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

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

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Speaker 3: And this is Joe McCormick, and we're back with part

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Speaker 3: two of our Weird House Cinema feature on the nineteen

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Speaker 3: seventy three British folk horror classic The wicker Man, starring

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Speaker 3: Christopher Lee, Edward Woodward, and Diane Chillento. Normally on Weird

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Speaker 3: House we keep it to one episode per movie, but

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Speaker 3: we figured we would have more than usual to say

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Speaker 3: about The wicker Man, especially since it's one of my

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Speaker 3: personal favorite films. I don't know, is it one of

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Speaker 3: yours too, Rob, I don't want to speak for you.

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Speaker 2: Yeah, I would say it's in there somewhere. You know.

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Speaker 2: It's a film that I used to own on VHS

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Speaker 2: that had a profound impact on me when I first

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Speaker 2: watched it, and even though I hadn't seen it in

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Speaker 2: many years before rewatching it for this episode, it certainly

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Speaker 2: has resonated with me. Yeah.

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Speaker 3: So if we were going to do it in one episode,

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Speaker 3: I think there was extreme danger of that becoming like

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Speaker 3: a three hour episode. So it's a good thing we

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Speaker 3: split it up so we aired part one last week.

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Speaker 3: If you haven't heard part one, please go back and

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Speaker 3: listen to that first. And also if you haven't seen

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Speaker 3: the film, let me reiterate what I said last time.

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Speaker 3: As always, there are going to be extensive spoilers. In

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Speaker 3: our discussion, we usually talk about the plot in pretty

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Speaker 3: great detail, and The wicker Man is a movie that

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Speaker 3: I think really benefits from viewing with no foreknowledge or

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Speaker 3: as little fore knowledge as possible. So if you have

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Speaker 3: an appetite for this kind of thing, if you're comfortable

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Speaker 3: with seventies full corror themes. In general, R rated content

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Speaker 3: are rated in terms of sex and violence. Strangely, I

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Speaker 3: don't recall much foul language in the movie. If any,

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Speaker 3: they say fallus that's true. Yeah, But as long as

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Speaker 3: you're comfortable with that kind of material and it's the

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Speaker 3: sort of thing you'd be into, I would recommend watching

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Speaker 3: this movie without reading anything or listening any further.

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Speaker 2: All right, you've been so.

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Speaker 3: Last time, of course, we talked about the cast and crew,

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Speaker 3: the connections, and we discussed some general thoughts about what

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Speaker 3: makes The Wickerman unique. For instance, the question what genre

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Speaker 3: is this? It's often called a horror movie, but I

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Speaker 3: think that is based largely on the last five to

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Speaker 3: ten minutes of the film. For most of the movie's

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Speaker 3: run time, it really doesn't feel like horror. It feels

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Speaker 3: more like a religiously themed mystery musical. So it really

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Speaker 3: is kind of its own genre. There is no other

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Speaker 3: movie quite like it. We also talked about the way

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Speaker 3: it creates this tangled garden of religious themes, with the

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Speaker 3: strained interactions between Christianity and some strange variant of Celtic

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Speaker 3: Paganism that seems to be partially made up for the movie,

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Speaker 3: and it achieves a lot of thoughtful commentary without ever

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Speaker 3: reaching an overly simplistic message. It's not like a thesis movie.

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Speaker 3: We talked about the weird and from my perspective, refreshingly

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Speaker 3: unusual character dynamics. For example, it's a detective story, but

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Speaker 3: the detective protagonist is largely unlikable. He's rude, puritanical, high handed,

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Speaker 3: and not even especially skilled at detective work, you know,

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Speaker 3: kind of contrasting with the Sherlock Holmes how he sergeant,

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Speaker 3: how he misses a lot of things in his investigation,

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Speaker 3: and yet he seems to be possibly the only person

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Speaker 3: in the movie who's actually trying to help an endangered child.

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Speaker 3: On the other hand, you've got the structural antagonists of

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Speaker 3: the detective story, like the local Pagans of summer Isle,

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Speaker 3: mostly rendered as friendly, fascinating, thoughtful, even joyful souls, and

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Speaker 3: yet we're constantly suspicious that they're up to something terrible.

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Speaker 3: So it really always kind of keeps you off balance.

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Speaker 2: You know, I had a thought I wonder First of all,

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Speaker 2: I was wondering if anyone has ever pulled a reverse

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Speaker 2: wicker Man in a film. But then this idea solidified

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Speaker 2: a little bit, and I realized I would kind of

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Speaker 2: like to see a show in which a detective from

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Speaker 2: a secluded pagan island comes to the mainland to investigate

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Speaker 2: a crime, and we get we get this sort of

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Speaker 2: fish out of water tail. But in this case, the

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Speaker 2: detective is really good at what they do. But they're

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Speaker 2: also you know, they're they're bringing a totally different mindset,

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Speaker 2: and you know, they're handling frogs and whatnot. I think

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Speaker 2: there's a lot of room for amusement there.

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Speaker 3: I mean, I would love that, but I think that

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Speaker 3: would be a lot more similar to the kind of

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Speaker 3: detective heroes were used to a kind of Oh yeah,

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Speaker 3: a smart, a smart, admirable in some way, likable, outsider protagonist.

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Speaker 2: Yes, for the most part. But the twist in this

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Speaker 2: is he or she or they solves every case with

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Speaker 2: human sacrifice. That's that's that's how we arrive. It's formulaic,

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Speaker 2: you'll get the same thing every episode, but I think

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Speaker 2: people get behind it.

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Speaker 3: People want something they can count on. I mean that's

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Speaker 3: part of you know, people like the murder mystery because

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Speaker 3: it's like it's got a surprise every time, but it's

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Speaker 3: also a very a very familiar format, so it's both

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Speaker 3: surprising and familiar every time. I think that's part of

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Speaker 3: the appeal. So yeah, I think you're onto something. We

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Speaker 3: also talked last time extensively about the role of music

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Speaker 3: in The Wicker Man and the fact that the movie

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Speaker 3: features not only in scene diegetic music where the characters

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Speaker 3: stand around playing musical instruments and singing songs, but it

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Speaker 3: actually has several scenes that are essentially musical numbers like

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Speaker 3: in a musical movie, where the characters break the fourth wall,

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Speaker 3: sing directly into the camera and they're singing along to

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Speaker 3: music playing not in the world of the movie but

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Speaker 3: on the soundtrack. So I don't know, it's just like again,

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Speaker 3: not another horror movie like that I can think of.

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Speaker 2: Yeah, it really does stand alone.

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Speaker 3: But that gets us caught up to today. So, Robert,

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Speaker 3: are you ready to talk about the plot of The Wickerman.

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Speaker 2: Yeah, let's get into it.

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Speaker 3: We are going to be. But by the way, this

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Speaker 3: came up last time, that there are multiple cuts of

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Speaker 3: the movie out there. I think we're going to be

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Speaker 3: talking about what's known as the final cut, which was

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Speaker 3: released in twenty thirteen. Any notes on the history of

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Speaker 3: the different cuts you want to talk about. If not,

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Speaker 3: that's okay.

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Speaker 2: I mean, I'll be honest. Once there are more than

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Speaker 2: two cuts of a film, in consideration, I begin to

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Speaker 2: lose interest in the whole situation. Like if there are

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Speaker 2: two cuts, I can get more into it, like which

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Speaker 2: one's the good cut, which one's the bad one? What

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Speaker 2: does this one say versus this one? But when there

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Speaker 2: are three or more, it gets a little annoying for me.

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Speaker 2: But with The Wickerman, Yeah, there are also these added wrinkles.

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Speaker 2: There are all these loose ends of hearsay and perhaps

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Speaker 2: even movie myth about lost and destroyed footage, and I'm

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Speaker 2: not sure where the truth ultimately lies on all of it.

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Speaker 2: But yeah, essentially we have three cuts to consider, the

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Speaker 2: original theatrical cut eighty eight minutes, the director's cut ninety

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Speaker 2: nine minutes, said to be more of like a work print,

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Speaker 2: and then the final cut ninety four minutes, and this

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Speaker 2: has been this is said to be the director's preferred

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Speaker 2: cut of the picture. So I thought it was great

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Speaker 2: works for me, and I think the only if memory serves.

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Speaker 2: The only thing we're really missing out on from that

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Speaker 2: full ninety nine minute cut is some preliminary stuff with

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Speaker 2: Howie before he leaves for the island.

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Speaker 3: Oh, I don't know if we need that.

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Speaker 2: Yeah, there's plenty to go on to know about him

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Speaker 2: and the world he came from.

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Speaker 3: Do we need to see him getting called into the

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Speaker 3: chief's office and being like, I got a case for you. Yeah,

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Speaker 3: I need you back on the force. I don't know that.

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Speaker 3: I don't know that's what's in there.

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Speaker 2: Yeah, you know, check what Check for details about the

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Speaker 2: runtime before you watch it, But I think the final

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Speaker 2: cut is widely available. This may be, in fact the

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Speaker 2: primary means of watching it these days.

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Speaker 3: So we begin on a black screen with an image

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Speaker 3: of a godlike face, carved in a wooden dit suggesting

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Speaker 3: Celtic folk art as it's supposed to be. I think

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Speaker 3: a god of the Sun with dreamy, placid, upturned eyes.

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Speaker 3: And then the camera zooms through the darkness to the

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Speaker 3: wooden face, and when it gets closer and eventually fills

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Speaker 3: the screen, we can make out that the god's mouth

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Speaker 3: is ever so slightly bent into this little smile, not

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Speaker 3: like he's beaming with happiness, but instead like like he

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Speaker 3: knows something, like he's got a little joke. At least

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Speaker 3: that's how it looks to me.

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Speaker 2: Yeah, yeah, this is we will we will come to

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Speaker 2: know this deity as Nuanna. However, it is just a

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Speaker 2: super weird opening for this picture. This just appears out

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Speaker 2: of darkness without commentary, and you know, we later get

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Speaker 2: the idea that it's a solar deity, but at the

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Speaker 2: time it's like it is the at least part arboreal.

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Speaker 2: Is he fungal because he has this very woody look?

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Speaker 2: And I do agree with you about the about the face.

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Speaker 2: You know, the face is sublime and all knowing calm,

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Speaker 2: but also a little bit smug.

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Speaker 3: Yeah, and once you've seen the whole movie and the ending,

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Speaker 3: I think the image of him having a little private

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Speaker 3: joke that's in this ever so slight smile. That makes

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Speaker 3: more sense.

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Speaker 2: This is also the god of the Teletubbies. Right. Isn't

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Speaker 2: there a sun face that they also worship? Is there? Really?

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Speaker 2: I think so? Yeah, there's like a there's like a

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Speaker 2: child's face on the sun and they worship it. I think.

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Speaker 3: Is that part of the fundamentalist Christian complain against them?

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Speaker 2: Probably?

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Speaker 3: Yeah, they're paganism. It's the Wickerman the Wicker Tubbies. Yes,

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Speaker 3: all right, Well, anyway we come into the prologue. Now

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Speaker 3: this cut does have some things with Sergeant Howie before

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Speaker 3: he leaves for the island, but it doesn't have him

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Speaker 3: like at the station like we were joking about it. Instead,

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Speaker 3: we begin by hearing Christian churchgoers singing a hymn which

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Speaker 3: is based on the words of Psalm twenty three. That's

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Speaker 3: the one that says the Lord's my shepherd, shall I

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Speaker 3: shall not want? He makes me to lie down by

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Speaker 3: green pas as he leads me beside still waters, and

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Speaker 3: so forth and so. Text on the black screen tells

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Speaker 3: us Sunday, the twenty ninth of April nineteen seventy three.

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Speaker 3: The camera comes up on a church congregation singing from

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Speaker 3: their hymnal. The man in the middle of the frame

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Speaker 3: is Sergeant Howie, our protagonist, played by Edward Woodward. I

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Speaker 3: would say modestly handsome Scottish police detective of about forty.

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Speaker 3: I think he's in his early forties, dressed in a

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Speaker 3: suit for church, and there's a woman standing next to

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Speaker 3: him sharing his hymnal. Rob, did you take this woman

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Speaker 3: to be his fiance?

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Speaker 2: Yeah, yeah, that's the impression I got based on this scene,

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Speaker 2: and then some stuff that the character says later on.

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Speaker 3: Yeah, So they trade a little smile in between lines

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Speaker 3: of the song, and then the camera pulls back and

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Speaker 3: shows us the whole congregation. It's a it's a lot

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Speaker 3: of very old people with white and gray hair.

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Speaker 2: You know.

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Speaker 3: It's a maybe stereotypically old church crowd, especially for people

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Speaker 3: of the the mainline Protestant denominations.

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Speaker 2: Yeah. Yeah, not to be confused with the afternoon service

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Speaker 2: where they have the rock band. This is This is

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Speaker 2: the other one where all the old people go.

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Speaker 3: And the song goes on. After we see our characters here,

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Speaker 3: it goes on where they're singing. He leadeth me, He

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Speaker 3: leadeth me. The quiet waters By, and I can't help

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Speaker 3: but notice a thing that is often pointed out about

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Speaker 3: singing in a lot of mainline Protestant Christian denominations. The

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Speaker 3: singing does not sound especially joyful. It's kind of you know,

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Speaker 3: it's kind of wrote and robotic. The quiet waters By.

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Speaker 2: Yeah, this must be a John Wesley him.

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Speaker 3: Huh, yeah, I think so. But again based on the

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Speaker 3: words of Psalm twenty three, which will come up again

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Speaker 3: in the end of the movie. Anyway, after the hymn,

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Speaker 3: Sergeant Howie gets up to deliver a reading from the scripture.

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Speaker 3: And he's not the priest. This is just a lay reading.

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Speaker 3: He gets up and he reads in front of everyone,

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Speaker 3: I have received of the Lord that which also I

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Speaker 3: delivered unto you, that the Lord Jesus the same night

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Speaker 3: in which he was betrayed, took bread, and when he

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Speaker 3: had given thanks, he broke it and said, take eat.

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Speaker 3: This is my body which is broken for you, this

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Speaker 3: dew in remembrance of me. I love that little inversion

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Speaker 3: and that this do not do this.

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Speaker 2: I think this is a director's cameo as well. I

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Speaker 2: believe this is Robin Hardy, if memory serves Robin Hardy

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Speaker 2: doing what as the pastor of the preacher. Here, oh,

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Speaker 2: I see the priest in the church. Okay, oh, And

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Speaker 2: here also we see Sergeant how He taking communion himself

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Speaker 2: in a cutaway how he says, and after the same manner,

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Speaker 2: he also took the cup when he had eaten, saying,

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Speaker 2: this cup is the new covenant in my blood. This

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Speaker 2: oft as you drink in remembrance of me, For as

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Speaker 2: often as you eat this bread and drink this wine,

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Speaker 2: you do show the Lord's death till he comes again.

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Speaker 2: Then we cut to black.

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Speaker 3: Next sound of seagulls and airplane propellers spinning up and

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Speaker 3: bagpie just blasting on into the bagpipes, and the credits

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Speaker 3: begin to play. So as the credits play, we see

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Speaker 3: Sergeant how we climb into a single engine prop seaplane

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Speaker 3: and take off from a bay on the Scottish coast.

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Speaker 3: He's flying out over the waters to a remote island,

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Speaker 3: and we see him traveling while a beautiful folk song plays.

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Speaker 3: And there's plenty of use of natural scenery here, which

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Speaker 3: is truly gorgeous. You've got these silent gray waters, rocky

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Speaker 3: islands with green pastures and very sharp cliffs and outcroppings

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Speaker 3: and Sergeant Howie flies over all this until eventually he

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Speaker 3: reaches an island where we see large fertile fields and

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Speaker 3: rows of trees and orchards. And here the music changes.

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Speaker 3: It goes from the first folk song that plays into

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Speaker 3: corn rigs and barley rigs. Rob, how much have you

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Speaker 3: been singing this one?

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Speaker 2: Yeah? I played the soundtrack quite a bit while making

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Speaker 2: notes for this episode, so I did catch myself humming

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Speaker 2: at a few times, and I rather like this tune.

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Speaker 2: It has a strong seventies folk vibe that puts me

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Speaker 2: in the mind of artist like Tom Rush.

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Speaker 3: I'm not going to sing it, but just to read

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Speaker 3: for some of the lyrics. It was upon a Lamas night,

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Speaker 3: when corn rigs are Bonnie, beneath the moon's unclouded light.

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Speaker 3: I held a while to Annie. The time went by

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Speaker 3: with careless heed till tween the late and early, with

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Speaker 3: small persuasions, she agreed to see me through the barley

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Speaker 3: corn Rigs and barley rigs and corn rigs are Bonnie.

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Speaker 2: Yeah. This song, like many of the others, is primarily

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Speaker 2: concerned with fertility, here painted with a little bit of

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Speaker 2: human sexuality and also some agricultural practices. This trend will continue.

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Speaker 3: So Sergeant Howie lands his seaplane in the waters of

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Speaker 3: the summerle Harbor, and all around the little village here

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Speaker 3: we see pink flowers blooming on black tree limbs, green hedges,

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Speaker 3: but also a kind of gray on gray palette of

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Speaker 3: the cold sea and the cobbled stones streets by the dock.

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Speaker 3: There are several old men standing around watching the plane land,

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Speaker 3: just sort of gawking without saying anything, And we can

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Speaker 3: hear seagulls calling in the distance. And there is a

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Speaker 3: very strong atmosphere right at the beginning here, I think,

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Speaker 3: created in part by the sort of hollow soundscape, like

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Speaker 3: there's lapping water, the seagulls, kind of a faint echo everywhere.

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Speaker 3: This place is at once both desolate and lush, both

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Speaker 3: welcoming and a bit stand offish. That great sense of

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Speaker 3: ambivalence that you get through much of the movie begins

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Speaker 3: right here.

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Speaker 2: Yeah, this is a sense of like, well, this is beautiful,

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Speaker 2: but is life possible here? Do people live here? Well,

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Speaker 2: yes they do, we do. We do see them, but

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Speaker 2: they hear a bit hostile, respectfully to the newcomer.

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Speaker 3: First line of the movie is Sergeant Howie yelling will

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Speaker 3: you send a dinghy please? He's out of the boat

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Speaker 3: and he he keeps yelling for a dinghy. In the

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Speaker 3: middle of his line, he gets out of megaphone and

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Speaker 3: starts yelling at them for the dinghy, and the guy's

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Speaker 3: standing around at the edge of the harbor call back

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Speaker 3: as if they didn't hear what he said, and they say, hello, sir,

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Speaker 3: have you lost your bearings? Kind of like are you

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Speaker 3: supposed to be here? And how he calls back into

302
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Speaker 3: his megaphone that yes, he's supposed to be here. He's

303
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Speaker 3: trying to reach summer Isle, and he triples down on

304
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Speaker 3: his request for a dinghy. They first try to tell

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Speaker 3: him that he cannot land without written permission from Lord Summerle,

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Speaker 3: and this is a theme that will repeat quite often.

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Speaker 3: But Sergeant Howie, now getting annoyed, says that he's a

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Speaker 3: police officer and they must allow him to come ashore.

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Speaker 3: He must have that dinghy. So they send the dinghy out.

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Speaker 3: And I like the dinghy too. It's got little decorations

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Speaker 3: on it.

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Speaker 2: Yeah, it's got an eye on it, as if to

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Speaker 2: ward away evil. And I've read that this just happened

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Speaker 2: to be the dinghy that was available. Like they didn't

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Speaker 2: decorate this or anything. This is just an accurate taste

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Speaker 2: of local decoration.

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Speaker 3: Okay. So Sergeant Howie comes ashore, and as I said,

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Speaker 3: there are a bunch of old men just kind of

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Speaker 3: standing around. He explains his business to the harbor master.

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Speaker 3: He says that he is a representative of the West

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Speaker 3: Highland Police and that he has been summoned to the

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Speaker 3: island by an anonymous note that he received in the

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Speaker 3: mail saying that a twelve year old girl named Rowan

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Speaker 3: Morrison had gone missing. He is here to investigate the matter.

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Speaker 3: The note also came with a picture of the missing girl.

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Speaker 3: So how he takes out the photo and he shows

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Speaker 3: it to the men gathered around the harbor. They all

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Speaker 3: pass it around, they take a look, and they all

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Speaker 3: agree in the end they have never seen her before.

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Speaker 3: The note also says that Rowan is the daughter of

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Speaker 3: someone named May Morrison. Confusingly, the old men standing here

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Speaker 3: first act like they don't know who that is, but

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Speaker 3: then suddenly one of them says, oh, May Morrison, Yes,

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Speaker 3: she runs the post office. And then all of the

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Speaker 3: guys remember May. They're all like, oh yeah, may Ah.

336
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Speaker 3: But as how, he is walking away, I guess to

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00:18:07,320 --> 00:18:09,920
Speaker 3: go to the post office. The harbormaster calls out that's

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Speaker 3: not May's daughter. Though not deterred yet, how he follows

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Speaker 3: up his first lead. He heads to the post office,

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Speaker 3: and along the way we see him passing some very

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Speaker 3: beautiful gardens. They are these blushing flowers and even kind

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Speaker 3: of tropical looking plants and corn rigs and barley riggs

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Speaker 3: play some more, of course, but along the way we

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Speaker 3: see local residents peeking out of windows curiously, almost suspiciously

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Speaker 3: at Sergeant Howie as he passes. But when he gets

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Speaker 3: to the post office, this we alluded to at the

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Speaker 3: end of the last episode. This ain't just a post office.

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Speaker 3: It is a combination post office and confection Err that's right.

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Speaker 2: Yeah, And like you were saying, I love the shop,

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Speaker 2: love all the details here. It feels very lived in

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Speaker 2: and legitimate. I imagine they took it like an actual storefront

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Speaker 2: of some sort here and filled it up with all

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Speaker 2: these customs, sweets, and I don't know, I don't know

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Speaker 2: the full story on these. Some of these feel they

355
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Speaker 2: just look too good to not also be some sort

356
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Speaker 2: of traditional pagan treat of one sort or Another's some

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Speaker 2: sort of traditional cake and cookie.

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Speaker 3: Yeah, edible psychedelic toad cakes, little chocolate rams, heads with

359
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Speaker 3: yellow eyes. I don't know what those What are these

360
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Speaker 3: like black and yellow discs.

361
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Speaker 2: I don't know. They look kind of like Saturn, also

362
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Speaker 2: kind of like the eye of Sauron, I don't know.

363
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Speaker 3: And then there are just like lollipops and stuff. There's

364
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Speaker 3: some stuff that is not very representative.

365
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Speaker 2: Yeah, some of us just sweets for sweets sake. Other

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Speaker 2: stuff we can already tell has some sort of ritual significance.

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Speaker 3: Anyway, how he goes into the shop. He's sort of

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Speaker 3: checking out the sweets, and a woman's voice calls out

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Speaker 3: from the back saying, good afternoon. So a woman comes

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Speaker 3: out and having been looking at some cakes shaped like rabbits,

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Speaker 3: Sergeant how He tries to pay a compliment. He says,

372
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Speaker 3: I like your rabbits, And the woman who runs the shop,

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Speaker 3: May Morrison, says, those are hairs, not silly old rabbits,

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Speaker 3: lovely march hares, shouldn't you know. The woman meets Sergeant

375
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Speaker 3: Howie and they introduce themselves. This is indeed May Morrison,

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Speaker 3: and she's curious to know what this is about. Sergeant

377
00:20:11,840 --> 00:20:14,600
Speaker 3: Howie says that he's here to see about her missing daughter,

378
00:20:15,080 --> 00:20:19,639
Speaker 3: but May reacts with bafflement. She says she does have

379
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Speaker 3: a daughter, but her daughter is not missing. She looks

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Speaker 3: at the photo that how he brought and says this

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Speaker 3: is not her daughter. And Howie tries to keep digging,

382
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Speaker 3: but May just says, I tell you no, and then laughs,

383
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Speaker 3: and then takes him into the back of the shop

384
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Speaker 3: to her residence, where she introduces him to her daughter, Myrtle,

385
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Speaker 3: who indeed looks nothing like the girl in the photograph.

