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

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Speaker 1: What do we have for you here today? Oh, it's

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Speaker 1: a spooky one from last year. It originally published 10-10-2025.

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Speaker 1: Frankenstein meets the Wolfman. This one's a lot of fun.

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Speaker 1: Universal horror monster mash here. Got a pretty great Frankenstein.

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Speaker 1: Pretty great werewolf. This one's a lot of fun. Really

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Speaker 1: enjoyed it. So let's go ahead and jump right into it.

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

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick.

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Speaker 1: In this October episode of Weird House Cinema, we return

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Speaker 1: once more to the classic universal horror pictures of yesteryear.

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Speaker 1: And I picked this one in large part because It

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Speaker 1: played here in Atlanta at the Plaza Theater as part

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Speaker 1: of the Silver Screen Spook Show. And I'm a sucker

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Speaker 1: for the chance to see a gorgeous-looking black-and-white horror film

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Speaker 1: in a historic theater that likely showed this movie back

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Speaker 1: in 1943. It's hard to get exact. I think you'd

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Speaker 1: have to go in and look at newspaper clippings and

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Speaker 1: so forth to figure out what exactly played there. But

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Speaker 1: given that this was a major release and a popular film,

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Speaker 1: there's a very good chance that it played at that

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Speaker 1: particular theater back in the day.

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Speaker 3: If I had a time machine. Yeah. To see the

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Speaker 3: either excitement or disappointment on the children's faces when we

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Speaker 3: get to the closing credits. That's true.

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Speaker 1: I mean, the children who are wanting the monster mash

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Speaker 1: that this movie offers up, they're going to have to

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Speaker 1: wait a little bit. There's not a lot of mashing

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Speaker 1: at first.

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Speaker 3: So do we say what the movie is yet? It's

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Speaker 3: 1943's Frankenstein meets The Wolfman, one of the great later

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Speaker 3: universal horror sequels.

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Speaker 1: Yes, yes. And note, it is Frankenstein meets the Wolfman.

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Speaker 1: You know, it's not versus the Wolfman, battles the Wolfman.

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Speaker 1: They meet. They're setting them up with each other. It's

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Speaker 1: kind of like a My Dinner with Andre sort of situation,

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Speaker 1: at least that's what it would seem to imply. So, yeah,

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Speaker 1: to be clear, this is not generally considered among the

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Speaker 1: best Universal Studios monster pictures. But it is, I believe,

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Speaker 1: the first major film in which a monster from one

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Speaker 1: movie meets, fights, or teams up with the monster from

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Speaker 1: another film. this sort of monster mash has become just

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Speaker 1: a staple of monster films. And this is where the

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Speaker 1: tradition seems to kick off. Like, Frankenstein meets the Wolfman

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Speaker 1: shambles so that Mothra versus Godzilla can run later on.

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Speaker 3: Yeah, yeah. Or Freddy versus Jason, for that matter. I mean,

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Speaker 3: it started a long tradition, and this does seem to

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Speaker 3: be the first big one. So... Yeah, my opinion is

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Speaker 3: that while this movie is not the best of the

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Speaker 3: best for Universal, it does not rise to the level

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Speaker 3: of the really exquisite Frank sequels like Bride and Son,

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Speaker 3: which are both great. If you think about it as

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Speaker 3: something like a late Universal B movie, it's a pretty

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Speaker 3: excellent example. And I love the atmosphere and the use

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Speaker 3: of eerie sets. Particularly, there's one at the beginning that's

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Speaker 3: like this windswept cemetery in the opening grave robbing scene

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Speaker 3: i also really love the model and miniature work with

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Speaker 3: the castle at the end and the you know the

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Speaker 3: blowing up of the dam and the flood and all

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Speaker 3: that uh i i love lon chaney jr's tortured performance

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Speaker 3: it's big and emotional and sometimes funny and and often

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Speaker 3: uh you know quite empathic and the monster mash stuff

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Speaker 3: the fight at the end while quite brief is a treat.

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Speaker 1: Yeah yeah i agree i look forward to discussing that

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Speaker 1: sequence Um, so yeah, it, it is a lot of fun.

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Speaker 1: Like we were talking about this off mic. Uh, I,

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Speaker 1: I rewatched, or actually for me, I watched for the

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Speaker 1: first time in full the Wolfman in preparation for this.

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Speaker 1: Cause I don't think I'd ever watched the entire picture.

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Speaker 1: And while the Wolfman, the immediate predecessor, one of the

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Speaker 1: two immediate predecessors to this film, while, while it is

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Speaker 1: definitely the better movie, um, I don't think it would

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Speaker 1: have been as fun a picture to talk about here

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Speaker 1: on weird house cinema.

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Speaker 3: I agree. I mean, this confirms a, trend we have

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Speaker 3: observed many times in the past, which is that the

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Speaker 3: quality of a Weird House episode doesn't necessarily relate to

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Speaker 3: the quality of the film. Some are just great to

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Speaker 3: talk about whether or not they're actually all that good.

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Speaker 3: But this movie is not bad. It's just the ways

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Speaker 3: in which it's good are more limited.

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Speaker 1: Yeah. The critical reception was lukewarm. I'm to understand that

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Speaker 1: it was a successful movie, though, from a business standpoint.

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Speaker 1: And it certainly inspired people. You know, just the idea

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Speaker 1: alone of Wolfman meeting Frankenstein, you know, it unleashes the

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Speaker 1: gate for all of these monster matches to come. And

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Speaker 1: I've read, I've actually mentioned this on the show before,

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Speaker 1: but Spanish horror movie icon Paul Nashie was particularly inspired

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Speaker 1: by this motion picture. Saw it at a young age,

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Speaker 1: and it inspired him to eventually become all of the

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Speaker 1: universal monsters himself. Because, yes, he did at some point

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Speaker 1: or another play a version of all of the main

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Speaker 1: universal monsters, with the exception of the Gill Man. I

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Speaker 1: don't think Paul Massey ever played a Gill Man, but

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Speaker 1: everybody else, he definitely got in there and played. All

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Speaker 1: the big gothic characters, for sure.

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Speaker 3: Yeah, we saw, of course, he created a full universal

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Speaker 3: monster mash of his own in Assignment Terror. I think

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Speaker 3: that was maybe not the only time he even did

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Speaker 3: that in the era. And then there's another later... career

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Speaker 3: one in a in a sleazy or nashy movie called

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Speaker 3: howl of the devil which is essentially a slasher film

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Speaker 3: but it involves a child imagining encounters with his deceased

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Speaker 3: father who was a movie star and played all of

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Speaker 3: the universal monsters so he gets to appear in ghostly

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Speaker 3: form in the monster makeup of every one of them.

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Speaker 1: So even at a point where Spanish cinema especially was

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Speaker 1: turning away from gothic horror and embracing slashers, he still

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Speaker 1: managed to shoehorn gothic universal inspired horror into the picture anyway.

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Speaker 3: Yes, yes. All right.

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Speaker 1: So this is generally considered part of the universal monsters timeline,

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Speaker 1: the universal Frankenstein timeline. So I figured it might make

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Speaker 1: sense to just break down where we are with this

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Speaker 1: picture in the sequence of films. Okay. Okay, so first

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Speaker 1: of all, there came 1931's Frankenstein, James Whale, classic picture.

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Speaker 3: Yep.

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Speaker 1: And then came 1935's Bride of Frankenstein, arguably the best

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Speaker 1: of the whole series, and this is one that we

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Speaker 1: covered on Weird House Cinema several years back.

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Speaker 3: I would say beyond arguably for me. It's not just

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Speaker 3: the best of the series, it's the best Universal monster

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Speaker 3: movie ever made. It's like, you can't top it. Yeah.

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Speaker 3: But one of the closest runners up, I think, is

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Speaker 3: actually the next one in the series, Son of Frankenstein

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Speaker 3: from 39, which is I saw for the first time

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Speaker 3: when we were getting ready to cover it on the show.

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Speaker 3: And I thought was way better than I would have expected.

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Speaker 3: So much better than really it had any right to be.

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Speaker 1: That's right. We talked about this film last year, and

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Speaker 1: I think it just reran this Monday of this week.

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Speaker 1: But yeah, this is the film that introduced Bela Lugosi's

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Speaker 1: Igor character.

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Speaker 3: Wonderful.

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Speaker 1: Yeah, which is a wonderful plotting character that becomes increasingly

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Speaker 1: important before he's forgotten. So more on him in just

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Speaker 1: a minute. OK, so that was that was 39. Then

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Speaker 1: came 1941's The Wolfman, which which we which we just

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Speaker 1: alluded to. That, of course, starred Lon Chaney Jr. He's

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Speaker 1: going to reprise that role in this picture. This movie

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Speaker 1: was a big hit. And again, is a solid, moody

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Speaker 1: werewolf story that is set in Cardiff. Yeah.

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Speaker 3: Now, at this point, there's no interaction whatsoever between the

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Speaker 3: Frankenstein universe and the Wolfman universe. The first Wolfman movie

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Speaker 3: is a standalone film. We're just mentioning it as one

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Speaker 3: of the multiple streams that feeds into Frankenstein meets the Wolfman. Yeah.

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Speaker 1: I mean, nowadays we kind of know the trope, right?

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Speaker 1: That you start doing the crossovers once you run out

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Speaker 1: of things to do. And they had not quite run

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Speaker 1: out of things to do, certainly with Frankenstein, just yet.

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Speaker 1: Because in 42, they put out The Ghost of Frankenstein.

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Speaker 1: This is not one I have seen in full, but

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Speaker 1: I went ahead and pulled up the ending and watched

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Speaker 1: it prior to coming in here, and I read about

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Speaker 1: the plot. Basically, this film continues the Son of Frankenstein

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Speaker 1: plot line, where we get another Dr. Frankenstein in the mix.

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Speaker 3: He's a brother or something?

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Speaker 1: Yeah, something like that. We have the monster again. confusingly,

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Speaker 1: this time the monster is played by Lon Chaney Jr.,

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Speaker 1: who is just coming off of playing the Wolfman. And

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Speaker 1: we had Bela Lugosi once more as Igor. And in

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Speaker 1: this picture, there's like a plot to put a new

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Speaker 1: brain in the monster. And Igor, who of course is

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Speaker 1: suffering from various health problems at this point, manages plots

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Speaker 1: to get his own brain put in the monster. So

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Speaker 1: in the final moments of the film, The monster speaks

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Speaker 1: in Bela Lugosi's voice and is talking about how he's

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Speaker 1: going to seek vengeance on all his enemies and so forth.

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Speaker 1: But there's been some sort of a mishap. The blood,

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Speaker 1: he didn't factor in the blood of the host and

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Speaker 1: so forth. And so the monster is blind and the

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Speaker 1: heroes are able to overcome the monster and the monster

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Speaker 1: burns up in the castle. Or so we thought.

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Speaker 3: Okay.

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Speaker 1: Because then comes today's film, 1943's Frankenstein Meets the Wolfman.

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Speaker 1: This is a movie that comes in and serves as

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Speaker 1: a sequel of sorts to the previous two films. Though

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Speaker 1: it's a lot easier, I would argue, to pick up

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Speaker 1: the pieces of the ghost of Frankenstein than it is

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Speaker 1: to pick up the pieces of the Wolfman. Because the

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Speaker 1: Wolfman comes to.

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Speaker 3: A pretty.

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Speaker 1: Satisfying moment. gloomy close with, in a way, superstition triumphing

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Speaker 1: over logic. And we have the character of Larry Talbot,

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Speaker 1: the Wolfman, beaten to death with a silver cane by

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Speaker 1: his own father. It's done. It's like Highlander 1 done

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Speaker 1: at that point. But as with Highlander 1, Sometimes you

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Speaker 1: just got to make a sequel and you've got to

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Speaker 1: just find a way to make it work on the page.

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Speaker 3: This film today fits more comfortably as a Frankenstein sequel

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Speaker 3: than it does as a Wolfman sequel. And you can

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Speaker 3: especially tell that because of all the ways that it

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Speaker 3: ignores elements of the Wolfman lore and like retcons things

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Speaker 3: from the previous Wolfman film. And we'll talk about that

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Speaker 3: more as we go on. But yeah, it works more

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Speaker 3: as a Frankenstein sequel. But then confusingly, we don't get

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Speaker 3: to the Frankenstein stuff until halfway through the movie.

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Speaker 1: Yeah, I think we have to put in a lot

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Speaker 1: more legwork to bring the Wolfman back to life. And

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Speaker 1: then the Wolfman is Larry Talbot. And even though he's

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Speaker 1: dealing with miraculous or infernal resurrection here, he's still the

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Speaker 1: most relatable human character in the picture. And therefore, we

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Speaker 1: spend a lot of time with him. All right, the

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Speaker 1: Frankenstein series would go three more films after this. House

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Speaker 1: of Frankenstein in 44, House of Dracula in 45. Let's

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Speaker 1: get Dracula into the mix on all this, right?

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Speaker 3: Sure, yeah.

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Speaker 1: People were paying for it. And then finally, Abbott and

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Speaker 1: Costello meet Frankenstein in 48, which kind of finishes things

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Speaker 1: out on an obvious, obviously comedic level. Bella's in that

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Speaker 1: as well. I believe that's his last performance as Dracula.

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Speaker 1: I've never actually watched it, but I'm to understand, like,

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Speaker 1: you know, Bella gives it his all, and he doesn't,

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Speaker 1: you know, doesn't... Give in to the hamminess of it.

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Speaker 1: He plays it straight.

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Speaker 3: I've considered checking out House of Frankenstein for Weird House before.

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Speaker 3: I haven't gotten there yet, but I'm sure I'll watch

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Speaker 3: it at some point.

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Speaker 1: Maybe we'll get to it next October.

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Speaker 3: Okay. So I was thinking about how some interesting themes

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Speaker 3: are brought to light by the overlap of the two

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Speaker 3: characters in Frankenstein Meets the Wolfman. Something Frankenstein's monster and

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Speaker 3: the Wolfman have in common as distinct from the other

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Speaker 3: universal monsters is is that they are the two monsters

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Speaker 3: who both evoke pity. Both of them are dangerous. They're

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Speaker 3: violent and they kill, but neither one is consciously malicious.

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Speaker 3: Larry Talbot, the character who becomes a werewolf in The Wolfman,

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Speaker 3: is depicted as not in control of his actions when

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Speaker 3: he transforms into the beast. So he wolfs out and

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Speaker 3: then he later awakens in the morning to learn what

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Speaker 3: he has done. and is filled with horror and remorse,

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Speaker 3: but he has like no ability to stop it or

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Speaker 3: control it.

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Speaker 1: Yeah. And Larry Talbot is portrayed in both films as

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Speaker 1: basically a likable guy, you know, a really kind of a,

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Speaker 1: an everyday guy because, um, ultimately, um, you know, we

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Speaker 1: have a character actor playing the role. Uh, you know,

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Speaker 1: he doesn't have that kind of like sharp jawed leading

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Speaker 1: man vibe that, uh, various other leads have he feels

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Speaker 1: very relatable and people like him the ladies like him

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Speaker 1: he's he's easy going you know and uh except for

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Speaker 1: the fact that he does turn into a murderous monster

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Speaker 1: on a full moon.

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Speaker 3: Yeah but it's not by his choice right uh though

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Speaker 3: i do recall in the original wolfman is something about

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Speaker 3: he's like really really uh trying to date a lady

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Speaker 3: who's already engaged but something like that uh but you

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Speaker 3: know that maybe that's a more minor uh character flaw

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Speaker 3: here And so that's Larry Talbot, very sympathetic, you know,

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Speaker 3: pitiable character, even though he's a monster, it's not his fault. Meanwhile,

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Speaker 3: Frankenstein's creature is, it seems very much also not his fault.

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Speaker 3: He is reanimated against his own will, as he says

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Speaker 3: at the end of Bride of Frankenstein, we belong dead.

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Speaker 3: Like he recognizes that he should not be. And he

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Speaker 3: comes into the world as an innocent, only harming people

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Speaker 3: at first by accident and then later out of desperation

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Speaker 3: and rage after being persecuted. And so you could contrast

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Speaker 3: this with the other universal horror villains of the era,

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Speaker 3: such as Dracula, the Mummy, the Invisible Man, which are

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Speaker 3: all much more vicious and devilish. I think it's an

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Speaker 3: interesting choice that the first ever Monster Mash film decided

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Speaker 3: to combine the two monsters that don't want to be

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Speaker 3: monsters and would live in peace if they could.

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Speaker 1: Yeah, that's a great point. Even when you list Dracula,

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Speaker 1: the Mummy, and the Invisible Man, like, the invisible man

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Speaker 1: is kind of the most evil. Oh yeah.

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Speaker 3: Like it's a megalomaniac.

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Speaker 1: Yeah.

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Speaker 3: Yeah.

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Speaker 1: I mean, at least Dracula and the mummy, they have

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Speaker 1: undead status. Like they're not completely human anymore, but the

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Speaker 1: invisible man is just a man who has made himself invisible. And, uh, and,

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Speaker 1: and I mean, that's, I think that that's ultimately is

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Speaker 1: part of why he's so fascinating. It's the whole idea.

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Speaker 1: Like if, if I were invisible as well, would I become,

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Speaker 1: If I had some sort of a power that was

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Speaker 1: brought upon me, would it change me like this as well?

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Speaker 3: Yeah, that one asks the question, what would you do

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Speaker 3: if you could get away with anything?

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Speaker 1: But again, this movie is also interesting in just how

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Speaker 1: forced the whole concept basically is. Because both titular monsters

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Speaker 1: had effectively been killed off in their previous film. The

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Speaker 1: movie has to first really put in the work to

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Speaker 1: not only bring one of them back to life, but

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Speaker 1: bring them both back to life. Get them in the

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Speaker 1: same place at the same time. Arrange the plot so

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Speaker 1: that they have to meet. They have to essentially work together.

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Speaker 1: And the plot entails the resurrection of one monster to

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Speaker 1: kill the other, essentially. And as we'll discuss by the

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Speaker 1: end of the film, you'll be wondering what really came

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Speaker 1: of any of this.

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Speaker 3: Yeah, by the end of the film, I was very

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Speaker 3: fuzzy on what exactly the mechanics were. Why are they

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Speaker 3: training the energies from one monster? What exactly is the

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Speaker 3: Doctor trying to do? We know there's what he says

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Speaker 3: he's going to do, but then it's clear that his

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Speaker 3: actual intentions are different. And I think it's never made

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Speaker 3: clear really what they are, certainly with regard to Talbot.

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Speaker 3: We do get an idea of what he wants to

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Speaker 3: do with regard to the monster. Right. Yeah.

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Speaker 1: And as we'll discuss, even though it is cinematically treated

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Speaker 1: as a victory at the end, I really have some

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Speaker 1: serious questions about whether there was any victory at all.

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Speaker 1: But we'll come back to all that.

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Speaker 3: Also, one thing I just have to mention at the

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Speaker 3: top here is the main character of the Wolfman in

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Speaker 3: this movie, his name is Larry Talbot. I think it's

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Speaker 3: almost certain that at least once in this episode, I'm

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Speaker 3: going to accidentally call him Lyle Talbot, which is the

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Speaker 3: name of a prolific mid-20th century American actor. The reason

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Speaker 3: I would say Lyle Talbot is that I'm aware of

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Speaker 3: him because he ended up repeatedly collaborating with Ed Wood

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Speaker 3: by virtue of the fact that Talbot by his own

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Speaker 3: admission never once in his entire career turned down a

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Speaker 3: job offer so if you've got a movie.

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Speaker 1: He'll be in it all right joe uh do you

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Speaker 1: have an elevator pitch for this one it.

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Speaker 3: Is can't medical science find a way to kill me

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Speaker 3: like what's a guy got to do to get dead

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Speaker 3: around here.

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Speaker 1: All right let's listen to some of that trailer audio

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Speaker 1: but he doesn't understand there's a curse upon me I'd

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Speaker 1: change into a wolf.

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Speaker 3: Frank! Frank!

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Speaker 2: Listen to me, Frank. I saw my father become obsessed

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Speaker 2: by his power. He died a horrible death.

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Speaker 3: There's no need for us all to storm after her.

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Speaker 2: She'll come in if I ask her.

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Speaker 1: Why should we treat her so fancy?

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Speaker 3: She's a Frankenstein! Frank!

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Speaker 1: All right. If you want to go watch Frankenstein Meets

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Speaker 1: the Wolfman, well, it's widely available wherever you get your

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Speaker 1: Universal Studios monster movies. You want to watch them streaming.

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Speaker 1: You want to watch them on Blu-ray, on DVD, VHS, Laserdisc.

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Speaker 1: what have you, there is a way out there. This

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Speaker 1: one has been released so many times in so many

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Speaker 1: different formats. All right, let's get into the people behind

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Speaker 1: the picture here, starting with the director. This one was

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Speaker 1: directed by Roy William Neal. He lived 1887 through 1946,

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Speaker 1: Irish-born American film director, best remembered for this film, as

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Speaker 1: well as a whole bunch of Basil Rathbone Sherlock Holmes movies.

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Speaker 1: He directed, I think, most of them, like 11 films

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Speaker 1: from 1943 through 1946. His other movies include 1934's Black Moon,

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Speaker 1: starring Fay Wray, 1934's The Ninth Guest, and 1935's The

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Speaker 1: Black Room, starring Boris Karloff.

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Speaker 3: Black Moon and The Black Room?

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Speaker 1: Yeah, that's right. I don't think these films are at

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Speaker 1: all related, but he did direct both of them. I

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Speaker 1: think Black Moon is like a voodoo picture. All right.

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Speaker 1: And the screenplay on this one is once more the

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Speaker 1: work of Kurt Siadnik, who lived 1902 through the year 2000.

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Speaker 1: We discussed him previously on Weird House as he wrote

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Speaker 1: the screenplay for 1946's The Beast with Five Fingers, as

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Speaker 1: well as another movie.

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Speaker 3: Oh, Creature with the Atom Brain.

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Speaker 1: That's right. So Siadmek was a German-born novelist, and director

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Speaker 1: who left Germany for first first for the United Kingdom

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Speaker 1: and then for the United States due to concerns over

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Speaker 1: rising anti-semitism under the Nazis his German output was already

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Speaker 1: pretty successful prior to this including a sci-fi film that

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Speaker 1: I haven't seen but it involves a sort of an

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Speaker 1: aircraft carrier base and titled FP1 Doesn't Answer. And he

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Speaker 1: did British war thrillers and some comedies, and then he

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Speaker 1: struck it big with his 1941 screenplay for The Invisible

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Speaker 1: Man Returns and his original screenplay for 41's The Wolfman.

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Speaker 1: He went on to write tons of screenplays, let's say

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Speaker 1: including this one, also a 1943 film titled.

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Speaker 3: Oh, I didn't realize what you were getting at for

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Speaker 3: a second. I walked with a zombie. That's right. So

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Speaker 3: Rocky went in on two songs for two C. Audmech scripts.

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Speaker 1: That's right.

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Speaker 3: That's right.

