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

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Speaker 2: Hey, Happy Halloween, and welcome to Weird House Cinema. My

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Speaker 2: name is Rob Lamb.

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Speaker 3: And my name is Joe McCormick. And on this special

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Speaker 3: Halloween episode of Weird House Cinema, we're going to be

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Speaker 3: talking about Luccio Fulci's supernatural gore Dream City of the

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Speaker 3: Living Dead, released in the year nineteen eighty, also known

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Speaker 3: as Fear in the City of the Living Dead. I

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Speaker 3: think the Italian translation of that was the Italian title

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Speaker 3: and sometimes called The Gates of Hell. Earlier this month,

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Speaker 3: I watched this movie for the second time with a

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Speaker 3: friend of mine, and I realized we had to do

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Speaker 3: this for the show. We had to make another journey

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Speaker 3: into the Fulchi verse, particularly with this movie for Halloween,

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Speaker 3: because this movie arranges its climax round Halloween, according to

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Speaker 3: in the story, the prediction of an ancient prophecy that

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Speaker 3: must be averted before the dawn of All Saints Day

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Speaker 3: or else the dead will rise to rest control of

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Speaker 3: the earth from the living. Now I mentioned one of

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Speaker 3: the alternate titles of this film is the Gates of Hell,

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Speaker 3: and that title is also used to refer to Fulcie's

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Speaker 3: infamously violent, bizarre, beautiful, disgusting spiritual trilogy, the Gates of

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Speaker 3: Hell series, of which today's movie is the first entry.

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Speaker 3: So City of the Living Dead begins the Gates of

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Speaker 3: Hell trilogy in nineteen eighty and then after that you've

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Speaker 3: got The Beyond and House by the Cemetery, both released

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Speaker 3: in nineteen eighty one, the last of which is a

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Speaker 3: film that we've talked about on Weird House Cinema before

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Speaker 3: and has a lot in common with City of the

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Speaker 3: Living Dead. Though it's called a trilogy, there's not really

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Speaker 3: any plot thread connecting them, but they're very much it's

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Speaker 3: a spiritual trilogy. They have a lot of the same

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Speaker 3: obsessions and sensibilities.

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Speaker 2: That's right. Yeah, it doesn't matter which order you watch

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Speaker 2: them in. I watched them in let's see. I watched

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Speaker 2: The Beyond when I was in college, and then at

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Speaker 2: some point after that I watched House by the Cemetery,

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Speaker 2: and that's that's one of my favorites. I've seen that

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Speaker 2: several times, but I didn't get around to watching City

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Speaker 2: of the Living Dead until this week. You know, I just,

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Speaker 2: you know, sometimes it's good to have some some foul

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Speaker 2: Chie that you haven't seen yet, that you can always

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Speaker 2: enjoy for the first time.

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Speaker 3: Save a little for later in the mid loker.

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Speaker 2: Yeah, yeah, don't be greedy, don't eat all the full

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Speaker 2: chee at once.

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Speaker 3: I don't know, I mean.

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Speaker 2: The other obvious argument is, you know, you only live once,

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Speaker 2: watch all the full Chi you can while you can.

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Speaker 2: But it is a joy a film like this for

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Speaker 2: certain film fans anyway. It is also, you know, a

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Speaker 2: notoriously gory picture.

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Speaker 3: That's right, so a warning, especially if you haven't seen

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Speaker 3: a full Chi movie before. This one, like many of

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Speaker 3: his other films, is fascinating in a way. It is

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Speaker 3: unintentionally funny in several ways. It has a weird, cranky,

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Speaker 3: artistic integrity to it. There's a reason that ful Chy,

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Speaker 3: I think, gets a lot more academic attention and treatment

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Speaker 3: than many other horror and gore film creators, So it

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Speaker 3: has all of that. But it is also absolutely disgusting.

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Speaker 3: I would not recommend watching this movie while eating, or

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Speaker 3: if you are sensitive to gore and guts, because it

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Speaker 3: doesn't hold back. There are a couple of exceptionally nasty scenes.

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Speaker 3: One in particular, I'm thinking of the gut Emesis scene

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Speaker 3: that tends to make people say wow out loud when

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Speaker 3: they see it.

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Speaker 2: Yeah, and I should also add the caveat here that

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Speaker 2: the gore effects in this film are very well done.

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Speaker 2: So if you're thinking, ah, you know, it's an Italian

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Speaker 2: B movie, I can watch some gore, it's not gonna

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Speaker 2: really affect me all that much because it's gonna look fake.

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Speaker 2: But these effects are really solid. I mean it's a

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Speaker 2: combination of great just great practical effects work, great editing,

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Speaker 2: great lighting, you know, maybe using a little bit of

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Speaker 2: actual viscera here and there as well. Non human of course,

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Speaker 2: but but yeah, it's gonna be when it's not gonna

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Speaker 2: be one of those cases where you can be like,

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Speaker 2: ah haha, fake blood, hit fake guts. I think the

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Speaker 2: gore in this film hits pretty hard.

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Speaker 3: You can kind of taste it, yeah, yeah, you can

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Speaker 3: smell it a little bit. Yeah. So does this movie

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Speaker 3: fit a subgenre? I guess this is technically a zombie film, right.

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Speaker 2: Yeah, Yeah, I think it's accurate to say this is

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Speaker 2: a zombie film. And you know, honestly, that might have

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Speaker 2: been one of the things that helped me out from

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Speaker 2: watching it, because I'd already seen Zombie, and I love zombie,

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Speaker 2: but yeah, I'm a I'm not one of those film

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Speaker 2: fans that needs to see every single zombie film. I

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Speaker 2: want to, you know, throw some some Draculas and Frankenstein's

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Speaker 2: in there as well and so forth. But it has

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Speaker 2: such a particular flavor of zombie. It is kind of

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Speaker 2: a super It's certainly a supernatural zombie film. So the

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Speaker 2: zombies are there, We're not sure exactly what's happening here.

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Speaker 2: Everything has a dream like illogical quality to it, but

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Speaker 2: there's some sort of supernatural event that's happening. It may

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Speaker 2: or may not be tied in with ancient prophecies, but

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Speaker 2: it is also kind of a theological crisis, and one

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Speaker 2: weirdly brought on on an individual level. It's also I

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Speaker 2: think one of the really captivating things for me about

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Speaker 2: this film is that the origin of the threat, the

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Speaker 2: thing that is opening the gates of Hell and creating

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Speaker 2: the City of the Living deal it almost seems to

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Speaker 2: be not a disturbing entity, but like a disturbing idea,

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Speaker 2: just the idea of something that is shocking enough that it,

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Speaker 2: you know, tears open the shroud that it exists between

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Speaker 2: our world and the next that sort of thing.

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Speaker 3: Does this film have a villain, like a main bad

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Speaker 3: guy monster, and I've seen it several times. I'm not

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Speaker 3: sure if I could answer that. I don't think it

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Speaker 3: really does.

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Speaker 2: There is a figure that reappears, yeah, well frequently, and

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Speaker 2: you could make a case that he's sort of like

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Speaker 2: the you know, the the lead antagonist, you know, but

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Speaker 2: he also seems, as much as anything, a symbol, you know,

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Speaker 2: maybe even just maybe he is a kind of a ghost.

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Speaker 2: He's certainly ghostly in the way that he is represented

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Speaker 2: at various points in the film. But you know, it's

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Speaker 2: not like he's the general leading the dead here either.

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Speaker 3: It feels more like the characters are fighting back against entropy.

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Speaker 3: The horror in this film is almost a natural process

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Speaker 3: that is irresistible, like rot. Yeah.

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Speaker 2: Yeah, something has been unleashed, and if there is there

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Speaker 2: does seem to be a focal point, and that focal

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Speaker 2: point is also perhaps the way they might stop it.

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Speaker 2: But it is it's like a yeah, it's like a

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Speaker 2: there's a great dam that is rotting, and there's a

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Speaker 2: hole that has rotted out in that dam, and there

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Speaker 2: might be a way that our heroes can can stop

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Speaker 2: up that hole for a little bit anyway, but the

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Speaker 2: rest of the dam still kind of feels like it's rotting.

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Speaker 2: But again, the picture definitely has that dream like illogical

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Speaker 2: quality to it, so things will feel, you know, highly

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Speaker 2: contradictory times. And this is not one of those films

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Speaker 2: you need to watch and look for a lot of

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Speaker 2: plot holes, because there will be as many plot holes

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Speaker 2: as there are in your dreams, you know, and within

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Speaker 2: the context of your dreams, those aren't necessarily plot holes.

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Speaker 2: So like I was thinking about the guts in this movie,

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Speaker 2: you know, as we were talking about the other day,

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Speaker 2: regarding full Chee's work, like a lot of filmmakers will

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Speaker 2: show you a lot of gross stuff and linger on

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Speaker 2: some gross stuff, some blood, some gore, monster faces, and

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Speaker 2: so forth, and sometimes it can really feel like a

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Speaker 2: flaw in their presentation, like they don't really know how

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Speaker 2: to present things. With full she it's definitely not that

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Speaker 2: Like full She is showing you something and you might

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Speaker 2: ask yourself, Full Shee, why are you showing me this?

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Speaker 2: Why are we spending so much time on this? And

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Speaker 2: full She seems to be telling us, no, you must

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Speaker 2: see this, this is important. Yeah, and we might not.

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Speaker 3: Have hading the movie out or something. It's like, no,

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Speaker 3: you need to look at this. It's important.

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Speaker 2: Yeah, this is something you need to see. And even

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Speaker 2: if we never fully understand why we need to see it,

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Speaker 2: we ultimately believe him. We believe that he is correct.

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Speaker 2: We do need to see this and it means something.

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Speaker 3: Yeah. We were talking about this off mic the other

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Speaker 3: day about how there is a really singular quality to

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Speaker 3: a full Chi film, and the way this came out

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Speaker 3: is I was actually having a conversation beforehand with my

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Speaker 3: friend Chuck, who I watched this movie with, and we

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Speaker 3: were talking about horror film remakes. You know, a lot

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Speaker 3: of horror movies, whether good or bad, originally eventually get

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Speaker 3: the remake treatment, and whether that's a good idea. In

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Speaker 3: each individual case, you can almost always at least see

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Speaker 3: how it could work, you know, whether you're remaking a

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Speaker 3: great film or a film that had kind of squandered potential,

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Speaker 3: there's usually something interesting in there you could pick up,

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Speaker 3: you could put your own spin on, you could do

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Speaker 3: it a different way. But I was thinking about how

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Speaker 3: ful cheese movies are not like that. It doesn't really

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Speaker 3: feel like somebody else could pick up this premise and

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Speaker 3: do it their own way or put their own spin

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Speaker 3: on it. A Fulchae movie, especially the ones in the

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Speaker 3: Gates of Hell trilogy, are just exactly what they are

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Speaker 3: and couldn't be anything else. Could you imagine somebody like

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Speaker 3: I'm going to try to do a different take on

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Speaker 3: City of the Living Dead. That doesn't even make any sense.

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Speaker 3: These movies are such a unique and singular exercise, and

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Speaker 3: so it doesn't really make sense to take parts out

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Speaker 3: and change them. And also I think that there's sort

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Speaker 3: of nothing there that's like the core that has texture

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Speaker 3: built around it. The texture is everything that the movie is.

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Speaker 2: Yeah, yeah, if you were to strip this down to

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Speaker 2: the bones, you would find that the bones are cartilage

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Speaker 2: or something even softer, you know, putting your own spin

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Speaker 2: on a film like City the Living Dead. It's already

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Speaker 2: all spin, you know, And I mean that in the

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Speaker 2: best way. Like it's again, this is not a film

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Speaker 2: where character matters all that much. It's not a film

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Speaker 2: where the plot, you know, is this this tight skeleton

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Speaker 2: to be adhered to. So yeah, if you strip away

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Speaker 2: what fult she did with it, you're left with something

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Speaker 2: else entirely. So like if you were to remake it.

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Speaker 2: What would you be doing? Yeah, would you just be

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Speaker 2: making a Beat for Bee remake that would be useless?

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Speaker 2: Would you be creating something so entirely new that it's

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Speaker 2: pointless to even point to this being its key origin?

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Speaker 3: Yeah? I mean, I guess you could take certain esthetic inspirations,

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Speaker 3: but you could didn't really remake this film. I would

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Speaker 3: argue it would be like trying to dream someone else's dream.

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Speaker 2: Yeah, I think that puts it perfectly well. I have

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Speaker 2: more thoughts about the guts in this movie, but I'll

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Speaker 2: save them again to some examples of the guts.

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Speaker 3: Okay, I guess we just got into why it would

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Speaker 3: be hard to give an elevator pitch on this movie.

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Speaker 3: There's not really a core idea. Instead, it is a

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Speaker 3: collection of little obsessions. For some reason, several different people

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Speaker 3: end up in a place called Dunwich, where there is

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Speaker 3: much putrefaction.

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Speaker 2: Yes, and one of the great things about Dunwich here Dunwich.

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Speaker 2: Of course, this is an allusion to like HP Lovecraft's

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Speaker 2: The Dunwich Horror, and on IMDb, for example, that it's

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Speaker 2: that they list the works of HP Lovecraft and Clark

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Speaker 2: Ashton Smith as inspiration. Though this film is not based

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Speaker 2: on anything that either author actually wrote, as far as

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Speaker 2: I know, it's just kind of general vibes, I guess,

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Speaker 2: and we get the name done. Which but the city

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Speaker 2: of Dunwich in this film. I love the fact that

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Speaker 2: this is actually Savannah, Georgia. This is again an Italian film.

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Speaker 2: The interiors are shot in Rome, I believe, but the

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Speaker 2: exteriors for Dunwich itself are Savannah, Georgia. So this is

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Speaker 2: a certified Georgia picture. And that's one of the things

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Speaker 2: I ended up really loving about it because some of

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Speaker 2: the locations I've been there. I've seen them and I

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Speaker 2: recognize them. And now I haven't been to Savannah in

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Speaker 2: a number of years, but I kind of want to

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Speaker 2: go back, and I want to take the Luccio Fulci

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Speaker 2: Tour of Savannah, Georgia.

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Speaker 3: Now I would love to do that. Yeah, it's clearly

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Speaker 3: throughout Southeastern American flora and architecture, and it's supposed to

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Speaker 3: be standing in for Lovecrafts in New England. Yeah.

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Speaker 2: I was watching some extras on the Blue Underground Blu

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Speaker 2: Ray edition of this picture and they were talking about how, yeah,

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Speaker 2: they got to Savannah and they love the buildings, you know,

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Speaker 2: have great character. Savannahs a you know, a lovely town,

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Speaker 2: but they also wanted it to be more dismal than

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Speaker 2: it was. I think they were shooting pretty hot weather

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Speaker 2: if I remember correctly, but any rate, they needed to

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Speaker 2: be more dismal, so they they wanted to blast a

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Speaker 2: bunch of like sand and in or like baby powder

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Speaker 2: around to make everything dusty. But they also couldn't get

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Speaker 2: a hold of actual cinematic wind machines, so they had

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Speaker 2: to get a couple of swamp boats of kind of

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Speaker 2: with the big spinning blades on the back of them.

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Speaker 2: You know, got a couple of those, and I guess

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Speaker 2: brought them in on the backs of trailers and fired

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Speaker 2: those up and used those as wind machines for the

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Speaker 2: you know, exterior scenes in Savannah, Georgia aka Dunwich.

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Speaker 3: When you said on the backs of trailers, for some reason,

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Speaker 3: I thought you were going to say on the backs

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Speaker 3: of alligators, like draft alligator teams.

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Speaker 2: That would have been good too. Yeah, all right, let's

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Speaker 2: go ahead and listen to a little bit of the

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Speaker 2: trailer audio. This is this is one of those pictures

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Speaker 2: from a time period which we had so many great trailers.

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Speaker 2: So I think we'll hear a little bit of the

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Speaker 2: music in this and we'll get some of that that

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Speaker 2: grindhouse flare.

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Speaker 3: The City of the Dead the Living Dead, a cursed

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Speaker 3: city where the gates of how have been opened.

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Speaker 1: You've got to you must be close those gates.

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Speaker 3: We interrupt this program to bring you a special broadcast.

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Speaker 2: So much police authorities have declared a state of emergency,

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Speaker 2: effective immediately, and that much county.

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Speaker 4: All citizens are thrusting them to.

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Speaker 3: Return to their homes as quickly as possible in case

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Speaker 3: of necessity. Decide eight to five. All citizens are uraged

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Speaker 3: to remain. Did you see when you in this trance?

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Speaker 2: Did you see anything besides that tombstone?

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Speaker 3: Oh? Yes, I saw a priest. Guess what. It's all

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Speaker 3: the same stay a demanding, implacable enemy who search for

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Speaker 3: blood is never sad.

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Speaker 2: All right, Well, if you would like to go out

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Speaker 2: and watch City of the Living Dead, it's out there.

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Speaker 2: This is one that I don't think there's ever been

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Speaker 2: really a problem or a difficulty in getting a hold

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Speaker 2: of it. You may find it still released under various

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Speaker 2: different titles. Again, I watched it on the Blue Underground

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Speaker 2: Blu ray that came out at least several years ago.

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Speaker 2: I rented it from Video Drum here in Atlanta.

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Speaker 3: I actually bought the recent four K disc put out

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Speaker 3: by Cauldron Films, where it looks excellent. The cleanup on

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Speaker 3: it is beautiful. This set is also packed with tons

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Speaker 3: of great looking extras. I really wish I'd had time

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Speaker 3: to check out before recording this week, but as often happens,

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Speaker 3: ran out of time. But it's got some really excellent

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Speaker 3: looking commentaries and interviews, documentary features and that kind of stuff.

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Speaker 2: Cauldron Films is new to me. I had not really

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Speaker 2: paid attention to their releases, but I checked out the

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Speaker 2: website and it looks like we have a lot of

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Speaker 2: cool releases out already.

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Speaker 4: Yeah.

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Speaker 2: All right, let's talk about some of the folks involved

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Speaker 2: in this picture, starting at the top once more with

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Speaker 2: Luccio Fulcio lived nineteen twenty seven through nineteen ninety six.

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Speaker 2: He was the director. He has a story in screenplay credit.

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Speaker 2: He was one of the producers, and he has a

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Speaker 2: little bit of a cameo and they're playing doctor Joe Thompson.

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Speaker 3: Oh love a love a Fulci cameo.

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Speaker 2: Yeah, though he didn't have his he didn't have the

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Speaker 2: beard right, or he didn't have as much of a

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Speaker 2: beard as I was expecting, so it kind of like

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Speaker 2: snuck up on me a little bit.

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Speaker 3: I honestly don't remember. I can't picture what he looked

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Speaker 3: like in the movie. Now.

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Speaker 2: Yeah, yeah, I guess that's a good thing about a

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Speaker 2: director cameo. It would not stop him from from taking

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Speaker 2: on the starring role as a version of himself. However,

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Speaker 2: in nineteen nineties A cat in the brain.

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Speaker 3: Never seen that one, but I familiar with the idea.

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Speaker 2: It's very much on my list, but it's that's one

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Speaker 2: of the ful chees I'm saving for myself. And now,

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Speaker 2: as we've been referring to, this is our third Fulcie

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Speaker 2: film for Weird House Cinema, we have discussed House by

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Speaker 2: the Cemetery, and we've also discussed his fantasy film Conquest,

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Speaker 2: which is one of my favorite ful cheese easily.

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Speaker 3: Yeah. Orge Rivera as a leather diaper barbarian with just exquisite.

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Speaker 2: With nunchucks made from bones, going up against were wolves

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Speaker 2: and ghouls and an an evil sexy witch. It has

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Speaker 2: literally everything.

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Speaker 3: That one is magnificent.

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Speaker 2: Yeah, So Fulgi is of course a horror legend today

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Speaker 2: and a titan of Italian beast cinema. But all this

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Speaker 2: really kicked into high gear after nineteen seventy nine Zombie

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Speaker 2: came out. This was a very prolific period of his

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Speaker 2: career to produced some of his best remembered films. But

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Speaker 2: he had been directing full length films for twenty years

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Speaker 2: at that point, including satarror films as nineteen seventy one's

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Speaker 2: a Lizard and a Woman's Skin and nineteen seventy twos

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Speaker 2: Don't Torture a Duckling.

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Speaker 3: I think these are both considered Jello or jello adjacent

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Speaker 3: films Lizard and Woman's Skin definitely. Yeah.

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Speaker 2: He'd also done a Jalloh film in sixty nine titled One.

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Speaker 3: On Top of the Other.

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Speaker 2: But yeah, he directed a number of different genre films

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Speaker 2: before the nineteen eighties. He did westerns, he did spy thrillers,

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Speaker 2: he did comedies, and more so, he was a very

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Speaker 2: capable director, could tackle various genres, but really excelled and

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Speaker 2: found success us with these phantasmagorical gore and violence late

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Speaker 2: in horror films like it just seemed like he really

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Speaker 2: found his thing here, and again that's what we remember

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Speaker 2: him for the most.

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Speaker 3: Horror films that are exercises in spectacle that almost seem

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Speaker 3: to be comprised of individual paintings and images and scenarios

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Speaker 3: or scenes. Famously in Zombie or sometimes known as Zombie too,

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Speaker 3: because I think because the original title Zombie was the

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Speaker 3: title used in Italian for Dawn of the Dead.

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Speaker 2: I believe that's right. But you think too much about it,

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Speaker 2: and it's just like every film just needs to be

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Speaker 2: called zombie and assign it a number, and then it's

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Speaker 2: just a simpler system for everybody.

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Speaker 3: A random number. Yeah, not necessarily in order, but for example,

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Speaker 3: in Zombie, it's famous whether you've seen the movie or not,

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Speaker 3: whether you remember much about it. If you have seen it,

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Speaker 3: almost every knows what you're talking about. Well, not everybody,

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Speaker 3: I don't know. Everybody with a certain kind of movie

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Speaker 3: diet knows what you're talking about. When you say the

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Speaker 3: movie where a zombie fight's a shark.

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Speaker 2: Yes, yes, and I think there's like a topless snorkeler

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Speaker 2: in that scene.

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Speaker 3: As well, maybe so. Yeah.

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Speaker 2: His films are full of such moments where you might

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Speaker 2: not remember the whole thing, and certainly there's a good

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Speaker 2: chance you don't remember the plot, but you will remember

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Speaker 2: these just startling images. All right, we also have Dardano

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Speaker 2: Sacchetti born nineteen forty four. He has the other screenplay

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Speaker 2: and story credit here. Italian screenwriter who worked with the

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Speaker 2: likes of Lomberto Bava, Luccio Fulci, Zog Castarelli, and Dario Argento.

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Speaker 2: His first credit was Argento's The cat O Nine Tales.

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Speaker 2: He worked with Fulci a lot, including some of his

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Speaker 2: most well known films, including Zombie, Housed by the Cemetery,

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Speaker 2: The Beyond, New York, Ripper, Manhattan Baby, and so forth.

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Speaker 2: He worked on Bava's Monster, Shark and Demons, and he

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Speaker 2: was on Couste Eldi's nineteen ninety The Bronx Warriors, So

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Speaker 2: an important name in Italian b cinema. All right, let's

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Speaker 2: get into the cast of actors here playing characters who

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Speaker 2: you know I've seen. I've read people say that the

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Speaker 2: characters in this film are essentially Cypher's. You don't need

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Speaker 2: to really think too long and hard about who they

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Speaker 2: are and why they're doing what they're doing.

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Speaker 3: It's not entirely wrong. They're almost like pieces being used

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Speaker 3: in the Little Diorama play.

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Speaker 2: Yeah, but still top billing and in many ways our

385
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Speaker 2: main protagonists, though I feel like the film kind of

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Speaker 2: abandons them. Later on, we have Christopher George playing Peter Bell,

387
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Speaker 2: a journalist or specifically a rough around the edges, almost

388
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Speaker 2: noir as cigar smoking reporter. I don't know, he's not

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Speaker 2: really noir, but you know, he's very much that kind

390
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Speaker 2: of like bad guy cut corners, probably a womanizing reporter.

391
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Speaker 3: Yeah, he's a wily, street smart rascal.

392
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Speaker 2: Yeah, yeah, it is. We were talking about this earlier

393
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Speaker 2: in the week. It is an unintentionally hilarious performance.

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Speaker 3: So often whenever he had a line, whatever it was,

395
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Speaker 3: I ended up laughing. Yeah.

396
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Speaker 2: There's a line later on the picture where he's traveling

397
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Speaker 2: with Mary to done which, you know, to get to

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Speaker 2: the bottom of things, and she's brought up the importance

399
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Speaker 2: of All Saints Day and all, and first of all,

400
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Speaker 2: he mentions All Saints Day and talks about it as

401
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Speaker 2: if it is something that women just made up, and

402
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Speaker 2: he's just completely dismissive of it, like you'd never heard

403
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Speaker 2: of it before. And then he says something about chasing

404
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Speaker 2: your galloping cadavers. It's just, oh man, it's so it's

405
00:22:45,359 --> 00:22:50,639
Speaker 2: so rich, it's so wonderful. Yeah, so cheesy, but still

406
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Speaker 2: if to give Christopher George credit, you know, this was

407
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Speaker 2: a solid actor of the sixties and seventies especially. He'd

408
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Speaker 2: been nominated for a Golden Globe for his work on

409
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Speaker 2: the sixty seven TV show The Rat Patrol. Other major

410
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Speaker 2: credits include nineteen sixty six's El Dorado and nineteen seventies Chisholm.

