1 00:00:03,000 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow your Mind, a production of 2 00:00:05,360 --> 00:00:15,360 Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This 3 00:00:15,400 --> 00:00:18,600 Speaker 1: is Rob Lamb and this is Joe McCormick. Now, if 4 00:00:18,880 --> 00:00:21,880 Speaker 1: if you've been listening to Weird House Cinema for a 5 00:00:21,880 --> 00:00:23,680 Speaker 1: while now, you know that we we always note the 6 00:00:23,760 --> 00:00:26,960 Speaker 1: musical score. And I feel like we've had a string 7 00:00:27,000 --> 00:00:31,280 Speaker 1: of unremarkable scores. Yeah, what do we let's see, uh 8 00:00:31,440 --> 00:00:34,640 Speaker 1: score to eliminators. That wasn't really anything to write home about. 9 00:00:34,760 --> 00:00:37,560 Speaker 1: I'd say the same for beast Masters beast Master two. 10 00:00:37,760 --> 00:00:39,840 Speaker 1: Like to try to make that plural there there there's 11 00:00:39,840 --> 00:00:43,760 Speaker 1: only one beast Master. Um, beast Master two. Yeah, yeah, 12 00:00:43,800 --> 00:00:46,319 Speaker 1: that that wasn't so great. And Robert, I know your 13 00:00:46,320 --> 00:00:49,320 Speaker 1: particular weaknesses as well, because while I don't quite feel 14 00:00:49,360 --> 00:00:51,440 Speaker 1: the same way, I know you hold it against a 15 00:00:51,520 --> 00:00:55,200 Speaker 1: score merely merely for having three D physical instruments. You 16 00:00:55,880 --> 00:00:58,880 Speaker 1: prefer an all electronic score. I've literally heard you say before, 17 00:00:58,960 --> 00:01:01,320 Speaker 1: like a about a movie score. You're like, I guess 18 00:01:01,360 --> 00:01:05,360 Speaker 1: it was fine, but it wasn't electronic. Well, you know, 19 00:01:05,400 --> 00:01:07,520 Speaker 1: there are exceptions to the rule, but but by and 20 00:01:07,600 --> 00:01:11,760 Speaker 1: large that's a fair assessment. Um. Yeah, so I figured 21 00:01:11,840 --> 00:01:14,000 Speaker 1: on this one when we were you know, we we 22 00:01:14,000 --> 00:01:18,039 Speaker 1: have different ways of picking out movies and the this week, 23 00:01:18,080 --> 00:01:20,040 Speaker 1: I was like, I want something with a good score. 24 00:01:20,080 --> 00:01:22,200 Speaker 1: I'm gonna go. Let's go with a good score first, 25 00:01:22,280 --> 00:01:25,280 Speaker 1: searching principle here and so I started looking around for 26 00:01:25,360 --> 00:01:28,039 Speaker 1: films that generally edged films I had not seen, but 27 00:01:28,160 --> 00:01:32,240 Speaker 1: we're well regarded for their score. And it led us 28 00:01:32,680 --> 00:01:36,360 Speaker 1: to this motion picture. It is Uh, it's also kind 29 00:01:36,360 --> 00:01:38,280 Speaker 1: of neat because I think it is our first film 30 00:01:38,360 --> 00:01:41,560 Speaker 1: from Australia and New Zealand. It's an Australian and New 31 00:01:41,640 --> 00:01:46,720 Speaker 1: Zealand co production. It is two's next of kin. Well, 32 00:01:46,720 --> 00:01:48,840 Speaker 1: if you picked this title based on score alone, maybe 33 00:01:48,880 --> 00:01:51,120 Speaker 1: we should start by by talking about that score. What 34 00:01:51,200 --> 00:01:54,000 Speaker 1: drew you in about the music? Well, I was like, 35 00:01:54,240 --> 00:01:55,920 Speaker 1: you know, looking at looking at these some of these 36 00:01:56,000 --> 00:01:58,080 Speaker 1: lists saying, oh the Sun has a great score. That 37 00:01:58,280 --> 00:02:00,760 Speaker 1: has a great score, and uh. And it was really 38 00:02:00,760 --> 00:02:03,920 Speaker 1: when I saw who was attached to the score, because 39 00:02:04,400 --> 00:02:07,400 Speaker 1: the score on this film is by an electronic artist, 40 00:02:07,560 --> 00:02:13,480 Speaker 1: a pioneer of electronic music, Klaus Schultz, who was born 41 00:02:13,200 --> 00:02:16,160 Speaker 1: seven is still alive and I still't think still performs 42 00:02:16,280 --> 00:02:19,959 Speaker 1: or has performed in the last you know, a few years. U. 43 00:02:19,960 --> 00:02:23,120 Speaker 1: I'm not, you know, never sure exactly where you're landing 44 00:02:23,160 --> 00:02:26,960 Speaker 1: with that um right now during the the pandemic era, 45 00:02:27,080 --> 00:02:32,000 Speaker 1: especially with older performers. But yeah, this this guy is 46 00:02:32,000 --> 00:02:36,480 Speaker 1: a huge deal. And while he he isn't Tangerine Dream, 47 00:02:36,520 --> 00:02:41,280 Speaker 1: he was in Tangerine Dream a very short period of time. Uh, 48 00:02:41,320 --> 00:02:43,600 Speaker 1: so he is. UM. He's an artist that I listened 49 00:02:43,639 --> 00:02:46,080 Speaker 1: to his albums before and and he hasn't done a 50 00:02:46,120 --> 00:02:47,880 Speaker 1: lot of score work. I think there are only really 51 00:02:47,919 --> 00:02:51,400 Speaker 1: three motion pictures that you could say, yes he did. 52 00:02:51,480 --> 00:02:54,120 Speaker 1: He did the scores for these films, and so I 53 00:02:54,160 --> 00:02:56,920 Speaker 1: was I was excited by by seeing his name on 54 00:02:56,960 --> 00:02:58,880 Speaker 1: this one, seeing that it was well regarded, and then 55 00:02:58,919 --> 00:03:00,880 Speaker 1: also just looking a little it into the plot, I 56 00:03:00,960 --> 00:03:02,959 Speaker 1: was like, oh, yeah, this is uh, this looks like 57 00:03:03,000 --> 00:03:05,280 Speaker 1: it's weird house territory. So Rob sent me straight on 58 00:03:05,360 --> 00:03:07,960 Speaker 1: my electronic terminology. Would I be right in saying that 59 00:03:08,040 --> 00:03:10,760 Speaker 1: this movie is set to the Berlin sound? Is this 60 00:03:10,919 --> 00:03:15,280 Speaker 1: the the the famous Berlin style of electronic I think so, 61 00:03:15,440 --> 00:03:18,360 Speaker 1: I'm you know, I'm I'm not one to be you know, 62 00:03:18,440 --> 00:03:22,560 Speaker 1: super strict on terminology, but yeah, this would be I 63 00:03:22,560 --> 00:03:26,800 Speaker 1: guess the Berlin School of of of early electronic music. 64 00:03:27,320 --> 00:03:29,560 Speaker 1: You know this, this is a true synth wizard of 65 00:03:29,600 --> 00:03:32,080 Speaker 1: old we're dealing with here. Uh. You know, he's also 66 00:03:32,080 --> 00:03:36,160 Speaker 1: attached to certain groups that were considered croud rock back 67 00:03:36,200 --> 00:03:39,080 Speaker 1: in the day. Um so yeah, he was briefly a 68 00:03:39,080 --> 00:03:41,720 Speaker 1: member of Tangerine Dream in ninety seven, but he moved 69 00:03:41,760 --> 00:03:45,680 Speaker 1: on to ash Ra Temple, which is not a group 70 00:03:45,720 --> 00:03:48,720 Speaker 1: I'm familiar with, before he went solo. And he's one 71 00:03:48,720 --> 00:03:52,440 Speaker 1: of these artists that has just an absolutely intimidating discography. 72 00:03:52,760 --> 00:03:54,520 Speaker 1: Like if you if you were excited by what I'm 73 00:03:54,560 --> 00:03:55,960 Speaker 1: saying about him and you got to look him up 74 00:03:55,960 --> 00:03:58,720 Speaker 1: on one of your music streaming sites, you'll just be 75 00:03:58,840 --> 00:04:03,000 Speaker 1: bombarded with like a million different releases. Well, coming back 76 00:04:03,040 --> 00:04:04,960 Speaker 1: to the movie itself, I gotta say, for a movie 77 00:04:05,000 --> 00:04:08,279 Speaker 1: that you picked purely on the basis of its soundtrack, 78 00:04:08,520 --> 00:04:11,040 Speaker 1: I thought this was actually a great horror movie. I 79 00:04:11,120 --> 00:04:13,160 Speaker 1: was surprised I'd never seen this before and that I 80 00:04:13,160 --> 00:04:17,120 Speaker 1: hadn't seen it, I don't know included on more lists 81 00:04:17,240 --> 00:04:20,960 Speaker 1: or or curated uh picks of of the great overlooked 82 00:04:20,960 --> 00:04:23,880 Speaker 1: horror movies of of the eighties. Because I thought that 83 00:04:24,200 --> 00:04:29,000 Speaker 1: Next of Ken was just excellent, really carefully crafted, beautifully shot. 84 00:04:29,080 --> 00:04:31,760 Speaker 1: It's a great looking movie. It's got a lot of 85 00:04:31,839 --> 00:04:37,480 Speaker 1: interesting thematic uh symmetricality. I don't know the things that are. 86 00:04:37,880 --> 00:04:39,480 Speaker 1: There's some things about it that I really want to 87 00:04:39,520 --> 00:04:42,680 Speaker 1: talk about, but they're hard to talk about without spoiling 88 00:04:42,680 --> 00:04:45,080 Speaker 1: the ending. I think this movie has a pretty good 89 00:04:45,080 --> 00:04:47,200 Speaker 1: reveal in the third act that I don't want to 90 00:04:47,720 --> 00:04:49,559 Speaker 1: I don't want to get into the details of until 91 00:04:49,600 --> 00:04:52,240 Speaker 1: maybe after we do a spoiler warning later in the episode. 92 00:04:53,000 --> 00:04:56,000 Speaker 1: But yeah, this has so much going for it, and 93 00:04:56,040 --> 00:04:59,400 Speaker 1: I just love the dusty, aw shucks australianisms of it. 94 00:05:00,120 --> 00:05:02,840 Speaker 1: Uh So, I myself was prepared for this to be 95 00:05:02,960 --> 00:05:05,680 Speaker 1: like a schlocky movie with a great soundtrack, which is 96 00:05:06,000 --> 00:05:08,840 Speaker 1: which that I'm I'm all on board for something like that, 97 00:05:08,880 --> 00:05:11,520 Speaker 1: but I was also pleasantly surprised by just the quality 98 00:05:11,600 --> 00:05:15,200 Speaker 1: of everything else about the production. Now, by some definitions, 99 00:05:15,279 --> 00:05:19,279 Speaker 1: this is an example of oz bloitation. Um, you know, 100 00:05:19,320 --> 00:05:22,080 Speaker 1: because it is a it is a post nineteen seventy 101 00:05:22,120 --> 00:05:25,920 Speaker 1: one R rated film from Australia and so again also 102 00:05:26,360 --> 00:05:30,160 Speaker 1: a New Zealand co production. But I've also seen it 103 00:05:30,200 --> 00:05:33,400 Speaker 1: listed as part of the Australian New Wave, and I 104 00:05:33,400 --> 00:05:35,480 Speaker 1: think that might be a little more accurate. I don't know, 105 00:05:36,520 --> 00:05:41,480 Speaker 1: like ozbloitation doesn't necessarily mean that there is something super 106 00:05:41,520 --> 00:05:45,280 Speaker 1: exploitive about it, or that it's exploiting the Australian nous 107 00:05:45,320 --> 00:05:48,680 Speaker 1: of something. Um. But I've also read that that Australian 108 00:05:48,720 --> 00:05:50,919 Speaker 1: New wave films like they often have this kind of 109 00:05:50,960 --> 00:05:54,400 Speaker 1: sense of big open spaces and uh, you know there 110 00:05:54,440 --> 00:05:58,480 Speaker 1: they are often tying into something about the character of 111 00:05:58,560 --> 00:06:00,839 Speaker 1: the Australian landscape, and I think we see that in 112 00:06:00,880 --> 00:06:02,760 Speaker 1: this film. There are a lot of especially early on 113 00:06:02,800 --> 00:06:06,119 Speaker 1: and later in the picture, there's some wide shots that 114 00:06:06,120 --> 00:06:08,640 Speaker 1: that really make you feel a certain amount of isolation 115 00:06:08,720 --> 00:06:12,040 Speaker 1: regarding these characters and the world they lived in. Well, 116 00:06:12,240 --> 00:06:14,440 Speaker 1: not only that, I think the movie is very smart 117 00:06:14,480 --> 00:06:17,480 Speaker 1: in the way that it plays with contrast of spaces. 118 00:06:17,600 --> 00:06:22,039 Speaker 1: There are these tight, claustrophobic, trapped kinds of scenes in 119 00:06:22,040 --> 00:06:24,760 Speaker 1: in small rooms, and then there are yeah, these big 120 00:06:24,880 --> 00:06:27,440 Speaker 1: voids in the night or big open fields that we 121 00:06:27,480 --> 00:06:29,760 Speaker 1: see long shots of as like a car is cutting 122 00:06:29,800 --> 00:06:34,120 Speaker 1: through them. Um. Talking about you know, the popularity of 123 00:06:34,160 --> 00:06:38,080 Speaker 1: this film, it certainly has its following, and uh, and 124 00:06:38,120 --> 00:06:40,240 Speaker 1: that there there's been a we'll get to you know, 125 00:06:40,240 --> 00:06:43,080 Speaker 1: it's been nicely rereleased in recent years. I know Quentin 126 00:06:43,120 --> 00:06:46,240 Speaker 1: Tarantino was apparently a fan of this film and has 127 00:06:46,279 --> 00:06:49,560 Speaker 1: mentioned it, and uh, Michael Weldon includes includes it in 128 00:06:49,640 --> 00:06:53,119 Speaker 1: his psychotronic film Guides, So it was on some people's radar. 129 00:06:53,160 --> 00:06:56,520 Speaker 1: But yeah, in general, this is not a film that 130 00:06:56,520 --> 00:07:00,160 Speaker 1: that I'm super familiar with or remember seeing on shelves anywhere. 131 00:07:00,360 --> 00:07:03,279 Speaker 1: When I hear the name Next of Kin, my mind 132 00:07:03,320 --> 00:07:06,040 Speaker 1: instantly goes to the VHS box cover art of Patrick 133 00:07:06,120 --> 00:07:10,120 Speaker 1: Swayze in that film, which I have not seen, but 134 00:07:10,440 --> 00:07:13,400 Speaker 1: seems to have a great cast. What's it about. I 135 00:07:13,440 --> 00:07:16,040 Speaker 1: think it's about, Um, it's like a crime thing. I 136 00:07:16,080 --> 00:07:19,160 Speaker 1: think it's like, okay, yeah, like I said, really good cast, 137 00:07:19,200 --> 00:07:20,640 Speaker 1: But I think it's just kind of a crime thriller. 138 00:07:20,760 --> 00:07:24,240 Speaker 1: That's my limited understanding of what it amounts to. There 139 00:07:24,320 --> 00:07:26,800 Speaker 1: was actually not a lot I could think of to 140 00:07:27,040 --> 00:07:31,520 Speaker 1: compare Next of Kin to. Uh. It's a very unique film, 141 00:07:31,560 --> 00:07:33,640 Speaker 1: but you know what, it actually reminded me of more 142 00:07:33,720 --> 00:07:36,160 Speaker 1: than anything else. And I think having seen it, you 143 00:07:36,240 --> 00:07:38,760 Speaker 1: might at first ballk at this, but then come around 144 00:07:39,520 --> 00:07:43,840 Speaker 1: my point of comparison is ful Chy. Uh So not 145 00:07:44,080 --> 00:07:47,440 Speaker 1: in terms of gratuitous gross out scenes and buckets of blood. 