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Speaker 1: I mean, this guy was prolific. Son of Dracula in 43,

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Speaker 1: House of Frankenstein in 44, and many more. He also

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Speaker 1: wrote the 1942 sci-fi novel Donovan's Brain, which has been

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Speaker 1: adapted three different times as The Lady and the Monster

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Speaker 1: in 44, Donovan's Brain in 53, and The Brain in 62. Now,

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Speaker 1: I found it notable that multiple films based on his

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Speaker 1: work or screenplays that he wrote for motion pictures concern

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Speaker 1: mind or brain transference. Most famously, Donovan's Brain and its

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Speaker 1: various adaptations, but also 1940's Black Friday, which, by the way,

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Speaker 1: stars Karloff and Lugosi, and I think is otherwise like

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Speaker 1: a crime thriller, but it has brain or mind transference

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Speaker 1: in it. And then a 1970 film titled Hauser's Memory.

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Speaker 1: And The really interesting part about Frankenstein Meets the Wolfman

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Speaker 1: is that you wouldn't be able to guess this from

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Speaker 1: watching the film, but this movie was also supposed to

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Speaker 1: feature a mind or brain transference plot as well.

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Speaker 3: Between who? Between Frankenstein and the Wolfman or somebody else?

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Speaker 1: No, no, no. So this would not be original to

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Speaker 1: this picture, but it's picking up the pieces from the

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Speaker 1: end of 1942's The Ghost of Frankenstein, in which, again,

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Speaker 1: Lugosi's Igor... manages to get his own brain transplanted into

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Speaker 1: the body of the monster, again, played in that film

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Speaker 1: by Lon Chaney Jr., before the castle gets burned up.

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Speaker 1: So in this film, the monster, who will now be

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Speaker 1: played by Lugosi, originally had dialogue spoken by Lugosi, because

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Speaker 1: it's not just Frankenstein's monster. It is supposed to be

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Speaker 1: Igor's brain in the monster's body. And so he was blind.

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Speaker 1: That's why In this film, we'll see Frankenstein's monster walking

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Speaker 1: with arms outstretched, which became kind of like a cartoon

402
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Speaker 1: stereotype or trope of Frankenstein's monster. And that's where it

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Speaker 1: comes from, this film. But you wouldn't know this from

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Speaker 1: the film because they don't mention the blindness. They certainly

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Speaker 1: don't mention the Igor's brain plot. Like that's just completely

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Speaker 1: removed along with all of Lugosi's dialogue.

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Speaker 3: That would make sense. And That would also kind of

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Speaker 3: spoil some of the themes I was talking about if

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Speaker 3: they had stuck with the Igor's brain thing, though I

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Speaker 3: guess you could still assume that. They just don't discuss

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Speaker 3: it in this movie. So I was talking about how

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Speaker 3: Frankenstein is essentially an innocent, but Igor is not an innocent.

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Speaker 3: Igor is a malicious, sadistic killer. In fact, it's part

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Speaker 3: of his character in Son of Frankenstein. that he was

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Speaker 3: already once hanged for his crimes but survived the hanging,

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Speaker 3: putting him in a kind of legal limbo where he

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Speaker 3: couldn't be punished again. Yeah.

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Speaker 1: You know, obviously we're speculating here about a version of

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Speaker 1: this film that didn't survive. But I don't know, maybe

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Speaker 1: Igor is more to be pitied in this film because

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Speaker 1: he's kind of like really written himself into a corner here.

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Speaker 1: And it's like, oh, well, I'm stuck in the body

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Speaker 1: of a blind monster that apparently can't die either.

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Speaker 3: But as you said, apart from the fact that the

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Speaker 3: monster in this film is being played by Bela Lugosi,

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Speaker 3: there's nothing about it that would indicate it as Igor.

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Speaker 3: Like he never identifies with Igor and the characters don't

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Speaker 3: discuss this.

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Speaker 2: Yeah.

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Speaker 1: You've got to have, you have to have read about

431
00:23:50,320 --> 00:23:52,490
Speaker 1: that or heard about that somewhere else. It is not,

432
00:23:53,430 --> 00:23:55,790
Speaker 1: it is not a part of the picture experience here.

433
00:23:56,170 --> 00:23:57,290
Speaker 3: Okay. All right.

434
00:23:57,590 --> 00:23:58,550
Speaker 1: Lon Chaney Jr.

435
00:23:59,109 --> 00:24:00,030
Speaker 3: Once more. Yeah.

436
00:24:00,070 --> 00:24:04,390
Speaker 1: Plays Lawrence Talbot, the wolf man. Lon Chaney Jr. lived

437
00:24:04,390 --> 00:24:09,450
Speaker 1: 1906 through 1973. Second generation horror film icon, son of

438
00:24:09,490 --> 00:24:12,920
Speaker 1: the legendary Lon Chaney. Uh, Lon Chaney himself lived 1883

439
00:24:12,920 --> 00:24:17,820
Speaker 1: through 1930. Um, the man of a thousand faces, right? Uh,

440
00:24:17,900 --> 00:24:21,500
Speaker 1: across four decades of cinema, Lon Chaney Jr. 's role, uh,

441
00:24:21,619 --> 00:24:25,460
Speaker 1: as Larry Talbot, the Wolfman, easily his most famous role

442
00:24:25,980 --> 00:24:28,040
Speaker 1: and one that in many ways just ends up defining

443
00:24:28,080 --> 00:24:31,780
Speaker 1: his career. Um, In many ways, you could even argue,

444
00:24:31,820 --> 00:24:34,260
Speaker 1: I would say, that Lon Chaney Jr. becomes more famous

445
00:24:34,340 --> 00:24:37,320
Speaker 1: than his father. I mean, he is the guy mentioned

446
00:24:37,520 --> 00:24:41,100
Speaker 1: in Werewolves of London, after all. And he is one

447
00:24:41,140 --> 00:24:45,810
Speaker 1: of the key... He's on the Mount Rushmore of universal monsters.

448
00:24:46,090 --> 00:24:47,750
Speaker 1: He is the wolfman, now and forever.

449
00:24:48,430 --> 00:24:50,590
Speaker 3: That's right. It is not a woo, I saw Lon

450
00:24:50,609 --> 00:24:52,350
Speaker 3: Chaney Sr. walking with the Queen.

451
00:24:52,609 --> 00:24:55,930
Speaker 1: Yeah. Not to take anything away from Lon Chaney Sr.

452
00:24:55,930 --> 00:25:00,290
Speaker 1: 's career, obviously, a very important figure in his own era.

453
00:25:00,490 --> 00:25:03,570
Speaker 1: But I would say overall, more people are going to

454
00:25:03,590 --> 00:25:06,669
Speaker 1: be familiar with Lon Chaney Jr. So he apparently had

455
00:25:06,710 --> 00:25:09,580
Speaker 1: a pretty rough childhood. He was discouraged from entering show

456
00:25:09,600 --> 00:25:13,060
Speaker 1: business by his father and instead went into business, only

457
00:25:13,100 --> 00:25:16,320
Speaker 1: to begin his own acting career after his father's death

458
00:25:16,340 --> 00:25:20,560
Speaker 1: from throat cancer. At first, he acted under his own name,

459
00:25:20,960 --> 00:25:24,619
Speaker 1: steadily got larger parts in serials and action movies. He

460
00:25:24,660 --> 00:25:27,300
Speaker 1: also did stunt work to pay the bills. And after

461
00:25:27,340 --> 00:25:31,060
Speaker 1: some bigger independent roles in the mid-30s, Ultimately, Universal Studios

462
00:25:31,119 --> 00:25:33,760
Speaker 1: signs him and they they say, hey, you know, we're

463
00:25:33,780 --> 00:25:35,300
Speaker 1: going to sign into this contract and put you in

464
00:25:35,320 --> 00:25:38,780
Speaker 1: some movies. But what about we what about let's go

465
00:25:38,800 --> 00:25:41,770
Speaker 1: ahead and call you Lon Chaney Jr. Because that is

466
00:25:41,920 --> 00:25:45,350
Speaker 1: that is not his birth name. Birth name actually Crichton

467
00:25:45,450 --> 00:25:49,050
Speaker 1: Toll Chaney. And so his earlier appearances, he's billed as such.

468
00:25:49,090 --> 00:25:51,369
Speaker 1: But Universal's like, nope, you're the son of Lon Chaney.

469
00:25:51,850 --> 00:25:55,810
Speaker 1: You're Lon Chaney Jr. OK, so at this point, he

470
00:25:55,850 --> 00:25:57,960
Speaker 1: begins appearing in all manner of films and He even

471
00:25:57,980 --> 00:26:01,740
Speaker 1: plays Lenny in a 1939 adaptation of Mice and Men.

472
00:26:02,900 --> 00:26:06,500
Speaker 1: But he didn't actually act in a horror film until 1941,

473
00:26:06,500 --> 00:26:09,720
Speaker 1: when he appeared in Man-Made Monster and, of course, The Wolfman.

474
00:26:10,220 --> 00:26:13,640
Speaker 1: And this film's The Wolfman success and legendary status, this

475
00:26:13,720 --> 00:26:18,460
Speaker 1: propels him into horror icon territory pretty quickly, with subsequent

476
00:26:18,500 --> 00:26:22,220
Speaker 1: horror films including, well, The Ghost of Frankenstein, which we've mentioned,

477
00:26:22,520 --> 00:26:26,240
Speaker 1: in which he plays the monster. 1942's The Mummy's Tomb,

478
00:26:26,460 --> 00:26:29,320
Speaker 1: in which he plays the mummy. Then he's back for

479
00:26:29,340 --> 00:26:33,419
Speaker 1: Frankenstein Meets Wolfman. Then he's in Son of Dracula in 43,

480
00:26:33,420 --> 00:26:36,840
Speaker 1: playing Count Alucard, who I guess is Dracula Jr.

481
00:26:37,460 --> 00:26:40,080
Speaker 3: He does not have vampire energy.

482
00:26:40,880 --> 00:26:43,860
Speaker 1: He doesn't. He really has a great, like I say,

483
00:26:43,900 --> 00:26:46,240
Speaker 1: I watched part of Ghost of Frankenstein, and he has

484
00:26:46,280 --> 00:26:49,379
Speaker 1: a great Frankenstein's monster face. You know, he's a big guy.

485
00:26:49,680 --> 00:26:49,880
Speaker 3: Yeah.

486
00:26:49,960 --> 00:26:53,379
Speaker 1: And so, you know, he really embodies the monster rather well.

487
00:26:53,770 --> 00:26:56,530
Speaker 1: As we'll discuss, I think a lot, he embodies the

488
00:26:56,550 --> 00:27:01,050
Speaker 1: monster well. far better than Bela Lugosi. Let's see, he

489
00:27:01,090 --> 00:27:04,609
Speaker 1: played more mummies in two 1944 movies, The Mummy's Ghost

490
00:27:04,770 --> 00:27:08,550
Speaker 1: and The Mummy's Curse. Let's see, 44's House of Frankenstein

491
00:27:08,590 --> 00:27:12,909
Speaker 1: is Larry Talbot once more. 45's House of Dracula, Talbot again.

492
00:27:12,930 --> 00:27:16,500
Speaker 1: And then he's also in 48's Abbott and Costello Meet Frankenstein.

493
00:27:16,520 --> 00:27:18,280
Speaker 1: I think he's just billed as the Wolfman in that,

494
00:27:18,340 --> 00:27:20,740
Speaker 1: but I guess it's less important who the Wolfman is.

495
00:27:21,359 --> 00:27:23,360
Speaker 1: And of course, that's the final movie in the classic

496
00:27:23,440 --> 00:27:27,600
Speaker 1: Universal Frankenstein series. And from here, the list goes on,

497
00:27:27,640 --> 00:27:31,000
Speaker 1: but a few notable horror entries to mention include 1959's

498
00:27:31,040 --> 00:27:32,020
Speaker 1: The Alligator People.

499
00:27:32,440 --> 00:27:34,300
Speaker 3: Oh, Alligator Persons in the Bog and Fog.

500
00:27:34,359 --> 00:27:38,000
Speaker 1: Yeah, yeah, another Rocky Erickson reference. Another one is 1963's

501
00:27:38,060 --> 00:27:39,680
Speaker 1: The Haunted Palace.

502
00:27:40,359 --> 00:27:41,960
Speaker 3: Oh, I've got that one on disc, but I haven't

503
00:27:42,010 --> 00:27:46,070
Speaker 3: watched it yet. Is Corman Poe, is Vincent Price in

504
00:27:46,109 --> 00:27:46,389
Speaker 3: that one?

505
00:27:46,590 --> 00:27:48,990
Speaker 1: He is, yes. He plays Charles Dexter Ward. This is

506
00:27:49,010 --> 00:27:52,750
Speaker 1: the one that is, they're giving it the Poe treatment,

507
00:27:53,160 --> 00:27:56,360
Speaker 1: Call it Edgar Allen Poe's The Haunted Palace, but it's actually,

508
00:27:56,880 --> 00:27:58,320
Speaker 1: to some extent, based on an H.P.

509
00:27:58,340 --> 00:27:59,660
Speaker 3: Lovecraft story. That's funny.

510
00:27:59,680 --> 00:28:00,820
Speaker 1: Case of Charles Dexter Ward.

511
00:28:01,119 --> 00:28:01,320
Speaker 2: Yeah.

512
00:28:01,960 --> 00:28:04,920
Speaker 1: Let's see. Then there's 67's Hillbillies in a Haunted House,

513
00:28:04,980 --> 00:28:08,740
Speaker 1: which I think I watched a Rift version of that. And, ooh,

514
00:28:09,109 --> 00:28:12,169
Speaker 1: 1967's Spider Baby. If you haven't seen this one, this

515
00:28:12,230 --> 00:28:17,070
Speaker 1: is a great proto-Texas Chainsaw Massacre film directed by Jack Hill.

516
00:28:17,510 --> 00:28:23,680
Speaker 1: He plays the patriarch of a killer hillbilly family. But

517
00:28:23,720 --> 00:28:27,379
Speaker 1: with some interesting twists, basically like their two daughters in particular,

518
00:28:27,500 --> 00:28:29,400
Speaker 1: one of which likes to play spider.

519
00:28:30,200 --> 00:28:32,850
Speaker 3: Oh, I haven't seen that one. It's good.

520
00:28:32,940 --> 00:28:35,070
Speaker 1: I recommend it. I think I watched that one on

521
00:28:35,210 --> 00:28:39,510
Speaker 1: Criterion Channel. His other films of note, just to pull

522
00:28:39,530 --> 00:28:41,970
Speaker 1: out another couple. These are non horror films, but he

523
00:28:41,990 --> 00:28:43,729
Speaker 1: was in 1952's High Noon and also 1958's The Defiant Ones.

524
00:28:46,580 --> 00:28:49,080
Speaker 1: So again, this is a ridiculous movie in so many ways,

525
00:28:49,180 --> 00:28:52,580
Speaker 1: but Lon Chaney Jr. 's performance as Larry Talbot, tragic,

526
00:28:52,660 --> 00:28:56,780
Speaker 1: cursed werewolf turned wandering, immortal, seeking death, is easily the

527
00:28:56,840 --> 00:29:00,620
Speaker 1: most commanding performance in the picture. And it gives us, weirdly,

528
00:29:00,680 --> 00:29:06,330
Speaker 1: the most relatable character, despite his very unrelatable circumstances. Again,

529
00:29:06,370 --> 00:29:11,170
Speaker 1: clearly a gifted character actor, charismatic and relatable. And we

530
00:29:11,190 --> 00:29:13,490
Speaker 1: get to see him employ all of his talents in

531
00:29:13,510 --> 00:29:15,290
Speaker 1: a lead role here quite nicely.

532
00:29:15,590 --> 00:29:18,260
Speaker 3: Yeah. Yeah. Despite the fact that, as you say, his

533
00:29:18,600 --> 00:29:21,540
Speaker 3: main character struggle is, oh, I can't get death in me.

534
00:29:23,480 --> 00:29:26,360
Speaker 3: But he he is really good in the role. And

535
00:29:26,780 --> 00:29:28,820
Speaker 3: I can't remember if we if you already mentioned this,

536
00:29:28,880 --> 00:29:31,160
Speaker 3: I apologize. But I think it is strange that I

537
00:29:31,180 --> 00:29:34,570
Speaker 3: was reading he was originally when they're planning to make

538
00:29:34,610 --> 00:29:37,310
Speaker 3: this movie. They were originally going to have him play

539
00:29:37,550 --> 00:29:42,760
Speaker 3: both roles, Frankenstein's monster. and the wolf man. And then

540
00:29:42,800 --> 00:29:44,900
Speaker 3: they were like, eh, no, that would be too difficult.

541
00:29:44,920 --> 00:29:48,050
Speaker 3: So maybe he'll just play Frankenstein's monster because he had

542
00:29:48,090 --> 00:29:51,300
Speaker 3: done that also in Ghost of Frankenstein. And then they

543
00:29:51,320 --> 00:29:53,260
Speaker 3: were like, no, he'll just be the wolf man. So

544
00:29:53,280 --> 00:29:57,320
Speaker 3: this was like the third option for who Lon Chaney Jr.

545
00:29:57,340 --> 00:30:00,090
Speaker 3: would be in the film. I think it's the right choice, though.

546
00:30:00,350 --> 00:30:03,490
Speaker 1: Yeah. I mean, you can't have I mean, he's the

547
00:30:03,530 --> 00:30:05,870
Speaker 1: only guy who can play Larry Talbot. So it had

548
00:30:05,910 --> 00:30:08,570
Speaker 1: to be. Now, if he played the monster as well,

549
00:30:08,970 --> 00:30:11,670
Speaker 1: I mean, that could work. But again, setting up this film,

550
00:30:11,730 --> 00:30:14,390
Speaker 1: the whole idea was that the monster would speak with

551
00:30:14,430 --> 00:30:15,550
Speaker 1: Bela Lugosi's voice.

552
00:30:15,610 --> 00:30:15,709
Speaker 3: So.

553
00:30:16,070 --> 00:30:18,550
Speaker 1: What if the monster was played by Bela Lugosi? Like,

554
00:30:18,610 --> 00:30:19,990
Speaker 1: on paper, that makes sense.

555
00:30:20,300 --> 00:30:21,820
Speaker 3: Oh, should we talk about Bela Lugosi now?

556
00:30:22,220 --> 00:30:25,780
Speaker 1: Yeah, we're already talking about him. Let's talk about Bela. So, yeah,

557
00:30:25,820 --> 00:30:28,220
Speaker 1: Bela Lugosi. We've talked about him multiple times on the

558
00:30:28,260 --> 00:30:33,729
Speaker 1: show already, with 1882 through 1956. Here playing the role,

559
00:30:33,890 --> 00:30:36,750
Speaker 1: or a version of it, that he allegedly passed on

560
00:30:36,830 --> 00:30:41,230
Speaker 1: back in 1931. I'm not sure if there's 100% certainty

561
00:30:41,330 --> 00:30:44,510
Speaker 1: on any of this, you know, about Film myth-making goes,

562
00:30:44,610 --> 00:30:46,610
Speaker 1: and one person says one thing, one says the other.

563
00:30:46,650 --> 00:30:49,390
Speaker 1: But the story generally goes that riding high on the

564
00:30:49,430 --> 00:30:54,380
Speaker 1: success of Dracula, he wanted the part of Frankenstein, Dr. Frankenstein,

565
00:30:54,460 --> 00:30:57,000
Speaker 1: for himself. And he didn't want to play a mute

566
00:30:57,100 --> 00:31:01,100
Speaker 1: monster as the monster appeared in the script at that time.

567
00:31:01,660 --> 00:31:03,050
Speaker 1: And so it just didn't come together.

568
00:31:03,470 --> 00:31:06,230
Speaker 3: So when you say Frankenstein, he wanted to play the doctor,

569
00:31:06,260 --> 00:31:10,700
Speaker 3: the creator. Okay, yes. But that didn't happen either.

570
00:31:10,780 --> 00:31:12,260
Speaker 1: I think at the time, the story is that he

571
00:31:12,300 --> 00:31:14,780
Speaker 1: considered the monster part beneath his abilities.

572
00:31:15,480 --> 00:31:19,180
Speaker 3: You know, I adore Bela Lugosi, but somehow I think

573
00:31:19,280 --> 00:31:22,860
Speaker 3: this is one of the weakest performances of his that

574
00:31:22,900 --> 00:31:26,530
Speaker 3: I've seen. Something about, he seems to have not found

575
00:31:26,570 --> 00:31:29,209
Speaker 3: his rhythm or ever landed on the right posture as

576
00:31:29,250 --> 00:31:32,890
Speaker 3: the Frankenstein monster here. And this really makes me appreciate

577
00:31:32,970 --> 00:31:37,530
Speaker 3: all the more how extraordinary Boris Karloff's performance is. Karloff

578
00:31:37,730 --> 00:31:40,570
Speaker 3: in the role is not, to quote the film Ed Wood,

579
00:31:40,810 --> 00:31:45,110
Speaker 3: all grunting and makeup. He's bringing a lot to the

580
00:31:45,150 --> 00:31:48,360
Speaker 3: performance and you really appreciate it when you see somebody else,

581
00:31:48,410 --> 00:31:51,460
Speaker 3: even somebody as wonderful of an actor as Bela Lugosi,

582
00:31:51,520 --> 00:31:53,860
Speaker 3: try to do the role and I think sort of fail.

583
00:31:54,880 --> 00:31:57,900
Speaker 3: Worth flagging again, however, that despite his turn as the

584
00:31:57,940 --> 00:32:01,250
Speaker 3: monster being a low point I think Bella still did

585
00:32:01,290 --> 00:32:05,210
Speaker 3: play one of the best villains ever in the Frankenstein universe.

586
00:32:05,230 --> 00:32:07,190
Speaker 3: I mean, there's actually a lot of great competition because

587
00:32:07,210 --> 00:32:11,050
Speaker 3: you got Septimus Pretorius in Bri. That's an all-time great villain.

588
00:32:11,560 --> 00:32:15,520
Speaker 3: But right up there with Septimus Pretorius is Bela Lugosi

589
00:32:15,540 --> 00:32:18,460
Speaker 3: as Igor in Son of Frankenstein. Again, one of my

590
00:32:18,500 --> 00:32:22,080
Speaker 3: favorite Universal films and my favorite role in that film.

591
00:32:22,540 --> 00:32:25,200
Speaker 1: Yeah, I agree with all that. Granted, again, we don't

592
00:32:25,240 --> 00:32:28,040
Speaker 1: get to see the performance of And the character here,

593
00:32:28,100 --> 00:32:31,720
Speaker 1: as it was originally intended, the Igor monster. But yeah,

594
00:32:31,820 --> 00:32:34,660
Speaker 1: Lugosi's monster just always feels awkward to me in this picture.

595
00:32:34,680 --> 00:32:37,170
Speaker 1: It's just nothing. It just doesn't click for me for

596
00:32:37,210 --> 00:32:37,610
Speaker 1: some reason.

