1
00:00:02,440 --> 00:00:08,760
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:12,960 --> 00:00:14,800
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:14,840 --> 00:00:17,439
Speaker 3: This is Rob Lamb and this is Joe McCormick. And

4
00:00:17,560 --> 00:00:20,440
Speaker 3: today on Weird House Cinema we're going to be talking

5
00:00:20,440 --> 00:00:25,159
Speaker 3: about the nineteen fifty two finish folk horror film The

6
00:00:25,239 --> 00:00:31,080
Speaker 3: White Reindeer, starring Miryami Quosmanan and directed by Eric Blomberg.

7
00:00:31,840 --> 00:00:34,520
Speaker 3: If I may say, I think this is the finest

8
00:00:34,680 --> 00:00:36,960
Speaker 3: ware ungulate movie I have ever seen.

9
00:00:38,200 --> 00:00:41,760
Speaker 2: It may be the finest ware ungulate movie I can envision,

10
00:00:42,360 --> 00:00:46,280
Speaker 2: because the concept to many of you, I imagine were

11
00:00:46,320 --> 00:00:50,479
Speaker 2: wolf fans to the last of you, I'm assuming you

12
00:00:50,560 --> 00:00:54,160
Speaker 2: might struggle to get excited for a ware reindeer picture.

13
00:00:54,440 --> 00:00:58,320
Speaker 2: And yet this one is really good. It's classy, it's

14
00:00:58,360 --> 00:01:01,720
Speaker 2: basically art house and has some, you know, almost kind

15
00:01:01,720 --> 00:01:05,559
Speaker 2: of documentary vibes to it at times. It's very well

16
00:01:05,560 --> 00:01:09,360
Speaker 2: done and ultimately makes you buying completely to this concept

17
00:01:09,440 --> 00:01:12,480
Speaker 2: that I have to admit that on the surface, too

18
00:01:12,560 --> 00:01:14,800
Speaker 2: many of us might seem a little silly.

19
00:01:15,080 --> 00:01:20,040
Speaker 3: Oh by the end, I was terrified of reindeers. Is

20
00:01:20,480 --> 00:01:22,880
Speaker 3: that a correct plural would not be Reindeer's it'd still

21
00:01:22,880 --> 00:01:25,919
Speaker 3: be reindeer. That's plural. You just to say the dear Yeah, okay,

22
00:01:26,600 --> 00:01:29,440
Speaker 3: but yeah. So this movie is set in the culture

23
00:01:30,000 --> 00:01:35,240
Speaker 3: of pre Christian Lapland today the northernmost region of Finland,

24
00:01:35,560 --> 00:01:38,959
Speaker 3: and The White Reindeer tells a story of love and loneliness,

25
00:01:39,080 --> 00:01:46,240
Speaker 3: of women's dependence and independence in culture, of longing and desire,

26
00:01:46,800 --> 00:01:50,880
Speaker 3: of witchcraft, of transformation, and of murder. It's got all

27
00:01:50,960 --> 00:01:53,920
Speaker 3: kinds of stuff going on. So the basic premise of

28
00:01:53,960 --> 00:01:57,600
Speaker 3: the story is that Pirita, a woman of the north

29
00:01:57,760 --> 00:02:01,880
Speaker 3: married to a hard working reindeer herder Lapland, finds herself

30
00:02:02,080 --> 00:02:05,440
Speaker 3: unhappy with life, and she seeks the help of a

31
00:02:05,480 --> 00:02:09,280
Speaker 3: wizard who prescribes for her a ritual that will make

32
00:02:09,360 --> 00:02:14,280
Speaker 3: her irresistible to men. But unfortunately, this magic spell has

33
00:02:14,320 --> 00:02:18,400
Speaker 3: a toxic interaction with the pre existing condition of her

34
00:02:18,440 --> 00:02:22,480
Speaker 3: being a genetic witch since birth, and instead of merely

35
00:02:22,560 --> 00:02:26,239
Speaker 3: becoming the bell of the Ball, Pirita is transformed into

36
00:02:26,320 --> 00:02:32,200
Speaker 3: a kind of seductive, somnambulist and reindeer version of a werewolf,

37
00:02:32,320 --> 00:02:35,480
Speaker 3: assuming fur and antlers by the light of the moon

38
00:02:35,880 --> 00:02:41,000
Speaker 3: and luring unsuspecting herdsmen to their deaths. Now, Rob, there's

39
00:02:41,000 --> 00:02:43,520
Speaker 3: one little random claim I read on the Internet that

40
00:02:43,639 --> 00:02:45,760
Speaker 3: made a lot more sense of the story to me

41
00:02:46,400 --> 00:02:48,200
Speaker 3: after I read it. I don't know this is true,

42
00:02:48,240 --> 00:02:51,840
Speaker 3: but it seems likely given the story here. It's not

43
00:02:51,919 --> 00:02:55,959
Speaker 3: explained in the story itself, but apparently the Sami people,

44
00:02:56,040 --> 00:03:01,120
Speaker 3: whose culture is depicted in this story. Among the Samni people,

45
00:03:01,760 --> 00:03:04,799
Speaker 3: it was a common folk belief that there was something

46
00:03:04,919 --> 00:03:09,240
Speaker 3: special about a white or albino reindeer, and if you

47
00:03:09,280 --> 00:03:12,240
Speaker 3: could catch a wild white reindeer, it would bring you

48
00:03:12,320 --> 00:03:13,160
Speaker 3: great fortune.

49
00:03:14,280 --> 00:03:16,320
Speaker 2: Yeah, that does help flash things out a little bit.

50
00:03:17,360 --> 00:03:20,799
Speaker 3: So the white reindeer has a kind of interesting release history.

51
00:03:20,800 --> 00:03:23,240
Speaker 3: I was reading a bit about it in a book

52
00:03:23,320 --> 00:03:27,320
Speaker 3: called one hundred European Horror Films, edited by Stephen J. Schneider,

53
00:03:27,760 --> 00:03:31,760
Speaker 3: and apparently it's nineteen fifty two debut in the Finnish

54
00:03:31,880 --> 00:03:37,160
Speaker 3: capital of Helsinki happened during the summer Olympics in Helsinki,

55
00:03:37,480 --> 00:03:41,279
Speaker 3: which resulted in what the author calls near vacant screenings.

56
00:03:41,360 --> 00:03:44,400
Speaker 3: Nobody was gone to see it, but so not a

57
00:03:44,400 --> 00:03:47,600
Speaker 3: good way to start. But it caught on domestically after this,

58
00:03:47,720 --> 00:03:50,640
Speaker 3: in a second run later that summer or maybe in

59
00:03:50,680 --> 00:03:54,600
Speaker 3: the fall and it started getting good press and would

60
00:03:54,600 --> 00:03:59,680
Speaker 3: eventually become something of an international hit, receiving a number

61
00:03:59,680 --> 00:04:03,160
Speaker 3: of wards, including at the con Film Festival. We'll get

62
00:04:03,200 --> 00:04:06,720
Speaker 3: into more on that later, but it's kind of interesting

63
00:04:06,760 --> 00:04:10,440
Speaker 3: that this was a sort of sensation at the time,

64
00:04:10,520 --> 00:04:12,640
Speaker 3: and I think for most of my life I'd never

65
00:04:12,680 --> 00:04:14,720
Speaker 3: even heard of it. I never became aware of it

66
00:04:14,800 --> 00:04:15,760
Speaker 3: until just recently.

67
00:04:16,000 --> 00:04:18,400
Speaker 2: I was not aware of it until you texted me

68
00:04:18,440 --> 00:04:21,279
Speaker 2: over the weekend and said, I have chosen for this week.

69
00:04:21,480 --> 00:04:25,600
Speaker 2: It's the White Reindeer. And I at the time I

70
00:04:25,720 --> 00:04:27,839
Speaker 2: was I was like, of course, you know, one hundred percent.

71
00:04:27,839 --> 00:04:30,159
Speaker 2: I'm like, all right, let's do Let's do the white Reindeer.

72
00:04:30,160 --> 00:04:33,200
Speaker 2: But I was also thinking, this is an interesting summer choice.

73
00:04:33,360 --> 00:04:34,680
Speaker 2: But of course we just did a cour Stuff to

74
00:04:34,680 --> 00:04:37,400
Speaker 2: Blowy Night episode on skiing, so it's not out out

75
00:04:37,400 --> 00:04:40,760
Speaker 2: of keeping with us to do something that seems seasonally opposite.

76
00:04:41,000 --> 00:04:44,159
Speaker 2: But oh, ice skating, Yeah, ice skating, Sorry, not skiing.

77
00:04:44,200 --> 00:04:46,839
Speaker 2: We haven't done skiing yet, but we should skiing.

78
00:04:47,400 --> 00:04:48,760
Speaker 3: There's a lot of skiing in the movie.

79
00:04:48,839 --> 00:04:52,800
Speaker 2: She But but now that you mentioned that this originally

80
00:04:52,839 --> 00:04:55,520
Speaker 2: came out in the summer, it is fitting that we're

81
00:04:55,560 --> 00:04:56,719
Speaker 2: talking about it in the summer.

82
00:04:57,000 --> 00:05:00,000
Speaker 3: I mean, I happen to personally love counter seasonal programming.

83
00:05:00,160 --> 00:05:02,080
Speaker 2: Yeah, you know, that's just me.

84
00:05:02,680 --> 00:05:06,000
Speaker 3: Now. I think it could be interesting to compare this

85
00:05:06,160 --> 00:05:09,440
Speaker 3: film to other Rare Beast movies we've covered on the show,

86
00:05:09,480 --> 00:05:11,520
Speaker 3: But maybe we should come back to that later or

87
00:05:11,560 --> 00:05:15,000
Speaker 3: just as it occurs to us throughout. One thing I

88
00:05:15,040 --> 00:05:17,000
Speaker 3: do think we should talk about briefly at the top

89
00:05:17,640 --> 00:05:22,839
Speaker 3: is this movie's visual stylistic virtue, As many reviewers mentioned

90
00:05:22,839 --> 00:05:26,039
Speaker 3: this as a real highlight of the film, the bold,

91
00:05:26,440 --> 00:05:29,920
Speaker 3: stark way that it looks. It was shot on location

92
00:05:30,120 --> 00:05:34,320
Speaker 3: in real snowy landscapes of northern Finland, in Lapland, And

93
00:05:34,360 --> 00:05:37,280
Speaker 3: so you get these the fells, you know, these kind

94
00:05:37,320 --> 00:05:42,240
Speaker 3: of like like low sloping or rounded mountaintops or hilltops,

95
00:05:42,600 --> 00:05:44,880
Speaker 3: many of which are bear some of which have just

96
00:05:45,000 --> 00:05:49,480
Speaker 3: kind of I don't know, sad looking like snow covered

97
00:05:49,480 --> 00:05:51,200
Speaker 3: tree limbs poking out.

98
00:05:51,400 --> 00:05:54,400
Speaker 2: Like every portion of the tree, trees iced over in

99
00:05:54,480 --> 00:06:00,000
Speaker 2: ways that those of us in more southern climate's scared

100
00:06:00,279 --> 00:06:02,520
Speaker 2: can imagine. Like it looks almost Sussian, you know, the

101
00:06:02,560 --> 00:06:03,920
Speaker 2: way these trees are iced over.

102
00:06:04,200 --> 00:06:06,359
Speaker 3: Yeah, true Arctic strangeness.

103
00:06:06,560 --> 00:06:10,120
Speaker 2: Yeah, Jack frost hit this landscape hard, but also.

104
00:06:09,920 --> 00:06:13,200
Speaker 3: Like herds of reindeer stretching to the horizon in some shots,

105
00:06:13,240 --> 00:06:16,400
Speaker 3: those are quite striking. And then these little and then

106
00:06:16,839 --> 00:06:21,400
Speaker 3: the way that the movie deals with both absolutely empty

107
00:06:21,640 --> 00:06:26,080
Speaker 3: expanses and then these little closed boxes in the homes.

108
00:06:26,640 --> 00:06:28,760
Speaker 3: You know that. So you'll go out in this field

109
00:06:28,800 --> 00:06:31,279
Speaker 3: and it's just like seeing far to the horizon and

110
00:06:31,320 --> 00:06:34,080
Speaker 3: there's nothing there but a few like you know, leafless

111
00:06:34,080 --> 00:06:38,120
Speaker 3: shrubs or this, you know, this train of animals just

112
00:06:38,160 --> 00:06:41,599
Speaker 3: stretching over the horizon and there's like nothing else to see.

113
00:06:41,880 --> 00:06:43,920
Speaker 3: But then you arrive at the Wizard Shack and you

114
00:06:43,960 --> 00:06:46,480
Speaker 3: go inside and it looks like it's about like eight

115
00:06:46,520 --> 00:06:50,400
Speaker 3: feet by eight feet. Inside it's like tiny but crammed

116
00:06:50,440 --> 00:06:51,400
Speaker 3: with evil magic.

117
00:06:51,839 --> 00:06:53,560
Speaker 2: Yeah, now that you mentioned it that way reminds me

118
00:06:53,560 --> 00:06:55,920
Speaker 2: of some past discussions we had on the on the

119
00:06:56,240 --> 00:06:58,640
Speaker 2: Core and stuff to blow your mind episodes about the

120
00:06:58,760 --> 00:07:01,200
Speaker 2: art of Tibet and like in tear spaces into Bet

121
00:07:02,080 --> 00:07:07,120
Speaker 2: interior sacred spaces versus the exterior world where you have

122
00:07:07,200 --> 00:07:09,800
Speaker 2: like huge sky and sweeping vistas, And we have a

123
00:07:09,840 --> 00:07:12,080
Speaker 2: similar vibe going on here, you know, with these these

124
00:07:12,160 --> 00:07:15,600
Speaker 2: little enclosed often you know, very dark, cozy spaces, and

125
00:07:15,640 --> 00:07:20,120
Speaker 2: then outside it's just like a white wasteland, but in

126
00:07:20,120 --> 00:07:21,320
Speaker 2: the most beautiful sense.

127
00:07:21,720 --> 00:07:23,760
Speaker 3: Yeah, these things filmed in a way that is both

128
00:07:23,800 --> 00:07:25,080
Speaker 3: frightening and beautiful.

129
00:07:25,560 --> 00:07:27,440
Speaker 2: If we haven't mentioned it already, this is a black

130
00:07:27,480 --> 00:07:30,640
Speaker 2: and white film, which, especially in these shots of the

131
00:07:30,800 --> 00:07:34,000
Speaker 2: of the landscape, seem very fitting.

132
00:07:34,080 --> 00:07:34,240
Speaker 1: You know.

133
00:07:34,280 --> 00:07:37,480
Speaker 2: It's it's like everything is very very white, and the

134
00:07:37,560 --> 00:07:41,200
Speaker 2: shadows have this this depth to them, and then the

135
00:07:41,240 --> 00:07:44,920
Speaker 2: indoor scenes, especially at night, also feel it feels appropriate.

136
00:07:45,360 --> 00:07:48,200
Speaker 2: I will say there are a few scenes of just

137
00:07:48,240 --> 00:07:51,920
Speaker 2: sort of normal everyday life or celebration within the community

138
00:07:52,080 --> 00:07:54,040
Speaker 2: that I kind of wished we could have seen in color,

139
00:07:54,080 --> 00:07:57,920
Speaker 2: because I feel like those were Yeah, I just kind

140
00:07:57,920 --> 00:07:59,960
Speaker 2: of wanted to see the colors there. But on the whole,

141
00:08:00,000 --> 00:08:02,800
Speaker 2: oh yeah, the black and white and this is absolutely beautiful.

142
00:08:03,200 --> 00:08:05,640
Speaker 3: I just realized there's really no way around it. But

143
00:08:05,680 --> 00:08:09,559
Speaker 3: we're gonna say the words reindeer and snow so many

144
00:08:09,640 --> 00:08:12,080
Speaker 3: times in this episode. I was just like going through

145
00:08:12,120 --> 00:08:14,680
Speaker 3: my notes trying to think of synonyms, so I wasn't

146
00:08:14,680 --> 00:08:18,080
Speaker 3: repeating myself so much. But in a way it's fitting

147
00:08:18,120 --> 00:08:21,400
Speaker 3: because this movie is just it's just plowing straight into

148
00:08:21,400 --> 00:08:24,640
Speaker 3: your brain with reindeer and snow, there's so much of both.

149
00:08:24,840 --> 00:08:28,000
Speaker 2: Most of the location is snow, and there are far

150
00:08:28,640 --> 00:08:31,280
Speaker 2: far more reindeer in the picture than human beings. Like

151
00:08:31,320 --> 00:08:33,559
Speaker 2: it's just it's just a fact. There's just so many

152
00:08:33,600 --> 00:08:36,520
Speaker 2: reindeer on the screen at different points. But in a

153
00:08:36,520 --> 00:08:39,560
Speaker 2: way that is again, it feels very when you see

154
00:08:39,600 --> 00:08:42,760
Speaker 2: people interacting with the reindeer. When you see it feels

155
00:08:42,920 --> 00:08:46,800
Speaker 2: almost like a documentary, like a snapshot of life. There's

156
00:08:46,840 --> 00:08:48,640
Speaker 2: not a sense of like, all right, let's get the

157
00:08:48,679 --> 00:08:50,880
Speaker 2: reindeer wrangler out there so we can get this shot.

158
00:08:51,040 --> 00:08:53,760
Speaker 2: Like this, this film feels very real.

159
00:08:54,320 --> 00:08:58,040
Speaker 3: I believe the director of it had made documentaries and

160
00:08:58,040 --> 00:09:00,760
Speaker 3: maybe even on this subject right correct.

161
00:09:01,360 --> 00:09:04,040
Speaker 2: His first short picture as well, we'll discuss here in

162
00:09:04,080 --> 00:09:09,400
Speaker 2: a minute, was about Lapland reindeer herders, So it's yeah,

163
00:09:09,400 --> 00:09:12,760
Speaker 2: it's very fitting. I should also point out that this

164
00:09:12,840 --> 00:09:16,240
Speaker 2: film is in many spaces very light on dialogue. It

165
00:09:16,240 --> 00:09:19,199
Speaker 2: has almost a silent film sensibility.

166
00:09:18,760 --> 00:09:21,600
Speaker 3: That's notable in multiple ways. It does contribute to the

167
00:09:21,640 --> 00:09:24,280
Speaker 3: mood of the film because there are long silent stretches

168
00:09:24,280 --> 00:09:28,760
Speaker 3: where there's just music, no talking in between the dialogue scenes,

169
00:09:28,800 --> 00:09:31,560
Speaker 3: and that I think that does contribute to the kind

170
00:09:31,559 --> 00:09:35,440
Speaker 3: of lonely, eerie feeling that they're attempting to conjure, especially

171
00:09:35,480 --> 00:09:39,680
Speaker 3: when we're just alone with Perita. Yeah, but in addition

172
00:09:39,720 --> 00:09:43,400
Speaker 3: to that the lack of dialogue, it shows a real

173
00:09:43,800 --> 00:09:46,800
Speaker 3: what seems to me to be a conscious choice of

174
00:09:47,080 --> 00:09:52,400
Speaker 3: narrative restraint that keeps many things about characters motivations and

175
00:09:52,440 --> 00:09:56,000
Speaker 3: thoughts a mystery very different than I think most other

176
00:09:56,360 --> 00:09:57,719
Speaker 3: movies at this time would have done.

