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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is going

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Speaker 1: to be an episode that originally published ten twenty seven,

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Speaker 1: twenty twenty three. The film is Dracula AD nineteen seventy two,

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Speaker 1: starring the Great Christopher Lee as the Prince of Darkness

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Speaker 1: who has risen from the Ashes a century later in

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Speaker 1: groovy London, where he encounters hippies and also a descendant

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Speaker 1: of doctor Van Helsing. So, without further ado, let's dive

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Speaker 1: right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema. This is Rob Limb.

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Speaker 3: And this is Joe McCormick. And today on Weird House

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Speaker 3: Cinema we're going to be talking about the Oh. I

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Speaker 3: usually say the year, but now I'm not so sure.

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Speaker 3: Was it actually released in nineteen seventy two?

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Speaker 1: Yes it was, And I want to stress Joe that

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Speaker 1: it was released nineteen seventy two of the common era.

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Speaker 3: Okay, not nineteen seventy two. Bce. Right, this is Dracula

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Speaker 3: AD nineteen seventy two, the hammer horror movie starring Christopher

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Speaker 3: Lee and Peter Cushing.

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Speaker 1: That's right. So last week we not only did a

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Speaker 1: Frankenstein movie. We did one of the best known and

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Speaker 1: most beloved of all Frankenstein movies, nineteen thirty five is

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Speaker 1: Bride of Frankenstein. And to follow that up, I just

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Speaker 1: I have been feeling weeks in advance like we would

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Speaker 1: need to do a Dracula movie after that. But which one, right,

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Speaker 1: There's so many Dracula films to choose from. We've been

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Speaker 1: talking about doing nineteen thirty one's Dracula or the Mexican

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Speaker 1: Dracula film that came out the same year. Those I

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Speaker 1: think are both fine choices. But I found I was

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Speaker 1: craving not just a drac movie, but a weird spin

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Speaker 1: on Dracula, which brings us back to the world of

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Speaker 1: late franchise ingenuity, which is something I always enjoy. You

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Speaker 1: know that point in a film franchise where people realize,

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Speaker 1: all right, we've done the same thing over and over again.

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Speaker 1: We need to go in a new direction. We need

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Speaker 1: to spice it up.

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Speaker 3: What can we do Dracula goes West or Dracula in

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Speaker 3: Space that's actually that's a real movie, Dracula three thousand.

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Speaker 1: Yeah, Yeah, these are all valid choices. Dracula in the

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Speaker 1: Old West has also been done. I just love it

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Speaker 1: when a franchise gets maybe a little desperate and starts

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Speaker 1: taking some risks. And that's where we are with the

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Speaker 1: seventh film in Hammer Horror's Dracula series. Kicked it off

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Speaker 1: with fifty eighth Stracula the nineteen sixties, The Brides of Dracula,

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Speaker 1: then Dracula Prince of Darkness in sixty six, then Dracula

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Speaker 1: Has Risen from the Grave in sixty eight, then Taste

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Speaker 1: the Blood of Dracula in seventy oh, and then we

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Speaker 1: have Scars of Dracula. I think that's the same year.

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Speaker 1: And then we get to Dracula AD nineteen seventy two,

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Speaker 1: which had the fat working title of Dracula Today.

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Speaker 3: It sounds almost like the name of a publication, like

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Speaker 3: it's a magazine for the modern Dracula connoisseur.

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Speaker 1: Yeah, alright. I mentioned it to my wife and she's like,

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Speaker 1: it sounds like a morning show, like Dracula hosts the

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Speaker 1: morning show. It's Dracula Today, and he's got his hot

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Speaker 1: mug of blood. So yeah, I think it's so at

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Speaker 1: this point in the film franchise, Yeah, we're definitely in

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Speaker 1: that experimental mode, and it would stay that way for

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Speaker 1: the duration. The film to follow this up was seventy

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Speaker 1: three's The Satanic Rites of Dracula, which I have not seen,

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Speaker 1: but I've definitely flagged it because it's my understanding that

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Speaker 1: it's sort of a Dracula spy movie.

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Speaker 3: Yes, I have seen this one. I've mentioned this on

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Speaker 3: the show before, but this was an especially hilarious movie

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Speaker 3: viewing experience because I watched it with early YouTube auto

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Speaker 3: generated subtitles with a group of friends, and the subtitles

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Speaker 3: were all wrong. There was one point where somebody I

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Speaker 3: don't remember what the actual line in the movie was,

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Speaker 3: but the subtitle took it for the boat carrying general

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Speaker 3: free balls.

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Speaker 1: General freebops. Okay, I don't think he's established in this film,

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Speaker 1: though some of the characters from this film will carry

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Speaker 1: on into the next one.

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Speaker 3: There's also a line that the subtitles interpreted as Peter

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Speaker 3: Cushing or a Peter Cushing type guy answering a telephone

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Speaker 3: and saying saw it on Twitter, and I was shocked,

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Speaker 3: all right.

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Speaker 1: So we've definitely flagged that one for later. The final

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Speaker 1: Dracula movie from Hammer Pictures was actually a co production

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Speaker 1: with Shaw Brothers. It is nineteen seventy four is the

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Speaker 1: Legend of the Seven Golden Vampires and East Meets West

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Speaker 1: Vampires film. This one's been on the list for a

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Speaker 1: long time. I haven't seen it yet, but I mean,

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Speaker 1: how can you resist such a mashup?

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Speaker 3: How could it go wrong? I've got to see that one.

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Speaker 1: So yeah, today's movie, Dracula AD nineteen seventy two takes

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Speaker 1: the Dracula franchise into modern times.

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Speaker 3: In a way.

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Speaker 1: It's kind of a predecessor to nineteen seventy nine's Time

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Speaker 1: after Time, which we previously talked about in the show.

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Speaker 3: Oh yeah, I can see that. I mean, so in

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Speaker 3: that episode we came up with a taxonomy of different

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Speaker 3: kinds of time travel movies. This isn't exactly a time

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Speaker 3: travel movie because nobody actually travels, there is no time machine,

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Speaker 3: nobody leaves the time they're naturally in. But it is

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Speaker 3: a generation spanning movie where where the vampire is slain

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Speaker 3: in one era and resurrected in another. So you might

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Speaker 3: expect there to be some I don't know, kind of

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Speaker 3: a fish out of time elements, like we talked about

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Speaker 3: in that episode, where the character from the past is

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Speaker 3: forced to deal with how things have changed in the

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Speaker 3: modern world. I must say none of that. There's nothing,

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Speaker 3: nothing like that at all.

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Speaker 1: Yeah, And I've seen some reviewers who come more recent

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Speaker 1: reviewers who've commented on that, like saying, why is there

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Speaker 1: not like a fish out of water Fish out of

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Speaker 1: time plot element to this? And I'm part of my

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Speaker 1: thinking on that, I'm thinking, Okay, well, you don't want

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Speaker 1: to make Dracula look foolish. This film takes Dracula's status seriously,

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Speaker 1: and Dracula remains like a severe threat. He is just

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Speaker 1: hunger and evil. But on the other hand, as we've

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Speaker 1: seen in other films, it can be done. You can

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Speaker 1: do the Fish out of Time at least a little

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Speaker 1: bit and have the character that is engaging and it

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Speaker 1: still be fearsome. The example that comes to mind, just

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Speaker 1: off the top of my head would be The Terminator.

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Speaker 1: It's not much of a Fish out of Time, but

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Speaker 1: there is that one funny moment where he tries to

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Speaker 1: go in and buy a plasma rifle from Dick Miller.

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Speaker 3: Yeah, just what you see, pal.

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Speaker 1: Yeah, And that's a funny moment, But it doesn't make

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Speaker 1: the Terminator less terrifying in that film. So there's some

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Speaker 1: sort of balance that would have been possible with Dracula

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Speaker 1: going out at night and feeding on hippies. But Dracula

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Speaker 1: just doesn't get out in this movie and do that

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Speaker 1: sort of thing.

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Speaker 3: That's exactly the issue. So the movie is trying to

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Speaker 3: be it's trying to be conceptually fish out of time.

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Speaker 3: It's trying to say, Okay, we have this monster from

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Speaker 3: a different era. You know, he came to London and

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Speaker 3: in this movie in the eighteen seventies, and suddenly he's

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Speaker 3: here in the nineteen seventies and whoa, it's a crazy context.

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Speaker 3: There are all these hippies and cars everywhere. This is

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Speaker 3: not what we expect to see surrounding Dracula. But Dracula

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Speaker 3: is never like, he never meets any of that stuff

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Speaker 3: in his resurrected form. He just hangs out in a church.

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Speaker 3: So I don't think he ever even sees any of

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Speaker 3: the signs of the modern world.

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Speaker 1: Right right, He's just ordering like takeout delivery essentially the

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Speaker 1: whole time. He doesn't get out and see that world.

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Speaker 1: You know, whether he'd be phased by the changes in

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Speaker 1: the world, who can say. I mean, maybe maybe Dracula

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Speaker 1: just sees blood at the end of the day and

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Speaker 1: so it doesn't matter. He's like, that's doesn't it doesn't

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Speaker 1: matter at all, Just bring me the blood. But maybe

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Speaker 1: you could have had some neat moments.

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Speaker 3: The Dracula in this movie does not seem very impressed

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Speaker 3: or even very reactive to anything around him. He you know,

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Speaker 3: there's the part where his lackey raises him from the

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Speaker 3: dead and says, master, I've brought you back, and he

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Speaker 3: just says it was my will. He walks past him. So,

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Speaker 3: I don't know. I kind of think that that aloofness

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Speaker 3: and high handedness might come through as well if he

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Speaker 3: were forced to, you know, be around automobiles or something

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Speaker 3: and be like, you wouldn't even notice them. He just

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Speaker 3: walked past them.

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Speaker 1: Yeah, it would have been interesting to see how they

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Speaker 1: would have handled it. Now, one thing I want to

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Speaker 1: mention about this this particular movie is with its elements

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Speaker 1: of like hippies and groovy London counterculture to the limited

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Speaker 1: extent that is that it is explored. As I was

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Speaker 1: digging on this one, I was like, oh, man, I

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Speaker 1: wonder if this one is Electric Wizard certified, because the

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Speaker 1: themes just seem to fit too perfectly for this to

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Speaker 1: not be the case, and so I looked it up.

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Speaker 1: I grabbed the book Come My Fanatics, A Journey into

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Speaker 1: the World Electric Wizard by Dan Franklin, which came out

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Speaker 1: earlier this year, and it basically is just filled with

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Speaker 1: various movies references and movie mentions that line up with

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Speaker 1: their work, and it is in fact cited as an influence.

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Speaker 1: Dracula eighty nineteen seventy two is cited as an influence

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Speaker 1: on the excellent two thousand and seven album which Cult today.

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Speaker 3: I know the Wizard, and I can see this movie

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Speaker 3: being right up their alley. They love some witch Finders

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Speaker 3: and some hammer horror and all that good stuff.

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Speaker 1: Yeah, I mean satanic rites of Drugula obvious. Obviously there's

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Speaker 1: a connection there. The title of track on the album

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Speaker 1: which cult today reminds one of Dracula today. And then

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Speaker 1: they also have that Torquamada seventy one track which also

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Speaker 1: has sort of like similarities to the title here. So yeah,

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Speaker 1: I can see this one as having been a strong influence.

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Speaker 1: Now that it's been pointed out to me.

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Speaker 3: Now here's a question. This is a convention. I can

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Speaker 3: think of several examples of movies like this where it's Dracula,

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Speaker 3: and then just the number of years Dracula nineteen seventy two,

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Speaker 3: Dracula two thousand, and Dracula three thousand, which is the

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Speaker 3: one in space with Casper van Deen.

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Speaker 1: Is that one in the year three thousand.

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Speaker 3: I guess it's supposed to be. That one's really really

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Speaker 3: not good like z Grade, though it does make one

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Speaker 3: choice that I really like, which is it sets it

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Speaker 3: in the future, so they're on like a space ship.

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Speaker 3: I think Casper Vanden's character is Captain von Helsing of

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Speaker 3: the USS whatever it is, maybe the Demeter, I don't know,

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Speaker 3: but the like they come across Dracula in a derylic spaceship.

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Speaker 3: But then when they wake him up, is he like

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Speaker 3: a spacey Dracula. Is he wearing kind of a spooky

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Speaker 3: space suit. No, he's just dressed in like a Halloween

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Speaker 3: store Dracula costume, with like the cape and the high

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Speaker 3: collar and the ruffles.

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Speaker 1: You know. I doubt they pulled it off and made

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Speaker 1: it work, But on paper, I respect the choice. I

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Speaker 1: do like it when Dracula is like powerful in spite

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Speaker 1: of the tropiness of the way he is dressed. And

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Speaker 1: I think that an example that can be found in

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Speaker 1: this movie because Christopher Lee, again, his Dracula maybe doesn't

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Speaker 1: have as much to do, doesn't get to do as

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Speaker 1: much killing and exploring as we would like, but it

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Speaker 1: is still a strong screen presence. It is still like

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Speaker 1: a terrifying vision of Dracula. Yeah.

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Speaker 3: I think Christopher Lee is almost always pretty strong. I

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Speaker 3: think he's good in the moments he has, though I

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Speaker 3: do think the movie under uses him. We kind of

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Speaker 3: don't get enough Christopher Lee, and we don't get enough

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Speaker 3: of several of the movie's big selling points.

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Speaker 1: That's true. That's true. Oh but come back to what

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Speaker 1: you were saying. Yeah, Dracula seventy two, but it was

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Speaker 1: also released as Dracula's seventy three in France and Spain

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Speaker 1: as it came out in seventy three, so they had

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Speaker 1: upgrade the title. Nobody wants last year's Dracula. I mean,

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Speaker 1: come on, but it's worth looking up the French poster

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Speaker 1: for Dracula seventy three because it's absolutely stunning. It's like,

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Speaker 1: I don't even know how to explain it. It's got

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Speaker 1: this weird kind of I don't know, almost kind of

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Speaker 1: like our deco looking font and then Dracula's head is

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Speaker 1: like this psychedelic floating visage in the sky gazing hungrily

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Speaker 1: at bikini women.

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Speaker 3: It really doesn't look like Christopher Lee. It's more like

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Speaker 3: a floating monster mask that is bleeding colors into the stratosphere.

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Speaker 1: Yes, so look that up. It's good. Now. I want

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Speaker 1: to stress that this movie is not everyone's favorite. Roger

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Speaker 1: Ebert only gave it one star, single star. Michael Weldon

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Speaker 1: of Psychotronic Film Guide called this one's time jump quote

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Speaker 1: a big mistake. And and I even touch base with

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Speaker 1: Hammer fan and former producer of the show Seth Nichols Johnson,

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Speaker 1: who again big fan of a lot of Hammer films.

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Speaker 1: He says this is not one of his favorites. He

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Speaker 1: likes it, but is not one of his favorites.

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Speaker 3: Fair enough. I think it'll make for a good discussion

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Speaker 3: on the show. But I say it's not one of

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Speaker 3: the best Hammer horror Draculas. I think Horror of Dracula

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Speaker 3: is much better.

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Speaker 1: No, No, I think to enjoy this film, you've got

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Speaker 1: to be on board for again late franchise innovation, for

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Speaker 1: some sort of you know, risky if not completely realized,

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Speaker 1: dream of where Dracula could take you, and I guess

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Speaker 1: also the further away we are from it in time,

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Speaker 1: the more it has been allowed to age, because I

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Speaker 1: know a lot of these commentators were talking about when

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Speaker 1: it first came out. Weldon criticized it as being already

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Speaker 1: dated when it hit the screen. But we've had decades

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Speaker 1: for this film to mature, and now we can appreciate

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Speaker 1: it for what it is.

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Speaker 3: I suspect people might have found the hippie caricatures more

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Speaker 3: grating in the seventies. I find them delightfully amusing now, yeah.

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Speaker 1: Yeah, I think that could be part of it, all right,

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Speaker 1: elevator pitch for this one. I would say these hippies

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Speaker 1: are such a drain on society. Of course, they resurrected Dracula.

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Speaker 3: It's the dope, it's the Devil music, it's the Dracula rights.

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Speaker 1: That's right. My other one that came up with his parents.

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Speaker 1: Be aware of these warning signs that your twenty five

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Speaker 1: year old teenager may be involved with drugs, sex, black masses,

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Speaker 1: rock music, and Dracula resurrection.

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Speaker 3: We do have several parenting scenes where Peter Cushing is

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Speaker 3: trying to exert a positive influence on his granddaughter Jessica.

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Speaker 3: You know he's trying to figure out, like, hey, are

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Speaker 3: her friends on the level? But it just doesn't go anywhere.

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Speaker 1: No, All right, let's listen to some trailer audio.

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Speaker 4: Yesterday Dracula was the most fearsome being the screen has

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Speaker 4: ever seen. Today, tonight you you could be Dracula's next.

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Speaker 5: Victim, something new yet as old as time.

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Speaker 1: Come on, Johnny, a date with the Devil.

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Speaker 4: Are you ready? He's ready, He's waiting to freak you

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Speaker 4: out right out of this world. Nice September eighteen seventy two,

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Speaker 4: one hundred years ago to the day.

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Speaker 5: You who witnessed must swear before the name of the

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Speaker 5: devil to keep its secret.

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Speaker 1: Who knows about vampires?

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Speaker 3: For God's sake, my.

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Speaker 1: Grandfather died fating about most terrible vers dangelous and of

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Speaker 1: all time.

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Speaker 4: The year is nineteen seventy two, a leap year in horror,

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Speaker 4: a vintage year vampires. Good time for the masters of

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Speaker 4: horror to meet a game.

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Speaker 1: In the twentieth century.

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Speaker 5: Come to me, come pracular.

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Speaker 1: All right. Well, if at this point you would like

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Speaker 1: to go watch Dracula eight nineteen seventy two for yourself,

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Speaker 1: well you're in luck, because this one was released through

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Speaker 1: Warner Brothers, so it's widely available. It's even currently available

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Speaker 1: in the States, at least on Max. Looks like they

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Speaker 1: have a number of Hammer Horror flicks in there, so yeah,

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Speaker 1: go crazy. You can also get it on basically any

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Speaker 1: physical or digital format you desire.

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Speaker 3: All right, let's do those connections.

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Speaker 1: All right. The director is Alan Gibson, who lived nineteen

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Speaker 1: thirty eight through nineteen eighty seven. Canadian director who worked

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Speaker 1: a lot in the UK with TV work going back

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Speaker 1: to the mid sixties, but it's his horror work that

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Speaker 1: most remember him for today. His credits include nineteen seventies

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Speaker 1: Goodbye Jim and I, which I believe is some sort

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Speaker 1: of a you know, scary twin movie, This film, of course,

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Speaker 1: and its follow up, nineteen seventy three's The Satanic Rights

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Speaker 1: of Dracula. He also continued to work in TV and

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Speaker 1: directed episodes of the anthology series thriller Tales of the

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Speaker 1: Unexpected and Hammer House of Horror. In fact, one of

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Speaker 1: the Hammer House of Horror episodes he directed was The

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Speaker 1: Silent Scream, starring Peter Cushing but also a young Brian

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Speaker 1: Cox who was actually I think we did the math.

