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

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

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Speaker 2: it's Monday, so we are bringing you an older episode

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Speaker 2: of Weird House Cinema. This is our episode on the

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Speaker 2: Russ Meyer classic Faster Pussycat Kill Kill. Oh, the Crimes

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Speaker 2: to be had?

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Speaker 1: Yes, Yes, let's dive right in.

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

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

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Speaker 2: And this is Joe McCormick. And today we are going

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Speaker 2: to be discussing a cult classic, the nineteen sixty five

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Speaker 2: let's see, what would you call it, the Go Go

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Speaker 2: murder exploitation film, Faster Pussycat Kill Kill. I think I'm

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Speaker 2: to understand a favorite of many filmmakers.

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Speaker 1: Yeah, especially a filmmaker John Waters. He is the ultimate

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Speaker 1: champion of this film. And I'm going to be touching

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Speaker 1: in on his thoughts regarding this film several times, especially

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Speaker 1: in the run up to the plot here. But yeah,

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Speaker 1: this is a very well known cult classic film. And

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Speaker 1: as we're approaching the Halloween season here, Joe, when I

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Speaker 1: had this discussion, like, well, maybe we should we should

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Speaker 1: avoid doing horror movies until we get either to October

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Speaker 1: itself or right to the edge of October, so as

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Speaker 1: to enhance the punch of all that horror. So last

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Speaker 1: week we did The Man Who Fell the Earth science

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Speaker 1: fiction drama, and this week, yeah, basically a crime yarn

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Speaker 1: a sixties go Go dancer desert crime movie.

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Speaker 4: What brought you to this pic? Rub?

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Speaker 1: You know, I don't remember specifically. It's one of those

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Speaker 1: that I've always been aware of, just because it does

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Speaker 1: have its B cinema cult following footprint firmly. It was

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Speaker 1: more of a bootprint firmly implanet, you know, in the

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Speaker 1: face of the American public. So I've always been vaguely

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Speaker 1: aware of it, and I've heard samples from it, seen

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Speaker 1: some stills from it, but I've never watched it in

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Speaker 1: its entirety. And yeah, I think I was just I

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Speaker 1: did a quick brainstorm. It's like, what's something that doesn't

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Speaker 1: have horror, What's something even further, it doesn't have a

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Speaker 1: speculative element at all that would still fit the profile

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Speaker 1: for weird house cinema. And I was like, oh, well,

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Speaker 1: it's got to be faster. Pussycat Kill Kill.

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Speaker 2: I had never seen this movie before a couple of

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Speaker 2: days ago, and I was very impressed by it in

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Speaker 2: multiple respects. But one of the ways that impressed me

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Speaker 2: was how entertaining it is for a B movie. Now,

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Speaker 2: we love B movies, but a common problem with a

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Speaker 2: lot of B movies is that they they often have

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Speaker 2: dull stretches, not all, but a lot. You often get

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Speaker 2: the sense that, like, you know, a B movie director

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Speaker 2: is trying to like work up to the monster scene

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Speaker 2: and that's really what they're excited about, and they're like, Okay,

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Speaker 2: before we do that, we got to have like a

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Speaker 2: love scene here, we got to have like a character

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Speaker 2: explaining how the monster was made to kind of dry

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Speaker 2: you know, scientist explaining the origin of the monster whatever.

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Speaker 2: And these scenes feel kind of perfunctory. It's just like

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Speaker 2: they're even the director is not very excited about them.

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Speaker 2: They're just trying to get through them to show you

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Speaker 2: the stuff that's that you're really here for. This film

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Speaker 2: was made with the idea clearly that every moment should

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Speaker 2: be thrilling and entertaining in some way, even when it's

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Speaker 2: just kind of routine plot execution or just exposition that's

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Speaker 2: setting up later scenes. The script is written in such

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Speaker 2: a way that like every line a character says is

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Speaker 2: weird in a way that makes the scene entertaining. Like

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Speaker 2: I think the sensibility that russ Meyer, and from what

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Speaker 2: I've read, russ Meyer to a great extent, credits one

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Speaker 2: of the main cast members, touras Satana as also being

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Speaker 2: a sort of a not just a member of the cast,

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Speaker 2: but a true like creative influence behind like the movie

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Speaker 2: and its style. Whoever is responsible for the dialogue in

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Speaker 2: each scene knew that it is more important to be

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Speaker 2: entertaining than to be realistic, and I appreciate that.

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Speaker 1: Yeah, yeah, I think this is a strong point. I

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Speaker 1: mean you even see it in the title, Like the

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Speaker 1: title is faster pussy Cat Kill Kill, And I've read that,

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Speaker 1: like the whole take on this is that like you have,

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Speaker 1: you know, a hint of sex in the title, you

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Speaker 1: have speed, you know, racing in the title, and you

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Speaker 1: have murder and death in the title, and it doesn't

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Speaker 1: actually make all that much sense as a statement or

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Speaker 1: a title. Like John Waters, when we're in writing about

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Speaker 1: the film, often refers to the Gang of three here

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Speaker 1: as the Pussycats. I don't think they ever refer to

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Speaker 1: themselves as such. But you know, fair enough, I guess,

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Speaker 1: but you do have to sort of twist the title

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Speaker 1: to make it work in a literal sense. Now, as

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Speaker 1: we'll discuss, this is certainly a film produced through the

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Speaker 1: main it's about go go dancers starring go go dancers,

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Speaker 1: or at least two of them. And while it's not

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Speaker 1: as provocative as you might expect by modern standards, I mean,

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Speaker 1: this is a mid nineteen sixties movie that was shown

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Speaker 1: at the drive in. You know, it's still clearly intended

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Speaker 1: to title ate, but it's also action packed. And it's

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Speaker 1: especially interesting to read various reviews that talk about it's

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Speaker 1: kind of dual nature because at the time of its release, Yeah,

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Speaker 1: a lot of people saw it as just a sexist

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Speaker 1: B movie, and a lot of people didn't like it.

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Speaker 1: To understand, it didn't actually perform all that well, but

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Speaker 1: it was later embraced as this kind of iconic counterculture

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Speaker 1: film with a grandiose vision of female power to match

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Speaker 1: the grandiose visions of masculine power found just everywhere else

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Speaker 1: in cinema. So this is this film that has been

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Speaker 1: very influential. It was a major inspiration for Quentin Tarantino's

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Speaker 1: Death Proof from two thousand and seven, and both Tarantino

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Speaker 1: and more recently actor Norman Retis have expressed an interest

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Speaker 1: in remaking it in one form or another. I think

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Speaker 1: you can ask a lot of questions about what form

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Speaker 1: a remake of Faster Pussycat, Kill Kill would take in

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Speaker 1: the twenty first century, But you know, maybe they have

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Speaker 1: a particular vision or visions in mind.

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Speaker 2: I was actually thinking without knowing that, I was thinking

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Speaker 2: about Quentin Tarantino when I thought about modern filmmakers who

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Speaker 2: had clearly been inspired by this movie. I can see

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Speaker 2: direct lines of influence going from this movie to Yes

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Speaker 2: to death proove his half of the release that was

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Speaker 2: originally called Grind Grindhouse.

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Speaker 1: Is that what it was called, Yes Grindhouse.

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Speaker 2: But then also to the kill Bill series. There is

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Speaker 2: some strong shared material there. Of course, I knew about

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Speaker 2: the John Waters connection, and we can talk some more

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Speaker 2: about some things that come through in John Waters' films

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Speaker 2: as well that seemed to be inspired by this movie.

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Speaker 2: But coming back to your comment about Norman read Us,

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Speaker 2: I have to lodge a complaint that is not about

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Speaker 2: this movie, but about how Google search results are now

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Speaker 2: we were just recently talking about how, for some reason

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Speaker 2: it seems like Google search results are just getting worse

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Speaker 2: and worse. I think I don't know exactly the reason

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Speaker 2: for this, but I would suspect it has to do

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Speaker 2: with just like the Web is getting worse and worse,

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Speaker 2: more packed with junk and you know, search engine gaming,

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Speaker 2: AI generated content and garbage. So the other day, when

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Speaker 2: I just googled this movie Faster Pussycat Kill Kill the

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Speaker 2: top result, what do you think it should be an

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Speaker 2: image of the poster of the movie, an image of

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Speaker 2: the cast of the movie, or a promo still from it. No,

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Speaker 2: it's a picture of Norman Reatas.

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Speaker 4: Oh Man.

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Speaker 1: I mean, I love Norman Reada's a very fun actor,

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Speaker 1: been in a lot of things I love. But come

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Speaker 1: on now, coming back to John Waters, I did pick

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Speaker 1: up his book Shock Value where he talked He talked

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Speaker 1: about a lot of things in that book, but he

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Speaker 1: does specifically talk a little bit about Faster Pussycat Kill Kill.

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Speaker 1: He writes that this film, russ Meyer's tenth film quote

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Speaker 1: is beyond a doubt the best movie ever made. It

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Speaker 1: is possibly better than any film that will be made

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Speaker 1: in the future.

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Speaker 2: Don't try to argue with him. You don't want to

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Speaker 2: get pulled into this. He's had more practice having this

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Speaker 2: conversation than.

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Speaker 1: You have exactly. I mean yeah, Like I say, he's

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Speaker 1: the ultimate champion of this film, and I think the

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Speaker 1: ultimate expert on it. He has meditated on this movie

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Speaker 1: more than any other person. In this book, he goes

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Speaker 1: on to talk about how initially he was drawn in

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Speaker 1: by the radio ads during the film's initial release they

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Speaker 1: promise that the movie would leave a taste of evil

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Speaker 1: in your mouth. And then he went and saw it,

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Speaker 1: and he fell in love the picture and ended up

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Speaker 1: seeing it every night at the local drive in, often alone,

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Speaker 1: for the remainder of its run there. So he cites

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Speaker 1: this movie as the primary influence on all of his

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Speaker 1: characters in all of his films.

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Speaker 2: I can absolutely see that in many ways, and I

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Speaker 2: think he so. In one sense. You can see the

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Speaker 2: similarity in the way that John Water movies, I think

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Speaker 2: often go for that feeling of trying to make every

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Speaker 2: single moment interesting and entertaining rather than going for realism obviously,

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Speaker 2: and so it's like more important that a character say

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Speaker 2: something that is shocking or funny or entertaining in some

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Speaker 2: way than that they like strictly stay in character or

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Speaker 2: I don't know, do something that would be realistic. But

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Speaker 2: another big similarity I see is this may be a

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Speaker 2: weird thing to single out, but I think you'll have

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Speaker 2: to agree with me, is in a very strange and

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Speaker 2: idiosyncratic style of line delivery that is characteristic of this movie,

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Speaker 2: like especially Toursatana, but also the character Billy. They have

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Speaker 2: this way of saying lines where they're almost not really

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Speaker 2: acting them. They are just like shouting their lines, like

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Speaker 2: just spitting them out with this forceful, venomous, high octane

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Speaker 2: delivery for every line, just the same every time, And

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Speaker 2: that comes through in a lot of performances in John

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Speaker 2: Waters movies.

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Speaker 5: Yeah.

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Speaker 1: Yeah, this this feeling, especially in this movie, that it

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Speaker 1: often feel any given scene will often feel like a

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Speaker 1: pro wrestling promo. Yeah, you know, it has that kind

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Speaker 1: of energy. It maybe one note, but that note is

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Speaker 1: played super loud and there's no missing it, and it

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Speaker 1: delivers something about that character very loudly.

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Speaker 2: Like I'm specifically thinking of a lot of Divines line

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Speaker 2: delivery and pink flamingos feels like Varla's line delivery in

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Speaker 2: this movie.

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Speaker 1: Yeah, yeah, I think there's a direct connection there. So

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Speaker 1: we will keep coming back to some Waters quotes, because

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Speaker 1: again I think he's the authority on all these all

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Speaker 1: things faster, pussy, get, kill, kill. But as we you know,

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Speaker 1: normally we'd touch in the elevator pitch. I'm just going

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Speaker 1: to read you how John Waters describes this movie as

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Speaker 1: a quote violent Gothic melodrama built around three bisexual sych

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Speaker 1: Caught It Go Go girls, Varla, Billy and Rosie.

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Speaker 2: There's an interesting angle that the movie approaches you with,

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Speaker 2: and I wonder what you think about this. Rob It

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Speaker 2: almost feels like it's trying to imply that this movie

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Speaker 2: is connected to current events. And those current events, which

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Speaker 2: you must have seen in the news, are that now

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Speaker 2: every day women are like breaking men's necks in the desert.

