um that they they're going

1183
01:06:54,600 --> 01:06:57,479
Speaker 3: there and we remember way the audience remembered That's where

1184
01:06:57,520 --> 01:07:02,040
Speaker 3: sarah went to, hide Out and hopkins decides he wants

1185
01:07:02,080 --> 01:07:05,040
Speaker 3: to experiment with new, execution methods so this is where

1186
01:07:05,080 --> 01:07:07,560
Speaker 3: he comes up with this horrible contraption where they're going

1187
01:07:07,640 --> 01:07:11,640
Speaker 3: to use a ladder and ropes to lower victims face

1188
01:07:11,720 --> 01:07:16,400
Speaker 3: first into a. Giant, fire meanwhile there's some army business

1189
01:07:16,920 --> 01:07:19,560
Speaker 3: in the middle of. The movie richard has to report

1190
01:07:19,600 --> 01:07:22,720
Speaker 3: back to, his unit and while, doing so he gets,

1191
01:07:22,720 --> 01:07:25,680
Speaker 3: a promotion and then he is tasked by none Other

1192
01:07:25,760 --> 01:07:30,120
Speaker 3: than cromwell himself with leading a scouting PARTY to i

1193
01:07:30,120 --> 01:07:32,720
Speaker 3: think find and Capture the king is the idea that

1194
01:07:32,760 --> 01:07:35,280
Speaker 3: the king is trying to escape the country in secret

1195
01:07:35,320 --> 01:07:37,280
Speaker 3: and they think he might be in one of the towns.

1196
01:07:37,320 --> 01:07:39,960
Speaker 2: Around, there yeah so they need to try and intercept

1197
01:07:40,040 --> 01:07:41,560
Speaker 2: him and apprehend him and bring. Him. Back.

1198
01:07:41,640 --> 01:07:46,240
Speaker 3: Yeah, yeah anyway while out on, This mission richard and

1199
01:07:46,320 --> 01:07:49,439
Speaker 3: his trooper friends find out that the witch hunters Are,

1200
01:07:49,480 --> 01:07:52,960
Speaker 3: in Lavenum where sarah went to, hide out so they go,

1201
01:07:53,040 --> 01:07:56,000
Speaker 3: in pursuit but it turns Out that Hopkins and stern

1202
01:07:56,040 --> 01:07:58,920
Speaker 3: have set a trap, for them And when, Richard arrives

1203
01:07:58,960 --> 01:08:02,280
Speaker 3: hopkins has a local man Accused both Richard and sarah of.

1204
01:08:02,320 --> 01:08:04,440
Speaker 3: Being witches what does? He say, he's, LIKE yes i

1205
01:08:04,480 --> 01:08:09,440
Speaker 3: saw them with. Their familiars and so they're taken away

1206
01:08:09,680 --> 01:08:12,680
Speaker 3: to a dungeon in a nearby castle to be tortured

1207
01:08:12,680 --> 01:08:16,639
Speaker 3: and interrogated via the methods we. Saw earlier so while they're,

1208
01:08:16,640 --> 01:08:20,439
Speaker 3: being tormented they're getting the pricks with the knife in

1209
01:08:20,479 --> 01:08:23,720
Speaker 3: The back sarah Is while richard is being forced. To,

1210
01:08:23,760 --> 01:08:27,200
Speaker 3: Watch meanwhile richard's men figure out where they are and

1211
01:08:27,240 --> 01:08:29,800
Speaker 3: they're on. The way they're on, the run coming to,

1212
01:08:29,840 --> 01:08:33,760
Speaker 3: the rescue and this leads to, a bloody violent conclusion

1213
01:08:34,000 --> 01:08:36,800
Speaker 3: In which sarah is subjected to these pricks of the

1214
01:08:36,800 --> 01:08:40,679
Speaker 3: blade on. Her back to Find The. Devil's mark richard

1215
01:08:40,800 --> 01:08:44,519
Speaker 3: eventually breaks free and He fights stern and kills him

1216
01:08:44,600 --> 01:08:48,840
Speaker 3: by stomping through. His eye it's like a boot spur

1217
01:08:48,960 --> 01:08:49,680
Speaker 3: that goes into his.

