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

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Speaker 1: Lamb and this is Joe McCormick, and we are out

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Speaker 1: this week for a holiday break, but we've got some

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Speaker 1: great vault episodes for you. This today is going to

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Speaker 1: be a Weird House Cinema rewind for a for a

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Speaker 1: holiday episode from previous years. This is going to be

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Speaker 1: about blood Beat, the Samurai Christmas slasher film. This episode

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Speaker 1: originally published on December ten. Uh, enjoy if you can.

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Speaker 1: You know, there's if this is your type of of

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Speaker 1: holiday experience that I think you enjoyed. If it's not

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Speaker 1: your thing, yeah, yeah, let's skip this one because this

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Speaker 1: week is the rare week where we're doing I think

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Speaker 1: two Weird House Cinema rewind So if you're not crazy

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Speaker 1: about this selection, well then tune in tomorrow when we

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Speaker 1: really run another holiday selection from the previous year. Welcome

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Speaker 1: to Stuff to Blow your Mind, a production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick. And this is

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Speaker 1: Weird House Cinema's second holiday season, but this is gonna

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Speaker 1: be the first time we're actually going to be talking

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Speaker 1: about a holiday film. I don't Robot Jocks is a

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Speaker 1: holiday film. Well it Robot Jocks feels like Christmas. And

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Speaker 1: we've we've had a few films like that that feel

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Speaker 1: like Christmas, but they're not really a Christmas movie. They're

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Speaker 1: not set at Christmas. And I mean, and to be clear,

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Speaker 1: like this movie is not about Christmas, but it is.

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Speaker 1: It is. It is a film that takes place during

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Speaker 1: the holidays. Um. Now, and now I should well wait,

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Speaker 1: does the does the die hard logic apply? I know

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Speaker 1: people like arguing about this on the internet. I've never

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Speaker 1: actually gotten into it about that, but yeah, I mean,

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Speaker 1: I don't have a strong opinion about that, but I

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Speaker 1: guess it depends on what the holiday is doing in

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Speaker 1: the film, right and um and and I don't even

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Speaker 1: care whether people decide to label this that or the

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Speaker 1: other a holiday film. But of course you have you

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Speaker 1: have films that are very much about the holiday things

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Speaker 1: like you know, adaptations of the Christmas Carol, Miracle on

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Speaker 1: thirty four Street, all that that kind of stuff, And

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Speaker 1: of course those are holiday films. And I should say

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Speaker 1: that some of some of my favorite holiday movies are

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Speaker 1: are certainly weird and prime contenders for the weird House treatment.

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Speaker 1: But but I thought we might go with an entry

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Speaker 1: this week from that surprisingly large subgenre of holiday horror,

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Speaker 1: with a strong emphasis on Christmas time horror films in

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Speaker 1: American cinema. You know, I would have assumed, because Halloween

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Speaker 1: is one of the most copied movies of all time,

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Speaker 1: that the Christmas horror slasher film arose as one of

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Speaker 1: the many how Queen copycats like Friday thirteen. I mean,

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Speaker 1: I think that was pretty clearly an inspiration behind Friday

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Speaker 1: the thirteenth. It was like, hey, here's a real you know,

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Speaker 1: here was a successful movie about a guy with a knife,

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Speaker 1: and it's named after a day. Let's do another movie

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Speaker 1: about a knife wheelder running around named after a day.

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Speaker 1: So you would think that was true for Christmas films.

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Speaker 1: But actually, the first Christmas slasher film predates Halloween, um

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Speaker 1: or at least as far as I know, right, because

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Speaker 1: Black Christmas came out in nineteen four. Yeah. Yeah, it's

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Speaker 1: one of those early days slasher films. I think that's

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Speaker 1: considered it sort of almost a proto slasher film things

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Speaker 1: were just getting started. Um, I gotta say, I don't

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Speaker 1: love it, though, I watched it years ago and just

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Speaker 1: found it kind of boring and unpleasant. I much prefer Halloween,

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Speaker 1: even if it came later. It's it's the real uh,

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Speaker 1: it's the true progenitor here right in Halloween. It makes

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Speaker 1: sense at Halloween, right, And and that's that's when we

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Speaker 1: get into the kind of the enigma of the Christmas

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Speaker 1: horror film. Um. I think that just the the just

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Speaker 1: the idea of it even fascinates me because I have

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Speaker 1: a very strong memory of being a child wandering the

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Speaker 1: halls of the local VHS rental store and seeing the

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Speaker 1: posters and box art for various Christmas horror films, especially

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Speaker 1: stuff like Black Christmas and Silent Night Deadly Nine, but

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Speaker 1: even stuff like Grimlin's um and seeing that stuff and

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Speaker 1: just feeling like, well, this, this is wrong. This these

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Speaker 1: films should not be because even though my family made

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Speaker 1: a big deal about, uh, you know, about Halloween, we

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Speaker 1: did all sorts of Halloween stuff. But then when you know,

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Speaker 1: we got into Christmas, and as a child especially, you know,

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Speaker 1: Christmas is a special time and I just I wanted

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Speaker 1: it to be this, like, you know, this pure good thing,

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Speaker 1: and it just felt wrong that there were these movies

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Speaker 1: jumping in there and trying to make it grim or nasty.

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Speaker 1: You know. Oh wow, I don't remember having that feeling

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Speaker 1: at all. I definitely remember being both intrigued and actually,

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Speaker 1: I think I could be wrong and having this memory,

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Speaker 1: but I sort of recall finding it humorous, like looking

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Speaker 1: at the cover of Silent Night, Deadly Night and seeing

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Speaker 1: like the Santa suit arm with the acts and thinking

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Speaker 1: that is funny. My my little seven year old brain

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Speaker 1: doesn't quite know why it's funny. But I'm prowling through

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Speaker 1: the R rated section of the Turtles video or I'm

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Speaker 1: probably not supposed to be, and this this is funny.

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Speaker 1: I wonder if part of it for me anyway, maybe

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Speaker 1: for other folks out there, is that at Christmas time,

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Speaker 1: you know, sort of the typical American holiday season, you

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Speaker 1: have this um you know, there's this this increased um

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Speaker 1: emphasis on the mythology and the fiction of the holiday,

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Speaker 1: and in this uh, this idea that especially children should

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Speaker 1: be allowed and encouraged to believe in it, and even

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Speaker 1: past the point where their reason has actually kicked in

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Speaker 1: and they're seeing the truth for what it is. And

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Speaker 1: and so you know, therefore, perhaps these these these obvious

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Speaker 1: horror inventions, they kind of mess with it, you know,

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Speaker 1: because you're already having this crisis of belief in your

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Speaker 1: own little head about the existence of Santa Claus. And

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Speaker 1: if Santa Claus is perhaps not real, then then what

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Speaker 1: about the baby Jesus? What about the rest of it?

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Speaker 1: Is only half of it fake? You know, So you're

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Speaker 1: going out, You're having this big crisis of belief, and

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Speaker 1: then here's somebody else's is making up this, uh, this

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Speaker 1: story about killer Santa's or whatnot. Well, the other way

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Speaker 1: to frame it is, when you're seven years old, you

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Speaker 1: still believe in Santa Claus. Seeing the concept of a

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Speaker 1: horror movie where Santa Claus is wielding a bloody axe

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Speaker 1: seems vaguely blasphemous or at least carries some kind of

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Speaker 1: blasphemic weight. Yeah, I would definitely say so that that

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Speaker 1: was exactly how I felt about these films growing up,

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Speaker 1: is that these these this just blasphemy. It should not be.

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Speaker 1: I mean, they didn't try and like you know, destroy

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Speaker 1: the boxes or anything, but I was like, Nope, not

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Speaker 1: for me. And I have to say, some of these

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Speaker 1: films are still not from me. But I've gone back

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Speaker 1: and watch some of them, and I appreciate. I mean,

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Speaker 1: it's the interest thing about it is that it has

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Speaker 1: not stopped, and when it will not stop, you're gonna

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Speaker 1: keep having horror related uh, Christmas movies and holiday films

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Speaker 1: coming out. And I I think maybe we've gotten better

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Speaker 1: at it because I think we've had maybe an awakening

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Speaker 1: in American culture anyway regarding like how are Christmas stories

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Speaker 1: and wintertime traditions work? That you know, the realization that

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Speaker 1: that the sort of department store Santa Claus vision of

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Speaker 1: the holidays is one that was highly sanitized, and it

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Speaker 1: had you had things like you know, child eating trolls

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Speaker 1: and crampus removed from it. You had you'd removed the

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Speaker 1: hostile winter aspects of the of these holiday traditions. And

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Speaker 1: so the more that you realize that, yes, this is

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Speaker 1: supposed to be a time in which there is darkness

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Speaker 1: and the promise of light, uh, it makes more room

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Speaker 1: for and in a way almost more honest explorations of

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Speaker 1: that and sometimes and I think more fun. You know,

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Speaker 1: things like what's the Santa Claus monster film Rare Exports

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Speaker 1: that came out several years ago. That's a great one. Yeah,

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Speaker 1: Like like that's that's that's fun. And yeah. Yeah, and

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Speaker 1: watching that didn't like trigger any like Childhood Santa Claus

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Speaker 1: blasphemy warnings for me. You know, it just felt like

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Speaker 1: a fun monster flick. Yeah, I see what you're saying.

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Speaker 1: And I will say, of that early crop of Christmas

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Speaker 1: or you know, any general Solstice horror themed movies, the

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Speaker 1: only one I really love is Gremlins. Like Black Christmas,

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Speaker 1: Silent Silent Night, Deadly Night, all that stuff didn't really

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Speaker 1: do it for me. Yeah, I mean, Gremlins has its

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Speaker 1: own problems, but but at least it was trying on

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Speaker 1: the whole to be fun, whereas I think some of

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Speaker 1: these earlier films were just kind of like like here

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Speaker 1: here it comes nasty Christmas, it comes here, here comes

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Speaker 1: your horror Christmas. You like your Christmas? Will how about

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Speaker 1: some murder in your Christmas? You know? Um. And I

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Speaker 1: think it's just it's progressed as a as an art

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Speaker 1: form since those days. And part of that might be that,

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Speaker 1: you know, we can look back on those films as

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Speaker 1: being kind of like a almost kind of you know,

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Speaker 1: an anti establishment statement, you know, sort of striking against

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Speaker 1: the the corporate purity of the traditional American holiday season.

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Speaker 1: And uh, and I think that's that kind of leads

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Speaker 1: into another reason why we keep having these films Because

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Speaker 1: on one hand, yes, the darkness has always been a

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Speaker 1: part of our winter festivals, and therefore there's a desire

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Speaker 1: I think in us to have it in our our

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Speaker 1: modern festivities. But on the other end of things, I

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Speaker 1: feel like, if if Christmas and the holidays, if it's

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Speaker 1: all feeling too fake, too purified, too forced upon you, um,

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Speaker 1: a Christmas horror film is a way of sort of

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Speaker 1: releasing the pressure. It feels like a way to rebalance everything,

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Speaker 1: you know, a ninety minute hot topic t shirt of

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Speaker 1: rebellion against norms and society. Yeah, and that's also like

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Speaker 1: a huge reason I think that you see the Christmas

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Speaker 1: thrown into the movies like this, you know, because the

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Speaker 1: juxtaposition of Christmas alongside monster or Mayhem, blood or even

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Speaker 1: you know, in an action movie situation like die Hard. Um,

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Speaker 1: you know, it can it can just be a way

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Speaker 1: to get a reaction out of the audience and to

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Speaker 1: make everything a little more novel. Now. I feel like

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Speaker 1: that's especially the case of the more I don't know,

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Speaker 1: irreverent or maybe at least latently satirical Christmas horror films.

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Speaker 1: I guess it's a kind of different beast altogether. If

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Speaker 1: you make a Christmas horror movie that itself take is

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Speaker 1: very serious or takes itself very seriously. Well, this brings

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Speaker 1: to mind Ridley Scott's Prometheus movie, which had some very

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Speaker 1: uh you know, serious minded themes in it that it

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Speaker 1: was trying to to bring across and then also had

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Speaker 1: Christmas stuff in it, and they seem to be genuinely

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Speaker 1: trying to like make a connection there. You know, it's like,

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Speaker 1: um and maybe trying a bit too hard. I totally

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Speaker 1: forgot about Christmas being in there. What what? What's Christmas

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Speaker 1: about it? It's just it is Christmas on the spaceship

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Speaker 1: and they have like a Christmas tree or something. What

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Speaker 1: rains this misremembering that I believe that Prometheus is a

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Speaker 1: Christmas movie. Let's go to the tape Consus shapes with

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Speaker 1: high colorion. M hmm, what the hell is that? It's Christmas?

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Speaker 1: Need Holidays? So time is still moving. Mission briefing is

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Speaker 1: about to start. Captain, I want to make your way down.

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Speaker 1: Well I haven't had a breakfaste yet, but but we're

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Speaker 1: not talking about Prometheus. Today we're talking about a different

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Speaker 1: film entirely. We had a number of holiday horror films

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Speaker 1: to consider, but we ended up going with the one

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Speaker 1: that neither of us had seen before but had built

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Speaker 1: up something of a reputation for weirdness, and that's Three's

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Speaker 1: blood Beat. Where did you find this thing? This? This

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Speaker 1: movie is so weird it made my toenails curl. What

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Speaker 1: where did you find this? I believe earlier in the year,

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Speaker 1: I was looking through just like a database. Maybe it

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Speaker 1: was it was on Internet movie database, of course, but

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Speaker 1: it might have been something like a Wikipedia. I was

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Speaker 1: just looking at different genre films from different decades, and

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Speaker 1: I noted that this one had been flagged as being

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Speaker 1: a holiday or Christmas movie. Uh. So I was like, okay,

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Speaker 1: holiday Christmas slasher, I'll put it in and uh, and

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Speaker 1: maybe we'll come back to it when we get closer

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Speaker 1: to the holidays themselves. And then when I started looking

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Speaker 1: into a little bit more, I well, I watched the trailer,

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Speaker 1: which we'll get to and that that kind of sold me.

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Speaker 1: And uh. And then also Michael Weldon, in one of

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Speaker 1: his psychotronic books, he had it listed. He was one

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Speaker 1: of the sort of neutral listings where he didn't. He

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Speaker 1: didn't passionately promoted, But he also didn't say it was bad.

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Speaker 1: He just said it was a confusing movie with quote

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Speaker 1: dream sequences, magical powers, nudity, and blood. Well, I'd say

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Speaker 1: that's a mostly correct description, especially on the confusing part,

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Speaker 1: because I paid close attention to this film and I

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Speaker 1: do not understand what it was about. Yeah, yeah, I

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Speaker 1: have a feeling you and I thought longer and harder

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Speaker 1: about the meaning, the true meaning of this film, more

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Speaker 1: than than most people. But but blood Beat one word,

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Speaker 1: by the way, blood Beat, uh has a lot of

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Speaker 1: things going for it for starters. It's it's not nearly

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Speaker 1: as all in and on holiday sacrilege as most Christmas

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Speaker 1: films are. So this one's not about making you feel

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Speaker 1: bad about the about the holidays or anything. So I

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Speaker 1: don't know, I liked it a little more for that. Uh. Secondly,

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Speaker 1: it's a Wisconsin movie, and I think that makes for

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Speaker 1: our first Wisconsin movie. Yeah, this movie has a fair

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Speaker 1: quotient of of dub Bears type guys wearing flannel and

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Speaker 1: trucker hats and and having uh you know, good mustaches.

