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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick, and today we

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Speaker 1: are going to be talking about the nineteen seventy eight

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Speaker 1: gothic horror adaptation of Beauty and the Beast or Pana

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Speaker 1: on net Vor the check version by the director Uraje

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Speaker 1: hurts Uh. Rob. I think this is only the second

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Speaker 1: adaptation I've ever seen of the Beauty and the Beast tale,

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Speaker 1: the original being The Disney Beauty and the Beast, which

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Speaker 1: just a couple of years ago I watched for the

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Speaker 1: first time since childhood, and I thought, oh, surprisingly good

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Speaker 1: or I don't know if it should be surprising, and

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Speaker 1: I don't know. I haven't revisited the Disney movies as

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Speaker 1: much as an adult, as as many other people I know,

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Speaker 1: but I was impressed. And you know what i'd say

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Speaker 1: to for two, this one's really good too. Yeah, yeah,

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Speaker 1: I like you. I haven't seen a ton of Beauty

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Speaker 1: and the Beast adaptations. It's the story I'm I'm very

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Speaker 1: familiar with, and certainly the Disney um animated film from

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Speaker 1: what was it ninety one that one that one casts

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Speaker 1: a long shadow. I mean, that's the one that a

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Speaker 1: lot of us grew up with. UM and I would

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Speaker 1: never say that was like my favorite Disney musical of

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Speaker 1: all time. But it's pretty solid and UH as as

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Speaker 1: well discussed perhaps in a bit here, like even the

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Speaker 1: Disney version has some nice additions to this story. I

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Speaker 1: should go ahead, go ahead mentioned just as long as

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Speaker 1: we're talking about Beauty and the Beast in general. The

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Speaker 1: French novelist Jeanne Marie le Prince de Beaumont, who lived

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Speaker 1: seventeen eleven through seventeen eighty, wrote the best known version

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Speaker 1: of Beauty and the Beast, which itself was an abridged

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Speaker 1: telling based on an earlier version and other earlier versions

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Speaker 1: of it. Her version of the tale greatly streamlined things.

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Speaker 1: For instance, that one of the the the previous versions

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Speaker 1: of the story had had the merchant widower's children numbering

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Speaker 1: something like twelve. She cut that down to six, three

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Speaker 1: sons and three daughters. Um. So she she did a

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Speaker 1: lot of economic trimming to the story. So a lot

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Speaker 1: of the versions, the cinematic versions then um of Beauty

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Speaker 1: and the Beast UH stem from her novelization. Okay, Well,

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Speaker 1: this version turns it down even more because this has

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Speaker 1: a merchant widower with three daughters, one of which is

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Speaker 1: the protagonist of the story, Julie in this rendering. But

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Speaker 1: I guess that would be equivalent to Bell in the

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Speaker 1: Disney version. But I think it's funny that the Disney

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Speaker 1: one pairs it down even more. Just one daughter for

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Speaker 1: from what I recall, Right, she doesn't have any sisters,

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Speaker 1: does she? I don't think she does. Yeah, that animated film,

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Speaker 1: Robbie Benson voiced the Beast. One of the great things

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Speaker 1: that that that film added to the story was adding

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Speaker 1: the gust wrong character, the you know, the the overly

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Speaker 1: masculine competitor for Bell's affections that ultimately becomes the proper

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Speaker 1: villain of the piece. And that's something that I think,

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Speaker 1: you know, looking at some of these other adaptations, and

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Speaker 1: that's kind of missing. Like the Beast begins as sort

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Speaker 1: of the antagonist, but then is this more complicated figure

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Speaker 1: at the center of the story, Gaston. Besides adding some

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Speaker 1: additional comic flare and um, you know, a really solid

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Speaker 1: musical number. Um he he provides that villain proper foil

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Speaker 1: for the Beast in the In the latter portions of

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Speaker 1: the film. I remember thinking, upon rewatching it, it was

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Speaker 1: kind of interesting that like, uh uh that Gaston and

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Speaker 1: the Beast, we're both um two stereotypical ways that uh,

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Speaker 1: that sort of men can go wrong, and that the

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Speaker 1: difference was that the Beast was able to change and

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Speaker 1: Gaston was not. That's right. Yeah. Now, I haven't seen

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Speaker 1: the seventeen live action ad uptake sh of the Disney musical,

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Speaker 1: but Dan Stevens plays the Beast in that one. You know.

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Speaker 1: The other big change in the Disney one is that

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Speaker 1: they make the father I think an inventor instead of

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Speaker 1: a merchant. So in both cases he's kind of both

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Speaker 1: these movies I've seen, he's kind of bumbling, but whereas

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Speaker 1: in the Disney one he's making like, oh, I don't know,

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Speaker 1: a like a wood chopping machine or something. He's trying

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Speaker 1: to build robots, and uh, in this movie he's just

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Speaker 1: losing lots and lots of money with terrible business deals. Yeah,

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Speaker 1: I forgot about the inventor twist and the the Disney

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Speaker 1: animated version that is a really good one. But upon

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Speaker 1: a net voor or the Czech Beauty and the Beast

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Speaker 1: has a lot of wonderful, unique charms of its own,

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Speaker 1: and I would say one of them is the vision

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Speaker 1: of the beast. And now, like I said, I haven't

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Speaker 1: seen more than than two of these beast adaptations, but

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Speaker 1: this one I think may have the most unique beast

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Speaker 1: design of any of them. Yeah. Absolutely. And should we

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Speaker 1: go ahead and spoil what the beast looks like? Um?

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Speaker 1: Or should we we save that? Let's save it for

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Speaker 1: when we discussed the plot. We can we can reveal

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Speaker 1: it at the same time it happens in the chronology.

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Speaker 1: All right, We'll go ahead and just mentioned im pet

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Speaker 1: We're not gonna do a complete, uh analysis of all

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Speaker 1: the different adaptations of Beating and the Beast over the years,

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Speaker 1: but I wanted to touch on some of them in

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Speaker 1: large part just to focus on how the beast is

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Speaker 1: visually realized. And one of the key ones here and

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Speaker 1: this is this is a highly regarded film that I'm

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Speaker 1: I guess I'm slightly embarrassed to say that I've never

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Speaker 1: seen is the nineteen six adaptation from a Jean Couteau.

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Speaker 1: This is the This is the Black and White Beauty

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Speaker 1: and the Beast. And I think that one of the

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Speaker 1: reasons I've never watched it is I'm always a little

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Speaker 1: um distracted by how the Beast looks on like the

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Speaker 1: cover art, because the beast it looks impressive. I'm not

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Speaker 1: saying it looks shabby. It looks like a you know,

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Speaker 1: werewolf sort of effect, a wolf man effect. But also

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Speaker 1: he's just very freely clothing. He looks kind of like

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Speaker 1: a pampered dog and a fancy outfit. He looks like

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Speaker 1: a like a soft, friendly, friendly buddy. He's he's kind

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Speaker 1: of a cotton ball. He looks also a bit like

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Speaker 1: the cowardly Lion from Wizard of Oz. Yeah, yeah, definitely

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Speaker 1: there's a cowardly lion feel to this as well. Again,

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Speaker 1: this is a highly reguarded film. It's a it's considered

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Speaker 1: a classic. So I'm I'm not and I haven't seen it,

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Speaker 1: so I can't really say anymore about it. So I

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Speaker 1: bet I just want to say that I'm not trashing

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Speaker 1: this film. I just have not seen it, and for

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Speaker 1: some reason or another, the appearance of the Beast has

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Speaker 1: always kind of prevented me from watching it. Well, he's

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Speaker 1: got whiskers, so I think that makes him look like

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Speaker 1: the lion. But also the way the fangs come out

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Speaker 1: over the bottom lip, like they are producing a fanged overbite,

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Speaker 1: but it's like the fangs are not long enough to

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Speaker 1: look scary, so instead they look kind of cute. Yeah, yeah,

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Speaker 1: I don't know, It's just it's kind of hard to

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Speaker 1: put a finger on. Uh. For some reason. This is

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Speaker 1: always giving me pause. All right, So I'm gonna be

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Speaker 1: jumping around in time here on some of these. But

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Speaker 1: the other adaptation was excited to acknowledge was one that

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Speaker 1: I was not even I don't think I was even

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Speaker 1: aware of this, but I noticed that Michael Weldon mentioned

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Speaker 1: it in one of his um Psychotronic guides. And there

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Speaker 1: are several weird things coming together here. So Shelley Duval's

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Speaker 1: fairy Tale Theater was apparently a show in mid nine. Pause. Yeah, um,

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Speaker 1: I don't remember this being I don't know where this aired.

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Speaker 1: I don't know it. What how Shelley Daval became the

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Speaker 1: face of this if this was like a European show,

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Speaker 1: and then Shelley Daval became the host when it was

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Speaker 1: air in America? And why Shelley Duval, Like, why is

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Speaker 1: she sort of the storyteller or crypt keeper of fairytale theater. Wait,

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Speaker 1: I said, pause, Okay, I'm trying to look this up.

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Speaker 1: There's no way I can catch up on this right,

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Speaker 1: this is this is a revelation. Thank you, thank you

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Speaker 1: for sharing this with me. All. So, I'm only going

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Speaker 1: to focus on one episode of because one episode of

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Speaker 1: it was Beauty and the Beast from four. First of all,

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Speaker 1: it was directed by Roger Vadim, who directed Barbarella such

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Speaker 1: films as Spirits of the Dead and Oh. The Beauty

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Speaker 1: is played by Susan Surrandon. M Angelica Houston is apparently

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Speaker 1: in it as well, though I couldn't find any skills

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Speaker 1: of her, so I'm not sure if that is like

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Speaker 1: a crediting error or if she does in fact have

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Speaker 1: a role in it. But Susan Surrandon at least is Beauty.

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Speaker 1: And then the Beast is played by Klaus Kinski. Yeah,

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Speaker 1: which I've watched a few sequences from this, and I've

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Speaker 1: got some skills here for you, Joe. They seem to

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Speaker 1: very much um go after that feel with the Beast,

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Speaker 1: because again, it looks like a hairy wolfman type creature

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Speaker 1: with a lot of freely costuming but also a very

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Speaker 1: uh permed hair quality to the beast's head. This is

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Speaker 1: a hair metal beast like he could have been in Cinderella. Yeah,

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Speaker 1: and your band not the story. Yeah. And at the

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Speaker 1: same time, this beast does look frightening like the Kinsky

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Speaker 1: nous um certainly shines through and I'm I'm afraid of

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Speaker 1: the monster. Likewise, the footage that I pulled up and

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Speaker 1: then also still as you can find of Kinsky at

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Speaker 1: the end of the film when he's been transformed back

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Speaker 1: into a human prince, equally if not more frightening because

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Speaker 1: here he is standing next to Susan Surrandon. Everything's supposed

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Speaker 1: to be blissful and beautiful, but this is clearly klaus Kinsky,

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Speaker 1: and I'm just a I'm not used to seeing Klauskinski

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Speaker 1: as anything other than an actual monster or just a

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Speaker 1: monster is character, and here he is as this, you know,

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Speaker 1: glowing prince, and I'm just not buying it for a second, Like,

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Speaker 1: get away from him, Susan Surrandon. Exactly hilarious, So you're

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Speaker 1: you're soft, cuddly, fuzzy teddy bear. Beast is transformed back

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Speaker 1: into the charming prince who is klaus Kinsky, right, So

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Speaker 1: I don't I may have to go back and watch

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Speaker 1: that one at some point, or see what else Shelley

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Speaker 1: Duval had in store for us. Sorry, I'm just still

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Speaker 1: rolling on the like imagining another story where that the

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Speaker 1: happy ending is that a teddy Bear transforms into the

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Speaker 1: bad guy from Raiders at the Lost Stars. Yeah, pretty much.

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Speaker 1: Now I know it. A number of you are already

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Speaker 1: probably shouting this at your your podcast playing device. But yes,

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Speaker 1: we also have to consider Ron Pearlman from The Beauty

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Speaker 1: and the Beast TV series which air nine, who was

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Speaker 1: set in then modern day New York City. I think

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Speaker 1: he lived in the sewers underneath the city. Uh. Linda

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Speaker 1: Hamilton's played the Beauty and George R. Martin was a

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Speaker 1: writer and producer on the show. It was certainly it

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Speaker 1: was a very lion themed beast here and ultimately just

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Speaker 1: really nice makeup effects. Also definitely some some hair band

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Speaker 1: hair going on here. Yeah, very much. Ron Pearlman and

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Speaker 1: Cat Mode, and I think they actually almost kind of

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Speaker 1: extra prettified him, extra made him like even more good

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Speaker 1: looking for this role. And this is something that I

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Speaker 1: think some other Beauty and the Beast adaptations suffer from,

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Speaker 1: like maybe they don't commit enough to making the Beast

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Speaker 1: look scary, making the beast lot monstrous. I mean, you

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Speaker 1: know that the Beast and the beauty are going to

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Speaker 1: fall in love in the end. Uh, So, like there's

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Speaker 1: a temptation to kind of make the beast too handsome.

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Speaker 1: This is not a problem with the nineteen seventy eight

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Speaker 1: movie we are talking about today. No, they commit hard

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Speaker 1: to making the Beast loathsome and dangerous looking. But yeah,

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Speaker 1: this Ron Pearlman version of the Beast, Like, this is

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Speaker 1: the character that launched a thousand furries. It has to be.

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Speaker 1: I mean this, this is a good looking beast man. Yeah.

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Speaker 1: I mean if if you're into people who look like cats,

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Speaker 1: this guy's top of the heap. Yeah. Now, another really

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Speaker 1: good looking I think, a very stylish beast. This isn't No,

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Speaker 1: this is not what I've seen, But there was apparently

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Speaker 1: seven Cannon Films musical adaptation of Beauty and the Beast

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Speaker 1: starring John Savage as the Beast. I've included an image here,

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Speaker 1: and uh, Rebecca de Morney as the Beauty. As you

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Speaker 1: can see, looks very glamorous. He looks a little uh

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Speaker 1: I would say sting esque. I totally see that. Looks

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Speaker 1: again like they're trying to make the beast too handsome. Now,

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Speaker 1: I have a question mark for the nineteen seventy six

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Speaker 1: TV adaptation Beauty and the Beast that starred George C.

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Speaker 1: Scott as the Beast. Um. I'm not I'm not sure

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Speaker 1: off hand who played the Beauty, but Patricia Quinn of

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Speaker 1: Rocky Horror is in it, I think in a bit role.

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Speaker 1: But the Beast in this film again played by George C. Scott.

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Speaker 1: They decided a little we've done the wolfman look to death,

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Speaker 1: let's do something different. Let's make him look like a

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Speaker 1: ward hawk. Yeah, he's a wild bore with like tusks

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Speaker 1: coming up out of the bottom of his nose, around

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Speaker 1: his nose but above his mouth or I don't know,

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Speaker 1: maybe his lip kind of curves around there. I didn't

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Speaker 1: watch any footage from this one, so I don't know

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Speaker 1: what the apparatus looks like in motion. But uh yeah,

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Speaker 1: this one also is a lot to take in. He

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Speaker 1: also does look like George C. Scott. Yeah, I mean,

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Speaker 1: you pay for George C. Scott. You don't want to

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Speaker 1: hide all of that, right. Beast getting hit by football

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Speaker 1: Now it is an interesting question, like if you're doing

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Speaker 1: Beauty and the Beast, or, as with our next two examples,

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Speaker 1: things that are Beauty and the Beast adjacent, Like, what

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Speaker 1: are you focusing on here? Is that are you focusing on,

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Speaker 1: like the love story, about the transformative nature of love,

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Speaker 1: about the the duality of man? Or is it something

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Speaker 1: a little more like purely erotic and you just like

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Speaker 1: the idea of beast creatures and women, Um, you know,

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Speaker 1: in close proximity to one another. Right, I can see

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Speaker 1: how you can go either way. I mean, I think

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Speaker 1: the two adaptations I've seen both focus more on how

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Speaker 1: love can change someone who has a bad personality. Um,

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Speaker 1: whereas in uh, these other adaptations, Yeah, you can imagine

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Speaker 1: how it's just kind of like, oh, this is dangerous,

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Speaker 1: this is titillating. Yeah, and not surprising. One of them

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Speaker 1: comes from the mid seventies, the ve film The Beast.

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Speaker 1: This is a French erotic horror film that actually has

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Speaker 1: nothing to do with the plot of Beauty and the Beast,

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Speaker 1: but it has a beast, it has beauties, and it

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Speaker 1: has a historic setting. Um. I saw this one when

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Speaker 1: it was weirdly enough streaming into every American household on

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Speaker 1: Netflix several years back. But it is not really appropriate

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Speaker 1: for for most viewers, maybe any viewers. It's kind of

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Speaker 1: an obscene curiosity of the time. Is this picture of

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Speaker 1: the beast and the outline from that I believe so. Yes,

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Speaker 1: it has kind of like a giant humanoid rat kind

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Speaker 1: of appearance. I was gonna say rat. Yeah. Now another

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Speaker 1: one also, it's kind of a kind of a perverted

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Speaker 1: rat though, like it's peeping over a branch at the camera. Yeah.

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Speaker 1: I mean it's fitting. It's a perverse film, and I

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Speaker 1: honestly do not commend anyone see it. But it's kind

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Speaker 1: of a notable curiosity when it comes to films of this, uh,

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Speaker 1: this subject pattern. All right, Now a another film in

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Speaker 1: this sort of genre, this area of beauty slash beast

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Speaker 1: adaptation and inspiration. Charles Band attempted a serious erotic horror

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Speaker 1: film in Meridian back in again. This one's not based

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Speaker 1: on beauty and the beast. Uh. It has a beauty,

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Speaker 1: it has a beast, and it's notable because um uh.

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Speaker 1: The story that that I read is that Band essentially

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Speaker 1: used an altered version of the Dracula wolfman costume from

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Speaker 1: brom Stoker's Dracula. Oh, from the Coppola movie. Yes, so

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Speaker 1: you attached to picture. I recognize that there is a

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Speaker 1: scene where Gary Oldman transforms into a wolf like creature,

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Speaker 1: and yep, that's what he looks like. Yeah, so I

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Speaker 1: believe that the story is they had access through some

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Speaker 1: effects guys too, essentially that costume, but they realized they

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Speaker 1: couldn't just use that costume in order did they necessarily

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Speaker 1: want to, but they had to adapt it a little bit.

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Speaker 1: So it's it's very similar but different enough, like and

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Speaker 1: and they kind of handsomed it up a little bit.

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Speaker 1: They made it a little smoother, like they realized that,

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Speaker 1: you know, we don't want him to be a complete monster.

