Speaker 1: Welcome to Stuff to Blow Your Mind production of My
Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is
Speaker 1: Rob Lamb and I'm Joe McCormick. And this week we
Speaker 1: have I think we have a pretty fun film for everybody.
Speaker 1: We're gonna be talking about the nineteen seventy necronomicon film
Speaker 1: The Dunwich Horror, starting the late Great Dean Stockwell, does
Speaker 1: a beholder make an appearance in this movie? I want
Speaker 1: to know from somebody who has more D and D
Speaker 1: experience than um. Yeah, Well, the depiction of the monster
Speaker 1: in this film is very interesting. For the most part
Speaker 1: is very minimal, but we do see a weird splash
Speaker 1: of some sort of beholder esque um, you know, almost
Speaker 1: kind of Medusa esque gorgon had creature towards the end,
Speaker 1: but you don't really get a great look at it.
Speaker 1: Sort of a flying ball of meat with with like
Speaker 1: eyeball stalks and tentacles writhing. Is the color saturation flashes. Now,
Speaker 1: there's a thing that's featured on the poster for this film,
Speaker 1: and it's pretty cool poster. Um. You'll see different versions
Speaker 1: of it where there's this kind of like um be
Speaker 1: steal Dean Stockwell head with a bunch of of snakes
Speaker 1: and serpents and leeches and stuff kind of like writhing
Speaker 1: on the head. This is not exactly what you see
Speaker 1: in the film. This is just kind of poster art
Speaker 1: I think inspired by it. True though, I do like
Speaker 1: the diversity of the different kinds of heads on the
Speaker 1: snake things coming out of this beast. So you've got
Speaker 1: like a cow skull looking thing with horns, but then
Speaker 1: you've got a leech mouth and then, uh is the
Speaker 1: one thing that just kind of looks like a raccoon.
Speaker 1: It's not like a monstrous Yeah, it does kind of
Speaker 1: look a raccoon. Yeah, all sorts of stuff going on there.
Speaker 1: It's chaos. It's chaos in that creature. Um. But this
Speaker 1: is the film has been been on my list for
Speaker 1: a while, but I think a couple of things kind
Speaker 1: of propelled it to the forefront for us to record
Speaker 1: this month. First of all, I'm growing a mustache for
Speaker 1: the Movember effort. You've probably heard our ads about that
Speaker 1: and you know mentioning, uh you know where they can
Speaker 1: go to learn more. Uh. So I wanted to watch
Speaker 1: some films with solid mustaches in them, and Dean Stockwell's
Speaker 1: mustache in this film was essential from me because unlike
Speaker 1: the excellent mustaches of someone like Vincent Price or Oliver Read,
Speaker 1: this one looks like the sort of mustache that I
Speaker 1: could conceivably grow, an uncanny mustache, a mustache that at
Speaker 1: once checks out checks off all the boxes for being
Speaker 1: a cool mustache, but also looks somewhat uncomfortable. I don't know,
Speaker 1: maybe it's just me. Well, that's the that's the essence
Speaker 1: of Dean Stockwell's character in this movie. Because well, of course,
Speaker 1: this is based on a novella originally by HP Lovecraft.
Speaker 1: One way I think the movie is is very different
Speaker 1: than the source material is the movie has more suaveness
Speaker 1: in it. Dean Stockwell plays a guy who is ultimately
Speaker 1: an occult creep who whose affinities lie in other dimensions.
Speaker 1: But at the same time that there's some scenes where
Speaker 1: he's kind of he's kind of smooth, he's he's kind
Speaker 1: of got a little bit of charm. Yeah, it kind
Speaker 1: of feels like a love story at times. It doesn't
Speaker 1: stay that way very long, but there are a few
Speaker 1: moments in here where you're like, oh, this is kind
Speaker 1: of a you know, a slightly horror themed love story. Now,
Speaker 1: the other thing that really propelled this to the forefront
Speaker 1: for us is that, of course, on November seven, Dean
Speaker 1: Stockwell passed away, the star of this film where one
Speaker 1: of the stars of this film. So I thought, well,
Speaker 1: that settles it. You know, we need we probably need
Speaker 1: to cover this one. And it is kind of a
Speaker 1: tribute to Dean Stockwell, who ums as well discussing a bet.
Speaker 1: You know, it's been in tons of stuff over the years,
Speaker 1: and there's some very memorable roles mixed into that filmography. Now,
Speaker 1: as as you mentioned, this is a film that is
Speaker 1: based on an HP Lovecraft story, and uh, I think
Speaker 1: I think I long avoided watching this adaptation of The Dune,
Speaker 1: which horror, because I had always heard that Lovecraft afficionados
Speaker 1: did not like it. They didn't think he was true
Speaker 1: to his vision. But I think that time has shown
Speaker 1: us that, first of all, cosmic are doesn't always translate
Speaker 1: that well onto the screen anyway. And also the more
Speaker 1: we come to terms with what lovecraft vision really entailed, uh,
Speaker 1: in its entirety, I think deviation from from forms sounds
Speaker 1: increasingly okay. Yeah, Plus I saw that electric Wizards just
Speaker 1: Oborn loves this film, so I figured, well, something must
Speaker 1: be working in this adaptation for people not familiar that
Speaker 1: sort of a house favorite. Uh doom Metal Stoner doom
Speaker 1: metal band Um. But they yeah that they actually sampled
Speaker 1: this movie and at least one of their songs, right Yeah.
Speaker 1: And then there's another song that is just called dun
Speaker 1: which which it seems entirely inspired by this movie, has
Speaker 1: lyrics like child of Dune which rise you have your
Speaker 1: father's eyes and and it looks like somebody affiliated with
Speaker 1: the band UM actually cut together, you know, a music
Speaker 1: video for that track using footage exclusively from this movie.
Speaker 1: So there you go. I think it's fitting for the
Speaker 1: band because this movie has just they're they're right sort
Speaker 1: of bow months between cosmic menace and absolute cornball yeah. Um.
Speaker 1: And by the way, that that track, that music video,
Speaker 1: I'll include that on the blog post for this episode
Speaker 1: at Samuta music dot com. And by the way, for
Speaker 1: those of you that have written in and you've said, hey,
Speaker 1: where can I get a list of all the movies
Speaker 1: you've covered, of all the weird health episode so that
Speaker 1: you've done that is where you will find that. Uh.
Speaker 1: Samuta Music s E. M. U T A M U
Speaker 1: S I C dot com. So let's get into it. Uh,
Speaker 1: you know, what do we have in this film? We
Speaker 1: have a we have like a nineteen seventies hippie necronomicon
Speaker 1: story full of weird music Dean Stockwell. Uh and it's
Speaker 1: produced by Roger Corman. And see the Corman connection because
Speaker 1: it has a little bit of the same grit as
Speaker 1: those uh, those like Corman Edgar Allan Poe movies from
Speaker 1: around the same time. Yeah, and it also, as we'll
Speaker 1: point out, a number of the people involved in this
Speaker 1: went on to be in episodes of Night Gallery. I
Speaker 1: feel like this if you if you dig Night Gallery,
Speaker 1: you'll dig this film because it has that same texture,
Speaker 1: that same that same field, that same mouth feel that
Speaker 1: you get with Night Gallery. So how do you do
Speaker 1: an elevator pitch on on this movie? Would you say,
Speaker 1: like boy meets Girl, Boy wants to open an interdimensional
Speaker 1: riff to summon ancient demons that ruled the cosmos before humankind,
Speaker 1: meddling grandpas and Professor's interfere ye, generational conflict over over um,
Speaker 1: you know, elicit books of ancient knowledge. Well, what would
Speaker 1: happened if you rolled a Dubie with a page from
Speaker 1: the Necronomicon. Uh. These are all ideas that were bouncing
Speaker 1: around my head. Yeah. Well, we'll probably need to come
Speaker 1: back to this later on. But it's interesting the little
Speaker 1: ribbon of hippie culture and aesthetics running through the middle
Speaker 1: of this movie. I mean, it's not you know, it's
Speaker 1: not a Woodstock kind of movie except in little like moments,
Speaker 1: and those moments are the suggestions of the the the
Speaker 1: otherworldly evil. It's almost like a you might say it's
Speaker 1: more anti hippie than hippie because like the hippie imagery
Speaker 1: and it is the visions coming from the the unspeakable place. Yeah. Yeah,
Speaker 1: So it's gonna be very interesting to discuss those themes
Speaker 1: because it's not one of those films that I feel
Speaker 1: like purchase itself, you know, perfectly between cultures of this
Speaker 1: time period, where it can you know, fully be one
Speaker 1: thing to one side of the the culture war and
Speaker 1: then another two too, to the other side. But it
Speaker 1: does it does seem to sort of try be trying
Speaker 1: to have that ambiguity at times. Of course, then again
Speaker 1: it might just be sort of uh, I don't know,
Speaker 1: historical happenstance the same way you might imagine if if
Speaker 1: this movie was made in the visions from the Other
Speaker 1: the Other plane would involve sinister grunge people in flannel
Speaker 1: kind of flailing around in a in a Seattle alleyway. Yeah, exactly.
Speaker 1: All right, Well, let's go ahead and have have some
Speaker 1: of the trailer here. Nights are darker and night is
Speaker 1: when it happens in The Dunwich Horror, Come Back Old One,
Speaker 1: Princes of Darkness and Repossess the Earth. The Dunwich Horror
Speaker 1: based on HP Lovecraft's Terrifying Tale of Those Who Explore
Speaker 1: the Unspeakable, starring Sandra Dee, Dean Stockwell, Academy Award winner
Speaker 1: Ed Begley, Sam Jeffey. I've never heard anything like that.
