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

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And today I'm really excited about

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Speaker 3: this one because we're getting into one of my favorite

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Speaker 3: types of movie weirdness, which is unlikely genre crossovers. So

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Speaker 3: I think people who have listened to Stuff to Blow

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Speaker 3: Your Mind for a while have probably heard us talk

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Speaker 3: about the subject of supernatural biker movies. This is something

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Speaker 3: that we keep coming back to over the years. In

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Speaker 3: that extreme niche crossover subgenre, you've got stuff like, you know,

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Speaker 3: grimy seventies exploitation, the musk of something like Werewolves on wheels,

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Speaker 3: which is a kind of I don't know, satanic werewolf

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Speaker 3: biker movie where you can really smell the armpits. But

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Speaker 3: then you've also got stuff like the extreme Lich Pope

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Speaker 3: Nigel Toughnell energy of psychomania. Psychomania is very British. It's

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Speaker 3: almost visually nasal somehow, but it's beautiful in its own right.

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Speaker 3: And I think I especially enjoy unlikely genre crossovers when

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Speaker 3: at least one of the genres that's being crossed is

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Speaker 3: not a universal type like horror or romance or comedy,

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Speaker 3: but something much more deeply associated with a particular place

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Speaker 3: and time. And biker movies are a great example here

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Speaker 3: because they sort of hit their peak in the late

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Speaker 3: sixties and early seventies and American movies. I think it

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Speaker 3: was part of that kind of general panic about lawless

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Speaker 3: counterculture and the Hell's Angels and the horror of Altamont

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Speaker 3: and all that. You can hear Nixon kind of grumbling

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Speaker 3: right over the back of your shoulder while you're watching

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Speaker 3: these movies, and so these biker movies are all the

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Speaker 3: more stimulating to me, at least if you can make

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Speaker 3: the biker gang also ach coven or a satanic werewolf conspiracy.

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Speaker 3: And so a few weeks back, I was sitting at

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Speaker 3: my desk working on something, and I don't remember what

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Speaker 3: it was, but I remember I kind of closed my

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Speaker 3: eyes and my mind's eye opened, and there was this

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Speaker 3: void of howling, undifferentiated chaos, and the darkness was suspended

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Speaker 3: over the infinite pit. And then slowly the blizzard of

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Speaker 3: emptiness in my mind's eye resolved into a single phrase,

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Speaker 3: which was supernatural wrestling movies. Now, you may not have

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Speaker 3: been aware. This is a thing.

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Speaker 2: Rob.

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Speaker 3: I know you are aware, but you the listener, but

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Speaker 3: this absolutely is a thing. There are, of course, lots

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Speaker 3: of different kinds of wrestling movies throughout history. One of

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Speaker 3: the things I associate most with wrestling movies is Barton Fink,

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Speaker 3: one of the most disturbing movies I've ever seen. But

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Speaker 3: one of the plot lines in that is that John

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Speaker 3: Traturo's character is a playwright who's been brought to Hollywood

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Speaker 3: to write a wrestling movie, and he is not very

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Speaker 3: familiar with the genre conventions of the wrestling picture.

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Speaker 2: I forgot about this that was that was a detail

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Speaker 2: in that particular film, and that might be worth coming

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Speaker 2: back to it again later because I haven't researched it fully.

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Speaker 2: But a lot there was a lot of wrestling media

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Speaker 2: in the old days, like wrestling short stories in the

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Speaker 2: same way that there were a lot of boxing short stories.

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Speaker 2: And it's my understanding that a lot of it has

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Speaker 2: not been has not been like, you know, researched and

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Speaker 2: preserved in the way that other genre literature has been preserved,

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Speaker 2: you know. But it all came out during the golden

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Speaker 2: age of pro wrestling.

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Speaker 3: Right well, so in Barton Fink. Of course, they're asking

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Speaker 3: John Turturo's character to write a Hollywood style wrestling movie,

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Speaker 3: you know, the Wallace Beery type movie. But I think

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Speaker 3: what is probably inarguable is that the greatest examples realized

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Speaker 3: on Earth of the platonic form of the wrestling picture

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Speaker 3: would be Mexican wrestling movies, and especially Mexican wrestling movies

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Speaker 3: starring the incomparable El Santo.

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Speaker 2: That's right. So yeah, you mentioned to me, you were like,

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Speaker 2: we should do an El Santo movie and I and

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Speaker 2: my response was like, Okay, I'm definitely in, but we've

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Speaker 2: got to make sure we pick a good one. We

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Speaker 2: got it because the are a bunch of them. I

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Speaker 2: haven't seen most of them. I'm just kind of like

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Speaker 2: aware of them. I'm more familiar with Lucia Libre itself

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Speaker 2: than these films. So I started looking around and then

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Speaker 2: I've found what seemed to be the perfect pick. And

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Speaker 2: we'll explain why as we go, And it is Santo

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Speaker 2: in the Treasure of Dracula.

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Speaker 3: Now, this is actually not the only El Santo supernatural

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Speaker 3: wrestling movie. In fact, El Santo battled many a creature

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Speaker 3: of the night and undead type I think he fought

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Speaker 3: some zombies at some point. He's he's gone up against mummies.

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Speaker 3: I think probably aliens. I don't remember all of the

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Speaker 3: ones I came across. I haven't really seen many of

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Speaker 3: these movies. I've actually seen bits and pieces of some

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Speaker 3: of them. I think because there used to be a

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Speaker 3: bar we would go to in town years ago that

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Speaker 3: would project these movies on the wall pretty often, and

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Speaker 3: that always looked like tremendous fun.

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Speaker 2: Yeah, they make for great casual viewing. I've done that

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Speaker 2: as well, and some folks may be familiar with. At

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Speaker 2: least one of them was riffed on Mystery Sence Theater

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Speaker 2: three thousand back in the day, but it's not an

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Speaker 2: episode I've seen a lot.

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Speaker 3: But yes, anyway, so given this theme of supernatural wrestling movies,

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Speaker 3: the one you landed on was Santo in the Treasure

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Speaker 3: of Dracula. And this movie was a hoot.

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Speaker 2: Yes, it has so many things going for it. The

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Speaker 2: backstory is fascinating. We'll get into you. Because you have

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Speaker 2: different versions. You have lost versions, you know, color and

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Speaker 2: black and white, and also a newly restored and released

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Speaker 2: version that you can get on Blu Ray.

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Speaker 3: Yes, but in addition to this movie's particular singular qualities,

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Speaker 3: I think it's also very important that it needs to

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Speaker 3: be understood as part of a genre in which you

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Speaker 3: can't really, i think, understand this movie without having a

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Speaker 3: larger picture of what the deal with Mexican wrestling, Mexican

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Speaker 3: wrestling movies and elsento movies and the Alcento phenomena in

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Speaker 3: general are.

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Speaker 2: Yeah. So I'm not going to try not to go

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Speaker 2: overboard here, but I think it is necessary to have

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Speaker 2: just a basic understanding of Luja libre that's Mexican pro wrestling,

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Speaker 2: free fight, free fighting, just an understanding of what it

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Speaker 2: is and how it sort of loosely fits into into

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Speaker 2: its culture. So yeah, so first, first of all, at

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Speaker 2: its heart, it is pro wrestling. It's a work fight

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Speaker 2: with an athletic performance central to it. So it's you know,

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Speaker 2: it's highly athletic. People can be injured and are injured

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Speaker 2: and sometimes die performing like this. It is you know,

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Speaker 2: it's the actual contact is often made, but it's also

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Speaker 2: it is a performance. So it's when contact is made,

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Speaker 2: you want it. You generally want to try and make

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Speaker 2: it look even better, more intense than it actually was.

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Speaker 3: But this is This is a choreographed, performative fighting the style.

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Speaker 3: I mean, it is absolutely actual athleticism, but it's not

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Speaker 3: like MMA or something.

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Speaker 2: Right, And it's my understanding the choreograph nature of it

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Speaker 2: kind of depends on who's performing. Like I think a

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Speaker 2: lot of these guys that get to the point where

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Speaker 2: they're able to sort of improv a bit, but there

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Speaker 2: is a structure to the match. It does have a

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Speaker 2: predetermined finish, etc. But yeah, this is professional wrestling, but

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Speaker 2: it is the distinctly Mexican evolution of professional wrestling. Professional

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Speaker 2: wrestling itself seems to have emerged out of wrestling folk

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Speaker 2: traditions and British grappling contests at fairs in the late

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Speaker 2: nineteenth century. And of course this in and of itself

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Speaker 2: entails a great deal of Carney tactics, you know, worked matches, cheats,

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Speaker 2: you know, strongman competitions, all of that. But it begins

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Speaker 2: to really take hold and solidify into a form, and

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Speaker 2: the sport becomes increasingly popular in the United States and

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Speaker 2: in the British Isles, and then popularity declines during World

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Speaker 2: War Two, and I rockets afterwards into what is sometimes

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Speaker 2: described as kind of a Golden Age. Of wrestling, so

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Speaker 2: it takes roots in other parts. It takes root in

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Speaker 2: other parts of the world, and you see different styles

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Speaker 2: and traditions emerge, most notably in Japan and Mexico, but

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Speaker 2: especially in Mexico because this is where we see the

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Speaker 2: birth of lucha libre, which probably dates back to the

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Speaker 2: early twentieth century. Here.

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Speaker 3: Now, what are some of the main and most recognizable

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Speaker 3: characteristics of lucha libre? Obviously, if this hasn't come through already,

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Speaker 3: Rob is our in house wrestling expert. Well, I don't

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Speaker 3: want to oversell your experts.

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Speaker 2: Don't ever sell it. It's not expertise.

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Speaker 3: But I don't know all that much about wrestling. But

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Speaker 3: you're a big wrestling fan, and like almost any time

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Speaker 3: I have a question about wrestling, you've got an answer.

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Speaker 2: Yeah, I'm a lucha fan or I have been. I

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Speaker 2: keep up with it now, but I don't watch it

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Speaker 2: religiously like I used to. But I'd say the most

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Speaker 2: obvious characteristic colorful masks or at least shiny mask and

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Speaker 2: you know sometimes demonic masks, etc. High flying moves, and

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Speaker 2: fast paced action. But there's even more to it than this,

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Speaker 2: And me think most people are familiar with those aspects

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Speaker 2: of it, but I want to roll through just a

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Speaker 2: few of the of the ways that it is a

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Speaker 2: little bit distinct from other wrestling traditions. So, first of all,

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Speaker 2: there's a strict dichotomy of good guys and bad guys.

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Speaker 2: In traditional lucha libre. You have the technicos the good guys,

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Speaker 2: and the rudos the bad guys. The good guys are

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Speaker 2: really really good and the bad guys are really really bad.

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Speaker 3: And this would kind of correlate to like, if you

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Speaker 3: watch WWE today, you might what are the terms the

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Speaker 3: face and the heel, Like yeah, yeah, so you'd have,

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Speaker 3: you know, the hero wrestlers that the crowd loves and

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Speaker 3: then the one who comes out and they exist to

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Speaker 3: rile up the crowd and get booed and cheat and stuff.

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Speaker 2: Right now, an added wrinkle on lucha libre is that

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Speaker 2: there will often be two refs in the ring, not

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Speaker 2: just one referee, but two, a rudo ref and a

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Speaker 2: technico ref, because that's just fair.

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Speaker 3: It's also more like the real world.

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Speaker 2: Yeah yeah, each it's like illegal case. It's being presented

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Speaker 2: physically in the ring, and we have legal representation for

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Speaker 2: both sides. Now, another big thing and this is something

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Speaker 2: that's very widely known about Luca is that masks, the

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Speaker 2: colorful masks, they may be bartered and lost. You put

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Speaker 2: your mask on the line in a big match against

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Speaker 2: usually against another mask, or sometimes against another wrestler's hair,

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Speaker 2: and if you lose your mask, that's not only going

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Speaker 2: to reveal your face to everybody, it's going to reveal

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Speaker 2: your identity. So the identity of a masked wrestler is

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Speaker 2: often not a manner of public knowledge until you lose

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Speaker 2: your mask.

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Speaker 3: So the great star El Santo, he I mean, he

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Speaker 3: would wear his mask always in public, not just while

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Speaker 3: he was in a wrestling capacity, Like if he was

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Speaker 3: doing something in public, he was masked.

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Speaker 2: Right, Yeah, this was his public persona. This was how

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Speaker 2: he was photographed. And a lot of this still remains

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Speaker 2: to this day, but especially at the time. Again, this

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Speaker 2: was like the golden age of Lucha Libre we're talking

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Speaker 2: about here, and yeah, he would he was El Santo

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Speaker 2: was this figure with the mask and that's all you

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Speaker 2: ever saw of him. So in closing for now, we'll

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Speaker 2: probably touch more on this in a bit, but yeah,

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Speaker 2: Luca Libre is it's kind of a passion play. You know,

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Speaker 2: it's good versus evil, and again, the good guys are

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Speaker 2: really really good. I can't stress that enough, especially as

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Speaker 2: far as El Santo is concerned. I mean, he is

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Speaker 2: the saint.

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Speaker 4: Yeah.

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Speaker 3: The movie really goes out of its way to show

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Speaker 3: that El Santo is lawful, good to the max. He's

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Speaker 3: like Batman from Heaven.

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Speaker 2: Yeah, I mean, he's basically like classic Superman, right where, Yeah,

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Speaker 2: there's just not a shred of evil in him. There's

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Speaker 2: no grim dark to this version of the hero.

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Speaker 3: All right, So, considering all the context we've just talked

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Speaker 3: about with Lucia Libra, how does a wrestling tradition like

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Speaker 3: this end up blending with Dracula in a feature film?

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Speaker 2: Well, I mean basically by virtue of him being this

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Speaker 2: larger than life character that then transitions into film, and yeah,

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Speaker 2: you're left with just a whole series of films. We'll

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Speaker 2: name some of the other other ones of note here

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Speaker 2: in a bit, but in this particular one, this is

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Speaker 2: the elevator pitch. What if Lucidor and famous research scientist

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Speaker 2: Al Santo invented a time machine that could send women

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Speaker 2: back to their past lives, and in doing so encountered

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Speaker 2: Dracula in his fantastic treasure. That's that's basically the wedding.

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Speaker 2: That's the ole of there. Pitch.

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Speaker 3: Yeah, you know, somehow the mask does a lot of work,

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Speaker 3: because I could buy Elsento inventing a time machine much

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Speaker 3: better than I could buy one of the like face

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Speaker 3: revealed famous American wrestlers of today inventing a time machine

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Speaker 3: like oh Stone called Steve Austin invents a time machine

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Speaker 3: and he goes back.

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Speaker 2: That's not a time machine, that's just beer.

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Speaker 4: Very good.

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Speaker 3: Should we hit that trailer audio?

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Speaker 2: Yeah, let's let's hear some audio.

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Speaker 4: Games le bancati pu cambia.

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Speaker 2: All right, Well, let's start talking about some of the

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Speaker 2: folks that are involved in this picture, because it's really

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Speaker 2: a fun group here, even outside of Alcanto. So we'll

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Speaker 2: get to al Santo in a minute, But first let's

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Speaker 2: talk about the director, and this is Renee Cardona, who

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Speaker 2: lived nineteen oh five through nineteen eighty eight.

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Speaker 3: Am I wrong in thinking that he also directed the

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Speaker 3: Santa Claus movie with the extremely expressive devil figure.

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Speaker 2: Yes, I think a lot of our listeners will know

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Speaker 2: Cardona best from the really the excellent nineteen fifty nine

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Speaker 2: film Santa Claus, in which Santa Claus and the Devil

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Speaker 2: battle for the soul of poor Lupita and Mexico City.

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Speaker 2: That one was, of course, featured on Mystery Science Theater

256
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Speaker 2: three thousand and Interestingly enough, I've read that it apparently

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Speaker 2: played an actual role in introducing the character of Santa

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Speaker 2: Claus to the Mexican public, which is interesting.

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Speaker 3: Well, but there are a lot of features in that

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Speaker 3: movie that are I don't know where they come from

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Speaker 3: or how they ended up being accepted in general folklore.

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Speaker 3: But like in that movie, Santa Claus has a bunch

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Speaker 3: of science fiction technology. He's got like these machines that

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Speaker 3: allow surveillance of the entire earth, and he's got a

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Speaker 3: thing called the Flower to Disappear, which allows him to teleport.

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Speaker 2: Yeah, in a way, you could compare these two films

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Speaker 2: rather favorably because Santa and El Santo are both superachievers.

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Speaker 2: Though I would say Santo is even better than Santa.

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Speaker 2: But if you haven't seen it, that's a tremendous Christmas film. Now,

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Speaker 2: Cardona was a director, an actor, a producer, a writer,

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Speaker 2: an editor, but he's best f remembered as a director.