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Speaker 2: It's just something that's happening in this crazy world we

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Speaker 2: live in today, and this is a movie about that phenomenon.

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Speaker 2: But I don't think that there really was a phenomenon

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Speaker 2: to base this on.

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Speaker 5: No.

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Speaker 1: I mean, maybe it's exploiting a little bit this idea

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Speaker 1: that they actually you call out in some dialogue in

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Speaker 1: the film, or it's like women they're doing all these

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Speaker 1: things now that they didn't.

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Speaker 4: Used to do in.

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Speaker 1: One of those things is perpetrating violent crimes in the desert.

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Speaker 1: You've come a long way, baby.

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Speaker 2: I mean, I'm sure it happens sometimes, but I don't

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Speaker 2: get the feeling that this was like there was a

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Speaker 2: sudden spike in the sixties of women just doing assassinations

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Speaker 2: related to auto racing.

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Speaker 1: Now, I mean, obviously, yeah, women have always engaged in

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Speaker 1: murder and violence just as men have. I mean, we

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Speaker 1: have tales in the Old Testament and various myths and

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Speaker 1: legends and so forth. There are plenty of there have

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Speaker 1: been plenty of varlas throughout history. All right, let's go

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Speaker 1: ahead and listen to the trailer audio for Faster Pussycat

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Speaker 1: Kill Kill.

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Speaker 5: If you want, ladies and gentlemen, gold cod for a

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Speaker 5: wild wild ride with the Watusi cuts. But beware, the

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Speaker 5: sweetest kittens have the sharpest claw. By your own safety

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Speaker 5: see Faster Pussy Cuts Kill Kill, Wild Women, wild whales,

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Speaker 5: race the fastest pussy cats and they'll be Jill top

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Speaker 5: debt So far woman Felton Wild and cootd.

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Speaker 6: You're pating yourself on this kid. They're hanging itself for nothing.

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Speaker 4: For nothing, got nothing to do with the money.

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Speaker 6: Jis the money.

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Speaker 5: Jack and Jill.

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Speaker 6: They make a mafia look like Brownie.

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Speaker 5: He's a good one. Anything that muscle.

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Speaker 1: All we do here?

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Speaker 6: Yeah, ten percent of your action be enough for anyone.

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Speaker 5: Too much for one man to handle. And again you

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Speaker 5: never can town.

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Speaker 6: You get us a bunch of newies.

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Speaker 2: You just uh short of clothes.

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Speaker 6: Right now you're first on my lists and I oh

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Speaker 6: go to you go only go one chill and your

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Speaker 6: channel's busy tuning and outside you really should be a benefit.

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Speaker 6: So who do I get to take care of the

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Speaker 6: muscle man? You got two of everything and some left over.

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Speaker 1: You did one you wanted big rst or side.

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Speaker 5: Are Why did you take one of these?

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Speaker 6: Son?

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Speaker 5: Both look tender.

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Speaker 6: He's got a big motor to feed.

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Speaker 4: Did you eat fer my man?

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Speaker 6: Never ro shout David?

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Speaker 5: Would you rough the last time?

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Speaker 6: I here's how it works. Everybody's gotta go.

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Speaker 5: You name it, We've got it. Past pussy hat kills,

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Speaker 5: delivers tongue board on the opposition, I'm ladylike karate chops,

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Speaker 5: ungentlemanly haymaker spirit, a gymnastics corrective table at sandbox jousting

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Speaker 5: or a muscle bound chat wrestling with a roaring sports

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Speaker 5: car that's intent upon squashing him like a grape, bizarre

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Speaker 5: kidney and chessie rattling chases, and for the first.

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Speaker 3: Time on the screen, hay.

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Speaker 5: Making, belly busting, karate charming, judah flipping, fight, Go in

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Speaker 5: Them All, Sober Woman against Man, the Prize life Itself, slashing, tackling,

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Speaker 5: gouge hacking, glittering, spelting, smashing, and muscle to muscle lone

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Speaker 5: to Bow, or an Incredible Evenings entertainment, a film so

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Speaker 5: totally satisfying see russ Meyer Faster. Of course, the time

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Speaker 5: Kill Kill.

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Speaker 1: See really sells it. You can you can imagine being

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Speaker 1: the young John Waters hearing that or some version of

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Speaker 1: that trailer for the first time. All Right, As for

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Speaker 1: availability on this one, I do wish it was easier

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Speaker 1: to get a copy of it or to have an

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Speaker 1: official stream of the movie. It doesn't seem to be

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Speaker 1: widely available on disc right now, and I couldn't find

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Speaker 1: an official stream video. Drum has a copy of it

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Speaker 1: here in Atlanta. But yeah, given this film's cult status,

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Speaker 1: I would I would want it to be more available

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Speaker 1: than it is. But if you look hard enough, I

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Speaker 1: think you can probably find it somewhere. So if you

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Speaker 1: if you need a break and go see this movie,

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Speaker 1: you know, come back. We're going to talk about the

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Speaker 1: cast and some of the filmmakers, and then from there

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Speaker 1: we're going to get into a more spoilery discussion.

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Speaker 4: Of the plot.

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Speaker 1: All right, Well, let's start, yeah at the top, with

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Speaker 1: the director, the producer of the editor. He also is

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Speaker 1: a story credit. It's Russ Meyer, who lived nineteen twenty

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Speaker 1: two through two thousand and four, American exploitation director known

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Speaker 1: for campies exploitation films from the nineteen fifties through the

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Speaker 1: nineteen eighties, with a couple of brief returns after that.

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Speaker 1: He directed the nineteen seventy film Beyond the Valley of

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Speaker 1: the Dolls, the only film that film critic Roger Ebert

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Speaker 1: ever wrote.

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Speaker 2: I think that movie was also not super well received

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Speaker 2: when it came out, but I've heard people kind of

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Speaker 2: appreciate it now. It's also allegedly just wild. The moment

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Speaker 2: to moment weirdness quotient is apparently quite high.

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Speaker 1: So Meyer's film immediately prior to Faster Pussycat was nineteen

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Speaker 1: sixty five's Motorcycle, same year, same release, here about a

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Speaker 1: violent gang of male bikers, so he essentially flipped the

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Speaker 1: script on that for this movie, focusing on female characters instead.

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Speaker 1: His films are often categorized as being very technically proficient,

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Speaker 1: ludicrous in their dialogue, campy, and often using leering, low

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Speaker 1: angle shots. But those low angle shots often do create

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Speaker 1: this sense of weird kind of almost like mythic tension.

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Speaker 1: Likes it makes the characters in the film feel larger

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Speaker 1: than life. I mean, not just their physical bodies, but

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Speaker 1: like their sort of hero or villain status.

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Speaker 2: I would say that russ Meyer's style is very much

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Speaker 2: in that category of schlock, but not hack. Somebody who

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Speaker 2: is creating what is supposed to be you know, yeah,

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Speaker 2: lowbrow exploitation cinema, but who actually is bringing quite a

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Speaker 2: bit of style and in a weird way. You could

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Speaker 2: almost say say taste to the experience.

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Speaker 1: Yeah, Like I say, never a dull moment. If nothing else,

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Speaker 1: you're just wondering what are these characters going to say next,

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Speaker 1: And at any moment someone might get like slapped in

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Speaker 1: the face as well. Again, John Waters idolized russ Meyer,

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Speaker 1: called him quote the good old boy of exploitation films,

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Speaker 1: and in Water's view on things. Quote, exploitation films are

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Speaker 1: the only ones that come close to that dreaded word art.

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Speaker 2: That's an interesting idea. I almost feel like I've heard

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Speaker 2: John Waters talk about this in some other context, that

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Speaker 2: there's almost kind of a like a horseshoe theory of

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Speaker 2: taste where, for some reason, a lot of people who

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Speaker 2: seem to have some of the highest tolerance for I

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Speaker 2: don't know, avant garde art and and you know, the

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Speaker 2: like the I don't know what you call it, the

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Speaker 2: kind of fine art that really asks you to open

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Speaker 2: minded and go outside of your comfort zone. For some reason,

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Speaker 2: are also often people who are into very low brow

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Speaker 2: B movie type stuff.

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Speaker 1: Yeah, yeah, sort of putting yourself in a place of

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Speaker 1: open minded vulnerability where art can potentially hurt you, but

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Speaker 1: it's what does it make me feel? It's creating feelings,

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Speaker 1: and then I'm supposed to make sense of those feelings. Yeah,

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Speaker 1: it's not unlike the place you have to put yourself

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Speaker 1: in with various exploitation films. Though, to be sure, not

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Speaker 1: all exploitation films are created equal and in many different ways.

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Speaker 1: All right, Moving on to the screenplay itself, written by

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Speaker 1: Jackie Moran, who lived nineteen twenty three through nineteen ninety.

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Speaker 1: As a writer, he only worked on a handful of

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Speaker 1: produced screenplays, all russ Meyer pictures, but as an actor,

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Speaker 1: his credits go back to Believe the mid nineteen thirties.

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Speaker 1: As a child and youth actor appeared in various old

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Speaker 1: serials such as Buck Rogers, as well as a nineteen

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Speaker 1: thirty eight adaptation of the Adventures of Tom Sawyer. Oh

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Speaker 1: and he was also in a nineteen thirty nine film

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Speaker 1: called Gone with the Wind.

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Speaker 2: So I mentioned that a lot of what makes this

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Speaker 2: movie unique is the the sort of high high grit

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Speaker 2: of the script, you know, like the way that each

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Speaker 2: line just kind of like grips you and rubs your brain.

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Speaker 2: And I don't know exactly where to put the credit

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Speaker 2: for this. It should should we be thinking about this

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Speaker 2: as like a feature of Jackie Moran's screenplay, or since

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Speaker 2: this seems to be, from what I've read, a characteristic

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Speaker 2: of russ Meyer films, is this something that's coming more

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Speaker 2: from Meyer's influence. But then again, as I said, also,

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Speaker 2: I've read that the tourist Satana is usually given credit

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Speaker 2: for shaping a lot of the tone and style of

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Speaker 2: the movie.

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Speaker 1: Yeah, I mean, you probably want to sign with Varlain

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Speaker 1: this one, because otherwise she's gonna chop you in kidney.

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Speaker 1: So I mean, it does seem like a lot of

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Speaker 1: those lines are coming from the heart. So yeah, I

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Speaker 1: don't have a lot of clarity on this, but I

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Speaker 1: kind of have the suspicion that the screenplay was one place,

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Speaker 1: and then maybe the actors and or the director on

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Speaker 1: the set kind of like punch things in a different direction. Okay, Well,

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Speaker 1: let's talk about Toura Satana, not Santana, as I sometimes

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Speaker 1: keep mispronouncing it. This is her show name, leaning into

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Speaker 1: the sort of evil nature of her persona. So Satana

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Speaker 1: lived nineteen thirty eight through twenty eleven, and yeah, this

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Speaker 1: she plays the leader of our gang of three of

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Speaker 1: violence loving, fem fatal criminal, mastermind and goth queen of

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Speaker 1: the Desert. Satana was born Tura Yamaguchi. She was a

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Speaker 1: Japanese American exotic dancer and burlesque performer turned actor. She

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Speaker 1: started out in the early sixties with bit parts for

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Speaker 1: TV and film, including the TV series Hawaii and I

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Speaker 1: and The Man from Uncle. Then came This film, followed

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Speaker 1: by an uncredited role a dancer on sixty six is

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Speaker 1: Our Man Flint, and then the role of Satana, essentially

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Speaker 1: playing herself to some degree in the nineteen sixty eight

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Speaker 1: low budget sci fi horror film The Astro Zombies starring

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Speaker 1: Wendell Corey and John Keradine.

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Speaker 2: That's a movie I have seen and remember almost nothing about,

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Speaker 2: which is a feature of most films I've seen starring

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Speaker 2: John Carradine.

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Speaker 1: Oh well, you know, peep busted. He's in a lot

401
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Speaker 1: of films, but he is in a lot of forgivable films,

402
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Speaker 1: It's true. Astro Zombies is definitely one of those. It's

403
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Speaker 1: a classic B movie in anyways. It has this super

404
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Speaker 1: cool mask, very cool poster, but as I remember it,

405
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Speaker 1: a very plotting pace. I believe Satana plays the Mad

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Speaker 1: Doctor's evil hinch woman, but I cannot remember a thing

407
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Speaker 1: that anyone does in this aside from you do get

408
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Speaker 1: some creeping astro zombies from time to time.

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Speaker 4: That was a Ted V. Mickels movie, wasn't it, I think?