146 00:07:47,480 --> 00:07:49,040 Speaker 1: There's a little bit of blood in this movie, but 147 00:07:49,120 --> 00:07:52,680 Speaker 1: nowhere near the uh you know, the the just uh 148 00:07:53,240 --> 00:07:55,480 Speaker 1: you know, swimming pools full of gore that you would 149 00:07:55,480 --> 00:07:58,840 Speaker 1: expect from a full Chi movie. So it's not gross 150 00:07:59,040 --> 00:08:02,840 Speaker 1: in the full Chy sense. It's much more restrained. But 151 00:08:03,600 --> 00:08:07,360 Speaker 1: the cinematography and camera work frequently brought Fulchi to mind, 152 00:08:07,360 --> 00:08:09,560 Speaker 1: And I think it has to do with the visual 153 00:08:09,680 --> 00:08:13,440 Speaker 1: fixations and the image driven nous of it, and the 154 00:08:13,520 --> 00:08:19,120 Speaker 1: kind of slow throbbing, dreamlike focus on on things that 155 00:08:19,160 --> 00:08:22,600 Speaker 1: are maybe they're more for texture or for suggesting a 156 00:08:22,760 --> 00:08:26,760 Speaker 1: feeling than for being informative about the plot. Yeah, I 157 00:08:26,760 --> 00:08:29,960 Speaker 1: think that's that's absolutely fair comparison. I thought a little 158 00:08:30,000 --> 00:08:33,040 Speaker 1: bit about Fulchi and perhaps Argento a little bit upon 159 00:08:33,120 --> 00:08:36,720 Speaker 1: watching it. Uh. There is also one extreme eyeball close 160 00:08:36,800 --> 00:08:40,960 Speaker 1: up of note uh that brings to mind some of 161 00:08:41,000 --> 00:08:43,480 Speaker 1: these films. Well, I will say that eyeball seen your 162 00:08:43,520 --> 00:08:46,160 Speaker 1: thinking of I think is directly mirrored in a Fulchi movie, 163 00:08:46,240 --> 00:08:49,520 Speaker 1: though I don't know which one came first. But another 164 00:08:49,559 --> 00:08:50,800 Speaker 1: thing I was going to say to bring it back 165 00:08:50,840 --> 00:08:54,479 Speaker 1: to the score. Actually is that uh So, Jallo movies 166 00:08:54,559 --> 00:08:57,880 Speaker 1: and and Fulchi movies, these Italian horror movies that I'm 167 00:08:57,880 --> 00:09:01,440 Speaker 1: comparing this to are not known for having this this 168 00:09:01,720 --> 00:09:05,600 Speaker 1: German electronic sound in their music, but somehow it fits 169 00:09:05,720 --> 00:09:09,839 Speaker 1: and and heightens the jallowiness the cloud Schultz does maybe 170 00:09:09,880 --> 00:09:12,840 Speaker 1: because of the way the music influences the rhythm of 171 00:09:12,880 --> 00:09:15,480 Speaker 1: the movie. So I was thinking about, you know, the 172 00:09:15,800 --> 00:09:18,840 Speaker 1: feeling that the music creates in all these scenes, and 173 00:09:18,880 --> 00:09:22,240 Speaker 1: it's like you feel the thoughts of the main character, Linda, 174 00:09:22,320 --> 00:09:25,280 Speaker 1: kind of moving along at the rhythm of the score. 175 00:09:25,400 --> 00:09:30,760 Speaker 1: So there are these long warping synthpads when she's daydreaming 176 00:09:30,960 --> 00:09:35,320 Speaker 1: or wallowing or just like feeling big, enveloping emotions, and 177 00:09:35,320 --> 00:09:38,320 Speaker 1: then like the arpeggiators come in, or the rhythm picks 178 00:09:38,400 --> 00:09:42,600 Speaker 1: up when her thoughts pick up the pace and become focused. Yeah, yeah, 179 00:09:42,679 --> 00:09:45,240 Speaker 1: and uh and And that's a great description of the 180 00:09:45,320 --> 00:09:48,400 Speaker 1: kind of music that Klaus Schultz is known for. Like 181 00:09:48,440 --> 00:09:52,840 Speaker 1: my my big introduction to him was the album time Land, 182 00:09:53,240 --> 00:09:55,560 Speaker 1: and I'm not entirely sure how I came across it. 183 00:09:55,559 --> 00:09:57,040 Speaker 1: I think maybe I was listening I heard part of 184 00:09:57,040 --> 00:10:00,280 Speaker 1: it on a H like a warp podcast asked or 185 00:10:00,280 --> 00:10:02,560 Speaker 1: something where they're featuring some older music or something. But 186 00:10:02,880 --> 00:10:06,080 Speaker 1: I ended up picking up time Wind and it's it's 187 00:10:06,240 --> 00:10:09,439 Speaker 1: very long form, wonderfully dreamy. One of these things where 188 00:10:09,840 --> 00:10:12,600 Speaker 1: I'm not gonna ask Seth to include a sample from 189 00:10:12,640 --> 00:10:14,400 Speaker 1: time Wind because you can't. You can't have like a 190 00:10:14,520 --> 00:10:17,920 Speaker 1: accinct sample of time Winds. You need to listen to 191 00:10:17,960 --> 00:10:20,440 Speaker 1: at least like a ten minute stretch of it. I 192 00:10:20,480 --> 00:10:22,960 Speaker 1: listened to it on your recommendation the other day while 193 00:10:22,960 --> 00:10:25,320 Speaker 1: I was working on notes, and I thought it was 194 00:10:25,360 --> 00:10:28,679 Speaker 1: just great. It was my go to for yoga music 195 00:10:28,720 --> 00:10:32,360 Speaker 1: for a while, so it's it's really good stuff. Now. Um, 196 00:10:32,520 --> 00:10:34,720 Speaker 1: Klaus Schules has a there's a He has a wonderful 197 00:10:34,760 --> 00:10:39,240 Speaker 1: website that I believe someone else curates for him with 198 00:10:39,360 --> 00:10:42,920 Speaker 1: his input. And according to that website, the score here 199 00:10:43,240 --> 00:10:47,280 Speaker 1: for this film is not original composition. Rather, it's composed 200 00:10:47,280 --> 00:10:52,280 Speaker 1: of parts from quote known ks, titles, originals and out takes. 201 00:10:53,000 --> 00:10:55,600 Speaker 1: So um that that's interesting to think about in terms 202 00:10:55,640 --> 00:10:57,719 Speaker 1: of this film, because it sounds like maybe it was 203 00:10:57,760 --> 00:11:01,319 Speaker 1: a situation where they put together this film and they're like, hey, 204 00:11:01,320 --> 00:11:03,560 Speaker 1: we'd love to get Claus Schultz and he's like, oh, well, 205 00:11:03,600 --> 00:11:05,960 Speaker 1: I have some music. You're welcome to have any of this, 206 00:11:06,480 --> 00:11:11,640 Speaker 1: and then they made it work, which actually mirrors I 207 00:11:11,720 --> 00:11:13,959 Speaker 1: was reading. One of the other films that he did 208 00:11:13,960 --> 00:11:17,920 Speaker 1: a score for was the three German thriller Angst, which 209 00:11:18,040 --> 00:11:21,240 Speaker 1: was cut to fit his score rather than the other 210 00:11:21,280 --> 00:11:25,839 Speaker 1: way around. So you know he's not he created the 211 00:11:25,880 --> 00:11:27,360 Speaker 1: scores like here you go, and they're all right, all right, 212 00:11:27,360 --> 00:11:29,440 Speaker 1: we'll cut it together and make it work. He also 213 00:11:29,520 --> 00:11:31,600 Speaker 1: composed the score. I think the only other film he 214 00:11:31,640 --> 00:11:38,079 Speaker 1: did was eight Jaws knock off by the name of Barracuda. Well, um, 215 00:11:38,520 --> 00:11:40,240 Speaker 1: how have I not seen that? I thought I'd think 216 00:11:40,280 --> 00:11:42,920 Speaker 1: every Jaws rip off. I mean, it looks like it 217 00:11:42,920 --> 00:11:45,160 Speaker 1: has all the things you would expect from a Jaws 218 00:11:45,240 --> 00:11:48,760 Speaker 1: rip off, but it has this really nice score. Um. 219 00:11:48,800 --> 00:11:51,520 Speaker 1: I don't see a lot of details about the score, 220 00:11:51,559 --> 00:11:53,280 Speaker 1: Like it's one of these where I was looking at 221 00:11:53,280 --> 00:11:56,880 Speaker 1: the movie itself and it says, um, it says that 222 00:11:56,960 --> 00:11:59,679 Speaker 1: the soundtrack is available on Island Records, and there's no 223 00:12:00,080 --> 00:12:03,080 Speaker 1: I found no reference to that ever actually happening. But 224 00:12:03,200 --> 00:12:06,600 Speaker 1: it looks like he put out a track called Baracuta 225 00:12:06,720 --> 00:12:10,480 Speaker 1: Drum on one of his um compilations that came out 226 00:12:10,520 --> 00:12:12,400 Speaker 1: many years later, and I was listening to it and 227 00:12:12,440 --> 00:12:14,600 Speaker 1: I think this is one of, like the underwater dreamy 228 00:12:15,400 --> 00:12:19,880 Speaker 1: tracks from that movie. His music has been featured though, 229 00:12:19,880 --> 00:12:22,160 Speaker 1: in the soundtracks of a number of different films, including 230 00:12:22,440 --> 00:12:26,800 Speaker 1: Michael Mann's Man Hunter from six That's a good one. Yeah, 231 00:12:27,280 --> 00:12:30,600 Speaker 1: And weirdly enough, UM I found him credited on some 232 00:12:30,840 --> 00:12:35,840 Speaker 1: of the Hans Zimmer scores for the most recent Dune adaptation, 233 00:12:36,320 --> 00:12:37,800 Speaker 1: and I was trying to figure out what this. So 234 00:12:38,200 --> 00:12:42,360 Speaker 1: it gets complicated because hands Hans Zimmer apparently huge Doune 235 00:12:42,440 --> 00:12:46,280 Speaker 1: fan and didn't just create one score for the movie, 236 00:12:46,360 --> 00:12:50,240 Speaker 1: but created like three plus albums worth of music, and 237 00:12:50,320 --> 00:12:54,280 Speaker 1: some of those have some contributors, So I'm not exactly 238 00:12:54,320 --> 00:12:56,200 Speaker 1: sure what's happening. Maybe they just know each other, they 239 00:12:56,480 --> 00:12:59,120 Speaker 1: know bounced a tract between the two of them. I'm 240 00:12:59,160 --> 00:13:02,160 Speaker 1: I'm not certain, but at any rate, you don't see 241 00:13:02,240 --> 00:13:04,480 Speaker 1: glass Show is doing a lot of soundtrack work. This 242 00:13:04,559 --> 00:13:07,480 Speaker 1: is one of three real films that he scored, and 243 00:13:07,520 --> 00:13:09,680 Speaker 1: I feel like his music does really stand out, like 244 00:13:09,720 --> 00:13:13,040 Speaker 1: you say, it really contributes to this this field, this 245 00:13:13,200 --> 00:13:17,360 Speaker 1: sort of deeply contemplative hauntedness of things, but also at 246 00:13:17,400 --> 00:13:21,800 Speaker 1: times it can It definitely contributes tension and um, I 247 00:13:21,800 --> 00:13:24,440 Speaker 1: thought we might play just a sample from it. Uh, 248 00:13:24,679 --> 00:13:27,560 Speaker 1: from this score. This is the This is from the 249 00:13:27,600 --> 00:13:43,679 Speaker 1: track rhythm Fugue gets your gets your pulse pounding a 250 00:13:43,720 --> 00:13:46,400 Speaker 1: little bit there. Though, I want to stress one thing 251 00:13:46,440 --> 00:13:49,000 Speaker 1: that I think is interesting is that when the when 252 00:13:49,040 --> 00:13:50,760 Speaker 1: the music picks up the pace in the movie. I 253 00:13:50,800 --> 00:13:54,520 Speaker 1: don't know which seen this song corresponded to, but when 254 00:13:54,559 --> 00:13:59,040 Speaker 1: it does, it's not always because there's something like dangerous 255 00:13:59,120 --> 00:14:01,160 Speaker 1: or thrilling going on on screen, where like you know, 256 00:14:01,160 --> 00:14:04,520 Speaker 1: somebody's running or there's some threat. Uh. It's often because 257 00:14:04,559 --> 00:14:08,080 Speaker 1: a character is like discovering something. You know, a character 258 00:14:08,200 --> 00:14:13,000 Speaker 1: like suddenly like they're making mental progress, which I liked. Yeah, 259 00:14:13,040 --> 00:14:15,760 Speaker 1: this is one of those movies that has a very 260 00:14:15,800 --> 00:14:19,680 Speaker 1: substantial research portion. You know, it's very It's been very 261 00:14:19,760 --> 00:14:22,560 Speaker 1: much like a game with the Callathulu role playing game 262 00:14:22,560 --> 00:14:24,960 Speaker 1: where you're gonna you're gonna devote a large chunk of 263 00:14:24,960 --> 00:14:28,800 Speaker 1: your playtime to creeping around libraries and checking out old diaries. 264 00:14:29,120 --> 00:14:30,920 Speaker 1: I agree with that. At the same time, that could 265 00:14:30,920 --> 00:14:32,960 Speaker 1: give the wrong impression and make it sound like this 266 00:14:33,000 --> 00:14:35,880 Speaker 1: movie has a very complicated plot, which actually it does not. 267 00:14:36,080 --> 00:14:38,920 Speaker 1: I would say this is very simple. Actually, it's just 268 00:14:39,360 --> 00:14:43,920 Speaker 1: well crafted, smart, thoughtful, simple plot. Well, in that case, 269 00:14:43,960 --> 00:14:46,600 Speaker 1: should we should we give the elevator pitch? What is 270 00:14:46,640 --> 00:14:49,160 Speaker 1: this movie in a nutshell? Well, I didn't write one 271 00:14:49,160 --> 00:14:50,600 Speaker 1: ahead of time. Maybe I can wing it, Okay, So 272 00:14:50,640 --> 00:14:54,920 Speaker 1: I'd say something like, when Linda Stevens returns home after 273 00:14:54,960 --> 00:14:58,240 Speaker 1: the death of her mother, uh, to her the rural 274 00:14:58,760 --> 00:15:02,360 Speaker 1: Australian village where she grew up, she finds records of 275 00:15:02,600 --> 00:15:06,600 Speaker 1: many strange doings in her mother's old diaries and leisure 276 00:15:06,640 --> 00:15:09,240 Speaker 1: books and uh. And then things get even stranger when 277 00:15:09,280 --> 00:15:13,240 Speaker 1: some of those strange doings appear to be happening again. Yeah, 278 00:15:13,240 --> 00:15:16,560 Speaker 1: I think that's that's pretty accurate. The older VHS cover 279 00:15:16,680 --> 00:15:20,240 Speaker 1: for this said there's no place like home, bloody home, 280 00:15:21,000 --> 00:15:25,280 Speaker 1: which I think, okay, Well, I think I left out 281 00:15:25,280 --> 00:15:27,720 Speaker 1: of crucial detail actually from my elevator pitch, which is 282 00:15:27,760 --> 00:15:30,320 Speaker 1: that her her ancestral home that's been left to her 283 00:15:30,360 --> 00:15:33,280 Speaker 1: after her mother died, is serving as a retirement community. 284 00:15:33,320 --> 00:15:35,400 Speaker 1: It's like a mansion and they're renting out the rooms 285 00:15:35,400 --> 00:15:39,840 Speaker 1: to retired people. Creepy retirement home movie. Yes, it's not 286 00:15:39,920 --> 00:15:42,280 Speaker 1: a not a sub genre people tend to go wild for, 287 00:15:42,480 --> 00:15:53,320 Speaker 1: but it's well executed. Here, all right, let's go ahead 288 00:15:53,360 --> 00:15:55,480 Speaker 1: and here just part of the trailer. This is one 289 00:15:55,520 --> 00:15:57,600 Speaker 1: of those trailers though, where it's it's a lot of 290 00:15:57,640 --> 00:16:00,520 Speaker 1: just the music and just some visuals and I think 291 00:16:00,560 --> 00:16:02,280 Speaker 1: there's maybe a little bit of voice over at the end. 292 00:16:02,320 --> 00:16:03,880 Speaker 1: So we're not going to play at all, But here's 293 00:16:03,920 --> 00:16:10,440 Speaker 1: just a sample. Will Linda survive the nightmare that threatens her? 294 00:16:10,440 --> 00:16:34,000 Speaker 1: Sanitary fans of Gothic horra will not be disappointed. Well, 295 00:16:34,080 --> 00:16:37,240 Speaker 1: let's talk about We've already talked about about cloths, but 296 00:16:37,320 --> 00:16:39,400 Speaker 1: let's talk about some of the other humans involved in 297 00:16:39,440 --> 00:16:42,040 Speaker 1: the production of this film. All right. Right at the top, 298 00:16:42,520 --> 00:16:44,920 Speaker 1: the director's credit and also one of the screenplay credits 299 00:16:44,960 --> 00:16:49,720 Speaker 1: goes to Tony Williams, born New Zealand born director who 300 00:16:49,800 --> 00:16:54,240 Speaker 1: mostly did documentary work as well as the films Solo, 301 00:16:54,560 --> 00:16:57,840 Speaker 1: which I've seen credited as the first Australian New Zealand 302 00:16:57,920 --> 00:17:02,600 Speaker 1: feature film co production. It's like a romance drama. Huh. 303 00:17:02,800 --> 00:17:06,160 Speaker 1: I was not familiar with Tony Williams. Uh. Like I said, 304 00:17:06,160 --> 00:17:08,960 Speaker 1: I think his name was mostly made in in documentary 305 00:17:09,000 --> 00:17:11,760 Speaker 1: work and and he's known for this film. Um. The 306 00:17:11,800 --> 00:17:16,000 Speaker 1: other screenplay credit goes to Michael Heath. Uh. This was 307 00:17:16,080 --> 00:17:18,239 Speaker 1: his first film, but he went on to write a 308 00:17:18,280 --> 00:17:23,040 Speaker 1: handful of pictures, including Death Warmed Up, which is I 309 00:17:23,080 --> 00:17:27,040 Speaker 1: believe a hypnotism horror film, and then who He did 310 00:17:27,040 --> 00:17:31,359 Speaker 1: a film called My Grandpa Is a Vampire and it 311 00:17:31,520 --> 00:17:36,919 Speaker 1: stars al Lewis, Yes Grandpa Munster basically playing Grandpa Munster. 