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

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

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

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Speaker 3: Cinema we're going to be talking about This Night I'll

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Speaker 3: Possess Your Corpse, a movie that the title might lead

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Speaker 3: you to believe is a Shallo film, but no, this

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Speaker 3: is not a not an Italian film. This is a

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Speaker 3: Brazilian horror movie from nineteen sixty seven, and one that

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Speaker 3: has been tenaciously requested by listeners, at least one listener

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Speaker 3: in particular.

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Speaker 2: Yeah, this one should make Susan happy, but we as

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Speaker 2: some other listeners reach out as well. So today mark's

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Speaker 2: our first entry into the world of Brazilian cinema. Is

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Speaker 2: also going to be another one of these situations where

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Speaker 2: we skip the first film in a series and go

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Speaker 2: straight to the sequel, you know, because you know, sometimes

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Speaker 2: a sequel is a Solos cash grab, but other times

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Speaker 2: it gives filmmakers the chance to run with the concepts

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Speaker 2: from the first film in a different and grander direction.

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Speaker 2: And I think that's what you see in This Night

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Speaker 2: I'll Possess Your Corpse, which you can also think of

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Speaker 2: I guess it is coffin Joe.

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Speaker 3: Too, The Revenge. Now, I haven't seen the first coffin

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Speaker 3: Joe movie, but I think the beginning of this movie

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Speaker 3: sort of sets up. It's like, Hey, what happened at

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Speaker 3: the previous At the end of the previous film was

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Speaker 3: this our wicked protagonist got his face chopped to pieces

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Speaker 3: by ghosts. But it turns out he was not dead.

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Speaker 3: You may have been led to believe he died in

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Speaker 3: the last movie, do Over, Do Over. He's not dead.

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Speaker 3: He's fine.

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Speaker 2: Yes, the comeupp has been canceled at the beginning of

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Speaker 2: this film, and we kind of get a do over

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Speaker 2: on the whole thing. So yeah, this is a sixty

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Speaker 2: seven film, a sequel to nineteen sixty threes at Midnight.

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Speaker 2: I'll take your soul. I've seen it. Alleged this was

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Speaker 2: the first Brazilian produced horror film and the movie that

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Speaker 2: introduced the world to the murderous, preachy weirdo z Ducai Show,

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Speaker 2: better known among English speaking filmgoers as coffin Joe.

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Speaker 3: Now, as I said, I was totally unfamiliar with Coffin Joe.

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Speaker 3: This is my first coffin Joe movie. We're doing it

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Speaker 3: because of persistent listener requests. But apparently this is not

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Speaker 3: an obscurer character. Coffin Joe is like an icon of

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Speaker 3: Brazilian horror cinema. He's like a well recognized character that

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Speaker 3: I have seen, compared to characters like Freddy Krueger.

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Speaker 2: Yeah, yeah, he's a big deal I'm to understand in

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Speaker 2: Brazilian horror cinema, and also achieved kind of a status

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Speaker 2: as a Brazilian pop culture figure for a long time

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Speaker 2: as well. Now we'll get into his characteristics more in

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Speaker 2: a bit, but just the key visual attributes of Coffin Joe.

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Speaker 2: This might ring a bell with people out there. Maybe

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Speaker 2: you haven't seen these movies, but you've seen poster artors stills.

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Speaker 2: But you have a top hat cape. You have long

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Speaker 2: twisty fingernails, now not like you know Freddy Krueger nails,

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Speaker 2: but like Guinness Book of World Record nails, Blackbeard and

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Speaker 2: a monobrow.

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Speaker 3: I suppose this is coincidence. But apart from the monobrow,

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Speaker 3: I found a picture of the young James Randy where

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Speaker 3: he looks almost exactly like Coffin Joe.

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Speaker 2: Now, to be clear, the fingernails are not present in this.

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Speaker 3: Photograph, that's true, and the fingernails are a key part

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Speaker 3: of his look. In fact, in many of his I

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Speaker 3: think there are moments in the film that are trying

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Speaker 3: to frame him for a kind of iconic close up

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Speaker 3: that his face is right in the middle of the picture,

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Speaker 3: but you can see he's just like working his fingers

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Speaker 3: in on the side of the frame just so you

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Speaker 3: can see that he does still have the long nails.

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Speaker 2: Yes, So who is Coffin Joe. Well, we're going to

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Speaker 2: spend a lot of time talking about this, because he

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Speaker 2: certainly spends a lot of time talking about this in

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Speaker 2: the picture. But you could say, what he's a rebellious

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Speaker 2: atheist and sadistic narcissist presented as a gleefully horrific dericature.

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Speaker 2: That's part TV horror host, part old timey villain. But

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Speaker 2: there are also some shades of some of some latter

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Speaker 2: day horror villains in there as well. Like you could

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Speaker 2: compare him to what would come much later and say

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Speaker 2: the Saw franchise or in the Hannibal Lecter movies.

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Speaker 3: I would say Coffin Joe is a combination of Ivan Karmazov,

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Speaker 3: Dracula Hannibal Lecter and the Joker, but also with a

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Speaker 3: little bit of like Facebook Atheist from the year two

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Speaker 3: thousand and nine, except with less liberal politics and more

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Speaker 3: kind of like a real fondness for superiority. So you

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Speaker 3: got to get an inn Ran d Angle in there too,

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Speaker 3: I think, yeah, yeah.

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Speaker 4: I think that's a good comparison.

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Speaker 2: But of course a lot of these are sort of

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Speaker 2: outside in these are like international influences on a Brazilian character,

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Speaker 2: but apparently also there's some like uniquely Brazilian elements to

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Speaker 2: the character as well. I was reading a chapter in

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Speaker 2: the book Star and Stardom in Brazilian Cinema. This particular

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Speaker 2: chapter dealing with Coffin Joe was by Laura Lo Garcio Canepa,

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Speaker 2: and this author points out that the character also incorporates

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Speaker 2: aspects of Brazilian folklore into the role, and we'll touch

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Speaker 2: on a specific example of that in a minute. So

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Speaker 2: you end up with something that yes, is drawing from

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Speaker 2: films that are coming from international markets into Brazil, but

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Speaker 2: also there is something distinctly Brazilian about the character, and

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Speaker 2: I think that that's something that added to its popularity.

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Speaker 3: Hmm.

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Speaker 2: Okay, So Kanepa points out that, in addition to strong

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Speaker 2: vibes of Dracula, Satyrs, and the Great God Pan, that

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Speaker 2: also becomes obvious because he does have kind of a

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Speaker 2: goatish look to him, to him, to his to himself.

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Speaker 2: You know, he is kind of a malicious trickster.

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Speaker 3: Yes. In fact, there is one scene that seems intentionally

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Speaker 3: to highlight his sort of goat like appearing, and the

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Speaker 3: actor who created and plays this character does naturally have

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Speaker 3: a little bit of a little bit of a goaty face,

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Speaker 3: but they really play into it in a scene where

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Speaker 3: he has later given visions of Hell and sees himself

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Speaker 3: as the devil, and the devil version of him is

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Speaker 3: way goadier than he is normally.

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Speaker 2: Yeah, and this is where Kneppa points out something that

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Speaker 2: it seems key that the character also channels a recurrent

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Speaker 2: Hafro Brazilian religious figure known as ex Su, a kind

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Speaker 2: of narcissistic, hedonistic Bacchus type figure.

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Speaker 3: Okay, well, I can see that element, but that might

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Speaker 3: lead you to believe that Coffin Joe is more about

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Speaker 3: fun than he is, that he's like, you know, just

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Speaker 3: into the pleasures of the flesh and pure you know, hedonistic,

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Speaker 3: amoral desires and all that. That's not really Coffin Joe's vibe.

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Speaker 3: In fact, Coffin Joe is in some cases extremely tedious

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Speaker 3: and preaching. He is almost the mirror opposite of like

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Speaker 3: the preacher whose sermon goes on way too long in

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Speaker 3: the church, except he's outside the church talking about how

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Speaker 3: everybody inside is stupid.

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Speaker 2: Yeah, he clearly sees himself not only as an intellectual,

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Speaker 2: but the intellectual, certainly at least in this town that

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Speaker 2: we see all the action take place in. Okay, But

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Speaker 2: before we go any further here, previously on a Coffin Joe.

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Speaker 2: In the first film, Local Undertaker. Coffin Joe spends his

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Speaker 2: time lambasting people for how stupid they are for existing

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Speaker 2: and believing in God and stuff. So he maims and

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Speaker 2: kills people. He expounds a kind of Eugenics flavored philosophy

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Speaker 2: in which he can achieve immortality by having a perfect son,

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Speaker 2: and therefore well he needs the perfect woman. He runs

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Speaker 2: a foul of the local villager, supernatural powers end up

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Speaker 2: getting involved, and he winds up dead and possibly blind.

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Speaker 2: It's a black and white film, and as Michael Weldon

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Speaker 2: pointed out in the Psychotronic Video guide to film. Outside

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Speaker 2: of seeing like an automobile in the background, at some point,

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Speaker 2: the whole picture could have been set in a prior century,

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Speaker 2: and you still get a strong sense of that in

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Speaker 2: this film as well.

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Speaker 3: That's a good point. Yeah, there are a couple of things,

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Speaker 3: like you see motorized vehicles, but for the most part

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Speaker 3: the movie could be set entirely in like the nineteenth century.

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Speaker 4: Yeah.

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Speaker 2: So this movie picks up right where the last one

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Speaker 2: left off and even includes scenes from that finale and

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Speaker 2: throws you right back into Coffin Joe's quest to find

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Speaker 2: the perfect woman so he can have a perfect son

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Speaker 2: and live forever through that sun or something. The great

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Speaker 2: thing about it is, if you have any questions, don't worry.

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Speaker 2: Z is going to tell you all about it during

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Speaker 2: the movie's one hundred and nine minute runtime.

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Speaker 3: Now, what I'm about to say might sound counterintuitive, but

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Speaker 3: one of my favorite things about this movie was how

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Speaker 3: tedious it was. That Like, there are parts where I

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Speaker 3: was unable to contain laughter at his just sermonizing going

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Speaker 3: on and on. Another way I'll put it is that

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Speaker 3: this night I'll possess your corpse displays a filmmaking sensibility

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Speaker 3: of thoroughness and abundance. So first of all, it's like,

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Speaker 3: why express an idea once when you could say the

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Speaker 3: same thing about twelve different ways and all in a row.

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Speaker 3: And then the other thing is why show something just

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Speaker 3: once when you could show it twenty seven times?

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Speaker 2: Yeah? I mean, they clearly shot a lot of footage

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Speaker 2: of Tarantula's crawling around on ladies and laningerie, so why

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Speaker 2: not just use absolutely all of the footage?

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Speaker 3: You know, Coffin Joe clearly sees himself as a Nietzchean superman.

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Speaker 3: And there are lots of different ways of interpreting the

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Speaker 3: idea of the Nietzschean superman. One is that it is

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Speaker 3: the ultimate personal embodiment of affirmation and excess. You know,

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Speaker 3: it's just like the never ending everything and yes always,

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Speaker 3: And that's kind of what the filmmaking sensibility is here.

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Speaker 2: Yeah, that's a good point, all right, Later pitch for

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Speaker 2: the movie as simple. Coffin Joe is back and he's

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Speaker 2: ready to become a dad, nay world's best dad.

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Speaker 3: Now I haven't watched the trailer here, I'm to understand

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Speaker 3: that there's not much good audio content. It's just like

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Speaker 3: really excessive screaming.

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Speaker 2: Yeah, so we're only going to play just a very

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Speaker 2: brief clip of it because it is mostly screaming. And

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Speaker 2: i'd also i'd also suggest not watching the trailer if

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Speaker 2: you think you're gonna watch the film, just because this

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Speaker 2: film does have some surprises in it, and I feel

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Speaker 2: like you're better off going into it a little cold,

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Speaker 2: all right. That again, I'm sure that gives you no

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Speaker 2: real indication of what's in store except that there will

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Speaker 2: be things to be screamed about. Now, if you want

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Speaker 2: to watch this film, Unfortunately, at the moment, I don't

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Speaker 2: think it's currently streaming anywhere so far as I can tell.

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Speaker 2: We rented it from Atlanta's own videodrome Phantoma, and more recently,

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Speaker 2: Synapse Films has put the first three Coffin Joe films

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Speaker 2: out on DVD. I think the third one, which occurs

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Speaker 2: much later, is also available on Blu Ray, and you

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Speaker 2: can get them all, or at least you could get

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Speaker 2: them all in a DVD set that was shaped like

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Speaker 2: a coffin, but this seems to be your only way

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Speaker 2: to watch them. This is the sort of film though,

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Speaker 2: you can definitely watch it on DVD. I don't think

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Speaker 2: you're missing out on much in terms of quality here.

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Speaker 2: Oh but wait, I have a post production note to

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Speaker 2: add here. We recorded this episode earlier in the week,

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Speaker 2: but today this morning, the morning of our publication date Friday,

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Speaker 2: August twenty fifth Airro Video has announced that they're putting

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Speaker 2: out a gigantic box set Inside the Mind of Coffin Joe.

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Speaker 2: This is like a limited edition Blu ray box set,

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Speaker 2: and it is going to contain let's see, at midnight,

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Speaker 2: I'll take your soul this night, I'll possess your corpse.

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Speaker 2: The movie we're talking about here today, the Awakening of

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Speaker 2: the Beast, the end of Man, the strange world of

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Speaker 2: Coffin Joe when the Gods fall asleep, the strange hostel

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Speaker 2: of naked pleasures, hellish flesh and hallucinations of a deranged mind.

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Speaker 2: So oh wait, and embodiment of evil. Six discs, all

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Speaker 2: the Coffin Joe, all the z you could possibly ask for.

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Speaker 2: So go look that up. I think you can. A

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Speaker 2: little availability will be different for pre orders depending on

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Speaker 2: where you're listening.

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Speaker 3: To the show. Now, Rob, I think you went much

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Speaker 3: deeper into the context here than I did. But from

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Speaker 3: what I understand, there are like there are three main

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Speaker 3: chronology Coffin Joe films, and this is the second one

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Speaker 3: of those. But also Coffin Joe just appears as a

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Speaker 3: free floating recurring character in lots of other movies, Am

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Speaker 3: I right?

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Speaker 2: Yes, mostly films by the same director, writer and actor here,

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Speaker 2: and that's Jose Mojica Marens, who again here plays Coffin Joe,

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Speaker 2: plays this character that is known in the original Portuguese

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Speaker 2: Ze Ducai show. But he also was the director, the writer,

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Speaker 2: and the producer. Who lived nineteen thirty six through twenty twenty.

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Speaker 2: He was the son of a cinema manager on the

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Speaker 2: outskirts of Salpaalu, and he grew up with a passion

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Speaker 2: for film and began making his own short films at

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Speaker 2: a young age with a nine point five millimeter camera

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Speaker 2: that his parents had given him. You know, we see

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Speaker 2: this similar story with a lot of film fans turned filmmakers.

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Speaker 2: He created his own film studio at age eighteen, and

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Speaker 2: his first film was a violent western called Adventurer's Fate,

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Speaker 2: which did pretty well apparently in the big city, but

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Speaker 2: it really it garnered some criticism because it was pretty violent,

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Speaker 2: But then it did quite well as a traveling special

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Speaker 2: screening in the outlying districts, with its female star Tonya

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Speaker 2: Elektra performing a strip tease as part of the show

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Speaker 2: and Maren serving as master of ceremonies.

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Speaker 3: Oh, I can totally see him as a master of ceremonies,

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Speaker 3: with the top had on the microphone being like, then

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Speaker 3: our next act will be yes.

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Speaker 4: Yes.

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Speaker 2: They followed this up with a melodrama in I Believe

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Speaker 2: sixty three, and it didn't perform well. So inspired by

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Speaker 2: a nightmare, the story goes, he scraped together what money

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Speaker 2: he could manage to make the film that would become

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Speaker 2: nineteen sixty four's at Midnight, I'll Take Your Soul. I

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Speaker 2: might have said earlier that it was sixty three, but

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Speaker 2: sixty four is generally the accepted date for this film,

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Speaker 2: so they had a shoestring budget. But it was a

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Speaker 2: huge hit and ignited a horror boom in Brazil, and

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Speaker 2: it had elements of horror exploitation, but also a popular

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Speaker 2: genre of Brazilian religious melodrama of the day, which I

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Speaker 2: think is important to keep in mind in understanding some

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Speaker 2: twists and turns in the plot and all of this

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Speaker 2: also laid the groundwork to cement Coffin Joe as a

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Speaker 2: Brazilian media icon, so he soon began to appear in

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Speaker 2: the media on TV, etc. In character as Coffin Joe.

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Speaker 3: So I don't know, but I would guess based on

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Speaker 3: other genres I am familiar with that the Brazilian religious

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Speaker 3: melodrama would have some kind of common redemption arc, Like

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Speaker 3: you'd have a sinful character who does a bunch of

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Speaker 3: bad stuff and then at the end of the story

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Speaker 3: they come round and repent and accept Christ.

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Speaker 2: Yeah. Yeah, that's my understanding, and I think it it

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Speaker 2: basically matches up with all sorts of things you see,

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Speaker 2: all sorts of artistic presentations and creations created beneath the

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Speaker 2: Catholic Church throughout Western history, you know, where it's like

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Speaker 2: I'm a painter, I really want to paint all these

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Speaker 2: naked bodies. Well, make it be a Bible story and

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Speaker 2: you can get away with it, you.

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Speaker 4: Know, that sort of thing.

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Speaker 2: As long as it's ultimately serving the message, then will

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Speaker 2: allow it.

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Speaker 3: And this takes that a lot farther. Because I don't

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Speaker 3: know if all of these melodramas are like this. I

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Speaker 3: assume not, but at least in the case of Coffin Joe,

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Speaker 3: it does have that arc, but you can tell it

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Speaker 3: is really relishing showing all of the sin and bad

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Speaker 3: stuff along the way. So I think in a way

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Speaker 3: that that is a format that is common to what's

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Speaker 3: known as exploitation cinema. More broadly, the idea that you

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Speaker 3: would take a film that's like, oh, it's about an

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Speaker 3: important issue, like it is about the dangers of marijuana.

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Speaker 3: But because it's about that, you can show these dangerous

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Speaker 3: marijuana parties where people are taking their clothes off and

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Speaker 3: engaging in sinful behavior, and so like that's the appeal

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Speaker 3: to the audience. So they want to go see the

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Speaker 3: racy content, but you can always say, like, no, no, no,

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Speaker 3: I had to show that because it's a message film

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Speaker 3: about the dangers of this drug.

