1 00:00:03,000 --> 00:00:05,360 Speaker 1: Welcome to Stuff to Blow your Mind production of My 2 00:00:05,480 --> 00:00:14,680 Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is 3 00:00:14,760 --> 00:00:17,639 Speaker 1: Rob Lamb and this is Joe McCormick, and we have 4 00:00:17,760 --> 00:00:20,640 Speaker 1: a we have a weird one for you this week. Um, 5 00:00:20,640 --> 00:00:23,040 Speaker 1: because and this is one that is weird in so 6 00:00:23,079 --> 00:00:26,520 Speaker 1: many ways. Because sometimes the weird element of a weird 7 00:00:26,560 --> 00:00:30,720 Speaker 1: House Cinema selection it's about like a weird monster, a 8 00:00:30,800 --> 00:00:36,960 Speaker 1: weird character performance. Uh, this one has weirdness in its structure, 9 00:00:37,960 --> 00:00:41,840 Speaker 1: it's in its values, it's a it's a strange film 10 00:00:41,880 --> 00:00:47,160 Speaker 1: to behold. It is nineties seventies scream and Scream Again. 11 00:00:47,800 --> 00:00:50,880 Speaker 1: I could not tell you what this movie was about 12 00:00:51,080 --> 00:00:55,520 Speaker 1: until about fifteen minutes from the end. And then at 13 00:00:55,520 --> 00:00:58,720 Speaker 1: the end there's a twist that really does kind of 14 00:00:58,760 --> 00:01:01,440 Speaker 1: make sense of everything. But up until then, this is 15 00:01:01,480 --> 00:01:06,240 Speaker 1: one of the most disjointed, confusing movies I have ever watched. Yeah, 16 00:01:06,280 --> 00:01:08,960 Speaker 1: this this movie throws you into the deep end and 17 00:01:08,959 --> 00:01:10,800 Speaker 1: and it and it is gonna watch and see if 18 00:01:10,800 --> 00:01:14,360 Speaker 1: you can swim. It's uh, you're in in a way 19 00:01:15,560 --> 00:01:19,840 Speaker 1: to to a major degree. This film is such an 20 00:01:19,840 --> 00:01:24,120 Speaker 1: immersive experience because of that, because you're it feels like 21 00:01:24,120 --> 00:01:27,840 Speaker 1: the guardrails are off in terms of structure. Um, so 22 00:01:28,120 --> 00:01:31,320 Speaker 1: I I greatly enjoyed this one. It's it's one that 23 00:01:31,920 --> 00:01:35,880 Speaker 1: has a certain standing in the cult film status and 24 00:01:36,080 --> 00:01:40,360 Speaker 1: among the movie enthusiasts for its weirdness. Uh. Ebert referred 25 00:01:40,400 --> 00:01:44,120 Speaker 1: to this film is Goddard for the masses, though I'm 26 00:01:44,160 --> 00:01:46,520 Speaker 1: not sure I completely understand what he's saying though, or 27 00:01:46,640 --> 00:01:49,520 Speaker 1: think it's the best way to describe the film. But yeah, 28 00:01:49,560 --> 00:01:52,800 Speaker 1: it's a hard one to nail down. And it's also 29 00:01:52,960 --> 00:01:55,520 Speaker 1: one where, if you look at the way it's promoted, 30 00:01:56,320 --> 00:01:59,080 Speaker 1: you're gonna go into this expecting, oh, it's we're gonna 31 00:01:59,080 --> 00:02:02,680 Speaker 1: watch a horror film that has Vincent Price, Christopher Lee, 32 00:02:02,680 --> 00:02:05,200 Speaker 1: and Peter Cushing in it. Um, well, let's see what 33 00:02:05,240 --> 00:02:07,440 Speaker 1: this is about. But it's really not that. It's more 34 00:02:07,480 --> 00:02:11,640 Speaker 1: of a conspiracy science fiction film starring a handful of 35 00:02:11,800 --> 00:02:15,600 Speaker 1: lesser known actors with some cameos for the most part 36 00:02:15,639 --> 00:02:19,000 Speaker 1: by these three individuals. I think I can understand what 37 00:02:19,000 --> 00:02:23,160 Speaker 1: what he means by good art for the masses in that. Okay, 38 00:02:23,200 --> 00:02:26,280 Speaker 1: so I guess good art is like French new wave cinema, right, 39 00:02:26,400 --> 00:02:30,600 Speaker 1: like art films that are non traditional structures Uh, they're 40 00:02:30,600 --> 00:02:34,679 Speaker 1: gonna they're gonna ask weird existential questions. They're gonna be 41 00:02:34,680 --> 00:02:37,399 Speaker 1: of a different composition than the films you were used 42 00:02:37,440 --> 00:02:40,560 Speaker 1: to before. And this is in that tradition. You could 43 00:02:40,560 --> 00:02:43,720 Speaker 1: say it is structured like an art film. It is. 44 00:02:43,840 --> 00:02:47,280 Speaker 1: It doesn't have an easy to follow linear plot like 45 00:02:47,320 --> 00:02:49,920 Speaker 1: you would see in a standard genre thriller, which is 46 00:02:49,919 --> 00:02:52,040 Speaker 1: what it sort of turns out to be in the end, 47 00:02:52,680 --> 00:02:55,120 Speaker 1: even though like it takes you most of the length 48 00:02:55,160 --> 00:02:57,520 Speaker 1: of the movie to figure that out. Yeah, yeah, and 49 00:02:57,560 --> 00:03:00,040 Speaker 1: I and I don't I don't have much familiarity with 50 00:03:00,040 --> 00:03:04,959 Speaker 1: with Goddard myself, but certainly when I compare this film 51 00:03:05,000 --> 00:03:11,040 Speaker 1: to like pure artsy cinema, pure uh psychedelic cinema, there's 52 00:03:11,080 --> 00:03:13,400 Speaker 1: there's almost like too much freedom in some of those 53 00:03:13,600 --> 00:03:16,520 Speaker 1: type ventures where it just becomes a you know, fall 54 00:03:16,639 --> 00:03:20,400 Speaker 1: from one weird sequence to the next. This one seems 55 00:03:20,440 --> 00:03:23,000 Speaker 1: to be to have an intelligent structure. This film is 56 00:03:23,040 --> 00:03:25,880 Speaker 1: like a slime mold making its way through a labyrinth. 57 00:03:26,360 --> 00:03:28,800 Speaker 1: Um you know that there's some sort of logic involved 58 00:03:28,800 --> 00:03:32,160 Speaker 1: in its path, or you trust that there is, but 59 00:03:32,240 --> 00:03:35,520 Speaker 1: you're not at sure exactly like how this thing works 60 00:03:35,520 --> 00:03:38,440 Speaker 1: without a brain. It's a It's a film that I 61 00:03:38,440 --> 00:03:42,800 Speaker 1: would compare favorably to V three Psychomania. In some regards, 62 00:03:43,240 --> 00:03:47,000 Speaker 1: you can't really compare anything directly to Psychomania, but I 63 00:03:47,000 --> 00:03:50,720 Speaker 1: feel like it hits similar notes of the weird. You know. Now, 64 00:03:50,760 --> 00:03:52,640 Speaker 1: Another thing this film has going for it is this 65 00:03:52,720 --> 00:03:55,840 Speaker 1: is very much a Hollywood acid movie. Uh, this is 66 00:03:55,880 --> 00:03:58,360 Speaker 1: a subject we covered on Stuff to Blow your Mind 67 00:03:58,560 --> 00:04:01,480 Speaker 1: a few years back. Yeah. The acid doesn't show up 68 00:04:01,560 --> 00:04:04,040 Speaker 1: until about two thirds of the way through, but then 69 00:04:04,120 --> 00:04:07,520 Speaker 1: it is the star of the third act. From there on, 70 00:04:07,720 --> 00:04:11,160 Speaker 1: it's like acid in every scene. Right. And by acid, 71 00:04:11,200 --> 00:04:15,400 Speaker 1: we don't mean psychedelic, we mean good old dissolving acid, 72 00:04:15,440 --> 00:04:20,080 Speaker 1: a big vat acid. In fact, the wonderful um of 73 00:04:20,120 --> 00:04:22,960 Speaker 1: a promise from the poster. The original poster for this 74 00:04:23,000 --> 00:04:27,960 Speaker 1: film is triple distilled horror as powerful as a vat 75 00:04:28,000 --> 00:04:31,080 Speaker 1: of boiling acid. Oh I'm glad they got it up 76 00:04:31,120 --> 00:04:34,080 Speaker 1: to a boil. Yeah, you want to boil your acid 77 00:04:34,120 --> 00:04:40,960 Speaker 1: from maximum uh destruction of organic tissues? Um. Without scream 78 00:04:40,960 --> 00:04:45,560 Speaker 1: and scream again, there would be no Batman forever. Yeah. Also, 79 00:04:45,640 --> 00:04:48,159 Speaker 1: this poster is pretty great because you also see a 80 00:04:48,200 --> 00:04:51,320 Speaker 1: body dissolving an ascid it's it's a really really tight poster. 81 00:04:51,320 --> 00:04:52,520 Speaker 1: I don't know if I put it on my wall, 82 00:04:53,200 --> 00:04:56,680 Speaker 1: but it's it's pretty. It's pretty cool. I agree. But wait, 83 00:04:56,720 --> 00:05:00,240 Speaker 1: what does triple distilled horror mean? Well, most of your 84 00:05:00,240 --> 00:05:03,159 Speaker 1: horror movies are only um only go through a single 85 00:05:03,240 --> 00:05:08,520 Speaker 1: or double distillation process. Joe, this film has been triple distilled. 86 00:05:08,800 --> 00:05:13,560 Speaker 1: This is the crystal Skull Vodka of films. Yeah, yeah, 87 00:05:13,600 --> 00:05:15,440 Speaker 1: I know, I have no idea what this means. But 88 00:05:16,000 --> 00:05:17,760 Speaker 1: it's a strong promlemse. I mean, that's really I think 89 00:05:17,760 --> 00:05:20,880 Speaker 1: the ultimate. I love it when when a film is 90 00:05:20,920 --> 00:05:24,960 Speaker 1: promoted as is something well beyond anything that can be 91 00:05:25,040 --> 00:05:29,719 Speaker 1: tested or quantified. All right, Uh, I'm gonna go ahead 92 00:05:29,720 --> 00:05:31,520 Speaker 1: and mention where you can where you can watch this 93 00:05:31,880 --> 00:05:35,039 Speaker 1: in case anyone out there has has heard the pitch 94 00:05:35,240 --> 00:05:37,520 Speaker 1: and they're like, well I want in on this. Well, 95 00:05:37,680 --> 00:05:40,560 Speaker 1: you can rent or purchase this film digitally most places. 96 00:05:40,880 --> 00:05:44,560 Speaker 1: It's also out on DVD and Blu Ray from KL 97 00:05:44,640 --> 00:05:47,440 Speaker 1: Studio Classics. It's Keno Lorber. They always do a great 98 00:05:47,480 --> 00:05:51,359 Speaker 1: job with these. I watched it streaming myself. Yeah I 99 00:05:51,400 --> 00:05:54,200 Speaker 1: did too. Now I think we should issue a disclaimer 100 00:05:54,279 --> 00:05:57,000 Speaker 1: near the top. I guess I sort of already alluded 101 00:05:57,040 --> 00:06:02,360 Speaker 1: to this, but our discussion will necessarily include spoilers for 102 00:06:02,400 --> 00:06:05,640 Speaker 1: this movie because I think there's literally no way to 103 00:06:05,720 --> 00:06:09,160 Speaker 1: talk about it that makes sense without spoiling the twist ending, 104 00:06:09,279 --> 00:06:12,480 Speaker 1: because nothing makes sense until the twist ending, and then 105 00:06:12,520 --> 00:06:16,120 Speaker 1: it kind of does so, so I don't know, like 106 00:06:16,320 --> 00:06:19,040 Speaker 1: we we couldn't really have a coherent discussion of the 107 00:06:19,040 --> 00:06:22,160 Speaker 1: themes or plot of the movie without spoiling it, if 108 00:06:22,160 --> 00:06:24,760 Speaker 1: that makes any sense. Yeah, yeah, there's like, what can 109 00:06:24,800 --> 00:06:27,240 Speaker 1: you say other than I was confused by this scene? 110 00:06:29,000 --> 00:06:30,960 Speaker 1: And I will also advice We're about to listen to 111 00:06:30,960 --> 00:06:34,719 Speaker 1: some trailer audio here, but I would advise against watching 112 00:06:34,720 --> 00:06:36,839 Speaker 1: the trailer for this film before you go into it, 113 00:06:36,920 --> 00:06:39,840 Speaker 1: because ultimately that's the feeling of being lost, of not 114 00:06:39,920 --> 00:06:41,680 Speaker 1: knowing where you're going. I thought that was one of 115 00:06:41,720 --> 00:06:44,680 Speaker 1: the best payoffs of this movie. Yeah, totally, all right, 116 00:06:44,760 --> 00:06:52,040 Speaker 1: let's have to listen. She wasn't just murdered, if you 117 00:06:52,080 --> 00:07:06,360 Speaker 1: know what I mean. Job nobody snapped through a high 118 00:07:06,400 --> 00:07:21,360 Speaker 1: tensile steel He didn't look all right, Well, shall we 119 00:07:21,400 --> 00:07:25,600 Speaker 1: get into the people responsible for Scream and Scream again? 120 00:07:25,960 --> 00:07:28,960 Speaker 1: We must? We have no choice? All right, Well, let's start. 121 00:07:29,000 --> 00:07:31,800 Speaker 1: At the top of the director is Gordon Hessler, who 122 00:07:31,800 --> 00:07:37,440 Speaker 1: lived through German born director of Danish and English heritage, 123 00:07:37,440 --> 00:07:42,040 Speaker 1: who directed nineteen sixty nine The Oblong Box, nineteen seventies 124 00:07:42,080 --> 00:07:46,040 Speaker 1: Cry of the Banshee Ones, Murders in the Room Morgue, 125 00:07:46,200 --> 00:07:50,960 Speaker 1: and the nineteen seventy three Ray Harry Housing Extravaganza of 126 00:07:51,200 --> 00:07:54,520 Speaker 1: the Golden Voyage of Sinbad, which starred John Philip Law, 127 00:07:54,840 --> 00:07:59,320 Speaker 1: Caroline Monroe, and Tom Baker. I think Tom Baker plays 128 00:07:59,400 --> 00:08:03,000 Speaker 1: a sore sorrow of some kind. John Phillip Waw is 129 00:08:03,120 --> 00:08:07,120 Speaker 1: Sinbad um and uh, I don't remember who Carolyn Monroe 130 00:08:07,200 --> 00:08:09,440 Speaker 1: isn't it? But yeah, this one, like all of the 131 00:08:09,480 --> 00:08:13,440 Speaker 1: Ray Harry house in movies, has some excellent stop motion monsters. 132 00:08:13,800 --> 00:08:16,040 Speaker 1: I don't know how well this one passes the modern 133 00:08:16,080 --> 00:08:20,040 Speaker 1: cultural sensitivity test, but the stop motion effects are fantastic. 