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Speaker 1: So. After this, she was in seventy three Is the

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Speaker 1: Doll Squad, a kind of Charlie's Angels inspired romp. She

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Speaker 1: left acting after that, but emerged again in the two thousands,

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Speaker 1: appearing in two thousand and fours, Mark of the Astro Zombies,

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Speaker 1: two thousand and nine, Sugar Box rob Zombies, The Haunted

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Speaker 1: World of Al Superbisto, and Astro Zombies M three cloned

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Speaker 1: in twenty ten. I mean, what can you say? Though

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Speaker 1: she's a force of nature in this movie, alluring is intended,

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Speaker 1: but also just believably mean and above all cool, Like

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Speaker 1: she's she's so cool that even though she is and

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Speaker 1: a lot of people have pointed this out, like she

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Speaker 1: is arguably the villain or one of the two main

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Speaker 1: villains in the picture, but at the same time, you're

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Speaker 1: rooting for the whole time where I was. It's like,

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Speaker 1: even if she's engaging and kidnapping and mass murder, I'm

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Speaker 1: kind of on team Varla the whole way. And Yeah,

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Speaker 1: it's just an amazing performance and you can't look away,

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Speaker 1: you can't stop listening. What is she going to say next?

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Speaker 1: Who is she gonna hit next?

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Speaker 2: I love how she's just autumnally immediately rude to everyone.

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Speaker 1: Yes she is. She's rude and cutting to everyone. No

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Speaker 1: one is safe, and it's just one step away from

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Speaker 1: murder at all times.

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Speaker 2: Also, I'm pretty sure in all her fight and action scenes,

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Speaker 2: we're not looking at a stunt double, are we.

435
00:24:17,840 --> 00:24:18,080
Speaker 4: No.

436
00:24:18,080 --> 00:24:20,160
Speaker 1: No, I believe she did all her own stunts, and

437
00:24:20,520 --> 00:24:22,879
Speaker 1: to understand, she also did her own fight choreography. So

438
00:24:22,920 --> 00:24:26,280
Speaker 1: when we see her beating up various folks and throwing

439
00:24:26,320 --> 00:24:28,359
Speaker 1: them to the ground and chopping them like she she

440
00:24:28,520 --> 00:24:29,560
Speaker 1: brought the technique.

441
00:24:29,760 --> 00:24:31,680
Speaker 2: I'm trying to think of another movie. I know there

442
00:24:31,680 --> 00:24:34,320
Speaker 2: are movies like this. I can't call examples to mind

443
00:24:34,400 --> 00:24:37,240
Speaker 2: right now of a movie where really, essentially the main

444
00:24:37,400 --> 00:24:42,520
Speaker 2: character is also the main villain and you're just you're

445
00:24:42,560 --> 00:24:46,119
Speaker 2: basically on their side and seeing the world through their eyes,

446
00:24:46,280 --> 00:24:49,680
Speaker 2: even though they are in a technical sense the bad

447
00:24:49,760 --> 00:24:51,560
Speaker 2: guy that must be defeated at the end.

448
00:24:52,160 --> 00:24:55,200
Speaker 1: Yeah, like what we discussed talking about Riddick, there's always

449
00:24:55,200 --> 00:24:59,000
Speaker 1: this temptation to to have this sort of redemption arc

450
00:24:59,200 --> 00:25:02,480
Speaker 1: to your your anti hero, and that is not what

451
00:25:02,640 --> 00:25:03,280
Speaker 1: goes on here.

452
00:25:03,440 --> 00:25:03,640
Speaker 4: Yeah.

453
00:25:03,680 --> 00:25:05,800
Speaker 1: You know, you might be fooled into thinking that's where

454
00:25:05,800 --> 00:25:07,520
Speaker 1: it's going at some point, but it's not.

455
00:25:08,040 --> 00:25:11,040
Speaker 2: She does not get a heart. She is not a

456
00:25:11,440 --> 00:25:13,840
Speaker 2: go go dancer assassin with a heart of gold. She

457
00:25:14,320 --> 00:25:17,440
Speaker 2: has a heart of a drain cleaner. I would say

458
00:25:18,359 --> 00:25:22,920
Speaker 2: a heart of the most caustic, toxic substance. Maybe you

459
00:25:22,960 --> 00:25:24,600
Speaker 2: could say she has a heart of raidon.

460
00:25:25,359 --> 00:25:29,760
Speaker 1: Yeah, all right. So she's the leader of our trio

461
00:25:30,000 --> 00:25:33,480
Speaker 1: of Go Go witches here, our gang of three Up

462
00:25:33,520 --> 00:25:38,760
Speaker 1: next is the character Rosie, played by the actor Hodgi.

463
00:25:39,520 --> 00:25:43,159
Speaker 1: Hodgi is her screen name and based on her New

464
00:25:43,240 --> 00:25:46,919
Speaker 1: York Times ah bit from twenty thirteen. This was a

465
00:25:47,000 --> 00:25:50,359
Speaker 1: nickname that her uncle gave to her. So she was

466
00:25:50,359 --> 00:25:56,600
Speaker 1: born Barbarella Katon in nineteen forty six so Canadian American

467
00:25:56,680 --> 00:26:00,840
Speaker 1: dancer turned actor. She also appeared in Motorcycle, Also Pops Up,

468
00:26:00,840 --> 00:26:02,960
Speaker 1: and Beyond the Valley of the Dolls. She was in

469
00:26:03,040 --> 00:26:08,760
Speaker 1: nineteen seventies Bigfoot starring John Carradine once more Christopher Mitcham

470
00:26:08,800 --> 00:26:11,840
Speaker 1: as well. She was also in She Also Pops Up.

471
00:26:11,880 --> 00:26:13,919
Speaker 1: It's kind of in the background in some bigger films,

472
00:26:13,960 --> 00:26:17,959
Speaker 1: like she's in John Cassavetti's The Killing of a Chinese

473
00:26:17,960 --> 00:26:20,720
Speaker 1: Bookie from seventy six starring Ben Gazara. It's like a

474
00:26:20,760 --> 00:26:23,600
Speaker 1: bit roll as a dancer. She also pops up in

475
00:26:23,600 --> 00:26:27,480
Speaker 1: the nineteen eighty one horror film Demonoid starring Samantha Agger.

476
00:26:27,880 --> 00:26:29,760
Speaker 1: I've seen part of this. This is like set in

477
00:26:29,840 --> 00:26:33,280
Speaker 1: Mexico and has some sort of a demonic disembodied hand.

478
00:26:33,840 --> 00:26:35,840
Speaker 4: Oh, demonic hand movie. You know what.

479
00:26:35,880 --> 00:26:40,360
Speaker 2: We've mentioned so many of those in passing in episodes.

480
00:26:40,400 --> 00:26:44,040
Speaker 2: Since we did The Beast with Five Fingers and Mad Love.

481
00:26:44,080 --> 00:26:46,439
Speaker 2: I wonder if we should just do a whole hand

482
00:26:46,560 --> 00:26:47,560
Speaker 2: monster series.

483
00:26:49,080 --> 00:26:51,720
Speaker 1: We easily could. Yeah, there are a number of I

484
00:26:51,720 --> 00:26:53,160
Speaker 1: mean a number of them are based on the hands

485
00:26:53,200 --> 00:26:57,000
Speaker 1: of Warlock and part of that direct tradition. But then, yeah,

486
00:26:57,040 --> 00:27:00,159
Speaker 1: you have other films like the Michael Caine film The

487
00:27:00,240 --> 00:27:01,320
Speaker 1: Hand and so forth.

488
00:27:01,640 --> 00:27:03,760
Speaker 4: Was that the one directed by Oliver Stone?

489
00:27:03,880 --> 00:27:06,440
Speaker 1: It is, Yeah, Oliver Stone directed that one where.

490
00:27:06,280 --> 00:27:08,960
Speaker 2: You find out that the CIA was actually behind the

491
00:27:09,000 --> 00:27:09,760
Speaker 2: Hand all along.

492
00:27:10,160 --> 00:27:11,600
Speaker 1: Yeah, I think it's a rare. You know, it's from

493
00:27:11,640 --> 00:27:14,280
Speaker 1: that period of time when he almost directed a Cone

494
00:27:14,280 --> 00:27:15,560
Speaker 1: in the Barbarian movie.

495
00:27:15,920 --> 00:27:16,239
Speaker 4: All Right.

496
00:27:16,280 --> 00:27:21,160
Speaker 1: So the character Rosy in this different, different style, different presentation,

497
00:27:22,840 --> 00:27:24,800
Speaker 1: she is she doesn't really have time for any of

498
00:27:24,800 --> 00:27:27,520
Speaker 1: the crap that's going on in this movie. She isn't

499
00:27:27,600 --> 00:27:30,919
Speaker 1: necessarily down with all of Varla's violence, but she is

500
00:27:30,960 --> 00:27:35,440
Speaker 1: devoted to Varla. Nonetheless, Hodgy's performance is I would say,

501
00:27:35,520 --> 00:27:39,000
Speaker 1: richly entertaining at times, it seems like maybe the greenest

502
00:27:39,359 --> 00:27:42,840
Speaker 1: she has this. I think she's doing an Italian accent

503
00:27:43,080 --> 00:27:45,280
Speaker 1: in this. I'm not entirely sure.

504
00:27:45,720 --> 00:27:48,720
Speaker 2: I interpreted it as an Italian accent.

505
00:27:48,920 --> 00:27:53,120
Speaker 1: Yes, Yeah, Waters and shot in the in the book

506
00:27:53,280 --> 00:27:57,000
Speaker 1: I referenced earlier says quote. She's a mean Mexican with

507
00:27:57,040 --> 00:28:00,600
Speaker 1: a weakness for switchblades who emphasizes her many moments of

508
00:28:00,680 --> 00:28:04,560
Speaker 1: disgust by spitting or picking her teeth with whatever is handy.

509
00:28:04,960 --> 00:28:09,840
Speaker 2: Yes, she is the most disgusted of our three anti heroes.

510
00:28:10,280 --> 00:28:11,200
Speaker 4: Yes, that is her.

511
00:28:11,359 --> 00:28:14,400
Speaker 1: That is her one note played loudly discussed, but also

512
00:28:14,440 --> 00:28:17,959
Speaker 1: occasionally a little bit like she's the only one of

513
00:28:18,000 --> 00:28:20,280
Speaker 1: the three that also shows like a little bit of

514
00:28:20,320 --> 00:28:24,200
Speaker 1: empathy or even remorse at times, So in a weird way,

515
00:28:24,280 --> 00:28:26,840
Speaker 1: she has her role has more range.

516
00:28:27,320 --> 00:28:29,800
Speaker 2: I agree, she's the only one of the three that

517
00:28:29,840 --> 00:28:33,200
Speaker 2: seems to have any hint of a soul or kindness

518
00:28:33,240 --> 00:28:35,119
Speaker 2: at all. And it's not much of a hint, but

519
00:28:35,280 --> 00:28:38,480
Speaker 2: there's a little spark in there somewhere. She is often

520
00:28:38,520 --> 00:28:42,240
Speaker 2: set against the third of the gang Billy. They're kind

521
00:28:42,240 --> 00:28:44,360
Speaker 2: of butting heads a lot of the movie.

522
00:28:44,920 --> 00:28:48,240
Speaker 1: Yeah, Billy is played by Laurie Williams born nineteen forty six.

523
00:28:48,360 --> 00:28:53,120
Speaker 1: He's our blonde, sassy, provocative, wise cracking, sensation junkie. This

524
00:28:53,280 --> 00:28:55,960
Speaker 1: is just always down for a swim or some just

525
00:28:56,040 --> 00:29:02,040
Speaker 1: extracurricular dancing, fighting a little race, saying well, you know whatever, whatever.

526
00:29:02,120 --> 00:29:06,440
Speaker 1: She's up for anything. She's also ridiculously laugh out loud,

527
00:29:06,480 --> 00:29:10,000
Speaker 1: seductive in a manner that reminds me of Gina Morony

528
00:29:10,480 --> 00:29:14,760
Speaker 1: from thirty Rock. Yes, so many moments where she's being

529
00:29:14,880 --> 00:29:16,640
Speaker 1: sexy and it's just hysterical.

530
00:29:16,920 --> 00:29:20,360
Speaker 2: She just like sees a man with muscles fifty feet

531
00:29:20,360 --> 00:29:21,280
Speaker 2: away and it's like.

