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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema, we're going to be talking

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Speaker 3: about the nineteen sixty seven Soviet folk horror film V,

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Speaker 3: a story about a ne'er do well seminary student who

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Speaker 3: bumbles his way into a blood curdling confrontation with witchcraft,

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Speaker 3: living death, and the armies of Hell via some absolutely

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Speaker 3: amazing nineteen sixty special effects. V was based on an

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Speaker 3: eighteen thirty five novella by the author Nikolai Gogel, and

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Speaker 3: it gets its title from the name of a monstrous

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Speaker 3: creature that the protagonist is brought face to face with

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Speaker 3: at the climax of the story. So in the author's

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Speaker 3: note of the top of the novella, Gogol describes the

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Speaker 3: V as the king of the gnomes, whose eyelashes reached

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Speaker 3: to the ground. Do you get much of a gnome

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Speaker 3: feeling when we finally see the V in this thing.

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Speaker 2: In a well, in a sense, cinematically, it reminds me,

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Speaker 2: It reminds me of the was it a Nome King

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Speaker 2: and returned to oz.

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Speaker 3: Oh. Yes, he's called the Nome King without a g

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Speaker 3: it's just me.

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Speaker 2: Yeah, So it did remind me of that. I was

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Speaker 2: digging into this a little bit. And the story is

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Speaker 2: supposedly derived in large part from Ukrainian folklore. Gogel was

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Speaker 2: himself Ukrainian born, and we can think of this as

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Speaker 2: as very much Ukrainian story that we're discussing here. But

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Speaker 2: apparently there's some discussion as to whether nomes actually factor

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Speaker 2: into Ukrainian folklore. So it's very possible that the entity

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Speaker 2: V is the element in the story that is pretty

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Speaker 2: much a creation.

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Speaker 3: Of the author.

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Speaker 2: Here.

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Speaker 3: This is Gogel's.

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Speaker 2: Creation, and we can look to various things he might

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Speaker 2: have drawn upon from other cultures, like it has again

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Speaker 2: like what I eyelids or eyebrows that cover eyes that

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Speaker 2: cast a deadly ray. This reminds us a little bit

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Speaker 2: of in Irish mythology, the King of the Fomorians, whose

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Speaker 2: lids are like that. I think his brow hangs down

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Speaker 2: over a terrifying gaze. And if you raise that brow,

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Speaker 2: if others raise it for him, then he can decimate

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Speaker 2: the enemy.

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Speaker 3: I don't know what exact word go Gol would have

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Speaker 3: used that these authors translate as Gnome in that note,

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Speaker 3: but yeah, the king of the gnomes at least in

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Speaker 3: that English rendering.

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Speaker 2: Well, I love the way it comes together, and we'll

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Speaker 2: be talking about this a lot, because, yeah, everything comes

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Speaker 2: to a head in this movie when V actually takes

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Speaker 2: the stage and there's just it's just such a weird entity.

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Speaker 2: The presentation is so strange and does feel, you know, certainly,

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Speaker 2: you know, to my eyes, and I think to maybe

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Speaker 2: like international viewers at least, but also perhaps viewers of

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Speaker 2: the film as well, like there's just an otherworldly weirdness

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Speaker 2: to it. And that's exactly what you should feel when, like,

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Speaker 2: you know, unknown darkness is boiling up and overcoming of

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Speaker 2: all of the things that you thought were going to

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Speaker 2: protect you from their ravaging power.

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Speaker 3: Though I do think it's interesting that the title of

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Speaker 3: this movie and of the novella that it's based on,

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Speaker 3: is taken from the name of a creature which does

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Speaker 3: not appear until the very last few minutes of the film,

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Speaker 3: and unless I missed something, is never mentioned before that.

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Speaker 3: It's not like, oh, you're going to have to meet

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Speaker 3: V soon. I don't think VE ever comes up until

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Speaker 3: right before he summoned.

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Speaker 2: Oh no, he's just he's the culmination of the film.

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Speaker 2: But he's not a culmination and anyone's really prepared for.

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Speaker 3: But well, I mean that's sort of a great metaphor

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Speaker 3: for what the movie is overall. This this film is

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Speaker 3: quite famous for storing up its demonic payload for a

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Speaker 3: sudden and overwhelming deployment in the final few minutes. And Rob,

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Speaker 3: you and I had discussed before, you know, should we

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Speaker 3: do this movie. It had come up, but I think

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Speaker 3: we had both read people saying on the internet, like

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Speaker 3: it's kind of slow for most of the runtime, though

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Speaker 3: the last few minutes are amazing. I'm going to stick

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Speaker 3: up for the rest of the runtime. I think this

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Speaker 3: is a pretty great movie end to end. Though it's

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Speaker 3: hard to deny that it really saves it really saves

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Speaker 3: the bang for the very end.

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Speaker 2: That is true, absolutely. I mean, we've discussed other films

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Speaker 2: that do this as well. I mean the last fifteen

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Speaker 2: minutes of the film, the least ten minutes of the film,

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Speaker 2: or even just the last act, Like that's the time

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Speaker 2: when you have your monster go on a full rampage

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Speaker 2: and it's fully visible to the audience. That's the time

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Speaker 2: also when key bad guys might melt or explode. So

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Speaker 2: it makes sense that you would save your special effects

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Speaker 2: fiasco for that portion of a film. But I agree

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Speaker 2: with you. I think that I think that the rest

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Speaker 2: of the film absolutely holds up and lays the groundwork

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Speaker 2: and builds up to that moment in a wonderful way.

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Speaker 2: But yeah, it is It is still definitely the case

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Speaker 2: that most of the clips you might have been exposed

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Speaker 2: to concerning this film, the images you might have been

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Speaker 2: exposed to, and certainly some of the poster are you know,

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Speaker 2: the main selling point it is from the final like

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Speaker 2: ten minutes or so of the movie. And so on

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Speaker 2: one hand, like all of that is the thing that

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Speaker 2: you absolutely use to pull someone in, and if you're

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Speaker 2: telling somebody about v you're going to say, hey, make

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Speaker 2: sure you watch those last ten minutes. But you almost

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Speaker 2: do it a disservice because it kind of can lead

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Speaker 2: to this idea that it might be lopsided and it's

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Speaker 2: maybe a slog to get there. But yeah, there's still

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Speaker 2: plenty of weirdness, there's humor, beautifully sought shot sets and locations,

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Speaker 2: so the journey is worth it.

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Speaker 3: As well. Yeah, I totally agree. The special effects centerpiece

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Speaker 3: is the climax of the film, but there's a lot

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Speaker 3: to love before we get to that. Like you say,

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Speaker 3: it is very funny throughout and even beyond that, the

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Speaker 3: ending is not the only thing where there's something really

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Speaker 3: beautiful and interesting to look at. Like throughout the movie,

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Speaker 3: there are there's some beautiful cinematography. There's some great locations.

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Speaker 3: I love the chapel where the climax takes place. We

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Speaker 3: get there early on and get to survey all the

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Speaker 3: different little nooks and crannies of it. In earlier scenes.

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Speaker 3: There are some beautiful uses of actual outdoor locations, some

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Speaker 3: really cool indoor for outdoor sets that highlight these these

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Speaker 3: blue slavic atmospherics that just make the world feel like

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Speaker 3: it's humming with witchcraft. Yeah, I loved it. I thought

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Speaker 3: this is a great film. Yeah.

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Speaker 2: Plus, not all the special effects are saved for encounters

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Speaker 2: with the unseen world. We also get a great scene

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Speaker 2: where our lead character just gets terribly drunk with some Cossacks,

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Speaker 2: and so we get some great like spinning room sequences

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Speaker 2: like triple vision, you know, and it has nothing to do

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Speaker 2: with magic. It's just that he's really, really drunk.

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Speaker 3: The Cossack Boss appears coming out of three different doors

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Speaker 3: at the same time. Yes, it's pretty great that vodka

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Speaker 3: will get you.

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Speaker 2: Yeah, there's a lot of vodka drinking in this so

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Speaker 2: so yeah.

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Speaker 3: There.

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Speaker 2: On one hand, there's a lot of unknowable folk magic

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Speaker 2: in this film. And our our our lead character is

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Speaker 2: fresh out of seminary, and so he is.

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Speaker 3: He is a man of the cloth, but he's often

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Speaker 3: described I think as a philosopher. Philoh.

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Speaker 2: They're always calling him that. They're saying, hey, philosopher, come

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Speaker 2: over here.

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Speaker 3: That may be a kind of mocking title, and I'm

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Speaker 3: not entirely sure how that's intended. But yes, he's a

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Speaker 3: he's a seminary student. He is studying with the clergy.

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Speaker 3: I don't know if his plan is to become a

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Speaker 3: member of the clergy, but he's he's he knows how

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Speaker 3: to say prayers and read books. Yeah.

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Speaker 2: But the interesting thing, and we'll come back to this

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Speaker 2: a number of times, I think, is for this seminary.

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Speaker 2: And his faith is not enough, like the power. I

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Speaker 2: don't know if the power of God is even enough,

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Speaker 2: but at least his his faith in the power of

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Speaker 2: God is not enough to save him in the end,

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Speaker 2: and he has marginal success with like a magic circle,

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Speaker 2: which doesn't feel expressly Christian. And of course the main action,

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Speaker 2: like the most terrifying things in the picture, take place

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Speaker 2: within this kind of gloomy, creepy chapel that's decorated with

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Speaker 2: night gallery worthy paintings of Christ and saints. And so, yeah,

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Speaker 2: we see him in the midst of these trials. We

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Speaker 2: see him appeal to race and nationalism as often as

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Speaker 2: he appeals to God. And you know, he's reminding himself

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Speaker 2: of his own faith and his resolve and the power

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Speaker 2: of Christ. But none of this is sufficient to stave

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Speaker 2: off the forces of darkness.

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Speaker 3: Yeah, he does try to find recourse with a cossack

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Speaker 3: as afraid of nothing, but yeah, yeah he is afraid.

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Speaker 3: I like that you pointed out the creepiness of the

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Speaker 3: paintings in the church, and this is before the church

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Speaker 3: transforms into monster mode. It does go through a transformation

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Speaker 3: where all of the paintings turn into paintings of devils

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Speaker 3: and stuff, and we can revisit that later, but even

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Speaker 3: in its daytime form, this church has images of the

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Speaker 3: face of Jesus Christ that are so morbid and horrible.

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Speaker 3: It has this green, frowning Christ is just looking on

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Speaker 3: you with absolute contempt. Yeah.

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Speaker 2: Creepiest chapels since a Lucarde.

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Speaker 3: Yeah here, but I agree with what you were saying here.

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Speaker 3: I was actually going to say myself that in this film,

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Speaker 3: it feels almost like Christianity is treated as simply an

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Speaker 3: alternate form of witchcraft. It's like the good witchcraft. I

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Speaker 3: think a lot of horror movies that have this type

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Speaker 3: of conflict, that throw a priest or a member of

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Speaker 3: the clergy into conflict with witchcraft or the devil, have

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Speaker 3: a framework that you could call magic versus religion, highlighting

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Speaker 3: the different in form and structure of magic versus religion.

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Speaker 3: So in these types of stories, magic can be viewed

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Speaker 3: as a chaotic, transactional system of power in which witches

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Speaker 3: and sorcerers get strength by recruiting the help of these

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Speaker 3: dangerous supernatural beings. And then you contrast that with religion,

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Speaker 3: which is viewed as orderly, maybe inherently good, maybe a

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Speaker 3: fully integrated thing in the lives of the practitioners, unlike magic,

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Speaker 3: which is simply for sourcing power, and that the power

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Speaker 3: from the religion comes from a predictable God and his

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Speaker 3: earthly authorities. But in the Coma's Christianity does not feel

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Speaker 3: like an orderly system that is integrated and meaningful throughout

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Speaker 3: his whole life. Did you get that feeling at all?

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Speaker 2: Right? Right, he is in a very shaky place with it.

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Speaker 2: And I guess there's a lot of commentary that seems

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Speaker 2: to be going on here, some some criticism of religion

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Speaker 2: as a whole, and you know, pretty much all of

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Speaker 2: the religious figures in the in the movie are portrayed

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Speaker 2: as being well drunks in many cases, as being letcherus.

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Speaker 2: Like the movie opens with them like what breaking, Like

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Speaker 2: the seminary is breaking for the summer or something, and

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Speaker 2: they let the students loose and they're like already like ones,

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Speaker 2: like trying to get a goat to read the Bible.

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Speaker 2: They head out, they start drinking, they're like chasing women

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Speaker 2: across the fields, like they're just these do not feel

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Speaker 2: like men of God that have been or even future

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Speaker 2: men of God that have been released. So there's there's

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Speaker 2: always this sense of hypocrisy with the way the people

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Speaker 2: of Christ are portrayed in this film.

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Speaker 3: Yes, the seminary students as a whole at the beginning

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Speaker 3: are portrayed as an almost malevolent, chaotic force, like so

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Speaker 3: you said the opening scene, the rector comes out of

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Speaker 3: the seminary and lets them loose for vacation, and as

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Speaker 3: soon as they're released, yet they're just they swarm over

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Speaker 3: the town, looting and pillaging. So and I do want

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Speaker 3: to emphasize that it's not just like a little harmless mischief.

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Speaker 3: They are like an attacking army that is sacking a city.

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Speaker 3: So they run to the market and they steal everything

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Speaker 3: that's not tied down in the market. They are shown

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Speaker 3: kidnapping women from the fields doing their laundry. It's just mayhem.

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Speaker 2: Yeah, though with all of this with an intended comedic flare,

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Speaker 2: that needs to be sure.

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Speaker 3: And you know, we're used to seeing stories where the

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Speaker 3: clergy are depicted ironically, maybe highlighting vices.

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Speaker 2: Or yet like the drug friar is a common trope.

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Speaker 3: For exactly yeah, totally ways that the clergy might fail

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Speaker 3: to live up to what they preach. But I think

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Speaker 3: this is significantly over that line. It's it's it is

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Speaker 3: still played for comedy, but it's more than just some

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Speaker 3: light ribbing of the priesthood. These these seminary students are

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Speaker 3: like locusts.

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Speaker 2: Yeah yeah, and I think in some of this we

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Speaker 2: can detect a bit of that so yet era atheism

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Speaker 2: in its portrayal of organized religion here as lazy, hypocritical,

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Speaker 2: and ineffective. And it's interesting to potentially see that here

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Speaker 2: because we've definitely looked at plenty of examples of cinema

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Speaker 2: from different countries under different regimes and different standards and practices,

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Speaker 2: which you know, interfere with not portraying like, say, you know,

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Speaker 2: the Christian faith or some sort of some sort of

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Speaker 2: set of morals as being superior to the forces of darkness,

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Speaker 2: or as being like some sort of backbone you can

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Speaker 2: depend upon.

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Speaker 3: Yeah, so here you might be getting a counterposed type

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Speaker 3: of anti clerical piety. But yeah, so anyway, I just

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Speaker 3: to come back and finish the thought I started a

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Speaker 3: minute minute ago about the Christianity and the movie feeling

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Speaker 3: not really like a religion, but feeling like an alternate

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Speaker 3: form of witchcraft. I think when you actually get into

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Speaker 3: the exorcism or prayer scenes, you know, we're used to

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Speaker 3: seeing these exorcism scenes in movies like The Exorcist. We've

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Speaker 3: done exorcism movies on weird House before, where there's a

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Speaker 3: spiritual battle, often of words going on, a ritual, rituals

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Speaker 3: fighting back and forth, or ritual versus a kind of

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Speaker 3: projection of profanity by the demonic forces. A lot of

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Speaker 3: times those scenes emphasize the confidence and the rectitude of

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Speaker 3: the orderly forces representing the whole apparatus of religion. This

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Speaker 3: movie doesn't feel like that at all. Instead, it feels

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Speaker 3: like Coma is trying to hold up the Christian rights

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Speaker 3: and prayers as this tenuous system of apotropaic magic. It's like,

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Speaker 3: these are the charms and hexes he knows that can, hopefully,

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Speaker 3: with a bit of luck, keep the devils from killing him.

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Speaker 3: And it doesn't work. Yeah.

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Speaker 2: In a way, you could almost imagine him expecting Satan

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Speaker 2: to make an appearance at the end, but there's no Satan.

