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Speaker 1: Hey, welcome to Weird House Cinema. Rewind.

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Speaker 2: This is Rob Lamb and this is Joe McCormick, and

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Speaker 2: today we are bringing you a classic. This is our

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Speaker 2: episode on the Mask of the Red Death. This is

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Speaker 2: the one directed by Roger Corman from nineteen sixty four

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Speaker 2: starring Vincent Price. Let's see this episode originally aired on

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Speaker 2: October twenty first, twenty twenty two. This is one of

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Speaker 2: my favorites.

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Speaker 1: Yeah yeah, worth noting we put out this episode before

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Speaker 1: Roger Corman passed away. He has of course since passed away,

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Speaker 1: and this is one of his best, so please enjoy.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema.

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Speaker 2: This is Rob Lamb and this is Joe McCormick.

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Speaker 1: And we have an excite film to discuss this week

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Speaker 1: and a perfect seasonal selection for Halloween. For us, it's

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Speaker 1: to return to the filmographies of both legendary B movie

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Speaker 1: director Roger Corman and the work of legendary actor Vincent Price,

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Speaker 1: as well as the work of Hazel Court, who was

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Speaker 1: also a devil Girl from Mars. This one is also

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Speaker 1: an Edgar Allan Poe adaptation perhaps the finest one of

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Speaker 1: several that Corman helmed, as well as one of the

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Speaker 1: most well regarded films he directed. We're going to be

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Speaker 1: talking about The Mask of the Red Death from nineteen

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Speaker 1: sixty four.

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Speaker 2: It's kind of amazing to see what Corman was capable

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Speaker 2: of when he had just a little bit more money

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Speaker 2: and like five weeks to direct a movie instead of

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Speaker 2: two or three.

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Speaker 1: Yeah, it's like, what if we had a little more time.

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Speaker 1: What if we had five weeks instead of two. What

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Speaker 1: if we had more money in the budget instead of less,

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Speaker 1: And on top of that, what if we had British

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Speaker 1: actors to fill in the rest of the cast as

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Speaker 1: a pose to just you know, various actors from California

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Speaker 1: of varying talent levels exactly.

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Speaker 2: So this one isn't just good in the you know,

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Speaker 2: the sense you might normally say some Corman movies are good.

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Speaker 2: They're kind of like scrappy and fun, and you can

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Speaker 2: see what they were able to pull off on bottom dollar.

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Speaker 2: This one, I think is just straight up a good movie.

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Speaker 1: Yeah, Yeah, this one's great. I love this film. This

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Speaker 1: was my first viewing of it. I'd never seen it before,

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Speaker 1: but i'd lined it up for us because I knew

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Speaker 1: that it was very well regarded. I knew that it

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Speaker 1: was going to be colorful, I knew that it was

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Speaker 1: going to really showcase Vincent Price, and I was not

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Speaker 1: disappointed in the least. This is definitely worth checking out.

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Speaker 1: You don't have to be a like a Corman connoisseur

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Speaker 1: to enjoy this film. And even if you do just

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Speaker 1: want something to go to have in the background, you know,

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Speaker 1: you don't want something that requires close viewing, It's still

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Speaker 1: great because it's so colorful. It's so beautiful, especially the

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Speaker 1: more recent releases of it that had been fully restored,

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Speaker 1: and the movie just looks better than it's ever looked.

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Speaker 2: The colors are amazing, the sets and costumes are amazing,

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Speaker 2: like beautiful. I would also say this is a real

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Speaker 2: standout role for Vincent Price, because I think this movie

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Speaker 2: is often classified as high camp, and it is camp,

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Speaker 2: but it's also more than that. There is a subtlety

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Speaker 2: to it that I wasn't quite expecting when I went in.

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Speaker 2: I thought it would be just you know, delicious Vincent Price,

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Speaker 2: chewing of the scenery and all that, and so Price

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Speaker 2: does play in a way a sometimes kind of hammy

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Speaker 2: satanist aristocrat, but there's a little more to his performance

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Speaker 2: than you would expect.

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Speaker 1: Yeah, everything with really I have to give credit to

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Speaker 1: both Price and the script, Like the script seems really solid,

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Speaker 1: and so there's so many scenes, so many bits of

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Speaker 1: dialogue where they're doing a thing that their films do.

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Speaker 1: One example that I ended up paying close attention to

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Speaker 1: is having some sort of a wise crack after somebody

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Speaker 1: is viciously murdered at the behest of the of the

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Speaker 1: tyrannical Prince. That's something that happens in this film. And

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Speaker 1: often when this sort of thing happens in a movie,

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Speaker 1: be it a like a Freddy Krueger movie or a

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Speaker 1: typical horror movie, or like a James Bond film, you know,

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Speaker 1: it's really hammy. It's it's a cheeseball moment, it's grown inducing.

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Speaker 1: But when it happens in this film, it's it's not.

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Speaker 1: It feels like just carefully calibrated so that it's not

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Speaker 1: too hammy. It's just it's just sardonic enough and feels

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Speaker 1: authentic within the picture and doesn't throw you out of

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Speaker 1: the movie viewing experience.

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Speaker 2: I think of the moment where Hazel court does the

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Speaker 2: one of many ceremonies to get married to the devil.

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Speaker 2: I don't know how many devil weddings. She marries Satan

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Speaker 2: like four times in this movie, but I guess the

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Speaker 2: final one where it's like, really for real now now

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Speaker 2: it went through. She is a hell bride. The ritual

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Speaker 2: ends with like a falcon pecking her face off, and

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Speaker 2: her dead body is found and all the guests are

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Speaker 2: standing around in horror. But then Vincent Price, he very coolly,

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Speaker 2: just says, oh, there is nothing to worry about. She's

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Speaker 2: just married a friend of mine.

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Speaker 1: Yeah, And it's so perfect, the perfect delivery of the

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Speaker 1: line doesn't come off as hammy. It's so good. There

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Speaker 1: are also so many scenes where Vincent Price's character Prince Prospero,

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Speaker 1: is giving some sort of a monologue about the nature

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Speaker 1: of evil or darkness or pain, and it's become a trope.

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Speaker 1: So many horror films, especially, you'll have some evil character

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Speaker 1: telling us all what pains about or what horror is

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Speaker 1: and so forth. And in this film, the way it's

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Speaker 1: handled just puts most examples I can think up to shame.

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Speaker 1: It's just handled so perfectly.

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Speaker 2: Yeah, I think I know what you're talking about that

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Speaker 2: there is a true I would say, going way way

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Speaker 2: back and in fact even into the literature of the

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Speaker 2: ancient world of the aristocratic figure who engages in perverse

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Speaker 2: kind of morally undermining philosophical musings. I think this goes

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Speaker 2: all the way back to like the Bible, where Pilot

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Speaker 2: asks what is truth? You know, and you get scenes

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Speaker 2: like this, and you know, stories all throughout the years.

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Speaker 2: This is a really good example of it. Though it

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Speaker 2: feels actually kind of thoughtful of Vincent Price's musings undermining

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Speaker 2: you know, the good character's philosophical assumptions. They're actually kind

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Speaker 2: of clever and more thoughtfully stated than usual.

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Speaker 1: Absolutely, and it can. It can. Actually, it actually adds

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Speaker 1: to the frightfulness of the film because as a viewer

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Speaker 1: you're like, oh, man, Prospero is making some points here.

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Speaker 1: Now I'm second guessing myself in my worldview. It's so good.

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Speaker 1: So we'll get into all this some more as we

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Speaker 1: proceed talking about the cast and the plot. As far

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Speaker 1: as an elevator pitch goes, I was the only thing

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Speaker 1: that came to mind for me, is what if a

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Speaker 1: motion picture where a stained glass window in a cathedral

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Speaker 1: of horror.

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Speaker 2: Yeah, the colors in this movie are aggressive. There is

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Speaker 2: such use of color and a large like blocks of color,

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Speaker 2: you know, where like you have characters who are dressed

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Speaker 2: all in red or all in white, and that is

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Speaker 2: complemented by the fact that there are rooms that are

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Speaker 2: entirely yellow or entirely purple, and it's it's just fabulous.

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Speaker 1: Yeah. Yeah, you'll question whether you've seen the color red before,

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Speaker 1: if you've seen the color yellow before, because the colors

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Speaker 1: don't seem as bright in the real world as they

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Speaker 1: do in this film, which is something to say for

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Speaker 1: you know, a gothic horror film, you tend to what

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Speaker 1: you expect, the darkness and the grime and the shadows,

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Speaker 1: and this film also brings some wonderful usage of those

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Speaker 1: elements as well, but also these rainbow colors that are amazing.

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Speaker 1: All right, on that note, let's go ahead and listen

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Speaker 1: to I think just part of the trailer, the original audio,

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Speaker 1: the original trailer for this film, because I don't think

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Speaker 1: it's a good trailer. I'll explain why in a second,

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Speaker 1: So just let's just hear a little of it to

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Speaker 1: get a taste. So, yeah, I love this film, but

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Speaker 1: this is not a good trailer. It spoils a lot

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Speaker 1: of the film, and it's also just kind of an

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Speaker 1: assortment of clips with minimal dialogue and.

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Speaker 2: No narration that doesn't work so good for the show.

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Speaker 1: No, and I don't think I just don't think it's

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Speaker 1: a good trade. Even viewing it, it's not a good

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Speaker 1: trailer in my opinion. However, the poster art for this

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Speaker 1: film is amazing. If you haven't seen it, look it up.

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Speaker 1: Its Prices face, you know, full sardonic price as the

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Speaker 1: Prince Prospero in red, full red face composed. You look

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Speaker 1: closer and you see that he's composed. His face is

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Speaker 1: composed of all these red bodies intertwined with each other.

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Speaker 1: It's poster art by Reynold Brown, who lived nineteen seventeen

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Speaker 1: through nineteen ninety one, who he did magazine covers and

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Speaker 1: all sorts of stuff. But he was responsible for a

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Speaker 1: slew of great movie posters from the day, including Tarantula

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Speaker 1: and Black Sabbath. Also the really iconic poster for Attack

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Speaker 1: of the Fifty Foot Woman.

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Speaker 2: Beautiful poster. Yeah.

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Speaker 1: A quick note on where to find this film, Well,

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Speaker 1: luckily it's widely available in digital form, but we highly

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Speaker 1: recommend the shop Factory Screen Factory restored four K blu ray.

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Speaker 1: That's how we watched it. It features both the theatrical

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Speaker 1: cut and an extended cut. And yeah, this is a

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Speaker 1: beautiful looking film. Should be seen in the best quality possible,

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Speaker 1: however you go about it.

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Speaker 2: Agreed, you want the full buffet for your eyes.

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Speaker 1: Yeah, all right, Well let's get into the people involved.

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Speaker 1: Like we said, this one was directed by Roger Corman.

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Speaker 1: He was also one of the producers. Born nineteen twenty

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Speaker 1: six as of this recording still with us. Roger Corman is,

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Speaker 1: of course the Wizard of b Movies, a prolific generator

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Speaker 1: of late fifties drive inflicks. On Weird House, we specifically

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Speaker 1: discussed nineteen fifty seven's Not of This Earth as well

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Speaker 1: as I'm not sure how many Corman productions of films

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Speaker 1: that he produced. But someone else was directing this film, though,

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Speaker 1: like we've been saying, is a different egg from any

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Speaker 1: of those other films. Shot in five weeks, not two,

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Speaker 1: shot for a higher budget and in England which also

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Speaker 1: allowed for some tax breaks, and I understand, plus access

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Speaker 1: to a better supporting cast. So this is a fine,

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Speaker 1: if not the finest example of Corman's work as a.

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Speaker 2: Director, showing that he could not only crank out a

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Speaker 2: film on time I'm an on budget, but that he

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Speaker 2: could actually be an artist as well.

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Speaker 1: Yeah, and it is an artful movie. In fact, apparently

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Speaker 1: that was one of the criticisms after it came out,

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Speaker 1: like it didn't it didn't perform quite as well as

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Speaker 1: the main producers in the production company wanted. And they

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Speaker 1: were like, well, it was probably too artsy. It was

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Speaker 1: reaching a little too high for the audience, which for

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Speaker 1: weird cinema, that's a good thing. That's a good sign,

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Speaker 1: all right. Now. Obviously this is based on not only

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Speaker 1: one Edgar Allan posts toy, but two. It's based on

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Speaker 1: both The Mask of the Red Death and Hot Frog.

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Speaker 1: Ed Grelan Poe lived eighteen oh nine through eighteen forty

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Speaker 1: nine American writer, poet, editor, and literary critic, best remembered

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Speaker 1: though for his spooky poems and stories. And I was

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Speaker 1: looking into some of the adaptations. There's been just so

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Speaker 1: many adaptations of post stories over the years. The earliest

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Speaker 1: cinematic adaptation of his work was apparently nineteen oh eight

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Speaker 1: Sherlock Holmes and the Great Murder mystery based on Poe's

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Speaker 1: non Sherlock Holmes novel Murders in the Room Morgue. But

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Speaker 1: the reason that they're.

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Speaker 2: Funny though, I do think I do think it's the

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Speaker 2: case that Arthur Conan Doyle was inspired to write the

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Speaker 2: Sherlock Holmes stories by reading Poe's Murders in the Room Morgue.

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Speaker 2: So I think Poe sort of gave rise to the

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Speaker 2: detective genre in a way.

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Speaker 1: Hmm. Oh interesting. So they're countless adaptations again, they're still

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Speaker 1: cranking out Poe adaptations, but this is in part due

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Speaker 1: to one key reason and a key reason that this

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Speaker 1: film was green lit, and that the other Quorman Poe

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Speaker 1: films were green lit. All the works were in public

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Speaker 1: domain by this point, So yeah, I think the other

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Speaker 1: selling factor was, like they're teaching this in schools. Everybody

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Speaker 1: knows Edgar Allan Poe.

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Speaker 2: Yeah, I think they saw money on both ends, Like

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Speaker 2: so you wouldn't have to pay for it because now

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Speaker 2: it's in the public domain, and because it's part of

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Speaker 2: school career ricula, there's already a built in audience for it.

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Speaker 2: So it's kind of like, you know, the producers today

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Speaker 2: who would rather make a new entry in an existing

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Speaker 2: franchise than do a totally original film, because existing franchise

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Speaker 2: has a built in audience. Except in this case, they

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Speaker 2: don't have to pay for the rights to that franchise.

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Speaker 2: It's public.

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Speaker 1: Yeah, and yeah, I mean it's still I think it

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Speaker 1: is still taught in schools. I certainly have a strong

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Speaker 1: memory of encountering Poe in the classroom, and I remember

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Speaker 1: going to see a dramatization of The Telltale Heart as

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Speaker 1: part of a school group and being really impressed by that.

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Speaker 2: Though it's funny, most of this, of the actual narrative

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Speaker 2: content of this film is not in the post story.

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Speaker 2: I mean, this is essentially an original, a totally original

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Speaker 2: plot based on just kind of loosely based on a

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Speaker 2: scenario described by Poe.

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Speaker 1: So getting into the screenwriters that were responsible for this,

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Speaker 1: the main one really to highlight here is Charles Beaumont,

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Speaker 1: who lived nineteen twenty nine through nineteen sixty seven, and

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Speaker 1: he was a pretty big and pretty influential name and

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Speaker 1: speculative fiction of the day. He pinned numerous horror and

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Speaker 1: sci fi stories, as well as multiple classic episodes of

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Speaker 1: the original Twilight Zone series, titles such as The Howling Man, Static, Miniature,

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Speaker 1: Printer's Devil, and Number twelve Looks Just Like You, and

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Speaker 1: many of these were adapted from his own stories. He

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Speaker 1: also did film screenplays, including nineteen fifty eight's Queen of

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Speaker 1: Outer Space, sixty two's Night of the Eagle, also sixty

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Speaker 1: two's premature Burial, and The Intruder, which was based on

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Speaker 1: his own novel, nineteen sixty three's The Haunted Place in

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Speaker 1: nineteen sixty four's Seven Faces of Doctor Lao. The other

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Speaker 1: writer on this screenwriter is R. Wright Campbell, who lived

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Speaker 1: nineteen twenty seven through two thousand, American screenwriter and author

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Speaker 1: who worked on such films as nineteen fifty seven's Man

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Speaker 1: of one Thousand Faces, nineteen fifty eight's Teenage ca Caveman,

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Speaker 1: and nineteen sixties The Night Fighters.

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Speaker 2: As we said, the screenplay here is very good.

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Speaker 1: Yeah so yeah, tip of the hat to both these gentlemen.

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Speaker 2: But more than anything else, this movie is about Vincent Price.

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Speaker 1: That's right, Vincent Price playing the role of Prince Prospero.

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Speaker 1: He lived nineteen eleven through nineteen ninety three, American acting royalty,

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Speaker 1: active on screen from the late thirties to the early nineties.