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Speaker 2: Yeah, exactly. So Maren's follows this up with the Western,

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Speaker 2: but then he returns to the world of Coffin Joe

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Speaker 2: with this film that we're dogging by here today this night,

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Speaker 2: I'll Possess Your Corpse, a more ambitious swing at the

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Speaker 2: same concepts. Joe wants a perfect son, and he'll do

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Speaker 2: all sorts of evil to carry this out. And mocks

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Speaker 2: the people of the town for their supernatural beliefs, while

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Speaker 2: eventually encountering the supernatural himself. And on this point Kneppa

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Speaker 2: has the following to say in that chapter quote. It

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Speaker 2: is worth stressing here that in Brazil, in which the

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Speaker 2: supernatural has been habitually seen by large parts of the

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Speaker 2: population not as a deviant element, but rather is one

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Speaker 2: of the fundamental elements of existence, it would be difficult

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Speaker 2: to create a story of great impact in which the

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Speaker 2: supernatural simply represented evil. Achievement of Mochico's creation, therefore, was

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Speaker 2: the invention of a character who does not believe in

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Speaker 2: the supernatural and who, as a result of this, can

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Speaker 2: be terrified by its intervention.

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Speaker 3: Ah okay, so he in a context where there is

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Speaker 3: widespread belief in magic, you introduce this like weird, dangerous element,

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Speaker 3: which is a guy who is aggressively an atheist materialist,

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Speaker 3: who's constantly talking about how there is no God, and

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Speaker 3: then he can, after introducing all of that kind of

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Speaker 3: weirdness and unpleasantness, can be terrified by images of hell

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Speaker 3: that might be more commonplace to anybody else in this town. Yeah.

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Speaker 2: And I think also another aspect of it too, is

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Speaker 2: something you see in wider horror in general, to have

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Speaker 2: like that competent non believer. Yeah, eventually encountered the supernatural.

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Speaker 2: Like Coffin Joke. Say what you will about him, he's

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Speaker 2: very competent. He can hold up his end of a

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Speaker 2: fight and so forth. So it's like when the supernatural

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Speaker 2: starts kicking in and we see Coffin Joe frightened, it

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Speaker 2: does have impact.

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Speaker 3: It's the arc of all three of the original Indiana

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Speaker 3: Jones movies at the beginning, and he doesn't believe in

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Speaker 3: any of that superstitious nonsense. And then at the end

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Speaker 3: of the movie he always has to do a demonstration

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Speaker 3: of faith in order to defeat the evil at the end.

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Speaker 2: Yeah, so you see some similar elements there. So after

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Speaker 2: this film, Coffin Joe would go on to appear in

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Speaker 2: multiple other films, though not a true sequel until two

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Speaker 2: thousand and eight Embodiment of Evil. He appeared as a

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Speaker 2: presenter in the anthology film The Strange World of Coffin

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Speaker 2: Joe from sixty eight. A handful of other Maren's films

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Speaker 2: involve the character in unique metafictional ways. These include nineteen

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Speaker 2: seventies Awakening of the beast. This is an LSD film

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Speaker 2: where I haven't seen it, but I believe that the

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Speaker 2: idea is, like, there's an experiment, the test subjects are

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Speaker 2: given LSD and then they watch Coffin Joe films, you know,

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Speaker 2: something like that. There's The Bloody Exorcism of Coffin Joe,

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Speaker 2: in which Maren's plays himself, and then there's another film,

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Speaker 2: The Strange Hostel of Naked Pleasures, which features an implied

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Speaker 2: Coffin Joe in the lead role. But I don't think

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Speaker 2: it's like officially coffin Joe.

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Speaker 3: Mm okay.

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Speaker 2: So Coffin Joe remained a staple horror host on Brazilian

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Speaker 2: TV at least into the nineties. The eighties and nineties

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Speaker 2: I think were hard on him in Brazilian film in general,

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Speaker 2: and he had to take on a lot of less

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Speaker 2: glamorous work to get by. But he experienced more of

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Speaker 2: a resurgence in the two thousands, including getting to return

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Speaker 2: to the character of Coffin Joe on his own terms

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Speaker 2: in two thousand and eights Embodiment of Evil.

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Speaker 3: I mean, it's a weird character to end up having

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Speaker 3: this more broad cultural footprint, kind of in the way

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Speaker 3: that a character like Freddy Krueger. Would you know that

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Speaker 3: Freddy Krueger wasn't He started off as this like gross,

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Speaker 3: sadistic killer in this first movie, But then the movies

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Speaker 3: got sequels and became so popular that he's doing commercials

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Speaker 3: for breakfast Cereal.

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Speaker 2: Right right, and eventually like nowadays, like children may dress

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Speaker 2: as Freddy Grill. Even back in the day, kids were

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Speaker 2: dressing up as Freddy Krueger for Halloween. Now you have

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Speaker 2: like sexy Freddy Krueger outfits. I wonder if you have

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Speaker 2: sexy Coffin Joe outfits. Maybe I got it one done.

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Speaker 3: But even so, like given that broader cultural footprint and

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Speaker 3: the fact that Freddy Krueger is now just a totally defanged,

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Speaker 3: like funny figure. Oh, he's just you recognize what he

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Speaker 3: looks like. You know, you remember him from commercials on

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Speaker 3: TV when you were a kid. If you go back

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Speaker 3: and watch the first movie, it's like, oh my god,

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Speaker 3: it's like shocking, how how like gross and evil and

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Speaker 3: nasty he is.

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Speaker 2: Yeah, yeah, I think you have to go back to

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Speaker 2: that original one, to the original Nightmare on Elm Street

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Speaker 2: to get that sense of it. Also, the remake, I

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Speaker 2: think takes a good swing at trying to recapture that.

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Speaker 3: And so anyway, I wonder if there's the same thing

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Speaker 3: there's a similar thing with coffin Joe, because I mean,

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Speaker 3: he is really like gross and evil in these films,

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Speaker 3: or at least in the one we just watched.

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Speaker 4: Yeah.

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Speaker 3: Another thing that I think is interesting is so he's

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Speaker 3: presented as a character who sees himself as the Nietzschean superman,

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Speaker 3: Like he transcends petty morality, he transcends the illusions of

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Speaker 3: other worldly rewards and punishments in order to forge an

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Speaker 3: affirmative humanity on the strength of his unstoppable will you know,

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Speaker 3: He's just like I am the new Thing, I Am

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Speaker 3: the new Man. But I think he kind of fails

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Speaker 3: at the Nietzschean ideal because ultimately he is a really

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Speaker 3: resentful whiner. He is complaining all the time about stuff

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Speaker 3: he doesn't like, religion, superstition, weakness, morality, dramas. He doesn't

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Speaker 3: like dramas, and it creates drama everywhere he goes. He

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Speaker 3: walks into a room, it's like instant drama. But he

405
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Speaker 3: hates dramas. He is the pope of dramas. But also

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Speaker 3: when other people are having dramas. He hates dramas, but

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Speaker 3: it really gets him down. And I think if he

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Speaker 3: were truly the uberminch that he imagines himself to be,

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Speaker 3: he would not be complaining so much. He would just

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Speaker 3: achieve the immortality of blood, kill God already, get it done,

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Speaker 3: and reshape the world in the image of his genius.

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Speaker 3: He does not do it.

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Speaker 2: And the plan really stays in like phase one for

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Speaker 2: I think most of both of the first films. I

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Speaker 2: presume it probably stays in phase one in the third

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Speaker 2: film as well.

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Speaker 3: Well. Also, Yeah, so his plan is what he calls

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Speaker 3: the immortality of blood, so he has a specialized name

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Speaker 3: for it that I guess sounds kind of cool. But

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Speaker 3: ultimately his goal is not that outside the box a revolutionary.

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Speaker 3: What he wants is to have a son with the

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Speaker 3: perfect woman. How outside the box is that? That seems

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Speaker 3: like something other characters have tried before, except that he

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Speaker 3: is more of a nasty, violent, immoral creep in trying

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Speaker 3: to achieve this goal.

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Speaker 2: Yeah, a lot of what, especially in the latter portions

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Speaker 2: of the film, there's a lot of stuff that feels

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Speaker 2: like just a hard twist on what a lot of

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Speaker 2: fathers feel like at one point he's like, I cannot

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Speaker 2: die because my son will need me, and is like, well, yeah,

431
00:24:01,280 --> 00:24:03,600
Speaker 2: I mean I think a lot of people feel that

432
00:24:03,640 --> 00:24:06,280
Speaker 2: way about their responsibilities in life, just without all the

433
00:24:06,359 --> 00:24:07,920
Speaker 2: implied mustache twirling.

434
00:24:08,119 --> 00:24:10,560
Speaker 3: Though. Well, we can explore this dynamic later, but I

435
00:24:10,560 --> 00:24:14,119
Speaker 3: think when he feels that, that's supposed to reveal his hypocrisy,

436
00:24:14,280 --> 00:24:18,000
Speaker 3: because you know, that's that's love, which we know from

437
00:24:18,080 --> 00:24:20,880
Speaker 3: earlier scenes he believes to be a form of weakness.

438
00:24:21,080 --> 00:24:22,960
Speaker 2: You know. It also strikes me that Ze is kind

439
00:24:23,000 --> 00:24:26,359
Speaker 2: of the anti necromonger here. You know, while while both

440
00:24:26,520 --> 00:24:30,040
Speaker 2: Coffin Joe and the Necromongers dig skulls and stuff, the

441
00:24:30,040 --> 00:24:33,879
Speaker 2: necromongers are deep into sci fi occultism and they consider

442
00:24:33,920 --> 00:24:38,560
Speaker 2: procreation the absolute worst, while Coffin Joe despises belief in

443
00:24:38,560 --> 00:24:46,720
Speaker 2: the occult and believes that babies are literally all that matters.

444
00:24:50,720 --> 00:24:54,080
Speaker 3: I actually ended up making a list of Coffin Joe's

445
00:24:54,240 --> 00:24:56,639
Speaker 3: likes and dislikes that we discover throughout the movie.

446
00:24:57,080 --> 00:24:59,080
Speaker 2: Do you want to do that here? Oh yeah, let's

447
00:24:59,160 --> 00:25:02,160
Speaker 2: let's have it. Let's the full dating profile for Coffin

448
00:25:02,240 --> 00:25:04,720
Speaker 2: Joe for any ladies out there, that are interested.

449
00:25:04,960 --> 00:25:08,200
Speaker 3: Okay, what coffin Joe does like a superior people, though

450
00:25:08,200 --> 00:25:16,840
Speaker 3: that's primarily just himself. Superior people, strength, courage, liberation, sex, atheism,

451
00:25:17,320 --> 00:25:24,320
Speaker 3: the innocence of children, procreation, venomous animals, owning, people with logic, grapes,

452
00:25:24,880 --> 00:25:28,480
Speaker 3: quote science. I think his understanding of what that means

453
00:25:28,560 --> 00:25:32,240
Speaker 3: is a little off the mark. And he really likes instinct.

454
00:25:32,640 --> 00:25:37,080
Speaker 3: He talks repeatedly about how instinct is pure compared to

455
00:25:37,680 --> 00:25:42,440
Speaker 3: I think religion. Okay, so that's his likes. His dislikes

456
00:25:42,480 --> 00:25:47,800
Speaker 3: are superstition, god, religion. He's really not into war, hatred,

457
00:25:47,840 --> 00:25:52,280
Speaker 3: and the triumph of lies. He doesn't like the idiots, Catholicism,

458
00:25:52,600 --> 00:25:56,000
Speaker 3: inferior people, oh boy. Multiple times in the movie. You

459
00:25:56,040 --> 00:25:58,200
Speaker 3: can hear it because it's a cognate in the languages.

460
00:25:58,240 --> 00:26:00,440
Speaker 3: He's just going inferior.

461
00:26:02,080 --> 00:26:02,240
Speaker 4: Oh.

462
00:26:02,359 --> 00:26:07,040
Speaker 3: Morality, oh disgusting, hates morality, belief in the immortality of

463
00:26:07,080 --> 00:26:10,520
Speaker 3: the soul, really does not like dying without having a

464
00:26:10,520 --> 00:26:13,359
Speaker 3: son with the perfect woman to achieve the immortality of blood.

465
00:26:13,800 --> 00:26:17,480
Speaker 3: He hates dramas, and he really does not like trimming

466
00:26:17,480 --> 00:26:20,560
Speaker 3: his nails or people who love because they are weak.

467
00:26:21,000 --> 00:26:22,880
Speaker 2: I would also add trunk of Door to the list,

468
00:26:22,920 --> 00:26:24,640
Speaker 2: he's really hard on Trunk of Door.

469
00:26:24,920 --> 00:26:27,240
Speaker 3: Doesn't like Trunk of Door. Trunk of Door is a

470
00:26:27,280 --> 00:26:27,840
Speaker 3: character we'll.

471
00:26:27,720 --> 00:26:29,800
Speaker 2: Get to in a minute, but basically a beefy muscle

472
00:26:29,920 --> 00:26:33,960
Speaker 2: man who is just like it clearly is he's here

473
00:26:34,040 --> 00:26:37,720
Speaker 2: in part so that Coffin Joe can just dunk on him.

474
00:26:37,960 --> 00:26:41,000
Speaker 3: Okay, I've got a question I thought was interesting. Wonder

475
00:26:41,040 --> 00:26:43,879
Speaker 3: what you think about this? What do you think is

476
00:26:43,920 --> 00:26:49,760
Speaker 3: the relationship of this film to the philosophy of Coffin Joe, Like,

477
00:26:49,800 --> 00:26:54,040
Speaker 3: what do you think the filmmaker's attitude to that philosophy is?

478
00:26:54,240 --> 00:26:58,480
Speaker 3: Because on one hand, Coffin Joe is obviously full evil,

479
00:26:58,680 --> 00:27:02,160
Speaker 3: hard evil does all all kinds of unforgivable crimes. He

480
00:27:02,280 --> 00:27:07,320
Speaker 3: is a murderer, rapist, kidnapper, does every awful crime. And

481
00:27:07,440 --> 00:27:10,439
Speaker 3: yet there are other ways that the movie seems to

482
00:27:10,520 --> 00:27:13,200
Speaker 3: go out of its way to make him sympathetic, such

483
00:27:13,200 --> 00:27:18,159
Speaker 3: as these kind of treacily scenes of showing his protectiveness

484
00:27:18,160 --> 00:27:22,199
Speaker 3: of children and when he's giving sermons about how like

485
00:27:22,280 --> 00:27:24,879
Speaker 3: God and the church are trash. I don't know, it

486
00:27:24,920 --> 00:27:27,199
Speaker 3: seems like they're giving him a lot of room to

487
00:27:27,280 --> 00:27:31,119
Speaker 3: talk and well, a lot of what he says was

488
00:27:31,160 --> 00:27:34,680
Speaker 3: funny to us, I sense a real desire to make

489
00:27:34,720 --> 00:27:38,280
Speaker 3: his case sound as eloquent as possible. So is there

490
00:27:38,280 --> 00:27:41,439
Speaker 3: a part of the filmmaker that sort of likes or

491
00:27:41,480 --> 00:27:45,960
Speaker 3: agrees with Coffin Joe. There's that on you know, so

492
00:27:46,480 --> 00:27:48,600
Speaker 3: he does the crimes, then there's that on the other hand.

493
00:27:48,600 --> 00:27:50,720
Speaker 3: But then coming back on the other side, that would

494
00:27:50,720 --> 00:27:54,400
Speaker 3: be kind of weird, given that in the end we

495
00:27:54,720 --> 00:27:59,920
Speaker 3: see Coffin Joe, we see his ideology humiliated by supernatural intervention,

496
00:28:00,080 --> 00:28:04,080
Speaker 3: and we see him repudiate his previous existence and beg

497
00:28:04,160 --> 00:28:04,919
Speaker 3: for repentance.

498
00:28:06,000 --> 00:28:06,480
Speaker 4: Yeah.

499
00:28:06,600 --> 00:28:09,280
Speaker 2: Yeah, it is weird to try and make sense of,

500
00:28:09,400 --> 00:28:12,680
Speaker 2: like the full narrative of the thing. I do think

501
00:28:12,720 --> 00:28:15,399
Speaker 2: there is a sense of Coffin Joe as an expression

502
00:28:15,400 --> 00:28:18,040
Speaker 2: of the soul, and that that Maren's considered him very

503
00:28:18,119 --> 00:28:21,159
Speaker 2: much his alter ego. So I guess some of the

504
00:28:21,240 --> 00:28:26,440
Speaker 2: ideas he's he's preaching about, or perhaps ideas that Maren's

505
00:28:26,640 --> 00:28:28,960
Speaker 2: you know, sympathize with it at least. And I think

506
00:28:29,000 --> 00:28:31,199
Speaker 2: also you could throw in that like this is clearly

507
00:28:31,240 --> 00:28:34,720
Speaker 2: a figure that is supposed to feel counterculture and counter norms.

508
00:28:35,240 --> 00:28:38,760
Speaker 2: You know, he's the the ultimate outsider who inspires fear

509
00:28:38,920 --> 00:28:42,959
Speaker 2: just by walking down the main street in town. So

510
00:28:43,040 --> 00:28:45,400
Speaker 2: he's the enemy, but we're also attracted to him. You know,

511
00:28:45,480 --> 00:28:48,800
Speaker 2: there's this there's this weird kind of push and pull like, yeah,

512
00:28:48,840 --> 00:28:51,760
Speaker 2: how are we ultimately even as the viewer supposed to

513
00:28:51,760 --> 00:28:54,520
Speaker 2: feel about coffin Joe and certainly like, how is the

514
00:28:54,840 --> 00:28:58,280
Speaker 2: intended audience, the initial intended audience of the time supposed

515
00:28:58,320 --> 00:29:01,080
Speaker 2: to to think about him like you're you're kind of

516
00:29:01,160 --> 00:29:04,160
Speaker 2: enjoying his rebellious nature, while also at the end of

517
00:29:04,200 --> 00:29:06,600
Speaker 2: the day, it's like, Okay, the universe is put back

518
00:29:06,640 --> 00:29:08,400
Speaker 2: in its right place at the end of the film,

519
00:29:08,880 --> 00:29:11,280
Speaker 2: but we still got to have the catharsis of seeing it.

520
00:29:11,800 --> 00:29:13,560
Speaker 3: I mean, in a way, I almost wonder if it's

521
00:29:13,600 --> 00:29:17,080
Speaker 3: another form of the exploitation cinema principle that's like, we

522
00:29:17,160 --> 00:29:20,080
Speaker 3: want to show you some things that we think you

523
00:29:20,120 --> 00:29:23,160
Speaker 3: will be interested and titillated by, but framed within a

524
00:29:23,240 --> 00:29:26,479
Speaker 3: context where there's deniability that this is like no, no,

525
00:29:26,560 --> 00:29:28,960
Speaker 3: but we're saying he's bad. He is fully bad.