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Speaker 1: He would have been like thirty four at the time.

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Speaker 3: Wow, it's hard to understand that I'm looking at Brian

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Speaker 3: Cox younger than I am now.

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Speaker 1: Yeah. Yeah, he came out with I mean, Brian Cox's

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Speaker 1: the augumented career of you know, playing at least you know,

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Speaker 1: heavies and formidable personalities. Formidable personalities, yeah, not so much,

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Speaker 1: you know, leading man type stuff. So yeah, he's one

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Speaker 1: of those actors who, perhaps even early on, always looked

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Speaker 1: like he was in his late forties at least. But

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Speaker 1: great actor. I haven't seen the episode, but I might

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Speaker 1: have to seek it out.

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Speaker 3: And you said it's also got Peter Cushing.

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Speaker 1: Yeah, yeah, Peter Cushing. You know, it's just he was

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Speaker 1: on speed dial for Hammer. They needed him for something.

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Speaker 1: He's like, yeah, is it a movie? Fine? There TV show, great,

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Speaker 1: I need a flight to China. Great, Let's make it work.

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Speaker 3: It's nice to have steady work. Yes, all right.

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Speaker 1: The screenwriter for this one is Don Houghten, who lived

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Speaker 1: nineteen thirty through nineteen ninety one, British television screenwriter and

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Speaker 1: producer whose writing credits include thirteen episodes of Doctor Who

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Speaker 1: from nineteen seventy, The Satanic Rites of Dracula the Seven

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Speaker 1: Golden Vampires movie, and also another Shaw Brothers Hammer co

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Speaker 1: production from seventy four, an action picture titled Chatter. I

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Speaker 1: believe Peter Cushing is in that one as well.

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Speaker 3: Okay, is it about a man who has the power

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Speaker 3: to shatter?

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Speaker 1: It looks like it's kind of like crime or act

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Speaker 1: crime action, maybe spy. I'm not sure, you know. It's

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Speaker 1: one of those non horror Hammer films that perhaps gets

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Speaker 1: re explored less in the modern era. I see, all right, Well,

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Speaker 1: who's playing the title character of Count Dracula. Well, of

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Speaker 1: course it's Christopher Lee, who lived nineteen twenty two through

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Speaker 1: twenty fifteen. We've talked about Lee before on the show,

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Speaker 1: as he's popped up in numerous films we've discussed already

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Speaker 1: and is just going to keep popping up because he's

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Speaker 1: an icon of horror. But here he is in one

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Speaker 1: of his most iconic roles, the one that influenced his

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Speaker 1: casting and presentation in late career hits like this, like

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Speaker 1: the Star Wars prequels, like Peter Jackson's Lord of the

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Speaker 1: Rings films. He was, I think, rather famously tired of

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Speaker 1: playing Dracula at this point in his career, or at

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Speaker 1: least tired of playing Dracula the hammer away. I'm to

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Speaker 1: understand the nineteen seventy Just Franco picture Count Dracula was

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Speaker 1: more in line with what he wanted to do with

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Speaker 1: the character at that point in his career. But still again,

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Speaker 1: it's a great screen presence, and one can only imagine

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Speaker 1: that he enjoyed working once more with his friend and

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Speaker 1: a longtime co star of twenty two films, Peter Cushing.

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Speaker 3: What is his Do you know what his take in

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Speaker 3: The Franco Count Dracula is? How's it different?

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Speaker 1: I haven't seen it in its entirety yet, it's been

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Speaker 1: It was actually a film I was considering for this

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Speaker 1: month on Weird House because it's supposed to be, first

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Speaker 1: of all, not as sleazy as other Just Franco films,

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Speaker 1: like it's a little more mainstream, has a great cast,

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Speaker 1: you have like Kloskinsky playing Renfield in it. But it's

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Speaker 1: supposed to be more of like a sympathetic tragic Dracula.

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Speaker 1: And I'm to understand it's the first Dracula film in

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Speaker 1: which we initially meet an elderly Dracula who has then

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Speaker 1: made young again through the consumption of blood.

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Speaker 3: Oh okay, so this has many things in common with

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Speaker 3: what would later happen in Bram Stoker's Dracula, directed by Coppola,

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Speaker 3: which we were just talking about in our Core episodes

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Speaker 3: earlier this week. Yeah, yeah, that has the at least

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Speaker 3: partially sympathetic Dracula. Adds in a love story for Dracula,

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Speaker 3: which I want to emphasize is not in the book.

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Speaker 3: Dracula is not in love. He does not romance in

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Speaker 3: the book. He is just a demon and he's just bad.

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Speaker 3: And that also has a Dracula who when Jonathan Harker

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Speaker 3: first meets him in Transylvania, he looks very old and decrepit,

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Speaker 3: but by the time he reaches London he is young

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Speaker 3: and rejuvenated and old many.

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Speaker 1: So yeah, the Dracula that we get in Dracula eighty

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Speaker 1: seventy two is certainly the demonic Dracula. In fact, they

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Speaker 1: call him the demon vampire in the prologue to the picture.

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Speaker 1: He is just pure supernatural hunger. He has more in

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Speaker 1: common with the Terminator than some of the more sympathetic

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Speaker 1: film versions of Dracula that we've seen. In this film's wake.

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Speaker 3: Yeah, just a mean nasty, vengeful, uncomplicated, demonic vampire. Now.

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Speaker 3: I mentioned this earlier, but just to get a little

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Speaker 3: bit in deep into it. I feel like Christopher Lee

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Speaker 3: is good in this movie, but one of my major

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Speaker 3: complaints about the film is that it is reserved in

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Speaker 3: the deployment of its key selling points, one of them

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Speaker 3: being Christopher Lee. He he's a kind of he's an

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Speaker 3: ineffectual vampire. He doesn't have a lot of lines, and

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Speaker 3: he has limited screen time, and that screen time is

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Speaker 3: confined to basically just two locations. It feels almost like

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Speaker 3: they were trying to make sure they could shoot all

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Speaker 3: of his scenes on the same day and you could

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Speaker 3: see how his like the fact that he never leaves

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Speaker 3: the church he's resurrected in in the modern era unless

402
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Speaker 3: he I don't think there's ever a scene of him

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Speaker 3: going anywhere else, is there. I can't think of one.

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Speaker 1: I don't think.

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Speaker 4: So.

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Speaker 3: Yeah, so he's just there. So you could say, well

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Speaker 3: that that speaks to his power, right, So you know,

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Speaker 3: he just stays there and he has his servants bringing

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Speaker 3: him victims, so like he doesn't he's so powerful he

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Speaker 3: doesn't even have to go out hunting. But I don't know,

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Speaker 3: I feel like this movie would deliver more on its

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Speaker 3: promise of Dracula nineteen seventy two AD if it had

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Speaker 3: both more of Dracula on screen and going out and

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Speaker 3: doing things in the world and had more of the

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Speaker 3: world of nineteen seventy two AD, which it's also actually

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Speaker 3: relatively tame on, save for like one silly party scene.

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Speaker 3: I think what they should have done is have Dracula

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Speaker 3: go to the coffee bar while it's like hoppin' and

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Speaker 3: everybody's partying, and he goes and I don't know, I

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Speaker 3: guess he wouldn't dance, but he would at least like

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Speaker 3: get encounter hippie culture there.

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Speaker 1: Yeah, like kill Nick Jagger in the street or something. Right, Yeah,

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Speaker 1: I think just one sequence of him feasting on hippie

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Speaker 1: blood elsewhere in London would have gone a long way.

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Speaker 1: And if you were determined to have him not leave

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Speaker 1: the church yard, maybe just like one scene where he

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Speaker 1: like looks out the window at night and like sees

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Speaker 1: what's out there. You could even play it up like,

429
00:23:50,880 --> 00:23:54,199
Speaker 1: oh man, if Dracula gets loose in nineteen seventy two London,

430
00:23:54,240 --> 00:23:56,320
Speaker 1: it's all over, Like that's why he has to be

431
00:23:56,359 --> 00:24:00,760
Speaker 1: stopped here before he has reached full feasting again. But

432
00:24:01,000 --> 00:24:02,840
Speaker 1: they don't really explore any of those ideas.

433
00:24:02,960 --> 00:24:05,280
Speaker 3: I mean, it's easy to forget because the book itself

434
00:24:05,320 --> 00:24:07,560
Speaker 3: is very old now. But I think one of the themes

435
00:24:07,560 --> 00:24:10,600
Speaker 3: in the novel Dracula is the idea of some part

436
00:24:10,640 --> 00:24:14,400
Speaker 3: of the old world coming into the new world. It's

437
00:24:14,520 --> 00:24:17,439
Speaker 3: that like, you know it, that this you know, figure

438
00:24:17,480 --> 00:24:20,439
Speaker 3: from a decaying castle in the Carpathian Mountains out in

439
00:24:20,480 --> 00:24:23,800
Speaker 3: the forest at the at the edge of Europe, as

440
00:24:23,840 --> 00:24:26,440
Speaker 3: these people would have thought of it coming to the

441
00:24:26,760 --> 00:24:30,280
Speaker 3: biggest metropolis that they knew of coming to modern London.

442
00:24:31,359 --> 00:24:34,280
Speaker 1: Yeah, that's a great point. So it's already built into

443
00:24:34,280 --> 00:24:38,280
Speaker 1: the text quite a bit there, that he's traveling across

444
00:24:38,760 --> 00:24:41,960
Speaker 1: time and space to something new and yeah, and to

445
00:24:42,000 --> 00:24:43,840
Speaker 1: come back to time after time. One of the great

446
00:24:44,280 --> 00:24:48,480
Speaker 1: serious threads in that is that when Jack the Ripper

447
00:24:48,680 --> 00:24:52,320
Speaker 1: arrives in the modern era, he's like, this place is great,

448
00:24:52,600 --> 00:24:55,639
Speaker 1: Like I can really thrive here, like and you know,

449
00:24:55,680 --> 00:24:57,399
Speaker 1: And of course that would come later that film, but

450
00:24:58,560 --> 00:25:00,520
Speaker 1: a similar vibe I think would have gone a long

451
00:25:00,560 --> 00:25:03,480
Speaker 1: way here. All right. So that's Dracula. But you can't

452
00:25:03,560 --> 00:25:07,640
Speaker 1: have a Hammer Dracula without a Hammer van Helsing, and

453
00:25:07,680 --> 00:25:10,760
Speaker 1: that's where Peter Cushing comes in playing This is technically

454
00:25:10,800 --> 00:25:12,600
Speaker 1: going to be a dual role because he starts off

455
00:25:12,640 --> 00:25:16,119
Speaker 1: playing Lawrence van Helsing, but then we'll go on to

456
00:25:16,160 --> 00:25:19,920
Speaker 1: play his descendant, Lauramir van Helsing.

457
00:25:20,200 --> 00:25:22,240
Speaker 3: I got some notes on these names. I'll come back

458
00:25:22,240 --> 00:25:22,440
Speaker 3: to that.

459
00:25:23,880 --> 00:25:28,200
Speaker 1: So Peter Cushing lived nineteen thirteen through nineteen ninety four. Again,

460
00:25:28,240 --> 00:25:30,320
Speaker 1: we've discussed Peter Cushing on the show before, and he's

461
00:25:30,359 --> 00:25:32,800
Speaker 1: just going to continue to pop up because he was,

462
00:25:34,840 --> 00:25:37,520
Speaker 1: like Christopher Lee, just an iconic player in horror and

463
00:25:37,520 --> 00:25:39,919
Speaker 1: sci fi cinema of the day, and I think he

464
00:25:39,960 --> 00:25:43,280
Speaker 1: was even more prolific. He's one of those actors that

465
00:25:43,359 --> 00:25:45,520
Speaker 1: everyone seems to have had nice things to say about,

466
00:25:45,560 --> 00:25:48,960
Speaker 1: both personally and professionally. Just a consonant pro no matter

467
00:25:49,280 --> 00:25:52,640
Speaker 1: what the material had him doing or saying, he always

468
00:25:52,960 --> 00:25:56,399
Speaker 1: he always brings an air of dignity to most pictures.

469
00:25:57,680 --> 00:26:01,040
Speaker 1: This movie is from the later stage of his after

470
00:26:01,119 --> 00:26:03,680
Speaker 1: the death of his wife in nineteen seventy one. In fact,

471
00:26:03,680 --> 00:26:07,160
Speaker 1: film just eight months after her passing. This is an

472
00:26:07,160 --> 00:26:10,399
Speaker 1: event that apparently took a huge toll on him. In fact,

473
00:26:10,520 --> 00:26:13,720
Speaker 1: he was apparently originally intended to be to play the

474
00:26:13,800 --> 00:26:17,000
Speaker 1: father of the character Jessica van Helsing in this movie,

475
00:26:17,359 --> 00:26:20,639
Speaker 1: but he had visibly aged so much since his wife's

476
00:26:20,720 --> 00:26:23,399
Speaker 1: passing that they rewrote the script a little bit to

477
00:26:23,400 --> 00:26:28,119
Speaker 1: make him be her grandfather. Oh okay, So you know,

478
00:26:28,160 --> 00:26:30,040
Speaker 1: I think we might be forgiven for viewing films from

479
00:26:30,080 --> 00:26:33,600
Speaker 1: this era of his career and detecting that loss and

480
00:26:33,640 --> 00:26:36,879
Speaker 1: that distance in his screen presence, especially in the various

481
00:26:36,920 --> 00:26:39,120
Speaker 1: examples of films that cast him as a man who's

482
00:26:39,200 --> 00:26:42,960
Speaker 1: experienced a great loss. But you know that being said again,

483
00:26:43,080 --> 00:26:47,200
Speaker 1: consummate professional. He does a solid job in this and

484
00:26:47,400 --> 00:26:50,040
Speaker 1: I'm to understand he actually does his own stunts in

485
00:26:50,080 --> 00:26:54,280
Speaker 1: the opening, which is which concerns like a thunderous carriage

486
00:26:55,119 --> 00:26:57,679
Speaker 1: based action sequence. So it's you know, it's not just like,

487
00:26:57,760 --> 00:26:59,800
Speaker 1: oh he you know, he fell out of a chair

488
00:27:00,160 --> 00:27:02,719
Speaker 1: like he's on like a moving carriage. It looks kind

489
00:27:02,760 --> 00:27:05,679
Speaker 1: of dangerous, and apparently he does whatever stunts are required

490
00:27:05,720 --> 00:27:06,240
Speaker 1: of him. There.

491
00:27:06,560 --> 00:27:09,000
Speaker 3: Wow, I'm impressed. Well, I was going to say that,

492
00:27:09,880 --> 00:27:12,280
Speaker 3: you know, I love Peter Cushing, but I'll admit sometimes

493
00:27:12,320 --> 00:27:14,600
Speaker 3: he phones it in. Give him a break. He did

494
00:27:14,600 --> 00:27:17,360
Speaker 3: a lot of movies and a lot of very similar movies.

495
00:27:17,440 --> 00:27:20,960
Speaker 3: But strangely, I thought it seemed to me he was

496
00:27:21,000 --> 00:27:23,679
Speaker 3: putting a lot of feeling into this one. This is

497
00:27:23,960 --> 00:27:26,639
Speaker 3: not one of his best written roles, but he really

498
00:27:26,720 --> 00:27:31,480
Speaker 3: exceeds what is required of him, and there was more

499
00:27:31,520 --> 00:27:33,920
Speaker 3: emotion in this performance than I expected.

500
00:27:35,000 --> 00:27:37,560
Speaker 1: Yeah. Yeah, I mean, it's not just about the man

501
00:27:37,600 --> 00:27:40,240
Speaker 1: who must defeat the monster, but there's like someone in

502
00:27:40,280 --> 00:27:42,959
Speaker 1: his life he's trying to protect as well, and not

503
00:27:43,000 --> 00:27:45,720
Speaker 1: only protect from supernatural threats but also just sort of

504
00:27:46,080 --> 00:27:48,960
Speaker 1: ambiguous social threats as well that he's concerned about.

505
00:27:49,320 --> 00:27:52,760
Speaker 3: Yeah, his protective care for his grandchild comes through as

506
00:27:52,840 --> 00:27:53,600
Speaker 3: genuine emotion.

507
00:27:53,840 --> 00:27:58,240
Speaker 1: Yeah. Yeah. Now playing that grandchild, Jessica van Helsing is

508
00:27:58,320 --> 00:28:02,800
Speaker 1: Stephanie Beacham Moreneteen forty seven. This is our young, prematurely

509
00:28:02,840 --> 00:28:07,480
Speaker 1: white haired descendant of the original Van Helsing. Stephanie Beacham

510
00:28:07,720 --> 00:28:10,639
Speaker 1: is an English actor of stage, screen and television with

511
00:28:10,720 --> 00:28:14,080
Speaker 1: a very long and still very active career. She'd mostly

512
00:28:14,119 --> 00:28:16,320
Speaker 1: done TV in stage at this point in her career,

513
00:28:16,359 --> 00:28:19,240
Speaker 1: but had popped up in some films, including Roddy McDowell's

514
00:28:19,400 --> 00:28:23,800
Speaker 1: tam Lynn from nineteen seventy and The Nightcomers from seventy one.

515
00:28:23,840 --> 00:28:27,920
Speaker 1: After Dracula AD nineteen seventy two, she acted in seventy

516
00:28:27,920 --> 00:28:31,320
Speaker 1: Threes and Now The Screaming Starts, seventy six's House of

517
00:28:31,400 --> 00:28:35,320
Speaker 1: Mortal Sin and Schizo, and nineteen eighty one's Horror Planet.

518
00:28:35,359 --> 00:28:38,400
Speaker 1: Her TV credits include forty nine episodes of The Colby's,

519
00:28:39,560 --> 00:28:43,200
Speaker 1: twenty three episodes of Dynasty, in which she plays Sable Colby.

520
00:28:43,280 --> 00:28:45,000
Speaker 1: I'm not sure how this works, but I'm guessing this

521
00:28:45,040 --> 00:28:47,440
Speaker 1: is the same character. There's some sort of like I

522
00:28:47,440 --> 00:28:49,680
Speaker 1: don't know if this was a spinoff of Dynasty or

523
00:28:50,840 --> 00:28:53,560
Speaker 1: if like a character from The Colby's joined the cast

524
00:28:53,600 --> 00:28:55,880
Speaker 1: of Dynasty. I'm not sure how soap operas really work.

525
00:28:56,200 --> 00:28:57,240
Speaker 3: I don't know either, but.

