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Speaker 1: Welcome to Stuff to Blow your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick. And it's October.

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Speaker 1: And though we cover horror movies a lot on this show,

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Speaker 1: we I guess we have to do some really intense

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Speaker 1: or this month, and so what better time to introduce

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Speaker 1: our very first Luccio Fulci movie on Weird House. That's right,

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Speaker 1: Luccio Fulci film The House by the Cemetery. This is

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Speaker 1: a just a bloody and bonker's tale that has multiple

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Speaker 1: elements in it that I think are worth geeking out over,

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Speaker 1: and it also feels, on some level it feels like

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Speaker 1: the perfect film too, to to discuss this week, because

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Speaker 1: as of this week, Weird House Cinema has completed its

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Speaker 1: first Journey around the Sun. We've been doing these episodes

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Speaker 1: for for a year now, and you've been either putting

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Speaker 1: up with them or enjoying them with us for a year,

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Speaker 1: and so we we appreciate that. Now, Rob, this movie

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Speaker 1: was your pick, so I assume this must you must

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Speaker 1: have some kind of personal history with it. What what

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Speaker 1: is your connection to House by the Cemetery? I think

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Speaker 1: it was the first folksy film that I saw that

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Speaker 1: really connected with me. That the first film where I

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Speaker 1: where I felt like, I mean, they're even his worst films,

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Speaker 1: his his less celebrated films. They often there's generally something

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Speaker 1: enjoyable in them. Uh. But but sometimes if you don't,

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Speaker 1: if you're not really a connoisseur, it's easy to get

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Speaker 1: caught up on the things that don't work. Uh. And

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Speaker 1: so I think I've had that experience with some of

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Speaker 1: his other films, like what New York Ripper? And is

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Speaker 1: it New York Ripper? Yeah, I think I've never seen

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Speaker 1: that one in Manhattan Baby, which is a wonderful I

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Speaker 1: love the title Manhattan Baby because it's it's it's kind

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Speaker 1: of implies a certain understand like a B cinema international

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Speaker 1: idea of what New York was. And therefore you could

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Speaker 1: just put the word Manhattan in front of baby and

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Speaker 1: it takes on sinister qualities. Um. But those are all

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Speaker 1: films where I I think I saw more of the

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Speaker 1: flaws than the uh than the genius. And and in

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Speaker 1: this film, the genius stood out to me. So I

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Speaker 1: was really excited to revisit it, and I found that

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Speaker 1: in revisiting it, I got to appreciate all the bonker

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Speaker 1: stuff a lot more. I feel like my my memory

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Speaker 1: had kind of selectively cut out a lot of the

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Speaker 1: the weirder plot holes in this film, and I mainly

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Speaker 1: remembered like a really great monster. I remembered some uh,

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Speaker 1: you know, some weird scenes and some heightened tension, but

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Speaker 1: ultimately this is just a wonderful weird pick. Well. So

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Speaker 1: we've been talking recently a number of times about specifically

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Speaker 1: about these rubbed the Fur movies, movies that are more

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Speaker 1: about a a vision of of audio visual texture than

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Speaker 1: they are about the the narrative contents of the film.

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Speaker 1: And it's funny that that Fulci never came up when

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Speaker 1: we were talking about these before, because I think, in

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Speaker 1: the most disgusting possible way, Fulgi was deeply committed to

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Speaker 1: making rub the fur type movie cinema as a as

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Speaker 1: a almost purely esthetic exercise over a narrative one. And

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Speaker 1: so I've seen a number of Fulchy horror movies and

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Speaker 1: I can't remember a single one of them for its

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Speaker 1: characters or plot. Instead, what you what you remember from

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Speaker 1: these movies are scenes and images. So I tend to

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Speaker 1: think of of Fulci as a um. I think of

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Speaker 1: his approach to movie making as kind of similar to

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Speaker 1: a child creating shoebox dioramas, except of course they're strewn

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Speaker 1: with ludicrous amounts of blood and gore. Uh So, he

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Speaker 1: has like an extraordinary eye for these memorable set pieces

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Speaker 1: of weirdness and wet violence. But on the narrative level,

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Speaker 1: these scenes and the characters in them always feel just

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Speaker 1: barely held together by the vagueust of narrative logic. Every

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Speaker 1: Fulchre movie I have ever seen feels like it takes

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Speaker 1: place in a dream, wherein every scene, you know, it's

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Speaker 1: it's like that moment in a dream where some things

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Speaker 1: are going on around you, but you couldn't necessarily explain

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Speaker 1: how you got there or why. Now, like a dream,

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Speaker 1: you can think, I think, what I do or what

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Speaker 1: I've done in the past with Full Street movies is afterwards,

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Speaker 1: I kind of reflect on the dream and and sort

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Speaker 1: of ascribe it a structure, you know, And I feel

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Speaker 1: like you can certainly do that with a film like this.

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Speaker 1: You can be like, Okay, well, this was at heart

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Speaker 1: a film about a house that is haunted. People move

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Speaker 1: into said haunted house, have encounters with the haunt, and uh,

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Speaker 1: you know there are consequences for all of that. I

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Speaker 1: think that's basically the plot, But what we actually witness

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Speaker 1: on on screen is a is a lot more, I

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Speaker 1: don't know, frenzied and uh and and like you said,

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Speaker 1: kind of definitely follows the logic or the lack of

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Speaker 1: logic found in dreams. Yeah, and and like you're saying,

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Speaker 1: I mean, actually it's kind of hard to describe because

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Speaker 1: his movies do in fact have plots and they have characters.

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Speaker 1: Uh so House by the Cemetery, which we just watched,

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Speaker 1: is a movie that technically has a story that you

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Speaker 1: could summarize in words. It's more that it just doesn't

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Speaker 1: really feel that way when you're watching it. You know,

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Speaker 1: like you could write out a plot summary and it

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Speaker 1: would more or less make sense. It's just that seemed

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Speaker 1: seeing I at least don't feel the normal levels of

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Speaker 1: narrative logic that you would in a in a movie

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Speaker 1: where the plot hangs together like it should um and instead,

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Speaker 1: once again, what we get is more like a collection

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Speaker 1: of images, shots, set pieces, and scenes, as if billowing

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Speaker 1: out of a dream and then kind of haphazardly strung

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Speaker 1: together along a pretty standard kind of horror plot arc.

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Speaker 1: I think one aspect of this, or one reason for this,

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Speaker 1: is that I don't think Fulty was ever the sort

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Speaker 1: of director to let to let the plot get in

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Speaker 1: the way of a of a great shot, Right there's

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Speaker 1: something visually interesting to be done. It seems like he

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Speaker 1: would do it even if it wasn't really helping out

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Speaker 1: the plot all that much. Not even plot, I mean,

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Speaker 1: just to let any kind of logic or reality get

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Speaker 1: in the way of a good shot. So say the

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Speaker 1: laws of physics. You know, he will show some kind

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Speaker 1: of bizarre murder that he maybe came to him in

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Speaker 1: a dream or whatever. And uh, and it doesn't really

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Speaker 1: matter if this is not how like fluids flow in

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Speaker 1: the real world, or if this is you know, it

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Speaker 1: doesn't really gravity would interfere with what he wants to

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Speaker 1: be showing. You is He's just going to show it. Yeah.

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Speaker 1: You know. Another thing that's kind of interesting about full

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Speaker 1: cheese horror movies is that though they are classifiable as

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Speaker 1: horror and they generally have you know, ghosts and zombies

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Speaker 1: supernatural horror plot elements, I don't know if they're really

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Speaker 1: intended to be scary. I never really find them scary.

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Speaker 1: They're more like disgusting psychedelic art film. Yeah, this film

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Speaker 1: in particular, um, yeah, it feels like it's trying to

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Speaker 1: be haunting and and supernatural. It's it's definitely going out

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Speaker 1: there to be gory. But really there's only there's only

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Speaker 1: like one sequence of a child in peril that felt suspenseful.

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Speaker 1: I don't know, maybe the opening kill sequence is a

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Speaker 1: little bit suspenseful, even though you don't really have a

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Speaker 1: firm attachment to any of the characters. Okay, so what's

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Speaker 1: the elevator pitch on this one? Absurdly grizzly murders keep

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Speaker 1: happening at the old freud Stein house. Let's watch what

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Speaker 1: happens when a new family moves in. Don't you mean

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Speaker 1: oak manner, isn't it? Yeah, the realtors keep insisting don't

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Speaker 1: call at the Freudstein House. God, I love the cutaways

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Speaker 1: to the real estate office. Yeah, we got we got

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Speaker 1: a strong real estate agent subplot in this. Yeah, and

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Speaker 1: the real estate office was strangely political compared to you know,

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Speaker 1: there was nothing else in the movie like this. But

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Speaker 1: in the real estate office, they're a bunch of flag

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Speaker 1: there's like an American flag, and then some other flags

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Speaker 1: I don't know what they were, and then there's a

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Speaker 1: might have been state flags or something. And then there's

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Speaker 1: a framed portrait of John F. Kennedy and there's a

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Speaker 1: big bust of an eagle. Uh, I don't know why

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Speaker 1: it was so patriotic in there. Interesting. All right, Well,

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Speaker 1: let's go ahead and hear the audio for some some

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Speaker 1: of the trailer audio. Maybe we'll play the whole trailer

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Speaker 1: because this is a fun one, and I'll explain why

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Speaker 1: after you hear it. Even where are you played? Answer me?

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Speaker 1: Stay in this house once, you don't know will hurt you.

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Speaker 1: It was to be a getaway. Three. It's becoming run

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Speaker 1: away nightmare? Do you see anything? Some old steps going down?

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Speaker 1: He has been awaiting the arrival of his new guests

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Speaker 1: one by one. They are disappearing, one by blady one.

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Speaker 1: When you moved to this house, before you get locked in,

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Speaker 1: read the fine print, you may have just mortgage. You're right,

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Speaker 1: due to the graphic nature of this film, no one

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Speaker 1: under it. We're to be admitted. How all right? So

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Speaker 1: you might have noticed, well that's not a maybe that's

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Speaker 1: not our typical movie narrator. That's not that's a slightly

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Speaker 1: different voice of God. Doesn't sound like God at all.

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Speaker 1: Maybe a devil is narrating this. Well, that devil is

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Speaker 1: brother Theodore, the comedian and character actor that we discussed

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Speaker 1: in the war Hawk Tanzania film The Devil's Express. You

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Speaker 1: might also know him from The Burbs and the animated

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Speaker 1: adaptations of The Hobbit in the Last Unicorn. He was

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Speaker 1: the voice of of gollum in in the animated Hobbit film,

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Speaker 1: and here he is narrating a trailer. I love it.

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Speaker 1: In The Devil's Express he was the street preacher who,

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Speaker 1: in one scene was giving a sermon by the subway

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Speaker 1: entrance about how all your gods are dead and the

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Speaker 1: rats are screaming. I was looking around trying to figure

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Speaker 1: out what other trailers he narrated, and I couldn't find

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Speaker 1: evidence of a lot of them. So I don't know

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Speaker 1: if this was like just a very brief gig for him,

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Speaker 1: or if I'm missing a lot of trailers here. But

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Speaker 1: uh oh, I wish he had done more. I wish

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Speaker 1: he was still around to do film trailers. Like any

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Speaker 1: kind of oscar bait, it comes out when here brothers.

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Speaker 1: Theodore narrated, how would he say featuring the personable Mark Damon? Uh?

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Speaker 1: Be good? Well, speaking of humans, let's uh get into

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Speaker 1: the humans involved in bringing this this strange film to

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Speaker 1: life first. I guess we'll begin with the director here. Uh,

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Speaker 1: the key individual we've already we've already brought up already.

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Speaker 1: That's Luccio Fulci, who seven through nine. So we've mentioned

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Speaker 1: him multiple times on Weird House Cinema. So it's it's

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Speaker 1: it's ultimately nice to finally discuss him in one of

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Speaker 1: his own films instead of just you know, referring to

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Speaker 1: to people who worked with him. He's best remembered today

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Speaker 1: for his horror films of the mainly the nineteen eighties. Here,

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Speaker 1: I guess it's the that's the big time for him, uh,

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Speaker 1: And it's he is, without a doubt, one of the

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Speaker 1: titans of Italian b cinema from this era. But all

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Speaker 1: this really kicked into high gear after nine Zombie came out.

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Speaker 1: We've talked about this one before. This was a very

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Speaker 1: prolific period of his career that produced some of his

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Speaker 1: best remembered films. Now this is Zombie with just an

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Speaker 1: eye instead of right he is this the one that

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Speaker 1: was marketed as an unofficial sequel to Dawn of the Dead. Yeah, yeah,

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Speaker 1: it was very much cashing in on the success of

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Speaker 1: that film. Um. And it is also We've We've. You

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Speaker 1: may remember as discussing the like some of the bonkers

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Speaker 1: scenes in this Uh. This is another one where he

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Speaker 1: didn't let the plot get in the way of an

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Speaker 1: interesting scene, such as the one where a what a

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Speaker 1: shark and a zombie battle each other while a topless

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Speaker 1: scuba diver swims by, just you know, completely bonkers and

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Speaker 1: definitely stands out in one's memory. But he'd been active

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Speaker 1: for a while prior to The Zombie. He had been

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Speaker 1: directing full length films for twenty years at that point,

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Speaker 1: including some horror films such as A Lizard in a

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Speaker 1: Woman's Skin Two is Don't Arch for a Duckling Uh.

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Speaker 1: He also did in nineteen sixty nine jalo film titled

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Speaker 1: One on Top of the Other, But he directed a

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Speaker 1: number of different genre films before the nineteen eighties, including

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Speaker 1: Western spy thrillers, comedies, and more. He did an adaptation

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Speaker 1: of Jack London's White Fang. He also did a fantasy film,

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Speaker 1: Threes Conquest which is is quite entertaining and weird. Maybe

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Speaker 1: we'll come back to that one. Conquest can sometimes be

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Speaker 1: kind of rough because it's it looks like it was

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Speaker 1: filmed through cloth. Like it there is a just an

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Speaker 1: impenetrable haze through the entire movie. It looks like there

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Speaker 1: was a I don't know, gauze over the camera lens

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Speaker 1: or something how I think they would normally describe it.

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Speaker 1: It's just this gray, hazy look that never ends, but

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Speaker 1: Conquest starts, so it's like a you know, it's one

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Speaker 1: of those barbarian movies, sort of a cone and rip off, um.

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Speaker 1: But it's got Jorge Rivera from from Where Wolf as

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Speaker 1: the Conan character. Yes, yeah, yeah, it has a number

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Speaker 1: of of fun elements in it. I wonder though, if

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Speaker 1: if you're one of the things about these films is

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Speaker 1: that um, is that that some of us saw them

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Speaker 1: years ago with less than on less than great formats. Um.

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Speaker 1: You know, maybe we even saw him on VHS. So

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Speaker 1: I wonder if the version of Conquests you saw was

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Speaker 1: like one of it was like a more recent um

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Speaker 1: restoration of it, or it was like it was older.

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Speaker 1: Because the film we're talking about here today was recently

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Speaker 1: restored in two k uh and and that was the

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Speaker 1: version that that I watched in preparation for this episode,

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Speaker 1: and it really did seem a lot clearer than I

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Speaker 1: remember watching it, you know, like ten or fifteen years

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Speaker 1: ago the same. Yeah, this one, Uh, it looks a

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Speaker 1: lot better now than the version I saw about fifteen

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Speaker 1: years ago. Um. One more note about one of the

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Speaker 1: movies you mentioned, I've actually seen a Lizard in Woman's Skin.

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Speaker 1: That's all Jallo movie that is very strange. It involves

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Speaker 1: I think it's one of the number of these Italian

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Speaker 1: jelly that take place in London, if I remember for actually,

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Speaker 1: and it involves it involves like a like a party house.

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Speaker 1: There's like a it's like a total I think the

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Speaker 1: plot is the main character and her husband live in

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Speaker 1: one part apartment and then right next door there's a

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Speaker 1: total party house, and she has these like dreams and

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Speaker 1: visions about weird stuff going on in there. I think

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Speaker 1: it's kind of there's like, I don't know, naked people

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Speaker 1: and panthers wandering around and stuff. Now, if I'm not mistaken,

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Speaker 1: the title on that one has to do with the

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Speaker 1: success of Dario Argento is the Bird with a crystal plumage.

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Speaker 1: And if you start looking at titles of Jello films,

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Speaker 1: you'll find that you have the bird with a crystal

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Speaker 1: plumage come out, and then various other titles that have

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Speaker 1: a similar structure. You know, it will be like, you know,

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Speaker 1: the rhino with a with a diamond toe nail. You know,

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Speaker 1: something like that that seems to get in on the

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Speaker 1: same trend. Oh man, there's so many Jello movies with

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Speaker 1: great titles, totally independent. A lot of times I don't

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Speaker 1: even remember which movie the title goes with. There's one

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Speaker 1: that always sticks in my mind called your uce is

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Speaker 1: a locked room, and only I have the key. I

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Speaker 1: gotta make copies of that key. Well, anyway, back back

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Speaker 1: to Fulty uh. He again he died in and his

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Speaker 1: his His output slowed down later in life and as

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Speaker 1: he wrestled with with health issues. But his next to

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Speaker 1: last film was nine nineties A Cat in the Brain,

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Speaker 1: which which I have not seen, uh and really didn't

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Speaker 1: know much about. I just kind of assumed it was

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Speaker 1: just another standard, you know, bloody fulgy affair, but um

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Speaker 1: it apparently stars a fictionalized version of himself. He plays

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Speaker 1: this fictionalized version of himself in the film seeking the

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Speaker 1: aid of a twisted psychiatrist over his own violent visions. Uh. So,

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Speaker 1: I watched the trailer for it, and it looks it

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Speaker 1: looks amazing. It's a lot of fulchy ranting, um, you know,

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Speaker 1: dubbed into English for the you know, the version we

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Speaker 1: would watch where where he's saying things like the man

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Speaker 1: was all read and I wanted to kill him, and

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Speaker 1: then you'll you know, cut to some sort of bizarre

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Speaker 1: sequence trying to understand the Uh. The reception history of

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Speaker 1: Fulgi is interesting because he seems like a figure who

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Speaker 1: simultaneously evokes a disgust reaction from people, and I think

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Speaker 1: a lot of people would sort of look down on

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Speaker 1: as a kind of lowbrow pervert of gore, uh, somebody

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Speaker 1: who made these gross movies full of almost hilarious quantities

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Speaker 1: of gratuitous blood and guts. And yet at the same time,

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Speaker 1: I think there's a lot of film scholarship on Fulgi.