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Speaker 1: Just I mean everything is great about him, great voice,

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Speaker 1: great look, great mustache, horror icon. But was active in

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Speaker 1: various genres throughout his career, especially early on in his

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Speaker 1: career and then later, you know, especially by the time

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Speaker 1: of these po films, he was really cemented as the

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Speaker 1: horror guy, and then towards the end of his career

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Speaker 1: he was kind of played more of the celebrity game,

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Speaker 1: doing celebrity appearances, product endorsements, which we've had some fun

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Speaker 1: discussing already on the show. And you know, by this

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Speaker 1: point in his career he'd very much earned that.

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Speaker 2: Yeah cameos, you know, you could to do the narration

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Speaker 2: and thriller, or to be in commercials for the No

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Speaker 2: Jelly Bars, Yeah.

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Speaker 1: The no Jelly Bars, or yeah, go on the Muppet Show,

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Speaker 1: host the Muppet Show. Go for it. So if you

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Speaker 1: want to hear more about Vincent Price, go back and

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Speaker 1: listen to our episodes on Doctor Fibes and also Scream

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Speaker 1: Scream Again. This film, however, is a better showcase for

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Speaker 1: Poe than either of those. He's great in those films,

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Speaker 1: but in this you just get pure villainous Price, just

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Speaker 1: top shelf stuff.

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Speaker 2: Totally agree.

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Speaker 1: Now, another actor that's in this one that we've previously

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Speaker 1: discussed in the show. Hazel Court plays Juliana hazel Court

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Speaker 1: lived nineteen twenty six through two thousand and eight, British

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Speaker 1: actor and early horror queen, a star of Hammer Horror

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Speaker 1: as well. There are films include The Curse of Frankenstein

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Speaker 1: from fifty seven, The Man Who Could Cheat Death from

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Speaker 1: fifty nine, Doctor Blood's Coffin from sixty one, and sixty

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Speaker 1: three's The Raven. She was in a Devil Girl from Mars.

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Speaker 1: Most recently, that's what we talked about her. That's the

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Speaker 1: film we covered where we we're discussing her. On TV,

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Speaker 1: she appeared on both The Twilight Zone and Thriller And Yeah,

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Speaker 1: in this she is the consort of Prince Prospero, who

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Speaker 1: is almost one hundred percent on board with the whole

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Speaker 1: worship of the Prince of Darkness thing. But even when

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Speaker 1: she's all in, Prospero is more interested in the corruption

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Speaker 1: of innocence.

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Speaker 2: You kind of get the sense that, well, maybe we

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Speaker 2: should describe her role after we describe Jane Asher.

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Speaker 1: That's right. Jane Asher plays Francesca Asher was born nineteen

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Speaker 1: forty six as of this recording, and still still very

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Speaker 1: Much Alive British child actress who transitioned into quite a

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Speaker 1: career as an adult. Some of her most notable films

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Speaker 1: include Deep In from nineteen seventy, Alfie from nineteen sixty six,

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Speaker 1: and Death at a Funeral from two thousand and seven.

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Speaker 1: As a child, she also she appeared in such titles

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Speaker 1: as nineteen fifty seven's The Quartermass Experiment. She was also

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Speaker 1: pretty famous for being Paul McCartney's muse for a number

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Speaker 1: of years, inspiring such songs is here, there and everywhere.

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Speaker 2: So in this movie, Jane Asher plays this peasant girl, Francesca,

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Speaker 2: who is brought to the palace of Prince Prospero because

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Speaker 2: Prospero sees her moral goodness, her Christian piety and her innocence,

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Speaker 2: and he's like, I gotta corrupt that, I gotta turn

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Speaker 2: her over into Satan. And she has an interesting relationship

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Speaker 2: with the character Juliana played by Hazel Court, who you

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Speaker 2: get the sense was once in Francesca's place like she

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Speaker 2: herself maybe was once a morally good, faithful, faithful Christian

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Speaker 2: who was innocent as well, but has for some time

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Speaker 2: now been corrupted and turned to the dark side of

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Speaker 2: the force. Now she is all in for Satan, and

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Speaker 2: when Prospero shows up with a new innocent person to

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Speaker 2: corrupt and add into the coven, Julian is kind of jealous.

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Speaker 2: You can feel how you can like she feels snubbed,

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Speaker 2: and for some reason I felt kind of like I

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Speaker 2: felt a strong sympathy for her in that that Prospero has.

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Speaker 2: Now there's somebody more innocent to corrupt, and he's just

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Speaker 2: moved on.

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Speaker 1: Yeah, as with everything in this film, there's so much

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Speaker 1: more nuanced than a lesser film would give this scenario,

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Speaker 1: and so many other films you can imagine, yeah, here's

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Speaker 1: your villain, here's the bad girl, here's the good girl.

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Speaker 1: Bad guy wants to do bad things to the good girl.

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Speaker 1: Fair enough, that's, I guess, a pretty simple recipe for

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Speaker 1: a horror movie or what have you. But in this yeah,

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Speaker 1: it's a bit more complicated than that. Like she's Francesca

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Speaker 1: is not quite a mere damsel in distress. Like as

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Speaker 1: she's being corrupted, it's like she has agency in her corruption.

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Speaker 1: You get the sense with both these characters, it's not like, well, yeah,

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Speaker 1: he overpowered me with his suave evil. It's like, no,

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Speaker 1: there's a sense that they have listened to the argument

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Speaker 1: for darkness and have been overcome by how pervasive that

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Speaker 1: argument is. Yeah, but if you want a simplistic here

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Speaker 1: in your film, well, this film's got one as well,

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Speaker 1: and that is the character Geno Gino, Gino, Gino, Yeah,

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Speaker 1: Gino Gino, play by Dave David Weston born nineteen thirty eight.

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Speaker 2: We were talking before we recorded about how a dumber

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Speaker 2: version of this same story would have made Geno the

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Speaker 2: main character, because he is sensibly like the young male hero.

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Speaker 2: You know, he gets to sword fight, he gets to

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Speaker 2: be dashing and courageous, but he's not the main character

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Speaker 2: of this movie. In fact, none of the good characters

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Speaker 2: are the main character. It's such an interesting way to

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Speaker 2: arrange the drama that really the main character of the

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Speaker 2: film is the villain, and there are heroes, there are

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Speaker 2: good characters to root for, but they're all secondary characters.

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Speaker 1: Yeah, And it's this is something that I think would

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Speaker 1: definitely work for so many modern viewers because it's what

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Speaker 1: we've actually come to expect with like Game of Thrones

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Speaker 1: and so many other properties where the characters in the

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Speaker 1: forefront are the flawed characters and the complicated characters and

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Speaker 1: sometimes the outright villains of the piece. And like on

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Speaker 1: Game of Thrones, for an example, a character like like

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Speaker 1: Gino here would be would be in the background, would

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Speaker 1: not be the major character. And that's the case here. Yeah,

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Speaker 1: he's overshadowed by various other characters, and the film is

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Speaker 1: largely more concerned with weirder and more complex figures as

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Speaker 1: opposed to this typical babyface. He's still important to the plot,

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Speaker 1: but he is not the main focus.

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Speaker 2: Yeah, and he's likable as a character. I mean, even

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Speaker 2: though he's not as complex as some of these other ones.

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Speaker 2: But he's got a kind of righteous defiance in the

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Speaker 2: face of Prospero's tyranny. That's it's hard not to get behind.

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Speaker 2: Like when you very first meet him, Prospero's in his village,

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Speaker 2: you know, just sort of looking down on everybody and

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Speaker 2: condescendingly saying, oh, thank you for all the grain, and

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Speaker 2: Gino gets right up in his face. He's like, yeah,

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Speaker 2: you're gonna eat all our grain while we starve.

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Speaker 1: David Weston Shakespeare is is of this recording. He's still alive.

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Speaker 1: I don't think he's active anymore, but he was a

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Speaker 1: Shakespearean actor. Accomplished actor of stage, TV and screen. He

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Speaker 1: apparently acted in twenty nine of thirty seven shakespeare plays.

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Speaker 1: He appeared in the nineteen sixty four film Beckett, as

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Speaker 1: well as multiple episodes of Doctor Who, during the William

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Speaker 1: Hartnell era as the human Nicholas Muss and during the

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Speaker 1: excellent Tom Baker era is a thrall by the name

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Speaker 1: of beer Rock, which appears to be a kind of

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Speaker 1: lion man. I haven't seen these episodes in particular. He

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Speaker 1: was also in the Don Sharp film from nineteen sixty four, Witchcraft,

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Speaker 1: opposite Lawn Cheney Jr.

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Speaker 2: Now, most of the scenes that Gino is in, he's

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Speaker 2: sort of part of a duo. They were like the

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Speaker 2: two men that Francesca cares about. They are Gino but

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Speaker 2: also her father Ludovico, played by Nigel Green.

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Speaker 1: Yeah, Nigel Green is Ludo here. Green Live nineteen twenty

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Speaker 1: four through nineteen seventy two British actor who appeared in

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Speaker 1: a bunch of films, including sixty four as Zulu, nineteen

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Speaker 1: sixty five's The Ipcris File, and nineteen sixty three's Jason

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Speaker 1: and the Argonauts, in which he played Hercules okay. Other

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Speaker 1: films include nineteen seventy one's Countess Dracula, sixty five's The Skull,

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Speaker 1: and his final film was a nineteen seventy three adaptation

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Speaker 1: of Sir Gawain and the Green Knight, in which he

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Speaker 1: plays the Green Knight opposite. Looks like a really good

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Speaker 1: cast of the likes of Robert Hardy, Ronald Lacey, and

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Speaker 1: Richard Harndel Rald Lacey.

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Speaker 2: He's the Nazi in Indian and Raiders.

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Speaker 1: Yes, he's the man in black with the Peter Laurie

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Speaker 1: esque character in Raiders.

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Speaker 2: Yes, Yeah, yeah, tote yeah, the officer who melts gloriously

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Speaker 2: at the end. Now we've said that, of course, Price

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Speaker 2: is Prospero in this movie is thoroughly evil, but he's

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Speaker 2: also kind of complex and kind of interesting and comes

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Speaker 2: off as a more thoughtful brand of evil. On the

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Speaker 2: other hand, there are just like straight up, you know,

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Speaker 2: mustache twirling evil creeps in this movie, and a great

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Speaker 2: example of that is Alfredo.

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Speaker 1: Yes, played by the accomplished British state actor Patrick McGee

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Speaker 1: who lived nineteen twenty two through nineteen eighty two. This

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Speaker 1: guy has a very recognizable face and build. Alfredo is

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Speaker 1: a blunt object of a villain, and the McGee had

429
00:24:53,480 --> 00:24:57,400
Speaker 1: the physicality to back that up. He did a lot

430
00:24:57,440 --> 00:24:59,720
Speaker 1: of horror films, but he also pops up in a

431
00:25:00,080 --> 00:25:02,959
Speaker 1: a number of other works. He was in two Stanley

432
00:25:03,040 --> 00:25:06,160
Speaker 1: Kubrick films, A Clockwork Orange in seventy one and Barry

433
00:25:06,200 --> 00:25:09,520
Speaker 1: Lyndon in seventy five. He was in William Friedkins's The

434
00:25:09,560 --> 00:25:13,320
Speaker 1: Birthday Party from sixty eight, nineteen seventy's Cromwell. He was

435
00:25:13,359 --> 00:25:16,920
Speaker 1: in nineteen eighty one's Chariots of Fire. But he also Yeah,

436
00:25:16,960 --> 00:25:20,439
Speaker 1: I was in a ton of horror movies, including Lucio

437
00:25:20,520 --> 00:25:23,720
Speaker 1: Fulchi's nineteen eighty one film The Black Cat, nineteen seventy

438
00:25:23,760 --> 00:25:27,200
Speaker 1: two's Demons of the Mind, the nineteen seventy two Amicus

439
00:25:27,400 --> 00:25:31,240
Speaker 1: film Tales from the Crypt, sixty five's Die, Monster, Die,

440
00:25:31,440 --> 00:25:35,720
Speaker 1: and Francis Ford Coppola's Dementia thirteen from nineteen sixty three.

441
00:25:36,000 --> 00:25:38,760
Speaker 2: I'm trying to figure out if I've seen Fulchi's Black Cat.

442
00:25:39,400 --> 00:25:40,560
Speaker 2: I don't think I have.

443
00:25:40,960 --> 00:25:43,080
Speaker 1: I don't think i've seen that one now, But now

444
00:25:43,119 --> 00:25:45,359
Speaker 1: you have a reason to because Alfredo's in it.

445
00:25:46,160 --> 00:25:49,560
Speaker 2: Alfredo is so slimy, you just you hate him. From

446
00:25:49,600 --> 00:25:51,640
Speaker 2: the moment you see him, and then everything he does

447
00:25:51,760 --> 00:25:52,639
Speaker 2: makes it even worse.

448
00:25:53,160 --> 00:25:57,280
Speaker 1: Yeah, and he has a number of interactions with Vincent Price.

449
00:25:57,560 --> 00:26:00,680
Speaker 1: But he's also very much the villain of our B plot.

450
00:26:01,200 --> 00:26:04,560
Speaker 1: We have a B revenge plot and it involves both

451
00:26:04,640 --> 00:26:07,320
Speaker 1: Alfredo and a character by the name of hop Toad.

452
00:26:07,720 --> 00:26:08,600
Speaker 2: Hop Toad is great.

453
00:26:08,840 --> 00:26:12,240
Speaker 1: Yeah, hop Toad is really good. And the thing is

454
00:26:12,359 --> 00:26:14,720
Speaker 1: this whole B plot with hop Toad, which is based

455
00:26:14,840 --> 00:26:19,399
Speaker 1: on the Edgar Allan Poe eighteen forty nine story hop Frog.

456
00:26:20,320 --> 00:26:23,880
Speaker 1: This would, I think be otherwise maybe a forgettable distraction

457
00:26:24,080 --> 00:26:26,240
Speaker 1: in the film. You might find yourself saying, well, this

458
00:26:26,359 --> 00:26:27,840
Speaker 1: is okay, but when are we going to get back

459
00:26:27,840 --> 00:26:31,840
Speaker 1: to the main plot. Except the character playing hop Toad

460
00:26:32,000 --> 00:26:35,800
Speaker 1: is so good, played by Skip Martin who lived nineteen

461
00:26:35,840 --> 00:26:38,879
Speaker 1: twenty eight through nineteen eighty four. This is a short

462
00:26:38,960 --> 00:26:43,200
Speaker 1: stature British actor born Derek George Horowitz, and not to

463
00:26:43,240 --> 00:26:45,000
Speaker 1: be confused with I think there's some other actors and

464
00:26:45,119 --> 00:26:49,080
Speaker 1: musicians who use the moniker Skip Martin. But yeah, he

465
00:26:49,160 --> 00:26:54,040
Speaker 1: plays this character that like so much in the film. Yeah,

466
00:26:54,280 --> 00:26:56,639
Speaker 1: you can imagine a version in which this is just

467
00:26:56,760 --> 00:27:01,000
Speaker 1: a straight up you know, like evil dwarf sort of

468
00:27:01,040 --> 00:27:05,240
Speaker 1: a character or something. But with the Skip Martin's hop Toad.

469
00:27:05,760 --> 00:27:09,879
Speaker 1: You know, he's charismatic, he's believable as a human character

470
00:27:10,240 --> 00:27:13,000
Speaker 1: while at the same time being whimsical and of course

471
00:27:13,400 --> 00:27:17,040
Speaker 1: having a just vicious revenge plot in motion. So he's

472
00:27:17,280 --> 00:27:19,640
Speaker 1: he ultimately is one of the highlights of the film.

473
00:27:19,920 --> 00:27:22,840
Speaker 2: Yeah. Absolutely, Skip Martin is wonderful in this. It's so

474
00:27:23,040 --> 00:27:25,680
Speaker 2: hard not to love him even when he's even when

475
00:27:25,800 --> 00:27:30,520
Speaker 2: his revenge on a nasty character for a nasty act

476
00:27:30,760 --> 00:27:34,120
Speaker 2: turns extremely brutal. I don't know, it just doesn't really

477
00:27:34,160 --> 00:27:36,400
Speaker 2: bother you. It's just like, good job, good job, hop Toad.

478
00:27:36,840 --> 00:27:40,440
Speaker 1: Yeah, that's the Prince Prospero's response as well. It's like

479
00:27:40,720 --> 00:27:42,680
Speaker 1: that as good good give him a tip.

480
00:27:43,080 --> 00:27:45,800
Speaker 2: Yeah, give him a reward for burning one of my

481
00:27:45,880 --> 00:27:46,639
Speaker 2: guests alive.