526
00:28:57,200 --> 00:28:59,120
Speaker 1: Anyway, it was apparently a big role for her. It's

527
00:28:59,160 --> 00:29:02,520
Speaker 1: like the top thing that's mentioned diner on her IMDb page,

528
00:29:02,760 --> 00:29:04,680
Speaker 1: But she was another STI she's like on the Love Boat.

529
00:29:05,600 --> 00:29:09,160
Speaker 1: She apparently played Margaret Thatcher on an episode of alf

530
00:29:09,680 --> 00:29:13,080
Speaker 1: Life Poles. Yeah, so there's that. I could not find

531
00:29:13,080 --> 00:29:15,200
Speaker 1: a screenshot of it. I was really looking for it,

532
00:29:15,360 --> 00:29:17,120
Speaker 1: could not find it. But she's also been on things

533
00:29:17,160 --> 00:29:21,280
Speaker 1: like Star Trek, The Next Generation SeaQuest and Coronation Street.

534
00:29:22,120 --> 00:29:24,800
Speaker 3: I think she's quite good in this, though she has

535
00:29:24,840 --> 00:29:27,680
Speaker 3: the same issue that almost all of the teenagers have,

536
00:29:27,800 --> 00:29:30,040
Speaker 3: which is that none of them seem like teenagers. I

537
00:29:30,040 --> 00:29:32,680
Speaker 3: think I don't know how old they're supposed to be.

538
00:29:32,720 --> 00:29:34,959
Speaker 3: I would guess they're supposed to be like, I don't know,

539
00:29:34,960 --> 00:29:37,760
Speaker 3: eighteen to twenty, but they all come off as about

540
00:29:37,880 --> 00:29:39,720
Speaker 3: thirty or at least late twenties.

541
00:29:40,480 --> 00:29:43,360
Speaker 1: Yeah. I think she was like twenty five at the time.

542
00:29:44,080 --> 00:29:46,080
Speaker 3: Not really a problem. I just think it's funny when

543
00:29:46,120 --> 00:29:49,800
Speaker 3: movies have these groups of all extremely adult teenagers.

544
00:29:50,360 --> 00:29:53,480
Speaker 1: All right. The next actor of note is Christopher Neim

545
00:29:53,760 --> 00:30:00,360
Speaker 1: playing Johnny Alocard. This is the drugish occult enthusias in

546
00:30:00,360 --> 00:30:04,680
Speaker 1: the group of friends that we meet the young Londoners.

547
00:30:05,240 --> 00:30:08,280
Speaker 1: He cares about only one thing, and it is, of course,

548
00:30:08,320 --> 00:30:11,160
Speaker 1: the resurrection of Dracula. He has a Dracula cultist.

549
00:30:11,680 --> 00:30:13,720
Speaker 3: It's interesting that I think there are a lot of

550
00:30:13,800 --> 00:30:18,360
Speaker 3: stories that where people become the servants of a satanic

551
00:30:18,560 --> 00:30:22,479
Speaker 3: entity or demonic overlord so that they can pursue a

552
00:30:22,520 --> 00:30:26,520
Speaker 3: party lifestyle and hedonistic pleasures. Like the powers they acquire

553
00:30:26,680 --> 00:30:30,200
Speaker 3: by serving the demon lord give them the ability to

554
00:30:30,280 --> 00:30:33,040
Speaker 3: party the way they want to. He's the other way around.

555
00:30:33,160 --> 00:30:37,120
Speaker 3: Johnny Alucard parties in order to serve a demon lord like.

556
00:30:37,200 --> 00:30:41,560
Speaker 3: He apparently only does the swing and hippie thing in

557
00:30:41,720 --> 00:30:45,000
Speaker 3: order to attract a group of friends who can be

558
00:30:45,080 --> 00:30:48,240
Speaker 3: brought as snacks to the vampire that he wants to resurrect.

559
00:30:48,800 --> 00:30:51,320
Speaker 1: That's right, Johnny Alickhard just wants to do Dracula stuff.

560
00:30:51,320 --> 00:30:54,520
Speaker 1: That's all he wants in life, and he's going to

561
00:30:54,600 --> 00:30:56,160
Speaker 1: do whatever it takes to get there.

562
00:30:56,800 --> 00:30:56,880
Speaker 4: So.

563
00:30:57,000 --> 00:30:59,959
Speaker 1: Johnny Alickhard is played by Christopher Nien born nineteen five

564
00:31:00,000 --> 00:31:03,360
Speaker 1: forty seven. He has a great look. He brings some

565
00:31:03,440 --> 00:31:07,040
Speaker 1: great hungry energy to this role as a Dracula cultist

566
00:31:07,040 --> 00:31:09,840
Speaker 1: in Vampire Wanna Be. He kicked off his film career

567
00:31:09,880 --> 00:31:13,000
Speaker 1: in the nineteen seventy environmental disaster film No Blade of Grass,

568
00:31:13,400 --> 00:31:15,880
Speaker 1: followed by seventy one's Lust for a Vampire. This is

569
00:31:16,120 --> 00:31:20,000
Speaker 1: These are small roles, I'm to understand, but this role

570
00:31:20,120 --> 00:31:22,240
Speaker 1: in Dracula eighty nineteen seventy two sent it to have

571
00:31:22,280 --> 00:31:24,440
Speaker 1: been a big step up for him. He goes on

572
00:31:24,480 --> 00:31:26,840
Speaker 1: from here to work steadily in all manner of pictures

573
00:31:26,880 --> 00:31:29,640
Speaker 1: and TV shows, including thirty episodes of Days of Our

574
00:31:29,680 --> 00:31:34,280
Speaker 1: Lives nineteen eighty seven, Steel Dawn, a really weird sounding

575
00:31:34,360 --> 00:31:38,240
Speaker 1: nineteen eighty eight sci fi horror film titled Transformations. He

576
00:31:38,480 --> 00:31:41,800
Speaker 1: did episodes of Dynasty episodes of Dallas. He pops up

577
00:31:41,800 --> 00:31:44,840
Speaker 1: in the nineteen eighty nine James Bond film Licensed to Kill,

578
00:31:45,000 --> 00:31:47,920
Speaker 1: in which he plays the agent that is sent to

579
00:31:48,240 --> 00:31:50,680
Speaker 1: collect the rogue agent James Bond.

580
00:31:51,640 --> 00:31:55,280
Speaker 3: Mm. Yeah, okay, this is the one where Bond go

581
00:31:55,840 --> 00:31:58,080
Speaker 3: he like quits I six and he goes on a

582
00:31:58,120 --> 00:31:59,080
Speaker 3: mission of vengeance.

583
00:32:00,120 --> 00:32:05,200
Speaker 1: Yeah, this is the one where oh what's his name? Explodes?

584
00:32:05,920 --> 00:32:09,360
Speaker 3: Robert Davey feeds his friend Felix to a shark and

585
00:32:09,480 --> 00:32:12,800
Speaker 3: leaves a note saying he disagreed with something that ate him.

586
00:32:13,040 --> 00:32:17,080
Speaker 3: And so James Bond goes to kill Robert Dovey.

587
00:32:17,600 --> 00:32:20,120
Speaker 1: Yeah, and Anthony's er explodes, right, I think that's how

588
00:32:20,160 --> 00:32:21,560
Speaker 1: it goes goes maybe?

589
00:32:21,640 --> 00:32:21,840
Speaker 5: Yeah?

590
00:32:23,120 --> 00:32:26,120
Speaker 1: Anyway, Christopher nine was in a bunch of stuff. He

591
00:32:26,160 --> 00:32:29,360
Speaker 1: pops up in Ghostbusters two playing a Nitro d He's

592
00:32:29,360 --> 00:32:33,200
Speaker 1: in the Hulkgan films Suburban Commando from ninety one. He's

593
00:32:33,240 --> 00:32:36,560
Speaker 1: in the nineteen ninety four Chuck Norris film hell Bound,

594
00:32:36,880 --> 00:32:39,360
Speaker 1: He's in Species three from two thousand and four and

595
00:32:39,680 --> 00:32:41,840
Speaker 1: then goes on to be in The Prestige from two

596
00:32:41,840 --> 00:32:45,680
Speaker 1: thousand and six, just a bunch more all the way

597
00:32:45,760 --> 00:32:46,960
Speaker 1: up through twenty nineteen.

598
00:32:47,360 --> 00:32:52,240
Speaker 3: He's perfect in this. He's got a creepy, malevolent, froggy smile.

599
00:32:52,560 --> 00:32:55,080
Speaker 3: He just he looks like he's up to no good.

600
00:32:55,880 --> 00:32:59,200
Speaker 1: Yeah, dangerous youngster. They're very drugish.

601
00:32:59,520 --> 00:33:02,320
Speaker 3: He also just give strong like cult leader. It's like

602
00:33:02,400 --> 00:33:04,560
Speaker 3: you see him and it's like, get this guy a

603
00:33:04,600 --> 00:33:05,680
Speaker 3: cult stat.

604
00:33:06,040 --> 00:33:10,280
Speaker 1: Yeah, all right. We also have the law present in

605
00:33:10,320 --> 00:33:14,080
Speaker 1: this film, investigating manner matters that turn out to be

606
00:33:14,120 --> 00:33:18,160
Speaker 1: Dracula related. We have Inspector Murray played by Michael cole

607
00:33:18,280 --> 00:33:20,520
Speaker 1: So of nineteen thirty four through two thousand and five.

608
00:33:20,680 --> 00:33:23,640
Speaker 1: This is our chief law officer investigating a stream of

609
00:33:23,680 --> 00:33:27,960
Speaker 1: strange murders in London. He's presented as a more progressive

610
00:33:28,040 --> 00:33:31,080
Speaker 1: and sympathetic policeman, but at the same time he's totally

611
00:33:31,120 --> 00:33:33,760
Speaker 1: down to invoke draconian drug laws in order to weed

612
00:33:33,800 --> 00:33:34,920
Speaker 1: out dangerous hippies.

613
00:33:35,440 --> 00:33:37,719
Speaker 3: Yeah, I'm gonna say no offense to Michael Coles. He

614
00:33:37,760 --> 00:33:41,880
Speaker 3: does fine, but this oddly shaggy and in some ways

615
00:33:41,920 --> 00:33:45,640
Speaker 3: sympathetic detective character. Feels like it was meant for David Warner.

616
00:33:46,080 --> 00:33:48,640
Speaker 1: Oh well, yeah, David Warner would have been good. I

617
00:33:48,640 --> 00:33:51,040
Speaker 1: mean David what. You could cast David Warner in anything

618
00:33:51,080 --> 00:33:54,440
Speaker 1: in this film and he would have nailed it. As

619
00:33:54,440 --> 00:33:57,800
Speaker 1: for Michael Coles, he would reprise this role in seventy

620
00:33:57,800 --> 00:34:00,160
Speaker 1: three's The Satanic Rights of Dracula. So I guess that

621
00:34:00,440 --> 00:34:05,200
Speaker 1: the investigation continues. His other credits include nineteen sixty five's

622
00:34:05,240 --> 00:34:08,120
Speaker 1: Doctor Who in the Daleks. All right, we basically as

623
00:34:08,160 --> 00:34:10,600
Speaker 1: far as the cast goes, there are just a couple

624
00:34:10,600 --> 00:34:13,279
Speaker 1: other people of note. These are other members of the

625
00:34:13,600 --> 00:34:15,560
Speaker 1: youth group. Well it's not a youth group. That makes

626
00:34:15,600 --> 00:34:17,799
Speaker 1: it sound like it's church affiliated. These are some more

627
00:34:17,840 --> 00:34:21,239
Speaker 1: of the swing in Londoners the Young People, the first

628
00:34:21,320 --> 00:34:24,319
Speaker 1: of which is the character Gaynor, played by Marcia A.

629
00:34:24,560 --> 00:34:29,280
Speaker 1: Hunt born nineteen forty six. She's an American model, singer, actor,

630
00:34:29,280 --> 00:34:31,880
Speaker 1: and a later author and editor. She only acted in

631
00:34:31,920 --> 00:34:34,759
Speaker 1: eleven films, but they include such titles as nineteen eighty

632
00:34:34,760 --> 00:34:37,360
Speaker 1: two as The Cinder It's like a psychic, sort of

633
00:34:37,719 --> 00:34:41,800
Speaker 1: Scanner esque flick, nineteen eighty three's Never Say Never Again,

634
00:34:42,040 --> 00:34:45,760
Speaker 1: The Bond film Howling II, Your Sister is Aware Wolf,

635
00:34:46,200 --> 00:34:50,120
Speaker 1: which is obviously part of the ups and downs of

636
00:34:49,920 --> 00:34:58,200
Speaker 1: the Howling franchise. Her Her bibliography includes an autobiography, a memoir,

637
00:34:58,560 --> 00:35:02,239
Speaker 1: and the nineteen ninety novel Joy. Her discography includes three

638
00:35:02,280 --> 00:35:04,920
Speaker 1: albums from the nineteen seventies, and she was also famously

639
00:35:04,960 --> 00:35:07,080
Speaker 1: in a relationship with Mick Jagger and the two had

640
00:35:07,080 --> 00:35:07,760
Speaker 1: a daughter together.

641
00:35:09,000 --> 00:35:11,600
Speaker 3: She's one of the more friendly presences in the group

642
00:35:11,640 --> 00:35:15,280
Speaker 3: of London Hippies, though she tragically is eaten by Dracula,

643
00:35:15,520 --> 00:35:17,000
Speaker 3: like several characters are.

644
00:35:18,360 --> 00:35:23,040
Speaker 1: Another doomed character that fits the same description for the

645
00:35:23,040 --> 00:35:28,160
Speaker 1: most part is Carolyn Monroe's Laura Bellows. We've talked about

646
00:35:28,239 --> 00:35:30,680
Speaker 1: Monroe on the show before, because yeah, she was a

647
00:35:30,719 --> 00:35:33,720
Speaker 1: pin up model and actress who stole many a seventies

648
00:35:33,800 --> 00:35:37,439
Speaker 1: film nerds heart, with such genre appearances as The Spy

649
00:35:37,480 --> 00:35:41,120
Speaker 1: Who Loved Me seventy seven, Maniac in nineteen eighty, Slaughter

650
00:35:41,200 --> 00:35:44,120
Speaker 1: High in eighty six, The Golden Voyage of Sinbad earlier

651
00:35:44,120 --> 00:35:48,200
Speaker 1: in seventy three, Captain Crono's Vampire Hunter, Another Hammer Picture

652
00:35:48,239 --> 00:35:50,799
Speaker 1: from seventy four, at the Earth's Core in seventy six,

653
00:35:50,880 --> 00:35:53,879
Speaker 1: and also star Crash in seventy eight. She also has

654
00:35:53,920 --> 00:35:59,040
Speaker 1: a just slight cameo as a picture of Doctor Fib's

655
00:36:00,239 --> 00:36:03,440
Speaker 1: wife in nineteen seventy one's The Abominable Doctor Fivees.

656
00:36:03,920 --> 00:36:06,640
Speaker 3: She is the main character in Star Crash and she

657
00:36:06,640 --> 00:36:07,640
Speaker 3: she's still a star.

658
00:36:07,680 --> 00:36:10,880
Speaker 1: So oh yeah, yeah, yeah, she's right there, she's on

659
00:36:10,920 --> 00:36:11,360
Speaker 1: the poster.

660
00:36:11,840 --> 00:36:14,640
Speaker 3: Yeah. She is also eaten by Dracula in this movie,

661
00:36:14,680 --> 00:36:19,040
Speaker 3: and her character is is just goga for demons. Ever

662
00:36:19,080 --> 00:36:23,680
Speaker 3: since there's like the moment the Johnny Alucard brings up, hey,

663
00:36:23,719 --> 00:36:26,759
Speaker 3: what if we did a black mass, She's like, yes, yes,

664
00:36:26,800 --> 00:36:27,640
Speaker 3: do it, now, let's go.

665
00:36:29,280 --> 00:36:31,520
Speaker 1: It's true. Yeah, she's kind of presented as the Well,

666
00:36:31,719 --> 00:36:34,319
Speaker 1: of course she was killed by Dracula because she was

667
00:36:34,560 --> 00:36:38,839
Speaker 1: a bad hippie, so so yeah, what early victim here.

668
00:36:39,000 --> 00:36:42,120
Speaker 3: But I don't understand, like why is she so into demons.

669
00:36:42,239 --> 00:36:44,160
Speaker 3: There are several characters in this movie who have a

670
00:36:44,280 --> 00:36:47,000
Speaker 3: history of like investigating the occult, so like it's an

671
00:36:47,120 --> 00:36:51,479
Speaker 3: established interest of theirs. She seems like she's never thought

672
00:36:51,520 --> 00:36:53,920
Speaker 3: of it until Johnny Alucard brings it up. But the

673
00:36:54,000 --> 00:36:57,160
Speaker 3: moment he's like, let's summon the Prince of darkness, she

674
00:36:57,680 --> 00:36:59,799
Speaker 3: can't think of anything else. It's like, this is all

675
00:36:59,800 --> 00:37:00,640
Speaker 3: I want now.

676
00:37:01,000 --> 00:37:02,960
Speaker 1: Yeah, I mean, I guess it's you know, I guess

677
00:37:03,080 --> 00:37:07,000
Speaker 1: we're already thinking about it deep more deeply than anyone

678
00:37:07,080 --> 00:37:09,520
Speaker 1: involved in the film, I think. But you know, maybe

679
00:37:09,520 --> 00:37:11,440
Speaker 1: she's supposed to be just sort of like the shallow

680
00:37:11,600 --> 00:37:14,799
Speaker 1: enthusiast of the occult that doesn't realize that there are,

681
00:37:15,280 --> 00:37:17,600
Speaker 1: you know, in the world of this film, real threats

682
00:37:17,640 --> 00:37:20,440
Speaker 1: involved in trying to summon up the spirit of a

683
00:37:20,640 --> 00:37:24,839
Speaker 1: slain Dracula creature from the past, that sort of thing.

684
00:37:27,320 --> 00:37:28,920
Speaker 1: All right, we're gonna skip over the rest of the

685
00:37:29,600 --> 00:37:32,040
Speaker 1: youth in this film and just get right to the music.

686
00:37:32,280 --> 00:37:35,520
Speaker 1: The music is by Michael Vickers born nineteen forty. He

687
00:37:35,560 --> 00:37:38,280
Speaker 1: was a member of the nineteen sixties band Manfred Mann.

688
00:37:38,920 --> 00:37:42,680
Speaker 1: I'm not familiar with, but the scorer and soundtrack for

689
00:37:42,719 --> 00:37:44,600
Speaker 1: this film is widely available, and I have to say

690
00:37:44,640 --> 00:37:47,200
Speaker 1: it's a lot of fun. Most of the score tracks

691
00:37:47,280 --> 00:37:51,080
Speaker 1: are very jazzy, lots of blaring like horn or saxophone

692
00:37:51,160 --> 00:37:54,200
Speaker 1: or whatever is Dracula and Van Helston chase each other around.