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Speaker 1: We want people to want to see these two together. Okay,

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Speaker 1: So there are a lot of Beauty and the Beast

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Speaker 1: film adaptations out there, as well as some movies just

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Speaker 1: loosely inspired by the Beauty Beast concept, but I think

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Speaker 1: this one really stands out. Beauty and the Beast seventy

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Speaker 1: eight is the Czech film or Czechoslovak film is one

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Speaker 1: I really enjoyed because I said at the top it

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Speaker 1: was Gothic horror. Now that I think back on it,

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Speaker 1: I don't know if it's really horror. What do you think, Robert,

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Speaker 1: what does this count as horror? I mean, it is

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Speaker 1: full of horrible images, but I don't know if the

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Speaker 1: primary purpose of the film is to scare you. No,

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Speaker 1: I don't think it's quite a horror film. And I

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Speaker 1: wasn't I wasn't sure based on the visual flavor of

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Speaker 1: the of the piece. I wasn't sure that was going

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Speaker 1: to be the case, because certainly everything is othic and

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Speaker 1: dark and grimy enough, and we firmly establish a world

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Speaker 1: setting at the beginning of the film in which horrible

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Speaker 1: things can and will happen. But then ultimately the directory

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Speaker 1: of the plot takes us more traditional places. Like it,

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Speaker 1: it sticks more to the fairy tale and essentially delivers

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Speaker 1: the fairy tale with some gothic dark stylings. And I

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Speaker 1: would say, especially the first half of the film is

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Speaker 1: really filled with ambiance, with with with scary environments. This

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Speaker 1: is a movie where the director really wants to let

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Speaker 1: us revel in the texture of certain environments and emotions,

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Speaker 1: and that leads to another stylistic aspect of it. I

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Speaker 1: would say that there are long stretches of this movie

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Speaker 1: without any dialogue, So I think you could characterize it,

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Speaker 1: and I have seen people online characterize the movie as slow, uh,

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Speaker 1: something that audience is used to the fast paced plotting

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Speaker 1: and editing of modern movies can sometimes struggle with. But

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Speaker 1: I recommend giving slow movies like this a shot if

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Speaker 1: you usually don't. They can be very rewarding, a very

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Speaker 1: rewarding experience if you kind of slow yourself down, like

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Speaker 1: you slow down your expectations, you say, I'm just gonna

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Speaker 1: sit here and kind of soak in this because a

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Speaker 1: lot of times with movies like this, the filmmakers are uh,

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Speaker 1: they're just offering you a different kind of experience than

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Speaker 1: than we usually expect in modern American movies today. And

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Speaker 1: this is an experience where you are not always in

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Speaker 1: a hurry to advance the plot in every scene. Some

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Speaker 1: scenes are about inviting you to linger in a feeling.

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Speaker 1: Absolutely yeah, this is one of those films. Are you

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Speaker 1: should just know way back in a dark room with it.

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Speaker 1: Um if if you have a calming beverage you like

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Speaker 1: to imbibeh, have that with you as well and just

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Speaker 1: let the darkness overflowed. It will invite you to rub

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Speaker 1: the fur. And it is some really dank, gloomy fur

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Speaker 1: especially in the first half of the movie. We'll get

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Speaker 1: into more of that about the atmosphere when we describe

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Speaker 1: the plot. Uh, let's see, I guess we've already done

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Speaker 1: the elevator pitch. I mean it is an added Paian

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Speaker 1: of Beauty and the Beasts, so you sort of know

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Speaker 1: what you're getting. But there are some stylistic twists and

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Speaker 1: and maybe some plot twists we can talk about later on.

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Speaker 1: Do we want to feature any trailer audio? Rob I

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Speaker 1: think before we started you were saying that there isn't

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Speaker 1: really a trailer that has much English narration or anything

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Speaker 1: like that, not that I could finds. In fact, the

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Speaker 1: main trailer I came across is just blaring Oregon music

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Speaker 1: from the from the film and some awesome visuals, none

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Speaker 1: of which will translate over into the the audio of podcasting.

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Speaker 1: So I'll tell you what. Let's just do you know,

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Speaker 1: maybe like ten seconds of it, because I will come

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Speaker 1: back to discussing the music in a bit blast away

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Speaker 1: now before we proceed here. Uh, you might be wondering, well,

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Speaker 1: where can I watch this film if I want to

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Speaker 1: watch it and then come back to the discussion. This one,

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Speaker 1: I have to admit, might be harder to find. We

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Speaker 1: watch it on the second run Blu ray, rented from

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Speaker 1: Atlanta's Video Drone video rental store. I'm sure you can

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Speaker 1: find some unofficial streams out there, but I can't find

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Speaker 1: any official ones as of this recording. So I would

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Speaker 1: say keep checking, you know, because stuff comes, comes online

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Speaker 1: and goes offline. But as of right now, Uh, Criterion

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Speaker 1: Collection has some of the films by this director, but

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Speaker 1: not this particular one. Uh, So who knows in the

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Speaker 1: future they might add it. There are also a couple

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Speaker 1: of different DVD options that come up for me when

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Speaker 1: I do searches in English or in check, but I

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Speaker 1: can't speak to their regions. Also, the version that he

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Speaker 1: had access to still had a lot of seventies grime

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Speaker 1: to the film quality, which I still think looks great.

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Speaker 1: I mean, it's still in a way adds to the

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Speaker 1: experience of watching a film from this era. And uh

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Speaker 1: and with this um this theme to it, uh still

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Speaker 1: looks great. But I just wanted to to highlight that

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Speaker 1: as well, so that you're not out there looking for

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Speaker 1: some sort of immaculate version of it, some immaculate restoration

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Speaker 1: that does not exist. Well. Yeah, and I would I

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Speaker 1: would just say, Uh, this film has a fuzzier baseline

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Speaker 1: I think than some of the other movies we looked at,

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Speaker 1: like last week's movie Another check film Inventioned for Destruction. Uh,

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Speaker 1: cleaned up very, very beautifully, and it looked very crisp

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Speaker 1: in the restoration, and I think it was meant to

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Speaker 1: look crisp in the in the original. I think this

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Speaker 1: is a movie that was meant to be a bit foggy. Yeah,

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Speaker 1: it works like it's kind of like you're watching this

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Speaker 1: film projected onto onto an oil stained sheet on the

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Speaker 1: dilapidated side of a barn, and while things how missed

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Speaker 1: beyond the farm, and I think that works all right. Well,

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Speaker 1: let's get into the people of note here that people

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Speaker 1: who made this film. Um, obviously we're gonna be referencing

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Speaker 1: a number of um of Czech and Slovakian um individuals here,

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Speaker 1: so our apologies for any incorrect pronunciations of regarding these names. Alright.

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Speaker 1: First of all, the director also has a has a

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Speaker 1: screenplay credit. Geraje Hurtz, who lived n four through Czechoslovak

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Speaker 1: film director, actor and scene designer. He was born in

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Speaker 1: modern day Slovakia to Jewish parents and together, they actually

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Speaker 1: survived the Holocaust. They were imprisoned at the Ravensbrook concentration camp,

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Speaker 1: and while his immediate family survived, some sixty relatives I'm

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Speaker 1: I'm reading perished in the Holocaust. He began acting in

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Speaker 1: the early nineteen sixties and writing and directing in the

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Speaker 1: mid nineteen sixties. His big breakout film was the dark

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Speaker 1: comedy horror film The Creamator from nineteen sixty nine, which

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Speaker 1: one a whole slew of awards. It was even nominated

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Speaker 1: for an Oscar in the US for you know, Best

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Speaker 1: Foreign Language Film, and it details a creamator's descent into

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Speaker 1: madness in the nineteen thirties, with plot elements that and

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Speaker 1: I haven't seen it, but reading that the plot elements

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Speaker 1: involved both the Nazis and Tibetan Buddhism. It was based

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Speaker 1: on a novel by Lattist Love Fuchs. His other major

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Speaker 1: films include nineteen seventy two's Morgiana, which is another Gothic

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Speaker 1: horror film, U two thousand tens Haberman, which featured Karl Rowden.

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Speaker 1: He's a uh. He's a check actor who has played

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Speaker 1: roles in various um international and Western pictures. Like he

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Speaker 1: was in some gear Malta Toro films such as Blade

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Speaker 1: Too and Hell Boy? Who was he Blade Too? In

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Speaker 1: Blade Too, he was the lawyer of the vampire Lord,

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Speaker 1: though his voice was dubbed in that, so that's not

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Speaker 1: Rodin's actual voice. Yes, okay, just looked him up. I

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Speaker 1: recognized this guy. Yeah, yeah, he's He's been in a

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Speaker 1: number of things. He has a he has a nice

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Speaker 1: He plays a good villain, though, not not only villains,

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Speaker 1: but a lot of villains, especially outside of the Czech Republic.

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Speaker 1: Now back to Hurts. He also did the two thousand

426
00:24:26,600 --> 00:24:29,800
Speaker 1: nine film t m A. His nineteen seventy nine film

427
00:24:29,880 --> 00:24:32,640
Speaker 1: The Ninth Heart sounds really interesting as well and apparently

428
00:24:32,760 --> 00:24:35,520
Speaker 1: involves a wizard's castle and is a fairy tale movie

429
00:24:35,600 --> 00:24:38,720
Speaker 1: much like this one. After having seen Beauty and the Beast,

430
00:24:38,720 --> 00:24:40,920
Speaker 1: I think I would watch any Hurts movie that has

431
00:24:40,920 --> 00:24:45,119
Speaker 1: a castle. Yeah. He also this is a film we've

432
00:24:45,640 --> 00:24:48,000
Speaker 1: mentioned in passing on the show before. He also directed

433
00:24:48,720 --> 00:24:52,040
Speaker 1: two's Ferret Vampire, which is this is the one about

434
00:24:52,040 --> 00:24:54,919
Speaker 1: a car that drinks blood. Apparently is it Ferret or

435
00:24:55,280 --> 00:24:57,480
Speaker 1: is it for Rott Vampire? For Rot? I think for

436
00:24:57,600 --> 00:25:00,480
Speaker 1: Rot that might be the type of car but we

437
00:25:00,520 --> 00:25:03,720
Speaker 1: sound hilarious to people who know cars right now? Yeah, sorry, yes,

438
00:25:03,880 --> 00:25:06,680
Speaker 1: but it's vampire car. It's a vampire car movie that

439
00:25:06,800 --> 00:25:10,159
Speaker 1: looks like it's quite interesting. And I noticed that the

440
00:25:10,200 --> 00:25:13,280
Speaker 1: director himself has a cameo in it as Dracula in

441
00:25:13,280 --> 00:25:17,359
Speaker 1: a silent film. As an actor, he appeared in the Flat,

442
00:25:17,400 --> 00:25:20,480
Speaker 1: which was a short by Jans Peckmeyer. And he has

443
00:25:20,760 --> 00:25:24,000
Speaker 1: I'll told something like forty seven directorial credits. Uh. It's

444
00:25:24,000 --> 00:25:27,760
Speaker 1: a pretty full filmography, with subject matter ranging from fantasy

445
00:25:27,800 --> 00:25:31,159
Speaker 1: and horror to stuff like his nineteen eight six holocaust

446
00:25:31,240 --> 00:25:35,159
Speaker 1: drama The Night Overtakes Me all right. Um. We mentioned

447
00:25:35,160 --> 00:25:39,680
Speaker 1: this last week because Frantic sec Rubin was was one

448
00:25:39,680 --> 00:25:43,640
Speaker 1: of the credited writers on Nights Invention for Destruction by

449
00:25:43,960 --> 00:25:48,000
Speaker 1: Carl's Aiman. Uh. He lived nineteen ten through one. He

450
00:25:48,000 --> 00:25:52,080
Speaker 1: has played screenplay credits on this film, and uh, yeah,

451
00:25:52,160 --> 00:25:55,520
Speaker 1: he's He's notable for a number of works, including um,

452
00:25:55,600 --> 00:25:59,920
Speaker 1: the epic poem Romance for Flugelhorn, which was written in

453
00:26:00,040 --> 00:26:02,639
Speaker 1: nine sixty one and was adapted for film in nineteen

454
00:26:02,680 --> 00:26:08,160
Speaker 1: sixty seven. Oda Hoffman is also credited as a screenplay

455
00:26:08,160 --> 00:26:13,960
Speaker 1: credit on this This individual of nine Czechoslovak writer of

456
00:26:14,040 --> 00:26:17,200
Speaker 1: children's literature and young adult literature and a screen writer.

457
00:26:17,640 --> 00:26:20,600
Speaker 1: His story Thirty Maidens and Pythagoras was made into a

458
00:26:21,400 --> 00:26:24,320
Speaker 1: seven film, and they have a number of interesting looking

459
00:26:24,359 --> 00:26:28,520
Speaker 1: screenplay credits from a long career, including Merry Christmas Octopus

460
00:26:28,520 --> 00:26:34,159
Speaker 1: from seven, which has this lovely description on IMDb quote.

461
00:26:34,440 --> 00:26:38,040
Speaker 1: Eva and her younger brother Johnny owned two sentient octopuses

462
00:26:38,080 --> 00:26:41,000
Speaker 1: made out of strange matter. Will their parents divorced and

463
00:26:41,080 --> 00:26:43,680
Speaker 1: ruined Christmas? Will a scientist find a way to use

464
00:26:43,680 --> 00:26:47,400
Speaker 1: their pets as fuel live action film with stop motion octopuses.

465
00:26:49,600 --> 00:26:51,639
Speaker 1: I don't know what to say that that sounds great.

466
00:26:52,560 --> 00:26:55,679
Speaker 1: I looked at stills from it. It looks interesting. This

467
00:26:55,720 --> 00:26:58,200
Speaker 1: is apparently a follow up from a film that came

468
00:26:58,200 --> 00:27:01,040
Speaker 1: out the same year. The octopus is from the second floor.

469
00:27:01,400 --> 00:27:03,080
Speaker 1: So please, if you grew up watching these films, if

470
00:27:03,119 --> 00:27:06,160
Speaker 1: you have any connection to these octopuses, uh, please write

471
00:27:06,200 --> 00:27:08,159
Speaker 1: in and tell us about it. Yeah. I want to

472
00:27:08,160 --> 00:27:11,160
Speaker 1: hear from the people for whom this was there. More's

473
00:27:11,200 --> 00:27:15,760
Speaker 1: co All right, let's get into the cast here. Um,

474
00:27:15,800 --> 00:27:17,920
Speaker 1: it's Beauty and the Beast. So let's start with Beauty.

475
00:27:18,640 --> 00:27:21,879
Speaker 1: Who has the name Julie in this Yes. Julie or

476
00:27:22,000 --> 00:27:25,800
Speaker 1: Julie in this movie is played by Dana student Cova

477
00:27:26,200 --> 00:27:29,840
Speaker 1: Yeah born nineteen fifty four. Award winning Slovak film and

478
00:27:29,920 --> 00:27:32,480
Speaker 1: stage actress, singer and author, and in general and major

479
00:27:32,520 --> 00:27:36,359
Speaker 1: Slovak celebrity figure. It seems she was especially active on

480
00:27:36,480 --> 00:27:41,360
Speaker 1: Slovakian television, at least up until her Other film credits

481
00:27:41,359 --> 00:27:47,640
Speaker 1: include a check adaptation of Lady Chatterley's Lover in the Garden,

482
00:27:48,000 --> 00:27:51,919
Speaker 1: Oh and also The Motive for murder Um. However, it

483
00:27:51,960 --> 00:27:54,800
Speaker 1: seems that she's only responsible for the physical performance of

484
00:27:54,920 --> 00:27:58,400
Speaker 1: Julie in this film. Another actor provides the voice. Wasn't

485
00:27:58,440 --> 00:28:00,840
Speaker 1: it the case that multiple characters in this movie are

486
00:28:00,920 --> 00:28:04,320
Speaker 1: dubbed by different actors than appear on the film. Yeah,

487
00:28:04,400 --> 00:28:06,840
Speaker 1: I mean there's one of the sisters is and then

488
00:28:06,840 --> 00:28:08,960
Speaker 1: the Beast. Though with the Beast, it kind of makes

489
00:28:09,000 --> 00:28:11,239
Speaker 1: sense because the Beast, you need somebody who can do

490
00:28:11,320 --> 00:28:14,720
Speaker 1: the voice of the monster while still looking like the Prince,

491
00:28:15,119 --> 00:28:17,919
Speaker 1: and it's kind of a big gask for uh forecasting

492
00:28:17,960 --> 00:28:22,040
Speaker 1: like Dan Stevens from the live adaptation of the Disney

493
00:28:22,359 --> 00:28:26,080
Speaker 1: Like that makes sense because Dan Stevens sounds scary and

494
00:28:26,240 --> 00:28:29,520
Speaker 1: still has like, you know, the Hollywood good looks going on.

495
00:28:29,880 --> 00:28:33,520
Speaker 1: Klaus Kinski is is a misfire because he sounds like

496
00:28:33,560 --> 00:28:36,080
Speaker 1: a beast, but he also looks like a beast when

497
00:28:36,119 --> 00:28:38,760
Speaker 1: he is in his human form, and so it doesn't

498
00:28:38,760 --> 00:28:41,480
Speaker 1: really work well. Despite the fact that it's not her

499
00:28:41,560 --> 00:28:44,400
Speaker 1: voice on the tape as Danna Student Covid, I thought

500
00:28:44,520 --> 00:28:47,920
Speaker 1: was great as Julia. She has a wonderful screen presence

501
00:28:47,960 --> 00:28:51,000
Speaker 1: and she uh, I mean a lot of what the

502
00:28:51,040 --> 00:28:55,200
Speaker 1: movie calls on her to do is to uh just,

503
00:28:55,320 --> 00:28:59,959
Speaker 1: with like her expressions and and everything inject like life

504
00:29:00,280 --> 00:29:05,480
Speaker 1: into dead and moldering environments and sort of restore the

505
00:29:05,520 --> 00:29:08,360
Speaker 1: promise of joy and hope for the future with a smile.

506
00:29:08,480 --> 00:29:10,640
Speaker 1: And she does that. Yeah, I mean, she saw it.

507
00:29:11,120 --> 00:29:15,520
Speaker 1: But her voice is provided by Tatiana Mata, who was

508
00:29:15,600 --> 00:29:19,600
Speaker 1: born in nineteen fifty three, check actor whose credits include

509
00:29:19,960 --> 00:29:22,920
Speaker 1: Six Is Veronica, in which she starred, plus a lot

510
00:29:22,920 --> 00:29:27,120
Speaker 1: of supporting roles in recent decades, um and uh oh yes.

511
00:29:27,160 --> 00:29:29,840
Speaker 1: She also appears in the film such films as A

512
00:29:30,560 --> 00:29:34,600
Speaker 1: two thousand and elevens The House two thousand eighteens, Bathori,

513
00:29:34,720 --> 00:29:37,760
Speaker 1: Countess of Blood, which also had Karl Roden in it.

