1 00:00:03,000 --> 00:00:05,400 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:16,000 Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is 3 00:00:16,079 --> 00:00:20,360 Speaker 1: Rob Lamb and I'm Joe McCormick. And this week we 4 00:00:20,480 --> 00:00:23,320 Speaker 1: have I think we have a pretty fun film for everybody. 5 00:00:23,400 --> 00:00:28,600 Speaker 1: We're gonna be talking about the nineteen seventy necronomicon film 6 00:00:28,680 --> 00:00:32,800 Speaker 1: The Dunwich Horror, starting the late Great Dean Stockwell, does 7 00:00:32,840 --> 00:00:35,479 Speaker 1: a beholder make an appearance in this movie? I want 8 00:00:35,479 --> 00:00:37,120 Speaker 1: to know from somebody who has more D and D 9 00:00:37,240 --> 00:00:41,800 Speaker 1: experience than um. Yeah, Well, the depiction of the monster 10 00:00:41,840 --> 00:00:43,760 Speaker 1: in this film is very interesting. For the most part 11 00:00:43,840 --> 00:00:46,680 Speaker 1: is very minimal, but we do see a weird splash 12 00:00:46,720 --> 00:00:51,160 Speaker 1: of some sort of beholder esque um, you know, almost 13 00:00:51,240 --> 00:00:55,160 Speaker 1: kind of Medusa esque gorgon had creature towards the end, 14 00:00:55,480 --> 00:00:57,640 Speaker 1: but you don't really get a great look at it. 15 00:00:57,760 --> 00:01:01,040 Speaker 1: Sort of a flying ball of meat with with like 16 00:01:01,120 --> 00:01:06,479 Speaker 1: eyeball stalks and tentacles writhing. Is the color saturation flashes. Now, 17 00:01:06,520 --> 00:01:08,880 Speaker 1: there's a thing that's featured on the poster for this film, 18 00:01:08,920 --> 00:01:11,800 Speaker 1: and it's pretty cool poster. Um. You'll see different versions 19 00:01:11,840 --> 00:01:14,720 Speaker 1: of it where there's this kind of like um be 20 00:01:14,920 --> 00:01:20,440 Speaker 1: steal Dean Stockwell head with a bunch of of snakes 21 00:01:20,480 --> 00:01:23,200 Speaker 1: and serpents and leeches and stuff kind of like writhing 22 00:01:23,200 --> 00:01:25,360 Speaker 1: on the head. This is not exactly what you see 23 00:01:25,360 --> 00:01:27,560 Speaker 1: in the film. This is just kind of poster art 24 00:01:27,680 --> 00:01:29,880 Speaker 1: I think inspired by it. True though, I do like 25 00:01:29,959 --> 00:01:32,480 Speaker 1: the diversity of the different kinds of heads on the 26 00:01:32,520 --> 00:01:34,600 Speaker 1: snake things coming out of this beast. So you've got 27 00:01:34,680 --> 00:01:37,080 Speaker 1: like a cow skull looking thing with horns, but then 28 00:01:37,120 --> 00:01:39,600 Speaker 1: you've got a leech mouth and then, uh is the 29 00:01:39,720 --> 00:01:41,440 Speaker 1: one thing that just kind of looks like a raccoon. 30 00:01:41,720 --> 00:01:44,080 Speaker 1: It's not like a monstrous Yeah, it does kind of 31 00:01:44,080 --> 00:01:46,360 Speaker 1: look a raccoon. Yeah, all sorts of stuff going on there. 32 00:01:46,360 --> 00:01:50,800 Speaker 1: It's chaos. It's chaos in that creature. Um. But this 33 00:01:50,880 --> 00:01:52,800 Speaker 1: is the film has been been on my list for 34 00:01:52,840 --> 00:01:54,800 Speaker 1: a while, but I think a couple of things kind 35 00:01:54,800 --> 00:01:56,840 Speaker 1: of propelled it to the forefront for us to record 36 00:01:56,920 --> 00:01:59,680 Speaker 1: this month. First of all, I'm growing a mustache for 37 00:01:59,720 --> 00:02:02,720 Speaker 1: the Movember effort. You've probably heard our ads about that 38 00:02:02,840 --> 00:02:05,080 Speaker 1: and you know mentioning, uh you know where they can 39 00:02:05,120 --> 00:02:07,440 Speaker 1: go to learn more. Uh. So I wanted to watch 40 00:02:07,480 --> 00:02:11,000 Speaker 1: some films with solid mustaches in them, and Dean Stockwell's 41 00:02:11,080 --> 00:02:14,160 Speaker 1: mustache in this film was essential from me because unlike 42 00:02:14,160 --> 00:02:18,480 Speaker 1: the excellent mustaches of someone like Vincent Price or Oliver Read, 43 00:02:18,800 --> 00:02:20,760 Speaker 1: this one looks like the sort of mustache that I 44 00:02:20,800 --> 00:02:25,359 Speaker 1: could conceivably grow, an uncanny mustache, a mustache that at 45 00:02:25,400 --> 00:02:28,440 Speaker 1: once checks out checks off all the boxes for being 46 00:02:28,480 --> 00:02:33,000 Speaker 1: a cool mustache, but also looks somewhat uncomfortable. I don't know, 47 00:02:33,040 --> 00:02:36,520 Speaker 1: maybe it's just me. Well, that's the that's the essence 48 00:02:36,520 --> 00:02:40,080 Speaker 1: of Dean Stockwell's character in this movie. Because well, of course, 49 00:02:40,200 --> 00:02:44,440 Speaker 1: this is based on a novella originally by HP Lovecraft. 50 00:02:44,480 --> 00:02:47,040 Speaker 1: One way I think the movie is is very different 51 00:02:47,080 --> 00:02:50,400 Speaker 1: than the source material is the movie has more suaveness 52 00:02:50,480 --> 00:02:53,400 Speaker 1: in it. Dean Stockwell plays a guy who is ultimately 53 00:02:53,639 --> 00:02:57,919 Speaker 1: an occult creep who whose affinities lie in other dimensions. 54 00:02:58,280 --> 00:03:00,480 Speaker 1: But at the same time that there's some scenes where 55 00:03:00,520 --> 00:03:03,320 Speaker 1: he's kind of he's kind of smooth, he's he's kind 56 00:03:03,320 --> 00:03:06,400 Speaker 1: of got a little bit of charm. Yeah, it kind 57 00:03:06,400 --> 00:03:08,760 Speaker 1: of feels like a love story at times. It doesn't 58 00:03:08,760 --> 00:03:10,359 Speaker 1: stay that way very long, but there are a few 59 00:03:10,360 --> 00:03:11,960 Speaker 1: moments in here where you're like, oh, this is kind 60 00:03:11,960 --> 00:03:16,919 Speaker 1: of a you know, a slightly horror themed love story. Now, 61 00:03:17,120 --> 00:03:19,280 Speaker 1: the other thing that really propelled this to the forefront 62 00:03:19,560 --> 00:03:22,600 Speaker 1: for us is that, of course, on November seven, Dean 63 00:03:22,639 --> 00:03:25,160 Speaker 1: Stockwell passed away, the star of this film where one 64 00:03:25,200 --> 00:03:26,600 Speaker 1: of the stars of this film. So I thought, well, 65 00:03:26,639 --> 00:03:29,040 Speaker 1: that settles it. You know, we need we probably need 66 00:03:29,080 --> 00:03:30,400 Speaker 1: to cover this one. And it is kind of a 67 00:03:30,720 --> 00:03:34,160 Speaker 1: tribute to Dean Stockwell, who ums as well discussing a bet. 68 00:03:34,160 --> 00:03:36,000 Speaker 1: You know, it's been in tons of stuff over the years, 69 00:03:36,080 --> 00:03:40,880 Speaker 1: and there's some very memorable roles mixed into that filmography. Now, 70 00:03:41,200 --> 00:03:43,120 Speaker 1: as as you mentioned, this is a film that is 71 00:03:43,160 --> 00:03:46,040 Speaker 1: based on an HP Lovecraft story, and uh, I think 72 00:03:46,240 --> 00:03:49,760 Speaker 1: I think I long avoided watching this adaptation of The Dune, 73 00:03:49,760 --> 00:03:53,040 Speaker 1: which horror, because I had always heard that Lovecraft afficionados 74 00:03:53,080 --> 00:03:55,360 Speaker 1: did not like it. They didn't think he was true 75 00:03:55,400 --> 00:03:58,520 Speaker 1: to his vision. But I think that time has shown 76 00:03:58,640 --> 00:04:01,640 Speaker 1: us that, first of all, cosmic are doesn't always translate 77 00:04:01,800 --> 00:04:04,760 Speaker 1: that well onto the screen anyway. And also the more 78 00:04:04,800 --> 00:04:08,760 Speaker 1: we come to terms with what lovecraft vision really entailed, uh, 79 00:04:08,800 --> 00:04:12,760 Speaker 1: in its entirety, I think deviation from from forms sounds 80 00:04:12,760 --> 00:04:17,400 Speaker 1: increasingly okay. Yeah, Plus I saw that electric Wizards just 81 00:04:17,800 --> 00:04:20,440 Speaker 1: Oborn loves this film, so I figured, well, something must 82 00:04:20,480 --> 00:04:23,160 Speaker 1: be working in this adaptation for people not familiar that 83 00:04:23,279 --> 00:04:26,360 Speaker 1: sort of a house favorite. Uh doom Metal Stoner doom 84 00:04:26,400 --> 00:04:29,960 Speaker 1: metal band Um. But they yeah that they actually sampled 85 00:04:29,960 --> 00:04:32,280 Speaker 1: this movie and at least one of their songs, right Yeah. 86 00:04:32,360 --> 00:04:35,000 Speaker 1: And then there's another song that is just called dun 87 00:04:35,080 --> 00:04:39,160 Speaker 1: which which it seems entirely inspired by this movie, has 88 00:04:39,480 --> 00:04:41,920 Speaker 1: lyrics like child of Dune which rise you have your 89 00:04:41,960 --> 00:04:46,080 Speaker 1: father's eyes and and it looks like somebody affiliated with 90 00:04:46,120 --> 00:04:49,440 Speaker 1: the band UM actually cut together, you know, a music 91 00:04:49,520 --> 00:04:53,920 Speaker 1: video for that track using footage exclusively from this movie. 92 00:04:54,000 --> 00:04:55,960 Speaker 1: So there you go. I think it's fitting for the 93 00:04:56,000 --> 00:04:58,720 Speaker 1: band because this movie has just they're they're right sort 94 00:04:58,720 --> 00:05:06,480 Speaker 1: of bow months between cosmic menace and absolute cornball yeah. Um. 95 00:05:06,560 --> 00:05:08,960 Speaker 1: And by the way, that that track, that music video, 96 00:05:09,000 --> 00:05:11,479 Speaker 1: I'll include that on the blog post for this episode 97 00:05:11,760 --> 00:05:14,800 Speaker 1: at Samuta music dot com. And by the way, for 98 00:05:14,880 --> 00:05:16,760 Speaker 1: those of you that have written in and you've said, hey, 99 00:05:16,760 --> 00:05:18,160 Speaker 1: where can I get a list of all the movies 100 00:05:18,200 --> 00:05:20,599 Speaker 1: you've covered, of all the weird health episode so that 101 00:05:20,640 --> 00:05:23,200 Speaker 1: you've done that is where you will find that. Uh. 102 00:05:23,360 --> 00:05:25,960 Speaker 1: Samuta Music s E. M. U T A M U 103 00:05:26,279 --> 00:05:29,960 Speaker 1: S I C dot com. So let's get into it. Uh, 104 00:05:30,080 --> 00:05:31,640 Speaker 1: you know, what do we have in this film? We 105 00:05:31,720 --> 00:05:35,560 Speaker 1: have a we have like a nineteen seventies hippie necronomicon 106 00:05:35,720 --> 00:05:40,000 Speaker 1: story full of weird music Dean Stockwell. Uh and it's 107 00:05:40,000 --> 00:05:43,479 Speaker 1: produced by Roger Corman. And see the Corman connection because 108 00:05:43,480 --> 00:05:45,920 Speaker 1: it has a little bit of the same grit as 109 00:05:46,040 --> 00:05:49,360 Speaker 1: those uh, those like Corman Edgar Allan Poe movies from 110 00:05:49,400 --> 00:05:53,320 Speaker 1: around the same time. Yeah, and it also, as we'll 111 00:05:53,320 --> 00:05:55,000 Speaker 1: point out, a number of the people involved in this 112 00:05:55,040 --> 00:05:57,400 Speaker 1: went on to be in episodes of Night Gallery. I 113 00:05:57,440 --> 00:05:59,760 Speaker 1: feel like this if you if you dig Night Gallery, 114 00:06:00,080 --> 00:06:02,480 Speaker 1: you'll dig this film because it has that same texture, 115 00:06:02,520 --> 00:06:05,680 Speaker 1: that same that same field, that same mouth feel that 116 00:06:05,720 --> 00:06:08,400 Speaker 1: you get with Night Gallery. So how do you do 117 00:06:08,440 --> 00:06:11,200 Speaker 1: an elevator pitch on on this movie? Would you say, 118 00:06:11,200 --> 00:06:15,000 Speaker 1: like boy meets Girl, Boy wants to open an interdimensional 119 00:06:15,080 --> 00:06:19,000 Speaker 1: riff to summon ancient demons that ruled the cosmos before humankind, 120 00:06:19,600 --> 00:06:27,400 Speaker 1: meddling grandpas and Professor's interfere ye, generational conflict over over um, 121 00:06:27,440 --> 00:06:31,320 Speaker 1: you know, elicit books of ancient knowledge. Well, what would 122 00:06:31,320 --> 00:06:33,240 Speaker 1: happened if you rolled a Dubie with a page from 123 00:06:33,240 --> 00:06:36,599 Speaker 1: the Necronomicon. Uh. These are all ideas that were bouncing 124 00:06:36,640 --> 00:06:39,040 Speaker 1: around my head. Yeah. Well, we'll probably need to come 125 00:06:39,040 --> 00:06:41,440 Speaker 1: back to this later on. But it's interesting the little 126 00:06:41,760 --> 00:06:45,480 Speaker 1: ribbon of hippie culture and aesthetics running through the middle 127 00:06:45,560 --> 00:06:48,560 Speaker 1: of this movie. I mean, it's not you know, it's 128 00:06:48,600 --> 00:06:52,960 Speaker 1: not a Woodstock kind of movie except in little like moments, 129 00:06:53,520 --> 00:06:58,160 Speaker 1: and those moments are the suggestions of the the the 130 00:06:58,200 --> 00:07:02,000 Speaker 1: otherworldly evil. It's almost like a you might say it's 131 00:07:02,040 --> 00:07:05,520 Speaker 1: more anti hippie than hippie because like the hippie imagery 132 00:07:05,520 --> 00:07:11,480 Speaker 1: and it is the visions coming from the the unspeakable place. Yeah. Yeah, 133 00:07:11,560 --> 00:07:14,000 Speaker 1: So it's gonna be very interesting to discuss those themes 134 00:07:14,320 --> 00:07:16,440 Speaker 1: because it's not one of those films that I feel 135 00:07:16,480 --> 00:07:21,640 Speaker 1: like purchase itself, you know, perfectly between cultures of this 136 00:07:21,680 --> 00:07:23,720 Speaker 1: time period, where it can you know, fully be one 137 00:07:23,760 --> 00:07:26,240 Speaker 1: thing to one side of the the culture war and 138 00:07:26,280 --> 00:07:29,760 Speaker 1: then another two too, to the other side. But it 139 00:07:29,800 --> 00:07:32,480 Speaker 1: does it does seem to sort of try be trying 140 00:07:32,520 --> 00:07:35,480 Speaker 1: to have that ambiguity at times. Of course, then again 141 00:07:35,560 --> 00:07:37,920 Speaker 1: it might just be sort of uh, I don't know, 142 00:07:38,040 --> 00:07:40,760 Speaker 1: historical happenstance the same way you might imagine if if 143 00:07:40,800 --> 00:07:44,520 Speaker 1: this movie was made in the visions from the Other 144 00:07:44,720 --> 00:07:48,800 Speaker 1: the Other plane would involve sinister grunge people in flannel 145 00:07:48,880 --> 00:07:53,120 Speaker 1: kind of flailing around in a in a Seattle alleyway. Yeah, exactly. 