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Speaker 2: In the Golden Age of Mexican cinema. He was born

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Speaker 2: in Havana, Cuba, and began medical school there, but then

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Speaker 2: he had to flee the country. His family had to

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Speaker 2: flee the country for New York City and he was

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Speaker 2: unable to continue his studies and got involved in filmmaking,

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Speaker 2: which took him to Hollywood, and then he made the

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Speaker 2: move to Mexico City, first as an actor, but then

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Speaker 2: eventually as a director as well. So on IMDb, he

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Speaker 2: has one hundred and twenty three acting credits, fifty five

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Speaker 2: writing credits, and one hundred and forty six directorial credits. As

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Speaker 2: an actor, he was in some really well received Mexican

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Speaker 2: films of the day, such as The Priest's Secret from

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Speaker 2: nineteen forty one and The Rock of Souls from nineteen

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Speaker 2: forty three. In any of you out there that are

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Speaker 2: far more familiar with Mexican cinema and Golden Age of

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Speaker 2: Mexican cinema, let us know about those films, because I

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Speaker 2: haven't seen either of them, but I understand that they're

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Speaker 2: very well received and kind of legendary.

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Speaker 3: But as a director, this was not his only Santo movie, right.

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Speaker 2: No, No, he directed, I believe unless there's some that

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Speaker 2: are missing or the titles obscure them. Seven different Santo movies,

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Speaker 2: as well as some other titles such as She Wolves

294
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Speaker 2: of the Ring, which I believe is also a wrestling picture,

295
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Speaker 2: but without Santo, and then some other genre films that

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Speaker 2: we'll mention in a bit.

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Speaker 3: Now, maybe this is a place to talk about how

298
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Speaker 3: one thing that's interesting about this movie is that there

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Speaker 3: are a couple of different versions of it that are

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Speaker 3: extremely different from one another.

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Speaker 2: Yes, and this was when I discovered this detail. This

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00:16:27,160 --> 00:16:28,880
Speaker 2: was another thing that pushed this film over the edge

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Speaker 2: for me as our selection, because apparently when Cardona shot

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Speaker 2: the film, he shot a color version and a black

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00:16:34,840 --> 00:16:37,840
Speaker 2: and white version, and more to the point, he shot

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00:16:37,960 --> 00:16:41,400
Speaker 2: a family version for distribution in Mexico. This would be

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Speaker 2: the black and white, and also a quote unquote adult

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Speaker 2: version that was mostly for the European market.

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Speaker 3: And so from what I can tell, the adult version

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Speaker 3: is just the exact same movie, but with a bunch

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Speaker 3: of absolutely extraneous nudity added.

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Speaker 2: In right, or at least a toplessness among the various

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Speaker 2: women that Dracula interacts with. And we cannot stress stressed

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Speaker 2: enough none of the scenes with nudity in them are

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Speaker 2: Santo scenes. Santos scenes are entirely separate, so it's only

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Speaker 2: Dracula scenes that have this added nudity. Again, in this

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Speaker 2: color European.

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Speaker 3: Version, that is true. You can almost feel like a

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00:17:18,440 --> 00:17:22,520
Speaker 3: force field barrier between Santo and his scenes and any

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Speaker 3: of the scenes that display like obvious prurient qualities.

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Speaker 2: Right. Yeah, they were clearly kept separate. I believe that

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Speaker 2: was probably the arrangement as well. It was like, well,

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Speaker 2: if you're going to shoot these added scenes, if that's

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Speaker 2: for the Europeans, fine, but this is not for Mexico.

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Speaker 3: It's funny that they had to do that for the Europeans.

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Speaker 3: So the idea is like, hey, we want to show

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Speaker 3: this to French people. They are not going to watch

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Speaker 3: it unless there's like a solid ten minutes of extraneous nudity.

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Speaker 2: Right, And ultimately, I mean it's do not go out

330
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Speaker 2: and buy this just for the Nudi because the nudity

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Speaker 2: scenes are very boring there and they're very there. I

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Speaker 2: should stress too, they're they're pretty tame too, especially by

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Speaker 2: modern standards, but even by nineteen seventy standards.

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Speaker 3: Really, Oh yeah, I would say the star of this

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Speaker 3: movie is Santo and the time machine stuff like that.

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Speaker 3: That's what you're here for. The Dracula stuff is funny

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00:18:11,119 --> 00:18:14,720
Speaker 3: and great because it exists in contrast to the Santo content,

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Speaker 3: right right.

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Speaker 2: But if there's just the Dracula stuff on its own,

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Speaker 2: that would be a bit it would be a bit dry. Yeah,

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Speaker 2: but that's Dracula. He's undead, right.

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Speaker 4: So.

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Speaker 2: The interesting thing about this color quote unquote adult version

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Speaker 2: or the sexy version is it sometimes referred, is that

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Speaker 2: it was thought lost for a long time until it

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Speaker 2: finally turned up in the Cardona vault in twenty eleven,

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Speaker 2: and there was initially some controversy and even legal concerns

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Speaker 2: over releasing it. I think there were, you know, concerns

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Speaker 2: with the estate of Il Santo himself. And this was

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Speaker 2: despite advocates stepping forward like Guielmo de Toro, who was like, hey,

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Speaker 2: this is great, this is vampire cinema of Mexico. It

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Speaker 2: should it should be shared with the world. But it

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Speaker 2: was restored and then it was successfully screen later that

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Speaker 2: year and finally released on Blu Ray by VCI Entertainment

355
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Speaker 2: just earlier this month.

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Speaker 3: Now, I think another one of the things that's complicated

357
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Speaker 3: is you did mention this, but to emphasize the difference

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Speaker 3: with these what was called the European cut is not

359
00:19:17,320 --> 00:19:20,160
Speaker 3: just the extraneous nudity, but also that it was shot

360
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Speaker 3: in color and the restoration looks great.

361
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Speaker 2: Yeah, you do side beside comparison. You look at the

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00:19:26,400 --> 00:19:27,840
Speaker 2: black and white and you look at the color, and

363
00:19:27,880 --> 00:19:30,000
Speaker 2: I mean the color is just so much more beautiful

364
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Speaker 2: and alive.

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Speaker 4: Like.

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Speaker 2: One of the scenes that really I really noticed this

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00:19:33,480 --> 00:19:35,600
Speaker 2: the most in was a scene that had nothing to

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Speaker 2: do with Santo or Draccua, somebody mowing a lawn. Yes, uh,

369
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Speaker 2: and it was just like this feels like I felt

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Speaker 2: like I was transported in time just by virtue of

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Speaker 2: just how clean and restore the footage was.

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Speaker 3: Nevertheless, I can see why this version might have been lost,

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Speaker 3: or at least why there might have been an impulse

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Speaker 3: to cut the nudity stuff. I mean, apart from just

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Speaker 3: opposing that on its own grounds, it's tonally extremely jarring

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Speaker 3: because of how wholes Santo is.

377
00:20:01,520 --> 00:20:05,960
Speaker 2: Yeah, yeah, absolutely, And there are scenes where there's there's

378
00:20:06,080 --> 00:20:10,160
Speaker 2: Dracula and this nudity and then Santo enters the room

379
00:20:10,200 --> 00:20:12,600
Speaker 2: and everyone is magically clothed. Again. Yeah, like you can

380
00:20:12,640 --> 00:20:15,560
Speaker 2: really feel the jarring at it. That was like, okay,

381
00:20:15,600 --> 00:20:17,639
Speaker 2: we're gonna now paste over the nude scene here in

382
00:20:17,680 --> 00:20:25,240
Speaker 2: the nude scene here, all right, chip it to Europe.

383
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Speaker 3: Now, who was the mind who brought us this script?

384
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Speaker 2: All right? So the writer was one Alfredo Salazar. He

385
00:20:36,560 --> 00:20:40,000
Speaker 2: was a writer and director, brother of actor Abel Salazar,

386
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Speaker 2: who starred as the brain drinking vampire in the nineteen

387
00:20:43,480 --> 00:20:46,560
Speaker 2: sixty two film The Brainiac. So if you want more

388
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Speaker 2: Mexican cinema vamporism, that one's must see.

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Speaker 3: It's really good. We might need to come back to

390
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Speaker 3: that one in.

391
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Speaker 2: The future now. Alfredo Salazar wrote five Santo films, as

392
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Speaker 2: well as nineteen sixty eight's The Batwoman, which was also

393
00:21:00,440 --> 00:21:03,840
Speaker 2: directed by Cardona. And this also is really interesting looking

394
00:21:03,920 --> 00:21:07,320
Speaker 2: because it's an unofficial adaptation, a very unofficial adaptation of

395
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Speaker 2: the DC Comics character. And I believe it involves at

396
00:21:11,520 --> 00:21:14,920
Speaker 2: times a bikini clad batwoman battling fish monsters.

397
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Speaker 3: Well, you've attached an image and I see this fish

398
00:21:17,320 --> 00:21:19,240
Speaker 3: monster here, but I gotta say he looks like the

399
00:21:19,359 --> 00:21:20,720
Speaker 3: rocketeer with claws.

400
00:21:21,200 --> 00:21:24,600
Speaker 2: He does. It's like an organic rocketeer. Yeah, yeah, all right, Well,

401
00:21:24,640 --> 00:21:28,240
Speaker 2: let's talk about Santo himself. El Santo the Saint, real

402
00:21:28,320 --> 00:21:33,119
Speaker 2: name Rodolfo Gozman Hirte born nineteen seventeen died in nineteen

403
00:21:33,160 --> 00:21:37,240
Speaker 2: eighty four. Again probably the most I mean, without a doubt,

404
00:21:37,280 --> 00:21:40,639
Speaker 2: the most famous and instantly identifiable luchador of all time.

405
00:21:41,240 --> 00:21:43,760
Speaker 2: He was active for five decades and in addition to

406
00:21:43,800 --> 00:21:46,479
Speaker 2: being just a superstar in the ring, he was featured

407
00:21:46,520 --> 00:21:49,320
Speaker 2: in comics. He was in numerous films, often as a

408
00:21:49,400 --> 00:21:53,320
Speaker 2: kind of crime fighter or superhero, a super scientist, even

409
00:21:53,800 --> 00:21:57,919
Speaker 2: taking on corruption, supernatural evil. He was again just the

410
00:21:58,000 --> 00:22:02,000
Speaker 2: ultimate technico. He never lost his mask, but he did.

411
00:22:02,040 --> 00:22:05,000
Speaker 2: This is interesting. He did famously reveal his face on

412
00:22:05,080 --> 00:22:07,680
Speaker 2: TV prior to his death from a heart attack in

413
00:22:07,720 --> 00:22:11,240
Speaker 2: nineteen eighty four and just a year after his retirement.

414
00:22:12,560 --> 00:22:14,119
Speaker 2: You can look it up on YouTube and see it.

415
00:22:14,119 --> 00:22:18,000
Speaker 2: It's this very human moment where where he's kind of like,

416
00:22:18,280 --> 00:22:20,040
Speaker 2: I'm going to show you who I really am before

417
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Speaker 2: I'm gone.

418
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Speaker 3: I just have to add, especially seeing this restored version

419
00:22:23,840 --> 00:22:26,119
Speaker 3: of the movie where you can get more detail up

420
00:22:26,160 --> 00:22:29,080
Speaker 3: close with Santo's face, like seeing his eyes through the mask,

421
00:22:30,320 --> 00:22:33,160
Speaker 3: It's easy for me to see why Santo was such

422
00:22:33,200 --> 00:22:36,800
Speaker 3: a star, even outside of wrestling, because in this movie

423
00:22:37,200 --> 00:22:40,359
Speaker 3: he's wearing his mask the entire time, of course, and

424
00:22:40,720 --> 00:22:43,760
Speaker 3: his voice this is only available in the version that

425
00:22:43,800 --> 00:22:46,480
Speaker 3: we were watching. It only available with an English dub,

426
00:22:46,600 --> 00:22:49,880
Speaker 3: so his voice is dubbed by someone else. And yet

427
00:22:49,960 --> 00:22:55,359
Speaker 3: somehow he still has this absolutely powerful likableness and charisma

428
00:22:55,440 --> 00:22:58,920
Speaker 3: that burns through all of those obstacles, through the mask,

429
00:22:59,119 --> 00:23:02,400
Speaker 3: through having his always completely dubbed over. I guess it's

430
00:23:02,440 --> 00:23:04,919
Speaker 3: all just in his body language and like seeing his

431
00:23:05,040 --> 00:23:07,720
Speaker 3: eyes through the slits in his mask. But he really

432
00:23:07,720 --> 00:23:09,879
Speaker 3: did seem like, yeah, this guy is pure good.

433
00:23:10,359 --> 00:23:13,600
Speaker 2: Yeah, yeah, I mean, it's it. We have to It's

434
00:23:13,600 --> 00:23:15,720
Speaker 2: like you really can't stress it enough that Santo was

435
00:23:15,800 --> 00:23:18,680
Speaker 2: not just a lucha star or a movie star. He

436
00:23:18,880 --> 00:23:23,560
Speaker 2: was he was a cultural icon. I've read wrestling journalist

437
00:23:23,680 --> 00:23:26,840
Speaker 2: Dave Meltzer talking about this, and he says that it's

438
00:23:26,920 --> 00:23:29,479
Speaker 2: it's ultimately difficult to really you can't really point to

439
00:23:29,880 --> 00:23:36,240
Speaker 2: any like American or even a Japanese wrestling icon and

440
00:23:36,240 --> 00:23:39,560
Speaker 2: and have any idea about like just how popular Santo was,

441
00:23:40,119 --> 00:23:42,919
Speaker 2: Like you would have to compare him to someone instead

442
00:23:43,000 --> 00:23:47,199
Speaker 2: like Muhammad Ali or Elvis Presley like he was. He

443
00:23:47,320 --> 00:23:48,400
Speaker 2: was that big of a star.

444
00:23:48,800 --> 00:23:51,919
Speaker 3: Yeah, I mean even after seeing him in this ridiculous movie,

445
00:23:51,960 --> 00:23:52,720
Speaker 3: like I get it.

446
00:23:53,200 --> 00:23:55,280
Speaker 2: Yeah, And again he's been dead for decades and it

447
00:23:55,359 --> 00:23:59,520
Speaker 2: still has this status that has outlived him. Now it

448
00:23:59,600 --> 00:24:02,400
Speaker 2: isn't worth noting. Santo had nine children, but only one

449
00:24:02,400 --> 00:24:05,679
Speaker 2: of them followed him into Lucca. El Hiro del Santo

450
00:24:05,840 --> 00:24:09,520
Speaker 2: born nineteen sixty three, who was seemingly, against all odds,

451
00:24:09,720 --> 00:24:12,560
Speaker 2: an incredible performer in his own right, who was able

452
00:24:12,640 --> 00:24:15,280
Speaker 2: to carry on the tradition, you know, the mass, the costume,

453
00:24:15,359 --> 00:24:19,679
Speaker 2: the move set. He still wrestles today, but he slowed

454
00:24:19,720 --> 00:24:22,400
Speaker 2: down quite a bit, and he's been an independent talent

455
00:24:22,440 --> 00:24:24,760
Speaker 2: for like fifteen years now, so hasn't shown up in

456
00:24:24,800 --> 00:24:27,440
Speaker 2: either of the two major Luca promotions in Mexico.

457
00:24:27,840 --> 00:24:29,840
Speaker 3: Like I said earlier, I have not watched nearly as

458
00:24:29,920 --> 00:24:32,440
Speaker 3: much wrestling as you, and so I was less familiar

459
00:24:32,440 --> 00:24:36,199
Speaker 3: with this. But you posted a match for me to

460
00:24:36,240 --> 00:24:38,360
Speaker 3: take a look at. It was one that was El

461
00:24:38,400 --> 00:24:42,440
Speaker 3: Eho del Santo and Octagon versus Art Bar and Eddie

462
00:24:42,520 --> 00:24:47,440
Speaker 3: Guerrero from nineteen ninety four, and this one was fantastic

463
00:24:47,520 --> 00:24:49,800
Speaker 3: and Eo del Santo was great, I mean, doing it

464
00:24:49,880 --> 00:24:53,520
Speaker 3: like a lot of like really, I don't know what

465
00:24:53,800 --> 00:24:55,720
Speaker 3: jumpy kind of moves like up in the.

466
00:24:55,680 --> 00:25:00,240
Speaker 2: Air, yeah, yeah, high flying, twisty moves. Yeah. That match

467
00:25:00,280 --> 00:25:03,520
Speaker 2: in particular is one that that Dave Meltzer gave five

468
00:25:03,560 --> 00:25:05,680
Speaker 2: stars to, which is his highest rating, and it's it's

469
00:25:05,720 --> 00:25:07,960
Speaker 2: often held up is one of one of the great

470
00:25:08,040 --> 00:25:11,240
Speaker 2: Luca matches, certainly of that period of the of the nineties.