312 00:17:37,480 --> 00:17:41,760 Speaker 1: And this is the plot summary from IMDb quote. Sent 313 00:17:41,800 --> 00:17:44,240 Speaker 1: on a trip from California to New Zealand to visit 314 00:17:44,280 --> 00:17:48,560 Speaker 1: his eccentric grandfather, Lonnie discovers that his grandpa is a vampire. 315 00:17:49,080 --> 00:17:52,480 Speaker 1: Unnerved at first, he soon discovers that his grandpa is 316 00:17:52,520 --> 00:17:57,080 Speaker 1: a good vampire. So that just that sounds amazing. And 317 00:17:57,160 --> 00:18:03,320 Speaker 1: the grandpa his Grandpa's blade. Yes, well that's that's what 318 00:18:03,440 --> 00:18:06,680 Speaker 1: I do. Imagine it. It's blade, but instead of Wesley Snide, 319 00:18:06,880 --> 00:18:13,240 Speaker 1: it's anyway that that screenplay I think is you can't 320 00:18:13,240 --> 00:18:17,679 Speaker 1: really compare. Um, my Grandpa is a Vampire too, uh, 321 00:18:17,800 --> 00:18:20,240 Speaker 1: next of Ken, But at any rate, the same individual 322 00:18:20,280 --> 00:18:23,399 Speaker 1: involved in both projects. All right. The star of this 323 00:18:23,440 --> 00:18:28,560 Speaker 1: picture is Jackie Karen playing the character Linda. Um, I'm 324 00:18:28,560 --> 00:18:32,480 Speaker 1: not sure what her birthday is, what her ages, but 325 00:18:32,760 --> 00:18:36,240 Speaker 1: she is still very much alive. Australian actor who mostly 326 00:18:36,280 --> 00:18:39,920 Speaker 1: did TV and shorts over the years and became increasingly 327 00:18:39,960 --> 00:18:44,040 Speaker 1: interested in writing and storytelling. She has written a number 328 00:18:44,119 --> 00:18:46,520 Speaker 1: of really cool looking children's books, some of them I 329 00:18:46,760 --> 00:18:50,240 Speaker 1: think have like a nature tie in. But she, you know, 330 00:18:50,280 --> 00:18:53,439 Speaker 1: she makes the rounds reading from these books, supporting these books, 331 00:18:53,760 --> 00:18:55,840 Speaker 1: and if you want to catch up on all the 332 00:18:55,840 --> 00:18:59,119 Speaker 1: stuff she's into, you can find her at Jackie Karen 333 00:18:59,440 --> 00:19:02,760 Speaker 1: dot com dot au. That's j A C K I 334 00:19:02,920 --> 00:19:07,000 Speaker 1: E K E R I N dot com dot au. 335 00:19:07,080 --> 00:19:09,440 Speaker 1: And she's really quite good in this. I thought, um, 336 00:19:09,480 --> 00:19:11,440 Speaker 1: it's the sort of role we've seen plenty of times 337 00:19:11,440 --> 00:19:15,080 Speaker 1: before another horror films, you know, particularly of this period. Uh, 338 00:19:15,119 --> 00:19:19,280 Speaker 1: you know, a a female character who is in a 339 00:19:19,359 --> 00:19:24,680 Speaker 1: strange and or slightly haunting environment. Um, kind of experiencing 340 00:19:24,680 --> 00:19:28,119 Speaker 1: this place physically and emotionally. But I thought it was 341 00:19:28,160 --> 00:19:31,159 Speaker 1: a real standout performance. I think she's excellent. I think 342 00:19:31,240 --> 00:19:33,520 Speaker 1: Jackie Karen is sort of the anchor of this movie. 343 00:19:33,560 --> 00:19:38,560 Speaker 1: She's an extremely likable protagonist. I was initially attempted to say, 344 00:19:38,560 --> 00:19:41,280 Speaker 1: as often do about somebody who's just really likable on 345 00:19:41,359 --> 00:19:44,679 Speaker 1: screen that they've got screen charisma or star power. But 346 00:19:44,760 --> 00:19:46,840 Speaker 1: I think actually her strengthen this role as a kind 347 00:19:46,840 --> 00:19:52,160 Speaker 1: of antistar power. She's a lead actor who has very earnest, 348 00:19:52,320 --> 00:19:56,000 Speaker 1: down to earth human being energy, real person energy and 349 00:19:56,119 --> 00:19:58,320 Speaker 1: uh and so, and it makes for a very likable 350 00:19:58,359 --> 00:20:01,800 Speaker 1: lead role. Yeah, perhaps Lily So we'll we'll, we'll touch 351 00:20:01,800 --> 00:20:03,840 Speaker 1: on her performance more as we proceed, but I think 352 00:20:03,920 --> 00:20:07,159 Speaker 1: she's definitely a highlight of this film. Um that you know, 353 00:20:07,200 --> 00:20:09,760 Speaker 1: you could easily see have seen this part played by 354 00:20:10,400 --> 00:20:12,560 Speaker 1: you know, various other actors, and they wouldn't have brought 355 00:20:12,640 --> 00:20:18,000 Speaker 1: the same likability and um in real life quality to 356 00:20:18,040 --> 00:20:21,960 Speaker 1: the character into the performance. Alright. Another actor of note 357 00:20:21,960 --> 00:20:27,960 Speaker 1: in this is John Jarrett born One, who plays Barney. Uh. 358 00:20:28,000 --> 00:20:31,560 Speaker 1: This is basically the boyfriend character in this this movie. Uh. 359 00:20:31,600 --> 00:20:35,200 Speaker 1: He's an Australian actor, possibly best known to international audiences 360 00:20:35,200 --> 00:20:39,080 Speaker 1: as Mick Taylor in Wolf Creek one, Wolf Creek two, 361 00:20:39,520 --> 00:20:42,000 Speaker 1: the Wolf Creek TV series. I think there's gonna be 362 00:20:42,000 --> 00:20:44,680 Speaker 1: a Wolf Creek three. I haven't seen any of these. 363 00:20:44,720 --> 00:20:47,680 Speaker 1: Maybe you have, Joe, but I understand they're quite nasty. 364 00:20:47,720 --> 00:20:50,399 Speaker 1: In the early two thousand sort of way. Oh, the 365 00:20:50,520 --> 00:20:54,840 Speaker 1: kind of the torture age of movies. Yeah, that's I 366 00:20:55,119 --> 00:20:59,119 Speaker 1: could be wrong, but that's my understanding of these pictures. Um, 367 00:20:59,160 --> 00:21:01,159 Speaker 1: And I guess it was kind of a staple of 368 00:21:01,240 --> 00:21:04,119 Speaker 1: two thousand's Australian horror, as he was also in two 369 00:21:04,160 --> 00:21:07,520 Speaker 1: thousand sevens Rogue, a giant croc movie. He also pops 370 00:21:07,560 --> 00:21:11,920 Speaker 1: up in Django Unchained as well as seven's Dark Age, 371 00:21:11,960 --> 00:21:14,200 Speaker 1: which is another killer croc movie. And he's also been 372 00:21:14,200 --> 00:21:18,399 Speaker 1: in a killer Bore movie. Um, though uh not the 373 00:21:18,440 --> 00:21:20,880 Speaker 1: one you're thinking of, Joe, a more recent killer boardmane 374 00:21:21,880 --> 00:21:25,960 Speaker 1: speaking of Jaws rip offs. But yeah, in this he 375 00:21:26,080 --> 00:21:29,560 Speaker 1: basically just plays a boyfriend that that Linda reconnects with. 376 00:21:30,000 --> 00:21:31,879 Speaker 1: The main thing I'm taking away from what you've just 377 00:21:31,920 --> 00:21:34,320 Speaker 1: said is that there are at least two giant killer 378 00:21:34,359 --> 00:21:37,359 Speaker 1: crocodile movies that don't have the word crocodile and the title. 379 00:21:37,440 --> 00:21:39,080 Speaker 1: So I guess I haven't seen them yet and I've 380 00:21:39,080 --> 00:21:42,439 Speaker 1: got to look those up. Yes, all right. Another actor 381 00:21:42,480 --> 00:21:47,320 Speaker 1: of note, Alex Scott, plays Dr Barton. He lived through 382 00:21:48,240 --> 00:21:50,520 Speaker 1: an Australian actor with a very long career in film 383 00:21:50,520 --> 00:21:53,920 Speaker 1: and TV. He had uncredited small roles in such a 384 00:21:54,000 --> 00:21:58,600 Speaker 1: sixties films as Beckett and Gorgo. That was a wonderful 385 00:21:58,800 --> 00:22:03,879 Speaker 1: uh uh euro Godzilla movie. But he also appeared in 386 00:22:03,960 --> 00:22:06,520 Speaker 1: a credited role. He had a credited role in the 387 00:22:06,560 --> 00:22:09,919 Speaker 1: nineteen sixty six adaptation of Fahrenheit four fifty one. He 388 00:22:09,960 --> 00:22:14,520 Speaker 1: also appears in Quins of Evil in Oh yeah, that 389 00:22:14,400 --> 00:22:16,800 Speaker 1: that's a hammer horror movie that I've seen a number 390 00:22:16,840 --> 00:22:20,680 Speaker 1: of times. That's one of the count Carnstein movies. And uh, 391 00:22:20,800 --> 00:22:24,080 Speaker 1: the Carnstein there's a great scene where he's, uh, he's 392 00:22:24,080 --> 00:22:27,159 Speaker 1: like dining with his with his evil buddies, and I 393 00:22:27,160 --> 00:22:30,000 Speaker 1: think he raises a glass and he says to Satan, 394 00:22:32,760 --> 00:22:35,600 Speaker 1: uh not enough, not enough toast to Satan. It's it's 395 00:22:35,600 --> 00:22:39,080 Speaker 1: always a conversation. Start. Um. He was also in Romper 396 00:22:39,119 --> 00:22:42,520 Speaker 1: Stomper in n This is the Russell Crowe's Skinhead movie. 397 00:22:43,000 --> 00:22:44,920 Speaker 1: And I know one of our listeners at least will 398 00:22:44,920 --> 00:22:46,679 Speaker 1: be excited to know that he was also in the 399 00:22:46,720 --> 00:22:50,960 Speaker 1: Abominable Doctor Fibes. I gotta see that someday. Oh yeah, 400 00:22:51,000 --> 00:22:53,920 Speaker 1: I haven't seen Dr Fibes either, but um, I keep 401 00:22:54,119 --> 00:22:56,520 Speaker 1: I keep putting putting it on the list. Uh. It's 402 00:22:56,560 --> 00:22:58,600 Speaker 1: one that you can't really stream anywhere right now you 403 00:22:58,600 --> 00:23:01,880 Speaker 1: have to run a copy. So um, I'm hoping we'll 404 00:23:01,880 --> 00:23:04,760 Speaker 1: get to it this year. It also is It was 405 00:23:04,800 --> 00:23:07,399 Speaker 1: popping up on lists that I was looking at for 406 00:23:07,600 --> 00:23:10,280 Speaker 1: great or memorable scores. It has a real, I think, 407 00:23:10,320 --> 00:23:16,040 Speaker 1: weird kind of jazzy horror score. So I was listening 408 00:23:16,040 --> 00:23:17,600 Speaker 1: to part of it and I was like, yeah, this 409 00:23:17,680 --> 00:23:19,960 Speaker 1: is interesting. I really need to get in on the 410 00:23:20,000 --> 00:23:23,360 Speaker 1: Doctor Five's magic at some point. Alright. A couple other 411 00:23:23,359 --> 00:23:26,879 Speaker 1: credits here. Chris Murray is credited with special effects on this. Uh. 412 00:23:26,960 --> 00:23:30,359 Speaker 1: He did special effects on ninety nine Mad Max, and 413 00:23:30,359 --> 00:23:32,240 Speaker 1: he went on to work on a ton of projects, 414 00:23:32,400 --> 00:23:35,800 Speaker 1: specializing in pyro. It seems worked a lot in Australia 415 00:23:35,840 --> 00:23:39,879 Speaker 1: as you might expect, including on both Crocodile Dundee movies. Uh, 416 00:23:39,960 --> 00:23:45,240 Speaker 1: Peter Weir's Gallipoli and Russell McKay He's Razor back from four. 417 00:23:45,440 --> 00:23:49,000 Speaker 1: This I believe is the Killer Bore movie you were 418 00:23:49,000 --> 00:23:51,480 Speaker 1: thinking of, Jeff, Yes, I have seen this one. It's 419 00:23:51,480 --> 00:23:53,600 Speaker 1: been a while now, but a few years back I 420 00:23:53,640 --> 00:23:55,960 Speaker 1: watched this one and it's I remember thinking it is 421 00:23:56,000 --> 00:23:59,679 Speaker 1: a it's like a cross between Jaws, but with a 422 00:23:59,720 --> 00:24:04,159 Speaker 1: pig instead of a Shark and Texas Chainsaw Masker, but 423 00:24:04,320 --> 00:24:07,280 Speaker 1: set in Australia instead of Texas. I think this is 424 00:24:07,320 --> 00:24:09,040 Speaker 1: one that you can make a much stronger case for 425 00:24:09,119 --> 00:24:13,160 Speaker 1: being just pure osploitation, right yeah, probably, but also with 426 00:24:13,800 --> 00:24:17,159 Speaker 1: significant elements of Russell mkahy, just things you will recognize 427 00:24:17,160 --> 00:24:20,840 Speaker 1: as like Highlander two is ms, it's got wild boys. 428 00:24:21,280 --> 00:24:23,159 Speaker 1: Oh man, Yeah, we we've got to We've got to 429 00:24:23,200 --> 00:24:26,440 Speaker 1: watch an actual Russell McKay film on the show one day. Well, 430 00:24:26,480 --> 00:24:30,000 Speaker 1: this may be the one. Yeah, all right, fair warning though, 431 00:24:30,000 --> 00:24:32,760 Speaker 1: I remember this one being really gross, like it being 432 00:24:32,800 --> 00:24:37,520 Speaker 1: a very just like wet nasty movie with like uh 433 00:24:37,560 --> 00:24:39,399 Speaker 1: I think one of the main sets is like an 434 00:24:39,480 --> 00:24:44,200 Speaker 1: unethical dog food factory. Oh but one other credit I 435 00:24:44,240 --> 00:24:47,880 Speaker 1: wanted to mention is the cinematography in this by Gary Hanson. 436 00:24:47,920 --> 00:24:49,720 Speaker 1: I just wanted to bring that up because a lot 437 00:24:49,760 --> 00:24:51,960 Speaker 1: of what's great about this film is I think the 438 00:24:52,040 --> 00:24:54,439 Speaker 1: camera work and the framing and this this movie has 439 00:24:54,480 --> 00:24:57,520 Speaker 1: a wonderful look to it. I think that is what 440 00:24:57,600 --> 00:25:00,440 Speaker 1: calls to mind, the full cheness of it or the 441 00:25:00,760 --> 00:25:03,400 Speaker 1: jallowness of it. Uh So I looked up this guy, 442 00:25:03,440 --> 00:25:06,040 Speaker 1: Gary Hansen. I don't think I'm familiar with anything else 443 00:25:06,080 --> 00:25:09,119 Speaker 1: he did. He was a cinematographer on what looked like 444 00:25:09,119 --> 00:25:12,239 Speaker 1: a few made for TV thriller movies called things like 445 00:25:12,480 --> 00:25:17,240 Speaker 1: Demolition from nineteen seventy nine and uh Roses Bloomed Twice 446 00:25:17,320 --> 00:25:20,240 Speaker 1: from seventy seven. So I don't really know much of 447 00:25:20,280 --> 00:25:23,199 Speaker 1: anything else about this guy, but yeah, stellar job on 448 00:25:23,480 --> 00:25:26,040 Speaker 1: next of kin. Yeah, there are plenty of shot. There 449 00:25:26,080 --> 00:25:27,760 Speaker 1: are a lot of like scenes, you know, scenes are 450 00:25:27,760 --> 00:25:30,240 Speaker 1: allowed to really breathe in this film, and so yeah, 451 00:25:30,240 --> 00:25:31,600 Speaker 1: there were a lot of times where I was watching 452 00:25:31,600 --> 00:25:34,120 Speaker 1: it and I just really liked the way things were framed. 