532
00:29:21,240 --> 00:29:26,400
Speaker 1: Hey, hot stuff, Yeah, exactly now. Williams was not a

533
00:29:26,440 --> 00:29:29,720
Speaker 1: go go dancer, but was a beach party film actor

534
00:29:30,360 --> 00:29:33,600
Speaker 1: for the most part. Her other credits include mostly dancer roles,

535
00:29:33,920 --> 00:29:36,560
Speaker 1: but in some notable films, including nineteen sixty three's The

536
00:29:36,640 --> 00:29:41,040
Speaker 1: Prize starring Paul Newman, the Elvis movies Viva Las Vegas

537
00:29:41,040 --> 00:29:43,720
Speaker 1: and Kissing Cousins in sixty four, as well as the

538
00:29:43,720 --> 00:29:47,120
Speaker 1: Elvis movies Girl Happy and Tickle Me both in sixty five,

539
00:29:47,760 --> 00:29:52,080
Speaker 1: so multiple Elvis movies here. She was an Arman Flint

540
00:29:52,080 --> 00:29:54,840
Speaker 1: in sixty six. She has a passenger role as an

541
00:29:54,840 --> 00:29:57,800
Speaker 1: extra in nineteen seventy two, It's The Poseidon Adventure, and

542
00:29:57,880 --> 00:30:01,600
Speaker 1: an uncredited victim role in nineteen seventy four, ninety nine,

543
00:30:02,320 --> 00:30:04,520
Speaker 1: and forty four out of one hundred percent Dead, directed

544
00:30:04,520 --> 00:30:08,640
Speaker 1: by John Frankenheimer and starring Richard Harris Waters in Shock

545
00:30:08,760 --> 00:30:12,440
Speaker 1: Value says quote, Billy is the film of the group,

546
00:30:12,600 --> 00:30:15,320
Speaker 1: the main things on her mind being sex and alcohol.

547
00:30:15,880 --> 00:30:18,680
Speaker 1: In her white short shorts, halter top, and knee high

548
00:30:18,720 --> 00:30:21,920
Speaker 1: patent leather go go boots, Billy is forever breaking into

549
00:30:21,960 --> 00:30:25,120
Speaker 1: torrid go go steps whenever trouble arises.

550
00:30:25,520 --> 00:30:30,320
Speaker 2: Yes, she so they're professional go go dancers, but Billy

551
00:30:30,600 --> 00:30:33,120
Speaker 2: likes to go go dance when they're off the clock.

552
00:30:33,400 --> 00:30:38,360
Speaker 2: And her gang, her fellow gang members will say, you know, hey,

553
00:30:38,400 --> 00:30:41,600
Speaker 2: why are you doing that? You know that's we left

554
00:30:41,600 --> 00:30:43,560
Speaker 2: that behind at work, And She's like, I do what

555
00:30:43,640 --> 00:30:44,040
Speaker 2: I want.

556
00:30:44,600 --> 00:30:48,360
Speaker 1: Yeah, yeah, yeah, she does. In a way like she's

557
00:30:48,360 --> 00:30:51,800
Speaker 1: the perfect opposite but equal of Varla because they both

558
00:30:51,880 --> 00:30:55,080
Speaker 1: do whatever they want. They have their own compass, but

559
00:30:55,240 --> 00:30:57,920
Speaker 1: the things they want to do are drastically different.

560
00:31:06,760 --> 00:31:10,320
Speaker 2: Okay, so we've got our vicious murdering gang of Go

561
00:31:10,320 --> 00:31:12,800
Speaker 2: Go dance series. We got to have some innocent people

562
00:31:12,840 --> 00:31:16,280
Speaker 2: in here to be victimized by them, right.

563
00:31:16,800 --> 00:31:20,840
Speaker 1: That's right, And so the main victim being Linda, played

564
00:31:20,840 --> 00:31:24,000
Speaker 1: by Sue Bernard, who lived nineteen forty eight through twenty nineteen.

565
00:31:25,400 --> 00:31:29,080
Speaker 1: She plays likable American every girl and the Gang of

566
00:31:29,120 --> 00:31:32,880
Speaker 1: Three of course not impressed with her here. But Bernard

567
00:31:32,880 --> 00:31:35,040
Speaker 1: has the interesting history. She was the daughter of legendary

568
00:31:35,040 --> 00:31:39,720
Speaker 1: glamour and pin up photographer Bruno Bernard. She was an author, actress, model,

569
00:31:39,760 --> 00:31:43,040
Speaker 1: and businesswoman. She was a playboy model in nineteen sixty six.

570
00:31:43,400 --> 00:31:46,760
Speaker 1: This was her first film role, followed by a couple

571
00:31:46,800 --> 00:31:48,560
Speaker 1: of notable films. I Guess nineteen sixty nine, is the

572
00:31:48,560 --> 00:31:52,520
Speaker 1: witch Maker in nineteen seventy two's Neck Romancy. A noteworthy

573
00:31:52,640 --> 00:31:55,720
Speaker 1: family connection is that at one point she was married

574
00:31:55,720 --> 00:31:59,080
Speaker 1: to actor and playwright Jason Miller, who, of course is

575
00:31:59,080 --> 00:32:03,600
Speaker 1: famous for having play father Damien in The Exorcist. Ah Yes,

576
00:32:03,680 --> 00:32:10,080
Speaker 1: Father Chris Yeah, and their son is was actor Joshua

577
00:32:10,160 --> 00:32:13,560
Speaker 1: John Miller born nineteen seventy two. He has a number

578
00:32:13,560 --> 00:32:16,080
Speaker 1: of interesting credits, but his first film role as a

579
00:32:16,160 --> 00:32:20,360
Speaker 1: child actor was playing the hero's son Willie in Halloween

580
00:32:20,440 --> 00:32:21,960
Speaker 1: three season of the Witch.

581
00:32:22,720 --> 00:32:25,880
Speaker 2: Okay, wait, how many degrees of separation is that from

582
00:32:26,000 --> 00:32:30,240
Speaker 2: Halloween three to Faster pussy Cat. I guess it involves

583
00:32:30,240 --> 00:32:31,120
Speaker 2: a family connection.

584
00:32:31,280 --> 00:32:34,840
Speaker 1: Yeah, it's a family connection, so it's harder, but it's

585
00:32:35,120 --> 00:32:36,960
Speaker 1: close enough. It's in close orbit.

586
00:32:37,320 --> 00:32:40,640
Speaker 2: I'm just imagining a film that could have been like

587
00:32:41,280 --> 00:32:46,160
Speaker 2: the Go Go Murder Gang here versus Tom Atkins from

588
00:32:46,240 --> 00:32:50,040
Speaker 2: Halloween three. Doesn't he seem like the perfect victim of

589
00:32:50,120 --> 00:32:50,840
Speaker 2: their treachery.

590
00:32:51,280 --> 00:32:54,800
Speaker 1: Yeah, I could see him taking a beating from this bunch. Now,

591
00:32:54,840 --> 00:32:58,320
Speaker 1: speaking of taking a beating, the character Linda has a

592
00:32:58,320 --> 00:33:03,120
Speaker 1: boyfriend named Tommy, and Tommy is one of, if not

593
00:33:03,160 --> 00:33:06,120
Speaker 1: the only, likable male characters in the whole picture. Wiston caveats,

594
00:33:06,160 --> 00:33:08,160
Speaker 1: we'll come back to that. He's a kind of square

595
00:33:08,200 --> 00:33:10,120
Speaker 1: and nice guy who just wants to work on his car,

596
00:33:10,280 --> 00:33:13,160
Speaker 1: improve his race time, and spend a little quality time

597
00:33:13,160 --> 00:33:17,000
Speaker 1: with his girlfriend Linda. He doesn't know leer at any

598
00:33:17,040 --> 00:33:21,000
Speaker 1: of the women, or speak to them in a sexist manner.

599
00:33:21,440 --> 00:33:23,600
Speaker 1: And you might think this means, well, this might be

600
00:33:23,640 --> 00:33:26,040
Speaker 1: the hero of our picture, but he's certainly not.

601
00:33:26,440 --> 00:33:26,720
Speaker 5: No.

602
00:33:26,720 --> 00:33:29,360
Speaker 2: No, he's a nice guy, which means he's marked for death.

603
00:33:29,840 --> 00:33:30,560
Speaker 4: Mark for death.

604
00:33:31,080 --> 00:33:32,520
Speaker 1: We'll get to that death in a bit because it's

605
00:33:32,520 --> 00:33:36,560
Speaker 1: pretty spectacular. Played by Ray Barlow. I don't think any

606
00:33:36,640 --> 00:33:38,960
Speaker 1: dates are known for this actor. This was one of

607
00:33:38,960 --> 00:33:42,760
Speaker 1: only four credits for him, alongside nineteen sixty seven's a

608
00:33:42,880 --> 00:33:46,040
Speaker 1: Countess from Hong Kong and the nineteen seventy one TV

609
00:33:46,160 --> 00:33:49,000
Speaker 1: series The Goodies. Oh and also a single episode of

610
00:33:49,080 --> 00:33:52,600
Speaker 1: Highway to Heaven from the late eighties. All right, now,

611
00:33:52,600 --> 00:33:56,240
Speaker 1: we do have another sort of villainous trio to cancel

612
00:33:56,320 --> 00:33:59,920
Speaker 1: out our main villainous trio, but these are This is

613
00:34:00,160 --> 00:34:03,920
Speaker 1: a male villainous trio of a family they encounter in

614
00:34:03,960 --> 00:34:07,320
Speaker 1: the desert, the leader of which is the Old Man

615
00:34:07,480 --> 00:34:10,600
Speaker 1: played by Stuart Lancaster, who lived nineteen twenty through the

616
00:34:10,640 --> 00:34:13,560
Speaker 1: year two thousand. American actor with credits going back to

617
00:34:13,560 --> 00:34:16,320
Speaker 1: the early sixties. He appears in the original Outer Limits

618
00:34:16,360 --> 00:34:19,520
Speaker 1: episode Tourist Attraction, but he's mostly known for appearing in

619
00:34:20,000 --> 00:34:23,960
Speaker 1: Russ Meyer films and various other exploitation titles. However, you

620
00:34:23,960 --> 00:34:26,400
Speaker 1: can also find him in such films as nineteen seventy

621
00:34:26,440 --> 00:34:30,560
Speaker 1: three's God Monster of Indian Flats and Tim Burton cast

622
00:34:30,600 --> 00:34:33,480
Speaker 1: him in two films. He plays a retired man in

623
00:34:33,640 --> 00:34:37,880
Speaker 1: Edward Scissorhands and he plays the penguin's doctor and Batman returns.

624
00:34:38,040 --> 00:34:42,200
Speaker 1: What oh, not a role I remember, but you know

625
00:34:42,360 --> 00:34:45,480
Speaker 1: I can you can see the kind of thing Tim

626
00:34:45,520 --> 00:34:49,160
Speaker 1: Burton was going for and that weird Weird Batman sequel

627
00:34:49,200 --> 00:34:53,040
Speaker 1: Batman returns, Does we could do? Batman returns on Weird

628
00:34:53,040 --> 00:34:55,799
Speaker 1: House Cinema? I agree that does penguin go.

629
00:34:55,800 --> 00:34:56,560
Speaker 2: For a checkoup in?

630
00:34:56,640 --> 00:34:56,799
Speaker 5: There?

631
00:34:56,840 --> 00:34:57,839
Speaker 4: I really don't.

632
00:34:58,120 --> 00:35:00,359
Speaker 1: I don't remember when this would be, if this would

633
00:35:00,400 --> 00:35:03,279
Speaker 1: be like a flashback to when he's a baby, like

634
00:35:03,320 --> 00:35:06,480
Speaker 1: maybe that's the penguin's doctor, or maybe it's some time later,

635
00:35:06,920 --> 00:35:09,400
Speaker 1: because there's that whole yet intro to the character that

636
00:35:09,480 --> 00:35:12,319
Speaker 1: involves who isn't that who plays his father? Pee wee

637
00:35:12,320 --> 00:35:13,279
Speaker 1: Herman plays his father?

638
00:35:13,400 --> 00:35:17,640
Speaker 2: Yeah, oh, I'd forgotten that too. Well. So anyway, this character,

639
00:35:17,760 --> 00:35:19,920
Speaker 2: the old man, it's playing on the principle that we

640
00:35:19,960 --> 00:35:22,799
Speaker 2: talked about just recently with like a danger diabolic in

641
00:35:22,800 --> 00:35:26,239
Speaker 2: a movie where you have an anti hero, though I

642
00:35:26,280 --> 00:35:28,920
Speaker 2: don't know if you call Varla an anti hero, just

643
00:35:28,960 --> 00:35:33,200
Speaker 2: where you're like, main character is bad, it always helps

644
00:35:33,200 --> 00:35:35,520
Speaker 2: to up the ante by having to meet a character

645
00:35:35,560 --> 00:35:36,600
Speaker 2: who is much worse.