177
00:09:57,760 --> 00:09:57,840
Speaker 1: That.

178
00:09:58,240 --> 00:10:01,120
Speaker 3: I feel like if this same kind of subject had

179
00:10:01,120 --> 00:10:03,840
Speaker 3: been approached by an American filmmaker at this time, there

180
00:10:03,840 --> 00:10:08,520
Speaker 3: would have been a lot more voiceover explaining the interior

181
00:10:08,640 --> 00:10:12,920
Speaker 3: thoughts of characters of perioda and aslock. But we don't

182
00:10:13,000 --> 00:10:15,600
Speaker 3: get that, so very often we're just sort of left

183
00:10:15,720 --> 00:10:18,160
Speaker 3: wondering what they're thinking about what's going on.

184
00:10:18,679 --> 00:10:21,320
Speaker 2: Yeah, it has a very European art house sensibility in

185
00:10:21,320 --> 00:10:25,839
Speaker 2: that respect. And yeah, and there will be no transformation

186
00:10:26,000 --> 00:10:27,880
Speaker 2: scenes in this in the way that you get them

187
00:10:27,920 --> 00:10:33,480
Speaker 2: in a certainly American and many European examples of ladder

188
00:10:33,520 --> 00:10:37,120
Speaker 2: monster movies and so specifically were Wolf movies. But then again,

189
00:10:37,160 --> 00:10:40,000
Speaker 2: you don't need a transformation scene for a great shape

190
00:10:40,000 --> 00:10:40,840
Speaker 2: shifter movie.

191
00:10:41,240 --> 00:10:44,440
Speaker 3: That's right, I mean, And in fact, this movie it

192
00:10:44,480 --> 00:10:47,240
Speaker 3: doesn't really have a lot in the way of special effects,

193
00:10:47,320 --> 00:10:50,160
Speaker 3: but it doesn't really need them because the way it

194
00:10:50,360 --> 00:10:54,439
Speaker 3: handles its subject matter is just very natural and graceful.

195
00:10:54,559 --> 00:10:54,640
Speaker 2: Like.

196
00:10:56,200 --> 00:10:59,440
Speaker 3: So, there's a character who transforms into a reindeer in

197
00:10:59,480 --> 00:11:02,640
Speaker 3: these in the murder scenes, and you'll see her just

198
00:11:02,720 --> 00:11:05,240
Speaker 3: sort of leap out of frame, and in the next frame,

199
00:11:05,320 --> 00:11:07,760
Speaker 3: the reindeer leaps into frame. And it's a very simple

200
00:11:07,840 --> 00:11:11,280
Speaker 3: way to depict this kind of transformation without showing it

201
00:11:11,360 --> 00:11:13,760
Speaker 3: in frame, and it works just fine.

202
00:11:14,160 --> 00:11:16,200
Speaker 2: Yeah, this reminds me I want to mention really quickly.

203
00:11:16,760 --> 00:11:19,440
Speaker 2: When I was looking up the reviews on letterbox for

204
00:11:19,520 --> 00:11:23,080
Speaker 2: this film, one of the people I followed, John from

205
00:11:23,240 --> 00:11:26,800
Speaker 2: Video Drum here in Atlanta, made the comment somehow this

206
00:11:26,920 --> 00:11:29,880
Speaker 2: is one of those low budget or enormous budget watching

207
00:11:29,920 --> 00:11:34,200
Speaker 2: experiences which I can totally I can totally feel, because again,

208
00:11:34,360 --> 00:11:35,480
Speaker 2: I think a lot of it has to do with

209
00:11:35,480 --> 00:11:39,559
Speaker 2: that naturalistic vibe, this kind of like documentary feel to it.

210
00:11:39,880 --> 00:11:41,400
Speaker 2: At times, you can feel like, well, all they did

211
00:11:41,480 --> 00:11:43,480
Speaker 2: was turn on the camera and this is just this

212
00:11:43,559 --> 00:11:46,120
Speaker 2: is just what it is there. This is life. But

213
00:11:46,160 --> 00:11:48,240
Speaker 2: then again, when you start thinking about, like, you know,

214
00:11:48,559 --> 00:11:51,120
Speaker 2: any documentary about filmmaking you've seen, like, no, maybe this

215
00:11:51,320 --> 00:11:56,480
Speaker 2: was absolutely an enormously expensive picture. It's just hard to tell, especially,

216
00:11:56,559 --> 00:11:59,560
Speaker 2: you know, being so far from this environment, and from

217
00:11:59,640 --> 00:12:00,240
Speaker 2: this time.

218
00:12:00,360 --> 00:12:02,079
Speaker 3: I agree that it feels that way, though, I guess

219
00:12:02,120 --> 00:12:05,520
Speaker 3: we should just flag that I don't necessarily want to

220
00:12:05,920 --> 00:12:10,320
Speaker 3: vouch for this film's cultural authenticity and how it depicts

221
00:12:10,360 --> 00:12:12,400
Speaker 3: the Sami culture and all that, because I don't really

222
00:12:12,440 --> 00:12:15,040
Speaker 3: know how well it captures that. I didn't find sources

223
00:12:15,440 --> 00:12:19,240
Speaker 3: addressing this. It clearly is trying. It seems to me

224
00:12:19,320 --> 00:12:22,480
Speaker 3: to be trying to capture a kind of cultural authenticity,

225
00:12:22,720 --> 00:12:25,160
Speaker 3: but I don't know how well in reality it actually

226
00:12:25,200 --> 00:12:25,679
Speaker 3: did that.

227
00:12:25,960 --> 00:12:28,400
Speaker 2: Right, We can point to other examples from the nineteen

228
00:12:28,440 --> 00:12:32,160
Speaker 2: fifties and different cinema editions where there's not a lot

229
00:12:32,160 --> 00:12:35,560
Speaker 2: of finesse shown in sort of cultural depictions. So yeah,

230
00:12:35,679 --> 00:12:38,240
Speaker 2: we would. I think it's reasonable for us to have

231
00:12:38,280 --> 00:12:49,520
Speaker 2: a healthy amount of skepticism, all right. You know, I

232
00:12:49,559 --> 00:12:54,240
Speaker 2: don't know if this had a trailer, or if whatever

233
00:12:54,559 --> 00:12:57,440
Speaker 2: kind of trailer it originally had in Finland, if it

234
00:12:57,480 --> 00:13:01,360
Speaker 2: exists online anywhere, we may the air just a little

235
00:13:01,360 --> 00:13:03,720
Speaker 2: bit of what I think is a modern trailer for

236
00:13:03,800 --> 00:13:07,760
Speaker 2: it that Eureka Entertainment put out. Eureka Entertainment is responsible

237
00:13:07,840 --> 00:13:10,200
Speaker 2: for what I believe is the main Blu Ray option

238
00:13:10,400 --> 00:13:12,920
Speaker 2: for this picture. I did not watch it on this

239
00:13:13,040 --> 00:13:16,079
Speaker 2: Blue ray. I streamed it. It's widely available for streaming

240
00:13:16,360 --> 00:13:19,680
Speaker 2: wherever you get your streaming pictures. But it looks like

241
00:13:19,720 --> 00:13:21,520
Speaker 2: the Blu ray is a really nice package with a

242
00:13:21,600 --> 00:13:49,840
Speaker 2: number of extras and menuima, a lench line and.

243
00:13:49,920 --> 00:13:51,680
Speaker 3: Yellow and took.

244
00:13:53,760 --> 00:14:32,960
Speaker 2: All right, Well, let's let's get into the uh casting

245
00:14:33,040 --> 00:14:37,800
Speaker 2: crew here a little bit. And I always want to

246
00:14:37,840 --> 00:14:42,680
Speaker 2: apologize for any pronunciation errors with names and such. We

247
00:14:42,800 --> 00:14:46,240
Speaker 2: haven't done really any finish films before. We've done some

248
00:14:46,320 --> 00:14:47,800
Speaker 2: Russo finish co productions.

249
00:14:48,120 --> 00:14:52,400
Speaker 3: Yeah Rose Russo finished things, right, yeah, yeah, But this

250
00:14:52,480 --> 00:14:54,560
Speaker 3: is I think that this is our first like purely

251
00:14:54,640 --> 00:14:57,760
Speaker 3: finished film from the golden age of Finnish cinema.

252
00:14:57,800 --> 00:15:00,920
Speaker 2: And don't understand. And I want to note I'm going

253
00:15:00,960 --> 00:15:06,360
Speaker 2: to refer several times to the Juicy Awards Jussi. There

254
00:15:06,360 --> 00:15:10,040
Speaker 2: may be more USY Awards. They're essentially like Finnish Academy

255
00:15:10,040 --> 00:15:13,160
Speaker 2: Awards and I think maybe there's a little Emmy energy

256
00:15:13,160 --> 00:15:15,920
Speaker 2: in there, because I think they also recognized television projects,

257
00:15:16,000 --> 00:15:18,200
Speaker 2: or at least came to at some point. They've been

258
00:15:18,200 --> 00:15:22,800
Speaker 2: held since nineteen forty four, and I'm going to refer

259
00:15:22,840 --> 00:15:26,160
Speaker 2: back to them several different times here. Okay, so the

260
00:15:26,240 --> 00:15:28,720
Speaker 2: key individuals, as we've already noted, are going to be

261
00:15:29,320 --> 00:15:33,160
Speaker 2: Eric Blomberg, who is credited as the director, one of

262
00:15:33,200 --> 00:15:36,920
Speaker 2: the writers, certainly the cinematographer, and also the editor, as

263
00:15:36,960 --> 00:15:43,240
Speaker 2: well as his wife mir Jammi Kuzmannin And She Is

264
00:15:43,320 --> 00:15:46,720
Speaker 2: Our Star, she is also credited as one of the writers.

265
00:15:47,520 --> 00:15:51,479
Speaker 2: But I was reading about her specifically on a website

266
00:15:51,800 --> 00:15:54,960
Speaker 2: called Nordic Women in Film dot com, and in this

267
00:15:55,480 --> 00:15:59,320
Speaker 2: this write up they mentioned just how closely these two

268
00:15:59,360 --> 00:16:02,600
Speaker 2: work together their projects. I think the quote is from

269
00:16:02,640 --> 00:16:04,720
Speaker 2: one of them, is that when it came to projects

270
00:16:04,800 --> 00:16:06,440
Speaker 2: they worked on, you would have to use a pair

271
00:16:06,480 --> 00:16:11,120
Speaker 2: of tweezers to separate what each one did. So this

272
00:16:11,240 --> 00:16:14,640
Speaker 2: division of labor here we get is in many ways

273
00:16:15,120 --> 00:16:17,560
Speaker 2: maybe just a reflection of what their backgrounds were. Her

274
00:16:17,600 --> 00:16:21,240
Speaker 2: background wasn't acting. His background was in cinematography and was

275
00:16:21,280 --> 00:16:24,360
Speaker 2: behind the camera, and therefore they're credited as such, and

276
00:16:24,800 --> 00:16:26,960
Speaker 2: it's also been pointed out that there were very few

277
00:16:27,240 --> 00:16:30,560
Speaker 2: female directors in Finnish cinema at the time, so maybe

278
00:16:30,560 --> 00:16:33,640
Speaker 2: that was another reason that her name wasn't at the top.

279
00:16:33,680 --> 00:16:37,640
Speaker 2: But like they work so closely together, just keep that

280
00:16:37,720 --> 00:16:39,760
Speaker 2: in mind as we're talking about these divisions, because it

281
00:16:39,760 --> 00:16:42,800
Speaker 2: seems like this whole project was a collaboration.

282
00:16:42,520 --> 00:16:43,960
Speaker 3: Right, so it should be kind of thought of as

283
00:16:44,040 --> 00:16:45,880
Speaker 3: that them as co filmmakers.

284
00:16:46,160 --> 00:16:49,560
Speaker 2: Yes, yeah, and they were very open yeah about this.

285
00:16:50,200 --> 00:16:53,680
Speaker 2: So let's start with Eric though he lived nineteen thirteen

286
00:16:53,720 --> 00:16:58,400
Speaker 2: through nineteen ninety six, Finish cinematographer, producer, screenwriter and director,

287
00:16:58,920 --> 00:17:01,120
Speaker 2: not to be confused with the Swedish poet of the

288
00:17:01,160 --> 00:17:04,879
Speaker 2: same name. This Blomberg started off as a cinematographer with

289
00:17:04,960 --> 00:17:07,399
Speaker 2: credits going back to nineteen thirty six, and he was

290
00:17:07,400 --> 00:17:10,960
Speaker 2: a producer from nineteen thirty eight onward. His first directorial

291
00:17:11,000 --> 00:17:14,800
Speaker 2: credit was a nineteen forty seven documentary short titled With

292
00:17:14,920 --> 00:17:17,320
Speaker 2: the Reindeer about the reindeer of Lapland.

293
00:17:17,800 --> 00:17:20,520
Speaker 3: Yeah, as we alluded to earlier, that is not surprising

294
00:17:20,560 --> 00:17:22,920
Speaker 3: if you've seen the film that he had shot documentary

295
00:17:22,920 --> 00:17:27,600
Speaker 3: footage about reindeer herding or about reindeer in general. There

296
00:17:27,720 --> 00:17:31,080
Speaker 3: is a I don't even know how to identify what

297
00:17:31,160 --> 00:17:33,879
Speaker 3: the points leading to this impression are, but there's just

298
00:17:33,920 --> 00:17:37,760
Speaker 3: a feeling of familiarity with the subject, if that makes

299
00:17:37,800 --> 00:17:38,320
Speaker 3: any sense.

300
00:17:38,400 --> 00:17:42,600
Speaker 2: Absolutely, yeah, and it was well received. This documentary short

301
00:17:42,640 --> 00:17:45,040
Speaker 2: won a USYE Award. I'm going to go ahead just

302
00:17:45,040 --> 00:17:47,800
Speaker 2: say ucy instead of juicy, just because it sounds better

303
00:17:47,800 --> 00:17:50,760
Speaker 2: to me. But that may also be incorrect, okay. He

304
00:17:50,840 --> 00:17:53,440
Speaker 2: followed this short up with a handful of additional shorts

305
00:17:53,480 --> 00:17:57,199
Speaker 2: before tackling this his first feature length film, again a

306
00:17:57,240 --> 00:18:02,760
Speaker 2: collaboration with his wife. She co wrote it, and again

307
00:18:02,880 --> 00:18:04,720
Speaker 2: that they were you'd have to use a tweezer to

308
00:18:04,760 --> 00:18:07,359
Speaker 2: separate what they were each working on in their own words.

309
00:18:08,600 --> 00:18:11,480
Speaker 2: As you pointed out, nobody seemed to go to see

310
00:18:11,520 --> 00:18:14,360
Speaker 2: it at first because they released it during the summer Olympics,

311
00:18:14,760 --> 00:18:16,960
Speaker 2: but then it began to pick up steam domestically and

312
00:18:17,000 --> 00:18:21,040
Speaker 2: then ultimately was very well received internationally. Not only did

313
00:18:21,080 --> 00:18:24,520
Speaker 2: it earn them a UC for cinematography, it was nominated

314
00:18:25,000 --> 00:18:26,960
Speaker 2: for the Grand Prize of the cons Film Festival in

315
00:18:26,960 --> 00:18:31,679
Speaker 2: fifty three, and it won in its fairy Tale Film category,

316
00:18:32,119 --> 00:18:35,040
Speaker 2: which excited me and I had to research this. I'm like,

317
00:18:35,040 --> 00:18:38,080
Speaker 2: what else won? What else was nominated? I don't think

318
00:18:38,119 --> 00:18:42,280
Speaker 2: this category existed previously or afterwards, So I'm not sure

319
00:18:42,280 --> 00:18:44,919
Speaker 2: what the story is here. If they were if they

320
00:18:44,960 --> 00:18:48,080
Speaker 2: invented a category to honor this film, which if that's

321
00:18:48,080 --> 00:18:52,000
Speaker 2: the case, great, this film totally earned it, or if

322
00:18:52,040 --> 00:18:54,719
Speaker 2: they were like, yes, fairy tale films they need their

323
00:18:54,720 --> 00:18:57,439
Speaker 2: own category, and then it just they decided not to

324
00:18:57,480 --> 00:18:58,680
Speaker 2: keep doing it. I'm not sure.

325
00:18:59,000 --> 00:19:01,360
Speaker 3: I'm getting out of the pitch. Bring it back, Bring

326
00:19:01,400 --> 00:19:03,359
Speaker 3: it back to the Cohn judges. We need a fairy

327
00:19:03,359 --> 00:19:04,760
Speaker 3: tale film category.

328
00:19:05,040 --> 00:19:07,520
Speaker 2: Do it? Yeah, and maybe you'd encourage even more fairy

329
00:19:07,520 --> 00:19:09,160
Speaker 2: tale films. I don't think we have enough of them.

330
00:19:09,440 --> 00:19:11,760
Speaker 2: So Blomberg followed this up with a handful of feature

331
00:19:11,760 --> 00:19:14,640
Speaker 2: link films, some more short works, and finally a couple

332
00:19:14,680 --> 00:19:18,000
Speaker 2: of TV movies in sixty six and sixty eight. Of these,

333
00:19:18,240 --> 00:19:22,520
Speaker 2: his nineteen fifty five film Killouse also won a Ucy

334
00:19:22,640 --> 00:19:26,040
Speaker 2: for cinematography, but The White Reindeer I Believe remains his

335
00:19:26,119 --> 00:19:30,000
Speaker 2: most well known film, certainly internationally, and continues to resonate

336
00:19:30,080 --> 00:19:32,200
Speaker 2: not only as an example of Finnish cinema, during it

337
00:19:32,280 --> 00:19:35,679
Speaker 2: from the golden era of Finnish cinema, but also as

338
00:19:35,720 --> 00:19:37,800
Speaker 2: a rich entry in Global full car.

339
00:19:38,160 --> 00:19:40,960
Speaker 3: I've read that Blomberg did not do a lot else

340
00:19:41,119 --> 00:19:43,680
Speaker 3: in this sort of magical category.

341
00:19:43,840 --> 00:19:46,119
Speaker 2: Right, that's I'm to understand that as well. Looking at

342
00:19:46,160 --> 00:19:50,359
Speaker 2: his other pictures, I don't think anything else could qualify

343
00:19:50,480 --> 00:19:53,159
Speaker 2: as you know, specula as having a speculative element.

344
00:19:53,480 --> 00:19:57,080
Speaker 3: Okay, but that was Eric Blomberg. Let's talk Miriami Kosmanan.

345
00:19:57,359 --> 00:20:01,359
Speaker 2: Yeah. So Kospannen lived nineteen fifteen through nineteen sixty three.

