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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today on Weird House

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Speaker 3: Cinema we are going to be talking about the nineteen

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Speaker 3: eighty one Italian slasher movie Absurd, directed by Joe Demato

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Speaker 3: and starring George Eastman. Now, Rob, I understand you wanted

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Speaker 3: to talk about how this movie typifies a movie subgenre,

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Speaker 3: maybe not defined within the movie itself, but the sort

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Speaker 3: of meta subgenre of the video nasty.

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Speaker 2: That's right. We've referred to video nasties before on the show,

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Speaker 2: and those of you know what we're talking about, you know,

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Speaker 2: probably not in your head. And if you don't know

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Speaker 2: what a video nasty is, you might have just you know,

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Speaker 2: picked up on context and on. But basically, it's essentially

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Speaker 2: you can slang for films, usually low budget horror and

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Speaker 2: exploitation films that were highly controversial during the nineteen eighties

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Speaker 2: as they were able to enter the UK distribution market

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Speaker 2: through a loophole that allowed the distributors to avoid official classification,

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Speaker 2: part of a video gold rush that came with VHS technology.

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Speaker 2: At the time. This is the description given by David

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Speaker 2: Coreki's and David Slater in the twenty twenty three book

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Speaker 2: Cannibal Error, Anti Film Propaganda and the Video Nasties Panic

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Speaker 2: of the nineteen eighties.

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Speaker 3: So this would be sort of an informal list of

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Speaker 3: films that what were not necessarily illegal, but were singled

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Speaker 3: out for being obscene or terrible or just worthy of

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Speaker 3: moral approbate, approbation in some way.

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Speaker 2: Well you kind of get both things. There's like it

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Speaker 2: does become formalized, but then there's also kind of like

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Speaker 2: an informal list as well. So basically the short version

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Speaker 2: of how this went down as you had and again

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Speaker 2: this is a you're involving like new technology, new distribution patterns,

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Speaker 2: and also changes in you know, what the public wants,

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Speaker 2: and then public anxiety about obscenity. So basically you haven't

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Speaker 2: had an advocacy group called the National Viewers and Listeners Association,

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Speaker 2: and it made a big outcry about these these films

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Speaker 2: that we're making it into the UK on VHS, and

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Speaker 2: it led to just a whole saga of politics, moral panic,

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Speaker 2: censorship discussion, and the end result was the imposition of

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Speaker 2: state video censorship in the UK in nineteen eighty four

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Speaker 2: and the creation of a Director of Public Prosecutions DPP

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Speaker 2: list of films that would come to be known as

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Speaker 2: video nasties. Though I think this term also ends up

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Speaker 2: becoming especially outside of the UK and in just sort

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Speaker 2: of VHS horror exploitation film circles, it becomes something of

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Speaker 2: a you know, a loose term that is you for

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Speaker 2: various sort of grimy, low budget often euro films of

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Speaker 2: the time period.

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Speaker 3: Oh okay, So thus my confusion. So some of the

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Speaker 3: things referred to as video nasties were actually targeted by

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Speaker 3: the law in the UK and other things just sort

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Speaker 3: of informally get that title as a kind of descriptor

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Speaker 3: of what these movies tend to be.

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Speaker 2: Like, Yeah, because you definitely had a list, you had

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Speaker 2: like section one. Prosecuted films included actually a few different

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Speaker 2: films we've discussed on Weird House, nineteen eighty's Cannibal Apocalypse,

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Speaker 2: nineteen eighty one's The House by the Cemetery, and today's

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Speaker 2: film Absurd, which is also from nineteen eighty one as

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Speaker 2: His House by the Cemetery. Now, naturally there's some really

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Speaker 2: grimy exploitation fodder in that list as well, But there's

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Speaker 2: also plenty of stuff that I don't know. It's all subjective,

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Speaker 2: but it feels, at least to me, kind of tame

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Speaker 2: by today's standards. But naturally, the line between art and

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Speaker 2: obscenity is always going to be subjective to a certain extent,

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Speaker 2: and there's gonna be a point of disagree in figuring

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Speaker 2: out what is what. But apart from these official classifications

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Speaker 2: and uproars in the UK, the term video nasty again

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Speaker 2: kind of becomes kind of comes to be a badge

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Speaker 2: of honor for many horror films from this time period,

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Speaker 2: especially in later decades. By the time many of us

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Speaker 2: were looking these up in books like the Psychotronic Film Guide,

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Speaker 2: or buying bootleg VHS tapes off of eBay back in

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Speaker 2: the day, or learning about them online, you know, browsing

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Speaker 2: Internet movie data base, looking at various blogs forums, or

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Speaker 2: today venturing around on letterbox dot com. You know, it

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Speaker 2: adds that extra bit of intrigue to a title. This

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Speaker 2: is a video nasty, this is a curse tape. You know,

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Speaker 2: watch at your own risk.

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Speaker 3: Now that might lead you to wonder, okay, if this

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Speaker 3: is one of those films that was considered so bad

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Speaker 3: as to be you know, targeted by the law in

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Speaker 3: the UK. Is there like, what's it about? What goes on?

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Speaker 3: Is you know, is it a Texas chainsaw massacre kind

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Speaker 3: of thing? I think the best way to describe obs

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Speaker 3: third is that it must have been pitched as a

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Speaker 3: Halloween clone. Halloween came out in nineteen seventy eight, Is

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Speaker 3: that right? Yeah, just checked, it was seventy eight, So

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Speaker 3: this is a few years after that, and there were many,

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Speaker 3: many Halloween clones. Halloween was a big hit, and so

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Speaker 3: a lot of movies tried to copy it. In fact,

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Speaker 3: some of the big slasher franchises in the American market.

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Speaker 3: I think you could argue began as Halloween clones. One

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Speaker 3: might sing, one might point to like Friday the thirteenth,

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Speaker 3: and so forth. You know, it even picks like a

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Speaker 3: day of the Years as the title. But anyway, so

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Speaker 3: I think absurd. It was imagined as a kind of

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Speaker 3: Halloween clone, but much more gory and disgusting. Halloween is

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Speaker 3: actually fairly light on the blood and gore. You don't

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Speaker 3: see a lot of explicit consequences of violence in it.

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Speaker 3: It's more, you know, Halloween is much more focused on

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Speaker 3: the building of tension through proximity and terror and perspective

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Speaker 3: and all that kind of stuff. Absurd gets into a

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Speaker 3: lot more just gross, explicit sort of meat exercises, but

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Speaker 3: it has very similar plot dynamics. So both movies are

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Speaker 3: about a seemingly indestructible killer who escapes from a facility

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Speaker 3: of some kind and strikes out with random murders in

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Speaker 3: a nearby neighborhood. Well, actually no, in Absurd it's not

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Speaker 3: a nearby neighborhood for some reason. He goes to a

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Speaker 3: different country. But in both cases strikes out with random

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Speaker 3: murders in a neighborhood with no discernible motive.

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Speaker 2: Yeah, just random killings.

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Speaker 3: Both movies follow babysitters as the sort of the victims

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Speaker 3: and protagonists in a way. Both movies have a kid

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Speaker 3: who refers to the killer as the Boogeyman. You remember

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Speaker 3: that's in Halloween, and they really emphasize that in Absurd

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Speaker 3: as well. And in both cases the killer is pursued

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Speaker 3: by a sort of eccentric, obsessive foreign cleric, and in

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Speaker 3: the case of Halloween that's Donald Pleasant, says Doctor Loomis

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Speaker 3: in this movie, it is a Greek priest. So you

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Speaker 3: can see a lot of similarities, but you can see

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Speaker 3: differences as well. And one that I think is interesting

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Speaker 3: is exactly what makes Halloween so so effective as horror

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Speaker 3: in a way is its restraint, the way in which

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Speaker 3: it really like takes its time, the way in which

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Speaker 3: you know, it plays with as I was saying, distance

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Speaker 3: and perspective, you know, showing things in the background of

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Speaker 3: shots instead of just going for immediate jump scares and

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Speaker 3: so forth. Absurd is the exact opposite. It does not

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Speaker 3: play with restraint. It plays to excess.

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Speaker 2: Though it does take its time in some of the sites.

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Speaker 2: That's true, yeah, but not necessarily in a good way.

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Speaker 3: I mean, it'll like really take its time showing how

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Speaker 3: long a murder takes to complete. Yeah, but no, it

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Speaker 3: also does take its time. I mean, yeah, it does

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Speaker 3: have the killer lurking in the background sometimes as well,

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Speaker 3: so in some ways you've got that element going on.

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Speaker 3: It's kind of a Halloween clone, but with Italian excess sensibilities.

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Speaker 3: On the other hand, I would say this is an

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Speaker 3: Italian horror movie of the early nineteen eighties. And while

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Speaker 3: Absurd does earn a number of superlatives, I'm not trying

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Speaker 3: to put it down here. One thing I do think

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Speaker 3: it kind of makes it stand out is it does

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Speaker 3: not manage to be as visually exciting as a lot

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Speaker 3: of the Italian horror movies of this period that we love.

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Speaker 3: In fact, I would say it almost has a pointedly

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Speaker 3: intentionally drab, lifeless and colorless visual style. The sets all

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Speaker 3: seem to be various shades of white, brown, yellow, and tan.

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Speaker 3: There's not much, really any use of colored lighting that

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Speaker 3: I can recall. There aren't any beautiful vistas or stained

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Speaker 3: glass effects or anything like that. It is an almost

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Speaker 3: intentionally quite drab looking film.

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Speaker 2: Yeah, I mean de Motto gets into he gets into

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Speaker 2: some creative territory with some of the shots, and he

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Speaker 2: makes I think he makes pretty good use of the

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Speaker 2: location in some scenes. But yeah, this is not a

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Speaker 2: movie you seek out for its rich colors or its

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Speaker 2: amazing production design. There's not even any monster makeup, just

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Speaker 2: no grimy gore. And I think most people who seek

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Speaker 2: it out aren't going to seek it out for its

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Speaker 2: reputation as a low budget video nasty and stick with

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Speaker 2: it for some of its well absurd choices. You know,

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Speaker 2: because despite its reputation. It's not the gorious film from

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Speaker 2: this time period, nor is it the most disturbing by

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Speaker 2: any stretch. It's worth noting, especially with Dematto here, that

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Speaker 2: there's no nudity in this film at all, virtually no

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Speaker 2: sexual content of any kind. So it's amazingly tame on

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Speaker 2: that side of the exploitation scales, I would say. Yeah. Also,

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Speaker 2: despite the American title, it's worth noting that it's I

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Speaker 2: don't know, you could make a strong argument that this

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Speaker 2: film is not really absurd. It's not a surrealistic film,

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Speaker 2: it's not psychedel But again, I think three things help

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Speaker 2: it to stand out from a lot of the other

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Speaker 2: slot films of the time period. It's got a fun score,

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Speaker 2: there are some weird choices that are made, I think

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Speaker 2: some deliberately and some just via the speed of the production.

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Speaker 2: And then you've got the screen presence, near constant screen

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Speaker 2: presence of George Eastman.

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Speaker 3: Which alone puts this film in a kind of rare category.

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Speaker 3: I mean, everybody, even if you don't know anything about

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Speaker 3: like these Italian exploitation movies and you don't know who

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Speaker 3: George Eastman is, I think if you see a movie

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Speaker 3: with George Eastman in it. You're gonna remember him. You're

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Speaker 3: gonna be like, who was that guy?

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Speaker 2: Yeah? Yeah, A lot of times it's a small role.

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Speaker 2: He's come up in films before. He pops up, for instance,

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Speaker 2: in The Hands of Steel that we watched a while back,

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Speaker 2: and here he gets a chance to shine.

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Speaker 3: Now, regarding the question you said, the movie is not

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Speaker 3: even that absurd, I was wondering if maybe the absurd

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Speaker 3: title refers not to the more common usage like you

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Speaker 3: were saying there, comparing it to something that is psychedelic

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Speaker 3: or surreal. Maybe we often use the word just to

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Speaker 3: mean like weird, illogical, or unreasonable. I was wondering if

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Speaker 3: it is not that usage of absurd, but the philosophical

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Speaker 3: usage a lah absurdism, the core tenets of which are

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Speaker 3: that the universe is meaningless and our lives are meaningless,

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Speaker 3: and that much of the struggle of human life and

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Speaker 3: so many of our conflicts and contradictions arise because people

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Speaker 3: are trying to find the meaning in meaningless things.

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Speaker 2: All right, all right, I hear what you're laying down.

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Speaker 3: Well, yeah, so I think the movie Absurd is quite

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Speaker 3: The plot is quite compatible with the view that life

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Speaker 3: is meaningless. You know, the attacks are completely random. And

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Speaker 3: I wonder if George Eastman's problem as a character is

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Speaker 3: that he is engaged in a futile search for the

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Speaker 3: meaning of life, and that search involves power drills and

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Speaker 3: bandsaws and so forth.

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Speaker 2: It is interesting that he does not have a signature weapon.

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Speaker 2: He just makes use of what is immediately around him

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Speaker 2: and doesn't carry anything with him.

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Speaker 3: It's usually powered mechanisms, isn't it Not in every case,

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Speaker 3: but that's kind of strange. He likes like a he

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Speaker 3: likes a weapon you can plug into the wall.

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Speaker 2: Yeah, and he'll drag you through the house to get

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Speaker 2: to it. It's not just a matter of like what's

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Speaker 2: immediately around me. It's like did I see an oven earlier? Yeah,

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Speaker 2: there's got to be a kitchen around here somewhere. We'll

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Speaker 2: spend five minutes searching for it.

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Speaker 3: So if we haven't warned you enough already, do be

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Speaker 3: warned that this movie does have some really gross violence

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Speaker 3: in it. So if you're going to watch it, be prepared.

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Speaker 2: Yeah, And I also, I don't want to oversell this

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Speaker 2: movie like sometimes, you know, I'm big on really championing

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Speaker 2: a film and saying like there's this is a hidden gym,

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Speaker 2: or there's some there are some diamonds in this one.

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Speaker 2: This is a film that a lot of people don't like.

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Speaker 2: Even we're into into horror, you know, we'll give it

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Speaker 2: maybe like mediocre reviews. So if you're on the fence

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Speaker 2: about seeing absurd there's a very strong chance you're not

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Speaker 2: going to like it. So fair warning. This might be

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Speaker 2: a case where you just want to hear us talk

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Speaker 2: about it. But if if you're into this sort of thing, well,

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Speaker 2: you know, dive in because there's there is some absurdity.

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Speaker 2: There is some weirdness here that I thought was pretty fun.

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Speaker 3: Speaking of the absurdity and the weirdness, just a few

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Speaker 3: things I want to call out at the beginnings, these

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Speaker 3: these strange contradictions in the movie, where there are things

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Speaker 3: where I don't even know how to characterize them really

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Speaker 3: because they contain contradictions. One of them is the sets

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Speaker 3: in this film which have this They are simultaneously opulent

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Speaker 3: and squalid, do you know what I'm saying.

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Speaker 2: Yeah, yeah, Like the one of the key, the key

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Speaker 2: set in the film, the key location is this obvious

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Speaker 2: Italian villa, you know, and it's clearly has old bone

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Speaker 2: spacious interiors, but the way that the space is decorated

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Speaker 2: at times feels very sparse and slapped together. And it's

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Speaker 2: also we'll get back to this more, but this is

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Speaker 2: essentially presented to us as an American home where Americans

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Speaker 2: live and are ready for some American football. And i've

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Speaker 2: this with suits of armor inside that. Yes, yes, so

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Speaker 2: it's it's a weird missmash And I think this is

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Speaker 2: ultimately one of its charms, you know, you know, at

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Speaker 2: least watching it as an American, you know, it is

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Speaker 2: seeing the sort of mismatch of things.