482
00:27:48,760 --> 00:27:50,600
Speaker 1: Skip Martin wasn't in a ton of films, but he

483
00:27:50,680 --> 00:27:53,720
Speaker 1: was active through seventy five and during the sixties and

484
00:27:53,760 --> 00:27:56,960
Speaker 1: seventies he was in a number of mostly horror films,

485
00:27:57,280 --> 00:28:01,080
Speaker 1: the likes of The Hell Fire Clubs, Psycho Circus, Vampire Circus,

486
00:28:01,480 --> 00:28:04,879
Speaker 1: Son of Dracula, and Horror Hospital. But yeah, during that

487
00:28:04,960 --> 00:28:08,040
Speaker 1: time he got to work in pictures with names like

488
00:28:08,160 --> 00:28:14,600
Speaker 1: Price Cushing, Lee, Patrick mcnead, Diana Rigg, some great names,

489
00:28:14,640 --> 00:28:16,600
Speaker 1: and many of these Like, it's not just he was

490
00:28:16,640 --> 00:28:18,439
Speaker 1: in the same picture with him and he had screen

491
00:28:18,520 --> 00:28:21,919
Speaker 1: time with them. He was interacting with some great actors

492
00:28:21,960 --> 00:28:22,320
Speaker 1: of the day.

493
00:28:22,680 --> 00:28:24,160
Speaker 2: Yeah, skip Martin's wonderful.

494
00:28:24,440 --> 00:28:26,479
Speaker 1: Now this is Mask of the Red Death, and there

495
00:28:26,600 --> 00:28:29,639
Speaker 1: is a character that is the Red Death or with

496
00:28:29,960 --> 00:28:33,280
Speaker 1: the Man in Red. I think he's referred to in

497
00:28:33,359 --> 00:28:37,639
Speaker 1: different different ways, but this is an uncredited performance by

498
00:28:38,240 --> 00:28:40,560
Speaker 1: an actor by the name of John Westbrook who lived

499
00:28:40,600 --> 00:28:43,920
Speaker 1: nineteen twenty two through nineteen eighty nine. He also worked

500
00:28:43,960 --> 00:28:46,440
Speaker 1: in Corman's Poe follow up to this film, The Tomb

501
00:28:46,480 --> 00:28:49,440
Speaker 1: of Legia. He was the voice of Treebeard in the

502
00:28:49,520 --> 00:28:52,719
Speaker 1: nineteen seventy eight animated adaptation of The Lord of the Rings.

503
00:28:53,240 --> 00:28:55,400
Speaker 1: And he also apparently did a lot of work with

504
00:28:55,600 --> 00:28:58,400
Speaker 1: radio plays and audio books, which should come as no

505
00:28:58,520 --> 00:29:02,160
Speaker 1: surprise because he has this really rich, velvety voice.

506
00:29:02,760 --> 00:29:06,640
Speaker 2: When he first spoke, I was like, it's Christopher Lee,

507
00:29:06,960 --> 00:29:09,320
Speaker 2: and I really thought it was him until I looked

508
00:29:09,360 --> 00:29:11,880
Speaker 2: it up and it's not Christopher Lee, but he sounds

509
00:29:12,040 --> 00:29:12,720
Speaker 2: enough like him.

510
00:29:13,240 --> 00:29:17,440
Speaker 1: Yeah, it's very Christopher Lee esque. It has that, like,

511
00:29:17,560 --> 00:29:20,320
Speaker 1: that rich quality to it. It's a voice that can

512
00:29:20,360 --> 00:29:23,080
Speaker 1: go head to head with Vincent Price in these scenes.

513
00:29:23,400 --> 00:29:26,240
Speaker 2: Yes, and I like the way the character is written

514
00:29:26,360 --> 00:29:31,720
Speaker 2: as well. He is very economical with his words. He

515
00:29:31,840 --> 00:29:38,280
Speaker 2: speaks often in very pointed, clipped sentences that are extremely

516
00:29:38,360 --> 00:29:39,720
Speaker 2: ominous and effective.

517
00:29:40,120 --> 00:29:43,400
Speaker 1: Yeah. Now we mentioned how beautiful this film is just

518
00:29:43,520 --> 00:29:46,400
Speaker 1: wonderful to watch, and a lot of that also has

519
00:29:46,440 --> 00:29:49,040
Speaker 1: to do with the cinematography, which is the work of

520
00:29:49,160 --> 00:29:52,400
Speaker 1: Nicholas Rogue, who lived nineteen twenty eight through twenty eighteen.

521
00:29:52,520 --> 00:29:56,280
Speaker 1: This is a name that should ring a bell with

522
00:29:56,360 --> 00:29:56,880
Speaker 1: a number of you.

523
00:29:57,280 --> 00:30:00,640
Speaker 2: It totally made sense how good this movie looked when

524
00:30:00,680 --> 00:30:02,680
Speaker 2: I realized he was the cinematographer. Yeah.

525
00:30:03,080 --> 00:30:05,880
Speaker 1: Yeah, he served as a cinematographer on a number of films,

526
00:30:06,040 --> 00:30:09,000
Speaker 1: and not only this, but also nineteen sixty six is

527
00:30:09,360 --> 00:30:12,560
Speaker 1: Fahrenheit four fifty one. But he's probably best known as

528
00:30:12,600 --> 00:30:15,360
Speaker 1: the director of such films as the nineteen seventy one

529
00:30:15,480 --> 00:30:19,640
Speaker 1: outback thriller Walk About nineteen seventy threes. Don't look now,

530
00:30:19,880 --> 00:30:23,440
Speaker 1: I know that's one you've mentioned before, Joe, Oh, Yeah.

531
00:30:23,560 --> 00:30:26,440
Speaker 2: That's a horrifying film. Is extremely good.

532
00:30:27,240 --> 00:30:29,720
Speaker 1: And then on the tripier end of the spectrum, he

533
00:30:29,840 --> 00:30:32,480
Speaker 1: directed nineteen seventy six as The Man Who Fell to Earth,

534
00:30:32,560 --> 00:30:36,040
Speaker 1: starring David Bowie. Other films of note include nineteen nineties

535
00:30:36,120 --> 00:30:38,840
Speaker 1: The Witches and I was surprised I didn't know anything

536
00:30:38,840 --> 00:30:42,440
Speaker 1: about this, but yeah, his later career has moves around

537
00:30:42,480 --> 00:30:45,080
Speaker 1: through different genres. I mean there's, for instance, there's some

538
00:30:46,000 --> 00:30:48,440
Speaker 1: there's se erotica in there, but then there's also a

539
00:30:48,560 --> 00:30:51,640
Speaker 1: nineteen ninety six mini series of Samson and Delilah with

540
00:30:51,800 --> 00:30:55,400
Speaker 1: a really solid cast. The production designer on this was

541
00:30:55,440 --> 00:30:59,240
Speaker 1: also someone of note. Daniel Holler born nineteen twenty nine.

542
00:30:59,320 --> 00:31:02,240
Speaker 1: We've talked about him before because he directed nineteen seventies

543
00:31:02,280 --> 00:31:03,680
Speaker 1: The Dunwich Horror Oh.

544
00:31:03,640 --> 00:31:06,120
Speaker 2: With Dean Stockwell, Sander Die and Ed Begley.

545
00:31:06,480 --> 00:31:09,080
Speaker 1: Yeah, yeah, very fun film. Go back and listen to

546
00:31:09,480 --> 00:31:11,680
Speaker 1: the past Weird House episode on that if you're interested.

547
00:31:12,360 --> 00:31:14,960
Speaker 1: That was a Lovecraft adaptation. But Holler also directed in

548
00:31:15,040 --> 00:31:19,800
Speaker 1: nineteen sixty five Lovecraft adaptation Die Monster Die, starring Boris Karloff.

549
00:31:20,320 --> 00:31:23,640
Speaker 1: He did some biker films, he did some TV work,

550
00:31:24,320 --> 00:31:26,680
Speaker 1: but yeah, he was the production designer on this film.

551
00:31:27,120 --> 00:31:29,360
Speaker 1: And then finally the music for this film is the

552
00:31:29,440 --> 00:31:33,320
Speaker 1: work of David Lee born nineteen twenty six. This is

553
00:31:33,360 --> 00:31:35,680
Speaker 1: one of those scores that is not necessarily the kind

554
00:31:35,680 --> 00:31:38,720
Speaker 1: of thing I would seek out to listen into in isolation,

555
00:31:39,360 --> 00:31:42,719
Speaker 1: But for this film, it's really solid. I think it's

556
00:31:42,800 --> 00:31:47,400
Speaker 1: really effective. It evokes a nice Gothic cinema sensibility for

557
00:31:47,480 --> 00:31:48,240
Speaker 1: the time period.

558
00:31:48,520 --> 00:31:51,960
Speaker 2: Oh yeah, especially in the final scenes, like in the

559
00:31:52,040 --> 00:31:55,120
Speaker 2: confrontation between Prince Prospero and the Red Death as the

560
00:31:55,240 --> 00:31:59,160
Speaker 2: dancers are circling, the music gets intense and it's very good.

561
00:31:59,480 --> 00:32:03,840
Speaker 1: Yeah, David Lee was slash. He is a prominent pianist

562
00:32:03,880 --> 00:32:06,400
Speaker 1: and a ranger who also composed for film, TV and

563
00:32:06,600 --> 00:32:08,680
Speaker 1: a lot of television ads apparently, and I think he's

564
00:32:08,680 --> 00:32:12,120
Speaker 1: also a novelist. This was probably his biggest film that

565
00:32:12,200 --> 00:32:15,560
Speaker 1: he composed for, but he did at least a handful

566
00:32:15,600 --> 00:32:19,640
Speaker 1: of film scores, including nineteen sixty three's The Very Edge,

567
00:32:20,120 --> 00:32:22,640
Speaker 1: which has been sort of on my radar before because

568
00:32:22,840 --> 00:32:25,440
Speaker 1: it's one of the very few genre films to star

569
00:32:25,600 --> 00:32:30,440
Speaker 1: Jeremy Brett, who is famous for his portrayal of Sherlock Holmes.

570
00:32:31,080 --> 00:32:34,640
Speaker 1: But when you look around for like weird psychotronic films

571
00:32:34,680 --> 00:32:38,480
Speaker 1: that Jeremy Brett was in. There aren't very many contenders.

572
00:32:39,120 --> 00:32:41,800
Speaker 1: The Very Edge is one of the very few. Probably

573
00:32:41,880 --> 00:32:44,720
Speaker 1: not a film we'd necessarily tackle on Weird House, but

574
00:32:45,160 --> 00:32:45,920
Speaker 1: it stood out to me.

575
00:32:45,960 --> 00:32:48,800
Speaker 2: Before Well, are you ready to discuss the plot of

576
00:32:48,880 --> 00:32:53,800
Speaker 2: this American international picture. Let's do it once again. A

577
00:32:53,920 --> 00:32:57,320
Speaker 2: Corman movie for aip coming in hot with an awesome

578
00:32:57,680 --> 00:33:01,440
Speaker 2: credit sequence design. Even some of his you know, drive

579
00:33:01,520 --> 00:33:05,120
Speaker 2: in b movies had great looking credits, and these are

580
00:33:05,200 --> 00:33:08,239
Speaker 2: also great in a way that I can understand by

581
00:33:09,720 --> 00:33:11,680
Speaker 2: some of the producers may have been seen as too

582
00:33:11,800 --> 00:33:14,600
Speaker 2: artsy FARTSI, but I think it's wonderful. So we see

583
00:33:14,680 --> 00:33:16,440
Speaker 2: like the mask of the red death title, but in

584
00:33:16,480 --> 00:33:21,680
Speaker 2: the background there is a growing splatter of red, as

585
00:33:21,760 --> 00:33:26,320
Speaker 2: if blood. But the red splatter actually doesn't look exactly

586
00:33:26,440 --> 00:33:28,760
Speaker 2: like blood, because it doesn't look like the splashing of

587
00:33:28,920 --> 00:33:32,800
Speaker 2: round droplets, and instead it looks more like some kind

588
00:33:32,840 --> 00:33:37,960
Speaker 2: of fibrous growth like hairs or filaments or branches of blood,

589
00:33:39,480 --> 00:33:42,240
Speaker 2: and it gradually spreads and spreads across more of the

590
00:33:42,280 --> 00:33:45,160
Speaker 2: screen until the red holds illimitable dominion.

591
00:33:45,200 --> 00:33:46,680
Speaker 1: Overall very fitting.

592
00:33:47,160 --> 00:33:50,040
Speaker 2: Now we open on one of my favorite things, a

593
00:33:50,360 --> 00:33:54,560
Speaker 2: spooky indoor for outdoor set. I'm about ninety percent sure

594
00:33:54,640 --> 00:33:56,480
Speaker 2: that's what it is. I'd say more than ninety This

595
00:33:56,560 --> 00:34:00,720
Speaker 2: is almost definitely an indoor set. But it looks amazing.

596
00:34:01,160 --> 00:34:06,840
Speaker 2: Fog drifting through the darkness, dead tree limbs, and an

597
00:34:06,880 --> 00:34:09,640
Speaker 2: atmosphere that's just like so heavy you can feel it.

598
00:34:10,120 --> 00:34:12,840
Speaker 2: And then you see a peasant woman wrapped in rags

599
00:34:12,960 --> 00:34:17,520
Speaker 2: climbing a hill covered in soft earth. And what ran

600
00:34:17,600 --> 00:34:20,680
Speaker 2: through my head looking at this is the Thomas Hobbes

601
00:34:20,760 --> 00:34:25,880
Speaker 2: description of life without civilization. Solitary, poor, nasty, brutish and short,

602
00:34:26,400 --> 00:34:29,879
Speaker 2: just a desolate view of life. And then we see

603
00:34:30,000 --> 00:34:32,200
Speaker 2: the peasant woman walk up to the top of the

604
00:34:32,320 --> 00:34:36,840
Speaker 2: hill and she walks around collecting deadfall. She's gathering twigs

605
00:34:36,880 --> 00:34:40,680
Speaker 2: I guess to burn, until she finally wanders past a

606
00:34:40,880 --> 00:34:44,120
Speaker 2: dead tree and a figure cloaked in red, and the

607
00:34:44,200 --> 00:34:46,719
Speaker 2: man in red is sitting cradled in the roots of

608
00:34:46,800 --> 00:34:50,319
Speaker 2: the dead tree, and he calls out to her. He says, grandmother,

609
00:34:50,719 --> 00:34:55,680
Speaker 2: come closer, and she does, and he produces a white rose,

610
00:34:56,320 --> 00:34:58,480
Speaker 2: and then he waves his hand over it and the

611
00:34:58,600 --> 00:35:01,840
Speaker 2: white rose turns red, and then he hands her the

612
00:35:01,920 --> 00:35:04,879
Speaker 2: flower and says, take this to your village and tell

613
00:35:04,960 --> 00:35:07,759
Speaker 2: the people the day of their deliverance is at hand.

614
00:35:08,680 --> 00:35:11,280
Speaker 2: She bows to the man in red, takes the rose,

615
00:35:11,640 --> 00:35:14,920
Speaker 2: and totters off on her way. This cannot be good,

616
00:35:15,600 --> 00:35:17,960
Speaker 2: but we immediately oh sorry, no, no.

617
00:35:18,040 --> 00:35:20,600
Speaker 1: No, it's just yeah, it's it's it's such a great saying.

618
00:35:20,680 --> 00:35:25,040
Speaker 1: It's very uh, it's played seriously, and yeah, this does

619
00:35:25,120 --> 00:35:27,080
Speaker 1: not bode well for the village. We know what he's

620
00:35:27,120 --> 00:35:29,759
Speaker 1: getting at. He's like, here's some, here's some here's a

621
00:35:29,800 --> 00:35:31,320
Speaker 1: brand new disease for your grandma.

622
00:35:31,800 --> 00:35:35,279
Speaker 2: Go share this with the rest, right, you know, it's

623
00:35:35,400 --> 00:35:39,719
Speaker 2: it's gonna go viral, you know. The what's also not

624
00:35:39,840 --> 00:35:41,960
Speaker 2: good for the village is a visit from the Prince.

625
00:35:42,360 --> 00:35:45,080
Speaker 2: He's going to ride in to speak to people, and

626
00:35:45,840 --> 00:35:48,880
Speaker 2: the Prince he's a reckless driver for one thing. I mean,

627
00:35:48,920 --> 00:35:51,320
Speaker 2: I guess he's not driving, but he it seems like

628
00:35:51,480 --> 00:35:56,120
Speaker 2: he has instructed the carriage driver do not mind if

629
00:35:56,160 --> 00:35:57,960
Speaker 2: there are children playing in the street.

630
00:35:59,200 --> 00:36:01,040
Speaker 1: Yeah, we get the great it's seen where there's a

631
00:36:01,160 --> 00:36:04,120
Speaker 1: child there in the path of the carriage and our

632
00:36:04,239 --> 00:36:07,160
Speaker 1: hero Gino has to run into the street and scoop

633
00:36:07,239 --> 00:36:08,719
Speaker 1: up the child to keep the child from me. And

634
00:36:08,840 --> 00:36:12,640
Speaker 1: just run over by the Prospero Express here and.