1218
01:08:49,720 --> 01:08:51,519
Speaker 2: EYE socket i, guess SO because i was like, AT

1219
01:08:51,520 --> 01:08:53,240
Speaker 2: first i, was like is that a heel that he

1220
01:08:53,680 --> 01:08:55,559
Speaker 2: killed him with? The heel, but yeah the spur makes

1221
01:08:55,560 --> 01:08:55,960
Speaker 2: a lot. More.

1222
01:08:56,000 --> 01:09:00,160
Speaker 3: Sense yeah And then richard picks up an axe And,

1223
01:09:00,280 --> 01:09:04,000
Speaker 3: attacks hopkins and we just it's just, on screen brutal

1224
01:09:04,120 --> 01:09:06,680
Speaker 3: hacking at him over and over with an axe that

1225
01:09:06,840 --> 01:09:10,439
Speaker 3: goes on and On until, richard's friends, the soldiers they

1226
01:09:10,439 --> 01:09:12,880
Speaker 3: finally fight their way through. The guards they break into

1227
01:09:12,880 --> 01:09:18,200
Speaker 3: the room and one of them shoots the Gruesomely. Wounded hopkins, this,

1228
01:09:18,439 --> 01:09:21,840
Speaker 3: shooting Though, enrages richard who starts screaming you took him

1229
01:09:21,840 --> 01:09:25,479
Speaker 3: from me over, and Over and sarah's screams of pain

1230
01:09:25,640 --> 01:09:28,280
Speaker 3: and trauma fill the air as we go to. The

1231
01:09:28,280 --> 01:09:31,680
Speaker 3: CREDITS so i, was, thinking man how bad is? This,

1232
01:09:31,840 --> 01:09:34,880
Speaker 3: ending like in, a, way there it is in some

1233
01:09:34,920 --> 01:09:38,240
Speaker 3: ways a victorious ending for our two, main characters because

1234
01:09:38,240 --> 01:09:42,320
Speaker 3: at least they actually do survive and the villains. Are

1235
01:09:42,520 --> 01:09:46,240
Speaker 3: punished both of the two villains these horrible villains, are

1236
01:09:46,600 --> 01:09:52,080
Speaker 3: killed but the two good characters both seem extremely psychologically

1237
01:09:52,200 --> 01:09:55,439
Speaker 3: damaged by the events of, the movie maybe both having

1238
01:09:55,520 --> 01:09:57,320
Speaker 3: been driven. To, madness yeah.

1239
01:09:57,160 --> 01:09:59,360
Speaker 2: And the film doesn't give us even just a, you.

1240
01:09:59,400 --> 01:10:02,760
Speaker 2: KNOW glot, I mean i don't think that the ending

1241
01:10:02,800 --> 01:10:05,519
Speaker 2: necessarily is trying to tell us that there's no hope

1242
01:10:05,560 --> 01:10:08,080
Speaker 2: for these two. Or anything but we're left to imagine

1243
01:10:08,080 --> 01:10:10,720
Speaker 2: that on. Our own we're not given a hint of

1244
01:10:10,760 --> 01:10:13,400
Speaker 2: what that might look like or and.

1245
01:10:13,439 --> 01:10:17,400
Speaker 3: So, forth yeah so it's ambiguous in. THAT regard i

1246
01:10:17,479 --> 01:10:20,120
Speaker 3: was thinking about the violence of the ending and the

1247
01:10:20,120 --> 01:10:25,120
Speaker 3: way that like the revenge, is achieved but also it

1248
01:10:25,160 --> 01:10:28,519
Speaker 3: at the same time somehow feels thwarted and it's not like,

1249
01:10:28,560 --> 01:10:31,839
Speaker 3: a happy, Satisfying ENDING and i was kind of pairing

1250
01:10:31,960 --> 01:10:34,479
Speaker 3: that with the thing we talked about earlier about how

1251
01:10:34,520 --> 01:10:38,360
Speaker 3: a lot of the violence in the movie is shot

1252
01:10:38,400 --> 01:10:45,400
Speaker 3: and presented in a, very undramatic. Uncinematic Way and i'm

1253
01:10:45,520 --> 01:10:49,040
Speaker 3: just trying to put all this together and it and

1254
01:10:49,120 --> 01:10:51,639
Speaker 3: figure out what the movie is trying to say about

1255
01:10:51,720 --> 01:10:54,640
Speaker 3: violence with all. THESE choices i kind of get that