146 00:07:53,720 --> 00:07:55,640 Speaker 1: All right, Well, let's go ahead and have have some 147 00:07:55,720 --> 00:08:07,040 Speaker 1: of the trailer here. Nights are darker and night is 148 00:08:07,080 --> 00:08:25,400 Speaker 1: when it happens in The Dunwich Horror, Come Back Old One, 149 00:08:27,560 --> 00:08:35,280 Speaker 1: Princes of Darkness and Repossess the Earth. The Dunwich Horror 150 00:08:35,920 --> 00:08:40,160 Speaker 1: based on HP Lovecraft's Terrifying Tale of Those Who Explore 151 00:08:40,240 --> 00:08:49,120 Speaker 1: the Unspeakable, starring Sandra Dee, Dean Stockwell, Academy Award winner 152 00:08:49,240 --> 00:08:53,640 Speaker 1: Ed Begley, Sam Jeffey. I've never heard anything like that. 153 00:08:59,400 --> 00:09:06,120 Speaker 1: M all right, sounds pretty good. Sounds pretty good, yep. Alright, well, 154 00:09:06,160 --> 00:09:08,560 Speaker 1: let's dive right into the people involved in bringing this 155 00:09:08,640 --> 00:09:10,560 Speaker 1: to the screen. First of all, I should know that 156 00:09:10,640 --> 00:09:14,600 Speaker 1: apparently this was originally going to be a Mario Bava film, 157 00:09:14,600 --> 00:09:17,800 Speaker 1: but it sounds like American International Pictures switched things up, 158 00:09:17,840 --> 00:09:20,680 Speaker 1: you know, sort of for your the sort of business 159 00:09:20,720 --> 00:09:22,800 Speaker 1: reasons you might expect with the studio, Like I think 160 00:09:23,480 --> 00:09:26,800 Speaker 1: one of Baba's previous films underperformed or didn't perform in 161 00:09:26,800 --> 00:09:28,440 Speaker 1: the way they wanted it to, so it ended up 162 00:09:28,480 --> 00:09:32,600 Speaker 1: getting shuffled around and we ended up with Daniel Holler 163 00:09:33,080 --> 00:09:35,400 Speaker 1: directing it. Um, this is a guy who's born in 164 00:09:35,480 --> 00:09:40,240 Speaker 1: ninety six, And weirdly enough, Hallard's directorial debut with the 165 00:09:40,360 --> 00:09:47,040 Speaker 1: nineteen sixty five Lovecraft adaptation Die Monster Die, starring Boris Karloff. Oh, yes, 166 00:09:47,160 --> 00:09:49,680 Speaker 1: that one based on the Color out of Space, I believe. So. Yeah, 167 00:09:49,679 --> 00:09:52,160 Speaker 1: I have not seen this one either. I haven't either 168 00:09:52,200 --> 00:09:54,280 Speaker 1: of it. You know, they just made a new Color 169 00:09:54,280 --> 00:09:56,600 Speaker 1: out of Space movie within the past year or two 170 00:09:56,640 --> 00:09:58,200 Speaker 1: and I actually never saw it yet. But it's got 171 00:09:58,240 --> 00:10:00,839 Speaker 1: Nicholas Cage in it. Oh well, well, you know it's 172 00:10:00,840 --> 00:10:06,480 Speaker 1: good then. Uh So Haller went on to from Die 173 00:10:06,480 --> 00:10:08,640 Speaker 1: Monster Die, he went on to direct a pair of 174 00:10:08,760 --> 00:10:12,640 Speaker 1: late sixties biker movies. He did Devil's Angels starring John 175 00:10:12,720 --> 00:10:17,120 Speaker 1: Cassavetti's He did The Wild Racers. This starred Fabian and 176 00:10:17,200 --> 00:10:21,000 Speaker 1: also featured um one of our favorites, Dick Miller in there. 177 00:10:21,000 --> 00:10:23,720 Speaker 1: Of course, you know, this movie really missed out on 178 00:10:23,800 --> 00:10:26,320 Speaker 1: having Dick Miller and it. Dick Miller would have been 179 00:10:26,360 --> 00:10:31,080 Speaker 1: great as as one of the irate townspeople you know. Yeah, yeah, 180 00:10:31,200 --> 00:10:33,080 Speaker 1: he has towns people written all over him. He could 181 00:10:33,080 --> 00:10:34,800 Speaker 1: have been the guy at the gas station. That's a 182 00:10:34,880 --> 00:10:37,280 Speaker 1: perfect Dick Miller role. Yeah, Or he could have been 183 00:10:37,480 --> 00:10:39,400 Speaker 1: one of the guys at the store making fun of 184 00:10:39,440 --> 00:10:42,480 Speaker 1: Grandpa when he was talking about bringing beings over from 185 00:10:42,520 --> 00:10:47,120 Speaker 1: another dimension. Yeah, yeah, missed opportunity. Anyway. Haller went on 186 00:10:47,160 --> 00:10:50,040 Speaker 1: to do mostly a lot of TV work. He directed 187 00:10:50,040 --> 00:10:53,120 Speaker 1: the pilot for Buck Rogers in the twenty Century, which 188 00:10:53,240 --> 00:10:56,280 Speaker 1: ended up being pushed out as a film, so technically 189 00:10:56,760 --> 00:10:59,120 Speaker 1: there's a film credit for him. Uh. He was also 190 00:10:59,280 --> 00:11:01,680 Speaker 1: production design or an art director on a bunch of 191 00:11:01,679 --> 00:11:04,960 Speaker 1: old Roger Corman movies. All right, now, the writers on 192 00:11:05,040 --> 00:11:07,360 Speaker 1: this um there there are a couple of writers that 193 00:11:07,400 --> 00:11:09,520 Speaker 1: really didn't go on to do a whole lot else, 194 00:11:09,840 --> 00:11:15,280 Speaker 1: Henry Rosenbaum and Ronald Solkovski. But Curtis Hansen was one 195 00:11:15,280 --> 00:11:20,360 Speaker 1: of the writers. He lived sixteen and this was his 196 00:11:20,480 --> 00:11:23,559 Speaker 1: first screenplay, but he went on to work on screenplays 197 00:11:23,600 --> 00:11:28,200 Speaker 1: for White Dog, Never cry Wolf, and l A Confidential, 198 00:11:28,240 --> 00:11:32,280 Speaker 1: which he also directed. Other directorial credits include The Hand 199 00:11:32,280 --> 00:11:36,240 Speaker 1: That Rocks the Cradle, Wonder Boys and eight Mile. Now, 200 00:11:36,280 --> 00:11:40,160 Speaker 1: I guess if you're trying to adapt a Lovecraft story 201 00:11:40,360 --> 00:11:43,720 Speaker 1: for for the screen, there's always a choice you've got 202 00:11:43,720 --> 00:11:46,439 Speaker 1: to make, which is sort of I would say, probably 203 00:11:46,520 --> 00:11:50,280 Speaker 1: usually prized for its dreadful imagination, you know, very imaginative 204 00:11:50,360 --> 00:11:54,160 Speaker 1: of of uh, strange and powerful imagery that that that 205 00:11:54,280 --> 00:11:57,320 Speaker 1: makes you feel small and afraid. So it's good horror 206 00:11:57,320 --> 00:12:00,440 Speaker 1: in that sense, but very often lax a human or 207 00:12:00,559 --> 00:12:03,160 Speaker 1: humane element. And so do you just sort of try 208 00:12:03,200 --> 00:12:05,280 Speaker 1: to do that in a movie and risk making an 209 00:12:05,280 --> 00:12:08,880 Speaker 1: alienating film that nobody doesn't really have characters anybody can 210 00:12:08,880 --> 00:12:11,640 Speaker 1: connect to, or do you try to adapt the story 211 00:12:11,720 --> 00:12:16,720 Speaker 1: into something more human with more identifiable characters. Yeah, yeah, 212 00:12:16,760 --> 00:12:19,360 Speaker 1: that is always that because yes, some generally these are 213 00:12:19,400 --> 00:12:21,920 Speaker 1: stories that are very a sexual uh you know, they 214 00:12:21,960 --> 00:12:24,440 Speaker 1: don't really have any any romance in them, and it's 215 00:12:24,440 --> 00:12:28,320 Speaker 1: all about uh in a dread and cyclopean architecture and 216 00:12:28,360 --> 00:12:30,960 Speaker 1: so forth. Uh So, yeah, what direction do you go 217 00:12:31,000 --> 00:12:33,080 Speaker 1: in it? Do you own like an action direction which 218 00:12:33,080 --> 00:12:35,640 Speaker 1: a number of people have gone or tried to go. 219 00:12:35,679 --> 00:12:38,160 Speaker 1: I know that's what Gayama de Toro I think has 220 00:12:38,200 --> 00:12:41,240 Speaker 1: what been wanting to do with at the Mountains of madness. Uh, 221 00:12:41,440 --> 00:12:44,840 Speaker 1: do you go in kind of a a schlocky, sexy 222 00:12:44,880 --> 00:12:49,120 Speaker 1: harror direction like you know, the the reanimator movies definitely 223 00:12:49,160 --> 00:12:51,600 Speaker 1: went in that direction? Or do or do you find 224 00:12:51,640 --> 00:12:54,440 Speaker 1: some other path? I would say the screenplay adaptation in 225 00:12:54,480 --> 00:12:58,080 Speaker 1: this movie doesn't step fully into making it like a 226 00:12:58,800 --> 00:13:01,760 Speaker 1: you know, like a rich, lovely world full of full 227 00:13:01,800 --> 00:13:05,880 Speaker 1: of identifiable characters that are you know fully human, But 228 00:13:06,000 --> 00:13:08,199 Speaker 1: it takes sort of a half step in that direction. 229 00:13:08,320 --> 00:13:12,160 Speaker 1: It is less barren of humanity than than your standard 230 00:13:12,160 --> 00:13:18,600 Speaker 1: Lovecraft story would be. Yeah. Now, Lovecraft lived eighteen ninety seven. 231 00:13:18,960 --> 00:13:21,240 Speaker 1: Poul horror author and one of the major voices of 232 00:13:21,240 --> 00:13:24,120 Speaker 1: the Weird Tales era, who became more influential and famous 233 00:13:24,160 --> 00:13:26,920 Speaker 1: after his death. His work has left an undeniable mark 234 00:13:26,960 --> 00:13:29,880 Speaker 1: on modern horror, but modern horror fans have had to 235 00:13:29,920 --> 00:13:33,080 Speaker 1: contend with the racism in his letters of correspondence as 236 00:13:33,160 --> 00:13:35,400 Speaker 1: well as in the fabric of many of his tales. 237 00:13:35,920 --> 00:13:37,960 Speaker 1: In the stories themselves. It's one of those things that 238 00:13:37,960 --> 00:13:40,480 Speaker 1: I feel like it's impossible not to see it once 239 00:13:41,280 --> 00:13:43,600 Speaker 1: you've seen it, you know. And and even in the 240 00:13:43,679 --> 00:13:47,200 Speaker 1: Dunwich Horror, which I did not reread for for the 241 00:13:47,240 --> 00:13:49,520 Speaker 1: purposes of viewing this film. But but even in watching 242 00:13:49,520 --> 00:13:52,680 Speaker 1: this film, there are elements that are about like people 243 00:13:52,800 --> 00:13:56,880 Speaker 1: being despised because of their lineage um and it's it's 244 00:13:56,880 --> 00:13:59,440 Speaker 1: just impossible to ignore, Like that's it's just baked into 245 00:13:59,440 --> 00:14:01,839 Speaker 1: so many of his works totally. And I think that's 246 00:14:01,880 --> 00:14:03,960 Speaker 1: one of the reasons I would agree with what you 247 00:14:04,000 --> 00:14:08,040 Speaker 1: said earlier, like I'm not really troubled by lovecraft adaptations 248 00:14:08,160 --> 00:14:10,240 Speaker 1: not being true to his vision. I mean, I think 249 00:14:10,320 --> 00:14:13,000 Speaker 1: you can probably take a lot of what's like cool 250 00:14:13,080 --> 00:14:17,200 Speaker 1: about the monstrous and imaginative qualities of some of his 251 00:14:17,280 --> 00:14:19,960 Speaker 1: stories and do something else with them, maybe even something 252 00:14:20,000 --> 00:14:24,680 Speaker 1: better with them. Yeah, and in this case, something grew here. Yeah, 253 00:14:24,720 --> 00:14:27,840 Speaker 1: So let's talk about the groovy humans involved in acting 254 00:14:27,920 --> 00:14:31,600 Speaker 1: in this film. Uh. The top build star is Sandra 255 00:14:31,720 --> 00:14:35,840 Speaker 1: d who plays Nancy uh Wagner, who lived Night issue 256 00:14:35,880 --> 00:14:39,200 Speaker 1: of nine through two thousand and five. A former child 257 00:14:39,360 --> 00:14:41,880 Speaker 1: model and teen actor, D was a big deal in 258 00:14:41,920 --> 00:14:45,000 Speaker 1: the late fifties through the late sixties, known for the 259 00:14:45,040 --> 00:14:49,040 Speaker 1: title role in nineteen sixty two Gidget, among others uh 260 00:14:49,040 --> 00:14:51,040 Speaker 1: and this film The Dunwich Harror was supposed to be 261 00:14:51,120 --> 00:14:53,320 Speaker 1: part of a comeback for her. But it apparently didn't 262 00:14:53,360 --> 00:14:56,120 Speaker 1: quite take off, and her work after this film was 263 00:14:56,160 --> 00:14:59,160 Speaker 1: increasingly sporadic. But she did go on to appear on 264 00:14:59,240 --> 00:15:03,400 Speaker 1: three episodes of Rod Serling's Night Gallery, which again feels 265 00:15:03,400 --> 00:15:06,680 Speaker 1: appropriate considering the uh, you know, the tone of this 266 00:15:06,720 --> 00:15:09,360 Speaker 1: film and the tone of Night Gallery. You know what, 267 00:15:09,480 --> 00:15:12,760 Speaker 1: I thought Sandra d did really good in this movie. 268 00:15:12,800 --> 00:15:15,920 Speaker 1: I thought her part was a little bit underwritten later 269 00:15:16,080 --> 00:15:18,640 Speaker 1: in the film. But but she does a good job 270 00:15:18,680 --> 00:15:21,280 Speaker 1: with it. Yeah, I mean, she's very charismatic on the screen. 271 00:15:21,360 --> 00:15:24,520 Speaker 1: You you instantly buy into her, into her character, just 272 00:15:24,600 --> 00:15:28,240 Speaker 1: based largely on on these performance Uh. But yeah, her 273 00:15:28,320 --> 00:15:33,760 Speaker 1: her character increasingly feels less dynamic and and and more 274 00:15:33,800 --> 00:15:38,240 Speaker 1: powerless and kind of like shuffle to the background of things. So, uh, 275 00:15:38,560 --> 00:15:40,240 Speaker 1: that that being said, she does a good job with it. 276 00:15:40,360 --> 00:15:42,320 Speaker 1: I was gonna say, actually, very much reminds me of 277 00:15:42,360 --> 00:15:45,800 Speaker 1: the arc of the protagonist in uh in Lords of Salem, 278 00:15:45,920 --> 00:15:48,200 Speaker 1: who My main problem with that movie is the that 279 00:15:48,240 --> 00:15:50,880 Speaker 1: the protagonist for the second two thirds of the movie 280 00:15:50,960 --> 00:15:54,320 Speaker 1: becomes mostly catatonic. Oh yeah, I think it was very 281 00:15:54,400 --> 00:15:57,800 Speaker 1: much a comparison to be made between the character trajectories 282 00:15:57,880 --> 00:16:01,200 Speaker 1: of both of these Uh. The these roles in both 283 00:16:01,240 --> 00:16:12,760 Speaker 1: of these films. All right, well, let's let's talk about 284 00:16:12,800 --> 00:16:17,240 Speaker 1: Dean Stockwell. Then Dean Stockwell plays Wilbur Lately here, so 285 00:16:17,360 --> 00:16:21,560 Speaker 1: Dean stock will live ninety six through one and uh boy, 286 00:16:21,640 --> 00:16:24,200 Speaker 1: he had a really long career. He started out as 287 00:16:24,200 --> 00:16:28,440 Speaker 1: a child actor in ninety five and continued acting for 288 00:16:28,520 --> 00:16:32,720 Speaker 1: the the next seventy years. His last screen credit was 289 00:16:32,800 --> 00:16:37,720 Speaker 1: in two thousand fifteen, so some two four screen credits. Wow, 290 00:16:37,960 --> 00:16:40,800 Speaker 1: So as you might imagine, there's a hold on, hold on, Sorry, 291 00:16:40,840 --> 00:16:44,320 Speaker 1: I have to ask, is that counting each individual episode 292 00:16:44,320 --> 00:16:47,480 Speaker 1: of Quantum Leap separately or just as one credit? Just 293 00:16:47,520 --> 00:16:50,960 Speaker 1: as one credit? Yeah? Wow, Yeah, because yeah Quantum Leap. 294 00:16:51,040 --> 00:16:52,560 Speaker 1: Of course, because since he did a fair amount of 295 00:16:52,560 --> 00:16:54,120 Speaker 1: TV work, and so I think a lot of people 296 00:16:54,400 --> 00:16:57,280 Speaker 1: when you think of Dean Stockwell, you probably think of 297 00:16:57,360 --> 00:17:00,840 Speaker 1: his character Al, the hologram un Quantum Leap, Uh, the 298 00:17:00,840 --> 00:17:03,240 Speaker 1: guy who appears to you and helps helps you figure 299 00:17:03,280 --> 00:17:07,240 Speaker 1: out what you've got to do in this weird sci 300 00:17:07,320 --> 00:17:12,640 Speaker 1: fi reincarnation of serial um situation in order to keep 301 00:17:12,680 --> 00:17:15,280 Speaker 1: passing on through other people's lives. I was a big 302 00:17:15,320 --> 00:17:17,359 Speaker 1: fan of Quantum of Leep. I remember we would it 303 00:17:17,400 --> 00:17:19,720 Speaker 1: was like a show that that my family would watch. 