635
00:36:12,640 --> 00:36:15,240
Speaker 2: Then we get a Price reveal. One of the soldiers

636
00:36:15,280 --> 00:36:18,680
Speaker 2: pulls back the curtain from the carriage and there's Price inside,

637
00:36:18,840 --> 00:36:26,160
Speaker 2: wearing a funny hat and glittering gold raiment, just a

638
00:36:26,480 --> 00:36:30,640
Speaker 2: beautiful outfit, standing amidst all these poor peasants. And he

639
00:36:30,760 --> 00:36:34,040
Speaker 2: comes out and he thunders to them, according to my custom,

640
00:36:34,120 --> 00:36:36,680
Speaker 2: I have come here personally to thank you for the

641
00:36:36,800 --> 00:36:39,920
Speaker 2: year's harvest and to invite you to a feast to

642
00:36:40,000 --> 00:36:43,160
Speaker 2: be held in a fortnight when annually I gather about

643
00:36:43,280 --> 00:36:47,680
Speaker 2: me the nobles of the countryside. So he's being generous,

644
00:36:47,800 --> 00:36:50,600
Speaker 2: it seems he's offering that they can come up to

645
00:36:50,640 --> 00:36:51,760
Speaker 2: a feast at his castle.

646
00:36:52,120 --> 00:36:54,839
Speaker 1: Yeah, and you know they get to look at these

647
00:36:54,880 --> 00:36:57,799
Speaker 1: fabulous costumes. This is the first of so many costumes

648
00:36:57,960 --> 00:36:59,719
Speaker 1: that Vincent Price wears in this film.

649
00:37:00,120 --> 00:37:03,600
Speaker 2: But Gino is not going to stand for this farce.

650
00:37:03,680 --> 00:37:06,360
Speaker 2: He you know, he says, oh, come to your castle.

651
00:37:06,440 --> 00:37:08,680
Speaker 2: He gets up in Price's face and he says, when

652
00:37:08,719 --> 00:37:11,080
Speaker 2: you'll throw us the scraps from your table as if

653
00:37:11,120 --> 00:37:15,080
Speaker 2: we were dogs, And Price says, exactly, But these dogs

654
00:37:15,120 --> 00:37:17,040
Speaker 2: have a loud bark and show their teeth.

655
00:37:17,760 --> 00:37:17,960
Speaker 1: Why.

656
00:37:19,000 --> 00:37:21,880
Speaker 2: And I love this moment, especially because it reminds me

657
00:37:22,000 --> 00:37:25,640
Speaker 2: of my favorite part of Superman two where Lex Luthor

658
00:37:26,200 --> 00:37:30,479
Speaker 2: says something vaguely disrespectful to Terrence Stamp as General Zod,

659
00:37:30,600 --> 00:37:33,400
Speaker 2: and then Zod replies, why do you say this to

660
00:37:33,520 --> 00:37:35,480
Speaker 2: me when you know I will kill you for it?

661
00:37:36,719 --> 00:37:41,200
Speaker 2: But the young man explains why he's got more bark

662
00:37:41,280 --> 00:37:43,920
Speaker 2: than usual. He says, well, an old woman from our

663
00:37:44,000 --> 00:37:46,840
Speaker 2: village met a holy man up on the hill and

664
00:37:46,960 --> 00:37:49,359
Speaker 2: he made a prophecy. He said, the day of our

665
00:37:49,400 --> 00:37:52,719
Speaker 2: deliverance was at hand. So the stranger in red his

666
00:37:52,840 --> 00:37:54,560
Speaker 2: message has now spread to the village.

667
00:37:54,960 --> 00:37:58,000
Speaker 1: Yeah, they don't have much to lose. They're embolded by

668
00:37:58,120 --> 00:38:01,200
Speaker 1: prophecy now, and so at least a couple of them

669
00:38:01,360 --> 00:38:02,279
Speaker 1: are standing.

670
00:38:02,000 --> 00:38:06,040
Speaker 2: Up right, and they interpret the prophecy of deliverance as

671
00:38:06,200 --> 00:38:11,680
Speaker 2: deliverance from Prospero's tyranny. Yeah, but pro Prospero is kind

672
00:38:11,719 --> 00:38:14,360
Speaker 2: of amused. You know, he's giving them the Terence Stamp

673
00:38:14,520 --> 00:38:17,839
Speaker 2: and then he just instructs his soldiers to garat them.

674
00:38:18,200 --> 00:38:20,080
Speaker 1: Yeah. Yeah, it turns his back on them. It's a

675
00:38:21,640 --> 00:38:24,120
Speaker 1: cold moment. He is a cold villain in this scene.

676
00:38:24,719 --> 00:38:28,040
Speaker 2: Yeah, but they're saved. At the last moment, a beautiful

677
00:38:28,120 --> 00:38:31,080
Speaker 2: young woman from the village intervenes. She runs to Prince

678
00:38:31,120 --> 00:38:34,640
Speaker 2: Prospero to beg him for mercy. She says, mercy in

679
00:38:34,719 --> 00:38:37,359
Speaker 2: the name of God. And here we get a kind

680
00:38:37,400 --> 00:38:41,320
Speaker 2: of surprising turn. Prospero so far is just a brutal,

681
00:38:41,440 --> 00:38:44,759
Speaker 2: narcissistic tyrant, so you would think he would just say, oh,

682
00:38:44,800 --> 00:38:47,320
Speaker 2: you know, garat her too. But when one of his

683
00:38:47,440 --> 00:38:50,560
Speaker 2: soldiers throws the young woman to the ground and Prospero

684
00:38:50,680 --> 00:38:53,320
Speaker 2: slaps the soldier and rebukes him, he says she was

685
00:38:53,360 --> 00:38:59,280
Speaker 2: addressing me, so he seems interested by her plea for mercy.

686
00:38:59,719 --> 00:39:03,480
Speaker 2: She introduces herself as Francesca. This is Jane Asher, and

687
00:39:03,840 --> 00:39:07,440
Speaker 2: Francesca is a disheveled and dirty to show she's a

688
00:39:07,480 --> 00:39:09,759
Speaker 2: poor peasant. But she also has a huge cross on

689
00:39:09,880 --> 00:39:11,520
Speaker 2: her neck to show that she is pious.

690
00:39:12,040 --> 00:39:14,520
Speaker 1: Yeah, big silver cross, cleanest thing in the whole village,

691
00:39:14,760 --> 00:39:15,279
Speaker 1: it is.

692
00:39:15,440 --> 00:39:19,200
Speaker 2: Yes, And she begs forgiveness for these two men. But

693
00:39:19,400 --> 00:39:22,880
Speaker 2: is Prospero going to listen? Prospero, he says, you know,

694
00:39:23,000 --> 00:39:25,400
Speaker 2: he does not forgive. He gives a speech about how

695
00:39:25,480 --> 00:39:28,640
Speaker 2: if my hound bites my hand. I cannot, you know,

696
00:39:28,960 --> 00:39:33,399
Speaker 2: let it go undisciplined. However, at the same time, having

697
00:39:33,520 --> 00:39:36,080
Speaker 2: seen the film already, in this scene, now it makes sense.

698
00:39:36,120 --> 00:39:38,640
Speaker 2: You can see the gears turning in his head. He

699
00:39:38,719 --> 00:39:42,399
Speaker 2: seems so taken with her innocence and her selfless. Please

700
00:39:42,480 --> 00:39:47,080
Speaker 2: for help for these two men. You can see him thinking, Wow,

701
00:39:47,200 --> 00:39:50,760
Speaker 2: this humble Christian would be perfect for my satanic coven.

702
00:39:51,200 --> 00:39:53,759
Speaker 1: So he almost immediately starts playing the mind games here

703
00:39:53,840 --> 00:39:54,120
Speaker 1: with her.

704
00:39:54,400 --> 00:39:57,440
Speaker 2: Yes, so he tries to negotiate. He's like, okay, one

705
00:39:57,480 --> 00:39:59,560
Speaker 2: of these guys, you want to say, if one must die,

706
00:39:59,680 --> 00:40:02,759
Speaker 2: but the can live, and you have to choose. But

707
00:40:02,920 --> 00:40:05,480
Speaker 2: she explains she can't choose because one of them is

708
00:40:05,560 --> 00:40:08,920
Speaker 2: her father, Ludovico, and the other Gino is the man

709
00:40:09,000 --> 00:40:12,320
Speaker 2: she loves. This is also the moment where, incidentally, we

710
00:40:12,400 --> 00:40:16,400
Speaker 2: get the first line from Alfredo the Creep. He's this

711
00:40:17,160 --> 00:40:21,120
Speaker 2: sniveling aristocrat who leans in and he's all excited about

712
00:40:21,160 --> 00:40:24,879
Speaker 2: the entertainment. He goes, can such eyes have evan known sin?

713
00:40:25,480 --> 00:40:29,320
Speaker 2: And then Price says they will, Alfredo, they will. So

714
00:40:29,480 --> 00:40:32,520
Speaker 2: Francesca has to choose, but she can't. And just when

715
00:40:32,560 --> 00:40:34,719
Speaker 2: you think they're going to force her to choose. They're

716
00:40:34,760 --> 00:40:38,319
Speaker 2: interrupted because a scream draws them to a nearby hut

717
00:40:38,400 --> 00:40:42,879
Speaker 2: in the village. Prospero goes to investigate the scream, and oh, boy,

718
00:40:43,239 --> 00:40:46,520
Speaker 2: guess what time it is. It's Red Death time. It's

719
00:40:46,560 --> 00:40:50,040
Speaker 2: a lady who's, like, you know, laying there trembling. She

720
00:40:50,160 --> 00:40:53,120
Speaker 2: turns her head over and screams, and her face is

721
00:40:53,239 --> 00:40:57,120
Speaker 2: splattered with red blood and pockmarks. And this is the

722
00:40:57,160 --> 00:41:00,440
Speaker 2: way the Red Death is depicted in the movie. Price

723
00:41:00,880 --> 00:41:03,479
Speaker 2: knows what he's looking at. He's like, that's the Red Death.

724
00:41:03,680 --> 00:41:05,279
Speaker 2: We've got to get out of here immediately.

725
00:41:05,760 --> 00:41:08,560
Speaker 1: Yeah, he's like, all right, pack these three individuals of

726
00:41:08,640 --> 00:41:11,399
Speaker 1: interest up and just burn the town to the ground,

727
00:41:11,480 --> 00:41:12,200
Speaker 1: burn everything else.

728
00:41:12,360 --> 00:41:15,160
Speaker 2: Oh yeah, it's almost as an afterthought when they're leaving. Well, so, yeah,

729
00:41:15,280 --> 00:41:18,000
Speaker 2: like you said, he says, okay, take these three to

730
00:41:18,080 --> 00:41:20,040
Speaker 2: the castle. These two guys, we're going to send them

731
00:41:20,080 --> 00:41:22,279
Speaker 2: to the dungeon. Francesca is going to come with me,

732
00:41:22,440 --> 00:41:24,959
Speaker 2: because again I think he's thinking, Francesca is a total

733
00:41:25,040 --> 00:41:26,959
Speaker 2: goody two shoes. We've got to get her some heavy

734
00:41:27,040 --> 00:41:31,440
Speaker 2: metal records and win her over for the Lord of Darkness.

735
00:41:31,920 --> 00:41:35,160
Speaker 2: So they're leaving, and then prosper is like, yes, by

736
00:41:35,200 --> 00:41:38,600
Speaker 2: the way, kill them all. Such a villain, so cold,

737
00:41:38,840 --> 00:41:41,040
Speaker 2: So they head off to the castle. The poor village

738
00:41:41,160 --> 00:41:45,000
Speaker 2: is consumed by flames, and here we go to the

739
00:41:45,320 --> 00:41:48,279
Speaker 2: secluded palace of prosper where we will spend pretty much

740
00:41:48,360 --> 00:41:52,600
Speaker 2: the entire rest of the movie. Prosper sends out notice

741
00:41:52,680 --> 00:41:56,000
Speaker 2: to his other wicked aristocratic friends that they must come

742
00:41:56,080 --> 00:41:58,759
Speaker 2: to the castle and shelter with him and tend a

743
00:41:58,880 --> 00:42:03,040
Speaker 2: large festival masquerade ball. They're going to party through the plague.

744
00:42:03,560 --> 00:42:06,200
Speaker 1: Yeah, and he warns them don't go visit that town

745
00:42:06,239 --> 00:42:07,719
Speaker 1: that I just had to burn to the ground. Though

746
00:42:07,760 --> 00:42:10,040
Speaker 1: if you do that, you can't come inside.

747
00:42:10,400 --> 00:42:25,080
Speaker 2: Yep, yep, yep. Now Prospero here introduces Francesca to his

748
00:42:25,360 --> 00:42:28,920
Speaker 2: consort Juliana. Again this is Hazel Court from Devil Girl

749
00:42:29,000 --> 00:42:32,880
Speaker 2: from Mars, and together they are going to turn Francesca

750
00:42:32,960 --> 00:42:35,799
Speaker 2: to the dark side of the forest. Price like. There's

751
00:42:35,840 --> 00:42:37,960
Speaker 2: a scene where Price says, hey, you're wearing a cross

752
00:42:38,000 --> 00:42:40,560
Speaker 2: around your neck. Are you a true Christian believer? And

753
00:42:40,719 --> 00:42:43,719
Speaker 2: Francesca says yes she is, and he says, well, you

754
00:42:43,800 --> 00:42:45,680
Speaker 2: can't wear that. Nobody's allowed to wear a cross in

755
00:42:45,760 --> 00:42:48,680
Speaker 2: this castle, you must never wear it again. And here

756
00:42:48,920 --> 00:42:51,440
Speaker 2: in this scene we start to get the conflict between

757
00:42:51,560 --> 00:42:56,880
Speaker 2: Juliana and Francesca. As we talked about earlier. Juliana is jealous,

758
00:42:57,440 --> 00:43:00,440
Speaker 2: I get, you know, she already got corrupted and turned evil,

759
00:43:00,800 --> 00:43:03,800
Speaker 2: and now Prospero has a new friend to satanify and

760
00:43:04,080 --> 00:43:05,719
Speaker 2: he's she's feeling left out.

761
00:43:06,080 --> 00:43:08,640
Speaker 1: Now this is where we get that scene with the bathtub. Right,

762
00:43:08,800 --> 00:43:14,239
Speaker 1: they take her to the h the most gloriously over

763
00:43:14,320 --> 00:43:17,120
Speaker 1: decorated bathtub you've ever seen with what are these golden

764
00:43:17,239 --> 00:43:19,000
Speaker 1: swans or are they angels?

765
00:43:19,280 --> 00:43:21,239
Speaker 2: I don't know, Well, they're probably not angels. If they're

766
00:43:21,280 --> 00:43:23,520
Speaker 2: in Prospero's palace, they might be devils. I don't think

767
00:43:23,520 --> 00:43:25,120
Speaker 2: they're probably birds or something.

768
00:43:25,760 --> 00:43:30,600
Speaker 1: Yeah, some sort of winged creatures. It's just splendid a

769
00:43:30,800 --> 00:43:34,440
Speaker 1: royal regal bathtub. And yeah, they're like, all right, you

770
00:43:34,520 --> 00:43:36,200
Speaker 1: got to get in there and get yourself cleaned up.

771
00:43:36,640 --> 00:43:41,320
Speaker 2: Yeah. Oh, and we're also we're in Juliana is instructed

772
00:43:41,400 --> 00:43:45,480
Speaker 2: to you know, dress Francesca basically like make her appropriate

773
00:43:45,560 --> 00:43:48,600
Speaker 2: for the palace, give her a fancy dress and everything. Meanwhile,

774
00:43:49,239 --> 00:43:52,360
Speaker 2: we get to see all of the wicked partygoers hanging

775
00:43:52,440 --> 00:43:55,360
Speaker 2: out at the at the castle here doing odd stuff.

776
00:43:56,480 --> 00:43:59,600
Speaker 2: I didn't quite understand this, But is Alfredo playing a

777
00:43:59,719 --> 00:44:02,640
Speaker 2: game where he sticks a knife in people's mouths?

778
00:44:03,560 --> 00:44:07,680
Speaker 1: Yeah? I guess so does It isn't a good introduction

779
00:44:07,880 --> 00:44:12,160
Speaker 1: to just how brutal and direct he is. Prince Prospero

780
00:44:12,360 --> 00:44:18,560
Speaker 1: is all about these strange, dark, philosophic mind games, whereas

781
00:44:18,880 --> 00:44:21,560
Speaker 1: Alfredo just wants to stick knives in people's mouths that

782
00:44:21,640 --> 00:44:22,040
Speaker 1: sort of thing.

