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

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Speaker 2: Lamb and this is Joe McCormick. And Rob and I

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Speaker 2: are out this week, so we're bringing you an older

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Speaker 2: episode of our sub show, Weird House Cinema. This one

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Speaker 2: originally aired on August twentieth, twenty twenty one, and this

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Speaker 2: is Return of the Blind Dead.

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Speaker 1: That's right, it's an Undead Templars movie. And since it

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Speaker 1: is Friday, the thirteenth of October, this is an important

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Speaker 1: date in the history of the Knights Templars. This is

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Speaker 1: the date when the Catholic Church and royal authorities cracked

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Speaker 1: down on the order and well set off the events

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Speaker 1: of this film. Also, it's educational, Okay, it's not actually historic.

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Speaker 1: You're going to hear discussed in this film. I think

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Speaker 1: I think we do touch on the actual history of

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Speaker 1: the Knights Templars very briefly, just to give it a

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Speaker 1: little bit of background. But yeah, this is a work

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Speaker 1: of fantasy, but it's a really fun work of fantasy

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Speaker 1: and great for the Halloween season.

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

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 2: And I'm Joe McCormick.

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Speaker 1: This is our fortieth episode of Weird House Cinema and

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Speaker 1: our first venture into the cinema of Spain, and it's

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Speaker 1: also going to be our fourth episode that jumps into

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Speaker 1: a franchise with the second film. We did this with

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Speaker 1: Boggy Creek two. We did this with Transfers too, and

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Speaker 1: I guess you could make an argument that we did

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Speaker 1: this with Troll two, though of course Troll two had

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Speaker 1: nothing to do with Troll one, so that's debatable.

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Speaker 2: Did you actually comb through all of our titles to

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Speaker 2: verify this?

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Speaker 1: Well, I mean I have a list of episodes we've done,

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Speaker 1: so oh okay, it wasn't much combing, but I did.

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Speaker 1: I scanned it real quick.

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Speaker 2: Wait a minute, Wait a minute, Wait a minute, I

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Speaker 2: think you're forgetting one.

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Speaker 1: What's that?

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Speaker 2: The e Walk Adventure movie we did was indeed a.

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Speaker 1: Oh my goodness, you're right, that's right. That was a sequel.

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Speaker 1: Oh and you know what, technically, Teens in the Universe

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Speaker 1: also a sequel, so make that. Wow, this would be

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Speaker 1: what number six? Then the sixth film that we've looked

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Speaker 1: at that is a sequel to another film. So here

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Speaker 1: we go it's we're gonna be talking about Return of

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Speaker 1: the Blind Dead aka Return of the Evil Dead.

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Speaker 2: Also another eighteen seventy three, another exploitation horror movie from

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Speaker 2: the seventies that is badly in need of a bath, Rob,

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Speaker 2: How did you dig up this abomination?

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Speaker 1: This is one I've been familiar with for a while.

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Speaker 1: I think I actually used to have the first two

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Speaker 1: of these, the first two Blind Dead films on DVD

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Speaker 1: like Ages Past, and lost them at some point or

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Speaker 1: traded him in or gave them away, and figured I

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Speaker 1: would never need to go back and watch a Blind

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Speaker 1: Dead film again. And yet, as these things, these things

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Speaker 1: tend to work, eventually the thirst returned and I had

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Speaker 1: to go out and watch these films again, or at

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Speaker 1: least the second one here.

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Speaker 2: This one was a first for me in a number

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Speaker 2: of ways. I know I've seen some Spanish horror movies

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Speaker 2: from the seventies before. I'm struggling to think of what

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Speaker 2: they are, but I know I have. But this was

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Speaker 2: the first movie that I can recall seeing that had

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Speaker 2: zombies riding horseback.

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Speaker 1: Yes, yeah, this one. So this is an interesting film

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Speaker 1: from a number of different perspectives. First of all, just

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Speaker 1: as a Spanish horror film. We'll get into this a

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Speaker 1: little bit, but it does have kind of an important place.

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Speaker 1: It is a key nineteen seventies Spanish horror film that

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Speaker 1: ultimately had a big impact on that genre and that

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Speaker 1: world of filmmaking. It's one that also has acquired a

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Speaker 1: cult following over the years. You'll see it often, You'll

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Speaker 1: see it associated with kind of I guess, kind of

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Speaker 1: like doom rock kind of vibes. You know, it does

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Speaker 1: have like, it has several of the elements, you know,

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Speaker 1: the idea of like black hooded figures writing at night,

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Speaker 1: weird sounds, they have big swords. So and yeah, it

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Speaker 1: is in many respects. I mean, it is a zombie

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Speaker 1: film basically, but it has this interesting place kind of

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Speaker 1: sandwich between the like the George Romero era of zombie

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Speaker 1: films with the First Night of the Living Dead and

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Speaker 1: then bridging the way to the glorier realm of zombie

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Speaker 1: films that was to come both in the United States

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Speaker 1: and in Europe.

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Speaker 2: Yeah, i'd agree. So if you look at like Knight

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Speaker 2: of the Living Dead as a I don't know, you

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Speaker 2: could argue a more cerebral horror film, something that's independent original,

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Speaker 2: kind of thoughtful and is very dialogue driven. Almost could

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Speaker 2: function as a stage play, right. This is a little

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Speaker 2: bit closer to that full cheese zombie zone where it's

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Speaker 2: more just about kind of like fluids coming out of

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Speaker 2: people's bodies and things being really gross.

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Speaker 1: Now, one of the things about our experience here today

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Speaker 1: is that we each watched slightly different cuts of the film.

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Speaker 1: Then I went back and watched portions of the cut

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Speaker 1: that you watched. But the one that I watched is

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Speaker 1: like a minute shorter and has a little less gore

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Speaker 1: in it, and is missing one crucial scene that we'll

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Speaker 1: get to here in a bit, So you probably encounter

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Speaker 1: just a little more of the oozing juices compared to

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Speaker 1: it to what I saw initially. But still there's some

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Speaker 1: dripping blood in my cut as well.

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Speaker 2: But this movie is not just a zombie movie. It

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Speaker 2: also ties into some strange pseudohistorical themes about the Knight's

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Speaker 2: Templar being warlocks or something.

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Speaker 1: Yeah, so you don't really need to know anything about

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Speaker 1: the knights Templars in order to watch this film, but

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Speaker 1: I thought we'd tell you just a minimum of what

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Speaker 1: they were and what they were not, so that you

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Speaker 1: can maybe have a little more historical understanding of what

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Speaker 1: we're going to be talking about here, because this whole

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Speaker 1: film is about templars who have come back from the grave,

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Speaker 1: that have come back with a thirst for human blood,

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Speaker 1: or at least to kill people. I don't know, it's

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Speaker 1: debatable how much blood they actually want to drink or

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Speaker 1: if they just want to kill people.

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Speaker 2: I don't recall them drinking any blood after they come back.

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Speaker 2: The drinking blood, I think, is what allows them to

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Speaker 2: come back in the future. Right.

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Speaker 1: Yeah, when they're living knights, they're all about drinking blood

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Speaker 1: and doing bloody sacrifices and rituals. But once they come

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Speaker 1: back from the dead, they're just about riding their horses around,

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Speaker 1: invading the town, climbing into your house and coming at

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Speaker 1: you with a long sword.

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Speaker 2: Okay, so what's the deal with these knights?

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Speaker 1: Okay, So when we're talking about the Templars or the

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Speaker 1: knights Templars, we're talking about the poor Knights of Christ

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Speaker 1: and the Temple of Solomon. This was a religious military

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Speaker 1: order of the Catholic Church during the time of the Crusades. Now,

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Speaker 1: their original purpose was to serve as protectors for pilgrims

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Speaker 1: who are on their way to the Holy lands. But

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Speaker 1: as you can imagine, with this sort of thing, a

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Speaker 1: kind of creep occurred. So after a while they were

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Speaker 1: given free reign to move across borders, they were made

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Speaker 1: exempt from taxes. They ended up playing key military roles

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Speaker 1: in various battles all of the Crusades, sometimes serving as

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Speaker 1: kind of like shock troopers. But in addition to military roles,

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Speaker 1: their non warriors also played kind of a key role

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Speaker 1: during the Crusades, managing the movement of funds across the

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Speaker 1: vast distances all of the Crusades and setting up a

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Speaker 1: kind of proto banking system. So they became powerful, They

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Speaker 1: made powerful enemies, and as the Crusades failed, they ended

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Speaker 1: up taking a lot of the blame. And so finally

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Speaker 1: you have filled the Fourth of France. With the aid

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Speaker 1: of Pope Clement the Fifth, then based in France, they

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Speaker 1: worked together to suppress the Order and also bring these

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Speaker 1: various false charges of blasphemy and heresy against them, things

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Speaker 1: like the idea that they worshiped a severed head and

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Speaker 1: engaged in all manner of depravities. And as a result

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Speaker 1: of this, the Order was dissolved. Some members were burned

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Speaker 1: to the stake, I think fifty six in total, including

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Speaker 1: Grand Master Jacques de Molay, and others were Other members

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Speaker 1: of the order were absorbed into different militaries and different organizations,

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Speaker 1: or they were just sort of you know, retired. So

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Speaker 1: you can roughly measure the Crusades as having lasted from

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Speaker 1: ten ninety five to twelve ninety one, and then the

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Speaker 1: Templars themselves lasted as an organization from eleven nineteen to

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Speaker 1: thirteen twelve.

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Speaker 2: But beyond their actual role in history, the Templars have

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Speaker 2: clearly been an object of fascination for especially people of

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Speaker 2: a more pseudo historiographical bent, people who were trying to

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Speaker 2: sort of like weave conspiracy theories through medieval history.

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Speaker 1: Absolutely. Yeah, and you see, you know, this is all

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Speaker 1: over the board because you see so many sort of

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Speaker 1: you know, traghy conspiracy books that involve the Knights Templars.

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Speaker 1: But also, I mean, I mean on two levels. First

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Speaker 1: of all, you have people like im Berto Echo factoring

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Speaker 1: them into fucos pendulum, but you also have very very

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Speaker 1: you know, very strong, very serious histories that concern the

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Speaker 1: Templars because they were a very fascinating group that was

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Speaker 1: involved in a very dynamic time of human history. That

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Speaker 1: being said, when you throw in all these accusations of

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Speaker 1: blasphemy and heresy, you have the mysteries associated with them,

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Speaker 1: you know, it just opens itself up to so many

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Speaker 1: different conspiracy theories and crazy ideas. And yes, it's a

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Speaker 1: great hook for the creation of some sort of a

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Speaker 1: movie monster.

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Speaker 2: And from what again. I haven't seen any of the

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Speaker 2: other movies in this series, but in this one, the

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Speaker 2: premise seems to be, Okay, these Nights, the Templars, they

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Speaker 2: were warlocks. You know, they did evil magic and people

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Speaker 2: didn't like that, so they killed them. But you know

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Speaker 2: what warlocks do. They come back from the dead, right, And.

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Speaker 1: That's basically the premise. That's all you really need to know, though,

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Speaker 1: I guess the other key thing is that they're not

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Speaker 1: only the dead, they are the blind dead. They cannot see,

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Speaker 1: so they are functioning in this kind of sightless way

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Speaker 1: that's has been explored in other films. I think we

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Speaker 1: actually got into this a little bit with the hopping

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Speaker 1: vampires of Mister Vampire. Yeah, and and what I guess

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Speaker 1: we have some contemporary films as well, right there, was

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Speaker 1: something with Jim from the office, like don't make a sound,

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Speaker 1: don't be noisy.

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Speaker 2: A quiet place, A quiet place, yes, yeah.

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Speaker 1: Yeah, like a similar thing. Be quiet, so the monsters

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Speaker 1: don't get you.

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Speaker 2: Yeah yeah, yeah, that's the monsters are blind, but they

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Speaker 2: have super sensitive hearing.

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Speaker 1: Yeah. So same basically, same deal, similar situation, And that

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Speaker 1: was another part of the key cell on these films. Now,

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Speaker 1: when I say these films, I'm generally referring to the

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Speaker 1: four essentially standalone pictures, all the work of the Spanish

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Speaker 1: filmmaker Armando d Osario. He did four Blind Dead films.

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Speaker 1: The first was Tombs of the Blind Dead in seventy two,

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Speaker 1: and that's basically vacationers encounter the Blind Dead. Then he

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Speaker 1: did Return of the Blind Dead, the picture we're discussing

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Speaker 1: here today in seventy three, that's locals encounter the Blind Dead.

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Speaker 1: And then he did The Ghost Gallion in nineteen seventy four,

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Speaker 1: which is basically the Blind Dead plus a ghost ship.

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Speaker 1: And then finally he did Night of the Seagulls in

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Speaker 1: nineteen seventy five, which is the Blind Dead with a

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Speaker 1: coastal setting and a LOVECRAFTI and element thrown in as well,

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Speaker 1: I've only seen the first two thus far, but I've

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Speaker 1: been tempted. I've been tempted to go to go ahead. Basically,

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Speaker 1: there's a lot of debate of these films, like which

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Speaker 1: one is the best and which one is the worst,

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Speaker 1: And you'll find the connoisseurs land in different places. I've

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Speaker 1: seen people. A lot of people are like, nope, it's

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Speaker 1: only the first one. I've seen people say nope, the

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Speaker 1: second one, Return of the Blind Dead is the best.

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Speaker 1: Some people are actually like, nope, the Ghost Gallion, that's

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Speaker 1: the one. I think I saw someone say Night of

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Speaker 1: the Seagulls. It's kind of all over the place, depending

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Speaker 1: on I guess what exactly you're looking for in an undead,

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Speaker 1: blind medieval night movie.

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Speaker 2: What is the forum for these debates?

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Speaker 1: Oh, I don't know. You see just different different posts

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Speaker 1: about these movies. I saw an interview with the lead

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Speaker 1: singer of Electric Wizard where he referred to the one

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Speaker 1: he liked the most. I think he likes the Ghost

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Speaker 1: Gaullion the most. Oh, okay, so you know, it's all

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Speaker 1: over the place. I guess it depends on what your

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Speaker 1: particular tastes are. So far, my favorite is this one, though.

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Speaker 2: It's hard to imagine the other ones having human villains

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Speaker 2: as profound as like the mayor and all of the

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Speaker 2: creeps in this one.

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Speaker 1: Yeah, this one has a great lineup of human creeps.

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Speaker 2: That's one of the main things I noticed about it

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Speaker 2: is basically like essentially except for the main character Jack

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Speaker 2: and like one other guy, every other dude in this

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Speaker 2: movie is cartoonishly cowardly, selfish, and misogynistic, just like awful scumbags.

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Speaker 1: Yeah. The elevator pitch I came up with for this

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Speaker 1: film is undead Crusader Knights are back from the dead.

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Speaker 1: But we can surely handle it if all the men

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Speaker 1: in town are not dirt back. But of course almost

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Speaker 1: all of them are dirt bags, so most of the

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Speaker 1: people in town are doomed now. Before we move forward, though,

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Speaker 1: I do want to touch on one other thing concerning

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Speaker 1: just the nature of these films, because because one thing

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Speaker 1: I like to think about is okay, when you have

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Speaker 1: something like this occur, when you have a series of

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Speaker 1: four films that are that are influential, seem to have

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Speaker 1: hit a nerve, but are also unlike so many other films,

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Speaker 1: they seem to exist in isolation. You find yourself asking

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Speaker 1: what are these films, like, where do they emerge from

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Speaker 1: in sort of the you know, the Spanish mindset of

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Speaker 1: the day, or you know, culture and politics of that period.

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Speaker 1: And of course one way of looking at is okay, well,

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Speaker 1: Asario was just he just had it. Came up with

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Speaker 1: a cool twist on the zombie format, right, lean into

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Speaker 1: history a little bit, throw in a little wild hunt.