304 00:17:19,720 --> 00:17:21,840 Speaker 1: We would watch it together whenever it was on. So 305 00:17:22,200 --> 00:17:24,720 Speaker 1: that's fond memories of that. I think that was another 306 00:17:24,760 --> 00:17:28,280 Speaker 1: one that I sometimes saw at a hotel cable like vacation, 307 00:17:29,119 --> 00:17:31,119 Speaker 1: because they really they did reruns of it on the 308 00:17:31,119 --> 00:17:33,960 Speaker 1: Sci Fi channel, right, Oh did they? Okay? I think yeah, 309 00:17:33,960 --> 00:17:36,119 Speaker 1: I think you're right. I think you're right. So Stockwell 310 00:17:36,160 --> 00:17:38,840 Speaker 1: did a lot of Western's early on again, a lot 311 00:17:38,880 --> 00:17:42,160 Speaker 1: of TV work. He did the hippie picture psych Out 312 00:17:42,200 --> 00:17:45,400 Speaker 1: in nineteen sixty eight opposite Jack Nicholson. He was also 313 00:17:45,440 --> 00:17:48,560 Speaker 1: in Dennis Hopper's The Last Movie in nineteen seventy one, 314 00:17:49,040 --> 00:17:50,720 Speaker 1: so to a certain extent he seems to have been 315 00:17:50,800 --> 00:17:53,840 Speaker 1: very much a part of that Nicholson Hopper dern fond 316 00:17:53,920 --> 00:17:57,800 Speaker 1: a scene of the late sixties early seventies. In the 317 00:17:57,840 --> 00:18:01,680 Speaker 1: mid eighties, he had this sudden film home um Resurgence, 318 00:18:01,920 --> 00:18:06,640 Speaker 1: appearing in Vim Vender's Paris Texas four, as well as 319 00:18:06,800 --> 00:18:09,720 Speaker 1: David Lynch's Dune in nineteen eighty four, in which he 320 00:18:09,760 --> 00:18:12,919 Speaker 1: played dr You. Oh yeah, I forgot he was in Dune. 321 00:18:13,240 --> 00:18:15,360 Speaker 1: Yeah yeah, he's got the mustache, he's got the mark 322 00:18:15,400 --> 00:18:18,639 Speaker 1: on the forehead. Um, yeah, In nineteen eighty five, he 323 00:18:18,720 --> 00:18:21,679 Speaker 1: was in William Fredkins to Live and Die in l A. 324 00:18:22,400 --> 00:18:26,760 Speaker 1: Subsequent films include Blue Velvet, Beverly Hills Cop two. He 325 00:18:26,800 --> 00:18:29,400 Speaker 1: also had a memorable role in the nineteen eighty eight 326 00:18:29,480 --> 00:18:32,560 Speaker 1: Jonathan Demi comedy Married to the Mob, in which he 327 00:18:32,640 --> 00:18:35,439 Speaker 1: played a mobster. I think something like Tony the Tiger 328 00:18:35,560 --> 00:18:39,000 Speaker 1: or something. What's his name? But yeah on TV though, 329 00:18:39,119 --> 00:18:42,240 Speaker 1: I think he's best remembered for al on Quantum Leap. 330 00:18:42,920 --> 00:18:45,880 Speaker 1: He also later had a fun recurring role on the 331 00:18:45,960 --> 00:18:50,400 Speaker 1: Battlestar Galactica reboot as a John cavill and he did 332 00:18:50,440 --> 00:18:52,960 Speaker 1: an episode of Night Gallery. So a weird fact I 333 00:18:53,080 --> 00:18:57,159 Speaker 1: came across while while reading about this movie. Dean Stockwell 334 00:18:57,400 --> 00:19:01,200 Speaker 1: was in a second movie adaptation of the Dunwich Horror 335 00:19:01,240 --> 00:19:04,040 Speaker 1: of the novella. This movie is based on It's one 336 00:19:04,080 --> 00:19:08,240 Speaker 1: from two thousand eight that looks truly dreadful, but in 337 00:19:08,240 --> 00:19:11,200 Speaker 1: this one he's like he switches roles. So in this 338 00:19:11,240 --> 00:19:14,080 Speaker 1: movie he plays the guy who's trying to summon the demons, 339 00:19:14,520 --> 00:19:16,639 Speaker 1: and in the two thousand and eight movie he plays 340 00:19:16,720 --> 00:19:19,760 Speaker 1: the professor who has to battle that guy in the end. 341 00:19:19,920 --> 00:19:22,440 Speaker 1: So it's basically a switch from like playing Macbeth to 342 00:19:22,520 --> 00:19:27,359 Speaker 1: playing McDuff. And this adaptation is set in Louisiana, which 343 00:19:27,840 --> 00:19:32,320 Speaker 1: what can you really separate the stony New England nous 344 00:19:32,880 --> 00:19:35,520 Speaker 1: from this story that seems absolutely crucial to it. That 345 00:19:35,560 --> 00:19:39,120 Speaker 1: seems like trying to set the shining in Louisiana. Well 346 00:19:39,640 --> 00:19:42,719 Speaker 1: you say that, but then again, this film, um was 347 00:19:42,960 --> 00:19:45,760 Speaker 1: the Dunwich Horror of the nineteen seventy was filmed in 348 00:19:46,119 --> 00:19:49,359 Speaker 1: like coastal northern California. So no, that makes sense given 349 00:19:49,400 --> 00:19:52,560 Speaker 1: it and it it works, but then again it works 350 00:19:52,560 --> 00:19:55,800 Speaker 1: for this film, but yeah, it doesn't feel particularly like 351 00:19:55,880 --> 00:19:58,840 Speaker 1: New England. Now, I will also mention that Dean was 352 00:19:58,880 --> 00:20:01,520 Speaker 1: the son of actor Harry Stockwell, who, among other things, 353 00:20:01,520 --> 00:20:04,000 Speaker 1: was the voice of the Prince in Disney snow White, 354 00:20:04,119 --> 00:20:08,560 Speaker 1: the classic snow White animated film. And Dean's older brother, 355 00:20:08,680 --> 00:20:11,480 Speaker 1: Guy was also an actor, appearing in such films as 356 00:20:11,720 --> 00:20:16,120 Speaker 1: Santa Sangria and also nineteen sixty five The Warlord. He's 357 00:20:16,160 --> 00:20:19,879 Speaker 1: played the villain in that opposite Charlton Heston. Now you 358 00:20:19,880 --> 00:20:24,560 Speaker 1: mentioned the professor that that the battles wilbur H. This 359 00:20:24,720 --> 00:20:29,240 Speaker 1: is Professor Armitage, doctor or Dr Henry Armitage, as as 360 00:20:29,320 --> 00:20:32,639 Speaker 1: he's reference in the credits for for Dunwich Horror and 361 00:20:32,840 --> 00:20:35,879 Speaker 1: in this film, this character is played by Ed Bagley Sr. 362 00:20:35,960 --> 00:20:39,520 Speaker 1: Who lived nineteen oh one through nineteen seventy. So he's 363 00:20:39,560 --> 00:20:42,560 Speaker 1: the hero of the picture. Philosophy professor at I believe 364 00:20:42,800 --> 00:20:47,399 Speaker 1: from uh Miskatonic. Yeah, yeah, I don't know if it's 365 00:20:47,440 --> 00:20:50,200 Speaker 1: if this is like the California branch of the college 366 00:20:50,359 --> 00:20:55,160 Speaker 1: or if he's visiting. Uh, it's not really explored. Yeah, 367 00:20:55,240 --> 00:21:00,479 Speaker 1: Miskatonic University, Riverside. Yeah. Uh so Ed Bagley Senior. As 368 00:21:00,480 --> 00:21:04,119 Speaker 1: you may notice, this is of course Ed Bangley Junior's dad. Um. 369 00:21:04,160 --> 00:21:07,240 Speaker 1: He was nearly seventy years old during this film, and 370 00:21:07,359 --> 00:21:10,080 Speaker 1: it definitely shows he has very much the feel of 371 00:21:10,080 --> 00:21:14,520 Speaker 1: of an older guy in this which, Um. I think 372 00:21:14,520 --> 00:21:16,639 Speaker 1: it's rather rather fitting because we talked about sort of 373 00:21:16,680 --> 00:21:21,040 Speaker 1: the themes of generational um tug of war in this picture. 374 00:21:21,080 --> 00:21:23,960 Speaker 1: You know that it's about the old people telling the 375 00:21:23,960 --> 00:21:26,600 Speaker 1: young people they shouldn't do things, and and ultimately it 376 00:21:26,960 --> 00:21:30,679 Speaker 1: feels like it has this um uh, you know, it 377 00:21:30,720 --> 00:21:34,159 Speaker 1: makes sense that that armitage would be this grandfatherly character 378 00:21:34,240 --> 00:21:37,679 Speaker 1: who's trying to protect young Sandra d from the dangers 379 00:21:37,720 --> 00:21:41,400 Speaker 1: posed by hippie sorcerers. Oh yeah, I can see that. 380 00:21:41,480 --> 00:21:44,639 Speaker 1: And well, even though Ed Begley is supposed to be 381 00:21:44,680 --> 00:21:46,520 Speaker 1: on the side of good at the end of this 382 00:21:47,000 --> 00:21:49,920 Speaker 1: at the end of this movie, he plays so well 383 00:21:49,960 --> 00:21:53,080 Speaker 1: into the cranky old man archetype. I mean, and I 384 00:21:53,119 --> 00:21:55,720 Speaker 1: think he was often type cast that way. I'm not 385 00:21:55,760 --> 00:21:57,800 Speaker 1: I haven't seen all of his movie, but like, for example, 386 00:21:57,800 --> 00:22:01,480 Speaker 1: in Twelve Angry Men, he played is like the worst juror, 387 00:22:01,560 --> 00:22:03,720 Speaker 1: you know, he's the one, he's like the racist one. 388 00:22:03,840 --> 00:22:07,440 Speaker 1: He's he's the like nasty old guy who they eventually 389 00:22:07,440 --> 00:22:10,200 Speaker 1: went over in the end, but like it becomes clear 390 00:22:10,240 --> 00:22:13,640 Speaker 1: that he's just like a mean old crank, and he 391 00:22:13,800 --> 00:22:17,040 Speaker 1: can play a mean old crank. He Um. Yeah. I 392 00:22:17,080 --> 00:22:19,119 Speaker 1: don't know that I've really seen him and much um 393 00:22:19,240 --> 00:22:20,879 Speaker 1: or at least don't remember him from much, but he 394 00:22:20,920 --> 00:22:23,000 Speaker 1: was a major actor. He won an Academy Award for 395 00:22:23,040 --> 00:22:26,480 Speaker 1: Best Supporting Actor for his performance in nineteen sixty two 396 00:22:26,520 --> 00:22:29,960 Speaker 1: Sweet Bird of Youth. Um you already mentioned fifty seven 397 00:22:30,040 --> 00:22:32,760 Speaker 1: Twelve Angry Men. He was also in The Unsinkable Molly 398 00:22:32,800 --> 00:22:35,480 Speaker 1: Brown in nineteen sixty four, and he was nominated for 399 00:22:35,520 --> 00:22:38,400 Speaker 1: an Emmy Award for Inherent the Wind? Oh who did 400 00:22:38,400 --> 00:22:40,480 Speaker 1: he play and Inherent the Wind? Was he? Uh? Was 401 00:22:40,520 --> 00:22:43,840 Speaker 1: he Darrow? Or um or play cave Man? I think 402 00:22:44,160 --> 00:22:49,000 Speaker 1: it's been Oh okay, no, I just looked it up. 403 00:22:49,040 --> 00:22:51,520 Speaker 1: He it's it was in not the original movie adaptation 404 00:22:51,560 --> 00:22:53,960 Speaker 1: with Spencer Tracy, but another one they did for TV 405 00:22:54,359 --> 00:22:58,320 Speaker 1: and Ed Begley plays plays Matthew Brady, who is the 406 00:22:58,640 --> 00:23:02,320 Speaker 1: character based on William Nings Brian. Okay, so he's the 407 00:23:02,440 --> 00:23:05,679 Speaker 1: do not teach evolution guy? Okay, Well that that that 408 00:23:05,760 --> 00:23:08,119 Speaker 1: falls in line with with your your basic argument here 409 00:23:08,160 --> 00:23:11,760 Speaker 1: though that he tended to play the the cranky antagonist. 410 00:23:12,040 --> 00:23:14,280 Speaker 1: But yeah, something about it does work in this movie, 411 00:23:14,320 --> 00:23:18,000 Speaker 1: like you're saying, because I think because the like the 412 00:23:18,040 --> 00:23:21,359 Speaker 1: evil visions are inflected with this kind of like youth 413 00:23:21,480 --> 00:23:25,520 Speaker 1: and and counterculture hippie strangeness, that in the end the 414 00:23:25,600 --> 00:23:28,200 Speaker 1: day is saved by just like a like a grumpy 415 00:23:28,200 --> 00:23:31,160 Speaker 1: old crank. Yeah, an old guy who's like, you get 416 00:23:31,200 --> 00:23:34,280 Speaker 1: your hands off the necronomicon. That's that's not for young folks. 417 00:23:34,320 --> 00:23:37,280 Speaker 1: That's for us old that's not for the common folk. 418 00:23:37,320 --> 00:23:39,840 Speaker 1: That's for the professors like me. That's why we hide 419 00:23:39,840 --> 00:23:44,639 Speaker 1: the necronomicon behind a paywall. I get to study it. 420 00:23:44,760 --> 00:23:48,040 Speaker 1: You don't. But this is literally a conflict in the movie. 421 00:23:48,119 --> 00:23:51,200 Speaker 1: Like early on, Dean Stockwell and Ed Begley have an 422 00:23:51,280 --> 00:23:54,600 Speaker 1: argument about whether whether he can like look at the Necronomicon, 423 00:23:54,720 --> 00:23:56,840 Speaker 1: and Ed Begley is just like, no, it's not for 424 00:23:57,080 --> 00:23:59,360 Speaker 1: it's not for you to do, it's for me. It's 425 00:23:59,400 --> 00:24:01,000 Speaker 1: from my stuff. Date. It's like, yeah, he's not of 426 00:24:01,040 --> 00:24:03,000 Speaker 1: the mind like, no one should look at the Necronomicon, 427 00:24:03,119 --> 00:24:05,119 Speaker 1: you know, no one, not one of those. Uh. He's like, oh, 428 00:24:05,240 --> 00:24:08,320 Speaker 1: I should totally look at it. It's this is my thing. Well, 429 00:24:08,400 --> 00:24:10,359 Speaker 1: we can discuss this when we get more into the plot, 430 00:24:10,400 --> 00:24:13,920 Speaker 1: but I think the idea is Ed Begley believes Dean 431 00:24:14,000 --> 00:24:18,000 Speaker 1: Stockwell's interests in it are not pure, which he's correct 432 00:24:18,040 --> 00:24:24,679 Speaker 1: in actually true. Okay, So Wilbur Weightley's father is Old Weightley, 433 00:24:24,720 --> 00:24:29,760 Speaker 1: and he's played by Sam Jaffee, who lived through four 434 00:24:30,240 --> 00:24:33,600 Speaker 1: character actor known for roles in The Asphalt Jungle That 435 00:24:33,760 --> 00:24:36,720 Speaker 1: Day the Earth stood still, bed knobs and bruined sticks 436 00:24:36,760 --> 00:24:39,639 Speaker 1: and then her uh and you better know he appeared 437 00:24:39,680 --> 00:24:42,480 Speaker 1: in an episode of the Night Gallery. Now you know 438 00:24:42,560 --> 00:24:45,080 Speaker 1: one of the actors I was most surprised to see 439 00:24:45,080 --> 00:24:48,000 Speaker 1: in this movie was that Talia Shire shows up in 440 00:24:48,000 --> 00:24:52,000 Speaker 1: a in a very small role. She plays a receptionist 441 00:24:52,080 --> 00:24:56,199 Speaker 1: in a doctor's office who sort of uh passes along 442 00:24:56,400 --> 00:25:01,159 Speaker 1: some general folk town knowledge about the evil of the 443 00:25:01,200 --> 00:25:04,400 Speaker 1: Weighty family and and how you know you better stay 444 00:25:04,440 --> 00:25:07,080 Speaker 1: away from them. But I guess this makes sense because 445 00:25:07,080 --> 00:25:08,879 Speaker 1: I was like, man, this is a strange role. But 446 00:25:08,960 --> 00:25:12,439 Speaker 1: this was before The Godfather Rocky, right, Yeah, this was 447 00:25:12,480 --> 00:25:15,720 Speaker 1: only her second film credit. But yeah, she would go 448 00:25:15,720 --> 00:25:19,040 Speaker 1: on to to play Adrian. She's She's Adrian. She's the 449 00:25:19,040 --> 00:25:22,560 Speaker 1: one that Rocky is we're yelling about. Yeah, she's Connie 450 00:25:22,560 --> 00:25:26,880 Speaker 1: and The Godfather. She was in a ton of other movies, including, uh, 451 00:25:27,000 --> 00:25:30,240 Speaker 1: the nineteen seventy nine Mute and Bear film Prophecy, which 452 00:25:30,280 --> 00:25:33,680 Speaker 1: of course also stars our our favorite work Beast uh 453 00:25:33,960 --> 00:25:39,000 Speaker 1: Robert Foxworth based. Maybe we should start making a list 454 00:25:39,080 --> 00:25:42,439 Speaker 1: of the movies that most often get mentioned with crossover. 455 00:25:42,480 --> 00:25:45,600 Speaker 1: I feel like Prophecy somehow comes up a lot. Yeah, Like, 456 00:25:45,800 --> 00:25:48,359 Speaker 1: I guess we've got to do Prophecy at some point, uh, 457 00:25:48,640 --> 00:25:50,960 Speaker 1: just because it keeps coming up. It's this uh, this 458 00:25:50,960 --> 00:25:53,600 Speaker 1: this collection picture that it just collects all these other 459 00:25:53,640 --> 00:25:56,679 Speaker 1: actors that we keep referring to, and I guess it's 460 00:25:56,720 --> 00:26:00,000 Speaker 1: one that I I've never seen myself. But the VH 461 00:26:00,040 --> 00:26:02,600 Speaker 1: Jes cover is like firmly fixed in my head because 462 00:26:02,600 --> 00:26:04,639 Speaker 1: it has this like mutant bear and sort of this 463 00:26:04,760 --> 00:26:07,919 Speaker 1: embryotic state. Alright, Well, let's talk about the music in 464 00:26:07,920 --> 00:26:10,560 Speaker 1: this film, because this, this, this I was really excited for, 465 00:26:10,720 --> 00:26:14,480 Speaker 1: because the music, once more, is by Less Baxter. They 466 00:26:15,680 --> 00:26:19,040 Speaker 1: through nineteen sixty six. We've discussed him a few different times. 