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

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

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Speaker 3: And this is Joe McCormack. And today on Weird House Cinema,

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Speaker 3: we're going to be talking about the nineteen sixty seven

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Speaker 3: film The Sorcerers starring Boris Carloff. This is a movie

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Speaker 3: that I picked on the strength and weirdness of its trailer,

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Speaker 3: and I got to say that the movie didn't quite

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Speaker 3: live up to my expectations, but I still thought it was.

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Speaker 3: It had some good things going for it. One of

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Speaker 3: the best things going for it, I think was Boris Karloff.

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Speaker 3: Though his character takes some very surprising turns, it didn't

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Speaker 3: turn out the way I thought it would.

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Speaker 2: Yeah, this is a weird one to think about, you know,

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Speaker 2: because it is clearly I wouldn't say on the lower budget,

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Speaker 2: and I wouldn't say it's on the lower end of

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Speaker 2: the budget spectrum for films we watch per se like

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Speaker 2: this is not like a micro budget affair or anything,

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Speaker 2: but it seems to maybe exist in that realm where

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Speaker 2: they got to be a lot more experimental with sort

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Speaker 2: of the form of the film and how they were

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Speaker 2: dealing with some of the genre tropes that are employed here,

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Speaker 2: and so it's going to be interesting to discuss those decisions,

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Speaker 2: decisions that in some cases were maybe too daring and

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Speaker 2: didn't pay off completely, but otherwise still give you a

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Speaker 2: lot to think about and give you something that you're

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Speaker 2: not going to get in a more sort of I

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Speaker 2: don't know, finely tuned for audience appreciation film. It has

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Speaker 2: a lot of you know, groovy sixtiness to it, though

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Speaker 2: more on kind of like the grimy end of the spectrum.

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Speaker 2: So it reminds me of multiple films we've discussed that

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Speaker 2: are either British or set in England, such as Let's

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Speaker 2: Sleeping corpses Lie, Venom, The Killer Snake Movie, and so forth.

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Speaker 3: The respect in which it most reminded me of let

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Speaker 3: Sleeping corpses Lie was the similarities between the protagonists here,

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Speaker 3: like a young, tall, handsome, imminently rude man.

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Speaker 2: Yeah, yeah, it's it's it's interesting to think about like

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Speaker 2: what this film is saying or what they were trying

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Speaker 2: to say about like generational differences, because, as we'll discuss,

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Speaker 2: it is kind of like an oldies versus young'in's picture,

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Speaker 2: you know, it's it's geezers versus young'in's. But whose side

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Speaker 2: is the picture taking? You know, it's it's hard to say.

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Speaker 2: And as we'll discuss, like the director, the director himself

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Speaker 2: was very young, he was in his twenties, and yet

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Speaker 2: he doesn't seem to be fully siding with youth culture

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Speaker 2: here either.

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Speaker 3: Huh. Well, if I were to assess, I would say

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Speaker 3: that the old people definitely turn out to be well,

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Speaker 3: I mean, I guess it's divided. The main villain of

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Speaker 3: the movie is an old person.

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Speaker 2: Yes, but the old person in question does have their reasons, uh,

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Speaker 2: and his and in his way, the most developed character

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Speaker 2: in the whole picture.

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Speaker 3: Now, the trailer really sells this movie as a as

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Speaker 3: a deep psychedelic experience that has a lot of either

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Speaker 3: magical or science fiction happenings in it. I would say, actually,

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Speaker 3: there is just one main science fiction element, and other

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Speaker 3: than that, it's a very down to earth movie.

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Speaker 2: Yeah, I mean, now, the speculative element is nice and

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Speaker 2: vague and out of control because it's kind of it's

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Speaker 2: I mean, essentially, this is a mind control panic film,

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Speaker 2: but instead of communists, it's old people. That's my elevator pitch.

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Speaker 2: For the film. But it's not just mind control. It's

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Speaker 2: also there's like psychic control and the psychic sharing of sensations.

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Speaker 2: So it's it's almost like an element of fantasy to it,

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Speaker 2: like that's how far out and you know and unhindered.

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Speaker 2: This the speculative element is in the film.

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Speaker 3: Yeah, they never go out of their way to be

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Speaker 3: too technical about explaining how the science fiction element works,

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Speaker 3: so it does kind of feel more like magic.

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Speaker 2: Yeah, and I guess that's why they went with the

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Speaker 2: title the Sorcerers. Though to be clear, there are no

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Speaker 2: actual sorcerers in this film, much like there is no

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Speaker 2: sorcerer in the nineteen seventy seven movie Sorcerer. It just

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Speaker 2: has that's, of course, the remake of Wages of Fear

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Speaker 2: that just stars a truck named Sorcerer, but also features

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Speaker 2: one of the greatest tangerine dream scores of all time.

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Speaker 3: For symmetry, I think they should make a movie about

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Speaker 3: a wizard that's called Truck.

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Speaker 2: Oh Man, Truck the Wizard. Yeah, all right, well you

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Speaker 2: talk up this trailer. Let's go ahead and listen to

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Speaker 2: the trailer. You're not gonna get those psychedelic visuals. But

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Speaker 2: I think you'll get a taste of what they were

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Speaker 2: trying to sell here.

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Speaker 4: Intoxication with no hangover, ecstasy with no consequences.

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Speaker 3: See what you can come up with.

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Speaker 4: From now on, we are going to control your mind.

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Speaker 5: From time to time.

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Speaker 4: You'll put thoughts into your head, and you will obey

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Speaker 4: those thoughts. I never dreamed this could happen, even at

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Speaker 4: this distance. To get inside another's minds so completely, to

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Speaker 4: feel the transmissions from me, very nervous, godless. Still, you

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Speaker 4: must be out.

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Speaker 5: Of your mind.

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Speaker 4: And then, I hope here it's when I can't remember anything.

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Speaker 5: At all, I think, boy, you're coming on strong about

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Speaker 5: tiss me off. Way there you movement, Well, get me

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Speaker 5: to the stage where you tell me.

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Speaker 2: All right? Sounds pretty compelling. Huh huh. Now, if you

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Speaker 2: want to watch this movie for yourself, I need to

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Speaker 2: point out this one doesn't. I don't think this one

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Speaker 2: has received a Blu Ray release, or at least I

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Speaker 2: couldn't find one. It's widely available on DVD and as

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Speaker 2: a digital SD rental or purchase. However, I watched a

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Speaker 2: digital rental of it on Prime and it's certainly not

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Speaker 2: restored in any fashion. It's it's grimy, but also not

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Speaker 2: too grimy's. It feels like a like a like a

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Speaker 2: media artifact, you know, like I kind of like watching

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Speaker 2: a film like this occasionally where everything's just a little

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Speaker 2: bit dirty.

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Speaker 3: Yeah, it's kind of stuck on like the lower end

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Speaker 3: of the DVD spectrum.

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Speaker 2: Yeah, but it's not so bad, like like some films

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Speaker 2: we've looked at where you're struggling to figure out who's who,

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Speaker 2: or you're not picking up certain details and scenes and

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Speaker 2: so forth.

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Speaker 3: Now, for me, this movie did not have a who's

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Speaker 3: who problem, though it did have a problem that one

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Speaker 3: of like the main three young characters, I didn't know

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Speaker 3: his name until the end of the film. I'm talking

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Speaker 3: about Alan here, the red haired mechanic who at some

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Speaker 3: point they talk about him moving coal carts up and

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Speaker 3: down the mines, and I'm like, oh, okay, so he's

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Speaker 3: a miner. But then they show him at work later

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Speaker 3: and he's repairing cars. So I don't know what to

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Speaker 3: deal with him was supposed to be. But he's like

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Speaker 3: the nice friend of our of our rude protagonist.

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Speaker 2: Yeah, I guess I didn't realize he was going to

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Speaker 2: be essential, so I didn't even maybe I wasn't even

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Speaker 2: trying to learn his name because I didn't feel like

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Speaker 2: he was going to be along for the whole ride.

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Speaker 3: And then he was also literally half his scenes are

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Speaker 3: in a club where a band is playing so loud

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Speaker 3: you can't hear anything anybody saying.

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Speaker 2: That's true. Yeah, there are a lot of scenes in

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Speaker 2: the club, but a glob that also feels kind of griming,

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Speaker 2: like it's a little bit psychedelic. But you can also

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Speaker 2: see the ceilings a little bit too clearly, you know,

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Speaker 2: So it in in a way that's perfect, like it's

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Speaker 2: it's it has a sort of grittiness to it, and

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Speaker 2: I didn't it's hard to say how much of that

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Speaker 2: is like the vision of the picture and how much

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Speaker 2: is just you know, like lower budget And it's obviously

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Speaker 2: not quite a Mario Bava fair when it comes to

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Speaker 2: the way things are are lit.

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Speaker 3: And realized, what was the other movie we watched that

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Speaker 3: had a scene with a nightclub with that felt claustrophobic

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Speaker 3: and had low ceilings. What was it, Perana Mandar? Did

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Speaker 3: that have a scene in a kind of like a

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Speaker 3: closed feeling club.

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Speaker 2: Yeah, it did have a kind of like closed like

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Speaker 2: still daylight outside club I also feel like the club

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Speaker 2: in Scream and Scream Again also had this kind of

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Speaker 2: a vibe.

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Speaker 3: Yeah.

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Speaker 2: All right, well, let's get into the people involved in

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Speaker 2: this film. There there's several interesting and notable names here.

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Speaker 2: So the writer, one of the writers, and the director

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Speaker 2: of the picture is Michael Reeves, who lived nineteen forty

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Speaker 2: three through nineteen sixty nine. Tragically short lived director. He

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Speaker 2: only directed three full length films, She Beast in sixty six,

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Speaker 2: The Sorcerers in sixty seven, and Which Finder General in

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Speaker 2: sixty eight. He died of it accidental drug overdose. Apparently.

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Speaker 2: She be starred English actor and Italian horror movie queen

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Speaker 2: Barbara Steele. I've not seen it, but the plot sounds great.

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Speaker 2: Quote a newlywed English tourist and an eccentric Transylvanian count

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Speaker 2: must work together when the former's beautiful wife is made

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Speaker 2: the bodily host of a horrific witch.

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Speaker 3: Okay, that's going on the list.

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Speaker 2: Yeah, I need a spreadsheet to know what is going

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Speaker 2: on in that summary.

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Speaker 3: Wait, working together with a Transylvanian count, So the Transylvania

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Speaker 3: count is like the ally of the hero.

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Speaker 2: Yeah, and I'm not sure whose beautiful wife this is

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Speaker 2: is this the beautiful wife of the newlywed English tourist

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Speaker 2: or is it the count? I don't know. I need

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Speaker 2: to diagram the sentence.

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Speaker 3: It says the former's beautiful wife. The former would refer

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Speaker 3: to the English tourist because that comes before the eccentric

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Speaker 3: Transylvanian count.

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Speaker 2: Okay, but is she on? I just have so many questions.

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Speaker 2: Is she on this trip? Are they in Transylvania?

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Speaker 3: I don't know? Oh boy?

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Speaker 2: Anyway. The other film, nineteen sixty eight's witch Finder General is,

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Speaker 2: of course, is best regarded in a most famous work

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Speaker 2: starring Vincent Price, as like a fictionalized version of the

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Speaker 2: historic seventeenth century witch hunter.

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Speaker 3: Matthew Hopkins, I feel like I can think of multiple

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Speaker 3: metal bands that have songs about the witch Finder General,

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Speaker 3: which I've never seen, so I guess I must.

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Speaker 2: Yeah, I haven't seen it either, but of course you

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Speaker 2: know it's certainly on the list because you know Vincent Price,

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Speaker 2: Vincent Price as a witch hunter inspiring doom metal bands

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Speaker 2: and yeah, and also it's pretty well regard. I think

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Speaker 2: Vincent Price has went on record at different times thing

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Speaker 2: you really liked this role?

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Speaker 3: Okay, Well, it's possible we might have to become Michael

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Speaker 3: Reeves completests and do these other two movies, and perhaps

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Speaker 3: the one we're looking at today will be the least

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Speaker 3: of the three.

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Speaker 2: Who knows, Yeah, maybe so, but it's still a lot

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Speaker 2: of interesting connections here. So other writers Tom Baker, not

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Speaker 2: to be confused with the actor, worked on this also

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Speaker 2: worked on Witchfinder. General John Burke, who lived nineteen twenty

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Speaker 2: two through twenty eleven, writer for various TV shows including

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Speaker 2: The Coolizer and The Frighteners, also worked on the screenplay.

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Speaker 2: But getting into the cast, this is where it gets

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Speaker 2: more interesting. We have, of course, right at the top

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Speaker 2: on the poster. This film stars Boris Karloff. He was,

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Speaker 2: of course a British actor born William Henry Pratt, who

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Speaker 2: will be forever remembered for his role as the Monster

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Speaker 2: in James Wales's nineteen thirty two adaptation of Mary Shelley's Frankenstein.

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Speaker 2: Of course, he was in Bride of Frankenstein as well.

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Speaker 2: Other key horror films include thirty two's The Mummy, thirty

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Speaker 2: four as the Black Cat, nineteen forties Black Friday, and

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Speaker 2: so much more. He was famously the non singing voice

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Speaker 2: of the Grinch in the nineteen sixty six animated version

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Speaker 2: from Chuck Jones. He worked a lot, and even though

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Speaker 2: he is best remembered for his hard roles today, he

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Speaker 2: acted in a wide variety of pictures. He worked stage

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Speaker 2: and screen as well as television, and in his later

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Speaker 2: years he also served as a horror host on shows

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Speaker 2: like Thriller and Out of This World.

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Speaker 3: I really enjoy late career Boris Karloff. Of course I

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Speaker 3: love Frankenstein and especially Bride of Frankenstein that I think

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Speaker 3: Bride of Frankenstein's sort of for me, the pinnacle of

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Speaker 3: the universal horror films. But in his later roles he

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Speaker 3: has some of that older seasoned actor energy that that

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Speaker 3: I always really enjoy, you know, like late career Christopher

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Speaker 3: Lee and all these like I don't know, there's just

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Speaker 3: something I think, especially when a lot of these horror

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Speaker 3: actors get into their later years, they bring a kind

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Speaker 3: of crypt like magic along with them, and Karloff definitely

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Speaker 3: has that in his sixties film so I loved him

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Speaker 3: in Black Sabbath, where he plays the patriarch of this

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Speaker 3: of this Carpathian mountain dwelling family in the in the

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Speaker 3: segment in that movie called the Verdulac. He's just, oh,

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Speaker 3: he's so good in that, and they you know, they

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Speaker 3: got Bava's got all the purple lights on him and

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Speaker 3: he's wearing that wild fur, a liigned hood and has

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Speaker 3: the facial hair. I thought he was great in this

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Speaker 3: movie as well, and I even love him in some

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Speaker 3: of the CD or stuff, like in who is it

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Speaker 3: who directed Targets? Was that Peter Bogdanovic?

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Speaker 2: Yes, that was a nineteen sixty eight film from Peter

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Speaker 2: Bogdanovic that I haven't seen in a while. I remember

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Speaker 2: liking it when I saw it like on AMC back

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Speaker 2: in the day, and I don't know if I would

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Speaker 2: want to watch it today because it is a pretty

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Speaker 2: serious film that concerns a mass shooting incident. But a

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Speaker 2: very interesting late career Karloff picture for sure, and one

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Speaker 2: in which he's not playing a wizard or a vampire

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Speaker 2: or anything like. He's playing essentially a fictionalized version of himself.

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Speaker 3: Yeah. I think he plays an actor who was famous

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Speaker 3: for doing horror films. Yeah, and then as this actor

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Speaker 3: he ends up confronting a mass shooter. Yeah.

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Speaker 2: Yeah, So that's Karlov who plays Professor Marcus Montserrat. But

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Speaker 2: then we have this character's wife, Estelle Monsarat, played by

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Speaker 2: Catherine Lacey, who lived nineteen oh four through nineteen seventy nine,

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Speaker 2: English actor with credits going back to nineteen thirty eight,

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Speaker 2: in which that was when she played a nun in

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Speaker 2: Alfred Hitchcock's The Lady Vanishes. Other credits include forty nine's

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Speaker 2: Whiskey Galore, sixty seven's The Mummies Shroud in nineteen seventies.

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Speaker 2: The Private Life of Sherlock Holmes, which I haven't seen,

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Speaker 2: sounds like a weird soell, It's like, we've all seen

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Speaker 2: the crimes and the investigations, but what about the private life.

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Speaker 2: Let's get into the private life of Sherlock Holmes.