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Speaker 1: Maybe maybe you've read Lord of the Rings and you

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Speaker 1: throw a little Nasgole in there. I don't know, there's

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Speaker 1: so many different ways you could basically come up with

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Speaker 1: these same results.

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Speaker 2: Oh yeah, I didn't think about it, but the Blind

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Speaker 2: Dead in this film mark kind of nasgul. They're sort

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Speaker 2: of ghostly or otherworldly undead riders with swords.

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Speaker 1: Yeah, and have at least a different sensory realm that

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Speaker 1: they inhabit.

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Speaker 2: Yeah.

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Speaker 1: So I wanted to read more about this. I was like,

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Speaker 1: all right, somebody has bound to have explored this, and

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Speaker 1: I found an article titled Spanish Zombie Films by Alex

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Speaker 1: del Olmo Ramon published in the journal Coolabah, and the

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Speaker 1: author argues that prior to the sixties and seventies, Spanish

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Speaker 1: fantasy and horror cinema was just severely repressed due to

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Speaker 1: quote the repression that was still being meted out by

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Speaker 1: the church Catholic power and the harsh dictatorship imposed by

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Speaker 1: General Franco. Another element that they point out is that

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Speaker 1: in nineteen sixty four, Spain's New Standards for Film Development

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Speaker 1: initiative opened the door for co productions and the international

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Speaker 1: growth of Spanish cinema. And then on top of that,

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Speaker 1: there was a big corruption case the time involving loans

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Speaker 1: to Spanish cinema production. So for both reasons, low budget

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Speaker 1: horror movies were suddenly just this smart investment. They point

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Speaker 1: out that despite the fact that Spanish horror and fantasy

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Speaker 1: films only numbered something like three hundred or so during

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Speaker 1: the sixties and seventies, total, almost one hundred films were

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Speaker 1: shot between sixty nine and seventy three. So the idea

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Speaker 1: is cheap movies, cheap thrills immediately profitable. But in all

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Speaker 1: of that, I think the thing that I latched onto

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Speaker 1: the most with this idea, that you know, this insight

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Speaker 1: about state and church repression being because ultimately with this

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Speaker 1: film we have these horrifying creatures all of the church

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Speaker 1: that rise up against the townsfolk and corrupt politicians are

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Speaker 1: ultimately powerless to stop them.

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Speaker 2: Now, of course, I think if you were going to

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Speaker 2: try to defend this movie against charges of blasphemy or something,

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Speaker 2: you would say that, like, oh, well, they're not The

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Speaker 2: Knights in this movie are not true Christians. They're devil

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Speaker 2: worshipers in secret.

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Speaker 1: Right right, though apparently I was reading that he was

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Speaker 1: very concerned. There were a number of challenges to making

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Speaker 1: this film and pretty much all the films that Sorry

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Speaker 1: I did. But in the first film, if you go

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Speaker 1: back and watch it, you'll see that the Templars, the

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Speaker 1: blind Dead all clearly have not a not a cross

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Speaker 1: on their chest, not a Templar cross, but instead they

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Speaker 1: have the ank on their chest instead. And that was

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Speaker 1: in part a direct choice to try and prevent, you know,

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Speaker 1: accusations of inappropriateness, because he didn't He was like, I

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Speaker 1: don't want to shoot this film and then they're going

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Speaker 1: to come back and say, I'm sorry, you have to

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Speaker 1: take all the parts with the blind Dead out, So

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Speaker 1: he it was safer to just go with an alternate

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Speaker 1: crucifix design.

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Speaker 2: So these Nights just happened to be followers of the

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Speaker 2: Egyptian religion or something.

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Speaker 1: Weller. Part of the plot is that they went off

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Speaker 1: to foreign lands and they learned foreign concepts, including the

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Speaker 1: secret of immortality.

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Speaker 2: It's not a very good form of immortality. This is

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Speaker 2: something I've wanted to bring up about a number of

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Speaker 2: movies that have some kind of demonic figure, vampire, zombie,

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Speaker 2: whatever that says you fools. You know, you can strike

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Speaker 2: me down, but I will come back from the grave.

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Speaker 2: I will live forever. But in almost every case, it

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Speaker 2: looks like the form they get to come back in

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Speaker 2: their immortality does not look very pleasant for them. I mean,

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Speaker 2: are are they having a good time being these rotted

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Speaker 2: corpses that are having to chase down the villagers. I mean,

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Speaker 2: it doesn't really seem like functional immortality. It just seems like, well,

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Speaker 2: your body can kind of come back and lumber around

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Speaker 2: and do some violence.

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Speaker 1: I mean, I guess it's just the whole trope of

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Speaker 1: clinging to life, of putting upmost importance on the mortal existence, right,

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Speaker 1: even if the mortal existence is reduced by it.

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Speaker 2: Right, I guess it's a symbol of a certain kind

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Speaker 2: of imagined vanity, right that it's more important that you

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Speaker 2: continue to be animate than the what form that that

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Speaker 2: life takes.

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Speaker 1: Yeah, but certainly these are some of my favorite like

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Speaker 1: mad scientists and wizard characters from fiction where clearly this

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Speaker 1: was a terrible choice. You made a terrible choice. But

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Speaker 1: I don't know, maybe they're thinking, ha pulled one over

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Speaker 1: on death this time.

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Speaker 2: Should we hear some of that trailer?

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Speaker 1: Yes, let's hear. I'm not sure if we may even

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Speaker 1: play the whole trailer, so just be prepared. Sometimes we

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Speaker 1: play a clip, we might play the whole thing because

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Speaker 1: it's just a fabulous nineteen seventies grindhouse trailer. And I

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Speaker 1: should I should remind you that this is using the

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Speaker 1: English title for the film The Return of the Evil Dead.

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Speaker 4: Terror once again treks It's legendary course, making your flesh

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Speaker 4: creep with pleasure. Night when they are living, rise again

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Speaker 4: from their graves. You will tremble with the return of

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Speaker 4: the dead, the hell born revenge for which there is

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Speaker 4: no assurance of protection. Or will you escape the fear,

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Speaker 4: the anxiety which the return of the Evil Dead provokes.

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Speaker 2: And you high and excitement help me.

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Speaker 4: The Return of the Evil Dead. The Return of the

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Speaker 4: Evil Dead with Tony Kendall and Fernando Sancho, the terrifying

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Speaker 4: thriller of the Year. Do not attend this film alone.

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Speaker 2: We suggest you.

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Speaker 4: Bring at least one large part to hold you tightly.

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Speaker 4: A lifeless horseman will make this theater into a levy horror.

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Speaker 4: The Return of the Evil Dead. The Return of the

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Speaker 4: Evil Dead. You're sure you're in a fit condition and

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Speaker 4: don't scream?

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Speaker 1: All right? Oh man, I love this trailer so much

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Speaker 1: for starters. It makes several promises or statements about what

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Speaker 1: is going to happen when you see this film.

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Speaker 2: They're trying to get you to sign that contract.

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Speaker 1: Right. They let you know. It's almost like the side

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Speaker 1: effects list on a medication. They let you know that

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Speaker 1: your flesh will creep with pleasure, you'll tremble. You Also,

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Speaker 1: fear and anxiety are going to be unavoidable. You will

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Speaker 1: get high. You should not attend this film alone. You

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Speaker 1: should bring at least one large partner to hold you tight.

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Speaker 1: The theater itself will become quote a living horror. I'm

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Speaker 1: not sure what that means, but it sounds impressive. You

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Speaker 1: need to make sure you were in fit condition to

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Speaker 1: see this film, so I guess consider going to your

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Speaker 1: doctor and making sure that you're cleared, and then also

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Speaker 1: don't scream. It's a good idea not to scream. I

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Speaker 1: guess it's in case the Blind Dead also infiltrate the theater.

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Speaker 2: It's the opposite of the Tingler.

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Speaker 1: Yeah, well that's right, the Tingler. You had to scream

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Speaker 1: to alleviate the growing monster in your what your spinal column?

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Speaker 2: I mean, in general, this trailer does have a strong

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Speaker 2: William Castle quality to it in that it's yeah, it's

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Speaker 2: making lots of promises about what the film will deliver

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Speaker 2: in saying like I don't know if you're up to it.

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Speaker 1: I don't know, you know, we dare you to see

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Speaker 1: this film. Oh and then that's the other thing too

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Speaker 1: that I love about it. I love a movie trailer

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Speaker 1: that repeats the name of the moves that moves multiple times,

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Speaker 1: and this one does it. It says that some of

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Speaker 1: you may have noticed that the narrator says the return

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Speaker 1: of the Evil Dead six times in less than two minutes.

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Speaker 2: It reminds me of those great old radio spots for

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Speaker 2: Zombie that would just be like Zombie, ooh, it's got

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Speaker 2: my arm, Zombie. No one under seventeen will be admitted.

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Speaker 1: All right, shall we get into some of the people

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Speaker 1: here involved in this film?

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Speaker 2: All right, well, you already mentioned the director Amando Deosrio.

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Speaker 1: Yes, director, also writer, and he also did special effects

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Speaker 1: on this one. So he lived nineteen eighteen through two

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Speaker 1: thousand and one, one of the key names in the

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Speaker 1: nineteen seventy Spanish horror Resurgence. He was also a painter.

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Speaker 1: He directed commercials and documentaries before branching into horror with

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Speaker 1: nineteen sixty nine's Malenka The Vampire's Niece, and he often

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Speaker 1: employed inventive ideas that ran up against budgetary frustrations and

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Speaker 1: budgetary realities. So he's one of these guys that he

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Speaker 1: seemed to always dream big and never had the budget

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Speaker 1: to realize the sources of effects and visuals that he

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Speaker 1: actually wanted.

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Speaker 2: I love the vampires Niece because it just seems like

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Speaker 2: you're working your way down the chain. It's like you

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Speaker 2: got bride of Frankenstein, son of Dracula, the Vampire's niece,

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Speaker 2: the mummy second cousin.

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Speaker 1: I don't know, it doesn't sound like a boat, like like, okay,

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Speaker 1: start small Vampire's Niece and we'll work the horror empire

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Speaker 1: up from there. Apparently he almost got Boris Karlof for

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Speaker 1: that one, but WHOA. I think it wasn't his choice.

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Speaker 1: It with something that the producers finally said, now, this

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Speaker 1: too much. He's asking too much now. As Ramon points

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Speaker 1: out in that article I referenced earlier Asario did it

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Speaker 1: just encounter all sorts of issues making the first Blind

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Speaker 1: Dead film. He couldn't film in Spain as originally planned

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Speaker 1: because authorities were concerned that filming a horror movie there

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Speaker 1: might ruin tourism or hurt too, so he ended up

434
00:24:01,320 --> 00:24:03,160
Speaker 1: having to go and shoot in Portugal instead.

435
00:24:03,440 --> 00:24:06,080
Speaker 2: I feel like I missed something in the logic there.

436
00:24:06,119 --> 00:24:08,760
Speaker 2: What would be the relationship between those two things.

437
00:24:09,160 --> 00:24:14,200
Speaker 1: But between the I mean hurting tourism. Yeah, Ramel mentions

438
00:24:14,240 --> 00:24:16,280
Speaker 1: that there were some other things hurting tourism at the

439
00:24:16,320 --> 00:24:19,800
Speaker 1: same time, so like they the tourism had already taken

440
00:24:19,800 --> 00:24:22,840
Speaker 1: a hit, and then here this filmmaker wants to come

441
00:24:22,880 --> 00:24:25,960
Speaker 1: and do some sort of a sleazy horror film or

442
00:24:26,040 --> 00:24:28,320
Speaker 1: right next door, and they're like, I don't know about that.

443
00:24:28,440 --> 00:24:30,280
Speaker 1: So he didn't, you know, he didn't want to risk it.

444
00:24:30,520 --> 00:24:33,199
Speaker 1: He went to Portugal to film instead, Okay, And then

445
00:24:33,240 --> 00:24:34,800
Speaker 1: of course there was the deal with the crosses too.

446
00:24:34,880 --> 00:24:36,879
Speaker 1: He was worried about censorship in that regard.

447
00:24:37,119 --> 00:24:38,600
Speaker 2: So that's how you get the aunks.

448
00:24:39,000 --> 00:24:42,760
Speaker 1: Yes, so it But it's interesting to place this film

449
00:24:42,840 --> 00:24:46,000
Speaker 1: at the very end of Francisco Franco's rule, which ended

450
00:24:46,000 --> 00:24:51,119
Speaker 1: in nineteen seventy five, because given all of this, you know,

451
00:24:51,560 --> 00:24:53,280
Speaker 1: you have to figure out, like, what kind of audience

452
00:24:53,359 --> 00:24:56,159
Speaker 1: was this was his film playing to. And Ramon in

453
00:24:56,160 --> 00:24:59,440
Speaker 1: his article writes, quote, the Blind Dead series attracted two

454
00:24:59,520 --> 00:25:03,440
Speaker 1: types of very different generations of audiences. The first were

455
00:25:03,440 --> 00:25:06,720
Speaker 1: hardline fascists and the second were young people who just

456
00:25:06,760 --> 00:25:09,480
Speaker 1: wanted to have fun at the cinema. As Nigel J.

457
00:25:09,680 --> 00:25:12,560
Speaker 1: Burrell noted, Tombs of the Blind Dead can be read

458
00:25:12,640 --> 00:25:15,639
Speaker 1: as an analogy of the rising up of old Spain

459
00:25:16,000 --> 00:25:20,439
Speaker 1: against the permissive generation, but also the repressive fascism of

460
00:25:20,480 --> 00:25:23,879
Speaker 1: the Franco regime versus the youth of the day. So

461
00:25:24,520 --> 00:25:27,160
Speaker 1: that does sound it's kind of like I've read about

462
00:25:27,160 --> 00:25:29,600
Speaker 1: the appeal of the movie patent, about how it was

463
00:25:29,640 --> 00:25:33,600
Speaker 1: able to be two different films to two different demographics.

464
00:25:33,920 --> 00:25:38,199
Speaker 2: Oh okay, so you can imagine some very old conservative

465
00:25:38,200 --> 00:25:40,600
Speaker 2: people would be sort of siding with the blind dead

466
00:25:40,680 --> 00:25:44,040
Speaker 2: and being happy watching them punish young people for partying.

467
00:25:44,560 --> 00:25:46,760
Speaker 2: But you could also be the teenagers going out to

468
00:25:46,800 --> 00:25:49,720
Speaker 2: see the movie. Who you know, you're getting your frights

469
00:25:49,760 --> 00:25:52,680
Speaker 2: and thrills from identifying with the teens who are partying

470
00:25:52,720 --> 00:25:56,360
Speaker 2: and are being chased by these monsters exactly now.

471
00:25:56,400 --> 00:25:59,719
Speaker 1: Asario's final film was nineteen eighty five The Sea Serpent,

472
00:26:00,080 --> 00:26:02,520
Speaker 1: which is apparently a kind of a dream project for him,

473
00:26:02,560 --> 00:26:05,720
Speaker 1: involving a giant monster attacking the Spanish coast. The cast

474
00:26:05,760 --> 00:26:10,760
Speaker 1: ultimately included both Timothy Bottoms and Ray milland but the

475
00:26:10,840 --> 00:26:14,120
Speaker 1: lack of budget once again frustrated him, and he basically

476
00:26:14,160 --> 00:26:16,959
Speaker 1: retired after that film, And I think he went on

477
00:26:17,000 --> 00:26:19,480
Speaker 1: to use some he used to He went on to

478
00:26:19,720 --> 00:26:24,199
Speaker 1: paint blind undead templars to sort of supplement his income

479
00:26:24,280 --> 00:26:27,080
Speaker 1: sell those to fans. And it's interesting that he apparently

480
00:26:27,200 --> 00:26:29,040
Speaker 1: used those kind of paintings to pitch the film to

481
00:26:29,080 --> 00:26:31,520
Speaker 1: begin with, because again he was a painter as well.