526
00:29:29,720 --> 00:29:33,560
Speaker 2: Yeah, yeah, you absolutely can't take the exploitation out of

527
00:29:33,600 --> 00:29:34,400
Speaker 2: the equation here.

528
00:29:35,000 --> 00:29:36,680
Speaker 3: But I don't know the thing in the end about

529
00:29:36,680 --> 00:29:39,240
Speaker 3: how Coffin Joe is a friend to all children. It

530
00:29:39,360 --> 00:29:41,240
Speaker 3: just remains deeply hilarious.

531
00:29:41,880 --> 00:29:45,160
Speaker 2: Yes, all right, rolling through just some of the other

532
00:29:45,440 --> 00:29:48,800
Speaker 2: members of the cast and crew here, most most of

533
00:29:48,800 --> 00:29:51,560
Speaker 2: the people involved here didn't do a lot else outside

534
00:29:51,600 --> 00:29:54,840
Speaker 2: of this film. I've seen interviews from Maren says that

535
00:29:54,880 --> 00:29:57,720
Speaker 2: he worked a lot with with amateur actors and preferred

536
00:29:57,720 --> 00:30:01,400
Speaker 2: to work with amateur actors because more professional actors were

537
00:30:01,440 --> 00:30:04,760
Speaker 2: difficult to could be difficult to control. Let's see, we

538
00:30:04,800 --> 00:30:09,040
Speaker 2: have a writer on this, al Donora di Sapporto. This

539
00:30:09,160 --> 00:30:12,280
Speaker 2: was their only writing credit. We also have an actor

540
00:30:12,280 --> 00:30:17,400
Speaker 2: by the name of Larcio Larelli who does the voice

541
00:30:17,400 --> 00:30:21,040
Speaker 2: of Coffin Joe. So Maren's did not speak perfect Portuguese apparently.

542
00:30:21,600 --> 00:30:22,800
Speaker 2: I don't know how much of this had to do

543
00:30:22,840 --> 00:30:25,000
Speaker 2: with his family being of Spanish descent or not, but

544
00:30:25,080 --> 00:30:26,640
Speaker 2: at any rate, at the end of the day, the

545
00:30:26,760 --> 00:30:30,040
Speaker 2: voice of Coffin Joe, even in Portuguese, is dubbed by

546
00:30:30,080 --> 00:30:30,880
Speaker 2: a different actor.

547
00:30:32,200 --> 00:30:36,400
Speaker 3: So that's somebody else's voice we're hearing say inferior.

548
00:30:36,440 --> 00:30:40,000
Speaker 2: Yes, yes, And you know this isn't out of the norm.

549
00:30:40,040 --> 00:30:43,719
Speaker 2: I mean, Paul Nashi Films for example, in Spain. Like

550
00:30:44,280 --> 00:30:46,680
Speaker 2: most of the time, we're not hearing.

551
00:30:46,480 --> 00:30:48,120
Speaker 4: Paul Nashi's actual voice.

552
00:30:48,120 --> 00:30:49,680
Speaker 2: I think there are a few films where he does

553
00:30:49,720 --> 00:30:52,800
Speaker 2: his own his own vocals as well, but for the

554
00:30:52,880 --> 00:30:56,120
Speaker 2: most part he's dubbed, even in Spanish. All right. Other

555
00:30:56,200 --> 00:30:59,080
Speaker 2: cast members here, Tina Worls plays Laura, this is their

556
00:30:59,120 --> 00:31:04,360
Speaker 2: only acting credit. Nadia Fritz plays Marcia. This is her

557
00:31:04,400 --> 00:31:07,800
Speaker 2: only acting credit. And then oh, we have Trunkador played

558
00:31:07,800 --> 00:31:12,560
Speaker 2: by Antonio Frakari. This is a beefy actor and makeup

559
00:31:12,680 --> 00:31:16,479
Speaker 2: artist who also was an associate producer on this film.

560
00:31:16,880 --> 00:31:19,760
Speaker 2: He only has three acting and three makeup credits, all

561
00:31:19,800 --> 00:31:23,080
Speaker 2: in Brazilian cinema from nineteen fifty eight through nineteen sixty seven.

562
00:31:23,920 --> 00:31:27,240
Speaker 2: Great look, though, He is this bald headed muscle man

563
00:31:27,800 --> 00:31:30,840
Speaker 2: with I don't know if this is natural or in

564
00:31:30,960 --> 00:31:33,080
Speaker 2: fact I'm assuming an effect, but one of his eyes

565
00:31:33,160 --> 00:31:37,040
Speaker 2: is black like it's like it's a black false eye

566
00:31:37,240 --> 00:31:39,000
Speaker 2: or it's some sort of contact lens in there.

567
00:31:39,440 --> 00:31:43,600
Speaker 3: But it's a very impressive look. And he's dressed like Sinbad.

568
00:31:44,280 --> 00:31:47,200
Speaker 2: Yeah, I couldn't figure out the outfit either. He does

569
00:31:47,240 --> 00:31:50,160
Speaker 2: look like he walked out of a sword and sandals picture.

570
00:31:50,480 --> 00:31:53,000
Speaker 3: Yeah, I don't know why he's dressed like that. It

571
00:31:53,040 --> 00:31:56,800
Speaker 3: looks looks like some kind of wrestling costume or something.

572
00:31:57,280 --> 00:32:01,440
Speaker 2: Yeah, he's very physically intimidating, which again, this makes it

573
00:32:01,480 --> 00:32:04,800
Speaker 2: all the more hilarious when Coffin Joe just like beats

574
00:32:04,800 --> 00:32:07,600
Speaker 2: the crap out of him in one scene, you know,

575
00:32:07,840 --> 00:32:13,240
Speaker 2: run circles around him intellectually. In another scene, it's hilarious

576
00:32:13,760 --> 00:32:17,040
Speaker 2: like he's basically Coffin Joe's punching back. All right, we

577
00:32:17,120 --> 00:32:19,840
Speaker 2: have Bruno. We'll talk about Bruno in a bit, played

578
00:32:19,840 --> 00:32:23,520
Speaker 2: by Jose Lobo. This is their only acting credit. And

579
00:32:23,560 --> 00:32:28,520
Speaker 2: then we have the score. Here is by Herminio Gaminez,

580
00:32:28,720 --> 00:32:32,040
Speaker 2: who lived nineteen oh five through nineteen ninety one, responsible

581
00:32:32,040 --> 00:32:34,280
Speaker 2: for a number of scores including At Midnight, I'll Take

582
00:32:34,320 --> 00:32:37,360
Speaker 2: Your Soul, The Strange World of Coffin Joe, and End

583
00:32:37,400 --> 00:32:38,240
Speaker 2: of Man.

584
00:32:37,960 --> 00:32:41,240
Speaker 4: From nineteen seventy one. That's another Maren's film.

585
00:32:41,400 --> 00:32:43,880
Speaker 3: All right, to be talking about the plot now, yes,

586
00:32:44,200 --> 00:32:47,000
Speaker 3: let's get into the plot. So the movie starts with

587
00:32:47,120 --> 00:32:49,719
Speaker 3: Coffin Joe just talking straight into the camera. There's a

588
00:32:49,760 --> 00:32:52,600
Speaker 3: plume of smoke twisting in front of his face, and

589
00:32:52,640 --> 00:32:55,160
Speaker 3: he looks at you, and he says, is life everything

590
00:32:55,280 --> 00:33:00,000
Speaker 3: and death nothing? Or is death everything and life nothing?

591
00:33:00,080 --> 00:33:02,200
Speaker 3: Thing makes you think.

592
00:33:02,480 --> 00:33:03,360
Speaker 4: I think it's the former.

593
00:33:04,000 --> 00:33:06,080
Speaker 2: I'm gonna go with the former, but I'm getting the

594
00:33:06,080 --> 00:33:07,600
Speaker 2: impression he thinks maybe the latter.

595
00:33:08,200 --> 00:33:11,120
Speaker 3: Maybe he does seem to be into death, though not

596
00:33:11,200 --> 00:33:13,440
Speaker 3: for himself. You know, it's like he loves death, but

597
00:33:13,520 --> 00:33:16,640
Speaker 3: he doesn't love He doesn't want to die. He wants

598
00:33:16,680 --> 00:33:20,080
Speaker 3: to be immortal, but not to believe in the immortality

599
00:33:20,080 --> 00:33:22,800
Speaker 3: of the soul, which is foolish. He wants to have

600
00:33:22,840 --> 00:33:25,440
Speaker 3: the immortality of blood. He'll explain more later. We'll get

601
00:33:25,480 --> 00:33:29,440
Speaker 3: to that. So we get a narration at the beginning.

602
00:33:29,480 --> 00:33:31,360
Speaker 3: I think there's some text displayed on the screen. It

603
00:33:31,360 --> 00:33:35,160
Speaker 3: says Coffin Joe, obsessed with having a son, killed many people,

604
00:33:35,360 --> 00:33:39,280
Speaker 3: but he was haunted by hallucinations. And so it shows

605
00:33:39,280 --> 00:33:41,959
Speaker 3: Coffin Joe ripping open a couple of caskets. I think

606
00:33:42,040 --> 00:33:45,000
Speaker 3: this is the end of At Midnight, I'll take your

607
00:33:45,000 --> 00:33:49,200
Speaker 3: soul or your soul, but whatever the previous movie.

608
00:33:48,960 --> 00:33:51,720
Speaker 2: Was at Midnight, I'll take your soul as a previous

609
00:33:51,720 --> 00:33:55,560
Speaker 2: And then this one is this night I'll possess your corpse.

610
00:33:55,760 --> 00:33:58,720
Speaker 3: Okay, it doesn't specify a time tonight. It could be anytime.

611
00:33:58,760 --> 00:34:01,040
Speaker 3: It could be nine pm to four am.

612
00:34:01,120 --> 00:34:03,720
Speaker 2: Yeah, it's like the cable guy come into to fix

613
00:34:03,760 --> 00:34:06,280
Speaker 2: your cable. It's just you have a window for arrival.

614
00:34:06,200 --> 00:34:09,080
Speaker 3: Right sometime between nine pm and four am. I'll possess

615
00:34:09,360 --> 00:34:11,400
Speaker 3: your corpse. And then they don't get there to possess

616
00:34:11,440 --> 00:34:14,840
Speaker 3: it till four thirty. But anyway, Yeah, so Coffin Joe's

617
00:34:14,920 --> 00:34:17,399
Speaker 3: he's pulling the lids off caskets. He reveals a couple

618
00:34:17,400 --> 00:34:20,759
Speaker 3: of mutilated corpses with spiders crawling on him. And then

619
00:34:20,800 --> 00:34:24,759
Speaker 3: Coffin Joe apparently something happens to him. I think he

620
00:34:24,800 --> 00:34:27,520
Speaker 3: gets his face sort of chopped up by ghosts, and

621
00:34:27,960 --> 00:34:30,520
Speaker 3: the townspeople come and they find him lying at the

622
00:34:31,000 --> 00:34:33,600
Speaker 3: entrance to the crypt with his head all bloody and

623
00:34:33,640 --> 00:34:36,359
Speaker 3: one of his eyeballs popped out. So it doesn't really

624
00:34:36,400 --> 00:34:38,880
Speaker 3: look like he could come back from this. But you

625
00:34:38,920 --> 00:34:42,480
Speaker 3: know what, turns out he's totally all right. And then

626
00:34:42,520 --> 00:34:44,080
Speaker 3: we get the credits and I don't know what you

627
00:34:44,120 --> 00:34:46,640
Speaker 3: call the effect here, but the lettering of the credits

628
00:34:46,719 --> 00:34:50,560
Speaker 3: is wildly animated. The letters are jumping and wiggling all

629
00:34:50,600 --> 00:34:53,279
Speaker 3: over the place. And I actually paused it and went

630
00:34:53,360 --> 00:34:55,680
Speaker 3: frame by frame to see what's happening here. What it

631
00:34:55,719 --> 00:35:00,000
Speaker 3: looks like is that every frame of the credit sequel

632
00:35:00,080 --> 00:35:03,719
Speaker 3: and had the words that are being displayed sort of

633
00:35:03,920 --> 00:35:07,759
Speaker 3: painted or handwritten on the frame anew and there was

634
00:35:07,840 --> 00:35:11,160
Speaker 3: no stencil to keep them like lined up in between shots.

635
00:35:11,160 --> 00:35:15,120
Speaker 3: So imagine just writing the same words dozens of times

636
00:35:14,880 --> 00:35:17,879
Speaker 3: on many frames in a row, and every time you're

637
00:35:17,920 --> 00:35:20,480
Speaker 3: just roughly eyeballing it to keep them in the same place,

638
00:35:20,520 --> 00:35:22,920
Speaker 3: so they're wiggling crazily all over the screen.

639
00:35:23,680 --> 00:35:27,279
Speaker 2: It's a very startling effect, especially given the fact that

640
00:35:27,400 --> 00:35:31,080
Speaker 2: even in you know, weirder films, the credits are usually

641
00:35:31,239 --> 00:35:34,759
Speaker 2: not that weird, and sometimes they're mandated that they can't

642
00:35:34,760 --> 00:35:36,839
Speaker 2: be that weird, right, I mean, like they're just there's

643
00:35:36,840 --> 00:35:40,800
Speaker 2: certain norms that are followed with opening credits and closing

644
00:35:40,840 --> 00:35:44,440
Speaker 2: credits within a given timeframe and cinematic tradition, and here

645
00:35:44,680 --> 00:35:46,719
Speaker 2: it's just right off the bat, everything's unhinged.

646
00:35:47,000 --> 00:35:50,439
Speaker 3: It seems they're they prioritize making the credit sequence look

647
00:35:50,560 --> 00:35:54,600
Speaker 3: interesting over making it readable, and I respect that.

648
00:35:55,160 --> 00:35:55,359
Speaker 2: Yeah.

649
00:35:55,440 --> 00:36:00,520
Speaker 3: Yeah, Also, the credits include shots of hands franticly reaching

650
00:36:00,600 --> 00:36:02,719
Speaker 3: up from the soil. So they're clowing their way out

651
00:36:02,719 --> 00:36:05,640
Speaker 3: of graves. But so Coffin Joe head old bloody, I

652
00:36:05,680 --> 00:36:07,719
Speaker 3: popped out. He's taking to the hospital. Not only is

653
00:36:07,760 --> 00:36:10,319
Speaker 3: he not dead, he heals up perfectly, not a scar

654
00:36:10,400 --> 00:36:14,160
Speaker 3: to be seen. Also, whatever murders and crimes he did

655
00:36:14,200 --> 00:36:17,279
Speaker 3: in the last movie, it's like, no, biggie. There's a

656
00:36:17,320 --> 00:36:19,600
Speaker 3: really fast scene in front of a judge in a

657
00:36:19,640 --> 00:36:23,200
Speaker 3: courtroom where the judge is just like, not enough evidence

658
00:36:23,239 --> 00:36:25,840
Speaker 3: to convict Coffin Joe is now free to kill again.

659
00:36:26,239 --> 00:36:28,759
Speaker 3: So he's lying there in a hospital bed and the

660
00:36:28,800 --> 00:36:31,560
Speaker 3: doctors come and he's got bandages wrapped around his head,

661
00:36:31,600 --> 00:36:34,719
Speaker 3: covering his eyes. They remove the bandages, they take him off.

662
00:36:34,880 --> 00:36:38,120
Speaker 3: His sight is restored. It's perfect now. And then he

663
00:36:38,280 --> 00:36:41,319
Speaker 3: just starts cackling like a maniac at the concept of

664
00:36:41,480 --> 00:36:44,319
Speaker 3: light while the doctors are just standing there looking at him.

665
00:36:44,680 --> 00:36:47,560
Speaker 2: This should be a red flag already that like, I'm

666
00:36:47,560 --> 00:36:50,600
Speaker 2: not sure that this guy was necessarily innocent.

667
00:36:51,080 --> 00:36:55,640
Speaker 3: So he's back. He's back, baby, He's in town. We

668
00:36:55,920 --> 00:36:58,440
Speaker 3: see shots of people going about their business, you know,

669
00:36:58,560 --> 00:37:01,160
Speaker 3: children playing in the streets, people are singing and dancing.

670
00:37:01,200 --> 00:37:03,520
Speaker 3: Everybody's having a good time. But then they all see

671
00:37:03,560 --> 00:37:06,760
Speaker 3: Coffin Joe's coming down the road and everyone flees in terror.

672
00:37:06,960 --> 00:37:10,120
Speaker 3: Parents grab their children and take them inside. Old women

673
00:37:10,200 --> 00:37:12,680
Speaker 3: duck behind windows and slam the shutters.

674
00:37:12,719 --> 00:37:15,880
Speaker 2: It's it's good, Yeah, it's it's a little bit hilarious

675
00:37:15,880 --> 00:37:20,480
Speaker 2: because it's it's really hard to nail down the initial

676
00:37:20,680 --> 00:37:25,880
Speaker 2: impact of Coffin Joe, because yes, he's creepy. He doesn't

677
00:37:25,880 --> 00:37:28,759
Speaker 2: look completely ridiculous or anything like that, Like I don't

678
00:37:28,760 --> 00:37:31,440
Speaker 2: want to imply that, Like he does look legitimately creepy,

679
00:37:31,719 --> 00:37:34,960
Speaker 2: and he brings this wonderful, weird energy to every scene

680
00:37:34,960 --> 00:37:38,120
Speaker 2: he's in, and yet there is something ridiculous about here,

681
00:37:38,120 --> 00:37:40,520
Speaker 2: Like here he comes, he's strolling into town and everybody's

682
00:37:40,600 --> 00:37:44,960
Speaker 2: running like a twenty foot monster just strolled into the village.

683
00:37:45,280 --> 00:37:49,440
Speaker 3: Yeah, so Coffin Joe struts across the churchyard, he scowls

684
00:37:49,480 --> 00:37:52,279
Speaker 3: at the town center, and he just says, people are

685
00:37:52,280 --> 00:37:58,479
Speaker 3: always the same, ignorant, superstitious, inferior, but they will learn

686
00:37:58,520 --> 00:38:01,720
Speaker 3: the truth, even if I must make their eyes run

687
00:38:01,760 --> 00:38:06,000
Speaker 3: with tears of blood. So he's not like easing into it.

688
00:38:06,280 --> 00:38:08,680
Speaker 3: The moment he sees the town again, he's like, I'm

689
00:38:08,680 --> 00:38:14,920
Speaker 3: going to destroy these people. He checks in at the

690
00:38:14,960 --> 00:38:17,960
Speaker 3: funeral home that he operates. He looks to be very

691
00:38:18,040 --> 00:38:20,480
Speaker 3: proud to be a small business owner. He's just looking

692
00:38:20,480 --> 00:38:23,399
Speaker 3: around at his employees and beaming. And here we also

693
00:38:23,480 --> 00:38:26,200
Speaker 3: meet one of his employees who is basically his egor.