467 00:26:19,040 --> 00:26:22,120 Speaker 1: This is the king of exotica music. Um. He did 468 00:26:22,160 --> 00:26:26,359 Speaker 1: the effective jazzy score in Mario Baba's Black Sabbath. He 469 00:26:26,440 --> 00:26:31,080 Speaker 1: also did the very minimal electric blooping frog noise score 470 00:26:31,200 --> 00:26:35,639 Speaker 1: for the film Frogs. Okay, what always happens is Baxter 471 00:26:35,720 --> 00:26:38,000 Speaker 1: comes up and I mentioned, well, okay, Baxter has got 472 00:26:38,000 --> 00:26:41,640 Speaker 1: all this excellent exotica work that he did, um, and 473 00:26:41,680 --> 00:26:43,840 Speaker 1: then I'll say something to the effect of, well, but 474 00:26:43,880 --> 00:26:47,040 Speaker 1: this isn't really an exotica score anything, because because Baxter 475 00:26:47,119 --> 00:26:49,560 Speaker 1: did a number of B movie scores, uh, and then 476 00:26:49,920 --> 00:26:52,720 Speaker 1: went on to compose music for SeaWorld when score work 477 00:26:52,800 --> 00:26:55,240 Speaker 1: kind of dried up for him. So I think his 478 00:26:55,320 --> 00:26:58,520 Speaker 1: work is probably better understood as as a professional output 479 00:26:58,640 --> 00:27:01,240 Speaker 1: rather than anything like, hey, let's get that exotic a 480 00:27:01,320 --> 00:27:04,639 Speaker 1: guy to do this film because we want an exotica score. 481 00:27:05,080 --> 00:27:07,560 Speaker 1: But with Dunwich Horror, I think the elements of of 482 00:27:07,720 --> 00:27:11,719 Speaker 1: weird pagan ceremonies uh in it really provided a reason 483 00:27:11,840 --> 00:27:14,399 Speaker 1: for some of those exotica elements to flare up. So 484 00:27:14,440 --> 00:27:18,680 Speaker 1: we have this this fun mix of nineties seventies cinematic jazz. 485 00:27:18,880 --> 00:27:22,200 Speaker 1: We have Eastern motifs, we have weird there men and 486 00:27:22,280 --> 00:27:28,479 Speaker 1: electronic sound effects. We have foreboding drums and blaring horns. Um, 487 00:27:28,800 --> 00:27:32,359 Speaker 1: it very much feels like yeah, jazz cigarette rolled with 488 00:27:32,480 --> 00:27:35,000 Speaker 1: a page from the Necronomicon here. You know, I thought 489 00:27:35,040 --> 00:27:37,720 Speaker 1: one of the sonic elements of this movie that was 490 00:27:37,880 --> 00:27:41,160 Speaker 1: especially effective. And I don't know if Less Baxter did 491 00:27:41,200 --> 00:27:45,800 Speaker 1: this part, I would assume at least partially did, was that. Um, 492 00:27:45,960 --> 00:27:48,800 Speaker 1: when you are seeing the evil twin brother from the 493 00:27:48,800 --> 00:27:52,120 Speaker 1: house the I guess, would this be the titular dune 494 00:27:52,160 --> 00:27:54,920 Speaker 1: which horror or just the horror refer to like this 495 00:27:54,960 --> 00:27:58,640 Speaker 1: guy or like the whole sort of situation. I'm not sure. Um. 496 00:27:58,640 --> 00:28:00,760 Speaker 1: I always took it to me like the whole situation, 497 00:28:01,280 --> 00:28:05,280 Speaker 1: But but I think it could apply specifically to the brother. Yeah, 498 00:28:05,320 --> 00:28:08,600 Speaker 1: so the twin brother. There is this monstrous twin brother 499 00:28:08,640 --> 00:28:10,439 Speaker 1: who is sort of a Hugo if you will, the 500 00:28:10,520 --> 00:28:13,639 Speaker 1: Hugo of the film, who's behind a rattling door for 501 00:28:13,720 --> 00:28:15,920 Speaker 1: most of the movie. But later on in the film 502 00:28:16,000 --> 00:28:19,360 Speaker 1: he gets out, and that's when when things really get wild. Um. 503 00:28:19,960 --> 00:28:21,840 Speaker 1: But so when he gets out, we sort of see, 504 00:28:22,160 --> 00:28:25,080 Speaker 1: uh a Hugo cam and so we're seeing from his 505 00:28:25,160 --> 00:28:28,880 Speaker 1: perspective as he floats around over the landscape looking for 506 00:28:28,880 --> 00:28:32,840 Speaker 1: for people to terrorize. And in those sequences or when 507 00:28:32,880 --> 00:28:35,000 Speaker 1: when you're seeing people and you just know that the 508 00:28:35,240 --> 00:28:39,360 Speaker 1: twin brother is near, there's just this steady, ominous chord 509 00:28:39,680 --> 00:28:44,320 Speaker 1: and a slow kind of heartbeat rhythm. I know that 510 00:28:44,400 --> 00:28:47,640 Speaker 1: sounds very standard for for horror movies, but it works 511 00:28:47,720 --> 00:28:49,880 Speaker 1: really well in this one. I always really like the 512 00:28:49,920 --> 00:28:52,600 Speaker 1: sound in those scenes. Yeah. I mean, I think a 513 00:28:52,680 --> 00:28:54,720 Speaker 1: huge part of it is, first of all, they're adapting 514 00:28:54,720 --> 00:28:59,080 Speaker 1: a story about essentially an evil brother who's an invisible 515 00:28:59,120 --> 00:29:02,440 Speaker 1: space blob. So if you're going to try and portray 516 00:29:02,520 --> 00:29:05,880 Speaker 1: that accurately, you're you're already limited. So they a lot 517 00:29:05,880 --> 00:29:08,360 Speaker 1: of what they do is based in sound and then 518 00:29:08,400 --> 00:29:11,640 Speaker 1: also in like weird colors and stuff. Uh so the 519 00:29:11,640 --> 00:29:14,000 Speaker 1: sound is essential here and I, um, I don't know 520 00:29:14,160 --> 00:29:16,800 Speaker 1: for certain, but I suspect this was totally Baxter's deal 521 00:29:16,840 --> 00:29:19,360 Speaker 1: as well, if if for no other reason, because it 522 00:29:19,480 --> 00:29:22,600 Speaker 1: lines up with his work and Frogs, which is almost 523 00:29:22,760 --> 00:29:28,000 Speaker 1: entirely you know, electronic and like minimal ambient in that regard. Now, 524 00:29:28,040 --> 00:29:29,920 Speaker 1: I don't think the score for this film is widely 525 00:29:29,960 --> 00:29:32,760 Speaker 1: available in digital or physical form right now, but it 526 00:29:32,800 --> 00:29:35,520 Speaker 1: has been released over the years, and it was originally 527 00:29:35,600 --> 00:29:39,360 Speaker 1: released on vinyl in ninety under the title and I 528 00:29:39,440 --> 00:29:43,360 Speaker 1: kid you not Music of the Devil God Cult Strange 529 00:29:43,440 --> 00:29:48,760 Speaker 1: Sounds from Dunwich, and then it it's just it's a 530 00:29:48,800 --> 00:29:51,680 Speaker 1: wonderful title, like they seem to be going like further away. 531 00:29:51,760 --> 00:29:53,719 Speaker 1: It's not just hey, here's the score for the dun 532 00:29:53,800 --> 00:29:56,240 Speaker 1: which are by Less Baxter, Like no, here is the 533 00:29:56,360 --> 00:29:59,880 Speaker 1: Music of the Devil God Cult. And the cover of 534 00:30:00,040 --> 00:30:04,120 Speaker 1: the album is just Dean Stockwell's face with his eyes 535 00:30:04,160 --> 00:30:07,320 Speaker 1: so wide it looks like his head's gonna explode. Yeah, 536 00:30:07,400 --> 00:30:09,480 Speaker 1: this is one of his this wonderful pose that he 537 00:30:09,520 --> 00:30:12,160 Speaker 1: does where he puts his his hands to either side 538 00:30:12,160 --> 00:30:15,200 Speaker 1: of his face. While they're crossed. During one of his 539 00:30:15,240 --> 00:30:19,640 Speaker 1: MANI yag saga, chants oh yeah, I I like that, 540 00:30:19,680 --> 00:30:21,640 Speaker 1: So he puts yea. He puts his hands up beside 541 00:30:21,680 --> 00:30:24,120 Speaker 1: his head and he's got a ring on each pinky, 542 00:30:24,200 --> 00:30:26,880 Speaker 1: so it's like he's got a second pair of eyes almost. 543 00:30:26,960 --> 00:30:30,000 Speaker 1: But also the way his hands are out flat beside 544 00:30:30,000 --> 00:30:34,040 Speaker 1: his face, he looks like a cobra flaring. It's it's hood. Yeah, 545 00:30:34,080 --> 00:30:37,200 Speaker 1: it's it's it's it's excellent. Um, it's it's a great pose. 546 00:30:37,680 --> 00:30:40,600 Speaker 1: Maybe maybe maybe my wife will let me use this 547 00:30:40,640 --> 00:30:45,640 Speaker 1: pose and in the next photo. Yeah, they'd be good 548 00:30:45,640 --> 00:30:49,160 Speaker 1: for the Christmas card. Yeah, So yeah, I would say 549 00:30:49,160 --> 00:30:52,040 Speaker 1: that in general, this movie is excellent. From an audio standpoint. 550 00:30:52,160 --> 00:30:55,240 Speaker 1: I watched it with with earbuds in and I felt 551 00:30:55,240 --> 00:30:57,920 Speaker 1: like the weird sounds were just kind of like rolling 552 00:30:57,960 --> 00:31:00,160 Speaker 1: around me in like three D audio. It had this 553 00:31:00,360 --> 00:31:04,680 Speaker 1: these great dark ambient stretches. It has some wonderful like 554 00:31:04,680 --> 00:31:09,320 Speaker 1: like um you know, cosmic horror jazz going on, which 555 00:31:09,360 --> 00:31:12,560 Speaker 1: which I absolutely loved. So this is um, yeah, this 556 00:31:12,600 --> 00:31:15,160 Speaker 1: is this is a wonderful score and I really hope 557 00:31:15,480 --> 00:31:17,880 Speaker 1: someone puts it out again, not only digitally, but like 558 00:31:18,040 --> 00:31:20,320 Speaker 1: all these like crazy vinyls that we often touch on 559 00:31:20,360 --> 00:31:22,440 Speaker 1: that come out to re release these various scores, Like, 560 00:31:22,480 --> 00:31:25,080 Speaker 1: oh man, you could go in so many fun directions 561 00:31:25,120 --> 00:31:28,080 Speaker 1: with this. Yeah, I agree. I I really enjoyed the 562 00:31:28,160 --> 00:31:31,080 Speaker 1: music the whole the whole audio landscape I thought was 563 00:31:30,880 --> 00:31:41,640 Speaker 1: a was a highlight of the movie. All right, Well, 564 00:31:41,720 --> 00:31:44,080 Speaker 1: let's let's get into the plot for this baby. All right, 565 00:31:44,160 --> 00:31:47,479 Speaker 1: So this movie begins with a precredit sequence, but it 566 00:31:47,520 --> 00:31:49,960 Speaker 1: has some amazing animations that go along with the credits. 567 00:31:49,960 --> 00:31:52,240 Speaker 1: We should talk about those in the second But before 568 00:31:52,280 --> 00:31:56,080 Speaker 1: we get to that, there is this pre credit sequence where, um, 569 00:31:56,120 --> 00:31:58,720 Speaker 1: there there's like a bunch of witches in a bedroom. 570 00:31:58,840 --> 00:32:02,080 Speaker 1: It's kind of the it's kind of Rosemary's Baby ending 571 00:32:02,200 --> 00:32:05,600 Speaker 1: scene almost. Um, some some witches in a bedroom and 572 00:32:05,640 --> 00:32:09,200 Speaker 1: like a lady maybe going to give birth or having 573 00:32:09,240 --> 00:32:12,880 Speaker 1: given birth. And uh. The problem with this scene is 574 00:32:13,520 --> 00:32:18,000 Speaker 1: all of the characters are being drastically upstaged by the 575 00:32:18,080 --> 00:32:22,840 Speaker 1: decor in the rooms, which is just the busiest purple 576 00:32:23,000 --> 00:32:27,600 Speaker 1: wall paper I've ever seen, and like weird clocks that 577 00:32:27,640 --> 00:32:29,600 Speaker 1: look like they're made out of the like they're like 578 00:32:29,720 --> 00:32:34,800 Speaker 1: you know, trash sculpture, um strange framed photos weird like 579 00:32:34,880 --> 00:32:39,920 Speaker 1: popping sconces and and sculpture is everywhere. This house is awesome, 580 00:32:40,080 --> 00:32:46,680 Speaker 1: but the interior decoration is so busy it's almost funny. Yeah, yeah, 581 00:32:46,720 --> 00:32:50,160 Speaker 1: it is. It is an intensely decorated house that they 582 00:32:50,240 --> 00:32:52,880 Speaker 1: use for this film, and and that, like the color 583 00:32:52,960 --> 00:32:56,239 Speaker 1: scheme is wonderful. It's got like these weird purple's going on. 584 00:32:56,480 --> 00:32:58,760 Speaker 1: I love it now. I guess we're just supposed to 585 00:32:58,800 --> 00:33:02,080 Speaker 1: assume that something Almina has happened in the scene. Um. 586 00:33:02,240 --> 00:33:04,760 Speaker 1: But but after the scene, we we go to the credits, 587 00:33:04,960 --> 00:33:08,600 Speaker 1: and the credits are wonderful. They are these blue and 588 00:33:08,680 --> 00:33:13,320 Speaker 1: black silhouette animations where we're like, we're watching all these scenes. 589 00:33:13,560 --> 00:33:16,280 Speaker 1: For example, they're like these little figures that look like 590 00:33:16,400 --> 00:33:19,840 Speaker 1: wizards of some kind running around on a blue background 591 00:33:19,960 --> 00:33:23,000 Speaker 1: over the solid black terrain, and then we kind of 592 00:33:23,000 --> 00:33:24,719 Speaker 1: get a zoom out and it turns out that the 593 00:33:24,840 --> 00:33:28,800 Speaker 1: terrain is not ground, but it's like muscles on a 594 00:33:28,920 --> 00:33:33,360 Speaker 1: giant horned devil body, which was great. But then they're 595 00:33:33,360 --> 00:33:35,440 Speaker 1: also I don't know, there's just great imagery in it, 596 00:33:35,640 --> 00:33:38,600 Speaker 1: like these weird trees and a big snake head and 597 00:33:38,640 --> 00:33:42,800 Speaker 1: then a guy who I gotta say, in his in 598 00:33:42,880 --> 00:33:45,600 Speaker 1: his pose with his big cloak and staff, looks way 599 00:33:45,640 --> 00:33:48,440 Speaker 1: too much like the Master from Manos The Hands of Fate. 600 00:33:48,880 --> 00:33:52,440 Speaker 1: But but that's okay. Um. I agree that the opening 601 00:33:52,440 --> 00:33:55,560 Speaker 1: credits for this are really fabulous. Um. They also kind 602 00:33:55,560 --> 00:33:57,160 Speaker 1: of tell a story, like they kind of fill you 603 00:33:57,200 --> 00:33:59,520 Speaker 1: in and get you prepared for what's happening. It's about 604 00:34:00,040 --> 00:34:04,080 Speaker 1: some sort of uh you know, presented story about a 605 00:34:04,120 --> 00:34:07,080 Speaker 1: miraculous birth and uh, you know, the coming of a 606 00:34:07,160 --> 00:34:10,680 Speaker 1: sorcerer and so forth. It's it's nice, but okay, we 607 00:34:10,719 --> 00:34:13,960 Speaker 1: cut from here to a modern university. It's like a 608 00:34:14,120 --> 00:34:16,480 Speaker 1: university campus again. I guess this is supposed to be 609 00:34:16,719 --> 00:34:21,600 Speaker 1: the uh, the infamous Miskatonic University. And we see Ed 610 00:34:21,680 --> 00:34:26,200 Speaker 1: Begley as this character, Professor Henry Armitage. He's walking with 611 00:34:26,239 --> 00:34:29,960 Speaker 1: some students, having just given a lecture on this book. 612 00:34:30,080 --> 00:34:34,000 Speaker 1: The book is the Necronomicon. It is this tome of 613 00:34:34,120 --> 00:34:37,439 Speaker 1: ancient evil, uh that is stored in a glass case 614 00:34:37,480 --> 00:34:43,080 Speaker 1: in the Miskatonic library and plain side of everything. Yeah, 615 00:34:43,080 --> 00:34:45,680 Speaker 1: and he well, I don't know if you understood it 616 00:34:45,719 --> 00:34:49,680 Speaker 1: the same way. My read on this was that, um, 617 00:34:49,920 --> 00:34:55,640 Speaker 1: the Armitage character doesn't necessarily believe that the like spells 618 00:34:55,719 --> 00:34:58,080 Speaker 1: in the book would actually work or I was a 619 00:34:58,080 --> 00:35:00,359 Speaker 1: little unclear on that, but he seems to of some 620 00:35:00,480 --> 00:35:04,840 Speaker 1: kind of uh cautious respect for this book and and 621 00:35:04,960 --> 00:35:08,000 Speaker 1: its power, even if he doesn't fully buy into magic 622 00:35:08,120 --> 00:35:12,600 Speaker 1: or any such nonsense. Yeah, he's I mean again thinking 623 00:35:12,640 --> 00:35:15,040 Speaker 1: of putting kind of like a generational conflict read on 624 00:35:15,080 --> 00:35:17,200 Speaker 1: all of this. It's kind of like he's evaluating the 625 00:35:17,239 --> 00:35:20,840 Speaker 1: hippie culture and he's like, I don't actually believe in 626 00:35:20,960 --> 00:35:24,840 Speaker 1: you know, Eastern religion. I don't believe that, um, you 627 00:35:24,880 --> 00:35:28,120 Speaker 