411
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Speaker 2: He's one of those actors who is clearly more at

412
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Speaker 2: home in a western or a cop drama, but he

413
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Speaker 2: also acted in his share of horror genre films, including

414
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Speaker 2: seventy six Is Grizzly, seventy seven's Day of the Animals,

415
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Speaker 2: eighty one's Graduation Day, and Enter the Ninja, And in

416
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Speaker 2: nineteen eighty two he was in Pieces and Mortuary. Have

417
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Speaker 2: you seen Pieces, Yes, it's been a while. That's from

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Speaker 2: a director we've discussed on the show before.

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Speaker 3: Yeah, one Picer Simon.

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Speaker 2: Yeah, oh yeah, yeah. So we may come back to Pieces,

421
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Speaker 2: or if not Pieces, we might do his film Slugs.

422
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Speaker 2: Both of those have a I'm not going to say

423
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Speaker 2: a special place in my heart, but I have definite

424
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Speaker 2: memories of them.

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Speaker 3: Yeah. Pieces isn't the most pleasant, but it has things

426
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Speaker 3: about it that are pretty interesting. It's nutty. Yeah, it's

427
00:23:55,680 --> 00:23:58,320
Speaker 3: like it's trying to be a version of the Texas

428
00:23:58,440 --> 00:24:01,399
Speaker 3: Chainsaw Massacre but set in an urban setting, like on

429
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Speaker 3: a college campus.

430
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Speaker 2: Yeah, yeah, it's a lot.

431
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Speaker 3: Yeah.

432
00:24:06,920 --> 00:24:10,479
Speaker 2: So Christopher George here rather famously did not get along

433
00:24:10,600 --> 00:24:13,720
Speaker 2: with with the director of Luccio Fulci. Though, to be sure,

434
00:24:13,840 --> 00:24:18,600
Speaker 2: Fulci had a very strong reputation as being just difficult,

435
00:24:19,560 --> 00:24:22,879
Speaker 2: difficult to work with if you were an actor, harsh

436
00:24:22,960 --> 00:24:26,320
Speaker 2: on his actors. If we're being generous, he's he's you

437
00:24:26,359 --> 00:24:30,320
Speaker 2: would not say that he was an actor's director, And

438
00:24:30,640 --> 00:24:32,600
Speaker 2: I don't know, there are various ways to cut that apart.

439
00:24:33,880 --> 00:24:36,160
Speaker 2: You know, you might say that he didn't respect his actors,

440
00:24:36,240 --> 00:24:38,720
Speaker 2: or maybe he didn't understand the craft of acting as much,

441
00:24:38,800 --> 00:24:41,919
Speaker 2: or maybe he really did sort of see them as

442
00:24:41,920 --> 00:24:45,479
Speaker 2: a necessary evil for telling his stories. So you can

443
00:24:45,520 --> 00:24:49,480
Speaker 2: easily imagine how, you know, how an actor who just

444
00:24:49,800 --> 00:24:52,240
Speaker 2: you know, like Christopher George comes onto a project like

445
00:24:52,240 --> 00:24:56,439
Speaker 2: this and ends up clashing numerous times with full Chi

446
00:24:56,560 --> 00:24:59,520
Speaker 2: over various things, like like one of the things they

447
00:24:59,520 --> 00:25:04,560
Speaker 2: apparently on over was whether his character Peter would smoke

448
00:25:04,640 --> 00:25:08,600
Speaker 2: inside a church, and Fulchi was like absolutely not, and

449
00:25:09,400 --> 00:25:12,280
Speaker 2: George's like, no, this is America. My character would smoke

450
00:25:12,320 --> 00:25:14,480
Speaker 2: in a church and it was apparently a big blow

451
00:25:14,560 --> 00:25:14,960
Speaker 2: up over that.

452
00:25:15,520 --> 00:25:18,400
Speaker 3: Interesting. I can feel that kind of tension between them

453
00:25:18,560 --> 00:25:24,440
Speaker 3: just with Christopher George's on screen demeanor. But yeah, thinking

454
00:25:24,440 --> 00:25:30,439
Speaker 3: about Fulchie having a lot of conflicts with actors, this

455
00:25:30,520 --> 00:25:32,479
Speaker 3: is maybe reading too much into things because I'm not

456
00:25:32,520 --> 00:25:36,359
Speaker 3: like a expert on ful Chi's psychology or biography, but

457
00:25:37,240 --> 00:25:39,680
Speaker 3: what little I do know about him, I almost get

458
00:25:39,720 --> 00:25:42,359
Speaker 3: the sense that he would he would wish there to

459
00:25:42,440 --> 00:25:45,600
Speaker 3: be a kind of psychic photography where he could just

460
00:25:45,680 --> 00:25:50,320
Speaker 3: put his imagination directly onto film, and thus dealing with

461
00:25:50,400 --> 00:25:55,160
Speaker 3: actors like other people and personalities getting in between your

462
00:25:55,200 --> 00:25:58,719
Speaker 3: ability to realize exactly what you want in the film,

463
00:25:58,920 --> 00:25:59,960
Speaker 3: like could be frustrated.

464
00:26:00,960 --> 00:26:04,280
Speaker 2: Yeah, yeah, Like I've heard accounts where people talk about,

465
00:26:04,440 --> 00:26:06,199
Speaker 2: you know, other people involved in the project, about how

466
00:26:06,200 --> 00:26:08,080
Speaker 2: he would get there and you know exactly how he

467
00:26:08,119 --> 00:26:11,159
Speaker 2: wanted to frame a shot, you know exactly what he

468
00:26:11,240 --> 00:26:13,399
Speaker 2: wanted to get. So it was like there were so

469
00:26:13,440 --> 00:26:16,000
Speaker 2: many aspects of the filmmaking process where he had much

470
00:26:16,040 --> 00:26:19,960
Speaker 2: more control over what he was getting and maybe with actors,

471
00:26:21,080 --> 00:26:22,920
Speaker 2: you know, if he got on set and suddenly the

472
00:26:22,960 --> 00:26:25,159
Speaker 2: actor said, hey, I've got some ideas for my character.

473
00:26:25,560 --> 00:26:29,480
Speaker 2: Folshi was just not the sort of director to welcome

474
00:26:29,560 --> 00:26:31,840
Speaker 2: that sort of thing, like that's just one more again,

475
00:26:31,920 --> 00:26:34,679
Speaker 2: one more roadblock to him realizing the vision.

476
00:26:34,440 --> 00:26:36,440
Speaker 3: In his head. Yeah, but I mean, in some ways

477
00:26:36,440 --> 00:26:39,160
Speaker 3: you could just think that film is not a great

478
00:26:39,200 --> 00:26:41,639
Speaker 3: medium for an artist of that kind. A film is

479
00:26:41,680 --> 00:26:46,000
Speaker 3: inherently collaborative. Yeah, so it you know, it's if you

480
00:26:46,160 --> 00:26:48,879
Speaker 3: have that kind of artistic personality, it's like going to

481
00:26:48,920 --> 00:26:50,840
Speaker 3: be hard to work in film. You're always going to

482
00:26:50,840 --> 00:26:51,760
Speaker 3: be having this issue.

483
00:26:52,320 --> 00:26:55,520
Speaker 2: Yeah, I mean, of course, it's one of the collaborative

484
00:26:55,560 --> 00:26:57,480
Speaker 2: aspect of it. That's one of the things that often

485
00:26:57,520 --> 00:27:01,080
Speaker 2: makes behind the scenes stories interesting, not just the clashes,

486
00:27:01,160 --> 00:27:05,400
Speaker 2: but the compromises or the cases where the actor that's

487
00:27:05,440 --> 00:27:07,639
Speaker 2: bringing the ideas there are a lot of bad ideas

488
00:27:07,680 --> 00:27:09,719
Speaker 2: they're bringing, and then how does the director sort of

489
00:27:10,040 --> 00:27:15,120
Speaker 2: navigate that and and sort of even manipulate their way

490
00:27:15,160 --> 00:27:17,600
Speaker 2: into getting the best possible performance.

491
00:27:18,200 --> 00:27:21,560
Speaker 3: On the other hand, I am aware that Fulchi had

492
00:27:21,560 --> 00:27:24,440
Speaker 3: a reputation for like having certain actors that he liked

493
00:27:24,480 --> 00:27:27,399
Speaker 3: to work with. Again and again, like wasn't Catriona McCall

494
00:27:27,480 --> 00:27:30,040
Speaker 3: in multiple of his Gates of Hell movies.

495
00:27:30,520 --> 00:27:33,600
Speaker 2: Yeah, she's in all three, okay, yeaheah. So she plays

496
00:27:33,640 --> 00:27:37,080
Speaker 2: Mary Woodhouse in this born nineteen fifty four British born

497
00:27:37,160 --> 00:27:40,159
Speaker 2: ballet dancer, returned actor. Yeah, and she's in City of

498
00:27:40,160 --> 00:27:43,000
Speaker 2: the Living Dead, The Beyond and House by the Cemetery.

499
00:27:43,680 --> 00:27:46,880
Speaker 2: And she's often been referred to as one of Fulchie's favorites.

500
00:27:48,240 --> 00:27:51,080
Speaker 2: She's said in interviews that it was perhaps because she

501
00:27:51,240 --> 00:27:54,159
Speaker 2: really did recognize the serious aspects of his films and

502
00:27:54,520 --> 00:27:58,000
Speaker 2: leaned hard into the emotional depths of those scenes. Like

503
00:27:58,040 --> 00:28:00,720
Speaker 2: she's maybe she got ful Chee's work on a level

504
00:28:00,760 --> 00:28:04,280
Speaker 2: that other actors didn't. You know, maybe some actors thought

505
00:28:04,280 --> 00:28:06,919
Speaker 2: they were above doing a horror film and so forth,

506
00:28:07,480 --> 00:28:08,840
Speaker 2: or they were green and they didn't know what they

507
00:28:08,840 --> 00:28:11,520
Speaker 2: were doing, and full she maybe probably didn't have as

508
00:28:11,600 --> 00:28:14,120
Speaker 2: much time for that sort of thing. But she's also

509
00:28:14,200 --> 00:28:15,840
Speaker 2: pointed out that, like, hey, I might have been one

510
00:28:15,880 --> 00:28:20,000
Speaker 2: of his favorites, but he still blasted me with a

511
00:28:20,080 --> 00:28:24,920
Speaker 2: Maggot phill vacuum cleaner for this movie. So so being

512
00:28:24,960 --> 00:28:27,920
Speaker 2: full She's favorite doesn't even necessarily mean you're going to

513
00:28:28,000 --> 00:28:29,440
Speaker 2: have an easy time on the set.

514
00:28:29,560 --> 00:28:34,199
Speaker 3: But still like, I can see why she's great for

515
00:28:34,240 --> 00:28:38,120
Speaker 3: these projects, because she's very good in this movie in

516
00:28:38,200 --> 00:28:40,880
Speaker 3: the sense that any actor can be good in this movie,

517
00:28:41,600 --> 00:28:46,600
Speaker 3: because she is not like she's not approaching it ironically,

518
00:28:46,720 --> 00:28:49,920
Speaker 3: she's not like going for laughs. She's taking the role seriously.

519
00:28:49,960 --> 00:28:53,040
Speaker 3: And she's also not half passing it. She's like all in.

520
00:28:53,520 --> 00:28:57,120
Speaker 2: Yeah, yeah, And I think that was the reason, one

521
00:28:57,160 --> 00:29:00,120
Speaker 2: of the reasons that full she really liked her and

522
00:29:00,160 --> 00:29:02,000
Speaker 2: she's great in it. All right, we have some other

523
00:29:02,080 --> 00:29:07,240
Speaker 2: humans here. We also have the character Jerry, played by

524
00:29:07,280 --> 00:29:11,600
Speaker 2: Carlo du Mejo lived nineteen forty five through twenty fifteen,

525
00:29:11,680 --> 00:29:15,600
Speaker 2: an Italian actor born into show business musician, father, actress mother,

526
00:29:15,920 --> 00:29:18,520
Speaker 2: whose breakthrough role was the role of a male prostitute

527
00:29:18,560 --> 00:29:22,440
Speaker 2: in Passolini's Tiorema from nineteen sixty eight. That was a

528
00:29:22,440 --> 00:29:28,240
Speaker 2: film that starred Terrence Stamp. Yeah, yeah, yeah, this is

529
00:29:28,280 --> 00:29:30,479
Speaker 2: back yeah, back when Terrence Stamp was Yeah. He had

530
00:29:30,520 --> 00:29:33,400
Speaker 2: a number of very There are a few Terrence Stamp

531
00:29:33,400 --> 00:29:36,520
Speaker 2: films on my list of possible weird house selections for

532
00:29:36,560 --> 00:29:41,280
Speaker 2: the future. He did some very interesting European films. But anyway,

533
00:29:41,960 --> 00:29:44,760
Speaker 2: Carlo here worked with Fulci on three different movies, so

534
00:29:45,520 --> 00:29:49,480
Speaker 2: full she apparently didn't hate him. There was this eighty

535
00:29:49,480 --> 00:29:52,560
Speaker 2: one's House by the Cemetery and also eighty two's Manhattan Baby,

536
00:29:53,280 --> 00:29:55,360
Speaker 2: And in general, this guy has a pretty nice footprint

537
00:29:55,400 --> 00:29:58,480
Speaker 2: in Italian BT cinema. His other credits include seventy two's

538
00:29:58,520 --> 00:30:01,520
Speaker 2: The Dead or Alive like that title, seventy five is

539
00:30:01,560 --> 00:30:05,120
Speaker 2: the Net, and the nineteen eighty alien knockoff Contamination.

540
00:30:05,480 --> 00:30:12,080
Speaker 3: Ah. I mainly know of that one because a sample

541
00:30:12,160 --> 00:30:14,760
Speaker 3: from the audio of that film I believe I'm thinking

542
00:30:14,760 --> 00:30:18,000
Speaker 3: of the right movie is used in a track from

543
00:30:18,280 --> 00:30:21,440
Speaker 3: the from a recent album by the band Blood Incantation.

544
00:30:22,320 --> 00:30:23,840
Speaker 3: Do you know what I'm talking? I feel like I

545
00:30:23,880 --> 00:30:26,480
Speaker 3: sent this to you. It's like a metal album that

546
00:30:26,600 --> 00:30:28,160
Speaker 3: has some tangerine dream in it.

547
00:30:28,400 --> 00:30:30,600
Speaker 2: Yes, yes, I like that release quite a bit. I've

548
00:30:30,640 --> 00:30:33,720
Speaker 2: listened to that a few times, and I've actually watched

549
00:30:33,760 --> 00:30:36,000
Speaker 2: part of Contamination. It's one of those I need to

550
00:30:36,040 --> 00:30:38,560
Speaker 2: come back to. Okay, what in the film's thought? It

551
00:30:38,600 --> 00:30:40,000
Speaker 2: was my thought. I just didn't finish it.

552
00:30:40,080 --> 00:30:44,280
Speaker 3: But I think I have a memory of letterboxed reviews

553
00:30:44,280 --> 00:30:47,040
Speaker 3: for that film, many of which were along the lines

554
00:30:47,080 --> 00:30:49,200
Speaker 3: of the best part was when people exploded.

555
00:30:49,520 --> 00:30:54,080
Speaker 2: Yes, yeah, it was a little slow. But you know,

556
00:30:55,040 --> 00:30:56,560
Speaker 2: I didn't watch the whole thing, and I do hate

557
00:30:56,560 --> 00:30:58,600
Speaker 2: it when I don't. Usually I hate it when I

558
00:30:58,600 --> 00:31:03,000
Speaker 2: don't finish a movie. There are exceptions. Oh, Carlo Dmijo

559
00:31:03,160 --> 00:31:05,760
Speaker 2: was also in a nineteen seventy anti drug movie called

560
00:31:05,920 --> 00:31:10,560
Speaker 2: Microscopic Liquid Subway to Oblivion. I glanced at this, looks

561
00:31:10,560 --> 00:31:14,080
Speaker 2: like you can watch this online. It at least looks

562
00:31:14,080 --> 00:31:17,440
Speaker 2: like one of these anti drug movies that is also

563
00:31:17,680 --> 00:31:22,440
Speaker 2: very psychedelic. It's no making style, so it raises some questions.

564
00:31:22,560 --> 00:31:25,440
Speaker 3: It probably made by people taking a lot of drugs.

565
00:31:25,640 --> 00:31:28,960
Speaker 2: I think, Yeah, I think some people have given that

566
00:31:29,040 --> 00:31:30,000
Speaker 2: exact review of it.

567
00:31:30,120 --> 00:31:30,320
Speaker 3: Yeah.

568
00:31:31,120 --> 00:31:33,720
Speaker 2: Anyway, I like Carlo in this. He has a He's

569
00:31:33,760 --> 00:31:39,320
Speaker 2: sort of our third tier protagonist, third tier lead character.

570
00:31:40,320 --> 00:31:43,080
Speaker 2: But I also get the impression that Folchi liked this

571
00:31:43,200 --> 00:31:47,200
Speaker 2: guy much more than he liked Christopher George and was

572
00:31:47,240 --> 00:31:50,040
Speaker 2: probably at one point like, actually, George, you're done, I'm

573
00:31:50,120 --> 00:31:52,560
Speaker 2: killing your character off. We're going with this guy. He

574
00:31:52,600 --> 00:31:55,600
Speaker 2: gets the girl, he gets to be in the final scene.

575
00:31:56,200 --> 00:31:59,040
Speaker 3: Yeah. So there are sort of four main characters of

576
00:31:59,040 --> 00:32:01,400
Speaker 3: the movie. I would say it's these three just mentioned

577
00:32:01,440 --> 00:32:05,080
Speaker 3: and then also Sandra played by Janet Agren, would you agree.

578
00:32:04,920 --> 00:32:09,280
Speaker 2: Yeah, yeah, Sandra, Yeah is also important and we've we've

579
00:32:09,280 --> 00:32:12,240
Speaker 2: mentioned Janet Agrin before on the show. She was born

580
00:32:12,240 --> 00:32:14,280
Speaker 2: in nineteen forty nine and when she was in Hands

581
00:32:14,320 --> 00:32:18,080
Speaker 2: of Steel from nineteen eighty six from Sergio Martino, the

582
00:32:18,120 --> 00:32:22,760
Speaker 2: post apocalyptic cyborg action film. She was a Swedish model

583
00:32:22,800 --> 00:32:25,360
Speaker 2: turned actor who appeared in nineteen eighty five's Red Sonia

584
00:32:25,760 --> 00:32:28,600
Speaker 2: and a number of other genre films, including eighty H Ratman.

585
00:32:29,160 --> 00:32:32,040
Speaker 3: You remind I had completely forgotten about this, but you

586
00:32:32,120 --> 00:32:35,080
Speaker 3: reminded me digging up our old notes from Hands of

587
00:32:35,120 --> 00:32:38,800
Speaker 3: Steel that Janet Agrin was the actress who did that

588
00:32:40,600 --> 00:32:46,680
Speaker 3: absolutely bizarre Italian disco song called Teddy Bear. Yes, I

589
00:32:46,720 --> 00:32:48,360
Speaker 3: wonder if we can get a little sample of that

590
00:32:58,280 --> 00:33:01,240
Speaker 3: Gimmy gimme Teddy teddy My Heeddy Bartt. I kind of

591
00:33:01,280 --> 00:33:03,840
Speaker 3: feel like this song could do things to you that

592
00:33:03,840 --> 00:33:07,320
Speaker 3: that happened to the characters in Gates of Hell, Like

593
00:33:07,960 --> 00:33:10,560
Speaker 3: you know, you're listening to this enough and eventually there

594
00:33:10,680 --> 00:33:12,920
Speaker 3: is full on like intestinal emesis.

595
00:33:13,200 --> 00:33:15,560
Speaker 2: Yeah, it might be the sort of you know, troubling

596
00:33:15,600 --> 00:33:18,360
Speaker 2: idea that awakens something like this for sure.

597
00:33:18,600 --> 00:33:20,560
Speaker 3: Yeah, that way lies madness.

598
00:33:21,120 --> 00:33:25,000
Speaker 2: Let's see another fun, fun connection here. We have a

599
00:33:25,040 --> 00:33:28,520
Speaker 2: character in this film called Bob. This is no relation,

600
00:33:29,280 --> 00:33:32,000
Speaker 2: I assume to the Bob in house by the cemetery

601
00:33:32,000 --> 00:33:33,240
Speaker 2: who has a small child.

602
00:33:33,240 --> 00:33:36,240
Speaker 3: Had the same question, couldn't I don't think that makes

603
00:33:36,240 --> 00:33:39,959
Speaker 3: any sense. Like, no, just happens to be two different Bobs.

604
00:33:40,840 --> 00:33:44,280
Speaker 2: But this Bob is like an older I guess he's

605
00:33:44,280 --> 00:33:46,520
Speaker 2: a sex criminal. There are a lot of there's a

606
00:33:46,520 --> 00:33:50,160
Speaker 2: lot of dirt talking about Bob, and I'm not sure

607
00:33:50,160 --> 00:33:52,400
Speaker 2: how much of it we're supposed to believe, how much

608
00:33:52,400 --> 00:33:55,480
Speaker 2: of it is, like, is accurate, and how much of

609
00:33:55,520 --> 00:33:57,560
Speaker 2: it is just hey, we hate the local weirdo.

610
00:33:58,040 --> 00:34:02,000
Speaker 3: Yeah. He So he's presented as a creep and he

611
00:34:02,120 --> 00:34:05,600
Speaker 3: sometimes looks creepy. I'm trying to remember. Maybe this will

612
00:34:05,600 --> 00:34:07,280
Speaker 3: come up in the plot section. I don't remember. Now

613
00:34:07,360 --> 00:34:10,320
Speaker 3: does he actually like hurt anybody in the movie? I

614
00:34:10,360 --> 00:34:10,799
Speaker 3: don't remember.

615
00:34:10,800 --> 00:34:12,759
Speaker 2: I think they just talk about it and where, And

616
00:34:12,880 --> 00:34:16,839
Speaker 2: he looks creepy at times. So again, this is this

617
00:34:16,880 --> 00:34:19,040
Speaker 2: is not one of those films where where you can

618
00:34:19,280 --> 00:34:21,560
Speaker 2: really feel like you're supposed to feel one way or another.

619
00:34:22,640 --> 00:34:25,400
Speaker 3: I guess I can't tell if he's actually dangerous or

620
00:34:25,440 --> 00:34:28,320
Speaker 3: if he is being persecuted, and the movie maybe doesn't

621
00:34:28,360 --> 00:34:29,279
Speaker 3: fully resolve that.

622
00:34:29,680 --> 00:34:33,080
Speaker 2: Right then the film doesn't give us enough ammo to

623
00:34:33,160 --> 00:34:34,440
Speaker 2: really lean one way or another.

624
00:34:34,560 --> 00:34:34,640
Speaker 1: Ye.

625
00:34:34,800 --> 00:34:38,560
Speaker 2: Yeah, but he is played by Giovanni Radici, who lived

626
00:34:38,640 --> 00:34:41,799
Speaker 2: nineteen fifty four through twenty twenty three. We previously talked

627
00:34:41,840 --> 00:34:44,960
Speaker 2: to him, talked about him in our episode on Cannibal Apocalypse,

628
00:34:45,320 --> 00:34:51,800
Speaker 2: which was partially filmed Indicator Georgia. So another Italian Georgia zombie.

629
00:34:51,320 --> 00:34:52,960
Speaker 3: Movie hometown favorite.

630
00:34:53,200 --> 00:34:56,239
Speaker 2: Yeah, I want to see all Italian zombie films that

631
00:34:56,320 --> 00:34:58,840
Speaker 2: were made and at least partially in Georgia. Now I

632
00:34:58,840 --> 00:35:01,040
Speaker 2: feel like I have fonsibility to do so.

633
00:35:01,320 --> 00:35:05,120
Speaker 3: But so this was the same year as Cannibal Apocalypse. Yeah,

634
00:35:05,239 --> 00:35:07,640
Speaker 3: nineteen eighty Yeah, so he was he was getting around

635
00:35:07,840 --> 00:35:10,680
Speaker 3: working Italian actor working in Georgia that year.

636
00:35:10,960 --> 00:35:15,120
Speaker 2: Yeah yeah, yeah. Redici was indeed an Italian actor. Played

637
00:35:15,160 --> 00:35:18,640
Speaker 2: a lot of sleeves, bags, and monsters. His credits include

638
00:35:18,760 --> 00:35:21,920
Speaker 2: ful Chi, City of Living Dead, of course, Joe Tomatto's

639
00:35:21,920 --> 00:35:26,160
Speaker 2: Cannibal Love alongside George Eastman, Michael swab Is, The Church

640
00:35:26,200 --> 00:35:30,520
Speaker 2: from nineteen eighty nine, and Umberta Lindsay's Cannibal Ferrox, a

641
00:35:30,560 --> 00:35:32,760
Speaker 2: film that proudly boasted that it was banned in thirty

642
00:35:32,800 --> 00:35:33,440
Speaker 2: one countries.