597
00:32:37,890 --> 00:32:40,350
Speaker 3: Yeah, he does have some great moments in close up

598
00:32:40,510 --> 00:32:41,250
Speaker 3: on his face.

599
00:32:41,570 --> 00:32:43,130
Speaker 1: That is true. Yeah, I'll give him that.

600
00:32:43,390 --> 00:32:46,520
Speaker 3: But the but the the full physicality of the performance

601
00:32:46,560 --> 00:32:47,240
Speaker 3: doesn't quite work.

602
00:32:48,170 --> 00:32:50,470
Speaker 1: All right, let's look at some of the, we've covered

603
00:32:50,490 --> 00:32:52,410
Speaker 1: the big hitters here. Let's talk about some of the

604
00:32:52,450 --> 00:32:56,190
Speaker 1: supporting human roles here. So we do have a descendant

605
00:32:56,270 --> 00:33:01,170
Speaker 1: of Frankenstein showing back up. And this is the character

606
00:33:01,270 --> 00:33:06,890
Speaker 1: Baroness Elsa Frankenstein. And she is played by Ilona Massey,

607
00:33:07,270 --> 00:33:13,570
Speaker 1: who lived 1910 through 1974. Hungarian-American film stage and radio performer,

608
00:33:13,860 --> 00:33:17,400
Speaker 1: best remembered for this film, it would seem, her only

609
00:33:17,560 --> 00:33:22,380
Speaker 1: true horror movie, but she also starred in 1942's Invisible Agent.

610
00:33:22,740 --> 00:33:26,060
Speaker 1: This was a comedy thriller in which the invisible man's

611
00:33:26,140 --> 00:33:31,200
Speaker 1: grandson battles Nazis. Peter Lorre co-starred in it, but that

612
00:33:31,260 --> 00:33:33,610
Speaker 1: alone has not been enough to get me to watch

613
00:33:33,670 --> 00:33:34,150
Speaker 1: it just yet.

614
00:33:34,790 --> 00:33:36,090
Speaker 3: That is an interesting premise.

615
00:33:36,510 --> 00:33:38,989
Speaker 1: Yeah, I don't know. It's like, yeah, I don't know.

616
00:33:39,150 --> 00:33:42,580
Speaker 1: I'm horror comedies of this era. I'm, I'm wary of.

617
00:33:43,460 --> 00:33:45,400
Speaker 3: It's not her fault. I would blame it more on

618
00:33:45,440 --> 00:33:47,600
Speaker 3: the writing, but I would say her presence in this

619
00:33:47,660 --> 00:33:51,620
Speaker 3: film is largely curious. She is often kind of standing

620
00:33:51,680 --> 00:33:55,450
Speaker 3: around in a scene where, uh, you would think she

621
00:33:55,470 --> 00:33:58,170
Speaker 3: would be having more of a reaction to what's going on,

622
00:33:58,230 --> 00:33:58,890
Speaker 3: but she doesn't.

623
00:33:59,450 --> 00:34:03,090
Speaker 1: Yeah. I feel like, especially since she is the Frankenstein

624
00:34:03,410 --> 00:34:06,270
Speaker 1: character in this picture, uh, I, I wanted her to

625
00:34:06,310 --> 00:34:09,890
Speaker 1: be more involved in everything. Um, I guess she feels

626
00:34:09,950 --> 00:34:13,130
Speaker 1: a little more passive than she could have been. Like

627
00:34:13,150 --> 00:34:15,990
Speaker 1: she's not strapping on the goggles herself, if I remember correctly.

628
00:34:16,810 --> 00:34:18,529
Speaker 3: I mean, she does go at the end and like

629
00:34:18,590 --> 00:34:21,470
Speaker 3: sort of short circuit all the machinery in the lab.

630
00:34:21,630 --> 00:34:24,430
Speaker 3: But yeah, that's basically the one moment like that.

631
00:34:24,950 --> 00:34:27,969
Speaker 1: Otherwise, her role in this movie seems to be just

632
00:34:27,989 --> 00:34:31,770
Speaker 1: to light up the screen as a porcelain starlet. Like

633
00:34:31,790 --> 00:34:33,890
Speaker 1: she's always wearing like white and she has like basically

634
00:34:33,950 --> 00:34:37,469
Speaker 1: white hair, super white skin. So she, amid all the

635
00:34:37,530 --> 00:34:41,890
Speaker 1: gloom and the grayness, it really feels like she almost

636
00:34:42,070 --> 00:34:48,020
Speaker 1: has like an angelic presence, despite being a Frankenstein. And yeah,

637
00:34:48,320 --> 00:34:50,900
Speaker 1: she also, another important role she has is to be

638
00:34:50,980 --> 00:34:56,620
Speaker 1: physically carried around like an unconscious bride by the monster

639
00:34:56,640 --> 00:35:00,089
Speaker 1: at one point. This is teased on the poster. And

640
00:35:00,450 --> 00:35:03,009
Speaker 1: for once, we actually get it in the film. As

641
00:35:03,030 --> 00:35:05,610
Speaker 1: we've discussed many times, there's so many movies Where the

642
00:35:05,640 --> 00:35:09,549
Speaker 1: poster art features the monster carrying a woman around and

643
00:35:09,630 --> 00:35:13,130
Speaker 1: it doesn't actually happen. Here we get it. Monster bridal

644
00:35:13,150 --> 00:35:13,969
Speaker 1: carry certified.

645
00:35:14,310 --> 00:35:19,270
Speaker 3: That is true. True advertising in this case. Also, this

646
00:35:19,330 --> 00:35:23,830
Speaker 3: character does indirectly contribute one of the most unintentionally funny

647
00:35:23,890 --> 00:35:26,350
Speaker 3: moments of the movie. And it's when Lon Chaney Jr.

648
00:35:26,489 --> 00:35:30,700
Speaker 3: is digging through the burned remnants of the ruined Frankenstein castle.

649
00:35:31,280 --> 00:35:34,300
Speaker 3: And he identifies a new lead in his detective work

650
00:35:34,400 --> 00:35:39,620
Speaker 3: by finding the glamour photo of Ilona Massey autographed as

651
00:35:39,660 --> 00:35:42,690
Speaker 3: like Elsa Frankenstein to my father. But it's like a

652
00:35:42,730 --> 00:35:51,109
Speaker 3: Hollywood photo. She's like posing in a sequined dress. All right.

653
00:35:51,130 --> 00:35:55,110
Speaker 1: Let's see. Other supporting characters. We have Patrick Knowles playing Dr.

654
00:35:55,170 --> 00:35:58,970
Speaker 1: Frank Mannering. He's more than supporting. He's an important character.

655
00:35:59,350 --> 00:36:02,359
Speaker 3: Major in terms of plot developments, but also feels very

656
00:36:02,400 --> 00:36:05,060
Speaker 3: much like a rando who wandered into the story. You

657
00:36:05,180 --> 00:36:05,859
Speaker 3: know what I mean?

658
00:36:06,140 --> 00:36:09,620
Speaker 1: Yeah. Like, in a way, shouldn't the Baroness be doing

659
00:36:09,700 --> 00:36:10,920
Speaker 1: all the things that he's doing?

660
00:36:11,140 --> 00:36:11,359
Speaker 2: Yeah.

661
00:36:11,380 --> 00:36:15,250
Speaker 1: I feel like she would if she were a male character. Yeah.

662
00:36:15,430 --> 00:36:17,950
Speaker 1: But they were just switching it up and they're like, oh, well,

663
00:36:17,969 --> 00:36:20,450
Speaker 1: the female character can't actually be the mad scientist.

664
00:36:21,270 --> 00:36:23,069
Speaker 3: It would have been a lot better if she had been.

665
00:36:23,130 --> 00:36:26,299
Speaker 3: That could have worked. But instead, no, we have this character. Like, oh,

666
00:36:26,360 --> 00:36:29,200
Speaker 3: remember this random guy who didn't really make an impression

667
00:36:29,280 --> 00:36:31,160
Speaker 3: from the first act? He's going to do some mad

668
00:36:31,200 --> 00:36:32,359
Speaker 3: science now. Yeah.

669
00:36:33,600 --> 00:36:37,279
Speaker 1: So the actor here, he lived 1911 through 1995. He'd

670
00:36:37,380 --> 00:36:40,200
Speaker 1: previously appeared in The Wolfman, though in a different role.

671
00:36:41,140 --> 00:36:44,340
Speaker 1: He also played Will Scarlet in 1938's The Adventures of

672
00:36:44,400 --> 00:36:47,819
Speaker 1: Robin Hood. So he was a certified swashbuckler. His other

673
00:36:47,860 --> 00:36:51,330
Speaker 1: credits include 1941's How Green Was My Valley. 1942 is

674
00:36:51,590 --> 00:36:53,130
Speaker 1: The Strange Case of Dr.

675
00:36:53,390 --> 00:36:53,790
Speaker 3: R.X.

676
00:36:55,230 --> 00:36:55,770
Speaker 1: Prescription.

677
00:36:56,030 --> 00:36:56,410
Speaker 3: Okay.

678
00:36:57,370 --> 00:36:59,970
Speaker 1: And then 1973 is Terror in the Wax Museum.

679
00:37:00,310 --> 00:37:04,860
Speaker 3: Okay. He's very smooth in this film. Do you notice

680
00:37:04,880 --> 00:37:07,840
Speaker 3: how smooth his skin is? Extreme baby face.

681
00:37:08,660 --> 00:37:12,400
Speaker 1: That's true. That's true. Let's see. Lionel Atwell is back

682
00:37:12,460 --> 00:37:16,360
Speaker 1: in this one. He's in a number of these universal

683
00:37:16,420 --> 00:37:20,540
Speaker 1: horror movies. This time in a more reduced role. He

684
00:37:20,560 --> 00:37:23,210
Speaker 1: played the inspector in Son of Frankenstein, you know, with the,

685
00:37:23,469 --> 00:37:26,790
Speaker 1: he had the artificial arm and got to really eat

686
00:37:26,890 --> 00:37:31,010
Speaker 1: up fairly ample screen time and had some great scenes. Here,

687
00:37:31,370 --> 00:37:33,860
Speaker 1: he plays the mayor. So he has much less to do,

688
00:37:34,320 --> 00:37:37,180
Speaker 1: but by God, Lionel Atwell is going to act his

689
00:37:37,239 --> 00:37:40,799
Speaker 1: heart out in any scene you get him in. So

690
00:37:41,160 --> 00:37:43,020
Speaker 1: he really chews it up. And there are a few

691
00:37:43,080 --> 00:37:46,460
Speaker 1: scenes where he's standing amid other villagers kind of looking

692
00:37:46,550 --> 00:37:50,330
Speaker 1: up at things occurring, like castles exploding and whatnot. And

693
00:37:50,590 --> 00:37:52,530
Speaker 1: he's the most animated of the bunch.

694
00:37:52,930 --> 00:37:55,690
Speaker 3: Oh, yes. Which is also in contrast to the way

695
00:37:55,710 --> 00:37:59,009
Speaker 3: this character is written, who's just the calming voice of

696
00:37:59,110 --> 00:38:03,299
Speaker 3: reason as other goings on are happening. Like, he'll literally

697
00:38:03,340 --> 00:38:06,719
Speaker 3: be in scenes where he's standing there as other characters

698
00:38:06,800 --> 00:38:10,200
Speaker 3: are discussing the planning of a terrorist plot. And he's

699
00:38:10,260 --> 00:38:13,280
Speaker 3: just like, oh, you don't mean any of what you're saying.

700
00:38:13,300 --> 00:38:14,180
Speaker 3: And then he walks away.

701
00:38:14,200 --> 00:38:14,279
Speaker 2: Yeah.

702
00:38:15,660 --> 00:38:17,759
Speaker 1: But he, yeah, he was in a bunch of these

703
00:38:17,800 --> 00:38:21,319
Speaker 1: old films and was in numerous things. Frankenstein movies. In fact,

704
00:38:21,360 --> 00:38:24,910
Speaker 1: he was in Ghost of Frankenstein previously. I believe I

705
00:38:24,930 --> 00:38:27,069
Speaker 1: could be mistaken here, but I think he is the

706
00:38:27,130 --> 00:38:31,270
Speaker 1: doctor that ends up betraying Frankenstein by helping Igor put

707
00:38:31,290 --> 00:38:32,390
Speaker 1: his brain in the monster.

708
00:38:33,050 --> 00:38:36,230
Speaker 3: Oh, yeah. Well, I would like to see Lionel Atwell

709
00:38:36,270 --> 00:38:38,050
Speaker 3: do more villain role. So I'm going to have to

710
00:38:38,090 --> 00:38:39,890
Speaker 3: check out Ghost next. Yeah.

711
00:38:39,950 --> 00:38:42,540
Speaker 1: Yeah. I'm very interested based on all of the crazy

712
00:38:42,580 --> 00:38:43,620
Speaker 1: choices it seems to make.

713
00:38:43,920 --> 00:38:44,060
Speaker 2: Yeah.

714
00:38:45,070 --> 00:38:48,330
Speaker 1: All right, let's see. We also have another returning player

715
00:38:48,350 --> 00:38:53,739
Speaker 1: from the Universal Horror franchise. Dwight Frye is back. Dwight Frye,

716
00:38:53,760 --> 00:38:57,680
Speaker 1: you'll remember, played Renfield opposite Lugosi in Dracula and pops

717
00:38:57,760 --> 00:39:01,100
Speaker 1: up in bits, sometimes almost invisible roles in other pictures.

718
00:39:01,340 --> 00:39:03,980
Speaker 1: Here he plays a character named Rudy, who's just kind

719
00:39:04,020 --> 00:39:06,160
Speaker 1: of one of the vocal townspeople, right?

720
00:39:06,360 --> 00:39:09,359
Speaker 3: Yeah, he's a villager. It feels almost like a cameo.

721
00:39:09,400 --> 00:39:10,719
Speaker 3: He's only got a few lines.

722
00:39:11,480 --> 00:39:14,010
Speaker 1: But when he does speak, though, he has that That

723
00:39:14,090 --> 00:39:17,410
Speaker 1: signature Dwight Frye kind of live wire energy. So, yeah,

724
00:39:17,469 --> 00:39:20,950
Speaker 1: I really like it. All right. We have another returning

725
00:39:21,170 --> 00:39:26,750
Speaker 1: actor reprising her role as the wise Roma woman, Maleva.

726
00:39:27,150 --> 00:39:32,850
Speaker 1: We have Maria Ospinskaya, who lived 1860. 1949. She played

727
00:39:32,870 --> 00:39:35,490
Speaker 1: this character in The Wolfman, a Russian actress who started

728
00:39:35,550 --> 00:39:37,730
Speaker 1: out in silent film and then late in her career

729
00:39:38,290 --> 00:39:41,720
Speaker 1: played a lot of older woman roles in Hollywood. Two-time

730
00:39:41,760 --> 00:39:44,800
Speaker 1: Academy Award nominee for Best Supporting Actress for 1937's Dodsworth

731
00:39:44,820 --> 00:39:50,060
Speaker 1: and 1940's Love Affair. Her only other horror film was

732
00:39:50,160 --> 00:39:54,690
Speaker 1: 1942's The Mystery of Marie Roget, which I've not read

733
00:39:55,110 --> 00:39:57,630
Speaker 1: the original story. This is an Edgar Allan Poe story,

734
00:39:57,690 --> 00:40:00,710
Speaker 1: a sequel to The Murders in the Rue Morgue. Does

735
00:40:00,750 --> 00:40:02,910
Speaker 1: it have gorillas in it? I don't know. I would hope.

736
00:40:02,950 --> 00:40:08,509
Speaker 1: It's like doing a Dracula sequel without vampires, right? Yeah, totally. OK,

737
00:40:08,670 --> 00:40:11,290
Speaker 1: one more character. This is another. This film has a

738
00:40:11,310 --> 00:40:13,390
Speaker 1: number of these where the character is not much different.

739
00:40:13,940 --> 00:40:16,410
Speaker 1: It seems to be just a background side character, but

740
00:40:16,430 --> 00:40:19,069
Speaker 1: it ends up being very pivotal to the plot. And

741
00:40:19,110 --> 00:40:22,770
Speaker 1: that is the character Vazik, the innkeeper, played by Rex Evans,

742
00:40:22,830 --> 00:40:28,180
Speaker 1: who lived 1903 through 1969. This guy was in various

743
00:40:28,239 --> 00:40:30,580
Speaker 1: films at the time. A heavyset actor, did a lot

744
00:40:30,620 --> 00:40:34,460
Speaker 1: of like, you know, heavyset character roles. Played Herman Goring

745
00:40:34,540 --> 00:40:38,620
Speaker 1: in the 1943 anti-Axis Powers comedy, Nazi Nuisance.

746
00:40:40,620 --> 00:40:41,259
Speaker 3: I could see that.

747
00:40:41,280 --> 00:40:43,520
Speaker 1: Yeah, I think it's one that was like positioning the

748
00:40:43,560 --> 00:40:46,900
Speaker 1: leaders of the Axis powers as like three stooges. I

749
00:40:48,660 --> 00:40:51,620
Speaker 1: am not putting this on the watch list, but interesting

750
00:40:51,660 --> 00:40:54,560
Speaker 1: connection for this actor. His other credits, though, include 1940s

751
00:40:54,660 --> 00:40:59,400
Speaker 1: The Philadelphia Story, 1940s The Invisible Man Returns, and Hitchcock's

752
00:40:59,480 --> 00:41:03,640
Speaker 1: Suspicion in 1941. All right, I'll just mention in passing

753
00:41:03,660 --> 00:41:07,600
Speaker 1: that Jack P. Pierce, the monster makeup master, returns once

754
00:41:07,680 --> 00:41:11,840
Speaker 1: more to do the makeup here. He worked on 1928's

755
00:41:11,860 --> 00:41:15,590
Speaker 1: The Man Who Laughs, 31's Dracula, 32's The Mummy, 33's

756
00:41:15,610 --> 00:41:20,290
Speaker 1: The Invisible Man, 41's The Wolfman, and so forth. So,

757
00:41:20,310 --> 00:41:23,790
Speaker 1: you know, everything, all the makeup looks pretty darn good,

758
00:41:24,250 --> 00:41:27,509
Speaker 1: especially the Wolfman makeup, as we'll discuss. And then the

759
00:41:27,590 --> 00:41:29,310
Speaker 1: music comes to us from Hans J. Salter, born 1896,

760
00:41:29,310 --> 00:41:36,950
Speaker 1: died in 1994, Austrian-American film composer. His most celebrated scores

761
00:41:37,150 --> 00:41:39,930
Speaker 1: or scores that he worked on include The Wolfman from 41,

762
00:41:39,930 --> 00:41:44,500
Speaker 1: Scarlet Street from 45. And he's also he's not credited,

763
00:41:44,580 --> 00:41:48,299
Speaker 1: but he's one of like three different uncredited composers on

764
00:41:48,320 --> 00:41:51,980
Speaker 1: The Creature from the Black Lagoon from 54. He's one

765
00:41:52,000 --> 00:41:55,320
Speaker 1: of these composers who is oftentimes he's either uncredited or

766
00:41:55,360 --> 00:41:58,029
Speaker 1: he's one of two or three different composers whose work

767
00:41:58,070 --> 00:42:01,170
Speaker 1: was used. And sometimes it's stock music. But he himself

768
00:42:01,190 --> 00:42:02,950
Speaker 1: was a six time Oscar nominee himself.

769
00:42:11,500 --> 00:42:13,400
Speaker 3: All right. Are you ready to talk about the plot?

770
00:42:13,719 --> 00:42:14,150
Speaker 1: Let's do it.

771
00:42:14,640 --> 00:42:18,100
Speaker 3: So the title and opening credits play over a chemistry

772
00:42:18,200 --> 00:42:21,589
Speaker 3: laboratory set with a bunch of bubbling flasks and beakers

773
00:42:21,640 --> 00:42:24,969
Speaker 3: pouring fog all over the table. And I think this

774
00:42:25,130 --> 00:42:28,570
Speaker 3: opening imagery feels like an odd fit for most of

775
00:42:28,630 --> 00:42:33,670
Speaker 3: the runtime of the film, because while unrestrained scientific research

776
00:42:34,370 --> 00:42:37,850
Speaker 3: is a major theme of the original Frankenstein series, It

777
00:42:37,890 --> 00:42:40,770
Speaker 3: does not really become a major theme of this movie

778
00:42:40,890 --> 00:42:44,049
Speaker 3: until the very end, until right at the end. The

779
00:42:44,090 --> 00:42:47,169
Speaker 3: first half is all Wolfman stuff, and there's very little

780
00:42:47,250 --> 00:42:49,110
Speaker 3: laboratory work until the climax.

781
00:42:49,650 --> 00:42:53,200
Speaker 1: Yeah, but it's like a glass with dry ice in it,

782
00:42:53,239 --> 00:42:55,299
Speaker 1: you know, getting the smoke in it. You want to

783
00:42:55,340 --> 00:42:57,620
Speaker 1: reach up and grab it off the screen and take

784
00:42:57,660 --> 00:42:57,959
Speaker 1: a sip.

785
00:42:58,440 --> 00:43:01,700
Speaker 3: It does look nice, yeah. So the action opens on

786
00:43:01,739 --> 00:43:04,710
Speaker 3: a lonely cemetery at night, and I... said this earlier,

787
00:43:04,750 --> 00:43:08,670
Speaker 3: but I love this opening set. The atmosphere is wonderful.

788
00:43:08,730 --> 00:43:12,570
Speaker 3: There's a bright full moon and banks of mist pour

789
00:43:12,610 --> 00:43:15,320
Speaker 3: across the sky. Down on the ground, we can see

790
00:43:15,450 --> 00:43:18,340
Speaker 3: it must be late autumn or winter because the trees

791
00:43:18,400 --> 00:43:21,440
Speaker 3: and the shrubs are bare. They've got black limbs casting

792
00:43:21,520 --> 00:43:25,500
Speaker 3: shadows in the moonlight. The cemetery is surrounded by this

793
00:43:25,700 --> 00:43:29,550
Speaker 3: ancient tumble-down wall of stone, which has wrought iron spikes

794
00:43:29,610 --> 00:43:32,750
Speaker 3: and marble ornaments on top. And then on one of

795
00:43:32,810 --> 00:43:36,650
Speaker 3: these gateside flourishes, there is a raven perched, just cawing.