471
00:25:12,000 --> 00:25:14,080
Speaker 2: And you can find this one in all the usual

472
00:25:14,080 --> 00:25:17,359
Speaker 2: places online. But if you're wondering, okay, how about Santo

473
00:25:17,480 --> 00:25:20,000
Speaker 2: himself and his wrestling, well, don't worry, we'll get to

474
00:25:20,040 --> 00:25:22,240
Speaker 2: that because one of the things that this movie features

475
00:25:22,640 --> 00:25:26,920
Speaker 2: is an entire wrestling match in the latter half of

476
00:25:26,960 --> 00:25:29,800
Speaker 2: the film, and I think it's an excellent representation of

477
00:25:29,840 --> 00:25:30,399
Speaker 2: Luce libre.

478
00:25:30,680 --> 00:25:34,440
Speaker 3: There's a plot conflict that takes place outside the wrestling ring,

479
00:25:34,520 --> 00:25:39,280
Speaker 3: and somehow, through some contrivance, it's it's like, whatever is

480
00:25:39,320 --> 00:25:42,880
Speaker 3: the outstanding problem in the plot must be settled through

481
00:25:42,920 --> 00:25:43,840
Speaker 3: a wrestling match.

482
00:25:44,359 --> 00:25:46,199
Speaker 2: Yeah, I mean it makes perfect sense, right, I mean,

483
00:25:46,280 --> 00:25:48,040
Speaker 2: people are coming to see a wrestling picture. They want

484
00:25:48,080 --> 00:25:50,640
Speaker 2: to see some wrestling, not just you know, an occasional

485
00:25:50,680 --> 00:25:52,600
Speaker 2: wrestling move thrown into a street fight.

486
00:25:53,359 --> 00:25:55,639
Speaker 3: I think. It often will involve like a bet of

487
00:25:55,680 --> 00:25:58,119
Speaker 3: some kind, like you know, some amount of money or

488
00:25:58,160 --> 00:26:00,920
Speaker 3: object or something is in dispute, and it's like, well,

489
00:26:00,960 --> 00:26:04,920
Speaker 3: whoever wins the wrestling match gets the outcome they want.

490
00:26:05,480 --> 00:26:07,680
Speaker 2: Yeah, combat by champion once again.

491
00:26:08,960 --> 00:26:12,000
Speaker 3: But of course, lest we forget, this film also does

492
00:26:12,040 --> 00:26:13,800
Speaker 3: have Dracula in Yes.

493
00:26:14,760 --> 00:26:18,800
Speaker 2: Yes, Dracula is played by Aldo Monty, who lived nineteen

494
00:26:18,840 --> 00:26:22,320
Speaker 2: twenty nine through twenty sixteen, who was an actor and director.

495
00:26:22,400 --> 00:26:24,960
Speaker 2: Born in Rome but spent his entire career in Mexico.

496
00:26:25,880 --> 00:26:29,600
Speaker 2: He played Dracula twice in this film, as well as

497
00:26:29,600 --> 00:26:33,720
Speaker 2: in nineteen seventy threes Santo and Blue Demon Versus Dracula

498
00:26:33,800 --> 00:26:34,480
Speaker 2: and the Wolfman.

499
00:26:34,880 --> 00:26:37,240
Speaker 3: Ooh, that sounds like it's worth watch.

500
00:26:38,280 --> 00:26:40,200
Speaker 2: He also played a role in the Santo movie The

501
00:26:40,280 --> 00:26:42,879
Speaker 2: Vengeance of the Vampire Women in nineteen seventy, and he

502
00:26:42,960 --> 00:26:46,960
Speaker 2: directed nineteen seventy five's Santo in Anonymous death Threat.

503
00:26:47,840 --> 00:26:51,880
Speaker 3: That doesn't sound fun. Who's he going to wrestle? It's anonymous?

504
00:26:54,240 --> 00:26:56,320
Speaker 2: I don't know. Well, they were probably under a mask, right,

505
00:26:56,359 --> 00:26:58,200
Speaker 2: that's probably the whole thing. I haven't seen that one though,

506
00:26:58,200 --> 00:27:01,720
Speaker 2: Oh it could be. He also directed some horror movies

507
00:27:01,760 --> 00:27:06,520
Speaker 2: two different bloody horror movies, Bloody Holidays and Bloody Seduction

508
00:27:06,720 --> 00:27:08,800
Speaker 2: in nineteen eighty six and nineteen.

509
00:27:08,520 --> 00:27:13,560
Speaker 3: Ninety Vaccacione Sangrientas.

510
00:27:12,440 --> 00:27:16,119
Speaker 2: Yeah, which I guess that's like bloody Holiday yeah, and

511
00:27:16,160 --> 00:27:19,800
Speaker 2: then yeah yeah. So these I have known nothing about them,

512
00:27:19,800 --> 00:27:22,680
Speaker 2: but the box art was bloody, so maybe they're good.

513
00:27:23,359 --> 00:27:26,159
Speaker 2: He was. He also acted in an interesting nineteen sixty

514
00:27:26,160 --> 00:27:30,119
Speaker 2: six movie titled Panico or Panic, which which sounds like

515
00:27:30,720 --> 00:27:33,720
Speaker 2: a potentially interesting Mexican horror anthology film.

516
00:27:34,040 --> 00:27:37,560
Speaker 3: In this movie, as Dracula, he's he's a kind of

517
00:27:37,600 --> 00:27:42,840
Speaker 3: standard sub Christopher Lee type Dracula from but fits in

518
00:27:42,880 --> 00:27:47,720
Speaker 3: with the hammer horror Victorian type vibe. He also sort

519
00:27:47,760 --> 00:27:50,440
Speaker 3: of has George lazanb energy he does.

520
00:27:50,520 --> 00:27:53,560
Speaker 2: Yeah, so he and in George lazenby fashion. You know

521
00:27:53,640 --> 00:27:56,560
Speaker 2: he does. He does the job. You know, it's not exceptional,

522
00:27:56,600 --> 00:27:58,560
Speaker 2: but it's not bad. It's you know, there's only so

523
00:27:58,640 --> 00:28:01,280
Speaker 2: much that's required of a Dracula. All right. Then we

524
00:28:01,359 --> 00:28:06,520
Speaker 2: have the actor playing Louisa. This is Noelia Noel. This,

525
00:28:07,280 --> 00:28:11,280
Speaker 2: this is our beautiful time traveling heroin in the film.

526
00:28:11,920 --> 00:28:15,159
Speaker 2: Pretty amazing time travel jumpsuit that we'll touch on she

527
00:28:15,280 --> 00:28:18,320
Speaker 2: was an Argentinian actress. She was only in a handful

528
00:28:18,320 --> 00:28:23,200
Speaker 2: of films, but her filmography includes nineteen sixty nine's Night

529
00:28:23,280 --> 00:28:26,280
Speaker 2: of the Bloody Apes, which is also directed by Cardona.

530
00:28:26,520 --> 00:28:27,400
Speaker 3: That sounds intense.

531
00:28:27,640 --> 00:28:30,159
Speaker 2: Yeah, it looks pretty interesting. I haven't seen it, but

532
00:28:30,240 --> 00:28:32,760
Speaker 2: it's it's on my loose list of things to check

533
00:28:32,800 --> 00:28:36,240
Speaker 2: out in the future. Oh and I'm not one hundred

534
00:28:36,240 --> 00:28:38,120
Speaker 2: percent sure on this, but it looks like she might

535
00:28:38,160 --> 00:28:40,040
Speaker 2: have been a pop singer at the time as well.

536
00:28:40,120 --> 00:28:46,080
Speaker 2: I found some I found some old Mexican or Argentinian albums.

537
00:28:46,640 --> 00:28:49,200
Speaker 2: I'm not sure which, but it's her name on it,

538
00:28:49,240 --> 00:28:50,680
Speaker 2: and it looks a lot like her, because she has

539
00:28:50,680 --> 00:28:53,840
Speaker 2: this signature red hair and all. So I'm like eighty

540
00:28:53,880 --> 00:28:55,080
Speaker 2: percent sure this is her.

541
00:28:55,640 --> 00:28:56,840
Speaker 3: I got to look up her music.

542
00:28:57,240 --> 00:28:58,760
Speaker 2: I wasn't able to find any of it. I just

543
00:28:58,760 --> 00:29:01,040
Speaker 2: found I found some records for sale, but that doesn't

544
00:29:01,040 --> 00:29:02,040
Speaker 2: really do me much good.

545
00:29:02,400 --> 00:29:05,240
Speaker 3: Well, I've got a turntable, maybe I can Yeah, yeah.

546
00:29:05,040 --> 00:29:08,000
Speaker 2: Yeah, all right. Then we also have the comic relief

547
00:29:08,040 --> 00:29:10,840
Speaker 2: in this film, and this is the this is the

548
00:29:10,960 --> 00:29:12,640
Speaker 2: character Perico.

549
00:29:12,840 --> 00:29:15,520
Speaker 3: Yeah, Perry Coo, played by Alberto Rojas.

550
00:29:16,040 --> 00:29:18,560
Speaker 2: Yes, who I wasn't able to find a birthdate for him,

551
00:29:18,560 --> 00:29:22,600
Speaker 2: but he died in twenty sixteen. And this is Perico

552
00:29:22,720 --> 00:29:28,040
Speaker 2: Is Santos, super cowardly and largely incompetent but hilarious friend.

553
00:29:28,240 --> 00:29:29,160
Speaker 3: Uh huh.

554
00:29:29,200 --> 00:29:31,600
Speaker 2: I don't think he's really this actor's really known outside

555
00:29:31,600 --> 00:29:33,920
Speaker 2: of Mexican cinema. Could be wrong, but he seems to

556
00:29:33,920 --> 00:29:37,560
Speaker 2: have had a very long career in Mexico, playing comedic

557
00:29:37,680 --> 00:29:40,760
Speaker 2: roles for film and television from nineteen sixty nine all

558
00:29:40,760 --> 00:29:43,880
Speaker 2: the way up to twenty fifteen. This was his first

559
00:29:43,880 --> 00:29:47,000
Speaker 2: acting role, though, according to IMDb, and he apparently is

560
00:29:47,040 --> 00:29:50,320
Speaker 2: also known by his nickname El Cabalo Cabio.

561
00:29:50,880 --> 00:29:51,800
Speaker 3: I think that's horse.

562
00:29:52,240 --> 00:29:53,160
Speaker 2: Oh is it the horse?

563
00:29:53,400 --> 00:29:54,360
Speaker 3: I think so?

564
00:29:54,360 --> 00:29:58,120
Speaker 2: So he's either because Perico it means I think parakeet.

565
00:29:59,200 --> 00:30:01,240
Speaker 2: So he's either a pair keyt or a horse, depending

566
00:30:01,320 --> 00:30:03,360
Speaker 2: on which nickname you going by.

567
00:30:03,680 --> 00:30:06,160
Speaker 3: Yeah, I can see either one fitting. I think he's

568
00:30:06,200 --> 00:30:11,040
Speaker 3: supposed to be a skinny, cowardly butt of a joke.

569
00:30:11,120 --> 00:30:14,320
Speaker 3: He wears a huge dollar sign necklace for some reason.

570
00:30:14,480 --> 00:30:15,640
Speaker 2: Yeah, it's never explained.

571
00:30:16,320 --> 00:30:21,720
Speaker 3: He's got big, big old glasses like gigantic lenses. And

572
00:30:21,920 --> 00:30:25,760
Speaker 3: I gotta say so. The one time in this movie

573
00:30:25,800 --> 00:30:29,760
Speaker 3: where Alcento was anything other than just like perfectly virtuous

574
00:30:30,160 --> 00:30:32,400
Speaker 3: is when he was sort of a little bit bullying

575
00:30:32,480 --> 00:30:36,120
Speaker 3: to Periico. But I think I think it's just because

576
00:30:36,200 --> 00:30:38,520
Speaker 3: Periko is supposed to be super annoying.

577
00:30:39,200 --> 00:30:41,840
Speaker 2: Yeah, he's so annoying. Even if you're a saint, you know,

578
00:30:41,880 --> 00:30:44,920
Speaker 2: it's kind of hard to take. But he's I have

579
00:30:44,960 --> 00:30:49,000
Speaker 2: to say, sometimes the comedic figure in films like this,

580
00:30:49,160 --> 00:30:52,040
Speaker 2: it's a they're a bit much to take. But I

581
00:30:52,080 --> 00:30:54,360
Speaker 2: thought this guy was great in this. Like I legitimately

582
00:30:54,440 --> 00:30:58,120
Speaker 2: laughed out loud at some of his antics, and I

583
00:30:58,120 --> 00:31:00,000
Speaker 2: think he plays an important role in keeping the movie

584
00:31:00,080 --> 00:31:02,840
Speaker 2: clicking or wroung because otherwise most of the other characters

585
00:31:03,040 --> 00:31:05,400
Speaker 2: are ultimately kind of static. I mean, it's Dracula, it's

586
00:31:05,440 --> 00:31:09,120
Speaker 2: masked nin it's sexy vampire thralls. But this guy's just

587
00:31:09,200 --> 00:31:11,880
Speaker 2: overflowing with comedic vaudevillian energy.

588
00:31:12,280 --> 00:31:16,120
Speaker 3: There's a great scene where he, in his terror, accidentally

589
00:31:16,160 --> 00:31:21,680
Speaker 3: swallows a whistle and then he can't stop whistling while talking. Yeah,

590
00:31:21,720 --> 00:31:23,120
Speaker 3: and he's always terrified.

591
00:31:23,520 --> 00:31:24,479
Speaker 2: Yeah, all right.

592
00:31:24,520 --> 00:31:26,560
Speaker 3: Any other actors we want to mention before we get

593
00:31:26,600 --> 00:31:27,560
Speaker 3: into the plot.

594
00:31:27,560 --> 00:31:30,400
Speaker 2: I would say just very briefly, there are two guys

595
00:31:30,440 --> 00:31:34,120
Speaker 2: in this that that were wrestlers. There's this guy wrestler

596
00:31:34,400 --> 00:31:38,720
Speaker 2: x Guillermo Hernandez. He shows up. Is this guy that

597
00:31:38,880 --> 00:31:40,840
Speaker 2: is one of Santo's training buddies.

598
00:31:41,120 --> 00:31:44,040
Speaker 3: Oh, is this like his his Burgess Meredith type guy,

599
00:31:44,120 --> 00:31:46,800
Speaker 3: the gravelly voiced guy who helps him out.

600
00:31:47,280 --> 00:31:50,000
Speaker 2: Yeah, and I believe he wrestled, if I'm not mistaken here,

601
00:31:50,000 --> 00:31:54,280
Speaker 2: he wrestled as Lobo Negro and and unwrestled Santo even

602
00:31:54,680 --> 00:31:56,840
Speaker 2: back in the day. And then there's also a guy

603
00:31:56,920 --> 00:32:00,560
Speaker 2: named Atlas that pops up that is the villain son

604
00:32:00,640 --> 00:32:05,120
Speaker 2: that Santo ultimately has to wrestle. And I don't think

605
00:32:05,160 --> 00:32:07,840
Speaker 2: the actor playing Atlas is credited, but I think it's

606
00:32:07,880 --> 00:32:10,120
Speaker 2: clearly a luchador from the era. And I think it's

607
00:32:10,120 --> 00:32:16,560
Speaker 2: a guy named mister Atlas, which was Daniel Torrico Balderama,

608
00:32:16,920 --> 00:32:19,120
Speaker 2: and he would have been a contemporary of Santo's. But

609
00:32:19,160 --> 00:32:21,280
Speaker 2: I couldn't find out a lot of information about him.

610
00:32:21,720 --> 00:32:25,040
Speaker 3: Okay, he was interesting because he was like he was

611
00:32:25,120 --> 00:32:28,200
Speaker 3: the champion of the villains, but he wasn't as villainous

612
00:32:28,200 --> 00:32:29,800
Speaker 3: as there. He was just a wrestler.

613
00:32:30,080 --> 00:32:32,760
Speaker 2: Yeah, he was just pure muscle yeah, yeah, all right,

614
00:32:32,800 --> 00:32:34,800
Speaker 2: well let's let's get into the plot of this film.

615
00:32:35,120 --> 00:32:37,960
Speaker 3: Okay. So it's got a good I love a good

616
00:32:38,080 --> 00:32:41,120
Speaker 3: like production company title card, and this one has it.

617
00:32:41,280 --> 00:32:44,960
Speaker 3: There's like an excellent, wacky one that says Cinematographica though

618
00:32:45,040 --> 00:32:48,280
Speaker 3: that's a hard word, Cinematographica Calderon, which I think is

619
00:32:48,360 --> 00:32:52,880
Speaker 3: named after the head of the production company that made this,

620
00:32:53,040 --> 00:32:56,560
Speaker 3: and it says it stars Santo the Silver Mask. We

621
00:32:56,640 --> 00:32:59,200
Speaker 3: may not have mentioned that point, but Santo's mask is silver,

622
00:32:59,360 --> 00:33:03,320
Speaker 3: and also his pants or silver when he wrestles. But

623
00:33:03,440 --> 00:33:05,080
Speaker 3: in a lot of this movie, he's just like wearing

624
00:33:05,080 --> 00:33:07,400
Speaker 3: a suit, which is funny.