386
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Speaker 3: The girl is in the middle of drawing this big

387
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Speaker 3: rabbit or I guess maybe it's a hair, not a rabbit,

388
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Speaker 3: big hair on sketch paper, and May gets called away

389
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Speaker 3: to the front of the shop by the bell, and

390
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Speaker 3: so Sergeant Howie is just left alone with Myrtle here,

391
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Speaker 3: So he squats down to talk with her. First, she

392
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Speaker 3: hands him a paint brush, and this gets paint all

393
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Speaker 3: over his hands. The first of There is a running

394
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Speaker 3: theme in the movie that people who apparently mean no

395
00:21:10,400 --> 00:21:13,760
Speaker 3: harm and are in fact being quite friendly, just constantly

396
00:21:13,840 --> 00:21:20,040
Speaker 3: in little ways kind of blemish or annoy or humiliate

397
00:21:20,119 --> 00:21:22,960
Speaker 3: Sergeant Howie by like handing him a paint brush brush

398
00:21:23,040 --> 00:21:26,320
Speaker 3: side first and he just gets brown paint all over

399
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Speaker 3: his hands.

400
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Speaker 2: Yeah, this is it's kind of the physical embodiment of

401
00:21:30,320 --> 00:21:33,760
Speaker 2: what goes on with ideas that are conveyed to him,

402
00:21:33,800 --> 00:21:36,919
Speaker 2: you know, because people will just in a very friendly tone,

403
00:21:36,960 --> 00:21:38,920
Speaker 2: like give them, give him a little bit of insight

404
00:21:39,000 --> 00:21:41,520
Speaker 2: into what they believe here on Summer Isle and how

405
00:21:41,520 --> 00:21:45,560
Speaker 2: they go about their lives. And it's it we're to

406
00:21:45,600 --> 00:21:49,040
Speaker 2: infer that there is no malice meant by these statements,

407
00:21:49,040 --> 00:21:51,600
Speaker 2: but they often, you know, they often poke him the

408
00:21:51,600 --> 00:21:57,439
Speaker 2: wrong way and sometimes provoke him to some embarrassing sequences

409
00:21:57,480 --> 00:21:59,760
Speaker 2: where we'll get into examples as we go.

410
00:22:00,240 --> 00:22:03,359
Speaker 3: Yeah. But so how he's still trying to get some

411
00:22:03,440 --> 00:22:07,600
Speaker 3: information makes sense of this confusing situation that he's coming to.

412
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Speaker 3: So he asks Myrtle, do you know Rowan? And Myrtle says,

413
00:22:11,600 --> 00:22:14,520
Speaker 3: in the fields she runs and plays there all day.

414
00:22:15,359 --> 00:22:17,320
Speaker 3: And he says, oh, do you think she'll be coming

415
00:22:17,359 --> 00:22:22,280
Speaker 3: back for tea? And Myrtle says tea. Hares don't have tea, silly. So,

416
00:22:22,359 --> 00:22:26,440
Speaker 3: according to Myrtle, Rowan is a hare. And how he

417
00:22:26,760 --> 00:22:29,320
Speaker 3: keeps trying to get confirmation on this and she's like

418
00:22:29,359 --> 00:22:31,600
Speaker 3: of course she's a hair She has a lovely time,

419
00:22:34,080 --> 00:22:37,359
Speaker 3: So this inquiry is off to a strange start. Later

420
00:22:37,440 --> 00:22:40,119
Speaker 3: that evening, we see Sergeant Howie wandering around. He has

421
00:22:40,160 --> 00:22:42,199
Speaker 3: to find lodgings on the island while he is on

422
00:22:42,240 --> 00:22:44,800
Speaker 3: the case, so he makes his way to the local inn.

423
00:22:44,880 --> 00:22:47,360
Speaker 3: I get the sense that this is the only local inn.

424
00:22:47,400 --> 00:22:51,800
Speaker 3: There's probably just one, and this is the green Man Inn.

425
00:22:52,560 --> 00:22:55,400
Speaker 3: And wow, the sign on this place, by the way,

426
00:22:55,680 --> 00:22:58,399
Speaker 3: is amazing. So it is one of the kind of

427
00:22:58,680 --> 00:23:01,320
Speaker 3: wild man green man and motifs that you will find

428
00:23:01,359 --> 00:23:04,879
Speaker 3: in the British Isles. But the eyes on the green

429
00:23:04,960 --> 00:23:08,760
Speaker 3: Man are first of all, it's just like a vegetation head,

430
00:23:08,800 --> 00:23:11,600
Speaker 3: you know, the kind of the green night. But then

431
00:23:11,680 --> 00:23:17,199
Speaker 3: the eyes are these sunken, spiraling down concentric circles of

432
00:23:17,359 --> 00:23:20,879
Speaker 3: brass or gold that look like they're like the structure

433
00:23:20,960 --> 00:23:24,240
Speaker 3: of Dante's Inferno, but they're going down and these like

434
00:23:24,400 --> 00:23:27,520
Speaker 3: gold metal pits. It looks insane.

435
00:23:27,800 --> 00:23:32,720
Speaker 2: Yeah, absolutely overflowing with psychedelic pagan mischief. I also want

436
00:23:32,760 --> 00:23:34,879
Speaker 2: to note this is something that I made note of

437
00:23:34,960 --> 00:23:40,760
Speaker 2: several times. We're more likely to say the wicker Man,

438
00:23:41,840 --> 00:23:44,879
Speaker 2: but every time I feel like, especially Christopher Lee says

439
00:23:45,040 --> 00:23:48,200
Speaker 2: the wicker Man. He says the wicker Man. And when

440
00:23:48,240 --> 00:23:50,080
Speaker 2: they talk about the green Man in they say the

441
00:23:50,119 --> 00:23:58,400
Speaker 2: green Man in. So I just noted that found it interesting. Yeah,

442
00:23:58,560 --> 00:24:01,600
Speaker 2: like when they speak of Batman in that way, I

443
00:24:01,640 --> 00:24:02,040
Speaker 2: don't know.

444
00:24:02,480 --> 00:24:04,040
Speaker 3: Do you know where Batman is now?

445
00:24:04,160 --> 00:24:04,360
Speaker 2: Oh?

446
00:24:04,400 --> 00:24:06,800
Speaker 3: He flies through the caves. He has a lovely time.

447
00:24:09,560 --> 00:24:12,840
Speaker 3: So when Sergeant Howie arrives, the pub is hoppin. It

448
00:24:12,880 --> 00:24:15,000
Speaker 3: looks like a good time. It is full of people

449
00:24:15,080 --> 00:24:18,800
Speaker 3: drinking lively music. But the music stops as soon as

450
00:24:18,840 --> 00:24:20,840
Speaker 3: he walks in. It's like that scene in a western,

451
00:24:20,920 --> 00:24:23,280
Speaker 3: you know, where the wrong guy walks into the saloon

452
00:24:23,320 --> 00:24:25,360
Speaker 3: and the piano player eh oh yeah.

453
00:24:25,400 --> 00:24:27,439
Speaker 2: And this is a great scene too because we have

454
00:24:27,520 --> 00:24:30,680
Speaker 2: a lot of musicians and non actors in this scene.

455
00:24:30,760 --> 00:24:33,000
Speaker 2: So this is definitely one of those scenes where they

456
00:24:33,080 --> 00:24:36,160
Speaker 2: was talking about in the last episode that really has

457
00:24:36,240 --> 00:24:38,359
Speaker 2: that authentic feel to it. You kind of feel like

458
00:24:38,400 --> 00:24:40,920
Speaker 2: you're in a documentary here and these are these are

459
00:24:40,920 --> 00:24:43,719
Speaker 2: just the locals, like we are in a very authentic setting.

460
00:24:44,080 --> 00:24:46,679
Speaker 3: Yeah. So how He goes up to the counter and

461
00:24:46,720 --> 00:24:50,240
Speaker 3: he meets the innkeeper and this guy has such suspicious energy.

462
00:24:50,320 --> 00:24:54,240
Speaker 3: We mentioned him last time. This is Alder McGregor, the landlord,

463
00:24:54,320 --> 00:24:57,679
Speaker 3: the innkeeper, and he's just got this raised die bro.

464
00:24:57,800 --> 00:24:59,440
Speaker 3: He's like you oh a policeman.

465
00:24:59,600 --> 00:25:05,760
Speaker 2: I yeah, yeah, this is Lindsay Kemp, fun fun performance.

466
00:25:05,880 --> 00:25:09,639
Speaker 3: Yeah, he's great. So Sergeant Howie requests a room for

467
00:25:09,680 --> 00:25:13,240
Speaker 3: the night and a hot supper, and the landlord calls

468
00:25:13,240 --> 00:25:16,040
Speaker 3: his daughter to the counter to show Sergeant Howie to

469
00:25:16,119 --> 00:25:19,120
Speaker 3: his room. Here we meet another one of the main

470
00:25:19,200 --> 00:25:22,000
Speaker 3: characters in the movie, played by Britt Eklund in the

471
00:25:22,080 --> 00:25:26,720
Speaker 3: role of Willow McGregor, the quote landlord's daughter and on

472
00:25:26,960 --> 00:25:29,200
Speaker 3: cue as she comes into the room. First of all,

473
00:25:29,240 --> 00:25:31,159
Speaker 3: when she comes into the room and meets Howie, she

474
00:25:31,280 --> 00:25:33,680
Speaker 3: like gives him a real good like look up and down,

475
00:25:35,080 --> 00:25:38,720
Speaker 3: and all the locals start singing a dirty pub song

476
00:25:38,800 --> 00:25:41,560
Speaker 3: about her, and I want to be clear, Willow seems

477
00:25:41,560 --> 00:25:44,240
Speaker 3: not to mind the dirty pub song. As soon as

478
00:25:44,320 --> 00:25:46,679
Speaker 3: she sees Sergeant Howie, she looks at him with this

479
00:25:46,920 --> 00:25:49,840
Speaker 3: mischievous smile like, yes, I am going to make this

480
00:25:49,920 --> 00:25:53,840
Speaker 3: Christian do some sinning. And I think it's the harbor

481
00:25:53,960 --> 00:25:57,679
Speaker 3: master who starts singing the song and the lyrics begins

482
00:25:57,760 --> 00:26:00,280
Speaker 3: saying much has been said of the strumpets of view

483
00:26:00,840 --> 00:26:04,320
Speaker 3: of winches and body house queens by the score. But

484
00:26:04,440 --> 00:26:06,800
Speaker 3: I sing of a baggage that we all adore the

485
00:26:06,920 --> 00:26:08,080
Speaker 3: landlord's daughter.

486
00:26:08,640 --> 00:26:11,600
Speaker 2: And if it were not already clear, Sergeant Howie has

487
00:26:11,680 --> 00:26:14,359
Speaker 2: landed on the hornist island in the British Isles.

488
00:26:14,640 --> 00:26:18,919
Speaker 3: Yes, Now, something I want to note about the tone

489
00:26:18,960 --> 00:26:23,080
Speaker 3: of this scene, which I think is interesting. In another context,

490
00:26:23,920 --> 00:26:27,800
Speaker 3: you could imagine that this exact song, this horny drinking song,

491
00:26:27,840 --> 00:26:31,480
Speaker 3: with the same lyrics, would have more of the quality

492
00:26:31,680 --> 00:26:34,719
Speaker 3: of an insult, like it would have more of a

493
00:26:35,240 --> 00:26:38,159
Speaker 3: misogynist tone and a kind of insult to the woman

494
00:26:38,200 --> 00:26:41,879
Speaker 3: that the song is about. And somehow to me, this

495
00:26:41,960 --> 00:26:44,840
Speaker 3: scene does not feel like it has any implication of

496
00:26:44,840 --> 00:26:49,040
Speaker 3: that kind. There's obviously humor in the song, but it

497
00:26:49,080 --> 00:26:53,760
Speaker 3: actually does not feel like the characters understand the song

498
00:26:53,880 --> 00:26:57,879
Speaker 3: to be at Willow's expense. Instead, the song feels like

499
00:26:58,000 --> 00:27:01,320
Speaker 3: it is genuinely meant as a kind of cheeky celebration

500
00:27:01,840 --> 00:27:04,600
Speaker 3: of a woman who is beloved by the pub community,

501
00:27:05,320 --> 00:27:07,960
Speaker 3: and she seems to be reveling in this adoration. She's

502
00:27:08,040 --> 00:27:10,200
Speaker 3: like smiling and laughing and dancing along.

503
00:27:10,640 --> 00:27:14,360
Speaker 2: Yeah, I agree, I'm left After this scene, in particular,

504
00:27:14,400 --> 00:27:16,680
Speaker 2: I'm left with an impression of a very sex positive

505
00:27:16,720 --> 00:27:19,680
Speaker 2: culture here on Summer Isle and the way it hits

506
00:27:19,720 --> 00:27:21,800
Speaker 2: given that this, again was filmed in seventy two, came

507
00:27:21,800 --> 00:27:24,920
Speaker 2: out like seventy three. Initially I assume this is bringing

508
00:27:25,000 --> 00:27:28,119
Speaker 2: in a lot of like sixties free love energy along

509
00:27:28,119 --> 00:27:32,040
Speaker 2: with these older pagan vibes, pre Christian vibes. But yeah,

510
00:27:32,080 --> 00:27:35,160
Speaker 2: this is an island where we're already getting the idea

511
00:27:35,280 --> 00:27:38,159
Speaker 2: that sex is no sin, but rather the chiefest of

512
00:27:38,240 --> 00:27:42,720
Speaker 2: virtues to be celebrated as such. And to someone like Howie,

513
00:27:43,119 --> 00:27:46,959
Speaker 2: for whom sex is original sin, this just absolutely flips

514
00:27:46,960 --> 00:27:50,800
Speaker 2: his universe on its head because it quickly becomes obvious

515
00:27:50,840 --> 00:27:53,080
Speaker 2: that this is not just a young folks thing or

516
00:27:53,119 --> 00:27:57,840
Speaker 2: a subgroup thing. Everyone here on Summer Issle has this worldview.

517
00:27:58,000 --> 00:27:59,760
Speaker 3: Yeah, everybody's having a great time. It's a lot of

518
00:27:59,800 --> 00:28:02,480
Speaker 3: old people in the pub, they're all they all love this.

519
00:28:03,040 --> 00:28:05,200
Speaker 3: H Another thing that I think is kind of interesting

520
00:28:05,240 --> 00:28:08,720
Speaker 3: about this, about the tone of this song and the

521
00:28:08,760 --> 00:28:12,679
Speaker 3: way the characters seem to feel and understand it, especially

522
00:28:12,760 --> 00:28:15,199
Speaker 3: given what we learned later about the history of the island,

523
00:28:15,600 --> 00:28:18,600
Speaker 3: It almost feels like this song could be a relic

524
00:28:18,840 --> 00:28:23,520
Speaker 3: from a different time from people with different values, and

525
00:28:23,560 --> 00:28:26,719
Speaker 3: now the words and melody are still being sung but

526
00:28:26,800 --> 00:28:29,200
Speaker 3: by people who understand them differently.

527
00:28:29,840 --> 00:28:30,199
Speaker 2: Yeah.

528
00:28:30,320 --> 00:28:34,200
Speaker 3: Yeah, but anyway, everybody starts singing and dancing. The pub

529
00:28:34,320 --> 00:28:36,960
Speaker 3: is happening. By the way, like half of the patrons

530
00:28:37,040 --> 00:28:40,560
Speaker 3: have musical instruments. Some of the dance moves not so

531
00:28:40,640 --> 00:28:43,000
Speaker 3: much in this scene, but we will see in later

532
00:28:43,040 --> 00:28:46,280
Speaker 3: scenes are basically wrestling moves, like they'll be playing music

533
00:28:46,320 --> 00:28:48,680
Speaker 3: and people are like picking each other up in the

534
00:28:48,720 --> 00:28:51,120
Speaker 3: air as if to do a suplex or something.

535
00:28:51,240 --> 00:28:53,160
Speaker 2: Yeah, there are a lot of clearly, as this crowd

536
00:28:53,200 --> 00:28:55,440
Speaker 2: really gets into their cups, there are some tests of

537
00:28:55,440 --> 00:29:00,240
Speaker 2: strength involved. Yeah, nobody has this is This is where

538
00:29:00,240 --> 00:29:03,520
Speaker 2: everyone is going tonight. And there is no second location. Well,

539
00:29:03,560 --> 00:29:06,760
Speaker 2: there's one possible second location. There is the field. There's

540
00:29:06,760 --> 00:29:08,600
Speaker 2: also the cemetery, but we'll get into that later.

541
00:29:08,680 --> 00:29:11,680
Speaker 3: Yeah. So, as the song about the landlord's daughter is

542
00:29:11,760 --> 00:29:15,160
Speaker 3: really heating up, Sergeant Howie is just like, stop all

543
00:29:15,200 --> 00:29:17,959
Speaker 3: this nonsense. He starts rapping on the counter to make

544
00:29:18,000 --> 00:29:21,719
Speaker 3: everybody shut up and listen to him, total scold, and

545
00:29:21,760 --> 00:29:24,640
Speaker 3: once everybody is finally quiet, he tells them he's a

546
00:29:24,680 --> 00:29:27,600
Speaker 3: policeman and that he is looking for a child named

547
00:29:27,680 --> 00:29:30,959
Speaker 3: Rowan Morrison and if anyone has knowledge of her whereabouts,

548
00:29:30,960 --> 00:29:33,760
Speaker 3: they should come speak with him. And it's funny because, like,

549
00:29:33,800 --> 00:29:36,960
Speaker 3: if you force yourself to think about it, like his

550
00:29:37,120 --> 00:29:42,480
Speaker 3: business is important. He is actually trying to solve what's

551
00:29:42,520 --> 00:29:46,000
Speaker 3: going on within an apparently missing child who people are

552
00:29:46,000 --> 00:29:50,760
Speaker 3: like giving him weird, conflicting information about. And yet it

553
00:29:50,760 --> 00:29:54,160
Speaker 3: feels like this is completely inappropriate behavior on his part.

554
00:29:54,680 --> 00:29:57,120
Speaker 2: Yeah, yeah, I mean part of it is that so far,

555
00:29:57,640 --> 00:30:01,040
Speaker 2: no one has acknowledged that anyone is actually missing. Yeah,

556
00:30:01,080 --> 00:30:03,880
Speaker 2: so like maybe we're inclined to forgive them a bit

557
00:30:03,920 --> 00:30:06,680
Speaker 2: more for just not answering any of his questions all

558
00:30:06,680 --> 00:30:10,320
Speaker 2: that night, because I mean, so far we're to assume that, well,

559
00:30:10,400 --> 00:30:13,000
Speaker 2: there's no kid missing, Like what, you're just gonna shout

560
00:30:13,000 --> 00:30:14,720
Speaker 2: out us some more about this, but we can't help you.

561
00:30:15,080 --> 00:30:17,880
Speaker 3: So while Sergeant Howie is showing the photo to everyone,

562
00:30:17,960 --> 00:30:20,120
Speaker 3: we also see some photos up on the wall of

563
00:30:20,240 --> 00:30:25,160
Speaker 3: the Green Man in from each of the ten years past. Actually,

564
00:30:25,240 --> 00:30:28,640
Speaker 3: there's a photo of the Harvest Festival featuring a girl

565
00:30:28,680 --> 00:30:30,880
Speaker 3: who is the Queen of the Harvest I'm not sure

566
00:30:30,880 --> 00:30:32,640
Speaker 3: if this is supposed to be the same as the

567
00:30:32,680 --> 00:30:35,720
Speaker 3: Queen of the May Festival. She crowned the Queen of

568
00:30:35,760 --> 00:30:37,440
Speaker 3: the May and then she also is the Queen of

569
00:30:37,480 --> 00:30:40,080
Speaker 3: the Harvest Festival, or it's different girls. I'm not sure,

570
00:30:40,360 --> 00:30:42,720
Speaker 3: But anyway, it'll have like a girl with like a

571
00:30:42,760 --> 00:30:45,520
Speaker 3: wreath of flowers on her hair, and she'll be surrounded

572
00:30:45,520 --> 00:30:48,480
Speaker 3: by crates of fruit and other produce the harvest of

573
00:30:48,520 --> 00:30:53,320
Speaker 3: the island. The photo from last year's Harvest festival is missing.

574
00:30:53,560 --> 00:30:55,880
Speaker 3: All of the other photos are lined up, but how

575
00:30:55,880 --> 00:30:57,840
Speaker 3: He asks about it, and the landlord says that the

576
00:30:57,880 --> 00:31:01,600
Speaker 3: frame was broken and it's being repaired anyway. Time for supper.

577
00:31:02,120 --> 00:31:04,760
Speaker 3: We cut away to Howie eating and we see his

578
00:31:04,840 --> 00:31:07,960
Speaker 3: food which looks gross, so we just hear him mutter disgusting.

579
00:31:08,840 --> 00:31:11,000
Speaker 3: He's got like a little cut of meat on his plate,

580
00:31:11,120 --> 00:31:14,200
Speaker 3: and then some beans that look blue, and then some

581
00:31:14,280 --> 00:31:17,040
Speaker 3: canned boiled potatoes. It does not look like a very

582
00:31:17,040 --> 00:31:20,760
Speaker 3: good plate of food. Willow comes in to clear his

583
00:31:20,760 --> 00:31:23,200
Speaker 3: plate and she's like, what's the matter. Aren't you hungry?

584
00:31:23,800 --> 00:31:26,440
Speaker 3: And how He says, yes, he says he's hungry, But

585
00:31:27,080 --> 00:31:29,680
Speaker 3: he says that most of the food. I've had the

586
00:31:29,680 --> 00:31:32,960
Speaker 3: farmhouse soup, the potatoes, broadbeans all come out of a can.

587
00:31:33,560 --> 00:31:37,040
Speaker 3: Broad Beans in their natural state aren't usually turquois, are they?

588
00:31:38,760 --> 00:31:41,720
Speaker 3: And Willow says, oh. This is the part where Willow

589
00:31:41,840 --> 00:31:43,680
Speaker 3: just like looks at him. She goes, some things in

590
00:31:43,720 --> 00:31:46,360
Speaker 3: their natural state have the most vivid colors.

591
00:31:47,920 --> 00:31:49,880
Speaker 2: Yeah, she was laying it on a bit thick here,

592
00:31:49,880 --> 00:31:53,080
Speaker 2: but I do love the continued botanical sexual themes here.

593
00:31:53,440 --> 00:31:55,800
Speaker 3: Also, Willow asked him you want any Do you want

594
00:31:55,800 --> 00:31:58,720
Speaker 3: any dessert? She says, do you want? Afters he asks

595
00:31:58,760 --> 00:32:01,240
Speaker 3: for an apple, but she's as, no apples, they don't

596
00:32:01,240 --> 00:32:04,120
Speaker 3: have any, And Sergeant how He is shocked by this.

597
00:32:04,200 --> 00:32:06,840
Speaker 3: He's like, well, I thought summer Isle was famous for

598
00:32:06,880 --> 00:32:09,800
Speaker 3: its fruit and vegetables. Your apples are what you do here,

599
00:32:09,880 --> 00:32:13,960
Speaker 3: that's your whole thing. And she says, sorry, I expect

600
00:32:14,000 --> 00:32:16,720
Speaker 3: they've all been exported. You can have peaches and cream

601
00:32:16,800 --> 00:32:19,920
Speaker 3: if you like, seant. Sergeant how He asks if it

602
00:32:19,960 --> 00:32:24,240
Speaker 3: will come from a can, and Willow nods oh, But

603
00:32:24,320 --> 00:32:27,200
Speaker 3: she also gives him another sexy stinger. She's like, cheer

604
00:32:27,280 --> 00:32:28,960
Speaker 3: up food isn't everything in life?

605
00:32:28,960 --> 00:32:33,680
Speaker 2: You know? I love this little scene. It made me

606
00:32:33,680 --> 00:32:39,760
Speaker 2: start thinking about religion as fruit here, with Christianity Howie's

607
00:32:39,840 --> 00:32:43,880
Speaker 2: Christianity being the canned fruit from a distant land introduced here.

608
00:32:44,400 --> 00:32:46,960
Speaker 2: While the pagan beliefs are of the soil and of

609
00:32:47,040 --> 00:32:50,080
Speaker 2: the people, they're like the crops that are grown locally,

610
00:32:51,000 --> 00:32:52,680
Speaker 2: or at least at this point in the film. That's

611
00:32:52,720 --> 00:32:56,720
Speaker 2: how it may seem things may seem different later on.