643
00:35:33,760 --> 00:35:37,040
Speaker 3: Okay, I didn't verify the story for myself, but I

644
00:35:37,080 --> 00:35:39,640
Speaker 3: believe my friend and I were talking about this and

645
00:35:39,680 --> 00:35:41,560
Speaker 3: he was saying, is there's some kind of story where

646
00:35:42,440 --> 00:35:44,960
Speaker 3: Fulci was mad at this guy because he was too

647
00:35:45,040 --> 00:35:47,800
Speaker 3: handsome for the role he was supposed to play. Is like, you,

648
00:35:48,000 --> 00:35:50,360
Speaker 3: you are too good looking, I will make you hideous.

649
00:35:51,120 --> 00:35:53,839
Speaker 2: Yeah, yeah, I read that he was or I heard

650
00:35:53,840 --> 00:35:55,560
Speaker 2: in one of the extras that he was supposed to

651
00:35:55,600 --> 00:35:59,000
Speaker 2: be a hunchback. This character was and instead of having

652
00:35:59,040 --> 00:36:02,000
Speaker 2: a hunch he just supposedly walks a little stiffly in

653
00:36:02,120 --> 00:36:06,359
Speaker 2: some scenes. But otherwise, yeah, he doesn't look like a

654
00:36:06,520 --> 00:36:10,239
Speaker 2: like a Paul Nashy character or anything. So I can

655
00:36:10,280 --> 00:36:12,560
Speaker 2: see where Okay, this whole idea that, like the locals

656
00:36:12,560 --> 00:36:15,239
Speaker 2: are saying, oh, that's Bob, He's he's responsible for all

657
00:36:15,239 --> 00:36:17,880
Speaker 2: these crimes. That would almost make more sense if we

658
00:36:17,880 --> 00:36:21,000
Speaker 2: were going with this sort of stereotypical hunchback outside or

659
00:36:21,040 --> 00:36:23,920
Speaker 2: sort of a thing. But instead he just looks like

660
00:36:24,040 --> 00:36:29,520
Speaker 2: a slightly coked up young Robert de Niro which you know,

661
00:36:29,600 --> 00:36:31,520
Speaker 2: is like, maybe that's a reason to blame the local

662
00:36:31,560 --> 00:36:34,160
Speaker 2: crimes on him, but maybe it's just happenstance.

663
00:36:34,239 --> 00:36:37,160
Speaker 3: I mean, he's like really in the film, they make

664
00:36:37,239 --> 00:36:39,520
Speaker 3: him up to look really pale, with circles under his

665
00:36:39,600 --> 00:36:41,760
Speaker 3: eyes and all, yeah, greasy hair.

666
00:36:41,760 --> 00:36:43,759
Speaker 2: But everybody in this film looks like that at one.

667
00:36:43,640 --> 00:36:48,920
Speaker 3: Point, everybody except Christopher George, who's always suave and death.

668
00:36:49,040 --> 00:36:52,480
Speaker 2: That's right, Yeah, he's always leathered and ready for action.

669
00:36:53,120 --> 00:36:56,080
Speaker 2: All right, let's move on to a few other supporting characters.

670
00:36:56,600 --> 00:37:01,799
Speaker 2: We have Fabrizio Jovin playing Father Thomas age unknown on

671
00:37:01,840 --> 00:37:04,800
Speaker 2: this actor, but I think he's still out there, still active.

672
00:37:05,719 --> 00:37:09,279
Speaker 2: This is the character we were alluding to earlier that

673
00:37:09,600 --> 00:37:14,200
Speaker 2: may or may not be our chief antagonist. He is

674
00:37:14,880 --> 00:37:19,479
Speaker 2: a priest who has committed suicide in a graveyard and

675
00:37:19,520 --> 00:37:22,880
Speaker 2: in doing so has at least helped open the gates

676
00:37:22,880 --> 00:37:23,200
Speaker 2: of hell.

677
00:37:24,480 --> 00:37:27,400
Speaker 3: That has something to do with the opening of the

678
00:37:27,440 --> 00:37:27,960
Speaker 3: gates of hell.

679
00:37:28,080 --> 00:37:31,359
Speaker 2: Yeah, it creates like the legal loophole through which the

680
00:37:31,400 --> 00:37:34,040
Speaker 2: gates may open. We don't know, we'll get into this later,

681
00:37:34,120 --> 00:37:37,640
Speaker 2: but he has a recurring role. He's almost I kind

682
00:37:37,640 --> 00:37:40,200
Speaker 2: of thought of him in terms of the character we

683
00:37:40,200 --> 00:37:43,759
Speaker 2: would get many years later of the chief Cinebite from

684
00:37:43,800 --> 00:37:46,160
Speaker 2: Hell Raiser. He kind of pops up like that, but

685
00:37:46,400 --> 00:37:49,600
Speaker 2: sometimes more as again as a symbol as opposed to

686
00:37:49,640 --> 00:37:53,240
Speaker 2: a character, like sometimes he'll just pop in on his noose.

687
00:37:54,360 --> 00:37:58,120
Speaker 3: Yeah exactly. He's not well, much like the lead Cinnabyite.

688
00:37:58,400 --> 00:38:00,799
Speaker 3: He just stands there to like look at you and

689
00:38:00,880 --> 00:38:04,000
Speaker 3: talk while the horrors are unfolding, and he might not talk.

690
00:38:04,040 --> 00:38:07,560
Speaker 3: He might just literally from the news, the Cinnabite does talk.

691
00:38:07,880 --> 00:38:09,239
Speaker 3: The priest does not talk.

692
00:38:09,360 --> 00:38:13,160
Speaker 2: Yeahah, he just looks at you with those eyes. So

693
00:38:13,440 --> 00:38:19,040
Speaker 2: this actor definitely a memorable presence despite the lack of lines.

694
00:38:19,080 --> 00:38:21,640
Speaker 2: His other credits, though, include Full Cheese, The Psychic from

695
00:38:21,640 --> 00:38:25,759
Speaker 2: seventy nine and nineteen eighties, The Day Christ Died, in

696
00:38:25,800 --> 00:38:28,759
Speaker 2: which he plays Philip all Right. Another actor we have

697
00:38:29,200 --> 00:38:33,520
Speaker 2: Daniella Doria Age unknown horror actress who appeared as a

698
00:38:33,600 --> 00:38:36,680
Speaker 2: victim in House by the Cemetery. She's also in Full Cheese,

699
00:38:37,239 --> 00:38:39,520
Speaker 2: The Black Cat from eighty two and The New York

700
00:38:39,560 --> 00:38:42,279
Speaker 2: Ripper from eighty two. She has a big scene in

701
00:38:42,320 --> 00:38:45,000
Speaker 2: this film, a big special effects scene one we have

702
00:38:45,040 --> 00:38:48,040
Speaker 2: already alluded to, and we'll come back to in a bit.

703
00:38:48,560 --> 00:38:55,680
Speaker 2: It involves guts. We mentioned Michael Suave who would go

704
00:38:55,719 --> 00:38:58,840
Speaker 2: on to direct Cemetery Man and the Church and so forth.

705
00:38:59,120 --> 00:39:01,600
Speaker 2: He's popped up. He popped up in Absurd, which we

706
00:39:01,640 --> 00:39:05,120
Speaker 2: talked about last year. He became that as an actor. Yeah,

707
00:39:05,120 --> 00:39:07,440
Speaker 2: he was in it as an actor and also motorcycle

708
00:39:07,480 --> 00:39:11,279
Speaker 2: provider that I don't think he was able to bring

709
00:39:11,280 --> 00:39:15,839
Speaker 2: his motorcycle on the flight to Atlanta and then bring

710
00:39:15,880 --> 00:39:17,800
Speaker 2: it on I guess the bust is Savannah or however

711
00:39:17,840 --> 00:39:21,359
Speaker 2: they did it. But he has a minor character here

712
00:39:21,440 --> 00:39:25,399
Speaker 2: as a victim, and he does get his brain opened up.

713
00:39:26,400 --> 00:39:30,919
Speaker 2: See also the mask guy and demons. Yeah, in fact,

714
00:39:31,000 --> 00:39:35,439
Speaker 2: that is I think still his IMDb photo is him

715
00:39:35,520 --> 00:39:38,080
Speaker 2: from that movie with that metal mask. I think he

716
00:39:38,080 --> 00:39:40,000
Speaker 2: had He had a motorcycle in that one. That one

717
00:39:40,120 --> 00:39:43,000
Speaker 2: was desperately bring your motorcycle to work, Swaby.

718
00:39:43,600 --> 00:39:47,920
Speaker 3: Now this movie has a grave digger scene to rival Shakespeare.

719
00:39:47,960 --> 00:39:52,160
Speaker 2: I would argue, yeah, it's such a such a terrible

720
00:39:52,200 --> 00:39:54,799
Speaker 2: and trashy scene. But I had to look these guys

721
00:39:54,840 --> 00:39:57,520
Speaker 2: up and I was not disappointed. There's there's two guys.

722
00:39:57,560 --> 00:39:59,719
Speaker 2: There's a blonde guy and another guy. The blonde grave

723
00:39:59,760 --> 00:40:04,279
Speaker 2: Digg is played by Cannibal Holocaust actor Perry Perkannon and

724
00:40:04,320 --> 00:40:08,600
Speaker 2: the other by seventies adult film actor Michael Gaunt. And

725
00:40:09,040 --> 00:40:12,600
Speaker 2: they're discussing they're discussing pornography briefly whilst digging the grave.

726
00:40:12,760 --> 00:40:15,520
Speaker 3: They're just like shoveling in a cemetery and be like, hey,

727
00:40:15,680 --> 00:40:16,800
Speaker 3: have you heard about sex?

728
00:40:19,800 --> 00:40:22,600
Speaker 2: Yeah, it's a terrible This is one of those things

729
00:40:22,640 --> 00:40:24,919
Speaker 2: where I really I don't know if this was meant

730
00:40:24,960 --> 00:40:27,160
Speaker 2: to be funny or meant to be funny in the

731
00:40:27,160 --> 00:40:31,799
Speaker 2: way that it is funny. Sometimes hard to tell, all Right,

732
00:40:31,880 --> 00:40:34,040
Speaker 2: A number of folks were involved in the special effects,

733
00:40:34,040 --> 00:40:35,920
Speaker 2: but I do want to call out this is another

734
00:40:36,480 --> 00:40:39,919
Speaker 2: installment from Gino de Rossi, who lived nineteen forty two

735
00:40:39,960 --> 00:40:43,440
Speaker 2: through twenty twenty one. He played a key role in

736
00:40:43,480 --> 00:40:45,560
Speaker 2: bringing to life some of the more memorable effects in

737
00:40:45,600 --> 00:40:48,600
Speaker 2: this film, which is looking at some of the extras

738
00:40:48,600 --> 00:40:52,759
Speaker 2: on the Blue Underground disc for this movie, and they're

739
00:40:52,840 --> 00:40:55,319
Speaker 2: quite impressive. Like he was talking about, like getting there,

740
00:40:55,400 --> 00:40:58,439
Speaker 2: and you know, he had the task of figuring out

741
00:40:58,480 --> 00:41:02,360
Speaker 2: how to bring these ideas that Fulci and the screenwriter

742
00:41:02,440 --> 00:41:04,719
Speaker 2: brought to the table, you know, and there would be

743
00:41:04,760 --> 00:41:08,640
Speaker 2: things like we need a window to explode, and then

744
00:41:08,640 --> 00:41:11,920
Speaker 2: the glass shards to embed themselves in a wall, and

745
00:41:11,960 --> 00:41:15,319
Speaker 2: then the wall needs to bleed and and you know.

746
00:41:15,440 --> 00:41:16,640
Speaker 3: That's a great looking effect.

747
00:41:16,719 --> 00:41:19,319
Speaker 2: But it's an amazing looking effect, you know, and it's

748
00:41:19,760 --> 00:41:23,720
Speaker 2: so perfectly executed. You don't necessarily stop and think about

749
00:41:23,760 --> 00:41:26,440
Speaker 2: that one and think about, oh, what all went into it.

750
00:41:26,480 --> 00:41:28,880
Speaker 2: It's like like a week's worth of planning went into

751
00:41:28,920 --> 00:41:32,880
Speaker 2: it and just some amazing details. So this guy was

752
00:41:32,640 --> 00:41:35,759
Speaker 2: a true master. We previously talked about him in our

753
00:41:35,760 --> 00:41:38,920
Speaker 2: episode on let Sleeping Corpses Lie and he worked with

754
00:41:38,960 --> 00:41:42,640
Speaker 2: everyone from Joe Tomato to David Lynch, like he was

755
00:41:42,680 --> 00:41:44,920
Speaker 2: involved in bringing the Guild Navigator to life.

756
00:41:45,080 --> 00:41:48,000
Speaker 3: Oh okay, I'm sure in this film the most common

757
00:41:48,080 --> 00:41:50,600
Speaker 3: question he would get asked is what's the deal with

758
00:41:50,640 --> 00:41:53,879
Speaker 3: the grub Nato? Like where does the maggot storm? How

759
00:41:53,880 --> 00:41:54,520
Speaker 3: did that work?

760
00:41:54,719 --> 00:41:56,520
Speaker 2: And that's amazing too, But that one is like a

761
00:41:56,520 --> 00:42:00,200
Speaker 2: little more straightforward. It's like, well, you have a high

762
00:42:00,200 --> 00:42:02,960
Speaker 2: powered vacuum cleaner, you put it on reverse and then

763
00:42:03,000 --> 00:42:05,640
Speaker 2: you bring in all the maggots in the world, and

764
00:42:05,800 --> 00:42:07,280
Speaker 2: that's how it comes together.

765
00:42:08,480 --> 00:42:08,680
Speaker 3: You know.

766
00:42:10,239 --> 00:42:12,560
Speaker 2: Not all the effects in this movie are are sort

767
00:42:12,600 --> 00:42:15,440
Speaker 2: of like that blatant there. Like I say, there's some

768
00:42:15,480 --> 00:42:19,839
Speaker 2: excellent use of like mixing prosthetic and live action and

769
00:42:19,880 --> 00:42:24,440
Speaker 2: then cutting it just right so that everything feels believable.

770
00:42:25,200 --> 00:42:27,799
Speaker 3: But yeah, the effects in this film are really good.

771
00:42:28,239 --> 00:42:30,560
Speaker 2: And another great thing about this movie is, of course

772
00:42:30,719 --> 00:42:35,399
Speaker 2: it's music. It's a score by Fabio Frizzy of born

773
00:42:35,480 --> 00:42:37,960
Speaker 2: nineteen fifty one. This is, as far as I'm concerned,

774
00:42:38,000 --> 00:42:40,800
Speaker 2: itallo horror disco at its absolute.

775
00:42:40,360 --> 00:42:43,680
Speaker 3: Finest, really great. I love the score to this movie,

776
00:42:44,560 --> 00:42:47,960
Speaker 3: and it varied. Do you know a lot of different tones.

777
00:42:48,080 --> 00:42:51,600
Speaker 3: There are parts of it so yes, it has the

778
00:42:51,640 --> 00:42:55,880
Speaker 3: disco elements, some with like the almost the thing style

779
00:42:56,040 --> 00:43:00,839
Speaker 3: thudding bass, that sort of ominous driving pulse. So I

780
00:43:00,880 --> 00:43:04,640
Speaker 3: see disco elements. I see more of an electronic synth

781
00:43:04,680 --> 00:43:07,120
Speaker 3: score elements. And then there are parts that almost feel

782
00:43:07,200 --> 00:43:10,680
Speaker 3: like a cult folk rock. There are parts where it

783
00:43:10,920 --> 00:43:15,160
Speaker 3: sounds like a Pentangle song and I think that what's

784
00:43:15,160 --> 00:43:17,240
Speaker 3: her name, Jackie, she is about to come in singing.

785
00:43:17,480 --> 00:43:21,279
Speaker 2: Yeah. Yeah, the score is highly effective, but it's also

786
00:43:21,320 --> 00:43:25,719
Speaker 2: it's funky, it's brooding, it's surreal and dream like. You know,

787
00:43:25,760 --> 00:43:27,760
Speaker 2: some of you might out there you know, you squares

788
00:43:27,840 --> 00:43:30,319
Speaker 2: might be saying, oh, disco is dead right, No, no, no,

789
00:43:30,440 --> 00:43:33,240
Speaker 2: disco is undead and it's coming through your precious guts

790
00:43:33,239 --> 00:43:33,880
Speaker 2: in this movie.

791
00:43:35,200 --> 00:43:37,480
Speaker 3: That's good. By the way, did I just say I

792
00:43:37,719 --> 00:43:41,200
Speaker 3: think I accidentally called her Jackie. She Jackie Miks of Pentangle,

793
00:43:41,280 --> 00:43:44,359
Speaker 3: the singer and Pentangle. This is the British folk band,

794
00:43:44,440 --> 00:43:47,799
Speaker 3: right yeah. Yeah, with that comparison, I'm thinking particularly of

795
00:43:48,840 --> 00:43:52,520
Speaker 3: the parts in the soundtrack here, where like the acoustic guitar,

796
00:43:52,680 --> 00:43:55,839
Speaker 3: the disson and acoustic guitar Rift comes in boom doom, doom, ding,

797
00:43:55,960 --> 00:43:58,520
Speaker 3: Do Do Do doom, and you can just imagine she's

798
00:43:58,560 --> 00:44:00,640
Speaker 3: about to come in with the witchy voke like ah

799
00:44:00,880 --> 00:44:02,959
Speaker 3: yeah on the Moonlight Night.

800
00:44:03,280 --> 00:44:05,640
Speaker 2: But yeah, okay, yeah, I definitely see what you're saying there.

801
00:44:05,719 --> 00:44:06,520
Speaker 3: Yeah, yeah.

802
00:44:06,560 --> 00:44:08,920
Speaker 2: And then we do get some just weird I don't

803
00:44:08,960 --> 00:44:10,799
Speaker 2: know how much of this is the score or just

804
00:44:10,840 --> 00:44:12,680
Speaker 2: the sound design, but we get some like weird sort

805
00:44:12,680 --> 00:44:16,160
Speaker 2: of like zombie moans thrown in there at times, as

806
00:44:16,200 --> 00:44:19,960
Speaker 2: well a lot of soundscapes, Yeah, yeah, some great soundscapes.

807
00:44:19,960 --> 00:44:24,560
Speaker 2: And you know, given that Fabio Frizzy worked on several

808
00:44:24,560 --> 00:44:27,600
Speaker 2: fol Chy movies, so he worked on the Beyond Zombie,

809
00:44:27,719 --> 00:44:31,120
Speaker 2: the Psychic, A Cat in the Brain, Manhattan Baby, a

810
00:44:31,160 --> 00:44:33,680
Speaker 2: couple of his westerns, and then one of his action films.

811
00:44:33,760 --> 00:44:35,920
Speaker 2: I think there's a strong case to be made that

812
00:44:36,000 --> 00:44:38,640
Speaker 2: frizzy sound here is just a key part of the

813
00:44:38,680 --> 00:44:40,360
Speaker 2: overall full, chy vibe, you know.

814
00:44:40,480 --> 00:44:43,680
Speaker 3: Yeah, yeah, I agree much in the same way that

815
00:44:43,800 --> 00:44:47,520
Speaker 3: I think. I think even though the scores in John

816
00:44:47,560 --> 00:44:50,000
Speaker 3: Carpenter movies do get a lot of attention, I think

817
00:44:50,040 --> 00:44:54,239
Speaker 3: people still underestimate how much the feeling they associate with

818
00:44:54,280 --> 00:44:57,680
Speaker 3: the John Carpenter movie is about the music. That like,

819
00:44:57,760 --> 00:45:00,920
Speaker 3: the music is almost like half of the effect of

820
00:45:00,960 --> 00:45:02,160
Speaker 3: a John Carpenter film.

821
00:45:02,480 --> 00:45:05,279
Speaker 2: Yeah, it is just such an important part of the flavor. Absolutely,

822
00:45:06,080 --> 00:45:08,360
Speaker 2: So this is one. For example, I've been listening to

823
00:45:08,680 --> 00:45:12,160
Speaker 2: parts of this score for years. It often pops up

824
00:45:12,200 --> 00:45:16,480
Speaker 2: and mixes that I listened to, So yeah, it really,

825
00:45:16,680 --> 00:45:19,200
Speaker 2: it really has a life outside of this movie, but

826
00:45:19,239 --> 00:45:22,160
Speaker 2: it is also clearly an essential part of this movie.

827
00:45:22,400 --> 00:45:33,520
Speaker 4: Yeah, okay, are you ready to talk about the plot?

828
00:45:33,840 --> 00:45:36,279
Speaker 2: Let's talk about the plot of the Living Dead.

829
00:45:36,440 --> 00:45:39,080
Speaker 3: To the extent there is a plot, I think the

830
00:45:39,120 --> 00:45:41,200
Speaker 3: way I want to approach it this time, what we'll

831
00:45:41,200 --> 00:45:44,319
Speaker 3: see how it goes is to narrate the beginning, maybe

832
00:45:44,320 --> 00:45:47,799
Speaker 3: the first third in some detail, and then kind of

833
00:45:47,840 --> 00:45:50,560
Speaker 3: summarize the rest, and then we can zoom in on

834
00:45:50,600 --> 00:45:55,440
Speaker 3: some particular scenes within that summary. Okay, So the film

835
00:45:55,600 --> 00:45:58,920
Speaker 3: opens with a heart stopping scream in the dark, and

836
00:45:58,960 --> 00:46:03,040
Speaker 3: then the credits play over panning footage of an eerie location.

837
00:46:03,640 --> 00:46:07,480
Speaker 3: It is a hazy, deserted cemetery, clearly in the southern

838
00:46:07,640 --> 00:46:10,239
Speaker 3: United States. You can see Spanish moss hanging from the

839
00:46:10,239 --> 00:46:13,280
Speaker 3: trees in the distance, though I think again the story

840
00:46:13,320 --> 00:46:16,200
Speaker 3: is supposed to be somewhere in New England. The music

841
00:46:16,239 --> 00:46:18,359
Speaker 3: here is something we will hear several times in the

842
00:46:18,360 --> 00:46:22,520
Speaker 3: film at this point. It is a slow, dreadful march,

843
00:46:22,640 --> 00:46:27,080
Speaker 3: with a languid beat accented on the snare drum, dark cords,

844
00:46:27,120 --> 00:46:29,799
Speaker 3: and a loopy flanger effect kind of zipping up and

845
00:46:29,880 --> 00:46:33,280
Speaker 3: down throughout the song. And at first the cemetery appears

846
00:46:33,320 --> 00:46:36,880
Speaker 3: to be completely empty. There's nothing here but headstones and mist,

847
00:46:37,320 --> 00:46:40,319
Speaker 3: but eventually we see the figure of a man far

848
00:46:40,400 --> 00:46:43,360
Speaker 3: off in the distance step out from behind one of

849
00:46:43,360 --> 00:46:46,680
Speaker 3: the larger grave markers. He is dressed in black and

850
00:46:46,800 --> 00:46:50,640
Speaker 3: he strolls slowly toward the camera, we cut to a

851
00:46:50,680 --> 00:46:52,960
Speaker 3: close up and now we can see the man as

852
00:46:53,000 --> 00:46:55,440
Speaker 3: a priest in a black clerical shirt with a white

853
00:46:55,440 --> 00:46:59,240
Speaker 3: tab collar, and he looks morose with red raw skin

854
00:46:59,320 --> 00:47:02,360
Speaker 3: on the underside of his eyes. And then text on

855
00:47:02,480 --> 00:47:06,799
Speaker 3: screen tells us this is Dunewich. Obviously again a nod

856
00:47:06,840 --> 00:47:09,839
Speaker 3: to love Craft. I think the Dunwich is all lowercase.

857
00:47:10,040 --> 00:47:14,359
Speaker 3: Interesting choice on the typeface there. Then the music playing

858
00:47:14,440 --> 00:47:17,040
Speaker 3: underneath it gets a new layer. We add in a thin,

859
00:47:17,480 --> 00:47:21,080
Speaker 3: noodling electric guitar for a more psychedelic rock layer on

860
00:47:21,160 --> 00:47:24,640
Speaker 3: top of what we're already hearing, and the camera zooms

861
00:47:24,719 --> 00:47:28,919
Speaker 3: on a particular gravestone which reads, and this is verbatim,

862
00:47:29,000 --> 00:47:33,920
Speaker 3: the soul that pines for eternity shall outspan death. You

863
00:47:34,160 --> 00:47:37,520
Speaker 3: dweller of the Twilight Void, Come Dunewich.

864
00:47:39,560 --> 00:47:42,440
Speaker 2: This is one that this will reappear at different points

865
00:47:42,480 --> 00:47:45,200
Speaker 2: in the picture. And I'm still trying to figure out

866
00:47:45,239 --> 00:47:45,640
Speaker 2: what it means.