514
00:29:37,840 --> 00:29:40,720
Speaker 1: That was like a Check film with an international cast.

515
00:29:41,160 --> 00:29:45,120
Speaker 1: Did she play Elizabeth Bathory? No, she played a supporting character.

516
00:29:45,120 --> 00:29:49,920
Speaker 1: I believe Bathory was played by and Frial. Okay, alright,

517
00:29:50,080 --> 00:29:53,240
Speaker 1: so that's the beauty. Let's talk about the beasts, just

518
00:29:53,320 --> 00:29:55,160
Speaker 1: the Oh no, what is that we're here, we're doing.

519
00:29:55,200 --> 00:29:57,440
Speaker 1: We're talking about all the beauty and the beast movies today.

520
00:29:57,640 --> 00:29:59,320
Speaker 1: What if one day we have to talk about all

521
00:29:59,320 --> 00:30:02,960
Speaker 1: the Elizabeth A three movies. Oh goodness. Uh yeah, I'm

522
00:30:02,960 --> 00:30:05,800
Speaker 1: not even sure off hand what Bathori film would be appropriate.

523
00:30:06,080 --> 00:30:09,440
Speaker 1: Probably none. Yeah, So the beast and the prince in

524
00:30:09,440 --> 00:30:14,840
Speaker 1: this are physically played by Vlasta mil Harepez for ninety six. Uh,

525
00:30:14,880 --> 00:30:17,720
Speaker 1: there's another Check actor who was active on TV and

526
00:30:17,760 --> 00:30:20,680
Speaker 1: screen up through a Belief twenty nineteen. His credits include

527
00:30:20,760 --> 00:30:25,800
Speaker 1: nineteen sixty seven's Marcatta Lazarova, a medieval film about the

528
00:30:25,800 --> 00:30:29,680
Speaker 1: shift from Paganism to Christianity, in ninety seven's Day for

529
00:30:29,880 --> 00:30:33,520
Speaker 1: My Love. This is the physical performer. Yeah, yeah, he's

530
00:30:33,560 --> 00:30:36,200
Speaker 1: the physical performer. He's also the prince. Yeah. He was

531
00:30:36,240 --> 00:30:39,040
Speaker 1: interesting because though he was playing a beast, he had

532
00:30:39,080 --> 00:30:43,560
Speaker 1: an incredibly graceful way of moving, almost almost as if

533
00:30:43,640 --> 00:30:47,840
Speaker 1: like like he were a ball what's the ballerina someone

534
00:30:47,880 --> 00:30:52,120
Speaker 1: trained in ballet? Yeah, yeah, and as well discussed he

535
00:30:52,200 --> 00:30:54,480
Speaker 1: also and a lot of this comes down to the direction,

536
00:30:54,520 --> 00:30:58,680
Speaker 1: of course, but very piercing eyes in many cases, just

537
00:30:58,760 --> 00:31:00,800
Speaker 1: an eye. You'll see a single goal eye of the

538
00:31:00,840 --> 00:31:04,760
Speaker 1: beast staring at you, staring into the camera, into the viewer. Uh.

539
00:31:04,800 --> 00:31:09,080
Speaker 1: And it's very effective, certainly a full body performance. Um.

540
00:31:09,120 --> 00:31:11,520
Speaker 1: Also of note is that the beast is sometimes just

541
00:31:11,640 --> 00:31:15,200
Speaker 1: credited as as a net voor, which is check for

542
00:31:15,480 --> 00:31:18,280
Speaker 1: monster or beast. Now. The voice of the beast is

543
00:31:18,320 --> 00:31:23,120
Speaker 1: provided by Yeri Zainsky, who lived nine nine through two

544
00:31:23,160 --> 00:31:26,080
Speaker 1: thousand and seven. Check actor, who seems to have been

545
00:31:26,080 --> 00:31:28,440
Speaker 1: more of a supporting player in film, did a lot

546
00:31:28,440 --> 00:31:30,760
Speaker 1: of check television, but he was apparently more of a

547
00:31:31,520 --> 00:31:35,040
Speaker 1: larger figure in just the theater of Prague. Okay, So

548
00:31:35,120 --> 00:31:38,200
Speaker 1: that is our pana and our net for. But there

549
00:31:38,240 --> 00:31:41,040
Speaker 1: are supporting characters in the film as well, For example,

550
00:31:41,440 --> 00:31:46,880
Speaker 1: Julie's father, Yes, uh, the father, oh Tech, Oh Tech

551
00:31:47,240 --> 00:31:49,840
Speaker 1: is check fore father And I didn't really realize that

552
00:31:49,880 --> 00:31:52,760
Speaker 1: until very recently. I was familiar with Jeans funk Meyer's

553
00:31:52,840 --> 00:31:55,920
Speaker 1: film Little O Tech. And then when we were looking

554
00:31:55,920 --> 00:31:58,600
Speaker 1: at various Check actors. Recently, I was beginning to notice, like,

555
00:31:58,640 --> 00:32:01,520
Speaker 1: oh man, this this male actor really played a lot

556
00:32:01,560 --> 00:32:03,960
Speaker 1: of oh techs when he was older. Um. And then,

557
00:32:04,000 --> 00:32:05,880
Speaker 1: of course the the answer to that, it was because

558
00:32:05,880 --> 00:32:07,600
Speaker 1: he played a lot of characters that are just credit

559
00:32:07,680 --> 00:32:10,200
Speaker 1: that that are just father in the script. Okay, so

560
00:32:10,280 --> 00:32:12,120
Speaker 1: father does not have a name that we know of

561
00:32:12,200 --> 00:32:15,240
Speaker 1: in this movie. He's just Tech. Yeah, played by vok

562
00:32:15,320 --> 00:32:18,880
Speaker 1: Love Vosca Check actor. This is probably his biggest film,

563
00:32:19,120 --> 00:32:21,000
Speaker 1: is based on what I was looking at. But he

564
00:32:21,040 --> 00:32:25,520
Speaker 1: also played Watson in the nine Check Sherlock Holmes film,

565
00:32:25,560 --> 00:32:28,880
Speaker 1: and he was in nine Distant Journey, which was an

566
00:32:28,920 --> 00:32:32,280
Speaker 1: early Holocaust film. All right, so that's the father. But

567
00:32:32,320 --> 00:32:34,560
Speaker 1: now we've got two step sisters to roll through. Here

568
00:32:34,760 --> 00:32:38,160
Speaker 1: are they steps I think they're half sisters. Well, yes,

569
00:32:38,240 --> 00:32:42,160
Speaker 1: but they would be Julie's stepsisters, right, but they are

570
00:32:43,960 --> 00:32:46,480
Speaker 1: thought they were half sisters. I could be wrong. I

571
00:32:46,520 --> 00:32:49,800
Speaker 1: thought they all had the I thought was the father.

572
00:32:50,400 --> 00:32:53,440
Speaker 1: Well I'm not sure, so I think that the I

573
00:32:53,440 --> 00:32:57,680
Speaker 1: think she Julie's mother is not their mother, but but

574
00:32:57,760 --> 00:33:01,840
Speaker 1: her father is everyone's father. Yeah, okay, so we have

575
00:33:01,920 --> 00:33:05,240
Speaker 1: two sisters that ever, kay and this one the first

576
00:33:05,240 --> 00:33:08,400
Speaker 1: one here is the sister Gabinka. Uh. This is the

577
00:33:08,400 --> 00:33:13,320
Speaker 1: blonde step sister, and she is played by Yanna Brashchova,

578
00:33:13,400 --> 00:33:17,360
Speaker 1: who was born nineteen forty check actor and writer. Her

579
00:33:17,400 --> 00:33:20,920
Speaker 1: other films include Carl Zaimons, The Fabulous Baron Munchhausen, and

580
00:33:21,200 --> 00:33:24,200
Speaker 1: the nineteen seventy six sci fi film In the Dust

581
00:33:24,240 --> 00:33:26,520
Speaker 1: of the Stars, which looks quite interesting. Is this a

582
00:33:26,520 --> 00:33:30,920
Speaker 1: film that you were telling me about previously? Oh? Uh,

583
00:33:32,440 --> 00:33:34,840
Speaker 1: you know, I haven't. I definitely have not seen this one,

584
00:33:34,920 --> 00:33:38,280
Speaker 1: but I might have been poking around at old sci

585
00:33:38,280 --> 00:33:40,560
Speaker 1: fi movies and come across this and raised it as

586
00:33:40,640 --> 00:33:44,000
Speaker 1: possibility for us to watch. Yeah, it looks, it looks interesting.

587
00:33:44,600 --> 00:33:47,080
Speaker 1: But her filmography is just full of interesting looking film.

588
00:33:47,160 --> 00:33:49,880
Speaker 1: She was also in nineteen seventy threes Miss Golem, She

589
00:33:49,960 --> 00:33:52,840
Speaker 1: was in nineteen seventy six Is I Killed Einstein, Gentlemen,

590
00:33:53,320 --> 00:33:57,440
Speaker 1: And she was also in nineteen fifty seven's uh Stennada,

591
00:33:57,600 --> 00:34:00,640
Speaker 1: which was co written by Milo's foreman, to whom she

592
00:34:00,760 --> 00:34:05,600
Speaker 1: was married from ninety two. She's great in this movie.

593
00:34:06,000 --> 00:34:08,920
Speaker 1: The both of the step sisters or half sisters are

594
00:34:08,920 --> 00:34:13,120
Speaker 1: great because they're I don't know, there's an interesting relationship.

595
00:34:13,280 --> 00:34:16,879
Speaker 1: I mean, so they are portrayed as just like nasty, vain,

596
00:34:17,200 --> 00:34:23,480
Speaker 1: selfish haters, but also they're not fully villains like Julie

597
00:34:23,520 --> 00:34:25,439
Speaker 1: still kind of likes them and in a weird way

598
00:34:25,440 --> 00:34:28,520
Speaker 1: gets along with them despite the way they are, Yeah,

599
00:34:28,600 --> 00:34:31,600
Speaker 1: that they are. They are comically awful too. They provide

600
00:34:31,640 --> 00:34:34,960
Speaker 1: some nice comic relief in this film because yeah, all

601
00:34:35,000 --> 00:34:37,560
Speaker 1: they care about is money and jewels and fancy dresses.

602
00:34:38,200 --> 00:34:41,440
Speaker 1: Uh and uh and and there are any niceties that

603
00:34:41,480 --> 00:34:45,560
Speaker 1: they display are just as a result of or in

604
00:34:45,680 --> 00:34:48,640
Speaker 1: search of those things. They also have a series of

605
00:34:48,719 --> 00:34:53,719
Speaker 1: hilariously awful fiances and husbands. That's right, Yeah, alright, so

606
00:34:53,760 --> 00:34:58,080
Speaker 1: that's the blonde sister. The dark haired sister is Malinka,

607
00:34:58,320 --> 00:35:03,800
Speaker 1: played by Susanna Rokova. She was born just the physical

608
00:35:03,800 --> 00:35:08,560
Speaker 1: performance here. Her other credits include Alan Rode Gerles eight

609
00:35:08,640 --> 00:35:12,319
Speaker 1: film The Man Who Lies, Three Salt and Gold in

610
00:35:12,400 --> 00:35:16,080
Speaker 1: nineteen seventy nine The Man to Kill Um. I've read

611
00:35:16,120 --> 00:35:19,640
Speaker 1: a number of Rogue Grill books, but I've never seen

612
00:35:19,640 --> 00:35:22,439
Speaker 1: any of his films, for which he's also very well known.

613
00:35:23,160 --> 00:35:26,759
Speaker 1: But I think they tend towards cerebral erotica, which has

614
00:35:26,800 --> 00:35:29,919
Speaker 1: never been my go to genre, while the books I've

615
00:35:29,920 --> 00:35:33,240
Speaker 1: read of his or generally new novel takes on spy,

616
00:35:33,400 --> 00:35:37,600
Speaker 1: war and murder plots, sometimes with psycho sexual themes, but

617
00:35:38,000 --> 00:35:41,440
Speaker 1: for the most part uh not. But this character also

618
00:35:41,480 --> 00:35:45,520
Speaker 1: had a different actor doing the voice. Yes, yeah, the

619
00:35:45,640 --> 00:35:51,640
Speaker 1: voice of Malinka is Yorga uh cut Rebova seven check

620
00:35:51,640 --> 00:35:54,520
Speaker 1: actors credits include nineteen sixty two is the Stress of

621
00:35:54,600 --> 00:35:58,920
Speaker 1: Youth and nineteen ninety degrees in the Shade. She apparently

622
00:35:58,920 --> 00:36:02,840
Speaker 1: worked a lot and dubbing, especially Western television shows that

623
00:36:02,880 --> 00:36:05,480
Speaker 1: need to be dubbed into check. So like, for instance,

624
00:36:05,520 --> 00:36:07,759
Speaker 1: I read that she's one of the primary voices on

625
00:36:07,800 --> 00:36:11,680
Speaker 1: the check dub of mash and those are really the

626
00:36:11,760 --> 00:36:16,240
Speaker 1: prime human characters and beast character in the film. Um,

627
00:36:16,280 --> 00:36:18,400
Speaker 1: this one more credit, and that's the music. The music

628
00:36:18,480 --> 00:36:24,600
Speaker 1: is by Peter Hopka born died in The musical soundscape

629
00:36:24,640 --> 00:36:28,080
Speaker 1: for this film is basically has three speeds. There's creepy

630
00:36:28,120 --> 00:36:32,120
Speaker 1: bubbling ambiance, there's creepy organ music that is often like

631
00:36:32,160 --> 00:36:36,279
Speaker 1: kind of blaring, and then there's a romantic refrain that

632
00:36:36,400 --> 00:36:39,600
Speaker 1: we we hear. Um anytime there's something romantic or dreaming

633
00:36:39,680 --> 00:36:43,759
Speaker 1: going on on the screen. Um, it's all quite good. Yeah,

634
00:36:43,800 --> 00:36:46,440
Speaker 1: it is good. There's also a bit of whimsical harpsichord,

635
00:36:46,600 --> 00:36:50,200
Speaker 1: like when Julie is kind of prancing around and playing

636
00:36:50,200 --> 00:36:55,080
Speaker 1: with the statues. That's right. Um. Hopka's other scores include

637
00:36:55,760 --> 00:37:01,000
Speaker 1: the Forre vampire film The Ninth Heart Their Dragon, which

638
00:37:01,080 --> 00:37:04,960
Speaker 1: is another and interesting looking of Czeck fantasy film, and

639
00:37:05,040 --> 00:37:09,839
Speaker 1: he frequently worked with lyricist uh Michael Horracek, who ran

640
00:37:09,920 --> 00:37:15,439
Speaker 1: for the Czech presidency. So anyway, uh, we'll get into

641
00:37:15,480 --> 00:37:18,160
Speaker 1: the plot next. But anyone out there who's more familiar

642
00:37:18,200 --> 00:37:21,800
Speaker 1: with with Czech cinema and um and and check celebrities

643
00:37:22,120 --> 00:37:24,239
Speaker 1: and so forth, feel free to write in and let

644
00:37:24,320 --> 00:37:27,360
Speaker 1: us know what you think about these these particular performers

645
00:37:27,400 --> 00:37:39,160
Speaker 1: and the other works that they've been involved in. Okay,

646
00:37:39,160 --> 00:37:41,879
Speaker 1: we're ready to talk plot. Let's do it. So this

647
00:37:41,920 --> 00:37:45,640
Speaker 1: movie opens cold on a landscape that is the very

648
00:37:45,680 --> 00:37:49,239
Speaker 1: heart of gloom. It looks like a land that has

649
00:37:49,360 --> 00:37:52,040
Speaker 1: never been touched by sunlight, even though it is not

650
00:37:52,320 --> 00:37:56,280
Speaker 1: nighttime in in the opening scene. So you have black

651
00:37:56,360 --> 00:38:00,600
Speaker 1: mounds of earth and twisted roots and broken tree trunks

652
00:38:00,640 --> 00:38:03,640
Speaker 1: and it's all shrouded in fog. In a way, it

653
00:38:03,719 --> 00:38:06,640
Speaker 1: looks a bit like the blasted terrain and photos you

654
00:38:06,680 --> 00:38:09,600
Speaker 1: see of No Man's land between the front line trenches

655
00:38:09,640 --> 00:38:12,640
Speaker 1: in World War One. But it's not like that. It

656
00:38:12,640 --> 00:38:16,560
Speaker 1: just seems kind of naturally this way. Wolves howl and

657
00:38:16,600 --> 00:38:20,400
Speaker 1: you hear some whimpering somewhere unseen, and then the owls

658
00:38:20,440 --> 00:38:23,840
Speaker 1: are singing along. Of course, the atmosphere is just dank.

659
00:38:23,960 --> 00:38:28,359
Speaker 1: It is like an outdoor dungeon. And then into this

660
00:38:28,560 --> 00:38:32,800
Speaker 1: gloom drenched landscape comes a man, a man riding a horse,

661
00:38:33,320 --> 00:38:36,680
Speaker 1: and then there's another, and then another, and we see

662
00:38:36,680 --> 00:38:40,280
Speaker 1: it as a caravan. Uh, and apparently their delivery route

663
00:38:40,360 --> 00:38:44,759
Speaker 1: requires them to pass through this hellish landscape. But then

664
00:38:44,800 --> 00:38:47,520
Speaker 1: wait a minute, no, actually, the scouts at the head

665
00:38:47,560 --> 00:38:49,879
Speaker 1: of the line worry that maybe they made a wrong turn.

666
00:38:49,920 --> 00:38:51,799
Speaker 1: After all, maybe they don't even have to be here,

667
00:38:52,560 --> 00:38:56,040
Speaker 1: So their journey has turned into, for one reason or other,

668
00:38:56,360 --> 00:39:00,760
Speaker 1: an unbearable slog through this cursed wilderness. This whole segment

669
00:39:00,840 --> 00:39:04,400
Speaker 1: is great, with this caravan ship meant encountering you know,

670
00:39:04,520 --> 00:39:07,200
Speaker 1: this mud and difficulty, And we see all of these

671
00:39:07,239 --> 00:39:11,200
Speaker 1: different faces, all the the the the actors that are

672
00:39:11,239 --> 00:39:14,360
Speaker 1: portraying the caravan people here. They all have this like

673
00:39:14,400 --> 00:39:17,000
Speaker 1: really rugged look to them. Um, A lot of these

674
00:39:17,000 --> 00:39:22,320
Speaker 1: faces reminded me of the characters and uh heronicous Bosh's

675
00:39:22,440 --> 00:39:24,800
Speaker 1: Christ carrying the cross, you know, the one where you

676
00:39:24,840 --> 00:39:28,080
Speaker 1: am running the side profile of Christ looking dreadful, and

677
00:39:28,080 --> 00:39:31,160
Speaker 1: they're all these just awful peasant faces in the background.