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Speaker 3: What does he do on Sunday morning?

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Speaker 2: I don't know. I did notice that Christopher Lee plays

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Speaker 2: Microft Holmes in that, so I don't know. Maybe it's interesting.

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Speaker 3: Well, I said, I enjoyed Boris Karloff's performance, and I

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Speaker 3: certainly did, but I was quite surprised to find I

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Speaker 3: thought he was a bit upstaged by Catherine Lacey playing

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Speaker 3: his wife in this movie. I think she's great, and

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Speaker 3: her character goes in a very surprising direction.

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Speaker 2: Yeah, Yeah, the film does go in a surprising direction,

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Speaker 2: one that certainly elevates her performance, and Carloff is still great.

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Speaker 2: But is we'll discuss. I don't want to give any spoilers.

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Speaker 2: We'll get into it. But the choices here I think

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Speaker 2: makes sense for the plot. All right, So those are

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Speaker 2: our old people. Yes, let's get into some of the youngs,

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Speaker 2: the whipper Snappers. Yes, we have Elizabeth Ercy playing Nicole

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Speaker 2: born nineteen forty four, German born French actress who debuted

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Speaker 2: in the nineteen sixty two American Greek drama Phaedra in

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Speaker 2: sixty two, co starring Anthony Perkins. She didn't work terribly long, however,

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Speaker 2: and left acting by sixty eight. Was a notable celebrity

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Speaker 2: for several years, though, and apparently dated Michael Kaine, which

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Speaker 2: I only mentioned because there are so many getdy images

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Speaker 2: of her and Michael Kine, like hanging out and I

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Speaker 2: don't know, doing interviews and stuff, so I included one

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Speaker 2: for you to look at here.

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Speaker 3: Jack. The posture in this photo is bizarre. It's of

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Speaker 3: Michael Caine sitting in a way I can only describe

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Speaker 3: as diagonally in a chair in the foreground and then

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Speaker 3: she is standing behind to the chair behind him, like

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Speaker 3: leaning on the back of it.

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Speaker 2: Yeah, and it's like in some strange mod living room.

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Speaker 2: It's like this weird snapshot of I guess, like British

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Speaker 2: hip culture of the late sixties.

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Speaker 3: I can see next to them one of those televisions

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Speaker 3: that had like wooden legs.

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Speaker 2: Oh yeah, isn't it gorgeous? Yeah?

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Speaker 3: Why do they make TVs like that today? Okay, so

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Speaker 3: you know, high definition TV, maybe a flat screen, I

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Speaker 3: guess if you must, but it should have like a

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Speaker 3: wooden box around it in wooden legs.

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Speaker 2: Yeah. It needs to take up some serious real estate

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Speaker 2: in the living room, all right. Next on the cast

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Speaker 2: here is the character Mike Roscoe, played by Ian Ogilvie

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Speaker 2: born nineteen forty three, British actor who has been active

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Speaker 2: since nineteen fifty eight, still active today. Prior to this

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Speaker 2: film he was in She Beast, which and then he

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Speaker 2: also appeared in Witchfinder General. He worked a lot over

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Speaker 2: the eight decades he's been active. He's roughly the same

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Speaker 2: age now as Karloff in this film. Just to hit

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Speaker 2: a few highlights. His later credits include nineteen seventies Wuthering Heights,

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Speaker 2: the nineteen seventy four Amicus horror anthology From Beyond the

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Speaker 2: Grave seventy four is the Gathering Storm seventy six is

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Speaker 2: I Claudius nineteen ninety two's death becomes her and then

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Speaker 2: later on puppet Master five.

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Speaker 3: Oh, his performance in puppet Master five.

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Speaker 2: It's a tour de force, I'm sure, but still Eye Claudius.

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Speaker 2: Nothing to sneeze that there.

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Speaker 3: Yeah, Okay, Strangely, you would think this will make more

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Speaker 3: sense when we describe what happens in the plot. I

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Speaker 3: guess what I would say is you would have expected

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Speaker 3: this movie to demand more of him, but it kind

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Speaker 3: of doesn't. He is allowed to sort of sleep walk

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Speaker 3: through a lot of it. So no criticism of Ian

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Speaker 3: Ogilvie as an actor here, but his character is actually

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Speaker 3: very subdued, surprisingly subdued given what happens to him. He's

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Speaker 3: mostly just kind of like looks with a cool, mostly

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Speaker 3: emotionless expression at things as they happen.

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Speaker 2: Yeah. Yeah, it's an interesting role because he is he's

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Speaker 2: kind of the villain of the picture, as we'll learn,

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Speaker 2: you know, I mean, you may have certain expectations about

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Speaker 2: how it's going to play out for this character, and

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Speaker 2: they don't really match up with what we see, all right.

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Speaker 2: This character has a friend in the picture named Alan.

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Speaker 2: This is the one you were we were talking about.

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Speaker 2: We weren't sure who he was for so long. Yeah.

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Speaker 2: Alan was played by Victor Henry, who lived nineteen forty

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Speaker 2: three through nineteen eighty five. Another talent in this film

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Speaker 2: whose career was cut way too short. He'd only started

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Speaker 2: acting for TV in sixty four and for film in

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Speaker 2: sixty seven. He played the lead in nineteen sixty nine's

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Speaker 2: All Meat in Black Stockings at Dramedy, but sadly, he

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Speaker 2: was severely injured in the early seventies in an auto accident.

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Speaker 2: He was a pedestrian in this accident and spent the

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Speaker 2: last seventeen years of his life in a coma. So really

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Speaker 2: sad to read that, and also especially when you see

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Speaker 2: in this picture sure like you see that, like he's

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Speaker 2: a talented young actor and as with the director, like

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Speaker 2: you can't help but imagine like what these individuals would

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Speaker 2: have gone on to do had they had another decade

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Speaker 2: or two or more, you know, in the industry.

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Speaker 3: Yeah, the way this character is written is interesting because

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Speaker 3: our main character, in a way, Mike is as we said,

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Speaker 3: very cool and unemotional and just kind of rude. And

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Speaker 3: his friend Alan here is the exact opposite. He's very

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Speaker 3: friendly and obliging and talkative.

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Speaker 2: Yeah, all right, a much smaller role in this, but

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Speaker 2: one that's notable is we have this character named Audrey,

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Speaker 2: Audrey Woods who shows up and she is played by

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Speaker 2: Susan George born nineteen fifty English actor who was pretty again,

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Speaker 2: pretty early in her career at this point, but became

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Speaker 2: much more well known in the early seventies, appearing in

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Speaker 2: seventy one straw Dogs, Dirty Mary, Crazy Larry in seventy four,

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Speaker 2: Mandingo in seventy five. She also appeared in a number

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Speaker 2: of international B movies of note, including Renee Cardona Junior's

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Speaker 2: Tinto Rhea, Killer Shark, and nineteen eighty one's Enter the

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Speaker 2: Ninja starring Franco Nero. In Sho Kasugi, that's one that

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Speaker 2: I vaguely remember watching when I was way too young,

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Speaker 2: and I was not prepared for the blood in it.

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Speaker 2: At the time, I was.

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Speaker 3: Gonna say, what have we seen that she was in?

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Speaker 3: Susan George, I know, has come up on the show before.

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Speaker 2: Yeah, she was one of the kidnappers in Venom, the

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Speaker 2: nineteen eighty one snake movie, where she her characters teaming

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Speaker 2: up with Kloskinski's character and Oliver Reed's character. Yes, yes,

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Speaker 2: a trio of kidnappers who then get locked in a

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Speaker 2: house with a black mamba, and she has a fantastic

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Speaker 2: death scene where she, of course, like everyone, gets bit

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Speaker 2: by the black mamba and proceeds to have like a

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Speaker 2: death scene like that feels like an audition for the Exorcist.

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Speaker 3: Uh huh. Is she the one who leaps out of

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Speaker 3: a window after she gets bitten? Oh?

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Speaker 2: She may. Yeah. I remember it being very impressive, like

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Speaker 2: it's like, wow, she really is a tour to force.

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Speaker 2: But yeah, she's still active today as well. I believe

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Speaker 2: she was also in All Neat and Black Stockings, and

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Speaker 2: she doesn't have as much to do in this, but

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Speaker 2: again went on to great things. All right, just two

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Speaker 2: more notes here. These are gonna be shorter. But the

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Speaker 2: art director on this was Tony Curtis, who lived thirty

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Speaker 2: seven through twenty twenty one. Again, not to be confused

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Speaker 2: with the actor he's come up in the show before,

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Speaker 2: because he was the production designer on Venom and he

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Speaker 2: also worked on various Amicus horror movies, and he was

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Speaker 2: art director on Kroll. Obviously, this film did not have

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Speaker 2: the same budget or sweeping fantastic vision as Krull, but

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Speaker 2: it's a neat connection.

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Speaker 3: Nonetheless, you can tell he really wanted to work a

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Speaker 3: graave in there, like have Boris Karloff pull out a

404
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Speaker 3: glove and be like, this is how I will control

405
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Speaker 3: your mind. But it didn't quite happen.

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Speaker 2: That would have been neat if there is some sort

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Speaker 2: of artifact there. Yeah. And then the musical scores by

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Speaker 2: Paul Ferris, who lived nineteen forty one through nineteen ninety five,

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Speaker 2: English composer who worked with Reeves on several films, including

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Speaker 2: Which Finder General. An also has an acting cameo in

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Speaker 2: Which Finder General, And apparently due to copyright issues for

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Speaker 2: a long time, when you watch Which Finder General, you'd

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Speaker 2: get a synth score instead that was put in place

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Speaker 2: of his original score. Again, I haven't seen that movie,

415
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Speaker 2: so obviously I haven't seen it with either score. But

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Speaker 2: I can't help but wonder anytime I encounter an alternate

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Speaker 2: score scenario, especially if one is called out for being

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Speaker 2: a synth score, it gives me pause, makes me wonder

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Speaker 2: which path I would choose.

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Speaker 3: Well, we all know your proclivities.

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Speaker 2: Yeah, though, I mean there are bad synth scores out

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Speaker 2: there as well, so I don't know. I'll have to

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Speaker 2: check it out at some point. The music for this film, though,

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Speaker 2: I don't know. It's really weirdly kooky at times. Yeah,

425
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Speaker 2: especially with the old people. It's like, are we supposed

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Speaker 2: to find them humorous now because they're also very dangerous individuals.

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Speaker 3: Yeah, we're seeing Boris Karloff wander down the sidewalk and

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Speaker 3: it's just playing lunatic circus music. I don't know what

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Speaker 3: to make of that.

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Speaker 2: Yeah, it's an odd choice, but there are a lot

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Speaker 2: of odd choices in this film. Oh. One one extra

432
00:24:23,000 --> 00:24:26,480
Speaker 2: fun fact, Raquel Welch has an assistant producer credit on

433
00:24:26,520 --> 00:24:30,000
Speaker 2: this and apparently did some uncredited wardrobe supervision on the film.

434
00:24:30,200 --> 00:24:32,760
Speaker 2: Her husband at the time, Patrick Curtis, was one of

435
00:24:32,800 --> 00:24:33,480
Speaker 2: the producers.

436
00:24:33,840 --> 00:24:36,159
Speaker 3: Oh okay, I just had to look this up to

437
00:24:36,200 --> 00:24:40,000
Speaker 3: make sure. That's interesting because she was in a Fantastic

438
00:24:40,080 --> 00:24:42,200
Speaker 3: Voyage which came out in sixty six, so that was

439
00:24:42,240 --> 00:24:45,439
Speaker 3: actually released before this movie, and she was acting in

440
00:24:45,520 --> 00:24:47,520
Speaker 3: that but still did wardrobe hear.

441
00:24:48,680 --> 00:24:51,800
Speaker 2: Yeah, I mean I don't know many details on it.

442
00:24:51,800 --> 00:24:54,680
Speaker 2: It might have been a situation where, especially since it's uncredited,

443
00:24:54,720 --> 00:24:57,919
Speaker 2: she might have just been on set with her husband

444
00:24:57,920 --> 00:24:59,679
Speaker 2: at the time, and she might have given them some

445
00:24:59,800 --> 00:25:03,159
Speaker 2: tip about how certain characters should dress. I'm not sure.

446
00:25:03,400 --> 00:25:06,160
Speaker 3: Oh, she was also in her Caveman movie in nineteen

447
00:25:06,200 --> 00:25:08,000
Speaker 3: sixty six, one Million Years Piece.

448
00:25:08,200 --> 00:25:13,240
Speaker 2: Wow. Yeah, so she was already really hot stuff. So yeah,

449
00:25:13,480 --> 00:25:15,200
Speaker 2: she was just she was just hanging out on this one,

450
00:25:15,240 --> 00:25:18,000
Speaker 2: I think I see. All right, shall we get into

451
00:25:18,000 --> 00:25:19,760
Speaker 2: the plot of the Sorcerers?

452
00:25:20,200 --> 00:25:25,080
Speaker 3: Alrighty, So we begin with eerie warbling music, and we

453
00:25:25,160 --> 00:25:28,199
Speaker 3: see an old man hobbling slowly down the sidewalk in

454
00:25:28,240 --> 00:25:30,760
Speaker 3: a city somewhere in England. I think this is London.

455
00:25:31,200 --> 00:25:34,760
Speaker 3: And the old man is dressed nicely with a dark overcoat,

456
00:25:34,760 --> 00:25:37,560
Speaker 3: a blue scarf, and a black hat, and he walks

457
00:25:37,600 --> 00:25:39,240
Speaker 3: with the help of a cane, and he has a

458
00:25:39,280 --> 00:25:42,840
Speaker 3: neatly trimmed white goatee. And when we see his face, hey,

459
00:25:42,920 --> 00:25:45,280
Speaker 3: that is Boris Karloff. And he just looks to be

460
00:25:45,400 --> 00:25:47,480
Speaker 3: in a chronic sour mood here.

461
00:25:48,040 --> 00:25:51,080
Speaker 2: I was really expecting him to start talking about future

462
00:25:51,119 --> 00:25:53,720
Speaker 2: shock in this opening, you know, starting with hose and

463
00:25:53,760 --> 00:25:56,520
Speaker 2: wells and be like in the course of my travels

464
00:25:56,520 --> 00:25:58,720
Speaker 2: which have taken me around the world.

465
00:25:58,880 --> 00:26:03,320
Speaker 6: There is a California champagne. Yeah, but as we'll find out,

466
00:26:03,400 --> 00:26:05,359
Speaker 6: he is not. This is a character. He was not

467
00:26:05,480 --> 00:26:08,119
Speaker 6: shocked by the future. He's here to unleash the shock

468
00:26:08,520 --> 00:26:09,800
Speaker 6: if folks will just let him.

469
00:26:09,880 --> 00:26:11,920
Speaker 3: That's right. But I do know what you're saying about

470
00:26:11,960 --> 00:26:14,800
Speaker 3: the future shock thing, because it feels like he's wandering

471
00:26:15,440 --> 00:26:20,120
Speaker 3: wandering the sidewalk kind of sadly, and something about the

472
00:26:20,160 --> 00:26:23,480
Speaker 3: shot feels squalid. I don't know if it's quite supposed

473
00:26:23,520 --> 00:26:25,920
Speaker 3: to see him that way, or if it's just something

474
00:26:25,920 --> 00:26:29,359
Speaker 3: incidental about like the gray, dismal color palette. And there's

475
00:26:29,400 --> 00:26:32,840
Speaker 3: like litter all over the ground, and a couple walks

476
00:26:32,880 --> 00:26:35,600
Speaker 3: past Boris Karloff. They've got their arms around each other

477
00:26:35,640 --> 00:26:37,600
Speaker 3: and they're leaning in to kiss each other while they

478
00:26:37,600 --> 00:26:40,840
Speaker 3: go past him. And for some reason, the implication I

479
00:26:40,920 --> 00:26:43,440
Speaker 3: received from that is like young people in love.

480
00:26:43,800 --> 00:26:44,080
Speaker 5: Ick.

481
00:26:45,640 --> 00:26:48,000
Speaker 2: I mean, it makes sense for the theme of the movie.

482
00:26:48,080 --> 00:26:50,360
Speaker 2: It is a like generational conflict here.

483
00:26:50,680 --> 00:26:54,280
Speaker 3: Yeah, So Karloff wanders up to the noticeboard outside a

484
00:26:54,320 --> 00:26:57,840
Speaker 3: tobacconist shop and he looks at the postings, he frowns.