693
00:37:54,880 --> 00:37:58,439
Speaker 1: But he also gives us a wonderful black mass track

694
00:37:58,560 --> 00:38:02,279
Speaker 1: titled Devil's Circle Music that is you see it being

695
00:38:02,280 --> 00:38:04,800
Speaker 1: played on screen. It is the soundtrack to the Black

696
00:38:04,840 --> 00:38:08,160
Speaker 1: Mass that is conducted in the picture, and it itself

697
00:38:08,239 --> 00:38:12,719
Speaker 1: is a beautiful, creepy cacophony of Satanic sounds. So part

698
00:38:12,760 --> 00:38:14,720
Speaker 1: of me, which is the whole score for this movie,

699
00:38:14,760 --> 00:38:17,680
Speaker 1: sounded like that. But on the other hand, I really

700
00:38:17,719 --> 00:38:20,960
Speaker 1: like the cheesy content of this film, so I'm glad

701
00:38:20,960 --> 00:38:32,879
Speaker 1: that we have the blaring jazz present as well. All Right,

702
00:38:32,920 --> 00:38:36,840
Speaker 1: with all that behind us, Joe, take us to nineteen

703
00:38:36,920 --> 00:38:37,680
Speaker 1: seventy two.

704
00:38:38,160 --> 00:38:40,040
Speaker 3: All right, we'd be well, no, we don't start in

705
00:38:40,120 --> 00:38:41,000
Speaker 3: nineteen seventy two.

706
00:38:41,600 --> 00:38:44,520
Speaker 1: Oh oh, that's right. We start in eighteen seventy two.

707
00:38:44,640 --> 00:38:47,040
Speaker 3: Right, that's right. I'll take you to eighteen seventy two.

708
00:38:47,040 --> 00:38:49,480
Speaker 3: How about that? How about we start there? Okay, we

709
00:38:49,520 --> 00:38:53,000
Speaker 3: begin with dead leaves blowing in the autumn wind. And

710
00:38:53,080 --> 00:38:57,439
Speaker 3: I noticed I noticed in this opening sequence in some shots, Rober,

711
00:38:57,480 --> 00:38:59,120
Speaker 3: I don't know if you saw this too. In some

712
00:38:59,239 --> 00:39:03,560
Speaker 3: shots the trees are just packed with dense green foliage,

713
00:39:03,920 --> 00:39:06,640
Speaker 3: and in other shots they have orange and yellow leaves

714
00:39:06,680 --> 00:39:09,799
Speaker 3: and fewer of them, and then in a third kind

715
00:39:09,840 --> 00:39:12,359
Speaker 3: of shot they're completely bare. I wonder why that is.

716
00:39:12,560 --> 00:39:16,160
Speaker 3: Could it be the different shots in this, like I

717
00:39:16,200 --> 00:39:19,200
Speaker 3: don't know, minute long carriage chase were shot at different

718
00:39:19,280 --> 00:39:22,920
Speaker 3: months of the year. That seems unlikely, but I don't know.

719
00:39:23,160 --> 00:39:26,719
Speaker 3: Maybe it's just different kind of trees or something. I

720
00:39:26,760 --> 00:39:28,719
Speaker 3: was on guard for this because I saw, like at

721
00:39:28,719 --> 00:39:31,520
Speaker 3: the the very first shot, orange leaves are blowing on

722
00:39:31,560 --> 00:39:33,920
Speaker 3: the ground, but the trees in the background are fully green,

723
00:39:34,000 --> 00:39:37,400
Speaker 3: and it reminded me of John Carpenter's Halloween, which you

724
00:39:37,440 --> 00:39:39,480
Speaker 3: may have never noticed this before, but it's like that.

725
00:39:39,560 --> 00:39:41,600
Speaker 3: I think it was actually shot in the summer, even

726
00:39:41,640 --> 00:39:45,040
Speaker 3: though it's supposed to take place in October in Illinois,

727
00:39:46,200 --> 00:39:48,160
Speaker 3: so I think they had to like bring in bags

728
00:39:48,160 --> 00:39:50,200
Speaker 3: of dead leaves to dress, you know.

729
00:39:50,239 --> 00:39:52,640
Speaker 1: The sets reminds me of the neighborhood that while we

730
00:39:52,680 --> 00:39:56,000
Speaker 1: both live in. Occasionally they're film productions, and there was

731
00:39:56,040 --> 00:39:58,000
Speaker 1: that one I think this was like in the summer

732
00:39:58,000 --> 00:40:02,200
Speaker 1: where they were filming something for Halloween and they decorated

733
00:40:02,200 --> 00:40:07,919
Speaker 1: the whole streak for Halloween, like movie level Halloween decorations,

734
00:40:07,960 --> 00:40:10,840
Speaker 1: and it was pretty fun. Like sometimes film productions can

735
00:40:11,239 --> 00:40:12,880
Speaker 1: you know, they can get in your way and then

736
00:40:12,920 --> 00:40:15,200
Speaker 1: you can be a little grumpy about them disrupting your

737
00:40:15,400 --> 00:40:19,840
Speaker 1: morning commute or whatever. But that film shoot, God bless it.

738
00:40:20,480 --> 00:40:23,880
Speaker 3: Oh good lord, Yes, yeah, Halloween in July. Thank you,

739
00:40:24,120 --> 00:40:24,719
Speaker 3: I'll take it.

740
00:40:26,160 --> 00:40:26,239
Speaker 4: So.

741
00:40:26,440 --> 00:40:29,879
Speaker 3: Yeah, we get the leaves blowing. We see red calligraphy

742
00:40:30,040 --> 00:40:32,400
Speaker 3: letters on the screen. This as a Hammer production. And

743
00:40:32,440 --> 00:40:35,520
Speaker 3: it's that calligraphy font that makes the word bathory look

744
00:40:35,600 --> 00:40:40,200
Speaker 3: like bat Lord. A horse drawn carriage is racing along

745
00:40:40,480 --> 00:40:44,040
Speaker 3: on a parkside pathway goes over a stone bridge under

746
00:40:44,080 --> 00:40:48,200
Speaker 3: an archway of these dead tree limbs, and a narrator

747
00:40:48,239 --> 00:40:51,399
Speaker 3: comes in. Narrator says the year is eighteen seventy two,

748
00:40:51,800 --> 00:40:55,920
Speaker 3: and the nightmare legend of Count Dracula extends its terror

749
00:40:56,080 --> 00:41:00,120
Speaker 3: far beyond the mountains of Carpathia to the Victorian metropolis

750
00:41:00,160 --> 00:41:05,080
Speaker 3: of London. Here in Hyde Park, the final confrontation between

751
00:41:06,200 --> 00:41:12,719
Speaker 3: Lawrence van Helsing and his arch enemy, the demon vampire Dracula. Now,

752
00:41:12,760 --> 00:41:14,000
Speaker 3: I told you I was going to come back to

753
00:41:14,040 --> 00:41:17,000
Speaker 3: the name of Van Helsing in this movie. You did

754
00:41:17,080 --> 00:41:20,760
Speaker 3: hear that, right? It is Lawrence van Helsing for some reason,

755
00:41:21,280 --> 00:41:25,120
Speaker 3: I'm not sure what This movie and maybe at least

756
00:41:25,160 --> 00:41:28,520
Speaker 3: one of the other Hammer horror Draculas calls this character Lawrence.

757
00:41:28,600 --> 00:41:32,040
Speaker 3: Of course, in the novel, Van Helsing's first name is Abraham.

758
00:41:32,960 --> 00:41:35,279
Speaker 3: No offense to all of the wonderful Lawrence is out

759
00:41:35,280 --> 00:41:37,160
Speaker 3: there for what I'm about to say, But this name

760
00:41:37,280 --> 00:41:41,440
Speaker 3: change is not great. A Van Helsing, whose friends call

761
00:41:41,520 --> 00:41:46,920
Speaker 3: him Larry, does not bring the same gravitas as Abraham.

762
00:41:46,960 --> 00:41:47,160
Speaker 1: Yeah.

763
00:41:47,320 --> 00:41:50,000
Speaker 3: Yeah, So why the change? I don't know. Could it

764
00:41:50,160 --> 00:41:54,320
Speaker 3: possibly have to do with intellectual property? That seems I

765
00:41:54,360 --> 00:41:54,920
Speaker 3: don't know kind of.

766
00:41:54,960 --> 00:41:56,760
Speaker 1: I mean, that would be the main reason to change

767
00:41:56,800 --> 00:41:59,479
Speaker 1: up the name of a particular character. And of course

768
00:41:59,600 --> 00:42:03,120
Speaker 1: historically we would have seen movements like that before concerning

769
00:42:03,160 --> 00:42:04,200
Speaker 1: the Dracula property.

770
00:42:04,600 --> 00:42:07,279
Speaker 3: Yeah, but I mean, but it's called Dracula, so it

771
00:42:07,280 --> 00:42:10,320
Speaker 3: would have to be something specific to that one character,

772
00:42:10,440 --> 00:42:12,919
Speaker 3: Like they could use the last name and the rest

773
00:42:12,960 --> 00:42:15,160
Speaker 3: of the plot and Dracula, but not Abraham.

774
00:42:15,160 --> 00:42:15,520
Speaker 1: I don't know.

775
00:42:15,560 --> 00:42:21,240
Speaker 3: It's confusing. So anyway, the movie opens with the ending

776
00:42:21,280 --> 00:42:24,040
Speaker 3: of this other tail. We see Dracula and Van Helsing

777
00:42:24,239 --> 00:42:26,640
Speaker 3: already in the middle of fighting to the death on

778
00:42:26,719 --> 00:42:30,120
Speaker 3: the roof of this carriage as it races through Hyde Park.

779
00:42:30,440 --> 00:42:34,360
Speaker 3: They're sort of wrestling. Dracula is choking Van Helsing, until

780
00:42:34,360 --> 00:42:38,320
Speaker 3: suddenly the harness that's holding the horses to the carriage snaps,

781
00:42:38,680 --> 00:42:42,359
Speaker 3: the horses run off. The carriage veers off the path

782
00:42:42,520 --> 00:42:46,880
Speaker 3: and crashes into a tree. Van Helsing is thrown aside

783
00:42:46,920 --> 00:42:50,000
Speaker 3: into the grass, and Dracula, when we see him stagger

784
00:42:50,040 --> 00:42:53,520
Speaker 3: out from behind the carriage, is impaled on the spoke

785
00:42:53,640 --> 00:42:57,080
Speaker 3: of a carriage wheel, an accidental stake through the heart.

786
00:42:57,560 --> 00:43:00,440
Speaker 3: Dracula and Van Helsing fight a little bit more wild.

787
00:43:00,480 --> 00:43:03,080
Speaker 3: Drac has a wheel stuck to him, so it's just

788
00:43:03,120 --> 00:43:06,440
Speaker 3: kind of poking out of him, but eventually Dracula is defeated.

789
00:43:07,040 --> 00:43:09,960
Speaker 3: Van Helsing kind of shoves the stake into the heart

790
00:43:10,000 --> 00:43:14,439
Speaker 3: further and then he does the classic undead turbo rot.

791
00:43:14,600 --> 00:43:17,879
Speaker 3: So Dracula collapses into a pile of bones and then

792
00:43:17,920 --> 00:43:21,000
Speaker 3: that turns into ash and dust by the riverside. Van

793
00:43:21,000 --> 00:43:23,000
Speaker 3: Helsing also collapses dead.

794
00:43:23,719 --> 00:43:27,880
Speaker 1: So at this point the entire multifilm struggle between Professor

795
00:43:27,960 --> 00:43:31,880
Speaker 1: van Helsing and Count Dracula ends in a vehicular accident,

796
00:43:33,520 --> 00:43:37,359
Speaker 1: which I think would feel mighty underwhelming if this were

797
00:43:37,480 --> 00:43:39,520
Speaker 1: like the end. But this isn't the end. This is

798
00:43:39,560 --> 00:43:42,320
Speaker 1: the beginning, so I guess we'll allow it. A freak

799
00:43:42,400 --> 00:43:47,759
Speaker 1: accident takes both the demon vampire and his chief adversary

800
00:43:48,160 --> 00:43:49,319
Speaker 1: takes them both out of action.

801
00:43:49,760 --> 00:43:52,760
Speaker 3: But wait a second, who's this creep back here watching

802
00:43:52,800 --> 00:43:56,080
Speaker 3: everything go on? There is a young man observing the scene.

803
00:43:56,200 --> 00:43:59,760
Speaker 3: He'd been following the carriage on horseback. He comes galloping

804
00:43:59,800 --> 00:44:02,640
Speaker 3: in wearing a top hat, and he's a little guy

805
00:44:02,719 --> 00:44:06,840
Speaker 3: with a scuzzy mutton chop sideburn set and a toad

806
00:44:07,040 --> 00:44:11,400
Speaker 3: like grin. And he produces a glass vial and scoops

807
00:44:11,480 --> 00:44:16,160
Speaker 3: up some of Dracula's ashes after he turboots Van Helsing's

808
00:44:16,200 --> 00:44:19,040
Speaker 3: just laying there dying. He ignores Van Helsing. He also

809
00:44:19,160 --> 00:44:23,240
Speaker 3: pockets Dracula's special ring. It looks like it's made of silver,

810
00:44:23,320 --> 00:44:25,160
Speaker 3: but I don't think that would make sense for Dracula.

811
00:44:25,239 --> 00:44:28,000
Speaker 3: So it's some kind of pale precious metal ring.

812
00:44:28,600 --> 00:44:31,080
Speaker 1: Yeah, maybe pewter or something. Maybe he can wear pewter.

813
00:44:31,200 --> 00:44:34,360
Speaker 3: I'm not sure Dracula's lead ring.

814
00:44:35,560 --> 00:44:38,200
Speaker 1: That would fit right, he doesn't have to worry about lead.

815
00:44:39,320 --> 00:44:43,080
Speaker 3: So we cut to a funeral scene after that, and

816
00:44:43,200 --> 00:44:46,160
Speaker 3: it's all of Van Helsing's friends and family gathered in

817
00:44:46,239 --> 00:44:49,600
Speaker 3: a churchyard where the good Doctor's body is being committed

818
00:44:49,640 --> 00:44:52,200
Speaker 3: to the earth. And it seems most of the mourners

819
00:44:52,200 --> 00:44:56,000
Speaker 3: are variations on the Monopoly Man, shiny top hats, coats

820
00:44:56,040 --> 00:44:58,640
Speaker 3: with tails, all that. It's mostly dudes at the.

821
00:44:58,560 --> 00:45:01,440
Speaker 1: Funeral, and we're not introduced to any of them. We

822
00:45:01,440 --> 00:45:04,520
Speaker 1: don't know who from the novel Dracula actually showed up

823
00:45:04,840 --> 00:45:07,520
Speaker 1: at the man's funeral. Like, I feel like it would

824
00:45:07,520 --> 00:45:10,799
Speaker 1: be a little bit insulting if Jonathan Harker didn't show

825
00:45:10,880 --> 00:45:13,160
Speaker 1: up at Van Helsing's funeral, right, I.

826
00:45:13,160 --> 00:45:15,160
Speaker 3: Mean, did they really know each other all that? Well,

827
00:45:15,200 --> 00:45:17,400
Speaker 3: they just kind of got together for a work project

828
00:45:17,440 --> 00:45:17,879
Speaker 3: one time.

829
00:45:17,920 --> 00:45:20,000
Speaker 1: Well yeah, the way they work friends, right, So.

830
00:45:20,200 --> 00:45:24,320
Speaker 3: Yeah, okay, so oh another funny thing is the line

831
00:45:24,440 --> 00:45:26,960
Speaker 3: we hear the priests say at Van Helsing's funeral. He's

832
00:45:27,000 --> 00:45:30,360
Speaker 3: quoting the Bible, so we like come in and he's saying, man,

833
00:45:30,440 --> 00:45:32,839
Speaker 3: that is born of woman hath but a short time

834
00:45:32,880 --> 00:45:36,160
Speaker 3: to live and is full of misery. And I know

835
00:45:36,239 --> 00:45:38,360
Speaker 3: that's the Bible, but man, is that really what people

836
00:45:38,360 --> 00:45:40,440
Speaker 3: want to hear at a loved one's funeral. It's like,

837
00:45:40,560 --> 00:45:43,520
Speaker 3: not only do we die soon, it's mostly bad until

838
00:45:43,560 --> 00:45:44,120
Speaker 3: we get there.

839
00:45:44,960 --> 00:45:47,160
Speaker 1: Yeah, yeah, I don't. I don't want that right at

840
00:45:47,200 --> 00:45:47,720
Speaker 1: my funeral.

841
00:45:48,400 --> 00:45:51,440
Speaker 3: Oh but a quick side note related to recent Core episodes.

842
00:45:51,480 --> 00:45:54,040
Speaker 3: You know the next line after that in the Book

843
00:45:54,040 --> 00:45:57,680
Speaker 3: of Job. This is from Job chapter fourteen, after the

844
00:45:57,840 --> 00:46:01,120
Speaker 3: you know it's a short time to live, full of misery,

845
00:46:01,160 --> 00:46:03,560
Speaker 3: the next line is he cometh forth like a flower

846
00:46:03,600 --> 00:46:07,000
Speaker 3: and is cut down. He fleeth also as a shadow,

847
00:46:07,239 --> 00:46:12,320
Speaker 3: and continueth not anyway, So that funeral is going on. Meanwhile,

848
00:46:12,320 --> 00:46:15,640
Speaker 3: the creepy guy who collected Dracula's ring and ashes, he

849
00:46:15,719 --> 00:46:18,480
Speaker 3: shows up at the funeral. He digs a hole in

850
00:46:18,560 --> 00:46:22,919
Speaker 3: the ground just outside the churchyard, pours Dracula's ashes into

851
00:46:22,960 --> 00:46:25,560
Speaker 3: the hole, and then drives a steak, the same steak

852
00:46:25,600 --> 00:46:29,719
Speaker 3: that killed Dracula, into the soil above the hole. And

853
00:46:29,760 --> 00:46:34,400
Speaker 3: then a marvelous transition, we get jet wipe jet We like,

854
00:46:34,480 --> 00:46:37,400
Speaker 3: look up to the sky and there's a jet plane

855
00:46:37,440 --> 00:46:40,080
Speaker 3: wipe and the and the funky music comes on to

856
00:46:40,640 --> 00:46:43,919
Speaker 3: don't Dawn. We go wow, and the jet comes down

857
00:46:44,200 --> 00:46:46,840
Speaker 3: and we see the title Dracula nineteen seventy two A

858
00:46:47,000 --> 00:46:50,080
Speaker 3: d very good, very good use of a jet plane.