625
00:33:07,760 --> 00:33:10,360
Speaker 2: Yeah, with the mask, it's fun.

626
00:33:10,920 --> 00:33:12,960
Speaker 3: But it gives you two different titles for the movie,

627
00:33:13,000 --> 00:33:16,760
Speaker 3: by the way, because the European version, with all of

628
00:33:16,800 --> 00:33:21,360
Speaker 3: the totally pointless nudity scenes, that one had apparently been

629
00:33:21,440 --> 00:33:27,640
Speaker 3: retitled El vampiro e l sexo, which literally translates to

630
00:33:27,760 --> 00:33:32,240
Speaker 3: the vampire and the sex Yes, and then it gives

631
00:33:32,240 --> 00:33:34,880
Speaker 3: you But the actual title of the movie is Santo

632
00:33:35,160 --> 00:33:37,160
Speaker 3: in the Treasure of Dracula.

633
00:33:37,200 --> 00:33:40,760
Speaker 2: Right, which is that's a more authentic title, like that's

634
00:33:40,760 --> 00:33:41,400
Speaker 2: what it's about.

635
00:33:41,760 --> 00:33:44,920
Speaker 3: And the first thing we get is a location establishment

636
00:33:44,920 --> 00:33:46,800
Speaker 3: we see like a plaque on the wall that says

637
00:33:46,800 --> 00:33:51,800
Speaker 3: doctor Caesar Sepulveta, physico nuclear nuclear physicist. And so it's

638
00:33:51,840 --> 00:33:56,200
Speaker 3: a meeting at the office of this nuclear physicist, doctor Sipulvita.

639
00:33:56,760 --> 00:33:59,680
Speaker 3: And I think it's important to hear the opening spoken

640
00:33:59,760 --> 00:34:02,360
Speaker 3: line of the film because it gets so much done.

641
00:34:02,760 --> 00:34:07,320
Speaker 3: Doctor Sipilvita is speaking, and he says, my dearest colleagues,

642
00:34:07,800 --> 00:34:10,279
Speaker 3: I took the liberty of holding this meeting here at

643
00:34:10,280 --> 00:34:13,600
Speaker 3: my house to inform you, all, distinguished members of the

644
00:34:13,640 --> 00:34:17,720
Speaker 3: Metaphysic Research Society, about the work of an esteemed friend

645
00:34:17,719 --> 00:34:21,160
Speaker 3: of mine, known to all of you for his scientific work,

646
00:34:21,600 --> 00:34:24,760
Speaker 3: as well as having dedicated his whole life while hiding

647
00:34:24,800 --> 00:34:29,239
Speaker 3: his identity to fight effectively against crime. Let me introduce

648
00:34:29,320 --> 00:34:33,719
Speaker 3: you to Santo. So many funny things here. Number one,

649
00:34:33,880 --> 00:34:37,080
Speaker 3: I'm curious why it's the Metaphysic Research Society. I think

650
00:34:37,120 --> 00:34:41,719
Speaker 3: these people are supposed to be physicists, not metaphysicists. But

651
00:34:42,080 --> 00:34:44,480
Speaker 3: then the other thing would be uh. He says, he

652
00:34:44,520 --> 00:34:47,480
Speaker 3: needs to tell you about the scientific work of this

653
00:34:47,560 --> 00:34:49,759
Speaker 3: person who is known to all of you for his

654
00:34:49,840 --> 00:34:54,359
Speaker 3: scientific work. But anyway, then Santo walks into the room

655
00:34:54,400 --> 00:34:57,000
Speaker 3: and from the moment he's on screen, he's just in command.

656
00:34:57,080 --> 00:35:00,200
Speaker 3: It's like anybody else is talking. I don't care. I

657
00:35:00,239 --> 00:35:02,480
Speaker 3: want to hear what Santo has to say. So his

658
00:35:02,600 --> 00:35:05,879
Speaker 3: pitch is pretty much, gentlemen, I have invented a way

659
00:35:05,920 --> 00:35:10,319
Speaker 3: to materialize your body into a past existence. And he

660
00:35:10,440 --> 00:35:13,279
Speaker 3: says that we could use this to study cultures of

661
00:35:13,320 --> 00:35:16,480
Speaker 3: the past and things like that. And all the scientists

662
00:35:16,520 --> 00:35:19,000
Speaker 3: in the room are they're somewhat interested, and so they

663
00:35:19,040 --> 00:35:21,680
Speaker 3: want an explanation, and he takes them next door into

664
00:35:21,760 --> 00:35:24,680
Speaker 3: the lab. And the lab there are a bunch of

665
00:35:24,680 --> 00:35:27,000
Speaker 3: scenes that take place in the lab. It's great. It's

666
00:35:27,000 --> 00:35:32,120
Speaker 3: got a big red leather office chair, beeping machines, hoses, levers,

667
00:35:32,239 --> 00:35:35,799
Speaker 3: flashing lights, and Santo says, and by the way, I

668
00:35:35,880 --> 00:35:37,440
Speaker 3: just got to say, this comes through in a bunch

669
00:35:37,440 --> 00:35:41,280
Speaker 3: of parts of the movie. Whoever did the English dub

670
00:35:41,320 --> 00:35:45,719
Speaker 3: over for Santo's lines has some extremely funny line delivery.

671
00:35:45,920 --> 00:35:48,919
Speaker 3: I don't know whose voice that was, but bravo to them.

672
00:35:49,600 --> 00:35:51,240
Speaker 2: And I have to stress in a way that feels

673
00:35:51,360 --> 00:35:54,720
Speaker 2: very respectful though, like it's not some sort of a wonky,

674
00:35:55,320 --> 00:35:58,239
Speaker 2: you know, high jinks kind of dubbing, even though I

675
00:35:58,320 --> 00:36:01,280
Speaker 2: do feel like it is it is it was done recently,

676
00:36:02,040 --> 00:36:04,840
Speaker 2: Like I don't think this is dubbing from the sixties

677
00:36:04,920 --> 00:36:08,480
Speaker 2: or seventies. But it did feel authentic. It felt like

678
00:36:08,520 --> 00:36:12,040
Speaker 2: they were doing their best to give fitting dubbing for

679
00:36:12,120 --> 00:36:13,560
Speaker 2: a nineteen sixty nine film.

680
00:36:13,800 --> 00:36:17,040
Speaker 3: Yes, and I mean often what's so funny about the

681
00:36:17,160 --> 00:36:22,720
Speaker 3: dub is the flatness and directionists with which ridiculous lines

682
00:36:22,719 --> 00:36:26,080
Speaker 3: are delivered. Yes, and this would be an example. So

683
00:36:26,120 --> 00:36:28,680
Speaker 3: they walk into the room and Santo says, this is

684
00:36:28,719 --> 00:36:31,680
Speaker 3: my mechanical invention. It is actually a time machine.

685
00:36:32,719 --> 00:36:35,880
Speaker 2: Yes, and that's one of the great things too, is

686
00:36:35,920 --> 00:36:39,399
Speaker 2: that he then goes on to explain how this time

687
00:36:39,480 --> 00:36:42,680
Speaker 2: machine works. And I really admired that it's not just

688
00:36:42,760 --> 00:36:44,680
Speaker 2: a hey, I made a magic portal and you walk

689
00:36:44,719 --> 00:36:47,680
Speaker 2: through it and you're in the past. It's more elaborate

690
00:36:47,680 --> 00:36:50,120
Speaker 2: than that. It's ultimately it's a bit different than you

691
00:36:50,200 --> 00:36:52,680
Speaker 2: might expect. You would expect kind of a wonky time

692
00:36:52,760 --> 00:36:55,560
Speaker 2: to our situation, but that's not what Santo has invented.

693
00:36:55,719 --> 00:36:59,440
Speaker 3: Well. No, In fact, this piece of technology assumes the

694
00:36:59,480 --> 00:37:06,120
Speaker 3: premise reincarnation because it says that by decomposing a subject's atoms.

695
00:37:06,239 --> 00:37:08,719
Speaker 3: It causes them to be sent back to one of

696
00:37:08,760 --> 00:37:10,160
Speaker 3: their previous lives.

697
00:37:10,680 --> 00:37:12,560
Speaker 2: And that's just science. I mean, you can listen to

698
00:37:12,640 --> 00:37:14,279
Speaker 2: stuff to blow your mind enough, you know that's just

699
00:37:14,320 --> 00:37:16,400
Speaker 2: what happens when you decompose an atom.

700
00:37:16,320 --> 00:37:20,400
Speaker 3: Right, yeah, regress to previous lives. So the scientists are like, well,

701
00:37:20,400 --> 00:37:22,560
Speaker 3: why haven't you tested it yet? And he says that

702
00:37:22,600 --> 00:37:26,640
Speaker 3: he hasn't found a willing test subject because, as we

703
00:37:26,680 --> 00:37:30,040
Speaker 3: will learn in the ensuing scenes, the test subject to

704
00:37:30,160 --> 00:37:32,640
Speaker 3: travel back to a previous life really needs to be

705
00:37:32,760 --> 00:37:36,120
Speaker 3: a woman in good health, because, as we will learn,

706
00:37:36,440 --> 00:37:40,719
Speaker 3: women have quote four times more resistance than men, and

707
00:37:40,800 --> 00:37:43,480
Speaker 3: it will be easier to radiate her cells for a

708
00:37:43,520 --> 00:37:46,840
Speaker 3: longer period of time. They do not say resistance to what,

709
00:37:47,120 --> 00:37:48,759
Speaker 3: just four times more resistance?

710
00:37:49,040 --> 00:37:51,399
Speaker 2: Well, and it's like they say, females are strong as hell,

711
00:37:51,520 --> 00:37:54,160
Speaker 2: so you know it makes sense that they are the

712
00:37:54,160 --> 00:37:55,720
Speaker 2: ones that can survive time travel.

713
00:37:55,880 --> 00:37:58,560
Speaker 3: I mean, I buy it. I'm here for this plot device.

714
00:37:59,360 --> 00:38:03,040
Speaker 3: So the visiting scientists demand proof, and because he can't

715
00:38:03,080 --> 00:38:06,600
Speaker 3: give them proof, they leave scoffing mercilessly. These are the

716
00:38:06,640 --> 00:38:10,319
Speaker 3: scoffers who come scoffing, and they scoff off on their way,

717
00:38:10,840 --> 00:38:13,160
Speaker 3: and Santo and his friends are very disappointed.

718
00:38:13,600 --> 00:38:16,440
Speaker 2: If only they had a volunteer, right.

719
00:38:16,280 --> 00:38:19,279
Speaker 3: So they sit around talking about how they could fix

720
00:38:19,360 --> 00:38:22,520
Speaker 3: this if they had a volunteer. Everybody turns to look

721
00:38:22,560 --> 00:38:26,920
Speaker 3: at Santo's friend Perico We've discussed already, his cowardly buddy,

722
00:38:27,120 --> 00:38:29,960
Speaker 3: and he's like, oh, not in me, boss, I'm so scared.

723
00:38:30,800 --> 00:38:34,920
Speaker 3: And then they turn to their esteemed colleague, doctor Sipulvida,

724
00:38:35,360 --> 00:38:37,440
Speaker 3: and the answer is no, he can't do it. He

725
00:38:37,520 --> 00:38:40,280
Speaker 3: tries to volunteer, but he's too old and he's male.

726
00:38:41,200 --> 00:38:44,160
Speaker 3: And then finally their friend Luisa asks if she can

727
00:38:44,160 --> 00:38:46,680
Speaker 3: be the volunteer, and there's a little bit of himming

728
00:38:46,760 --> 00:38:49,360
Speaker 3: and haweing, but basically Santo's like, yep, let's get to

729
00:38:49,360 --> 00:38:49,800
Speaker 3: the lab.

730
00:38:50,200 --> 00:38:50,439
Speaker 2: Yep.

731
00:38:51,440 --> 00:38:53,400
Speaker 3: Oh, And we should say, all the while, there is

732
00:38:53,440 --> 00:38:56,759
Speaker 3: a creep in a hood spying on what Santo and

733
00:38:56,840 --> 00:38:57,640
Speaker 3: friends are doing.

734
00:38:58,320 --> 00:39:00,960
Speaker 2: Yeah, and at least at this the film, we are

735
00:39:00,960 --> 00:39:03,880
Speaker 2: to assume that this is privileged knowledge for the viewer

736
00:39:04,360 --> 00:39:07,360
Speaker 2: and not something that Santo and company are aware.

737
00:39:07,080 --> 00:39:09,960
Speaker 3: Of, right exactly, Yeah, there is a creep sort of

738
00:39:10,000 --> 00:39:12,759
Speaker 3: like peeking in the windows and over the hedges at

739
00:39:12,800 --> 00:39:16,320
Speaker 3: what they're doing in the lab, and so Luisa puts

740
00:39:16,360 --> 00:39:20,319
Speaker 3: on a rad silver time travel jumpsuit with I might add,

741
00:39:20,360 --> 00:39:23,160
Speaker 3: I don't know if you noticed this a very Dracula

742
00:39:23,320 --> 00:39:24,759
Speaker 3: style collar on it.

743
00:39:25,280 --> 00:39:27,040
Speaker 2: Oh, I didn't notice that. I'm gonna have to go back

744
00:39:27,040 --> 00:39:27,760
Speaker 2: and look at stills.

745
00:39:27,840 --> 00:39:29,600
Speaker 3: Yeah, it's got that. I don't know what you call

746
00:39:29,640 --> 00:39:31,759
Speaker 3: that in fashion terms, but the kind of collar that's

747
00:39:31,800 --> 00:39:34,799
Speaker 3: like sort of puffed up and large and raised. It's

748
00:39:34,880 --> 00:39:38,840
Speaker 3: like a Dracula cape collar. In anyway, these scenes where

749
00:39:38,640 --> 00:39:41,239
Speaker 3: they're getting the time machine working, this is one of

750
00:39:41,280 --> 00:39:43,759
Speaker 3: the ones where I was really thinking, like, man, it's

751
00:39:43,880 --> 00:39:46,280
Speaker 3: just easy to see why Santo was a star again,

752
00:39:46,600 --> 00:39:49,680
Speaker 3: through the mask, through the dub, his charisma shines through.

753
00:39:50,280 --> 00:39:52,719
Speaker 2: Yeah, I mean again, El Santo is presented as the

754
00:39:52,760 --> 00:39:56,319
Speaker 2: absolute best of us. He's noble, intelligent, strong, he's just

755
00:39:56,400 --> 00:40:00,120
Speaker 2: absolutely good. He's an athlete, a warrior, a scientist, and

756
00:40:00,160 --> 00:40:03,680
Speaker 2: as we'll see, even his enemies often just recognize his

757
00:40:03,800 --> 00:40:05,600
Speaker 2: honor just a given.

758
00:40:05,960 --> 00:40:08,560
Speaker 3: Oh yeah, that's great. There are parts where the enemies

759
00:40:08,560 --> 00:40:10,719
Speaker 3: are like, you know, I would like to kill him,

760
00:40:10,760 --> 00:40:16,080
Speaker 3: but he is too sacred. Yes, So Luisa gets into

761
00:40:16,120 --> 00:40:18,600
Speaker 3: the time machine and the time Machine is very funny.

762
00:40:18,600 --> 00:40:22,040
Speaker 3: It's like it's like a hallway in Christopher Lee's house

763
00:40:22,080 --> 00:40:23,960
Speaker 3: and the Man with the Golden Gun. It's got this

764
00:40:24,040 --> 00:40:29,319
Speaker 3: big spiraling turning disc and weird psychedelic effects all over

765
00:40:29,320 --> 00:40:29,760
Speaker 3: the place.

766
00:40:30,040 --> 00:40:33,200
Speaker 2: Yeah, Like it's basically it's basically a time tunnel, which

767
00:40:33,239 --> 00:40:36,000
Speaker 2: makes sense because the Time Tunnel was on television sixty

768
00:40:36,040 --> 00:40:37,120
Speaker 2: six through sixty seven.

769
00:40:37,480 --> 00:40:39,239
Speaker 3: Okay, I don't know anything about that.

770
00:40:39,440 --> 00:40:42,560
Speaker 2: What is that I've never seen. I just remember seeing

771
00:40:42,560 --> 00:40:44,480
Speaker 2: ads for it on the Sci Fi Channel back in

772
00:40:44,520 --> 00:40:47,200
Speaker 2: the day reruns, and it is just a show that

773
00:40:47,320 --> 00:40:50,960
Speaker 2: featured a psychedelic time tunnel that was like this crazy spiral,

774
00:40:51,239 --> 00:40:53,720
Speaker 2: and I believe you went through it and that allowed

775
00:40:53,760 --> 00:40:54,640
Speaker 2: you to travel in time.

776
00:40:55,000 --> 00:40:59,560
Speaker 3: I see, so Luisa travels through time and she reverts

777
00:40:59,640 --> 00:41:02,640
Speaker 3: into one of her past lives where she lands on

778
00:41:02,680 --> 00:41:06,040
Speaker 3: a big bed with two visible puncture wounds in her neck.