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Speaker 3: Another thing, what is going on with people's accents in

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Speaker 3: this movie. The babysitter is a great example. She seems

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Speaker 3: to go from I've heard I hear English accent at

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Speaker 3: some point, like a very a very formal kind of

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Speaker 3: received pronunciation accent. Sometimes I hear Irish, sometimes I hear Italian,

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Speaker 3: sometimes I hear American. It is all over the place.

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Speaker 2: Well, you have to remember Absurd as a prestige picture

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Speaker 2: with an international cast, so you know it was you know,

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Speaker 2: it's not, but it was conceived and produced not so

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Speaker 2: much for native Italian audiences, but to be shipped out

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Speaker 2: to various international markets, each of their own particular and

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Speaker 2: shifting censorship standards, And so we have a predominantly Italian cast,

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Speaker 2: but with some like UK and I guess, and I

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Speaker 2: guess largely UK talent thrown in there as well as

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Speaker 2: this American setting, though again everything was filmed in Italy. Okay.

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Speaker 3: I was just thinking before we get to the elevator pitch,

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Speaker 3: I was thinking of like three different ways of categorizing

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Speaker 3: mad slasher villains in movies like this. One is the

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Speaker 3: question we already addressed of is there a motive or not?

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Speaker 3: Sometimes the motive of the slasher is like revenge or something,

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Speaker 3: and other times there is no motive. This is a

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Speaker 3: case of no motive, firmly on the random violence into

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Speaker 3: the scale.

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Speaker 2: Yeah. Yeah, this is on the Halloween end of the spectrum,

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Speaker 2: as opposed to say the burning or Nightmare on Elm Street,

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Speaker 2: where there is some symbolans of vengeance bound up in

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Speaker 2: the motives of the killer.

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Speaker 3: Yeah, or the original Friday the thirteenth.

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Speaker 2: Yeah, oh yeah, yeah, that's right. I kind of forget

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Speaker 2: because he kind of becomes just a mindless killing machine

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Speaker 2: and the franchise later on, certainly by the time he

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Speaker 2: takes Manhattan.

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Speaker 3: Yeah, exactly. Okay, that's criteria number one. Criterion number two

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Speaker 3: is the form, the form and costuming of the slasher villain.

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Speaker 3: Do they wear a mask or are they physically altered

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Speaker 3: in some way this case, no, he's just Georgie Sman. No,

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Speaker 3: no makeup, no mask, no nothing. He's just a guy.

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Speaker 2: Yeah.

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Speaker 3: I mean an interesting looking guy, but just a guy.

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Speaker 2: Yeah. For much of it, Like he's just wearing like

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Speaker 2: jeans and a shirt. Like, he's just wearing like and

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Speaker 2: I'd assume he's just normal clothes. Okay.

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Speaker 3: Third distinction I would make is is this mad slasher

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Speaker 3: the beneficiary of any kind of supernatural intervention or magic?

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Speaker 3: And in this case, I would say, once again, no,

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Speaker 3: this is a super powered slasher. But it's not like

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Speaker 3: in the later Halloween sequels where we discover that Michael

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Speaker 3: Myers is some kind of like reincarnated Celtic deity or something. No,

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Speaker 3: he's just a guy, except we get a science fiction

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Speaker 3: explanation for why he is so strong and why bullets

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Speaker 3: do not stop him. It's it's because he was the

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Speaker 3: result of some experiment in a lab or. I think

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Speaker 3: they say there was a contamination. They don't get deep

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Speaker 3: into the explanation. But he is a product of science,

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Speaker 3: not magic.

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Speaker 2: Yeah. Yeah, The explanation is a little garble. There's some

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Speaker 2: contradictions there we'll get into, but essentially it's like a

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Speaker 2: weapons X program. He has a mutant healing factor. It's

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Speaker 2: explicitly stated. He's kind of like the Italian or I

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Speaker 2: guess the Greek saber tooth here. Yeah, yeah, yeah.

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Speaker 3: So I feel like all three of these distinctions push

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Speaker 3: it more into the philosophical absurdism side of the scale, right,

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Speaker 3: that he is just a man like he's not physically

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Speaker 3: represented in any unusual way, that his motives are non existent,

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Speaker 3: it's just random, and that there is no magic or

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Speaker 3: supernatural intervention of any kind. He's just a product of

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Speaker 3: a science experiment gone wrong.

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Speaker 2: Well, building on that and in lieu of an actual

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Speaker 2: elevator pitch, I'm going to read a quote from Albert

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Speaker 2: Camu the myth of Sisyphus. Thus, I draw from the

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Speaker 2: absurd three consequences, which are my revolt, my freedom, and

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Speaker 2: my passion. Bravo wow, I mean it is revolting. So,

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Speaker 2: and I think we're gonna we're gonna skip trailer audio

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Speaker 2: on this one. In part because the trailer is just

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Speaker 2: music and screaming. I believe, oh yeah, I would be

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Speaker 2: inclined to include it if we had a narrator saying absurd,

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Speaker 2: but they don't.

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Speaker 3: I'm going to go on record here and say, even

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Speaker 3: for horror movies, I do not like trailers that are

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Speaker 3: just full of screaming. Not a fan. I like a

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Speaker 3: narrator or at least some clips of dialogue and ominous music.

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Speaker 3: This is the screaming. Save it for the climax of

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Speaker 3: the film. I'm I'm not interested in hearing just three

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Speaker 3: minutes of screaming to preview a movie.

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Speaker 2: Absolutely all right. So if at this point you're like, okay,

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Speaker 2: and I do actually want to watch Absurd before finishing

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Speaker 2: this episode, well, then more power to you. Now. The

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Speaker 2: thing is Absurd has circulated under various titles and with

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Speaker 2: various cuts for a long time. The region free severin

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Speaker 2: Films BLU ray is hard to beat, though, featuring both

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Speaker 2: the original Italian cut that comes in at eighty eight

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Speaker 2: minutes and the uncensored US cut, which comes in at

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Speaker 2: ninety four minutes. The discs also features a handful of

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Speaker 2: informative interviews which I'll refer back to, and it has

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Speaker 2: the whole the entire score on CD as a bonus disc. Now,

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Speaker 2: if you are not into the physical media, you don't

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Speaker 2: have access to it, don't have time, and so forth.

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Speaker 2: You can also stream the US cut and it has

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Speaker 2: the box art for the Severeign release, so I guess

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Speaker 2: it's connected to that. You can stream it on TOV currently,

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Speaker 2: at least in the United States. I own the disc.

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Speaker 2: It's great. I think once I'm done with it, I'm

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Speaker 2: going to be donating it to Videodrome here in Atlanta,

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Speaker 2: so if you're local, you can rent the disc there.

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Speaker 2: All right, let's get into the folks who made this film,

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Speaker 2: starting at the top with the director, the producer, and

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Speaker 2: the cinematographer. It's Joe Tomato, who lived nineteen thirty six

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Speaker 2: through nineteen ninety nine, a truly legendary name in the

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Speaker 2: realm of Italian exploitation and trash cinema. We have mentioned

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Speaker 2: him numerous times on the show, often in connection to

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Speaker 2: other actors who are working in eurocinema or in Italian cinema,

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Speaker 2: sometimes also for things that he did besides directing. For instance,

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Speaker 2: he was at least one of the producers on troll Too.

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Speaker 3: Was he involved at all in Shocking Dark?

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Speaker 2: You know, I don't think he was, but we will

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Speaker 2: have a Shocking Dark connection here in just a bit. Okay. So,

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Speaker 2: Joe Tomato is one of the many monikers that he

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Speaker 2: used for his directorial work over the years. It's just

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Speaker 2: the one that seemed to stick the most. But his

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Speaker 2: birth name was Artista day Masa Chesi. We're going to

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Speaker 2: keep referring to him as Joe Tomato though. So Joe

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Speaker 2: Tomano did everything in film at one point or another,

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Speaker 2: in part because, you know, based on an interview, the

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Speaker 2: interviews that I've seen with him, in interviews with George Eastman,

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Speaker 2: who worked with him multiple times, he's a guy who

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Speaker 2: loves cinema and you know, love the craft of cinema. Anyway,

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Speaker 2: I think he often said that he was not an

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Speaker 2: artist and did not see himself as an artist, but

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Speaker 2: he clearly, like you know it, was really into the

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Speaker 2: craft of making films and all. But also he was

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Speaker 2: notoriously cheap and was generally operating on a shoe string budget.

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Speaker 2: You know, make it fast, make it cheap. Eastman has

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Speaker 2: pointed out in interviews that like if they could do

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Speaker 2: it with one take. They would do it with one take,

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Speaker 2: you know. And he wasn't the type of director to

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Speaker 2: instruct the actors at all. So if it was a

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Speaker 2: good actor, you know, you might get a good performance.

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Speaker 2: If they were green, it was going to be as

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Speaker 2: green as it came out, you know. It just wasn't

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Speaker 2: his thing, Eastman says, And to instruct and build upon

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Speaker 2: the performance.

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Speaker 3: One take, that's what I love that. That's like the

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Speaker 3: ed would rule, right, you know, why do it again

398
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Speaker 3: when it's perfect?

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Speaker 2: Yeah? Yeah, And we've got to We've got to crank

400
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Speaker 2: this out, you know. Yea. So yeah. These were the

401
00:22:06,440 --> 00:22:08,879
Speaker 2: defining qualities of his work, you know, is that he

402
00:22:09,800 --> 00:22:12,040
Speaker 2: really loved the craft. He wanted to do everything, and

403
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Speaker 2: he wanted to do it cheap. But he was also

404
00:22:14,680 --> 00:22:17,639
Speaker 2: said to be pretty easy going, humorous about his productions,

405
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Speaker 2: gave collaborators room to do their thing, but would, as

406
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Speaker 2: Eastman put it, far, rather do ten cheap films than

407
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Speaker 2: one film with a bigger budget. De Motto himself for Variety,

408
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Speaker 2: Yeah yeah, I mean demto himself would say, like the

409
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Speaker 2: pay is the same, Why would I do that one

410
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Speaker 2: big film and put all that work into it. I'll

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Speaker 2: just do ten cheap films and it'll be the same

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Speaker 2: for me at the end of the day. Wow. Now

413
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Speaker 2: he's been observed that this this also really held him

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Speaker 2: back because he thinks that Dematto could have had more

415
00:22:45,960 --> 00:22:49,159
Speaker 2: success if he'd specialized as a producer and as a

416
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Speaker 2: cinematographer and like let other people direct. But he kept

417
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Speaker 2: on directing, and when the demand for Italian genre films

418
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Speaker 2: went south, he worked on what was internationally marketable, and

419
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Speaker 2: that's something to keep mine with a lot of these

420
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Speaker 2: films like this, this film in particular, it was not

421
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Speaker 2: really made for Italian audiences. I think it did, you know,

422
00:23:08,040 --> 00:23:10,760
Speaker 2: show in theaters very briefly. It was mostly to be

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Speaker 2: shipped out to other markets in various cuts, And when

424
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Speaker 2: the demand for those sorts of films went away, it meant,

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Speaker 2: you know, he had to turn to other things that

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Speaker 2: were internationally marketable, which meant mostly adult films. But during

427
00:23:22,720 --> 00:23:26,080
Speaker 2: his prime he shot pretty much everything, like every type

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Speaker 2: of B movie anyway, from you know, from gladiator flicks

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Speaker 2: to post apocalyptic gladiator flicks. And there's a lot of

430
00:23:34,040 --> 00:23:36,760
Speaker 2: garbage in there, to be sure, But if the various

431
00:23:36,840 --> 00:23:40,280
Speaker 2: video nasties and cult classics worth mentioning. Here you have

432
00:23:40,320 --> 00:23:42,879
Speaker 2: the likes of seventy three's Death Smiles and a Murderer

433
00:23:43,480 --> 00:23:47,119
Speaker 2: seventy nine Beyond the Darkness. Oh and also there's a

434
00:23:47,200 --> 00:23:50,840
Speaker 2: tour the Fighting Eagle that one. I believe that that

435
00:23:51,040 --> 00:23:52,960
Speaker 2: or one of the a tour films was featured on

436
00:23:53,000 --> 00:23:56,800
Speaker 2: the Mystery Science Theater three thousand, twenty twenty Texas. Gladiators

437
00:23:56,840 --> 00:24:01,600
Speaker 2: and Endgame from eighty three also very Emmanuel films in

438
00:24:01,640 --> 00:24:05,760
Speaker 2: the erotic genre. In nineteen eighty he collaborated with George

439
00:24:05,760 --> 00:24:11,320
Speaker 2: Eastman on the film and Throwpophagus, the predecessor to this film,

440
00:24:11,640 --> 00:24:14,800
Speaker 2: and it was enough of a hit internationally that they

441
00:24:14,840 --> 00:24:18,359
Speaker 2: came back for a kind of spiritual sequel, spiritual successor,

442
00:24:18,680 --> 00:24:20,280
Speaker 2: and that is this film absurd.

443
00:24:20,680 --> 00:24:23,479
Speaker 3: That is one I've heard warnings about, even from people

444
00:24:23,520 --> 00:24:27,600
Speaker 3: who are like hardened low budget gory horror movie fans.

445
00:24:27,640 --> 00:24:30,080
Speaker 3: They're like, that one is disgusting.

446
00:24:30,880 --> 00:24:34,119
Speaker 2: Yeah, it's it's gross, it's you know, it's it's shot

447
00:24:34,160 --> 00:24:38,960
Speaker 2: in grease. That it's very really grimy. So it does

448
00:24:38,960 --> 00:24:43,320
Speaker 2: have Eastman as the villain, as the cannibalistic monster, though

449
00:24:43,359 --> 00:24:46,520
Speaker 2: in that film he has like a bald cap and

450
00:24:46,560 --> 00:24:51,080
Speaker 2: some monster makeup on, and that film famously ends with

451
00:24:51,200 --> 00:24:55,040
Speaker 2: the monster being like partially disemboweled, and then Eastman's character

452
00:24:55,119 --> 00:24:56,960
Speaker 2: pulls out his own guts and takes a big bite

453
00:24:57,000 --> 00:25:00,320
Speaker 2: out of them and dies. So that's that's the kind

454
00:25:00,320 --> 00:25:04,000
Speaker 2: of film it is. And it had various titles as

455
00:25:04,000 --> 00:25:05,879
Speaker 2: where like like the Grim Reaper.

456
00:25:05,520 --> 00:25:08,119
Speaker 3: And so forth, and they're like, for absurd, what if

457
00:25:08,160 --> 00:25:11,840
Speaker 3: you take the ending of that movie and start there exactly?

458
00:25:11,960 --> 00:25:14,040
Speaker 2: Yeah, that's essentially what they do. We have a fun,

459
00:25:14,200 --> 00:25:18,080
Speaker 2: fun callback to that disemboweling sequence, all right. Yeah, getting

460
00:25:18,080 --> 00:25:19,639
Speaker 2: to the star, we lveray talked about him a little bit,

461
00:25:19,720 --> 00:25:23,360
Speaker 2: but Georgie'sman born nineteen forty two still with us as

462
00:25:23,359 --> 00:25:26,720
Speaker 2: of this recording. Not only does he play our central

463
00:25:26,760 --> 00:25:29,719
Speaker 2: monster who this is one of those films where this

464
00:25:29,840 --> 00:25:32,200
Speaker 2: character has both a first and last name in the credits,

465
00:25:32,200 --> 00:25:37,800
Speaker 2: which is ridiculous. Mikos Stinopolis. Never is I think either

466
00:25:37,880 --> 00:25:38,720
Speaker 2: name referred to?

467
00:25:39,560 --> 00:25:40,200
Speaker 3: No, they do?

468
00:25:40,359 --> 00:25:43,360
Speaker 2: They do? Do they? When they refer to Mikos Stanopolis,

469
00:25:43,560 --> 00:25:44,120
Speaker 2: where the.

470
00:25:44,280 --> 00:25:47,120
Speaker 3: Detective is, oh, I can't wait to talk about him.