1: know that in all these beneficial you know, powers that 628 00:35:28,160 --> 00:35:30,560 Speaker 1: the young people say that these uh you know that 629 00:35:30,719 --> 00:35:33,960 Speaker 1: these various drugs have. I don't believe in their music, 630 00:35:34,239 --> 00:35:36,560 Speaker 1: but I believe that all these things are dangerous and 631 00:35:36,640 --> 00:35:38,879 Speaker 1: can hurt them, and therefore I need to protect him 632 00:35:38,920 --> 00:35:42,920 Speaker 1: from those influences. Oh yeah, I can see that. Well. 633 00:35:42,920 --> 00:35:46,360 Speaker 1: So anyway, UM sander d who plays a character named 634 00:35:46,480 --> 00:35:50,680 Speaker 1: Nancy and her friend, UM Elizabeth is that her friend's name. 635 00:35:52,120 --> 00:35:54,719 Speaker 1: They're apparently students who have been attending these lectures, so 636 00:35:54,960 --> 00:35:58,399 Speaker 1: I guess they're interested in ancient evil tomes and uh 637 00:35:58,440 --> 00:36:02,000 Speaker 1: and and ed Begley hands off the Necronomicon to sander D. 638 00:36:02,160 --> 00:36:04,000 Speaker 1: He's like, take this back to the library, and she's 639 00:36:04,040 --> 00:36:08,320 Speaker 1: like okay. But while she's taking it back, Dean Stockwell 640 00:36:08,360 --> 00:36:11,480 Speaker 1: shows up, and he is from the very first moment 641 00:36:11,640 --> 00:36:16,920 Speaker 1: this this powerful combination of suave and unsettling. You know, 642 00:36:17,080 --> 00:36:19,480 Speaker 1: is he is he a smooth operator or is he 643 00:36:19,520 --> 00:36:23,360 Speaker 1: a dangerous creep? Seems like he's both. Yeah, yeah, he 644 00:36:23,400 --> 00:36:26,399 Speaker 1: really walks that line. It's it's a great performance. There's 645 00:36:26,440 --> 00:36:29,759 Speaker 1: a lot of a lot of him staring intently at 646 00:36:29,880 --> 00:36:35,120 Speaker 1: characters and talking very calmly um about, you know, either 647 00:36:35,160 --> 00:36:38,120 Speaker 1: about some sort of esoteric topic or in this case, 648 00:36:38,320 --> 00:36:40,920 Speaker 1: he's just like, oh, yes, I understand, but can I 649 00:36:40,960 --> 00:36:44,960 Speaker 1: see the Necronomicon? Like he's very insistent. Yeah, he really 650 00:36:45,000 --> 00:36:48,719 Speaker 1: wants to borrow the Necronomicon for five minutes. Yeah, And 651 00:36:48,719 --> 00:36:51,279 Speaker 1: and she's like she's finally like, oh yeah, okay, you can, 652 00:36:51,400 --> 00:36:53,520 Speaker 1: just don't take it into the bathroom. Oh and also, 653 00:36:53,560 --> 00:36:57,400 Speaker 1: Sanderd immediately has a crush on Dean Stockwell. She and 654 00:36:57,480 --> 00:36:59,239 Speaker 1: she and her friend are like, wow, did you see 655 00:36:59,239 --> 00:37:02,480 Speaker 1: his eyes? He's great eyes. Yeah, he's got his father's eyes. 656 00:37:03,600 --> 00:37:06,440 Speaker 1: So Dean Stockwell takes this book, and I think he 657 00:37:06,480 --> 00:37:08,440 Speaker 1: goes to a side room or something and he's reading 658 00:37:08,440 --> 00:37:11,520 Speaker 1: aloud from it, and he's he's just enraptured. He's reading 659 00:37:11,560 --> 00:37:15,359 Speaker 1: these lines about yogs of thought and various prophecies about 660 00:37:15,440 --> 00:37:18,560 Speaker 1: gates and old ones and so forth. But then Ed 661 00:37:18,640 --> 00:37:21,480 Speaker 1: Begley shows up and he's like, the book please, And 662 00:37:21,600 --> 00:37:24,439 Speaker 1: Begley does not like this screwing around this. This book 663 00:37:24,480 --> 00:37:28,719 Speaker 1: needs to go immediately back to its display case. So 664 00:37:28,840 --> 00:37:32,080 Speaker 1: this whole group ends up like going out to a 665 00:37:32,200 --> 00:37:37,200 Speaker 1: bar and grill together to yeah, mons realistics and and 666 00:37:37,239 --> 00:37:40,840 Speaker 1: talk about ancient evil. Yeah like that. There's the conflict 667 00:37:40,960 --> 00:37:42,960 Speaker 1: is not such that it prevents everyone from going out 668 00:37:43,000 --> 00:37:46,719 Speaker 1: to the lunch, which I wish more conflicts in in 669 00:37:46,760 --> 00:37:50,040 Speaker 1: films would go like this, where there's an initial argument 670 00:37:50,040 --> 00:37:52,239 Speaker 1: and they're like, well, hey, let's do lunch. Let's talk 671 00:37:52,239 --> 00:37:55,200 Speaker 1: about this further. Shall we discuss yog so thought over 672 00:37:55,239 --> 00:37:59,200 Speaker 1: a shrimp cocktail? Yes? So while they're all out, you know, 673 00:37:59,440 --> 00:38:01,760 Speaker 1: talking to each other, I think we find out something 674 00:38:01,800 --> 00:38:05,680 Speaker 1: about Dean Stockwell's character's background. He is, he's a guy 675 00:38:05,760 --> 00:38:09,960 Speaker 1: named Wilbur Weightley, and he's from this famous Weightly family 676 00:38:10,520 --> 00:38:15,279 Speaker 1: that their family history is tied up in the Necronomicon, 677 00:38:15,440 --> 00:38:19,200 Speaker 1: this evil book. And so Wilbur Weiteley is the great 678 00:38:19,520 --> 00:38:22,239 Speaker 1: either the grandson or great grandson I think great grandson 679 00:38:22,320 --> 00:38:26,040 Speaker 1: of a guy named Oliver Weightley who was was murdered 680 00:38:26,080 --> 00:38:29,279 Speaker 1: by the town's folk of of Dunwich. I think is 681 00:38:29,320 --> 00:38:34,279 Speaker 1: domage supposed to be in Massachusetts or um something like that, yeah, 682 00:38:34,600 --> 00:38:39,239 Speaker 1: or in this case perhaps uh so northern California. Yeah, right, 683 00:38:40,160 --> 00:38:43,480 Speaker 1: but his his great grandfather was murdered by the town's 684 00:38:43,520 --> 00:38:46,719 Speaker 1: folk after having you know, it was mob violence, for 685 00:38:46,800 --> 00:38:50,839 Speaker 1: allegedly having done something very evil and uh. And Dean 686 00:38:50,880 --> 00:38:54,080 Speaker 1: Stockwell wants to borrow the Necronomicon so he can study 687 00:38:54,120 --> 00:38:56,280 Speaker 1: it because he says he's a student of the occult, 688 00:38:56,600 --> 00:38:59,120 Speaker 1: and he says that this book is like the Bible 689 00:38:59,239 --> 00:39:03,560 Speaker 1: to him. And Armitage is not amused by this. He's like, 690 00:39:03,680 --> 00:39:06,719 Speaker 1: I know enough about strange things not to laugh at them, 691 00:39:06,760 --> 00:39:09,759 Speaker 1: and so he won't let the book go and uh, 692 00:39:09,800 --> 00:39:13,200 Speaker 1: and so he heads off, and then Wilbur and uh 693 00:39:13,239 --> 00:39:16,280 Speaker 1: and Nancy, you're just hanging out Dean Stockwell and Sander 694 00:39:16,360 --> 00:39:20,280 Speaker 1: d and uh, and Wilburg's like, I can't stand pomposity, 695 00:39:20,400 --> 00:39:24,040 Speaker 1: which is funny because his character is extremely pompous, like 696 00:39:24,080 --> 00:39:28,719 Speaker 1: these moments where he is just making these grandiose prophecies. 697 00:39:28,719 --> 00:39:30,840 Speaker 1: I don't remember exactly how he phrases them, but I 698 00:39:30,880 --> 00:39:34,840 Speaker 1: would say that that Wilburg gets pompous, yes, but his 699 00:39:35,000 --> 00:39:38,160 Speaker 1: is the pomposity of Heath right, yeah, which is apparently 700 00:39:38,200 --> 00:39:42,000 Speaker 1: more acceptable. So it ends up where sander d drives 701 00:39:42,040 --> 00:39:45,000 Speaker 1: Dean Stockwell back to Dunwich because he misses his bus 702 00:39:45,680 --> 00:39:49,560 Speaker 1: and we get a taste of the townsfolks feelings about 703 00:39:49,640 --> 00:39:51,880 Speaker 1: him and his family when they stopped for gas in 704 00:39:52,000 --> 00:39:55,680 Speaker 1: Dunwich and the gas station attendant once he sees Dean 705 00:39:55,719 --> 00:39:57,919 Speaker 1: Stockwell in the car, he's like, oh, Wilbur, I don't 706 00:39:57,920 --> 00:40:00,319 Speaker 1: want anything that he says, he just wants one dollar 707 00:40:00,400 --> 00:40:02,360 Speaker 1: for the gas, and then he like leaves them alone. 708 00:40:02,960 --> 00:40:06,440 Speaker 1: And uh, apparently the animosity goes both ways. Wilburt does 709 00:40:06,480 --> 00:40:08,759 Speaker 1: not like the town's folk. He says, they've treated me 710 00:40:08,800 --> 00:40:12,960 Speaker 1: that way since childhood. There's still the same frightened, superstitious fools. 711 00:40:13,560 --> 00:40:16,960 Speaker 1: And true enough, everything we see of the townspeople um 712 00:40:16,960 --> 00:40:19,759 Speaker 1: from here on out, like they do seem um, they 713 00:40:20,000 --> 00:40:24,200 Speaker 1: do seem awful. So I'm i'm, I'm, I'm, I'm. When 714 00:40:24,239 --> 00:40:25,920 Speaker 1: I was watching this, I was kind of at times 715 00:40:25,920 --> 00:40:29,080 Speaker 1: wondering whose side we're supposed to be on us. So, 716 00:40:29,160 --> 00:40:31,000 Speaker 1: you know, it becomes clear that, you know, Wilburg does 717 00:40:31,040 --> 00:40:34,640 Speaker 1: not have great intentions for humanity through his dealings here 718 00:40:34,640 --> 00:40:37,960 Speaker 1: with the Necronomicon and it's uh, it's forbidden wisdom. But 719 00:40:37,960 --> 00:40:40,360 Speaker 1: on the other hand, the towns people suck. So I 720 00:40:40,400 --> 00:40:42,600 Speaker 1: don't know, I don't know who we're supposed to be 721 00:40:42,680 --> 00:40:45,239 Speaker 1: rooting for here. I guess Sandra D. I think. I 722 00:40:45,280 --> 00:40:47,680 Speaker 1: think ultimately the audience is supposed to be on the 723 00:40:47,680 --> 00:40:52,520 Speaker 1: side of Sandra D and her friend and professor Armitage. Yeah. 724 00:40:52,520 --> 00:40:56,200 Speaker 1: So anyway, Sandra D comes over to Wilbur's house for 725 00:40:56,280 --> 00:40:58,239 Speaker 1: a cup of tea or something, I think a cup 726 00:40:58,280 --> 00:41:01,400 Speaker 1: of tea, and inside it's immediately clear that this is 727 00:41:01,440 --> 00:41:03,680 Speaker 1: the house that the pre credit sequence took place in, 728 00:41:04,000 --> 00:41:08,520 Speaker 1: because again, the busiest decor of any house ever. And 729 00:41:08,719 --> 00:41:11,839 Speaker 1: I don't recall if it's like this in the novella. 730 00:41:12,080 --> 00:41:14,640 Speaker 1: My impression of the house and the novella was that 731 00:41:14,680 --> 00:41:18,200 Speaker 1: it was more of just a wreck. Yeah, this house 732 00:41:18,239 --> 00:41:22,680 Speaker 1: looks like it was decorated by a family of flamboyant 733 00:41:22,719 --> 00:41:26,640 Speaker 1: stage magicians. Yes, yeah, they have. For instance, they have 734 00:41:26,680 --> 00:41:31,040 Speaker 1: these wonderful crystals setting around, um that are never fully 735 00:41:31,040 --> 00:41:35,000 Speaker 1: explained and uh and are pretty fabulous. They had occasionally 736 00:41:35,080 --> 00:41:38,080 Speaker 1: or moved around or move on their own or suddenly 737 00:41:38,120 --> 00:41:42,719 Speaker 1: set off intense fires. It's it's great. Yeah, the house 738 00:41:42,840 --> 00:41:45,439 Speaker 1: is just wonderful. It's one of my favorite things about 739 00:41:45,480 --> 00:41:49,239 Speaker 1: the movie, honestly is the wallpaper, the little ornaments on 740 00:41:49,280 --> 00:41:52,360 Speaker 1: the coffee tables, and the and the hearth and everything, 741 00:41:52,440 --> 00:41:56,200 Speaker 1: all the wall art. It's just oh and the floor decorations. Well, 742 00:41:56,280 --> 00:41:58,560 Speaker 1: when you get those sudden like shots from up above, 743 00:41:58,680 --> 00:42:01,719 Speaker 1: it's just a great gray house. Yeah. Yeah, just a 744 00:42:02,040 --> 00:42:05,320 Speaker 1: complete environment that they put together here. Now. At first, 745 00:42:05,360 --> 00:42:07,759 Speaker 1: even though Wilbur has already said some strange things, we 746 00:42:07,760 --> 00:42:10,839 Speaker 1: get the impression that uh, Sander d I think likes him. 747 00:42:10,880 --> 00:42:15,080 Speaker 1: He's very uh handsome and charming and uh, I don't 748 00:42:15,120 --> 00:42:17,239 Speaker 1: know about charging. Yeah, sort of charming. I mean he's 749 00:42:17,239 --> 00:42:21,359 Speaker 1: at least like smooth and confident and there's something about him. 750 00:42:22,239 --> 00:42:24,520 Speaker 1: But we we start immediately seeing this is not going 751 00:42:24,560 --> 00:42:27,320 Speaker 1: to go well because Wilbur is not a cool guy. Wilbur. 752 00:42:27,520 --> 00:42:31,279 Speaker 1: Wilbur is the interdimensional creep that that you got that 753 00:42:31,360 --> 00:42:35,440 Speaker 1: hint of earlier. So he immediately sneaks out to sander 754 00:42:35,480 --> 00:42:38,640 Speaker 1: D's car and steals something from her engine, disabling the car, 755 00:42:39,680 --> 00:42:42,680 Speaker 1: and then back inside the house, Sanderd starts having visions 756 00:42:42,719 --> 00:42:47,120 Speaker 1: of threatening hippies and elaborate face paint and clothing, and 757 00:42:47,200 --> 00:42:51,040 Speaker 1: she sees tree limbs and waves crashing on rocks. Yeah, 758 00:42:51,080 --> 00:42:52,680 Speaker 1: and this is where we get that real sense of 759 00:42:52,760 --> 00:42:56,640 Speaker 1: hippie danger and I love it. Hippies and their magic 760 00:42:56,960 --> 00:42:59,759 Speaker 1: pose a threat to the innocent youth and it's up 761 00:42:59,840 --> 00:43:04,000 Speaker 1: to the the Olds to protect her from their influence. Okay, 762 00:43:04,000 --> 00:43:06,920 Speaker 1: so we already saw Wilbur steel something from her car engine, 763 00:43:07,280 --> 00:43:10,120 Speaker 1: which is bad enough, and then he gets even worse. 764 00:43:10,200 --> 00:43:12,319 Speaker 1: We see him inside the house putting some kind of 765 00:43:12,360 --> 00:43:16,279 Speaker 1: potion or substance into her tea, presumably uh to to 766 00:43:16,400 --> 00:43:18,400 Speaker 1: knock her out and keep her at the house to 767 00:43:18,480 --> 00:43:21,480 Speaker 1: keep her from returning back to wherever Miss Quatonic is. 768 00:43:22,040 --> 00:43:25,760 Speaker 1: But while while Wilbur's being a creep over here, Sandra 769 00:43:25,840 --> 00:43:31,120 Speaker 1: Dee somehow stumbles into Wilbur's grandfather. M Yeah, he's just 770 00:43:31,200 --> 00:43:34,760 Speaker 1: kind of just lurching around the house with his weird 771 00:43:34,880 --> 00:43:40,160 Speaker 1: funky staff. Oh yeah, that's staff. It's great. It's just 772 00:43:40,200 --> 00:43:44,239 Speaker 1: got a big occult pendant on the top. Yeah yeah. Later, 773 00:43:44,320 --> 00:43:46,439 Speaker 1: of course we see that it's not just around the house. 