694
00:38:26,400 --> 00:38:29,719
Speaker 3: This is a man named Bruno, who they have a

695
00:38:30,239 --> 00:38:34,799
Speaker 3: not super convincing looking hunchback prosthetic and some stuff on

696
00:38:34,800 --> 00:38:35,320
Speaker 3: his face.

697
00:38:35,960 --> 00:38:38,160
Speaker 2: Yeah, kind of like a hunchback lurch character.

698
00:38:38,600 --> 00:38:40,799
Speaker 3: But Coffin Joe looks out the window at a bunch

699
00:38:40,800 --> 00:38:43,799
Speaker 3: of kids playing games in the street, and then he said,

700
00:38:43,800 --> 00:38:46,319
Speaker 3: and this is where it gets weird. He's like, look

701
00:38:46,320 --> 00:38:50,520
Speaker 3: at nature's perfect creation children. Pity they all grow up

702
00:38:50,560 --> 00:38:55,640
Speaker 3: to become idiots. He says that they get lost in

703
00:38:55,719 --> 00:38:59,680
Speaker 3: a labyrinth of egoism and dominated by an imaginary power,

704
00:39:00,120 --> 00:39:03,279
Speaker 3: the faith in the immortality of the spirit. That's what

705
00:39:03,400 --> 00:39:05,600
Speaker 3: he really doesn't like. But I guess that maybe they

706
00:39:05,640 --> 00:39:08,359
Speaker 3: don't have that faith yet, so they're still good, They're

707
00:39:08,400 --> 00:39:11,520
Speaker 3: still awesome in his view. And he says there's only

708
00:39:11,560 --> 00:39:15,480
Speaker 3: one truth in this life that is the immortality of blood.

709
00:39:15,560 --> 00:39:18,000
Speaker 3: He'll explain more about that later, but Bruno is just

710
00:39:18,080 --> 00:39:22,759
Speaker 3: nodding like, yep, the Labyrinth of Egoism. And then there

711
00:39:22,800 --> 00:39:25,480
Speaker 3: is a scene where suddenly Coffin Joe he's like looking

712
00:39:25,520 --> 00:39:27,120
Speaker 3: down the road and he sees a man on a

713
00:39:27,160 --> 00:39:30,200
Speaker 3: motorcycle or it might be a motor scooter, just driving

714
00:39:30,280 --> 00:39:32,640
Speaker 3: straight toward a group of children who are playing in

715
00:39:32,680 --> 00:39:36,000
Speaker 3: the street, and Coffin Joe yells he's crazy, and most

716
00:39:36,000 --> 00:39:37,719
Speaker 3: of the children get out of the way, but one

717
00:39:37,760 --> 00:39:40,759
Speaker 3: boy just stands right there in the vehicle's path, and

718
00:39:40,880 --> 00:39:44,600
Speaker 3: Coffin Joe swoops in like batman and saves the child,

719
00:39:44,680 --> 00:39:47,200
Speaker 3: just like lifts him out of the street. And then

720
00:39:47,640 --> 00:39:50,440
Speaker 3: the kid's crying there. He's like, oh no, and Coffin

721
00:39:50,520 --> 00:39:52,920
Speaker 3: just says, don't cry my boy. Do you like music?

722
00:39:53,520 --> 00:39:55,319
Speaker 3: And then what is with this weird he gets like

723
00:39:55,360 --> 00:39:58,440
Speaker 3: this little Zippo lighter music box out. It's like a

724
00:39:58,480 --> 00:40:03,800
Speaker 3: tiny metal rectangle that plays music out of some weird

725
00:40:03,800 --> 00:40:04,520
Speaker 3: little window.

726
00:40:05,239 --> 00:40:07,640
Speaker 2: Yeah, I guess this is like the iPod of the day, right,

727
00:40:07,680 --> 00:40:10,320
Speaker 2: you just have this little, you know, wind up musical

728
00:40:10,320 --> 00:40:13,120
Speaker 2: contraption that, yeah, generally you would see in the bottom

729
00:40:13,160 --> 00:40:13,960
Speaker 2: of the music box.

730
00:40:14,520 --> 00:40:16,960
Speaker 3: So once again I think it is so odd and

731
00:40:17,000 --> 00:40:21,680
Speaker 3: interesting that they're giving him these superficially heroic or sympathetic traits.

732
00:40:21,719 --> 00:40:25,360
Speaker 3: It's like, what if Freddy Krueger still murdered you in

733
00:40:25,400 --> 00:40:27,719
Speaker 3: your dreams, but he was also a friend to all

734
00:40:27,840 --> 00:40:28,960
Speaker 3: children like Gamera.

735
00:40:29,560 --> 00:40:31,479
Speaker 2: Yeah, yeah, I mean he has a code, right, That's

736
00:40:31,480 --> 00:40:32,799
Speaker 2: that's what we're laying down here.

737
00:40:41,320 --> 00:40:44,719
Speaker 3: Anyway, the driver of the scooter comes over to him

738
00:40:44,760 --> 00:40:47,839
Speaker 3: and says, thank God, it's a miracle that I didn't

739
00:40:47,920 --> 00:40:50,400
Speaker 3: hit that boy. You must have been sent by God

740
00:40:50,400 --> 00:40:53,000
Speaker 3: to save him. And you can just see Coffin Joe's

741
00:40:53,040 --> 00:40:58,080
Speaker 3: eyes start twitching and he's like stupid fanaticism, and he

742
00:40:58,200 --> 00:41:00,840
Speaker 3: tells the guy a child is the most important creature

743
00:41:00,840 --> 00:41:03,479
Speaker 3: in the universe, and he says, protect them, or even

744
00:41:03,520 --> 00:41:05,959
Speaker 3: your God will not be able to save you from hell.

745
00:41:06,520 --> 00:41:08,880
Speaker 3: Oh and then he goes back to his funeral parlor

746
00:41:08,920 --> 00:41:13,600
Speaker 3: and there's a rich heiress named Marcia who comes over.

747
00:41:14,080 --> 00:41:16,800
Speaker 3: She comes over to flirt with Coffin Joe. She's like, wow,

748
00:41:17,080 --> 00:41:19,480
Speaker 3: I saw what you did. You're a hero. There is

749
00:41:19,520 --> 00:41:23,480
Speaker 3: no God. Talk to you later. But here the movie

750
00:41:23,560 --> 00:41:26,880
Speaker 3: makes an abrupt transition. It's like, okay, it is time

751
00:41:27,120 --> 00:41:30,680
Speaker 3: to do heinous crimes. So Coffin Joe says I must

752
00:41:30,719 --> 00:41:35,799
Speaker 3: now immortalize my blood, which means for him, because the

753
00:41:36,000 --> 00:41:40,280
Speaker 3: spiritual afterlife does not exist, he must find the perfect

754
00:41:40,360 --> 00:41:42,680
Speaker 3: heathen superwoman to bear him a son.

755
00:41:43,200 --> 00:41:45,399
Speaker 2: All right, right, So not a situation of trying to

756
00:41:45,480 --> 00:41:48,920
Speaker 2: create the occult power couple, but the heathen power couple.

757
00:41:49,320 --> 00:41:52,280
Speaker 2: That's the quest, and then of course the heathen super baby.

758
00:41:52,800 --> 00:41:55,920
Speaker 3: So it seems like his plan is roughly shaped like this.

759
00:41:56,000 --> 00:41:59,239
Speaker 3: He's gonna kidnap six beautiful women who are all free

760
00:41:59,239 --> 00:42:03,520
Speaker 3: thinking materials. Oh, but there's one who he sends Bruno

761
00:42:03,560 --> 00:42:05,640
Speaker 3: to kidnap, and then when Bruno gets there, she's like,

762
00:42:05,719 --> 00:42:08,360
Speaker 3: no need, no need for violence, no need to kidnap me.

763
00:42:08,760 --> 00:42:12,000
Speaker 3: I'm all in on coffin Joe. And that one that

764
00:42:12,160 --> 00:42:14,920
Speaker 3: is Marcia, who flirted with him at the funeral parlor.

765
00:42:16,800 --> 00:42:19,239
Speaker 3: But once all of the victims are assembled, he's going

766
00:42:19,280 --> 00:42:22,440
Speaker 3: to terrorize them by putting a bunch of tarantulas in

767
00:42:22,480 --> 00:42:25,680
Speaker 3: their beds, and then if any of them get scared

768
00:42:25,719 --> 00:42:29,080
Speaker 3: of the tarantulas, they're not worthy. So he's going to

769
00:42:29,680 --> 00:42:32,319
Speaker 3: give them to Bruno or kill them by making them

770
00:42:32,320 --> 00:42:35,759
Speaker 3: get into a pit of venomous snakes. And then if

771
00:42:35,760 --> 00:42:38,680
Speaker 3: any of them don't get freaked out by the tarantulas.

772
00:42:38,719 --> 00:42:42,759
Speaker 3: That means they are superior and will be appropriate to

773
00:42:42,920 --> 00:42:45,240
Speaker 3: help him achieve the immortality of blood.

774
00:42:45,680 --> 00:42:49,200
Speaker 2: Highly suspect logic here that everything is hinging on whether

775
00:42:49,880 --> 00:42:54,040
Speaker 2: or not these individuals are wigged out by spiders and snakes.

776
00:42:54,360 --> 00:42:58,160
Speaker 3: Yes, well, it's obvious that this plan has moral defects.

777
00:42:58,520 --> 00:43:01,479
Speaker 3: I think it also has logical defects, despite the fact

778
00:43:01,600 --> 00:43:04,640
Speaker 3: that Coffin Joe is constantly delivering sermons about how he

779
00:43:04,719 --> 00:43:08,319
Speaker 3: is superior and logical and God is bad. There's a

780
00:43:08,360 --> 00:43:11,879
Speaker 3: scene at the police station of Trunkador, the wrestler guy,

781
00:43:12,239 --> 00:43:16,279
Speaker 3: being falsely accused of kidnapping the women, and then the

782
00:43:16,360 --> 00:43:18,880
Speaker 3: colonel comes out and he vouches for him. He's like,

783
00:43:18,880 --> 00:43:21,520
Speaker 3: if Trunkador is guilty, you might as well arrest me too,

784
00:43:21,680 --> 00:43:24,000
Speaker 3: And then the detective is like, well that settles it.

785
00:43:24,120 --> 00:43:24,760
Speaker 3: He's innocent.

786
00:43:25,200 --> 00:43:26,600
Speaker 4: Trunk of Door is off the hook.

787
00:43:26,920 --> 00:43:30,759
Speaker 2: I get the impression Trunkador's job is just like professional

788
00:43:31,000 --> 00:43:32,279
Speaker 2: heavy slash bodyguard.

789
00:43:32,400 --> 00:43:33,919
Speaker 4: That seems to be his role here.

790
00:43:34,880 --> 00:43:38,319
Speaker 3: I think so. I think he is maybe the colonel's bodyguard.

791
00:43:38,880 --> 00:43:39,040
Speaker 2: Yea.

792
00:43:39,480 --> 00:43:42,479
Speaker 3: There is another scene where a mob gathers in front

793
00:43:42,520 --> 00:43:45,360
Speaker 3: of a guy outside the church who's saying that Coffin

794
00:43:45,480 --> 00:43:48,160
Speaker 3: Joe did all the kidnappings. And then the mob they

795
00:43:48,200 --> 00:43:50,399
Speaker 3: get whipped up into a frenzy and they say they're

796
00:43:50,400 --> 00:43:52,359
Speaker 3: going to go after him. They're going to go get him.

797
00:43:52,600 --> 00:43:56,440
Speaker 3: But then coffin Joe appears and he disproves the premise

798
00:43:56,480 --> 00:43:59,560
Speaker 3: of their posse with logic, And you can't help but

799
00:43:59,680 --> 00:44:02,799
Speaker 3: notice that, like, there's a similarity of this scene to

800
00:44:02,920 --> 00:44:05,920
Speaker 3: scenes in the Gospels where the Pharisees are getting a

801
00:44:05,960 --> 00:44:09,719
Speaker 3: mob together to accuse Jesus of breaking the Sabbath or

802
00:44:09,719 --> 00:44:13,000
Speaker 3: blaspheming or something, and then Jesus uses some kind of

803
00:44:13,040 --> 00:44:16,200
Speaker 3: clever word play or argument or like turns their logic

804
00:44:16,280 --> 00:44:19,600
Speaker 3: around on them to shut them up. And so here

805
00:44:19,680 --> 00:44:22,319
Speaker 3: coffin Joe is like, you say, I'm guilty, Well what

806
00:44:22,400 --> 00:44:26,799
Speaker 3: about you? Who can prove that you're not guilty? You know,

807
00:44:26,920 --> 00:44:29,880
Speaker 3: maybe your wife left you because she hates you. And

808
00:44:30,040 --> 00:44:34,360
Speaker 3: also this speech includes a really irrefutable argument. He says,

809
00:44:34,719 --> 00:44:38,080
Speaker 3: how can any of you be innocent of these kidnappings

810
00:44:38,280 --> 00:44:41,360
Speaker 3: when in fact we know that only children are innocent.

811
00:44:41,760 --> 00:44:45,520
Speaker 3: Boom can't argue with that. Yeah, I don't know. Do

812
00:44:45,560 --> 00:44:48,400
Speaker 3: you think the parallel to like the controversy stories of

813
00:44:48,480 --> 00:44:51,239
Speaker 3: Jesus and the Bible, where is intentional here?

814
00:44:51,480 --> 00:44:52,160
Speaker 4: You know, I bet so.

815
00:44:52,560 --> 00:44:56,399
Speaker 2: You know, we talked about like the audience being an

816
00:44:56,440 --> 00:45:00,160
Speaker 2: audience that is either you know, Christian or is come

817
00:45:00,239 --> 00:45:04,880
Speaker 2: up in a Christian dominated kind of culture, and you

818
00:45:04,920 --> 00:45:08,239
Speaker 2: could see the appeal of an Antichrist character, not in

819
00:45:08,239 --> 00:45:10,000
Speaker 2: the sense that the character is supposed to be like

820
00:45:10,040 --> 00:45:13,680
Speaker 2: the actual Antichrist from you know, biblical tradition or from

821
00:45:14,239 --> 00:45:17,160
Speaker 2: cinematic portrayals of the Antichrist, but being like a figure

822
00:45:17,200 --> 00:45:20,480
Speaker 2: that is kind of this reverse altered image of Christ

823
00:45:20,760 --> 00:45:23,480
Speaker 2: where they're like, there's something about this guy. He reminds

824
00:45:23,520 --> 00:45:25,600
Speaker 2: me of somebody else that I hear about every week,

825
00:45:26,320 --> 00:45:28,719
Speaker 2: except you know, through a mirror darkly. Yeah.

826
00:45:28,840 --> 00:45:32,320
Speaker 3: Interesting, Okay, but wait, coffin Joe, It's almost like he

827
00:45:32,680 --> 00:45:35,520
Speaker 3: forgot that he had lady prisoners. So he goes back

828
00:45:35,560 --> 00:45:37,960
Speaker 3: to the prisoners and he lectures them about how there's

829
00:45:38,040 --> 00:45:41,360
Speaker 3: no immortality of the soul, only immortality of the blood.

830
00:45:41,760 --> 00:45:43,759
Speaker 3: And then he's talking to all of them about how

831
00:45:43,840 --> 00:45:47,880
Speaker 3: he selected them because they were without faith. Like he

832
00:45:47,920 --> 00:45:49,680
Speaker 3: goes up to one of the ladies and he says,

833
00:45:50,080 --> 00:45:54,680
Speaker 3: you you were married outside the church? Why no? Faith? Good,

834
00:45:54,880 --> 00:45:58,680
Speaker 3: very good? And then he does the tarantula test. I

835
00:45:58,680 --> 00:46:01,360
Speaker 3: recall this scene goes on a long time where the

836
00:46:01,440 --> 00:46:03,520
Speaker 3: ladies are all just like sleeping, and we get to

837
00:46:03,840 --> 00:46:06,240
Speaker 3: see tarantulas crawling on their legs and stuff.

838
00:46:06,560 --> 00:46:09,080
Speaker 2: Yeah, yeah, this is definitely a case where you could

839
00:46:09,120 --> 00:46:10,800
Speaker 2: have used a little less footage and you could have

840
00:46:10,800 --> 00:46:13,880
Speaker 2: gotten the point across. But they clearly just liked this

841
00:46:14,000 --> 00:46:17,560
Speaker 2: footage of tarantula is crawling across ladies in their lingerie,

842
00:46:18,120 --> 00:46:19,120
Speaker 2: so we see a lot of it.

843
00:46:19,239 --> 00:46:23,000
Speaker 3: Only Marcia passes the test, the one who was all

844
00:46:23,040 --> 00:46:27,040
Speaker 3: in on Coffin Joe. Anyway, all the other ladies they

845
00:46:27,120 --> 00:46:30,520
Speaker 3: start screaming about the tarantulas, so Coffin Joe he takes

846
00:46:30,520 --> 00:46:33,760
Speaker 3: them downstairs to get murdered in the pit of venomous snakes.

847
00:46:34,239 --> 00:46:37,520
Speaker 2: The snake pit looks good, by the way, like all

848
00:46:37,560 --> 00:46:41,000
Speaker 2: these SATs this is. This film is black and white,

849
00:46:41,239 --> 00:46:44,720
Speaker 2: so we have these very grim, gritty, black and white

850
00:46:44,760 --> 00:46:48,759
Speaker 2: set sets in addition to those street scenes. And yeah,

851
00:46:48,760 --> 00:46:53,719
Speaker 2: this it feels claustrophobic. The snakes are definitely real, at

852
00:46:53,719 --> 00:46:56,640
Speaker 2: times alarmingly real, as are the spiders.

853
00:46:56,960 --> 00:46:58,879
Speaker 3: Oh yeah, that's weird. I guess we haven't talked about

854
00:46:58,880 --> 00:47:01,320
Speaker 3: the visual style of this movie much yet. I guess

855
00:47:01,360 --> 00:47:06,080
Speaker 3: just because the subject matter is so ripe for conversation.

856
00:47:06,239 --> 00:47:09,080
Speaker 3: But this is a great looking movie, I think. I

857
00:47:09,080 --> 00:47:12,040
Speaker 3: think most of the sets and the effects and everything

858
00:47:12,120 --> 00:47:16,440
Speaker 3: look really good. It is surprisingly visually striking for a

859
00:47:16,440 --> 00:47:17,799
Speaker 3: black and white film.