485
00:26:57,920 --> 00:27:00,680
Speaker 3: He goes inside, and then he wrapped on the counter

486
00:27:00,720 --> 00:27:03,320
Speaker 3: with his cane, says to the shop owner, where is

487
00:27:03,400 --> 00:27:07,120
Speaker 3: my advertisement, young man? And the guy's like, what's it for?

488
00:27:07,840 --> 00:27:12,760
Speaker 3: Karloff is clearly exhausted by the ceaseless, humiliating inanities of

489
00:27:12,800 --> 00:27:17,320
Speaker 3: this dunce like world, and he says, for my professional services.

490
00:27:18,200 --> 00:27:21,080
Speaker 3: And the tobacconist gets it now. He says, oh, so

491
00:27:21,320 --> 00:27:26,600
Speaker 3: you are the famous professor Montserrat. Well, the tobacconist explains,

492
00:27:26,800 --> 00:27:29,240
Speaker 3: we learned that the shop took the notice down for

493
00:27:29,320 --> 00:27:33,840
Speaker 3: two reasons. First of all, Karloff owed them five bob

494
00:27:33,920 --> 00:27:36,240
Speaker 3: to keep it up, and he hadn't paid. But then

495
00:27:36,520 --> 00:27:39,720
Speaker 3: the guy also says it didn't seem to interest the

496
00:27:39,760 --> 00:27:42,159
Speaker 3: public like some of the other notices. And I was

497
00:27:42,200 --> 00:27:43,719
Speaker 3: just thinking, why would they care about that?

498
00:27:44,600 --> 00:27:47,440
Speaker 2: Yeah, this was a whole and I was instantly intrigued

499
00:27:47,440 --> 00:27:50,280
Speaker 2: by this world where you pay to have your little

500
00:27:50,280 --> 00:27:53,480
Speaker 2: flyer put up, like I mean, nowadays you just put

501
00:27:53,480 --> 00:27:55,840
Speaker 2: it up in the coffee shop, right, and yeah, come

502
00:27:55,880 --> 00:27:57,879
Speaker 2: and like put it up again if something gets pasted.

503
00:27:57,680 --> 00:28:00,199
Speaker 3: Over it, right, I guess so. And when we see

504
00:28:00,240 --> 00:28:02,920
Speaker 3: the guy go to replace it, he puts it back

505
00:28:03,040 --> 00:28:04,719
Speaker 3: over somebody else's notice.

506
00:28:04,800 --> 00:28:08,920
Speaker 2: So I haven't advertised the podcast like this in a while, lot,

507
00:28:09,040 --> 00:28:10,760
Speaker 2: you know, making the rounds.

508
00:28:10,760 --> 00:28:14,000
Speaker 3: Paying five bob to put up an index card sized

509
00:28:14,520 --> 00:28:16,760
Speaker 3: ad on like a outside of a shop door. I

510
00:28:16,800 --> 00:28:19,440
Speaker 3: don't know, it's surprising that that would work at all.

511
00:28:19,520 --> 00:28:22,520
Speaker 3: But Monsarrat, you know, he protests when he's told this.

512
00:28:22,600 --> 00:28:25,960
Speaker 3: He says, how can I keep my practice alive without advertising?

513
00:28:26,400 --> 00:28:28,359
Speaker 3: But like, dude, you didn't pay your fee, what do

514
00:28:28,400 --> 00:28:32,720
Speaker 3: you expect? Anyway, Mansarat gives in. He pays the money,

515
00:28:32,880 --> 00:28:35,359
Speaker 3: and the guy puts the ad back up outside the

516
00:28:35,400 --> 00:28:37,840
Speaker 3: shop door, and we close in on the card so

517
00:28:37,880 --> 00:28:41,160
Speaker 3: we can see what the deal is. It says doctor

518
00:28:41,240 --> 00:28:49,320
Speaker 3: Marcus Monserrat, practitioner of medical hypnosis, stammering, self consciousness anxiety

519
00:28:49,640 --> 00:28:50,719
Speaker 3: painlessly cured?

520
00:28:50,960 --> 00:28:52,960
Speaker 2: All right? Sounds reasonable, right?

521
00:28:53,080 --> 00:28:55,200
Speaker 3: And so he's, you know, he's helping people deal with

522
00:28:55,240 --> 00:28:59,120
Speaker 3: future shock. I guess. Karlov's character is an alternative psychiatrist

523
00:28:59,200 --> 00:29:03,320
Speaker 3: who offers hypnos based therapies to repair the wonky brains

524
00:29:03,360 --> 00:29:07,440
Speaker 3: of twentieth century urbanites in England. And Marcus comes home

525
00:29:07,480 --> 00:29:10,480
Speaker 3: to his apartment after this and meets his wife Estelle.

526
00:29:10,520 --> 00:29:14,160
Speaker 3: This is played by Catherine Lacey, and she is making lunch,

527
00:29:14,680 --> 00:29:16,960
Speaker 3: and according to our tradition of pausing to look at

528
00:29:17,000 --> 00:29:19,440
Speaker 3: table settings and food that were never meant to be

529
00:29:19,520 --> 00:29:22,720
Speaker 3: scrutinized in high definition, I'll say this is one of

530
00:29:22,760 --> 00:29:25,920
Speaker 3: the more organic looking meals we have observed in a

531
00:29:25,960 --> 00:29:29,640
Speaker 3: movie lately, though it is amusingly English. It appears to

532
00:29:29,680 --> 00:29:33,480
Speaker 3: be roast beef with brown gravy, a mound of green peas,

533
00:29:33,680 --> 00:29:38,360
Speaker 3: and then a stiff, roughly baseball shaped a glutination of

534
00:29:38,400 --> 00:29:43,240
Speaker 3: mashed potatoes. So Marcus asks Estelle if any patients have

535
00:29:43,320 --> 00:29:45,840
Speaker 3: come inquiring, and Estelle says, only a man with a

536
00:29:45,880 --> 00:29:49,480
Speaker 3: twitch in his cheek. She says that he said he'd

537
00:29:49,480 --> 00:29:52,800
Speaker 3: be back later, and then Marcus mutters to himself with

538
00:29:52,840 --> 00:29:57,120
Speaker 3: an amused tone, I wonder if he will, And I

539
00:29:57,160 --> 00:29:59,880
Speaker 3: thought this was nice. Karloff plays his character with a

540
00:30:00,000 --> 00:30:04,680
Speaker 3: a pleasant subtlety that varies depending on his environment, so

541
00:30:04,720 --> 00:30:09,040
Speaker 3: he's obviously struggling to keep his practice afloat, and this

542
00:30:09,080 --> 00:30:12,080
Speaker 3: comes through as pure irritation when he's in the presence

543
00:30:12,120 --> 00:30:15,560
Speaker 3: of the outside world, like talking to the tobacconist, but

544
00:30:15,960 --> 00:30:20,880
Speaker 3: it has a different emotional inflection. He's more reflective and

545
00:30:21,040 --> 00:30:24,200
Speaker 3: resigned when he's at home with a Stell. It seems

546
00:30:24,240 --> 00:30:26,920
Speaker 3: to me like Marcus Monsrat is kind of a homebody

547
00:30:26,960 --> 00:30:28,760
Speaker 3: and he loves spending time with his wife.

548
00:30:29,080 --> 00:30:32,760
Speaker 2: Yeah, it's sweet in retrospect. Kind of a weird way

549
00:30:32,760 --> 00:30:37,360
Speaker 2: to start off the movie, yes, because everything seems maybe

550
00:30:38,040 --> 00:30:41,600
Speaker 2: a little maybe on the sad end of things, but

551
00:30:42,080 --> 00:30:44,760
Speaker 2: you know, nothing monstrous so far, right.

552
00:30:45,120 --> 00:30:49,120
Speaker 3: However, just before they begin their lunch, Marcus steps away

553
00:30:49,160 --> 00:30:52,560
Speaker 3: from the table and heads toward a closed door in

554
00:30:52,640 --> 00:30:56,120
Speaker 3: the corner. He hesitates for a moment, then he opens

555
00:30:56,160 --> 00:30:58,360
Speaker 3: the door to look inside the room, and we don't

556
00:30:58,440 --> 00:31:01,720
Speaker 3: see what he's looking at. Him standing in the doorway

557
00:31:01,760 --> 00:31:05,360
Speaker 3: looking inside, we see the glare of pure white walls.

558
00:31:05,680 --> 00:31:09,440
Speaker 3: Some ominous music swells. What's he looking at in the room?

559
00:31:09,760 --> 00:31:12,560
Speaker 2: Yeah, now we do have a hint of the monstrous here,

560
00:31:12,600 --> 00:31:15,000
Speaker 2: because whatever's in that room, it's not good.

561
00:31:15,120 --> 00:31:18,960
Speaker 3: We can just tell anyway. Time for beef, So he

562
00:31:19,000 --> 00:31:22,120
Speaker 3: goes to have his beef and gravy, and Marcus and

563
00:31:22,240 --> 00:31:25,520
Speaker 3: Estelle sit down at the table together, and Estelle she oh,

564
00:31:25,560 --> 00:31:29,320
Speaker 3: she's excited about something. She's quivering with anticipation, and she says,

565
00:31:29,680 --> 00:31:32,880
Speaker 3: how soon will it be ready? And Marcus says soon

566
00:31:33,120 --> 00:31:37,080
Speaker 3: tomorrow perhaps, And she is thrilled at this idea, whatever

567
00:31:37,120 --> 00:31:40,200
Speaker 3: it is, she asks, And then we can test it,

568
00:31:40,720 --> 00:31:44,720
Speaker 3: he says. And then we can test it. What is it? Well,

569
00:31:44,760 --> 00:31:48,440
Speaker 3: we've got to wait to find out, because from this quiet,

570
00:31:48,520 --> 00:31:51,200
Speaker 3: intimate scene with an old married couple in their home,

571
00:31:51,520 --> 00:31:55,240
Speaker 3: we cut straight to the exact opposite an ear splitting

572
00:31:55,320 --> 00:31:58,400
Speaker 3: dance number at a rock and roll club. We're in

573
00:31:58,480 --> 00:32:01,800
Speaker 3: a room that is packed with young people boogying to

574
00:32:01,880 --> 00:32:05,760
Speaker 3: the hep sounds of an electric psychedelic rock band, and

575
00:32:06,080 --> 00:32:09,040
Speaker 3: I thought the sound mixing in the scene is awful.

576
00:32:09,160 --> 00:32:12,040
Speaker 3: You cannot make out a single word of the lyrics

577
00:32:12,160 --> 00:32:14,880
Speaker 3: in the song. It also sounded to me like the

578
00:32:14,920 --> 00:32:18,880
Speaker 3: band is playing inside a giant steel barrel and is

579
00:32:18,960 --> 00:32:22,760
Speaker 3: running every instrument, including the drums, through a tape flanger

580
00:32:22,880 --> 00:32:26,320
Speaker 3: or something like that. So it's just like, I don't know,

581
00:32:26,680 --> 00:32:29,960
Speaker 3: it's the well to hell of garage psych bands.

582
00:32:30,520 --> 00:32:32,560
Speaker 2: Yeah, and again there's something kind of grimy to the

583
00:32:32,560 --> 00:32:35,280
Speaker 2: way everything is shot. So you can you look at

584
00:32:35,320 --> 00:32:37,840
Speaker 2: this place and you can just imagine how sticky the

585
00:32:37,880 --> 00:32:39,680
Speaker 2: floors are from spilt drinks you.

586
00:32:39,640 --> 00:32:43,240
Speaker 3: Know, yes, ugh gross, yeah, peeling your feet up every

587
00:32:43,360 --> 00:32:46,920
Speaker 3: dance step. And so the credits roll while all this

588
00:32:47,000 --> 00:32:49,600
Speaker 3: is going on, and the bad sound continues as this

589
00:32:49,720 --> 00:32:52,440
Speaker 3: develops into an actual scene with dialogue, because we next

590
00:32:52,520 --> 00:32:55,760
Speaker 3: zoom in on a table with three characters. These will

591
00:32:55,760 --> 00:32:59,040
Speaker 3: be our main young characters for the film. There is Mike,

592
00:32:59,120 --> 00:33:02,320
Speaker 3: who is played by e Ogilvy. There's Nicole played by

593
00:33:02,320 --> 00:33:05,400
Speaker 3: Elizabeth Ersi. And then the third again, this is the

594
00:33:05,400 --> 00:33:07,840
Speaker 3: guy whose name I didn't know for most of the movie.

595
00:33:07,880 --> 00:33:11,680
Speaker 3: This is Alan played by Victor Henry. And Alan is

596
00:33:11,760 --> 00:33:14,840
Speaker 3: kind of dressed weirdly for the venue. Everybody else is

597
00:33:14,840 --> 00:33:19,080
Speaker 3: in these hip sixties clothes, like you know, dark turtlenecks

598
00:33:19,080 --> 00:33:22,479
Speaker 3: and stuff and the mini skirts and all that. But

599
00:33:22,680 --> 00:33:26,640
Speaker 3: Alan is wearing a tweed blazer. And I didn't know

600
00:33:26,680 --> 00:33:29,880
Speaker 3: quite how to read that. Maybe if we had the

601
00:33:29,880 --> 00:33:34,080
Speaker 3: the correct cultural contextual understanding, we would know like, oh,

602
00:33:34,160 --> 00:33:36,560
Speaker 3: that means he is like X, but I didn't know

603
00:33:36,600 --> 00:33:38,400
Speaker 3: exactly what it meant. Does it mean he's kind of

604
00:33:38,440 --> 00:33:40,640
Speaker 3: a nerd or he's like not with it?

605
00:33:41,400 --> 00:33:43,800
Speaker 2: I don't know, yeah, like is he just maybe he's

606
00:33:43,840 --> 00:33:46,880
Speaker 2: a little bit square? He's not a sort of guess,

607
00:33:46,920 --> 00:33:50,840
Speaker 2: I guess everybody else is kind of a mod, but

608
00:33:50,920 --> 00:33:54,040
Speaker 2: a lower budget mod, Like, you know, there's only so

609
00:33:54,120 --> 00:33:54,920
Speaker 2: much they could do here.

610
00:33:55,240 --> 00:33:56,960
Speaker 3: And as I said, it's kind of hard to hear

611
00:33:57,000 --> 00:33:59,560
Speaker 3: what they're saying, but the gist of their conversation seems

612
00:33:59,560 --> 00:34:03,960
Speaker 3: to be that Mike is Nichole's boyfriend. Nicole wants Mike

613
00:34:04,040 --> 00:34:08,160
Speaker 3: to come dance with her, but he refuses. Alan scolds

614
00:34:08,200 --> 00:34:12,040
Speaker 3: Mike for being a wet blanket and not dancing. Mike

615
00:34:12,160 --> 00:34:14,200
Speaker 3: is like, hey, I spend five nights a week in

616
00:34:14,280 --> 00:34:17,560
Speaker 3: this den of iniquity just to keep Nicole happy. And

617
00:34:17,600 --> 00:34:21,160
Speaker 3: then Alan goes to dance with Nicole instead. And so

618
00:34:21,280 --> 00:34:23,600
Speaker 3: we see them like weave through all these people making

619
00:34:23,640 --> 00:34:25,600
Speaker 3: out and stuff, go to the dance floor and then

620
00:34:25,680 --> 00:34:29,760
Speaker 3: start doing the watutsi. And then we see Mike alone

621
00:34:29,800 --> 00:34:32,120
Speaker 3: at the table with his drinks, and you know, I

622
00:34:32,120 --> 00:34:34,400
Speaker 3: get the feeling that Mike's sort of he kind of

623
00:34:34,480 --> 00:34:37,319
Speaker 3: likes himself a little bit. You know, he's got this

624
00:34:37,440 --> 00:34:39,280
Speaker 3: like haughty, prideful posture.

625
00:34:39,880 --> 00:34:41,960
Speaker 2: Yeah, and he's like he's this guy like I'm above

626
00:34:42,000 --> 00:34:44,440
Speaker 2: all this fine. Oh my goodness, I'm so done with

627
00:34:44,520 --> 00:34:45,320
Speaker 2: all this fine.

628
00:34:45,760 --> 00:34:48,120
Speaker 3: So all three of them eventually leave the club to

629
00:34:48,120 --> 00:34:51,120
Speaker 3: go out wandering, but at some point Mike and Alan

630
00:34:51,280 --> 00:34:55,520
Speaker 3: find themselves standing outside of some building. They're waiting for

631
00:34:55,600 --> 00:34:58,080
Speaker 3: Nicole to come out of the bathroom. I think Alan

632
00:34:58,160 --> 00:35:01,239
Speaker 3: jokes that she's doing her toenails or something, and then

633
00:35:01,320 --> 00:35:04,680
Speaker 3: Mike gets impatient and he tells Alan, first of all,

634
00:35:04,760 --> 00:35:08,080
Speaker 3: I am bored. Second, I spend half of my life

635
00:35:08,160 --> 00:35:11,920
Speaker 3: waiting on Nicole. Third, I am not going to wait anymore.