774 00:43:46,520 --> 00:43:48,120 Speaker 1: He like takes this with him when he goes to 775 00:43:48,280 --> 00:43:52,040 Speaker 1: like the gas station in town, um, which you can 776 00:43:52,040 --> 00:43:55,480 Speaker 1: just imagine, like Wilbur's like, Dad, please please don't bring 777 00:43:55,480 --> 00:43:57,759 Speaker 1: that to town again. Stop bringing that to the gas 778 00:43:57,760 --> 00:44:00,799 Speaker 1: station with you. Okay. Well, Sandra, he finds out her 779 00:44:00,800 --> 00:44:04,319 Speaker 1: car won't start, and she's getting very sleepy, presumably for 780 00:44:04,360 --> 00:44:07,000 Speaker 1: the sleeping powder or whatever it was that that he 781 00:44:07,040 --> 00:44:08,920 Speaker 1: put in the t So she decides she's gonna have 782 00:44:08,960 --> 00:44:12,719 Speaker 1: to stay the night at the house, and so Wilberah 783 00:44:13,400 --> 00:44:16,600 Speaker 1: gives her a guest bedroom and and she settles down, 784 00:44:16,680 --> 00:44:19,640 Speaker 1: and then she has a dream. And this dream really 785 00:44:19,640 --> 00:44:22,960 Speaker 1: reinforces those vision themes from earlier, because it's these like 786 00:44:23,080 --> 00:44:26,760 Speaker 1: eld rich half naked hippies running around grabbing at her face, 787 00:44:27,000 --> 00:44:29,800 Speaker 1: and then waves crashing on the rocks, and these visions 788 00:44:29,800 --> 00:44:33,839 Speaker 1: of just uh psychedelic evil woodstock and then she gets 789 00:44:33,920 --> 00:44:35,840 Speaker 1: chased into a shack and then I think that's the 790 00:44:35,920 --> 00:44:38,879 Speaker 1: end of the dream. These are great sequences because we 791 00:44:38,960 --> 00:44:41,480 Speaker 1: really don't see too much of them, uh and what 792 00:44:41,560 --> 00:44:43,920 Speaker 1: but what we do see of them is evocative and 793 00:44:44,000 --> 00:44:48,440 Speaker 1: colorful and a little bit scary. Um, I reminded. It 794 00:44:48,480 --> 00:44:51,880 Speaker 1: made me think back to the nineteen sixty seven film 795 00:44:51,960 --> 00:44:55,440 Speaker 1: The Trip, which was Roger Corman directed Jack Nicholson written 796 00:44:55,880 --> 00:45:00,680 Speaker 1: film about basically about character played by Peter fa going 797 00:45:00,719 --> 00:45:03,360 Speaker 1: on an acid trip. And Um, in that film, there 798 00:45:03,360 --> 00:45:07,640 Speaker 1: are a number of different psychedelic sequences, but also sequences 799 00:45:07,680 --> 00:45:10,000 Speaker 1: they go on way too long, and she used to 800 00:45:10,040 --> 00:45:12,319 Speaker 1: feel very trippy because you've been in them for like 801 00:45:12,400 --> 00:45:15,960 Speaker 1: five minutes and had sort of like stationary effects and 802 00:45:15,960 --> 00:45:18,839 Speaker 1: so forth. But these these feel very trippy because they 803 00:45:18,840 --> 00:45:22,120 Speaker 1: are given in like dream like flashes. Okay, So then 804 00:45:22,239 --> 00:45:26,040 Speaker 1: the next day comes along and we get two different threads. 805 00:45:26,120 --> 00:45:29,240 Speaker 1: One is that we see a professor armitage ed Begley 806 00:45:29,400 --> 00:45:33,239 Speaker 1: and Uh and Sandrad's friend Elizabeth are driving out to 807 00:45:33,320 --> 00:45:35,920 Speaker 1: Dunwich to find her because she disappeared the night before 808 00:45:36,360 --> 00:45:39,319 Speaker 1: and he the Weightlies don't have a phone at their house, 809 00:45:39,360 --> 00:45:42,160 Speaker 1: so she couldn't call anybody. So they're like, well, what 810 00:45:42,239 --> 00:45:44,399 Speaker 1: happened to her? So they're driving out to check on her. 811 00:45:45,239 --> 00:45:46,880 Speaker 1: But then the other half is we see Sandra de 812 00:45:47,120 --> 00:45:50,840 Speaker 1: and Dean Stockwell just hanging out walking around town, uh, 813 00:45:51,000 --> 00:45:54,120 Speaker 1: getting to know one another and and and sharing information. 814 00:45:54,920 --> 00:45:58,120 Speaker 1: So among the conversations they have, one is where Wilbur 815 00:45:58,160 --> 00:46:02,000 Speaker 1: and Nancy are like exploring downtown Dunwich and he explains 816 00:46:02,000 --> 00:46:05,400 Speaker 1: how the town's folk murdered his great grandfather. Uh. And 817 00:46:05,440 --> 00:46:07,399 Speaker 1: he says the reason for this is that he didn't 818 00:46:07,440 --> 00:46:10,640 Speaker 1: believe in God or the devil and instead believed in 819 00:46:10,640 --> 00:46:14,399 Speaker 1: an ancient race of beings from another dimension that came 820 00:46:14,440 --> 00:46:18,040 Speaker 1: before humanity are more powerful than us and that uh, 821 00:46:18,120 --> 00:46:20,240 Speaker 1: and that he could bring them back from the plane 822 00:46:20,280 --> 00:46:23,920 Speaker 1: where they sit waiting. And then he claims that they 823 00:46:23,960 --> 00:46:26,120 Speaker 1: that they put a trumped up murder charge on his 824 00:46:26,200 --> 00:46:29,160 Speaker 1: great grandfather, that a girl disappeared and they claimed that 825 00:46:29,239 --> 00:46:32,719 Speaker 1: he had murdered her in some kind of human sacrifice. 826 00:46:33,000 --> 00:46:35,640 Speaker 1: Though I think we were may be supposed to understand 827 00:46:35,680 --> 00:46:39,520 Speaker 1: that that that charge may in fact be true. Yeah. Meanwhile, 828 00:46:39,560 --> 00:46:42,880 Speaker 1: our Mettage and Elizabeth end up they end up connecting 829 00:46:42,880 --> 00:46:46,560 Speaker 1: with the local town doctor who might know something about 830 00:46:46,600 --> 00:46:49,040 Speaker 1: the Weighty family, and this is where we meet Tallya Shire. 831 00:46:49,239 --> 00:46:52,799 Speaker 1: She's the receptionist to the doctor's office, and she, when 832 00:46:52,840 --> 00:46:55,960 Speaker 1: speaking to Elizabeth, kind of discloses the town's beliefs about 833 00:46:55,960 --> 00:46:59,239 Speaker 1: the weightles like she tells Nancy's friend Uh that that 834 00:46:59,280 --> 00:47:02,840 Speaker 1: Wilbur never had a girlfriend before, and no girl should 835 00:47:02,840 --> 00:47:05,680 Speaker 1: go over to that house because that house is bad news. 836 00:47:06,239 --> 00:47:07,839 Speaker 1: And this is a nice little scene, I thought. I mean, 837 00:47:07,840 --> 00:47:10,239 Speaker 1: there's nothing groundbreaking or anything, but I feel like they 838 00:47:10,280 --> 00:47:12,200 Speaker 1: had a nice little scene together with some some well 839 00:47:12,200 --> 00:47:15,200 Speaker 1: written dialogue. Yes, and it's a funny counterpoint to what's 840 00:47:15,239 --> 00:47:17,440 Speaker 1: going on in the room next door where Ed Begley 841 00:47:17,520 --> 00:47:19,880 Speaker 1: is talking to the doctor and he's explaining, well, you know, 842 00:47:19,920 --> 00:47:22,919 Speaker 1: there are these old ones, and so it's at least 843 00:47:22,920 --> 00:47:25,120 Speaker 1: alleged that they can be brought back from another dimension 844 00:47:25,200 --> 00:47:27,799 Speaker 1: and then the earth will be destroyed. I also love 845 00:47:27,840 --> 00:47:31,480 Speaker 1: how it's basically armatage showing up and he's been like, hello, doctor, 846 00:47:32,160 --> 00:47:34,080 Speaker 1: i'd i'd like to. I was wondering if I could 847 00:47:34,080 --> 00:47:35,600 Speaker 1: sit down with you for a moment and you could 848 00:47:35,760 --> 00:47:39,279 Speaker 1: tell me the medical histories of this entire family. And 849 00:47:39,320 --> 00:47:41,560 Speaker 1: he's like, well, it'd better be good for a good reason, 850 00:47:43,120 --> 00:47:45,800 Speaker 1: and it's because of these ancient gods from another dimension. 851 00:47:46,400 --> 00:47:48,799 Speaker 1: And then the doctor is like, well, in that case, yes, 852 00:47:49,200 --> 00:47:53,560 Speaker 1: let me get out the file. Um now, somewhere in here, 853 00:47:53,560 --> 00:47:55,279 Speaker 1: I don't remember how we get into this, but there's 854 00:47:55,320 --> 00:47:59,120 Speaker 1: like a flashback of a of a scene. Or maybe 855 00:47:59,120 --> 00:48:01,480 Speaker 1: he's not a flashback. Maybe it's either a flashback or 856 00:48:01,520 --> 00:48:03,520 Speaker 1: takes place at the same time. But for some at 857 00:48:03,520 --> 00:48:07,520 Speaker 1: some point it must be in the past. Right, Oh, okay, okay, 858 00:48:07,560 --> 00:48:10,840 Speaker 1: you're right. Grandpa Weiteley is in a local general store 859 00:48:11,360 --> 00:48:15,839 Speaker 1: and he's just ranting about old gods I think, and uh, 860 00:48:15,880 --> 00:48:19,839 Speaker 1: and the locals are are viciously mocking him. Yeah. This 861 00:48:19,880 --> 00:48:21,239 Speaker 1: is one of those where you're like, oh, man, the 862 00:48:21,640 --> 00:48:24,120 Speaker 1: people have done which like they mostly sucks. So I 863 00:48:24,440 --> 00:48:26,520 Speaker 1: really can't side with them in all of this feel 864 00:48:26,560 --> 00:48:29,279 Speaker 1: bad for old way here. But somehow in all this, 865 00:48:29,400 --> 00:48:34,879 Speaker 1: the doctor and Armitage they figure out that Wilbur's mother, Lavinia, 866 00:48:35,200 --> 00:48:38,879 Speaker 1: is currently in an asylum, and they go to see 867 00:48:38,920 --> 00:48:41,160 Speaker 1: her there and she's in a padded room and her 868 00:48:41,200 --> 00:48:44,480 Speaker 1: hair is turned completely white, and she's in there screaming 869 00:48:44,520 --> 00:48:47,239 Speaker 1: about how my son's opened the gate, my son's and 870 00:48:47,280 --> 00:48:49,960 Speaker 1: then she says, kill them all. And so I think 871 00:48:49,960 --> 00:48:52,200 Speaker 1: it's one of those cases where a character who is 872 00:48:52,680 --> 00:48:55,920 Speaker 1: said to be mad is speaking things that are directly 873 00:48:56,040 --> 00:48:58,720 Speaker 1: informative of the coming plot, but none of the characters 874 00:48:58,760 --> 00:49:00,759 Speaker 1: realize it, so they're just kind of like, oh, what's 875 00:49:00,800 --> 00:49:03,840 Speaker 1: this nonsense. And then meanwhile, we're just seeing more stuff 876 00:49:03,840 --> 00:49:07,839 Speaker 1: with Dean Stockwell and Sandra d um uh. They're hanging out. 877 00:49:07,880 --> 00:49:12,000 Speaker 1: Dean Stockwell is always in a suit. Yeah, great dapper, 878 00:49:12,320 --> 00:49:15,960 Speaker 1: and I think it's implied Sandradd appears to be from 879 00:49:15,960 --> 00:49:19,400 Speaker 1: this point increasingly it's kind of hard to describe, just 880 00:49:19,480 --> 00:49:25,040 Speaker 1: like increasingly kind of hypnotized, like she's always kind of sleepy. Yeah, 881 00:49:26,320 --> 00:49:28,440 Speaker 1: I'm kind of unclear on this, but the film seems 882 00:49:28,480 --> 00:49:30,200 Speaker 1: to keep her in this weird place where she doesn't 883 00:49:30,239 --> 00:49:33,759 Speaker 1: seem like she's like one been kidnapped, but she's also 884 00:49:33,840 --> 00:49:37,239 Speaker 1: not one percent of collaborator either. She's not like, yeah, 885 00:49:37,280 --> 00:49:40,520 Speaker 1: let's go up there and raise some old ones wilbur Um. 886 00:49:40,719 --> 00:49:43,919 Speaker 1: It really does feel like this film aligns with something 887 00:49:43,960 --> 00:49:46,880 Speaker 1: we've talked about on the show before this late sixties 888 00:49:46,920 --> 00:49:51,560 Speaker 1: early seventies fear of hippie occult mind washing during this period. 889 00:49:51,840 --> 00:49:54,279 Speaker 1: So it's really as if Sandra D's character is not 890 00:49:54,520 --> 00:49:57,080 Speaker 1: she's not being held captive by the evil Wilbur. He's 891 00:49:57,080 --> 00:49:59,399 Speaker 1: not tying her to train tracks so the old ones 892 00:49:59,440 --> 00:50:02,640 Speaker 1: will run over her. Um uh. And she's also not 893 00:50:02,800 --> 00:50:05,359 Speaker 1: portrayed as like a complete doll person where she's like 894 00:50:05,640 --> 00:50:08,400 Speaker 1: I obey Wilbur and the old ones. Now, no, she's 895 00:50:08,440 --> 00:50:11,640 Speaker 1: she's just under their spell in the non magical sense, 896 00:50:11,719 --> 00:50:13,799 Speaker 1: like she's she's been caught up in all of this 897 00:50:13,920 --> 00:50:18,200 Speaker 1: hippie danger and that's why she needs uh Professor Armitage 898 00:50:18,200 --> 00:50:22,160 Speaker 1: to Grandpa Armitage here to jump in and save her. Yeah. 899 00:50:22,200 --> 00:50:24,160 Speaker 1: I think that's about right. So, Yeah, she's not being 900 00:50:24,200 --> 00:50:27,239 Speaker 1: portrayed as being held in dune which against her will, 901 00:50:27,360 --> 00:50:30,680 Speaker 1: but at the same time she it is suggested that 902 00:50:30,680 --> 00:50:35,200 Speaker 1: that's something she's somehow enchanted like her her her free 903 00:50:35,200 --> 00:50:38,759 Speaker 1: will has been compromised in some way. Yeah. And so 904 00:50:38,800 --> 00:50:41,480 Speaker 1: she and Dean Stockwell are out on these uh they're 905 00:50:41,480 --> 00:50:43,839 Speaker 1: out on a seaside cliff at some point, and they 906 00:50:43,880 --> 00:50:46,359 Speaker 1: walk up to some old stone ruins. They're like these 907 00:50:46,360 --> 00:50:50,040 Speaker 1: pillars and a staircase and a stone altar and uh. 908 00:50:50,120 --> 00:50:53,080 Speaker 1: And Wilburg says legend that says it's been here forever. 909 00:50:53,200 --> 00:50:56,560 Speaker 1: It's called the Devil's Hopyard, which is the name I 910 00:50:56,600 --> 00:50:58,440 Speaker 1: look this up. It is the name of a place 911 00:50:58,480 --> 00:51:01,399 Speaker 1: in Connecticut, which is does not look like this at all, 912 00:51:01,440 --> 00:51:03,680 Speaker 1: and there's no temple as far as I can tell. 913 00:51:04,040 --> 00:51:06,840 Speaker 1: But the landscape is very beautiful looking in the movie. 914 00:51:07,120 --> 00:51:10,799 Speaker 1: Yeah again it's it's clearly coastal northern California, but but 915 00:51:10,840 --> 00:51:13,760 Speaker 1: it looks gorgeous and and yeah, they're increasingly these shots, 916 00:51:13,800 --> 00:51:15,640 Speaker 1: and I think these are ultimately closing shots of the 917 00:51:15,680 --> 00:51:19,280 Speaker 1: film of of this the seaside and the waves crashing 918 00:51:19,719 --> 00:51:22,759 Speaker 1: on these rocky beaches, and it's it's good, it's it's 919 00:51:22,760 --> 00:51:26,040 Speaker 1: really good. And so wilbur starts talking about this ancient ritual, 920 00:51:26,160 --> 00:51:30,280 Speaker 1: ancient occult rituals here that would involve like virgin sacrifice, 921 00:51:30,640 --> 00:51:33,280 Speaker 1: and this would somehow open a gate that would allow 922 00:51:33,320 --> 00:51:36,919 Speaker 1: the old ones to come through. And then he does 923 00:51:36,960 --> 00:51:39,200 Speaker 1: the thing. He puts his hands to the sides of 924 00:51:39,239 --> 00:51:42,480 Speaker 1: his head, flares them like the cobra hood, and he's 925 00:51:42,520 --> 00:51:44,520 Speaker 1: got the pinky rings next to his eyes, and he 926 00:51:44,560 --> 00:51:48,319 Speaker 1: starts yelling yogs of thought. And so here we get 927 00:51:48,320 --> 00:51:51,920 Speaker 1: more weird psychedelic visions. Sander D imagines herself to be 928 00:51:52,000 --> 00:51:56,040 Speaker 1: sacrificed on the stone altar. She's surrounded by evil priests 929 00:51:56,040 --> 00:51:58,879 Speaker 1: with these black hoods over their heads, and and there's 930 00:51:58,920 --> 00:52:02,440 Speaker 1: Wilbur standing among them, so it seems like he may 931 00:52:02,520 --> 00:52:05,480 Speaker 1: have some kind of connection to these evil rituals from 932 00:52:05,480 --> 00:52:08,360 Speaker 1: the deep past. Oh oh. And in this whole sequence, 933 00:52:08,360 --> 00:52:11,560 Speaker 1: this is where we finally get the Wilbur chest reveal, 934 00:52:12,120 --> 00:52:14,120 Speaker 1: which is where he takes his shirt off and he's 935 00:52:14,160 --> 00:52:18,439 Speaker 1: covered in tattoos that look like hieroglyphics. Yeah, which is great. 