612
00:32:57,240 --> 00:33:00,480
Speaker 3: That is interesting. I didn't think of that. I wonder

613
00:33:00,480 --> 00:33:03,640
Speaker 3: how that interfaces with the fact that the local fruits

614
00:33:03,680 --> 00:33:06,840
Speaker 3: have failed in the last harvest exactly.

615
00:33:06,920 --> 00:33:09,920
Speaker 2: Yeah, And I think again, that's one of the great

616
00:33:09,920 --> 00:33:12,200
Speaker 2: things about this film is you can kind of drop

617
00:33:12,200 --> 00:33:14,760
Speaker 2: in at different points and it makes you think about

618
00:33:14,760 --> 00:33:17,880
Speaker 2: things in one direction, and the new information will kind

619
00:33:17,920 --> 00:33:23,560
Speaker 2: of make you consider the alternate argument. So this is

620
00:33:23,640 --> 00:33:25,440
Speaker 2: just yeah, this is one of those moments right here

621
00:33:25,480 --> 00:33:29,240
Speaker 2: where everything you think you might understand about the balance

622
00:33:29,800 --> 00:33:31,080
Speaker 2: is going to shift later on.

623
00:33:32,160 --> 00:33:34,479
Speaker 3: Though actually I got ahead of things because we actually

624
00:33:34,480 --> 00:33:36,000
Speaker 3: don't know at this point in the movie that the

625
00:33:36,080 --> 00:33:37,320
Speaker 3: last harvest failed yet.

626
00:33:37,400 --> 00:33:38,880
Speaker 2: Yeah, as far as we know at this point, this

627
00:33:38,960 --> 00:33:41,840
Speaker 2: is just an island where the apples are bountiful, and

628
00:33:41,920 --> 00:33:44,120
Speaker 2: for some reason they're serving this guy can potatoes.

629
00:33:44,760 --> 00:33:49,520
Speaker 3: Yeah, maybe it's just superfluous disrespect for how we even

630
00:33:49,560 --> 00:33:52,440
Speaker 3: though they're being very nice to him. And again, yeah,

631
00:33:52,600 --> 00:33:55,200
Speaker 3: most people are being very nice to him. I should

632
00:33:55,240 --> 00:33:57,680
Speaker 3: just say that again, Like he's gotten a little bit

633
00:33:57,680 --> 00:34:00,280
Speaker 3: of an icy reception here and there, but it's you know,

634
00:34:00,480 --> 00:34:02,600
Speaker 3: they're they're welcoming him.

635
00:34:02,840 --> 00:34:05,120
Speaker 2: Their vibe is just very different than his too, Like

636
00:34:05,200 --> 00:34:08,319
Speaker 2: he's still on the case, on the job, and no

637
00:34:08,360 --> 00:34:11,799
Speaker 2: one else is working exactly, I mean except for the

638
00:34:11,800 --> 00:34:14,439
Speaker 2: people working in the pub. Everyone else here is out

639
00:34:14,440 --> 00:34:15,399
Speaker 2: for a good time. Yeah.

640
00:34:15,560 --> 00:34:17,640
Speaker 3: The people working in the pub seem like they're partying

641
00:34:17,680 --> 00:34:18,799
Speaker 3: in the pub at the same time.

642
00:34:18,920 --> 00:34:19,400
Speaker 2: Yeah.

643
00:34:19,520 --> 00:34:22,560
Speaker 3: We work hard, we play hard at the same time simultaneously.

644
00:34:22,719 --> 00:34:23,759
Speaker 2: Yeah.

645
00:34:23,840 --> 00:34:27,480
Speaker 3: Anyway, right after this, how he decides to go out

646
00:34:27,480 --> 00:34:29,120
Speaker 3: for a walk. This is, by the way, right after

647
00:34:29,160 --> 00:34:31,440
Speaker 3: Willow told him, you know, there's more to life than food.

648
00:34:32,120 --> 00:34:34,120
Speaker 3: So he goes out for a walk on the lane

649
00:34:34,200 --> 00:34:38,600
Speaker 3: outside the inn, and he discovers in the fields outside

650
00:34:39,440 --> 00:34:42,400
Speaker 3: there just happens to be an orgy taking place. Dozens

651
00:34:42,440 --> 00:34:45,920
Speaker 3: of people are out having passionate sex in the grass,

652
00:34:46,680 --> 00:34:50,759
Speaker 3: and how he is incredibly startled by this. Next he

653
00:34:50,840 --> 00:34:53,640
Speaker 3: comes to the edge of the old churchyard and peeks

654
00:34:53,680 --> 00:34:56,759
Speaker 3: over the stone wall and he sees people in the

655
00:34:56,800 --> 00:35:01,160
Speaker 3: graveyard with watering cans, watering graves and moonlight, and he

656
00:35:01,200 --> 00:35:04,240
Speaker 3: sees a naked woman sitting on another grave and sobbing.

657
00:35:04,960 --> 00:35:07,840
Speaker 2: Yeah. Yeah, Stephen King's character from Sleepwalkers would not approve

658
00:35:07,840 --> 00:35:07,920
Speaker 2: of it.

659
00:35:08,440 --> 00:35:12,799
Speaker 3: Yeah, I don't need this action, yea. So Howie goes

660
00:35:12,840 --> 00:35:16,400
Speaker 3: back to the end, clearly disturbed. He something is not

661
00:35:16,600 --> 00:35:19,680
Speaker 3: right with this place from his perspective. He quickly gets

662
00:35:19,680 --> 00:35:29,719
Speaker 3: his key goes up to his room. Now Here we

663
00:35:29,800 --> 00:35:34,360
Speaker 3: get a deleted scene of the first night at the inn.

664
00:35:35,239 --> 00:35:37,839
Speaker 3: Later that night, while Howie is alone in his room

665
00:35:37,880 --> 00:35:41,759
Speaker 3: writing in his notebook, we hear a deep voice outside

666
00:35:41,760 --> 00:35:45,799
Speaker 3: the window calling out. It's the voice of Christopher Lee,

667
00:35:46,440 --> 00:35:49,359
Speaker 3: and we hear Christopher Lee saying, Willow McGregor, I have

668
00:35:49,400 --> 00:35:53,440
Speaker 3: the honor to present you Ash Buchanan. And then outside

669
00:35:53,440 --> 00:35:55,480
Speaker 3: the window we look down and we see there stands

670
00:35:55,560 --> 00:35:59,399
Speaker 3: Christopher Lee in the role of Lord Sumerle. I can't

671
00:35:59,400 --> 00:36:02,680
Speaker 3: remember he rest in a kilt in this see yeah,

672
00:36:02,880 --> 00:36:06,800
Speaker 3: with kind of the Scottish dress, with like a pouch

673
00:36:06,880 --> 00:36:10,320
Speaker 3: of some kind. And then there's a young man standing

674
00:36:10,320 --> 00:36:14,360
Speaker 3: beside him, Willow comes to the window and she is

675
00:36:14,400 --> 00:36:16,919
Speaker 3: overjoyed to see them. She's laughing and she says, come

676
00:36:16,960 --> 00:36:21,319
Speaker 3: on up, Ash Buchanan, and Lord Somerle says another sacrifice

677
00:36:21,320 --> 00:36:25,480
Speaker 3: at the altar of Aphrodite, So Willow is the goddess

678
00:36:25,520 --> 00:36:29,440
Speaker 3: of love in the local mythology. They also have a

679
00:36:29,520 --> 00:36:33,839
Speaker 3: conversation of how she needs to be ready for Tomorrow's tomorrow,

680
00:36:34,320 --> 00:36:38,640
Speaker 3: the day of a more serious offering, and the people

681
00:36:38,640 --> 00:36:41,040
Speaker 3: in the pub downstairs by the way are singing a

682
00:36:41,080 --> 00:36:44,160
Speaker 3: song about sex. This is not a rowdy drinking song

683
00:36:44,280 --> 00:36:47,839
Speaker 3: this time. It's kind of a soft, sad minor key song.

684
00:36:48,000 --> 00:36:49,560
Speaker 3: Sounds like it could be by Nick Drake.

685
00:36:50,480 --> 00:36:50,640
Speaker 2: Oh.

686
00:36:50,719 --> 00:36:53,319
Speaker 3: Also, this is the part I think we talked about

687
00:36:53,360 --> 00:36:57,160
Speaker 3: this in the last episode, the once deleted scene now

688
00:36:57,200 --> 00:37:00,759
Speaker 3: restored where Christopher Lee looks at slugs. Yes, and he's

689
00:37:00,840 --> 00:37:04,320
Speaker 3: like staring at slugs crawling on a leaf, and he says,

690
00:37:04,600 --> 00:37:07,480
Speaker 3: I think I could turn and live with animals. They

691
00:37:07,480 --> 00:37:10,919
Speaker 3: are so placid and self contained. They do not lie

692
00:37:10,960 --> 00:37:13,960
Speaker 3: awake in the dark and weep for their sins. They

693
00:37:14,000 --> 00:37:17,279
Speaker 3: do not make me sick discussing their duty to God.

694
00:37:17,400 --> 00:37:19,960
Speaker 3: Not one of them meals to another or to his

695
00:37:20,000 --> 00:37:23,560
Speaker 3: own kind that lived thousands of years ago. Not one

696
00:37:23,600 --> 00:37:27,160
Speaker 3: of them is respectable or unhappy all over the earth.

697
00:37:27,760 --> 00:37:32,800
Speaker 2: Yeah, it's really nice. I love this sequence. I've noted

698
00:37:32,840 --> 00:37:37,400
Speaker 2: that some folks online disagree and think that this scene

699
00:37:37,440 --> 00:37:39,360
Speaker 2: kind of like messes with the pace of the picture,

700
00:37:39,920 --> 00:37:43,080
Speaker 2: And I mean, I can maybe acknowledge some ways it

701
00:37:43,160 --> 00:37:45,000
Speaker 2: might do that a little bit, but I feel like

702
00:37:45,040 --> 00:37:50,120
Speaker 2: the benefits of it outweigh any negatives, you know, because

703
00:37:50,120 --> 00:37:52,080
Speaker 2: we get kind of a we get a little more

704
00:37:52,120 --> 00:37:56,240
Speaker 2: about the sort of outlook that the locals have about

705
00:37:56,280 --> 00:38:01,840
Speaker 2: their place and relationship to nature, about like the value

706
00:38:01,920 --> 00:38:05,640
Speaker 2: that they place on willow and on sex in the community.

707
00:38:06,280 --> 00:38:09,040
Speaker 2: So I think it's it's all it's all an upside here.

708
00:38:09,719 --> 00:38:12,480
Speaker 3: Yeah, I can see both sides about the scene. Having

709
00:38:12,520 --> 00:38:14,959
Speaker 3: seen the movie without it as well, I can see

710
00:38:14,960 --> 00:38:19,400
Speaker 3: how it does sort of disrupt the slow build towards

711
00:38:19,440 --> 00:38:22,879
Speaker 3: the first meeting with Christopher Lee, and it also sort

712
00:38:22,880 --> 00:38:29,319
Speaker 3: of it reveals more about the island's culture earlier on,

713
00:38:29,719 --> 00:38:33,319
Speaker 3: and because without the scene you get a very very

714
00:38:33,440 --> 00:38:37,200
Speaker 3: nice slow build of revelations about what's going on up

715
00:38:37,280 --> 00:38:40,919
Speaker 3: to the payoff. So I see that point. But also

716
00:38:40,960 --> 00:38:43,759
Speaker 3: I just really like the scene, and so I kind

717
00:38:43,800 --> 00:38:44,600
Speaker 3: of hate to lose it.

718
00:38:45,000 --> 00:38:48,040
Speaker 2: I think the first time I saw this film on television,

719
00:38:48,400 --> 00:38:52,400
Speaker 2: I suspect this sequence was missing. And on top of that,

720
00:38:52,440 --> 00:38:54,040
Speaker 2: I'm not sure what else might have been cut for

721
00:38:54,280 --> 00:38:58,479
Speaker 2: length on TPE, So that's a possible fourth different cut.

722
00:38:58,520 --> 00:39:01,160
Speaker 2: I always always forget to flu that. Yeah, anytime you

723
00:39:01,160 --> 00:39:04,880
Speaker 2: have something for cable television back in the day, or

724
00:39:04,960 --> 00:39:07,560
Speaker 2: certainly broadcast television, there's the chance that something else has

725
00:39:07,560 --> 00:39:10,680
Speaker 2: been cut or sometimes added, depending on what run time

726
00:39:10,719 --> 00:39:11,319
Speaker 2: you're trying to hit.

727
00:39:12,000 --> 00:39:18,320
Speaker 3: You know, another thing regarding the carefree, sex positive culture

728
00:39:18,520 --> 00:39:22,200
Speaker 3: of the island that I wanted to talk about, Maybe

729
00:39:22,200 --> 00:39:23,600
Speaker 3: this is a good place to bring it up, because

730
00:39:23,600 --> 00:39:26,040
Speaker 3: I don't know where else to bring it up. I

731
00:39:26,080 --> 00:39:30,480
Speaker 3: think this story would play differently if as soon as

732
00:39:30,520 --> 00:39:34,160
Speaker 3: Sergeant Howie arrived on the island we were seeing lots

733
00:39:34,200 --> 00:39:37,680
Speaker 3: of like hot young people in diaphanous gowns or people

734
00:39:37,800 --> 00:39:41,839
Speaker 3: dancing around naked with flowers in their hair. But we

735
00:39:41,880 --> 00:39:44,960
Speaker 3: don't see that. Instead, to the extent that we get

736
00:39:45,000 --> 00:39:47,120
Speaker 3: any of that, it comes much later in the story,

737
00:39:47,600 --> 00:39:51,319
Speaker 3: and that is not generally the local fashion, at least

738
00:39:51,360 --> 00:39:54,120
Speaker 3: not for the day to day The characters that we

739
00:39:54,160 --> 00:39:58,840
Speaker 3: meet early on are mostly older, windburned, gray haired people

740
00:39:58,960 --> 00:40:03,080
Speaker 3: with a kind of wooly authentically rural Scotland in the

741
00:40:03,120 --> 00:40:07,560
Speaker 3: seventies fashion sense. It's not woodstock out here, at least

742
00:40:07,600 --> 00:40:11,160
Speaker 3: not early on. Early on, it's just it's lots of

743
00:40:11,239 --> 00:40:15,360
Speaker 3: old people apparently living a kind of dowdy Scottish village life.

744
00:40:16,000 --> 00:40:18,520
Speaker 2: Yeah, it's it's firmly established that this is not a

745
00:40:18,640 --> 00:40:22,040
Speaker 2: generational thing here. Then there are some nods later on

746
00:40:22,080 --> 00:40:24,800
Speaker 2: to the fact that the older members of the community

747
00:40:24,840 --> 00:40:28,080
Speaker 2: are more likely to have biblical names, Biblical first names,

748
00:40:28,080 --> 00:40:30,840
Speaker 2: as opposed to the younger people who all have names

749
00:40:30,840 --> 00:40:33,080
Speaker 2: like Rowan and so forth. And it's you know, it's

750
00:40:33,080 --> 00:40:36,520
Speaker 2: more botanical in nature. But yeah, I think this is

751
00:40:36,520 --> 00:40:38,960
Speaker 2: a this is a great point anyway.

752
00:40:39,280 --> 00:40:41,400
Speaker 3: The next day, we check back in with Sergeant Howie

753
00:40:41,480 --> 00:40:45,040
Speaker 3: as he continues his investigation, and the first thing we

754
00:40:45,080 --> 00:40:47,960
Speaker 3: see is that as Sergeant Howie is setting out to

755
00:40:48,000 --> 00:40:52,000
Speaker 3: the island schoolhouse, he passes a big celebration out in

756
00:40:52,040 --> 00:40:55,440
Speaker 3: a meadow across the way from the school. The boys

757
00:40:55,760 --> 00:40:59,600
Speaker 3: of the elementary school are out with their teacher, dancing

758
00:40:59,640 --> 00:41:02,440
Speaker 3: around a may pole which is hung with red and

759
00:41:02,480 --> 00:41:05,960
Speaker 3: white streamers, and there is a band playing. We've got

760
00:41:05,960 --> 00:41:10,120
Speaker 3: a guitar, clarinet, violin, and a very prominent mouth harp,

761
00:41:10,200 --> 00:41:14,320
Speaker 3: going boying, boying. And here we get another musical number

762
00:41:14,400 --> 00:41:17,440
Speaker 3: sung by the school master in a glorious pink shirt

763
00:41:17,480 --> 00:41:22,080
Speaker 3: with a wide seventies collar, and the boys are running around.

764
00:41:22,080 --> 00:41:25,319
Speaker 3: They're weaving their streamers around the maypole, twisting them up.

765
00:41:25,719 --> 00:41:27,960
Speaker 3: I think most people have probably seen that kind of

766
00:41:28,000 --> 00:41:30,080
Speaker 3: dance where you go around the maypole and you weave,

767
00:41:30,480 --> 00:41:34,520
Speaker 3: you weave the fibers in and out. The tune of

768
00:41:34,560 --> 00:41:38,680
Speaker 3: the song is it's both lighthearted and sing songy, but

769
00:41:38,760 --> 00:41:41,759
Speaker 3: also a little bit eerie. And I'm just going to

770
00:41:41,840 --> 00:41:43,719
Speaker 3: read the lyrics here because they do they are kind

771
00:41:43,719 --> 00:41:46,319
Speaker 3: of important for establishing the tone of the movie as

772
00:41:46,360 --> 00:41:49,640
Speaker 3: it's developing. So the schoolmaster sings in the woods, there

773
00:41:49,640 --> 00:41:51,799
Speaker 3: grew a tree, and a fine, fine tree was he.

774
00:41:52,239 --> 00:41:54,120
Speaker 3: And on that tree there was a limb, and on

775
00:41:54,160 --> 00:41:56,400
Speaker 3: that limb there was a branch, and on that branch

776
00:41:56,480 --> 00:41:58,440
Speaker 3: there was a nest. And in that nest there was

777
00:41:58,480 --> 00:42:00,680
Speaker 3: an egg, and in that egg there was a bird,

778
00:42:00,719 --> 00:42:03,239
Speaker 3: and from that bird a feather came, and of that

779
00:42:03,320 --> 00:42:06,160
Speaker 3: feather was a bed, and on that bed there was

780
00:42:06,200 --> 00:42:08,200
Speaker 3: a girl, and on that girl there was a man.

781
00:42:08,280 --> 00:42:10,560
Speaker 3: And from that man there was a seed. And from

782
00:42:10,560 --> 00:42:12,919
Speaker 3: that seed there was a boy, and from that boy

783
00:42:12,960 --> 00:42:15,239
Speaker 3: there was a man. And for that man there was

784
00:42:15,320 --> 00:42:19,040
Speaker 3: a grave. And from that grave there grew a tree.

785
00:42:19,680 --> 00:42:21,960
Speaker 2: This is a great song. This is one I definitely

786
00:42:22,040 --> 00:42:24,239
Speaker 2: did catch myself singing a couple of times because it

787
00:42:24,239 --> 00:42:26,520
Speaker 2: has just such a nice, jaunty energy to it. Yeah.

788
00:42:26,600 --> 00:42:30,759
Speaker 3: Yeah, Howie is again obviously weirded out by this, but

789
00:42:30,800 --> 00:42:34,400
Speaker 3: he walks past to the schoolhouse where the girls of

790
00:42:34,440 --> 00:42:37,040
Speaker 3: the school are sitting at their desks, and as Sergeant

791
00:42:37,080 --> 00:42:40,200
Speaker 3: how he walks into the room. The teacher, Miss Rose,

792
00:42:40,239 --> 00:42:43,360
Speaker 3: played by Diane Cilento, is in the middle of a lesson.

793
00:42:43,560 --> 00:42:46,360
Speaker 3: And I love the way Chilento is dressed for this

794
00:42:46,520 --> 00:42:49,239
Speaker 3: role because or at least in the scene, because on

795
00:42:49,239 --> 00:42:52,680
Speaker 3: one hand, she looks like a classic proper school teacher

796
00:42:52,680 --> 00:42:55,960
Speaker 3: in the conservative fashion. It's like a long gray wool

797
00:42:56,040 --> 00:42:59,520
Speaker 3: dress going down to the floor and like a ruffled

798
00:42:59,520 --> 00:43:02,520
Speaker 3: white top with this like buttoned up to the throat

799
00:43:03,320 --> 00:43:06,719
Speaker 3: with long sleeves. But also at the same time she's

800
00:43:06,760 --> 00:43:09,520
Speaker 3: got a big chain necklace with what looks like some

801
00:43:09,600 --> 00:43:14,240
Speaker 3: kind of giant talismanic tooth or horn hanging over her stomach.

802
00:43:16,360 --> 00:43:17,879
Speaker 3: I don't know if that was. I don't know which

803
00:43:17,960 --> 00:43:21,839
Speaker 3: that is, but it's good anyway. Miss Rose is doing

804
00:43:21,880 --> 00:43:23,719
Speaker 3: her lesson and she asks one of the students in

805
00:43:23,719 --> 00:43:26,160
Speaker 3: the class, can you tell us what the maypole represents?

806
00:43:26,880 --> 00:43:29,400
Speaker 3: The first girl she calls on doesn't know the answer,

807
00:43:29,800 --> 00:43:33,280
Speaker 3: but then everybody else in the class calls out phallic symbol,

808
00:43:34,600 --> 00:43:38,560
Speaker 3: and Miss Rose says, quote, the phallic symbol that is correct.

809
00:43:38,640 --> 00:43:41,160
Speaker 3: It is the image of the penis, which is venerated

810
00:43:41,160 --> 00:43:44,600
Speaker 3: in religions such as ours, as symbolizing the generative force

811
00:43:44,680 --> 00:43:47,759
Speaker 3: in nature. And here's the point where suddenly how he

812
00:43:47,920 --> 00:43:51,879
Speaker 3: interrupts the school. He's like, ah, right in the school door,

813
00:43:52,600 --> 00:43:54,359
Speaker 3: and you might think how he's gonna get right down

814
00:43:54,400 --> 00:43:56,919
Speaker 3: to business, trying to track down leads on the Rowan

815
00:43:57,000 --> 00:44:00,799
Speaker 3: Morrison case. Except no he doesn't. Instead, he miss Rose

816
00:44:00,840 --> 00:44:03,960
Speaker 3: aside and he's like, he says, miss you can be

817
00:44:04,000 --> 00:44:06,759
Speaker 3: quite sure that I shall report this to the proper authorities.

818
00:44:07,040 --> 00:44:09,239
Speaker 3: Everywhere I go on this island, it seems to me

819
00:44:09,320 --> 00:44:13,279
Speaker 3: I find degeneracy. There was brawling in bars, there's indecency

820
00:44:13,320 --> 00:44:15,919
Speaker 3: in public places, and there is corruption of the young.

821
00:44:16,239 --> 00:44:18,279
Speaker 3: And now I see it all stems from here. It

822
00:44:18,320 --> 00:44:21,360
Speaker 3: stems from the filth taught here in this very school room.

823
00:44:22,320 --> 00:44:24,960
Speaker 3: And miss Rose just very calmly, is like I was

824
00:44:25,040 --> 00:44:30,120
Speaker 3: unaware that the police got to set school curriculum. And

825
00:44:30,280 --> 00:44:33,880
Speaker 3: he's just he's just constantly frustrated and annoyed. He's like, well,

826
00:44:33,920 --> 00:44:38,680
Speaker 3: we'll see about that anyway to take this is.

827
00:44:38,600 --> 00:44:41,040
Speaker 2: A great sequence though, and I would say this is

828
00:44:41,080 --> 00:44:44,439
Speaker 2: the one that feels just a few degrees away from

829
00:44:44,480 --> 00:44:48,839
Speaker 2: being a money python sketch. You know, certainly some dry

830
00:44:48,880 --> 00:44:51,799
Speaker 2: comedic energy here, even if it doesn't like go for

831
00:44:51,840 --> 00:44:53,360
Speaker 2: big punchline laughs or anything.

832
00:44:53,560 --> 00:44:56,359
Speaker 3: So how he takes over the class and addresses all

833
00:44:56,400 --> 00:45:00,839
Speaker 3: the girls. He introduces himself as a police officer, and

834
00:45:00,880 --> 00:45:03,560
Speaker 3: he explains that he's looking for a girl named Rowan Morrison.