346
00:20:02,200 --> 00:20:06,520
Speaker 2: She plays our Witch Reindeer, Finnish actress, writer and longtime

347
00:20:06,560 --> 00:20:11,200
Speaker 2: wife of Eric Blomberg. I was reading her this profile

348
00:20:11,640 --> 00:20:14,040
Speaker 2: of her in her work on Nordic Women in Film,

349
00:20:14,040 --> 00:20:15,360
Speaker 2: and they point out that she was like a real

350
00:20:15,400 --> 00:20:17,800
Speaker 2: wild child as a kid, like she played sports with

351
00:20:17,840 --> 00:20:21,000
Speaker 2: the boys. She loved swimming and fishing. There's some story

352
00:20:21,000 --> 00:20:24,760
Speaker 2: about her putting out a fire in their house. So yeah,

353
00:20:24,800 --> 00:20:27,080
Speaker 2: she seemed to be a real spirited individual. And she

354
00:20:27,160 --> 00:20:30,800
Speaker 2: was active from thirty seven through fifty six. And they're

355
00:20:31,160 --> 00:20:34,879
Speaker 2: a good I think a dozen collaborations between her and

356
00:20:34,920 --> 00:20:38,679
Speaker 2: her husband. She is often credited as a writer and

357
00:20:38,760 --> 00:20:41,920
Speaker 2: sometimes she is an actress, but this film, in particular,

358
00:20:41,920 --> 00:20:44,760
Speaker 2: I'm to understand, was a case where it was at

359
00:20:44,840 --> 00:20:48,199
Speaker 2: least partially inspired by a dream she had of a

360
00:20:48,200 --> 00:20:50,520
Speaker 2: woman turning into a reindeer. And I think it's also,

361
00:20:51,119 --> 00:20:55,119
Speaker 2: you know, as we'll discuss, based on some existing bits

362
00:20:55,119 --> 00:20:58,040
Speaker 2: of folklore and Bret and Sagas and so forth, but

363
00:20:58,160 --> 00:21:00,480
Speaker 2: also there's a dream element, something that you know, that

364
00:21:01,600 --> 00:21:05,040
Speaker 2: emerges personally from her. There's also a quote in that

365
00:21:05,160 --> 00:21:08,280
Speaker 2: article about how like they had a unified vision for

366
00:21:08,320 --> 00:21:12,399
Speaker 2: this picture and that they each could see every scene

367
00:21:12,480 --> 00:21:16,520
Speaker 2: before they shot it. So she's a really beautiful thought,

368
00:21:16,560 --> 00:21:17,160
Speaker 2: I think.

369
00:21:17,320 --> 00:21:20,760
Speaker 3: Especially for a film that has deadly premonitions within it. Yeah.

370
00:21:20,920 --> 00:21:25,280
Speaker 2: Yeah, yeah, yeah, they yeah, they saw the vision together.

371
00:21:25,960 --> 00:21:28,520
Speaker 2: Other notable films of hers include nineteen thirty eight's The

372
00:21:28,520 --> 00:21:32,200
Speaker 2: Song of the Scarlet Flower, which, like much of her filmography,

373
00:21:32,359 --> 00:21:34,679
Speaker 2: was a romance drama. Again, I don't think there are

374
00:21:34,720 --> 00:21:38,359
Speaker 2: any other films in her filmography that you could think

375
00:21:38,400 --> 00:21:41,320
Speaker 2: of as being horror, fantasy, or certainly sci fi. I

376
00:21:41,400 --> 00:21:44,720
Speaker 2: think The White Reindeer stands alone. She won a UC

377
00:21:44,920 --> 00:21:47,520
Speaker 2: for Best Leading Actress for her role in The White Reindeer.

378
00:21:47,760 --> 00:21:51,920
Speaker 2: And yeah, she's amazing in this It's a captivating performance.

379
00:21:53,000 --> 00:21:58,760
Speaker 2: You know, she's often silently channeling these intense feelings of loneliness,

380
00:21:58,520 --> 00:22:02,359
Speaker 2: of love and hope and eventually otherworldly power.

381
00:22:02,680 --> 00:22:04,760
Speaker 3: She really carries the film. I mean, it is her

382
00:22:04,760 --> 00:22:07,480
Speaker 3: burden to carry, and she takes it up that snowy hill.

383
00:22:08,280 --> 00:22:11,680
Speaker 3: We spend huge amounts of the movie just alone with her,

384
00:22:11,920 --> 00:22:16,399
Speaker 3: with nobody else, and even in scenes where she's with

385
00:22:16,520 --> 00:22:19,679
Speaker 3: other people, often it's just sort of the audience in

386
00:22:19,760 --> 00:22:22,800
Speaker 3: her and the other people are kind of peripheral. Yeah,

387
00:22:23,680 --> 00:22:28,159
Speaker 3: And so we have and it's a really interesting way

388
00:22:28,280 --> 00:22:33,200
Speaker 3: to render a protagonist in this way because we our

389
00:22:33,280 --> 00:22:35,520
Speaker 3: main relationship is with her, and we spend all this

390
00:22:35,600 --> 00:22:39,520
Speaker 3: time with her. But also she remains so mysterious through

391
00:22:39,520 --> 00:22:42,000
Speaker 3: the entire film, and we even at the end of

392
00:22:42,040 --> 00:22:44,520
Speaker 3: the story, I think there are many questions we can

393
00:22:44,560 --> 00:22:47,000
Speaker 3: still have about her that aren't really answered directly.

394
00:22:47,560 --> 00:22:50,720
Speaker 2: Yeah, because you know, ultimately she gets some great Dracula moments,

395
00:22:51,920 --> 00:22:55,560
Speaker 2: and in a sense it's going to follow some the

396
00:22:55,600 --> 00:22:58,600
Speaker 2: trajectory you might expect from a were wolf picture. But

397
00:22:58,680 --> 00:23:01,440
Speaker 2: yet at the end there's not this feeling of Welp,

398
00:23:01,520 --> 00:23:03,600
Speaker 2: she was a monster and thank goodness, we killed her.

399
00:23:04,400 --> 00:23:07,359
Speaker 2: It feels a lot, a lot sadder than that.

400
00:23:07,680 --> 00:23:08,960
Speaker 3: Yeah, it's very it's tragic.

401
00:23:09,240 --> 00:23:11,359
Speaker 2: Yeah, it's more. If I'm going to compare it to

402
00:23:11,720 --> 00:23:14,960
Speaker 2: just an easily referred to werewolf, picture reminds me maybe

403
00:23:15,000 --> 00:23:17,600
Speaker 2: a little bit of American Werewolf in London, like that

404
00:23:17,680 --> 00:23:20,480
Speaker 2: kind of vibe where it's it's yeah, the monster's dad,

405
00:23:20,520 --> 00:23:22,399
Speaker 2: but we don't feel great about it.

406
00:23:22,960 --> 00:23:25,159
Speaker 3: I would say, yes, but it's even more tragic than that,

407
00:23:25,200 --> 00:23:27,359
Speaker 3: because of course, you know, she has to be killed

408
00:23:27,400 --> 00:23:30,440
Speaker 3: by the man she loves, uh, and he doesn't even

409
00:23:30,440 --> 00:23:33,359
Speaker 3: know it's her. So it's just tragedy all around. And

410
00:23:33,359 --> 00:23:36,359
Speaker 3: then there's an even more kind of bleak layer, which

411
00:23:36,400 --> 00:23:38,840
Speaker 3: is that the guy an American werewolf in London. He

412
00:23:39,000 --> 00:23:41,320
Speaker 3: just had bad luck, wrong place, wrong time. He was

413
00:23:41,359 --> 00:23:43,119
Speaker 3: out on the moor and he got scratched. He got

414
00:23:43,160 --> 00:23:45,000
Speaker 3: bitten by a werewolf. That's no good.

415
00:23:46,359 --> 00:23:46,439
Speaker 2: She.

416
00:23:47,400 --> 00:23:50,680
Speaker 3: It seems that our main character here is is doomed

417
00:23:50,760 --> 00:23:54,560
Speaker 3: from ages past. She was like doomed before her birth

418
00:23:54,640 --> 00:23:59,240
Speaker 3: to this life of unnatural witchcraft. And it's like there

419
00:23:59,280 --> 00:24:02,119
Speaker 3: is something that the other characters recognize about her that

420
00:24:02,320 --> 00:24:04,879
Speaker 3: is evil. But it's almost like it's an evil that

421
00:24:05,000 --> 00:24:06,200
Speaker 3: is not of her choosing.

422
00:24:06,760 --> 00:24:10,919
Speaker 2: Yeah, yeah, it's an Yeah, it's fascinating. We'll have more

423
00:24:10,920 --> 00:24:13,679
Speaker 2: to say about this character and this performance as we proceed,

424
00:24:13,800 --> 00:24:18,520
Speaker 2: but let's move on to Aslek. This is Parita's young

425
00:24:18,560 --> 00:24:22,640
Speaker 2: reindeer herder husband, played by Finnish actor and TV director

426
00:24:23,200 --> 00:24:28,000
Speaker 2: Kalervo Masilla, who lived nineteen thirteen through nineteen ninety seven.

427
00:24:29,000 --> 00:24:32,680
Speaker 2: I say young reindeer herder husband. The actor was I believe,

428
00:24:32,760 --> 00:24:36,560
Speaker 2: like forty here, and you know, kind of looks like

429
00:24:36,600 --> 00:24:39,560
Speaker 2: a forty year old guy. But I have to say

430
00:24:39,560 --> 00:24:42,560
Speaker 2: he has a very sympathetic face. It's a good performance.

431
00:24:43,040 --> 00:24:46,200
Speaker 2: And while you could argue, well, he looks maybe a

432
00:24:46,240 --> 00:24:48,760
Speaker 2: little older than he should be, and this is not

433
00:24:48,880 --> 00:24:50,560
Speaker 2: unique to this film. We see this in all sorts

434
00:24:50,600 --> 00:24:55,520
Speaker 2: of pictures, just in every decade. But I ultimately kind

435
00:24:55,520 --> 00:24:58,359
Speaker 2: of liked the fact that he looked a little older. Yeah,

436
00:24:58,359 --> 00:25:01,040
Speaker 2: and she does too in certain scenes, because I kind

437
00:25:01,040 --> 00:25:04,040
Speaker 2: of got this perhaps accidental vibe of them both being

438
00:25:04,080 --> 00:25:06,639
Speaker 2: slightly older members of the community who just hadn't found

439
00:25:06,640 --> 00:25:08,800
Speaker 2: love yet until now for various reasons.

440
00:25:08,960 --> 00:25:11,200
Speaker 3: Oh that's interesting. I didn't really think of it that way.

441
00:25:11,280 --> 00:25:15,679
Speaker 3: I guess I interpreted. I mean, he does look older

442
00:25:15,680 --> 00:25:17,480
Speaker 3: than I think he's supposed to be. Just based on

443
00:25:17,520 --> 00:25:19,600
Speaker 3: the narrative, I would have guessed these characters are both

444
00:25:19,600 --> 00:25:22,920
Speaker 3: supposed to be like twenty or something, and they're actually

445
00:25:22,960 --> 00:25:25,520
Speaker 3: both I guess in their you know, thirties or forty.

446
00:25:27,160 --> 00:25:29,160
Speaker 3: But you could you could buy it, I think, especially

447
00:25:29,160 --> 00:25:31,600
Speaker 3: with Aslac, because he's like he's a Reindier herder. I

448
00:25:31,600 --> 00:25:33,679
Speaker 3: mean he's out there in the weather, like he's getting

449
00:25:34,320 --> 00:25:36,439
Speaker 3: you know, the snow's beaten on him every day. You

450
00:25:36,480 --> 00:25:41,520
Speaker 3: can imagine, Yeah, you'd imagine that he would look distinguished

451
00:25:41,560 --> 00:25:44,880
Speaker 3: and mature even at a younger age, and he does.

452
00:25:45,080 --> 00:25:49,280
Speaker 3: And so he he has a kind of rugged handsomeness

453
00:25:49,320 --> 00:25:52,560
Speaker 3: but also kind of a baby face at the same time.

454
00:25:53,200 --> 00:25:54,679
Speaker 2: Yeah, yeah, yeah, Like I say, he has a very

455
00:25:54,680 --> 00:25:58,040
Speaker 2: sympathetic face that works well here. Now, someone who does

456
00:25:58,080 --> 00:26:04,480
Speaker 2: not have a sympathetic face, as the character messenjutscha. I'm

457
00:26:04,480 --> 00:26:07,400
Speaker 2: probably not saying that correctly. This is like a forester

458
00:26:07,520 --> 00:26:10,159
Speaker 2: who shows up in the rag. Yeah, he has a

459
00:26:10,200 --> 00:26:13,600
Speaker 2: real threatening air to him. I was looking him. He's

460
00:26:13,640 --> 00:26:17,240
Speaker 2: an interesting character played by Aki Lindman, who lived nineteen

461
00:26:17,240 --> 00:26:19,639
Speaker 2: twenty eight through two thousand and nine. He was a

462
00:26:19,640 --> 00:26:24,120
Speaker 2: professional Finnish football player turned actor and eventually writer and director.

463
00:26:24,760 --> 00:26:27,879
Speaker 2: He started acting I Believe in nineteen forty nine, started

464
00:26:27,880 --> 00:26:31,440
Speaker 2: directing in sixty one, and was active behind the camera

465
00:26:31,480 --> 00:26:33,119
Speaker 2: till two thousand and seven and in front of it

466
00:26:33,200 --> 00:26:35,480
Speaker 2: till two thousand and three. He won a Ussy for

467
00:26:35,560 --> 00:26:38,720
Speaker 2: acting in fifty six for The Unknown Soldier. He won

468
00:26:38,760 --> 00:26:42,440
Speaker 2: one for directing in nineteen eighty eight, and then he

469
00:26:42,480 --> 00:26:44,920
Speaker 2: received a Lifetime Achievement Award in two thousand and eight.

470
00:26:45,320 --> 00:26:48,679
Speaker 2: His various credits include nineteen fifty nine's Moonwolf, which is

471
00:26:48,720 --> 00:26:53,679
Speaker 2: a rocket movie, a werewolf movie, nineteen seventy seven's Telephone,

472
00:26:54,359 --> 00:26:58,240
Speaker 2: nineteen eighty one's Reds that's directed by and starring Warren Beatty.

473
00:26:58,800 --> 00:27:01,240
Speaker 2: I haven't seen Reds, but that one is filmed on

474
00:27:01,359 --> 00:27:04,520
Speaker 2: location in Finland, so you had some Finnish actors appearing

475
00:27:04,560 --> 00:27:07,439
Speaker 2: in some smaller supporting roles. And then he's also in

476
00:27:07,480 --> 00:27:09,600
Speaker 2: a nineteen eighty eight film called The Moon God.

477
00:27:09,800 --> 00:27:13,199
Speaker 3: Wait, he was in moon Wolf and moon God. Yeah,

478
00:27:13,320 --> 00:27:14,560
Speaker 3: unrelated films.

479
00:27:14,280 --> 00:27:17,720
Speaker 2: Though unrelated decades apart, different I can't remember. I think

480
00:27:17,760 --> 00:27:20,119
Speaker 2: The Moon God might have a speculative element to it.

481
00:27:20,160 --> 00:27:23,159
Speaker 2: But it's not a rocket movie. Moon Wolf is a

482
00:27:23,240 --> 00:27:24,679
Speaker 2: nineteen fifties rocket movie.

483
00:27:25,119 --> 00:27:27,720
Speaker 3: Does seem like a coincidence. How many movies are like Moon?

484
00:27:27,920 --> 00:27:28,080
Speaker 2: Now?

485
00:27:29,080 --> 00:27:29,919
Speaker 3: How many would there be?

486
00:27:30,680 --> 00:27:33,720
Speaker 2: Lots? Yeah, okay or something moon? There are lots of

487
00:27:34,200 --> 00:27:36,200
Speaker 2: like yeah.

488
00:27:35,800 --> 00:27:38,520
Speaker 3: Death moon. That's right, We've covered some on the show. Yeah,

489
00:27:38,680 --> 00:27:41,960
Speaker 3: I feel like modifier moon is more common than moon noun.

490
00:27:42,240 --> 00:27:45,480
Speaker 2: Probably so in the long run, all right. We also

491
00:27:45,520 --> 00:27:48,840
Speaker 2: we mentioned that there's a wizard. May we'll get into this.

492
00:27:48,920 --> 00:27:52,640
Speaker 2: Maybe he's more of a shaman, but in the subtitles

493
00:27:52,720 --> 00:27:58,240
Speaker 2: he does call himself a wizard. This is the character Salkunila,

494
00:27:58,440 --> 00:28:02,800
Speaker 2: played by Arvo Alesma, who lived nineteen oh one through

495
00:28:02,880 --> 00:28:06,040
Speaker 2: nineteen seventy three, Finnish actor who seems to have worked

496
00:28:06,040 --> 00:28:08,439
Speaker 2: a lot in supporting roles, and he's really great in

497
00:28:08,520 --> 00:28:16,359
Speaker 2: this playing this kind of kind of drunken wizard or

498
00:28:16,400 --> 00:28:19,159
Speaker 2: shaman that lives in a hut. I would say, out

499
00:28:19,160 --> 00:28:20,520
Speaker 2: at the edge of the town. But there's not really

500
00:28:20,560 --> 00:28:22,800
Speaker 2: a town so much, but he's kind of out on

501
00:28:22,880 --> 00:28:24,480
Speaker 2: the outskirts of the outskirts here.

502
00:28:24,720 --> 00:28:26,959
Speaker 3: The scene in his hut is really interesting. I'm excited

503
00:28:27,040 --> 00:28:30,480
Speaker 3: to talk about that later, especially for the way, like

504
00:28:30,560 --> 00:28:34,520
Speaker 3: the tables get turned. Like in his scene, Karita arrives

505
00:28:34,720 --> 00:28:37,440
Speaker 3: and it's like he's the scary one and she's kind

506
00:28:37,480 --> 00:28:39,560
Speaker 3: of supplicant, and she's like, oh, what's it going to

507
00:28:39,600 --> 00:28:42,360
Speaker 3: be like here, you know, meeting the shaman. But then

508
00:28:42,520 --> 00:28:44,959
Speaker 3: by the end of the scene, the tables are completely

509
00:28:45,320 --> 00:28:48,480
Speaker 3: turned and like she is scary and he is scared

510
00:28:48,480 --> 00:28:48,800
Speaker 3: of her.

511
00:28:49,200 --> 00:28:53,120
Speaker 2: Yeah. And finally, the composer for this was Einar England,

512
00:28:53,400 --> 00:28:57,440
Speaker 2: who lived nineteen sixteen through nineteen ninety nine. Finished composer.

513
00:28:57,520 --> 00:29:00,440
Speaker 2: He won an USI Award in fifty two for this score,

514
00:29:01,280 --> 00:29:04,320
Speaker 2: which I think, I'm on The whole feels very much

515
00:29:04,320 --> 00:29:08,040
Speaker 2: of its time, but I think it gets nicely dramatic

516
00:29:08,120 --> 00:29:09,200
Speaker 2: as the film progresses.

517
00:29:09,520 --> 00:29:12,120
Speaker 3: Oh, I think the music's wonderful. I think it really

518
00:29:12,200 --> 00:29:15,600
Speaker 3: underscores the drama very well. There's, uh, there's these certain

519
00:29:15,680 --> 00:29:19,960
Speaker 3: themes that recur when like when Pirita is losing her

520
00:29:20,000 --> 00:29:22,200
Speaker 3: mind or when she's sort of going to another place,

521
00:29:22,240 --> 00:29:25,320
Speaker 3: we get this nice uneasy these these chords come up

522
00:29:25,400 --> 00:29:28,400
Speaker 3: and yeah, and there's some dissonance and uh, there's sort

523
00:29:28,400 --> 00:29:30,640
Speaker 3: of a theme of the stone God when we get

524
00:29:30,680 --> 00:29:32,160
Speaker 3: to that. Music's really good.