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Speaker 2: There's the He might be like, who the heck is

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Speaker 2: the you know, I wasn't prepared for this at all,

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Speaker 2: and the creatures of the night would just tell him, yeah,

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Speaker 2: you were not.

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Speaker 3: There is no day, only the yeah. Yeah.

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Speaker 2: Now it's worth addressing that this is a then Soviet

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Speaker 2: Union film produced by Moss Film, based on the work

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Speaker 2: of a Russian author of Ukrainian origin, set and filmed

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Speaker 2: for outdoor scenes at least in what is now Ukraine,

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Speaker 2: and featuring a mix of Soviet actors and filmmakers, some

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Speaker 2: of whom had Ukrainian origins, So it has a distinctive

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Speaker 2: Ukrainian flair. But again, film during the nineteen sixties when

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Speaker 2: Ukraine was part of the USSR, and set during the

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Speaker 2: eighteenth century when this part of Ukraine was ruled by

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Speaker 2: the Cossack Hetmanate. So at any rate, referring to the

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Speaker 2: film and the work of Gogel, it is highly accurate

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Speaker 2: to call this a work of Ukrainian full.

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Speaker 3: Car Yeah, very much Ukrainian in setting and feeling. But

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Speaker 3: I think it'd be also worth addressing the second half

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Speaker 3: of what you said, they're Ukrainian full corror? Is this

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Speaker 3: full corror? I encountered this movie actually because it came

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Speaker 3: with a box set that I recently ordered, Rob. I

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Speaker 3: think maybe you were going to bring this up anyway.

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Speaker 3: I ordered the Severin Films collection called All the Haunts

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Speaker 3: Be Hours, a compendium of full corr Volume one, Rob,

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Speaker 3: Have you check this out?

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Speaker 2: I have looked at it longingly, because you know, it

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Speaker 2: looks amazing. It has what fifteen discs in it. It's

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Speaker 2: films from different eras, different countries, all kind of loosely

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Speaker 2: under the umbrella of full car.

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Speaker 3: I haven't watched all the movies in it yet, but

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Speaker 3: I think you could argue that this film selection is

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Speaker 3: very much curated. It's not just one of these collections

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Speaker 3: where what movies could we get, let's throw them together,

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Speaker 3: And the films feel very carefully selected to kind of

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Speaker 3: tell a story about what full core is and could be.

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Speaker 3: And in that sense, it is accompanied by a there's

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Speaker 3: a documentary called A Woodland's Dark and Days Bewitched. This

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Speaker 3: is a documentary about the history of full corror as

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Speaker 3: a genre. Especially interesting because full corror, though it's a

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Speaker 3: term we use now all the time, when a lot

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Speaker 3: of the movies within the genre of full carr were made,

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Speaker 3: there wasn't. This wasn't really a concept people were referring to.

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Speaker 3: A lot of the people didn't think I'm making a

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Speaker 3: full corror movie. It's like a more recently applied term.

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Speaker 2: Usually, yeah, yeah, you would be more I think likely

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Speaker 2: to have a film like this described. It might be

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Speaker 2: described as horror, but probably more likely to be described

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Speaker 2: as fantasy or a fairy tale.

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Speaker 3: Yes, exactly. It is the folk tale framing or the

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Speaker 3: fairy tale or folk tale framing that I think probably

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Speaker 3: would have come first to mind of the filmmakers in

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Speaker 3: this case, and in a lot of the earlier films

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Speaker 3: that are now thought of as full core. But there's

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Speaker 3: like in this documentary about what full core is and

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Speaker 3: where it comes from there, or all these descriptive phrases

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Speaker 3: people are coming up with to to try to describe

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Speaker 3: the genre. And I thought that part was very interesting,

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Speaker 3: just in how a full car is one of these

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Speaker 3: things that I had never thought to try and define before,

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Speaker 3: but I totally know it when I see it, but

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Speaker 3: I couldn't come up with a comprehensive definition of what fits.

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Speaker 3: It has very fuzzy edges, but those edges overlap somehow

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Speaker 3: with witchcraft, paganism, anything pre Christian resurfacing in the Christian context,

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Speaker 3: and also is very much about like buried layers of

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Speaker 3: previous culture or the past being sort of unearthed and

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Speaker 3: brought up into a more modern context. And putting all

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Speaker 3: these things together, I was starting to wonder, wait a minute,

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Speaker 3: is the actually full car? It feels like full car

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Speaker 3: it feels like it fits. Maybe it's just that it's

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Speaker 3: one thing about the clash between Christianity and witchcraft, like

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Speaker 3: that alone is enough to get you there. Yeah.

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Speaker 2: Yeah, I mean it's it's one of those things it's

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Speaker 2: hard to nail down, you know. We can there's certain

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Speaker 2: things we can we can look at and we can

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Speaker 2: be like, oh, yeah, of course blood on Satan's clause

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Speaker 2: it's full Car or you know, or the wicker Man.

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Speaker 2: But then you you can also bring up a movie

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Speaker 2: like Texas Chainsaw Massacre, which I think you can make

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Speaker 2: a case for there being some strong Full Car elements

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Speaker 2: there without it being like so clearly full Car that

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Speaker 2: you you know that you would you would never miss it.

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Speaker 3: That's sort of yeah. Well, it's interesting because a lot

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Speaker 3: of the key elements of Full Care are are also

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Speaker 3: very common in movies that people don't think of as

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Speaker 3: Full Car. For example, one of the key things, like

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Speaker 3: one of the most common plot structures of Full Car

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Speaker 3: people critics identified this a lot is a naive city

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Speaker 3: dwelling outsider or scholar goes into a rural place and

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Speaker 3: discovers a pagan conspiracy or some kind of some kind

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Speaker 3: of ancient or superstitious horror taking place there. Yeah, now

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Speaker 3: that you know, that's kind of the wicker Man that's

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Speaker 3: in a lot of these full Correr movies of the

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Speaker 3: past and the craft, yeah, and of the present. But

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Speaker 3: it's also just like you start thinking about it, Oh,

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Speaker 3: that's so much horror. That's things we don't think of

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Speaker 3: full car at all. Lots of slasher movies or about

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Speaker 3: like a naive city dweller who goes out into a

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Speaker 3: rural place and stumbles upon some kind of conspiracy. I

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Speaker 3: guess in some of those cases where where we have

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Speaker 3: these slasher movies that have that structure but don't feel

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Speaker 3: like full cor I was trying to think, why don't

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Speaker 3: they feel like full core. Maybe it's just because there

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Speaker 3: are no real elements of like displaced ancient culture or

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Speaker 3: rituals or paganism. Maybe you need that kind of element

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Speaker 3: to cement the full core connection.

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Speaker 2: Yeah, yeah, I think so. And so like with Texas

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Speaker 2: Chainsaw Masacre, you get some slight hints of that with

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Speaker 2: some of like the the little dabbles that they decorate

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Speaker 2: the trees with, you know it, but it's not really

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Speaker 2: dwelled upon. It's kind of faint. And then there are

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Speaker 2: some other bells and whistles in that film that kind

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Speaker 2: of make you look in different directions, like astrological data

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Speaker 2: and so forth.

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Speaker 3: This movie, actually, now that I think about it, it

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Speaker 3: does have that structure too, doesn't it. Because Coma is

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Speaker 3: from the city. He's a he's a student, a scholar

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Speaker 3: from Kiev who goes out into the country and stumbles

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Speaker 3: across some witchcraft. So I didn't even think about that

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Speaker 3: when I started describing this, but that is right. That

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Speaker 3: is basically the structure of the plot.

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Speaker 2: Yeah, the locals are making him do something. He tries

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Speaker 2: to run away from his responsibilities. They catch him and

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Speaker 2: they lock him back in and they make him do

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Speaker 2: his job.

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Speaker 3: Yeah, yeah, you could.

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Speaker 2: You could easily imagine like a Southern exploitation treatment of

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Speaker 2: this exact same plot.

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Speaker 3: So that's interesting. Yeah, student wanders off campus from Liberty

399
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Speaker 3: University and has like Southern Baptist student is out there,

400
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Speaker 3: runs into some country witchcraft. Yeah I love it.

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Speaker 2: Yeah, somebody do it all right, So if you would

402
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Speaker 2: like to watch v for yourself or rewatch it as

403
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Speaker 2: the case may be, As Joe mentioned, that excellent box

404
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Speaker 2: set All the Haunts Be Hours, a compendium of Folk

405
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Speaker 2: Are Volume one. I believe there are two volumes out now,

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Speaker 2: it might be three. There might be three, Okay, well,

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Speaker 2: Volume one's the one you want to pick up if

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Speaker 2: you want to watch this film. This episode came together

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Speaker 2: rather quickly, so I ended up watching it via the

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Speaker 2: Eternal Family streaming service, which I also highly recommend a

411
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Speaker 2: great source for weird housey selections from around the world.

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Speaker 2: All right, shall we get into the people behind this film?

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Speaker 3: Yes? Please? All right?

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Speaker 2: So I believe there may be more to this story.

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Speaker 2: But essentially we have two credited directors, co directors, co writers.

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Speaker 2: We have Konstantine Ershov who lived nineteen thirty five through

417
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Speaker 2: nineteen eighty four, and then we have Gyorghi Kropatschev, who

418
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Speaker 2: lived nineteen thirty through twenty sixteen. Both Russian born. Kropatschev

419
00:23:13,600 --> 00:23:15,760
Speaker 2: would go on to make his mark in production design,

420
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Speaker 2: mostly active through around twenty thirteen, and Ershov continue to

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Speaker 2: act right and direct into the nineteen eighties. But the

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00:23:24,400 --> 00:23:27,159
Speaker 2: various materials I've been looking at point to a third,

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Speaker 2: more experienced man being the primary creative force behind this film.

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Speaker 2: In fact, you'll see his name listed as a third

425
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Speaker 2: director if you look at the IMDb listings for the film.

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Speaker 2: I don't know that every database listed this way, but

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Speaker 2: this individual is Alexander Patushko. He is credited as a writer,

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Speaker 2: as a creative advisor, and the special effects supervisor on

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Speaker 2: the film. He lived nineteen hundred through nineteen seventy three.

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Speaker 3: I would kind of say that even if all he

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Speaker 3: did were the special effects, he should probably get a

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Speaker 3: co director's credit this movie. Yes, that's how important the

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Speaker 3: special effects are.

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Speaker 2: Yeah. Yeah, he's a big deal Potushko. I don't think

435
00:24:12,440 --> 00:24:14,320
Speaker 2: we've mentioned him on the show before, but we have

436
00:24:14,520 --> 00:24:16,960
Speaker 2: at least referenced some of the films that he's done,

437
00:24:17,040 --> 00:24:19,800
Speaker 2: or one in particular that will be known to certainly

438
00:24:19,840 --> 00:24:22,400
Speaker 2: known to international audiences and known to Mystery Science Theater

439
00:24:22,480 --> 00:24:27,920
Speaker 2: three thousand fans. So Patushko was a Ukrainian born filmmaker

440
00:24:28,320 --> 00:24:32,160
Speaker 2: internationally recognized for a cinematic vision and for his contributions

441
00:24:32,240 --> 00:24:35,760
Speaker 2: to animation. This was obviously towards the very end of

442
00:24:35,760 --> 00:24:38,240
Speaker 2: his life and career, so he'd only write and direct

443
00:24:38,320 --> 00:24:41,760
Speaker 2: one more project, the nineteen seventy two fantasy epic Russwin

444
00:24:42,240 --> 00:24:45,960
Speaker 2: and Ludmila. But his prior work goes back to nineteen

445
00:24:46,000 --> 00:24:49,600
Speaker 2: twenty eight, and features such fantasy classics as nineteen thirty

446
00:24:49,680 --> 00:24:52,439
Speaker 2: nine's The Golden Key, which I'm to understand is kind

447
00:24:52,440 --> 00:24:56,400
Speaker 2: of a Russian Pinocchio. Nineteen forty six is The Stone Flower,

448
00:24:56,800 --> 00:25:00,480
Speaker 2: nineteen fifty six is The Sword and the Dragon, nineteen

449
00:25:00,520 --> 00:25:03,560
Speaker 2: fifty nine's The Day the Earth Froze. These last two

450
00:25:03,640 --> 00:25:06,600
Speaker 2: titles again should be familiar to MSD three K fans,

451
00:25:06,640 --> 00:25:09,400
Speaker 2: as they were featured on that program.

452
00:25:09,640 --> 00:25:11,800
Speaker 3: I remember those titles, but I don't know if I've

453
00:25:11,920 --> 00:25:12,960
Speaker 3: seen those episodes.

454
00:25:13,440 --> 00:25:18,840
Speaker 2: Oh they're pretty great, like there were films that I've

455
00:25:18,880 --> 00:25:21,320
Speaker 2: never had the chance to see either of them in

456
00:25:21,960 --> 00:25:25,880
Speaker 2: refined quality. I believe, at least The Sword and the Dragon. No, no,

457
00:25:26,000 --> 00:25:27,920
Speaker 2: I believe The Day the Earth Froze as well. I

458
00:25:28,000 --> 00:25:30,720
Speaker 2: think believe both of these films are available now on

459
00:25:30,840 --> 00:25:36,359
Speaker 2: disc in beautiful restored quality, and I really need to

460
00:25:36,359 --> 00:25:38,320
Speaker 2: see them. But I remember even watching them in kind

461
00:25:38,359 --> 00:25:43,040
Speaker 2: of grimy quality on MSD three K, and certainly enjoying them.

462
00:25:43,080 --> 00:25:46,800
Speaker 2: Through the riffing. You could tell like, Wow, this is

463
00:25:46,920 --> 00:25:50,440
Speaker 2: like really an amazing fantasy vision that we have here.

464
00:25:51,280 --> 00:25:53,480
Speaker 2: So yeah, I really need to go back and give

465
00:25:53,520 --> 00:25:57,240
Speaker 2: them a second look. Because potishco is and was largely

466
00:25:57,280 --> 00:26:00,919
Speaker 2: regarded as a master, often compared to Walt Disney and

467
00:26:01,040 --> 00:26:06,720
Speaker 2: Mario Bava for different reasons. He's largely credited with transforming

468
00:26:06,760 --> 00:26:09,320
Speaker 2: this film into the form that makes it so memorable,

469
00:26:09,840 --> 00:26:13,720
Speaker 2: including its amazing effects. He was behind its wire stunts

470
00:26:13,760 --> 00:26:18,640
Speaker 2: which hold up just exceedingly well, and it's overall horror pacing.

471
00:26:19,119 --> 00:26:22,159
Speaker 2: Film historian Tim Lucas has written about this. I did

472
00:26:22,240 --> 00:26:23,919
Speaker 2: not have a chance to read it myself, but I

473
00:26:24,000 --> 00:26:27,840
Speaker 2: understand he wrote an essay about this and about Potushcode

474
00:26:27,880 --> 00:26:31,639
Speaker 2: that was included in the printed material that came with

475
00:26:32,080 --> 00:26:35,080
Speaker 2: like a European or a British release of the film V.

476
00:26:36,520 --> 00:26:38,840
Speaker 3: This is a film where I would say that the

477
00:26:38,960 --> 00:26:44,600
Speaker 3: special effects in themselves feel like an art form. I

478
00:26:44,640 --> 00:26:46,960
Speaker 3: don't know. Maybe actually that comes off as just denigrating

479
00:26:47,000 --> 00:26:49,160
Speaker 3: special effects in general, which I don't mean to do.

480
00:26:49,280 --> 00:26:52,639
Speaker 3: But sometimes I feel like special effects are there is

481
00:26:52,680 --> 00:26:56,639
Speaker 3: certainly art to them in that the director presents a

482
00:26:56,720 --> 00:26:59,560
Speaker 3: vision and the special effects tried to help the director

483
00:26:59,600 --> 00:27:04,520
Speaker 3: achieve that vision, looking more or less realistic in camera somehow,

484
00:27:05,800 --> 00:27:07,560
Speaker 3: And that's not really what we get here. This is

485
00:27:07,560 --> 00:27:10,440
Speaker 3: a movie where I feel a strong sense of style

486
00:27:11,119 --> 00:27:14,679
Speaker 3: and sort of personal charisma of the artist in the

487
00:27:14,720 --> 00:27:16,720
Speaker 3: special effects, if that makes any sense.