471
00:25:47,119 --> 00:25:50,199
Speaker 3: But the detective is interviewing the Greek priest who you

472
00:25:50,240 --> 00:25:52,880
Speaker 3: don't know was a priest at this point, and they're

473
00:25:52,920 --> 00:25:55,639
Speaker 3: talking about the killer. They say his name is whatever,

474
00:25:55,840 --> 00:26:00,000
Speaker 3: Mikos or Nicos, Stenopolis, whichever it is, and so they

475
00:26:00,040 --> 00:26:02,520
Speaker 3: say his last name. But it's not the only time

476
00:26:02,600 --> 00:26:05,280
Speaker 3: we have a slasher movie villain with the first and

477
00:26:05,359 --> 00:26:08,040
Speaker 3: last name. I admit it also did sound funny here,

478
00:26:08,080 --> 00:26:11,359
Speaker 3: But then I thought, wait a minute, Michael Myers, Jason Voorhees,

479
00:26:11,480 --> 00:26:14,320
Speaker 3: Freddy Krueger, we know their first and last names. Why

480
00:26:14,320 --> 00:26:16,560
Speaker 3: does it feel weird here? I'm not sure, but it

481
00:26:16,640 --> 00:26:18,920
Speaker 3: did feel really funny when we got his whole name.

482
00:26:19,240 --> 00:26:21,639
Speaker 3: It just seems like a character who should not have

483
00:26:21,680 --> 00:26:23,320
Speaker 3: a name or something, or you wouldn't know what his

484
00:26:23,440 --> 00:26:26,560
Speaker 3: name was. They would just call him the being or something.

485
00:26:27,160 --> 00:26:33,480
Speaker 3: And yeah, it also I think is especially funny because

486
00:26:33,640 --> 00:26:37,600
Speaker 3: it's George Eastman, and something about the way George Eastman

487
00:26:37,720 --> 00:26:42,760
Speaker 3: looks in this movie is corrupted by knowing that he

488
00:26:42,800 --> 00:26:44,680
Speaker 3: has a full name. Does that make any sense?

489
00:26:44,880 --> 00:26:51,000
Speaker 2: Yeah? Yeah, so obviously the name George Eastman is also

490
00:26:51,080 --> 00:26:53,440
Speaker 2: a moniker. This is the stage name, one of many

491
00:26:53,440 --> 00:26:57,840
Speaker 2: stage names about ultimately the one that's stuck for Luigi Montefiori,

492
00:26:59,440 --> 00:27:02,600
Speaker 2: and he is but He's always going to be George Eastman.

493
00:27:02,720 --> 00:27:04,600
Speaker 2: This is the name that's going to be written in

494
00:27:04,880 --> 00:27:08,720
Speaker 2: b movie lore forever. And you just have to see

495
00:27:08,800 --> 00:27:10,600
Speaker 2: him to know what we're talking about. He pops up

496
00:27:10,640 --> 00:27:13,119
Speaker 2: in a lot of things, Spaghetti western, certainly at first,

497
00:27:13,600 --> 00:27:18,159
Speaker 2: horror films, post apocalyptic pictures. At least in his prime

498
00:27:18,440 --> 00:27:21,560
Speaker 2: he was he was at least six ' six, but

499
00:27:21,640 --> 00:27:24,600
Speaker 2: I've also seen him promoted as six ' nine. It's

500
00:27:24,640 --> 00:27:26,879
Speaker 2: sometimes hard to tell and show business how tall someone

501
00:27:26,920 --> 00:27:30,600
Speaker 2: actually is, but very tall. Man looks very tall on

502
00:27:30,640 --> 00:27:35,760
Speaker 2: the screen, lean but muscular, you know, handsome guy. But

503
00:27:35,840 --> 00:27:41,639
Speaker 2: also there's like a fairal you know, like in quality.

504
00:27:41,760 --> 00:27:44,240
Speaker 2: You know, there's a lean and hungry look to him

505
00:27:44,880 --> 00:27:48,360
Speaker 2: that he's that allows him to like naturally lean into

506
00:27:48,920 --> 00:27:50,119
Speaker 2: villain and heavy rolls.

507
00:27:50,840 --> 00:27:54,679
Speaker 3: He does not look trustworthy. He has a face that

508
00:27:54,760 --> 00:27:58,280
Speaker 3: looks like a like a predatory mammal kind of wolfin.

509
00:27:58,560 --> 00:28:02,520
Speaker 2: Yeah, yeah, so you know that's what you get Oodlezov

510
00:28:02,640 --> 00:28:05,320
Speaker 2: in this film. But he was in a lot of stuff.

511
00:28:05,480 --> 00:28:08,960
Speaker 2: We already mentioned eighty six's Hand of Steel, Hands of Steel.

512
00:28:09,000 --> 00:28:11,720
Speaker 2: He was also in let's see nineteen ninety The Bronx Warriors.

513
00:28:12,640 --> 00:28:14,920
Speaker 2: Then there's twenty nineteen, after the fall of New York

514
00:28:15,000 --> 00:28:19,560
Speaker 2: Blast Fighter Rabid Dogs. He had attended film school and

515
00:28:19,800 --> 00:28:22,840
Speaker 2: his acting credits go back at least in nineteen sixty six,

516
00:28:23,160 --> 00:28:25,719
Speaker 2: but he also wrote screenplays, and if I remember correctly

517
00:28:25,760 --> 00:28:28,560
Speaker 2: from past interviews I've watched, he was sometimes asked to

518
00:28:28,600 --> 00:28:31,520
Speaker 2: work over bad scripts and make them like at least

519
00:28:31,600 --> 00:28:36,160
Speaker 2: less bad. And De Motto and Eastman first worked together

520
00:28:36,240 --> 00:28:40,040
Speaker 2: on Cormac of the Mounties from nineteen seventy five. This

521
00:28:40,080 --> 00:28:43,040
Speaker 2: is a film where the lead actor apparently rejected the

522
00:28:43,080 --> 00:28:46,440
Speaker 2: existing screenplay, but it was but after they had already

523
00:28:46,640 --> 00:28:49,120
Speaker 2: set the shooting schedule for the picture based on the

524
00:28:49,160 --> 00:28:52,240
Speaker 2: old script, and so Eastman had to be brought in

525
00:28:52,440 --> 00:28:55,400
Speaker 2: to write a brand new script to please the lead

526
00:28:55,640 --> 00:28:59,400
Speaker 2: but also appease the shooting schedule that was already agreed upon,

527
00:28:59,760 --> 00:29:01,840
Speaker 2: and it ended up at least working to some degree.

528
00:29:03,240 --> 00:29:05,680
Speaker 2: So this led to an extended writer director partnership on

529
00:29:05,800 --> 00:29:10,200
Speaker 2: various exploitation films, some of them really grimy in various countries,

530
00:29:10,920 --> 00:29:15,400
Speaker 2: including the aforementioned Greek cannibal film, in which Eastman starred

531
00:29:15,480 --> 00:29:18,680
Speaker 2: and also was the writer. And yeah, that was enough

532
00:29:18,960 --> 00:29:21,080
Speaker 2: of a success. They came back and made this film.

533
00:29:21,320 --> 00:29:24,200
Speaker 2: Eastman went on to direct the nineteen ninety film Metamorphosis,

534
00:29:24,680 --> 00:29:27,080
Speaker 2: but quit acting around the same time to focus on

535
00:29:27,120 --> 00:29:29,600
Speaker 2: his screenwriting, and apparently enjoyed a fair amount of success

536
00:29:29,640 --> 00:29:33,840
Speaker 2: writing for higher budget Italian television projects. He also had

537
00:29:33,840 --> 00:29:36,360
Speaker 2: a couple of There are also a couple of non

538
00:29:36,400 --> 00:29:39,800
Speaker 2: exploitation acting credits worth mentioning in his filmography. He played

539
00:29:39,840 --> 00:29:43,920
Speaker 2: the minotaur in nineteen sixty nine's Fellini Satirricon, and he

540
00:29:44,000 --> 00:29:46,920
Speaker 2: plays the giant Goliath in the nineteen eighty five Biblical

541
00:29:47,000 --> 00:29:49,160
Speaker 2: epic King David, starring Richard gear.

542
00:29:49,440 --> 00:29:53,920
Speaker 3: Hmm, I wonder if they reused because David's got a

543
00:29:54,000 --> 00:29:56,320
Speaker 3: Chopcali It's head off. I wonder if they reused the

544
00:29:56,360 --> 00:29:57,880
Speaker 3: head prop from absurd in.

545
00:29:57,880 --> 00:30:00,720
Speaker 2: That I don't know. I was wondering whatever happened to

546
00:30:00,720 --> 00:30:03,400
Speaker 2: the head prop from here, Like, I hope somebody has it.

547
00:30:03,400 --> 00:30:07,320
Speaker 2: It could go for a pretty penny on the open,

548
00:30:07,640 --> 00:30:09,920
Speaker 2: you know, exploitation fan cinema market.

549
00:30:10,280 --> 00:30:13,480
Speaker 3: So we already mentioned earlier that this is a slasher

550
00:30:13,520 --> 00:30:16,560
Speaker 3: movie villain who does not wear a mask or any

551
00:30:17,000 --> 00:30:20,479
Speaker 3: special makeup. He's just a guy. And I think it

552
00:30:20,520 --> 00:30:23,560
Speaker 3: was before we started recording that we were talking about

553
00:30:23,680 --> 00:30:27,640
Speaker 3: actors who can actors who can pull this off where

554
00:30:27,680 --> 00:30:32,200
Speaker 3: just their their unmodified look is enough to be a

555
00:30:32,240 --> 00:30:35,600
Speaker 3: movie monster. You know, you got Tour Johnson, And of

556
00:30:35,600 --> 00:30:37,640
Speaker 3: course sometimes they would give him like contacts in his

557
00:30:37,720 --> 00:30:40,880
Speaker 3: eyes or something, but you know, mostly unmodified look can

558
00:30:40,920 --> 00:30:43,840
Speaker 3: be a monster. You got Tour, you got George Eastman.

559
00:30:44,200 --> 00:30:46,800
Speaker 3: I know there are other people like this, but I,

560
00:30:46,880 --> 00:30:48,560
Speaker 3: you know, I sometimes I kind of wonder, like, what

561
00:30:48,720 --> 00:30:53,520
Speaker 3: did that feel like for these actors like tor and that,

562
00:30:53,720 --> 00:30:56,480
Speaker 3: Like I can be a movie monster without changing the

563
00:30:56,480 --> 00:30:57,160
Speaker 3: way I look.

564
00:30:57,600 --> 00:31:00,840
Speaker 2: It's interesting, you know. One, this is a a very

565
00:31:00,880 --> 00:31:03,720
Speaker 2: strange comparison to make because we're talking about just an

566
00:31:03,960 --> 00:31:09,160
Speaker 2: entirely different stratosphere of acting ability. But I also can't

567
00:31:09,160 --> 00:31:11,480
Speaker 2: help but think of Anthony Hopkins in the Silence of

568
00:31:11,480 --> 00:31:14,840
Speaker 2: the Lambs. You know, they definitely, you know, they definitely

569
00:31:14,960 --> 00:31:18,600
Speaker 2: use makeup on him, but it's not monster makeup, and

570
00:31:19,080 --> 00:31:21,080
Speaker 2: a whole lot of it. Of course, hinges on Hopkins'

571
00:31:21,120 --> 00:31:26,000
Speaker 2: fabulous performance in that film. Yeah, he is a tremendous actor,

572
00:31:26,760 --> 00:31:29,360
Speaker 2: but he is just he is a monster, and you

573
00:31:29,760 --> 00:31:33,080
Speaker 2: buy it completely in that film with minimal I would

574
00:31:33,160 --> 00:31:36,120
Speaker 2: say as far as monster makeup goes minimal makeup effects

575
00:31:36,120 --> 00:31:37,720
Speaker 2: to make it come of the life.

576
00:31:37,960 --> 00:31:41,560
Speaker 3: I also realized there's a fairly i think famous image

577
00:31:41,600 --> 00:31:45,560
Speaker 3: of George Eastman doing this absolutely satanic grin as he

578
00:31:45,680 --> 00:31:48,920
Speaker 3: like looks down at something, and that comes from this movie,

579
00:31:49,000 --> 00:31:53,240
Speaker 3: in the scene where he is putting a bandsaw to

580
00:31:53,480 --> 00:31:54,280
Speaker 3: illicit use.

581
00:31:54,760 --> 00:31:58,480
Speaker 2: Yeah, he doesn't maintain this energy throughout the entire performance,

582
00:31:58,560 --> 00:32:02,360
Speaker 2: but in key moments it really pops. Yeah. All right,

583
00:32:02,440 --> 00:32:05,120
Speaker 2: let's get into the church and state elements of the picture,

584
00:32:05,280 --> 00:32:08,400
Speaker 2: because we got it. We already mentioned the claret who

585
00:32:08,480 --> 00:32:10,200
Speaker 2: is chasing after our killer, and then of course we

586
00:32:10,200 --> 00:32:15,200
Speaker 2: also have to have some local law enforcement. The priest

587
00:32:15,280 --> 00:32:20,200
Speaker 2: who's discredited as father is played by Edmund Perdome, who

588
00:32:20,240 --> 00:32:22,719
Speaker 2: of nineteen twenty six through two thousand and nine English

589
00:32:22,760 --> 00:32:26,280
Speaker 2: born Italian actor with extensive stage credits on Broadway and

590
00:32:26,320 --> 00:32:29,640
Speaker 2: in the Royal Shakespeare Theater. Apparently, he had a leading

591
00:32:29,720 --> 00:32:32,920
Speaker 2: role in the nineteen fifty four twentieth century Fox epic

592
00:32:33,000 --> 00:32:36,360
Speaker 2: The Egyptian and was also in fifty three's Julius Caesar.

593
00:32:36,680 --> 00:32:41,160
Speaker 2: He worked steadily in various Italian and euro genre pictures,

594
00:32:41,200 --> 00:32:45,600
Speaker 2: including Pieces twenty nineteen. After the Fall of New York,

595
00:32:45,920 --> 00:32:49,920
Speaker 2: a tour night Child from seventy five, and in nineteen

596
00:32:49,920 --> 00:32:51,920
Speaker 2: eighty four he directed and starred in the British horror

597
00:32:51,960 --> 00:32:53,600
Speaker 2: film Don't Open Till Christmas.

598
00:32:54,720 --> 00:32:57,280
Speaker 3: I think what they were going for with this guy

599
00:32:57,320 --> 00:33:01,760
Speaker 3: in Absurd is Greek Gregory Peck. Yeah, so he's playing

600
00:33:01,920 --> 00:33:05,680
Speaker 3: a Greek priest character. And certainly I think there are

601
00:33:05,720 --> 00:33:08,800
Speaker 3: elements of Doctor Loomis from Halloween in the here too,

602
00:33:08,920 --> 00:33:11,320
Speaker 3: but I think they're also trying to get a bit

603
00:33:11,520 --> 00:33:15,760
Speaker 3: of the the Gregory Peck vibe from the Omen and

604
00:33:15,840 --> 00:33:19,360
Speaker 3: it helps that Edmund Purdham looks a decent amount like

605
00:33:19,400 --> 00:33:20,080
Speaker 3: Gregory Peck.