134 00:08:20,080 --> 00:08:23,880 Speaker 1: There's one point where Sinbad's crew seems to that they 135 00:08:23,880 --> 00:08:26,800 Speaker 1: fight like an animated statue that seems to be based 136 00:08:26,840 --> 00:08:30,480 Speaker 1: on depictions of like Hindu gods with multiple arms, and 137 00:08:30,520 --> 00:08:33,640 Speaker 1: these arms are all wielding swords during the fight. Uh, 138 00:08:33,760 --> 00:08:37,120 Speaker 1: they're just monsters of plenty. It's it's fantastic. Yeah, I 139 00:08:37,120 --> 00:08:39,280 Speaker 1: got to see that one on the big screen at 140 00:08:39,280 --> 00:08:42,200 Speaker 1: a drive in theater many years ago. Let's say Gordon 141 00:08:42,280 --> 00:08:45,160 Speaker 1: Hessler directed a slew of things. He directed quite a 142 00:08:45,160 --> 00:08:48,960 Speaker 1: bit of TV episodes of such shows as The Master, 143 00:08:49,200 --> 00:08:54,040 Speaker 1: That's The Levan Cliff, Ninja Show, Alfred Hitchcock Presents Chips 144 00:08:54,320 --> 00:08:58,200 Speaker 1: and more. He also directed a nine five Ninja movie 145 00:08:58,240 --> 00:09:02,720 Speaker 1: titled Pray for Death, starring eighties Ninja boom um star 146 00:09:03,320 --> 00:09:07,640 Speaker 1: show Kasuki. I don't know this one, um, it's one 147 00:09:07,760 --> 00:09:10,640 Speaker 1: I don't know if I've seen it in its entirety, 148 00:09:10,679 --> 00:09:14,360 Speaker 1: but it has a very memorable VHS bit of box 149 00:09:14,480 --> 00:09:16,280 Speaker 1: ar because it kind of looks like the Shredder from 150 00:09:16,280 --> 00:09:19,840 Speaker 1: Teenage Mutant Ninja Turtles, and he's he's staring right at you, 151 00:09:20,360 --> 00:09:21,760 Speaker 1: and you know that he's going to cut you with 152 00:09:21,760 --> 00:09:26,080 Speaker 1: sharukins and stuff. So I remember this this VHS box 153 00:09:26,120 --> 00:09:28,520 Speaker 1: aren't staring back at me when I was a kid. Oh, 154 00:09:28,640 --> 00:09:31,120 Speaker 1: I just looked it up. Yes, the mask on his 155 00:09:31,200 --> 00:09:34,520 Speaker 1: helmet looks like a piece of grilling equipment. Yeah, it 156 00:09:34,520 --> 00:09:38,280 Speaker 1: has sort of a metal face mask going on, very 157 00:09:38,400 --> 00:09:40,920 Speaker 1: very shredd Or esque. This seems like something there would 158 00:09:40,920 --> 00:09:43,800 Speaker 1: be an infomercial on this face mask for it's it's 159 00:09:43,800 --> 00:09:47,920 Speaker 1: how you see her salmon or something. So I haven't 160 00:09:47,920 --> 00:09:50,160 Speaker 1: seen it myself. I don't think i've seen it. Possible 161 00:09:50,200 --> 00:09:51,840 Speaker 1: I saw parts of it on TV at some point 162 00:09:51,880 --> 00:09:53,720 Speaker 1: or another. But if anyone out there is a fan, 163 00:09:53,920 --> 00:09:56,480 Speaker 1: let us know. All right, let's get to the writing year. 164 00:09:56,520 --> 00:10:00,000 Speaker 1: The screenplay was written by Christopher Wicking, who through two 165 00:10:00,040 --> 00:10:03,320 Speaker 1: thousand and eight a British screenwriter known for, uh, some 166 00:10:03,360 --> 00:10:05,400 Speaker 1: of the films we listed already, We're gonna hear these 167 00:10:05,440 --> 00:10:07,520 Speaker 1: titles again and again. Cry of the Band, Murder in 168 00:10:07,559 --> 00:10:10,920 Speaker 1: the Room, Morgue, Blood from the Mummies, Tomb, Absolute Beginners. 169 00:10:11,000 --> 00:10:16,160 Speaker 1: In Lady Chatterley's Lover, I read that despite the fact 170 00:10:16,240 --> 00:10:20,480 Speaker 1: that this movie is based on a novel, a lot 171 00:10:20,600 --> 00:10:24,000 Speaker 1: of the distinctive ideas and it actually come from the 172 00:10:24,080 --> 00:10:27,439 Speaker 1: screenplay adaptation. Like I think a lot of the conspiracy 173 00:10:27,720 --> 00:10:30,240 Speaker 1: elements that we discover at the end are actually more 174 00:10:30,360 --> 00:10:32,880 Speaker 1: the screenplay than the book it was based on. Yeah, 175 00:10:33,000 --> 00:10:36,360 Speaker 1: and the book it's based on is The Disoriented Man 176 00:10:37,080 --> 00:10:40,520 Speaker 1: by Peter Saxon. Now you're probably wondering, well, who's this 177 00:10:40,559 --> 00:10:45,160 Speaker 1: Peter Saxon guy, Well, he's nobody, he's not real it's 178 00:10:45,280 --> 00:10:48,000 Speaker 1: just a pen name used by various thriller authors from 179 00:10:48,040 --> 00:10:51,040 Speaker 1: the nineteen fifties through the nineteen seventies, though I've read 180 00:10:51,080 --> 00:10:54,440 Speaker 1: that The Disoriented Man in particular was mainly written by 181 00:10:55,320 --> 00:10:57,880 Speaker 1: a writer by the name of Stephen D. Francis and 182 00:10:58,160 --> 00:11:02,560 Speaker 1: edited by W. Howard Baker, who originated the Saxon brand 183 00:11:02,640 --> 00:11:05,439 Speaker 1: of pulp. Ah. So, Peter Saxon is kind of a 184 00:11:05,520 --> 00:11:09,480 Speaker 1: composite human built out of the parts of other humans. Yeah, 185 00:11:09,520 --> 00:11:11,960 Speaker 1: I guess you could say that. All right, let's get 186 00:11:12,040 --> 00:11:15,280 Speaker 1: into the cast on this one. But like I said earlier, though, 187 00:11:15,360 --> 00:11:17,920 Speaker 1: this one's kind of weird because if you went by billing, 188 00:11:18,320 --> 00:11:21,280 Speaker 1: you just start with Cushioning and Price and Lee. But 189 00:11:21,520 --> 00:11:23,959 Speaker 1: they're not really the main characters. You don't spend a 190 00:11:24,000 --> 00:11:25,959 Speaker 1: tremendous amount of time with them for the most part, 191 00:11:26,040 --> 00:11:28,559 Speaker 1: maybe Price more than the other two, but not to 192 00:11:28,600 --> 00:11:32,720 Speaker 1: say they're not important, but they're not really the main characters. 193 00:11:32,720 --> 00:11:34,400 Speaker 1: I want to start with the characters that we see 194 00:11:34,480 --> 00:11:37,600 Speaker 1: more of in the film. All right, So first of all, 195 00:11:37,679 --> 00:11:43,080 Speaker 1: we have, um, we have this character name Detective Belaviere, 196 00:11:43,400 --> 00:11:47,199 Speaker 1: who is played by Alfred Marks, who of one through 197 00:11:48,720 --> 00:11:52,920 Speaker 1: a British comic actor and entertainer who, in my opinion, 198 00:11:53,000 --> 00:11:55,640 Speaker 1: is pretty great in this is a tired, grumpy police 199 00:11:55,679 --> 00:11:59,520 Speaker 1: detective who has seen it all twice, is tired of 200 00:11:59,559 --> 00:12:02,079 Speaker 1: it all, um, and it's going to let you know 201 00:12:02,200 --> 00:12:05,920 Speaker 1: about it. Yes, but he's this is a great performance 202 00:12:06,040 --> 00:12:10,640 Speaker 1: because the character is he's this bellowing blow hard who 203 00:12:11,640 --> 00:12:14,880 Speaker 1: has he's just always like dropping little comments about his 204 00:12:15,240 --> 00:12:20,600 Speaker 1: police knowledge about what psychos are like and he um, 205 00:12:20,800 --> 00:12:24,440 Speaker 1: he's got a great mustache. He's good in this role. Yeah, 206 00:12:25,000 --> 00:12:28,040 Speaker 1: now interesting. This is probably his best known film role, 207 00:12:28,120 --> 00:12:30,559 Speaker 1: but he did do a fair amount of TV and 208 00:12:30,600 --> 00:12:34,480 Speaker 1: also appeared in such films as Fannie Hill and Ken 209 00:12:34,600 --> 00:12:40,760 Speaker 1: Russell's seven film Valentino. Naming this character Belover, I thought 210 00:12:40,760 --> 00:12:43,600 Speaker 1: it was a great choice. It's kind of Dickensian naming, right. 211 00:12:43,760 --> 00:12:46,079 Speaker 1: It's it's one of those where the character's name just 212 00:12:46,320 --> 00:12:49,840 Speaker 1: sounds like their personality. Yeah, yeah, he doesn't. He bellows 213 00:12:49,920 --> 00:12:53,480 Speaker 1: a lot for sure. Now. The next character want to 214 00:12:53,520 --> 00:12:57,400 Speaker 1: mention is this Dr David Sorrel, who is I guess 215 00:12:57,679 --> 00:13:00,599 Speaker 1: as close to a central hero as we get in 216 00:13:00,720 --> 00:13:04,439 Speaker 1: this film, though I wouldn't rate him as being tremendously 217 00:13:04,480 --> 00:13:08,120 Speaker 1: effective at foiling evil. No. In fact, he almost seems 218 00:13:08,160 --> 00:13:10,959 Speaker 1: to be tempted to collaborate with the evil at the 219 00:13:11,080 --> 00:13:13,360 Speaker 1: very end, until he's like, wait, the person you were 220 00:13:13,360 --> 00:13:17,880 Speaker 1: going to dismember is somebody I've met. Yeah, he's way 221 00:13:18,000 --> 00:13:20,760 Speaker 1: more like you know, as as a hero in a 222 00:13:20,800 --> 00:13:23,679 Speaker 1: film like this. You know, it's it's courtesy to listen 223 00:13:23,760 --> 00:13:26,480 Speaker 1: to a villain monologue a little bit at least. I mean, 224 00:13:27,720 --> 00:13:30,559 Speaker 1: it would be rude not to right, of course, but 225 00:13:31,440 --> 00:13:33,800 Speaker 1: Dr Sorrel here, Yeah, he seems to listen a little 226 00:13:33,840 --> 00:13:35,840 Speaker 1: bit too much and be a little bit too eager. 227 00:13:36,400 --> 00:13:39,200 Speaker 1: Um He's like, no, no, yeah, absolutely, let's hear all 228 00:13:39,200 --> 00:13:42,560 Speaker 1: about it. Price is giving a monologue like I am 229 00:13:42,640 --> 00:13:46,240 Speaker 1: not evil when I build these people out of other 230 00:13:46,280 --> 00:13:49,920 Speaker 1: people's body parts. Uh, And Sorrel is like, no, that 231 00:13:50,000 --> 00:13:54,920 Speaker 1: sounds reasonable. Yeah, yeah, it's it's it's fun. It's so 232 00:13:55,080 --> 00:13:57,280 Speaker 1: this this actor, this is one of those guys that 233 00:13:57,360 --> 00:13:59,280 Speaker 1: I'm not sure exactly who he looks like, but he 234 00:13:59,360 --> 00:14:01,719 Speaker 1: looks like body else that I've seen in many more 235 00:14:01,840 --> 00:14:04,520 Speaker 1: things than I think. That kind of messes with me 236 00:14:04,559 --> 00:14:07,720 Speaker 1: a little bit. But the actor here is Christopher Matthews. Uh. 237 00:14:07,880 --> 00:14:10,680 Speaker 1: Dates unknown as far as I could find, but active 238 00:14:10,880 --> 00:14:14,320 Speaker 1: from nineteen sixty three through two thousand and six, mostly 239 00:14:14,400 --> 00:14:19,040 Speaker 1: did TV were including roles on Dr Who, Space and 240 00:14:19,160 --> 00:14:22,840 Speaker 1: East Enders. He also appears in nineteen seventies Scars of 241 00:14:22,920 --> 00:14:26,520 Speaker 1: Dracula starring Christopher Lee and nineteen seventy one See No 242 00:14:26,720 --> 00:14:29,720 Speaker 1: Evil starring Mia Pharaoh. I thought it was an interesting 243 00:14:29,840 --> 00:14:33,560 Speaker 1: choice that he the character is technically supposed to be 244 00:14:33,680 --> 00:14:36,680 Speaker 1: a medical examiner. I think we first meet him during 245 00:14:36,720 --> 00:14:41,040 Speaker 1: an autopsy scene, and I couldn't understand why he just 246 00:14:41,200 --> 00:14:44,520 Speaker 1: sort of becomes an assistant to the detective for the 247 00:14:44,600 --> 00:14:46,520 Speaker 1: rest of the movie, like he's going to all the 248 00:14:46,600 --> 00:14:49,480 Speaker 1: crime scenes. I I do love it when this happens 249 00:14:49,520 --> 00:14:52,120 Speaker 1: in a film, um the generally a genre film of 250 00:14:52,240 --> 00:14:55,280 Speaker 1: some sort, where somebody who should not be present at 251 00:14:55,320 --> 00:14:58,760 Speaker 1: every stage of like a homicide investigation, just it just 252 00:14:58,880 --> 00:15:01,720 Speaker 1: becomes baked into the investigation. They just they just hang 253 00:15:01,800 --> 00:15:04,000 Speaker 1: out long enough and they're just part of it. Well, 254 00:15:04,080 --> 00:15:06,600 Speaker 1: you know what, you know what happens here. It's taking 255 00:15:06,600 --> 00:15:08,920 Speaker 1: it too personal. He is he's he's taking it too 256 00:15:09,000 --> 00:15:14,560 Speaker 1: personal for sure. Alright, Another another person, this is probably 257 00:15:14,640 --> 00:15:17,560 Speaker 1: the closest thing we have to a central relatable character 258 00:15:18,080 --> 00:15:22,320 Speaker 1: in the film is policewoman Helen Bradford, who is frequently 259 00:15:22,400 --> 00:15:25,840 Speaker 1: just imperil due to the villains of the picture, but 260 00:15:26,200 --> 00:15:28,480 Speaker 1: is very much a likable screen presence for the most part. 261 00:15:28,520 --> 00:15:32,160 Speaker 1: I would say, yeah, So she plays an officer who 262 00:15:32,200 --> 00:15:36,560 Speaker 1: goes undercover because one of the multiple plot threads in 263 00:15:36,600 --> 00:15:40,080 Speaker 1: this movie is, Hey, we've got some psychotic murderer who's 264 00:15:40,160 --> 00:15:43,880 Speaker 1: just who's just killing women and drinking their blood. I 265 00:15:43,960 --> 00:15:45,480 Speaker 1: know what we need to do. We need to put 266 00:15:45,520 --> 00:15:48,360 Speaker 1: one of our officers undercover as a as a PARTI 267 00:15:48,480 --> 00:15:53,120 Speaker 1: er at a London, uh psychedelic rock club, and then 268 00:15:53,320 --> 00:15:55,160 Speaker 1: she will get picked up by the murderer and then 269 00:15:55,200 --> 00:15:57,280 Speaker 1: we'll let the murderer drink her blood a little bit, 270 00:15:57,400 --> 00:15:59,240 Speaker 1: and then eventually we'll get in there and do something 271 00:15:59,240 --> 00:16:02,640 Speaker 1: about it. Yeah, and Helen's like sure works through me. So. 272 00:16:03,680 --> 00:16:08,520 Speaker 1: Helen is played by Judy Bloom, actor Stage, screen and 273 00:16:08,600 --> 00:16:11,120 Speaker 1: two TV, who I think started off as a child 274 00:16:11,200 --> 00:16:15,440 Speaker 1: actor based on her dates on IMDb. All right, Uh, 275 00:16:15,680 --> 00:16:19,880 Speaker 1: despite all those wonderfully villainous names on the poster, Cushing, 276 00:16:20,000 --> 00:16:23,560 Speaker 1: Lee and Price, Uh, it's ultimately an actor by the 277 00:16:23,640 --> 00:16:27,320 Speaker 1: name of Marshall Jones that really plays I think in 278 00:16:27,400 --> 00:16:29,960 Speaker 1: my opinion, the most frightening character in the picture. Uh, 279 00:16:30,040 --> 00:16:32,880 Speaker 1: this guy by the name of Conrats. Yes, and I 280 00:16:33,000 --> 00:16:35,120 Speaker 1: thought this actor was also very good. He has a 281 00:16:35,240 --> 00:16:39,640 Speaker 1: kind of a void face, a face like a predatory 282 00:16:39,880 --> 00:16:43,480 Speaker 1: bird of some kind. And uh and he and he 283 00:16:43,640 --> 00:16:47,800 Speaker 1: uses it to great effect. He is he is much menace. Yeah. 284 00:16:47,960 --> 00:16:51,200 Speaker 1: He has this, uh, this look on his face most 285 00:16:51,280 --> 00:16:53,520 Speaker 1: of the movie where it's it's like he just thought 286 00:16:53,560 --> 00:16:56,720 Speaker 1: of something funny. He could have said in the torture 287 00:16:57,200 --> 00:17:01,080 Speaker 1: uh inquiry that he was conducting or lier in the day. Oh, 288 00:17:01,240 --> 00:17:06,280 Speaker 1: I should have said, don't get too attached to it exactly. 