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Speaker 1: Hello, and welcome to Weird House Cinema. Rewind. Today we

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Speaker 1: are bringing you an older episode of Weird House Cinema

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Speaker 1: on the nineteen sixty eight super crime thriller Danger Diabolic,

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Speaker 1: starring John Philip Law and Marissa mel directed by Mario Bava. Ooh,

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Speaker 1: this is one of my favorites. So if you haven't

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Speaker 1: seen the movie, haven't heard the episode, I think you're

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Speaker 1: in for a real treat.

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Speaker 2: Bon Voyage, Welcome.

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Speaker 3: To Stuff to Blow your Mind, a production of iHeartRadio.

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

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Speaker 1: And this is Joe McCormick in. Today's movie on Weird

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Speaker 1: House is the nineteen sixty eight Mario Bava film Danger Diabolic.

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Speaker 1: A movie that straddles many genres. It is a comic

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Speaker 1: book adaptation, it is a crime thriller, it's an action movie.

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Speaker 1: And I've even seen people refer to it as a

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Speaker 1: spy movie or a euro spy thriller. This is sometimes

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Speaker 1: also called like spaghetti spy movies. These are all these

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Speaker 1: movies that came out in the sixties, I think somewhat

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Speaker 1: riding on the success of the first James Bond films,

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Speaker 1: that have characters named things like James Taunt or something.

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Speaker 1: And while that spy designation does not accurately describe the

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Speaker 1: plot of this movie, I can see why people say

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Speaker 1: that because Danger Diabolic takes part in a lot of

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Speaker 1: the same aesthetic trends you might find in sixties spy stuff,

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Speaker 1: like the early James Bond films, in these other continental

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Speaker 1: European espionage capers. So Danger Diabolic is about a thief,

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Speaker 1: but it feels like it's about a spy. But really,

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Speaker 1: more than anything, it's about love.

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Speaker 2: That's right. It's ultimately a movie about love. Though our

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Speaker 2: heroes are definitely criminals, there's no doubt about it, but

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Speaker 2: we'll discuss the flavor of crime that there really involved in.

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Speaker 2: I think ultimately you would classify this film as a

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Speaker 2: super crime movie. These are super criminals engaging in super crime.

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Speaker 2: They're not quite super villains per se, though I'm sure

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Speaker 2: that the people they're stealing from see them as such.

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Speaker 2: So yeah, it's interesting because on one hand, there's not

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Speaker 2: a speculative element here like this this is not really

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Speaker 2: a sci fi film or a horror, a fantasy, or

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Speaker 2: you know, the typical genres we cover here. But it

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Speaker 2: is still packed with plenty of weirdness. It reminds me

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Speaker 2: in our build up to this, you even brought this up, Joe.

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Speaker 2: You were like, I'm not sure it'll be weird enough,

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Speaker 2: but I think now that we've both rewatched it, we

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Speaker 2: have found there's plenty of weirdness to be had in Diabolic.

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Speaker 1: Well, I guess you know, we've always gone intuitively on

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Speaker 1: like what counts as weird for weird house cinema. Usually

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Speaker 1: it's got to have some kind of major anti realism

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Speaker 1: element in the plot. It's either got to be about

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Speaker 1: something kind of like magical or supernatural, or something sufficiently

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Speaker 1: has enough science fiction distance from reality that it's really weird.

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Speaker 1: Diabolic has. It takes place in a world of light

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Speaker 1: science fiction possibilities. Actually much like most spy movies, do

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Speaker 1: you know, kind of like James Bond or Mission Impossible

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Speaker 1: movies have very light sci fi elements, just sort of

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Speaker 1: slight exaggerations of what's possible in reality, And this is

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Speaker 1: kind of like that, except it has a much CARTOONI

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Speaker 1: or style that is free to more free to experiment

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Speaker 1: with what would be plausible in terms of like what

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Speaker 1: people would actually do, like would people actually make a

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Speaker 1: gold ingot the size of a tanker truck because reasoning

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Speaker 1: that it will be harder to steal that way.

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Speaker 2: Well, this is I love that detail on the plot

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Speaker 2: because that particularly feels like folkloric or mythic. It seems

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Speaker 2: like the kind of thing that various heroes in you know,

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Speaker 2: Sagas and Tales of Old would have engaged in. Oh,

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Speaker 2: you know, the trickster was going to steal the gold,

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Speaker 2: so we just made an enormous gold ingot. But ah,

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Speaker 2: the mighty hero Diabolic stole it anyway.

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Speaker 1: So I actually hadn't seen this movie until a couple

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Speaker 1: of weeks ago, and a good friend of mine has

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Speaker 1: been telling me about it for years. I can going

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Speaker 1: back probably a decade, him saying this movie is actually great,

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Speaker 1: and I think for a long time my expectations about

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Speaker 1: it were miscalibrated by the knowledge that this movie was

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Speaker 1: featured on an episode of Mystery Science Theater three thousand,

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Speaker 1: which I've never seen. By the way, the very last episode.

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Speaker 1: You know, that's a show I love, But that places

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Speaker 1: this movie in strange company because Danger Diabolic is not

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Speaker 1: like Soul Taker. It is not like Final Sacrifice or

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Speaker 1: Mitchell or most of the kinds of movies that end

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Speaker 1: up on Mystery Science Theater. Danger Diabolic is a wonderful movie.

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Speaker 1: In fact, I would even say that it possesses a

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Speaker 1: kind of genius.

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Speaker 2: Yeah, yeah, I mean we could go in into an

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Speaker 2: entire tangent on MST three K movies and the fact that, Yeah,

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Speaker 2: I think there are a lot of great movies that

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Speaker 2: were riffed over the years, and I think there are

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Speaker 2: people out there who take offense sometimes on behalf of

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Speaker 2: movies that were riffed. I don't view it like that.

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Speaker 2: I think for me in particular, and for a lot

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Speaker 2: of people you are Slash were introduced to this whole

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Speaker 2: world of weird cinema through Mystery Science Theater three thousand,

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Speaker 2: and they taught in different ways to enjoy films. But

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Speaker 2: it Yeah, this was a film that I long associated

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Speaker 2: with ms th three K because it was episode one

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Speaker 2: ninety seven back in nineteen ninety nine. It was for

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Speaker 2: a very long time the final episode of MST three

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Speaker 2: K before it came back in twenty seventeen, and it's

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Speaker 2: still the final mic episode of MST three So it

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Speaker 2: was always bittersweet for that reason. Solid riffing but the

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Speaker 2: end of an Era. I had never watched Diabolic or

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Speaker 2: danger Diabolic as it's known in the West. I'd never

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Speaker 2: watched it unriffed until today. And it's, you know, like

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Speaker 2: a lot of these films, it's so much fun. It

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Speaker 2: certainly holds its own You don't need the riffing to

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Speaker 2: experience it. That can't be said of every film that

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Speaker 2: was a feature in MST three K. There are some

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Speaker 2: that are bad enough that you really need a little

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Speaker 2: something extra to get you through. It is a very watchable,

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Speaker 2: very fun, very sexy, good time.

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Speaker 1: Absolutely all of those things. And also this is a

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Speaker 1: movie that I think has special appeal to people who

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Speaker 1: are interested in the process of filmmaking because it's one

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Speaker 1: of those movies where you can just you can just

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Speaker 1: feel the steady hand of a director working with absolute finesse.

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Speaker 1: Mario Bava's shadow hanging over this movie is just so powerful.

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Speaker 1: It's like, in some ways, I would compare it to

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Speaker 1: though I'm not really sports fan, but what I imagine

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Speaker 1: it's like to, you know, really appreciate an incredible athlete,

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Speaker 1: somebody who just does inhuman things with their muscles that

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Speaker 1: would be impossible for other people. To do, but they

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Speaker 1: make it look easy. That's what I would compare the

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Speaker 1: filmmaking in this movie too. It's just like it is

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Speaker 1: such an effortless, feeling display of absolute confidence and finesse

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Speaker 1: in how sets and costumes and color schemes are used

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Speaker 1: and how shots are framed. You just feel like he

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Speaker 1: is taking it easy and making a perfect movie and

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Speaker 1: not breaking a sweat.

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Speaker 4: Yeah.

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Speaker 2: Yeah, and he makes it seem easy, and at the

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Speaker 2: same time you're in awe of some of the shots

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Speaker 2: that he puts together and the way he approaches scenes

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Speaker 2: that would just be so throwaway in other films. I

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Speaker 2: will say that there are plenty of hypnotic shots in

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Speaker 2: this movie, but since this this one is more action

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Speaker 2: themed compared to the other two Mario Baba films that

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Speaker 2: we've talked about on the show, it has a different

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Speaker 2: feel overall to it. There may be fewer of those

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Speaker 2: like long hypnotizing sequences, but there's still plenty of moments

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Speaker 2: like that in the film.

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Speaker 1: So I want to formally apologize to my friend Ben

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Speaker 1: for taking like ten years or more to watch this movie,

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Speaker 1: which he's been recommending to me the whole time. You

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Speaker 1: were right, this movie is great. It's great. It's great.

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Speaker 1: And this is a caveat I sometimes have to issue

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Speaker 1: on the show. I sometimes fear that the more I

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Speaker 1: love a movie, the harder it is for me to

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Speaker 1: make a good Weird House episode about it. So I'm

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Speaker 1: going to try to do my best here and not

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Speaker 1: just let this turn into a NonStop, repetitive overt gushing.

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Speaker 1: But yeah, please please understand. I feel like I'm working

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Speaker 1: with that handicap. I think I like this movie too much.

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Speaker 2: Yeah, I know the feeling sometimes if I come into

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Speaker 2: an episode and I'm like particularly attached to the film,

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Speaker 2: I worry how that's gonna impact the episode. But I

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Speaker 2: think it's going to be great. There's a lot to

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Speaker 2: talk about here.

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Speaker 1: Okay, what's your elevator pitch for Danger Diabolic?

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Speaker 2: I've got to channel a little meat Loaf here, and

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Speaker 2: I would say it is I would steal anything for love,

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Speaker 2: and I will absolutely steal that because it's all for

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Speaker 2: love in this movie, Absolutely all for love.

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Speaker 1: Yes, Why else take down the largest shipment of dollars

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Speaker 1: in human history unless it's for love?

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Speaker 2: Yeah, And that's why. And that's one of the reasons

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Speaker 2: they call him diabolic. They're like we don't understand his motivations.

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Speaker 2: Why does he do the things that he does. Well,

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Speaker 2: it's because he's operating on a different wavelength from you

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Speaker 2: old fogies that are ruling the world on both sides

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Speaker 2: of the law. He has his own agenda and we'll

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Speaker 2: get into that.

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Speaker 1: That's right. They want the money because it's money. He

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Speaker 1: wants the money because it's his girlfriend's birthday.

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Speaker 2: Yes, all right, let's listen to a little trailer audio here.

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Speaker 2: I don't know if we'll listen to the full trailer,

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Speaker 2: and I do want to advise anyone out there that

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Speaker 2: if you're interested in watching this movie in full, don't

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Speaker 2: watch the classic trailer for it, because this is one

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Speaker 2: of those trailers that just spoils absolutely everything. Nothing is

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Speaker 2: spared visually anyway.

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Speaker 1: Warning that much like the trailer, we will get into

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Speaker 1: some spoiler territory. And but Diabolic has a lot of

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Speaker 1: excellent twists all throughout the movie, so things will be revealed.

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Speaker 1: If you want to go into it knowing nothing, you

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Speaker 1: should watch it before you finish this episode.

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Speaker 2: All right, let's have a listen.

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Speaker 4: Me Diabolic a bank Robin Hood battles the cops. He

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Speaker 4: robs from the rich to give to the girls. Ask Eva, Oh,

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Speaker 4: you shouldn't have done it. She can't get a good

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Speaker 4: night's sleep unless she's covered with money. Master Sportscar, Racer, Master,

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Speaker 4: Skin Diver, Master Lover Master Askeeper Diabolic the absolute gold

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Speaker 4: plated end Askeeper.

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Speaker 2: All right, Well, if you want to go out and

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Speaker 2: watch Diabolic or Danger Diabolic before proceeding through the rest

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Speaker 2: of the episode, well, luckily for you. It's widely available

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Speaker 2: in all formats, including a nice twenty twenty Shout Factory

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Speaker 2: release on Blu Ray. And if you really like the music,

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Speaker 2: we'll get into the score in a bit. The score

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Speaker 2: is available on vinyl from Audio Clarity Great Score.

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Speaker 1: Should we start by talking about Mario Bava? How many

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Speaker 1: Bava films did you say? We've done?

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Speaker 2: This would be the third one. So we've watched what

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Speaker 2: Black Sabbath, and we've watched Planet of the Vampires Planet

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Speaker 2: the Vampires from sixty five.

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Speaker 1: Black Sabbath was the anthology horror film that we did.

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Speaker 1: Was it last October or maybe the October before?

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Speaker 4: It is?

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Speaker 1: So that's one that's got like three segments, and one

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Speaker 1: of them, the one that stuck with us the most,

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Speaker 1: I think is the one that has Boris Karloff as

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Speaker 1: the Verduo loc this kind of of Serbian or Carpathian

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Speaker 1: mountain vampire type creature, and it has all those beautiful

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Speaker 1: shots where he's just like got purple light dripping off

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Speaker 1: of his face as he comes in from the cold

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Speaker 1: and looks menacingly at his HouseGuest.

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Speaker 2: Yeah. Yeah, And that was kind of a follow up

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Speaker 2: to the nineteen sixty black and white film he did,

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Speaker 2: Black Sunday. But it is, you know, in many ways,

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Speaker 2: it's hard to imagine, you know, Mario Baba working in

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Speaker 2: black and white, because when I think of Bob, I

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Speaker 2: think of those rich colors, those rich gels, which he

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Speaker 2: used with a you know, a master's stroke.

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Speaker 1: Well, let me stand up for his black and white films.

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Speaker 1: Baba is best once the colors get pumping and he

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Speaker 1: can use yeah, the gel lights and all that. But

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Speaker 1: his black and white films look very good. He did

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Speaker 1: an early proto Jallo film that's kind of a murder

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Speaker 1: mystery thriller set in Rome called The Evil Eye or

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Speaker 1: The Girl who Knew too Much. Their title I think

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Speaker 1: those are titles. Ones for the American cut and ones

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Speaker 1: for the Channel cut. And that movie. It's not the

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Speaker 1: best of the ones I've seen because of some like

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Speaker 1: it's not the best script he's ever worked with, but

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Speaker 1: it's a fantastic looking film, even in black and white.

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Speaker 1: He uses very high contrast black and white and uses

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Speaker 1: makeup to a great effect. So there's always kind of

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Speaker 1: eyeliner and shading of the actors' faces and stuff. And

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Speaker 1: I assume a lot of that rests on makeup, though

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Speaker 1: probably some of it is use of light and shadow

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Speaker 1: as well. But that one looks great. Black Oh my god,

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Speaker 1: Black Sunday is amazing. I can't remember have you seen

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Speaker 1: that or not?

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Speaker 2: I haven't seen Black Sunday now.

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Speaker 1: Oh that one. It is also in black and white.

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Speaker 1: It is one of the most visually striking black and

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Speaker 1: white films I have ever seen. Also uses a lot

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Speaker 1: of high contrast.

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Speaker 2: Well anyway you slice it. Yeah. Mario Bava legendary Italian

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Speaker 2: director with an unmistakable obsessive and at times just phantasmagorical

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Speaker 2: emphasis on visual composition. Strong still from Abava film is

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Speaker 2: often just instantly identifiable. He lived nineteen fourteen through nineteen

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Speaker 2: eighty and was the father of director Lomberto Bava. We've

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Speaker 2: talked more about him on the previous episodes discussing his films,

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Speaker 2: and you know, I have a feeling we'll come back

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Speaker 2: for more Bava in the future.

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Speaker 1: I just looked it up to check. I thought, so

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Speaker 1: Lamberto Bava, his son is the director of Demons and

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Speaker 1: Demons too.

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Speaker 2: Oh, there you go. Well, one way or another, we'll

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Speaker 2: come back to Abava at some point. All right. We

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Speaker 2: don't always mention the producer on a film, but this

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Speaker 2: one's notable because this is Dino di Laurents, who lived

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Speaker 2: nineteen nineteen through twenty ten. Delarentis legendary Italian and naturalized

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Speaker 2: American film producer, really one of the biggest names of

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Speaker 2: all time when it comes to production, both in Italian

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Speaker 2: cinema but also international cinema. Started producing in the late

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Speaker 2: forties and continued on till his death. Not everything he

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Speaker 2: was involved in was golden, but he had a hand

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Speaker 2: in the lavish, such lavish productions as sixty eight's Barberrella,

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Speaker 2: nineteen eighties Flash Gordon, which I would I would argue

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Speaker 2: those two films and Diabolic kind of are kind of

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Speaker 2: a stylistic trilogy.

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Speaker 1: I think you could absolutely say that, Yeah, there's there's

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Speaker 1: a lot of uh, there's a lot of sinew in

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Speaker 1: common there also, didn't he Wasn't he the driving force

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Speaker 1: between hiring David Lynch to adapt to Dune in the eighties.

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Speaker 2: I believe?

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Speaker 4: So.

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Speaker 2: Yeah, he was involved in David Lynch's Dune Conan the

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Speaker 2: Barbarian from eighty two, as well as the sequels and

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Speaker 2: also the sort of sequel Red Sonia. He was a

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Speaker 2: producer on Halloween two and three, so technically we have

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Speaker 2: covered one of his productions before, multiple Stephen King adaptations,

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Speaker 2: including Maximum Overdrive, and also all of the Hannibal movies

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Speaker 2: except for the Silence of the Lambs.

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Speaker 1: Oh, so he did all the best ones?

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Speaker 2: Yeah, well, you know, he did some. He was involved

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Speaker 2: with some good stuff. I mean Manhunter. Oh okay, yeah.

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Speaker 1: And I actually, you know, I have sort of a

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Speaker 1: soft spot for what's it called the sequel to Silence

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Speaker 1: of Lambs that had Julian Moore as hannihal Is starling Hannibal.

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Speaker 1: Oh it's just called Hannibal. Yes, yeah, that one. I

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Speaker 1: understand why critics didn't like it. It's got some flaws,

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Speaker 1: but there there's a lot to love about that movie.

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Speaker 2: If memory served I'm just going off memory here, but

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Speaker 2: I believe his original working title. Harris's working title for

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Speaker 2: the novel was The Morbidity of the Soul, which I

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Speaker 2: think was ultimately a more fitting title for both the

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Speaker 2: book and the film a book. The book I kind

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Speaker 2: of hated when it came out, but I have a

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Speaker 2: feeling like if I went back and at least watched

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Speaker 2: the movie again, I would find a lot to love

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Speaker 2: about it. Like it is a very strange movie, it's

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Speaker 2: a very strange story overall.

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Speaker 1: Agreed, all right.

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Speaker 2: The writing credits for Diabolic for Danger Diboic here several

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Speaker 2: names involved here, So this movie is based on the

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Speaker 2: comic book of the same name by Angela Gusani and

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Speaker 2: Luciana Gusani. Angela lived nineteen twenty two through nineteen eighty

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Speaker 2: seven and Luciana lived nineteen twenty eight through two thousand

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Speaker 2: and one. They were sisters. They also share story credits

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Speaker 2: with Dino Mayori, who lived nineteen sixteen through nineteen eighty four,

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Speaker 2: Andreana Baraco who lived nineteen oh seven through nineteen seventy six.

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Speaker 2: Screenplay credits go to Bava Mayori, Brian Dagas, who lived

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Speaker 2: nineteen thirty five through twenty twenty and Tudor Gates who

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Speaker 2: lived nineteen thirty through two thousand and seven.