525
00:29:32,320 --> 00:29:34,400
Speaker 2: I think that's when it its best. There's some early

526
00:29:34,480 --> 00:29:37,920
Speaker 2: parts where it's there are a lot of horns, and

527
00:29:37,960 --> 00:29:41,720
Speaker 2: it maybe feels a little fashion, you know, from a bag. Yeah.

528
00:29:41,800 --> 00:29:43,960
Speaker 2: But but but when it gets into the darker and

529
00:29:43,960 --> 00:29:48,240
Speaker 2: more dramatic parts, the composer totally brings it here. And

530
00:29:48,480 --> 00:29:50,840
Speaker 2: I should also add that the film also makes great use,

531
00:29:50,920 --> 00:29:54,440
Speaker 2: particularly in one segment early on, of what I take

532
00:29:54,480 --> 00:29:57,200
Speaker 2: to be authentic folk songs, which adds nice flavor.

533
00:30:06,280 --> 00:30:08,280
Speaker 3: All right, are you ready to talk about the plot?

534
00:30:08,440 --> 00:30:09,440
Speaker 2: Let's do it. So.

535
00:30:09,520 --> 00:30:12,040
Speaker 3: We open on a shot of a winter landscape covered

536
00:30:12,040 --> 00:30:16,280
Speaker 3: in snow, striped with lines of bear trees and shrubs

537
00:30:16,680 --> 00:30:19,280
Speaker 3: stretching to the horizon. And then at the horizon we

538
00:30:19,320 --> 00:30:23,240
Speaker 3: see these fairly low, gently sloping mountains in the distance,

539
00:30:23,960 --> 00:30:27,040
Speaker 3: and in the foreground we see a pair of forked

540
00:30:27,160 --> 00:30:30,400
Speaker 3: reindeer antlers belonging to an animal whose head is below

541
00:30:30,440 --> 00:30:33,280
Speaker 3: the frame. And then standing next to the reindeer, there's

542
00:30:33,280 --> 00:30:37,200
Speaker 3: a person facing away dressed in furs, and there's music.

543
00:30:37,320 --> 00:30:40,920
Speaker 3: The music is just a woman's voice singing an eerie,

544
00:30:41,000 --> 00:30:45,240
Speaker 3: high pitched melody that sounds cold, you know what I mean?

545
00:30:45,400 --> 00:30:49,280
Speaker 3: Like this music, like it makes you want a blanket.

546
00:30:49,600 --> 00:30:49,959
Speaker 2: Yes.

547
00:30:50,440 --> 00:30:53,160
Speaker 3: As we pan away from the reindeer and the person

548
00:30:53,640 --> 00:30:56,280
Speaker 3: over the landscape, a title comes in to tell us

549
00:30:56,280 --> 00:30:59,480
Speaker 3: that this is a story from Lapland, and we get

550
00:30:59,480 --> 00:31:04,360
Speaker 3: the title telling calling it the White Reindeer, Vlcoyne and Peura.

551
00:31:05,000 --> 00:31:07,800
Speaker 3: After the credits, a new song begins, and this one

552
00:31:07,880 --> 00:31:11,080
Speaker 3: sounds like a folk song, also sung by a single

553
00:31:11,240 --> 00:31:16,640
Speaker 3: woman's voice, and the lyrics are little girl child of Lapland,

554
00:31:17,120 --> 00:31:20,560
Speaker 3: born in a snow drift. And then here we see

555
00:31:21,440 --> 00:31:23,960
Speaker 3: there's like a shot of the sky and it's very

556
00:31:24,000 --> 00:31:27,560
Speaker 3: strange and beautiful. There are these gray clouds and there's

557
00:31:27,600 --> 00:31:33,240
Speaker 3: like a glare of the sun piercing through the clouds. Yeah,

558
00:31:33,520 --> 00:31:37,000
Speaker 3: And the song goes on saying grew to girlhood straw

559
00:31:37,080 --> 00:31:41,640
Speaker 3: stuffed shoes like a reindeer dough. And then we see

560
00:31:41,720 --> 00:31:44,719
Speaker 3: wind blowing over the top of a deep snowfield with

561
00:31:44,960 --> 00:31:47,960
Speaker 3: these black tree limbs barely peeking out of the drifts.

562
00:31:48,320 --> 00:31:51,560
Speaker 3: And this is something that the director they will the

563
00:31:51,600 --> 00:31:54,960
Speaker 3: directors will like to show you again and again is

564
00:31:55,000 --> 00:31:58,000
Speaker 3: shots of a snowy field with wind blowing and the

565
00:31:58,040 --> 00:32:02,120
Speaker 3: blowing snow like these sort of these sheets of snow

566
00:32:02,200 --> 00:32:04,240
Speaker 3: being picked up off the top of the field and

567
00:32:04,280 --> 00:32:07,760
Speaker 3: then blowing along. They look like curtains being dragged across

568
00:32:08,200 --> 00:32:08,680
Speaker 3: the land.

569
00:32:09,080 --> 00:32:11,760
Speaker 2: Yeah, there's a real visual poetry to these sceness.

570
00:32:11,960 --> 00:32:15,000
Speaker 3: Yeah. The lyrics to the song go on, she did

571
00:32:15,040 --> 00:32:17,680
Speaker 3: not know as a child, nor when she was married,

572
00:32:18,080 --> 00:32:21,040
Speaker 3: that she was born a witch, evil in her belly.

573
00:32:21,680 --> 00:32:24,320
Speaker 3: And then we see wolves running in the snowfields and

574
00:32:24,360 --> 00:32:26,840
Speaker 3: a woman on skis with a long stick as a

575
00:32:26,880 --> 00:32:30,880
Speaker 3: push pull. She's going alone over a hill, looking exhausted

576
00:32:30,960 --> 00:32:34,280
Speaker 3: and in pain. She's facing down the wolves that are

577
00:32:34,320 --> 00:32:36,320
Speaker 3: running from across the field. You don't know are they

578
00:32:36,440 --> 00:32:38,960
Speaker 3: threatening her, are they running with her? What's going on?

579
00:32:40,080 --> 00:32:42,800
Speaker 3: But then the lyrics continue. They say she offered to

580
00:32:42,880 --> 00:32:46,760
Speaker 3: the stone god to modern aka, she gave a white fawn,

581
00:32:47,320 --> 00:32:51,200
Speaker 3: then ranged the fells as a deer till the appointed hour.

582
00:32:51,960 --> 00:32:55,400
Speaker 2: Yeah. I was reading that this modern aca was like

583
00:32:55,440 --> 00:32:59,320
Speaker 2: a traditional goddess, that is, a goddess of the earth,

584
00:33:00,520 --> 00:33:03,440
Speaker 2: of goddess of the beginnings of life, a protector of

585
00:33:03,520 --> 00:33:04,520
Speaker 2: children as well.

586
00:33:05,280 --> 00:33:09,040
Speaker 3: And then eventually the woman approaches a conical structure in

587
00:33:09,120 --> 00:33:11,640
Speaker 3: the snow. I think this is supposed to be a

588
00:33:11,720 --> 00:33:15,200
Speaker 3: Sammi LaVoo, which is kind of similar to a North

589
00:33:15,240 --> 00:33:19,760
Speaker 3: American tepee. It's a conical shelter made with poles braced

590
00:33:19,760 --> 00:33:21,800
Speaker 3: against one another, and then it would be covered in

591
00:33:21,880 --> 00:33:26,440
Speaker 3: reindeer hides. Inside this structure, you've got people gathered together

592
00:33:26,560 --> 00:33:29,080
Speaker 3: cooking a meal, and one of them sees the woman

593
00:33:29,160 --> 00:33:31,960
Speaker 3: coming outside and pokes her head in to tell the others.

594
00:33:32,600 --> 00:33:35,880
Speaker 3: And then the woman comes inside the lavo and collapses,

595
00:33:36,440 --> 00:33:39,520
Speaker 3: and the lyrics go on to say iron pierced the

596
00:33:39,560 --> 00:33:43,600
Speaker 3: white dough. Then the lap girl slept chill shawl for

597
00:33:43,640 --> 00:33:48,400
Speaker 3: a coverlet snow drift for a pillow, and inside the

598
00:33:48,480 --> 00:33:51,560
Speaker 3: lavo we see a baby next to the woman, so

599
00:33:51,640 --> 00:33:54,920
Speaker 3: it seems she's given birth, and then an elder figure

600
00:33:55,080 --> 00:33:58,719
Speaker 3: in traditional Sami clothing holds the baby, and I think

601
00:33:58,760 --> 00:34:02,240
Speaker 3: it's implied that the mother died. It wasn't exactly clear

602
00:34:02,280 --> 00:34:05,160
Speaker 3: on that, but I think she's supposed to die. And

603
00:34:05,200 --> 00:34:08,200
Speaker 3: then afterwards we pull out to another landscape shot of

604
00:34:08,400 --> 00:34:12,279
Speaker 3: a massive steep, lonely hillside covered in snow, and again

605
00:34:12,400 --> 00:34:15,200
Speaker 3: just the wind blowing sheets of frost over the top

606
00:34:15,200 --> 00:34:18,120
Speaker 3: of the pack, and then that's the end of the

607
00:34:18,160 --> 00:34:21,279
Speaker 3: opening montage. The whole thing is very I don't know

608
00:34:21,600 --> 00:34:25,640
Speaker 3: it's got a light touch, but it's also a good

609
00:34:25,640 --> 00:34:29,520
Speaker 3: bit haunting. And so we kind ahead in time after

610
00:34:29,560 --> 00:34:32,640
Speaker 3: that to a very different mood. Now the image is

611
00:34:32,680 --> 00:34:35,640
Speaker 3: sharper and the music is more lighthearted, and we see

612
00:34:35,680 --> 00:34:38,319
Speaker 3: lots of people gathered for what looks like some kind

613
00:34:38,360 --> 00:34:43,439
Speaker 3: of winter games or festival. Throughout this movie, you will

614
00:34:43,480 --> 00:34:47,560
Speaker 3: see a common form of individual transportation in this region,

615
00:34:48,000 --> 00:34:50,960
Speaker 3: which is a person riding in a kind of ground

616
00:34:51,040 --> 00:34:55,000
Speaker 3: level sled pulled by a single reindeer. So when we

617
00:34:55,000 --> 00:34:57,840
Speaker 3: say sled, don't imagine like a big, high up sleigh

618
00:34:57,920 --> 00:35:00,520
Speaker 3: like often people are just sort of lying back in

619
00:35:00,560 --> 00:35:02,920
Speaker 3: this sled's basically right there on the top of the

620
00:35:02,960 --> 00:35:06,200
Speaker 3: snow with a single reindeer pulling them. And in this

621
00:35:06,280 --> 00:35:08,920
Speaker 3: scene we see lots of happy people being pulled around,

622
00:35:09,000 --> 00:35:12,919
Speaker 3: pulled all around, and crowds gathered. These people are lying

623
00:35:12,920 --> 00:35:15,480
Speaker 3: back in their one seat reindeer sleds. You got dogs

624
00:35:15,560 --> 00:35:18,640
Speaker 3: running around barking, and we see reindeer herders in their

625
00:35:18,680 --> 00:35:21,840
Speaker 3: traditional clothes standing around just cruising the vibes.

626
00:35:22,320 --> 00:35:25,799
Speaker 2: Now, did we mention this already? If not, I want

627
00:35:25,800 --> 00:35:28,000
Speaker 2: to drive home that I don't think this is supposed

628
00:35:28,040 --> 00:35:30,000
Speaker 2: to take place in the nineteen fifties, but I don't

629
00:35:30,040 --> 00:35:32,320
Speaker 2: know when exactly in the past.

630
00:35:32,560 --> 00:35:35,280
Speaker 3: Yeah, that's a good question. So I read online sources

631
00:35:35,320 --> 00:35:37,359
Speaker 3: saying this is supposed to take place in like pre

632
00:35:37,480 --> 00:35:42,279
Speaker 3: Christian times that you know, so this would make me think,

633
00:35:42,320 --> 00:35:45,520
Speaker 3: you know, at least hundreds of years ago. But also,

634
00:35:45,920 --> 00:35:50,040
Speaker 3: like the character one character has a fairly modern looking rifle.

635
00:35:50,680 --> 00:35:53,440
Speaker 3: And there's another scene where characters are in a building

636
00:35:53,520 --> 00:35:55,400
Speaker 3: that I don't know, looks to me kind of like

637
00:35:55,440 --> 00:35:59,120
Speaker 3: a Christian church, and they may seem to be attending

638
00:35:59,200 --> 00:36:02,160
Speaker 3: maybe church, or maybe I'm misunderstanding what's happening there.

639
00:36:02,719 --> 00:36:06,560
Speaker 2: Yeah. Likewise, like the shamanistic traditions and the old religion

640
00:36:07,200 --> 00:36:10,000
Speaker 2: don't feel as old and as removed from the people,

641
00:36:11,080 --> 00:36:14,400
Speaker 2: which doesn't necessarily rein in exactly when this would be.

642
00:36:14,600 --> 00:36:17,160
Speaker 2: But yeah, so its hard to nail down.

643
00:36:17,320 --> 00:36:19,080
Speaker 3: I truly, Yeah, I truly don't know when this is

644
00:36:19,080 --> 00:36:21,919
Speaker 3: supposed to be set. But certainly, like the characters don't

645
00:36:21,960 --> 00:36:25,680
Speaker 3: have TVs or anything, right. Yeah, anyway, so we've got

646
00:36:25,680 --> 00:36:29,800
Speaker 3: these these reindeer festival games going on, and in this sequence,

647
00:36:29,800 --> 00:36:31,719
Speaker 3: we're going to meet a couple of our main characters.

648
00:36:31,760 --> 00:36:34,920
Speaker 3: We meet a beautiful young woman Parita and a handsome

649
00:36:35,000 --> 00:36:38,480
Speaker 3: young man Aslock. And then Rob I pulled in a

650
00:36:38,520 --> 00:36:40,879
Speaker 3: screenshot of Parita and the first time we really see

651
00:36:40,880 --> 00:36:44,080
Speaker 3: her face here. She is the grown up version of

652
00:36:44,120 --> 00:36:46,759
Speaker 3: the baby we saw featured in the opening folk song,

653
00:36:47,239 --> 00:36:51,520
Speaker 3: and Oslock is a local reindeer herder and an eligible bachelor.

654
00:36:52,160 --> 00:36:56,000
Speaker 3: And when we first see Pirita's face, she is angelic

655
00:36:56,200 --> 00:36:59,960
Speaker 3: with a big, wide grin, and her eyes are sparkled

656
00:37:00,239 --> 00:37:02,000
Speaker 3: in the sun. You can see they really set it

657
00:37:02,080 --> 00:37:04,479
Speaker 3: up to like so that her eyes capture the light

658
00:37:04,600 --> 00:37:07,440
Speaker 3: and it glints on her. You know, they look like wet.

659
00:37:07,880 --> 00:37:10,040
Speaker 3: I don't know, it's a good gross, but like she's sparkling.

660
00:37:10,080 --> 00:37:13,120
Speaker 3: She's sparkling, and you can even see a little sparkle

661
00:37:13,160 --> 00:37:15,720
Speaker 3: on her cheeks. I think there's like snow melted catching

662
00:37:15,760 --> 00:37:19,400
Speaker 3: the light there. Yeah, and Parita is taking part in

663
00:37:19,520 --> 00:37:22,000
Speaker 3: the reindeer sled race here. She's having a great time.

664
00:37:22,080 --> 00:37:24,240
Speaker 2: She's happy, yeah, just beaming with life.

665
00:37:24,400 --> 00:37:29,400
Speaker 3: But also credit to Miriami Kosmanin's performance here, because she

666
00:37:29,800 --> 00:37:34,560
Speaker 3: always manages to make Parita seem a little bit strange

667
00:37:34,880 --> 00:37:38,960
Speaker 3: and mysterious even when she's happy and when times are good.

668
00:37:39,640 --> 00:37:41,879
Speaker 2: Yeah, that's a great point. Yeah, even early on, there's

669
00:37:41,920 --> 00:37:43,680
Speaker 2: something else there. I don't even know. Is it a

670
00:37:43,680 --> 00:37:47,879
Speaker 2: deep loneliness. Is it something else. We'll have to think

671
00:37:47,880 --> 00:37:48,840
Speaker 2: about it as we perceive.

672
00:37:49,600 --> 00:37:53,000
Speaker 3: But asloc is also in the running here in this race,

673
00:37:53,360 --> 00:37:56,400
Speaker 3: he seems to command his beast with confidence and pleasure

674
00:37:56,480 --> 00:38:00,360
Speaker 3: as Luck's he's a big ball of fun here. Yeah.

675
00:38:00,440 --> 00:38:03,800
Speaker 3: One visual theme I started noticing right around this sequence

676
00:38:03,880 --> 00:38:06,720
Speaker 3: that I thought I should flag Rob. The movie has

677
00:38:07,000 --> 00:38:12,840
Speaker 3: lots of shots of mostly empty snowfields that foreground, a

678
00:38:13,040 --> 00:38:17,760
Speaker 3: single tree all by itself, piled up with snow, sometimes

679
00:38:17,800 --> 00:38:20,880
Speaker 3: even bent over sideways under the weight of allD frost.

680
00:38:21,680 --> 00:38:25,080
Speaker 3: And I think that is probably an intentional pattern, and

681
00:38:25,120 --> 00:38:28,760
Speaker 3: it's kind of a subtle visual cue that communicates something

682
00:38:28,920 --> 00:38:33,439
Speaker 3: about loneliness. Loneliness is a theme of the film, and

683
00:38:33,760 --> 00:38:36,400
Speaker 3: it shows it as loneliness as this kind of cold

684
00:38:36,440 --> 00:38:38,400
Speaker 3: and heavy burden that smothers you.

685
00:38:39,120 --> 00:38:42,200
Speaker 2: Yeah, that's great. Yeah. And then just in general, like

686
00:38:42,960 --> 00:38:46,280
Speaker 2: the world is this vast, cold landscape and you find

687
00:38:46,360 --> 00:38:50,319
Speaker 2: warmth and community and in very small packages here and there.

688
00:38:51,120 --> 00:38:53,600
Speaker 3: Yes, I totally agree with that, though I would say

689
00:38:53,600 --> 00:38:57,320
Speaker 3: that like the focus is on something about the physical

690
00:38:57,440 --> 00:39:02,160
Speaker 3: world and the necessities of life creating these things. It's not,

691
00:39:02,680 --> 00:39:05,840
Speaker 3: it seems to me, not really a comment on anything

692
00:39:05,920 --> 00:39:10,400
Speaker 3: about the community being alienating or isolating. Is more just like,

693
00:39:10,440 --> 00:39:13,560
Speaker 3: these are the realities we have to deal with to survive.