289 00:17:06,359 --> 00:17:10,440 Speaker 1: Like he's a total total villain. But uh, Marshall Jones 290 00:17:10,520 --> 00:17:12,520 Speaker 1: performance here like he has a he has a real 291 00:17:12,680 --> 00:17:16,560 Speaker 1: physically imposing stature. Uh. You know, he looks like he 292 00:17:16,680 --> 00:17:19,960 Speaker 1: towers over, perhaps naturally, most of the other actors in 293 00:17:20,080 --> 00:17:22,480 Speaker 1: the in the picture. So yeah, I thought he was 294 00:17:22,560 --> 00:17:27,439 Speaker 1: quite good in this. Um. This particular actor lived two 295 00:17:27,440 --> 00:17:31,800 Speaker 1: thousand and seven. Um appeared in the film's Cry of 296 00:17:31,840 --> 00:17:34,200 Speaker 1: the Banshee in nineteen seventy Murders in the Room or 297 00:17:34,359 --> 00:17:37,960 Speaker 1: nineteen seventy one. UM, but this seems to be his 298 00:17:38,200 --> 00:17:40,560 Speaker 1: his biggest role. Um. If you you know, when you 299 00:17:40,840 --> 00:17:42,800 Speaker 1: look into the pictures he's he's been in, this is 300 00:17:42,840 --> 00:17:45,680 Speaker 1: the one that seems to be best remembered, and it 301 00:17:45,720 --> 00:17:48,440 Speaker 1: seems like the main one where he played a central villain. 302 00:17:48,520 --> 00:17:50,359 Speaker 1: I don't know that he really played this sort of 303 00:17:50,480 --> 00:17:54,159 Speaker 1: role in other pictures, but he excels here. He's some 304 00:17:54,440 --> 00:18:00,080 Speaker 1: kind of high level functionary in an unnamed easter in 305 00:18:00,200 --> 00:18:06,520 Speaker 1: European dictatorship. Yeah, that has this frightening trident as its icon. 306 00:18:07,119 --> 00:18:09,159 Speaker 1: Uh and and and yeah, not not a trident like 307 00:18:09,280 --> 00:18:13,080 Speaker 1: the like the flag of Barbados, like a scary one 308 00:18:13,160 --> 00:18:16,080 Speaker 1: that looks like a devil's pitchfork. Yeah. Well, so I 309 00:18:16,119 --> 00:18:19,240 Speaker 1: actually interpreted that as three arrows, but that would be 310 00:18:19,960 --> 00:18:24,640 Speaker 1: weird imagery because a bit of symbology of the history 311 00:18:24,680 --> 00:18:28,600 Speaker 1: of European politics. So the three arrows was a political 312 00:18:28,720 --> 00:18:33,240 Speaker 1: symbol in uh, like I think nineteen twenties thirties Germany, 313 00:18:33,359 --> 00:18:35,600 Speaker 1: but it was the symbol of like the social Democratic 314 00:18:35,720 --> 00:18:38,760 Speaker 1: coalition that because the three arrows I think had something 315 00:18:38,840 --> 00:18:44,720 Speaker 1: to do with the opposing Nazism, monarchism and communism. Okay, well, 316 00:18:44,800 --> 00:18:46,280 Speaker 1: either way it would make sense because I think and 317 00:18:46,400 --> 00:18:49,080 Speaker 1: I was reading that in the original novel it's it's 318 00:18:49,080 --> 00:18:52,200 Speaker 1: supposed to be some sort of fictional German regime and 319 00:18:52,280 --> 00:18:54,119 Speaker 1: they made it. They went a little more vague with 320 00:18:54,200 --> 00:18:56,359 Speaker 1: it in the in the picture, which I ultimately like, 321 00:18:56,520 --> 00:18:59,040 Speaker 1: it feels a lot more you know, kafka esque, to 322 00:18:59,440 --> 00:19:02,640 Speaker 1: not have a particular name for this uh, this country. 323 00:19:02,840 --> 00:19:06,680 Speaker 1: It's just the h and maybe it maybe doesn't even 324 00:19:06,720 --> 00:19:09,240 Speaker 1: have a name, Like that's the degree of the of 325 00:19:09,440 --> 00:19:13,840 Speaker 1: the totalitarianism here. It's just uh, this place where the 326 00:19:13,920 --> 00:19:18,159 Speaker 1: trident flag or the triple arrow flag reins. All right. 327 00:19:18,320 --> 00:19:22,040 Speaker 1: The next major name in this movie is Michael Gothard, 328 00:19:22,400 --> 00:19:26,320 Speaker 1: who plays Keith Uh, the alleged vampire killer. Let's take 329 00:19:26,359 --> 00:19:32,000 Speaker 1: your standard Mick Jagger type, but then creep if I him. Yeah, yeah, 330 00:19:32,040 --> 00:19:35,240 Speaker 1: he's pretty great because he's yeah, he's he's handsome, but 331 00:19:35,400 --> 00:19:38,480 Speaker 1: in a dangerous way. You know, he's got that you 332 00:19:38,520 --> 00:19:41,119 Speaker 1: don't completely trust him, and of course we're led to 333 00:19:41,119 --> 00:19:43,879 Speaker 1: believe that he's killing people and uh and hunting them 334 00:19:43,920 --> 00:19:47,520 Speaker 1: for sport. At a discos, he has this ridiculous uh 335 00:19:49,000 --> 00:19:51,399 Speaker 1: what kind of way he described this shirt that he's wearing. 336 00:19:51,560 --> 00:19:54,680 Speaker 1: It's like a purple pirate shirt. Yeah, he's wearing like 337 00:19:54,840 --> 00:20:00,600 Speaker 1: a lavender shiny satin frilly shirt and he's wearing it 338 00:20:00,920 --> 00:20:04,320 Speaker 1: through a chase sequence that takes up the middle third 339 00:20:04,400 --> 00:20:07,639 Speaker 1: of the movie. So it's he's scrambling over rocks, jumping 340 00:20:07,720 --> 00:20:12,439 Speaker 1: through windows of abandoned buildings and driving around London running 341 00:20:12,440 --> 00:20:16,960 Speaker 1: cars off the road, all wearing this this purple satin shirt. Yeah. 342 00:20:17,240 --> 00:20:21,280 Speaker 1: So yeah, it's it's a great, great performance. Um. Michael Gotthard, 343 00:20:21,280 --> 00:20:24,840 Speaker 1: who ninety nine through two uh, went on to be 344 00:20:24,920 --> 00:20:27,520 Speaker 1: known for a number of other films. This was apparently 345 00:20:27,680 --> 00:20:31,080 Speaker 1: one of his big breakout roles. He'd previously been in 346 00:20:31,200 --> 00:20:33,680 Speaker 1: some TV shows and a few films such as the 347 00:20:33,720 --> 00:20:37,720 Speaker 1: West German drama Michael Cole host at Dae Rebel from 348 00:20:37,800 --> 00:20:42,800 Speaker 1: nineteen sixty nine, which start David Warner. Um. But after 349 00:20:42,920 --> 00:20:45,879 Speaker 1: this he went onto some really memorable roles, including the 350 00:20:45,960 --> 00:20:50,480 Speaker 1: Demented Exorcist and witch Hunter Father Baret and Kin Russell's 351 00:20:50,520 --> 00:20:53,600 Speaker 1: The Devils from nineteen seventy one. And then he also 352 00:20:53,720 --> 00:20:56,640 Speaker 1: plays this, Um, I'm not sure is this a villain 353 00:20:56,760 --> 00:21:00,119 Speaker 1: or a Hinchman Joe from Ones for Your Eye is 354 00:21:00,160 --> 00:21:05,280 Speaker 1: only James Bond film. This was a late Roger Moore movie, 355 00:21:05,359 --> 00:21:08,400 Speaker 1: and I think he plays an assassin in it, he's 356 00:21:08,440 --> 00:21:11,399 Speaker 1: like a guy who Oh, now I'm afraid I'm remembering 357 00:21:11,480 --> 00:21:13,560 Speaker 1: this wrong. I think he's a guy who like he 358 00:21:13,680 --> 00:21:16,080 Speaker 1: like puts a rifle together out of a briefcase that 359 00:21:16,160 --> 00:21:19,000 Speaker 1: he carries around. Oh, that's always a good bond villain 360 00:21:19,080 --> 00:21:22,439 Speaker 1: move the character's name villain or hnchman. And I think 361 00:21:22,440 --> 00:21:24,160 Speaker 1: you're right. I think it's more of an assassin. Character 362 00:21:24,640 --> 00:21:29,480 Speaker 1: is Emil Leopold Locke. Uh. And I I've seen this movie, 363 00:21:29,720 --> 00:21:31,960 Speaker 1: or at least a large chunk of it, But really 364 00:21:32,320 --> 00:21:35,320 Speaker 1: the only thing that that really I remember from it 365 00:21:35,640 --> 00:21:41,359 Speaker 1: our Gothard's signature spectacles in this because uh, he has these. 366 00:21:41,560 --> 00:21:45,560 Speaker 1: Uh there's a curious shape to them. Uh. And apparently 367 00:21:45,640 --> 00:21:47,639 Speaker 1: he insisted on wearing them. He was like, no, no, 368 00:21:47,800 --> 00:21:51,720 Speaker 1: that this character needs something else. Um. And indeed this 369 00:21:51,880 --> 00:21:54,320 Speaker 1: is also something you see in The Devils his character 370 00:21:54,400 --> 00:21:57,480 Speaker 1: and that also has a pair of spectacles on. And 371 00:21:57,560 --> 00:21:59,800 Speaker 1: there's something about Michael Gothard like he's he's he's a 372 00:21:59,800 --> 00:22:02,280 Speaker 1: great character actor. Uh. He has been in a number 373 00:22:02,280 --> 00:22:05,360 Speaker 1: of roles and rememberable, but these two roles that really 374 00:22:05,440 --> 00:22:08,360 Speaker 1: stand out are ones where he wears kind of weird glasses. 375 00:22:08,480 --> 00:22:10,600 Speaker 1: They just put him over the top. Yeah, I agree. 376 00:22:10,920 --> 00:22:13,960 Speaker 1: So in the Bond movie they're kind of octagons, and 377 00:22:14,040 --> 00:22:16,120 Speaker 1: the way he's made up for the Bond role, he looks. 378 00:22:16,200 --> 00:22:18,719 Speaker 1: He looks a little bit Jagger, still a little bit 379 00:22:18,920 --> 00:22:24,160 Speaker 1: Kinski but all creep. Yeah. Meanwhile, in um, The Devil's 380 00:22:24,200 --> 00:22:27,000 Speaker 1: I'd say he looks a little bit Warren Zevon, a 381 00:22:27,040 --> 00:22:30,600 Speaker 1: little bit klaus Kinsky, you know. But but but strong 382 00:22:30,760 --> 00:22:34,280 Speaker 1: Zevon vines here at least the just the boy the 383 00:22:34,359 --> 00:22:36,879 Speaker 1: character looks, not so much the way he acts the 384 00:22:36,960 --> 00:22:40,160 Speaker 1: glasses however, I'm I mean, I don't think it's unreasonable 385 00:22:40,280 --> 00:22:43,960 Speaker 1: for a seventeenth century Frenchman to potentially have spectacles of 386 00:22:44,080 --> 00:22:46,080 Speaker 1: some sort, But I don't think they would have looked 387 00:22:46,119 --> 00:22:48,480 Speaker 1: this modern and stylish. Maybe I'm wrong on that, but 388 00:22:49,400 --> 00:22:52,040 Speaker 1: I think this is more of an artistic choice. H 389 00:22:52,600 --> 00:22:55,680 Speaker 1: Russell's part for The Devil's you don't you don't think this? Uh, 390 00:22:55,840 --> 00:22:58,719 Speaker 1: this psychotic convent had a had a flower child here 391 00:22:58,760 --> 00:23:03,520 Speaker 1: and there. Yeah yeah, um, but still very memorable role 392 00:23:03,640 --> 00:23:07,040 Speaker 1: for sure. Um. He he had a number of other 393 00:23:07,119 --> 00:23:10,240 Speaker 1: prominent roles. Uh. He appears in the nineteen seventies Three 394 00:23:10,280 --> 00:23:14,919 Speaker 1: Musketeers movies. He pops up in Life Force, as well 395 00:23:14,920 --> 00:23:18,280 Speaker 1: as a pair of Michael Caine movies of note, Jack 396 00:23:18,359 --> 00:23:22,840 Speaker 1: the Ripper in the Last Valley. His last film before 397 00:23:22,920 --> 00:23:28,080 Speaker 1: his untimely death was the T and T Frankenstein adaptation 398 00:23:28,480 --> 00:23:31,960 Speaker 1: starring Patrick Bergen and Randy Quaid as the Monster. I've 399 00:23:32,000 --> 00:23:34,359 Speaker 1: mentioned this film before on the show because I fondly 400 00:23:34,400 --> 00:23:36,560 Speaker 1: remember watching it on T and T when I was 401 00:23:36,600 --> 00:23:39,120 Speaker 1: a kid. I've got to see this sometimes. You bring 402 00:23:39,200 --> 00:23:41,560 Speaker 1: it up every chance you get, this nest be worth it. 403 00:23:42,040 --> 00:23:45,080 Speaker 1: Maybe we've we've at least jokingly talked about doing an 404 00:23:45,200 --> 00:23:49,360 Speaker 1: entire month of Frankenstein movies sometimes. So who knows, Maybe 405 00:23:49,400 --> 00:23:51,360 Speaker 1: we'll have to pull the trigger on that. Oh yeah, 406 00:23:51,480 --> 00:23:54,400 Speaker 1: you get Frankenstein meets the space Monster in there. Oh 407 00:23:54,720 --> 00:23:56,320 Speaker 1: that's Oh, that's a good one. That's a good one. 408 00:24:05,119 --> 00:24:07,640 Speaker 1: All right. Um, we're not gonna spend as much time 409 00:24:07,720 --> 00:24:11,119 Speaker 1: with these three, but yes, the three top build actors 410 00:24:11,200 --> 00:24:14,280 Speaker 1: in this are Price, Lee, and Cushing. Let's start with 411 00:24:14,359 --> 00:24:17,960 Speaker 1: Vincent Price because he plays his character Dr. Browning, which 412 00:24:18,040 --> 00:24:22,199 Speaker 1: is probably, uh probably the most important of these three characters. Uh, 413 00:24:22,600 --> 00:24:23,920 Speaker 1: I guess you could say, certainly, I think this is 414 00:24:23,920 --> 00:24:26,800 Speaker 1: the character that had maybe has the most memorable screen time. 415 00:24:27,720 --> 00:24:31,640 Speaker 1: And uh, it's it's essentially a sort of Vincent Price role. 416 00:24:31,680 --> 00:24:35,040 Speaker 1: You'd expect some sort of deranged scientist or doctor, but 417 00:24:35,200 --> 00:24:38,359 Speaker 1: with some fun twists that set the role apart. He 418 00:24:38,480 --> 00:24:43,200 Speaker 1: does a beard in this movie. Yeah, And and ultimately, 419 00:24:43,359 --> 00:24:45,639 Speaker 1: you know, we're talking about how he says to the 420 00:24:45,800 --> 00:24:49,400 Speaker 1: to our our doctor character. He tells him I'm not evil, um, 421 00:24:49,640 --> 00:24:51,879 Speaker 1: you know, and and we kind of buy into it, 422 00:24:51,960 --> 00:24:54,680 