779
00:41:06,520 --> 00:41:09,799
Speaker 3: And I think we can immediately see where this's going. Oh,

780
00:41:09,800 --> 00:41:12,680
Speaker 3: and we should say that Santo and Sipulvida and Perico

781
00:41:12,760 --> 00:41:15,960
Speaker 3: have a way to watch what Louis says doing on

782
00:41:16,000 --> 00:41:18,400
Speaker 3: a TV screen, so they can watch her doings in

783
00:41:18,440 --> 00:41:19,520
Speaker 3: the past on TV.

784
00:41:20,239 --> 00:41:23,640
Speaker 2: Yeah, I love this because it's so ridiculous but also

785
00:41:23,680 --> 00:41:25,560
Speaker 2: so powerful, Like if you were able to do this,

786
00:41:26,160 --> 00:41:29,239
Speaker 2: like think of I mean, all you could discover about

787
00:41:29,280 --> 00:41:32,880
Speaker 2: the past, like forget actually sending the person back to

788
00:41:32,920 --> 00:41:35,839
Speaker 2: their past life somehow, being to being able to watch

789
00:41:35,880 --> 00:41:39,880
Speaker 2: it on like some sort of direct video feed like that.

790
00:41:40,120 --> 00:41:42,759
Speaker 3: That's incredible, it is, And it's interesting to see the

791
00:41:42,760 --> 00:41:45,160
Speaker 3: way they apply their knowledge to what they're looking at,

792
00:41:45,160 --> 00:41:48,160
Speaker 3: Like we find out that Santo is also a furniture

793
00:41:48,239 --> 00:41:51,760
Speaker 3: expert because he immediately deduces the time period they're looking

794
00:41:51,800 --> 00:41:53,640
Speaker 3: at by the furniture in the room.

795
00:41:53,960 --> 00:41:57,000
Speaker 2: Oh. Absolutely, Yeah, he's a detective. He's an expert in

796
00:41:57,040 --> 00:41:57,600
Speaker 2: all things.

797
00:41:58,000 --> 00:42:01,839
Speaker 3: So in the past we see furniture, there's horse and

798
00:42:01,920 --> 00:42:06,200
Speaker 3: carriage and so for a while here it becomes a

799
00:42:06,239 --> 00:42:10,680
Speaker 3: movie within a movie. It just turns into a Dracula movie,

800
00:42:11,160 --> 00:42:15,360
Speaker 3: with Santo and friends occasionally popping in to comment on

801
00:42:15,440 --> 00:42:18,239
Speaker 3: the action, like I don't know, like Grandpa Mnster coming

802
00:42:18,239 --> 00:42:19,880
Speaker 3: in in the middle of the movie to introduce a

803
00:42:19,880 --> 00:42:20,800
Speaker 3: commercial break.

804
00:42:21,320 --> 00:42:24,239
Speaker 2: Yeah, which again is I think it's admirable that we

805
00:42:24,520 --> 00:42:27,120
Speaker 2: don't just have a standard Santo goes back in time

806
00:42:27,160 --> 00:42:31,040
Speaker 2: and fights things like we have a far more kind

807
00:42:31,040 --> 00:42:32,600
Speaker 2: of elaborate plot going on here.

808
00:42:33,000 --> 00:42:36,040
Speaker 3: Santo watches a movie about the past that then later

809
00:42:36,120 --> 00:42:38,799
Speaker 3: becomes a life and death struggle in the present. Yes,

810
00:42:39,600 --> 00:42:41,839
Speaker 3: and so this movie about the past, I'm not going

811
00:42:41,880 --> 00:42:43,880
Speaker 3: to go super into the details about it. It's a

812
00:42:44,160 --> 00:42:48,160
Speaker 3: very standard Dracula style plot. So you get a slayer

813
00:42:48,239 --> 00:42:51,960
Speaker 3: professor Professor van Roth, who's clearly the van Helsing character.

814
00:42:52,320 --> 00:42:56,239
Speaker 3: He meets a Professor Solar. Solar's daughter is sick. Her

815
00:42:56,280 --> 00:42:59,240
Speaker 3: health is declining day by day. She's weak and pale

816
00:42:59,280 --> 00:43:02,000
Speaker 3: in the Morning's just like what happened to her friend

817
00:43:02,120 --> 00:43:05,680
Speaker 3: Mara previously. I think we might recognize the like Lucy

818
00:43:05,960 --> 00:43:11,080
Speaker 3: Mina vampiric illness plotline from Dracula. I do love that

819
00:43:11,160 --> 00:43:14,840
Speaker 3: when this whole setup is being explained doctor van Roth

820
00:43:15,120 --> 00:43:17,719
Speaker 3: or Professor van Roth and Solar in their study and

821
00:43:17,760 --> 00:43:20,319
Speaker 3: suddenly there's a bat attack, just like a rubber bat

822
00:43:20,360 --> 00:43:22,439
Speaker 3: attacks the window and they have to ward it off

823
00:43:22,440 --> 00:43:26,280
Speaker 3: with missletoe, which Professor van Roth says is a herb

824
00:43:26,400 --> 00:43:30,360
Speaker 3: that grows in Transylvania and vampires can't stand the smell

825
00:43:30,400 --> 00:43:30,640
Speaker 3: of it.

826
00:43:31,320 --> 00:43:34,720
Speaker 2: Ah, you know, I'd never encountered this use of missletoe before,

827
00:43:34,960 --> 00:43:36,600
Speaker 2: but I mean, I guess it would make sense given

828
00:43:36,640 --> 00:43:40,160
Speaker 2: the you know, druidic properties of missletoe, and it has

829
00:43:40,280 --> 00:43:43,080
Speaker 2: kind of like magical properties in some legends, so why not.

830
00:43:43,320 --> 00:43:47,160
Speaker 3: Sure, and to pick up further on the druidic themes

831
00:43:47,280 --> 00:43:49,560
Speaker 3: right after that. I laughed out loud when I saw this,

832
00:43:49,600 --> 00:43:52,480
Speaker 3: when Luisa comes into the room and she's wearing this.

833
00:43:53,000 --> 00:43:54,440
Speaker 3: I don't know why it was so funny, but it's

834
00:43:54,480 --> 00:43:58,680
Speaker 3: this green velvet robe with like huge puffy Santa Claus

835
00:43:58,800 --> 00:44:02,400
Speaker 3: cuffs on the sleeve, and she gives this whole spiel

836
00:44:02,400 --> 00:44:06,400
Speaker 3: about how at night fog comes, there are dogs barking,

837
00:44:06,680 --> 00:44:09,200
Speaker 3: and I see a pale face with blood red eyes,

838
00:44:09,320 --> 00:44:11,319
Speaker 3: and then her dad's like, yeah, I don't worry about that.

839
00:44:13,680 --> 00:44:15,880
Speaker 3: And then oh, and then a dude shows up and

840
00:44:15,960 --> 00:44:19,640
Speaker 3: he's introduced as Count alou Card and he just sort

841
00:44:19,640 --> 00:44:23,440
Speaker 3: of like does some jousting back and forth verbally with

842
00:44:23,480 --> 00:44:29,000
Speaker 3: the with the professors and Count alou Card. Yet get it.

843
00:44:29,239 --> 00:44:33,680
Speaker 2: Yeah, it's of course Dracula backwards, and this is not

844
00:44:33,719 --> 00:44:37,520
Speaker 2: the only place you encountered Count Alocard. We see it.

845
00:44:37,719 --> 00:44:40,440
Speaker 2: We see this pop up in various Dracula movies, including

846
00:44:40,840 --> 00:44:45,359
Speaker 2: Dracula eighty, nineteen seventy two and nineteen forty three Son

847
00:44:45,400 --> 00:44:48,800
Speaker 2: of Dracula starring Lon Chaney Junior. And I guess the

848
00:44:48,840 --> 00:44:52,520
Speaker 2: whole thing is Dracula is ultimately lazy, and if he

849
00:44:52,560 --> 00:44:54,960
Speaker 2: needs to fake his identity, he's just going to spell

850
00:44:55,000 --> 00:44:57,319
Speaker 2: his name backwards and leave it at that. Like I

851
00:44:57,320 --> 00:44:59,960
Speaker 2: imagine his like he would be horrible at coming up

852
00:45:00,040 --> 00:45:01,840
Speaker 2: with a password for his email account.

853
00:45:02,040 --> 00:45:04,759
Speaker 3: It reminds me of the episode of the Office where

854
00:45:05,040 --> 00:45:07,440
Speaker 3: Dwight is pretending to have gone to the dentist but

855
00:45:07,480 --> 00:45:10,759
Speaker 3: he's lying and Michael asks him what the dentist's name was.

856
00:45:10,920 --> 00:45:14,719
Speaker 3: He takes about ten seconds and then says, crentist.

857
00:45:16,680 --> 00:45:20,239
Speaker 2: Yeah, yeah, Actually, Ali Card is very very much on

858
00:45:20,280 --> 00:45:24,920
Speaker 2: the crentist level of creative line. But it's working for

859
00:45:24,960 --> 00:45:26,960
Speaker 2: Count Alikard here because he's he's on a roll.

860
00:45:27,239 --> 00:45:30,480
Speaker 3: Yeah, they're there. I mean, basically, these people would fall

861
00:45:30,560 --> 00:45:33,040
Speaker 3: for the crentist excuse. They would they would accept that

862
00:45:33,440 --> 00:45:45,680
Speaker 3: doctor's note. But anyway, Van Roth introduces the idea, oh,

863
00:45:45,680 --> 00:45:48,719
Speaker 3: what if Luisa is being attacked by a vampire and

864
00:45:48,760 --> 00:45:51,520
Speaker 3: that's the cause of the punctures in her neck, and

865
00:45:51,719 --> 00:45:53,520
Speaker 3: you know that could be like the many other girls

866
00:45:53,520 --> 00:45:57,480
Speaker 3: who have disappeared. And then here we transition into one

867
00:45:57,520 --> 00:46:00,600
Speaker 3: of the long I think European cut sequences where we

868
00:46:00,680 --> 00:46:03,960
Speaker 3: see Count Alucard and his army of vampire women and

869
00:46:04,000 --> 00:46:09,000
Speaker 3: they're vamping some new victims. They're long, extraneous scenes of

870
00:46:09,400 --> 00:46:12,440
Speaker 3: extended nudity that are in no way necessary to the plot.

871
00:46:12,960 --> 00:46:15,480
Speaker 3: There was one detail from this part that was funny,

872
00:46:15,520 --> 00:46:19,840
Speaker 3: where it seems that Count Alucard puts a cute little

873
00:46:19,880 --> 00:46:24,040
Speaker 3: stick on bat tattoo on all of his lady vampire soldiers.

874
00:46:24,800 --> 00:46:27,200
Speaker 2: Oh yeah, Like it's they don't seem to be implying

875
00:46:27,640 --> 00:46:29,399
Speaker 2: or trying very hard to make it seem like he's

876
00:46:29,440 --> 00:46:31,440
Speaker 2: branding them or anything or doing any kind of like

877
00:46:31,520 --> 00:46:34,520
Speaker 2: magical tattoo or it's just like he's kind of, yeah,

878
00:46:34,640 --> 00:46:37,439
Speaker 2: putting a sticker on him, you know, stamping him ink.

879
00:46:37,880 --> 00:46:40,520
Speaker 3: And then he tells them, now, go quench your vampire

880
00:46:40,600 --> 00:46:43,239
Speaker 3: thirst for human blood, as all of us must do.

881
00:46:44,280 --> 00:46:48,040
Speaker 3: And there's fog and bat squeaks and blood sucking havoc.

882
00:46:48,640 --> 00:46:50,160
Speaker 3: I think there was a there was a funny I

883
00:46:50,200 --> 00:46:52,400
Speaker 3: was watching with subtitles, and it did have like the

884
00:46:52,480 --> 00:46:57,960
Speaker 3: parentheses bat squeaks sound and Count Alucard attacks Luisa in

885
00:46:58,080 --> 00:47:00,239
Speaker 3: or sleep and you know, I guess says he's been

886
00:47:00,280 --> 00:47:03,759
Speaker 3: doing throughout this whole time. And then we cut back

887
00:47:03,800 --> 00:47:06,439
Speaker 3: to Santo and friends and they're watching all this on TV,

888
00:47:06,600 --> 00:47:10,600
Speaker 3: putting the pieces together, and they figure out that Luisa

889
00:47:10,680 --> 00:47:13,239
Speaker 3: has had a past life in which she lived at

890
00:47:13,280 --> 00:47:16,840
Speaker 3: the same time as this vampire, Count alou Card.

891
00:47:17,280 --> 00:47:19,359
Speaker 2: And then we get one of my favorite quotes from

892
00:47:19,360 --> 00:47:22,279
Speaker 2: the film. Santo watching this on the screen says that

893
00:47:22,400 --> 00:47:24,400
Speaker 2: vampire is Dracula.

894
00:47:25,840 --> 00:47:29,360
Speaker 3: I legitimately laughed out loud at that part. This was

895
00:47:29,400 --> 00:47:31,400
Speaker 3: another one of those The voice actor who does the

896
00:47:31,480 --> 00:47:36,400
Speaker 3: dub has some really hilariously straight line readings. But anyway,

897
00:47:36,520 --> 00:47:39,160
Speaker 3: so the Dracula subplot here the movie. Within the movie,

898
00:47:39,160 --> 00:47:41,840
Speaker 3: it just sort of barrels on toward the resolution of

899
00:47:41,880 --> 00:47:45,560
Speaker 3: the standard Dracula plot along standard lines like van Roth

900
00:47:45,600 --> 00:47:49,680
Speaker 3: the Slayer goes about some stakings. Dracula closes in on

901
00:47:49,760 --> 00:47:52,760
Speaker 3: Luisa to seal her doom. He says, I have chosen

902
00:47:52,800 --> 00:47:57,160
Speaker 3: you as my wife for all eternity. I do wonder, though,

903
00:47:58,080 --> 00:48:00,920
Speaker 3: is the suspense in this lesson by knowing that this

904
00:48:01,080 --> 00:48:03,160
Speaker 3: is one of Luisa's past lives.

905
00:48:04,040 --> 00:48:07,719
Speaker 2: Well, maybe, But then again we don't really it's not established,

906
00:48:07,760 --> 00:48:09,720
Speaker 2: like what happens if you go into a past life

907
00:48:09,760 --> 00:48:13,400
Speaker 2: and then you die in that past life and then ultimately,

908
00:48:13,480 --> 00:48:15,440
Speaker 2: you know, via the rules of time travel that have

909
00:48:15,440 --> 00:48:18,840
Speaker 2: been presented to us, the male characters cannot travel back,

910
00:48:19,000 --> 00:48:21,239
Speaker 2: like Santo can't go back and help her, And even

911
00:48:21,280 --> 00:48:23,840
Speaker 2: if he could, I don't know if there's any guarantee

912
00:48:23,840 --> 00:48:25,520
Speaker 2: that he would be in the same time or in

913
00:48:25,560 --> 00:48:28,399
Speaker 2: the same life, or you know, in that same part

914
00:48:28,440 --> 00:48:29,479
Speaker 2: of the world. Who knows.

915
00:48:29,680 --> 00:48:32,560
Speaker 3: That's a good point. Yeah, well, and also you get

916
00:48:32,600 --> 00:48:35,759
Speaker 3: the sense that Luisa in the past, does she ever

917
00:48:35,800 --> 00:48:39,560
Speaker 3: give an indication in the past that she like retains

918
00:48:39,680 --> 00:48:43,520
Speaker 3: her knowledge about the future. I don't recall anything like that.

919
00:48:43,560 --> 00:48:47,880
Speaker 3: It's almost she just either like becomes her past self,

920
00:48:48,080 --> 00:48:50,720
Speaker 3: possessing only the knowledge of that past self.

921
00:48:51,120 --> 00:48:52,960
Speaker 2: Yeah, of course it's complicated by the fact that she

922
00:48:53,200 --> 00:48:56,840
Speaker 2: also falls under the power of a you know, tremendously

923
00:48:56,880 --> 00:49:01,239
Speaker 2: powerful vampire lord almost immediately. But yeah, we've not given

924
00:49:01,239 --> 00:49:02,200
Speaker 2: a lot to go on here.

925
00:49:02,840 --> 00:49:05,920
Speaker 3: But anyway, as I said, the vampire plot just barrels

926
00:49:05,920 --> 00:49:08,799
Speaker 3: toward the conclusion you would expect. Van Roth is trying

927
00:49:08,840 --> 00:49:11,640
Speaker 3: to find Dracula and steak him. He says, I have

928
00:49:11,719 --> 00:49:14,520
Speaker 3: hired a wolfhound. The animal has the power to track

929
00:49:14,640 --> 00:49:15,919
Speaker 3: vampire assassins.

930
00:49:16,360 --> 00:49:16,799
Speaker 2: That's good.