783
00:44:22,320 --> 00:44:25,800
Speaker 2: And Vincent Price wanders through the room and kind of

784
00:44:25,840 --> 00:44:29,200
Speaker 2: disses Alfredo, and then he gives a monologue about what

785
00:44:29,520 --> 00:44:33,000
Speaker 2: is terror? And everybody's following him around as he's showing

786
00:44:33,080 --> 00:44:36,760
Speaker 2: off the awesome sets. There's like a big gear driven

787
00:44:36,880 --> 00:44:40,080
Speaker 2: clock with an pendulum shaped like an axe. I think

788
00:44:40,120 --> 00:44:42,520
Speaker 2: that might be a nod to the pit and the pendulum,

789
00:44:43,400 --> 00:44:47,360
Speaker 2: And people follow him around and he's like, what is terror?

790
00:44:47,440 --> 00:44:49,799
Speaker 2: But eventually this ends in the scene where we first

791
00:44:49,920 --> 00:44:52,760
Speaker 2: meet hop Toad in Esmeralda.

792
00:44:52,440 --> 00:44:55,799
Speaker 1: Aka Tiny Dancer. They do they refer to as tiny

793
00:44:55,880 --> 00:44:56,759
Speaker 1: Dancer multiple times?

794
00:44:56,800 --> 00:45:00,720
Speaker 2: Oh they do literally yeah yeah, oh yeah, yeah. Okay,

795
00:45:00,800 --> 00:45:05,080
Speaker 2: So these are two little people who are dancers in

796
00:45:05,880 --> 00:45:12,160
Speaker 2: the court and As they're dancing Esmerelda accidentally knocks over

797
00:45:12,320 --> 00:45:15,759
Speaker 2: Alfredo's wine goblet. First of all, Alfredo, why was your

798
00:45:15,800 --> 00:45:17,759
Speaker 2: goblet on the floor? What was it doing there?

799
00:45:18,360 --> 00:45:20,319
Speaker 1: Yeah? Yeah, that's you're just asking for you You can't

800
00:45:20,320 --> 00:45:22,800
Speaker 1: be mad at a child or a tiny dancer for

801
00:45:22,920 --> 00:45:24,880
Speaker 1: knocking over your wine if you're keeping it on the

802
00:45:24,920 --> 00:45:25,959
Speaker 1: floor next to your boot.

803
00:45:26,120 --> 00:45:29,640
Speaker 2: Alfredo is, of course a violent jerk, so he slaps her,

804
00:45:30,160 --> 00:45:33,680
Speaker 2: and instantly we get the look of death from hop

805
00:45:33,800 --> 00:45:36,560
Speaker 2: Toad at Alfredo. There's going to have to be some

806
00:45:36,760 --> 00:45:39,840
Speaker 2: revenge here. All of the nobles are wicked, but Alfredo

807
00:45:40,040 --> 00:45:40,640
Speaker 2: just sucks.

808
00:45:41,040 --> 00:45:44,400
Speaker 1: Yeah, there's no imaginable viewer of this film who's like,

809
00:45:44,440 --> 00:45:46,120
Speaker 1: I think they were too hard on Alfredo.

810
00:45:48,719 --> 00:45:52,440
Speaker 2: So Prospero announces that on the upcoming Sabbath at midnight,

811
00:45:52,520 --> 00:45:55,719
Speaker 2: there will be a masquerade, and he says all the

812
00:45:55,760 --> 00:45:58,600
Speaker 2: wardrobes of the castle are yours to use. So all

813
00:45:58,640 --> 00:46:00,600
Speaker 2: the guests dress up how you like, but I beg you,

814
00:46:00,800 --> 00:46:03,479
Speaker 2: even for the humor of it, do not wear red.

815
00:46:03,680 --> 00:46:05,640
Speaker 2: So we'll have to remember that no one is allowed

816
00:46:05,640 --> 00:46:09,680
Speaker 2: to wear red at the masquerade. Oh and I forgot

817
00:46:09,719 --> 00:46:13,200
Speaker 2: about this price. Just randomly throws his wine glass in

818
00:46:13,320 --> 00:46:15,839
Speaker 2: Alfredo's face at the end of the scene. I don't

819
00:46:15,880 --> 00:46:18,680
Speaker 2: know what prompts that, but it's really funny, and Alfredo

820
00:46:18,840 --> 00:46:21,680
Speaker 2: is clearly mad, but he can't do anything about it, right.

821
00:46:22,560 --> 00:46:25,239
Speaker 1: He makes as much of a threat as he can muster,

822
00:46:25,640 --> 00:46:26,760
Speaker 1: but it's not going to go anywhere.

823
00:46:27,040 --> 00:46:30,279
Speaker 2: Yeah, So Price again lectures his guests on how they're

824
00:46:30,280 --> 00:46:32,399
Speaker 2: all very lucky to be there at his house, because

825
00:46:32,440 --> 00:46:34,920
Speaker 2: otherwise they'd be outside the castle walls dying of the

826
00:46:35,000 --> 00:46:38,840
Speaker 2: red death. And then they present Lady Francesca. They have

827
00:46:39,000 --> 00:46:41,080
Speaker 2: dressed up this peasant girl who looks like she is

828
00:46:41,120 --> 00:46:45,320
Speaker 2: a noble herself, and I think they're trying to initiate

829
00:46:45,440 --> 00:46:50,200
Speaker 2: her to the evil debauchery of the satanic aristocratic lifestyle.

830
00:46:50,880 --> 00:46:53,680
Speaker 2: And then Vincent Price walks around mocking all of his

831
00:46:53,840 --> 00:46:56,600
Speaker 2: guests and humiliating them. He walks up to a guy

832
00:46:56,640 --> 00:46:59,040
Speaker 2: and he's like, how like a pig you are? B

833
00:46:59,360 --> 00:47:02,200
Speaker 2: one makes him crawl around on the floor, pretending to

834
00:47:02,280 --> 00:47:04,440
Speaker 2: be a pig and oinking, And then he does this

835
00:47:04,560 --> 00:47:06,800
Speaker 2: to a bunch of people. He's just humiliating all of

836
00:47:06,880 --> 00:47:08,719
Speaker 2: them by forcing them to be animals.

837
00:47:09,480 --> 00:47:12,520
Speaker 1: But they also, for the most part. You do see

838
00:47:12,560 --> 00:47:15,600
Speaker 1: some looks of embarrassment from here and there, like one

839
00:47:15,600 --> 00:47:18,239
Speaker 1: of the characters wives and all, but there's also a

840
00:47:18,360 --> 00:47:20,920
Speaker 1: sense that they're like, yeah, I am now liberated to

841
00:47:21,080 --> 00:47:24,080
Speaker 1: just be a pig, Like that's who I am. Do

842
00:47:24,239 --> 00:47:26,520
Speaker 1: what thou wilt. I will thank you.

843
00:47:26,880 --> 00:47:29,799
Speaker 2: Yes, I like being a worm. Yes, thank you, sir,

844
00:47:29,920 --> 00:47:31,239
Speaker 2: I am a worm. Yeah.

845
00:47:31,280 --> 00:47:32,840
Speaker 1: He does several of these, and he's like, and for

846
00:47:32,920 --> 00:47:35,800
Speaker 1: the rest of you, yeah, use your imagination be for animals.

847
00:47:35,840 --> 00:47:37,160
Speaker 1: And everybody just goes with it.

848
00:47:37,840 --> 00:47:41,960
Speaker 2: He says, show me the lives and loves of the animals. Now,

849
00:47:42,040 --> 00:47:44,279
Speaker 2: one of the next sequences that we have to talk

850
00:47:44,320 --> 00:47:48,880
Speaker 2: about is our introduction to the sequence of monocolored rooms

851
00:47:49,080 --> 00:47:51,600
Speaker 2: like the yellow room, and then the purple room, and

852
00:47:51,680 --> 00:47:53,680
Speaker 2: then the white room and the black room.

853
00:47:54,280 --> 00:47:58,160
Speaker 1: Yes, these rainbow rooms that are all attached to each other.

854
00:48:00,360 --> 00:48:04,360
Speaker 1: These are some of the visually most impressive sequences in

855
00:48:04,440 --> 00:48:06,400
Speaker 1: the film. These are used multiple times. So this is

856
00:48:06,440 --> 00:48:11,960
Speaker 1: our first introduction to it, where Prospero is bringing her

857
00:48:12,239 --> 00:48:15,520
Speaker 1: through and describe it. First, describes the yellow room as

858
00:48:15,880 --> 00:48:18,120
Speaker 1: one that was you that his father, I believe, had

859
00:48:18,239 --> 00:48:21,239
Speaker 1: used to drive somebody insane, like put him in here

860
00:48:21,360 --> 00:48:23,480
Speaker 1: for an extended period of time, and when they were

861
00:48:23,520 --> 00:48:27,560
Speaker 1: finally let free, they could not even glimpse the sun.

862
00:48:27,800 --> 00:48:30,960
Speaker 1: Like the yellow of this room made the sun horrifying.

863
00:48:31,320 --> 00:48:35,359
Speaker 2: It drove them insane. Yeah, and so he's describing these

864
00:48:35,440 --> 00:48:41,040
Speaker 2: twisted experiments done on people, and he explains it by saying,

865
00:48:41,239 --> 00:48:44,560
Speaker 2: somewhere in the human mind is the key to our existence.

866
00:48:44,840 --> 00:48:47,919
Speaker 2: My ancestors tried to find it, to open the door

867
00:48:48,040 --> 00:48:52,160
Speaker 2: that separates us from our creator. So Price is an

868
00:48:52,239 --> 00:48:57,120
Speaker 2: interesting kind of satanist here. He's not just seeking power

869
00:48:57,360 --> 00:49:00,800
Speaker 2: and pleasure like a lot of movie satanists. He is

870
00:49:01,239 --> 00:49:04,759
Speaker 2: seeking a kind of understanding. He wants like a metaphysical

871
00:49:04,920 --> 00:49:08,520
Speaker 2: discovery about the truth of existence.

872
00:49:09,440 --> 00:49:12,080
Speaker 1: Yeah, it's a much the satanism in this film. It's

873
00:49:12,120 --> 00:49:15,120
Speaker 1: easy to build up your expectator, to build a certain

874
00:49:15,160 --> 00:49:19,279
Speaker 1: expectation for satanists in your genre movies. You know, you

875
00:49:19,440 --> 00:49:23,560
Speaker 1: expect bloodthirsty murder rituals, You expect a little bit of

876
00:49:23,640 --> 00:49:27,799
Speaker 1: monster worship in there, And there's maybe a little bit

877
00:49:27,800 --> 00:49:30,120
Speaker 1: of both of those in this but for the most part, Yeah,

878
00:49:30,120 --> 00:49:34,400
Speaker 1: it is this more philosophic approach, Like Prospero is not

879
00:49:34,520 --> 00:49:38,520
Speaker 1: really looking to worship any monster gods. He's not caught

880
00:49:38,600 --> 00:49:40,080
Speaker 1: up in all of that. This is not like the

881
00:49:40,160 --> 00:49:44,960
Speaker 1: devil rides out. But he seems to see this as

882
00:49:45,040 --> 00:49:48,719
Speaker 1: an avenue toward darkness that makes the most sense in

883
00:49:48,800 --> 00:49:51,800
Speaker 1: a world consumed by darkness. And that's a lot of

884
00:49:51,880 --> 00:49:55,480
Speaker 1: what this whole sequence is about him describing this quest,

885
00:49:55,920 --> 00:49:58,640
Speaker 1: this philosophy, and it's really well executed.

886
00:49:58,920 --> 00:50:02,600
Speaker 2: Yeah. He argues the classic the problem of evil, you know,

887
00:50:02,760 --> 00:50:05,560
Speaker 2: he's trying to disprove her faith, and he says, how

888
00:50:05,600 --> 00:50:08,759
Speaker 2: can you believe a god of goodness rules over this

889
00:50:08,920 --> 00:50:12,240
Speaker 2: world given all of the death and decay and the disease,

890
00:50:12,440 --> 00:50:15,480
Speaker 2: the red death itself, And he finally says, if a

891
00:50:15,560 --> 00:50:18,040
Speaker 2: god of love and life ever did exist, he is

892
00:50:18,160 --> 00:50:23,720
Speaker 2: long since dead. Someone some thing rules in his place.

893
00:50:24,280 --> 00:50:27,080
Speaker 1: And this is some This feels like some hard stuff

894
00:50:27,120 --> 00:50:28,600
Speaker 1: for the early nineteen sixties, you.

895
00:50:28,640 --> 00:50:34,120
Speaker 2: Know, yeah, yeah, yeah. So Francesca wants to go into

896
00:50:34,160 --> 00:50:36,680
Speaker 2: the final room in the sequence, the Black Door, and

897
00:50:37,000 --> 00:50:39,600
Speaker 2: he suddenly stops her. He says that room is not

898
00:50:39,760 --> 00:50:42,400
Speaker 2: open to you, and she asks, is there's something to

899
00:50:42,480 --> 00:50:45,120
Speaker 2: fear in that room? And he says, for the uninvited,

900
00:50:45,239 --> 00:50:48,800
Speaker 2: there is much to fear, and Prospero himself looks afraid

901
00:50:49,040 --> 00:50:52,440
Speaker 2: of what's behind the last door in the black room. Now,

902
00:50:52,560 --> 00:50:54,640
Speaker 2: after all this, we go onto a scene between Vincent

903
00:50:54,719 --> 00:50:57,840
Speaker 2: Price and Hazel Court. Juliana, of course, is still jealous

904
00:50:57,920 --> 00:51:01,520
Speaker 2: of the peasant girl. She's trying to, I think, regain

905
00:51:01,680 --> 00:51:05,560
Speaker 2: her spot as like the the apple of Vincent Price's eye.

906
00:51:06,200 --> 00:51:09,360
Speaker 2: And she says, you know, I've been an eager student

907
00:51:09,440 --> 00:51:12,759
Speaker 2: of Satanism, but I've held back from the final ceremony.

908
00:51:13,000 --> 00:51:16,040
Speaker 2: I'm ready now for the invocation. I am ready to

909
00:51:16,160 --> 00:51:17,640
Speaker 2: become the bride of Satan.

910
00:51:18,080 --> 00:51:22,600
Speaker 1: And he's a little sly about this, and this is like, oh,

911
00:51:22,760 --> 00:51:24,760
Speaker 1: of course you are now, because you want to protect

912
00:51:24,800 --> 00:51:27,839
Speaker 1: your status. Yeah, and she's like, no, no, I really

913
00:51:27,920 --> 00:51:30,120
Speaker 1: I am, I'm really, I'm ready. I thought about it.

914
00:51:30,239 --> 00:51:31,280
Speaker 1: I'm ready to marry Satan.

915
00:51:31,560 --> 00:51:34,600
Speaker 2: Yeah. So later that night, Francesca wakes up and she

916
00:51:34,760 --> 00:51:38,640
Speaker 2: wanders from her bedroom and wanders about the spooky empty

917
00:51:38,719 --> 00:51:42,680
Speaker 2: halls at night until she stumbles in. She goes into

918
00:51:42,800 --> 00:51:45,760
Speaker 2: the final room, the black room, and witnesses an evil

919
00:51:45,960 --> 00:51:50,680
Speaker 2: right taking place, and like Vincent Price is in a

920
00:51:50,760 --> 00:51:54,120
Speaker 2: coffin with his eyes closed like a vampire, and Hazel

921
00:51:54,160 --> 00:51:57,400
Speaker 2: Court is bathed in red light, wearing a crown and

922
00:51:57,520 --> 00:52:00,440
Speaker 2: sitting in a throne next to a raven. And so

923
00:52:00,560 --> 00:52:02,920
Speaker 2: the first time I saw this, I assumed, Okay, so

924
00:52:03,239 --> 00:52:05,120
Speaker 2: this is the ceremony, right, this is the one where

925
00:52:05,160 --> 00:52:08,439
Speaker 2: she becomes the bride of Satan. But no, something else

926
00:52:08,520 --> 00:52:10,839
Speaker 2: is gonna happen with Hazel Cord after this, so she's

927
00:52:10,880 --> 00:52:14,120
Speaker 2: not quite there yet. Francesca just gets freaked out seeing

928
00:52:14,160 --> 00:52:16,720
Speaker 2: all this. I think when Vincent Price opens his eyes

929
00:52:16,840 --> 00:52:19,080
Speaker 2: from the coffin, she screams and runs away.

930
00:52:19,400 --> 00:52:21,640
Speaker 1: Yeah. I was left unsure if this was a dream

931
00:52:22,239 --> 00:52:25,320
Speaker 1: or if this was something that was really taking place,

932
00:52:25,560 --> 00:52:26,920
Speaker 1: and she's she witnessed it.

933
00:52:27,760 --> 00:52:28,799
Speaker 2: Ultimately, I think it's real.