Speaker 1: like he's not acting completely evil though he's doing some 423 00:24:54,880 --> 00:25:00,119 Speaker 1: very um bizarre and um questionable things. Well yeah, mean, 424 00:25:00,200 --> 00:25:02,840 Speaker 1: he openly admits to doing a lot of murder and stuff, 425 00:25:02,880 --> 00:25:04,520 Speaker 1: but he he seems to think that it's all for 426 00:25:04,600 --> 00:25:08,760 Speaker 1: the greater good. The greater good being replacing humans with 427 00:25:09,000 --> 00:25:14,480 Speaker 1: like super beings made by experimental surgeries. Yeah. Yeah. Ultimately, ultimately, 428 00:25:14,600 --> 00:25:19,240 Speaker 1: like the big reveal is that there is a secret organization, 429 00:25:19,800 --> 00:25:23,800 Speaker 1: multinational organization, working in the shadows to build new people 430 00:25:23,960 --> 00:25:27,639 Speaker 1: out of the parts of regular humans and thus create 431 00:25:28,400 --> 00:25:31,639 Speaker 1: kind of super people who will continue to carry on 432 00:25:31,720 --> 00:25:35,399 Speaker 1: this conspiracy in order to make a better world. I 433 00:25:35,480 --> 00:25:38,159 Speaker 1: think in an earlier draft of this, we discover at 434 00:25:38,200 --> 00:25:41,320 Speaker 1: the end that that it's actually aliens controlling the whole thing, 435 00:25:41,440 --> 00:25:44,280 Speaker 1: But then that was taken out, and I'm ultimately glad 436 00:25:44,359 --> 00:25:46,360 Speaker 1: they did because if it had just been aliens, yes, 437 00:25:46,520 --> 00:25:50,040 Speaker 1: it would have maybe made more sense. But this movie 438 00:25:50,160 --> 00:25:53,879 Speaker 1: is so cryptic and confusing getting to the final scenes 439 00:25:54,600 --> 00:25:57,720 Speaker 1: that I like that a lot of that mystery remains 440 00:25:58,119 --> 00:26:00,360 Speaker 1: that were left trying to ponder, like what what does 441 00:26:00,400 --> 00:26:02,920 Speaker 1: this mean? Like what is a composite person? And why 442 00:26:03,480 --> 00:26:05,959 Speaker 1: in the context of this film are they so different? 443 00:26:06,400 --> 00:26:09,160 Speaker 1: Why are they why do they seem to have super intelligence? 444 00:26:09,200 --> 00:26:11,440 Speaker 1: When we saw where the brain come came from, there's 445 00:26:11,480 --> 00:26:14,040 Speaker 1: no indication that you did anything to the brain and 446 00:26:14,119 --> 00:26:16,160 Speaker 1: combined parts of a brain. No, you were just gonna 447 00:26:16,200 --> 00:26:18,600 Speaker 1: get Judy's brain and put it in here. By the 448 00:26:18,640 --> 00:26:21,280 Speaker 1: same token, how does it make them super strong when 449 00:26:21,280 --> 00:26:23,600 Speaker 1: they're just taking one arm off of a jogger and 450 00:26:23,720 --> 00:26:25,600 Speaker 1: one arm off of a cop and putting them on 451 00:26:25,720 --> 00:26:28,680 Speaker 1: a different body, Like was it just like, oh, this 452 00:26:28,840 --> 00:26:31,320 Speaker 1: jogger happened to have the strongest arm in the world, 453 00:26:31,480 --> 00:26:33,760 Speaker 1: and we're gonna use that, you know, Like where does 454 00:26:33,800 --> 00:26:36,920 Speaker 1: the super strength come from? Yeah? Yeah, A lot of 455 00:26:37,000 --> 00:26:40,760 Speaker 1: questions remain. Now I won't I won't get into into prices, 456 00:26:41,000 --> 00:26:43,000 Speaker 1: bio too much here because we've talked about We talked 457 00:26:43,000 --> 00:26:46,280 Speaker 1: about them previously on The Abominable Doctor Fibes pricelet of 458 00:26:46,359 --> 00:26:50,440 Speaker 1: nineteen eleven. Famous for such films as The Tingler, The House, 459 00:26:50,520 --> 00:26:52,320 Speaker 1: and Honor It Hill. He also did a lot of 460 00:26:52,359 --> 00:26:55,879 Speaker 1: fun TV roles. He was on Night Gallery, he did 461 00:26:55,920 --> 00:26:59,200 Speaker 1: The Muppet Show, and he did TV commercials for a 462 00:26:59,320 --> 00:27:02,640 Speaker 1: number of brand ends, including the No Jelly Candy Bar. 463 00:27:03,119 --> 00:27:05,200 Speaker 1: Is it now a recurring segment than any time we 464 00:27:05,280 --> 00:27:07,360 Speaker 1: do a price movie we have to review at least 465 00:27:07,440 --> 00:27:10,320 Speaker 1: one price commercial. Yes, I think it should be. It's 466 00:27:10,640 --> 00:27:13,880 Speaker 1: it's part of his legacy, and the no Jelly Candy 467 00:27:13,960 --> 00:27:16,720 Speaker 1: Bar does not disappoint. It's basically a Vincent Price talking 468 00:27:16,800 --> 00:27:20,040 Speaker 1: head commercial, like a lot of these are. But I 469 00:27:20,240 --> 00:27:23,119 Speaker 1: was really intrigued by the product here. I had to 470 00:27:23,240 --> 00:27:26,560 Speaker 1: I was reading about it on collecting candy dot com. Uh, 471 00:27:26,640 --> 00:27:28,200 Speaker 1: there's a post about it with a whole bunch of 472 00:27:28,280 --> 00:27:31,760 Speaker 1: images from the marketing campaign. It's a bar from the 473 00:27:31,840 --> 00:27:34,760 Speaker 1: makers of Almond Joy and Mounds that seemed to be 474 00:27:34,920 --> 00:27:38,760 Speaker 1: it's marketing itself at a at a at a client 475 00:27:38,880 --> 00:27:42,480 Speaker 1: base that I'm not sure really existed. People who were 476 00:27:42,640 --> 00:27:46,040 Speaker 1: fed up with their being jelly in their peanut butter 477 00:27:46,200 --> 00:27:49,600 Speaker 1: theme snack bars and candy bars. They were like, why 478 00:27:49,640 --> 00:27:51,280 Speaker 1: do they keep putting jelly in here? I want one 479 00:27:51,320 --> 00:27:54,560 Speaker 1: that's no jelly, that's just peanut butter. This this is 480 00:27:54,600 --> 00:27:57,000 Speaker 1: the commercial, the pitch. He holds up the bar and 481 00:27:57,119 --> 00:28:00,199 Speaker 1: he's like, if you have children, you know the they 482 00:28:00,359 --> 00:28:04,879 Speaker 1: love peanut butter and jelly sandwiches. We must dispense with 483 00:28:05,119 --> 00:28:11,359 Speaker 1: that wretched jelly. Was this a thing? I it just 484 00:28:11,440 --> 00:28:13,760 Speaker 1: seems it doesn't make much sense to me, Like, uh, 485 00:28:14,640 --> 00:28:17,600 Speaker 1: and what are you making? I mean, I don't know, 486 00:28:17,760 --> 00:28:21,000 Speaker 1: like where do you Was there a jelly shortage that 487 00:28:21,080 --> 00:28:24,520 Speaker 1: made jelly really expensive at the time, Yeah, or maybe 488 00:28:24,600 --> 00:28:27,359 Speaker 1: like just the peanut butter lobbying group was trying to 489 00:28:27,520 --> 00:28:30,439 Speaker 1: like bad mouth the jelly group because they want more 490 00:28:30,520 --> 00:28:33,360 Speaker 1: peanut butter on those sandwiches and not jelly. So they're 491 00:28:33,359 --> 00:28:35,200 Speaker 1: probably saying stuff like, well, you know what, jelly is 492 00:28:35,240 --> 00:28:38,520 Speaker 1: just full of sugar, unlike peanut butter. Slab it on. 493 00:28:40,200 --> 00:28:42,760 Speaker 1: They're they're making up the difference with jelly. They're they're 494 00:28:42,800 --> 00:28:46,520 Speaker 1: cutting into our profits. Yeah. So I don't know if 495 00:28:46,520 --> 00:28:49,280 Speaker 1: anyone I have no moment I think this was this 496 00:28:49,440 --> 00:28:51,880 Speaker 1: is a bar that was well done as a product 497 00:28:51,960 --> 00:28:54,160 Speaker 1: by the time I was born. So if anyone out 498 00:28:54,200 --> 00:28:58,040 Speaker 1: there remembers the No Jelly Candy bar and can tell 499 00:28:58,120 --> 00:29:01,000 Speaker 1: us what it was like, let us know that. Again. 500 00:29:01,080 --> 00:29:04,120 Speaker 1: This collecting Candy dot Com blog post on it's pretty 501 00:29:04,120 --> 00:29:07,360 Speaker 1: interesting because there's all sorts of strange promotional material, including 502 00:29:07,440 --> 00:29:09,560 Speaker 1: a what is it like yes to Nixon, no to 503 00:29:09,720 --> 00:29:17,280 Speaker 1: jelly pan that one would wear? Wow. Uh So, based 504 00:29:17,320 --> 00:29:21,520 Speaker 1: on my extensive deep research on the No Jelly Candy Bar, 505 00:29:22,560 --> 00:29:25,320 Speaker 1: I don't think that it was actually just straight up 506 00:29:25,400 --> 00:29:27,680 Speaker 1: peanut butter in that candy bar. I think it was 507 00:29:27,800 --> 00:29:32,320 Speaker 1: more like what you would get inside of a Reese's cup. Okay, 508 00:29:32,800 --> 00:29:34,840 Speaker 1: so sort of like I don't know what you call 509 00:29:34,920 --> 00:29:38,760 Speaker 1: that Pete candy peanut butter stuff. At any rate, it's 510 00:29:38,800 --> 00:29:41,920 Speaker 1: a mystery. I'm not entirely convinced that the No Jelly 511 00:29:41,960 --> 00:29:46,240 Speaker 1: Candy bar isn't actually part of the composite uh conspiracy 512 00:29:46,440 --> 00:29:50,480 Speaker 1: that is uh that is described in this film. Alright, 513 00:29:50,520 --> 00:29:56,280 Speaker 1: moving on Christopher Lee who lived in this as well. Um, 514 00:29:56,680 --> 00:29:59,040 Speaker 1: obviously we've talked about Christopher Lee on the show before. 515 00:29:59,240 --> 00:30:02,440 Speaker 1: This is Dracula, This is Saramon, This is Count Dooku. Uh. 516 00:30:02,960 --> 00:30:05,040 Speaker 1: This is a guy who's in a ton of Hammer 517 00:30:05,120 --> 00:30:08,640 Speaker 1: horror movies, and in this film he plays a mysterious 518 00:30:09,320 --> 00:30:13,160 Speaker 1: UK government official. I think Christopher Lee's plotline was the 519 00:30:13,440 --> 00:30:16,920 Speaker 1: most confusing of all of them to me until towards 520 00:30:16,960 --> 00:30:20,880 Speaker 1: the end. Yeah. Yeah, but it all comes together. Uh, 521 00:30:21,080 --> 00:30:22,960 Speaker 1: And I would say little he's good in this. This 522 00:30:23,120 --> 00:30:26,880 Speaker 1: is a role that plays to his strengths. Yeah, calm confidence. 523 00:30:26,960 --> 00:30:31,000 Speaker 1: He's not quite as as there's not as much twinkle 524 00:30:31,080 --> 00:30:33,560 Speaker 1: in the eye as he is when he's Lord's Summer Isle, 525 00:30:33,640 --> 00:30:35,720 Speaker 1: but it's a similar kind of thing he is. He 526 00:30:35,960 --> 00:30:40,160 Speaker 1: is overseeing some kind of secret process of depravity with 527 00:30:40,360 --> 00:30:44,680 Speaker 1: great jollity. Yes. And then finally we have Peter Cushing, 528 00:30:44,720 --> 00:30:50,120 Speaker 1: who often through and he plays a major Heinrich Benedict. Uh. 529 00:30:50,240 --> 00:30:53,520 Speaker 1: This is a small but fun role where he plays 530 00:30:53,680 --> 00:31:00,720 Speaker 1: a higher ranking intelligence operative in that strange European trident country. Um. 531 00:31:02,160 --> 00:31:05,080 Speaker 1: We we've profiled Cushing at greater depth in the past, 532 00:31:05,160 --> 00:31:07,800 Speaker 1: I believe in our shock Waves episode. But yeah, another 533 00:31:08,000 --> 00:31:12,080 Speaker 1: another horror legend. This is uh Dr Frankenstein. This is 534 00:31:12,200 --> 00:31:16,640 Speaker 1: Grand mof Tar Tarkan. Um. He has no scenes with 535 00:31:17,000 --> 00:31:20,120 Speaker 1: Lee or Price in the film. Uh, he's he's tightly 536 00:31:20,200 --> 00:31:24,320 Speaker 1: contained within this uh, this mysterious European country. It's pretty 537 00:31:24,400 --> 00:31:27,120 Speaker 1: much just a cameo and it's it's one of a 538 00:31:27,240 --> 00:31:32,960 Speaker 1: series of scenes where Marshall Jones, the Conrads character, just 539 00:31:33,160 --> 00:31:35,680 Speaker 1: kills his boss. I think this happens like three different 540 00:31:35,760 --> 00:31:37,960 Speaker 1: times in the movie. He goes into a meeting with 541 00:31:38,080 --> 00:31:42,360 Speaker 1: his boss and then within minutes that boss is dead. Yeah. Yeah, 542 00:31:42,440 --> 00:31:44,160 Speaker 1: he has a he has a signature move which will 543 00:31:44,160 --> 00:31:48,000 Speaker 1: describe here shortly. Um, a couple of quick, fun and 544 00:31:48,120 --> 00:31:51,240 Speaker 1: useless facts here. This is one of only three films 545 00:31:51,360 --> 00:31:54,600 Speaker 1: to feature both Price and Lee. It's one of only 546 00:31:54,680 --> 00:31:58,840 Speaker 1: four films to feature Cushing and Price. Lee and Cushing 547 00:31:58,920 --> 00:32:02,440 Speaker 1: appeared in the same film and estimated twenty four times. However, 548 00:32:02,600 --> 00:32:05,920 Speaker 1: going back as far as Laurence Olivier's adaptation of Hamlet, 549 00:32:06,360 --> 00:32:09,280 Speaker 1: in which Cushing played Ostrich and Lee played a palace 550 00:32:09,320 --> 00:32:12,120 Speaker 1: guard in an uncredited role, and I believe the only 551 00:32:12,240 --> 00:32:14,720 Speaker 1: other film to feature all three of these gentlemen was 552 00:32:15,040 --> 00:32:18,400 Speaker 1: House of Long Shadows from three, which also has John 553 00:32:18,440 --> 00:32:20,920 Speaker 1: Carradeine in it to boot, but doesn't every movie I 554 00:32:20,920 --> 00:32:26,440 Speaker 1: have John Krradeine in it I'm sure in this alright, 555 00:32:26,520 --> 00:32:28,240 Speaker 1: Let's let's get to the music, because the music is 556 00:32:28,240 --> 00:32:31,360 Speaker 1: worth worth talking about. Um not, I have to say 557 00:32:31,440 --> 00:32:34,000 Speaker 1: not so much. The score. Uh. The score is by 558 00:32:34,280 --> 00:32:37,880 Speaker 1: David Whittaker, who lived one through two thousand and twelve 559 00:32:37,920 --> 00:32:40,880 Speaker 1: and English composer who scored such films as Dr Jackal 560 00:32:40,920 --> 00:32:44,240 Speaker 1: and Sister Hyde, Vampire Circus, and The Sword and the Sorcerer. 