453 00:25:34,600 --> 00:25:36,480 Speaker 1: All right. Well, as I think we mentioned before, this 454 00:25:36,520 --> 00:25:38,600 Speaker 1: movie does have a pretty simple plot, and yet at 455 00:25:38,640 --> 00:25:42,199 Speaker 1: the same time it has a more interesting series of 456 00:25:42,200 --> 00:25:45,159 Speaker 1: twists and developments than most movies we talked about. So 457 00:25:45,160 --> 00:25:47,359 Speaker 1: I don't want to spoil too much about the third act. 458 00:25:48,200 --> 00:25:50,040 Speaker 1: I think maybe this is one where we shouldn't go 459 00:25:50,160 --> 00:25:52,080 Speaker 1: scene by scene, but maybe we can talk about the 460 00:25:52,119 --> 00:25:55,280 Speaker 1: setup and then discuss some things that we liked or 461 00:25:55,320 --> 00:25:57,800 Speaker 1: noticed along the way. Sounds good and yeah, and if 462 00:25:57,800 --> 00:26:00,600 Speaker 1: we decide to get into spoilers, we'll put a barrier 463 00:26:01,200 --> 00:26:03,920 Speaker 1: so that folks will know to h to stop there 464 00:26:04,160 --> 00:26:06,920 Speaker 1: and come back later if they don't want to be spoiled. 465 00:26:07,240 --> 00:26:10,359 Speaker 1: I thought that the very opening shot was interesting because 466 00:26:10,359 --> 00:26:13,200 Speaker 1: I didn't love it the first time I watched the movie. 467 00:26:13,200 --> 00:26:15,040 Speaker 1: The first time, it was one of my least favorite 468 00:26:15,040 --> 00:26:18,119 Speaker 1: things in the movie, and then on my second viewing 469 00:26:18,680 --> 00:26:20,600 Speaker 1: when I went back and showed it to Rachel, I 470 00:26:20,680 --> 00:26:23,720 Speaker 1: actually thought it was great because it forms a kind 471 00:26:23,720 --> 00:26:25,680 Speaker 1: of bookend. I don't want to say too much, but 472 00:26:26,160 --> 00:26:29,240 Speaker 1: the movie opens with this slow mo shot, and you know, 473 00:26:29,400 --> 00:26:31,879 Speaker 1: that's just like always a thing that bothers me. I 474 00:26:31,920 --> 00:26:35,960 Speaker 1: don't like movies opening in slow motion. But yeah, we 475 00:26:36,000 --> 00:26:39,479 Speaker 1: get slow mo of Jackie Karen as Linda, looking dirty 476 00:26:39,560 --> 00:26:43,280 Speaker 1: and exhausted, walking around the outside of a pickup truck 477 00:26:43,640 --> 00:26:46,600 Speaker 1: in this low frame rate slow mo, and you're just 478 00:26:46,640 --> 00:26:49,760 Speaker 1: wondering what has happened. And then you start getting voice 479 00:26:49,800 --> 00:26:52,960 Speaker 1: over of this kind of echoing older woman's voice saying 480 00:26:53,000 --> 00:26:56,800 Speaker 1: to my daughter, Linda Mary Stevens, I leave all my inheritance, 481 00:26:57,200 --> 00:26:59,240 Speaker 1: and she explains that, you know, she's leaving her the 482 00:26:59,400 --> 00:27:01,960 Speaker 1: estate of Montclair. We don't know what that is yet, 483 00:27:02,000 --> 00:27:04,879 Speaker 1: but that's what the voice over says. I don't know 484 00:27:04,920 --> 00:27:06,560 Speaker 1: if you feel the same way I do Rob. I 485 00:27:06,560 --> 00:27:10,840 Speaker 1: I generally hate movies starting in SloMo, but I'm gonna 486 00:27:10,840 --> 00:27:13,120 Speaker 1: make an exception for this and say, once I got 487 00:27:13,160 --> 00:27:15,159 Speaker 1: it and had seen the whole thing, I liked it. 488 00:27:15,560 --> 00:27:17,359 Speaker 1: M I don't. I guess I don't really have a 489 00:27:17,359 --> 00:27:20,200 Speaker 1: firm opinion about it. I don't remember being, uh ever 490 00:27:20,240 --> 00:27:23,160 Speaker 1: being offended by by SloMo in the opening of a film. 491 00:27:23,160 --> 00:27:25,320 Speaker 1: But I also can't think of a firm example of 492 00:27:25,359 --> 00:27:27,600 Speaker 1: it outside of this one. I feel like it's most 493 00:27:27,640 --> 00:27:30,919 Speaker 1: common in like moody horror movies that are starting with 494 00:27:30,960 --> 00:27:33,320 Speaker 1: a kind of like, oh, here's a weird vibe, and 495 00:27:33,359 --> 00:27:35,640 Speaker 1: then we'll we'll take you back and show you how 496 00:27:35,640 --> 00:27:38,920 Speaker 1: we got here. Yeah. But then we get a credit 497 00:27:38,960 --> 00:27:41,680 Speaker 1: sequence and then we come back to sort of the 498 00:27:41,720 --> 00:27:44,840 Speaker 1: beginning of the story. So we see a long on 499 00:27:44,960 --> 00:27:48,119 Speaker 1: the road shot cutting through the middle of these golden fields. 500 00:27:48,200 --> 00:27:51,800 Speaker 1: The road is receding, is the camera flies backwards, and 501 00:27:51,840 --> 00:27:54,320 Speaker 1: I really liked the look of that, uh, And we 502 00:27:54,320 --> 00:27:56,800 Speaker 1: we find Jackie Karen driving a truck with a young 503 00:27:56,880 --> 00:27:59,200 Speaker 1: boy standing up in the bed of the truck. Yeah, 504 00:27:59,240 --> 00:28:01,160 Speaker 1: and we did. This is one of those sequences where 505 00:28:01,160 --> 00:28:04,320 Speaker 1: we get we certainly get that Australian quality of the 506 00:28:04,480 --> 00:28:08,000 Speaker 1: of the geography here, you know, wide open spaces. Yes. Yeah. 507 00:28:08,040 --> 00:28:10,399 Speaker 1: The color palette of the landscape too in these shots 508 00:28:10,440 --> 00:28:14,240 Speaker 1: is really cool because you have these dry blonde fields 509 00:28:14,280 --> 00:28:16,920 Speaker 1: cut through by like a stripe of green trees which 510 00:28:16,920 --> 00:28:19,120 Speaker 1: I assume are there along the banks of a river 511 00:28:19,240 --> 00:28:22,400 Speaker 1: that we can't see. And you know, we often complain 512 00:28:22,800 --> 00:28:26,920 Speaker 1: about driving scenes in movies because they are clearly being 513 00:28:27,000 --> 00:28:29,159 Speaker 1: used to pad out the runtime of a movie that 514 00:28:29,280 --> 00:28:32,719 Speaker 1: is wanting for content. Don't have enough plot, pad that 515 00:28:32,760 --> 00:28:35,520 Speaker 1: thing out. Have some driving scenes, show people parking, Yeah, 516 00:28:35,640 --> 00:28:39,959 Speaker 1: go for it. But oh they're they're terrible. But I 517 00:28:40,040 --> 00:28:42,440 Speaker 1: love these driving scenes. This is how to do it right. 518 00:28:42,720 --> 00:28:45,520 Speaker 1: They're they're setting the tone. Yeah, yeah, I've done properly. 519 00:28:45,560 --> 00:28:49,080 Speaker 1: They can definitely set the tone and and and and 520 00:28:49,600 --> 00:28:51,960 Speaker 1: tell you something about the world that these characters are 521 00:28:52,000 --> 00:28:54,800 Speaker 1: are living in. But also I liked this opening shot 522 00:28:54,880 --> 00:28:57,800 Speaker 1: of the you know, the camera receding along the road 523 00:28:57,960 --> 00:29:00,640 Speaker 1: over the truck, because it got us used to the 524 00:29:00,720 --> 00:29:03,040 Speaker 1: idea that there's gonna be a lot of camera movement 525 00:29:03,200 --> 00:29:06,080 Speaker 1: in this movie. This this was a movie with a 526 00:29:06,200 --> 00:29:10,800 Speaker 1: very active camera, and it likes the camera pulling away shot, 527 00:29:11,000 --> 00:29:15,080 Speaker 1: and I thought that worked very well throughout the runtime. Yeah, 528 00:29:15,400 --> 00:29:18,480 Speaker 1: so we're seeing Linda driving along on these on these 529 00:29:18,560 --> 00:29:22,000 Speaker 1: rural roads through the dry landscape, and the the dryness 530 00:29:22,200 --> 00:29:24,960 Speaker 1: is accentuated by what we're hearing on the radio, which 531 00:29:25,000 --> 00:29:28,160 Speaker 1: is an announcer saying, you know, clear all combustible materials 532 00:29:28,160 --> 00:29:31,240 Speaker 1: from around your home and u and remove trash from 533 00:29:31,280 --> 00:29:35,040 Speaker 1: gutter's fire conditions are in an all time high, which 534 00:29:35,040 --> 00:29:37,640 Speaker 1: connects to something in an interesting way later in the scene. 535 00:29:37,880 --> 00:29:40,000 Speaker 1: I wonder, I guess we can come back to it. 536 00:29:40,040 --> 00:29:43,640 Speaker 1: But eventually Linda ends up the friendly roadside diner and 537 00:29:43,680 --> 00:29:46,880 Speaker 1: gas station maybe my favorite set from the movie, though 538 00:29:47,000 --> 00:29:51,040 Speaker 1: it has multiple good sets, but this diner is just everything. Yes, 539 00:29:51,120 --> 00:29:54,840 Speaker 1: this is one of these environments that I just my 540 00:29:54,960 --> 00:29:57,160 Speaker 1: eyes were just busy the whole time checking out all 541 00:29:57,160 --> 00:30:00,000 Speaker 1: the little details and taking it in, and like everything 542 00:30:00,000 --> 00:30:02,920 Speaker 1: in the film was very well shot. I couldn't decide though, 543 00:30:03,320 --> 00:30:05,600 Speaker 1: and I guess this speaks to just how well it 544 00:30:05,680 --> 00:30:09,040 Speaker 1: was put together. I couldn't decide how natural the environment was, 545 00:30:09,520 --> 00:30:11,920 Speaker 1: like is this Did they just basically walk in, clean 546 00:30:11,960 --> 00:30:13,600 Speaker 1: this place up a little and start filming it, or 547 00:30:13,600 --> 00:30:18,360 Speaker 1: did they meticulously put it together because it certainly feels real. 548 00:30:18,440 --> 00:30:21,760 Speaker 1: It feels like just a slice of late seventies Australia, 549 00:30:21,920 --> 00:30:24,240 Speaker 1: something that I don't think i've I've seen on screen before, 550 00:30:24,240 --> 00:30:26,600 Speaker 1: and of course I don't have any personal experience with 551 00:30:26,640 --> 00:30:29,400 Speaker 1: the late seventies Australia, but it feels so authentic and 552 00:30:29,480 --> 00:30:31,960 Speaker 1: yet on the other hand, like the colors popped in 553 00:30:31,960 --> 00:30:34,600 Speaker 1: a certain way that that felt that made me think, well, 554 00:30:34,640 --> 00:30:37,760 Speaker 1: maybe this, you know, there's something very intentional about it 555 00:30:37,800 --> 00:30:41,640 Speaker 1: as well, like something about the bright greens that show up, uh, 556 00:30:42,280 --> 00:30:44,600 Speaker 1: you know, considering concerning like the jukebox and some of 557 00:30:44,600 --> 00:30:47,720 Speaker 1: the other details in the location. To mention the greens, 558 00:30:47,800 --> 00:30:49,760 Speaker 1: one of the characters who talks in the scene is 559 00:30:49,800 --> 00:30:52,680 Speaker 1: the cook who's operating the kitchen, who eventually comes out 560 00:30:52,680 --> 00:30:55,880 Speaker 1: to talk to Linda. But in the kitchen, of course, 561 00:30:56,040 --> 00:30:59,000 Speaker 1: one thing is Elvis posters everywhere. It looks like he's 562 00:30:59,040 --> 00:31:02,440 Speaker 1: got at least five Elvis posters up. But he's also 563 00:31:02,480 --> 00:31:06,160 Speaker 1: got these green cones that he grabs at various times. 564 00:31:06,160 --> 00:31:08,400 Speaker 1: Are they supposed to be salt and pepper shakers? I 565 00:31:08,440 --> 00:31:11,760 Speaker 1: don't know, he's cooking, so maybe that's what they are. 566 00:31:12,120 --> 00:31:14,880 Speaker 1: But the other thing is. I got overly fixated on 567 00:31:15,040 --> 00:31:18,680 Speaker 1: the game cabinets inside this diner, so one of them 568 00:31:19,200 --> 00:31:22,560 Speaker 1: was a real arcade cabinet called Space Wars. I had 569 00:31:22,600 --> 00:31:24,840 Speaker 1: to look this up. We've ever seen this game, rob No, 570 00:31:25,040 --> 00:31:28,040 Speaker 1: I don't remember ever seeing it before watching this film. Okay, 571 00:31:28,080 --> 00:31:30,760 Speaker 1: So it's, uh, it's like a player versus player game 572 00:31:31,200 --> 00:31:33,160 Speaker 1: where you have these two little space ships on a 573 00:31:33,200 --> 00:31:36,080 Speaker 1: star field and you're you're trying to like shoot missiles 574 00:31:36,120 --> 00:31:38,080 Speaker 1: at each other. The two space ships are trying to 575 00:31:38,120 --> 00:31:41,000 Speaker 1: destroy each other, and you can pile it around in space, 576 00:31:41,040 --> 00:31:43,280 Speaker 1: and I think usually there's like a star in the 577 00:31:43,280 --> 00:31:45,920 Speaker 1: middle of the screen that acts as like a gravitational 578 00:31:46,160 --> 00:31:48,560 Speaker 1: pull that pulls you in, and so these ships are 579 00:31:48,560 --> 00:31:50,920 Speaker 1: flying around, they're trying to shoot each other, and it's 580 00:31:51,000 --> 00:31:53,360 Speaker 1: it's a kind of thing that I don't know if 581 00:31:53,400 --> 00:31:55,880 Speaker 1: that really exists much anymore, but it's like an arcade 582 00:31:55,880 --> 00:31:58,000 Speaker 1: game that only works player versus player I guess, like 583 00:31:58,040 --> 00:32:00,720 Speaker 1: an air hockey table or something. It doesn't you can't 584 00:32:00,760 --> 00:32:04,480 Speaker 1: play against the computer. Interesting. But the other thing that 585 00:32:04,560 --> 00:32:08,200 Speaker 1: really caught my attention is the pinball machine, which is 586 00:32:08,240 --> 00:32:14,520 Speaker 1: called beat Knicks. It's a Beat Knicks themed pinball game. 587 00:32:15,120 --> 00:32:17,840 Speaker 1: Uh the back uh, I don't know what you call it, 588 00:32:17,880 --> 00:32:19,600 Speaker 1: the back face of it, that's got all the art 589 00:32:19,680 --> 00:32:22,160 Speaker 1: on it. It shows like some people whacked out at 590 00:32:22,160 --> 00:32:26,080 Speaker 1: a crazy party. Man, and it's got one guy who 591 00:32:26,160 --> 00:32:29,320 Speaker 1: looks like Prince Valiant or something. He's got the long 592 00:32:29,360 --> 00:32:32,880 Speaker 1: blonde hair but he's clearly been been on the t 593 00:32:33,120 --> 00:32:37,840 Speaker 1: sticks And oh boy, it looks like an exciting machine. Um, 594 00:32:37,880 --> 00:32:40,400 Speaker 1: you know, it doesn't have any competition out here in 595 00:32:40,440 --> 00:32:42,240 Speaker 1: the middle of nowhere, so I guess it doesn't matter 596 00:32:42,520 --> 00:32:44,760 Speaker 1: what the theme is. It's not like folks are going 597 00:32:44,840 --> 00:32:47,960 Speaker 1: to drive over to the next town and play their 598 00:32:48,000 --> 00:32:51,200 Speaker 1: sci fi themed pinball machine over there. Yeah, I want 599 00:32:51,200 --> 00:32:53,760 Speaker 1: to play a Star Wars pinball machine. Sorry, but we 600 00:32:53,840 --> 00:32:57,720 Speaker 1: only got beat Nicks here. But this dude, like the 601 00:32:57,760 --> 00:33:03,120 Speaker 1: machine is. It has this wonderful purple and black kind 602 00:33:03,120 --> 00:33:06,240 Speaker 1: of coloration going on, so it really pops in the scene. 603 00:33:06,440 --> 00:33:09,080 Speaker 1: And it's right next to the jukebox. Oh yeah, we 604 00:33:09,120 --> 00:33:12,320 Speaker 1: see like a kind of greasy outback guy working the jukebox. 