934
00:52:29,480 --> 00:52:33,960
Speaker 1: Yeah, yeah, this is one of the ceremonies perhaps, or

935
00:52:34,040 --> 00:52:36,759
Speaker 1: this is Satanic nap time. This is just what a

936
00:52:36,920 --> 00:52:39,640
Speaker 1: little night nap looks like. I don't know.

937
00:52:40,080 --> 00:52:44,840
Speaker 2: There's another scene following this that's interesting, where Price is

938
00:52:45,000 --> 00:52:47,600
Speaker 2: doing falconry, like he has a you know, the leather

939
00:52:47,680 --> 00:52:50,080
Speaker 2: glove and the falcon, and he sends it up to

940
00:52:50,440 --> 00:52:53,960
Speaker 2: catch your bird, and he explains to Francesca that your

941
00:52:54,080 --> 00:52:57,320
Speaker 2: God has blinded you like a trainer blinds a falcon

942
00:52:57,440 --> 00:53:00,680
Speaker 2: in order to submit its will to his And then

943
00:53:00,719 --> 00:53:03,880
Speaker 2: he goes on to say, my master and his followers

944
00:53:03,960 --> 00:53:07,759
Speaker 2: look about the world with open eyes, and Francesca says,

945
00:53:07,840 --> 00:53:11,040
Speaker 2: your master, And if it wasn't already obvious, he hasn't

946
00:53:11,360 --> 00:53:14,480
Speaker 2: directly told this to Francisca yet, but finally he admits it.

947
00:53:14,560 --> 00:53:18,440
Speaker 2: He goes, my master is Satan, the Lord flies, the

948
00:53:18,560 --> 00:53:22,480
Speaker 2: fallen angel, the devil. His hat in this scene, by

949
00:53:22,560 --> 00:53:24,800
Speaker 2: the way, is good.

950
00:53:25,600 --> 00:53:28,879
Speaker 1: Yes. My only regret is that I did not count

951
00:53:28,960 --> 00:53:32,719
Speaker 1: the costume changes that Prince Prospero goes through in this film.

952
00:53:33,360 --> 00:53:35,879
Speaker 1: Each costume is more magnificent than the last.

953
00:53:36,160 --> 00:53:39,360
Speaker 2: Now, there's a scene where a noble arrives at the

954
00:53:39,480 --> 00:53:42,680
Speaker 2: palace at the gates outside, begging to come inside. But

955
00:53:43,800 --> 00:53:46,120
Speaker 2: I don't think I caught at first the reason why

956
00:53:46,280 --> 00:53:49,640
Speaker 2: Price wouldn't let them in. But I think the second

957
00:53:49,680 --> 00:53:53,160
Speaker 2: time I watched it, I realized it's because he and

958
00:53:53,320 --> 00:53:55,879
Speaker 2: his entourage had been to the village where the Red

959
00:53:55,960 --> 00:53:57,040
Speaker 2: Death was. Is that right?

960
00:53:57,400 --> 00:53:59,600
Speaker 1: That was my understanding. Yeah. They're like, hey, we're here

961
00:53:59,640 --> 00:54:01,880
Speaker 1: for the we just came from that city with the plague,

962
00:54:01,960 --> 00:54:05,480
Speaker 1: and Prospero is like, mm mmm, no, you.

963
00:54:05,520 --> 00:54:08,680
Speaker 2: Can't come in. This guy's name is scar Lotti. He's

964
00:54:08,719 --> 00:54:12,040
Speaker 2: got a big yellow feather on his hat and he's like, oh,

965
00:54:12,160 --> 00:54:16,200
Speaker 2: please please let us in. I'll do anything, and Price

966
00:54:16,400 --> 00:54:18,480
Speaker 2: welcomes them with a crossbow.

967
00:54:18,040 --> 00:54:19,560
Speaker 1: Bolt, yeah, shoots him dead.

968
00:54:19,760 --> 00:54:23,200
Speaker 2: Also, let's check back in with the men that Francesca

969
00:54:23,280 --> 00:54:25,920
Speaker 2: was so desperate to save, with Gino and Ludovico. They

970
00:54:25,960 --> 00:54:28,880
Speaker 2: are down in the dungeon. They're being trained in sword

971
00:54:29,040 --> 00:54:31,560
Speaker 2: fighting under the premise that they are going to have

972
00:54:31,640 --> 00:54:33,960
Speaker 2: to fight to the death in front of Prince the

973
00:54:34,000 --> 00:54:39,080
Speaker 2: Prince's guests for entertainment, and they obviously don't want to

974
00:54:39,160 --> 00:54:42,480
Speaker 2: do this, but the main guard forces them to by

975
00:54:42,520 --> 00:54:45,080
Speaker 2: sort of like prodding at at Gino with the sword

976
00:54:45,239 --> 00:54:48,319
Speaker 2: until he fights back. There are some moments of very

977
00:54:48,440 --> 00:54:50,440
Speaker 2: floppy fake swords in this scene.

978
00:54:50,400 --> 00:54:52,640
Speaker 1: And yet at the same time, like the scene where

979
00:54:52,960 --> 00:54:55,759
Speaker 1: this brutish guard who I didn't get the gentleman who

980
00:54:55,800 --> 00:54:58,160
Speaker 1: played this role, but it's a he's effective, as is

981
00:54:58,239 --> 00:55:02,160
Speaker 1: this brutish guard who who's just like like, Gino's like,

982
00:55:02,280 --> 00:55:03,640
Speaker 1: you're not gonna kill me. You want me to fight

983
00:55:04,200 --> 00:55:06,640
Speaker 1: fight my girlfriend's father to the death, and he's like yeah,

984
00:55:06,680 --> 00:55:08,640
Speaker 1: but I'll cut you a little bit and the scenes

985
00:55:08,640 --> 00:55:11,320
Speaker 1: where he's cutting him, like, I feel I felt the

986
00:55:11,400 --> 00:55:13,680
Speaker 1: sting of those Like, I'm like the Loretty, they look

987
00:55:13,760 --> 00:55:15,440
Speaker 1: really good. I'm like, that's gonna get infected.

988
00:55:15,560 --> 00:55:17,080
Speaker 2: Well, what do you know, Gino is kind of a

989
00:55:17,160 --> 00:55:19,960
Speaker 2: natural at sword fighting. Yeah, what could you expect?

990
00:55:20,200 --> 00:55:22,520
Speaker 1: Yeah, he turns the tables on him, and this is

991
00:55:22,560 --> 00:55:26,560
Speaker 1: when Prospero comes in, and he has, as he often does,

992
00:55:26,640 --> 00:55:30,520
Speaker 1: he wanders in and he instantly sums up the wisdom

993
00:55:30,560 --> 00:55:31,080
Speaker 1: of the scene.

994
00:55:31,280 --> 00:55:34,200
Speaker 2: Yeah, he says, it is a true fact that the

995
00:55:34,280 --> 00:55:37,840
Speaker 2: greatest swordsman in Italy would not fear the second greatest,

996
00:55:38,000 --> 00:55:41,520
Speaker 2: but would fear the worst, for that one would be unpredictable.

997
00:55:42,080 --> 00:55:42,279
Speaker 1: Yeah.

998
00:55:42,640 --> 00:55:45,719
Speaker 2: However, Gino and Ludovico both pledge that they will not

999
00:55:45,960 --> 00:55:50,120
Speaker 2: fight each other, so Prospero resolves to make them to

1000
00:55:50,200 --> 00:55:52,440
Speaker 2: sort of punish them or make them face death in

1001
00:55:52,600 --> 00:55:54,960
Speaker 2: some other ingenious way. He's gonna have to come up

1002
00:55:55,000 --> 00:55:59,919
Speaker 2: with a plan after this. There's more religious and philosophical

1003
00:56:00,120 --> 00:56:03,719
Speaker 2: back and forth between Prospero and Francesca on God and

1004
00:56:03,800 --> 00:56:07,040
Speaker 2: the Devil and so forth. Prospero says that his ancestor,

1005
00:56:07,120 --> 00:56:10,120
Speaker 2: who lived in this castle was a member. He was

1006
00:56:10,280 --> 00:56:13,000
Speaker 2: for the church. He was a torturer for the Inquisition.

1007
00:56:13,800 --> 00:56:16,759
Speaker 2: And he says, you know, Satan is not a god

1008
00:56:16,840 --> 00:56:19,760
Speaker 2: of hate, but a god of reality, a god of truth.

1009
00:56:20,360 --> 00:56:22,719
Speaker 1: Yes, it's not a story the Jedi would tell you.

1010
00:56:25,480 --> 00:56:27,319
Speaker 2: Exactly. Yeah, that's a good part.

1011
00:56:27,560 --> 00:56:29,880
Speaker 1: But it is a great that. I mean, both are

1012
00:56:29,920 --> 00:56:34,880
Speaker 1: great scenes of subtle and intelligent seduction to the dark side.

1013
00:56:35,520 --> 00:56:37,719
Speaker 1: Like it's not just like, hey, don't you want to

1014
00:56:37,760 --> 00:56:41,000
Speaker 1: do evil or do evil or else. It is let

1015
00:56:41,080 --> 00:56:43,839
Speaker 1: me explain to you the wisdom of this alternate point

1016
00:56:43,880 --> 00:56:47,480
Speaker 1: of view. Let me unsow your eyes so that you

1017
00:56:47,600 --> 00:56:49,399
Speaker 1: may see the world right.

1018
00:56:49,920 --> 00:56:52,040
Speaker 2: So Price says, you know, I don't want to hurt you,

1019
00:56:52,160 --> 00:56:54,080
Speaker 2: my dear. I just want to help save your soul

1020
00:56:54,680 --> 00:56:56,879
Speaker 2: so you can join me in the glories of hell.

1021
00:56:58,239 --> 00:57:00,359
Speaker 2: There's some great writing in the scene. He says, come

1022
00:57:00,400 --> 00:57:04,320
Speaker 2: with me into the velvet dark. Meanwhile, Hazel Cord is

1023
00:57:04,320 --> 00:57:08,560
Speaker 2: getting married to Satan again. She says, I inscribed the

1024
00:57:08,640 --> 00:57:12,360
Speaker 2: final mark and offer myself to thee and she like

1025
00:57:12,600 --> 00:57:16,720
Speaker 2: brands herself on the chest with an upside down cross

1026
00:57:16,840 --> 00:57:20,160
Speaker 2: a hot iron. She says, Lord Satan, send me a

1027
00:57:20,240 --> 00:57:22,920
Speaker 2: demon that I might you know, wet wedge, you in

1028
00:57:23,080 --> 00:57:27,280
Speaker 2: him or something and says she marks herself as one

1029
00:57:27,320 --> 00:57:31,320
Speaker 2: of Satan's hell maidens. And then we get some update

1030
00:57:31,400 --> 00:57:34,040
Speaker 2: on the b plot with hop Toad and Alfredo. Remember

1031
00:57:34,080 --> 00:57:37,400
Speaker 2: Alfredo's the nasty creep from earlier, and so they're talking

1032
00:57:37,400 --> 00:57:39,520
Speaker 2: about what kind of costumes they're going to wear to

1033
00:57:39,600 --> 00:57:43,520
Speaker 2: the masquerade, and hop Toad's point is, you know, it's

1034
00:57:43,600 --> 00:57:46,520
Speaker 2: the seventeenth century or whenever this is taking place, we

1035
00:57:46,640 --> 00:57:48,920
Speaker 2: have not figured out yet that it's not cool to

1036
00:57:49,000 --> 00:57:51,600
Speaker 2: pretend to be some kind of foreigner as a costume.

1037
00:57:52,120 --> 00:57:55,040
Speaker 2: So basically, everybody this masquerade is going to becoming as

1038
00:57:55,040 --> 00:57:58,240
Speaker 2: a cultural caricature. But what will all of them have

1039
00:57:58,400 --> 00:58:02,480
Speaker 2: in common? They'll all human, Alfredo. If you really want

1040
00:58:02,520 --> 00:58:05,360
Speaker 2: to be something cool, you should be a non human animal.

1041
00:58:05,760 --> 00:58:08,480
Speaker 2: Alfredo says, well, I could come as a demon. And

1042
00:58:09,400 --> 00:58:12,080
Speaker 2: hop Toad has an even better idea. Why not dress

1043
00:58:12,200 --> 00:58:15,520
Speaker 2: up in a gorilla suit? Amazing, this is great.

1044
00:58:15,560 --> 00:58:17,920
Speaker 1: I mean I love a gorilla suit in any motion picture.

1045
00:58:18,000 --> 00:58:19,840
Speaker 1: So we're gonna get a gorilla suit at this at

1046
00:58:19,880 --> 00:58:22,360
Speaker 1: this point. And I also just love that Alfredo is

1047
00:58:22,400 --> 00:58:26,200
Speaker 1: just such an evil brute. He has just avoid of creativity,

1048
00:58:26,280 --> 00:58:28,680
Speaker 1: but he kind of realizes that that is the case,

1049
00:58:29,040 --> 00:58:31,000
Speaker 1: and he's like, yeah, I'm gonna go with whatever. Hop

1050
00:58:31,080 --> 00:58:33,280
Speaker 1: Toad says, here because this guy's got ideas.

1051
00:58:33,360 --> 00:58:36,400
Speaker 2: This is an entertainer, yes, and this revenge b plot

1052
00:58:36,520 --> 00:58:49,080
Speaker 2: is gonna have a great payoff. So later Juliana comes

1053
00:58:49,160 --> 00:58:53,960
Speaker 2: to Francesca's room and Juliana is like, hey, few updates.

1054
00:58:54,160 --> 00:58:58,000
Speaker 2: I'm a hellmaiden. Now I want Prospero all to myself.

1055
00:58:58,200 --> 00:59:01,200
Speaker 2: So here's a key to the dungeon. You can break

1056
00:59:01,520 --> 00:59:04,160
Speaker 2: Gino and your father out of the dungeon. You all escape,

1057
00:59:04,320 --> 00:59:06,240
Speaker 2: then I'll be here with Prospero. Everybody wins.

1058
00:59:06,640 --> 00:59:08,960
Speaker 1: Yeah, and she says, don't mind if I do, Thank

1059
00:59:09,000 --> 00:59:09,560
Speaker 1: you very much.

1060
00:59:09,960 --> 00:59:13,480
Speaker 2: Well, they try to escape and Gino kills some guards

1061
00:59:13,520 --> 00:59:17,520
Speaker 2: in the process, but it doesn't quite work. In fact,

1062
00:59:17,720 --> 00:59:20,640
Speaker 2: it seems it was all a setup. They come out

1063
00:59:20,640 --> 00:59:24,320
Speaker 2: to the castle walls and then there's a guard there,

1064
00:59:24,640 --> 00:59:27,400
Speaker 2: and the guard turns around and it's Vincent Price, and

1065
00:59:27,600 --> 00:59:30,840
Speaker 2: Vincent Price says, oh, interesting, how in trying to escape

1066
00:59:30,920 --> 00:59:34,320
Speaker 2: you all had to sin because they killed people? Of

1067
00:59:34,400 --> 00:59:38,600
Speaker 2: course it's check may there you go, who's bad now?

1068
00:59:39,040 --> 00:59:40,600
Speaker 1: Yeah? Another lesson in darkness.

1069
00:59:40,920 --> 00:59:45,480
Speaker 2: So we got a head to the banquet before the masquerade,

1070
00:59:46,000 --> 00:59:49,360
Speaker 2: and the nobles are all at their banquet tables like

1071
00:59:49,440 --> 00:59:54,400
Speaker 2: the skexxies at the feast, and Vincent Price sets up

1072
00:59:54,560 --> 00:59:57,959
Speaker 2: an interesting game. There's a game he's going to play

1073
00:59:58,560 --> 01:00:02,919
Speaker 2: with Ludovico and Gino that has that has a number

1074
01:00:02,960 --> 01:00:05,919
Speaker 2: of daggers with one of them poisoned. Rob how would

1075
01:00:05,920 --> 01:00:06,840
Speaker 2: you describe this scene?

1076
01:00:08,440 --> 01:00:12,000
Speaker 1: So before he even sets up the game, Prospero is

1077
01:00:12,360 --> 01:00:14,680
Speaker 1: is taking these daggers and embedding them in the table,

1078
01:00:15,240 --> 01:00:18,240
Speaker 1: and then he explains, all right, I've got what five

1079
01:00:18,360 --> 01:00:22,440
Speaker 1: daggers here, and one of these daggers has a deadly

1080
01:00:22,560 --> 01:00:26,520
Speaker 1: poison on it that will take hold of your body

1081
01:00:26,600 --> 01:00:27,800
Speaker 1: and what five seconds?

1082
01:00:27,840 --> 01:00:28,840
Speaker 2: I think five seconds?