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Speaker 1: I sense that he enjoys a kind of special aura

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Speaker 1: of artistic respect set apart from most other directors of

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Speaker 1: of lowbrow b horror movies of this kind. Yeah, I

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Speaker 1: think part of it may be that He's important enough

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Speaker 1: and ultimately impressive enough that he stands out. Uh, you know,

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Speaker 1: he kind of emerges out of that world of Italian

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Speaker 1: b cinema, and therefore he might be the most notorious

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Speaker 1: name that someone is familiar with from that world. But

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Speaker 1: of course, if you if you dig dig a little

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Speaker 1: deeper into it i MB cinema, you find plenty of

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Speaker 1: other more notorious nights. Uh. You know, there are a

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Speaker 1: lot more arguably unsavory characters than than Luccio Fulci. I mean,

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Speaker 1: I guess the weird distinction here is that I bet

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Speaker 1: at multiple colleges out there in the world, there are

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Speaker 1: entire courses on Folchi, like you know, is at that

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Speaker 1: level of uh subject matter worthy of critical analysis. I think, well,

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Speaker 1: let's let's look at some of the other other names

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Speaker 1: involved here. We also have Alissa Brigante, who has a

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Speaker 1: story credit. This is an Italian screenwriter who wrote on

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Speaker 1: such films as Zombie Manhattan Baby, The Bronx Warriors, A

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Speaker 1: Blade in the Dark, Hands of Steel, which we've discussed

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Speaker 1: on the show before, and many more. Hands of Steel

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Speaker 1: was the Italian terminator rip off that had the big

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Speaker 1: beefy guy who comes to the desert bar and then

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Speaker 1: ends up in an arm wrestling scene. Yeah, an Arizona

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Speaker 1: movie filmed by Italians and also featuring John Saxon. Oh yeah,

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Speaker 1: John Saxon and uh. Oh. In that movie was the

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Speaker 1: one where we encounter the worst song of all time

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Speaker 1: because the lead actress in it sings sings that pop

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Speaker 1: single Teddy Bear. I don't know, I kind of like

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Speaker 1: Teddy Beard. Okay, I look back fondly on Teddy Bear.

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Speaker 1: I don't remember it though, I don't remember how it goes. Oh,

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Speaker 1: let me remind you, no, no, after afterwards, afterwards. Okay.

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Speaker 1: So the next name we're pointing out, Dardano Sacchetti UH

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Speaker 1: has a screenplay credit. Born Italian screenwriter who worked on

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Speaker 1: the likes with with the likes of Lomberto Baba, Luccio Fulci,

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Speaker 1: in Zo g Castellari, Dario Argento. His first credit was

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Speaker 1: Argento's The Cat of Nine Tales. He worked with Fulci

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Speaker 1: quite a bit, including some of his most well known film,

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Speaker 1: some of the ones we've we've mentioned here already. He

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Speaker 1: worked on Lomberto Baba's Monster Shark and Demons and Uh.

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Speaker 1: He also worked on nineteen ninety The Bronx Warriors, so

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Speaker 1: another important name in Italian B cinema. And there's another

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Speaker 1: screenplay credit to Georgio Mariuzo, who also wrote on the

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Speaker 1: Folksy films The Beyond and Enigma as well as some others.

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Speaker 1: Now is House by the Cemetery sometimes considered part of

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Speaker 1: a I'm afraid I'm getting this wrong with part of

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Speaker 1: a sort of conceptual trio of horror films that Folchi

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Speaker 1: did along with Gates of Hell and UH and The

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Speaker 1: Beyond that, Yes, the so called Gates of Hell trilogy

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Speaker 1: of films. And I'm personally not sure if this is

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Speaker 1: if this was was dubbed a trilogy by Folki himself,

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Speaker 1: or if this is something that commentators and fans have

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Speaker 1: come up with. But at any rate, yeah, we have

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Speaker 1: the this uh, these three films UH City of the

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Speaker 1: Living Dead from nineteen eighty and The Beyond and House

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Speaker 1: by the Cemetery both from one UM and UH, and

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Speaker 1: it is just so happens we have an actor that

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Speaker 1: is in all three of these. It is Katherine McCall

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Speaker 1: or Katriana McCall uh, and she plays Lucy Boyle, the

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Speaker 1: wife in this picture. She was born in nineteen fifty

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Speaker 1: four British born ballet dancer turned actor again, all in

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Speaker 1: all three of the Gates of Hell films. She also

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Speaker 1: was in nineteen eighties Hawk the Slayer which started Jack Palace,

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Speaker 1: as well as John Terry, Patricia Quinn and and uh,

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Speaker 1: it looks pretty interesting. I don't I can't remember I've

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Speaker 1: seen it or not. I may have seen it. She

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Speaker 1: was also in Afraid of the Dark, which saw which

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Speaker 1: started James Fox, Paul McGann and David Doulas. Right, So

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Speaker 1: I guess if we're getting into the cast, we we

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Speaker 1: should say that there's a main family in this movie.

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Speaker 1: And and Catherine McCall plays the mother and the family.

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Speaker 1: The father is played by this guy named Paolo Malco, Yeah,

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Speaker 1: plays Dr Rman boyle Um. Malco was born in seven,

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Speaker 1: an Italian actor who was also in Full Cheese, New

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Speaker 1: York Ripper was in Sergio Martinos The Scorpion with two Tales.

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Speaker 1: He was in h Castelleri's Escape the Bronx as well

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Speaker 1: as Limbert Obaba's Demons three, The Ogre that came out

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Speaker 1: in nine and this one's it's kind of a weird

377
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Speaker 1: connection here because the Ogre is apparently very similar to

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Speaker 1: this film to House by the Cemetery, and it is

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Speaker 1: apparently based on Sacchetti's original script four House by the Cemetery. Um,

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Speaker 1: so they went back. This is according to Lomberto Baba.

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Speaker 1: So basically they're like, well, you know, full she did

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Speaker 1: some some slightly different things with the script. Let's go

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Speaker 1: back and we'll just do the script as it was

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Speaker 1: before Fulci did what he did with it. Uh So,

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Speaker 1: I don't know. I have not seen Demons three. I

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Speaker 1: think I've only seen Demons one, so I speak to

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Speaker 1: it personally. I didn't know there was a Demons three,

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Speaker 1: Demons Demons one, and Demons two. Demons one has a

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Speaker 1: bunch of people go to a movie theater and they

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Speaker 1: watch a movie and then demons attack. Demons too, has

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Speaker 1: a bunch of people in an apartment building and then

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Speaker 1: demons attack. Demons three. I guess it must be a house.

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Speaker 1: So they're they're scaling back. Well, I think it was

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Speaker 1: very much a case of them making a film called

395
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Speaker 1: the Ogre again based on this older script, and then

396
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Speaker 1: they were like, well, maybe this will perform better if

397
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Speaker 1: we just call it Demons three. Why not are people

398
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Speaker 1: going to complain? Then it doesn't match up. Although with

399
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Speaker 1: a plot of demons Demons wanted to I think demons too.

400
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Speaker 1: I don't recall much continuity between them. In fact, I

401
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Speaker 1: even seem to recall that there are actors who are

402
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Speaker 1: in the first movie playing different characters in the second

403
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Speaker 1: Demons movie. What anyway, Malco has Dr Norman Boyle in

404
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Speaker 1: this pretty pretty entertaining and has great hair and in

405
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Speaker 1: most scenes. There's some scenes of them standing on wind

406
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Speaker 1: swept streets, uh, in New York City, and and you're like, wow,

407
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Speaker 1: that's a good head of hair. As Vincent Price would say,

408
00:23:59,000 --> 00:24:03,719
Speaker 1: his hair is looks curious, just absolutely wonderful hair. This

409
00:24:03,760 --> 00:24:06,480
Speaker 1: is hair first casting, to be sure. And you know

410
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Speaker 1: it runs in the family because his son in the film,

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Speaker 1: his son Bob, also has an impressive head of hair.

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Speaker 1: This is really the star of the film. Here is Bob.

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Speaker 1: Years ago, when I first saw this movie, the movie

414
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Speaker 1: in general didn't make all that much of an impression

415
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Speaker 1: on me, except I remembered Bob. This movie has this

416
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Speaker 1: weird haunting child in it. Uh. That's that's maybe actually

417
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Speaker 1: the scariest thing in the movie, but also the funniest

418
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Speaker 1: because he's named Bob, and characters are constantly yelling out Bob, Yes, Bob,

419
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Speaker 1: an adult's name that is here given to a child. Um,

420
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Speaker 1: a child that is also the child. His voice is

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Speaker 1: dubbed into English and performed by an adult woman doing

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Speaker 1: a child's voice. So that's this extra level of the

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Speaker 1: uncanny to it. And also, uh, the you're playing Bob.

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Speaker 1: Giovanni Frezo was born in ninety two. Just a very

425
00:25:05,400 --> 00:25:10,840
Speaker 1: cute child, just objectively extremely cute child who just comes

426
00:25:10,880 --> 00:25:13,800
Speaker 1: off like a like a cherub, like an actual angelic

427
00:25:13,920 --> 00:25:18,080
Speaker 1: being that seems to glow on the screen and um

428
00:25:18,480 --> 00:25:21,200
Speaker 1: in in a way that just just feels unnatural and

429
00:25:21,320 --> 00:25:24,919
Speaker 1: just unnaturally cute. This kid the glowing quality also, like

430
00:25:24,960 --> 00:25:27,080
Speaker 1: you say, it takes after his dad in this film

431
00:25:27,680 --> 00:25:32,480
Speaker 1: luxurious hair, like glowing hair. Yeah, just basically platinum now

432
00:25:32,520 --> 00:25:36,399
Speaker 1: that the child actor here, um Giovanni Frezo Uh pops

433
00:25:36,480 --> 00:25:39,399
Speaker 1: up in an excellent assortment of Italian genre pictures from

434
00:25:39,440 --> 00:25:43,640
Speaker 1: this time period, including Manhattan Baby, Uh, the the excellent

435
00:25:43,680 --> 00:25:46,120
Speaker 1: Warriors of the Waste Land, A Blade in the Dark,

436
00:25:46,280 --> 00:25:49,359
Speaker 1: and the first Demons movie. Uh. Demons came out of

437
00:25:50,080 --> 00:25:52,879
Speaker 1: five and that was his last acting role. He grew up,

438
00:25:52,880 --> 00:25:56,160
Speaker 1: apparently to become a product development director, and I think

439
00:25:56,200 --> 00:25:59,080
Speaker 1: still works and resides in the United States. I looked

440
00:25:59,119 --> 00:26:01,440
Speaker 1: up some some footage of him from a I think

441
00:26:01,480 --> 00:26:03,679
Speaker 1: from a DVD or Blue ray extra, and I am

442
00:26:03,720 --> 00:26:06,439
Speaker 1: pleased to see that he did not turn into like

443
00:26:06,520 --> 00:26:10,920
Speaker 1: a terrifying klass Kinski looking adult dude, because there's something

444
00:26:10,920 --> 00:26:15,320
Speaker 1: about like, he's so innocent and um, you know, and

445
00:26:15,320 --> 00:26:17,919
Speaker 1: and and cute in this film. You're like, you can

446
00:26:17,960 --> 00:26:21,760
Speaker 1: easily imagine it twisted into the grotesque and the cruel

447
00:26:22,960 --> 00:26:25,520
Speaker 1: instead of growing up into what seems like probably a

448
00:26:25,600 --> 00:26:28,959
Speaker 1: normal adult. But you can confirm normal adult. I mean,

449
00:26:29,000 --> 00:26:30,879
Speaker 1: I don't know the guy, but you can look at

450
00:26:30,880 --> 00:26:32,480
Speaker 1: a picture of him. You're like, oh, that's that's a

451
00:26:32,560 --> 00:26:36,840
Speaker 1: that's a grown human being. Yes, yeah, okay, I mean

452
00:26:36,840 --> 00:26:40,359
Speaker 1: product development sounds normal enough. So any I think that

453
00:26:41,040 --> 00:26:45,679
Speaker 1: out there that could be final processing. All right? So

454
00:26:45,840 --> 00:26:47,840
Speaker 1: that is that is the family, that's our our central

455
00:26:47,920 --> 00:26:51,520
Speaker 1: trio here. But then you could basically look at the

456
00:26:51,560 --> 00:26:56,080
Speaker 1: rest of the cast is by dividing them into like ghosts, monsters,

457
00:26:56,080 --> 00:27:01,520
Speaker 1: and victims. Uh So, the main ghost is May May,

458
00:27:01,600 --> 00:27:06,040
Speaker 1: the ghost girl played by Sylvia Cola Tina born nineteen

459
00:27:06,040 --> 00:27:08,800
Speaker 1: seventy two. And she's the interesting thing. And I guess

460
00:27:08,960 --> 00:27:11,440
Speaker 1: this makes sense because of the rate at which girls

461
00:27:11,440 --> 00:27:14,760
Speaker 1: and boys mature. But she's actually the same age as

462
00:27:14,800 --> 00:27:17,480
Speaker 1: the actor playing Bob in this. She was also a

463
00:27:17,560 --> 00:27:21,200
Speaker 1: child actor, active only from nineteen seventy to nineteen eighty four,

464
00:27:21,280 --> 00:27:24,760
Speaker 1: but with fewer credits. She acted in Sergio Martino's The

465
00:27:24,800 --> 00:27:28,520
Speaker 1: Great Alligator in nineteen seventy nine, a movie that has

466
00:27:28,560 --> 00:27:31,679
Speaker 1: a story credit by George Eastman, and then she was

467
00:27:31,720 --> 00:27:34,879
Speaker 1: also in Full Cheese Murder, Rock Dancing Death in nineteen

468
00:27:34,960 --> 00:27:37,919
Speaker 1: eighty four. I did not know Sergio Martino had an

469
00:27:37,920 --> 00:27:42,560
Speaker 1: alligator movie. I gotta look into that, penned by George Eastman. Well,

470
00:27:42,600 --> 00:27:45,960
Speaker 1: I mean, Italian Crocodilian movies can be quite have you

471
00:27:45,960 --> 00:27:49,239
Speaker 1: ever seen um, I forget the director's name. There there

472
00:27:49,240 --> 00:27:52,119
Speaker 1: are a couple of Italian horror films called Killer Crocodile

473
00:27:52,160 --> 00:27:54,760
Speaker 1: and Killer Crocodile Too. I don't think I've seen that

474
00:27:55,160 --> 00:28:00,359
Speaker 1: there were They're just they're extremely bad, but very funny.

475
00:28:00,520 --> 00:28:04,399
Speaker 1: Well as as for our ghost here, may I feel like,

476
00:28:04,640 --> 00:28:06,959
Speaker 1: uh called a Tina is really good in this. You know,

477
00:28:07,080 --> 00:28:09,919
Speaker 1: it's hard to judge of a child actor, particularly if

478
00:28:09,920 --> 00:28:12,600
Speaker 1: they're dubbed probably by like a different person, but I

479
00:28:12,600 --> 00:28:14,560
Speaker 1: don't know she has that. There's a certain quality to

480
00:28:14,640 --> 00:28:18,720
Speaker 1: her delivery here where I totally by her sense of

481
00:28:18,800 --> 00:28:22,520
Speaker 1: like occasional detachment but also kind of like shocked outrage

482
00:28:22,920 --> 00:28:25,879
Speaker 1: at the danger that is lurking on the screen. Yeah.

483
00:28:25,880 --> 00:28:28,159
Speaker 1: She has a lot of like look into the camera,

484
00:28:28,280 --> 00:28:31,760
Speaker 1: go wide eyed and gasp kind of moments. Yeah. The

485
00:28:31,800 --> 00:28:35,119
Speaker 1: next character is kind of perplexing because depending on where

486
00:28:35,160 --> 00:28:36,800
Speaker 1: you are in the film, it's hard to tell where

487
00:28:36,840 --> 00:28:39,920
Speaker 1: she falls into this. Uh, these divisions of victims and

488
00:28:40,000 --> 00:28:42,800
Speaker 1: ghosts and monsters. Uh. This is the character of and

489
00:28:43,000 --> 00:28:48,000
Speaker 1: the Babysitter, played by Annia Peroni. She was born in

490
00:28:48,080 --> 00:28:51,120
Speaker 1: nineteen fifty seven an Italian actor. She also appeared in

491
00:28:51,200 --> 00:28:55,040
Speaker 1: Dario Argenta's Tenebre and Inferno, in which she apparently plays

492
00:28:55,040 --> 00:28:58,400
Speaker 1: the mother of Tears. Uh. She's fun in this as

493
00:28:58,440 --> 00:29:03,800
Speaker 1: a mysterious character who does a lot of of suspicious staring,

494
00:29:04,480 --> 00:29:07,080
Speaker 1: a lot of silent staring. And I have to say this,

495
00:29:07,080 --> 00:29:09,800
Speaker 1: this new two K release, this new two K Master

496
00:29:10,000 --> 00:29:13,480
Speaker 1: of House by the Cemetery, it reveals every follicle in

497
00:29:13,560 --> 00:29:17,200
Speaker 1: her lush loupine eyebrows. It's pretty great. I was going

498
00:29:17,240 --> 00:29:20,160
Speaker 1: to point out those eyebrows. So if Paulo Malco, if

499
00:29:20,200 --> 00:29:23,920
Speaker 1: he was hair first casting, I think this actress was

500
00:29:24,000 --> 00:29:27,600
Speaker 1: eyebrow first casting. It's all about the eyebrows here. Yeah.