636
00:35:11,960 --> 00:35:13,959
Speaker 3: I need you to take her out to dinner while

637
00:35:14,040 --> 00:35:17,759
Speaker 3: I go and get my kicks. And Alan's like, but

638
00:35:17,840 --> 00:35:21,040
Speaker 3: she's your girlfriend, and Mike says, nope, I am. I'm

639
00:35:21,120 --> 00:35:23,920
Speaker 3: outsourcing duties to you tonight. You take her to dinner.

640
00:35:24,120 --> 00:35:29,920
Speaker 3: My mind needs weird, freaky new experiences. So what's the

641
00:35:29,960 --> 00:35:32,239
Speaker 3: weird freaking new experience he's going to seek out? Well,

642
00:35:32,320 --> 00:35:34,399
Speaker 3: it's I thought it was pretty funny because the next

643
00:35:34,400 --> 00:35:36,640
Speaker 3: thing we see Mike do is wander into a chip

644
00:35:36,680 --> 00:35:38,600
Speaker 3: shop and say, give us a whimpy please.

645
00:35:40,000 --> 00:35:42,240
Speaker 2: Oh now, what is a wimpy? Is this a burger?

646
00:35:42,320 --> 00:35:42,920
Speaker 3: Hamburger?

647
00:35:43,120 --> 00:35:45,560
Speaker 2: Okay? Like that? Like this is a Popeye thing right?

648
00:35:45,719 --> 00:35:49,279
Speaker 2: Or is this a Popeye reference? Or is the the

649
00:35:49,320 --> 00:35:50,920
Speaker 2: Popeye thing a burger reference.

650
00:35:51,480 --> 00:35:53,880
Speaker 3: I could be wrong, but I think a wimpy is

651
00:35:53,960 --> 00:35:57,920
Speaker 3: just a one word for a burger in British English.

652
00:35:58,000 --> 00:36:01,279
Speaker 2: Yeah, okay, well at any rate, yeah, maybe that's his

653
00:36:01,320 --> 00:36:03,080
Speaker 2: whole thing is like, I just need junk food. I

654
00:36:03,160 --> 00:36:08,760
Speaker 2: just need some sloppy burgers. Here. Let Alan and Nicole

655
00:36:08,840 --> 00:36:10,360
Speaker 2: go and have a nice dinner somewhere.

656
00:36:10,640 --> 00:36:12,880
Speaker 3: They'll go out to a French restaurant and I'm going

657
00:36:12,920 --> 00:36:17,879
Speaker 3: to get my sloppy burgers. Meanwhile, so we see him,

658
00:36:17,960 --> 00:36:20,400
Speaker 3: you know, he's sitting down waiting for his burger. I guess. Meanwhile,

659
00:36:20,440 --> 00:36:23,960
Speaker 3: at the monsarrat home, Marcus comes out of the room

660
00:36:24,000 --> 00:36:26,319
Speaker 3: with white walls. He walks into the living room where

661
00:36:26,440 --> 00:36:29,600
Speaker 3: Estelle is waiting anxiously with no company but a ticking

662
00:36:29,680 --> 00:36:35,120
Speaker 3: cuckoo clock, and Marcus says he's finished his preparations. It's ready,

663
00:36:35,800 --> 00:36:38,200
Speaker 3: and Estelle is so relieved she wants to try it

664
00:36:38,239 --> 00:36:42,120
Speaker 3: out as soon as possible. Whatever it is. They decide

665
00:36:42,160 --> 00:36:44,200
Speaker 3: they are not going to wait until the morning. They

666
00:36:44,239 --> 00:36:48,600
Speaker 3: will try it out tonight. But Estelle says, who can

667
00:36:48,640 --> 00:36:52,520
Speaker 3: we use? They decide whoever it is, it must be

668
00:36:52,560 --> 00:36:56,000
Speaker 3: a stranger, somebody they've never met before, who need never

669
00:36:56,120 --> 00:36:59,200
Speaker 3: know what has happened to him. And then Karloff says,

670
00:36:59,239 --> 00:37:02,160
Speaker 3: but it must be someone whose mind is pliable, someone

671
00:37:02,160 --> 00:37:07,840
Speaker 3: who is basically willing. Estelle says, a drunk and Marcus

672
00:37:07,880 --> 00:37:10,759
Speaker 3: poopoo is this he says, No, a mind confused by

673
00:37:10,800 --> 00:37:12,239
Speaker 3: alcohol would not work.

674
00:37:13,320 --> 00:37:16,760
Speaker 2: Yeah, this was amusing because yeah, they're they're like, Okay, no,

675
00:37:16,760 --> 00:37:20,320
Speaker 2: no booze addle brains for this project. But a pill

676
00:37:20,400 --> 00:37:23,000
Speaker 2: addle brain, that's exactly what we're looking for.

677
00:37:23,280 --> 00:37:25,359
Speaker 3: Yeah, I thought that was funny too. So they say,

678
00:37:26,400 --> 00:37:28,719
Speaker 3: they decide, this is a quote I wrote down. They say,

679
00:37:28,760 --> 00:37:32,120
Speaker 3: we need a boy who is bored out looking for something.

680
00:37:32,440 --> 00:37:35,080
Speaker 3: All these children out on the streets at night taking

681
00:37:35,200 --> 00:37:37,000
Speaker 3: pills to keep themselves awake.

682
00:37:37,320 --> 00:37:40,799
Speaker 2: It's perfect in a way, I guess it does. It

683
00:37:40,840 --> 00:37:43,880
Speaker 2: does really work with what is to come, because a

684
00:37:43,920 --> 00:37:47,000
Speaker 2: lot of this is about like this, this this need

685
00:37:47,120 --> 00:37:50,680
Speaker 2: for sensation, and and it's it's kind of neat too,

686
00:37:50,840 --> 00:37:56,560
Speaker 2: like they're so Stelle especially is just so eager to

687
00:37:56,719 --> 00:37:59,560
Speaker 2: try this thing out that they're gonna do. And her

688
00:37:59,600 --> 00:38:02,880
Speaker 2: eager you could compare it to the eagerness of one

689
00:38:02,960 --> 00:38:05,719
Speaker 2: who has some sort of drug in their possession and

690
00:38:05,800 --> 00:38:08,320
Speaker 2: des really wants to go ahead and have that experience

691
00:38:08,360 --> 00:38:09,360
Speaker 2: of said drug.

692
00:38:09,400 --> 00:38:13,440
Speaker 3: M So they decide they're going to find a healthy

693
00:38:13,520 --> 00:38:16,520
Speaker 3: young man who is looking for new experiences of pleasure,

694
00:38:16,600 --> 00:38:19,680
Speaker 3: who can be enticed into anything by Monsarrat if he

695
00:38:19,760 --> 00:38:24,080
Speaker 3: poses as a locksmith to the doors of perception. So

696
00:38:24,200 --> 00:38:27,200
Speaker 3: we see Boris Karloff. He goes out wandering. He wanders

697
00:38:27,200 --> 00:38:29,200
Speaker 3: the city at night. This is one of the parts

698
00:38:29,239 --> 00:38:33,080
Speaker 3: where they were just playing that circus music of madness

699
00:38:32,600 --> 00:38:36,120
Speaker 3: while he prowls the sidewalk. He's looking for a boy

700
00:38:36,160 --> 00:38:41,160
Speaker 3: on pills and eventually Monserrat wanders into the chip shop

701
00:38:41,200 --> 00:38:45,600
Speaker 3: where Mike is having his wimpy and Karlof he walks

702
00:38:45,680 --> 00:38:49,560
Speaker 3: up to Mike's table. He says, you're looking very bored,

703
00:38:49,760 --> 00:38:50,319
Speaker 3: young man.

704
00:38:53,040 --> 00:38:54,920
Speaker 2: It's a great pickup line, it is.

705
00:38:55,400 --> 00:38:58,000
Speaker 3: And Mike's like what, and he says, you know, I've

706
00:38:58,000 --> 00:39:01,840
Speaker 3: been following you all this evening you you seem to

707
00:39:01,840 --> 00:39:05,160
Speaker 3: be bored by life. I could offer you something. First,

708
00:39:05,200 --> 00:39:09,000
Speaker 3: Karloff offers to buy Mike a coffee, but then Mike says, no, thanks,

709
00:39:09,080 --> 00:39:11,960
Speaker 3: I don't drink and I was like what, but I

710
00:39:12,000 --> 00:39:17,040
Speaker 3: think maybe weird. That's to mean, Mike understands Karloff is

711
00:39:17,080 --> 00:39:19,960
Speaker 3: offering him a coffee in order to quote sober him up.

712
00:39:21,000 --> 00:39:24,120
Speaker 3: Side note that doesn't work. Yeah, that doesn't work. Taking

713
00:39:24,200 --> 00:39:27,759
Speaker 3: drinking coffee does not sober you up. That's an old

714
00:39:27,840 --> 00:39:31,080
Speaker 3: you know, myth, myth that you drink some coffee and like, ah, okay,

715
00:39:31,120 --> 00:39:32,799
Speaker 3: you're you're you're drunkn this goes away.

716
00:39:33,560 --> 00:39:36,480
Speaker 2: Yeah, you're ultimately just gonna compound things by drinking caffeine,

717
00:39:37,000 --> 00:39:39,280
Speaker 2: you know, probably late at night in scenario.

718
00:39:39,800 --> 00:39:42,440
Speaker 3: But Karloff smiles, and I think that means like, oh,

719
00:39:42,440 --> 00:39:48,160
Speaker 3: he doesn't drink. Remember he didn't want an alcohol confused brain. So, uh,

720
00:39:48,200 --> 00:39:51,200
Speaker 3: Mike says, what is it you do want? Karloff says,

721
00:39:51,239 --> 00:39:56,040
Speaker 3: I could offer you an unusual evening, some extraordinary experiences.

722
00:39:56,760 --> 00:40:01,480
Speaker 3: And Mike says, what are you selling? Blue movies? Carloff says,

723
00:40:01,760 --> 00:40:05,480
Speaker 3: nothing as dull as that. Then Mike says, cheap hash

724
00:40:05,719 --> 00:40:09,480
Speaker 3: not worth the trouble. Mate. Karloff says, this would be

725
00:40:09,600 --> 00:40:13,560
Speaker 3: worth the trouble, and then Mike just sighs and says, okay,

726
00:40:13,680 --> 00:40:14,399
Speaker 3: lead me to it.

727
00:40:15,320 --> 00:40:21,719
Speaker 2: What Let's follow this sketchy old man to his promise

728
00:40:22,239 --> 00:40:25,439
Speaker 2: of sensations beyond hash and pornography.

729
00:40:25,640 --> 00:40:28,520
Speaker 3: I mean, he did accurately assess that Mike was bored,

730
00:40:28,560 --> 00:40:30,960
Speaker 3: so maybe he's impressed by that. He's like, oh, this

731
00:40:31,000 --> 00:40:31,920
Speaker 3: man is perceptive.

732
00:40:33,280 --> 00:40:37,000
Speaker 2: But clearly this is who they've been waiting for. In

733
00:40:37,400 --> 00:40:39,640
Speaker 2: a way, it seems like very little work was required

734
00:40:39,920 --> 00:40:41,840
Speaker 2: to bring this guy into the trap.

735
00:40:42,239 --> 00:40:44,440
Speaker 3: And then right after Mike says, okay, lead me to it,

736
00:40:44,480 --> 00:40:47,440
Speaker 3: there's a whip zoom on a hamburger, Patty, a wimpy

737
00:40:47,560 --> 00:40:50,959
Speaker 3: sizzling on the grill. Nice, are we supposed to form

738
00:40:51,000 --> 00:40:54,319
Speaker 3: an association? There is Mike like the sizzling hamburger.

739
00:40:55,200 --> 00:40:58,440
Speaker 2: I mean, sometimes you just got to close out the

740
00:40:58,440 --> 00:40:59,719
Speaker 2: sequence with something right.

741
00:41:08,400 --> 00:41:12,560
Speaker 3: So back at the Monsrat apartment, Karloff brings Mike home,

742
00:41:12,640 --> 00:41:17,160
Speaker 3: he introduces him to a stell and again hilarious. Mike

743
00:41:17,280 --> 00:41:20,120
Speaker 3: is so baseline rude to both of them. He's not

744
00:41:20,239 --> 00:41:23,360
Speaker 3: quite on the Varla level of rude for no reason,

745
00:41:23,440 --> 00:41:27,319
Speaker 3: but it's close. The old man's like, I'm Professor Monsrot,

746
00:41:27,400 --> 00:41:30,080
Speaker 3: maybe you've heard of me, and Mike's like, no, I

747
00:41:30,120 --> 00:41:30,719
Speaker 3: don't think so.

748
00:41:32,200 --> 00:41:34,520
Speaker 2: Yeah, this is very much a scene where, like I

749
00:41:34,560 --> 00:41:37,920
Speaker 2: guess we're supposed to be rooting for the oldies who

750
00:41:37,920 --> 00:41:40,600
Speaker 2: are up to no good here because look at youth culture,

751
00:41:40,640 --> 00:41:41,440
Speaker 2: it's so rude.

752
00:41:41,520 --> 00:41:44,040
Speaker 3: They try to welcome him with some pleasantries and get

753
00:41:44,080 --> 00:41:46,840
Speaker 3: him settled in, but he wants to get right to business.

754
00:41:46,880 --> 00:41:49,320
Speaker 3: He says, okay, old man, you promised me some weird

755
00:41:49,440 --> 00:41:52,600
Speaker 3: multicolored marvels. Where are they. Let's get right to it.

756
00:41:52,800 --> 00:41:55,000
Speaker 3: He doesn't even know what this is.

757
00:41:55,320 --> 00:41:58,160
Speaker 2: Right, and he doesn't seem especially on guard. He's just

758
00:41:58,160 --> 00:42:00,799
Speaker 2: in a hurry to get to it. But I mean,

759
00:42:01,040 --> 00:42:05,120
Speaker 2: this is so sus as the kids today would say.

760
00:42:05,800 --> 00:42:07,640
Speaker 3: Yes, and so they lead him inside the room with

761
00:42:07,680 --> 00:42:12,160
Speaker 3: white walls. It's the Sussist room in this apartment, and

762
00:42:12,680 --> 00:42:16,759
Speaker 3: finally what's inside is revealed. It is full of equipment,

763
00:42:16,920 --> 00:42:19,560
Speaker 3: is full of meters and gages, and then in the

764
00:42:19,600 --> 00:42:22,279
Speaker 3: middle of the room there is what looks like an

765
00:42:22,320 --> 00:42:25,640
Speaker 3: electric chair. It is a wooden seat with a headset

766
00:42:26,120 --> 00:42:27,720
Speaker 3: wired to electrodes.

767
00:42:28,920 --> 00:42:31,120
Speaker 2: And Mike, I guess, is like, all right, this seems fine,

768
00:42:32,160 --> 00:42:32,759
Speaker 2: let's do it.

769
00:42:33,080 --> 00:42:37,160
Speaker 3: Yeah. Yeah. They explain that Marcus Monsrat is a hypnotist

770
00:42:37,200 --> 00:42:39,879
Speaker 3: and with the aid of this machine they can offer

771
00:42:39,960 --> 00:42:44,640
Speaker 3: him an experience that is totally new. Marcus says, dazzling,

772
00:42:44,880 --> 00:42:51,200
Speaker 3: indescribable experiences, complete abandonment with no thought of remorse. Estelle says,

773
00:42:51,360 --> 00:42:56,600
Speaker 3: intoxication with no hangover, ecstasy with no consequence. So they're

774
00:42:56,600 --> 00:42:59,640
Speaker 3: really driving this theme home. They're offering him pleasure with

775
00:42:59,719 --> 00:43:02,920
Speaker 3: no consequences. All he's got to do is get in

776
00:43:02,960 --> 00:43:06,040
Speaker 3: the chair and let the hooks do the work. And

777
00:43:06,080 --> 00:43:10,360
Speaker 3: he's like, okay, sure, yeah, yeah, yeah. He gets in

778
00:43:10,400 --> 00:43:13,719
Speaker 3: the chair and he the only real hesitation seems to

779
00:43:13,719 --> 00:43:15,919
Speaker 3: be impatience. He gets in the chair, He's like, get

780
00:43:15,960 --> 00:43:16,920
Speaker 3: on with it, come on.