796
00:43:37,450 --> 00:43:40,090
Speaker 3: So the wind rattles the tree branches and it blows

797
00:43:40,130 --> 00:43:43,130
Speaker 3: these little dead leaves through the air like confetti. And

798
00:43:43,170 --> 00:43:46,700
Speaker 3: we see a bronze placard on the stone gate engraved

799
00:43:46,739 --> 00:43:51,060
Speaker 3: with the words, Here rest the dead of Lanwelly. And Lanwelly,

800
00:43:52,660 --> 00:43:56,060
Speaker 3: viewers would probably remember at the time this movie came out,

801
00:43:56,160 --> 00:43:58,930
Speaker 3: is the fictional village in Wales that is the setting

802
00:43:59,180 --> 00:44:02,220
Speaker 3: of The Wolfman. And I think later became the setting

803
00:44:02,260 --> 00:44:06,279
Speaker 3: of a bunch of horror stories and films. So up

804
00:44:06,340 --> 00:44:09,339
Speaker 3: the hillside path to the cemetery come two men. They're

805
00:44:09,400 --> 00:44:13,299
Speaker 3: both kind of leaning and staggering as they walk. One

806
00:44:13,360 --> 00:44:16,270
Speaker 3: carries a lantern, the other a shovel. These guys do

807
00:44:16,310 --> 00:44:19,350
Speaker 3: not feel like the first string of the grave robbing team.

808
00:44:19,370 --> 00:44:24,950
Speaker 3: They seem a little incompetent, perhaps under the influence. And

809
00:44:25,050 --> 00:44:28,590
Speaker 3: they approach a big old mausoleum in the cemetery bearing

810
00:44:28,630 --> 00:44:29,690
Speaker 3: the name Talbot.

811
00:44:30,840 --> 00:44:33,660
Speaker 1: Well, you know, they're not robbing graves because things were

812
00:44:33,700 --> 00:44:35,879
Speaker 1: working out well for them elsewhere in life.

813
00:44:35,920 --> 00:44:39,180
Speaker 3: You know? Yeah. Now, we've sort of already covered this,

814
00:44:39,239 --> 00:44:42,480
Speaker 3: but just to get the backstory straight, again, Talbot is

815
00:44:42,540 --> 00:44:46,299
Speaker 3: the name of the family in the original film, The Wolfman.

816
00:44:46,360 --> 00:44:49,430
Speaker 3: The main character, played by Lon Chaney Jr., is Larry Talbot,

817
00:44:49,850 --> 00:44:53,150
Speaker 3: who comes back to visit his ancestral estate in Wales

818
00:44:53,230 --> 00:44:56,410
Speaker 3: after being away for many years. He gets bitten, I think,

819
00:44:56,450 --> 00:44:59,610
Speaker 3: on the chest one night by a werewolf. And the

820
00:44:59,670 --> 00:45:02,690
Speaker 3: curse is transferred to him. You know, you probably know

821
00:45:02,730 --> 00:45:05,210
Speaker 3: the general outline of the story from there. Wakes up

822
00:45:05,250 --> 00:45:08,010
Speaker 3: in the morning. What have I done? But worth noting

823
00:45:08,070 --> 00:45:10,880
Speaker 3: is that at the end of The Wolfman, Larry Talbot

824
00:45:11,080 --> 00:45:14,620
Speaker 3: is dead, dead, dead, beaten to death with a silver

825
00:45:14,660 --> 00:45:18,240
Speaker 3: headed cane by his own father, played by Claude Rains.

826
00:45:18,739 --> 00:45:20,300
Speaker 1: Yeah, it's sad. It's grim.

827
00:45:20,880 --> 00:45:21,460
Speaker 3: And again.

828
00:45:22,060 --> 00:45:24,620
Speaker 1: It's not a moment that leaves you wondering, I wonder

829
00:45:24,660 --> 00:45:28,180
Speaker 1: what will happen to Larry Talbot. How will his adventures continue? No,

830
00:45:28,610 --> 00:45:29,260
Speaker 1: it seems done.

831
00:45:30,090 --> 00:45:32,969
Speaker 3: So the two grave robbers climb through the transom over

832
00:45:32,989 --> 00:45:35,710
Speaker 3: the door to the mausoleum. They head inside and they

833
00:45:35,770 --> 00:45:38,590
Speaker 3: survey the tombs, eventually coming to the one they're looking for.

834
00:45:39,250 --> 00:45:42,790
Speaker 3: The shorter grave robber reads the inscription out loud, saying,

835
00:45:43,090 --> 00:45:51,620
Speaker 3: Lawrence Stuart Talbot, who died at the youthful age of 31. R.I.P. Ooh, man,

836
00:45:51,640 --> 00:45:54,420
Speaker 3: when viewing this, this is really one of those I

837
00:45:54,480 --> 00:45:58,320
Speaker 3: am older than Homer Simpson moments. Larry Talbot does not

838
00:45:58,430 --> 00:46:01,230
Speaker 3: read as younger than I am now. To be fair,

839
00:46:01,290 --> 00:46:04,029
Speaker 3: Lon Chaney Jr. was a bit older than the character,

840
00:46:04,130 --> 00:46:08,410
Speaker 3: but still younger than me. Wild. Wow. I assume many

841
00:46:08,450 --> 00:46:10,989
Speaker 3: people your age, my age, or anywhere in between would

842
00:46:11,030 --> 00:46:15,880
Speaker 3: have a similar reaction. He seems like a more mature fellow. Yes.

843
00:46:17,040 --> 00:46:20,630
Speaker 3: It was a different time. Anyway, so the grave robbers

844
00:46:20,670 --> 00:46:23,509
Speaker 3: here crack the vault with a chisel while discussing what

845
00:46:23,550 --> 00:46:26,730
Speaker 3: they're looking for. Rumor around the village is that Talbot

846
00:46:26,750 --> 00:46:29,370
Speaker 3: was buried with a big wad of cash, a gold watch,

847
00:46:29,450 --> 00:46:31,750
Speaker 3: and a ring. And they say it's a sin to

848
00:46:31,770 --> 00:46:35,010
Speaker 3: bury good money when it could help people. The taller

849
00:46:35,110 --> 00:46:37,129
Speaker 3: one says, what do you think it'll look like after

850
00:46:37,210 --> 00:46:39,840
Speaker 3: so many years? And the other one says, just bones

851
00:46:39,890 --> 00:46:42,950
Speaker 3: and an empty skull. So the lid pops open and

852
00:46:42,989 --> 00:46:45,930
Speaker 3: they peer inside and the body appears to be covered

853
00:46:45,989 --> 00:46:50,200
Speaker 3: in some kind of dried herb. They pull like crispy

854
00:46:50,260 --> 00:46:54,000
Speaker 3: branches of this herb off the body. And one of

855
00:46:54,060 --> 00:46:56,880
Speaker 3: them recognizes what it is. It is wolf's bane. And

856
00:46:58,100 --> 00:47:01,430
Speaker 3: then the lead grave robber freezes as if startled. And

857
00:47:01,469 --> 00:47:04,230
Speaker 3: he begins to recite a poem he knows by heart.

858
00:47:04,989 --> 00:47:07,330
Speaker 3: Even a man who's pure at heart and says his

859
00:47:07,390 --> 00:47:10,300
Speaker 3: prayers by night. may become a wolf when the wolf's

860
00:47:10,360 --> 00:47:14,130
Speaker 3: bane blooms and the moon is full and bright. The

861
00:47:14,170 --> 00:47:17,150
Speaker 3: face of the body lying in the tomb is then uncovered,

862
00:47:17,489 --> 00:47:20,230
Speaker 3: and it is clearly not just bones and an empty skull.

863
00:47:20,290 --> 00:47:23,640
Speaker 3: The body is fleshy and quick. One of the robbers

864
00:47:23,700 --> 00:47:26,959
Speaker 3: mutters that he looks to be merely sleeping, and despite this,

865
00:47:27,040 --> 00:47:30,020
Speaker 3: the smaller thief gets to work. He lifts Talbot's dead

866
00:47:30,060 --> 00:47:33,219
Speaker 3: hand and wrenches a ring from his finger, observing it

867
00:47:33,300 --> 00:47:39,750
Speaker 3: in the Talbot stirs and we see his long fingernails,

868
00:47:39,810 --> 00:47:44,130
Speaker 3: which they're press on nails, aren't they? He's got sharp,

869
00:47:44,250 --> 00:47:47,969
Speaker 3: long fingernails, uh, revealing he is not dead. And he

870
00:47:48,050 --> 00:47:51,160
Speaker 3: reaches up with one hand and snatches the arm of

871
00:47:51,200 --> 00:47:54,000
Speaker 3: the smaller thief. Uh, note that at this point he

872
00:47:54,060 --> 00:47:56,560
Speaker 3: is fully human looking. There was no Wolfman makeup in

873
00:47:56,600 --> 00:48:00,020
Speaker 3: this scene, except for we see the long nails and

874
00:48:00,040 --> 00:48:02,719
Speaker 3: the thief cries for help. He drops his lantern to

875
00:48:02,739 --> 00:48:05,620
Speaker 3: the ground that starts a fire. The second grave robber

876
00:48:05,680 --> 00:48:08,930
Speaker 3: panics and abandons his partner escaping through the transom over

877
00:48:08,950 --> 00:48:11,549
Speaker 3: the door and running away through the graveyard while the

878
00:48:11,590 --> 00:48:16,030
Speaker 3: wind shakes the trees. And I think, okay, good start,

879
00:48:16,090 --> 00:48:20,310
Speaker 3: strong opening scene. The writing and the acting don't especially sing,

880
00:48:20,370 --> 00:48:23,529
Speaker 3: but they're good enough. And the set design and cinematography

881
00:48:23,570 --> 00:48:26,210
Speaker 3: are wonderful. So it's a really good mood at the beginning.

882
00:48:26,770 --> 00:48:31,110
Speaker 1: Yeah. I love the sequence. And it was ultimately rather, um, uh,

883
00:48:32,110 --> 00:48:35,910
Speaker 1: rather a revelation, uh, concerning other werewolf films that I've

884
00:48:35,950 --> 00:48:39,189
Speaker 1: seen that, you know, all were clearly influenced by this

885
00:48:39,469 --> 00:48:43,690
Speaker 1: and The Wolfman. On one level, I mentioned Paul Nashie earlier,

886
00:48:44,230 --> 00:48:48,910
Speaker 1: and we previously discussed 1980's Night of the Werewolf on

887
00:48:48,930 --> 00:48:52,339
Speaker 1: Weird House Cinema. This movie basically opens the same way.

888
00:48:52,820 --> 00:48:56,340
Speaker 1: Grave robbers come to the tomb, this time of Waldemar Daninsky,

889
00:48:56,940 --> 00:49:00,100
Speaker 1: Nashie's werewolf character. They're going to rob the grave, but

890
00:49:00,120 --> 00:49:02,799
Speaker 1: when they open it up, werewolf gets them. Though in

891
00:49:03,360 --> 00:49:06,779
Speaker 1: the Nashie picture, the werewolf is already like fully transformed

892
00:49:06,840 --> 00:49:11,450
Speaker 1: and it's a good bit more terrifying, you know.

893
00:49:12,210 --> 00:49:14,870
Speaker 3: He is RIPing in wolf mode. Yes.

894
00:49:15,590 --> 00:49:18,490
Speaker 1: And then this scene also solves another puzzle from another

895
00:49:18,550 --> 00:49:19,310
Speaker 1: werewolf film.

896
00:49:19,710 --> 00:49:19,790
Speaker 2: And.

897
00:49:20,020 --> 00:49:22,600
Speaker 1: That is why does a werewolf emerge from a casket

898
00:49:22,640 --> 00:49:28,510
Speaker 1: in 1965's La Loba? In my opinion, anyway, excellent female

899
00:49:28,550 --> 00:49:32,529
Speaker 1: werewolf film from Mexico. We see the werewolf, you know,

900
00:49:32,630 --> 00:49:36,640
Speaker 1: arising fully transformed out of a casket. And in that episode,

901
00:49:36,680 --> 00:49:38,680
Speaker 1: we were discussing, we were like, why is she getting

902
00:49:38,719 --> 00:49:40,580
Speaker 1: out of a casket? And I think this is probably

903
00:49:40,620 --> 00:49:43,719
Speaker 1: the reason, because that movie, like a lot of werewolf movies,

904
00:49:44,110 --> 00:49:46,570
Speaker 1: was inspired by Frankenstein Meets the Wolfman.

905
00:49:46,830 --> 00:49:49,330
Speaker 3: That does make a lot of sense, because typically the

906
00:49:49,370 --> 00:49:52,690
Speaker 3: werewolf is not understood as an undead type of character.

907
00:49:52,750 --> 00:49:54,550
Speaker 3: So why would it be coming out of a grave?

908
00:49:54,630 --> 00:49:57,790
Speaker 3: It's not dead. This is a living person who transforms.

909
00:49:58,370 --> 00:50:02,330
Speaker 3: But yeah, if it's a callback to this scene... where

910
00:50:02,350 --> 00:50:06,710
Speaker 3: the werewolf has been assumed dead and lying, you know, laying.

911
00:50:06,730 --> 00:50:09,910
Speaker 3: I think the implication is that all of the wolfsbane

912
00:50:09,969 --> 00:50:12,509
Speaker 3: piled up on top of him is some kind of

913
00:50:12,890 --> 00:50:15,950
Speaker 3: talisman that has like suppressed his power and kept him

914
00:50:15,989 --> 00:50:17,910
Speaker 3: down there. Did you read it the same way?

915
00:50:17,930 --> 00:50:18,850
Speaker 1: I guess so.

916
00:50:18,890 --> 00:50:19,210
Speaker 3: Yeah.

917
00:50:19,430 --> 00:50:22,489
Speaker 1: Like, you know, one of the big problems with the

918
00:50:22,530 --> 00:50:24,989
Speaker 1: plot of this picture is that Talbot is like, I

919
00:50:25,030 --> 00:50:26,690
Speaker 1: wish I could die. There's got to be a way

920
00:50:26,730 --> 00:50:30,110
Speaker 1: to make me die. And Despite the fact that he

921
00:50:30,150 --> 00:50:32,810
Speaker 1: very clearly died in the first film and we had,

922
00:50:32,850 --> 00:50:36,110
Speaker 1: you know, lore that established that werewolves could die. And

923
00:50:36,150 --> 00:50:38,190
Speaker 1: then it also just seems like, isn't this something you

924
00:50:38,230 --> 00:50:41,820
Speaker 1: could maybe manage? Like, I don't know, shackle yourself whenever

925
00:50:41,840 --> 00:50:44,140
Speaker 1: there's a full moon or, you know, have somebody lay

926
00:50:44,160 --> 00:50:45,960
Speaker 1: a bunch of wolfsbane on you and you can just

927
00:50:46,000 --> 00:50:48,980
Speaker 1: kind of like cryo sleep. through the full moons. It

928
00:50:49,140 --> 00:50:51,319
Speaker 1: seems like there might be another way forward here.

929
00:50:51,640 --> 00:50:55,950
Speaker 3: It really does. But the film, it just elides these details.

930
00:50:56,010 --> 00:50:58,310
Speaker 3: Don't worry about that. We got a plot to pursue.

931
00:50:58,370 --> 00:50:59,390
Speaker 1: It's just a film. Yeah.

932
00:51:00,450 --> 00:51:03,210
Speaker 3: Anyway, what happens next is we cut to a nearby city.

933
00:51:03,250 --> 00:51:04,550
Speaker 3: I didn't know where this was at first, but I

934
00:51:04,570 --> 00:51:07,450
Speaker 3: think this is supposed to be already in Cardiff, the

935
00:51:07,489 --> 00:51:11,170
Speaker 3: big city in Wales, where a policeman is patrolling an

936
00:51:11,210 --> 00:51:14,230
Speaker 3: empty street at night and he comes across the unconscious

937
00:51:14,310 --> 00:51:18,190
Speaker 3: body of Lon Chaney Jr., collapsed on the cobblestones with

938
00:51:18,250 --> 00:51:21,770
Speaker 3: a gaping head wound. And then we cut to some

939
00:51:21,830 --> 00:51:24,850
Speaker 3: time later in a hospital where Talbot is recovering in

940
00:51:24,890 --> 00:51:29,739
Speaker 3: bed with bandages around his head. His surgeon, a Dr. Mannering,

941
00:51:30,160 --> 00:51:34,319
Speaker 3: played by, again, a very baby-faced Patrick Knowles, enters the

942
00:51:34,360 --> 00:51:37,799
Speaker 3: ward accompanied by a police inspector named Owen. They are

943
00:51:37,840 --> 00:51:40,850
Speaker 3: informed that not only is the patient recovering well from surgery,

944
00:51:40,910 --> 00:51:43,549
Speaker 3: he is already conscious and talking about And this is

945
00:51:43,710 --> 00:51:46,930
Speaker 3: quite unexpected given the severity of his head wound and

946
00:51:46,950 --> 00:51:49,969
Speaker 3: the procedure required to fix it. So the doctor and

947
00:51:50,010 --> 00:51:53,840
Speaker 3: the inspector go to see him. Talbot's awake, but at

948
00:51:53,860 --> 00:51:57,320
Speaker 3: this point very soft-spoken and tentative. He says that he

949
00:51:57,360 --> 00:51:59,900
Speaker 3: feels no pain at the moment, but he's confused. He

950
00:52:00,080 --> 00:52:02,660
Speaker 3: doesn't know where he is, and to his distress, he

951
00:52:02,700 --> 00:52:06,700
Speaker 3: doesn't remember how he got there. Talbot gives them his name,

952
00:52:06,900 --> 00:52:08,860
Speaker 3: and the doctor and inspector leave to go see what

953
00:52:08,910 --> 00:52:13,069
Speaker 3: they can find out. So Owen phones police in Lanwellie

954
00:52:13,140 --> 00:52:16,500
Speaker 3: to inquire about Lawrence Talbot, and they inform him with

955
00:52:16,560 --> 00:52:19,759
Speaker 3: certainty that yes, Lawrence Talbot is from Lanwellie, but he

956
00:52:19,840 --> 00:52:23,239
Speaker 3: is also dead. He died four years ago. So this

957
00:52:23,260 --> 00:52:25,239
Speaker 3: is supposed to be four years since the events of

958
00:52:25,260 --> 00:52:29,420
Speaker 3: the first film. Also, I will say that the inside

959
00:52:29,460 --> 00:52:31,779
Speaker 3: of the Lanwellie police station does not look like a

960
00:52:31,800 --> 00:52:34,140
Speaker 3: police station. It looks like a beer hall. It's got

961
00:52:34,160 --> 00:52:38,350
Speaker 3: these stone arches, long tables, and big roaring fireplaces. And

962
00:52:38,370 --> 00:52:40,870
Speaker 3: then one of the policemen is pumping air into the

963
00:52:40,910 --> 00:52:43,570
Speaker 3: tire of a bicycle in the middle of the room.

964
00:52:43,760 --> 00:52:48,720
Speaker 3: Seems like outdoor work, but... Anyway, of course, Inspector Owen

965
00:52:48,820 --> 00:52:52,739
Speaker 3: concludes that Talbot is an imposter, but Dr. Manoring convinces

966
00:52:52,800 --> 00:52:55,620
Speaker 3: the police to hold off on interrogating him any further,

967
00:52:55,640 --> 00:53:00,830
Speaker 3: you know, until he's recovered. But unfortunately, before that can happen,

968
00:53:01,110 --> 00:53:02,210
Speaker 3: there is a full moon.

969
00:53:02,850 --> 00:53:04,870
Speaker 1: Something about the pacing and the sense of time in

970
00:53:04,890 --> 00:53:08,070
Speaker 1: this film, but it feels like there are roughly... Four

971
00:53:08,130 --> 00:53:11,390
Speaker 1: full moons a week in the universe of Frankenstein meets

972
00:53:11,410 --> 00:53:11,950
Speaker 1: the Wolfman.

973
00:53:12,190 --> 00:53:14,150
Speaker 3: Full moons are constantly happening.

974
00:53:14,350 --> 00:53:16,170
Speaker 1: And randomly. You don't know when they're going to occur.

975
00:53:16,190 --> 00:53:17,570
Speaker 1: You can't possibly prepare for it.

976
00:53:17,690 --> 00:53:19,569
Speaker 3: That does seem like part of the plot. You don't

977
00:53:19,630 --> 00:53:21,549
Speaker 3: know when it will be a full moon, which is

978
00:53:21,590 --> 00:53:23,069
Speaker 3: not how it works. Yeah.

979
00:53:23,130 --> 00:53:25,310
Speaker 1: Larry's like, oh, geez, when's the next full moon? He's like, oh,

980
00:53:25,310 --> 00:53:25,850
Speaker 1: it's right now.

981
00:53:27,830 --> 00:53:33,290
Speaker 3: Yeah. So Talbot is lying in his hospital bed and

982
00:53:33,370 --> 00:53:35,739
Speaker 3: the moonlight falls on him through a large window at

983
00:53:35,780 --> 00:53:38,759
Speaker 3: the end of the room. His eyes go glassy. And

984
00:53:38,800 --> 00:53:41,240
Speaker 3: then as he lies there in his bed, staring into space,

985
00:53:41,280 --> 00:53:43,890
Speaker 3: we begin to see the changes. And this is the

986
00:53:43,930 --> 00:53:48,390
Speaker 3: classic Wolfman transformation where a sequence of different shots fade

987
00:53:48,550 --> 00:53:51,570
Speaker 3: into one another. And in each one, he has more

988
00:53:51,670 --> 00:53:55,469
Speaker 3: of the Wolfman makeup applied. So he quickly grows a beard.

989
00:53:55,610 --> 00:53:58,310
Speaker 3: The beard creeps in from his jaw toward the center

990
00:53:58,350 --> 00:54:01,220
Speaker 3: of his face until his head and face are fully

991
00:54:01,300 --> 00:54:05,440
Speaker 3: covered in dark hair. His teeth turn into piercing canines.

992
00:54:05,890 --> 00:54:09,410
Speaker 3: His nose becomes somewhat canine, too. Though, to be clear,

993
00:54:09,450 --> 00:54:12,710
Speaker 3: this is not the long snout kind of werewolf makeup.

994
00:54:12,989 --> 00:54:15,510
Speaker 3: We've talked about these differences in other episodes in the past.

995
00:54:15,910 --> 00:54:21,210
Speaker 3: But the wolfman makeup is relatively humanoid, flat-faced, just with

996
00:54:21,290 --> 00:54:23,509
Speaker 3: lots of hair, claws, and fangs.

997
00:54:24,130 --> 00:54:26,150
Speaker 1: Yeah, and I think I've probably said this before, but

998
00:54:26,590 --> 00:54:27,930
Speaker 1: I'm done with snouted werewolves.

999
00:54:28,450 --> 00:54:29,450
Speaker 3: I don't want it anymore.

1000
00:54:29,530 --> 00:54:34,850
Speaker 1: It's the wolfman slash wolfwoman look. Uh, that's what I'm into. That's, that's,

1001
00:54:34,950 --> 00:54:37,910
Speaker 1: that's what I like to see. And so, yeah, the

1002
00:54:37,950 --> 00:54:40,480
Speaker 1: makeup here looks incredible. I mean, you could maybe critique

1003
00:54:40,520 --> 00:54:44,560
Speaker 1: it and say, well, maybe the nose looks a little picky. Um, there's,

1004
00:54:44,760 --> 00:54:47,380
Speaker 1: but you still can't take much away from it. It

1005
00:54:47,420 --> 00:54:52,380
Speaker 1: is the classic Wolfman look. All other Wolfmans, Wolfmen, Wolfwomen,

1006
00:54:52,580 --> 00:54:55,860
Speaker 1: Wolf people exist in the shadow of this creation.