859
00:46:50,760 --> 00:46:53,680
Speaker 1: Absolutely, it's like bam. Now it's modern times. Look at

860
00:46:53,680 --> 00:46:56,279
Speaker 1: the jet plane. The music has shifted from old time

861
00:46:56,320 --> 00:46:59,480
Speaker 1: he got the horror movie to this is thoroughly modern

862
00:46:59,680 --> 00:47:02,759
Speaker 1: jet funky number. And yeah, my only note here is

863
00:47:02,800 --> 00:47:06,279
Speaker 1: that we're denied footage of Dracula flying first class. I mean,

864
00:47:06,280 --> 00:47:08,480
Speaker 1: he's not actually supposed to be in that airplane. But

865
00:47:08,920 --> 00:47:11,720
Speaker 1: you know, again, it's like you want. The movie seems

866
00:47:11,719 --> 00:47:14,760
Speaker 1: to promise this idea of Dracula is in our world now,

867
00:47:15,080 --> 00:47:16,600
Speaker 1: and it never quite gives us that.

868
00:47:17,200 --> 00:47:19,520
Speaker 3: I think they should have done a pong wipe, so

869
00:47:19,600 --> 00:47:22,160
Speaker 3: it's wiped to a screen of people playing the Atari,

870
00:47:24,400 --> 00:47:27,520
Speaker 3: but it's not pong, it's an airplane. And then what

871
00:47:27,600 --> 00:47:29,400
Speaker 3: are they going to use to show We got to

872
00:47:29,440 --> 00:47:32,799
Speaker 3: get like a nineteen seventy two montage, right, show us

873
00:47:32,840 --> 00:47:36,080
Speaker 3: some footage of what it means for things to be modern?

874
00:47:36,840 --> 00:47:40,880
Speaker 3: What does that mean in this film's conception, primarily traffic,

875
00:47:41,360 --> 00:47:44,680
Speaker 3: So we're just seeing like complex highway exchanges teaming with

876
00:47:44,760 --> 00:47:48,560
Speaker 3: cars set to saxophone and whaling guitar solos.

877
00:47:49,200 --> 00:47:51,239
Speaker 1: Yeah, yeah, I guess that's all they really want to

878
00:47:51,239 --> 00:47:54,440
Speaker 1: convey about the modern world, That it's busy, and you

879
00:47:54,480 --> 00:47:57,360
Speaker 1: know that the world's fast, it's in a hurry. But meanwhile,

880
00:47:57,880 --> 00:48:03,360
Speaker 1: Dracula is patient. Racula is long lived and is crossing

881
00:48:03,400 --> 00:48:07,919
Speaker 1: oceans of time to reach the year nineteen seventy.

882
00:48:07,560 --> 00:48:10,399
Speaker 3: Two, and then from here we cut straight to a

883
00:48:10,480 --> 00:48:13,239
Speaker 3: party scene. Now, this is the scene where I think

884
00:48:13,239 --> 00:48:16,200
Speaker 3: they were the movie was trying to pack in all

885
00:48:16,320 --> 00:48:20,560
Speaker 3: of its modern debauchery into like one five to seven

886
00:48:20,640 --> 00:48:21,440
Speaker 3: minute sequence.

887
00:48:22,239 --> 00:48:25,080
Speaker 1: That's right with But their hippies are not like all.

888
00:48:25,239 --> 00:48:27,520
Speaker 1: Is it not like we're dealing with a bunch of

889
00:48:27,560 --> 00:48:31,560
Speaker 1: sort of grind housey like evil hippies or anything. These

890
00:48:31,600 --> 00:48:36,120
Speaker 1: are all like, for the most part, likable, fun goofy kids. Again,

891
00:48:36,200 --> 00:48:37,560
Speaker 1: I think most of them are at least in their

892
00:48:37,600 --> 00:48:40,800
Speaker 1: mid twenties, but still goofy kids having a good time

893
00:48:41,280 --> 00:48:46,520
Speaker 1: enjoying the musical stylings of Stone Ground Stone Ground.

894
00:48:46,640 --> 00:48:51,160
Speaker 3: That's the name of the band they are playing. Let's see,

895
00:48:51,160 --> 00:48:54,200
Speaker 3: how do so? The scene is like hippies versus more

896
00:48:54,280 --> 00:48:57,320
Speaker 3: monopoly men, but monopoly men from nineteen seventy two instead

897
00:48:57,320 --> 00:49:00,560
Speaker 3: of eighteen seventy two. This party is taking place at

898
00:49:00,600 --> 00:49:05,800
Speaker 3: an elegantly decorated apartment or flat belonging to rich people,

899
00:49:05,840 --> 00:49:09,399
Speaker 3: full of breakable antiques. There is a buffet table set

900
00:49:09,440 --> 00:49:12,320
Speaker 3: up with champagne and ice buckets and a bunch of food.

901
00:49:12,400 --> 00:49:14,840
Speaker 3: But I paused it almost all the food appears to

902
00:49:14,840 --> 00:49:17,240
Speaker 3: be fruit. I guess they thought we wouldn't look too close,

903
00:49:17,440 --> 00:49:20,920
Speaker 3: or maybe they just really like fruit. Also, several hippies

904
00:49:20,920 --> 00:49:25,800
Speaker 3: are making out underneath the buffet table. The band stone

905
00:49:25,800 --> 00:49:29,000
Speaker 3: Ground is playing. In the living room, there are go

906
00:49:29,000 --> 00:49:31,279
Speaker 3: go dancers on top of the piano and on the

907
00:49:31,320 --> 00:49:35,080
Speaker 3: sofa table. Hippies are dancing, presumably doing drugs, though I

908
00:49:35,120 --> 00:49:39,080
Speaker 3: don't think we see any drugs being done and getting

909
00:49:39,120 --> 00:49:42,360
Speaker 3: up to sexual behavior, and all of the rich posh

910
00:49:42,400 --> 00:49:43,880
Speaker 3: people are scandalized.

911
00:49:44,719 --> 00:49:47,880
Speaker 1: I can't stress enough that stone Ground as a band

912
00:49:48,040 --> 00:49:50,760
Speaker 1: looks like what might happen if you took the Muppet

913
00:49:50,760 --> 00:49:55,000
Speaker 1: Show band and portrayed them as human beings. Yes, they're

914
00:49:55,080 --> 00:49:56,600
Speaker 1: like a human Muppet Show band.

915
00:49:56,920 --> 00:50:00,280
Speaker 3: Yeah yeah, or like Fraggles, like the Fragle band.

916
00:50:00,840 --> 00:50:05,320
Speaker 1: Yeah. Michael Weldon wrote in his review quote, a party

917
00:50:05,320 --> 00:50:08,200
Speaker 1: sequence with the American band stone Ground is a real

918
00:50:08,239 --> 00:50:12,000
Speaker 1: low point. Oh come on, I would disagree, But then again,

919
00:50:12,040 --> 00:50:15,480
Speaker 1: I'm you know, we I think he was writing this

920
00:50:15,520 --> 00:50:18,839
Speaker 1: a little closer to the original release time. I would

921
00:50:18,880 --> 00:50:21,800
Speaker 1: say that it's a goofy good time that also advances

922
00:50:21,800 --> 00:50:25,120
Speaker 1: the plot somewhat introduces this to a key character, which

923
00:50:25,160 --> 00:50:27,520
Speaker 1: we'll get to in just a second. I think you

924
00:50:27,560 --> 00:50:31,080
Speaker 1: can say, well, perhaps there are some seventies bands that

925
00:50:31,160 --> 00:50:34,360
Speaker 1: would have been better suited to this film than stone Ground.

926
00:50:34,840 --> 00:50:37,680
Speaker 1: I wouldn't say I love the music, but they do

927
00:50:37,719 --> 00:50:39,880
Speaker 1: appear to have been a real band and all, like,

928
00:50:39,920 --> 00:50:43,640
Speaker 1: they don't just exist in this film. Sal Valentino was

929
00:50:43,640 --> 00:50:46,120
Speaker 1: the singer noted for his earlier work in the sixties

930
00:50:46,160 --> 00:50:49,319
Speaker 1: group The bo Brummels. They did the song just a

931
00:50:49,360 --> 00:50:52,440
Speaker 1: Little and I think they had another hit, and various

932
00:50:52,440 --> 00:50:55,200
Speaker 1: members of Stone Ground went on to other things.

933
00:50:55,560 --> 00:50:58,600
Speaker 3: One of the songs they play at this party is

934
00:50:58,640 --> 00:51:01,399
Speaker 3: just very generic lyrical content. It's like, oh yeah, come

935
00:51:01,440 --> 00:51:05,439
Speaker 3: on or something. But the other song is called Alligator Man,

936
00:51:05,719 --> 00:51:08,279
Speaker 3: and all of the lyrics are about how like I'm

937
00:51:08,400 --> 00:51:11,280
Speaker 3: just a by you man, you know you can find

938
00:51:11,360 --> 00:51:13,319
Speaker 3: me and the by you because that's all I do.

939
00:51:13,480 --> 00:51:16,480
Speaker 3: I swim in the water. I'm an alligator man. I

940
00:51:16,520 --> 00:51:19,759
Speaker 3: think he says I come from an alligator clan, and

941
00:51:20,040 --> 00:51:22,480
Speaker 3: I was just looking at the scene, like, these are

942
00:51:22,520 --> 00:51:25,239
Speaker 3: not alligator men, if anything, these are lamprey men.

943
00:51:26,160 --> 00:51:29,640
Speaker 1: Yeah. I mean that's it's kind of a credence vibe

944
00:51:29,719 --> 00:51:34,280
Speaker 1: right where it's like perhaps not authentic swamp music.

945
00:51:35,600 --> 00:51:37,839
Speaker 3: Oh I don't know. I go credence, they're out. They're

946
00:51:37,840 --> 00:51:40,520
Speaker 3: alligator men to me, John Fogerty, Yeah, come on, he's

947
00:51:40,520 --> 00:51:41,399
Speaker 3: an alligator man.

948
00:51:41,680 --> 00:51:43,759
Speaker 1: The credence was great, But did they come from an

949
00:51:43,800 --> 00:51:44,480
Speaker 1: actual swamp.

950
00:51:44,920 --> 00:51:47,080
Speaker 3: I don't know. Maybe I've never looked into it.

951
00:51:47,440 --> 00:51:50,319
Speaker 1: If they don't have a swamp thing origin story, then

952
00:51:50,360 --> 00:51:52,640
Speaker 1: I'm gonna say it's it's a bit of an act,

953
00:51:52,680 --> 00:51:54,080
Speaker 1: but it's a fun act. I always like, I like

954
00:51:54,160 --> 00:51:55,960
Speaker 1: love credence when I was younger.

955
00:51:56,160 --> 00:51:58,720
Speaker 3: I still love Credence. Wait, okay, but in the middle

956
00:51:58,760 --> 00:52:00,520
Speaker 3: of this whole scene we got to expl So the

957
00:52:00,560 --> 00:52:03,399
Speaker 3: hippies are dancing, the band is playing, all the rich

958
00:52:03,440 --> 00:52:06,600
Speaker 3: people are are horribly offended. And in the middle of

959
00:52:06,640 --> 00:52:11,640
Speaker 3: the scene, hey, it's that same reptilian creep that scooped

960
00:52:11,719 --> 00:52:14,640
Speaker 3: up Dracula's ashes one hundred years ago. If anybody's an

961
00:52:14,680 --> 00:52:18,080
Speaker 3: alligator man, it's him. He you know, he's like got

962
00:52:18,080 --> 00:52:20,400
Speaker 3: these creepy eyes. He's staring at everybody.

963
00:52:20,840 --> 00:52:21,200
Speaker 1: Uh.

964
00:52:21,239 --> 00:52:24,239
Speaker 3: And I don't know if he has like not aged

965
00:52:24,360 --> 00:52:27,080
Speaker 3: since one hundred years ago, or if this is supposed

966
00:52:27,120 --> 00:52:30,400
Speaker 3: to be a descendant of that other guy. Either way,

967
00:52:30,520 --> 00:52:33,319
Speaker 3: it's the exact same, dude, It looks exactly the same,

968
00:52:33,440 --> 00:52:37,279
Speaker 3: except he is now I don't know. He's dressed sort

969
00:52:37,320 --> 00:52:39,960
Speaker 3: of for the era. He's wearing a frilly pirate shirt,

970
00:52:40,280 --> 00:52:45,000
Speaker 3: a burgundy velvet suit, and a black, wide brimmed fedora.

971
00:52:45,320 --> 00:52:47,200
Speaker 3: So cool.

972
00:52:47,600 --> 00:52:50,560
Speaker 1: I think he's supposed to be a descendant because Dracula

973
00:52:50,640 --> 00:52:52,920
Speaker 1: later says something to him about his bloodline.

974
00:52:53,480 --> 00:52:54,840
Speaker 3: Ah, that would make sense.

975
00:52:55,280 --> 00:52:58,520
Speaker 1: So like, there's been a long line of Dracula enthusiasts,

976
00:52:58,560 --> 00:53:01,520
Speaker 1: some of whom never got to meet Dracula, which would

977
00:53:01,560 --> 00:53:03,439
Speaker 1: be kind of a bummer, right. Yeah.

978
00:53:03,520 --> 00:53:07,640
Speaker 3: Yeah, they're just, you know, bridging the gap between generations.

979
00:53:08,120 --> 00:53:08,799
Speaker 1: Yeah.

980
00:53:09,120 --> 00:53:11,320
Speaker 3: Oh, and also we learned that his name is Johnny

981
00:53:11,360 --> 00:53:12,720
Speaker 3: Aloucard smooth.

982
00:53:12,840 --> 00:53:15,719
Speaker 1: Ah, we're not going to spoil We're not going to

983
00:53:15,800 --> 00:53:18,239
Speaker 1: spoil it yet. We're not going to tell you what

984
00:53:18,320 --> 00:53:19,320
Speaker 1: alo card means.

985
00:53:20,200 --> 00:53:22,440
Speaker 3: Oh what, We're not going to tell you what it

986
00:53:22,480 --> 00:53:27,360
Speaker 3: is spelled backwards. This is their kingdom. Yeah, Johnny nilbog

987
00:53:27,440 --> 00:53:29,719
Speaker 3: here at the party. He's gazing out from under the

988
00:53:29,760 --> 00:53:32,399
Speaker 3: brim of his fedora while everybody else has a good time.

989
00:53:32,440 --> 00:53:34,080
Speaker 3: He doesn't look like he's having a good time. He's

990
00:53:34,120 --> 00:53:37,440
Speaker 3: just sitting there watching with no expression. Of course, all

991
00:53:37,480 --> 00:53:40,680
Speaker 3: of the fancy rich people are mortified. They're baffled about

992
00:53:40,680 --> 00:53:44,120
Speaker 3: how all of these disgusting partygoers ended up in their flat.

993
00:53:44,600 --> 00:53:46,760
Speaker 3: This old lady who's kind of a little bit Angela

994
00:53:46,840 --> 00:53:51,080
Speaker 3: landsberry ish, she's like, what you know to her son,

995
00:53:51,320 --> 00:53:54,080
Speaker 3: She's like, why did you invite all of these monsters?

996
00:53:54,560 --> 00:53:57,120
Speaker 3: And he says I didn't. They're not my friends. All

997
00:53:57,160 --> 00:54:01,160
Speaker 3: I did was to invite the stone Aground. But that

998
00:54:01,360 --> 00:54:03,360
Speaker 3: just left me more confused. I'm like, why did he

999
00:54:03,440 --> 00:54:06,480
Speaker 3: invite the stone Ground? He invited this band?

1000
00:54:07,239 --> 00:54:10,120
Speaker 1: Well, because stone Ground is just a household name. Stone

1001
00:54:10,160 --> 00:54:13,959
Speaker 1: Ground appeals to audiences of all ages, the old, the young,

1002
00:54:14,200 --> 00:54:17,400
Speaker 1: the hip, the square. Everyone loves stone Ground. That's one

1003
00:54:17,400 --> 00:54:19,240
Speaker 1: of the film's early key messages.

1004
00:54:19,520 --> 00:54:22,359
Speaker 3: I understand now, yes, oh, but there's one thing in

1005
00:54:22,360 --> 00:54:24,560
Speaker 3: this party scene that I think does not make sense

1006
00:54:24,600 --> 00:54:27,640
Speaker 3: and did not work at all. It's the bit about

1007
00:54:28,000 --> 00:54:31,560
Speaker 3: timing how many minutes until the police arrive. So the

1008
00:54:32,080 --> 00:54:35,440
Speaker 3: guy who invited the Stone Ground goes and calls the

1009
00:54:35,480 --> 00:54:38,000
Speaker 3: police to get all the hippies out of his apartment,

1010
00:54:38,640 --> 00:54:42,360
Speaker 3: and then the hippie the friends all start being like, oh,

1011
00:54:42,160 --> 00:54:45,399
Speaker 3: the fuzz will be here in four minutes. No, it'll

1012
00:54:45,440 --> 00:54:48,160
Speaker 3: be six minutes, it'll be three and a half minutes,

1013
00:54:48,560 --> 00:54:51,759
Speaker 3: eight minutes. And they're arguing with each other, and they

1014
00:54:51,880 --> 00:54:56,200
Speaker 3: explained that they have a running practice where I guess

1015
00:54:56,239 --> 00:55:00,840
Speaker 3: they party somewhere where they're unwanted until the minute before

1016
00:55:00,880 --> 00:55:04,080
Speaker 3: the police arrive, and then they leave. And it's not

1017
00:55:04,120 --> 00:55:06,520
Speaker 3: really funny and it doesn't really make sense. It sort

1018
00:55:06,520 --> 00:55:09,480
Speaker 3: of lacks very similitude, but the bit just keeps going on.

1019
00:55:10,360 --> 00:55:13,840
Speaker 1: It's a rather different relationship between hippies and law enforcement

1020
00:55:13,920 --> 00:55:17,520
Speaker 1: in this film versus certainly reality, but also I'm reminded

1021
00:55:17,560 --> 00:55:21,440
Speaker 1: of The Living Dead at the Manchester Morgue, where you know,

1022
00:55:21,520 --> 00:55:26,799
Speaker 1: it's firmly established that the man hates hippies, that law

1023
00:55:26,880 --> 00:55:32,120
Speaker 1: enforcement just despises them, whereas in this film it's like, ah,

1024
00:55:32,200 --> 00:55:35,839
Speaker 1: they're fun loving. It's a fun loving competition, you know.

1025
00:55:36,040 --> 00:55:38,839
Speaker 1: It's like, oh, you got me today, hippies, we'll get

1026
00:55:38,840 --> 00:55:40,640
Speaker 1: you tomorrow. That sort of thing.