606
00:33:20,720 --> 00:33:25,080
Speaker 2: Yeah, yeah, he does. And this is I think probably

607
00:33:25,080 --> 00:33:27,040
Speaker 2: the best actor in the picture. I don't know how

608
00:33:27,120 --> 00:33:29,080
Speaker 2: much evidence of that we see. I don't see if

609
00:33:29,080 --> 00:33:31,840
Speaker 2: this is not a picture that really asked much of

610
00:33:31,880 --> 00:33:34,200
Speaker 2: the actors present, But you know, he does bring a

611
00:33:34,280 --> 00:33:36,960
Speaker 2: silent dignity to his scenes as much as is as

612
00:33:37,120 --> 00:33:41,120
Speaker 2: possible in a Joe Tomato picture. And in interviews, Eastman

613
00:33:41,160 --> 00:33:42,840
Speaker 2: spoke highly of him, saying that you know, they were

614
00:33:42,840 --> 00:33:44,840
Speaker 2: surprised they were able to get him for the picture,

615
00:33:44,880 --> 00:33:47,240
Speaker 2: for a picture like this, and they pointed out that

616
00:33:47,240 --> 00:33:49,680
Speaker 2: he's one of those actors that took his craft so

617
00:33:49,680 --> 00:33:53,720
Speaker 2: so seriously and was so professional that you know, he

618
00:33:53,840 --> 00:33:56,600
Speaker 2: was just super professional on set, even in a low

619
00:33:56,640 --> 00:34:00,320
Speaker 2: budget genre piece like this. Like we've heard similar things

620
00:34:00,360 --> 00:34:02,240
Speaker 2: about like say Peter Cushing for example.

621
00:34:02,520 --> 00:34:06,080
Speaker 3: Yeah, yeah, almost nobody in this movie has really given

622
00:34:06,160 --> 00:34:09,160
Speaker 3: much of a chance to actually act. He may get

623
00:34:09,200 --> 00:34:12,839
Speaker 3: the most opportunity of anyone. There are other actors who

624
00:34:12,960 --> 00:34:16,120
Speaker 3: get the idea that if they had a role to

625
00:34:16,200 --> 00:34:18,560
Speaker 3: do something with, they might be quite good. I kind

626
00:34:18,560 --> 00:34:22,440
Speaker 3: of felt that about Hanya Kochansky, but she who plays

627
00:34:22,440 --> 00:34:25,359
Speaker 3: the mom in the family. But again, you know, this

628
00:34:25,400 --> 00:34:28,760
Speaker 3: is not a movie that's written for dramatic performances, right.

629
00:34:28,680 --> 00:34:32,359
Speaker 2: Right, Oh yeah, the law end of the spectrum here.

630
00:34:32,560 --> 00:34:37,600
Speaker 2: Charles Burromo plays Sergeant Ben Engelman. He lived nineteen thirty

631
00:34:37,600 --> 00:34:40,719
Speaker 2: three through two thousand and seven. Scottish actor who worked extensively,

632
00:34:41,239 --> 00:34:47,440
Speaker 2: if not exclusively, in Italian cinema and in Italy based productions.

633
00:34:47,960 --> 00:34:51,160
Speaker 2: He also did English voice dubbing. He does appear in

634
00:34:51,280 --> 00:34:53,200
Speaker 2: Lady Hawk as insane prisoner.

635
00:34:54,800 --> 00:34:57,080
Speaker 3: I thought this guy was and this sort of is

636
00:34:57,120 --> 00:34:58,680
Speaker 3: a class of actor, if you know what I mean.

637
00:34:58,760 --> 00:35:01,920
Speaker 3: Rob the kind of actor who reminds you of about

638
00:35:02,000 --> 00:35:06,040
Speaker 3: fifteen other different actors, you know, who keeps giving you

639
00:35:06,160 --> 00:35:08,560
Speaker 3: notes of like, oh here, he's kind of reminding me

640
00:35:08,600 --> 00:35:10,920
Speaker 3: of so and so. I would say the two most

641
00:35:10,920 --> 00:35:15,520
Speaker 3: prominent likenesses for me were Robin Williams and Darren McGavin.

642
00:35:15,640 --> 00:35:18,279
Speaker 3: But like a haggard Robin Williams.

643
00:35:17,920 --> 00:35:20,680
Speaker 2: Yeah, I think that works. Yeah, Yeah, he is very haggard.

644
00:35:20,719 --> 00:35:25,879
Speaker 2: He's one of the stereotypical horror film police chief type

645
00:35:26,000 --> 00:35:30,520
Speaker 2: character who is just really tired, but also only devoted

646
00:35:30,520 --> 00:35:32,640
Speaker 2: to clearing cases. That's all he cares about.

647
00:35:33,000 --> 00:35:35,120
Speaker 3: Yeah, that's right, though I think he's also prone to

648
00:35:35,520 --> 00:35:37,000
Speaker 3: taking it too personal.

649
00:35:36,640 --> 00:35:39,520
Speaker 2: If you know what you mean. Yeah. Now you mentioned

650
00:35:39,600 --> 00:35:43,520
Speaker 2: Hanya Kochanski playing the mom. She plays Carol Bennett. So

651
00:35:43,560 --> 00:35:47,320
Speaker 2: the Bennetts are like the key threatened family in the picture. Yeah.

652
00:35:47,360 --> 00:35:51,879
Speaker 2: So she plays Carol Bennett, the mom and her two

653
00:35:51,920 --> 00:35:56,759
Speaker 2: of her real life children play the daughter Katya and

654
00:35:57,080 --> 00:36:01,840
Speaker 2: the son Willie. So it's really interesting when I was

655
00:36:01,880 --> 00:36:06,240
Speaker 2: looking into this. So she is a former like Croatian singer,

656
00:36:06,440 --> 00:36:09,640
Speaker 2: model and actress, just a handful of credits, but she

657
00:36:09,880 --> 00:36:13,200
Speaker 2: was married at one point to American actor who worked

658
00:36:13,239 --> 00:36:17,960
Speaker 2: extensively in europroductions. William Berger. We talked about him in

659
00:36:18,040 --> 00:36:20,560
Speaker 2: our discussion of the nineteen eighty three Hercules film. He

660
00:36:20,640 --> 00:36:24,560
Speaker 2: plays King Minos in that. And so the two kids

661
00:36:24,560 --> 00:36:29,160
Speaker 2: in this, one of them is is Burger's biological son

662
00:36:29,960 --> 00:36:34,560
Speaker 2: with Kochanski, and the other child, the older child, he

663
00:36:34,680 --> 00:36:40,880
Speaker 2: was her stepfather. So yeah, the children Katya Berger and

664
00:36:41,239 --> 00:36:46,720
Speaker 2: Kazimir Berger. Katya born nineteen sixty six, Kazimir born nineteen

665
00:36:46,760 --> 00:36:50,160
Speaker 2: seventy four. And as I was looking, I saw that, okay,

666
00:36:50,320 --> 00:36:52,920
Speaker 2: she's apparently a singer. Maybe I can find some information

667
00:36:52,960 --> 00:36:55,640
Speaker 2: about her singing career. So I was doing some searches

668
00:36:55,680 --> 00:36:58,840
Speaker 2: on her name and I ended up running across something

669
00:36:58,920 --> 00:37:03,440
Speaker 2: on the UK's National Portrait Gallery. And it turns out

670
00:37:03,480 --> 00:37:09,400
Speaker 2: there are a series of nude portraits that photographs that

671
00:37:09,440 --> 00:37:13,480
Speaker 2: were taken by Russian born fine art photographer Idakar, who

672
00:37:13,560 --> 00:37:16,360
Speaker 2: have nineteen oh eight through nineteen seventy four. And in

673
00:37:16,440 --> 00:37:20,920
Speaker 2: these photos, which you know, very tasteful, you know, art photography,

674
00:37:21,719 --> 00:37:25,839
Speaker 2: here we have Hanya and she is pregnant with her son, Kasimir,

675
00:37:26,040 --> 00:37:28,440
Speaker 2: the boy in this film at the time, and in

676
00:37:28,480 --> 00:37:31,120
Speaker 2: one of the pictures Katya is also present.

677
00:37:31,719 --> 00:37:34,440
Speaker 3: I would not have expected absurd to have, you know,

678
00:37:34,640 --> 00:37:37,600
Speaker 3: like one degree connections to fine art photography.

679
00:37:38,080 --> 00:37:41,720
Speaker 2: Yeah. And then on Getty Images, I found some images

680
00:37:41,760 --> 00:37:45,960
Speaker 2: from the opening of a presentation of these images, and

681
00:37:46,040 --> 00:37:49,399
Speaker 2: here we are. There's Hanya and her son Kazimir from

682
00:37:49,440 --> 00:37:52,720
Speaker 2: twenty eleven. So here's the little boy from this picture

683
00:37:53,360 --> 00:37:54,200
Speaker 2: as a grown man.

684
00:37:54,560 --> 00:37:57,640
Speaker 3: Well, this is so sweet. Mother and son here pictured

685
00:37:57,640 --> 00:38:00,279
Speaker 3: in twenty eleven. They both look very proud stand by

686
00:38:00,320 --> 00:38:02,560
Speaker 3: the photos. I guess this is it some kind of

687
00:38:03,200 --> 00:38:08,040
Speaker 3: gallery showing or something. Yeah, yeah, so that's great. But

688
00:38:08,280 --> 00:38:11,640
Speaker 3: I have to say this is the case always pretty

689
00:38:11,680 --> 00:38:13,880
Speaker 3: much in Italian movies of this period, if they have

690
00:38:13,960 --> 00:38:18,520
Speaker 3: a child character, the dubbing is so creepy. And the

691
00:38:18,520 --> 00:38:21,640
Speaker 3: same thing here, the dubbing of this kid's voice, the

692
00:38:21,680 --> 00:38:24,600
Speaker 3: son Willie, the character in the movie, it's so unwholesome.

693
00:38:24,680 --> 00:38:26,960
Speaker 3: I don't know how to explain. I don't know in

694
00:38:27,000 --> 00:38:29,400
Speaker 3: this case if it was dubbed by an adult. It

695
00:38:29,480 --> 00:38:32,040
Speaker 3: may have actually been dubbed by a child voice actor.

696
00:38:32,080 --> 00:38:35,640
Speaker 3: I don't know if it was Casimir himself. But why

697
00:38:35,760 --> 00:38:38,600
Speaker 3: is it that the dubbed voices of children in these

698
00:38:38,600 --> 00:38:40,480
Speaker 3: movies just always sounds so wrong?

699
00:38:40,920 --> 00:38:42,879
Speaker 2: Yeah, I mean I think they are often done by

700
00:38:43,640 --> 00:38:46,080
Speaker 2: like adult women, as is the case of the House

701
00:38:46,120 --> 00:38:50,279
Speaker 2: by the Cemetery, so similar vibe here. Also generally, you know,

702
00:38:50,280 --> 00:38:52,360
Speaker 2: with child actors in general, I mean there's sometimes a

703
00:38:52,440 --> 00:38:56,000
Speaker 2: certain there's they are children. Yeah, sometimes there's just kind

704
00:38:56,000 --> 00:38:58,799
Speaker 2: of a wild element too. So you know, you have

705
00:38:58,840 --> 00:39:02,279
Speaker 2: a kid in this picture, you're maybe getting one or

706
00:39:02,280 --> 00:39:05,280
Speaker 2: two takes and then you're having somebody dub the voice.

707
00:39:05,840 --> 00:39:08,799
Speaker 2: So the boy does feel a little bit almost fair

708
00:39:08,880 --> 00:39:10,160
Speaker 2: all at times in this picture.

709
00:39:10,239 --> 00:39:14,560
Speaker 3: Yeah, I want to watch the game. Oh we haven't

710
00:39:14,560 --> 00:39:15,879
Speaker 3: even talked about the game yet.

711
00:39:15,880 --> 00:39:18,399
Speaker 2: They can't wait to get to the case about the game.

712
00:39:19,320 --> 00:39:23,200
Speaker 2: The dad, Ian Bennett is played by not William Berger,

713
00:39:23,320 --> 00:39:25,960
Speaker 2: but an actor by the name of William of Ian Dandy.

714
00:39:26,960 --> 00:39:29,200
Speaker 2: And yeah, he just had some minor parts in a

715
00:39:29,200 --> 00:39:32,320
Speaker 2: few different Italian productions and did some English language translation

716
00:39:32,440 --> 00:39:33,120
Speaker 2: on some pictures.

717
00:39:33,480 --> 00:39:36,480
Speaker 3: So the actor is named Ian, the character is named Ian,

718
00:39:36,800 --> 00:39:40,120
Speaker 3: but in this movie he is referred to by at

719
00:39:40,200 --> 00:39:42,120
Speaker 3: least one other character as Ion.

720
00:39:44,200 --> 00:39:47,759
Speaker 2: All right, three victims to profile here really quickly. I'll

721
00:39:47,960 --> 00:39:51,040
Speaker 2: try and streamline these a bit. We have Annie Bella

722
00:39:51,640 --> 00:39:54,600
Speaker 2: playing Emily, the nurse she lived nineteen fifty six through

723
00:39:54,600 --> 00:39:57,399
Speaker 2: twenty twenty four French actress with a at the time

724
00:39:57,440 --> 00:40:00,440
Speaker 2: distinctive shortcut blonde hair style that work and a lot

725
00:40:00,440 --> 00:40:05,680
Speaker 2: of Italian erotic and exploitation films before I believe if

726
00:40:05,719 --> 00:40:09,040
Speaker 2: I'm reading correctly, earned a degree and ended up going

727
00:40:09,080 --> 00:40:11,719
Speaker 2: into social work. Her films include nineteen eighty's House on

728
00:40:11,760 --> 00:40:13,880
Speaker 2: the Edge of the Park in nineteen seventy six Is

729
00:40:13,920 --> 00:40:17,160
Speaker 2: Black Velvet. Then we also have Peggy the Babysitter, played

730
00:40:17,160 --> 00:40:20,640
Speaker 2: by Cindy Leadbetter, American model and actress whose credits include

731
00:40:20,640 --> 00:40:24,120
Speaker 2: seventy eight, Star Crash, nineteen eighty four's Rats, Night of Terror,

732
00:40:24,280 --> 00:40:25,719
Speaker 2: and The Adventures of Hercules.

733
00:40:26,480 --> 00:40:29,360
Speaker 3: Wait, was was George Eastman in Star Crash? If not?

734
00:40:29,640 --> 00:40:31,399
Speaker 3: Why not? They could have used him?

735
00:40:32,000 --> 00:40:34,920
Speaker 2: I know, yeah, if he's not in there, a missed opportunity.

736
00:40:35,719 --> 00:40:38,080
Speaker 2: And then finally, I'm not going to go into the

737
00:40:38,200 --> 00:40:39,920
Speaker 2: depth lines. We'll come back to this guy when we

738
00:40:40,120 --> 00:40:44,479
Speaker 2: look at one of his pictures. But Mikaelay Suave born

739
00:40:44,520 --> 00:40:47,760
Speaker 2: nineteen fifty seven plays a biker in this, a biker

740
00:40:47,800 --> 00:40:50,719
Speaker 2: who is brutally murdered by George Eaestman. This is the

741
00:40:50,719 --> 00:40:52,319
Speaker 2: man who would go on to direct such films as

742
00:40:52,360 --> 00:40:56,120
Speaker 2: nineteen eighty nine's The Church and nineteen ninety four Cemetery Man.

743
00:40:56,840 --> 00:40:59,200
Speaker 2: At this time, he was just an up and coming

744
00:40:59,280 --> 00:41:01,880
Speaker 2: a young man who just wanted to be involved in films.

745
00:41:02,320 --> 00:41:04,200
Speaker 2: And if you were, if you had this kind of

746
00:41:04,320 --> 00:41:08,280
Speaker 2: enthusiasm and you didn't mind not being paid, Joe Tomato

747
00:41:08,680 --> 00:41:11,839
Speaker 2: was here for you. And so Joe Tomato is one

748
00:41:11,880 --> 00:41:15,200
Speaker 2: of several different directors that he worked with early on,

749
00:41:16,000 --> 00:41:19,400
Speaker 2: including others included like Dario Argento and the Burgo Bava,

750
00:41:19,560 --> 00:41:21,440
Speaker 2: And of course he'd also gone to work some with

751
00:41:21,600 --> 00:41:25,000
Speaker 2: Terry Gilliam. So just kind of a fun little ultimately

752
00:41:25,040 --> 00:41:28,640
Speaker 2: a cameo. We get to see Suave and his motorbike

753
00:41:28,680 --> 00:41:29,320
Speaker 2: in this picture.