678
00:39:31,400 --> 00:39:33,200
Speaker 1: That's kind of what you have in this scene. I

679
00:39:33,239 --> 00:39:36,200
Speaker 1: know exactly what you're saying. Yeah, well, one of those

680
00:39:36,200 --> 00:39:39,040
Speaker 1: faces is the face of a woman sort of covered

681
00:39:39,080 --> 00:39:42,440
Speaker 1: in mud. She's she's very she's she's having a hard time.

682
00:39:43,360 --> 00:39:45,560
Speaker 1: But she runs to the head of the caravan to

683
00:39:45,640 --> 00:39:47,799
Speaker 1: warn the scout. She says, we have to turn back.

684
00:39:47,880 --> 00:39:51,279
Speaker 1: We cannot travel through these woods because whoever crosses these

685
00:39:51,320 --> 00:39:55,160
Speaker 1: evil roots will But before she can explain, he's like, no,

686
00:39:55,680 --> 00:39:58,400
Speaker 1: you know, I won't listen, so he just sends her away.

687
00:39:58,840 --> 00:40:02,640
Speaker 1: This the recurring trend in the movie. People don't listen

688
00:40:02,840 --> 00:40:07,480
Speaker 1: to women who have very important information about places you

689
00:40:07,480 --> 00:40:11,080
Speaker 1: shouldn't go to, but they just disregarded and go anyway. Yeah,

690
00:40:11,480 --> 00:40:14,200
Speaker 1: So we see the caravans struggling these wooden wagons, going

691
00:40:14,200 --> 00:40:16,800
Speaker 1: along through the mud and in this horrible wilderness, and

692
00:40:16,800 --> 00:40:18,920
Speaker 1: then we go to the credit sequence, and the credit

693
00:40:19,000 --> 00:40:23,520
Speaker 1: sequence is set over some thrillingly bizarre paintings. Rob. I

694
00:40:23,520 --> 00:40:25,439
Speaker 1: don't know if you're able to figure out what what

695
00:40:25,480 --> 00:40:28,840
Speaker 1: this was in the background, but I think I see

696
00:40:29,200 --> 00:40:33,880
Speaker 1: mummified fish, horses with hooks for bones and fruit or

697
00:40:33,960 --> 00:40:37,880
Speaker 1: eggs coming out of their eyes. We see jellyfish, fairies

698
00:40:37,960 --> 00:40:41,919
Speaker 1: throwing apples into the sun and worshiping doors. We see

699
00:40:42,040 --> 00:40:46,520
Speaker 1: vines with hands cables running out of a human skeleton

700
00:40:46,600 --> 00:40:50,960
Speaker 1: to power and oyster. Yeah, there's definitely like a Flemish

701
00:40:51,040 --> 00:40:54,600
Speaker 1: mushroom trip quality to these paintings. Though I did not

702
00:40:54,719 --> 00:40:58,560
Speaker 1: specifically identify these paintings. I'm not sure what we're looking

703
00:40:58,600 --> 00:41:01,400
Speaker 1: at here, but it works well back into the human action.

704
00:41:01,560 --> 00:41:04,439
Speaker 1: We opened on a market scene that, from what I saw,

705
00:41:04,560 --> 00:41:07,840
Speaker 1: might have had some unsimulated shots of like a butcher

706
00:41:07,920 --> 00:41:10,839
Speaker 1: working and people doing animal husbandry. So warning here if

707
00:41:10,840 --> 00:41:13,160
Speaker 1: you're sensitive about seeing stuff like that. Though it does

708
00:41:13,200 --> 00:41:15,840
Speaker 1: go by quickly, but the point is we're seeing the

709
00:41:15,880 --> 00:41:19,760
Speaker 1: marketplace bustling, bakers are making bread, butchers or butchering meat.

710
00:41:19,920 --> 00:41:23,399
Speaker 1: There's people hurting animals all over the place. There's uh,

711
00:41:23,440 --> 00:41:26,120
Speaker 1: just lots of stuff going on. We're in town, which

712
00:41:26,160 --> 00:41:28,719
Speaker 1: is a big contrast with the Forsaken Woods from the

713
00:41:28,719 --> 00:41:32,840
Speaker 1: pre credit sequence. Yeah, and this all makes sense because

714
00:41:32,840 --> 00:41:35,759
Speaker 1: we were shortly going to learn all this activity means

715
00:41:35,800 --> 00:41:38,360
Speaker 1: that people with money in the town are preparing for

716
00:41:38,400 --> 00:41:40,960
Speaker 1: a party. That's why animals are being rounded up and

717
00:41:41,040 --> 00:41:43,840
Speaker 1: things are being slaughtered because there there there's a party

718
00:41:44,120 --> 00:41:46,640
Speaker 1: that's going to happen, right, And so here we go

719
00:41:46,719 --> 00:41:50,040
Speaker 1: on to meet our main family. We have Julie or

720
00:41:50,120 --> 00:41:54,480
Speaker 1: Julie again this is staying a student Cova, who is uh.

721
00:41:54,520 --> 00:41:58,640
Speaker 1: She she is kind, self effacing, beautiful and pure of heart.

722
00:41:59,200 --> 00:42:02,280
Speaker 1: And when we first meet her, she's playing the harpsichord

723
00:42:02,440 --> 00:42:04,799
Speaker 1: and and she's just sort of a ray of sunshine.

724
00:42:04,880 --> 00:42:08,000
Speaker 1: She kind of puts a happy twist on everything. Then

725
00:42:08,080 --> 00:42:10,879
Speaker 1: we have her father, who I originally thought his name

726
00:42:10,920 --> 00:42:13,279
Speaker 1: was o Tech, but that just means father. So we

727
00:42:13,360 --> 00:42:16,200
Speaker 1: have we have father here, who seems to be also

728
00:42:16,719 --> 00:42:19,560
Speaker 1: like Julie. He's kind and pure of heart, but also

729
00:42:19,640 --> 00:42:23,160
Speaker 1: maybe not good with money. Uh. He he is a merchant,

730
00:42:23,239 --> 00:42:26,839
Speaker 1: but we learned he has many debts, but he's optimistic

731
00:42:26,880 --> 00:42:28,880
Speaker 1: about this, and I think this might be part of

732
00:42:28,920 --> 00:42:32,080
Speaker 1: his problem that he's he's always like, oh yeah, the

733
00:42:32,080 --> 00:42:34,120
Speaker 1: next I got some money coming in and that's gonna

734
00:42:34,160 --> 00:42:38,160
Speaker 1: fix everything. Yes, And then we have Julie's step sisters

735
00:42:38,239 --> 00:42:43,600
Speaker 1: or half sisters, Malnka and Gobinka, who are nasty, selfish

736
00:42:43,680 --> 00:42:48,480
Speaker 1: rats who just like want money and jewels. And when

737
00:42:48,560 --> 00:42:51,560
Speaker 1: we first meet everybody, they are preparing for their weddings.

738
00:42:51,640 --> 00:42:54,799
Speaker 1: Julie sitting there playing the harpsichord and talking to them,

739
00:42:55,200 --> 00:43:00,080
Speaker 1: and Malinka and Goabnka are talking about their their upcoming weddings.

740
00:43:00,120 --> 00:43:03,400
Speaker 1: One sister says, uh, Julie, Wow, I hope you can

741
00:43:03,440 --> 00:43:05,640
Speaker 1: at least marry a duke or some kind of minor

742
00:43:05,719 --> 00:43:08,880
Speaker 1: royalty instead of the merchants that our father set us

743
00:43:08,960 --> 00:43:12,560
Speaker 1: up with. They're they're very ungrateful about the matches that

744
00:43:12,600 --> 00:43:15,200
Speaker 1: have been gotten for them. And then Julie says she

745
00:43:15,239 --> 00:43:18,120
Speaker 1: will never marry because that would mean leaving father alone.

746
00:43:18,520 --> 00:43:22,040
Speaker 1: She's so loyal, just so loyal. I mean, that's very kind, Julie.

747
00:43:22,080 --> 00:43:24,960
Speaker 1: But it also seems it's kind of like overly like

748
00:43:25,040 --> 00:43:28,520
Speaker 1: self sacrificing, which is a theme for Julie. Yeah, and

749
00:43:28,520 --> 00:43:30,560
Speaker 1: and I guess the fairytale theme in general reminds me

750
00:43:30,640 --> 00:43:34,960
Speaker 1: of Jack Frost. Remember where where the Daughter? And that

751
00:43:35,120 --> 00:43:38,080
Speaker 1: is is so loyal to father that she will gladly

752
00:43:38,239 --> 00:43:41,440
Speaker 1: sacrifice herself and freeze to death in the woods if

753
00:43:41,520 --> 00:43:43,960
Speaker 1: it prevents them from getting a butt whooping from the

754
00:43:43,960 --> 00:43:47,800
Speaker 1: step mon. Yeah, I don't know. These kind of character

755
00:43:47,880 --> 00:43:49,880
Speaker 1: dynamics and fairy tales make me think about how, well,

756
00:43:49,920 --> 00:43:52,920
Speaker 1: of course it's good to, you know, encourage the the

757
00:43:53,080 --> 00:43:56,080
Speaker 1: virtues of being generous to the needs of others and

758
00:43:56,080 --> 00:43:58,960
Speaker 1: and self sacrificing in some ways, but also like you

759
00:43:58,960 --> 00:44:03,480
Speaker 1: should be realistic about different steaks. Yes, But in the

760
00:44:03,520 --> 00:44:06,080
Speaker 1: scene we also first see an important plot device, which

761
00:44:06,120 --> 00:44:09,960
Speaker 1: is a painting of Julie's mother. Uh, this is Julie's mother,

762
00:44:10,000 --> 00:44:12,919
Speaker 1: but not the mother of the other two sisters. And

763
00:44:12,960 --> 00:44:15,520
Speaker 1: in this painting she looks a lot like Julie, except

764
00:44:15,600 --> 00:44:20,440
Speaker 1: she looks sad, almost disappointed. It looks like she's gazing

765
00:44:20,440 --> 00:44:23,640
Speaker 1: out of frame in the portrait, almost at something she

766
00:44:23,719 --> 00:44:27,960
Speaker 1: desires but knows she cannot have. Yeah. Yeah, so it's

767
00:44:27,960 --> 00:44:31,040
Speaker 1: a haunting looking painting. And I have to say, paintings

768
00:44:31,080 --> 00:44:33,480
Speaker 1: and movies like this, they don't always look convincing. And

769
00:44:33,520 --> 00:44:36,239
Speaker 1: I'm not sure how the style here necessarily fits into

770
00:44:36,280 --> 00:44:38,880
Speaker 1: the intended time period. But I don't know it works.

771
00:44:38,880 --> 00:44:42,080
Speaker 1: I like it. But remember those like fiances the sisters

772
00:44:42,120 --> 00:44:44,920
Speaker 1: were complaining about. Well, here we go into a scene

773
00:44:44,920 --> 00:44:48,120
Speaker 1: with the two horrible fiances, and it was really funny.

774
00:44:48,160 --> 00:44:51,719
Speaker 1: They're one of them is drinking wine with their dreaming

775
00:44:51,760 --> 00:44:54,240
Speaker 1: wine with oh tech the father and he's like, oh fine,

776
00:44:54,360 --> 00:44:57,080
Speaker 1: vintage wine, such a spicy tang. And then the other

777
00:44:57,080 --> 00:45:00,160
Speaker 1: one says it's a waste to serve it to wedding guests.

778
00:45:00,200 --> 00:45:04,200
Speaker 1: And and I think the deal is the father owes

779
00:45:04,400 --> 00:45:08,279
Speaker 1: these two guys money, which like, these are kind of

780
00:45:08,320 --> 00:45:10,160
Speaker 1: I don't know if they're supposed to be rich or not,

781
00:45:10,239 --> 00:45:12,400
Speaker 1: but there are these other merchants and he owes the money,

782
00:45:12,400 --> 00:45:15,320
Speaker 1: and um, I don't know that that's a rough situation.

783
00:45:15,360 --> 00:45:18,399
Speaker 1: I guess being deeply in debt to your son in law. Yeah, yeah,

784
00:45:18,400 --> 00:45:20,680
Speaker 1: So it's not really a sense that he's paying them

785
00:45:20,719 --> 00:45:25,040
Speaker 1: off by by letting them marry his daughters. But maybe

786
00:45:25,040 --> 00:45:28,400
Speaker 1: he's just like buying a little time. Um that he insists,

787
00:45:28,440 --> 00:45:30,600
Speaker 1: you know, I've got money coming in, got money coming in.

788
00:45:30,840 --> 00:45:33,759
Speaker 1: That's right, because I think his debt is that he

789
00:45:33,840 --> 00:45:36,040
Speaker 1: has a shipment of goods coming in from all over

790
00:45:36,080 --> 00:45:39,279
Speaker 1: the world. He's got Venetian mirrors and lace from Brussels,

791
00:45:39,320 --> 00:45:43,040
Speaker 1: fine China, diamonds cut in Amsterdam. And once all these

792
00:45:43,080 --> 00:45:45,160
Speaker 1: goods arrive and he's able to sell them, he will

793
00:45:45,160 --> 00:45:47,560
Speaker 1: be swimming in cash and able to pay them back

794
00:45:47,600 --> 00:45:50,879
Speaker 1: double what they loaned him. And then you think, oh,

795
00:45:50,960 --> 00:45:53,040
Speaker 1: wait a minute, do you think that shipment was the

796
00:45:53,120 --> 00:45:56,720
Speaker 1: caravan we saw really struggling in the Haunted Woods earlier?

797
00:45:57,520 --> 00:46:01,239
Speaker 1: Oh yeah, yeah, that's where it comes to oither, this,

798
00:46:01,239 --> 00:46:06,200
Speaker 1: this shipment of very breakable objects is probably dimmed. I mean,

799
00:46:06,200 --> 00:46:08,400
Speaker 1: the diamonds will be all right, but everything else seems

800
00:46:08,440 --> 00:46:12,000
Speaker 1: pretty pretty breakable if you can find them. Uh So,

801
00:46:12,600 --> 00:46:15,960
Speaker 1: tragedy on the caravan. The caravan comes up. They're going

802
00:46:16,000 --> 00:46:19,320
Speaker 1: along a mountain, pass along along the side of a ravine,

803
00:46:19,840 --> 00:46:21,520
Speaker 1: and then they come to the end of the road.

804
00:46:21,600 --> 00:46:24,000
Speaker 1: The path just stops and it's overgrown and they say, well,

805
00:46:24,040 --> 00:46:27,640
Speaker 1: we'll have to hack our way through. And I was noticing, Robert,

806
00:46:27,680 --> 00:46:29,719
Speaker 1: I don't know if you noticed the same thing. This

807
00:46:29,800 --> 00:46:33,120
Speaker 1: setting seemed similar to me to the scene on the

808
00:46:33,239 --> 00:46:35,760
Speaker 1: road with the wh that the guy asked to travel

809
00:46:35,840 --> 00:46:38,920
Speaker 1: through to get to Orlock's Castle in Werner. Herzog's No

810
00:46:39,040 --> 00:46:43,480
Speaker 1: s Ferratu, just like a soul violating portrait of Eastern

811
00:46:43,480 --> 00:46:47,279
Speaker 1: European wilderness, where where the rocks and the trees kind

812
00:46:47,280 --> 00:46:50,040
Speaker 1: of evil and alien, as if from another planet or

813
00:46:50,080 --> 00:46:53,640
Speaker 1: another eon of Earth. Yeah, it's been a long time

814
00:46:53,680 --> 00:46:56,839
Speaker 1: since I've seen Herzog's nons Ferratu. But but I I

815
00:46:56,880 --> 00:46:58,880
Speaker 1: know what you're talking about here, and I didn't go

816
00:46:58,920 --> 00:47:02,680
Speaker 1: crazy with parisons of locations. But I did know that

817
00:47:02,760 --> 00:47:06,240
Speaker 1: No Sperato was at least partially filmed and then Czechoslovakia,

818
00:47:06,360 --> 00:47:08,920
Speaker 1: So uh so, maybe maybe we are looking at some

819
00:47:08,960 --> 00:47:11,960
Speaker 1: of the same locations or at least same regions. But

820
00:47:12,080 --> 00:47:15,280
Speaker 1: then as the scouts for the caravan are hacking through

821
00:47:15,400 --> 00:47:18,880
Speaker 1: the bushes that have overgrown the path, they see something

822
00:47:18,920 --> 00:47:21,080
Speaker 1: on the other side. What is that? Some kind of creature?

823
00:47:21,840 --> 00:47:25,160
Speaker 1: Rob Can you describe the glimpse they get. I didn't

824
00:47:25,160 --> 00:47:27,360
Speaker 1: get a good glimpse of it. I just saw like

825
00:47:27,360 --> 00:47:29,760
Speaker 1: like a dark movement. I don't know if I blinked

826
00:47:29,840 --> 00:47:32,600
Speaker 1: or what. What did you see? Well, I mean I

827
00:47:32,640 --> 00:47:34,880
Speaker 1: saw it. I think we get a suggestion of the

828
00:47:34,920 --> 00:47:38,360
Speaker 1: same kind of creature that appears multiple times in the movie.

829
00:47:38,440 --> 00:47:43,320
Speaker 1: Not the Beast himself, but these other beings that that

830
00:47:43,440 --> 00:47:48,160
Speaker 1: sort of serve the beast and occupy his castle, his mansion. Yeah,

831
00:47:48,200 --> 00:47:51,080
Speaker 1: those things they're kind of like goblins or some sort

832
00:47:51,080 --> 00:47:54,239
Speaker 1: of homunculi. And they do also throw you off the

833
00:47:54,280 --> 00:47:56,279
Speaker 1: scent of what the beast is going to look like,

834
00:47:56,360 --> 00:47:59,600
Speaker 1: because you see these guys in glimpses long before you

835
00:47:59,640 --> 00:48:02,920
Speaker 1: actually uh see the visage of the beast. So one

836
00:48:02,920 --> 00:48:05,480
Speaker 1: of the caravan guides picks a white rose from the

837
00:48:05,520 --> 00:48:09,279
Speaker 1: shrubs and tosses it to the woman who warned them

838
00:48:09,320 --> 00:48:11,840
Speaker 1: not to enter the haunted forest. So I guess like

839
00:48:11,920 --> 00:48:14,799
Speaker 1: she didn't want to be here anyway. But he's like, hey,

840
00:48:14,840 --> 00:48:18,520
Speaker 1: here's a white rose. And then like a fire leaps

841
00:48:18,600 --> 00:48:21,880
Speaker 1: up from hell and engulfs the guide, so he's burning.