1027
00:55:41,120 --> 00:55:43,680
Speaker 3: And then the spirit of that sort of teasingness, like

1028
00:55:43,719 --> 00:55:46,799
Speaker 3: when the police arrive to bust up the party, Oh,

1029
00:55:47,200 --> 00:55:50,960
Speaker 3: they discover the hippies making out underneath the buffet table,

1030
00:55:51,080 --> 00:55:53,000
Speaker 3: and one of the hippies just says to the cop,

1031
00:55:53,080 --> 00:55:57,360
Speaker 3: peace man, and the cop smiles. But also there's a

1032
00:55:57,400 --> 00:56:01,120
Speaker 3: thing where when Johnny Alucard is about to leave the apartment,

1033
00:56:01,520 --> 00:56:04,760
Speaker 3: he takes the time to stop and torture the old

1034
00:56:04,840 --> 00:56:08,600
Speaker 3: lady about breaking her priceless antiques. Like he picks up

1035
00:56:08,960 --> 00:56:12,440
Speaker 3: this ceramic figurine and is tossing it hand to hand,

1036
00:56:12,520 --> 00:56:15,000
Speaker 3: and then just when she thinks, you know, he's setting

1037
00:56:15,080 --> 00:56:17,080
Speaker 3: it safely down on the table, he tips it over

1038
00:56:17,160 --> 00:56:18,200
Speaker 3: and it breaks on the floor.

1039
00:56:18,920 --> 00:56:23,680
Speaker 1: Oh yeah, he's a chaotic youth. He doesn't care about anything.

1040
00:56:24,239 --> 00:56:25,920
Speaker 3: But so they split from the party. They go to

1041
00:56:25,960 --> 00:56:28,400
Speaker 3: their favorite coffee shop except is it daytime?

1042
00:56:28,480 --> 00:56:28,640
Speaker 5: Now?

1043
00:56:28,640 --> 00:56:31,239
Speaker 3: I'm a little confused about the timeline. But they go

1044
00:56:31,320 --> 00:56:33,799
Speaker 3: to their favorite coffee shop, and the coffee shop is

1045
00:56:33,840 --> 00:56:36,320
Speaker 3: called Cavern, and this place is great. I wish I

1046
00:56:36,360 --> 00:56:36,960
Speaker 3: could go there.

1047
00:56:37,840 --> 00:56:40,239
Speaker 1: Yeah, I kind of have to assume that what we

1048
00:56:40,280 --> 00:56:42,319
Speaker 1: see of the interiors as a set. But it's a

1049
00:56:42,360 --> 00:56:45,960
Speaker 1: great looking set. We got the like splashes of tile

1050
00:56:46,160 --> 00:56:49,000
Speaker 1: and all sorts of cool purple lighting, Like it just

1051
00:56:49,040 --> 00:56:50,840
Speaker 1: looks too cool to be a real space. But I

1052
00:56:50,840 --> 00:56:53,160
Speaker 1: could be wrong on that. And then they order up

1053
00:56:53,200 --> 00:56:56,000
Speaker 1: what at first I thought was like bowls of soup

1054
00:56:56,200 --> 00:56:58,600
Speaker 1: and Coca Cola's, But I think this is supposed to

1055
00:56:58,680 --> 00:57:01,480
Speaker 1: be coffee and or tea plus Coca colas.

1056
00:57:01,800 --> 00:57:05,239
Speaker 3: I think there are Coca Colas in glass bottles. But yes,

1057
00:57:05,320 --> 00:57:09,439
Speaker 3: the super bowls are coffee cups. I think. Okay, they're

1058
00:57:09,480 --> 00:57:12,880
Speaker 3: just very wide and shallow for some reason. Oh and

1059
00:57:12,920 --> 00:57:15,400
Speaker 3: I made a note that cavern is right next to

1060
00:57:15,440 --> 00:57:19,120
Speaker 3: a store called Chelsea Mail M A L E. I

1061
00:57:19,160 --> 00:57:20,560
Speaker 3: don't know. Maybe that's clothing.

1062
00:57:20,640 --> 00:57:21,040
Speaker 1: I don't know.

1063
00:57:21,960 --> 00:57:25,320
Speaker 3: Anyway, the coffee hass the hippies sit in a secluded

1064
00:57:25,360 --> 00:57:30,000
Speaker 3: booth and Johnny Alucard talks about how everything's just boring.

1065
00:57:30,080 --> 00:57:32,400
Speaker 3: I'm sick of it all. It's all stale. We've got

1066
00:57:32,400 --> 00:57:34,560
Speaker 3: to find a new way to get our kicks. And

1067
00:57:34,600 --> 00:57:38,480
Speaker 3: he says, I want something new yet as old as time,

1068
00:57:39,120 --> 00:57:41,320
Speaker 3: and he's got an idea. They all want to hear

1069
00:57:41,360 --> 00:57:44,120
Speaker 3: what his idea is. He leans forward and he says

1070
00:57:44,360 --> 00:57:49,320
Speaker 3: a date with the Devil, a bacchanal with Beelzebub. So

1071
00:57:49,520 --> 00:57:52,160
Speaker 3: they think he's joking around at first. Oh, you're just

1072
00:57:52,320 --> 00:57:55,880
Speaker 3: Josh and Johnny Alucard a ha haha. Oija board Spirit

1073
00:57:56,000 --> 00:57:59,520
Speaker 3: mediums that stuff's a bunch of funny nonsense. But Johnny

1074
00:57:59,520 --> 00:58:03,080
Speaker 3: Alucar is not joking. He's serious. He says, don't knock

1075
00:58:03,120 --> 00:58:07,000
Speaker 3: it unless you've tried it, And then Jessica, the most

1076
00:58:07,000 --> 00:58:10,320
Speaker 3: intelligent and level headed of the group, comments, well, they

1077
00:58:10,320 --> 00:58:13,000
Speaker 3: do say it's dangerous. But at the other side of

1078
00:58:13,040 --> 00:58:16,640
Speaker 3: the table, Carolyn Monroe as Laura is here like, yes, yes, devil,

1079
00:58:16,800 --> 00:58:21,000
Speaker 3: take me to the devil now. So everybody eventually agrees,

1080
00:58:21,200 --> 00:58:24,240
Speaker 3: last of all and reluctantly Jessica, but they're all in.

1081
00:58:24,280 --> 00:58:29,120
Speaker 3: They're gonna go to an abandoned London church later tonight

1082
00:58:29,200 --> 00:58:30,880
Speaker 3: at midnight to summon Satan.

1083
00:58:31,600 --> 00:58:31,960
Speaker 1: I don't know.

1084
00:58:32,000 --> 00:58:33,560
Speaker 3: I guess that's just how you have fun.

1085
00:58:35,160 --> 00:58:37,880
Speaker 1: This may come later, but I did like the way

1086
00:58:37,920 --> 00:58:41,640
Speaker 1: they set up how various members of the friends group

1087
00:58:41,680 --> 00:58:45,000
Speaker 1: are going along with this, where I think Jessica's boyfriend

1088
00:58:45,120 --> 00:58:48,320
Speaker 1: is like this is you know, It's like, yeah, Johnny's

1089
00:58:48,400 --> 00:58:50,480
Speaker 1: enthusiastic about it, but you know what's gonna happen. We're

1090
00:58:50,480 --> 00:58:53,240
Speaker 1: gonna show up, somebody's gonna get out of guitar. I'm

1091
00:58:53,280 --> 00:58:55,240
Speaker 1: gonna have some food and some drinks. It's like it's

1092
00:58:55,280 --> 00:58:57,160
Speaker 1: just gonna be more or less like any other hang

1093
00:58:57,240 --> 00:59:01,560
Speaker 1: we do. It's just Johnny's gonna read some weird stuff beforehand.

1094
00:59:01,320 --> 00:59:04,480
Speaker 3: Yes, he said there will. It'll just be beer, food,

1095
00:59:04,680 --> 00:59:17,120
Speaker 3: guitar and loving in the end. But before we get

1096
00:59:17,160 --> 00:59:19,960
Speaker 3: to the summoning of Satan, we see a few little

1097
00:59:20,240 --> 00:59:22,960
Speaker 3: there's some interludes. First of all, we see Johnny Alucard

1098
00:59:23,120 --> 00:59:26,760
Speaker 3: head home to his sweet flat, which his flat seems

1099
00:59:26,840 --> 00:59:30,320
Speaker 3: very cool. It's like well decorated. I don't know, it

1100
00:59:30,360 --> 00:59:33,920
Speaker 3: doesn't have that bachelor quality to it.

1101
00:59:34,760 --> 00:59:37,320
Speaker 1: Yeah, yeah, I know what you mean. It feels like

1102
00:59:37,400 --> 00:59:41,240
Speaker 1: this is more space and it's in better shape than

1103
00:59:41,320 --> 00:59:43,720
Speaker 1: Johnny should have access to. He should have more of

1104
00:59:43,800 --> 00:59:47,320
Speaker 1: a like a little hovel with Dracula posters on the walls.

1105
00:59:47,960 --> 00:59:50,760
Speaker 1: Turns out the good guys are the ones with Dracula posters.

1106
00:59:51,560 --> 00:59:54,240
Speaker 3: That's right. Yeah, So he goes to his house and

1107
00:59:54,280 --> 00:59:59,600
Speaker 3: he opens up a velvet box and inside it's the ring, Yes,

1108
00:59:59,720 --> 01:00:01,880
Speaker 3: drag Akila's ring, the one we saw the guy who

1109
01:00:01,920 --> 01:00:05,360
Speaker 3: looks exactly like Johnny take off of Dracula's corpse earlier

1110
01:00:05,440 --> 01:00:08,640
Speaker 3: on and the vile of ashes, so he's got him.

1111
01:00:09,040 --> 01:00:11,440
Speaker 3: We also follow Jessica home and this is where we

1112
01:00:11,560 --> 01:00:16,080
Speaker 3: learn that she is Jessica van Helsing and her grandfather,

1113
01:00:16,240 --> 01:00:19,680
Speaker 3: who she lives with, is Professor Lorimer van Helsing also

1114
01:00:19,720 --> 01:00:23,560
Speaker 3: played by Peter Cushing, again a descendant of Larry from

1115
01:00:23,560 --> 01:00:28,120
Speaker 3: the prologue, and grandfather Van Helsing is an expert on

1116
01:00:28,160 --> 01:00:31,280
Speaker 3: the occult. He has consulted with the police before to

1117
01:00:31,480 --> 01:00:35,600
Speaker 3: solve cases of ritual cult murder, and he comes into

1118
01:00:35,600 --> 01:00:40,360
Speaker 3: his office catches his granddaughter reading his book, which is

1119
01:00:40,400 --> 01:00:44,040
Speaker 3: called The Treatise on Black Mass. He says, Jessica, this

1120
01:00:44,160 --> 01:00:46,360
Speaker 3: is not a subject to mess around with. These are

1121
01:00:46,400 --> 01:00:50,920
Speaker 3: scientific works. But she mocks it. She says, you know,

1122
01:00:51,000 --> 01:00:52,960
Speaker 3: you can buy that kind of book in any shop

1123
01:00:53,000 --> 01:00:57,440
Speaker 3: in soho quote. It's all kinky, you know. She says,

1124
01:00:57,520 --> 01:01:03,200
Speaker 3: it's Hobgoblin's black magic. At so she thinks it's all nonsense,

1125
01:01:03,280 --> 01:01:06,240
Speaker 3: has no interest whatsoever in the occult, and in fact

1126
01:01:06,320 --> 01:01:09,680
Speaker 3: seems to think it's it's not even superficially interesting. She

1127
01:01:09,800 --> 01:01:12,840
Speaker 3: like thinks that she can't bring her friends over to

1128
01:01:12,880 --> 01:01:14,880
Speaker 3: this place or to meet him because it would be

1129
01:01:15,000 --> 01:01:18,680
Speaker 3: interminably boring. But wait a minute, Jessica, don't you know

1130
01:01:18,760 --> 01:01:21,800
Speaker 3: that your friends are obsessed with summoning the devil, Like

1131
01:01:21,880 --> 01:01:25,400
Speaker 3: they just express this extreme interest in the occult, and

1132
01:01:25,440 --> 01:01:27,680
Speaker 3: here she is like, I can't my friends could never

1133
01:01:27,760 --> 01:01:29,840
Speaker 3: find out that you're an expert on the occult. It

1134
01:01:29,880 --> 01:01:30,960
Speaker 3: would be so embarrassing.

1135
01:01:32,720 --> 01:01:34,960
Speaker 1: Yeah, Jessica is a bit of a brat, and I

1136
01:01:34,960 --> 01:01:38,960
Speaker 1: think intentionally so, like he has to politely move her

1137
01:01:38,960 --> 01:01:41,560
Speaker 1: feet off of his desk when he comes in and

1138
01:01:41,560 --> 01:01:45,520
Speaker 1: finds her reading the Book of the Occult. But at

1139
01:01:45,520 --> 01:01:47,960
Speaker 1: the same time, it's that they do a great job

1140
01:01:48,480 --> 01:01:51,120
Speaker 1: letting us know that, yeah, he really cares about her,

1141
01:01:51,160 --> 01:01:53,600
Speaker 1: and she really cares about him. But there is this,

1142
01:01:53,760 --> 01:01:56,480
Speaker 1: you know, some awkward generational stuff where, you know, the

1143
01:01:56,520 --> 01:02:00,240
Speaker 1: stuff Grandpa's in too, is just lame. And yeah, she's

1144
01:02:00,280 --> 01:02:01,760
Speaker 1: kind of blind to the fact that there is this

1145
01:02:01,840 --> 01:02:05,080
Speaker 1: strong connection between what's about to happen in her friend

1146
01:02:05,080 --> 01:02:07,720
Speaker 1: group and the kind of stuff that grandpa actually knows

1147
01:02:07,800 --> 01:02:08,560
Speaker 1: quite a bit about.

1148
01:02:09,080 --> 01:02:12,320
Speaker 3: Yeah, he patiently explains that, you know, our family has

1149
01:02:12,360 --> 01:02:15,920
Speaker 3: a legacy of research into the occult, and she's just like,

1150
01:02:16,040 --> 01:02:17,360
Speaker 3: it's not my bag. Baby.

1151
01:02:17,680 --> 01:02:21,360
Speaker 1: It's like the difference between a friend saying like, hey,

1152
01:02:21,400 --> 01:02:24,800
Speaker 1: I have this Doobie Brother's album and then your grandpa saying, hey,

1153
01:02:24,920 --> 01:02:27,360
Speaker 1: I've got Doobie Brothers albums too, Like, it's not fair

1154
01:02:28,000 --> 01:02:31,120
Speaker 1: that grandpa is considered lame because he has this album

1155
01:02:31,520 --> 01:02:34,840
Speaker 1: and your friend has a pass because he just discovered it.

1156
01:02:35,200 --> 01:02:39,040
Speaker 3: But that is how it works, no accounting for the

1157
01:02:39,080 --> 01:02:44,600
Speaker 3: social influences on taste formation anyway. Oh but also he's like, hey,

1158
01:02:45,560 --> 01:02:47,280
Speaker 3: what if I was to get to meet your friends?

1159
01:02:47,360 --> 01:02:50,040
Speaker 3: You know, I wonder who these people you hang out

1160
01:02:50,080 --> 01:02:52,080
Speaker 3: with all the time, who are they? And she's like,

1161
01:02:52,320 --> 01:02:54,280
Speaker 3: uh uh, You're never going to meet them because this

1162
01:02:54,360 --> 01:02:56,680
Speaker 3: place is boring and dusty and old, and you're an

1163
01:02:56,720 --> 01:02:58,840
Speaker 3: expert on the occult, so you will not meet them.

1164
01:02:58,880 --> 01:03:01,840
Speaker 3: But she tries to reassure him by saying she has

1165
01:03:01,920 --> 01:03:04,960
Speaker 3: never dropped acid, she is not shooting up, and she

1166
01:03:05,040 --> 01:03:07,720
Speaker 3: says she is not sleeping with anyone just yet, so

1167
01:03:07,800 --> 01:03:10,680
Speaker 3: he has no reason to worry. She is into nothing wrong.

1168
01:03:11,160 --> 01:03:13,200
Speaker 3: And then she goes to meet her friends at the

1169
01:03:13,280 --> 01:03:17,880
Speaker 3: deconsecrated church to raise the devil. Yep, so this black Mass.

1170
01:03:18,240 --> 01:03:21,200
Speaker 3: What can we describe about the scene. Well, first of all,

1171
01:03:21,200 --> 01:03:24,080
Speaker 3: there's a thing about the tombstone. On the outside, she

1172
01:03:24,160 --> 01:03:26,880
Speaker 3: and her boyfriend Bob are talking before they go into

1173
01:03:26,880 --> 01:03:30,640
Speaker 3: the church, they're waiting to meet everybody, and they stumble

1174
01:03:30,800 --> 01:03:34,720
Speaker 3: across the tombstone of her ancestor, Lawrence van Helsing, who

1175
01:03:34,760 --> 01:03:36,880
Speaker 3: died one hundred years ago to this day.

1176
01:03:37,360 --> 01:03:39,600
Speaker 1: Yeah, which they initially think, Oh, this is one of

1177
01:03:39,640 --> 01:03:42,840
Speaker 1: Johnny's jokes. This is not funny. They get a little

1178
01:03:42,920 --> 01:03:43,840
Speaker 1: disturbed over this.

1179
01:03:44,160 --> 01:03:47,400
Speaker 3: It's one of Johnny's jokes. He had a fake tombstone

1180
01:03:47,520 --> 01:03:49,200
Speaker 3: made and put in this churchyard.

1181
01:03:50,400 --> 01:03:52,880
Speaker 1: I don't know, you know, they're just they're trying to

1182
01:03:52,880 --> 01:03:55,360
Speaker 1: figure it out. The other thing I would say is

1183
01:03:56,120 --> 01:03:59,880
Speaker 1: that this abandoned church is just is a great set.

1184
01:04:00,200 --> 01:04:04,120
Speaker 1: It's a great Gothic setting for what is inevitably going

1185
01:04:04,160 --> 01:04:06,160
Speaker 1: to be the resurrection of Count Dracula.

1186
01:04:06,520 --> 01:04:09,480
Speaker 3: That's right. So Johnny Alucard is there. He's wearing an

1187
01:04:09,480 --> 01:04:12,280
Speaker 3: all black robe. He has everybody sit in a circle

1188
01:04:12,320 --> 01:04:15,240
Speaker 3: and listen to music. He says, no fooling around, this

1189
01:04:15,360 --> 01:04:18,640
Speaker 3: is for real. And the tape he plays sounds kind

1190
01:04:18,680 --> 01:04:21,480
Speaker 3: of like the drum solo in Inegatta Davida, which is

1191
01:04:21,480 --> 01:04:22,440
Speaker 3: a thumbs up from me.

1192
01:04:24,120 --> 01:04:27,400
Speaker 1: Yeah yeah. It has this kind of like noisy, grimy

1193
01:04:27,600 --> 01:04:29,880
Speaker 1: quality to it, which I quite like. And again you

1194
01:04:30,280 --> 01:04:32,640
Speaker 1: can hear this track is included on the soundtrack and score,

1195
01:04:32,840 --> 01:04:34,880
Speaker 1: along with those Stone Ground tracks. If you need to

1196
01:04:34,880 --> 01:04:35,800
Speaker 1: listen to those.