694
00:39:13,640 --> 00:39:15,400
Speaker 2: Right right, And you know, they get out in the

695
00:39:15,400 --> 00:39:18,560
Speaker 2: snow and they have some fun. They they're laboring in

696
00:39:18,600 --> 00:39:21,080
Speaker 2: the snow. They don't you know, obviously it is an

697
00:39:21,160 --> 00:39:25,399
Speaker 2: environmental hurdle for life. But they're doing their best. And yeah,

698
00:39:25,520 --> 00:39:28,319
Speaker 2: just there are multiple scenes where our main actors are

699
00:39:28,320 --> 00:39:32,319
Speaker 2: like iced over, but they're smiling. So I think that's

700
00:39:32,400 --> 00:39:34,520
Speaker 2: telling and it matches up with some things I've heard

701
00:39:34,560 --> 00:39:39,160
Speaker 2: about surviving in cold environments, where like people say, yeah,

702
00:39:39,200 --> 00:39:40,960
Speaker 2: I mean, you just got to find a reason to

703
00:39:41,000 --> 00:39:43,240
Speaker 2: go out in the snow and live your life.

704
00:39:44,239 --> 00:39:48,440
Speaker 3: So eventually Parita and Aslak seem to have become separated

705
00:39:48,480 --> 00:39:50,439
Speaker 3: from all the other contestants in the race. I don't

706
00:39:50,440 --> 00:39:52,880
Speaker 3: know if they stopped caring about the overall race course.

707
00:39:53,400 --> 00:39:55,719
Speaker 3: Now they're just playing together. It's just the two of

708
00:39:55,760 --> 00:40:00,000
Speaker 3: them dashing over this big hillside, treating each other flirtatiously,

709
00:40:00,239 --> 00:40:03,319
Speaker 3: and eventually as Lac makes a move he throws a

710
00:40:03,480 --> 00:40:08,040
Speaker 3: rope and Lasso's Parita, pulling her off her sled, and

711
00:40:08,120 --> 00:40:11,080
Speaker 3: he says, a reindeer is fast, but a wolf is faster,

712
00:40:11,880 --> 00:40:15,080
Speaker 3: and they embrace, laughing, and they tumble down the hill

713
00:40:15,120 --> 00:40:18,560
Speaker 3: in their furs, rolling over each other, and there's a

714
00:40:18,640 --> 00:40:22,719
Speaker 3: shot here where when they come to rest, Aslac cradles

715
00:40:22,760 --> 00:40:25,040
Speaker 3: Parita in his arms and she looks up at him

716
00:40:25,040 --> 00:40:28,680
Speaker 3: with this big, toothy smile, and it really shows off

717
00:40:28,760 --> 00:40:32,920
Speaker 3: this angel witch duality that Cosmondin brings to the role, Like,

718
00:40:33,120 --> 00:40:36,040
Speaker 3: if you look at her face here, Rob, she's looking

719
00:40:36,120 --> 00:40:39,320
Speaker 3: so happy, but also if you just change your mindset,

720
00:40:39,440 --> 00:40:41,120
Speaker 3: she could look so dangerous.

721
00:40:41,600 --> 00:40:45,360
Speaker 2: Yeah yeah, and she will totally have those those Dracula

722
00:40:45,440 --> 00:40:46,160
Speaker 2: moments later on.

723
00:40:46,640 --> 00:40:49,000
Speaker 3: And so as Lac leans down to kiss her. And

724
00:40:49,040 --> 00:40:51,759
Speaker 3: there's also something funny about the way he looks here.

725
00:40:52,320 --> 00:40:54,799
Speaker 3: They've done him up so that his eyebrows are just

726
00:40:54,920 --> 00:40:59,680
Speaker 3: spiky with ice, so he's got like icicles over his eyes. Anyway,

727
00:40:59,719 --> 00:41:02,240
Speaker 3: after the games are done, we see Parita and Aslac

728
00:41:02,640 --> 00:41:05,840
Speaker 3: canoodling together in a reindeer drawn sled and riding around

729
00:41:05,920 --> 00:41:09,399
Speaker 3: outside the festivities. Clearly they are falling in love, and

730
00:41:09,520 --> 00:41:12,600
Speaker 3: Aslak asks, do you like me, and she smiles and

731
00:41:12,680 --> 00:41:17,680
Speaker 3: leans on him, but doesn't say anything. So soon after this,

732
00:41:17,840 --> 00:41:20,279
Speaker 3: Parita is at home with her family. I believe these

733
00:41:20,320 --> 00:41:24,600
Speaker 3: are her adoptive parents, and we see Aslac and his

734
00:41:24,719 --> 00:41:28,719
Speaker 3: father coming in his sled to visit the house. I

735
00:41:28,840 --> 00:41:31,239
Speaker 3: don't know if this was supposed to mean anything, or

736
00:41:31,280 --> 00:41:34,200
Speaker 3: even if it was intentional, but Rob, did you notice

737
00:41:34,239 --> 00:41:37,600
Speaker 3: in this scene that as Aslac is coming down the road,

738
00:41:37,719 --> 00:41:39,560
Speaker 3: a black cat runs across his path?

739
00:41:40,719 --> 00:41:43,160
Speaker 2: You know, I didn't notice this when I watched the film,

740
00:41:43,480 --> 00:41:45,960
Speaker 2: but it's a great point. I'm not sure what it means, Like,

741
00:41:46,000 --> 00:41:48,200
Speaker 2: I don't know what the black cat's role might be

742
00:41:49,160 --> 00:41:53,080
Speaker 2: in the folklore of northern Finland. But in absence of that,

743
00:41:53,160 --> 00:41:55,279
Speaker 2: maybe it's just like cinematic tradition of black cats. Or

744
00:41:55,320 --> 00:41:57,879
Speaker 2: sometimes you just have a cat that is going along

745
00:41:57,960 --> 00:41:59,880
Speaker 2: and mining its own business and does not care that

746
00:42:00,000 --> 00:42:00,840
Speaker 2: you're shooting a film.

747
00:42:00,960 --> 00:42:05,280
Speaker 3: Get that cat out of the snow. Speaking to Parita's parents,

748
00:42:06,200 --> 00:42:09,600
Speaker 3: I think this is Aslak's father, and he says this

749
00:42:09,680 --> 00:42:11,960
Speaker 3: must be some kind of metaphor. He says, we have

750
00:42:12,040 --> 00:42:14,640
Speaker 3: a merchant, you have a bird, sell us the bird,

751
00:42:16,000 --> 00:42:19,600
Speaker 3: and this is a marriage proposal, and Parita's father asks

752
00:42:19,600 --> 00:42:22,839
Speaker 3: Aslak if his intentions are honorable, and he promises they are.

753
00:42:23,160 --> 00:42:25,720
Speaker 3: He makes a pledge that he will treat their daughter well,

754
00:42:26,760 --> 00:42:29,880
Speaker 3: and then the parents unfold a cloth containing the bride price.

755
00:42:29,960 --> 00:42:34,359
Speaker 3: It's several coins and pieces of jewelry, and you get

756
00:42:34,360 --> 00:42:40,440
Speaker 3: the sense that within their community, these people they're not rich,

757
00:42:40,640 --> 00:42:42,920
Speaker 3: but they can lead a rich life.

758
00:42:43,400 --> 00:42:47,279
Speaker 2: Yeah. Yeah, there's not a sense of the people here

759
00:42:47,320 --> 00:42:50,680
Speaker 2: like barely scraping by in the edge of civilization or

760
00:42:50,719 --> 00:42:51,560
Speaker 2: anything like that.

761
00:42:52,360 --> 00:42:55,960
Speaker 3: No, there are environmental hardships, but this is their way

762
00:42:56,000 --> 00:42:58,000
Speaker 3: of life and they make it work, so there is

763
00:42:59,200 --> 00:43:02,440
Speaker 3: it's not commune udicating it seems to me anything about

764
00:43:02,560 --> 00:43:07,359
Speaker 3: like poverty or hardship of that kind. But yeah, so

765
00:43:07,400 --> 00:43:08,920
Speaker 3: we see that, and then the next thing, you know,

766
00:43:08,960 --> 00:43:11,200
Speaker 3: we're at the wedding and it's a rock and party,

767
00:43:11,280 --> 00:43:14,000
Speaker 3: like friends and relatives come to poor gifts onto the

768
00:43:14,040 --> 00:43:16,920
Speaker 3: pile on the table and they're drinking from this frothy

769
00:43:17,040 --> 00:43:20,720
Speaker 3: booz booze chalice. Actually it's mostly just one guy drinking

770
00:43:20,719 --> 00:43:24,279
Speaker 3: this chalice and they're dancing around in the warmth of

771
00:43:24,320 --> 00:43:29,160
Speaker 3: the fire. Eventually, this might be Aslac's father I think,

772
00:43:29,200 --> 00:43:32,280
Speaker 3: who says the drink is drunk bread and salt eaten.

773
00:43:33,560 --> 00:43:35,719
Speaker 3: And then there's this interesting thing where like Parita and

774
00:43:35,800 --> 00:43:39,440
Speaker 3: Aslac are kept behind a curtain. They're hidden from everybody

775
00:43:39,440 --> 00:43:42,400
Speaker 3: else at the party, and one drunk guy keeps peeping

776
00:43:42,440 --> 00:43:44,520
Speaker 3: through the curtain and tells them they look just like

777
00:43:44,560 --> 00:43:47,160
Speaker 3: a couple of lovebirds. And then at the end that

778
00:43:47,239 --> 00:43:49,360
Speaker 3: there's a funny shot where they're like closing up shop

779
00:43:49,400 --> 00:43:51,520
Speaker 3: at the end of the wedding party, and like everybody's

780
00:43:51,520 --> 00:43:53,880
Speaker 3: still like trying to peek in the door, and somebody's

781
00:43:53,880 --> 00:43:55,520
Speaker 3: trying to force the door shut.

782
00:43:56,239 --> 00:43:58,600
Speaker 2: Yeah. Yeah, this is the sequence where I kind of

783
00:43:58,600 --> 00:44:00,520
Speaker 2: wish I had color because I feel like this is

784
00:44:00,600 --> 00:44:04,160
Speaker 2: a This is a colorful in its own way, you know,

785
00:44:04,320 --> 00:44:07,239
Speaker 2: rosy depiction of traditional life. Is it accurate, I don't know,

786
00:44:07,280 --> 00:44:10,759
Speaker 2: but it has an accurate feel to it, at least

787
00:44:11,080 --> 00:44:11,760
Speaker 2: in my viewing.

788
00:44:12,160 --> 00:44:14,680
Speaker 3: I think the clothes in the scene alone would have

789
00:44:14,680 --> 00:44:26,439
Speaker 3: had a lot of cool colors. Yeah yeah, But after this,

790
00:44:26,800 --> 00:44:30,520
Speaker 3: now our main characters are married and time passes. Of course,

791
00:44:30,560 --> 00:44:33,440
Speaker 3: Aslac is a reindeer herder, which is a job that

792
00:44:33,520 --> 00:44:36,680
Speaker 3: requires travel. He has to take his stock around I

793
00:44:36,680 --> 00:44:39,680
Speaker 3: guess to different feeding grounds. Probably, so he's often gone,

794
00:44:39,920 --> 00:44:44,280
Speaker 3: leaving Parita home alone for long periods. And when Aslac

795
00:44:44,400 --> 00:44:49,040
Speaker 3: is gone, we learn Parita is lonely. We see her

796
00:44:49,080 --> 00:44:52,160
Speaker 3: excitement in one scene where he returns with a giant

797
00:44:52,239 --> 00:44:55,640
Speaker 3: train of animals. This was shot with a real reindeer herd,

798
00:44:55,680 --> 00:44:59,200
Speaker 3: and it's just amazing to see this ocean of antlers bobbing.

799
00:44:59,360 --> 00:45:02,800
Speaker 3: Is this column of like hundreds or maybe even thousands

800
00:45:02,800 --> 00:45:04,160
Speaker 3: of animals clops.

801
00:45:03,760 --> 00:45:05,880
Speaker 2: On by, Yeah, so many reindeer.

802
00:45:06,400 --> 00:45:09,120
Speaker 3: So Parita and Aslac race to meet each other, and

803
00:45:09,160 --> 00:45:12,000
Speaker 3: she just collapses into his arms. There's not just love

804
00:45:12,160 --> 00:45:16,000
Speaker 3: but relief when he comes home. But the night of

805
00:45:16,000 --> 00:45:19,440
Speaker 3: their reunion, that's when the vibes first start getting a

806
00:45:19,440 --> 00:45:22,640
Speaker 3: little dark. We see the couple together in their bed

807
00:45:23,360 --> 00:45:26,520
Speaker 3: and the camera slowly zooms in on them as we

808
00:45:26,600 --> 00:45:30,680
Speaker 3: hear these uneasy, dissonant chords swelling up on the soundtrack,

809
00:45:31,239 --> 00:45:34,640
Speaker 3: and we see that Aslac is asleep, but Parita is awake.

810
00:45:35,080 --> 00:45:37,799
Speaker 3: She's laying there and her eyes are open, and she

811
00:45:37,880 --> 00:45:40,640
Speaker 3: turns to her husband and she rubs his chest and

812
00:45:40,880 --> 00:45:44,440
Speaker 3: tries to rouse his attention, but he's you know, he's tired,

813
00:45:44,480 --> 00:45:46,959
Speaker 3: he's sound asleep, and he rolls over, turning his back

814
00:45:47,000 --> 00:45:50,120
Speaker 3: to her. And then Parita rises up from the bed

815
00:45:50,239 --> 00:45:53,600
Speaker 3: and slowly walks over to the fireplace to warm her hands.

816
00:45:54,120 --> 00:45:57,760
Speaker 3: And she turns and sees a man not aslac staring

817
00:45:57,800 --> 00:46:02,600
Speaker 3: at her from a bedroll on the floor. First time

818
00:46:02,600 --> 00:46:04,640
Speaker 3: I watched it, I was like, wait, who is this?

819
00:46:04,800 --> 00:46:06,840
Speaker 3: But I think this is one of the other herders.

820
00:46:06,880 --> 00:46:08,839
Speaker 3: I think they're all just sleeping in the same house here,

821
00:46:09,600 --> 00:46:14,399
Speaker 3: and you know, one of her husband's coworkers here. And

822
00:46:14,480 --> 00:46:17,520
Speaker 3: the man looks at her and she smiles, and then

823
00:46:17,560 --> 00:46:22,040
Speaker 3: she climbs back into bed with oslock. This little encounter,

824
00:46:22,200 --> 00:46:27,880
Speaker 3: in this exchange of looks feels significant, but I truly

825
00:46:27,960 --> 00:46:30,480
Speaker 3: wasn't sure what to make of it, Like was there

826
00:46:30,480 --> 00:46:33,040
Speaker 3: supposed to be some kind of sexual tension with this

827
00:46:33,160 --> 00:46:36,840
Speaker 3: other man or is he frightened of her for some reason?

828
00:46:36,960 --> 00:46:39,160
Speaker 3: You could kind of read the scene that way at stage,

829
00:46:39,280 --> 00:46:41,839
Speaker 3: like that could be what it means. She hasn't really

830
00:46:41,880 --> 00:46:45,360
Speaker 3: done anything overtly creepy yet, but she is just I

831
00:46:45,360 --> 00:46:47,200
Speaker 3: don't know, there's something in the music and the way

832
00:46:47,239 --> 00:46:50,000
Speaker 3: she looks at him that is a little maybe off

833
00:46:51,400 --> 00:46:54,799
Speaker 3: and we don't know like what exactly is going on,

834
00:46:54,920 --> 00:46:57,560
Speaker 3: but there's something she has a moment with this other man.

835
00:46:58,040 --> 00:47:00,560
Speaker 2: Yeah, I was wondering, is the man's supposed to be creepy?

836
00:47:00,640 --> 00:47:05,040
Speaker 2: Year Like, I'm thinking to some of the themes here

837
00:47:05,080 --> 00:47:07,839
Speaker 2: that are not all that overret I guess, But you know,

838
00:47:08,400 --> 00:47:11,719
Speaker 2: we begin with this scene where her mother played by

839
00:47:11,719 --> 00:47:16,000
Speaker 2: the same actor, is chased by wolves there, So is

840
00:47:16,080 --> 00:47:19,160
Speaker 2: this guy sort of like are we thinking about like

841
00:47:19,239 --> 00:47:22,560
Speaker 2: he's kind of a wolf himself? Is he like looking

842
00:47:22,600 --> 00:47:26,279
Speaker 2: at her with predatory eyes? I'm not sure. Again that

843
00:47:26,320 --> 00:47:28,960
Speaker 2: the film is kind of leads it to your interpretation.

844
00:47:29,320 --> 00:47:32,440
Speaker 3: Yeah, yeah, And so we have this question like ultimately,

845
00:47:33,160 --> 00:47:36,759
Speaker 3: what is it that Parita wants? We know, and we'll

846
00:47:36,800 --> 00:47:39,400
Speaker 3: explain more about this in following scenes, but we know

847
00:47:39,520 --> 00:47:43,640
Speaker 3: she's unsatisfied in her marriage somehow. But is this only

848
00:47:43,760 --> 00:47:47,759
Speaker 3: because she misses her husband and wants more attention from him,

849
00:47:48,360 --> 00:47:50,920
Speaker 3: or is it because she desires other men as well?

850
00:47:51,680 --> 00:47:53,920
Speaker 3: I think you could or is it something else? I

851
00:47:54,000 --> 00:47:57,880
Speaker 3: think you could interpret it multiple ways. And Parita herself

852
00:47:58,040 --> 00:48:02,080
Speaker 3: never says in the film. Later in her wear reindeer form,

853
00:48:02,600 --> 00:48:06,319
Speaker 3: she does seduce other men, but I wonder should we

854
00:48:06,360 --> 00:48:09,600
Speaker 3: take that as like her true to herself, as her

855
00:48:09,680 --> 00:48:12,320
Speaker 3: desire or is that just like the curse, the evil

856
00:48:12,400 --> 00:48:13,760
Speaker 3: magic acting through her.

857
00:48:14,560 --> 00:48:18,440
Speaker 2: Yeah? In either case, like, I think more communication was

858
00:48:18,520 --> 00:48:20,000
Speaker 2: necessary its marriage.