501
00:29:27,640 --> 00:29:29,720
Speaker 1: I mean she has really intense eyes as well, but

502
00:29:29,720 --> 00:29:34,360
Speaker 1: but luscious eyebrows. You've never seen eyebrows like these before. Um,

503
00:29:34,440 --> 00:29:36,560
Speaker 1: and she a lot of the scenes again getting back

504
00:29:36,560 --> 00:29:40,080
Speaker 1: to like fulci never letting the plot get in the

505
00:29:40,120 --> 00:29:42,280
Speaker 1: way of a good scene. He I think a lot

506
00:29:42,280 --> 00:29:45,719
Speaker 1: of his direction was like, yes, stare hauntingly into the camera,

507
00:29:46,560 --> 00:29:49,400
Speaker 1: keep doing it. Okay, good, that's great. Now we'll move

508
00:29:49,400 --> 00:29:51,960
Speaker 1: on to the next set. You almost wonder if a

509
00:29:51,960 --> 00:29:53,840
Speaker 1: lot of scenes in this movie could have been done

510
00:29:53,880 --> 00:29:56,280
Speaker 1: with the actor is not even knowing yet what they

511
00:29:56,280 --> 00:29:58,120
Speaker 1: were going to be looking at. It's just we can

512
00:29:58,240 --> 00:30:01,200
Speaker 1: get a lot of footage of the actor going like oh,

513
00:30:01,240 --> 00:30:03,400
Speaker 1: and then later we figure out what the image is

514
00:30:04,000 --> 00:30:08,720
Speaker 1: that they're seeing. Yeah, or sometimes we don't exactly one

515
00:30:08,720 --> 00:30:11,360
Speaker 1: more actor to to highlight that. We may come back

516
00:30:11,360 --> 00:30:13,320
Speaker 1: to to one or two more when we get into

517
00:30:13,320 --> 00:30:15,960
Speaker 1: the plot. But we also have this real or character.

518
00:30:15,960 --> 00:30:19,040
Speaker 1: We have multiple realder characters, but the main one is Laura,

519
00:30:19,320 --> 00:30:24,360
Speaker 1: played by the actor Dagmar Lassender. She was borne a

520
00:30:24,480 --> 00:30:27,200
Speaker 1: checkborn actor who pops up in a lot of Italian films,

521
00:30:27,800 --> 00:30:30,680
Speaker 1: and I don't know, perhaps she's just more memorable because

522
00:30:30,840 --> 00:30:34,040
Speaker 1: of her name, you know, Dagmar Lasseter. Lastenders intends to

523
00:30:34,040 --> 00:30:37,080
Speaker 1: to stand out in the credits of a film. Her

524
00:30:37,120 --> 00:30:41,480
Speaker 1: credits include Mario Baba's Hatchet for the Honeymoon, Lomberto Baba's

525
00:30:41,600 --> 00:30:45,360
Speaker 1: Devil Fish, and also Full Cheese The Black Cat. Also

526
00:30:45,400 --> 00:30:51,000
Speaker 1: a picture unrelated to these filmmakers titled Werewolf Woman. So

527
00:30:51,040 --> 00:30:53,960
Speaker 1: she plays a character in this named well you said Laura,

528
00:30:54,640 --> 00:30:59,240
Speaker 1: Mrs Gittleson, right, Yeah, yeah, Miss Gettleson. She's she's she's

529
00:30:59,720 --> 00:31:02,800
Speaker 1: the estate agent. And there's a great scene where she

530
00:31:03,040 --> 00:31:05,520
Speaker 1: is trying to back out of the driveway of the

531
00:31:05,960 --> 00:31:08,800
Speaker 1: titular house, the house by the cemetery, and she like

532
00:31:08,960 --> 00:31:12,720
Speaker 1: drives over a tombstone and just like swears at it.

533
00:31:12,800 --> 00:31:19,959
Speaker 1: She's just like damn tombstones. She's fun. All right, Well,

534
00:31:20,000 --> 00:31:21,880
Speaker 1: let's get to the music, because the music on this

535
00:31:21,920 --> 00:31:26,120
Speaker 1: film is definitely worth highlighting. Uh, this is a this

536
00:31:26,200 --> 00:31:28,440
Speaker 1: is a fun score. Uh you know, it's a little

537
00:31:28,440 --> 00:31:32,960
Speaker 1: bit Uh, it's it's a little bit, a little bit funky. Uh,

538
00:31:33,400 --> 00:31:39,520
Speaker 1: definitely cynthy and apparently highly influential. Um I I saw

539
00:31:39,520 --> 00:31:41,680
Speaker 1: it pointed out that the music, some of the music

540
00:31:41,880 --> 00:31:46,080
Speaker 1: that was used or created for Garth Marenghe's Dark Place

541
00:31:46,560 --> 00:31:49,360
Speaker 1: years later. It's kind of like like a direct reference

542
00:31:49,400 --> 00:31:52,880
Speaker 1: to the score to this film. That makes so much sense.

543
00:31:53,040 --> 00:31:56,120
Speaker 1: And a lot of what's funny about Karth Maringue's Dark

544
00:31:56,160 --> 00:32:00,200
Speaker 1: Place is just slightly tweaking things that are already true

545
00:32:00,200 --> 00:32:03,160
Speaker 1: about House by the Cemetery, like, uh, some of the

546
00:32:03,240 --> 00:32:05,800
Speaker 1: kind of the vibe in the dialogue scenes with these

547
00:32:05,840 --> 00:32:11,360
Speaker 1: long pauses between lines and awkward staring. Absolutely. In fact,

548
00:32:11,480 --> 00:32:14,400
Speaker 1: I even thought of garthmringhary Stark Place. And there's one

549
00:32:14,440 --> 00:32:17,400
Speaker 1: part of the movie where, um, where Paulo starts listening

550
00:32:17,400 --> 00:32:20,280
Speaker 1: to a tape by the old doctor that starts talking

551
00:32:20,280 --> 00:32:24,560
Speaker 1: about blood, blood, blood, and I wanted to complete it

552
00:32:24,600 --> 00:32:27,960
Speaker 1: with and bits of sick. Yeah. I had the same

553
00:32:28,000 --> 00:32:31,320
Speaker 1: thought that that's a great sequence to by the way,

554
00:32:31,360 --> 00:32:33,280
Speaker 1: yeah listening to that, and and it aren't we getting

555
00:32:33,320 --> 00:32:39,000
Speaker 1: we're presented with visuals of blood flowing over a tombstone, yes, yes, yeah, alright,

556
00:32:39,040 --> 00:32:44,720
Speaker 1: so the individuals responsible for this music, primarily Walter rizati Um.

557
00:32:44,800 --> 00:32:47,880
Speaker 1: I'm not sure when this Italian composer was born or

558
00:32:47,920 --> 00:32:49,840
Speaker 1: if he's still with us. I couldn't find any dates

559
00:32:49,840 --> 00:32:52,480
Speaker 1: on him, but he seems to have been primarily active

560
00:32:52,520 --> 00:32:58,000
Speaker 1: from nineteen sixty six to His notable scores include this one, UH,

561
00:32:59,040 --> 00:33:02,160
Speaker 1: the Bronx Warriors, as well as some various action films.

562
00:33:02,160 --> 00:33:05,360
Speaker 1: I think this is the main stand out, but you

563
00:33:05,440 --> 00:33:09,720
Speaker 1: also have Alexander Blocksteiner on this with an additional music credit.

564
00:33:09,880 --> 00:33:11,640
Speaker 1: You might remember him as the guy who gave us

565
00:33:11,680 --> 00:33:15,400
Speaker 1: that fabulously funky disco score for Cannibal Apocalypse. He has

566
00:33:15,440 --> 00:33:19,760
Speaker 1: composition credit on five of the scores tracks. So it

567
00:33:19,800 --> 00:33:22,760
Speaker 1: all comes together again into just a very fun score

568
00:33:22,840 --> 00:33:26,920
Speaker 1: that is a you know occasionally, Uh definitely gets into

569
00:33:26,920 --> 00:33:29,719
Speaker 1: this kind of cheesy groove that that only works with

570
00:33:29,760 --> 00:33:33,640
Speaker 1: this film. But I think it's overall pretty excellent and

571
00:33:33,720 --> 00:33:36,960
Speaker 1: has some wonderful moments of horror synth workin I thought

572
00:33:37,000 --> 00:33:53,640
Speaker 1: we might have a taste of it right here. Yes,

573
00:33:53,720 --> 00:33:56,160
Speaker 1: I love the synth pipe organs, and I also at

574
00:33:56,200 --> 00:33:59,040
Speaker 1: a couple of points I was hearing a plinking walk

575
00:33:59,120 --> 00:34:02,120
Speaker 1: down that reminds me of the melody from Banana Rama's

576
00:34:02,160 --> 00:34:04,480
Speaker 1: Cruel Summer. Yeah, I think I know which part you're

577
00:34:04,480 --> 00:34:05,840
Speaker 1: talking about. I need to go back and listen to

578
00:34:05,880 --> 00:34:08,360
Speaker 1: that though. And speaking of going back and listening to it,

579
00:34:08,360 --> 00:34:10,600
Speaker 1: I should point out that that there have been some

580
00:34:10,719 --> 00:34:13,759
Speaker 1: excellent re releases of this score. I don't I can't

581
00:34:13,760 --> 00:34:16,400
Speaker 1: really speak to its digital availability on streaming sites, but

582
00:34:16,719 --> 00:34:19,600
Speaker 1: you've had some fabulous vinyl editions put out by both

583
00:34:19,719 --> 00:34:23,000
Speaker 1: Death Waltz Records, which you know excels at this sort

584
00:34:23,000 --> 00:34:26,239
Speaker 1: of thing, as well as Burning Witch Records. So if

585
00:34:26,280 --> 00:34:28,960
Speaker 1: you're if you're into the into the vinyl, uh, and

586
00:34:29,000 --> 00:34:32,160
Speaker 1: you're into scores like this, definitely check those out. So

587
00:34:32,280 --> 00:34:34,520
Speaker 1: oh wait, those were the humans. But there's also one

588
00:34:34,560 --> 00:34:36,400
Speaker 1: non human credit I need to give, and that's the

589
00:34:36,440 --> 00:34:39,359
Speaker 1: house itself. This is one of those those fabulous movies

590
00:34:39,400 --> 00:34:42,640
Speaker 1: where we have a central haunted house or haunted location,

591
00:34:42,880 --> 00:34:45,600
Speaker 1: and that at location actually exists in the real world

592
00:34:45,680 --> 00:34:48,960
Speaker 1: and you can you can technically go and see it. Um.

593
00:34:49,000 --> 00:34:52,120
Speaker 1: I mean, you know, obey obey local laws as far

594
00:34:52,120 --> 00:34:56,120
Speaker 1: as approaching it. But the house here is, uh, the

595
00:34:56,160 --> 00:34:59,480
Speaker 1: freud Stein House is actually the Bailey Ellis House located

596
00:34:59,520 --> 00:35:03,879
Speaker 1: on the Lisa State in the coastal Massachusetts town of um.

597
00:35:04,040 --> 00:35:05,480
Speaker 1: Let's see, I'm not I'm sure I'm going to bush

598
00:35:06,000 --> 00:35:11,200
Speaker 1: the name of this Skitchua s c I t U

599
00:35:11,360 --> 00:35:16,160
Speaker 1: a t E situate Skitchuat in any rate. It's about

600
00:35:16,160 --> 00:35:19,680
Speaker 1: thirty miles southeast of Boston, and according to Atlas Obscura,

601
00:35:19,719 --> 00:35:23,359
Speaker 1: it's currently owned by the Skitchuwat Arts Association and if

602
00:35:23,400 --> 00:35:26,040
Speaker 1: you go to their website, uh, you can see recent

603
00:35:26,120 --> 00:35:29,640
Speaker 1: photos of it. Um. The website states, quote b Ellis

604
00:35:29,680 --> 00:35:33,040
Speaker 1: House is a unique Gothic Romanesque mansion and home to

605
00:35:33,120 --> 00:35:36,359
Speaker 1: the s a A's indoor classes and workshops. It also

606
00:35:36,400 --> 00:35:39,719
Speaker 1: provides studio space for half a dozen artists. So hey,

607
00:35:40,760 --> 00:35:43,960
Speaker 1: go there, sign up to create your own injury for

608
00:35:44,000 --> 00:35:47,640
Speaker 1: the night gallery. Um uh, this this house is still

609
00:35:47,680 --> 00:35:51,040
Speaker 1: standing and there and there's there's still wonderfully creative things

610
00:35:51,080 --> 00:35:53,680
Speaker 1: going on inside it. I will drop everything in my

611
00:35:53,719 --> 00:35:55,759
Speaker 1: life and go to Massachusetts to become a part of

612
00:35:55,840 --> 00:36:01,000
Speaker 1: Dr Freudstein's art collective by away. This house was also

613
00:36:01,120 --> 00:36:04,319
Speaker 1: used in um Berto Lindsay's Ghost House, so you get

614
00:36:04,320 --> 00:36:07,759
Speaker 1: to double dip by visiting this place. It's a really

615
00:36:07,760 --> 00:36:10,160
Speaker 1: good house. I will say, yeah, it's it's it's a

616
00:36:10,160 --> 00:36:12,759
Speaker 1: handsome house and they fix it up nicely for the

617
00:36:12,760 --> 00:36:16,800
Speaker 1: film because they're just they're they're just great headstones everywhere,

618
00:36:16,880 --> 00:36:19,239
Speaker 1: just all through the yard and then also in the

619
00:36:19,280 --> 00:36:30,560
Speaker 1: surrounding woods. All Right, Now, here's the part of the

620
00:36:30,600 --> 00:36:33,360
Speaker 1: episode where we would normally start getting into a full

621
00:36:33,520 --> 00:36:37,239
Speaker 1: plot breakdown. I don't know if that's quite the terminology

622
00:36:37,320 --> 00:36:39,440
Speaker 1: to use here. I think what happens is we are

623
00:36:39,440 --> 00:36:41,840
Speaker 1: going to be able to describe a bunch of scenes

624
00:36:41,920 --> 00:36:43,920
Speaker 1: that happened in the movie. But I don't know if

625
00:36:43,960 --> 00:36:46,960
Speaker 1: we can really explain the plot, right, I mean, I

626
00:36:47,000 --> 00:36:49,360
Speaker 1: still have there's still things I do not understand, and

627
00:36:49,400 --> 00:36:52,600
Speaker 1: I've I've I've seen this film more than I've seen

628
00:36:53,560 --> 00:36:56,640
Speaker 1: some truly you know, um, you know, subjectively great works

629
00:36:56,640 --> 00:36:59,960
Speaker 1: of art. Um. I've also, especially in this last viewing,

630
00:37:00,120 --> 00:37:03,000
Speaker 1: I really tried to understand everything, you know, like I

631
00:37:03,000 --> 00:37:06,040
Speaker 1: was gonna be quizzed on it. Uh, can I really

632
00:37:06,080 --> 00:37:08,720
Speaker 1: speak to what's happening in this movie? And I really

633
00:37:08,760 --> 00:37:12,080
Speaker 1: can't explain some of the choices and elements here, although

634
00:37:12,080 --> 00:37:14,920
Speaker 1: I will try. We will at least try to describe

635
00:37:14,960 --> 00:37:18,280
Speaker 1: a number of the dioramas that that ful she creates

636
00:37:18,280 --> 00:37:21,399
Speaker 1: in the shoe box of this film. Yes, uh so

637
00:37:21,640 --> 00:37:24,920
Speaker 1: from the very opening, I gotta say, especially with this restoration,

638
00:37:25,000 --> 00:37:27,920
Speaker 1: it looks great. The house is beautifully framed on the

639
00:37:27,960 --> 00:37:30,320
Speaker 1: opening shot with the you know it's it's got the

640
00:37:30,440 --> 00:37:33,719
Speaker 1: dark in the background, with tombstones and dead limbs in

641
00:37:33,760 --> 00:37:37,160
Speaker 1: the foreground. I assume I could. I can't remember if

642
00:37:37,160 --> 00:37:40,080
Speaker 1: you mentioned this a minute ago. Is there actually a

643
00:37:40,120 --> 00:37:44,239
Speaker 1: cemetery by the house or the tombstones added for the film?