754
00:41:29,840 --> 00:41:32,880
Speaker 3: He's one of a gang of motorcycling youths that feel

755
00:41:34,200 --> 00:41:36,640
Speaker 3: almost quite lightly directed.

756
00:41:37,280 --> 00:41:41,600
Speaker 2: Yes, all right, and then finally the music here is.

757
00:41:41,640 --> 00:41:46,040
Speaker 2: It's another score by Carlo Maria Cordillo born nineteen fifty two.

758
00:41:46,360 --> 00:41:48,439
Speaker 2: We talked about him recently because he did the score

759
00:41:48,480 --> 00:41:49,360
Speaker 2: for Shocking Dark.

760
00:41:49,800 --> 00:41:51,040
Speaker 3: Ah. Okay, there you go.

761
00:41:51,160 --> 00:41:52,759
Speaker 2: Yeah, So I'm not going to go into the full

762
00:41:52,800 --> 00:41:55,440
Speaker 2: profile on him, but I will say that the I

763
00:41:55,440 --> 00:41:57,359
Speaker 2: think the score for Absurd is a lot of fun,

764
00:41:57,480 --> 00:42:00,000
Speaker 2: you got some synth, you got some prog rock elements.

765
00:42:01,200 --> 00:42:05,279
Speaker 2: You can find the track Absurd on streaming currently. This

766
00:42:05,920 --> 00:42:09,280
Speaker 2: one starts off with kind of like a wonderful, atmospheric

767
00:42:09,840 --> 00:42:12,640
Speaker 2: kind of vibe and you know it very ambient, but

768
00:42:12,680 --> 00:42:15,520
Speaker 2: then you know, get some organs thrown in there before

769
00:42:15,560 --> 00:42:20,880
Speaker 2: transitioning into this heavy, overly dramatic prog rock build towards

770
00:42:20,960 --> 00:42:22,440
Speaker 2: obvious on screen violence.

771
00:42:23,000 --> 00:42:26,280
Speaker 3: The use of music in the movie is occasionally funny

772
00:42:26,320 --> 00:42:32,560
Speaker 3: because of the way it pairs this soft, melancholy melody

773
00:42:32,680 --> 00:42:38,200
Speaker 3: with George Eastman just wandering around at night looking for victims. Yeah,

774
00:42:38,440 --> 00:42:40,800
Speaker 3: Like it makes it almost kind of like, oh the sadness,

775
00:42:40,840 --> 00:42:41,640
Speaker 3: he's so lonely.

776
00:42:43,680 --> 00:42:46,440
Speaker 2: The sever in Blu Ray, as I mentioned, includes the

777
00:42:46,440 --> 00:42:49,600
Speaker 2: whole score as a CD bonus disc, and then the

778
00:42:49,640 --> 00:42:52,799
Speaker 2: excellent Death Waltz Record Company put the score out on

779
00:42:52,840 --> 00:42:56,360
Speaker 2: a beautiful double vinyl back in twenty fifteen, with this

780
00:42:57,640 --> 00:43:01,279
Speaker 2: really grotesque and beautiful bit of cover art by Wes

781
00:43:01,360 --> 00:43:05,080
Speaker 2: ben Scotter, combining two of the grisliest moments in the film.

782
00:43:05,360 --> 00:43:06,000
Speaker 2: Oh You're right.

783
00:43:06,040 --> 00:43:08,800
Speaker 3: So here we have George Eastman with his guts hanging

784
00:43:08,840 --> 00:43:12,360
Speaker 3: out and he his intestines are spelling the word absurd.

785
00:43:12,719 --> 00:43:14,000
Speaker 2: Beautiful. Wait beautiful?

786
00:43:14,280 --> 00:43:17,200
Speaker 3: Did we look at the I think Severn Films also

787
00:43:17,239 --> 00:43:19,880
Speaker 3: puts out a sticker of George Eastman with his guts

788
00:43:19,880 --> 00:43:22,479
Speaker 3: hanging out, but in the sticker they're spelling chow.

789
00:43:24,719 --> 00:43:30,120
Speaker 2: Also brilliant. Also brilliant.

790
00:43:34,360 --> 00:43:36,479
Speaker 3: All right, you ready to talk about the plot, let's

791
00:43:36,480 --> 00:43:38,960
Speaker 3: do it. So after the credits we get a montage

792
00:43:39,000 --> 00:43:41,960
Speaker 3: of different opening images. First of all, we see some

793
00:43:42,000 --> 00:43:45,800
Speaker 3: action inside a house. There is a young woman tracing

794
00:43:45,800 --> 00:43:49,319
Speaker 3: out circles on drafting paper with a compass tool. So

795
00:43:49,360 --> 00:43:51,400
Speaker 3: she you know, she's got one of those, it's like

796
00:43:51,440 --> 00:43:54,040
Speaker 3: the spike and the pencil attaches, so she's she's making

797
00:43:54,040 --> 00:43:58,279
Speaker 3: perfect circles on paper. But she's actually lying in a

798
00:43:58,400 --> 00:44:01,200
Speaker 3: hospital bed, and so she what she's drawing on is

799
00:44:01,239 --> 00:44:04,319
Speaker 3: like this pad that sort of set up over her

800
00:44:04,360 --> 00:44:07,480
Speaker 3: hospital bed. And she's in a room in a large house,

801
00:44:07,560 --> 00:44:10,400
Speaker 3: restrained to the cot with straps and some kind of

802
00:44:10,480 --> 00:44:14,200
Speaker 3: brace around her neck, jaw and chin. I guess we

803
00:44:14,239 --> 00:44:16,560
Speaker 3: could go ahead and mention the house and the other

804
00:44:16,560 --> 00:44:17,280
Speaker 3: people present.

805
00:44:17,760 --> 00:44:18,920
Speaker 2: So this is sort of.

806
00:44:18,840 --> 00:44:21,680
Speaker 3: The house the villa that we were alluding to earlier.

807
00:44:21,800 --> 00:44:24,719
Speaker 3: That is big full of open spaces. I think is

808
00:44:24,800 --> 00:44:28,640
Speaker 3: supposed to be an American home, but it's this strange,

809
00:44:28,800 --> 00:44:34,600
Speaker 3: huge Italian mansion with suits of armor and roaring fireplaces

810
00:44:34,680 --> 00:44:38,839
Speaker 3: and stuff, but also just weird, as I said, kind

811
00:44:38,840 --> 00:44:40,040
Speaker 3: of squalid touches.

812
00:44:40,239 --> 00:44:40,520
Speaker 2: Like the.

813
00:44:42,040 --> 00:44:45,279
Speaker 3: Dad's liquor collection we see later is like up on

814
00:44:45,360 --> 00:44:48,600
Speaker 3: a mantle over a fireplace, and it just looks like

815
00:44:48,600 --> 00:44:51,040
Speaker 3: a dorm room stash. I don't know.

816
00:44:51,320 --> 00:44:53,520
Speaker 2: Yeah, I was like, I haven't seen this before. Am

817
00:44:53,560 --> 00:44:55,120
Speaker 2: I supposed to be doing it like this? Should I

818
00:44:55,120 --> 00:44:56,960
Speaker 2: have a mantle for my liquor bottles?

819
00:44:57,880 --> 00:45:01,320
Speaker 3: So anyway, the girl in the hospital is named Katya.

820
00:45:01,719 --> 00:45:06,080
Speaker 3: She is in traction to treat a spinal disorder. Her

821
00:45:06,080 --> 00:45:10,160
Speaker 3: mother is Carol, her little brother is Willie, and their

822
00:45:10,239 --> 00:45:15,600
Speaker 3: babysitter is Peggy. Now, meanwhile, somewhere else outdoors, someone is

823
00:45:15,680 --> 00:45:18,960
Speaker 3: running in the woods. Why that's George Eastman running through

824
00:45:19,000 --> 00:45:23,120
Speaker 3: the woods. He's looking massive, shaggy, covered in sweat. He's

825
00:45:23,120 --> 00:45:26,560
Speaker 3: got the beard, long hair and with the beard in

826
00:45:26,600 --> 00:45:29,600
Speaker 3: the mop like haircut, he looks kind of like a

827
00:45:29,800 --> 00:45:34,440
Speaker 3: giant seventies era beetle or maybe one of the begs.

828
00:45:34,640 --> 00:45:36,799
Speaker 2: Do you see that? Yeah, he looks like like the

829
00:45:36,840 --> 00:45:38,160
Speaker 2: scariest dude in the disco.

830
00:45:38,320 --> 00:45:42,880
Speaker 3: Yeah, yeah, killer Beji, And he is being chased through

831
00:45:42,920 --> 00:45:46,040
Speaker 3: the forest by an older man in a black trench coat.

832
00:45:46,400 --> 00:45:49,160
Speaker 3: They're going to play up a mid story reveal that

833
00:45:49,239 --> 00:45:53,520
Speaker 3: the guy chasing George Eastman is actually done Dundune a priest.

834
00:45:53,800 --> 00:45:56,520
Speaker 3: They show that by ripping open his coat and revealing

835
00:45:56,560 --> 00:45:59,239
Speaker 3: the clerical collar. But I got that he was a

836
00:45:59,239 --> 00:46:01,200
Speaker 3: priest from the very first time we saw him. I

837
00:46:01,239 --> 00:46:03,200
Speaker 3: don't know, He's like he's dressed in all black and

838
00:46:03,239 --> 00:46:05,680
Speaker 3: his collar is hidden. There's like, you know, coming up

839
00:46:05,719 --> 00:46:08,440
Speaker 3: his neck. This was never in doubt for me. Did

840
00:46:08,480 --> 00:46:09,160
Speaker 3: you feel the same?

841
00:46:09,440 --> 00:46:11,160
Speaker 2: Yeah? And plus he also he doesn't pull out a

842
00:46:11,200 --> 00:46:13,880
Speaker 2: gun or anything, right, So yeah, he doesn't seem like

843
00:46:13,920 --> 00:46:16,160
Speaker 2: he's law enforcement. Why are you chasing an adman?

844
00:46:16,560 --> 00:46:19,759
Speaker 3: Yeah? So, but also the priest, he sort of he

845
00:46:19,800 --> 00:46:22,360
Speaker 3: clutches at his chest as he runs, so it's like

846
00:46:22,440 --> 00:46:24,919
Speaker 3: he's not cut out. He's not cut out for this. Now,

847
00:46:25,000 --> 00:46:27,719
Speaker 3: back at the house, the mom comes into Kachia's room

848
00:46:27,960 --> 00:46:31,960
Speaker 3: and sees her drawing circles upon circles with her compass

849
00:46:32,239 --> 00:46:35,200
Speaker 3: and encourages her to do something else. It's like, oh, Katya,

850
00:46:35,280 --> 00:46:38,719
Speaker 3: you're you're making drawing hundreds of circles? Again, wouldn't you

851
00:46:38,800 --> 00:46:43,200
Speaker 3: rather watch television or something? And I was wondering, does

852
00:46:43,239 --> 00:46:45,480
Speaker 3: this ever pay off in any way or do we

853
00:46:45,520 --> 00:46:48,359
Speaker 3: get any kind of explanation about it? I know there

854
00:46:48,400 --> 00:46:52,280
Speaker 3: is a payoff with the compass tool, like a something

855
00:46:52,360 --> 00:46:55,040
Speaker 3: is done with that later, But I mean the drawing

856
00:46:55,160 --> 00:46:58,520
Speaker 3: circles part. Is there a reason she's drawing hundreds of

857
00:46:58,560 --> 00:47:01,160
Speaker 3: circles on top of each other? Or do the circle

858
00:47:01,200 --> 00:47:02,920
Speaker 3: patterns ever connect to anything?

859
00:47:03,400 --> 00:47:05,799
Speaker 2: No? I don't think. I don't think the circles actually do.

860
00:47:06,000 --> 00:47:08,080
Speaker 2: It made me think about that moment in The Simpsons

861
00:47:08,400 --> 00:47:11,359
Speaker 2: about kids being obsessed with spirographs or how they should

862
00:47:11,360 --> 00:47:14,400
Speaker 2: be obsessed with spier graphs and they're not anymore. Oh yeah,

863
00:47:13,920 --> 00:47:16,759
Speaker 2: but yeah, this doesn't quite come I guess it kind of.

864
00:47:16,800 --> 00:47:18,799
Speaker 2: I guess the idea is maybe it connects to other

865
00:47:18,880 --> 00:47:23,120
Speaker 2: moments and other films where children drawing things does connect

866
00:47:23,120 --> 00:47:26,239
Speaker 2: into the plot. But I kind of liked it as

867
00:47:26,280 --> 00:47:27,760
Speaker 2: texture even if it doesn't go anywhere.

868
00:47:27,960 --> 00:47:30,680
Speaker 3: Yeah, yeah, yeah, Well it just made me think, wait

869
00:47:30,680 --> 00:47:33,680
Speaker 3: a minute, is Katya is she into geometry or is

870
00:47:33,760 --> 00:47:36,560
Speaker 3: she obsessed with I don't know. I don't know why

871
00:47:36,560 --> 00:47:39,680
Speaker 3: she's doing this. She likes circus, I guess so, well,

872
00:47:39,680 --> 00:47:40,560
Speaker 3: who doesn't.

873
00:47:41,760 --> 00:47:42,360
Speaker 2: One of the best.

874
00:47:43,080 --> 00:47:46,000
Speaker 3: I agree. Back outside, the chase is still happening, but

875
00:47:46,040 --> 00:47:51,800
Speaker 3: eventually the crypto priest chases George Eastman onto the wrought

876
00:47:51,880 --> 00:47:55,160
Speaker 3: iron gate surrounding a big mansion, and this is the

877
00:47:55,239 --> 00:47:58,600
Speaker 3: house with the people we just saw inside it. George

878
00:47:58,600 --> 00:48:01,680
Speaker 3: Eastman seems to be frantic escape. I don't exactly know

879
00:48:01,760 --> 00:48:04,359
Speaker 3: why he's running from the priest because, as we come

880
00:48:04,400 --> 00:48:07,960
Speaker 3: to see, he's basically invulnerable, so he should I don't know.

881
00:48:08,000 --> 00:48:10,400
Speaker 3: It seems like he would be doing the chasing, not

882
00:48:10,480 --> 00:48:13,640
Speaker 3: the running away. But he runs away. He climbs the gate,

883
00:48:13,719 --> 00:48:17,560
Speaker 3: but he falls and ends up impaling his midsection on

884
00:48:17,680 --> 00:48:21,400
Speaker 3: the cold iron spikes of this gate. After this, George

885
00:48:21,400 --> 00:48:23,920
Speaker 3: Eastman what we see inside the house and there's a

886
00:48:24,000 --> 00:48:28,080
Speaker 3: knock on the door and the little boy goes. He's

887
00:48:28,120 --> 00:48:30,760
Speaker 3: like hanging out with his babysitter. I think they're eating breakfast.

888
00:48:30,840 --> 00:48:33,840
Speaker 3: And it's sort of confusing because in this interior shot

889
00:48:33,880 --> 00:48:36,400
Speaker 3: we see out the window and it's pitch black outside,

890
00:48:36,440 --> 00:48:38,759
Speaker 3: totally dark, but it was just daylight when we were

891
00:48:39,200 --> 00:48:42,640
Speaker 3: so it doesn't match. But anyway, the little boy goes

892
00:48:42,640 --> 00:48:45,719
Speaker 3: to answer the door, opens it up, and oh no,

893
00:48:46,040 --> 00:48:50,239
Speaker 3: here's George Eastman standing here with his intestines hanging out

894
00:48:50,239 --> 00:48:50,880
Speaker 3: of his stomach.