605 00:33:12,360 --> 00:33:13,760 Speaker 1: And then right, I don't know if you notice the 606 00:33:13,840 --> 00:33:17,040 Speaker 1: poster right above the juke box that says new Polly 607 00:33:17,120 --> 00:33:20,040 Speaker 1: Waffle and that ring a bell rung a bell. The 608 00:33:20,040 --> 00:33:21,520 Speaker 1: second time I was watching because I was like, wait 609 00:33:21,520 --> 00:33:23,840 Speaker 1: a minute later on the kid is offering somebody a 610 00:33:23,880 --> 00:33:27,680 Speaker 1: polly waffle. What the heck is a polly waffle? It's real. 611 00:33:27,840 --> 00:33:30,000 Speaker 1: I looked it up. It's a type of chocolate bar. 612 00:33:30,440 --> 00:33:34,720 Speaker 1: It's got a waffle wafer tube inside it that's full 613 00:33:34,760 --> 00:33:37,720 Speaker 1: of marshmallow, and then it's got chocolate on the outside. 614 00:33:38,080 --> 00:33:43,640 Speaker 1: Interesting choice, polly waffle. Yep, Okay, I've pulled up I've 615 00:33:43,680 --> 00:33:46,840 Speaker 1: pulled up an example of this. Yep. That that's interest. 616 00:33:46,880 --> 00:33:52,240 Speaker 1: I mean it. Yeah, okay, this has been Australian anthropology 617 00:33:52,320 --> 00:33:54,640 Speaker 1: with Robert and Joe. I mean, it looks a lot 618 00:33:54,680 --> 00:33:56,920 Speaker 1: of images are popping up. It looks quite popular. It 619 00:33:56,960 --> 00:33:59,640 Speaker 1: looks like there may be some sort of an ice 620 00:33:59,680 --> 00:34:02,920 Speaker 1: cream version of it as well. Um. Yeah. This is 621 00:34:02,960 --> 00:34:05,720 Speaker 1: definitely one of the many instances in this podcast where 622 00:34:05,880 --> 00:34:09,640 Speaker 1: we'll we'll be asking for our Australian listeners to reach 623 00:34:09,680 --> 00:34:13,320 Speaker 1: out and let us know more about the polly waffle experience. 624 00:34:22,320 --> 00:34:25,239 Speaker 1: But when so Linda sits down at the counter in 625 00:34:25,280 --> 00:34:27,759 Speaker 1: the diner where she's clearly known and remembered, you know 626 00:34:27,760 --> 00:34:29,799 Speaker 1: that people start talking to her. She she knows this 627 00:34:29,880 --> 00:34:33,280 Speaker 1: kid here and and the cook, and she does something interesting. 628 00:34:33,400 --> 00:34:38,000 Speaker 1: She starts building a balanced tower of forks like stand 629 00:34:38,080 --> 00:34:41,480 Speaker 1: propping them up against each other and making a little, uh, 630 00:34:41,520 --> 00:34:44,120 Speaker 1: a little tower. And the kid asks her about it, 631 00:34:44,160 --> 00:34:46,520 Speaker 1: and she says, it's a test of nerves. And I 632 00:34:46,520 --> 00:34:49,480 Speaker 1: think it's interesting. It has a parallel with a scene 633 00:34:49,560 --> 00:34:52,520 Speaker 1: later on in the movie where she's building a pyramid 634 00:34:52,560 --> 00:34:55,000 Speaker 1: out of sugar cubes in the same diner, but under 635 00:34:55,120 --> 00:34:58,920 Speaker 1: very different conditions. Yeah, it's just another example of things 636 00:34:58,920 --> 00:35:01,839 Speaker 1: in this film makes sense. There's an economy of things 637 00:35:01,840 --> 00:35:05,160 Speaker 1: in this film and interconnectedness of things in this film that, um, 638 00:35:05,560 --> 00:35:07,880 Speaker 1: it's not always there in pictures we discussed. You know, 639 00:35:07,920 --> 00:35:10,480 Speaker 1: I'm so used to their being like some sort of 640 00:35:10,520 --> 00:35:13,359 Speaker 1: plot element that make goes nowhere, there's a dead end road, 641 00:35:13,960 --> 00:35:16,840 Speaker 1: um that you know, it's something that sometimes it's like 642 00:35:16,880 --> 00:35:19,799 Speaker 1: a major like four lane dead end highway. And in 643 00:35:19,840 --> 00:35:22,680 Speaker 1: this movie, even the little uh of it seems like 644 00:35:22,760 --> 00:35:25,920 Speaker 1: maybe a meandering path will come back and reconnect to 645 00:35:26,000 --> 00:35:28,960 Speaker 1: something else in a delightful way. What do you think 646 00:35:28,960 --> 00:35:32,560 Speaker 1: about those hamburgers? When the cook comes out with the hamburgers? 647 00:35:32,560 --> 00:35:34,839 Speaker 1: What what you want to eat? Those things. You wanna 648 00:35:34,840 --> 00:35:36,959 Speaker 1: put that in your mouth. I mean, they're definitely small 649 00:35:37,000 --> 00:35:39,480 Speaker 1: town hamburgers. I mean, what what what's the competition here 650 00:35:39,480 --> 00:35:42,879 Speaker 1: in this place? Not too good, is it? Chief Um. 651 00:35:43,280 --> 00:35:45,160 Speaker 1: So the cook comes out and he says, sorry about 652 00:35:45,160 --> 00:35:47,680 Speaker 1: your mother, Linda, and they have a little talk. When 653 00:35:47,719 --> 00:35:50,000 Speaker 1: we find out from Linda's conversation with the cook at 654 00:35:50,040 --> 00:35:52,719 Speaker 1: the diner that, of course her mother died recently, that 655 00:35:52,800 --> 00:35:55,440 Speaker 1: Linda has been away and that she's come back. I 656 00:35:55,440 --> 00:35:57,120 Speaker 1: think we find out later on in the movie that 657 00:35:57,280 --> 00:36:02,160 Speaker 1: she has been teaching at a school for emotionally disturbed children, 658 00:36:03,120 --> 00:36:05,560 Speaker 1: and that she's returned after her mother died, and that 659 00:36:05,640 --> 00:36:08,759 Speaker 1: her mother left her the Montclair Estate, which is a 660 00:36:08,760 --> 00:36:12,200 Speaker 1: big mansion where they rent out rooms and it functions 661 00:36:12,200 --> 00:36:14,680 Speaker 1: as a retirement home. And the cook says, what are 662 00:36:14,680 --> 00:36:17,400 Speaker 1: you going to do with that big house, Linda? And 663 00:36:17,520 --> 00:36:20,600 Speaker 1: she doesn't know. So next thing she's she's driving to 664 00:36:20,640 --> 00:36:22,400 Speaker 1: the house and we get to see it from the outside, 665 00:36:22,400 --> 00:36:25,120 Speaker 1: and I love the look of it because it is 666 00:36:25,160 --> 00:36:27,719 Speaker 1: this type of mansion. I don't know what the what 667 00:36:27,840 --> 00:36:29,959 Speaker 1: type it's called. I was actually trying to even look 668 00:36:30,000 --> 00:36:33,759 Speaker 1: this up. It might be a new Victorian style, but 669 00:36:33,880 --> 00:36:36,920 Speaker 1: it's made of brick instead of wood, so I don't 670 00:36:36,960 --> 00:36:40,360 Speaker 1: know what it is. But one whole corner of it 671 00:36:40,440 --> 00:36:43,640 Speaker 1: is just completely covered in thick ivy or some kind 672 00:36:43,640 --> 00:36:46,880 Speaker 1: of green leafy vine and uh and I don't know. 673 00:36:46,920 --> 00:36:48,759 Speaker 1: I love the contrast. The other half of the house 674 00:36:48,880 --> 00:36:53,759 Speaker 1: is totally clean, just like clean stone stonemasonry, and then 675 00:36:53,800 --> 00:36:57,440 Speaker 1: this corner is is a forest, is just is total vegetation. 676 00:36:58,360 --> 00:37:01,440 Speaker 1: It felt like it meant something. Yeah, yeah, Like like 677 00:37:01,440 --> 00:37:03,680 Speaker 1: I said, it feels like there's there's very little wasted 678 00:37:03,760 --> 00:37:06,840 Speaker 1: detail on this picture. Um, everything kind of works together. 679 00:37:07,440 --> 00:37:09,799 Speaker 1: So we meet some of the characters. Linda apparently has 680 00:37:09,840 --> 00:37:12,200 Speaker 1: a long friendship with one of the residents. I think 681 00:37:12,200 --> 00:37:15,160 Speaker 1: he sort of helped raise her. It's a man there 682 00:37:15,239 --> 00:37:18,000 Speaker 1: named Lance who is wearing a blue beret and he's 683 00:37:18,040 --> 00:37:21,319 Speaker 1: sort of always going on about the Great War. There's 684 00:37:21,360 --> 00:37:23,160 Speaker 1: a story he tells where he was, well, I was 685 00:37:23,200 --> 00:37:25,719 Speaker 1: walking out to the latrine and then alone comes a 686 00:37:25,760 --> 00:37:30,560 Speaker 1: big whacking shell and repeat that many times throughout the movie. 687 00:37:31,200 --> 00:37:33,520 Speaker 1: I guess the other characters that are worth mentioning that 688 00:37:33,600 --> 00:37:36,920 Speaker 1: she she meets there at the home, or Connie and 689 00:37:37,200 --> 00:37:40,080 Speaker 1: Dr Barton, who both I guess our employees who work there. 690 00:37:40,200 --> 00:37:43,360 Speaker 1: Dr Barton is a doctor. He he tends to the residents, 691 00:37:43,400 --> 00:37:47,800 Speaker 1: and Connie is she's a general caretaker. I guess, yeah, 692 00:37:47,840 --> 00:37:50,480 Speaker 1: And they kind of have the role in the film. Uh. 693 00:37:50,680 --> 00:37:52,440 Speaker 1: Youve encountering a lot of films, you know, like this, 694 00:37:52,880 --> 00:37:55,080 Speaker 1: where she is supposed to come to them and say, 695 00:37:55,239 --> 00:37:57,560 Speaker 1: I think something is wrong here, and their job is 696 00:37:57,600 --> 00:37:59,840 Speaker 1: to say, no, there's nothing wrong here at all. Whyever 697 00:38:00,000 --> 00:38:03,080 Speaker 1: did you say that? But here's where we start getting 698 00:38:03,120 --> 00:38:06,920 Speaker 1: scenes of Linda going through her mother's old things. So 699 00:38:07,000 --> 00:38:09,400 Speaker 1: she's looking through her possessions as the you know, as 700 00:38:09,480 --> 00:38:12,760 Speaker 1: the synth music is pulsing. She's looking through her mother's things, 701 00:38:12,760 --> 00:38:16,319 Speaker 1: her account ledger is her diaries and uh, and the 702 00:38:16,440 --> 00:38:19,200 Speaker 1: music really sort of invites you to wonder what's happening 703 00:38:19,200 --> 00:38:23,000 Speaker 1: in her mind, but she's clearly because they're they're unanswered 704 00:38:23,080 --> 00:38:25,279 Speaker 1: questions about her mother. She's trying to figure out what 705 00:38:25,360 --> 00:38:28,120 Speaker 1: happened and in the time she was away, I think. 706 00:38:28,640 --> 00:38:31,720 Speaker 1: And we learn about Linda's mother and her sister Rita 707 00:38:32,239 --> 00:38:35,319 Speaker 1: trying to solve their money problems by turning Montclair into 708 00:38:35,360 --> 00:38:38,879 Speaker 1: a retirement home. And there's just so many things here 709 00:38:38,880 --> 00:38:42,319 Speaker 1: where I noticed how how symmetrical the movie is and uh, 710 00:38:42,360 --> 00:38:44,000 Speaker 1: and how well things are set up. Like there's a 711 00:38:44,040 --> 00:38:47,840 Speaker 1: scene of her taking her mother's red shawl or cape 712 00:38:47,840 --> 00:38:50,479 Speaker 1: whatever it is, and I didn't notice it the first time, 713 00:38:50,480 --> 00:38:54,320 Speaker 1: but she's like, she's, you know, having an emotional connection 714 00:38:54,400 --> 00:38:57,200 Speaker 1: to this article of clothing, which turns up again later 715 00:38:57,239 --> 00:39:01,480 Speaker 1: in the movie, but somebody's wearing it. Yeah. And another 716 00:39:01,680 --> 00:39:05,840 Speaker 1: symmetrical thing I noticed was early on establishing the spiral 717 00:39:05,920 --> 00:39:08,920 Speaker 1: staircase in the mansion and how it's you know, it's 718 00:39:08,920 --> 00:39:12,600 Speaker 1: shot multiple times from above looking down. Uh, these shots 719 00:39:12,600 --> 00:39:15,800 Speaker 1: are all banging. There's even one later on where somebody 720 00:39:15,880 --> 00:39:18,759 Speaker 1: is descending the staircase very rapidly and the cameras just 721 00:39:18,840 --> 00:39:22,239 Speaker 1: like following over their shoulder but with a weird type 722 00:39:22,280 --> 00:39:25,160 Speaker 1: of focus that's distorting the edges of the frame, and 723 00:39:25,239 --> 00:39:29,120 Speaker 1: it's just glorious. Oh yeah, these spiral staircase shots are 724 00:39:29,160 --> 00:39:34,239 Speaker 1: are indeed just absolutely beautiful, um, very well composed. I 725 00:39:34,560 --> 00:39:36,840 Speaker 1: also was drawn in by those. There's also a great 726 00:39:37,080 --> 00:39:39,520 Speaker 1: scene where, uh, and you included a picture of this 727 00:39:39,520 --> 00:39:43,120 Speaker 1: in our notes here, where she has she's researching. She's 728 00:39:43,120 --> 00:39:46,000 Speaker 1: in pure research mode and we see her in the 729 00:39:46,000 --> 00:39:50,160 Speaker 1: middle of the floor with various boxes of research material 730 00:39:50,239 --> 00:39:52,319 Speaker 1: around her. There's a lamp in the floor, she's looking 731 00:39:52,360 --> 00:39:55,000 Speaker 1: at a book, and it's so well structured. She was 732 00:39:55,080 --> 00:39:57,200 Speaker 1: not engaged, to be clear, she was not engaging in 733 00:39:57,200 --> 00:40:00,560 Speaker 1: any kind of supernatural activity in this shot, but it 734 00:40:00,640 --> 00:40:03,160 Speaker 1: has this feel of seance to it. It has this 735 00:40:03,280 --> 00:40:08,160 Speaker 1: feel of sort of ritual uh, diving into the past, which, 736 00:40:08,160 --> 00:40:10,120 Speaker 1: of course she is diving into the past here she 737 00:40:10,280 --> 00:40:14,440 Speaker 1: is trying to sort of commune with the deceased, uh, 738 00:40:14,480 --> 00:40:16,839 Speaker 1: though not in a supernatural way, in a very real 739 00:40:16,880 --> 00:40:20,719 Speaker 1: world way. And I, I just I just love that shot. Yeah, yeah, 740 00:40:20,800 --> 00:40:23,840 Speaker 1: I agree. It's it's this darkened room with these pools 741 00:40:23,840 --> 00:40:27,120 Speaker 1: of warm light coming from a few lamps, and then 742 00:40:27,160 --> 00:40:28,960 Speaker 1: in the middle of the room she's on the floor 743 00:40:29,080 --> 00:40:31,400 Speaker 1: and it's almost like, actually the possessions are forming a 744 00:40:31,480 --> 00:40:35,240 Speaker 1: kind of spiral around her. And there's another scene early 745 00:40:35,280 --> 00:40:38,920 Speaker 1: on uh that is so good at setting this strange mood. 746 00:40:39,200 --> 00:40:42,040 Speaker 1: It's so weird. But it's the new arrival scene. They 747 00:40:42,040 --> 00:40:44,520 Speaker 1: find out, oh, somebody, we're getting a new resident tonight 748 00:40:45,200 --> 00:40:47,960 Speaker 1: and uh. And I think Linda has a brief argument 749 00:40:47,960 --> 00:40:50,080 Speaker 1: with Connie about this. She's like, I don't know what 750 00:40:50,080 --> 00:40:51,640 Speaker 1: we're gonna do with this place, you know, we don't 751 00:40:51,640 --> 00:40:53,760 Speaker 1: want new residents, and Connie's like, we need the money. 752 00:40:54,360 --> 00:40:56,960 Speaker 1: And so the new arrival comes in just as lightning 753 00:40:57,000 --> 00:41:00,279 Speaker 1: strikes a tree outside. The tree falls across the dry way, 754 00:41:00,320 --> 00:41:03,000 Speaker 1: and so the van that's approaching has to stop, and 755 00:41:03,040 --> 00:41:05,719 Speaker 1: we see a man helping his mother out of the 756 00:41:05,800 --> 00:41:08,400 Speaker 1: van and having to like carry her over the tree 757 00:41:08,440 --> 00:41:10,520 Speaker 1: to get her into the wheelchair on the lawn, and 758 00:41:10,520 --> 00:41:13,120 Speaker 1: then the wheelchair won't move because the lawn is all 759 00:41:13,200 --> 00:41:16,400 Speaker 1: soaking wet, and it's just very strange, big mood. But 760 00:41:16,480 --> 00:41:19,560 Speaker 1: another thing that that really hits about the scene is 761 00:41:20,320 --> 00:41:23,160 Speaker 1: how out of place it feels to have this driving rain, 762 00:41:23,280 --> 00:41:25,839 Speaker 1: because just earlier today we were watching these scenes where 763 00:41:26,280 --> 00:41:29,040 Speaker 1: everything looks so dry and the guy on the radio 764 00:41:29,200 --> 00:41:32,640 Speaker 1: is talking about the unprecedented dry condition and fire hazard. 