Speaker 1: M all right, sounds pretty good. Sounds pretty good, yep. Alright, well,
Speaker 1: let's dive right into the people involved in bringing this
Speaker 1: to the screen. First of all, I should know that
Speaker 1: apparently this was originally going to be a Mario Bava film,
Speaker 1: but it sounds like American International Pictures switched things up,
Speaker 1: you know, sort of for your the sort of business
Speaker 1: reasons you might expect with the studio, Like I think
Speaker 1: one of Baba's previous films underperformed or didn't perform in
Speaker 1: the way they wanted it to, so it ended up
Speaker 1: getting shuffled around and we ended up with Daniel Holler
Speaker 1: directing it. Um, this is a guy who's born in
Speaker 1: ninety six, And weirdly enough, Hallard's directorial debut with the
Speaker 1: nineteen sixty five Lovecraft adaptation Die Monster Die, starring Boris Karloff. Oh, yes,
Speaker 1: that one based on the Color out of Space, I believe. So. Yeah,
Speaker 1: I have not seen this one either. I haven't either
Speaker 1: of it. You know, they just made a new Color
Speaker 1: out of Space movie within the past year or two
Speaker 1: and I actually never saw it yet. But it's got
Speaker 1: Nicholas Cage in it. Oh well, well, you know it's
Speaker 1: good then. Uh So Haller went on to from Die
Speaker 1: Monster Die, he went on to direct a pair of
Speaker 1: late sixties biker movies. He did Devil's Angels starring John
Speaker 1: Cassavetti's He did The Wild Racers. This starred Fabian and
Speaker 1: also featured um one of our favorites, Dick Miller in there.
Speaker 1: Of course, you know, this movie really missed out on
Speaker 1: having Dick Miller and it. Dick Miller would have been
Speaker 1: great as as one of the irate townspeople you know. Yeah, yeah,
Speaker 1: he has towns people written all over him. He could
Speaker 1: have been the guy at the gas station. That's a
Speaker 1: perfect Dick Miller role. Yeah, Or he could have been
Speaker 1: one of the guys at the store making fun of
Speaker 1: Grandpa when he was talking about bringing beings over from
Speaker 1: another dimension. Yeah, yeah, missed opportunity. Anyway. Haller went on
Speaker 1: to do mostly a lot of TV work. He directed
Speaker 1: the pilot for Buck Rogers in the twenty Century, which
Speaker 1: ended up being pushed out as a film, so technically
Speaker 1: there's a film credit for him. Uh. He was also
Speaker 1: production design or an art director on a bunch of
Speaker 1: old Roger Corman movies. All right, now, the writers on
Speaker 1: this um there there are a couple of writers that
Speaker 1: really didn't go on to do a whole lot else,
Speaker 1: Henry Rosenbaum and Ronald Solkovski. But Curtis Hansen was one
Speaker 1: of the writers. He lived sixteen and this was his
Speaker 1: first screenplay, but he went on to work on screenplays
Speaker 1: for White Dog, Never cry Wolf, and l A Confidential,
Speaker 1: which he also directed. Other directorial credits include The Hand
Speaker 1: That Rocks the Cradle, Wonder Boys and eight Mile. Now,
Speaker 1: I guess if you're trying to adapt a Lovecraft story
Speaker 1: for for the screen, there's always a choice you've got
Speaker 1: to make, which is sort of I would say, probably
Speaker 1: usually prized for its dreadful imagination, you know, very imaginative
Speaker 1: of of uh, strange and powerful imagery that that that
Speaker 1: makes you feel small and afraid. So it's good horror
Speaker 1: in that sense, but very often lax a human or
Speaker 1: humane element. And so do you just sort of try
Speaker 1: to do that in a movie and risk making an
Speaker 1: alienating film that nobody doesn't really have characters anybody can
Speaker 1: connect to, or do you try to adapt the story
Speaker 1: into something more human with more identifiable characters. Yeah, yeah,
Speaker 1: that is always that because yes, some generally these are
Speaker 1: stories that are very a sexual uh you know, they
Speaker 1: don't really have any any romance in them, and it's
Speaker 1: all about uh in a dread and cyclopean architecture and
Speaker 1: so forth. Uh So, yeah, what direction do you go
Speaker 1: in it? Do you own like an action direction which
Speaker 1: a number of people have gone or tried to go.
Speaker 1: I know that's what Gayama de Toro I think has
Speaker 1: what been wanting to do with at the Mountains of madness. Uh,
Speaker 1: do you go in kind of a a schlocky, sexy
Speaker 1: harror direction like you know, the the reanimator movies definitely
Speaker 1: went in that direction? Or do or do you find
Speaker 1: some other path? I would say the screenplay adaptation in
Speaker 1: this movie doesn't step fully into making it like a
Speaker 1: you know, like a rich, lovely world full of full
Speaker 1: of identifiable characters that are you know fully human, But
Speaker 1: it takes sort of a half step in that direction.
Speaker 1: It is less barren of humanity than than your standard
Speaker 1: Lovecraft story would be. Yeah. Now, Lovecraft lived eighteen ninety seven.
Speaker 1: Poul horror author and one of the major voices of
Speaker 1: the Weird Tales era, who became more influential and famous
Speaker 1: after his death. His work has left an undeniable mark
Speaker 1: on modern horror, but modern horror fans have had to
Speaker 1: contend with the racism in his letters of correspondence as
Speaker 1: well as in the fabric of many of his tales.
Speaker 1: In the stories themselves. It's one of those things that
Speaker 1: I feel like it's impossible not to see it once
Speaker 1: you've seen it, you know. And and even in the
Speaker 1: Dunwich Horror, which I did not reread for for the
Speaker 1: purposes of viewing this film. But but even in watching
Speaker 1: this film, there are elements that are about like people
Speaker 1: being despised because of their lineage um and it's it's
Speaker 1: just impossible to ignore, Like that's it's just baked into
Speaker 1: so many of his works totally. And I think that's
Speaker 1: one of the reasons I would agree with what you
Speaker 1: said earlier, like I'm not really troubled by lovecraft adaptations
Speaker 1: not being true to his vision. I mean, I think
Speaker 1: you can probably take a lot of what's like cool
Speaker 1: about the monstrous and imaginative qualities of some of his
Speaker 1: stories and do something else with them, maybe even something
Speaker 1: better with them. Yeah, and in this case, something grew here. Yeah,
Speaker 1: So let's talk about the groovy humans involved in acting
Speaker 1: in this film. Uh. The top build star is Sandra
Speaker 1: d who plays Nancy uh Wagner, who lived Night issue
Speaker 1: of nine through two thousand and five. A former child
Speaker 1: model and teen actor, D was a big deal in
Speaker 1: the late fifties through the late sixties, known for the
Speaker 1: title role in nineteen sixty two Gidget, among others uh
Speaker 1: and this film The Dunwich Harror was supposed to be
Speaker 1: part of a comeback for her. But it apparently didn't
Speaker 1: quite take off, and her work after this film was
Speaker 1: increasingly sporadic. But she did go on to appear on
Speaker 1: three episodes of Rod Serling's Night Gallery, which again feels
Speaker 1: appropriate considering the uh, you know, the tone of this
Speaker 1: film and the tone of Night Gallery. You know what,
Speaker 1: I thought Sandra d did really good in this movie.
Speaker 1: I thought her part was a little bit underwritten later
Speaker 1: in the film. But but she does a good job
Speaker 1: with it. Yeah, I mean, she's very charismatic on the screen.
Speaker 1: You you instantly buy into her, into her character, just
Speaker 1: based largely on on these performance Uh. But yeah, her
Speaker 1: her character increasingly feels less dynamic and and and more
Speaker 1: powerless and kind of like shuffle to the background of things. So, uh,
Speaker 1: that that being said, she does a good job with it.
Speaker 1: I was gonna say, actually, very much reminds me of
Speaker 1: the arc of the protagonist in uh in Lords of Salem,
Speaker 1: who My main problem with that movie is the that
Speaker 1: the protagonist for the second two thirds of the movie
Speaker 1: becomes mostly catatonic. Oh yeah, I think it was very
Speaker 1: much a comparison to be made between the character trajectories
Speaker 1: of both of these Uh. The these roles in both
Speaker 1: of these films. All right, well, let's let's talk about
Speaker 1: Dean Stockwell. Then Dean Stockwell plays Wilbur Lately here, so
Speaker 1: Dean stock will live ninety six through one and uh boy,
Speaker 1: he had a really long career. He started out as
Speaker 1: a child actor in ninety five and continued acting for
Speaker 1: the the next seventy years. His last screen credit was
Speaker 1: in two thousand fifteen, so some two four screen credits. Wow,
Speaker 1: So as you might imagine, there's a hold on, hold on, Sorry,
Speaker 1: I have to ask, is that counting each individual episode
Speaker 1: of Quantum Leap separately or just as one credit? Just
Speaker 1: as one credit? Yeah? Wow, Yeah, because yeah Quantum Leap.
Speaker 1: Of course, because since he did a fair amount of
Speaker 1: TV work, and so I think a lot of people
Speaker 1: when you think of Dean Stockwell, you probably think of
Speaker 1: his character Al, the hologram un Quantum Leap, Uh, the
Speaker 1: guy who appears to you and helps helps you figure
Speaker 1: out what you've got to do in this weird sci
Speaker 1: fi reincarnation of serial um situation in order to keep
Speaker 1: passing on through other people's lives. I was a big
Speaker 1: fan of Quantum of Leep. I remember we would it
Speaker 1: was like a show that that my family would watch.