895
00:48:51,520 --> 00:48:58,480
Speaker 2: Yeah, with eyes wide, Yeah, sweaty. It's wonderful. This is

896
00:48:58,520 --> 00:49:03,279
Speaker 2: our shocking callback to the disembowment scene at the end

897
00:49:03,680 --> 00:49:06,840
Speaker 2: of the previous film. That is again just this is

898
00:49:06,880 --> 00:49:10,400
Speaker 2: just a spiritual successor. I don't think we're to connect

899
00:49:10,400 --> 00:49:13,040
Speaker 2: these characters in any other real sense.

900
00:49:13,719 --> 00:49:16,560
Speaker 3: Now, after this, we go to a surgery scene, a

901
00:49:16,719 --> 00:49:21,400
Speaker 3: long surgery scene, one of multiple and George Eastman is

902
00:49:21,440 --> 00:49:24,600
Speaker 3: on a hospital. He's on a hospital bed being operated on.

903
00:49:24,840 --> 00:49:29,040
Speaker 3: His intestines are still hanging out. And this scene is

904
00:49:29,080 --> 00:49:33,480
Speaker 3: an interesting mix of what feels realistic and what does not.

905
00:49:33,840 --> 00:49:36,279
Speaker 3: So it's a full surgical setup that has a lot

906
00:49:36,320 --> 00:49:40,040
Speaker 3: of authentic looking props and apparatus. But then whenever they

907
00:49:40,120 --> 00:49:43,120
Speaker 3: show a close up of the surgical action, which they're

908
00:49:43,160 --> 00:49:45,880
Speaker 3: going to show quite a few, the doctors and nurses

909
00:49:46,000 --> 00:49:49,200
Speaker 3: just appear to be like poking and tossing the guts

910
00:49:49,239 --> 00:49:51,600
Speaker 3: around like they're moving food in a frying pan.

911
00:49:52,000 --> 00:49:55,240
Speaker 2: Yeah, they're essentially just pushing around pig flesh and calentestines

912
00:49:55,280 --> 00:49:59,480
Speaker 2: here on Georgie Sman's stomach, I believe. So wow. Yeah,

913
00:49:59,520 --> 00:50:02,000
Speaker 2: it is a mix of of something that looks real

914
00:50:02,120 --> 00:50:05,839
Speaker 2: and is reel and in some respects, but yeah, it's

915
00:50:05,880 --> 00:50:06,920
Speaker 2: also like fake.

916
00:50:07,400 --> 00:50:10,000
Speaker 3: Oh and Eastman wakes up during the procedure and they

917
00:50:10,000 --> 00:50:11,600
Speaker 3: get him to go back to sleep. I think they,

918
00:50:11,680 --> 00:50:13,439
Speaker 3: you know, give him give him higher dose.

919
00:50:14,600 --> 00:50:14,680
Speaker 1: Uh.

920
00:50:14,800 --> 00:50:17,759
Speaker 3: Meanwhile, elsewhere and now it's nighttime. So this is one

921
00:50:17,760 --> 00:50:20,000
Speaker 3: of those movies just cuts back and forth between day

922
00:50:20,040 --> 00:50:23,239
Speaker 3: and night all the time. Uh, it's nighttime and we

923
00:50:23,320 --> 00:50:27,880
Speaker 3: see bikers harassing an old man named Shaughnessy. There's this

924
00:50:27,920 --> 00:50:30,040
Speaker 3: old man like wandering in the middle of the street,

925
00:50:30,160 --> 00:50:34,279
Speaker 3: swigging from a giant green bottle. These these young bikers

926
00:50:34,560 --> 00:50:37,440
Speaker 3: circle around him and yell at him and then motor away,

927
00:50:38,040 --> 00:50:40,440
Speaker 3: and then the cops come. Have a turn. A police

928
00:50:40,480 --> 00:50:43,520
Speaker 3: car pulls up and we first meet our police detective

929
00:50:43,600 --> 00:50:48,120
Speaker 3: Sergeant Engelman. Engleman, leaning out of a car window, says,

930
00:50:48,120 --> 00:50:50,439
Speaker 3: if I catch you drunk just once more, I'm gonna

931
00:50:50,480 --> 00:50:53,680
Speaker 3: have to lock you up. And Shaughnessy, in a quite

932
00:50:53,800 --> 00:50:59,360
Speaker 3: unconvincing way, says, I'm not drunk, and then takes a

933
00:50:59,360 --> 00:51:03,200
Speaker 3: big swig of his green bottle. But before this situation

934
00:51:03,320 --> 00:51:05,759
Speaker 3: can resolve, Ingleman gets a call on the radio that

935
00:51:05,800 --> 00:51:08,480
Speaker 3: there is a badly wounded man at the hospital, so

936
00:51:08,520 --> 00:51:10,759
Speaker 3: he has to go check that out. This leads back

937
00:51:10,800 --> 00:51:13,480
Speaker 3: to more surgery. I hope you like this, there's plenty

938
00:51:13,520 --> 00:51:16,839
Speaker 3: of it. And then after the surgery is done, one

939
00:51:16,840 --> 00:51:19,880
Speaker 3: of the nurses who is assisting with the procedure talks

940
00:51:19,920 --> 00:51:22,759
Speaker 3: to the doctor. This is Emily, who we will meet

941
00:51:22,760 --> 00:51:25,640
Speaker 3: again later in the movie because she moonlights as a

942
00:51:25,640 --> 00:51:28,480
Speaker 3: home care nurse for the main family, taking care of

943
00:51:28,600 --> 00:51:32,920
Speaker 3: Kacia and helping with her attraction. Emily and the doctor

944
00:51:33,080 --> 00:51:35,920
Speaker 3: talk about this dude they were operating on. It's one

945
00:51:35,920 --> 00:51:39,280
Speaker 3: of those I've never seen anything like it conversations. Apparently

946
00:51:39,280 --> 00:51:43,000
Speaker 3: the issue is that quote his blood coagulated while I

947
00:51:43,040 --> 00:51:46,960
Speaker 3: was in the middle of operating on him. So yeah,

948
00:51:46,960 --> 00:51:49,120
Speaker 3: I don't know. His blood's clotten up really fast.

949
00:51:49,320 --> 00:51:53,560
Speaker 2: Yeah, there's a lot of mumbo jumbo as they're describing

950
00:51:53,600 --> 00:51:57,000
Speaker 2: what's up with his mutant healing factor. But it's either

951
00:51:57,040 --> 00:51:59,239
Speaker 2: this scene or a subsequent scene where the doctor gives

952
00:51:59,320 --> 00:52:02,520
Speaker 2: us the official medical diagnosis of absurd.

953
00:52:02,440 --> 00:52:06,120
Speaker 3: That's right, now next, we have a scene where Sergeant

954
00:52:06,160 --> 00:52:08,759
Speaker 3: Engleman is interviewing He's back at the house and he's

955
00:52:08,760 --> 00:52:12,279
Speaker 3: interviewing Carol the mom about the guts incident at her

956
00:52:12,320 --> 00:52:15,799
Speaker 3: home earlier. He's smoking a cigarette in her living room

957
00:52:15,840 --> 00:52:18,400
Speaker 3: with Willie on the couch next to him and gruffly

958
00:52:18,480 --> 00:52:21,680
Speaker 3: explaining his guts were all destroyed. They don't think he'll

959
00:52:21,680 --> 00:52:25,240
Speaker 3: pull through with the kids right there, and the mom

960
00:52:25,320 --> 00:52:27,840
Speaker 3: says she thinks that he was a thief intent on

961
00:52:27,960 --> 00:52:31,440
Speaker 3: robbing the house. Engleman doesn't seem sold on that, but

962
00:52:31,520 --> 00:52:33,440
Speaker 3: she also explains their plans.

963
00:52:33,040 --> 00:52:33,480
Speaker 2: For the night.

964
00:52:34,360 --> 00:52:36,560
Speaker 3: This is, oh boy, this is exciting. She and her

965
00:52:36,640 --> 00:52:39,560
Speaker 3: husband are going to go to a neighbor's house to

966
00:52:39,719 --> 00:52:43,920
Speaker 3: watch the game, the first of many references, and we

967
00:52:43,960 --> 00:52:47,960
Speaker 3: get evil glares from Willie during this conversation. But they're

968
00:52:47,960 --> 00:52:49,319
Speaker 3: going to Yeah, they're going to go over to the

969
00:52:49,400 --> 00:52:51,759
Speaker 3: forest's house to watch the game. And they don't say

970
00:52:51,800 --> 00:52:54,479
Speaker 3: here that they're going to eat spaghetti and watch the game,

971
00:52:54,520 --> 00:52:55,520
Speaker 3: but that is the plan.

972
00:52:55,880 --> 00:52:58,120
Speaker 2: Oh yes, Oh my god. This is one of my

973
00:52:58,120 --> 00:53:00,439
Speaker 2: favorite elements of the film. And we get this scene

974
00:53:00,520 --> 00:53:05,719
Speaker 2: later on of Americans in this American home, which is

975
00:53:05,719 --> 00:53:10,240
Speaker 2: actually an Italian villa, watching American football, actual American football

976
00:53:10,400 --> 00:53:13,919
Speaker 2: on the telly and chowing down on spaghetti. And it's

977
00:53:14,000 --> 00:53:17,120
Speaker 2: either one of these things that is like a fun

978
00:53:17,160 --> 00:53:19,720
Speaker 2: little bit of humor that he's been in the motto

979
00:53:20,320 --> 00:53:23,200
Speaker 2: slid into the picture, or it's a complete accident it

980
00:53:23,360 --> 00:53:27,120
Speaker 2: just happenstance. In either case, it's amazing. I am not

981
00:53:27,200 --> 00:53:30,879
Speaker 2: really a football watcher a football fan, but if there

982
00:53:30,960 --> 00:53:34,520
Speaker 2: was the prospect of absurd style spaghetti and football parties,

983
00:53:35,120 --> 00:53:37,080
Speaker 2: I would be interested. Oh.

984
00:53:37,120 --> 00:53:40,680
Speaker 3: Absolutely, this is an amazing party. It takes place in

985
00:53:40,719 --> 00:53:46,040
Speaker 3: this another weird interior. There's a couch that Ian ends

986
00:53:46,080 --> 00:53:48,520
Speaker 3: up sitting on later when he's brooding about the fact

987
00:53:48,560 --> 00:53:50,799
Speaker 3: that he ran over George Eastman with his car and

988
00:53:50,840 --> 00:53:51,760
Speaker 3: didn't tell anybody.

989
00:53:52,000 --> 00:53:54,080
Speaker 2: Yeah, yeah, yeah.

990
00:53:53,400 --> 00:53:56,920
Speaker 3: He's sitting there brooding on this couch. That is the

991
00:53:56,960 --> 00:54:00,720
Speaker 3: pattern on the couch. It's more ornate than any picture

992
00:54:00,800 --> 00:54:05,719
Speaker 3: frame in the louver. And they're just all wolfing down

993
00:54:05,800 --> 00:54:10,640
Speaker 3: spaghetti with these plates. They're standing around holding plates of

994
00:54:10,680 --> 00:54:14,040
Speaker 3: spaghetti in their hands, not sitting at a table watching

995
00:54:14,080 --> 00:54:19,520
Speaker 3: football and shoveling the spaghetti. It's so good. Anyway, that's later.

996
00:54:20,480 --> 00:54:22,359
Speaker 3: The next thing that happens in the movie is that

997
00:54:22,440 --> 00:54:25,880
Speaker 3: the police find the priest, right, so you got Engleman

998
00:54:26,040 --> 00:54:28,600
Speaker 3: finds the priest who was chasing Eastman at the beginning.

999
00:54:28,719 --> 00:54:31,560
Speaker 3: He's wandering along a dark road in the night, and

1000
00:54:31,640 --> 00:54:35,000
Speaker 3: Engleman pulls up and questions him. The priest, who we're

1001
00:54:35,160 --> 00:54:37,279
Speaker 3: not supposed to know as a priest yet, claims his

1002
00:54:37,400 --> 00:54:40,839
Speaker 3: car broke down, and Engleman says, it's a good thing

1003
00:54:40,880 --> 00:54:46,400
Speaker 3: you ran into me. Everyone else is watching the game tonight, oh,

1004
00:54:46,440 --> 00:54:49,080
Speaker 3: and he says it's Rams versus Steelers. Is that a

1005
00:54:49,080 --> 00:54:53,760
Speaker 3: good game? I don't know. Is that an especially compelling game?

1006
00:54:54,040 --> 00:54:55,600
Speaker 2: I don't know in the early eighties, I don't know.

1007
00:54:55,640 --> 00:54:56,719
Speaker 2: Football fans let us know.

1008
00:54:57,680 --> 00:55:01,760
Speaker 3: So next, Engleman goes to the hospital and he finds

1009
00:55:02,080 --> 00:55:06,000
Speaker 3: Greek Drakmas in George Eastman's pants. They just bring him

1010
00:55:06,040 --> 00:55:09,600
Speaker 3: Eastman's pants and he's going through the pockets and he's

1011
00:55:09,600 --> 00:55:12,080
Speaker 3: like Drakmas and he connects that to the dude he

1012
00:55:12,239 --> 00:55:14,760
Speaker 3: just ran into who was Greek as well. It's all

1013
00:55:14,840 --> 00:55:17,160
Speaker 3: coming together now, and don't know what it means, but

1014
00:55:17,320 --> 00:55:21,680
Speaker 3: he thinks this is significant. So Engelman is talking to

1015
00:55:21,760 --> 00:55:25,600
Speaker 3: a nurse and he asks to see Eastman he can't,

1016
00:55:26,160 --> 00:55:28,840
Speaker 3: not until he's recovered, and then he asks the nurse

1017
00:55:28,880 --> 00:55:33,279
Speaker 3: for a description, to which she replies, he's huge, not

1018
00:55:33,440 --> 00:55:40,560
Speaker 3: my type at all. What that's some writing. And then

1019
00:55:40,600 --> 00:55:44,040
Speaker 3: also there's an incredibly awkward flirting scene between the cop

1020
00:55:44,120 --> 00:55:48,080
Speaker 3: and the nurse some inappropriate comments. He hands back George

1021
00:55:48,080 --> 00:55:50,120
Speaker 3: Eastman's pants and then leaves.

1022
00:55:50,000 --> 00:55:52,600
Speaker 2: Yeah, yeah, I love the handling of the pants. Here,

1023
00:55:52,640 --> 00:55:57,160
Speaker 2: these gross pants that were worn by this psychopath here

1024
00:55:57,760 --> 00:56:01,239
Speaker 2: that maybe they've been longered, hopefully they've been lunder.

1025
00:56:01,840 --> 00:56:04,200
Speaker 3: So the nurse goes back to the operating room where

1026
00:56:04,200 --> 00:56:06,680
Speaker 3: Eastman is still on the table, and like another nurse

1027
00:56:06,719 --> 00:56:08,719
Speaker 3: comes in to check on Eastman and he says, they

1028
00:56:08,760 --> 00:56:13,000
Speaker 3: indicate his blood is reproducing itself at triple the normal rate. Wow,

1029
00:56:13,120 --> 00:56:15,040
Speaker 3: that's that's a lot of blood.

1030
00:56:15,120 --> 00:56:15,480
Speaker 2: I don't know.