860
00:47:18,120 --> 00:47:21,239
Speaker 2: Yeah, absolutely, especially knowing that you know, they didn't have

861
00:47:21,320 --> 00:47:24,600
Speaker 2: an inexhaustible budget here that you know, I think they

862
00:47:24,600 --> 00:47:26,200
Speaker 2: had more money than they did on the first film,

863
00:47:26,200 --> 00:47:28,000
Speaker 2: but still they didn't have a lot to play with.

864
00:47:28,040 --> 00:47:30,680
Speaker 2: A lot of times the elements they're using you can

865
00:47:30,760 --> 00:47:34,560
Speaker 2: see the limitations, but you also see that well they

866
00:47:34,640 --> 00:47:37,400
Speaker 2: put a lot of effort into lighting it appropriately and

867
00:47:37,440 --> 00:47:39,440
Speaker 2: making sure that, you know, they could lean on the

868
00:47:39,480 --> 00:47:42,279
Speaker 2: shadows as much as possible to give it this this

869
00:47:42,480 --> 00:47:44,040
Speaker 2: air of Gothic intrigue.

870
00:47:44,160 --> 00:47:46,200
Speaker 3: There's a lot of good use of high contrast in

871
00:47:46,239 --> 00:47:50,319
Speaker 3: the set dressings. There are some excellent indoor swamp and

872
00:47:50,480 --> 00:47:55,719
Speaker 3: pond sets later and yeah, just well thought out and

873
00:47:56,760 --> 00:48:00,640
Speaker 3: often high energy imagery. It is designed not to let

874
00:48:00,680 --> 00:48:01,680
Speaker 3: your eyes get bored.

875
00:48:01,920 --> 00:48:03,759
Speaker 2: Yeah, And it's my understanding that they built all the

876
00:48:03,760 --> 00:48:06,560
Speaker 2: sets in that synagogue and I think they built the

877
00:48:06,600 --> 00:48:10,239
Speaker 2: swamp in the backyard of the synagogue.

878
00:48:10,560 --> 00:48:13,120
Speaker 3: Oh yeah. But anyway, so back to the depraved crimes

879
00:48:13,239 --> 00:48:16,640
Speaker 3: of Coffin Joe. So he's murdering all these ladies in

880
00:48:16,680 --> 00:48:22,040
Speaker 3: the snake pit, and then uh oh, Marcia, the lady

881
00:48:22,080 --> 00:48:24,360
Speaker 3: who was going to be worthy because she's not afraid

882
00:48:24,360 --> 00:48:27,840
Speaker 3: of spiders, she proves herself unworthy as well because she

883
00:48:27,880 --> 00:48:31,680
Speaker 3: has compassion. So Coffin Joe is like, He's like, hey,

884
00:48:31,760 --> 00:48:34,239
Speaker 3: let's get in the mood by watching these ladies get

885
00:48:34,280 --> 00:48:37,640
Speaker 3: bitten by snakes. And Marcia doesn't like it. She has

886
00:48:37,680 --> 00:48:40,440
Speaker 3: pity on them. She's like, please stop. And then Coffin

887
00:48:40,560 --> 00:48:43,040
Speaker 3: Joe just stands there eating grapes while one of the

888
00:48:43,160 --> 00:48:45,800
Speaker 3: ladies in the snakepit curses him in the name of God.

889
00:48:46,600 --> 00:48:49,440
Speaker 2: This is a pretty creepy scene, the curse sequence, as

890
00:48:49,440 --> 00:48:52,800
Speaker 2: it should be, and I think this sense is heightened

891
00:48:52,800 --> 00:48:57,440
Speaker 2: because the snake around her neck is actually like visibly

892
00:48:57,640 --> 00:49:02,520
Speaker 2: tightening around her neck. And according to an interview with

893
00:49:02,640 --> 00:49:05,640
Speaker 2: Maren's The Yeah, this is a situation where they had

894
00:49:05,680 --> 00:49:09,759
Speaker 2: to jump in right after the film cuts and like

895
00:49:09,840 --> 00:49:12,239
Speaker 2: pull the snake off of her neck to keep it

896
00:49:12,280 --> 00:49:16,040
Speaker 2: from strangling her, so, you know, to her credit, she

897
00:49:16,239 --> 00:49:17,640
Speaker 2: you know, she used it in the performance.

898
00:49:17,920 --> 00:49:21,759
Speaker 3: Oh yeah, she. I mean, she really portrays wrath at

899
00:49:21,800 --> 00:49:24,840
Speaker 3: Coffin Joe and he's not impressed at first, but maybe

900
00:49:24,880 --> 00:49:28,920
Speaker 3: he will be later in the film. So anyway, Marcia

901
00:49:29,080 --> 00:49:32,400
Speaker 3: is like Coffin Joe, you are sadistic. I can't stand

902
00:49:32,400 --> 00:49:35,640
Speaker 3: the sadism. And Coffin Joe says, it's not sadism, it

903
00:49:35,760 --> 00:49:41,919
Speaker 3: is science. It is siensia. These women, he says, these

904
00:49:41,920 --> 00:49:45,319
Speaker 3: women were not a human sacrifice. Their jets will be

905
00:49:45,400 --> 00:49:48,680
Speaker 3: for the creation of the superior race, a race that

906
00:49:48,719 --> 00:49:51,719
Speaker 3: will become immortal through the control of instinct. So I

907
00:49:51,719 --> 00:49:55,000
Speaker 3: think he wants to create a new man. And Marcia

908
00:49:55,080 --> 00:49:59,920
Speaker 3: is standing there looking like that doesn't sound right. Martha Mark,

909
00:50:00,400 --> 00:50:03,840
Speaker 3: your instincts are correct. I don't think coffin Joe understands

910
00:50:03,840 --> 00:50:06,799
Speaker 3: what science means. He also seems to imply that it

911
00:50:06,880 --> 00:50:11,280
Speaker 3: is science because killing the women with the snakes revealed

912
00:50:11,360 --> 00:50:15,800
Speaker 3: their hypocrisy. I don't know what that means.

913
00:50:16,560 --> 00:50:18,840
Speaker 2: This does remind me that sometimes you will hear people

914
00:50:18,840 --> 00:50:21,200
Speaker 2: say I don't believe in God, I believe in science,

915
00:50:21,560 --> 00:50:23,560
Speaker 2: And yes, that can be an actual stance, but it

916
00:50:23,560 --> 00:50:25,440
Speaker 2: can also be you know, it can also be just

917
00:50:25,520 --> 00:50:28,399
Speaker 2: kind of like a shallow statement, which I.

918
00:50:28,280 --> 00:50:30,040
Speaker 4: Think is more in line with a Coffin Joe is

919
00:50:30,080 --> 00:50:30,680
Speaker 4: saying here.

920
00:50:30,719 --> 00:50:32,920
Speaker 3: I mean, I don't know. I have a lot of

921
00:50:32,920 --> 00:50:35,160
Speaker 3: trust in science, but that seems like a weird way

922
00:50:35,160 --> 00:50:37,000
Speaker 3: to phrase things to me. That's kind of like saying

923
00:50:37,080 --> 00:50:39,520
Speaker 3: I don't believe in ghosts, I believe in the law.

924
00:50:43,080 --> 00:50:49,120
Speaker 3: It's like, huh. Anyway, Coffin Joe, he releases a Marcia

925
00:50:49,120 --> 00:50:51,799
Speaker 3: without killing her, but he says, you know, she's not

926
00:50:51,920 --> 00:50:55,680
Speaker 3: worthy to bear him, to bear him a son because

927
00:50:55,760 --> 00:50:58,840
Speaker 3: she loves him and love is weak, and it saddened

928
00:50:58,880 --> 00:51:00,960
Speaker 3: him to see the weakness of love in her eyes.

929
00:51:01,400 --> 00:51:03,600
Speaker 2: All told, though, this is a pretty good breakup for

930
00:51:03,680 --> 00:51:04,279
Speaker 2: Coffin Joe.

931
00:51:04,280 --> 00:51:07,000
Speaker 3: I have to say yeah, oh yeah, because she's like,

932
00:51:07,080 --> 00:51:08,719
Speaker 3: are you going to kill me? And he's like, nope,

933
00:51:08,760 --> 00:51:10,440
Speaker 3: you can go because I know you're not going to

934
00:51:10,520 --> 00:51:13,040
Speaker 3: report me because you love me, which again is weak

935
00:51:13,160 --> 00:51:13,920
Speaker 3: and bad.

936
00:51:14,480 --> 00:51:17,640
Speaker 2: Yeah, this would be toxic in any other relationship, no doubt,

937
00:51:17,640 --> 00:51:19,760
Speaker 2: But for Coffin Joe, this is I mean, this feels

938
00:51:20,040 --> 00:51:22,040
Speaker 2: like perhaps a step up from just murdering a bunch

939
00:51:22,040 --> 00:51:22,400
Speaker 2: of people.

940
00:51:22,920 --> 00:51:25,160
Speaker 3: And she does not tell on him at first. She

941
00:51:25,280 --> 00:51:28,640
Speaker 3: vouches for Coffin Joe to the police. She says, I

942
00:51:28,760 --> 00:51:31,400
Speaker 3: was on a trip, which is where I was, and

943
00:51:31,440 --> 00:51:33,720
Speaker 3: no idea what happened to the other five non religious

944
00:51:33,719 --> 00:51:36,800
Speaker 3: women in town and he did nothing wrong.

945
00:51:37,520 --> 00:51:39,840
Speaker 2: Yeah, and a law of enforcements, like it's rock solid,

946
00:51:39,840 --> 00:51:40,960
Speaker 2: what can we do?

947
00:51:41,160 --> 00:51:44,480
Speaker 3: Yeah? So next thing is the movie takes a shift.

948
00:51:44,760 --> 00:51:48,680
Speaker 3: Coffin Joe sees Laura arriving in town in a carriage,

949
00:51:49,120 --> 00:51:52,440
Speaker 3: and Laura is the beautiful daughter of the colonel. She

950
00:51:52,560 --> 00:51:55,440
Speaker 3: is protected by Trunkador. And here's where we get that

951
00:51:55,480 --> 00:51:59,120
Speaker 3: trunk Adoor Coffin Joe fight scene, where Coffin Joe looks

952
00:51:59,160 --> 00:52:01,520
Speaker 3: at him, he's like, yeah, okay, he's pretty muscly, but

953
00:52:01,560 --> 00:52:05,360
Speaker 3: I have an idea. He grabs a cane that somebody

954
00:52:05,400 --> 00:52:07,759
Speaker 3: in the crowd is holding that's got one of those

955
00:52:07,880 --> 00:52:09,919
Speaker 3: what do you call it, like the crook on top,

956
00:52:10,040 --> 00:52:12,440
Speaker 3: the like you know, the U shaped top of the cane,

957
00:52:12,760 --> 00:52:15,319
Speaker 3: and he hooks it around Trunkador's neck and then he

958
00:52:15,400 --> 00:52:19,760
Speaker 3: spins Trunkedor around in circles and throws him in the mud.

959
00:52:19,840 --> 00:52:22,520
Speaker 3: And so I guess he's beating up Trunkador in front

960
00:52:22,560 --> 00:52:24,760
Speaker 3: of Laura, maybe to impress Laura.

961
00:52:24,920 --> 00:52:27,600
Speaker 2: I think, yeah, yeah, I think so, like I gotta

962
00:52:27,640 --> 00:52:30,560
Speaker 2: make I got to make an example out of this meathead. Again,

963
00:52:30,600 --> 00:52:34,520
Speaker 2: Trunkador is largely there to be made an example of

964
00:52:34,600 --> 00:52:37,399
Speaker 2: bye by Coffin Joe. I also want to point out,

965
00:52:37,440 --> 00:52:40,960
Speaker 2: like I was not prepared well for multiple aspects of

966
00:52:40,960 --> 00:52:44,680
Speaker 2: this film, multiple choices, but I wasn't prepared for how

967
00:52:44,680 --> 00:52:47,360
Speaker 2: many action sequences we get. You know, they're not you know,

968
00:52:47,360 --> 00:52:49,520
Speaker 2: they're not We're not in a Shaw Brothers film or

969
00:52:49,520 --> 00:52:54,000
Speaker 2: anything like that. Here, they're they're they're brief moments of action,

970
00:52:54,840 --> 00:52:57,399
Speaker 2: but they're they're more elaborate than I anticipated.

971
00:52:57,719 --> 00:52:59,560
Speaker 3: I agree, And it does seem like the point of

972
00:52:59,600 --> 00:53:02,640
Speaker 3: these acts scenes is very much that, oh, coffin Joe

973
00:53:02,680 --> 00:53:06,480
Speaker 3: could beat up anybody he wanted to. Yeah, So are

974
00:53:06,520 --> 00:53:08,879
Speaker 3: you supposed to think he's cool? I don't know.

975
00:53:09,600 --> 00:53:11,759
Speaker 2: I guess on some level he's supposed to be cool,

976
00:53:11,840 --> 00:53:13,800
Speaker 2: Like he's he's a smart fighter.

977
00:53:13,840 --> 00:53:14,560
Speaker 4: I think that's the thing.

978
00:53:14,680 --> 00:53:18,680
Speaker 2: Like, yes, trunk Adoor is stronger, but he's got he's

979
00:53:18,680 --> 00:53:22,280
Speaker 2: got that like seventeen strength. But you know, coffin Joe's

980
00:53:22,320 --> 00:53:26,560
Speaker 2: got that that nineteen decks and that high intelligence he's

981
00:53:26,560 --> 00:53:29,200
Speaker 2: gonna get in there, and he's gonna he's gonna make

982
00:53:29,239 --> 00:53:32,160
Speaker 2: short work of the muscleman trunk.

983
00:53:32,200 --> 00:53:35,440
Speaker 3: Odor is Ajax, but Coffin Joe is Odysseus.

984
00:53:36,080 --> 00:53:37,400
Speaker 4: Yeah.

985
00:53:37,480 --> 00:53:39,600
Speaker 3: So there's a party at the Colonel's house, I guess

986
00:53:39,600 --> 00:53:43,080
Speaker 3: to I don't know, celebrate the arrival of Laura in town.

987
00:53:43,880 --> 00:53:46,319
Speaker 3: And Coffin Joe shows up at the party, and of

988
00:53:46,360 --> 00:53:49,600
Speaker 3: course it's a real buzzkill. When Coffin Joe shows up, everybody,

989
00:53:49,840 --> 00:53:52,839
Speaker 3: like everybody stops talking and laughing and having a good

990
00:53:52,840 --> 00:53:55,520
Speaker 3: time and they just stare at him. Coffin Joe walks

991
00:53:55,600 --> 00:53:58,520
Speaker 3: up to Laura, who again she's playing the piano, and

992
00:53:58,560 --> 00:54:00,719
Speaker 3: he's like, meet me at midnight in the Alley of

993
00:54:00,800 --> 00:54:04,399
Speaker 3: red Flowers, and she does, and an owl is there

994
00:54:04,440 --> 00:54:06,360
Speaker 3: to make the scene cool. So she shows up in

995
00:54:06,400 --> 00:54:08,680
Speaker 3: the alley and he goes, are you afraid of me?

996
00:54:08,920 --> 00:54:11,600
Speaker 3: And she says no, And he says, they say that

997
00:54:11,640 --> 00:54:14,120
Speaker 3: I am cruel and I am a sadist. Don't you

998
00:54:14,160 --> 00:54:17,239
Speaker 3: fear me now? And she says, if you were to

999
00:54:17,320 --> 00:54:19,759
Speaker 3: kill me, that would only bring the one true thing

1000
00:54:19,840 --> 00:54:24,600
Speaker 3: in life death, And Coffin Joe. He just goes weak

1001
00:54:24,640 --> 00:54:27,319
Speaker 3: in the knees. He has found the perfect woman for him,

1002
00:54:27,880 --> 00:54:31,239
Speaker 3: and it gets even better. So she tells him after this,

1003
00:54:31,400 --> 00:54:34,359
Speaker 3: she's like, you know, the only true thing between life

1004
00:54:34,400 --> 00:54:37,920
Speaker 3: and death is you. So she's all about him, and

1005
00:54:37,960 --> 00:54:40,880
Speaker 3: then she says, the only thing that matters is having

1006
00:54:40,920 --> 00:54:45,080
Speaker 3: a superior child born of two superior beings. What are

1007
00:54:45,080 --> 00:54:48,080
Speaker 3: the odds? So it is a match made in heaven,

1008
00:54:48,160 --> 00:54:52,000
Speaker 3: which is stupid and doesn't exist, by the way, And

1009
00:54:52,360 --> 00:54:54,759
Speaker 3: she's like, Coffin Joe, all I want is to be

1010
00:54:54,920 --> 00:54:58,280
Speaker 3: your godless devil wife and the mother of unholy science.

1011
00:54:58,680 --> 00:55:01,319
Speaker 3: And Coffin Joe is just rilled. He's like, okay, we

1012
00:55:01,360 --> 00:55:02,360
Speaker 3: will make that happen.

1013
00:55:03,040 --> 00:55:05,120
Speaker 2: All right, We're off of the races now, like this

1014
00:55:05,200 --> 00:55:07,160
Speaker 2: is this is a perfect match, Like you say, so,

1015
00:55:07,560 --> 00:55:09,239
Speaker 2: there's just a few things they got to check off

1016
00:55:09,239 --> 00:55:14,799
Speaker 2: the list here, you know, her dad hating him and

1017
00:55:14,840 --> 00:55:18,440
Speaker 2: so forth, the various murders around town. Once we smooth

1018
00:55:18,480 --> 00:55:20,640
Speaker 2: all of this out, yeah, it's just all about that

1019
00:55:20,680 --> 00:55:21,720
Speaker 2: immortal baby blood.

1020
00:55:22,160 --> 00:55:23,840
Speaker 3: I think that they were like, oh, we need to

1021
00:55:23,840 --> 00:55:27,360
Speaker 3: get Coffin Joe to do some more murders before before

1022
00:55:27,480 --> 00:55:32,360
Speaker 3: the immortality of the blood. So first, Laura's brother tries

1023
00:55:32,440 --> 00:55:36,120
Speaker 3: to bribe Coffin Joe to leave town. So he comes

1024
00:55:36,120 --> 00:55:37,839
Speaker 3: and he says, you know, I'll pay you twice what

1025
00:55:37,880 --> 00:55:39,799
Speaker 3: your properties are worth to buy them from you, if

1026
00:55:39,800 --> 00:55:42,360
Speaker 3: you'll just leave town and leave Laura alone. But I

1027
00:55:42,400 --> 00:55:44,640
Speaker 3: don't know. It seems like Laura would just like find

1028
00:55:44,680 --> 00:55:47,480
Speaker 3: another Coffin Joe type to end up with, wouldn't she

1029
00:55:47,600 --> 00:55:50,080
Speaker 3: like she's she's got her own priorities.