1256
01:10:54,680 --> 01:10:59,720
Speaker 3: the point is to emphasize the pointlessness of the violence in,

1257
01:10:59,760 --> 01:11:04,200
Speaker 3: the movie that it's just something that's happening for no

1258
01:11:04,439 --> 01:11:08,080
Speaker 3: good reason. At all. Like that there there's, you know

1259
01:11:08,160 --> 01:11:11,320
Speaker 3: In what Stern and, hopkins do it's almost like by,

1260
01:11:11,920 --> 01:11:15,640
Speaker 3: you know putting in more music and photographing it in

1261
01:11:15,680 --> 01:11:19,720
Speaker 3: a more emotionally, charged way it might be kind of valorizing.

1262
01:11:19,760 --> 01:11:24,120
Speaker 2: It, somehow yeah or if they'd like really stylize the

1263
01:11:24,160 --> 01:11:26,400
Speaker 2: gore in a way where they were doing some sort of,

1264
01:11:26,680 --> 01:11:31,280
Speaker 2: you know unrealistic but maybe more horror movie cinematic torture,

1265
01:11:31,320 --> 01:11:34,200
Speaker 2: techniques instead like in, many scenes It's just stern like

1266
01:11:34,320 --> 01:11:37,360
Speaker 2: just slapping people around while they're, in chains and it's

1267
01:11:37,479 --> 01:11:41,040
Speaker 2: it's not even for like a real. GORE hound i

1268
01:11:41,080 --> 01:11:44,120
Speaker 2: don't think they're going to find. This visually they're not

1269
01:11:44,120 --> 01:11:48,439
Speaker 2: going to find it visually pleasing because it's just base

1270
01:11:48,960 --> 01:11:50,080
Speaker 2: in its depiction.

1271
01:11:50,200 --> 01:11:54,320
Speaker 3: Of, violence yeah there's another THING that i wanted to

1272
01:11:54,320 --> 01:11:57,479
Speaker 3: point OUT which i thought was, really interesting and that

1273
01:11:57,680 --> 01:12:01,960
Speaker 3: is the contrast between the contents of the story and

1274
01:12:02,000 --> 01:12:05,640
Speaker 3: the esthetics of. The Setting so i'd say this is

1275
01:12:05,840 --> 01:12:10,280
Speaker 3: very different Than Like corman's, poe movies where the setting

1276
01:12:10,360 --> 01:12:13,760
Speaker 3: and landscape is bleak and gloomy in a way that

1277
01:12:13,920 --> 01:12:18,519
Speaker 3: reflects the morbid, subject matter whereas here the horror of

1278
01:12:18,560 --> 01:12:23,559
Speaker 3: the plot and the wickedness unleashed by the villains is

1279
01:12:24,200 --> 01:12:28,120
Speaker 3: strongly contrasted by the beauty we see all. Around us

1280
01:12:28,160 --> 01:12:32,760
Speaker 3: there's all these shots of, this green beautiful countryside and these.

1281
01:12:32,840 --> 01:12:36,440
Speaker 3: IDYLLIC towns, i mean it's just like full of gorgeous

1282
01:12:36,479 --> 01:12:40,200
Speaker 3: locations that seem peaceful and serene and easy on. The

1283
01:12:40,280 --> 01:12:44,480
Speaker 3: EYE and i think this is an interesting and. Significant

1284
01:12:44,600 --> 01:12:50,760
Speaker 3: choice it's a movie, about, sadism, misogyny cruelty, and revenge

1285
01:12:51,360 --> 01:12:54,040
Speaker 3: but the world it takes place in is. So lush,

1286
01:12:54,120 --> 01:12:57,000
Speaker 3: it's like, you know this breath of clean. Country AIR

1287
01:12:57,800 --> 01:12:59,840
Speaker 3: and i was just trying to think about what this

1288
01:13:00,400 --> 01:13:03,120
Speaker 3: to how the violence in the movie. IS received i

1289
01:13:03,120 --> 01:13:07,080
Speaker 3: think one thing you could say is that maybe it

1290
01:13:07,240 --> 01:13:09,320
Speaker 3: highlights how it's not just that the world.

1291
01:13:09,640 --> 01:13:10,320
Speaker 2: Is bad.