488
00:27:17,040 --> 00:27:21,040
Speaker 2: Yeah, yeah, absolutely, yeah. The special effects of this film

489
00:27:21,240 --> 00:27:25,000
Speaker 2: are just are essentially kind of its heart in a

490
00:27:25,080 --> 00:27:28,640
Speaker 2: very authentic way. Not in a sense like the rest

491
00:27:28,640 --> 00:27:30,520
Speaker 2: of the movie is forgettable, but the effects are great.

492
00:27:30,560 --> 00:27:33,919
Speaker 2: Like the effects feel like the beating heart of the picture.

493
00:27:34,440 --> 00:27:35,600
Speaker 3: Yeah, all right.

494
00:27:36,000 --> 00:27:40,840
Speaker 2: So again, both co directors and Putushco have writing credits

495
00:27:40,880 --> 00:27:43,320
Speaker 2: on this but again it is based on this original

496
00:27:43,359 --> 00:27:47,240
Speaker 2: novella by Nikolai Gogel, who lived eighteen oh nine through

497
00:27:47,280 --> 00:27:51,120
Speaker 2: eighteen fifty two, Russian writer of Ukrainian origin, best known

498
00:27:51,240 --> 00:27:55,080
Speaker 2: both within Russian and Ukrainian literature as well as internationally

499
00:27:55,160 --> 00:27:58,800
Speaker 2: for his works on political corruption, notably the eighteen forty

500
00:27:58,840 --> 00:28:02,640
Speaker 2: two novels Dead Soles and The Government Inspector. But he's

501
00:28:02,680 --> 00:28:06,119
Speaker 2: also highly regarded for his short fiction, including eighteen thirty

502
00:28:06,119 --> 00:28:10,359
Speaker 2: five's Diary of a Madman, which some of you are familiar.

503
00:28:10,440 --> 00:28:12,680
Speaker 2: This is about a character named Ozzy who turns into

504
00:28:12,720 --> 00:28:16,480
Speaker 2: a werewolf. I think, yeah, yeah, no actual connection I

505
00:28:16,560 --> 00:28:19,520
Speaker 2: think to the nineteen eighty one Ozzy Osbourne album. But

506
00:28:19,600 --> 00:28:22,000
Speaker 2: he was on a bark at the moon seiking a

507
00:28:22,000 --> 00:28:23,520
Speaker 2: bark at the moon. Yeah, I was bark at the

508
00:28:23,520 --> 00:28:25,159
Speaker 2: moon on Diary of a Mad Man. Or is that

509
00:28:25,680 --> 00:28:27,800
Speaker 2: that's what I was asking? I don't, oh, I don't remember.

510
00:28:27,840 --> 00:28:30,600
Speaker 2: Some of the Azzie albums kind of bleed together in

511
00:28:30,640 --> 00:28:35,560
Speaker 2: my memory. But Gogel was also influenced, especially in his

512
00:28:35,600 --> 00:28:39,480
Speaker 2: early works, by Ukrainian folklore and in general relished in

513
00:28:39,520 --> 00:28:43,560
Speaker 2: the grotesque. V is a novella included in a volume

514
00:28:43,600 --> 00:28:48,880
Speaker 2: two of his collected tales titled Mirgorod. Gogel died before

515
00:28:48,920 --> 00:28:51,320
Speaker 2: the advent of the cinematic age, but his work has

516
00:28:51,360 --> 00:28:56,000
Speaker 2: been adapted many many times. V especially has been adapted

517
00:28:56,640 --> 00:28:58,760
Speaker 2: like I couldn't even really put together a full list

518
00:28:58,840 --> 00:29:01,760
Speaker 2: because like it begins as early as nineteen oh nine

519
00:29:02,400 --> 00:29:04,760
Speaker 2: and then as recently as twenty fourteen, there was a

520
00:29:04,800 --> 00:29:09,360
Speaker 2: Russian Ukrainian film known internationally as Forbidden Empire for some reason,

521
00:29:10,000 --> 00:29:13,400
Speaker 2: but it had an international cast. It has spawned two sequels.

522
00:29:13,440 --> 00:29:16,480
Speaker 2: There's like V two, where they go to China, and

523
00:29:16,520 --> 00:29:19,479
Speaker 2: then V three I think is coming in which they

524
00:29:19,520 --> 00:29:22,480
Speaker 2: go to India. There's no reason for there to be

525
00:29:22,520 --> 00:29:25,920
Speaker 2: that much international travel in a V film, it seems

526
00:29:25,960 --> 00:29:26,240
Speaker 2: to me.

527
00:29:26,440 --> 00:29:28,800
Speaker 3: Which is the one you showed me that did it

528
00:29:28,880 --> 00:29:33,200
Speaker 3: have Jackie Chan and Arnold Schwarzenegger and Charles Dance.

529
00:29:33,560 --> 00:29:36,600
Speaker 2: Yes, yes, that's the second one, the V film that

530
00:29:36,680 --> 00:29:39,280
Speaker 2: takes place in China, and I can't remember what its

531
00:29:39,280 --> 00:29:45,800
Speaker 2: international release title is, but they remove V from it. Yeah. Yeah,

532
00:29:45,840 --> 00:29:49,040
Speaker 2: there's not only is there are there contemporary V films

533
00:29:49,080 --> 00:29:52,120
Speaker 2: series in Russian cinema. There there are also a couple

534
00:29:52,120 --> 00:29:55,240
Speaker 2: of films in which Gogel himself his position is like

535
00:29:55,280 --> 00:29:58,719
Speaker 2: a crime solving figure, which I found kind of interesting.

536
00:29:58,720 --> 00:30:00,000
Speaker 3: Like Abraham Lincoln Vampire.

537
00:30:00,560 --> 00:30:02,240
Speaker 2: Yeah, yeah, I mean, like, yeah, not to say that

538
00:30:02,320 --> 00:30:05,840
Speaker 2: it's it's I mean, it's exactly the same thing that

539
00:30:06,040 --> 00:30:09,160
Speaker 2: US cinema has done and will continue to do. But

540
00:30:09,480 --> 00:30:12,720
Speaker 2: you know it's interesting to see that same energy but

541
00:30:12,840 --> 00:30:16,040
Speaker 2: with like different literary and historical figures.

542
00:30:16,320 --> 00:30:16,920
Speaker 3: Yeah.

543
00:30:17,040 --> 00:30:21,200
Speaker 2: So the story by gogle here V or the V

544
00:30:22,080 --> 00:30:25,000
Speaker 2: was also apparently the inspiration or a partial inspiration for

545
00:30:25,120 --> 00:30:29,080
Speaker 2: Mario Baba's nineteen sixty film Black Sunday, and as Anne

546
00:30:29,080 --> 00:30:31,560
Speaker 2: Bilson points out in an article for Sid and Sound

547
00:30:31,560 --> 00:30:36,840
Speaker 2: from April of twenty twenty one, this film the sixty

548
00:30:36,840 --> 00:30:40,560
Speaker 2: seven can be seen as quote a patriotic correction to

549
00:30:40,640 --> 00:30:44,240
Speaker 2: Mario Baba's Black Sunday, based only very loosely on the

550
00:30:44,320 --> 00:30:46,920
Speaker 2: same Gogle story and seen in the USSR as a

551
00:30:46,960 --> 00:30:51,400
Speaker 2: Hollywood travesty of the source material, probably because the version

552
00:30:51,400 --> 00:30:54,560
Speaker 2: distributed there was the American Duboe.

553
00:30:54,960 --> 00:30:58,040
Speaker 3: We just did Black Sunday last October on the show

554
00:30:58,200 --> 00:31:00,640
Speaker 3: for a Weird House Cinema. That's the one where Barber

555
00:31:00,720 --> 00:31:03,880
Speaker 3: Steel makes the most demonic face a person has ever made.

556
00:31:04,320 --> 00:31:06,400
Speaker 2: Yeah, and so I mean, you can you can see

557
00:31:06,440 --> 00:31:11,080
Speaker 2: where Bob was at least partially inspired by this tale,

558
00:31:11,160 --> 00:31:15,160
Speaker 2: by this novella, but the the final form of Black Sunday,

559
00:31:15,480 --> 00:31:17,920
Speaker 2: and certainly that the structure of the thing is rather

560
00:31:17,960 --> 00:31:22,000
Speaker 2: different from these Yeah, but you can also you can

561
00:31:22,120 --> 00:31:26,080
Speaker 2: understand where where some people might take offensive they thought

562
00:31:26,240 --> 00:31:29,560
Speaker 2: that source material was being mistreated in some fashion.

563
00:31:29,840 --> 00:31:32,440
Speaker 3: It almost feels like a spiritual adaptation. I'm trying to

564
00:31:32,480 --> 00:31:36,280
Speaker 3: think what elements of the plot are actually poured it over.

565
00:31:36,320 --> 00:31:39,360
Speaker 3: It doesn't feel like much. Creepy lady, Yeah, there's a

566
00:31:39,400 --> 00:31:40,080
Speaker 3: creepy lady.

567
00:31:40,160 --> 00:31:43,560
Speaker 2: Okay, Yeah, all right, let's get into the cast a

568
00:31:43,600 --> 00:31:46,080
Speaker 2: little bit here. We've been talking about Coma already. He

569
00:31:46,280 --> 00:31:50,479
Speaker 2: is the seminarian he's our main character. He is going

570
00:31:50,560 --> 00:31:56,080
Speaker 2: to be our our unwitting and unprepared soldier of light,

571
00:31:56,800 --> 00:31:59,520
Speaker 2: standing up against the darkness, rocking a hell of a

572
00:31:59,520 --> 00:32:02,000
Speaker 2: bowl cut, Yes, an amazing bowl cut. And he is

573
00:32:02,040 --> 00:32:06,600
Speaker 2: played by Leonid Karavolyyov. He lived nineteen thirty six through

574
00:32:06,600 --> 00:32:10,360
Speaker 2: twenty twenty two Russian and Soviet actor, best known internationally

575
00:32:10,400 --> 00:32:13,120
Speaker 2: for this film, but his other films include the seventy

576
00:32:13,120 --> 00:32:19,160
Speaker 2: three comedy Ivan Vasselevich Changes his profession, and also an

577
00:32:19,200 --> 00:32:22,160
Speaker 2: adaptation of Robinson Crusoe from the same year, in which

578
00:32:22,160 --> 00:32:26,040
Speaker 2: he plays Robin Zona Cruso. So I'm very much the

579
00:32:26,240 --> 00:32:29,920
Speaker 2: Russian treatment of the tale. He was highly regarded in

580
00:32:29,960 --> 00:32:33,440
Speaker 2: Russian Soviet cinema, active in film from fifty nine through

581
00:32:33,480 --> 00:32:36,960
Speaker 2: twenty sixteen. He did tons of films, but only a

582
00:32:36,960 --> 00:32:40,640
Speaker 2: few genre titles, and this being the only thing you

583
00:32:40,680 --> 00:32:45,080
Speaker 2: could even classify as horror. Of note, I was just

584
00:32:45,120 --> 00:32:47,800
Speaker 2: looking at some of the less well known films that

585
00:32:47,840 --> 00:32:50,000
Speaker 2: he did, some of the later day films that he did.

586
00:32:50,360 --> 00:32:55,440
Speaker 2: He played dead Moro's father, Frost, in a nineteen ninety

587
00:32:55,520 --> 00:32:59,080
Speaker 2: seven film called New Year's Story, which somehow involves secret

588
00:32:59,120 --> 00:33:04,040
Speaker 2: alien fighting government operatives and a Santa figure hiding in

589
00:33:04,120 --> 00:33:09,560
Speaker 2: playing sight at a Gorky Studios annual Christmas event. Okay,

590
00:33:09,800 --> 00:33:12,160
Speaker 2: so yeah, that sounds interesting.

591
00:33:12,520 --> 00:33:13,600
Speaker 3: Merry Christmas.

592
00:33:13,920 --> 00:33:15,800
Speaker 2: But at any rate, as far as this film goes,

593
00:33:16,560 --> 00:33:18,880
Speaker 2: I can't keep enough braves in his performance. I think

594
00:33:19,040 --> 00:33:23,440
Speaker 2: coma is he's very sympathetic, but obviously he's riddled with dow.

595
00:33:24,040 --> 00:33:28,600
Speaker 2: He's seeking momentarily momentary bursts of bravery through faith, through

596
00:33:29,120 --> 00:33:32,720
Speaker 2: ethnic heritage, through strong drink, and none of this is

597
00:33:32,840 --> 00:33:35,360
Speaker 2: enough to protect him, you know. And and yet again

598
00:33:35,360 --> 00:33:37,840
Speaker 2: he's sympathetic, and he hits just the right comedic beats

599
00:33:38,120 --> 00:33:40,959
Speaker 2: to keep everything from feeling too doomy, even though our

600
00:33:40,960 --> 00:33:43,600
Speaker 2: trajectory is very much one of doom. But that you know,

601
00:33:43,640 --> 00:33:46,720
Speaker 2: it's there are enough comedic slip ups along the way

602
00:33:46,760 --> 00:33:51,680
Speaker 2: that it doesn't feel I don't know, it doesn't feel bad.

603
00:33:52,160 --> 00:33:55,520
Speaker 2: It feels it feels like a commentary on human nature.

604
00:33:55,840 --> 00:34:00,680
Speaker 3: Yeah, I think partially because it has the folk tale

605
00:34:00,760 --> 00:34:03,880
Speaker 3: structure and because it's leavened with all this comedy. Even

606
00:34:03,920 --> 00:34:06,360
Speaker 3: though the ending is very dark, it doesn't leave you

607
00:34:06,400 --> 00:34:09,840
Speaker 3: feeling bad. I agree. Yeah, I walked away from this

608
00:34:09,920 --> 00:34:12,360
Speaker 3: movie with a song in my heart, even though Koma

609
00:34:12,400 --> 00:34:16,480
Speaker 3: dies spoiler. Yeah, it just it just felt all right.

610
00:34:16,880 --> 00:34:19,200
Speaker 2: Yeah, I mean afterwards, you just drink a little vodka,

611
00:34:19,280 --> 00:34:21,480
Speaker 2: you eat a few raw onions, and you're you good

612
00:34:21,520 --> 00:34:21,719
Speaker 2: to go.

613
00:34:22,000 --> 00:34:24,440
Speaker 3: The man that was great, who is that? Which character

614
00:34:24,480 --> 00:34:26,439
Speaker 3: is that? He's got the green onions in his hand.

615
00:34:26,440 --> 00:34:27,640
Speaker 3: He's just munching on one.

616
00:34:27,840 --> 00:34:29,960
Speaker 2: It's one of the two old friends from the seminary

617
00:34:29,960 --> 00:34:32,560
Speaker 2: and they're like, yeah, yeah, he really got screwed on

618
00:34:32,640 --> 00:34:35,120
Speaker 2: that one. And then they're supposed to be like painting

619
00:34:35,120 --> 00:34:37,799
Speaker 2: something and doing some repairs, but they're just setting around

620
00:34:37,880 --> 00:34:40,279
Speaker 2: drinking vodka and one of them is eating like raw

621
00:34:40,320 --> 00:34:42,000
Speaker 2: green onions that he's picked or something.

622
00:34:42,200 --> 00:34:44,360
Speaker 3: The rector goes by, he's like, are y' all working?

623
00:34:44,440 --> 00:34:46,680
Speaker 3: And they're like, yeah, we're working, but they're just sitting

624
00:34:46,680 --> 00:34:50,319
Speaker 3: there drinking with their onions. All right.

625
00:34:50,400 --> 00:34:54,880
Speaker 2: So we have mentioned the creepy woman in this. Yeah,

626
00:34:54,960 --> 00:34:56,719
Speaker 2: we'll get into the reasoning, but you know, she is

627
00:34:56,760 --> 00:35:00,200
Speaker 2: a witch, but she's also like an undead body. She

628
00:35:00,360 --> 00:35:04,280
Speaker 2: is dead, a beautiful woman who has died and doesn't

629
00:35:04,320 --> 00:35:06,480
Speaker 2: seem to want to stay dead. We'll get into the

630
00:35:06,520 --> 00:35:09,800
Speaker 2: details of this, but the younger version of this character

631
00:35:11,760 --> 00:35:15,040
Speaker 2: were given a name for her it's Panachka I Believe,

632
00:35:15,840 --> 00:35:20,040
Speaker 2: and she is played by Natalia Varley born nineteen forty

633
00:35:20,080 --> 00:35:24,520
Speaker 2: seven as of this recording, still with Romanian born Russian

634
00:35:24,520 --> 00:35:27,799
Speaker 2: and Soviet film and theater actress active in film from

635
00:35:27,880 --> 00:35:32,080
Speaker 2: nineteen sixty two through twenty twenty two. This was only

636
00:35:32,120 --> 00:35:35,400
Speaker 2: her third feature length film credit, following her role in

637
00:35:35,480 --> 00:35:40,240
Speaker 2: a popular nineteen sixty four comedy titled Kidnapping a Caucasian Style,

638
00:35:40,640 --> 00:35:44,640
Speaker 2: which launched her career. So it's interesting that both of

639
00:35:44,640 --> 00:35:49,080
Speaker 2: our leads here, either beforehand or afterwards, would definitely make

640
00:35:49,120 --> 00:35:52,719
Speaker 2: their mark in comedy in Russian comedy as well as

641
00:35:52,760 --> 00:35:55,800
Speaker 2: this notable entry in what you could call full car.