867
00:47:45,920 --> 00:47:50,560
Speaker 3: Ya. I mean, I like the phrasing, especially the second sentence,

868
00:47:50,640 --> 00:47:53,800
Speaker 3: you dweller of the Twilight Void, come Dunwich. It feels

869
00:47:53,880 --> 00:47:57,800
Speaker 3: like it's missing a preposition somewhere or I'm not sure,

870
00:47:57,840 --> 00:48:02,160
Speaker 3: but yeah, that's what it says, and then the priest

871
00:48:02,200 --> 00:48:05,279
Speaker 3: wanders past this gravestone, looks up at a branch in

872
00:48:05,280 --> 00:48:07,480
Speaker 3: one of the trees overhead, and then we cut to

873
00:48:08,320 --> 00:48:11,440
Speaker 3: now text tells us we're in New York City. We

874
00:48:11,640 --> 00:48:15,240
Speaker 3: drop in on a seance. There are several people gathered

875
00:48:15,280 --> 00:48:18,440
Speaker 3: around a table in a dimly lit room, surrounded by

876
00:48:18,480 --> 00:48:23,040
Speaker 3: black shrouds and flickering candles. The people spread their hands

877
00:48:23,080 --> 00:48:25,919
Speaker 3: flat on the tabletop, and a woman from the group

878
00:48:25,960 --> 00:48:29,440
Speaker 3: appears to be having an encounter with a spirit. This

879
00:48:29,520 --> 00:48:32,880
Speaker 3: woman has a pale face with lank, almost wet looking

880
00:48:33,000 --> 00:48:36,279
Speaker 3: long hair framing it. I think she's supposed to give

881
00:48:36,320 --> 00:48:41,399
Speaker 3: the impression of someone carrying a great mental burden suffering inside.

882
00:48:41,640 --> 00:48:45,880
Speaker 3: This is Catriona McCall playing Mary Woodhouse. When we first

883
00:48:46,000 --> 00:48:49,879
Speaker 3: see her, her eyes are peeled wide open and she's

884
00:48:49,920 --> 00:48:55,719
Speaker 3: trembling in terror and awe, and she whispers, see, I see.

885
00:48:55,760 --> 00:48:58,200
Speaker 3: And then next to her at the table, a medium

886
00:48:58,280 --> 00:49:02,200
Speaker 3: is speaking, and the medium says the contact has entered

887
00:49:02,520 --> 00:49:06,720
Speaker 3: the contact the contact, and then we see Mary's vision

888
00:49:06,880 --> 00:49:11,360
Speaker 3: somewhere else in daylight, surrounded by treetops. A hemp noose

889
00:49:11,520 --> 00:49:14,359
Speaker 3: is thrown over the branch of an oak tree, and

890
00:49:14,400 --> 00:49:17,480
Speaker 3: then the priest we saw from the prologue comes into frame.

891
00:49:17,800 --> 00:49:20,360
Speaker 3: He slips the noose over his head and then drops,

892
00:49:21,120 --> 00:49:23,320
Speaker 3: And this is when we start to get that pretty

893
00:49:23,880 --> 00:49:26,399
Speaker 3: sick dissonant acoustic guitar riff. The thing I was saying

894
00:49:26,400 --> 00:49:29,279
Speaker 3: sounds like pentangle or something like that. Yeah, it's great.

895
00:49:30,120 --> 00:49:33,360
Speaker 3: So in the vision, the priest has hanged himself in

896
00:49:33,440 --> 00:49:36,319
Speaker 3: the churchyard, and then the camera pans down to the

897
00:49:36,360 --> 00:49:40,160
Speaker 3: grounds of the cemetery, grassy and littered with dead leaves,

898
00:49:40,680 --> 00:49:43,719
Speaker 3: and from the plot, in front of an old tombstone,

899
00:49:43,800 --> 00:49:47,279
Speaker 3: the earth begins to swell and then fold away, and

900
00:49:47,480 --> 00:49:51,640
Speaker 3: up from the soil rises a dead body, dark, rotten

901
00:49:51,760 --> 00:49:55,440
Speaker 3: and expressionless, coming back from its rest in a mockery

902
00:49:55,520 --> 00:49:56,000
Speaker 3: of life.

903
00:49:56,560 --> 00:49:59,880
Speaker 2: And we don't know exactly why or how this is occurring.

904
00:50:00,640 --> 00:50:02,840
Speaker 2: This is one of the great sort of cryptic dreamlike

905
00:50:03,920 --> 00:50:06,960
Speaker 2: aspects of this movie. Is you know, is it just

906
00:50:07,000 --> 00:50:10,200
Speaker 2: the idea, this disturbing idea itself has opened up the

907
00:50:10,200 --> 00:50:13,640
Speaker 2: gates of hell. Is it some sort of like theological

908
00:50:13,760 --> 00:50:17,360
Speaker 2: legal loophole allows the gates of hell to open? We

909
00:50:17,440 --> 00:50:20,240
Speaker 2: don't know, and we'll never know. We can never fully

910
00:50:20,280 --> 00:50:21,960
Speaker 2: understand these supernatural mysteries.

911
00:50:22,160 --> 00:50:25,520
Speaker 3: Yeah. So then Mary in the room in New York

912
00:50:25,600 --> 00:50:28,200
Speaker 3: begins to channel a message, or at least describe something.

913
00:50:28,320 --> 00:50:32,560
Speaker 3: She's gasping, and she shouts the dead, I see the Dead,

914
00:50:33,080 --> 00:50:36,080
Speaker 3: the City of the Dead, and foam drips from her

915
00:50:36,120 --> 00:50:38,719
Speaker 3: mouth that she looks frenzied, and then she lets out

916
00:50:38,719 --> 00:50:41,719
Speaker 3: a shriek, falls away from the table and collapses on

917
00:50:41,760 --> 00:50:44,239
Speaker 3: the floor, and then lying there on the floor, she's

918
00:50:44,320 --> 00:50:48,879
Speaker 3: writhing in agony, and a bizarre soundscape unfolds. It sounds

919
00:50:48,920 --> 00:50:53,520
Speaker 3: to me like a combination of wind howling, a baby crying,

920
00:50:54,040 --> 00:50:58,400
Speaker 3: birds chirping, and wild animals grunting and making other noises.

921
00:50:59,080 --> 00:51:02,839
Speaker 3: While she's having this attack, we see more visions. The

922
00:51:02,840 --> 00:51:06,200
Speaker 3: camera pans over the Dunwich Cemetery at night now and

923
00:51:06,280 --> 00:51:08,800
Speaker 3: comes to rest again on that headstone with the message

924
00:51:08,840 --> 00:51:12,239
Speaker 3: we saw earlier, You dweller of the Twilight Void, Come Dunewich.

925
00:51:13,400 --> 00:51:17,759
Speaker 3: And suddenly we cut to later. Mary's body lies on

926
00:51:17,800 --> 00:51:22,279
Speaker 3: a couch, apparently dead. She's frozen, eyes open, staring at

927
00:51:22,320 --> 00:51:26,080
Speaker 3: the ceiling, not breathing, and there's a guy here holding

928
00:51:26,080 --> 00:51:28,800
Speaker 3: two fingers to her throat and he says, I'm afraid

929
00:51:28,920 --> 00:51:34,000
Speaker 3: Mary's dead. The medium from the seance then screams no

930
00:51:35,400 --> 00:51:38,760
Speaker 3: and begins to sob, and we see the body taken

931
00:51:38,760 --> 00:51:42,720
Speaker 3: away in an ambulance. And then immediately next thing, police

932
00:51:42,719 --> 00:51:45,640
Speaker 3: are on the scene. They're investigating. And the detective here

933
00:51:45,800 --> 00:51:50,920
Speaker 3: is so funny. He's just so exaggeratedly suspicious of everyone

934
00:51:51,560 --> 00:51:54,759
Speaker 3: pacing the room in a trench coat spitting venom at

935
00:51:54,760 --> 00:51:59,680
Speaker 3: all of the traumatized spiritualists. I transcribed his line here.

936
00:52:00,040 --> 00:52:03,440
Speaker 3: He says, all right, maybe I've got no imagination, but

937
00:52:03,480 --> 00:52:06,480
Speaker 3: your story is a little tough to swallow. And then

938
00:52:06,480 --> 00:52:08,719
Speaker 3: he goes up to one random guy in the room.

939
00:52:08,760 --> 00:52:11,040
Speaker 3: We don't know who this guy is, like why he's there,

940
00:52:11,080 --> 00:52:12,759
Speaker 3: but he just goes up to this random guy and

941
00:52:12,840 --> 00:52:17,560
Speaker 3: gets in his face and says, James McLuhan busted twice

942
00:52:17,640 --> 00:52:21,480
Speaker 3: for pedaling in possession, and you expect me to believe

943
00:52:21,520 --> 00:52:24,680
Speaker 3: that Mary Woodhouse died out of sheer fright while you

944
00:52:24,719 --> 00:52:31,680
Speaker 3: were having a seance. The guy says, mm hmm, okay, fellas,

945
00:52:31,840 --> 00:52:34,680
Speaker 3: you help us, we'll help you. What were you on?

946
00:52:35,040 --> 00:52:39,600
Speaker 3: Coke grass? Where's the stash down the toilet? Yeah?

947
00:52:39,680 --> 00:52:44,719
Speaker 2: Yeah, this detective knows that clearly hippies name yes, sir,

948
00:52:44,840 --> 00:52:48,120
Speaker 2: that's what happened here. Hippies were doing drugs, and that's

949
00:52:48,160 --> 00:52:48,560
Speaker 2: all there.

950
00:52:48,480 --> 00:52:52,600
Speaker 3: Is to it. Mary died of acute grass exposure, and

951
00:52:52,680 --> 00:52:55,840
Speaker 3: then they flushed the They flushed the stash down the toilet.

952
00:52:57,840 --> 00:53:00,880
Speaker 3: So he starts interrogating the medium here, who is named

953
00:53:00,920 --> 00:53:04,640
Speaker 3: the Great Teresa, and they talk about how, according to

954
00:53:04,719 --> 00:53:09,440
Speaker 3: the Great Teresa, Mary died because of a book called

955
00:53:09,560 --> 00:53:12,520
Speaker 3: the Book of Enoch, which they say was written four

956
00:53:12,560 --> 00:53:15,680
Speaker 3: thousand years ago. Now, I want to note that there

957
00:53:15,920 --> 00:53:18,680
Speaker 3: is a real ancient text called the Book of Enoch,

958
00:53:18,760 --> 00:53:22,200
Speaker 3: sometimes called First Enoch, I guess because there's more than one.

959
00:53:22,640 --> 00:53:26,200
Speaker 3: The First Enoch is a Jewish apocalyptic text from sometime

960
00:53:26,239 --> 00:53:29,080
Speaker 3: in the first few centuries BCE, so not four thousand

961
00:53:29,200 --> 00:53:32,200
Speaker 3: years old, more like two little more than two thousand

962
00:53:32,239 --> 00:53:35,520
Speaker 3: years old. The actual Book of Enoch is really interesting.

963
00:53:35,560 --> 00:53:37,279
Speaker 3: I'd love to find a reason to come back and

964
00:53:37,320 --> 00:53:39,760
Speaker 3: talk about it on the show someday. It's got wild

965
00:53:39,880 --> 00:53:43,160
Speaker 3: dream visions in it and stuff one's called the animal Apocalypse.

966
00:53:44,239 --> 00:53:46,239
Speaker 3: But as far as I can tell, the Book of

967
00:53:46,400 --> 00:53:50,480
Speaker 3: Enoch in this movie has no resemblance to and nothing

968
00:53:50,520 --> 00:53:51,920
Speaker 3: to do with the real text.

969
00:53:52,080 --> 00:53:54,400
Speaker 2: Jae Like it's more like say the Book of Abion

970
00:53:54,680 --> 00:53:57,320
Speaker 2: or the Necronomicon or something from.

971
00:53:59,040 --> 00:54:01,960
Speaker 3: A world of weird fit. Right. So the Great Teresa

972
00:54:02,040 --> 00:54:06,840
Speaker 3: explains that somehow this four thousand year old book described

973
00:54:07,040 --> 00:54:12,279
Speaker 3: what happened to Mary in every detail in advance. I

974
00:54:12,320 --> 00:54:14,480
Speaker 3: would love to see what the text said it was like.

975
00:54:14,600 --> 00:54:17,320
Speaker 3: So there was a seance gathered in New York City.

976
00:54:19,480 --> 00:54:22,719
Speaker 3: But the detective says to her, lady, you're either on

977
00:54:23,000 --> 00:54:26,640
Speaker 3: grass or you're pulling my leg. And Teresa says to him,

978
00:54:26,680 --> 00:54:29,120
Speaker 3: the problem is in your mind, but I'll help you.

979
00:54:29,520 --> 00:54:32,720
Speaker 3: In the Book of Enoch, the killer is But before

980
00:54:32,760 --> 00:54:37,200
Speaker 3: she can say, they are interrupted by something. I would

981
00:54:37,280 --> 00:54:39,520
Speaker 3: love to know how you would describe this rob.

982
00:54:39,560 --> 00:54:41,480
Speaker 2: It's like demon fire. Yeah.

983
00:54:41,560 --> 00:54:46,080
Speaker 3: Yeah, it's a ball of fire that belches itself out

984
00:54:46,080 --> 00:54:48,359
Speaker 3: of thin air in the middle of the room, coming

985
00:54:48,440 --> 00:54:52,120
Speaker 3: up from the floor, rising toward the ceiling, moaning while

986
00:54:52,120 --> 00:54:55,520
Speaker 3: it rises, and then it reverses the footage and sucks

987
00:54:55,520 --> 00:54:58,840
Speaker 3: itself back into another dimension. Yeah. Oh, and there's a

988
00:54:58,880 --> 00:55:01,200
Speaker 3: great point. There's like a U informed cop next to

989
00:55:01,239 --> 00:55:03,480
Speaker 3: the detective here any points. He says, it came out

990
00:55:03,560 --> 00:55:08,239
Speaker 3: of the floor and the police ask, you know, they're

991
00:55:08,239 --> 00:55:10,319
Speaker 3: like well, what's going on in the apartment below here?

992
00:55:10,400 --> 00:55:15,000
Speaker 3: Apparently it's just vacant, abandoned department, and the detective is enraged.

993
00:55:15,080 --> 00:55:18,520
Speaker 3: He's like, you know, ah, these fireball belching pranks, they're

994
00:55:18,520 --> 00:55:19,880
Speaker 3: not gonna work on me. I'm going to get to

995
00:55:19,880 --> 00:55:24,480
Speaker 3: the bottom of this. And Teresa here I wrote down

996
00:55:24,480 --> 00:55:27,440
Speaker 3: what she said. This is an exact quote. First of all,

997
00:55:27,600 --> 00:55:30,000
Speaker 3: she kind of taunts him. She's like, keep refusing the

998
00:55:30,040 --> 00:55:32,680
Speaker 3: truth if you must. But then she says, at this

999
00:55:32,920 --> 00:55:37,640
Speaker 3: very precise moment, in some other distant town, horrendously awful

1000
00:55:37,680 --> 00:55:38,640
Speaker 3: things are happening.

1001
00:55:39,600 --> 00:55:43,960
Speaker 2: It's true. It's true. Now, for those of you hoping

1002
00:55:43,960 --> 00:55:46,560
Speaker 2: that this film will be a police procedural, we're really

1003
00:55:46,560 --> 00:55:48,160
Speaker 2: not going to see much more from the detective.

1004
00:55:48,400 --> 00:55:50,279
Speaker 3: Oh yeah, I was thinking the first time I saw this,

1005
00:55:50,360 --> 00:55:54,440
Speaker 3: I was like, okay, here's our main character. This navigation

1006
00:55:54,680 --> 00:55:58,720
Speaker 3: is going nowhere. So after this we smash cut to Bob.

1007
00:55:59,600 --> 00:56:03,040
Speaker 3: What can we say about Bob? You know, actually, I

1008
00:56:03,120 --> 00:56:05,479
Speaker 3: think the first time I saw him, I thought, wait,

1009
00:56:05,560 --> 00:56:08,000
Speaker 3: is this guy a zombie? But no, he is a

1010
00:56:08,080 --> 00:56:12,640
Speaker 3: living human. He is presented as the town creep. I guess,

1011
00:56:12,640 --> 00:56:15,719
Speaker 3: as we mentioned earlier, it's not clear exactly to what

1012
00:56:15,920 --> 00:56:19,400
Speaker 3: extent he is like actually an awful creep, or he

1013
00:56:19,520 --> 00:56:23,439
Speaker 3: is being falsely accused and persecuted by the townspeople.

1014
00:56:24,000 --> 00:56:27,800
Speaker 2: Yeah, yeah, but he is definitely made up in almost

1015
00:56:27,880 --> 00:56:31,520
Speaker 2: zombie like fashion, or this would be zombie make up

1016
00:56:31,640 --> 00:56:34,440
Speaker 2: in many other movies. In this film, it's not anywhere

1017
00:56:34,480 --> 00:56:35,240
Speaker 2: near gross enough.

1018
00:56:35,440 --> 00:56:40,200
Speaker 3: Right, So, pale almost like kind of green skin, greasy hair,

1019
00:56:40,480 --> 00:56:43,400
Speaker 3: dark circles under his eyes. He looks like he lives

1020
00:56:43,480 --> 00:56:46,359
Speaker 3: on the food that the computer supplies. And I have

1021
00:56:46,440 --> 00:56:49,600
Speaker 3: no mouth, and I must scream like maybe like they

1022
00:56:49,640 --> 00:56:52,000
Speaker 3: only let him sleep for five minutes a week, hanging

1023
00:56:52,080 --> 00:56:56,440
Speaker 3: upside down. Yeah, roughly. Yeah, And so when we meet him,

1024
00:56:56,480 --> 00:56:58,960
Speaker 3: I guess that's full ty trying to overcompensate for him

1025
00:56:58,960 --> 00:57:02,080
Speaker 3: being too handsome. So we meet him standing in the

1026
00:57:02,080 --> 00:57:05,279
Speaker 3: middle of a field with wind whipping crazily around him

1027
00:57:05,560 --> 00:57:08,279
Speaker 3: and the sound of ravens cawing from above, and he's

1028
00:57:08,280 --> 00:57:12,680
Speaker 3: staring off into the distance, looking half pitiful, half malicious. Again,

1029
00:57:12,719 --> 00:57:15,280
Speaker 3: he's sort of always balanced right on the edge between

1030
00:57:15,320 --> 00:57:18,680
Speaker 3: being somebody were afraid for and somebody were afraid of.

1031
00:57:19,600 --> 00:57:22,720
Speaker 3: And then Bob turns into the wind and walks toward

1032
00:57:22,760 --> 00:57:26,200
Speaker 3: a big wooden house. I'm not sure how to describe

1033
00:57:26,200 --> 00:57:29,280
Speaker 3: this building. It's like raised up on beams above the ground.

1034
00:57:29,360 --> 00:57:31,160
Speaker 3: So I guess it's built in a place where flooding

1035
00:57:31,240 --> 00:57:35,600
Speaker 3: is likely, and based on the flora and sandy soil,

1036
00:57:35,720 --> 00:57:39,560
Speaker 3: looks like a coastal area, so this may be around Savannah.

1037
00:57:39,640 --> 00:57:43,280
Speaker 3: I don't know why, but I was thinking this looks

1038
00:57:43,320 --> 00:57:46,760
Speaker 3: like the service building attached to an abandoned alligator farm.

1039
00:57:47,840 --> 00:57:48,280
Speaker 2: Yeah.

1040
00:57:48,360 --> 00:57:51,080
Speaker 3: Yeah, well, whatever it is, it does have some stained

1041
00:57:51,120 --> 00:57:53,720
Speaker 3: glass windows that we see later. Whatever it is, it

1042
00:57:53,760 --> 00:57:56,320
Speaker 3: seems to have been left behind by its original owners,

1043
00:57:56,320 --> 00:57:58,920
Speaker 3: and now it belongs to Bob. It's his squatter pad.

1044
00:57:59,640 --> 00:58:04,800
Speaker 3: Bob staggers inside, goes into a room and finds a

1045
00:58:05,000 --> 00:58:08,600
Speaker 3: deflated blow up doll of a woman on the floor,

1046
00:58:09,160 --> 00:58:11,800
Speaker 3: and then he tosses it across the room and it

1047
00:58:12,000 --> 00:58:14,960
Speaker 3: instantly inflates itself, as if by sorcery.

1048
00:58:15,760 --> 00:58:17,680
Speaker 2: Yeah, and I wasn't sure if it was supposed to

1049
00:58:17,720 --> 00:58:20,440
Speaker 2: be sorcery or if this is something that this doll

1050
00:58:20,520 --> 00:58:21,600
Speaker 2: was supposed to do on its own.

1051
00:58:22,880 --> 00:58:25,800
Speaker 3: I don't know. It's like an emergency instant. It's like

1052
00:58:25,840 --> 00:58:30,720
Speaker 3: those you know, life wraps. I guess for emergencies. Only

1053
00:58:32,800 --> 00:58:35,880
Speaker 3: Bob makes some creepy faces at the inflatable doll and

1054
00:58:36,000 --> 00:58:38,480
Speaker 3: kind of has himself a little chuckle, and then walks

1055
00:58:38,560 --> 00:58:41,560
Speaker 3: up and grabs the doll, but then looks across the

1056
00:58:41,640 --> 00:58:45,800
Speaker 3: room and sees something horrifying on the floor, a human

1057
00:58:45,880 --> 00:58:51,080
Speaker 3: shaped mass of slimy, rotten flesh covered entirely in exposed

1058
00:58:51,280 --> 00:58:55,520
Speaker 3: pink blood vessels and wriggling worms. And Bob is afraid.

1059
00:58:56,040 --> 00:58:58,840
Speaker 2: I have no idea what's going on here. This is

1060
00:58:58,920 --> 00:59:03,640
Speaker 2: definitely dreamlike, disturbing imagery, but I don't know what these

1061
00:59:03,680 --> 00:59:04,960
Speaker 2: two things have to do with each other.

1062
00:59:05,480 --> 00:59:08,560
Speaker 3: We cut away from this something else, Let's see something else.

1063
00:59:08,920 --> 00:59:10,680
Speaker 3: Let's go back to New York. Here we meet a

1064
00:59:10,680 --> 00:59:13,240
Speaker 3: new character. Finally, it's time for Peter Bell, played by

1065
00:59:13,320 --> 00:59:18,840
Speaker 3: Christopher George. Bell is sarcastic, street wise. He's a reporter

1066
00:59:19,000 --> 00:59:21,640
Speaker 3: with a nose for a good story and an amoral

1067
00:59:21,720 --> 00:59:25,520
Speaker 3: skill set for chasing these stories down. He arrives on

1068
00:59:25,560 --> 00:59:28,000
Speaker 3: the scene of the seance death, wanting to get into

1069
00:59:28,040 --> 00:59:30,440
Speaker 3: the apartment to get some more details. He tries to

1070
00:59:30,480 --> 00:59:32,960
Speaker 3: bribe a cop at the door to get in there,

1071
00:59:33,040 --> 00:59:36,280
Speaker 3: but no luck. So no worries he will find another

1072
00:59:36,320 --> 00:59:39,240
Speaker 3: way to run down this lead, and then we pop

1073
00:59:39,240 --> 00:59:42,000
Speaker 3: away to yet another location that will recur in the film.

1074
00:59:42,080 --> 00:59:45,640
Speaker 3: This time we're at Junie's Lounge, which seems to be

1075
00:59:45,680 --> 00:59:48,920
Speaker 3: the towny bar in Dunwich. Did you get that feeling? Yeah?

1076
00:59:49,040 --> 00:59:54,480
Speaker 2: Yeah, this is the local watering hole. Not a classy place,

1077
00:59:54,560 --> 00:59:57,600
Speaker 2: but you know, not a this is where life happens.

1078
00:59:57,920 --> 01:00:00,560
Speaker 3: It's got a package shop attached to it right on

1079
01:00:00,640 --> 01:00:03,080
Speaker 3: the side of the bar. That's an interesting Yeah.

1080
01:00:03,120 --> 01:00:06,320
Speaker 2: So you know this is I guess wherever done, which

1081
01:00:06,360 --> 01:00:08,360
Speaker 2: is actually supposed to be you know, these are the

1082
01:00:09,960 --> 01:00:11,440
Speaker 2: county liquor laws, I guess.

1083
01:00:11,560 --> 01:00:14,240
Speaker 3: Yeah. Yeah, But what's your read on the food at Juny's.

1084
01:00:14,280 --> 01:00:15,520
Speaker 3: You think they have good food there?

1085
01:00:16,200 --> 01:00:19,280
Speaker 2: I think they barely have food. I imagine it's literal

1086
01:00:19,360 --> 01:00:20,240
Speaker 2: packets of peanuts.

1087
01:00:20,480 --> 01:00:24,960
Speaker 3: Yeah, probably so. Yeah. It's in the middle of the afternoon.