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Speaker 1: It's uh, it's this movie it's it's got bratt Verst

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Speaker 1: and uh and you know cheese kurd just kind of

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Speaker 1: flowing through its veins and it's enough to make you think, wow,

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Speaker 1: this must be you know, Wisconsin indie film everybody, and

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Speaker 1: it's from Wisconsin. The director, who will get to in

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Speaker 1: a bit though, uh is French. But I'm not going

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Speaker 1: to allow this to be considered our first French movie

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Speaker 1: that we've watched on Weird how Cinema. We've got there

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Speaker 1: are better choices to to to really represent French weird cinema. Okay,

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Speaker 1: so what we've established so far is this is a

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Speaker 1: Franco Wisconsinite indie Christmas horror film that what subgenre of

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Speaker 1: horror would you put it in? Maybe? Um, uh, psychic slashers, Yes,

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Speaker 1: I think psychic slasher would be Uh, it would be

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Speaker 1: accurate and uh and I'll tell you another fun thing

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Speaker 1: about this is that, in similar to films like Troll

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Speaker 1: two and Spooky's that we've we've looked at on the

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Speaker 1: show before, uh, it involves mostly people who really didn't

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Speaker 1: do anything or at all, or or or anything else

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Speaker 1: besides this picture in terms of you know, other film appearances,

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Speaker 1: which which can be in a way it can be

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Speaker 1: um kind of liberating, like I love, you know, making

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Speaker 1: these connections to other films and you know, thinking about, oh,

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Speaker 1: what were they in? What were they And you go

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Speaker 1: in to it too at times and you're like, well,

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Speaker 1: if nothing else, I know, well Peter laure is in it,

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Speaker 1: so he's going to do something interesting. That that sort

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Speaker 1: of thing. But with a movie like this, it can

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Speaker 1: feel like it just came from another universe. Or maybe

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Speaker 1: that's like it's not a film at all, but something real,

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Speaker 1: you know. In keeping with the psychic theme, I would

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Speaker 1: say this movie feels like a dream somebody had about

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Speaker 1: a movie that didn't exist, except they managed to project it,

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Speaker 1: like psychic photography or that. What was that we talked.

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Speaker 1: We did an episode on the supposed a phenomenon like

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Speaker 1: projected thermography, people just printing their dreams and imagery on

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Speaker 1: on on photographic plates. Um. I don't think people can

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Speaker 1: actually do that, by the way, but but yeah, I

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Speaker 1: just imagine that happened for somebody's dream, and it was

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Speaker 1: the kind of thing where while you're watching it, you

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Speaker 1: just accept because it's a dream that oh, yeah, these

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Speaker 1: are actors I would know. But then of course when

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Speaker 1: you wake up, you're like, oh, wait a minute, those

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Speaker 1: aren't people that they came out of my subconscious Yeah,

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Speaker 1: and you know, this would probably be worth looking at

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Speaker 1: even if it was just like a just a whole

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Speaker 1: much of non sequitors. It was just like one weird

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Speaker 1: dream sequence after the other. You know, their films like

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Speaker 1: that that I have enjoyed over the years. But this

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Speaker 1: movie does have a plot, and even better than that,

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Speaker 1: it seems weirdly ambitious. It's it's kind of punching above

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Speaker 1: its weight a little bit and trying to say something,

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Speaker 1: which is always the kuda gras with a good D film, Right.

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Speaker 1: I mean, so most slasher films, you know, the people involved, No,

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Speaker 1: they're making trash. And and so the question is are

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Speaker 1: do they know how to make fun trash or do

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Speaker 1: they end up making just boring, miserable trash. But no,

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Speaker 1: in this case, you can it's quite clear that somebody

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Speaker 1: involved at least thought they were making art. Yes, all right, well,

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Speaker 1: let's let's talk elevator pitch for this film. I was

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Speaker 1: thinking holidays with family are rough, especially when mom is

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Speaker 1: psychic and your girlfriend is possessed by a samurai. Yeah,

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Speaker 1: holiday family gatherings can be awkward enough already. Uh, it

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Speaker 1: just gets worse when they're just like a psychically projected

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Speaker 1: ghost samurai running around slashing everybody's throat. Yeah. Yeah, and

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Speaker 1: Mom's constantly eavesdropping on you through her psychic paintings that

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Speaker 1: are hung all over the house. Yes, all right, Well,

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Speaker 1: let's go ahead and listen to the trailer here, and

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Speaker 1: I think we're gonna we may be playing the trailer

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Speaker 1: in full because it has a wonderful grindhalcy like echo

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Speaker 1: vibe to it. A devil, a devil, I'm torning what

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Speaker 1: you worn, what you lives, lives, breaves held, paralyzed with fears,

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Speaker 1: with fears, it kills as skill as mutilates, mutila anyone,

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Speaker 1: and it's us one, and it's tormented by a psychic house. Bloody, bloody,

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Speaker 1: horrileful press is blood blood ready, blood lunch blood set. Yeah,

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Speaker 1: just sounds grimy. Was this the one that everything it

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Speaker 1: says it says twice? Yes, at least twice. There's like

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Speaker 1: this weird echo thing, And it's like, even even though

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Speaker 1: you're you're out there listening to this podcast and you

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Speaker 1: could not see the footage, you probably had like audible

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Speaker 1: cigarette burns inside your your skull, you know, like you

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Speaker 1: can imagine that sort of gritty uh you know it

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Speaker 1: made eighty three film, but still that you would get

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Speaker 1: that kind of like nineteen seventies grit on the footage

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Speaker 1: this trailer has the sound of somebody getting a like

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Speaker 1: beer that they snuck in in their boot out and

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Speaker 1: cracking it open in the dark. Absolutely. All right, Well

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Speaker 1: let's talk about the people. And again I'm just gonna

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Speaker 1: remind everyone that the connections on this are not gonna

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Speaker 1: be as robust as some of our other films, but

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Speaker 1: it's still worth looking at at who these folks were,

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Speaker 1: uhland or are. Uh So let's start at the top.

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Speaker 1: The director, the writer. Also credits for music, film editing,

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Speaker 1: and camera operation go to Fabrice on Gay Zafaratos. Um

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Speaker 1: This is a French director who prior to this, made

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Speaker 1: the nineteen seventy seven film La Grand Freman The Large Farm.

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Speaker 1: I believe that translates to which may or may not

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Speaker 1: involve a motorcycle based on the cover art. Blood Beat

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Speaker 1: was his second film and his last film. He has

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Speaker 1: some connection to um Ri Zafaratos, who produced and directed

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Speaker 1: and Road and was very active in the reasonably active

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Speaker 1: in the six season seventies. But this is a figure

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Speaker 1: that I could not find any English translations regarding like.

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Speaker 1: There seems to be like a French Wikipedia article about him,

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Speaker 1: but I don't know that he's widely known outside of that.

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Speaker 1: And I'm not even sure that this is in fact

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Speaker 1: our director of Blood Beats Father. But there seems to

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Speaker 1: be some family connection there matter. Maybe it's an uncle.

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Speaker 1: I don't know. Um, But anyway, this film Blood Beat,

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Speaker 1: for better or Worse is Zapharatos the younger's vision, and

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Speaker 1: his vision is weird. The film is certainly confusing. Um,

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Speaker 1: it's ambitious, it's kind of it's all over the place

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Speaker 1: in some respects. But he was trying to say something,

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Speaker 1: or at least was trying to rope all this together

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Speaker 1: into a narrative that made sense and said something. Uh,

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Speaker 1: though with varying degrees of success. Now I mentioned that

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Speaker 1: he has a music credit, so I just want to

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Speaker 1: add quick note on the music. The score here varies

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Speaker 1: from works of classical music, including very well known pieces

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Speaker 1: like Karl Orff's Carmina burana Is is used during the

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Speaker 1: finale for example. Uh, And I just have to say

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Speaker 1: that the use especially of classical music, but of all

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Speaker 1: the music is actually one of the funniest and weirdest

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Speaker 1: things about this movie. There are a number of scenes

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Speaker 1: that are already strange, but they're pushed over the line

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Speaker 1: by having music that feels like nobody else would select

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Speaker 1: this this music to go with this scene. So like

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Speaker 1: a scene of characters sitting around on a couch just

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Speaker 1: sort of being awkward, but it's playing these like fast

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Speaker 1: classical strings, like all these glassondi. It's like, what is

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Speaker 1: going on? Just the music frequently does not match the

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Speaker 1: tone of the scene, or to the extent that it does,

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Speaker 1: it's just heightening something, uh that that feels kind of

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Speaker 1: off about the scene. Yeah, and then they'll other times

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Speaker 1: they'll throw in Gregorian chant. There's definitely a bit that, uh.

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Speaker 1: But then other times it gives you exactly what you

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Speaker 1: might expect and hope for with the film of this caliber,

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Speaker 1: and that is kind of amateur esque electronic music um,

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Speaker 1: which at times I think worked pretty well, especially when

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Speaker 1: you've got this kind of pulse pounding electronic vibe going um.

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Speaker 1: At least in a few scenes that it worked pretty well.

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Speaker 1: A lot of the electronic music in this movie is

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Speaker 1: what I would refer to. Maybe there's another name for

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Speaker 1: this that already exists, but what I would call boying

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00:22:30,480 --> 00:22:34,120
Speaker 1: boying music. Uh. This movie, actually it contains a lot

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Speaker 1: of synthesizers that sound like cartoons, spring sound effects, you know,

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Speaker 1: bl blont blant and then uh and then of course

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Speaker 1: usually offset with the sound of heartbeats, which are used

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Speaker 1: frequently in the soundtrack throughout the whole film. Now you

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Speaker 1: said heartbeats, I think you'll find that those are blood beats.

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Speaker 1: Oh excuse me, yes, I stand corrected. All right. So

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Speaker 1: we we have a limited cast in this because it

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Speaker 1: basically a cerns a boyfriend bringing his girlfriend home to

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Speaker 1: meet his family at Christmas. Let's start with the mom.

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Speaker 1: The mom is Kathie and she is played by Helen

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Speaker 1: bent Tone Uh. Dates unknown for her. This is her

400
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Speaker 1: only film role, but I thought she was mostly pretty good.

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Speaker 1: Is the distracted art mom who also has the shinning, yeah,

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Speaker 1: heavy shinning. I don't know what an actor should have

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Speaker 1: done with this role, but you know what, I'm going

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Speaker 1: to give credit to Helen Mintone because I mean, what's

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Speaker 1: off about this role is all in the script. I mean,

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Speaker 1: unless the actor was improvising. I don't think she was so.

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Speaker 1: Uh So this is a very weird character. But but

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Speaker 1: I think Helen Bentone does does the best that could

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Speaker 1: be done with it. Yeah, yeah, I mean it's not

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Speaker 1: one of those where you're you're gawking at her performance

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Speaker 1: or anything and and wondering what you're doing. Like she's

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Speaker 1: doing the best you can clearly, and uh A lot

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Speaker 1: of the time that seems to work, all right. And

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Speaker 1: then we also have Gary, whose mom's boyfriend than this,

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Speaker 1: and Darry is played by Terry Brown. This is a

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Speaker 1: guy that's he's cut from the same raw block of

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Speaker 1: masculinity that such figures as Ross Dour roused Our rather

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00:24:12,080 --> 00:24:15,320
Speaker 1: from the final sacrifice was cut from. Yes, he's a

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00:24:15,760 --> 00:24:20,160
Speaker 1: he's a hunter, he's an outdoorsman. He's uh he's weathered

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00:24:20,200 --> 00:24:23,119
Speaker 1: by the northern planes and then the harsh winds. But

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00:24:23,160 --> 00:24:25,600
Speaker 1: at the same time, there's like a scene where he's

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Speaker 1: laying shirtless in a bed and his skin is surprisingly

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00:24:28,800 --> 00:24:33,160
Speaker 1: smooth and youthful looking. It's very funny. So the dates

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00:24:33,200 --> 00:24:35,359
Speaker 1: are unknown for the actor Terry Brown as well, but

425
00:24:35,400 --> 00:24:38,199
Speaker 1: Brown actually pops up in some other films, generally in

426
00:24:38,320 --> 00:24:43,080
Speaker 1: much smaller roles. He followed up blood Beat with Dark Rider,

427
00:24:43,160 --> 00:24:47,119
Speaker 1: starring Joe Estevez. You know it's good if it's got

428
00:24:47,119 --> 00:24:51,159
Speaker 1: that Joe Esteves seal u um. And also he pops

429
00:24:51,240 --> 00:24:56,440
Speaker 1: up in a movie from titled My Samurai, So there's

430
00:24:56,720 --> 00:24:59,119
Speaker 1: to two Samurai films and and what is you know

431
00:24:59,359 --> 00:25:03,080
Speaker 1: very much a small filmography. That film, by the way,

432
00:25:03,160 --> 00:25:07,520
Speaker 1: had Mako and Tario Quinn in it, Teryo Quinn. Yeah,

433
00:25:07,520 --> 00:25:11,800
Speaker 1: Brown also pops up I think just bit parts copycat.

434
00:25:11,880 --> 00:25:16,359
Speaker 1: He shows up on Nash Bridges and also the Princess Diaries, okay,

435
00:25:16,400 --> 00:25:21,280
Speaker 1: and playing Gary from Bloody in the Princess Diaries. As Gary,

436
00:25:21,320 --> 00:25:26,240
Speaker 1: he's pretty good. Um, he's believable as as this hunter guy.

437
00:25:26,520 --> 00:25:28,320
Speaker 1: Though there are times I don't know if you've noticed this,

438
00:25:28,359 --> 00:25:30,199
Speaker 1: but there are times where he has like he suddenly

439
00:25:30,200 --> 00:25:33,840
Speaker 1: has to be emotional and he just, to my eyes,

440
00:25:33,880 --> 00:25:36,600
Speaker 1: he just ratches it up way too far. Like suddenly

441
00:25:36,600 --> 00:25:39,080
Speaker 1: he's just like he's like really animated and angry, when

442
00:25:39,080 --> 00:25:40,480
Speaker 1: the rest of the time he's he's pretty chill and

443
00:25:40,560 --> 00:25:43,040
Speaker 1: laid back. I don't know if i'd say he's a

444
00:25:43,040 --> 00:25:47,120
Speaker 1: good actor, but he's quite likable. Yeah. Yeah, there's there's

445
00:25:47,160 --> 00:25:51,399
Speaker 1: something naturally likable about the guy playing this role, uh

446
00:25:51,480 --> 00:25:55,119
Speaker 1: that that shines through and also makes his um his

447
00:25:55,240 --> 00:25:59,360
Speaker 1: moments of being kind of unreasonable and upset not all

448
00:25:59,359 --> 00:26:02,680
Speaker 1: that believable. All right, let's get back to the Sun.

449
00:26:02,960 --> 00:26:07,640
Speaker 1: The Sun is kd played by James Fitzgibbons. Dates unknown,

450
00:26:08,000 --> 00:26:10,720
Speaker 1: one of only two screen credits, and he looks kind

451
00:26:10,720 --> 00:26:16,480
Speaker 1: of like a cross between Bennedict Cumberbatch and Don Jr. Yeah, uh,

452
00:26:16,480 --> 00:26:21,800
Speaker 1: he he's got to look he Early in the movie,

453
00:26:21,880 --> 00:26:25,000
Speaker 1: there's a scene where he's wearing a black sweater tucked

454
00:26:25,080 --> 00:26:28,040
Speaker 1: into his jeans and I was like, well, yeah, that's

455
00:26:28,040 --> 00:26:30,280
Speaker 1: how I would just that's what I used to describe

456
00:26:30,280 --> 00:26:34,280
Speaker 1: his character. Yeah, um, And you know I could. But

457
00:26:35,000 --> 00:26:37,280
Speaker 1: I think this actor is fine in this role. Like

458
00:26:37,359 --> 00:26:40,440
Speaker 1: I bought into him being this this character and did

459
00:26:40,480 --> 00:26:43,280
Speaker 1: not think much about this as a performance. And I

460
00:26:43,280 --> 00:26:46,200
Speaker 1: guess the same could be said, uh for his sister Dolly.