561 00:32:44,920 --> 00:32:47,880 Speaker 1: It's an it's a perfectly acceptable score. I can't say 562 00:32:47,920 --> 00:32:51,240 Speaker 1: anything too bad about it. But also I've already forgotten 563 00:32:51,360 --> 00:32:53,240 Speaker 1: most of it. I don't know. The music kind of 564 00:32:53,280 --> 00:32:56,720 Speaker 1: made an impression on me, and not just the rock music, 565 00:32:56,760 --> 00:32:58,240 Speaker 1: which I know you're about to get to, but the 566 00:32:58,440 --> 00:33:02,719 Speaker 1: background music kind of works because of the it heightens 567 00:33:02,800 --> 00:33:06,800 Speaker 1: the absurdity of the movie. Like there is a scene 568 00:33:06,840 --> 00:33:09,800 Speaker 1: where character wakes up to find like parts of his 569 00:33:09,920 --> 00:33:12,800 Speaker 1: body have been cut off, and it's not giving you, 570 00:33:13,120 --> 00:33:17,880 Speaker 1: like you know, minor chord music stings, the scary orchestral music. Instead, 571 00:33:17,960 --> 00:33:21,239 Speaker 1: it's groovy lounge music just chugging along during that part. 572 00:33:21,320 --> 00:33:25,920 Speaker 1: Doom doom, doom, doom, doom, doom doom. Yeah. Yeah, I 573 00:33:26,080 --> 00:33:29,880 Speaker 1: I than it does work to establish a groovy late 574 00:33:30,000 --> 00:33:34,360 Speaker 1: sixties nineteen seventy kind of tone, I guess. But speaking 575 00:33:34,440 --> 00:33:36,920 Speaker 1: of which, let's get to the theme music. Yes, this 576 00:33:37,080 --> 00:33:40,120 Speaker 1: is one of those those delicious movies that has a 577 00:33:40,280 --> 00:33:45,040 Speaker 1: theme song in which somebody sings the title of the song. Uh, 578 00:33:45,160 --> 00:33:49,800 Speaker 1: this is Scream and Scream again performed by the amen corner. 579 00:33:50,200 --> 00:33:54,360 Speaker 1: This is Welsh garage psych at its best. Yeah, this 580 00:33:54,560 --> 00:33:56,640 Speaker 1: is a group. I had to look about. Their only 581 00:33:56,680 --> 00:34:00,120 Speaker 1: active from nineteen sixty six through nineteen sixty nine, so 582 00:34:00,200 --> 00:34:02,080 Speaker 1: this movie may have may have done it. This could 583 00:34:02,120 --> 00:34:04,320 Speaker 1: have been what did the group in as far as 584 00:34:04,360 --> 00:34:08,440 Speaker 1: I know. But uh, they also appear in the movie. 585 00:34:08,560 --> 00:34:11,520 Speaker 1: You see them in the nightclub performing this song while 586 00:34:11,560 --> 00:34:15,680 Speaker 1: our Vampire Killers stalking about. And uh, the two individuals 587 00:34:15,719 --> 00:34:20,400 Speaker 1: of note in it, Uh, that's Andy Fairweather Low as 588 00:34:20,440 --> 00:34:22,920 Speaker 1: the front man, a Welsh guitarist who went on to 589 00:34:23,000 --> 00:34:25,480 Speaker 1: tour with the likes of Roger Waters and Eric Clapton. 590 00:34:25,840 --> 00:34:29,800 Speaker 1: And then the keyboard player is Welsh Welsh musician Blue 591 00:34:29,880 --> 00:34:33,720 Speaker 1: Weaver born seven and he's worked as a session player 592 00:34:33,800 --> 00:34:36,000 Speaker 1: for the likes of The b Gs and The Pet 593 00:34:36,080 --> 00:34:39,279 Speaker 1: Shop Boys over the years. Wow, it's so kind of neat. Uh. 594 00:34:39,760 --> 00:34:42,640 Speaker 1: If possible, we'll have to clear this with seth. It'd 595 00:34:42,680 --> 00:34:44,120 Speaker 1: be nice to hear just a little bit of this, 596 00:34:44,320 --> 00:35:03,000 Speaker 1: uh this groovy bit of theme music. All right, let's 597 00:35:03,000 --> 00:35:05,719 Speaker 1: get into the plot of this. Let's let's tightly summarize 598 00:35:05,760 --> 00:35:09,040 Speaker 1: the plot to Scream and Scream Again. That is not possible. 599 00:35:09,719 --> 00:35:12,080 Speaker 1: There is no way to really explain the plot of 600 00:35:12,160 --> 00:35:14,520 Speaker 1: Scream and Scream Again. You just need to watch the movie. 601 00:35:14,560 --> 00:35:17,840 Speaker 1: So instead, I suggest let's talk about some things that 602 00:35:18,000 --> 00:35:22,000 Speaker 1: happen in the movie. Uh So, the first thing we see, 603 00:35:22,120 --> 00:35:24,440 Speaker 1: we we pull up on is this supposed to be 604 00:35:24,520 --> 00:35:27,399 Speaker 1: in London at somewhere in England. See we see red 605 00:35:27,480 --> 00:35:31,399 Speaker 1: double decker buses with ads for Crisp apples on them. 606 00:35:31,520 --> 00:35:34,080 Speaker 1: Oh yeah, it is London, because we see London transit 607 00:35:34,160 --> 00:35:36,720 Speaker 1: on the side of the bus, and we see a jogger. 608 00:35:37,320 --> 00:35:41,080 Speaker 1: I think get off one of the busses. Yeah. Yeah. 609 00:35:41,239 --> 00:35:44,120 Speaker 1: One of the first confusing things in the movie is 610 00:35:44,200 --> 00:35:47,080 Speaker 1: here's this jogger and they freeze framing and then they 611 00:35:47,239 --> 00:35:50,080 Speaker 1: put up starring Vincent Price, and I'm like, that's not 612 00:35:50,280 --> 00:35:54,439 Speaker 1: Vincent Price. What are you doing? Movie? That's great? Yeah, 613 00:35:54,920 --> 00:35:57,160 Speaker 1: it's not Vincent Price at all. It's a young guy 614 00:35:57,360 --> 00:35:59,960 Speaker 1: who has a face that kind of looks like George C. Scott, 615 00:36:00,360 --> 00:36:03,680 Speaker 1: you know, he always looks like he's about to go. Yeah. 616 00:36:04,520 --> 00:36:09,120 Speaker 1: Um uh Mr President, Uh No, it's just a jogger 617 00:36:09,280 --> 00:36:13,360 Speaker 1: wearing a tank top and and some short orange shorts 618 00:36:13,960 --> 00:36:16,440 Speaker 1: and he's jogging in a I don't know if you've 619 00:36:16,440 --> 00:36:18,959 Speaker 1: got the same energy off this rob but he looks 620 00:36:19,000 --> 00:36:23,839 Speaker 1: to me very uncomfortable and distressed throughout his entire jog. Yeah, 621 00:36:23,880 --> 00:36:26,279 Speaker 1: I guess he does. But then he's running around, he 622 00:36:26,440 --> 00:36:29,560 Speaker 1: runs through a field, he collapses, and then we cut 623 00:36:29,640 --> 00:36:33,239 Speaker 1: to a totally different place. He wakes up and he's like, 624 00:36:33,360 --> 00:36:36,600 Speaker 1: where am I? And he's in a hospital bed and 625 00:36:37,080 --> 00:36:40,040 Speaker 1: uh so he's laying there. He seems to be thirsty. 626 00:36:40,200 --> 00:36:43,760 Speaker 1: A nurse comes in. She gives him like a tube 627 00:36:43,840 --> 00:36:47,640 Speaker 1: of water to drink, and then he pulls back the 628 00:36:47,680 --> 00:36:51,200 Speaker 1: blankets on his hospital bed. After the nurse leaves, and 629 00:36:51,440 --> 00:36:54,960 Speaker 1: he realizes that his leg is missing, and he screams. So, 630 00:36:55,320 --> 00:36:57,320 Speaker 1: I guess this is the first scream of scream and 631 00:36:57,360 --> 00:37:00,279 Speaker 1: scream again, because he will scream many more times. Yeah. 632 00:37:00,320 --> 00:37:02,719 Speaker 1: It appears that his leg has been surgically removed in 633 00:37:02,840 --> 00:37:06,360 Speaker 1: this operating theater where he's being helped and so this 634 00:37:06,480 --> 00:37:10,040 Speaker 1: scene will be repeated almost exactly like four more times 635 00:37:10,080 --> 00:37:12,080 Speaker 1: because we just come back and see all of his 636 00:37:12,200 --> 00:37:16,320 Speaker 1: various body parts disappear and then he screams. Then, seemingly 637 00:37:16,440 --> 00:37:19,400 Speaker 1: unrelated to this, there is this other plot taking place 638 00:37:19,440 --> 00:37:22,920 Speaker 1: in this country where there's some kind of totalitarian symbology 639 00:37:23,000 --> 00:37:27,080 Speaker 1: all around these tridents or arrows. This is with Marshall Jones. 640 00:37:27,160 --> 00:37:31,560 Speaker 1: He's wearing kind of a military uniform and he's taking me. 641 00:37:31,760 --> 00:37:35,080 Speaker 1: I honestly, I had trouble following what was happening in 642 00:37:35,320 --> 00:37:38,000 Speaker 1: this subplot. It's just, you know, he goes around. He'll 643 00:37:38,040 --> 00:37:40,800 Speaker 1: take a meeting with some kind of other government official, 644 00:37:40,880 --> 00:37:43,160 Speaker 1: and they'll talk about oh, you know these uh some 645 00:37:43,280 --> 00:37:47,320 Speaker 1: kind of military hardware or some kind of espionage situation, 646 00:37:47,719 --> 00:37:49,319 Speaker 1: and then at the end of the meeting, he does 647 00:37:49,400 --> 00:37:52,919 Speaker 1: the vulcan neck pinch on this other person, usually somebody 648 00:37:52,960 --> 00:37:55,080 Speaker 1: who seems to be his boss, and then they go, 649 00:37:56,080 --> 00:37:59,640 Speaker 1: blood comes out of their mouth and they die. In retrospect, 650 00:38:00,000 --> 00:38:02,400 Speaker 1: knowing what we know by the end of the film, 651 00:38:02,920 --> 00:38:05,400 Speaker 1: I mean, is he kind of maybe like working his 652 00:38:05,520 --> 00:38:08,359 Speaker 1: way up through the ranks VM, I think that's it. Yeah, 653 00:38:08,600 --> 00:38:12,800 Speaker 1: I think he's like killing various bosses or rivals and 654 00:38:13,160 --> 00:38:17,320 Speaker 1: and becoming some kind of supreme commander within this totalitarian system. 655 00:38:18,800 --> 00:38:22,719 Speaker 1: Then also within this place where we see all these 656 00:38:22,880 --> 00:38:26,719 Speaker 1: these arrow or trident symbols. There's a scene where there's 657 00:38:26,760 --> 00:38:30,520 Speaker 1: just a guy and a lady running through a field 658 00:38:30,960 --> 00:38:33,120 Speaker 1: and then they get chased down by a jeep full 659 00:38:33,200 --> 00:38:36,400 Speaker 1: of soldiers and then they get caught, and then the 660 00:38:36,520 --> 00:38:40,120 Speaker 1: guy is taken to a prison and there are there 661 00:38:40,239 --> 00:38:44,080 Speaker 1: is what is implied to be like torture and interrogation. Yeah, yeah, 662 00:38:44,120 --> 00:38:46,680 Speaker 1: we're not we don't have to watch a torture scene 663 00:38:46,719 --> 00:38:49,480 Speaker 1: in this movie, but yes, it's heavily implied that he's 664 00:38:49,480 --> 00:38:53,000 Speaker 1: about to torture, and then afterwards he gets dressed down 665 00:38:53,120 --> 00:38:57,839 Speaker 1: for torturing. Mystery about it. He's got bosses who come 666 00:38:57,880 --> 00:39:01,200 Speaker 1: to come to the Conrads character in there, like, hey, 667 00:39:01,320 --> 00:39:04,319 Speaker 1: you're using too much torture. That's just a little bit 668 00:39:04,480 --> 00:39:07,640 Speaker 1: over the line with torture. And then he's like okay, 669 00:39:07,760 --> 00:39:11,319 Speaker 1: point taken, uh, and then neck pinches them and they die. Yeah, 670 00:39:11,400 --> 00:39:13,680 Speaker 1: this is that the Peter Cushing scene. That's that's rather 671 00:39:13,800 --> 00:39:15,600 Speaker 1: nice because like there's a scene to set it up 672 00:39:15,640 --> 00:39:18,560 Speaker 1: where but then we get the we get Peter Cushing's 673 00:39:18,600 --> 00:39:21,319 Speaker 1: character and Conrads together and he's like, it's like, it's 674 00:39:21,320 --> 00:39:23,560 Speaker 1: just too much torture, my boy, we have to worry 675 00:39:23,560 --> 00:39:27,080 Speaker 1: about optics with this regime. And uh, I'm sorry, you're done. 676 00:39:27,160 --> 00:39:29,440 Speaker 1: You're through through with without the door with you. And 677 00:39:29,520 --> 00:39:33,040 Speaker 1: then he gets the claw and that's it for Cushing's character. Well, 678 00:39:33,080 --> 00:39:36,040 Speaker 1: wouldn't have Cushing put the paperwork in motion before that meeting? 679 00:39:36,280 --> 00:39:39,280 Speaker 1: You would think, so, yeah, well this is It becomes 680 00:39:39,719 --> 00:39:43,200 Speaker 1: more and more clear that that Conrads is perhaps a 681 00:39:43,239 --> 00:39:46,960 Speaker 1: bit rogue, right, because because at first it seems like 682 00:39:47,080 --> 00:39:49,480 Speaker 1: that whatever he's doing, it's entirely going to take place 683 00:39:49,560 --> 00:39:53,120 Speaker 1: within this uh, this fictional nation. But no, he eventually 684 00:39:53,239 --> 00:39:57,000 Speaker 1: sets uh sets Sale. That's really set Sale. How does 685 00:39:57,040 --> 00:39:59,320 Speaker 1: he travel? We don't see it. I don't think he 686 00:39:59,440 --> 00:40:01,640 Speaker 1: just suddenly shows up in London towards the end of 687 00:40:01,640 --> 00:40:04,360 Speaker 1: the movie. Yeah, he catches wind of this whole vampire 688 00:40:04,480 --> 00:40:06,600 Speaker 1: killer thing and perhaps some other stuff and he's like, well, 689 00:40:06,880 --> 00:40:09,680 Speaker 1: I gotta go there now and start clawing people. Oh oh, 690 00:40:09,840 --> 00:40:11,680 Speaker 1: but okay. So this brings us to what I would 691 00:40:11,680 --> 00:40:14,400 Speaker 1: say is the dominant plot thread of the movie, The 692 00:40:14,560 --> 00:40:18,680 Speaker 1: Vampire Killer plot. So we meet Uh, we meet Belavar, 693 00:40:18,800 --> 00:40:22,719 Speaker 1: the police inspector, and uh and several other police officers 694 00:40:22,920 --> 00:40:27,279 Speaker 1: who start tracking a series of brutal murders. There are 695 00:40:27,800 --> 00:40:30,240 Speaker 1: murders in which women are being attacked by an unknown 696 00:40:30,280 --> 00:40:34,360 Speaker 1: assailant and he and there and they're like appear drained 697 00:40:34,440 --> 00:40:37,120 Speaker 1: of all blood. So one of the first victims, it 698 00:40:37,239 --> 00:40:42,360 Speaker 1: turns out, is a is an employee of Vincent Prices, 699 00:40:42,480 --> 00:40:45,040 Speaker 1: and this leads the police to Vincent Price's house and 700 00:40:45,160 --> 00:40:47,600 Speaker 1: this is the scene where we first meet him and 701 00:40:47,680 --> 00:40:50,279 Speaker 1: they're like, hey, what about this employee of yours? Can 702 00:40:50,320 --> 00:40:52,480 Speaker 1: you shed any light on what's going on? And he's 703 00:40:52,520 --> 00:40:58,160 Speaker 1: like no, but don't suspect me. Does anything of consequence 704 00:40:58,160 --> 00:41:00,200 Speaker 1: happened in this first meeting or is it basically just 705 00:41:00,280 --> 00:41:05,120 Speaker 1: to introduce Price? Basically I just entroduce Price. Uh this Uh, nothing, 706 00:41:05,280 --> 00:41:07,760 Speaker 1: nothing really happens. In fact, you kind of forget about 707 00:41:07,800 --> 00:41:10,560 Speaker 1: it until Vincent Price just kind of pops up again 708 00:41:10,640 --> 00:41:12,960 Speaker 1: later and you're like, oh this character. Yeah. And then 709 00:41:13,560 --> 00:41:16,920 Speaker 1: so this is also where the medical examiner gets involved. 