Speaker 1: We would watch it together whenever it was on. So
Speaker 1: that's fond memories of that. I think that was another
Speaker 1: one that I sometimes saw at a hotel cable like vacation,
Speaker 1: because they really they did reruns of it on the
Speaker 1: Sci Fi channel, right, Oh did they? Okay? I think yeah,
Speaker 1: I think you're right. I think you're right. So Stockwell
Speaker 1: did a lot of Western's early on again, a lot
Speaker 1: of TV work. He did the hippie picture psych Out
Speaker 1: in nineteen sixty eight opposite Jack Nicholson. He was also
Speaker 1: in Dennis Hopper's The Last Movie in nineteen seventy one,
Speaker 1: so to a certain extent he seems to have been
Speaker 1: very much a part of that Nicholson Hopper dern fond
Speaker 1: a scene of the late sixties early seventies. In the
Speaker 1: mid eighties, he had this sudden film home um Resurgence,
Speaker 1: appearing in Vim Vender's Paris Texas four, as well as
Speaker 1: David Lynch's Dune in nineteen eighty four, in which he
Speaker 1: played dr You. Oh yeah, I forgot he was in Dune.
Speaker 1: Yeah yeah, he's got the mustache, he's got the mark
Speaker 1: on the forehead. Um, yeah, In nineteen eighty five, he
Speaker 1: was in William Fredkins to Live and Die in l A.
Speaker 1: Subsequent films include Blue Velvet, Beverly Hills Cop two. He
Speaker 1: also had a memorable role in the nineteen eighty eight
Speaker 1: Jonathan Demi comedy Married to the Mob, in which he
Speaker 1: played a mobster. I think something like Tony the Tiger
Speaker 1: or something. What's his name? But yeah on TV though,
Speaker 1: I think he's best remembered for al on Quantum Leap.
Speaker 1: He also later had a fun recurring role on the
Speaker 1: Battlestar Galactica reboot as a John cavill and he did
Speaker 1: an episode of Night Gallery. So a weird fact I
Speaker 1: came across while while reading about this movie. Dean Stockwell
Speaker 1: was in a second movie adaptation of the Dunwich Horror
Speaker 1: of the novella. This movie is based on It's one
Speaker 1: from two thousand eight that looks truly dreadful, but in
Speaker 1: this one he's like he switches roles. So in this
Speaker 1: movie he plays the guy who's trying to summon the demons,
Speaker 1: and in the two thousand and eight movie he plays
Speaker 1: the professor who has to battle that guy in the end.
Speaker 1: So it's basically a switch from like playing Macbeth to
Speaker 1: playing McDuff. And this adaptation is set in Louisiana, which
Speaker 1: what can you really separate the stony New England nous
Speaker 1: from this story that seems absolutely crucial to it. That
Speaker 1: seems like trying to set the shining in Louisiana. Well
Speaker 1: you say that, but then again, this film, um was
Speaker 1: the Dunwich Horror of the nineteen seventy was filmed in
Speaker 1: like coastal northern California. So no, that makes sense given
Speaker 1: it and it it works, but then again it works
Speaker 1: for this film, but yeah, it doesn't feel particularly like
Speaker 1: New England. Now, I will also mention that Dean was
Speaker 1: the son of actor Harry Stockwell, who, among other things,
Speaker 1: was the voice of the Prince in Disney snow White,
Speaker 1: the classic snow White animated film. And Dean's older brother,
Speaker 1: Guy was also an actor, appearing in such films as
Speaker 1: Santa Sangria and also nineteen sixty five The Warlord. He's
Speaker 1: played the villain in that opposite Charlton Heston. Now you
Speaker 1: mentioned the professor that that the battles wilbur H. This
Speaker 1: is Professor Armitage, doctor or Dr Henry Armitage, as as
Speaker 1: he's reference in the credits for for Dunwich Horror and
Speaker 1: in this film, this character is played by Ed Bagley Sr.
Speaker 1: Who lived nineteen oh one through nineteen seventy. So he's
Speaker 1: the hero of the picture. Philosophy professor at I believe
Speaker 1: from uh Miskatonic. Yeah, yeah, I don't know if it's
Speaker 1: if this is like the California branch of the college
Speaker 1: or if he's visiting. Uh, it's not really explored. Yeah,
Speaker 1: Miskatonic University, Riverside. Yeah. Uh so Ed Bagley Senior. As
Speaker 1: you may notice, this is of course Ed Bangley Junior's dad. Um.
Speaker 1: He was nearly seventy years old during this film, and
Speaker 1: it definitely shows he has very much the feel of
Speaker 1: of an older guy in this which, Um. I think
Speaker 1: it's rather rather fitting because we talked about sort of
Speaker 1: the themes of generational um tug of war in this picture.
Speaker 1: You know that it's about the old people telling the
Speaker 1: young people they shouldn't do things, and and ultimately it
Speaker 1: feels like it has this um uh, you know, it
Speaker 1: makes sense that that armitage would be this grandfatherly character
Speaker 1: who's trying to protect young Sandra d from the dangers
Speaker 1: posed by hippie sorcerers. Oh yeah, I can see that.
Speaker 1: And well, even though Ed Begley is supposed to be
Speaker 1: on the side of good at the end of this
Speaker 1: at the end of this movie, he plays so well
Speaker 1: into the cranky old man archetype. I mean, and I
Speaker 1: think he was often type cast that way. I'm not
Speaker 1: I haven't seen all of his movie, but like, for example,
Speaker 1: in Twelve Angry Men, he played is like the worst juror,
Speaker 1: you know, he's the one, he's like the racist one.
Speaker 1: He's he's the like nasty old guy who they eventually
Speaker 1: went over in the end, but like it becomes clear
Speaker 1: that he's just like a mean old crank, and he
Speaker 1: can play a mean old crank. He Um. Yeah. I
Speaker 1: don't know that I've really seen him and much um
Speaker 1: or at least don't remember him from much, but he
Speaker 1: was a major actor. He won an Academy Award for
Speaker 1: Best Supporting Actor for his performance in nineteen sixty two
Speaker 1: Sweet Bird of Youth. Um you already mentioned fifty seven
Speaker 1: Twelve Angry Men. He was also in The Unsinkable Molly
Speaker 1: Brown in nineteen sixty four, and he was nominated for
Speaker 1: an Emmy Award for Inherent the Wind? Oh who did
Speaker 1: he play and Inherent the Wind? Was he? Uh? Was
Speaker 1: he Darrow? Or um or play cave Man? I think
Speaker 1: it's been Oh okay, no, I just looked it up.
Speaker 1: He it's it was in not the original movie adaptation
Speaker 1: with Spencer Tracy, but another one they did for TV
Speaker 1: and Ed Begley plays plays Matthew Brady, who is the
Speaker 1: character based on William Nings Brian. Okay, so he's the
Speaker 1: do not teach evolution guy? Okay, Well that that that
Speaker 1: falls in line with with your your basic argument here
Speaker 1: though that he tended to play the the cranky antagonist.
Speaker 1: But yeah, something about it does work in this movie,
Speaker 1: like you're saying, because I think because the like the
Speaker 1: evil visions are inflected with this kind of like youth
Speaker 1: and and counterculture hippie strangeness, that in the end the
Speaker 1: day is saved by just like a like a grumpy
Speaker 1: old crank. Yeah, an old guy who's like, you get
Speaker 1: your hands off the necronomicon. That's that's not for young folks.
Speaker 1: That's for us old that's not for the common folk.
Speaker 1: That's for the professors like me. That's why we hide
Speaker 1: the necronomicon behind a paywall. I get to study it.
Speaker 1: You don't. But this is literally a conflict in the movie.
Speaker 1: Like early on, Dean Stockwell and Ed Begley have an
Speaker 1: argument about whether whether he can like look at the Necronomicon,
Speaker 1: and Ed Begley is just like, no, it's not for
Speaker 1: it's not for you to do, it's for me. It's
Speaker 1: from my stuff. Date. It's like, yeah, he's not of
Speaker 1: the mind like, no one should look at the Necronomicon,
Speaker 1: you know, no one, not one of those. Uh. He's like, oh,
Speaker 1: I should totally look at it. It's this is my thing. Well,
Speaker 1: we can discuss this when we get more into the plot,
Speaker 1: but I think the idea is Ed Begley believes Dean
Speaker 1: Stockwell's interests in it are not pure, which he's correct
Speaker 1: in actually true. Okay, So Wilbur Weightley's father is Old Weightley,
Speaker 1: and he's played by Sam Jaffee, who lived through four
Speaker 1: character actor known for roles in The Asphalt Jungle That
Speaker 1: Day the Earth stood still, bed knobs and bruined sticks
Speaker 1: and then her uh and you better know he appeared
Speaker 1: in an episode of the Night Gallery. Now you know
Speaker 1: one of the actors I was most surprised to see
Speaker 1: in this movie was that Talia Shire shows up in
Speaker 1: a in a very small role. She plays a receptionist
Speaker 1: in a doctor's office who sort of uh passes along
Speaker 1: some general folk town knowledge about the evil of the
Speaker 1: Weighty family and and how you know you better stay
Speaker 1: away from them. But I guess this makes sense because
Speaker 1: I was like, man, this is a strange role. But
Speaker 1: this was before The Godfather Rocky, right, Yeah, this was
Speaker 1: only her second film credit. But yeah, she would go
Speaker 1: on to to play Adrian. She's She's Adrian. She's the
Speaker 1: one that Rocky is we're yelling about. Yeah, she's Connie
Speaker 1: and The Godfather. She was in a ton of other movies, including, uh,
Speaker 1: the nineteen seventy nine Mute and Bear film Prophecy, which
Speaker 1: of course also stars our our favorite work Beast uh
Speaker 1: Robert Foxworth based. Maybe we should start making a list
Speaker 1: of the movies that most often get mentioned with crossover.
Speaker 1: I feel like Prophecy somehow comes up a lot. Yeah, Like,
Speaker 1: I guess we've got to do Prophecy at some point, uh,
Speaker 1: just because it keeps coming up. It's this uh, this
Speaker 1: this collection picture that it just collects all these other
Speaker 1: actors that we keep referring to, and I guess it's
Speaker 1: one that I I've never seen myself. But the VH
Speaker 1: Jes cover is like firmly fixed in my head because
Speaker 1: it has this like mutant bear and sort of this
Speaker 1: embryotic state. Alright, Well, let's talk about the music in
Speaker 1: this film, because this, this, this I was really excited for,
Speaker 1: because the music, once more, is by Less Baxter. They
Speaker 1: through nineteen sixty six. We've discussed him a few different times.