644
00:37:44,360 --> 00:37:47,040
Speaker 1: I think the tombstones were added for the film. Um,

645
00:37:47,239 --> 00:37:50,560
Speaker 1: I'm not clear on that, but but I didn't I

646
00:37:50,560 --> 00:37:53,600
Speaker 1: didn't see anybody pointing out, uh, you know, there being

647
00:37:53,640 --> 00:37:57,759
Speaker 1: an actual cemetery surrounding this house. Okay, well, we see

648
00:37:57,800 --> 00:37:59,919
Speaker 1: it in the opening frame like this, this this beauty

649
00:38:00,040 --> 00:38:03,680
Speaker 1: fold house with the darkness behind it, and the tombstones

650
00:38:03,840 --> 00:38:06,360
Speaker 1: and the dead trees with bare limbs in the foreground.

651
00:38:06,800 --> 00:38:09,880
Speaker 1: And this, of course is setting up a classic horror

652
00:38:09,920 --> 00:38:13,040
Speaker 1: movie style opening in which some people are in a

653
00:38:13,080 --> 00:38:15,720
Speaker 1: place they're not supposed to be and they're probably about

654
00:38:15,800 --> 00:38:19,000
Speaker 1: to meet an ill end. Right. It's it's ultimately a

655
00:38:19,000 --> 00:38:22,280
Speaker 1: familiar scene. I feel like I've seen other in other films.

656
00:38:22,680 --> 00:38:25,480
Speaker 1: A woman is dressing, and then she starts looking around

657
00:38:25,760 --> 00:38:28,920
Speaker 1: the house for her boyfriend, assuming he's pranking her by

658
00:38:28,960 --> 00:38:32,279
Speaker 1: suddenly disappearing. Uh. And then you know, so she she

659
00:38:32,360 --> 00:38:35,120
Speaker 1: wanders around being like, oh, what is his name? Is

660
00:38:35,120 --> 00:38:38,400
Speaker 1: it Mike? Steve? It's Steve. She's like, Steve, are you there? Steve?

661
00:38:38,680 --> 00:38:42,000
Speaker 1: Steve stopped kidding around, Steve. And then, of course what happens.

662
00:38:42,000 --> 00:38:45,800
Speaker 1: She discovers Steve. Steve is dead. Uh. He's been nailed

663
00:38:45,800 --> 00:38:47,200
Speaker 1: at the backside of a door with a pair of

664
00:38:47,200 --> 00:38:51,359
Speaker 1: surgical scissors and his brain has been surgically or or

665
00:38:51,719 --> 00:38:56,000
Speaker 1: through blunt trauma exposed um. And then an unseen killer

666
00:38:56,080 --> 00:38:57,759
Speaker 1: stabs her through the back of the head with a

667
00:38:57,840 --> 00:39:00,600
Speaker 1: kitchen knife so that the blade, the end of the blade,

668
00:39:00,640 --> 00:39:03,480
Speaker 1: emerges out of her mouth, and then she falls to

669
00:39:03,560 --> 00:39:06,160
Speaker 1: the floor dead. And then a pair of mine, well

670
00:39:06,280 --> 00:39:08,880
Speaker 1: a pair of hands, one of which appears human and

671
00:39:08,880 --> 00:39:11,440
Speaker 1: one of which appears to be a monster hand, drags

672
00:39:11,440 --> 00:39:15,120
Speaker 1: her away into the cellar. So standard B horror opening,

673
00:39:15,120 --> 00:39:18,160
Speaker 1: but there's a lot stylistically about it that's just very

674
00:39:18,239 --> 00:39:21,160
Speaker 1: elegant and very much a cut above what you would

675
00:39:21,160 --> 00:39:24,200
Speaker 1: see in movies like this normally. So one thing I

676
00:39:24,239 --> 00:39:27,160
Speaker 1: wanted to draw attention to is a wonderful shot where

677
00:39:27,960 --> 00:39:31,080
Speaker 1: while she is wandering around calling out to Steve, saying like, Steve,

678
00:39:31,120 --> 00:39:33,520
Speaker 1: are you trying to scare me? I don't think it's funny.

679
00:39:33,560 --> 00:39:37,280
Speaker 1: But she's coming down the hallway that is lit from behind,

680
00:39:37,360 --> 00:39:40,719
Speaker 1: and in the foreground we're looking through the gaps in

681
00:39:40,800 --> 00:39:45,279
Speaker 1: an iron spiral staircase that's just covered in cobwebs. And

682
00:39:45,520 --> 00:39:49,120
Speaker 1: it's a gorgeous shot. Yeah, yeah, And a great shot

683
00:39:49,160 --> 00:39:53,920
Speaker 1: of this seemingly endless seller in this this house. I mean,

684
00:39:53,920 --> 00:39:56,239
Speaker 1: it's supposed to be a haunted house, so it makes

685
00:39:56,239 --> 00:39:59,200
Speaker 1: sense that maybe the seller doesn't obey the laws of

686
00:39:59,200 --> 00:40:03,440
Speaker 1: of of reality and space and time. But yeah, it

687
00:40:03,440 --> 00:40:06,480
Speaker 1: seems enormous, and it seems like they're are corners of

688
00:40:06,480 --> 00:40:08,680
Speaker 1: it that haven't been explored in like a century and

689
00:40:08,680 --> 00:40:12,400
Speaker 1: a half. I ultimately love the unreality of this cellar.

690
00:40:12,800 --> 00:40:15,160
Speaker 1: But then after the opening murders, you get some music,

691
00:40:15,239 --> 00:40:19,320
Speaker 1: of course, this electronic organ fugue. You get the title

692
00:40:19,440 --> 00:40:23,239
Speaker 1: it says House by the Cemetery, uh. And then there's

693
00:40:23,280 --> 00:40:26,600
Speaker 1: an interesting compositional shift coming up, so you see the

694
00:40:26,640 --> 00:40:30,640
Speaker 1: same house and a girl standing in the window looking out,

695
00:40:30,760 --> 00:40:35,440
Speaker 1: making kind of a scary screaming face, which then cross

696
00:40:35,520 --> 00:40:39,120
Speaker 1: fades to a black and white photograph hanging on a

697
00:40:39,200 --> 00:40:41,680
Speaker 1: wall of that house with the girl looking out the

698
00:40:41,719 --> 00:40:44,520
Speaker 1: window with the screaming face. Then you see a title

699
00:40:44,640 --> 00:40:48,120
Speaker 1: that says New York pulls back. The wall is in

700
00:40:48,239 --> 00:40:51,160
Speaker 1: a modern apartment, modern at the time the film was made.

701
00:40:51,600 --> 00:40:54,560
Speaker 1: And then sitting there staring at the photo is a

702
00:40:54,719 --> 00:40:59,839
Speaker 1: profoundly uncanny blonde child. Ladies and gentlemen, it's Bob. How

703
00:41:00,000 --> 00:41:01,560
Speaker 1: to come back to that ghost girl for a second,

704
00:41:01,600 --> 00:41:04,560
Speaker 1: because yes, she's haunting in the photo, but the face

705
00:41:04,640 --> 00:41:07,600
Speaker 1: she's making, you could be interpreted to his fear. But

706
00:41:07,640 --> 00:41:10,400
Speaker 1: it's also the kind of face that a childli this

707
00:41:10,400 --> 00:41:13,240
Speaker 1: would make when somebody does a cannonball into a swimming

708
00:41:13,239 --> 00:41:17,200
Speaker 1: pool and a kool Aid commercial, you know what I'm saying. Yeah, yeah,

709
00:41:17,760 --> 00:41:21,200
Speaker 1: that's radical, and it is radical. But yes, now we

710
00:41:21,239 --> 00:41:25,279
Speaker 1: meet Bob, and and we say we meet the whole family. Yeah,

711
00:41:25,320 --> 00:41:28,520
Speaker 1: there's Dr Norman Boyle, there's his wife, Lucy Boyle. There

712
00:41:28,600 --> 00:41:33,279
Speaker 1: is adorable Bob, who we've we've already described disturbingly cherubic

713
00:41:33,719 --> 00:41:36,080
Speaker 1: and speaks in the dubbed voice of an adult woman

714
00:41:36,160 --> 00:41:42,080
Speaker 1: doing a kid's voice, and and there a lot of

715
00:41:42,239 --> 00:41:45,000
Speaker 1: aught of scenes to of of Bob playing just way

716
00:41:45,040 --> 00:41:48,160
Speaker 1: too diligently with his toys. Um like, like, who has

717
00:41:48,200 --> 00:41:51,000
Speaker 1: ever given a remote control car to a child and

718
00:41:51,000 --> 00:41:53,600
Speaker 1: seeing them and get that this much usage out of it? Uh,

719
00:41:53,800 --> 00:41:56,520
Speaker 1: It's it's really not fair. Well this movie. Also, I'm

720
00:41:56,560 --> 00:41:59,360
Speaker 1: not sure if it understands that remote control cars don't

721
00:41:59,400 --> 00:42:01,880
Speaker 1: work in the woods where the ground is covered in

722
00:42:02,000 --> 00:42:05,560
Speaker 1: leaves and it is not flat. Oh but uh so

723
00:42:05,640 --> 00:42:09,960
Speaker 1: here's a question I have. Is Bob like Danny Torrance like,

724
00:42:10,160 --> 00:42:14,200
Speaker 1: is he psychic? Or is just the ghost girl picking

725
00:42:14,360 --> 00:42:18,080
Speaker 1: him as a regular non psychic person to send messages to.

726
00:42:20,200 --> 00:42:24,200
Speaker 1: I don't know. I mean, I may only speaks to Bob, right,

727
00:42:24,560 --> 00:42:26,520
Speaker 1: Bob seems to be the only one who can see her.

728
00:42:27,520 --> 00:42:30,600
Speaker 1: So it's either she can speak to him because he's

729
00:42:30,640 --> 00:42:33,560
Speaker 1: a child, or he's a special child. But I have

730
00:42:33,680 --> 00:42:36,600
Speaker 1: I have a suspicion that the idea is that children

731
00:42:36,640 --> 00:42:40,480
Speaker 1: are weird and can see ghosts. Okay, Okay, so it's

732
00:42:40,480 --> 00:42:43,040
Speaker 1: it's not him in particular, He's just a child and

733
00:42:43,080 --> 00:42:45,720
Speaker 1: the child the child's mind is open to the spirit

734
00:42:45,760 --> 00:42:48,080
Speaker 1: world in a way that the adult's mind is closed.

735
00:42:48,480 --> 00:42:50,800
Speaker 1: I guess so, but ultimately that's just how I choose

736
00:42:50,840 --> 00:42:54,279
Speaker 1: to interpret it. And there's I'm not sure where fult

737
00:42:54,320 --> 00:42:57,879
Speaker 1: she actually stood on this. Well, immediately what happens here

738
00:42:58,000 --> 00:43:01,800
Speaker 1: is that uh Lucy, the other comes in. It's like hey, Bob,

739
00:43:01,840 --> 00:43:04,600
Speaker 1: and Bob's like, well, I'm hearing voices talking to me

740
00:43:04,640 --> 00:43:06,839
Speaker 1: out of this photograph and she's just like oh ha

741
00:43:06,840 --> 00:43:10,880
Speaker 1: ha um. And he's like, Mommy, why does that girl

742
00:43:10,920 --> 00:43:13,080
Speaker 1: in the photograph keep telling us we shouldn't go to

743
00:43:13,120 --> 00:43:15,719
Speaker 1: the house. And the mom can't see the girl in

744
00:43:15,760 --> 00:43:18,160
Speaker 1: the window in the photo, so she just kind of

745
00:43:18,160 --> 00:43:21,120
Speaker 1: shrugs it off. But then we see a kind of

746
00:43:21,200 --> 00:43:24,760
Speaker 1: alternate reality where may the ghost girl and I guess

747
00:43:24,760 --> 00:43:27,399
Speaker 1: her mom are standing in the woods somewhere. I guess

748
00:43:27,440 --> 00:43:30,680
Speaker 1: they are standing among the tombstones in the cemetery outside

749
00:43:30,719 --> 00:43:35,200
Speaker 1: the house. And we're told that this is in New Whitby, Boston. Yeah, yeah,

750
00:43:35,239 --> 00:43:38,800
Speaker 1: this this film. Most of these scenes were filmed in Massachusetts,

751
00:43:39,040 --> 00:43:42,520
Speaker 1: take place in Massachusetts, and this is ultimately a Massachusetts film.

752
00:43:42,560 --> 00:43:44,799
Speaker 1: Maybe her first. I'm not sure if we've I can't

753
00:43:44,840 --> 00:43:47,640
Speaker 1: remember if any of the previous films we've we've watched,

754
00:43:47,680 --> 00:43:50,560
Speaker 1: have been set or filmed there. I believe this film

755
00:43:50,640 --> 00:43:54,439
Speaker 1: is sort of trying to tap into some misquatonic magic. Yeah, yeah,

756
00:43:54,480 --> 00:43:56,880
Speaker 1: I think so, But that doesn't mean we don't have

757
00:43:56,920 --> 00:43:59,640
Speaker 1: a brief stop over in New York City. On the

758
00:43:59,680 --> 00:44:02,800
Speaker 1: streets of New York, Dr Norman Boyle is seen chatting

759
00:44:02,840 --> 00:44:07,440
Speaker 1: with Professor Mueller, who is played by the director Luccio Folci,

760
00:44:07,960 --> 00:44:11,279
Speaker 1: and they're discussing Boyle's research. He is about to move

761
00:44:11,280 --> 00:44:14,399
Speaker 1: his entire family out of the city into rural Massachusetts

762
00:44:14,400 --> 00:44:18,640
Speaker 1: so that he can continue the suicide research that his colleague, Dr.

763
00:44:18,719 --> 00:44:22,920
Speaker 1: Peterson was doing right before said colleague murdered his mistress

764
00:44:22,920 --> 00:44:26,359
Speaker 1: and committed suicide himself. Now, what sort of research could

765
00:44:26,360 --> 00:44:30,000
Speaker 1: this possibly have been? What breakthroughs was he making? I

766
00:44:30,080 --> 00:44:33,120
Speaker 1: have no idea, and there's not a lot of of

767
00:44:33,480 --> 00:44:36,120
Speaker 1: they're not really any answers to be found in the film.

768
00:44:36,239 --> 00:44:38,640
Speaker 1: What a set up. And yet this scene on the

769
00:44:38,680 --> 00:44:41,799
Speaker 1: sidewalk is hilarious, and I think maybe it's supposed to be.

770
00:44:41,880 --> 00:44:46,040
Speaker 1: I don't think this is unintentional because Fulchi is talking

771
00:44:46,080 --> 00:44:48,480
Speaker 1: to this lead actor here with you know, the glorious

772
00:44:48,520 --> 00:44:51,440
Speaker 1: head of hair and fulchie. I guess playing playing an

773
00:44:51,440 --> 00:44:54,800
Speaker 1: older colleague who's got this ridiculous huge red bow tie

774
00:44:54,880 --> 00:44:59,240
Speaker 1: and these thick glasses and uh. And as he's talking

775
00:44:59,280 --> 00:45:03,960
Speaker 1: to to pal here to what's a Norman boile he says, um,

776
00:45:04,040 --> 00:45:08,080
Speaker 1: and there he was researching suicide times. We have to

777
00:45:08,200 --> 00:45:12,120
Speaker 1: live in taxi. He just sails a taxi, hops in

778
00:45:12,200 --> 00:45:15,720
Speaker 1: and takes off. That's just that's just New York living. Yeah,

779
00:45:15,960 --> 00:45:18,200
Speaker 1: you gotta you gotta keep moving otherwise the Manhattan babies

780
00:45:18,200 --> 00:45:20,520
Speaker 1: will catch up with you. So next the family is

781
00:45:20,640 --> 00:45:22,680
Speaker 1: driving out to the house. And this is one of

782
00:45:22,719 --> 00:45:26,000
Speaker 1: the parts where I heard that that that walk down

783
00:45:26,000 --> 00:45:28,640
Speaker 1: melody that sounds like a music version of Cruel Summer.

784
00:45:29,360 --> 00:45:31,800
Speaker 1: But this is also the part where the dad says.

785
00:45:31,920 --> 00:45:34,000
Speaker 1: The dad is talking about how if it weren't for

786
00:45:34,080 --> 00:45:35,920
Speaker 1: so and so, I don't remember who he's talking about,

787
00:45:36,400 --> 00:45:38,359
Speaker 1: we wouldn't have a house to live in where we're going,

788
00:45:38,400 --> 00:45:40,760
Speaker 1: we'd have to live in a tent. And Bob yells,

789
00:45:40,800 --> 00:45:46,279
Speaker 1: I wish, well, that's pretty authentic. That's pretty good. There's

790
00:45:46,280 --> 00:45:48,239
Speaker 1: a scene that comes up in a minute here that

791
00:45:48,480 --> 00:45:52,000
Speaker 1: is great. That has made the ghost girl, um not

792
00:45:52,280 --> 00:45:54,360
Speaker 1: who By the way, it doesn't look like she just

793
00:45:54,400 --> 00:45:56,879
Speaker 1: looks like a normal person, just like a kid. Yeah,

794
00:45:57,280 --> 00:46:00,120
Speaker 1: not like you know, Translucenter or anything. So just just

795
00:46:00,200 --> 00:46:03,200
Speaker 1: like a kid. Is out on a street. I think

796
00:46:03,200 --> 00:46:05,520
Speaker 1: this is supposed to be in Boston or this town

797
00:46:05,880 --> 00:46:08,840
Speaker 1: outside of Boston that they're going to, and she is

798
00:46:08,960 --> 00:46:13,520
Speaker 1: staring into the window of a storefront that has mannequins

799
00:46:13,680 --> 00:46:16,800
Speaker 1: dressed up in I guess the clothes the story is selling.