1007
00:54:56,180 --> 00:54:56,359
Speaker 3: Yeah.

1008
00:54:57,100 --> 00:54:59,399
Speaker 1: One more note I want to add about this transformation

1009
00:54:59,440 --> 00:55:02,560
Speaker 1: scene is that we've all seen sloppy versions of this effect.

1010
00:55:02,620 --> 00:55:04,860
Speaker 1: Or I don't know, if your cinematic diet is like us,

1011
00:55:05,000 --> 00:55:08,219
Speaker 1: you've seen sloppy versions of this kind of transformation. But

1012
00:55:08,560 --> 00:55:12,380
Speaker 1: it's really smooth here. Looks great. And one thing that

1013
00:55:12,400 --> 00:55:15,640
Speaker 1: was pointed out by Shane Morton at the Silver Scream

1014
00:55:15,660 --> 00:55:18,239
Speaker 1: Spook Show is that the pillow that his head is

1015
00:55:18,360 --> 00:55:21,510
Speaker 1: on for the transformation was made out of porcelain. Because

1016
00:55:21,830 --> 00:55:25,770
Speaker 1: you have to film, stop, apply makeup, film, stop, apply makeup.

1017
00:55:26,330 --> 00:55:30,550
Speaker 1: And you can't have the pillow changing underneath Lon Chaney Jr.

1018
00:55:30,550 --> 00:55:32,910
Speaker 1: 's head. So you have a porcelain pillow there behind

1019
00:55:32,950 --> 00:55:35,030
Speaker 1: his head, which I thought was very fascinating.

1020
00:55:35,590 --> 00:55:38,239
Speaker 3: That's a good solution. I wouldn't have guessed that by

1021
00:55:38,280 --> 00:55:42,069
Speaker 3: looking at it. But once the transformation is complete, we

1022
00:55:42,180 --> 00:55:45,600
Speaker 3: see the Wolfman on the loose in Cardiff, tearing through

1023
00:55:45,620 --> 00:55:48,020
Speaker 3: the city streets in the dark, sort of doing parkour.

1024
00:55:49,500 --> 00:55:52,460
Speaker 3: Jumping up on top of crates and these cotton bales

1025
00:55:52,520 --> 00:55:56,239
Speaker 3: piled up in the street. He attacks a policeman, snarling

1026
00:55:56,280 --> 00:55:58,379
Speaker 3: and grabbing him by the throat, and then we can

1027
00:55:58,440 --> 00:56:01,180
Speaker 3: see in shadow as the Wolfman drags the body away

1028
00:56:01,239 --> 00:56:01,920
Speaker 3: down an alley.

1029
00:56:01,940 --> 00:56:06,180
Speaker 1: And he's really scary and intimidating looking, same as in

1030
00:56:06,340 --> 00:56:09,840
Speaker 1: The Wolfman. I saw this film with my family, and

1031
00:56:09,910 --> 00:56:11,890
Speaker 1: afterwards my wife was asking me, she's like, do you

1032
00:56:11,910 --> 00:56:15,670
Speaker 1: think people who saw this movie originally, were they scared

1033
00:56:15,710 --> 00:56:18,690
Speaker 1: by it? Did they find this particular film scary? And

1034
00:56:18,710 --> 00:56:22,630
Speaker 1: I don't know. Based on some aspects of the plot,

1035
00:56:22,690 --> 00:56:24,950
Speaker 1: I could see an argument for... for it being not

1036
00:56:25,010 --> 00:56:27,010
Speaker 1: that scary. But I don't know. These scenes with the Wolfman,

1037
00:56:27,050 --> 00:56:28,129
Speaker 1: I think, hold up really well.

1038
00:56:29,570 --> 00:56:32,589
Speaker 3: Some of the later stuff, especially the big climax, by

1039
00:56:32,650 --> 00:56:35,270
Speaker 3: that point, it doesn't feel like it's supposed to be scary.

1040
00:56:35,310 --> 00:56:38,470
Speaker 3: That's like fun mode. At this point, it has turned

1041
00:56:38,510 --> 00:56:40,150
Speaker 3: into Godzilla versus King Kong.

1042
00:56:40,390 --> 00:56:44,200
Speaker 1: Once the monsters are fighting each other, you're safe. It's like, yes,

1043
00:56:44,580 --> 00:56:46,380
Speaker 1: have them fight each other and I will slip.

1044
00:56:46,239 --> 00:56:49,230
Speaker 3: Out the back. So the next morning, the hospital staff

1045
00:56:49,450 --> 00:56:52,690
Speaker 3: find Talbot lying face down sideways on his bed. He's

1046
00:56:52,750 --> 00:56:56,190
Speaker 3: kind of dirty. His hair is must. Bandages are missing.

1047
00:56:56,710 --> 00:56:59,850
Speaker 3: And the window is hanging open. And he suddenly awakes

1048
00:56:59,989 --> 00:57:02,969
Speaker 3: and asks Manoring, his doctor, to call the police. He says,

1049
00:57:03,010 --> 00:57:08,090
Speaker 3: because I am a murderer. So Talbot has no control

1050
00:57:08,280 --> 00:57:11,020
Speaker 3: over his actions when he is in wolf mode. And

1051
00:57:11,040 --> 00:57:15,140
Speaker 3: I think there is some question about whether he remembers

1052
00:57:15,219 --> 00:57:19,350
Speaker 3: anything when he wakes up. I recall from the original Wolfman, Rob,

1053
00:57:19,390 --> 00:57:21,530
Speaker 3: correct me if I'm wrong, that he does not remember

1054
00:57:21,610 --> 00:57:22,750
Speaker 3: anything when he wakes up.

1055
00:57:23,150 --> 00:57:23,390
Speaker 1: Right.

1056
00:57:23,630 --> 00:57:25,950
Speaker 3: But maybe what's going on here is he's just putting

1057
00:57:25,990 --> 00:57:28,830
Speaker 3: the pieces together based on what happened in the first movie,

1058
00:57:28,910 --> 00:57:31,170
Speaker 3: not based on memories of the previous night.

1059
00:57:31,630 --> 00:57:34,050
Speaker 1: He has a lot to figure out here.

1060
00:57:34,110 --> 00:57:34,390
Speaker 3: Yeah.

1061
00:57:34,510 --> 00:57:36,860
Speaker 1: Like, even if he is remembering, oh, yeah, I'm a werewolf,

1062
00:57:36,900 --> 00:57:39,480
Speaker 1: he's probably thinking, didn't I die?

1063
00:57:39,500 --> 00:57:40,240
Speaker 3: Yeah.

1064
00:57:40,740 --> 00:57:40,939
Speaker 1: Yeah.

1065
00:57:42,160 --> 00:57:45,480
Speaker 3: So anyway, they call up Inspector Owen, but Manoring convinces,

1066
00:57:46,020 --> 00:57:48,240
Speaker 3: or he tries to convince Talbot that he is not

1067
00:57:48,280 --> 00:57:51,780
Speaker 3: a murderer. He says, true, there was a constable killed

1068
00:57:51,820 --> 00:57:54,020
Speaker 3: last night, but that was several streets away and he

1069
00:57:54,060 --> 00:57:57,530
Speaker 3: was killed by a wild animal. Talbot says, that's just it.

1070
00:57:57,930 --> 00:58:00,090
Speaker 3: I turn into an animal. I love that.

1071
00:58:00,130 --> 00:58:01,130
Speaker 1: I did laugh at that line.

1072
00:58:01,170 --> 00:58:01,770
Speaker 3: That was great.

1073
00:58:02,370 --> 00:58:05,930
Speaker 1: Nothing on his delivery, but the line itself was pretty funny.

1074
00:58:06,190 --> 00:58:09,330
Speaker 3: Yeah. Manoring explains it all the way. He's like, no, no, no,

1075
00:58:09,370 --> 00:58:12,290
Speaker 3: you're not a murderer. You're suffering from a delusion. So

1076
00:58:12,430 --> 00:58:14,210
Speaker 3: what's a guy got to do to get arrested for

1077
00:58:14,250 --> 00:58:20,210
Speaker 3: murder around here? Anyway, when Owen arrives, Talbot desperately recaps

1078
00:58:20,290 --> 00:58:22,650
Speaker 3: the major events of the first film. He was bitten

1079
00:58:22,670 --> 00:58:24,980
Speaker 3: by a wolf on the chest. Though it wasn't a wolf,

1080
00:58:25,040 --> 00:58:28,400
Speaker 3: it was a man, a werewolf. Talbot killed the original

1081
00:58:28,420 --> 00:58:30,960
Speaker 3: werewolf in a fight. He beat it to death with

1082
00:58:31,000 --> 00:58:35,960
Speaker 3: the silver cane. But then he began himself to transform

1083
00:58:36,000 --> 00:58:38,620
Speaker 3: at night and roam hill and dale in a bloodthirsty

1084
00:58:38,680 --> 00:58:42,480
Speaker 3: rage beyond his control. And then he says, Ask Maliva,

1085
00:58:42,560 --> 00:58:45,240
Speaker 3: you know, she'll tell you. This is, again, a character

1086
00:58:45,300 --> 00:58:48,520
Speaker 3: from the first movie. It is the mother of the werewolf,

1087
00:58:48,560 --> 00:58:51,960
Speaker 3: played by Bela Lugosi, that turned Talbot, and she's going

1088
00:58:51,980 --> 00:58:55,080
Speaker 3: to be back in the sequel. And I think the

1089
00:58:55,120 --> 00:58:57,590
Speaker 3: werewolf character in the first movie is not only played

1090
00:58:57,620 --> 00:58:59,650
Speaker 3: by Bela Lugosi, but is named Bela?

1091
00:59:00,670 --> 00:59:02,330
Speaker 1: Yes, you're correct, yes.

1092
00:59:02,810 --> 00:59:05,810
Speaker 3: Then Talbot gets really bad news. Owen says, come on,

1093
00:59:05,850 --> 00:59:08,510
Speaker 3: tell us your real name. You can't be Lawrence Talbot.

1094
00:59:08,650 --> 00:59:12,190
Speaker 3: He died four years ago. ago. And this leads Talbot

1095
00:59:12,230 --> 00:59:15,920
Speaker 3: to realize that he has the curse of immortality. Because

1096
00:59:16,000 --> 00:59:20,100
Speaker 3: he is a werewolf, he cannot die. Now, I recall

1097
00:59:20,220 --> 00:59:25,260
Speaker 3: several reviewers saying that this movie has serious plot holes

1098
00:59:25,320 --> 00:59:29,200
Speaker 3: or at least inconsistencies and premises that were not really

1099
00:59:29,280 --> 00:59:32,700
Speaker 3: reconciled with the events of the previous films. Unless I'm

1100
00:59:32,740 --> 00:59:36,360
Speaker 3: missing something, this does seem to be the big one,

1101
00:59:36,400 --> 00:59:39,660
Speaker 3: or at least a major one. It is clearly established

1102
00:59:39,700 --> 00:59:42,220
Speaker 3: in The Wolfman that you can kill a werewolf. You

1103
00:59:42,260 --> 00:59:45,360
Speaker 3: need a silver weapon. Not only is this said by

1104
00:59:45,420 --> 00:59:48,620
Speaker 3: the characters, it actually happens multiple times in the film.

1105
00:59:48,680 --> 00:59:50,900
Speaker 3: The premise is proven. Yeah, yeah.

1106
00:59:50,960 --> 00:59:54,950
Speaker 1: Like, there are multiple places in... in The Wolfman where

1107
00:59:54,970 --> 00:59:57,530
Speaker 1: he's like, I just killed a wolf. And they're like, no,

1108
00:59:57,530 --> 01:00:00,750
Speaker 1: you killed a werewolf. Like, yes, you can kill a werewolf. Otherwise,

1109
01:00:00,770 --> 01:00:02,350
Speaker 1: there'd be like six of them in this movie.

1110
01:00:02,630 --> 01:00:05,070
Speaker 3: Right, yeah. But then a major theme of this movie

1111
01:00:05,210 --> 01:00:07,919
Speaker 3: is that there is no known way to kill a werewolf.

1112
01:00:07,960 --> 01:00:11,640
Speaker 3: There is no way to do it. And Talbot's desperation

1113
01:00:11,760 --> 01:00:15,180
Speaker 3: at the discovery that he cannot die is what sends

1114
01:00:15,240 --> 01:00:19,720
Speaker 3: him on the collision course with Frankenstein, with the Frankenstein lineage. So...

1115
01:00:20,160 --> 01:00:22,420
Speaker 3: This is so big that it feels like it can't

1116
01:00:22,500 --> 01:00:25,300
Speaker 3: just be an oversight. It seems like the sequel appears

1117
01:00:25,360 --> 01:00:29,140
Speaker 3: to have deliberately chosen to ignore a major plot device

1118
01:00:29,620 --> 01:00:33,130
Speaker 3: established in the first movie for the sake of character pathos.

1119
01:00:33,170 --> 01:00:35,990
Speaker 3: You know, the hopeless frustration of Talbot's search for a

1120
01:00:36,010 --> 01:00:39,250
Speaker 3: way to die. That's like the main emotion in the film.

1121
01:00:39,730 --> 01:00:41,680
Speaker 1: Yeah, I mean, I guess on one hand, I come

1122
01:00:41,700 --> 01:00:44,500
Speaker 1: back to Highlander 1, is that when a movie wraps

1123
01:00:44,640 --> 01:00:47,700
Speaker 1: up so succinctly, you have to break something in order

1124
01:00:47,740 --> 01:00:50,530
Speaker 1: to make a sequel work. And maybe that's what's going on.

1125
01:00:50,570 --> 01:00:52,960
Speaker 1: But also, I mean, in turn, like, what is the

1126
01:00:53,000 --> 01:00:57,000
Speaker 1: most interesting choice in bringing this character back? There's an

1127
01:00:57,060 --> 01:00:59,040
Speaker 1: argument to be made that, I mean, we're talking about it.

1128
01:01:00,100 --> 01:01:03,680
Speaker 1: You're turning him into a sort of another iconic creature

1129
01:01:03,700 --> 01:01:08,970
Speaker 1: of fantasy, like the undying wanderer. Someone who maybe wanted him, well,

1130
01:01:09,070 --> 01:01:11,130
Speaker 1: not in Talbot's case, but in the mythic sense, it's

1131
01:01:11,270 --> 01:01:13,870
Speaker 1: sometimes someone who wanted to live forever and then realizes

1132
01:01:14,250 --> 01:01:16,770
Speaker 1: that that was a ridiculous wish and now they wish

1133
01:01:16,790 --> 01:01:17,490
Speaker 1: they could take it back.

1134
01:01:17,910 --> 01:01:21,770
Speaker 3: Yeah. But Talbot is purely pitiable and tragic. Like, he

1135
01:01:21,790 --> 01:01:24,530
Speaker 3: didn't ask for this. It just happened to him by accident.

1136
01:01:24,930 --> 01:01:25,630
Speaker 3: Terrible fate.

1137
01:01:26,010 --> 01:01:26,150
Speaker 2: Yeah.

1138
01:01:26,530 --> 01:01:28,590
Speaker 1: But it is fitting that he should be facing all

1139
01:01:28,630 --> 01:01:32,130
Speaker 1: this confusion and existential dread because it's very much the

1140
01:01:32,170 --> 01:01:33,690
Speaker 1: nature of the character in The Wolfman as well.

1141
01:01:34,110 --> 01:01:36,370
Speaker 3: Right. So Talbot is put in a straight jacket and

1142
01:01:36,430 --> 01:01:38,930
Speaker 3: carried away by orderlies. He's fighting all the way. And

1143
01:01:39,910 --> 01:01:43,490
Speaker 3: then Mannerling and the inspector have this bizarre exchange that

1144
01:01:43,510 --> 01:01:45,930
Speaker 3: I can't really decode. They go back to his office

1145
01:01:46,440 --> 01:01:50,020
Speaker 3: and Owen says, You mean to say that Talbot actually

1146
01:01:50,180 --> 01:01:53,780
Speaker 3: experienced that murder last night? And then this is what

1147
01:01:53,840 --> 01:01:54,260
Speaker 3: Manoring says.

1148
01:01:54,280 --> 01:01:54,350
Speaker 1: Hmm.

1149
01:02:15,300 --> 01:02:17,110
Speaker 3: So what is he alleging happened?

1150
01:02:17,850 --> 01:02:19,870
Speaker 1: I can't help but think this is sort of plot

1151
01:02:19,910 --> 01:02:23,330
Speaker 1: artifact from the first film. Because the first film, I

1152
01:02:23,370 --> 01:02:28,850
Speaker 1: understand that Siobhan's The Wolfman script originally left it rather

1153
01:02:28,930 --> 01:02:31,360
Speaker 1: vague as to whether we were dealing with an actual

1154
01:02:31,420 --> 01:02:36,700
Speaker 1: monster or just purely clinical lycanthropy. So somebody who thought

1155
01:02:36,740 --> 01:02:40,260
Speaker 1: they were turning into a wolf and was maybe murdering

1156
01:02:40,340 --> 01:02:42,919
Speaker 1: even thinking they were a wolf. But then they change

1157
01:02:42,940 --> 01:02:45,410
Speaker 1: it and they realize, no, moviegoers want to see a

1158
01:02:45,660 --> 01:02:47,790
Speaker 1: wolfman and we're going to give it to them. But

1159
01:02:48,070 --> 01:02:50,490
Speaker 1: the film still plays with this idea a bit, this

1160
01:02:50,530 --> 01:02:55,810
Speaker 1: sort of logic and superstition butting heads about what's occurring.

1161
01:02:56,510 --> 01:02:58,820
Speaker 1: So this just seems like maybe another callback to that theme.

1162
01:02:59,200 --> 01:03:02,880
Speaker 3: Yeah. And so Manoring clearly thinks that Talbot is a

1163
01:03:03,040 --> 01:03:05,860
Speaker 3: clinical lycanthrope, a man under the delusion that he is

1164
01:03:05,900 --> 01:03:08,620
Speaker 3: a wolf. But it sounds like he's implying here that

1165
01:03:08,740 --> 01:03:16,270
Speaker 3: that also gives him supernatural powers. Anyway, the inspector and

1166
01:03:16,290 --> 01:03:19,010
Speaker 3: the doctor decide to take a road trip up to

1167
01:03:19,050 --> 01:03:22,310
Speaker 3: Lanwellie to figure out more about Talbot's backstory. So they

1168
01:03:22,330 --> 01:03:24,760
Speaker 3: go to the family mausoleum and the cemetery from the

1169
01:03:24,820 --> 01:03:26,960
Speaker 3: opening scene, and they find that the door has been

1170
01:03:27,000 --> 01:03:30,720
Speaker 3: broken down from the inside. They also find Talbot's coffin

1171
01:03:30,900 --> 01:03:33,740
Speaker 3: empty and the body of a local vagrant lying on

1172
01:03:33,780 --> 01:03:35,850
Speaker 3: the floor of the crypt, dead by way of a

1173
01:03:35,910 --> 01:03:40,300
Speaker 3: severed jugular. They also hear stories from the local constable

1174
01:03:40,440 --> 01:03:42,940
Speaker 3: about a wild animal who killed many people in these

1175
01:03:43,000 --> 01:03:46,400
Speaker 3: parts four years ago. They say, you know, bit through

1176
01:03:46,420 --> 01:03:49,860
Speaker 3: their throats, drained their blood. John Talbot thought he killed

1177
01:03:49,900 --> 01:03:52,180
Speaker 3: it one night, attacked it in the dark, but it

1178
01:03:52,240 --> 01:03:56,300
Speaker 3: was his son he killed. Poor Mr. Larry. And so

1179
01:03:56,340 --> 01:04:00,180
Speaker 3: the local police show our two characters here a photo

1180
01:04:00,200 --> 01:04:02,390
Speaker 3: of Lawrence Talbot. And wow, he sure does look a

1181
01:04:02,430 --> 01:04:06,620
Speaker 3: lot like our lycanthrope in Cardiff. And then Owen says,

1182
01:04:06,660 --> 01:04:09,120
Speaker 3: of course, it's not the same man. If it were,

1183
01:04:09,320 --> 01:04:13,340
Speaker 3: I'd be off me top. So Owen and Manoring make

1184
01:04:13,380 --> 01:04:17,050
Speaker 3: a plan to bring the Lanwelly constable back to Cardiff

1185
01:04:17,160 --> 01:04:20,210
Speaker 3: to see if he can positively ID their patient. But

1186
01:04:20,310 --> 01:04:23,270
Speaker 3: when the doctor calls the hospital, he learns that Talbot

1187
01:04:23,410 --> 01:04:27,270
Speaker 3: tore off his straitjacket in the night and escaped. So, oh, no,

1188
01:04:27,410 --> 01:04:31,070
Speaker 3: we have loose Talbot. And they say, tore off his straitjacket?

1189
01:04:31,110 --> 01:04:31,470
Speaker 1: How?

1190
01:04:32,010 --> 01:04:33,820
Speaker 3: Bit right through it with his teeth.

1191
01:04:34,560 --> 01:04:36,270
Speaker 1: Oh. They're not wolf proof.

1192
01:04:45,650 --> 01:04:49,960
Speaker 3: So sometime later, we rejoin Talbot as he wanders into

1193
01:04:50,120 --> 01:04:53,440
Speaker 3: a Romani camp dressed like a vagabond with a wide

1194
01:04:53,500 --> 01:04:57,820
Speaker 3: brimmed hat. He is looking for Maliva, the the wise

1195
01:04:57,880 --> 01:05:00,960
Speaker 3: old woman from the first movie. Mileva was the mother

1196
01:05:01,160 --> 01:05:04,340
Speaker 3: of Bella, the original werewolf who turned Talbot and then

1197
01:05:04,400 --> 01:05:08,480
Speaker 3: was killed by Talbot. Both Bella and Mileva were in

1198
01:05:08,520 --> 01:05:12,200
Speaker 3: the first film divulgers of lore. So I think Talbot

1199
01:05:12,320 --> 01:05:15,240
Speaker 3: is here hoping to find answers, primarily to find out

1200
01:05:15,340 --> 01:05:18,570
Speaker 3: how he can be cured or more likely how he

1201
01:05:18,610 --> 01:05:21,590
Speaker 3: can just die. So he meets with Mileva and she

1202
01:05:21,650 --> 01:05:25,310
Speaker 3: receives him with sympathy. He says, Mileva, here I still

1203
01:05:25,390 --> 01:05:28,290
Speaker 3: carry the sign of the pentagram, the mark of the werewolf.