1292
01:13:11,200 --> 01:13:16,120
Speaker 3: You know sometimes you get these these gloomy movies with a,

1293
01:13:16,360 --> 01:13:20,439
Speaker 3: you know sympathetic weather or landscape pattern that reflects the

1294
01:13:20,560 --> 01:13:23,600
Speaker 3: evil in, the plot and that's just like a pessimistic

1295
01:13:23,720 --> 01:13:26,160
Speaker 3: read on life and on. The world and that's not

1296
01:13:26,240 --> 01:13:29,640
Speaker 3: what's going on here, very much very much in, This

1297
01:13:29,720 --> 01:13:32,000
Speaker 3: movie like the world, is good and there's a lot,

1298
01:13:32,000 --> 01:13:34,920
Speaker 3: of wholesome beautiful stuff in it that's worth. Fighting for

1299
01:13:35,000 --> 01:13:39,680
Speaker 3: there's love and kindness and beautiful, green fields but it

1300
01:13:39,720 --> 01:13:43,799
Speaker 3: can all just be destroyed, by stupid pointless of violence

1301
01:13:43,840 --> 01:13:46,080
Speaker 3: and hatred from Predators like Hopkins.

1302
01:13:46,120 --> 01:13:49,040
Speaker 2: And, stern, yeah like the world does not need to be,

1303
01:13:49,160 --> 01:13:51,360
Speaker 2: this way and you can look out your window and.

1304
01:13:51,400 --> 01:13:53,920
Speaker 2: See why, whereas yeah and these, other films, it's, like yeah.

1305
01:13:53,960 --> 01:13:56,599
Speaker 2: It's gloomy it's a dark and. Stormy night, of course

1306
01:13:56,680 --> 01:13:59,800
Speaker 2: things are playing out like a. Horror movie but, you, know,

1307
01:14:00,040 --> 01:14:00,760
Speaker 2: yeah yeah this is a.

1308
01:14:00,800 --> 01:14:03,759
Speaker 3: GREAT point i think there's another way you could interpret.

1309
01:14:03,760 --> 01:14:06,599
Speaker 3: It Too maybe i'm not sure which one makes more sense,

1310
01:14:06,640 --> 01:14:12,040
Speaker 3: To me but the other way is something about like

1311
01:14:12,040 --> 01:14:15,920
Speaker 3: like how the appearance of beauty or civility can conceal

1312
01:14:16,120 --> 01:14:19,400
Speaker 3: the signs, of barbarism like in the Way that hopkins

1313
01:14:19,520 --> 01:14:24,200
Speaker 3: presents himself publicly as civilized, and humane and then of

1314
01:14:24,240 --> 01:14:26,720
Speaker 3: course behind the scenes we know what He's. ACTUALLY like

1315
01:14:27,280 --> 01:14:29,280
Speaker 3: i wonder if that has something to do with like

1316
01:14:29,320 --> 01:14:31,720
Speaker 3: all these beautiful landscapes, we see but then when we

1317
01:14:31,760 --> 01:14:33,280
Speaker 3: figure out what's going on, in them.

1318
01:14:33,320 --> 01:14:36,840
Speaker 2: It's, horrible, Yeah yeah and there's probably another way That

1319
01:14:37,439 --> 01:14:42,360
Speaker 2: that i'm assuming here might read particularly for The local,

1320
01:14:42,400 --> 01:14:46,080
Speaker 2: british audience, you know like because these ideas of like

1321
01:14:46,200 --> 01:14:49,679
Speaker 2: What what britain, looks like What the english countryside, Looks

1322
01:14:49,800 --> 01:14:51,880
Speaker 2: LIKE and i can only imagine that sort of plays

1323
01:14:51,920 --> 01:14:54,479
Speaker 2: into it, as well, you know the sort of like

1324
01:14:54,920 --> 01:14:57,040
Speaker 2: local expectations of.

1325
01:14:57,080 --> 01:15:00,880
Speaker 3: Regional, Geography yeah saurn is operating within.

1326
01:15:01,000 --> 01:15:02,160
Speaker 2: The shire yeah there.

1327
01:15:02,200 --> 01:15:05,680
Speaker 3: You, GO yeah i Guess sorrow man actually does.

1328
01:15:05,720 --> 01:15:05,800
Speaker 2: Go.