482
00:26:32,200 --> 00:26:34,359
Speaker 1: And then he finally tried to get a film titled

483
00:26:34,359 --> 00:26:37,280
Speaker 1: The Necronomicon of the Templars off the ground, but that

484
00:26:37,320 --> 00:26:38,720
Speaker 1: project ever came together either.

485
00:26:39,119 --> 00:26:42,200
Speaker 2: Now, the main character in this movie, played by Tony

486
00:26:42,359 --> 00:26:45,119
Speaker 2: Kendall Is I think this is a first for me

487
00:26:45,200 --> 00:26:49,720
Speaker 2: in films, is a pyrotechnician. His job is that he's

488
00:26:49,760 --> 00:26:53,800
Speaker 2: a fireworks expert. And I cannot recall that ever being

489
00:26:54,000 --> 00:26:56,800
Speaker 2: a job for a main character in anything I've seen.

490
00:26:57,160 --> 00:26:59,400
Speaker 1: No, I don't think i've seen it either. I guess

491
00:26:59,400 --> 00:27:01,639
Speaker 1: it kind of works because the whole thing is this,

492
00:27:01,640 --> 00:27:04,960
Speaker 1: this small town that is supposed to be in Portugal.

493
00:27:05,560 --> 00:27:08,159
Speaker 1: They're about to have this traditional festival that they have

494
00:27:08,240 --> 00:27:12,320
Speaker 1: every year in which they they burn templars in effigy.

495
00:27:12,960 --> 00:27:14,960
Speaker 1: So as it's the case often the case you bring

496
00:27:15,000 --> 00:27:17,199
Speaker 1: in an outsider if you're going to do fireworks, you know,

497
00:27:17,240 --> 00:27:19,919
Speaker 1: it's like some it's not the local fireworks guy. But

498
00:27:20,040 --> 00:27:22,399
Speaker 1: in this case, yeah, it's not even it's not just

499
00:27:22,440 --> 00:27:24,480
Speaker 1: an out of town or it is an American. It's

500
00:27:24,520 --> 00:27:27,240
Speaker 1: American fireworks expert Jack Marlowe.

501
00:27:27,400 --> 00:27:29,080
Speaker 2: This role was written for John Saxon.

502
00:27:29,960 --> 00:27:32,439
Speaker 1: Yeah, I mean clearly like this. This is what I

503
00:27:32,480 --> 00:27:34,760
Speaker 1: was thinking too. It's like this seems like the perfect

504
00:27:34,960 --> 00:27:37,399
Speaker 1: It was written to bring in some sort of like

505
00:27:37,440 --> 00:27:40,640
Speaker 1: a B lister from Hollywood to be your your big

506
00:27:40,640 --> 00:27:43,400
Speaker 1: star in this picture and sort of you know, pump up,

507
00:27:43,880 --> 00:27:48,840
Speaker 1: you know, international viewership. But yeah, it's just played. It's

508
00:27:48,880 --> 00:27:52,000
Speaker 1: played by a Spanish actor. But I don't know, maybe

509
00:27:52,000 --> 00:27:53,719
Speaker 1: that was easier. I think this is an actor that

510
00:27:54,040 --> 00:27:56,760
Speaker 1: Sario had worked with before or ended up working within

511
00:27:56,840 --> 00:28:00,640
Speaker 1: another picture, so maybe you know, the connects were there

512
00:28:00,640 --> 00:28:01,679
Speaker 1: where the producers liked him.

513
00:28:01,720 --> 00:28:03,560
Speaker 2: Who knows, he's a very handsome man.

514
00:28:04,119 --> 00:28:07,520
Speaker 1: Yeah, former model turned actor did quite a few Spanish

515
00:28:07,600 --> 00:28:12,440
Speaker 1: action films. He was in seven movies in nineteen seventy three.

516
00:28:12,600 --> 00:28:15,880
Speaker 1: He was in a string of commisaw X action movies

517
00:28:15,920 --> 00:28:18,040
Speaker 1: in the sixties, and he went on to do a

518
00:28:18,080 --> 00:28:21,359
Speaker 1: lot of Spaghetti Western work. He was in some Gallo films.

519
00:28:21,720 --> 00:28:24,120
Speaker 1: He was in Mario Bava's The Whip in the Body,

520
00:28:24,280 --> 00:28:27,480
Speaker 1: So he seemed to wound up in just about every

521
00:28:27,520 --> 00:28:30,040
Speaker 1: genre of film possible at that time.

522
00:28:30,359 --> 00:28:33,160
Speaker 2: Now, as we mentioned, apart from the main character played

523
00:28:33,160 --> 00:28:35,760
Speaker 2: by Tony Kendall here, basically all of the other dudes

524
00:28:35,840 --> 00:28:38,920
Speaker 2: in the movie are just these unbelievable like creeps and

525
00:28:38,960 --> 00:28:40,760
Speaker 2: dirt bags. And I'd say that the one at the

526
00:28:40,760 --> 00:28:43,800
Speaker 2: top of the heap is good old Mayor Duncan, who

527
00:28:43,880 --> 00:28:48,920
Speaker 2: was played by someone named Fernando Sancho, who I want

528
00:28:48,960 --> 00:28:51,239
Speaker 2: to give a bouquet of flowers to this man, like

529
00:28:51,600 --> 00:28:54,000
Speaker 2: he does not hold back. He was like, you know,

530
00:28:54,160 --> 00:28:56,640
Speaker 2: he is committed to making the audience hate him more

531
00:28:56,640 --> 00:28:58,360
Speaker 2: than they have hated anyone ever.

532
00:28:58,880 --> 00:29:02,160
Speaker 1: Yes, yeah, he has a total heel. He's basically I

533
00:29:02,160 --> 00:29:04,040
Speaker 1: was thinking about this as we were putting the notes together.

534
00:29:04,600 --> 00:29:08,840
Speaker 1: He's everything Mayor Quimby is on The Simpsons, except like

535
00:29:08,880 --> 00:29:13,400
Speaker 1: the nineteen seventies small Portuguese or Spanish town version of that.

536
00:29:13,760 --> 00:29:18,840
Speaker 2: Yeah, but without the charm that makes Quimby's sometimes lovable. Yeah. Yeah,

537
00:29:18,880 --> 00:29:22,880
Speaker 2: this guy's not watering the plants in his closet and stuff.

538
00:29:24,400 --> 00:29:29,200
Speaker 1: Yeah, this guy's a selfish brute. The actor himself of

539
00:29:29,320 --> 00:29:32,640
Speaker 1: Fernando Sancho. He worked in a lot of spaghetti westerns,

540
00:29:32,960 --> 00:29:35,160
Speaker 1: you know that sort of film. Apparently he has an

541
00:29:35,280 --> 00:29:41,120
Speaker 1: uncredited role in nineteen sixty two's Lawrence of Arabia. But this,

542
00:29:41,120 --> 00:29:42,680
Speaker 1: this seems to be I don't know, as far as

543
00:29:42,720 --> 00:29:45,240
Speaker 1: movies I've seen him in. This is his crowning achievement. Now,

544
00:29:45,240 --> 00:29:48,680
Speaker 1: his character has a fiance and she's a major character

545
00:29:48,720 --> 00:29:52,520
Speaker 1: in this, and that is Vivian, the mayor's fiance, played

546
00:29:52,560 --> 00:29:56,440
Speaker 1: by Esperanza Roy born nineteen thirty five and as of

547
00:29:56,480 --> 00:29:58,200
Speaker 1: this recording, I think she's still still alive.

548
00:29:58,640 --> 00:30:02,160
Speaker 2: I'd say she's the other main character apart from Jack

549
00:30:02,200 --> 00:30:03,280
Speaker 2: Marlow Tony Kendall.

550
00:30:03,560 --> 00:30:05,680
Speaker 1: Yeah, Yeah, she's our I don't know if you want

551
00:30:05,680 --> 00:30:09,880
Speaker 1: to call her the heroin or just the love interest,

552
00:30:10,320 --> 00:30:12,880
Speaker 1: but I don't know. It's not the worst role that

553
00:30:12,920 --> 00:30:15,840
Speaker 1: you could imagine in a film of this caliber. You know,

554
00:30:15,920 --> 00:30:19,040
Speaker 1: she's not a complete damsel in distress like she seems.

555
00:30:19,200 --> 00:30:21,640
Speaker 1: She has a certain amount of strength and character to her,

556
00:30:23,240 --> 00:30:26,200
Speaker 1: and apparently she haven't. I don't think I've seen her

557
00:30:26,200 --> 00:30:29,240
Speaker 1: in anything else, but I've read that she has a

558
00:30:29,320 --> 00:30:31,720
Speaker 1: chance to showcase her skills more in films like nineteen

559
00:30:31,720 --> 00:30:34,120
Speaker 1: seventy three is a Candle for the Devil. But she

560
00:30:34,160 --> 00:30:36,920
Speaker 1: was a Spanish actor trained dancer, and then I think

561
00:30:37,000 --> 00:30:41,760
Speaker 1: later she was married to an important Spanish film producer. Now,

562
00:30:41,800 --> 00:30:44,000
Speaker 1: if you have a character like may Or Duncan, you

563
00:30:44,120 --> 00:30:46,719
Speaker 1: got to have a thug. And the thug in this

564
00:30:46,800 --> 00:30:49,680
Speaker 1: film is Howard played by Frank Brana.

565
00:30:50,000 --> 00:30:51,840
Speaker 2: Another exquisite scumbag.

566
00:30:52,280 --> 00:30:55,560
Speaker 1: Yeah, lived nineteen thirty four through twenty twelve, and this

567
00:30:55,600 --> 00:30:59,360
Speaker 1: guy has been in a number of Spanish genre films,

568
00:30:59,720 --> 00:31:02,640
Speaker 1: that that we have seen some of you have may

569
00:31:02,640 --> 00:31:05,720
Speaker 1: have seen, and that are just some exquisite cheese.

570
00:31:06,120 --> 00:31:08,600
Speaker 2: Oh wait, he was in some one p quer Simon

571
00:31:08,720 --> 00:31:10,480
Speaker 2: movies like pod People.

572
00:31:11,040 --> 00:31:13,760
Speaker 1: Yes, he was in pod People, which I think the

573
00:31:13,800 --> 00:31:17,160
Speaker 1: original title was Extraterrestrial Visitors as from nineteen eighty three.

574
00:31:17,600 --> 00:31:20,200
Speaker 1: But he was also in Slugs from nineteen eighty eight,

575
00:31:20,600 --> 00:31:25,480
Speaker 1: which is indeed a Nature attacks film about slugs that

576
00:31:25,520 --> 00:31:28,560
Speaker 1: will either crawl on your body or crawl up the toilet.

577
00:31:28,880 --> 00:31:31,840
Speaker 1: And then also a film titled Pieces from nineteen eighty two.

578
00:31:32,160 --> 00:31:33,880
Speaker 2: I don't recall if I know anything about that one

579
00:31:33,960 --> 00:31:34,160
Speaker 2: or not.

580
00:31:34,640 --> 00:31:37,840
Speaker 1: It's a chainsaw film, I believe, But okay, which one

581
00:31:37,880 --> 00:31:38,720
Speaker 1: is the one you've seen?

582
00:31:39,000 --> 00:31:41,680
Speaker 2: Well, I've seen Pod People, and I think I've seen slugs.

583
00:31:41,840 --> 00:31:44,640
Speaker 1: Oh okay, I think with Pieces, I think I've seen Pieces.

584
00:31:44,960 --> 00:31:47,720
Speaker 1: But you've seen another chainsaw film that I sometimes get

585
00:31:47,760 --> 00:31:50,560
Speaker 1: confused with it like a Spanish chainsaw film, maybe an

586
00:31:50,600 --> 00:31:54,360
Speaker 1: Italian chainsaw film? Torso is that the one? Like a

587
00:31:54,400 --> 00:31:55,160
Speaker 1: really weird one?

588
00:31:55,680 --> 00:31:55,760
Speaker 4: No?

589
00:31:56,920 --> 00:31:59,720
Speaker 2: Well, I mean to be honest, Sometimes I see these movies,

590
00:32:00,240 --> 00:32:02,320
Speaker 2: don't recall what the title is because they all have

591
00:32:02,440 --> 00:32:05,280
Speaker 2: multiple titles. Yeah, but wait, which guy is he in

592
00:32:05,360 --> 00:32:07,920
Speaker 2: Pod People? Is he one of the trappers in the

593
00:32:07,960 --> 00:32:11,840
Speaker 2: woods or not? Because they're hunters, Yeah, hunters or poachers.

594
00:32:12,240 --> 00:32:14,480
Speaker 1: I can't remember which. It's been a little while since

595
00:32:14,480 --> 00:32:17,640
Speaker 1: I've seen Pod People. But he has This guy has

596
00:32:17,640 --> 00:32:20,120
Speaker 1: a real sam the Eagle look to him.

597
00:32:20,440 --> 00:32:24,680
Speaker 2: Yeah, silver hair, a strong brow line, and he looks

598
00:32:24,720 --> 00:32:27,160
Speaker 2: like he could do some do some real cruelty, like

599
00:32:27,200 --> 00:32:30,440
Speaker 2: you know, the brow turns inward that way. Yeah, show

600
00:32:30,480 --> 00:32:31,400
Speaker 2: that he has no heart.

601
00:32:31,920 --> 00:32:33,320
Speaker 1: Yeah, so this is the guy played a lot of

602
00:32:33,320 --> 00:32:35,840
Speaker 1: police inspectors and enforcers that sort of role.

603
00:32:36,120 --> 00:32:37,800
Speaker 2: Oh but hey, we're not done with the creeps.

604
00:32:38,120 --> 00:32:41,840
Speaker 1: Oh yes, because this film has a terrific central creep

605
00:32:42,280 --> 00:32:45,920
Speaker 1: in the form of Murdo. And Murdo is played by

606
00:32:46,080 --> 00:32:51,280
Speaker 1: jose Kanalejas, who lived nineteen twenty five through twenty fifteen. Yeah,

607
00:32:51,280 --> 00:32:54,840
Speaker 1: this is probably the most outlandish role in the entire film.

608
00:32:55,560 --> 00:32:59,920
Speaker 1: Murdo is the caretaker of the ruined abbey, out of

609
00:33:00,040 --> 00:33:04,280
Speaker 1: which the undead, blind dead are going to emerge. He's

610
00:33:04,280 --> 00:33:08,080
Speaker 1: sometimes described as the village idiot. He reminds me a

611
00:33:08,160 --> 00:33:12,960
Speaker 1: lot of Ron Pearlman's later portrayal of Salvatore in the

612
00:33:13,040 --> 00:33:15,480
Speaker 1: nineteen eighty six adaptation of the Name of the Rose.

613
00:33:15,800 --> 00:33:19,040
Speaker 2: Hmmm. I would kind of describe him as a disturbed

614
00:33:19,160 --> 00:33:22,040
Speaker 2: Stephen King look alike with a monobrow.

615
00:33:22,840 --> 00:33:24,480
Speaker 1: He does kind of have a king look to them

616
00:33:24,600 --> 00:33:28,120
Speaker 1: to him, doesn't he. Yeah, he's Oh man, this this

617
00:33:28,240 --> 00:33:32,680
Speaker 1: guy's so great in this film. And we'll get into

618
00:33:32,720 --> 00:33:35,320
Speaker 1: some of the differences here in a bit, But if

619
00:33:35,360 --> 00:33:37,400
Speaker 1: you go with the Spanish dub, I mean, if you

620
00:33:37,440 --> 00:33:39,400
Speaker 1: go with the English dub on this, you're gonna miss

621
00:33:39,440 --> 00:33:43,440
Speaker 1: out on the creepy voice of Murdo because the dub

622
00:33:43,480 --> 00:33:46,240
Speaker 1: has a creepy voice, but the authentic Murdo voice is

623
00:33:46,440 --> 00:33:47,960
Speaker 1: just excellent. Oh.