1088
01:00:25,120 --> 01:00:28,240
Speaker 3: The bartender is unpacking palettes of canned beer, and two

1089
01:00:28,240 --> 01:00:31,040
Speaker 3: guys are sitting at the bar drinking I'm gonna guess

1090
01:00:31,040 --> 01:00:35,000
Speaker 3: Miller High Life, and they're talking local gossip. Suddenly there

1091
01:00:35,080 --> 01:00:38,320
Speaker 3: is a crashing sound and across the room a mirror

1092
01:00:38,320 --> 01:00:40,720
Speaker 3: on the wall shatters and we get a stab of

1093
01:00:40,800 --> 01:00:43,840
Speaker 3: high pitched tones, and the three men wander over to

1094
01:00:43,840 --> 01:00:48,040
Speaker 3: look at the cracked mirror, and one of the men says,

1095
01:00:48,040 --> 01:00:51,560
Speaker 3: you know something, ever since father Thomas hanged himself done

1096
01:00:51,600 --> 01:00:55,200
Speaker 3: which ain't been the same, it's kind of scary. So

1097
01:00:55,280 --> 01:00:58,400
Speaker 3: I guess they're attributing the sudden crash and the crack

1098
01:00:58,440 --> 01:01:01,840
Speaker 3: of the mirror to Thomas. I suppose.

1099
01:01:02,120 --> 01:01:05,680
Speaker 2: I think just a lot of weird things, unexplainable things

1100
01:01:05,680 --> 01:01:07,720
Speaker 2: have been happening around here, and they're like, it didn't

1101
01:01:07,760 --> 01:01:11,280
Speaker 2: happen before, before that tragic suicide.

1102
01:01:11,560 --> 01:01:14,280
Speaker 3: Yeah, But the bartender, he tries to calm them. He's like,

1103
01:01:14,360 --> 01:01:16,800
Speaker 3: there's got to be a logical explanation. Maybe a truck

1104
01:01:16,880 --> 01:01:19,960
Speaker 3: passing by the vibration. So he's the skeptic of the town.

1105
01:01:20,400 --> 01:01:22,960
Speaker 3: And then one of the barflies says, you forget who

1106
01:01:23,000 --> 01:01:26,760
Speaker 3: our ancestors were. There will be more on that later.

1107
01:01:27,240 --> 01:01:30,120
Speaker 3: The bartender offers them another round of beers on the house,

1108
01:01:30,200 --> 01:01:33,160
Speaker 3: and then suddenly there's another kind of quake. The earth

1109
01:01:33,200 --> 01:01:36,280
Speaker 3: shakes and the wall splits into a big crack, goes

1110
01:01:36,320 --> 01:01:38,720
Speaker 3: down the cinderblock wall from the roof to the floor,

1111
01:01:39,480 --> 01:01:42,720
Speaker 3: and the barflies are both like, I gotta go, me too,

1112
01:01:42,800 --> 01:01:45,720
Speaker 3: and they run outside and the bartender is left alone

1113
01:01:45,760 --> 01:01:50,560
Speaker 3: cussing at his wall for being poorly built. Next thing

1114
01:01:50,640 --> 01:01:53,640
Speaker 3: is we cut to a psychiatrist's couch. Here we're going

1115
01:01:53,680 --> 01:01:56,400
Speaker 3: to meet a couple of our other main characters. We

1116
01:01:56,520 --> 01:01:59,720
Speaker 3: meet Sandra played by Janet Agrin and Jerry played by

1117
01:01:59,760 --> 01:02:05,520
Speaker 3: Carl Meyo. Jerry is a psychiatrist and Sandra is his patient,

1118
01:02:05,720 --> 01:02:09,080
Speaker 3: and she's lying on a couch in his office talking

1119
01:02:09,080 --> 01:02:12,520
Speaker 3: about her neuroses and obsessions. The core problem is that

1120
01:02:12,920 --> 01:02:17,000
Speaker 3: because of childhood experiences, she now has a hatred of

1121
01:02:17,040 --> 01:02:21,240
Speaker 3: all men. And Sandra comes off as someone who is

1122
01:02:21,280 --> 01:02:23,760
Speaker 3: always a bit spaced out. There's a bit of a

1123
01:02:23,800 --> 01:02:29,280
Speaker 3: Star Wars Holiday special aura about her. Yeah. Jerry is calm,

1124
01:02:29,440 --> 01:02:33,080
Speaker 3: reassuring and in a way professional like. He's wearing a

1125
01:02:33,120 --> 01:02:36,640
Speaker 3: suede jacket and has a squared off necktie and a beard,

1126
01:02:36,720 --> 01:02:39,760
Speaker 3: and so he looks the part of a very professional

1127
01:02:40,360 --> 01:02:43,720
Speaker 3: psychiatrist and therapist, though the way some of his lines

1128
01:02:43,760 --> 01:02:47,200
Speaker 3: are written they feel like things that are not what

1129
01:02:47,320 --> 01:02:48,400
Speaker 3: a therapist would say.

1130
01:02:48,720 --> 01:02:49,640
Speaker 2: Yeah.

1131
01:02:49,680 --> 01:02:53,640
Speaker 3: Also, she's like lying there talking about the painful memories

1132
01:02:53,680 --> 01:02:58,280
Speaker 3: of her Freudian complexes from childhood, and Jerry is standing

1133
01:02:58,600 --> 01:03:01,480
Speaker 3: in the off as standing over her, not sitting in

1134
01:03:01,520 --> 01:03:04,520
Speaker 3: a chair, but just standing there like while he's listening.

1135
01:03:04,800 --> 01:03:05,840
Speaker 3: That felt so wrong.

1136
01:03:06,720 --> 01:03:09,480
Speaker 2: Maybe it's a different branch of therapy. This is the

1137
01:03:09,520 --> 01:03:10,240
Speaker 2: looming method.

1138
01:03:10,760 --> 01:03:15,040
Speaker 3: You loom over this, I see doctor loomis, do you yeah, yeah,

1139
01:03:15,120 --> 01:03:19,520
Speaker 3: there you go. Suddenly things get weirder because into the

1140
01:03:19,560 --> 01:03:24,080
Speaker 3: office comes another woman, Emily, interrupting this very personal and

1141
01:03:24,360 --> 01:03:29,520
Speaker 3: intense therapy session. Emily is Jerry's girlfriend and also seems

1142
01:03:29,520 --> 01:03:32,040
Speaker 3: to be a personal friend of Sandra, so she comes

1143
01:03:32,040 --> 01:03:34,840
Speaker 3: in in the middle of like this Freudian monologue and

1144
01:03:34,880 --> 01:03:37,520
Speaker 3: she's like, oh hi, Sandra, Hey, Emily, how you doing.

1145
01:03:38,160 --> 01:03:41,360
Speaker 3: And Emily has interrupted the appointment to explain to Jerry

1146
01:03:41,400 --> 01:03:43,520
Speaker 3: that she has to break her date with him tonight

1147
01:03:43,600 --> 01:03:47,600
Speaker 3: because she needs to see Bob. And we're thinking Bob, Yes,

1148
01:03:47,720 --> 01:03:51,439
Speaker 3: Bob creep, Yeah, the creep. Jerry says, you've been seeing

1149
01:03:51,440 --> 01:03:55,720
Speaker 3: an awful lot of him lately, haven't you. And Emily says,

1150
01:03:55,760 --> 01:03:58,400
Speaker 3: poor Bob, He's a sick and lonely kid. I don't

1151
01:03:58,440 --> 01:04:01,280
Speaker 3: see why people hate him so and.

1152
01:04:01,280 --> 01:04:03,760
Speaker 2: I mean he's he looks like he's in his thirties

1153
01:04:03,800 --> 01:04:04,000
Speaker 2: to be.

1154
01:04:04,040 --> 01:04:06,440
Speaker 3: Clear, Yeah, he doesn't look quite like a kid. But

1155
01:04:06,760 --> 01:04:11,439
Speaker 3: Sandra explains that Bob is discriminated against by the people

1156
01:04:11,480 --> 01:04:15,240
Speaker 3: of Dunwich because his mother was believed to be promiscuous,

1157
01:04:15,680 --> 01:04:18,640
Speaker 3: and they say, in Dunewich, anybody like that is branded

1158
01:04:18,640 --> 01:04:22,360
Speaker 3: a witch. And then Emily, this is a weird way

1159
01:04:22,360 --> 01:04:25,160
Speaker 3: to go with the conversation. Emily says, look, Sandra, I

1160
01:04:25,200 --> 01:04:28,080
Speaker 3: don't believe those idiots who tell me that our ancestors

1161
01:04:28,080 --> 01:04:30,560
Speaker 3: were Salem witch burners. All right, woo.

1162
01:04:31,320 --> 01:04:33,320
Speaker 2: Weirdly and specifically defensive on that.

1163
01:04:33,440 --> 01:04:37,560
Speaker 3: Okay, yeah, So, but the suggestion here is that Emily

1164
01:04:37,720 --> 01:04:41,360
Speaker 3: believes that Bob is actually fine. There's nothing wrong with him.

1165
01:04:41,360 --> 01:04:43,919
Speaker 3: He's just being mistreated by the people of the town,

1166
01:04:44,000 --> 01:04:46,880
Speaker 3: and she's sort of mentoring him like she's his unofficial

1167
01:04:46,920 --> 01:04:50,800
Speaker 3: social worker. So she leaves to keep her appointment with Bob.

1168
01:04:59,680 --> 01:05:03,880
Speaker 3: So Jerry and Sandra resume their conversation. Sandra says, it's

1169
01:05:03,920 --> 01:05:06,600
Speaker 3: the same old problem men. Why do they have to

1170
01:05:06,600 --> 01:05:11,000
Speaker 3: make life so difficult? And then suddenly there is a loud,

1171
01:05:11,360 --> 01:05:14,160
Speaker 3: wrenching sound that fills the room, and I was thinking,

1172
01:05:14,480 --> 01:05:16,720
Speaker 3: is that men? Is it men? But no, it is

1173
01:05:16,760 --> 01:05:20,280
Speaker 3: not men. It's some kind of supernatural force. This will

1174
01:05:20,280 --> 01:05:22,600
Speaker 3: happen a lot throughout the rest of the movie. Suddenly

1175
01:05:22,640 --> 01:05:25,960
Speaker 3: there's a noise, just a er you know, growling of

1176
01:05:26,000 --> 01:05:29,880
Speaker 3: the earth and animalistic yowling sounds all layered on top

1177
01:05:29,920 --> 01:05:34,640
Speaker 3: of that, and that sound fills the room. Sandra screams,

1178
01:05:35,000 --> 01:05:38,720
Speaker 3: and then a gray kitten which has I guess been

1179
01:05:38,800 --> 01:05:41,240
Speaker 3: sitting in her laugh the whole time, but we didn't

1180
01:05:41,240 --> 01:05:44,280
Speaker 3: see it. It yowls and it scratches the back of

1181
01:05:44,280 --> 01:05:47,680
Speaker 3: her hand and runs across the room, and she says, strange,

1182
01:05:47,720 --> 01:05:49,640
Speaker 3: it's the first time he ever acted up like that.

1183
01:05:51,200 --> 01:05:54,120
Speaker 2: Well, cats are like that too, it's the same old

1184
01:05:54,160 --> 01:05:58,320
Speaker 2: problem cats. But this is a really cute kitten. I

1185
01:05:58,320 --> 01:06:01,880
Speaker 2: can't stress that enough. Yes, and the scratch that it

1186
01:06:01,920 --> 01:06:04,240
Speaker 2: gives her is super grizzly, like not so much that

1187
01:06:04,320 --> 01:06:07,040
Speaker 2: it's just completely ridiculous, but it's pretty blood.

1188
01:06:07,160 --> 01:06:10,640
Speaker 3: Yes, it's like a tiny adorable gray kitten that left

1189
01:06:10,680 --> 01:06:13,960
Speaker 3: a leopard you gouge on her hand. It's a full

1190
01:06:14,040 --> 01:06:18,000
Speaker 3: chee scratch for sure. Right. So after this is a

1191
01:06:18,040 --> 01:06:21,040
Speaker 3: great scene, the New York Graveyard scene. We're back in

1192
01:06:21,080 --> 01:06:23,320
Speaker 3: New York at a cemetery in the middle of the day.

1193
01:06:23,400 --> 01:06:27,240
Speaker 3: Broad daylight, and a couple of workers are sitting at

1194
01:06:27,240 --> 01:06:29,640
Speaker 3: the edge of an open grave with their feet dangling

1195
01:06:29,680 --> 01:06:34,560
Speaker 3: in where you can see just a fleshless, bleached skeleton

1196
01:06:34,720 --> 01:06:38,200
Speaker 3: lying exposed at the bottom of the grave. The grave

1197
01:06:38,240 --> 01:06:41,200
Speaker 3: diggers are eating lunch. They have some sandwiches, having a

1198
01:06:41,240 --> 01:06:45,680
Speaker 3: conversation basically about how it's cool to be a pervert. Yeah,

1199
01:06:45,760 --> 01:06:50,320
Speaker 3: and then suddenly Christopher George is here. So he's again

1200
01:06:50,400 --> 01:06:53,320
Speaker 3: this is the character. Peter bell I like his outfit.

1201
01:06:53,360 --> 01:06:56,600
Speaker 3: He's wearing a cool corduroy blazer. He's got a cigar

1202
01:06:56,720 --> 01:06:59,600
Speaker 3: clenched between his teeth, and he approaches the two guys

1203
01:06:59,600 --> 01:07:01,920
Speaker 3: and they have a brief disagreement about whether he is

1204
01:07:01,960 --> 01:07:04,840
Speaker 3: allowed to stare into open graves. The workers are like,

1205
01:07:05,240 --> 01:07:05,919
Speaker 3: get out of here.

1206
01:07:06,160 --> 01:07:09,320
Speaker 2: There's just some dignified journalism going on here, just showing

1207
01:07:09,400 --> 01:07:11,560
Speaker 2: up and questioning a couple of grave diggers.

1208
01:07:11,920 --> 01:07:15,760
Speaker 3: Right so nearby is the freshly dug grave of Mary

1209
01:07:15,760 --> 01:07:19,480
Speaker 3: Woodhouse and her coffin right next to it. We briefly

1210
01:07:19,480 --> 01:07:22,560
Speaker 3: get a glimpse inside the coffin, where Mary's body lies

1211
01:07:22,600 --> 01:07:25,920
Speaker 3: peacefully in the dark, and then Peter bell He leans

1212
01:07:25,920 --> 01:07:28,160
Speaker 3: on the coffin. He's making notes on his notepad, and

1213
01:07:28,200 --> 01:07:30,400
Speaker 3: the two grave diggers come and they show him out

1214
01:07:30,400 --> 01:07:32,280
Speaker 3: of the way so they can bury her. So they

1215
01:07:32,320 --> 01:07:34,840
Speaker 3: deposit her coffin on the straps over the pit, and

1216
01:07:34,880 --> 01:07:37,520
Speaker 3: then they use the machine to lower it down. Again.

1217
01:07:37,560 --> 01:07:41,080
Speaker 2: I reference to these individuals were earlier, and yeah, I

1218
01:07:41,160 --> 01:07:43,680
Speaker 2: just feel like if I was told guess which one

1219
01:07:43,720 --> 01:07:46,560
Speaker 2: of these is the professional sex person, I would not

1220
01:07:46,800 --> 01:07:49,640
Speaker 2: choose the guy who actually was. I would have gone

1221
01:07:49,680 --> 01:07:54,160
Speaker 2: with the blonde guy, or of course our actor or

1222
01:07:54,200 --> 01:07:56,200
Speaker 2: Christopher George here. But now it's the other guy.

1223
01:07:56,520 --> 01:07:59,600
Speaker 3: Christopher George in some stills from the scene looks like

1224
01:07:59,800 --> 01:08:03,680
Speaker 3: a much more weathered version of Roger Moore.

1225
01:08:03,920 --> 01:08:09,520
Speaker 2: He does, he really does. He's like American Roger Moore smoking.

1226
01:08:09,680 --> 01:08:13,760
Speaker 3: Yeah. Yeah. So Bell watches as the two guys start

1227
01:08:13,800 --> 01:08:17,240
Speaker 3: to shovel dirt in to cover the coffin. But then

1228
01:08:17,479 --> 01:08:19,439
Speaker 3: when you look at the scene, it's like, that is

1229
01:08:19,479 --> 01:08:22,040
Speaker 3: a shallow grave. The top of the vault is like

1230
01:08:22,160 --> 01:08:25,200
Speaker 3: six inches below the surface. Yeah.

1231
01:08:25,720 --> 01:08:29,000
Speaker 2: Some of the extras that I watched regarding making this

1232
01:08:29,080 --> 01:08:31,479
Speaker 2: film alluded to the fact that that not only did

1233
01:08:31,520 --> 01:08:33,880
Speaker 2: they need to get permission to film and cemeteries and

1234
01:08:33,920 --> 01:08:37,200
Speaker 2: graveyards for this film, so you know, obviously in the

1235
01:08:37,200 --> 01:08:39,400
Speaker 2: New York area and also in the Savannah area, but

1236
01:08:39,640 --> 01:08:42,200
Speaker 2: for the scenes for this scene in particular, they also

1237
01:08:42,280 --> 01:08:45,080
Speaker 2: needed to be able to dig a hole. So maybe

1238
01:08:45,120 --> 01:08:46,920
Speaker 2: they this was as deep as they were allowed to

1239
01:08:47,439 --> 01:08:49,920
Speaker 2: dig their hole. I believe they'd been kicked out of

1240
01:08:49,960 --> 01:08:53,200
Speaker 2: one cemetery already for digging a hole. I mean they

1241
01:08:53,200 --> 01:08:54,880
Speaker 2: were supposed to be there, but then, you know, some

1242
01:08:54,880 --> 01:08:56,880
Speaker 2: sort of disagreement on how deep they were going to

1243
01:08:56,920 --> 01:08:59,280
Speaker 2: allow them to dig a grave for the shooting of

1244
01:08:59,320 --> 01:08:59,719
Speaker 2: the scene.

1245
01:09:00,080 --> 01:09:02,559
Speaker 3: That makes sense. So while the earth is falling over

1246
01:09:02,600 --> 01:09:05,719
Speaker 3: the top of the coffin, we see inside the coffin

1247
01:09:05,760 --> 01:09:08,839
Speaker 3: again and a pink rose in Mary's hand begins to wilt,

1248
01:09:08,880 --> 01:09:14,080
Speaker 3: suddenly shedding petals. With the coffin about ten percent buried,

1249
01:09:14,200 --> 01:09:16,759
Speaker 3: one of the grave diggers looks at his watch and says,

1250
01:09:16,840 --> 01:09:19,960
Speaker 3: it's five o'clock. We bust our balls enough, let's go.

1251
01:09:21,360 --> 01:09:23,120
Speaker 2: Didn't they just take a lunch break?

1252
01:09:23,240 --> 01:09:26,559
Speaker 3: They did, Yeah, so they quit. They just walk away.

1253
01:09:27,640 --> 01:09:30,400
Speaker 3: Peter Bell is a little incredulous, but what can he do.

1254
01:09:30,640 --> 01:09:32,280
Speaker 3: He's not like he's going to pick up a shovel

1255
01:09:32,320 --> 01:09:33,439
Speaker 3: and finish burying her.

1256
01:09:33,640 --> 01:09:35,439
Speaker 2: I mean, he seems concerned enough. I was like, is

1257
01:09:35,439 --> 01:09:38,240
Speaker 2: that what he's gonna do? Is he gonna finish the job?

1258
01:09:39,000 --> 01:09:42,639
Speaker 3: Then once again we're inside the coffin with Mary, and

1259
01:09:42,760 --> 01:09:46,759
Speaker 3: somehow she awakes. She wakes up from the sleep of death.

1260
01:09:47,200 --> 01:09:50,719
Speaker 3: She looks around, realizes she's trapped and begins to panic.

1261
01:09:50,840 --> 01:09:53,519
Speaker 3: She gasps and beats on the inside of the coffin

1262
01:09:53,560 --> 01:09:57,080
Speaker 3: with her fists. She rakes with her nails until her

1263
01:09:57,120 --> 01:10:00,880
Speaker 3: fingers are bloody. Ugh And just to Peter, Bell is

1264
01:10:00,920 --> 01:10:05,160
Speaker 3: walking away from the cemetery, he stops. He thinks he

1265
01:10:05,160 --> 01:10:08,400
Speaker 3: hears something. It's very faint, especially against the background noise

1266
01:10:08,439 --> 01:10:11,160
Speaker 3: of the traffic in the city, but he makes out

1267
01:10:11,200 --> 01:10:15,240
Speaker 3: Mary's screams and the thudding from inside the box. He says,

1268
01:10:15,320 --> 01:10:19,400
Speaker 3: oh my god, and then he retrieves a pickax. Then

1269
01:10:19,479 --> 01:10:22,920
Speaker 3: this scene takes a turn, so I guess he's gonna

1270
01:10:22,920 --> 01:10:24,960
Speaker 3: try to help. But the way he's gonna help is

1271
01:10:25,000 --> 01:10:28,679
Speaker 3: he slams the pick axe into the lid of the coffin,

1272
01:10:28,840 --> 01:10:31,479
Speaker 3: just chopping at it, and we see from the inside

1273
01:10:31,479 --> 01:10:34,880
Speaker 3: when it pierces through, it comes centimeters from Mary's face.

1274
01:10:35,280 --> 01:10:38,760
Speaker 2: Yeah, yeah, I mean, on one level, you have to

1275
01:10:38,800 --> 01:10:41,880
Speaker 2: admit sometimes when you do something for the first time,

1276
01:10:42,200 --> 01:10:44,280
Speaker 2: you make really bad choices in how you do it.

1277
01:10:44,760 --> 01:10:48,720
Speaker 2: And I doubt that Peter Bell had ever had to

1278
01:10:48,720 --> 01:10:51,720
Speaker 2: break into a casket before to retrieve somebody who'd been

1279
01:10:51,760 --> 01:10:54,840
Speaker 2: prematurely buried. That's a good point, you know, But that

1280
01:10:54,960 --> 01:10:57,080
Speaker 2: being said, like he is bringing this thing down right

1281
01:10:57,160 --> 01:10:59,519
Speaker 2: where her head is going to be, and usually on

1282
01:10:59,560 --> 01:11:01,599
Speaker 2: a casket. I don't remember the details on this one,

1283
01:11:01,640 --> 01:11:04,240
Speaker 2: you can tell, and this cass was not even in

1284
01:11:04,240 --> 01:11:08,479
Speaker 2: a sarcophagus or anything. The additional questions. Again, can't ask

1285
01:11:08,520 --> 01:11:11,400
Speaker 2: too many questions about the about full cheap dream logic,

1286
01:11:11,800 --> 01:11:14,759
Speaker 2: but it is a this is indeed a terrifying sequence,

1287
01:11:14,760 --> 01:11:18,800
Speaker 2: and I'm to understand somewhat terrifying the film, especially of

1288
01:11:18,960 --> 01:11:21,479
Speaker 2: the person inside the casket. I'm not saying it was

1289
01:11:21,840 --> 01:11:25,320
Speaker 2: necessarily unsafe for anything. It seems like the crew really

1290
01:11:25,400 --> 01:11:28,559
Speaker 2: knew what they were doing. But it can't help but

1291
01:11:28,600 --> 01:11:31,479
Speaker 2: be terrified if you were I. Step one, climb inside

1292
01:11:31,479 --> 01:11:34,559
Speaker 2: this casket. Step two, prepare for things to break through

1293
01:11:34,760 --> 01:11:35,840
Speaker 2: really close to your face.

1294
01:11:36,360 --> 01:11:38,640
Speaker 3: Several times, by the way, he keeps hitting it, like

1295
01:11:38,760 --> 01:11:41,519
Speaker 3: four times, but finally he pries away a big piece

1296
01:11:41,560 --> 01:11:46,679
Speaker 3: of the box and reveals Mary inside, alive and shrieking. Suddenly,

1297
01:11:46,720 --> 01:11:48,880
Speaker 3: we cut to Marius out of the coffin that she

1298
01:11:49,040 --> 01:11:51,479
Speaker 3: and Peter Bell are hanging out back at the apartment

1299
01:11:51,479 --> 01:11:55,160
Speaker 3: with the Great Teresa, the Medium. They're all sitting around.