461
00:26:46,560 --> 00:26:50,280
Speaker 1: The character's sister Dolly played by Dana Day Dates unknown

462
00:26:50,720 --> 00:26:52,800
Speaker 1: for her as well, and this is her only film role.

463
00:26:53,320 --> 00:26:56,920
Speaker 1: And then finally we have Sarah, whose Ked's poor girl

464
00:26:56,960 --> 00:26:59,240
Speaker 1: friend who has to come out here into the middle

465
00:26:59,240 --> 00:27:01,800
Speaker 1: of nowhere and was Anson and visit this family at Christmas,

466
00:27:02,600 --> 00:27:06,200
Speaker 1: and she is played by Claudia Peyton. Claudia Peyton lived

467
00:27:06,280 --> 00:27:08,600
Speaker 1: nineteen fifty six through two thousand and twelve. This is

468
00:27:08,640 --> 00:27:11,760
Speaker 1: her only film role. Um, but uh, you know, I

469
00:27:11,840 --> 00:27:14,399
Speaker 1: think she was quite good in this as the psionically

470
00:27:14,480 --> 00:27:18,560
Speaker 1: and spiritually sensitive girlfriend having to visit her boyfriend's family

471
00:27:18,560 --> 00:27:22,360
Speaker 1: in rural Wisconsin. Her obituary reveals that she was actually

472
00:27:22,560 --> 00:27:25,320
Speaker 1: a pretty highly trained with an m A and several

473
00:27:25,320 --> 00:27:28,960
Speaker 1: certificates in the Alexander technique, which I'm to understand is

474
00:27:29,000 --> 00:27:34,080
Speaker 1: an alternative therapy based in acting for actors. Uh. She

475
00:27:34,119 --> 00:27:37,360
Speaker 1: attended Drama Studio London and seems to have taught acting

476
00:27:37,440 --> 00:27:40,840
Speaker 1: in New York City and in Chicago for a large

477
00:27:40,840 --> 00:27:43,159
Speaker 1: part of her life. You know. Also, I don't I

478
00:27:43,160 --> 00:27:46,160
Speaker 1: don't know what she should have done with this character,

479
00:27:46,400 --> 00:27:49,560
Speaker 1: but but what she did was enjoyable. I guess. Like

480
00:27:50,200 --> 00:27:52,880
Speaker 1: in almost every shot of the movie, I mean literally,

481
00:27:53,080 --> 00:27:57,639
Speaker 1: i'd say nine percent plus of the shots, including her face,

482
00:27:58,359 --> 00:28:01,360
Speaker 1: she's making an expression the sounds like it should be

483
00:28:01,400 --> 00:28:07,800
Speaker 1: accompanied by a vocalization, kind of like like she just

484
00:28:07,840 --> 00:28:11,880
Speaker 1: looks perpetually in a in a state of uh near

485
00:28:11,960 --> 00:28:16,480
Speaker 1: paralysis with awkward anxiety. Yeah, yeah, and and it and it.

486
00:28:16,600 --> 00:28:19,199
Speaker 1: I think it largely works because at hard this is

487
00:28:19,240 --> 00:28:22,920
Speaker 1: a film about feeling awkward at your your boyfriend's parents house.

488
00:28:24,359 --> 00:28:26,639
Speaker 1: And I think you know, we we've all been in

489
00:28:26,720 --> 00:28:29,080
Speaker 1: some version of this scenario before. Many of us have

490
00:28:29,119 --> 00:28:32,600
Speaker 1: been in some version of this scenario. Um where you know,

491
00:28:32,680 --> 00:28:35,680
Speaker 1: the awkwardness that this film is is trying to portray

492
00:28:36,040 --> 00:28:39,360
Speaker 1: and is ultimately based entirely around you know, like that

493
00:28:39,480 --> 00:28:42,320
Speaker 1: is uh you know, they say, you know, go with

494
00:28:42,360 --> 00:28:44,320
Speaker 1: what you know, you know, make sure there's this core

495
00:28:44,360 --> 00:28:47,480
Speaker 1: of truth to your strange speculative story. Well, this is

496
00:28:47,520 --> 00:28:50,360
Speaker 1: the this is the core of truth to this motion picture.

497
00:28:50,760 --> 00:29:02,240
Speaker 1: Sure enough. No, now what happens here? Are we going

498
00:29:02,280 --> 00:29:04,320
Speaker 1: to try to explain the plot? I guess there will

499
00:29:04,360 --> 00:29:07,080
Speaker 1: be spoilers. There probably have already been spoilers, but I

500
00:29:07,640 --> 00:29:09,920
Speaker 1: don't know if it makes a difference. No, No, I

501
00:29:09,960 --> 00:29:11,760
Speaker 1: think you can. You can go into this one spoiled

502
00:29:11,760 --> 00:29:15,840
Speaker 1: and it's still gonna perplex you. Okay, Well, are you ready?

503
00:29:15,080 --> 00:29:17,520
Speaker 1: Let's do it? Okay. So the first thing we get

504
00:29:17,600 --> 00:29:20,400
Speaker 1: is Boying Boying music like I was talking about earlier,

505
00:29:20,440 --> 00:29:24,200
Speaker 1: and you know, the title it looks like it would

506
00:29:24,200 --> 00:29:28,800
Speaker 1: be a nice logo for a board game, don't you agree. Yeah, yeah,

507
00:29:28,840 --> 00:29:32,040
Speaker 1: it's like blood Beat from Milton Bradley. It's got it's

508
00:29:32,080 --> 00:29:34,640
Speaker 1: got a nice font and then blood dripping down the letters,

509
00:29:34,720 --> 00:29:37,520
Speaker 1: and then it's got a cartoon dagger stabbing into the

510
00:29:37,640 --> 00:29:40,960
Speaker 1: d in the word blood. Uh, though, I wonder why

511
00:29:40,960 --> 00:29:43,800
Speaker 1: it's a dagger. This dagger I'm pretty sure does not

512
00:29:43,920 --> 00:29:47,480
Speaker 1: feature in the movie. That this should have been a katana. Yeah,

513
00:29:47,480 --> 00:29:49,200
Speaker 1: it should. It should have been, like that's the whole thing.

514
00:29:49,280 --> 00:29:53,040
Speaker 1: It's a killer psychic samurai with a real I think

515
00:29:53,080 --> 00:29:56,240
Speaker 1: it's supposed to be real or it becomes real katana.

516
00:29:56,560 --> 00:29:59,120
Speaker 1: So when things actually get going in the movie with

517
00:29:59,120 --> 00:30:02,200
Speaker 1: with live action, and we see shots of a peaceful

518
00:30:02,280 --> 00:30:04,720
Speaker 1: forest in winter and you've got you know, the trees

519
00:30:04,760 --> 00:30:07,840
Speaker 1: are bear dead, leaves covering the land, and we see

520
00:30:07,840 --> 00:30:11,320
Speaker 1: an icy stream winding its way through moss covered rocks

521
00:30:11,360 --> 00:30:15,960
Speaker 1: and fallen limbs. It's very nice, but then also really loud,

522
00:30:16,160 --> 00:30:21,160
Speaker 1: intrusive synth melodies of a kind of nursery rhyme music

523
00:30:21,240 --> 00:30:25,360
Speaker 1: box of variety. And then we see a hunter. So

524
00:30:25,520 --> 00:30:28,560
Speaker 1: he's this figure creeping through the forest at a rapid

525
00:30:28,600 --> 00:30:32,240
Speaker 1: pace and he's wearing camo heavy leather boots. Uh. He's

526
00:30:32,280 --> 00:30:36,600
Speaker 1: carrying a big compound bow and he's listening to a walkman.

527
00:30:36,720 --> 00:30:40,160
Speaker 1: He's got like a portable cassette player with headphones. Is

528
00:30:40,200 --> 00:30:43,400
Speaker 1: that normal for hunters? Maybe? I don't know. I mean,

529
00:30:43,560 --> 00:30:46,760
Speaker 1: I mean what one imagines it's Aureo Speedwagon playing on

530
00:30:46,960 --> 00:30:50,000
Speaker 1: the walkman, I don't know why. No, I think it's

531
00:30:50,160 --> 00:30:53,160
Speaker 1: diagetic music. He's listening to the boing boying music. That's

532
00:30:53,200 --> 00:30:56,120
Speaker 1: where I was coming from. And so we see him.

533
00:30:56,160 --> 00:30:58,520
Speaker 1: You know, he catches sight of something, he kneels, he

534
00:30:58,600 --> 00:31:01,320
Speaker 1: draws back an arrow, he's shoots at something, and then

535
00:31:01,480 --> 00:31:06,080
Speaker 1: you know the to he clearly he made the kill. Uh.

536
00:31:06,120 --> 00:31:08,800
Speaker 1: So we cut straight to a pickup truck arriving back

537
00:31:08,800 --> 00:31:12,680
Speaker 1: home at a house kind of like a farmhouse out

538
00:31:12,680 --> 00:31:17,480
Speaker 1: in the the frozen waste land of Wisconsin. And there's

539
00:31:17,480 --> 00:31:20,000
Speaker 1: a woman in a colorful shawl standing in the doorway.

540
00:31:20,120 --> 00:31:23,480
Speaker 1: So this is Kathy. This is the mom. And everything

541
00:31:23,560 --> 00:31:25,960
Speaker 1: up to this point has had kind of a strange,

542
00:31:26,040 --> 00:31:29,040
Speaker 1: ominous tone, but it's very much broken when the hunter,

543
00:31:29,080 --> 00:31:32,200
Speaker 1: who turns out to be her boyfriend Gary, starts talking.

544
00:31:32,600 --> 00:31:35,760
Speaker 1: He gets out of the car, and then he's immediately

545
00:31:35,800 --> 00:31:39,920
Speaker 1: he has the energy of a kid wanting to show

546
00:31:39,960 --> 00:31:43,240
Speaker 1: you the four they made in the woods. He's like,

547
00:31:43,280 --> 00:31:46,480
Speaker 1: all right, honey, I got one. Come look, and he's

548
00:31:46,680 --> 00:31:50,440
Speaker 1: like bent over and running around real fast. And so

549
00:31:50,520 --> 00:31:52,320
Speaker 1: Cathy comes to look at the deer in the bed

550
00:31:52,320 --> 00:31:54,840
Speaker 1: of the pickup truck. But then she immediately has some

551
00:31:54,920 --> 00:31:59,160
Speaker 1: kind of psychic reaction, and you know, she's like oh,

552
00:31:59,200 --> 00:32:01,880
Speaker 1: and she backs up and and he's all, you know,

553
00:32:02,000 --> 00:32:04,000
Speaker 1: startled by this. He's like, hey, you know you've seen

554
00:32:04,040 --> 00:32:06,280
Speaker 1: me show up with lots of dead deer before. Is

555
00:32:06,280 --> 00:32:10,080
Speaker 1: is this a migraine? And she seems to agree, um,

556
00:32:10,120 --> 00:32:12,240
Speaker 1: And they go back inside and there's a nice little

557
00:32:12,240 --> 00:32:16,440
Speaker 1: breakfast table scene, though in the first of many this

558
00:32:16,520 --> 00:32:20,400
Speaker 1: will be the scene will be strangely accented by classical

559
00:32:20,600 --> 00:32:24,560
Speaker 1: strings apparently playing on the radio. Uh. And then in

560
00:32:24,600 --> 00:32:27,400
Speaker 1: the foreground will get a strong performance by a box

561
00:32:27,400 --> 00:32:30,760
Speaker 1: of Kellogg's All brand and a prominent tub of Skippy,

562
00:32:30,840 --> 00:32:33,400
Speaker 1: which I think is peanut butter. Now do you present

563
00:32:33,440 --> 00:32:35,320
Speaker 1: me with a still of this thing? This is a

564
00:32:35,360 --> 00:32:37,720
Speaker 1: complete breakfast he's about to have there. It looks like

565
00:32:37,800 --> 00:32:43,160
Speaker 1: two slabs of keish on a plate, multiple bowls are prepared,

566
00:32:43,560 --> 00:32:47,600
Speaker 1: multiple uh mugs and cups are arranged around him like

567
00:32:47,760 --> 00:32:50,400
Speaker 1: this is this is quite a spread. That's not even

568
00:32:50,440 --> 00:32:53,440
Speaker 1: the whole, that's just at Gary's place at the table.

569
00:32:53,600 --> 00:32:57,200
Speaker 1: So yeah, it looks like Gary is having waffles, keysh tu,

570
00:32:57,280 --> 00:33:01,040
Speaker 1: bowls of cereal, two cups of coffee, maybe a bowl

571
00:33:01,080 --> 00:33:05,239
Speaker 1: of peanut butter. I'm not sure, but so anyway, this

572
00:33:05,320 --> 00:33:07,720
Speaker 1: is Kathy and Gary the hunter is is the boyfriend

573
00:33:07,760 --> 00:33:10,440
Speaker 1: Gary and uh that we we find out. The situation

574
00:33:10,520 --> 00:33:12,560
Speaker 1: is they're about to have Kathy's kids up to visit

575
00:33:12,560 --> 00:33:16,040
Speaker 1: the house for Christmas, and Gary wants to surprise the

576
00:33:16,080 --> 00:33:18,720
Speaker 1: kids by telling them that he and Kathy are going

577
00:33:18,760 --> 00:33:21,680
Speaker 1: to get married. He's he's he's being all sweet, but

578
00:33:21,800 --> 00:33:25,040
Speaker 1: Kathy is not in favor. She's like, I've told you

579
00:33:25,080 --> 00:33:27,280
Speaker 1: so many times, I don't want to get married again.

580
00:33:27,880 --> 00:33:30,680
Speaker 1: And then this makes Gary upset and he goes outside

581
00:33:30,680 --> 00:33:33,240
Speaker 1: to gutt a deer. Warning by the way, I mean,

582
00:33:33,280 --> 00:33:35,360
Speaker 1: obviously this is an O rated movie with all kinds

583
00:33:35,400 --> 00:33:39,280
Speaker 1: of content, but if you're bothered by realistic looking depictions

584
00:33:39,280 --> 00:33:42,800
Speaker 1: of animal gutting, this looks like a real deer gutting

585
00:33:42,800 --> 00:33:45,080
Speaker 1: to me, Yeah, yeah, this this looks like a real

586
00:33:45,160 --> 00:33:47,320
Speaker 1: dead dear. So he's out doing that. And then some

587
00:33:47,400 --> 00:33:50,400
Speaker 1: kids arrive. Now at first I could not tell who

588
00:33:50,520 --> 00:33:54,560
Speaker 1: was who. Who were Kathy's kids? Um, but so Kathy's

589
00:33:54,640 --> 00:33:58,360
Speaker 1: kids are the son named Ted and then the daughter

590
00:33:58,440 --> 00:34:01,480
Speaker 1: named Dolly. And then it's also Sarah in the car,

591
00:34:01,520 --> 00:34:04,720
Speaker 1: who is Ted's. He introduces her as his friend. She's

592
00:34:04,640 --> 00:34:08,160
Speaker 1: a girlfriend. And so they arrived to find Gary gutting

593
00:34:08,200 --> 00:34:10,960
Speaker 1: the deer. And then he's all excited to see them

594
00:34:11,040 --> 00:34:13,520
Speaker 1: arrive and he just hugs him without washing his hands.

595
00:34:13,560 --> 00:34:18,080
Speaker 1: He's just got deer guts everywhere and he's just grabbing them. Um.