931
00:49:17,000 --> 00:49:21,080
Speaker 3: And then while they're watching the movie, Periico, he's commenting like, oh,

932
00:49:21,120 --> 00:49:24,399
Speaker 3: where is Alukard taking her? And he's very scared about

933
00:49:24,400 --> 00:49:26,560
Speaker 3: what's going to happen. But then he sees all of

934
00:49:26,600 --> 00:49:31,040
Speaker 3: the jewels in Dracula's treasure box, and when Dracula reveals

935
00:49:31,080 --> 00:49:34,160
Speaker 3: his treasure, Pericho is intrigued. He's like, could those jewels

936
00:49:34,160 --> 00:49:36,920
Speaker 3: be real? I guess we're supposed to understand that he

937
00:49:37,120 --> 00:49:39,800
Speaker 3: likes riches because he wears the dollar signed necklace.

938
00:49:40,480 --> 00:49:45,000
Speaker 2: Yeah. Yeah, and again the riches here it's as I remember,

939
00:49:45,040 --> 00:49:47,600
Speaker 2: it's a it's a casket. One of the caskets in

940
00:49:47,920 --> 00:49:51,080
Speaker 2: this vault of Dracula is just filled with what we

941
00:49:51,280 --> 00:49:52,960
Speaker 2: assume to be a treasure.

942
00:49:52,719 --> 00:49:54,080
Speaker 3: Yeah, jewels and stuff.

943
00:49:54,360 --> 00:49:55,280
Speaker 2: Yeah.

944
00:49:55,320 --> 00:49:58,120
Speaker 3: But so Dracula and Luisa they brag about how no

945
00:49:58,239 --> 00:50:01,320
Speaker 3: mortal will ever find Dracula's treasure, and they go into

946
00:50:01,360 --> 00:50:04,680
Speaker 3: their coffins to rest, and then van Roth arrives to

947
00:50:04,719 --> 00:50:07,399
Speaker 3: stake the vamps. So he stakes Dracula, and you get

948
00:50:07,400 --> 00:50:10,240
Speaker 3: the big hiss and then he's about to stake Luisa.

949
00:50:10,440 --> 00:50:13,560
Speaker 3: Oh no, So Santo and friends have to intervene to

950
00:50:13,640 --> 00:50:16,200
Speaker 3: save her, and they do this by bringing her back

951
00:50:16,239 --> 00:50:19,680
Speaker 3: through the time machine with a reverse footage effect before

952
00:50:19,800 --> 00:50:22,160
Speaker 3: she can be staked in the past. I'm not sure

953
00:50:22,200 --> 00:50:23,280
Speaker 3: exactly how that works.

954
00:50:23,680 --> 00:50:26,160
Speaker 2: Yeah, but this is suddenly really like, this is interesting

955
00:50:26,200 --> 00:50:29,960
Speaker 2: because Dracula is staked in the past and now we're

956
00:50:30,000 --> 00:50:33,200
Speaker 2: back in the present and we still have quite a

957
00:50:33,200 --> 00:50:34,960
Speaker 2: bit of film to go. So this is the point

958
00:50:35,000 --> 00:50:37,040
Speaker 2: where I was really intrigued. I was like, I wonder

959
00:50:37,080 --> 00:50:39,200
Speaker 2: where this is going, you know, like it seems like

960
00:50:39,360 --> 00:50:41,520
Speaker 2: we resolved this true journey into the past.

961
00:50:41,600 --> 00:50:43,799
Speaker 3: Yeah, the movie is like less than half over at

962
00:50:43,800 --> 00:50:44,200
Speaker 3: this point.

963
00:50:44,360 --> 00:50:44,720
Speaker 2: Yeah.

964
00:50:44,760 --> 00:50:47,400
Speaker 3: But then the plot in the present develops in a

965
00:50:47,400 --> 00:50:50,560
Speaker 3: pretty awesome way. So we get some info filled in

966
00:50:50,640 --> 00:50:53,040
Speaker 3: on the creep in the hood who has been snooping

967
00:50:53,080 --> 00:50:55,960
Speaker 3: on Santo and friends the whole time while they're doing

968
00:50:55,960 --> 00:50:59,719
Speaker 3: their experiment. He comes back home and he meets with

969
00:51:00,040 --> 00:51:03,080
Speaker 3: a bodybuilder or like a wrestling dude, a kid who's

970
00:51:03,080 --> 00:51:08,200
Speaker 3: like pushing up, you know, doing barbell exercises named Atlas,

971
00:51:08,200 --> 00:51:10,720
Speaker 3: and Atlas addresses the guy in the hood as father

972
00:51:11,480 --> 00:51:13,640
Speaker 3: and father fills him in on what's going to happen.

973
00:51:13,640 --> 00:51:15,600
Speaker 3: The guy in the hood is like, I can find

974
00:51:15,680 --> 00:51:17,760
Speaker 3: Dracula's treasure because I spied.

975
00:51:18,280 --> 00:51:20,000
Speaker 2: Yeah, there's a lot of spying going on in this

976
00:51:20,080 --> 00:51:23,919
Speaker 2: because Santo and company know about the Dracula's treasure because

977
00:51:23,960 --> 00:51:26,919
Speaker 2: they spied through the time machine. And then we have

978
00:51:27,040 --> 00:51:29,799
Speaker 2: a father and company who were spying on Santo and

979
00:51:29,840 --> 00:51:31,600
Speaker 2: therefore learn about the treasure as well.

980
00:51:31,960 --> 00:51:34,840
Speaker 3: Right, so we see there are a bunch I guess

981
00:51:34,960 --> 00:51:37,840
Speaker 3: the guy, the guy in the black Hood is supposed

982
00:51:37,880 --> 00:51:41,439
Speaker 3: to be a crime boss of some sort. He's got

983
00:51:41,480 --> 00:51:44,719
Speaker 3: gangster thugs who work for him, and there's a great

984
00:51:44,760 --> 00:51:47,120
Speaker 3: scene where he calls them on the phone and they're

985
00:51:47,160 --> 00:51:50,399
Speaker 3: sitting around a table playing cards with liquor bottles and

986
00:51:50,560 --> 00:51:53,719
Speaker 3: cigarettes and guns. And one of the guys at the

987
00:51:53,719 --> 00:51:57,360
Speaker 3: table playing cards looks like a standard nineteen forties or

988
00:51:57,360 --> 00:52:01,320
Speaker 3: fifties film noir button man, and you know, he suspenders

989
00:52:01,360 --> 00:52:04,480
Speaker 3: a Fedora cigarette that kind of thing. But then there's

990
00:52:04,520 --> 00:52:07,319
Speaker 3: another one of the thugs who looks like a philosophy

991
00:52:07,400 --> 00:52:10,719
Speaker 3: professor or something. It's like he's got like a turtleneck

992
00:52:10,800 --> 00:52:14,200
Speaker 3: and a sport coat and he's smoking a pipe. But anyway,

993
00:52:14,239 --> 00:52:17,600
Speaker 3: the gangster guys here they get their instructions from the

994
00:52:17,960 --> 00:52:20,719
Speaker 3: dude in the Black Hood. They are told to do

995
00:52:20,920 --> 00:52:25,240
Speaker 3: surveillance on doctor Sipulvida's house, but no guns. He says

996
00:52:25,280 --> 00:52:28,319
Speaker 3: that the life of Santo must be sacred to you all.

997
00:52:29,040 --> 00:52:31,759
Speaker 2: That's right, even the villains, they have a code when

998
00:52:31,760 --> 00:52:32,560
Speaker 2: it comes to Santo.

999
00:52:32,719 --> 00:52:33,160
Speaker 4: M hmm.

1000
00:52:33,719 --> 00:52:36,520
Speaker 3: So here we get Santo and friends investigating the remains

1001
00:52:36,560 --> 00:52:38,840
Speaker 3: of the Vampire's Layer. They're going to you know, like

1002
00:52:38,960 --> 00:52:42,279
Speaker 3: where Dracula got staked. That's like a secret crypt and

1003
00:52:42,320 --> 00:52:44,600
Speaker 3: they know how to access it because they watched the

1004
00:52:44,680 --> 00:52:48,399
Speaker 3: past on TV. And they go to find it, and

1005
00:52:48,800 --> 00:52:51,839
Speaker 3: Perico is very afraid. There's part where Santo says, aren't

1006
00:52:51,880 --> 00:52:54,200
Speaker 3: you a man? And he says, I am a little mouse.

1007
00:52:54,640 --> 00:52:58,759
Speaker 2: Yes, he's like cowering in the backseat. Yeah, it's great.

1008
00:52:58,840 --> 00:53:01,920
Speaker 2: He hits this out all the time in the film,

1009
00:53:02,239 --> 00:53:04,960
Speaker 2: and somehow it works like he's you can compare him

1010
00:53:05,080 --> 00:53:09,720
Speaker 2: very easily to Shaggy and Scooby Doo. Right, Oh totally,

1011
00:53:10,000 --> 00:53:11,680
Speaker 2: except more hilarious.

1012
00:53:11,840 --> 00:53:15,160
Speaker 3: He should have been eating like, you know, fourteen layer sandwiches.

1013
00:53:15,640 --> 00:53:17,400
Speaker 2: Yeah.

1014
00:53:17,400 --> 00:53:19,400
Speaker 3: But so they're searching for the right crypt, and there

1015
00:53:19,440 --> 00:53:22,480
Speaker 3: are peric O shenanigans where he's running around being scared

1016
00:53:23,000 --> 00:53:26,440
Speaker 3: and Santo tells him if he's in danger, he can

1017
00:53:26,480 --> 00:53:28,560
Speaker 3: just blow the whistle and we will come to help you.

1018
00:53:29,640 --> 00:53:32,319
Speaker 3: And while they're investigating the crypt, the hooded man and

1019
00:53:32,360 --> 00:53:35,000
Speaker 3: his dudes follow behind, and then eventually there's a big

1020
00:53:35,040 --> 00:53:38,279
Speaker 3: fight Santo and his friends versus the hooded man and

1021
00:53:38,840 --> 00:53:42,960
Speaker 3: his goons. And this is the part where Perico swallows

1022
00:53:43,000 --> 00:53:46,880
Speaker 3: the whistle and he can't talk without whistling. Yeah, but

1023
00:53:46,920 --> 00:53:49,680
Speaker 3: of course Santo wins the fight and chases the other

1024
00:53:49,719 --> 00:53:53,919
Speaker 3: guys off, and Santo gets the It's actually a little

1025
00:53:53,960 --> 00:53:56,640
Speaker 3: more complicated because like they they don't just know where

1026
00:53:56,680 --> 00:53:59,840
Speaker 3: the treasure is. It's that Dracula has a couple of

1027
00:54:00,000 --> 00:54:03,839
Speaker 3: pieces of jewelry, like a medallion and a ring that

1028
00:54:03,920 --> 00:54:08,000
Speaker 3: have markings on them in Serbian that tell the location

1029
00:54:08,280 --> 00:54:09,879
Speaker 3: of the treasure. Did I get that right?

1030
00:54:10,239 --> 00:54:12,640
Speaker 2: Yeah, Because like there's a later scene where the guy

1031
00:54:12,680 --> 00:54:14,520
Speaker 2: in the black mask, the villain, is like, I'm going

1032
00:54:14,560 --> 00:54:16,120
Speaker 2: to get these artifacts, then I need to fly to

1033
00:54:16,160 --> 00:54:19,440
Speaker 2: Transylvania and find somebody who can translate the Serbian.

1034
00:54:19,680 --> 00:54:22,319
Speaker 3: Yes, yeah, that's it, but you need both of the

1035
00:54:22,320 --> 00:54:25,800
Speaker 3: pieces of jewelry, and Santo and friends only take one piece.

1036
00:54:25,880 --> 00:54:30,399
Speaker 3: They take the medallion, and meanwhile the bad guys get

1037
00:54:30,440 --> 00:54:33,360
Speaker 3: the ring, so each side has one of the pieces

1038
00:54:33,360 --> 00:54:38,040
Speaker 3: of jewelry, and Santo wants to continue investigating Dracula, despite

1039
00:54:38,120 --> 00:54:40,640
Speaker 3: Luisa having a bad feeling about this. She says like

1040
00:54:40,719 --> 00:54:43,520
Speaker 3: humans should not venture into the world of the unknown,

1041
00:54:44,440 --> 00:54:47,680
Speaker 3: but Santo says, we have to keep investigating Dracula and

1042
00:54:47,719 --> 00:54:50,840
Speaker 3: find the treasure for two reasons, he says, first, to

1043
00:54:50,920 --> 00:54:53,680
Speaker 3: prove to those scientists who mocked me that my theory

1044
00:54:53,760 --> 00:54:58,319
Speaker 3: is right. And then second quote, to find a vampire's

1045
00:54:58,360 --> 00:55:01,799
Speaker 3: famous treasure which will help the people in need. And

1046
00:55:01,880 --> 00:55:03,840
Speaker 3: I like this because they make it clear that Santo

1047
00:55:03,920 --> 00:55:06,960
Speaker 3: would not keep the vampire's treasure to himself. He would

1048
00:55:07,160 --> 00:55:09,120
Speaker 3: he would give it to the needy.

1049
00:55:09,200 --> 00:55:10,880
Speaker 2: Right, Yeah, I mean that's just the code, that's the

1050
00:55:10,920 --> 00:55:13,200
Speaker 2: way he is right now. Now, one thing that's worth

1051
00:55:13,400 --> 00:55:14,960
Speaker 2: driving home here, and we'll come back to this in

1052
00:55:15,000 --> 00:55:17,400
Speaker 2: a bit too, is that it is revealed in all

1053
00:55:17,480 --> 00:55:19,880
Speaker 2: this and the obtaining of the ring and the medallion,

1054
00:55:20,360 --> 00:55:25,200
Speaker 2: that that Dracula's body is still staked there like his

1055
00:55:25,360 --> 00:55:28,240
Speaker 2: body went once staked. It did not know burn away

1056
00:55:28,480 --> 00:55:31,399
Speaker 2: or melt into snakes and crickets or anything like. He's

1057
00:55:31,400 --> 00:55:36,400
Speaker 2: still there with that steak through his heart and that'll

1058
00:55:36,440 --> 00:55:38,319
Speaker 2: become important in a bent right.

1059
00:55:38,760 --> 00:55:41,640
Speaker 3: So eventually Santo and his friends end up in another

1060
00:55:41,640 --> 00:55:46,040
Speaker 3: big fight with the Black Hood and his goons, and

1061
00:55:46,120 --> 00:55:49,840
Speaker 3: doctor Sipulveta proposes a solution to their problem because Santo

1062
00:55:49,880 --> 00:55:52,719
Speaker 3: will not hand over the medallion even though the guy

1063
00:55:52,719 --> 00:55:56,799
Speaker 3: in the Hood wants it. And the solution proposed by

1064
00:55:57,200 --> 00:55:59,920
Speaker 3: doctor czar Here is that there should be a wrestling

1065
00:56:00,120 --> 00:56:03,759
Speaker 3: match between Santo and the Black Hood's son Atlas, and

1066
00:56:03,800 --> 00:56:07,560
Speaker 3: the outcome of the match will determine who gets Stracula's treasure,

1067
00:56:07,560 --> 00:56:10,479
Speaker 3: who gets both of these artifacts that will together spell

1068
00:56:10,600 --> 00:56:11,080
Speaker 3: the location.

1069
00:56:11,800 --> 00:56:13,560
Speaker 2: Yeah, and of course Santo agrees to this because this

1070
00:56:13,600 --> 00:56:16,319
Speaker 2: is highly honorable and like, let's face it, he's he's

1071
00:56:16,400 --> 00:56:19,760
Speaker 2: al Santo, right, like, he has a very strong chance

1072
00:56:19,800 --> 00:56:23,120
Speaker 2: of winning this no matter how great Atlas happens to be.

1073
00:56:23,480 --> 00:56:25,200
Speaker 3: Right, And then we get a great scene that's a

1074
00:56:25,239 --> 00:56:28,560
Speaker 3: tutorial on the rules of wrestling, using Perico kind of

1075
00:56:28,600 --> 00:56:32,520
Speaker 3: as a dummy, just getting body slammed over and over.

1076
00:56:33,239 --> 00:56:36,960
Speaker 3: And of course here's where we meet Santo's own gravelly

1077
00:56:37,040 --> 00:56:37,760
Speaker 3: voice trainer.

1078
00:56:38,160 --> 00:56:41,800
Speaker 2: Yeah, yeah, you know it's got a don't It's like

1079
00:56:41,880 --> 00:56:44,760
Speaker 2: he's training him or training with him. But I remember

1080
00:56:44,760 --> 00:56:46,719
Speaker 2: I was also thinking, like, why does Al Santo need

1081
00:56:46,760 --> 00:56:48,640
Speaker 2: anybody to train with him? But I guess for the

1082
00:56:48,640 --> 00:56:51,400
Speaker 2: purpose of the plot, and also just for the comedic

1083
00:56:51,760 --> 00:56:56,080
Speaker 2: fun of having Periko slammed on a on a comfy

1084
00:56:56,120 --> 00:56:59,040
Speaker 2: mat and then having like what six luchadors all pile

1085
00:56:59,120 --> 00:57:01,799
Speaker 2: on him. Yeah, comedic effect. It was pretty good.