859
00:48:20,840 --> 00:48:24,239
Speaker 3: So later there's a scene where Aslak is preparing to

860
00:48:24,320 --> 00:48:27,520
Speaker 3: leave with his herd once again, and before he goes,

861
00:48:27,560 --> 00:48:31,680
Speaker 3: he gives Perita a gift, a young white reindeer, which

862
00:48:31,719 --> 00:48:35,040
Speaker 3: he says she can have as a pet. So it's small,

863
00:48:35,160 --> 00:48:38,879
Speaker 3: with soft looking fur, and it's asymmetrical. It only has

864
00:48:39,000 --> 00:48:42,400
Speaker 3: one antler on one side of its head, no antler

865
00:48:42,440 --> 00:48:45,480
Speaker 3: on the other side. And then Parita says, kind of sadly,

866
00:48:45,600 --> 00:48:47,880
Speaker 3: off you go again, and who knows for how long

867
00:48:48,040 --> 00:48:50,839
Speaker 3: I'll miss you, And he hugs her and he tries

868
00:48:50,880 --> 00:48:52,799
Speaker 3: to comfort her. He says he'll be back soon, but

869
00:48:52,880 --> 00:48:54,799
Speaker 3: you can see that she is not happy in the

870
00:48:54,800 --> 00:48:57,319
Speaker 3: way that like as he pulls away, she's still just

871
00:48:57,400 --> 00:49:01,960
Speaker 3: reaching after him. So now is alone again, alone with

872
00:49:02,040 --> 00:49:06,200
Speaker 3: her one antlered white reindeer dough and we see her

873
00:49:06,239 --> 00:49:08,719
Speaker 3: feeding it from a big ball of lichen. I think

874
00:49:08,719 --> 00:49:11,000
Speaker 3: that's what it is. She's got, like this big wad

875
00:49:11,080 --> 00:49:14,080
Speaker 3: of something that she feeds it. And then later, she

876
00:49:14,160 --> 00:49:16,520
Speaker 3: sits in her house staring out the window at this

877
00:49:16,600 --> 00:49:20,200
Speaker 3: bleak landscape with gray clouds, and there's like a beam

878
00:49:20,239 --> 00:49:22,799
Speaker 3: of sunlight cutting through the gray clouds, like we saw

879
00:49:22,880 --> 00:49:27,800
Speaker 3: earlier in the opening montage. She's obviously yearning for something.

880
00:49:28,480 --> 00:49:33,000
Speaker 3: And then suddenly a switch is flipped, A change comes

881
00:49:33,000 --> 00:49:36,440
Speaker 3: over Parita, and she has decided to do something, So

882
00:49:36,480 --> 00:49:39,680
Speaker 3: she hurriedly packs some items in a bag and ventures

883
00:49:39,680 --> 00:49:43,160
Speaker 3: out into the snow. She goes over a hill, across

884
00:49:43,200 --> 00:49:46,920
Speaker 3: a plane, all the way to a tiny, isolated cottage

885
00:49:47,000 --> 00:49:51,040
Speaker 3: in the fells, and I thought this was an interesting

886
00:49:51,160 --> 00:49:53,920
Speaker 3: choice for the equivalent of what you would get in

887
00:49:53,960 --> 00:49:58,080
Speaker 3: other movies. The witch's hut, which is often in the

888
00:49:58,120 --> 00:50:00,439
Speaker 3: movies I'm more familiar with, is in a four story

889
00:50:00,480 --> 00:50:03,440
Speaker 3: is in a swamp, and here it is the only

890
00:50:04,120 --> 00:50:08,240
Speaker 3: vertical feature we can see in an otherwise completely empty

891
00:50:08,360 --> 00:50:09,960
Speaker 3: expanse of snow.

892
00:50:10,360 --> 00:50:13,800
Speaker 2: And it itself is covered in snow. This is snow everywhere.

893
00:50:13,880 --> 00:50:16,040
Speaker 3: So Parita goes to the door and lets herself in.

894
00:50:16,480 --> 00:50:19,560
Speaker 3: The cottage is filled with smoke, the floor is filthy.

895
00:50:20,000 --> 00:50:22,480
Speaker 3: There is a goat chained to a post in the

896
00:50:22,480 --> 00:50:25,360
Speaker 3: middle of the room, and then squatting on the floor

897
00:50:25,520 --> 00:50:29,680
Speaker 3: tending to a fire. Is Salkunila the shaman, the wizard,

898
00:50:30,000 --> 00:50:32,640
Speaker 3: kind of the cunning man? I wondered if you had

899
00:50:32,640 --> 00:50:36,399
Speaker 3: a thought on this, rob do you read Salkunila as

900
00:50:36,440 --> 00:50:40,680
Speaker 3: an inbounds or an out of bounds practitioner of magic

901
00:50:40,760 --> 00:50:43,799
Speaker 3: from the society's point of view? Is he more like

902
00:50:43,920 --> 00:50:47,040
Speaker 3: the village priest or the village shaman, or is he

903
00:50:47,200 --> 00:50:49,920
Speaker 3: more like some kind of outsider warlock.

904
00:50:50,800 --> 00:50:54,160
Speaker 2: That's a great question. Yeah, because if in other films

905
00:50:54,160 --> 00:50:56,920
Speaker 2: where we have this character sort of character show up,

906
00:50:56,960 --> 00:50:59,319
Speaker 2: you know, generally in the form of a witch, you

907
00:50:59,320 --> 00:51:02,840
Speaker 2: can have different more they may lean more old religion,

908
00:51:02,880 --> 00:51:07,120
Speaker 2: more pagan, or they may lean more satanic dark magic. Right,

909
00:51:07,560 --> 00:51:11,680
Speaker 2: and in either case kind of like position a sort

910
00:51:11,719 --> 00:51:16,719
Speaker 2: of spiritual distance from the mainstream. But then here we

911
00:51:16,840 --> 00:51:19,680
Speaker 2: get the sense that whatever the spiritual distance, there is

912
00:51:19,719 --> 00:51:23,359
Speaker 2: a there is an actual physical distance from the rest

913
00:51:23,440 --> 00:51:26,040
Speaker 2: of the people. I'm not sure how we're to take that,

914
00:51:26,239 --> 00:51:28,520
Speaker 2: so I don't know. I I guess I got the

915
00:51:28,600 --> 00:51:32,560
Speaker 2: overall impression that the shamanistic traditions that he represents are

916
00:51:32,920 --> 00:51:36,160
Speaker 2: at least not that far from the mainstream. But for

917
00:51:36,239 --> 00:51:40,439
Speaker 2: whatever reasons. What he does is a little removed from

918
00:51:40,520 --> 00:51:43,440
Speaker 2: the rest of the community. He is kind of an

919
00:51:43,480 --> 00:51:49,440
Speaker 2: individual corner. Yeah, he is an individual with with influences

920
00:51:49,520 --> 00:51:52,760
Speaker 2: in the other world, and that's why you come to him.

921
00:51:53,200 --> 00:51:55,439
Speaker 3: Maybe it's in a place where like you could buy

922
00:51:55,440 --> 00:51:58,080
Speaker 3: beer at the store, but he's a home brewer. Yeah,

923
00:51:58,520 --> 00:52:03,799
Speaker 3: maybe so salkut Nila. He turns his eyes up to

924
00:52:04,200 --> 00:52:07,160
Speaker 3: uh Pirrieto when when she comes in, and he says,

925
00:52:07,520 --> 00:52:10,200
Speaker 3: I knew you would come, And then he hangs a

926
00:52:10,280 --> 00:52:12,440
Speaker 3: pot over the fire. It looks like maybe it's a

927
00:52:12,440 --> 00:52:13,160
Speaker 3: pot of soup.

928
00:52:13,239 --> 00:52:13,640
Speaker 2: I thought.

929
00:52:13,680 --> 00:52:15,759
Speaker 3: It looks like it's got a big bone sticking out

930
00:52:15,760 --> 00:52:15,960
Speaker 3: of it.

931
00:52:16,080 --> 00:52:16,279
Speaker 2: Yeah.

932
00:52:16,360 --> 00:52:20,239
Speaker 3: Yeah, And Parita quickly begins digging into her bag and

933
00:52:20,280 --> 00:52:23,000
Speaker 3: pulling things out to lay before the wise man. She

934
00:52:23,080 --> 00:52:26,359
Speaker 3: has brought. She has brought gifts. This is I guess

935
00:52:26,400 --> 00:52:28,959
Speaker 3: how she's going to pay for his services. First of all,

936
00:52:29,000 --> 00:52:31,799
Speaker 3: she pulls out these round loaves of bread that look

937
00:52:31,880 --> 00:52:35,319
Speaker 3: like giant bagels. Rob, I understand you figured out what

938
00:52:35,400 --> 00:52:36,799
Speaker 3: kind of bread product this is.

939
00:52:36,960 --> 00:52:39,040
Speaker 2: Yeah, I was curious, maybe a little hungry at the time,

940
00:52:39,080 --> 00:52:42,239
Speaker 2: and it's it's it's I'm not going to attempt to

941
00:52:42,239 --> 00:52:44,920
Speaker 2: pronounce its finished name, but it's apparently a traditional finish

942
00:52:45,040 --> 00:52:47,640
Speaker 2: rye bread and that hole in the center it has

943
00:52:47,680 --> 00:52:49,680
Speaker 2: to do with the way that they're they're they're hung

944
00:52:49,719 --> 00:52:52,839
Speaker 2: on poles at some point in the process of making them.

945
00:52:52,840 --> 00:52:54,879
Speaker 2: But yeah, so some sort of finish rye red here.

946
00:52:55,160 --> 00:52:57,120
Speaker 3: So you sent me an article. It's like after you

947
00:52:57,160 --> 00:52:59,399
Speaker 3: bake them, you hang them up on a pole over

948
00:52:59,440 --> 00:53:01,800
Speaker 3: the oven, and that like keeps them warm or dries

949
00:53:01,840 --> 00:53:02,480
Speaker 3: them or something.

950
00:53:02,719 --> 00:53:07,520
Speaker 2: Yeah, so they're not donuts or bagels. They're something unique.

951
00:53:07,880 --> 00:53:11,880
Speaker 3: But so yeah. She pulls out these large bagel shaped

952
00:53:12,120 --> 00:53:14,399
Speaker 3: loaves of bread and then a wedge of cheese. That's

953
00:53:14,400 --> 00:53:16,279
Speaker 3: got to be reindeer milk cheese.

954
00:53:16,120 --> 00:53:19,080
Speaker 2: Right, it's or goats. I mean this guy, but this

955
00:53:19,120 --> 00:53:22,240
Speaker 2: guy's got goats and he doesn't have cheese, so that's true.

956
00:53:22,320 --> 00:53:24,839
Speaker 3: He wants that cheese, I think. She also pulls out

957
00:53:24,880 --> 00:53:28,160
Speaker 3: a dried piece of meat, and then finally the good stuff,

958
00:53:28,600 --> 00:53:32,120
Speaker 3: a bottle of clear spirits. This could be vodka or

959
00:53:32,239 --> 00:53:39,400
Speaker 3: maybe some kind of traditional sammy liquor. Alandi Salku Nila

960
00:53:39,560 --> 00:53:41,759
Speaker 3: sees what he wants. When she produces the bottle, he

961
00:53:41,880 --> 00:53:46,000
Speaker 3: snatches it and immediately just starts chugging, and after a

962
00:53:46,040 --> 00:53:49,720
Speaker 3: good long chug he turns back to Parita and he says,

963
00:53:50,520 --> 00:53:52,080
Speaker 3: love potion is it?

964
00:53:52,200 --> 00:53:52,279
Speaker 2: You?

965
00:53:52,400 --> 00:53:56,080
Speaker 3: Women young and old the same? And then while he's talking,

966
00:53:56,120 --> 00:53:59,920
Speaker 3: he also keeps doing this bizarre, slow, high pitched laugh,

967
00:54:00,800 --> 00:54:04,840
Speaker 3: and he says, your man off in the fells. Salkunila

968
00:54:04,920 --> 00:54:07,480
Speaker 3: knows the cure. And then here he pulls out a

969
00:54:07,560 --> 00:54:10,600
Speaker 3: leather pouch and begins to pinch things out of it

970
00:54:10,640 --> 00:54:14,560
Speaker 3: and sprinkle them into the pot. He says, herbs from

971
00:54:14,600 --> 00:54:20,319
Speaker 3: beyond ten fells, beside ten streams, some graveyard salt, the

972
00:54:20,360 --> 00:54:24,280
Speaker 3: balls of ten bull moose, the strength of ten bull moose.

973
00:54:24,840 --> 00:54:29,160
Speaker 3: Salcunila the Wizard can bring back lost reindeer. Salcunila the

974
00:54:29,200 --> 00:54:33,399
Speaker 3: Great Wizard can raise the dead. And then I love

975
00:54:33,520 --> 00:54:38,120
Speaker 3: this part. He pulls out a divination object. It is

976
00:54:38,160 --> 00:54:42,760
Speaker 3: a drum with a skin loosely stretched over the top

977
00:54:42,840 --> 00:54:47,600
Speaker 3: as its head, and all over this skin are illustrations

978
00:54:47,600 --> 00:54:51,040
Speaker 3: and drawings, these patterns, And then he places a small

979
00:54:51,360 --> 00:54:54,880
Speaker 3: stone or bone dye of some kind on the drum

980
00:54:55,239 --> 00:54:58,360
Speaker 3: and then starts beating the drum with a clawed mallet,

981
00:54:58,440 --> 00:55:01,319
Speaker 3: and this makes the little die object like bounce up

982
00:55:01,320 --> 00:55:04,600
Speaker 3: and down, and land on different parts of the drawings

983
00:55:04,600 --> 00:55:08,360
Speaker 3: on the drumhead. Yeah, I like this, so I assume

984
00:55:08,520 --> 00:55:11,480
Speaker 3: where the bone piece bounces on the drum here. Tells

985
00:55:11,520 --> 00:55:15,080
Speaker 3: her what she must do, and Sulkuneila explains the message.

986
00:55:15,080 --> 00:55:18,680
Speaker 3: He says, you must sacrifice to the stone god, the

987
00:55:18,719 --> 00:55:22,080
Speaker 3: first living thing you meet on your way home. Then

988
00:55:22,600 --> 00:55:26,080
Speaker 3: no reindeer herder will be able to resist you this winter.

989
00:55:26,280 --> 00:55:26,760
Speaker 2: You will.

990
00:55:27,520 --> 00:55:30,759
Speaker 3: But then he trails off. He stops talking, and he

991
00:55:30,880 --> 00:55:36,279
Speaker 3: leans back, looking frightened, like he's frightened of Pirita. And

992
00:55:36,360 --> 00:55:39,040
Speaker 3: she tells him to go on. But now she's looming

993
00:55:39,120 --> 00:55:43,600
Speaker 3: over him with this menacing posture and this crazed look

994
00:55:43,600 --> 00:55:47,520
Speaker 3: in her eyes, and she reaches out a hand flexed

995
00:55:47,560 --> 00:55:50,799
Speaker 3: like an animal's claw and presses it down against the

996
00:55:50,800 --> 00:55:56,040
Speaker 3: painted drumhead. And now the drum begins to sound, releasing

997
00:55:56,080 --> 00:56:00,040
Speaker 3: this new, deep, deeper, echoing beat, and the bone and

998
00:56:00,800 --> 00:56:03,920
Speaker 3: the little object starts to dance, even though Salcunila is

999
00:56:03,960 --> 00:56:06,279
Speaker 3: not touching the drum. Nobody's beating the drum, but we're

1000
00:56:06,280 --> 00:56:09,759
Speaker 3: hearing a drum beat and it's it's reverberating. So there's

1001
00:56:09,760 --> 00:56:13,640
Speaker 3: some kind of terrible power radiating out of Parita herself

1002
00:56:13,719 --> 00:56:17,200
Speaker 3: into the drum and Rob, I don't know if you

1003
00:56:17,600 --> 00:56:20,400
Speaker 3: have a way of describing the way her face looks

1004
00:56:20,440 --> 00:56:21,840
Speaker 3: in this scene, but it's intense.

1005
00:56:22,239 --> 00:56:25,080
Speaker 2: Yeah, the lighting is totally different, you know, of course

1006
00:56:25,080 --> 00:56:29,040
Speaker 2: this is a darker environment to begin with. And then yeah,

1007
00:56:29,080 --> 00:56:31,200
Speaker 2: she has this kind of sinister look on her face,

1008
00:56:31,280 --> 00:56:34,960
Speaker 2: like something has awoken inside her. The spell. It kind

1009
00:56:34,960 --> 00:56:36,800
Speaker 2: of comes back to what you said earlier. This spell

1010
00:56:36,880 --> 00:56:40,480
Speaker 2: has has interacted with a pre existing condition that was

1011
00:56:40,560 --> 00:56:44,120
Speaker 2: unknown to our wizard here, that she herself is a

1012
00:56:44,160 --> 00:56:44,760
Speaker 2: born witch.

1013
00:56:45,360 --> 00:56:48,760
Speaker 3: Yeah, and he announces it now he Salconela screams witch

1014
00:56:49,360 --> 00:56:54,480
Speaker 3: and Parita looks possessed. And then also an interesting distinction

1015
00:56:54,560 --> 00:56:57,239
Speaker 3: to wonder, like, so he's doing something like some kind

1016
00:56:57,280 --> 00:57:00,359
Speaker 3: of magic or witchcraft, but there's a different thing he

1017
00:57:00,440 --> 00:57:02,960
Speaker 3: means by her being a witch. Maybe it's that like

1018
00:57:03,400 --> 00:57:08,360
Speaker 3: he knows the the magical arts, but she's got something

1019
00:57:08,680 --> 00:57:11,719
Speaker 3: you know, inborn in her, like she has powers.

1020
00:57:12,080 --> 00:57:14,040
Speaker 2: Yeah, Like I get the sense that like he is

1021
00:57:14,080 --> 00:57:17,080
Speaker 2: one who has reached into the other world and has

1022
00:57:17,120 --> 00:57:20,440
Speaker 2: some degree of power. And it's probably over selling his

1023
00:57:20,480 --> 00:57:22,880
Speaker 2: ability saying he can raise the dead and so forth,

1024
00:57:22,960 --> 00:57:24,200
Speaker 2: And you.

1025
00:57:24,120 --> 00:57:25,120
Speaker 3: Know what's that vodka.

1026
00:57:25,240 --> 00:57:27,840
Speaker 2: Yeah, he's kind of a mess. And at this point

1027
00:57:27,920 --> 00:57:31,200
Speaker 2: he realizes, oh, she's the real deal though. She has

1028
00:57:31,640 --> 00:57:35,680
Speaker 2: powers that emerge from within the other world, and yeah,

1029
00:57:35,720 --> 00:57:40,520
Speaker 2: maybe he even has some some notion that there are

1030
00:57:40,600 --> 00:57:43,680
Speaker 2: going to be some interactions with how his magic and

1031
00:57:43,760 --> 00:57:45,680
Speaker 2: her magic are now going to manifest.

1032
00:57:46,000 --> 00:57:50,000
Speaker 3: Right, So Parita looks possessed, and then finally the drumhead

1033
00:57:50,080 --> 00:57:53,040
Speaker 3: rips open and Salku Nila shouts in terror as he

1034
00:57:53,120 --> 00:57:55,040
Speaker 3: like falls back into the corner of the room. He

1035
00:57:55,120 --> 00:57:59,600
Speaker 3: reaches for his goat for safety, and Parita stares into

1036
00:57:59,600 --> 00:58:03,680
Speaker 3: the fire as it climbs higher, and then the scene's over.

1037
00:58:03,760 --> 00:58:06,520
Speaker 3: After this, Parita, we see her back outside heading home.

1038
00:58:06,880 --> 00:58:08,880
Speaker 2: Now did she get a love potion at all? It

1039
00:58:08,960 --> 00:58:12,640
Speaker 2: was just well, she was given a ritual to a

1040
00:58:12,720 --> 00:58:15,040
Speaker 2: ritual to carry out, so there's not so much a potion,

1041
00:58:15,160 --> 00:58:17,280
Speaker 2: but yeah, a ritual to carry out in order to

1042
00:58:17,320 --> 00:58:18,400
Speaker 2: achieve this effect.