1030
00:55:50,719 --> 00:55:52,879
Speaker 2: Yeah. Plus, you can't you can't stand in the way

1031
00:55:52,920 --> 00:55:57,160
Speaker 2: of love or something that closely resembles love. Yeah, this

1032
00:55:57,320 --> 00:56:01,399
Speaker 2: is clearly meant to be. But often Joe sees some

1033
00:56:01,440 --> 00:56:04,560
Speaker 2: possibilities here. The wheels are turning. He doesn't actually want

1034
00:56:04,560 --> 00:56:07,040
Speaker 2: that money, but you know, I'm guessing. On one level,

1035
00:56:07,320 --> 00:56:10,319
Speaker 2: he realizes this brother is a problem, This brother needs

1036
00:56:10,360 --> 00:56:13,600
Speaker 2: to be taken care of. But also perhaps here is

1037
00:56:13,640 --> 00:56:15,879
Speaker 2: one more test for my future wife to make sure

1038
00:56:15,920 --> 00:56:19,839
Speaker 2: she's truly one devoted to what we've got going on here.

1039
00:56:20,280 --> 00:56:22,279
Speaker 3: Right, So there are a couple of prongs to his plan.

1040
00:56:22,480 --> 00:56:25,520
Speaker 3: One of them is dealing with a trunk adoor. They're

1041
00:56:25,560 --> 00:56:27,480
Speaker 3: going to try to well, they're going to kill the

1042
00:56:27,600 --> 00:56:33,360
Speaker 3: brother and frame Trunkador for the murder. So so Coffin

1043
00:56:33,440 --> 00:56:37,919
Speaker 3: Joe recruits Marcia to seduce Trunkador and then tell him

1044
00:56:37,960 --> 00:56:42,480
Speaker 3: that she needs money, and then Coffin Joe challenges Trunkador

1045
00:56:42,520 --> 00:56:45,480
Speaker 3: to a game of poker, and I guess the idea

1046
00:56:45,520 --> 00:56:48,439
Speaker 3: is Trunkador agrees to this because he's like, I need

1047
00:56:48,440 --> 00:56:50,920
Speaker 3: to win money for my new girlfriend Marcia.

1048
00:56:51,680 --> 00:56:54,640
Speaker 2: Yeah, Trunkedor claims that he's been playing poker since he

1049
00:56:54,760 --> 00:56:57,359
Speaker 2: was in the womb, but it's clear from the get

1050
00:56:57,400 --> 00:56:59,680
Speaker 2: go that he's just going to get owned at cards

1051
00:57:00,040 --> 00:57:02,640
Speaker 2: by the one true strategic genius, coffin Joe. I mean,

1052
00:57:02,640 --> 00:57:06,000
Speaker 2: it's there's no question here. It's just this is doomed

1053
00:57:06,040 --> 00:57:06,680
Speaker 2: from the start.

1054
00:57:07,080 --> 00:57:09,080
Speaker 3: And there is a poker game that's like a it's

1055
00:57:09,080 --> 00:57:11,000
Speaker 3: like a James Bond movie. There's a high stakes and

1056
00:57:11,000 --> 00:57:11,880
Speaker 3: gambling scene.

1057
00:57:12,080 --> 00:57:14,839
Speaker 2: Yeah, we cut into it already. Trunkador is losing, like

1058
00:57:14,880 --> 00:57:18,720
Speaker 2: he's he's down. However, many games, this whole vision that

1059
00:57:18,760 --> 00:57:22,200
Speaker 2: he's gonna somehow make a fortune off of coffin Joe.

1060
00:57:22,240 --> 00:57:24,480
Speaker 2: Who I think it is. I think it's maybe more

1061
00:57:24,560 --> 00:57:26,560
Speaker 2: presented in the first film, but coffin Joe is also

1062
00:57:26,600 --> 00:57:29,560
Speaker 2: supposed to be like a wealthier member of this town,

1063
00:57:30,360 --> 00:57:33,400
Speaker 2: like he's he's the undertaker, Like there's there's always business

1064
00:57:33,600 --> 00:57:36,920
Speaker 2: for the undertaker. He makes plenty of business for himself,

1065
00:57:37,360 --> 00:57:40,560
Speaker 2: that's right, except sometimes, I mean except with like these, uh,

1066
00:57:40,680 --> 00:57:42,919
Speaker 2: these murders, these most recent murders. We had the scene

1067
00:57:42,920 --> 00:57:45,240
Speaker 2: where he's hiding the bodies in the swamp so that

1068
00:57:45,280 --> 00:57:47,000
Speaker 2: they'll you know, get you know, the rod, or be

1069
00:57:47,040 --> 00:57:50,400
Speaker 2: eaten by the scavengers. So in cases like that, he

1070
00:57:50,520 --> 00:57:53,720
Speaker 2: is kind of depriving himself off business. I guess he's

1071
00:57:53,720 --> 00:57:56,160
Speaker 2: still doing the close casket thing. So that's the that's

1072
00:57:56,200 --> 00:57:58,760
Speaker 2: what really sucks about having a family member killed by

1073
00:57:58,800 --> 00:58:01,400
Speaker 2: Coffin Joe, is he's still gonna handle the funeral.

1074
00:58:10,400 --> 00:58:14,040
Speaker 3: So Coffin Joe he kills Laura's brother by crushing him

1075
00:58:14,040 --> 00:58:17,320
Speaker 3: with the giant rock. And before that, he before he

1076
00:58:17,360 --> 00:58:21,560
Speaker 3: does that, he gives a long speech like he I

1077
00:58:21,600 --> 00:58:24,720
Speaker 3: don't even The themes are like will and instinct and

1078
00:58:24,840 --> 00:58:30,120
Speaker 3: inferiority and superiority. Guess what, the brother he's inferior. Coffin Joe,

1079
00:58:30,160 --> 00:58:33,360
Speaker 3: he's superior. He says, how long would these nails grow

1080
00:58:33,440 --> 00:58:36,000
Speaker 3: if I didn't cut them? I don't recall what that

1081
00:58:36,040 --> 00:58:40,640
Speaker 3: refers to. He's just like the fingernails are illustrative of

1082
00:58:40,640 --> 00:58:41,920
Speaker 3: some kind of point he's making.

1083
00:58:42,720 --> 00:58:45,920
Speaker 2: Yeah, there's a whole thing with the stone. They crush

1084
00:58:45,960 --> 00:58:50,040
Speaker 2: a rat, I mean, not for real, and then he

1085
00:58:50,120 --> 00:58:52,640
Speaker 2: like catches the rope on fire. There's it's a whole

1086
00:58:52,760 --> 00:58:56,720
Speaker 2: like saw esque situation here where he's like, okay, go ahead,

1087
00:58:56,800 --> 00:58:59,680
Speaker 2: call out to God, maybe he'll save you, or you know,

1088
00:58:59,720 --> 00:59:01,400
Speaker 2: this crush your head, And of course it ends up

1089
00:59:01,400 --> 00:59:02,320
Speaker 2: crushing his head anyway.

1090
00:59:02,880 --> 00:59:07,240
Speaker 3: It's a pit in the pendulum kind of trap. But yes,

1091
00:59:07,280 --> 00:59:10,600
Speaker 3: he also does the thing from the the Atheist Professor

1092
00:59:10,720 --> 00:59:13,520
Speaker 3: chain email where he's like, if God is real, he

1093
00:59:13,560 --> 00:59:16,240
Speaker 3: will come and save you. If he's not real, haha,

1094
00:59:16,280 --> 00:59:20,840
Speaker 3: improve and correct again. Yes, oh but anyway, then they

1095
00:59:20,920 --> 00:59:23,040
Speaker 3: so they crush him with the rock and then they

1096
00:59:23,280 --> 00:59:26,800
Speaker 3: frame Trunkador for the murder because they're playing poker in

1097
00:59:26,880 --> 00:59:30,600
Speaker 3: this crowded bar. Trunkador leaves the crowded bar. A scream

1098
00:59:30,680 --> 00:59:32,480
Speaker 3: is heard from outside, and they go out and they

1099
00:59:32,520 --> 00:59:35,280
Speaker 3: find Trunkador lying on the ground next to Laura's brother

1100
00:59:35,320 --> 00:59:38,400
Speaker 3: who is squished, and it's like, oh, Trunkador must have

1101
00:59:38,480 --> 00:59:41,240
Speaker 3: done it, because Coffin Joe was inside where everybody could

1102
00:59:41,240 --> 00:59:43,360
Speaker 3: see him. He couldn't possibly be to blame. It's not

1103
00:59:43,400 --> 00:59:44,919
Speaker 3: like he could have had accomplices.

1104
00:59:46,320 --> 00:59:49,880
Speaker 2: It's not like he's known to have multiple accomplices across

1105
00:59:49,920 --> 00:59:50,720
Speaker 2: town at this point.

1106
00:59:51,000 --> 00:59:53,360
Speaker 3: Yeah, but I think they do have the funeral in

1107
00:59:53,400 --> 00:59:54,440
Speaker 3: Coffin Joe's parlor.

1108
00:59:55,480 --> 00:59:56,920
Speaker 2: It's the only game in town. You gotta go to

1109
00:59:56,920 --> 00:59:57,480
Speaker 2: Coffin Joe.

1110
00:59:58,280 --> 01:00:01,320
Speaker 3: So here Laura and Coffin Joe start getting really serious.

1111
01:00:01,360 --> 01:00:05,680
Speaker 3: They have another midnight rendezvous and there's a thing any

1112
01:00:05,720 --> 01:00:08,400
Speaker 3: scene where coffin Joe is like kissing a woman. We

1113
01:00:08,480 --> 01:00:11,680
Speaker 3: get these hilarious close ups of his face where he's

1114
01:00:11,920 --> 01:00:16,160
Speaker 3: frowning and scowling. He's making like a yucky face as

1115
01:00:16,200 --> 01:00:19,320
Speaker 3: he forms the kissy lips, and it is so funny.

1116
01:00:19,360 --> 01:00:21,600
Speaker 3: I don't think it's supposed to be funny. I don't

1117
01:00:21,600 --> 01:00:23,840
Speaker 3: know what they're going for there. It's just like he's

1118
01:00:23,840 --> 01:00:30,360
Speaker 3: not gonna smile, so he's just like mmm. And then

1119
01:00:30,400 --> 01:00:33,600
Speaker 3: I think Laura comes to live at coffin Joe's house

1120
01:00:33,640 --> 01:00:35,760
Speaker 3: after this, and coffin Joe's got a cool house.

1121
01:00:36,400 --> 01:00:39,400
Speaker 2: Yeah, we get to see his bedroom at one point.

1122
01:00:39,400 --> 01:00:41,240
Speaker 2: I think there's only really one shot where we get

1123
01:00:41,240 --> 01:00:44,400
Speaker 2: to see the full stat But yeah, he has this

1124
01:00:44,560 --> 01:00:47,160
Speaker 2: nice dark curtain bed and I think there's like a

1125
01:00:47,680 --> 01:00:51,200
Speaker 2: like a painting of the devil over the bed. It's splendid.

1126
01:00:51,600 --> 01:00:54,840
Speaker 3: But uh oh, we're gonna start getting some of the

1127
01:00:55,480 --> 01:00:59,280
Speaker 3: moral melodrama coming in because Coffin Joe's about to develop

1128
01:00:59,320 --> 01:01:01,840
Speaker 3: a guilty cor conscience. He's in a bar and he

1129
01:01:02,480 --> 01:01:05,800
Speaker 3: overhears some people talking and he finds out that one

1130
01:01:05,840 --> 01:01:07,880
Speaker 3: of the women that he killed in his snake pit

1131
01:01:08,080 --> 01:01:11,360
Speaker 3: was pregnant, and this causes him to have a crisis

1132
01:01:11,400 --> 01:01:14,760
Speaker 3: of conscience. But how could he have a crisis of conscience?

1133
01:01:14,800 --> 01:01:19,320
Speaker 3: Isn't conscience weak? Isn't that a display of inferiority? How

1134
01:01:19,320 --> 01:01:22,800
Speaker 3: could a superior being like Coffin Joe feel guilty? Well,

1135
01:01:22,920 --> 01:01:25,880
Speaker 3: remember his one real moral impulse. He thinks it is

1136
01:01:25,920 --> 01:01:28,920
Speaker 3: wrong to harm children, and he thinks that this counts,

1137
01:01:29,040 --> 01:01:31,200
Speaker 3: So he has a guilt freak out.

1138
01:01:31,600 --> 01:01:35,320
Speaker 2: Yeah, and Laura, the future Miss Coffin here is hilarious

1139
01:01:35,320 --> 01:01:38,360
Speaker 2: in her attempts to make him feel better. She's like, come, Onzie,

1140
01:01:38,480 --> 01:01:40,200
Speaker 2: that child was just going to grow up to be

1141
01:01:40,240 --> 01:01:42,720
Speaker 2: an inferior adult. He was just going to be an idiot.

1142
01:01:42,880 --> 01:01:44,480
Speaker 2: So it's actually a good thing.

1143
01:01:44,280 --> 01:01:44,920
Speaker 4: That you did this.

1144
01:01:45,560 --> 01:01:49,200
Speaker 2: But coffin Joe's not buying it. He's like, He's like, nope, nope,

1145
01:01:49,200 --> 01:01:51,880
Speaker 2: this is against my code. This is wrong. I feel awful.

1146
01:01:52,160 --> 01:01:54,840
Speaker 3: It is time to have a nightmare of going to hell,

1147
01:01:55,000 --> 01:01:57,040
Speaker 3: and he goes to sleep. He has a nightmare of hell,

1148
01:01:57,600 --> 01:02:01,400
Speaker 3: and suddenly the film transitions to technic color. It's like

1149
01:02:01,480 --> 01:02:04,600
Speaker 3: The Wizard of Oz. But whereas in the Wizard of Oz,

1150
01:02:04,680 --> 01:02:07,560
Speaker 3: Kansas is black and white and Oz is in color,

1151
01:02:07,960 --> 01:02:11,200
Speaker 3: here most of the movie in I guess Earth is

1152
01:02:11,280 --> 01:02:13,680
Speaker 3: black and white, but Hell is in color.

1153
01:02:14,680 --> 01:02:17,840
Speaker 2: This was tremendous, in part for me because I was

1154
01:02:17,880 --> 01:02:19,440
Speaker 2: not expecting it. I thought we were going to be

1155
01:02:19,480 --> 01:02:22,480
Speaker 2: in the same dreary but effective black and white for

1156
01:02:22,520 --> 01:02:25,080
Speaker 2: the full film. I had not seen the trailer, so

1157
01:02:25,120 --> 01:02:27,280
Speaker 2: I didn't know that there were going to be color elements,

1158
01:02:27,480 --> 01:02:31,240
Speaker 2: and so suddenly we're in this weird technicolor world and

1159
01:02:31,280 --> 01:02:34,400
Speaker 2: I'm like, wow, this is this blew my socks off.

1160
01:02:34,440 --> 01:02:36,680
Speaker 2: It reminds me of when I watched The Tingler for

1161
01:02:36,720 --> 01:02:38,720
Speaker 2: the first time, and I didn't know that there were

1162
01:02:38,720 --> 01:02:41,360
Speaker 2: going to be color elements in that. Otherwise black and

1163
01:02:41,400 --> 01:02:41,960
Speaker 2: white film.

1164
01:02:42,320 --> 01:02:43,840
Speaker 3: Oh I forgot about that.

1165
01:02:44,760 --> 01:02:46,760
Speaker 2: Yeah, I found it. I found it highly effective. I

1166
01:02:46,800 --> 01:02:47,720
Speaker 2: got a big kick out of it.

1167
01:02:48,080 --> 01:02:50,680
Speaker 3: So yeah. In this sequence, he gets dragged out of

1168
01:02:50,720 --> 01:02:54,680
Speaker 3: bed and taken to a graveyard full of shaky hands.

1169
01:02:54,680 --> 01:02:56,560
Speaker 3: There's like a demon who grabs him, pulls him out

1170
01:02:56,600 --> 01:03:00,160
Speaker 3: of bed. This like tall, lean figure. He taken into

1171
01:03:00,200 --> 01:03:03,800
Speaker 3: the graveyard. Everybody's reaching out of the graves with hands,

1172
01:03:03,840 --> 01:03:08,240
Speaker 3: going nuts all over the place. And then once he

1173
01:03:08,560 --> 01:03:11,040
Speaker 3: is in Hell, he sees the tortures of the damned,

1174
01:03:11,320 --> 01:03:15,439
Speaker 3: which include muscly oiled up hercules, guys just running around

1175
01:03:15,480 --> 01:03:16,880
Speaker 3: poking people with pitchforks.

1176
01:03:17,440 --> 01:03:21,320
Speaker 2: Mm hmm, yeah, naked people crawling around on the floor,

1177
01:03:22,400 --> 01:03:27,320
Speaker 2: topless women strapped to columns in this kind of cave set.

1178
01:03:27,440 --> 01:03:30,640
Speaker 2: And then here come the musclemen with tridents to occasionally

1179
01:03:30,640 --> 01:03:33,920
Speaker 2: stab them. And it's worth driving home. This goes on

1180
01:03:34,040 --> 01:03:36,800
Speaker 2: for what feels like half an hour. This is another

1181
01:03:37,160 --> 01:03:39,360
Speaker 2: situation where they're like, well, we shot a lot of

1182
01:03:39,400 --> 01:03:42,920
Speaker 2: Hell footage, and we did it in color. Let's give

1183
01:03:42,920 --> 01:03:45,000
Speaker 2: the people what they want. Let's give them all of

1184
01:03:45,040 --> 01:03:48,920
Speaker 2: this footage. This actually reminded me a lot of the

1185
01:03:48,960 --> 01:03:53,200
Speaker 2: Hell scenes in the nineteen seventy musical Scrooge starring Albert

1186
01:03:53,240 --> 01:03:56,680
Speaker 2: Finney and Alec Guinness, except more naked and pokey here.

1187
01:03:57,000 --> 01:04:02,520
Speaker 2: But that level of obvious fake Hell set. This set

1188
01:04:03,320 --> 01:04:05,800
Speaker 2: here in the Coffin Joe film was apparently built in

1189
01:04:05,800 --> 01:04:10,760
Speaker 2: the synagogue, and according to Maren's they had rigged wiring

1190
01:04:10,800 --> 01:04:12,480
Speaker 2: in the floor of this set so they could have

1191
01:04:12,520 --> 01:04:17,080
Speaker 2: little pyrotechnic explosions, which I don't think I really noticed

1192
01:04:17,080 --> 01:04:18,920
Speaker 2: the explosion so much. There's a lot going on in

1193
01:04:18,960 --> 01:04:23,280
Speaker 2: these sequences, but the wiring wasn't great, and so as

1194
01:04:23,920 --> 01:04:27,440
Speaker 2: all the actors, including Coffin Joe, were moving around, they

1195
01:04:27,440 --> 01:04:30,560
Speaker 2: would get periodically shocked by the wiring and the floor.