1329
01:15:05,880 --> 01:15:11,680
Speaker 3: There, yeah, OKAY well i guess That's all i've got

1330
01:15:11,720 --> 01:15:13,880
Speaker 3: for now On Witch. Finder general do anything else you

1331
01:15:13,880 --> 01:15:15,160
Speaker 3: wanted to talk about before we wrap?

1332
01:15:15,200 --> 01:15:15,240
Speaker 1: It?

1333
01:15:15,320 --> 01:15:17,719
Speaker 2: UP no i think, we covered, you know in, broad

1334
01:15:17,760 --> 01:15:23,040
Speaker 2: strokes the really important. Themes here but, but yeah it's

1335
01:15:23,600 --> 01:15:27,840
Speaker 2: very interesting to consider this film's role in sort of

1336
01:15:27,920 --> 01:15:34,240
Speaker 2: laying the Groundwork For English full car as we've come to,

1337
01:15:34,880 --> 01:15:37,400
Speaker 2: understand it and then that sort of laying the Groundwork

1338
01:15:37,520 --> 01:15:41,080
Speaker 2: For full car. In general but, but yeah it is

1339
01:15:41,080 --> 01:15:44,000
Speaker 2: also still a film that, very much, you know exists on,

1340
01:15:44,040 --> 01:15:46,360
Speaker 2: its own, and yeah it's interesting to think about it As,

1341
01:15:46,360 --> 01:15:49,280
Speaker 2: a western interesting to think about what it is saying

1342
01:15:49,400 --> 01:15:54,200
Speaker 2: about about violence and chaotic times and oppression and misogyny

1343
01:15:54,360 --> 01:15:58,000
Speaker 2: in violent. Chaotic times, So yeah I'm glad i'm glad

1344
01:15:58,000 --> 01:15:59,960
Speaker 2: we ended up pivoting to, this one and it was

1345
01:16:00,280 --> 01:16:02,840
Speaker 2: is always great To See vincent price in a really.

1346
01:16:02,840 --> 01:16:05,839
Speaker 2: Commanding performance and yet again it's, you know a slightly

1347
01:16:05,880 --> 01:16:11,760
Speaker 2: different cocktail of. Elements here it's as different from from

1348
01:16:11,840 --> 01:16:14,760
Speaker 2: any of The Other vincent price performances we've talked about on. The.

1349
01:16:14,760 --> 01:16:18,160
Speaker 3: Show totally he's very good. In it but don't pick

1350
01:16:18,200 --> 01:16:20,400
Speaker 3: this movie for Your Fun vincent price.

1351
01:16:20,439 --> 01:16:20,679
Speaker 2: Movie.

1352
01:16:20,800 --> 01:16:23,560
Speaker 3: Night there go with one Of The doctor fibes Movies

1353
01:16:23,800 --> 01:16:27,160
Speaker 3: or Theater of blood or something, like that, You Know

1354
01:16:27,280 --> 01:16:30,000
Speaker 3: wax museum or is that what, it's called wax are

1355
01:16:30,520 --> 01:16:31,680
Speaker 3: one of his Wax.

1356
01:16:31,439 --> 01:16:33,200
Speaker 2: Movie, yeah, yeah, yeah yeah.

1357
01:16:33,240 --> 01:16:35,599
Speaker 3: This one this is Not Fun. Times price this is

1358
01:16:35,640 --> 01:16:39,240
Speaker 3: this Is Bad. Times price but he's he excels at this.

1359
01:16:39,360 --> 01:16:43,519
Speaker 2: As well, all, right well we're gonna go ahead and

1360
01:16:43,520 --> 01:16:45,760
Speaker 2: close out this Episode Of Weird, house cinema but we'd

1361
01:16:45,760 --> 01:16:47,479
Speaker 2: love to hear from everyone out there if you have

1362
01:16:47,720 --> 01:16:52,479
Speaker 2: any thoughts On Which finder General And vincent price or

1363
01:16:52,520 --> 01:16:55,160
Speaker 2: some of the themes we discussed here. Right in we'd

1364
01:16:55,160 --> 01:16:57,080
Speaker 2: love to hear. From, you likewise, you know if we

1365
01:16:57,120 --> 01:17:00,679
Speaker 2: want to discuss the The The unholy Trinity of english

1366
01:17:00,680 --> 01:17:03,759
Speaker 2: folk car in general open to discussions of those films.