842
00:48:22,320 --> 00:48:25,160
Speaker 1: Carts start tumbling into the ravine. They're trying to turn

843
00:48:25,200 --> 00:48:28,080
Speaker 1: around and escape. All of the goods are pouring out

844
00:48:28,080 --> 00:48:30,520
Speaker 1: of the carts and crashing down the rocks and down

845
00:48:30,520 --> 00:48:33,400
Speaker 1: the hillside and everything. All the goods are being destroyed.

846
00:48:34,040 --> 00:48:36,120
Speaker 1: And then there was one part I didn't quite understand.

847
00:48:36,200 --> 00:48:39,319
Speaker 1: Suddenly humans are fighting each other, like sword fighting and

848
00:48:39,360 --> 00:48:43,400
Speaker 1: shooting each other. Is this like bandits attacking the caravan?

849
00:48:43,480 --> 00:48:46,360
Speaker 1: I didn't fully understand. I was a little lost on

850
00:48:46,440 --> 00:48:48,960
Speaker 1: that as well. I wasn't sure if these were newly

851
00:48:49,120 --> 00:48:53,080
Speaker 1: arrived bandits or you have just chaos took cold and

852
00:48:53,160 --> 00:48:55,759
Speaker 1: since the caravan was lost, everyone's like, well, let's just

853
00:48:55,800 --> 00:48:58,240
Speaker 1: grab some stuff and rhyme. And some people were staying

854
00:48:58,280 --> 00:49:00,560
Speaker 1: loyal and some weren't, and they were squad bobbling over

855
00:49:00,560 --> 00:49:03,480
Speaker 1: the remains. I'm not sure. Yeah, so I couldn't quite tell.

856
00:49:03,520 --> 00:49:06,120
Speaker 1: But anyway, that's all going on. That the caravan meets

857
00:49:06,280 --> 00:49:09,719
Speaker 1: a horrible end, and the woman from the caravan survives

858
00:49:10,000 --> 00:49:12,400
Speaker 1: the bandits or whatever that is. She runs away. She

859
00:49:12,520 --> 00:49:15,480
Speaker 1: runs off into no man's land, but she's chased by

860
00:49:15,520 --> 00:49:19,600
Speaker 1: someone or something on horseback, and she eventually gets backed

861
00:49:19,640 --> 00:49:21,880
Speaker 1: up against a rock or a tree or something, and

862
00:49:21,920 --> 00:49:24,040
Speaker 1: she turns and she looks at what it is that's

863
00:49:24,080 --> 00:49:27,880
Speaker 1: following her and screams in horror. And at this moment

864
00:49:27,880 --> 00:49:30,400
Speaker 1: we get the what I guess is just a staple

865
00:49:30,560 --> 00:49:34,360
Speaker 1: of seventies Gothic horror UH cinema, and that is that

866
00:49:34,360 --> 00:49:37,720
Speaker 1: we get the breast slash. She's slashed by a claw

867
00:49:37,800 --> 00:49:40,440
Speaker 1: on the breast. Nothing pulls her heart out, because this

868
00:49:40,560 --> 00:49:43,759
Speaker 1: is not that sort of movie, but this seems to

869
00:49:43,800 --> 00:49:47,040
Speaker 1: be a staple of films like The Laurelized Grasp and Uh,

870
00:49:47,239 --> 00:49:49,880
Speaker 1: Horror Rises from the Tomb. The very next thing we

871
00:49:49,960 --> 00:49:54,080
Speaker 1: cut two, it's repo time. Uh. Back in town, back

872
00:49:54,080 --> 00:49:57,320
Speaker 1: at the o Tex house, the goods failed to arrive,

873
00:49:57,440 --> 00:50:00,960
Speaker 1: so the two disgusting fiances are having ripo men take

874
00:50:01,040 --> 00:50:05,320
Speaker 1: everything that the father owns. The two half sisters are mad.

875
00:50:05,640 --> 00:50:08,720
Speaker 1: They make fun of Julie. Uh. They say like, wow,

876
00:50:08,760 --> 00:50:10,200
Speaker 1: you would go out in the market and try to

877
00:50:10,239 --> 00:50:12,520
Speaker 1: sell sunshine if if you thought it would help our

878
00:50:12,560 --> 00:50:15,759
Speaker 1: stupid father. And she agrees, in fact, she would try

879
00:50:15,800 --> 00:50:18,120
Speaker 1: to do that if it would help him. Needles to

880
00:50:18,160 --> 00:50:21,520
Speaker 1: say the weddings are off At this point, I think, so, yeah,

881
00:50:21,600 --> 00:50:24,719
Speaker 1: something something's gone very wrong. Uh. And everything in the

882
00:50:24,760 --> 00:50:26,960
Speaker 1: house is being taken away and sold. The carriage has

883
00:50:27,040 --> 00:50:30,920
Speaker 1: gone uh, all the all the furniture is gone. Uh.

884
00:50:30,960 --> 00:50:34,160
Speaker 1: And the sisters talk about what there is left to sell. Basically,

885
00:50:34,200 --> 00:50:37,680
Speaker 1: the only thing the creditors didn't take was the painting

886
00:50:37,719 --> 00:50:40,720
Speaker 1: of Julie's mother, and the sisters say, hey, we should

887
00:50:40,719 --> 00:50:43,719
Speaker 1: sell that frame, so we should buy a necklace. But

888
00:50:43,800 --> 00:50:46,239
Speaker 1: then they conclude that they could probably only get a

889
00:50:46,280 --> 00:50:50,680
Speaker 1: dog caller or maybe some cat droppings for it. They're

890
00:50:50,760 --> 00:50:55,160
Speaker 1: so awful. Yeah, so the father is clearly he's he's

891
00:50:55,239 --> 00:50:59,319
Speaker 1: just grief stricken. He confides in Julie. He says, they

892
00:50:59,400 --> 00:51:01,920
Speaker 1: want to get Mary. They'll never forgive me for making

893
00:51:01,920 --> 00:51:04,879
Speaker 1: them poor. But Julie consoles him. She says it wasn't

894
00:51:04,920 --> 00:51:07,480
Speaker 1: his fault. And then the father says, you know what,

895
00:51:07,560 --> 00:51:09,879
Speaker 1: I've got no choice. I have got to go try

896
00:51:09,920 --> 00:51:12,720
Speaker 1: to sell the only possession we have left the painting

897
00:51:12,800 --> 00:51:16,280
Speaker 1: of Julie's mother so I can buy my two evil

898
00:51:16,360 --> 00:51:21,280
Speaker 1: daughters some jewelry. Uh so, he offers Julie. As he's leaving,

899
00:51:21,360 --> 00:51:23,040
Speaker 1: he says he's going to bring her a jewel of

900
00:51:23,040 --> 00:51:25,720
Speaker 1: a different kind. He says, would you like a wayside rose?

901
00:51:26,800 --> 00:51:29,400
Speaker 1: M hmm. Now, she says all she wants is for

902
00:51:29,480 --> 00:51:32,600
Speaker 1: him to return safe, and then she tries to warn him.

903
00:51:32,640 --> 00:51:34,560
Speaker 1: She's like, I don't know. I don't think you should

904
00:51:34,560 --> 00:51:37,520
Speaker 1: travel into the Haunted Woods because when she was a girl,

905
00:51:37,640 --> 00:51:40,839
Speaker 1: her mother told her stories of a curse placed over

906
00:51:40,840 --> 00:51:43,960
Speaker 1: the forest and a moldering mansion in which they're dwelt

907
00:51:43,960 --> 00:51:47,359
Speaker 1: and nameless terror. But is Zotech gonna listen? Oh, tech

908
00:51:47,440 --> 00:51:50,920
Speaker 1: is not gonna listen now. Once again warnings from a

909
00:51:50,960 --> 00:51:54,200
Speaker 1: woman go completely unheeded. He's like, yeah, you remind me

910
00:51:54,239 --> 00:51:56,320
Speaker 1: a lot of your mother. And it takes off directly

911
00:51:56,360 --> 00:52:08,640
Speaker 1: to the haunted woods. So I love this sequence where

912
00:52:08,640 --> 00:52:10,680
Speaker 1: father goes to the woods. He goes out and he

913
00:52:10,840 --> 00:52:13,520
Speaker 1: somehow gets off of his horse. Does his horse die

914
00:52:13,719 --> 00:52:18,160
Speaker 1: or is it left behind or something? Yeah, for some reason,

915
00:52:18,200 --> 00:52:21,080
Speaker 1: he's without a horse. Uh. And then he's trying to

916
00:52:21,160 --> 00:52:24,800
Speaker 1: cross this just unpassable landscape. It's as if the earth

917
00:52:24,840 --> 00:52:27,680
Speaker 1: were covered in spikes and barbed wire. But it's just

918
00:52:28,000 --> 00:52:30,720
Speaker 1: like the woods. It's the jagged texture or the forest.

919
00:52:31,560 --> 00:52:33,920
Speaker 1: And then suddenly there's a light in the distance, hovering

920
00:52:33,920 --> 00:52:36,840
Speaker 1: in the far away trees, and he wanders toward it.

921
00:52:36,920 --> 00:52:41,040
Speaker 1: He wanders into a great country manner with Gothic decorations

922
00:52:41,080 --> 00:52:44,759
Speaker 1: and marble statues, and he's got this big painting with him,

923
00:52:44,760 --> 00:52:47,759
Speaker 1: like covered in a cloth. And as he wanders inside

924
00:52:47,840 --> 00:52:50,719
Speaker 1: the um, what's it called the gate, the portcullists or

925
00:52:50,760 --> 00:52:54,440
Speaker 1: whatever it is, falls shut behind him, and there's actually

926
00:52:54,520 --> 00:52:59,560
Speaker 1: a kind of disembodied hospitality in the manner here. Uh.

927
00:52:59,800 --> 00:53:04,120
Speaker 1: So there there's a fire burning in the fireplace, and uh,

928
00:53:04,280 --> 00:53:07,440
Speaker 1: and then some very interesting things start to happen. Robert,

929
00:53:07,600 --> 00:53:10,360
Speaker 1: could you describe this. Yeah, So, if you're familiar with

930
00:53:10,400 --> 00:53:12,520
Speaker 1: the Disney adaptation to Beauty and the Beast, you know

931
00:53:12,719 --> 00:53:15,960
Speaker 1: that the chores get done in the castle because you

932
00:53:16,040 --> 00:53:22,480
Speaker 1: have magical, um comedic animated household items that engage in

933
00:53:22,680 --> 00:53:26,160
Speaker 1: lavish musical numbers as they set the table and bring

934
00:53:26,200 --> 00:53:28,640
Speaker 1: out the food and so forth and invite everyone to

935
00:53:28,680 --> 00:53:33,279
Speaker 1: be their guests. In this dank film, the chores and

936
00:53:33,280 --> 00:53:38,319
Speaker 1: the tasks are carried out by these strange goblins or homunculi.

937
00:53:38,719 --> 00:53:41,200
Speaker 1: Then we we rarely get a good look at and

938
00:53:41,239 --> 00:53:43,640
Speaker 1: they seem to keep to the shadows. They'll kind of

939
00:53:43,920 --> 00:53:47,799
Speaker 1: creep out or slowly lower themselves down on a chandelier

940
00:53:48,080 --> 00:53:51,160
Speaker 1: so they can, you know, pour some wine or something

941
00:53:51,239 --> 00:53:54,480
Speaker 1: like that. Uh, it's it was one of the weirdest

942
00:53:54,520 --> 00:53:57,640
Speaker 1: things in the film for me. That is also just

943
00:53:57,719 --> 00:54:01,879
Speaker 1: realized so wonderfully. Yeah. So o tech comes in and there's, uh,

944
00:54:01,920 --> 00:54:04,840
Speaker 1: there's like a pig roasting on a spit in the fireplace,

945
00:54:04,840 --> 00:54:07,160
Speaker 1: so he's gonna get some meat. But then behind his back,

946
00:54:07,560 --> 00:54:10,200
Speaker 1: just a hand, just a hand comes down to pour

947
00:54:10,280 --> 00:54:13,040
Speaker 1: him a glass of beer and it pours. I thought

948
00:54:13,040 --> 00:54:16,000
Speaker 1: this was significant. It pours until it overflows the glass.

949
00:54:16,080 --> 00:54:20,400
Speaker 1: So he's being offered great hospitality, Yeah, by revolting creatures

950
00:54:20,440 --> 00:54:23,319
Speaker 1: that cling to the shadows and can probably barely do

951
00:54:23,440 --> 00:54:26,440
Speaker 1: what they are tasked with. Yes, But also I mean

952
00:54:26,520 --> 00:54:29,880
Speaker 1: it is despite all the hospitality, in material terms, it

953
00:54:29,960 --> 00:54:32,319
Speaker 1: is scary. Like when he looks into the flames in

954
00:54:32,360 --> 00:54:36,120
Speaker 1: the fireplace, he sees a horrible face behind it. Yeah,

955
00:54:36,200 --> 00:54:38,560
Speaker 1: but it's it's it's not quite clear, and like you

956
00:54:38,640 --> 00:54:41,040
Speaker 1: kind of get the looking through his eyes. You're like,

957
00:54:41,080 --> 00:54:42,560
Speaker 1: did I see a face or did I not see

958
00:54:42,600 --> 00:54:46,000
Speaker 1: a face? Yeah? Yeah, we see more of that creature later,

959
00:54:46,120 --> 00:54:48,879
Speaker 1: so it is confirmed. But hey, at least he's out

960
00:54:48,880 --> 00:54:51,080
Speaker 1: of the wet, he's out of the cold. Uh. The

961
00:54:51,120 --> 00:54:54,000
Speaker 1: man has a fire and some food and some wine,

962
00:54:54,320 --> 00:54:57,799
Speaker 1: and he has not only that, inadvertently he's found a

963
00:54:57,800 --> 00:55:00,680
Speaker 1: buyer for the one item he had has left to sell.

964
00:55:00,719 --> 00:55:03,480
Speaker 1: So the father falls asleep by the fire, and while

965
00:55:03,560 --> 00:55:05,880
Speaker 1: he sleeps, we see a point of view shot of

966
00:55:06,040 --> 00:55:10,000
Speaker 1: something carrying a candelabra through the hallways and it comes

967
00:55:10,000 --> 00:55:12,279
Speaker 1: into the room and it looks upon the painting of

968
00:55:12,360 --> 00:55:16,040
Speaker 1: Julie's mother, and it is entranced. And when the father

969
00:55:16,120 --> 00:55:18,400
Speaker 1: wakes up in the morning, there is a fortune in

970
00:55:18,560 --> 00:55:22,280
Speaker 1: gold and jewels left by his side. So he wakes

971
00:55:22,560 --> 00:55:25,240
Speaker 1: and he sees no one, but he understands the deal

972
00:55:25,360 --> 00:55:28,400
Speaker 1: that has been made, and he announces his thanks to

973
00:55:28,480 --> 00:55:31,080
Speaker 1: the walls, and he takes the treasures along with him,

974
00:55:31,080 --> 00:55:33,239
Speaker 1: and he's on his way out of the castle. But

975
00:55:33,440 --> 00:55:36,080
Speaker 1: on the way out he sees a white rose growing

976
00:55:36,080 --> 00:55:40,320
Speaker 1: in the courtyard and he picks it for Julie. Immediately

977
00:55:40,480 --> 00:55:43,560
Speaker 1: the hammer comes down. There's like a monster hand with

978
00:55:43,719 --> 00:55:47,160
Speaker 1: talons and uh and a voice saying, my rose, I

979
00:55:47,160 --> 00:55:49,480
Speaker 1: should have left you to the wolves, and then it

980
00:55:49,560 --> 00:55:52,000
Speaker 1: commands o tech to look at him. He says, look

981
00:55:52,000 --> 00:55:55,520
Speaker 1: at me, and the father is filled with horror, but

982
00:55:55,560 --> 00:55:58,279
Speaker 1: the father negotiates for his life, so the beast is like,

983
00:55:58,320 --> 00:56:01,040
Speaker 1: I'm gonna kill you. But before the beast kills him,

984
00:56:01,080 --> 00:56:03,319
Speaker 1: the father asks that he be allowed to take the

985
00:56:03,360 --> 00:56:06,520
Speaker 1: treasure to his daughters and make arrangements for their future

986
00:56:06,600 --> 00:56:09,520
Speaker 1: and say goodbye. And after that he gives his word

987
00:56:09,560 --> 00:56:12,440
Speaker 1: that he will return and let the beast have his revenge.

988
00:56:13,200 --> 00:56:16,560
Speaker 1: And then strangely, the beast says, can humans be trusted.

989
00:56:17,840 --> 00:56:20,520
Speaker 1: It's almost as if the beast is unfamiliar with what

990
00:56:20,600 --> 00:56:23,840
Speaker 1: humans are like. But the beast says, if one of

991
00:56:23,880 --> 00:56:26,239
Speaker 1: your daughters comes to die in your place, I will

992
00:56:26,320 --> 00:56:28,959
Speaker 1: let you live. Are to the deal? Are to the deal.

993
00:56:31,840 --> 00:56:34,480
Speaker 1: So oh, Tech gets out of there. He takes the

994
00:56:34,480 --> 00:56:38,160
Speaker 1: golden jewels with him. Uh. He says that you know, uh, oh,

995
00:56:38,239 --> 00:56:40,840
Speaker 1: and the golden jewels. Apparently it's like good gold. I

996
00:56:40,880 --> 00:56:43,160
Speaker 1: suppose he's able to buy back all their stuff. They

997
00:56:43,200 --> 00:56:46,479
Speaker 1: have all their stuff again, the daughters. Uh. Julius playing

998
00:56:46,520 --> 00:56:49,400
Speaker 1: her harpsichord, and the daughters have their dresses and stuff.

999
00:56:50,040 --> 00:56:51,960
Speaker 1: But Father is telling them. He says, you know, I'm

1000
00:56:51,960 --> 00:56:53,920
Speaker 1: gonna have to leave. I will be gone across the

1001
00:56:53,960 --> 00:56:56,919
Speaker 1: sea and away for a long time. And I didn't

1002
00:56:56,960 --> 00:57:00,400
Speaker 1: quite understand here. I was wondering, is he dying to

1003
00:57:00,480 --> 00:57:02,600
Speaker 1: them to hide the fact that he is going to

1004
00:57:02,760 --> 00:57:04,919
Speaker 1: keep his word to the beast and go back and die,

1005
00:57:05,760 --> 00:57:07,560
Speaker 1: or is he telling the truth that he's going to

1006
00:57:07,640 --> 00:57:09,600
Speaker 1: be away for a long time over the sea because

1007
00:57:09,600 --> 00:57:11,719
Speaker 1: he's like, I don't know, planning to hide out from

1008
00:57:11,800 --> 00:57:15,080
Speaker 1: the beast in America or something. I don't know. That's

1009
00:57:15,080 --> 00:57:18,760
Speaker 1: an interesting possibility. I took it to mean that he's like,

1010
00:57:18,880 --> 00:57:21,000
Speaker 1: I've gotta He didn't want to say I have to

1011
00:57:21,040 --> 00:57:24,240
Speaker 1: go back and let a beast rip my throat out. Uh,

1012
00:57:24,360 --> 00:57:27,280
Speaker 1: he's just covering it up with this nicety, this lie.