Speaker 1: This is the king of exotica music. Um. He did
Speaker 1: the effective jazzy score in Mario Baba's Black Sabbath. He
Speaker 1: also did the very minimal electric blooping frog noise score
Speaker 1: for the film Frogs. Okay, what always happens is Baxter
Speaker 1: comes up and I mentioned, well, okay, Baxter has got
Speaker 1: all this excellent exotica work that he did, um, and
Speaker 1: then I'll say something to the effect of, well, but
Speaker 1: this isn't really an exotica score anything, because because Baxter
Speaker 1: did a number of B movie scores, uh, and then
Speaker 1: went on to compose music for SeaWorld when score work
Speaker 1: kind of dried up for him. So I think his
Speaker 1: work is probably better understood as as a professional output
Speaker 1: rather than anything like, hey, let's get that exotic a
Speaker 1: guy to do this film because we want an exotica score.
Speaker 1: But with Dunwich Horror, I think the elements of of
Speaker 1: weird pagan ceremonies uh in it really provided a reason
Speaker 1: for some of those exotica elements to flare up. So
Speaker 1: we have this this fun mix of nineties seventies cinematic jazz.
Speaker 1: We have Eastern motifs, we have weird there men and
Speaker 1: electronic sound effects. We have foreboding drums and blaring horns. Um,
Speaker 1: it very much feels like yeah, jazz cigarette rolled with
Speaker 1: a page from the Necronomicon here. You know, I thought
Speaker 1: one of the sonic elements of this movie that was
Speaker 1: especially effective. And I don't know if Less Baxter did
Speaker 1: this part, I would assume at least partially did, was that. Um,
Speaker 1: when you are seeing the evil twin brother from the
Speaker 1: house the I guess, would this be the titular dune
Speaker 1: which horror or just the horror refer to like this
Speaker 1: guy or like the whole sort of situation. I'm not sure. Um.
Speaker 1: I always took it to me like the whole situation,
Speaker 1: But but I think it could apply specifically to the brother. Yeah,
Speaker 1: so the twin brother. There is this monstrous twin brother
Speaker 1: who is sort of a Hugo if you will, the
Speaker 1: Hugo of the film, who's behind a rattling door for
Speaker 1: most of the movie. But later on in the film
Speaker 1: he gets out, and that's when when things really get wild. Um.
Speaker 1: But so when he gets out, we sort of see,
Speaker 1: uh a Hugo cam and so we're seeing from his
Speaker 1: perspective as he floats around over the landscape looking for
Speaker 1: for people to terrorize. And in those sequences or when
Speaker 1: when you're seeing people and you just know that the
Speaker 1: twin brother is near, there's just this steady, ominous chord
Speaker 1: and a slow kind of heartbeat rhythm. I know that
Speaker 1: sounds very standard for for horror movies, but it works
Speaker 1: really well in this one. I always really like the
Speaker 1: sound in those scenes. Yeah. I mean, I think a
Speaker 1: huge part of it is, first of all, they're adapting
Speaker 1: a story about essentially an evil brother who's an invisible
Speaker 1: space blob. So if you're going to try and portray
Speaker 1: that accurately, you're you're already limited. So they a lot
Speaker 1: of what they do is based in sound and then
Speaker 1: also in like weird colors and stuff. Uh so the
Speaker 1: sound is essential here and I, um, I don't know
Speaker 1: for certain, but I suspect this was totally Baxter's deal
Speaker 1: as well, if if for no other reason, because it
Speaker 1: lines up with his work and Frogs, which is almost
Speaker 1: entirely you know, electronic and like minimal ambient in that regard. Now,
Speaker 1: I don't think the score for this film is widely
Speaker 1: available in digital or physical form right now, but it
Speaker 1: has been released over the years, and it was originally
Speaker 1: released on vinyl in ninety under the title and I
Speaker 1: kid you not Music of the Devil God Cult Strange
Speaker 1: Sounds from Dunwich, and then it it's just it's a
Speaker 1: wonderful title, like they seem to be going like further away.
Speaker 1: It's not just hey, here's the score for the dun
Speaker 1: which are by Less Baxter, Like no, here is the
Speaker 1: Music of the Devil God Cult. And the cover of
Speaker 1: the album is just Dean Stockwell's face with his eyes
Speaker 1: so wide it looks like his head's gonna explode. Yeah,
Speaker 1: this is one of his this wonderful pose that he
Speaker 1: does where he puts his his hands to either side
Speaker 1: of his face. While they're crossed. During one of his
Speaker 1: MANI yag saga, chants oh yeah, I I like that,
Speaker 1: So he puts yea. He puts his hands up beside
Speaker 1: his head and he's got a ring on each pinky,
Speaker 1: so it's like he's got a second pair of eyes almost.
Speaker 1: But also the way his hands are out flat beside
Speaker 1: his face, he looks like a cobra flaring. It's it's hood. Yeah,
Speaker 1: it's it's it's it's excellent. Um, it's it's a great pose.
Speaker 1: Maybe maybe maybe my wife will let me use this
Speaker 1: pose and in the next photo. Yeah, they'd be good
Speaker 1: for the Christmas card. Yeah, So yeah, I would say
Speaker 1: that in general, this movie is excellent. From an audio standpoint.
Speaker 1: I watched it with with earbuds in and I felt
Speaker 1: like the weird sounds were just kind of like rolling
Speaker 1: around me in like three D audio. It had this
Speaker 1: these great dark ambient stretches. It has some wonderful like
Speaker 1: like um you know, cosmic horror jazz going on, which
Speaker 1: which I absolutely loved. So this is um, yeah, this
Speaker 1: is this is a wonderful score and I really hope
Speaker 1: someone puts it out again, not only digitally, but like
Speaker 1: all these like crazy vinyls that we often touch on
Speaker 1: that come out to re release these various scores, Like,
Speaker 1: oh man, you could go in so many fun directions
Speaker 1: with this. Yeah, I agree. I I really enjoyed the
Speaker 1: music the whole the whole audio landscape I thought was
Speaker 1: a was a highlight of the movie. All right, Well,
Speaker 1: let's let's get into the plot for this baby. All right,
Speaker 1: So this movie begins with a precredit sequence, but it
Speaker 1: has some amazing animations that go along with the credits.
Speaker 1: We should talk about those in the second But before
Speaker 1: we get to that, there is this pre credit sequence where, um,
Speaker 1: there there's like a bunch of witches in a bedroom.
Speaker 1: It's kind of the it's kind of Rosemary's Baby ending
Speaker 1: scene almost. Um, some some witches in a bedroom and
Speaker 1: like a lady maybe going to give birth or having
Speaker 1: given birth. And uh. The problem with this scene is
Speaker 1: all of the characters are being drastically upstaged by the
Speaker 1: decor in the rooms, which is just the busiest purple
Speaker 1: wall paper I've ever seen, and like weird clocks that
Speaker 1: look like they're made out of the like they're like
Speaker 1: you know, trash sculpture, um strange framed photos weird like
Speaker 1: popping sconces and and sculpture is everywhere. This house is awesome,
Speaker 1: but the interior decoration is so busy it's almost funny. Yeah, yeah,
Speaker 1: it is. It is an intensely decorated house that they
Speaker 1: use for this film, and and that, like the color
Speaker 1: scheme is wonderful. It's got like these weird purple's going on.
Speaker 1: I love it now. I guess we're just supposed to
Speaker 1: assume that something Almina has happened in the scene. Um.
Speaker 1: But but after the scene, we we go to the credits,
Speaker 1: and the credits are wonderful. They are these blue and
Speaker 1: black silhouette animations where we're like, we're watching all these scenes.
Speaker 1: For example, they're like these little figures that look like
Speaker 1: wizards of some kind running around on a blue background
Speaker 1: over the solid black terrain, and then we kind of
Speaker 1: get a zoom out and it turns out that the
Speaker 1: terrain is not ground, but it's like muscles on a
Speaker 1: giant horned devil body, which was great. But then they're
Speaker 1: also I don't know, there's just great imagery in it,
Speaker 1: like these weird trees and a big snake head and
Speaker 1: then a guy who I gotta say, in his in
Speaker 1: his pose with his big cloak and staff, looks way
Speaker 1: too much like the Master from Manos The Hands of Fate.
Speaker 1: But but that's okay. Um. I agree that the opening
Speaker 1: credits for this are really fabulous. Um. They also kind
Speaker 1: of tell a story, like they kind of fill you
Speaker 1: in and get you prepared for what's happening. It's about
Speaker 1: some sort of uh you know, presented story about a
Speaker 1: miraculous birth and uh, you know, the coming of a
Speaker 1: sorcerer and so forth. It's it's nice, but okay, we
Speaker 1: cut from here to a modern university. It's like a
Speaker 1: university campus again. I guess this is supposed to be
Speaker 1: the uh, the infamous Miskatonic University. And we see Ed
Speaker 1: Begley as this character, Professor Henry Armitage. He's walking with
Speaker 1: some students, having just given a lecture on this book.