835
00:45:04,120 --> 00:45:07,400
Speaker 3: Without asking, he erases the lesson that Miss Rose was

836
00:45:07,440 --> 00:45:09,919
Speaker 3: working on on the blackboard so we can write over it.

837
00:45:10,200 --> 00:45:12,439
Speaker 3: I happened to pause it so I could copy down

838
00:45:12,719 --> 00:45:15,719
Speaker 3: what the class was covering before. How he barged in,

839
00:45:16,320 --> 00:45:19,600
Speaker 3: this is great, this is what the blackboard said. The

840
00:45:19,680 --> 00:45:24,239
Speaker 3: pith of the Snailstone preserves the eye from darkness. The

841
00:45:24,280 --> 00:45:29,080
Speaker 3: toadstone preserves the newly born from the weird woman. The

842
00:45:29,120 --> 00:45:32,240
Speaker 3: Hagstone preserves the people from the nightmare.

843
00:45:33,040 --> 00:45:35,600
Speaker 2: Oh wow, I think they were about to get to

844
00:45:35,600 --> 00:45:40,640
Speaker 2: their lesson about the shadow Man. That class is interrupted. First,

845
00:45:41,080 --> 00:45:43,400
Speaker 2: I want to go to this school. Do they do

846
00:45:43,440 --> 00:45:46,759
Speaker 2: adult education there? I mean, one assumes they get around

847
00:45:46,760 --> 00:45:47,800
Speaker 2: to mathematics eventually.

848
00:45:48,360 --> 00:45:50,719
Speaker 3: Well, that is a good point. I don't get the

849
00:45:50,760 --> 00:45:55,359
Speaker 3: sense from Miss Rose that this school only teaches witchcraft.

850
00:45:55,440 --> 00:45:58,240
Speaker 3: It seems like they maybe have like a witchcraft class,

851
00:45:58,280 --> 00:46:01,279
Speaker 3: but otherwise I think these students are probably getting a

852
00:46:01,280 --> 00:46:04,279
Speaker 3: good education. They're learning math and science and history and

853
00:46:04,280 --> 00:46:06,520
Speaker 3: all that. But then they're also just this is like

854
00:46:06,600 --> 00:46:07,760
Speaker 3: their religious instruction.

855
00:46:08,000 --> 00:46:11,239
Speaker 2: Yeah, he just happened to walk in and eavesdrop right

856
00:46:11,280 --> 00:46:13,320
Speaker 2: before lunch when they normally cover this stuff.

857
00:46:14,000 --> 00:46:16,440
Speaker 3: Anyway, how he writes Rowan's name on the blackboard. He

858
00:46:16,480 --> 00:46:19,520
Speaker 3: passes her photo around, and he asks, do any of

859
00:46:19,560 --> 00:46:22,520
Speaker 3: you know Rowan? Everyone in the class says no. Miss

860
00:46:22,640 --> 00:46:25,000
Speaker 3: Rose says, there's your answer, Sergeant, if she existed, we

861
00:46:25,040 --> 00:46:27,879
Speaker 3: would know of her. But Sergeant Howie is not satisfied.

862
00:46:28,200 --> 00:46:30,080
Speaker 3: He points to an empty desk in the middle of

863
00:46:30,080 --> 00:46:33,279
Speaker 3: the classroom and asks who sits there. Miss Rose says

864
00:46:33,360 --> 00:46:37,040
Speaker 3: no one does. Then, still suspicious, he goes and he

865
00:46:37,160 --> 00:46:39,799
Speaker 3: flips up the lid of the desk, and in the

866
00:46:39,800 --> 00:46:44,080
Speaker 3: cavity inside he is shocked to see a nail partially

867
00:46:44,160 --> 00:46:47,560
Speaker 3: hammered into the wood, protruding up several inches, and it's

868
00:46:47,640 --> 00:46:50,200
Speaker 3: tied with a thread, and the other end of the

869
00:46:50,280 --> 00:46:53,239
Speaker 3: thread is tied around a beadle who is crawling in

870
00:46:53,280 --> 00:46:57,279
Speaker 3: circles around the nail. I would note the visual similarity

871
00:46:57,320 --> 00:46:59,600
Speaker 3: to the boys running around the maypole holding the end

872
00:46:59,600 --> 00:47:02,399
Speaker 3: of the street from just a minute before. And then

873
00:47:02,400 --> 00:47:05,480
Speaker 3: the girl at the desk beside says, the little old

874
00:47:05,480 --> 00:47:08,239
Speaker 3: beadle goes round and round, always the same way, you see,

875
00:47:08,320 --> 00:47:10,960
Speaker 3: until it ends up right up tight to the nail,

876
00:47:11,160 --> 00:47:15,440
Speaker 3: poor old thing. And Howie is just he's freaked out.

877
00:47:15,440 --> 00:47:17,560
Speaker 3: He's like, poor old thing. And then why in God's

878
00:47:17,640 --> 00:47:18,480
Speaker 3: name do you do it?

879
00:47:18,600 --> 00:47:18,880
Speaker 2: Girl?

880
00:47:19,000 --> 00:47:22,759
Speaker 3: He's yelling at the children, Still suspicious, he wants to

881
00:47:22,800 --> 00:47:25,440
Speaker 3: see the school registerry. Miss Rose tries to say she

882
00:47:25,480 --> 00:47:28,720
Speaker 3: can't share that without permission from Lord Sumerle once again

883
00:47:29,080 --> 00:47:32,040
Speaker 3: needs Lord Somerle's sign off. But how he just ignores her,

884
00:47:32,120 --> 00:47:35,040
Speaker 3: barges past, pulls it off the desk and looks through it,

885
00:47:35,080 --> 00:47:38,000
Speaker 3: and sure enough, when looking at through the list of students,

886
00:47:38,040 --> 00:47:41,880
Speaker 3: he finds the name Rowan Morrison residents the post office.

887
00:47:42,880 --> 00:47:47,719
Speaker 3: Now upon finding this, his first reaction appears to be disgusted.

888
00:47:48,360 --> 00:47:52,000
Speaker 3: Discussed at Miss Rose and at the children in the classroom.

889
00:47:52,280 --> 00:47:54,239
Speaker 3: He looks up and he points at all of the

890
00:47:54,600 --> 00:47:56,759
Speaker 3: children in their desks, and he says, you are all

891
00:47:56,840 --> 00:48:01,280
Speaker 3: despicable little liars. Rowan Morris as a schoolmate of yours,

892
00:48:01,320 --> 00:48:04,120
Speaker 3: isn't she? And that is her desk, isn't it? And

893
00:48:04,160 --> 00:48:07,560
Speaker 3: they all just look completely blank, stone faced at him.

894
00:48:07,560 --> 00:48:09,600
Speaker 3: A few kind of avert their eyes to the floor,

895
00:48:09,640 --> 00:48:14,760
Speaker 3: but mostly it's just crickets nothing. He tries to threaten

896
00:48:14,800 --> 00:48:16,839
Speaker 3: Miss Rose, telling her that he's going to charge her

897
00:48:16,880 --> 00:48:20,400
Speaker 3: with obstruction, but she persuades him to step outside with

898
00:48:20,440 --> 00:48:23,920
Speaker 3: her so they can talk. And so she gives the

899
00:48:23,960 --> 00:48:26,400
Speaker 3: girl some reading to get back to and they go outside,

900
00:48:27,120 --> 00:48:31,200
Speaker 3: and she insists that despite how it seems to him

901
00:48:31,800 --> 00:48:35,919
Speaker 3: from their perspective, no one was lying to him. Miss

902
00:48:36,040 --> 00:48:39,160
Speaker 3: Rose says, I told you plainly, if Rowan Morrison existed,

903
00:48:39,239 --> 00:48:41,360
Speaker 3: we would know of her He's like, what do you

904
00:48:41,400 --> 00:48:44,160
Speaker 3: mean by that? You mean she's dead? And Miss Rose says,

905
00:48:44,560 --> 00:48:49,200
Speaker 3: you would say so, and Sergeant Howie's just he's like fuming.

906
00:48:49,200 --> 00:48:51,480
Speaker 3: He's like, come on, she's either dead or she's not dead.

907
00:48:51,880 --> 00:48:53,960
Speaker 3: And I love the way Miss Rose appears to be

908
00:48:54,400 --> 00:49:01,120
Speaker 3: navigating this conversation carefully. She's doing her best to authentically

909
00:49:01,200 --> 00:49:04,600
Speaker 3: represent her beliefs, so she's not like just caving and

910
00:49:04,719 --> 00:49:08,120
Speaker 3: talking about things the way that how we would like

911
00:49:08,239 --> 00:49:12,400
Speaker 3: to like. She's staying in her own mode of speaking

912
00:49:12,400 --> 00:49:14,839
Speaker 3: about the world. But she's also trying to be kind

913
00:49:14,880 --> 00:49:18,839
Speaker 3: of sensitive and accommodating, accommodating to this irritated policeman who

914
00:49:18,880 --> 00:49:22,480
Speaker 3: has no patience for her. So she says, here, we

915
00:49:22,520 --> 00:49:25,040
Speaker 3: do not use the word and then she mouths the

916
00:49:25,080 --> 00:49:28,439
Speaker 3: word dead. She says that we believe when human life

917
00:49:28,520 --> 00:49:31,520
Speaker 3: is over, the soul returns to the trees, to the air,

918
00:49:31,719 --> 00:49:35,360
Speaker 3: to fire, to water, to animals, so that Rowan Morrison

919
00:49:35,440 --> 00:49:39,040
Speaker 3: is simply returned to the life forces in another form.

920
00:49:39,120 --> 00:49:41,880
Speaker 3: Now how he begins to argue, He's like, he can't

921
00:49:41,920 --> 00:49:45,080
Speaker 3: believe that they're teaching the children this stuff. He's like,

922
00:49:45,440 --> 00:49:49,160
Speaker 3: this is nonsense, it's insane. What about teaching them Christianity,

923
00:49:49,640 --> 00:49:52,400
Speaker 3: Miss Rose is like, actually, you know, the children have

924
00:49:52,480 --> 00:49:56,400
Speaker 3: it much have a much easier time understanding the concept

925
00:49:56,440 --> 00:50:00,719
Speaker 3: of reincarnation than of resurrection, because resurrection and like the

926
00:50:00,800 --> 00:50:03,360
Speaker 3: you know, the raising of rotting bodies, that makes no

927
00:50:03,480 --> 00:50:06,319
Speaker 3: sense to the children, but the children's imagination can quite

928
00:50:06,320 --> 00:50:10,719
Speaker 3: well understand coming back as other forces in nature. And

929
00:50:11,520 --> 00:50:13,920
Speaker 3: again how he's just like flummixed by this and he

930
00:50:13,960 --> 00:50:16,920
Speaker 3: has to move on. So finally he's like, okay, okay, okay,

931
00:50:17,160 --> 00:50:20,640
Speaker 3: where is Rowan Morrison's body, her physical body? I want

932
00:50:20,640 --> 00:50:22,880
Speaker 3: to know where it is? And she says, you know,

933
00:50:23,200 --> 00:50:26,279
Speaker 3: it's in what you would call the churchyard. It's no

934
00:50:26,360 --> 00:50:28,320
Speaker 3: longer consecrated to the Christian religion.

935
00:50:28,920 --> 00:50:31,040
Speaker 2: That it does feel like she's baiting him a little

936
00:50:31,040 --> 00:50:34,600
Speaker 2: bit with this, yes, yes, yeah, Now, as we mentioned already,

937
00:50:34,800 --> 00:50:36,760
Speaker 2: this is at heart a horror movie, so we should

938
00:50:36,960 --> 00:50:39,239
Speaker 2: keep that in mind when we consider its representation of

939
00:50:39,280 --> 00:50:44,200
Speaker 2: either you know, Christianity or any variation on pagan religion here.

940
00:50:44,239 --> 00:50:47,320
Speaker 2: But I love I love this sequence and this idea

941
00:50:47,400 --> 00:50:50,880
Speaker 2: that for the children reincarnation just rings more true and

942
00:50:50,960 --> 00:50:56,400
Speaker 2: requires less rigorous reprogramming of their natural inclinations. You know,

943
00:50:56,440 --> 00:50:58,440
Speaker 2: it's it's definitely one of the notes in the film

944
00:50:58,480 --> 00:51:01,680
Speaker 2: that makes the viewers see Howie and his world as

945
00:51:01,719 --> 00:51:04,760
Speaker 2: being one of more more tortured thought and morals.

946
00:51:05,800 --> 00:51:08,719
Speaker 3: Yeah, and it sort of fits with something that Lord

947
00:51:08,760 --> 00:51:13,680
Speaker 3: Summerle will say later that suggests at least the locals

948
00:51:14,000 --> 00:51:16,920
Speaker 3: think of it as paganism is not just their religion,

949
00:51:16,960 --> 00:51:19,319
Speaker 3: but they think of it as something that kind of

950
00:51:19,440 --> 00:51:23,120
Speaker 3: fits onto human life naturally. It fits us like a

951
00:51:23,160 --> 00:51:25,920
Speaker 3: glove and it's easy to put on and to assume.

952
00:51:26,640 --> 00:51:31,320
Speaker 3: Whereas they talk about how He's religion and about Christianity

953
00:51:31,800 --> 00:51:33,920
Speaker 3: like it is a thing that must be kind of

954
00:51:33,960 --> 00:51:39,160
Speaker 3: like forced into place with great effort and against great resistance.

955
00:51:39,640 --> 00:51:42,920
Speaker 2: Yeah. Yeah, and we see some more examples of this

956
00:51:43,080 --> 00:51:44,600
Speaker 2: idea as we proceed.

957
00:51:53,480 --> 00:51:55,920
Speaker 3: But okay, so how he finally has his next clue.

958
00:51:55,960 --> 00:51:57,800
Speaker 3: He's going to go look for the grave of Rowan

959
00:51:57,800 --> 00:52:00,640
Speaker 3: Morrison in the churchyard, or at least the yard formerly

960
00:52:00,680 --> 00:52:05,520
Speaker 3: known as a church. Now remember this was before the

961
00:52:05,600 --> 00:52:08,680
Speaker 3: night before where how we saw people watering trees growing

962
00:52:08,719 --> 00:52:11,160
Speaker 3: out of the grave plots and naked people getting sad

963
00:52:11,239 --> 00:52:14,759
Speaker 3: or getting sexy. So how he walks in and he

964
00:52:14,800 --> 00:52:18,160
Speaker 3: looks around the first gravestone he looks at, says, Hereliath

965
00:52:18,280 --> 00:52:25,200
Speaker 3: Beech Buchanan, protected by the ejaculation of serpents. Yes, the

966
00:52:25,200 --> 00:52:29,400
Speaker 3: graveyard is both ugly and beautiful. It's beautiful in the

967
00:52:29,440 --> 00:52:33,240
Speaker 3: sense that it's damp and green, so it's got old

968
00:52:33,360 --> 00:52:35,879
Speaker 3: stones that have a kind of stately magic. But it's

969
00:52:35,920 --> 00:52:39,719
Speaker 3: also covered with this green vegetation, so quite beautiful. But

970
00:52:39,840 --> 00:52:44,880
Speaker 3: also there are random piles of junk and debris scattered around.

971
00:52:44,960 --> 00:52:47,759
Speaker 3: It's like it is both taken care of and not.

972
00:52:48,080 --> 00:52:51,279
Speaker 3: Somebody is watering the grave trees and there's it's kind

973
00:52:51,280 --> 00:52:55,320
Speaker 3: of beautifully chaotically gardened in a way, but also nobody

974
00:52:55,360 --> 00:52:57,600
Speaker 3: is cleaning up the mess or keeping it tidy.

975
00:52:58,239 --> 00:53:01,560
Speaker 2: Yeah. Yeah, it feels more like a return to nature

976
00:53:01,600 --> 00:53:04,040
Speaker 2: and death, which of course is very much what they

977
00:53:04,080 --> 00:53:05,319
Speaker 2: seem to be all about here.

978
00:53:05,600 --> 00:53:09,040
Speaker 3: Yeah. So, as how, he keeps wandering. He sees one

979
00:53:09,080 --> 00:53:12,000
Speaker 3: grave that has what looks like the Jolly Roger engraved

980
00:53:12,040 --> 00:53:15,240
Speaker 3: on it. It's skull and crossbones. He also comes across

981
00:53:15,239 --> 00:53:18,920
Speaker 3: a woman sitting on a gravestone, holding a baby in

982
00:53:18,960 --> 00:53:21,760
Speaker 3: one arm and breastfeeding her while she's rocking back and forth,

983
00:53:21,800 --> 00:53:24,080
Speaker 3: and then the other hand she is holding out a

984
00:53:24,160 --> 00:53:27,120
Speaker 3: chicken egg as if doing some kind of ritual or magic.

985
00:53:27,840 --> 00:53:30,600
Speaker 3: And then finally how he comes to one large stone

986
00:53:30,640 --> 00:53:33,400
Speaker 3: grave that's covered in wooden crates with the remains of

987
00:53:33,480 --> 00:53:36,840
Speaker 3: rotting fruit and produce. He reacts to this with just

988
00:53:37,000 --> 00:53:40,040
Speaker 3: bitter revulsion. He breaks apart one of the crates and

989
00:53:40,200 --> 00:53:43,480
Speaker 3: uses two steaks from it to fashion a makeshift cross,

990
00:53:43,520 --> 00:53:46,000
Speaker 3: and he just leaves that by itself on the tomb,

991
00:53:46,400 --> 00:53:49,239
Speaker 3: almost as like a I know, he wouldn't think of

992
00:53:49,280 --> 00:53:51,360
Speaker 3: it this way, because he's just like, I'm trying to

993
00:53:51,400 --> 00:53:54,280
Speaker 3: reconsecrate this with the one true religion. But it feels

994
00:53:54,360 --> 00:53:56,120
Speaker 3: like he's just giving a middle finger.

995
00:53:57,920 --> 00:53:59,920
Speaker 2: Yeah, yeah, that's one way of looking at it.

996
00:54:00,120 --> 00:54:02,399
Speaker 3: Now. Finally we get to the meeting with the grounds keeper.

997
00:54:02,480 --> 00:54:05,200
Speaker 3: We flagged the actor who plays the grounds keeper in

998
00:54:05,239 --> 00:54:09,320
Speaker 3: the last episode because he's got a real good seething laughter.

999
00:54:10,160 --> 00:54:12,120
Speaker 3: This is the same actor who's the guy in a

1000
00:54:12,160 --> 00:54:16,360
Speaker 3: clockwork orange who gets to tell Alex that he committed murder. You, Alex,

1001
00:54:16,440 --> 00:54:21,359
Speaker 3: you a little murderer. Yeah, this is Morris, yes, And

1002
00:54:21,520 --> 00:54:24,680
Speaker 3: how he asks him about the trees on the graves.

1003
00:54:24,719 --> 00:54:27,040
Speaker 3: The groundskeeper is like, oh, oh, yes, we plant the

1004
00:54:27,080 --> 00:54:29,320
Speaker 3: trees on the graves, you know, as if this should

1005
00:54:29,320 --> 00:54:32,040
Speaker 3: be obvious, And how he points to a tree on

1006
00:54:32,120 --> 00:54:34,799
Speaker 3: an unmarked grave, one with no headstone. He says, what

1007
00:54:34,880 --> 00:54:38,040
Speaker 3: kind of tree is that? It's a Rowan tree? Whose

1008
00:54:38,080 --> 00:54:41,920
Speaker 3: grave is it Rowan Morrison's? And here there is a

1009
00:54:41,960 --> 00:54:46,760
Speaker 3: moment of quiet exasperation, I think because of the contrast

1010
00:54:46,920 --> 00:54:50,880
Speaker 3: between how cagey everybody has been all like denying that

1011
00:54:50,920 --> 00:54:54,200
Speaker 3: they knew who Rowan was or denying she existed, and

1012
00:54:54,239 --> 00:54:57,320
Speaker 3: then suddenly the ease with which this guy just offers

1013
00:54:57,400 --> 00:54:58,200
Speaker 3: up the information.

1014
00:54:58,640 --> 00:55:01,200
Speaker 2: Mm hm. I' he's been trying to get somebody to

1015
00:55:01,280 --> 00:55:03,640
Speaker 2: just point him to this spot all day, Yeah, and

1016
00:55:03,719 --> 00:55:04,920
Speaker 2: he keeps getting the run around.

1017
00:55:05,200 --> 00:55:09,080
Speaker 3: Yes, But it's also like how he doesn't understand. He's frustrated,

1018
00:55:09,080 --> 00:55:12,520
Speaker 3: I think because he doesn't understand what exactly he's dealing with.

1019
00:55:12,640 --> 00:55:12,799
Speaker 2: Here.

1020
00:55:12,840 --> 00:55:16,600
Speaker 3: He's like, are these people all mad? Are they participating

1021
00:55:16,600 --> 00:55:19,760
Speaker 3: in a cover up or a conspiracy? Is it somehow

1022
00:55:19,880 --> 00:55:23,320
Speaker 3: part of their religion to like deny knowing someone existed

1023
00:55:23,400 --> 00:55:26,759
Speaker 3: once they're dead? He truly, he just doesn't understand what

1024
00:55:26,840 --> 00:55:27,480
Speaker 3: he's dealing with.

1025
00:55:28,040 --> 00:55:28,640
Speaker 2: Yeah.

1026
00:55:28,680 --> 00:55:30,799
Speaker 3: Anyway, so they have a little chat about the dried

1027
00:55:30,840 --> 00:55:33,440
Speaker 3: and bilical cord hanging from the row and tree. And

1028
00:55:33,520 --> 00:55:36,080
Speaker 3: eventually this is the part where how he is like,

1029
00:55:36,120 --> 00:55:38,680
Speaker 3: where is your minister? It's almost with the energy of

1030
00:55:38,800 --> 00:55:39,759
Speaker 3: I need to speak.

1031
00:55:39,520 --> 00:55:40,320
Speaker 2: To your manager.

1032
00:55:41,040 --> 00:55:43,720
Speaker 3: Yeah, And this is when the groundskeeper just starts laughing

1033
00:55:43,760 --> 00:55:46,719
Speaker 3: hysterically about the idea of a minister and wanders away.

1034
00:55:47,760 --> 00:55:49,840
Speaker 3: Now we get a few more investigation scenes. I'm not

1035
00:55:49,840 --> 00:55:53,239
Speaker 3: really gonna dwell on these, but how he briefly goes

1036
00:55:53,280 --> 00:55:56,239
Speaker 3: back to the post office slash sweet shop to see

1037
00:55:56,239 --> 00:55:58,640
Speaker 3: May Morrison again, but he just like tells her they're

1038
00:55:58,640 --> 00:56:02,680
Speaker 3: all raving mad and no new information has exchanged. He

1039
00:56:02,719 --> 00:56:06,000
Speaker 3: goes to visit the town librarian played by Ingrid Pitt.

1040
00:56:06,440 --> 00:56:09,279
Speaker 3: He wants to see records of local deaths, and at

1041
00:56:09,280 --> 00:56:12,120
Speaker 3: first Ingrid Pitt says that he's gonna need permission from

1042
00:56:12,239 --> 00:56:15,319
Speaker 3: Lord Summerle, but he strong arms her into handing it over.

1043
00:56:15,880 --> 00:56:19,040
Speaker 3: And just another moment we're flagging here is I think

1044
00:56:19,040 --> 00:56:21,680
Speaker 3: it's the name of Rowan Morrison's grand parents that he

1045
00:56:21,719 --> 00:56:24,319
Speaker 3: sees in the register and he's like, oh, these are

1046
00:56:24,400 --> 00:56:28,080
Speaker 3: names from the Bible, unlike everybody else here, and she's like, oh, yes,

1047
00:56:28,120 --> 00:56:32,840
Speaker 3: they were very old little clue there. He also visits

1048
00:56:32,880 --> 00:56:37,759
Speaker 3: the chemist slash photographer, mister Lennox. This shop is full

1049
00:56:37,760 --> 00:56:40,720
Speaker 3: of weird things preserved in jars. You got whole toads,

1050
00:56:40,880 --> 00:56:45,359
Speaker 3: pig fetuses, stuff like that. How he finds out from him,

1051
00:56:45,520 --> 00:56:47,560
Speaker 3: or how he finds out that he takes the harvest

1052
00:56:47,600 --> 00:56:50,160
Speaker 3: festival photo each year, and how he wants to see

1053
00:56:50,160 --> 00:56:52,560
Speaker 3: the photo from last year, but Lenox does not have

1054
00:56:52,600 --> 00:56:57,240
Speaker 3: a copy. Does he remember who was in the photo? No? Anyway,

1055
00:56:57,280 --> 00:56:59,840
Speaker 3: time to go meet Lord Summerle. So here's like the

1056
00:57:00,200 --> 00:57:03,440
Speaker 3: big kind of centerpiece scene of the movies, the first

1057
00:57:03,520 --> 00:57:06,719
Speaker 3: meeting between Christopher Lee and Edward Woodward. Here on the way,

1058
00:57:06,800 --> 00:57:09,759
Speaker 3: Howie rides in a horse drawn buggy and we get

1059
00:57:09,760 --> 00:57:11,880
Speaker 3: to hear corn rigs and barley rigs again.