710 00:41:17,040 --> 00:41:20,960 Speaker 1: Dr Serell or sorel Uh He's so he's originally in 711 00:41:21,040 --> 00:41:24,560 Speaker 1: these autopsy scenes of of the murder victims, but he 712 00:41:24,640 --> 00:41:27,920 Speaker 1: gets wrapped up in the police investigation itself and starts 713 00:41:27,960 --> 00:41:31,360 Speaker 1: being along for uh, these these chases and all this 714 00:41:31,480 --> 00:41:34,799 Speaker 1: stuff and what a chase. What a chase it is. Yeah, 715 00:41:34,880 --> 00:41:37,479 Speaker 1: so let's lead up to that because this is wow, 716 00:41:37,719 --> 00:41:40,600 Speaker 1: this movie has such a chase seed. So, because these 717 00:41:40,800 --> 00:41:44,200 Speaker 1: murders keep happening, the police decide, well, we're gonna set 718 00:41:44,280 --> 00:41:48,799 Speaker 1: up a sting operation and we're gonna get Officer Bradford here, 719 00:41:48,880 --> 00:41:52,520 Speaker 1: Helen Bradford. She's going to pretend to just be like 720 00:41:53,040 --> 00:41:55,279 Speaker 1: a lady party in at the club, and we're going 721 00:41:55,360 --> 00:41:58,480 Speaker 1: to see if she gets murdered by this by the 722 00:41:58,560 --> 00:42:02,200 Speaker 1: vampire killer, which, by the way, apparently they just have 723 00:42:02,360 --> 00:42:05,680 Speaker 1: her party all night because when eventually she is picked 724 00:42:05,719 --> 00:42:07,960 Speaker 1: up by the vampire killer and they leave the club, 725 00:42:08,280 --> 00:42:11,160 Speaker 1: it's just broad daylight, like not like not like don 726 00:42:11,360 --> 00:42:14,200 Speaker 1: but it feels like it's noon exactly. Yeah, they come 727 00:42:14,200 --> 00:42:17,560 Speaker 1: out and this shocked me as well. So inside I 728 00:42:17,719 --> 00:42:20,840 Speaker 1: think I think that that Welsh rock group is playing 729 00:42:21,000 --> 00:42:23,560 Speaker 1: or somebody like them is playing. Uh, you know, we're 730 00:42:23,560 --> 00:42:25,520 Speaker 1: getting the songs. And then they come out the door 731 00:42:25,760 --> 00:42:28,200 Speaker 1: and yeah, it's just bright sunlight. And then they get 732 00:42:28,360 --> 00:42:32,000 Speaker 1: into uh the vampire killer sports car. I think the 733 00:42:32,080 --> 00:42:35,480 Speaker 1: character's name is Keith, the creepy looking guy. Yeah, I don't, Yeah, 734 00:42:35,480 --> 00:42:36,960 Speaker 1: we don't. We don't find out for later. But this 735 00:42:37,120 --> 00:42:39,879 Speaker 1: is is Keith. Yeah, and we've seen him. We've seen 736 00:42:40,200 --> 00:42:42,520 Speaker 1: seen him murder other women that he had picked up 737 00:42:42,520 --> 00:42:45,239 Speaker 1: at the club before. Uh so, so we know what's 738 00:42:45,239 --> 00:42:48,799 Speaker 1: going to happen. And then the cops, of course, are 739 00:42:48,840 --> 00:42:51,279 Speaker 1: bumbling du faces and they take way too long to 740 00:42:51,360 --> 00:42:55,719 Speaker 1: intervene while he is drinking Bradford's blood. But they get 741 00:42:55,760 --> 00:42:58,480 Speaker 1: there just in time. She's not killed. So they like 742 00:42:58,600 --> 00:43:01,480 Speaker 1: pull him out of the car and you think, okay, 743 00:43:01,520 --> 00:43:05,080 Speaker 1: well he's caught now, but no, something strange happens. Instead, 744 00:43:05,120 --> 00:43:07,200 Speaker 1: they get Michael Gothard out of the car and they say, 745 00:43:07,280 --> 00:43:10,560 Speaker 1: you're caught now, but he has super strength or something. 746 00:43:10,680 --> 00:43:13,759 Speaker 1: It's out of nowhere. We've seen no indication of this before. Really, 747 00:43:14,000 --> 00:43:16,719 Speaker 1: he like fights them all off and he runs away, 748 00:43:17,280 --> 00:43:21,040 Speaker 1: and this begins a chase sequence that involves driving, It 749 00:43:21,200 --> 00:43:26,520 Speaker 1: involves running, It involves hiding, It involves climbing, It involves 750 00:43:26,640 --> 00:43:30,840 Speaker 1: mountain climbing, It involves boiling yourself in acid. This is 751 00:43:30,920 --> 00:43:34,239 Speaker 1: a chase sequence that goes on for I would guess 752 00:43:34,400 --> 00:43:38,800 Speaker 1: literally twenty minutes, right, and you keep thinking it's over too, like, Okay, 753 00:43:38,960 --> 00:43:41,600 Speaker 1: they got him, and then something will happen and he's 754 00:43:41,680 --> 00:43:44,000 Speaker 1: on the move again, and we just hope that all 755 00:43:44,080 --> 00:43:46,480 Speaker 1: of our police officers are able to catch their breath 756 00:43:46,560 --> 00:43:49,000 Speaker 1: a little bit before they take after him, because again, 757 00:43:49,360 --> 00:43:55,160 Speaker 1: Keith seems to have supernatural uh strength and agility and endurance. 758 00:43:55,640 --> 00:43:57,880 Speaker 1: He's able to do things that humans cannot it should 759 00:43:57,880 --> 00:43:59,560 Speaker 1: not be able to do his basically Spiderman, and a 760 00:43:59,600 --> 00:44:01,880 Speaker 1: few of these scenes and I wanted to compare this 761 00:44:02,160 --> 00:44:06,160 Speaker 1: to the fight scene between Roddy Piper and Keith David 762 00:44:06,440 --> 00:44:09,880 Speaker 1: in the John Carpenter movie They Live, which is an amazing, 763 00:44:10,080 --> 00:44:14,040 Speaker 1: hilarious scene, and this chase scene was a lot like it, because, 764 00:44:15,000 --> 00:44:18,200 Speaker 1: first of all, it's something that just mounts in uh 765 00:44:18,520 --> 00:44:22,200 Speaker 1: in in hilarious absurdity because of how long it goes on, 766 00:44:22,520 --> 00:44:24,719 Speaker 1: but not just because of how long it goes on, 767 00:44:25,200 --> 00:44:29,120 Speaker 1: because of the fact that it repeatedly stops and you 768 00:44:29,239 --> 00:44:32,880 Speaker 1: think it's over and then it starts again, so you know, 769 00:44:32,960 --> 00:44:35,760 Speaker 1: and they Live, they're they're they're like punching, punching, body 770 00:44:35,800 --> 00:44:38,400 Speaker 1: slam body slam and they stop and talk for a 771 00:44:38,440 --> 00:44:40,719 Speaker 1: minute and you're like, okay, well, what's happening now, and 772 00:44:40,800 --> 00:44:42,840 Speaker 1: then one of them will just throw another plush and 773 00:44:42,960 --> 00:44:46,040 Speaker 1: it starts up. This chase is exactly like this. They 774 00:44:46,120 --> 00:44:48,800 Speaker 1: catch him and they're like okay, and then he like 775 00:44:49,080 --> 00:44:50,640 Speaker 1: rips his own arm off to get out of the 776 00:44:50,719 --> 00:44:55,839 Speaker 1: handcuffs and runs again and again, all this broad daylight too, 777 00:44:56,000 --> 00:44:59,600 Speaker 1: which somehow adds to that absurdity because it's it feels 778 00:44:59,600 --> 00:45:02,000 Speaker 1: like he can't and actually get away and hide as well, 779 00:45:02,160 --> 00:45:04,520 Speaker 1: especially when they get to the scene where they've cornered 780 00:45:04,560 --> 00:45:07,759 Speaker 1: him against the side of a mountain with all these 781 00:45:07,880 --> 00:45:11,399 Speaker 1: loose rocks, and he just starts taking straight his way, 782 00:45:11,719 --> 00:45:13,600 Speaker 1: is going straight up the mountain, kind of like Spider 783 00:45:13,640 --> 00:45:17,319 Speaker 1: Man a few times, just crazy speed, and the cops 784 00:45:17,360 --> 00:45:19,840 Speaker 1: are just watching him. And then eventually he like tires 785 00:45:19,880 --> 00:45:22,439 Speaker 1: out or slips and falls all the way back down 786 00:45:22,520 --> 00:45:27,719 Speaker 1: the mountain again. But how does this whole chase end? Well, strangely, 787 00:45:28,280 --> 00:45:32,000 Speaker 1: Michael Gothard ends up in his in his satin purple shirt, 788 00:45:32,719 --> 00:45:35,120 Speaker 1: leading the cops on a chase that ends at Vincent 789 00:45:35,200 --> 00:45:39,640 Speaker 1: Price's house. Remember Vincent Price from earlier that random guy. Well, yes, 790 00:45:39,800 --> 00:45:43,200 Speaker 1: that he shows up at his house and he goes 791 00:45:43,280 --> 00:45:46,680 Speaker 1: into a barn on the estate and he lifts up 792 00:45:46,800 --> 00:45:50,360 Speaker 1: like a like a you know, trap door on the 793 00:45:50,560 --> 00:45:53,879 Speaker 1: ground in the floor of the barn and jumps into 794 00:45:54,000 --> 00:45:57,359 Speaker 1: some kind of pool underneath the trap door, which turns 795 00:45:57,400 --> 00:45:59,520 Speaker 1: out to be acid. Like a cop reaches in to 796 00:45:59,600 --> 00:46:01,879 Speaker 1: try to issue out of there, and it burns his arm. 797 00:46:02,440 --> 00:46:08,799 Speaker 1: So he has apparently just plunged himself into Hollywood acid, right, 798 00:46:09,040 --> 00:46:10,719 Speaker 1: and then they even mentioned it's like, well that cop 799 00:46:10,760 --> 00:46:12,640 Speaker 1: is gonna lose that arm now, so this is this 800 00:46:12,840 --> 00:46:15,840 Speaker 1: is powerful acid. There's no not even any attempt to 801 00:46:15,920 --> 00:46:19,319 Speaker 1: try and like fish Keith's body out of here. They're like, well, 802 00:46:19,680 --> 00:46:24,400 Speaker 1: that's it for Keith. He's gone completely gone. Ye wouldn't 803 00:46:24,400 --> 00:46:27,000 Speaker 1: they get like a metal pole or something. Yeah, Well, 804 00:46:27,239 --> 00:46:29,680 Speaker 1: later we see that there Vincent Price's character does have 805 00:46:29,880 --> 00:46:32,920 Speaker 1: a poll for just like shoving things down into the 806 00:46:32,960 --> 00:46:36,400 Speaker 1: acid V. But that's where we go now, like suddenly 807 00:46:36,480 --> 00:46:38,480 Speaker 1: they're they're watching this, You're looking down in the yellow 808 00:46:38,960 --> 00:46:42,239 Speaker 1: acid of V that has just dissolved, and even Keith 809 00:46:42,320 --> 00:46:45,360 Speaker 1: has just burned a police officer's arm. And then Vincent 810 00:46:45,400 --> 00:46:47,600 Speaker 1: Price just kind of wanders up behind them and that 811 00:46:47,680 --> 00:46:49,239 Speaker 1: does doesn't even say anything, he's just kind of like 812 00:46:51,719 --> 00:46:53,880 Speaker 1: and he explains it right there. They're like, well, why 813 00:46:53,920 --> 00:46:57,320 Speaker 1: do you have this tub of of body dissolving acid 814 00:46:57,440 --> 00:46:59,359 Speaker 1: in your house? And he's like, oh, yeah, I've got 815 00:46:59,400 --> 00:47:03,040 Speaker 1: a story about the up. Yeah. Basically it's that he 816 00:47:03,120 --> 00:47:06,760 Speaker 1: does cancer research and uh. And yet remember, folks, always 817 00:47:06,840 --> 00:47:11,480 Speaker 1: store your medical waste disposal vats of boiling acid responsibly, 818 00:47:12,040 --> 00:47:14,520 Speaker 1: preferably in a trap door in one of your outbuildings. 819 00:47:15,360 --> 00:47:17,040 Speaker 1: This is just standard practice. I know we have some 820 00:47:17,560 --> 00:47:20,680 Speaker 1: some researchers and doctors out there listening to the show. 821 00:47:20,760 --> 00:47:22,320 Speaker 1: I mean, you guys don't know how it is. You 822 00:47:22,400 --> 00:47:24,680 Speaker 1: just you gotta have a vat of boiling acid around 823 00:47:25,000 --> 00:47:27,640 Speaker 1: in case you need to dissolve any medical waste. When 824 00:47:27,800 --> 00:47:30,239 Speaker 1: your grandkids come over, you've got to remind him don't 825 00:47:30,280 --> 00:47:34,640 Speaker 1: play around the acid. Yeah, no running near the acid. 826 00:47:35,160 --> 00:47:37,759 Speaker 1: So they see the the investigators seem more or less 827 00:47:37,800 --> 00:47:40,640 Speaker 1: satisfied with this story, despite the fact that he has 828 00:47:40,760 --> 00:47:44,640 Speaker 1: also linked to the location at least is linked to 829 00:47:44,719 --> 00:47:47,520 Speaker 1: an earlier murder. Uh. And they're like, well, how do 830 00:47:47,640 --> 00:47:50,040 Speaker 1: you know Keith, Like how come like Keith clearly killed 831 00:47:50,080 --> 00:47:51,920 Speaker 1: somebody who worked for you, and then he came back 832 00:47:52,040 --> 00:47:55,400 Speaker 1: here to throw himself into a vat of acid. Invincent 833 00:47:55,440 --> 00:47:58,239 Speaker 1: Prices characters like, well, you know the mind of the psychopath, 834 00:47:58,320 --> 00:48:01,000 Speaker 1: it has typically has a lot of guilt involved and 835 00:48:01,840 --> 00:48:05,520 Speaker 1: um a little very high threshold of the pain. And 836 00:48:05,600 --> 00:48:09,280 Speaker 1: they're like that it checks out. Yeah, suicide by acid 837 00:48:09,520 --> 00:48:15,360 Speaker 1: matches the enormity of the crime. Oh it's good. But 838 00:48:15,440 --> 00:48:17,320 Speaker 1: oh but they're like, but we still have a clue. 839 00:48:17,680 --> 00:48:19,400 Speaker 1: We can figure out who this guy was because we 840 00:48:19,480 --> 00:48:21,920 Speaker 1: still have his hand because earlier, after he fell off 841 00:48:22,000 --> 00:48:24,360 Speaker 1: the mountain, the cops handcuffed him to a car. Then 842 00:48:24,440 --> 00:48:26,719 