1197
01:04:36,160 --> 01:04:40,120
Speaker 3: That must provide an odd contrast. But he's really telling

1198
01:04:40,160 --> 01:04:42,960
Speaker 3: them to get into it. He says, dig the music, kids,

1199
01:04:43,080 --> 01:04:46,400
Speaker 3: let it flow into you. Give yourself up to the music.

1200
01:04:47,000 --> 01:04:49,919
Speaker 3: And this reminds me of Christian tracts that I have read,

1201
01:04:50,960 --> 01:04:55,600
Speaker 3: genuinely espousing the idea that rock music will will allow

1202
01:04:55,640 --> 01:04:57,040
Speaker 3: a demon to possess your soul.

1203
01:04:57,480 --> 01:04:58,080
Speaker 1: Yep, yep.

1204
01:04:58,360 --> 01:05:00,760
Speaker 3: Johnny Alucard seems to agree with that point of view,

1205
01:05:01,160 --> 01:05:03,880
Speaker 3: and then he starts. He starts naming demons. You know.

1206
01:05:03,960 --> 01:05:07,400
Speaker 3: He says, I call upon address the Grand Marquis of Hell.

1207
01:05:07,800 --> 01:05:11,880
Speaker 3: He says, Marquis, a provoker of discords, and upon ron Way,

1208
01:05:12,000 --> 01:05:16,240
Speaker 3: demon of forbidden knowledge, and upon Behemoth, the arch devil

1209
01:05:16,320 --> 01:05:20,080
Speaker 3: of black delights. I call upon as Modius, the destroyer

1210
01:05:20,480 --> 01:05:23,720
Speaker 3: and Astroth, friend of all the great lords of Hades.

1211
01:05:24,160 --> 01:05:27,200
Speaker 3: I demand an audience with his satanic majesty. He just

1212
01:05:27,320 --> 01:05:29,720
Speaker 3: and he goes on and on, names like fifteen more demons,

1213
01:05:30,080 --> 01:05:34,320
Speaker 3: and ends with Count Dracula, which, even in the context

1214
01:05:34,360 --> 01:05:35,880
Speaker 3: of the movie, for some reason, it just kind of

1215
01:05:35,880 --> 01:05:39,240
Speaker 3: sounds funny. In this list of I don't know, biblical

1216
01:05:39,360 --> 01:05:43,120
Speaker 3: or at least like apocryphal or hermetic kind of entities.

1217
01:05:43,360 --> 01:05:45,720
Speaker 1: Maybe, But at the same time, I don't know. We've

1218
01:05:45,800 --> 01:05:47,760
Speaker 1: talked already on the show. I think in listener Mail

1219
01:05:47,800 --> 01:05:51,320
Speaker 1: episodes about Marvel's Dracula and how in the Marvel Comics

1220
01:05:51,400 --> 01:05:55,120
Speaker 1: universe Dracula will occasionally have interactions with the likes of

1221
01:05:55,160 --> 01:05:59,000
Speaker 1: doctor Doom, so you know, Draculas can can hang out

1222
01:05:59,000 --> 01:06:02,080
Speaker 1: with Doctor Doom on the Then I feel like it's

1223
01:06:02,760 --> 01:06:05,480
Speaker 1: equally okay that his name is mentioned in the same

1224
01:06:06,440 --> 01:06:10,560
Speaker 1: prayer as these various other dark and powerful demon lords.

1225
01:06:11,040 --> 01:06:13,000
Speaker 3: So he says all these demons, but then he calls

1226
01:06:13,040 --> 01:06:15,840
Speaker 3: the name of Jessica van helsing, she's right here in

1227
01:06:15,880 --> 01:06:18,200
Speaker 3: the room with us. She's here listening to the music.

1228
01:06:18,240 --> 01:06:21,720
Speaker 3: She's digging the music as instructed. And he says that

1229
01:06:21,800 --> 01:06:24,840
Speaker 3: the demons have chosen her, but she is afraid, so

1230
01:06:24,880 --> 01:06:27,160
Speaker 3: she says, no, she's not going to join him up

1231
01:06:27,160 --> 01:06:31,240
Speaker 3: at the altar for whatever comes next. But somebody's ready,

1232
01:06:31,320 --> 01:06:33,600
Speaker 3: somebody wants to be to go to the altar, and

1233
01:06:33,800 --> 01:06:38,720
Speaker 3: it's Laura played by Carolyn Monroe. She's extremely jealous. She's like, no, me, me, Me,

1234
01:06:38,720 --> 01:06:41,360
Speaker 3: me me, And so it looks like it's going to

1235
01:06:41,400 --> 01:06:44,360
Speaker 3: be Laura instead for whatever this ritual will be. He

1236
01:06:44,560 --> 01:06:47,400
Speaker 3: so she goes up, lies down on the altar and

1237
01:06:47,520 --> 01:06:51,960
Speaker 3: Johnny Alucard cuts his hand bleeds into a grail full

1238
01:06:52,000 --> 01:06:55,280
Speaker 3: of Dracula's ashes and then pours them out on her

1239
01:06:55,320 --> 01:06:58,840
Speaker 3: and it gets really thick and frothy, and this is disgusting.

1240
01:06:58,920 --> 01:07:02,000
Speaker 3: She's now covered in a she blood. Everybody gets freaked

1241
01:07:02,000 --> 01:07:04,840
Speaker 3: out and runs away except for Johnny and Laura. And

1242
01:07:04,920 --> 01:07:08,240
Speaker 3: of course the ritual works it, you know, it resurrects

1243
01:07:08,280 --> 01:07:11,120
Speaker 3: Dracula from the earth where his ashes were buried one

1244
01:07:11,160 --> 01:07:15,240
Speaker 3: hundred years before. And then Dracula is shown shot from below,

1245
01:07:15,600 --> 01:07:17,360
Speaker 3: so we're looking up at him like he is the

1246
01:07:17,440 --> 01:07:21,080
Speaker 3: statue of liberty but a vampire, and he's surrounded by

1247
01:07:21,120 --> 01:07:24,800
Speaker 3: smoke and quite regal in his well, as Johnny said

1248
01:07:24,800 --> 01:07:27,000
Speaker 3: in his Satanic Majesty, and.

1249
01:07:26,960 --> 01:07:28,760
Speaker 1: I thought this was pretty effective. Like at this point

1250
01:07:28,800 --> 01:07:31,240
Speaker 1: I'm really digging, like, oh, yeah, this is Dracula, this

1251
01:07:31,320 --> 01:07:34,120
Speaker 1: is the real deal. You summoned him, and like this

1252
01:07:34,280 --> 01:07:37,160
Speaker 1: is an incredibly dangerous situation for everybody involved.

1253
01:07:37,800 --> 01:07:39,760
Speaker 3: But this is the part I mentioned earlier where he

1254
01:07:39,880 --> 01:07:43,360
Speaker 3: is right off the bat, extremely high handed with Johnny.

1255
01:07:43,440 --> 01:07:46,440
Speaker 3: Johnny says, master, I did it. I summoned you, and

1256
01:07:46,560 --> 01:07:49,160
Speaker 3: Dracula just kind of scowls at him and says it

1257
01:07:49,240 --> 01:07:52,320
Speaker 3: was my will and then holds out the ring for

1258
01:07:52,400 --> 01:07:53,040
Speaker 3: him to kiss.

1259
01:07:53,560 --> 01:07:55,680
Speaker 1: Well, he's not going to suffer any even if this

1260
01:07:55,760 --> 01:08:00,320
Speaker 1: is like, you know, a bloodline of Toady's that are

1261
01:08:00,320 --> 01:08:03,320
Speaker 1: supposed to look after Dragula's interest and raise him from

1262
01:08:03,320 --> 01:08:06,240
Speaker 1: the grave, Like, he's not going to suffer a wizard

1263
01:08:06,760 --> 01:08:09,080
Speaker 1: trying to pull one over him here. He's going to

1264
01:08:09,160 --> 01:08:12,080
Speaker 1: establish right from the top that Dracula is the guy

1265
01:08:12,120 --> 01:08:13,600
Speaker 1: in charge, right.

1266
01:08:13,680 --> 01:08:16,200
Speaker 3: So he goes into the church, Laura's still hanging out there.

1267
01:08:16,280 --> 01:08:19,400
Speaker 3: He's like, I guess I'll drink her blood, and he does,

1268
01:08:19,600 --> 01:08:23,880
Speaker 3: and meanwhile Johnny is looking on biting his knuckle like

1269
01:08:24,040 --> 01:08:26,679
Speaker 3: I wish that was me. And at first I thought

1270
01:08:26,760 --> 01:08:28,600
Speaker 3: he was thinking, like, oh, I wish that was me

1271
01:08:28,800 --> 01:08:32,040
Speaker 3: drinking her blood, but then I realized no, I think

1272
01:08:32,040 --> 01:08:35,240
Speaker 3: he's like, I wish that was me getting my blood drank.

1273
01:08:36,560 --> 01:08:40,160
Speaker 1: Because that's what he ultimately wants. He wants the kiss

1274
01:08:40,200 --> 01:08:41,360
Speaker 1: of cursed immortality.

1275
01:08:41,640 --> 01:08:44,679
Speaker 3: So the next day Laura's body is found by kids

1276
01:08:44,720 --> 01:08:47,759
Speaker 3: playing in a construction area. There's sort of the kids

1277
01:08:47,760 --> 01:08:50,120
Speaker 3: from the Spirit of Dark and Lonely Waters commercial.

1278
01:08:51,400 --> 01:08:54,840
Speaker 1: Yeah, just sort of wild, unparented seventies children running around

1279
01:08:55,040 --> 01:08:58,720
Speaker 1: finding dead bodies in the in the rubble. I mean,

1280
01:08:58,720 --> 01:09:00,760
Speaker 1: this is just how it went. I was born in

1281
01:09:00,760 --> 01:09:01,639
Speaker 1: the seventies as well.

1282
01:09:01,800 --> 01:09:05,400
Speaker 3: Yeah, let's go climb on that rebar. The police show up.

1283
01:09:05,479 --> 01:09:08,519
Speaker 3: They open a murder investigation and it is led by

1284
01:09:08,600 --> 01:09:11,759
Speaker 3: Inspector Murray. This is the detective we talked about earlier.

1285
01:09:12,000 --> 01:09:15,479
Speaker 3: Inspector Murray in turn consults with Laura Mr van Helsing.

1286
01:09:15,600 --> 01:09:18,640
Speaker 3: I think they have a pre existing relationship because Van

1287
01:09:18,720 --> 01:09:22,840
Speaker 3: Helsing knows all about weird occult murders, and the detective

1288
01:09:22,920 --> 01:09:27,520
Speaker 3: then reveals that the murder is connected to his granddaughter Jessica,

1289
01:09:28,000 --> 01:09:30,240
Speaker 3: because Laura was part of her friend group.

1290
01:09:30,960 --> 01:09:34,080
Speaker 1: They do acknowledge at one point, or Inspector Murray does

1291
01:09:34,120 --> 01:09:35,720
Speaker 1: talking with somebody else. I think one of the other

1292
01:09:35,720 --> 01:09:38,760
Speaker 1: police investigators is like, well, you know, here in the UK,

1293
01:09:38,840 --> 01:09:43,839
Speaker 1: we don't really have cult murders like they do in America.

1294
01:09:42,560 --> 01:09:46,719
Speaker 1: You know, they're not as complicated as that and as heavy.

1295
01:09:47,520 --> 01:09:50,680
Speaker 1: We have some cult murders but it's you know, it's

1296
01:09:50,720 --> 01:09:51,519
Speaker 1: more British here.

1297
01:09:51,880 --> 01:09:55,200
Speaker 3: So there is a an investigation portion of the movie

1298
01:09:55,280 --> 01:09:59,040
Speaker 3: in the middle here that had one scene that had

1299
01:09:59,320 --> 01:10:03,320
Speaker 3: Rachel and me rolling. It was the alu card scene

1300
01:10:03,479 --> 01:10:07,360
Speaker 3: where man, they really they don't skip over anything. They

1301
01:10:07,439 --> 01:10:09,799
Speaker 3: let you see the whole thing come together.

1302
01:10:10,840 --> 01:10:15,240
Speaker 1: Spoil it for us, Joe, tell everybody what Alocard means.

1303
01:10:14,880 --> 01:10:18,800
Speaker 3: Well, so that you see like Peter Cushing there with

1304
01:10:18,840 --> 01:10:21,640
Speaker 3: a card and he has written Dracula out on this

1305
01:10:21,720 --> 01:10:25,200
Speaker 3: piece of paper and then he's drawing lines from the

1306
01:10:25,280 --> 01:10:29,519
Speaker 3: letters in Alucard to the letters in Dracula and they

1307
01:10:29,600 --> 01:10:34,080
Speaker 3: all cross over and he's like, it's it's Dracula spelt backwards.

1308
01:10:34,800 --> 01:10:40,439
Speaker 1: The the the Dracula cipher right or Alocard cipher as

1309
01:10:40,439 --> 01:10:43,719
Speaker 1: if he just solved like a really complex puzzle here

1310
01:10:44,920 --> 01:10:46,920
Speaker 1: when it's just so obvious in the page. But again,

1311
01:10:47,960 --> 01:10:51,160
Speaker 1: it just shows you how great Peter Cushing is. Such

1312
01:10:51,160 --> 01:10:55,360
Speaker 1: a stupid scene, but he sells it. He patiently brings

1313
01:10:55,439 --> 01:10:56,559
Speaker 1: dignity to the scene.

1314
01:10:57,040 --> 01:11:00,040
Speaker 3: He draws. He doesn't just like write out Alucard and

1315
01:11:00,080 --> 01:11:02,960
Speaker 3: then look at he like draws all the lines. He

1316
01:11:03,040 --> 01:11:03,920
Speaker 3: does every letter.

1317
01:11:05,160 --> 01:11:06,720
Speaker 1: You know, he's checking his work. And I guess we

1318
01:11:06,800 --> 01:11:11,160
Speaker 1: have to remember at this point in in Hammer canon anyway,

1319
01:11:11,400 --> 01:11:14,519
Speaker 1: nobody had had solved the Dracula cipher. Yet they didn't

1320
01:11:14,520 --> 01:11:16,240
Speaker 1: know what this meant, and so we had to watch

1321
01:11:16,320 --> 01:11:17,280
Speaker 1: him do it in real time.

1322
01:11:17,560 --> 01:11:20,400
Speaker 3: That's true. It's like one of those math conjectures you know,

1323
01:11:20,680 --> 01:11:21,680
Speaker 3: remains unproven.

1324
01:11:22,320 --> 01:11:25,559
Speaker 1: Mm. But this is this is also good parenting slash

1325
01:11:25,600 --> 01:11:29,120
Speaker 1: grand parenting tip that we're seeing here. Find out who

1326
01:11:29,120 --> 01:11:32,639
Speaker 1: your your your your, your child or your grandchild's friends are.

1327
01:11:33,040 --> 01:11:35,240
Speaker 1: Write their names on a sheet of paper and just

1328
01:11:35,360 --> 01:11:37,599
Speaker 1: check and see if any of their first or last

1329
01:11:37,640 --> 01:11:39,599
Speaker 1: name happens to be Dracula spelled backwards.

1330
01:11:40,000 --> 01:11:42,080
Speaker 3: I just knew I shouldn't have let my child play

1331
01:11:42,200 --> 01:11:44,719
Speaker 3: with eoj niff.

1332
01:11:44,800 --> 01:11:48,720
Speaker 1: Ok. Sorry, I don't have any paper out, Joe. I

1333
01:11:48,760 --> 01:11:50,599
Speaker 1: can't fact check that one to make sure that's okay.

1334
01:11:51,680 --> 01:11:57,559
Speaker 3: Well, then you must be one of the idiots infurial. Okay,

1335
01:11:57,640 --> 01:12:00,599
Speaker 3: So what happens that? So maybe I'm to skip more

1336
01:12:00,680 --> 01:12:03,240
Speaker 3: lightly over some of the plot points that follow, but

1337
01:12:03,840 --> 01:12:09,120
Speaker 3: one sequence is Dracula he really wants to eat Jessica

1338
01:12:09,160 --> 01:12:11,280
Speaker 3: van Helsing. Actually, I think he wants to turn her

1339
01:12:11,320 --> 01:12:15,120
Speaker 3: into a vampire. Right to really just fully defile the

1340
01:12:15,200 --> 01:12:17,800
Speaker 3: name of Van Helsing. He wants to not just kill

1341
01:12:17,880 --> 01:12:20,559
Speaker 3: the end of the Van Helsing line, but make her

1342
01:12:20,600 --> 01:12:21,719
Speaker 3: a servant of the devil.

1343
01:12:22,160 --> 01:12:24,920
Speaker 1: That's right, that's his evil plot for revenge here.

1344
01:12:25,560 --> 01:12:28,280
Speaker 3: So the way they're going to make that happen is

1345
01:12:28,360 --> 01:12:32,320
Speaker 3: Johnny Alucard. Does he invite Jessica Van Helsing to go

1346
01:12:32,400 --> 01:12:34,640
Speaker 3: to the Jazz Spectacular with him?

1347
01:12:34,840 --> 01:12:37,160
Speaker 1: Yeah, He's like, hey, I got tickets to the Jazz Spectacular.

1348
01:12:37,360 --> 01:12:40,240
Speaker 1: Want to come? And she's like, uh no, no, no,

1349
01:12:40,360 --> 01:12:43,240
Speaker 1: thank you for doing something else. And then Gaynor's like, hey,

1350
01:12:43,640 --> 01:12:45,560
Speaker 1: I'm looking to go to a concert.

1351
01:12:47,479 --> 01:12:49,559
Speaker 3: What's he going to do? Well, he figures out I

1352
01:12:49,560 --> 01:12:51,640
Speaker 3: can at least feed Gayner to Dracula.

1353
01:12:52,439 --> 01:12:55,599
Speaker 1: Yeah, but this doesn't go over well with Dracula because Dracula,

1354
01:12:56,560 --> 01:12:59,519
Speaker 1: rightfully so is like, this is not what I charged

1355
01:12:59,560 --> 01:13:02,840
Speaker 1: you with. We have a specific plan for vengeance here.

1356
01:13:03,479 --> 01:13:06,840
Speaker 1: I will drink her blood and kill her, but you

1357
01:13:06,960 --> 01:13:10,960
Speaker 1: need to bring me the descendant of Van Helsing. And

1358
01:13:10,960 --> 01:13:13,439
Speaker 1: then but Johnny Alickhart is like, well, you haven't given

1359
01:13:13,439 --> 01:13:16,240
Speaker 1: me any powers, and he basically does kind of like

1360
01:13:16,400 --> 01:13:19,679
Speaker 1: there's like a labor standoff. Yes, here in the film

1361
01:13:20,080 --> 01:13:22,720
Speaker 1: and Dracula caves. He's like, all right, I'll give you

1362
01:13:22,760 --> 01:13:23,280
Speaker 1: the powers.