781
00:43:19,080 --> 00:43:20,799
Speaker 2: Happening fast enough. Yeah.

782
00:43:20,840 --> 00:43:23,040
Speaker 3: He puts the electrodes on his head and then he's

783
00:43:23,080 --> 00:43:26,400
Speaker 3: like idly twirling the wires with his fingers while he's waiting.

784
00:43:26,440 --> 00:43:32,080
Speaker 3: So he's bored still. And then Marcus and Estelle they

785
00:43:32,080 --> 00:43:35,120
Speaker 3: go to their equipment. They switch some dials and they

786
00:43:35,160 --> 00:43:39,279
Speaker 3: initiate the procedure. There's a heartbeat something on the soundtrack,

787
00:43:39,719 --> 00:43:43,520
Speaker 3: and so what happens when they do this procedure to.

788
00:43:43,600 --> 00:43:47,320
Speaker 2: Him, Well, the details of what is supposed to actually

789
00:43:47,320 --> 00:43:51,799
Speaker 2: be happening here are sketchy, something involving hypnosis and ultimately

790
00:43:51,960 --> 00:43:56,560
Speaker 2: psychic mind control and shared sensations between human brains over

791
00:43:57,320 --> 00:44:00,839
Speaker 2: varying distances. I don't know what the limits are too,

792
00:44:01,080 --> 00:44:03,480
Speaker 2: like how far away individuals could be from one another.

793
00:44:03,920 --> 00:44:06,080
Speaker 2: But in terms of what we are presented with on

794
00:44:06,120 --> 00:44:09,239
Speaker 2: the screen, it actually is a pretty nice sequence that

795
00:44:09,280 --> 00:44:12,480
Speaker 2: they give us here. So for effects, they project a

796
00:44:12,520 --> 00:44:18,239
Speaker 2: liquid light show onto his face, the liquid light show

797
00:44:18,280 --> 00:44:20,840
Speaker 2: like that popularized by the Joshua Light Show of American

798
00:44:20,920 --> 00:44:25,719
Speaker 2: artist Joshua White born nineteen forty two. I think a

799
00:44:25,719 --> 00:44:27,600
Speaker 2: lot of you out there know exactly what I'm talking about.

800
00:44:27,640 --> 00:44:30,520
Speaker 2: This has become a visual staple of the nineteen sixties.

801
00:44:31,480 --> 00:44:33,879
Speaker 2: It pops up in such films as nineteen sixty nine's

802
00:44:33,880 --> 00:44:37,160
Speaker 2: Midnight Cowboy. Joshua White has a special effects lighting credit

803
00:44:37,200 --> 00:44:39,760
Speaker 2: on that film. He was not involved in this production,

804
00:44:40,480 --> 00:44:43,840
Speaker 2: but he eventually got into directing and directed episodes of

805
00:44:43,840 --> 00:44:48,400
Speaker 2: such shows as The Original Max Talking Headroom Show and Seinfeld.

806
00:44:48,920 --> 00:44:52,239
Speaker 3: What the Max Talking Headroom Show Is that different than

807
00:44:52,280 --> 00:44:54,320
Speaker 3: Max Headroom.

808
00:44:54,040 --> 00:44:57,280
Speaker 2: Yeah, I'm not. I don't recall where this falls into

809
00:44:57,600 --> 00:45:01,920
Speaker 2: the into the timeline of Max Headroom things, but this

810
00:45:02,040 --> 00:45:06,440
Speaker 2: was a nineteen eighty seven series or special titled The

811
00:45:06,480 --> 00:45:09,719
Speaker 2: Original Max Talking Headroom Show, and it looks like it

812
00:45:09,760 --> 00:45:11,840
Speaker 2: had verious celebrity guests on it, So this might have

813
00:45:11,880 --> 00:45:13,840
Speaker 2: been kind of like I MTV type thing. I don't know,

814
00:45:13,920 --> 00:45:14,839
Speaker 2: I'm not sure.

815
00:45:14,960 --> 00:45:19,680
Speaker 3: I see so Max Headroom is like a dystopian sci

816
00:45:19,680 --> 00:45:23,160
Speaker 3: fi narrative show, and then they like extracted the character

817
00:45:23,280 --> 00:45:25,640
Speaker 3: Max Headroom into other stuff.

818
00:45:26,280 --> 00:45:28,920
Speaker 2: Yeah, this one looks like it had various guest stars

819
00:45:28,960 --> 00:45:31,040
Speaker 2: on it, like celebrity guest stars and so forth of

820
00:45:31,080 --> 00:45:36,200
Speaker 2: the day. But anyway, that's that's beside the point, because yeah,

821
00:45:36,280 --> 00:45:40,239
Speaker 2: essentially we're getting we're getting a liquid light show on

822
00:45:40,320 --> 00:45:43,560
Speaker 2: Mike's face, and it is I think the most visually

823
00:45:43,600 --> 00:45:46,000
Speaker 2: interesting sequence in the entire picture, and one that is

824
00:45:46,080 --> 00:45:47,120
Speaker 2: utilized in the trailer.

825
00:45:47,640 --> 00:45:50,040
Speaker 3: Right, So, yeah, they're they're projecting this light show onto

826
00:45:50,080 --> 00:45:52,680
Speaker 3: Mike's face. They're sort of using his face as the

827
00:45:52,719 --> 00:45:57,080
Speaker 3: projector's screen. In some shots, his head is seemingly isolated

828
00:45:57,120 --> 00:45:59,279
Speaker 3: from his body. Maybe it's you know, his bodies under

829
00:45:59,320 --> 00:46:02,080
Speaker 3: a black cloak or something like his head's floating in space.

830
00:46:03,080 --> 00:46:05,080
Speaker 3: And so this goes on for a while and he's

831
00:46:05,440 --> 00:46:07,959
Speaker 3: obviously you know, he's out of his mind. And then

832
00:46:08,120 --> 00:46:10,600
Speaker 3: they finish doing the procedure to him and they start

833
00:46:10,600 --> 00:46:13,480
Speaker 3: giving him orders. The mansarrats say, get up out of

834
00:46:13,520 --> 00:46:16,840
Speaker 3: your chair, go into the next room, close the door,

835
00:46:17,320 --> 00:46:20,520
Speaker 3: and he does everything. They say, so, oh boyd they

836
00:46:20,560 --> 00:46:24,600
Speaker 3: discover it worked. What was it? They can now control

837
00:46:24,840 --> 00:46:28,399
Speaker 3: Mike from a distance. They see what he sees, they

838
00:46:28,400 --> 00:46:31,520
Speaker 3: feel what he feels. They control his actions with a

839
00:46:31,560 --> 00:46:34,440
Speaker 3: word or even a thought. So they test it out.

840
00:46:34,440 --> 00:46:37,600
Speaker 3: They have him go to the refrigerator, open it, select

841
00:46:37,640 --> 00:46:39,799
Speaker 3: an egg, and then crush it in his hand and

842
00:46:39,840 --> 00:46:42,280
Speaker 3: we see like the yolk leak out all over his palm,

843
00:46:42,640 --> 00:46:45,240
Speaker 3: and they feel it in their hands and so forth.

844
00:46:46,960 --> 00:46:49,160
Speaker 3: So they say, from now on, we are going to

845
00:46:49,239 --> 00:46:52,479
Speaker 3: control your mind. From time to time. We will put

846
00:46:52,600 --> 00:46:55,880
Speaker 3: thoughts into your head and you will obey those thoughts.

847
00:46:56,120 --> 00:46:58,799
Speaker 3: You will have no memory of us. And he's just

848
00:46:58,840 --> 00:47:02,400
Speaker 3: like all right. Then he leaves, He leaves the apartment.

849
00:47:03,000 --> 00:47:04,920
Speaker 2: All right. And so I mean that's your setup. This

850
00:47:05,000 --> 00:47:09,200
Speaker 2: is clearly this is this is going to go terrible places.

851
00:47:09,600 --> 00:47:13,879
Speaker 2: But the initial setup is now the elderly couple has

852
00:47:14,000 --> 00:47:15,640
Speaker 2: control of a young body.

853
00:47:16,080 --> 00:47:18,480
Speaker 3: Yeah. Yeah, So they send Mike. Well, he goes back

854
00:47:18,480 --> 00:47:21,680
Speaker 3: to the club first and he meets Nicole, and once again,

855
00:47:21,880 --> 00:47:24,239
Speaker 3: you can't hear what people are really saying under the

856
00:47:24,360 --> 00:47:29,160
Speaker 3: roar of the Flanger Jam experience. But Mike demands Nicole

857
00:47:29,320 --> 00:47:31,360
Speaker 3: leave the club with him and go on a walk,

858
00:47:31,440 --> 00:47:34,239
Speaker 3: and they abandon poor Alan. They just like they leave

859
00:47:34,280 --> 00:47:36,200
Speaker 3: a note for him that says, You've got two extra

860
00:47:36,320 --> 00:47:39,640
Speaker 3: drinks on me, lucky lad. And where do they go?

861
00:47:39,800 --> 00:47:43,400
Speaker 3: They sneak into a hotel pool and go for a swim.

862
00:47:43,960 --> 00:47:46,719
Speaker 3: And meanwhile we see the Monserrats at home, sitting at

863
00:47:46,760 --> 00:47:50,080
Speaker 3: their kitchen table enjoying the feeling of water on their

864
00:47:50,120 --> 00:47:52,200
Speaker 3: skin while Mike does the swimming.

865
00:47:52,800 --> 00:47:55,840
Speaker 2: Which is one of just so many weird scenes of

866
00:47:55,920 --> 00:48:01,160
Speaker 2: this old couple in their apartment experiencing sensations of young

867
00:48:01,200 --> 00:48:04,120
Speaker 2: people elsewhere in the city. There's a lot of this,

868
00:48:04,239 --> 00:48:07,239
Speaker 2: and it's always it's always so it is are very

869
00:48:07,280 --> 00:48:10,640
Speaker 2: weird scenes. They're not like outrageous level weird, but they're

870
00:48:10,680 --> 00:48:13,239
Speaker 2: just they're so distinctive and interesting, Like you can't think

871
00:48:13,280 --> 00:48:18,160
Speaker 2: of any other you know, fictional narratives that have gone

872
00:48:18,160 --> 00:48:19,120
Speaker 2: into something like this.

873
00:48:19,600 --> 00:48:22,360
Speaker 3: I agree it is unusual. And then we see Marcus

874
00:48:22,400 --> 00:48:25,799
Speaker 3: and Estelle have a conversation where they discuss how their

875
00:48:25,840 --> 00:48:31,400
Speaker 3: theories are vindicated now, and Marcus's idea seems to be Okay,

876
00:48:31,600 --> 00:48:34,000
Speaker 3: time to take that. Because we've proven it works, we

877
00:48:34,080 --> 00:48:37,880
Speaker 3: can take this legitimate. He's like, we can create a

878
00:48:37,960 --> 00:48:42,439
Speaker 3: kind of service for elderly people where they will use

879
00:48:42,480 --> 00:48:46,319
Speaker 3: this hypnosis procedure openly on young people and then live

880
00:48:46,480 --> 00:48:49,319
Speaker 3: vicariously through them. Maybe send the young people on a

881
00:48:49,360 --> 00:48:52,880
Speaker 3: cruise or something, and they get to experience it at

882
00:48:52,880 --> 00:48:56,240
Speaker 3: a remote distance through them, even when maybe their bodies

883
00:48:56,320 --> 00:49:00,360
Speaker 3: are too frail to have the experience for themselves.

884
00:49:00,880 --> 00:49:06,960
Speaker 2: Yeah, essentially doppling into young bodies and experiencing dopple based vacations.

885
00:49:07,000 --> 00:49:09,160
Speaker 2: Which you know that this makes sense. This seems like

886
00:49:09,239 --> 00:49:12,200
Speaker 2: this could be a real benefit to society.

887
00:49:12,320 --> 00:49:15,000
Speaker 3: Yeah, so Marcus wants to go public with his discovery.

888
00:49:15,080 --> 00:49:17,239
Speaker 3: Now I sense a little bit of a problem, which

889
00:49:17,280 --> 00:49:20,880
Speaker 3: is that you tested this out without consent on an

890
00:49:21,000 --> 00:49:23,319
Speaker 3: unwilling Well, I guess he was willing. He was open

891
00:49:23,400 --> 00:49:25,040
Speaker 3: for something. He just didn't know what it was going

892
00:49:25,080 --> 00:49:27,880
Speaker 3: to be. So I guess it's ambiguous whether that counts

893
00:49:27,880 --> 00:49:29,919
Speaker 3: as consent or not. If a guy just says like, yeah,

894
00:49:30,000 --> 00:49:31,439
Speaker 3: do whatever to me, I don't care.

895
00:49:32,520 --> 00:49:35,040
Speaker 2: Yeah, And I think this is this is a problem

896
00:49:35,239 --> 00:49:37,759
Speaker 2: that is Stelle is picking up on as Stelle is

897
00:49:38,400 --> 00:49:41,359
Speaker 2: probably picking up on this, and also she's picking up

898
00:49:41,360 --> 00:49:46,160
Speaker 2: on Marcus's checkered history. She has clippings. I'm not sure

899
00:49:46,160 --> 00:49:47,880
Speaker 2: if this is the scene or it's a later scene.

900
00:49:47,680 --> 00:49:48,880
Speaker 3: Where she whips these upper.

901
00:49:49,160 --> 00:49:51,880
Speaker 2: Yeah, where he has gotten into a lot of trouble

902
00:49:51,880 --> 00:49:55,160
Speaker 2: in the past, something involving his hypnotism. So there's this

903
00:49:55,200 --> 00:49:58,040
Speaker 2: feeling like, even if this may be a great idea,

904
00:49:58,680 --> 00:50:02,080
Speaker 2: you know, let's use this to benefit society, but Marcus

905
00:50:02,239 --> 00:50:04,839
Speaker 2: is not in a position to be the person who

906
00:50:04,920 --> 00:50:07,799
Speaker 2: does this, and certainly not the person who benefits from

907
00:50:07,840 --> 00:50:11,200
Speaker 2: introducing this to the world, because his name has already

908
00:50:11,200 --> 00:50:14,880
Speaker 2: been you know, dragged through the gutter to some extent.

909
00:50:14,960 --> 00:50:18,680
Speaker 2: And to your point, their first successful test was done

910
00:50:18,719 --> 00:50:22,279
Speaker 2: without any kind of legal structure surrounding it.

911
00:50:22,680 --> 00:50:27,319
Speaker 3: That's right. And then Estelle also has another objection. She says, like, no,

912
00:50:27,760 --> 00:50:30,280
Speaker 3: let's live a little bit first before you go public

913
00:50:30,320 --> 00:50:33,200
Speaker 3: with this. If you're going to do that, let's use

914
00:50:33,280 --> 00:50:35,240
Speaker 3: the boy for our own pleasure for a while.

915
00:50:36,040 --> 00:50:40,080
Speaker 2: Yeah, yeah, I believe, she points out, like, we we

916
00:50:40,120 --> 00:50:44,200
Speaker 2: suffered it. Yeah, we suffered because in part because of

917
00:50:44,440 --> 00:50:48,960
Speaker 2: what you went through and because of your career trajectory.

918
00:50:49,040 --> 00:50:52,560
Speaker 2: So let's we're owed this. Yeah, we need to do this.

919
00:50:52,719 --> 00:50:55,799
Speaker 2: We need to experience some pleasure through this, this young

920
00:50:55,840 --> 00:50:59,120
Speaker 2: dope that we have hypnotized, and then we'll see then

921
00:50:59,120 --> 00:51:00,880
Speaker 2: we'll see what we can do for society.

922
00:51:01,280 --> 00:51:03,960
Speaker 3: So the next day we go visit Mike at work.

923
00:51:04,200 --> 00:51:07,840
Speaker 3: Where does Mike work? Well, Mike works at the glory Hole.