936 00:52:18,480 --> 00:52:21,880 Speaker 1: I think in the original short story, Wilbur, for starters, 937 00:52:21,960 --> 00:52:23,840 Speaker 1: is not dashing. I think he comes off more is 938 00:52:23,880 --> 00:52:27,200 Speaker 1: like a dangerous bum and we find out that he 939 00:52:27,400 --> 00:52:29,439 Speaker 1: ultimately find out that he's like but he has part 940 00:52:29,520 --> 00:52:32,759 Speaker 1: monster body or something, and in this we don't have that. 941 00:52:32,800 --> 00:52:35,319 Speaker 1: Instead we just have these really cool, um, you know, 942 00:52:35,400 --> 00:52:47,200 Speaker 1: occult tattoos all over it. After this, there's a whole 943 00:52:47,239 --> 00:52:51,279 Speaker 1: sequence where we follow Nancy's friend Elizabeth, who's trying to 944 00:52:51,320 --> 00:52:54,320 Speaker 1: investigate you know, she she's worried about the well being 945 00:52:54,400 --> 00:52:56,720 Speaker 1: of her friends, so she's going to the Weightly house 946 00:52:56,760 --> 00:52:58,799 Speaker 1: to look around for her, to check on her and 947 00:52:58,840 --> 00:53:02,600 Speaker 1: make sure she's okay. And while she's investigating the house, 948 00:53:02,680 --> 00:53:04,919 Speaker 1: there are several times so far in the movie where 949 00:53:04,920 --> 00:53:07,920 Speaker 1: we have seen this door upstairs in the house rattling 950 00:53:07,960 --> 00:53:10,360 Speaker 1: as if there is something behind it that wants to 951 00:53:10,400 --> 00:53:15,319 Speaker 1: get out, and uh, and unfortunately it is Elizabeth who 952 00:53:15,320 --> 00:53:18,000 Speaker 1: opens this door and goes into the forbidden room while 953 00:53:18,040 --> 00:53:20,360 Speaker 1: she's looking around the house. And so this is the 954 00:53:20,400 --> 00:53:23,240 Speaker 1: first like attack, like the first murder scene in the movie. 955 00:53:23,320 --> 00:53:26,440 Speaker 1: But this the why Wilburg's twin, this other being in 956 00:53:26,480 --> 00:53:30,279 Speaker 1: the house, and this scene is weird. It's like it's 957 00:53:30,320 --> 00:53:35,080 Speaker 1: done with this flashing color abstract animation suggesting kind of 958 00:53:35,120 --> 00:53:38,520 Speaker 1: the flailing of octopus arms and lights from another world. 959 00:53:38,600 --> 00:53:42,040 Speaker 1: It does this heavy like red and blue color saturation 960 00:53:42,160 --> 00:53:44,880 Speaker 1: that goes back and forth. Yeah, like they're really I 961 00:53:44,880 --> 00:53:46,640 Speaker 1: feel like they were really going for like an LSD 962 00:53:46,760 --> 00:53:49,600 Speaker 1: trip kind of a vibe here um and and again 963 00:53:49,640 --> 00:53:51,560 Speaker 1: it comes back to the fact too, that they can't 964 00:53:51,600 --> 00:53:53,560 Speaker 1: really show the monster. They seem to have some sort 965 00:53:53,560 --> 00:53:56,160 Speaker 1: of physical apparatus that they're shooting some sort of technically 966 00:53:56,320 --> 00:53:58,719 Speaker 1: thing about they're they're not showing us much of it 967 00:53:58,760 --> 00:54:01,479 Speaker 1: at all, and the film works better for that. I 968 00:54:01,520 --> 00:54:04,560 Speaker 1: think it's always a better decision to show less of 969 00:54:04,600 --> 00:54:07,759 Speaker 1: the monster. I mean, you you can find exceptions, like 970 00:54:07,800 --> 00:54:10,240 Speaker 1: the thing shows a lot of the monster and it's wonderful, 971 00:54:10,280 --> 00:54:12,919 Speaker 1: but uh that that's pretty rare. Most of the time. 972 00:54:12,960 --> 00:54:16,400 Speaker 1: You're going to do better if you give suggestive imagery 973 00:54:16,600 --> 00:54:19,200 Speaker 1: rather than just getting a good long look at the suit. 974 00:54:19,360 --> 00:54:21,319 Speaker 1: And you know, because often if you get a good 975 00:54:21,320 --> 00:54:23,680 Speaker 1: long look at the suit or the makeup effect or 976 00:54:23,719 --> 00:54:26,640 Speaker 1: whatever it is, it starts to look less and less great. Yeah, 977 00:54:26,640 --> 00:54:30,120 Speaker 1: that the flaws become increasingly obvious. It's the Jaws principle 978 00:54:30,239 --> 00:54:33,160 Speaker 1: that they did not have a great robotic shark, but 979 00:54:33,239 --> 00:54:35,600 Speaker 1: they ended up getting really good footage out of what 980 00:54:35,680 --> 00:54:39,399 Speaker 1: they did have just by you know, clever use of it. Yeah. Yeah, 981 00:54:39,480 --> 00:54:41,719 Speaker 1: I mean even today when you have some tremendous c 982 00:54:41,880 --> 00:54:44,560 Speaker 1: g I effects, and granted there some pitfalls with c 983 00:54:44,680 --> 00:54:46,480 Speaker 1: g I at times as well, but like, even if 984 00:54:46,520 --> 00:54:50,520 Speaker 1: the monster is perfectly well executed on the screen, you know, 985 00:54:50,680 --> 00:54:52,960 Speaker 1: I mean, you have to remember what are monsters Historically 986 00:54:53,000 --> 00:54:56,200 Speaker 1: monsters or things that that lurk in the imagination, and 987 00:54:56,320 --> 00:54:59,480 Speaker 1: monsters are things that are not fully seen but partially 988 00:54:59,560 --> 00:55:03,760 Speaker 1: seen in the mist, in the dark, in the wild, etcetera. 989 00:55:03,920 --> 00:55:06,480 Speaker 1: Now there's a scene shortly after this that I think 990 00:55:06,560 --> 00:55:09,120 Speaker 1: this is more indication of that there's something going wrong 991 00:55:09,160 --> 00:55:13,880 Speaker 1: with Sandra D's volition. Um that, because there there's a 992 00:55:13,920 --> 00:55:19,080 Speaker 1: scene where Wilbur and Grandpa start arguing about whether Wilbur 993 00:55:19,239 --> 00:55:22,720 Speaker 1: is going to be successful in using Nancy to open 994 00:55:22,760 --> 00:55:24,719 Speaker 1: the gate and allow the old ones in. And I 995 00:55:24,719 --> 00:55:26,680 Speaker 1: think she's just like right there, she's like in the 996 00:55:26,760 --> 00:55:31,200 Speaker 1: room with them, right Yeah. And Grandpa, I guess Grandpa 997 00:55:31,239 --> 00:55:33,920 Speaker 1: has been turned against this, this ritual. He used to 998 00:55:33,960 --> 00:55:36,560 Speaker 1: be for it, now he's against it. And uh and 999 00:55:36,600 --> 00:55:39,279 Speaker 1: he swings his staff at Wilbur and misses, and then 1000 00:55:39,280 --> 00:55:42,839 Speaker 1: falls down the stairs to his death. Uh. And and 1001 00:55:43,080 --> 00:55:44,960 Speaker 1: there there was a great moment here though, where there's 1002 00:55:45,040 --> 00:55:48,160 Speaker 1: these creepy sound effects, these birds in the background, and 1003 00:55:48,320 --> 00:55:51,440 Speaker 1: Sandra D asks those birds, what does it mean? And 1004 00:55:51,480 --> 00:55:53,880 Speaker 1: Wilburg explains, well, they were trying to capture his soul 1005 00:55:53,920 --> 00:55:56,759 Speaker 1: as it left his body. Yeah, it's so weird. It's 1006 00:55:56,800 --> 00:56:00,200 Speaker 1: such an interesting addition. I love it. But then, uh, 1007 00:56:00,200 --> 00:56:03,920 Speaker 1: I love At the funeral for Grandpa Weightley, here there 1008 00:56:04,000 --> 00:56:06,520 Speaker 1: was it must not be this. But for some reason 1009 00:56:06,880 --> 00:56:10,719 Speaker 1: when I so, townsfolk arrived to bust up the ceremony, 1010 00:56:10,800 --> 00:56:13,040 Speaker 1: and it looked to me like it was implying that 1011 00:56:13,080 --> 00:56:16,359 Speaker 1: about thirty people got out of one pickup truck. Yeah, 1012 00:56:16,400 --> 00:56:19,640 Speaker 1: there's just suddenly a mob of townfolk here to uh 1013 00:56:20,320 --> 00:56:23,759 Speaker 1: to object to them carrying out a burial. Yeah, so 1014 00:56:23,920 --> 00:56:26,800 Speaker 1: they're they're like, this is a Christian cemetery. We dispose 1015 00:56:26,840 --> 00:56:29,160 Speaker 1: of our trash at the town dump. But then I 1016 00:56:29,200 --> 00:56:31,480 Speaker 1: think eventually the police come in and they're like, okay, okay, 1017 00:56:31,520 --> 00:56:34,600 Speaker 1: break it up. Yeah, I mean, we can't possibly be 1018 00:56:34,719 --> 00:56:38,239 Speaker 1: supposed to to feel anything but disdain for these townfolks, right, 1019 00:56:38,280 --> 00:56:41,799 Speaker 1: I mean, they this is bad. Like even if you 1020 00:56:41,800 --> 00:56:43,600 Speaker 1: know wilbur is the villain of the piece, he's just 1021 00:56:43,600 --> 00:56:46,320 Speaker 1: trying to bury his dad in the cemetery. Well and 1022 00:56:46,680 --> 00:56:50,040 Speaker 1: someone elder gods that will destroy the world. Well yeah, 1023 00:56:50,120 --> 00:56:52,399 Speaker 1: well he's doing that too, But this is a side thing, 1024 00:56:52,480 --> 00:56:56,120 Speaker 1: you know, like like come on, come on, guys, leave 1025 00:56:56,160 --> 00:56:59,200 Speaker 1: this man alone. So Wilburt, you know, he still needs 1026 00:56:59,200 --> 00:57:02,080 Speaker 1: that necronomical and he's like, you know, the professor wouldn't 1027 00:57:02,120 --> 00:57:04,560 Speaker 1: let me borrow the book for five minutes, so so 1028 00:57:04,600 --> 00:57:06,280 Speaker 1: I guess I'm gonna have to go to the university 1029 00:57:06,320 --> 00:57:08,720 Speaker 1: library and steal it. And then there's a whole sequence 1030 00:57:08,760 --> 00:57:10,680 Speaker 1: where he does that. He breaks in he tries to 1031 00:57:10,680 --> 00:57:13,200 Speaker 1: get the book, he gets into a fist fight with 1032 00:57:13,320 --> 00:57:17,720 Speaker 1: a security guard, and so they have a fist fight, 1033 00:57:17,760 --> 00:57:20,240 Speaker 1: and then the funny part is the guard wins, uh 1034 00:57:20,360 --> 00:57:23,480 Speaker 1: kind of surprisingly, like he knocks while we're unconscious apparently. 1035 00:57:23,560 --> 00:57:25,200 Speaker 1: Then he goes to the phone, I think, to dial 1036 00:57:25,280 --> 00:57:28,520 Speaker 1: the police. But then Wilburg just picks up this big 1037 00:57:28,560 --> 00:57:31,440 Speaker 1: weapon it's like a halberd that is on display in 1038 00:57:31,440 --> 00:57:34,439 Speaker 1: the library and stabs the guard and the guts with it. Yeah, 1039 00:57:34,560 --> 00:57:37,160 Speaker 1: it's it's a nice ending to a fight scene that, yeah, 1040 00:57:37,200 --> 00:57:40,680 Speaker 1: has his unexpected twist, but it's also very like Old 1041 00:57:40,680 --> 00:57:43,240 Speaker 1: West style fighting, you know, like people getting punched and 1042 00:57:43,240 --> 00:57:46,640 Speaker 1: falling through tables and such. Um. So it's a it's 1043 00:57:46,640 --> 00:57:48,880 Speaker 1: a fun sequence and it's it's also I think a 1044 00:57:49,000 --> 00:57:52,000 Speaker 1: nice um twist on what happens in the story. And 1045 00:57:52,080 --> 00:57:56,440 Speaker 1: the original short story, if I remember correctly, Wilburg breaks 1046 00:57:56,480 --> 00:57:58,560 Speaker 1: into the museum to try and steal the book and 1047 00:57:58,600 --> 00:58:02,280 Speaker 1: guard dogs kill him. Uh you know, so yeah, so, 1048 00:58:02,880 --> 00:58:04,800 Speaker 1: which is clear. I mean, I guess you know, you 1049 00:58:04,800 --> 00:58:06,920 Speaker 1: can argue whether that worked in the original story, but 1050 00:58:07,320 --> 00:58:09,680 Speaker 1: it would not have worked in this story. We need 1051 00:58:09,720 --> 00:58:13,040 Speaker 1: Wilburg to be there at the finale, we don't need 1052 00:58:13,120 --> 00:58:15,840 Speaker 1: him to be uh done in by a German shepherd, 1053 00:58:16,160 --> 00:58:18,720 Speaker 1: And it adds this additional twist. He's not only willing 1054 00:58:18,760 --> 00:58:21,240 Speaker 1: to break the laws of nature and and all to 1055 00:58:21,280 --> 00:58:24,400 Speaker 1: bring about this resurgence of the old ones, he's also 1056 00:58:24,440 --> 00:58:27,240 Speaker 1: willing to kill for it, right right, yes, um, but 1057 00:58:27,320 --> 00:58:29,240 Speaker 1: even then it was in self defense. Towards the end, 1058 00:58:29,920 --> 00:58:32,280 Speaker 1: it's it's still they managed to walk this line where 1059 00:58:32,320 --> 00:58:34,440 Speaker 1: it's not like he kills the cop in cold blood. 1060 00:58:35,040 --> 00:58:37,240 Speaker 1: He grabs the spear and then the cop rushes him 1061 00:58:37,240 --> 00:58:38,960 Speaker 1: and he like pulls it up in time to impale 1062 00:58:39,480 --> 00:58:42,280 Speaker 1: the security guy. Yeah. So there are several scenes in 1063 00:58:42,280 --> 00:58:44,600 Speaker 1: this movie where I think wilbur is presented as having 1064 00:58:44,960 --> 00:58:50,360 Speaker 1: a kind of dangerous uh nitchean beyond good and evil outlook. 1065 00:58:50,600 --> 00:58:54,400 Speaker 1: You know that he he believes that moral concerns are 1066 00:58:54,600 --> 00:58:58,560 Speaker 1: just sort of like uh petty folly. Uh Like there's 1067 00:58:58,560 --> 00:59:01,080 Speaker 1: a part where Grandpa's try to convince him, like, you 1068 00:59:01,120 --> 00:59:03,800 Speaker 1: can't do this, you know, you shouldn't do this, and 1069 00:59:03,840 --> 00:59:06,880 Speaker 1: then he says, I do what I want. Yeah, so 1070 00:59:06,920 --> 00:59:10,160 Speaker 1: I think Wilburt maybe he rejects the idea of an 1071 00:59:10,240 --> 00:59:12,520 Speaker 1: aught or a should you know, there there there is 1072 00:59:12,560 --> 00:59:14,360 Speaker 1: nothing I should or ought to do. There is what 1073 00:59:14,480 --> 00:59:17,880 Speaker 1: I will. Yeah, So at this point he's killed, he's 1074 00:59:17,920 --> 00:59:21,160 Speaker 1: crossed that line. But he also has the necronomicon, right, 1075 00:59:21,200 --> 00:59:23,240 Speaker 1: and so this sets up the third act of the movie, 1076 00:59:23,320 --> 00:59:27,800 Speaker 1: which is gonna be some twin monster rampage and as 1077 00:59:27,840 --> 00:59:31,440 Speaker 1: and uh and a very slow moving ritual. So the 1078 00:59:31,440 --> 00:59:34,680 Speaker 1: final showdown is wilbur Is setting up uh to to 1079 00:59:34,760 --> 00:59:36,880 Speaker 1: do this ritual to open the gate to allow the 1080 00:59:36,920 --> 00:59:39,280 Speaker 1: old gods in, or the old ones, and they're gonna 1081 00:59:39,320 --> 00:59:42,200 Speaker 1: come and destroy the world. Uh. This is probably gonna 1082 00:59:42,240 --> 00:59:45,720 Speaker 1: involve human sacrifice of Sandra d on the on the altar. 1083 00:59:46,200 --> 00:59:48,920 Speaker 1: And then meanwhile, his brother, oh he he says at 1084 00:59:48,960 --> 00:59:51,080 Speaker 1: the beginning of the ritual, he's he's saying the name 1085 00:59:51,080 --> 00:59:53,880 Speaker 1: of these gods. He's saying like yag so thought, and 1086 00:59:54,160 --> 00:59:56,440 Speaker 1: he's got the necronomicon, and he says, I summon you, 1087 00:59:56,520 --> 01:00:00,320 Speaker 1: brother of darkness, I summon you. And his brother is 1088 01:00:00,880 --> 01:00:03,840 Speaker 1: his twin brother is apparently this thing upstairs in the 1089 01:00:03,880 --> 01:00:07,040 Speaker 1: house that keeps rattling on the door and it bursts 1090 01:00:07,080 --> 01:00:09,480 Speaker 1: forth from its confinement, and that goes out to roam 1091 01:00:09,520 --> 01:00:12,040 Speaker 1: around the town and get into all kinds of mischief, 1092 01:00:14,120 --> 01:00:19,400 Speaker 1: good natured mischief, some unspeakable, deadly mischief, the geometry of 1093 01:00:19,440 --> 01:00:23,360 Speaker 1: which is impossible to describe. Now, I will say, in 1094 01:00:23,480 --> 01:00:27,440 Speaker 1: some of these scenes where the monster is roaming around again, 1095 01:00:27,560 --> 01:00:31,000 Speaker 1: we're not really seeing it. We're seeing more from its 1096 01:00:31,040 --> 01:00:34,240 Speaker 1: point of view, and then getting a kind of audio texture, 1097 01:00:34,320 --> 01:00:38,080 Speaker 1: that heartbeat sound that that allows that helps us know 1098 01:00:38,160 --> 01:00:41,080 Speaker 1: that something very dangerous is going on. And then we're 1099 01:00:41,080 --> 01:00:44,640 Speaker 1: getting these suggestive flashes of imagery that aren't I think 1100 01:00:44,640 --> 01:00:48,960 Speaker 1: are not to be understood as pictures of the monster itself. 