Speaker 1: he ripped his own hand off to escape, and they 843 00:48:26,760 --> 00:48:30,000 Speaker 1: still have the hand, right, And Vincent Brice's character is 844 00:48:30,000 --> 00:48:32,120 Speaker 1: a little shocked and perhaps a little worried about this 845 00:48:33,080 --> 00:48:35,800 Speaker 1: because when we hold not all of Keith was dissolved, 846 00:48:36,120 --> 00:48:39,520 Speaker 1: that's right. So they go there, the medical examiners are 847 00:48:39,560 --> 00:48:42,200 Speaker 1: looking at the hand and I didn't fully understand this 848 00:48:42,280 --> 00:48:44,520 Speaker 1: that they try to explain. They're like, the hand, it's 849 00:48:44,600 --> 00:48:47,680 Speaker 1: not human or it's not organic. And then the cops 850 00:48:47,760 --> 00:48:49,680 Speaker 1: are like, what do you mean by that? And they say, well, 851 00:48:49,719 --> 00:48:53,400 Speaker 1: it's not exactly artificial. It's synthetic, but I didn't understand 852 00:48:53,440 --> 00:48:56,000 Speaker 1: the distinction they were making. Yeah, this didn't make a 853 00:48:56,040 --> 00:48:57,960 Speaker 1: lot of sense because we later find out, yeah, that 854 00:48:58,040 --> 00:49:01,160 Speaker 1: this is about repurposing of parts of making entirely new 855 00:49:01,239 --> 00:49:04,520 Speaker 1: people out of pieces harvested from other humans. There's no 856 00:49:04,600 --> 00:49:08,680 Speaker 1: indication that there are synthetic parts in the process. Or 857 00:49:08,760 --> 00:49:10,279 Speaker 1: maybe there are and they just don't tell us about it. 858 00:49:10,320 --> 00:49:13,960 Speaker 1: I don't know. Well, anyway, someone ends up breaking into 859 00:49:14,239 --> 00:49:17,040 Speaker 1: the morgue or the police station wherever it is to 860 00:49:17,239 --> 00:49:20,799 Speaker 1: steal the hand from from evidence, and that they store 861 00:49:20,840 --> 00:49:23,080 Speaker 1: it in a really secure location. It appears to be 862 00:49:23,239 --> 00:49:27,399 Speaker 1: on a pillar in the middle of a room. Didn't 863 00:49:27,400 --> 00:49:29,719 Speaker 1: they put they put something over it when they're like 864 00:49:30,480 --> 00:49:32,560 Speaker 1: or maybe there wasn't they just shut they shut the 865 00:49:32,640 --> 00:49:35,239 Speaker 1: door to the room. Yeah, I think it's literally that's it. 866 00:49:35,440 --> 00:49:37,040 Speaker 1: They shut the door into the room, which is like 867 00:49:37,440 --> 00:49:42,800 Speaker 1: glass French doors. Um. But literally, the severed hand in 868 00:49:42,920 --> 00:49:45,720 Speaker 1: evidence is just on like a platform on a pillar 869 00:49:45,960 --> 00:49:48,560 Speaker 1: in the middle of the room, and somebody breaks into 870 00:49:48,640 --> 00:49:50,920 Speaker 1: steal it, and wouldn't you know it, the person who 871 00:49:50,960 --> 00:49:54,440 Speaker 1: breaks into steal it is that nurse we saw earlier 872 00:49:54,520 --> 00:49:56,919 Speaker 1: in the movie who was repeatedly coming into the room 873 00:49:56,960 --> 00:49:59,840 Speaker 1: of the guy who was getting amputated and and screamed, 874 00:50:00,040 --> 00:50:04,880 Speaker 1: screamed again, that's right, coming together it is. And so 875 00:50:05,080 --> 00:50:07,360 Speaker 1: this is when things start being like, oh, maybe it 876 00:50:07,480 --> 00:50:10,640 Speaker 1: will make sense the end. Uh oh, And and somebody 877 00:50:10,719 --> 00:50:12,759 Speaker 1: comes in to be like, hey, you can't take that hand, 878 00:50:12,840 --> 00:50:15,239 Speaker 1: and the nurse just slaps the person so hard it 879 00:50:15,320 --> 00:50:28,719 Speaker 1: kills them. Meanwhile, our our the closest thing this movie 880 00:50:28,800 --> 00:50:31,839 Speaker 1: has to a hero, Our our young blonde medical examinator, 881 00:50:32,840 --> 00:50:37,480 Speaker 1: examinator examiner guy. He's like, hey, what's going on with 882 00:50:37,600 --> 00:50:39,799 Speaker 1: this case? And the police tell him, well, the case 883 00:50:39,920 --> 00:50:42,719 Speaker 1: is closed. You know, Keith jumped into the acid and 884 00:50:42,840 --> 00:50:46,640 Speaker 1: that's that. But he's not satisfied. He's taken it too personal. 885 00:50:47,000 --> 00:50:49,920 Speaker 1: He wants to know what's going on with the hand um. 886 00:50:50,280 --> 00:50:54,640 Speaker 1: So ultimately he and Bradford, the undercover officer who got 887 00:50:54,680 --> 00:50:58,040 Speaker 1: her blood drank by Michael Gothard, they go to Vincent 888 00:50:58,120 --> 00:51:02,239 Speaker 1: Price's house together. That's they start. Basically, He's like, you 889 00:51:02,360 --> 00:51:04,360 Speaker 1: stay in the car. I'm going to go in and 890 00:51:04,600 --> 00:51:08,120 Speaker 1: find the hand. If something bad happens, just hank the 891 00:51:08,120 --> 00:51:10,279 Speaker 1: horn and I'll come back. Or if I don't come back, 892 00:51:10,400 --> 00:51:13,000 Speaker 1: call the police, and so he goes in. He looks around, 893 00:51:13,080 --> 00:51:16,600 Speaker 1: doesn't find anything. Here's the hawk comes back out, cars 894 00:51:16,640 --> 00:51:20,920 Speaker 1: gone books goes back in. Meanwhile, we get some resolution 895 00:51:21,160 --> 00:51:26,200 Speaker 1: on the political plot. So we see, uh, we see Conrads, 896 00:51:26,320 --> 00:51:30,320 Speaker 1: the creepy guy from the from the totalitarian state. He 897 00:51:30,640 --> 00:51:36,160 Speaker 1: somehow gets in touch with Christopher Lee and Christopher Lee. Uh. 898 00:51:37,520 --> 00:51:40,640 Speaker 1: Christopher Lee appears to be some kind of British agent. 899 00:51:41,000 --> 00:51:44,600 Speaker 1: The Conrads is from this other country. They clearly have 900 00:51:44,760 --> 00:51:48,200 Speaker 1: an existing relationship and they may be involved in some 901 00:51:48,400 --> 00:51:51,320 Speaker 1: kind of double dealing or conspiracy. We're not sure exactly what. 902 00:51:51,520 --> 00:51:55,759 Speaker 1: But they meet up in Conrads is like, okay, we've 903 00:51:55,800 --> 00:51:59,160 Speaker 1: captured one of your spies. So finally we're like, oh, okay, 904 00:51:59,239 --> 00:52:02,400 Speaker 1: the guy who's getting chased in the other country earlier, Uh, 905 00:52:02,520 --> 00:52:06,200 Speaker 1: he was like a pilot of a secret spy plane. 906 00:52:06,680 --> 00:52:08,600 Speaker 1: And he says, you know, it could be very embarrassing 907 00:52:08,800 --> 00:52:11,680 Speaker 1: for the British government if if this were to get out. 908 00:52:12,160 --> 00:52:14,800 Speaker 1: So here's what we'll do. We'll give him back to you, 909 00:52:15,080 --> 00:52:18,200 Speaker 1: or we'll just eliminate him, whatever you want, as long 910 00:52:18,280 --> 00:52:20,840 Speaker 1: as you give me all of the police files on 911 00:52:20,960 --> 00:52:24,600 Speaker 1: the so called vampire murders, and here finally this is 912 00:52:24,640 --> 00:52:28,800 Speaker 1: connecting to that plot line, and Christopher Lee's character is like, Okay, 913 00:52:29,000 --> 00:52:32,440 Speaker 1: that works, let's do it. Yeah. So Conrads uh, he 914 00:52:32,600 --> 00:52:34,640 Speaker 1: goes and he gets all the files that he needs. 915 00:52:34,719 --> 00:52:39,480 Speaker 1: He poses as a sociologist doing research on psychos and uh, 916 00:52:40,280 --> 00:52:42,800 Speaker 1: I say that because the movie repeatedly it like it 917 00:52:42,880 --> 00:52:46,440 Speaker 1: refers to psycho as a known police phenomenon. And it 918 00:52:46,520 --> 00:52:48,480 Speaker 1: seems like there's gonna be a clean break here because 919 00:52:48,520 --> 00:52:52,160 Speaker 1: we we we have we have our our our chief investigator. 920 00:52:52,280 --> 00:52:56,440 Speaker 1: Here um Bellivar pop in and he's like, oh, here 921 00:52:56,480 --> 00:52:58,799 Speaker 1: you go. Here's here's all the documents. You can look 922 00:52:58,800 --> 00:53:00,239 Speaker 1: at him in the next room. And he is to 923 00:53:00,320 --> 00:53:03,000 Speaker 1: leave and Conrads is like, oh no, I'm I'm taking 924 00:53:03,080 --> 00:53:05,040 Speaker 1: them with me, and he's like, Nope, you can't do that. 925 00:53:05,239 --> 00:53:08,879 Speaker 1: So he gets the claw the vulcan neck pinch once again, 926 00:53:09,160 --> 00:53:13,200 Speaker 1: and oh Bellaver is dead now. Yeah, but now there's 927 00:53:13,239 --> 00:53:16,239 Speaker 1: nothing standing in his way. So he takes all these 928 00:53:16,320 --> 00:53:18,880 Speaker 1: documents and I can't remember we see him destroy them, 929 00:53:18,920 --> 00:53:20,920 Speaker 1: but it's later revealed that, yeah, he just destroyed all 930 00:53:20,960 --> 00:53:24,000 Speaker 1: of it. So here we come to the finale. The 931 00:53:24,080 --> 00:53:28,440 Speaker 1: finale is the young medical examinator. Why do I keep 932 00:53:28,480 --> 00:53:33,200 Speaker 1: saying examinator, the young medical examiner? Uh? Surrel. He goes 933 00:53:33,400 --> 00:53:37,200 Speaker 1: back to Vincent Price's house and he's looking around, Um 934 00:53:38,040 --> 00:53:40,560 Speaker 1: does he what? What? What happens? Actually I can't remember 935 00:53:40,600 --> 00:53:42,200 Speaker 1: how he ends up. Does he get captured? Does he 936 00:53:42,320 --> 00:53:44,120 Speaker 1: just sneak in? He just sneaks in? I think he 937 00:53:44,200 --> 00:53:47,200 Speaker 1: just sneaks in, Yeah, and just kind of runs into them, right, 938 00:53:47,280 --> 00:53:51,719 Speaker 1: And Vincent Price's character, the strange doctor, is just kind 939 00:53:51,760 --> 00:53:55,279 Speaker 1: of like, hey, you seem curious. How would you like 940 00:53:55,360 --> 00:53:59,000 Speaker 1: a tour? And he's like, yes, please, yes. Well, actually, 941 00:53:59,080 --> 00:54:01,840 Speaker 1: I really liked the way this monologue was written for 942 00:54:01,960 --> 00:54:05,840 Speaker 1: Price because he actually explains why he's monologueing. He's like, 943 00:54:06,000 --> 00:54:08,040 Speaker 1: I have to do all this in secret. I'm very 944 00:54:08,120 --> 00:54:10,160 Speaker 1: proud of my work, but because it's I don't get 945 00:54:10,200 --> 00:54:11,840 Speaker 1: to talk to anybody, I never get a chance to 946 00:54:11,880 --> 00:54:14,960 Speaker 1: show off. So I'm just excited to tell you about it. 947 00:54:15,360 --> 00:54:17,440 Speaker 1: And this is also really a point in the movie 948 00:54:17,520 --> 00:54:20,200 Speaker 1: where I just felt like we had gone past midnight, 949 00:54:20,280 --> 00:54:22,120 Speaker 1: like there was there were no rules anymore, there was 950 00:54:22,160 --> 00:54:24,480 Speaker 1: no telling where this film was going to actually go, 951 00:54:25,040 --> 00:54:28,600 Speaker 1: which I found rather exciting. Yes, yes, totally. So here 952 00:54:28,680 --> 00:54:32,400 Speaker 1: we finally get the full plot explained with visual demonstrations, 953 00:54:32,560 --> 00:54:37,080 Speaker 1: and it is that Vincent Price and some other unnamed 954 00:54:37,160 --> 00:54:43,520 Speaker 1: co conspirators in other countries are employing secret new surgical 955 00:54:43,640 --> 00:54:48,440 Speaker 1: techniques to create new humans, composite humans built out of 956 00:54:48,520 --> 00:54:53,200 Speaker 1: the parts of these murder victims, and and that Michael 957 00:54:53,239 --> 00:54:57,520 Speaker 1: Gothard Keith, the murderer, was one of his composites, was 958 00:54:57,640 --> 00:55:01,040 Speaker 1: like the first, uh, composite human he built with like 959 00:55:01,280 --> 00:55:04,759 Speaker 1: brain with its own brain function. And the nurse and 960 00:55:04,960 --> 00:55:09,560 Speaker 1: like other servants in Vincent Price's house are also composite humans. Yeah, 961 00:55:09,640 --> 00:55:12,360 Speaker 1: so they're all composite humans with super strength are in 962 00:55:12,440 --> 00:55:15,960 Speaker 1: on this conspiracy. Um. Again, there are a lot of 963 00:55:16,040 --> 00:55:18,640 Speaker 1: questions you might ask about, like how this is supposed 964 00:55:18,680 --> 00:55:21,200 Speaker 1: to work and all, But it takes me back to 965 00:55:21,239 --> 00:55:23,479 Speaker 1: the scene where Conrads is talking to Christopher Lee's character 966 00:55:23,560 --> 00:55:25,520 Speaker 1: and he's like, look, I'm not going to explain to 967 00:55:25,560 --> 00:55:28,319 Speaker 1: you what's going on. You wouldn't believe me if I did, 968 00:55:28,440 --> 00:55:30,520 Speaker 1: and so we have to kind of trust him on that, Like, 969 00:55:30,640 --> 00:55:34,160 Speaker 1: whatever the particulars are, it's it's above us mere humans 970 00:55:34,280 --> 00:55:37,640 Speaker 1: to understand. Yes, though I think it's interesting in that 971 00:55:38,480 --> 00:55:44,240 Speaker 1: it's unlike normal mad scientist uh plot revealed, because normally 972 00:55:44,320 --> 00:55:49,120 Speaker 1: the mad scientist reveals himself to be working alone and says, 973 00:55:49,360 --> 00:55:52,040 Speaker 1: I am the only person who has discovered something and 974 00:55:52,200 --> 00:55:54,000 Speaker 1: I want to do that thing. And of course it's 975 00:55:54,040 --> 00:55:57,560 Speaker 1: something with horrifying implications. That's all the case here, except 976 00:55:57,800 --> 00:56:00,520 Speaker 1: Price reveals he is sort of in con intact with 977 00:56:00,719 --> 00:56:05,120 Speaker 1: other people doing this around the world. It's a conspiracy plot. 978 00:56:05,239 --> 00:56:08,840 Speaker 1: They're they're like, we're working together, though it seems like 979 00:56:08,920 --> 00:56:11,520 Speaker 1: they don't really know each other. They only have minimal 980 00:56:11,600 --> 00:56:15,560 Speaker 1: contact because later Conrads comes in and he is clearly 981 00:56:15,719 --> 00:56:18,560 Speaker 1: part of this conspiracy with Vincent Price, but they've never 982 00:56:18,640 --> 00:56:21,080 Speaker 1: met before. He doesn't recognize him when he sees him. Yes, 983 00:56:21,120 --> 00:56:24,440 Speaker 1: I identify himself. Yeah, and that yeah. I think that 984 00:56:24,560 --> 00:56:26,520 Speaker 1: something is rather interesting about it as well, because there's 985 00:56:26,560 --> 00:56:29,920 Speaker 1: no there doesn't seem to be any mastermind behind it all. 986 00:56:30,239 --> 00:56:34,520 Speaker 1: It's almost like a you know, a headless organization, uh, 987 00:56:35,000 --> 00:56:39,839 Speaker 1: totally noncentralized. And Conrads character shows up though, and he's like, hey, 988 00:56:40,640 --> 00:56:43,640 Speaker 1: the vampire killer thing has gotten way out of hand. Uh. 989 00:56:43,719 --> 00:56:46,520 Speaker 1: Not only did Keith need to be destroyed, not only 990 00:56:46,560 --> 00:56:49,360 Speaker 1: did did did the documents about Keith need to be destroyed? 