596
00:34:18,680 --> 00:34:20,600
Speaker 1: I've got multiple stills of that for you to look

597
00:34:20,640 --> 00:34:22,920
Speaker 1: at here Rob with the deer hanging in the background

598
00:34:23,000 --> 00:34:25,160
Speaker 1: and him being like, oh so good to see. You're

599
00:34:25,160 --> 00:34:29,200
Speaker 1: just getting blood on their coats. And from like I said,

600
00:34:29,200 --> 00:34:32,560
Speaker 1: from the moment we meet Sarah, she seems totally uncomfortable.

601
00:34:32,719 --> 00:34:36,239
Speaker 1: She she's making the face and uh, it's kind of

602
00:34:36,320 --> 00:34:41,560
Speaker 1: Marge Simpson noise. Uh energy and uh and oh boy,

603
00:34:41,680 --> 00:34:46,360
Speaker 1: just from from the first moment of contact between Sarah

604
00:34:46,400 --> 00:34:50,480
Speaker 1: and Cathy, there is some kind of psychic friction, like

605
00:34:50,560 --> 00:34:53,400
Speaker 1: they meet face to face, and then these Geiger counter

606
00:34:53,520 --> 00:34:57,439
Speaker 1: sound effects start firing off. So so at this point

607
00:34:57,440 --> 00:34:59,000
Speaker 1: I was like, Okay, it looks like we have at

608
00:34:59,080 --> 00:35:02,480
Speaker 1: least two I get characters here, or at least the

609
00:35:02,520 --> 00:35:07,080
Speaker 1: mom is psychic and senses something about the new girlfriend. Right,

610
00:35:07,120 --> 00:35:09,960
Speaker 1: And then this is great too, because it's like the

611
00:35:10,200 --> 00:35:14,279
Speaker 1: movie is saying mom does not trust your girlfriend, and

612
00:35:14,280 --> 00:35:17,600
Speaker 1: and it's also saying your girlfriend is highly suspicious of

613
00:35:17,600 --> 00:35:21,879
Speaker 1: your mom. And uh And I think these two feelings

614
00:35:21,920 --> 00:35:25,239
Speaker 1: and vary variations on them will ring true to a

615
00:35:25,239 --> 00:35:27,080
Speaker 1: lot of people, you know, especially when you're dealing with

616
00:35:27,160 --> 00:35:31,000
Speaker 1: a first of family meeting like this. It's what this

617
00:35:31,040 --> 00:35:34,640
Speaker 1: movie lacks in many kinds of very similitude. It does

618
00:35:34,719 --> 00:35:40,960
Speaker 1: achieve awkward family gathering very similitude. So they go inside

619
00:35:41,000 --> 00:35:43,640
Speaker 1: and Gary's washing the mammal guts off his hands after

620
00:35:43,719 --> 00:35:46,200
Speaker 1: he's touched like four people at least, and then uh

621
00:35:46,400 --> 00:35:49,439
Speaker 1: Ted is showing Sarah around the house and he's like, oh,

622
00:35:49,640 --> 00:35:52,319
Speaker 1: you know, you've got the Christmas tree, You've got his gun.

623
00:35:52,560 --> 00:35:56,400
Speaker 1: He's like, here's my gun. And then you've got Cathy's

624
00:35:56,480 --> 00:36:00,319
Speaker 1: unsettling abstract paintings all over the walls that look like

625
00:36:00,640 --> 00:36:05,160
Speaker 1: you know, bloodstains and and uh rifts in the subconscious

626
00:36:05,200 --> 00:36:08,200
Speaker 1: and uh you know, fissures out of which demons erupt.

627
00:36:08,719 --> 00:36:13,480
Speaker 1: And again we see some kind of intangible uh mind

628
00:36:13,560 --> 00:36:17,120
Speaker 1: connection between Kathy and Sarah, because Sarah looks at Kathy's

629
00:36:17,160 --> 00:36:21,839
Speaker 1: paintings and she's she's kind of spacing out staring at them. Yeah,

630
00:36:21,880 --> 00:36:25,360
Speaker 1: and there's some nice, almost like Dario Argento esque shots

631
00:36:25,440 --> 00:36:29,640
Speaker 1: of her, like staring with the painting frame behind her. Um,

632
00:36:29,680 --> 00:36:31,480
Speaker 1: you know. And I guess it's accentuated too by this

633
00:36:31,600 --> 00:36:35,560
Speaker 1: kind of like early eighties hairstyle, etcetera. Right, And so

634
00:36:35,640 --> 00:36:39,279
Speaker 1: Ted's over here obliviously fiddling with his rifle. I don't

635
00:36:39,280 --> 00:36:42,000
Speaker 1: know why he's doing that. And he's complaining that he

636
00:36:42,040 --> 00:36:44,520
Speaker 1: doesn't get to do any hunting when he's away at school.

637
00:36:44,600 --> 00:36:47,560
Speaker 1: So I guess he's supposed to be in college, I think, yeah,

638
00:36:47,640 --> 00:36:49,480
Speaker 1: And he's just you know, he's excited to be home

639
00:36:49,560 --> 00:36:52,680
Speaker 1: where with Gary. Anyway, it seems like it's just hunting,

640
00:36:53,680 --> 00:36:56,879
Speaker 1: Like he's been out hunting all morning and he's gonna

641
00:36:56,960 --> 00:36:59,120
Speaker 1: go do it again. You know, there's those shirts that

642
00:36:59,160 --> 00:37:02,239
Speaker 1: say I'd rather be fishing. Ted's would say, I'd rather

643
00:37:02,280 --> 00:37:06,720
Speaker 1: be hunting with mom's boyfriend. But then things start getting

644
00:37:06,760 --> 00:37:09,680
Speaker 1: strange because there is a present waiting for Sarah under

645
00:37:09,680 --> 00:37:12,839
Speaker 1: the Christmas tree. But how could that be because Ted

646
00:37:12,920 --> 00:37:15,480
Speaker 1: didn't tell anyone about Sarah. They didn't know about her,

647
00:37:15,520 --> 00:37:17,520
Speaker 1: they didn't know she was coming. So how did Kathy

648
00:37:17,600 --> 00:37:20,280
Speaker 1: know to get her a present? Well, Kathy just says

649
00:37:20,680 --> 00:37:25,160
Speaker 1: a mother knows everything, and everybody's like, well, okay, is

650
00:37:25,160 --> 00:37:26,920
Speaker 1: there ever any payoff with that? Do we find out

651
00:37:26,960 --> 00:37:30,760
Speaker 1: what the gift was? I don't think so. No, unless

652
00:37:30,800 --> 00:37:33,799
Speaker 1: it was the samurai armor that shows up later. I mean,

653
00:37:33,840 --> 00:37:36,040
Speaker 1: you know, I mean watching this film, I'm guessing it's

654
00:37:36,120 --> 00:37:38,360
Speaker 1: just like Bath and body Works soap, you know, some

655
00:37:38,440 --> 00:37:41,839
Speaker 1: sort of just just generic soap gift that mom had

656
00:37:41,880 --> 00:37:44,200
Speaker 1: on hand, and she's just covering it's like, oh, yeah,

657
00:37:44,200 --> 00:37:46,560
Speaker 1: I got your gift. It's like a dull version of

658
00:37:46,600 --> 00:37:50,399
Speaker 1: Sarah with a bunch of needles stuck in it. That yeah,

659
00:37:50,520 --> 00:37:53,480
Speaker 1: one of the two extremes. Things just keep getting weirder though.

660
00:37:53,480 --> 00:37:58,080
Speaker 1: So Ted is showing uh Sarah to the guest room,

661
00:37:58,239 --> 00:38:01,080
Speaker 1: and well, so, first all I gotta say about this room,

662
00:38:01,120 --> 00:38:03,560
Speaker 1: this is something I never figured out The whole movie.

663
00:38:04,440 --> 00:38:08,520
Speaker 1: Is there just this narrow pole running from floor to

664
00:38:08,600 --> 00:38:12,279
Speaker 1: ceiling in the middle of this room. There are some

665
00:38:12,960 --> 00:38:17,480
Speaker 1: interesting um features in this house that become apparent in

666
00:38:17,560 --> 00:38:20,600
Speaker 1: some shots that make me wonder about like the era

667
00:38:20,640 --> 00:38:22,680
Speaker 1: idea in which this house was built, or just sort

668
00:38:22,680 --> 00:38:26,359
Speaker 1: of like older Wisconsin houses in general. Because there's one

669
00:38:26,440 --> 00:38:29,359
Speaker 1: where we clearly see some sort of event on the

670
00:38:29,400 --> 00:38:33,160
Speaker 1: floor that that I guess opens up into the room

671
00:38:33,239 --> 00:38:35,920
Speaker 1: beneath it, as if they were like vents included to

672
00:38:35,960 --> 00:38:38,120
Speaker 1: make sure that heat rose like through the floor into

673
00:38:38,160 --> 00:38:41,400
Speaker 1: the upper floor. So I don't know, people who live

674
00:38:41,440 --> 00:38:44,160
Speaker 1: in old Wisconsin creepy houses right in and let us

675
00:38:44,160 --> 00:38:46,239
Speaker 1: know what some of this is about. I don't know

676
00:38:46,280 --> 00:38:49,200
Speaker 1: what this pole is because it doesn't look wide enough

677
00:38:49,239 --> 00:38:52,080
Speaker 1: to be a load bearing pole. It looks it's like

678
00:38:52,160 --> 00:38:56,320
Speaker 1: about the diameter of like a length of rebar, except

679
00:38:56,320 --> 00:38:58,880
Speaker 1: it goes from the floor to the ceiling right in

680
00:38:58,920 --> 00:39:00,520
Speaker 1: the middle of the room like it like he would

681
00:39:00,560 --> 00:39:02,279
Speaker 1: run straight into it getting up to go to the

682
00:39:02,320 --> 00:39:05,480
Speaker 1: bathroom in the night. I mean, I only guess is

683
00:39:05,520 --> 00:39:08,560
Speaker 1: some sort of like temporary support strut for a ceiling

684
00:39:08,600 --> 00:39:11,600
Speaker 1: that needs to be repaired, and maybe they were shooting

685
00:39:11,640 --> 00:39:14,320
Speaker 1: in an old house. I don't know. Yeah. Well, anyway,

686
00:39:14,400 --> 00:39:17,040
Speaker 1: once we're in the room, Sarah starts having hallucinations. She's

687
00:39:17,080 --> 00:39:22,399
Speaker 1: seeing everything in like in photo negative, these rose colored textures,

688
00:39:22,800 --> 00:39:27,360
Speaker 1: and she's I think, hallucinating the sound of a baby crying. Meanwhile,

689
00:39:27,440 --> 00:39:30,440
Speaker 1: Ted is telling this weird story in the background about

690
00:39:30,520 --> 00:39:33,120
Speaker 1: how did you want? So? I think he says, there

691
00:39:33,200 --> 00:39:36,040
Speaker 1: used to be a friend of Cathy's who lived in

692
00:39:36,120 --> 00:39:39,880
Speaker 1: this room, and he says, quote, he was some psychoanalyst

693
00:39:40,040 --> 00:39:43,359
Speaker 1: or something like that meditation he called it. One day

694
00:39:43,360 --> 00:39:45,960
Speaker 1: he just packed up and left just a few lines

695
00:39:46,000 --> 00:39:48,680
Speaker 1: on a piece of paper and that was it. Uh

696
00:39:48,719 --> 00:39:51,359
Speaker 1: And I don't think we ever get any more explanation

697
00:39:51,440 --> 00:39:53,520
Speaker 1: about that, or that it ever comes up again. But

698
00:39:53,560 --> 00:39:55,920
Speaker 1: it makes me wonder, what is this guy connected to

699
00:39:56,000 --> 00:39:59,520
Speaker 1: the samurai at all? This movie loves to throw out

700
00:40:00,280 --> 00:40:03,799
Speaker 1: cantalizing clues that are never enough for us to form

701
00:40:03,840 --> 00:40:08,160
Speaker 1: any kind of concrete hypothesis about what's what's going on,

702
00:40:08,560 --> 00:40:10,879
Speaker 1: you know, like it's just enough to make you think, well,

703
00:40:10,920 --> 00:40:14,839
Speaker 1: maybe maybe the director writer here does know what all

704
00:40:14,920 --> 00:40:18,240
Speaker 1: this connects to, but also makes you suspect that perhaps

705
00:40:18,440 --> 00:40:22,320
Speaker 1: he does not. Yeah, uh so Ted and Sarah they

706
00:40:22,360 --> 00:40:26,279
Speaker 1: get into an uncomfortable makeout session, and then uh, they

707
00:40:26,320 --> 00:40:29,120
Speaker 1: start having a conversation in the middle of that about

708
00:40:29,200 --> 00:40:33,239
Speaker 1: how Sarah's like, your mom is making me uncomfortable. It's

709
00:40:33,280 --> 00:40:35,919
Speaker 1: like she's in the room right now with us, and

710
00:40:36,000 --> 00:40:39,480
Speaker 1: Ted's like, ah, that's ridiculous. She's she's painting. She's off

711
00:40:39,480 --> 00:40:44,000
Speaker 1: painting somewhere. And meanwhile, it keeps hilariously cutting to Kathy

712
00:40:44,080 --> 00:40:47,960
Speaker 1: in her art studio, just making the psychic hour glass

713
00:40:48,000 --> 00:40:51,320
Speaker 1: cursor face. You know, she's just in an error message mode.

714
00:40:52,200 --> 00:40:55,440
Speaker 1: I guess, presumably psychically spying on that. I don't know.

715
00:40:55,560 --> 00:40:58,000
Speaker 1: So I think one of the lessons of this movie

716
00:40:58,080 --> 00:41:00,800
Speaker 1: is that if your boyfriend is ever like, don't worry,

717
00:41:01,000 --> 00:41:02,960
Speaker 1: my mom is not spying on us right now with

718
00:41:03,040 --> 00:41:06,239
Speaker 1: Stargate brain, don't believe him. That's right. Yeah, I mean,

719
00:41:06,239 --> 00:41:09,600
Speaker 1: for all its pretensions, of this movie is about the

720
00:41:09,600 --> 00:41:11,799
Speaker 1: fear that mom can hear you and your girlfriend making

721
00:41:11,840 --> 00:41:15,080
Speaker 1: out in your old room. But I think this is

722
00:41:15,120 --> 00:41:18,320
Speaker 1: the point where we cut to some driving. Right, oh yeah, beauty.

723
00:41:18,440 --> 00:41:21,319
Speaker 1: So it's just like, okay, next day, how about next day? Uh?

724
00:41:21,320 --> 00:41:24,200
Speaker 1: And the next morning we see a truck. At first,

725
00:41:24,239 --> 00:41:26,919
Speaker 1: I thought this was Gary, but it's not Gary. It's

726
00:41:26,920 --> 00:41:30,080
Speaker 1: somebody else driving a pickup truck with a camper top

727
00:41:30,160 --> 00:41:33,800
Speaker 1: on it. Uh, just flooring it. They're like on the radio.

728
00:41:34,200 --> 00:41:36,360
Speaker 1: I think they're on a CBE saying red baron the

729
00:41:36,440 --> 00:41:38,640
Speaker 1: lone Painter. I don't know what any of this means,

730
00:41:39,120 --> 00:41:42,360
Speaker 1: but we see the truck is literally getting like air

731
00:41:42,400 --> 00:41:45,560
Speaker 1: time going over hills. It's like flying up off as

732
00:41:45,600 --> 00:41:49,160
Speaker 1: if off of a ramp. Yeah, it's just a totally

733
00:41:49,280 --> 00:41:53,319
Speaker 1: unnecessary vehicular stunt, just thrown in. Like there's I mean,

734
00:41:53,360 --> 00:41:55,839
Speaker 1: we get that that Uncle Pete is eager to get

735
00:41:55,880 --> 00:41:58,120
Speaker 1: to the hunt, like somewhere a deer is breathing and

736
00:41:58,160 --> 00:42:01,399
Speaker 1: it must be hunted. Um and and hunting is all

737
00:42:01,400 --> 00:42:04,480
Speaker 1: the fun in these parts. But was it necessary for

738
00:42:04,520 --> 00:42:07,640
Speaker 1: the truck to be airborne? Very good? Yeah, I don't know.