Speaker 1: The book is the Necronomicon. It is this tome of
Speaker 1: ancient evil, uh that is stored in a glass case
Speaker 1: in the Miskatonic library and plain side of everything. Yeah,
Speaker 1: and he well, I don't know if you understood it
Speaker 1: the same way. My read on this was that, um,
Speaker 1: the Armitage character doesn't necessarily believe that the like spells
Speaker 1: in the book would actually work or I was a
Speaker 1: little unclear on that, but he seems to of some
Speaker 1: kind of uh cautious respect for this book and and
Speaker 1: its power, even if he doesn't fully buy into magic
Speaker 1: or any such nonsense. Yeah, he's I mean again thinking
Speaker 1: of putting kind of like a generational conflict read on
Speaker 1: all of this. It's kind of like he's evaluating the
Speaker 1: hippie culture and he's like, I don't actually believe in
Speaker 1: you know, Eastern religion. I don't believe that, um, you
Speaker 1: know that in all these beneficial you know, powers that
Speaker 1: the young people say that these uh you know that
Speaker 1: these various drugs have. I don't believe in their music,
Speaker 1: but I believe that all these things are dangerous and
Speaker 1: can hurt them, and therefore I need to protect him
Speaker 1: from those influences. Oh yeah, I can see that. Well.
Speaker 1: So anyway, UM sander d who plays a character named
Speaker 1: Nancy and her friend, UM Elizabeth is that her friend's name.
Speaker 1: They're apparently students who have been attending these lectures, so
Speaker 1: I guess they're interested in ancient evil tomes and uh
Speaker 1: and and ed Begley hands off the Necronomicon to sander D.
Speaker 1: He's like, take this back to the library, and she's
Speaker 1: like okay. But while she's taking it back, Dean Stockwell
Speaker 1: shows up, and he is from the very first moment
Speaker 1: this this powerful combination of suave and unsettling. You know,
Speaker 1: is he is he a smooth operator or is he
Speaker 1: a dangerous creep? Seems like he's both. Yeah, yeah, he
Speaker 1: really walks that line. It's it's a great performance. There's
Speaker 1: a lot of a lot of him staring intently at
Speaker 1: characters and talking very calmly um about, you know, either
Speaker 1: about some sort of esoteric topic or in this case,
Speaker 1: he's just like, oh, yes, I understand, but can I
Speaker 1: see the Necronomicon? Like he's very insistent. Yeah, he really
Speaker 1: wants to borrow the Necronomicon for five minutes. Yeah, And
Speaker 1: and she's like she's finally like, oh yeah, okay, you can,
Speaker 1: just don't take it into the bathroom. Oh and also,
Speaker 1: Sanderd immediately has a crush on Dean Stockwell. She and
Speaker 1: she and her friend are like, wow, did you see
Speaker 1: his eyes? He's great eyes. Yeah, he's got his father's eyes.
Speaker 1: So Dean Stockwell takes this book, and I think he
Speaker 1: goes to a side room or something and he's reading
Speaker 1: aloud from it, and he's he's just enraptured. He's reading
Speaker 1: these lines about yogs of thought and various prophecies about
Speaker 1: gates and old ones and so forth. But then Ed
Speaker 1: Begley shows up and he's like, the book please, And
Speaker 1: Begley does not like this screwing around this. This book
Speaker 1: needs to go immediately back to its display case. So
Speaker 1: this whole group ends up like going out to a
Speaker 1: bar and grill together to yeah, mons realistics and and
Speaker 1: talk about ancient evil. Yeah like that. There's the conflict
Speaker 1: is not such that it prevents everyone from going out
Speaker 1: to the lunch, which I wish more conflicts in in
Speaker 1: films would go like this, where there's an initial argument
Speaker 1: and they're like, well, hey, let's do lunch. Let's talk
Speaker 1: about this further. Shall we discuss yog so thought over
Speaker 1: a shrimp cocktail? Yes? So while they're all out, you know,
Speaker 1: talking to each other, I think we find out something
Speaker 1: about Dean Stockwell's character's background. He is, he's a guy
Speaker 1: named Wilbur Weightley, and he's from this famous Weightly family
Speaker 1: that their family history is tied up in the Necronomicon,
Speaker 1: this evil book. And so Wilbur Weiteley is the great
Speaker 1: either the grandson or great grandson I think great grandson
Speaker 1: of a guy named Oliver Weightley who was was murdered
Speaker 1: by the town's folk of of Dunwich. I think is
Speaker 1: domage supposed to be in Massachusetts or um something like that, yeah,
Speaker 1: or in this case perhaps uh so northern California. Yeah, right,
Speaker 1: but his his great grandfather was murdered by the town's
Speaker 1: folk after having you know, it was mob violence, for
Speaker 1: allegedly having done something very evil and uh. And Dean
Speaker 1: Stockwell wants to borrow the Necronomicon so he can study
Speaker 1: it because he says he's a student of the occult,
Speaker 1: and he says that this book is like the Bible
Speaker 1: to him. And Armitage is not amused by this. He's like,
Speaker 1: I know enough about strange things not to laugh at them,
Speaker 1: and so he won't let the book go and uh,
Speaker 1: and so he heads off, and then Wilbur and uh
Speaker 1: and Nancy, you're just hanging out Dean Stockwell and Sander
Speaker 1: d and uh, and Wilburg's like, I can't stand pomposity,
Speaker 1: which is funny because his character is extremely pompous, like
Speaker 1: these moments where he is just making these grandiose prophecies.
Speaker 1: I don't remember exactly how he phrases them, but I
Speaker 1: would say that that Wilburg gets pompous, yes, but his
Speaker 1: is the pomposity of Heath right, yeah, which is apparently
Speaker 1: more acceptable. So it ends up where sander d drives
Speaker 1: Dean Stockwell back to Dunwich because he misses his bus
Speaker 1: and we get a taste of the townsfolks feelings about
Speaker 1: him and his family when they stopped for gas in
Speaker 1: Dunwich and the gas station attendant once he sees Dean
Speaker 1: Stockwell in the car, he's like, oh, Wilbur, I don't
Speaker 1: want anything that he says, he just wants one dollar
Speaker 1: for the gas, and then he like leaves them alone.
Speaker 1: And uh, apparently the animosity goes both ways. Wilburt does
Speaker 1: not like the town's folk. He says, they've treated me
Speaker 1: that way since childhood. There's still the same frightened, superstitious fools.
Speaker 1: And true enough, everything we see of the townspeople um
Speaker 1: from here on out, like they do seem um, they
Speaker 1: do seem awful. So I'm i'm, I'm, I'm, I'm. When
Speaker 1: I was watching this, I was kind of at times
Speaker 1: wondering whose side we're supposed to be on us. So,
Speaker 1: you know, it becomes clear that, you know, Wilburg does
Speaker 1: not have great intentions for humanity through his dealings here
Speaker 1: with the Necronomicon and it's uh, it's forbidden wisdom. But
Speaker 1: on the other hand, the towns people suck. So I
Speaker 1: don't know, I don't know who we're supposed to be
Speaker 1: rooting for here. I guess Sandra D. I think. I
Speaker 1: think ultimately the audience is supposed to be on the
Speaker 1: side of Sandra D and her friend and professor Armitage. Yeah.
Speaker 1: So anyway, Sandra D comes over to Wilbur's house for
Speaker 1: a cup of tea or something, I think a cup
Speaker 1: of tea, and inside it's immediately clear that this is
Speaker 1: the house that the pre credit sequence took place in,
Speaker 1: because again, the busiest decor of any house ever. And
Speaker 1: I don't recall if it's like this in the novella.
Speaker 1: My impression of the house and the novella was that
Speaker 1: it was more of just a wreck. Yeah, this house
Speaker 1: looks like it was decorated by a family of flamboyant
Speaker 1: stage magicians. Yes, yeah, they have. For instance, they have
Speaker 1: these wonderful crystals setting around, um that are never fully
Speaker 1: explained and uh and are pretty fabulous. They had occasionally
Speaker 1: or moved around or move on their own or suddenly
Speaker 1: set off intense fires. It's it's great. Yeah, the house
Speaker 1: is just wonderful. It's one of my favorite things about
Speaker 1: the movie, honestly is the wallpaper, the little ornaments on
Speaker 1: the coffee tables, and the and the hearth and everything,
Speaker 1: all the wall art. It's just oh and the floor decorations. Well,
Speaker 1: when you get those sudden like shots from up above,
Speaker 1: it's just a great gray house. Yeah. Yeah, just a
Speaker 1: complete environment that they put together here. Now. At first,
Speaker 1: even though Wilbur has already said some strange things, we
Speaker 1: get the impression that uh, Sander d I think likes him.
Speaker 1: He's very uh handsome and charming and uh, I don't
Speaker 1: know about charging. Yeah, sort of charming. I mean he's
Speaker 1: at least like smooth and confident and there's something about him.
Speaker 1: But we we start immediately seeing this is not going
Speaker 1: to go well because Wilbur is not a cool guy. Wilbur.
Speaker 1: Wilbur is the interdimensional creep that that you got that
Speaker 1: hint of earlier. So he immediately sneaks out to sander
Speaker 1: D's car and steals something from her engine, disabling the car,
Speaker 1: and then back inside the house, Sanderd starts having visions
Speaker 1: of threatening hippies and elaborate face paint and clothing, and
Speaker 1: she sees tree limbs and waves crashing on rocks. Yeah,
Speaker 1: and this is where we get that real sense of
Speaker 1: hippie danger and I love it. Hippies and their magic
Speaker 1: pose a threat to the innocent youth and it's up
Speaker 1: to the the Olds to protect her from their influence. Okay,
Speaker 1: so we already saw Wilbur steel something from her car engine,
Speaker 1: which is bad enough, and then he gets even worse.
Speaker 1: We see him inside the house putting some kind of
Speaker 1: potion or substance into her tea, presumably uh to to
Speaker 1: knock her out and keep her at the house to
Speaker 1: keep her from returning back to wherever Miss Quatonic is.
Speaker 1: But while while Wilbur's being a creep over here, Sandra
Speaker 1: Dee somehow stumbles into Wilbur's grandfather. M Yeah, he's just
Speaker 1: kind of just lurching around the house with his weird
Speaker 1: funky staff. Oh yeah, that's staff. It's great. It's just
Speaker 1: got a big occult pendant on the top. Yeah yeah. Later,
Speaker 1: of course we see that it's not just around the house.