624
00:33:48,040 --> 00:33:51,400
Speaker 2: I love the voice acting in this. So you know,

625
00:33:51,600 --> 00:33:55,600
Speaker 2: this movie got me thinking about how each language has

626
00:33:55,680 --> 00:33:59,560
Speaker 2: its own standard vocal tropes for representing the voice of

627
00:33:59,640 --> 00:34:03,160
Speaker 2: an evil or creepy person, and there are some similarities

628
00:34:03,200 --> 00:34:06,840
Speaker 2: across languages, but but there are also some peculiarities to

629
00:34:06,920 --> 00:34:09,880
Speaker 2: each language. And I feel like I really like the

630
00:34:10,480 --> 00:34:14,840
Speaker 2: Spanish languages way of doing an evil or creepy voice.

631
00:34:15,800 --> 00:34:18,120
Speaker 2: There's a through line between like the way the Templar

632
00:34:18,239 --> 00:34:21,120
Speaker 2: Warlock in this movie talks and the way Murdo talks,

633
00:34:21,719 --> 00:34:25,239
Speaker 2: and like the vocal performances you get from the NPCs

634
00:34:25,280 --> 00:34:26,239
Speaker 2: and Resident Evil for.

635
00:34:28,080 --> 00:34:29,760
Speaker 1: How did they sound. I don't think i've played Resident

636
00:34:29,840 --> 00:34:30,200
Speaker 1: Evil for.

637
00:34:30,520 --> 00:34:32,760
Speaker 2: I mean, they sound a lot like characters in this movie.

638
00:34:33,160 --> 00:34:36,680
Speaker 1: Oh okay, well, before we keep going, let's go ahead

639
00:34:36,719 --> 00:34:40,800
Speaker 1: have a quick sample of Murdo's voice from a particular

640
00:34:40,840 --> 00:34:42,680
Speaker 1: spot in the film that I thought was just excellent.

641
00:34:55,800 --> 00:34:57,719
Speaker 1: I'll reference what he was saying here in a bit,

642
00:34:58,000 --> 00:35:00,560
Speaker 1: but this is a great scene where he's in countering

643
00:35:01,239 --> 00:35:05,080
Speaker 1: Vivian and Jack Marlowe in The Ruins. Now KAA. LEAs

644
00:35:05,239 --> 00:35:07,200
Speaker 1: was a Spanish actor, and he seems to have played

645
00:35:07,239 --> 00:35:10,520
Speaker 1: a lot of henchmen in a lot of westerns. If

646
00:35:10,520 --> 00:35:12,520
Speaker 1: you just look up pictures of him, you'll most often

647
00:35:12,560 --> 00:35:15,279
Speaker 1: see him with a beard and a cowboy hat. He

648
00:35:15,320 --> 00:35:18,120
Speaker 1: even shows up in a fistful of dollars and for

649
00:35:18,239 --> 00:35:21,640
Speaker 1: a few dollars more. These are Clint Eastwood spaghetti westerns,

650
00:35:22,280 --> 00:35:25,440
Speaker 1: as this guy's just showing up his uncredited gang members

651
00:35:25,480 --> 00:35:31,000
Speaker 1: in both. But yeah, so he generally was playing heavies.

652
00:35:31,280 --> 00:35:33,360
Speaker 1: But he also directed a couple of Spanish comedies in

653
00:35:33,400 --> 00:35:36,520
Speaker 1: the mid seventies. But in this he's just a fabulous creep.

654
00:35:36,840 --> 00:35:39,000
Speaker 2: Now, one of the templars at the beginning of this

655
00:35:39,160 --> 00:35:41,560
Speaker 2: movie is played by somebody who looked familiar to me,

656
00:35:41,680 --> 00:35:43,640
Speaker 2: but I couldn't place him. But now that you've done

657
00:35:43,680 --> 00:35:45,839
Speaker 2: the research, I think I know where I know him from,

658
00:35:45,920 --> 00:35:47,320
Speaker 2: and that's Luis Barbou.

659
00:35:47,800 --> 00:35:50,680
Speaker 1: Yes, he plays the executed Templar. He lived nineteen twenty

660
00:35:50,760 --> 00:35:53,279
Speaker 1: seven through two thousand and one. It's not a huge role,

661
00:35:53,920 --> 00:35:56,120
Speaker 1: but you do get to see him drink blood and

662
00:35:56,440 --> 00:36:00,239
Speaker 1: or consuming human heart. But this is a guy. It

663
00:36:00,239 --> 00:36:02,799
Speaker 1: had one hundred and twenty five credits and does pop

664
00:36:02,920 --> 00:36:05,960
Speaker 1: up in some big Western films like Conan the Barbarian,

665
00:36:06,320 --> 00:36:08,520
Speaker 1: in which he plays quote unquote red hair.

666
00:36:08,880 --> 00:36:11,239
Speaker 2: I think I recall him here. Yeah, he's like a

667
00:36:11,360 --> 00:36:12,200
Speaker 2: warrior type guy.

668
00:36:12,520 --> 00:36:15,239
Speaker 1: Is he like one of the sort of father figures

669
00:36:15,280 --> 00:36:18,040
Speaker 1: to Conan after he has abducted.

670
00:36:17,920 --> 00:36:20,840
Speaker 2: Well, No, he's the guy who like buys Conan the

671
00:36:20,920 --> 00:36:23,400
Speaker 2: Barbarian trains him to fight as a gladiator.

672
00:36:23,719 --> 00:36:26,320
Speaker 1: That's right, that's right, I remember him now. But anyway,

673
00:36:26,360 --> 00:36:27,400
Speaker 1: this is the guy that shows up in a lot

674
00:36:27,400 --> 00:36:29,360
Speaker 1: of Spanish genre films of this time period.

675
00:36:29,880 --> 00:36:32,440
Speaker 2: Now, one thing I noticed about this movie is that

676
00:36:32,760 --> 00:36:36,120
Speaker 2: it has it has a very distinctive musical theme. It

677
00:36:36,160 --> 00:36:38,520
Speaker 2: has like a melody that you can hum walking out

678
00:36:38,560 --> 00:36:42,080
Speaker 2: of the movie. But it also the melody really reminds

679
00:36:42,160 --> 00:36:45,840
Speaker 2: me of like the theme song of an anthology horror

680
00:36:46,000 --> 00:36:48,160
Speaker 2: TV show, Like it sounds like it would be the

681
00:36:48,280 --> 00:36:50,920
Speaker 2: theme song of Tales from the Dark Side or something.

682
00:36:51,800 --> 00:36:55,000
Speaker 1: Which one are you talking about, the more melodic.

683
00:36:55,840 --> 00:36:57,520
Speaker 2: Yeah, the one that plays over the end credits.

684
00:36:57,600 --> 00:36:59,600
Speaker 1: Oh okay, Yeah, let's have a quick sample of that.

685
00:37:17,000 --> 00:37:17,200
Speaker 2: Yeah.

686
00:37:17,360 --> 00:37:20,239
Speaker 1: See, I think that it's it's very contemplative. This is

687
00:37:20,280 --> 00:37:23,719
Speaker 1: a this is a walking off into the distance bit

688
00:37:23,800 --> 00:37:26,400
Speaker 1: of music here. But then of course the other uh,

689
00:37:26,560 --> 00:37:28,759
Speaker 1: the the the other types of sounds we hear. The

690
00:37:28,840 --> 00:37:32,839
Speaker 1: other main really the main character of this soundtrack, which

691
00:37:32,880 --> 00:37:35,480
Speaker 1: you I believe heard in the trailer is this kind

692
00:37:35,520 --> 00:37:43,719
Speaker 1: of cacophonous masonic chanting synthy uh just kind of a

693
00:37:44,200 --> 00:37:47,320
Speaker 1: it just sounds from hell, like the sort of synth

694
00:37:47,440 --> 00:37:52,560
Speaker 1: music that would arise from the crypt alongside uh dark

695
00:37:52,680 --> 00:37:53,799
Speaker 1: riders in slow motion.

696
00:37:54,239 --> 00:37:56,680
Speaker 2: Yeah, a lot of a lot of evil laughter and

697
00:37:56,920 --> 00:38:00,759
Speaker 2: size and echoey noises with digital postproput processing on them.

698
00:38:01,160 --> 00:38:03,239
Speaker 1: Right, And this is the work all four films, all

699
00:38:03,280 --> 00:38:05,239
Speaker 1: four of the Blind Dead films. It's the work of

700
00:38:05,320 --> 00:38:09,640
Speaker 1: Anton Garcia Abril, who lived nineteen thirty three through twenty

701
00:38:09,920 --> 00:38:14,520
Speaker 1: twenty one, and that Kulabah article I referenced earlier included

702
00:38:14,840 --> 00:38:19,240
Speaker 1: an interesting tidbit about this quote. Osorio's film is adorned

703
00:38:19,360 --> 00:38:22,480
Speaker 1: by a soundtrack by Anton Garcia Abril, who did a

704
00:38:22,520 --> 00:38:26,600
Speaker 1: brilliant job with limited resources, repeatedly recording the name of

705
00:38:26,680 --> 00:38:29,120
Speaker 1: the production manager of the film Tomb of the Blind

706
00:38:29,160 --> 00:38:33,120
Speaker 1: Dad in nineteen seventy one, Perez Ginner, and then running

707
00:38:33,200 --> 00:38:35,960
Speaker 1: the tape backwards to create a sound treatment with the

708
00:38:36,000 --> 00:38:38,880
Speaker 1: addition of a chorus made up of only two people.

709
00:38:40,040 --> 00:38:43,440
Speaker 2: Wait, so was this in honor of the production manager

710
00:38:43,600 --> 00:38:44,759
Speaker 2: or in mockery of him?

711
00:38:45,960 --> 00:38:48,520
Speaker 1: I don't know. I guess it depends. It depends how

712
00:38:48,600 --> 00:38:53,480
Speaker 1: he received it. But yeah, that sounds incredible because the

713
00:38:53,600 --> 00:38:57,680
Speaker 1: end result is very atmospheric, very very doomy and gloomy,

714
00:38:57,760 --> 00:39:01,239
Speaker 1: and I think absolutely holds up. I do think it

715
00:39:01,360 --> 00:39:04,200
Speaker 1: is a shame that so many of these, especially you

716
00:39:04,239 --> 00:39:07,600
Speaker 1: look at Italian genre films. There there have been some

717
00:39:07,719 --> 00:39:11,920
Speaker 1: really classy vinyl releases of those soundtracks, and we've mentioned

718
00:39:12,120 --> 00:39:13,800
Speaker 1: these before on the show when they pop up. But

719
00:39:14,120 --> 00:39:17,560
Speaker 1: I don't think the music from the Blind Dead movies

720
00:39:17,600 --> 00:39:19,839
Speaker 1: has ever been released in any format. I was looking

721
00:39:19,880 --> 00:39:22,239
Speaker 1: around on discogs to see if it even came out

722
00:39:22,280 --> 00:39:24,840
Speaker 1: on any format back in the day, and as far

723
00:39:24,880 --> 00:39:25,560
Speaker 1: as I can tell.

724
00:39:25,440 --> 00:39:27,239
Speaker 2: It has not. Well, it could be wrong. I don't

725
00:39:27,239 --> 00:39:30,680
Speaker 2: know if I noticed as much variation in the musical

726
00:39:30,800 --> 00:39:33,399
Speaker 2: content in this one as you might find and say,

727
00:39:33,600 --> 00:39:36,000
Speaker 2: you know the Italian jello movies of the era.

728
00:39:36,560 --> 00:39:38,600
Speaker 1: True, yeah, but you know they could at least put

729
00:39:38,600 --> 00:39:40,840
Speaker 1: out a single, right or or it'll put it on

730
00:39:40,920 --> 00:39:44,319
Speaker 1: a compilation. I don't know, because ultimately, the other thing

731
00:39:44,360 --> 00:39:47,560
Speaker 1: about it is that Anton Garcia April was an acclaimed

732
00:39:47,600 --> 00:39:50,799
Speaker 1: Spanish composer and musician. I don't know if I gave

733
00:39:50,840 --> 00:39:52,560
Speaker 1: his dates. He know he was born nineteen thirty three

734
00:39:52,640 --> 00:39:54,759
Speaker 1: and oh you did, yeah, died this year. So he

735
00:39:55,080 --> 00:39:57,560
Speaker 1: was around for a while, long time head of the

736
00:39:57,600 --> 00:40:01,319
Speaker 1: Department of Compositions and Musical Forms of the Drid Royal Conservatory.

737
00:40:01,760 --> 00:40:03,720
Speaker 1: And if you look him up on your favorite digital

738
00:40:03,840 --> 00:40:08,200
Speaker 1: music source, you'll find numerous releases of his work. And

739
00:40:08,320 --> 00:40:10,360
Speaker 1: he also did a number of scores from film and

740
00:40:10,440 --> 00:40:13,120
Speaker 1: TV over the years as well, So you know, he's

741
00:40:13,200 --> 00:40:17,680
Speaker 1: not an obscure figure. But this, like I say this, this,

742
00:40:17,880 --> 00:40:22,040
Speaker 1: these particular sounds have not been re released in any

743
00:40:22,080 --> 00:40:23,279
Speaker 1: format that I could come across.

744
00:40:24,200 --> 00:40:26,120
Speaker 2: There was a there there was a bug in my

745
00:40:26,239 --> 00:40:28,360
Speaker 2: ear when I was watching this movie, which is that

746
00:40:28,560 --> 00:40:31,279
Speaker 2: one of the sounds in the sort of blind dead

747
00:40:31,680 --> 00:40:35,879
Speaker 2: cacaphony theme is something that sounds exactly like a sound

748
00:40:35,960 --> 00:40:39,240
Speaker 2: that they make in that SNL musical skit, the creep

749
00:40:39,840 --> 00:40:44,239
Speaker 2: when they say, oh, it did that multiple times.

750
00:40:44,160 --> 00:40:47,839
Speaker 1: There is a shocking a sound that occurs. I wonder

751
00:40:47,840 --> 00:40:50,279
Speaker 1: if there's any connection there. A Murdo would have been

752
00:40:50,640 --> 00:40:53,080
Speaker 1: it would have been a great creep. He kind of

753
00:40:53,120 --> 00:40:54,839
Speaker 1: does put video.

754
00:40:54,960 --> 00:40:56,799
Speaker 2: Yeah, he definitely could have done a verse.

755
00:41:05,760 --> 00:41:07,440
Speaker 1: All right, Well, shall we get into the plot of

756
00:41:07,480 --> 00:41:08,200
Speaker 1: this one a little bit?

757
00:41:08,520 --> 00:41:11,680
Speaker 2: Okay, Now, this is one of those movies that is

758
00:41:12,200 --> 00:41:13,759
Speaker 2: they're not going to take their time. They're going to

759
00:41:13,840 --> 00:41:17,160
Speaker 2: kick things right off with high action from frame one.

760
00:41:17,480 --> 00:41:20,680
Speaker 2: So from the very beginning, we have pitchforks, folks. My

761
00:41:20,840 --> 00:41:24,000
Speaker 2: version started with a bunch of fourteenth century villagers, all

762
00:41:24,200 --> 00:41:29,440
Speaker 2: armed with classic pitchfork torch combo, rounding up templars in

763
00:41:29,480 --> 00:41:33,480
Speaker 2: a frenzied mob, saying to them, you are evil warlocks

764
00:41:33,600 --> 00:41:36,360
Speaker 2: you must die, and then burning their eyes out with fire,

765
00:41:37,360 --> 00:41:40,040
Speaker 2: and they give a reason for that. Actually, when they

766
00:41:40,280 --> 00:41:42,800
Speaker 2: grab the Templars and they're like, you are evil warlocks,

767
00:41:42,840 --> 00:41:45,040
Speaker 2: were going to kill you, the Templars promise they will

768
00:41:45,120 --> 00:41:47,960
Speaker 2: return from the grave. They say, well, rise from the

769
00:41:48,000 --> 00:41:51,080
Speaker 2: grave for revenge and raise this town to the ground.