642
00:35:56,200 --> 00:36:01,520
Speaker 3: Well, she has an almost clownish press in many of

643
00:36:01,560 --> 00:36:06,000
Speaker 3: her scenes, actually the horror scenes, like with just a

644
00:36:06,080 --> 00:36:08,359
Speaker 3: little tweak in tone, you could see a lot of

645
00:36:08,360 --> 00:36:12,360
Speaker 3: her behavior going from scary to funny. I'm thinking about

646
00:36:12,400 --> 00:36:16,480
Speaker 3: the way that in the haunting scenes she is often

647
00:36:17,239 --> 00:36:20,360
Speaker 3: kind of jittering up and down and kind of jittering

648
00:36:20,400 --> 00:36:27,120
Speaker 3: and chattering. It's it's a fantastically physical performance that you

649
00:36:27,160 --> 00:36:31,240
Speaker 3: could see working well for like comedy, miming almost.

650
00:36:31,239 --> 00:36:34,280
Speaker 2: Yeah yeah, And she does really feel like a live wire.

651
00:36:34,400 --> 00:36:38,839
Speaker 2: She is animated by strange energy. Yeah, that we can't

652
00:36:38,920 --> 00:36:43,920
Speaker 2: quite understand, and even her designs are are kind of unknown.

653
00:36:44,480 --> 00:36:46,279
Speaker 2: We'll get into that when we start talking about the

654
00:36:46,800 --> 00:36:51,399
Speaker 2: Three Nights, the diseased Queen of the May Yeah, let's

655
00:36:51,400 --> 00:36:55,720
Speaker 2: see others. The other characters of note playing her father,

656
00:36:56,080 --> 00:37:02,839
Speaker 2: the Satnik a centurion, is this act Alexei Glazurin who

657
00:37:02,920 --> 00:37:05,560
Speaker 2: lived nineteen twenty two through nineteen seventy one, Soviet actor

658
00:37:05,600 --> 00:37:09,120
Speaker 2: who credits include mostly supporting roles in various war dramas

659
00:37:09,200 --> 00:37:13,000
Speaker 2: throughout the fifties, sixties, and seventies. But coming back to

660
00:37:13,040 --> 00:37:15,040
Speaker 2: what you were talking about, the line between comedy and

661
00:37:15,080 --> 00:37:19,080
Speaker 2: horror in acting, we also have this old witch that

662
00:37:19,200 --> 00:37:24,000
Speaker 2: shows up early in the picture and she is played

663
00:37:24,080 --> 00:37:29,120
Speaker 2: by Nikolay Kutuzov who lived eighteen ninety seven through nineteen

664
00:37:29,200 --> 00:37:32,360
Speaker 2: eighty one. So we've seen this before in Russian cinema.

665
00:37:32,520 --> 00:37:35,799
Speaker 2: Thinking back to Jack Frost, which we previously covered on

666
00:37:35,840 --> 00:37:38,759
Speaker 2: Weird House, the casting of a male actor as a

667
00:37:38,800 --> 00:37:44,120
Speaker 2: female witch, And I haven't read anything about this in

668
00:37:44,239 --> 00:37:46,160
Speaker 2: Russian cinema, but I'm assuming this was just kind of

669
00:37:46,160 --> 00:37:49,120
Speaker 2: standard practice at the time, which would seem to run

670
00:37:49,200 --> 00:37:51,200
Speaker 2: kind of counter to what we're used to in other

671
00:37:51,239 --> 00:37:55,880
Speaker 2: cinematic traditions, where you absolutely give older witch and crone

672
00:37:55,960 --> 00:37:59,279
Speaker 2: roles to female performers, because I mean it's part of

673
00:37:59,360 --> 00:38:02,560
Speaker 2: the classic Hollywood type casting for older actresses, right.

674
00:38:03,239 --> 00:38:04,279
Speaker 3: Yeah.

675
00:38:04,320 --> 00:38:09,360
Speaker 2: But while in sixty five's Jack Frost in Morosco, Bobby

676
00:38:09,400 --> 00:38:12,600
Speaker 2: Yaga is played by a male actor for largely comedic reasons,

677
00:38:12,640 --> 00:38:16,520
Speaker 2: and it is it is a great performance here the

678
00:38:16,600 --> 00:38:21,359
Speaker 2: old Witch is played mostly straight and menacing by this

679
00:38:21,440 --> 00:38:25,640
Speaker 2: male performer. You know he's there. There is a little

680
00:38:25,719 --> 00:38:28,759
Speaker 2: humor in the way this Witch is presented early on,

681
00:38:28,960 --> 00:38:31,160
Speaker 2: but for the most part, this is this is an

682
00:38:31,239 --> 00:38:34,600
Speaker 2: ominous figure. This is not someone that's there just for

683
00:38:34,880 --> 00:38:37,560
Speaker 2: a bunch of like silly gags or anything.

684
00:38:38,000 --> 00:38:41,319
Speaker 3: Yes, the Witch is presented ambiguously at first. I mean,

685
00:38:41,320 --> 00:38:44,520
Speaker 3: she's not overtly frightening when we first see her. As

686
00:38:44,719 --> 00:38:48,040
Speaker 3: there's a scene where she has she takes in these

687
00:38:48,160 --> 00:38:50,799
Speaker 3: lost seminary students into her house and she's like you

688
00:38:50,840 --> 00:38:53,320
Speaker 3: have to sleep in different rooms and they're like okay.

689
00:38:54,120 --> 00:38:56,920
Speaker 3: And then she appears Tacoma the student in the middle

690
00:38:56,920 --> 00:38:59,120
Speaker 3: of the night and he's like, I don't know what

691
00:38:59,120 --> 00:39:01,279
Speaker 3: what do you want what's going on? And then he

692
00:39:01,360 --> 00:39:03,840
Speaker 3: thinks she's trying to seduce him, But she's not trying

693
00:39:03,840 --> 00:39:06,520
Speaker 3: to seduce him. She's about to turn him into a

694
00:39:06,520 --> 00:39:08,520
Speaker 3: broomstick and ride him through the skies.

695
00:39:08,719 --> 00:39:10,919
Speaker 2: Yeah, that's the thing. Yeah, that's a great point about

696
00:39:10,960 --> 00:39:12,960
Speaker 2: the ambiguity of it. Yeah, because it's not clear. It's like,

697
00:39:13,040 --> 00:39:14,960
Speaker 2: is she she trying to seduce them? Does he want

698
00:39:15,080 --> 00:39:17,560
Speaker 2: just she wants to drink his blood? No, it's something

699
00:39:17,640 --> 00:39:22,360
Speaker 2: that makes even less sense to us mortals. She wants

700
00:39:22,400 --> 00:39:24,239
Speaker 2: to ride him like a horse. She wants to jump

701
00:39:24,280 --> 00:39:28,480
Speaker 2: on his shoulders and ride him through the sky. So,

702
00:39:28,800 --> 00:39:31,560
Speaker 2: and we can't possibly understand the reasons for this.

703
00:39:31,920 --> 00:39:35,759
Speaker 3: And she's not you know, she's kind of smiling when

704
00:39:35,800 --> 00:39:38,120
Speaker 3: she comes to him. So I don't know that this character.

705
00:39:38,200 --> 00:39:40,759
Speaker 3: There's this very creepy sense of like, I don't know

706
00:39:40,800 --> 00:39:42,600
Speaker 3: what's going on here. I don't know what to make

707
00:39:42,640 --> 00:39:46,120
Speaker 3: of this. Yeah, and she becomes much more frightening actually

708
00:39:46,160 --> 00:39:49,400
Speaker 3: after having transformed into into her young form, which I

709
00:39:49,400 --> 00:39:54,680
Speaker 3: guess I have questions here about what was the Witch's

710
00:39:54,840 --> 00:39:58,840
Speaker 3: true form. Maybe we can revisit that at the ending,

711
00:39:58,880 --> 00:40:01,160
Speaker 3: because do you remember how but at the end. After

712
00:40:02,080 --> 00:40:05,439
Speaker 3: after the cock crows and all of the evil magic collapses,

713
00:40:05,840 --> 00:40:09,759
Speaker 3: we see Panachka, we see the girl. She falls back

714
00:40:09,840 --> 00:40:12,839
Speaker 3: into her coffin, and the coffin kind of explodes and

715
00:40:12,880 --> 00:40:16,120
Speaker 3: she's transformed into the old witch form again. And I

716
00:40:16,120 --> 00:40:18,760
Speaker 3: thought that the young form was her true form, because

717
00:40:18,760 --> 00:40:22,239
Speaker 3: that's the form recognized by her father. But if she

718
00:40:22,400 --> 00:40:25,480
Speaker 3: transforms back into the witch form, is that the true

719
00:40:25,560 --> 00:40:28,360
Speaker 3: her was the young form some kind of mask. I

720
00:40:28,400 --> 00:40:28,840
Speaker 3: don't know.

721
00:40:29,760 --> 00:40:32,439
Speaker 2: It doesn't completely make sense, but it feels like there's

722
00:40:32,440 --> 00:40:34,879
Speaker 2: some sort of underlying sense to it, and I think

723
00:40:34,960 --> 00:40:38,000
Speaker 2: that's that's why it works so well. But but yeah,

724
00:40:38,040 --> 00:40:42,000
Speaker 2: it's like we can't quite understand what the connection here is. Yeah,

725
00:40:42,120 --> 00:40:44,080
Speaker 2: all right, we mentioned that our main character gets drunk

726
00:40:44,120 --> 00:40:46,879
Speaker 2: with a bunch of Cossacks that he travels with them.

727
00:40:47,120 --> 00:40:50,160
Speaker 2: The Cossacks here are played by an ensemble of Ukrainian actors.

728
00:40:50,480 --> 00:40:54,160
Speaker 2: The main one Dorosh. He's the big guy with this

729
00:40:54,680 --> 00:40:58,799
Speaker 2: signature Ukrainian haircut, the oscelidet. I may be saying that wrong.

730
00:40:58,880 --> 00:41:02,520
Speaker 2: Please please forgive my non Slavic tongue here, as I

731
00:41:02,520 --> 00:41:06,200
Speaker 2: struggle with some of these words. But this guy was

732
00:41:06,280 --> 00:41:09,680
Speaker 2: apparently a pretty big deal in Ukrainian theater. His name

733
00:41:09,800 --> 00:41:14,759
Speaker 2: was Petro Veklyirov, who lived nineteen eleven through nineteen ninety four.

734
00:41:16,320 --> 00:41:18,640
Speaker 2: I think he also plays one of the characters of

735
00:41:18,680 --> 00:41:21,600
Speaker 2: the seminary. I think he might have had another role

736
00:41:21,640 --> 00:41:23,800
Speaker 2: in the picture as well, but his other credits include

737
00:41:23,840 --> 00:41:27,560
Speaker 2: sixty one Song of the Forest. This is another cinematic

738
00:41:27,560 --> 00:41:32,759
Speaker 2: adaptation of Ukrainian folk tales or fairy tales, but a

739
00:41:32,880 --> 00:41:36,480
Speaker 2: very big guy, stern faced. He's definitely one of the

740
00:41:36,480 --> 00:41:37,439
Speaker 2: ones that's there too.

741
00:41:38,160 --> 00:41:38,640
Speaker 3: He's the guy.

742
00:41:38,880 --> 00:41:40,759
Speaker 2: This is the one who comes out of the three

743
00:41:40,800 --> 00:41:44,600
Speaker 2: doors when Coma is drunk. And he's also one of

744
00:41:44,640 --> 00:41:48,640
Speaker 2: the primary characters who intercepts Koma when he tries to

745
00:41:48,719 --> 00:41:50,400
Speaker 2: run away from his responsibilities.

746
00:41:51,640 --> 00:41:55,400
Speaker 3: Like this guy, very solid, good drinking buddy apparently.

747
00:41:56,880 --> 00:41:59,240
Speaker 2: And finally the music here. The composition is by Kiaran

748
00:41:59,280 --> 00:42:03,120
Speaker 2: Kotschaturan lived nineteen twenty one through twenty eleven, Russian composer

749
00:42:03,440 --> 00:42:06,880
Speaker 2: of Armenian descent, active from nineteen fifty through two thousand.

750
00:42:07,640 --> 00:42:11,000
Speaker 2: His work in film also included a number of animated shorts.

751
00:42:11,480 --> 00:42:14,480
Speaker 2: But I thought the score was quite good here, really

752
00:42:14,480 --> 00:42:18,720
Speaker 2: effective in some of those creepy tension building sequences.

753
00:42:19,080 --> 00:42:23,239
Speaker 3: There were certain points where it sounded like the strings

754
00:42:23,280 --> 00:42:27,239
Speaker 3: in Night on Bald Mountains. Yes, yeah, absolutely, yeah, but

755
00:42:27,360 --> 00:42:30,359
Speaker 3: before the main theme comes in, just kind of in

756
00:42:30,360 --> 00:42:35,360
Speaker 3: that perpetual, like hovering high strings mode. Yeah, it's a

757
00:42:35,480 --> 00:42:36,200
Speaker 3: very good music.

758
00:42:36,239 --> 00:42:49,120
Speaker 4: I thought, Okay, are you ready to talk about the plot.

759
00:42:49,239 --> 00:42:50,319
Speaker 2: Yeah, let's jump into it.

760
00:42:50,640 --> 00:42:52,680
Speaker 3: So for this movie, I'm not going to do a

761
00:42:52,719 --> 00:42:56,560
Speaker 3: close scene by scene narration like we do for some films. Instead,

762
00:42:56,800 --> 00:42:59,080
Speaker 3: I think we should do a quick summary of the

763
00:42:59,120 --> 00:43:01,160
Speaker 3: plot as a whole, and then come back and look

764
00:43:01,160 --> 00:43:04,920
Speaker 3: at some notable scenes and choices, especially the hauntings later on.

765
00:43:06,160 --> 00:43:10,799
Speaker 3: But to do the summary, the story begins at a

766
00:43:10,840 --> 00:43:14,160
Speaker 3: seminary in Kiev when all of the students are being

767
00:43:14,200 --> 00:43:17,879
Speaker 3: sent home for vacation, and we fall in with three

768
00:43:17,920 --> 00:43:23,360
Speaker 3: students in particular Koliava Gora, Bets and Coma. And while

769
00:43:23,440 --> 00:43:26,360
Speaker 3: making the journey home, the three of these students become

770
00:43:26,640 --> 00:43:29,800
Speaker 3: lost at night, and they take shelter at a cottage

771
00:43:30,200 --> 00:43:33,279
Speaker 3: belonging to an old woman who allows them to come

772
00:43:33,280 --> 00:43:36,360
Speaker 3: inside but forces them to sleep each in separate parts

773
00:43:36,360 --> 00:43:40,160
Speaker 3: of the house. Koma is sent to sleep in the barn,

774
00:43:40,640 --> 00:43:43,440
Speaker 3: but at night he is awakened by the old woman,

775
00:43:43,800 --> 00:43:47,040
Speaker 3: who seems at first maybe to be trying to seduce him.