646
00:35:37,239 --> 00:35:38,720
Speaker 4: Yes, So Yeah, our.

647
00:35:38,640 --> 00:35:42,800
Speaker 2: Main characters character or characters are bad and they do murder.

648
00:35:43,040 --> 00:35:46,160
Speaker 2: But what if there's somebody who also wants to do

649
00:35:46,280 --> 00:35:47,800
Speaker 2: murder but is even grosser.

650
00:35:48,560 --> 00:35:51,600
Speaker 1: Yeah, and that's that's the old Man, as old discuss,

651
00:35:50,920 --> 00:35:54,960
Speaker 1: he's pretty villainous. He lives in the desert with two

652
00:35:55,000 --> 00:35:58,040
Speaker 1: of his sons, one of which I forget if he

653
00:35:58,040 --> 00:36:01,879
Speaker 1: even has a name aside from the vegetable he's. They

654
00:36:01,920 --> 00:36:04,759
Speaker 1: call him this because he's it doesn't say much, but

655
00:36:04,800 --> 00:36:07,400
Speaker 1: he's a big muscle guy. And then the other son,

656
00:36:07,640 --> 00:36:10,520
Speaker 1: the elder of the two sons, is Kirk, played by

657
00:36:10,560 --> 00:36:13,360
Speaker 1: Paul Trinka, who lived nineteen thirty two through nineteen seventy three.

658
00:36:13,400 --> 00:36:16,040
Speaker 1: Mostly a bit player on TV, this is his most

659
00:36:16,080 --> 00:36:18,600
Speaker 1: well known role. He also appeared on Hawaii and I

660
00:36:18,719 --> 00:36:22,480
Speaker 1: My Three Sons, Gomer Pyle USMC, Voyage to the Bottom

661
00:36:22,480 --> 00:36:24,880
Speaker 1: of the Sea, Land of the Giants, and an episode

662
00:36:24,880 --> 00:36:27,359
Speaker 1: of Night Gallery. Now we also hear a little bit

663
00:36:27,360 --> 00:36:30,320
Speaker 1: from the narrator. We'll touch on that in a second.

664
00:36:30,560 --> 00:36:33,359
Speaker 1: The narrator for this film is John Furlong, who lived

665
00:36:33,400 --> 00:36:36,360
Speaker 1: nineteen thirty three through two thousand and eight, American actor

666
00:36:36,800 --> 00:36:38,840
Speaker 1: who I believe got his start in russ Meyer films

667
00:36:38,880 --> 00:36:41,839
Speaker 1: and worked for him several times, you know, often being

668
00:36:42,400 --> 00:36:45,759
Speaker 1: dubbing the director's voice or being this narration voice. He

669
00:36:45,840 --> 00:36:48,200
Speaker 1: ultimately accumulated a lot of TV and film credits over

670
00:36:48,200 --> 00:36:50,799
Speaker 1: the course of his career, having appeared in the likes

671
00:36:50,800 --> 00:36:54,439
Speaker 1: of nineteen seventy four's Blazing Saddles, ninety four's Wyat, and

672
00:36:54,760 --> 00:36:58,560
Speaker 1: nineteen ninety eights Vampires, the John Carpenter film, along with

673
00:36:58,600 --> 00:37:01,359
Speaker 1: many others. And as for the music on this one,

674
00:37:01,560 --> 00:37:03,319
Speaker 1: I'm not going to go into a lot of depth here,

675
00:37:03,360 --> 00:37:06,520
Speaker 1: but Ego Kantor was a music director who lived nineteen

676
00:37:06,560 --> 00:37:10,920
Speaker 1: thirty through twenty nineteen. Interesting fella in a name that

677
00:37:11,000 --> 00:37:13,640
Speaker 1: weird cinema fans may have noticed in the credits before,

678
00:37:13,800 --> 00:37:17,279
Speaker 1: you know, sometimes kind of stands out. It worked a

679
00:37:17,280 --> 00:37:20,439
Speaker 1: lot in doing the music for various films, but also

680
00:37:20,640 --> 00:37:24,120
Speaker 1: was a producer as far back as nineteen seventy one

681
00:37:24,160 --> 00:37:26,920
Speaker 1: and such films as Kingdom of the Spiders, nineteen seventy

682
00:37:27,000 --> 00:37:29,440
Speaker 1: nine Is the Dark and nineteen eighty four as Mutant

683
00:37:29,680 --> 00:37:32,279
Speaker 1: starring Wingshauser and Bo Hopkins.

684
00:37:32,600 --> 00:37:35,360
Speaker 2: We could come back and do Kingdom of the Spiders

685
00:37:35,400 --> 00:37:39,680
Speaker 2: as well, because that is a killer Tarantula movie starring

686
00:37:40,480 --> 00:37:41,160
Speaker 2: Captain Kirk.

687
00:37:43,200 --> 00:37:46,319
Speaker 1: Yeah, it's also a reference to a warren Zevon warren

688
00:37:46,400 --> 00:37:51,560
Speaker 1: Zevon song. Rather so, I always like a nice musical

689
00:37:51,600 --> 00:37:54,680
Speaker 1: nod to be cinema. All right, shall we get into

690
00:37:54,719 --> 00:37:55,240
Speaker 1: the plot?

691
00:37:55,640 --> 00:37:57,839
Speaker 2: Yes? Now, I think this is another movie where we're

692
00:37:57,880 --> 00:38:01,360
Speaker 2: not going to recount every scene order. I think instead,

693
00:38:01,400 --> 00:38:04,200
Speaker 2: maybe we'll talk about the intro in some detail, maybe

694
00:38:04,200 --> 00:38:06,440
Speaker 2: the you know, the first chunk of the movie, and

695
00:38:06,480 --> 00:38:09,480
Speaker 2: then do a basic recap on everything else and then

696
00:38:09,560 --> 00:38:13,759
Speaker 2: focus on some things that stand out. But first thing,

697
00:38:14,000 --> 00:38:17,719
Speaker 2: this movie begins with a narration and has one of

698
00:38:17,760 --> 00:38:22,319
Speaker 2: the all time great opening lines I've heard in any film.

699
00:38:22,640 --> 00:38:26,439
Speaker 1: Yes we hear that, that rich velvety narrator's voice say,

700
00:38:26,760 --> 00:38:30,080
Speaker 1: ladies and gentlemen, welcome to violence.

701
00:38:30,880 --> 00:38:35,200
Speaker 2: To violence. It goes on to say the word and

702
00:38:35,280 --> 00:38:40,320
Speaker 2: the act. While violence cloaks itself in a plethora of disguises,

703
00:38:40,800 --> 00:38:48,880
Speaker 2: its favorite mantles still remains sex. Huh. Okay, So the

704
00:38:48,920 --> 00:38:51,200
Speaker 2: opening narration here, it goes on for a while, and

705
00:38:51,400 --> 00:38:53,839
Speaker 2: there's while this guy's talking is just sort of a

706
00:38:53,840 --> 00:38:57,480
Speaker 2: black screen with these lines that are undulating as if

707
00:38:57,520 --> 00:39:01,360
Speaker 2: showing like a like an audiogram or something. They're vibrating

708
00:39:01,400 --> 00:39:04,560
Speaker 2: with the sound of the narrator's voice, and the narrator

709
00:39:04,640 --> 00:39:08,560
Speaker 2: goes on to explain in a rather wordy and roundabout

710
00:39:08,719 --> 00:39:13,280
Speaker 2: manner that America's most trusted brand, violence is still in business,

711
00:39:13,360 --> 00:39:15,040
Speaker 2: but it is under new management.

712
00:39:15,480 --> 00:39:15,800
Speaker 4: Women.

713
00:39:16,800 --> 00:39:20,200
Speaker 2: The narrator says, you know, you guys out there, you

714
00:39:20,280 --> 00:39:23,200
Speaker 2: might think women are beautiful, you might think women are nice,

715
00:39:23,239 --> 00:39:25,480
Speaker 2: but also they will cut your head off with a

716
00:39:25,600 --> 00:39:29,600
Speaker 2: power saw. The women of today they murder all the time.

717
00:39:30,320 --> 00:39:30,880
Speaker 4: That's right.

718
00:39:31,080 --> 00:39:34,200
Speaker 1: Women are more dangerous than they've ever been in human history.

719
00:39:34,239 --> 00:39:36,080
Speaker 1: This is a new breed of violence out.

720
00:39:35,960 --> 00:39:37,279
Speaker 4: There, alrighty.

721
00:39:37,840 --> 00:39:41,080
Speaker 2: And so the narration ends with him saying who are they?

722
00:39:41,320 --> 00:39:46,000
Speaker 2: One might be your secretary, your doctor's receptionist, or a

723
00:39:46,160 --> 00:39:49,520
Speaker 2: dancer in a go go club. Smash cut to a

724
00:39:49,560 --> 00:39:50,280
Speaker 2: go go club.

725
00:39:50,680 --> 00:39:52,359
Speaker 1: Yeah, and this is where we get our first look

726
00:39:52,360 --> 00:39:57,200
Speaker 1: at our trio of evil go go dancers here, all

727
00:39:57,320 --> 00:40:00,080
Speaker 1: black and white sequins and tassels. Yeah, we had and

728
00:40:00,120 --> 00:40:01,920
Speaker 1: mentioned it already. This is a black and white film.

729
00:40:02,320 --> 00:40:05,439
Speaker 1: It looks pretty gorgeous, and we have the theme song

730
00:40:05,480 --> 00:40:08,480
Speaker 1: playing in the background, but also we have do we

731
00:40:08,600 --> 00:40:12,400
Speaker 1: keep cutting to these brutish men who were chanting at them.

732
00:40:12,440 --> 00:40:16,799
Speaker 1: They're chanting go go, And I was wondering, like, I

733
00:40:16,880 --> 00:40:19,360
Speaker 1: didn't even look this up though. Is this the origin

734
00:40:19,400 --> 00:40:21,600
Speaker 1: of the term go go dancer? It's just you're supposed

735
00:40:21,600 --> 00:40:24,680
Speaker 1: to yell go and shout go at them.

736
00:40:24,880 --> 00:40:26,320
Speaker 4: I have no idea.

737
00:40:26,360 --> 00:40:31,759
Speaker 2: But also this scene is so funny because of the

738
00:40:31,880 --> 00:40:37,799
Speaker 2: lack of like humor or enjoyment evident in the men

739
00:40:37,840 --> 00:40:39,840
Speaker 2: who are shouting at the go go dancer. Is just

740
00:40:39,920 --> 00:40:44,040
Speaker 2: I have to applaud the deadly seriousness with which the

741
00:40:44,160 --> 00:40:48,879
Speaker 2: dudes are shouting go, let's go, come on go. They

742
00:40:48,880 --> 00:40:52,160
Speaker 2: sound like like Hollywood cowboys yelling at their horses. And

743
00:40:52,160 --> 00:40:53,839
Speaker 2: they're puffing on cigars by the way.

744
00:40:54,400 --> 00:40:57,239
Speaker 1: Yeah, I mean, watching this, especially from a modern perspective,

745
00:40:57,480 --> 00:40:59,640
Speaker 1: you can't help but assume that the message here is

746
00:40:59,640 --> 00:41:02,640
Speaker 1: that are gross and terrible, and that you're supposed to

747
00:41:02,680 --> 00:41:05,080
Speaker 1: take that with you into the film proper. And I

748
00:41:05,120 --> 00:41:08,959
Speaker 1: don't think the film really presents us with any any

749
00:41:09,000 --> 00:41:13,359
Speaker 1: information to counter that thesis. But I just don't know,

750
00:41:13,520 --> 00:41:15,520
Speaker 1: like what what was really intended by this?

751
00:41:15,800 --> 00:41:17,920
Speaker 2: Oh do you mean, like maybe there's there's an unspoken

752
00:41:18,000 --> 00:41:23,080
Speaker 2: understanding that because in their day job. These women are

753
00:41:23,120 --> 00:41:26,200
Speaker 2: like dancing for these horrible creeps all the time, and

754
00:41:26,239 --> 00:41:29,440
Speaker 2: so they take that with them to the other scenarios

755
00:41:29,480 --> 00:41:31,399
Speaker 2: in their life. So like when they murder a man

756
00:41:31,480 --> 00:41:33,640
Speaker 2: in the desert, that they're sort of like seeing in

757
00:41:33,760 --> 00:41:36,320
Speaker 2: that man all of the like the go go guys.