1083
01:00:28,920 --> 01:00:33,200
Speaker 1: Yeah, yeah, quick acting poison. So since you two won't

1084
01:00:33,280 --> 01:00:35,360
Speaker 1: fight each other to the death, what you're gonna do

1085
01:00:35,520 --> 01:00:38,600
Speaker 1: is you're going to take turns picking a dagger cutting

1086
01:00:38,640 --> 01:00:42,120
Speaker 1: your skin and we'll see what happens. One of you

1087
01:00:42,400 --> 01:00:44,720
Speaker 1: is going to cut your skin with the poisoned dagger

1088
01:00:45,280 --> 01:00:48,320
Speaker 1: and and die. So let's let's see. Let's do it

1089
01:00:48,720 --> 01:00:49,600
Speaker 1: start now.

1090
01:00:49,840 --> 01:00:52,720
Speaker 2: And they do take turns. It's it's very tense scene,

1091
01:00:53,080 --> 01:00:54,880
Speaker 2: but they get all the way to the last dagger,

1092
01:00:54,960 --> 01:00:57,320
Speaker 2: and oh, it's like Russian roulette. It's like, if you

1093
01:00:57,400 --> 01:01:00,480
Speaker 2: get to the last chamber and it hasn't go yet,

1094
01:01:00,720 --> 01:01:03,040
Speaker 2: you're in trouble. And they get to the last dagger

1095
01:01:03,120 --> 01:01:05,720
Speaker 2: and none of them are poisoned yet, and it's Ludovico's turn,

1096
01:01:06,360 --> 01:01:08,080
Speaker 2: so it looks like he's just going to have to

1097
01:01:08,120 --> 01:01:10,880
Speaker 2: commit suicide. But then he pulls the dagger out and

1098
01:01:11,000 --> 01:01:13,720
Speaker 2: he lunges he tries to kill Prospero with it, but

1099
01:01:13,880 --> 01:01:15,320
Speaker 2: he is killed in the process.

1100
01:01:15,560 --> 01:01:18,960
Speaker 1: Yeah, Prospero, I mean, Prospero knew. Prospero knew that this

1101
01:01:19,200 --> 01:01:20,800
Speaker 1: was the likely end of the game, though he's still

1102
01:01:20,800 --> 01:01:23,480
Speaker 1: a little offended that they didn't play it to its

1103
01:01:24,120 --> 01:01:24,920
Speaker 1: final phase.

1104
01:01:25,360 --> 01:01:29,120
Speaker 2: Oh and a quick little note also, when Prospero is

1105
01:01:29,160 --> 01:01:31,320
Speaker 2: setting up the game, he's talking to all the guests

1106
01:01:31,800 --> 01:01:33,400
Speaker 2: and he says something like, you know, it's come to

1107
01:01:33,480 --> 01:01:35,480
Speaker 2: my attention that some of you still have faith in

1108
01:01:35,560 --> 01:01:37,640
Speaker 2: the Christian God. Stop that at once.

1109
01:01:39,200 --> 01:01:41,640
Speaker 1: So at this point Ludo is dead. Gino is all

1110
01:01:41,680 --> 01:01:44,880
Speaker 1: that's left, and at this point Prospero has nothing else

1111
01:01:44,960 --> 01:01:47,200
Speaker 1: for him. He just kicks him outside the castle. He's like,

1112
01:01:47,280 --> 01:01:50,600
Speaker 1: go out there into the plague stricken world. You're You're

1113
01:01:50,640 --> 01:01:51,320
Speaker 1: done right.

1114
01:01:51,440 --> 01:01:53,120
Speaker 2: He's not going to kill him directly, He's going to

1115
01:01:53,200 --> 01:01:56,120
Speaker 2: banish him from the castle, and of course, the assumption

1116
01:01:56,280 --> 01:01:59,360
Speaker 2: is exiled outside the castle walls. He's going to meet

1117
01:01:59,360 --> 01:02:02,400
Speaker 2: the Red Death and Francesca begs to go with him,

1118
01:02:02,440 --> 01:02:05,320
Speaker 2: but Prospero tells her, no, you're gonna stay here.

1119
01:02:05,960 --> 01:02:06,080
Speaker 3: Uh.

1120
01:02:06,320 --> 01:02:09,320
Speaker 2: Juliana Hazel Kord is once again like, well, I'm ready

1121
01:02:09,360 --> 01:02:13,280
Speaker 2: to get married to Satan. Now, getting married to Satan

1122
01:02:13,360 --> 01:02:16,640
Speaker 2: Nigga is a multi stage procedure, apparently, But before we

1123
01:02:16,720 --> 01:02:19,280
Speaker 2: get to see how that is finalized, we follow Gino

1124
01:02:19,400 --> 01:02:22,560
Speaker 2: outside the castle walls, where he staggers through that fog

1125
01:02:22,720 --> 01:02:26,960
Speaker 2: soaked forest of dead trees. Wolves are howling in the distance,

1126
01:02:27,360 --> 01:02:30,800
Speaker 2: and he stumbles along until he comes across the figure

1127
01:02:30,840 --> 01:02:33,800
Speaker 2: in red at the foot of the tree, turning over

1128
01:02:33,920 --> 01:02:39,040
Speaker 2: tarot cards on his lap, and Gino says, my god,

1129
01:02:39,640 --> 01:02:43,080
Speaker 2: and then the red figure says, who is your god?

1130
01:02:44,080 --> 01:02:47,720
Speaker 2: And it's it's very ominous. It's a wonderful, creepy scene.

1131
01:02:48,200 --> 01:02:51,880
Speaker 2: And Gino's saying, I have to go back and rescue Francesca,

1132
01:02:51,920 --> 01:02:53,840
Speaker 2: but I don't know what to do. What weapon can

1133
01:02:53,920 --> 01:02:56,840
Speaker 2: I use against Prospero? And the holy Man in Red

1134
01:02:56,880 --> 01:02:59,960
Speaker 2: suggests that he could use love now back at the cat,

1135
01:03:00,080 --> 01:03:02,640
Speaker 2: so we'll get the payoff of some b plots. The

1136
01:03:02,720 --> 01:03:06,080
Speaker 2: masquerade is coming up soon, so we see we see

1137
01:03:06,120 --> 01:03:08,680
Speaker 2: Alfredo getting into the gorilla suit, and.

1138
01:03:08,720 --> 01:03:12,000
Speaker 1: I think in the scene hopped Toat is already like

1139
01:03:12,040 --> 01:03:14,280
Speaker 1: whipping him a little bit to get into the act.

1140
01:03:14,480 --> 01:03:17,560
Speaker 2: And Julianna is getting married to Satan again, and she

1141
01:03:17,720 --> 01:03:22,040
Speaker 2: has this evil dream sequence where the dancers of Hell

1142
01:03:22,280 --> 01:03:25,880
Speaker 2: like mime stabbing at her, and then she wanders around

1143
01:03:26,040 --> 01:03:29,280
Speaker 2: through the differently colored rooms and she says, I have

1144
01:03:29,440 --> 01:03:33,680
Speaker 2: tasted the beauties of terror. We see like the pendulum

1145
01:03:33,800 --> 01:03:37,600
Speaker 2: from the giant clock ticking in the foreground, and you

1146
01:03:37,720 --> 01:03:40,280
Speaker 2: think she's married to Satan now, but she's not quite yet.

1147
01:03:40,400 --> 01:03:42,960
Speaker 2: There's one more thing. It's that she has to die.

1148
01:03:43,160 --> 01:03:46,480
Speaker 2: She gets attacked and killed by a falcon, and the

1149
01:03:46,640 --> 01:03:49,920
Speaker 2: partygoers discover her bloody body there after the bird has

1150
01:03:50,000 --> 01:03:53,120
Speaker 2: pecked her face off, and they're all like, oh no.

1151
01:03:54,080 --> 01:03:56,480
Speaker 2: But Vincent Price comes in and this is that great

1152
01:03:56,560 --> 01:03:59,040
Speaker 2: moment where he says, oh, do not mourn her. She

1153
01:03:59,280 --> 01:04:00,840
Speaker 2: is just married friend of mine.

1154
01:04:01,120 --> 01:04:04,680
Speaker 1: It's great, it's perfect delivery. Now, did you watch the

1155
01:04:04,800 --> 01:04:06,800
Speaker 1: theatrical cut or the extended cut of the film.

1156
01:04:08,080 --> 01:04:08,640
Speaker 2: I'm not sure.

1157
01:04:09,000 --> 01:04:11,440
Speaker 1: I made a point of watching the extended cut, and

1158
01:04:11,520 --> 01:04:15,440
Speaker 1: it's my understanding that we in the extended cut. Basically

1159
01:04:15,600 --> 01:04:17,560
Speaker 1: there are a few different bits we get a little

1160
01:04:17,600 --> 01:04:22,680
Speaker 1: bit more of, including this whole weird dream psychedelic sequence

1161
01:04:23,040 --> 01:04:26,520
Speaker 1: with Hazel Cord. And yeah, there's nothing in it that's

1162
01:04:26,520 --> 01:04:31,320
Speaker 1: particularly troubling, especially to modern viewers, but it does go

1163
01:04:31,480 --> 01:04:35,480
Speaker 1: on a bit and is like they're doing this, not

1164
01:04:35,520 --> 01:04:37,040
Speaker 1: in the sense that it gets boring, but it's just

1165
01:04:37,120 --> 01:04:40,440
Speaker 1: a lot of like distortions of her screaming face and

1166
01:04:40,600 --> 01:04:45,200
Speaker 1: slow motion content and it is it's very trippy. Yeah,

1167
01:04:45,480 --> 01:04:47,840
Speaker 1: but anyway, she's married to Satan. Now she's out of

1168
01:04:47,880 --> 01:04:48,280
Speaker 1: the picture.

1169
01:04:48,440 --> 01:04:50,320
Speaker 2: All right, we're in the final stretch now, so I

1170
01:04:50,440 --> 01:04:52,880
Speaker 2: think we'll skip a little more lightly over what happens.

1171
01:04:52,880 --> 01:04:55,120
Speaker 2: So some more things go on inside the palace. There's

1172
01:04:55,160 --> 01:04:57,600
Speaker 2: a great scene of Gino trying to sneak back inside

1173
01:04:57,680 --> 01:05:01,840
Speaker 2: the castle with what is a sense an ewok grappling hook.

1174
01:05:02,600 --> 01:05:06,880
Speaker 1: Yeah, yeah, rope attached to a giant tree branch or something.

1175
01:05:07,400 --> 01:05:10,520
Speaker 2: Yeah, he throws it over the walls. He climbs up,

1176
01:05:10,600 --> 01:05:13,720
Speaker 2: he expects to meet guards, but no, instead he just

1177
01:05:13,840 --> 01:05:16,720
Speaker 2: meets the Man in Red again, and the holy Man

1178
01:05:16,800 --> 01:05:19,360
Speaker 2: in Red tells Gino there's no need to fight. He says,

1179
01:05:19,440 --> 01:05:22,680
Speaker 2: you know, just wait here on the rampart. Shortly after one,

1180
01:05:22,920 --> 01:05:26,520
Speaker 2: I will send Francesca to you. And Gino says, well, wait,

1181
01:05:26,600 --> 01:05:29,360
Speaker 2: what about the guards? But the Man in Red reveals

1182
01:05:29,440 --> 01:05:32,000
Speaker 2: that the guards have all died of the red death.

1183
01:05:32,120 --> 01:05:35,600
Speaker 2: They've got the blood splattered faces. And here there is

1184
01:05:35,800 --> 01:05:39,760
Speaker 2: the final confrontation, the big party. Well, first we get

1185
01:05:39,800 --> 01:05:43,400
Speaker 2: the pay off of the revenge plot on Alfredo, where

1186
01:05:43,560 --> 01:05:47,200
Speaker 2: hop toed Hog ties Alfredo in a gorilla suit, ties

1187
01:05:47,280 --> 01:05:49,560
Speaker 2: him to a chandelier, hoists him up in the air,

1188
01:05:49,600 --> 01:05:51,040
Speaker 2: and then just sets him on fire.

1189
01:05:51,520 --> 01:05:55,200
Speaker 1: Yeah it's horrifying to watch. I mean, it's gotten to

1190
01:05:55,240 --> 01:05:57,760
Speaker 1: the point where just about any burn suit moment in

1191
01:05:58,160 --> 01:06:01,040
Speaker 1: a film, old or new, kind of gives me the

1192
01:06:03,280 --> 01:06:06,000
Speaker 1: that makes me squirm a little bit, you know, But

1193
01:06:06,160 --> 01:06:09,080
Speaker 1: this one, Yeah, this is horrifying. You wrote you almost

1194
01:06:09,120 --> 01:06:12,200
Speaker 1: if you didn't know that Fred, that Alfredo was such

1195
01:06:12,200 --> 01:06:14,720
Speaker 1: a bad dude, you might think that hop Toad went

1196
01:06:14,800 --> 01:06:18,560
Speaker 1: a little bit too far. It's revenge execution here, but like.

1197
01:06:18,640 --> 01:06:22,320
Speaker 2: You said, Prosper's reaction to his friend here getting burned

1198
01:06:22,360 --> 01:06:25,440
Speaker 2: alive is like, oh, quite funny. Guards clean up this

1199
01:06:25,560 --> 01:06:27,160
Speaker 2: mess and give hop Toad a reward.

1200
01:06:27,640 --> 01:06:31,000
Speaker 1: Yeah, I mean, hop Toad knows his audience. He's served

1201
01:06:31,080 --> 01:06:35,200
Speaker 1: long in the in the court of Prince prosper In fact,

1202
01:06:35,320 --> 01:06:37,600
Speaker 1: he has a whole little monologue earlier in the film

1203
01:06:37,920 --> 01:06:40,200
Speaker 1: about that. He's like, yeah, I served Prince prosper for

1204
01:06:40,240 --> 01:06:40,800
Speaker 1: a long time.

1205
01:06:41,160 --> 01:06:44,760
Speaker 2: But in the middle of all this, Prospero and Francesca

1206
01:06:44,800 --> 01:06:49,160
Speaker 2: are wandering around, and it seems Francesca's zeal for Christianity

1207
01:06:49,280 --> 01:06:52,760
Speaker 2: has sort of been been destroyed. She's just like sort

1208
01:06:52,800 --> 01:06:55,840
Speaker 2: of resigned herself to do it. Well, I guess I'm

1209
01:06:55,920 --> 01:06:57,240
Speaker 2: gonna be for Satan now.

1210
01:06:57,600 --> 01:07:01,240
Speaker 1: Oh, and we should mention that Prospero in this sequence,

1211
01:07:01,320 --> 01:07:04,200
Speaker 1: in the final sequence of the film, is dressed like

1212
01:07:04,480 --> 01:07:07,760
Speaker 1: Lawrence of Arabia, of darkness, like Lawrence of Arabia, but

1213
01:07:07,920 --> 01:07:11,840
Speaker 1: all in black with gold in like the head dress.

1214
01:07:12,400 --> 01:07:15,000
Speaker 1: So it's a great look. He's just he's like all.

1215
01:07:15,000 --> 01:07:19,200
Speaker 2: Darkness, yes, but uh oh, he's looking out over all

1216
01:07:19,240 --> 01:07:23,120
Speaker 2: the party guests, and despite his orders, somebody here at

1217
01:07:23,160 --> 01:07:26,200
Speaker 2: the mask is wearing red. Remember they were not supposed

1218
01:07:26,200 --> 01:07:26,560
Speaker 2: to do that.

1219
01:07:27,120 --> 01:07:30,280
Speaker 1: So not just red details or red trim, which I

1220
01:07:30,360 --> 01:07:33,080
Speaker 1: think was maybe allowed. But this guy's in all red

1221
01:07:33,360 --> 01:07:35,880
Speaker 1: and we know who this surely is, so.

1222
01:07:36,240 --> 01:07:38,880
Speaker 2: He's chasing him down. He goes through the rainbow rooms,

1223
01:07:39,000 --> 01:07:42,240
Speaker 2: through the Yellow room, the Purple room, the White room,

1224
01:07:42,320 --> 01:07:45,760
Speaker 2: and to the final black room where they have the confrontation.

1225
01:07:46,160 --> 01:07:49,480
Speaker 2: Rob described the scene. It is it's so perfect, oh,

1226
01:07:49,640 --> 01:07:49,880
Speaker 2: it is.

1227
01:07:50,000 --> 01:07:52,640
Speaker 1: It is just a perfect confrontation. You know this is

1228
01:07:52,720 --> 01:07:54,440
Speaker 1: going to happen. There's going to be this scene where

1229
01:07:54,480 --> 01:07:59,480
Speaker 1: Prospero finally speaks with the man in red, speaks with

1230
01:07:59,600 --> 01:08:04,000
Speaker 1: the red death personified. And I mean, it's one of

1231
01:08:04,040 --> 01:08:07,439
Speaker 1: these things where you just have to just to see

1232
01:08:07,480 --> 01:08:09,920
Speaker 1: it to get all of the intricacies of the dialogue

1233
01:08:09,960 --> 01:08:13,280
Speaker 1: because it's just so perfectly executed. It's like this philosophical

1234
01:08:13,360 --> 01:08:17,360
Speaker 1: discussion of the nature of death and the universe and

1235
01:08:18,560 --> 01:08:21,840
Speaker 1: that the nature of Satan and who rules the universe.