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Speaker 1: Okay, so we got a lot of writers going on here,

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Speaker 1: and that can often be a bad sign for a film,

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Speaker 1: but it turned out great here. And I guess with

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Speaker 1: the Jusani sisters, they were they were the creators of

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Speaker 1: the character Diabolic, who was a comic book character before

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Speaker 1: it was ever adapted to film.

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Speaker 2: That's right. They were inspired to create a grown up

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Speaker 2: com book for essentially for Italian commuters, something that could

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Speaker 2: be printed in in a small format you could easily,

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Speaker 2: you know, stuff in your pocket and then pull out

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Speaker 2: when you're on the train on your commute and read

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Speaker 2: offering kind of a Phantomus inspired crime adventure, that sort

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Speaker 2: of thing. So it ended up being a huge success

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Speaker 2: in Italy when it debuted in the early sixties, and

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Speaker 2: then also enjoyed international appeal afterwards. This was a French

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Speaker 2: Italian co production, so, like you know, the Italian popularity

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Speaker 2: is obvious, but it would have also been popular in France.

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Speaker 2: And I have to say they're still making Diabolic films.

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Speaker 2: I haven't seen any of them, but I looked up

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Speaker 2: some of the stills, and yeah, it's still clearly Diabolic.

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Speaker 2: It doesn't look like they're messing with like the basic

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Speaker 2: visual chemistry of the thing.

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Speaker 1: When I was in Italy in like two thousand and

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Speaker 1: seven or so, I bought a Diabolic comic book off

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Speaker 1: of a newsstand. Ah, and I knew nothing about it.

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Speaker 1: I just saw the art. I was like, that guy

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Speaker 1: looks cool. I like the mask, yeah, or the kind

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Speaker 1: of anti mask actually, because what Diabolic wears is like

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Speaker 1: a it's like the Domino mask in negative. His entire

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Speaker 1: head is covered in a skin tight mask except for

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Speaker 1: the area around the eyes and the top of the nose,

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Speaker 1: which is just his face is revealed.

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Speaker 2: That's right. Yeah, it's like the mask is so skin

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Speaker 2: tight that it's just ridiculous. It's like a vacuum seal

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Speaker 2: to his face.

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Speaker 1: Yeah. So I was reading a bit about Diabolic. So

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Speaker 1: the one I bought was in Italian, so I can't

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Speaker 1: read it. But I've been reading a bit about the

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Speaker 1: character Diabolic in the comics, and from what I understand,

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Speaker 1: he's originally imagined as a master thief who you know,

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Speaker 1: can steal anything and is constantly foiling the police and

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Speaker 1: their attempts to capture him, and he in a way

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Speaker 1: is he can do anything. You know, he knows all

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Speaker 1: the sciences, and he can make any kind of gadget,

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Speaker 1: and he can solve anykind of problems. So he's he's

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Speaker 1: one of these like superhumans, the kind of you know,

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Speaker 1: pre Jason Bourne type person who can they can just

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Speaker 1: do anything. But then also what I've read is that

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Speaker 1: there's an arc, and we've talked about similar arcs in

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Speaker 1: films before on this show, where in the early in

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Speaker 1: the early Diabolic comics, he is closer to an evil alignment,

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Speaker 1: like he does crime and he'll just kill people whoever

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Speaker 1: gets in his way to steal the thing he wants

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Speaker 1: to steal. From what I've read, there is kind of

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Speaker 1: an arc. Where as the series of comics went on,

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Speaker 1: Diabolics nature became a little more like chaotic good rather

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Speaker 1: than than i don't know, neutral evil or something that

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Speaker 1: he became more of a Robin Hood figure who was

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Speaker 1: stealing from people who were understood to be powerful and

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Speaker 1: bad in some way. You know, he was stealing from

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Speaker 1: other criminals and crime lords, rich, rich, dangerous people and

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Speaker 1: often doing good along the way. But that was later

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Speaker 1: on and you know, there's a kind kind of there's

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Speaker 1: a kind of gravity pushing anti hero characters in that direction.

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Speaker 1: I think we were talking about this with the This

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Speaker 1: is a hilarious comparison with Riddick with Vin Diesel. You know,

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Speaker 1: you start off trying to make them look really hard

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Speaker 1: and they're really close to the evil designation, you know that,

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Speaker 1: the strong emphasis on the anti and anti hero, and

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Speaker 1: then over time there's this tendency to just make him

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Speaker 1: be like, ah, they're actually pretty good.

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Speaker 2: Yeah, I mean, coming back to Hannibal, you see that

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Speaker 2: with Hannibal Lecter to a certain extent, like by by Hannibal.

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Speaker 2: You know, he's he's awful, he's awful, He's he's a

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Speaker 2: serial killer. It's it's it's clear he's a cannibal. But

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Speaker 2: he's not as bad as Mason Viger. Mason Virger is

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Speaker 2: presented as like the ultimate evil in so many other ways.

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Speaker 1: Right, So yeah, he mostly kills other killers in that one.

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Speaker 2: All right, Well let's talk who on earth do you

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Speaker 2: get to play the enigmatic diabolic? Well you get John

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Speaker 2: Phillip Law to do it.

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Speaker 1: This is a truly inspired bit of casting. John Philip

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Speaker 1: Law is perfect in this role.

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Speaker 2: Yeah, like just his physicality. He has this this wiry

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Speaker 2: kind of spidery body, very muscular, but also yeah, kind

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Speaker 2: of like thin, like he's like he's he's grown up

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Speaker 2: in orbit or something, you know. And then also key

404
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Speaker 2: is that you could you can find a lot of

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Speaker 2: actors of the day and a lot of actors they're

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Speaker 2: working in cinema right now to play Diabolic that could

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Speaker 2: maybe physically look like Diabolic, but they've got to have

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Speaker 2: the eyes. You've got to have these just wide, kind

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Speaker 2: of sinister, unblinking eyes that just register from across the

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Speaker 2: room but also in close up. And John Philip Law

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Speaker 2: definitely has this look down.

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Speaker 1: You have to be able to make that Bird of

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Speaker 1: Prey v with your eyebrows as well.

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Speaker 2: Yes, yeah, the Bird of Prey is a good comparison

415
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Speaker 2: here because he is there is a he is dangerous.

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Speaker 2: Danger Diabolic is the title, and it is a warning.

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Speaker 2: This is a dangerous man. And if he's looking in

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Speaker 2: your direction, well watch out. So John Philip Blau lived

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Speaker 2: nineteen thirty seven through two thousand and eight American actor

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Speaker 2: of stage, screen and television. He did some early Italian

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Speaker 2: cinema work which helped establish him there, while at the

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Speaker 2: same time attracting the attention of Hollywood director Norman Jewison,

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Speaker 2: who cast him in the nineteen sixty six film The

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Speaker 2: Russians Are Coming. The Russians Are Coming. This led to

425
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Speaker 2: a co star role in Auto Primager's Hurry Sundown from

426
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Speaker 2: sixty seven. His co star in that Jane Fonda. Jane

427
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Speaker 2: Fonda had a big upcoming role in a movie produced

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Speaker 2: by Dino di Laurentez Barbarella. So she said, Hey, I

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Speaker 2: met this guy. He's great. You should have him play

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Speaker 2: this weird shirtless angel dude that is going to be

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Speaker 2: in Barbarella.

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Speaker 1: I haven't It's been a long time since I've seen Barbarella.

433
00:25:04,359 --> 00:25:06,600
Speaker 1: I don't remember anything about what he does except that

434
00:25:06,640 --> 00:25:08,080
Speaker 1: he's shirtless and has wings.

435
00:25:09,200 --> 00:25:10,840
Speaker 2: He doesn't. Yeah, he doesn't have a lot to do

436
00:25:10,920 --> 00:25:13,120
Speaker 2: in that. I think if you're only exposure to John

437
00:25:13,119 --> 00:25:15,880
Speaker 2: Philip Blauer that movie, you might think that he's more

438
00:25:15,920 --> 00:25:19,480
Speaker 2: of say the rocky horror level of actor, like because

439
00:25:19,480 --> 00:25:21,320
Speaker 2: he doesn't really do much there. But you know that

440
00:25:21,480 --> 00:25:25,919
Speaker 2: this is a guy who did have stage credentials, like

441
00:25:26,080 --> 00:25:29,800
Speaker 2: you know, he's definitely an experienced actor at this point.

442
00:25:30,040 --> 00:25:32,720
Speaker 2: But there were delays in making Barberella, and those delays

443
00:25:33,119 --> 00:25:36,240
Speaker 2: allowed him to star in the spaghetti western Death Rides

444
00:25:36,240 --> 00:25:39,320
Speaker 2: a Horse from sixty seven with Lee van Cleef in

445
00:25:39,359 --> 00:25:42,800
Speaker 2: addition to this production Diabolic.

446
00:25:43,240 --> 00:25:47,040
Speaker 1: Okay, so while he's working on developing his Bird of

447
00:25:47,080 --> 00:25:52,200
Speaker 1: Prey face, he's also playing a gunslinger in this western movie.

448
00:25:53,080 --> 00:25:56,320
Speaker 2: Yes, yeah, and maybe being trained in the ways of

449
00:25:57,440 --> 00:26:02,880
Speaker 2: eye forward acting by Lee van Cleef. But anyway, after

450
00:26:02,960 --> 00:26:06,480
Speaker 2: a Diabolic, his Hollywood career had a little more steam

451
00:26:06,480 --> 00:26:09,560
Speaker 2: in it, but he had lasting international star appeal, especially

452
00:26:09,560 --> 00:26:11,680
Speaker 2: in Europe. I think he also worked at least on

453
00:26:11,680 --> 00:26:16,080
Speaker 2: a couple of films that were Taiwanese productions. Other films

454
00:26:16,080 --> 00:26:18,560
Speaker 2: of note here, at least for us include seventy one's

455
00:26:18,600 --> 00:26:22,440
Speaker 2: The Last Movie, Roger Corman's The Red Baron in seventy one.

456
00:26:22,440 --> 00:26:26,280
Speaker 2: Seventy three is The Golden Voyage of sinbad Ah, notable.

457
00:26:25,920 --> 00:26:29,200
Speaker 1: For a lot of excellent ray Harry Housen special effects.

458
00:26:30,600 --> 00:26:34,120
Speaker 2: Nineteen seventy six is The Cassandra Crossing. Seventy nine's Ring

459
00:26:34,200 --> 00:26:37,120
Speaker 2: of Darkness. That's a Satanist movie that I have not seen,

460
00:26:37,160 --> 00:26:39,680
Speaker 2: but it has a great poster. Nineteen eighty five's Night

461
00:26:39,720 --> 00:26:43,400
Speaker 2: Train to Terror, nineteen eighty eight Space Mutiny, an MST

462
00:26:43,520 --> 00:26:47,080
Speaker 2: three K favorite, and nineteen eighty eight Blood Delirium, which

463
00:26:47,240 --> 00:26:48,800
Speaker 2: I haven't seen that one either, but I know it's

464
00:26:48,920 --> 00:26:51,760
Speaker 2: recently been re released on Blu Ray and has a

465
00:26:51,800 --> 00:26:55,560
Speaker 2: really eye catching bit of poster art for it.

466
00:26:55,880 --> 00:26:59,119
Speaker 1: John Philip Law plays the villain in Space Mutiny, if

467
00:26:59,119 --> 00:27:03,359
Speaker 1: I recall correct, Yeah, he's what Kalgon I think, hal gone,

468
00:27:03,520 --> 00:27:08,200
Speaker 1: driving those go karts around and sneering. Yeah. To compare

469
00:27:08,520 --> 00:27:11,000
Speaker 1: his two Mystery Science Theater entries, I'm gonna go ahead

470
00:27:11,000 --> 00:27:13,360
Speaker 1: and say Diabolic is better than Space Mutiny.

471
00:27:14,200 --> 00:27:17,680
Speaker 2: Yeah, it's a cut above a hefty cutbuff.

472
00:27:17,600 --> 00:27:20,240
Speaker 1: But Space Mutiny might be a better episode of the show.

473
00:27:20,920 --> 00:27:23,960
Speaker 2: Oh yeah, Space Mutiny is a classic MST three K

474
00:27:24,040 --> 00:27:28,040
Speaker 2: episode for sure. Great riffing in that ridiculous film, but

475
00:27:28,080 --> 00:27:30,320
Speaker 2: still a lot of neat ideas in it that are

476
00:27:30,359 --> 00:27:34,040
Speaker 2: not they don't really come to life, or an interesting

477
00:27:34,119 --> 00:27:36,119
Speaker 2: cast as well.

478
00:27:36,160 --> 00:27:40,520
Speaker 1: But Diabolic would be nowhere without the love of his life,

479
00:27:40,760 --> 00:27:44,800
Speaker 1: Eva Kant, who is a character who apparently also comes

480
00:27:44,840 --> 00:27:48,679
Speaker 1: from the comics and is his partner in crime and

481
00:27:48,760 --> 00:27:51,960
Speaker 1: the love of his life in this movie, played by Marissa.

482
00:27:51,560 --> 00:27:55,760
Speaker 2: Mel That's right, Austrian actor who lived nineteen thirty nine

483
00:27:55,760 --> 00:27:58,240
Speaker 2: through nineteen ninety two. She played a lot of film

484
00:27:58,280 --> 00:28:01,439
Speaker 2: fatale type characters. Her other big films include nineteen sixty

485
00:28:01,520 --> 00:28:04,800
Speaker 2: nine's One on Top of the Other Luccio Folchi thriller,

486
00:28:04,800 --> 00:28:08,240
Speaker 2: in which she plays a dual role, seventy five's Mahogany,

487
00:28:08,560 --> 00:28:12,240
Speaker 2: and also in Berto Lindsay's Seven blood Stained Orchids. In

488
00:28:12,359 --> 00:28:16,199
Speaker 2: nineteen seventy two, she also appeared in She appeared in

489
00:28:16,280 --> 00:28:19,639
Speaker 2: Ring of Darkness with John Philip Law, and also she

490
00:28:19,720 --> 00:28:23,080
Speaker 2: pops up in nineteen sixty six's Secret Agent Super Dragon,

491
00:28:23,320 --> 00:28:26,520
Speaker 2: which was also featured on Missus Sence Theater three thousand.

492
00:28:26,760 --> 00:28:29,480
Speaker 1: She and John Philip Law have such great chemistry in

493
00:28:29,520 --> 00:28:31,560
Speaker 1: this movie. We will explore more as we go on,

494
00:28:31,720 --> 00:28:34,240
Speaker 1: but it's this has got to be one of my

495
00:28:34,480 --> 00:28:36,880
Speaker 1: all time favorite screen couples.

496
00:28:36,920 --> 00:28:39,720
Speaker 2: Now. Yeah, in the past, we've talked about occult power

497
00:28:39,880 --> 00:28:42,560
Speaker 2: couples in various movies. This is I would say this

498
00:28:42,600 --> 00:28:45,800
Speaker 2: is a super crime power couple. Yes, all right, But

499
00:28:45,840 --> 00:28:48,719
Speaker 2: of course, since they're doing super crimes, they're running up

500
00:28:48,760 --> 00:28:51,760
Speaker 2: against the law and they're also running up against other criminals.

501
00:28:51,800 --> 00:28:53,520
Speaker 2: So let's hit the law first.

502
00:28:54,080 --> 00:28:56,520
Speaker 1: Well, to fight super crime, you need a super cop,

503
00:28:56,560 --> 00:28:59,560
Speaker 1: and too bad because there aren't any in this movie. Instead,

504
00:29:00,120 --> 00:29:01,720
Speaker 1: get a very underwhelming cop.

505
00:29:02,040 --> 00:29:06,840
Speaker 2: That's right, we have Inspector Jinko, played by the French actor, producer,

506
00:29:06,880 --> 00:29:11,960
Speaker 2: and film director Michel Piccoli, who lived nineteen twenty five

507
00:29:12,000 --> 00:29:15,280
Speaker 2: through twenty twenty, whose other works include seventy four is

508
00:29:15,280 --> 00:29:19,680
Speaker 2: the Phantom of Liberty, Jean lu Goddard's Passion from nineteen

509
00:29:19,680 --> 00:29:22,600
Speaker 2: eighty two, as well as his film Contempt from sixty three.

510
00:29:22,840 --> 00:29:25,480
Speaker 2: He also pops up in the twenty twelve weird movie

511
00:29:25,560 --> 00:29:26,640
Speaker 2: Holy Motors.

512
00:29:26,960 --> 00:29:29,200
Speaker 1: Okay, so I think this guy made. This guy worked

513
00:29:29,200 --> 00:29:34,200
Speaker 1: in some prestige cinema as well, But I didn't mean

514
00:29:34,240 --> 00:29:38,480
Speaker 1: to sell short his performance by saying we have underwhelming police.

515
00:29:38,680 --> 00:29:41,120
Speaker 1: That's how it's written. The police in this movie are

516
00:29:41,240 --> 00:29:45,160
Speaker 1: just not up to the task of capturing Diabolic. In fact,

517
00:29:45,240 --> 00:29:48,520
Speaker 1: they have to outsource their work to other super criminals

518
00:29:48,760 --> 00:29:52,000
Speaker 1: in order to catch him. And so this police inspector

519
00:29:52,280 --> 00:29:55,760
Speaker 1: is very put upon and just he's out there having

520
00:29:55,800 --> 00:30:00,280
Speaker 1: a hard time. And so the actor the cast here

521
00:30:00,360 --> 00:30:05,000
Speaker 1: is interesting. The actor reminds me sort of of Christopher

522
00:30:05,080 --> 00:30:07,480
Speaker 1: Lee in a way, but without the gravitas. I was

523
00:30:07,520 --> 00:30:11,600
Speaker 1: thinking kind of a kind of a stepped down, humiliated

524
00:30:11,680 --> 00:30:17,160
Speaker 1: Christopher Lee, somewhat combined with the Canadian character actor Elias Koteas,

525
00:30:17,600 --> 00:30:20,280
Speaker 1: who was in a bunch of different things. You've seen

526
00:30:20,320 --> 00:30:21,160
Speaker 1: him all over the place.

527
00:30:21,560 --> 00:30:24,880
Speaker 2: Yeah, yeah, yeah, I think that makes sense. Yeah, And

528
00:30:24,880 --> 00:30:27,720
Speaker 2: he's not a character like, he's not a twisted, corrupt

529
00:30:27,720 --> 00:30:29,960
Speaker 2: copp or anything like he's you get the impression like

530
00:30:30,000 --> 00:30:32,200
Speaker 2: he's a good guy trying to fight the good fight,

531
00:30:32,840 --> 00:30:36,040
Speaker 2: but maybe in a system that is is that is

532
00:30:36,240 --> 00:30:41,320
Speaker 2: is a little corrupt, though he himself is not corrupted. Yeah,

533
00:30:41,400 --> 00:30:44,520
Speaker 2: it's like you're rooting for him, but you don't really

534
00:30:44,560 --> 00:30:46,800
Speaker 2: want him to win. But then you at the end

535
00:30:46,800 --> 00:30:49,560
Speaker 2: of the day you realize, well, diabolic is a criminal,

536
00:30:49,880 --> 00:30:53,240
Speaker 2: and I'm I guess he needs to be caught. Maybe

537
00:30:53,280 --> 00:30:55,120
Speaker 2: if someone's gonna catch him, it needs to be this guy.

538
00:30:55,480 --> 00:30:57,200
Speaker 1: No, he doesn't need to be caught. He needs to

539
00:30:57,200 --> 00:31:00,400
Speaker 1: get away with all of it. I I don't think

540
00:31:00,440 --> 00:31:03,520
Speaker 1: anybody wants the police inspector to win in this movie.

541
00:31:03,600 --> 00:31:05,800
Speaker 1: You just want to see him get foiled and foiled

542
00:31:05,840 --> 00:31:07,960
Speaker 1: and foiled again and keep going. Demnity.