770
00:41:51,760 --> 00:41:54,080
Speaker 2: And when they make this promise, you know, we'll rise

771
00:41:54,200 --> 00:41:56,960
Speaker 2: from the grave and get you. The villager responds, well,

772
00:41:57,320 --> 00:41:59,120
Speaker 2: you know, we'll put a stop to that. Will burn

773
00:41:59,239 --> 00:42:02,120
Speaker 2: your eyes out and you'll never find this town again.

774
00:42:03,120 --> 00:42:05,280
Speaker 2: It's one of those things that it's very like magical

775
00:42:05,400 --> 00:42:07,719
Speaker 2: movie logic because what they do after this is they

776
00:42:07,840 --> 00:42:10,480
Speaker 2: just completely burn the Templars, in which case I think

777
00:42:10,520 --> 00:42:12,680
Speaker 2: their eyes would be burned anyway, but like first they

778
00:42:12,760 --> 00:42:14,400
Speaker 2: poke them in the eyes with their torches.

779
00:42:15,840 --> 00:42:17,919
Speaker 1: Yeah. Now, I guess there are a couple of things

780
00:42:17,960 --> 00:42:19,640
Speaker 1: going on here. First of all, in general about this

781
00:42:19,680 --> 00:42:22,759
Speaker 1: film being right to the action, since it is it's

782
00:42:23,000 --> 00:42:25,120
Speaker 1: you know, it's not directly connected to the first film,

783
00:42:25,200 --> 00:42:27,440
Speaker 1: and I think basically all the Blind Dead films are

784
00:42:27,440 --> 00:42:30,120
Speaker 1: standalone films. But you could make an argument that this

785
00:42:30,239 --> 00:42:32,440
Speaker 1: is the prequel, that this is showing like where they

786
00:42:32,520 --> 00:42:35,359
Speaker 1: came from, and at any rate, they dispense with any

787
00:42:35,480 --> 00:42:40,400
Speaker 1: kind of you know, mystery about what's going on. You know,

788
00:42:40,520 --> 00:42:42,880
Speaker 1: it's the Blind Dad, So they're not even going to

789
00:42:42,960 --> 00:42:45,400
Speaker 1: pretend that there's any mystery regarding what they are or

790
00:42:45,440 --> 00:42:46,840
Speaker 1: where they're coming from. They're going to go ahead and

791
00:42:46,840 --> 00:42:48,640
Speaker 1: also establish why they're blind.

792
00:42:49,040 --> 00:42:51,080
Speaker 2: Oh, in the other movies, is it like a mystery,

793
00:42:51,200 --> 00:42:53,279
Speaker 2: like we don't know what these things are? Suddenly they're

794
00:42:53,320 --> 00:42:55,760
Speaker 2: just zombies riding horses poking us with swords.

795
00:42:56,160 --> 00:42:58,640
Speaker 1: In the first one, I believe, and I didn't rewatch

796
00:42:58,680 --> 00:43:00,520
Speaker 1: the first one in its entirety, but kind of poked

797
00:43:00,560 --> 00:43:03,279
Speaker 1: around in the film, you know, like zoomed around with

798
00:43:03,360 --> 00:43:05,960
Speaker 1: the slider, and I believe it has a much slower

799
00:43:06,120 --> 00:43:08,960
Speaker 1: rollout of what's going on, So it has a much

800
00:43:09,000 --> 00:43:13,239
Speaker 1: slower pace until you start getting some undead templar action.

801
00:43:13,640 --> 00:43:16,640
Speaker 2: Well, anyway, in this prologue, the villagers then burn a

802
00:43:16,760 --> 00:43:21,520
Speaker 2: bunch of extremely obvious mannequins dressed as templars, like really

803
00:43:21,640 --> 00:43:24,759
Speaker 2: obvious mannequins, to the point where I was thinking, wait

804
00:43:24,800 --> 00:43:27,000
Speaker 2: a second, are they just supposed to be burning mannequins?

805
00:43:27,040 --> 00:43:29,960
Speaker 2: But no, I think it was just not super convincing

806
00:43:30,000 --> 00:43:31,320
Speaker 2: as humans, but hey, that's okay.

807
00:43:31,760 --> 00:43:33,960
Speaker 1: Yeah, one of these things where these are supposed to

808
00:43:33,960 --> 00:43:36,440
Speaker 1: be real humans being burned. But in the same picture

809
00:43:36,480 --> 00:43:39,319
Speaker 1: we see people burning what are supposed to be effigies

810
00:43:39,880 --> 00:43:43,560
Speaker 1: all of the same Templars, so you know, it creates

811
00:43:43,640 --> 00:43:44,919
Speaker 1: unfair comparisons for sure.

812
00:43:45,480 --> 00:43:47,920
Speaker 2: But then immediately it's present day or present day at

813
00:43:47,960 --> 00:43:49,960
Speaker 2: the time of the film, and it looks like the

814
00:43:50,040 --> 00:43:52,880
Speaker 2: villagers are preparing for some kind of festival. So it

815
00:43:52,960 --> 00:43:56,200
Speaker 2: turns out it is the five hundredth anniversary of the

816
00:43:56,360 --> 00:43:59,759
Speaker 2: village's defeat of the Templars. So you see people out

817
00:43:59,800 --> 00:44:03,520
Speaker 2: there messing with some I think they are Templar effigies right,

818
00:44:03,640 --> 00:44:06,239
Speaker 2: that they're going to burn in the town square. Like

819
00:44:06,360 --> 00:44:08,520
Speaker 2: that's what the festival is like, haha, I remember when

820
00:44:08,560 --> 00:44:11,920
Speaker 2: we burned these warlocks. Well, we're gonna burn statues of

821
00:44:12,000 --> 00:44:12,560
Speaker 2: them and.

822
00:44:12,560 --> 00:44:14,680
Speaker 1: Then we're gonna drink and there's gonna be dancing and

823
00:44:15,360 --> 00:44:16,560
Speaker 1: American fireworks.

824
00:44:18,320 --> 00:44:22,640
Speaker 2: But quite immediately as the preparations for the festivities are

825
00:44:22,719 --> 00:44:26,000
Speaker 2: going on, we meet Murdo. He's sort of creeping and

826
00:44:26,160 --> 00:44:32,520
Speaker 2: peeking around a corner, and immediately some children are just like, hey, look,

827
00:44:32,600 --> 00:44:38,680
Speaker 2: there's Murdo, get him and what is going on here?

828
00:44:39,160 --> 00:44:41,800
Speaker 1: Yeah, because these kids they throw I think they throw rocks,

829
00:44:41,920 --> 00:44:44,360
Speaker 1: and then they manage to knock him down and just

830
00:44:44,400 --> 00:44:46,320
Speaker 1: start kicking the crap out of him. Like it's a

831
00:44:46,440 --> 00:44:47,960
Speaker 1: brutal beat down on Murdo.

832
00:44:48,400 --> 00:44:50,759
Speaker 2: And we haven't seen Murdo do anything wrong yet. I

833
00:44:50,800 --> 00:44:52,960
Speaker 2: mean we will later on, but so far, he's just

834
00:44:53,080 --> 00:44:55,480
Speaker 2: this guy who looks kind of weird and like a

835
00:44:55,560 --> 00:44:58,560
Speaker 2: bunch of eight year olds are kicking this guy to death.

836
00:44:58,800 --> 00:45:02,640
Speaker 2: Like the implication is that these extremely evil children would

837
00:45:02,680 --> 00:45:05,640
Speaker 2: have killed this guy, except a very nice lady comes

838
00:45:05,680 --> 00:45:07,759
Speaker 2: and intervenes and she kind of chases them off.

839
00:45:08,200 --> 00:45:11,279
Speaker 1: Yeah, the brutality of the kids attacking him. I kept

840
00:45:11,320 --> 00:45:14,240
Speaker 1: thinking about it because this seems like a very intentional choice.

841
00:45:15,239 --> 00:45:16,920
Speaker 1: But what does it mean? Or is it to make

842
00:45:17,040 --> 00:45:20,279
Speaker 1: us feel for Murdo, Like he's this outsider character who's

843
00:45:20,360 --> 00:45:22,920
Speaker 1: kind of weird, and hey, maybe you'd be weird too

844
00:45:23,400 --> 00:45:25,640
Speaker 1: if kids attacked you on site and tried to kill you.

845
00:45:26,320 --> 00:45:29,200
Speaker 1: Or is it something about the town itself, like this

846
00:45:29,360 --> 00:45:32,160
Speaker 1: is what the children are like in this town. Can

847
00:45:32,200 --> 00:45:36,960
Speaker 1: you imagine what sort of like the local business culture,

848
00:45:37,040 --> 00:45:40,359
Speaker 1: the local government that they grow up into. Like maybe

849
00:45:40,400 --> 00:45:43,759
Speaker 1: this town is just you know, cursed from the seed up.

850
00:45:44,160 --> 00:45:44,480
Speaker 1: I guess.

851
00:45:44,640 --> 00:45:47,239
Speaker 2: I mean a large number of the adults are also

852
00:45:47,440 --> 00:45:50,960
Speaker 2: very bad. Yes, Now, did you make anything of Murdo's

853
00:45:51,040 --> 00:45:54,560
Speaker 2: monobrow here? We talked about in Mister Vampire, how the

854
00:45:55,640 --> 00:45:59,600
Speaker 2: one eyebrow priest that we think that that eyebrow was

855
00:45:59,640 --> 00:46:03,040
Speaker 2: supposed to be a sign of like respect, like that,

856
00:46:03,400 --> 00:46:06,000
Speaker 2: you know, the one eyebrow shows that he's strong, that

857
00:46:06,120 --> 00:46:08,080
Speaker 2: he's serious, that he means business.

858
00:46:09,080 --> 00:46:10,600
Speaker 1: Yeah, in this I don't know, I guess it just

859
00:46:10,760 --> 00:46:13,480
Speaker 1: kind of feels like they did a random assortment of

860
00:46:13,880 --> 00:46:17,520
Speaker 1: physical characteristics that would make their weird character stand out

861
00:46:17,560 --> 00:46:19,480
Speaker 1: as a weirdo in a film of this caliber.

862
00:46:19,960 --> 00:46:23,160
Speaker 2: Yeah. But anyway, from here we get the basic situation

863
00:46:23,280 --> 00:46:25,879
Speaker 2: of the plot. This is not a very plot driven movie,

864
00:46:25,960 --> 00:46:27,799
Speaker 2: so there's not a whole lot to explain in terms

865
00:46:27,840 --> 00:46:29,960
Speaker 2: of here. We might just pick a few things here

866
00:46:30,000 --> 00:46:32,719
Speaker 2: and there to talk about. But the basic situation is

867
00:46:32,880 --> 00:46:34,960
Speaker 2: that they're going to have this festival here in the town,

868
00:46:35,520 --> 00:46:39,399
Speaker 2: and the town has summoned an American fireworks expert named

869
00:46:39,440 --> 00:46:44,840
Speaker 2: Jack Marlowe to do fireworks stuff, and he was hired

870
00:46:45,080 --> 00:46:50,040
Speaker 2: on behalf of the mayor duncan By Vivian, with whom

871
00:46:50,520 --> 00:46:54,239
Speaker 2: Jack the fireworks guy, has a history, and so she

872
00:46:54,760 --> 00:46:58,920
Speaker 2: is the mayor's assistant and she is engaged to him,

873
00:47:00,120 --> 00:47:03,440
Speaker 2: but she does not really like him, and she has

874
00:47:03,560 --> 00:47:07,680
Speaker 2: summoned Jack to the town as their fireworks gy, presumably

875
00:47:07,760 --> 00:47:10,520
Speaker 2: because she wants to reignite her relationship with him.

876
00:47:11,200 --> 00:47:14,640
Speaker 1: Yeah, and escape the town, like this is a possible

877
00:47:14,680 --> 00:47:17,719
Speaker 1: way out of this place, which I think. You know,

878
00:47:18,080 --> 00:47:21,359
Speaker 1: this play sucks. The kids are awful. Yeah, you got

879
00:47:21,440 --> 00:47:25,319
Speaker 1: Murdo creeping around and then nobody knows this is going

880
00:47:25,360 --> 00:47:27,480
Speaker 1: to happen. But the dead are going to rise from

881
00:47:27,480 --> 00:47:30,440
Speaker 1: the grave and start butchering people in the streets tonight.

882
00:47:30,520 --> 00:47:33,279
Speaker 2: Right, And then that's what happens while Marlowe is there.

883
00:47:33,800 --> 00:47:36,239
Speaker 2: The Blind Dead rise from their graves and set out

884
00:47:36,320 --> 00:47:40,040
Speaker 2: on their quest of WARLOCKI vengeance. Now it's a question.

885
00:47:40,120 --> 00:47:42,560
Speaker 2: I think it's a difference in the different versions of

886
00:47:42,640 --> 00:47:45,560
Speaker 2: the film will give you different understandings of why the

887
00:47:45,640 --> 00:47:46,560
Speaker 2: Blind Dead rise.

888
00:47:47,520 --> 00:47:49,839
Speaker 1: Yeah, so the version I watch, so to be clear,

889
00:47:50,320 --> 00:47:52,600
Speaker 1: So you can't find this film just everywhere right now,

890
00:47:52,960 --> 00:47:55,440
Speaker 1: it seems like it should be streaming everywhere, but I

891
00:47:55,600 --> 00:47:59,080
Speaker 1: had to rent a digital copy through Apple, like Apple

892
00:47:59,160 --> 00:48:02,759
Speaker 1: Movies or whatever is. And the version I watched, the

893
00:48:03,160 --> 00:48:05,280
Speaker 1: film called itself was pretty good, but it was dubbed

894
00:48:05,280 --> 00:48:09,680
Speaker 1: into English with no option for the Spanish, and there

895
00:48:09,760 --> 00:48:13,400
Speaker 1: was like one minute of footage cut with your version

896
00:48:13,480 --> 00:48:16,040
Speaker 1: versus my version, so I didn't see some of the

897
00:48:16,120 --> 00:48:18,239
Speaker 1: blood that you saw. I didn't see a woman's heart

898
00:48:18,440 --> 00:48:22,719
Speaker 1: ripped out and bitten like an apple. But then the

899
00:48:22,800 --> 00:48:27,200
Speaker 1: other thing is it totally changes Murdo's role in everything

900
00:48:27,560 --> 00:48:30,520
Speaker 1: and exactly why the dead have risen. In the version

901
00:48:30,640 --> 00:48:34,960
Speaker 1: I watched, it's implied, or even stated through some of

902
00:48:35,040 --> 00:48:40,560
Speaker 1: the added dialogue in the dub that the templar Templars

903
00:48:40,560 --> 00:48:42,600
Speaker 1: were always going to come back five hundred years later,

904
00:48:42,640 --> 00:48:44,719
Speaker 1: and denied is five hundred years later, Like this is

905
00:48:44,920 --> 00:48:48,400
Speaker 1: just something that was always going to happen, and Murdo

906
00:48:49,000 --> 00:48:51,200
Speaker 1: kind of knows that it's going to happen, perhaps because

907
00:48:51,200 --> 00:48:54,440
Speaker 1: he hears the sounds beneath the abbey that sort of thing,

908
00:48:54,760 --> 00:48:57,160
Speaker 1: but he's basically like, oh, yeah, they're coming back, and

909
00:48:57,200 --> 00:48:59,279
Speaker 1: I'm looking forward to it, and they're going to be

910
00:48:59,360 --> 00:49:01,560
Speaker 1: my friends. You know, I'm creepy about it.

911
00:49:01,920 --> 00:49:05,120
Speaker 2: He's more like Ralph in the first Friday the Thirteenth movie.