739
00:42:07,719 --> 00:42:11,560
Speaker 1: This movie in general does a bizarre job of introducing

740
00:42:11,600 --> 00:42:15,800
Speaker 1: the character of Uncle Pete because you meet him without

741
00:42:15,840 --> 00:42:17,840
Speaker 1: seeing his face. You just hear his voice and you

742
00:42:17,880 --> 00:42:20,600
Speaker 1: see his car, and then you never see his face

743
00:42:20,680 --> 00:42:23,840
Speaker 1: until minutes later, Like the characters talk about him arriving,

744
00:42:23,920 --> 00:42:26,480
Speaker 1: and he arrives, but you never get a close shot

745
00:42:26,520 --> 00:42:29,000
Speaker 1: of him. And then in the next scene. He's just

746
00:42:29,040 --> 00:42:31,040
Speaker 1: sort of in it. But like usually when there's a

747
00:42:31,040 --> 00:42:33,000
Speaker 1: new character, you will get a head on shot of

748
00:42:33,040 --> 00:42:35,040
Speaker 1: it so you can see their face and what they

749
00:42:35,080 --> 00:42:37,920
Speaker 1: look like. This movie, nope, it is just okay, Uncle

750
00:42:37,920 --> 00:42:39,839
Speaker 1: Pete's in the mix. Now. I guess you'll figure out

751
00:42:39,880 --> 00:42:42,080
Speaker 1: which one he is. Yeah, they don't really make you

752
00:42:42,640 --> 00:42:45,560
Speaker 1: anticipate Uncle Pete in anyway. You're not really looking forward

753
00:42:45,600 --> 00:42:47,480
Speaker 1: to meeting him. There's not you know, there's no stories

754
00:42:47,520 --> 00:42:50,840
Speaker 1: about him. Um. I mean, he clearly really floors it

755
00:42:51,120 --> 00:42:53,879
Speaker 1: when he's driving around, but aside from that, there's nothing

756
00:42:53,880 --> 00:42:55,440
Speaker 1: to really make you want to meet him. And then

757
00:42:55,480 --> 00:42:57,680
Speaker 1: when he shows up, there's not really any fan fare either.

758
00:42:58,239 --> 00:43:01,480
Speaker 1: But so you're right, Uncle Pete is. He's he's obsessed

759
00:43:01,520 --> 00:43:03,560
Speaker 1: with deer hunting apparently, so they all want to go

760
00:43:03,600 --> 00:43:05,680
Speaker 1: out hunting in the woods, and they do. I think

761
00:43:05,719 --> 00:43:10,600
Speaker 1: basically everybody except Kathie the mom goes deer hunting. Um.

762
00:43:10,680 --> 00:43:13,160
Speaker 1: And there were some I gotta admit, I don't know

763
00:43:13,239 --> 00:43:15,360
Speaker 1: much about hunting. I've never been hunting, and so I

764
00:43:16,000 --> 00:43:18,400
Speaker 1: clearly don't have any expertise. But some things about this

765
00:43:18,440 --> 00:43:22,239
Speaker 1: seemed implausible to me, Like is it normal to go

766
00:43:22,360 --> 00:43:26,080
Speaker 1: bow hunting on horseback in the woods, and where did

767
00:43:26,080 --> 00:43:29,960
Speaker 1: all the horses come from? And uh, if there's a

768
00:43:29,960 --> 00:43:31,680
Speaker 1: part where they have to be like crawling on their

769
00:43:31,719 --> 00:43:34,680
Speaker 1: bellies under barbed wire fences, which makes me think are

770
00:43:34,719 --> 00:43:38,200
Speaker 1: they supposed to be there? Maybe they're trespassing. Uh And

771
00:43:38,440 --> 00:43:40,400
Speaker 1: I could be wrong, but it looked like one character

772
00:43:40,560 --> 00:43:44,239
Speaker 1: is carrying a lever action rifle. Is that normal for

773
00:43:44,360 --> 00:43:47,319
Speaker 1: deer hunting? And I don't know, Yeah, like they're they're

774
00:43:47,320 --> 00:43:50,520
Speaker 1: doing a mix of of bow hunting and rifle hunting

775
00:43:50,560 --> 00:43:52,960
Speaker 1: for the deer, which yeah, I guess could be a thing.

776
00:43:53,000 --> 00:43:55,680
Speaker 1: But I always again, I grew up with bows and

777
00:43:56,280 --> 00:43:59,200
Speaker 1: rifles around, but I never went hunting. But I remember,

778
00:43:59,239 --> 00:44:01,200
Speaker 1: you know, you would have the like bow hunting season

779
00:44:01,360 --> 00:44:04,440
Speaker 1: and yeah, musket ball season or whatever, and then there's rifles.

780
00:44:04,640 --> 00:44:07,880
Speaker 1: Like so I was under the assumption that like that,

781
00:44:08,040 --> 00:44:10,799
Speaker 1: like bow and rifle hunters would not just mix like this,

782
00:44:11,000 --> 00:44:13,040
Speaker 1: that you're either going to do one or the other.

783
00:44:13,320 --> 00:44:16,280
Speaker 1: Well not just they're not just in the same hunting party.

784
00:44:16,800 --> 00:44:19,799
Speaker 1: There's when they draw a bead on a deer. There's

785
00:44:19,800 --> 00:44:22,799
Speaker 1: a scene of all four hunters aiming at the same deer.

786
00:44:22,840 --> 00:44:26,279
Speaker 1: So two bows and two rifles all drawn down on

787
00:44:26,320 --> 00:44:29,279
Speaker 1: this one dough. It's it's enough to it's it's enough

788
00:44:29,280 --> 00:44:30,839
Speaker 1: to make you wonder, like if this is a case

789
00:44:30,920 --> 00:44:33,640
Speaker 1: of like an outsider, you know, in this case, a

790
00:44:33,680 --> 00:44:37,239
Speaker 1: French director trying to figure out what would be the

791
00:44:37,280 --> 00:44:42,919
Speaker 1: authentic Wisconsin, um, you know, slice of life scenario and

792
00:44:43,239 --> 00:44:46,240
Speaker 1: getting some things right, but maybe getting some things wrong

793
00:44:46,320 --> 00:44:48,320
Speaker 1: just because you know, just coming at it from a

794
00:44:48,640 --> 00:44:51,800
Speaker 1: from an outsider perspective. Well, I mean, I gotta admit again,

795
00:44:51,840 --> 00:44:53,959
Speaker 1: I like, I don't really know anything about hunting. Maybe

796
00:44:53,960 --> 00:44:56,600
Speaker 1: you would do this, but it certainly looked weird having

797
00:44:56,600 --> 00:45:00,719
Speaker 1: this like four person firing squad for deer. Yeah, so

798
00:45:00,760 --> 00:45:02,560
Speaker 1: I don't know hunters right in and let us know.

799
00:45:02,880 --> 00:45:06,320
Speaker 1: But but we're focusing on the you know, the details

800
00:45:06,360 --> 00:45:09,120
Speaker 1: of the hunt here. But this is also one of

801
00:45:09,160 --> 00:45:12,080
Speaker 1: the best sequences in the film, uh, at least a

802
00:45:12,280 --> 00:45:16,360
Speaker 1: genuinely building up suspense because poor Sarah has been brought

803
00:45:16,360 --> 00:45:18,680
Speaker 1: on this this trip. I think a lot of us

804
00:45:18,719 --> 00:45:21,239
Speaker 1: can can sympathize with her, you know. Here she's she's

805
00:45:21,440 --> 00:45:24,839
Speaker 1: she's hanging out with um, with this family that she's

806
00:45:24,880 --> 00:45:27,719
Speaker 1: only just met, and they've brought her now on a

807
00:45:27,800 --> 00:45:31,799
Speaker 1: hunting trip, and she's she's uncomfortable. Uh, she doesn't want

808
00:45:31,800 --> 00:45:35,120
Speaker 1: to be there. She she definitely does not want to

809
00:45:35,120 --> 00:45:38,520
Speaker 1: shoot a deer. Uh. But yet here she is, and

810
00:45:38,760 --> 00:45:41,319
Speaker 1: we hear that music building up, right, and we hear

811
00:45:41,360 --> 00:45:44,719
Speaker 1: that heartbeat, that blood beat. Uh, and it I felt

812
00:45:44,719 --> 00:45:47,600
Speaker 1: like it genuinely built up tension in a nice way. Yeah,

813
00:45:47,600 --> 00:45:49,600
Speaker 1: she well, she's gone from This is one of her

814
00:45:49,640 --> 00:45:53,960
Speaker 1: few scenes where she's not extremely apprehensive and instead she

815
00:45:54,160 --> 00:45:59,520
Speaker 1: here I would say she looks soul annihilating, lee bored Uh,

816
00:45:59,760 --> 00:46:03,080
Speaker 1: just like she's staring into space with uh, you know,

817
00:46:03,160 --> 00:46:05,880
Speaker 1: the expression of having been waiting in line at a

818
00:46:05,920 --> 00:46:09,919
Speaker 1: bank for seven hours. Well, I think that's and that's

819
00:46:09,920 --> 00:46:13,120
Speaker 1: probably what hunting is like if you're not really into it, right,

820
00:46:13,320 --> 00:46:15,640
Speaker 1: It is a lot of waiting around. I understand. Yes,

821
00:46:15,719 --> 00:46:18,200
Speaker 1: I can imagine if you're not into it, it it would

822
00:46:18,200 --> 00:46:20,760
Speaker 1: be quite boring. But but she goes from the boredom

823
00:46:20,840 --> 00:46:23,240
Speaker 1: to like you're saying, when they're drawing down on this

824
00:46:23,239 --> 00:46:25,960
Speaker 1: this deer, you know, yeah, it builds up the tension.

825
00:46:26,320 --> 00:46:30,160
Speaker 1: There's the heartbeat sound effect and and uh and and

826
00:46:30,280 --> 00:46:32,400
Speaker 1: like you say this, the sequence is quite good. But

827
00:46:32,440 --> 00:46:36,239
Speaker 1: then right before they shoot, Sarah suddenly stands up. She

828
00:46:36,400 --> 00:46:39,840
Speaker 1: turns green and red. She screams, and they all miss

829
00:46:39,880 --> 00:46:44,080
Speaker 1: and then she runs away. So immediately everybody is like

830
00:46:44,200 --> 00:46:47,160
Speaker 1: Uncle Pete's mad. And then Ted goes running off after her,

831
00:46:47,719 --> 00:46:51,200
Speaker 1: and she sort of meanders through the woods until I

832
00:46:51,200 --> 00:46:52,840
Speaker 1: had to rewind this part. I was like, did I

833
00:46:52,880 --> 00:46:56,840
Speaker 1: miss something? But no, she just randomly collides with another

834
00:46:56,880 --> 00:46:59,400
Speaker 1: guy that we have not met before. Am I correct?

835
00:46:59,520 --> 00:47:01,680
Speaker 1: This is a toe rely new character, right, I had

836
00:47:01,680 --> 00:47:03,479
Speaker 1: to do the same thing. I thought I'd missed something

837
00:47:03,480 --> 00:47:05,280
Speaker 1: that I was looking down at my screen or something,

838
00:47:05,840 --> 00:47:07,360
Speaker 1: so I backed it up as well. But no, she

839
00:47:07,400 --> 00:47:10,040
Speaker 1: just suddenly runs into a guy, a totally new character,

840
00:47:10,120 --> 00:47:12,920
Speaker 1: but but very much dressed like all the other locals. Yes,

841
00:47:13,040 --> 00:47:15,040
Speaker 1: but he but this guy but he's not like a

842
00:47:15,040 --> 00:47:17,680
Speaker 1: new character we're about to meet. He's dying, so he's

843
00:47:17,680 --> 00:47:20,839
Speaker 1: been gutted, but somebody turned his stomach into a jack

844
00:47:20,920 --> 00:47:24,040
Speaker 1: O lantern and he's covered in blood. And I guess,

845
00:47:24,040 --> 00:47:26,480
Speaker 1: for the second time today, Sarah is going to get

846
00:47:26,480 --> 00:47:29,240
Speaker 1: a man with bloody hands just like grabbing her jacket

847
00:47:30,200 --> 00:47:33,399
Speaker 1: and uh. And then so this guy just dies there.

848
00:47:33,440 --> 00:47:36,120
Speaker 1: He just kind of looks like a a blonder Robert

849
00:47:36,160 --> 00:47:39,920
Speaker 1: Redford ish kind of guy. Uh, and he's dead there

850
00:47:39,920 --> 00:47:42,160
Speaker 1: on the fourth floor. Oh and then there's a there's

851
00:47:42,200 --> 00:47:44,080
Speaker 1: a scene with the cops that I thought was funny

852
00:47:44,120 --> 00:47:46,440
Speaker 1: because really the only thing that happens in it is

853
00:47:46,480 --> 00:47:49,840
Speaker 1: they just repeatedly established that nobody knew who this guy was,

854
00:47:51,239 --> 00:47:54,960
Speaker 1: which seems weird, right, Like that just raises more questions. Um,

855
00:47:55,000 --> 00:47:57,200
Speaker 1: I guess maybe it's you don't have to spend as

856
00:47:57,280 --> 00:48:00,319
Speaker 1: much dialogue establishing the fact. But so anyway, they get

857
00:48:00,360 --> 00:48:04,000
Speaker 1: back home and then uh, there there is mounting tension

858
00:48:04,080 --> 00:48:07,600
Speaker 1: with the family because, as with the earlier scenes, Sarah

859
00:48:07,640 --> 00:48:11,200
Speaker 1: is bothered by uh, well by the experience in the woods,

860
00:48:11,239 --> 00:48:15,360
Speaker 1: but then also by Ted's mother. He's you know, he's like, uh,

861
00:48:15,360 --> 00:48:17,640
Speaker 1: He's like, oh, don't worry about anything, But she's like, no,

862
00:48:17,840 --> 00:48:20,759
Speaker 1: your mother. She makes me uncomfortable. And I think she

863
00:48:20,840 --> 00:48:25,120
Speaker 1: thinks that Kathy is spying on her through the paintings

864
00:48:25,200 --> 00:48:28,880
Speaker 1: in the bedroom, like that the paintings function like psychic

865
00:48:28,960 --> 00:48:33,760
Speaker 1: CCTV cameras, and so she has Ted removed the paintings

866
00:48:33,800 --> 00:48:36,279
Speaker 1: from the bedroom. But then we find out that the

867
00:48:36,280 --> 00:48:39,720
Speaker 1: apprehension goes both ways. Because Ted goes down to Kathy's

868
00:48:39,760 --> 00:48:43,960
Speaker 1: painting studio and there Ted is having this conversation with

869
00:48:44,000 --> 00:48:47,239
Speaker 1: his mom and she warns him about Sarah. She's like,

870
00:48:47,480 --> 00:48:50,040
Speaker 1: I just want you to be careful. There's something about her.