800
00:46:17,200 --> 00:46:19,120
Speaker 1: And so one of these mannequins looks like a very

801
00:46:19,360 --> 00:46:23,160
Speaker 1: evil Denise Richard's type face and uh, and it's wearing

802
00:46:23,160 --> 00:46:25,200
Speaker 1: one of the what do you call those frilly white

803
00:46:25,200 --> 00:46:28,400
Speaker 1: collars kind of like doilies. Yeah, kind of like a

804
00:46:29,440 --> 00:46:31,759
Speaker 1: like a like a witch costume. I guess it looks

805
00:46:32,120 --> 00:46:37,680
Speaker 1: sort of. But then it's like May hallucinates the the

806
00:46:37,719 --> 00:46:41,560
Speaker 1: mannequin getting decapitated and it bleeds everywhere. So this is

807
00:46:41,560 --> 00:46:44,560
Speaker 1: a mannequin, but it's full of blood and organs and stuff.

808
00:46:44,840 --> 00:46:49,040
Speaker 1: The head falls off and it's just splatter for a moment. Uh.

809
00:46:49,080 --> 00:46:52,239
Speaker 1: And then somehow this leads into the meeting of May

810
00:46:52,320 --> 00:46:55,040
Speaker 1: and Bob, which is very funny as well. Like Bob

811
00:46:55,080 --> 00:46:57,160
Speaker 1: shows up in town, his parents going to talk to

812
00:46:57,200 --> 00:47:00,239
Speaker 1: the realtors and he's just sitting in the car, think

813
00:47:00,280 --> 00:47:02,880
Speaker 1: playing with the toy. And then suddenly they're like psychic

814
00:47:02,960 --> 00:47:06,000
Speaker 1: mind melding. Yeah, Like she's a block or two away,

815
00:47:06,120 --> 00:47:08,000
Speaker 1: and they're just chatting with each other like they're right

816
00:47:08,040 --> 00:47:10,960
Speaker 1: next to each other through their their brains. Oh and

817
00:47:11,040 --> 00:47:15,000
Speaker 1: somehow this sequence ends with Bob like sitting in a

818
00:47:15,080 --> 00:47:20,000
Speaker 1: park cradling this gigantic, horrible doll, this giant garbage doll

819
00:47:20,160 --> 00:47:23,919
Speaker 1: that that he's been given I guess by May. He's like, mom,

820
00:47:23,920 --> 00:47:26,600
Speaker 1: we're taking this home, right, And they're like, yeah, yeah,

821
00:47:26,600 --> 00:47:30,719
Speaker 1: I loaded up load up your garbage doll. But so

822
00:47:30,840 --> 00:47:32,839
Speaker 1: from here we get the family moving into the new

823
00:47:32,920 --> 00:47:36,319
Speaker 1: house and there's a lot of great photography. Uh, we

824
00:47:36,360 --> 00:47:38,960
Speaker 1: get to see them interacting with the realtors. This is

825
00:47:38,960 --> 00:47:42,520
Speaker 1: where there's that funny scene where Ms. Gittleson drives over

826
00:47:42,560 --> 00:47:46,560
Speaker 1: a tombstone and then yells at it um and uh,

827
00:47:46,920 --> 00:47:49,759
Speaker 1: Lucy the mother has this strange freak out about the

828
00:47:49,840 --> 00:47:52,480
Speaker 1: doll that Bob found. It's like, but it's after they

829
00:47:52,480 --> 00:47:54,320
Speaker 1: get back to the house, so I didn't really understand

830
00:47:54,360 --> 00:47:57,879
Speaker 1: that he brings this disgusting doll home. And then it's

831
00:47:57,920 --> 00:47:59,719
Speaker 1: sitting there in the house and she sees it, and

832
00:47:59,760 --> 00:48:03,560
Speaker 1: she's does the little whip zoom on her eyes. This

833
00:48:03,600 --> 00:48:06,520
Speaker 1: movie loves whip zooms. By the way, did you notice

834
00:48:06,560 --> 00:48:09,279
Speaker 1: that now that you pointed out, Yeah, there's a lot

835
00:48:09,320 --> 00:48:11,520
Speaker 1: of a lot of whip zoom and going on, sometimes

836
00:48:11,520 --> 00:48:14,680
Speaker 1: in situations where it wouldn't seem to make total sense,

837
00:48:14,719 --> 00:48:17,279
Speaker 1: like it will happen in cases where somebody is having

838
00:48:17,280 --> 00:48:19,719
Speaker 1: a horrible vision, but it also sometimes just happens in

839
00:48:19,760 --> 00:48:23,560
Speaker 1: the middle of a conversation. Yeah. Now, this is the

840
00:48:23,560 --> 00:48:26,319
Speaker 1: point in the film where we we introduce Uh, one

841
00:48:26,360 --> 00:48:28,239
Speaker 1: of my favorite characters, and we've already talked a little

842
00:48:28,239 --> 00:48:30,520
Speaker 1: bit about her, Uh the actor playing her. But but

843
00:48:30,600 --> 00:48:35,080
Speaker 1: Anne and the babysitter with the magnificent eyebrows shows up,

844
00:48:35,560 --> 00:48:39,320
Speaker 1: and apparently we're supposed to connect her to the mannequin

845
00:48:39,360 --> 00:48:42,600
Speaker 1: that we saw, The mannequin that's head fell off in

846
00:48:42,600 --> 00:48:45,959
Speaker 1: the window is supposed to look like this actor, even

847
00:48:45,960 --> 00:48:48,560
Speaker 1: though she really doesn't. And I got more caught up

848
00:48:48,560 --> 00:48:51,800
Speaker 1: on the fact that she looks like a particular former

849
00:48:51,880 --> 00:48:55,560
Speaker 1: First Lady of the United States. Um, God, but I'm

850
00:48:55,560 --> 00:48:58,200
Speaker 1: supposed to be Anne. It's supposed to be Anne apparently

851
00:48:58,440 --> 00:49:01,440
Speaker 1: I didn't notice that, but yeah, you're right, but yeah,

852
00:49:01,440 --> 00:49:04,160
Speaker 1: well I was thinking Denise Richards. But either way, yeah,

853
00:49:04,200 --> 00:49:06,520
Speaker 1: it doesn't exactly look like and I guess it has

854
00:49:06,600 --> 00:49:09,799
Speaker 1: long brown hair and in intense eyebrows, so there you go.

855
00:49:10,200 --> 00:49:12,880
Speaker 1: But anyway, when Anne shows up, she's just a lady

856
00:49:12,920 --> 00:49:16,280
Speaker 1: in their house. Suddenly they're unpacking or something, and suddenly

857
00:49:16,280 --> 00:49:19,600
Speaker 1: a person's there and they're like huh, and she says,

858
00:49:19,600 --> 00:49:23,480
Speaker 1: miss Gettleman sent me, I'm Ann the babysitter, and then

859
00:49:23,520 --> 00:49:27,360
Speaker 1: just zoom whip, zoom, zoom, cut zoom. So this is

860
00:49:27,400 --> 00:49:30,759
Speaker 1: just instantly just so insane, because I mean, in what

861
00:49:31,120 --> 00:49:35,200
Speaker 1: universe does a real literally provide your babysitter, in which

862
00:49:35,280 --> 00:49:37,880
Speaker 1: case does a babysitter just sort of appear without you know,

863
00:49:37,920 --> 00:49:41,080
Speaker 1: there's no credentials, Like the parents weren't involved in this

864
00:49:41,160 --> 00:49:43,600
Speaker 1: at all. They just suddenly they have this strange woman

865
00:49:43,640 --> 00:49:46,680
Speaker 1: in their house babysitting for them. And then various other

866
00:49:46,760 --> 00:49:50,640
Speaker 1: questions come up regarding and and this whole babysitting arrangement

867
00:49:50,840 --> 00:49:54,400
Speaker 1: and her relationship with any other entity in the film.

868
00:49:54,480 --> 00:49:58,160
Speaker 1: It's bonkers. For moment one, An appears to be up

869
00:49:58,160 --> 00:50:01,680
Speaker 1: to no good like the So from here, the family

870
00:50:01,719 --> 00:50:04,640
Speaker 1: starts going about their business, and Norman is, I think,

871
00:50:04,640 --> 00:50:07,040
Speaker 1: trying to discover what the scholar who lived in this

872
00:50:07,120 --> 00:50:09,520
Speaker 1: house before him was up to, like what he had

873
00:50:09,560 --> 00:50:11,799
Speaker 1: found out and what what had led him to do

874
00:50:11,840 --> 00:50:15,920
Speaker 1: these horrible things. And meanwhile, there's like a scene where

875
00:50:16,080 --> 00:50:20,280
Speaker 1: Lucy is walking around at night having heard strange sounds

876
00:50:20,320 --> 00:50:23,120
Speaker 1: in the house, and she just like comes up on Anne,

877
00:50:23,200 --> 00:50:25,960
Speaker 1: who is trying to pry her way into the boarded

878
00:50:26,040 --> 00:50:29,719
Speaker 1: up basement with a shovel, gives her gives her the

879
00:50:29,760 --> 00:50:34,120
Speaker 1: most evil just hyena eyes. So Anne lives in the

880
00:50:34,160 --> 00:50:38,000
Speaker 1: house with them, right, she's like a living babysitter, Like

881
00:50:38,080 --> 00:50:41,480
Speaker 1: basically she's a nanny, even though they don't really use

882
00:50:41,480 --> 00:50:44,440
Speaker 1: the word. That's that's apparently what they mean, nanny. But

883
00:50:44,440 --> 00:50:46,960
Speaker 1: but then at the same time, like the relationship is

884
00:50:47,000 --> 00:50:50,200
Speaker 1: so weird. There's a point later on where Anne disappears

885
00:50:50,239 --> 00:50:53,960
Speaker 1: from the film for good and the mom mom comes

886
00:50:54,000 --> 00:50:57,200
Speaker 1: home finds that Anne is no no, no longer around.

887
00:50:57,239 --> 00:51:00,160
Speaker 1: It's just bob by himself, and she just dismisses. She's like, oh,

888
00:51:00,280 --> 00:51:03,560
Speaker 1: I guess Anne went home to see your parents. There's

889
00:51:03,560 --> 00:51:06,720
Speaker 1: like there's no communication with the baby sitter slash nanny.

890
00:51:06,760 --> 00:51:09,120
Speaker 1: It's just like, oh, well she's done. She wandered off.

891
00:51:09,120 --> 00:51:12,000
Speaker 1: That's fine, that's what babysitters do. That is the end

892
00:51:12,000 --> 00:51:14,920
Speaker 1: of and the the pair. And yet there's still more

893
00:51:14,960 --> 00:51:17,960
Speaker 1: questions about Anne. We'll get to as we proceed. So

894
00:51:18,200 --> 00:51:20,680
Speaker 1: where is it after this? We follow Norman for a

895
00:51:20,719 --> 00:51:23,319
Speaker 1: bit because he's trying to figure out what was going

896
00:51:23,400 --> 00:51:26,360
Speaker 1: on with Dr Peterson's research, and he goes to someplace

897
00:51:26,520 --> 00:51:28,200
Speaker 1: as a library. I guess it's supposed to be a

898
00:51:28,239 --> 00:51:32,239
Speaker 1: unity university, Like is this misquotonic university or something? Yeah,

899
00:51:32,280 --> 00:51:33,960
Speaker 1: I think we're getting kind of kind of vibe. You know.

900
00:51:34,080 --> 00:51:37,080
Speaker 1: This is the this is the Arkham Horror section of

901
00:51:37,120 --> 00:51:41,000
Speaker 1: the movie where he's going and researching the strange research

902
00:51:41,040 --> 00:51:43,960
Speaker 1: of his predecessor. Yeah. And so he meets a scholar

903
00:51:44,040 --> 00:51:47,840
Speaker 1: there who a scholar who's got like a this awesome

904
00:51:47,880 --> 00:51:51,160
Speaker 1: looking beard. Uh. And the scholars like, you've been here

905
00:51:51,200 --> 00:51:54,240
Speaker 1: before with your daughter, and Norman is like a Nope,

906
00:51:54,280 --> 00:51:56,280
Speaker 1: I've never been here before and I don't have a daughter.

907
00:51:56,840 --> 00:51:59,800
Speaker 1: And does that ever come up again? I don't recall

908
00:51:59,880 --> 00:52:04,680
Speaker 1: the connecting to anything. Uh. Yeah, I didn't really understand that, like,

909
00:52:04,760 --> 00:52:06,799
Speaker 1: what are they? At first, I was like, they just

910
00:52:06,840 --> 00:52:09,279
Speaker 1: mistook Bob for a girl, which you know, it's the

911
00:52:09,680 --> 00:52:13,040
Speaker 1: mis gendering of children happens all the time, uh, you know,

912
00:52:13,160 --> 00:52:15,319
Speaker 1: with with when you're when you're a parent, or when

913
00:52:15,320 --> 00:52:17,359
Speaker 1: you're you're talking to parents. So I thought, well, maybe

914
00:52:17,360 --> 00:52:20,359
Speaker 1: that's it. But no, but I don't think so. He'd

915
00:52:20,400 --> 00:52:26,360
Speaker 1: never been there. But then who was it? Uh? But

916
00:52:26,480 --> 00:52:28,920
Speaker 1: we get to meet the librarian in the sequence, right,

917
00:52:29,400 --> 00:52:31,160
Speaker 1: the librarian was It was a lot of fun. It's

918
00:52:31,160 --> 00:52:33,520
Speaker 1: a small role, but it's played by this guy, Jim

919
00:52:33,600 --> 00:52:39,479
Speaker 1: Paulo Sacharolla, Uh Saccarolla perhaps playing the librarian. Uh. Yeah,

920
00:52:39,520 --> 00:52:41,839
Speaker 1: and he's I really like this guy has some real

921
00:52:42,040 --> 00:52:45,360
Speaker 1: Ronald Lacy energy. You know, he's got kind of a um,

922
00:52:45,960 --> 00:52:49,600
Speaker 1: you know, a devious baby face. Yes, yes, yes, he

923
00:52:49,640 --> 00:52:52,360
Speaker 1: reminds me a little bit of Dylan Baker, you know,

924
00:52:52,400 --> 00:52:56,840
Speaker 1: the actor. But either way, he's a stupendous baby faced

925
00:52:56,880 --> 00:53:01,560
Speaker 1: Renfield boiling over with nervous laughter. I loved his scenes. Yeah,

926
00:53:01,600 --> 00:53:05,360
Speaker 1: I and he he ultimately doesn't play a particularly devious character.

927
00:53:05,400 --> 00:53:06,799
Speaker 1: He doesn't. You know, this is not a character that

928
00:53:06,840 --> 00:53:08,920
Speaker 1: turns out later to be a ghost. Or a cult

929
00:53:08,960 --> 00:53:12,480
Speaker 1: member or anything weird like that. He just is this this,

930
00:53:12,480 --> 00:53:15,880
Speaker 1: this slightly suspicious librarian and and it's a it's a

931
00:53:15,920 --> 00:53:17,920
Speaker 1: fun screen presence apparently shows up in a number of

932
00:53:18,120 --> 00:53:21,760
Speaker 1: number of other Italian B movies of this this time period,

933
00:53:22,239 --> 00:53:25,239
Speaker 1: just a bookish weirdo. There's also an awesome scene later

934
00:53:25,280 --> 00:53:28,160
Speaker 1: on in the movie where he's wearing a green sweater

935
00:53:28,280 --> 00:53:30,600
Speaker 1: that looks like it's made of felt. So he comes in,

936
00:53:30,640 --> 00:53:35,280
Speaker 1: he's like a walking pool table. I loved it. Yeah,

937
00:53:35,640 --> 00:53:37,759
Speaker 1: And he and he's actually got some fun dialogue in

938
00:53:37,800 --> 00:53:39,680
Speaker 1: that part, because it's it's like he's he's coming off

939
00:53:39,680 --> 00:53:42,320
Speaker 1: a little passive aggressive. He's like, I was just checking

940
00:53:42,360 --> 00:53:46,320
Speaker 1: on the room because the library he's closed on Sundays.

941
00:53:46,400 --> 00:53:48,520
Speaker 1: And and meanwhile our here, I was like, I'm here

942
00:53:48,560 --> 00:53:52,279
Speaker 1: to research. Yeah, have you seen my hair? Do you

943
00:53:52,360 --> 00:53:56,399
Speaker 1: know who I am? Look? How handsome I am? How

944
00:53:56,480 --> 00:53:59,000
Speaker 1: dare you question my presence here? There's a there's a

945
00:53:59,000 --> 00:54:01,840
Speaker 1: scene somewhere after this that's really funny where Bob is

946
00:54:01,840 --> 00:54:04,399
Speaker 1: out in the woods with his remote control race car.