1031
00:56:17,239 --> 00:56:21,359
Speaker 3: Exactly, And then you know it's safe somehow. Now the

1032
00:56:21,400 --> 00:56:24,239
Speaker 3: Greek guy, the other Greek guy is here at the hospital,

1033
00:56:24,360 --> 00:56:26,840
Speaker 3: and he makes his way to the room that the

1034
00:56:26,880 --> 00:56:29,480
Speaker 3: cop wasn't allowed to go to, and he's looking in

1035
00:56:29,600 --> 00:56:32,840
Speaker 3: through a window in the door at Eastman and Eastman

1036
00:56:33,000 --> 00:56:36,239
Speaker 3: wakes up, sees the dude and starts raging and has

1037
00:56:36,280 --> 00:56:39,040
Speaker 3: to be restrained by hospital staff until they can get

1038
00:56:39,120 --> 00:56:43,919
Speaker 3: him sedated, and this leads to two simultaneous scenes. One

1039
00:56:43,960 --> 00:56:46,840
Speaker 3: of them is the scene where Sergeant Engleman gets the

1040
00:56:46,840 --> 00:56:49,080
Speaker 3: Greek priest into a room and he interviews him about

1041
00:56:49,120 --> 00:56:52,960
Speaker 3: what's going on. He's like, so you decided to come

1042
00:56:53,000 --> 00:56:55,600
Speaker 3: to the hospital to get your car fixed?

1043
00:56:55,800 --> 00:56:56,399
Speaker 2: Is that it?

1044
00:56:56,840 --> 00:56:59,680
Speaker 3: What are you up to, mister? Are you responsible for

1045
00:56:59,719 --> 00:57:04,080
Speaker 3: the wounds? He's got some great delivery in here, and

1046
00:57:04,440 --> 00:57:07,319
Speaker 3: so the beginning of the explanation is coming out here.

1047
00:57:07,719 --> 00:57:10,319
Speaker 3: But meanwhile there is nurse murder going on.

1048
00:57:11,000 --> 00:57:15,480
Speaker 2: Yeah, this is a grizzly sequence, quite disturbing, with the

1049
00:57:15,520 --> 00:57:19,720
Speaker 2: shirtless Eastman emerging from the table here with the white

1050
00:57:19,760 --> 00:57:23,720
Speaker 2: sheet following off of him, grabs a surgical drill and

1051
00:57:23,840 --> 00:57:27,800
Speaker 2: uses it to slowly drill through the nurse's head, killing her,

1052
00:57:27,840 --> 00:57:30,120
Speaker 2: skewering her brain with a drill coming out on the

1053
00:57:30,120 --> 00:57:31,560
Speaker 2: other side of the head. Right.

1054
00:57:31,640 --> 00:57:33,960
Speaker 3: So the cops hear the commotion, they come running, but

1055
00:57:34,160 --> 00:57:37,120
Speaker 3: by the time they get there, the east Man is

1056
00:57:37,200 --> 00:57:39,760
Speaker 3: already gone, and instead there's just like a nurse hanging

1057
00:57:39,800 --> 00:57:42,880
Speaker 3: out dead with a drill through her head. So here

1058
00:57:42,920 --> 00:57:45,640
Speaker 3: we get the first of many scenes of George Eastman

1059
00:57:45,960 --> 00:57:49,120
Speaker 3: just wandering through this village in the dark, and he's

1060
00:57:49,160 --> 00:57:51,320
Speaker 3: back in his original clothes somehow, so he got his

1061
00:57:51,400 --> 00:57:54,720
Speaker 3: jeans and Charity's not in his hospital scrubs anymore. He

1062
00:57:54,840 --> 00:57:58,560
Speaker 3: walks the streets and we get this melancholy music, and

1063
00:57:58,600 --> 00:58:02,120
Speaker 3: there's more interrogation between the police and the Greek priest.

1064
00:58:02,560 --> 00:58:06,040
Speaker 3: So Engelman tries to intimidate him by he does this

1065
00:58:06,080 --> 00:58:08,920
Speaker 3: whole routine with I'm just a dumb small town cop.

1066
00:58:09,000 --> 00:58:12,600
Speaker 3: You better make me understand, and the priest explains. First

1067
00:58:12,600 --> 00:58:15,080
Speaker 3: of all, he says there is a reality we do

1068
00:58:15,240 --> 00:58:19,400
Speaker 3: not see that. This does not really satisfy the cop,

1069
00:58:19,440 --> 00:58:24,120
Speaker 3: and so eventually they call in the doctor who operated

1070
00:58:24,160 --> 00:58:26,440
Speaker 3: on George Eastman to help explain. So we get a

1071
00:58:26,440 --> 00:58:30,280
Speaker 3: scene of the doctor putting up putting up X rays

1072
00:58:30,320 --> 00:58:34,960
Speaker 3: of George Eastman's brain and saying it's extraordinary. I've never

1073
00:58:35,000 --> 00:58:37,560
Speaker 3: seen such an extensive cerebral mass.

1074
00:58:38,760 --> 00:58:39,920
Speaker 2: And yeah.

1075
00:58:39,960 --> 00:58:44,200
Speaker 3: So we learn his name is Nico Stenopolis or Miko Stonopolis,

1076
00:58:44,240 --> 00:58:47,880
Speaker 3: whichever it is, and he is functionally immortal. His body

1077
00:58:47,920 --> 00:58:51,360
Speaker 3: can regenerate dead cells, and his blood coagulates quickly to

1078
00:58:51,400 --> 00:58:54,760
Speaker 3: heal any wounds. We also this is the scene where

1079
00:58:54,800 --> 00:58:57,840
Speaker 3: the cop rips open the priest's coat to reveal his

1080
00:58:57,920 --> 00:59:01,960
Speaker 3: priestly collar. But the priest says, I serve God with

1081
00:59:02,080 --> 00:59:07,400
Speaker 3: biochemistry more than with rights and sermons. And apparently George

1082
00:59:07,400 --> 00:59:13,120
Speaker 3: Eastman escaped from his laboratory quote after the contamination, so

1083
00:59:13,200 --> 00:59:16,240
Speaker 3: they organized a great hunt, and that's how we got

1084
00:59:16,240 --> 00:59:19,000
Speaker 3: to where we are now. But the one piece of evidence,

1085
00:59:19,000 --> 00:59:22,680
Speaker 3: the one piece of useful information that the priest has

1086
00:59:22,800 --> 00:59:25,680
Speaker 3: is it is his brain that is his weak point.

1087
00:59:27,200 --> 00:59:29,640
Speaker 2: Yeah, this of course makes very little sense because like

1088
00:59:29,640 --> 00:59:31,560
Speaker 2: we're looking at scans at the brain and was like, oh,

1089
00:59:31,560 --> 00:59:35,000
Speaker 2: look at that cerebral mass, Like his brain is doing stuff,

1090
00:59:35,040 --> 00:59:37,600
Speaker 2: his brain's healing or he's healed wrong. But the brain

1091
00:59:37,680 --> 00:59:40,200
Speaker 2: is also the weak point. He destroyed the brain, you

1092
00:59:40,280 --> 00:59:43,760
Speaker 2: destroy the creature, which of course is true of everything.

1093
00:59:44,040 --> 00:59:47,560
Speaker 3: All right, well, this reduces very much to ramiro zombie logic.

1094
00:59:48,000 --> 00:59:48,760
Speaker 2: Yeah no.

1095
00:59:49,040 --> 00:59:52,840
Speaker 3: And also the priest says he is a creature of evil.

1096
00:59:53,000 --> 00:59:55,920
Speaker 3: The spark of God was smothered the moment the devil

1097
00:59:56,000 --> 00:59:59,200
Speaker 3: took possession of him. I think this is just metaphorical though,

1098
00:59:59,240 --> 01:00:02,760
Speaker 3: because there's no indication of devil magic in the movie.

1099
01:00:03,120 --> 01:00:05,880
Speaker 3: It's more like saying when I did these experiments on

1100
01:00:06,000 --> 01:00:09,280
Speaker 3: him and he was contaminated, that also the devil took

1101
01:00:09,360 --> 01:00:10,240
Speaker 3: possession of him.

1102
01:00:10,760 --> 01:00:16,800
Speaker 2: Yeah. Yeah, also probably you know, a less effective shadow

1103
01:00:17,080 --> 01:00:19,400
Speaker 2: of some of the dialogue that we get in in

1104
01:00:19,480 --> 01:00:20,320
Speaker 2: Halloween from.

1105
01:00:20,320 --> 01:00:33,040
Speaker 3: Loomis Yes, exactly. The evil has escaped, so we get

1106
01:00:33,040 --> 01:00:36,720
Speaker 3: more of the Eastman walk about the slow music, and

1107
01:00:37,200 --> 01:00:41,200
Speaker 3: eventually this leads up to him wandering into I believe,

1108
01:00:41,360 --> 01:00:44,640
Speaker 3: an abattoir where there is a guy here who's some

1109
01:00:44,720 --> 01:00:47,880
Speaker 3: kind of night janitor at the slaughterhouse, cleaning the floors,

1110
01:00:48,600 --> 01:00:53,000
Speaker 3: and Eastman first tries to attack him with a butcher knife,

1111
01:00:53,000 --> 01:00:58,120
Speaker 3: but then this slaughterhouse janitor runs and retrieves a gun

1112
01:00:58,280 --> 01:01:02,360
Speaker 3: from his apron at work and tries to shoot Eastman

1113
01:01:02,560 --> 01:01:05,400
Speaker 3: but that doesn't work, and then there's a long set

1114
01:01:05,480 --> 01:01:07,480
Speaker 3: up to Eastman like putting this guy on a big

1115
01:01:07,480 --> 01:01:10,000
Speaker 3: butcher block, and then he's like, yep, gonna get you

1116
01:01:10,040 --> 01:01:12,479
Speaker 3: with the band saw right through the top of the head,

1117
01:01:12,600 --> 01:01:13,600
Speaker 3: and he does.

1118
01:01:13,560 --> 01:01:15,840
Speaker 2: Yeah, eventually does. This is a scene that manages to

1119
01:01:15,880 --> 01:01:19,880
Speaker 2: be boring and gross at the same time, but we

1120
01:01:19,920 --> 01:01:21,560
Speaker 2: do get that iconic smile.

1121
01:01:22,080 --> 01:01:24,880
Speaker 3: Oh I just made a connection. It's the Aphex Twin

1122
01:01:24,960 --> 01:01:28,320
Speaker 3: album cover. It's the George Eastman smile is quite similar.

1123
01:01:28,400 --> 01:01:31,640
Speaker 2: Oh yeah, he loves his work. Then the next thing

1124
01:01:31,640 --> 01:01:33,800
Speaker 2: we get, of course, is that the biker murder that

1125
01:01:34,000 --> 01:01:37,080
Speaker 2: I think we alluded to earlier. And then so this

1126
01:01:37,160 --> 01:01:41,960
Speaker 2: is when one one of the biker gang members gets

1127
01:01:42,600 --> 01:01:47,000
Speaker 2: killed by Eastman. And then pretty much right away we

1128
01:01:47,040 --> 01:01:49,240
Speaker 2: get the hit and run out of nowhere where the

1129
01:01:49,320 --> 01:01:54,960
Speaker 2: dad accidentally clips Eastman with his car and just keep throwing.

1130
01:01:55,400 --> 01:01:57,600
Speaker 3: So eventually the dad is going to come back to

1131
01:01:57,640 --> 01:02:00,400
Speaker 3: the house that Ian or Eon will come back, and

1132
01:02:00,440 --> 01:02:02,600
Speaker 3: he's preoccupied by the fact that he did a hit

1133
01:02:02,640 --> 01:02:06,200
Speaker 3: and run on east Man, and that leads to the

1134
01:02:06,240 --> 01:02:09,160
Speaker 3: scene where he goes to his liquor collection on the mantle.

1135
01:02:09,240 --> 01:02:11,760
Speaker 3: But eventually the mom and the dad are going to

1136
01:02:11,800 --> 01:02:14,840
Speaker 3: go out to the friend's house to watch the game

1137
01:02:15,000 --> 01:02:17,640
Speaker 3: and have spaghetti, and so that leaves the kids home

1138
01:02:17,680 --> 01:02:21,400
Speaker 3: alone with first the babysitter and later the nurse, who

1139
01:02:21,440 --> 01:02:25,000
Speaker 3: will huge surprise, become the next victims of east Man.

1140
01:02:25,200 --> 01:02:28,280
Speaker 2: Yeah, because Georgie Spen is for some reason drawn back

1141
01:02:28,320 --> 01:02:30,120
Speaker 2: to this house. There's no lot reason for him to

1142
01:02:30,160 --> 01:02:32,520
Speaker 2: come back here, but he's back here to get inside

1143
01:02:32,560 --> 01:02:35,040
Speaker 2: and do murders, and I mean then and again. That's

1144
01:02:35,040 --> 01:02:36,840
Speaker 2: pretty much what the rest of the film consists of.

1145
01:02:37,760 --> 01:02:41,200
Speaker 2: Let's see some one fun little There's a scene where

1146
01:02:41,280 --> 01:02:44,640
Speaker 2: the boy is watching television. There's some really boring looking

1147
01:02:44,800 --> 01:02:50,520
Speaker 2: like living room dialogue scene that he really wants to watch,

1148
01:02:50,560 --> 01:02:53,520
Speaker 2: and the babysitter likes is done. You're done, and he

1149
01:02:53,520 --> 01:02:54,400
Speaker 2: gets a little upset.

1150
01:02:54,920 --> 01:02:56,760
Speaker 3: I thought the boy wanted to watch the game.

1151
01:02:56,880 --> 01:03:00,440
Speaker 2: Oh, really wants to watch the game. Is at some

1152
01:03:00,440 --> 01:03:04,560
Speaker 2: point watching some drama on TV and it's actually tame

1153
01:03:04,640 --> 01:03:09,919
Speaker 2: scenes from a really grimy nineteen eighty Dematto film, which

1154
01:03:09,960 --> 01:03:12,560
Speaker 2: is not a family movie. So I guess this is

1155
01:03:12,560 --> 01:03:14,640
Speaker 2: another sort of in joke from Dematto.

1156
01:03:15,040 --> 01:03:17,720
Speaker 3: So it's not an explicit scene that we're watching, but

1157
01:03:17,840 --> 01:03:20,520
Speaker 3: the joke is that this is from a Demato porn film.

1158
01:03:20,840 --> 01:03:23,960
Speaker 2: Yes, let's see from there. Yeah, we get so basically,

1159
01:03:24,000 --> 01:03:26,080
Speaker 2: we're gonna get a babysitter murder, and we're then we're

1160
01:03:26,080 --> 01:03:30,120
Speaker 2: gonna get the nurse murder. The babysitter murder is one

1161
01:03:30,160 --> 01:03:33,840
Speaker 2: of these what's that sound outside? Oh, the dog got outside. Peggy,

1162
01:03:33,920 --> 01:03:36,800
Speaker 2: the babysitter goes outside and gets a pickax to the head.

1163
01:03:37,120 --> 01:03:40,200
Speaker 3: Now, this is one of those movies that would absolutely

1164
01:03:40,360 --> 01:03:44,520
Speaker 3: grotesquely violate the Gene Siskel test for movies, which is

1165
01:03:44,920 --> 01:03:48,479
Speaker 3: he could not stand movies that ever depicted children being

1166
01:03:48,520 --> 01:03:51,480
Speaker 3: in danger. For the second half of this whole movie,

1167
01:03:51,680 --> 01:03:54,760
Speaker 3: just children are constantly in danger. Fortunately, neither of the

1168
01:03:54,880 --> 01:03:57,960
Speaker 3: kids in the movie are ever harmed. They both make

1169
01:03:58,040 --> 01:04:01,080
Speaker 3: it to the end, but it's just George Eastman running

1170
01:04:01,120 --> 01:04:05,600
Speaker 3: around the house ominously threatening both of them and killing

1171
01:04:05,680 --> 01:04:08,240
Speaker 3: babysitters and nurses until the end.

1172
01:04:08,640 --> 01:04:10,880
Speaker 2: Well, yeah, I mean de Cisco's the whole thing was like,

1173
01:04:10,920 --> 01:04:14,480
Speaker 2: it's a cheap trick. Yeah, and yes, of course, yeah,

1174
01:04:14,680 --> 01:04:19,240
Speaker 2: de Motto is going to use cheap tricks. He's cheap. Yeah,

1175
01:04:19,280 --> 01:04:21,760
Speaker 2: so yeah, it's it's it would be a solid criticism

1176
01:04:21,760 --> 01:04:22,320
Speaker 2: of this film.