871
00:48:50,200 --> 00:48:52,920
Speaker 1: I've seen her before. I don't understand it, but I

872
00:48:52,960 --> 00:48:57,560
Speaker 1: know her. Meanwhile, Gregorian chance in the background, and it's

873
00:48:57,560 --> 00:49:01,480
Speaker 1: another case of the hints set connections and never fully established,

874
00:49:02,760 --> 00:49:14,919
Speaker 1: but that keep us watching. Somewhere around here is where

875
00:49:14,960 --> 00:49:17,400
Speaker 1: there's a scene where Ted and Dolly are playing Monopoly,

876
00:49:17,560 --> 00:49:20,239
Speaker 1: but there's a cat lying on the monopoly board and

877
00:49:20,280 --> 00:49:23,600
Speaker 1: just flopping all around on it, which is excellent. Yep,

878
00:49:23,719 --> 00:49:26,600
Speaker 1: solid slice of life right there. But I think here

879
00:49:26,719 --> 00:49:29,600
Speaker 1: is the scene where the movie just starts to really

880
00:49:29,840 --> 00:49:33,000
Speaker 1: escalate the weirdness and sort of never stops until the end.

881
00:49:33,080 --> 00:49:38,600
Speaker 1: So here, uh, Sarah is lying in bed and Cathy's painting,

882
00:49:39,160 --> 00:49:43,680
Speaker 1: and simultaneously they start having psychic experiences. Like Cathy starts

883
00:49:43,680 --> 00:49:50,400
Speaker 1: having a Danny Torrence red Rum style psychic episode. She's like, uh,

884
00:49:50,440 --> 00:49:54,840
Speaker 1: sort of groaning and and wiggling and uh and drawing

885
00:49:54,920 --> 00:49:59,479
Speaker 1: uncontrollably on her on her on her canvas. I guess

886
00:49:59,520 --> 00:50:03,560
Speaker 1: with non dominant hand. And then meanwhile, uh, Sarah up

887
00:50:03,600 --> 00:50:06,480
Speaker 1: in the bedroom finds a treasure chest full of samurai

888
00:50:06,600 --> 00:50:09,879
Speaker 1: armor and a katana next to the bed and does

889
00:50:09,960 --> 00:50:12,239
Speaker 1: the thing that people always do in movies when they

890
00:50:12,320 --> 00:50:14,960
Speaker 1: find a blade, test to see if it's sharp and

891
00:50:15,000 --> 00:50:18,279
Speaker 1: cut their fingers. Why every movie? Why do people do this?

892
00:50:18,320 --> 00:50:21,720
Speaker 1: People don't do this very often in real life. Yeah,

893
00:50:22,760 --> 00:50:26,200
Speaker 1: it's uh, I mean, I think obviously from the movie perspective,

894
00:50:26,920 --> 00:50:28,719
Speaker 1: it's because you get to have a little blood in there,

895
00:50:28,800 --> 00:50:31,560
Speaker 1: and because it's the little things that we can feel.

896
00:50:32,080 --> 00:50:34,320
Speaker 1: Someone gets their arm lopped off with a samurai sword,

897
00:50:34,560 --> 00:50:36,760
Speaker 1: we can't compare to that. But if somebody like touches

898
00:50:36,760 --> 00:50:39,319
Speaker 1: the edge of it too much, um, you know, or

899
00:50:39,320 --> 00:50:41,800
Speaker 1: it gets a paper cut. Uh, you know, that cannick

900
00:50:41,920 --> 00:50:43,640
Speaker 1: us out. And so, you know, from is in a

901
00:50:43,640 --> 00:50:47,120
Speaker 1: way of like keeping the audience engaged and physically invested

902
00:50:47,120 --> 00:50:49,359
Speaker 1: in the film. It's a solid choice. But yeah, who

903
00:50:49,400 --> 00:50:51,840
Speaker 1: does this? Who picks up the sword and starts running

904
00:50:51,880 --> 00:50:54,080
Speaker 1: their finger across it? Well, I mean I can even

905
00:50:54,120 --> 00:50:56,000
Speaker 1: touch the blade of a knife to see how sharp

906
00:50:56,040 --> 00:50:58,960
Speaker 1: it is without cutting myself. That this is like I

907
00:50:58,960 --> 00:51:01,360
Speaker 1: would assume a skill. Anybody who can handle a knife.

908
00:51:01,360 --> 00:51:04,719
Speaker 1: Has but we have to remember, as as will soon

909
00:51:04,760 --> 00:51:07,800
Speaker 1: be established, this is a suit of armor that nobody

910
00:51:07,880 --> 00:51:10,880
Speaker 1: knew was in the house, perhaps wasn't in the house,

911
00:51:11,200 --> 00:51:16,840
Speaker 1: perhaps has been physically manifested by stuff that's happening now

912
00:51:17,520 --> 00:51:21,080
Speaker 1: involving these two psychic characters, or psychic storms going on

913
00:51:21,120 --> 00:51:24,319
Speaker 1: in the general vicinity, I don't know. And and then

914
00:51:24,400 --> 00:51:26,719
Speaker 1: the sequence just goes on for minutes at a time

915
00:51:26,760 --> 00:51:30,560
Speaker 1: of NonStop weirdness. Uh there's some strange I don't even

916
00:51:30,600 --> 00:51:34,120
Speaker 1: remember what's going on. There's a confrontation between Gary and

917
00:51:34,200 --> 00:51:36,239
Speaker 1: Cathy where he's like, what do you think I am?

918
00:51:36,360 --> 00:51:40,279
Speaker 1: Some piece of plastic? Uh? He says, I'm a simple man.

919
00:51:40,480 --> 00:51:43,120
Speaker 1: I need love and affection. Yeah. Yeah. This is the

920
00:51:43,160 --> 00:51:45,080
Speaker 1: section of the film where they decided we need to

921
00:51:45,120 --> 00:51:48,440
Speaker 1: explore their characters more. We need to get into uh

922
00:51:48,600 --> 00:51:52,200
Speaker 1: mom and Gary's relationship. Uh yeah. And then and this

923
00:51:52,239 --> 00:51:54,200
Speaker 1: is also one of those moments where he's he's he's

924
00:51:54,200 --> 00:51:56,640
Speaker 1: playing he's a bit over the top in his anger.

925
00:51:57,360 --> 00:51:59,720
Speaker 1: That feels out of keeping with his character as well

926
00:51:59,760 --> 00:52:02,839
Speaker 1: as his what he does afterwards, because he basically is like,

927
00:52:02,880 --> 00:52:06,520
Speaker 1: have a nice life, Kathy. Um. And then he storms out,

928
00:52:06,600 --> 00:52:09,000
Speaker 1: and you assume if you say something like that, like

929
00:52:09,040 --> 00:52:10,759
Speaker 1: you're gonna you're gonna get in the car and go.

930
00:52:11,000 --> 00:52:13,200
Speaker 1: But no, he goes into the living room, puts his

931
00:52:13,239 --> 00:52:15,920
Speaker 1: headphones on, and what starts playing a video game or

932
00:52:15,960 --> 00:52:18,960
Speaker 1: watching TV or just watching TVs, like watching a small

933
00:52:19,000 --> 00:52:22,239
Speaker 1: TV with headphones plugged into it. Like, like, is that

934
00:52:22,360 --> 00:52:23,960
Speaker 1: I think you have to leave the house after you

935
00:52:24,000 --> 00:52:25,920
Speaker 1: say those things? Gary, I don't think you can just

936
00:52:25,960 --> 00:52:28,560
Speaker 1: go watch television. Not only did he doesn't even leave,

937
00:52:28,680 --> 00:52:31,200
Speaker 1: He doesn't even go into a room by himself. He

938
00:52:31,200 --> 00:52:33,520
Speaker 1: goes into the room where everybody is sitting, and then

939
00:52:33,640 --> 00:52:37,120
Speaker 1: everybody sitting in the same room just doing their own thing,

940
00:52:37,280 --> 00:52:39,800
Speaker 1: and and there are shots of them just sitting around

941
00:52:39,800 --> 00:52:43,840
Speaker 1: on the couches and stuff and playing this derange string music. Yeah. Oh,

942
00:52:43,920 --> 00:52:46,400
Speaker 1: and then Kathy comes into It's like, so, whatever this

943
00:52:46,480 --> 00:52:48,360
Speaker 1: blow up was between them, I guess it wasn't that

944
00:52:48,400 --> 00:52:50,560
Speaker 1: big a deal. Maybe this is just this is just

945
00:52:50,600 --> 00:52:55,200
Speaker 1: a Tuesday. Yeah. And then also with in one of

946
00:52:55,200 --> 00:52:58,719
Speaker 1: the extremely abrupt cuts, we cut to Uncle Pete as

947
00:52:58,719 --> 00:53:01,600
Speaker 1: rectors truck on the side of the road. Had no

948
00:53:01,680 --> 00:53:04,560
Speaker 1: idea what Uncle Pete was doing before this, but this

949
00:53:04,640 --> 00:53:07,120
Speaker 1: is our first murder scenes. Suddenly he's just there. He's

950
00:53:07,160 --> 00:53:09,960
Speaker 1: like radio ing for help. Uh. And then I think

951
00:53:10,000 --> 00:53:12,000
Speaker 1: he's trying to change a tire and we get this

952
00:53:12,080 --> 00:53:15,640
Speaker 1: movie's uh of course the movies that kikike uh is

953
00:53:15,680 --> 00:53:19,359
Speaker 1: just synth drowne and the heartbeat excuse me, blood beat

954
00:53:19,400 --> 00:53:22,480
Speaker 1: sound effects. And so he's doing that, he's doing his

955
00:53:22,560 --> 00:53:26,120
Speaker 1: tire and his throat gets slashed, so the movie has

956
00:53:26,360 --> 00:53:31,760
Speaker 1: shifted into slasher mode. Uh. So then we randomly cut

957
00:53:31,800 --> 00:53:34,640
Speaker 1: to two new characters who I'm pretty sure we have

958
00:53:34,719 --> 00:53:39,239
Speaker 1: never met before. Uh, both in bathrobes. The dude of

959
00:53:39,320 --> 00:53:42,800
Speaker 1: this couple is very dub airs. He's uh, he's wearing

960
00:53:42,840 --> 00:53:45,640
Speaker 1: a trucker hat in bed and they're on a water

961
00:53:45,760 --> 00:53:49,760
Speaker 1: bed and he demands, he demands his wife bring him tea.

962
00:53:50,040 --> 00:53:53,319
Speaker 1: He wants hot tea on the waterbed, which and then

963
00:53:53,360 --> 00:53:55,880
Speaker 1: she actually puts the tray down on the waterbed and

964
00:53:55,920 --> 00:53:58,440
Speaker 1: I was like yelling at the screen. That is a

965
00:53:58,480 --> 00:54:03,000
Speaker 1: scalding waiting to happen. Doesn't He also then request orange juice.

966
00:54:04,280 --> 00:54:06,839
Speaker 1: She She's like it, do you want anything else? He's like, no,

967
00:54:07,000 --> 00:54:08,799
Speaker 1: just the tea, and then she brings it and then

968
00:54:08,800 --> 00:54:11,799
Speaker 1: he's like, hey, what about my orange juice? I mean,

969
00:54:11,880 --> 00:54:14,480
Speaker 1: I get it that it's winter in Wisconsin and perhaps

970
00:54:14,480 --> 00:54:17,040
Speaker 1: they have gas furnace going here, and you know you

971
00:54:17,040 --> 00:54:20,120
Speaker 1: need to be hydrated. But but who's having orange juice

972
00:54:20,120 --> 00:54:25,720
Speaker 1: and tea in bed in a water bed at night? Yeah?

973
00:54:25,840 --> 00:54:28,440
Speaker 1: This see or maybe he was topping off the water

974
00:54:28,480 --> 00:54:33,279
Speaker 1: bed it maybe it's full of hot tea. And then

975
00:54:33,280 --> 00:54:35,719
Speaker 1: the dog joins him on the bed. Oh yeah, well,

976
00:54:35,800 --> 00:54:38,040
Speaker 1: I gotta admit it does look super cozy. So he's

977
00:54:38,080 --> 00:54:40,880
Speaker 1: there in his flannel robe with his hat on, in

978
00:54:41,000 --> 00:54:44,080
Speaker 1: bed in the water bed with his dog. Like literally,

979
00:54:44,080 --> 00:54:46,759
Speaker 1: he's like spooning his dog with his arm around it,

980
00:54:47,120 --> 00:54:50,319
Speaker 1: reading a newspaper with a tray of hot tea and cookies,

981
00:54:50,880 --> 00:54:54,160
Speaker 1: and uh, it does look extremely cozy. I don't know

982
00:54:54,200 --> 00:54:56,720
Speaker 1: where she's going to fit into the bed though. Um.

983
00:54:56,760 --> 00:55:00,440
Speaker 1: But then while she's in the kitchen getting his orange juice, suddenly, uh,

984
00:55:00,560 --> 00:55:03,800
Speaker 1: she gets attacked by a random, unseen figure. But I

985
00:55:03,800 --> 00:55:05,719
Speaker 1: guess it's not gonna be random, It's gonna be our

986
00:55:05,719 --> 00:55:09,439
Speaker 1: our movie slasher. So she gets her throat slashed, and

987
00:55:09,480 --> 00:55:12,640
Speaker 1: then dab Bears dude is trying to figure out what

988
00:55:12,680 --> 00:55:14,879
Speaker 1: happens so he goes into the kitchen, finds her dead.

989
00:55:15,440 --> 00:55:19,520
Speaker 1: Then he has chased uh he this is a strangely

990
00:55:20,200 --> 00:55:24,000
Speaker 1: extended chase sequence, like he jumps through a glass window,

991
00:55:25,080 --> 00:55:28,600
Speaker 1: runs through a giant barn, gets in a van, drives

992
00:55:28,640 --> 00:55:32,640
Speaker 1: to a service station, finds no help, is pursued, still

993
00:55:32,840 --> 00:55:35,960
Speaker 1: drives away, runs out of gas, ends up running up

994
00:55:35,960 --> 00:55:41,160
Speaker 1: at Kathy's house. Um And then meanwhile inside Kathy is

995
00:55:41,200 --> 00:55:44,799
Speaker 1: having more of her psychic error message face and uh,

996
00:55:45,120 --> 00:55:48,960
Speaker 1: Sarah is having some kind of bizarre erotic experience while

997
00:55:49,000 --> 00:55:54,839
Speaker 1: hallucinating about the Samurai murders. Very weird, but she's having

998
00:55:54,880 --> 00:55:59,840
Speaker 1: an erotic reaction to the psychic energy of Samurai go

999
00:56:00,200 --> 00:56:03,719
Speaker 1: thing killing people, or her erotic energy is feeding the

1000
00:56:03,760 --> 00:56:06,600
Speaker 1: psychic the samurai. I don't know. I can just imagine

1001
00:56:06,640 --> 00:56:09,080
Speaker 1: audiences in nineteen eighty two being like, oh see, this

1002
00:56:09,160 --> 00:56:14,719
Speaker 1: is a sophisticated, artistic French thing. I have to throw

1003
00:56:14,719 --> 00:56:19,319
Speaker 1: in something else about the Bears guy here. I did

1004
00:56:19,320 --> 00:56:22,160
Speaker 1: not include information on the actor who plays him, but

1005
00:56:22,480 --> 00:56:24,600
Speaker 1: it's kind of a tour de force, especially when he's

1006
00:56:24,680 --> 00:56:28,160
Speaker 1: running because most of this this, this this sequence is

1007
00:56:28,239 --> 00:56:31,960
Speaker 1: him in an open bathrobe like wearing you know, just

1008
00:56:32,000 --> 00:56:34,360
Speaker 1: like tidy, whitey underwear and I think some sort of

1009
00:56:34,400 --> 00:56:37,719
Speaker 1: like small t shirt or undershirt. Oh yeah, yeah. And

1010
00:56:37,760 --> 00:56:39,799
Speaker 1: then when he finally gets to the house, of course,

1011
00:56:39,840 --> 00:56:42,480
Speaker 1: the samurai kills him right outside. But then he's poking

1012
00:56:42,520 --> 00:56:45,400
Speaker 1: his head through the door and he's covered in blood,

1013
00:56:45,400 --> 00:56:48,399
Speaker 1: and he's like and and this is actually the first

1014
00:56:48,440 --> 00:56:50,759
Speaker 1: time where we we see that the slasher is in

1015
00:56:50,800 --> 00:56:53,680
Speaker 1: fact wearing samurai armor. It's a samurai with the sword

1016
00:56:53,719 --> 00:56:56,400
Speaker 1: and a bow. Yeah. And at this point things just

1017
00:56:56,480 --> 00:57:00,960
Speaker 1: go completely off the rails. It's full Poultergeist. The pantry

1018
00:57:00,960 --> 00:57:04,760
Speaker 1: doors are flapping mad, the dirty dishes are dancing, Quaker

1019
00:57:04,800 --> 00:57:09,120
Speaker 1: oats and butternut containers are shaking violently in the cupboard. Uh,

1020
00:57:09,360 --> 00:57:14,960
Speaker 1: the telephone catches on fire. Gary in the kitchen is

1021
00:57:15,040 --> 00:57:20,120
Speaker 1: hilariously pelted with food stuffs and kitchen utensils until unconscious,

1022
00:57:20,480 --> 00:57:22,880
Speaker 1: like he takes one too many packets of ramen to

1023
00:57:22,960 --> 00:57:26,200
Speaker 1: the head and he falls over, Uh, just conked out.