765 00:41:32,760 --> 00:41:36,840 Speaker 1: So something in the weather has changed upon Linda's arrival. 766 00:41:38,200 --> 00:41:41,600 Speaker 1: But so the new arrivals or Mrs Ryan and her 767 00:41:41,640 --> 00:41:45,080 Speaker 1: son and uh, and so we get some weird scenes 768 00:41:45,120 --> 00:41:47,480 Speaker 1: of them coming in and in the dark, in the rain, 769 00:41:47,960 --> 00:41:50,120 Speaker 1: and more scenes of Linda sort of interacting with the 770 00:41:50,160 --> 00:41:53,880 Speaker 1: other characters, you know, uh, showing her her friendly and 771 00:41:53,920 --> 00:41:56,959 Speaker 1: fond relationship with Lance, the guy who was in the war, 772 00:41:57,800 --> 00:42:02,200 Speaker 1: and eventually we start getting into seeing spooky things. Uh. 773 00:42:02,239 --> 00:42:04,520 Speaker 1: And I would say one of the first examples of 774 00:42:04,560 --> 00:42:09,000 Speaker 1: this is a time when Linda is alone in her 775 00:42:09,080 --> 00:42:11,759 Speaker 1: room and she looks out the window at night and 776 00:42:11,840 --> 00:42:14,160 Speaker 1: it's still i think raining outside, or at least it's 777 00:42:14,280 --> 00:42:17,359 Speaker 1: it's you know, wet and kind of hazy, and there's 778 00:42:17,400 --> 00:42:19,800 Speaker 1: a single lamp standing out in the middle middle of 779 00:42:19,840 --> 00:42:23,720 Speaker 1: the front lawn out in front of Montclair, and behind 780 00:42:23,800 --> 00:42:27,400 Speaker 1: the lamp there's just a shadowy figure, a figure in 781 00:42:27,440 --> 00:42:30,239 Speaker 1: silhouette that looks so cool, but it's just looking up 782 00:42:30,280 --> 00:42:33,960 Speaker 1: as if looking at her window, and no idea who 783 00:42:34,000 --> 00:42:36,560 Speaker 1: it is. But it starts to set this unsettling mood 784 00:42:36,600 --> 00:42:41,320 Speaker 1: of things just weirder and weirder stuff starts happening. Yeah, 785 00:42:41,400 --> 00:42:44,960 Speaker 1: and of course deaths begin to occur. And it's interesting 786 00:42:45,000 --> 00:42:47,279 Speaker 1: that this is where the setting becomes interesting as well, 787 00:42:47,320 --> 00:42:50,120 Speaker 1: because this is a retirement community. This is a place 788 00:42:50,640 --> 00:42:54,080 Speaker 1: that is that is populated by the elderly, and it's 789 00:42:54,080 --> 00:42:57,160 Speaker 1: a place where where death is you know, maybe not 790 00:42:57,200 --> 00:43:00,280 Speaker 1: an every day occurrence, but death is regular and off 791 00:43:00,320 --> 00:43:04,239 Speaker 1: that this location, this this world that the characters are 792 00:43:04,239 --> 00:43:07,560 Speaker 1: moving around in is is more adjacent to death than 793 00:43:07,600 --> 00:43:10,440 Speaker 1: the rest of the world. Uh as so, which which 794 00:43:10,480 --> 00:43:14,239 Speaker 1: I think you know, adds the texture of everything rather nicely. Yeah, 795 00:43:14,239 --> 00:43:16,920 Speaker 1: there's actually a lot of ambiguity in this movie, so 796 00:43:17,000 --> 00:43:19,959 Speaker 1: you mentioned earlier. I think the idea of this movie 797 00:43:20,000 --> 00:43:22,520 Speaker 1: has a lot of ambiguity about whether it is ghosts 798 00:43:22,640 --> 00:43:26,960 Speaker 1: or not. And I love that ambiguity. So Linda reads 799 00:43:27,000 --> 00:43:29,720 Speaker 1: in her mother's diaries all these stories she tells about 800 00:43:30,320 --> 00:43:33,840 Speaker 1: things moving on their own, or hearing whispering or voices 801 00:43:33,880 --> 00:43:35,920 Speaker 1: in the night, or you know, things that start to 802 00:43:35,960 --> 00:43:40,000 Speaker 1: suggest maybe Montclair is haunted. And there are a number 803 00:43:40,040 --> 00:43:43,600 Speaker 1: of just like eerie encounters that Linda has where it 804 00:43:43,640 --> 00:43:46,799 Speaker 1: could be that somebody is is screwing with her or 805 00:43:46,880 --> 00:43:49,880 Speaker 1: it could be ghosts, and it's really not clear. It 806 00:43:49,920 --> 00:43:52,960 Speaker 1: could work either way. Uh So, there are like times 807 00:43:52,960 --> 00:43:55,440 Speaker 1: when she leaves her room and then comes back and 808 00:43:55,480 --> 00:43:57,720 Speaker 1: then a candle that she blew out is lit again 809 00:43:58,160 --> 00:44:01,160 Speaker 1: and all of the fawcets are running and bathroom is flooding. 810 00:44:01,360 --> 00:44:02,880 Speaker 1: Like there's a great scene where she has to go 811 00:44:02,960 --> 00:44:05,960 Speaker 1: turn all the faucets off as the bathtub is overflowing 812 00:44:06,000 --> 00:44:09,080 Speaker 1: onto the floor. And and and I love the bathroom 813 00:44:09,080 --> 00:44:12,759 Speaker 1: by the way, because as this disgusting looking linoleum floor, 814 00:44:12,920 --> 00:44:16,520 Speaker 1: but these beautiful I think the fixtures are green, like 815 00:44:16,560 --> 00:44:19,960 Speaker 1: the green tub and sink. Yeah, these are these are 816 00:44:19,960 --> 00:44:23,759 Speaker 1: great bathroom locations, accentuated of course by the by the 817 00:44:23,800 --> 00:44:27,040 Speaker 1: fact that we have we have drowning deaths occurring, and 818 00:44:27,040 --> 00:44:29,480 Speaker 1: and and that also plays into the ambiguity because these 819 00:44:29,520 --> 00:44:32,400 Speaker 1: are deaths that could very well be natural. They could 820 00:44:33,000 --> 00:44:37,560 Speaker 1: be um uh suspicious, but they could also play into 821 00:44:37,560 --> 00:44:40,480 Speaker 1: this idea of the supernatural. You know, this of of 822 00:44:40,640 --> 00:44:43,520 Speaker 1: of the haunting of the water. It made me think 823 00:44:43,520 --> 00:44:48,360 Speaker 1: of some of the the yokai, the Japanese spirit creatures 824 00:44:48,360 --> 00:44:53,680 Speaker 1: that are associated with with hauntings, haunting bathrooms, particularly like 825 00:44:53,719 --> 00:44:58,320 Speaker 1: elementary school uh bathroom situations, that there might be some 826 00:44:58,320 --> 00:45:01,120 Speaker 1: some supernatural force that learn in a place like this. 827 00:45:01,560 --> 00:45:03,960 Speaker 1: And you did very much get that vibe in this film, 828 00:45:04,440 --> 00:45:06,520 Speaker 1: uh kind of a moaning myrtle kind of a thing. 829 00:45:06,560 --> 00:45:08,880 Speaker 1: I guess if you want to draw in Harry Potter 830 00:45:08,960 --> 00:45:11,760 Speaker 1: a connection minor character that I just want to mention 831 00:45:11,840 --> 00:45:14,520 Speaker 1: because Rachel and I liked her so much. I think 832 00:45:14,520 --> 00:45:17,200 Speaker 1: her name is Carol, the girl who's going to the 833 00:45:17,239 --> 00:45:19,919 Speaker 1: party and is having trouble shifting the gears on her car. 834 00:45:22,320 --> 00:45:24,399 Speaker 1: She's just this lady in a in like a red 835 00:45:24,480 --> 00:45:28,319 Speaker 1: hat who clearly likes to party. Uh. And there's a scene, well, 836 00:45:28,360 --> 00:45:31,719 Speaker 1: so Linda reconnects with I think an old boyfriend. Is 837 00:45:31,719 --> 00:45:35,160 Speaker 1: that how you understood Barney that, like they've been together 838 00:45:35,200 --> 00:45:38,600 Speaker 1: in the past. She comes home and they rekindle. Yeah, 839 00:45:38,880 --> 00:45:41,879 Speaker 1: and you know Barney, Barney's just he's a local boy. Yeah, 840 00:45:41,920 --> 00:45:45,239 Speaker 1: you know, he's just a nice guy. Yeah. Yeah, there's 841 00:45:45,239 --> 00:45:47,120 Speaker 1: a there's a great scene where they're they're like out 842 00:45:47,160 --> 00:45:50,720 Speaker 1: having fun in the woods and then suddenly Linda sees 843 00:45:50,800 --> 00:45:54,600 Speaker 1: like a creepy figure standing on a stump and uh, 844 00:45:54,680 --> 00:45:57,239 Speaker 1: and she thinks it's Barney, but then Barney turns out 845 00:45:57,239 --> 00:45:59,319 Speaker 1: to be behind her, so she's like, well, who's that? 846 00:45:59,400 --> 00:46:01,439 Speaker 1: And then they turn and look and there's nobody there. 847 00:46:02,080 --> 00:46:05,920 Speaker 1: So you know, the strange doings continue. Now there's one 848 00:46:06,000 --> 00:46:09,840 Speaker 1: stylistic choice that I thought was very strange. Uh. And 849 00:46:10,160 --> 00:46:12,160 Speaker 1: I wonder what you made of this. This movie has 850 00:46:12,200 --> 00:46:16,480 Speaker 1: something I can't recall seeing in other horror movies, at 851 00:46:16,560 --> 00:46:21,239 Speaker 1: least horror movies post Psycho, because I think Psycho established 852 00:46:21,280 --> 00:46:23,439 Speaker 1: a precedent that if you want to make a jump 853 00:46:23,480 --> 00:46:27,400 Speaker 1: scare work, you need loud audio. You know, like when, um, 854 00:46:27,840 --> 00:46:29,880 Speaker 1: when when Mrs Bates comes out of the room with 855 00:46:29,920 --> 00:46:32,920 Speaker 1: the knife held high at the at the detective and Psycho, 856 00:46:33,080 --> 00:46:36,000 Speaker 1: we get the stabbing violins. I just tried to do 857 00:46:36,040 --> 00:46:38,200 Speaker 1: an impression of them on Mike and I am insisting 858 00:46:38,200 --> 00:46:40,959 Speaker 1: that we cut that out, so so but bye bye 859 00:46:41,000 --> 00:46:44,600 Speaker 1: to me going um but yeah, yeah, yeah, So you 860 00:46:44,680 --> 00:46:48,000 Speaker 1: gotta have like a loud noise, something that accompanies the 861 00:46:48,239 --> 00:46:51,400 Speaker 1: visual sting and makes it a total sensory experience, and 862 00:46:51,480 --> 00:46:54,000 Speaker 1: that's how you really get people jumping out of their chairs. 863 00:46:54,040 --> 00:46:58,680 Speaker 1: This movie has is what I would call jump scares 864 00:46:58,920 --> 00:47:02,280 Speaker 1: that have no audio at all. They're purely visual scares 865 00:47:02,360 --> 00:47:05,759 Speaker 1: set to absolute silence or just two ambient sound from 866 00:47:05,840 --> 00:47:10,200 Speaker 1: the room. Very unique and it seems intentional to me, 867 00:47:10,320 --> 00:47:13,800 Speaker 1: and I like the effect of it, I mean, being 868 00:47:13,880 --> 00:47:16,960 Speaker 1: silent like that. They don't function as well as loud 869 00:47:17,000 --> 00:47:20,040 Speaker 1: scares at actually getting you to jump to go ah, 870 00:47:20,080 --> 00:47:22,200 Speaker 1: but they have a different kind of effect all their own. 871 00:47:22,320 --> 00:47:25,879 Speaker 1: They're they're more unsettling that way, like when you when 872 00:47:25,880 --> 00:47:28,919 Speaker 1: you pan up and see the man's face turned Rob, 873 00:47:28,960 --> 00:47:30,600 Speaker 1: I think you know the scene. I mean, after we've 874 00:47:30,640 --> 00:47:33,160 Speaker 1: been following the cat and then there's the cadaver in 875 00:47:33,200 --> 00:47:35,360 Speaker 1: the room and we pan up and see the man's 876 00:47:35,360 --> 00:47:37,319 Speaker 1: face and it has been turned so that it's looking 877 00:47:37,360 --> 00:47:40,680 Speaker 1: directly at the door and into the camera. That's a 878 00:47:40,760 --> 00:47:44,600 Speaker 1: jump scare. But there's no sound. Yeah, after you brought 879 00:47:44,640 --> 00:47:46,840 Speaker 1: this up, I started thinking about it, and I'm so 880 00:47:47,120 --> 00:47:48,839 Speaker 1: I wonder, first of all, it it might just be 881 00:47:48,840 --> 00:47:51,359 Speaker 1: purely intentional. This could just be a very intentional choice 882 00:47:51,360 --> 00:47:53,840 Speaker 1: by the filmmakers. I also wonder how much of it 883 00:47:53,880 --> 00:47:57,000 Speaker 1: has to do with their musical choice, because again, it 884 00:47:57,080 --> 00:47:59,680 Speaker 1: doesn't seem like it was a case where Claus Huels 885 00:48:00,200 --> 00:48:02,920 Speaker 1: wrote them a score much less, you know, watch the 886 00:48:02,920 --> 00:48:05,759 Speaker 1: film and then compose something to fit their cut. He 887 00:48:05,920 --> 00:48:08,759 Speaker 1: apparently gave them some music to use and they used it. 888 00:48:09,160 --> 00:48:11,640 Speaker 1: And you know, if you're gonna do a jump scare 889 00:48:11,680 --> 00:48:14,720 Speaker 1: type thing, you need that very you need very bombastic music. 890 00:48:14,800 --> 00:48:17,719 Speaker 1: You need that the screeching violins or I don't know, 891 00:48:17,719 --> 00:48:21,239 Speaker 1: maybe like a big wall you know sound, or I 892 00:48:21,280 --> 00:48:23,839 Speaker 1: don't know, maybe it's like a dubstep drop kind of 893 00:48:23,840 --> 00:48:28,000 Speaker 1: a thing. And Klaus Schultz is amazing, but that is 894 00:48:28,040 --> 00:48:31,560 Speaker 1: not that that's not really what he does. Um. I 895 00:48:31,560 --> 00:48:33,440 Speaker 1: could be wrong, because there's a lot of his music 896 00:48:33,480 --> 00:48:35,440 Speaker 1: I have not listened to. It's there's just a tremendous 897 00:48:35,440 --> 00:48:37,160 Speaker 1: amount of it, and I'm only familiar really with a 898 00:48:37,160 --> 00:48:41,359 Speaker 1: few of his releases. Um. But while some artists do 899 00:48:41,560 --> 00:48:43,080 Speaker 1: engage in that kind of thing, like I can think 900 00:48:43,080 --> 00:48:46,160 Speaker 1: of various sort of industrial noise artists who have been 901 00:48:46,160 --> 00:48:48,799 Speaker 1: a very kind of alarming, screechy noises thrown in there, 902 00:48:49,160 --> 00:48:51,840 Speaker 1: but I don't think he has that sort of of sound. 