1060
00:57:12,200 --> 00:57:14,480
Speaker 2: A great song. Might as well play it some more.

1061
00:57:14,360 --> 00:57:17,000
Speaker 3: Once it was not enough. We also see plenty of

1062
00:57:17,000 --> 00:57:20,120
Speaker 3: the local scenery. There are hedges cut into animal shapes

1063
00:57:20,160 --> 00:57:23,800
Speaker 3: and some just seem to be like phalluses, a lot

1064
00:57:23,840 --> 00:57:27,280
Speaker 3: of flowers, budding fruit trees. There is one scene where

1065
00:57:27,440 --> 00:57:30,960
Speaker 3: we see pregnant women wandering around in an orchard, touching

1066
00:57:31,000 --> 00:57:32,720
Speaker 3: the trees and what seems to be a kind of

1067
00:57:32,800 --> 00:57:36,800
Speaker 3: ritual and speaking of rituals. As we get closer to

1068
00:57:36,840 --> 00:57:41,200
Speaker 3: Lord Somerle's manner, the music changes into an eerie minor

1069
00:57:41,280 --> 00:57:46,280
Speaker 3: key flute melody, and we see a giant stone circle

1070
00:57:46,560 --> 00:57:50,000
Speaker 3: like stone hinge positioned atop a hill, and in the

1071
00:57:50,040 --> 00:57:52,880
Speaker 3: center of the stone circle there is a hearth with

1072
00:57:52,960 --> 00:57:56,600
Speaker 3: a blazing fire, and all around it are naked young

1073
00:57:56,640 --> 00:58:02,160
Speaker 3: women performing a religious dance. Is seemingly being led I

1074
00:58:02,160 --> 00:58:04,880
Speaker 3: think by miss Rose. Was this Miss Rose from the school?

1075
00:58:04,920 --> 00:58:05,840
Speaker 2: I think you think you're right?

1076
00:58:05,960 --> 00:58:10,320
Speaker 3: Yeah, And she's now dressed in a white gown wearing

1077
00:58:10,320 --> 00:58:13,160
Speaker 3: a giant pendant of hammered gold in the shape of

1078
00:58:13,200 --> 00:58:16,480
Speaker 3: the sun, and the women are singing a song. The

1079
00:58:16,560 --> 00:58:19,960
Speaker 3: lyrics are take the flame inside you, burn and burn below,

1080
00:58:20,400 --> 00:58:23,240
Speaker 3: fire seed and fire seed to make the baby grow.

1081
00:58:23,800 --> 00:58:26,720
Speaker 3: And then they take turns running and leaping over the

1082
00:58:26,720 --> 00:58:28,240
Speaker 3: fire as the song goes on.

1083
00:58:28,640 --> 00:58:30,320
Speaker 2: I like the song here, it has an I like

1084
00:58:30,360 --> 00:58:32,240
Speaker 2: even as you recited the lyrics, I can hear the

1085
00:58:32,320 --> 00:58:37,600
Speaker 2: tune in my head. Yeah. Yeah. I also should note

1086
00:58:37,600 --> 00:58:40,280
Speaker 2: that modern Blu Ray viewers will note that these dancers

1087
00:58:40,320 --> 00:58:43,440
Speaker 2: are in fact not naked, but dressed in skin colored tights,

1088
00:58:43,960 --> 00:58:45,760
Speaker 2: which doesn't distract from the scene at all. But I

1089
00:58:46,040 --> 00:58:47,880
Speaker 2: just find this kind of thing interesting, like the things

1090
00:58:47,880 --> 00:58:50,360
Speaker 2: that I'm assuming it might have been lost, you know

1091
00:58:50,440 --> 00:58:53,320
Speaker 2: originally when this was shown theatrically.

1092
00:58:53,200 --> 00:58:55,640
Speaker 3: Because originally it would have been grainy enough that in

1093
00:58:55,680 --> 00:58:58,240
Speaker 3: their filmed at a distance, so you assume they are naked.

1094
00:58:58,280 --> 00:59:01,520
Speaker 3: But actually now that there's like high enough definition that

1095
00:59:01,560 --> 00:59:03,800
Speaker 3: you can yeah, yeah, And.

1096
00:59:03,840 --> 00:59:05,560
Speaker 2: I mean I think I saw this originally on Ane,

1097
00:59:05,720 --> 00:59:07,640
Speaker 2: and I think I would probably just thought, wow, that

1098
00:59:07,800 --> 00:59:10,240
Speaker 2: Ani just allows nudity. I think maybe they did allow

1099
00:59:10,440 --> 00:59:13,800
Speaker 2: just a little bit of nudity on an e versus

1100
00:59:13,840 --> 00:59:14,560
Speaker 2: other channels.

1101
00:59:15,240 --> 00:59:19,160
Speaker 3: Anyway, Howie arrives at Lord Somerle's mansion. Is this technically

1102
00:59:19,200 --> 00:59:21,560
Speaker 3: a castle, I don't know what counts as a castle.

1103
00:59:22,480 --> 00:59:26,400
Speaker 2: I mean, it's it's somewhere in there. There's a lot

1104
00:59:26,400 --> 00:59:27,080
Speaker 2: of stone here.

1105
00:59:27,200 --> 00:59:30,840
Speaker 3: It is big Lord Somerle's manor. I wonder what you

1106
00:59:30,880 --> 00:59:34,840
Speaker 3: make of this, rob The manor is not decorated like

1107
00:59:34,840 --> 00:59:37,600
Speaker 3: a pagan temple. It feels like the house of a

1108
00:59:37,640 --> 00:59:43,120
Speaker 3: Scottish lord. There's a lot of polished wooden furnishings, hunting trophies,

1109
00:59:43,120 --> 00:59:46,680
Speaker 3: big framed el cantlers and things like that. Big paintings

1110
00:59:46,720 --> 00:59:49,600
Speaker 3: on the walls, suits of armor and heraldry, all that

1111
00:59:49,680 --> 00:59:50,240
Speaker 3: kind of thing.

1112
00:59:51,120 --> 00:59:53,000
Speaker 2: Yeah, and it ties in with a lot of what

1113
00:59:53,040 --> 00:59:56,680
Speaker 2: we've seen regarding this community. They haven't rejected modernity, they

1114
00:59:56,680 --> 01:00:03,040
Speaker 2: haven't rejected their Scottishness. They just have this other entire

1115
01:00:03,520 --> 01:00:08,000
Speaker 2: aspect of their worldview they have. They have rejected you,

1116
01:00:08,160 --> 01:00:13,040
Speaker 2: Christianity to a large degree, but they haven't set everything aside.

1117
01:00:13,040 --> 01:00:15,680
Speaker 2: They're not they're not living in just this this you know,

1118
01:00:15,760 --> 01:00:18,160
Speaker 2: this time out of mind and out of place.

1119
01:00:18,760 --> 01:00:21,400
Speaker 3: That's right, And so I remember being kind of surprised

1120
01:00:21,440 --> 01:00:23,960
Speaker 3: by this. I would have thought, the way they're building

1121
01:00:24,040 --> 01:00:25,960
Speaker 3: up Lord summer Isle, it's going to be like he's

1122
01:00:26,000 --> 01:00:28,760
Speaker 3: going to be the most and the most pagan anesthetically

1123
01:00:28,800 --> 01:00:30,720
Speaker 3: pagan one. And he might be, I don't know, he

1124
01:00:30,800 --> 01:00:32,920
Speaker 3: might be the most pagan one. But his house doesn't

1125
01:00:32,960 --> 01:00:36,720
Speaker 3: look like you know, it doesn't look like an apothecary,

1126
01:00:36,760 --> 01:00:38,240
Speaker 3: herbalist shop or something.

1127
01:00:38,760 --> 01:00:41,840
Speaker 2: And I think this could easily make you think, well,

1128
01:00:41,840 --> 01:00:44,800
Speaker 2: maybe he's a hypocrite, maybe he doesn't actually live like this.

1129
01:00:45,480 --> 01:00:50,240
Speaker 2: But once you get into Lee's performance in these scenes,

1130
01:00:50,840 --> 01:00:53,560
Speaker 2: I think all of that is dismissed because his performance.

1131
01:00:53,640 --> 01:00:55,920
Speaker 2: That the energy of it, as we talked about in

1132
01:00:55,920 --> 01:00:58,600
Speaker 2: the last episode, he just has this youthful vigor and

1133
01:00:58,760 --> 01:01:02,480
Speaker 2: enthusiasm like I think any other Christopher Lee performance I've

1134
01:01:02,520 --> 01:01:04,720
Speaker 2: ever seen any other character I've seen him take on

1135
01:01:05,360 --> 01:01:07,760
Speaker 2: and therefore you just totally buy into it. Of course,

1136
01:01:07,840 --> 01:01:10,120
Speaker 2: this is summer Isle, and of course he believes all

1137
01:01:10,160 --> 01:01:10,720
Speaker 2: these things.

1138
01:01:10,960 --> 01:01:13,000
Speaker 3: Oh okay, I was gonna ask a question about that,

1139
01:01:13,040 --> 01:01:15,840
Speaker 3: but you may have answered in advance, but we can

1140
01:01:15,880 --> 01:01:19,880
Speaker 3: still discuss later. So how he's waiting to meet Lord

1141
01:01:19,920 --> 01:01:23,720
Speaker 3: Summerle uh, and he thinks he is alone, like waiting

1142
01:01:23,760 --> 01:01:26,600
Speaker 3: for I guess for Lord Somerl to come down and

1143
01:01:26,640 --> 01:01:29,200
Speaker 3: meet him. So he's standing at the window watching the

1144
01:01:29,680 --> 01:01:32,960
Speaker 3: fire dance across the lawn. But how he's not alone. Instead,

1145
01:01:32,960 --> 01:01:35,760
Speaker 3: suddenly Christopher Lee pops his head out from around the

1146
01:01:36,000 --> 01:01:38,680
Speaker 3: from around like the corner of a chair the size

1147
01:01:38,680 --> 01:01:41,880
Speaker 3: of a panel van. What is going on with this chair?

1148
01:01:42,680 --> 01:01:44,800
Speaker 3: They've made high backed chairs that are just like, I

1149
01:01:44,840 --> 01:01:46,560
Speaker 3: don't know, needs to be ten feet wide.

1150
01:01:47,000 --> 01:01:50,520
Speaker 2: This just this place is full of old castle stuff. Yeah,

1151
01:01:50,720 --> 01:01:52,200
Speaker 2: it's enormous and unnecessary.

1152
01:01:53,120 --> 01:01:55,880
Speaker 3: So I don't know, Rob, do you want to describe

1153
01:01:55,960 --> 01:01:59,480
Speaker 3: Christopher Lee's appearance and aura. In this scene, He's wearing

1154
01:01:59,520 --> 01:02:02,320
Speaker 3: like a tweed jacket and a green shirt and he's

1155
01:02:02,440 --> 01:02:04,440
Speaker 3: just so happy. He's just beaming.

1156
01:02:05,480 --> 01:02:10,320
Speaker 2: Yeah goodness, Yeah, he's he just has this useful energy.

1157
01:02:10,320 --> 01:02:13,160
Speaker 2: Like I've said, he was I think around fifty at

1158
01:02:13,160 --> 01:02:15,920
Speaker 2: the time, and feels ten years younger than anywhere I've

1159
01:02:15,920 --> 01:02:18,920
Speaker 2: ever seen it before. You know, this is not Christopher Lee,

1160
01:02:18,920 --> 01:02:24,080
Speaker 2: the vampire of the Hammer films before and after this.

1161
01:02:24,080 --> 01:02:26,920
Speaker 2: This is just a guy that's just full of energy,

1162
01:02:27,000 --> 01:02:30,240
Speaker 2: Like it's delightful to be in his presence, or you

1163
01:02:30,280 --> 01:02:32,240
Speaker 2: know it would be for anyone else other than how

1164
01:02:32,240 --> 01:02:37,560
Speaker 2: he here, you know, is a bit rough around the

1165
01:02:37,680 --> 01:02:41,800
Speaker 2: edges of regarding all of this paganism and and optimism,

1166
01:02:41,800 --> 01:02:45,080
Speaker 2: but yeah, I think optimism is the vibe that he

1167
01:02:45,160 --> 01:02:48,360
Speaker 2: is exuding the most. It's like, you know, everything is possible,

1168
01:02:48,800 --> 01:02:52,360
Speaker 2: and I'm gonna say yes and to whatever you've come

1169
01:02:52,400 --> 01:02:55,680
Speaker 2: here to ask. And how he is also unprepared for that. Yeah.

1170
01:02:55,760 --> 01:02:59,080
Speaker 3: Yeah. Also he's got big hair, did we mentioned, Yes,

1171
01:02:59,360 --> 01:03:02,919
Speaker 3: Christopher Lee not usually with big hair, but here big hair.

1172
01:03:03,200 --> 01:03:05,320
Speaker 2: Yeah, and this will this will be key compared to

1173
01:03:05,320 --> 01:03:07,480
Speaker 2: the way his hair looks in a later scene here

1174
01:03:08,040 --> 01:03:10,960
Speaker 2: that the hair is, you know, he's got a little

1175
01:03:10,960 --> 01:03:13,120
Speaker 2: bit of gray going on, but it's also not black.

1176
01:03:13,160 --> 01:03:16,800
Speaker 2: It's not vampire black. But the overall appearance is very

1177
01:03:18,600 --> 01:03:22,400
Speaker 2: almost almost blonde. It's he almost appears blonde in the

1178
01:03:22,400 --> 01:03:26,400
Speaker 2: way that the gray and the brown mixes together. So, yeah,

1179
01:03:26,480 --> 01:03:28,040
Speaker 2: just he's beaming. He's like the sun.

1180
01:03:28,560 --> 01:03:31,080
Speaker 3: Yeah, his hair is like the radiance around the edge

1181
01:03:31,080 --> 01:03:33,880
Speaker 3: of the sun. Yeah, kind of like the face of

1182
01:03:33,960 --> 01:03:37,080
Speaker 3: Nuauta we saw at the beginning. Yeah, But anyway, so

1183
01:03:37,160 --> 01:03:40,000
Speaker 3: he pops his head around the corner, uh, and he's

1184
01:03:40,080 --> 01:03:44,840
Speaker 3: he's talking about the young women dancing naked outside, and

1185
01:03:44,920 --> 01:03:48,080
Speaker 3: Lord somewhere else says, good, good afternoon. Sergeant how he

1186
01:03:48,080 --> 01:03:50,160
Speaker 3: he says, I trust the sight of the young people

1187
01:03:50,200 --> 01:03:53,920
Speaker 3: refreshes you, and Sergeant how he says, no, sir, it

1188
01:03:53,960 --> 01:04:02,040
Speaker 3: does not refresh me. But somehow unfazed, he recommends that

1189
01:04:02,080 --> 01:04:05,560
Speaker 3: we all be open to the regenerative influences, and how

1190
01:04:05,600 --> 01:04:10,480
Speaker 3: he describes the situation. He explains to Lord Somerl that

1191
01:04:10,520 --> 01:04:12,920
Speaker 3: he suspects a girl on the island has been the

1192
01:04:13,000 --> 01:04:16,640
Speaker 3: victim of murder and conspiracy to murder, and he needs

1193
01:04:16,680 --> 01:04:19,960
Speaker 3: Lord Somerle's permission to exhume the body for an autopsy,

1194
01:04:20,480 --> 01:04:23,400
Speaker 3: and Lord Somerrale is like, yes, permission granted, go for it.

1195
01:04:24,880 --> 01:04:27,520
Speaker 2: Yeah, and so it is totally unprepared to get a

1196
01:04:27,600 --> 01:04:29,840
Speaker 2: yes here that he kind of just keeps going.

1197
01:04:29,840 --> 01:04:32,600
Speaker 3: Yeah, exactly. And so here I want to quote a

1198
01:04:32,640 --> 01:04:34,760
Speaker 3: good bit of the dialogue because I think you kind

1199
01:04:34,760 --> 01:04:36,440
Speaker 3: of need to hear what is said in this scene

1200
01:04:36,840 --> 01:04:41,920
Speaker 3: to appreciate it. How he's like, your lordship seems strangely unconcerned,

1201
01:04:42,520 --> 01:04:45,280
Speaker 3: and Somemrle explains, he's like, well, I'm just confident your

1202
01:04:45,280 --> 01:04:48,800
Speaker 3: suspicions are wrong. We don't commit murder here on Smoerle,

1203
01:04:48,960 --> 01:04:52,200
Speaker 3: he says, we're a deeply religious people, and how he

1204
01:04:52,480 --> 01:04:56,560
Speaker 3: is so annoyed. He's like religious with ruined churches, no ministers,

1205
01:04:56,600 --> 01:05:01,120
Speaker 3: no priests, and children dancing naked and Somemorle's like, oh,

1206
01:05:01,160 --> 01:05:04,040
Speaker 3: they do love their divinity lessons, and how he says,

1207
01:05:04,080 --> 01:05:05,520
Speaker 3: but they're naked.

1208
01:05:07,760 --> 01:05:10,600
Speaker 2: And to be clear, those looked like those were grown

1209
01:05:10,640 --> 01:05:16,440
Speaker 2: women dancing around those stems. Yeah. Yeah, how he's like

1210
01:05:16,560 --> 01:05:19,400
Speaker 2: newborn babies dancing naked around the stuffs.

1211
01:05:19,480 --> 01:05:22,600
Speaker 3: Also some are ill, he said, He's like, they're naked

1212
01:05:22,640 --> 01:05:25,640
Speaker 3: and somewhere Ill's like, well, naturally, it's too dangerous to

1213
01:05:25,720 --> 01:05:28,640
Speaker 3: jump through the fire with your clothes on, and how

1214
01:05:28,640 --> 01:05:32,520
Speaker 3: He's like, what religion are they learning jumping over fires?

1215
01:05:33,120 --> 01:05:38,680
Speaker 3: And somemore Ile explains, he's like parthenogenesis. He's like what. Uh.

1216
01:05:39,280 --> 01:05:42,400
Speaker 3: Somewhere else says you know, uh, this is a sexual

1217
01:05:42,440 --> 01:05:46,320
Speaker 3: reproduction without sexual union, and how he goes, oh, what

1218
01:05:46,480 --> 01:05:51,560
Speaker 3: is all this? He's like, you've got fake biology, fake religion, sir?

1219
01:05:51,640 --> 01:05:55,080
Speaker 3: Have these children never heard of Jesus? And then somehere

1220
01:05:55,120 --> 01:05:58,440
Speaker 3: al says himself, the son of a virgin impregnated, I

1221
01:05:58,480 --> 01:06:00,200
Speaker 3: believe by a ghost.

1222
01:06:00,320 --> 01:06:04,320
Speaker 2: Solid pagan burn right there, solid burn, Yeah, yeah, but

1223
01:06:04,400 --> 01:06:07,560
Speaker 2: I love that. Have these children never heard of Jesus?

1224
01:06:08,120 --> 01:06:10,520
Speaker 2: Lord somemerre owl, did they know it's Christmas at all?

1225
01:06:12,800 --> 01:06:14,640
Speaker 3: Now there's kind of a break in the tension here

1226
01:06:15,480 --> 01:06:18,160
Speaker 3: because Christopher Lee he goes on to explain what's happening.

1227
01:06:18,240 --> 01:06:20,960
Speaker 3: He says, you know, these girls are jumping naked over

1228
01:06:21,000 --> 01:06:23,080
Speaker 3: the fire in the hope that the god of the

1229
01:06:23,120 --> 01:06:26,280
Speaker 3: fire will make them fruitful. And he says, after all,

1230
01:06:26,280 --> 01:06:28,160
Speaker 3: who would not prefer to bear the child of a

1231
01:06:28,200 --> 01:06:32,200
Speaker 3: god over that of an acne? S good? Autizan and

1232
01:06:32,600 --> 01:06:35,800
Speaker 3: how he again tries to argue, but Lord Smerle says,

1233
01:06:36,160 --> 01:06:38,080
Speaker 3: you know, it's most important for the young people of

1234
01:06:38,120 --> 01:06:41,000
Speaker 3: the island to learn that here the old gods are

1235
01:06:41,040 --> 01:06:44,320
Speaker 3: not dead. Now how he is very offended. He's like,

1236
01:06:44,520 --> 01:06:47,959
Speaker 3: and what of the true God? You know, what of him?

1237
01:06:48,400 --> 01:06:52,280
Speaker 3: And Lord Somerrel says, he's dead. Can't complain, had his

1238
01:06:52,440 --> 01:06:54,680
Speaker 3: chance and in modern parlance, blew it.

1239
01:06:56,960 --> 01:07:00,840
Speaker 2: This is the first, I think, major overtly stressed note

1240
01:07:00,880 --> 01:07:04,280
Speaker 2: of religion failing modern humans. And we'll come back to

1241
01:07:04,320 --> 01:07:05,640
Speaker 2: this in an important way later.

1242
01:07:06,400 --> 01:07:10,480
Speaker 3: Now Here, Lord Somerrel begins to explain the backstory of

1243
01:07:10,560 --> 01:07:14,640
Speaker 3: the island a Sergeant Howie. Now, of course we could

1244
01:07:14,680 --> 01:07:18,240
Speaker 3: wonder if he is being honest with Sergeant Howie about everything.

1245
01:07:18,280 --> 01:07:21,160
Speaker 3: But I take it that everything he says here is true.

1246
01:07:23,760 --> 01:07:25,760
Speaker 3: I don't think he's trying to trick Howie at all.

1247
01:07:26,040 --> 01:07:28,280
Speaker 3: This seems to me is just like, this is the

1248
01:07:28,320 --> 01:07:29,920
Speaker 3: actual backstory of the island.

1249
01:07:30,120 --> 01:07:33,800
Speaker 2: Yeah, I don't think up Lord Sumerle really lies at all.

1250
01:07:34,520 --> 01:07:37,800
Speaker 2: There's well, there's one kind of big Ville, but everything

1251
01:07:37,800 --> 01:07:40,240
Speaker 2: else he seems like he's being very truthful about.

1252
01:07:40,400 --> 01:07:42,080
Speaker 3: So I'm just going to read from a transcription of

1253
01:07:42,120 --> 01:07:44,480
Speaker 3: the dialogue here, because this part's important. This is Lord

1254
01:07:44,520 --> 01:07:48,280
Speaker 3: Somerle's story. He says, in the last century the islanders

1255
01:07:48,280 --> 01:07:51,560
Speaker 3: were starving like our neighbors today. They were scratching a

1256
01:07:51,600 --> 01:07:56,240
Speaker 3: bear subsistence from sheep and sea. Then in eighteen sixty eight,

1257
01:07:56,400 --> 01:08:00,520
Speaker 3: my grandfather bought this baron island and began to change.

1258
01:08:00,920 --> 01:08:07,040
Speaker 3: A distinguished Victorian scientist, agronomist, free thinker, how formidably benevolent,

1259
01:08:07,080 --> 01:08:11,040
Speaker 3: he seems essentially the face of a man incredulous of

1260
01:08:11,120 --> 01:08:15,320
Speaker 3: all human good, And Sergeant Howie says, very cynical. My

1261
01:08:15,400 --> 01:08:19,400
Speaker 3: Lord Samril says, what attracted my grandfather to the island,

1262
01:08:19,439 --> 01:08:23,000
Speaker 3: apart from the profuse source of wiry labor that it promised,

1263
01:08:23,400 --> 01:08:26,759
Speaker 3: was the unique combination of volcanic soil and the warm

1264
01:08:26,800 --> 01:08:30,280
Speaker 3: gulf stream that surrounded it. You see, his experiments had

1265
01:08:30,360 --> 01:08:32,799
Speaker 3: led him to believe that it was possible to induce

1266
01:08:33,000 --> 01:08:36,679
Speaker 3: here the successful growth of certain new strains of fruit

1267
01:08:36,840 --> 01:08:40,800
Speaker 3: that he had developed. So, with typical mid Victorian zeal,

1268
01:08:40,880 --> 01:08:44,040
Speaker 3: he set to work. The best way of accomplishing this,

1269
01:08:44,280 --> 01:08:47,000
Speaker 3: so it seemed to him, was to rouse the people

1270
01:08:47,040 --> 01:08:51,479
Speaker 3: from their apathy by giving them back their joyous old gods.