758
00:41:37,320 --> 00:41:39,920
Speaker 1: I mean, I don't know. I think one looks for

759
00:41:40,040 --> 00:41:43,520
Speaker 1: nuance in this film at their peril. You know, Varla

760
00:41:43,520 --> 00:41:45,759
Speaker 1: would not stand for that. You know, if I were

761
00:41:45,760 --> 00:41:50,360
Speaker 1: to broach that hypothesis, she would she would shot.

762
00:41:50,160 --> 00:41:52,160
Speaker 4: Me in the neck, so she would just kill you.

763
00:41:52,280 --> 00:41:52,440
Speaker 5: Yeah.

764
00:41:52,680 --> 00:41:57,680
Speaker 2: Yeah, it is interesting, Like why do they seem so mad?

765
00:41:58,239 --> 00:42:00,799
Speaker 1: Yeah, I mean, well they are also they're criminals. They're

766
00:42:00,840 --> 00:42:04,719
Speaker 1: out for that. They want the quick score. Oh you're

767
00:42:04,719 --> 00:42:05,680
Speaker 1: talking about the audience.

768
00:42:05,840 --> 00:42:08,840
Speaker 2: I mean the guys they're yellow. Why do they sound angry?

769
00:42:09,719 --> 00:42:12,399
Speaker 1: Yeah, I don't know, unless again, we're supposed to take

770
00:42:12,440 --> 00:42:14,960
Speaker 1: something home about this that that that men in general

771
00:42:15,040 --> 00:42:18,959
Speaker 1: are awful. So I don't know, worth something we're thinking about.

772
00:42:19,000 --> 00:42:21,359
Speaker 1: But then again, this is a film that I don't

773
00:42:21,400 --> 00:42:24,880
Speaker 1: think necessarily well, you know, it goes two ways. I

774
00:42:24,880 --> 00:42:27,280
Speaker 1: think it's a film that is also about like surface

775
00:42:27,360 --> 00:42:29,960
Speaker 1: level interpretation. But this is a film that a lot

776
00:42:30,000 --> 00:42:33,520
Speaker 1: has been written about there. I glanced at a number

777
00:42:33,640 --> 00:42:38,759
Speaker 1: of serious film critic papers out there, and that in

778
00:42:38,800 --> 00:42:41,840
Speaker 1: film papers that we're looking at at this film and

779
00:42:41,880 --> 00:42:47,080
Speaker 1: talking about like gender dynamics and various forms of representation

780
00:42:47,800 --> 00:42:49,400
Speaker 1: that are going on in the film. So there is

781
00:42:49,440 --> 00:42:51,719
Speaker 1: a lot to chew on. You can certainly have it

782
00:42:51,760 --> 00:42:52,280
Speaker 1: both ways.

783
00:42:52,760 --> 00:42:55,319
Speaker 2: Well, yeah, there's a very interesting duality and that in

784
00:42:55,360 --> 00:42:59,120
Speaker 2: one sense, this movie is straightforwardly very sexist, but on

785
00:42:59,160 --> 00:43:03,239
Speaker 2: the other hand, it is presenting a more kind of

786
00:43:03,320 --> 00:43:07,279
Speaker 2: empowered and larger than life vision of female characters than

787
00:43:07,320 --> 00:43:10,080
Speaker 2: you would get in pretty much anywhere else in movies

788
00:43:10,120 --> 00:43:10,680
Speaker 2: of this time.

789
00:43:11,320 --> 00:43:15,560
Speaker 1: Yeah, and I think a lot of the interesting commentary

790
00:43:15,600 --> 00:43:18,440
Speaker 1: comes from like trying to to piece it apart and

791
00:43:18,480 --> 00:43:20,279
Speaker 1: figure out, well, how much of this was intentional, how

792
00:43:20,360 --> 00:43:22,439
Speaker 1: much of it is you know, sort of happy accident, etc.

793
00:43:22,719 --> 00:43:25,120
Speaker 1: I mean, that's often the case with films that really

794
00:43:25,160 --> 00:43:29,160
Speaker 1: stand out, you know, that really stand out to the

795
00:43:29,239 --> 00:43:30,200
Speaker 1: future interpretation.

796
00:43:30,680 --> 00:43:33,520
Speaker 2: But okay, there's another great smash cut here, because so

797
00:43:33,640 --> 00:43:36,920
Speaker 2: like the Goga, the ladies are dancing, the guys are screaming,

798
00:43:36,960 --> 00:43:40,680
Speaker 2: go and then it just like suddenly we're somewhere else.

799
00:43:41,680 --> 00:43:46,120
Speaker 1: Suddenly we're in the desert. Here's our lead character, Varla,

800
00:43:46,680 --> 00:43:50,320
Speaker 1: laughing maniacally as she races her sports car through the desert,

801
00:43:50,360 --> 00:43:52,720
Speaker 1: and then we quickly see that there the two other dancers,

802
00:43:52,800 --> 00:43:55,040
Speaker 1: Rosy and Billy, are racing behind her in their own

803
00:43:55,080 --> 00:43:56,920
Speaker 1: sports cars, laughing as well.

804
00:43:57,280 --> 00:43:59,840
Speaker 2: It's like they're already fleeing the scene of a crime

805
00:44:00,000 --> 00:44:02,319
Speaker 2: when we first meet them here, and who knows, maybe

806
00:44:02,320 --> 00:44:04,640
Speaker 2: they are. We don't They never mentioned that.

807
00:44:05,200 --> 00:44:07,000
Speaker 1: Right, right, I mean it would make sense, Yeah, they're

808
00:44:07,040 --> 00:44:10,600
Speaker 1: going because there is a there's a desperation to a

809
00:44:10,640 --> 00:44:12,680
Speaker 1: lot of what they do, and there's a you know,

810
00:44:12,719 --> 00:44:14,800
Speaker 1: they clearly don't care about the future.

811
00:44:15,080 --> 00:44:17,160
Speaker 2: Well, I see what you're saying about the desperation, though,

812
00:44:17,160 --> 00:44:19,919
Speaker 2: I don't want to convey the wrong feeling in the scene,

813
00:44:19,960 --> 00:44:22,359
Speaker 2: because instead they feel it's like they're having fun.

814
00:44:22,520 --> 00:44:24,240
Speaker 1: They are, Yeah, they are completely free.

815
00:44:24,320 --> 00:44:28,000
Speaker 2: Yeah, yeah, yeah. Another thing I will say is that

816
00:44:29,040 --> 00:44:32,680
Speaker 2: the soundtrack really adds a lot of pep to this movie.

817
00:44:32,719 --> 00:44:36,840
Speaker 2: It's like good hot music selections, and they change so fast.

818
00:44:36,920 --> 00:44:38,719
Speaker 2: I think I noted by the time we're like four

819
00:44:38,800 --> 00:44:42,680
Speaker 2: minutes into the movie, we've already heard like five different songs.

820
00:44:43,000 --> 00:44:46,080
Speaker 1: Yeah, yeah, yeah, a lot of saxophone too, a lot

821
00:44:46,080 --> 00:44:49,240
Speaker 1: of jazz saxophone. And yeah, so they're racing through the desert,

822
00:44:49,280 --> 00:44:53,200
Speaker 1: but you know, Billy has needs. Billy needs a swim break.

823
00:44:53,480 --> 00:44:56,480
Speaker 1: So everybody stops so that Billy can have a swim.

824
00:44:56,840 --> 00:44:59,760
Speaker 2: This scene, so, yeah, Billy's like, I want to swim.

825
00:44:59,800 --> 00:45:01,680
Speaker 2: I'm going to swim even if it's you know, this

826
00:45:01,800 --> 00:45:04,000
Speaker 2: is a muddy drainage canal, I'm going to swim in that.

827
00:45:04,520 --> 00:45:07,520
Speaker 2: And then I think Varla sends Rosie to go make

828
00:45:07,560 --> 00:45:09,799
Speaker 2: her stop. She's like, get her out of there, and

829
00:45:09,840 --> 00:45:12,920
Speaker 2: so Rosie goes to do it, and this leads to

830
00:45:12,960 --> 00:45:15,239
Speaker 2: a fight scene where they're just like beating each other

831
00:45:15,360 --> 00:45:16,040
Speaker 2: up on the beach.

832
00:45:16,640 --> 00:45:17,840
Speaker 4: Billy and Rosie are.

833
00:45:18,040 --> 00:45:21,480
Speaker 2: And I think this establishes the dynamic between the characters

834
00:45:21,480 --> 00:45:23,759
Speaker 2: that will continue for the rest of the film. First

835
00:45:23,800 --> 00:45:28,160
Speaker 2: of all, Varla is the boss, mean, tough, dominant, violent.

836
00:45:28,360 --> 00:45:32,239
Speaker 2: She gives orders. If you cross her, you know, well

837
00:45:32,520 --> 00:45:34,080
Speaker 2: you don't want to cross her, you don't want to

838
00:45:34,120 --> 00:45:38,160
Speaker 2: find out. Meanwhile, Billy is the free spirit. She does

839
00:45:38,280 --> 00:45:41,560
Speaker 2: whatever she wants whenever she feels like it. To hell

840
00:45:41,600 --> 00:45:43,719
Speaker 2: with anybody who's trying to tell her it is not

841
00:45:43,960 --> 00:45:48,080
Speaker 2: time to go swimming in the muddy canal. Meanwhile, Rosie,

842
00:45:49,040 --> 00:45:50,560
Speaker 2: you know, we were sort of talking about this earlier.

843
00:45:50,600 --> 00:45:53,720
Speaker 2: Like Rosie is the most complicated of the three. She's

844
00:45:53,760 --> 00:45:58,080
Speaker 2: more resentful and reserved and sometimes seems kind of unsure

845
00:46:00,400 --> 00:46:03,360
Speaker 2: but somehow okay. So they end up Rosie and Billy

846
00:46:03,400 --> 00:46:06,280
Speaker 2: end up fighting. I guess about the fact that Billy

847
00:46:06,400 --> 00:46:11,040
Speaker 2: was swimming, and then they start they all start arguing,

848
00:46:11,080 --> 00:46:14,680
Speaker 2: and Setana eventually says, you want to prove something, Chicky,

849
00:46:15,040 --> 00:46:18,959
Speaker 2: Let's see who the real chicken is. Another smash cut

850
00:46:19,000 --> 00:46:21,520
Speaker 2: to they're playing a game of chicken in their cars

851
00:46:21,560 --> 00:46:22,640
Speaker 2: on the salt flats.

852
00:46:24,880 --> 00:46:28,800
Speaker 1: That's right, let's settle this honorably with with with with

853
00:46:29,200 --> 00:46:30,960
Speaker 1: the dangerous vehicular action.

854
00:46:31,480 --> 00:46:35,400
Speaker 2: If you're not familiar with vehicular chicken. Yeah, it's where

855
00:46:35,640 --> 00:46:38,200
Speaker 2: these cars, like they drive head on toward each other.

856
00:46:38,239 --> 00:46:40,360
Speaker 2: And I guess the first person to swar of loses.

857
00:46:40,960 --> 00:46:44,960
Speaker 4: Yeah, but don't try this. Yeah, who wins? Varla of course?

858
00:46:45,280 --> 00:46:48,400
Speaker 1: Oh yeah, because yes, she is the meanest and the

859
00:46:48,440 --> 00:46:50,800
Speaker 1: toughest and she will not stop.

860
00:46:51,440 --> 00:46:53,480
Speaker 2: But after their game of chicken, I guess they're just

861
00:46:53,520 --> 00:46:55,600
Speaker 2: hanging out in the middle of the salt flats and

862
00:46:56,360 --> 00:46:59,160
Speaker 2: what do you know, Uh, oh, here here comes some people,

863
00:46:59,200 --> 00:47:01,000
Speaker 2: and things are not gonna go well for them.

864
00:47:01,560 --> 00:47:04,680
Speaker 1: Yeah, here come Tommy and Linda, a couple of well

865
00:47:04,719 --> 00:47:08,320
Speaker 1: meaning squares who are just so pleasant, just so pleasant.

866
00:47:08,320 --> 00:47:11,400
Speaker 1: They're like, oh, strangers in the desert. This is great,

867
00:47:11,880 --> 00:47:14,480
Speaker 1: more people to hang out with. Little do they know

868
00:47:14,600 --> 00:47:17,279
Speaker 1: that this band of go go witches is gonna They're

869
00:47:17,320 --> 00:47:18,879
Speaker 1: going to be their their death and doom.

870
00:47:19,239 --> 00:47:22,759
Speaker 2: It's a couple of teenagers who are just like meatloaf,

871
00:47:22,920 --> 00:47:24,800
Speaker 2: mashed potatoes, and canned peas.