1204
01:05:28,530 --> 01:05:31,130
Speaker 3: I kill people. When the moon is full, I turn

1205
01:05:31,170 --> 01:05:34,430
Speaker 3: into a wolf. But unfortunately, she says that she has

1206
01:05:34,530 --> 01:05:36,790
Speaker 3: no power to help him. She doesn't seem to know

1207
01:05:36,870 --> 01:05:39,530
Speaker 3: of a way that he can die. But she says

1208
01:05:39,590 --> 01:05:42,580
Speaker 3: that she will join him and take care of him

1209
01:05:42,820 --> 01:05:45,920
Speaker 3: as she would her own son. And while she doesn't

1210
01:05:46,180 --> 01:05:48,660
Speaker 3: have the power to help him, she knows of a

1211
01:05:48,700 --> 01:05:52,300
Speaker 3: man who might. And there we get dum-dum-dum. Nobody says

1212
01:05:52,340 --> 01:05:54,970
Speaker 3: the name Frankenstein yet, but that should be the audience.

1213
01:05:55,030 --> 01:05:57,490
Speaker 3: They're out there thinking, oh, is she talking about Frankenstein?

1214
01:05:58,690 --> 01:06:02,380
Speaker 1: Quick note on pentagrams, though. If you like pentagrams, watch

1215
01:06:02,490 --> 01:06:04,780
Speaker 1: The Wolfman because they talk about pentagrams a lot.

1216
01:06:06,420 --> 01:06:08,860
Speaker 3: Am I wrong in remembering that in the first Wolfman,

1217
01:06:09,620 --> 01:06:12,760
Speaker 3: it's not the wolf, the werewolf who has the pentagram.

1218
01:06:12,820 --> 01:06:16,070
Speaker 3: Isn't it his victims who have the pentagram emblazoned on them?

1219
01:06:16,610 --> 01:06:19,890
Speaker 1: Well, you also have the pentagram on the cane. The

1220
01:06:19,930 --> 01:06:22,090
Speaker 1: cane has this big round part that has the pentagram

1221
01:06:22,150 --> 01:06:24,990
Speaker 1: on it and then the wolf's head. So it looks

1222
01:06:26,150 --> 01:06:26,930
Speaker 1: like a golf club.

1223
01:06:26,970 --> 01:06:27,450
Speaker 3: And in fact.

1224
01:06:28,320 --> 01:06:31,490
Speaker 1: Talbot makes a joke when he first handles the cane

1225
01:06:31,530 --> 01:06:32,950
Speaker 1: and pretends to play a.

1226
01:06:32,910 --> 01:06:36,090
Speaker 3: Little golf with it. So Mileva is part of the

1227
01:06:36,110 --> 01:06:38,470
Speaker 3: team now, and she is going to lead him to

1228
01:06:38,650 --> 01:06:41,910
Speaker 3: a village in the Alps. It's a place called Viseria,

1229
01:06:42,390 --> 01:06:45,730
Speaker 3: the village in the shadow of the ruined Castle Frankenstein.

1230
01:06:45,770 --> 01:06:47,270
Speaker 3: They sort of, on the way there, they go on

1231
01:06:47,290 --> 01:06:49,390
Speaker 3: a wagon road trip through Europe, and we see a

1232
01:06:49,430 --> 01:06:52,850
Speaker 3: bunch of still photos of different towns there. But Talbot

1233
01:06:52,890 --> 01:06:56,290
Speaker 3: and Mileva, when they get to Viseria, they visit the

1234
01:06:56,330 --> 01:07:00,050
Speaker 3: local inn and tavern to ask about Dr. Frankenstein. But,

1235
01:07:00,090 --> 01:07:03,670
Speaker 3: of course, this gets them a quite frosty reception, particularly

1236
01:07:03,770 --> 01:07:08,160
Speaker 3: from Vazik, the innkeeper, a large, bespectacled man with a

1237
01:07:08,220 --> 01:07:11,520
Speaker 3: handlebar mustache. I watched this with Rachel, and she was

1238
01:07:11,560 --> 01:07:13,020
Speaker 3: calling him Teddy Roosevelt.

1239
01:07:14,740 --> 01:07:16,360
Speaker 1: Yeah, and when we first meet him, he seems like

1240
01:07:16,380 --> 01:07:19,300
Speaker 1: a real nice guy. You know, he's just bringing around

1241
01:07:19,320 --> 01:07:21,520
Speaker 1: the beer. It's a popular place.

1242
01:07:22,390 --> 01:07:27,170
Speaker 3: But no, he reacts unpleasantly when they ask him about Frankenstein.

1243
01:07:27,410 --> 01:07:29,430
Speaker 3: He leads them to the window and points out at

1244
01:07:29,450 --> 01:07:32,210
Speaker 3: the crumbling castle. We see that it is nestled in

1245
01:07:32,250 --> 01:07:35,600
Speaker 3: a mountain ravine next to a rushing river just downstream

1246
01:07:35,660 --> 01:07:40,100
Speaker 3: from a large dam. And Vasek says coldly, there, that

1247
01:07:40,180 --> 01:07:43,080
Speaker 3: is his burial place. The fire destroyed him and all

1248
01:07:43,120 --> 01:07:46,440
Speaker 3: of his misdeeds. He didn't die any too soon for us.

1249
01:07:46,800 --> 01:07:49,120
Speaker 3: We all wish that he had never been born. What

1250
01:07:49,140 --> 01:07:52,550
Speaker 3: did you want with him? And Mileva here says that

1251
01:07:52,610 --> 01:07:54,530
Speaker 3: she heard he was a great doctor and that he

1252
01:07:54,550 --> 01:07:58,470
Speaker 3: could help people that other doctors couldn't cure. Is that

1253
01:07:58,530 --> 01:08:01,380
Speaker 3: part of the Frankenstein story? I don't remember anything about that.

1254
01:08:02,140 --> 01:08:07,460
Speaker 1: You know, it seems it's a reasonable suspicion that, hey,

1255
01:08:07,500 --> 01:08:11,600
Speaker 1: he was doing like amazing godlike things. What if we

1256
01:08:11,620 --> 01:08:13,640
Speaker 1: looked at that research again? Maybe we could find something

1257
01:08:13,660 --> 01:08:14,220
Speaker 1: helpful in there.

1258
01:08:14,880 --> 01:08:16,740
Speaker 3: It seems like part of the prep for his treatment

1259
01:08:16,840 --> 01:08:18,760
Speaker 3: is he'd have to go ahead and kill you before

1260
01:08:18,800 --> 01:08:19,740
Speaker 3: he could resurrect you.

1261
01:08:20,060 --> 01:08:20,160
Speaker 2: Yeah.

1262
01:08:21,300 --> 01:08:25,000
Speaker 3: Anyway, Vasek scoffs at this idea as well. He says

1263
01:08:25,060 --> 01:08:27,900
Speaker 3: that murder is all that Frankenstein brought to the people

1264
01:08:27,939 --> 01:08:31,040
Speaker 3: of Viseria. They say he harbored a monster at his house,

1265
01:08:31,100 --> 01:08:33,600
Speaker 3: a foul being created by black magic.

1266
01:08:34,660 --> 01:08:36,440
Speaker 1: And he was also a job creator, though. I think

1267
01:08:36,460 --> 01:08:38,059
Speaker 1: it's being a little unfair.

1268
01:08:39,970 --> 01:08:42,990
Speaker 3: The news that Frankenstein is dead hits Talbot very hard.

1269
01:08:43,050 --> 01:08:45,830
Speaker 3: He collapses into a chair. He's like, this was my

1270
01:08:45,870 --> 01:08:49,040
Speaker 3: only hope. And then Vasek tries to throw them out

1271
01:08:49,060 --> 01:08:50,939
Speaker 3: of the bar. He doesn't want to serve anyone who

1272
01:08:50,960 --> 01:08:53,519
Speaker 3: would be asking about the mad doctor. And this leads

1273
01:08:53,580 --> 01:08:56,290
Speaker 3: to a confrontation. Talbot shouts at him on the way out.

1274
01:08:56,370 --> 01:08:59,170
Speaker 3: So they seem to be developing enmity for one another.

1275
01:08:59,189 --> 01:08:59,259
Speaker 2: Hmm.

1276
01:09:01,310 --> 01:09:04,330
Speaker 3: Maliva and Talbot ride their wagon up the mountain pass

1277
01:09:04,689 --> 01:09:07,490
Speaker 3: and Talbot says now I must go on living there's

1278
01:09:07,560 --> 01:09:10,600
Speaker 3: no hope for me to die and then uh-oh surprise

1279
01:09:10,620 --> 01:09:17,430
Speaker 3: full moon just comes out of nowhere Talbot begins the transformation.

1280
01:09:17,470 --> 01:09:20,309
Speaker 3: He jumps off the wagon and runs into the woods

1281
01:09:20,410 --> 01:09:24,310
Speaker 3: as the change takes hold. So while on a wolf rampage,

1282
01:09:25,130 --> 01:09:27,590
Speaker 3: he kills a young woman of the village. And then

1283
01:09:27,630 --> 01:09:30,059
Speaker 3: we later, this all happens very fast. And then we

1284
01:09:30,100 --> 01:09:33,700
Speaker 3: later see the villagers, they formed this mournful procession in

1285
01:09:33,720 --> 01:09:37,799
Speaker 3: the streets. Vazik is carrying the woman's dead body. And

1286
01:09:37,820 --> 01:09:40,139
Speaker 3: the locals begin to talk about who could have done this.

1287
01:09:40,260 --> 01:09:43,530
Speaker 3: Could it be Frankenstein's monster returned? They say, no, the

1288
01:09:43,570 --> 01:09:46,330
Speaker 3: monster is long dead. An animal bit her to death.

1289
01:09:46,850 --> 01:09:50,170
Speaker 3: And then Dwight Fry says, what animals are there around

1290
01:09:50,229 --> 01:09:53,300
Speaker 3: here that can kill people? And a wolf howls in

1291
01:09:53,310 --> 01:09:55,800
Speaker 3: the distance. So they say, a wolf, a wolf, that's

1292
01:09:55,840 --> 01:10:00,019
Speaker 3: his cry. So they form a posse, you know, pitchforks, torches,

1293
01:10:00,100 --> 01:10:02,400
Speaker 3: the classic Frankenstein posse.

1294
01:10:02,420 --> 01:10:05,089
Speaker 1: They've done this a few times before. So they get

1295
01:10:05,120 --> 01:10:06,320
Speaker 1: it together quickly.

1296
01:10:06,590 --> 01:10:10,970
Speaker 3: Yeah. Familiar with the procedure. angry mob, torches and pitchforks,

1297
01:10:11,090 --> 01:10:13,090
Speaker 3: guns this time, and they go out into the woods

1298
01:10:13,150 --> 01:10:16,580
Speaker 3: hunting the beast. They pursue the Wolfman through the forest

1299
01:10:16,640 --> 01:10:19,040
Speaker 3: in the dark, shooting him and driving him into the

1300
01:10:19,100 --> 01:10:23,780
Speaker 3: ruins of the castle. And eventually the Wolfman, wounded, stumbles

1301
01:10:23,860 --> 01:10:27,730
Speaker 3: and falls into an underground cavern filled with ice and snow.

1302
01:10:28,110 --> 01:10:30,969
Speaker 3: But there's no snow on the surface? I was confused

1303
01:10:31,010 --> 01:10:31,410
Speaker 3: about this.

1304
01:10:31,530 --> 01:10:33,570
Speaker 1: Yeah, yeah. It feels like we're almost in a magical

1305
01:10:33,610 --> 01:10:35,490
Speaker 1: land at this point. But it looks really cool.

1306
01:10:35,770 --> 01:10:38,830
Speaker 3: Yeah. The villagers also capture Mileva and they take her

1307
01:10:38,870 --> 01:10:43,099
Speaker 3: back to town for interrogation. So later Talbot awakes in

1308
01:10:43,140 --> 01:10:46,320
Speaker 3: this snowy cavern with tattered clothes. He's back in human

1309
01:10:46,380 --> 01:10:50,559
Speaker 3: form and he searches around and then finds, tucked away

1310
01:10:50,600 --> 01:10:52,860
Speaker 3: in a corner of the space, what looks like a

1311
01:10:52,960 --> 01:10:56,880
Speaker 3: great translucent window made of ice under a stone arch.

1312
01:10:57,860 --> 01:10:59,910
Speaker 3: He begins to kind of chip at it. He bashes

1313
01:10:59,970 --> 01:11:02,390
Speaker 3: through the ice with a rock and then behind it

1314
01:11:02,470 --> 01:11:07,950
Speaker 3: he finds the frozen unconscious body of Frankenstein's monster. But

1315
01:11:07,990 --> 01:11:10,750
Speaker 3: of course, it is not Karloff. It's Bela Lugosi in

1316
01:11:10,770 --> 01:11:11,750
Speaker 3: the Karloff makeup.

1317
01:11:12,189 --> 01:11:14,689
Speaker 1: Great sequence here with the breaking ice.

1318
01:11:14,729 --> 01:11:15,309
Speaker 3: I did like this.

1319
01:11:15,830 --> 01:11:16,030
Speaker 2: Yeah.

1320
01:11:16,110 --> 01:11:18,090
Speaker 3: And so with the ice broken away, the monster begins

1321
01:11:18,130 --> 01:11:23,190
Speaker 3: to stir and regain consciousness. So Talbot thinks his prayers

1322
01:11:23,270 --> 01:11:26,270
Speaker 3: may be answered. We see Talbot and the monster wandering

1323
01:11:26,310 --> 01:11:29,979
Speaker 3: through the ruins of the castle together. I didn't get

1324
01:11:30,040 --> 01:11:33,210
Speaker 3: this at first, but part of the reason the that

1325
01:11:33,250 --> 01:11:35,110
Speaker 3: the monster is walking the way he is, is that

1326
01:11:35,150 --> 01:11:37,650
Speaker 3: he's supposed to be blind. I don't think any characters

1327
01:11:37,710 --> 01:11:38,730
Speaker 3: say this. Right.

1328
01:11:38,790 --> 01:11:42,590
Speaker 1: And then originally, he's supposed to speak. So this is

1329
01:11:42,750 --> 01:11:44,760
Speaker 1: like a true team up at this point. Like, I

1330
01:11:44,780 --> 01:11:47,479
Speaker 1: don't know, Talbot's saying like, hey, monster, you want to

1331
01:11:47,520 --> 01:11:49,280
Speaker 1: come with me? And maybe we can help each other out.

1332
01:11:49,340 --> 01:11:51,280
Speaker 1: And the monster's like, yeah, let's get out of here.

1333
01:11:51,300 --> 01:11:51,920
Speaker 1: This place sucks.

1334
01:11:52,620 --> 01:11:55,080
Speaker 3: But I think the producers found the dialogue lines of

1335
01:11:55,100 --> 01:11:57,889
Speaker 3: the monster laughable, so they removed them from the film.

1336
01:11:57,939 --> 01:11:59,110
Speaker 1: Yeah, that's what I've read.

1337
01:11:59,780 --> 01:12:02,979
Speaker 3: So Talbot, yeah, Talbot leads the monster by hand, asking

1338
01:12:03,040 --> 01:12:05,080
Speaker 3: the monster to show him where he can find Dr.

1339
01:12:05,120 --> 01:12:08,420
Speaker 3: Frankenstein's notes and diaries, something that will explain how to

1340
01:12:08,460 --> 01:12:12,049
Speaker 3: kill a werewolf, I guess. So the monster tries to

1341
01:12:12,090 --> 01:12:15,110
Speaker 3: show him a secret hiding place behind a bookshelf, but

1342
01:12:15,170 --> 01:12:18,870
Speaker 3: the safe inside doesn't contain anything useful. I don't know

1343
01:12:18,910 --> 01:12:21,850
Speaker 3: how Talbot determines that these papers are not useful. He

1344
01:12:21,890 --> 01:12:23,950
Speaker 3: just dumps them out really quick, and he's like, it's

1345
01:12:23,990 --> 01:12:24,510
Speaker 3: not here.

1346
01:12:24,790 --> 01:12:26,389
Speaker 1: Yeah, what are you looking for? Why would it stand

1347
01:12:26,450 --> 01:12:27,090
Speaker 1: out so easily?

1348
01:12:27,430 --> 01:12:27,590
Speaker 2: Yeah.

1349
01:12:28,450 --> 01:12:31,210
Speaker 3: And Talbot is filled with despair. But in the safe,

1350
01:12:31,370 --> 01:12:33,350
Speaker 3: he finds this is the part where he finds an

1351
01:12:33,530 --> 01:12:38,760
Speaker 3: autographed Hollywood glamour photo of Ilona Massey. And it's it's

1352
01:12:39,300 --> 01:12:41,960
Speaker 3: signed Elsa Frankenstein. It says to my father.

1353
01:12:41,979 --> 01:12:45,900
Speaker 1: So great news. There is a there is a surviving

1354
01:12:45,939 --> 01:12:47,790
Speaker 1: Frankenstein and she's hot.

1355
01:12:48,130 --> 01:12:50,570
Speaker 3: She's a movie star. Yeah. To my father. I made

1356
01:12:50,610 --> 01:12:55,450
Speaker 3: it big in Hollywood. Signed Elsa. But OK, here's here's

1357
01:12:55,490 --> 01:12:59,530
Speaker 3: a new angle. Maybe Dr. Frankenstein's living descendant, his daughter Elsa,

1358
01:12:59,590 --> 01:13:03,690
Speaker 3: will know how to help them. So Talbot makes contact

1359
01:13:03,729 --> 01:13:07,040
Speaker 3: with her by deception. He poses as an investor looking

1360
01:13:07,080 --> 01:13:09,320
Speaker 3: to buy the castle, and this gets him a meeting

1361
01:13:09,360 --> 01:13:12,439
Speaker 3: with Elsa. In this part of the film, we also

1362
01:13:12,479 --> 01:13:15,729
Speaker 3: get to know the mayor of Viseria, played by Lionel Atwill,

1363
01:13:15,770 --> 01:13:18,969
Speaker 3: who acts like he's sort of also Elsa's lawyer.

1364
01:13:19,590 --> 01:13:21,410
Speaker 1: Yeah, you got to wear a number of hats in

1365
01:13:21,450 --> 01:13:22,250
Speaker 1: this town, you know.

1366
01:13:23,320 --> 01:13:25,760
Speaker 3: Now, Elsa wants to be free of the memories of

1367
01:13:25,800 --> 01:13:28,059
Speaker 3: what her father did, and she is eager to sell

1368
01:13:28,080 --> 01:13:30,780
Speaker 3: the estate and put it all behind her, but she

1369
01:13:31,140 --> 01:13:34,120
Speaker 3: hasn't been able to find a buyer. So the prospect

1370
01:13:34,310 --> 01:13:38,530
Speaker 3: is tempting, but when they sit down together, Talbot reveals

1371
01:13:38,610 --> 01:13:41,330
Speaker 3: his true intentions, that he simply wanted to meet with

1372
01:13:41,370 --> 01:13:43,710
Speaker 3: her to talk about something, and this was the only way.

1373
01:13:43,729 --> 01:13:45,950
Speaker 3: I have to say, I would have expected her to

1374
01:13:45,990 --> 01:13:48,870
Speaker 3: be more annoyed about this deception, but she takes it

1375
01:13:48,950 --> 01:13:50,509
Speaker 3: rather well, at least at first.

1376
01:13:50,610 --> 01:13:52,910
Speaker 1: Yeah, like, this would be a huge red flag, like,

1377
01:13:53,640 --> 01:13:55,340
Speaker 1: I need to get away from this individual who just

1378
01:13:55,400 --> 01:13:59,300
Speaker 1: totally misrepresented themselves and is not actually interested in the

1379
01:13:59,320 --> 01:14:01,960
Speaker 1: business proposal that was presented to me.

1380
01:14:02,200 --> 01:14:06,120
Speaker 3: Yeah. But when he reveals that what he really wants

1381
01:14:06,280 --> 01:14:09,260
Speaker 3: is the records of her father's research on the subject

1382
01:14:09,300 --> 01:14:12,059
Speaker 3: of life and death, she turns cold at that point.

1383
01:14:12,160 --> 01:14:14,760
Speaker 3: She says she doesn't have any records, and if she did,

1384
01:14:14,840 --> 01:14:17,600
Speaker 3: she would have destroyed them long ago. She says her

1385
01:14:17,640 --> 01:14:20,780
Speaker 3: father was a great scientist, but everything he created brought

1386
01:14:20,860 --> 01:14:24,470
Speaker 3: unhappiness and terror. And so it seems like we're at

1387
01:14:24,490 --> 01:14:27,290
Speaker 3: an impasse. But that doesn't mean we can't party a

1388
01:14:27,330 --> 01:14:31,650
Speaker 3: little bit because outside music is playing. The mayor comes

1389
01:14:31,710 --> 01:14:33,610
Speaker 3: in and says, oh, it's the festival of the new

1390
01:14:33,689 --> 01:14:37,140
Speaker 3: wine here at the village. And the mayor convinces Elsa

1391
01:14:37,189 --> 01:14:40,519
Speaker 3: and Talbot to stay for the evening's festivities. Basically, he

1392
01:14:40,560 --> 01:14:41,740
Speaker 3: sets them up on a date.

1393
01:14:42,240 --> 01:14:46,040
Speaker 1: Basically, this is Frankenstein meets the Wolfman because we get

1394
01:14:46,240 --> 01:14:49,900
Speaker 1: the we get actual Frankenstein, not Frankenstein's monster meeting Frankenstein.

1395
01:14:50,680 --> 01:14:53,400
Speaker 1: Larry Talbot, who is the Wolfman. And yeah, they essentially

1396
01:14:53,420 --> 01:14:53,939
Speaker 1: go on a date.

1397
01:14:54,580 --> 01:14:56,860
Speaker 3: Also at the wine festival that night, we are treated

1398
01:14:56,920 --> 01:14:59,860
Speaker 3: to a musical number, which I think is wonderful. I

1399
01:15:00,340 --> 01:15:03,010
Speaker 3: looked this up to see if this is a traditional song.

1400
01:15:03,070 --> 01:15:05,070
Speaker 3: If it is, I couldn't find evidence of that, but

1401
01:15:05,550 --> 01:15:08,530
Speaker 3: maybe I didn't look hard enough. In the one YouTube

1402
01:15:08,610 --> 01:15:10,130
Speaker 3: rip of it, I found it was just called The

1403
01:15:10,210 --> 01:15:13,490
Speaker 3: Song of the New Wine, Faro La, Faro Lee. It's

1404
01:15:13,530 --> 01:15:14,570
Speaker 3: a rousing tune.

1405
01:15:15,229 --> 01:15:16,510
Speaker 1: Yeah, yeah, they have a good time here.

1406
01:15:17,750 --> 01:15:20,380
Speaker 3: Come one and all and sing a song, faro la,

1407
01:15:20,420 --> 01:15:23,140
Speaker 3: faro li. For life is short, but death is long,

1408
01:15:23,260 --> 01:15:26,550
Speaker 3: faro la, faro li. There'll be no music in the tomb,

1409
01:15:26,670 --> 01:15:29,590
Speaker 3: so sing with joy and down with gloom. Tonight the

1410
01:15:29,650 --> 01:15:34,490
Speaker 3: new wine is in bloom, faro, faro, faro lo. And

1411
01:15:34,530 --> 01:15:37,010
Speaker 3: then also, you remember the part, the song gets some

1412
01:15:37,070 --> 01:15:39,470
Speaker 3: sick burns in on Vasek, the innkeeper.