1271
01:08:51,960 --> 01:08:54,280
Speaker 3: And it is as a result of this worship the

1272
01:08:54,280 --> 01:08:58,280
Speaker 3: barren island would burgeon and bring forth fruit in great abundance.

1273
01:08:58,800 --> 01:09:01,760
Speaker 3: What he did, of course, was to develop new cultivars

1274
01:09:01,760 --> 01:09:05,360
Speaker 3: of hardy fruits suited to local conditions. But of course,

1275
01:09:05,400 --> 01:09:07,519
Speaker 3: to begin with, they worked for him because he fed

1276
01:09:07,560 --> 01:09:10,439
Speaker 3: them and clothed them. But then later, when the trees

1277
01:09:10,479 --> 01:09:13,240
Speaker 3: started fruiting, it became a very different matter, and the

1278
01:09:13,280 --> 01:09:17,160
Speaker 3: ministers fled the island, never to return. What my grandfather

1279
01:09:17,200 --> 01:09:21,120
Speaker 3: had started out of expediency, my father continued out of love.

1280
01:09:21,800 --> 01:09:24,360
Speaker 3: He brought me up the same way, to reverence the

1281
01:09:24,479 --> 01:09:27,679
Speaker 3: music and the drama and the rituals of the old gods,

1282
01:09:28,080 --> 01:09:30,840
Speaker 3: to love nature, and to fear it, and to rely

1283
01:09:31,000 --> 01:09:34,040
Speaker 3: on it, and to appease it where necessary. He brought

1284
01:09:34,080 --> 01:09:37,320
Speaker 3: me up. And how he interrupts him, says, he brought

1285
01:09:37,360 --> 01:09:41,040
Speaker 3: you up to be a pagan. And somemr Ale says,

1286
01:09:41,080 --> 01:09:45,280
Speaker 3: with a soft smile, he says, a heathen conceivably, but not,

1287
01:09:45,479 --> 01:09:49,240
Speaker 3: I hope an unenlightened one now here. Rob. I think

1288
01:09:49,320 --> 01:09:52,000
Speaker 3: you already answered your take on this question, but I

1289
01:09:52,160 --> 01:09:57,240
Speaker 3: was going to ask after this monologue one might wonder

1290
01:09:57,400 --> 01:10:00,960
Speaker 3: if the present Lord Somemrrele of Christopher Lee is in

1291
01:10:01,040 --> 01:10:05,120
Speaker 3: reality more like what he accuses his grandfather of, Like

1292
01:10:05,200 --> 01:10:10,480
Speaker 3: if the paganism of Summerle is something that he cynically

1293
01:10:10,600 --> 01:10:15,520
Speaker 3: impresses upon the ignorant locals but does not believe himself.

1294
01:10:15,640 --> 01:10:19,280
Speaker 3: That seems to be Howie's interpretation, and you can certainly

1295
01:10:19,320 --> 01:10:21,840
Speaker 3: see that when you hear kind of the material motivation

1296
01:10:22,040 --> 01:10:24,800
Speaker 3: of the original Lord Samrle, and how the same motivations

1297
01:10:24,840 --> 01:10:28,599
Speaker 3: would be present for the current Lord Samerle. But also

1298
01:10:28,760 --> 01:10:31,280
Speaker 3: is that really the case? I mean, when he says

1299
01:10:31,400 --> 01:10:33,880
Speaker 3: that it was continued out of love, he seems to

1300
01:10:33,920 --> 01:10:37,080
Speaker 3: be claiming that he now believes the pagan myth or

1301
01:10:37,120 --> 01:10:40,080
Speaker 3: at least he I don't know. He says he at

1302
01:10:40,120 --> 01:10:44,759
Speaker 3: least reverences them. Whether that means he believes the Celtic

1303
01:10:44,880 --> 01:10:49,240
Speaker 3: pagan gods literally exist and have power over his fate

1304
01:10:49,400 --> 01:10:52,120
Speaker 3: or not. I guess it's hard to see how to

1305
01:10:52,200 --> 01:10:54,479
Speaker 3: translate that, but it feels like maybe he does.

1306
01:10:55,600 --> 01:10:57,759
Speaker 2: Yeah. I mean, that is the vibe I've always gotten,

1307
01:10:58,240 --> 01:11:01,000
Speaker 2: and I think a lot of it comes from the

1308
01:11:01,120 --> 01:11:04,519
Speaker 2: nature of Lee's performance here and even what we see

1309
01:11:04,520 --> 01:11:07,120
Speaker 2: from him much later on in the picture. I feel

1310
01:11:07,160 --> 01:11:09,320
Speaker 2: like it's it's ultimately even though there's a shift that

1311
01:11:09,360 --> 01:11:13,400
Speaker 2: takes place, I think it's consistent. I think that he

1312
01:11:13,680 --> 01:11:17,840
Speaker 2: truly believes in this faith. But as he's already alluded to,

1313
01:11:17,960 --> 01:11:21,600
Speaker 2: like there there is of course this dark side, you know,

1314
01:11:21,640 --> 01:11:24,679
Speaker 2: there is the fear of nature, there's the terror of nature,

1315
01:11:25,280 --> 01:11:29,840
Speaker 2: and there's already like this, this realization that that to

1316
01:11:29,960 --> 01:11:34,040
Speaker 2: be a worshiper of a god like this is to

1317
01:11:34,200 --> 01:11:36,360
Speaker 2: also engage in a certain amount of uncertainty.

1318
01:11:36,720 --> 01:11:41,080
Speaker 3: Yeah, you know, yeah, yeah, that's interesting. Another thing from

1319
01:11:41,080 --> 01:11:43,840
Speaker 3: this monologue that really strikes me is the way it

1320
01:11:44,040 --> 01:11:50,439
Speaker 3: just assumes that the people, the locals, the you know,

1321
01:11:50,520 --> 01:11:53,240
Speaker 3: the wiry labor of the island, in the words of

1322
01:11:53,280 --> 01:11:57,320
Speaker 3: his grandfather, that the locals are always just going to

1323
01:11:57,400 --> 01:12:01,200
Speaker 3: be ready for paganism again, and that you know, even

1324
01:12:01,200 --> 01:12:04,120
Speaker 3: though they had been Christian for many hundreds of years

1325
01:12:04,160 --> 01:12:06,920
Speaker 3: at the point when his grandfather came along, somehow his

1326
01:12:07,000 --> 01:12:09,920
Speaker 3: grandfather knew that you could just give them back the

1327
01:12:09,920 --> 01:12:14,120
Speaker 3: pagan gods that they themselves had never worshiped, and probably

1328
01:12:14,120 --> 01:12:17,280
Speaker 3: their parents and grandparents had never worshiped for many generations

1329
01:12:17,280 --> 01:12:20,320
Speaker 3: going back. But at any point, it was like it

1330
01:12:20,360 --> 01:12:22,720
Speaker 3: was in their blood. You could just give them the

1331
01:12:22,720 --> 01:12:25,680
Speaker 3: pagan gods back and they would immediately take them up

1332
01:12:25,760 --> 01:12:30,040
Speaker 3: without any coercion, Isn't it strange? But that does appear

1333
01:12:30,080 --> 01:12:33,200
Speaker 3: to be sort of the belief that's present in the

1334
01:12:33,240 --> 01:12:33,720
Speaker 3: movie here.

1335
01:12:34,320 --> 01:12:36,560
Speaker 2: Yeah, and you know, I don't know that it's ultimately

1336
01:12:36,640 --> 01:12:41,240
Speaker 2: that disconnected from the reality of places where Christianity was

1337
01:12:41,280 --> 01:12:46,760
Speaker 2: introduced and ended up replacing traditional beliefs to at least

1338
01:12:46,800 --> 01:12:50,160
Speaker 2: some extent, because if we've as we've seen from various examples,

1339
01:12:50,439 --> 01:12:55,000
Speaker 2: the old ways never or rarely completely go away. Some

1340
01:12:55,360 --> 01:13:01,120
Speaker 2: aspects of them are folded into this new alien faith asumed. Yeah, yeah,

1341
01:13:01,160 --> 01:13:04,040
Speaker 2: so the old gods take on new you know, slightly

1342
01:13:04,160 --> 01:13:08,360
Speaker 2: new roles, or you know, the or something continues to

1343
01:13:08,439 --> 01:13:11,799
Speaker 2: exist at like the folk belief and folk lore level

1344
01:13:11,840 --> 01:13:15,000
Speaker 2: of things, and therefore, yeah, nothing completely goes away, and

1345
01:13:15,040 --> 01:13:17,960
Speaker 2: therefore it would be possible perhaps for someone to come

1346
01:13:18,400 --> 01:13:21,599
Speaker 2: free you from these newer ideas and allow those older

1347
01:13:21,680 --> 01:13:23,680
Speaker 2: ideas to grow fresh.

1348
01:13:23,400 --> 01:13:26,599
Speaker 3: Again, even if the quote newer ideas have been around

1349
01:13:26,640 --> 01:13:28,719
Speaker 3: for hundreds of years at this point and you've never

1350
01:13:28,800 --> 01:13:30,080
Speaker 3: known anything else.

1351
01:13:30,160 --> 01:13:32,760
Speaker 2: Right, right, And I think you know summer. I would

1352
01:13:32,800 --> 01:13:35,080
Speaker 2: would argue that it's it's in their DNA like it,

1353
01:13:35,120 --> 01:13:37,639
Speaker 2: and it is. It is. It's a way of it's

1354
01:13:37,680 --> 01:13:40,760
Speaker 2: a it's a worldview that is more in keeping with

1355
01:13:41,280 --> 01:13:44,800
Speaker 2: the natural order of the human organism. And therefore, like

1356
01:13:44,840 --> 01:13:46,960
Speaker 2: we take to it like we take to breath and

1357
01:13:47,040 --> 01:13:47,479
Speaker 2: to water.

1358
01:13:47,760 --> 01:13:50,240
Speaker 3: Yeah, And that they believe that they are in fact

1359
01:13:50,360 --> 01:13:55,320
Speaker 3: the reincarnations of pagans from years past. Yeah, as laundered

1360
01:13:55,360 --> 01:13:57,920
Speaker 3: through many stages of nature. You know, they have been

1361
01:13:57,960 --> 01:13:59,960
Speaker 3: the bird and the and its feather and the tree

1362
01:14:00,200 --> 01:14:02,800
Speaker 3: and everything else, but at some point also they were

1363
01:14:02,800 --> 01:14:03,960
Speaker 3: they're pagan ancestor.

1364
01:14:04,439 --> 01:14:05,160
Speaker 2: Yeah.

1365
01:14:05,240 --> 01:14:08,160
Speaker 3: Well, anyway, how he tries to he tries to burn

1366
01:14:08,240 --> 01:14:11,120
Speaker 3: Lord somerl He's like, well, whatever you believe personally, you

1367
01:14:11,160 --> 01:14:15,200
Speaker 3: are the subject of a Christian country. And he demands

1368
01:14:15,320 --> 01:14:19,240
Speaker 3: to be given permission to exum Rowan Morrison's body, and

1369
01:14:19,280 --> 01:14:21,840
Speaker 3: then Lord Somerrel reminds him that he already gave him

1370
01:14:21,840 --> 01:14:25,000
Speaker 3: permission at the beginning of their conversation. And I love

1371
01:14:25,120 --> 01:14:29,600
Speaker 3: this moment. It's so good. It's like how he he

1372
01:14:29,760 --> 01:14:34,920
Speaker 3: is somehow mentally manufacturing more friction in his investigation than

1373
01:14:35,000 --> 01:14:36,080
Speaker 3: actually exists.

1374
01:14:36,160 --> 01:14:40,639
Speaker 2: Yeah, Yeah, because he told him yes right away. But yeah,

1375
01:14:40,640 --> 01:14:42,040
Speaker 2: I just kept arguing with him.

1376
01:14:42,439 --> 01:14:44,800
Speaker 3: Somerle says, as he's leaving, he's like, it's been a

1377
01:14:44,800 --> 01:14:58,160
Speaker 3: great pleasure meeting a Christian copper. Okay, I'm looking at

1378
01:14:58,200 --> 01:15:00,320
Speaker 3: the time now, so I'm realizing, I think we need

1379
01:15:00,360 --> 01:15:02,640
Speaker 3: to be a little more summary as as we go

1380
01:15:02,720 --> 01:15:03,800
Speaker 3: on with the rest of the plot.

1381
01:15:03,840 --> 01:15:05,120
Speaker 2: We got a speed onto the main event.

1382
01:15:05,439 --> 01:15:08,640
Speaker 3: Yeah, okay, So how He goes and exhumes the what

1383
01:15:08,720 --> 01:15:10,720
Speaker 3: he believes to be the body of Rowan Morrison, but

1384
01:15:10,920 --> 01:15:13,240
Speaker 3: uh oh, nobody in there. Well, there is a body,

1385
01:15:13,240 --> 01:15:15,799
Speaker 3: it's not a human body, it's a dead hair inside

1386
01:15:15,800 --> 01:15:20,400
Speaker 3: the coffin. So Howie is very, once again, very annoyed.

1387
01:15:20,760 --> 01:15:23,200
Speaker 3: He goes back to the mansion of Lord Somerle, and

1388
01:15:23,280 --> 01:15:25,920
Speaker 3: when he goes there, inside Lord Somerle is hanging out

1389
01:15:25,920 --> 01:15:28,799
Speaker 3: with Miss Rose by the way. They're like drinking wine

1390
01:15:28,840 --> 01:15:31,599
Speaker 3: from a golden gomblet. She's laying on a big fur

1391
01:15:31,720 --> 01:15:34,320
Speaker 3: pelt on the floor and they're singing and playing the piano.

1392
01:15:34,840 --> 01:15:37,559
Speaker 3: He's singing in his big, booming bass voice, and how

1393
01:15:37,600 --> 01:15:40,200
Speaker 3: He interrupts them by throwing the dead hair from Rowan's

1394
01:15:40,200 --> 01:15:43,559
Speaker 3: grave on the floor. He demands to know once again,

1395
01:15:43,680 --> 01:15:46,800
Speaker 3: where is Rowan Morrison, and they're still giving him more

1396
01:15:46,880 --> 01:15:49,519
Speaker 3: run around. Miss Rose is like, oh, you know, Rowan

1397
01:15:49,560 --> 01:15:51,680
Speaker 3: always did loves the march hares. I think it's a

1398
01:15:51,760 --> 01:15:53,240
Speaker 3: very fitting transmutation.

1399
01:15:54,560 --> 01:15:56,720
Speaker 2: Yeah, like, what did you expect to find it in

1400
01:15:56,760 --> 01:15:59,400
Speaker 2: her grave? But a hair? We already told you, children

1401
01:15:59,479 --> 01:16:01,479
Speaker 2: have been telling you that she's a hare now.

1402
01:16:01,560 --> 01:16:03,680
Speaker 3: Yeah, yeah, I mean, why didn't you just listen to

1403
01:16:03,800 --> 01:16:05,800
Speaker 3: us the first time? But so Sergeant how he starts

1404
01:16:05,800 --> 01:16:09,200
Speaker 3: giving them all these threats. He's like, I suspect that

1405
01:16:09,360 --> 01:16:13,400
Speaker 3: Rowan Morrison has been murdered under circumstances of pagan barbarity

1406
01:16:13,400 --> 01:16:15,880
Speaker 3: which I can scarcely bring myself to believe, or taking

1407
01:16:15,920 --> 01:16:18,640
Speaker 3: place in the twentieth century. So he says, look, I'm

1408
01:16:18,680 --> 01:16:20,439
Speaker 3: gonna go to the mainland, I'm gonna get a bunch

1409
01:16:20,560 --> 01:16:22,320
Speaker 3: more cops and we're gonna come back here and do

1410
01:16:22,400 --> 01:16:28,120
Speaker 3: a full inquiry. And Lord Somerle's like, great, okay, oh,

1411
01:16:28,160 --> 01:16:30,240
Speaker 3: and he also says at the end of day, He's like,

1412
01:16:30,560 --> 01:16:32,879
Speaker 3: it's just as well that you won't be here tomorrow

1413
01:16:32,920 --> 01:16:36,160
Speaker 3: to be offended by the sight of our May Day celebrations.

1414
01:16:36,960 --> 01:16:39,920
Speaker 3: You wouldn't you probably wouldn't like what you're gonna see tomorrow,

1415
01:16:40,000 --> 01:16:43,840
Speaker 3: with like a big smile and a twinkle in his eye. Now,

1416
01:16:43,880 --> 01:16:47,439
Speaker 3: later that night, how He breaks into the chemist's shop

1417
01:16:47,560 --> 01:16:50,479
Speaker 3: to like kind of write, like search through his photos,

1418
01:16:50,520 --> 01:16:52,600
Speaker 3: the one that the chemist said he didn't have, and

1419
01:16:52,680 --> 01:16:55,000
Speaker 3: he does, in fact find the picture of the harvest

1420
01:16:55,040 --> 01:16:58,720
Speaker 3: festival from the year previous, and he confirms his suspicions.

1421
01:16:58,720 --> 01:17:01,200
Speaker 3: It is what he believed. The harvest queen from the

1422
01:17:01,240 --> 01:17:05,000
Speaker 3: year before was Rowan Morrison. And where there is normally

1423
01:17:05,040 --> 01:17:07,439
Speaker 3: a huge pile of fruit next to the harvest queen,

1424
01:17:07,520 --> 01:17:09,839
Speaker 3: instead in this photo there are only a few meager

1425
01:17:09,880 --> 01:17:13,360
Speaker 3: boxes of produce, and he puts it all together. He

1426
01:17:13,360 --> 01:17:16,680
Speaker 3: says it's Rowan and the crops failed. So this is

1427
01:17:16,720 --> 01:17:19,679
Speaker 3: his theory. It was Rowan. Rowan was the harvest queen.

1428
01:17:20,120 --> 01:17:23,160
Speaker 3: The crops last year were bad, and so they killed

1429
01:17:23,280 --> 01:17:26,880
Speaker 3: Rowan as a sacrifice. All right, So we're almost to

1430
01:17:26,960 --> 01:17:28,800
Speaker 3: May Day, but first we got to have a scene

1431
01:17:28,840 --> 01:17:33,240
Speaker 3: of a wretchedly horny Mayday eve where Sergeant Howie goes

1432
01:17:33,240 --> 01:17:37,599
Speaker 3: back to the inn and there is a musical number

1433
01:17:38,080 --> 01:17:41,800
Speaker 3: where Willow again that's britt Ecklund. She gets naked and

1434
01:17:41,840 --> 01:17:44,400
Speaker 3: then sings a song to him through the wall of

1435
01:17:44,479 --> 01:17:47,200
Speaker 3: the inn, being like, hey, how about it, and he's

1436
01:17:47,240 --> 01:17:48,400
Speaker 3: he's just in there, being like.

1437
01:17:50,160 --> 01:17:53,439
Speaker 2: That's that's true. That's that's essentially what happens. But the

1438
01:17:53,520 --> 01:17:57,000
Speaker 2: music is great. Yeah, song is Willow's song, and I

1439
01:17:57,040 --> 01:18:00,639
Speaker 2: would argue it's among the best in the picture. It's great, yeah,

1440
01:18:01,479 --> 01:18:04,360
Speaker 2: I mean, and then like the physical performances on both

1441
01:18:04,400 --> 01:18:06,679
Speaker 2: sides of the wall are amazing. It's just a great

1442
01:18:06,800 --> 01:18:12,160
Speaker 2: musical sequence of juxtapose temptation and denial on one side

1443
01:18:12,680 --> 01:18:17,120
Speaker 2: with Howie and then on Willow's side, just unabashed sexual freedom,

1444
01:18:17,240 --> 01:18:20,479
Speaker 2: you know, and this whole sequence charged with eroticism, but

1445
01:18:20,600 --> 01:18:23,880
Speaker 2: without either of the chief characters ever occupying the same room.

1446
01:18:24,479 --> 01:18:27,400
Speaker 3: And the next morning they have a meetup. Willow comes

1447
01:18:27,439 --> 01:18:29,680
Speaker 3: to see him at breakfast and she's like, hey, I

1448
01:18:29,680 --> 01:18:31,519
Speaker 3: thought you were gonna come see me last night. I

1449
01:18:31,600 --> 01:18:35,759
Speaker 3: invited you and he's like sorry, I'm engaged to be married.

1450
01:18:35,800 --> 01:18:37,960
Speaker 3: And she's like, oh, well, you know you're a very

1451
01:18:38,000 --> 01:18:41,360
Speaker 3: gallant fellow sergeant, and he says, it's nothing personal. I

1452
01:18:41,439 --> 01:18:45,160
Speaker 3: just don't believe in it before marriage. She's like, okay, cool,

1453
01:18:45,240 --> 01:18:48,360
Speaker 3: suit yourself. You really should head back, though before we

1454
01:18:48,400 --> 01:18:51,320
Speaker 3: get May Day festivities started, you wouldn't like them, not

1455
01:18:51,439 --> 01:18:52,439
Speaker 3: with how you feel.

1456
01:18:54,000 --> 01:18:56,640
Speaker 2: So there's some important plot stuff going on in this

1457
01:18:56,720 --> 01:19:01,000
Speaker 2: dialogue exchange. But I also really love how He's vulnerability

1458
01:19:01,000 --> 01:19:03,599
Speaker 2: and honesty here, which I think is a nice touch.

1459
01:19:03,600 --> 01:19:05,400
Speaker 2: It's very much one sided because she's still kind of

1460
01:19:05,439 --> 01:19:09,000
Speaker 2: like taunting and temptacy. But you might expect Howie to

1461
01:19:09,560 --> 01:19:11,559
Speaker 2: have been really gruff here and like call her out

1462
01:19:11,560 --> 01:19:14,360
Speaker 2: as a temptress and preach to her on the values

1463
01:19:14,400 --> 01:19:16,679
Speaker 2: of saving yourself for marriage and so forth. But instead

1464
01:19:16,720 --> 01:19:18,880
Speaker 2: we get this nice scene that you had deliver some

1465
01:19:18,920 --> 01:19:22,240
Speaker 2: important plot points, but also deepens our understanding of how

1466
01:19:22,240 --> 01:19:22,800
Speaker 2: He's character.

1467
01:19:23,200 --> 01:19:27,120
Speaker 3: I think Howie at this point is actually exhausted by

1468
01:19:27,160 --> 01:19:30,360
Speaker 3: like being self righteous at everyone. He's literally tired of it.

1469
01:19:30,400 --> 01:19:33,439
Speaker 3: He's been self righteous at everyone for like many scenes

1470
01:19:33,479 --> 01:19:35,320
Speaker 3: in a row, and he's just worn out.

1471
01:19:35,720 --> 01:19:38,280
Speaker 2: And this is very much in keeping with the idea

1472
01:19:38,360 --> 01:19:41,719
Speaker 2: that's presented in the film that how at least Howie's

1473
01:19:41,800 --> 01:19:46,920
Speaker 2: version of Christianity and enforced morality is exhausting, and if

1474
01:19:46,920 --> 01:19:49,320
Speaker 2: he were just to like let go and let this

1475
01:19:49,479 --> 01:19:52,599
Speaker 2: fall away from him, he could find another way to.

1476
01:19:52,560 --> 01:19:55,040
Speaker 3: Live all right. Well, after this how he tries to

1477
01:19:55,120 --> 01:19:57,679
Speaker 3: leave the island. He goes to his seaplane, but oh,

1478
01:19:57,720 --> 01:20:00,960
Speaker 3: engine won't start. Classic horror movie problem. I did say

1479
01:20:01,000 --> 01:20:04,640
Speaker 3: that this movie it doesn't rely too much on cliches,

1480
01:20:04,680 --> 01:20:06,639
Speaker 3: but there are there are some. I mean, you can't

1481
01:20:06,680 --> 01:20:10,639
Speaker 3: have a full Corra movie without the vehicle that won't start.