947
00:54:04,440 --> 00:54:06,840
Speaker 1: Again like you can't really play with a remote control

948
00:54:06,880 --> 00:54:10,200
Speaker 1: car in the woods, um, and he's wandering around. He

949
00:54:10,200 --> 00:54:14,719
Speaker 1: finds a tombstone for somebody named Mary freud Stein, and

950
00:54:14,760 --> 00:54:18,320
Speaker 1: then he immediately has this incomprehensible encounter with the ghost

951
00:54:18,360 --> 00:54:22,680
Speaker 1: girl May, where May says, she says a line like

952
00:54:22,920 --> 00:54:26,960
Speaker 1: it's only it's all a lie. She's not really buried there. Oh,

953
00:54:27,120 --> 00:54:31,359
Speaker 1: I know, she's not really buried there. I don't know

954
00:54:31,400 --> 00:54:35,480
Speaker 1: what that means. Yeah, I don't know either, because she's

955
00:54:35,480 --> 00:54:37,439
Speaker 1: she's a ghost. But I guess I don't know where

956
00:54:37,440 --> 00:54:39,640
Speaker 1: she's buried if she's not buried here. So this is

957
00:54:39,680 --> 00:54:42,840
Speaker 1: all while Norman in his library is learning about the

958
00:54:42,840 --> 00:54:46,560
Speaker 1: sort of unsavory history of a doctor, Jacob freud Stein,

959
00:54:47,160 --> 00:54:49,640
Speaker 1: who I think at one point lived in the house

960
00:54:49,760 --> 00:54:51,719
Speaker 1: that they're staying in now. So this is not the

961
00:54:51,760 --> 00:54:55,800
Speaker 1: guy who was there before them, but the guy who

962
00:54:55,840 --> 00:54:59,600
Speaker 1: was there before that guy, right, And this is when

963
00:54:59,600 --> 00:55:02,200
Speaker 1: we find out that this isn't just a house by

964
00:55:02,239 --> 00:55:06,720
Speaker 1: the cemetery. It is perhaps the house on the cemetery,

965
00:55:06,840 --> 00:55:10,880
Speaker 1: or more specifically, the cemetery is also inside the house.

966
00:55:11,080 --> 00:55:14,360
Speaker 1: The cemetery is coming from inside the house, and the

967
00:55:14,400 --> 00:55:17,040
Speaker 1: scene that sets that up, by the way, begins with

968
00:55:17,080 --> 00:55:20,400
Speaker 1: an absolutely gorgeous framing. So like this house has the

969
00:55:20,560 --> 00:55:24,760
Speaker 1: stained glass windows with these uh, like green and yellow

970
00:55:24,800 --> 00:55:28,600
Speaker 1: and purple flower shapes that are that are framed against

971
00:55:28,640 --> 00:55:32,600
Speaker 1: the this blue stained glasses. It's just wonderful. Uh. And

972
00:55:32,600 --> 00:55:35,400
Speaker 1: and this is the framing for when Lucy's like washing

973
00:55:35,440 --> 00:55:39,719
Speaker 1: the floor and she pulls aside a rug and discovers

974
00:55:39,840 --> 00:55:43,200
Speaker 1: under the rug there's just a tomb there's like a

975
00:55:43,239 --> 00:55:47,399
Speaker 1: gravestone inside the house. And Will will later find out

976
00:55:48,320 --> 00:55:51,640
Speaker 1: that in kind of Scooby Doo fashion, this tombstone is

977
00:55:51,719 --> 00:55:55,640
Speaker 1: also a secret door, like a trap door that gives

978
00:55:55,680 --> 00:55:59,320
Speaker 1: you entry way into the cellar. And they're in addition

979
00:55:59,360 --> 00:56:02,520
Speaker 1: to the the door that nobody can open yet that

980
00:56:02,600 --> 00:56:06,319
Speaker 1: clearly goes to the cellar. Yeah, yeah, yeah, And like

981
00:56:06,360 --> 00:56:08,680
Speaker 1: in this scene, there's a bunch of grunts and jostling

982
00:56:08,760 --> 00:56:12,120
Speaker 1: and whatnot coming from the basement, so it sort of

983
00:56:12,160 --> 00:56:14,799
Speaker 1: indicates the trap door thing. Yeah, there are a lot

984
00:56:14,840 --> 00:56:18,279
Speaker 1: of haunted sounds in this house, Like there's creaking, there's

985
00:56:18,320 --> 00:56:23,640
Speaker 1: progressively grunting, and also like ghost baby weeping. Uh. There's

986
00:56:23,680 --> 00:56:26,040
Speaker 1: a lot of a lot going on in this house

987
00:56:26,760 --> 00:56:31,080
Speaker 1: from an auditory point of view here. So Lucy is

988
00:56:31,120 --> 00:56:33,759
Speaker 1: not happy about this, and she screams, but eventually she

989
00:56:34,040 --> 00:56:37,920
Speaker 1: and uh and Norman are discussing it, and Lucy's like, Wow,

990
00:56:37,960 --> 00:56:40,239
Speaker 1: it's weird that there's a tomb inside the house, and

991
00:56:40,320 --> 00:56:43,160
Speaker 1: Norman says, it's just something you'll have to get used to.

992
00:56:43,280 --> 00:56:46,719
Speaker 1: This ain't New York. Yeah, it's implied like this is

993
00:56:46,760 --> 00:56:50,320
Speaker 1: just what they do out here. Um, And I remember thinking,

994
00:56:50,520 --> 00:56:52,799
Speaker 1: is it is this ever a thing? I don't think

995
00:56:52,840 --> 00:56:55,759
Speaker 1: I've ever visited a historic home where they're like, and

996
00:56:55,800 --> 00:56:58,120
Speaker 1: now you'll notice there's a gravestone in the middle of

997
00:56:58,120 --> 00:57:01,200
Speaker 1: the house. Uh, this is what they did. I'm open minded,

998
00:57:01,239 --> 00:57:03,880
Speaker 1: but a little doubtful on that. I don't know. Listeners

999
00:57:03,960 --> 00:57:06,520
Speaker 1: right in do houses in New England all have bodies

1000
00:57:06,560 --> 00:57:10,359
Speaker 1: buried in the floors? Oh? And another thing, by the way,

1001
00:57:10,400 --> 00:57:12,439
Speaker 1: that was right in the middle of the sequence. There's

1002
00:57:12,440 --> 00:57:16,400
Speaker 1: a part where uh, Norman is standing in the kitchen

1003
00:57:16,640 --> 00:57:18,600
Speaker 1: and it's one of those things where I think we've

1004
00:57:18,600 --> 00:57:20,920
Speaker 1: talked about how a great thing with some of these

1005
00:57:20,960 --> 00:57:23,640
Speaker 1: Italian horror directors is they really know how to put

1006
00:57:24,440 --> 00:57:27,520
Speaker 1: a colorful item or two in the middle of an

1007
00:57:27,560 --> 00:57:31,240
Speaker 1: otherwise color drab shot to just really make it pop

1008
00:57:31,280 --> 00:57:34,720
Speaker 1: and add some contrast. And in one of these shots,

1009
00:57:34,840 --> 00:57:37,520
Speaker 1: the colorful item in the foreground is this big red

1010
00:57:37,600 --> 00:57:41,200
Speaker 1: box of something called fiddle fattle. It looks like it's

1011
00:57:41,240 --> 00:57:44,120
Speaker 1: a I don't know, it looks like cracker jacks or something.

1012
00:57:44,120 --> 00:57:47,880
Speaker 1: It might be caramel popcorn. Yeah, watching this scene, I

1013
00:57:48,080 --> 00:57:50,720
Speaker 1: also I thought back to our recent viewing of of

1014
00:57:50,760 --> 00:57:54,120
Speaker 1: Mario Bava's Black Sabbath, and I was thinking about, Yeah,

1015
00:57:54,160 --> 00:57:56,240
Speaker 1: how he'll put just some sort of item, it doesn't

1016
00:57:56,240 --> 00:57:58,200
Speaker 1: even matter what it is in the center and the

1017
00:57:58,200 --> 00:58:01,040
Speaker 1: color wild to suck you in. This doesn't quite pull

1018
00:58:01,120 --> 00:58:03,240
Speaker 1: that off, but you can see that she was going

1019
00:58:03,320 --> 00:58:14,920
Speaker 1: to the same sort of effect. But I guess this

1020
00:58:15,040 --> 00:58:18,040
Speaker 1: is all leading up to one of the finest sequences

1021
00:58:18,080 --> 00:58:22,600
Speaker 1: in the entire film, which is the bat scene. The

1022
00:58:22,640 --> 00:58:25,040
Speaker 1: bat scene is so good, and it comes from the

1023
00:58:25,120 --> 00:58:28,520
Speaker 1: first time the family actually decides to venture into the basement.

1024
00:58:28,560 --> 00:58:30,760
Speaker 1: So earlier, Anne was trying to pry her way into

1025
00:58:30,800 --> 00:58:33,240
Speaker 1: the basement in the middle of the night. Nobody ever

1026
00:58:33,280 --> 00:58:36,720
Speaker 1: explained that. I don't know why. She doesn't explain why.

1027
00:58:36,760 --> 00:58:39,080
Speaker 1: I don't think the movie addresses why she was trying

1028
00:58:39,120 --> 00:58:42,920
Speaker 1: to pry in. Um. If it does that, I missed it.

1029
00:58:42,960 --> 00:58:45,960
Speaker 1: But eventually the whole family goes in and there's this

1030
00:58:46,040 --> 00:58:49,400
Speaker 1: great scene of um of Norman, the dad trying to

1031
00:58:49,720 --> 00:58:53,640
Speaker 1: unlock the door to the basement by prying at the

1032
00:58:53,720 --> 00:58:56,840
Speaker 1: key with the sharp edge of a kitchen knife. So

1033
00:58:56,880 --> 00:59:00,200
Speaker 1: he's got a kitchen like wedged in it, blaze ead

1034
00:59:00,280 --> 00:59:03,920
Speaker 1: out like blade poking into the metal of the key

1035
00:59:04,040 --> 00:59:07,280
Speaker 1: and just twisting and twist, wrenching it over to turn

1036
00:59:07,360 --> 00:59:11,040
Speaker 1: the lock. One of several scenes where people are open it,

1037
00:59:11,080 --> 00:59:14,800
Speaker 1: trying to open or are opening doors using knives in

1038
00:59:14,840 --> 00:59:19,200
Speaker 1: the most unsafe manner possible. In a way, it's very

1039
00:59:19,240 --> 00:59:22,000
Speaker 1: effective because you can't help but cringe watching them do this.

1040
00:59:22,760 --> 00:59:25,320
Speaker 1: Fulgi Actually, scenes from this movie could be used as

1041
00:59:25,360 --> 00:59:28,000
Speaker 1: a video version of the Don't Do What Donny Don't

1042
00:59:28,040 --> 00:59:31,479
Speaker 1: Does book about knife safety. Yeah, it's basically it's shake

1043
00:59:31,520 --> 00:59:35,640
Speaker 1: hands with danger but generally but but I guess the

1044
00:59:35,640 --> 00:59:37,800
Speaker 1: thing is you keep expecting that knife to slip in

1045
00:59:37,840 --> 00:59:40,280
Speaker 1: there to be a real bloody gore effect and then

1046
00:59:40,320 --> 00:59:44,040
Speaker 1: there's not. Um. But then what happens instead is, yeah,

1047
00:59:44,080 --> 00:59:46,760
Speaker 1: they open the door successfully with their knife, and then

1048
00:59:46,800 --> 00:59:48,840
Speaker 1: they start heading down there to check it out. I

1049
00:59:48,840 --> 00:59:51,400
Speaker 1: think Dad's in front right with the flashlight and all,

1050
00:59:52,120 --> 00:59:55,920
Speaker 1: and then in swoops the bat the bat, and this

1051
00:59:56,000 --> 00:59:59,200
Speaker 1: is a great scene because the bat latches onto Norman's

1052
00:59:59,280 --> 01:00:01,920
Speaker 1: hand and then he still has a knife, so he

1053
01:00:02,080 --> 01:00:06,800
Speaker 1: stabs it like a million times, like backing up out

1054
01:00:06,840 --> 01:00:10,400
Speaker 1: of the cellar into the kitchen, just still stabbing at

1055
01:00:10,400 --> 01:00:13,080
Speaker 1: this bat. It's a fix to his hand, producing about

1056
01:00:13,160 --> 01:00:16,400
Speaker 1: six bats worth of blood in the process, and just

1057
01:00:16,520 --> 01:00:20,919
Speaker 1: getting it everywhere, flinging bat blood on everyone in the room.

1058
01:00:21,200 --> 01:00:23,560
Speaker 1: And it's just stuck on his hand like a leitch,

1059
01:00:24,000 --> 01:00:26,800
Speaker 1: like it's just you can't pull it off, and he's

1060
01:00:26,840 --> 01:00:30,160
Speaker 1: just stabbing and stabbing and getting blood on his whole family,

1061
01:00:30,760 --> 01:00:36,840
Speaker 1: and it's absolutely ludicrous. This scene is everything. Um. By

1062
01:00:36,840 --> 01:00:39,360
Speaker 1: the way, I got to say, it compares quite favorably

1063
01:00:39,880 --> 01:00:42,880
Speaker 1: to another bat attack film from an Italian horror movie.

1064
01:00:43,360 --> 01:00:46,160
Speaker 1: Do you remember the bat scene in Suspiria? I do,

1065
01:00:46,280 --> 01:00:50,720
Speaker 1: not very funny, but underwhelming compared to this one. So

1066
01:00:50,960 --> 01:00:55,640
Speaker 1: whereas this bat attack is just the the paragon of excess,

1067
01:00:56,040 --> 01:00:58,640
Speaker 1: the bat attack in Suspiria is where Jessica Harper is

1068
01:00:58,680 --> 01:01:02,000
Speaker 1: in her room at this school and suddenly she gets

1069
01:01:02,040 --> 01:01:04,360
Speaker 1: creeped out by It's just like a ball of black

1070
01:01:04,400 --> 01:01:08,640
Speaker 1: socks with wings. It's uh not a good bat one

1071
01:01:08,640 --> 01:01:11,440
Speaker 1: to ten on the bat believability scale, What do you

1072
01:01:11,440 --> 01:01:14,200
Speaker 1: give the suspiria bat. The suspiria bat would be like

1073
01:01:14,240 --> 01:01:17,200
Speaker 1: a two or three. This one, I don't know if

1074
01:01:17,200 --> 01:01:21,800
Speaker 1: believability is the word, but it's so overwhelms the senses

1075
01:01:22,000 --> 01:01:25,240
Speaker 1: that one need not believe either way. It is just there,

1076
01:01:25,320 --> 01:01:28,880
Speaker 1: It's just in you, alright, So I'm going to mark

1077
01:01:28,880 --> 01:01:32,520
Speaker 1: you down for a five. Okay. But the other thing

1078
01:01:32,600 --> 01:01:35,480
Speaker 1: is this scene reminded me of The Simpsons where Homer

1079
01:01:35,520 --> 01:01:38,400
Speaker 1: gets his hand stuck in the toaster and it still

1080
01:01:38,480 --> 01:01:41,160
Speaker 1: has his hand stuck in the toaster. Dad, it's in

1081
01:01:41,160 --> 01:01:46,520
Speaker 1: there again, alright. So eventually, eventually the bat is vanquished.

1082
01:01:46,880 --> 01:01:48,720
Speaker 1: And at that point, I think everybody has had enough

1083
01:01:48,760 --> 01:01:51,040
Speaker 1: of the seller and they have agreed not to go

1084
01:01:51,120 --> 01:01:53,720
Speaker 1: back in there for the time being. Well, and we're

1085
01:01:53,760 --> 01:01:56,520
Speaker 1: to understand that after the scene the family expresses their

1086
01:01:56,520 --> 01:01:59,120
Speaker 1: desire to leave the house, because the next one is

1087
01:01:59,600 --> 01:02:02,040
Speaker 1: at the real estate office. You've got the real ittors,

1088
01:02:02,080 --> 01:02:05,520
Speaker 1: the two realtors sitting there and they're just talking about how, yeah,

1089
01:02:05,560 --> 01:02:07,880
Speaker 1: everybody always wants out of this house. Why won't people

1090
01:02:07,960 --> 01:02:10,080
Speaker 1: just stay in the house? And this is great because

1091
01:02:10,080 --> 01:02:13,440
Speaker 1: we don't get enough scenes of realtors talking to realtors

1092
01:02:14,080 --> 01:02:16,680
Speaker 1: in our movies, particularly in haunted house films. You know,

1093
01:02:16,840 --> 01:02:19,720
Speaker 1: maybe the the the owners of the renters are talking

1094
01:02:19,760 --> 01:02:22,760
Speaker 1: with real Ittor but uh, but but not not this

1095
01:02:22,840 --> 01:02:25,560
Speaker 1: kind of inside real Ittor talk. You get. So one

1096
01:02:25,560 --> 01:02:29,680
Speaker 1: of the realtors is the one we've already met ms Gettles, Gettleston,

1097
01:02:29,840 --> 01:02:33,520
Speaker 1: Gettleston in one played by Dagmar Yes. And then the

1098
01:02:33,560 --> 01:02:35,360
Speaker 1: other one is this guy who I don't know if

1099
01:02:35,360 --> 01:02:38,840
Speaker 1: he has a name, but he has h a powerful

1100
01:02:38,880 --> 01:02:42,880
Speaker 1: aura of sleeves. Yes. And then so after this, I

1101
01:02:42,920 --> 01:02:45,640
Speaker 1: don't know if this has any causal relationship to anything

1102
01:02:45,680 --> 01:02:48,440
Speaker 1: else in the movie, but we get at least one

1103
01:02:48,480 --> 01:02:53,360
Speaker 1: scene of like the ghost people in their own environment,

1104
01:02:53,800 --> 01:02:57,640
Speaker 1: like May and her mom just in a house hanging out,

1105
01:02:57,720 --> 01:03:02,080
Speaker 1: and May is depicted as welling within gin pop of

1106
01:03:02,120 --> 01:03:04,880
Speaker 1: a super max prison for dolls is you know, just

1107
01:03:05,080 --> 01:03:09,560
Speaker 1: dolls everywhere crammed in. Uh. You imagine that the dolls

1108
01:03:09,600 --> 01:03:13,959
Speaker 1: are like shoving each other for more personal space and uh,

1109
01:03:14,000 --> 01:03:16,800
Speaker 1: and they have some kind of conversation here in the house.