1413
01:15:39,770 --> 01:15:40,450
Speaker 1: Yeah, yeah.

1414
01:15:40,570 --> 01:15:42,870
Speaker 3: Singer goes up to him and the verse he sings

1415
01:15:42,910 --> 01:15:45,790
Speaker 3: for him is, I guess he's freestyling because he's just

1416
01:15:45,830 --> 01:15:48,600
Speaker 3: making up verses about the people around in the square.

1417
01:15:48,610 --> 01:15:51,820
Speaker 3: He goes up to Vasek and says, his barrel belly's

1418
01:15:51,900 --> 01:15:55,440
Speaker 3: dipper lipped. For drinking wine, he's well equipped. But where's

1419
01:15:55,500 --> 01:16:00,280
Speaker 3: his chest? It must have slipped. Faro la faro li. Darn.

1420
01:16:00,790 --> 01:16:01,010
Speaker 1: Yeah.

1421
01:16:01,390 --> 01:16:03,970
Speaker 3: Unfortunately, when the singer makes his way over to the

1422
01:16:04,010 --> 01:16:07,110
Speaker 3: table where Elsa and Talbot are having their date, he

1423
01:16:07,330 --> 01:16:10,440
Speaker 3: sings a verse toasting to their health and happiness, and

1424
01:16:10,479 --> 01:16:14,720
Speaker 3: he ends on a line wishing that they may live eternally. Whoops.

1425
01:16:15,060 --> 01:16:18,580
Speaker 3: That's a sore subject. Talbot freaks out. He grabs the

1426
01:16:18,620 --> 01:16:21,120
Speaker 3: singer by the collar and screams in his face, I

1427
01:16:21,160 --> 01:16:23,929
Speaker 3: don't want to live eternally. Why did you say that

1428
01:16:23,979 --> 01:16:24,269
Speaker 3: to me?

1429
01:16:24,280 --> 01:16:26,470
Speaker 1: Yeah, he really shows his butt here, I guess you

1430
01:16:26,490 --> 01:16:28,490
Speaker 1: could say. This is a real I think you should

1431
01:16:28,550 --> 01:16:29,310
Speaker 1: leave sort of moment.

1432
01:16:29,330 --> 01:16:35,710
Speaker 3: Yeah. Exactly. Why'd you say that? But in the middle

1433
01:16:35,950 --> 01:16:39,470
Speaker 3: of this explosion of anguish, a character from earlier in

1434
01:16:39,510 --> 01:16:43,860
Speaker 3: the movie suddenly returns. It's Dr. Manoring from the hospital

1435
01:16:43,900 --> 01:16:47,540
Speaker 3: in Cardiff. Like, wait, he tracked Talbot down all the

1436
01:16:47,580 --> 01:16:50,000
Speaker 3: way to the Alps? Doesn't he have other patients?

1437
01:16:50,240 --> 01:16:50,340
Speaker 1: Yeah.

1438
01:16:52,300 --> 01:16:54,480
Speaker 3: I guess it just seems like this case of clinical

1439
01:16:54,740 --> 01:16:57,500
Speaker 3: lycanthropy is too interesting. It is worth going on a

1440
01:16:57,520 --> 01:16:58,780
Speaker 3: wolf hunt across Europe.

1441
01:16:58,939 --> 01:17:01,400
Speaker 1: Yeah, I would say that his interest here is quite suspicious,

1442
01:17:01,620 --> 01:17:03,550
Speaker 1: and that suspicion may pay off.

1443
01:17:03,870 --> 01:17:08,570
Speaker 3: Yeah. There's been nothing indicated about mannering so far that

1444
01:17:08,610 --> 01:17:12,010
Speaker 3: would raise eyebrows or make you think that he's, like,

1445
01:17:12,630 --> 01:17:15,890
Speaker 3: overly curious about the secrets of life and death.

1446
01:17:15,970 --> 01:17:19,620
Speaker 1: At this point, he feels totally like a plot convenience.

1447
01:17:19,800 --> 01:17:20,020
Speaker 3: Yeah.

1448
01:17:20,510 --> 01:17:22,370
Speaker 1: He's just there to move the plot along and get

1449
01:17:22,390 --> 01:17:24,590
Speaker 1: us to the point where these two monsters can really

1450
01:17:24,650 --> 01:17:25,290
Speaker 1: do more together.

1451
01:17:25,610 --> 01:17:28,610
Speaker 3: In Act One, he's a complete square. Yeah. But they

1452
01:17:28,650 --> 01:17:32,969
Speaker 3: discuss how Manoring tracked Talbot here by following newspaper reports

1453
01:17:33,010 --> 01:17:36,250
Speaker 3: of wolf attacks. And by the way, Elsa is just

1454
01:17:36,310 --> 01:17:39,050
Speaker 3: sitting at the table listening to this. And then eventually

1455
01:17:39,670 --> 01:17:41,769
Speaker 3: she almost seems to get bored and she goes to

1456
01:17:41,810 --> 01:17:45,540
Speaker 3: dance with the mayor. So Manoring wants to put Talbot

1457
01:17:45,800 --> 01:17:48,880
Speaker 3: in an asylum where he can't hurt anyone anymore. and

1458
01:17:49,000 --> 01:17:51,080
Speaker 3: you know, it seems like a reasonable plan to me,

1459
01:17:51,260 --> 01:17:53,500
Speaker 3: like put you in a, in a locked facility so

1460
01:17:53,540 --> 01:17:56,030
Speaker 3: that you can't escape on the full moon and harm anyone.

1461
01:17:56,510 --> 01:17:59,130
Speaker 3: But Talbot says, no, no, it wouldn't work. I'd only

1462
01:17:59,189 --> 01:18:03,890
Speaker 3: escape again. I have to die. It's the only solution. Unfortunately,

1463
01:18:03,950 --> 01:18:07,170
Speaker 3: it seems that's impossible unless we can find Dr. Frankenstein's

1464
01:18:07,229 --> 01:18:09,660
Speaker 3: diary and discover the secrets of life and death.

1465
01:18:10,110 --> 01:18:12,700
Speaker 1: Which again, it feels like a huge leap. It's just

1466
01:18:13,160 --> 01:18:17,230
Speaker 1: like a leap that, um, Dr. Frankenstein's discoveries would be

1467
01:18:17,430 --> 01:18:19,889
Speaker 1: applicable to this scenario, but that's what the whole movie

1468
01:18:19,910 --> 01:18:20,189
Speaker 1: is about.

1469
01:18:20,530 --> 01:18:23,450
Speaker 3: Now, Manoring seems skeptical, but a little bit interested. He's

1470
01:18:24,110 --> 01:18:28,210
Speaker 3: heard of Frankenstein. He says, Dr. Frankenstein's experiments were considered

1471
01:18:28,290 --> 01:18:33,050
Speaker 3: rather extraordinary. Medical science never recognized them. Meanwhile, by the way,

1472
01:18:33,189 --> 01:18:37,050
Speaker 3: Vasek the innkeeper is listening in on them, scheming. Uh,

1473
01:18:37,520 --> 01:18:41,320
Speaker 3: This conflict here is unjammed by a monster ex machina.

1474
01:18:41,530 --> 01:18:45,330
Speaker 3: Suddenly out of nowhere and for no given reason, Frankenstein's

1475
01:18:45,390 --> 01:18:48,910
Speaker 3: monster comes wandering into the town square and everybody starts

1476
01:18:48,970 --> 01:18:52,590
Speaker 3: screaming and running away. from the new wine festival. So

1477
01:18:52,650 --> 01:18:55,229
Speaker 3: Talbot saves the day by getting the monster onto a

1478
01:18:55,310 --> 01:18:58,229
Speaker 3: horse-drawn cart full of wine barrels, and then he drives

1479
01:18:58,270 --> 01:19:03,800
Speaker 3: them away from the crowd. Farola Farley. But I guess, importantly, Dr.

1480
01:19:03,840 --> 01:19:07,360
Speaker 3: Mannering here witnesses the monster, and I think this somehow

1481
01:19:07,560 --> 01:19:11,910
Speaker 3: changes what the characters accept as reality. Did you take

1482
01:19:11,979 --> 01:19:15,200
Speaker 3: that as a motivating moment? Yes, I did.

1483
01:19:15,420 --> 01:19:16,979
Speaker 1: But I have to say, I was also just rather

1484
01:19:17,040 --> 01:19:21,559
Speaker 1: distracted by the prospect of Frankenstein's monster and the Wolfman

1485
01:19:21,979 --> 01:19:26,480
Speaker 1: going on adventures together on that cart. Like what happens next? Yeah. Yeah.

1486
01:19:26,520 --> 01:19:30,170
Speaker 3: They become a traveling duo and they've got plenty of

1487
01:19:30,229 --> 01:19:30,889
Speaker 3: wine with them.

1488
01:19:31,350 --> 01:19:33,870
Speaker 1: They disguise themselves as school children. I don't know. There's

1489
01:19:33,910 --> 01:19:35,290
Speaker 1: so many hijinks that you could get up to.

1490
01:19:36,430 --> 01:19:38,610
Speaker 3: After this, there is a scene in the tavern where

1491
01:19:38,630 --> 01:19:41,170
Speaker 3: the prominent men of the town discuss what to do next.

1492
01:19:41,550 --> 01:19:43,889
Speaker 3: As you might expect, Vasek is sort of the hothead

1493
01:19:43,910 --> 01:19:46,430
Speaker 3: of the group. He wants to storm the castle and

1494
01:19:46,470 --> 01:19:49,510
Speaker 3: get monster blood immediately. Also seems like he wants to

1495
01:19:49,550 --> 01:19:53,430
Speaker 3: maybe kill Elsa because she's a Frankenstein. But he is

1496
01:19:53,510 --> 01:19:56,559
Speaker 3: thwarted by the reservations of the mayor and some others.

1497
01:19:57,040 --> 01:19:59,019
Speaker 3: The mayor says, we've tried to kill the monster by

1498
01:19:59,140 --> 01:20:02,680
Speaker 3: force before. We must use our brains for once. And

1499
01:20:02,720 --> 01:20:07,480
Speaker 3: Vasek says, brains? I'd rather depend on my fists. So

1500
01:20:07,500 --> 01:20:08,980
Speaker 3: he's a real tough guy. Yeah.

1501
01:20:09,100 --> 01:20:11,160
Speaker 1: And they're all just like, oh, that's not going to work.

1502
01:20:11,460 --> 01:20:17,620
Speaker 3: Yeah. After this, Dr. Manoring, Elsa and Maliva all somehow

1503
01:20:17,840 --> 01:20:21,080
Speaker 3: end up in this big town argument scene. They're like

1504
01:20:21,240 --> 01:20:25,280
Speaker 3: in the room. And the doctor, the doctor Manoring offers

1505
01:20:25,340 --> 01:20:28,660
Speaker 3: his opinion to the mob. He said, why would he

1506
01:20:28,700 --> 01:20:31,120
Speaker 3: have thoughts on this? I don't know. He says the

1507
01:20:31,180 --> 01:20:34,660
Speaker 3: monster was created artificially. It must be destroyed by the

1508
01:20:34,700 --> 01:20:40,670
Speaker 3: same means. artificially? Yeah, sure. The doctor tells them that

1509
01:20:40,850 --> 01:20:43,870
Speaker 3: if the people of the village trust him, he'll take

1510
01:20:43,890 --> 01:20:46,290
Speaker 3: care of the problem. He'll rid Viseria of this curse

1511
01:20:46,410 --> 01:20:49,470
Speaker 3: once and for all. And instead of being like, who

1512
01:20:49,590 --> 01:20:52,770
Speaker 3: is this guy? The villagers all seem to agree, oh yeah, okay,

1513
01:20:52,890 --> 01:20:55,910
Speaker 3: let's give this assignment to Dr. Manoring, the doctor from

1514
01:20:55,950 --> 01:21:07,050
Speaker 3: Cardiff who just arrived. So it now seems kind of

1515
01:21:07,070 --> 01:21:10,439
Speaker 3: the gang is getting all together. Maliva, Elsa, Dr. Manoring

1516
01:21:10,640 --> 01:21:13,240
Speaker 3: all go up to the ruins. There they find Talbot

1517
01:21:13,560 --> 01:21:17,360
Speaker 3: with the monster. Talbot calms the monster and convinces the

1518
01:21:17,380 --> 01:21:20,730
Speaker 3: monster that the new arrivals are friends. He says, this

1519
01:21:20,780 --> 01:21:23,530
Speaker 3: is Dr. Manoring. He's come to help you, to make

1520
01:21:23,570 --> 01:21:26,330
Speaker 3: you well. Now, what exactly is he supposed to be

1521
01:21:26,370 --> 01:21:30,220
Speaker 3: doing for the monster? Like, make him undead? It's not

1522
01:21:30,260 --> 01:21:31,580
Speaker 3: clear what the offer is.

1523
01:21:31,600 --> 01:21:33,760
Speaker 1: Yeah, I was not able to get a hold of

1524
01:21:34,080 --> 01:21:37,120
Speaker 1: any kind of, like, prior script to see, like, what

1525
01:21:38,800 --> 01:21:43,930
Speaker 1: Lugosi's Igor monster would have been saying. Like, because I

1526
01:21:43,950 --> 01:21:48,010
Speaker 1: feel like the answer probably can be found there, if

1527
01:21:48,050 --> 01:21:48,589
Speaker 1: that exists.

1528
01:21:48,930 --> 01:21:49,050
Speaker 3: Yeah.

1529
01:21:49,590 --> 01:21:52,350
Speaker 1: Is he saying, like, I will end your existence because

1530
01:21:52,390 --> 01:21:55,290
Speaker 1: you're entombed blind in the body of this monster, or

1531
01:21:55,570 --> 01:21:57,309
Speaker 1: I'll make you better, I'll make it so the monster

1532
01:21:57,350 --> 01:22:00,460
Speaker 1: can see? Like, what exactly is in it for the

1533
01:22:00,500 --> 01:22:04,320
Speaker 1: monster here, whether we're considering this the same monster that

1534
01:22:04,340 --> 01:22:07,479
Speaker 1: we had in previous films, or is this the monster-Igor

1535
01:22:07,620 --> 01:22:10,230
Speaker 1: connection that we got at the end of House of Frankenstein,

1536
01:22:10,290 --> 01:22:11,330
Speaker 1: I mean, Ghost of Frankenstein?

1537
01:22:11,990 --> 01:22:15,220
Speaker 3: Yeah. They all agree that the doctor will help them

1538
01:22:15,280 --> 01:22:18,840
Speaker 3: find a solution. And Elsa reveals that she actually does

1539
01:22:18,939 --> 01:22:21,820
Speaker 3: know where her father's diary is hidden. It's in a

1540
01:22:21,880 --> 01:22:24,800
Speaker 3: secret compartment inside the other secret compartment.

1541
01:22:24,960 --> 01:22:25,220
Speaker 2: Yes.

1542
01:22:26,340 --> 01:22:29,059
Speaker 3: So it's a book called The Secret of Life and Death.

1543
01:22:30,020 --> 01:22:30,620
Speaker 1: Triple secret.

1544
01:22:31,020 --> 01:22:36,030
Speaker 3: And then Manoring reads out loud from the book, fascinated.

1545
01:22:36,090 --> 01:22:40,570
Speaker 3: He says, matter ages because it loses energy. This artificial

1546
01:22:40,610 --> 01:22:43,840
Speaker 3: body I have created has been charged with superhuman power

1547
01:22:44,220 --> 01:22:47,000
Speaker 3: so that its span of life will be extended. Its

1548
01:22:47,100 --> 01:22:51,320
Speaker 3: lifetime will equal the lives of more than 100 human beings. This,

1549
01:22:51,439 --> 01:22:56,350
Speaker 3: my creation, can never perish unless its energies are drained

1550
01:22:56,510 --> 01:23:02,410
Speaker 3: off artificially by changing the poles from plus to minus. Okay.

1551
01:23:02,650 --> 01:23:03,370
Speaker 3: That's the secret.

1552
01:23:03,770 --> 01:23:04,130
Speaker 1: All right.

1553
01:23:04,710 --> 01:23:07,210
Speaker 3: And then Talbot, he reacts to this by saying, but

1554
01:23:07,270 --> 01:23:10,070
Speaker 3: that's the secret of life. What good does it do me?

1555
01:23:10,229 --> 01:23:14,450
Speaker 3: I'm not interested in life. I wasn't created artificially. I'm

1556
01:23:14,490 --> 01:23:17,360
Speaker 3: a human being. I've got real blood in my veins.

1557
01:23:17,560 --> 01:23:20,479
Speaker 3: What can we do to end my life? And then

1558
01:23:20,520 --> 01:23:23,740
Speaker 3: the doctor reads on and says, energy which cannot be

1559
01:23:23,800 --> 01:23:28,729
Speaker 3: destroyed can be transmitted. And this seems to mean something

1560
01:23:28,770 --> 01:23:31,099
Speaker 3: to Talbot. He says, well, if that's the case, then

1561
01:23:31,140 --> 01:23:34,160
Speaker 3: the energies from my body can be drained off also.

1562
01:23:35,520 --> 01:23:39,700
Speaker 3: So they formulate a plan. By using Dr. Frankenstein's old equipment,

1563
01:23:40,060 --> 01:23:44,390
Speaker 3: they can drain off the werewolf energies from Talbot by

1564
01:23:44,450 --> 01:23:47,510
Speaker 3: changing the poles from plus to minus, which should allow

1565
01:23:47,550 --> 01:23:48,090
Speaker 3: him to die.

1566
01:23:48,110 --> 01:23:54,340
Speaker 1: And conceivably do the same thing to the monster as well? Again,

1567
01:23:54,380 --> 01:23:56,540
Speaker 1: we come back to why is the monster necessary for

1568
01:23:56,560 --> 01:23:57,620
Speaker 1: this process at this point?

1569
01:23:58,320 --> 01:24:02,570
Speaker 3: Unclear. I mean, they promise the monster help. Meanwhile, in secret,

1570
01:24:02,670 --> 01:24:04,830
Speaker 3: Elsa goes up to the doctor and she says, did

1571
01:24:04,850 --> 01:24:07,450
Speaker 3: you mean what you said about helping the monster be well?

1572
01:24:07,950 --> 01:24:11,990
Speaker 3: And the doctor's like, oh, no, I mustn't do that.

1573
01:24:12,950 --> 01:24:17,769
Speaker 3: But we could see he's developing a curiosity here. So

1574
01:24:17,790 --> 01:24:19,790
Speaker 3: we've got the plan in place, which will lead us

1575
01:24:19,850 --> 01:24:22,510
Speaker 3: to the climax. So we're getting up to the final

1576
01:24:22,550 --> 01:24:26,470
Speaker 3: scene here. Dr. Mannering, he first sets about preparations. He

1577
01:24:26,570 --> 01:24:30,719
Speaker 3: orders a bunch of equipment to repair Frankenstein's machines. Meanwhile,

1578
01:24:30,900 --> 01:24:34,099
Speaker 3: Vasek and his crew meet in the tavern, grousing about

1579
01:24:34,140 --> 01:24:37,020
Speaker 3: the situation. These guys are very, like, they remind me

1580
01:24:37,060 --> 01:24:39,860
Speaker 3: of Senator Walter K. Powers and the Brain Eaters. They

1581
01:24:39,880 --> 01:24:40,540
Speaker 3: want action.

1582
01:24:40,560 --> 01:24:40,920
Speaker 1: Mm-hmm.

1583
01:24:41,330 --> 01:24:43,850
Speaker 3: And the mayor tries to chill them out, but Vazic,

1584
01:24:44,189 --> 01:24:46,670
Speaker 3: Dwight Frye, and a couple of the other guys are like, eh,

1585
01:24:46,689 --> 01:24:49,550
Speaker 3: the Frankenstein girl, the doctor, they're all up to no good.

1586
01:24:50,229 --> 01:24:54,309
Speaker 3: And then Vazic, in front of everyone, describes a plan.

1587
01:24:54,450 --> 01:24:57,290
Speaker 3: He says, we should blow up the dam. That will

1588
01:24:57,330 --> 01:24:59,050
Speaker 3: flood the castle and kill them all.

1589
01:24:59,710 --> 01:25:03,110
Speaker 1: Yeah, just a little domestic terrorism. That's all the situation

1590
01:25:03,130 --> 01:25:04,010
Speaker 1: calls for. Yeah.

1591
01:25:04,780 --> 01:25:07,000
Speaker 3: So the mayor, by the way, is sitting at the

1592
01:25:07,060 --> 01:25:09,900
Speaker 3: table and hears this whole plan. And his reaction is,

1593
01:25:10,080 --> 01:25:13,610
Speaker 3: you're drunk, Vazik. That's why no one takes your words seriously.

1594
01:25:14,189 --> 01:25:15,210
Speaker 1: That'll put him in his place.

1595
01:25:15,310 --> 01:25:19,269
Speaker 3: Yeah. Meanwhile, up at the castle, a full moon is

1596
01:25:19,330 --> 01:25:22,590
Speaker 3: coming tonight and Talbot is impatient. This time he does

1597
01:25:22,630 --> 01:25:24,150
Speaker 3: seem to know a full moon's on the way.

1598
01:25:24,570 --> 01:25:25,230
Speaker 1: Yeah, finally.

1599
01:25:25,890 --> 01:25:28,150
Speaker 3: But he doesn't want to live through another night of

1600
01:25:28,229 --> 01:25:31,700
Speaker 3: wolf terror. And Manoring promises, he says, his work is

1601
01:25:31,740 --> 01:25:34,280
Speaker 3: almost complete and he will be able to kill Talbot

1602
01:25:34,320 --> 01:25:39,099
Speaker 3: before the transformation. By the way, at what point did

1603
01:25:39,180 --> 01:25:43,089
Speaker 3: Manoring become convinced that Talbot was a real werewolf and

1604
01:25:43,160 --> 01:25:46,710
Speaker 3: not a delusional lycanthrope? Was it like when he saw

1605
01:25:46,810 --> 01:25:51,550
Speaker 3: Frankenstein's monster? Or is he even actually convinced of that

1606
01:25:51,590 --> 01:25:54,010
Speaker 3: at this point? Does he still think that he's not

1607
01:25:54,050 --> 01:25:54,830
Speaker 3: a real werewolf?

1608
01:25:55,700 --> 01:25:57,380
Speaker 1: I don't know. I mean, I assume that he bought

1609
01:25:57,439 --> 01:26:00,300
Speaker 1: into the werewolf thing by now, but, but why?

1610
01:26:00,320 --> 01:26:01,179
Speaker 3: Yeah.

1611
01:26:01,500 --> 01:26:03,320
Speaker 1: The closest we can come to is he saw, well,

1612
01:26:03,380 --> 01:26:06,510
Speaker 1: Frankenstein's monster is real. Therefore, why not werewolves?