912
00:49:05,239 --> 00:49:07,240
Speaker 2: He's just kind of like creeping around, going.

913
00:49:07,080 --> 00:49:09,560
Speaker 1: You're all doomed, Yes, exactly.

914
00:49:10,120 --> 00:49:13,480
Speaker 2: But in the version I saw, Murdo is more an

915
00:49:13,640 --> 00:49:17,879
Speaker 2: active villain of the film who summons the blind dead

916
00:49:18,000 --> 00:49:21,000
Speaker 2: by performing a human sacrifice in order to make them

917
00:49:21,120 --> 00:49:22,080
Speaker 2: rise from their graves.

918
00:49:22,239 --> 00:49:25,439
Speaker 1: Oh yeah, yeah, in the in the version you watched,

919
00:49:25,480 --> 00:49:28,160
Speaker 1: and then I went back and watched parts of again, like,

920
00:49:28,360 --> 00:49:32,000
Speaker 1: Murdo is a kidnapper and a cold blooded murderer who

921
00:49:32,200 --> 00:49:35,960
Speaker 1: wants to who engages in blood sacrifice in order to

922
00:49:36,280 --> 00:49:39,360
Speaker 1: have the Templars rise from the grave and destroy the

923
00:49:39,440 --> 00:49:41,200
Speaker 1: town that he hates. And maybe he has every right

924
00:49:41,280 --> 00:49:43,160
Speaker 1: to hate it. I think you can make that argument.

925
00:49:43,280 --> 00:49:45,880
Speaker 1: But he is a kidnapper and a murderer. In the

926
00:49:45,960 --> 00:49:49,239
Speaker 1: version I initially saw, it's just kind of like, oh, well,

927
00:49:49,320 --> 00:49:51,399
Speaker 1: he's you know, he's just there. He's here to watch,

928
00:49:51,480 --> 00:49:53,880
Speaker 1: but he's not. He certainly hasn't killed anybody.

929
00:49:54,239 --> 00:49:56,400
Speaker 2: Now the version you saw, though, you said that he

930
00:49:56,520 --> 00:49:59,319
Speaker 2: thinks they're his friends. One thing is he's hanging out

931
00:49:59,400 --> 00:50:02,839
Speaker 2: when they first strives from their tombs, and he's like, hey,

932
00:50:03,040 --> 00:50:06,360
Speaker 2: remember me, I'm Murdo, I'm your friend, Like he literally

933
00:50:06,440 --> 00:50:09,440
Speaker 2: said that in the subtitles, at least of the part

934
00:50:09,520 --> 00:50:11,000
Speaker 2: I watched. Did your version have that?

935
00:50:11,680 --> 00:50:14,000
Speaker 1: Yes, it did, so he was saying that. But the

936
00:50:14,239 --> 00:50:17,440
Speaker 1: one area I noticed where where the dub was totally

937
00:50:17,520 --> 00:50:21,040
Speaker 1: different versus what he actually said, was the very end

938
00:50:21,080 --> 00:50:23,600
Speaker 1: of that. So there's a sequence where Jack and Vivian

939
00:50:23,760 --> 00:50:25,960
Speaker 1: go to the abbey Ruins and you know, it's if

940
00:50:26,000 --> 00:50:27,840
Speaker 1: the Abbey Ruins are all grown up, and it's you know,

941
00:50:27,920 --> 00:50:31,239
Speaker 1: it's kind of green and lush, and so they start

942
00:50:31,320 --> 00:50:35,160
Speaker 1: to reacquaint with each other and she's.

943
00:50:35,120 --> 00:50:38,040
Speaker 2: Like, She's like, I still love you. Let's run away together.

944
00:50:38,160 --> 00:50:42,560
Speaker 1: Right, and Murdo is of hardcore. Ye, Murdo is watching

945
00:50:42,600 --> 00:50:45,080
Speaker 1: from the bushes, and then they see Murdo and they

946
00:50:45,160 --> 00:50:47,840
Speaker 1: end up having a conversation with Murdo. And at the

947
00:50:48,040 --> 00:50:51,080
Speaker 1: very end of that in the version I watch in

948
00:50:51,120 --> 00:50:54,680
Speaker 1: the English dub, she says something dismissive to Murdo and

949
00:50:54,800 --> 00:50:57,160
Speaker 1: he's and he just responds with something like, oh, they

950
00:50:57,239 --> 00:51:00,640
Speaker 1: never listen. But in the original mur it was super

951
00:51:00,680 --> 00:51:03,680
Speaker 1: creepy because she's saying, you should forget all this and

952
00:51:03,840 --> 00:51:06,080
Speaker 1: just go get a girlfriend, go dance at the at

953
00:51:06,120 --> 00:51:09,360
Speaker 1: the festival, and then he says in Spanish, I already

954
00:51:09,440 --> 00:51:12,279
Speaker 1: have one, and there's this evil snicker, and then a

955
00:51:12,400 --> 00:51:18,480
Speaker 1: jump cut to Murdo murdering the woman that he has kidnapped. Yeah,

956
00:51:18,680 --> 00:51:21,719
Speaker 1: so's It's a really creepy moment in the film, and

957
00:51:21,800 --> 00:51:24,480
Speaker 1: one that I'm really surprised that they cut, because I

958
00:51:24,560 --> 00:51:28,000
Speaker 1: feel like you don't tremendously sanitize the film by taking

959
00:51:28,040 --> 00:51:29,200
Speaker 1: that out. It's like, it's already a.

960
00:51:29,239 --> 00:51:30,360
Speaker 2: Bloody, still grody.

961
00:51:30,680 --> 00:51:33,360
Speaker 1: Yeah, so I don't It's like unless it was just

962
00:51:33,480 --> 00:51:37,040
Speaker 1: like the Murdo Appreciation Society where they're like, no, Murdo

963
00:51:37,200 --> 00:51:39,439
Speaker 1: needs to be a good person in this film, where

964
00:51:40,200 --> 00:51:43,520
Speaker 1: I don't quite understand why you would do that. Again,

965
00:51:43,600 --> 00:51:45,200
Speaker 1: you're just cutting a minute off the runtime.

966
00:51:45,560 --> 00:51:48,880
Speaker 2: I mean, perhaps it seems incongruous because later in the

967
00:51:49,080 --> 00:51:52,840
Speaker 2: movie Murdo does appear too genuinely try to help the

968
00:51:53,000 --> 00:51:55,560
Speaker 2: lady who saved him from being murdered by the mob

969
00:51:55,640 --> 00:51:58,960
Speaker 2: of eight year olds early. It's true, and maybe they

970
00:51:59,040 --> 00:52:02,800
Speaker 2: thought it wouldn't make sense for him to be trying

971
00:52:02,880 --> 00:52:06,120
Speaker 2: to help her if he had already murdered somebody earlier

972
00:52:06,160 --> 00:52:06,680
Speaker 2: in the movie.

973
00:52:07,080 --> 00:52:09,879
Speaker 1: I guess, so I could see that being the case, because, yeah,

974
00:52:09,960 --> 00:52:11,840
Speaker 1: later on in the film, you're kind of expecting Murdo

975
00:52:12,000 --> 00:52:15,120
Speaker 1: to turn on her or something, but he doesn't, or

976
00:52:15,160 --> 00:52:16,400
Speaker 1: at least he never gets the chance to.

977
00:52:16,920 --> 00:52:19,719
Speaker 2: Oh yeah, maybe he would have if the Blind Dead

978
00:52:19,800 --> 00:52:21,440
Speaker 2: had not cut his head off spoiler.

979
00:52:22,960 --> 00:52:23,080
Speaker 1: Oh.

980
00:52:23,160 --> 00:52:25,600
Speaker 2: But also here we get a flashback where we learned

981
00:52:25,640 --> 00:52:28,440
Speaker 2: that the Templars learned secret rights that allowed them to

982
00:52:28,560 --> 00:52:32,959
Speaker 2: achieve eternal life, and a couple of observations about this. Again,

983
00:52:33,080 --> 00:52:36,080
Speaker 2: Like I said, the immortality that they're able to achieve

984
00:52:36,480 --> 00:52:39,200
Speaker 2: does not seem very pleasant. But the other thing is

985
00:52:39,239 --> 00:52:43,000
Speaker 2: that the quote secret rights appear to be simply doing

986
00:52:43,040 --> 00:52:47,279
Speaker 2: a human sacrifice, drinking somebody's blood and then pulling their

987
00:52:47,320 --> 00:52:49,799
Speaker 2: heart out and just like eating it, just biting into

988
00:52:49,840 --> 00:52:51,080
Speaker 2: it like a big turkey leg.

989
00:52:51,719 --> 00:52:54,239
Speaker 1: Now, to complicate things, not only did my cut of

990
00:52:54,280 --> 00:52:57,200
Speaker 1: the film not have the heart biting a scene, it

991
00:52:57,320 --> 00:53:00,880
Speaker 1: also positions this human sacrifice right at the beginning of

992
00:53:00,960 --> 00:53:05,040
Speaker 1: the film, before we see the villagers kill the Templars.

993
00:53:05,440 --> 00:53:09,080
Speaker 1: So it's interesting. Doesn't make a huge difference, I guess,

994
00:53:09,160 --> 00:53:11,399
Speaker 1: But I guess it comes by virtue of also moving

995
00:53:11,480 --> 00:53:16,000
Speaker 1: around that removing that Murdo Human Sacrifice Part.

996
00:53:16,360 --> 00:53:20,120
Speaker 2: Oh, I see, okay, but whatever the mechanics in any version,

997
00:53:20,800 --> 00:53:23,240
Speaker 2: the townsfolk are having a big party. They're all dancing

998
00:53:23,320 --> 00:53:26,040
Speaker 2: in the town square. Everybody's drinking, having a good time.

999
00:53:26,520 --> 00:53:29,399
Speaker 2: Jack and Vivian are planning to run off together that night.

1000
00:53:29,600 --> 00:53:31,880
Speaker 2: And then the Blind Dead awake, they come out of

1001
00:53:31,880 --> 00:53:35,640
Speaker 2: their graves. We get a great subtitle that says, Masonic

1002
00:53:35,760 --> 00:53:40,040
Speaker 2: chanting intensifies. Murdo is like, hey, I'm your friend, and

1003
00:53:40,160 --> 00:53:42,880
Speaker 2: then they run off toward the town to start knocking

1004
00:53:42,960 --> 00:53:44,920
Speaker 2: on doors and whacking people with swords.

1005
00:53:45,400 --> 00:53:50,080
Speaker 1: Yes, and oh yeah. So I saw one review of

1006
00:53:50,200 --> 00:53:53,280
Speaker 1: this film which was like pointing out that the Blind

1007
00:53:53,360 --> 00:53:56,200
Speaker 1: Dead are basically they get a lot of screen time.

1008
00:53:56,239 --> 00:53:59,919
Speaker 1: They're almost constantly on the screen, especially after they ride,

1009
00:54:00,600 --> 00:54:04,000
Speaker 1: and so you see a lot of them, and sometimes

1010
00:54:04,160 --> 00:54:07,759
Speaker 1: they look very good. I think sometimes they do have

1011
00:54:07,880 --> 00:54:10,160
Speaker 1: that kind of scarecrow puppet appearance as well.

1012
00:54:10,920 --> 00:54:13,359
Speaker 2: I think the Blind Dead actually do. I think they

1013
00:54:13,440 --> 00:54:16,520
Speaker 2: look pretty good, pretty scary, and they would have looked

1014
00:54:16,560 --> 00:54:18,879
Speaker 2: scarier if you saw less of them in the movie.

1015
00:54:18,960 --> 00:54:21,080
Speaker 2: I mean, they're given too much screen time. This is

1016
00:54:21,080 --> 00:54:23,800
Speaker 2: a classic mistake in horror movies. You show your monster

1017
00:54:23,920 --> 00:54:24,359
Speaker 2: too much.

1018
00:54:25,040 --> 00:54:27,800
Speaker 1: Yeah. I think some of my favorite scenes are of

1019
00:54:27,920 --> 00:54:32,920
Speaker 1: them riding though, because despite the complexities of having to

1020
00:54:33,040 --> 00:54:36,279
Speaker 1: use an obviously live horse, they cover the horse pretty well.

1021
00:54:36,320 --> 00:54:40,520
Speaker 1: They put these kind of like same grave weathered garments

1022
00:54:40,640 --> 00:54:44,239
Speaker 1: over the horse, and then the knights the blind Dead

1023
00:54:44,280 --> 00:54:48,959
Speaker 1: are riding these horses in kind of a slow motion

1024
00:54:49,080 --> 00:54:52,319
Speaker 1: effect with that super effective creepy music. And then they're

1025
00:54:52,360 --> 00:54:55,000
Speaker 1: also shooting day for night in most of these scenes.

1026
00:54:55,480 --> 00:54:58,640
Speaker 2: Oh yeah, yeah, I noticed that too, which, of course

1027
00:54:58,719 --> 00:55:00,879
Speaker 2: that's not unique to this movie. I mean tons of movies,

1028
00:55:00,960 --> 00:55:04,000
Speaker 2: especially movies we talk about on this on this show,

1029
00:55:04,600 --> 00:55:07,560
Speaker 2: do day for night shots, and some of the ones

1030
00:55:07,600 --> 00:55:09,920
Speaker 2: in here look okay, other ones are less convincing.

1031
00:55:10,400 --> 00:55:13,000
Speaker 1: Well, it's weird when I think about day for night

1032
00:55:13,040 --> 00:55:15,560
Speaker 1: because I think, as we may have pointed out before,

1033
00:55:15,800 --> 00:55:17,640
Speaker 1: it's harder to shoot at night, and in many cases

1034
00:55:17,680 --> 00:55:19,600
Speaker 1: it's easier to shoot during the day and to make

1035
00:55:19,640 --> 00:55:21,840
Speaker 1: it look like night by under exposing the scene in

1036
00:55:21,960 --> 00:55:26,200
Speaker 1: camera or darkening it during post production. And sometimes you

1037
00:55:26,280 --> 00:55:29,880
Speaker 1: can kind of lean into the disbelief, like willingly disbelieve

1038
00:55:30,239 --> 00:55:33,640
Speaker 1: that you're looking at a daytime shot and just just

1039
00:55:33,719 --> 00:55:37,160
Speaker 1: go okay, it's night, I'll accept it, and sometimes that's

1040
00:55:37,200 --> 00:55:39,840
Speaker 1: easier to do than other times in a film. But

1041
00:55:39,960 --> 00:55:42,160
Speaker 1: then in this film particularly, I found that the day

1042
00:55:42,200 --> 00:55:44,480
Speaker 1: for night shots had kind of an unreality to them

1043
00:55:44,520 --> 00:55:48,120
Speaker 1: that I kind of liked. And it's like, oh, it's

1044
00:55:48,280 --> 00:55:53,040
Speaker 1: kind of daylight, but it's not. It almost has this yeah,

1045
00:55:53,080 --> 00:55:56,000
Speaker 1: this weird nether realm kind of equality to it, and

1046
00:55:56,440 --> 00:55:57,919
Speaker 1: for that reason, I don't know, it kind of works

1047
00:55:57,960 --> 00:55:58,200
Speaker 1: for me.

1048
00:55:58,520 --> 00:56:01,359
Speaker 2: Oh, it's definitely better than the ones. And like, when

1049
00:56:01,360 --> 00:56:04,240
Speaker 2: I think about the worst examples of day for night shots,

1050
00:56:04,239 --> 00:56:06,759
Speaker 2: I think of, for example, the movie made famous on

1051
00:56:06,880 --> 00:56:11,239
Speaker 2: Mystery Science Theater Werewolf, Oh, where it seems that they

1052
00:56:11,320 --> 00:56:15,440
Speaker 2: have shot nighttime scenes in broad daylight, not just daylight,

1053
00:56:15,520 --> 00:56:18,720
Speaker 2: but like bright bright daylight with like maybe a blue

1054
00:56:18,920 --> 00:56:20,760
Speaker 2: gel over the lens or something.