1013
00:57:27,320 --> 00:57:29,280
Speaker 1: It's like, well, I gotta go away in a long trip. Daughters,

1014
00:57:29,320 --> 00:57:32,320
Speaker 1: please enjoy the fortune that I've traded my life for.

1015
00:57:32,800 --> 00:57:34,480
Speaker 1: That's what I would have thought. But in the very

1016
00:57:34,520 --> 00:57:37,920
Speaker 1: next moment he does reveal that. So he gives the

1017
00:57:37,920 --> 00:57:40,960
Speaker 1: white rose to Julie, and the other daughters make fun

1018
00:57:40,960 --> 00:57:42,720
Speaker 1: of it. They're just so awful. They're like, oh, you

1019
00:57:42,720 --> 00:57:47,360
Speaker 1: couldn't find anything cheaper for her, And the father says,

1020
00:57:47,400 --> 00:57:49,840
Speaker 1: in fact, of this rose is the most expensive gift

1021
00:57:49,840 --> 00:57:52,440
Speaker 1: of all, for it will cost him his life, and

1022
00:57:52,480 --> 00:57:54,720
Speaker 1: that only by sending one of his daughters in his

1023
00:57:54,800 --> 00:57:57,840
Speaker 1: place could he buy his life back. Now it's clear

1024
00:57:57,920 --> 00:58:00,040
Speaker 1: he doesn't say that in order to say, you know,

1025
00:58:00,120 --> 00:58:02,560
Speaker 1: one of you should really go in my place. But

1026
00:58:02,680 --> 00:58:06,680
Speaker 1: upon hearing this, Julie she volunteers. Without telling him. She

1027
00:58:06,800 --> 00:58:10,240
Speaker 1: sneaks off and takes one of the horses to surrender

1028
00:58:10,280 --> 00:58:14,000
Speaker 1: herself to her father's new creditor. And so she does

1029
00:58:14,080 --> 00:58:17,560
Speaker 1: she rides off to find the mansion in the Haunted woods.

1030
00:58:17,600 --> 00:58:21,640
Speaker 1: Like basically he just mentions the possibility offhand, and she

1031
00:58:22,000 --> 00:58:25,080
Speaker 1: made a bee line to a horse and rode off

1032
00:58:25,200 --> 00:58:29,160
Speaker 1: like no hesitation at all, no chance to talk her

1033
00:58:29,160 --> 00:58:32,360
Speaker 1: out of it or anything. Yeah, exactly, she's gone that second.

1034
00:58:33,080 --> 00:58:36,160
Speaker 1: Uh So Julie rides off through this we see. I actually,

1035
00:58:36,200 --> 00:58:38,320
Speaker 1: I think it's the same no Man's land we see,

1036
00:58:38,360 --> 00:58:40,400
Speaker 1: but it's in a different type of light. She rides

1037
00:58:40,440 --> 00:58:43,880
Speaker 1: through that blasted landscape of like dead broken tree trunks

1038
00:58:44,560 --> 00:58:48,000
Speaker 1: um which looks almost as eerie in the sunlight without

1039
00:58:48,040 --> 00:58:50,760
Speaker 1: the fog. But I thought it was maybe kind of significant.

1040
00:58:50,800 --> 00:58:53,080
Speaker 1: Like so when Julie's there, it's the only time we

1041
00:58:53,120 --> 00:58:56,080
Speaker 1: see it lit up like that with like golden sunlight.

1042
00:58:56,520 --> 00:58:59,200
Speaker 1: We've previously only seen it in like the blue light

1043
00:58:59,240 --> 00:59:02,280
Speaker 1: of dusk in the Dog, And I wonder what that means,

1044
00:59:02,360 --> 00:59:05,800
Speaker 1: Like it's not a place that's made beautiful by her presence,

1045
00:59:05,800 --> 00:59:09,520
Speaker 1: but it is finally made clear. Yeah, I think that's

1046
00:59:09,560 --> 00:59:12,640
Speaker 1: a great point. And in this film, in particular, some

1047
00:59:12,680 --> 00:59:15,920
Speaker 1: films we we analyze on the show, you can kind

1048
00:59:15,920 --> 00:59:18,560
Speaker 1: of be a toss up whether this is intentional by

1049
00:59:18,600 --> 00:59:22,200
Speaker 1: the filmmakers or kind of you know, just luck of filmmaking,

1050
00:59:22,280 --> 00:59:23,840
Speaker 1: and at the end of the day of it works,

1051
00:59:23,840 --> 00:59:26,800
Speaker 1: it works, you know. But in this in this case,

1052
00:59:26,840 --> 00:59:29,520
Speaker 1: with this director, this all feels very intentional, like there's

1053
00:59:30,120 --> 00:59:33,360
Speaker 1: a degree of attention that is applied to every shot

1054
00:59:33,400 --> 00:59:36,680
Speaker 1: in this film that that makes people believe that, yeah,

1055
00:59:36,720 --> 00:59:40,520
Speaker 1: this was totally hurts his intention. And meanwhile, we get

1056
00:59:40,560 --> 00:59:42,760
Speaker 1: some time with the Beast, who we still have not

1057
00:59:42,840 --> 00:59:45,240
Speaker 1: seen his face yet, We've only seen these point of

1058
00:59:45,320 --> 00:59:49,720
Speaker 1: view shots revealing his talent fingers, and the Beast looks

1059
00:59:49,760 --> 00:59:52,520
Speaker 1: at the painting of Julie's mother and he has an

1060
00:59:52,520 --> 00:59:55,960
Speaker 1: inner dialogue it's like, do you admire her beauty? But

1061
00:59:56,080 --> 00:59:59,320
Speaker 1: then there there's another voice that's like seeing the beauty

1062
00:59:59,360 --> 01:00:04,600
Speaker 1: of the throat, Imagine how beautiful human blood tastes. And

1063
01:00:04,640 --> 01:00:07,760
Speaker 1: then he lashes out in anger at what I'm not

1064
01:00:07,840 --> 01:00:11,840
Speaker 1: quite sure himself or at his his situation, at humanity.

1065
01:00:12,280 --> 01:00:14,840
Speaker 1: And this is the first of many scenes where the

1066
01:00:14,920 --> 01:00:19,480
Speaker 1: Beast appears to be having some kind of internal uh

1067
01:00:19,680 --> 01:00:23,480
Speaker 1: dialogue or argument between two different voices. His spoken voice

1068
01:00:23,520 --> 01:00:26,360
Speaker 1: and then like a like a whispering voice that is

1069
01:00:26,400 --> 01:00:30,120
Speaker 1: the voice of all all evil and negativity. Yeah, and

1070
01:00:30,160 --> 01:00:32,720
Speaker 1: there are a number of scenes in which the beast

1071
01:00:32,760 --> 01:00:37,720
Speaker 1: here is talking to himself and or addressing his primal instinct.

1072
01:00:38,160 --> 01:00:41,960
Speaker 1: Later on when we actually see the beast there, we

1073
01:00:42,040 --> 01:00:45,040
Speaker 1: go from a point of view shots from the beast

1074
01:00:45,160 --> 01:00:48,880
Speaker 1: perspective two shots where we the viewer are like a

1075
01:00:48,920 --> 01:00:53,120
Speaker 1: mirror to the beast or we are perspective represents this

1076
01:00:53,280 --> 01:00:56,280
Speaker 1: voice of doubt and horror that he is being and

1077
01:00:56,400 --> 01:01:01,120
Speaker 1: he is having to wrestle with And it works really well, um,

1078
01:01:01,160 --> 01:01:03,040
Speaker 1: you know, because we're sort of made to feel as

1079
01:01:03,040 --> 01:01:07,360
Speaker 1: if we are the beast's human reflection and perhaps he

1080
01:01:07,520 --> 01:01:11,360
Speaker 1: is a reflection of our animal potential. M Yeah, now

1081
01:01:11,400 --> 01:01:13,200
Speaker 1: I hate that I have to make this comparison. But

1082
01:01:13,320 --> 01:01:16,160
Speaker 1: is it similar in the Venom movies? Doesn't like Tom

1083
01:01:16,200 --> 01:01:19,160
Speaker 1: Hardy have a have a whisper beast voice like this?

1084
01:01:19,960 --> 01:01:22,120
Speaker 1: I don't know. I haven't seen the Venom movies, but

1085
01:01:22,200 --> 01:01:24,920
Speaker 1: if so, like it's a solid technique. I mean, I

1086
01:01:24,920 --> 01:01:26,600
Speaker 1: haven't seen them either. I think I've seen a clip

1087
01:01:26,640 --> 01:01:30,600
Speaker 1: from one online. Yeah, I mean, uh, Tom Hardy is

1088
01:01:30,640 --> 01:01:32,480
Speaker 1: a fine actor, but I have not seen I have

1089
01:01:32,560 --> 01:01:36,680
Speaker 1: not seen the Venom movie. You can say that, all right?

1090
01:01:36,920 --> 01:01:39,800
Speaker 1: Uh So, Julie shows up at the gothic mansion and

1091
01:01:39,840 --> 01:01:42,800
Speaker 1: there are the statues of fawns or devils outside. One

1092
01:01:42,840 --> 01:01:46,120
Speaker 1: statue turns its head to watch her as she enters.

1093
01:01:45,760 --> 01:01:48,959
Speaker 1: That's this kind of homunculous creature that you were talking about.

1094
01:01:49,680 --> 01:01:52,720
Speaker 1: And she wanders the cursed home. She sees scenes of

1095
01:01:52,760 --> 01:01:56,840
Speaker 1: abandoned life, furniture covered in dust and cobwebs, pits of

1096
01:01:57,000 --> 01:02:00,400
Speaker 1: boiling mud. Yeah, I love the boiling my it makes

1097
01:02:00,440 --> 01:02:02,800
Speaker 1: a nice sound effect. But she goes into the same

1098
01:02:02,840 --> 01:02:06,000
Speaker 1: room where her father slept, and these flames jumped to

1099
01:02:06,080 --> 01:02:09,480
Speaker 1: life in the fireplace. And then again the homunculous hand

1100
01:02:09,560 --> 01:02:12,800
Speaker 1: reaches down from the ceiling or from the chandelier to

1101
01:02:13,080 --> 01:02:15,000
Speaker 1: pour something in her glass, but this time it looks

1102
01:02:15,000 --> 01:02:17,360
Speaker 1: like it's putting maybe like a drug of some kind

1103
01:02:17,480 --> 01:02:20,560
Speaker 1: in the glass of wine or beer. Is it poisoning her?

1104
01:02:20,720 --> 01:02:23,200
Speaker 1: Is this what's going to take Julie's life? And we

1105
01:02:23,240 --> 01:02:26,200
Speaker 1: see Julie drink it and then collapse on the floor.

1106
01:02:26,760 --> 01:02:30,320
Speaker 1: And then oh, then there's this crazy sequence where like

1107
01:02:30,600 --> 01:02:34,120
Speaker 1: there's a kind of entombment, like she's in a in

1108
01:02:34,200 --> 01:02:38,040
Speaker 1: a canopy bed, but then the bed is turned into

1109
01:02:38,040 --> 01:02:41,200
Speaker 1: an ornate coffin around her, as like four men stand

1110
01:02:41,200 --> 01:02:43,480
Speaker 1: at each corner of the bed and like lower at

1111
01:02:43,520 --> 01:02:47,600
Speaker 1: the top like a coffin lid. Yeah, and there's one

1112
01:02:47,640 --> 01:02:50,240
Speaker 1: of the there's a homunculous on top of the coffin

1113
01:02:50,320 --> 01:02:53,040
Speaker 1: lid as well, kind of just hanging out up there

1114
01:02:53,160 --> 01:02:56,760
Speaker 1: and peering out of the darkness. It is a wild sequence. Yeah,

1115
01:02:56,800 --> 01:03:00,200
Speaker 1: But then she dreams, uh, and I guess it's a dream.

1116
01:03:00,200 --> 01:03:02,400
Speaker 1: It's it's in soft focus, so it seems like it's

1117
01:03:02,400 --> 01:03:04,960
Speaker 1: a dream that she dreams of a handsome young man

1118
01:03:05,080 --> 01:03:09,440
Speaker 1: with a kind smile carrying her through the doorway in

1119
01:03:09,480 --> 01:03:11,800
Speaker 1: a beautiful well at home. And it's like we're seeing

1120
01:03:11,800 --> 01:03:15,480
Speaker 1: a sort of a deep shot through a number of

1121
01:03:15,520 --> 01:03:18,600
Speaker 1: doorways that are all flung open, and they dance in

1122
01:03:18,600 --> 01:03:20,800
Speaker 1: front of a mirror together, and he's gentle and he

1123
01:03:20,920 --> 01:03:25,040
Speaker 1: dances gracefully. But coming back to reality now we see

1124
01:03:25,080 --> 01:03:28,400
Speaker 1: Julie is not dead. She's sleeping, she's breathing, and in

1125
01:03:28,480 --> 01:03:31,040
Speaker 1: her slumber we see again the point of view shot

1126
01:03:31,080 --> 01:03:34,040
Speaker 1: of the beast. The beast is there. He's looming over her.

1127
01:03:34,360 --> 01:03:37,200
Speaker 1: He reaches for her throat with his claws, with his

1128
01:03:37,280 --> 01:03:40,640
Speaker 1: talent hand. One of the household gremlins is looking on

1129
01:03:40,800 --> 01:03:46,160
Speaker 1: nearby with this expression like yeah, yeah, and it's very creepy,

1130
01:03:46,360 --> 01:03:48,720
Speaker 1: and we think, is this the end? Is he is

1131
01:03:48,720 --> 01:03:52,280
Speaker 1: he going to kill Julie? But then he doesn't. We

1132
01:03:52,360 --> 01:03:55,400
Speaker 1: get a reverse shot and we finally see the beast.

1133
01:03:55,560 --> 01:03:58,600
Speaker 1: We see what his face looks like, and it is

1134
01:03:58,640 --> 01:04:02,440
Speaker 1: not what you might expect act. Whereas every other beauty

1135
01:04:02,440 --> 01:04:05,640
Speaker 1: and the beast adaptation, I can think of that that

1136
01:04:05,680 --> 01:04:07,800
Speaker 1: where I've seen the beast, his head is that of

1137
01:04:07,840 --> 01:04:11,400
Speaker 1: a some type of mammalian predator, like kind of a

1138
01:04:11,440 --> 01:04:14,720
Speaker 1: low and mench figure, but here instead he is a

1139
01:04:14,800 --> 01:04:19,200
Speaker 1: bird of prey or perhaps even a vulture. Yeah, and

1140
01:04:19,280 --> 01:04:22,520
Speaker 1: it's a very like revolting looking vulture. This is not

1141
01:04:22,600 --> 01:04:26,840
Speaker 1: a beautiful bird. It is skexy ask I would say, yes,

1142
01:04:26,920 --> 01:04:39,919
Speaker 1: a slimy vulture head. So he's reaching for her throat,

1143
01:04:39,960 --> 01:04:42,560
Speaker 1: but then he stops himself. He can't go through with

1144
01:04:42,640 --> 01:04:45,480
Speaker 1: the murder. And in fact, he not only stops himself,

1145
01:04:45,600 --> 01:04:48,920
Speaker 1: he runs away like he's fleeing, and he does it

1146
01:04:49,040 --> 01:04:50,840
Speaker 1: kind of I don't know what the term for this is,

1147
01:04:50,960 --> 01:04:54,440
Speaker 1: but people out there who know ballet, it's kind of

1148
01:04:54,480 --> 01:04:57,320
Speaker 1: a ballet run. If you know I'm talking about rob

1149
01:04:57,440 --> 01:05:01,520
Speaker 1: like the kind of uh low running with a kind

1150
01:05:01,520 --> 01:05:06,800
Speaker 1: of like graceful outstretched arms and the cape flapping behind him. Yeah.

1151
01:05:06,800 --> 01:05:11,560
Speaker 1: This it feels like interpretive dance. Yeah. And he runs away,

1152
01:05:11,680 --> 01:05:13,840
Speaker 1: arguing with the whispering voice in his head is saying

1153
01:05:13,840 --> 01:05:16,000
Speaker 1: are you running away? And he says, I don't need

1154
01:05:16,040 --> 01:05:19,680
Speaker 1: her blood, So instead he's like he goes to hunt

1155
01:05:19,680 --> 01:05:22,680
Speaker 1: deer in the woods because I guess he's like, no,

1156
01:05:22,840 --> 01:05:25,680
Speaker 1: I can just drink deer blood instead of human blood.

1157
01:05:26,200 --> 01:05:28,960
Speaker 1: So the mask and costume I think work really well.

1158
01:05:29,080 --> 01:05:32,800
Speaker 1: You see the beast a lot once he's finally visually

1159
01:05:32,840 --> 01:05:37,160
Speaker 1: introduced to you. Um, and when shot in shadow and gloom, um,

1160
01:05:37,200 --> 01:05:41,040
Speaker 1: as it's mostly shot, this costume feels really alive. Uh.

1161
01:05:41,320 --> 01:05:43,720
Speaker 1: There's a lot of focus on the eye peering out

1162
01:05:43,880 --> 01:05:47,040
Speaker 1: of the the side of the bird head. You know,

1163
01:05:47,360 --> 01:05:49,640
Speaker 1: we don't see much in the way of like a um,

1164
01:05:49,680 --> 01:05:52,439
Speaker 1: you know, the face of the creature because it's it's

1165
01:05:52,480 --> 01:05:55,560
Speaker 1: a bird. UM. They often have the head cocked to

1166
01:05:55,600 --> 01:05:59,880
Speaker 1: one side, staring at us with that one wide bird eye.

1167
01:06:00,040 --> 01:06:02,400
Speaker 1: It's very unnerving, but you know, it's one thing for

1168
01:06:02,440 --> 01:06:05,040
Speaker 1: it to look good in the shadow and the gloom.