924
00:51:10,360 --> 00:51:13,760
Speaker 3: This is a we see the exterior of this building,

925
00:51:14,480 --> 00:51:18,120
Speaker 3: it is called the glory Hole. On closer examination, it

926
00:51:18,160 --> 00:51:21,719
Speaker 3: appears to be an antique store. And this raised a

927
00:51:21,760 --> 00:51:24,000
Speaker 3: number of questions for me. So I did a little

928
00:51:24,040 --> 00:51:27,080
Speaker 3: bit of research and as it turns out, this was

929
00:51:27,120 --> 00:51:30,600
Speaker 3: an actual antique store in London. You can you can

930
00:51:30,640 --> 00:51:34,480
Speaker 3: look at various movie location websites have information about this,

931
00:51:34,680 --> 00:51:39,040
Speaker 3: so you know, I recommend you know, using search terminology

932
00:51:39,360 --> 00:51:42,400
Speaker 3: appropriately while trying to find this for yourself. But it

933
00:51:42,920 --> 00:51:45,000
Speaker 3: raised the question, well, why did they call an antique

934
00:51:45,000 --> 00:51:47,960
Speaker 3: store the glory Hole. Well, according to Brewer's Dictionary of

935
00:51:48,000 --> 00:51:53,080
Speaker 3: Phrase and Fable, a glory hole is quote a small room, cupboard,

936
00:51:53,120 --> 00:51:55,719
Speaker 3: et cetera, where all sorts of odds and ends and

937
00:51:55,840 --> 00:51:56,880
Speaker 3: junk are dumped.

938
00:51:57,400 --> 00:51:58,160
Speaker 2: So there you have it.

939
00:51:58,560 --> 00:52:03,160
Speaker 3: Okay, so he's like an antiques dealer, which is strange.

940
00:52:03,440 --> 00:52:07,080
Speaker 3: It is a strange choice for a job for this character,

941
00:52:07,239 --> 00:52:10,359
Speaker 3: because the whole thing is seems to be that he's

942
00:52:10,440 --> 00:52:14,320
Speaker 3: like a young go go go and a guy who's

943
00:52:14,360 --> 00:52:18,160
Speaker 3: just like terminally bored with life and wants new experiences

944
00:52:18,200 --> 00:52:21,720
Speaker 3: and is really has no time at all for old people.

945
00:52:22,320 --> 00:52:25,040
Speaker 2: Yeah, and this is not like a really nice antique store.

946
00:52:25,080 --> 00:52:28,920
Speaker 2: I mean it's a real hole in the wall and sorry,

947
00:52:29,000 --> 00:52:32,800
Speaker 2: couldn't resist, And so's it's not a really nice place

948
00:52:33,040 --> 00:52:36,239
Speaker 2: where he works, and he seems very bored out of

949
00:52:36,239 --> 00:52:39,640
Speaker 2: his mind working there, and yeah, it is like he's

950
00:52:39,640 --> 00:52:43,680
Speaker 2: surrounded by old things. Yeah, this guy's probably just completely

951
00:52:43,680 --> 00:52:44,359
Speaker 2: losing it here.

952
00:52:44,760 --> 00:52:47,360
Speaker 3: So we see him working. I think there's a scene

953
00:52:47,360 --> 00:52:49,600
Speaker 3: of no consequence at all from what I remember that

954
00:52:49,640 --> 00:52:51,920
Speaker 3: where a guy comes in asking to use a telephone

955
00:52:52,000 --> 00:52:54,960
Speaker 3: and then Mike hands him like an antique telephone that's

956
00:52:55,000 --> 00:52:56,080
Speaker 3: not plugged into the wall.

957
00:52:56,600 --> 00:52:58,000
Speaker 2: Yeah. I thought it was going to work up to

958
00:52:58,080 --> 00:53:01,760
Speaker 2: some sort of a punch and it doesn't. Really. It's

959
00:53:01,880 --> 00:53:06,400
Speaker 2: kind of this weird, weird, little almost humorous segment that

960
00:53:06,440 --> 00:53:07,359
Speaker 2: goes nowhere.

961
00:53:07,280 --> 00:53:09,360
Speaker 3: Just seeing Mike being rude to someone else.

962
00:53:09,760 --> 00:53:10,200
Speaker 2: Yeah.

963
00:53:10,400 --> 00:53:12,960
Speaker 3: Anyway, later that night, Mike is getting ready to go

964
00:53:13,080 --> 00:53:16,400
Speaker 3: out on a date with Nichole, and he's like he

965
00:53:16,440 --> 00:53:18,359
Speaker 3: comes to talk to her, and he's sitting in her

966
00:53:18,360 --> 00:53:21,000
Speaker 3: living room reading a magazine while she's getting ready, she's

967
00:53:21,000 --> 00:53:24,799
Speaker 3: getting dressed, and then suddenly the manserrats tune into his

968
00:53:24,880 --> 00:53:28,120
Speaker 3: brain once more and take control. They make him leave

969
00:53:28,239 --> 00:53:32,480
Speaker 3: Nicholl's apartment. He goes out on the street down the lane.

970
00:53:33,160 --> 00:53:35,160
Speaker 3: Oh and there's a moment earlier in the day where

971
00:53:35,200 --> 00:53:38,200
Speaker 3: we saw a Stelle looking through a shop window where

972
00:53:38,239 --> 00:53:41,080
Speaker 3: she was admiring. At first I thought she was admiring

973
00:53:41,120 --> 00:53:43,640
Speaker 3: a tiger skin, but maybe she was admiring a fur

974
00:53:43,760 --> 00:53:44,760
Speaker 3: coat in the window.

975
00:53:45,360 --> 00:53:48,399
Speaker 2: Yeah, there's like a tiger skin beside it or behind it.

976
00:53:48,440 --> 00:53:50,439
Speaker 2: But yeah, at first I was like, Wow, she really

977
00:53:50,440 --> 00:53:52,680
Speaker 2: wants a tiger skin. That looks like it's gonna be

978
00:53:52,680 --> 00:53:56,080
Speaker 2: really easy to trace. Yeah, no's the code.

979
00:53:56,680 --> 00:54:00,840
Speaker 3: And it appears Estelle wants to have Mike crowbar the

980
00:54:00,880 --> 00:54:03,920
Speaker 3: door on the shop and steal the fur coat for her.

981
00:54:04,080 --> 00:54:08,000
Speaker 3: So he does, Mike, you know, he ratchets the door open,

982
00:54:08,719 --> 00:54:11,520
Speaker 3: and then an alarm goes off and then oh, here

983
00:54:11,520 --> 00:54:14,360
Speaker 3: comes a Bobby. There's a police officer who comes to

984
00:54:14,440 --> 00:54:17,400
Speaker 3: check things out, and there's peril while Mike is sneaking

985
00:54:17,440 --> 00:54:20,720
Speaker 3: around trying to avoid being caught. And during the scene,

986
00:54:21,200 --> 00:54:23,320
Speaker 3: I thought I picked up on and this is vindicated

987
00:54:23,400 --> 00:54:27,000
Speaker 3: later that Marcus looks worried, but a Stell seems kind

988
00:54:27,000 --> 00:54:30,920
Speaker 3: of excited by the danger. And when Mike gets away,

989
00:54:31,000 --> 00:54:34,239
Speaker 3: he stashes the fur coat in a trash can where

990
00:54:34,320 --> 00:54:36,320
Speaker 3: they say a Stell can go pick it up later.

991
00:54:37,280 --> 00:54:40,239
Speaker 3: But yeah, they have this experience. They make him do

992
00:54:40,320 --> 00:54:44,200
Speaker 3: a robbery and almost get caught. And then afterwards, Estelle

993
00:54:44,200 --> 00:54:46,360
Speaker 3: and Marcus are sitting at the table and they have

994
00:54:46,400 --> 00:54:50,160
Speaker 3: this conversation. She's like, didn't you feel the thrill? And

995
00:54:50,200 --> 00:54:53,080
Speaker 3: Marcus denies it. At first, He's like, no, no, that

996
00:54:53,200 --> 00:54:55,959
Speaker 3: was terrible. We shouldn't do that again. But Estelle says,

997
00:54:56,000 --> 00:54:59,440
Speaker 3: you did enjoy it. The thrill, you know, the risk,

998
00:54:59,560 --> 00:55:02,560
Speaker 3: the exhil. You can tell she is hooked.

999
00:55:03,360 --> 00:55:06,080
Speaker 2: Yeah, yeah, and he was. He really didn't want to

1000
00:55:06,120 --> 00:55:09,600
Speaker 2: do this, but also he didn't stop her from doing

1001
00:55:09,640 --> 00:55:13,200
Speaker 2: He's not We're absolutely not using this man. We're controlling

1002
00:55:13,280 --> 00:55:15,719
Speaker 2: body and soul. We're not going to use him to

1003
00:55:15,760 --> 00:55:18,360
Speaker 2: do crimes at all. He was more like, okay, maybe

1004
00:55:18,400 --> 00:55:22,280
Speaker 2: one crime, but just the one crime style, no additional crimes.

1005
00:55:22,320 --> 00:55:25,680
Speaker 2: And then she's like, but crimes are fun, and he's like, okay, yeah,

1006
00:55:25,719 --> 00:55:26,160
Speaker 2: you got me.

1007
00:55:26,480 --> 00:55:27,920
Speaker 3: Yeah.

1008
00:55:28,000 --> 00:55:28,160
Speaker 1: Oh.

1009
00:55:28,239 --> 00:55:31,000
Speaker 3: Another thing that is meaningful in this scene, we see

1010
00:55:31,080 --> 00:55:34,640
Speaker 3: Mike during the robbery cut his hand on something, and

1011
00:55:34,680 --> 00:55:37,880
Speaker 3: then afterwards we see Marcus and Estelle both have cuts

1012
00:55:37,920 --> 00:55:40,720
Speaker 3: on their own hands in the same place. So whatever

1013
00:55:40,960 --> 00:55:46,200
Speaker 3: injuries happened to Mike are psychically transmitted to the Monserrats

1014
00:55:46,200 --> 00:55:49,800
Speaker 3: as well. Now, later Mike goes back to apologize to Nicole.

1015
00:55:49,920 --> 00:55:53,840
Speaker 3: He confesses that he doesn't quite understand what is happening

1016
00:55:53,880 --> 00:55:58,239
Speaker 3: to him, and he is afraid, and we get as

1017
00:55:58,280 --> 00:56:00,840
Speaker 3: the audience this is unusual for him. Mike is not

1018
00:56:00,920 --> 00:56:03,799
Speaker 3: the type of person to usually say he's sorry or

1019
00:56:03,840 --> 00:56:07,960
Speaker 3: admit he's afraid. Now, next thing that happens, Estelle comes

1020
00:56:07,960 --> 00:56:11,320
Speaker 3: to Marcus one day and she's like, I was outside

1021
00:56:11,360 --> 00:56:13,480
Speaker 3: and I just saw a policeman stop a man on

1022
00:56:13,520 --> 00:56:18,839
Speaker 3: a motorbike for speeding. Marcus, did you ever experience it? Speed?

1023
00:56:19,320 --> 00:56:20,400
Speaker 3: Real speed?

1024
00:56:21,600 --> 00:56:23,799
Speaker 2: I like where this is going, though it does raise

1025
00:56:23,800 --> 00:56:25,680
Speaker 2: the question like couldn't they just ride the train? Is

1026
00:56:25,719 --> 00:56:28,800
Speaker 2: the train not fast enough? I feel like the train's

1027
00:56:28,840 --> 00:56:29,840
Speaker 2: plenty fast, but.

1028
00:56:30,040 --> 00:56:32,280
Speaker 3: The train feels too safe. The train's on the track.

1029
00:56:32,360 --> 00:56:36,440
Speaker 3: They want dangerous speed, that's right. So Mike and Nicole

1030
00:56:36,600 --> 00:56:40,359
Speaker 3: are they're having lunch, and Mike convinces Nicole to come

1031
00:56:40,360 --> 00:56:42,480
Speaker 3: out to the country with him. But how are they

1032
00:56:42,520 --> 00:56:45,240
Speaker 3: gonna get there? Why We're gonna steal our friend Alan's

1033
00:56:45,239 --> 00:56:49,560
Speaker 3: motorcycle without asking him. So Alan's like working at the

1034
00:56:49,680 --> 00:56:52,040
Speaker 3: mechanic shop and they just go up outside, get on

1035
00:56:52,080 --> 00:56:55,800
Speaker 3: his motorbike and drive away, and Alan's like, what what happened?

1036
00:56:56,200 --> 00:57:00,000
Speaker 2: Yeah? It gets rather reckless, like they're basically pulling aside

1037
00:57:00,120 --> 00:57:03,520
Speaker 2: Omania here if we without all the like overt harassing

1038
00:57:03,560 --> 00:57:04,000
Speaker 2: of people.

1039
00:57:04,280 --> 00:57:07,200
Speaker 3: Yeah, not the kicking over of pyramids of cans at

1040
00:57:07,200 --> 00:57:10,040
Speaker 3: the grocery store like in Psychomania. But they are doing

1041
00:57:10,120 --> 00:57:14,400
Speaker 3: Psychomania style speed demon stunts. And obviously Nicole is not

1042
00:57:14,600 --> 00:57:16,920
Speaker 3: into this. She's on the seat behind him yelling like

1043
00:57:17,000 --> 00:57:20,280
Speaker 3: slow down, but Mike is He won't slow down. He's

1044
00:57:20,320 --> 00:57:23,080
Speaker 3: just going faster and faster. And we see the Monserrats

1045
00:57:23,160 --> 00:57:25,960
Speaker 3: in their house there getting their kicks. Indeed, while the

1046
00:57:26,000 --> 00:57:26,920
Speaker 3: speed is going on.

1047
00:57:27,680 --> 00:57:30,240
Speaker 2: I wish my one wish for these scenes is I

1048
00:57:30,280 --> 00:57:32,080
Speaker 2: wish we would have had that effect, you know, where

1049
00:57:32,080 --> 00:57:34,440
Speaker 2: you like are blowing air on a person's face and

1050
00:57:34,480 --> 00:57:37,480
Speaker 2: getting the ripples. That would have been great. With the

1051
00:57:37,520 --> 00:57:40,560
Speaker 2: Manserrats in their just in their living rooms, they're like, yes,

1052
00:57:40,720 --> 00:57:41,680
Speaker 2: the speed.

1053
00:57:42,080 --> 00:57:44,200
Speaker 3: That would be really good. It would make sense because

1054
00:57:44,200 --> 00:57:46,080
Speaker 3: they get the cuts that surely they would get the

1055
00:57:46,160 --> 00:57:46,760
Speaker 3: ripples too.

1056
00:57:47,320 --> 00:57:47,840
Speaker 2: Yeah, why not?

1057
00:57:48,520 --> 00:57:50,720
Speaker 3: Also, I just want to note in this scene, so

1058
00:57:51,080 --> 00:57:53,480
Speaker 3: both Mike and Nicole are on the motorcycle. She's like

1059
00:57:53,520 --> 00:57:56,120
Speaker 3: holding onto the back of him, riding behind. Mike has

1060
00:57:56,200 --> 00:57:57,560
Speaker 3: goggles and Nicole does not.

1061
00:58:00,000 --> 00:58:01,920
Speaker 2: Oh, they did steal it. I don't know how if

1062
00:58:02,000 --> 00:58:04,680
Speaker 2: Allen was, you know, had an extra pair of goggles

1063
00:58:04,680 --> 00:58:05,120
Speaker 2: on hand.

1064
00:58:05,520 --> 00:58:07,800
Speaker 3: I guess so. I mean I was thinking, Mike, that

1065
00:58:07,880 --> 00:58:09,800
Speaker 3: is not very chivalrous of you. But I guess. On

1066
00:58:09,840 --> 00:58:11,720
Speaker 3: the other hand, he's the one driving, so maybe he

1067
00:58:11,760 --> 00:58:12,640
Speaker 3: needs to see more.

1068
00:58:12,680 --> 00:58:14,800
Speaker 2: I don't know, right, And he's not even without the

1069
00:58:14,840 --> 00:58:16,880
Speaker 2: mind control, he's not particularly thoughtful.

1070
00:58:18,920 --> 00:58:19,040
Speaker 4: Uh.

1071
00:58:19,120 --> 00:58:22,120
Speaker 3: So they returned the motorbike after their speed demon stunts,

1072
00:58:22,360 --> 00:58:25,680
Speaker 3: and for I don't remember why this starts happening, but

1073
00:58:25,880 --> 00:58:27,760
Speaker 3: Mike just starts punching Alan.

1074
00:58:28,800 --> 00:58:31,520
Speaker 2: Yeah, they get into a fight over I mean, I

1075
00:58:31,520 --> 00:58:34,200
Speaker 2: guess it's over the motorcycle, like you took my motorcycle.