1043
00:58:18,680 --> 00:58:21,200
Speaker 3: Right, So she's going back home and she's come out

1044
00:58:21,240 --> 00:58:24,720
Speaker 3: of her trance, but she as she's crossing the distance,

1045
00:58:24,760 --> 00:58:27,640
Speaker 3: she hears the words of the shaman again. She has

1046
00:58:27,680 --> 00:58:31,360
Speaker 3: to sacrifice to the Stone God, the first living thing

1047
00:58:31,520 --> 00:58:34,160
Speaker 3: that she meets on her way home. But when she

1048
00:58:34,360 --> 00:58:38,400
Speaker 3: arrives home, oh no, there's Oslac outside the house. He's

1049
00:58:38,400 --> 00:58:43,440
Speaker 3: home early, but fortunately before she reunites with her husband,

1050
00:58:43,520 --> 00:58:46,240
Speaker 3: Like the pet reindeer with the one antler, he lets

1051
00:58:46,280 --> 00:58:48,600
Speaker 3: go of it and it runs ahead of him into

1052
00:58:48,640 --> 00:58:51,560
Speaker 3: her arms. So the white reindeer now is the thing

1053
00:58:51,600 --> 00:58:55,160
Speaker 3: that she has to sacrifice. Aslac tells her that he

1054
00:58:55,240 --> 00:58:58,200
Speaker 3: missed her and he had to come home early to

1055
00:58:58,240 --> 00:59:01,080
Speaker 3: see her. And at this point I wondered, oh, man,

1056
00:59:01,520 --> 00:59:04,720
Speaker 3: should you interpret that as like I made the trip

1057
00:59:04,760 --> 00:59:08,800
Speaker 3: to the shaman for no reason, like he came back anyway,

1058
00:59:08,920 --> 00:59:12,240
Speaker 3: this was the thing I wanted? Or did it already work?

1059
00:59:12,880 --> 00:59:14,960
Speaker 2: Hmmm, that's a good question. I also had a question

1060
00:59:15,040 --> 00:59:17,880
Speaker 2: about how there's not, again, not a lot of dialogue

1061
00:59:17,880 --> 00:59:20,440
Speaker 2: in some of these In many of these scenes, so

1062
00:59:20,640 --> 00:59:22,800
Speaker 2: like the wizard is just saying like, oh, yeah, I've

1063
00:59:22,840 --> 00:59:27,480
Speaker 2: got what you want. You want a love potion, No

1064
00:59:27,640 --> 00:59:29,920
Speaker 2: reindeer herder will be able to resist you. And then

1065
00:59:29,960 --> 00:59:32,280
Speaker 2: but she doesn't say no, no, no, just my husband.

1066
00:59:32,280 --> 00:59:35,800
Speaker 2: I'm just trying to make my husband more attracted any reindeer.

1067
00:59:36,560 --> 00:59:39,680
Speaker 3: Well, it's unclear again, I think it we don't fully

1068
00:59:39,760 --> 00:59:43,240
Speaker 3: know whether she is just wanting the attention of her husband,

1069
00:59:43,280 --> 00:59:45,760
Speaker 3: or whether she's interested in the attention of other reindeer

1070
00:59:45,800 --> 00:59:48,960
Speaker 3: herders as well. It could be either one. Yeah, I

1071
00:59:49,000 --> 00:59:52,120
Speaker 3: mean I think it is clear she misses as locks.

1072
00:59:51,840 --> 00:59:54,480
Speaker 2: So absolutely that that's at least a part of it.

1073
00:59:54,600 --> 01:00:08,400
Speaker 3: Yes. Anyway, later we see Sipurita remembering what she has

1074
01:00:08,480 --> 01:00:10,920
Speaker 3: to do, so she packs up and she harnesses the

1075
01:00:10,960 --> 01:00:13,640
Speaker 3: young reindeer and she sets out for a journey to

1076
01:00:13,680 --> 01:00:16,680
Speaker 3: the place of the Stone God. This is one of

1077
01:00:16,720 --> 01:00:20,120
Speaker 3: my favorite parts of the movie. So like, she passes

1078
01:00:20,160 --> 01:00:23,400
Speaker 3: these strange landscapes while she's on the way. There's one

1079
01:00:23,400 --> 01:00:25,440
Speaker 3: part here, Robert, I don't know if you know what

1080
01:00:25,440 --> 01:00:28,720
Speaker 3: we're looking at. There's this big ice field and then

1081
01:00:28,760 --> 01:00:33,200
Speaker 3: there are these regularly spaced vertical structures that are totally

1082
01:00:33,240 --> 01:00:36,120
Speaker 3: covered in snow and ice, and I was like, are

1083
01:00:36,200 --> 01:00:39,960
Speaker 3: these just like really narrow trees that are regularly spaced

1084
01:00:40,040 --> 01:00:42,720
Speaker 3: this way or is this something man made? I truly

1085
01:00:42,880 --> 01:00:43,800
Speaker 3: have no idea.

1086
01:00:43,880 --> 01:00:45,880
Speaker 2: I mean I took them to be trees when I

1087
01:00:45,920 --> 01:00:47,720
Speaker 2: was watching the film, but I could be wrong. Yeah,

1088
01:00:47,720 --> 01:00:49,560
Speaker 2: they could be structures of some sort, but they've been

1089
01:00:49,560 --> 01:00:53,000
Speaker 2: blasted by the snow and are now just encrusted with it.

1090
01:00:53,320 --> 01:00:56,560
Speaker 3: So the atmosphere and the music become much more frightening.

1091
01:00:56,680 --> 01:01:00,439
Speaker 3: As she nears the place of the Stone God. It

1092
01:01:00,520 --> 01:01:05,880
Speaker 3: is a giant, dark stone monolith looming over a field,

1093
01:01:06,560 --> 01:01:11,000
Speaker 3: topped with a reindeer skull and massive antlers, and then

1094
01:01:11,040 --> 01:01:15,080
Speaker 3: below the stone there is a reindeer graveyard, though all

1095
01:01:15,080 --> 01:01:19,800
Speaker 3: we see is snow with just hundreds of reindeer antlers

1096
01:01:19,960 --> 01:01:23,520
Speaker 3: sticking up out of it. It's a wonderfully composed scene,

1097
01:01:23,760 --> 01:01:27,800
Speaker 3: absolutely yes. So Parita reaches the altar and then she

1098
01:01:27,880 --> 01:01:30,760
Speaker 3: kneels down with her pet, and she raises the knife

1099
01:01:30,800 --> 01:01:33,840
Speaker 3: and then plunges the knife in to complete the sacrifice.

1100
01:01:34,400 --> 01:01:38,120
Speaker 3: And here some power comes over her. Yet again. Parita

1101
01:01:38,240 --> 01:01:42,280
Speaker 3: is overwhelmed, maybe possessed in some way, and she passes

1102
01:01:42,320 --> 01:01:44,640
Speaker 3: out and has all these visions. She has visions of

1103
01:01:44,680 --> 01:01:48,720
Speaker 3: her life, of her meeting with the Shaman, of there's

1104
01:01:48,720 --> 01:01:51,040
Speaker 3: a vision of a reindeer running across a field in

1105
01:01:51,160 --> 01:01:58,640
Speaker 3: photonegative and something now has changed, and I think maybe

1106
01:01:58,640 --> 01:02:01,160
Speaker 3: this is a good point to you kind of zoom

1107
01:02:01,200 --> 01:02:03,200
Speaker 3: out and speak in a more summary way about the

1108
01:02:03,480 --> 01:02:05,120
Speaker 3: rest of the plot of the film, and then we

1109
01:02:05,200 --> 01:02:07,520
Speaker 3: can I don't know, focus on anything that stands out

1110
01:02:07,560 --> 01:02:10,200
Speaker 3: to you that you want to talk about. So after

1111
01:02:10,240 --> 01:02:14,800
Speaker 3: this point the ritual seems to have worked, but at

1112
01:02:14,840 --> 01:02:18,680
Speaker 3: a terrible cost. It sort of it comes with a twist.

1113
01:02:18,680 --> 01:02:21,280
Speaker 3: It's like a monkey's paw sort of thing. She is

1114
01:02:21,440 --> 01:02:25,960
Speaker 3: indeed now irresistible to the reindeer herdsman, but at night

1115
01:02:26,480 --> 01:02:32,520
Speaker 3: she transforms bodily into a wild white reindeer and roams

1116
01:02:32,560 --> 01:02:37,360
Speaker 3: the fells committing murders. So in her reindeer form we

1117
01:02:37,440 --> 01:02:40,040
Speaker 3: see this first scene where she attracts the attention of

1118
01:02:40,040 --> 01:02:43,040
Speaker 3: a herder one night and he wants to catch her,

1119
01:02:43,120 --> 01:02:46,120
Speaker 3: not as parita, but as a reindeer, to add her

1120
01:02:46,160 --> 01:02:48,400
Speaker 3: to the herd. I guess. And this is funny because

1121
01:02:48,400 --> 01:02:50,880
Speaker 3: it plays on this duality of like, she will be

1122
01:02:50,960 --> 01:02:55,000
Speaker 3: irresistible to the reindeer herdsman, and sometimes what they're interested

1123
01:02:55,040 --> 01:02:57,760
Speaker 3: in is business they want, you know, they want this reindeer,

1124
01:02:57,880 --> 01:03:00,720
Speaker 3: or maybe there's it's playing on this full belief that

1125
01:03:00,840 --> 01:03:03,600
Speaker 3: like catching a wild white reindeer is like something that

1126
01:03:03,640 --> 01:03:05,040
Speaker 3: brings great fortune.

1127
01:03:05,080 --> 01:03:08,720
Speaker 2: Right right. But then the other side of that, of course,

1128
01:03:08,800 --> 01:03:11,080
Speaker 2: is that on one level or the other she is

1129
01:03:11,480 --> 01:03:12,720
Speaker 2: a woman pursued by.

1130
01:03:12,600 --> 01:03:15,439
Speaker 3: Men, yes, exactly. And then so when this guy does

1131
01:03:15,520 --> 01:03:18,760
Speaker 3: catch her, she transforms back into her human form and

1132
01:03:18,800 --> 01:03:22,480
Speaker 3: then she kills him. And this cycle repeats several times

1133
01:03:22,480 --> 01:03:25,919
Speaker 3: with these different sort of lurings out and murders in

1134
01:03:26,160 --> 01:03:29,200
Speaker 3: where she will alternate between her reindeer form and her

1135
01:03:29,280 --> 01:03:30,880
Speaker 3: human form.

1136
01:03:30,560 --> 01:03:33,480
Speaker 2: And she kind of has vampire teeth to a certain extent.

1137
01:03:33,560 --> 01:03:36,560
Speaker 3: Yeah, oh yeah, yeah, we see that, and it's freaky.

1138
01:03:36,640 --> 01:03:40,000
Speaker 3: And in response to the killings, the villagers get very

1139
01:03:40,440 --> 01:03:42,920
Speaker 3: upset and they try to come up with solutions to

1140
01:03:43,080 --> 01:03:46,920
Speaker 3: combat the evil witchcraft in their midst. The solution favored

1141
01:03:46,920 --> 01:03:50,840
Speaker 3: by Aslak, not knowing that the witch is his wife,

1142
01:03:51,280 --> 01:03:53,640
Speaker 3: is cold iron, and that is the only way to

1143
01:03:53,720 --> 01:03:56,640
Speaker 3: kill a witch. So you see these forging scenes where

1144
01:03:56,680 --> 01:03:58,560
Speaker 3: these guy, you know, people who are I think not

1145
01:03:58,680 --> 01:04:02,040
Speaker 3: professional blacksmiths, are just doing the best they can. They're

1146
01:04:02,080 --> 01:04:06,240
Speaker 3: like beating out these iron tips into spearheads so that

1147
01:04:06,280 --> 01:04:08,080
Speaker 3: they can kill the witch with cold iron.

1148
01:04:08,160 --> 01:04:10,360
Speaker 2: Isn't there one scene where he's making one in the

1149
01:04:10,440 --> 01:04:13,480
Speaker 2: room with his wife, Yeah, yes, she's in there, yeah yeah,

1150
01:04:13,520 --> 01:04:16,320
Speaker 2: and she's kind of like recoiled in the corner. Because

1151
01:04:17,400 --> 01:04:20,440
Speaker 2: this is like an instrument of death for her, but

1152
01:04:20,600 --> 01:04:23,080
Speaker 2: he doesn't know that she is the witch. She is

1153
01:04:23,120 --> 01:04:23,760
Speaker 2: the reindeer.

1154
01:04:24,680 --> 01:04:27,320
Speaker 3: So at one point you mentioned the ranger with the

1155
01:04:27,400 --> 01:04:30,600
Speaker 3: rifle that shows up from the south. He is not

1156
01:04:30,960 --> 01:04:34,160
Speaker 3: part of the culture of the film and is not

1157
01:04:34,360 --> 01:04:38,120
Speaker 3: impressed by stories of magic and devils. He tracks the

1158
01:04:38,160 --> 01:04:40,040
Speaker 3: reindeer and he tries to shoot it, but I think

1159
01:04:40,080 --> 01:04:43,200
Speaker 3: some magical trickery goes on and the rifle explodes in

1160
01:04:43,240 --> 01:04:47,479
Speaker 3: his face, and then he sees the animal transform back

1161
01:04:47,520 --> 01:04:50,400
Speaker 3: into a beautiful woman and he sort of loses his mind.

1162
01:04:50,760 --> 01:04:51,520
Speaker 2: Yeah.

1163
01:04:51,560 --> 01:04:54,880
Speaker 3: After more killings, the villagers form a mob to hunt

1164
01:04:54,960 --> 01:04:59,840
Speaker 3: down the wear reindeer, and in this final in the climax,

1165
01:04:59,880 --> 01:05:03,400
Speaker 3: he Parita is frightened and she flees. She keeps transforming

1166
01:05:03,480 --> 01:05:06,280
Speaker 3: back and forth between her reindeer and human forms. She

1167
01:05:06,400 --> 01:05:08,320
Speaker 3: tries to go back to get help from the wizard

1168
01:05:08,440 --> 01:05:11,640
Speaker 3: from Salkunela, but finds that he has been killed in

1169
01:05:11,720 --> 01:05:14,840
Speaker 3: his cottage. Rob, how did you interpret that? Who killed him?

1170
01:05:14,880 --> 01:05:16,440
Speaker 3: Do you think it was the villagers?

1171
01:05:17,120 --> 01:05:20,080
Speaker 2: I don't know, because he's in there, like it's cold

1172
01:05:20,120 --> 01:05:25,080
Speaker 2: and frozen. It's unclear when he died exactly, so I

1173
01:05:25,640 --> 01:05:28,200
Speaker 2: mean it's it also doesn't seem and he was necessarily

1174
01:05:28,520 --> 01:05:31,760
Speaker 2: practicing a lot of self care. So, like, did he

1175
01:05:31,840 --> 01:05:35,000
Speaker 2: drink himself to death in that hut? Is it because

1176
01:05:35,040 --> 01:05:36,760
Speaker 2: of what he saw after?

1177
01:05:37,480 --> 01:05:38,560
Speaker 3: Did she kill him? Yeah?

1178
01:05:38,560 --> 01:05:40,640
Speaker 2: Did she kill him? Yes? She may have. She may

1179
01:05:40,680 --> 01:05:44,000
Speaker 2: have killed him sight unseen, you know, off off off camera,

1180
01:05:44,040 --> 01:05:49,920
Speaker 2: off screen after that initial encounter. I don't know, it's again,

1181
01:05:50,040 --> 01:05:52,880
Speaker 2: it's it's it's a bit ambiguous, but it's clear that

1182
01:05:53,000 --> 01:05:56,240
Speaker 2: like he cannot help her in the same way that

1183
01:05:56,280 --> 01:05:58,880
Speaker 2: this ranger from the south cannot help the villagers.

1184
01:05:59,160 --> 01:06:02,480
Speaker 3: Yeah, and so she also she's seeking help wherever it

1185
01:06:02,520 --> 01:06:04,200
Speaker 3: can come. She tries to go back to the place

1186
01:06:04,240 --> 01:06:06,920
Speaker 3: of the Stone God to ask for mercy, but no

1187
01:06:07,080 --> 01:06:11,000
Speaker 3: mercy will be given. And then finally, in her reindeer form,

1188
01:06:11,360 --> 01:06:14,800
Speaker 3: she's caught by Aslac, who gores her with a cold

1189
01:06:14,840 --> 01:06:19,920
Speaker 3: iron spear, after which she transforms back into herself, leaving

1190
01:06:19,960 --> 01:06:23,760
Speaker 3: Aslac mortified and he kneels down over her, realizing he

1191
01:06:23,760 --> 01:06:26,400
Speaker 3: has killed his wife, and he brushes her hair tenderly

1192
01:06:26,480 --> 01:06:28,880
Speaker 3: while she's dying, and then we just see the snow

1193
01:06:28,960 --> 01:06:31,880
Speaker 3: blowing from the slope of the fells and the cold wind,

1194
01:06:32,360 --> 01:06:34,640
Speaker 3: and that's the end. It's a very bleak ending.

1195
01:06:34,880 --> 01:06:37,880
Speaker 2: Yeah, we don't even get at the end. We close

1196
01:06:37,920 --> 01:06:40,800
Speaker 2: out and then we get the studio, the logo, and

1197
01:06:40,800 --> 01:06:41,240
Speaker 2: that's it.

1198
01:06:41,720 --> 01:06:44,640
Speaker 3: So so many interesting questions. I've raised this a couple

1199
01:06:44,760 --> 01:06:47,320
Speaker 3: times now, but I want to come back to evidence

1200
01:06:47,360 --> 01:06:49,920
Speaker 3: we can look at in the film for what is

1201
01:06:50,000 --> 01:06:54,040
Speaker 3: Parita's attitude? Like, so much of her inner life is

1202
01:06:54,160 --> 01:06:56,840
Speaker 3: left mysterious, and that's part of what makes the film

1203
01:06:56,920 --> 01:07:01,080
Speaker 3: and the character so alluring. She's clearly feeling and thinking

1204
01:07:01,160 --> 01:07:04,320
Speaker 3: so much, but we get hardly any dialogue or voiceover

1205
01:07:04,440 --> 01:07:07,720
Speaker 3: to share the details of those thoughts and feelings with

1206
01:07:07,840 --> 01:07:11,960
Speaker 3: the audience. So, like, what is her attitude towards the

1207
01:07:12,080 --> 01:07:15,320
Speaker 3: killings that she's doing in the form of the White Reindeer.

1208
01:07:16,440 --> 01:07:18,760
Speaker 3: I found this commented on in a book entry I

1209
01:07:18,800 --> 01:07:20,760
Speaker 3: was reading about the movie. This was in a book

1210
01:07:20,760 --> 01:07:24,120
Speaker 3: about werewolf films called The Werewolf Filmography by an author

1211
01:07:24,200 --> 01:07:28,000
Speaker 3: named Brian Sen, and in the entry on The White Reindeer,

1212
01:07:28,160 --> 01:07:31,919
Speaker 3: A sin writes quote it remains ambiguous as to what

1213
01:07:32,120 --> 01:07:35,680
Speaker 3: triggers the change in Perita, nor is it clear whether

1214
01:07:35,800 --> 01:07:40,320
Speaker 3: she embraces the metamorphosis. At times, she seems distraught over

1215
01:07:40,360 --> 01:07:43,560
Speaker 3: what she's done in her bewitched reindeer form, while at

1216
01:07:43,600 --> 01:07:47,200
Speaker 3: others she appears to revel in it, even sporting vampiric fangs.