543
00:31:08,360 --> 00:31:10,520
Speaker 2: You know there is a similar case in Hannibal. Coming

544
00:31:10,520 --> 00:31:13,880
Speaker 2: back to Hannibal, we have remembered the Italian investigator who

545
00:31:13,920 --> 00:31:18,120
Speaker 2: is looking for Hannibal in John Carlo. Yeah, yeah, yeah,

546
00:31:18,240 --> 00:31:21,400
Speaker 2: great actor, great role, and also I think one of

547
00:31:21,400 --> 00:31:24,400
Speaker 2: the most interesting characters in that story. You're rooting for

548
00:31:24,520 --> 00:31:26,640
Speaker 2: him to a certain extent because he seems like a

549
00:31:26,680 --> 00:31:28,800
Speaker 2: good guy trying to do his job, and also he

550
00:31:28,840 --> 00:31:31,480
Speaker 2: doesn't want his wife to be killed by the serial

551
00:31:31,560 --> 00:31:36,520
Speaker 2: killer monster. But then ultimately you're also rooting for Hannibal

552
00:31:36,600 --> 00:31:37,760
Speaker 2: to avoid capture.

553
00:31:38,120 --> 00:31:41,200
Speaker 1: Things don't turn out well for him. Inspector Jinko does

554
00:31:41,240 --> 00:31:43,960
Speaker 1: not have things go as bad for him as they

555
00:31:43,960 --> 00:31:46,320
Speaker 1: go for Gian Carlo in Hannibal.

556
00:31:46,640 --> 00:31:49,200
Speaker 2: All right, So anyway, the inspector here is going to

557
00:31:49,280 --> 00:31:52,640
Speaker 2: have to join forces with one of his enemies, a

558
00:31:52,720 --> 00:31:57,440
Speaker 2: crime boss by the name of Ralph Valmont played by

559
00:31:57,920 --> 00:32:01,800
Speaker 2: Adolfocelli who lived eighteen twenty two through nineteen eighty six

560
00:32:01,880 --> 00:32:05,160
Speaker 2: Italian actor and director, best known internationally, I think for

561
00:32:05,240 --> 00:32:09,840
Speaker 2: his turn as Bond villain Emilio Largo in nineteen sixty

562
00:32:09,840 --> 00:32:12,640
Speaker 2: five's Thunderball, which keeps coming up on the show for

563
00:32:12,680 --> 00:32:13,240
Speaker 2: some reason.

564
00:32:13,320 --> 00:32:15,040
Speaker 1: Yeah, what we were just talking about this last week,

565
00:32:15,080 --> 00:32:16,160
Speaker 1: for some reason, weren't.

566
00:32:15,920 --> 00:32:18,000
Speaker 2: We Yeah, yeah, I think we were. I don't know.

567
00:32:18,000 --> 00:32:20,080
Speaker 2: I think it's just a lot of people worked in Thunderball.

568
00:32:20,440 --> 00:32:22,800
Speaker 1: Well, yeah, so he played the villain in Thunderball, the

569
00:32:22,840 --> 00:32:25,920
Speaker 1: guy he's got the really fast driving yacht. I think

570
00:32:25,960 --> 00:32:30,840
Speaker 1: he's trying to steal lost a nuclear warhead that crashed

571
00:32:30,880 --> 00:32:33,040
Speaker 1: on a plane or something. But he's the guy who

572
00:32:33,040 --> 00:32:35,320
Speaker 1: puts sharks in his swimming pool.

573
00:32:36,000 --> 00:32:39,400
Speaker 2: Yeah, yeah, this actor was. He was also in the

574
00:32:39,400 --> 00:32:42,320
Speaker 2: Phantom of Liberty, as well as nineteen sixty five, The

575
00:32:42,360 --> 00:32:45,600
Speaker 2: Agony in the Ecstasy, seventy two's I in the Labyrinth,

576
00:32:45,800 --> 00:32:48,680
Speaker 2: Gordon Hessler's Murders in the Room Orgue from seventy one,

577
00:32:48,800 --> 00:32:52,320
Speaker 2: Franco Zepharelli's brother Son Sister Moon from seventy two, and

578
00:32:52,360 --> 00:32:56,560
Speaker 2: we absolutely cannot forget nineteen sixty seven's Operation Kid Brother,

579
00:32:56,960 --> 00:33:00,800
Speaker 2: in which he basically rehashes his role from Thunderball, opposite

580
00:33:01,000 --> 00:33:05,640
Speaker 2: the character doctor Neil Connery played by Neil Connery, Sean

581
00:33:05,680 --> 00:33:10,520
Speaker 2: Connery's brother. It's a total cash grab, obviously, and also

582
00:33:10,560 --> 00:33:14,320
Speaker 2: one that was riffed on MST three K. But Shelley

583
00:33:14,840 --> 00:33:18,920
Speaker 2: great Italian actor with a clear knack for playing heavies

584
00:33:18,960 --> 00:33:22,520
Speaker 2: and villains. He has just this great sneer, you know,

585
00:33:22,560 --> 00:33:28,000
Speaker 2: this great sort of sort of stereotypical mob boss physicality.

586
00:33:28,760 --> 00:33:32,640
Speaker 1: I think he had a cigar permanently implanted between his

587
00:33:32,720 --> 00:33:36,440
Speaker 1: teeth surgically, so he would just gnaw gnaw without end

588
00:33:36,760 --> 00:33:37,320
Speaker 1: for the rest of that.

589
00:33:37,440 --> 00:33:40,320
Speaker 2: And his character in this is just a complete brute,

590
00:33:40,360 --> 00:33:43,239
Speaker 2: Like no sympathy for this character like this is just

591
00:33:43,280 --> 00:33:46,800
Speaker 2: a horrible crime boss. He's rude to everyone. You know,

592
00:33:47,360 --> 00:33:51,280
Speaker 2: no method is off the table for this guy. So

593
00:33:51,400 --> 00:33:54,360
Speaker 2: this is exactly the sort of fellow that we're cheering

594
00:33:54,440 --> 00:33:57,440
Speaker 2: on Diabolic to steal, to steal from.

595
00:33:57,560 --> 00:33:59,400
Speaker 1: Well, as we've said, it's always good to have a

596
00:33:59,480 --> 00:34:02,120
Speaker 1: character like this in a movie with a criminal anti hero.

597
00:34:02,720 --> 00:34:05,400
Speaker 1: Diabolic is a criminal, but we love him, we want

598
00:34:05,480 --> 00:34:08,120
Speaker 1: him to win. It's good to be reminded what a

599
00:34:08,160 --> 00:34:12,799
Speaker 1: really nasty, cigar knowing criminal is like. For contrast, that's

600
00:34:12,920 --> 00:34:14,000
Speaker 1: right now.

601
00:34:14,040 --> 00:34:15,560
Speaker 2: He has a lot of hinchmen, and I'm not going

602
00:34:15,600 --> 00:34:17,560
Speaker 2: to mention them all, but I am going to mention one.

603
00:34:18,040 --> 00:34:23,319
Speaker 2: This is his henchman, Joe, played by Federico Boido, who

604
00:34:23,320 --> 00:34:26,960
Speaker 2: lived nineteen forty through twenty fourteen. He may stand out,

605
00:34:27,280 --> 00:34:29,000
Speaker 2: and he probably stood out to you, Joe, because this

606
00:34:29,040 --> 00:34:32,640
Speaker 2: Italian actor was also in nineteen sixty five's Planet of

607
00:34:32,680 --> 00:34:37,120
Speaker 2: the Vampires playing Keir. He's in Roger Vadim Spirits of

608
00:34:37,160 --> 00:34:38,920
Speaker 2: the Dead from sixty eight, and he was also in

609
00:34:38,960 --> 00:34:45,200
Speaker 2: seventy two super Fly. TNT just a good background stooge

610
00:34:45,239 --> 00:34:48,120
Speaker 2: or Hinchman, and he has a great Hinchman look. And

611
00:34:48,160 --> 00:34:52,279
Speaker 2: then finally, in terms of the actors, here we have

612
00:34:52,600 --> 00:34:55,440
Speaker 2: the Minister of the Interior and I think his title

613
00:34:55,520 --> 00:34:57,839
Speaker 2: changes later on in the film, but this is played

614
00:34:57,840 --> 00:35:01,080
Speaker 2: by Terry Thomas, who lived nineteen eleven through nineteen ninety. Yes,

615
00:35:01,120 --> 00:35:04,080
Speaker 2: it's Terry hyphen Thomas. You might remember him as the

616
00:35:04,120 --> 00:35:09,480
Speaker 2: dirty movie enthusiast from The Abominable Doctor Fibes, British comedian

617
00:35:09,480 --> 00:35:13,279
Speaker 2: and character actor who excelled at playing bumbling fops. He

618
00:35:13,360 --> 00:35:15,120
Speaker 2: was in a ton of pictures, but you might know

619
00:35:15,239 --> 00:35:18,120
Speaker 2: him from It's a Mad, Mad, Mad Mad World from

620
00:35:18,160 --> 00:35:21,480
Speaker 2: sixty three. He also voiced Sir Hiss in the Disney

621
00:35:21,560 --> 00:35:25,360
Speaker 2: Robin Hood film from seventy three. Oh he just cake, Yeah,

622
00:35:25,520 --> 00:35:30,440
Speaker 2: the snake. He has a great hissing voice in general,

623
00:35:30,800 --> 00:35:33,120
Speaker 2: and yeah, he's fun in this. He just Terry Thomas

624
00:35:33,239 --> 00:35:34,040
Speaker 2: is all over the place.

625
00:35:34,560 --> 00:35:37,440
Speaker 1: Yeah, he has some really good scenes where he's giving

626
00:35:37,520 --> 00:35:42,960
Speaker 1: press conferences appealing to people's patriotism while while clearly kind

627
00:35:42,960 --> 00:35:47,080
Speaker 1: of squirming like a like a bug under a microscope.

628
00:35:47,520 --> 00:35:50,560
Speaker 2: All right, real quick production design credit goes to Carlo Rombaldi,

629
00:35:50,600 --> 00:35:52,560
Speaker 2: who lived nineteen twenty five through twenty twelve. He's come

630
00:35:52,640 --> 00:35:55,879
Speaker 2: up before on the show. He's involved in a number

631
00:35:55,920 --> 00:35:58,520
Speaker 2: of great productions over the years, including Planet, The Vampires,

632
00:35:58,560 --> 00:36:01,440
Speaker 2: The Never Ending Story. He also had a hand in

633
00:36:01,480 --> 00:36:07,160
Speaker 2: designing et So some wonderful credits assigned to this man,

634
00:36:07,239 --> 00:36:11,600
Speaker 2: sometimes credited just as Rambaldi. And then the music for

635
00:36:11,640 --> 00:36:13,879
Speaker 2: the film, I think we mentioned this already, but it's

636
00:36:13,920 --> 00:36:16,439
Speaker 2: a score by and Neil Morricone, who lived nineteen twenty

637
00:36:16,480 --> 00:36:20,480
Speaker 2: eight through twenty twenty. You know, the huge name Italian composer,

638
00:36:21,600 --> 00:36:26,560
Speaker 2: soundtrack master. He was responsible for many amazing scores. But

639
00:36:27,360 --> 00:36:30,600
Speaker 2: the two films that we've talked about previously that had

640
00:36:30,640 --> 00:36:34,080
Speaker 2: a Morricone score were probably not that great as far

641
00:36:34,120 --> 00:36:36,680
Speaker 2: as examples go. They were nineteen seventy nine The Humanoid,

642
00:36:36,680 --> 00:36:39,520
Speaker 2: which I think had its moments in nineteen eighty three's

643
00:36:39,560 --> 00:36:43,800
Speaker 2: Treasure of the Four Crowns, which soundtrack wise was nothing special.

644
00:36:44,360 --> 00:36:47,239
Speaker 1: Well, I think diabolic breaks that streak. This is an

645
00:36:47,400 --> 00:36:50,480
Speaker 1: excellent score. I love the theme music here, or the

646
00:36:50,600 --> 00:36:54,319
Speaker 1: music that's used all throughout, has got these great these

647
00:36:54,400 --> 00:36:57,480
Speaker 1: kind of there are there are themes that are tagged

648
00:36:57,600 --> 00:37:01,239
Speaker 1: to specific types of emotional moments in the movie. So

649
00:37:01,320 --> 00:37:04,959
Speaker 1: like anytime there's a big twist, there are these these

650
00:37:05,120 --> 00:37:07,719
Speaker 1: voices that I they're the ones I was thinking of

651
00:37:07,840 --> 00:37:10,880
Speaker 1: is going backwards up a slide, So these like choir

652
00:37:10,920 --> 00:37:11,840
Speaker 1: of voices going.

653
00:37:11,719 --> 00:37:17,360
Speaker 2: Oh yeah, yeah, there's some there. I think some of

654
00:37:17,400 --> 00:37:19,800
Speaker 2: this music has like a sitar kind of a vibe

655
00:37:19,840 --> 00:37:22,920
Speaker 2: going on yeah that I really liked. There's also there

656
00:37:22,920 --> 00:37:25,479
Speaker 2: also some tracks that really lean into the groovy fun

657
00:37:25,520 --> 00:37:29,360
Speaker 2: angle of the thing, which is totally totally valid, totally

658
00:37:29,840 --> 00:37:31,839
Speaker 2: you know, on point for this picture. And then there

659
00:37:31,840 --> 00:37:35,040
Speaker 2: are some great suspenseful moments as well. So I agree,

660
00:37:35,040 --> 00:37:37,480
Speaker 2: I think this is a great score. It's certainly head

661
00:37:37,480 --> 00:37:40,600
Speaker 2: and shoulders above the previous Morcone scores that we've talked

662
00:37:40,600 --> 00:37:41,000
Speaker 2: about here.

663
00:37:41,480 --> 00:37:42,359
Speaker 4: H oh.

664
00:37:42,360 --> 00:37:44,759
Speaker 2: And he also wrote the theme song deep Down that

665
00:37:44,800 --> 00:37:47,239
Speaker 2: we hear I feel like two or three times in

666
00:37:47,239 --> 00:37:48,720
Speaker 2: the film.

667
00:37:48,760 --> 00:37:50,360
Speaker 1: Do you have a favorite Morconey score.

668
00:37:51,680 --> 00:37:54,040
Speaker 2: Yeah, I mean, as I've I've mentioned before, I think

669
00:37:54,080 --> 00:37:57,080
Speaker 2: you know, the mission is amazing, you know, of course

670
00:37:57,080 --> 00:37:59,719
Speaker 2: I love eighty two's John Carpenter is the thing, and

671
00:37:59,760 --> 00:38:01,040
Speaker 2: you know, and that The Good, the Bad, and the

672
00:38:01,120 --> 00:38:03,600
Speaker 2: Ugly from sixty six is a classic as well. But

673
00:38:04,640 --> 00:38:06,920
Speaker 2: so many scores, and the Lord knows I haven't heard

674
00:38:06,960 --> 00:38:07,239
Speaker 2: them all.

675
00:38:15,920 --> 00:38:17,840
Speaker 1: Well, are you ready to talk about the plot?

676
00:38:18,440 --> 00:38:20,680
Speaker 2: Yeah, let's dive into the life and times.

677
00:38:20,239 --> 00:38:23,880
Speaker 1: Of Diabolic Reminder again, this movie is full of surprises,

678
00:38:23,920 --> 00:38:26,080
Speaker 1: so if you want to see it without having any

679
00:38:26,120 --> 00:38:30,160
Speaker 1: of those surprises spoiled, please watch it before we spoil

680
00:38:30,200 --> 00:38:30,760
Speaker 1: them all here.

681
00:38:31,200 --> 00:38:33,040
Speaker 2: Well, there's no surprise how this is going to start.

682
00:38:33,080 --> 00:38:37,160
Speaker 2: This is a movie in which money or valuables are stolen,

683
00:38:37,480 --> 00:38:40,080
Speaker 2: so you have to begin with some unstolen valuables.

684
00:38:40,400 --> 00:38:43,320
Speaker 1: That's right, We're going to start with the prologue heist,

685
00:38:43,480 --> 00:38:48,560
Speaker 1: the largest shipment of dollars in human history. So there

686
00:38:48,800 --> 00:38:51,920
Speaker 1: we come up on like the sound of sirens, engines gunning.

687
00:38:52,640 --> 00:38:56,080
Speaker 1: There is a massive procession of police motorcycles riding in

688
00:38:56,120 --> 00:38:58,800
Speaker 1: double file through the gates of a big, austere looking

689
00:38:58,880 --> 00:39:03,520
Speaker 1: building complex. It's all concrete and corners and walls, and

690
00:39:03,600 --> 00:39:07,360
Speaker 1: there are snipers lining the roofs, and guards with machine

691
00:39:07,400 --> 00:39:10,480
Speaker 1: guns that are standing along the alleyways within, and we

692
00:39:10,560 --> 00:39:14,839
Speaker 1: see a shipment of yellow bags being loaded into an

693
00:39:15,000 --> 00:39:18,080
Speaker 1: armored transport vehicle. One thing to go ahead and mention

694
00:39:18,200 --> 00:39:22,520
Speaker 1: here is that there is something really inspired about the

695
00:39:22,719 --> 00:39:27,160
Speaker 1: braiding in and out of different color themes in different

696
00:39:27,200 --> 00:39:31,440
Speaker 1: sequences in the movie. So, for example, everything with the

697
00:39:31,480 --> 00:39:35,200
Speaker 1: police and the opening sequence here has these flourishes of

698
00:39:35,320 --> 00:39:38,160
Speaker 1: yellow and black, kind of like the stripes on a

699
00:39:38,160 --> 00:39:40,920
Speaker 1: bee or on a yellowjacket, which could put you in

700
00:39:41,000 --> 00:39:44,560
Speaker 1: mind of like hives and workers and mindless drones all

701
00:39:44,560 --> 00:39:47,920
Speaker 1: carrying out orders, or it could put you in the

702
00:39:47,960 --> 00:39:50,359
Speaker 1: mind of something that can sting or something that can

703
00:39:50,400 --> 00:39:53,120
Speaker 1: harm you. So I don't know, maybe I'm putting reading

704
00:39:53,160 --> 00:39:54,719
Speaker 1: too much into it, but I see a kind of

705
00:39:54,880 --> 00:39:58,280
Speaker 1: genius in the way color is used throughout the whole film,

706
00:39:58,360 --> 00:40:02,920
Speaker 1: like that there are colors elections that resonate thematically with

707
00:40:02,960 --> 00:40:06,319
Speaker 1: what's going on on screen and kind of interesting and

708
00:40:06,520 --> 00:40:08,040
Speaker 1: oblique indirect ways.

709
00:40:08,760 --> 00:40:11,920
Speaker 2: Yeah. Absolutely, I mean Bob is a master of color,

710
00:40:12,000 --> 00:40:12,880
Speaker 2: among other things.

711
00:40:13,120 --> 00:40:16,680
Speaker 1: So we see several of the officials who are overseeing

712
00:40:16,719 --> 00:40:20,480
Speaker 1: this truck transport. Having a private conversation. One of them

713
00:40:20,640 --> 00:40:24,800
Speaker 1: loads up taped stacks of blank paper into one of

714
00:40:24,840 --> 00:40:27,759
Speaker 1: the yellow bags and says, you know, I wonder how

715
00:40:27,800 --> 00:40:30,560
Speaker 1: security would feel if they knew they were guarding waste

716
00:40:30,600 --> 00:40:35,040
Speaker 1: paper instead of ten million dollars. That got me thinking

717
00:40:35,480 --> 00:40:38,800
Speaker 1: how much would it cost to simulate ten million dollars

718
00:40:38,840 --> 00:40:41,360
Speaker 1: with blank paper? Like how much does the paper you

719
00:40:41,400 --> 00:40:42,600
Speaker 1: would use for that cost?

720
00:40:43,680 --> 00:40:47,960
Speaker 2: I mean significantly less than ten million dollars, one would hope, Like.