1024
00:57:27,200 --> 00:57:30,400
Speaker 1: And then uh, what else is it? Oh? Yeah, Ted

1025
00:57:30,440 --> 00:57:33,040
Speaker 1: and Dolly are upstairs. They're trying to I think, see

1026
00:57:33,040 --> 00:57:36,280
Speaker 1: what's going on with Sarah, but her room is glowing blue,

1027
00:57:36,880 --> 00:57:38,560
Speaker 1: so I guess they decided they can't get in, and

1028
00:57:38,600 --> 00:57:42,280
Speaker 1: then they get like psychically blasted into a closet and

1029
00:57:42,360 --> 00:57:44,960
Speaker 1: the windows are raising up and down, like the windows

1030
00:57:45,000 --> 00:57:49,040
Speaker 1: are laughing and uh, and Cathy is having some kind

1031
00:57:49,040 --> 00:57:52,000
Speaker 1: of psychic exorcism thing going on. She's going like, who

1032
00:57:52,040 --> 00:57:54,320
Speaker 1: are you? What do you want here? And and red

1033
00:57:54,400 --> 00:57:56,760
Speaker 1: light is shooting out of her hands, and I think

1034
00:57:56,800 --> 00:58:00,760
Speaker 1: she successfully exercises the Samurai ghost for the time being.

1035
00:58:01,520 --> 00:58:03,760
Speaker 1: I think so there are a couple of moments where

1036
00:58:03,760 --> 00:58:06,520
Speaker 1: they kind of get temporary victories over the Samurai goes

1037
00:58:06,640 --> 00:58:09,360
Speaker 1: before it comes back and forth right, and and things

1038
00:58:09,400 --> 00:58:11,800
Speaker 1: just get more and more confusing. Like so, in the

1039
00:58:11,840 --> 00:58:14,840
Speaker 1: aftermath of this whole attack, they're talking about what's going on,

1040
00:58:14,880 --> 00:58:18,600
Speaker 1: and Cathy says, um, he would never take me away

1041
00:58:18,640 --> 00:58:20,840
Speaker 1: from you, and he would never take you and Dolly

1042
00:58:20,920 --> 00:58:24,720
Speaker 1: away from me. But it did you understand who she

1043
00:58:24,840 --> 00:58:27,000
Speaker 1: was talking about? I don't think the movie makes that

1044
00:58:27,040 --> 00:58:28,880
Speaker 1: clear at all. At first I thought maybe she just

1045
00:58:29,040 --> 00:58:31,680
Speaker 1: she meant like God or something, But I think she

1046
00:58:31,800 --> 00:58:35,480
Speaker 1: was supposed to be referring to an unseen character, but

1047
00:58:36,120 --> 00:58:38,480
Speaker 1: no clue who it's supposed to be. Yeah, at this

1048
00:58:38,520 --> 00:58:40,040
Speaker 1: point in the film, there I think there are a

1049
00:58:40,080 --> 00:58:43,200
Speaker 1: couple of times where they allude to like him or

1050
00:58:43,360 --> 00:58:46,120
Speaker 1: in a way that indicates that they might be referring

1051
00:58:46,160 --> 00:58:48,919
Speaker 1: to the to the same person, like as if the

1052
00:58:48,960 --> 00:58:52,480
Speaker 1: samurai or the thing behind the Samurai or something something

1053
00:58:52,880 --> 00:58:56,840
Speaker 1: is somebody that they would all know or had a

1054
00:58:56,920 --> 00:58:59,600
Speaker 1: history of, But they never actually dish out enough in

1055
00:58:59,640 --> 00:59:02,840
Speaker 1: from any for us to piece together. Now, somehow from

1056
00:59:02,840 --> 00:59:05,840
Speaker 1: here we get to Hunters in the Woods sitting around

1057
00:59:05,840 --> 00:59:09,400
Speaker 1: a campfire, playing the harmonica with a case of Budweiser,

1058
00:59:09,880 --> 00:59:13,920
Speaker 1: and of course, even however unusual this movie is the

1059
00:59:13,960 --> 00:59:16,280
Speaker 1: logic of the horror genre holds true, which is that

1060
00:59:16,600 --> 00:59:19,400
Speaker 1: a group of guys sitting around a camp fire in

1061
00:59:19,440 --> 00:59:22,840
Speaker 1: a horror movie that you've never met before, they are doomed.

1062
00:59:23,040 --> 00:59:26,880
Speaker 1: They will definitely die, almost certainly, beginning with one who

1063
00:59:26,920 --> 00:59:30,680
Speaker 1: walks away from the fire to urinate, which in fact

1064
00:59:30,720 --> 00:59:35,200
Speaker 1: holds true in this case every time. It's a guarantee. Yeah, yeah,

1065
00:59:35,200 --> 00:59:37,880
Speaker 1: that's exactly what happens. And I guess part of it

1066
00:59:38,040 --> 00:59:40,480
Speaker 1: like you're building up your your your character, you're building

1067
00:59:40,520 --> 00:59:43,240
Speaker 1: up your your slash your enemy. Uh they you just

1068
00:59:43,280 --> 00:59:45,680
Speaker 1: you realize, well, he needs more kills. We need to

1069
00:59:45,840 --> 00:59:48,200
Speaker 1: you know, power him up here, so let's just throw

1070
00:59:48,240 --> 00:59:50,560
Speaker 1: in three new characters for him to ask here. Now,

1071
00:59:50,600 --> 00:59:53,040
Speaker 1: I think that the director was still trying to play

1072
00:59:53,040 --> 00:59:56,720
Speaker 1: with some weird like uh, sex death thing here. So

1073
00:59:56,800 --> 00:59:59,440
Speaker 1: this is like intercut with a sex scene with with

1074
00:59:59,520 --> 01:00:03,160
Speaker 1: Ted and Sarah and then uh and then and then

1075
01:00:03,440 --> 01:00:06,640
Speaker 1: things just keep es like it just gets weirder and weirder,

1076
01:00:06,720 --> 01:00:10,840
Speaker 1: like every ten seconds from this point on. Yeah, the

1077
01:00:10,920 --> 01:00:13,120
Speaker 1: last twenty minutes or so this film, it's like approaching

1078
01:00:13,120 --> 01:00:15,240
Speaker 1: the speed of light. You feel like you might not

1079
01:00:15,360 --> 01:00:18,600
Speaker 1: actually ever get there, and everything just breaks down as

1080
01:00:18,640 --> 01:00:21,160
Speaker 1: far as logic and reason go. There's some kind of

1081
01:00:21,240 --> 01:00:25,360
Speaker 1: brief psychic battle between Dolly and Cathy. No indication so

1082
01:00:25,440 --> 01:00:28,600
Speaker 1: far that Dolly had psychic powers, but she like goes

1083
01:00:28,640 --> 01:00:30,840
Speaker 1: in to talk to her mom and she's like, don't

1084
01:00:30,880 --> 01:00:33,280
Speaker 1: come into my mind, stop it. And they're they're going

1085
01:00:33,320 --> 01:00:37,240
Speaker 1: like at each other's heads, yeah, making scanner face a bit.

1086
01:00:37,280 --> 01:00:41,479
Speaker 1: They're yes, scanner facing at each other. Um, and then

1087
01:00:41,840 --> 01:00:44,600
Speaker 1: uh oh, there's a scene of Ted in the woods

1088
01:00:44,760 --> 01:00:48,360
Speaker 1: with the rifle crying, and then Gary's riding a horse,

1089
01:00:48,960 --> 01:00:52,160
Speaker 1: and then Dolly's in the woods and she turns into

1090
01:00:52,160 --> 01:00:55,000
Speaker 1: some kind of blue and red nightmare. And then the

1091
01:00:55,040 --> 01:00:58,120
Speaker 1: Samurai appears and is like reaching out to Dolly and

1092
01:00:58,160 --> 01:01:02,160
Speaker 1: talking to her. I didn't quite understand what was happening there. Yeah,

1093
01:01:02,280 --> 01:01:05,720
Speaker 1: And then they what they're able to actually bash the

1094
01:01:05,720 --> 01:01:09,320
Speaker 1: physical samurai, right Gary. Yeah. So Gary's got a mall

1095
01:01:09,360 --> 01:01:12,360
Speaker 1: that he was splitting wood with and he swings the

1096
01:01:12,400 --> 01:01:15,400
Speaker 1: mall at the Samurai's head and hits it, but it

1097
01:01:15,480 --> 01:01:18,200
Speaker 1: just collapses into a pile of armor like it was empty,

1098
01:01:19,200 --> 01:01:23,520
Speaker 1: the physical set of armor that just manifested in the house.

1099
01:01:23,760 --> 01:01:27,600
Speaker 1: And and Dolly reacts to this by saying, Mom was right,

1100
01:01:27,840 --> 01:01:34,160
Speaker 1: but I was like about what, yeah, again, alluding to something, um,

1101
01:01:34,200 --> 01:01:36,880
Speaker 1: but I'm not sure how to put these puzzle pieces together.

1102
01:01:37,320 --> 01:01:41,000
Speaker 1: But then back at the house, it's just it's difficult

1103
01:01:41,040 --> 01:01:43,560
Speaker 1: to convey how weird the energy of this scene is.

1104
01:01:43,600 --> 01:01:47,520
Speaker 1: So Gary's got the samurai armor and he's taking it

1105
01:01:47,600 --> 01:01:51,280
Speaker 1: to show it to Cathy and she's just like, burn it.

1106
01:01:51,280 --> 01:01:53,439
Speaker 1: It's evil, and he's like, no, I have to take

1107
01:01:53,440 --> 01:01:55,840
Speaker 1: it to the police, and Dolly saying, bring me some

1108
01:01:55,920 --> 01:02:00,480
Speaker 1: candy bars. And then there's a photo on the desk

1109
01:02:00,680 --> 01:02:02,920
Speaker 1: of a child and I don't know who it's supposed

1110
01:02:02,960 --> 01:02:07,200
Speaker 1: to be. And and Sarah burns the photo with pyro kinesis,

1111
01:02:07,880 --> 01:02:12,360
Speaker 1: and then basically the movie from here escalates into a

1112
01:02:12,560 --> 01:02:15,840
Speaker 1: series of psychic power fights. Remember, the only person who

1113
01:02:15,840 --> 01:02:19,760
Speaker 1: we had any indication before this part was psychic was

1114
01:02:19,920 --> 01:02:23,600
Speaker 1: the mom and and Sarah maybe Sarah, but now it's

1115
01:02:23,640 --> 01:02:28,800
Speaker 1: like everybody but Gary has psychic powers. So Sarah appears

1116
01:02:28,800 --> 01:02:32,240
Speaker 1: in samurai armor, and then this is inner cut with

1117
01:02:32,320 --> 01:02:36,880
Speaker 1: stock footage of World War two, and meanwhile Carl Orth

1118
01:02:37,040 --> 01:02:42,440
Speaker 1: is just blaring yes Kara Karmie Hipperon. And there's a

1119
01:02:42,520 --> 01:02:47,440
Speaker 1: psychic battle between between Kathy and the the Sarah in

1120
01:02:47,560 --> 01:02:54,280
Speaker 1: samurai form. The Samurai wins. She like stabs Kathy and Gary.

1121
01:02:54,400 --> 01:02:57,240
Speaker 1: And then there's another psychic battle between Ted and Dolly

1122
01:02:57,360 --> 01:02:59,520
Speaker 1: and the samurai and they win. So I guess Ted

1123
01:02:59,560 --> 01:03:02,040
Speaker 1: and Dolly had psychic powers all along, and we just

1124
01:03:02,120 --> 01:03:06,120
Speaker 1: never that was never mentioned before. And then Ted and

1125
01:03:06,200 --> 01:03:07,760
Speaker 1: Dully walked out of the house and that's the end.

1126
01:03:08,680 --> 01:03:11,160
Speaker 1: That's the end of the movie. Yeah, and then we're

1127
01:03:11,160 --> 01:03:13,959
Speaker 1: just left to to try and piece it together, which

1128
01:03:14,360 --> 01:03:18,840
Speaker 1: which ultimately you know, it's it's you know, there's something

1129
01:03:18,880 --> 01:03:20,240
Speaker 1: about a film that sticks with you. There are a

1130
01:03:20,280 --> 01:03:22,480
Speaker 1: lot of films there. There are a lot of arguably

1131
01:03:22,520 --> 01:03:24,800
Speaker 1: better films than this that I've I've seen and I

1132
01:03:24,800 --> 01:03:27,560
Speaker 1: immediately forget, Like I don't wake up the next morning

1133
01:03:27,640 --> 01:03:30,640
Speaker 1: and ponder them. But I've I've been thinking on and

1134
01:03:30,680 --> 01:03:33,200
Speaker 1: off about Blood Beat ever since I watched it the

1135
01:03:33,240 --> 01:03:36,280
Speaker 1: other day, and um, and so I've been trying to

1136
01:03:36,360 --> 01:03:39,440
Speaker 1: sort of put together answers for like, for the basic

1137
01:03:39,520 --> 01:03:42,000
Speaker 1: question here, what the heck was the deal with that

1138
01:03:42,040 --> 01:03:45,160
Speaker 1: samurai ghost? Why is there a samurai ghost in Wisconsin

1139
01:03:45,440 --> 01:03:49,240
Speaker 1: haunting this family? Sort of? Yeah? Um, And I didn't

1140
01:03:49,280 --> 01:03:51,720
Speaker 1: look long and hard for an official answer to this,

1141
01:03:52,280 --> 01:03:56,480
Speaker 1: But according to Michael Geingold of Rue Morgue, the director's

1142
01:03:56,480 --> 01:03:58,960
Speaker 1: answer to this in an interview on one of the

1143
01:03:59,040 --> 01:04:02,400
Speaker 1: on the Vine or Syndrome Blu Ray is essentially, um,

1144
01:04:02,760 --> 01:04:07,040
Speaker 1: why not? Like why samurai ghost in Wisconsin? Why not? So? Um,

1145
01:04:07,080 --> 01:04:09,040
Speaker 1: I don't know, that's that's not a great answer, uh,

1146
01:04:09,040 --> 01:04:10,960
Speaker 1: And I think we can go a lot a lot deeper.

1147
01:04:11,400 --> 01:04:14,600
Speaker 1: So on one hand, um, you know, I'm thinking, like, Okay,

1148
01:04:14,640 --> 01:04:16,880
Speaker 1: is this the Japanese Poulter guist, This is the spirit

1149
01:04:16,920 --> 01:04:20,120
Speaker 1: of a long dead warrior and he's somehow reincarnated through

1150
01:04:20,200 --> 01:04:24,400
Speaker 1: Sarah or awakened by Mom's psychic powers or art? Uh?