1196
01:04:30,960 --> 01:04:34,040
Speaker 2: So if you rewatch the sequences, you'll see Coffin Joe

1197
01:04:34,120 --> 01:04:36,000
Speaker 2: and other people kind of going to that, and you know,

1198
01:04:36,680 --> 01:04:39,080
Speaker 2: it adds to the craziness of the sequence.

1199
01:04:39,680 --> 01:04:42,080
Speaker 3: So a bunch of things happen in Hell. Coffin Joe

1200
01:04:42,400 --> 01:04:45,680
Speaker 3: is he says, I can't be He's at one point

1201
01:04:45,720 --> 01:04:48,840
Speaker 3: he yells literally, he says, I don't believe in the laws.

1202
01:04:50,920 --> 01:04:53,120
Speaker 3: I think what he means there is that, like there

1203
01:04:53,200 --> 01:04:56,320
Speaker 3: aren't actually things people could go to Hell for. There's

1204
01:04:56,360 --> 01:04:57,720
Speaker 3: no stings right or wrong.

1205
01:04:58,160 --> 01:05:02,040
Speaker 2: It's like, I absolutely reject this notion in its entirety.

1206
01:05:02,320 --> 01:05:04,080
Speaker 2: There is no way that I am actually in Hell,

1207
01:05:04,120 --> 01:05:06,560
Speaker 2: but clearly like we are in Hell at this point,

1208
01:05:06,640 --> 01:05:10,520
Speaker 2: and it's full color. It's like, which is very interesting

1209
01:05:10,560 --> 01:05:12,560
Speaker 2: to think about, you know, outside of just sort of

1210
01:05:12,560 --> 01:05:16,000
Speaker 2: the obvious gimmickiness of it, Like Hell is another realm

1211
01:05:16,440 --> 01:05:18,720
Speaker 2: and it's in color. So it's like, in a sense,

1212
01:05:19,080 --> 01:05:22,080
Speaker 2: suddenly Hell is more real than the rest of the film.

1213
01:05:22,480 --> 01:05:25,560
Speaker 2: Hell feels more modern than the rest of the film.

1214
01:05:25,960 --> 01:05:28,240
Speaker 2: It's it's a very weird vibe. It's hard to like

1215
01:05:28,280 --> 01:05:31,480
Speaker 2: really figure out like what aspects of it are intentional

1216
01:05:31,520 --> 01:05:32,360
Speaker 2: and which or not.

1217
01:05:33,080 --> 01:05:37,080
Speaker 3: But he's obviously frightened. And then he sees the devil,

1218
01:05:37,320 --> 01:05:41,160
Speaker 3: which is Joe himself. It's the same actor again. He's

1219
01:05:41,160 --> 01:05:43,280
Speaker 3: a very goat like devil. I think he's got laurel

1220
01:05:43,400 --> 01:05:45,840
Speaker 3: leaves around his head and a little, you know, kind

1221
01:05:45,840 --> 01:05:50,040
Speaker 3: of kind of king of the Forest crown, so there

1222
01:05:50,040 --> 01:05:52,680
Speaker 3: are elements of pan in there. And he's dressed in

1223
01:05:52,720 --> 01:05:56,720
Speaker 3: like orange and pink and purple robes. So he's this

1224
01:05:56,880 --> 01:05:59,000
Speaker 3: devil looks like he's having a great time. But coffin

1225
01:05:59,080 --> 01:06:02,560
Speaker 3: Joe is not having a great time. He is things

1226
01:06:02,600 --> 01:06:05,040
Speaker 3: are rough, and he's like, uh oh, did I throw

1227
01:06:05,080 --> 01:06:09,480
Speaker 3: in everything on an incorrect ideology? Uh oh.

1228
01:06:09,520 --> 01:06:11,720
Speaker 2: There's also a big carnival feel to all of this

1229
01:06:11,840 --> 01:06:15,160
Speaker 2: as well, Yes, especially with the devil on his throne.

1230
01:06:15,200 --> 01:06:17,440
Speaker 2: He seems like he's the grand marshal of a parade.

1231
01:06:18,080 --> 01:06:21,440
Speaker 3: And then Coffin Joe sees his murder victims. There is

1232
01:06:21,520 --> 01:06:23,760
Speaker 3: the woman who cursed him in the snake pit, and

1233
01:06:23,800 --> 01:06:27,480
Speaker 3: she's coming at him saying, this night, I'll possess your corpse.

1234
01:06:28,120 --> 01:06:30,160
Speaker 2: Oh, that's the title. Now we're in it.

1235
01:06:31,440 --> 01:06:33,760
Speaker 3: So Coffin Joe wakes up from his nightmare and then

1236
01:06:33,800 --> 01:06:37,480
Speaker 3: he has to talk himself back into atheism and wickedness,

1237
01:06:37,520 --> 01:06:39,840
Speaker 3: and Laura is trying to help. She's like, no, don't

1238
01:06:39,840 --> 01:06:42,280
Speaker 3: worry about it. There is no God, there is no Hell.

1239
01:06:42,360 --> 01:06:45,040
Speaker 3: Everything's fine. Do more murders.

1240
01:06:45,600 --> 01:06:47,360
Speaker 4: Yeah, but he's clearly shaken at this point.

1241
01:06:47,680 --> 01:06:51,320
Speaker 3: Oh and then like in the next scene, Laura and

1242
01:06:51,360 --> 01:06:53,520
Speaker 3: Coffin Joe find out they're gonna have a baby, and

1243
01:06:53,560 --> 01:06:55,960
Speaker 3: then basically in the next scene after that, she's having

1244
01:06:56,040 --> 01:06:58,520
Speaker 3: the baby. So some time passes, I guess.

1245
01:06:58,400 --> 01:07:00,320
Speaker 2: Yeah, I was very confused at this point and is like,

1246
01:07:00,360 --> 01:07:02,760
Speaker 2: what has it been months and months? I thought it

1247
01:07:02,800 --> 01:07:03,800
Speaker 2: was like the next day.

1248
01:07:04,320 --> 01:07:08,480
Speaker 3: Yeah. But before that, there's there's another subplot, which is

1249
01:07:08,760 --> 01:07:11,840
Speaker 3: the Colonel busts Trunkador out of prison, and then the

1250
01:07:11,920 --> 01:07:15,080
Speaker 3: Colonel and Trunkador hire a bunch of I don't know, henchman.

1251
01:07:15,160 --> 01:07:16,920
Speaker 3: I was gonna say assassins, but I think they're not

1252
01:07:16,960 --> 01:07:19,720
Speaker 3: trying to kill him. They hire some tough guys to

1253
01:07:19,800 --> 01:07:22,960
Speaker 3: go capture a coffin Joe and bring him back to

1254
01:07:23,000 --> 01:07:23,440
Speaker 3: the colonel.

1255
01:07:23,880 --> 01:07:24,480
Speaker 4: Oh my goodness.

1256
01:07:24,520 --> 01:07:26,480
Speaker 2: This this is this is where things get really interesting,

1257
01:07:26,520 --> 01:07:29,240
Speaker 2: because we definitely get a lot of action at this point,

1258
01:07:29,600 --> 01:07:32,120
Speaker 2: and some of it is very convincing and cool. There's

1259
01:07:32,120 --> 01:07:35,280
Speaker 2: also the sequence where they initially come for Joe and

1260
01:07:35,440 --> 01:07:37,520
Speaker 2: you know, Coffin Joe can hold his own in a

1261
01:07:37,520 --> 01:07:41,560
Speaker 2: fight against one, two, three, maybe like four guys tops,

1262
01:07:41,840 --> 01:07:44,520
Speaker 2: but five or six is clearly too many, and he

1263
01:07:44,680 --> 01:07:47,320
Speaker 2: tries to like Spider Man, up a wall to escape,

1264
01:07:47,400 --> 01:07:50,880
Speaker 2: but like falls back down and I'm not sure if

1265
01:07:50,920 --> 01:07:54,400
Speaker 2: that was intended at the door not uh, but I

1266
01:07:54,440 --> 01:07:56,520
Speaker 2: got to chuckle out of it because yeah, oh there's

1267
01:07:56,520 --> 01:07:58,760
Speaker 2: no escape, Joe. You've got to you've got to fight

1268
01:07:59,360 --> 01:08:03,000
Speaker 2: or or Flee. Flee's not working, and again he's no

1269
01:08:03,080 --> 01:08:05,880
Speaker 2: match for this many hired dunes.

1270
01:08:06,360 --> 01:08:08,800
Speaker 3: He says to himself, I can't die. I must protect

1271
01:08:08,840 --> 01:08:12,800
Speaker 3: my son from inferior people. Yeah, so the henchman beat

1272
01:08:12,840 --> 01:08:15,000
Speaker 3: him up. I like, how there's one guy they hired

1273
01:08:15,040 --> 01:08:17,120
Speaker 3: that's just the head butt guy. All he does is

1274
01:08:17,160 --> 01:08:17,719
Speaker 3: head butt.

1275
01:08:18,240 --> 01:08:18,800
Speaker 4: Yeah. He like.

1276
01:08:18,880 --> 01:08:20,679
Speaker 2: They get Joe down and then he's like bam, head

1277
01:08:20,680 --> 01:08:21,880
Speaker 2: butt knocks him out.

1278
01:08:23,240 --> 01:08:25,639
Speaker 3: So they put coffin Joe in a wagon to take

1279
01:08:25,680 --> 01:08:28,400
Speaker 3: him to the colonel. But then he pops up and

1280
01:08:28,439 --> 01:08:31,800
Speaker 3: he attacks, and he's got blades on his shoes, he's

1281
01:08:31,800 --> 01:08:34,719
Speaker 3: got secret weapons all over the place.

1282
01:08:35,120 --> 01:08:37,760
Speaker 2: Oh, this is so good. This this reminded me a

1283
01:08:37,760 --> 01:08:39,880
Speaker 2: little bit of Riddick. It's a little bit of Ridtick

1284
01:08:39,880 --> 01:08:41,760
Speaker 2: in all this, because there's a scene where Ridic is

1285
01:08:41,760 --> 01:08:43,679
Speaker 2: in the back of a cart and chronicles of Riddic

1286
01:08:43,720 --> 01:08:47,400
Speaker 2: and manages to kill some folks. But it also reminds

1287
01:08:47,439 --> 01:08:50,120
Speaker 2: me a little bit of Hannibal Lecter where, especially in

1288
01:08:51,200 --> 01:08:53,840
Speaker 2: the book and film adaptation of Hannibal, where you know, oh,

1289
01:08:54,120 --> 01:08:59,600
Speaker 2: this guy's super dangerous, but are a more resourceful and

1290
01:08:59,600 --> 01:09:02,639
Speaker 2: powerful entity has hired a bunch of guys to capture him.

1291
01:09:02,880 --> 01:09:06,800
Speaker 2: But it's very difficult to keep a handle on Hannibal Lecter.

1292
01:09:06,840 --> 01:09:09,800
Speaker 2: It's very difficult to keep Coffin Joe contained.

1293
01:09:10,160 --> 01:09:10,479
Speaker 3: And you know.

1294
01:09:10,560 --> 01:09:12,919
Speaker 2: Yeah, so we get that scene where he has secret

1295
01:09:13,160 --> 01:09:16,639
Speaker 2: secreted razor blades like straight razors and his I don't

1296
01:09:16,640 --> 01:09:20,200
Speaker 2: know it, his back straps or something, and he swides

1297
01:09:20,240 --> 01:09:22,439
Speaker 2: them into his boot and then does this neat like

1298
01:09:23,439 --> 01:09:25,200
Speaker 2: scissor leg clamp kill.

1299
01:09:25,080 --> 01:09:27,680
Speaker 4: On one of the goons. It's it's pretty great. I

1300
01:09:27,720 --> 01:09:28,479
Speaker 4: love this sequence.

1301
01:09:28,720 --> 01:09:30,840
Speaker 3: He kills another one of the goons with an axe

1302
01:09:30,920 --> 01:09:33,479
Speaker 3: that he finds in a boat and then just like

1303
01:09:33,600 --> 01:09:35,840
Speaker 3: chops him in the head. And then he gets the

1304
01:09:35,880 --> 01:09:39,200
Speaker 3: world's fakest axe. Yes, it looks like he's made out

1305
01:09:39,200 --> 01:09:41,120
Speaker 3: of paper mache, so it's not as convincing as the

1306
01:09:41,120 --> 01:09:44,320
Speaker 3: straight raizers. Then he gets the other guys. He lures

1307
01:09:44,360 --> 01:09:46,479
Speaker 3: them into a trap in the swamp where they like

1308
01:09:46,520 --> 01:09:50,519
Speaker 3: sink in quicksand and they're begging for mercy and he's like, ah,

1309
01:09:50,720 --> 01:09:55,519
Speaker 3: I have defeated you. You are inferior. And again the

1310
01:09:55,840 --> 01:09:57,040
Speaker 3: swamp set is great.

1311
01:09:57,479 --> 01:09:59,840
Speaker 2: Yeah, the hired goons are swallowed up by the swamp.

1312
01:10:00,000 --> 01:10:02,360
Speaker 3: It's great, and yeah, the more I think about it,

1313
01:10:02,400 --> 01:10:05,479
Speaker 3: the more your comparison to Hannibal Lecter. I think I

1314
01:10:05,520 --> 01:10:08,639
Speaker 3: said it earlier, but you off, Mike, you had said

1315
01:10:08,640 --> 01:10:11,400
Speaker 3: Hannibal Lecter to me before I made that connection. I

1316
01:10:11,400 --> 01:10:14,960
Speaker 3: think that is really apt in many ways, except that

1317
01:10:15,080 --> 01:10:22,400
Speaker 3: Coffin Joe does not have Hannibal Lecter's poetic brevity of comment.

1318
01:10:22,640 --> 01:10:25,280
Speaker 3: You know, it's like Hannibal Lecter. But if Hannibal Lecter

1319
01:10:25,560 --> 01:10:27,920
Speaker 3: talked like an iin Rand protagonist.

1320
01:10:28,760 --> 01:10:31,360
Speaker 2: I think this is one of the shortcomings of Hannibal Electors.

1321
01:10:31,360 --> 01:10:35,479
Speaker 2: Hannibal Lecter did not preach enough, and he also never

1322
01:10:35,760 --> 01:10:38,960
Speaker 2: traveled to Hell, Like, how did that never happen? I mean,

1323
01:10:39,040 --> 01:10:42,840
Speaker 2: plenty of other pop culture fictional characters have had their

1324
01:10:42,880 --> 01:10:46,040
Speaker 2: own Inferno moments, but not Hannibal Lecter. Come on, make

1325
01:10:46,080 --> 01:10:46,519
Speaker 2: it happen.

1326
01:10:46,840 --> 01:10:49,400
Speaker 3: All right. Well, we're in the final final stretch of

1327
01:10:49,439 --> 01:10:52,120
Speaker 3: the film, so the guilty consciences really just start popping

1328
01:10:52,200 --> 01:10:54,519
Speaker 3: up all over the place. Marcie, I remember her. She

1329
01:10:54,720 --> 01:10:59,320
Speaker 3: has a guilty conscience now, and she because of her

1330
01:10:59,320 --> 01:11:03,240
Speaker 3: feelings of guilt, she drinks poison and then she dies.

1331
01:11:03,320 --> 01:11:06,160
Speaker 3: But as she's dying, she confesses to everyone that she

1332
01:11:06,280 --> 01:11:09,680
Speaker 3: witnessed Coffin Joe do all the murders. He did it,

1333
01:11:09,720 --> 01:11:12,599
Speaker 3: He's guilty. So this leads the colonel to form an

1334
01:11:12,640 --> 01:11:15,600
Speaker 3: angry mob to go kill Coffin Joe in revenge.

1335
01:11:16,240 --> 01:11:18,559
Speaker 2: I mean, the whole time they know Coffin Joe did this.

1336
01:11:18,720 --> 01:11:21,000
Speaker 2: Deep down, I don't understand why this is such a revelation.

1337
01:11:21,280 --> 01:11:24,200
Speaker 2: Coffin Joe is a murder our.

1338
01:11:24,320 --> 01:11:27,519
Speaker 4: Coffin Joe, not Zee.

1339
01:11:30,080 --> 01:11:33,080
Speaker 3: And then there is a very sad scene where Laura

1340
01:11:33,280 --> 01:11:36,000
Speaker 3: is about to give birth and the doctor is there,

1341
01:11:36,120 --> 01:11:40,599
Speaker 3: but Laura and their child die in childbirth, and Coffin

1342
01:11:40,720 --> 01:11:45,160
Speaker 3: Joe is moved, despite the fact that he shouldn't feel

1343
01:11:45,280 --> 01:11:48,759
Speaker 3: love or feel sympathy or pity for anyone. In fact,

1344
01:11:48,760 --> 01:11:52,360
Speaker 3: it turns out that he can't accept Laura's death, and

1345
01:11:52,720 --> 01:11:55,519
Speaker 3: he is. He is driven into a kind of a

1346
01:11:55,880 --> 01:12:00,599
Speaker 3: fit of despondency, and he first shows denial like Laura

1347
01:12:00,640 --> 01:12:04,160
Speaker 3: can't be dead. She's you know, she's she's my perfect match.

1348
01:12:04,240 --> 01:12:07,400
Speaker 3: We will, we will create the superior man. And then

1349
01:12:07,479 --> 01:12:10,920
Speaker 3: he clearly is feeling sadness and he takes Laura's body

1350
01:12:10,960 --> 01:12:13,759
Speaker 3: and carries her to the graveyard, and then the real

1351
01:12:13,880 --> 01:12:17,960
Speaker 3: guilt visions begin, one of the women that he murdered

1352
01:12:18,160 --> 01:12:20,439
Speaker 3: shows up wrapped in a snake, telling him that she

1353
01:12:20,479 --> 01:12:22,479
Speaker 3: will possess his corpse, as she was the same one

1354
01:12:22,520 --> 01:12:25,240
Speaker 3: saying this in hell and the one who cursed him.

1355
01:12:25,439 --> 01:12:27,400
Speaker 2: Oh yeah, Remember part of the curse was that he

1356
01:12:27,439 --> 01:12:30,400
Speaker 2: would never have a sign, and so this whole situation

1357
01:12:30,560 --> 01:12:32,080
Speaker 2: is the culmination of the curse too.

1358
01:12:32,479 --> 01:12:35,200
Speaker 3: So he starts yelling at the sky, which is storming.

1359
01:12:35,320 --> 01:12:39,520
Speaker 3: He says, come all spirits, come untrue things, comes spirits.

1360
01:12:39,560 --> 01:12:41,840
Speaker 3: If you exist and change my mind.