1217
01:07:47,240 --> 01:07:50,120
Speaker 3: In one scene, like you mentioned Rob as her witch

1218
01:07:50,160 --> 01:07:54,320
Speaker 3: half seemingly takes over. It's as if she has two personalities,

1219
01:07:54,400 --> 01:07:58,880
Speaker 3: the innocent Parita and the evil Witch. So I think

1220
01:07:58,920 --> 01:08:01,960
Speaker 3: that's a correct scription. I wonder what we're supposed to

1221
01:08:01,960 --> 01:08:04,520
Speaker 3: take away from that. And likewise, the other question we

1222
01:08:04,600 --> 01:08:08,880
Speaker 3: raised about Parita's motivations, what is at the root of

1223
01:08:08,920 --> 01:08:12,800
Speaker 3: her unhappiness and her desire at the beginning of the film,

1224
01:08:12,840 --> 01:08:16,000
Speaker 3: What exactly is it she wants to be different? And

1225
01:08:16,680 --> 01:08:20,160
Speaker 3: also like, what does she feel about her transformations? Is

1226
01:08:20,200 --> 01:08:24,799
Speaker 3: she desiring a kind of violent liberation from some aspect

1227
01:08:24,840 --> 01:08:27,160
Speaker 3: of her life or is it more just that she

1228
01:08:27,240 --> 01:08:31,120
Speaker 3: desires love and companionship. It could go either way.

1229
01:08:31,800 --> 01:08:36,479
Speaker 2: Yeah, yeah, it's you know, I suspect it's getting to

1230
01:08:36,560 --> 01:08:39,240
Speaker 2: some degree into this idea of like how does she

1231
01:08:40,000 --> 01:08:44,680
Speaker 2: fit into this masculine world around her and the desires

1232
01:08:45,040 --> 01:08:48,839
Speaker 2: of men, including her husband, you know, like she wants

1233
01:08:48,960 --> 01:08:52,760
Speaker 2: to be loved, she doesn't want to be murdered. But

1234
01:08:53,120 --> 01:08:56,479
Speaker 2: that's that's where we end up with the slaying of

1235
01:08:56,520 --> 01:09:00,720
Speaker 2: her monster self as perceived by the commune unity and

1236
01:09:01,840 --> 01:09:05,840
Speaker 2: the murder of her human self. And you know, this

1237
01:09:05,960 --> 01:09:08,320
Speaker 2: is also a case that the ending. We can point

1238
01:09:08,360 --> 01:09:11,599
Speaker 2: out that this matches up with were wolf and shape

1239
01:09:11,600 --> 01:09:15,960
Speaker 2: shifting tales from ancient times, the idea that the monster

1240
01:09:16,160 --> 01:09:18,680
Speaker 2: is killed, and in the killing of the monster it

1241
01:09:18,760 --> 01:09:22,960
Speaker 2: is revealed that they were actually this individual, or if

1242
01:09:23,000 --> 01:09:27,320
Speaker 2: not a particular individual, than a human being. They are

1243
01:09:27,360 --> 01:09:31,120
Speaker 2: revealed in the death. Sometimes there's another form of the reveal,

1244
01:09:31,200 --> 01:09:33,840
Speaker 2: which we've all seen in werewolf movies before, where it's

1245
01:09:33,880 --> 01:09:36,599
Speaker 2: the wound. The beast is wounded, then later we see

1246
01:09:36,600 --> 01:09:39,680
Speaker 2: the wound on the human individual and we realize that

1247
01:09:39,720 --> 01:09:40,439
Speaker 2: the two are one.

1248
01:09:40,880 --> 01:09:45,040
Speaker 3: Can I point out another variation. Often in were wolf movies,

1249
01:09:45,439 --> 01:09:49,519
Speaker 3: the character transforms into the werewolf, not only to in

1250
01:09:49,560 --> 01:09:52,880
Speaker 3: this transformed state get the desire to kill, usually as

1251
01:09:52,920 --> 01:09:55,120
Speaker 3: a kind of tragic thing, where the werewolf in their

1252
01:09:55,200 --> 01:09:58,120
Speaker 3: human state doesn't want to do violence to anyone, but

1253
01:09:58,160 --> 01:10:00,960
Speaker 3: they transform and then the wolf side of them takes

1254
01:10:01,000 --> 01:10:02,840
Speaker 3: over and it wants to do these killings. But it's

1255
01:10:02,880 --> 01:10:06,439
Speaker 3: also the wolf side of them is the kind that

1256
01:10:06,680 --> 01:10:09,559
Speaker 3: can do the killings. It has the physical power and

1257
01:10:09,640 --> 01:10:12,600
Speaker 3: the teeth and the claws and all that. So it

1258
01:10:12,720 --> 01:10:16,240
Speaker 3: is through the wolf body that the violence is done.

1259
01:10:17,040 --> 01:10:19,759
Speaker 3: That's not always the case in The White Reindeer. In fact,

1260
01:10:20,600 --> 01:10:23,519
Speaker 3: I think am I remembering it right? That Perita usually

1261
01:10:23,560 --> 01:10:26,760
Speaker 3: seems to like she will take the form of the

1262
01:10:26,760 --> 01:10:30,760
Speaker 3: White reindeer at some point in the luring of these men,

1263
01:10:31,840 --> 01:10:34,000
Speaker 3: or at some point in the pursuit, or at some

1264
01:10:34,040 --> 01:10:37,400
Speaker 3: point in the escape afterwards. But like when she does

1265
01:10:37,439 --> 01:10:40,760
Speaker 3: the killing, she often is in her human form, isn't she.

1266
01:10:40,920 --> 01:10:43,679
Speaker 2: Yeah, that's a great point this. I was reading about

1267
01:10:43,680 --> 01:10:46,320
Speaker 2: this a bit in some of the information I was

1268
01:10:46,360 --> 01:10:49,120
Speaker 2: reading a few months ago about the female where wolf

1269
01:10:49,240 --> 01:10:53,880
Speaker 2: in in folklore, in mythology and in cinema, and the

1270
01:10:53,920 --> 01:10:57,439
Speaker 2: authors made a point that, Yeah, you'll often see that

1271
01:10:58,320 --> 01:11:01,360
Speaker 2: the female turns into a werewolf, and in turning into

1272
01:11:01,360 --> 01:11:06,080
Speaker 2: a werewolf, they turn into a masculine or more masculine

1273
01:11:06,160 --> 01:11:13,679
Speaker 2: form of themselves in order to be this dominant monster. Yeah,

1274
01:11:13,720 --> 01:11:15,880
Speaker 2: and then here and in this film, yeah, she seems

1275
01:11:15,920 --> 01:11:18,840
Speaker 2: to generally kill in human form. And we should also

1276
01:11:18,880 --> 01:11:21,759
Speaker 2: point out again that it is not a graphic picture.

1277
01:11:21,840 --> 01:11:25,040
Speaker 2: So when people are killed and animals are killed, it's

1278
01:11:25,080 --> 01:11:29,080
Speaker 2: generally not shown. It's left to our imaginations.

1279
01:11:28,640 --> 01:11:31,160
Speaker 3: But I have the impression, based on having watched it

1280
01:11:31,200 --> 01:11:33,919
Speaker 3: a couple of times, that most or all of the killings,

1281
01:11:34,200 --> 01:11:36,559
Speaker 3: the last thing we see of her is like, she's

1282
01:11:36,600 --> 01:11:38,800
Speaker 3: about to do it, and she's in human form, and

1283
01:11:38,840 --> 01:11:41,679
Speaker 3: then maybe she warps away and you know, runs off

1284
01:11:41,720 --> 01:11:42,960
Speaker 3: in the white reindeer form.

1285
01:11:43,400 --> 01:11:47,040
Speaker 2: Yeah. Yeah, yeah. It seems like the white reindeer form

1286
01:11:47,080 --> 01:11:49,840
Speaker 2: itself is more about mobility, yeah.

1287
01:11:49,280 --> 01:11:50,439
Speaker 3: But also about attraction.

1288
01:11:50,680 --> 01:11:55,120
Speaker 2: Yeah yeah, attraction, mobility. Yeah. I'm also reminded of other

1289
01:11:55,160 --> 01:12:00,200
Speaker 2: folkloric traditions in which there is some inhuman threat that

1290
01:12:00,360 --> 01:12:03,840
Speaker 2: may take on the form of two different things that

1291
01:12:03,880 --> 01:12:08,240
Speaker 2: may attract a male, one being a female woman and

1292
01:12:08,240 --> 01:12:11,040
Speaker 2: the other being a horse. Those kind of traditions kind

1293
01:12:11,040 --> 01:12:14,439
Speaker 2: of seem akin to what we're seeing here in the

1294
01:12:14,479 --> 01:12:17,360
Speaker 2: modes of attraction that are employed. You know, the men

1295
01:12:17,640 --> 01:12:19,280
Speaker 2: are like, oh, there's a great rangeer, I need to

1296
01:12:19,320 --> 01:12:21,240
Speaker 2: catch that from my hurt, or there is a beautiful woman,

1297
01:12:21,280 --> 01:12:23,639
Speaker 2: I want to go see what she's up to, chatter

1298
01:12:23,720 --> 01:12:26,519
Speaker 2: up a little bit, that sort of thing. I'm not

1299
01:12:26,520 --> 01:12:29,840
Speaker 2: sure how we might completely factor that endo our calculations here.

1300
01:12:30,120 --> 01:12:32,880
Speaker 3: Yeah, there is a kind of duality of attraction along

1301
01:12:32,960 --> 01:12:33,519
Speaker 3: those lines.

1302
01:12:34,080 --> 01:12:36,920
Speaker 2: I should also point out I don't have materials put

1303
01:12:36,960 --> 01:12:39,840
Speaker 2: together to really go in depth on this, but we

1304
01:12:39,840 --> 01:12:42,680
Speaker 2: should also acknowledge that like a dear woman or a

1305
01:12:42,680 --> 01:12:47,680
Speaker 2: dear lady is also a part of different Native American

1306
01:12:48,640 --> 01:12:52,920
Speaker 2: mythologies and traditions, and I think there is like some

1307
01:12:53,040 --> 01:12:56,880
Speaker 2: amount of overlap in the way that that figure is

1308
01:12:56,920 --> 01:12:59,760
Speaker 2: sometimes presented in what we have here in this film.

1309
01:13:00,160 --> 01:13:03,640
Speaker 2: There's any actual connective tissue between these, but maybe they

1310
01:13:03,680 --> 01:13:06,240
Speaker 2: speak to some common threads in the human psyche. I'm

1311
01:13:06,280 --> 01:13:09,840
Speaker 2: not sure. If nothing else, you know, we might view

1312
01:13:09,880 --> 01:13:12,960
Speaker 2: it in the same way that we have different werewolf

1313
01:13:12,960 --> 01:13:16,280
Speaker 2: traditions and other shape shifting traditions that have popped up

1314
01:13:16,560 --> 01:13:19,639
Speaker 2: in different parts of the world, some influenced by each other,

1315
01:13:19,680 --> 01:13:24,160
Speaker 2: but some with no connections. But they sometimes end up

1316
01:13:24,160 --> 01:13:27,559
Speaker 2: embodying some of the same ideas, the same attitudes, the

1317
01:13:27,560 --> 01:13:31,080
Speaker 2: same relationships between the wild world and the domesticated world,

1318
01:13:31,120 --> 01:13:34,880
Speaker 2: between civilization and the wilds, and so forth.

1319
01:13:35,400 --> 01:13:38,960
Speaker 3: One more question about Pirita. Do you see any element

1320
01:13:39,080 --> 01:13:42,120
Speaker 3: of her getting her comeuppance in the film or do

1321
01:13:42,160 --> 01:13:45,479
Speaker 3: you think it's purely tragic, just tragic? What happens to her,

1322
01:13:45,640 --> 01:13:47,559
Speaker 3: Like is it not really her fault or is it

1323
01:13:47,640 --> 01:13:49,120
Speaker 3: partially her fault?

1324
01:13:49,560 --> 01:13:53,000
Speaker 2: Oh? I mean, in my viewing of the film, it

1325
01:13:53,080 --> 01:13:57,559
Speaker 2: felt tragic. It felt like the path of doom that

1326
01:13:57,760 --> 01:14:01,240
Speaker 2: was like writ from the day she was born. You know,

1327
01:14:01,280 --> 01:14:04,040
Speaker 2: if I go back and piece it together, like you know,

1328
01:14:04,280 --> 01:14:07,400
Speaker 2: in question where her mind was and all of this,

1329
01:14:07,800 --> 01:14:10,479
Speaker 2: I could maybe lean more into the retribution view, But

1330
01:14:10,720 --> 01:14:13,040
Speaker 2: I know, I think the pure cinematic experience is one

1331
01:14:13,080 --> 01:14:14,240
Speaker 2: of doom and tragedy.

1332
01:14:14,400 --> 01:14:16,559
Speaker 3: Yeah, I feel the same way. I was just wondering though,

1333
01:14:16,600 --> 01:14:20,240
Speaker 3: because I mean, it has structural elements that would lend

1334
01:14:20,320 --> 01:14:23,120
Speaker 3: themselves to a kind of, you know, punishment of hubris

1335
01:14:23,160 --> 01:14:26,880
Speaker 3: in some way, that there's something this character really should

1336
01:14:26,880 --> 01:14:30,559
Speaker 3: have done differently, that they did wrong and they're being

1337
01:14:30,600 --> 01:14:33,280
Speaker 3: punished for it. But I don't know, when you think

1338
01:14:33,320 --> 01:14:35,960
Speaker 3: of the content of it scene to scene, it doesn't

1339
01:14:36,040 --> 01:14:39,280
Speaker 3: quite feel that way. It feels more like the evil

1340
01:14:39,320 --> 01:14:42,400
Speaker 3: magic is sort of acting through her rather than an

1341
01:14:42,439 --> 01:14:45,679
Speaker 3: expression of herself. Yeah.

1342
01:14:46,000 --> 01:14:49,360
Speaker 2: The weird thing though, is like we tend to side

1343
01:14:49,360 --> 01:14:52,720
Speaker 2: with her because she is the character we know the

1344
01:14:52,720 --> 01:14:55,000
Speaker 2: most in the movie, and yet at the same time

1345
01:14:55,000 --> 01:14:57,840
Speaker 2: we really don't know her at all. We have very

1346
01:14:57,840 --> 01:15:00,559
Speaker 2: limited information about where her mind is and all of this.

1347
01:15:00,840 --> 01:15:02,840
Speaker 3: But again, I think that's one of the things that

1348
01:15:02,840 --> 01:15:07,160
Speaker 3: makes the movie so exciting, is like, is the mysteriousness

1349
01:15:07,200 --> 01:15:10,040
Speaker 3: of this character. I can't stop thinking about her in

1350
01:15:10,080 --> 01:15:10,360
Speaker 3: a way.

1351
01:15:10,520 --> 01:15:12,920
Speaker 2: Yeah. Yeah, there's an art house ambiguity to this and

1352
01:15:13,160 --> 01:15:16,679
Speaker 2: a dreamlike quality, fitting since it seems that this film

1353
01:15:16,720 --> 01:15:20,240
Speaker 2: at least in part emerged from the mist of dreams.

1354
01:15:20,840 --> 01:15:22,680
Speaker 3: Okay, well, I think that's all I've got on the

1355
01:15:22,720 --> 01:15:23,520
Speaker 3: White Reindeer.

1356
01:15:23,920 --> 01:15:27,000
Speaker 2: Yeah, the White Reindeer. Yeah, highly recommend it. It's easy

1357
01:15:27,000 --> 01:15:30,679
Speaker 2: to get. This is not one that, as of this recording,

1358
01:15:31,040 --> 01:15:34,880
Speaker 2: is super hard to find, so we recommend it, especially

1359
01:15:34,920 --> 01:15:37,840
Speaker 2: if you want some counter season programming.

1360
01:15:37,920 --> 01:15:40,760
Speaker 3: Like we were saying, freeze out your mind while your

1361
01:15:40,760 --> 01:15:41,720
Speaker 3: body sweats.

1362
01:15:41,800 --> 01:15:46,960
Speaker 2: Yes, all right, just a reminder to everyone that's stuffed about.

1363
01:15:46,960 --> 01:15:49,080
Speaker 2: Your Mind is primarily a science and culture podcast, with

1364
01:15:49,120 --> 01:15:52,839
Speaker 2: core episodes on Tuesdays and Thursdays, short form episodes on Wednesdays,

1365
01:15:52,840 --> 01:15:55,360
Speaker 2: but on Fridays, we set aside most serious concerns to

1366
01:15:55,400 --> 01:15:57,920
Speaker 2: just talk about a weird film here on Weird House Cinema.

1367
01:15:58,040 --> 01:16:00,640
Speaker 2: You can get the Weird House Cinema episodes in the

1368
01:16:00,680 --> 01:16:04,080
Speaker 2: main Stuff to Blow Your Mind podcast feed, but we're

1369
01:16:04,080 --> 01:16:08,480
Speaker 2: at least experimenting with Weird House Cinema as its own playlist,

1370
01:16:08,520 --> 01:16:10,839
Speaker 2: which appears as a feed wherever you get your podcast.

1371
01:16:11,000 --> 01:16:13,080
Speaker 2: Wherever you're listening to the show, we just ask you

1372
01:16:13,240 --> 01:16:16,439
Speaker 2: rate and review and subscribe. That helps us keep things rolling.

1373
01:16:16,800 --> 01:16:18,640
Speaker 2: If you are on letterbox dot com, which is a

1374
01:16:18,640 --> 01:16:20,519
Speaker 2: great place to be if you're a film fan, you

1375
01:16:20,560 --> 01:16:23,000
Speaker 2: can find us there. We are a weird House. There's

1376
01:16:23,040 --> 01:16:25,040
Speaker 2: a list of all the movies we've covered over the years,

1377
01:16:25,040 --> 01:16:27,240
Speaker 2: and sometimes a glimpse ahead of what's coming up next.

1378
01:16:27,680 --> 01:16:31,360
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1379
01:16:31,560 --> 01:16:33,120
Speaker 3: If you would like to get in touch with us

1380
01:16:33,120 --> 01:16:35,519
Speaker 3: with feedback on this episode or any other, to suggest

1381
01:16:35,520 --> 01:16:37,599
Speaker 3: a topic for the future, or just to say hello,

1382
01:16:37,920 --> 01:16:40,720
Speaker 3: you can email us at contact Stuff to Blow your

1383
01:16:40,760 --> 01:16:49,400
Speaker 3: Mind dot com.

1384
01:16:49,520 --> 01:16:52,479
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1385
01:16:52,560 --> 01:16:55,360
Speaker 1: more podcasts from My Heart Radio, visit the iHeartRadio app,

1386
01:16:55,520 --> 01:16:58,720
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.