1169
01:06:05,240 --> 01:06:07,040
Speaker 1: You know, as we've said before, you can have a

1170
01:06:07,040 --> 01:06:10,800
Speaker 1: great monster costume and if you if you don't light

1171
01:06:10,840 --> 01:06:12,720
Speaker 1: it correctly, if you shoot it in a weird way,

1172
01:06:12,720 --> 01:06:15,880
Speaker 1: that it's it's not gonna look good. Um. So it's

1173
01:06:15,920 --> 01:06:17,800
Speaker 1: not surprising that it looks so good in the shadows

1174
01:06:17,800 --> 01:06:20,360
Speaker 1: in the darkness. But eventually he's going to venture out

1175
01:06:20,360 --> 01:06:22,960
Speaker 1: into the daylight more or what passes for daylight in

1176
01:06:22,960 --> 01:06:26,200
Speaker 1: this realm. And uh, the shots like this I think

1177
01:06:26,200 --> 01:06:28,360
Speaker 1: would often be a real risk, if not a death

1178
01:06:28,400 --> 01:06:30,800
Speaker 1: sentence for a monster suit and a monster effect in

1179
01:06:30,800 --> 01:06:33,760
Speaker 1: the film. But it's it's a solid enough get up

1180
01:06:33,760 --> 01:06:36,080
Speaker 1: that I think it holds up to the lighting. Um.

1181
01:06:36,480 --> 01:06:39,880
Speaker 1: I also was really struck by the kind of interpretive

1182
01:06:39,960 --> 01:06:43,080
Speaker 1: dance feel that that it takes on at times when

1183
01:06:43,120 --> 01:06:45,480
Speaker 1: he's running around he has a cape which kind of

1184
01:06:45,800 --> 01:06:49,040
Speaker 1: feels like you the like the dance version of flying.

1185
01:06:49,880 --> 01:06:52,320
Speaker 1: And I'm not really sure why this is, but I

1186
01:06:52,360 --> 01:06:54,080
Speaker 1: found that it did not throw me out of the

1187
01:06:54,120 --> 01:06:56,760
Speaker 1: experience of the film. Like saying it out loud, it

1188
01:06:56,800 --> 01:06:58,560
Speaker 1: sounds like the kind of thing that would like if

1189
01:06:58,640 --> 01:07:02,000
Speaker 1: Jason Vorhees stopped to dance a little bit, you would

1190
01:07:02,400 --> 01:07:05,320
Speaker 1: you would maybe take issue with that. Uh so, I'm

1191
01:07:05,320 --> 01:07:07,840
Speaker 1: not sure why, but it didn't. It didn't mess with

1192
01:07:07,880 --> 01:07:10,440
Speaker 1: my appreciation of the film or my immersion in the

1193
01:07:10,480 --> 01:07:12,760
Speaker 1: film at all. I agree, and I also I think

1194
01:07:12,840 --> 01:07:17,960
Speaker 1: Jason Vorhees should dance. But anyway, the Beast looks amazing.

1195
01:07:18,360 --> 01:07:20,080
Speaker 1: This was really, I think one of the first things

1196
01:07:20,120 --> 01:07:22,920
Speaker 1: that drew us into this film. Uh Like, we realized

1197
01:07:22,960 --> 01:07:25,680
Speaker 1: that we had an interesting director with a dark take

1198
01:07:25,720 --> 01:07:28,200
Speaker 1: on beauty and the Beast, but we might have overlooked

1199
01:07:28,240 --> 01:07:31,360
Speaker 1: it had it just been another mammalian beast man. But

1200
01:07:31,400 --> 01:07:34,240
Speaker 1: when we saw that it was this grotesque, exy type being,

1201
01:07:34,760 --> 01:07:37,080
Speaker 1: I think we were hooked. Yes, truly, and it is

1202
01:07:37,720 --> 01:07:42,040
Speaker 1: an excellent, unique design. But I also loved the characterization

1203
01:07:42,080 --> 01:07:44,760
Speaker 1: of the beast and the way he argues with himself

1204
01:07:44,800 --> 01:07:47,800
Speaker 1: this other whispering voice. Like, uh, he gets into this

1205
01:07:47,920 --> 01:07:50,560
Speaker 1: argument where the whispering voice says, as an animal, you

1206
01:07:50,600 --> 01:07:53,800
Speaker 1: were alone and happy. Your soul knew nothing of hate

1207
01:07:53,880 --> 01:07:57,400
Speaker 1: nor love. And the voice taunts him like that, telling

1208
01:07:57,480 --> 01:07:59,919
Speaker 1: him that if he does not kill Julie, his curse

1209
01:08:00,040 --> 01:08:04,200
Speaker 1: will be worse than the hundredfold, And so we wonder, wow,

1210
01:08:04,200 --> 01:08:06,080
Speaker 1: how exactly is that going to work that we will

1211
01:08:06,120 --> 01:08:09,400
Speaker 1: find out later. But also I was confused because the

1212
01:08:09,560 --> 01:08:11,840
Speaker 1: voices talking to him like he used to be just

1213
01:08:12,160 --> 01:08:16,479
Speaker 1: entirely a bird of prey that became part man. But

1214
01:08:17,560 --> 01:08:19,640
Speaker 1: we you know, the fact that he lives in the

1215
01:08:19,640 --> 01:08:24,080
Speaker 1: mansion with like all of these human comforts makes you

1216
01:08:24,160 --> 01:08:26,840
Speaker 1: think that he was originally a human who was turned

1217
01:08:26,880 --> 01:08:29,719
Speaker 1: into part beasts. So it's not quite clear. I wonder

1218
01:08:29,760 --> 01:08:32,120
Speaker 1: what you thought of that. I mean, it gets into

1219
01:08:32,840 --> 01:08:35,679
Speaker 1: the larger themes of the film right now, about the

1220
01:08:35,720 --> 01:08:39,639
Speaker 1: and and the story itself, the transformative nature of love,

1221
01:08:40,160 --> 01:08:43,240
Speaker 1: about how like it is. It's I think basically stated

1222
01:08:43,280 --> 01:08:45,679
Speaker 1: the idea that in this case, a woman's love can

1223
01:08:45,680 --> 01:08:49,680
Speaker 1: transform uh the object of that love. But from the

1224
01:08:49,720 --> 01:08:54,759
Speaker 1: monster's side, like that transformation might itself be terrifying, because

1225
01:08:55,000 --> 01:08:58,760
Speaker 1: even though the beast is is alone and monstrous and

1226
01:08:58,800 --> 01:09:01,840
Speaker 1: living in this in this degraded state, there's kind of

1227
01:09:01,840 --> 01:09:05,840
Speaker 1: a purity in that state, Like he is unloved, but

1228
01:09:05,960 --> 01:09:10,400
Speaker 1: he is safe from all the um potentially problematic aspects

1229
01:09:10,400 --> 01:09:13,920
Speaker 1: of love, the risks of love um and he is

1230
01:09:13,960 --> 01:09:17,439
Speaker 1: able to purely be a monster and live as a

1231
01:09:17,479 --> 01:09:21,160
Speaker 1: monster without any limitations placed on that that might come

1232
01:09:21,160 --> 01:09:23,479
Speaker 1: in in indo act. If you were to become more

1233
01:09:23,560 --> 01:09:27,040
Speaker 1: human through someone's love, Yeah, that's true. The voice is

1234
01:09:27,080 --> 01:09:30,120
Speaker 1: sort of telling him, as pure monster, you are strong,

1235
01:09:30,960 --> 01:09:34,479
Speaker 1: but you know, the kind of transformation like the lifting

1236
01:09:34,560 --> 01:09:38,160
Speaker 1: of your curse, could itself be fatal to you? Yeah?

1237
01:09:38,200 --> 01:09:40,960
Speaker 1: Which this was? It was. It was I think explored

1238
01:09:41,200 --> 01:09:44,320
Speaker 1: very nicely throughout the film. Uh so it's a it's

1239
01:09:44,439 --> 01:09:46,439
Speaker 1: you know, it's a fairytale movie. It's a monster movie.

1240
01:09:46,840 --> 01:09:49,679
Speaker 1: But it does stir a lot of thought. Oh yeah, totally.

1241
01:09:50,200 --> 01:09:53,160
Speaker 1: Um So Julie she she begins to live alone in

1242
01:09:53,200 --> 01:09:56,639
Speaker 1: this this horrible, gloomy mansion where she is essentially being

1243
01:09:56,640 --> 01:09:59,479
Speaker 1: held prisoner, or at least so she thinks. Um, and

1244
01:09:59,520 --> 01:10:03,559
Speaker 1: we see she finds joy sort of. Um. She dances

1245
01:10:03,600 --> 01:10:06,559
Speaker 1: around with these disturbing statues. They look kind of Roman

1246
01:10:06,600 --> 01:10:09,280
Speaker 1: in nature, but I think maybe their statues of the

1247
01:10:09,400 --> 01:10:12,320
Speaker 1: Prince or the beast before he was the beast. Yeah,

1248
01:10:12,400 --> 01:10:15,400
Speaker 1: and you know, other versions of the beating the Beast.

1249
01:10:15,439 --> 01:10:17,720
Speaker 1: I think give us more of an origin story for

1250
01:10:17,800 --> 01:10:20,040
Speaker 1: why he is cursed. At times, I don't think we

1251
01:10:20,120 --> 01:10:23,960
Speaker 1: ever got an explanation in this film. I don't recall one. Yeah,

1252
01:10:24,000 --> 01:10:27,880
Speaker 1: I mean we don't need one, like that's the backstory

1253
01:10:28,160 --> 01:10:30,479
Speaker 1: that is not required for the enjoyment of the film,

1254
01:10:30,520 --> 01:10:33,200
Speaker 1: and I kind of like it being a mystery. Yes, totally.

1255
01:10:33,640 --> 01:10:38,240
Speaker 1: So there's a first confrontation where she's dining alone by

1256
01:10:38,240 --> 01:10:40,880
Speaker 1: the fire in the evening and then suddenly the beast

1257
01:10:40,920 --> 01:10:42,960
Speaker 1: comes and he speaks to her from the shadows, but

1258
01:10:43,040 --> 01:10:44,760
Speaker 1: he tells her not to turn around and not to

1259
01:10:44,800 --> 01:10:48,040
Speaker 1: look at him, and so they have conversations like this

1260
01:10:48,160 --> 01:10:50,439
Speaker 1: where she can never see his face, he's hiding in

1261
01:10:50,439 --> 01:10:53,920
Speaker 1: the shadows behind her, but they begin to talk and

1262
01:10:53,960 --> 01:10:56,880
Speaker 1: talk about talking about themselves. At first, it's just sort

1263
01:10:56,880 --> 01:10:59,120
Speaker 1: of questions like did you come of your own free will?

1264
01:10:59,240 --> 01:11:01,840
Speaker 1: Or did your father force you to come? And she says, no,

1265
01:11:01,960 --> 01:11:04,200
Speaker 1: he didn't force me. I came of my own free will.

1266
01:11:04,960 --> 01:11:07,519
Speaker 1: And he says, did you admire my statue this morning?

1267
01:11:07,520 --> 01:11:10,320
Speaker 1: And she says yes. And then in the nighttime later

1268
01:11:10,360 --> 01:11:13,000
Speaker 1: you hear this thudding sound echoing through the halls, and

1269
01:11:13,040 --> 01:11:15,920
Speaker 1: the next morning the statues had their heads knocked off,

1270
01:11:15,960 --> 01:11:19,160
Speaker 1: and this makes Julie sad. I think this maybe again

1271
01:11:19,800 --> 01:11:23,400
Speaker 1: an indication that the beast is afraid of his human side.

1272
01:11:23,439 --> 01:11:26,040
Speaker 1: Of the better part of him right and afraid of

1273
01:11:26,120 --> 01:11:29,440
Speaker 1: the feelings that are beginning to stir. But it establishes

1274
01:11:29,520 --> 01:11:31,720
Speaker 1: this pattern where the beast hides in the shadows and

1275
01:11:31,760 --> 01:11:34,080
Speaker 1: she never sees his face, but they continue to talk,

1276
01:11:34,680 --> 01:11:36,519
Speaker 1: and it's clear that they start to fall in love

1277
01:11:36,560 --> 01:11:39,760
Speaker 1: with each other. The beast tells Julie eventually that she

1278
01:11:40,000 --> 01:11:42,200
Speaker 1: is the mistress of the mansion and in fact, she

1279
01:11:42,280 --> 01:11:44,400
Speaker 1: is allowed to leave if she wishes. He says he

1280
01:11:44,439 --> 01:11:47,320
Speaker 1: won't stop her. So there's a there's like a sequence

1281
01:11:47,320 --> 01:11:50,160
Speaker 1: where she goes out to the outer gate as if

1282
01:11:50,200 --> 01:11:53,799
Speaker 1: to leave, but then meanwhile the beast is watching from above.

1283
01:11:54,080 --> 01:11:56,759
Speaker 1: She can't see him, but he's clearly an anguish about

1284
01:11:56,800 --> 01:11:58,200
Speaker 1: the fact that she's going to leave. But then she

1285
01:11:58,240 --> 01:12:00,800
Speaker 1: doesn't leave. She closes the gate and turn ends back within,

1286
01:12:01,800 --> 01:12:04,200
Speaker 1: and the beast asks her if she is happy, if

1287
01:12:04,240 --> 01:12:07,840
Speaker 1: she feels well taken care of, and she says yes,

1288
01:12:08,200 --> 01:12:10,679
Speaker 1: but she also misses her family, and it's clear she's

1289
01:12:10,720 --> 01:12:13,800
Speaker 1: not totally happy, so she's being polite in a way.

1290
01:12:13,840 --> 01:12:17,599
Speaker 1: But but but he knows it's not quite true, so

1291
01:12:17,680 --> 01:12:21,040
Speaker 1: he takes her up to this uh what the holidack. Basically,

1292
01:12:21,200 --> 01:12:25,040
Speaker 1: because of this this magic terrorists where you can look

1293
01:12:25,080 --> 01:12:27,679
Speaker 1: out and see things beyond the walls of the mansion,

1294
01:12:27,760 --> 01:12:30,160
Speaker 1: and Julie is able to look in on her family

1295
01:12:30,200 --> 01:12:33,479
Speaker 1: and what's going on with them. Yeah, and even sort

1296
01:12:33,479 --> 01:12:36,720
Speaker 1: of venture into the simulation, if we want to call

1297
01:12:36,760 --> 01:12:39,400
Speaker 1: it that. Yeah, this is how I understood it at

1298
01:12:39,400 --> 01:12:42,840
Speaker 1: the time. Later on, The Magic Terrorists is revisited and

1299
01:12:42,880 --> 01:12:46,680
Speaker 1: I become even foggier on how it works. But she

1300
01:12:46,800 --> 01:12:48,840
Speaker 1: looks in and it's like a big party because her

1301
01:12:48,880 --> 01:12:53,720
Speaker 1: sisters are getting married to princes, just like they wanted. Unfortunately,

1302
01:12:53,720 --> 01:12:57,759
Speaker 1: they're not rich princes. They're poor princes, but they are nobility. Yeah,

1303
01:12:57,840 --> 01:13:00,360
Speaker 1: and they're awful. We find out later these are also

1304
01:13:00,680 --> 01:13:06,120
Speaker 1: harold jerks they're marrying. But okay, yeah, very very crappy princes. Um.

1305
01:13:06,360 --> 01:13:08,720
Speaker 1: But they cannot see Julie. It's sort of a one

1306
01:13:08,760 --> 01:13:11,080
Speaker 1: way holiday, so she can walk around and see what's

1307
01:13:11,120 --> 01:13:13,360
Speaker 1: going on with father and with the sisters, but they

1308
01:13:13,400 --> 01:13:17,519
Speaker 1: can't see her. Um. And there there's another scene later

1309
01:13:17,560 --> 01:13:20,640
Speaker 1: on this interesting where Julie invites the beast to have

1310
01:13:20,680 --> 01:13:22,479
Speaker 1: a drink with her, like she wants to look on

1311
01:13:22,560 --> 01:13:25,920
Speaker 1: his face, but he forbids it, and she's like, well,

1312
01:13:25,920 --> 01:13:27,679
Speaker 1: at least come have a drink with me. And so

1313
01:13:27,760 --> 01:13:30,479
Speaker 1: she holds up a glass of wine for him to take.

1314
01:13:30,520 --> 01:13:32,639
Speaker 1: But when I think he reaches for it, she touches

1315
01:13:32,720 --> 01:13:37,280
Speaker 1: his hand. And when she touches his hand, his hand changes.

1316
01:13:37,360 --> 01:13:41,840
Speaker 1: It transforms from his talents or claws back into a

1317
01:13:41,920 --> 01:13:45,360
Speaker 1: human hand. Yeah, and this is this is key, right,

1318
01:13:45,400 --> 01:13:49,559
Speaker 1: This is again the literal transformative power of love. But

1319
01:13:49,760 --> 01:13:52,920
Speaker 1: this is also exactly what the monster voice was warning

1320
01:13:52,960 --> 01:13:56,240
Speaker 1: of against, right, because now he is a bird without talents.

1321
01:13:56,600 --> 01:14:00,439
Speaker 1: He has a bird creature with human hands which, uh,

1322
01:14:00,520 --> 01:14:03,280
Speaker 1: which we we learn are useless for doing things like,

1323
01:14:03,520 --> 01:14:05,800
Speaker 1: you know, slashing open the necks of deer that he

1324
01:14:05,880 --> 01:14:08,320
Speaker 1: hunts in the forest and so forth Right, so the

1325
01:14:08,400 --> 01:14:10,679
Speaker 1: voice says, now the worst for you. You You can live

1326
01:14:10,720 --> 01:14:13,519
Speaker 1: in neither world. So you are ugly because you have

1327
01:14:13,640 --> 01:14:17,360
Speaker 1: this monster head. You will never be accepted by by humans.

1328
01:14:18,200 --> 01:14:20,880
Speaker 1: But you don't have the power of a monster within

1329
01:14:20,960 --> 01:14:23,360
Speaker 1: the in the claus, your gentle human hands are of

1330
01:14:23,400 --> 01:14:26,439
Speaker 1: no use to you. And the voice goes on to say, hey,

1331
01:14:26,520 --> 01:14:28,439
Speaker 1: just you know, there's one way out of this. You

1332
01:14:28,479 --> 01:14:31,000
Speaker 1: can do what you originally planned and kill Julie and

1333
01:14:31,080 --> 01:14:33,160
Speaker 1: drink her blood. And then it's gonna be okay, but

1334
01:14:33,240 --> 01:14:35,920
Speaker 1: he doesn't do it because he loves her. He confesses

1335
01:14:35,960 --> 01:14:38,760
Speaker 1: that he loves her, and it seems maybe she loves

1336
01:14:38,840 --> 01:14:41,400
Speaker 1: him too. She thinks his hands are beautiful, at least

1337
01:14:41,439 --> 01:14:43,960
Speaker 1: she can see those, but she still can't turn and

1338
01:14:44,000 --> 01:14:47,000
Speaker 1: see his face until one day she does. She sees

1339
01:14:47,000 --> 01:14:49,880
Speaker 1: his face in a mirror and then finally turns to

1340
01:14:49,960 --> 01:14:53,680
Speaker 1: stare at him, and uh, they you know, they have

1341
01:14:53,720 --> 01:14:55,880
Speaker 1: it back and forth. She at first says you are

1342
01:14:55,960 --> 01:14:59,120
Speaker 1: frightening but not evil. But then when she's really faced

1343
01:14:59,120 --> 01:15:00,960
Speaker 1: with him and sees his face in the light, I

1344
01:15:01,000 --> 01:15:04,160
Speaker 1: think she can't stand it and she runs away. Now

1345
01:15:04,200 --> 01:15:05,800
Speaker 1: this is I think a good time to stress that,

1346
01:15:06,200 --> 01:15:07,519
Speaker 1: at least when I was watching this film, And I

1347
01:15:07,560 --> 01:15:09,880
Speaker 1: don't know if you have the same experience, Joe. Yes,

1348
01:15:09,920 --> 01:15:12,479
Speaker 1: we know the story, we know the fairy tale behind this,

1349
01:15:12,840 --> 01:15:16,280
Speaker 1: and we know that the fairytale generally has a happy ending.