1482
01:20:11,120 --> 01:20:13,800
Speaker 2: And this is where the creepy masks starts showing up, right,

1483
01:20:14,280 --> 01:20:16,040
Speaker 2: goes up to the plane and there like the villagers

1484
01:20:16,080 --> 01:20:18,720
Speaker 2: are peeking over the wall with the bunny masks and

1485
01:20:18,760 --> 01:20:23,120
Speaker 2: so forth, and we could start getting some more overtly

1486
01:20:23,200 --> 01:20:25,479
Speaker 2: creepy notes from the local folk beliefs.

1487
01:20:25,760 --> 01:20:30,519
Speaker 3: It's a mix of whimsical and humorous and creepy. Yeah,

1488
01:20:30,560 --> 01:20:32,160
Speaker 3: and I love that mix.

1489
01:20:32,360 --> 01:20:35,920
Speaker 2: Yeah. It never truly goes full creep mode at this point,

1490
01:20:36,040 --> 01:20:38,160
Speaker 2: Like a lesser film would, I mean a lesser film,

1491
01:20:38,240 --> 01:20:40,880
Speaker 2: much lesser film would have been creep mode the whole time. Yes,

1492
01:20:41,080 --> 01:20:43,480
Speaker 2: it continues to play this nice balance.

1493
01:20:43,280 --> 01:20:45,719
Speaker 3: But I love the masks. So the villagers start showing

1494
01:20:45,800 --> 01:20:48,679
Speaker 3: up in animal masks for the May Day celebration. They're

1495
01:20:48,760 --> 01:20:52,000
Speaker 3: dressed as hares, as foxes, as squirrels. One is the

1496
01:20:52,040 --> 01:20:53,200
Speaker 3: salmon of knowledge.

1497
01:20:53,280 --> 01:20:56,080
Speaker 2: Ooh, we've talked about that fish on the show before. Yeah.

1498
01:20:56,240 --> 01:21:00,240
Speaker 3: Yeah, And I'd love all the masks, but I love

1499
01:21:00,280 --> 01:21:03,200
Speaker 3: that a lot of the masks look so dingy. They

1500
01:21:03,200 --> 01:21:05,599
Speaker 3: look like really kind of weathered and like they've been

1501
01:21:05,680 --> 01:21:08,280
Speaker 3: used in many May Day festivals and like they smell

1502
01:21:08,360 --> 01:21:09,240
Speaker 3: bad now.

1503
01:21:09,640 --> 01:21:12,519
Speaker 2: Yeah, even crumpled up in a drawer.

1504
01:21:12,880 --> 01:21:16,080
Speaker 3: We do get a library research scene where he goes

1505
01:21:16,120 --> 01:21:19,200
Speaker 3: to the town library, which it's funny, has books like

1506
01:21:19,200 --> 01:21:23,120
Speaker 3: of anthropology. I think he may read from the Golden

1507
01:21:23,120 --> 01:21:26,360
Speaker 3: Bough perhaps, Oh, I'm not sure, but he you know,

1508
01:21:26,400 --> 01:21:30,599
Speaker 3: he reads from something that's like James Fraser that tells

1509
01:21:30,720 --> 01:21:33,439
Speaker 3: about the May Day festivals. In fact, I'll just read

1510
01:21:33,479 --> 01:21:36,280
Speaker 3: briefly from what he comes across. So he's reading in

1511
01:21:36,320 --> 01:21:39,240
Speaker 3: the library. Primitive man lived and died by his harvest.

1512
01:21:39,360 --> 01:21:41,600
Speaker 3: The purpose of his spring ceremonies was to ensure a

1513
01:21:41,640 --> 01:21:44,720
Speaker 3: plentiful autumn. Relics of these fertility dramas are to be

1514
01:21:44,760 --> 01:21:47,720
Speaker 3: found all over Europe. In Great Britain, for example, one

1515
01:21:47,720 --> 01:21:50,679
Speaker 3: can still see harmless versions of them danced in obscure

1516
01:21:50,760 --> 01:21:54,880
Speaker 3: villages on May Day. Their cast includes many alarming characters,

1517
01:21:54,960 --> 01:21:57,840
Speaker 3: a man, animal or hobby horse who canter is at

1518
01:21:57,840 --> 01:22:00,840
Speaker 3: the head of the procession, charging at the earls a

1519
01:22:00,960 --> 01:22:04,320
Speaker 3: man woman, the sinister teaser played by the community leader

1520
01:22:04,360 --> 01:22:07,960
Speaker 3: or a priest, and the man fool punch. Most complex

1521
01:22:08,000 --> 01:22:11,439
Speaker 3: of all, the symbolic figures, the privileged, simpleton and king

1522
01:22:11,560 --> 01:22:14,680
Speaker 3: for a day. Six swordsmen follow these figures, and at

1523
01:22:14,720 --> 01:22:17,519
Speaker 3: the climax of the ceremony lock their swords together in

1524
01:22:17,560 --> 01:22:20,880
Speaker 3: a clear symbol of the sun. In pagan times, however,

1525
01:22:20,920 --> 01:22:25,240
Speaker 3: these dances were not simply picturesque jigs. They were frenzied rights,

1526
01:22:25,360 --> 01:22:28,400
Speaker 3: ending in a sacrifice by which the dancers hoped desperately

1527
01:22:28,439 --> 01:22:31,400
Speaker 3: to win over the Goddess of the fields. In good times,

1528
01:22:31,439 --> 01:22:34,640
Speaker 3: they offered produce to the gods and slaughtered animals, But

1529
01:22:34,760 --> 01:22:37,240
Speaker 3: in bad years, when the harvest had been poor, the

1530
01:22:37,320 --> 01:22:39,679
Speaker 3: sacrifice was a human being.

1531
01:22:40,560 --> 01:22:40,760
Speaker 2: Huh.

1532
01:22:41,720 --> 01:22:44,080
Speaker 3: Sometimes the victim would be drowned in the sea, or

1533
01:22:44,120 --> 01:22:47,640
Speaker 3: burnt to death in a huge sacrificial bonfire. Sometimes the

1534
01:22:47,680 --> 01:22:51,599
Speaker 3: six swordsmen ritually beheaded the virgin, and he says, Dear

1535
01:22:51,640 --> 01:22:54,559
Speaker 3: God in Heaven, even these people can't be that mad.

1536
01:22:54,840 --> 01:22:56,960
Speaker 3: But he puts it all together. It's the picture of

1537
01:22:57,040 --> 01:23:00,840
Speaker 3: Rowan from last year's harvest. And he he knows, he

1538
01:23:00,960 --> 01:23:04,719
Speaker 3: knows it's Rowan, she's the sacrifice, but now he realizes

1539
01:23:04,760 --> 01:23:08,040
Speaker 3: something's different. He doesn't think they killed her last year.

1540
01:23:08,520 --> 01:23:11,599
Speaker 3: He thinks she's still alive and they're going to kill

1541
01:23:11,600 --> 01:23:14,800
Speaker 3: her today and so it's up to him to save her.

1542
01:23:15,240 --> 01:23:18,360
Speaker 3: So this turns into the frantic hunt. We get sort

1543
01:23:18,360 --> 01:23:20,639
Speaker 3: of a montage of how we popping around to all

1544
01:23:20,680 --> 01:23:24,120
Speaker 3: the different locations on the island trying to find Rowan Morrison.

1545
01:23:24,160 --> 01:23:27,360
Speaker 3: He thinks she's alive and being held somewhere for the sacrifice.

1546
01:23:28,000 --> 01:23:30,439
Speaker 3: For example, he tries to go to May Morrison, her mother,

1547
01:23:30,520 --> 01:23:33,120
Speaker 3: and he's like, don't you realize what they're doing? And

1548
01:23:33,600 --> 01:23:36,519
Speaker 3: May is not any help. She's just like, oh, sergeant,

1549
01:23:36,800 --> 01:23:41,400
Speaker 3: you'll simply never understand the true nature of sacrifice. Eventually,

1550
01:23:41,439 --> 01:23:43,400
Speaker 3: after he's checked a bunch of places and come up

1551
01:23:43,400 --> 01:23:46,320
Speaker 3: empty handed. But by the way, it's also very funny

1552
01:23:46,320 --> 01:23:48,439
Speaker 3: while he's checking things, because the locals are all kind

1553
01:23:48,439 --> 01:23:51,400
Speaker 3: of peeping around, taunting him and like running around in

1554
01:23:51,520 --> 01:23:53,240
Speaker 3: masks playing little pranks on him.

1555
01:23:53,320 --> 01:23:55,639
Speaker 2: Oh yeah, and we see the hobby horse guy.

1556
01:23:55,840 --> 01:23:59,120
Speaker 3: Yes, yes, and the children who are like pretending to

1557
01:23:59,160 --> 01:24:01,759
Speaker 3: be dead, and he's like what And then they pop

1558
01:24:01,880 --> 01:24:05,360
Speaker 3: up and laugh at him, so like the whole town

1559
01:24:05,400 --> 01:24:08,599
Speaker 3: has started just treating Howie as if he is a joke.

1560
01:24:10,280 --> 01:24:13,080
Speaker 3: Now the here we get the hand of Glory scene

1561
01:24:13,120 --> 01:24:15,599
Speaker 3: coming up, because how he comes back to the inn

1562
01:24:16,360 --> 01:24:18,120
Speaker 3: and he's like, I'm so tired, I've got to take

1563
01:24:18,120 --> 01:24:20,240
Speaker 3: a nap. He lays down in his bed. I think

1564
01:24:20,240 --> 01:24:22,040
Speaker 3: he has a dram of whiskey and then lays in

1565
01:24:22,080 --> 01:24:22,920
Speaker 3: his bed for an hour.

1566
01:24:23,360 --> 01:24:26,400
Speaker 2: Yeah, and then you know he's he's laying there and

1567
01:24:26,439 --> 01:24:29,519
Speaker 2: he hears a Willow and Willow's dad plotting and they're like, oh,

1568
01:24:29,600 --> 01:24:31,840
Speaker 2: you don't don't don't want to don't want to make

1569
01:24:31,880 --> 01:24:34,439
Speaker 2: him sleep too long, do you? And there we don't

1570
01:24:34,439 --> 01:24:36,519
Speaker 2: want him getting in the way and so forth. And

1571
01:24:36,560 --> 01:24:41,400
Speaker 2: then when those voices subside, he comes to and they've

1572
01:24:41,520 --> 01:24:44,280
Speaker 2: lit a hand of glory in his room. This is

1573
01:24:44,320 --> 01:24:46,360
Speaker 2: the scene that always stuck with me because this is

1574
01:24:46,439 --> 01:24:49,320
Speaker 2: like a really this may be Is this the first

1575
01:24:49,439 --> 01:24:52,519
Speaker 2: like more overt horror note in the picture? Really?

1576
01:24:52,880 --> 01:24:55,360
Speaker 3: I think it could be. Yeah, it's the first bit

1577
01:24:55,400 --> 01:24:58,160
Speaker 3: of anything that's like gore because he does in the

1578
01:24:59,400 --> 01:25:03,360
Speaker 3: in the the Undertaker's house, he comes across a body

1579
01:25:03,400 --> 01:25:07,960
Speaker 3: that has the hand removed. Yeah, and then later this happens, Yeah.

1580
01:25:07,800 --> 01:25:11,360
Speaker 2: The Hand of Glory, where this version of it is

1581
01:25:10,240 --> 01:25:15,439
Speaker 2: a disembodied hand that's set up on this candlestick and

1582
01:25:15,479 --> 01:25:18,559
Speaker 2: each finger is a lit candle, and they're different versions

1583
01:25:18,600 --> 01:25:20,599
Speaker 2: of what the Hand of Glory means. But basically it's

1584
01:25:20,600 --> 01:25:22,640
Speaker 2: tied to different stories where a thief would use it

1585
01:25:22,640 --> 01:25:25,519
Speaker 2: as a magical item to subdue a household and force

1586
01:25:25,560 --> 01:25:28,840
Speaker 2: them to sleep. We actually just reran the Artifact episode

1587
01:25:29,120 --> 01:25:31,439
Speaker 2: about the Hand of Glory. But yeah, in short, we

1588
01:25:31,520 --> 01:25:36,160
Speaker 2: have an occult European item here tied to these different stories,

1589
01:25:36,360 --> 01:25:39,160
Speaker 2: and it may ultimately be linked to ideas concerning the

1590
01:25:39,200 --> 01:25:43,680
Speaker 2: mandrake root, which was attributed with similar powers and was

1591
01:25:43,720 --> 01:25:47,759
Speaker 2: sometimes described as being handlike in form like a clod hand.

1592
01:25:48,240 --> 01:25:51,080
Speaker 2: Whatever the case, it doesn't work, and he's just like ah,

1593
01:25:51,160 --> 01:25:53,720
Speaker 2: and he like knocks it over, puts it out, and

1594
01:25:53,840 --> 01:25:55,760
Speaker 2: he's back on the case and oh yeah. Then he

1595
01:25:55,800 --> 01:25:59,679
Speaker 2: goes and finds the landlord. The landlord's putting on his

1596
01:25:59,720 --> 01:26:06,000
Speaker 2: food costume for the big parade, and so heck.

1597
01:26:04,720 --> 01:26:07,400
Speaker 3: Yeah, beats him over the head and takes his costume

1598
01:26:08,160 --> 01:26:11,200
Speaker 3: and then goes down to join the parade, and oh boy,

1599
01:26:11,280 --> 01:26:13,639
Speaker 3: the parade is one of my favorite parts of the movie.

1600
01:26:14,080 --> 01:26:17,960
Speaker 3: We have Christopher Lee wearing a long wig and a dress.

1601
01:26:18,120 --> 01:26:20,760
Speaker 3: It's like a purple and blue kind of outfit, but

1602
01:26:20,800 --> 01:26:23,519
Speaker 3: with sneakers he's wearing like looks like Converse sneakers.

1603
01:26:23,520 --> 01:26:24,759
Speaker 2: Oh, I didn't notice the sneakers.

1604
01:26:24,960 --> 01:26:27,240
Speaker 3: Oh yeah, they're great. And then there is one of

1605
01:26:27,280 --> 01:26:29,479
Speaker 3: the guys that we frequently see at the bar as

1606
01:26:29,600 --> 01:26:33,240
Speaker 3: the man horse, the hobby horse. It's like bumping up

1607
01:26:33,280 --> 01:26:36,679
Speaker 3: and down. And then this is supposed to be McGregor,

1608
01:26:36,760 --> 01:26:40,480
Speaker 3: the innkeeper as the Fool, but instead behind the costume

1609
01:26:40,680 --> 01:26:43,800
Speaker 3: it is in fact Sergeant Howie. He's following. He's going

1610
01:26:43,800 --> 01:26:46,040
Speaker 3: along with the parade to try to get there and

1611
01:26:46,120 --> 01:26:48,920
Speaker 3: save Rowan. But this is the part where when they're

1612
01:26:48,960 --> 01:26:51,000
Speaker 3: they're walking down the way. Oh and by the way,

1613
01:26:51,040 --> 01:26:53,679
Speaker 3: all the other townspeople. We've got some guys in kilts

1614
01:26:53,720 --> 01:26:55,960
Speaker 3: with their swords to be the swordsman that he read

1615
01:26:55,960 --> 01:26:57,840
Speaker 3: about in the library. And then everybody else is wearing

1616
01:26:57,880 --> 01:27:02,479
Speaker 3: animal masks. Christopher Lee is just dancing heroically. I love

1617
01:27:02,680 --> 01:27:05,880
Speaker 3: his capering about. And then also this is the scene

1618
01:27:05,880 --> 01:27:10,280
Speaker 3: where he yells at Edward Woodward he's thinking, he's McGregor.

1619
01:27:10,640 --> 01:27:13,280
Speaker 3: He's like, cut some capers, man, I told you.

1620
01:27:16,920 --> 01:27:19,960
Speaker 2: And then eventually they do the deal that the reading

1621
01:27:20,200 --> 01:27:24,280
Speaker 2: prepared is for, with the swords aligned in a pentagram

1622
01:27:24,360 --> 01:27:26,800
Speaker 2: in the shape of the sun, and there's even a

1623
01:27:26,840 --> 01:27:28,800
Speaker 2: mock beheading. He thinks, oh, my goodness, they've done it.

1624
01:27:28,800 --> 01:27:31,240
Speaker 2: They've cut a kid's head off, but it was a

1625
01:27:31,280 --> 01:27:33,840
Speaker 2: mock beheading. And then you realize, oh, it's just part

1626
01:27:33,840 --> 01:27:35,439
Speaker 2: of this, right, And it's also this kind of like

1627
01:27:35,680 --> 01:27:38,519
Speaker 2: moment of relief for us as the viewer, like, Okay,

1628
01:27:38,680 --> 01:27:42,599
Speaker 2: maybe this isn't a big human sacrifice thing he's attending.

1629
01:27:42,600 --> 01:27:46,720
Speaker 2: Maybe it is all just some you know, muted folkloric

1630
01:27:46,880 --> 01:27:49,599
Speaker 2: version of some ancient right, right.

1631
01:27:49,720 --> 01:27:52,000
Speaker 3: But then from there they proceed down to the shore,

1632
01:27:52,120 --> 01:27:55,000
Speaker 3: where first Christopher Lee gets out an axe and he

1633
01:27:55,080 --> 01:27:57,840
Speaker 3: chops open some barrels of ale, which they roll into

1634
01:27:57,880 --> 01:27:59,840
Speaker 3: the sea as a gift to the god of the sea.

1635
01:28:00,400 --> 01:28:02,639
Speaker 3: And then from there he says it's time to move

1636
01:28:02,680 --> 01:28:06,960
Speaker 3: on to our more dreadful sacrifice, and there we see

1637
01:28:07,120 --> 01:28:10,559
Speaker 3: Rowan Morrison standing flanked by some people with torches at

1638
01:28:10,560 --> 01:28:13,720
Speaker 3: the mouth of a cave. And what happens, well, it's

1639
01:28:13,840 --> 01:28:17,479
Speaker 3: just Howie in his fool costume just breaks out in

1640
01:28:17,479 --> 01:28:20,920
Speaker 3: a run in front of everybody. Everybody's gathered there, and

1641
01:28:20,960 --> 01:28:24,760
Speaker 3: he runs up to her and he's like, Rowan, come on,

1642
01:28:24,920 --> 01:28:28,200
Speaker 3: and so they run off together through the cave. Through

1643
01:28:28,240 --> 01:28:28,679
Speaker 3: the cave.

1644
01:28:28,880 --> 01:28:31,320
Speaker 2: Describe this music here, Joe, Oh.

1645
01:28:31,120 --> 01:28:32,800
Speaker 3: I don't know, I forget what the music is.

1646
01:28:36,080 --> 01:28:39,120
Speaker 2: Yeah, yeah, someone like some bass going on. It's it's a.

1647
01:28:39,120 --> 01:28:41,559
Speaker 3: Little more electric rock and roll than anything else in

1648
01:28:41,600 --> 01:28:44,920
Speaker 3: the movie. Yeah, chase music. And so they run around

1649
01:28:44,920 --> 01:28:47,519
Speaker 3: through the cave while they're being pursued by people from

1650
01:28:47,560 --> 01:28:51,519
Speaker 3: the island, and eventually Rowan shows him here, here's where

1651
01:28:51,520 --> 01:28:53,439
Speaker 3: we can go, and they crawl out through an opening

1652
01:28:53,840 --> 01:28:55,519
Speaker 3: where they come out through the top of the cave

1653
01:28:55,560 --> 01:28:59,720
Speaker 3: onto a big meadow that's on these cliffs overlooking the

1654
01:28:59,800 --> 01:29:04,839
Speaker 3: rocky shoreline below. And when they come out above, everyone's

1655
01:29:04,880 --> 01:29:08,879
Speaker 3: waiting for them. Lord Somerrile's up there, and May Morrison,

1656
01:29:09,000 --> 01:29:13,320
Speaker 3: Rowan's mother is standing there. And Rowan runs directly to

1657
01:29:13,479 --> 01:29:16,840
Speaker 3: Lord Somerrile and she says, did I do it right?

1658
01:29:17,320 --> 01:29:20,280
Speaker 3: And he says, you did beautifully, my dear, And so

1659
01:29:20,360 --> 01:29:23,720
Speaker 3: now we're left wondering what Rowan does not seem to

1660
01:29:23,720 --> 01:29:25,680
Speaker 3: be afraid at all. It's like she knows that she

1661
01:29:25,800 --> 01:29:30,000
Speaker 3: is not, in fact, in any danger, and instead everyone's

1662
01:29:30,000 --> 01:29:35,519
Speaker 3: attention turns to Howie in his fool costume. Lord Somerile

1663
01:29:35,640 --> 01:29:38,559
Speaker 3: tells him, welcome, fool. You have come of your own

1664
01:29:38,640 --> 01:29:41,800
Speaker 3: free will to the appointed place. The game is over,

1665
01:29:42,080 --> 01:29:45,000
Speaker 3: the game of the hunted leading the hunter. You came

1666
01:29:45,040 --> 01:29:47,400
Speaker 3: here to find Rowan Morrison. But it is we who

1667
01:29:47,400 --> 01:29:50,559
Speaker 3: have found you and brought you here and controlled your

1668
01:29:50,600 --> 01:29:54,880
Speaker 3: every thought and action since you arrived. Principally, we persuaded

1669
01:29:54,920 --> 01:29:57,360
Speaker 3: you to think that Rowan Morrison was being held as

1670
01:29:57,400 --> 01:30:01,599
Speaker 3: a sacrifice because our crops failed last year. And how

1671
01:30:01,600 --> 01:30:03,679
Speaker 3: He says, but I know your crops failed. I saw

1672
01:30:03,720 --> 01:30:07,639
Speaker 3: the harvest photograph, and summer Ale says, oh, yes, they failed,

1673
01:30:07,680 --> 01:30:11,280
Speaker 3: all right, disastrously. So for the first time since my

1674
01:30:11,320 --> 01:30:14,839
Speaker 3: grandfather came here, the blossom came, but the fruit withered

1675
01:30:14,840 --> 01:30:18,280
Speaker 3: and died on the bow. That must not happen again

1676
01:30:18,360 --> 01:30:21,360
Speaker 3: this year. It is our most earnest belief that the

1677
01:30:21,360 --> 01:30:24,040
Speaker 3: best way of presenting this is to offer to our

1678
01:30:24,120 --> 01:30:27,000
Speaker 3: God of the Sun and to the Goddess of our orchards,

1679
01:30:27,000 --> 01:30:31,280
Speaker 3: the most acceptable sacrifice that lies in our power. Animals

1680
01:30:31,280 --> 01:30:34,759
Speaker 3: are fine, but their acceptability is limited. A little child

1681
01:30:34,800 --> 01:30:37,880
Speaker 3: is even better, but not nearly as effective as the

1682
01:30:37,960 --> 01:30:39,759
Speaker 3: right kind of adult.

1683
01:30:41,560 --> 01:30:44,040
Speaker 2: Now, it was worth noting that at this point, Lord

1684
01:30:44,080 --> 01:30:49,440
Speaker 2: Summrle has now subtly changed in demeanor and appearance for starters.