1086
00:57:02,200 --> 00:57:04,919
Speaker 3: And then it's wrestling time, so we get a great

1087
00:57:04,960 --> 00:57:08,719
Speaker 3: wrestling match where it's Atlas versus El Santo, and they

1088
00:57:08,800 --> 00:57:11,040
Speaker 3: do they show you the whole thing. It's three rounds

1089
00:57:11,520 --> 00:57:14,440
Speaker 3: and it's just like, there is a wrestling match in

1090
00:57:14,480 --> 00:57:16,720
Speaker 3: the middle of this movie.

1091
00:57:16,120 --> 00:57:19,240
Speaker 2: And it's actually pretty good. Like you, by modern standards,

1092
00:57:19,280 --> 00:57:21,640
Speaker 2: you might expect the wrestling scene to be like have

1093
00:57:21,720 --> 00:57:23,800
Speaker 2: a bunch of hyper cuts or to be a montage

1094
00:57:23,880 --> 00:57:27,080
Speaker 2: or something, but no, this is like a complete I mean,

1095
00:57:27,080 --> 00:57:28,520
Speaker 2: maybe it's not as long as it would be in

1096
00:57:28,520 --> 00:57:31,120
Speaker 2: real life. I'm not exactly sure, but it feels like

1097
00:57:31,320 --> 00:57:35,280
Speaker 2: a very complete wrestling match, Luther Libre match with all

1098
00:57:35,320 --> 00:57:37,440
Speaker 2: of the signature spots and sort of the you know,

1099
00:57:37,480 --> 00:57:40,560
Speaker 2: the the rudeo winning the match the round he's supposed

1100
00:57:40,600 --> 00:57:43,760
Speaker 2: to win. You get to see the high flying moves,

1101
00:57:43,800 --> 00:57:46,560
Speaker 2: you get to see the matt wrestling, which is also important,

1102
00:57:46,560 --> 00:57:50,360
Speaker 2: you know, complicated submission moves and all, and it's it's great. Like,

1103
00:57:50,400 --> 00:57:52,360
Speaker 2: if you want to see a fun little Santo match,

1104
00:57:52,880 --> 00:57:55,800
Speaker 2: just watch this film because it's there in its entirety.

1105
00:57:55,760 --> 00:57:59,520
Speaker 3: Extremely impressive tumbling moves. Again, I'm not as big a

1106
00:57:59,560 --> 00:58:02,360
Speaker 3: wrestling fan as you are, but I got into it.

1107
00:58:02,400 --> 00:58:03,840
Speaker 3: I really wanted Santo to win.

1108
00:58:04,320 --> 00:58:07,200
Speaker 2: Yeah, Like there's a part where, you know, the rudo

1109
00:58:07,480 --> 00:58:10,320
Speaker 2: uses a special submission move to win one of the falls,

1110
00:58:10,840 --> 00:58:12,880
Speaker 2: and then in the towards the end of the match,

1111
00:58:13,320 --> 00:58:15,720
Speaker 2: for the final fall, he tries to put the same

1112
00:58:15,800 --> 00:58:17,840
Speaker 2: move on him and Santo fights out of it. So

1113
00:58:17,880 --> 00:58:19,280
Speaker 2: it's it's right, it's right.

1114
00:58:19,200 --> 00:58:22,440
Speaker 3: Good totally. And the one thing though, in the middle

1115
00:58:22,440 --> 00:58:24,479
Speaker 3: of the match, there was a moment where I started thinking,

1116
00:58:24,480 --> 00:58:27,480
Speaker 3: wait a second, wasn't there a vampire in this movie?

1117
00:58:27,920 --> 00:58:29,520
Speaker 3: And then I was worried for a bit. I was like,

1118
00:58:29,560 --> 00:58:32,200
Speaker 3: are there going to be no undead in the conclusion

1119
00:58:32,200 --> 00:58:34,720
Speaker 3: of this film? Has it just turned into pure wrestling

1120
00:58:34,800 --> 00:58:37,320
Speaker 3: and like the vampire stuff was just for the first

1121
00:58:37,400 --> 00:58:38,040
Speaker 3: third of it.

1122
00:58:38,400 --> 00:58:39,640
Speaker 2: Oh, you have little faith.

1123
00:58:39,720 --> 00:58:43,439
Speaker 3: Yeah. So Santo wins the wrestling match and the bad

1124
00:58:43,560 --> 00:58:46,960
Speaker 3: dude hands over the ring but gasp, he has made

1125
00:58:47,000 --> 00:58:50,400
Speaker 3: a copy. He is not honorable. He cheats, I guess

1126
00:58:50,400 --> 00:58:51,400
Speaker 3: because he's a rudo.

1127
00:58:51,840 --> 00:58:52,400
Speaker 2: Yeah.

1128
00:58:52,440 --> 00:58:54,800
Speaker 3: So what's the bad guy's plan at this point, Well,

1129
00:58:54,880 --> 00:58:58,640
Speaker 3: they've got a brilliant plan. It's to unstake Dracula, wake

1130
00:58:58,720 --> 00:59:01,040
Speaker 3: him up from the sleep of the day, and then

1131
00:59:01,080 --> 00:59:04,280
Speaker 3: he will kill Santo and his friends. And after Santo

1132
00:59:04,360 --> 00:59:06,280
Speaker 3: and his friends are dead, the bad guys will be

1133
00:59:06,320 --> 00:59:09,120
Speaker 3: able to get the medallion necklace from them, and then

1134
00:59:09,160 --> 00:59:11,520
Speaker 3: together with their copy of the ring, they can find

1135
00:59:11,520 --> 00:59:12,000
Speaker 3: the treasure.

1136
00:59:12,640 --> 00:59:16,320
Speaker 2: Yeah. They kind of skipped over how they're planning to

1137
00:59:16,040 --> 00:59:19,200
Speaker 2: to lose Dracula in all of this, because they're also

1138
00:59:19,400 --> 00:59:22,320
Speaker 2: awakening this terrible undead threat, right.

1139
00:59:22,480 --> 00:59:25,400
Speaker 3: Right, I mean, I think the logic is we stand

1140
00:59:25,400 --> 00:59:28,000
Speaker 3: a better chance against Dracula than we do against Santo.

1141
00:59:28,280 --> 00:59:29,480
Speaker 2: Well that's fair, that's fair.

1142
00:59:29,560 --> 00:59:33,520
Speaker 3: Right. So then it goes kind of into third act

1143
00:59:33,560 --> 00:59:36,880
Speaker 3: warp speed, you know, So the vampire is awakened, he

1144
00:59:36,960 --> 00:59:41,280
Speaker 3: hypnotizes Luisa again. The bad Guy's scheme and scheme again.

1145
00:59:42,160 --> 00:59:45,360
Speaker 3: There's one part where the villain in the hood tells

1146
00:59:45,400 --> 00:59:48,520
Speaker 3: one of his one of his buddies, you fool, they

1147
00:59:48,560 --> 00:59:51,240
Speaker 3: haven't invented a bullet that can kill a vampire yet.

1148
00:59:53,040 --> 00:59:55,400
Speaker 3: And it also there's a car chase where they're, you know,

1149
00:59:55,480 --> 00:59:57,880
Speaker 3: Santo and the bad guys are chasing each other around

1150
00:59:58,360 --> 01:00:01,200
Speaker 3: and it has one of my favorite sound defects, which

1151
01:00:01,240 --> 01:00:03,600
Speaker 3: is car tires screeching on a dirt road.

1152
01:00:05,080 --> 01:00:06,439
Speaker 2: Well, I mean, you got to try it, no matter

1153
01:00:06,440 --> 01:00:07,680
Speaker 2: what kind of road you have to work with. You

1154
01:00:07,720 --> 01:00:09,400
Speaker 2: got to try and make it look like a car chase.

1155
01:00:09,440 --> 01:00:11,040
Speaker 2: But you've also got to make it sound like a

1156
01:00:11,080 --> 01:00:12,120
Speaker 2: car chase, right.

1157
01:00:12,400 --> 01:00:15,480
Speaker 3: And then there's another big throwdown fight. It's Santo versus

1158
01:00:15,560 --> 01:00:18,160
Speaker 3: the Hooded Man's goons, and in the end, the black

1159
01:00:18,160 --> 01:00:21,720
Speaker 3: Hooded Man's identity is revealed. I won't spoil it, but

1160
01:00:21,800 --> 01:00:23,600
Speaker 3: it's a good villain unmasking.

1161
01:00:24,160 --> 01:00:26,600
Speaker 2: Yeah, yeah, very This is the sort of unmasking that

1162
01:00:26,680 --> 01:00:30,720
Speaker 2: would become popular with Scooby Doo cartoons. Later on, pull

1163
01:00:30,760 --> 01:00:33,240
Speaker 2: the mask off, find out who was behind all this

1164
01:00:33,440 --> 01:00:35,280
Speaker 2: dastardly plotting all along.

1165
01:00:35,960 --> 01:00:39,040
Speaker 3: There's also a final confrontation with Dracula and with his

1166
01:00:39,240 --> 01:00:42,960
Speaker 3: Army of the Damned. But I won't reveal how Santo

1167
01:00:43,080 --> 01:00:45,880
Speaker 3: wins that one. I will say there I was slightly

1168
01:00:45,880 --> 01:00:50,080
Speaker 3: disappointed that Santo never directly wrestles Dracula, but I will

1169
01:00:50,080 --> 01:00:52,720
Speaker 3: say he outsmarts him, and it reminds us that a

1170
01:00:52,760 --> 01:00:55,600
Speaker 3: hero is not only brawn but also wits and while.

1171
01:00:55,840 --> 01:00:58,640
Speaker 2: Yeah, and it makes sense too, right because Dracula is

1172
01:00:58,760 --> 01:01:03,840
Speaker 2: so much about like carnal physicality and desire, and and

1173
01:01:03,960 --> 01:01:07,680
Speaker 2: Santo defeats him without ever even having to physically touch him,

1174
01:01:07,720 --> 01:01:10,120
Speaker 2: so you know, in a way it works.

1175
01:01:10,520 --> 01:01:10,720
Speaker 3: Though.

1176
01:01:10,720 --> 01:01:13,920
Speaker 2: To be clear, there have been vampire themed rudo luchador's

1177
01:01:14,000 --> 01:01:17,280
Speaker 2: over time. Ooh yeah, there was one guy that wrestled

1178
01:01:17,280 --> 01:01:21,800
Speaker 2: as Nosferatu. Those costume didn't particularly look very like vampire

1179
01:01:21,840 --> 01:01:24,560
Speaker 2: ask he didn't look like no Faratu so much, but

1180
01:01:24,640 --> 01:01:27,120
Speaker 2: his name was Nosfaratu, and I enjoyed that.

1181
01:01:27,240 --> 01:01:30,160
Speaker 3: Well, I would like to watch some more supernatural wrestling

1182
01:01:30,240 --> 01:01:33,360
Speaker 3: movies that resolve in a more brutal direct way where

1183
01:01:33,400 --> 01:01:36,120
Speaker 3: the monster has just wrestled to a submission at the end.

1184
01:01:37,880 --> 01:01:40,800
Speaker 3: What if you did a frankensteiner on Frankenstein.

1185
01:01:41,400 --> 01:01:44,600
Speaker 2: Oh, well that would be that would be interesting. Yeah,

1186
01:01:44,640 --> 01:01:46,080
Speaker 2: I don't know if that's ever been done. I don't

1187
01:01:46,120 --> 01:01:48,240
Speaker 2: know that seems like someone should have done it by now.

1188
01:01:48,320 --> 01:01:50,360
Speaker 2: I'm not sure you've. You had a lot of different

1189
01:01:50,440 --> 01:01:54,400
Speaker 2: horror movie characters pop up in wrestling, certainly in Lucha Libre,

1190
01:01:55,160 --> 01:01:57,640
Speaker 2: like for a long time. Maybe still you could find

1191
01:01:57,640 --> 01:02:02,000
Speaker 2: teenage mutant ninja turtles wrestling in lucha just kind of

1192
01:02:02,040 --> 01:02:04,640
Speaker 2: a standard. Get some guys in some turtle costumes and

1193
01:02:04,640 --> 01:02:07,200
Speaker 2: get them out there wrestling for the kids. You know,

1194
01:02:07,520 --> 01:02:11,240
Speaker 2: had various like I think in Japan you had like

1195
01:02:11,360 --> 01:02:17,160
Speaker 2: Jason Vorhees wrestled, Leatherface wrestled, Freddie somebody, Freddy Krueger Outfit wrestled,

1196
01:02:17,280 --> 01:02:20,280
Speaker 2: so you know, the two go together quite well.

1197
01:02:20,760 --> 01:02:22,560
Speaker 3: I also like how at the end of the movie,

1198
01:02:23,040 --> 01:02:26,160
Speaker 3: Santo agrees with Luisa that it's sort of the final

1199
01:02:26,240 --> 01:02:29,080
Speaker 3: moral of the piece. It's that humans should never ever

1200
01:02:29,360 --> 01:02:30,800
Speaker 3: enter the world of the unknown.

1201
01:02:33,960 --> 01:02:36,760
Speaker 2: Yeah, though apparently it paid off right because presumably they

1202
01:02:36,760 --> 01:02:38,800
Speaker 2: were able to get the treasure and then give it

1203
01:02:38,840 --> 01:02:41,960
Speaker 2: to the needy. So I'm not sure we should say

1204
01:02:41,960 --> 01:02:45,000
Speaker 2: never venture into the unknown because it seemed to have

1205
01:02:45,000 --> 01:02:45,800
Speaker 2: some benefits here.

1206
01:02:45,880 --> 01:02:48,280
Speaker 3: That's a good point. They've probably saved lives by entering

1207
01:02:48,320 --> 01:02:49,240
Speaker 3: the world of the unknown.

1208
01:02:49,800 --> 01:02:53,960
Speaker 2: Yeah, you know, all told. I was very impressed with

1209
01:02:54,000 --> 01:02:56,160
Speaker 2: the plot and the pacing of this film because again

1210
01:02:56,560 --> 01:02:58,240
Speaker 2: it could have Even knowing that it was going to

1211
01:02:58,280 --> 01:03:00,760
Speaker 2: have time travel and Dracula in it, I was kind

1212
01:03:00,800 --> 01:03:03,520
Speaker 2: of expecting something a lot clunkier, you know, like Santo

1213
01:03:03,600 --> 01:03:06,280
Speaker 2: goes back in time and wrestles Dracula. But there are

1214
01:03:06,280 --> 01:03:08,720
Speaker 2: a lot It has all these twists and turns in it.

1215
01:03:08,720 --> 01:03:11,800
Speaker 2: It's very watchable. Towards the end of it. Like towards

1216
01:03:11,840 --> 01:03:14,280
Speaker 2: the end of other films from this era and of

1217
01:03:14,320 --> 01:03:16,520
Speaker 2: this sort of caliber, you know, you often reach that

1218
01:03:16,560 --> 01:03:18,400
Speaker 2: point where you're like, geez, when is this going to end?

1219
01:03:18,960 --> 01:03:20,360
Speaker 2: But with this one, you're more like, I don't know

1220
01:03:20,400 --> 01:03:21,800
Speaker 2: if they're gonna be able to wrap it up. How

1221
01:03:21,800 --> 01:03:23,160
Speaker 2: are they going to wrap it up in just ten

1222
01:03:23,200 --> 01:03:25,800
Speaker 2: more minutes? No. One of the things that I found

1223
01:03:25,800 --> 01:03:28,960
Speaker 2: really interesting in this is the whole business with staking

1224
01:03:29,320 --> 01:03:33,240
Speaker 2: Dracula and Dracula not dying but then being able to

1225
01:03:33,440 --> 01:03:35,680
Speaker 2: He's just frozen in the box in this state of

1226
01:03:35,800 --> 01:03:39,400
Speaker 2: suspended animation, and then when he's unstaked, he just wakes

1227
01:03:39,480 --> 01:03:43,760
Speaker 2: up and carries on where he left off. Yeah, so

1228
01:03:44,280 --> 01:03:46,200
Speaker 2: this does seem to be you know, this is a

1229
01:03:46,280 --> 01:03:48,920
Speaker 2: variation of the vampire legend that you see other places,

1230
01:03:48,920 --> 01:03:51,200
Speaker 2: the idea that the steak doesn't kill the monster, but

1231
01:03:51,320 --> 01:03:54,320
Speaker 2: rather fixes it and freezes it to the spot, very

1232
01:03:54,400 --> 01:03:56,960
Speaker 2: much like staking something down to the earth, so that

1233
01:03:57,160 --> 01:03:58,400
Speaker 2: like staking a tent down.

1234
01:03:58,640 --> 01:03:58,960
Speaker 3: Sure.