776
00:43:47,040 --> 00:43:49,400
Speaker 3: He doesn't really know what she wants. And then Koma

777
00:43:49,520 --> 00:43:53,880
Speaker 3: tries to escape, but he finds himself hypnotized or entranced,

778
00:43:54,320 --> 00:43:58,000
Speaker 3: and then, to his horror, the old woman climbs up

779
00:43:58,160 --> 00:44:02,240
Speaker 3: on his back, takes hold of a broom and begins

780
00:44:02,280 --> 00:44:05,840
Speaker 3: to ride Coma like an animal, first out into the

781
00:44:05,880 --> 00:44:09,680
Speaker 3: meadows beyond the house, and then finally up into the sky,

782
00:44:10,239 --> 00:44:12,879
Speaker 3: and they fly around in the moonlight while the witch

783
00:44:12,960 --> 00:44:14,719
Speaker 3: is squatting on his shoulders.

784
00:44:15,880 --> 00:44:18,120
Speaker 2: It's a wonderful sequence. And again this is just an

785
00:44:18,120 --> 00:44:22,040
Speaker 2: example of how this film gets gets plenty weird rather quickly,

786
00:44:22,200 --> 00:44:25,400
Speaker 2: so don't believe that this is a movie with only

787
00:44:25,520 --> 00:44:27,920
Speaker 2: like ten minutes of weirdness capping the end of things.

788
00:44:28,719 --> 00:44:30,800
Speaker 3: While all of this is happening, of course, Coma is

789
00:44:30,960 --> 00:44:34,359
Speaker 3: terrified and he finally manages to get out from under

790
00:44:34,360 --> 00:44:36,880
Speaker 3: the witch. Does he say some magic words or something?

791
00:44:36,960 --> 00:44:39,680
Speaker 3: Does he hold up across I don't remember what he does.

792
00:44:39,719 --> 00:44:41,279
Speaker 3: He somehow squirms his way out.

793
00:44:41,400 --> 00:44:43,759
Speaker 2: Yeah, I mean I was kind of mesmerized by the

794
00:44:43,760 --> 00:44:46,600
Speaker 2: whole sequence. It was one of these we see enough

795
00:44:46,600 --> 00:44:49,200
Speaker 2: weird films. It's beautiful when you have this moment, we're like,

796
00:44:49,239 --> 00:44:51,360
Speaker 2: I can't believe I'm watching this? What am I watching?

797
00:44:51,440 --> 00:44:54,680
Speaker 2: And then and then it so the read I kind

798
00:44:54,680 --> 00:44:56,279
Speaker 2: of got on. It is like she almost kind of

799
00:44:56,320 --> 00:45:00,160
Speaker 2: like rides him until he's exhausted, Like she's like not

800
00:45:00,400 --> 00:45:03,640
Speaker 2: in a physical sense perhaps, but in like a spiritual sense,

801
00:45:04,160 --> 00:45:06,680
Speaker 2: you know. And they both kind of collapse into a

802
00:45:06,680 --> 00:45:08,759
Speaker 2: field somewhere she has used.

803
00:45:08,560 --> 00:45:11,960
Speaker 3: Up all of his magic broom fuel, and they come

804
00:45:12,000 --> 00:45:14,000
Speaker 3: down on the ground. And then when he gets out

805
00:45:14,040 --> 00:45:17,440
Speaker 3: from under her, he suddenly takes hold of a stick

806
00:45:17,600 --> 00:45:20,560
Speaker 3: and then beats her. He beats the witch until she

807
00:45:20,640 --> 00:45:24,120
Speaker 3: cries for mercy and says that he is killing her.

808
00:45:24,640 --> 00:45:27,799
Speaker 3: And to his astonishment, he looks down and the old

809
00:45:27,880 --> 00:45:32,080
Speaker 3: crone now seems to have transformed into a beautiful young woman.

810
00:45:33,440 --> 00:45:35,480
Speaker 3: And Cooma doesn't know what to make of this, but

811
00:45:35,640 --> 00:45:39,160
Speaker 3: he runs away terrified. He makes his way back to

812
00:45:39,200 --> 00:45:42,560
Speaker 3: the seminary, where when he arrives, the rector tells him

813
00:45:43,000 --> 00:45:45,960
Speaker 3: that a rich Sutnik, which again a type of a

814
00:45:46,080 --> 00:45:51,160
Speaker 3: Cossack chief or leader. The Sutnik has sent his men

815
00:45:51,239 --> 00:45:57,399
Speaker 3: to recruit Coma. Apparently this man's daughter is dying and

816
00:45:57,480 --> 00:46:01,279
Speaker 3: she has asked for Coma Buying to come pray for

817
00:46:01,360 --> 00:46:04,960
Speaker 3: her in her final hours. Cooma does not want to go,

818
00:46:05,080 --> 00:46:08,759
Speaker 3: but he has no choice. The satniks men compel him,

819
00:46:09,280 --> 00:46:12,160
Speaker 3: and by the time he arrives, unfortunately, the girl has

820
00:46:12,320 --> 00:46:16,880
Speaker 3: already died, and her father promises Coma a huge reward,

821
00:46:17,000 --> 00:46:19,960
Speaker 3: many many gold coins if he will stay with her

822
00:46:20,000 --> 00:46:24,360
Speaker 3: body in the chapel and pray over her for three nights.

823
00:46:24,400 --> 00:46:28,040
Speaker 3: It was her final wish. But when Koma sees the

824
00:46:28,080 --> 00:46:31,960
Speaker 3: girl's body lying in her coffin, he realizes, oh no,

825
00:46:32,680 --> 00:46:35,759
Speaker 3: it's her. It is the witch that rode him through

826
00:46:35,800 --> 00:46:39,479
Speaker 3: the sky, but not in her crone form, the young,

827
00:46:39,560 --> 00:46:43,879
Speaker 3: beautiful form that she transformed into after his beating. And

828
00:46:44,000 --> 00:46:47,640
Speaker 3: now he realizes, oh no, it is probably his beating

829
00:46:47,840 --> 00:46:48,600
Speaker 3: that killed her.

830
00:46:49,200 --> 00:46:52,120
Speaker 2: Yeah, and this is why she called for him.

831
00:46:52,480 --> 00:46:56,680
Speaker 3: Yeah. And he's trying to pretend to the father like, oh,

832
00:46:56,719 --> 00:46:58,880
Speaker 3: I've never seen her before, I know what this is about.

833
00:46:59,360 --> 00:47:01,240
Speaker 3: So the structure sure of the rest of the story

834
00:47:01,400 --> 00:47:05,120
Speaker 3: is we follow Cooma for the three nights of the Bargain.

835
00:47:05,719 --> 00:47:08,400
Speaker 3: On the first night, he is locked in the chapel

836
00:47:08,440 --> 00:47:11,840
Speaker 3: with the witch's coffin, and in the middle of his prayers,

837
00:47:11,880 --> 00:47:16,000
Speaker 3: the witch wakes up. Cooma is deeply afraid, but he

838
00:47:16,120 --> 00:47:18,840
Speaker 3: is able to protect himself by drawing a magic circle

839
00:47:19,239 --> 00:47:22,880
Speaker 3: and reading the sacred words from his prayer book. But

840
00:47:23,239 --> 00:47:26,440
Speaker 3: each night is of course more devilish than the last,

841
00:47:27,160 --> 00:47:31,800
Speaker 3: and in the days in between these prayers, Koma tries

842
00:47:31,880 --> 00:47:35,000
Speaker 3: to escape or to negotiate his way out of going

843
00:47:35,040 --> 00:47:37,960
Speaker 3: back in the following night, but he always fails. On

844
00:47:38,040 --> 00:47:40,640
Speaker 3: the second night, the witch curses him and makes his

845
00:47:40,680 --> 00:47:45,160
Speaker 3: hair turn white. This is after some piloting the coffin

846
00:47:45,239 --> 00:47:48,160
Speaker 3: through the air like an airship and ramming his magic circle.

847
00:47:48,400 --> 00:47:51,080
Speaker 2: Yeah, the second night certainly has a lot of spectacular

848
00:47:51,080 --> 00:47:54,800
Speaker 2: special effects. The first night the dead Walk, the second

849
00:47:54,920 --> 00:47:55,760
Speaker 2: night the dead.

850
00:47:55,560 --> 00:47:59,600
Speaker 3: Fly, the pilot. Yeah, the second night the greatest pilot

851
00:47:59,600 --> 00:48:02,959
Speaker 3: in the gall and then the third night. We reached

852
00:48:03,000 --> 00:48:06,560
Speaker 3: the climax of the story when the witch is just

853
00:48:06,800 --> 00:48:10,560
Speaker 3: filled with venom and hate for Coma and she calls

854
00:48:10,600 --> 00:48:14,200
Speaker 3: forth all of the vampires the werewolves. She actually uses

855
00:48:14,239 --> 00:48:18,120
Speaker 3: the word verdilac, like we've talked about on the show before.

856
00:48:18,200 --> 00:48:21,480
Speaker 3: The verdilachs calls out all the creeps and the monsters

857
00:48:21,480 --> 00:48:25,160
Speaker 3: of Hell to slither out into the chapel and vomit

858
00:48:25,280 --> 00:48:29,040
Speaker 3: forth her vengeance onto this young student. And then finally

859
00:48:29,120 --> 00:48:31,360
Speaker 3: at the end, the king of all the monsters the

860
00:48:31,480 --> 00:48:34,799
Speaker 3: v is brought out and his great heavy eyelids are

861
00:48:34,840 --> 00:48:38,000
Speaker 3: lifted and his gaze is fixed on Coma, and then

862
00:48:38,040 --> 00:48:40,880
Speaker 3: all of the monsters fall on him and he dies.

863
00:48:41,760 --> 00:48:44,080
Speaker 2: Kind of reminded me of the part in the Simpsons

864
00:48:44,080 --> 00:48:46,920
Speaker 2: tree House of Horror Shinning episode where Moe has the

865
00:48:46,960 --> 00:48:50,520
Speaker 2: monsters go into the walk in freezer to drag over.

866
00:48:50,360 --> 00:48:52,759
Speaker 3: Out and it's all Freddy and Jason and all the

867
00:48:52,800 --> 00:48:57,440
Speaker 3: other ghouls. Yeah. And then finally there's an epilogue where

868
00:48:57,560 --> 00:49:00,799
Speaker 3: the other students comas friends from the seminary. They talk

869
00:49:00,840 --> 00:49:02,920
Speaker 3: about what happened to him. They say, oh, he was

870
00:49:02,960 --> 00:49:05,480
Speaker 3: a good guy. It's a tragedy that happened to him.

871
00:49:05,680 --> 00:49:07,920
Speaker 3: And they have kind of different ideas about what it means,

872
00:49:07,960 --> 00:49:10,520
Speaker 3: like maybe the story's not really true. One of them

873
00:49:10,520 --> 00:49:13,360
Speaker 3: seems kind of doubtful. Another one says that all you

874
00:49:13,400 --> 00:49:15,839
Speaker 3: have to do to protect yourself from witchcraft is make

875
00:49:15,920 --> 00:49:19,120
Speaker 3: the sign of the Cross and spit It's easy. Also,

876
00:49:19,160 --> 00:49:20,840
Speaker 3: one of the guys is like, yeah, all the women

877
00:49:20,880 --> 00:49:26,120
Speaker 3: in the market in town are witches, and yeah, so

878
00:49:26,560 --> 00:49:28,560
Speaker 3: that's the story as a whole. But I thought we

879
00:49:28,600 --> 00:49:30,960
Speaker 3: should come back and focus on some specific things. We'll

880
00:49:31,000 --> 00:49:34,239
Speaker 3: definitely focus a lot on the Third Haunting, the Third Night.

881
00:49:35,000 --> 00:49:37,400
Speaker 3: But one thing I wanted to talk about in the

882
00:49:37,400 --> 00:49:44,480
Speaker 3: film throughout is the cinematic language of textures of decay,

883
00:49:44,800 --> 00:49:49,200
Speaker 3: of neglect and decay. The camera really lingers on cobwebs

884
00:49:49,960 --> 00:49:55,640
Speaker 3: and dust and things being spilled or overgrown, all these

885
00:49:55,920 --> 00:50:00,239
Speaker 3: visual signifiers of neglect and decay. And the credit it's

886
00:50:00,280 --> 00:50:03,000
Speaker 3: actually at the beginning of the movie, play over quiet

887
00:50:03,080 --> 00:50:08,000
Speaker 3: music and a static shot of cobwebs in a church corner,

888
00:50:08,080 --> 00:50:12,040
Speaker 3: just billowing in a slight breeze. There's all this dust,

889
00:50:12,160 --> 00:50:16,040
Speaker 3: these old candles. There's even one very small detailed that

890
00:50:16,120 --> 00:50:19,000
Speaker 3: I noticed that I loved. I wonder if you caught

891
00:50:19,040 --> 00:50:21,560
Speaker 3: the same thing. And there's a scene part of the

892
00:50:21,600 --> 00:50:25,120
Speaker 3: way through the movie when Coma is entering the chapel

893
00:50:25,160 --> 00:50:26,879
Speaker 3: with a candle in his hand. I think it might

894
00:50:26,920 --> 00:50:30,640
Speaker 3: be the scene when they're actually taking the girl's coffin

895
00:50:30,760 --> 00:50:33,800
Speaker 3: into the chapel, or maybe it's another time he's entering,

896
00:50:33,800 --> 00:50:37,880
Speaker 3: but he's holding a candle and his hand is actually

897
00:50:38,000 --> 00:50:43,040
Speaker 3: covered with this bumpy, spilled layer of dried drip wax.

898
00:50:43,160 --> 00:50:47,120
Speaker 3: It's like he's been holding the candle forever and just

899
00:50:47,239 --> 00:50:50,360
Speaker 3: letting the wax flow out onto his hand and solidify

900
00:50:50,400 --> 00:50:52,360
Speaker 3: there over and over for a long time.

901
00:50:53,040 --> 00:50:56,239
Speaker 2: Yeah, there's some great details with the candle work in

902
00:50:56,280 --> 00:50:59,520
Speaker 2: this film. I love the scene where he's coming into

903
00:50:59,520 --> 00:51:01,759
Speaker 2: the chapel and he's like, chapel is not supposed to

904
00:51:01,760 --> 00:51:03,640
Speaker 2: be this dark and gloomy. It's supposed to be a

905
00:51:03,680 --> 00:51:05,840
Speaker 2: place of light, and he starts lighting all these candles

906
00:51:05,880 --> 00:51:10,200
Speaker 2: to lighten things up, and of course this just makes

907
00:51:10,239 --> 00:51:12,399
Speaker 2: the in in some ways, just makes the chapel look

908
00:51:12,440 --> 00:51:13,560
Speaker 2: even creepier, right.

909
00:51:13,600 --> 00:51:17,320
Speaker 3: Yeah, totally. There's another thing I wanted to mention about

910
00:51:17,400 --> 00:51:20,440
Speaker 3: the look and feel of the movie, which is the

911
00:51:20,680 --> 00:51:24,120
Speaker 3: atmosphericx of the scene where the three students become lost

912
00:51:24,200 --> 00:51:26,440
Speaker 3: and they have to go to the witch's house. So

913
00:51:26,640 --> 00:51:30,759
Speaker 3: early in the film, I really think the landscape is

914
00:51:30,960 --> 00:51:35,480
Speaker 3: infused with this feeling of witchcraft. So there are some

915
00:51:35,680 --> 00:51:39,359
Speaker 3: scenes of real, actually beautiful outdoor vistas, but they are

916
00:51:39,440 --> 00:51:42,200
Speaker 3: kind of creepy. Like there's one shot of the students

917
00:51:42,200 --> 00:51:45,799
Speaker 3: who have left the seminary. They're camping up on a

918
00:51:45,880 --> 00:51:50,040
Speaker 3: hill overlooking a kind of misty swamp in the distance below,

919
00:51:50,080 --> 00:51:52,640
Speaker 3: and they're burning of fire and it looks beautiful and

920
00:51:52,680 --> 00:51:56,319
Speaker 3: a little creepy at the same time. Other scenes are

921
00:51:56,520 --> 00:52:00,319
Speaker 3: indoor for outdoor sets with this blue glowing sky with

922
00:52:00,360 --> 00:52:05,160
Speaker 3: a painted backdrop and the evil magic here, I got

923
00:52:05,160 --> 00:52:08,600
Speaker 3: the feeling that it comes out of the land and

924
00:52:08,719 --> 00:52:13,120
Speaker 3: out of the sky, creating this feeling of witchcraft as

925
00:52:13,120 --> 00:52:16,600
Speaker 3: a natural force or a natural law, something that kind

926
00:52:16,640 --> 00:52:21,240
Speaker 3: of creeps in like vines upon an unmaintained lawn, which

927
00:52:21,320 --> 00:52:25,040
Speaker 3: I thought was interesting because of these other things about

928
00:52:26,080 --> 00:52:29,760
Speaker 3: decay and neglect, like just things being kind of untended

929
00:52:29,800 --> 00:52:31,600
Speaker 3: in the witchcraft taking them over.