1350
01:15:16,320 --> 01:15:18,720
Speaker 1: There's sort of different versions of that happy ending. But

1351
01:15:19,240 --> 01:15:22,160
Speaker 1: watching this film, I did not feel safe that we

1352
01:15:22,200 --> 01:15:24,680
Speaker 1: would get to a happy ending right. And I think

1353
01:15:24,720 --> 01:15:26,640
Speaker 1: part of it is because it has one foot in

1354
01:15:27,240 --> 01:15:31,400
Speaker 1: the horror genre and one foot in check new wave

1355
01:15:31,479 --> 01:15:34,760
Speaker 1: cinema and neither of those is like firm grounding for

1356
01:15:34,840 --> 01:15:39,479
Speaker 1: a nice, happy ending. Necessarily, Oh, I fully expected a dark,

1357
01:15:39,560 --> 01:15:43,800
Speaker 1: tragic ending. So when scenes like this, especially as you

1358
01:15:43,840 --> 01:15:45,880
Speaker 1: get more into the run time and as you lose

1359
01:15:45,920 --> 01:15:47,960
Speaker 1: track of how long you've been watching the film, it

1360
01:15:48,000 --> 01:15:51,200
Speaker 1: seems entirely likely that he may just kill her totally.

1361
01:15:51,240 --> 01:15:53,920
Speaker 1: That would be a fitting tragic end. But instead something

1362
01:15:53,960 --> 01:15:57,559
Speaker 1: interesting happened. So Julie leaves. She leaves the mansion, she

1363
01:15:57,640 --> 01:16:00,880
Speaker 1: returns home, and she returns him to find that her

1364
01:16:00,960 --> 01:16:03,719
Speaker 1: sisters with all the ones who are obsessed with jewels

1365
01:16:03,720 --> 01:16:06,880
Speaker 1: and fine clothing. Uh. Now that she returns home with

1366
01:16:06,920 --> 01:16:09,000
Speaker 1: all of the jewels and fine clothing that she got

1367
01:16:09,080 --> 01:16:13,200
Speaker 1: from the beast and his manner, and the sisters love that.

1368
01:16:13,240 --> 01:16:15,080
Speaker 1: They're like, oh, if I'd known it would be like this,

1369
01:16:15,240 --> 01:16:18,360
Speaker 1: I would have gone to the monster myself. And they're

1370
01:16:18,400 --> 01:16:20,599
Speaker 1: they're so impressive. They're like, let me, can I wear

1371
01:16:20,640 --> 01:16:23,080
Speaker 1: your dress? I don't even know if they asked permission.

1372
01:16:23,080 --> 01:16:24,840
Speaker 1: They're like, I'm going to wear your dress now, and

1373
01:16:24,880 --> 01:16:28,000
Speaker 1: I'm going to wear ring. And she's such a good sport.

1374
01:16:28,040 --> 01:16:31,960
Speaker 1: She's like okay, okay, and her jewelry. But then it's hilarious.

1375
01:16:31,960 --> 01:16:34,920
Speaker 1: When the sisters try on the gown and the jewelry,

1376
01:16:34,960 --> 01:16:37,080
Speaker 1: I guess they were magic. When the sisters wear them,

1377
01:16:37,120 --> 01:16:42,439
Speaker 1: they turn into rags and mud, reminiscent of the Gate

1378
01:16:42,479 --> 01:16:46,280
Speaker 1: to here with granted wishes of demons turning into poop

1379
01:16:46,320 --> 01:16:49,519
Speaker 1: the next day. Oh. Also, when we find out that

1380
01:16:49,560 --> 01:16:52,200
Speaker 1: the princes that the sisters are married to are just

1381
01:16:52,320 --> 01:16:55,960
Speaker 1: odious jerks. They're like running around there. They're like two

1382
01:16:56,000 --> 01:16:58,680
Speaker 1: frat boys who were just partying with each other at

1383
01:16:58,720 --> 01:17:01,840
Speaker 1: the at the father's house. They're like, our wives are ugly,

1384
01:17:02,120 --> 01:17:05,720
Speaker 1: too bad, all the wines gone. Yeah, they're awful and

1385
01:17:06,360 --> 01:17:08,840
Speaker 1: sadly we don't get to see them savaged by beast.

1386
01:17:09,320 --> 01:17:11,240
Speaker 1: But then we see what we think is coming to

1387
01:17:11,400 --> 01:17:14,040
Speaker 1: a tragic end for the beast. The beast is pining

1388
01:17:14,040 --> 01:17:16,720
Speaker 1: for Julie, but she has gone, and he has just

1389
01:17:16,840 --> 01:17:19,680
Speaker 1: cursed his human hands. Mean, he cannot hunt like you

1390
01:17:19,720 --> 01:17:22,479
Speaker 1: could before. All of his servants, I guess because they

1391
01:17:22,479 --> 01:17:25,080
Speaker 1: don't fear him anymore. They leave him, so no one

1392
01:17:25,160 --> 01:17:27,840
Speaker 1: is serving him, and he sort of collapses in a

1393
01:17:27,880 --> 01:17:31,799
Speaker 1: bed alone in his manner to die. And then Julie,

1394
01:17:32,040 --> 01:17:35,280
Speaker 1: it turns out, returns to him. She comes back to him,

1395
01:17:35,320 --> 01:17:37,720
Speaker 1: and it seems at first that he's already dead. But

1396
01:17:37,880 --> 01:17:41,160
Speaker 1: then when she she comes to his side, we finally

1397
01:17:41,200 --> 01:17:44,960
Speaker 1: get the transformation. He transforms into the human prince from

1398
01:17:44,960 --> 01:17:47,360
Speaker 1: her dream and then wakes and we actually do get

1399
01:17:47,360 --> 01:17:50,439
Speaker 1: a happy ending. He has been transformed by love and

1400
01:17:50,479 --> 01:17:54,559
Speaker 1: by having the kind of bravery to surrender the perhaps

1401
01:17:54,560 --> 01:17:59,400
Speaker 1: illusory strength that he felt as a monster. By giving

1402
01:17:59,439 --> 01:18:03,200
Speaker 1: that up, he uh, he is able to live again. Yeah,

1403
01:18:03,240 --> 01:18:05,559
Speaker 1: and this it came right down to the wire. I'm

1404
01:18:05,960 --> 01:18:07,679
Speaker 1: sure if this is going to have a happy ending

1405
01:18:07,920 --> 01:18:11,160
Speaker 1: until literally like the last minute or two of the movie,

1406
01:18:11,520 --> 01:18:14,040
Speaker 1: because he's dying. He's on his deathbed, and the classic

1407
01:18:14,120 --> 01:18:15,840
Speaker 1: version of the tale is that, yes, she is going

1408
01:18:15,880 --> 01:18:18,760
Speaker 1: to heal him, save him with her love, and in

1409
01:18:18,840 --> 01:18:21,000
Speaker 1: some versions of it, like they marry each other and

1410
01:18:21,000 --> 01:18:23,639
Speaker 1: there's like a wedding ceremony. I didn't think we would

1411
01:18:23,680 --> 01:18:26,000
Speaker 1: get that, and we we didn't get a wedding ceremony here.

1412
01:18:26,040 --> 01:18:27,800
Speaker 1: That would be a little bit too much for this

1413
01:18:27,840 --> 01:18:32,760
Speaker 1: particular film. But yeah, he transforms into a human and

1414
01:18:32,880 --> 01:18:35,040
Speaker 1: at that point I'm thinking, okay, maybe he's just dead,

1415
01:18:35,080 --> 01:18:37,519
Speaker 1: and we get kind of like that. The classic gothic

1416
01:18:37,640 --> 01:18:41,160
Speaker 1: ending to so many werewolf movies right where our our

1417
01:18:41,200 --> 01:18:46,719
Speaker 1: werewolf protagonist or antagonist has died but at least becomes

1418
01:18:46,800 --> 01:18:49,519
Speaker 1: human in his death. But we don't get that because

1419
01:18:49,720 --> 01:18:52,800
Speaker 1: again it's clear that as the beast transforms back into

1420
01:18:52,840 --> 01:18:55,400
Speaker 1: his human form, he looks up, he is alive, he

1421
01:18:55,479 --> 01:18:59,320
Speaker 1: draws breath, and then we transition back to that dream

1422
01:18:59,400 --> 01:19:04,080
Speaker 1: sequence of the prints carrying Julie through these various doors,

1423
01:19:04,120 --> 01:19:07,960
Speaker 1: this kind of fun house mirror dream effect. Um, so

1424
01:19:08,000 --> 01:19:10,080
Speaker 1: it's uh, yeah, we we get our happy ending. It's

1425
01:19:10,120 --> 01:19:13,400
Speaker 1: not too on the nose. Uh, it feels in keeping

1426
01:19:13,400 --> 01:19:15,519
Speaker 1: with the rest of the picture. We it's dream like,

1427
01:19:15,840 --> 01:19:20,679
Speaker 1: it's otherworldly, but it is the culmination of love's transformation. Yes,

1428
01:19:20,720 --> 01:19:23,080
Speaker 1: after everything we've been through and all the all the

1429
01:19:23,120 --> 01:19:25,280
Speaker 1: gloom and all the terror, and the boiling mud and

1430
01:19:25,280 --> 01:19:28,080
Speaker 1: the homunculous is in the in the chandelier and everything,

1431
01:19:28,400 --> 01:19:30,960
Speaker 1: we finally do get a really sweet ending. Yeah. It

1432
01:19:31,080 --> 01:19:33,479
Speaker 1: reminded me of a great quote that I've always admired

1433
01:19:33,520 --> 01:19:37,400
Speaker 1: from C. S. Lewis from The Four Loves, where Lewis

1434
01:19:37,439 --> 01:19:39,800
Speaker 1: wrote quote to love it all is to be vulnerable.

1435
01:19:40,160 --> 01:19:43,280
Speaker 1: Love anything in your heart will be wrung and possibly broken.

1436
01:19:43,640 --> 01:19:45,759
Speaker 1: If you want to make sure of keeping it intact,

1437
01:19:45,760 --> 01:19:48,320
Speaker 1: you must give it to no one, not even an animal.

1438
01:19:48,720 --> 01:19:52,679
Speaker 1: Wrap it carefully round with hobbies and little luxuries, avoid

1439
01:19:52,720 --> 01:19:56,040
Speaker 1: all entanglements. Lock it up safe in the casket or

1440
01:19:56,120 --> 01:20:02,120
Speaker 1: coffin of your selfishness. But in that casket, safe, dark, emotionless, airless,

1441
01:20:02,240 --> 01:20:05,160
Speaker 1: it will change. It will not be broken. It will

1442
01:20:05,240 --> 01:20:10,840
Speaker 1: become unbreakable, impenetrable, irredeemable. To love is to be vulnerable.

1443
01:20:11,200 --> 01:20:13,000
Speaker 1: That's a great connection. I mean, I think that is

1444
01:20:13,200 --> 01:20:17,040
Speaker 1: pretty much exactly the spirit of the film. Yeah. And hey,

1445
01:20:17,080 --> 01:20:18,800
Speaker 1: we're coming up on Valentine's Day. This is a good

1446
01:20:18,880 --> 01:20:22,559
Speaker 1: Valentine's Day viewing like people should seriously, people should should

1447
01:20:22,560 --> 01:20:26,479
Speaker 1: seek this out. This is a romantic film. I actually agree. Yes,

1448
01:20:27,200 --> 01:20:28,920
Speaker 1: so yeah, I mean, as as long as you want

1449
01:20:28,960 --> 01:20:33,200
Speaker 1: your romantic film to have a talent slime vulture. Yes,

1450
01:20:33,280 --> 01:20:34,880
Speaker 1: and you need to make sure that you're not having

1451
01:20:34,920 --> 01:20:37,120
Speaker 1: to insist early on in the film. No, I'm not

1452
01:20:37,160 --> 01:20:39,720
Speaker 1: making you watch a horror film. This is not hard film.

1453
01:20:40,360 --> 01:20:42,479
Speaker 1: Trust me. This is a fairy tale. It's a beautiful

1454
01:20:42,479 --> 01:20:46,160
Speaker 1: story about romance. Because again, the the it starts off

1455
01:20:46,200 --> 01:20:48,679
Speaker 1: a bit dark and bloody before the fairy tale really

1456
01:20:48,760 --> 01:20:51,240
Speaker 1: kicks in. Well, not too bloody, I take that it's not.

1457
01:20:51,320 --> 01:20:53,320
Speaker 1: This is not a blood fest, but there is that

1458
01:20:53,920 --> 01:20:57,400
Speaker 1: that moment of of of the young woman being ripped

1459
01:20:57,400 --> 01:21:00,080
Speaker 1: into by the beast. It's not a great movie to

1460
01:21:00,120 --> 01:21:02,640
Speaker 1: watch if you're about to deliver a caravan full of

1461
01:21:03,000 --> 01:21:06,360
Speaker 1: lace from Brussels and and find China. Right. Yeah, that's

1462
01:21:06,360 --> 01:21:09,280
Speaker 1: just gonna stress you out. Is that one of the

1463
01:21:09,280 --> 01:21:12,160
Speaker 1: categories on does the Dog Die? Does it contain a

1464
01:21:12,240 --> 01:21:16,760
Speaker 1: scene in which a valuable caravan is destroyed? Um? In

1465
01:21:16,840 --> 01:21:21,879
Speaker 1: transit should be okay? Does that do it for for today? Yeah?

1466
01:21:22,040 --> 01:21:25,280
Speaker 1: I think that'll that'll wrap it up. Again. As we

1467
01:21:25,360 --> 01:21:28,080
Speaker 1: mentioned a number of Beauty and the Beast films, um,

1468
01:21:28,320 --> 01:21:31,800
Speaker 1: I think that film is definitely worth seeking out a

1469
01:21:31,880 --> 01:21:34,519
Speaker 1: number the other ones, though, I think you can safely miss,

1470
01:21:34,760 --> 01:21:37,799
Speaker 1: especially um the two I mentioned that we're not based

1471
01:21:38,280 --> 01:21:41,400
Speaker 1: directly on the Beauty and the Beast story, give those

1472
01:21:41,400 --> 01:21:45,280
Speaker 1: a miss. Watch this movie instead. Uh, check out Beauty

1473
01:21:45,320 --> 01:21:48,439
Speaker 1: and the Beast again. You can find different different versions

1474
01:21:48,479 --> 01:21:50,439
Speaker 1: of it out there, but I think sadly, as of

1475
01:21:50,479 --> 01:21:53,840
Speaker 1: this recording, it's not available for streaming in the US.

1476
01:21:54,560 --> 01:21:57,120
Speaker 1: Or pay digital rental or purchased in the US. But

1477
01:21:57,439 --> 01:21:59,639
Speaker 1: these things change, so keep an eye out for it.

1478
01:22:00,479 --> 01:22:02,400
Speaker 1: If you want to see the rest of the movies

1479
01:22:02,520 --> 01:22:05,559
Speaker 1: we've covered on Weird House Cinema, well you can go

1480
01:22:05,600 --> 01:22:07,479
Speaker 1: to a couple of places to do that. I blog

1481
01:22:07,520 --> 01:22:10,200
Speaker 1: about these films at summuta music dot com. But if

1482
01:22:10,240 --> 01:22:13,720
Speaker 1: you use letterboxed, which is a great website where you

1483
01:22:13,720 --> 01:22:16,839
Speaker 1: can chronicle films and share your reviews read other people's reviews,

1484
01:22:17,200 --> 01:22:19,360
Speaker 1: it's l E T T E R B O x

1485
01:22:19,439 --> 01:22:21,400
Speaker 1: D dot com. Look us up. We have a an

1486
01:22:21,400 --> 01:22:24,640
Speaker 1: account there, Tyle. Our account name is weird House. We

1487
01:22:24,680 --> 01:22:26,479
Speaker 1: have a list there of all the films that we've

1488
01:22:26,479 --> 01:22:29,439
Speaker 1: covered so far, with this being the most recent one.

1489
01:22:29,880 --> 01:22:33,480
Speaker 1: A reminder that Weird House Cinema is just the Friday episode,

1490
01:22:33,720 --> 01:22:35,320
Speaker 1: uh that we put in the Stuff to Blow Your

1491
01:22:35,320 --> 01:22:37,600
Speaker 1: Mind podcast feed. Stuff to Blow Your Mind is primarily

1492
01:22:37,600 --> 01:22:40,280
Speaker 1: a science podcast with core episodes on Tuesdays and Thursdays.

1493
01:22:40,840 --> 01:22:43,120
Speaker 1: We do this on Fridays, though on Monday's we do

1494
01:22:43,200 --> 01:22:45,880
Speaker 1: listener mail and on Wednesday's we do a short form

1495
01:22:45,960 --> 01:22:48,960
Speaker 1: artifact or monster fat. But yeah, right in, we'd love

1496
01:22:49,000 --> 01:22:51,839
Speaker 1: to hear from you, and we we cover weird house cinema.

1497
01:22:52,040 --> 01:22:56,360
Speaker 1: List mail on that listener mail episode huge thanks to

1498
01:22:56,360 --> 01:22:59,360
Speaker 1: our audio producer J J. Paseway. If you would like

1499
01:22:59,439 --> 01:23:01,640
Speaker 1: to get in touch with us with feedback on this

1500
01:23:01,720 --> 01:23:04,320
Speaker 1: episode or any other, to suggest a topic for the future,

1501
01:23:04,400 --> 01:23:06,880
Speaker 1: or just to say hello, you can email us at

1502
01:23:07,040 --> 01:23:17,160
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1503
01:23:17,160 --> 01:23:19,360
Speaker 1: to Blow Your Mind is production of I Heart Radio.

1504
01:23:19,720 --> 01:23:21,840
Speaker 1: For more podcasts for my heart Radio, visit the i

1505
01:23:21,880 --> 01:23:24,720
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

1506
01:23:24,720 --> 01:23:25,559
Speaker 1: your favorite shows.