721
00:40:47,960 --> 00:40:51,200
Speaker 1: I'm going to spend five thousand dollars on paper to

722
00:40:51,800 --> 00:40:53,400
Speaker 1: simulate ten million dollars.

723
00:40:53,840 --> 00:40:55,960
Speaker 2: If it keeps you ten million dollars from being stolen

724
00:40:56,000 --> 00:40:58,799
Speaker 2: by supercriminal, then I guess it totally works out.

725
00:40:59,160 --> 00:41:04,200
Speaker 1: Too bad. It's not work anyway, So secretly, you know,

726
00:41:04,239 --> 00:41:07,280
Speaker 1: we got a trap being set up. This armored vehicle

727
00:41:07,440 --> 00:41:11,200
Speaker 1: is full of bags of fake money, so somebody's trying

728
00:41:11,239 --> 00:41:13,839
Speaker 1: to set up a trap. And then looking on from

729
00:41:13,880 --> 00:41:17,520
Speaker 1: a window above is the decoy truck motors away, we

730
00:41:17,600 --> 00:41:19,440
Speaker 1: see one of the main characters of this movie. It

731
00:41:19,560 --> 00:41:23,840
Speaker 1: is Inspector Jinko, the police detective who is involved in

732
00:41:23,880 --> 00:41:28,520
Speaker 1: the planning of this operation, and he is stern lawful.

733
00:41:28,760 --> 00:41:31,600
Speaker 1: He's driven to catch his mark, but there's all there's

734
00:41:31,640 --> 00:41:34,200
Speaker 1: also something a little bit weary in the eyes and

735
00:41:34,280 --> 00:41:36,920
Speaker 1: kind of pitiful about him, and you kind of wonder

736
00:41:37,239 --> 00:41:40,680
Speaker 1: is he finding fulfillment filling up armored trucks with blank paper?

737
00:41:42,120 --> 00:41:44,040
Speaker 2: Yeah, one suspects not so.

738
00:41:44,280 --> 00:41:48,320
Speaker 1: Inspector Jinko is talking to an ally in the scheme,

739
00:41:48,719 --> 00:41:51,440
Speaker 1: who says to him, I've never seen such precautions just

740
00:41:51,440 --> 00:41:54,040
Speaker 1: to get a shipment to the port, And Jinko says,

741
00:41:54,160 --> 00:41:57,160
Speaker 1: the whole underworld worries me less than a single man.

742
00:41:57,760 --> 00:41:59,799
Speaker 1: And then the other guy, he gets very quiet and

743
00:42:00,000 --> 00:42:05,799
Speaker 1: whispers the name Diabolic. So Jinko goes into the other

744
00:42:05,880 --> 00:42:09,280
Speaker 1: room where the police are loading the real ten million

745
00:42:09,320 --> 00:42:13,520
Speaker 1: dollars into different yellow bags which are being hidden inside

746
00:42:13,560 --> 00:42:17,160
Speaker 1: a chauffeured luxury car. And this thing, wouldn't it be

747
00:42:17,160 --> 00:42:18,880
Speaker 1: better to hide it inside a cheap car?

748
00:42:19,200 --> 00:42:21,120
Speaker 2: I don't know. Yeah, yeah, because they're kind of fixing

749
00:42:21,160 --> 00:42:24,000
Speaker 2: it up like like this is a a chauffeur gride

750
00:42:24,000 --> 00:42:26,440
Speaker 2: with swells in it. So it seems like that might

751
00:42:26,480 --> 00:42:28,480
Speaker 2: attract a super criminal's attention.

752
00:42:28,160 --> 00:42:30,400
Speaker 1: Anyway, Yeah, I guess so. But they've got a whole

753
00:42:30,560 --> 00:42:33,560
Speaker 1: system here So they've got a bunch of tough police

754
00:42:33,680 --> 00:42:36,759
Speaker 1: or government operatives, some kind of tough guys who are

755
00:42:36,840 --> 00:42:41,840
Speaker 1: disguised as diplomats with top hats and cravats, very formal,

756
00:42:42,080 --> 00:42:44,960
Speaker 1: and they're going to ride along with the money. So

757
00:42:45,040 --> 00:42:49,680
Speaker 1: the convoy of cars carrying the real money, those cars

758
00:42:49,680 --> 00:42:52,040
Speaker 1: depart the police station and they head toward the port

759
00:42:52,360 --> 00:42:54,440
Speaker 1: while we get a taste of one of the sweet

760
00:42:54,560 --> 00:42:56,520
Speaker 1: musical themes. This is the one that the kind of

761
00:42:56,600 --> 00:43:01,239
Speaker 1: nervous sounding descending guitar riff. And also there's some kind

762
00:43:01,280 --> 00:43:04,400
Speaker 1: of wind instrument warbling in the background, maybe a saxophone

763
00:43:04,480 --> 00:43:06,440
Speaker 1: or something. I'm not sure what it is. Can we

764
00:43:06,480 --> 00:43:15,560
Speaker 1: get a taste of that theme? JJ nice? And then

765
00:43:15,680 --> 00:43:19,040
Speaker 1: following the convoy, we catch our first glimpse of what

766
00:43:19,480 --> 00:43:23,959
Speaker 1: Jared Harris might call the Jaguar. I'm not a car guy,

767
00:43:24,239 --> 00:43:27,360
Speaker 1: so I don't usually get excited about cars in movies

768
00:43:27,440 --> 00:43:30,520
Speaker 1: or fancy sports cars in any context really, but for

769
00:43:30,560 --> 00:43:34,600
Speaker 1: some reason this broke through to me. Diabolics Jaguar is

770
00:43:34,760 --> 00:43:35,520
Speaker 1: so cool.

771
00:43:36,080 --> 00:43:39,040
Speaker 2: Absolutely, this is a cool looking car. And I believe

772
00:43:39,080 --> 00:43:42,239
Speaker 2: he buys them by like the dozen, yeah, because they're

773
00:43:42,320 --> 00:43:46,120
Speaker 2: just completely disposable to Diabolic. Diabolic is a very successful

774
00:43:46,160 --> 00:43:50,880
Speaker 2: super criminal. He has super riches, so he's operating with

775
00:43:51,400 --> 00:43:54,799
Speaker 2: a budget well beyond any other criminal you've seen in

776
00:43:54,800 --> 00:43:55,480
Speaker 2: another film.

777
00:43:55,680 --> 00:43:58,200
Speaker 1: I think this might be present in the original comics

778
00:43:58,239 --> 00:44:00,239
Speaker 1: as well, but it's definitely here in the movie where

779
00:44:00,480 --> 00:44:03,600
Speaker 1: Diabolic and Eva both have their own jaguar. I think

780
00:44:03,719 --> 00:44:06,280
Speaker 1: it's a Jaguar E type, and he drives a black

781
00:44:06,640 --> 00:44:08,960
Speaker 1: Jaguar and she drives a white one.

782
00:44:09,480 --> 00:44:10,320
Speaker 2: Oh nice.

783
00:44:10,560 --> 00:44:13,200
Speaker 1: So the police and the money shipmen arrive at the port.

784
00:44:13,280 --> 00:44:14,920
Speaker 1: I guess it's going to be loaded on a boat,

785
00:44:15,000 --> 00:44:18,680
Speaker 1: and they're driving under the giant cranes and monstrous equipment

786
00:44:19,040 --> 00:44:22,800
Speaker 1: used to unpack container ships. And as they pass underneath

787
00:44:22,840 --> 00:44:28,440
Speaker 1: these rusting technological archways, suddenly another musical theme strikes. This

788
00:44:28,680 --> 00:44:32,120
Speaker 1: is the eerie chorus of voices going backwards up the slide.

789
00:44:33,280 --> 00:44:35,440
Speaker 1: I love it. It makes me want to run with scissors.

790
00:44:35,520 --> 00:44:42,960
Speaker 1: Can we hear a sample of this? So we've got

791
00:44:42,960 --> 00:44:46,840
Speaker 1: these evil fairy voices ringing out on the soundtrack. Suddenly

792
00:44:47,400 --> 00:44:50,400
Speaker 1: the convoy of cars is enveloped in a haze of

793
00:44:50,520 --> 00:44:54,600
Speaker 1: multicolored smoke. We've got yellow, green, purple smog. They can't

794
00:44:54,600 --> 00:44:57,560
Speaker 1: see anything Inspector Jenko and the others get out of

795
00:44:57,600 --> 00:45:01,759
Speaker 1: their cars to investigate. When we finally realize what's going on,

796
00:45:02,040 --> 00:45:04,560
Speaker 1: the car stuffed with all the money is being hoisted

797
00:45:04,600 --> 00:45:06,839
Speaker 1: away on a crane. It's up in the air, and

798
00:45:06,920 --> 00:45:10,080
Speaker 1: then there is a silhouette barely visible through the smoke.

799
00:45:10,400 --> 00:45:13,920
Speaker 1: It is a tall, dark, lean figure climbing on the

800
00:45:14,000 --> 00:45:16,640
Speaker 1: rigging of the crane. And then there is a fast

801
00:45:16,760 --> 00:45:19,000
Speaker 1: zoom or a fast pull focus. I'm not sure what

802
00:45:19,040 --> 00:45:22,040
Speaker 1: the terminology is, but the camera just charges in for

803
00:45:22,080 --> 00:45:25,960
Speaker 1: a close up on his face and it is danger diabolic.

804
00:45:26,000 --> 00:45:28,799
Speaker 1: We get the title. It says danger diabolic. We see

805
00:45:28,840 --> 00:45:32,400
Speaker 1: his eyes glowering out from the kind of butterfly shaped

806
00:45:32,440 --> 00:45:36,359
Speaker 1: gap in his mask, and he laughs. So he's got

807
00:45:36,360 --> 00:45:39,040
Speaker 1: a sinister laughter and he's beaten them again.

808
00:45:39,800 --> 00:45:42,239
Speaker 2: Yes, I love the sinister laugh or laughter to him

809
00:45:42,600 --> 00:45:45,600
Speaker 2: to remind you that, yes, there is a fun evil

810
00:45:45,680 --> 00:45:47,800
Speaker 2: to diabolic. He is diabolical.

811
00:45:52,440 --> 00:45:54,719
Speaker 1: Did you want to do a thing about his costume?

812
00:45:54,840 --> 00:45:56,600
Speaker 1: This like skin tight suit he wears?

813
00:45:57,320 --> 00:45:59,279
Speaker 2: Uh? Yeah, yeah, I think we talked a little bit

814
00:45:59,280 --> 00:46:01,840
Speaker 2: about the mask. Yeah. The whole outfit is basically, I

815
00:46:01,840 --> 00:46:03,840
Speaker 2: think supposed to be kind of like a cat suit

816
00:46:05,120 --> 00:46:07,759
Speaker 2: as it's realized in the film, it's maybe like a

817
00:46:07,760 --> 00:46:10,680
Speaker 2: little less catsuit and more like leather pants and then

818
00:46:10,719 --> 00:46:13,879
Speaker 2: some sort of a kind of a turtleneck type thing.

819
00:46:14,560 --> 00:46:17,879
Speaker 2: It varies, but but yeah, he has this this this

820
00:46:18,040 --> 00:46:23,560
Speaker 2: black outfit that he's like a ninja ninja with, but

821
00:46:23,640 --> 00:46:27,120
Speaker 2: with a mask that just clings to every detail of

822
00:46:27,120 --> 00:46:27,640
Speaker 2: his face.

823
00:46:28,239 --> 00:46:30,359
Speaker 1: I did like when you said it was like his

824
00:46:30,400 --> 00:46:31,920
Speaker 1: face was vacuum packed.

825
00:46:32,239 --> 00:46:34,920
Speaker 2: Yeah, it's like if you vacuum sealed the face. Yeah,

826
00:46:34,920 --> 00:46:36,239
Speaker 2: the face mask into the face.

827
00:46:36,320 --> 00:46:38,040
Speaker 1: Yeah, souv diabolic?

828
00:46:38,560 --> 00:46:40,919
Speaker 2: Mm hmm. And I do have to add, I don't

829
00:46:40,920 --> 00:46:43,799
Speaker 2: know that we ever see him blink. I think, uh,

830
00:46:44,760 --> 00:46:47,680
Speaker 2: I mean, he's not always wide eyed. Sometimes he's looking

831
00:46:47,680 --> 00:46:51,440
Speaker 2: at things or reading things, et cetera. But I didn't

832
00:46:51,560 --> 00:46:53,440
Speaker 2: I didn't think to watch the whole movie with this

833
00:46:53,520 --> 00:46:56,279
Speaker 2: in mind. But it's very possible that Bava does not

834
00:46:56,360 --> 00:46:59,120
Speaker 2: include a single frame of John Philip Law blinking.

835
00:46:59,440 --> 00:47:02,799
Speaker 1: I think you're about that. So Diabolic removes the money

836
00:47:02,800 --> 00:47:05,040
Speaker 1: from the car while the cops are shooting at him,

837
00:47:05,080 --> 00:47:08,000
Speaker 1: by the way, but Diabolic doesn't care, not afraid of bullets,

838
00:47:08,719 --> 00:47:11,480
Speaker 1: he throws the money down into a speedboat waiting below,

839
00:47:11,680 --> 00:47:14,919
Speaker 1: dives into the water to escape, drives the speedboat away.

840
00:47:14,960 --> 00:47:18,560
Speaker 1: We get credits, so the credit sequences, you know, we

841
00:47:18,600 --> 00:47:21,759
Speaker 1: see the credits running while there's like a spinning glass

842
00:47:22,160 --> 00:47:25,080
Speaker 1: colored painted glass thing. I don't know exactly what's going on.

843
00:47:25,120 --> 00:47:27,920
Speaker 1: It's kind of a groovy sixties Italian party song playing.

844
00:47:28,760 --> 00:47:31,319
Speaker 2: Yeah, this would be this would be the Marconi theme

845
00:47:31,440 --> 00:47:32,279
Speaker 2: somewhat deep down.

846
00:47:32,640 --> 00:47:36,240
Speaker 1: Oh okay, So he escapes with the ten million dollars.

847
00:47:36,239 --> 00:47:38,920
Speaker 1: So he's in the boat, and then he just transitions

848
00:47:38,960 --> 00:47:41,120
Speaker 1: to now he's in a car. He's driving the Jaguar,

849
00:47:41,440 --> 00:47:43,680
Speaker 1: and then there's a helicopter on his tail. Oh no,

850
00:47:43,800 --> 00:47:46,319
Speaker 1: there's a machine gun fire coming from above. So what's

851
00:47:46,360 --> 00:47:48,960
Speaker 1: he going to do? Well, he kind of bobs and weaves.

852
00:47:49,000 --> 00:47:51,200
Speaker 1: He eludes them for a while by like driving under

853
00:47:51,239 --> 00:47:54,680
Speaker 1: some some greenery, some foliage, but they find him again,

854
00:47:54,760 --> 00:47:56,719
Speaker 1: and then oh no, maybe it seems like they're going

855
00:47:56,800 --> 00:48:00,320
Speaker 1: to catch him. But there's a brilliant twist. Diabolic drives

856
00:48:00,360 --> 00:48:04,239
Speaker 1: into a tunnel where there is already waiting the love

857
00:48:04,280 --> 00:48:07,799
Speaker 1: of his life, his perfect partner in crime. Eva can't

858
00:48:08,280 --> 00:48:11,480
Speaker 1: she's here with her white Jaguar while he was driving

859
00:48:11,520 --> 00:48:14,440
Speaker 1: the black one and they do a car swap. So

860
00:48:14,480 --> 00:48:18,040
Speaker 1: he sends his car speeding in reverse back out of

861
00:48:18,080 --> 00:48:20,520
Speaker 1: the tunnel and it or maybe he sends it out

862
00:48:20,560 --> 00:48:22,719
Speaker 1: of the front I don't know. Anyway, his car goes

863
00:48:22,800 --> 00:48:25,640
Speaker 1: out of the tunnel, goes speeding over a cliff, so

864
00:48:25,760 --> 00:48:28,719
Speaker 1: the police see it crash and they think, oh, Diabolic

865
00:48:28,760 --> 00:48:32,440
Speaker 1: has been killed. Meanwhile, he and Eva speed away to

866
00:48:32,719 --> 00:48:37,719
Speaker 1: their secret hideout, probably furiously kissing the entire time. They

867
00:48:37,760 --> 00:48:39,759
Speaker 1: do not respect the eyes on the road rule.

868
00:48:40,800 --> 00:48:42,720
Speaker 2: There is a lot of screen time in this movie

869
00:48:42,719 --> 00:48:49,680
Speaker 2: devoted to Diabolic and Eva making out. It's great. Yeah,

870
00:48:49,200 --> 00:48:50,759
Speaker 2: it's what you're here for.

871
00:48:51,440 --> 00:48:54,040
Speaker 1: I think it's time to talk about Diabolic and Eva's

872
00:48:54,160 --> 00:48:55,240
Speaker 1: secret layer.

873
00:48:55,960 --> 00:48:58,680
Speaker 2: Oh my goodness, it is amazing. It's like the It's

874
00:48:58,719 --> 00:49:03,000
Speaker 2: like the Batcave, except on some sort of groovy cocktail

875
00:49:03,040 --> 00:49:04,800
Speaker 2: of sixties hallucinogens.

876
00:49:05,400 --> 00:49:09,000
Speaker 1: Yes, so maybe before we get inside, I want to

877
00:49:09,000 --> 00:49:12,239
Speaker 1: mention the door that opens to let them inside. So

878
00:49:12,920 --> 00:49:15,640
Speaker 1: it's supposed to look like a hidden trap door in

879
00:49:15,680 --> 00:49:18,840
Speaker 1: the earth, you know, so like they're just like rocks

880
00:49:18,840 --> 00:49:21,040
Speaker 1: and earth. And then it opens up, pops up like

881
00:49:21,080 --> 00:49:23,960
Speaker 1: the top of a pedal bin to allow them to

882
00:49:24,080 --> 00:49:26,520
Speaker 1: drive down the ramp and then it closes behind them.

883
00:49:27,040 --> 00:49:29,879
Speaker 1: And this is achieved in the movie by I think

884
00:49:30,239 --> 00:49:34,600
Speaker 1: a very simple force perspective effect. It's you know, little

885
00:49:34,600 --> 00:49:38,080
Speaker 1: things popping up in the foreground, A little miniature door

886
00:49:38,120 --> 00:49:40,080
Speaker 1: in the foreground pops up, and then they drive the

887
00:49:40,120 --> 00:49:43,200
Speaker 1: car behind it. In the background, it looks like they're

888
00:49:43,280 --> 00:49:46,400
Speaker 1: driving down into the earth. And the movie is full

889
00:49:46,600 --> 00:49:51,200
Speaker 1: of effects like this that seem relatively cheap and easy

890
00:49:51,239 --> 00:49:55,600
Speaker 1: to accomplish, and they're kind of the word might be

891
00:49:55,680 --> 00:49:58,880
Speaker 1: kind of stagy. Like you can tell they're obviously not

892
00:49:59,120 --> 00:50:02,360
Speaker 1: real if you're looking out for it, but if you're not,

893
00:50:02,960 --> 00:50:06,479
Speaker 1: I don't know, if you're not applying a critical type

894
00:50:06,480 --> 00:50:09,919
Speaker 1: of attention to it, they just wash right over you.

895
00:50:10,000 --> 00:50:13,040
Speaker 1: Like so they fit into the action and the aesthetic

896
00:50:13,080 --> 00:50:16,840
Speaker 1: of the film perfectly. And I would not want these beautiful, cheap,

897
00:50:17,000 --> 00:50:20,880
Speaker 1: simple little effects replaced with higher budget counterparts, like they

898
00:50:20,920 --> 00:50:23,800
Speaker 1: actually build a giant, you know door in the ground

899
00:50:23,840 --> 00:50:25,920
Speaker 1: and drive into it, or replace it with you know,

900
00:50:26,000 --> 00:50:29,520
Speaker 1: really realistic looking cgi or any of that. There there's

901
00:50:29,560 --> 00:50:33,480
Speaker 1: something about these cheap, simple effects that is so nice

902
00:50:33,560 --> 00:50:35,880
Speaker 1: and feel so good. It's like a real sense of

903
00:50:36,080 --> 00:50:41,680
Speaker 1: confidence and finesse and playfulness in Bova's filmmaking instincts here. Yeah.