1613
01:26:07,010 --> 01:26:09,910
Speaker 3: Elsa, meanwhile, is working her angle on mannering, which is

1614
01:26:09,990 --> 01:26:12,570
Speaker 3: destroy the monster. He, she's like, look, you could just

1615
01:26:12,650 --> 01:26:15,070
Speaker 3: lock Talbot up somewhere, but you've got to do what's

1616
01:26:15,110 --> 01:26:20,740
Speaker 3: really important. Destroy my father's creation. Uh, and mannering is, yeah, he's,

1617
01:26:20,780 --> 01:26:22,720
Speaker 3: he's stretched thin by all of this work, but he

1618
01:26:22,820 --> 01:26:26,210
Speaker 3: indicates that Elsa shouldn't worry. He, He implies he will

1619
01:26:26,229 --> 01:26:29,630
Speaker 3: destroy both of the creatures tonight at the same time.

1620
01:26:30,170 --> 01:26:32,110
Speaker 3: Then he powers up the machines and they begin to

1621
01:26:32,270 --> 01:26:36,229
Speaker 3: arc with this ferocious, deafening electrical power. And then later

1622
01:26:36,270 --> 01:26:38,900
Speaker 3: that night, we see both Talbot and the monster strapped

1623
01:26:38,920 --> 01:26:42,380
Speaker 3: to tables side by side, hooked up to the fantastical

1624
01:26:42,420 --> 01:26:47,620
Speaker 3: laboratory array and mannering reads from Frankenstein's notes, reading out loud,

1625
01:26:47,840 --> 01:26:51,000
Speaker 3: connecting the poles plus to minus will charge the energy

1626
01:26:51,140 --> 01:26:54,679
Speaker 3: output of the nervous system. as by connecting the minus

1627
01:26:54,880 --> 01:27:01,800
Speaker 3: to the minus. That seems utterly nonsensical. Mannering at this point,

1628
01:27:01,920 --> 01:27:04,100
Speaker 3: he gets a faraway look in his eyes, and he

1629
01:27:04,160 --> 01:27:08,120
Speaker 3: says to himself, I can't do it. I can't destroy

1630
01:27:08,200 --> 01:27:12,400
Speaker 3: Frankenstein's creation. I've got to see it at its full power.

1631
01:27:12,420 --> 01:27:18,670
Speaker 1: So sudden heel turn here, where he's kind of like

1632
01:27:19,210 --> 01:27:22,860
Speaker 1: the parking valet in Ferris Bueller's Day Off, Ferris Bueller's

1633
01:27:22,900 --> 01:27:27,900
Speaker 1: Day Off, who takes the sports car and grabs a

1634
01:27:27,920 --> 01:27:31,719
Speaker 1: buddy and rides it throughout the town, all over Chicago,

1635
01:27:31,740 --> 01:27:34,380
Speaker 1: because he's like, it'd be just a crime not to

1636
01:27:34,600 --> 01:27:36,420
Speaker 1: drive the heck out of this car. It'd be a shame,

1637
01:27:36,840 --> 01:27:40,940
Speaker 1: a crime not to power Frankenstein's monster up to full strength.

1638
01:27:41,310 --> 01:27:43,469
Speaker 3: Right, gotta take it for a spin. So he fiddles

1639
01:27:43,510 --> 01:27:48,730
Speaker 3: with some cables, retools the machine to juice Frankenstein's monster

1640
01:27:48,790 --> 01:27:52,940
Speaker 3: to maximum frank, And we see the effects of this,

1641
01:27:53,000 --> 01:27:55,620
Speaker 3: like the leads connected to the bolts in the monster's

1642
01:27:55,680 --> 01:28:01,200
Speaker 3: neck starts smoking. The monster's mouth twitches with stimulation. It's

1643
01:28:01,600 --> 01:28:04,400
Speaker 3: like he's saying words with his lips closed. This is

1644
01:28:04,430 --> 01:28:06,769
Speaker 3: a good detail in Lugosi's performance, by the way. Like

1645
01:28:06,780 --> 01:28:10,490
Speaker 3: the close-ups on his face are great. Elsa is in

1646
01:28:10,550 --> 01:28:13,229
Speaker 3: bed for some reason. Why didn't she stay up for this?

1647
01:28:14,410 --> 01:28:17,110
Speaker 3: She's awakened from her bed and she comes to check

1648
01:28:17,170 --> 01:28:19,650
Speaker 3: out the action in the lab. And then she realizes

1649
01:28:19,710 --> 01:28:23,229
Speaker 3: what is happening. She shouts at Manoring, no, you're making

1650
01:28:23,290 --> 01:28:27,010
Speaker 3: him strong again. But Manoring doesn't stop. He's got to

1651
01:28:27,030 --> 01:28:30,570
Speaker 3: see him in full power. So the monster turns to

1652
01:28:30,650 --> 01:28:33,430
Speaker 3: look at Manoring and smiles. And again, this is a

1653
01:28:33,470 --> 01:28:37,250
Speaker 3: good Lugosi close-up. Meanwhile, up at the dam, we see

1654
01:28:37,300 --> 01:28:40,380
Speaker 3: Vazic just planting dynamite. Yeah. Getting ready to flood the

1655
01:28:40,420 --> 01:28:43,519
Speaker 3: castle by himself. No crew with him. Seems kind of

1656
01:28:43,540 --> 01:28:45,240
Speaker 3: sad and lonely. Yeah.

1657
01:28:45,260 --> 01:28:48,760
Speaker 1: Again, he's a big guy. So it took a lot

1658
01:28:48,900 --> 01:28:51,850
Speaker 1: for him to creep up and climb on the dam

1659
01:28:51,890 --> 01:28:53,950
Speaker 1: to find just the right spot to place the dynamite.

1660
01:28:53,970 --> 01:28:55,510
Speaker 1: But he's doing it. He is going to blow up

1661
01:28:55,550 --> 01:28:55,849
Speaker 1: the dam.

1662
01:28:56,250 --> 01:29:01,510
Speaker 3: He's on a precarious, slippery little ledge there, planting this dynamite. Yeah. Again,

1663
01:29:01,750 --> 01:29:03,570
Speaker 3: we come back to the castle, and Elsa at this

1664
01:29:03,590 --> 01:29:06,390
Speaker 3: point is actively trying to stop Manoring. She throws a

1665
01:29:06,450 --> 01:29:10,630
Speaker 3: switch or something, and it short-circuits the machinery. Stuff explodes,

1666
01:29:10,890 --> 01:29:15,750
Speaker 3: and beams and rocks begin falling from the ceiling. But

1667
01:29:16,330 --> 01:29:19,150
Speaker 3: it's too late. The monster is all powered up. He

1668
01:29:19,189 --> 01:29:21,420
Speaker 3: is at full power, and he busts out of the

1669
01:29:21,460 --> 01:29:24,860
Speaker 3: straps and begins to rampage through the room. He goes

1670
01:29:24,939 --> 01:29:28,880
Speaker 3: after Elsa... He picks her up. She faints, of course,

1671
01:29:28,920 --> 01:29:32,470
Speaker 3: immediately goes unconscious. And we get the monster carrying away

1672
01:29:32,590 --> 01:29:36,729
Speaker 3: Elsa's unconscious body like the poster promised. But just then

1673
01:29:36,750 --> 01:29:41,330
Speaker 3: Talbot transforms into Wolfman and he comes to save the day.

1674
01:29:41,410 --> 01:29:45,470
Speaker 3: He attacks the monster rescuing Elsa. I found this so

1675
01:29:45,510 --> 01:29:50,150
Speaker 3: confusing because I thought the whole thing about the Wolfman

1676
01:29:50,650 --> 01:29:53,309
Speaker 3: is that he retains none of Talbot's mind and is

1677
01:29:53,450 --> 01:29:57,340
Speaker 3: just a slavering beast. Why would the Wolfman form of

1678
01:29:57,400 --> 01:30:00,580
Speaker 3: Talbot be trying to save Elsa? That's something Talbot would do.

1679
01:30:00,979 --> 01:30:03,839
Speaker 3: But the Wolfman isn't Talbot anymore. That's the whole point.

1680
01:30:04,200 --> 01:30:06,280
Speaker 1: Yeah, it seems like the most he would do is

1681
01:30:06,350 --> 01:30:08,480
Speaker 1: like try to drag her away by the neck and

1682
01:30:08,590 --> 01:30:11,590
Speaker 1: eat her himself. Yeah. But no, he's he's suddenly a

1683
01:30:11,630 --> 01:30:12,170
Speaker 1: hero wolf.

1684
01:30:12,870 --> 01:30:14,689
Speaker 3: He's more like Valdemar Janinski here.

1685
01:30:14,729 --> 01:30:15,170
Speaker 1: Yeah, yeah.

1686
01:30:16,830 --> 01:30:20,030
Speaker 3: Anyway, so up at the dam, Vazik lights the fuse

1687
01:30:20,110 --> 01:30:22,690
Speaker 3: on the dynamite, and we see the dam is about

1688
01:30:22,729 --> 01:30:25,500
Speaker 3: to blow. In the laboratory, the Wolfman and the monster

1689
01:30:25,560 --> 01:30:28,820
Speaker 3: begin to fight. They duke it out. Rob, any notes

1690
01:30:28,939 --> 01:30:30,120
Speaker 3: on this matchup?

1691
01:30:30,460 --> 01:30:33,880
Speaker 1: Yes. So we have to consider this is the first

1692
01:30:33,960 --> 01:30:35,600
Speaker 1: monster match, so it is not going to be as

1693
01:30:35,680 --> 01:30:39,240
Speaker 1: advanced as many of the later battles are going to

1694
01:30:39,280 --> 01:30:42,810
Speaker 1: be between various monsters. But it's still really good. There's

1695
01:30:42,820 --> 01:30:49,550
Speaker 1: some throwing each other around. The werewolves, crime strategy is

1696
01:30:49,610 --> 01:30:53,139
Speaker 1: to try and climb on progressively higher pieces of furniture

1697
01:30:53,640 --> 01:30:58,500
Speaker 1: so as to leap off like luchador style. Yeah. At

1698
01:30:58,560 --> 01:31:01,220
Speaker 1: Frankenstein's monster, which, which is a lot of fun. I

1699
01:31:01,220 --> 01:31:03,420
Speaker 1: don't know. You know, it's, we see shades of that

1700
01:31:03,479 --> 01:31:05,810
Speaker 1: earlier with the world. We're also always climbing on stuff.

1701
01:31:06,160 --> 01:31:08,130
Speaker 1: Wolfman likes to get up high. Like he's a goat.

1702
01:31:08,470 --> 01:31:10,530
Speaker 3: We saw that in Cardiff when he was running around

1703
01:31:10,550 --> 01:31:12,730
Speaker 3: doing parkour on the cotton bales. Yeah.

1704
01:31:13,020 --> 01:31:15,240
Speaker 1: Yeah, keep getting higher and higher until you have some

1705
01:31:15,280 --> 01:31:16,880
Speaker 1: nice height come off the top rope.

1706
01:31:17,740 --> 01:31:20,500
Speaker 3: The monster is supposed to be a much bulkier, I think,

1707
01:31:20,620 --> 01:31:23,840
Speaker 3: heavyweight-style fighter. So I'm imagining this is this kind of

1708
01:31:23,939 --> 01:31:27,939
Speaker 3: like a matchup between Andre the Giant and Rey Mysterio Jr.

1709
01:31:28,500 --> 01:31:31,300
Speaker 1: Yeah, I think so. Yeah, David Goliath sort of a

1710
01:31:31,600 --> 01:31:32,219
Speaker 1: vibe here.

1711
01:31:32,380 --> 01:31:32,730
Speaker 3: Yeah.

1712
01:31:32,810 --> 01:31:36,010
Speaker 1: Each of them have their strengths. And so, yeah, it's

1713
01:31:36,050 --> 01:31:39,170
Speaker 1: a fun smackdown here. You know, again, occurs very late

1714
01:31:39,210 --> 01:31:39,710
Speaker 1: in the picture.

1715
01:31:39,729 --> 01:31:40,290
Speaker 3: Right.

1716
01:31:41,100 --> 01:31:44,820
Speaker 1: Doesn't last that long but again we really hadn't we

1717
01:31:44,840 --> 01:31:46,700
Speaker 1: didn't have this before this is a this is a

1718
01:31:46,740 --> 01:31:48,780
Speaker 1: first so everything we get here is a gift.

1719
01:31:48,880 --> 01:31:52,400
Speaker 3: Yeah so while the two monsters fight mannering and elsa

1720
01:31:52,479 --> 01:31:55,910
Speaker 3: flee the laboratory and they escape the castle do we

1721
01:31:55,990 --> 01:31:59,270
Speaker 3: ever see what happens with maliva does she escape do

1722
01:31:59,290 --> 01:32:00,930
Speaker 3: they show show her i.

1723
01:32:00,910 --> 01:32:02,750
Speaker 1: Don't i did i'd kind of forgotten about her by

1724
01:32:02,770 --> 01:32:05,900
Speaker 1: this point but yeah um I hope she's okay. Maybe

1725
01:32:05,920 --> 01:32:08,590
Speaker 1: she found a little boat or something. She's a survivor.

1726
01:32:08,660 --> 01:32:09,349
Speaker 1: I bet she's fine.

1727
01:32:09,590 --> 01:32:12,030
Speaker 3: She is, but I don't think we see her at

1728
01:32:12,070 --> 01:32:14,850
Speaker 3: the end unless there's something I'm forgetting here. So the

1729
01:32:14,870 --> 01:32:18,210
Speaker 3: dam explodes. Water rushes toward the castle while the monster

1730
01:32:18,250 --> 01:32:21,840
Speaker 3: wrestling goes on. And then finally, a huge mass of

1731
01:32:21,920 --> 01:32:25,540
Speaker 3: water bursts through into the laboratory and we see the

1732
01:32:25,820 --> 01:32:29,220
Speaker 3: rushing river destroy the castle entirely. Every part of it

1733
01:32:29,660 --> 01:32:32,230
Speaker 3: is washed away in the flood. And here, I love

1734
01:32:32,270 --> 01:32:34,670
Speaker 3: the model work. Oh, yeah. The dam and the flood

1735
01:32:34,710 --> 01:32:37,090
Speaker 3: and the destruction of the castle looks great. I love

1736
01:32:37,110 --> 01:32:42,950
Speaker 3: this kind of stuff. And then suddenly just the end. Bum, bum, bum, bum, bum.

1737
01:32:43,310 --> 01:32:47,450
Speaker 3: Feels extremely sudden. I am sure people in the theaters

1738
01:32:47,470 --> 01:32:50,190
Speaker 3: when this came out would have been like, wait, it's over?

1739
01:32:51,130 --> 01:32:53,730
Speaker 1: Well, yeah, it feels, I mean, on so many levels,

1740
01:32:53,870 --> 01:32:56,729
Speaker 1: it feels sudden because. First of all, we've already established

1741
01:32:56,750 --> 01:33:00,590
Speaker 1: that neither the Wolfman nor Frankenstein's monster can be easily

1742
01:33:00,670 --> 01:33:02,530
Speaker 1: killed by conventional methods.

1743
01:33:02,710 --> 01:33:02,910
Speaker 2: Yeah.

1744
01:33:03,010 --> 01:33:05,340
Speaker 1: Like it was going to take mad science to do it.

1745
01:33:05,850 --> 01:33:07,840
Speaker 1: A flood is not going to cut it. Yeah. A

1746
01:33:07,880 --> 01:33:10,880
Speaker 1: collapsing castle is not going to cut it. So I don't,

1747
01:33:10,900 --> 01:33:14,740
Speaker 1: you know, I don't have any, any, there's no indication

1748
01:33:14,800 --> 01:33:17,679
Speaker 1: here that they have defeated the monsters. They just maybe

1749
01:33:17,720 --> 01:33:20,560
Speaker 1: washed them downstream and now they're the, you know, the

1750
01:33:20,620 --> 01:33:21,919
Speaker 1: next town's problem.

1751
01:33:22,220 --> 01:33:22,440
Speaker 3: Yeah.

1752
01:33:23,060 --> 01:33:27,220
Speaker 1: And yeah, what, Manoring and the Baroness escape, but are

1753
01:33:27,260 --> 01:33:29,719
Speaker 1: we supposed to believe that they are a magical item

1754
01:33:29,760 --> 01:33:33,220
Speaker 1: now because they've escaped together? Because communication in a relationship

1755
01:33:33,280 --> 01:33:36,430
Speaker 1: is very important. And there's already been a very serious

1756
01:33:36,470 --> 01:33:40,090
Speaker 1: betrayal with this decision to power the monster up to

1757
01:33:40,110 --> 01:33:41,550
Speaker 1: full strength instead of destroying.

1758
01:33:41,950 --> 01:33:48,490
Speaker 3: Manoring has done some serious crimes and been deceptive in

1759
01:33:48,530 --> 01:33:51,200
Speaker 3: the perpetration of these crimes now. And it seems like

1760
01:33:51,240 --> 01:33:56,680
Speaker 3: he's just getting away scot-free. And again, maybe this was

1761
01:33:56,720 --> 01:33:58,700
Speaker 3: indicated and I just missed it. We don't know what

1762
01:33:58,740 --> 01:34:03,470
Speaker 3: happens to Mileva. And yeah, yeah. So the main question

1763
01:34:03,490 --> 01:34:06,259
Speaker 3: of this movie is, will the Wolfman be able to die,

1764
01:34:06,910 --> 01:34:14,270
Speaker 3: to end his tormented eternity of immortality? And I don't

1765
01:34:14,310 --> 01:34:17,070
Speaker 3: think they answered that question. Like it wasn't clear to

1766
01:34:17,110 --> 01:34:21,600
Speaker 3: me whether mannering actually did anything to cure the Wolfman's immortality.

1767
01:34:21,610 --> 01:34:23,680
Speaker 3: I don't think so. I think all he did was

1768
01:34:23,720 --> 01:34:25,040
Speaker 3: push Frank to full power.

1769
01:34:25,360 --> 01:34:27,160
Speaker 1: Yeah. Like, and we don't even get a firm answer.

1770
01:34:27,180 --> 01:34:29,040
Speaker 1: Like if we'd at least gotten, I mean, this would

1771
01:34:29,060 --> 01:34:30,820
Speaker 1: have been a more of a downer ending, but if

1772
01:34:30,840 --> 01:34:33,760
Speaker 1: we'd had a scene where Talbot is like, oh, I

1773
01:34:33,780 --> 01:34:35,790
Speaker 1: guess I'm cursed after all. I'll never die. And he

1774
01:34:35,830 --> 01:34:38,430
Speaker 1: just wanders off, you know, into the distance like that,

1775
01:34:38,650 --> 01:34:41,370
Speaker 1: you know, incredible Hulk music. Yeah. That would, that would

1776
01:34:41,390 --> 01:34:43,030
Speaker 1: have been, that would have felt more like closure.

1777
01:34:43,050 --> 01:34:43,170
Speaker 2: Yeah.

1778
01:34:43,600 --> 01:34:45,860
Speaker 1: Uh, as it is, we're just like, did the movie

1779
01:34:45,939 --> 01:34:49,140
Speaker 1: forget how the rules that they had already established? They

1780
01:34:49,160 --> 01:34:51,160
Speaker 1: were just like, we gotta, we gotta end the film folks. Sorry.

1781
01:34:51,360 --> 01:34:52,099
Speaker 1: People have to go home.

1782
01:34:52,740 --> 01:34:56,920
Speaker 3: Uh, well that is Frankenstein meets the Wolfman. They do

1783
01:34:56,979 --> 01:34:57,540
Speaker 3: indeed meet.

1784
01:34:58,280 --> 01:35:02,099
Speaker 1: Absolutely. And again, you know, uh, despite the ridiculousness that

1785
01:35:02,120 --> 01:35:05,550
Speaker 1: we had some fun with here, uh, really fun film, uh,

1786
01:35:05,729 --> 01:35:09,010
Speaker 1: definitely worth checking out. Uh, I really enjoyed it. And

1787
01:35:09,050 --> 01:35:11,470
Speaker 1: you know, it's the, again, the first monster mash. It's, uh,

1788
01:35:11,900 --> 01:35:15,960
Speaker 1: It has almost religious significance for film fans. All right,

1789
01:35:15,979 --> 01:35:17,840
Speaker 1: we're going to go ahead and close this one up,

1790
01:35:18,300 --> 01:35:22,420
Speaker 1: but we'll be back later in October with more Halloween-y

1791
01:35:22,479 --> 01:35:26,840
Speaker 1: Weird House Cinema selections. In the meantime, we'll remind you

1792
01:35:26,860 --> 01:35:28,660
Speaker 1: that Stuff to Blow Your Mind is primarily a science

1793
01:35:28,700 --> 01:35:31,860
Speaker 1: and culture podcast with core episodes on Tuesdays and Thursdays.

1794
01:35:31,900 --> 01:35:34,740
Speaker 1: But on Fridays, we set aside most serious concerns to

1795
01:35:34,780 --> 01:35:38,929
Speaker 1: just talk about a weird movie on Weird House Cinema.

1796
01:35:39,430 --> 01:35:40,769
Speaker 1: And if you would like to see a list of

1797
01:35:40,910 --> 01:35:43,309
Speaker 1: all the movies we've covered over the years, go over

1798
01:35:43,350 --> 01:35:46,870
Speaker 1: to Letterboxd.com. Look us up. Our username is Weird House.

1799
01:35:47,150 --> 01:35:49,670
Speaker 1: And you can find a nice Weird House Cinema episode list.

1800
01:35:50,110 --> 01:35:52,330
Speaker 1: And you can get a nice rundown on all the

1801
01:35:52,350 --> 01:35:57,730
Speaker 1: movies we've covered over the years. This was film number 222,

1802
01:35:57,729 --> 01:36:00,389
Speaker 1: I believe. And sometimes you'll even get a peek ahead

1803
01:36:00,410 --> 01:36:01,330
Speaker 1: at what's coming up next.

1804
01:36:01,910 --> 01:36:05,490
Speaker 3: Huge thanks, as always, to our excellent audio producer, J.J. Posway.

1805
01:36:05,950 --> 01:36:07,380
Speaker 3: If you would like to get in touch with us

1806
01:36:07,410 --> 01:36:09,900
Speaker 3: with feedback on this episode or any other, to suggest

1807
01:36:09,960 --> 01:36:11,940
Speaker 3: a topic for the future, or just to say hello,

1808
01:36:12,000 --> 01:36:14,979
Speaker 3: you can email us at contact at stufftoblowyourmind.com.

1809
01:36:22,490 --> 01:36:24,920
Speaker 2: Stuff to Blow Your Mind is a production of iHeartRadio.

1810
01:36:25,300 --> 01:36:28,640
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app. Apple

1811
01:36:28,660 --> 01:36:31,000
Speaker 2: Podcasts are wherever you listen to your favorite shows.