930
00:52:32,080 --> 00:52:34,759
Speaker 2: There's also a great moment in this part of the

931
00:52:34,760 --> 00:52:37,440
Speaker 2: film where they realize their loss. They realize they are

932
00:52:37,480 --> 00:52:40,480
Speaker 2: not on a road anymore, and that in and of itself,

933
00:52:40,520 --> 00:52:43,560
Speaker 2: I think ties in nicely with this, because what is

934
00:52:43,560 --> 00:52:47,120
Speaker 2: a road but a road. It is the vein of civilization.

935
00:52:48,480 --> 00:52:52,720
Speaker 2: It takes you back and connects you to the place

936
00:52:52,800 --> 00:52:57,280
Speaker 2: of modernity and logic and reason that you hail from.

937
00:52:57,600 --> 00:52:59,839
Speaker 2: And now you realize you were no longer on that road.

938
00:53:00,080 --> 00:53:00,279
Speaker 3: You are.

939
00:53:01,280 --> 00:53:03,560
Speaker 2: You belong to this land. Now you don't belong to

940
00:53:03,600 --> 00:53:04,480
Speaker 2: that place back there.

941
00:53:05,719 --> 00:53:08,000
Speaker 3: I think in that same sequence, there's the part where

942
00:53:08,400 --> 00:53:11,160
Speaker 3: one of the students is reaching around in the dark

943
00:53:11,200 --> 00:53:13,560
Speaker 3: trying to grab the other one, and he gets horrified

944
00:53:13,640 --> 00:53:16,760
Speaker 3: because he grabs something in his hand is full of rot.

945
00:53:16,920 --> 00:53:19,280
Speaker 3: And then he realizes, oh, that was just a dead log.

946
00:53:19,360 --> 00:53:24,160
Speaker 3: I thought I had grabbed your head. But there's another

947
00:53:24,239 --> 00:53:27,319
Speaker 3: theme that I wondered what you made of. It's the

948
00:53:27,320 --> 00:53:31,239
Speaker 3: theme of singing in the face of fear. When the

949
00:53:31,280 --> 00:53:34,520
Speaker 3: students first become lost in the beginning, they sing in

950
00:53:34,600 --> 00:53:37,480
Speaker 3: the dark to make themselves unafraid when they're wandering after

951
00:53:37,520 --> 00:53:40,040
Speaker 3: they've lost the road and they're wandering around in the

952
00:53:40,040 --> 00:53:43,680
Speaker 3: fields with the blue sky. And then later at multiple

953
00:53:43,760 --> 00:53:48,080
Speaker 3: times in the film, Coma sings songs to make himself unafraid.

954
00:53:48,120 --> 00:53:50,800
Speaker 3: He sings that song that has the lyrics of a

955
00:53:50,880 --> 00:53:53,960
Speaker 3: cossack has no fear, you know. There there's a kind

956
00:53:53,960 --> 00:53:57,120
Speaker 3: of lyrical content where he's trying to beef himself up

957
00:53:57,160 --> 00:54:00,480
Speaker 3: to face the ghosts. But there is all so just

958
00:54:00,480 --> 00:54:02,880
Speaker 3: a part at the end where in the final Haunting,

959
00:54:03,400 --> 00:54:06,080
Speaker 3: he starts by reading the prayers from the Prayer Book

960
00:54:06,120 --> 00:54:09,400
Speaker 3: and then starts getting louder and louder and singing them.

961
00:54:09,719 --> 00:54:12,239
Speaker 3: I wonder what you thought. Is there any significance on

962
00:54:12,280 --> 00:54:15,120
Speaker 3: this repeated theme about singing as an act that has

963
00:54:15,239 --> 00:54:16,520
Speaker 3: warding power? Maybe?

964
00:54:17,280 --> 00:54:20,120
Speaker 2: Oh, I mean that's a deep topic we've touched on

965
00:54:20,200 --> 00:54:22,680
Speaker 2: a little bit before, like, for instance, wist well, whistling,

966
00:54:23,040 --> 00:54:25,799
Speaker 2: because on one hand, like whistling in the dark can

967
00:54:25,840 --> 00:54:28,720
Speaker 2: be seen as a way to sort of keep darkness away,

968
00:54:28,920 --> 00:54:31,319
Speaker 2: like how can you know what's going to attack me

969
00:54:31,320 --> 00:54:34,040
Speaker 2: when I'm singing, Like there's kind of like a singing

970
00:54:34,160 --> 00:54:35,480
Speaker 2: or whistling. But then at the same time, there are

971
00:54:35,480 --> 00:54:37,759
Speaker 2: all these traditions about whistling being the very sort of

972
00:54:37,760 --> 00:54:41,879
Speaker 2: thing that could invite creatures of darkness towards you. So

973
00:54:42,320 --> 00:54:44,760
Speaker 2: don't whistle in the dark? Ynd Yeah, so yeah, should

974
00:54:44,760 --> 00:54:46,840
Speaker 2: I whistle? Should I not whistle? I don't know, but

975
00:54:46,880 --> 00:54:51,920
Speaker 2: there is Yeah, you know, there's there's something deep in

976
00:54:51,680 --> 00:54:55,480
Speaker 2: the human psyche about like how should I behave as

977
00:54:55,520 --> 00:54:58,560
Speaker 2: if something unseen is watching me? And of course the

978
00:54:58,640 --> 00:55:01,520
Speaker 2: calculus there is different if you or considering you know,

979
00:55:01,600 --> 00:55:04,600
Speaker 2: real life people you know and and you know a

980
00:55:04,719 --> 00:55:07,640
Speaker 2: threat that is that is that is human, if you're

981
00:55:07,640 --> 00:55:10,360
Speaker 2: considering a threat that is animal, or if you're considering

982
00:55:10,360 --> 00:55:12,760
Speaker 2: a threat that you know is from the unseen world

983
00:55:12,760 --> 00:55:15,920
Speaker 2: it is ghosts or spirits or demons or whatnot. And

984
00:55:16,000 --> 00:55:18,960
Speaker 2: maybe in some cases like loudness is the defense. I mean,

985
00:55:19,080 --> 00:55:22,360
Speaker 2: loudness in one form or another is often tied to

986
00:55:22,920 --> 00:55:28,120
Speaker 2: exorcism and and and magical rights to drive away monsters

987
00:55:28,120 --> 00:55:28,560
Speaker 2: and horror.

988
00:55:29,000 --> 00:55:31,080
Speaker 3: Yeah, I mean, I guess it depends on what is

989
00:55:31,120 --> 00:55:34,520
Speaker 3: your relationship to the thing you're afraid of. You know,

990
00:55:34,719 --> 00:55:37,480
Speaker 3: people talk about wandering in the wilderness. It often is

991
00:55:37,520 --> 00:55:40,239
Speaker 3: good to be loud, because then you're less likely to

992
00:55:40,440 --> 00:55:44,360
Speaker 3: accidentally stumble across some kind of you know, encounter with

993
00:55:44,440 --> 00:55:47,239
Speaker 3: the beast that you don't want to startle. You know,

994
00:55:47,280 --> 00:55:49,560
Speaker 3: they'll hear you coming if you make a lot of noise,

995
00:55:49,920 --> 00:55:52,319
Speaker 3: So that could be helpful in that sense if you

996
00:55:52,360 --> 00:55:58,560
Speaker 3: were actually thinking about a malevolent, predatory, supernatural creature. In

997
00:55:58,600 --> 00:56:00,440
Speaker 3: that case, you'd almost think, you don't it to know

998
00:56:00,480 --> 00:56:02,719
Speaker 3: where you are, so you shouldn't make any noise at all.

999
00:56:03,680 --> 00:56:09,360
Speaker 3: But maybe the effect of singing very loudly it's like

1000
00:56:09,440 --> 00:56:13,320
Speaker 3: a way of convincing yourself that there is no danger,

1001
00:56:13,360 --> 00:56:16,280
Speaker 3: because if there is danger, this would be really stupid

1002
00:56:16,280 --> 00:56:20,640
Speaker 3: to do. So, you know, there better be no danger

1003
00:56:20,680 --> 00:56:25,399
Speaker 3: because of how much attention I'm attracting with this loud singing. Yeah.

1004
00:56:25,400 --> 00:56:27,359
Speaker 2: I mean, there's so many ways to think of, like yeah,

1005
00:56:27,480 --> 00:56:29,040
Speaker 2: I'm reminded of the bit from the rhyme of the

1006
00:56:29,080 --> 00:56:31,279
Speaker 2: ancient marin or you know, like one that on a

1007
00:56:31,320 --> 00:56:34,840
Speaker 2: lonesome road doth walk in fear and dread, and having

1008
00:56:34,840 --> 00:56:37,880
Speaker 2: once turned round, walks on and turns no more his head, like, so,

1009
00:56:37,960 --> 00:56:39,920
Speaker 2: don't look back at the thing that you know is

1010
00:56:39,960 --> 00:56:42,160
Speaker 2: back there. But on the other hand, there's also the

1011
00:56:42,480 --> 00:56:45,120
Speaker 2: value of like, yeah, like shout at the devil, yell

1012
00:56:45,280 --> 00:56:48,160
Speaker 2: at the devil, curse the devil, throw things at the devil.

1013
00:56:48,760 --> 00:56:50,600
Speaker 2: You need to go on the offense. That's the only

1014
00:56:50,640 --> 00:56:53,759
Speaker 2: way to protect yourself, calm. I should have thought of

1015
00:56:53,760 --> 00:56:57,239
Speaker 2: that here. He mainly is on defense. Yeah, relies a

1016
00:56:57,239 --> 00:57:04,280
Speaker 2: lot on that chalk circle on the ground.

1017
00:57:08,880 --> 00:57:11,200
Speaker 3: So should we talk about the three nights? Anything in

1018
00:57:11,239 --> 00:57:13,239
Speaker 3: particular you want to say about the first night where

1019
00:57:13,239 --> 00:57:15,480
Speaker 3: she first wakes up. This one is the most low

1020
00:57:15,520 --> 00:57:16,160
Speaker 3: key of the three.

1021
00:57:16,320 --> 00:57:19,960
Speaker 2: It's the most low key, but it's still plenty spooky again,

1022
00:57:20,120 --> 00:57:24,240
Speaker 2: Like the set is amazing here, that dark, gloomy chapel,

1023
00:57:24,600 --> 00:57:27,960
Speaker 2: full of decay, full of night gallery paintings and candle

1024
00:57:28,080 --> 00:57:34,440
Speaker 2: light and cobwebs, like the gothic grotesque vibe here is

1025
00:57:34,480 --> 00:57:38,200
Speaker 2: just so rich. And when she starts rising, it's very

1026
00:57:38,280 --> 00:57:41,080
Speaker 2: much what you'd expect, you know, the slow rising of

1027
00:57:41,120 --> 00:57:45,640
Speaker 2: the corpse. But it's highly effective, Like it would be

1028
00:57:45,640 --> 00:57:48,560
Speaker 2: a highly effective theme, it would be a highly effective scene.

1029
00:57:48,640 --> 00:57:51,640
Speaker 2: Rather if this were the only night we had in

1030
00:57:51,680 --> 00:57:52,080
Speaker 2: the film.

1031
00:57:52,400 --> 00:57:56,400
Speaker 3: Yeah, And of course Coma is saved by the cock crowing,

1032
00:57:56,600 --> 00:57:59,600
Speaker 3: so he draws the magic circle and she gets out

1033
00:57:59,600 --> 00:58:02,320
Speaker 3: of the casket and she's trying to find him. She's

1034
00:58:02,400 --> 00:58:06,360
Speaker 3: like feeling around on the outside of the magic circle,

1035
00:58:06,400 --> 00:58:09,080
Speaker 3: almost like it's an invisible cylinder that goes up to

1036
00:58:09,080 --> 00:58:11,640
Speaker 3: the ceiling. You see her feeling around on the on

1037
00:58:11,680 --> 00:58:15,200
Speaker 3: the wall. Again. I mentioned earlier that she does things

1038
00:58:15,200 --> 00:58:18,560
Speaker 3: physically that feel almost like mime work, like comedy mimework,

1039
00:58:18,600 --> 00:58:21,720
Speaker 3: and this is one example, when she's feeling the unseen wall.

1040
00:58:22,080 --> 00:58:24,640
Speaker 2: Oh before she even rises. Though, there's a moment I

1041
00:58:24,680 --> 00:58:27,680
Speaker 2: absolutely loved where we get a we essentially we get

1042
00:58:27,680 --> 00:58:30,440
Speaker 2: a jump scare, but without you know, all the bells

1043
00:58:30,440 --> 00:58:33,240
Speaker 2: and whistles of a modern jump scare that can feel

1044
00:58:33,240 --> 00:58:35,720
Speaker 2: a bit get a bit more gimmicky in some cases.

1045
00:58:35,840 --> 00:58:38,400
Speaker 2: But here we get, on one hand, something we're used

1046
00:58:38,400 --> 00:58:39,040
Speaker 2: to have.

1047
00:58:39,440 --> 00:58:39,880
Speaker 3: What do you have?

1048
00:58:39,920 --> 00:58:42,439
Speaker 2: You have a black cat dart across the screen? Sure,

1049
00:58:42,480 --> 00:58:46,120
Speaker 2: and maybe a musical note to sort of drive it home.

1050
00:58:46,400 --> 00:58:49,240
Speaker 2: Here we get that, but we get not one black cat,

1051
00:58:49,320 --> 00:58:52,120
Speaker 2: but four of them at once, with the chapel in

1052
00:58:52,200 --> 00:58:56,840
Speaker 2: the chapel, which you know, it does make you logically like,

1053
00:58:56,840 --> 00:59:00,000
Speaker 2: how many cats live in this church? How many are necessary?

1054
00:59:00,120 --> 00:59:03,920
Speaker 2: It's like they're just feral cats everywhere. Maybe so, But

1055
00:59:04,040 --> 00:59:06,640
Speaker 2: also I just love that as a modern viewer of

1056
00:59:06,720 --> 00:59:10,840
Speaker 2: horror cinema, in any film that just wants to get

1057
00:59:10,840 --> 00:59:12,760
Speaker 2: a jump out of you, we're used to the black

1058
00:59:12,800 --> 00:59:16,320
Speaker 2: cat running across the screen. Here we get four of them,

1059
00:59:16,360 --> 00:59:19,040
Speaker 2: and somehow it being four of them. Yeah, it just

1060
00:59:19,120 --> 00:59:22,520
Speaker 2: works better, like it feels more like an omen like

1061
00:59:22,560 --> 00:59:24,240
Speaker 2: there's numerical data there.

1062
00:59:24,320 --> 00:59:26,800
Speaker 3: You know, that's all right? I mean the cats usually

1063
00:59:26,840 --> 00:59:31,480
Speaker 3: run together like that, I don't know, usually we're being herded.

1064
00:59:31,600 --> 00:59:34,160
Speaker 2: Yeah, I mean, cats will live together, but you know,

1065
00:59:34,240 --> 00:59:37,640
Speaker 2: generally it's in films it's just one running across the screen,

1066
00:59:37,880 --> 00:59:40,280
Speaker 2: jumping out of a closet, and we'll see more of

1067
00:59:40,080 --> 00:59:43,000
Speaker 2: the cat antics and subsequent scenes totally.

1068
00:59:43,120 --> 00:59:45,439
Speaker 3: And this scene also is the first time we see

1069
00:59:45,680 --> 00:59:48,440
Speaker 3: the ghost, or not the ghost, the body of the

1070
00:59:48,480 --> 00:59:52,520
Speaker 3: witch doing that kind of rapid bouncing up and down, shivering,

1071
00:59:52,640 --> 00:59:58,080
Speaker 3: jittering thing. Yeah, which is again looks almost funny, but

1072
00:59:58,200 --> 01:00:01,240
Speaker 3: stays on the line of creepy. I think. So. The

1073
01:00:01,320 --> 01:00:04,240
Speaker 3: second night is the night when she starts piloting her

1074
01:00:04,280 --> 01:00:07,680
Speaker 3: coffin like a spaceship to ram into the sides of

1075
01:00:07,720 --> 01:00:09,000
Speaker 3: this invisible cylinder.