1235
01:03:59,120 --> 01:04:02,280
Speaker 2: Yeah, so you know, it's interesting that while one often

1236
01:04:02,360 --> 01:04:04,920
Speaker 2: encounters the stake to the heart detail in vampire legends,

1237
01:04:05,120 --> 01:04:08,400
Speaker 2: you know, sometimes there are particular wood requirements for the steak.

1238
01:04:08,680 --> 01:04:11,440
Speaker 2: There's at least one variety where the vampire must be

1239
01:04:11,480 --> 01:04:14,640
Speaker 2: staked through the mouth. There's another where a large nail

1240
01:04:14,680 --> 01:04:17,800
Speaker 2: must be driven through the forehead. And I was looking

1241
01:04:17,800 --> 01:04:21,280
Speaker 2: at a book by one Paul Barber titled Vampire's Burial

1242
01:04:21,320 --> 01:04:23,880
Speaker 2: in Death, and he points out that the steak to

1243
01:04:23,920 --> 01:04:27,400
Speaker 2: the heart might have picked up steam because if you

1244
01:04:27,520 --> 01:04:31,520
Speaker 2: actually unearth a decaying corpse and you drive a steak

1245
01:04:31,760 --> 01:04:36,360
Speaker 2: into its chest, the decaying corpse will very often produce

1246
01:04:36,360 --> 01:04:39,240
Speaker 2: a sound. In fact, Barber writes that it would be

1247
01:04:39,280 --> 01:04:42,760
Speaker 2: surprising if it did not, because the lungs are going

1248
01:04:42,840 --> 01:04:45,440
Speaker 2: to be compressed by the stake's entry into the chest,

1249
01:04:45,560 --> 01:04:48,360
Speaker 2: and this will force air and gases to explode out

1250
01:04:48,400 --> 01:04:51,240
Speaker 2: of the mouth and produce a sound not unlike a

1251
01:04:51,280 --> 01:04:54,360
Speaker 2: groan or a hiss, sometimes compared to the squealing of

1252
01:04:54,400 --> 01:04:58,360
Speaker 2: a pig. And this detail was apparently specifically pointed out

1253
01:04:58,400 --> 01:05:02,040
Speaker 2: in seventeen thirty two the Royal Prussian Society of Science.

1254
01:05:02,240 --> 01:05:07,400
Speaker 3: Wow. Yeah, just when I thought we discussed all of

1255
01:05:07,440 --> 01:05:10,600
Speaker 3: the vampire science facts on this show, that's a new one.

1256
01:05:10,920 --> 01:05:12,920
Speaker 2: Yeah. So, I mean, you can imagine how if you

1257
01:05:12,960 --> 01:05:16,560
Speaker 2: had enough people, certainly with superstitious ideas in mind, where

1258
01:05:16,680 --> 01:05:21,400
Speaker 2: unearthing bodies cadavers and then driving stakes into them, they

1259
01:05:21,600 --> 01:05:23,840
Speaker 2: might say, well, you heard the gasp, You heard the

1260
01:05:23,880 --> 01:05:27,480
Speaker 2: sound coming from this creature's mouth. Clearly we just slaid it.

1261
01:05:27,520 --> 01:05:29,400
Speaker 2: We killed it, or at least we you know, we

1262
01:05:29,400 --> 01:05:31,160
Speaker 2: we staked it to the spot so it can't come

1263
01:05:31,240 --> 01:05:33,920
Speaker 2: up again until, you know, sometime in the future when

1264
01:05:33,920 --> 01:05:37,320
Speaker 2: criminals remove the steak as part of a ploy to

1265
01:05:37,360 --> 01:05:39,440
Speaker 2: steal treasure from a luchador.

1266
01:05:39,640 --> 01:05:41,680
Speaker 3: So I guess every time they did that and the

1267
01:05:41,720 --> 01:05:44,880
Speaker 3: corpse made a wheezing sound, they would have thought, oh,

1268
01:05:44,960 --> 01:05:47,160
Speaker 3: we should have asked where it had treasure hidden first.

1269
01:05:49,160 --> 01:05:51,080
Speaker 2: Oh yeah, yeah, I mean, of course, then again it

1270
01:05:51,120 --> 01:05:53,160
Speaker 2: sounds like a great way to be tricked by a vampire, right,

1271
01:05:53,200 --> 01:05:55,240
Speaker 2: I mean it's kind of like going after a Leprechaon's

1272
01:05:55,240 --> 01:05:56,000
Speaker 2: gold at that point.

1273
01:05:56,080 --> 01:05:57,760
Speaker 3: Ooh, yeah, that can be dangerous.

1274
01:05:58,000 --> 01:06:01,080
Speaker 2: Why aren't there more films about about vampire treasure? You know?

1275
01:06:01,360 --> 01:06:03,280
Speaker 2: That was another thing that it feels a little different

1276
01:06:03,280 --> 01:06:05,560
Speaker 2: about this film. So oftentimes it's just about the threat

1277
01:06:05,560 --> 01:06:08,720
Speaker 2: of the vampire. But yeah, vampires have been around a while.

1278
01:06:08,760 --> 01:06:11,960
Speaker 2: Manipulating lots of people. Makes sense. They have treasure.

1279
01:06:12,280 --> 01:06:16,320
Speaker 3: Yeah, they would always have stores of riches, I would imagine.

1280
01:06:16,800 --> 01:06:17,040
Speaker 4: Yeah.

1281
01:06:17,080 --> 01:06:20,480
Speaker 3: I mean Dracula is investing in real estate in London.

1282
01:06:21,640 --> 01:06:24,360
Speaker 3: It's kinda of some something in his bank account.

1283
01:06:24,640 --> 01:06:28,320
Speaker 2: Yeah. Then he's leaving for Mexico. I guess it becomes

1284
01:06:28,320 --> 01:06:31,920
Speaker 2: difficult to really count this within the timeline of Dracula's life.

1285
01:06:31,960 --> 01:06:35,960
Speaker 3: That's another thing. So in the World of Santo in

1286
01:06:36,040 --> 01:06:40,680
Speaker 3: The Treasure of Dracula, when they watched the story of

1287
01:06:40,800 --> 01:06:44,880
Speaker 3: Dracula and Luisa's past life unfold on the TV and

1288
01:06:44,920 --> 01:06:47,600
Speaker 3: the character's comment on the fact that I didn't know

1289
01:06:47,720 --> 01:06:53,400
Speaker 3: Dracula ever came to America, they were like, Dracula, what

1290
01:06:53,840 --> 01:06:57,480
Speaker 3: Dracula in the Western Hemisphere that's strange.

1291
01:06:57,640 --> 01:07:00,680
Speaker 2: Yeah, it seems like a whole side discussion should take place. Okay,

1292
01:07:00,720 --> 01:07:03,560
Speaker 2: there was an actual historic Dracula who is a vampire,

1293
01:07:04,440 --> 01:07:07,880
Speaker 2: but he was not killed in London. He is actually,

1294
01:07:07,920 --> 01:07:12,160
Speaker 2: he actually lived and came to to Mexico. Yeah, it's

1295
01:07:13,800 --> 01:07:15,440
Speaker 2: it probably strains the brain if you think about it

1296
01:07:15,520 --> 01:07:17,320
Speaker 2: too hard. But luckily it's a Santa movie, so you

1297
01:07:17,320 --> 01:07:18,120
Speaker 2: don't really have to.

1298
01:07:18,360 --> 01:07:21,959
Speaker 3: I think in the book he's killed in Transylvania because

1299
01:07:21,960 --> 01:07:24,720
Speaker 3: they go back to his cast. That's right. It's in

1300
01:07:24,760 --> 01:07:27,760
Speaker 3: the movies usually that they stake him, like at his

1301
01:07:28,160 --> 01:07:29,080
Speaker 3: abbey in London.

1302
01:07:29,480 --> 01:07:32,840
Speaker 2: That's right. I have to admit, every time I read

1303
01:07:32,960 --> 01:07:37,800
Speaker 2: Dracula or see a you know, a pretty accurate adaptation

1304
01:07:37,880 --> 01:07:41,040
Speaker 2: of it, it's that first chunk of of of Dracula

1305
01:07:41,080 --> 01:07:45,720
Speaker 2: that I'm most into. Once it leaves Transylvania. Initially, I

1306
01:07:46,680 --> 01:07:49,680
Speaker 2: I don't remember it as much. Maybe I'm less interested

1307
01:07:49,720 --> 01:07:51,600
Speaker 2: in it that that first story is gold.

1308
01:07:51,800 --> 01:07:55,120
Speaker 3: Oh. I think I must admit that I generally enjoy

1309
01:07:55,280 --> 01:07:58,440
Speaker 3: the movie adaptations of Dracula better than I like the

1310
01:07:58,440 --> 01:08:01,160
Speaker 3: book itself. Yeah, which which is not true of a

1311
01:08:01,200 --> 01:08:05,280
Speaker 3: book like like Frankenstein. I love in the original but yeah,

1312
01:08:05,320 --> 01:08:06,720
Speaker 3: Franky's original.

1313
01:08:06,320 --> 01:08:09,360
Speaker 2: As if far superior piece of literature. Yeah, not to

1314
01:08:09,400 --> 01:08:13,120
Speaker 2: say that Dracula isn't important as well from a literary standpoint.

1315
01:08:13,920 --> 01:08:17,000
Speaker 2: All right, Well that's Santo in the Treasure of Dracula.

1316
01:08:17,920 --> 01:08:20,559
Speaker 2: You can find both versions of this film out there,

1317
01:08:20,600 --> 01:08:23,440
Speaker 2: you know, in the usual places. But the new VCI

1318
01:08:23,560 --> 01:08:28,080
Speaker 2: version just came out on Blu ray and it looks amazing. Again,

1319
01:08:28,200 --> 01:08:32,160
Speaker 2: the restoration is wonderful. My only gripe is that I

1320
01:08:32,520 --> 01:08:35,479
Speaker 2: as good as the dubbing is. I wish I had

1321
01:08:35,520 --> 01:08:38,760
Speaker 2: the ability to have the Spanish audio, but there's no

1322
01:08:38,800 --> 01:08:41,800
Speaker 2: Spanish audio included on the discs, so I don't know

1323
01:08:41,800 --> 01:08:43,680
Speaker 2: what the reason is for that, but that would be

1324
01:08:43,760 --> 01:08:44,439
Speaker 2: my only gripe.

1325
01:08:44,560 --> 01:08:46,920
Speaker 3: It could be that the audio was lost for this

1326
01:08:47,080 --> 01:08:50,600
Speaker 3: cut of the movie, but yeah, yeah, I don't know

1327
01:08:50,640 --> 01:08:53,360
Speaker 3: why that is, but I agree it would also I

1328
01:08:53,400 --> 01:08:55,439
Speaker 3: think it would have been nice to hear the original

1329
01:08:55,520 --> 01:08:57,760
Speaker 3: audio with just have English subtitles.

1330
01:08:58,040 --> 01:09:00,160
Speaker 2: Yeah, and of course the black and white version been

1331
01:09:00,200 --> 01:09:02,640
Speaker 2: a while around for a while, but again, like it

1332
01:09:02,840 --> 01:09:06,200
Speaker 2: just the quality isn't there like that. It's just the

1333
01:09:06,240 --> 01:09:09,800
Speaker 2: black and white footage is so grimy looking. It looks

1334
01:09:09,880 --> 01:09:11,439
Speaker 2: like it was unearthed in a tomb.

1335
01:09:11,520 --> 01:09:13,320
Speaker 3: You know, I feel like what somebody should do is

1336
01:09:13,360 --> 01:09:16,880
Speaker 3: put together a fun for the whole family cut of

1337
01:09:16,920 --> 01:09:20,120
Speaker 3: the great looking restoration, you know, so like you can

1338
01:09:20,160 --> 01:09:22,800
Speaker 3: cut out, cut out all the like you know, European

1339
01:09:22,840 --> 01:09:24,960
Speaker 3: cut R rated scenes. So it's the kind of movie

1340
01:09:25,000 --> 01:09:27,439
Speaker 3: you can enjoy with your five year old. But it's

1341
01:09:27,439 --> 01:09:29,400
Speaker 3: still got the eye popping color and all that.

1342
01:09:29,920 --> 01:09:33,480
Speaker 2: Yeah, absolutely, because yeah, it's it's it's such a colorful film.

1343
01:09:33,680 --> 01:09:36,519
Speaker 2: All right, Well, we're gonna go ahead and drive a

1344
01:09:36,560 --> 01:09:39,240
Speaker 2: stake into this one, but yeah, who knows, Maybe we'll

1345
01:09:39,280 --> 01:09:42,639
Speaker 2: be back with another Santo film in the future, or heck,

1346
01:09:42,680 --> 01:09:45,439
Speaker 2: some of those biker films we mentioned early on, I'd

1347
01:09:45,439 --> 01:09:47,960
Speaker 2: be game to rewatch one of those, for.

1348
01:09:47,920 --> 01:09:50,480
Speaker 3: Sure, Psychomania, I hear it, Colin.

1349
01:09:50,600 --> 01:09:53,320
Speaker 2: Yeah, or some other biker There's a lot of biker films,

1350
01:09:53,640 --> 01:09:55,599
Speaker 2: you know, not all are great, and not all involved

1351
01:09:55,600 --> 01:09:59,519
Speaker 2: supernatural elements, but you know, that's that would be. My

1352
01:09:59,600 --> 01:10:02,840
Speaker 2: one gripe about the Sons of Anarchy television series is

1353
01:10:02,880 --> 01:10:06,639
Speaker 2: they never brought were wolves or vampires into the mix.

1354
01:10:06,920 --> 01:10:09,679
Speaker 3: I've never seen it, but I can't imagine that where

1355
01:10:09,680 --> 01:10:10,679
Speaker 3: wolves would hurt.

1356
01:10:12,560 --> 01:10:17,479
Speaker 2: Well, hey, Ron Pearlman. Yeah, oh yeah, yeah, he plays

1357
01:10:17,560 --> 01:10:21,879
Speaker 2: like it's essentially Hamlet but with bikers for FX.

1358
01:10:22,120 --> 01:10:23,840
Speaker 3: Okay, so you.

1359
01:10:23,880 --> 01:10:25,280
Speaker 2: Got Pearlman in there. Yeah, he would have made a

1360
01:10:25,320 --> 01:10:26,080
Speaker 2: good wear wolf.

1361
01:10:26,240 --> 01:10:26,400
Speaker 4: Oh.

1362
01:10:26,600 --> 01:10:29,000
Speaker 3: Just having Ron Pearlman in the cast is almost that

1363
01:10:29,040 --> 01:10:31,439
Speaker 3: almost makes it a supernatural film in its own.

1364
01:10:31,800 --> 01:10:32,000
Speaker 2: Yeah.

1365
01:10:32,040 --> 01:10:37,240
Speaker 3: Absolutely, So we prompt to you, the listener, what is

1366
01:10:37,280 --> 01:10:42,200
Speaker 3: your favorite bizarre niche genre crossover film, especially if it's

1367
01:10:42,280 --> 01:10:45,960
Speaker 3: like crossing over a usually non supernatural genre with a

1368
01:10:46,000 --> 01:10:49,360
Speaker 3: weird supernatural genre. I think that's my favorite type.

1369
01:10:49,640 --> 01:10:51,120
Speaker 2: Yeah, yeah, we'd love to hear from it and that.

1370
01:10:51,120 --> 01:10:54,120
Speaker 2: We were already get some great suggestions for Weird House Cinema.

1371
01:10:54,240 --> 01:10:55,960
Speaker 2: I've added some of them to the list. There's even

1372
01:10:56,000 --> 01:10:58,320
Speaker 2: one film that I just went in order to copy

1373
01:10:58,360 --> 01:11:01,240
Speaker 2: of based on a listener suggestions, So keep them coming

1374
01:11:02,200 --> 01:11:03,960
Speaker 2: in the meantime, If you would like to check out

1375
01:11:04,000 --> 01:11:07,200
Speaker 2: other episodes of Weird House Cinema, it publishes every Friday

1376
01:11:07,240 --> 01:11:09,800
Speaker 2: in the Stuff to Blow your Mind podcast feed, and

1377
01:11:09,840 --> 01:11:12,800
Speaker 2: you can find that feed wherever you get your podcasts.

1378
01:11:13,080 --> 01:11:15,960
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1379
01:11:16,040 --> 01:11:18,479
Speaker 3: Nicholas Johnson. If you would like to get in touch

1380
01:11:18,520 --> 01:11:20,840
Speaker 3: with us with feedback on this episode or any other,

1381
01:11:20,960 --> 01:11:23,040
Speaker 3: to suggest a topic for the future, or just to

1382
01:11:23,080 --> 01:11:26,160
Speaker 3: say hello. You can email us at contact at stuff

1383
01:11:26,200 --> 01:11:34,919
Speaker 3: to Blow your Mind dot com.

1384
01:11:35,040 --> 01:11:38,000
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1385
01:11:38,080 --> 01:11:40,880
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1386
01:11:41,000 --> 01:11:43,759
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.