1101 01:00:49,000 --> 01:00:51,720 Speaker 1: But in a way, the monster itself kind of can't 1102 01:00:51,800 --> 01:00:54,920 Speaker 1: be seen or can't be comprehended with human eyes, so 1103 01:00:55,040 --> 01:01:00,960 Speaker 1: it's just this presence that suggests other images. Uh and uh. 1104 01:01:01,000 --> 01:01:03,560 Speaker 1: And at times they do this with like it's like 1105 01:01:03,600 --> 01:01:06,919 Speaker 1: the weather, it's like rain or wind moving in it's 1106 01:01:07,320 --> 01:01:10,919 Speaker 1: it's it's I thought, really effectively done. Oh yeah, there's 1107 01:01:10,920 --> 01:01:14,080 Speaker 1: a really nice shot of like visions of wind blowing 1108 01:01:14,160 --> 01:01:17,800 Speaker 1: dust over a winding road or wind blowing over the 1109 01:01:17,800 --> 01:01:21,720 Speaker 1: surface of a pond. Yeah, but of course it's going 1110 01:01:21,760 --> 01:01:23,760 Speaker 1: to attack a bunch of the town's folks, so we get, 1111 01:01:23,840 --> 01:01:25,720 Speaker 1: you know, scenes of that. There's like a nearby house 1112 01:01:26,200 --> 01:01:29,000 Speaker 1: that has these people. They're they're about to have dinner. 1113 01:01:29,040 --> 01:01:31,360 Speaker 1: I think they're saying. They're saying a blessing over some 1114 01:01:31,440 --> 01:01:34,360 Speaker 1: kind of wretched ham. It's some of the same town's 1115 01:01:34,400 --> 01:01:37,960 Speaker 1: folk who busted up the funeral earlier, and they hear 1116 01:01:37,960 --> 01:01:41,240 Speaker 1: these weird sounds. The house is kind of shaking. The 1117 01:01:41,240 --> 01:01:43,520 Speaker 1: man grabs his rifle and he goes out to investigate, 1118 01:01:43,520 --> 01:01:45,520 Speaker 1: and he shoots at something he sees in the barn, 1119 01:01:46,120 --> 01:01:49,200 Speaker 1: and then it attacks the house and everything is shaking, 1120 01:01:49,320 --> 01:01:52,720 Speaker 1: and we're to understand it doesn't go well. And then 1121 01:01:52,760 --> 01:01:55,960 Speaker 1: this is confirmed when Professor Armitage and doctor the doctor 1122 01:01:56,000 --> 01:01:58,200 Speaker 1: from the town from earlier, Dr Corey, they show up 1123 01:01:58,200 --> 01:02:00,840 Speaker 1: at the house where the town's folk of gathered. Uh. 1124 01:02:00,880 --> 01:02:03,160 Speaker 1: They see the remains of this family and they're like, 1125 01:02:03,160 --> 01:02:05,640 Speaker 1: oh no, we got to form another angry mob because 1126 01:02:06,280 --> 01:02:09,440 Speaker 1: they correctly assume that the Weightleys are responsible, or at 1127 01:02:09,480 --> 01:02:12,800 Speaker 1: least that Wilbur is Wilbur and his monstrous twin brother, 1128 01:02:13,440 --> 01:02:17,080 Speaker 1: and they want to go get revenge. And Armatage is like, 1129 01:02:17,080 --> 01:02:19,840 Speaker 1: Wilbur Weightley might be the only person who can stop 1130 01:02:19,880 --> 01:02:22,760 Speaker 1: the creature that did this, So he's trying to talk 1131 01:02:22,800 --> 01:02:24,560 Speaker 1: sense into them. You know, He's like, hold on, we 1132 01:02:24,560 --> 01:02:27,280 Speaker 1: need to figure out what's going on. But the shapeless 1133 01:02:27,320 --> 01:02:31,120 Speaker 1: being it attacks Talia Shire while she's driving a car. Uh, 1134 01:02:31,160 --> 01:02:35,560 Speaker 1: it attacks a posse who's hunting for it in the woods. Uh. 1135 01:02:35,600 --> 01:02:39,080 Speaker 1: And so they're they're they're these repeated scenes where people 1136 01:02:39,080 --> 01:02:42,360 Speaker 1: are sort of felled by psychedelic visual effects. And and 1137 01:02:42,400 --> 01:02:45,200 Speaker 1: again I think it works pretty well. Yeah, yeah, and 1138 01:02:45,200 --> 01:02:48,440 Speaker 1: again for a film that that can't or won't show, 1139 01:02:48,840 --> 01:02:51,400 Speaker 1: you know, an actual monster like this works really well. 1140 01:02:51,600 --> 01:02:55,200 Speaker 1: I think. I think ultimately, I feel like Lovecraft Officionadoes 1141 01:02:55,200 --> 01:02:57,240 Speaker 1: are probably too hard on this film because, like they're 1142 01:02:57,480 --> 01:02:59,720 Speaker 1: they're kind of pulling it off. They're they're pulling off 1143 01:02:59,720 --> 01:03:04,000 Speaker 1: this this unseeable, unknowable horror that uh, you know makes 1144 01:03:04,000 --> 01:03:06,160 Speaker 1: you crazy if it touches you sort of thing. Now, 1145 01:03:06,160 --> 01:03:09,080 Speaker 1: of course, this all comes down to a wizard battle. 1146 01:03:09,160 --> 01:03:11,080 Speaker 1: You got you gotta have a wizard battle to settle 1147 01:03:11,120 --> 01:03:13,920 Speaker 1: this problem. Armitage shows up at the side of the 1148 01:03:14,000 --> 01:03:15,880 Speaker 1: Devil's hop yard where they're they're going to do the 1149 01:03:15,920 --> 01:03:20,800 Speaker 1: human sacrifice, and Wilbur's there, and so Armitage and Wilbur 1150 01:03:20,920 --> 01:03:24,720 Speaker 1: start essentially yelling spells at each other. I think that 1151 01:03:24,840 --> 01:03:27,640 Speaker 1: they're just like calling out love crafty and phrases at 1152 01:03:27,640 --> 01:03:30,520 Speaker 1: one another. Yeah, and it's it's I love it. It's 1153 01:03:30,560 --> 01:03:34,040 Speaker 1: super weird, especially since there are no real added effects 1154 01:03:34,080 --> 01:03:35,560 Speaker 1: like it. It's the kind of thing where if you 1155 01:03:35,560 --> 01:03:37,680 Speaker 1: saw actors doing this today, you would think, oh, well, 1156 01:03:37,720 --> 01:03:39,680 Speaker 1: this is before they added there like the lightning and 1157 01:03:39,760 --> 01:03:41,840 Speaker 1: lights and laser shooting off of them every time they 1158 01:03:41,880 --> 01:03:44,840 Speaker 1: say something. But none of that was added, and they 1159 01:03:44,880 --> 01:03:48,440 Speaker 1: really didn't have to because both actors are doing such 1160 01:03:48,480 --> 01:03:50,840 Speaker 1: a good way of of saying I don't know, of 1161 01:03:50,840 --> 01:03:52,920 Speaker 1: of of saying the magic words. I don't know, like 1162 01:03:53,000 --> 01:03:56,600 Speaker 1: just their intensity as there, uh, they're belting out these lines. 1163 01:03:56,720 --> 01:03:58,760 Speaker 1: It works really well, and you totally buy into the 1164 01:03:58,760 --> 01:04:03,040 Speaker 1: fact that, yeah, they're they're they're they're blasting out spells here. Yeah. 1165 01:04:03,120 --> 01:04:06,280 Speaker 1: I think I think you're quite right that it especially 1166 01:04:06,320 --> 01:04:08,960 Speaker 1: has something to do with the audio mixing of this 1167 01:04:09,000 --> 01:04:11,720 Speaker 1: scene that makes it more unsettling than you would think 1168 01:04:11,720 --> 01:04:16,040 Speaker 1: a wizard battle should be. But ultimately Ourmtage wins the 1169 01:04:16,040 --> 01:04:18,480 Speaker 1: wizard battle. He's yelling out these phrases. I guess he 1170 01:04:18,560 --> 01:04:22,880 Speaker 1: must know from having studied the Necronomicon and Dean Stockwell, uh, 1171 01:04:23,080 --> 01:04:25,680 Speaker 1: he gets sort of like he gets I don't know 1172 01:04:25,760 --> 01:04:28,320 Speaker 1: something about these phrases getting his head, and he clearly 1173 01:04:28,360 --> 01:04:31,760 Speaker 1: gets like foggy and confused and frustrated. And then he 1174 01:04:31,760 --> 01:04:34,280 Speaker 1: gets struck by lightning and catches on fire and it 1175 01:04:34,320 --> 01:04:37,480 Speaker 1: falls off a cliff from Yeah, and at the very 1176 01:04:37,640 --> 01:04:42,120 Speaker 1: last we do get a vision of this unspeakable evil, 1177 01:04:42,200 --> 01:04:45,520 Speaker 1: the Wilbur's brother. And this is the one moment where 1178 01:04:45,560 --> 01:04:48,640 Speaker 1: when we get this this flash of its actual form, 1179 01:04:48,680 --> 01:04:50,880 Speaker 1: I think it looks like a beholder, doesn't it, or 1180 01:04:51,040 --> 01:04:54,560 Speaker 1: at least it looks like illustrations I've seen of beholders. Yeah, 1181 01:04:54,600 --> 01:04:57,640 Speaker 1: I mean we don't. It's even it's still in the 1182 01:04:57,680 --> 01:05:00,080 Speaker 1: big reveal. We don't see it all that clearly. So 1183 01:05:00,120 --> 01:05:02,280 Speaker 1: there is the essence of a beholder. There's a sense 1184 01:05:02,320 --> 01:05:06,480 Speaker 1: of a gorgon's head, but also it's just like color 1185 01:05:06,560 --> 01:05:09,840 Speaker 1: and madness. And so then after after all the violence 1186 01:05:09,920 --> 01:05:12,800 Speaker 1: is done, things are coming back down and and the 1187 01:05:13,120 --> 01:05:16,919 Speaker 1: final thoughts are well, Armitage says, looks like Wilbur's twin 1188 01:05:17,000 --> 01:05:20,280 Speaker 1: took after the father, So like you were saying earlier, 1189 01:05:20,280 --> 01:05:23,280 Speaker 1: you know, he has his father's eyes. Um. But then 1190 01:05:23,320 --> 01:05:26,480 Speaker 1: also we see Sandrada is okay, but it is suggested 1191 01:05:26,520 --> 01:05:28,960 Speaker 1: she may in fact be carrying the child of an 1192 01:05:29,040 --> 01:05:32,400 Speaker 1: interdimensional demon god. Now, yeah, that's right, because we we 1193 01:05:32,520 --> 01:05:35,080 Speaker 1: have that pause and then the creepy music, the heartbeat 1194 01:05:35,120 --> 01:05:38,320 Speaker 1: stuff comes in and we have like put an animation 1195 01:05:38,360 --> 01:05:42,160 Speaker 1: of a fetus that's visible there, um, which which I 1196 01:05:42,480 --> 01:05:44,680 Speaker 1: quite like because it implies like the next level of 1197 01:05:44,720 --> 01:05:48,560 Speaker 1: this curse is the generation of those born in the 1198 01:05:48,640 --> 01:05:51,720 Speaker 1: nineteen seventies, which, being a child of the nineteen seventies, 1199 01:05:51,720 --> 01:05:53,200 Speaker 1: I like this because I'm watching the screen and like, 1200 01:05:53,240 --> 01:05:56,920 Speaker 1: that's me. I'm the baby. This this is my generation 1201 01:05:56,960 --> 01:06:01,080 Speaker 1: that they're they're referring to. So in a way like, um, 1202 01:06:01,120 --> 01:06:03,680 Speaker 1: you know people my age, and you know and and 1203 01:06:03,920 --> 01:06:06,840 Speaker 1: and younger. Um, like we are the sequel to the 1204 01:06:06,920 --> 01:06:10,160 Speaker 1: dun which are the generational curse of the old ones, 1205 01:06:10,240 --> 01:06:12,240 Speaker 1: is that you will give less of a crap than 1206 01:06:12,280 --> 01:06:17,360 Speaker 1: any generation ever before. Uh. But it is right, It's 1207 01:06:17,360 --> 01:06:19,200 Speaker 1: it's a it's ahen ominous ending. I thought it's a good, 1208 01:06:19,240 --> 01:06:21,360 Speaker 1: good place to land it. There's there again. They're also 1209 01:06:21,400 --> 01:06:24,920 Speaker 1: all these shots of just waves crashing on them on 1210 01:06:24,960 --> 01:06:27,600 Speaker 1: the coast. It's uh, it ends in a in a 1211 01:06:27,720 --> 01:06:30,600 Speaker 1: nice spot all right. So there you have at the 1212 01:06:30,680 --> 01:06:33,680 Speaker 1: Dunwich Horror, which which I quite enjoyed. I found this 1213 01:06:33,720 --> 01:06:36,880 Speaker 1: a very very very fun film to watch. Um you 1214 01:06:36,960 --> 01:06:39,040 Speaker 1: might be wondering, will where can I watch the Dunwich 1215 01:06:39,040 --> 01:06:41,080 Speaker 1: haror Well, you can buy or rent this movie most 1216 01:06:41,120 --> 01:06:44,480 Speaker 1: places you get your films these days. Um uh. You 1217 01:06:44,040 --> 01:06:47,360 Speaker 1: can stream it, um you know, on all the major platforms. 1218 01:06:47,520 --> 01:06:50,000 Speaker 1: You can also pick it up on DVD. Is Sadly, 1219 01:06:50,440 --> 01:06:53,160 Speaker 1: there doesn't seem to be an awesome vinyl rerelease of 1220 01:06:53,200 --> 01:06:55,160 Speaker 1: the score, like I said earlier, but I really hope 1221 01:06:55,160 --> 01:06:58,720 Speaker 1: someone does that, maybe something like nice purple vinyl or something, 1222 01:06:58,880 --> 01:07:01,200 Speaker 1: or I mean really there are number of wonderful colors 1223 01:07:01,280 --> 01:07:03,120 Speaker 1: used in the film, so you could swirl them all 1224 01:07:03,120 --> 01:07:05,840 Speaker 1: together in there. Oh yeah, I can see that, you know, 1225 01:07:05,880 --> 01:07:07,880 Speaker 1: if they put out one of those big collectors editions 1226 01:07:07,880 --> 01:07:10,440 Speaker 1: of this that that comes along with merch. In addition, 1227 01:07:10,560 --> 01:07:13,520 Speaker 1: it should come with a roll of wallpaper so you 1228 01:07:13,520 --> 01:07:17,280 Speaker 1: can put up the weightly house wallpaper in your house. Yeah, 1229 01:07:17,320 --> 01:07:19,640 Speaker 1: as you can. You can done which your your own home. 1230 01:07:20,160 --> 01:07:24,760 Speaker 1: I like it. Yeah, it's a very stylish movie, very stylish, 1231 01:07:24,880 --> 01:07:29,000 Speaker 1: very nineteen seventies, so I highly recommend it if This 1232 01:07:29,080 --> 01:07:32,160 Speaker 1: is your sort of film, all right. If you want 1233 01:07:32,160 --> 01:07:35,040 Speaker 1: to check out other episodes of Weird House Cinema, this 1234 01:07:35,120 --> 01:07:37,000 Speaker 1: comes out every Friday and the Stuff to Blow Your 1235 01:07:37,040 --> 01:07:40,200 Speaker 1: Mind podcast feed were primarily a science and culture podcast, 1236 01:07:40,240 --> 01:07:43,160 Speaker 1: with core episodes on Tuesdays and Thursdays, with artifact episodes 1237 01:07:43,200 --> 01:07:46,440 Speaker 1: on Wednesdays and listener mail on Monday's. But Friday, that's 1238 01:07:46,440 --> 01:07:48,960 Speaker 1: our time to cut loose and discuss a weird picture 1239 01:07:49,040 --> 01:07:51,960 Speaker 1: like this one. Huge thanks as always to our excellent 1240 01:07:52,000 --> 01:07:55,280 Speaker 1: audio producer Seth Nicholas Johnson. If you would like to 1241 01:07:55,280 --> 01:07:57,600 Speaker 1: get in touch with us with feedback on this episode 1242 01:07:57,680 --> 01:07:59,640 Speaker 1: or any other, to suggest a topic for the future, 1243 01:07:59,800 --> 01:08:02,400 Speaker 1: just to say hello, you can email us at contact 1244 01:08:02,440 --> 01:08:11,960 Speaker 1: at stuff to Blow your Mind dot com. Stuff to 1245 01:08:11,960 --> 01:08:14,480 Speaker 1: Blow Your Mind is production of I Heart Radio. For 1246 01:08:14,560 --> 01:08:16,760 Speaker 1: more podcasts for my Heart Radio, visit the i heart 1247 01:08:16,840 --> 01:08:19,559 Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your 1248 01:08:19,600 --> 01:08:20,280 Speaker 1: favorite shows.