1300
01:11:55,560 --> 01:11:59,000
Speaker 3: Teresa starts talking at Bell about her favorite subject, to

1301
01:11:59,040 --> 01:12:01,320
Speaker 3: the Book of Enoch. In this scene we learn a

1302
01:12:01,320 --> 01:12:04,200
Speaker 3: bit more Lore. She reiterates that the book was written

1303
01:12:04,200 --> 01:12:06,719
Speaker 3: four thousand years ago. Got that, But then she says

1304
01:12:06,760 --> 01:12:11,799
Speaker 3: it contains quote man's first description of his boundless mortal

1305
01:12:11,880 --> 01:12:16,200
Speaker 3: fear in the face of malice itself. And she says

1306
01:12:16,280 --> 01:12:19,519
Speaker 3: it is quote the implacable enemy, whose thirst for blood

1307
01:12:19,640 --> 01:12:25,760
Speaker 3: is never satiated. It seems vague. Then Mary begins to

1308
01:12:25,880 --> 01:12:29,000
Speaker 3: explain to him what was revealed to her during the

1309
01:12:29,040 --> 01:12:32,439
Speaker 3: seance where she died. She says, the city of the Dead,

1310
01:12:32,680 --> 01:12:35,439
Speaker 3: the living dead, a cursed city where the gates of

1311
01:12:35,479 --> 01:12:38,840
Speaker 3: hell have been opened. And now, for some reason, here

1312
01:12:39,080 --> 01:12:44,679
Speaker 3: Fulci starts showing the characters only as extreme close ups

1313
01:12:44,800 --> 01:12:47,679
Speaker 3: of their eyes, not even going the shot, not even

1314
01:12:47,720 --> 01:12:51,400
Speaker 3: going below the nose. I wonder why that is. I

1315
01:12:51,400 --> 01:12:54,080
Speaker 3: don't know, but it feels it's very deliberate obviously.

1316
01:12:54,280 --> 01:12:57,639
Speaker 2: Yeah, I mean, I guess he's trying to capture inner

1317
01:12:57,760 --> 01:13:03,280
Speaker 2: emotional reaction to these revelations. Though. The weird thing is,

1318
01:13:03,320 --> 01:13:06,439
Speaker 2: of course these revelations are not, you know, completely out

1319
01:13:06,439 --> 01:13:09,320
Speaker 2: of keeping with what we already knew. But you know,

1320
01:13:09,600 --> 01:13:11,600
Speaker 2: I don't know some of this is new material for

1321
01:13:11,640 --> 01:13:12,200
Speaker 2: the characters.

1322
01:13:12,400 --> 01:13:15,559
Speaker 3: Yeah, Mary says she doesn't know where this city is,

1323
01:13:15,600 --> 01:13:18,679
Speaker 3: but she does know what it's called. It's called Dune, which,

1324
01:13:19,680 --> 01:13:22,720
Speaker 3: and then the medium explains the danger. The gates of

1325
01:13:22,760 --> 01:13:26,519
Speaker 3: Hell have been opened. If they are left open, it

1326
01:13:26,560 --> 01:13:28,720
Speaker 3: will be the end of the human race. And we

1327
01:13:28,880 --> 01:13:32,679
Speaker 3: only have until the stroke of midnight on the transition

1328
01:13:32,840 --> 01:13:36,280
Speaker 3: to All Saints Day, so that would be midnight on Halloween,

1329
01:13:36,439 --> 01:13:39,600
Speaker 3: because November first is All Saints Day. So if we

1330
01:13:39,680 --> 01:13:42,360
Speaker 3: don't close the gates of Hell by then they will

1331
01:13:42,360 --> 01:13:45,679
Speaker 3: be stuck open forever and quote, no dead body will

1332
01:13:45,720 --> 01:13:48,320
Speaker 3: ever be able to rest in peace again, and so

1333
01:13:48,400 --> 01:13:51,040
Speaker 3: the dead will rise up and take over the earth.

1334
01:13:51,840 --> 01:13:54,479
Speaker 2: Okay, so first step they need to find out which

1335
01:13:54,520 --> 01:13:57,760
Speaker 2: done which this is? Is it Dunwich, Texas? Down which Tennessee?

1336
01:13:58,200 --> 01:14:00,720
Speaker 2: Dune which Wyoming? You know, presumably there's at least one

1337
01:14:00,760 --> 01:14:01,240
Speaker 2: in every stay.

1338
01:14:01,360 --> 01:14:04,080
Speaker 3: It's like Rome or Athens. There a number of them.

1339
01:14:04,360 --> 01:14:06,840
Speaker 3: So our main characters have a mission now. Peter Bell

1340
01:14:06,960 --> 01:14:09,000
Speaker 3: and Mary Woodhouse are going to do a road trip

1341
01:14:09,080 --> 01:14:12,240
Speaker 3: to Dunwich to close the portal before All Saints Day.

1342
01:14:13,600 --> 01:14:15,360
Speaker 3: So here, I guess I'm going to try to do

1343
01:14:15,479 --> 01:14:18,360
Speaker 3: a summary of the rest, a brief sketch of the

1344
01:14:18,400 --> 01:14:20,160
Speaker 3: rest of the story, and then we can zoom in

1345
01:14:20,200 --> 01:14:25,280
Speaker 3: on a few things in Dunwich. Increasingly evil and disturbing

1346
01:14:25,400 --> 01:14:31,000
Speaker 3: things happen. There are weird magic murders, insane visions. One

1347
01:14:31,080 --> 01:14:33,080
Speaker 3: of the first things to happen after this is the

1348
01:14:33,160 --> 01:14:36,840
Speaker 3: death of Emily, Jerry's girlfriend when she goes to visit

1349
01:14:36,960 --> 01:14:41,479
Speaker 3: Bob that night, though she's not killed by Bob. Peter

1350
01:14:41,600 --> 01:14:45,919
Speaker 3: and Mary meanwhile travel to Dunwich to track down the mystery.

1351
01:14:46,280 --> 01:14:48,400
Speaker 3: As they're having their little road trip, there are some

1352
01:14:48,520 --> 01:14:52,920
Speaker 3: wonderful interactions. Christopher George keeps saying things like I get

1353
01:14:52,960 --> 01:14:55,720
Speaker 3: visions too, you know, just give me a bottle of scotch.

1354
01:14:56,080 --> 01:14:57,400
Speaker 2: And the cheese.

1355
01:14:57,439 --> 01:15:01,600
Speaker 3: No seance there right one point, they're pulled over on

1356
01:15:01,680 --> 01:15:03,880
Speaker 3: the side of the road looking at a map and

1357
01:15:04,040 --> 01:15:07,000
Speaker 3: Mary says, I'm starved. He goes there's a lollipop in

1358
01:15:07,040 --> 01:15:10,800
Speaker 3: the glovebox. He's like, you're the one who's got me

1359
01:15:10,880 --> 01:15:12,880
Speaker 3: out here in the armpit of the world, chasing your

1360
01:15:12,960 --> 01:15:14,080
Speaker 3: galloping cadavers.

1361
01:15:14,439 --> 01:15:16,400
Speaker 2: Oh god, this is such a great line, and in

1362
01:15:16,479 --> 01:15:18,519
Speaker 2: the way he says it, I can't properly replicate it.

1363
01:15:18,600 --> 01:15:23,479
Speaker 2: It's like galloping cadavers. Yeah. This is right after he

1364
01:15:23,560 --> 01:15:26,040
Speaker 2: seems to have just heard about All Saints Day for

1365
01:15:26,080 --> 01:15:28,559
Speaker 2: the first time, and it's just seems to doubt that

1366
01:15:28,640 --> 01:15:31,360
Speaker 2: this is again not something that women just made up.

1367
01:15:31,520 --> 01:15:36,000
Speaker 3: Yeah, all Saints Day? Huh, yeah what. We meet a

1368
01:15:36,040 --> 01:15:39,360
Speaker 3: few other characters, such as the rest of Emily's family. Again.

1369
01:15:39,439 --> 01:15:43,759
Speaker 3: Emily is Jerry, the psychiatrist's girlfriend. We meet her younger brother,

1370
01:15:44,000 --> 01:15:47,160
Speaker 3: John John, who is initiated into the horrors of the

1371
01:15:47,520 --> 01:15:50,519
Speaker 3: film when he sees the rotten ghost of his sister

1372
01:15:50,680 --> 01:15:53,920
Speaker 3: floating outside his bedroom window at night. She looks gross.

1373
01:15:54,200 --> 01:15:57,200
Speaker 2: Yeah, she looks incredible. The lighting on the zombies is

1374
01:15:57,280 --> 01:15:59,679
Speaker 2: terrific in this film. I mean we have different types,

1375
01:16:00,240 --> 01:16:03,520
Speaker 2: see like one of the older bodies rising almost immediately

1376
01:16:03,600 --> 01:16:07,040
Speaker 2: after the priest suicide, but the ones we're encountering increasingly

1377
01:16:07,160 --> 01:16:11,719
Speaker 2: later on the picture are these fresher, rotting, disgusting looking

1378
01:16:11,840 --> 01:16:15,439
Speaker 2: zombie corpses. And yeah, the lighting is great, gives them

1379
01:16:15,439 --> 01:16:19,439
Speaker 2: this real brooding appearance and the energy of the dead

1380
01:16:19,479 --> 01:16:22,120
Speaker 2: in this film. Well, I'm sure keep coming back to this,

1381
01:16:22,160 --> 01:16:26,000
Speaker 2: but these are not your sort of like mindless you

1382
01:16:26,040 --> 01:16:29,640
Speaker 2: know me want brain zombies. No, these zombies seem to

1383
01:16:29,640 --> 01:16:33,840
Speaker 2: be like staring blankly out like there's a there's an

1384
01:16:33,840 --> 01:16:36,480
Speaker 2: intelligence on the other side. Maybe it's just one intelligence,

1385
01:16:36,520 --> 01:16:39,800
Speaker 2: maybe it's this void dweller that's been referred to, but

1386
01:16:40,400 --> 01:16:45,559
Speaker 2: they stare at us with it's some sort of almost

1387
01:16:45,560 --> 01:16:48,679
Speaker 2: at times unreadable what they actually want. But they don't

1388
01:16:48,680 --> 01:16:50,599
Speaker 2: intend anything good for us, that's for sure.

1389
01:16:50,760 --> 01:16:54,360
Speaker 3: No, it is meaningful, and it is cruel to quote

1390
01:16:54,400 --> 01:16:57,519
Speaker 3: a film title, the feeling is the dead hate the living.

1391
01:16:57,880 --> 01:17:00,600
Speaker 2: Yes, yeah, I thought I also thought of that. I

1392
01:17:00,600 --> 01:17:03,600
Speaker 2: have not seen that movie. I have it there, but

1393
01:17:03,640 --> 01:17:05,559
Speaker 2: it's such a great title that I think works so

1394
01:17:05,680 --> 01:17:09,120
Speaker 2: well with what we see here. The zombies do hate us.

1395
01:17:09,120 --> 01:17:11,800
Speaker 2: We don't understand all the parameters of that hate, but

1396
01:17:12,080 --> 01:17:12,919
Speaker 2: it's palpable.

1397
01:17:13,640 --> 01:17:17,519
Speaker 3: So Sandra played by Janet Agrin, she keeps having visions

1398
01:17:17,560 --> 01:17:20,160
Speaker 3: of death and corpses, and so she recruits Jerry, the

1399
01:17:20,160 --> 01:17:24,520
Speaker 3: psychiatrist to help her out. Eventually, our four main characters

1400
01:17:25,000 --> 01:17:28,160
Speaker 3: join forces. They meet up in the cursed cemetery. They

1401
01:17:28,160 --> 01:17:30,920
Speaker 3: start to compare notes, at least until they're caught in

1402
01:17:30,920 --> 01:17:35,679
Speaker 3: a maggot storm. Zombie Emily attacks and kills her family,

1403
01:17:35,760 --> 01:17:39,080
Speaker 3: except for her brother, John John, who escapes the house

1404
01:17:39,120 --> 01:17:42,679
Speaker 3: with the help of our main heroes. After this, Sandra

1405
01:17:43,160 --> 01:17:45,600
Speaker 3: tries to take John John I think, to some relatives,

1406
01:17:45,640 --> 01:17:49,400
Speaker 3: but she gets killed by Zombie Emily in the process,

1407
01:17:49,520 --> 01:17:51,479
Speaker 3: in a murder method we will see quite a few

1408
01:17:51,520 --> 01:17:55,080
Speaker 3: times in this film. The cranial grip and rip Oh

1409
01:17:55,720 --> 01:17:59,000
Speaker 3: discuss more about that in a minute. John John runs

1410
01:17:59,000 --> 01:18:02,320
Speaker 3: away through the streets, goes down some very nice exorcist stairs,

1411
01:18:02,920 --> 01:18:06,040
Speaker 3: and ends up in the custody of the police. The

1412
01:18:06,200 --> 01:18:09,839
Speaker 3: undead and magic murder attacks continue throughout the town. Eventually

1413
01:18:09,840 --> 01:18:12,640
Speaker 3: we hear on a radio broadcast that a state of

1414
01:18:12,680 --> 01:18:14,920
Speaker 3: emergency has been declared by the police. So I guess

1415
01:18:15,479 --> 01:18:17,560
Speaker 3: I don't know. News of the events of Dunwich have

1416
01:18:17,600 --> 01:18:22,799
Speaker 3: gotten to the governor, and as midnight draws near, Mary,

1417
01:18:23,000 --> 01:18:27,360
Speaker 3: Peter and Jerry go back to the cemetery where Father Thomas,

1418
01:18:27,439 --> 01:18:30,240
Speaker 3: the priest from the monologue died to find a way

1419
01:18:30,280 --> 01:18:33,080
Speaker 3: to stop the invasion of the living dead. They open

1420
01:18:33,200 --> 01:18:36,040
Speaker 3: up a tomb which looks like it's just a box

1421
01:18:36,120 --> 01:18:37,760
Speaker 3: on the surface that looks like it would have a

1422
01:18:37,800 --> 01:18:40,000
Speaker 3: coffin in it, but instead they open it up and

1423
01:18:40,040 --> 01:18:44,599
Speaker 3: it's a portal to this underground cavern. So they descend,

1424
01:18:44,800 --> 01:18:47,800
Speaker 3: go down some ladders and find inside the tomb of

1425
01:18:47,960 --> 01:18:51,439
Speaker 3: Father Thomas himself. They open that up and that's yet

1426
01:18:51,479 --> 01:18:55,640
Speaker 3: another portal. Crawl through there to find this putrid underground

1427
01:18:55,720 --> 01:18:59,920
Speaker 3: world of the dead, where in some places corpses are

1428
01:19:00,200 --> 01:19:03,520
Speaker 3: part of the architecture. They're poking out from the ceiling

1429
01:19:03,680 --> 01:19:06,519
Speaker 3: like ornaments. I was thinking of it as almost a

1430
01:19:06,680 --> 01:19:08,400
Speaker 3: zombie hive or nest.

1431
01:19:09,000 --> 01:19:11,000
Speaker 2: Yeah, it really does. That kid does have that kind

1432
01:19:11,000 --> 01:19:14,080
Speaker 2: of vibe, a terrific set. I believe this is the

1433
01:19:14,200 --> 01:19:16,840
Speaker 2: one that they built in Rome. And you know, lighting

1434
01:19:16,920 --> 01:19:19,439
Speaker 2: is amazing. On one level, you could say, all right,

1435
01:19:19,479 --> 01:19:21,559
Speaker 2: this is supposed to be underneath the graveyard. It's just

1436
01:19:21,680 --> 01:19:25,839
Speaker 2: choked with human remains they're just pushing down from above.

1437
01:19:25,960 --> 01:19:29,400
Speaker 2: But also at the same time, equally likely and maybe

1438
01:19:29,400 --> 01:19:32,640
Speaker 2: even probable, this feels like another world, like this is

1439
01:19:32,680 --> 01:19:35,280
Speaker 2: the world of the Dead. This is a true underworld,

1440
01:19:36,439 --> 01:19:39,680
Speaker 2: and given again the dreamlike nature of the film, you

1441
01:19:39,720 --> 01:19:41,880
Speaker 2: can can't say it's necessarily one or the other. It's

1442
01:19:41,880 --> 01:19:43,160
Speaker 2: probably all these things at once.

1443
01:19:43,479 --> 01:19:48,599
Speaker 3: Yeah. So down here, Sandra reappears and then unceremoniously kills

1444
01:19:48,680 --> 01:19:51,519
Speaker 3: Christopher George. She does the Griffin rip on his head.

1445
01:19:51,560 --> 01:19:53,559
Speaker 3: It feels almost like they were trying to get it

1446
01:19:53,600 --> 01:19:55,080
Speaker 3: over with as fast as they could.

1447
01:19:55,400 --> 01:19:59,840
Speaker 2: This really felt like Fullgy firing the actor and saying,

1448
01:20:00,160 --> 01:20:02,120
Speaker 2: you know, you were supposed to survive to the end,

1449
01:20:02,160 --> 01:20:04,560
Speaker 2: but I don't like you. Your character dies here and

1450
01:20:04,600 --> 01:20:07,679
Speaker 2: gets his brain ripped out, yeah, or part of the brain.

1451
01:20:07,920 --> 01:20:09,720
Speaker 2: That's the gross thing about it is, it's like it's

1452
01:20:09,760 --> 01:20:11,960
Speaker 2: not like a full on like I just pulled your

1453
01:20:11,960 --> 01:20:13,479
Speaker 2: brain out. It's just like I just kind of like

1454
01:20:14,120 --> 01:20:16,800
Speaker 2: ripped a portion of your scalp and skull open and

1455
01:20:16,840 --> 01:20:21,320
Speaker 2: then brains kind of just inadvertently gets partially scraped out

1456
01:20:21,360 --> 01:20:24,080
Speaker 2: and spilled out under the ground. They don't even eat

1457
01:20:24,120 --> 01:20:24,680
Speaker 2: any of it.

1458
01:20:25,040 --> 01:20:29,200
Speaker 3: Yeah. Yeah, So Mary and Jerry, the two remaining heroes,

1459
01:20:29,360 --> 01:20:32,719
Speaker 3: venture further into grave world. Oh well, they stab Sandra,

1460
01:20:32,960 --> 01:20:36,320
Speaker 3: I think to like, I think Jerry stabs her with

1461
01:20:36,400 --> 01:20:41,719
Speaker 3: a big pole, like a big iron spike to stop

1462
01:20:41,760 --> 01:20:45,880
Speaker 3: her from making It's implied that she's going to kill

1463
01:20:45,920 --> 01:20:48,240
Speaker 3: Mary in the same way that we see another character

1464
01:20:48,320 --> 01:20:50,280
Speaker 3: die in one of the scenes. So I'll describe in

1465
01:20:50,320 --> 01:20:52,679
Speaker 3: more detail in a minute. But you know, her eyes

1466
01:20:52,720 --> 01:20:54,439
Speaker 3: get kind of bloody and it's like, uh oh, And

1467
01:20:54,479 --> 01:20:59,479
Speaker 3: so Jerry intervenes by stabbing Sandra. Mary and Jerry. They

1468
01:20:59,520 --> 01:21:03,799
Speaker 3: finally come across the reanimated corpse of Father Thomas the Priest.

1469
01:21:03,960 --> 01:21:06,880
Speaker 3: But did he ever really die? Unclear? He doesn't look

1470
01:21:06,960 --> 01:21:11,080
Speaker 3: rotten like the other corpses, but he seems to be.

1471
01:21:11,400 --> 01:21:14,479
Speaker 3: We were discussing earlier, is there actually a villain of

1472
01:21:14,520 --> 01:21:17,760
Speaker 3: this film? Is Father Thomas the villain? Or is he

1473
01:21:17,880 --> 01:21:22,840
Speaker 3: being acted on by this evil magic? I couldn't quite tell.

1474
01:21:22,560 --> 01:21:24,800
Speaker 2: Like, is he a focal point? Is he again like

1475
01:21:24,840 --> 01:21:29,080
Speaker 2: a legal loophole he has He become the host for

1476
01:21:29,200 --> 01:21:33,320
Speaker 2: this void dweller that's been alluded to unclear, unknowable, but.

1477
01:21:33,360 --> 01:21:35,920
Speaker 3: He seems to be at least the Yeah, he's the

1478
01:21:36,520 --> 01:21:39,080
Speaker 3: vanguard of the army of the living dead. Whether that's

1479
01:21:39,120 --> 01:21:42,120
Speaker 3: because of the malice of the original person in some way,

1480
01:21:42,240 --> 01:21:46,320
Speaker 3: or his body's just being used Anyway, Mary and Jerry

1481
01:21:46,360 --> 01:21:50,280
Speaker 3: managed to sort of defeat the priest with a move

1482
01:21:50,400 --> 01:21:53,040
Speaker 3: that has to be seen to be believed. We'll talk

1483
01:21:53,080 --> 01:21:56,000
Speaker 3: about it in a bit. But then everything catches on fire.

1484
01:21:56,080 --> 01:21:58,360
Speaker 3: All the zombies catch on fire, and our two heroes

1485
01:21:58,520 --> 01:22:02,479
Speaker 3: escape the tomb. They crawl out in the daylight, and

1486
01:22:02,520 --> 01:22:05,200
Speaker 3: you think, okay, well, evil seems to be averted. But

1487
01:22:05,439 --> 01:22:09,080
Speaker 3: the ending is quite ambiguous. As morning is breaking, we

1488
01:22:09,200 --> 01:22:12,080
Speaker 3: see the police arriving at the cemetery. How they knew

1489
01:22:12,080 --> 01:22:15,000
Speaker 3: to come there, I don't recall. And we see Emily's

1490
01:22:15,040 --> 01:22:19,439
Speaker 3: younger brother, John John, and she runs toward Mary. I

1491
01:22:19,479 --> 01:22:22,080
Speaker 3: don't know why, as if they're like, you know, people

1492
01:22:22,120 --> 01:22:24,320
Speaker 3: who know each other and they're being reunited, but they

1493
01:22:24,320 --> 01:22:27,040
Speaker 3: don't know each other at all, but he's running toward her.

1494
01:22:27,360 --> 01:22:29,880
Speaker 3: And then we see Emily's face and she's like, oh no,

1495
01:22:30,120 --> 01:22:32,920
Speaker 3: and she starts to scream like something terrible has happened,

1496
01:22:32,920 --> 01:22:34,960
Speaker 3: but we don't see what it would be, and so

1497
01:22:35,160 --> 01:22:38,200
Speaker 3: the ending is totally ambiguous, have no idea what it means.

1498
01:22:38,240 --> 01:22:40,800
Speaker 2: Yeah, things slow down and then we get this kind

1499
01:22:40,840 --> 01:22:45,759
Speaker 2: of animated like spider web shattering of the film frame. Yeah,

1500
01:22:45,760 --> 01:22:49,080
Speaker 2: and that ends the film. And it is blame. Yeah,

1501
01:22:49,120 --> 01:22:54,400
Speaker 2: it's absolutely impossible to read. I mean, already to your point,

1502
01:22:54,600 --> 01:22:57,880
Speaker 2: it's already weird that he's like new mom, new dad,

1503
01:22:57,960 --> 01:23:01,960
Speaker 2: you know, like the irresistible gravity of a post horror movie,

1504
01:23:02,200 --> 01:23:05,439
Speaker 2: newly formed nuclear family of survivors, you know, like he's like,

1505
01:23:05,520 --> 01:23:07,160
Speaker 2: you're my mom and dad, Now let's do this.

1506
01:23:07,600 --> 01:23:10,439
Speaker 3: He does know Jerry, they already know, but he doesn't

1507
01:23:10,479 --> 01:23:11,200
Speaker 3: know her at all.

1508
01:23:11,680 --> 01:23:14,960
Speaker 2: Yeah, so there's that for sure, but that is way

1509
01:23:15,040 --> 01:23:19,200
Speaker 2: overshadowed by this. Yeah, this sudden weird ending, which I

1510
01:23:19,200 --> 01:23:21,519
Speaker 2: don't know that it's ever been fully explained. Maybe there's

1511
01:23:21,520 --> 01:23:24,680
Speaker 2: a more recent extra or interview where someone sheds more

1512
01:23:24,760 --> 01:23:26,960
Speaker 2: light on this, But when I was reading about it, it

1513
01:23:26,880 --> 01:23:29,519
Speaker 2: seemed like there were a few different theories, Like they

1514
01:23:29,560 --> 01:23:33,200
Speaker 2: shot a happy ending and then ful She decided he

1515
01:23:34,040 --> 01:23:37,160
Speaker 2: wanted a more of a gloomy ending instead and they

1516
01:23:37,200 --> 01:23:39,840
Speaker 2: just had to fix it in the edit. Or there

1517
01:23:39,920 --> 01:23:42,280
Speaker 2: was something that was shot that was lost, that was

1518
01:23:42,320 --> 01:23:46,240
Speaker 2: inadvertently destroyed, you know, coffee spilled on the film or something.

1519
01:23:46,280 --> 01:23:50,639
Speaker 2: I don't know, but it really does have that feeling

1520
01:23:50,840 --> 01:23:54,960
Speaker 2: of being sort of stitched together. It feels like something

1521
01:23:55,000 --> 01:23:59,000
Speaker 2: is missing, but I don't know. Given how cryptic and

1522
01:23:59,120 --> 01:24:02,600
Speaker 2: dreamlike everything else in the film is, I don't know.

1523
01:24:02,640 --> 01:24:04,720
Speaker 2: It just gives us with one more point to contemplate,

1524
01:24:04,760 --> 01:24:07,719
Speaker 2: and you can't help but theorize, like, what is wrong?

1525
01:24:07,800 --> 01:24:11,160
Speaker 2: What did they see or feel like the I guess

1526
01:24:11,240 --> 01:24:14,040
Speaker 2: the darkness isn't completely defeated. Is it welling back up?