1055
00:56:21,000 --> 00:56:24,880
Speaker 1: Mm hmm. Yeah. Yeah. Sometimes it's it's really hard to

1056
00:56:24,960 --> 00:56:27,040
Speaker 1: accept it. It's like no, no, like the brain will

1057
00:56:27,080 --> 00:56:30,360
Speaker 1: just not shut it off, whereas like in these films

1058
00:56:30,400 --> 00:56:32,840
Speaker 1: it's almost like there's been an eclipse or something like

1059
00:56:32,960 --> 00:56:36,959
Speaker 1: it feels it feels cosmically wrong, like it doesn't feel

1060
00:56:37,040 --> 00:56:39,200
Speaker 1: like day, but it also doesn't feel like night. It's

1061
00:56:39,640 --> 00:56:42,480
Speaker 1: it seems it seems like this is the sort of

1062
00:56:43,040 --> 00:56:44,880
Speaker 1: environment into which the dead might.

1063
00:56:44,800 --> 00:56:47,680
Speaker 2: Arise, so I end up buying right now. Plot wise,

1064
00:56:47,719 --> 00:56:51,680
Speaker 2: as the blind Dead continue to close in on the

1065
00:56:51,840 --> 00:56:54,960
Speaker 2: town square where everybody's celebrating and dancing at the festival,

1066
00:56:56,280 --> 00:56:58,719
Speaker 2: you get this like the mayor and all of his

1067
00:56:58,880 --> 00:57:02,040
Speaker 2: goons become in singly aware of what's going on, and

1068
00:57:02,160 --> 00:57:04,959
Speaker 2: there's this strange subplot where they were I think maybe

1069
00:57:05,000 --> 00:57:08,359
Speaker 2: two or three times even in the movie, they call

1070
00:57:08,960 --> 00:57:12,480
Speaker 2: somebody who's like the higher up in government, I guess

1071
00:57:12,600 --> 00:57:15,680
Speaker 2: the local I don't know, the provincial administrator or something,

1072
00:57:16,320 --> 00:57:19,000
Speaker 2: to get him to send in the army and save

1073
00:57:19,160 --> 00:57:23,040
Speaker 2: them from the blind dead, and he is completely dismissive

1074
00:57:23,120 --> 00:57:26,200
Speaker 2: of them. You see him. He's also just another scumbag,

1075
00:57:26,320 --> 00:57:29,360
Speaker 2: and he's just like, yeah, whatever, you're all drunk and

1076
00:57:29,520 --> 00:57:33,440
Speaker 2: just hangs up the phone. And I was wondering again, like, okay,

1077
00:57:34,120 --> 00:57:38,200
Speaker 2: I'm wondering how to read the nineteen seventy three Spanish

1078
00:57:38,320 --> 00:57:39,920
Speaker 2: politics of scenes like this.

1079
00:57:40,720 --> 00:57:43,520
Speaker 1: Yeah, yeah, this film this feels very intentional because I

1080
00:57:43,600 --> 00:57:45,720
Speaker 1: think in the dub version it's the governor they're calling.

1081
00:57:45,880 --> 00:57:50,280
Speaker 1: So you have the local politician who's totally corrupt and

1082
00:57:51,240 --> 00:57:53,880
Speaker 1: cowardly and no help at all to the situation. But

1083
00:57:54,000 --> 00:57:55,840
Speaker 1: he reaches the point where's like, I better call the

1084
00:57:55,920 --> 00:57:57,800
Speaker 1: next guy, better call the governor, And the governor is

1085
00:57:58,160 --> 00:58:02,680
Speaker 1: is equally unhelpful and seems seemingly equally like morally corrupt,

1086
00:58:02,800 --> 00:58:06,040
Speaker 1: Like it's it's either stated or implied that he's hanging

1087
00:58:06,080 --> 00:58:09,280
Speaker 1: out in a room with his perhaps mistress the whole time.

1088
00:58:09,600 --> 00:58:11,720
Speaker 1: Oh yeah, just ends up just missing them all as

1089
00:58:11,800 --> 00:58:13,840
Speaker 1: drunks and tells him to go pray about it at church.

1090
00:58:14,280 --> 00:58:16,240
Speaker 2: Yes, yes, that's right, he says, Yes, pray for and

1091
00:58:16,360 --> 00:58:19,080
Speaker 2: then he asks them to pray for him. Yes, say

1092
00:58:19,160 --> 00:58:22,440
Speaker 2: pray for us, pray for your leaders. But also so

1093
00:58:22,600 --> 00:58:26,760
Speaker 2: the mayor. There's this great scene where they're the mayor

1094
00:58:27,000 --> 00:58:30,520
Speaker 2: and Jack and Vivian and the mayor's main henchman guy

1095
00:58:31,120 --> 00:58:33,640
Speaker 2: are standing up on this balcony and they watch as

1096
00:58:33,800 --> 00:58:36,120
Speaker 2: the blind Dead ride into the town square and just

1097
00:58:36,160 --> 00:58:39,640
Speaker 2: start killing everybody at the big party, and the mayor

1098
00:58:39,760 --> 00:58:42,480
Speaker 2: and I think Jack is like, I sort of lost

1099
00:58:42,520 --> 00:58:43,960
Speaker 2: track of who was saying what here, but I think

1100
00:58:44,040 --> 00:58:45,640
Speaker 2: Jack is like, we got to go down there and

1101
00:58:45,920 --> 00:58:48,919
Speaker 2: organize them to fight. And the Mayor's the mayor says,

1102
00:58:49,200 --> 00:58:51,600
Speaker 2: let the slaughter continue. I'll stay here.

1103
00:58:54,200 --> 00:58:56,160
Speaker 1: Yeah, he's he's so the worst.

1104
00:58:56,480 --> 00:58:59,120
Speaker 2: And then you see him, You see him just like

1105
00:58:59,560 --> 00:59:02,360
Speaker 2: opening up a safe and cramming a bunch of jewels

1106
00:59:02,440 --> 00:59:04,000
Speaker 2: and cash into a suitcase.

1107
00:59:04,480 --> 00:59:07,840
Speaker 1: Yeah yeah, which made me think of the episode of

1108
00:59:07,840 --> 00:59:10,240
Speaker 1: The Simpsons where Quimby is basically doing the same thing,

1109
00:59:10,280 --> 00:59:12,240
Speaker 1: where he's like, I propose that I use what's left

1110
00:59:12,280 --> 00:59:14,680
Speaker 1: of the town treasury to move to a town without

1111
00:59:14,800 --> 00:59:17,760
Speaker 1: zombies and run for mayor, and once elected, I will

1112
00:59:17,840 --> 00:59:18,680
Speaker 1: send for the rest of you.

1113
00:59:19,120 --> 00:59:20,720
Speaker 2: Uh huh, yep, that's about right.

1114
00:59:21,200 --> 00:59:21,320
Speaker 1: Hm.

1115
00:59:22,160 --> 00:59:24,000
Speaker 2: But he doesn't get out. They try to escape on

1116
00:59:24,080 --> 00:59:26,760
Speaker 2: a car, but then they all end up getting stuck

1117
00:59:26,800 --> 00:59:28,760
Speaker 2: in a church. Oh but before they do that. One

1118
00:59:28,800 --> 00:59:32,440
Speaker 2: thing I thought was interesting was that Jack and the

1119
00:59:32,520 --> 00:59:36,520
Speaker 2: other henchman guy do briefly rally the townsfolk to fight

1120
00:59:36,680 --> 00:59:39,800
Speaker 2: the blind dead and confirm if I'm right here, Rob,

1121
00:59:39,960 --> 00:59:43,040
Speaker 2: I think the townsfolk here are using the exact same

1122
00:59:43,240 --> 00:59:46,800
Speaker 2: pitchfork props that the villagers from five hundred years earlier

1123
00:59:46,880 --> 00:59:48,360
Speaker 2: were using in the opening scene.

1124
00:59:49,400 --> 00:59:51,360
Speaker 1: Oh wow, I think you may be right. Yeah, these

1125
00:59:51,400 --> 00:59:54,240
Speaker 1: are very antique looking wooden pitchforks.

1126
00:59:54,520 --> 00:59:56,880
Speaker 2: Yeah, some of them just have like two prongs, some

1127
00:59:57,080 --> 01:00:00,480
Speaker 2: have three, some have four. H But I did not

1128
01:00:00,560 --> 01:00:03,160
Speaker 2: expect this film to have as much battle between the

1129
01:00:03,240 --> 01:00:05,760
Speaker 2: modern villagers and the zombies. They battle for a bit,

1130
01:00:05,840 --> 01:00:08,200
Speaker 2: but then the zombies sort of win, and then the

1131
01:00:08,280 --> 01:00:10,560
Speaker 2: main characters have to retreat to the church, where it

1132
01:00:10,680 --> 01:00:14,160
Speaker 2: turns more into the classic, you know, building under siege

1133
01:00:14,240 --> 01:00:17,320
Speaker 2: by zombies' story like the original Night of the Living Dead.

1134
01:00:17,920 --> 01:00:20,280
Speaker 1: But I really liked some of these scenes too, because

1135
01:00:20,480 --> 01:00:21,800
Speaker 1: I don't know if they shot it in an actual

1136
01:00:21,880 --> 01:00:25,000
Speaker 1: church or or whatnot, but there's all this religious stuff

1137
01:00:25,160 --> 01:00:29,240
Speaker 1: setting around, like various religious decorations in iconography, and it

1138
01:00:29,320 --> 01:00:32,600
Speaker 1: feels like the store room of an old, stuffy church.

1139
01:00:32,920 --> 01:00:36,160
Speaker 2: Oh yeah, yeah, yeah, I like that too. And there's

1140
01:00:36,200 --> 01:00:38,520
Speaker 2: some funny stuff here too. So, like I said, the

1141
01:00:39,400 --> 01:00:42,320
Speaker 2: appearance of the Blind Dead is a very mixed bag.

1142
01:00:42,400 --> 01:00:45,040
Speaker 2: There are some shots where they look very creepy it's

1143
01:00:45,080 --> 01:00:48,040
Speaker 2: effective horror cinematography, and there are other ones where I

1144
01:00:48,160 --> 01:00:50,440
Speaker 2: have to say, they look very funny and so like

1145
01:00:51,040 --> 01:00:54,040
Speaker 2: some of the funniest stuff is when they're doing stuff

1146
01:00:54,200 --> 01:00:57,720
Speaker 2: with their swords, like when the main characters retreat into

1147
01:00:57,800 --> 01:01:00,720
Speaker 2: the church. There's a very funny shot of the zombie

1148
01:01:00,880 --> 01:01:04,640
Speaker 2: swords like poking in through the window shutters and wiggling around.

1149
01:01:04,840 --> 01:01:07,640
Speaker 1: Do you remember this, Yeah, yeah, like they're kind of

1150
01:01:07,840 --> 01:01:10,920
Speaker 1: trying to pick the window with a long sword.

1151
01:01:11,080 --> 01:01:13,400
Speaker 2: It's yes, we And in fact, the whole way that

1152
01:01:13,520 --> 01:01:16,800
Speaker 2: the zombies hit things with their swords generally looks funny.

1153
01:01:17,280 --> 01:01:20,040
Speaker 2: There's this kind of stiff arm motion like the I

1154
01:01:20,400 --> 01:01:22,560
Speaker 2: was thinking what it reminded me of, and it really

1155
01:01:22,640 --> 01:01:25,320
Speaker 2: kind of looks like the Karate chop action figure arm.

1156
01:01:25,920 --> 01:01:28,600
Speaker 1: Oh yeah, yeah, it does. It does make me wonder though.

1157
01:01:28,640 --> 01:01:31,240
Speaker 1: It's like the filming of this, I'm trying to imagine

1158
01:01:31,320 --> 01:01:35,640
Speaker 1: the the the stunt choreography such as it was, where

1159
01:01:35,680 --> 01:01:39,200
Speaker 1: you're dressing some people up in these these undead, blind

1160
01:01:39,280 --> 01:01:42,080
Speaker 1: dead costumes, which I'm guessing might have been difficult to

1161
01:01:42,160 --> 01:01:44,440
Speaker 1: see out of, and then you start handing out the

1162
01:01:44,520 --> 01:01:45,960
Speaker 1: long sorts right right.

1163
01:01:46,160 --> 01:01:49,320
Speaker 2: You can imagine that these these actors were probably somewhat

1164
01:01:49,440 --> 01:01:53,840
Speaker 2: encumbered by their costumes. But so here I think we

1165
01:01:53,960 --> 01:01:57,280
Speaker 2: also learn some things about some of the rules of

1166
01:01:57,400 --> 01:01:59,640
Speaker 2: the blind dead, right, Like I think this is when

1167
01:01:59,640 --> 01:02:02,520
Speaker 2: the car start to figure out that they can hear

1168
01:02:02,720 --> 01:02:06,840
Speaker 2: but they can't see, and also that the zombies are

1169
01:02:07,240 --> 01:02:08,440
Speaker 2: are defeated by fire.

1170
01:02:09,120 --> 01:02:11,720
Speaker 1: Yeah, but that makes sense, right, I mean you had

1171
01:02:11,960 --> 01:02:14,560
Speaker 1: templars that were burned at the stake, so they would

1172
01:02:14,680 --> 01:02:16,880
Speaker 1: they would need to have a weakness to fire and

1173
01:02:17,040 --> 01:02:17,840
Speaker 1: to papal.

1174
01:02:17,560 --> 01:02:22,320
Speaker 2: Bulls, right, And so there are a number of things

1175
01:02:22,360 --> 01:02:24,960
Speaker 2: that go on here. Of course, the the scummy characters

1176
01:02:25,040 --> 01:02:29,000
Speaker 2: continue to be scummy. The mayor at one point decides

1177
01:02:29,080 --> 01:02:31,760
Speaker 2: to use a child who is hiding in the church

1178
01:02:31,920 --> 01:02:35,040
Speaker 2: as zombie bait he gets. He goes to this little

1179
01:02:35,080 --> 01:02:38,040
Speaker 2: girl and he's like, hey, your father is across the

1180
01:02:38,080 --> 01:02:41,080
Speaker 2: street with candy for you. Oh he's also already gotten

1181
01:02:41,160 --> 01:02:42,240
Speaker 2: the kid's father killed.

1182
01:02:42,320 --> 01:02:44,680
Speaker 1: And ah, yeah, he already got him killed already, So

1183
01:02:44,800 --> 01:02:47,480
Speaker 1: he's responsible for her father's death. And he's like, and

1184
01:02:47,560 --> 01:02:49,720
Speaker 1: then he's going to use her as essentially a human

1185
01:02:49,760 --> 01:02:52,240
Speaker 1: shield to try and escape all by himself.

1186
01:02:52,440 --> 01:02:54,680
Speaker 2: Yeah, he's like, child, you run across the street. Your

1187
01:02:54,760 --> 01:02:57,120
Speaker 2: dad's over there with candy. I'm going to go over

1188
01:02:57,200 --> 01:02:59,400
Speaker 2: here now. But of course it does not work, and

1189
01:02:59,680 --> 01:03:03,600
Speaker 2: the may ends up getting his comeuppance. Eventually, Murdo recruits

1190
01:03:03,680 --> 01:03:05,920
Speaker 2: the lady who helped save him from the eight year

1191
01:03:06,000 --> 01:03:09,720
Speaker 2: olds earlier in the movie to escape through a tunnel

1192
01:03:10,200 --> 01:03:13,040
Speaker 2: in the church, though that kind of doesn't end up

1193
01:03:13,080 --> 01:03:15,680
Speaker 2: going anywhere because they like but he ends up poking

1194
01:03:15,720 --> 01:03:17,160
Speaker 2: his head out of the tunnel at the end, and

1195
01:03:17,320 --> 01:03:19,320
Speaker 2: the blind Dad are waiting there for him, and they

1196
01:03:19,400 --> 01:03:22,120
Speaker 2: just chop his head off, and they've got a funny

1197
01:03:22,200 --> 01:03:24,959
Speaker 2: scene of his head severed from his body and lying

1198
01:03:25,000 --> 01:03:27,120
Speaker 2: there on the ground, and he's got this creepy grin

1199
01:03:27,240 --> 01:03:27,800
Speaker 2: on his face.