1076
01:00:09,240 --> 01:00:11,800
Speaker 2: That's right. She awakens in the casket as before, but

1077
01:00:11,880 --> 01:00:15,120
Speaker 2: then the casket takes to the air and we begin

1078
01:00:15,360 --> 01:00:19,160
Speaker 2: to get these zooming, spinning sequences where she's flying in

1079
01:00:19,160 --> 01:00:22,480
Speaker 2: the casket, eventually kind of almost surfing on the casket

1080
01:00:22,560 --> 01:00:29,120
Speaker 2: like surfing ussr here, but again so beautifully executed, like

1081
01:00:29,440 --> 01:00:32,800
Speaker 2: they're using wires here to create this effect.

1082
01:00:33,520 --> 01:00:33,919
Speaker 3: The room.

1083
01:00:34,120 --> 01:00:36,840
Speaker 2: They may be using a spinning room as well of

1084
01:00:36,880 --> 01:00:39,680
Speaker 2: some sort. There's so much richness here to discuss here.

1085
01:00:39,680 --> 01:00:42,600
Speaker 2: Even in the first night, when the cock crows, I

1086
01:00:42,640 --> 01:00:46,440
Speaker 2: believe like she kind of glides back into the casket.

1087
01:00:46,840 --> 01:00:49,560
Speaker 2: Do you remember a verse footage effect. Yeah, yeah, and

1088
01:00:49,800 --> 01:00:51,720
Speaker 2: some sort of Dolly system was in play.

1089
01:00:51,760 --> 01:00:52,200
Speaker 3: I think.

1090
01:00:52,600 --> 01:00:58,160
Speaker 2: So this is just amazing, just terrifying, with the sense

1091
01:00:58,200 --> 01:01:01,280
Speaker 2: that this is a spirit that is just growing more

1092
01:01:01,360 --> 01:01:04,680
Speaker 2: powerful night by night, and he is barely able to

1093
01:01:04,720 --> 01:01:07,840
Speaker 2: protect himself like that, this magic circle is barely holding.

1094
01:01:08,680 --> 01:01:12,680
Speaker 3: I wonder if the reverse footage backwards climb back into

1095
01:01:12,720 --> 01:01:16,520
Speaker 3: the coffin in this movie inspired the similar effect that

1096
01:01:16,680 --> 01:01:19,720
Speaker 3: is used in Francis Ford Coppola's Dracula. Where do you

1097
01:01:19,720 --> 01:01:23,160
Speaker 3: remember when the vampire of Lucy? I think it is

1098
01:01:23,280 --> 01:01:25,600
Speaker 3: she like reversed footages into her coffin.

1099
01:01:25,720 --> 01:01:28,240
Speaker 2: Oh, I would bet there's a very strong chance of that.

1100
01:01:28,320 --> 01:01:32,240
Speaker 3: Yeah, I be's I was gonna say scorsesey, that's not Scorsese.

1101
01:01:32,320 --> 01:01:33,760
Speaker 3: I bet Copola is a fan of this movie.

1102
01:01:33,800 --> 01:01:35,200
Speaker 2: Probably, yeah, yeah, how could you not be?

1103
01:01:36,680 --> 01:01:40,040
Speaker 3: Okay? And then finally we get to the Third Night,

1104
01:01:40,480 --> 01:01:43,680
Speaker 3: the third the Big Haunt, the Big Deal. This is

1105
01:01:43,720 --> 01:01:47,000
Speaker 3: where everything, all hell breaks loose quite literally.

1106
01:01:47,520 --> 01:01:51,920
Speaker 2: Yeah, this sequence has it all like it is just

1107
01:01:52,240 --> 01:01:55,320
Speaker 2: the gates of hell have opened, and we get all

1108
01:01:55,480 --> 01:02:01,040
Speaker 2: manner of supposedly ghosts and wear wolves and vampires, but nothing.

1109
01:02:01,120 --> 01:02:03,600
Speaker 2: I don't know. The creatures look more ghoul like to me.

1110
01:02:03,840 --> 01:02:06,000
Speaker 2: You know, there are a lot of the maciated bald

1111
01:02:06,640 --> 01:02:11,680
Speaker 2: creatures that are humanoid, some tall, some very short, dressed

1112
01:02:11,720 --> 01:02:14,560
Speaker 2: in rags. They feel like they have very much climbed

1113
01:02:14,560 --> 01:02:16,640
Speaker 2: out of the grave. They've climbed out of the walls.

1114
01:02:16,640 --> 01:02:20,320
Speaker 2: They've come out of the floor. We get a dancing skeleton,

1115
01:02:20,520 --> 01:02:26,320
Speaker 2: which is nice. We get giant ghost hands rising up

1116
01:02:26,320 --> 01:02:26,760
Speaker 2: out of the.

1117
01:02:26,760 --> 01:02:30,960
Speaker 3: Floor, and then in many forms actually just oh yeah, we.

1118
01:02:30,960 --> 01:02:32,520
Speaker 2: Also just get hands coming out.

1119
01:02:32,480 --> 01:02:34,680
Speaker 3: Yeah, hands coming out of the walls and out of

1120
01:02:34,680 --> 01:02:38,919
Speaker 3: the altar, I think, and then giant hands surrounding coma.

1121
01:02:39,160 --> 01:02:41,640
Speaker 2: There's some sort of a weird puppet at one point

1122
01:02:42,040 --> 01:02:44,000
Speaker 2: that I'm not sure what it's supposed to be, but

1123
01:02:44,080 --> 01:02:46,439
Speaker 2: it's it's like, I don't know, a muppet from hell

1124
01:02:46,640 --> 01:02:48,520
Speaker 2: and you're just like job dropping.

1125
01:02:49,240 --> 01:02:51,280
Speaker 3: The skeletal giraffe with seven heads.

1126
01:02:52,080 --> 01:02:54,360
Speaker 2: Well there's that, Yes, I've forgot about that. But there's

1127
01:02:54,360 --> 01:02:57,680
Speaker 2: some other kind of creature that nasty kitty cat. Yeah, yeah,

1128
01:02:57,680 --> 01:03:00,000
Speaker 2: it kind of a spines on its spines on its head.

1129
01:03:00,080 --> 01:03:03,600
Speaker 2: That So there's just sights and sounds well beyond anything

1130
01:03:03,720 --> 01:03:06,120
Speaker 2: you've experienced before.

1131
01:03:06,480 --> 01:03:10,400
Speaker 3: Now you've seen monsters that have more eyes than a

1132
01:03:10,480 --> 01:03:13,720
Speaker 3: human usually has, they've got extra eyes. You've seen monsters

1133
01:03:13,760 --> 01:03:16,760
Speaker 3: with extra arms and legs. Have you ever seen monsters

1134
01:03:16,800 --> 01:03:19,440
Speaker 3: with extra noses? We got that.

1135
01:03:19,400 --> 01:03:21,280
Speaker 2: Right, We get the guy that has kind of a

1136
01:03:21,840 --> 01:03:25,600
Speaker 2: reminds me of various bat species where they have like

1137
01:03:25,760 --> 01:03:30,840
Speaker 2: very extravagant nostrils. Yeah, we get that guy. Absolutely. The

1138
01:03:30,840 --> 01:03:32,760
Speaker 2: makeup work here is amazing, the.

1139
01:03:32,840 --> 01:03:38,520
Speaker 3: Rows of nostrils with these naked, wretched revenants and gray zombies.

1140
01:03:38,880 --> 01:03:42,600
Speaker 3: And meanwhile, we've just got the witch in the background.

1141
01:03:43,440 --> 01:03:46,439
Speaker 3: She's there's so much hate in her voice. She's saying,

1142
01:03:46,480 --> 01:03:50,360
Speaker 3: I summon vampires. I summoned were wolves. That's the translation

1143
01:03:50,760 --> 01:03:52,680
Speaker 3: whatever it is she's saying in the original, And one

1144
01:03:52,680 --> 01:03:56,680
Speaker 3: of the words is verdil ox. And I thought interesting

1145
01:03:56,720 --> 01:03:59,400
Speaker 3: that the beasts of hell here are all very gray.

1146
01:03:59,640 --> 01:04:03,160
Speaker 3: They are they seem like dust and cobwebs incarnate.

1147
01:04:03,760 --> 01:04:06,720
Speaker 2: Yeah, yeah, like this is not Yeah, this is not

1148
01:04:06,960 --> 01:04:11,520
Speaker 2: like a fiery Christian hell that these creatures are emerging from.

1149
01:04:11,600 --> 01:04:16,320
Speaker 2: It's some sort of a gray necropolis or something, you know,

1150
01:04:16,440 --> 01:04:19,920
Speaker 2: some sort of a gray void deep in the earth.

1151
01:04:20,280 --> 01:04:25,280
Speaker 3: Yeah, a gloomy, gloomy pit. Yeah, and one thing I

1152
01:04:25,320 --> 01:04:29,160
Speaker 3: brought this up earlier, the so the church's religious murals

1153
01:04:29,200 --> 01:04:32,640
Speaker 3: and paintings of saints and things are now changed into

1154
01:04:32,680 --> 01:04:37,000
Speaker 3: demons during the Yeah, and I was wondering, is this

1155
01:04:37,080 --> 01:04:43,120
Speaker 3: an alteration or a revelation? Is the nighttime transformation changing

1156
01:04:43,160 --> 01:04:46,520
Speaker 3: a normally holy place into an unholy place? Or is

1157
01:04:46,560 --> 01:04:51,040
Speaker 3: it revealing something about this place? Is this an unholy

1158
01:04:51,120 --> 01:04:53,760
Speaker 3: place that in the daytime is disguised.

1159
01:04:54,360 --> 01:04:56,840
Speaker 2: Hmmm, that's a great point. Yeah, what is the connection

1160
01:04:57,040 --> 01:05:02,600
Speaker 2: between this supernatural world it is now descending on him

1161
01:05:02,960 --> 01:05:07,480
Speaker 2: and the super natural world that is part of the

1162
01:05:07,560 --> 01:05:10,080
Speaker 2: Christian faith during the daylight? Is it the same world?

1163
01:05:10,120 --> 01:05:13,080
Speaker 2: And it's just depends on what the lights you're doing.

1164
01:05:13,160 --> 01:05:13,560
Speaker 2: I don't know.

1165
01:05:14,040 --> 01:05:16,440
Speaker 3: I mean I asked that in part about whether this

1166
01:05:16,640 --> 01:05:20,720
Speaker 3: there's something actually deeper that's wrong with this place because

1167
01:05:20,760 --> 01:05:23,440
Speaker 3: of a few things that are hinted in parts we

1168
01:05:23,480 --> 01:05:27,120
Speaker 3: haven't really talked about, like during the daytime when Koma

1169
01:05:27,240 --> 01:05:32,080
Speaker 3: is here at this compound, at the Suttnix compound, he

1170
01:05:32,280 --> 01:05:37,480
Speaker 3: for example, here's the people talking about stories of witchcraft,

1171
01:05:37,720 --> 01:05:40,760
Speaker 3: like about the huntsman who lived here, who was ridden

1172
01:05:40,880 --> 01:05:44,440
Speaker 3: like a horse by the witch, by the daughter and

1173
01:05:44,480 --> 01:05:48,080
Speaker 3: then there's also a thing with remember the scene where

1174
01:05:48,200 --> 01:05:51,600
Speaker 3: Coma goes to the girl's father and he's like, no,

1175
01:05:51,720 --> 01:05:54,440
Speaker 3: I'm out. I don't care. You got to do whatever

1176
01:05:54,480 --> 01:05:57,320
Speaker 3: you want. I'm just done. I'm not going back in there.

1177
01:05:57,640 --> 01:06:00,640
Speaker 3: Your daughter is a witch, her soul is in hell.

1178
01:06:01,200 --> 01:06:04,120
Speaker 3: And the guy doesn't react like, I don't know what

1179
01:06:04,160 --> 01:06:08,640
Speaker 3: you're talking about. He reacts almost like like I know

1180
01:06:08,760 --> 01:06:11,240
Speaker 3: she's in hell. You've got to save her. Like he

1181
01:06:11,680 --> 01:06:15,360
Speaker 3: reacts as if he knows that there is already witchcraft

1182
01:06:15,440 --> 01:06:18,080
Speaker 3: and evil infusing this place and it's not a surprise

1183
01:06:18,200 --> 01:06:18,520
Speaker 3: to him.

1184
01:06:19,000 --> 01:06:21,880
Speaker 2: Yeah, and that this this thing just has to be done,

1185
01:06:22,160 --> 01:06:25,760
Speaker 2: like there's not really a sense that this will really

1186
01:06:25,800 --> 01:06:29,200
Speaker 2: generate any kind of favorable outcome for anybody. But it's

1187
01:06:29,240 --> 01:06:32,160
Speaker 2: like you you have you do what you are here for.

1188
01:06:32,320 --> 01:06:34,760
Speaker 2: You have to complete your job. You have to make

1189
01:06:34,800 --> 01:06:36,800
Speaker 2: it through the third night. And then on top of this,

1190
01:06:37,120 --> 01:06:39,880
Speaker 2: he tells him like, yeah, if you do this, you'll

1191
01:06:39,880 --> 01:06:43,480
Speaker 2: get a thousand gold coins, but if you don't, you'll

1192
01:06:43,480 --> 01:06:46,920
Speaker 2: get a thousand lashes, And he goes into detail about

1193
01:06:47,000 --> 01:06:50,160
Speaker 2: how good his guys are at lashing. He's like, I mean,

1194
01:06:50,200 --> 01:06:52,720
Speaker 2: it's it's really really frightening because he's telling them like,

1195
01:06:52,720 --> 01:06:54,960
Speaker 2: they're going to start lashing you, then they're going to

1196
01:06:55,040 --> 01:06:58,080
Speaker 2: get drunk, and then they're going to keep lashing you. Yes,

1197
01:06:58,560 --> 01:07:01,840
Speaker 2: and so like really he's presenting like the prisoning heaven

1198
01:07:01,880 --> 01:07:04,480
Speaker 2: in hell here in a very secular sense. It's like,

1199
01:07:04,800 --> 01:07:07,160
Speaker 2: you can either get beat to death or you can

1200
01:07:07,200 --> 01:07:11,200
Speaker 2: go off with a nice fat pot of money. But

1201
01:07:11,200 --> 01:07:14,000
Speaker 2: but you know those are your choices. And so he's

1202
01:07:14,040 --> 01:07:16,960
Speaker 2: he is finally like dragged into the church. He's like,

1203
01:07:17,000 --> 01:07:18,480
Speaker 2: I'm gonna be rich when I get out of here.

1204
01:07:18,760 --> 01:07:20,680
Speaker 2: And of course I think we the viewers know at

1205
01:07:20,680 --> 01:07:22,280
Speaker 2: that point he's never getting out of here.

1206
01:07:23,440 --> 01:07:27,720
Speaker 3: Yeah, he is doomed. But how in what form does

1207
01:07:27,760 --> 01:07:30,080
Speaker 3: that doom come? Why? It is the entrance of V.

1208
01:07:31,000 --> 01:07:31,320
Speaker 2: Mmm.

1209
01:07:32,080 --> 01:07:35,200
Speaker 3: So finally, the witch in this last haunting calls out,

1210
01:07:35,280 --> 01:07:39,880
Speaker 3: bring v She says, bring him here, bring V. So

1211
01:07:40,200 --> 01:07:44,760
Speaker 3: in walks this creature, this again gray, the same color

1212
01:07:44,800 --> 01:07:48,320
Speaker 3: palette as the rest of these beings of hell. Uh.

1213
01:07:48,600 --> 01:07:53,800
Speaker 3: He is a thundering, lumbering, stomping gray mass that has

1214
01:07:53,840 --> 01:07:56,800
Speaker 3: something of a rock elemental about him. He seems like

1215
01:07:56,840 --> 01:08:00,880
Speaker 3: he's made of rock or earth. No arms, just hands

1216
01:08:00,960 --> 01:08:05,400
Speaker 3: in the shoulders, eyes like mud or not eyes, eyelids

1217
01:08:05,520 --> 01:08:08,800
Speaker 3: like mud flaps covering up his eyes, and then he

1218
01:08:08,880 --> 01:08:13,360
Speaker 3: has to have these other zombies raise his eyelids for him.