1367
01:17:03,800 --> 01:17:06,920
Speaker 2: As well let's see a reminder to everyone, out there,

1368
01:17:07,000 --> 01:17:09,519
Speaker 2: let's see if you've Listened to Stuff to Blow, your

1369
01:17:09,520 --> 01:17:10,960
Speaker 2: mind you know That the Stuff to Blow your mind

1370
01:17:10,960 --> 01:17:13,679
Speaker 2: feed is mostly built around our core Episodes on Tuesdays

1371
01:17:13,680 --> 01:17:16,960
Speaker 2: and thursdays those are science and. Culture episodes But on

1372
01:17:17,040 --> 01:17:19,800
Speaker 2: fridays we set aside most serious concerns to just talk about,

1373
01:17:19,800 --> 01:17:22,560
Speaker 2: a film a weird film or a, you know noteworthy

1374
01:17:22,680 --> 01:17:26,639
Speaker 2: of genre films such As Wich Finder general and if

1375
01:17:26,640 --> 01:17:29,479
Speaker 2: you go to letterbox, dot com look, us up We Are. Weird.

1376
01:17:29,520 --> 01:17:31,160
Speaker 2: House there we have a nice list of all the

1377
01:17:31,160 --> 01:17:33,840
Speaker 2: movies we've covered, thus far sometimes the peak ahead at what,

1378
01:17:33,880 --> 01:17:36,080
Speaker 2: comes next and there are all sorts of interesting ways

1379
01:17:36,120 --> 01:17:38,479
Speaker 2: you can tweak that list to look at view it in,

1380
01:17:38,479 --> 01:17:40,840
Speaker 2: different ways, you know focusing on different decades or even.

1381
01:17:40,840 --> 01:17:44,840
Speaker 2: Different performers so it's a lot. Of fun. Let's, see

1382
01:17:44,840 --> 01:17:47,360
Speaker 2: finally i'd Say that Stuff to Blow your mind we've

1383
01:17:47,360 --> 01:17:49,920
Speaker 2: been around for and for years. And Years Weird house

1384
01:17:49,920 --> 01:17:52,599
Speaker 2: cinema has been around for years at, this point mostly

1385
01:17:52,640 --> 01:17:55,439
Speaker 2: as an, audio podcast so most of what we've done

1386
01:17:55,520 --> 01:17:58,559
Speaker 2: you can find wherever you get your. Audio Podcasts but,

1387
01:17:59,160 --> 01:18:02,639
Speaker 2: more recently we started putting out these video Podcasts, On

1388
01:18:02,720 --> 01:18:04,880
Speaker 2: netflix so if you want to watch us as we

1389
01:18:04,920 --> 01:18:07,479
Speaker 2: interact with, each other go Over to netflix and look

1390
01:18:07,520 --> 01:18:10,040
Speaker 2: Us up Stuff To Blow. Your mind if you're watching Us,

1391
01:18:10,080 --> 01:18:12,400
Speaker 2: on netflix give us a couple of, thumbs up ask

1392
01:18:12,400 --> 01:18:14,880
Speaker 2: to be reminded about, new episodes, and likewise if you're

1393
01:18:14,920 --> 01:18:17,839
Speaker 2: listening to the audio, podcast somewhere give us some. Stars

1394
01:18:18,400 --> 01:18:21,240
Speaker 2: subscribe all of these are levers you can pull that

1395
01:18:21,280 --> 01:18:21,960
Speaker 2: help us out in the.

1396
01:18:22,000 --> 01:18:26,240
Speaker 3: Long run huge thanks as always to our excellent AUDIO Producer.

1397
01:18:26,320 --> 01:18:28,800
Speaker 3: Jj posway if you would like to get in touch

1398
01:18:28,800 --> 01:18:31,160
Speaker 3: with us with feedback on this episode or, any other

1399
01:18:31,280 --> 01:18:33,320
Speaker 3: to suggest a topic for, the future or just to,

1400
01:18:33,320 --> 01:18:36,200
Speaker 3: say hello you can email us at contact Stuff to

1401
01:18:36,240 --> 01:18:36,880
Speaker 3: Blow your mind.

1402
01:18:37,040 --> 01:18:46,600
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