1076
00:58:34,240 --> 00:58:36,920
Speaker 2: You didn't ask for it. And then this quickly escalates,

1077
00:58:37,480 --> 00:58:40,040
Speaker 2: and I mean part of the reason it escalates is

1078
00:58:40,080 --> 00:58:45,240
Speaker 2: because clearly the people controlling Mike are excited by all

1079
00:58:45,320 --> 00:58:49,560
Speaker 2: manner of sensations, including a knockout brawl in a garage.

1080
00:58:50,120 --> 00:58:53,400
Speaker 3: So yeah, Mike starts beating Alan up and then also

1081
00:58:53,480 --> 00:58:57,160
Speaker 3: beating his boss Ron up. He hits Ron with a pipe.

1082
00:58:57,680 --> 00:59:00,480
Speaker 3: At one point, he's like wrestling with Alan on the

1083
00:59:00,520 --> 00:59:03,160
Speaker 3: floor of this mechanic shop and they are fighting under

1084
00:59:03,160 --> 00:59:06,840
Speaker 3: a descending auto lift. I was like, oh god, that

1085
00:59:06,840 --> 00:59:09,680
Speaker 3: that's gross. But they managed to get out from under

1086
00:59:09,680 --> 00:59:12,320
Speaker 3: it before it. You know, nobody gets crushed. They do

1087
00:59:12,360 --> 00:59:15,000
Speaker 3: get a bunch of motor oils spilled on them, and

1088
00:59:15,120 --> 00:59:18,760
Speaker 3: he Mike beats up Alan until he's basically unconscious. He's

1089
00:59:18,760 --> 00:59:21,720
Speaker 3: like bloody. He hits his boss with a pipe, and

1090
00:59:22,200 --> 00:59:24,880
Speaker 3: then he's like, okay, I'm done with that and he leaves.

1091
00:59:25,440 --> 00:59:29,440
Speaker 3: Now this leads to a clear conflict between Estelle and Marcus.

1092
00:59:29,960 --> 00:59:33,040
Speaker 3: A Stelle has a taste for power. Now, she likes

1093
00:59:33,080 --> 00:59:36,920
Speaker 3: the violence, she likes the mayhem, and Marcus is like,

1094
00:59:37,000 --> 00:59:39,120
Speaker 3: we can't do this. We've got to stop, and she

1095
00:59:39,320 --> 00:59:42,800
Speaker 3: rebukes Marcus for trying to stop her. So Marcus says,

1096
00:59:43,400 --> 00:59:45,600
Speaker 3: I can't let you do this anymore. I'm going to

1097
00:59:45,600 --> 00:59:47,600
Speaker 3: set the boy free. I'm going to bring him back here,

1098
00:59:47,640 --> 00:59:51,320
Speaker 3: and I'm going to deprocess him with my equipment. Estelle says,

1099
00:59:51,360 --> 00:59:54,080
Speaker 3: I will not allow it. You will never deprocess him,

1100
00:59:54,440 --> 00:59:57,360
Speaker 3: and she injures Marcus somehow, like I think she breaks

1101
00:59:57,360 --> 00:59:59,920
Speaker 3: his leg or something. And then she goes into the

1102
01:00:00,080 --> 01:00:03,520
Speaker 3: room with white walls and smashes his equipment. So now

1103
01:00:03,560 --> 01:00:04,920
Speaker 3: it cannot be undone.

1104
01:00:05,600 --> 01:00:06,760
Speaker 2: The link is permanent.

1105
01:00:06,800 --> 01:00:09,720
Speaker 3: Now Marcus is crawling on the floor to her feet.

1106
01:00:10,080 --> 01:00:12,400
Speaker 3: He says, I'll stop you, and she says, you can

1107
01:00:12,440 --> 01:00:14,919
Speaker 3: never stop me, and she whacks him on the head

1108
01:00:14,960 --> 01:00:18,520
Speaker 3: and knocks him out. So I mentioned earlier that Estelle

1109
01:00:18,640 --> 01:00:21,600
Speaker 3: takes a really surprising direction. I would not have predicted

1110
01:00:22,000 --> 01:00:24,160
Speaker 3: this is how the movie would go from the first

1111
01:00:24,160 --> 01:00:25,160
Speaker 3: time we meet them.

1112
01:00:25,520 --> 01:00:27,960
Speaker 2: Right, I mean, especially since the posters are really selling

1113
01:00:28,000 --> 01:00:31,280
Speaker 2: the Carloff angle. You know, you've seen Carloff in so

1114
01:00:31,360 --> 01:00:33,520
Speaker 2: many roles where he is I mean not he's not

1115
01:00:33,560 --> 01:00:37,000
Speaker 2: always the villain, but he is. He has a legacy

1116
01:00:37,040 --> 01:00:39,919
Speaker 2: of playing a very effective villain, and so you think

1117
01:00:39,960 --> 01:00:42,480
Speaker 2: that's what he is going to be here. But no,

1118
01:00:42,480 --> 01:00:45,520
Speaker 2: now it's clear that Estelle is the real risk. She

1119
01:00:45,720 --> 01:00:47,960
Speaker 2: is the one that is going to just burn this

1120
01:00:48,080 --> 01:00:51,600
Speaker 2: psychic link into the ground. You know, she's gonna, you

1121
01:00:51,640 --> 01:00:54,560
Speaker 2: know what, she wants to feel everything through Mike for

1122
01:00:54,640 --> 01:00:58,040
Speaker 2: as long as she can, and it doesn't matter who's

1123
01:00:58,080 --> 01:01:04,920
Speaker 2: trying to stand in her way.

1124
01:01:08,360 --> 01:01:10,920
Speaker 3: So from here it just gets worse and worse. What's

1125
01:01:11,000 --> 01:01:13,280
Speaker 3: the next thing. I mean, they've already had him stealing

1126
01:01:13,280 --> 01:01:17,080
Speaker 3: his friend's motorcycle, doing death defying psychomania stunts, and then

1127
01:01:17,120 --> 01:01:19,520
Speaker 3: beating his friend up for no reason. They gotta go

1128
01:01:19,560 --> 01:01:20,480
Speaker 3: to murder, right.

1129
01:01:20,680 --> 01:01:22,560
Speaker 2: That's right. I mean, she's driving this brain like she

1130
01:01:22,640 --> 01:01:26,160
Speaker 2: stole it, and she did steal it, and that's just

1131
01:01:26,240 --> 01:01:30,880
Speaker 2: the next next destination on the list for sure.

1132
01:01:31,680 --> 01:01:34,000
Speaker 3: So they have Mike go well, not that I think

1133
01:01:34,040 --> 01:01:36,080
Speaker 3: it's just a stell in control. Now she has Mike

1134
01:01:36,120 --> 01:01:40,560
Speaker 3: go visit an old girlfriend named Audrey, and Mike goes

1135
01:01:40,600 --> 01:01:44,200
Speaker 3: to her apartment. He explained, this is Susan George. I think, yeah,

1136
01:01:44,200 --> 01:01:47,160
Speaker 3: so not and again not much of a role here. Yeah,

1137
01:01:47,200 --> 01:01:51,360
Speaker 3: he goes to her apartment. He explains his predicament. He says,

1138
01:01:51,400 --> 01:01:55,080
Speaker 3: I'm doing things without understanding why I need help. But

1139
01:01:55,440 --> 01:01:59,040
Speaker 3: while he's there, Estelle turns on the turns on Mike

1140
01:01:59,200 --> 01:02:04,200
Speaker 3: radio and starts controlling him, and she takes control and

1141
01:02:04,280 --> 01:02:06,720
Speaker 3: makes him murder Audrey with a pair of scissors. So

1142
01:02:06,800 --> 01:02:08,440
Speaker 3: Mike has now done murder.

1143
01:02:08,840 --> 01:02:11,520
Speaker 2: Yeah, so we're in a really dark trajectory at this point.

1144
01:02:11,720 --> 01:02:15,560
Speaker 3: Yeah. Marcus again rebukes her. Karloff is like immobilized in

1145
01:02:15,600 --> 01:02:17,720
Speaker 3: the corner. I think he might be tied up or something.

1146
01:02:18,080 --> 01:02:20,720
Speaker 3: He's like, you know, you can't do this, you must stop.

1147
01:02:21,120 --> 01:02:25,520
Speaker 3: But it seems that Estelle somehow now has more power

1148
01:02:25,680 --> 01:02:29,040
Speaker 3: over Mike than Marcus does. Like you would think maybe

1149
01:02:29,040 --> 01:02:31,200
Speaker 3: they would both control him equally and he would be

1150
01:02:31,280 --> 01:02:35,120
Speaker 3: kind of conflicted. But it seems that when Estelle wants

1151
01:02:35,160 --> 01:02:39,640
Speaker 3: to make Mike do crime, she can just make him

1152
01:02:39,640 --> 01:02:42,800
Speaker 3: do it, despite Marcus resisting. And so I wonder how

1153
01:02:42,840 --> 01:02:45,520
Speaker 3: that is supposed to work. Are we supposed to understand

1154
01:02:45,560 --> 01:02:49,640
Speaker 3: that Astelle is just stronger psychically than Marcus is. That's

1155
01:02:49,640 --> 01:02:52,440
Speaker 3: how she explains it. She says, my will is stronger

1156
01:02:52,480 --> 01:02:57,120
Speaker 3: than yours, or you could understand it as maybe Marcus

1157
01:02:58,240 --> 01:03:02,040
Speaker 3: wishes he maybe thinks he should resist her, but can't

1158
01:03:02,040 --> 01:03:05,120
Speaker 3: bring himself to do it, can't really like stop her.

1159
01:03:05,160 --> 01:03:07,480
Speaker 3: Maybe he just wants her to be able to do

1160
01:03:07,640 --> 01:03:10,120
Speaker 3: what she does, even though he knows he shouldn't want that.

1161
01:03:10,920 --> 01:03:12,760
Speaker 3: Or maybe there's something else going on.

1162
01:03:12,840 --> 01:03:15,920
Speaker 2: I don't know, Yeah, I do. Like how since we

1163
01:03:16,040 --> 01:03:20,480
Speaker 2: don't have all the answers and concerning this exact psychic arrangement,

1164
01:03:21,120 --> 01:03:24,440
Speaker 2: we are led to interpret it in various ways, and

1165
01:03:24,920 --> 01:03:27,080
Speaker 2: it is a fun exercise at least, you know, for

1166
01:03:27,240 --> 01:03:29,400
Speaker 2: viewers like us to try and figure out exactly.

1167
01:03:29,160 --> 01:03:32,080
Speaker 3: How it works. But Estelle needs more blood. One murder

1168
01:03:32,120 --> 01:03:35,640
Speaker 3: is not enough, so she next makes Mike go to

1169
01:03:35,800 --> 01:03:38,320
Speaker 3: the rock club and start flirting with the singer of

1170
01:03:38,360 --> 01:03:40,640
Speaker 3: the rock band, and that they hit it off, and

1171
01:03:40,720 --> 01:03:42,840
Speaker 3: she leaves with him. They go for a walk somewhere

1172
01:03:43,240 --> 01:03:46,040
Speaker 3: and they walk, they like, take a cab to an alleyway,

1173
01:03:46,280 --> 01:03:50,440
Speaker 3: walk into the alleyway, and then Mike starts singing, sing

1174
01:03:50,520 --> 01:03:52,840
Speaker 3: for us, sing for us now, and she's like, what,

1175
01:03:53,000 --> 01:03:55,959
Speaker 3: I don't have my band here, I can't sing, and

1176
01:03:56,160 --> 01:03:58,280
Speaker 3: he's like, you must sing for us right now, and

1177
01:03:58,280 --> 01:04:01,960
Speaker 3: then he moves it her menacingly and murders her, and

1178
01:04:02,000 --> 01:04:04,840
Speaker 3: again Marcus and Estelle try to fight. Marcus says stay

1179
01:04:04,880 --> 01:04:07,240
Speaker 3: away from her, don't do it, but Estelle is saying

1180
01:04:07,360 --> 01:04:08,280
Speaker 3: kill her now.

1181
01:04:09,440 --> 01:04:13,200
Speaker 2: Yeah. So now that's two murders that Mike has committed

1182
01:04:13,400 --> 01:04:18,400
Speaker 2: on behalf of Estelle Anestelle's pretty much in the clear here, Like,

1183
01:04:18,520 --> 01:04:21,200
Speaker 2: how could he ever be connected to them in a

1184
01:04:21,280 --> 01:04:23,960
Speaker 2: meaningful way in a way that would put them in

1185
01:04:24,080 --> 01:04:24,880
Speaker 2: legal jeopardy?

1186
01:04:25,040 --> 01:04:28,080
Speaker 3: That's right? So the next day, Nicole and Alan start

1187
01:04:28,080 --> 01:04:30,960
Speaker 3: to piece things together. They look at a newspaper together

1188
01:04:31,000 --> 01:04:34,560
Speaker 3: that says pop star murdered and they had been at

1189
01:04:34,560 --> 01:04:37,440
Speaker 3: the club the night before. They saw Mike leaving this

1190
01:04:37,640 --> 01:04:40,360
Speaker 3: with this woman, and they're like, oh, now she's dead.

1191
01:04:40,520 --> 01:04:44,080
Speaker 3: They know what's going on. So they say they're gonna

1192
01:04:44,240 --> 01:04:49,040
Speaker 3: go have to confront Mike at work. Meanwhile, we see

1193
01:04:49,240 --> 01:04:53,320
Speaker 3: the Monserrats. For some reason, Estelle seems to be drinking heavily. Now,

1194
01:04:53,360 --> 01:04:55,120
Speaker 3: I didn't know quite what to make of that, especially

1195
01:04:55,200 --> 01:04:57,200
Speaker 3: since she didn't even have to do it herself. Can't

1196
01:04:57,200 --> 01:04:59,680
Speaker 3: she just get Mike to do it to have the experience.

1197
01:05:00,320 --> 01:05:03,919
Speaker 2: Yeah, they seem to rather opposed to alcohol earlier, but yeah,

1198
01:05:03,920 --> 01:05:05,520
Speaker 2: so I'm not sure how this actually fits.

1199
01:05:05,560 --> 01:05:10,360
Speaker 3: In another development, I think the cab driver who drove

1200
01:05:11,200 --> 01:05:14,160
Speaker 3: Mike and the in his murder victim the night before,

1201
01:05:14,200 --> 01:05:17,800
Speaker 3: he recognizes the woman from the newspaper. He's like, oh,

1202
01:05:18,120 --> 01:05:20,600
Speaker 3: I know them, so he alerts the police, and the

1203
01:05:20,920 --> 01:05:24,600
Speaker 3: police are now in the case. Amidst all this, Mike

1204
01:05:24,720 --> 01:05:28,520
Speaker 3: is still going to work at the antique shop, and

1205
01:05:28,720 --> 01:05:32,560
Speaker 3: Nicole and Allan go and confront him there. He first

1206
01:05:32,560 --> 01:05:34,640
Speaker 3: claims he has no memory of the murders. I'm not

1207
01:05:34,640 --> 01:05:37,760
Speaker 3: sure if he actually has no memory, but he's protesting

1208
01:05:37,800 --> 01:05:40,360
Speaker 3: that he doesn't remember them. Maybe his memories are vague.

1209
01:05:40,840 --> 01:05:43,280
Speaker 3: But Alan and Nicole have put it all together. They

1210
01:05:43,320 --> 01:05:46,680
Speaker 3: know Mike did the killings. They confront him, and then

1211
01:05:46,800 --> 01:05:50,760
Speaker 3: during the confrontation, Estelle tunes in and takes control and

1212
01:05:50,800 --> 01:05:53,920
Speaker 3: makes Mike attack Alan with the letter opener, but the

1213
01:05:53,920 --> 01:05:56,600
Speaker 3: police are arriving, so before he can finish Alan off,

1214
01:05:57,200 --> 01:05:59,560
Speaker 3: Mike runs off. He jumps in a car and speeds away.

1215
01:05:59,840 --> 01:06:02,960
Speaker 3: The police are in pursuit, along with Alan and Nicole

1216
01:06:03,480 --> 01:06:06,520
Speaker 3: and Marcus and Estelle. During this chase scene that the

1217
01:06:06,560 --> 01:06:10,600
Speaker 3: final the final Showdown is essentially like the police are

1218
01:06:10,680 --> 01:06:13,920
Speaker 3: chasing Mike in physical space, but Marcus and Estelle are

1219
01:06:13,960 --> 01:06:17,480
Speaker 3: fighting for control of Mike in the psychic space, and

1220
01:06:17,600 --> 01:06:21,640
Speaker 3: ultimately I think Marcus is able to take control back

1221
01:06:21,760 --> 01:06:24,160
Speaker 3: and makes Mike wreck the car.