Speaker 1: He like takes this with him when he goes to
Speaker 1: like the gas station in town, um, which you can
Speaker 1: just imagine, like Wilbur's like, Dad, please please don't bring
Speaker 1: that to town again. Stop bringing that to the gas
Speaker 1: station with you. Okay. Well, Sandra, he finds out her
Speaker 1: car won't start, and she's getting very sleepy, presumably for
Speaker 1: the sleeping powder or whatever it was that that he
Speaker 1: put in the t So she decides she's gonna have
Speaker 1: to stay the night at the house, and so Wilberah
Speaker 1: gives her a guest bedroom and and she settles down,
Speaker 1: and then she has a dream. And this dream really
Speaker 1: reinforces those vision themes from earlier, because it's these like
Speaker 1: eld rich half naked hippies running around grabbing at her face,
Speaker 1: and then waves crashing on the rocks, and these visions
Speaker 1: of just uh psychedelic evil woodstock and then she gets
Speaker 1: chased into a shack and then I think that's the
Speaker 1: end of the dream. These are great sequences because we
Speaker 1: really don't see too much of them, uh and what
Speaker 1: but what we do see of them is evocative and
Speaker 1: colorful and a little bit scary. Um, I reminded. It
Speaker 1: made me think back to the nineteen sixty seven film
Speaker 1: The Trip, which was Roger Corman directed Jack Nicholson written
Speaker 1: film about basically about character played by Peter fa going
Speaker 1: on an acid trip. And Um, in that film, there
Speaker 1: are a number of different psychedelic sequences, but also sequences
Speaker 1: they go on way too long, and she used to
Speaker 1: feel very trippy because you've been in them for like
Speaker 1: five minutes and had sort of like stationary effects and
Speaker 1: so forth. But these these feel very trippy because they
Speaker 1: are given in like dream like flashes. Okay, So then
Speaker 1: the next day comes along and we get two different threads.
Speaker 1: One is that we see a professor armitage ed Begley
Speaker 1: and Uh and Sandrad's friend Elizabeth are driving out to
Speaker 1: Dunwich to find her because she disappeared the night before
Speaker 1: and he the Weightlies don't have a phone at their house,
Speaker 1: so she couldn't call anybody. So they're like, well, what
Speaker 1: happened to her? So they're driving out to check on her.
Speaker 1: But then the other half is we see Sandra de
Speaker 1: and Dean Stockwell just hanging out walking around town, uh,
Speaker 1: getting to know one another and and and sharing information.
Speaker 1: So among the conversations they have, one is where Wilbur
Speaker 1: and Nancy are like exploring downtown Dunwich and he explains
Speaker 1: how the town's folk murdered his great grandfather. Uh. And
Speaker 1: he says the reason for this is that he didn't
Speaker 1: believe in God or the devil and instead believed in
Speaker 1: an ancient race of beings from another dimension that came
Speaker 1: before humanity are more powerful than us and that uh,
Speaker 1: and that he could bring them back from the plane
Speaker 1: where they sit waiting. And then he claims that they
Speaker 1: that they put a trumped up murder charge on his
Speaker 1: great grandfather, that a girl disappeared and they claimed that
Speaker 1: he had murdered her in some kind of human sacrifice.
Speaker 1: Though I think we were may be supposed to understand
Speaker 1: that that that charge may in fact be true. Yeah. Meanwhile,
Speaker 1: our Mettage and Elizabeth end up they end up connecting
Speaker 1: with the local town doctor who might know something about
Speaker 1: the Weighty family, and this is where we meet Tallya Shire.
Speaker 1: She's the receptionist to the doctor's office, and she, when
Speaker 1: speaking to Elizabeth, kind of discloses the town's beliefs about
Speaker 1: the weightles like she tells Nancy's friend Uh that that
Speaker 1: Wilbur never had a girlfriend before, and no girl should
Speaker 1: go over to that house because that house is bad news.
Speaker 1: And this is a nice little scene, I thought. I mean,
Speaker 1: there's nothing groundbreaking or anything, but I feel like they
Speaker 1: had a nice little scene together with some some well
Speaker 1: written dialogue. Yes, and it's a funny counterpoint to what's
Speaker 1: going on in the room next door where Ed Begley
Speaker 1: is talking to the doctor and he's explaining, well, you know,
Speaker 1: there are these old ones, and so it's at least
Speaker 1: alleged that they can be brought back from another dimension
Speaker 1: and then the earth will be destroyed. I also love
Speaker 1: how it's basically armatage showing up and he's been like, hello, doctor,
Speaker 1: i'd i'd like to. I was wondering if I could
Speaker 1: sit down with you for a moment and you could
Speaker 1: tell me the medical histories of this entire family. And
Speaker 1: he's like, well, it'd better be good for a good reason,
Speaker 1: and it's because of these ancient gods from another dimension.
Speaker 1: And then the doctor is like, well, in that case, yes,
Speaker 1: let me get out the file. Um now, somewhere in here,
Speaker 1: I don't remember how we get into this, but there's
Speaker 1: like a flashback of a of a scene. Or maybe
Speaker 1: he's not a flashback. Maybe it's either a flashback or
Speaker 1: takes place at the same time. But for some at
Speaker 1: some point it must be in the past. Right, Oh, okay, okay,
Speaker 1: you're right. Grandpa Weiteley is in a local general store
Speaker 1: and he's just ranting about old gods I think, and uh,
Speaker 1: and the locals are are viciously mocking him. Yeah. This
Speaker 1: is one of those where you're like, oh, man, the
Speaker 1: people have done which like they mostly sucks. So I
Speaker 1: really can't side with them in all of this feel
Speaker 1: bad for old way here. But somehow in all this,
Speaker 1: the doctor and Armitage they figure out that Wilbur's mother, Lavinia,
Speaker 1: is currently in an asylum, and they go to see
Speaker 1: her there and she's in a padded room and her
Speaker 1: hair is turned completely white, and she's in there screaming
Speaker 1: about how my son's opened the gate, my son's and
Speaker 1: then she says, kill them all. And so I think
Speaker 1: it's one of those cases where a character who is
Speaker 1: said to be mad is speaking things that are directly
Speaker 1: informative of the coming plot, but none of the characters
Speaker 1: realize it, so they're just kind of like, oh, what's
Speaker 1: this nonsense. And then meanwhile, we're just seeing more stuff
Speaker 1: with Dean Stockwell and Sandra d um uh. They're hanging out.
Speaker 1: Dean Stockwell is always in a suit. Yeah, great dapper,
Speaker 1: and I think it's implied Sandradd appears to be from
Speaker 1: this point increasingly it's kind of hard to describe, just
Speaker 1: like increasingly kind of hypnotized, like she's always kind of sleepy. Yeah,
Speaker 1: I'm kind of unclear on this, but the film seems
Speaker 1: to keep her in this weird place where she doesn't
Speaker 1: seem like she's like one been kidnapped, but she's also
Speaker 1: not one percent of collaborator either. She's not like, yeah,
Speaker 1: let's go up there and raise some old ones wilbur Um.
Speaker 1: It really does feel like this film aligns with something
Speaker 1: we've talked about on the show before this late sixties
Speaker 1: early seventies fear of hippie occult mind washing during this period.
Speaker 1: So it's really as if Sandra D's character is not
Speaker 1: she's not being held captive by the evil Wilbur. He's
Speaker 1: not tying her to train tracks so the old ones
Speaker 1: will run over her. Um uh. And she's also not
Speaker 1: portrayed as like a complete doll person where she's like
Speaker 1: I obey Wilbur and the old ones. Now, no, she's
Speaker 1: she's just under their spell in the non magical sense,
Speaker 1: like she's she's been caught up in all of this
Speaker 1: hippie danger and that's why she needs uh Professor Armitage
Speaker 1: to Grandpa Armitage here to jump in and save her. Yeah.
Speaker 1: I think that's about right. So, Yeah, she's not being
Speaker 1: portrayed as being held in dune which against her will,
Speaker 1: but at the same time she it is suggested that
Speaker 1: that's something she's somehow enchanted like her her her free
Speaker 1: will has been compromised in some way. Yeah. And so
Speaker 1: she and Dean Stockwell are out on these uh they're
Speaker 1: out on a seaside cliff at some point, and they
Speaker 1: walk up to some old stone ruins. They're like these
Speaker 1: pillars and a staircase and a stone altar and uh.
Speaker 1: And Wilburg says legend that says it's been here forever.
Speaker 1: It's called the Devil's Hopyard, which is the name I
Speaker 1: look this up. It is the name of a place
Speaker 1: in Connecticut, which is does not look like this at all,
Speaker 1: and there's no temple as far as I can tell.
Speaker 1: But the landscape is very beautiful looking in the movie.
Speaker 1: Yeah again it's it's clearly coastal northern California, but but
Speaker 1: it looks gorgeous and and yeah, they're increasingly these shots,
Speaker 1: and I think these are ultimately closing shots of the
Speaker 1: film of of this the seaside and the waves crashing
Speaker 1: on these rocky beaches, and it's it's good, it's it's
Speaker 1: really good. And so wilbur starts talking about this ancient ritual,
Speaker 1: ancient occult rituals here that would involve like virgin sacrifice,
Speaker 1: and this would somehow open a gate that would allow
Speaker 1: the old ones to come through. And then he does
Speaker 1: the thing. He puts his hands to the sides of
Speaker 1: his head, flares them like the cobra hood, and he's
Speaker 1: got the pinky rings next to his eyes, and he
Speaker 1: starts yelling yogs of thought. And so here we get
Speaker 1: more weird psychedelic visions. Sander D imagines herself to be
Speaker 1: sacrificed on the stone altar. She's surrounded by evil priests
Speaker 1: with these black hoods over their heads, and and there's
Speaker 1: Wilbur standing among them, so it seems like he may
Speaker 1: have some kind of connection to these evil rituals from
Speaker 1: the deep past. Oh oh. And in this whole sequence,
Speaker 1: this is where we finally get the Wilbur chest reveal,
Speaker 1: which is where he takes his shirt off and he's
Speaker 1: covered in tattoos that look like hieroglyphics. Yeah, which is great.