903 00:48:51,920 --> 00:48:53,719 Speaker 1: And most of his work, or at least stuff that 904 00:48:53,719 --> 00:48:55,960 Speaker 1: I'm familiar with. When you made the wall sound with 905 00:48:55,960 --> 00:48:57,880 Speaker 1: your mouth, I get what you're saying now, But for 906 00:48:57,920 --> 00:48:59,759 Speaker 1: a second I thought you were suggesting it should be 907 00:48:59,760 --> 00:49:03,520 Speaker 1: a jury. Do well you a digitally? I mean it 908 00:49:03,600 --> 00:49:06,840 Speaker 1: could it? Maybe we all have been done. This movie 909 00:49:06,840 --> 00:49:09,840 Speaker 1: needs more Australian sound in it, so like the jump 910 00:49:09,880 --> 00:49:13,640 Speaker 1: scares are accompanied by the opening riff of Thunderstruck. Yeah, 911 00:49:13,680 --> 00:49:15,480 Speaker 1: I wonder if that might be. One of the reasons 912 00:49:15,520 --> 00:49:18,400 Speaker 1: this film has been more of an underground cult favorite 913 00:49:18,520 --> 00:49:22,040 Speaker 1: is that it's not as exploit off of its Australian 914 00:49:22,120 --> 00:49:25,279 Speaker 1: nous like it's more honest and low key in in 915 00:49:25,320 --> 00:49:28,279 Speaker 1: how it presents Australia as a setting. Uh you know, 916 00:49:28,320 --> 00:49:32,560 Speaker 1: there's there's no dig red, there's no nobody's being stabbed 917 00:49:32,560 --> 00:49:34,680 Speaker 1: with a shrimp on the barbie. You know, when you 918 00:49:34,800 --> 00:49:38,720 Speaker 1: if you, if you bring your your crocodile dundee um 919 00:49:38,840 --> 00:49:42,240 Speaker 1: um e reader up to this thing, it's not gonna 920 00:49:42,400 --> 00:49:46,040 Speaker 1: go up into the red. There's no there's no kangaroos 921 00:49:46,040 --> 00:49:49,200 Speaker 1: in this movie, not sing. But there are koala's. Oh 922 00:49:49,239 --> 00:49:51,960 Speaker 1: my god, they're the real ones, not real ones. But 923 00:49:52,000 --> 00:49:56,680 Speaker 1: there's a fabulous Koala puppet. I don't thought it was. 924 00:49:56,880 --> 00:50:00,120 Speaker 1: It was cute. Come on, the guy he's operating it 925 00:50:00,320 --> 00:50:03,600 Speaker 1: is making it. It's uh, it's like that laughing clown 926 00:50:03,680 --> 00:50:06,400 Speaker 1: and the incredibly strange creatures who became stop living and 927 00:50:06,440 --> 00:50:10,920 Speaker 1: became mixed up zombies. Except well, okay, it's a quala 928 00:50:10,960 --> 00:50:13,120 Speaker 1: public yes, And then later on in the film doing 929 00:50:13,120 --> 00:50:16,960 Speaker 1: actually a very crucial scene there um there there's like 930 00:50:17,000 --> 00:50:20,839 Speaker 1: a there's some Kuala stuffies on a display. I may 931 00:50:20,880 --> 00:50:23,759 Speaker 1: have missed that part. I don't remember the stuffies. Oh yeah, 932 00:50:23,760 --> 00:50:26,759 Speaker 1: it's in the finale. Okay, I know this because my 933 00:50:26,800 --> 00:50:29,640 Speaker 1: son walked in different when I was finishing watching it. Yeah, 934 00:50:30,400 --> 00:50:32,520 Speaker 1: I know, I know. I was. I was like, all right, buddy, 935 00:50:32,560 --> 00:50:34,719 Speaker 1: something violent might be happening here shortly, and then I 936 00:50:34,760 --> 00:50:36,320 Speaker 1: was like, oh no, the Kuala stuff, and he was 937 00:50:36,400 --> 00:50:41,479 Speaker 1: like no, so then he left. All right, we've reached 938 00:50:41,520 --> 00:50:43,239 Speaker 1: the point where we're going to do a spoiler break. 939 00:50:43,239 --> 00:50:45,040 Speaker 1: But before we do the spoiler break, I'm just gonna 940 00:50:45,040 --> 00:50:47,279 Speaker 1: go and tell you where about the availability of this 941 00:50:47,360 --> 00:50:50,920 Speaker 1: film right now, as of this recording, at least in 942 00:50:51,080 --> 00:50:54,080 Speaker 1: my part of the world, it is available to stream 943 00:50:54,160 --> 00:50:57,480 Speaker 1: on shutter and a MC plus. There's also a very 944 00:50:57,560 --> 00:51:01,440 Speaker 1: nice blu ray edition from second site Elms and if 945 00:51:01,480 --> 00:51:03,160 Speaker 1: you if you really want to get into the music, 946 00:51:03,719 --> 00:51:06,040 Speaker 1: you can buy or stream this wherever you get your 947 00:51:06,040 --> 00:51:09,279 Speaker 1: digital music. It's also on band camp, but Roundtable put 948 00:51:09,560 --> 00:51:12,280 Speaker 1: the soundtrack out on vinyl. It has a really nice 949 00:51:12,320 --> 00:51:16,040 Speaker 1: cover uh beat, a bit of cover art. Uh So 950 00:51:16,280 --> 00:51:18,279 Speaker 1: these are all wonderful ways for you to seek out 951 00:51:18,719 --> 00:51:20,840 Speaker 1: the film. Uh yeah. You can also go to the 952 00:51:20,920 --> 00:51:24,080 Speaker 1: Roundtable dot band camp dot com if you want to 953 00:51:24,120 --> 00:51:27,399 Speaker 1: find the digital album there. All right, let's do it, Joe, 954 00:51:27,480 --> 00:51:38,200 Speaker 1: Let's jump into the spoiler section. All right, Well, as 955 00:51:38,280 --> 00:51:43,080 Speaker 1: the the unsettling events continue on, we're looking for a culprit, right, 956 00:51:43,160 --> 00:51:45,280 Speaker 1: is it ghosts or is it some kind of human actor? 957 00:51:46,000 --> 00:51:49,560 Speaker 1: And Linda begins to suspect a human a pair of 958 00:51:49,640 --> 00:51:53,600 Speaker 1: human actors actually, Uh? Dr Barton and Connie. Now, how 959 00:51:53,640 --> 00:51:55,480 Speaker 1: do we get to them? Do you remember Rob? How 960 00:51:55,480 --> 00:51:57,200 Speaker 1: do we get to them? How do how do we 961 00:51:57,239 --> 00:52:00,640 Speaker 1: get to thinking that they're doing something nefarious? Well, the 962 00:52:00,680 --> 00:52:03,600 Speaker 1: main reason would be, like, if somebody's killing people a here, 963 00:52:04,080 --> 00:52:07,120 Speaker 1: and it's obviously not Linda, and it's not ghosts, Like 964 00:52:07,160 --> 00:52:09,920 Speaker 1: these are the only two other major figures that have 965 00:52:10,000 --> 00:52:13,040 Speaker 1: access to all the facilities that you know, are mobile enough. 966 00:52:13,080 --> 00:52:15,560 Speaker 1: That's the other thing. It's like, you can't really suspect 967 00:52:15,640 --> 00:52:20,520 Speaker 1: the people who live here the retirement community, because you know, 968 00:52:20,520 --> 00:52:22,560 Speaker 1: most of them are kind of infirm and are kind 969 00:52:22,560 --> 00:52:25,080 Speaker 1: of hobbling around, and it also just seemed very nice. 970 00:52:25,120 --> 00:52:28,680 Speaker 1: It's a very nice place. Uh. And the only characters 971 00:52:28,719 --> 00:52:31,000 Speaker 1: that we've seen that they really have kind of a 972 00:52:31,000 --> 00:52:34,640 Speaker 1: suspicious air to them are are Connie and the doctor, 973 00:52:34,680 --> 00:52:36,920 Speaker 1: because they're the ones that are like, no, nothing's wrong here, 974 00:52:36,920 --> 00:52:40,240 Speaker 1: why would you think that? And they appear to be conspiring. Also, 975 00:52:40,320 --> 00:52:42,440 Speaker 1: like there are moments where Linda comes across them and 976 00:52:42,440 --> 00:52:44,879 Speaker 1: they're like whispering to each other, and then they turn 977 00:52:44,960 --> 00:52:47,040 Speaker 1: and see her and they're like, oh, hey, we're doing nothing. 978 00:52:47,560 --> 00:52:49,640 Speaker 1: And I think clearly the film is structured so that 979 00:52:49,640 --> 00:52:52,960 Speaker 1: we're supposed to suspect them. Uh. Once it becomes clear 980 00:52:53,040 --> 00:52:55,400 Speaker 1: that this is not ghosts, we're like, oh, yeah, it 981 00:52:55,680 --> 00:52:57,880 Speaker 1: has to be these two. Well, I think even up 982 00:52:57,960 --> 00:53:00,600 Speaker 1: until close to the end, you still think there could 983 00:53:00,680 --> 00:53:04,239 Speaker 1: be ghosts involved, that maybe it's a it's a combination 984 00:53:04,280 --> 00:53:08,800 Speaker 1: of nefarious human actors and ghosts. But but Linda becomes 985 00:53:08,880 --> 00:53:12,280 Speaker 1: especially convinced that Dr Barton and Connie are doing something 986 00:53:12,280 --> 00:53:14,680 Speaker 1: evil because she's been reading all these old diaries and 987 00:53:14,760 --> 00:53:17,800 Speaker 1: ledger books, and she eventually sneaks into Dr Barton's office 988 00:53:17,840 --> 00:53:22,120 Speaker 1: and finds discrepancies in the records about about deaths that 989 00:53:22,160 --> 00:53:25,399 Speaker 1: occurred at this place, and so, yeah, she she thinks 990 00:53:25,400 --> 00:53:28,439 Speaker 1: something very nefarious is going on, that that maybe Dr 991 00:53:28,480 --> 00:53:31,040 Speaker 1: Barton and Connie are up to no good. And so 992 00:53:31,200 --> 00:53:34,160 Speaker 1: there's a scene where she she runs out fleeing from 993 00:53:34,560 --> 00:53:38,480 Speaker 1: after she she thinks they've discovered that she knows about them. 994 00:53:38,560 --> 00:53:41,279 Speaker 1: She flees into the night and she runs off to 995 00:53:41,560 --> 00:53:46,200 Speaker 1: Barney's meeting of the what the brush fire Volunteer brush 996 00:53:46,200 --> 00:53:50,760 Speaker 1: Firefighters Association, uh, where they're all sitting in this bingo 997 00:53:50,920 --> 00:53:54,080 Speaker 1: hall and this guy is giving some strategy session about 998 00:53:54,160 --> 00:53:56,120 Speaker 1: I don't know what he's talking about. He's saying like 999 00:53:56,440 --> 00:54:01,319 Speaker 1: more thinking, less drinking, And meanwhile Barney is passed out 1000 00:54:01,320 --> 00:54:03,359 Speaker 1: in his chair. He's like a sleep holding a beer. 1001 00:54:03,760 --> 00:54:05,600 Speaker 1: And she has to get his attention in the middle 1002 00:54:05,640 --> 00:54:08,719 Speaker 1: of this meeting, and everybody's looking at her um and 1003 00:54:08,760 --> 00:54:11,360 Speaker 1: she she and him go outside and and she explains 1004 00:54:11,400 --> 00:54:13,520 Speaker 1: the whole situation. So they're going to go back and 1005 00:54:13,520 --> 00:54:15,640 Speaker 1: and and get the evidence so that they can figure 1006 00:54:15,640 --> 00:54:17,920 Speaker 1: out what's really going on. I would love to see 1007 00:54:18,000 --> 00:54:20,960 Speaker 1: sort of the dry Australian humor sort of set up 1008 00:54:21,040 --> 00:54:23,600 Speaker 1: for this meeting where they're they're saying, well, we need 1009 00:54:23,719 --> 00:54:26,840 Speaker 1: really touch on the fact that we need less drinking 1010 00:54:27,800 --> 00:54:30,480 Speaker 1: among our volunteers, and then there's someone's like, well, or 1011 00:54:30,520 --> 00:54:32,360 Speaker 1: we're not gonna have beer at the meeting. Then it's like, 1012 00:54:32,360 --> 00:54:34,320 Speaker 1: oh no, we're we should have beer at the meeting. 1013 00:54:35,160 --> 00:54:38,400 Speaker 1: It sounds like what they're talking about the It sounds 1014 00:54:38,440 --> 00:54:40,600 Speaker 1: like what they're talking about, is some kind of competition 1015 00:54:41,400 --> 00:54:43,520 Speaker 1: that they're doing, Like, I don't know if there's a 1016 00:54:43,520 --> 00:54:48,239 Speaker 1: Brush Firefighters Association challenge that they're going to be competing in. Oh, 1017 00:54:48,280 --> 00:54:50,279 Speaker 1: I don't know, Like I can imagine some sort of 1018 00:54:50,320 --> 00:54:54,799 Speaker 1: incentive program, yeah, like Spotify or get a free beer 1019 00:54:55,320 --> 00:54:58,320 Speaker 1: something like that. There you go. But okay, Linda and 1020 00:54:58,360 --> 00:55:00,279 Speaker 1: Barney go back to the mansion together and this is 1021 00:55:00,320 --> 00:55:02,879 Speaker 1: when things really go off the rails. It's funny how 1022 00:55:03,040 --> 00:55:06,520 Speaker 1: restrained most of the movie is and then how how 1023 00:55:06,600 --> 00:55:10,239 Speaker 1: hog wild it goes in the last twenty minutes or so. Yeah, 1024 00:55:10,600 --> 00:55:14,680 Speaker 1: all the things that you might expect um movies like 1025 00:55:14,760 --> 00:55:17,200 Speaker 1: this to do, uh, that it gets around to in 1026 00:55:17,200 --> 00:55:19,560 Speaker 1: the last twenty minutes or so. And part of this 1027 00:55:19,640 --> 00:55:22,600 Speaker 1: is that the film finally reveals what's going on and 1028 00:55:22,680 --> 00:55:26,160 Speaker 1: commits to being like a full psychopath movie. Right, So 1029 00:55:26,280 --> 00:55:28,279 Speaker 1: of course that they go back and then there's just 1030 00:55:28,360 --> 00:55:32,120 Speaker 1: bodies everywhere. So uh, Barney goes in first, and but 1031 00:55:32,160 --> 00:55:34,120 Speaker 1: while Linda is waiting for him, and she's like, oh, 1032 00:55:34,280 --> 00:55:37,399 Speaker 1: there's a dead body with its throat slashed in the 1033 00:55:37,760 --> 00:55:40,520 Speaker 1: in the water fountain here. Uh, and it like turns 1034 00:55:40,560 --> 00:55:42,840 Speaker 1: the jets in the water fountain red as the blood 1035 00:55:42,920 --> 00:55:46,120 Speaker 1: comes through, and then she runs into the mansion and like, oh, 1036 00:55:46,160 --> 00:55:49,400 Speaker 1: well Barney is dead now and uh oh, and so 1037 00:55:49,520 --> 00:55:52,000 Speaker 1: someone is chasing her and she runs to Lance's room 1038 00:55:52,000 --> 00:55:53,680 Speaker 1: and she is able to get Lance away, and I 1039 00:55:53,719 --> 00:55:55,279 Speaker 1: was like that that felt so good to me. I 1040 00:55:55,320 --> 00:55:57,560 Speaker 1: was worried about Lance. But Lance gets out all right. 1041 00:55:57,920 --> 00:55:59,480 Speaker 1: I was still worried about her name, because she lets 1042 00:55:59,560 --> 00:56:01,480 Speaker 1: him out through the window and down the fire escape, 1043 00:56:01,520 --> 00:56:03,520 Speaker 1: and I wanted to be like, Lance is an old man. 1044 00:56:04,280 --> 00:56:07,480 Speaker 1: He does not need to be going down the fire escape. Linda, well, 1045 00:56:07,560 --> 00:56:10,279 Speaker 1: better than being left inside with with who we're about 1046 00:56:10,280 --> 00:56:13,080 Speaker 1: to find out about. So she she ends up then 1047 00:56:13,280 --> 00:56:15,760 Speaker 1: locking herself in her room. Somebody has been running around, 1048 00:56:15,800 --> 00:56:18,239 Speaker 1: like jiggling the doors trying to get at her. We 1049 00:56:18,280 --> 00:56:20,520 Speaker 1: don't know who it is. I think she's assuming it's 1050 00:56:20,600 --> 00:56:22,960 Speaker 1: Dr Barton, who you know, chasing her, trying to kill 1051 00:56:22,960 --> 00:56:26,520 Speaker 1: her and uh. And so she locks herself into a room. 1052 00:56:26,560 --> 00:56:30,560 Speaker 1: But then we get the big reveal. A character is 1053 00:56:30,560 --> 00:56:34,640 Speaker 1: sitting at her desk. Uh. And the character turns around 1054 00:56:34,880 --> 00:56:38,600 Speaker 1: and who is that? What? It's Mrs Ryan, the new 1055 00:56:38,719 --> 00:56:41,680 Speaker 1: arrival who came in in the driving rain. Earlier in 1056 00:56:41,719 --> 00:56:45,640 Speaker 1: the movie. She removes her wig and then makes clear 1057 00:56:45,719 --> 00:56:49,240 Speaker 1: she says, I'm not Mrs Ryan, I am your aunt Rita, 1058 00:56:49,760 --> 00:56:52,400 Speaker 1: the Rita we've heard all about in in the Diaries 1059 00:56:52,520 --> 00:56:56,000 Speaker 1: that you know, her mother's sister and who Dr Barton 1060 00:56:56,080 --> 00:56:59,440 Speaker 1: had said earlier had had been sent away to a 1061 00:56:59,480 --> 00:57:03,560 Speaker 1: psychiatric care facility. And uh, and so what Rita says 1062 00:57:03,719 --> 00:57:07,239 Speaker 1: was actually, uh, you know, she says, your mother was 1063 00:57:07,280 --> 00:57:09,760 Speaker 1: the mad one, and they put me away to shut 1064 00:57:09,800 --> 00:57:12,280 Speaker 1: me up because I was going to spill the beans 1065 00:57:12,280 --> 00:57:14,359 Speaker 1: about all the bad stuff that your mother and Dr 1066 00:57:14,440 --> 00:57:16,720 Speaker 1: Barton were doing. Oh wow, so we have a real 1067 00:57:16,800 --> 00:57:21,080 Speaker 1: Hugo bart situation here. Yes, but so like you you 1068 00:57:21,080 --> 00:57:23,160 Speaker 1: you're maybe on board with this for a second, you're like, wait, 1069 00:57:23,200 --> 00:57:26,800 Speaker 1: what's happening? But then she she reaches around to hug Linda, 1070 00:57:27,280 --> 00:57:30,080 Speaker 1: and Linda doesn't see, but the camera sees that her 1071 00:57:30,120 --> 00:57:34,720 Speaker 1: hands are covered in blood, and so she opens the 1072 00:57:34,760 --> 00:57:38,959 Speaker 1: door and into the room comes her terrifying Lee creepy Son, 1073 00:57:39,240 --> 00:57:41,360 Speaker 1: the guy who brought her in the van that night 1074 00:57:41,400 --> 00:57:43,800 Speaker 1: of the arrival. And no, it turns out that Rita 1075 00:57:43,880 --> 00:57:46,040 Speaker 1: is there, in fact to get revenge and kill people. 