1177
01:04:22,760 --> 01:04:25,840
Speaker 3: But the kids get away. Who does not escape is Emily,

1178
01:04:25,920 --> 01:04:28,360
Speaker 3: the nurse we met earlier. There's a weird scene of

1179
01:04:28,720 --> 01:04:31,520
Speaker 3: she's like wandering in the woods on the what she

1180
01:04:31,560 --> 01:04:34,480
Speaker 3: has an encounter with somebody in the woods on the way. Oh,

1181
01:04:34,520 --> 01:04:36,880
Speaker 3: it's with Shaughnessy, the drunk guy.

1182
01:04:37,000 --> 01:04:39,600
Speaker 2: Ye. Yes, he's like you drop this back there.

1183
01:04:40,280 --> 01:04:43,760
Speaker 3: But anyway, so she wait do I actually I don't

1184
01:04:43,800 --> 01:04:46,400
Speaker 3: remember now does anything happen to Shaughnessy. Does he get

1185
01:04:46,480 --> 01:04:47,320
Speaker 3: killed by Eastman?

1186
01:04:47,800 --> 01:04:49,040
Speaker 2: If he does, I don't remember it.

1187
01:04:49,440 --> 01:04:51,560
Speaker 3: I don't remember it either. If he doesn't, that would

1188
01:04:51,600 --> 01:04:54,959
Speaker 3: be an unusual choice for a film of this kind.

1189
01:04:55,080 --> 01:04:58,680
Speaker 3: I mean, the old drunk man wandering around singing in

1190
01:04:58,720 --> 01:05:02,600
Speaker 3: the dark. Is the is your classic you know murder

1191
01:05:02,680 --> 01:05:04,160
Speaker 3: victim in these slasher movies.

1192
01:05:04,320 --> 01:05:06,280
Speaker 2: Yeah, it seems like the sort of thing that might

1193
01:05:06,280 --> 01:05:07,880
Speaker 2: have been in the script, but they didn't have time

1194
01:05:07,920 --> 01:05:09,880
Speaker 2: to film it, or gotten left on the cunning room

1195
01:05:09,880 --> 01:05:12,840
Speaker 2: floor for some reason because you needed more surgery scenes.

1196
01:05:12,880 --> 01:05:13,320
Speaker 2: I don't know.

1197
01:05:14,720 --> 01:05:17,320
Speaker 3: So anyway, there is a there's a whole setup to

1198
01:05:17,360 --> 01:05:21,120
Speaker 3: another big murder scene where Eastman kills Emily, the nurse.

1199
01:05:21,400 --> 01:05:25,480
Speaker 3: This scene, this scene is so gross and dumb.

1200
01:05:25,840 --> 01:05:30,800
Speaker 2: Yeah, it takes forever, and it had it's it generally

1201
01:05:30,800 --> 01:05:34,080
Speaker 2: walks that line between just padded tedium and legitimate shock,

1202
01:05:34,200 --> 01:05:37,200
Speaker 2: like it's it's disturbing, but also it's like, man, we're

1203
01:05:37,200 --> 01:05:40,240
Speaker 2: still doing this. Let's let's get it over with here. Yeah.

1204
01:05:40,360 --> 01:05:43,240
Speaker 3: This, So the short version is that Eastman decides to

1205
01:05:43,280 --> 01:05:46,440
Speaker 3: cook her in the oven while she's still alive, but

1206
01:05:46,560 --> 01:05:49,760
Speaker 3: she somehow survives this process. And then comes back and

1207
01:05:49,840 --> 01:05:54,360
Speaker 3: saves the kid from from Eastman. She like she's all

1208
01:05:54,400 --> 01:05:56,439
Speaker 3: burned up as she runs out and saves the kid,

1209
01:05:56,480 --> 01:05:58,959
Speaker 3: and then Eastman, I guess, kills her a second time.

1210
01:05:59,280 --> 01:06:01,720
Speaker 2: Yeah, because you can't just stab him in the neck

1211
01:06:01,760 --> 01:06:04,880
Speaker 2: and expect to seal the deal. You've got to destroy

1212
01:06:04,920 --> 01:06:05,280
Speaker 2: the brain.

1213
01:06:06,040 --> 01:06:08,880
Speaker 3: But the final showdown is between Katcha who has been

1214
01:06:09,040 --> 01:06:13,080
Speaker 3: in traction in this hospital bed and an Eastman who

1215
01:06:13,120 --> 01:06:15,200
Speaker 3: finally you know, he comes in there. He's still raging,

1216
01:06:15,560 --> 01:06:18,320
Speaker 3: but we get a great payoff with the compass tool,

1217
01:06:18,440 --> 01:06:23,760
Speaker 3: right because she jams it into George Eastman's eyes, and

1218
01:06:23,800 --> 01:06:26,880
Speaker 3: then we get the blinded cyclops sequence.

1219
01:06:27,400 --> 01:06:29,920
Speaker 2: That's right, yeah, yeah, and this, you know, I have

1220
01:06:29,960 --> 01:06:33,520
Speaker 2: to say, I feel like this big sequence here is

1221
01:06:33,560 --> 01:06:37,360
Speaker 2: actually quite tense because you end up with the scenario

1222
01:06:37,440 --> 01:06:43,320
Speaker 2: where the playing field has been largely leveled, though George

1223
01:06:43,320 --> 01:06:47,840
Speaker 2: Eastman's killer is still very much an overwhelming threat. So

1224
01:06:47,880 --> 01:06:50,400
Speaker 2: he's were like in the living room, this big, expansive

1225
01:06:50,560 --> 01:06:53,440
Speaker 2: Italian villa living room with a suit of armor and

1226
01:06:53,440 --> 01:06:58,280
Speaker 2: all the furniture, and he is blinded, you know, bloody

1227
01:06:58,360 --> 01:07:02,480
Speaker 2: eye sockets, and he's listening for her and grasping around

1228
01:07:02,560 --> 01:07:05,439
Speaker 2: at the slightest sound, and she is on her feet now,

1229
01:07:05,480 --> 01:07:07,520
Speaker 2: but is you know, not one hundred percent like she's

1230
01:07:07,560 --> 01:07:11,040
Speaker 2: been in traction this whole time. And she is trying

1231
01:07:11,080 --> 01:07:14,560
Speaker 2: to stay out of his grasp but get away from him.

1232
01:07:14,720 --> 01:07:17,000
Speaker 2: And he's hurting her by sound. Yeah, he's hunting her

1233
01:07:17,000 --> 01:07:19,080
Speaker 2: by sound in some very tense moments.

1234
01:07:19,960 --> 01:07:22,720
Speaker 3: And she she does clever things like turning on music

1235
01:07:22,800 --> 01:07:23,760
Speaker 3: really loud.

1236
01:07:24,400 --> 01:07:27,920
Speaker 2: But also inevitably trips, inevitably makes an accidental sound and

1237
01:07:27,960 --> 01:07:28,760
Speaker 2: he gets closer.

1238
01:07:29,200 --> 01:07:31,240
Speaker 3: Okay, but then the payoff, if you want to know

1239
01:07:31,280 --> 01:07:34,960
Speaker 3: the very ending, uh you know, spoiler alert, is they

1240
01:07:35,000 --> 01:07:38,400
Speaker 3: somehow they like fall into this suit of armor that

1241
01:07:38,520 --> 01:07:42,600
Speaker 3: has a battle axe and caughtya she gets the battle out.

1242
01:07:42,640 --> 01:07:44,280
Speaker 2: Oh wait wait, but first the father shows up.

1243
01:07:44,400 --> 01:07:46,479
Speaker 3: Oh that's right, yes, well the parents arrive.

1244
01:07:46,560 --> 01:07:48,960
Speaker 2: Yeah yeah, well yeah, and the priest. The priest does

1245
01:07:49,000 --> 01:07:51,480
Speaker 2: a run in and bites it when he tries to

1246
01:07:51,520 --> 01:07:52,400
Speaker 2: start the killer.

1247
01:07:53,400 --> 01:07:56,520
Speaker 3: So Eastman, well it's like the ending of Halloween, except

1248
01:07:56,560 --> 01:07:59,120
Speaker 3: if Michael Myers killed Donald Pleasance.

1249
01:07:59,360 --> 01:08:00,280
Speaker 2: Yeah. Yes, So the.

1250
01:08:00,200 --> 01:08:05,200
Speaker 3: Priest shows up and he saves her momentarily, and he

1251
01:08:05,400 --> 01:08:08,720
Speaker 3: is killed by George Eastman. But then while that's going on.

1252
01:08:08,880 --> 01:08:13,240
Speaker 3: She retrieves the battle axe from the suit of armor

1253
01:08:13,320 --> 01:08:15,160
Speaker 3: and then goes to work on him. We don't see

1254
01:08:15,160 --> 01:08:19,960
Speaker 3: exactly what happened until her parents arrive home. And her

1255
01:08:19,960 --> 01:08:23,320
Speaker 3: parents arrive home with the cops, and Willie's there and

1256
01:08:23,360 --> 01:08:26,400
Speaker 3: everybody's there, and Katya's standing in the doorway, and we

1257
01:08:26,479 --> 01:08:29,280
Speaker 3: pull back to reveal that she is holding the severed

1258
01:08:29,320 --> 01:08:30,480
Speaker 3: head of Eastman.

1259
01:08:31,080 --> 01:08:33,800
Speaker 2: Yes, yes, she holds it up. And this is just

1260
01:08:33,880 --> 01:08:37,679
Speaker 2: this is great, this is just grade a shlock as young,

1261
01:08:37,760 --> 01:08:42,160
Speaker 2: bloodied Katya healed by violence here lifts up the decapitated,

1262
01:08:42,360 --> 01:08:45,320
Speaker 2: overtly fake head of the blinded monster and then we

1263
01:08:45,360 --> 01:08:47,519
Speaker 2: close and that's the end of absurd.

1264
01:08:48,920 --> 01:08:51,559
Speaker 3: So now I've got to know if that had problem,

1265
01:08:51,560 --> 01:08:54,599
Speaker 3: I mean, it would be a shame, a historical filmmaking shame.

1266
01:08:54,720 --> 01:08:57,240
Speaker 3: If that head prop was not reused in the biblical

1267
01:08:57,280 --> 01:09:00,080
Speaker 3: film where he plays Goliath, it had.

1268
01:09:00,200 --> 01:09:05,639
Speaker 2: Be Yeah, I hope. I mean, if not that film,

1269
01:09:05,680 --> 01:09:07,599
Speaker 2: surely it shows up in another film. Because they've gone

1270
01:09:07,600 --> 01:09:09,720
Speaker 2: to the trouble to make it. There's gonna be some

1271
01:09:09,800 --> 01:09:12,479
Speaker 2: other film where you might want to cut Eastman's head

1272
01:09:12,479 --> 01:09:14,760
Speaker 2: off or just reuse it. I mean, there are examples of,

1273
01:09:15,520 --> 01:09:17,160
Speaker 2: you know, from other I think there was a whole

1274
01:09:17,720 --> 01:09:19,840
Speaker 2: kind of a minor stink on Game of Thrones at

1275
01:09:19,840 --> 01:09:24,519
Speaker 2: some point, right, because they were reusing heads or something.

1276
01:09:24,000 --> 01:09:27,240
Speaker 2: And then sometimes, yeah, sometimes head cast get reused for

1277
01:09:27,280 --> 01:09:30,200
Speaker 2: different things. I mean, actually, we go back to John

1278
01:09:30,240 --> 01:09:33,040
Speaker 2: Carpenter's Halloween and we have a pretty classic example of

1279
01:09:33,080 --> 01:09:35,920
Speaker 2: the reuse of head molds. Right.

1280
01:09:36,200 --> 01:09:38,040
Speaker 3: Oh, do you mean that it's a Shatner mask.

1281
01:09:38,280 --> 01:09:39,280
Speaker 2: Yeah.

1282
01:09:39,360 --> 01:09:43,880
Speaker 3: Yeah, Michael Myers wears a Captain Kirk mask spray painted white,

1283
01:09:44,040 --> 01:09:46,960
Speaker 3: which is you can't unsee it once you see it.

1284
01:09:47,160 --> 01:09:50,479
Speaker 2: Yeah, but it's become iconic. Mm hmm. All right, so

1285
01:09:50,560 --> 01:09:54,000
Speaker 2: there you have it. Absurd I think probably the only

1286
01:09:54,320 --> 01:09:56,519
Speaker 2: Joe Tomato film we're going to do on Weird House.

1287
01:09:57,360 --> 01:10:00,040
Speaker 2: But I'm sure George Eastman will pop up again in

1288
01:10:00,160 --> 01:10:02,240
Speaker 2: some form or another, but there probably won't be as

1289
01:10:02,320 --> 01:10:05,760
Speaker 2: much George Eastman as there was in this picture. All right, Well,

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01:10:05,760 --> 01:10:07,680
Speaker 2: we'll close it out there, but we'd love to hear

1291
01:10:07,680 --> 01:10:10,680
Speaker 2: from everyone out there. If you have thoughts on Absurd

1292
01:10:11,000 --> 01:10:14,360
Speaker 2: or other, or the video nasties of phenomena in general,

1293
01:10:15,120 --> 01:10:16,800
Speaker 2: write in. We would love to hear from you. Just

1294
01:10:16,840 --> 01:10:18,719
Speaker 2: a reminder that Stuff to Blow Your Mind is primarily

1295
01:10:18,720 --> 01:10:21,160
Speaker 2: a science and culture podcasts with core episodes on Tuesdays

1296
01:10:21,160 --> 01:10:24,320
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1297
01:10:24,320 --> 01:10:26,719
Speaker 2: concerns to just talk about a weird film on Weird

1298
01:10:26,760 --> 01:10:29,160
Speaker 2: House Cinema. And you can get the full list of

1299
01:10:29,360 --> 01:10:31,200
Speaker 2: films that we've covered on Weird House Cinema if you

1300
01:10:31,200 --> 01:10:33,160
Speaker 2: look us up on letterbox dot com. That's l E

1301
01:10:33,200 --> 01:10:36,400
Speaker 2: T E r boxd dot com our handle there is

1302
01:10:36,439 --> 01:10:40,000
Speaker 2: weird House. You can find the whole list there. And yeah,

1303
01:10:40,000 --> 01:10:43,200
Speaker 2: with this episode, we're kind of launching into the Halloween season.

1304
01:10:43,760 --> 01:10:47,200
Speaker 2: Halloween is always a big, big month for us, a

1305
01:10:47,240 --> 01:10:51,000
Speaker 2: little month and some change often, so look you can

1306
01:10:51,040 --> 01:10:53,160
Speaker 2: look forward in the month ahead to a lot of

1307
01:10:53,640 --> 01:10:57,840
Speaker 2: seasonally appropriate core episodes, short form episodes, and of course

1308
01:10:57,880 --> 01:11:00,240
Speaker 2: Weird House Cinema selections.

1309
01:11:00,280 --> 01:11:03,559
Speaker 3: Thanks as always to our excellent audio producer JJ Posway.

1310
01:11:03,720 --> 01:11:05,320
Speaker 3: If you would like to get in touch with us

1311
01:11:05,360 --> 01:11:07,879
Speaker 3: with feedback on this episode or any other, to suggest

1312
01:11:07,880 --> 01:11:09,960
Speaker 3: a topic for the future, or just to say hello,

1313
01:11:10,160 --> 01:11:12,960
Speaker 3: you can email us at contact at stuff to Blow

1314
01:11:13,000 --> 01:11:20,640
Speaker 3: your Mind dot com.

1315
01:11:20,760 --> 01:11:23,720
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1316
01:11:23,800 --> 01:11:26,599
Speaker 1: more podcasts, from my heart Radio, visit the iHeartRadio app,

1317
01:11:26,720 --> 01:11:29,479
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.