904
00:50:41,680 --> 00:50:44,400
Speaker 2: Plus, I think we've mentioned before with Baba, there's a

905
00:50:44,400 --> 00:50:47,839
Speaker 2: structural completeness to everything, so that when you have a

906
00:50:48,040 --> 00:50:51,960
Speaker 2: lower budget effect in place, or you know, or even

907
00:50:52,000 --> 00:50:55,120
Speaker 2: something that is that is maybe like that, the writing

908
00:50:55,239 --> 00:50:58,680
Speaker 2: is a little subpar, et cetera. Like everything else is

909
00:50:58,880 --> 00:51:04,440
Speaker 2: positioned just so that nothing feels out of place. And

910
00:51:04,840 --> 00:51:07,560
Speaker 2: I think that definitely applies here as well. Yeah, now

911
00:51:07,600 --> 00:51:10,840
Speaker 2: once we get down into the headquarters themselves, Oh my goodness,

912
00:51:10,920 --> 00:51:13,680
Speaker 2: it's it's it really has a sci fi feel to it.

913
00:51:13,680 --> 00:51:15,960
Speaker 2: It feels like this is something that was built by

914
00:51:16,120 --> 00:51:21,840
Speaker 2: aliens that were primarily interested in futuristic romantic interior design.

915
00:51:22,239 --> 00:51:25,160
Speaker 1: Yeah, it's like a it's like a Bond villain layer

916
00:51:25,200 --> 00:51:28,359
Speaker 1: in a way. It's a giant underground cavern with all

917
00:51:28,400 --> 00:51:32,239
Speaker 1: these elaborate structures and oh god, I wish I knew

918
00:51:32,280 --> 00:51:34,600
Speaker 1: more of the terminology of style. I mean, I think

919
00:51:34,640 --> 00:51:37,880
Speaker 1: it's kind of like a kind of a mod decorse style.

920
00:51:38,640 --> 00:51:42,799
Speaker 1: It's that cool, hip sixties looking decor with you know,

921
00:51:42,880 --> 00:51:45,759
Speaker 1: weird choices about shapes and colors and all that. So

922
00:51:45,800 --> 00:51:51,600
Speaker 1: it's just gorgeous, and so what we do next really

923
00:51:51,680 --> 00:51:54,440
Speaker 1: is we spend some time at home with Eva and Diabolic.

924
00:51:54,920 --> 00:51:58,080
Speaker 1: And I mean this in all seriousness. Diabolic and Eva

925
00:51:58,200 --> 00:52:01,560
Speaker 1: are so sweet. I already said, one of my favorite

926
00:52:01,600 --> 00:52:05,280
Speaker 1: screen couples of all time. They are absolutely mad about

927
00:52:05,320 --> 00:52:09,960
Speaker 1: each other. And really the whole elaborate crime plot is

928
00:52:10,160 --> 00:52:12,920
Speaker 1: just about them being in love and trying to have fun,

929
00:52:13,640 --> 00:52:15,640
Speaker 1: which in a way makes this kind of a perfect

930
00:52:15,800 --> 00:52:19,359
Speaker 1: date movie. Couples should watch Danger Diabolic together.

931
00:52:20,000 --> 00:52:22,680
Speaker 2: Yeah, absolutely, because it is. I mean, it is a

932
00:52:22,800 --> 00:52:26,920
Speaker 2: movie about the power of their love and how that

933
00:52:27,040 --> 00:52:30,640
Speaker 2: their love can be is tested but cannot be overcome

934
00:52:30,719 --> 00:52:33,640
Speaker 2: by these other forces in the world. And then on

935
00:52:33,680 --> 00:52:36,759
Speaker 2: top of that though, it's just extremely groovy. It's outrageous,

936
00:52:37,640 --> 00:52:42,359
Speaker 2: you know, it's it's never too serious, you know, these

937
00:52:42,360 --> 00:52:46,279
Speaker 2: two never getting into arguments or squabbles about anything. And yeah,

938
00:52:46,280 --> 00:52:48,520
Speaker 2: we spend just a lot of time with them here

939
00:52:48,640 --> 00:52:52,960
Speaker 2: at home in their super sexy sci fi luxury underground

940
00:52:53,000 --> 00:52:55,680
Speaker 2: pad that feels like it must have been I don't know,

941
00:52:55,760 --> 00:53:00,799
Speaker 2: built by again ancient aliens under neat the surface of

942
00:53:00,840 --> 00:53:02,120
Speaker 2: another planet. I don't know.

943
00:53:02,760 --> 00:53:05,720
Speaker 1: Yeah, it was built by the aliens from two thousand

944
00:53:05,719 --> 00:53:12,120
Speaker 1: and one of Space Odyssey and Buckminster Fuller and I

945
00:53:12,160 --> 00:53:16,719
Speaker 1: don't know the members of the who like it's how

946
00:53:16,760 --> 00:53:19,920
Speaker 1: would you like their bedroom and their bathroom. Their bedroom,

947
00:53:20,360 --> 00:53:24,120
Speaker 1: they have a giant like ring shaped bed that rotates

948
00:53:24,160 --> 00:53:26,680
Speaker 1: on a motor, and then next to it, they've got

949
00:53:26,680 --> 00:53:30,440
Speaker 1: these things that are just stacked polygons. I don't even

950
00:53:30,480 --> 00:53:32,200
Speaker 1: know what to call them. I don't think they're functional.

951
00:53:32,239 --> 00:53:35,040
Speaker 1: They don't look like shelves. They're just polygons that are

952
00:53:35,080 --> 00:53:37,239
Speaker 1: lit from behind, so they kind of glow with the

953
00:53:37,280 --> 00:53:39,919
Speaker 1: soft white through all their corners. And then in their

954
00:53:39,960 --> 00:53:45,279
Speaker 1: bathroom they have his and hers glass shower enclosures with

955
00:53:45,440 --> 00:53:50,320
Speaker 1: planters full of living plants in the showers. That's a

956
00:53:50,480 --> 00:53:52,319
Speaker 1: choice I've never seen before, but I love it.

957
00:53:52,960 --> 00:53:56,760
Speaker 2: Yeah. And also each shower has like a blurry circle

958
00:53:56,800 --> 00:54:01,960
Speaker 2: bit that covers them up from the cameras, though it's

959
00:54:02,000 --> 00:54:04,920
Speaker 2: certainly in Eva's case like only barely.

960
00:54:06,200 --> 00:54:08,279
Speaker 1: You can just tell that. As much as these two

961
00:54:08,480 --> 00:54:11,640
Speaker 1: love to go out and get into dangerous adventures together,

962
00:54:11,760 --> 00:54:14,520
Speaker 1: they also love chilling at home. You know, they have

963
00:54:14,600 --> 00:54:17,520
Speaker 1: a great time, like putting on a movie or something. Well,

964
00:54:17,560 --> 00:54:19,320
Speaker 1: I don't know, it's nineteen sixty eight. I don't know

965
00:54:19,360 --> 00:54:22,080
Speaker 1: about home video yet, but they you know, they watch

966
00:54:22,160 --> 00:54:24,759
Speaker 1: the news on TV and make cracks about how we're

967
00:54:24,760 --> 00:54:25,960
Speaker 1: going to steal that necklace.

968
00:54:28,000 --> 00:54:29,799
Speaker 2: So we spend a long time with them, but then

969
00:54:29,800 --> 00:54:31,120
Speaker 2: we have to cut out. We have to see what's

970
00:54:31,160 --> 00:54:32,480
Speaker 2: going on in the rest of the world.

971
00:54:32,280 --> 00:54:35,279
Speaker 1: Right, Yeah, time to check in with the squares. No,

972
00:54:35,600 --> 00:54:38,680
Speaker 1: we got consequences for the cops. Inspector Jenko is in

973
00:54:38,760 --> 00:54:41,920
Speaker 1: trouble with Terry Thomas, who is playing some kind of

974
00:54:41,960 --> 00:54:45,560
Speaker 1: bureaucrat who's been deeply embarrassed by all of the crime

975
00:54:45,680 --> 00:54:48,440
Speaker 1: and the theft of the ten million. He says, it's

976
00:54:48,480 --> 00:54:51,000
Speaker 1: absurd that one man can make a laughing stock of

977
00:54:51,040 --> 00:54:54,880
Speaker 1: the entire police force. And Terry Thomas says, you know, obviously,

978
00:54:55,440 --> 00:54:58,319
Speaker 1: if you think about it, logically, diabolics next move is

979
00:54:58,360 --> 00:55:00,160
Speaker 1: going to be to find a way to get the

980
00:55:00,280 --> 00:55:02,560
Speaker 1: money out of the country, So maybe we can catch

981
00:55:02,600 --> 00:55:06,799
Speaker 1: him that way. Inspector Jenko says, logical, sir, but not

982
00:55:07,000 --> 00:55:10,680
Speaker 1: helpful in this situation. Diabolic, he plays by his own rules.

983
00:55:10,719 --> 00:55:13,520
Speaker 1: He will find some other way to put that money

984
00:55:13,520 --> 00:55:17,920
Speaker 1: to use, and then cut straight to Diabolic and Eva

985
00:55:18,400 --> 00:55:20,880
Speaker 1: using the money as a bed as sort of a

986
00:55:20,920 --> 00:55:21,520
Speaker 1: love nest.

987
00:55:22,280 --> 00:55:25,680
Speaker 2: Yes, that's right. It turns out presumably they stole all

988
00:55:25,680 --> 00:55:30,920
Speaker 2: that money just so they could make love on it. Yes,

989
00:55:31,560 --> 00:55:34,760
Speaker 2: because again, yeah, it's that you can't you can't approach

990
00:55:34,840 --> 00:55:37,760
Speaker 2: Diabolic like any other criminal. His motives are not the same.

991
00:55:38,160 --> 00:55:40,600
Speaker 2: He is not like the rest of them. But it's yeah,

992
00:55:40,600 --> 00:55:44,920
Speaker 2: it completely is a great sequence, very tastefully done, and

993
00:55:45,120 --> 00:55:49,560
Speaker 2: just completely outrageous. So again something that elevates this film

994
00:55:49,600 --> 00:55:53,320
Speaker 2: into the sort of the flash Gordon Barbarella realm of

995
00:55:54,040 --> 00:55:55,920
Speaker 2: just you know, outrageous cinema.

996
00:55:56,040 --> 00:55:59,440
Speaker 1: Yeah. Also, there's a very funny scene with a press

997
00:55:59,480 --> 00:56:02,680
Speaker 1: conference where Terry Thomas comes out to announce that in

998
00:56:02,760 --> 00:56:05,960
Speaker 1: order to crush the current wave of crime sweeping the country,

999
00:56:05,960 --> 00:56:10,439
Speaker 1: the government has mercifully restored the death penalty, and at

1000
00:56:10,440 --> 00:56:15,360
Speaker 1: this press conference, Diabolic and Eva show up in hilarious disguises.

1001
00:56:15,440 --> 00:56:20,360
Speaker 1: Diabolic looks like it's that Will Will Ferrell character on

1002
00:56:20,480 --> 00:56:22,640
Speaker 1: SNL where he had the tiny, the tic tac sized

1003
00:56:22,680 --> 00:56:24,080
Speaker 1: cell phone.

1004
00:56:24,360 --> 00:56:25,760
Speaker 2: Oh I don't remember this character.

1005
00:56:26,000 --> 00:56:28,439
Speaker 1: Well, that's what Diabolic looks like. Here. He's got these

1006
00:56:28,760 --> 00:56:33,080
Speaker 1: square sunglasses and a turtleneck under a blazer. He looks great.

1007
00:56:33,840 --> 00:56:37,320
Speaker 2: Yeah, they do a lot of this, showing up really

1008
00:56:37,360 --> 00:56:41,840
Speaker 2: close to the heat in disguise as the most fashionable people,

1009
00:56:43,960 --> 00:56:45,400
Speaker 2: and nobody blinks an eye.

1010
00:56:46,160 --> 00:56:50,920
Speaker 1: But he Diabolic decides to humiliate Terry Thomas and Inspector

1011
00:56:51,000 --> 00:56:56,279
Speaker 1: Jinko by by releasing laughing gas in the room while

1012
00:56:56,320 --> 00:56:58,279
Speaker 1: the press conference is going on. He pretends I guess

1013
00:56:58,280 --> 00:57:00,719
Speaker 1: to be a reporter, and he's doing like you know,

1014
00:57:00,800 --> 00:57:04,120
Speaker 1: flashbowl camera photography, and when the flash bul goes off,

1015
00:57:04,160 --> 00:57:06,960
Speaker 1: it releases a kind of puff of stuff, and it

1016
00:57:07,000 --> 00:57:10,360
Speaker 1: turns out that is laughing gas, and everybody starts laughing, except,

1017
00:57:10,520 --> 00:57:13,840
Speaker 1: of course Diabolic and Eva, who took antidote pills before

1018
00:57:13,920 --> 00:57:14,759
Speaker 1: they did it.

1019
00:57:15,040 --> 00:57:16,440
Speaker 2: They have everything figured out.

1020
00:57:16,600 --> 00:57:18,720
Speaker 1: Terry Thomas says, he's certainly not going to make a

1021
00:57:18,760 --> 00:57:23,560
Speaker 1: fool of me. Then I can't stop laughing. Yes, he

1022
00:57:23,600 --> 00:57:26,080
Speaker 1: looks in It looks very foolish. Great Terry Thomas sequence.

1023
00:57:26,600 --> 00:57:29,320
Speaker 1: All right, So after this, Inspector Jinko he's got to

1024
00:57:29,320 --> 00:57:31,920
Speaker 1: come up with a plan to stop Diabolic once and

1025
00:57:32,040 --> 00:57:36,680
Speaker 1: for all. So here the movie introduces the character Valmont.

1026
00:57:36,800 --> 00:57:39,960
Speaker 1: We learned about him through newspaper headlines linking him to

1027
00:57:40,000 --> 00:57:43,800
Speaker 1: a bunch of crimes Jim theft, drug dealing, all that stuff,

1028
00:57:44,240 --> 00:57:47,200
Speaker 1: and he seems to be kind of the ultimate crime kingpin.

1029
00:57:47,640 --> 00:57:51,640
Speaker 1: And now Inspector Jinko is looking for him. Maybe maybe

1030
00:57:51,680 --> 00:57:56,400
Speaker 1: that's maybe somehow he can use Valmont to get to Diabolic.

1031
00:57:56,880 --> 00:57:59,800
Speaker 1: And here we get you know, somebody comes to Jenko

1032
00:57:59,840 --> 00:58:01,720
Speaker 1: and Inspector you know, we have a lead at one

1033
00:58:01,760 --> 00:58:06,560
Speaker 1: of Valmont's nightclubs. So here we're gonna go see a swinging,

1034
00:58:06,760 --> 00:58:10,960
Speaker 1: switched on sixties nightclub. I guess the movie isn't set

1035
00:58:11,040 --> 00:58:14,640
Speaker 1: in Italy, but I see some Italian sensibilities in how

1036
00:58:14,680 --> 00:58:17,200
Speaker 1: this hippie nightclub is realized.

1037
00:58:17,840 --> 00:58:20,240
Speaker 2: As best I can tell, this movie takes place in

1038
00:58:20,280 --> 00:58:24,800
Speaker 2: the country of Europe, Like it's never really clear, and

1039
00:58:24,800 --> 00:58:26,480
Speaker 2: I guess you're not supposed to think too long and

1040
00:58:26,520 --> 00:58:30,080
Speaker 2: hard about it. But yeah, the nightclub sequence is amazing.

1041
00:58:30,160 --> 00:58:35,920
Speaker 2: We got go go dancers, medieval troubadours, blurry lighting, dope,

1042
00:58:36,040 --> 00:58:41,120
Speaker 2: smoke gels, just an overall miasma of just hippie grooviness

1043
00:58:41,160 --> 00:58:43,200
Speaker 2: all through the Mario Bava lens.

1044
00:58:44,080 --> 00:58:47,680
Speaker 1: Yeah, the club seems to be part chemistry lab because

1045
00:58:47,720 --> 00:58:51,240
Speaker 1: there are glass beakers and tubes everywhere, but also a

1046
00:58:51,240 --> 00:58:55,960
Speaker 1: little bit secret Commonwealth themed, like there's over on in Titanya.

1047
00:58:56,080 --> 00:58:59,120
Speaker 1: They're dancing in the corner. And this is a club

1048
00:58:59,160 --> 00:59:01,560
Speaker 1: where if you're not careful and elf is going to

1049
00:59:01,560 --> 00:59:06,080
Speaker 1: make your cows sick. So we see various elfin and

1050
00:59:06,160 --> 00:59:10,960
Speaker 1: fairy looking people around. But then also there is a

1051
00:59:11,000 --> 00:59:12,960
Speaker 1: pirate playing guitar for good measure.

1052
00:59:14,520 --> 00:59:17,520
Speaker 2: Well't you lady chills out on a bed wearing flowers.

1053
00:59:17,600 --> 00:59:19,920
Speaker 1: Yeah, yeah, I think she's sort of the one of

1054
00:59:20,000 --> 00:59:22,000
Speaker 1: the one of the elf or fairy themed people. Like

1055
00:59:22,040 --> 00:59:25,040
Speaker 1: she's got the garlands of leaves and flowers all around her.

1056
00:59:25,120 --> 00:59:28,120
Speaker 1: She seems like a hidden folk of the forest.

1057
00:59:28,440 --> 00:59:29,240
Speaker 2: Yeah, that's right.

1058
00:59:29,560 --> 00:59:32,600
Speaker 1: But also the guy. So there's like loud music playing

1059
00:59:32,600 --> 00:59:34,880
Speaker 1: at the club because it's a dance club, you know,

1060
00:59:34,960 --> 00:59:38,120
Speaker 1: it's like deafening. And this guy's sitting here playing an

1061
00:59:38,160 --> 00:59:40,920
Speaker 1: acoustic guitar in a pirate hat. He can't hear himself

1062
00:59:40,960 --> 00:59:42,960
Speaker 1: play in this set. Why is he playing?

1063
00:59:43,840 --> 00:59:45,600
Speaker 2: You know? I guess it doesn't mean you can't noodle

1064
00:59:45,600 --> 00:59:48,600
Speaker 2: little bit. He's probably he's probably on the wacky.

1065
00:59:48,240 --> 00:59:51,800
Speaker 1: Weed, that's true. Also, this place has xylophone stairs. I've

1066
00:59:51,840 --> 00:59:54,480
Speaker 1: never seen xylophone stairs in reality before.

1067
00:59:55,640 --> 00:59:57,600
Speaker 2: Yeah, this is great, and then all we get the

1068
00:59:57,640 --> 01:00:00,680
Speaker 2: greatest blunt passing scene in the history of sen as well.

1069
01:00:01,000 --> 01:00:04,640
Speaker 1: Within the rotation is a guy who looks like William H. Macy,

1070
01:00:04,800 --> 01:00:07,800
Speaker 1: but then also a sequence of people who look like

1071
01:00:07,960 --> 01:00:11,680
Speaker 1: Mozart's Bad News Vienna Party friends in Amadeus.

1072
01:00:14,280 --> 01:00:17,360
Speaker 2: So anyway, this is Valmont's club. But you know, we

1073
01:00:17,360 --> 01:00:19,480
Speaker 2: don't get a sense that the club is bad. The

1074
01:00:19,520 --> 01:00:22,600
Speaker 2: club seems hip and groovy and so forth. But uh

1075
01:00:22,760 --> 01:00:26,120
Speaker 2: uh oh, something's about to happen. Here come the fizz.