1363
01:13:23,720 --> 01:13:26,959
Speaker 3: So he bites him, turns Johnny Olichard into a vampire,

1364
01:13:27,439 --> 01:13:29,960
Speaker 3: and then Johnny Ali Card. Actually before he gets on

1365
01:13:30,160 --> 01:13:34,120
Speaker 3: with the business of, you know, of getting Jessica van Helsing,

1366
01:13:34,160 --> 01:13:35,960
Speaker 3: he just goes out and gets a snack first, right,

1367
01:13:36,000 --> 01:13:38,600
Speaker 3: and he like finds a lady in a laundromat and

1368
01:13:38,640 --> 01:13:39,120
Speaker 3: eats her.

1369
01:13:39,800 --> 01:13:42,439
Speaker 1: Yep, yep, just starts committing random vampire murders.

1370
01:13:42,880 --> 01:13:46,840
Speaker 3: But at some point Jessica's boyfriend, Bob, he comes to

1371
01:13:46,840 --> 01:13:49,240
Speaker 3: get her at her house. Now she's been warned about

1372
01:13:49,240 --> 01:13:53,679
Speaker 3: things at this point by by her her grandfather Van Helsing,

1373
01:13:54,120 --> 01:13:57,240
Speaker 3: but Bob comes and says I think He says, oh,

1374
01:13:57,439 --> 01:13:59,320
Speaker 3: you know your grandfather and the police are at the

1375
01:13:59,320 --> 01:14:02,240
Speaker 3: cavern there interviewing everybody, and you need to come there now.

1376
01:14:03,080 --> 01:14:04,040
Speaker 3: Was that the story?

1377
01:14:04,080 --> 01:14:05,559
Speaker 1: I think it was, I believe so.

1378
01:14:05,760 --> 01:14:08,519
Speaker 3: Yes, And in this scene he strangely has a ben

1379
01:14:08,640 --> 01:14:13,200
Speaker 3: Dana tied around his neck. Yeh did you see this

1380
01:14:13,280 --> 01:14:13,840
Speaker 3: one coming?

1381
01:14:14,400 --> 01:14:15,080
Speaker 1: Yep, yep.

1382
01:14:15,800 --> 01:14:18,160
Speaker 3: So he does take her to the cavern the coffee shop,

1383
01:14:18,240 --> 01:14:21,439
Speaker 3: but it's not the uh, it's not the good guys.

1384
01:14:21,479 --> 01:14:22,400
Speaker 3: It's the bad guys.

1385
01:14:23,080 --> 01:14:24,880
Speaker 1: That's right. It's a game of cat and mouse here

1386
01:14:24,920 --> 01:14:28,120
Speaker 1: between the Van Helsings and House Dracula.

1387
01:14:28,800 --> 01:14:32,080
Speaker 3: So eventually Jessica is taken to the deconsecrated church I

1388
01:14:32,080 --> 01:14:36,960
Speaker 3: think it's Saint Bartholf's and Dracula hypnotizes her but doesn't

1389
01:14:37,080 --> 01:14:39,360
Speaker 3: vamp her yet. I think he's waiting for like the

1390
01:14:39,400 --> 01:14:44,280
Speaker 3: big midnight ritual or something. In the meantime, we get

1391
01:14:44,400 --> 01:14:47,160
Speaker 3: Van Helsing on the case. He's trying to he's trying

1392
01:14:47,200 --> 01:14:50,600
Speaker 3: to find out how to rescue his granddaughter, and he

1393
01:14:51,000 --> 01:14:54,200
Speaker 3: ends up going to Johnny Alucard's house where they have

1394
01:14:54,400 --> 01:14:56,960
Speaker 3: a battle. It is Van Helsing versus a vampire, not

1395
01:14:57,080 --> 01:15:00,880
Speaker 3: Dracula yet, but the vamp, the sort of young vamp.

1396
01:15:01,240 --> 01:15:03,080
Speaker 3: And I thought this was a good battle. I like

1397
01:15:03,120 --> 01:15:03,759
Speaker 3: this scene.

1398
01:15:04,360 --> 01:15:06,640
Speaker 1: Yeah, yeah, I mean, to be fair, this is the

1399
01:15:06,680 --> 01:15:10,680
Speaker 1: first vampire that this Van Helsing has ever battled. Yeah.

1400
01:15:10,720 --> 01:15:12,760
Speaker 1: And they do a good job, yeah, of making it

1401
01:15:12,840 --> 01:15:16,680
Speaker 1: a little a little unexpected. Like, for instance, earlier in

1402
01:15:16,680 --> 01:15:19,120
Speaker 1: the film, there's a little foreshadowing where they remind us

1403
01:15:19,200 --> 01:15:23,080
Speaker 1: that there's an often ignored bit of vampire lore that

1404
01:15:23,240 --> 01:15:27,200
Speaker 1: says that moving water or moving fresh water. I think

1405
01:15:27,240 --> 01:15:31,120
Speaker 1: they're running waters film, clear running water, will you know,

1406
01:15:31,160 --> 01:15:34,120
Speaker 1: destabilize them or slay them or something. So I wonder

1407
01:15:34,160 --> 01:15:35,559
Speaker 1: if that'll come into play here.

1408
01:15:36,080 --> 01:15:38,160
Speaker 3: Yes, yes, I think he says that at the police

1409
01:15:38,160 --> 01:15:41,800
Speaker 3: station or something. He's listing all of the things that

1410
01:15:41,880 --> 01:15:44,400
Speaker 3: will harm or won't harm a vampire. Some of it's

1411
01:15:44,439 --> 01:15:47,599
Speaker 3: just superstition, but yeah, clear running water and a cross

1412
01:15:47,640 --> 01:15:50,320
Speaker 3: in a bible that'll do it. So there's a great

1413
01:15:50,400 --> 01:15:53,200
Speaker 3: move he has here where Johnny Alikart like the sun

1414
01:15:53,320 --> 01:15:56,840
Speaker 3: is rising in the window and he's trapped. He's got

1415
01:15:56,880 --> 01:15:58,679
Speaker 3: to get back to his coffin so he can rest

1416
01:15:58,760 --> 01:16:02,040
Speaker 3: during the daylight. But then Peter Cushing throws a bible

1417
01:16:02,080 --> 01:16:07,760
Speaker 3: into his coffin. He's like, oh gotcha, now, oh.

1418
01:16:07,400 --> 01:16:10,000
Speaker 1: Yeah, sleep on that. And this is like a full

1419
01:16:10,040 --> 01:16:12,000
Speaker 1: size one too. It's not one of those little pocket

1420
01:16:12,040 --> 01:16:15,519
Speaker 1: ones that you know, you could just maybe like sleep around,

1421
01:16:15,720 --> 01:16:17,800
Speaker 1: but no, no, there's no sleeping in that coffin without

1422
01:16:17,840 --> 01:16:18,599
Speaker 1: laying on that bible.

1423
01:16:18,600 --> 01:16:23,559
Speaker 3: It's ruined, right, that's athunk bible. So they battle, but

1424
01:16:23,680 --> 01:16:27,880
Speaker 3: eventually Johnny Alucard falls into the shower. The water starts running,

1425
01:16:27,920 --> 01:16:30,760
Speaker 3: and this destroys him. Like the water's running over him

1426
01:16:30,800 --> 01:16:33,639
Speaker 3: and he's screaming. He's like, sturn it off, turn it off,

1427
01:16:33,680 --> 01:16:36,880
Speaker 3: and Van Helsing's like, where is Jessica? But he won't say.

1428
01:16:36,920 --> 01:16:39,719
Speaker 3: He's just getting obliterated by water.

1429
01:16:40,520 --> 01:16:43,800
Speaker 1: Yeah. Is it the best vampire death in cinematic history?

1430
01:16:44,000 --> 01:16:44,080
Speaker 2: No?

1431
01:16:44,680 --> 01:16:46,679
Speaker 1: Is it at least inventive? Does it give us something

1432
01:16:46,760 --> 01:16:49,400
Speaker 1: a little bit new? Then? Yes? I think so. Yeah.

1433
01:16:49,479 --> 01:16:51,600
Speaker 3: I kind of like this one. It seems actually like

1434
01:16:51,760 --> 01:16:54,680
Speaker 3: plausible from a folklore standpoint. That sounds like something that

1435
01:16:54,720 --> 01:16:58,240
Speaker 3: could really be believed to harm a vampire in some scenario.

1436
01:16:58,800 --> 01:17:01,200
Speaker 3: And uh, yeah, I don't know. It was different. I

1437
01:17:01,320 --> 01:17:01,639
Speaker 3: liked it.

1438
01:17:02,200 --> 01:17:04,360
Speaker 1: Yeah, I guess there is a bathtub scene in The

1439
01:17:04,400 --> 01:17:06,679
Speaker 1: Lost Boys. There's something but that was like a bathtub

1440
01:17:06,720 --> 01:17:07,639
Speaker 1: full of holy water.

1441
01:17:07,760 --> 01:17:10,519
Speaker 3: I think, ah, okay, I've forgotten about that.

1442
01:17:10,760 --> 01:17:14,559
Speaker 1: If memory serves also, Lost Boys came later, Yeah, oh yeah, yeah,

1443
01:17:14,640 --> 01:17:15,080
Speaker 1: much later.

1444
01:17:15,360 --> 01:17:17,960
Speaker 3: But eventually Laura Mr. Van Helsing does go to the

1445
01:17:18,040 --> 01:17:21,679
Speaker 3: church to confront Dracula and there is a great trap

1446
01:17:21,760 --> 01:17:24,720
Speaker 3: setting scene. He digs a pit outside the church and

1447
01:17:24,760 --> 01:17:27,640
Speaker 3: he fills it full of wooden steaks. He takes his

1448
01:17:27,800 --> 01:17:30,479
Speaker 3: trusty silver dagger with him, which he has showed off

1449
01:17:30,520 --> 01:17:34,000
Speaker 3: several times before, and there is a showdown, a final

1450
01:17:34,040 --> 01:17:36,400
Speaker 3: battle in the church, and there were a couple of

1451
01:17:36,400 --> 01:17:38,880
Speaker 3: parts here that I thought were actually kind of scary.

1452
01:17:39,160 --> 01:17:42,320
Speaker 3: I don't usually expect to find anything all that frightening

1453
01:17:42,320 --> 01:17:44,519
Speaker 3: in a hammer horror movie, but like the part where

1454
01:17:44,680 --> 01:17:48,360
Speaker 3: Dracula is chasing Van Helsing up the spiral staircase into

1455
01:17:48,360 --> 01:17:50,719
Speaker 3: the tower, I thought was quite menacing.

1456
01:17:51,360 --> 01:17:53,559
Speaker 1: Yeah, because really throughout the film they do a great

1457
01:17:53,640 --> 01:17:57,520
Speaker 1: job of establishing Dracula as such a threat, and suddenly

1458
01:17:57,560 --> 01:18:00,720
Speaker 1: in that stairwell, it's like everything is so close, austrophobic,

1459
01:18:00,760 --> 01:18:03,360
Speaker 1: and there's this feeling of just being in an enclosed

1460
01:18:03,439 --> 01:18:07,400
Speaker 1: space with something that is just beyond even a vicious animal,

1461
01:18:07,560 --> 01:18:09,320
Speaker 1: just pure bloodthirsty hunger.

1462
01:18:09,800 --> 01:18:14,439
Speaker 3: Yeah, And so so they have a showdown. There's kind

1463
01:18:14,439 --> 01:18:17,320
Speaker 3: of a fake out here. Van Helsing stabs Dracula with

1464
01:18:17,360 --> 01:18:22,720
Speaker 3: his silver dagger, but Dracula is aided by the hypnotized

1465
01:18:23,439 --> 01:18:26,160
Speaker 3: Jessica van Helsing. She comes up and pulls the dagger

1466
01:18:26,240 --> 01:18:30,280
Speaker 3: out of him, and her grandpa is like, no, Jessica.

1467
01:18:30,920 --> 01:18:32,360
Speaker 1: This one caught me up in the moment, you know,

1468
01:18:32,600 --> 01:18:34,320
Speaker 1: you know the movie's not going to end like that.

1469
01:18:34,520 --> 01:18:37,760
Speaker 1: This movie's only ending one way, but getting caught up

1470
01:18:37,800 --> 01:18:39,360
Speaker 1: in just the sort of the spirit of the film.

1471
01:18:39,360 --> 01:18:42,479
Speaker 1: I was like, oh man, this is bad news.

1472
01:18:42,840 --> 01:18:46,599
Speaker 3: But of course we saw him dig that trap earlier, right,

1473
01:18:46,960 --> 01:18:50,080
Speaker 3: so the trap comes back. In the end, he throws

1474
01:18:50,200 --> 01:18:53,160
Speaker 3: holy water. Van Helsing throws holy water on Dracula. That

1475
01:18:53,240 --> 01:18:55,960
Speaker 3: kind of burns him, yow, and he falls into the pit.

1476
01:18:56,479 --> 01:19:00,040
Speaker 3: And then to really drive it home, Van Helsing and

1477
01:19:00,160 --> 01:19:05,000
Speaker 3: like grabs a shovel and like shoves Dracula down onto

1478
01:19:05,160 --> 01:19:08,559
Speaker 3: the wooden stakes with the shovel, and this breaks the

1479
01:19:08,600 --> 01:19:12,439
Speaker 3: spell over Jessica. They're all right, and I guess some

1480
01:19:12,479 --> 01:19:14,960
Speaker 3: of her friends are still alive or boyfriend's dead. But

1481
01:19:15,120 --> 01:19:16,679
Speaker 3: I don't know if you with the hippie group, they're

1482
01:19:16,680 --> 01:19:17,559
Speaker 3: still kicking around.

1483
01:19:18,000 --> 01:19:19,879
Speaker 1: Yeah, I don't know if they're gonna hang out much anymore,

1484
01:19:19,920 --> 01:19:24,120
Speaker 1: but yeah, some survive. I will say, in this movie,

1485
01:19:24,200 --> 01:19:27,120
Speaker 1: you had two different scenes with the melting vampires, so

1486
01:19:27,160 --> 01:19:30,479
Speaker 1: you end up melting the same vampire twice in the

1487
01:19:30,520 --> 01:19:35,280
Speaker 1: same picture. They at least made sure to have the

1488
01:19:35,320 --> 01:19:39,320
Speaker 1: second vampire death look even better than the first. I

1489
01:19:39,360 --> 01:19:41,839
Speaker 1: have to say that this one looked really good and gnarly,

1490
01:19:42,080 --> 01:19:44,599
Speaker 1: and I liked it quite a bit agree.

1491
01:19:45,400 --> 01:19:48,200
Speaker 3: So that's all I got for Dracula A d. Nineteen

1492
01:19:48,280 --> 01:19:51,160
Speaker 3: seventy two. I enjoyed this one. I'm not gonna I'm

1493
01:19:51,160 --> 01:19:53,960
Speaker 3: not gonna say it's the best Dracula movie I've ever seen.

1494
01:19:54,120 --> 01:19:56,760
Speaker 3: But if you're looking for those early seventies vibes and

1495
01:19:56,760 --> 01:19:59,040
Speaker 3: you want some Christopher Lee and Peter Cushing in there too,

1496
01:19:59,120 --> 01:19:59,960
Speaker 3: it's perfect.

1497
01:20:00,479 --> 01:20:03,720
Speaker 1: Yeah. I'm not gonna recommend Dracula AD nineteen seventy two

1498
01:20:03,840 --> 01:20:07,839
Speaker 1: to everyone, but if the title Dracula AD nineteen seventy

1499
01:20:07,840 --> 01:20:12,719
Speaker 1: two stirs something inside you, then yes, you must see

1500
01:20:12,720 --> 01:20:14,280
Speaker 1: this film, and I encourage you to do so.

1501
01:20:14,840 --> 01:20:16,919
Speaker 3: It's way better than Land of the Minotaur.

1502
01:20:18,000 --> 01:20:21,479
Speaker 1: Yes, yes, I would agree, but the score for Land

1503
01:20:21,479 --> 01:20:22,960
Speaker 1: of the Minataar was better though I don't know.

1504
01:20:23,520 --> 01:20:27,720
Speaker 3: Yeah, but Land of the Minotaur didn't have Stone Ground.

1505
01:20:27,920 --> 01:20:30,240
Speaker 1: That's right, if they'd only had the musical stylings of

1506
01:20:30,240 --> 01:20:32,760
Speaker 1: Stone Ground. All right, we're gonna go ahead and close

1507
01:20:32,800 --> 01:20:35,600
Speaker 1: this one out. But as always, we remind you that

1508
01:20:35,600 --> 01:20:39,000
Speaker 1: we're primarily a science podcast, Real science, not the Van

1509
01:20:39,000 --> 01:20:43,760
Speaker 1: Helsing branch of science, with core episodes on Tuesdays and Thursdays,

1510
01:20:43,920 --> 01:20:46,200
Speaker 1: but on Fridays we set aside most serious concerns to

1511
01:20:46,240 --> 01:20:48,640
Speaker 1: just talk about a weird movie here on Weird House Cinema.

1512
01:20:48,720 --> 01:20:50,240
Speaker 1: If you want a full list of the movies we've

1513
01:20:50,240 --> 01:20:52,479
Speaker 1: discussed over the years on Weird House Cinema, head on

1514
01:20:52,479 --> 01:20:54,320
Speaker 1: over to letterbox dot com. It's l E T T

1515
01:20:54,439 --> 01:20:57,200
Speaker 1: E R bo x D dot com. Our username there

1516
01:20:57,240 --> 01:20:58,640
Speaker 1: is weird House and we have a list and you

1517
01:20:58,640 --> 01:21:00,519
Speaker 1: can see all the films we've talked about. You can

1518
01:21:00,560 --> 01:21:02,160
Speaker 1: go back through the archives there and see, well, what

1519
01:21:02,200 --> 01:21:05,280
Speaker 1: other Dracula movies have they watched? I guess kind of

1520
01:21:05,320 --> 01:21:07,160
Speaker 1: sort of two or three other Dracula films.

1521
01:21:07,479 --> 01:21:11,120
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1522
01:21:11,640 --> 01:21:13,200
Speaker 3: If you would like to get in touch with us

1523
01:21:13,200 --> 01:21:15,759
Speaker 3: with feedback on this episode or any other, to suggest

1524
01:21:15,760 --> 01:21:17,800
Speaker 3: a topic for the future, or just to say hello,

1525
01:21:17,920 --> 01:21:20,479
Speaker 3: you can email us at contact at stuff to Blow

1526
01:21:20,520 --> 01:21:28,360
Speaker 3: your Mind dot com.

1527
01:21:28,479 --> 01:21:31,439
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1528
01:21:31,520 --> 01:21:34,320
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1529
01:21:34,439 --> 01:21:37,680
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.