1200
01:03:28,040 --> 01:03:31,160
Speaker 1: Yeah, he's got this signature Murdo grin, which is the

1201
01:03:31,200 --> 01:03:33,400
Speaker 1: first thing we see, the first facial expression we see

1202
01:03:33,440 --> 01:03:36,840
Speaker 1: from him, where he's smiling to an obscene level with

1203
01:03:37,000 --> 01:03:40,320
Speaker 1: half of his face. And so, yes, we are introduced

1204
01:03:40,360 --> 01:03:41,800
Speaker 1: to him that way, and that's also the way he

1205
01:03:41,920 --> 01:03:42,520
Speaker 1: leaves the world.

1206
01:03:43,080 --> 01:03:43,200
Speaker 4: Now.

1207
01:03:43,400 --> 01:03:45,560
Speaker 2: One thing I thought was interesting is that at the

1208
01:03:45,720 --> 01:03:48,240
Speaker 2: end of the film, the good characters who are left,

1209
01:03:48,360 --> 01:03:51,640
Speaker 2: Jack and Vivian and the child, the little girl, they

1210
01:03:51,720 --> 01:03:54,080
Speaker 2: get to escape the church, but they don't really have

1211
01:03:54,200 --> 01:03:56,800
Speaker 2: to do anything. The blind Dead appear to have just

1212
01:03:56,880 --> 01:03:59,680
Speaker 2: been defeated by dawn breaking. Am I right about that?

1213
01:04:00,120 --> 01:04:02,080
Speaker 1: Yeah, it's like they have made it through the night.

1214
01:04:02,880 --> 01:04:06,640
Speaker 1: The sun has come up, the rooster is cockadoodle doing

1215
01:04:07,080 --> 01:04:08,800
Speaker 1: and of course, it's kind of like Night on Bald

1216
01:04:08,880 --> 01:04:11,040
Speaker 1: Mountain at that point, right, Like the sun has risen,

1217
01:04:11,120 --> 01:04:13,360
Speaker 1: the power of the undead, the power of the demonic

1218
01:04:13,480 --> 01:04:17,720
Speaker 1: forces has ended, and our heroes who now have this

1219
01:04:17,880 --> 01:04:21,680
Speaker 1: kind of accidental family formed by tragedy that you see

1220
01:04:21,720 --> 01:04:24,160
Speaker 1: in films like this. Sometimes it's like, sorry, kid, you

1221
01:04:24,240 --> 01:04:27,720
Speaker 1: lost both your parents in one just horrific night of

1222
01:04:27,840 --> 01:04:31,120
Speaker 1: supernatural terror. But Jack and Vivian are here, so it's

1223
01:04:31,160 --> 01:04:31,840
Speaker 1: everything's cool.

1224
01:04:32,320 --> 01:04:34,280
Speaker 2: A victim of mayor shenanigans.

1225
01:04:34,640 --> 01:04:37,520
Speaker 1: Yeah, oh yeah, and I guess like Jack's the mayor

1226
01:04:37,600 --> 01:04:38,640
Speaker 1: now too, right, I mean.

1227
01:04:39,240 --> 01:04:43,560
Speaker 2: Works, I don't know, yeah, by default, right, yeah, that

1228
01:04:43,760 --> 01:04:45,040
Speaker 2: is a part of every town charter.

1229
01:04:45,200 --> 01:04:45,320
Speaker 4: Right.

1230
01:04:45,400 --> 01:04:49,640
Speaker 2: If all local government has killed the nearest fireworks expert

1231
01:04:49,800 --> 01:04:52,000
Speaker 2: ascends to the to the office.

1232
01:04:52,160 --> 01:04:54,720
Speaker 1: It also means they're probably all three of them are

1233
01:04:54,800 --> 01:04:57,600
Speaker 1: on the planning committee now for next year's festival. So

1234
01:04:57,720 --> 01:04:59,240
Speaker 1: that's going to be a challenge, Like how do you

1235
01:04:59,800 --> 01:05:02,400
Speaker 1: have you bounce back from a festival like this and

1236
01:05:03,040 --> 01:05:05,000
Speaker 1: you know, and still make sure it's fun for everybody?

1237
01:05:05,400 --> 01:05:10,360
Speaker 2: Okay, question, how come the characters once they figured out

1238
01:05:10,560 --> 01:05:14,040
Speaker 2: that the blind dead operate by hearing, why didn't they

1239
01:05:14,040 --> 01:05:14,880
Speaker 2: take their shoes off.

1240
01:05:15,400 --> 01:05:19,919
Speaker 1: Hmmmm, well, I guess that would work, would have worked

1241
01:05:19,920 --> 01:05:23,320
Speaker 1: okay for indoors, except okay, if it's an old church,

1242
01:05:23,400 --> 01:05:26,160
Speaker 1: maybe it's creaky. Maybe the floorboards would have creaked anyway.

1243
01:05:26,560 --> 01:05:28,320
Speaker 2: M Well, no, I mean when they were trying to

1244
01:05:28,360 --> 01:05:31,080
Speaker 2: sneak by them outside. There's multiple scenes where they're trying

1245
01:05:31,120 --> 01:05:34,080
Speaker 2: to sneak by the zombies in the street. But they're

1246
01:05:34,440 --> 01:05:36,920
Speaker 2: making noise and the zombies can hear them. It seems

1247
01:05:37,080 --> 01:05:38,760
Speaker 2: logical they should have taken their shoes off.

1248
01:05:38,880 --> 01:05:41,200
Speaker 1: Well, maybe they could have been graveled. There could have

1249
01:05:41,280 --> 01:05:44,560
Speaker 1: been bits of fireworks left over. The fireworks have already

1250
01:05:44,600 --> 01:05:47,480
Speaker 1: gone off. I think you know, there was drinking and dancing.

1251
01:05:47,560 --> 01:05:49,000
Speaker 1: There might be glass in the street.

1252
01:05:49,360 --> 01:05:50,440
Speaker 2: Oh that's a good point.

1253
01:05:50,600 --> 01:05:52,600
Speaker 1: Yeah, gotta be careful with your tipsies.

1254
01:05:53,040 --> 01:05:55,480
Speaker 2: Been a big party, Yeah, take care of your feet.

1255
01:05:55,920 --> 01:05:57,720
Speaker 1: But that would that would make for a good scene

1256
01:05:57,960 --> 01:05:59,400
Speaker 1: in one of these films. I wonder if that's been

1257
01:05:59,440 --> 01:06:00,800
Speaker 1: done in any of the these other films, Is that,

1258
01:06:00,920 --> 01:06:02,320
Speaker 1: like in a quiet place? Do they ever take their

1259
01:06:02,360 --> 01:06:06,160
Speaker 1: shoes off in that I don't recall. Yeah, I have

1260
01:06:06,240 --> 01:06:08,200
Speaker 1: to say this was Ultimately I found this to be

1261
01:06:08,240 --> 01:06:11,240
Speaker 1: a really fun flick. The pacing I feel like is

1262
01:06:11,280 --> 01:06:15,640
Speaker 1: pretty good, especially for a film from this time period,

1263
01:06:16,520 --> 01:06:21,360
Speaker 1: and to feature creatures enemies that are slow and plotting,

1264
01:06:22,640 --> 01:06:25,160
Speaker 1: like they're able to explore that kind of enemy without

1265
01:06:25,240 --> 01:06:28,960
Speaker 1: having it result in a slow and plotting film. And

1266
01:06:29,040 --> 01:06:32,920
Speaker 1: then you have numerous human characters of interest, most of

1267
01:06:32,960 --> 01:06:35,120
Speaker 1: them deplorable but never boring.

1268
01:06:35,640 --> 01:06:40,280
Speaker 2: True. True, Okay, but here's one question. The zombies in

1269
01:06:40,320 --> 01:06:44,919
Speaker 2: this film are not like the normal shambling, completely brain

1270
01:06:45,040 --> 01:06:49,560
Speaker 2: dead George Romero type zombies. They can operate tools, meaning

1271
01:06:49,680 --> 01:06:51,880
Speaker 2: you know, they have swords and so they can use them,

1272
01:06:52,840 --> 01:06:55,439
Speaker 2: and they can ride horses, so they've got something left

1273
01:06:55,520 --> 01:06:57,960
Speaker 2: going on in their brains. Should they have been able

1274
01:06:58,040 --> 01:06:58,760
Speaker 2: to speak.

1275
01:06:59,160 --> 01:07:00,840
Speaker 1: Well, I mean, I guess they don't really have the

1276
01:07:00,840 --> 01:07:05,000
Speaker 1: apparatus for speech anymore. They look pretty desiccated. But but yeah,

1277
01:07:05,040 --> 01:07:07,440
Speaker 1: it's a good point. They're not just mindlessly pawing at

1278
01:07:07,480 --> 01:07:11,200
Speaker 1: the doors they're stalking around. They're they're also capable of

1279
01:07:11,360 --> 01:07:14,080
Speaker 1: just waiting outside. They are all these scenes where they

1280
01:07:14,120 --> 01:07:17,080
Speaker 1: look outside the church when they're they're barricaded inside and

1281
01:07:17,160 --> 01:07:19,760
Speaker 1: the dead or just waiting like waiting them for them

1282
01:07:19,800 --> 01:07:22,320
Speaker 1: to make a break for it, besieging them, you know.

1283
01:07:22,560 --> 01:07:24,640
Speaker 1: So I guess to a certain extent, at least some

1284
01:07:24,760 --> 01:07:28,240
Speaker 1: of those, like the military prowess of the Crusades has

1285
01:07:28,280 --> 01:07:33,880
Speaker 1: survived in their their their their their rotten minds. But

1286
01:07:33,960 --> 01:07:35,720
Speaker 1: they don't. Yeah, they could have. I guess they could

1287
01:07:35,720 --> 01:07:41,360
Speaker 1: have taken their swords and written in the gravel if

1288
01:07:41,400 --> 01:07:43,479
Speaker 1: they they needed to try and like lay out terms

1289
01:07:43,600 --> 01:07:46,720
Speaker 1: like Okay, look, you need a surrender, but we will

1290
01:07:47,280 --> 01:07:50,080
Speaker 1: allow I don't know two people to go free, or

1291
01:07:50,200 --> 01:07:51,840
Speaker 1: you know. I guess they could have, I guess. But

1292
01:07:51,920 --> 01:07:53,560
Speaker 1: the thing was, they had no terms. They just wanted

1293
01:07:53,600 --> 01:07:55,480
Speaker 1: to kill everybody. That's what they were here for. That's

1294
01:07:55,520 --> 01:07:56,440
Speaker 1: what they came to town for.

1295
01:07:57,040 --> 01:07:58,160
Speaker 2: They are evil warlocks.

1296
01:07:58,200 --> 01:07:58,360
Speaker 4: Man.

1297
01:07:58,480 --> 01:07:59,440
Speaker 2: You can't reason with them.

1298
01:07:59,640 --> 01:08:03,000
Speaker 1: Can't can't reason with that. All right, If you're wondering, well,

1299
01:08:03,040 --> 01:08:06,720
Speaker 1: where can I watch the Blind Dead movies? Well, Return

1300
01:08:06,760 --> 01:08:09,280
Speaker 1: of the Blind Dead Again. I found it on Apple Movies.

1301
01:08:09,920 --> 01:08:12,240
Speaker 1: I think there are some rips of them just floating

1302
01:08:12,280 --> 01:08:15,080
Speaker 1: around on the internet, on YouTube and so forth. You

1303
01:08:15,280 --> 01:08:17,360
Speaker 1: can get some of them on DVD. I think Blue

1304
01:08:17,400 --> 01:08:19,960
Speaker 1: Underground put out a DVD of this movie. At one

1305
01:08:20,040 --> 01:08:23,360
Speaker 1: point there was a four DVD set you could get

1306
01:08:23,520 --> 01:08:25,920
Speaker 1: in like kind of a box set that was shaped

1307
01:08:25,960 --> 01:08:28,840
Speaker 1: like a casket. And I think there's a blu ray

1308
01:08:28,960 --> 01:08:31,400
Speaker 1: of one of the later films, maybe The Ghostly Galleon

1309
01:08:31,479 --> 01:08:33,360
Speaker 1: or Night of the Seagulls. So I don't know. They

1310
01:08:33,439 --> 01:08:36,479
Speaker 1: kind of go in and out of production, but if

1311
01:08:36,520 --> 01:08:37,880
Speaker 1: you want to get at your hands on a physical

1312
01:08:37,920 --> 01:08:39,960
Speaker 1: copy of it, you can probably find it in Digital

1313
01:08:40,000 --> 01:08:41,920
Speaker 1: copies are relatively easy to find as well. I think

1314
01:08:41,960 --> 01:08:45,479
Speaker 1: Atlanta's own Video Drome Video store has at least the

1315
01:08:45,600 --> 01:08:47,080
Speaker 1: first two Blind Dead films.

1316
01:08:47,760 --> 01:08:50,599
Speaker 2: Viewer discretion as advised, Yes, yeah.

1317
01:08:50,479 --> 01:08:54,400
Speaker 1: Do research these a little bit before just diving in. Yeah,

1318
01:08:54,439 --> 01:08:57,120
Speaker 1: because these are ultimately horror films out of the early

1319
01:08:57,240 --> 01:09:01,280
Speaker 1: nineteen seventies. All right, Well, we're gonna go ahead and

1320
01:09:01,320 --> 01:09:04,840
Speaker 1: close it out there, you know, seal the sarcophagus for

1321
01:09:04,920 --> 01:09:07,679
Speaker 1: this week, but we'll be back next week with another film.

1322
01:09:07,800 --> 01:09:11,439
Speaker 1: I think, unless chance plans change, we're doing another film

1323
01:09:11,479 --> 01:09:13,960
Speaker 1: from the exact same release year, So we're gonna be

1324
01:09:13,960 --> 01:09:17,439
Speaker 1: stuck in the seventies again. So I hope you're okay

1325
01:09:17,479 --> 01:09:20,320
Speaker 1: with that, everybody. If you want to check out other

1326
01:09:20,360 --> 01:09:23,560
Speaker 1: episodes of Weird House Cinema, it publishes every Friday, and

1327
01:09:23,600 --> 01:09:27,240
Speaker 1: the Stuff to Blow your Mind podcast feed We're primarily

1328
01:09:27,280 --> 01:09:32,200
Speaker 1: a science podcast, with episodes airing on Tuesdays and Thursdays,

1329
01:09:32,600 --> 01:09:36,000
Speaker 1: Artifact episode on Wednesday, and listener mail on Monday.

1330
01:09:36,400 --> 01:09:39,360
Speaker 2: Huge thanks as always to our excellent audio producer Seth

1331
01:09:39,479 --> 01:09:41,760
Speaker 2: Nicholas Johnson. If you would like to get in touch

1332
01:09:41,840 --> 01:09:44,040
Speaker 2: with us with feedback on this episode or any other,

1333
01:09:44,160 --> 01:09:46,080
Speaker 2: to suggest a topic for the future, or just to

1334
01:09:46,120 --> 01:09:49,439
Speaker 2: say hello, you can email us at contact at stuff

1335
01:09:49,479 --> 01:09:50,960
Speaker 2: to Blow your Mind dot com.

1336
01:09:58,400 --> 01:10:01,280
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1337
01:10:01,400 --> 01:10:05,200
Speaker 3: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1338
01:10:05,320 --> 01:10:07,080
Speaker 3: or wherever you listen to your favorite shows.