1076
01:00:26,480 --> 01:00:28,760
Speaker 1: I think there's some drugs in this club. In fact,

1077
01:00:28,800 --> 01:00:31,480
Speaker 1: I know there are because we saw that that blunt rotation.

1078
01:00:31,640 --> 01:00:34,720
Speaker 1: So there there's a police raid on the club and

1079
01:00:35,360 --> 01:00:39,320
Speaker 1: this this gets the attention of Valmont, who again this

1080
01:00:39,400 --> 01:00:45,080
Speaker 1: is the largo from Thunderball Adolphocelli. So Valmont is finding

1081
01:00:45,120 --> 01:00:47,240
Speaker 1: out that the police are onto him and he does

1082
01:00:47,280 --> 01:00:51,240
Speaker 1: not like that. So we come. We go see Valmont

1083
01:00:51,280 --> 01:00:53,720
Speaker 1: on his boat. And as we said before, you Valmont

1084
01:00:53,800 --> 01:00:56,720
Speaker 1: is just he's the worst. You know, he makes Diabolic

1085
01:00:56,800 --> 01:00:57,320
Speaker 1: look great.

1086
01:00:58,360 --> 01:00:59,479
Speaker 2: Yeah, he's just a complete pick.

1087
01:01:00,040 --> 01:01:03,200
Speaker 1: So Valmont calls up Inspector Jinko with a proposal in

1088
01:01:03,280 --> 01:01:07,320
Speaker 1: exchange for leniency in his own police troubles. Valmont offers

1089
01:01:07,360 --> 01:01:11,600
Speaker 1: to help Jinko catch Diabolic. After all, it takes a

1090
01:01:11,600 --> 01:01:15,360
Speaker 1: thief to catch a thief, and Jinko is intrigued. So

1091
01:01:15,520 --> 01:01:18,120
Speaker 1: we get a scene on Valmont's airplane where he's meeting

1092
01:01:18,160 --> 01:01:21,640
Speaker 1: with the other members of his criminal syndicate and they're

1093
01:01:21,720 --> 01:01:24,640
Speaker 1: going to vote on whether to proceed with the plan

1094
01:01:25,240 --> 01:01:29,120
Speaker 1: to catch Diabolic. And you can tell there's some descent.

1095
01:01:29,320 --> 01:01:31,280
Speaker 1: There are those who vote against the plan because you

1096
01:01:31,320 --> 01:01:33,200
Speaker 1: don't want to mess with Diabolic.

1097
01:01:33,240 --> 01:01:35,320
Speaker 2: That's right. I mean, this is a dangerous guy. Not

1098
01:01:35,400 --> 01:01:38,800
Speaker 2: everyone wants wants to toy with him. You know, let's it.

1099
01:01:38,880 --> 01:01:40,840
Speaker 2: Let him do his thing. We just hope he ignores

1100
01:01:41,160 --> 01:01:41,720
Speaker 2: our stuff.

1101
01:01:42,160 --> 01:01:45,640
Speaker 1: So several members of the criminal syndicate vote against the plan,

1102
01:01:45,760 --> 01:01:49,560
Speaker 1: and Valmont responds by shooting them, and he also he

1103
01:01:49,600 --> 01:01:51,840
Speaker 1: shoots He accidentally shoots a hole in the fuselage of

1104
01:01:51,880 --> 01:01:54,560
Speaker 1: the plane, which one of his henchmen plugs with chewing gum.

1105
01:01:55,000 --> 01:01:57,960
Speaker 2: Yeah this is Joe, I believe cool Joe is henchman.

1106
01:01:58,600 --> 01:02:01,160
Speaker 1: Yes, Valmont. Also he tries to shoot one guy but

1107
01:02:01,200 --> 01:02:03,840
Speaker 1: I think he misses, and then the guy is begging

1108
01:02:03,880 --> 01:02:07,560
Speaker 1: for mercy. He's like, please, please, don't shoot, and Valmont says,

1109
01:02:07,600 --> 01:02:10,360
Speaker 1: since you said please, I won't shoot. So instead he

1110
01:02:10,440 --> 01:02:13,240
Speaker 1: presses a button on his desk which opens a trapdoor

1111
01:02:13,400 --> 01:02:18,320
Speaker 1: beneath the guy's feet and drops him out of the airplane.

1112
01:02:18,560 --> 01:02:22,360
Speaker 1: Ten out of ten bond villain trapdoor deployment. Here love

1113
01:02:22,360 --> 01:02:27,200
Speaker 1: a villain with a trap door. Absolutely, that's key villain infrastructure.

1114
01:02:27,800 --> 01:02:30,160
Speaker 2: Yeah, and it's going to come. It's gonna be important

1115
01:02:30,240 --> 01:02:31,040
Speaker 2: later on as well.

1116
01:02:31,240 --> 01:02:35,840
Speaker 1: That's right. So you know, now what's going on is

1117
01:02:35,880 --> 01:02:38,640
Speaker 1: we've got a dangerous and ruthless collection of violent crime

1118
01:02:38,680 --> 01:02:41,920
Speaker 1: bosses who are working together under Valmont's command to capture

1119
01:02:41,960 --> 01:02:55,120
Speaker 1: Diabolic and turn him over to the police. So on

1120
01:02:55,200 --> 01:02:57,200
Speaker 1: to the next act. We gotta have another heist. It's

1121
01:02:57,200 --> 01:02:59,800
Speaker 1: been a bit since we had a heist. So Diabolic

1122
01:02:59,800 --> 01:03:03,360
Speaker 1: and are watching TV together and he's like, oh, hey,

1123
01:03:03,400 --> 01:03:05,240
Speaker 1: your birthday is coming up. What do you want for

1124
01:03:05,280 --> 01:03:08,080
Speaker 1: your birthday? And right then we see a news report

1125
01:03:08,400 --> 01:03:12,000
Speaker 1: there are visiting diplomats i think from the UK coming

1126
01:03:12,040 --> 01:03:16,040
Speaker 1: to Europe wherever this is, uh, and one of them

1127
01:03:16,240 --> 01:03:21,120
Speaker 1: is going to be wearing the world famous Axon emerald necklace.

1128
01:03:21,640 --> 01:03:25,920
Speaker 1: And if this is a necklace with eleven totally unique

1129
01:03:26,000 --> 01:03:28,720
Speaker 1: giant emeralds in it. It's one of the most valuable

1130
01:03:28,720 --> 01:03:31,320
Speaker 1: pieces of jewelry in the world. And they'll be staying

1131
01:03:31,320 --> 01:03:33,800
Speaker 1: at Saint just Castle. So the news report is like,

1132
01:03:33,840 --> 01:03:35,560
Speaker 1: here's where you can find them if you would like

1133
01:03:35,600 --> 01:03:39,600
Speaker 1: to steal these emeralds, and ava she sees them, She's like, ooh,

1134
01:03:39,720 --> 01:03:43,920
Speaker 1: those emeralds, and you can just see Diabolic. He squints.

1135
01:03:43,480 --> 01:03:45,920
Speaker 1: He's working it out already in his mind.

1136
01:03:46,440 --> 01:03:49,040
Speaker 2: Again, he will steal anything for love, and he will

1137
01:03:49,120 --> 01:03:50,480
Speaker 2: absolutely steal that.

1138
01:03:50,480 --> 01:03:55,080
Speaker 1: That's right. So next we see Diabolic and Eva doing

1139
01:03:55,160 --> 01:03:58,080
Speaker 1: some kind of role play outside the castle. He like

1140
01:03:58,160 --> 01:04:01,160
Speaker 1: drives up in a car. She apparently he has disguised

1141
01:04:01,160 --> 01:04:04,600
Speaker 1: herself as a sex worker and done some recon inside

1142
01:04:04,600 --> 01:04:07,960
Speaker 1: the castle and it's full. She reports, Okay, here's what

1143
01:04:08,040 --> 01:04:10,880
Speaker 1: she figured out. Is full of police. They're disguised as waiters,

1144
01:04:10,880 --> 01:04:14,960
Speaker 1: many of them wearing wigs. Uh. There are guards outside

1145
01:04:14,960 --> 01:04:20,080
Speaker 1: with rifles. There are CCTV cameras everywhere. Looks basically impossible,

1146
01:04:20,480 --> 01:04:21,720
Speaker 1: but not for Diabolic.

1147
01:04:22,280 --> 01:04:26,000
Speaker 2: Yep. They just love the challenge. They're in it for

1148
01:04:26,040 --> 01:04:28,240
Speaker 2: the fun. They're they're they're in they enjoy their.

1149
01:04:28,120 --> 01:04:31,440
Speaker 1: Work, that's right. And uh he oh. She says, I

1150
01:04:31,480 --> 01:04:34,680
Speaker 1: didn't see Inspector Jinko there, and he says, if you

1151
01:04:34,720 --> 01:04:36,520
Speaker 1: didn't see him, that means he's there.

1152
01:04:37,320 --> 01:04:40,480
Speaker 2: M the reverse is also true, I guess, I.

1153
01:04:40,440 --> 01:04:44,400
Speaker 1: Guess so uh but so uh oh. It's not just

1154
01:04:44,440 --> 01:04:47,040
Speaker 1: the police who are involved in this trap. Valmont has

1155
01:04:47,200 --> 01:04:52,400
Speaker 1: recruited women who saw Eva snooping around snooping around the castle,

1156
01:04:52,720 --> 01:04:55,200
Speaker 1: and he knows that this woman they saw must be

1157
01:04:55,320 --> 01:04:59,280
Speaker 1: the infamous Eva can't partner in crime to diabolic himself,

1158
01:04:59,320 --> 01:05:01,360
Speaker 1: he figures that out. So he's like, if we can

1159
01:05:01,400 --> 01:05:04,560
Speaker 1: find her, we can get to him. So he wants

1160
01:05:04,640 --> 01:05:07,560
Speaker 1: the women who saw her to describe her, and then

1161
01:05:07,600 --> 01:05:13,400
Speaker 1: we get this bizarre looking, amazing animated scene where they're

1162
01:05:13,440 --> 01:05:17,200
Speaker 1: doing like a forensic reconstruction of Eva's face with the

1163
01:05:17,240 --> 01:05:18,400
Speaker 1: help of this computer.

1164
01:05:19,640 --> 01:05:22,800
Speaker 2: Yeah. I didn't remember this sequence from the MST three

1165
01:05:22,880 --> 01:05:24,840
Speaker 2: K episode, which I haven't seen in a very long

1166
01:05:24,880 --> 01:05:26,520
Speaker 2: time anyway, so I don't know if it was in

1167
01:05:26,560 --> 01:05:28,960
Speaker 2: there or it was cut, but I was when they

1168
01:05:29,000 --> 01:05:30,840
Speaker 2: started rolling this out. I'm like, Okay, we're going to

1169
01:05:30,920 --> 01:05:34,720
Speaker 2: have a forensic sketch sequence and whatever. I mean, maybe

1170
01:05:34,760 --> 01:05:38,360
Speaker 2: I'll check my notes, but no, it's amazing. It's like, whoever,

1171
01:05:38,440 --> 01:05:42,120
Speaker 2: I don't know whose decision this was and everything, but

1172
01:05:42,320 --> 01:05:45,240
Speaker 2: like they this is great. This is a great use

1173
01:05:45,480 --> 01:05:47,920
Speaker 2: of what would otherwise be a throwaway sequence.

1174
01:05:47,840 --> 01:05:51,720
Speaker 1: Totally fast cuts, mixing and matching different facial elements. It's

1175
01:05:51,760 --> 01:05:54,600
Speaker 1: kind of like rapidly clicking the randomized button on a

1176
01:05:54,680 --> 01:05:57,240
Speaker 1: video game character creator mm hmm.

1177
01:05:57,480 --> 01:05:58,240
Speaker 2: Yeah.

1178
01:05:58,280 --> 01:06:01,480
Speaker 1: But then finally they zero in on a drawing of Eva.

1179
01:06:01,640 --> 01:06:06,040
Speaker 1: That's her and Valmont's the next part. I've seen this

1180
01:06:06,120 --> 01:06:09,080
Speaker 1: couple times recently and I still never caught exactly how

1181
01:06:09,120 --> 01:06:12,720
Speaker 1: he does this. Valmont manages to somehow get in contact

1182
01:06:12,760 --> 01:06:17,840
Speaker 1: with Eva's doctor, and he's going to use Eva's doctor

1183
01:06:18,360 --> 01:06:21,919
Speaker 1: to find Eva and then use Eva to catch diabolic Yeah.

1184
01:06:21,920 --> 01:06:26,000
Speaker 2: I'm not sure what the connection here is. Like there's

1185
01:06:26,200 --> 01:06:29,240
Speaker 2: did he go to every doctor in town and say, hey,

1186
01:06:29,240 --> 01:06:31,280
Speaker 2: I'm looking for this lady. Have you seen this lady?

1187
01:06:31,440 --> 01:06:33,840
Speaker 2: You're a doctor, right, you see lady patients. I don't know,

1188
01:06:33,880 --> 01:06:36,200
Speaker 2: it's not explained. There's a lot that's not explained in

1189
01:06:36,200 --> 01:06:39,400
Speaker 2: this movie, but most of it you don't really pause

1190
01:06:39,440 --> 01:06:42,320
Speaker 2: to question. Don't worry about it. Yeah, and I guess

1191
01:06:42,320 --> 01:06:43,640
Speaker 2: this you might as well just roll with it. But

1192
01:06:43,800 --> 01:06:47,360
Speaker 2: somehow he's able to make some connection and he starts

1193
01:06:47,440 --> 01:06:49,480
Speaker 2: knocking on who turns out to a guy who turns

1194
01:06:49,480 --> 01:06:52,200
Speaker 2: out to be her doctor, and ask, hey, have you

1195
01:06:52,240 --> 01:06:52,880
Speaker 2: seen this lady?

1196
01:06:53,800 --> 01:06:56,040
Speaker 1: He tries to cover for her. He tries to lie

1197
01:06:56,080 --> 01:06:58,440
Speaker 1: and say no, I don't know her, but that'll come

1198
01:06:58,480 --> 01:06:59,840
Speaker 1: back to bite him.

1199
01:07:00,280 --> 01:07:02,520
Speaker 2: I think maybe the idea is he's a doctor who

1200
01:07:02,600 --> 01:07:04,080
Speaker 2: only works with criminals.

1201
01:07:04,120 --> 01:07:05,760
Speaker 1: I don't know, Oh that might be it.

1202
01:07:05,880 --> 01:07:10,440
Speaker 2: Yeah, but even then this is a tenuous connection at best.

1203
01:07:10,760 --> 01:07:13,040
Speaker 1: Okay, Meanwhile, the heist has got to go on, so

1204
01:07:13,080 --> 01:07:15,520
Speaker 1: we got to check back in with Diabolic and Eva

1205
01:07:15,560 --> 01:07:17,600
Speaker 1: as there. You know, he's gonna Diabolic is going to

1206
01:07:17,640 --> 01:07:20,560
Speaker 1: be trying to get into the Just Castle. And there

1207
01:07:20,600 --> 01:07:22,600
Speaker 1: was a cool moment I don't know if you caught this,

1208
01:07:22,640 --> 01:07:25,440
Speaker 1: where there's like a juxtaposition of showing Eva in the

1209
01:07:25,520 --> 01:07:29,120
Speaker 1: car with her eyes reflected in the rear view mirror,

1210
01:07:29,280 --> 01:07:32,040
Speaker 1: and there's like all this dark shadowy stuff outside of

1211
01:07:32,120 --> 01:07:34,640
Speaker 1: the windshield ahead of her, and it's kind of framing

1212
01:07:34,680 --> 01:07:39,480
Speaker 1: her eyes the same way that diabolics suit frames his eyes,

1213
01:07:39,560 --> 01:07:41,720
Speaker 1: and then it like cuts between them. So I thought

1214
01:07:41,760 --> 01:07:42,520
Speaker 1: that was cool.

1215
01:07:42,840 --> 01:07:44,520
Speaker 2: Oh yeah, that that was cool. And then also, I

1216
01:07:44,520 --> 01:07:47,880
Speaker 2: mean it also bears mentioning that Mario Bava, you know

1217
01:07:47,920 --> 01:07:49,480
Speaker 2: you're in a Mario Bava film when you have a

1218
01:07:49,520 --> 01:07:53,400
Speaker 2: lot of these shots of things seen through other portals

1219
01:07:53,480 --> 01:07:57,040
Speaker 2: or windows, a lot of shots of things seen in reflection.

1220
01:07:57,960 --> 01:07:59,920
Speaker 2: He really makes great use of these effects.

1221
01:08:00,120 --> 01:08:02,920
Speaker 1: All right, So Diabolic swims up to the shore outside

1222
01:08:02,960 --> 01:08:06,000
Speaker 1: the castle and he goes onto the beach. He takes

1223
01:08:06,000 --> 01:08:08,360
Speaker 1: out some of the guards, and here maybe we should

1224
01:08:08,400 --> 01:08:12,240
Speaker 1: discuss the morality of Diabolic in this movie, because Diabolic

1225
01:08:12,440 --> 01:08:15,640
Speaker 1: does kill people who are not necessarily like criminals or

1226
01:08:15,680 --> 01:08:18,840
Speaker 1: people trying to kill him. This is a harder edged

1227
01:08:18,960 --> 01:08:22,360
Speaker 1: criminal anti hero than we might be used to. So

1228
01:08:22,400 --> 01:08:25,720
Speaker 1: he throws knives into guards throats to and kills them

1229
01:08:25,800 --> 01:08:28,080
Speaker 1: just to get past them to get to the necklace.

1230
01:08:28,800 --> 01:08:31,640
Speaker 1: And in this scene, with like the framing and the costume,

1231
01:08:31,720 --> 01:08:35,160
Speaker 1: he looks absolutely evil, and clearly he is supposed to.

1232
01:08:35,880 --> 01:08:38,960
Speaker 1: So I don't know, I feel like the tendency now

1233
01:08:39,040 --> 01:08:43,640
Speaker 1: for anti heroes is to is to have them be

1234
01:08:43,800 --> 01:08:46,960
Speaker 1: less anti you know, to be they wouldn't kill somebody

1235
01:08:47,000 --> 01:08:47,960
Speaker 1: who wasn't in the game.

1236
01:08:48,360 --> 01:08:50,439
Speaker 2: Yeah, they wouldn't shoot first, right, that's yeah.

1237
01:08:50,479 --> 01:08:52,840
Speaker 1: But he does. He does. He's just like, these are

1238
01:08:52,880 --> 01:08:55,679
Speaker 1: just people in his way and he's throwing throwing knives

1239
01:08:55,680 --> 01:08:56,439
Speaker 1: into their necks.

1240
01:08:57,120 --> 01:08:59,759
Speaker 2: Was like your observation earlier. Yeah, he's a bird of prey.

1241
01:09:00,120 --> 01:09:03,280
Speaker 2: He is dangerous. He's a loner though outside of his

1242
01:09:03,439 --> 01:09:06,559
Speaker 2: life mate, you know, no one else really means anything

1243
01:09:06,600 --> 01:09:07,040
Speaker 2: to him.

1244
01:09:07,479 --> 01:09:12,440
Speaker 1: That's right. So this Diabolic is not Robinhood yet.

1245
01:09:12,120 --> 01:09:15,800
Speaker 2: Right, and he'll only kind of later on the film.

1246
01:09:15,800 --> 01:09:18,679
Speaker 2: He may get into some Robinhood territory, but not because

1247
01:09:18,680 --> 01:09:20,760
Speaker 2: he really just wants to help everybody. There are other

1248
01:09:20,800 --> 01:09:22,680
Speaker 2: motives and situations that lead to that.

1249
01:09:22,920 --> 01:09:25,280
Speaker 1: Yeah, maybe he wants to help people, maybe he just

1250
01:09:25,320 --> 01:09:26,320
Speaker 1: wants to get revenge.