1110
01:03:16,840 --> 01:03:19,680
Speaker 1: And I think this is implied to be the same house,

1111
01:03:19,880 --> 01:03:23,480
Speaker 1: but like not not in a different reality version of

1112
01:03:23,520 --> 01:03:26,080
Speaker 1: the house. Yeah, And I'm not sure where to fall

1113
01:03:26,160 --> 01:03:29,280
Speaker 1: on this, Like this room and also to a large extent,

1114
01:03:29,360 --> 01:03:33,720
Speaker 1: the seller are these places that are that physically exists

1115
01:03:33,760 --> 01:03:36,720
Speaker 1: and are closed off from the rest of the house,

1116
01:03:36,760 --> 01:03:40,760
Speaker 1: like the main I presume rental house. Um, I forget

1117
01:03:40,760 --> 01:03:43,000
Speaker 1: if they were supposed to purchase this house or surely

1118
01:03:43,000 --> 01:03:45,000
Speaker 1: they're renting. You don't, e don't just buy a hunted

1119
01:03:45,000 --> 01:03:47,440
Speaker 1: house you want to rent, um, But I don't know

1120
01:03:47,440 --> 01:03:50,480
Speaker 1: if these are rooms that physically exist or if they

1121
01:03:50,520 --> 01:03:54,400
Speaker 1: are essentially ghost rooms and ghost domains. And ultimately the

1122
01:03:54,400 --> 01:03:56,320
Speaker 1: house by the cemetery is kind of like the House

1123
01:03:56,360 --> 01:03:59,760
Speaker 1: of Leaves and it doesn't obey, you know, the typical

1124
01:03:59,800 --> 01:04:03,320
Speaker 1: law of time and space. That's a nice comparison, except

1125
01:04:03,360 --> 01:04:05,880
Speaker 1: I would say House of Leaves is somehow less confusing

1126
01:04:06,080 --> 01:04:09,800
Speaker 1: than the Cemetery. So from here the movie kind of

1127
01:04:09,920 --> 01:04:14,480
Speaker 1: ramps up more into into attack mode. Uh. So multiple

1128
01:04:14,600 --> 01:04:17,520
Speaker 1: characters are are going to get slaughtered by the monster here.

1129
01:04:17,960 --> 01:04:20,040
Speaker 1: Uh there's a scene where the real estate agent Ms.

1130
01:04:20,080 --> 01:04:23,880
Speaker 1: Gittlson just kind of pops into the house to wander around. Uh.

1131
01:04:23,880 --> 01:04:26,520
Speaker 1: There's some beautiful, eerie shots of the house like that

1132
01:04:26,520 --> 01:04:31,240
Speaker 1: that same window, the bay of windows with the stained

1133
01:04:31,240 --> 01:04:33,680
Speaker 1: glass and all that, and there are these lamps, these

1134
01:04:33,720 --> 01:04:38,600
Speaker 1: globe shaped lamps beside them. Is wonderful, wonderful composition. But

1135
01:04:38,720 --> 01:04:41,400
Speaker 1: so this lady's wandering through the house and she gets

1136
01:04:41,440 --> 01:04:44,960
Speaker 1: attacked by the tomb like the stone slab over the

1137
01:04:45,000 --> 01:04:50,320
Speaker 1: tomb that Lucy discovered there. It bites her leg essentially, uh,

1138
01:04:50,360 --> 01:04:52,600
Speaker 1: and then she is killed by the monster hand guy

1139
01:04:52,680 --> 01:04:55,320
Speaker 1: from the beginning of the movie. And that's that's the doctor.

1140
01:04:55,360 --> 01:04:58,200
Speaker 1: That's Dr freud Stein, who will we we will increasingly

1141
01:04:58,280 --> 01:05:00,920
Speaker 1: see a lot more of. Right, well, we don't see him.

1142
01:05:00,960 --> 01:05:03,840
Speaker 1: It's still just his hands here. Like that's the big

1143
01:05:03,840 --> 01:05:05,720
Speaker 1: reveal at the end of the movie, is getting to

1144
01:05:05,760 --> 01:05:08,600
Speaker 1: see his full form. Here you just get hands. And

1145
01:05:08,640 --> 01:05:11,480
Speaker 1: then this lady gets murdered in a in a scene

1146
01:05:11,480 --> 01:05:15,320
Speaker 1: of an absolutely ridiculous excess of blood. Yeah, this is

1147
01:05:15,480 --> 01:05:19,320
Speaker 1: I think he stabs it with a poker multiple times. Yeah.

1148
01:05:19,680 --> 01:05:22,320
Speaker 1: So sometime around this point in the movie, also Norman

1149
01:05:22,480 --> 01:05:28,480
Speaker 1: discovers the the cassette tapes made by his predecessor, by

1150
01:05:28,480 --> 01:05:31,600
Speaker 1: the previous scholar who was working in this house. Um

1151
01:05:31,760 --> 01:05:36,000
Speaker 1: and this guy Peterson and Peterson's recording himself talking into

1152
01:05:36,000 --> 01:05:38,840
Speaker 1: a tape recorder about the the freud Steen house. He

1153
01:05:38,880 --> 01:05:41,840
Speaker 1: seems to be losing his mind. He says, the house

1154
01:05:41,920 --> 01:05:45,400
Speaker 1: it draws me like an infernal magnet. How many have

1155
01:05:45,480 --> 01:05:48,320
Speaker 1: wandered into the waiting spider web. The smell of the

1156
01:05:48,400 --> 01:05:51,760
Speaker 1: rooms terrifies me. And then eventually we get to him

1157
01:05:51,760 --> 01:05:57,120
Speaker 1: saying blood, blood, blood, which of course it will be

1158
01:05:57,200 --> 01:06:01,160
Speaker 1: irresistible to all the Garth Marenghi fans out there. But

1159
01:06:01,160 --> 01:06:03,840
Speaker 1: but then then the scenes right after that are really

1160
01:06:03,880 --> 01:06:06,760
Speaker 1: full of stopping shop, So like the you know, mom

1161
01:06:06,840 --> 01:06:09,160
Speaker 1: comes home with the grocery bag that has at the

1162
01:06:09,160 --> 01:06:12,080
Speaker 1: stopping shop logo on them honest values or what stopping

1163
01:06:12,120 --> 01:06:15,520
Speaker 1: shop is all about. And then there's stopping shop brand

1164
01:06:15,760 --> 01:06:19,680
Speaker 1: cartons of milk everywhere. Yeah yeah, adding that, you know,

1165
01:06:19,800 --> 01:06:22,840
Speaker 1: some level of that red Mario Baba pop to the background.

1166
01:06:24,080 --> 01:06:28,120
Speaker 1: But but here characters really start going down in the basement,

1167
01:06:28,600 --> 01:06:31,160
Speaker 1: so like An's gonna go down in the basement, Bob's

1168
01:06:31,200 --> 01:06:35,000
Speaker 1: gonna go down in the basement. Uh. And and this

1169
01:06:35,000 --> 01:06:39,200
Speaker 1: this is third act territory here, yeah, so um so,

1170
01:06:39,480 --> 01:06:41,040
Speaker 1: first of all, I went to so one of the

1171
01:06:41,080 --> 01:06:44,120
Speaker 1: people that goes down to the basement. Is Ann And

1172
01:06:44,160 --> 01:06:46,919
Speaker 1: this is ultimately a sequence that really raises at even

1173
01:06:46,920 --> 01:06:50,160
Speaker 1: more questions for me because after the so after the

1174
01:06:50,480 --> 01:06:54,240
Speaker 1: real estate lady is again just brutally murdered in the

1175
01:06:54,320 --> 01:06:56,520
Speaker 1: upper portion of the house and then dragged into the

1176
01:06:56,600 --> 01:07:00,439
Speaker 1: into the cellar, it appears that Anne has spent quite

1177
01:07:00,440 --> 01:07:03,520
Speaker 1: a bit of time cleaning up after this murder. Like

1178
01:07:03,880 --> 01:07:06,720
Speaker 1: the mom comes back. Apparently they went out to a

1179
01:07:06,760 --> 01:07:10,800
Speaker 1: restaurant last night. Um, they had invited Anne, but Anne

1180
01:07:10,960 --> 01:07:13,840
Speaker 1: was going to go quote unquote visit her parents, which

1181
01:07:13,840 --> 01:07:18,400
Speaker 1: apparently means clean up after the murderous creature slash, ghost

1182
01:07:18,520 --> 01:07:21,480
Speaker 1: slash whatever that lives in the cellar. And then and

1183
01:07:21,520 --> 01:07:24,040
Speaker 1: then she just kind of avoids the topic about what

1184
01:07:24,120 --> 01:07:26,520
Speaker 1: she's doing. But she's like clearly cleaning up all this blood.

1185
01:07:26,760 --> 01:07:29,520
Speaker 1: So it's like his Anne working for the presence in

1186
01:07:29,560 --> 01:07:32,240
Speaker 1: the basement. Is she a thrall of the forces in

1187
01:07:32,280 --> 01:07:36,920
Speaker 1: this house? What is it? Uh, it's not explained. And

1188
01:07:36,960 --> 01:07:43,000
Speaker 1: then when Anne goes looking for Bob wanders into the basement, Uh,

1189
01:07:43,120 --> 01:07:46,200
Speaker 1: the force brutally murders her, like chops her head off

1190
01:07:46,280 --> 01:07:49,320
Speaker 1: with a knife. And uh, and so it's like, well,

1191
01:07:49,320 --> 01:07:51,120
Speaker 1: What was that all about? Then? What did she work

1192
01:07:51,200 --> 01:07:53,120
Speaker 1: for the thing in the basement? Did she work for

1193
01:07:53,160 --> 01:07:55,680
Speaker 1: some other force? Like? What is the arrangement here? I

1194
01:07:55,760 --> 01:07:58,680
Speaker 1: have no idea. Yeah, I could not understand at all.

1195
01:07:58,920 --> 01:08:01,160
Speaker 1: At first it seems like she is working for the

1196
01:08:01,200 --> 01:08:05,080
Speaker 1: monster and then she's surprised when she encounters it, and

1197
01:08:05,160 --> 01:08:08,800
Speaker 1: so yeah, I don't know, I don't know. Ye, why

1198
01:08:08,920 --> 01:08:11,440
Speaker 1: was she leaning up the blood? Yeah, she died like

1199
01:08:11,520 --> 01:08:14,520
Speaker 1: she lived. A complete mystery. Um, okay, But when when

1200
01:08:14,600 --> 01:08:17,280
Speaker 1: Bob's in the basement, then this is where the seller

1201
01:08:17,360 --> 01:08:19,880
Speaker 1: really takes on. This the strange other world they to

1202
01:08:19,880 --> 01:08:23,280
Speaker 1: mention because they are the sounds and you know, creepy

1203
01:08:23,320 --> 01:08:25,920
Speaker 1: and also creepy size. We keep seeing these big beast

1204
01:08:25,960 --> 01:08:29,200
Speaker 1: eyes glowing in the dark. That reminds me of the

1205
01:08:29,200 --> 01:08:32,360
Speaker 1: the eyes of the Great Dweller from Stephen King's Creep Show.

1206
01:08:33,120 --> 01:08:35,680
Speaker 1: And it's easy to think when you first see them, Oh,

1207
01:08:35,720 --> 01:08:37,719
Speaker 1: these must be the eyes of the presence of the basement.

1208
01:08:37,760 --> 01:08:41,240
Speaker 1: These are the eyes of Dr Freudstein. But as we'll

1209
01:08:41,240 --> 01:08:43,720
Speaker 1: explain when we finally see Dr Freudstein, he does not

1210
01:08:43,840 --> 01:08:48,280
Speaker 1: have these eyes. So what what was this? Is this

1211
01:08:48,360 --> 01:08:51,880
Speaker 1: another presence? Is this another like is this Like, I

1212
01:08:51,920 --> 01:08:54,880
Speaker 1: have so many questions about the whole arrangement here with

1213
01:08:54,960 --> 01:08:59,479
Speaker 1: ghosts and potentially demat demonic presences and and also, uh,

1214
01:08:59,520 --> 01:09:05,559
Speaker 1: you know our officially living undead creatures. Uh, it's really

1215
01:09:05,600 --> 01:09:07,759
Speaker 1: out there. I have no idea what's going on. Yeah,

1216
01:09:07,920 --> 01:09:11,000
Speaker 1: the same here, just these these weird glowing yellow and

1217
01:09:11,040 --> 01:09:14,400
Speaker 1: red cat like eyes in the dark that don't correspond

1218
01:09:14,479 --> 01:09:17,320
Speaker 1: to any creature or monster we see later in the film.

1219
01:09:17,640 --> 01:09:20,000
Speaker 1: But one of the key sequences is this scene, you know,

1220
01:09:20,080 --> 01:09:23,320
Speaker 1: where Bob is shut into the closet. Whatever is in

1221
01:09:23,400 --> 01:09:26,040
Speaker 1: the basement is able to close the door at will

1222
01:09:26,360 --> 01:09:29,160
Speaker 1: and trap people who wander down. Bob is stuck in

1223
01:09:29,200 --> 01:09:32,320
Speaker 1: the basement. Mom's trying to free him from the other side,

1224
01:09:32,600 --> 01:09:34,920
Speaker 1: and something's coming up the stairs to get him, and

1225
01:09:35,040 --> 01:09:38,280
Speaker 1: of course he is the doctor, uh Dr freud Stein.

1226
01:09:38,680 --> 01:09:40,519
Speaker 1: Now we don't I think we have this part. We

1227
01:09:40,600 --> 01:09:43,760
Speaker 1: don't fully see his face yet that that reveal is

1228
01:09:43,800 --> 01:09:46,720
Speaker 1: still coming. But one of the funniest parts again is

1229
01:09:46,760 --> 01:09:49,679
Speaker 1: that uh Lucy is trying to get in to help Bob,

1230
01:09:49,760 --> 01:09:52,360
Speaker 1: and she's literally prying at the basement door with the

1231
01:09:52,439 --> 01:09:55,280
Speaker 1: kitchen knife. That's just the knife in the door in

1232
01:09:55,360 --> 01:09:59,240
Speaker 1: the door jam, just prying and then that doesn't work,

1233
01:09:59,280 --> 01:10:02,840
Speaker 1: and then I think, uh, this is when Norman comes

1234
01:10:02,880 --> 01:10:05,880
Speaker 1: home and he attacks the door with a hatchet to

1235
01:10:05,880 --> 01:10:08,640
Speaker 1: try to get in and save Bob. There again was

1236
01:10:08,680 --> 01:10:11,599
Speaker 1: a very funny moment where he goes keep away from

1237
01:10:11,640 --> 01:10:14,880
Speaker 1: the door and Bob goes, yep, I will and uh

1238
01:10:14,960 --> 01:10:17,879
Speaker 1: and then here comes the monster hand and holds Bob's

1239
01:10:17,920 --> 01:10:20,760
Speaker 1: head against the door while Dad's trying to hack through

1240
01:10:20,760 --> 01:10:22,879
Speaker 1: it with the with the with the with the hatchet.

1241
01:10:23,479 --> 01:10:25,840
Speaker 1: It's pretty it's pretty great. I mean, it's terrified's it's

1242
01:10:25,840 --> 01:10:28,360
Speaker 1: really an ingenious scene. I don't think I've ever seen

1243
01:10:28,400 --> 01:10:31,760
Speaker 1: anything quite like this. And the dad accidentally chops the

1244
01:10:31,840 --> 01:10:36,559
Speaker 1: monster's arm off with the hatchet. Um then also keeps

1245
01:10:36,560 --> 01:10:38,920
Speaker 1: hacking at the door in a very inefficient way, like

1246
01:10:39,040 --> 01:10:41,760
Speaker 1: hitting the door in completely different places, like in the

1247
01:10:41,800 --> 01:10:45,439
Speaker 1: middle and then at the side. Yeah, and and finally

1248
01:10:45,479 --> 01:10:48,000
Speaker 1: we do get to see our monster, our doctor freud

1249
01:10:48,040 --> 01:10:51,479
Speaker 1: Stein in full and oh man, I've I've long loved

1250
01:10:51,479 --> 01:10:54,519
Speaker 1: this monster design. So he is apparently a hundred and

1251
01:10:54,560 --> 01:10:59,080
Speaker 1: fifty year old surgeon with a who really liked illegal surgeries.

1252
01:10:59,720 --> 01:11:03,679
Speaker 1: He's beat death through some mix of butchery and self

1253
01:11:03,760 --> 01:11:07,200
Speaker 1: theft and uh. And when I say beat death, you

1254
01:11:07,240 --> 01:11:12,160
Speaker 1: know it's uh, it's arguable, like how close the score

1255
01:11:12,360 --> 01:11:16,360
Speaker 1: was here? Because his body is just this desiccated husk

1256
01:11:16,400 --> 01:11:19,960
Speaker 1: of scars and rot with seemingly new parts that it

1257
01:11:20,080 --> 01:11:22,559
Speaker 1: is needed. I think that's the reason he has one

1258
01:11:22,640 --> 01:11:27,120
Speaker 1: monster arm and one uh, seemingly normal arm. Um. He's

1259
01:11:27,200 --> 01:11:32,559
Speaker 1: clearly lost all of his humanity and now just exist.

1260
01:11:32,680 --> 01:11:35,240
Speaker 1: Is this thing that lures people into the cellar so

1261
01:11:35,280 --> 01:11:37,200
Speaker 1: he can cut them to ribbons and you know, maybe

1262
01:11:37,240 --> 01:11:39,800
Speaker 1: harvest some of their cells or their body parts. He

1263
01:11:40,240 --> 01:11:44,280
Speaker 1: boasts amazing strength to match his brutality. He can't speak,

1264
01:11:44,960 --> 01:11:47,599
Speaker 1: or doesn't seem to. He seems to only emit guttural sounds.