1685
01:30:50,000 --> 01:30:53,080
Speaker 2: Here we get more of the signature of Christopher Lee grimness,

1686
01:30:53,560 --> 01:30:56,439
Speaker 2: you know. And also they're on the coast that they're

1687
01:30:56,479 --> 01:30:59,519
Speaker 2: wind swept, and so his hair is wilder and the

1688
01:30:59,600 --> 01:31:02,120
Speaker 2: gray hair is more apparent, and I don't know, the

1689
01:31:02,120 --> 01:31:04,960
Speaker 2: way it's set against the sun, the setting sun, it

1690
01:31:05,000 --> 01:31:08,240
Speaker 2: feels it feels even more like a halo. But also

1691
01:31:09,080 --> 01:31:12,599
Speaker 2: he looks more gray. He doesn't look maybe as full

1692
01:31:12,640 --> 01:31:15,479
Speaker 2: of life as he was, not that he looks like

1693
01:31:15,479 --> 01:31:17,439
Speaker 2: a vampire or anything, but he looks like a little

1694
01:31:17,439 --> 01:31:21,200
Speaker 2: older and you know, he feels like the embodiment of

1695
01:31:21,240 --> 01:31:24,439
Speaker 2: approaching winter. Now at this point, and it's worth noting

1696
01:31:24,479 --> 01:31:26,560
Speaker 2: that this film is supposed to take place at the

1697
01:31:26,760 --> 01:31:29,960
Speaker 2: beginning of summer. They're supposed to take place May first,

1698
01:31:30,760 --> 01:31:35,639
Speaker 2: but it was filmed in November and December, So all

1699
01:31:35,640 --> 01:31:37,439
Speaker 2: these scenes where you see like fruiting trees, they had

1700
01:31:37,439 --> 01:31:39,720
Speaker 2: to bring those in or dress up other trees. You know,

1701
01:31:39,760 --> 01:31:42,920
Speaker 2: they had to fake it. And it feels fitting at

1702
01:31:42,960 --> 01:31:45,799
Speaker 2: this point in the picture that we have been living

1703
01:31:45,840 --> 01:31:49,720
Speaker 2: in a fake summer, you know, because here, especially as

1704
01:31:50,040 --> 01:31:53,240
Speaker 2: manifested the idea that the world is growing colder, the

1705
01:31:53,280 --> 01:31:57,240
Speaker 2: sun is leaving our world, and are and what are

1706
01:31:57,240 --> 01:31:59,519
Speaker 2: we going to have to do to ensure Nuada's blessings

1707
01:31:59,520 --> 01:32:01,679
Speaker 2: and the blessed of all the other gods and goddesses

1708
01:32:01,720 --> 01:32:02,639
Speaker 2: and they're pantheon.

1709
01:32:03,360 --> 01:32:06,040
Speaker 3: I think that's beautifully said, exactly right. What are you

1710
01:32:06,080 --> 01:32:08,960
Speaker 3: going to have to do to get Nuauda's blessings? You'll

1711
01:32:08,960 --> 01:32:11,479
Speaker 3: have to give him a man. And they say, and

1712
01:32:11,640 --> 01:32:14,400
Speaker 3: hear the women from the town come in the willow,

1713
01:32:14,520 --> 01:32:17,080
Speaker 3: and the librarian and miss Rose, they come in to

1714
01:32:17,160 --> 01:32:19,800
Speaker 3: explain what kind of man they were looking for. A

1715
01:32:19,840 --> 01:32:21,920
Speaker 3: man who woud come here of his own free will,

1716
01:32:22,400 --> 01:32:24,280
Speaker 3: a man who had come here with the power of

1717
01:32:24,320 --> 01:32:27,519
Speaker 3: a king by representing the law, a man who had

1718
01:32:27,600 --> 01:32:30,800
Speaker 3: come here as a virgin, and a man who would

1719
01:32:30,840 --> 01:32:33,840
Speaker 3: come here as a fool. How he is all these things?

1720
01:32:33,880 --> 01:32:37,679
Speaker 2: Now, that's right, And I'd say we'll ignore the overly

1721
01:32:37,760 --> 01:32:41,120
Speaker 2: complex nature of this trap, just given how splendidly the

1722
01:32:41,680 --> 01:32:44,879
Speaker 2: trap has been sprung here and the drama and ideas

1723
01:32:44,920 --> 01:32:48,400
Speaker 2: surrounding it, like what if they'd sent a different cop though,

1724
01:32:48,439 --> 01:32:50,599
Speaker 2: what if they sent the cop played by like Oliver Reed.

1725
01:32:50,720 --> 01:32:53,040
Speaker 2: He shows up, He's like, he's been married. This is

1726
01:32:53,040 --> 01:32:55,559
Speaker 2: the CoP's been married three times. And they're like, oh,

1727
01:32:55,560 --> 01:32:57,519
Speaker 2: go lord, this guy's not going to do Nuada is

1728
01:32:57,560 --> 01:32:58,880
Speaker 2: not going to accept this guy.

1729
01:32:59,120 --> 01:33:01,519
Speaker 3: This cop is not a virgin. I think it's interesting

1730
01:33:01,560 --> 01:33:04,920
Speaker 3: also that Howie is like also not like super young,

1731
01:33:05,280 --> 01:33:07,920
Speaker 3: that he's like, you know, he's like a forty something man,

1732
01:33:07,960 --> 01:33:10,759
Speaker 3: but he's now engaged to be married, but is still

1733
01:33:10,760 --> 01:33:15,040
Speaker 3: a virgin. And that seems like that is exactly what

1734
01:33:15,120 --> 01:33:18,160
Speaker 3: they wanted. They must have somehow engineered they found out,

1735
01:33:18,200 --> 01:33:19,800
Speaker 3: like how he is the one we need.

1736
01:33:20,320 --> 01:33:22,479
Speaker 2: Yeah, yeah, they pulled it off. They pulled it off.

1737
01:33:22,680 --> 01:33:26,040
Speaker 3: So he tries to argue with them about the principle

1738
01:33:26,080 --> 01:33:29,400
Speaker 3: behind their sacrifice. There will be a lot of exchange here.

1739
01:33:29,400 --> 01:33:33,600
Speaker 3: He tries to argue that he has hope for the resurrection,

1740
01:33:34,160 --> 01:33:36,000
Speaker 3: and he says, even if you kill me now, it

1741
01:33:36,080 --> 01:33:38,880
Speaker 3: is I who will live again in the resurrection of Christ,

1742
01:33:39,160 --> 01:33:43,519
Speaker 3: not your damned apples. And he Also, there's a wonderful

1743
01:33:43,520 --> 01:33:46,439
Speaker 3: moment where he says to Lord Somemrrel. He says, I

1744
01:33:46,479 --> 01:33:49,160
Speaker 3: believe in the life eternal has promised to us by

1745
01:33:49,200 --> 01:33:52,559
Speaker 3: our Lord Jesus Christ. And Lord Somerrel says, that is

1746
01:33:52,680 --> 01:33:55,760
Speaker 3: good for believing what you do, we confer upon you

1747
01:33:55,840 --> 01:33:58,679
Speaker 3: a rare gift these days, a martyr's death.

1748
01:33:59,439 --> 01:34:01,320
Speaker 2: Yeah, that's the line that always stood out to me

1749
01:34:01,360 --> 01:34:04,759
Speaker 2: because it's it's not completely mocking, like there's grim comfort

1750
01:34:04,960 --> 01:34:06,840
Speaker 2: in what Summerle is saying to him, you know.

1751
01:34:07,120 --> 01:34:10,639
Speaker 3: Yeah. Also in this exchange, there's an interesting moment where

1752
01:34:10,880 --> 01:34:14,040
Speaker 3: Lord Somerle seems to almost through the entire movie, have

1753
01:34:14,160 --> 01:34:17,719
Speaker 3: complete mastery of every situation he's in. He never really

1754
01:34:17,760 --> 01:34:22,040
Speaker 3: seems bothered. There's only one moment where maybe he does.

1755
01:34:22,360 --> 01:34:24,599
Speaker 3: I wonder what you think. There's a part where Sergeant

1756
01:34:24,680 --> 01:34:27,360
Speaker 3: how He is saying, you know, kill He says, killing

1757
01:34:27,360 --> 01:34:29,960
Speaker 3: me will not bring back your apples, that these pagan

1758
01:34:30,000 --> 01:34:32,400
Speaker 3: gods they're not real, you're all making this up. This

1759
01:34:32,520 --> 01:34:37,360
Speaker 3: is insanity. And then he says he says, Lord Somerle,

1760
01:34:37,439 --> 01:34:40,120
Speaker 3: your crops may may fail again. And he says, if

1761
01:34:40,120 --> 01:34:43,280
Speaker 3: the crops fail next year, Somemerrile next year, the people

1762
01:34:43,320 --> 01:34:48,479
Speaker 3: will kill you on May Day, and Christopher Lee it's

1763
01:34:48,560 --> 01:34:50,920
Speaker 3: kind of hard to read his expression in response, but

1764
01:34:51,040 --> 01:34:55,519
Speaker 3: all he says is they will not fail. He doesn't

1765
01:34:55,560 --> 01:34:58,519
Speaker 3: really argue with how he and everybody's standing around there

1766
01:34:58,560 --> 01:35:01,240
Speaker 3: so everybody can hear. It's like how he's giving them

1767
01:35:01,360 --> 01:35:04,200
Speaker 3: the idea if they didn't have it themselves, that they're

1768
01:35:04,200 --> 01:35:07,720
Speaker 3: going to have to do that next year. But but

1769
01:35:08,000 --> 01:35:11,000
Speaker 3: Somerl doesn't argue with him that the people will do that.

1770
01:35:11,120 --> 01:35:14,240
Speaker 3: He just argues that this will work killing you or

1771
01:35:14,360 --> 01:35:15,719
Speaker 3: will will not fail.

1772
01:35:16,120 --> 01:35:19,240
Speaker 2: I think I think summer Isle is shaken here by this.

1773
01:35:19,360 --> 01:35:21,360
Speaker 2: I think the mask not that it's a matter. I

1774
01:35:21,400 --> 01:35:23,960
Speaker 2: do believe that Somerle believes in all of this, but

1775
01:35:24,040 --> 01:35:27,439
Speaker 2: I think dowt enters in here because you know, the

1776
01:35:27,800 --> 01:35:30,960
Speaker 2: crops have failed once and it's they're trying to appease

1777
01:35:31,040 --> 01:35:33,400
Speaker 2: these gods and it might not work. And this is

1778
01:35:33,439 --> 01:35:35,360
Speaker 2: also the moment where I think the conflict in the

1779
01:35:35,400 --> 01:35:39,200
Speaker 2: movie reaches its peak, because it's clear that well, maybe

1780
01:35:39,240 --> 01:35:42,719
Speaker 2: we're just in a position as humans that neither faith

1781
01:35:42,760 --> 01:35:44,000
Speaker 2: can protect us anymore.

1782
01:35:44,120 --> 01:35:45,120
Speaker 3: What if we are.

1783
01:35:45,120 --> 01:35:48,400
Speaker 2: Truly on our own against the approaching darkness, you know,

1784
01:35:48,439 --> 01:35:51,200
Speaker 2: the darkness of a winter beyond which spring may not

1785
01:35:51,320 --> 01:35:54,519
Speaker 2: save us, the darkness of our continual fall from the

1786
01:35:54,560 --> 01:35:57,640
Speaker 2: optimism of the nineteen sixties into the grim realities of

1787
01:35:57,680 --> 01:36:01,320
Speaker 2: the nineteen seventies, Like, what if we don't have these

1788
01:36:01,360 --> 01:36:04,599
Speaker 2: answers and we don't have these powers we can reach

1789
01:36:04,640 --> 01:36:07,479
Speaker 2: out to at all, what are we going to do? Well?

1790
01:36:07,520 --> 01:36:09,200
Speaker 3: I think this movie does have a sort of answer

1791
01:36:09,280 --> 01:36:11,519
Speaker 3: to that, And the answer is what we will do

1792
01:36:11,680 --> 01:36:16,560
Speaker 3: is every year more desperately increase the violent intensity of

1793
01:36:16,600 --> 01:36:20,960
Speaker 3: our rituals. Yeah, anyway, Lord summer El says, come, it

1794
01:36:21,040 --> 01:36:23,400
Speaker 3: is time to keep your appointment with the wicker Man.

1795
01:36:24,200 --> 01:36:27,479
Speaker 3: And here we get the final revelation, which is just

1796
01:36:28,080 --> 01:36:31,559
Speaker 3: blood chilling. They bring Sergeant Howie up above the top

1797
01:36:31,600 --> 01:36:34,360
Speaker 3: of the hill and he sees out in the field

1798
01:36:34,720 --> 01:36:37,479
Speaker 3: above the cliffs, and you can hear the waves crashing

1799
01:36:37,520 --> 01:36:39,960
Speaker 3: on the rocks down below at the sea. There's this

1800
01:36:40,000 --> 01:36:44,120
Speaker 3: big field, and he sees the wicker Man itself of

1801
01:36:44,160 --> 01:36:49,680
Speaker 3: the title, a giant man made out of wood, a

1802
01:36:49,880 --> 01:36:54,400
Speaker 3: man shaped figure with sacrificial animals loaded inside in the

1803
01:36:54,560 --> 01:36:57,920
Speaker 3: arms and legs, and an open chamber, a cell in

1804
01:36:58,000 --> 01:37:00,320
Speaker 3: its chest, with the door hanging open, and then the

1805
01:37:00,439 --> 01:37:03,880
Speaker 3: ladder leading up to it, and bonfires lit and ready

1806
01:37:04,000 --> 01:37:08,000
Speaker 3: all around, and Sergeant how He begins to scream. It's

1807
01:37:08,160 --> 01:37:12,599
Speaker 3: it's amazing the way he completely loses his composure and

1808
01:37:12,640 --> 01:37:16,240
Speaker 3: he just begins to shriek. Oh God, oh Jesus Christ.

1809
01:37:16,880 --> 01:37:18,559
Speaker 2: Yeah, I mean it becomes obvious that you know, there

1810
01:37:18,600 --> 01:37:21,400
Speaker 2: wasn't any fruit to harvest. This is all everyone's.

1811
01:37:21,000 --> 01:37:21,600
Speaker 3: Been working on.

1812
01:37:22,000 --> 01:37:23,559
Speaker 2: Yes, on this island. This is it.

1813
01:37:23,960 --> 01:37:27,040
Speaker 3: This is the product of their labor. Now they've been

1814
01:37:27,080 --> 01:37:31,040
Speaker 3: planning this and building the Wickerman and yeah, and this

1815
01:37:31,200 --> 01:37:35,320
Speaker 3: is it. So they load Sergeant how He inside the Wickerman,

1816
01:37:35,439 --> 01:37:37,719
Speaker 3: and they light the fires to make him a burnt

1817
01:37:37,760 --> 01:37:41,679
Speaker 3: offering and to their gods. And meanwhile, so like how

1818
01:37:41,680 --> 01:37:45,840
Speaker 3: He inside, he begins to scream and scream and protest.

1819
01:37:46,120 --> 01:37:48,559
Speaker 3: He also tries to sing the hymn from the church

1820
01:37:49,200 --> 01:37:51,639
Speaker 3: service at the beginning. He sings, the Lord's my shepherd.

1821
01:37:51,680 --> 01:37:54,600
Speaker 3: I'll not want he leadeth me, He leadeth me the

1822
01:37:54,640 --> 01:37:57,720
Speaker 3: quiet waters by, But eventually it leads to him just

1823
01:37:57,760 --> 01:38:02,040
Speaker 3: shrieking out into the sky as the fires climb up

1824
01:38:02,120 --> 01:38:07,840
Speaker 3: higher and higher into the cage. And meanwhile, Lord summerle

1825
01:38:07,880 --> 01:38:10,759
Speaker 3: and the people of the island are singing a jolly song.

1826
01:38:11,520 --> 01:38:14,920
Speaker 3: They are out there. They're out there like holding hands

1827
01:38:14,960 --> 01:38:17,960
Speaker 3: and swinging their hands back and forth and singing. Summer

1828
01:38:18,080 --> 01:38:21,880
Speaker 3: is a coming in loudly sing cuckoo. There's so many

1829
01:38:21,880 --> 01:38:24,120
Speaker 3: things I could say about the scene, but it's it

1830
01:38:24,240 --> 01:38:26,520
Speaker 3: is something you just kind of need to see for itself.

1831
01:38:26,840 --> 01:38:29,000
Speaker 3: We alluded in the last episode to how it is

1832
01:38:29,040 --> 01:38:33,280
Speaker 3: one of the bleakest and most terrifying endings of any

1833
01:38:33,320 --> 01:38:37,320
Speaker 3: movie I can think of, but also it is shot

1834
01:38:37,360 --> 01:38:40,160
Speaker 3: with a real beauty. Like we see the sun setting

1835
01:38:40,280 --> 01:38:44,040
Speaker 3: and there's a kind of bleariness in the sky as

1836
01:38:44,040 --> 01:38:47,000
Speaker 3: it's all and we see the as the the Wickerman

1837
01:38:47,120 --> 01:38:48,920
Speaker 3: burns up and we see it kind of beginning to

1838
01:38:48,960 --> 01:38:53,280
Speaker 3: collapse and come down, and as the people are singing

1839
01:38:53,360 --> 01:38:57,760
Speaker 3: and they're singing with real joy and hope, and I

1840
01:38:58,160 --> 01:39:00,120
Speaker 3: don't even know how to put it. It's it's it's

1841
01:39:00,200 --> 01:39:01,759
Speaker 3: just such a powerful effect.

1842
01:39:01,960 --> 01:39:03,599
Speaker 2: I mean, we're on the we're on the shore, we're

1843
01:39:03,640 --> 01:39:05,479
Speaker 2: on the coast of this island. It's like we're on

1844
01:39:05,520 --> 01:39:07,759
Speaker 2: the edge of the world, We're on the edge of time.

1845
01:39:08,320 --> 01:39:10,680
Speaker 2: And yeah, this this final closing shot, I think is

1846
01:39:10,720 --> 01:39:13,639
Speaker 2: probably It's one of, if not the finest closing shots

1847
01:39:13,680 --> 01:39:16,600
Speaker 2: I've ever seen in a film, where they're singing and

1848
01:39:16,680 --> 01:39:19,040
Speaker 2: we were viewing it from behind, and we see the

1849
01:39:19,080 --> 01:39:22,519
Speaker 2: head of the burning Wickerman collapse in on itself with

1850
01:39:22,680 --> 01:39:26,439
Speaker 2: kind of a roar and a crackle as we reveal

1851
01:39:26,520 --> 01:39:29,320
Speaker 2: the setting sun behind it, and then you know, we

1852
01:39:29,720 --> 01:39:32,360
Speaker 2: close out, we close out the credits, and we get

1853
01:39:32,360 --> 01:39:35,800
Speaker 2: one last look at that that image, that kind of

1854
01:39:35,920 --> 01:39:40,080
Speaker 2: wooden icon of the sublime face of Nuada, the sun

1855
01:39:40,160 --> 01:39:43,240
Speaker 2: god of these people, and we're just left to ponder

1856
01:39:43,280 --> 01:39:44,080
Speaker 2: what it all means.

1857
01:39:44,760 --> 01:39:47,439
Speaker 3: Do you think it works or do you think that

1858
01:39:47,479 --> 01:39:49,960
Speaker 3: they're going to put Christopher Lee in the Wickerman next year?

1859
01:39:50,600 --> 01:39:54,160
Speaker 2: Oh? I don't know. I mean, I've honestly, I've honestly

1860
01:39:54,240 --> 01:39:57,200
Speaker 2: never really thought about what actually comes after this. Like,

1861
01:39:57,240 --> 01:39:59,400
Speaker 2: I feel like the movie does such a great job

1862
01:40:00,160 --> 01:40:04,960
Speaker 2: of nicely tying up the narrative and then like handing

1863
01:40:04,960 --> 01:40:07,120
Speaker 2: it to us to think about our own self and

1864
01:40:07,160 --> 01:40:10,439
Speaker 2: our own world. You know, I mean not to say

1865
01:40:10,439 --> 01:40:12,600
Speaker 2: you can't think about that. I was actually reading just

1866
01:40:12,640 --> 01:40:16,840
Speaker 2: the other day that Robin Hardy wrote a novelization of

1867
01:40:16,880 --> 01:40:19,120
Speaker 2: the film that came out years later, and there's like

1868
01:40:19,160 --> 01:40:21,120
Speaker 2: a little bit at the end where they find how

1869
01:40:21,160 --> 01:40:24,519
Speaker 2: he's airplane and it's like implied maybe he got away

1870
01:40:24,560 --> 01:40:28,400
Speaker 2: and lived. It's like, oh my god, what a horrible

1871
01:40:28,439 --> 01:40:31,559
Speaker 2: way to actually tack ending, to tack onto all of this,

1872
01:40:31,800 --> 01:40:34,000
Speaker 2: Like that's I mean, maybe it works within the context

1873
01:40:34,040 --> 01:40:36,280
Speaker 2: of the written form. I haven't read it, so I

1874
01:40:36,320 --> 01:40:39,920
Speaker 2: can't actually speak to it, but in summary, it sounds

1875
01:40:39,920 --> 01:40:41,280
Speaker 2: like a terrible idea.

1876
01:40:41,520 --> 01:40:43,960
Speaker 3: Was it you who was telling me that the producers

1877
01:40:44,000 --> 01:40:46,759
Speaker 3: had the idea because they hated the ending? Obviously, the

1878
01:40:46,760 --> 01:40:49,560
Speaker 3: producers had the idea that, like, what if a rainstorm

1879
01:40:49,640 --> 01:40:52,280
Speaker 3: breaks out and it puts out the fire in the

1880
01:40:52,280 --> 01:40:55,240
Speaker 3: Wickerman and saves him, you know, it's a miracle.

1881
01:40:55,479 --> 01:40:58,840
Speaker 2: Oh my gosh, that would have been terrible. Yeah, Like,

1882
01:40:58,880 --> 01:41:01,200
Speaker 2: it's just such a it's a it's a very bleak ending,

1883
01:41:01,240 --> 01:41:05,360
Speaker 2: but such a perfect ending like this. I think the

1884
01:41:05,960 --> 01:41:08,200
Speaker 2: film would still have its following, obviously, and it would

1885
01:41:08,200 --> 01:41:10,200
Speaker 2: still be great in its own way. But yeah, if

1886
01:41:10,200 --> 01:41:12,439
Speaker 2: you've gone with a different ending here, it just wouldn't

1887
01:41:12,439 --> 01:41:14,840
Speaker 2: have been punctuated quite the same way. It wouldn't. It

1888
01:41:14,840 --> 01:41:16,519
Speaker 2: would have robbed it of part of its power.

1889
01:41:16,840 --> 01:41:19,120
Speaker 3: Okay, we've been going a long time. I think we've

1890
01:41:19,160 --> 01:41:21,479
Speaker 3: got to call it on The Wickerman all.

1891
01:41:21,479 --> 01:41:24,839
Speaker 2: Right, Yep, we've loaded it all up in the effigy

1892
01:41:25,000 --> 01:41:27,880
Speaker 2: and we're going to set it alight now. So we

1893
01:41:27,920 --> 01:41:30,400
Speaker 2: would obviously love to hear from everyone out there if

1894
01:41:30,400 --> 01:41:32,880
Speaker 2: you have even more thoughts as we did about The

1895
01:41:32,920 --> 01:41:36,640
Speaker 2: Wickerman from seventy three or any other version of the

1896
01:41:36,640 --> 01:41:41,280
Speaker 2: Wickerman sequels, remakes and so forth, novelizations. If you have

1897
01:41:41,360 --> 01:41:44,040
Speaker 2: read the novelization right in and give me more information

1898
01:41:44,080 --> 01:41:46,519
Speaker 2: about what we were talking about here, all of that

1899
01:41:46,680 --> 01:41:49,640
Speaker 2: is fair game. Other full car films you'd like us

1900
01:41:49,640 --> 01:41:52,360
Speaker 2: to cover, just right in, we'd love to hear from you.

1901
01:41:52,760 --> 01:41:54,880
Speaker 2: Just a reminder that Stuff to Blow Your Mind is

1902
01:41:54,920 --> 01:41:57,360
Speaker 2: primarily a science and culture podcast with core episodes on

1903
01:41:57,400 --> 01:41:59,639
Speaker 2: Tuesdays and Thursdays, but on Fridays we set aside most

1904
01:41:59,680 --> 01:42:02,200
Speaker 2: serious concerns to just talk about a weird film here

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Speaker 2: on Weird House Cinema. If you want to follow Weird

1906
01:42:05,240 --> 01:42:10,320
Speaker 2: House Cinema online, you can go to Stbim podcast on Instagram,

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Speaker 2: but also on letterboxed. We are weird House. That's our

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Speaker 2: user name there, and you can follow our list of

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Speaker 2: all the films we've covered so far, and sometimes a

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Speaker 2: peek ahead at what comes next.

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Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

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Speaker 3: If you would like to get in touch with us

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Speaker 3: with feedback on this episode or any other, to suggest

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Speaker 3: a topic for the future, or just to say hello,

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Speaker 3: you can email us at contact at stuff to Blow

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Speaker 3: your Mind dot com.

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Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

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01:42:42,760 --> 01:42:45,559
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.