1151
01:04:24,440 --> 01:04:27,400
Speaker 1: Did Mom have some prior connection to the spirit um?

1152
01:04:27,480 --> 01:04:29,200
Speaker 1: And then we can throw in all these additional questions

1153
01:04:29,240 --> 01:04:31,520
Speaker 1: like who's the little girl we keep seeing? Where does

1154
01:04:31,560 --> 01:04:34,320
Speaker 1: the physical armor come from? Is it actually hidden there

1155
01:04:34,480 --> 01:04:37,360
Speaker 1: or did it just manifest? Why are we seeing these

1156
01:04:37,360 --> 01:04:40,720
Speaker 1: flashes of World War two footage that seems to be important? Yeah,

1157
01:04:40,760 --> 01:04:42,920
Speaker 1: I mean, I would say, showing stock footage of a

1158
01:04:43,040 --> 01:04:45,320
Speaker 1: of a war inter cut with a scene that that

1159
01:04:45,440 --> 01:04:48,120
Speaker 1: seems to be trying to make a connection. So I

1160
01:04:48,160 --> 01:04:52,120
Speaker 1: have two theories one and I should drive home. Neither

1161
01:04:52,160 --> 01:04:54,120
Speaker 1: of these is really supported by the text. So I'm

1162
01:04:54,120 --> 01:04:56,840
Speaker 1: really I'm really going out there trying to make these work. So,

1163
01:04:56,920 --> 01:05:00,080
Speaker 1: first of all, could this vengeful Japanese ghost be somehow

1164
01:05:00,120 --> 01:05:03,360
Speaker 1: connected to the US internment of Japanese Americans during the

1165
01:05:03,360 --> 01:05:06,760
Speaker 1: Second World War? I would see no indication of that

1166
01:05:06,840 --> 01:05:09,440
Speaker 1: in the movie. No indication in the movie, But I

1167
01:05:09,480 --> 01:05:12,920
Speaker 1: believe Fort McCoy in Wisconsin was one of the facilities

1168
01:05:13,040 --> 01:05:17,040
Speaker 1: used in this shameful chapter of American history. Uh, And

1169
01:05:17,080 --> 01:05:22,160
Speaker 1: it also was used to house Japanese prisoners of war. So, um,

1170
01:05:22,200 --> 01:05:25,080
Speaker 1: if we're going to really, uh, cut this film a

1171
01:05:25,080 --> 01:05:27,360
Speaker 1: lot of slack. We might say, maybe that's what it

1172
01:05:27,440 --> 01:05:30,360
Speaker 1: was going for, And I'll say, if that sounds even

1173
01:05:30,360 --> 01:05:33,680
Speaker 1: remotely interesting, there's a much better supernatural treatment of of

1174
01:05:33,800 --> 01:05:37,520
Speaker 1: of the subject matter in season two of AMC's The Terror.

1175
01:05:38,000 --> 01:05:41,880
Speaker 1: My other theory or here is that the psychic Samurai

1176
01:05:42,000 --> 01:05:46,840
Speaker 1: ghost is, in fact, on Edgregor, a powerful non physical

1177
01:05:46,960 --> 01:05:50,320
Speaker 1: entity that arises from a group of people on occult

1178
01:05:50,520 --> 01:05:53,280
Speaker 1: concept similar in some ways to that of a tulpa

1179
01:05:54,720 --> 01:05:56,360
Speaker 1: that wasn't think I know about this? Oh yeah, I

1180
01:05:56,640 --> 01:05:59,320
Speaker 1: wasn't familiar with it till I was reading some Grant Morrison.

1181
01:05:59,360 --> 01:06:02,520
Speaker 1: Because Grant Morrison makes use of this concept of this

1182
01:06:02,560 --> 01:06:07,120
Speaker 1: occult concept in this DC supervillain character that he either

1183
01:06:07,200 --> 01:06:11,840
Speaker 1: created or riffed heavily on, called the candle Maker, who

1184
01:06:11,880 --> 01:06:15,200
Speaker 1: said to be a powerful Edgregor born out of humanities

1185
01:06:15,240 --> 01:06:20,439
Speaker 1: collective on conscious tensions surrounding twenty century anxieties over nuclear war.

1186
01:06:22,200 --> 01:06:26,160
Speaker 1: So along those lines, could the psychic ghost Samurai in

1187
01:06:26,160 --> 01:06:29,880
Speaker 1: this picture being Edgregor born out of American tension and

1188
01:06:29,960 --> 01:06:33,160
Speaker 1: shame uh concerning Japanese in tournament and the use of

1189
01:06:33,160 --> 01:06:36,840
Speaker 1: atomic weaponry during the Second World War The only thing

1190
01:06:36,880 --> 01:06:40,240
Speaker 1: to indicate that though, would be the would be the

1191
01:06:40,400 --> 01:06:43,400
Speaker 1: like the inter cutting with the scenes from the war

1192
01:06:43,520 --> 01:06:46,600
Speaker 1: in that very final scene. Like there's nothing at all

1193
01:06:46,640 --> 01:06:49,439
Speaker 1: earlier in the movie to point in that direction. Yeah,

1194
01:06:49,600 --> 01:06:52,040
Speaker 1: like there's no, there's nothing. I don't think there's anything

1195
01:06:52,040 --> 01:06:54,560
Speaker 1: in the house that shows any aside from the armor

1196
01:06:54,640 --> 01:06:58,080
Speaker 1: that again is implied to just physically manifest and have

1197
01:06:58,200 --> 01:07:00,200
Speaker 1: no previous history in the house. There's nothing thing in

1198
01:07:00,240 --> 01:07:04,640
Speaker 1: there to indicate the family has any connections to Japanese culture,

1199
01:07:04,840 --> 01:07:07,480
Speaker 1: to Japanese history. You know. It's not nothing like, oh well,

1200
01:07:07,480 --> 01:07:10,320
Speaker 1: that's that's grandpa's photo. He fought in the war and

1201
01:07:10,440 --> 01:07:12,880
Speaker 1: was convicted of war crimes or something. Right, this would

1202
01:07:12,880 --> 01:07:15,600
Speaker 1: be very loose. But there are some what appear to

1203
01:07:15,680 --> 01:07:20,680
Speaker 1: be uh Buddhist or Buddhist suggestive artworks in the house,

1204
01:07:20,800 --> 01:07:24,040
Speaker 1: like there I think, am I right about this? Weren't there?

1205
01:07:24,320 --> 01:07:28,160
Speaker 1: That is true? Yeah? Like Kathy a k Mom has

1206
01:07:28,280 --> 01:07:30,840
Speaker 1: kind of this um you know, kind of like um

1207
01:07:31,280 --> 01:07:34,520
Speaker 1: more of a hippie, free free form artistic spirit that's

1208
01:07:34,560 --> 01:07:37,080
Speaker 1: just kind of captured in the wild, you know, it's

1209
01:07:37,120 --> 01:07:39,240
Speaker 1: kind of out of keeping with the the the rural

1210
01:07:39,320 --> 01:07:42,560
Speaker 1: environment around her. Uh so, I guess you could. I

1211
01:07:42,640 --> 01:07:45,520
Speaker 1: don't know what that would mean either, unless, like the

1212
01:07:45,560 --> 01:07:47,800
Speaker 1: statue was like there doesn't Yeah, this stuff is just

1213
01:07:47,880 --> 01:07:50,320
Speaker 1: part of the backdrop. It doesn't seem to play any

1214
01:07:50,360 --> 01:07:54,520
Speaker 1: real significant role in the subsequent haunting or psychic explosion

1215
01:07:54,560 --> 01:07:56,920
Speaker 1: that occurs. I mean, all I can say is that

1216
01:07:57,040 --> 01:07:59,400
Speaker 1: I think the inter cutting with the scenes of World

1217
01:07:59,400 --> 01:08:02,600
Speaker 1: War two is supposed to suggest something, but I can't

1218
01:08:02,640 --> 01:08:05,840
Speaker 1: form anything coherent about it that really connects with anything

1219
01:08:05,880 --> 01:08:08,920
Speaker 1: else in the movie. Yeah, but it it all like

1220
01:08:09,000 --> 01:08:11,880
Speaker 1: there's it almost makes sense in a way that is

1221
01:08:12,040 --> 01:08:14,720
Speaker 1: um that they really you know, pulls that your your

1222
01:08:14,760 --> 01:08:17,560
Speaker 1: brain strings, you know, you can't quite get out of mind, like,

1223
01:08:17,600 --> 01:08:20,280
Speaker 1: well was it. It's almost saying something coherently or some

1224
01:08:20,479 --> 01:08:23,000
Speaker 1: my coherently, and I just can't make out what it

1225
01:08:23,080 --> 01:08:25,519
Speaker 1: might be saying. Well, you know, I I think I've

1226
01:08:25,520 --> 01:08:27,640
Speaker 1: said on the show before that I sometimes have a

1227
01:08:28,400 --> 01:08:32,760
Speaker 1: probably an unusually high tolerance for unanswered questions in in

1228
01:08:32,840 --> 01:08:35,360
Speaker 1: fiction and movies. I mean, I often think that it's, uh,

1229
01:08:35,800 --> 01:08:39,120
Speaker 1: it's better to leave things a mystery than to answer

1230
01:08:39,200 --> 01:08:43,120
Speaker 1: them in an unsatisfying way. But I mean, sometimes you

1231
01:08:43,120 --> 01:08:46,200
Speaker 1: can just leave people hanging too much. Like I feel

1232
01:08:46,200 --> 01:08:49,439
Speaker 1: like if if the director truly had something like that

1233
01:08:49,479 --> 01:08:52,160
Speaker 1: in mind, you could have put a few more pointers

1234
01:08:52,200 --> 01:08:55,080
Speaker 1: in there. Yeah. I guess what we're trying to say

1235
01:08:55,280 --> 01:09:00,920
Speaker 1: is blood beat. It's a Christmas miracle. Oh yeah, Christmas.

1236
01:09:01,000 --> 01:09:04,800
Speaker 1: I forgot about that part. That's why you picked it. Yeah. Yeah,

1237
01:09:05,160 --> 01:09:07,160
Speaker 1: it really didn't do a lot of thinking about like,

1238
01:09:07,240 --> 01:09:09,200
Speaker 1: what is this saying about Christmas? I guess it's not

1239
01:09:09,240 --> 01:09:11,879
Speaker 1: really saying anything about Christmas, but it takes place at Christmas.

1240
01:09:12,439 --> 01:09:16,920
Speaker 1: Christmas is the reason, uh for these people coming together

1241
01:09:17,040 --> 01:09:22,040
Speaker 1: and psychically manifesting at a samurai warrior to kill everybody.

1242
01:09:22,120 --> 01:09:24,240
Speaker 1: So yeah, I gotta say I I on the whole.

1243
01:09:24,280 --> 01:09:27,760
Speaker 1: I enjoyed it. I've certainly not board, but this is

1244
01:09:27,800 --> 01:09:30,559
Speaker 1: one of the most befuddling films we have we have

1245
01:09:30,640 --> 01:09:35,719
Speaker 1: watched for this show yet, I agree. So out there

1246
01:09:35,840 --> 01:09:37,519
Speaker 1: you might be wondering, well, how can I get on

1247
01:09:37,560 --> 01:09:41,000
Speaker 1: this in on this holiday befuddlement. Well, um, this movie

1248
01:09:41,080 --> 01:09:43,240
Speaker 1: is out there if you're looking for it. I streamed

1249
01:09:43,280 --> 01:09:45,400
Speaker 1: it on shutter uh and I think it may be

1250
01:09:45,479 --> 01:09:48,920
Speaker 1: available via some other online services as well. It was

1251
01:09:48,960 --> 01:09:51,840
Speaker 1: also released on Blu Ray by Vinegar Syndrome a few

1252
01:09:51,920 --> 01:09:54,759
Speaker 1: years back, and uh, like I mentioned earlier, that actually

1253
01:09:54,840 --> 01:09:58,160
Speaker 1: includes an interview with the director. Uh so if you're

1254
01:09:58,160 --> 01:10:00,679
Speaker 1: really curious, maybe you can you can get your hands

1255
01:10:00,680 --> 01:10:02,920
Speaker 1: on that disk and maybe maybe even answer some of

1256
01:10:02,920 --> 01:10:04,880
Speaker 1: these questions that we have. I I don't know, but

1257
01:10:05,360 --> 01:10:08,080
Speaker 1: I'm guessing probably not. But yeah, I would say still

1258
01:10:08,080 --> 01:10:09,720
Speaker 1: go back to what we said earlier. I am I

1259
01:10:09,760 --> 01:10:14,439
Speaker 1: admire the ambition here because you know, a lesser you know,

1260
01:10:14,520 --> 01:10:17,120
Speaker 1: director and writer might have just said, Hey, we're gonna

1261
01:10:17,120 --> 01:10:20,519
Speaker 1: have some crazy person in a samurai a suit of

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01:10:20,560 --> 01:10:23,120
Speaker 1: samurai armor is gonna start killing people, and that's all

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01:10:23,160 --> 01:10:25,040
Speaker 1: you need to know. Just somebody was crazy and they

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01:10:25,080 --> 01:10:28,439
Speaker 1: put on some some you know, armor and grabbed the sword,

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01:10:28,560 --> 01:10:31,519
Speaker 1: and you know that that's it. But no, this film

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01:10:31,520 --> 01:10:35,680
Speaker 1: went for something far more elaborate, and uh, you know,

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01:10:35,920 --> 01:10:38,519
Speaker 1: it's one of the things that makes it interesting. Yeah. Yeah,

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01:10:38,600 --> 01:10:43,960
Speaker 1: it is definitely the only Franco wisconsinite psychic art house

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01:10:44,160 --> 01:10:49,640
Speaker 1: Christmas slasher movie I've ever seen. All Right, Well, if

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01:10:49,640 --> 01:10:52,240
Speaker 1: you want to check out other episodes of Weird House Cinema,

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01:10:52,280 --> 01:10:54,240
Speaker 1: you can catch it every Friday, and the Stuff to

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01:10:54,240 --> 01:10:57,200
Speaker 1: Blow your Mind podcast feed were primarily a science and

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01:10:57,240 --> 01:11:01,120
Speaker 1: culture podcast, with episodes on Tuesdays and Thursdays, but we

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01:11:01,240 --> 01:11:03,479
Speaker 1: do listener mail on Monday's. We do a short form

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01:11:03,560 --> 01:11:06,760
Speaker 1: artifact episode on Wednesdays, and on Friday. That's our time

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01:11:06,800 --> 01:11:10,840
Speaker 1: to set most serious matters of aside and just get

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01:11:10,880 --> 01:11:13,799
Speaker 1: into a little weird house cinema. Huge thanks as always

1278
01:11:13,840 --> 01:11:17,360
Speaker 1: to our excellent audio producer Seth Nicholas Johnson. If you

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01:11:17,360 --> 01:11:19,439
Speaker 1: would like to get in touch with us with feedback

1280
01:11:19,479 --> 01:11:21,800
Speaker 1: on this episode or any other, to suggest topic for

1281
01:11:21,800 --> 01:11:23,960
Speaker 1: the future, or just to say hello, you can email

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01:11:24,040 --> 01:11:34,640
Speaker 1: us at contact at stuff to Blow your Mind dot com.

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01:11:34,760 --> 01:11:37,280
Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio.

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01:11:37,600 --> 01:11:39,720
Speaker 1: For more podcasts for my heart Radio, visit the i

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01:11:39,800 --> 01:11:42,600
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

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01:11:42,640 --> 01:11:43,439
Speaker 1: your favorite shows.