1222
01:06:25,440 --> 01:06:29,840
Speaker 2: Yeah. Yeah, so we get this horrifying wreck in which,

1223
01:06:30,320 --> 01:06:33,040
Speaker 2: like I believe that the vehicles turned upside down, there's

1224
01:06:33,040 --> 01:06:36,000
Speaker 2: gasoline linking leaking all over the place, and then it

1225
01:06:36,280 --> 01:06:39,720
Speaker 2: erupts in a ball of fire. Right does the police

1226
01:06:39,720 --> 01:06:42,200
Speaker 2: are arriving on the scene? Right is Alan and Nicole

1227
01:06:42,280 --> 01:06:47,000
Speaker 2: are arriving? And also that that wonderfully stereotypical police inspector

1228
01:06:47,520 --> 01:06:51,160
Speaker 2: looks like every police inspector in every film like this.

1229
01:06:51,520 --> 01:06:53,320
Speaker 2: He just kind of like strolls up he seeing it

1230
01:06:53,320 --> 01:06:56,320
Speaker 2: allays like, what do we got here? Psychic controlled mind

1231
01:06:56,320 --> 01:06:58,720
Speaker 2: control thing burning up in a car. Yeah, I've seen

1232
01:06:58,760 --> 01:06:59,160
Speaker 2: it before.

1233
01:07:00,040 --> 01:07:02,600
Speaker 3: That's the thing that the police inspector does in all

1234
01:07:02,600 --> 01:07:06,040
Speaker 3: these movies, which is like make he'd like physically turns

1235
01:07:06,120 --> 01:07:09,400
Speaker 3: the bodies of Mike's friends around so they're not looking

1236
01:07:09,440 --> 01:07:10,000
Speaker 3: at the rack.

1237
01:07:10,400 --> 01:07:12,280
Speaker 2: Yeah, stop look at that. You don't want to look

1238
01:07:12,280 --> 01:07:14,960
Speaker 2: at that. Come on, we got paperwork, fiot, nothing to

1239
01:07:14,960 --> 01:07:18,640
Speaker 2: see here, folks. So big ball of fire erupts, burning

1240
01:07:18,680 --> 01:07:21,480
Speaker 2: Mike up. Mike is dad at this point. But then

1241
01:07:21,520 --> 01:07:24,920
Speaker 2: we get we cut back to the Manserrats, and it's

1242
01:07:24,920 --> 01:07:25,720
Speaker 2: pretty horrifying.

1243
01:07:26,400 --> 01:07:29,960
Speaker 3: That's right in their apartment, remember the cut from the robbery.

1244
01:07:30,080 --> 01:07:33,200
Speaker 3: They are now both charred. They're just charred corpses in

1245
01:07:33,240 --> 01:07:33,880
Speaker 3: their apartment.

1246
01:07:34,600 --> 01:07:38,280
Speaker 2: Yeah, so fiery ending here, I think hits pretty hard

1247
01:07:39,400 --> 01:07:43,600
Speaker 2: and ultimately, man, what a weird film for so many reasons.

1248
01:07:43,600 --> 01:07:45,440
Speaker 2: But one of them that I think stands out once

1249
01:07:45,480 --> 01:07:47,720
Speaker 2: you get to the end of the whole narrative is

1250
01:07:47,720 --> 01:07:51,720
Speaker 2: that our antagonists are barely encountered by the other characters

1251
01:07:51,720 --> 01:07:54,120
Speaker 2: in the film and are for all intents and purposes

1252
01:07:54,520 --> 01:07:59,080
Speaker 2: unknown to them. Like you might have expected these threads

1253
01:07:59,120 --> 01:08:03,200
Speaker 2: to come back together and cross, like somehow Mike returns

1254
01:08:03,240 --> 01:08:05,880
Speaker 2: to Marcus and Estelle and there's some sort of a

1255
01:08:05,880 --> 01:08:09,000
Speaker 2: showdown there, or that Alan and Nicole are able to

1256
01:08:09,000 --> 01:08:12,080
Speaker 2: put it together truly somehow, you know, and figure out

1257
01:08:12,080 --> 01:08:14,439
Speaker 2: what the psychic connection is. But that doesn't happen either.

1258
01:08:14,840 --> 01:08:17,479
Speaker 3: No, that's a good point, like there's there's going to

1259
01:08:17,520 --> 01:08:21,799
Speaker 3: be no retrospective resolution for the rest of the character

1260
01:08:21,960 --> 01:08:24,479
Speaker 3: is It's just like no one will ever know that

1261
01:08:24,520 --> 01:08:26,799
Speaker 3: the mons Rots did this right.

1262
01:08:27,200 --> 01:08:29,200
Speaker 2: Right, Yeah, I mean someone's just going to find a

1263
01:08:29,240 --> 01:08:32,160
Speaker 2: couple of burned bodies. There might be some ideas that

1264
01:08:32,200 --> 01:08:35,200
Speaker 2: it was spontaneous human combustion or something. They're going to

1265
01:08:35,280 --> 01:08:38,759
Speaker 2: find some smashed equipment, you know, in the next room,

1266
01:08:38,840 --> 01:08:42,040
Speaker 2: and probably investigators are not going to make anything out

1267
01:08:42,080 --> 01:08:44,559
Speaker 2: of that, you know, unless you got a sequel in mind,

1268
01:08:44,760 --> 01:08:48,679
Speaker 2: but otherwise not so. Yeah, it's it's a very very

1269
01:08:48,720 --> 01:08:51,759
Speaker 2: odd plot structure for this film.

1270
01:08:52,160 --> 01:08:54,400
Speaker 3: What do you make of the thing? Where so they're

1271
01:08:54,439 --> 01:08:58,960
Speaker 3: having that conversation early on where Estelle and Marcus are like, oh,

1272
01:08:59,000 --> 01:09:01,200
Speaker 3: these young people, they're just out looking for their kicks.

1273
01:09:01,200 --> 01:09:04,000
Speaker 3: They're out, you know, wandering the streets on pills, looking

1274
01:09:04,040 --> 01:09:08,680
Speaker 3: for experiences. But ultimately it is both of them, but

1275
01:09:08,800 --> 01:09:13,920
Speaker 3: especially Estelle, who are the really depraved pleasure seekers. You know,

1276
01:09:14,000 --> 01:09:18,640
Speaker 3: they're looking for these experiences no matter who's harmed by it,

1277
01:09:19,160 --> 01:09:23,080
Speaker 3: that they must feel something new. And it seems maybe

1278
01:09:23,120 --> 01:09:26,640
Speaker 3: implied that it is even more so the case because

1279
01:09:26,720 --> 01:09:29,439
Speaker 3: they are old and their bodies have become feeble, that

1280
01:09:29,520 --> 01:09:32,800
Speaker 3: they're like this somehow puts them in an even more

1281
01:09:32,920 --> 01:09:35,640
Speaker 3: extreme pleasure seeking mindset.

1282
01:09:36,160 --> 01:09:38,760
Speaker 2: Yeah, yeah, that seems to be the direction they're going

1283
01:09:38,800 --> 01:09:40,559
Speaker 2: in and like, ultimately, I guess, kind of pointing the

1284
01:09:40,560 --> 01:09:43,920
Speaker 2: finger at the old people and saying, well, you know,

1285
01:09:43,960 --> 01:09:46,559
Speaker 2: you judge us, But what would you do if you

1286
01:09:46,560 --> 01:09:51,120
Speaker 2: had psychic controlled of our bodies, you know, with no

1287
01:09:51,160 --> 01:09:53,160
Speaker 2: way to connect you to the crimes you commit through

1288
01:09:53,200 --> 01:09:55,439
Speaker 2: our bodies? Which I guess is kind of a weighted

1289
01:09:55,520 --> 01:09:57,839
Speaker 2: question because it's like it's ultimately that sort of absolute

1290
01:09:57,920 --> 01:10:02,680
Speaker 2: power corrupts absolutely scenario where it ultimately doesn't matter if

1291
01:10:02,680 --> 01:10:05,559
Speaker 2: you are an old person, a young person, middle aged person, etc.

1292
01:10:05,880 --> 01:10:08,800
Speaker 2: But if you have complete control over this other individual

1293
01:10:08,840 --> 01:10:12,120
Speaker 2: psychically and there's no way that they can be really

1294
01:10:12,160 --> 01:10:14,200
Speaker 2: connected to you again in a meaningful way, in a

1295
01:10:14,200 --> 01:10:20,639
Speaker 2: way where like legal powers could rail against you, then yeah,

1296
01:10:20,960 --> 01:10:23,360
Speaker 2: it would be this huge temptation for a lot of people.

1297
01:10:24,600 --> 01:10:27,839
Speaker 2: But I guess maybe it's kind of like a leveling

1298
01:10:27,920 --> 01:10:30,080
Speaker 2: of the moral high ground here. It's like, well, you

1299
01:10:30,479 --> 01:10:34,439
Speaker 2: really don't have room to judge the youth culture because again,

1300
01:10:34,760 --> 01:10:39,439
Speaker 2: if you had mad psychic technology, where would that leave you.

1301
01:10:39,920 --> 01:10:42,160
Speaker 3: It is interesting that, you know, I think there are

1302
01:10:43,040 --> 01:10:48,400
Speaker 3: certain moral themes that are commonly attached to certain speculative

1303
01:10:48,439 --> 01:10:52,760
Speaker 3: elements in science fiction and fantasy movies, and weirdly, I think,

1304
01:10:52,800 --> 01:10:55,160
Speaker 3: despite the fact that this is a mind control movie,

1305
01:10:55,240 --> 01:10:59,320
Speaker 3: usually mind control elements are linked to themes having to

1306
01:10:59,360 --> 01:11:03,680
Speaker 3: do with like free will and things like that. I

1307
01:11:03,720 --> 01:11:05,800
Speaker 3: don't think the movie deals with that quite as much.

1308
01:11:06,240 --> 01:11:10,519
Speaker 3: It's more like the movies that are about invisibility, where

1309
01:11:10,560 --> 01:11:14,080
Speaker 3: the common moral themes are what would you do if, like,

1310
01:11:14,200 --> 01:11:17,040
Speaker 3: you know, you could do anything you wanted and get

1311
01:11:17,080 --> 01:11:18,559
Speaker 3: away with it. What would you do if there were

1312
01:11:18,560 --> 01:11:21,680
Speaker 3: no consequences and you could never be traced back to

1313
01:11:21,720 --> 01:11:22,400
Speaker 3: your crimes?

1314
01:11:23,000 --> 01:11:25,840
Speaker 2: Yeah, And I think in many ways it reads like like,

1315
01:11:25,880 --> 01:11:27,880
Speaker 2: if you were to sort of like strip this down

1316
01:11:27,960 --> 01:11:31,240
Speaker 2: to its basic structure, this is a story about an

1317
01:11:31,240 --> 01:11:35,800
Speaker 2: elderly couple who end up acquiring a pretty severe drug

1318
01:11:35,800 --> 01:11:38,799
Speaker 2: addiction late in life. You know, like you could compare

1319
01:11:38,880 --> 01:11:42,400
Speaker 2: their use of mind control here to use of some

1320
01:11:42,439 --> 01:11:44,800
Speaker 2: sort of a powerful opiate that just turns out to

1321
01:11:44,840 --> 01:11:48,120
Speaker 2: just be way, way too strong for the individuals involved

1322
01:11:48,120 --> 01:11:48,599
Speaker 2: to handle.

1323
01:11:49,360 --> 01:11:53,160
Speaker 3: Yeah. So anyway, I think there is some interesting thematic complexity,

1324
01:11:53,160 --> 01:11:55,240
Speaker 3: but I think a lot of the more interesting stuff

1325
01:11:55,280 --> 01:11:57,920
Speaker 3: is really subtext. It's not really it's not really in

1326
01:11:58,040 --> 01:11:59,840
Speaker 3: the script or on the screen. It's kind of like

1327
01:12:00,040 --> 01:12:02,080
Speaker 3: if you think about it.

1328
01:12:02,280 --> 01:12:05,320
Speaker 2: Yeah, I agree. It makes it a very interesting film

1329
01:12:05,360 --> 01:12:10,680
Speaker 2: to contemplate, though perhaps not as compelling just as a

1330
01:12:10,720 --> 01:12:14,639
Speaker 2: thriller or a horror film or anything like that as

1331
01:12:14,640 --> 01:12:16,280
Speaker 2: it could have been. You know, like you can imagine

1332
01:12:16,320 --> 01:12:18,760
Speaker 2: ways in which this basic plot could be tightened up

1333
01:12:18,920 --> 01:12:21,920
Speaker 2: or kind of like pushed in other directions, Like this

1334
01:12:21,960 --> 01:12:25,280
Speaker 2: would have been a really cool concept for a Jallo film,

1335
01:12:25,320 --> 01:12:27,360
Speaker 2: you know, like a film that is just going to

1336
01:12:27,439 --> 01:12:30,439
Speaker 2: really be mostly delivered on the strength of its grizzly

1337
01:12:30,520 --> 01:12:32,920
Speaker 2: murders and you know, its score and so forth in

1338
01:12:32,960 --> 01:12:36,120
Speaker 2: its style. But you know, it's kind of an interesting

1339
01:12:36,240 --> 01:12:39,880
Speaker 2: structure that could help set something like that apart from

1340
01:12:39,920 --> 01:12:42,280
Speaker 2: a lot of the sameness that you encounter in that

1341
01:12:42,400 --> 01:12:43,040
Speaker 2: kind of genre.

1342
01:12:43,479 --> 01:12:44,480
Speaker 3: Yeah, I agree.

1343
01:12:44,840 --> 01:12:47,599
Speaker 2: All right, So there you have it. Nineteen sixty seven's

1344
01:12:47,680 --> 01:12:50,599
Speaker 2: The Sorcerers. We'd love to hear from you out there

1345
01:12:50,600 --> 01:12:52,040
Speaker 2: if you happen to watch this one as well, and

1346
01:12:52,080 --> 01:12:55,320
Speaker 2: you have thoughts about any of the themes, performances, and

1347
01:12:55,360 --> 01:12:58,400
Speaker 2: so forth involved here, or any of the other movies

1348
01:12:58,439 --> 01:13:00,720
Speaker 2: we mentioned in the course of this episode, such as

1349
01:13:00,760 --> 01:13:03,040
Speaker 2: which Finder General write in. We would love to hear

1350
01:13:03,120 --> 01:13:06,000
Speaker 2: from you a reminder that we're primarily a science podcast

1351
01:13:06,000 --> 01:13:07,840
Speaker 2: here at Stuff to Blow Your Mind, but on Fridays

1352
01:13:07,880 --> 01:13:09,680
Speaker 2: and the Stuff to Blow Your Mind podcast feed we

1353
01:13:09,720 --> 01:13:12,040
Speaker 2: set aside most serious concerns to talk about a weird

1354
01:13:12,080 --> 01:13:15,040
Speaker 2: film here on Weird House Cinema. And if you would

1355
01:13:15,120 --> 01:13:17,120
Speaker 2: like to go back through the archives and see what

1356
01:13:17,160 --> 01:13:20,280
Speaker 2: other films we've talked about, well, you can go to

1357
01:13:20,560 --> 01:13:22,840
Speaker 2: letterboxed dot com. That's l E T T e r

1358
01:13:22,920 --> 01:13:25,880
Speaker 2: box d dot com. You will find us on there.

1359
01:13:25,920 --> 01:13:28,360
Speaker 2: Our username is weird House and there's a list there

1360
01:13:28,360 --> 01:13:30,080
Speaker 2: of all the movies we've covered over the years, and

1361
01:13:30,120 --> 01:13:32,519
Speaker 2: you can start you start going through and see which

1362
01:13:32,520 --> 01:13:33,320
Speaker 2: one's interest you.

1363
01:13:33,600 --> 01:13:37,120
Speaker 3: Huge thanks to our excellent audio producer Jjposway. If you

1364
01:13:37,160 --> 01:13:39,160
Speaker 3: would like to get in touch with us with feedback

1365
01:13:39,200 --> 01:13:41,519
Speaker 3: on this episode or any other, to suggest a topic

1366
01:13:41,560 --> 01:13:43,880
Speaker 3: for the future, or just to say hello, you can

1367
01:13:43,920 --> 01:13:54,160
Speaker 3: email us at contact Stuff to Blow your Mind dot com.

1368
01:13:54,280 --> 01:13:57,240
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1369
01:13:57,320 --> 01:14:00,000
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app.

1370
01:14:00,240 --> 01:14:03,000
Speaker 1: Apple podcasts are wherever you listen to your favorite shows.