Speaker 1: I think in the original short story, Wilbur, for starters,
Speaker 1: is not dashing. I think he comes off more is
Speaker 1: like a dangerous bum and we find out that he
Speaker 1: ultimately find out that he's like but he has part
Speaker 1: monster body or something, and in this we don't have that.
Speaker 1: Instead we just have these really cool, um, you know,
Speaker 1: occult tattoos all over it. After this, there's a whole
Speaker 1: sequence where we follow Nancy's friend Elizabeth, who's trying to
Speaker 1: investigate you know, she she's worried about the well being
Speaker 1: of her friends, so she's going to the Weightly house
Speaker 1: to look around for her, to check on her and
Speaker 1: make sure she's okay. And while she's investigating the house,
Speaker 1: there are several times so far in the movie where
Speaker 1: we have seen this door upstairs in the house rattling
Speaker 1: as if there is something behind it that wants to
Speaker 1: get out, and uh, and unfortunately it is Elizabeth who
Speaker 1: opens this door and goes into the forbidden room while
Speaker 1: she's looking around the house. And so this is the
Speaker 1: first like attack, like the first murder scene in the movie.
Speaker 1: But this the why Wilburg's twin, this other being in
Speaker 1: the house, and this scene is weird. It's like it's
Speaker 1: done with this flashing color abstract animation suggesting kind of
Speaker 1: the flailing of octopus arms and lights from another world.
Speaker 1: It does this heavy like red and blue color saturation
Speaker 1: that goes back and forth. Yeah, like they're really I
Speaker 1: feel like they were really going for like an LSD
Speaker 1: trip kind of a vibe here um and and again
Speaker 1: it comes back to the fact too, that they can't
Speaker 1: really show the monster. They seem to have some sort
Speaker 1: of physical apparatus that they're shooting some sort of technically
Speaker 1: thing about they're they're not showing us much of it
Speaker 1: at all, and the film works better for that. I
Speaker 1: think it's always a better decision to show less of
Speaker 1: the monster. I mean, you you can find exceptions, like
Speaker 1: the thing shows a lot of the monster and it's wonderful,
Speaker 1: but uh that that's pretty rare. Most of the time.
Speaker 1: You're going to do better if you give suggestive imagery
Speaker 1: rather than just getting a good long look at the suit.
Speaker 1: And you know, because often if you get a good
Speaker 1: long look at the suit or the makeup effect or
Speaker 1: whatever it is, it starts to look less and less great. Yeah,
Speaker 1: that the flaws become increasingly obvious. It's the Jaws principle
Speaker 1: that they did not have a great robotic shark, but
Speaker 1: they ended up getting really good footage out of what
Speaker 1: they did have just by you know, clever use of it. Yeah. Yeah,
Speaker 1: I mean even today when you have some tremendous c
Speaker 1: g I effects, and granted there some pitfalls with c
Speaker 1: g I at times as well, but like, even if
Speaker 1: the monster is perfectly well executed on the screen, you know,
Speaker 1: I mean, you have to remember what are monsters Historically
Speaker 1: monsters or things that that lurk in the imagination, and
Speaker 1: monsters are things that are not fully seen but partially
Speaker 1: seen in the mist, in the dark, in the wild, etcetera.
Speaker 1: Now there's a scene shortly after this that I think
Speaker 1: this is more indication of that there's something going wrong
Speaker 1: with Sandra D's volition. Um that, because there there's a
Speaker 1: scene where Wilbur and Grandpa start arguing about whether Wilbur
Speaker 1: is going to be successful in using Nancy to open
Speaker 1: the gate and allow the old ones in. And I
Speaker 1: think she's just like right there, she's like in the
Speaker 1: room with them, right Yeah. And Grandpa, I guess Grandpa
Speaker 1: has been turned against this, this ritual. He used to
Speaker 1: be for it, now he's against it. And uh and
Speaker 1: he swings his staff at Wilbur and misses, and then
Speaker 1: falls down the stairs to his death. Uh. And and
Speaker 1: there there was a great moment here though, where there's
Speaker 1: these creepy sound effects, these birds in the background, and
Speaker 1: Sandra D asks those birds, what does it mean? And
Speaker 1: Wilburg explains, well, they were trying to capture his soul
Speaker 1: as it left his body. Yeah, it's so weird. It's
Speaker 1: such an interesting addition. I love it. But then, uh,
Speaker 1: I love At the funeral for Grandpa Weightley, here there
Speaker 1: was it must not be this. But for some reason
Speaker 1: when I so, townsfolk arrived to bust up the ceremony,
Speaker 1: and it looked to me like it was implying that
Speaker 1: about thirty people got out of one pickup truck. Yeah,
Speaker 1: there's just suddenly a mob of townfolk here to uh
Speaker 1: to object to them carrying out a burial. Yeah, so
Speaker 1: they're they're like, this is a Christian cemetery. We dispose
Speaker 1: of our trash at the town dump. But then I
Speaker 1: think eventually the police come in and they're like, okay, okay,
Speaker 1: break it up. Yeah, I mean, we can't possibly be
Speaker 1: supposed to to feel anything but disdain for these townfolks, right,
Speaker 1: I mean, they this is bad. Like even if you
Speaker 1: know wilbur is the villain of the piece, he's just
Speaker 1: trying to bury his dad in the cemetery. Well and
Speaker 1: someone elder gods that will destroy the world. Well yeah,
Speaker 1: well he's doing that too, But this is a side thing,
Speaker 1: you know, like like come on, come on, guys, leave
Speaker 1: this man alone. So Wilburt, you know, he still needs
Speaker 1: that necronomical and he's like, you know, the professor wouldn't
Speaker 1: let me borrow the book for five minutes, so so
Speaker 1: I guess I'm gonna have to go to the university
Speaker 1: library and steal it. And then there's a whole sequence
Speaker 1: where he does that. He breaks in he tries to
Speaker 1: get the book, he gets into a fist fight with
Speaker 1: a security guard, and so they have a fist fight,
Speaker 1: and then the funny part is the guard wins, uh
Speaker 1: kind of surprisingly, like he knocks while we're unconscious apparently.
Speaker 1: Then he goes to the phone, I think, to dial
Speaker 1: the police. But then Wilburg just picks up this big
Speaker 1: weapon it's like a halberd that is on display in
Speaker 1: the library and stabs the guard and the guts with it. Yeah,
Speaker 1: it's it's a nice ending to a fight scene that, yeah,
Speaker 1: has his unexpected twist, but it's also very like Old
Speaker 1: West style fighting, you know, like people getting punched and
Speaker 1: falling through tables and such. Um. So it's a it's
Speaker 1: a fun sequence and it's it's also I think a
Speaker 1: nice um twist on what happens in the story. And
Speaker 1: the original short story, if I remember correctly, Wilburg breaks
Speaker 1: into the museum to try and steal the book and
Speaker 1: guard dogs kill him. Uh you know, so yeah, so,
Speaker 1: which is clear. I mean, I guess you know, you
Speaker 1: can argue whether that worked in the original story, but
Speaker 1: it would not have worked in this story. We need
Speaker 1: Wilburg to be there at the finale, we don't need
Speaker 1: him to be uh done in by a German shepherd,
Speaker 1: And it adds this additional twist. He's not only willing
Speaker 1: to break the laws of nature and and all to
Speaker 1: bring about this resurgence of the old ones, he's also
Speaker 1: willing to kill for it, right right, yes, um, but
Speaker 1: even then it was in self defense. Towards the end,
Speaker 1: it's it's still they managed to walk this line where
Speaker 1: it's not like he kills the cop in cold blood.
Speaker 1: He grabs the spear and then the cop rushes him
Speaker 1: and he like pulls it up in time to impale
Speaker 1: the security guy. Yeah. So there are several scenes in
Speaker 1: this movie where I think wilbur is presented as having
Speaker 1: a kind of dangerous uh nitchean beyond good and evil outlook.
Speaker 1: You know that he he believes that moral concerns are
Speaker 1: just sort of like uh petty folly. Uh Like there's
Speaker 1: a part where Grandpa's try to convince him, like, you
Speaker 1: can't do this, you know, you shouldn't do this, and
Speaker 1: then he says, I do what I want. Yeah, so
Speaker 1: I think Wilburt maybe he rejects the idea of an
Speaker 1: aught or a should you know, there there there is
Speaker 1: nothing I should or ought to do. There is what
Speaker 1: I will. Yeah, So at this point he's killed, he's
Speaker 1: crossed that line. But he also has the necronomicon, right,
Speaker 1: and so this sets up the third act of the movie,
Speaker 1: which is gonna be some twin monster rampage and as
Speaker 1: and uh and a very slow moving ritual. So the
Speaker 1: final showdown is wilbur Is setting up uh to to
Speaker 1: do this ritual to open the gate to allow the
Speaker 1: old gods in, or the old ones, and they're gonna
Speaker 1: come and destroy the world. Uh. This is probably gonna
Speaker 1: involve human sacrifice of Sandra d on the on the altar.