872
00:47:25,000 --> 00:47:25,200
Speaker 5: You know.

873
00:47:26,000 --> 00:47:31,560
Speaker 2: They love cars, soft drinks, good clean fun. And Tommy

874
00:47:31,640 --> 00:47:34,359
Speaker 2: is here to do some timed trials because he loves,

875
00:47:34,400 --> 00:47:36,799
Speaker 2: you know, tuning up his car, which to me did

876
00:47:36,840 --> 00:47:39,200
Speaker 2: not look like a hot rod. I was like, really, Tommy,

877
00:47:39,239 --> 00:47:41,359
Speaker 2: he's the car guy and that's his car. But I

878
00:47:41,400 --> 00:47:43,200
Speaker 2: just don't know my sixties cars.

879
00:47:43,239 --> 00:47:47,640
Speaker 1: I guess yeah, yeah, the sixties car expert can shine

880
00:47:47,640 --> 00:47:49,000
Speaker 1: in here and tell us what we're looking at.

881
00:47:49,440 --> 00:47:52,680
Speaker 2: But so they're here to do timed trials, which Varla

882
00:47:52,880 --> 00:47:55,080
Speaker 2: makes fun of, by the way, time trials. You know,

883
00:47:55,560 --> 00:47:59,520
Speaker 2: I only race against the living. But I think Linda's

884
00:47:59,680 --> 00:48:03,040
Speaker 2: idea is she's gonna sit there and like enjoy some

885
00:48:03,120 --> 00:48:05,879
Speaker 2: soft drinks and do the stop watch for Tommy while

886
00:48:05,880 --> 00:48:06,720
Speaker 2: he drives around.

887
00:48:07,280 --> 00:48:07,799
Speaker 4: That does it?

888
00:48:07,800 --> 00:48:12,280
Speaker 2: It sounds like a great time. And at some point

889
00:48:12,440 --> 00:48:16,600
Speaker 2: Linda offers the the the The Go Go Murderers soft drinks.

890
00:48:16,680 --> 00:48:18,440
Speaker 2: She's like, would you like a soft drink from her

891
00:48:18,520 --> 00:48:19,120
Speaker 2: cooler here?

892
00:48:19,800 --> 00:48:22,320
Speaker 1: Yeah, And Rosie says, honey, we don't like nothing soft.

893
00:48:22,440 --> 00:48:24,719
Speaker 1: Everything we touch is hard. So let's get some more

894
00:48:24,719 --> 00:48:27,200
Speaker 1: of that great russ Meyer dialogue here.

895
00:48:27,680 --> 00:48:30,560
Speaker 2: But we should add like nearly every exchange in the

896
00:48:30,600 --> 00:48:35,120
Speaker 2: movie is like that. It's just like nobody says anything normal.

897
00:48:35,239 --> 00:48:38,680
Speaker 2: They're they're always like spitting one liners at each other.

898
00:48:39,360 --> 00:48:42,320
Speaker 1: Yeah, And basically this whole interaction with Tommy and Linda

899
00:48:43,120 --> 00:48:45,640
Speaker 1: is they're just picking a fight within the whole time,

900
00:48:45,760 --> 00:48:50,080
Speaker 1: they're trying to tempt them into some sort of a confrontation.

901
00:48:51,800 --> 00:48:52,040
Speaker 4: You know.

902
00:48:52,160 --> 00:48:54,520
Speaker 1: It's a I thought that it ultimately has kind of

903
00:48:55,160 --> 00:48:58,480
Speaker 1: Varla especially has kind of like an Old Testament Satanic

904
00:48:59,160 --> 00:49:02,160
Speaker 1: aspect to her character, because in Tommy we see a

905
00:49:02,200 --> 00:49:04,880
Speaker 1: good man. You know, he's not leering, he's not saying

906
00:49:04,880 --> 00:49:08,600
Speaker 1: inappropriate things like the gas station attendant from from earlier.

907
00:49:09,360 --> 00:49:10,000
Speaker 2: That's later the.

908
00:49:11,760 --> 00:49:14,279
Speaker 1: Okay, yeah, that's right, because Lindas are even kidnapped by

909
00:49:14,280 --> 00:49:16,360
Speaker 1: that point. But you know, most of them, the males

910
00:49:16,360 --> 00:49:18,040
Speaker 1: in the film are like that. You know, they're saying

911
00:49:18,160 --> 00:49:21,359
Speaker 1: some some stuff here, or they're they're leering at our

912
00:49:22,080 --> 00:49:25,319
Speaker 1: at our trio. But you know, Tommy seems good. You know,

913
00:49:25,400 --> 00:49:29,920
Speaker 1: he couldn't possibly be provoked to violence. Uh, but you know,

914
00:49:30,000 --> 00:49:33,160
Speaker 1: our Satanic character might say, well, you know, he's been

915
00:49:33,200 --> 00:49:36,359
Speaker 1: protected from those temptations, but what if someone were to

916
00:49:37,000 --> 00:49:39,880
Speaker 1: criticize his racing. What if someone were to beat him

917
00:49:39,920 --> 00:49:45,279
Speaker 1: in a desert race and also take his girlfriend? Stop watch, So.

918
00:49:45,200 --> 00:49:48,160
Speaker 2: You're you're talking about like the Satan from the Book

919
00:49:48,200 --> 00:49:52,080
Speaker 2: of Job Satan as the prosecutor of the Court of Heaven.

920
00:49:52,880 --> 00:49:55,719
Speaker 1: Yeah, so I think Varla has that kind of energy here.

921
00:49:56,080 --> 00:49:58,480
Speaker 1: So yeah, so just constantly picking a fight. There's a

922
00:49:58,520 --> 00:50:01,600
Speaker 1: great bit where he's he's starting to a little annoyed

923
00:50:01,640 --> 00:50:03,160
Speaker 1: bow this. He's like, are you are you trying to

924
00:50:03,200 --> 00:50:05,400
Speaker 1: say something? And she's like, I never try anything, I

925
00:50:05,600 --> 00:50:09,680
Speaker 1: just do it, which awesome Varla line just sums it.

926
00:50:09,680 --> 00:50:16,200
Speaker 2: Up prefigures Yoda as well. Mm hmm, Yoda Varla see that? Yeah, yeah,

927
00:50:16,800 --> 00:50:20,040
Speaker 2: she Also, at some point she's trying to get him

928
00:50:20,080 --> 00:50:23,839
Speaker 2: to do a dangerous drag race with her, and and

929
00:50:24,040 --> 00:50:26,880
Speaker 2: he's at first refusing, and she at one point says,

930
00:50:26,920 --> 00:50:31,200
Speaker 2: you're the all American boy, a safety first, Clyde.

931
00:50:32,480 --> 00:50:32,920
Speaker 1: Yeah.

932
00:50:33,239 --> 00:50:37,080
Speaker 2: So eventually the Go Go Murder gang tricks, they like

933
00:50:37,160 --> 00:50:41,280
Speaker 2: goed Tommy into racing, and so they're you know, driving

934
00:50:41,320 --> 00:50:43,720
Speaker 2: around the track, and then it looks maybe like Tommy's

935
00:50:43,760 --> 00:50:46,399
Speaker 2: gonna win the race, but then Varla pulls some kind

936
00:50:46,400 --> 00:50:48,759
Speaker 2: of I didn't understand exactly what happened, but she pulls

937
00:50:48,760 --> 00:50:51,200
Speaker 2: some kind of dangerous stunt to like run him off

938
00:50:51,239 --> 00:50:51,720
Speaker 2: the course.

939
00:50:52,640 --> 00:50:53,319
Speaker 4: Yeah.

940
00:50:53,560 --> 00:50:57,799
Speaker 1: Yeah. And so from here things escalate pretty quickly, and

941
00:50:58,280 --> 00:51:02,839
Speaker 1: Varla finally provokes nice guy Tommy into a fight, into

942
00:51:02,880 --> 00:51:06,799
Speaker 1: an actual physical altercation, and it is amazing because she

943
00:51:06,920 --> 00:51:10,080
Speaker 1: proceeds to just karate chop the crap out of him.

944
00:51:10,920 --> 00:51:14,719
Speaker 1: And I've said before, I love karate chops in these

945
00:51:14,719 --> 00:51:17,600
Speaker 1: old timey fights. I don't think we see enough karate

946
00:51:17,680 --> 00:51:20,359
Speaker 1: chops anymore. Today. It's all like Mma moves, and I'm

947
00:51:20,360 --> 00:51:26,839
Speaker 1: so bored with characters throwing out either a wrestling suplex

948
00:51:27,000 --> 00:51:30,160
Speaker 1: or certainly some sort of an arm bar scenario. I

949
00:51:30,200 --> 00:51:32,600
Speaker 1: want Karate Chops to come back in a big way

950
00:51:33,000 --> 00:51:37,520
Speaker 1: and all man, Varla throws out some wonderful ones. Finally

951
00:51:37,680 --> 00:51:40,799
Speaker 1: Tommy starts punching back, and she takes him down with

952
00:51:40,880 --> 00:51:44,279
Speaker 1: this cool arm based takedown thing and then proceeds to

953
00:51:44,360 --> 00:51:49,080
Speaker 1: apply a standing surfboard lock. So's he's laying on his belly.

954
00:51:49,120 --> 00:51:52,000
Speaker 1: She grabs both arms, puts her boot to the back

955
00:51:52,040 --> 00:51:54,560
Speaker 1: of his neck, and snaps his neck with her boot.

956
00:51:54,680 --> 00:51:58,600
Speaker 1: Just a complete, solid kill. This whole scene John Waters

957
00:51:58,640 --> 00:52:00,520
Speaker 1: described as just mine boggling.

958
00:52:00,840 --> 00:52:03,840
Speaker 2: It is shocking, and you know, if you didn't understand

959
00:52:03,920 --> 00:52:06,040
Speaker 2: up until this point, you're like, oh, okay, this is

960
00:52:06,080 --> 00:52:07,799
Speaker 2: why this movie is so infamous.

961
00:52:08,200 --> 00:52:10,239
Speaker 1: Yeah, because you just killed him in cold blood. Like

962
00:52:10,280 --> 00:52:13,359
Speaker 1: it escalates from just and she just met him. They

963
00:52:13,560 --> 00:52:16,440
Speaker 1: just met these people and they've already provoked him to

964
00:52:16,520 --> 00:52:18,480
Speaker 1: violence and then killed him.

965
00:52:19,160 --> 00:52:22,799
Speaker 2: She does multiple times claim to be giving him a

966
00:52:22,880 --> 00:52:26,080
Speaker 2: chance to walk away, but it's like he didn't start it.

967
00:52:26,160 --> 00:52:28,160
Speaker 2: It's just like you can walk away if you just

968
00:52:28,320 --> 00:52:32,000
Speaker 2: allow me to like humiliate and insult your girlfriend some more.

969
00:52:33,120 --> 00:52:37,759
Speaker 2: Because they steal Linda's stop watch and they won't give

970
00:52:37,800 --> 00:52:41,000
Speaker 2: it back to her, and Linda's like help me, Tommy,

971
00:52:41,120 --> 00:52:45,120
Speaker 2: and Tommy's like, oh, come on, be nice, and no

972
00:52:45,280 --> 00:52:46,600
Speaker 2: they're they're not going to be nice.

973
00:52:47,120 --> 00:52:49,640
Speaker 1: Yeah, so they kill They kill Tommy in cold blood,

974
00:52:49,680 --> 00:52:51,239
Speaker 1: and there's nothing left to do at that point but

975
00:52:51,360 --> 00:52:52,360
Speaker 1: to kidnap Linda.

976
00:52:52,680 --> 00:52:53,360
Speaker 4: More crimes.

977
00:52:53,840 --> 00:52:56,359
Speaker 2: Right, Tommy's dead, And in a way, I think this

978
00:52:56,400 --> 00:52:58,200
Speaker 2: is no big deal for them because killing men in

979
00:52:58,239 --> 00:53:00,719
Speaker 2: the desert, this is just a regular part of a

980
00:53:00,800 --> 00:53:01,520
Speaker 2: day off.

981
00:53:01,360 --> 00:53:02,480
Speaker 4: For Varla in company.

982
00:53:02,800 --> 00:53:05,640
Speaker 2: Yeah, but yeah, Linda is a witness. So what are

983
00:53:05,640 --> 00:53:08,040
Speaker 2: they going to do with this goody two shoes teenager

984
00:53:08,320 --> 00:53:11,719
Speaker 2: who knows their fondness for Go Go assassination. They've got

985
00:53:11,719 --> 00:53:14,239
Speaker 2: to kidnap her, take her with them to somewhere. I

986
00:53:14,239 --> 00:53:16,839
Speaker 2: think they're planning to kill her also later. I don't

987
00:53:16,840 --> 00:53:18,240
Speaker 2: know why they don't just do it there.