991 00:56:49,680 --> 00:56:51,080 Speaker 1: But I actually he didn't need to go ahead and 992 00:56:51,120 --> 00:56:54,000 Speaker 1: shut down everything you've got going on here and including 993 00:56:54,040 --> 00:56:57,919 Speaker 1: your helpers, including you, including you, Vincent Price, You're gonna 994 00:56:57,960 --> 00:57:00,839 Speaker 1: go in the acid. So the rest of the movie 995 00:57:00,960 --> 00:57:05,040 Speaker 1: is various things going in the asset. Yeah, because Conrads 996 00:57:05,080 --> 00:57:08,279 Speaker 1: and Vincent Price's character they start fighting, and it's this 997 00:57:08,440 --> 00:57:11,520 Speaker 1: is actually I never expected to see a fight sequence 998 00:57:11,760 --> 00:57:14,840 Speaker 1: with with Vincent Price. Uh, that's so so good. Like 999 00:57:14,880 --> 00:57:17,800 Speaker 1: I was like rooting for him because ultimately Conrads is 1000 00:57:17,920 --> 00:57:21,520 Speaker 1: just absolutely villainous, whereas at least Vincent Price thinks he's 1001 00:57:21,560 --> 00:57:25,200 Speaker 1: the good guy. So I'm gonna I'm gonna side with him. 1002 00:57:25,480 --> 00:57:27,120 Speaker 1: And so it looks like he's going to succumb to 1003 00:57:27,160 --> 00:57:29,720 Speaker 1: the claw, and then he fights back and fights out 1004 00:57:29,760 --> 00:57:32,560 Speaker 1: of the claw, and you're like, yeah, go Vincent Price. Yeah, 1005 00:57:33,080 --> 00:57:36,520 Speaker 1: I think the characters are equally villainous, but Vincent Price 1006 00:57:36,760 --> 00:57:39,280 Speaker 1: is Vincent Price, so you know, yeah, so I was 1007 00:57:39,360 --> 00:57:42,840 Speaker 1: rooting for him too, so that yeah, it's it's evil 1008 00:57:42,880 --> 00:57:45,720 Speaker 1: spy versus evil spy and they're fighting and who wins. 1009 00:57:45,840 --> 00:57:48,680 Speaker 1: It's Vincent Price. He beats Conrads and he puts him 1010 00:57:48,680 --> 00:57:52,520 Speaker 1: in the acid. But then oh oh, another another party 1011 00:57:52,600 --> 00:57:55,560 Speaker 1: shows up and it is Christopher Lee. Yeah, and he 1012 00:57:55,680 --> 00:57:59,919 Speaker 1: strolls in very cool, very much in command, and there's 1013 00:58:00,080 --> 00:58:03,000 Speaker 1: this wonderful saying there. There are several different scenes in 1014 00:58:03,040 --> 00:58:05,920 Speaker 1: the picture that are creatively shot, but especially this one 1015 00:58:06,000 --> 00:58:11,120 Speaker 1: where um, he ultimately ends up sort of hypnotizing Vincent 1016 00:58:11,200 --> 00:58:13,800 Speaker 1: Price's character. We get this weird shot that kind of 1017 00:58:14,360 --> 00:58:19,000 Speaker 1: goes up and below Vincent Price's face with kind of 1018 00:58:19,040 --> 00:58:22,480 Speaker 1: a black background, and then he's in the acid. But 1019 00:58:23,080 --> 00:58:25,560 Speaker 1: now it's also clear that Christopher Lee is part of 1020 00:58:25,640 --> 00:58:28,640 Speaker 1: this conspiracy as well, and he must also be a composite. 1021 00:58:28,840 --> 00:58:31,280 Speaker 1: I don't think they ever say that, but he's got 1022 00:58:31,360 --> 00:58:33,960 Speaker 1: the super strength as well, so he's got to be 1023 00:58:34,080 --> 00:58:37,360 Speaker 1: part of it. Um. So it doesn't seem the conspiracy 1024 00:58:37,480 --> 00:58:39,720 Speaker 1: is defeated in the end. It just seems that these 1025 00:58:39,800 --> 00:58:45,080 Speaker 1: two guys Christopher Sorry Conrads and and Dr browning Vincent 1026 00:58:45,120 --> 00:58:48,760 Speaker 1: Price's character, well, they get destroyed, but the overall conspiracy 1027 00:58:48,800 --> 00:58:51,480 Speaker 1: seems to have been saved by one of its members, 1028 00:58:51,560 --> 00:58:55,480 Speaker 1: Christopher Lee. Yeah. And they have several lines that allude 1029 00:58:55,520 --> 00:58:58,320 Speaker 1: to the fact that the conspiracy again is is not centralized, 1030 00:58:58,760 --> 00:59:01,280 Speaker 1: and so there's room for sort of heresies within the 1031 00:59:01,360 --> 00:59:06,560 Speaker 1: conspiracy roads within the conspiracy. So what while Conrads seems 1032 00:59:06,600 --> 00:59:08,800 Speaker 1: to have the opinion that like, well, this is not 1033 00:59:08,960 --> 00:59:12,520 Speaker 1: working in a free democratic society, the conspiracy is much 1034 00:59:12,560 --> 00:59:15,160 Speaker 1: further along back where I come from and uh and 1035 00:59:15,280 --> 00:59:21,920 Speaker 1: tried in Sylvania or wherever um. And meanwhile, uh, Vincent 1036 00:59:22,040 --> 00:59:24,880 Speaker 1: Price's character has has been this sort of uh, you know, 1037 00:59:25,240 --> 00:59:28,200 Speaker 1: rosier glasses view of things about how you know, what 1038 00:59:28,320 --> 00:59:30,400 Speaker 1: we're gonna We need to cut out the bad parts, 1039 00:59:30,800 --> 00:59:32,360 Speaker 1: you know, and we need to make sure we're we're 1040 00:59:32,360 --> 00:59:36,160 Speaker 1: getting rid of the bad composite people. But ultimately we're 1041 00:59:36,160 --> 00:59:38,400 Speaker 1: in the right going in the right direction. But we 1042 00:59:38,480 --> 00:59:40,760 Speaker 1: need to, you know, stop the bad parts of the 1043 00:59:41,320 --> 00:59:44,400 Speaker 1: plot before it gets goes too far. Meanwhile, Christopher Lee's 1044 00:59:44,480 --> 00:59:48,560 Speaker 1: character like he like basically says, no, it's too late 1045 00:59:48,640 --> 00:59:51,480 Speaker 1: for all that, Like we're we're on the train to 1046 00:59:51,880 --> 00:59:56,240 Speaker 1: uh to uh to horror and in tyranny, and uh, 1047 00:59:56,360 --> 00:59:58,640 Speaker 1: there's no turning back. And I'm not only am I 1048 00:59:58,720 --> 01:00:00,280 Speaker 1: not going to stand in it's in it's way, I 1049 01:00:00,360 --> 01:00:03,120 Speaker 1: am going to ensure that it happens right. So he 1050 01:00:03,280 --> 01:00:05,560 Speaker 1: disposes of the rest and then he walks out and 1051 01:00:05,680 --> 01:00:09,120 Speaker 1: are are sort of human heroes, or at least implied 1052 01:00:09,240 --> 01:00:13,760 Speaker 1: human heroes. Dr Sorrel and uh an officer Bradford. They 1053 01:00:14,040 --> 01:00:17,040 Speaker 1: are alive and they have escaped because Bradford again was 1054 01:00:17,080 --> 01:00:20,040 Speaker 1: gonna be was going to be dismembered by Vincent Price. 1055 01:00:20,120 --> 01:00:23,240 Speaker 1: But then Sorrel intervened and and like he got her 1056 01:00:23,280 --> 01:00:25,240 Speaker 1: out of there, and they escaped, and they get into 1057 01:00:25,320 --> 01:00:28,840 Speaker 1: Christopher Lee's car with Christopher Lee's like, you know, I'll 1058 01:00:28,880 --> 01:00:32,200 Speaker 1: give you a ride. But um, the ending, I don't 1059 01:00:32,200 --> 01:00:35,240 Speaker 1: know what you made of this. The two humans were 1060 01:00:35,320 --> 01:00:38,840 Speaker 1: kind of smiling at Christopher Lee as if like they 1061 01:00:38,920 --> 01:00:40,760 Speaker 1: knew what was going on and they were in on 1062 01:00:40,920 --> 01:00:43,240 Speaker 1: it or something, But that wouldn't make any sense given 1063 01:00:43,280 --> 01:00:45,360 Speaker 1: the rest of the plot. I think they were just 1064 01:00:45,440 --> 01:00:47,920 Speaker 1: trusting in him, not realizing that he is at the 1065 01:00:47,960 --> 01:00:52,880 Speaker 1: heart of all the conspiracy as well. They're just yeah, 1066 01:00:53,160 --> 01:00:56,320 Speaker 1: they're just really happy the government's here. But but they 1067 01:00:56,360 --> 01:00:58,760 Speaker 1: do ended on a nice kind of ambiguous note that's 1068 01:00:58,800 --> 01:01:01,320 Speaker 1: not too doomy. It's not just like and then he 1069 01:01:01,440 --> 01:01:04,720 Speaker 1: cut up our our hero uh and and and the 1070 01:01:04,760 --> 01:01:08,040 Speaker 1: women he saved uh No it's it's it's more ambiguous 1071 01:01:08,080 --> 01:01:11,400 Speaker 1: than that, but it but some doom is definitely, definitely implied. 1072 01:01:11,760 --> 01:01:14,680 Speaker 1: It is a short term happy ending, but long term 1073 01:01:14,720 --> 01:01:17,520 Speaker 1: ominous ending. Yeah. Yeah, And once it really hits, once 1074 01:01:17,600 --> 01:01:21,040 Speaker 1: it sinks in, not only do you scream, but then 1075 01:01:21,120 --> 01:01:23,880 Speaker 1: you scream a second time, and then about six more times, 1076 01:01:24,000 --> 01:01:26,680 Speaker 1: and it's six more, just just to make sure, I 1077 01:01:26,720 --> 01:01:29,800 Speaker 1: mean again, this movie is tripled distilled. This movie is 1078 01:01:30,000 --> 01:01:32,920 Speaker 1: so strange and so unique, and I'm trying to think 1079 01:01:33,080 --> 01:01:37,240 Speaker 1: what exactly I mean. I guess it's mostly the structure 1080 01:01:37,440 --> 01:01:40,439 Speaker 1: and the fact that it's so baffling for so long 1081 01:01:40,760 --> 01:01:43,840 Speaker 1: is the main thing about it. Uh, that that really 1082 01:01:43,880 --> 01:01:46,960 Speaker 1: makes it so unusual and striking, And the fact that 1083 01:01:47,040 --> 01:01:49,880 Speaker 1: it can be baffling for so long and actually makes 1084 01:01:49,920 --> 01:01:53,200 Speaker 1: sense at the end. Yeah, And you ultimately end up 1085 01:01:53,200 --> 01:01:55,600 Speaker 1: in a place where the plot holes become features. They 1086 01:01:55,680 --> 01:01:59,280 Speaker 1: become spaces for mystery that work well in a picture 1087 01:01:59,360 --> 01:02:02,360 Speaker 1: like this. And that chase scene is gonna stick with 1088 01:02:02,480 --> 01:02:04,440 Speaker 1: me for years. I'm going to be thinking back to 1089 01:02:04,520 --> 01:02:08,280 Speaker 1: Michael Gothard in that purple shirt, climbing the mountain and 1090 01:02:08,360 --> 01:02:12,240 Speaker 1: then ripping his arm off. It's so good, So yeah, 1091 01:02:12,280 --> 01:02:15,640 Speaker 1: This is a really fun picture that invites interpretations. So 1092 01:02:15,960 --> 01:02:17,720 Speaker 1: we'd love to hear from anyone out there who has 1093 01:02:17,720 --> 01:02:20,120 Speaker 1: seen it, uh, either you know, back in the old 1094 01:02:20,200 --> 01:02:23,160 Speaker 1: days or has seen it recently. We'd love to hear 1095 01:02:23,280 --> 01:02:26,160 Speaker 1: your thoughts on how things shake out in the movie. 1096 01:02:26,200 --> 01:02:28,160 Speaker 1: Maybe maybe you're familiar with the book and can schime 1097 01:02:28,280 --> 01:02:30,760 Speaker 1: in on that as well. I'm sure it's great literature. 1098 01:02:31,080 --> 01:02:35,600 Speaker 1: Oh yeah, yeah, the Saxon brand. All right, Well, Weird 1099 01:02:35,640 --> 01:02:38,160 Speaker 1: How Cinema publishes every Friday in the Stuff to Blow 1100 01:02:38,200 --> 01:02:40,080 Speaker 1: your Mind podcast feed. That's our time to set aside 1101 01:02:40,120 --> 01:02:43,560 Speaker 1: most serious concerns, most scientific topics and so forth and 1102 01:02:43,720 --> 01:02:46,200 Speaker 1: just talk about a weird film. And yeah, this was 1103 01:02:46,240 --> 01:02:48,439 Speaker 1: a weird one. This was a fun one. We hope 1104 01:02:48,480 --> 01:02:51,520 Speaker 1: you enjoyed it as well. Uh, if you want to 1105 01:02:51,560 --> 01:02:54,160 Speaker 1: find blog posts about these episodes, I put up some 1106 01:02:54,600 --> 01:02:57,360 Speaker 1: casual blogs over at some mood to music dot com, 1107 01:02:57,840 --> 01:03:01,680 Speaker 1: and we have a letterboxed account for Weird House Cinema. 1108 01:03:01,760 --> 01:03:03,439 Speaker 1: You can look that up. I think what our user 1109 01:03:03,520 --> 01:03:05,520 Speaker 1: name there is weird House, and I try and keep 1110 01:03:05,560 --> 01:03:08,160 Speaker 1: that updated with what we've covered and sometimes what we're 1111 01:03:08,160 --> 01:03:10,960 Speaker 1: about to cover. Huge thanks, as always to our excellent 1112 01:03:11,000 --> 01:03:14,200 Speaker 1: audio producer Seth Nicholas Johnson. If you would like to 1113 01:03:14,280 --> 01:03:16,680 Speaker 1: get in touch with us with feedback on this episode 1114 01:03:16,800 --> 01:03:18,840 Speaker 1: or any other, to suggest a topic for the future, 1115 01:03:18,920 --> 01:03:21,000 Speaker 1: or just to say hello, you can email us at 1116 01:03:21,160 --> 01:03:31,440 Speaker 1: contact at stuff to Blow your Mind dot com. Stuff 1117 01:03:31,440 --> 01:03:33,640 Speaker 1: to Blow Your Mind is production of I Heart Radio. 1118 01:03:34,040 --> 01:03:36,120 Speaker 1: For more podcasts for My heart Radio, visit the i 1119 01:03:36,200 --> 01:03:38,960 Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to 1120 01:03:39,040 --> 01:03:39,800 Speaker 1: your favorite shows.