1251
01:09:26,920 --> 01:09:30,479
Speaker 2: M oh, but this is when we get limited edition

1252
01:09:30,560 --> 01:09:33,679
Speaker 2: white Diabolic. He's in the black suit.

1253
01:09:33,960 --> 01:09:36,400
Speaker 1: Yeah, do you think that was supposed to be functional?

1254
01:09:36,439 --> 01:09:38,840
Speaker 1: Like he blends in better with the wall that he's

1255
01:09:38,840 --> 01:09:40,360
Speaker 1: going to be climbing in the white suit.

1256
01:09:40,920 --> 01:09:43,240
Speaker 2: I think that's the idea. But also, of course it's

1257
01:09:43,280 --> 01:09:45,919
Speaker 2: just visually appealing. It's like it's just snazzy.

1258
01:09:46,320 --> 01:09:48,200
Speaker 1: Okay, here we are at the heist. He comes to

1259
01:09:48,240 --> 01:09:50,479
Speaker 1: the tower where the diplomats are staying at the top,

1260
01:09:50,840 --> 01:09:53,160
Speaker 1: and the emeralds are on the table in their room.

1261
01:09:54,000 --> 01:09:57,040
Speaker 1: But the emeralds have been placed in a very special location.

1262
01:09:57,400 --> 01:09:59,599
Speaker 1: Inspector Jinko is in there and he's he places them

1263
01:09:59,640 --> 01:10:03,960
Speaker 1: right in front of a police CCTV camera. So how

1264
01:10:04,040 --> 01:10:06,240
Speaker 1: is diabolic going to get them? Well, first, how's he

1265
01:10:06,280 --> 01:10:07,320
Speaker 1: going to get up that wall?

1266
01:10:08,200 --> 01:10:10,800
Speaker 2: Well, he pulls out some suction cup devices. We were

1267
01:10:10,800 --> 01:10:14,360
Speaker 2: just talking about this in our episodes on stickiness. He

1268
01:10:14,400 --> 01:10:16,640
Speaker 2: has these suction cup things that are you hold with

1269
01:10:16,680 --> 01:10:21,519
Speaker 2: your hands and they allow him to stick to stone. Yeah.

1270
01:10:21,520 --> 01:10:23,639
Speaker 1: I don't know about that. I think the stone looks

1271
01:10:23,680 --> 01:10:25,559
Speaker 1: a little too rough for a suction cup to work.

1272
01:10:26,600 --> 01:10:28,800
Speaker 2: But within the context of the film, it works, and

1273
01:10:28,840 --> 01:10:32,759
Speaker 2: he's able to scale that the sheer surface of that tower.

1274
01:10:33,240 --> 01:10:35,759
Speaker 1: He's diabolic, he can do anything. So, yes, the suction

1275
01:10:35,800 --> 01:10:38,679
Speaker 1: cups work. He climbs the tower. He goes in through

1276
01:10:38,720 --> 01:10:42,200
Speaker 1: the window. He hears the diplomats argue is the it's

1277
01:10:42,240 --> 01:10:45,000
Speaker 1: the husband and wife who are the diplomats and they're

1278
01:10:45,000 --> 01:10:48,240
Speaker 1: in the bedroom arguing. The old guy says like, have

1279
01:10:48,320 --> 01:10:51,719
Speaker 1: you arranged my toy soldiers again? Where is my general

1280
01:10:51,800 --> 01:10:53,840
Speaker 1: under the bed? And she goes, you can play with

1281
01:10:53,880 --> 01:10:55,040
Speaker 1: your general in the morning.

1282
01:10:55,800 --> 01:10:57,960
Speaker 2: I don't know why he brought his minis on a trip.

1283
01:10:58,000 --> 01:11:00,639
Speaker 2: I mean, it's always tempting, but you gotta you got

1284
01:11:00,640 --> 01:11:01,280
Speaker 2: to scale back.

1285
01:11:01,880 --> 01:11:05,840
Speaker 1: So Diabolic goes into the room with the emeralds, but

1286
01:11:05,960 --> 01:11:10,360
Speaker 1: he realizes that the necklace is being monitored by CCTV camera.

1287
01:11:10,640 --> 01:11:13,600
Speaker 1: So how's he gonna get him? Obviously he's going to

1288
01:11:13,600 --> 01:11:15,400
Speaker 1: be seen if he goes to get it. What's he

1289
01:11:15,439 --> 01:11:15,800
Speaker 1: gonna do?

1290
01:11:16,479 --> 01:11:20,640
Speaker 2: Photo trickery? Sneak up there, get it, take a polaroid,

1291
01:11:20,920 --> 01:11:23,360
Speaker 2: and then use a little dou dad to position the

1292
01:11:23,360 --> 01:11:26,320
Speaker 2: polaroid in front of the camera. I feel like this

1293
01:11:26,360 --> 01:11:28,600
Speaker 2: is this is a scheme that has been utilized in

1294
01:11:28,640 --> 01:11:31,040
Speaker 2: some other films as well. I just can't remember which

1295
01:11:31,040 --> 01:11:31,720
Speaker 2: ones off hand.

1296
01:11:31,880 --> 01:11:33,559
Speaker 1: Oh they do the same thing in all the modern

1297
01:11:33,600 --> 01:11:34,759
Speaker 1: Mission impossible movies.

1298
01:11:34,800 --> 01:11:35,120
Speaker 4: Oh they do.

1299
01:11:35,360 --> 01:11:35,479
Speaker 2: Ok.

1300
01:11:35,600 --> 01:11:39,000
Speaker 1: Yeah, they'll put like a video, a video playback or

1301
01:11:39,000 --> 01:11:42,080
Speaker 1: a picture or something in front of a of a

1302
01:11:42,120 --> 01:11:46,880
Speaker 1: security camera and it works every time. All right, So

1303
01:11:47,080 --> 01:11:50,479
Speaker 1: Diabolic gets the necklace, but then soon after he gets it,

1304
01:11:50,520 --> 01:11:52,639
Speaker 1: the police are onto him and a chase breaks out.

1305
01:11:53,000 --> 01:11:55,920
Speaker 1: He is pursued up the spiraling stairwell to the roof

1306
01:11:56,000 --> 01:11:58,280
Speaker 1: of the castle and then he gets there, he's cornered.

1307
01:11:58,360 --> 01:12:00,600
Speaker 1: The police are they'll be there any see. He's on

1308
01:12:00,640 --> 01:12:02,679
Speaker 1: the roof. What's he gonna do? How will he escape?

1309
01:12:02,840 --> 01:12:08,799
Speaker 1: And then suddenly we see Diabolic lock eyes on a catapult.

1310
01:12:09,240 --> 01:12:12,000
Speaker 1: For a moment, I was like what, And so the

1311
01:12:12,280 --> 01:12:14,800
Speaker 1: police rush up on a rush up onto the roof.

1312
01:12:15,000 --> 01:12:17,519
Speaker 1: We see the catapult fling out something that looks like

1313
01:12:17,600 --> 01:12:21,479
Speaker 1: Diabolic and they shoot at it and they they're like,

1314
01:12:21,520 --> 01:12:24,280
Speaker 1: I think I got him. But then they as they

1315
01:12:24,360 --> 01:12:27,639
Speaker 1: leave the roof, we get a catapult fake out where

1316
01:12:27,640 --> 01:12:31,720
Speaker 1: a naked Diabolic now peeks up from behind the catapult

1317
01:12:31,960 --> 01:12:36,640
Speaker 1: and he apparently launched his limited edition white Diabolic catsuit

1318
01:12:36,800 --> 01:12:40,679
Speaker 1: by itself in the catapult and they just shot his clothes.

1319
01:12:40,960 --> 01:12:44,120
Speaker 2: Oh wow, perfect perfect master of strategy.

1320
01:12:44,439 --> 01:12:47,000
Speaker 1: So Diabolic and Eva escape by car. I guess they

1321
01:12:47,040 --> 01:12:49,200
Speaker 1: got a new black Jaguar after they blew up the

1322
01:12:49,280 --> 01:12:49,880
Speaker 1: last one.

1323
01:12:50,240 --> 01:12:51,880
Speaker 2: Oh they have, Yeah, they have, Like they buy him

1324
01:12:51,880 --> 01:12:54,639
Speaker 2: by the dozen. We saw a whole rows of them

1325
01:12:54,760 --> 01:12:56,120
Speaker 2: in the Layer.

1326
01:12:56,400 --> 01:12:58,559
Speaker 1: The vibes in this movie and in this scene are

1327
01:12:58,640 --> 01:13:01,680
Speaker 1: so good. The feeling of freedom and fun as they

1328
01:13:01,720 --> 01:13:04,360
Speaker 1: are escaping with the emerald necklace in the scene and

1329
01:13:04,640 --> 01:13:08,400
Speaker 1: as they like put up a this like mirror across

1330
01:13:08,439 --> 01:13:11,680
Speaker 1: the roadway to fool the cars that are chasing them.

1331
01:13:12,120 --> 01:13:16,400
Speaker 2: Yes, yeah, all the wonderful technology they utilize. And yeah,

1332
01:13:16,439 --> 01:13:19,280
Speaker 2: the youthful rebellion energy of this film is really strong,

1333
01:13:19,439 --> 01:13:22,040
Speaker 2: because you know, certainly there's the hippie vibe and all

1334
01:13:22,080 --> 01:13:24,680
Speaker 2: of the late sixties, but also at heart, we have

1335
01:13:24,760 --> 01:13:27,640
Speaker 2: a pair of young lovers, our power couple here for

1336
01:13:27,760 --> 01:13:30,880
Speaker 2: whom all this crime is mere for play, for whom

1337
01:13:30,920 --> 01:13:33,400
Speaker 2: money is a mere tool in their romance. While at

1338
01:13:33,400 --> 01:13:37,479
Speaker 2: the same time money is just the all consuming and

1339
01:13:37,560 --> 01:13:41,439
Speaker 2: all corrupting power of the elder authorities on both sides

1340
01:13:41,439 --> 01:13:45,040
Speaker 2: of the law. So their enemies, law and crime, now

1341
01:13:45,200 --> 01:13:49,360
Speaker 2: united and maybe not that dissimilar, are coming after their love.

1342
01:13:50,080 --> 01:13:53,920
Speaker 2: But I think we'll find that they underestimate the power

1343
01:13:54,040 --> 01:13:57,800
Speaker 2: of their love. So very strong our love versus the

1344
01:13:57,840 --> 01:13:59,559
Speaker 2: world vibes in this movie.

1345
01:13:59,680 --> 01:14:03,479
Speaker 1: I think that's an excellent, correct and profound interpretation. Yeah,

1346
01:14:03,479 --> 01:14:06,879
Speaker 1: that's exactly what's going on. So the only real threat

1347
01:14:06,960 --> 01:14:10,960
Speaker 1: to Diabolic and Eva is a threat to their integrity

1348
01:14:10,960 --> 01:14:14,479
Speaker 1: as a couple. So here we get the next attack.

1349
01:14:14,960 --> 01:14:17,120
Speaker 1: The next act, Eva is kidnapped.

1350
01:14:18,360 --> 01:14:21,720
Speaker 2: Yeah, the whole doctor's angle thing pays off, and he

1351
01:14:21,800 --> 01:14:25,280
Speaker 2: shows up with his goons. They murder the doctor and

1352
01:14:25,320 --> 01:14:26,240
Speaker 2: they kidnap Eva.

1353
01:14:27,120 --> 01:14:30,240
Speaker 1: That's right, Valmont personally shows up at the doctor's office

1354
01:14:30,280 --> 01:14:33,400
Speaker 1: to kill the doctor by shooting him with a machine

1355
01:14:33,439 --> 01:14:36,679
Speaker 1: gun in an ex pattern. And I think he says,

1356
01:14:36,760 --> 01:14:38,840
Speaker 1: like I told you, I would mark your name off

1357
01:14:38,880 --> 01:14:43,240
Speaker 1: of the human register. And so, of course, now Eva's

1358
01:14:43,240 --> 01:14:46,479
Speaker 1: been kidnapped, Diabolic will do anything to save her. So

1359
01:14:46,560 --> 01:14:50,120
Speaker 1: he calls Valmont. Apparently Velmont placed like an ad in

1360
01:14:50,160 --> 01:14:54,400
Speaker 1: the classifieds trying to sell her jaguar, her jaguar, and

1361
01:14:54,439 --> 01:14:58,000
Speaker 1: that is how Diabolic knows who to contact. He calls

1362
01:14:58,040 --> 01:15:01,160
Speaker 1: him up. He says, what do you want? And Valmont says,

1363
01:15:01,200 --> 01:15:04,720
Speaker 1: I want ten million dollars plus an emerald necklace, and

1364
01:15:04,800 --> 01:15:09,240
Speaker 1: so Diabolic says, I will pay. So Valmont lures Diabolic

1365
01:15:09,280 --> 01:15:11,920
Speaker 1: onto his private airplane, the one, the one with the

1366
01:15:11,960 --> 01:15:13,960
Speaker 1: trap door in the floor that'll launch you out of

1367
01:15:14,000 --> 01:15:18,240
Speaker 1: the fuselage. So Diabolic brings the money, he brings the necklace.

1368
01:15:18,280 --> 01:15:21,240
Speaker 1: But but what happens here? We get another great reversal?

1369
01:15:22,080 --> 01:15:25,920
Speaker 2: Oh yeah, because you know Valmont could shoot him right

1370
01:15:25,920 --> 01:15:28,000
Speaker 2: there on the plane, right he could drop him out

1371
01:15:28,040 --> 01:15:30,400
Speaker 2: of that that that trap door, and it looks like

1372
01:15:30,439 --> 01:15:33,080
Speaker 2: that's where it's going. But then no, I mean, he's

1373
01:15:33,240 --> 01:15:35,240
Speaker 2: Valmont's too cruel and evil for this. He has some

1374
01:15:35,280 --> 01:15:37,559
Speaker 2: other kind of scheme in mind, it would seem. But

1375
01:15:37,600 --> 01:15:39,320
Speaker 2: on the other level, we also know he's working with

1376
01:15:39,360 --> 01:15:44,160
Speaker 2: the police. He this whole thing, this whole this whole

1377
01:15:44,200 --> 01:15:48,720
Speaker 2: cooperation is about turning Diabolic over alive to law enforcement.

1378
01:15:49,000 --> 01:15:50,760
Speaker 2: So he's like, no, if you want Eva, you need

1379
01:15:50,760 --> 01:15:53,519
Speaker 2: to take this parachute and jump out of the trap door.

1380
01:15:54,000 --> 01:15:58,440
Speaker 2: He opens the trap door, but then oh crap, Diabolic

1381
01:15:58,880 --> 01:16:01,920
Speaker 2: has he has the the parachute on and he grabs

1382
01:16:02,000 --> 01:16:04,880
Speaker 2: Valmont and then pulls him with him as they both

1383
01:16:05,120 --> 01:16:08,360
Speaker 2: fall out of the airplane and then as they're plummeting,

1384
01:16:08,520 --> 01:16:10,439
Speaker 2: the airplane explodes above them.

1385
01:16:10,800 --> 01:16:14,320
Speaker 1: That's right, so Diabolic says, I brought a magnetic I

1386
01:16:14,320 --> 01:16:16,800
Speaker 1: guess a bomb with him to blow up the airplane.

1387
01:16:17,360 --> 01:16:20,679
Speaker 1: And now he's got Valmont. He's like interrogating Valmont as

1388
01:16:20,680 --> 01:16:23,639
Speaker 1: they're plummeting through the air about like, you know, who's

1389
01:16:23,840 --> 01:16:26,120
Speaker 1: are the police down there? And he admits, yes they are.

1390
01:16:26,240 --> 01:16:28,160
Speaker 1: Is Eva down there? And he says, yes, she is,

1391
01:16:28,640 --> 01:16:31,799
Speaker 1: So they parachute into this trap, and Diabolic does manage

1392
01:16:31,800 --> 01:16:34,920
Speaker 1: to rescue Eva, but the police are waiting for him,

1393
01:16:34,960 --> 01:16:37,920
Speaker 1: so he sends Eva off on her own to escape

1394
01:16:37,920 --> 01:16:40,320
Speaker 1: while he draws the fire of the police. And then

1395
01:16:40,320 --> 01:16:43,719
Speaker 1: there's a big shootout the police and the Valmont, the Valmont.

1396
01:16:43,760 --> 01:16:46,519
Speaker 1: The police and Valmont on one side, Diabolic on the other.

1397
01:16:46,600 --> 01:16:50,439
Speaker 1: They've got him surrounded and at one point Diabolic seems

1398
01:16:50,479 --> 01:16:53,519
Speaker 1: out of ammo or something maybe, but he has an idea.

1399
01:16:53,640 --> 01:16:55,439
Speaker 1: You see him look at like the clip on his

1400
01:16:55,600 --> 01:16:58,920
Speaker 1: machine gun, and then the voices going backwards up the

1401
01:16:58,920 --> 01:17:01,599
Speaker 1: slide play and ooh, you know, the hair is raised

1402
01:17:01,640 --> 01:17:03,840
Speaker 1: on the back of my neck. Something good's gonna happen.

1403
01:17:04,400 --> 01:17:08,000
Speaker 1: Diabolic pops out and he shoots Valmont dead, and then

1404
01:17:08,000 --> 01:17:10,240
Speaker 1: you see him take some kind of pill. So the

1405
01:17:10,280 --> 01:17:13,640
Speaker 1: police come and find him, and Diabolic himself appears to

1406
01:17:13,640 --> 01:17:17,240
Speaker 1: be dead when they find him, and we see Inspector

1407
01:17:17,320 --> 01:17:20,200
Speaker 1: Jenko later he's talking to a colleague of his saying,

1408
01:17:20,280 --> 01:17:22,240
Speaker 1: in a way it says, though he's become part of

1409
01:17:22,280 --> 01:17:25,439
Speaker 1: my life. I can't believe he's really dead. And you

1410
01:17:25,479 --> 01:17:28,479
Speaker 1: know what, Inspector, I can't believe it either. I don't

1411
01:17:28,520 --> 01:17:29,240
Speaker 1: think he is.

1412
01:17:29,960 --> 01:17:32,280
Speaker 2: We thought he was dead at least one other time

1413
01:17:32,320 --> 01:17:34,280
Speaker 2: in the film. It seems like it's probably something that

1414
01:17:34,320 --> 01:17:36,479
Speaker 2: happens every time he pulls off Highes.

1415
01:17:36,800 --> 01:17:39,120
Speaker 1: That's right. So we later we're in the morgue and

1416
01:17:39,160 --> 01:17:43,080
Speaker 1: we see doctors preparing Diabolic's body for an autopsy. But

1417
01:17:43,280 --> 01:17:45,320
Speaker 1: just as the scalpel is about to go in, his

1418
01:17:45,400 --> 01:17:50,240
Speaker 1: eyes pop open. Oh, Diabolic is still alive, and one

1419
01:17:50,280 --> 01:17:53,880
Speaker 1: of the doctors is Eva in disguise, and we get

1420
01:17:53,920 --> 01:17:57,920
Speaker 1: a whole explanation. Diabolic says he used a pill that

1421
01:17:58,200 --> 01:18:01,920
Speaker 1: was I think originally used by Tibetan lamas to enter

1422
01:18:01,960 --> 01:18:04,360
Speaker 1: a state of apparent death, and he says, if you

1423
01:18:04,479 --> 01:18:07,280
Speaker 1: let it go for twenty four hours without the antidote,

1424
01:18:07,400 --> 01:18:11,280
Speaker 1: the death becomes permanent and real. But Eva delivered the

1425
01:18:11,320 --> 01:18:13,800
Speaker 1: antidote just in time to save him. She got there

1426
01:18:13,880 --> 01:18:15,840
Speaker 1: just like with seconds to spare.

1427
01:18:16,479 --> 01:18:18,360
Speaker 2: They like to play it close to the edge. Oh.