1236
01:08:21,960 --> 01:08:25,559
Speaker 1: It's it's it's glorious stuff. And again in this trippy

1237
01:08:25,680 --> 01:08:30,080
Speaker 1: dark room with this red symbol like on the wall

1238
01:08:30,200 --> 01:08:33,200
Speaker 1: that is sometimes a window in the other rooms that

1239
01:08:33,320 --> 01:08:34,960
Speaker 1: I don't know if you what you made of this,

1240
01:08:35,120 --> 01:08:37,600
Speaker 1: but it made me think of like some sort of

1241
01:08:37,680 --> 01:08:42,599
Speaker 1: a bacterium or a or like a pustule or something

1242
01:08:42,800 --> 01:08:44,280
Speaker 1: transformed into a symbol.

1243
01:08:44,560 --> 01:08:47,439
Speaker 2: Oh well, yeah, it's kind of a hexagon with but

1244
01:08:47,560 --> 01:08:49,440
Speaker 2: with bubbles at all of the vertices.

1245
01:08:49,920 --> 01:08:52,760
Speaker 1: Yeah. But this is the scene where like everything that

1246
01:08:52,880 --> 01:08:57,040
Speaker 1: Prospero believes in is being put to the test, Like

1247
01:08:57,520 --> 01:09:00,519
Speaker 1: he has he stands apart or he believe he stands

1248
01:09:00,560 --> 01:09:03,080
Speaker 1: apart from everyone else in the world and in his

1249
01:09:03,240 --> 01:09:06,760
Speaker 1: kingdom because he has privileged knowledge and a privileged understanding

1250
01:09:06,840 --> 01:09:10,080
Speaker 1: of the true nature of reality. And now he stands

1251
01:09:10,160 --> 01:09:15,000
Speaker 1: with this one who ultimately it's a little vague about

1252
01:09:15,000 --> 01:09:17,960
Speaker 1: you know who and what this is like is this Satan?

1253
01:09:18,280 --> 01:09:23,280
Speaker 1: Is this a god? Is this death? It's it? Is

1254
01:09:23,360 --> 01:09:26,400
Speaker 1: it the persona merely the personification of one type of death?

1255
01:09:27,120 --> 01:09:31,320
Speaker 1: But clearly it is a superhuman individual. It is some

1256
01:09:31,479 --> 01:09:35,200
Speaker 1: sort of like universal concept made manifest And here he

1257
01:09:35,280 --> 01:09:36,840
Speaker 1: is finally able to confront.

1258
01:09:36,520 --> 01:09:38,400
Speaker 2: It, and you go through the stages of who he

1259
01:09:38,479 --> 01:09:40,800
Speaker 2: thinks he is, right, like Price thinks that he's one

1260
01:09:40,840 --> 01:09:43,360
Speaker 2: of the guests. He's like, oh, are you doctor so

1261
01:09:43,520 --> 01:09:45,720
Speaker 2: and so? And then the figure in red says, the

1262
01:09:45,800 --> 01:09:49,280
Speaker 2: doctor Danse is in the white room, you know, next door,

1263
01:09:49,400 --> 01:09:52,400
Speaker 2: so it's not him. And then he gets all excited

1264
01:09:52,439 --> 01:09:54,920
Speaker 2: because he's like, oh, I get it, you're Satan. You're

1265
01:09:54,960 --> 01:09:58,160
Speaker 2: here to congratulate me on being your your best, your

1266
01:09:58,360 --> 01:10:01,679
Speaker 2: most loyal recruiter. But no, he's not Satan either.

1267
01:10:01,720 --> 01:10:03,880
Speaker 1: And he keeps it a little little vague. He's like, well,

1268
01:10:04,160 --> 01:10:06,120
Speaker 1: you know, Satan rules the universe and I made a

1269
01:10:06,520 --> 01:10:09,080
Speaker 1: prom and we made a pact with each other over this,

1270
01:10:09,320 --> 01:10:11,920
Speaker 1: and he's like, he does not rule the universe alone.

1271
01:10:12,600 --> 01:10:15,280
Speaker 1: So I love how the film plays it loose with

1272
01:10:15,439 --> 01:10:20,639
Speaker 1: exactly what the what theological system is actually in place

1273
01:10:20,720 --> 01:10:23,080
Speaker 1: in the universe. It's not one of these films like

1274
01:10:23,720 --> 01:10:27,080
Speaker 1: The Devil Rides Out where it's like Satanic threat, Christianity

1275
01:10:27,160 --> 01:10:29,080
Speaker 1: comes and saves the day at the end, like it's

1276
01:10:29,640 --> 01:10:34,000
Speaker 1: everything is ultimately unclear exactly what sort of superhuman forces

1277
01:10:34,040 --> 01:10:35,320
Speaker 1: are at play in reality.

1278
01:10:35,640 --> 01:10:38,719
Speaker 2: Yeah, yeah, but of course we get the big reveal.

1279
01:10:39,280 --> 01:10:42,120
Speaker 2: It is the Red Death, and the Red Death spreads

1280
01:10:42,200 --> 01:10:46,360
Speaker 2: to everyone in the palace except Francesca, so we see

1281
01:10:46,400 --> 01:10:49,200
Speaker 2: all the dancers. You know that they are splattered with

1282
01:10:49,320 --> 01:10:52,840
Speaker 2: the Red Death and then finally Prospero himself kind of

1283
01:10:53,080 --> 01:10:55,200
Speaker 2: melts into a red red puddle.

1284
01:10:55,880 --> 01:10:57,720
Speaker 1: Oh yeah, And there's also the brilliant part where he

1285
01:10:57,880 --> 01:11:02,479
Speaker 1: unmasks the Red Death and Red Death has Prospero's own face,

1286
01:11:03,000 --> 01:11:07,240
Speaker 1: which is the earlier in the encounter. He tells him

1287
01:11:07,280 --> 01:11:09,840
Speaker 1: it's like death has no face until you know your

1288
01:11:09,920 --> 01:11:11,840
Speaker 1: very own face at the moment of your death and

1289
01:11:11,920 --> 01:11:16,560
Speaker 1: so forth. It's all the dialogue is just beautiful. It's

1290
01:11:16,600 --> 01:11:18,599
Speaker 1: absolutely perfectly executed here.

1291
01:11:19,000 --> 01:11:21,200
Speaker 2: But there is a happy ending for the good characters.

1292
01:11:21,600 --> 01:11:27,240
Speaker 2: Francesca and Gino and hop Toad and Esmeralda. All the

1293
01:11:27,320 --> 01:11:31,160
Speaker 2: good characters get to escape and they meet outside the

1294
01:11:31,200 --> 01:11:34,559
Speaker 2: castle walls with a peasant child who was spared earlier

1295
01:11:34,600 --> 01:11:36,840
Speaker 2: when peasants came to the gate looking for help and

1296
01:11:37,240 --> 01:11:40,240
Speaker 2: Prospero had them all slaughtered except for the kid. But

1297
01:11:40,680 --> 01:11:44,639
Speaker 2: we also get some more perspective on the world at large,

1298
01:11:44,680 --> 01:11:46,680
Speaker 2: because it seems like the Red Death is not the

1299
01:11:46,840 --> 01:11:49,519
Speaker 2: only death. We get a white death, a yellow death,

1300
01:11:49,560 --> 01:11:52,960
Speaker 2: a black death. They're all gathering, there's a purple death.

1301
01:11:53,120 --> 01:11:55,800
Speaker 2: They're all gathering by the tree where the Red Death

1302
01:11:55,920 --> 01:11:58,479
Speaker 2: was hanging out at the beginning, all wearing a robe

1303
01:11:58,600 --> 01:12:03,080
Speaker 2: of their own color, and it's such a spectacular ending.

1304
01:12:03,439 --> 01:12:05,960
Speaker 1: Yeah, I mean, we get through the rainbow theme once more.

1305
01:12:07,080 --> 01:12:09,720
Speaker 1: And I guess I felt like some of these were

1306
01:12:09,800 --> 01:12:11,720
Speaker 1: maybe related to the four humors. You know, we have

1307
01:12:11,840 --> 01:12:14,559
Speaker 1: red Death, Black Death, Yellow Death. I guess the grayish

1308
01:12:14,640 --> 01:12:18,400
Speaker 1: looking one is maybe blue, blue Death, White Death. I'm

1309
01:12:18,439 --> 01:12:21,200
Speaker 1: less sure about though, though. I Mean, I can think

1310
01:12:21,240 --> 01:12:25,360
Speaker 1: of some some fantasy stories that involve something called the

1311
01:12:25,439 --> 01:12:28,559
Speaker 1: White Death, So one can imagine that these are all

1312
01:12:28,680 --> 01:12:31,000
Speaker 1: just different plagues that are running rampant in the world,

1313
01:12:31,040 --> 01:12:33,720
Speaker 1: and they're kind of their personifications are checking in and saying, hey,

1314
01:12:33,760 --> 01:12:36,240
Speaker 1: how's it going, what your what's your kill rate today?

1315
01:12:36,280 --> 01:12:39,200
Speaker 1: Did you make quota? And they're like, yeah, yeah, I'm

1316
01:12:39,200 --> 01:12:41,840
Speaker 1: doing great. I hear, I hear Blue Death is a

1317
01:12:41,880 --> 01:12:45,200
Speaker 1: little behind today. But man, did you hear about Black

1318
01:12:45,280 --> 01:12:48,479
Speaker 1: He's really he's really cranking in the numbers. But it's

1319
01:12:48,520 --> 01:12:50,920
Speaker 1: not like that. It's it's more of a solemn affair,

1320
01:12:51,439 --> 01:12:54,120
Speaker 1: a vague affair. They don't really know exactly what these

1321
01:12:54,280 --> 01:12:59,840
Speaker 1: entities are except they're clearly involved in death. But it's

1322
01:12:59,880 --> 01:13:02,479
Speaker 1: a it's a solemn kind of Death, and in fact

1323
01:13:02,520 --> 01:13:06,920
Speaker 1: we get the final words of the film are in

1324
01:13:07,040 --> 01:13:12,120
Speaker 1: Latin what sic transit Gloria Monday, which translates to thus

1325
01:13:12,240 --> 01:13:13,880
Speaker 1: passes the glory of the World.

1326
01:13:14,360 --> 01:13:18,400
Speaker 2: I think they also quote the ending of the Pose story,

1327
01:13:18,479 --> 01:13:21,680
Speaker 2: don't they say that the darkness and decay and the

1328
01:13:21,800 --> 01:13:24,280
Speaker 2: red death held illimitable dominion overall?

1329
01:13:24,880 --> 01:13:27,280
Speaker 1: Yes, yes they do. And then we also get a

1330
01:13:27,720 --> 01:13:29,080
Speaker 1: kind of go back to the same style as the

1331
01:13:29,120 --> 01:13:32,240
Speaker 1: opening credits, we get the closing credits, which are also splendid.

1332
01:13:32,560 --> 01:13:35,000
Speaker 1: These this is definitely a credit sequence to stick with

1333
01:13:36,080 --> 01:13:38,240
Speaker 1: for the duration, not because there's any kind of cool

1334
01:13:38,280 --> 01:13:40,479
Speaker 1: stinger at the end, just because they're beautiful to watch

1335
01:13:40,600 --> 01:13:43,799
Speaker 1: and they kind of play out in a way that builds,

1336
01:13:44,200 --> 01:13:47,320
Speaker 1: and then the film closes, we go red increasingly read

1337
01:13:47,720 --> 01:13:48,519
Speaker 1: and then darkness.

1338
01:13:48,920 --> 01:13:51,760
Speaker 2: Who knew Roger Corman had it in him? This is

1339
01:13:51,920 --> 01:13:54,840
Speaker 2: just a fantastic, stylish horror movie.

1340
01:13:55,240 --> 01:13:55,479
Speaker 3: It is.

1341
01:13:55,720 --> 01:14:01,519
Speaker 1: This is just peak artful Roger Corman Vincent Price film

1342
01:14:02,040 --> 01:14:06,200
Speaker 1: and just just a great Halloween movie. So definitely worth

1343
01:14:06,280 --> 01:14:09,320
Speaker 1: checking out. Even if you don't think you're into Vincent

1344
01:14:09,400 --> 01:14:12,280
Speaker 1: Price films. I think you're not into films from the

1345
01:14:12,560 --> 01:14:18,680
Speaker 1: early nineteen sixties early mid nineteen sixties. This is one

1346
01:14:18,720 --> 01:14:21,719
Speaker 1: that I think holds up exceedingly well for modern viewers.

1347
01:14:22,200 --> 01:14:24,040
Speaker 1: But hey, we'd love to hear from everyone out there

1348
01:14:24,160 --> 01:14:26,080
Speaker 1: about this film as well. What are your thoughts on

1349
01:14:26,280 --> 01:14:28,920
Speaker 1: Mask of the Red Death? What are your thoughts on

1350
01:14:29,439 --> 01:14:32,840
Speaker 1: adaptations of Edgar Allan poet stories in general? I guess

1351
01:14:32,880 --> 01:14:35,200
Speaker 1: this is the first time we've discussed one on the show,

1352
01:14:35,880 --> 01:14:37,320
Speaker 1: but there are many more out there, and there are

1353
01:14:37,360 --> 01:14:40,240
Speaker 1: some we might come back to there. I can't think

1354
01:14:40,280 --> 01:14:42,080
Speaker 1: of one off hand that's better than this one. I

1355
01:14:42,120 --> 01:14:45,840
Speaker 1: can think it's someone they're much hammier, but there are

1356
01:14:45,880 --> 01:14:47,560
Speaker 1: definitely some other choices, and of course there are some

1357
01:14:47,640 --> 01:14:51,000
Speaker 1: other ones by Corman in company as well. Yeah, as

1358
01:14:51,040 --> 01:14:53,160
Speaker 1: we close out here will remind you that we're primarily

1359
01:14:53,200 --> 01:14:55,880
Speaker 1: a science podcast, but on Fridays we do Weird House Cinema.

1360
01:14:56,280 --> 01:14:58,479
Speaker 1: That is our time to set aside most serious concerns

1361
01:14:58,520 --> 01:15:00,840
Speaker 1: and just talk about a strange film. If you'd like

1362
01:15:00,920 --> 01:15:03,280
Speaker 1: to keep up with the films that we are covering,

1363
01:15:03,439 --> 01:15:07,840
Speaker 1: have covered and we'll cover on the show, I chronicle

1364
01:15:07,920 --> 01:15:11,080
Speaker 1: them at Simmuta music dot com. That's just a blog

1365
01:15:11,120 --> 01:15:13,880
Speaker 1: that I maintain. But then also weird House has its

1366
01:15:13,920 --> 01:15:17,280
Speaker 1: own account on letterboxed dot com. That's l E T

1367
01:15:17,439 --> 01:15:21,160
Speaker 1: T e r box d dot com. Our username is

1368
01:15:21,200 --> 01:15:23,680
Speaker 1: weird House. We have a list there that has all

1369
01:15:23,800 --> 01:15:26,160
Speaker 1: of the films that we've watched. You can see it

1370
01:15:26,240 --> 01:15:29,360
Speaker 1: all in like a nice visual spread of thumbnails, and

1371
01:15:29,439 --> 01:15:32,400
Speaker 1: you can organize them by decades or however you want,

1372
01:15:32,479 --> 01:15:34,520
Speaker 1: and there are links there that'll take you to the episodes.

1373
01:15:35,040 --> 01:15:38,040
Speaker 1: It's a great way to visualize where we are, what

1374
01:15:38,200 --> 01:15:41,879
Speaker 1: decades we've covered, and I believe as according to my accounting,

1375
01:15:41,960 --> 01:15:44,719
Speaker 1: this was the ninetieth film that we've covered on Weirdouse Cinema.

1376
01:15:46,880 --> 01:15:50,200
Speaker 2: Huge thanks as always to our excellent audio producer Seth

1377
01:15:50,320 --> 01:15:52,760
Speaker 2: Nicholas Johnson. If you would like to get in touch

1378
01:15:52,840 --> 01:15:55,040
Speaker 2: with us with feedback on this episode or any other,

1379
01:15:55,160 --> 01:15:57,639
Speaker 2: to suggest topic for the future, or just to say hello,

1380
01:15:57,800 --> 01:16:00,360
Speaker 2: you can email us at contact at stuff to Blow

1381
01:16:00,400 --> 01:16:01,479
Speaker 2: your Mind dot com.

1382
01:16:08,760 --> 01:16:11,680
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1383
01:16:11,800 --> 01:16:14,519
Speaker 3: more podcasts from My Heart Radio, visit the iHeartRadio app,

1384
01:16:14,720 --> 01:16:17,439
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.