1361
01:12:42,120 --> 01:12:44,400
Speaker 2: Yes does God, If you exist, you will fight me

1362
01:12:44,479 --> 01:12:47,000
Speaker 2: now fisticuffs right here in the storm.

1363
01:12:47,439 --> 01:12:50,360
Speaker 3: So then God strikes a tree with lightning, and a

1364
01:12:50,479 --> 01:12:53,439
Speaker 3: burning branch of the tree falls off on top of

1365
01:12:53,680 --> 01:12:56,080
Speaker 3: Coffin Joe and like pins into the ground, and he

1366
01:12:56,160 --> 01:12:58,240
Speaker 3: literally says it was just a coincidence.

1367
01:13:00,720 --> 01:13:01,559
Speaker 4: Oh it's so good.

1368
01:13:02,400 --> 01:13:06,439
Speaker 3: He says, I am still superior. And a priest shows

1369
01:13:06,520 --> 01:13:09,320
Speaker 3: up with the Bible and a crucifix to convert Coffin Joe.

1370
01:13:09,360 --> 01:13:11,479
Speaker 3: He's like, you know what you can you can come

1371
01:13:11,680 --> 01:13:14,880
Speaker 3: accept Jesus. It's gonna be okay. Coffin Joe says, I

1372
01:13:14,920 --> 01:13:18,320
Speaker 3: am not weak. God does not exist, and he's you know,

1373
01:13:18,400 --> 01:13:21,000
Speaker 3: gnashing his teeth and foaming at the mouth, screaming at

1374
01:13:21,000 --> 01:13:24,919
Speaker 3: the sky. The mob arrives at the graveyard slash swamp.

1375
01:13:25,240 --> 01:13:27,280
Speaker 3: I don't know why you'd put the graveyard in the swamp,

1376
01:13:27,439 --> 01:13:28,320
Speaker 3: but apparently they did.

1377
01:13:29,280 --> 01:13:29,479
Speaker 4: Yeah.

1378
01:13:29,880 --> 01:13:33,080
Speaker 3: The mob shoots Coffin Joe and at the last he's

1379
01:13:33,120 --> 01:13:36,360
Speaker 3: mortally wounded. He's sinking into the slime, into the quicksand

1380
01:13:36,400 --> 01:13:40,240
Speaker 3: of the swamp. The skeletons of his victims start rising

1381
01:13:40,280 --> 01:13:44,400
Speaker 3: to the surface, and he literally yelps. He goes oh.

1382
01:13:44,439 --> 01:13:47,960
Speaker 3: And then and at the last he does come around.

1383
01:13:48,000 --> 01:13:51,200
Speaker 3: He repents. He says God, God is the Truth across

1384
01:13:51,280 --> 01:13:54,679
Speaker 3: a symbol of the sun, and church music starts playing.

1385
01:13:54,720 --> 01:13:57,680
Speaker 3: There's like church organ music. This totally sounds like none

1386
01:13:57,720 --> 01:14:00,320
Speaker 3: of the other music in the movie, and the priest

1387
01:14:00,439 --> 01:14:04,280
Speaker 3: crosses himself and Bruno looks on, seeming kind of sad,

1388
01:14:04,800 --> 01:14:08,519
Speaker 3: and then we get a readout on the screen that says, man,

1389
01:14:08,560 --> 01:14:12,320
Speaker 3: we'll only find truth when he searches for truth. And

1390
01:14:12,360 --> 01:14:12,920
Speaker 3: that's the end.

1391
01:14:13,360 --> 01:14:15,320
Speaker 4: So it all paid off, I guess sort of.

1392
01:14:16,120 --> 01:14:18,040
Speaker 3: So, but does Coffin Joe get to go to Heaven?

1393
01:14:18,600 --> 01:14:19,760
Speaker 2: I mean, I hope he would get to go to

1394
01:14:19,760 --> 01:14:22,080
Speaker 2: purgatory first. I would hope he would get the full

1395
01:14:22,360 --> 01:14:23,360
Speaker 2: divine comedy here.

1396
01:14:23,800 --> 01:14:24,120
Speaker 4: Ah.

1397
01:14:24,200 --> 01:14:27,439
Speaker 3: Yes, yes, we'd get a lot of descriptions of which

1398
01:14:27,479 --> 01:14:29,920
Speaker 3: direction the sun was setting as he goes around the mountain.

1399
01:14:30,040 --> 01:14:31,560
Speaker 4: Yeah.

1400
01:14:31,640 --> 01:14:33,519
Speaker 3: But okay, so we get the whole thing. We get

1401
01:14:33,560 --> 01:14:38,640
Speaker 3: all of the the depraved, evil, sinful, murderous behavior, but

1402
01:14:38,720 --> 01:14:41,320
Speaker 3: then we also get the redemption arc at the end,

1403
01:14:41,600 --> 01:14:46,759
Speaker 3: though it's very it's very abrupt, like he it's literally

1404
01:14:46,840 --> 01:14:49,200
Speaker 3: just the last thing he says right as he's sinking

1405
01:14:49,240 --> 01:14:52,080
Speaker 3: into the water. We don't get to see him like

1406
01:14:52,080 --> 01:14:55,240
Speaker 3: like pivot and do anything kind or you know, like

1407
01:14:55,720 --> 01:14:58,560
Speaker 3: act out his new redemption at all. It's just like that.

1408
01:14:59,040 --> 01:15:04,920
Speaker 3: It is the razor's edge deathbed confession. Sorry, death swamp confession.

1409
01:15:05,080 --> 01:15:06,520
Speaker 4: Yeah, death swamp confession.

1410
01:15:06,760 --> 01:15:09,200
Speaker 2: I've seen some criticism of this as being as maybe

1411
01:15:09,360 --> 01:15:12,920
Speaker 2: it felt, you know, too rushed or forced. I've read

1412
01:15:13,000 --> 01:15:15,720
Speaker 2: also that Brazilian sensors at the time only permitted, you know,

1413
01:15:15,760 --> 01:15:17,960
Speaker 2: all of this film's excess if it had an ending

1414
01:15:18,080 --> 01:15:21,240
Speaker 2: like this. And I'm not a completist by any stretch.

1415
01:15:21,280 --> 01:15:23,160
Speaker 2: On his various interviews and comments, but I've read that

1416
01:15:23,200 --> 01:15:26,200
Speaker 2: Maren's later said that he didn't like the ending and

1417
01:15:26,520 --> 01:15:29,080
Speaker 2: maybe felt forced to do it, But you know, at

1418
01:15:29,120 --> 01:15:30,519
Speaker 2: the same time, I think we have to, you know,

1419
01:15:30,560 --> 01:15:32,840
Speaker 2: think about the various influences and the idea of like

1420
01:15:32,880 --> 01:15:37,240
Speaker 2: Brazilian religious morality plays essentially being an influence on the

1421
01:15:37,240 --> 01:15:41,719
Speaker 2: film as well. And I don't know for for my taste,

1422
01:15:42,160 --> 01:15:45,519
Speaker 2: I didn't feel like the ending was felt completely rushed

1423
01:15:45,600 --> 01:15:49,880
Speaker 2: or completely tacked on. I mean it it it arrives,

1424
01:15:50,600 --> 01:15:54,280
Speaker 2: you know, swifter than a lot of the major movements

1425
01:15:54,280 --> 01:15:57,200
Speaker 2: in the plot do. But I mean it's I'm not

1426
01:15:57,240 --> 01:15:59,640
Speaker 2: sure how else this could have gone, Like what's what

1427
01:15:59,720 --> 01:16:02,160
Speaker 2: else could happen? Either you get the happy ending where

1428
01:16:02,200 --> 01:16:04,080
Speaker 2: the perfect baby is born. That can't happen. This is

1429
01:16:04,120 --> 01:16:08,440
Speaker 2: a hard exploitation movie. Also, it's not very climactic. If

1430
01:16:09,040 --> 01:16:11,679
Speaker 2: Coffin Joe challenges God to a fight and just God

1431
01:16:11,680 --> 01:16:14,000
Speaker 2: doesn't show up, and then Coffin Joe declares himself the

1432
01:16:14,040 --> 01:16:16,320
Speaker 2: winner and goes off to find another bride, like you

1433
01:16:16,400 --> 01:16:19,479
Speaker 2: need something to go down, and this seems like a

1434
01:16:19,520 --> 01:16:20,680
Speaker 2: fitting way to end it.

1435
01:16:21,120 --> 01:16:24,160
Speaker 3: I agree, I really can't think of another way this

1436
01:16:24,200 --> 01:16:27,800
Speaker 3: could have gone. But yeah, I don't know, Maybe my

1437
01:16:27,880 --> 01:16:30,439
Speaker 3: imagination is limited. Maybe I should be more of an

1438
01:16:30,479 --> 01:16:33,519
Speaker 3: outside the box thinker like Coffin Joe, and then I

1439
01:16:33,560 --> 01:16:37,320
Speaker 3: could imagine the curtain. No, I can see the other ending.

1440
01:16:37,520 --> 01:16:40,559
Speaker 3: So the mob shows up to get Coffin Joe for

1441
01:16:40,600 --> 01:16:42,960
Speaker 3: his crimes, and then he just turns it around on

1442
01:16:43,000 --> 01:16:45,720
Speaker 3: them again like he did earlier. He convinces them that

1443
01:16:45,800 --> 01:16:47,640
Speaker 3: it was good for him to do the crimes, and

1444
01:16:47,680 --> 01:16:50,479
Speaker 3: they are all stupid for criticizing him, and they all

1445
01:16:50,520 --> 01:16:53,439
Speaker 3: go home. They hang their heads in shame, and they're like, Wow,

1446
01:16:53,720 --> 01:16:56,200
Speaker 3: coffin Joe really is superior to all of us.

1447
01:16:58,680 --> 01:17:00,160
Speaker 2: Or I think you alluded to this earlier, or the

1448
01:17:00,200 --> 01:17:02,360
Speaker 2: idea that Coffin Joe becomes God or I don't know,

1449
01:17:02,439 --> 01:17:04,640
Speaker 2: becomes the Pope or something like that would be that

1450
01:17:04,680 --> 01:17:07,960
Speaker 2: would be fitting as well. Actually kind of kind of

1451
01:17:07,960 --> 01:17:10,719
Speaker 2: reminiscent of a Chronicles iritic, you know, it's like, oh,

1452
01:17:10,760 --> 01:17:13,320
Speaker 2: I became the thing I oppose, Like that would be

1453
01:17:13,360 --> 01:17:15,800
Speaker 2: a fitting downer ending for Coffin Joe.

1454
01:17:15,840 --> 01:17:18,600
Speaker 3: I think Coffin Joe becomes the Lord Marshall of the

1455
01:17:18,640 --> 01:17:19,839
Speaker 3: Necromonger Empire.

1456
01:17:20,280 --> 01:17:24,160
Speaker 2: Yeah, yeah, he's like darn it, I love this room

1457
01:17:24,240 --> 01:17:27,800
Speaker 2: in this throne. But this whole ideology is completely repellent

1458
01:17:27,880 --> 01:17:28,080
Speaker 2: to me.

1459
01:17:28,439 --> 01:17:30,960
Speaker 3: Okay, this does, though want to make me I have

1460
01:17:31,200 --> 01:17:34,439
Speaker 3: listical desire here to make a list of the best

1461
01:17:35,560 --> 01:17:41,000
Speaker 3: the best preachy hectoring villains from movies who give long

1462
01:17:41,240 --> 01:17:44,519
Speaker 3: lectures and sermons explaining why they're right and everyone else

1463
01:17:44,600 --> 01:17:45,000
Speaker 3: is wrong.

1464
01:17:45,840 --> 01:17:49,880
Speaker 2: Hmmm, Oh, that would be an interesting exercise because on

1465
01:17:50,040 --> 01:17:52,600
Speaker 2: one level, some of the memorable preachy villains, you know,

1466
01:17:52,600 --> 01:17:54,439
Speaker 2: they might not have actually preached that much. It's just

1467
01:17:54,479 --> 01:17:58,720
Speaker 2: kind of like our memory of effective storytelling is sometimes

1468
01:17:59,040 --> 01:18:02,160
Speaker 2: you actually show a little bit and we imagine the rest.

1469
01:18:02,720 --> 01:18:05,560
Speaker 2: That's not the case with this film.

1470
01:18:06,120 --> 01:18:08,720
Speaker 3: But that is a good point storytelling tip out there.

1471
01:18:08,760 --> 01:18:12,200
Speaker 3: I think often you have to show fewer examples of

1472
01:18:12,240 --> 01:18:14,840
Speaker 3: something in the story to establish the impression of a

1473
01:18:14,880 --> 01:18:16,160
Speaker 3: pattern than you would think.

1474
01:18:16,640 --> 01:18:21,920
Speaker 2: Yeah, but yeah, this is this is a really fun one.

1475
01:18:21,960 --> 01:18:25,479
Speaker 2: I really enjoyed this night. I'll Possess your Corpse. It's

1476
01:18:25,479 --> 01:18:27,920
Speaker 2: so many, so many additional details we didn't even get into.

1477
01:18:28,000 --> 01:18:30,960
Speaker 2: Like I love how when coffin Joe is dragged a hell,

1478
01:18:31,240 --> 01:18:33,280
Speaker 2: he's like dragged face first.

1479
01:18:33,040 --> 01:18:33,799
Speaker 4: Through the ground.

1480
01:18:34,000 --> 01:18:36,439
Speaker 2: Like there are moments like that where it seems like

1481
01:18:36,560 --> 01:18:38,720
Speaker 2: they could have done the easier thing and gone with

1482
01:18:38,760 --> 01:18:42,040
Speaker 2: just sort of the feet first drag. But but no,

1483
01:18:42,160 --> 01:18:43,800
Speaker 2: Maren's i' meant just a guess and it was like

1484
01:18:43,840 --> 01:18:45,920
Speaker 2: it was all in. It's like, nope, drag me face first.

1485
01:18:46,280 --> 01:18:49,280
Speaker 2: I'm the director, gosh darn it, and we want it

1486
01:18:49,320 --> 01:18:52,440
Speaker 2: to look physical. This needs to it needs to be believable,

1487
01:18:52,520 --> 01:18:54,080
Speaker 2: face first into the dirt.

1488
01:18:54,240 --> 01:18:54,800
Speaker 4: Let's do it.

1489
01:18:55,200 --> 01:18:58,920
Speaker 3: Okay, this moment, I possess no more insights about this night.

1490
01:18:58,960 --> 01:18:59,960
Speaker 3: I'll possess your corpse.

1491
01:19:00,760 --> 01:19:03,439
Speaker 2: All right, Well that's that's very uncoffin of you, Joe,

1492
01:19:03,520 --> 01:19:08,000
Speaker 2: but but I'll accept it. But hey, that doesn't mean

1493
01:19:08,040 --> 01:19:11,599
Speaker 2: we can't continue to talk about Coffin Joe on listener

1494
01:19:11,640 --> 01:19:13,959
Speaker 2: mail in the future. So hey, if you have thoughts

1495
01:19:14,000 --> 01:19:16,320
Speaker 2: about this night, I'll possess your corpse or at midnight,

1496
01:19:16,360 --> 01:19:18,200
Speaker 2: I'll take your soul or any other I'd love to

1497
01:19:18,200 --> 01:19:20,360
Speaker 2: hear more about some of these other Coffin Joe films

1498
01:19:20,400 --> 01:19:22,720
Speaker 2: because it took. One of the reasons it took so

1499
01:19:22,880 --> 01:19:25,400
Speaker 2: long to get around to doing one of these is

1500
01:19:25,400 --> 01:19:27,040
Speaker 2: I was like, well, there are a lot of coffin

1501
01:19:27,120 --> 01:19:31,439
Speaker 2: Joe related films, which ones are even acceptable for us

1502
01:19:31,479 --> 01:19:34,680
Speaker 2: to talk about, And you know, there are some of these,

1503
01:19:34,840 --> 01:19:37,080
Speaker 2: I just I'm not sure you can really access right now,

1504
01:19:37,600 --> 01:19:39,320
Speaker 2: so I'd love to hear more about them. If if

1505
01:19:39,320 --> 01:19:42,160
Speaker 2: we have any Coffin Joe experts out there, write in,

1506
01:19:42,240 --> 01:19:44,040
Speaker 2: we would love to hear from you. If you want

1507
01:19:44,080 --> 01:19:47,679
Speaker 2: to check out the other movies we've selected for Weird

1508
01:19:47,680 --> 01:19:49,240
Speaker 2: House Cinema in the past, you can go to a

1509
01:19:49,240 --> 01:19:52,080
Speaker 2: couple of places. I blog about these episodes at immutamusic

1510
01:19:52,120 --> 01:19:55,000
Speaker 2: dot com, but also if you go to letterbox dot

1511
01:19:55,040 --> 01:19:56,600
Speaker 2: com that's L E T T E R B O

1512
01:19:56,720 --> 01:19:58,840
Speaker 2: x D dot com, you can find us there. Our

1513
01:19:58,920 --> 01:20:01,160
Speaker 2: username is weird House. We have a list of all

1514
01:20:01,200 --> 01:20:03,280
Speaker 2: the movies we've covered over the years, and sometimes you

1515
01:20:03,320 --> 01:20:07,439
Speaker 2: get a peek ahead at what's next. A reminder that

1516
01:20:07,640 --> 01:20:10,479
Speaker 2: we're primarily a science podcast, the real science, not the

1517
01:20:10,479 --> 01:20:14,280
Speaker 2: Coffin Joe science, with core episodes on Tuesdays and Thursdays,

1518
01:20:14,439 --> 01:20:17,160
Speaker 2: listener Mail on Monday's short form Artifact or Monster Fact

1519
01:20:17,160 --> 01:20:19,760
Speaker 2: on Wednesdays, and then on Fridays, we set aside most

1520
01:20:19,800 --> 01:20:21,960
Speaker 2: serious concerns to just talk about a weird film on

1521
01:20:22,080 --> 01:20:23,600
Speaker 2: Weird House Cinema.

1522
01:20:23,840 --> 01:20:27,240
Speaker 3: Huge thanks to our excellent audio producer, JJ Posway. If

1523
01:20:27,240 --> 01:20:28,720
Speaker 3: you would like to get in touch with us with

1524
01:20:28,800 --> 01:20:31,120
Speaker 3: feedback on this episode or any other, to suggest a

1525
01:20:31,200 --> 01:20:33,519
Speaker 3: topic for the future, or just to say hello. You

1526
01:20:33,560 --> 01:20:36,240
Speaker 3: can email us at contact at stuff to Blow your

1527
01:20:36,320 --> 01:20:43,880
Speaker 3: Mind dot com.

1528
01:20:44,000 --> 01:20:46,960
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1529
01:20:47,040 --> 01:20:49,840
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1530
01:20:49,960 --> 01:20:53,240
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.