1265
01:11:47,600 --> 01:11:49,439
Speaker 1: And we don't know if this is due to his

1266
01:11:49,479 --> 01:11:52,320
Speaker 1: state of mind, like is his brain just rotting in there,

1267
01:11:52,720 --> 01:11:55,160
Speaker 1: or is it just because he doesn't have you functional

1268
01:11:55,200 --> 01:12:00,320
Speaker 1: speech apparatus anymore. He also may have supernatural powers, like

1269
01:12:00,400 --> 01:12:02,280
Speaker 1: he may be the one that's opening and closing on

1270
01:12:02,320 --> 01:12:07,280
Speaker 1: that door, or he's aided by the ghosts of his family,

1271
01:12:08,080 --> 01:12:09,960
Speaker 1: or I was trying to figure out, well, maybe it

1272
01:12:09,960 --> 01:12:12,000
Speaker 1: has something to do with those those beast eyes in

1273
01:12:12,040 --> 01:12:15,760
Speaker 1: the cellar, maybe like he's somehow horcrux himself, and so

1274
01:12:16,040 --> 01:12:20,400
Speaker 1: he exists both as a an incorporeal uh like presence

1275
01:12:20,439 --> 01:12:23,599
Speaker 1: in the cellar. But then also this this uh, this

1276
01:12:23,600 --> 01:12:28,240
Speaker 1: this doomed uh you know, compoile, rotting creature. It's uh,

1277
01:12:28,280 --> 01:12:31,960
Speaker 1: it's it's wonderful. Like the suit looks really good. He

1278
01:12:32,120 --> 01:12:34,960
Speaker 1: you can brace basically smell him. Oh yeah, yeah. The

1279
01:12:35,080 --> 01:12:39,679
Speaker 1: design of the monster is absolutely fabulous. The especially the

1280
01:12:39,760 --> 01:12:42,920
Speaker 1: head where his his head is, it's almost like a

1281
01:12:43,000 --> 01:12:48,480
Speaker 1: wax helmet of a kind, these deeply recessed eye sockets

1282
01:12:48,520 --> 01:12:51,720
Speaker 1: that don't appear to have eyes in them. And uh

1283
01:12:51,880 --> 01:12:54,240
Speaker 1: and no mouth. Yeah, the mouth part is just kind

1284
01:12:54,240 --> 01:12:58,200
Speaker 1: of smoothed over and it's just this vertical scar. Now

1285
01:12:58,280 --> 01:13:02,000
Speaker 1: it's excellent. Yeah, there's kind of a body's exhibit sensibility

1286
01:13:02,040 --> 01:13:06,120
Speaker 1: to his his his head like he's been plasticized. Oh

1287
01:13:06,200 --> 01:13:08,559
Speaker 1: and then when dad dad gets in there and um

1288
01:13:08,640 --> 01:13:11,680
Speaker 1: and stabs him. And when Dad stabs him another one

1289
01:13:11,680 --> 01:13:14,040
Speaker 1: of the most memorable scenes in the film is what

1290
01:13:14,240 --> 01:13:17,200
Speaker 1: comes out is not not blood, but this just kind

1291
01:13:17,280 --> 01:13:21,439
Speaker 1: of rotted sludge filled with squirming maggots, I mean, just

1292
01:13:21,560 --> 01:13:24,720
Speaker 1: packed with maggots and not meal. Worms is sometimes the case,

1293
01:13:24,760 --> 01:13:27,559
Speaker 1: sometimes you have meal worms standing in for maggots. But

1294
01:13:27,640 --> 01:13:29,599
Speaker 1: this is the real deal. This is like just a

1295
01:13:29,640 --> 01:13:33,439
Speaker 1: big maggoty sludge that starts dripping out of his body. Yeah,

1296
01:13:33,680 --> 01:13:38,360
Speaker 1: tremendously gross and and in some ways beautiful monster design.

1297
01:13:38,760 --> 01:13:41,200
Speaker 1: Now Here the big spoilers. What happens when the family,

1298
01:13:41,360 --> 01:13:44,960
Speaker 1: the final three go up against Dr Freudstein. Well, it

1299
01:13:45,320 --> 01:13:48,400
Speaker 1: doesn't go so well. Um Dad you know, gets in

1300
01:13:48,400 --> 01:13:50,600
Speaker 1: there and get some stabbing in on Dr Freudstein. But

1301
01:13:50,600 --> 01:13:52,960
Speaker 1: then Dr Freudstein rips Dad's throat out in a very

1302
01:13:53,000 --> 01:13:57,200
Speaker 1: grizzly sequence. And then Mom and Bob are are going

1303
01:13:57,320 --> 01:14:00,360
Speaker 1: up these stairs to that tombstone trap door or and

1304
01:14:00,400 --> 01:14:02,559
Speaker 1: trying to force it open so that they can escape,

1305
01:14:03,080 --> 01:14:06,080
Speaker 1: and Freudstein ends up grabbing Mom and like dragging her

1306
01:14:06,120 --> 01:14:08,960
Speaker 1: down the stairs, bonking her head on each rung. And

1307
01:14:09,000 --> 01:14:11,000
Speaker 1: then like and I think this must have been a

1308
01:14:11,160 --> 01:14:12,479
Speaker 1: I don't know if this was a cut scene, but

1309
01:14:12,560 --> 01:14:14,400
Speaker 1: like the next scene you see is like her head

1310
01:14:14,439 --> 01:14:17,360
Speaker 1: has been dashed to pieces on the concrete floor, and

1311
01:14:17,400 --> 01:14:19,720
Speaker 1: then the creatures coming back up. Freudste is coming back

1312
01:14:19,800 --> 01:14:23,360
Speaker 1: up to get Bob, and Bob manages to squeeze his

1313
01:14:23,400 --> 01:14:26,680
Speaker 1: way out, and it's pulled to safety by May, the

1314
01:14:26,680 --> 01:14:30,200
Speaker 1: ghost girl. Yeah, so I was confused about the ending.

1315
01:14:30,320 --> 01:14:37,240
Speaker 1: Does Bob escape the monster by becoming a ghost? I

1316
01:14:37,320 --> 01:14:41,000
Speaker 1: don't know? Does does Bob? Does mean Bob dies or

1317
01:14:41,040 --> 01:14:44,080
Speaker 1: Bob crosses over? Or has Bob been saved in the

1318
01:14:44,080 --> 01:14:48,719
Speaker 1: physical world by May. I'm not sure. I really don't. Yeah,

1319
01:14:48,760 --> 01:14:52,240
Speaker 1: I'm not sure. I think it's intentionally haunting and vague

1320
01:14:52,960 --> 01:14:55,400
Speaker 1: and uh and and ful. She does nothing to clear

1321
01:14:55,400 --> 01:14:57,759
Speaker 1: it up by having the final shot in the film

1322
01:14:58,200 --> 01:15:00,559
Speaker 1: be this this wide shot of the how else again?

1323
01:15:00,840 --> 01:15:04,800
Speaker 1: And then there's a quote there attributed to Henry James says,

1324
01:15:05,120 --> 01:15:08,680
Speaker 1: no one will ever know whether children or monsters or

1325
01:15:08,760 --> 01:15:13,639
Speaker 1: monsters are children. Uh so I want to reveal something.

1326
01:15:14,240 --> 01:15:17,400
Speaker 1: This didn't exactly sound like Henry James to me, and

1327
01:15:17,439 --> 01:15:19,799
Speaker 1: I was like, I wonder if that's an authentic quote.

1328
01:15:20,040 --> 01:15:22,760
Speaker 1: I looked it up. It appears it is not. I

1329
01:15:22,760 --> 01:15:25,880
Speaker 1: could not find this as a Henry James quote anywhere,

1330
01:15:26,280 --> 01:15:29,120
Speaker 1: and I could find people saying that ful she made

1331
01:15:29,160 --> 01:15:33,240
Speaker 1: this up and attributed it falsely to Henry James. Why

1332
01:15:33,280 --> 01:15:36,160
Speaker 1: pick Henry James? I'm not sure. I mean Henry James, Like,

1333
01:15:36,240 --> 01:15:39,040
Speaker 1: what's the connection there. I guess James wrote Turn of

1334
01:15:39,080 --> 01:15:43,800
Speaker 1: the Screw, which is a horror classic. Otherwise, I don't know.

1335
01:15:44,320 --> 01:15:46,559
Speaker 1: I have no idea. I mean, maybe it was just

1336
01:15:46,640 --> 01:15:49,920
Speaker 1: inspired by the works of Henry James, and I just

1337
01:15:49,960 --> 01:15:53,479
Speaker 1: wanted to throw in a quotation, but then not a

1338
01:15:53,520 --> 01:15:59,679
Speaker 1: real quotation. I don't know. Good choice either way, good choice.

1339
01:16:00,560 --> 01:16:03,479
Speaker 1: So there you have a house by the cemetery. There's

1340
01:16:03,479 --> 01:16:05,559
Speaker 1: just there's so much to love in this one. Well,

1341
01:16:05,680 --> 01:16:07,519
Speaker 1: so one of the things I did think was actually

1342
01:16:07,560 --> 01:16:11,240
Speaker 1: kind of interesting towards the end was, did I understand

1343
01:16:11,280 --> 01:16:14,080
Speaker 1: correctly that a lot of the times the characters have

1344
01:16:14,200 --> 01:16:18,000
Speaker 1: heard a sound of a child sobbing and they thought

1345
01:16:18,000 --> 01:16:20,400
Speaker 1: it was Bob, and so they were looking for Bob.

1346
01:16:20,880 --> 01:16:24,280
Speaker 1: But it wasn't Bob. It turns out it was the monster,

1347
01:16:24,520 --> 01:16:27,559
Speaker 1: and the monster was sobbing with the voice of a child.

1348
01:16:28,720 --> 01:16:31,960
Speaker 1: I'm not sure. Possibly, but also I think those are

1349
01:16:31,960 --> 01:16:35,439
Speaker 1: possibly just ambient ghost noises, like ghosts of all the child,

1350
01:16:35,520 --> 01:16:38,439
Speaker 1: because we get these scenes of all these other bodies

1351
01:16:38,439 --> 01:16:40,639
Speaker 1: have been cut to pieces down there. We see at

1352
01:16:40,640 --> 01:16:44,080
Speaker 1: one point, like a slaughtered child that looks a little

1353
01:16:44,120 --> 01:16:45,640
Speaker 1: bit like Bob, And I don't know if this is

1354
01:16:45,680 --> 01:16:48,519
Speaker 1: a vision of the potential future or this is a

1355
01:16:48,600 --> 01:16:51,439
Speaker 1: child that was killed in the past. I think there's

1356
01:16:51,560 --> 01:16:56,040
Speaker 1: um that's during the playing of the Haunted tape. Oh yeah,

1357
01:16:56,120 --> 01:16:58,800
Speaker 1: the haunted cassette tape for Dr Peterson is like, oh,

1358
01:16:58,880 --> 01:17:02,600
Speaker 1: not that children about children. It's labeled I think it

1359
01:17:02,640 --> 01:17:06,760
Speaker 1: says Peterson personal. And you remember what Norman does with that.

1360
01:17:06,800 --> 01:17:08,479
Speaker 1: After he's through listening to it, He's like, well, this

1361
01:17:08,560 --> 01:17:12,800
Speaker 1: is going directly into the fire burning in the library

1362
01:17:13,200 --> 01:17:15,720
Speaker 1: on a Sunday when it's closed. Why is there an

1363
01:17:15,760 --> 01:17:19,920
Speaker 1: open brazier in the library the tape keep the place

1364
01:17:19,960 --> 01:17:25,160
Speaker 1: warm or just in case cursed documents or recordings are found.

1365
01:17:25,280 --> 01:17:27,720
Speaker 1: There's like a sign saying, remember if you find a

1366
01:17:27,720 --> 01:17:32,640
Speaker 1: cursed documentary cassette tape in the library, incinerate immediately, be

1367
01:17:32,720 --> 01:17:35,439
Speaker 1: considerate of others. I mean, I gotta say, we're deep

1368
01:17:35,520 --> 01:17:37,920
Speaker 1: enough in the dream logic of the plot by that

1369
01:17:38,000 --> 01:17:42,000
Speaker 1: point it feels right. Yeah, so I guess that's house

1370
01:17:42,040 --> 01:17:45,400
Speaker 1: by the cemetery. That is a house by the cemetery.

1371
01:17:45,520 --> 01:17:48,800
Speaker 1: Um so this one is, uh, this one's pretty widely

1372
01:17:48,840 --> 01:17:52,000
Speaker 1: available at this point. Uh, you can find you can

1373
01:17:52,080 --> 01:17:54,240
Speaker 1: ultimately find it streaming a lot of places, and the

1374
01:17:54,600 --> 01:17:59,120
Speaker 1: version streaming you can you know, purchase the rent digitally. Uh,

1375
01:17:59,120 --> 01:18:02,280
Speaker 1: I find that it ends to be the restored version.

1376
01:18:02,840 --> 01:18:06,320
Speaker 1: That's the version I watched. I I watched the first

1377
01:18:06,400 --> 01:18:09,120
Speaker 1: half of it on my trial of a m C

1378
01:18:09,280 --> 01:18:12,439
Speaker 1: plus an Apple, and then my trial ran out and

1379
01:18:12,439 --> 01:18:15,200
Speaker 1: I had to switch to a trial of like Showtime

1380
01:18:15,280 --> 01:18:17,600
Speaker 1: or something to finished watching it. So I took the

1381
01:18:17,640 --> 01:18:21,320
Speaker 1: cheap skate approach. But I was also very tempted to

1382
01:18:21,360 --> 01:18:24,479
Speaker 1: pick up the handsome blue Underground Blue ray of this,

1383
01:18:24,600 --> 01:18:27,439
Speaker 1: which has you know, fully restored, but also all of

1384
01:18:27,479 --> 01:18:29,479
Speaker 1: the version I was looking at. It comes with with

1385
01:18:29,520 --> 01:18:32,040
Speaker 1: all these behind the scenes features, and also it comes

1386
01:18:32,040 --> 01:18:34,880
Speaker 1: with the soundtrack as a c D, which was very

1387
01:18:34,920 --> 01:18:38,400
Speaker 1: tempting as well. Oh yeah, it sounds like a steel Alright, Well,

1388
01:18:38,400 --> 01:18:40,599
Speaker 1: we're gonna go ahead and close it up here. We're

1389
01:18:40,600 --> 01:18:43,480
Speaker 1: gonna we're gonna close up the house by the cemetery.

1390
01:18:43,520 --> 01:18:46,880
Speaker 1: We're gonna put the reorders lock on the front door,

1391
01:18:47,439 --> 01:18:50,719
Speaker 1: and uh, we'll be back next week with another another

1392
01:18:50,840 --> 01:18:55,040
Speaker 1: weird film. But yeah, thanks again for everyone who's who's

1393
01:18:55,080 --> 01:18:57,360
Speaker 1: enjoyed these or or put up with these episodes over

1394
01:18:57,400 --> 01:19:00,320
Speaker 1: the past year. If you want to listen a weird

1395
01:19:00,320 --> 01:19:03,639
Speaker 1: more episodes of Weird House Cinema, we are it every Friday,

1396
01:19:03,760 --> 01:19:05,800
Speaker 1: and the Stuff to Blow Your Mind podcast feed were

1397
01:19:05,800 --> 01:19:09,000
Speaker 1: primarily a science podcast, believe it or not, and we

1398
01:19:09,080 --> 01:19:11,920
Speaker 1: do our core episodes on Tuesdays and Thursdays. I know

1399
01:19:11,960 --> 01:19:13,639
Speaker 1: it's kind of hard to tell during the month October

1400
01:19:13,680 --> 01:19:15,120
Speaker 1: because we have a lot of a lot of creepy

1401
01:19:15,160 --> 01:19:19,040
Speaker 1: content thrown in there if you're just discovering us or something,

1402
01:19:19,080 --> 01:19:22,479
Speaker 1: but yeah, Core episodes on Tuesdays and Thursday's Artifact or

1403
01:19:22,560 --> 01:19:26,880
Speaker 1: Monster Fact on Wednesday. On Monday we have a listener

1404
01:19:26,960 --> 01:19:31,000
Speaker 1: mail and over the weekend we are a rerun Huge

1405
01:19:31,040 --> 01:19:34,599
Speaker 1: Things as always to our excellent audio producer Seth Nicholas Johnson.

1406
01:19:34,920 --> 01:19:36,479
Speaker 1: If you would like to get in touch with us

1407
01:19:36,520 --> 01:19:39,080
Speaker 1: with feedback on this episode or any other, to suggest

1408
01:19:39,120 --> 01:19:41,120
Speaker 1: a topic for the future, just to say hello, you

1409
01:19:41,160 --> 01:19:44,200
Speaker 1: can email us at contact at Stuff to Blow your

1410
01:19:44,200 --> 01:19:54,120
Speaker 1: Mind dot com. Stuff to Blow Your Mind It's production

1411
01:19:54,200 --> 01:19:56,920
Speaker 1: of I Heart Radio. For more podcasts for My Heart Radio,

1412
01:19:57,120 --> 01:19:59,799
Speaker 1: visit the I Heart Radio app, Apple Podcasts, or wherever

1413
01:19:59,840 --> 01:20:01,200
Speaker 1: you listening to your favorite shows