1076 00:57:46,640 --> 00:57:49,680 Speaker 1: Uh so she is the Hugo. Yes, she is the 1077 00:57:49,760 --> 00:57:53,120 Speaker 1: Hugo and her creepy Hugo son. They have murdered everybody. 1078 00:57:53,160 --> 00:57:56,640 Speaker 1: They have murdered. Uh. Dr Barton and Connie. They're like 1079 00:57:56,680 --> 00:57:59,920 Speaker 1: in the bathtub in the bathroom, and there's a horrifying 1080 00:58:00,080 --> 00:58:04,120 Speaker 1: struggle and fight scene. Eventually, Uh, Linda is able to 1081 00:58:04,200 --> 00:58:07,680 Speaker 1: knock the sun unconscious and she locks herself in the bathroom. 1082 00:58:08,160 --> 00:58:10,600 Speaker 1: And here's where we get the horrible eye in the 1083 00:58:10,680 --> 00:58:14,960 Speaker 1: keyhole scene where she locks herself in the bathroom and 1084 00:58:14,960 --> 00:58:17,760 Speaker 1: and Rita is looking through the keyhole in the door saying, 1085 00:58:17,800 --> 00:58:20,040 Speaker 1: I can see you in the mirror. Uh. And what 1086 00:58:20,160 --> 00:58:22,120 Speaker 1: is what is Linda do about this? Well, she gets 1087 00:58:22,120 --> 00:58:24,120 Speaker 1: herself a little I don't know what this is. It's 1088 00:58:24,160 --> 00:58:27,400 Speaker 1: some kind of pick, Yeah, like a like the long 1089 00:58:27,560 --> 00:58:29,560 Speaker 1: narrow pick end of some sort of a hair brush 1090 00:58:29,600 --> 00:58:33,680 Speaker 1: type of thing. Yeah, and then whoosh straight through the keyhole. Yeah. 1091 00:58:33,840 --> 00:58:38,640 Speaker 1: Very very uh for sure, though not as gratuitous as 1092 00:58:38,680 --> 00:58:42,120 Speaker 1: I stabs in a lot of Jollo movies. Yeah. So 1093 00:58:42,200 --> 00:58:45,680 Speaker 1: that that's there's no out out foul jelly or whatever 1094 00:58:46,040 --> 00:58:49,520 Speaker 1: going on here. But she eventually so she flees Montclair. 1095 00:58:49,640 --> 00:58:52,560 Speaker 1: She drives away into the night and ends up back 1096 00:58:52,600 --> 00:58:55,040 Speaker 1: at the roadside diner. I knew we would get back 1097 00:58:55,080 --> 00:58:57,200 Speaker 1: here in the end, And so the only person there 1098 00:58:57,320 --> 00:58:59,640 Speaker 1: is the kid that she was driving with at the beginning. 1099 00:59:00,160 --> 00:59:02,840 Speaker 1: He says, Yeah, my dad's out hunting rabbits tonight, as 1100 00:59:03,000 --> 00:59:05,760 Speaker 1: just me here. So you know, she's freaking out. She's saying, 1101 00:59:05,760 --> 00:59:07,760 Speaker 1: lock the doors, you know, does your dad have another 1102 00:59:07,840 --> 00:59:11,160 Speaker 1: rifle here? Um? And the kids just like, welly, what's 1103 00:59:11,160 --> 00:59:15,840 Speaker 1: going on? And uh, sorry for I was saying to myself, 1104 00:59:15,880 --> 00:59:17,640 Speaker 1: I was like, I'm never going to do an attempt 1105 00:59:17,640 --> 00:59:21,520 Speaker 1: at Australian accent in this episode. I just failed. Uh. 1106 00:59:21,760 --> 00:59:24,200 Speaker 1: This is such a great situation though, because it feels 1107 00:59:24,520 --> 00:59:27,880 Speaker 1: thoroughly you know, late seventies and early nineteen eighties, uh, 1108 00:59:27,920 --> 00:59:30,000 Speaker 1: in a way that not just applies to Australia but 1109 00:59:30,040 --> 00:59:31,720 Speaker 1: also to the United States, that this would be a 1110 00:59:31,720 --> 00:59:34,600 Speaker 1: time when something like this might occur, where a shop 1111 00:59:34,640 --> 00:59:37,360 Speaker 1: would be left in the care of a child with 1112 00:59:37,440 --> 00:59:40,160 Speaker 1: access to a rifle. Well, actually, I think it turns 1113 00:59:40,200 --> 00:59:43,280 Speaker 1: out to be a shotgun, like okay, yeah, he's got 1114 00:59:43,280 --> 00:59:46,280 Speaker 1: a scatter gun in there. Yeah. Um, And so they 1115 00:59:46,880 --> 00:59:49,560 Speaker 1: locked the doors and she like pushes the Space War's 1116 00:59:49,640 --> 00:59:52,640 Speaker 1: Arcade cabinet in front of the door. I think she 1117 00:59:52,760 --> 00:59:55,000 Speaker 1: tries to call the police, but the phone doesn't work. 1118 00:59:55,280 --> 00:59:57,280 Speaker 1: Oh man, that phone I love too. It's a it's 1119 00:59:57,320 --> 01:00:01,000 Speaker 1: a pay phone, and it's a big, red, honking pay phone. 1120 01:00:01,360 --> 01:00:03,400 Speaker 1: I don't think I've seen one of these before. It's 1121 01:00:03,400 --> 01:00:06,440 Speaker 1: like the President's red phone, but it's it's in the diner, 1122 01:00:06,720 --> 01:00:10,600 Speaker 1: but super chunky. Yeah, it's it's neat. It's another wonderful detail. 1123 01:00:10,640 --> 01:00:12,240 Speaker 1: I just want to go to I want to be 1124 01:00:12,360 --> 01:00:15,120 Speaker 1: in this space and appreciate all these details. And oh, 1125 01:00:15,280 --> 01:00:18,680 Speaker 1: I loved this final showdown scene. It's so good where 1126 01:00:18,720 --> 01:00:23,560 Speaker 1: she's she's sitting there in a sort of semi catatonic state, uh, 1127 01:00:23,880 --> 01:00:27,840 Speaker 1: building this pyramid out of sugar cubes, and you see 1128 01:00:27,880 --> 01:00:30,520 Speaker 1: her going cube by cube and uh. And then right 1129 01:00:30,560 --> 01:00:32,440 Speaker 1: when she gets up to the ending, she needs one 1130 01:00:32,520 --> 01:00:34,640 Speaker 1: last cube to complete it as she runs out of 1131 01:00:34,640 --> 01:00:36,680 Speaker 1: cubes in her little bowl, and the kid like shoves 1132 01:00:36,720 --> 01:00:39,360 Speaker 1: another bowl of sugarcubes over to her so that she 1133 01:00:39,400 --> 01:00:41,800 Speaker 1: can finish it. And right when she's putting the final 1134 01:00:41,920 --> 01:00:44,600 Speaker 1: cube on, there is this rumbling as if an earthquake. 1135 01:00:44,840 --> 01:00:47,600 Speaker 1: But what is it? No, it is the creep Sun 1136 01:00:48,240 --> 01:00:51,760 Speaker 1: in his van, driving the van through the front of 1137 01:00:51,800 --> 01:00:54,800 Speaker 1: the diner right like he crashes through it. And then 1138 01:00:54,840 --> 01:00:56,920 Speaker 1: it's like he continues to look floor it, so it's 1139 01:00:56,920 --> 01:01:00,000 Speaker 1: getting closer and closer. And this is where it actually 1140 01:01:00,000 --> 01:01:06,160 Speaker 1: really hits the the display of of Koala stuffies. Oh yeah, okay, 1141 01:01:06,720 --> 01:01:08,920 Speaker 1: and the kid. The kid tries to to shoot at 1142 01:01:08,920 --> 01:01:11,800 Speaker 1: the driver, but he's he misses, and he just keeps 1143 01:01:11,800 --> 01:01:14,320 Speaker 1: flooring it. And then eventually the kid calls for help. 1144 01:01:14,400 --> 01:01:16,840 Speaker 1: And and I don't know why, this is one of 1145 01:01:16,920 --> 01:01:20,320 Speaker 1: the most satisfying moments of defeating the bad guy I 1146 01:01:20,360 --> 01:01:23,280 Speaker 1: can recall in any movie recently. But Linda just grabs 1147 01:01:23,320 --> 01:01:26,400 Speaker 1: the shotgun and runs straight up point blank and just 1148 01:01:26,600 --> 01:01:30,480 Speaker 1: makes the guy's head explode. Uh did you have that 1149 01:01:30,520 --> 01:01:32,680 Speaker 1: same feeling? I was like, it was it's got to 1150 01:01:32,720 --> 01:01:36,640 Speaker 1: be like a new Top ten defeating the bad guy moment. Yeah, 1151 01:01:36,680 --> 01:01:38,880 Speaker 1: it's very just like she's done with it. Uh. And 1152 01:01:39,040 --> 01:01:40,720 Speaker 1: and and it's kind of he has this kind of 1153 01:01:40,760 --> 01:01:42,960 Speaker 1: like sort of help but like he's not helpless, but 1154 01:01:43,440 --> 01:01:46,240 Speaker 1: like there's you see gasoline leaking onto the floor and 1155 01:01:46,280 --> 01:01:48,760 Speaker 1: there's like a spark and for a second there you think, oh, 1156 01:01:48,920 --> 01:01:51,200 Speaker 1: he's just gonna get blown up in the car and 1157 01:01:51,200 --> 01:01:53,960 Speaker 1: and she'll have like a hands off victory here. But 1158 01:01:54,120 --> 01:01:56,440 Speaker 1: now she she walks up and she just takes him 1159 01:01:56,440 --> 01:01:59,000 Speaker 1: out with the shotgun. And then finally as she and 1160 01:01:59,040 --> 01:02:01,560 Speaker 1: the kid drive away, and truck as the service state 1161 01:02:01,560 --> 01:02:04,600 Speaker 1: because it's a diner and a gas station, and I 1162 01:02:04,600 --> 01:02:08,160 Speaker 1: guess the fire from from the leaking gas tank and 1163 01:02:08,200 --> 01:02:11,640 Speaker 1: the wires and everything causes it to explode. So there's 1164 01:02:11,680 --> 01:02:17,360 Speaker 1: like repeated explosions of the gas pumps as they're driving fireball. Uh. 1165 01:02:17,400 --> 01:02:20,360 Speaker 1: And then eventually they stopped somewhere and uh, and it's 1166 01:02:20,360 --> 01:02:22,080 Speaker 1: the book end. We see the scene again that the 1167 01:02:22,080 --> 01:02:24,360 Speaker 1: movie began with, with the slow motion of her walking 1168 01:02:24,360 --> 01:02:27,280 Speaker 1: around the car, as did you notice that As she's 1169 01:02:27,360 --> 01:02:30,800 Speaker 1: driving away though, and the gas stations blowing up behind them, 1170 01:02:30,840 --> 01:02:34,520 Speaker 1: we get to see again that warning about dry conditions. Yeah, 1171 01:02:34,760 --> 01:02:38,360 Speaker 1: the risk of wildfire is high. Yeah. So it all 1172 01:02:38,400 --> 01:02:41,160 Speaker 1: feels that feels connected in a meaningful way. So yeah, 1173 01:02:41,240 --> 01:02:43,640 Speaker 1: I was very pleasantly surprised by this one. I thought 1174 01:02:43,680 --> 01:02:47,040 Speaker 1: this was a really solid, lesser known movie. Yeah. Absolutely. 1175 01:02:47,440 --> 01:02:50,560 Speaker 1: I know some people, it looks like, have have checked 1176 01:02:50,600 --> 01:02:52,800 Speaker 1: it out and not really knowing what to expect, they 1177 01:02:52,880 --> 01:02:55,600 Speaker 1: might find it a little slow. You know, again, if 1178 01:02:55,600 --> 01:02:57,720 Speaker 1: you're if you're going into this one expecting something kind 1179 01:02:57,760 --> 01:03:02,000 Speaker 1: of schlocky and and exploitive. Um, this this film is 1180 01:03:02,000 --> 01:03:04,080 Speaker 1: not going to satisfy you on those fronts. But it's 1181 01:03:04,120 --> 01:03:09,880 Speaker 1: just a very thoughtfully composed, uh and interconnected thriller film 1182 01:03:09,880 --> 01:03:12,040 Speaker 1: with a wonderful soundtrack. And I have to mentioned you 1183 01:03:12,040 --> 01:03:15,080 Speaker 1: have the soundtrack. The cover to it is a picture 1184 01:03:15,120 --> 01:03:18,480 Speaker 1: of her at the diner table, uh, stacking the making 1185 01:03:18,480 --> 01:03:21,760 Speaker 1: that pyramid of sugar cubes. I love it. Those sugarcubes 1186 01:03:21,760 --> 01:03:24,280 Speaker 1: are going to be in my brain forever, Like it's 1187 01:03:24,320 --> 01:03:27,120 Speaker 1: such a cool image. Go to the store and get 1188 01:03:27,120 --> 01:03:30,080 Speaker 1: yourself a box of sugar cubes and start stacking. I 1189 01:03:30,120 --> 01:03:33,040 Speaker 1: guess so, well, I don't want to summon a creep 1190 01:03:33,080 --> 01:03:38,880 Speaker 1: of the van. Uh. All right, Well, we're gonna go 1191 01:03:38,920 --> 01:03:40,520 Speaker 1: and close this one out. But we'd love to hear 1192 01:03:40,560 --> 01:03:42,640 Speaker 1: from everyone out there. Specifically, would love to hear from 1193 01:03:42,640 --> 01:03:46,720 Speaker 1: any you know, Australian and uh in New Zealand listeners 1194 01:03:46,960 --> 01:03:49,360 Speaker 1: who might have some inside on some of the details 1195 01:03:49,360 --> 01:03:52,240 Speaker 1: that we enjoyed in this film, or or some inside 1196 01:03:52,280 --> 01:03:55,280 Speaker 1: I'm like where this where this film belongs? And sort 1197 01:03:55,320 --> 01:03:59,960 Speaker 1: of the you know, the appreciation of of Australian cinema. 1198 01:04:01,200 --> 01:04:03,360 Speaker 1: All that is fairy game. We'd love to hear from you. 1199 01:04:03,560 --> 01:04:07,240 Speaker 1: I know, if you have any recommendations on other Australian 1200 01:04:07,600 --> 01:04:11,000 Speaker 1: films that we should consider viewing. Uh, you know, let it, 1201 01:04:11,040 --> 01:04:14,200 Speaker 1: let us have it. We'd love to hear. In the meantime, 1202 01:04:14,800 --> 01:04:17,760 Speaker 1: you'll find other episodes of Weird How Cinema every Friday 1203 01:04:17,800 --> 01:04:20,240 Speaker 1: and the Stuff to Blow Your Mind podcast feed We're 1204 01:04:20,280 --> 01:04:24,680 Speaker 1: mostly science podcast with our core episodes on Tuesdays and Thursdays, 1205 01:04:24,680 --> 01:04:26,960 Speaker 1: but on Friday we set most of that aside and 1206 01:04:27,000 --> 01:04:30,360 Speaker 1: we just settle in to appreciate a strange film. Huge 1207 01:04:30,400 --> 01:04:33,920 Speaker 1: thanks as always to our excellent audio producer Seth Nicholas Johnson. 1208 01:04:34,160 --> 01:04:35,760 Speaker 1: If you would like to get in touch with us 1209 01:04:35,760 --> 01:04:38,240 Speaker 1: with feedback on this episode or any other, to suggest 1210 01:04:38,240 --> 01:04:40,040 Speaker 1: a topic for the future, or just to say hello, 1211 01:04:40,120 --> 01:04:42,959 Speaker 1: you can email us at contact at stuff to Blow 1212 01:04:43,000 --> 01:04:52,400 Speaker 1: your Mind dot com. Stuff to Blow Your Mind It's 1213 01:04:52,440 --> 01:04:55,120 Speaker 1: production of I Heart Radio. For more podcasts for My 1214 01:04:55,160 --> 01:04:58,120 Speaker 1: Heart Radio, visit the I Heart Radio app, Apple Podcasts, 1215 01:04:58,160 --> 01:05:00,320 Speaker 1: or wherever you listen to your favorite shows. Simple