1527
01:24:14,479 --> 01:24:16,760
Speaker 2: Is it in the child? Is it in them? Is

1528
01:24:16,800 --> 01:24:19,200
Speaker 2: it standing off camera to the side.

1529
01:24:19,240 --> 01:24:19,640
Speaker 3: I don't know.

1530
01:24:20,920 --> 01:24:23,760
Speaker 2: We're gonna have to do another movie to explain it.

1531
01:24:24,800 --> 01:24:33,680
Speaker 2: But that's not what happens.

1532
01:24:36,040 --> 01:24:37,760
Speaker 3: Okay, So you want to focus on a few of

1533
01:24:37,760 --> 01:24:39,000
Speaker 3: the geek scenes here.

1534
01:24:39,160 --> 01:24:42,120
Speaker 2: Yeah, yeah, let's get back into some of the gory details.

1535
01:24:42,400 --> 01:24:44,719
Speaker 3: So there is, of course, the scene of Emily's death.

1536
01:24:44,840 --> 01:24:46,800
Speaker 3: This is where remember Emily was going to go out

1537
01:24:46,840 --> 01:24:49,439
Speaker 3: to meet Bob. So she goes to do this in

1538
01:24:49,439 --> 01:24:52,400
Speaker 3: some squalid, abandoned building and I want to flag the

1539
01:24:52,520 --> 01:24:56,080
Speaker 3: atmosphere leading up to this scene is genuinely wonderful. It's

1540
01:24:56,160 --> 01:25:00,560
Speaker 3: so good. We see these exterior shots obviously from around Savannah,

1541
01:25:00,600 --> 01:25:05,719
Speaker 3: with beautiful old architecture, cobblestone streets and these brickwork arches

1542
01:25:05,840 --> 01:25:10,080
Speaker 3: underneath a bridge and stuff. We see shots of townhouses

1543
01:25:10,120 --> 01:25:14,000
Speaker 3: with iron stairways leading up the front, and as usual,

1544
01:25:14,080 --> 01:25:17,599
Speaker 3: everything is drenched and missed with soft, fuzzy focus and

1545
01:25:17,720 --> 01:25:23,040
Speaker 3: interesting placement of light sources. Emily parks this cool sports

1546
01:25:23,080 --> 01:25:27,360
Speaker 3: car at a dark, deserted gas station, glowing from inside

1547
01:25:27,400 --> 01:25:30,639
Speaker 3: with pink and purple light, and then she goes inside

1548
01:25:30,680 --> 01:25:33,759
Speaker 3: a neighboring building. This building looks like a warehouse, calling

1549
01:25:33,800 --> 01:25:37,240
Speaker 3: out for Bob. When she finally sees him, he is

1550
01:25:37,400 --> 01:25:40,200
Speaker 3: curled up in a fetal position on a mattress on

1551
01:25:40,280 --> 01:25:43,679
Speaker 3: the floor, whimpering in terror, which is a bit funny

1552
01:25:43,720 --> 01:25:46,479
Speaker 3: because of the shot framing, because he's got pages from

1553
01:25:46,560 --> 01:25:49,120
Speaker 3: Playboy or something pinned up on the wall right next

1554
01:25:49,120 --> 01:25:49,479
Speaker 3: to him.

1555
01:25:50,400 --> 01:25:53,080
Speaker 2: Yeah, the movie wants to remind us that he's that

1556
01:25:53,120 --> 01:25:54,240
Speaker 2: he's a great yeah.

1557
01:25:54,040 --> 01:25:57,280
Speaker 3: Yeah, So what's the matter? Well, Emily goes and tries

1558
01:25:57,320 --> 01:26:00,439
Speaker 3: to comfort him, but suddenly there is a terrible sound again,

1559
01:26:00,560 --> 01:26:04,719
Speaker 3: that moaning, hissing, yowling from the bowels of hell. Bob

1560
01:26:04,880 --> 01:26:07,920
Speaker 3: runs away and Emily is left behind on her own.

1561
01:26:08,320 --> 01:26:12,800
Speaker 3: Then appears Father Thomas the priest. Is he undead again?

1562
01:26:12,840 --> 01:26:16,040
Speaker 3: He doesn't look rotten, just with some ghoulish purple makeup.

1563
01:26:17,000 --> 01:26:19,960
Speaker 3: Emily falls to the floor and screams with fright and

1564
01:26:20,000 --> 01:26:22,880
Speaker 3: we wonder how is he going to attack her? He

1565
01:26:23,479 --> 01:26:28,160
Speaker 3: smothers her with a handful of mud and worms in

1566
01:26:28,240 --> 01:26:30,519
Speaker 3: his hand, shoved into her face.

1567
01:26:30,720 --> 01:26:32,479
Speaker 2: Yeah, it just smears it on her face.

1568
01:26:32,520 --> 01:26:36,679
Speaker 3: There. What a strange, horrible, nightmarish movie death.

1569
01:26:37,080 --> 01:26:39,959
Speaker 2: Yeah, it's just like, here's some grave soil and rot.

1570
01:26:41,600 --> 01:26:44,440
Speaker 3: And then pretty much right after that the nightmares continue.

1571
01:26:45,400 --> 01:26:47,439
Speaker 3: We get to the gut Emesis scene. This is one

1572
01:26:47,439 --> 01:26:49,679
Speaker 3: of the most shocking and famous scenes in the movie.

1573
01:26:49,680 --> 01:26:53,080
Speaker 3: I think a young couple in Dunwich are hanging out

1574
01:26:53,120 --> 01:26:55,479
Speaker 3: in a parked car which looks like some kind of

1575
01:26:55,560 --> 01:27:00,240
Speaker 3: Safari vehicle. They're parked in an old, vacant lot full

1576
01:27:00,280 --> 01:27:03,320
Speaker 3: of fog. They're making out the dude here is this

1577
01:27:03,439 --> 01:27:06,920
Speaker 3: guy played by Michelle Swave. This is Swave, Yeah, okay, yeah,

1578
01:27:06,960 --> 01:27:10,160
Speaker 3: And he comes off as a jerk. He's unsympathetic in

1579
01:27:10,200 --> 01:27:13,320
Speaker 3: the scene because he's being pushy and he's dismissive of

1580
01:27:13,360 --> 01:27:16,599
Speaker 3: her concerns about the bad vibes of the most cursed

1581
01:27:16,640 --> 01:27:20,600
Speaker 3: parking lot in Dunwich. And then while they're kissing, we

1582
01:27:20,720 --> 01:27:25,280
Speaker 3: start hearing those crazy layered moaning sounds from before the

1583
01:27:25,320 --> 01:27:28,000
Speaker 3: girl gets frightened because she thinks there's somebody out there.

1584
01:27:28,280 --> 01:27:30,400
Speaker 3: The boy is like, na, na, see, I'll turn the

1585
01:27:30,439 --> 01:27:32,960
Speaker 3: headlights on, and so he flips him on and then bam,

1586
01:27:33,080 --> 01:27:35,760
Speaker 3: we see the image of Father Thomas hanging from a

1587
01:27:35,840 --> 01:27:38,640
Speaker 3: noose right in front of the car, where there's the

1588
01:27:38,760 --> 01:27:41,639
Speaker 3: infrastructure for a noose already there. So why did they

1589
01:27:41,640 --> 01:27:43,280
Speaker 3: park in front of the old gallows?

1590
01:27:43,960 --> 01:27:46,080
Speaker 2: Well, you know, maybe the gallow, the whole gallow thing

1591
01:27:46,120 --> 01:27:48,640
Speaker 2: is part of the hallucination or whatever it may be.

1592
01:27:49,200 --> 01:27:52,320
Speaker 3: So Swab tries to start the car, but the engine

1593
01:27:52,360 --> 01:27:55,840
Speaker 3: won't turn over, and then possession takes hold. The girl

1594
01:27:56,040 --> 01:27:58,880
Speaker 3: is first hypnotized by a vision of the priest, and

1595
01:27:58,920 --> 01:28:03,439
Speaker 3: then things get so gross. Blood starts to pool in

1596
01:28:03,479 --> 01:28:06,360
Speaker 3: her lower eyelids and then pours out of her eyes

1597
01:28:06,439 --> 01:28:09,240
Speaker 3: down her face, so tears of blood running in streams

1598
01:28:09,280 --> 01:28:13,240
Speaker 3: down her cheeks, then red and pink foam from her mouth.

1599
01:28:13,840 --> 01:28:17,599
Speaker 3: Then she just starts vomiting up guts and eventually all

1600
01:28:17,680 --> 01:28:20,680
Speaker 3: of her internal organs. It's all just folding straight out

1601
01:28:20,680 --> 01:28:21,200
Speaker 3: of the mouth.

1602
01:28:21,520 --> 01:28:24,559
Speaker 2: And you may well ask, at this point, do you

1603
01:28:24,600 --> 01:28:27,200
Speaker 2: really mean all of her guts? Yeah, because I had

1604
01:28:27,240 --> 01:28:29,040
Speaker 2: read the same thing in reviews. So I was preparing

1605
01:28:29,080 --> 01:28:31,280
Speaker 2: myself for the film and asking myself, Okay, am I

1606
01:28:31,360 --> 01:28:35,519
Speaker 2: up for it? Yes, she does puke out up what

1607
01:28:35,600 --> 01:28:38,000
Speaker 2: appears to be all of her guts. You could basically

1608
01:28:38,120 --> 01:28:41,400
Speaker 2: like follow along with an anatomical chart and be like, okay,

1609
01:28:41,439 --> 01:28:45,160
Speaker 2: we're here, we are in the intestine, or here's the liver. Yeah,

1610
01:28:45,160 --> 01:28:47,960
Speaker 2: there's the stomach. Yeah, Like everything seems to come out,

1611
01:28:48,080 --> 01:28:50,920
Speaker 2: and this in typical full she fashioned with the gore,

1612
01:28:51,360 --> 01:28:52,840
Speaker 2: it just keeps going and going.

1613
01:28:53,160 --> 01:28:56,639
Speaker 3: Yeah. Then after this she grabs she does the first

1614
01:28:56,720 --> 01:28:58,519
Speaker 3: grip and rip I think we see in the film,

1615
01:28:58,880 --> 01:29:01,799
Speaker 3: So the way this works is swabs. They're like, oh,

1616
01:29:01,800 --> 01:29:06,360
Speaker 3: what's going on? And then she grabs a fistful of

1617
01:29:06,400 --> 01:29:10,680
Speaker 3: the back of the guy's head, just grabs the head, clenches,

1618
01:29:11,280 --> 01:29:14,600
Speaker 3: tears his skull open, and rips out so that she

1619
01:29:14,680 --> 01:29:16,840
Speaker 3: gets part of the scalp, part of the skull, and

1620
01:29:16,880 --> 01:29:17,960
Speaker 3: part of the brain.

1621
01:29:18,439 --> 01:29:21,960
Speaker 2: Just punctuating an absolutely grotesque scene like this is the

1622
01:29:22,000 --> 01:29:23,920
Speaker 2: one that I figured a family member would walk in

1623
01:29:23,960 --> 01:29:26,080
Speaker 2: on me watching and I have to, you know, run

1624
01:29:26,160 --> 01:29:29,120
Speaker 2: to pause the screen. But I do think I've thought

1625
01:29:29,120 --> 01:29:32,839
Speaker 2: a lot about this sequence, especially with the the gut vomiting,

1626
01:29:33,960 --> 01:29:35,960
Speaker 2: and I was, you know, trying to just figure out, like,

1627
01:29:35,960 --> 01:29:38,719
Speaker 2: what is fool She's saying here, Like what does it mean?

1628
01:29:39,000 --> 01:29:42,000
Speaker 2: You know? And I'm not saying this is a definite answer,

1629
01:29:42,000 --> 01:29:44,720
Speaker 2: but this is where my head was going. But I

1630
01:29:45,400 --> 01:29:49,200
Speaker 2: fairly recently I was reading and rereading about various Southeast

1631
01:29:49,240 --> 01:29:54,360
Speaker 2: Asian traditions of flying vampiric heads that have their entrails

1632
01:29:54,439 --> 01:29:57,200
Speaker 2: hanging from their neck stump. I'm sure most of you

1633
01:29:57,240 --> 01:29:59,880
Speaker 2: have seen some sort of, you know, version of this

1634
01:30:00,479 --> 01:30:03,760
Speaker 2: in art or even in some Southeast Asian films. There

1635
01:30:03,800 --> 01:30:05,760
Speaker 2: have been some horror films that depict these things, and

1636
01:30:05,800 --> 01:30:06,799
Speaker 2: they have different names.

1637
01:30:07,120 --> 01:30:09,519
Speaker 3: Wait, did a version of this show up in The Boxers? Omen?

1638
01:30:10,080 --> 01:30:12,760
Speaker 3: I remember ahead with things dangling out of the neck.

1639
01:30:13,240 --> 01:30:16,760
Speaker 2: Yes, there's something that at least is heavily inspired by this. Yes,

1640
01:30:17,120 --> 01:30:19,960
Speaker 2: And it would make sense since we're dealing with like

1641
01:30:20,040 --> 01:30:22,560
Speaker 2: a sort of a conflict in that movie that involves

1642
01:30:22,600 --> 01:30:25,840
Speaker 2: a lot of beliefs and traditions from Thailand, or at

1643
01:30:25,920 --> 01:30:33,960
Speaker 2: least magical systems that are attributed to Thailand. Okay, yeah,

1644
01:30:33,520 --> 01:30:35,559
Speaker 2: so yeah, we saw a little bit of it there.

1645
01:30:35,600 --> 01:30:37,680
Speaker 2: We might have alluded to this in our episode on

1646
01:30:37,800 --> 01:30:40,320
Speaker 2: Lady Terminator because you know, this kind of thing I

1647
01:30:40,320 --> 01:30:43,360
Speaker 2: think is also popped up in some Indonesian horror films.

1648
01:30:44,160 --> 01:30:47,320
Speaker 2: But when you get into like discussion of like what

1649
01:30:47,360 --> 01:30:50,400
Speaker 2: did those mean? Like why are guts hanging from the

1650
01:30:50,439 --> 01:30:55,639
Speaker 2: next stump of a flying head? And there are different models. One,

1651
01:30:55,800 --> 01:30:57,920
Speaker 2: you know, one argument is that it features it's the

1652
01:30:57,920 --> 01:31:01,000
Speaker 2: emphasis of the organs of hunger, you know, like, oh

1653
01:31:01,040 --> 01:31:03,240
Speaker 2: you can we're seeing the guts. The guts are hunger,

1654
01:31:03,280 --> 01:31:06,200
Speaker 2: and the head hungers for blood or life for us

1655
01:31:06,200 --> 01:31:08,840
Speaker 2: and so forth. There's also the idea that it's like

1656
01:31:08,960 --> 01:31:13,520
Speaker 2: inner foulness and that it's the shame on the outside.

1657
01:31:14,080 --> 01:31:17,599
Speaker 2: And you know, not quite the same message in this film.

1658
01:31:17,600 --> 01:31:20,880
Speaker 2: But I would I get a sense of guts here

1659
01:31:20,920 --> 01:31:25,479
Speaker 2: as human mortality, you know, in highly contradictory ways, to

1660
01:31:25,520 --> 01:31:28,360
Speaker 2: be clear. It kind of seems like the undead in

1661
01:31:28,439 --> 01:31:31,720
Speaker 2: this film must expel their guts in order to take

1662
01:31:31,760 --> 01:31:36,040
Speaker 2: on their unholy unlives, you know, like here's she's transforming,

1663
01:31:36,080 --> 01:31:39,880
Speaker 2: she's becoming the undead. Don't need those guts anymore. That's

1664
01:31:39,920 --> 01:31:42,640
Speaker 2: just that's just taken up room. Just go ahead and

1665
01:31:42,760 --> 01:31:46,040
Speaker 2: eject all of that. But as we'll see later on.

1666
01:31:46,120 --> 01:31:49,120
Speaker 2: It also seems like guts remain the weakness for some

1667
01:31:49,200 --> 01:31:51,439
Speaker 2: of the undead entities in the picture. So I'll have

1668
01:31:51,479 --> 01:31:52,880
Speaker 2: more to say on this in just a minute.

1669
01:31:53,080 --> 01:31:56,080
Speaker 3: That's a good point. So after this, let's see a

1670
01:31:56,120 --> 01:31:59,439
Speaker 3: few more scenes. Oh what we should flag the scene

1671
01:31:59,439 --> 01:32:03,280
Speaker 3: where the police are investigating Emily's death, mainly because full

1672
01:32:03,360 --> 01:32:05,519
Speaker 3: Chi is one of the investigators here. He's like the

1673
01:32:05,560 --> 01:32:09,719
Speaker 3: medical examinator Jerry is on the scene for some reason,

1674
01:32:09,760 --> 01:32:11,479
Speaker 3: he doesn't seem too broken up about it.

1675
01:32:12,760 --> 01:32:13,600
Speaker 2: He's a professional.

1676
01:32:13,880 --> 01:32:18,960
Speaker 3: Yeah, and full Chi is explaining that Emily appears to

1677
01:32:19,000 --> 01:32:22,160
Speaker 3: have died of sudden cardiac arrest, a fright, he says,

1678
01:32:22,640 --> 01:32:25,040
Speaker 3: and a cop. Then a cop is like, what's that

1679
01:32:25,400 --> 01:32:28,240
Speaker 3: and points and it's a pile of mud and slime

1680
01:32:28,280 --> 01:32:29,840
Speaker 3: on the floor with worms on it.

1681
01:32:30,240 --> 01:32:31,840
Speaker 2: Yeah, we don't see what happens with the right Do

1682
01:32:31,920 --> 01:32:34,280
Speaker 2: they collect it? Does that go a baggie? What's going

1683
01:32:34,320 --> 01:32:34,679
Speaker 2: to occur?

1684
01:32:35,160 --> 01:32:36,439
Speaker 3: You think they're going to take it back to the

1685
01:32:36,479 --> 01:32:41,320
Speaker 3: crime lab and be like I DNA sequenced the slime. No.

1686
01:32:42,680 --> 01:32:46,240
Speaker 3: We also get some scenes of people around town talking

1687
01:32:46,280 --> 01:32:48,240
Speaker 3: about all of the murders of the past few days.

1688
01:32:48,280 --> 01:32:51,920
Speaker 3: Consensus is it's Bob. It's got to be Bob. We

1689
01:32:51,960 --> 01:32:54,479
Speaker 3: see Bob slinking around town. At one point, he goes

1690
01:32:54,520 --> 01:32:57,040
Speaker 3: back to his alligator farm shack and he has visions

1691
01:32:57,080 --> 01:33:01,080
Speaker 3: of the hanged priest. Bob is seemingly being driven mad

1692
01:33:01,160 --> 01:33:03,840
Speaker 3: by these visions. There's also a scene I just wanted

1693
01:33:03,840 --> 01:33:06,840
Speaker 3: to mention briefly because it's at the funeral parlor where

1694
01:33:06,880 --> 01:33:10,200
Speaker 3: the mortician is stealing jewelry off the deceased in their

1695
01:33:10,200 --> 01:33:12,320
Speaker 3: coffins and then one of them bites his hand.

1696
01:33:12,800 --> 01:33:16,680
Speaker 2: This movie doesn't have a rosy opinion of the funeral industry, no,

1697
01:33:18,040 --> 01:33:20,360
Speaker 2: but I mean that's kind of standard for your horror movies.

1698
01:33:20,600 --> 01:33:24,599
Speaker 3: Yeah, so maybe we should mention the scene where Jerry

1699
01:33:24,640 --> 01:33:27,320
Speaker 3: goes to Sandra's house. Sandra is at her house painting

1700
01:33:27,320 --> 01:33:32,160
Speaker 3: a rhinoceros and yeah, that's she's a painter. She's painting

1701
01:33:32,160 --> 01:33:35,160
Speaker 3: a big rhinoceros head on a canvas. She suddenly freaks

1702
01:33:35,200 --> 01:33:39,120
Speaker 3: out and calls her psychiatrist, Jerry for help. He comes over.

1703
01:33:39,479 --> 01:33:42,600
Speaker 3: She comes to the door with a gun. Jerry's like,

1704
01:33:43,560 --> 01:33:46,080
Speaker 3: what is that and she goes, am I a basket case?

1705
01:33:46,200 --> 01:33:48,400
Speaker 3: He says no, and she says, okay, come look at

1706
01:33:48,400 --> 01:33:52,320
Speaker 3: this dead body in my kitchen, and oh, this scene

1707
01:33:52,360 --> 01:33:55,519
Speaker 3: is funny for saying. I mentioned earlier that Jerry says

1708
01:33:55,520 --> 01:33:57,880
Speaker 3: a number of things that don't seem like what a

1709
01:33:57,920 --> 01:34:01,160
Speaker 3: therapist would say. At the beginning of the scene, he's like,

1710
01:34:01,400 --> 01:34:03,479
Speaker 3: you're not a basket case, though, you could stand to

1711
01:34:03,840 --> 01:34:07,240
Speaker 3: drink less alcohol, and okay, this seems like good advice.

1712
01:34:07,360 --> 01:34:09,519
Speaker 3: And then she she gets him in the kitchen. He's like,

1713
01:34:09,600 --> 01:34:12,120
Speaker 3: let's get to drinking. We need to we need to

1714
01:34:12,160 --> 01:34:13,040
Speaker 3: have some booze.

1715
01:34:13,240 --> 01:34:15,280
Speaker 2: Yeah, you said I need to cut back. I guess

1716
01:34:15,280 --> 01:34:17,760
Speaker 2: he's like, you need to cut back in general. But

1717
01:34:18,400 --> 01:34:22,240
Speaker 2: given the brewing zombie apocalypse, you know, this is one

1718
01:34:22,280 --> 01:34:23,360
Speaker 2: of those you get a cheat.

1719
01:34:23,200 --> 01:34:26,320
Speaker 3: Gay Yes, yeah, exactly. When you when there's a body

1720
01:34:26,360 --> 01:34:28,400
Speaker 3: that is in your kitchen and then suddenly is not

1721
01:34:28,560 --> 01:34:30,760
Speaker 3: in your kitchen, that's when you get to pour a

1722
01:34:30,800 --> 01:34:31,799
Speaker 3: tall shot of whiskey.

1723
01:34:31,960 --> 01:34:33,880
Speaker 2: Yeah, I'm gonna I'm gonna stand by that for my

1724
01:34:33,920 --> 01:34:35,960
Speaker 2: own personal room. I get to have an extra drink

1725
01:34:36,040 --> 01:34:39,280
Speaker 2: if the zombie apocalypse occurs, no questions asked, I just

1726
01:34:39,320 --> 01:34:40,000
Speaker 2: get to have one.

1727
01:34:41,040 --> 01:34:44,400
Speaker 3: So Jerry, uh yeah. So the corpse goes missing and

1728
01:34:44,479 --> 01:34:47,960
Speaker 3: Jerry's like someone took her away. But this leads up

1729
01:34:47,960 --> 01:34:49,920
Speaker 3: to that scene we talked about earlier with the great

1730
01:34:50,120 --> 01:34:52,800
Speaker 3: effect where they're standing in one room of the house

1731
01:34:52,840 --> 01:34:56,439
Speaker 3: and suddenly the window shatters. The glass shatters, shards of

1732
01:34:56,479 --> 01:34:59,400
Speaker 3: glass fly into the wall and pierce the wallpaper, and

1733
01:34:59,439 --> 01:35:02,320
Speaker 3: then the wall bleeds from all the places where it

1734
01:35:02,400 --> 01:35:02,919
Speaker 3: was stabbed.

1735
01:35:02,920 --> 01:35:06,519
Speaker 2: It looks great, just amazing, and certainly go watch extras

1736
01:35:06,560 --> 01:35:08,240
Speaker 2: about this film. We've go on all the details, but

1737
01:35:08,280 --> 01:35:10,880
Speaker 2: like the basics here ares They had to have two

1738
01:35:10,920 --> 01:35:14,120
Speaker 2: panes of glass and then like fill it with gas

1739
01:35:14,200 --> 01:35:17,800
Speaker 2: until one of the panes, like or both pines legitimately explode.

1740
01:35:18,200 --> 01:35:20,840
Speaker 2: Film that and then they had to like build a

1741
01:35:20,880 --> 01:35:23,840
Speaker 2: portion of a wall that's like that's you know, that's

1742
01:35:23,880 --> 01:35:28,280
Speaker 2: super soft, has essentially blood artificial blood vessels flowing through

1743
01:35:28,280 --> 01:35:30,240
Speaker 2: it with fake blood in them. And then they had

1744
01:35:30,240 --> 01:35:32,280
Speaker 2: to have a bunch of people on set use like

1745
01:35:32,320 --> 01:35:36,000
Speaker 2: little rubber bands to fire shards of glass at that

1746
01:35:36,160 --> 01:35:39,760
Speaker 2: wall in all at the same time to create that

1747
01:35:39,840 --> 01:35:40,719
Speaker 2: practical effect.

1748
01:35:40,720 --> 01:35:44,680
Speaker 3: It's just amazing that, yeah, and it looks so good.