Speaker 1: And then meanwhile, his brother, oh he he says at
Speaker 1: the beginning of the ritual, he's he's saying the name
Speaker 1: of these gods. He's saying like yag so thought, and
Speaker 1: he's got the necronomicon, and he says, I summon you,
Speaker 1: brother of darkness, I summon you. And his brother is
Speaker 1: his twin brother is apparently this thing upstairs in the
Speaker 1: house that keeps rattling on the door and it bursts
Speaker 1: forth from its confinement, and that goes out to roam
Speaker 1: around the town and get into all kinds of mischief,
Speaker 1: good natured mischief, some unspeakable, deadly mischief, the geometry of
Speaker 1: which is impossible to describe. Now, I will say, in
Speaker 1: some of these scenes where the monster is roaming around again,
Speaker 1: we're not really seeing it. We're seeing more from its
Speaker 1: point of view, and then getting a kind of audio texture,
Speaker 1: that heartbeat sound that that allows that helps us know
Speaker 1: that something very dangerous is going on. And then we're
Speaker 1: getting these suggestive flashes of imagery that aren't I think
Speaker 1: are not to be understood as pictures of the monster itself.
Speaker 1: But in a way, the monster itself kind of can't
Speaker 1: be seen or can't be comprehended with human eyes, so
Speaker 1: it's just this presence that suggests other images. Uh and uh.
Speaker 1: And at times they do this with like it's like
Speaker 1: the weather, it's like rain or wind moving in it's
Speaker 1: it's it's I thought, really effectively done. Oh yeah, there's
Speaker 1: a really nice shot of like visions of wind blowing
Speaker 1: dust over a winding road or wind blowing over the
Speaker 1: surface of a pond. Yeah, but of course it's going
Speaker 1: to attack a bunch of the town's folks, so we get,
Speaker 1: you know, scenes of that. There's like a nearby house
Speaker 1: that has these people. They're they're about to have dinner.
Speaker 1: I think they're saying. They're saying a blessing over some
Speaker 1: kind of wretched ham. It's some of the same town's
Speaker 1: folk who busted up the funeral earlier, and they hear
Speaker 1: these weird sounds. The house is kind of shaking. The
Speaker 1: man grabs his rifle and he goes out to investigate,
Speaker 1: and he shoots at something he sees in the barn,
Speaker 1: and then it attacks the house and everything is shaking,
Speaker 1: and we're to understand it doesn't go well. And then
Speaker 1: this is confirmed when Professor Armitage and doctor the doctor
Speaker 1: from the town from earlier, Dr Corey, they show up
Speaker 1: at the house where the town's folk of gathered. Uh.
Speaker 1: They see the remains of this family and they're like,
Speaker 1: oh no, we got to form another angry mob because
Speaker 1: they correctly assume that the Weightleys are responsible, or at
Speaker 1: least that Wilbur is Wilbur and his monstrous twin brother,
Speaker 1: and they want to go get revenge. And Armatage is like,
Speaker 1: Wilbur Weightley might be the only person who can stop
Speaker 1: the creature that did this, So he's trying to talk
Speaker 1: sense into them. You know, He's like, hold on, we
Speaker 1: need to figure out what's going on. But the shapeless
Speaker 1: being it attacks Talia Shire while she's driving a car. Uh,
Speaker 1: it attacks a posse who's hunting for it in the woods. Uh.
Speaker 1: And so they're they're they're these repeated scenes where people
Speaker 1: are sort of felled by psychedelic visual effects. And and
Speaker 1: again I think it works pretty well. Yeah, yeah, and
Speaker 1: again for a film that that can't or won't show,
Speaker 1: you know, an actual monster like this works really well.
Speaker 1: I think. I think ultimately, I feel like Lovecraft Officionadoes
Speaker 1: are probably too hard on this film because, like they're
Speaker 1: they're kind of pulling it off. They're they're pulling off
Speaker 1: this this unseeable, unknowable horror that uh, you know makes
Speaker 1: you crazy if it touches you sort of thing. Now,
Speaker 1: of course, this all comes down to a wizard battle.
Speaker 1: You got you gotta have a wizard battle to settle
Speaker 1: this problem. Armitage shows up at the side of the
Speaker 1: Devil's hop yard where they're they're going to do the
Speaker 1: human sacrifice, and Wilbur's there, and so Armitage and Wilbur
Speaker 1: start essentially yelling spells at each other. I think that
Speaker 1: they're just like calling out love crafty and phrases at
Speaker 1: one another. Yeah, and it's it's I love it. It's
Speaker 1: super weird, especially since there are no real added effects
Speaker 1: like it. It's the kind of thing where if you
Speaker 1: saw actors doing this today, you would think, oh, well,
Speaker 1: this is before they added there like the lightning and
Speaker 1: lights and laser shooting off of them every time they
Speaker 1: say something. But none of that was added, and they
Speaker 1: really didn't have to because both actors are doing such
Speaker 1: a good way of of saying I don't know, of
Speaker 1: of of saying the magic words. I don't know, like
Speaker 1: just their intensity as there, uh, they're belting out these lines.
Speaker 1: It works really well, and you totally buy into the
Speaker 1: fact that, yeah, they're they're they're they're blasting out spells here. Yeah.
Speaker 1: I think I think you're quite right that it especially
Speaker 1: has something to do with the audio mixing of this
Speaker 1: scene that makes it more unsettling than you would think
Speaker 1: a wizard battle should be. But ultimately Ourmtage wins the
Speaker 1: wizard battle. He's yelling out these phrases. I guess he
Speaker 1: must know from having studied the Necronomicon and Dean Stockwell, uh,
Speaker 1: he gets sort of like he gets I don't know
Speaker 1: something about these phrases getting his head, and he clearly
Speaker 1: gets like foggy and confused and frustrated. And then he
Speaker 1: gets struck by lightning and catches on fire and it
Speaker 1: falls off a cliff from Yeah, and at the very
Speaker 1: last we do get a vision of this unspeakable evil,
Speaker 1: the Wilbur's brother. And this is the one moment where
Speaker 1: when we get this this flash of its actual form,
Speaker 1: I think it looks like a beholder, doesn't it, or
Speaker 1: at least it looks like illustrations I've seen of beholders. Yeah,
Speaker 1: I mean we don't. It's even it's still in the
Speaker 1: big reveal. We don't see it all that clearly. So
Speaker 1: there is the essence of a beholder. There's a sense
Speaker 1: of a gorgon's head, but also it's just like color
Speaker 1: and madness. And so then after after all the violence
Speaker 1: is done, things are coming back down and and the
Speaker 1: final thoughts are well, Armitage says, looks like Wilbur's twin
Speaker 1: took after the father, So like you were saying earlier,
Speaker 1: you know, he has his father's eyes. Um. But then
Speaker 1: also we see Sandrada is okay, but it is suggested
Speaker 1: she may in fact be carrying the child of an
Speaker 1: interdimensional demon god. Now, yeah, that's right, because we we
Speaker 1: have that pause and then the creepy music, the heartbeat
Speaker 1: stuff comes in and we have like put an animation
Speaker 1: of a fetus that's visible there, um, which which I
Speaker 1: quite like because it implies like the next level of
Speaker 1: this curse is the generation of those born in the
Speaker 1: nineteen seventies, which, being a child of the nineteen seventies,
Speaker 1: I like this because I'm watching the screen and like,
Speaker 1: that's me. I'm the baby. This this is my generation
Speaker 1: that they're they're referring to. So in a way like, um,
Speaker 1: you know people my age, and you know and and
Speaker 1: and younger. Um, like we are the sequel to the
Speaker 1: dun which are the generational curse of the old ones,
Speaker 1: is that you will give less of a crap than
Speaker 1: any generation ever before. Uh. But it is right, It's
Speaker 1: it's a it's ahen ominous ending. I thought it's a good,
Speaker 1: good place to land it. There's there again. They're also
Speaker 1: all these shots of just waves crashing on them on
Speaker 1: the coast. It's uh, it ends in a in a
Speaker 1: nice spot all right. So there you have at the
Speaker 1: Dunwich Horror, which which I quite enjoyed. I found this
Speaker 1: a very very very fun film to watch. Um you
Speaker 1: might be wondering, will where can I watch the Dunwich
Speaker 1: haror Well, you can buy or rent this movie most
Speaker 1: places you get your films these days. Um uh. You
Speaker 1: can stream it, um you know, on all the major platforms.
Speaker 1: You can also pick it up on DVD. Is Sadly,
Speaker 1: there doesn't seem to be an awesome vinyl rerelease of
Speaker 1: the score, like I said earlier, but I really hope
Speaker 1: someone does that, maybe something like nice purple vinyl or something,
Speaker 1: or I mean really there are number of wonderful colors
Speaker 1: used in the film, so you could swirl them all
Speaker 1: together in there. Oh yeah, I can see that, you know,
Speaker 1: if they put out one of those big collectors editions
Speaker 1: of this that that comes along with merch. In addition,
Speaker 1: it should come with a roll of wallpaper so you
Speaker 1: can put up the weightly house wallpaper in your house. Yeah,
Speaker 1: as you can. You can done which your your own home.
Speaker 1: I like it. Yeah, it's a very stylish movie, very stylish,
Speaker 1: very nineteen seventies, so I highly recommend it if This
Speaker 1: is your sort of film, all right. If you want
Speaker 1: to check out other episodes of Weird House Cinema, this
Speaker 1: comes out every Friday and the Stuff to Blow Your
Speaker 1: Mind podcast feed were primarily a science and culture podcast,
Speaker 1: with core episodes on Tuesdays and Thursdays, with artifact episodes
Speaker 1: on Wednesdays and listener mail on Monday's. But Friday, that's
Speaker 1: our time to cut loose and discuss a weird picture
Speaker 1: like this one. Huge thanks as always to our excellent
Speaker 1: audio producer Seth Nicholas Johnson. If you would like to
Speaker 1: get in touch with us with feedback on this episode
Speaker 1: or any other, to suggest a topic for the future,
Speaker 1: just to say hello, you can email us at contact
Speaker 1: at stuff to Blow your Mind dot com. Stuff to
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