1219
01:08:13,840 --> 01:08:17,120
Speaker 3: It approaches and it says, you know, raise my eyelids,

1220
01:08:17,479 --> 01:08:20,439
Speaker 3: and so the creatures bring up its eyelids and then

1221
01:08:20,439 --> 01:08:23,760
Speaker 3: its eyes are like gems, sort of like emeralds or

1222
01:08:23,800 --> 01:08:29,479
Speaker 3: like a textured green glass glowing, and the monsters descend

1223
01:08:29,560 --> 01:08:32,800
Speaker 3: on Coma while the witch laughs. There's something about the

1224
01:08:33,479 --> 01:08:36,479
Speaker 3: gaze of the v and then he points a finger

1225
01:08:36,520 --> 01:08:40,920
Speaker 3: at Coma that enables the monsters to destroy Comas maybe

1226
01:08:40,960 --> 01:08:44,599
Speaker 3: like maybe this overcomes the protection of his magic circle

1227
01:08:44,800 --> 01:08:45,680
Speaker 3: or something like that.

1228
01:08:45,800 --> 01:08:49,200
Speaker 2: I'm not sure, yeah, yeah, And again this reminds me

1229
01:08:49,280 --> 01:08:52,800
Speaker 2: of Baler, the King of the Fomorians and Irish myth

1230
01:08:52,960 --> 01:08:56,240
Speaker 2: with the deathly gaze beneath the overhanging brow.

1231
01:08:56,720 --> 01:09:00,439
Speaker 3: But after Coma has been has been rent to death

1232
01:09:00,520 --> 01:09:03,360
Speaker 3: by these creatures, the cock crows a second time. The

1233
01:09:03,400 --> 01:09:07,280
Speaker 3: cock actually crows before he dies, but they ignore it

1234
01:09:07,320 --> 01:09:11,120
Speaker 3: the first time. Second time, they can't withstand the break

1235
01:09:11,120 --> 01:09:14,680
Speaker 3: of morning, so the monsters scamper back. But because they

1236
01:09:14,720 --> 01:09:18,000
Speaker 3: ignored the first crow of the cock, they get caught

1237
01:09:18,040 --> 01:09:22,400
Speaker 3: a little bit late getting back into hell, and so

1238
01:09:22,560 --> 01:09:27,559
Speaker 3: they like, we see these monsters getting stuck in the walls. Actually, here,

1239
01:09:27,640 --> 01:09:30,720
Speaker 3: if you don't mind, I'd like to read a passage

1240
01:09:31,280 --> 01:09:34,560
Speaker 3: from the Go Gol story. This is from the translation

1241
01:09:34,760 --> 01:09:40,080
Speaker 3: by Richard Pevier and Larissa Volokonski. They translate quote, A

1242
01:09:40,120 --> 01:09:43,639
Speaker 3: cock crow rang out. This was already the second cock

1243
01:09:43,680 --> 01:09:47,400
Speaker 3: crow the gnomes had missed the first. The frightened spirits

1244
01:09:47,520 --> 01:09:50,360
Speaker 3: rushed pell Mell for the windows and doors in order

1245
01:09:50,400 --> 01:09:53,800
Speaker 3: to fly out quickly, but nothing doing, and so they

1246
01:09:53,840 --> 01:09:56,880
Speaker 3: stayed there, stuck in the doors and windows. When the

1247
01:09:56,920 --> 01:09:59,599
Speaker 3: priest came in, he stopped at the sight of such

1248
01:09:59,680 --> 01:10:03,559
Speaker 3: disc grace in God's sanctuary and did not dare serve

1249
01:10:03,640 --> 01:10:07,400
Speaker 3: a pinakita in such a place. So the church remained

1250
01:10:07,439 --> 01:10:12,240
Speaker 3: forever with monsters stuck in its doors and windows, overgrown

1251
01:10:12,320 --> 01:10:17,639
Speaker 3: with forest roots, weeds, wild blackthorn, and no one now

1252
01:10:17,760 --> 01:10:21,120
Speaker 3: can find the path to it. The movie does this too.

1253
01:10:21,240 --> 01:10:25,519
Speaker 3: It actually catches the monsters frozen halfway going into the walls,

1254
01:10:25,560 --> 01:10:28,599
Speaker 3: and we see them kind of collapse with their body

1255
01:10:28,680 --> 01:10:31,080
Speaker 3: like a leg sticking out or the upper body just

1256
01:10:31,160 --> 01:10:35,599
Speaker 3: hanging there in the wall, still there when the priests

1257
01:10:35,640 --> 01:10:38,000
Speaker 3: come in in the morning, and I love that part.

1258
01:10:38,240 --> 01:10:40,240
Speaker 3: In fact, there's one thing we didn't even mention. When

1259
01:10:40,240 --> 01:10:43,679
Speaker 3: the monsters are first coming out, there's this marvelous special

1260
01:10:43,680 --> 01:10:46,880
Speaker 3: effect that somehow makes it look like it's like an

1261
01:10:46,880 --> 01:10:49,760
Speaker 3: optical illusion that makes it look like the monsters are

1262
01:10:49,800 --> 01:10:53,439
Speaker 3: crawling out from the middles of the walls. What it

1263
01:10:53,479 --> 01:10:55,599
Speaker 3: actually is is, I think that part of the wall

1264
01:10:55,720 --> 01:10:59,200
Speaker 3: is sort of advanced ahead of the other part of

1265
01:10:59,200 --> 01:11:02,360
Speaker 3: the wall, and there these gaps of depth so that

1266
01:11:02,400 --> 01:11:06,160
Speaker 3: they can crawl out from in between these parts. But yeah,

1267
01:11:06,240 --> 01:11:07,920
Speaker 3: it's it's very very cool.

1268
01:11:08,400 --> 01:11:13,439
Speaker 2: Yeah, it is just absolutely a special effects bonanza and

1269
01:11:13,640 --> 01:11:17,160
Speaker 2: just highly effective, very creepy. If if you have any

1270
01:11:17,200 --> 01:11:19,799
Speaker 2: knowledge of this film, again, you have probably seen clips

1271
01:11:19,840 --> 01:11:22,960
Speaker 2: from this part of the movie, or you've you've just

1272
01:11:22,960 --> 01:11:25,400
Speaker 2: seen images from it, because of course one of that

1273
01:11:25,560 --> 01:11:29,040
Speaker 2: the central images is when V comes out. They bring

1274
01:11:29,120 --> 01:11:32,000
Speaker 2: thee out, like you said, the unshielding of the eyes,

1275
01:11:32,720 --> 01:11:37,160
Speaker 2: And yeah, V is marvelous, great mysterious monster. We want

1276
01:11:37,160 --> 01:11:39,120
Speaker 2: to know more, but it's we were not meant to

1277
01:11:39,160 --> 01:11:40,160
Speaker 2: know anything of him.

1278
01:11:40,840 --> 01:11:45,200
Speaker 3: In the Actually I can read the description of V

1279
01:11:45,640 --> 01:11:48,120
Speaker 3: that is also in that translation of the story, because

1280
01:11:48,160 --> 01:11:51,360
Speaker 3: I think this is kind of interesting. So the in

1281
01:11:51,600 --> 01:11:54,320
Speaker 3: the story, the witch calls out, bring V, go get

1282
01:11:54,320 --> 01:11:57,760
Speaker 3: the V, and then it says quote, And suddenly there

1283
01:11:57,840 --> 01:12:00,800
Speaker 3: was silence in the church. The wolves howling could be

1284
01:12:00,880 --> 01:12:04,360
Speaker 3: heard far away, and soon heavy footsteps rang out in

1285
01:12:04,439 --> 01:12:07,799
Speaker 3: the church. With a sidelong glance, he saw them leading

1286
01:12:07,840 --> 01:12:11,799
Speaker 3: in some squat hefty splay footed man. He was black

1287
01:12:11,960 --> 01:12:16,000
Speaker 3: earth all over. His earth covered legs and arms stuck

1288
01:12:16,000 --> 01:12:20,559
Speaker 3: out like strong, sinewy roots. Heavily he trod, stumbling all

1289
01:12:20,600 --> 01:12:24,120
Speaker 3: the time. His long eyelids were lowered to the ground.

1290
01:12:24,479 --> 01:12:27,880
Speaker 3: With horror, Coma noticed that the face on him was

1291
01:12:28,000 --> 01:12:31,280
Speaker 3: made of iron. He was brought in under the arms

1292
01:12:31,439 --> 01:12:34,800
Speaker 3: and put right by the place where Coma stood. Lift

1293
01:12:34,880 --> 01:12:39,679
Speaker 3: my eyelids, I can't see, V said in a subterranean voice.

1294
01:12:40,080 --> 01:12:44,640
Speaker 3: And the entire host rushed to lift his eyelids. And

1295
01:12:45,080 --> 01:12:48,040
Speaker 3: I'll just finish this part. Don't look, some inner voice

1296
01:12:48,040 --> 01:12:51,280
Speaker 3: whispered to the philosopher. He could not help himself, and

1297
01:12:51,360 --> 01:12:55,400
Speaker 3: looked there he is. V cried and fixed an iron

1298
01:12:55,520 --> 01:12:58,639
Speaker 3: finger on him, and all that were there fell upon

1299
01:12:58,680 --> 01:13:02,480
Speaker 3: the philosopher. Breathless, he crashed to the ground, and straightway

1300
01:13:02,560 --> 01:13:04,679
Speaker 3: the spirit flew out of him in terror.

1301
01:13:05,320 --> 01:13:08,679
Speaker 2: Oh wow, so v it really almost had you already

1302
01:13:08,840 --> 01:13:11,280
Speaker 2: mentioned that he has like an elemental vibe, but in

1303
01:13:11,320 --> 01:13:15,080
Speaker 2: the original text almost sounds a little bit like almost manufactured,

1304
01:13:15,200 --> 01:13:19,000
Speaker 2: like like he is a like a the end product

1305
01:13:19,040 --> 01:13:23,519
Speaker 2: of some sort of strange hurricane right where something or

1306
01:13:23,560 --> 01:13:25,599
Speaker 2: somebody is transformed into the v.

1307
01:13:26,120 --> 01:13:30,880
Speaker 3: It describes his face and his finger as iron, and

1308
01:13:31,000 --> 01:13:34,400
Speaker 3: it describes his arms and legs as like roots and

1309
01:13:34,479 --> 01:13:35,280
Speaker 3: black soil.

1310
01:13:36,000 --> 01:13:41,240
Speaker 2: Yeah, pretty groovy, Pretty groovy, but not so for Coma

1311
01:13:41,320 --> 01:13:43,800
Speaker 2: because com again is struck dead by this.

1312
01:13:44,560 --> 01:13:47,800
Speaker 3: Yeah uh yeah. So then, of course, as we said,

1313
01:13:47,840 --> 01:13:50,160
Speaker 3: after this, we go back to the university and we

1314
01:13:50,280 --> 01:13:52,839
Speaker 3: just check in with the other oaths, the other guys

1315
01:13:52,880 --> 01:13:55,559
Speaker 3: there who are you know, we're his friends. They're probably

1316
01:13:55,560 --> 01:13:59,080
Speaker 3: thinking about something they can steal later today, and they're

1317
01:13:59,120 --> 01:14:01,400
Speaker 3: and they're doing their pain, and they're like, yeah, whatever

1318
01:14:01,400 --> 01:14:03,880
Speaker 3: happened to Coma? Too bad about him. He was a

1319
01:14:03,960 --> 01:14:04,519
Speaker 3: nice guy.

1320
01:14:05,360 --> 01:14:08,360
Speaker 2: It's interesting this little epilogue because it's certainly not a

1321
01:14:08,479 --> 01:14:11,080
Speaker 2: send them home happy sort of tack on ending like

1322
01:14:11,120 --> 01:14:13,920
Speaker 2: we see in some older horror films, though there is

1323
01:14:14,000 --> 01:14:16,000
Speaker 2: perhaps a sense of, well, we can't end it on

1324
01:14:16,040 --> 01:14:19,320
Speaker 2: such a dark note as well, you know, we have

1325
01:14:19,360 --> 01:14:22,360
Speaker 2: to let that. I think another part of it might be, Okay,

1326
01:14:22,360 --> 01:14:26,320
Speaker 2: we just had this amazing special effects sequence. Maybe the

1327
01:14:26,360 --> 01:14:28,320
Speaker 2: audience needs to breathe a little bit, They need to

1328
01:14:28,360 --> 01:14:31,400
Speaker 2: catch their breath before they can leave the theater. And

1329
01:14:31,439 --> 01:14:34,519
Speaker 2: we just have these two seminarians setting around ignoring their duties,

1330
01:14:34,600 --> 01:14:37,479
Speaker 2: drinking vodka and again eating what I assume to be

1331
01:14:37,560 --> 01:14:38,840
Speaker 2: like green onions.

1332
01:14:39,439 --> 01:14:43,280
Speaker 3: Yeah, too bad for coma munch, munch, give me some ramps.

1333
01:14:45,920 --> 01:14:48,000
Speaker 2: Okay, then, but then the credits roll and the credits

1334
01:14:48,040 --> 01:14:49,839
Speaker 2: are a little creepy again, we get some more cop.

1335
01:14:49,640 --> 01:14:55,080
Speaker 3: Webbed so yeah so I yeah, that does it for me.

1336
01:14:55,560 --> 01:14:57,519
Speaker 3: Those are my thoughts on V.

1337
01:14:58,680 --> 01:15:02,000
Speaker 2: V is pretty great. Highly recommend it. If you haven't

1338
01:15:02,000 --> 01:15:04,800
Speaker 2: seen it, go see it. And if you need to

1339
01:15:05,200 --> 01:15:08,800
Speaker 2: revisit it, yeah go do so. We spelled all the

1340
01:15:08,800 --> 01:15:10,639
Speaker 2: different ways you can go and see it these days.

1341
01:15:10,920 --> 01:15:12,880
Speaker 2: I would love to hear from everyone out there if

1342
01:15:12,920 --> 01:15:17,280
Speaker 2: you have thoughts on this film and also just its legacy,

1343
01:15:18,200 --> 01:15:21,040
Speaker 2: and if you've seen any other cinematic adaptations of V

1344
01:15:21,439 --> 01:15:23,120
Speaker 2: I would love to hear about you, hear your thoughts

1345
01:15:23,120 --> 01:15:26,680
Speaker 2: on those because we just briefly touched on I think

1346
01:15:26,680 --> 01:15:30,240
Speaker 2: a nineteen oh nine possibly lost film. I don't know

1347
01:15:30,280 --> 01:15:32,880
Speaker 2: that it remains. A lot of those old silent films

1348
01:15:32,880 --> 01:15:35,800
Speaker 2: did not make it. But then there are other productions

1349
01:15:35,400 --> 01:15:38,599
Speaker 2: from throughout the decades. There's one that's completely at least

1350
01:15:38,640 --> 01:15:41,559
Speaker 2: one that's completely animated. And then you have these more

1351
01:15:41,600 --> 01:15:47,479
Speaker 2: recent like Blockbuster Russian Blockbuster treatments. Right in if you've

1352
01:15:47,520 --> 01:15:50,240
Speaker 2: seen them, I think they've they've They've been streaming on

1353
01:15:50,280 --> 01:15:52,880
Speaker 2: some major platforms before, so some of you may have

1354
01:15:52,960 --> 01:15:54,680
Speaker 2: seen those, and you can write in and tell us

1355
01:15:54,720 --> 01:15:59,000
Speaker 2: what's what's that flavor, like, how did that Blockbuster adaptation go?

1356
01:15:59,560 --> 01:16:03,479
Speaker 3: Huge thing? Access always to our excellent audio producer JJ Posway.

1357
01:16:03,760 --> 01:16:05,479
Speaker 3: If you would like to get in touch with us

1358
01:16:05,479 --> 01:16:07,920
Speaker 3: with feedback on this episode or any other, to suggest

1359
01:16:08,000 --> 01:16:10,080
Speaker 3: a topic for the future, or just to say hello,

1360
01:16:10,439 --> 01:16:13,040
Speaker 3: you can email us at contact at stuff to Blow

1361
01:16:13,040 --> 01:16:21,040
Speaker 3: Yourmind dot com.

1362
01:16:21,120 --> 01:16:24,080
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1363
01:16:24,160 --> 01:16:26,960
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1364
01:16:27,120 --> 01:16:30,160
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