1428
01:18:18,360 --> 01:18:19,920
Speaker 1: But then he gets back on the table and they

1429
01:18:19,920 --> 01:18:21,760
Speaker 1: cover him up with the cloth and she wheels him

1430
01:18:21,760 --> 01:18:24,840
Speaker 1: out through the crowd of police and reporters, which was hilarious.

1431
01:18:25,560 --> 01:18:28,719
Speaker 1: Then if that wasn't a good enough twist, a second twist,

1432
01:18:28,840 --> 01:18:31,880
Speaker 1: which is just amazing. So there's a moment where the

1433
01:18:31,920 --> 01:18:35,080
Speaker 1: police are talking about Valmont's death as well. They're like, oh,

1434
01:18:35,080 --> 01:18:37,960
Speaker 1: we got the reports from his autopsy. Turns out he

1435
01:18:38,080 --> 01:18:42,840
Speaker 1: died of eleven gunshot wounds. And then Inspector Jenko, you see,

1436
01:18:42,840 --> 01:18:45,599
Speaker 1: if we get like his inner monologue, he says, eleven bullets,

1437
01:18:46,080 --> 01:18:50,320
Speaker 1: eleven emeralds, there were eleven emeralds on the necklace, and

1438
01:18:50,400 --> 01:18:53,960
Speaker 1: then cut to Diabolic, already at the morgue, pretending to

1439
01:18:54,000 --> 01:18:57,960
Speaker 1: be a relative of Valmont's, talking to the funeral director,

1440
01:18:58,000 --> 01:19:03,120
Speaker 1: saying like he was really a good ploy Valmont's. He's

1441
01:19:03,120 --> 01:19:07,240
Speaker 1: there to collect Valmont's ashes, which now contain the emeralds

1442
01:19:07,320 --> 01:19:11,839
Speaker 1: that Diabolic I think somehow used as bullets to shoot

1443
01:19:11,880 --> 01:19:15,519
Speaker 1: into Valmont's body back in the desert that they parachuted into.

1444
01:19:15,960 --> 01:19:18,240
Speaker 2: And now I think, I think that's the idea. As

1445
01:19:18,320 --> 01:19:20,320
Speaker 2: ridiculous as that is, I think that's what happened.

1446
01:19:20,680 --> 01:19:24,679
Speaker 1: That is that's an all time like top five movie twist.

1447
01:19:25,720 --> 01:19:27,400
Speaker 2: We don't understand it, but we're not as good with

1448
01:19:27,479 --> 01:19:29,920
Speaker 2: guns as Diabolic, Like he knows what he's doing.

1449
01:19:30,120 --> 01:19:33,719
Speaker 1: He used the emeralds as bullets. So wait a minute,

1450
01:19:33,800 --> 01:19:35,760
Speaker 1: the main villain is dealt with, and there's like a

1451
01:19:35,800 --> 01:19:37,360
Speaker 1: whole other act of the movie to go.

1452
01:19:38,240 --> 01:19:39,960
Speaker 2: Yeah, I mean a lot of film's going to just

1453
01:19:40,040 --> 01:19:43,840
Speaker 2: call it here, and but it's clearly not presented with

1454
01:19:43,920 --> 01:19:46,640
Speaker 2: that kind of like movie capping finale kind of a

1455
01:19:46,680 --> 01:19:48,920
Speaker 2: feel to it. Yeah, clearly there's more to go.

1456
01:19:49,400 --> 01:19:52,479
Speaker 1: There's also a great lovely scene back at the hideout

1457
01:19:52,520 --> 01:19:55,519
Speaker 1: where Diabolic and Eva are, you know, they're reunited. They're

1458
01:19:55,520 --> 01:19:59,080
Speaker 1: hanging out by the pool and Diabolic like like sticks

1459
01:19:59,120 --> 01:20:01,479
Speaker 1: all of the emerald to Eva. I guess he doesn't

1460
01:20:01,479 --> 01:20:04,040
Speaker 1: have the necklace part, but he has all of an emerald,

1461
01:20:04,080 --> 01:20:05,559
Speaker 1: so he just like sticks him to her skin.

1462
01:20:06,240 --> 01:20:08,759
Speaker 2: Yeah, tells are happy birthday, and then they start kissing,

1463
01:20:08,800 --> 01:20:10,920
Speaker 2: and then they like fall into the water and presumably

1464
01:20:11,280 --> 01:20:13,439
Speaker 2: all those emeralds just fall right off of her chest

1465
01:20:13,439 --> 01:20:15,360
Speaker 2: and sink to the bottom of the pool, which is

1466
01:20:15,439 --> 01:20:18,880
Speaker 2: totally in keeping with their vibe, because those emeralds have

1467
01:20:18,960 --> 01:20:22,200
Speaker 2: no intrinsic value to our power couple outside of their

1468
01:20:23,560 --> 01:20:25,400
Speaker 2: role in enhancing their romance.

1469
01:20:25,560 --> 01:20:27,719
Speaker 1: Right, They're not going to sell these on a secondary market.

1470
01:20:27,760 --> 01:20:30,600
Speaker 1: They don't care about the cash value of the emeralds.

1471
01:20:30,640 --> 01:20:32,719
Speaker 1: They only matter as a token of love.

1472
01:20:33,400 --> 01:20:33,880
Speaker 2: That's right.

1473
01:20:34,800 --> 01:20:36,920
Speaker 1: So the last tist I am going to cover in

1474
01:20:37,000 --> 01:20:41,040
Speaker 1: less detail, but this one has a really fun, ludicrous

1475
01:20:41,080 --> 01:20:44,840
Speaker 1: premise as well. So the new plan to catch Diabolic

1476
01:20:44,960 --> 01:20:47,759
Speaker 1: is there's a one million dollar reward for his capture,

1477
01:20:48,600 --> 01:20:52,400
Speaker 1: and in response, Diabolic destroys all of the government's tax

1478
01:20:52,439 --> 01:20:55,960
Speaker 1: offices and records. And then we see Terry Thomas coming

1479
01:20:56,000 --> 01:20:59,360
Speaker 1: on TV actually kind of again squirming and saying, I

1480
01:20:59,400 --> 01:21:03,120
Speaker 1: appeal to your sense of national pride. Please pay your taxes.

1481
01:21:03,520 --> 01:21:05,519
Speaker 1: You know we don't have any record of what you

1482
01:21:05,600 --> 01:21:08,800
Speaker 1: owe anymore. I know you will not turn your back on.

1483
01:21:08,840 --> 01:21:13,160
Speaker 2: Me, he says, absolutely hilarious. Yeah, we're on the honor

1484
01:21:13,200 --> 01:21:14,760
Speaker 2: system now right.

1485
01:21:15,280 --> 01:21:17,719
Speaker 1: And for some I don't remember the mechanics they explained,

1486
01:21:17,720 --> 01:21:21,400
Speaker 1: but this leads to the creation of the ingot, one

1487
01:21:21,400 --> 01:21:24,919
Speaker 1: of the funniest plot devices I can think of any movie.

1488
01:21:25,080 --> 01:21:28,519
Speaker 1: They say they're going to create a single giant ingot

1489
01:21:28,600 --> 01:21:31,120
Speaker 1: of gold. It's like the size of a tanker truck.

1490
01:21:31,600 --> 01:21:34,639
Speaker 1: I think the idea is that it will be harder

1491
01:21:34,720 --> 01:21:35,760
Speaker 1: to steal this way.

1492
01:21:36,240 --> 01:21:38,240
Speaker 2: Yeah, it's just too big to steal. He could steal

1493
01:21:38,400 --> 01:21:41,320
Speaker 2: a lot of little gold bars, or maybe some amount

1494
01:21:41,360 --> 01:21:42,800
Speaker 2: of the gold bars but if we just made one

1495
01:21:42,840 --> 01:21:45,960
Speaker 2: gigantic gold bar, surely he would not be able to

1496
01:21:46,000 --> 01:21:49,240
Speaker 2: steal this. Again, this is just like almost folkloric and

1497
01:21:49,320 --> 01:21:50,639
Speaker 2: mythic qualities to it.

1498
01:21:50,880 --> 01:21:54,200
Speaker 1: Can Diabolic steal it? Of course he can. Diabolic and

1499
01:21:54,280 --> 01:21:57,439
Speaker 1: Eva together they do some great tag teaming. They work

1500
01:21:57,479 --> 01:22:02,360
Speaker 1: together to this one involves like car chases and submarines.

1501
01:22:02,439 --> 01:22:05,240
Speaker 1: There is some underwater stuff, but it's not it's not

1502
01:22:05,360 --> 01:22:06,759
Speaker 1: too much underwater stuff.

1503
01:22:07,160 --> 01:22:09,960
Speaker 2: Yeah, they keep it to sub thunderball levels to maintain

1504
01:22:10,000 --> 01:22:10,479
Speaker 2: our interest.

1505
01:22:10,800 --> 01:22:14,000
Speaker 1: Right, So eventually Diabolic and Eva get the gold and

1506
01:22:14,040 --> 01:22:16,519
Speaker 1: get back to the secret hideout. But how are they

1507
01:22:16,560 --> 01:22:19,320
Speaker 1: going to get the gold out of the steel case

1508
01:22:19,439 --> 01:22:22,760
Speaker 1: that it has been enclosed in? So the plan is

1509
01:22:22,880 --> 01:22:25,040
Speaker 1: they like drill a hole in the case and they're

1510
01:22:25,080 --> 01:22:27,760
Speaker 1: going to melt the gold out of there, so it'll

1511
01:22:27,800 --> 01:22:31,240
Speaker 1: like run out through the hole. And Diabolic is going

1512
01:22:31,320 --> 01:22:33,320
Speaker 1: to do this using a suit he says, with such

1513
01:22:33,400 --> 01:22:35,720
Speaker 1: thermal protection that it would allow you to walk on

1514
01:22:35,760 --> 01:22:36,920
Speaker 1: the surface of the sun.

1515
01:22:37,439 --> 01:22:38,320
Speaker 2: No questioning that.

1516
01:22:38,800 --> 01:22:42,639
Speaker 1: But uh oh, police raid on the hideout. They finally

1517
01:22:42,760 --> 01:22:45,840
Speaker 1: discovered Diabolic and Eva's right.

1518
01:22:46,080 --> 01:22:49,759
Speaker 2: They radiated part of the gold, yes, or the container

1519
01:22:49,840 --> 01:22:52,200
Speaker 2: won so that they could track him, and so now

1520
01:22:53,520 --> 01:22:56,000
Speaker 2: the gig is truly up, Like the police are starting

1521
01:22:56,040 --> 01:22:57,120
Speaker 2: to raid the bat cave.

1522
01:22:57,479 --> 01:23:00,000
Speaker 1: That's right. So the police come there, they're they're shooting

1523
01:23:00,040 --> 01:23:02,240
Speaker 1: at him and all this there's a big final showdown

1524
01:23:02,280 --> 01:23:07,160
Speaker 1: with the police in which the molten gold from the

1525
01:23:07,400 --> 01:23:11,920
Speaker 1: ingot gets like splattered out of the case all over

1526
01:23:12,240 --> 01:23:16,400
Speaker 1: Diabolic in his thermal protection suit. So the gold is

1527
01:23:16,479 --> 01:23:19,799
Speaker 1: like flung over him like ribbons that sort of harden

1528
01:23:19,880 --> 01:23:23,000
Speaker 1: in place, and he is frozen in this pose with

1529
01:23:23,040 --> 01:23:27,280
Speaker 1: his arm up over his head and apparently dead. Eve

1530
01:23:27,320 --> 01:23:28,120
Speaker 1: has distraught.

1531
01:23:28,720 --> 01:23:30,879
Speaker 2: Yeah, we see part of the face that the glass,

1532
01:23:31,120 --> 01:23:34,639
Speaker 2: you know, the clear face plate of the suit there,

1533
01:23:34,920 --> 01:23:37,240
Speaker 2: and we see his eye just staring out his face,

1534
01:23:37,840 --> 01:23:42,880
Speaker 2: you know, totally totally still seemingly dead. And yeah, then

1535
01:23:42,840 --> 01:23:46,280
Speaker 2: they start doing a press conference around this, and you know,

1536
01:23:46,320 --> 01:23:48,960
Speaker 2: the inspector Jinko is like a you know, it feels

1537
01:23:49,000 --> 01:23:51,160
Speaker 2: feels weird to parade his body like this. You know,

1538
01:23:51,479 --> 01:23:56,120
Speaker 2: this was an honorable foe and so forth. But then

1539
01:23:56,120 --> 01:23:58,480
Speaker 2: we get you know, the final twist, and it's absolutely

1540
01:23:58,520 --> 01:24:01,920
Speaker 2: great because in this moment, it seems like, you know,

1541
01:24:02,320 --> 01:24:04,920
Speaker 2: like their love has been defeated, you know, the powers

1542
01:24:04,920 --> 01:24:08,880
Speaker 2: that be seem victorious. Diabolic is entombed in gold, and

1543
01:24:08,960 --> 01:24:12,920
Speaker 2: as the crowd begins to depart, Eva arrives dressed all

1544
01:24:12,920 --> 01:24:18,480
Speaker 2: in black to grieve. But even this separation is temporary

1545
01:24:18,600 --> 01:24:21,439
Speaker 2: because if she's looking up, what does she see? She

1546
01:24:21,479 --> 01:24:24,080
Speaker 2: sees suddenly there's movement, and he winks at her.

1547
01:24:24,439 --> 01:24:26,720
Speaker 1: I knew it was coming, but still it felt like

1548
01:24:26,800 --> 01:24:28,280
Speaker 1: as such a pleasing surprise.

1549
01:24:29,280 --> 01:24:31,719
Speaker 2: Absolutely yeah, And of course if you take it literally,

1550
01:24:31,760 --> 01:24:34,960
Speaker 2: this is quite outlandish and unbelievable, but you know, it

1551
01:24:35,000 --> 01:24:38,919
Speaker 2: really takes on this almost supernatural air. Death cannot separate

1552
01:24:39,000 --> 01:24:42,120
Speaker 2: them and defeat their love. Only instead of this being

1553
01:24:42,160 --> 01:24:45,120
Speaker 2: presented in kind of like a religious manner or certainly

1554
01:24:45,160 --> 01:24:48,120
Speaker 2: a horror themed flavoring, we see this kind of thing

1555
01:24:48,520 --> 01:24:52,080
Speaker 2: occurring with like our occult power couples a lot, but

1556
01:24:52,160 --> 01:24:56,240
Speaker 2: instead it's cloaked in style and super science, super crime,

1557
01:24:56,320 --> 01:25:00,360
Speaker 2: super science. You know, where our anti hero has been

1558
01:25:00,400 --> 01:25:04,439
Speaker 2: turned into art by splattering gold. But no, he's still

1559
01:25:04,479 --> 01:25:07,360
Speaker 2: alive in there, and even as that Eva is taken

1560
01:25:07,400 --> 01:25:11,120
Speaker 2: away then by the inspector, it's clear they're still hope.

1561
01:25:11,320 --> 01:25:13,639
Speaker 2: Not only hope, there's certainty in.

1562
01:25:13,600 --> 01:25:15,920
Speaker 1: Fact, you just know she's going to find a way

1563
01:25:15,960 --> 01:25:19,240
Speaker 1: to get him out, that's right. And then they'll steal more.

1564
01:25:19,400 --> 01:25:20,879
Speaker 1: They'll steal more, by god.

1565
01:25:21,200 --> 01:25:23,920
Speaker 2: Yes, they'll just keep stealing and then that's the end.

1566
01:25:24,280 --> 01:25:26,000
Speaker 2: And it's not at the end with the question mark.

1567
01:25:26,000 --> 01:25:27,599
Speaker 2: I've thought they were going to show the question throw

1568
01:25:27,640 --> 01:25:29,040
Speaker 2: this question mark in there. But I think we do

1569
01:25:29,080 --> 01:25:30,960
Speaker 2: get one last diabolical laugh, don't we.

1570
01:25:31,520 --> 01:25:34,360
Speaker 1: I think so. I couldn't be sure, but yeah, that

1571
01:25:34,439 --> 01:25:35,000
Speaker 1: sounds right.

1572
01:25:35,439 --> 01:25:37,519
Speaker 2: If it's not there, it's implied because yeah, he I

1573
01:25:37,560 --> 01:25:41,160
Speaker 2: think he looks at the camera, he winks again. He

1574
01:25:41,200 --> 01:25:41,599
Speaker 2: will be.

1575
01:25:41,600 --> 01:25:44,760
Speaker 1: Back danger diabolic. This has got to go on my

1576
01:25:45,520 --> 01:25:47,799
Speaker 1: best of list. This is one of my favorite films

1577
01:25:47,840 --> 01:25:50,559
Speaker 1: we've covered on Weird House Cinema. And yeah, it may

1578
01:25:50,600 --> 01:25:54,040
Speaker 1: not have that sci fi or supernatural speculative element, but

1579
01:25:54,120 --> 01:25:57,599
Speaker 1: it's also just for style reasons, one of the weirdest

1580
01:25:57,680 --> 01:26:00,280
Speaker 1: films we've done. It's pure joy.

1581
01:26:01,120 --> 01:26:04,400
Speaker 2: Absolutely, it's a really fun one. So I highly recommend

1582
01:26:04,520 --> 01:26:07,479
Speaker 2: you check it out. All Right, as we close out here,

1583
01:26:07,479 --> 01:26:10,439
Speaker 2: we're just gonna remind everybody that, yeah, as usual, stuff

1584
01:26:10,439 --> 01:26:12,599
Speaker 2: to blow your mind. As a science podcast with core

1585
01:26:12,880 --> 01:26:16,240
Speaker 2: episodes on Tuesdays and Thursdays, but on Fridays we set

1586
01:26:16,280 --> 01:26:18,679
Speaker 2: aside most serious concerns to just talk about a weird

1587
01:26:18,720 --> 01:26:21,760
Speaker 2: film here on Weird House Cinema. If you want to

1588
01:26:21,760 --> 01:26:23,400
Speaker 2: see a list of all the movies we've covered over

1589
01:26:23,439 --> 01:26:26,479
Speaker 2: the years, I blog about these movies at Summuto music

1590
01:26:26,560 --> 01:26:30,040
Speaker 2: dot com. But also you can go to letterbox dot com.

1591
01:26:30,080 --> 01:26:32,519
Speaker 2: It's l E T T E r box d dot com.

1592
01:26:33,080 --> 01:26:35,280
Speaker 2: You'll find our profile there weird House and there's a

1593
01:26:35,280 --> 01:26:37,200
Speaker 2: whole list of all the movies we've covered over the years,

1594
01:26:37,240 --> 01:26:39,200
Speaker 2: and you can do lots of neat things like divide

1595
01:26:39,240 --> 01:26:41,720
Speaker 2: them up by year and genre and so forth and

1596
01:26:41,840 --> 01:26:42,960
Speaker 2: see what we've talked about.

1597
01:26:43,320 --> 01:26:46,920
Speaker 1: Huge thanks as always to our regular audio producer Jjposway

1598
01:26:46,960 --> 01:26:50,920
Speaker 1: and to our guest producer today Chandler Mays. If you

1599
01:26:50,960 --> 01:26:53,560
Speaker 1: would like to get in touch with us with feedback

1600
01:26:53,600 --> 01:26:56,639
Speaker 1: on this episode or any other, to suggest a topic

1601
01:26:56,760 --> 01:26:59,040
Speaker 1: for the future, or just to say hello, you can

1602
01:26:59,120 --> 01:27:01,800
Speaker 1: email us at contact at stuff to Blow your Mind

1603
01:27:01,920 --> 01:27:09,200
Speaker 1: dot com.

1604
01:27:09,320 --> 01:27:12,280
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1605
01:27:12,360 --> 01:27:15,160
Speaker 3: more podcasts from my Heart Radio, visit the iHeartRadio app,

1606
01:27:15,280 --> 01:27:18,040
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.