1749
01:35:45,439 --> 01:35:48,599
Speaker 3: Another famous gore scene in this film is the head

1750
01:35:48,720 --> 01:35:53,439
Speaker 3: drilling scene. Oh my god, unbelievable, so Bob, Remember Bob.

1751
01:35:53,560 --> 01:35:56,280
Speaker 3: Bob sneaks into the garage of mister Ross, one of

1752
01:35:56,320 --> 01:35:59,880
Speaker 3: the guys we've seen drinking at Junie's lounge. He's sort

1753
01:35:59,920 --> 01:36:03,519
Speaker 3: of like a grumpy, old gruff guy. And Bob starts

1754
01:36:03,600 --> 01:36:06,839
Speaker 3: sleeping in the back of mister Ross's car in his garage.

1755
01:36:07,479 --> 01:36:10,680
Speaker 3: Then mister Ross's teenage daughter comes into the garage to

1756
01:36:10,800 --> 01:36:14,160
Speaker 3: find her stash of drugs and she finds Bob and

1757
01:36:14,200 --> 01:36:16,840
Speaker 3: she's like, oh, hey, Bob, you know, Oh you're cool.

1758
01:36:16,880 --> 01:36:20,800
Speaker 3: Smoke a joint with me. And then Bob, we don't

1759
01:36:20,840 --> 01:36:23,120
Speaker 3: even I think, really get to see how Bob reacts

1760
01:36:23,160 --> 01:36:25,280
Speaker 3: to this. He's just like, I don't know. And then

1761
01:36:25,360 --> 01:36:28,960
Speaker 3: suddenly mister Ross comes in, finds them in a rage.

1762
01:36:29,040 --> 01:36:33,000
Speaker 3: He grabs Bob, shoves him down on his work bench

1763
01:36:33,120 --> 01:36:35,200
Speaker 3: in the garage where he's like he's got a bunch

1764
01:36:35,200 --> 01:36:38,679
Speaker 3: of tools and equipment, and then he shoves Bob's head

1765
01:36:39,160 --> 01:36:41,840
Speaker 3: into a table mounted drill or I don't know if

1766
01:36:41,840 --> 01:36:43,640
Speaker 3: this is a drill or a lathe, but it's like

1767
01:36:43,680 --> 01:36:46,840
Speaker 3: a huge rotating bit and he just runs it straight

1768
01:36:46,880 --> 01:36:47,919
Speaker 3: through Bob's cranium.

1769
01:36:48,040 --> 01:36:52,600
Speaker 2: Yeah, it's horizontally positioned. Yeah, and this whole scene is

1770
01:36:52,640 --> 01:36:57,920
Speaker 2: like it's I mean, it is fabulously assembled in terms

1771
01:36:57,920 --> 01:36:59,880
Speaker 2: of how it shot, how it's edited, how they use

1772
01:37:00,640 --> 01:37:03,120
Speaker 2: you know, a mix of like prosthetic head and real

1773
01:37:03,160 --> 01:37:05,840
Speaker 2: life head. And again all the little details of how

1774
01:37:05,840 --> 01:37:09,320
Speaker 2: they filmed this are wonderful, but also just the plotting

1775
01:37:09,360 --> 01:37:11,559
Speaker 2: of it, Like the drill gets turned on by accident

1776
01:37:12,240 --> 01:37:14,880
Speaker 2: as he's chasing after Bob, and then he's like, well,

1777
01:37:15,439 --> 01:37:18,720
Speaker 2: drill's already on and I hate this guy, might as

1778
01:37:18,760 --> 01:37:20,360
Speaker 2: well go ahead and commit murder.

1779
01:37:20,600 --> 01:37:23,240
Speaker 3: Yeah, you almost get the idea that he wouldn't have

1780
01:37:23,560 --> 01:37:26,760
Speaker 3: quite murdered him if the drill had not been spinning right.

1781
01:37:26,960 --> 01:37:29,360
Speaker 2: The beat by beat I mean, when I say it

1782
01:37:29,360 --> 01:37:32,200
Speaker 2: out loud, it sounds ridiculous, but beat by beat it

1783
01:37:32,240 --> 01:37:35,080
Speaker 2: works really well in the picture, which again already we

1784
01:37:35,120 --> 01:37:37,679
Speaker 2: have such a dreamlike atmosphere. These things make sense.

1785
01:37:38,040 --> 01:37:40,600
Speaker 3: Let's see after this we did already allude to the

1786
01:37:40,640 --> 01:37:44,040
Speaker 3: maggot storm scene. But I guess anything else you want

1787
01:37:44,080 --> 01:37:44,880
Speaker 3: to say about that.

1788
01:37:45,200 --> 01:37:47,280
Speaker 2: Oh, I mean, I could go on and on about this.

1789
01:37:47,400 --> 01:37:51,200
Speaker 2: I mean, when that maggot wind comes blowing in, it

1790
01:37:51,240 --> 01:37:55,920
Speaker 2: is it's terrific because it is a great gross scene

1791
01:37:56,000 --> 01:37:58,439
Speaker 2: in and of itself in the context of the film,

1792
01:37:58,960 --> 01:38:01,080
Speaker 2: but on the other like it's also one of these

1793
01:38:01,360 --> 01:38:03,719
Speaker 2: behind the scenes story of it's just so weird because

1794
01:38:03,720 --> 01:38:05,960
Speaker 2: it's like, yeah, they use some sort of high powered

1795
01:38:06,040 --> 01:38:09,479
Speaker 2: vacuum cleaner to blast the actors with just tons and

1796
01:38:09,520 --> 01:38:13,040
Speaker 2: tons of actual live maggots. They glued live maggots to

1797
01:38:13,080 --> 01:38:16,400
Speaker 2: their faces for those scenes where the maggots are hitting them.

1798
01:38:17,240 --> 01:38:22,160
Speaker 2: And yeah, on the extras, one of the the filmmakers,

1799
01:38:22,160 --> 01:38:24,960
Speaker 2: you know, effects or something, they were like, oh, yeah,

1800
01:38:25,120 --> 01:38:28,120
Speaker 2: fol she loved filming this because he hates actors. It's

1801
01:38:28,160 --> 01:38:31,800
Speaker 2: like a dream come true for him, which so in

1802
01:38:31,880 --> 01:38:36,000
Speaker 2: some ways does seem to track The actors apparently did

1803
01:38:36,040 --> 01:38:38,360
Speaker 2: not like this, and this scene would seem to be

1804
01:38:38,400 --> 01:38:41,960
Speaker 2: one of the reasons that Christopher George allegedly stuffed a

1805
01:38:42,000 --> 01:38:45,720
Speaker 2: handful of maggots into Folche's tobacco bag where he kept

1806
01:38:45,720 --> 01:38:49,360
Speaker 2: his tobacco in his pipes punked. Yes, Yes, the regular

1807
01:38:49,479 --> 01:38:54,000
Speaker 2: regular George Clooney right there, but yes, but it is

1808
01:38:54,120 --> 01:38:56,880
Speaker 2: such a crazy scene, like one of the many scenes

1809
01:38:56,880 --> 01:38:58,800
Speaker 2: in this film that was just jaw dropping for me

1810
01:38:59,640 --> 01:39:02,599
Speaker 2: because this one, this one especially, had not been ruined

1811
01:39:02,600 --> 01:39:05,640
Speaker 2: for me. It's like Wow, it's it's really happening. It

1812
01:39:05,720 --> 01:39:09,040
Speaker 2: is blowing tons and tons of maggots into the house

1813
01:39:09,080 --> 01:39:11,320
Speaker 2: on them, and what does it mean. Why, it's just

1814
01:39:11,360 --> 01:39:14,800
Speaker 2: part of the general disruption of the natural order of

1815
01:39:14,840 --> 01:39:17,200
Speaker 2: things because of this brewing apocalypse.

1816
01:39:17,560 --> 01:39:29,479
Speaker 3: Just all dreams in the full She House. Yeah, I

1817
01:39:29,520 --> 01:39:32,160
Speaker 3: do want to mention the climax because so this is

1818
01:39:32,160 --> 01:39:34,720
Speaker 3: the part where they climb down into the tomb of

1819
01:39:34,760 --> 01:39:38,040
Speaker 3: Father Thomas. Right as they're going in, Christopher George says,

1820
01:39:38,080 --> 01:39:40,280
Speaker 3: wish I had a cigar. I was wondering if that

1821
01:39:40,360 --> 01:39:42,360
Speaker 3: was in the script or if that was after the

1822
01:39:42,400 --> 01:39:44,000
Speaker 3: conflict from the other scene.

1823
01:39:44,040 --> 01:39:46,280
Speaker 2: I don't know. Yeah, it's like, I think my character

1824
01:39:46,280 --> 01:39:48,479
Speaker 2: would have a cigar in this scene, and maybe full

1825
01:39:48,600 --> 01:39:51,400
Speaker 2: She's like, no, it's completely ridiculous. Would never have have

1826
01:39:51,439 --> 01:39:54,240
Speaker 2: a You would never have a cigar in an otherworldly

1827
01:39:54,320 --> 01:39:58,040
Speaker 2: tomb world. And he's like, it's America, damn it. Of

1828
01:39:58,040 --> 01:40:00,360
Speaker 2: course you would have a cigar in another worldly tomb world.

1829
01:40:00,960 --> 01:40:04,080
Speaker 3: This scene also has some good surprise rats or something like, oh,

1830
01:40:04,120 --> 01:40:07,800
Speaker 3: there's a rat on me now. But yeah, so we

1831
01:40:07,840 --> 01:40:11,160
Speaker 3: already talked about how they come into contact with Sandras.

1832
01:40:11,240 --> 01:40:13,599
Speaker 3: Andrew does the grip and rap on Christopher George. He's

1833
01:40:13,600 --> 01:40:17,519
Speaker 3: dead now, so Jerry and Mary go further into the

1834
01:40:17,520 --> 01:40:20,720
Speaker 3: tomb to finally confront the priest, and here's where we

1835
01:40:20,720 --> 01:40:24,080
Speaker 3: get to a weird thing we mentioned earlier. The priest

1836
01:40:24,120 --> 01:40:27,719
Speaker 3: seems to be having another kind of psychic maybe deadly

1837
01:40:28,080 --> 01:40:32,559
Speaker 3: Scanner type hypnosis thing with Mary, and Jerry saves the

1838
01:40:32,640 --> 01:40:37,559
Speaker 3: day by grabbing hold of a wooden cross, Like I

1839
01:40:37,560 --> 01:40:40,559
Speaker 3: guess crucifix gives the wrong idea because that suggests something small.

1840
01:40:40,560 --> 01:40:44,400
Speaker 3: There's like a huge, spear sized wooden cross, and then

1841
01:40:44,880 --> 01:40:50,519
Speaker 3: stabbing the priest zombie priest in the crotch or where

1842
01:40:50,560 --> 01:40:53,599
Speaker 3: the crotch should be. But then when we see the stabbing,

1843
01:40:53,760 --> 01:40:58,280
Speaker 3: it opens up and it's guts. Yeah, green gray guts

1844
01:40:58,439 --> 01:41:00,559
Speaker 3: and different colors. So all the other guts in the

1845
01:41:00,600 --> 01:41:04,559
Speaker 3: movie have been very you know, red and pink and purple,

1846
01:41:04,600 --> 01:41:07,760
Speaker 3: and these are more green, gray guts. Yes.

1847
01:41:08,000 --> 01:41:10,400
Speaker 2: I don't know how much we're supposed to make of that,

1848
01:41:10,600 --> 01:41:13,160
Speaker 2: but yeah, yeah, obviously there's a lot to deal with

1849
01:41:13,240 --> 01:41:16,600
Speaker 2: here again, because it's like earlier, a zombie seems to

1850
01:41:16,600 --> 01:41:18,880
Speaker 2: get rid of all its guts in order to become

1851
01:41:19,200 --> 01:41:22,960
Speaker 2: the undead menace that it is here. The undead priest

1852
01:41:23,080 --> 01:41:24,800
Speaker 2: still has a lot of guts in him, or at

1853
01:41:24,880 --> 01:41:27,400
Speaker 2: least there's some guts that have settled down into the

1854
01:41:27,400 --> 01:41:30,760
Speaker 2: lower portion of his body. Stabbing in the crotch, I

1855
01:41:30,800 --> 01:41:32,280
Speaker 2: don't know. There's a lot to be made out of that,

1856
01:41:32,320 --> 01:41:32,839
Speaker 2: Like ful.

1857
01:41:32,680 --> 01:41:35,519
Speaker 3: Tree with a cross, stabbing the priest with a cross

1858
01:41:35,560 --> 01:41:36,640
Speaker 3: in the crotch.

1859
01:41:36,320 --> 01:41:38,559
Speaker 2: And making the guts fall out like this sounds like

1860
01:41:38,600 --> 01:41:40,439
Speaker 2: something that maybe needs to be worked out in therapy

1861
01:41:40,439 --> 01:41:42,839
Speaker 2: a little bit. I don't know. This movie is his therapy,

1862
01:41:42,920 --> 01:41:47,639
Speaker 2: I guess. And then I couldn't help these reminded of

1863
01:41:48,360 --> 01:41:49,960
Speaker 2: what a couple of things. It made me think of

1864
01:41:50,040 --> 01:41:52,519
Speaker 2: Lady Terminator. Again, there's a lot of crotch violence in

1865
01:41:52,560 --> 01:41:56,320
Speaker 2: that movie. But also I recently, my family always rewatches

1866
01:41:56,320 --> 01:41:58,479
Speaker 2: a bunch of Treehouse of Hors around this time of year,

1867
01:41:58,680 --> 01:42:01,000
Speaker 2: so of course it reminded me of the scene where

1868
01:42:01,000 --> 01:42:05,280
Speaker 2: Homer is pounding the steak into the mister Burns Dracula vampire,

1869
01:42:05,760 --> 01:42:08,439
Speaker 2: and then Bart is like, Dad, that's his crotch.

1870
01:42:11,280 --> 01:42:14,559
Speaker 3: So after this, all the zombies catch on fire. Of course,

1871
01:42:14,560 --> 01:42:17,360
Speaker 3: the priest catches on fire. All the zombies burn, burn, burn,

1872
01:42:17,520 --> 01:42:20,960
Speaker 3: and then we see them interestingly just kind of turn

1873
01:42:21,080 --> 01:42:25,120
Speaker 3: to sand. There's a sudden, peaceful physical resolution, as there

1874
01:42:25,120 --> 01:42:28,200
Speaker 3: have been all this violence and chaos. They burn and

1875
01:42:28,240 --> 01:42:29,719
Speaker 3: then they just turn to dust.

1876
01:42:30,000 --> 01:42:32,439
Speaker 2: From dust. We were made from dust.

1877
01:42:32,479 --> 01:42:33,120
Speaker 3: We will return.

1878
01:42:33,280 --> 01:42:37,960
Speaker 2: Guts are just an interruption in our dust nature. That's

1879
01:42:37,960 --> 01:42:40,759
Speaker 2: what the film's trying to say. From dust to guts

1880
01:42:40,840 --> 01:42:41,599
Speaker 2: to dust again.

1881
01:42:41,840 --> 01:42:46,320
Speaker 3: Guts wet guts are a deviation from the dust stasis. Yes,

1882
01:42:47,680 --> 01:42:49,920
Speaker 3: And then finally we get the thing we already talked about,

1883
01:42:49,920 --> 01:42:52,680
Speaker 3: the freeze on John John running towards the screen and

1884
01:42:52,880 --> 01:42:55,960
Speaker 3: what does it mean. I don't think I'll ever know.

1885
01:42:56,760 --> 01:42:59,400
Speaker 2: Yeah, it just I mean, all it seems to really

1886
01:42:59,400 --> 01:43:03,559
Speaker 2: be about is just ultimately making sure that the audience

1887
01:43:03,640 --> 01:43:06,920
Speaker 2: leaves the film feeling a little uneasy, which, to be clear,

1888
01:43:06,960 --> 01:43:09,240
Speaker 2: I think they were always going to do. I think

1889
01:43:09,280 --> 01:43:12,960
Speaker 2: maybe Vulhi was just a little extra paranoid here about like,

1890
01:43:13,040 --> 01:43:15,639
Speaker 2: are they gonna forget the lady puking up all those

1891
01:43:15,680 --> 01:43:17,519
Speaker 2: guts if we give them a happy ending? I can't

1892
01:43:17,560 --> 01:43:19,479
Speaker 2: have it. I cannot have it, not on my watch.

1893
01:43:19,600 --> 01:43:23,000
Speaker 3: I can't remember what the ending of the Beyond or

1894
01:43:23,040 --> 01:43:25,720
Speaker 3: House by the Cemetery is, Like, I don't recall, are

1895
01:43:25,760 --> 01:43:28,719
Speaker 3: they happy endings? Are they gross endings? What's the deal?

1896
01:43:28,960 --> 01:43:32,280
Speaker 2: The Beyond is certainly not if I remember it correctly,

1897
01:43:32,320 --> 01:43:35,800
Speaker 2: if it's again, it has been decades since I've seen

1898
01:43:35,840 --> 01:43:38,640
Speaker 2: The Beyond, but I believe it it basically ends with

1899
01:43:38,760 --> 01:43:43,920
Speaker 2: a horrifying dream like immersion and emergence in another world.

1900
01:43:44,240 --> 01:43:45,000
Speaker 3: Yeah. Okay.

1901
01:43:45,520 --> 01:43:49,040
Speaker 2: And as for House by the Cemetery, I've seen that

1902
01:43:49,040 --> 01:43:51,240
Speaker 2: one much more often and more frequently, and I don't

1903
01:43:51,280 --> 01:43:54,400
Speaker 2: remember exactly how it ends. I think it might have

1904
01:43:54,439 --> 01:43:56,880
Speaker 2: a little bit of a grim haunted Yeah, there's some

1905
01:43:56,880 --> 01:43:58,920
Speaker 2: sort of a haunting element with the ghost.

1906
01:43:58,600 --> 01:44:00,720
Speaker 3: Girl at the end. At the very least. Have we

1907
01:44:00,800 --> 01:44:06,000
Speaker 3: talked about how fulchy movies induce amnesia. I've seen this

1908
01:44:06,080 --> 01:44:09,160
Speaker 3: movie twice before, and one of the times I saw

1909
01:44:09,160 --> 01:44:12,800
Speaker 3: it was a couple weeks ago, and I had forgotten

1910
01:44:12,880 --> 01:44:14,800
Speaker 3: so much of what happens in it when I did

1911
01:44:14,880 --> 01:44:18,360
Speaker 3: the rewatch for today, truly, like there was like the

1912
01:44:18,400 --> 01:44:20,599
Speaker 3: scene was not even in my head and I literally

1913
01:44:20,680 --> 01:44:21,400
Speaker 3: just watched this.

1914
01:44:21,680 --> 01:44:24,800
Speaker 2: Yeah, I mean, I rewatched it yesterday and I can

1915
01:44:24,560 --> 01:44:27,200
Speaker 2: I can't. I agree with that. Yeah, I guess a

1916
01:44:27,200 --> 01:44:29,400
Speaker 2: big part of it is, you know, for the million

1917
01:44:29,439 --> 01:44:32,919
Speaker 2: of time, dreamline quality, the picture less of a focus

1918
01:44:33,000 --> 01:44:37,400
Speaker 2: on characters and plot beats and traditional narrative, and those

1919
01:44:37,439 --> 01:44:40,000
Speaker 2: are the sort of like stories, stories or what we

1920
01:44:40,120 --> 01:44:42,240
Speaker 2: latch onto like stories are such a key part of

1921
01:44:42,240 --> 01:44:44,000
Speaker 2: the human experience, and so I want to film.

1922
01:44:43,840 --> 01:44:45,080
Speaker 3: The mnemonic devices.

1923
01:44:45,240 --> 01:44:48,120
Speaker 2: Yeah, and so when a film depends less on that,

1924
01:44:48,800 --> 01:44:50,320
Speaker 2: it sticks in the mind list. This may be a

1925
01:44:50,360 --> 01:44:54,479
Speaker 2: reason why Housepy the Cemetery does stick with me more

1926
01:44:54,600 --> 01:44:58,240
Speaker 2: in broad strokes compared to other films of his, because

1927
01:44:58,280 --> 01:45:01,599
Speaker 2: it does kind of have a more traditional haunted house narrative.

1928
01:45:01,840 --> 01:45:04,759
Speaker 3: Yeah. Yeah, well I would say there's actually a division.

1929
01:45:04,800 --> 01:45:09,240
Speaker 3: So these ful two movies have moments that are incredibly memorable.

1930
01:45:09,280 --> 01:45:12,040
Speaker 3: So there are scenes and images from them that I'm

1931
01:45:12,080 --> 01:45:15,280
Speaker 3: never going to forget. I mean more just the moment

1932
01:45:15,320 --> 01:45:18,360
Speaker 3: to moment happenings of the film, like in between a

1933
01:45:18,400 --> 01:45:21,880
Speaker 3: lot of those big scenes. That's the stuff where I'm like,

1934
01:45:21,920 --> 01:45:25,120
Speaker 3: I totally forgot about this. I absolutely left my head

1935
01:45:25,320 --> 01:45:27,559
Speaker 3: the way a dream does after you waken, the morning

1936
01:45:27,720 --> 01:45:30,280
Speaker 3: just fades away like you can't even you can't grasp it.

1937
01:45:30,400 --> 01:45:31,360
Speaker 3: You know it was there.

1938
01:45:31,720 --> 01:45:34,479
Speaker 2: Yeah, you'll remember that a character vomited guts, but not

1939
01:45:34,520 --> 01:45:37,960
Speaker 2: necessarily who that character was, why they did it, what

1940
01:45:38,160 --> 01:45:40,320
Speaker 2: scene it was in, and how it connected to other

1941
01:45:40,360 --> 01:45:41,160
Speaker 2: moments in the picture.

1942
01:45:41,360 --> 01:45:45,320
Speaker 3: Yeah, okay, anything else on City of the Living Dead.

1943
01:45:45,760 --> 01:45:48,519
Speaker 2: No, No, I think we have succeeded here and hopefully

1944
01:45:48,600 --> 01:45:51,080
Speaker 2: I think we got it done all before All Saints Day,

1945
01:45:51,160 --> 01:45:54,720
Speaker 2: so you're welcome. We have saved the world for another year.

1946
01:45:55,040 --> 01:45:56,840
Speaker 3: But it wasn't worth it if they won't let us

1947
01:45:56,840 --> 01:45:57,559
Speaker 3: smoke in church.

1948
01:45:58,800 --> 01:46:00,760
Speaker 2: It's America, gosh, darn it.

1949
01:46:01,000 --> 01:46:03,520
Speaker 3: All right, Happy Halloween, everybody.

1950
01:46:03,120 --> 01:46:07,200
Speaker 2: Absolutely, Happy Halloween. Just a reminder to everyone out there

1951
01:46:07,360 --> 01:46:10,519
Speaker 2: that Weird House Cinema is the Friday episode here in

1952
01:46:10,520 --> 01:46:13,280
Speaker 2: the Stuff to Billyonmind podcast feed. We're primarily a science

1953
01:46:13,280 --> 01:46:15,960
Speaker 2: and culture podcast, but on Fridays we just talk about

1954
01:46:15,960 --> 01:46:20,680
Speaker 2: a weird movie. This month has been all about halloweeny selections.

1955
01:46:20,720 --> 01:46:24,160
Speaker 2: We're about to bust on over into November, so we'll

1956
01:46:24,200 --> 01:46:26,519
Speaker 2: be mixing it up a little bit more. There'll probably

1957
01:46:26,520 --> 01:46:29,880
Speaker 2: still be some horror or horror esque films going on.

1958
01:46:29,960 --> 01:46:35,599
Speaker 2: We'll probably exercise a little noir November energy as well,

1959
01:46:35,880 --> 01:46:38,559
Speaker 2: But just stay tuned to see what we cover. And

1960
01:46:38,840 --> 01:46:41,639
Speaker 2: if you were on letterbox dot com, you can look

1961
01:46:41,680 --> 01:46:43,280
Speaker 2: us up. We are a weird house on there, and

1962
01:46:43,320 --> 01:46:44,960
Speaker 2: you can find a nice list of all the movies

1963
01:46:45,000 --> 01:46:47,240
Speaker 2: we've covered over the years, and sometimes a peek ahead

1964
01:46:47,280 --> 01:46:48,120
Speaker 2: at what comes next.

1965
01:46:48,680 --> 01:46:52,840
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1966
01:46:53,200 --> 01:46:54,920
Speaker 3: If you would like to get in touch with us

1967
01:46:54,920 --> 01:46:58,000
Speaker 3: with feedback on this episode or any other, if you

1968
01:46:58,040 --> 01:47:00,640
Speaker 3: would like to suggest a topic for the future, or

1969
01:47:00,640 --> 01:47:02,320
Speaker 3: if you would just like to say hello, you can

1970
01:47:02,360 --> 01:47:05,519
Speaker 3: email us at contact at stuff to Blow your Mind

1971
01:47:05,640 --> 01:47:13,000
Speaker 3: dot com.

1972
01:47:13,120 --> 01:47:16,040
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1973
01:47:16,120 --> 01:47:18,920
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1974
01:47:19,080 --> 01:47:22,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.