988
00:53:18,840 --> 00:53:22,440
Speaker 1: Yeah, it's they kind of skip over that, but at

989
00:53:22,360 --> 00:53:25,960
Speaker 1: any rate, Yeah, they throw her in the car, they

990
00:53:26,000 --> 00:53:27,440
Speaker 1: get some pills in her. They have a lot of

991
00:53:27,440 --> 00:53:29,799
Speaker 1: pills on hand for this sort of thing, and then

992
00:53:29,840 --> 00:53:32,920
Speaker 1: it's off to wherever. I guess they got to get gas.

993
00:53:32,600 --> 00:53:35,560
Speaker 2: First, right, So next they go to the gas station,

994
00:53:36,160 --> 00:53:39,200
Speaker 2: and you mentioned the interaction with the gas station attendant.

995
00:53:39,239 --> 00:53:42,160
Speaker 2: This is where like, you know, the guy's like cleaning

996
00:53:42,160 --> 00:53:45,560
Speaker 2: the window and he is. He is ogling Varla and

997
00:53:46,040 --> 00:53:49,360
Speaker 2: at some point he says like, Wow, I'd really like

998
00:53:49,440 --> 00:53:52,120
Speaker 2: to see America one day, and she goes, you won't

999
00:53:52,120 --> 00:53:54,480
Speaker 2: see it down there, Columbus.

1000
00:53:55,600 --> 00:53:58,279
Speaker 1: Another great line. Yeah, all of our those lines are

1001
00:53:58,320 --> 00:54:00,919
Speaker 1: just gold and all three of them, I think, say

1002
00:54:01,040 --> 00:54:04,359
Speaker 1: you get to get to jab at this this sort

1003
00:54:04,360 --> 00:54:07,319
Speaker 1: of happy go lucky gas station attendant. They say such

1004
00:54:07,400 --> 00:54:09,520
Speaker 1: mean things to him, and they're all wonderful.

1005
00:54:09,840 --> 00:54:13,680
Speaker 2: He stays relatively pleasant despite the fact that they're just

1006
00:54:13,840 --> 00:54:16,440
Speaker 2: all viciously insulting him over and over it.

1007
00:54:16,520 --> 00:54:20,480
Speaker 1: Yeah, yeah, in a way, he's the most pleasant male character,

1008
00:54:20,600 --> 00:54:31,600
Speaker 1: if not the most pleasant character in the whole film.

1009
00:54:31,640 --> 00:54:34,120
Speaker 2: Also, while they're at the gas station, it sets up

1010
00:54:34,239 --> 00:54:38,080
Speaker 2: the dynamic that will take over for the rest of

1011
00:54:38,120 --> 00:54:41,440
Speaker 2: the movie, which is Billy She's wandering around and she

1012
00:54:41,520 --> 00:54:44,839
Speaker 2: sees a hunk with muscles. She's like, wow, look at

1013
00:54:44,840 --> 00:54:48,759
Speaker 2: that hunk a man, and the gas station attendant, I

1014
00:54:48,800 --> 00:54:51,680
Speaker 2: guess he just happens to know everything. He explains that

1015
00:54:51,680 --> 00:54:54,640
Speaker 2: that guy is the son of a local rancher who

1016
00:54:54,680 --> 00:54:57,840
Speaker 2: lives way out in the desert, and the rancher, is

1017
00:54:58,520 --> 00:55:01,000
Speaker 2: he some time ago was in injured and now has

1018
00:55:01,080 --> 00:55:04,000
Speaker 2: to use a wheelchair because Rob correct me if I'm

1019
00:55:04,000 --> 00:55:06,440
Speaker 2: getting any of this wrong. I think he says that

1020
00:55:07,200 --> 00:55:11,200
Speaker 2: the old man was injured while rescuing a girl from

1021
00:55:11,200 --> 00:55:15,799
Speaker 2: an oncoming train, and as a result of his injuries,

1022
00:55:16,200 --> 00:55:18,839
Speaker 2: he was paid a huge sum of money. I don't

1023
00:55:18,880 --> 00:55:21,680
Speaker 2: know if that was insurance or from the train company

1024
00:55:21,760 --> 00:55:25,240
Speaker 2: or something. And then somehow the gas pump guy knows

1025
00:55:25,280 --> 00:55:27,880
Speaker 2: about this and knows that he is hiding the money

1026
00:55:27,960 --> 00:55:30,400
Speaker 2: in cash form somewhere on his land.

1027
00:55:31,080 --> 00:55:35,400
Speaker 1: That's right, So now he has like a lot of

1028
00:55:35,400 --> 00:55:39,200
Speaker 1: paranoid delusions about the evils of trains. He hates women,

1029
00:55:39,520 --> 00:55:41,719
Speaker 1: and he doesn't want to put his money in the bank,

1030
00:55:41,800 --> 00:55:43,840
Speaker 1: so he has it hidden somewhere in the desert.

1031
00:55:43,920 --> 00:55:47,040
Speaker 2: It's the local lore, right, So first of all, he

1032
00:55:47,120 --> 00:55:50,560
Speaker 2: is a nasty, lecherous old creep who is the most

1033
00:55:50,640 --> 00:55:53,239
Speaker 2: leering of all the leering men in the film. But

1034
00:55:53,480 --> 00:55:57,480
Speaker 2: he also you mentioned he hates women. So the way

1035
00:55:57,560 --> 00:56:00,520
Speaker 2: I think this was explained is that he wants to

1036
00:56:00,719 --> 00:56:06,440
Speaker 2: kill women for revenge because he was injured and disabled

1037
00:56:06,480 --> 00:56:08,120
Speaker 2: while trying to rescue a woman.

1038
00:56:08,320 --> 00:56:11,399
Speaker 1: Is that the case I believe that's what they're laying out.

1039
00:56:11,440 --> 00:56:12,560
Speaker 4: Yes, Okay, I don't know.

1040
00:56:12,680 --> 00:56:15,439
Speaker 1: All right, now, he can't do much on his own,

1041
00:56:16,040 --> 00:56:20,520
Speaker 1: but luckily he has this muscular sign who they lovingly

1042
00:56:20,560 --> 00:56:21,520
Speaker 1: call the vegetable.

1043
00:56:21,800 --> 00:56:25,319
Speaker 2: Yes, so the muscle son is portrayed as having some

1044
00:56:25,440 --> 00:56:31,040
Speaker 2: kind of unspecified mental disability. Obviously this is not portrayed

1045
00:56:31,040 --> 00:56:32,600
Speaker 2: in the movie with great sensitivity.

1046
00:56:33,320 --> 00:56:35,400
Speaker 1: No, and of course neither is the disability of the

1047
00:56:35,440 --> 00:56:38,600
Speaker 1: old man. Yeah, but you know, you are in the

1048
00:56:38,680 --> 00:56:42,319
Speaker 1: mid sixties exploitation film at this point, so right, that's

1049
00:56:42,480 --> 00:56:43,200
Speaker 1: what you're watching.

1050
00:56:43,640 --> 00:56:46,439
Speaker 2: And then then you've got Kirk, the other son, who

1051
00:56:47,040 --> 00:56:48,640
Speaker 2: he's the other son, that's his deal.

1052
00:56:49,360 --> 00:56:51,799
Speaker 1: Yeah, I mean he has an interesting place as well,

1053
00:56:51,840 --> 00:56:54,279
Speaker 1: because he's I saw some papers pointing out, you know,

1054
00:56:54,400 --> 00:56:57,400
Speaker 1: he's kind of the domestic and the domestic role of

1055
00:56:57,400 --> 00:56:59,520
Speaker 1: the group. He looks after the old man, he looks

1056
00:56:59,560 --> 00:57:04,400
Speaker 1: after his brother. He also seems to aspire and is

1057
00:57:04,440 --> 00:57:08,720
Speaker 1: ultimately positioned in a place of moral superiority, but also

1058
00:57:08,920 --> 00:57:11,319
Speaker 1: seems like he has turned a blind eye to a

1059
00:57:11,360 --> 00:57:15,480
Speaker 1: lot of bad stuff in the desert. So I was

1060
00:57:15,560 --> 00:57:17,640
Speaker 1: never really sure what to make of Kirk. And it

1061
00:57:17,800 --> 00:57:20,560
Speaker 1: also this has helped tip the scales for me and

1062
00:57:20,680 --> 00:57:22,360
Speaker 1: just rooting for Varla the whole time.

1063
00:57:22,640 --> 00:57:25,680
Speaker 2: You wanted Varla to succeed in murdering him and Linda.

1064
00:57:26,520 --> 00:57:29,680
Speaker 1: Yes, yeah, I'm sorry, but Varla's just compelling. I'm just

1065
00:57:29,720 --> 00:57:30,680
Speaker 1: not going to argue with her.

1066
00:57:31,080 --> 00:57:34,240
Speaker 2: So the Go Go Killers set their sights on this ranch.

1067
00:57:34,400 --> 00:57:37,800
Speaker 2: Varla wants the money that the old man apparently has

1068
00:57:37,840 --> 00:57:40,280
Speaker 2: stashed somewhere there. I don't know why they believe the

1069
00:57:40,320 --> 00:57:42,760
Speaker 2: gas station attended though, like why would he know this?

1070
00:57:42,840 --> 00:57:44,920
Speaker 2: But so they just take his word for it. Varla

1071
00:57:44,960 --> 00:57:47,920
Speaker 2: wants the money and Billy wants the muscle sun. So

1072
00:57:48,040 --> 00:57:51,440
Speaker 2: they're going to go to the ranch and rob You

1073
00:57:51,480 --> 00:57:56,000
Speaker 2: and I off Mike earlier were discussing this comparison. They

1074
00:57:56,080 --> 00:57:58,200
Speaker 2: head for the ranch where the rest of the movie

1075
00:57:58,240 --> 00:58:00,720
Speaker 2: is going to take place, and I could not help

1076
00:58:00,840 --> 00:58:06,920
Speaker 2: but notice the similarity between the family on this ranch

1077
00:58:07,040 --> 00:58:10,040
Speaker 2: and the family in the Texas Chainsaw Masker, which of

1078
00:58:10,080 --> 00:58:10,880
Speaker 2: course came later.

1079
00:58:11,280 --> 00:58:14,080
Speaker 1: That's right, yeah there. I also thought that there was

1080
00:58:14,160 --> 00:58:18,040
Speaker 1: kind of a solar esque vibe going on here. You know,

1081
00:58:18,040 --> 00:58:21,200
Speaker 1: they're perverse, they're up to bad stuff out in the

1082
00:58:21,240 --> 00:58:23,840
Speaker 1: middle of nowhere, but they're all but they don't go

1083
00:58:23,880 --> 00:58:25,480
Speaker 1: all in on the horror in the same way that

1084
00:58:25,480 --> 00:58:27,920
Speaker 1: the Texas Chainsaw Masker does obviously.

1085
00:58:27,880 --> 00:58:31,600
Speaker 2: Right, But I mean the comparisons are almost kind of eerie. Like,

1086
00:58:31,800 --> 00:58:35,840
Speaker 2: so the old man there's like a nasty, mean spirited,

1087
00:58:35,960 --> 00:58:39,960
Speaker 2: lecherous old man. There is the muscle son you know

1088
00:58:40,280 --> 00:58:42,880
Speaker 2: who in I think you could compare to leather Face.

1089
00:58:43,520 --> 00:58:46,560
Speaker 2: And I guess the difference is that in the Sawyer

1090
00:58:46,600 --> 00:58:49,320
Speaker 2: family there is no Kirk. There's not like the nice,

1091
00:58:49,400 --> 00:58:50,040
Speaker 2: normal sun.

1092
00:58:50,480 --> 00:58:54,720
Speaker 1: Yeah right, instead of Kirk, you either get the hitchhiker

1093
00:58:55,280 --> 00:58:58,320
Speaker 1: or you or you get chopped up. Yes, yeah, totally

1094
00:58:58,360 --> 00:59:00,120
Speaker 1: different vibe in that regard. But yeah, I feel like

1095
00:59:00,440 --> 00:59:02,720
Speaker 1: there a lot of similarities. I wonder I wonder if

1096
00:59:02,760 --> 00:59:06,240
Speaker 1: this influenced the shape of Texas Chainsaw Masker to any degree.

1097
00:59:06,480 --> 00:59:09,120
Speaker 2: Well, it also makes you wonder, like how Texas Chainsaw

1098
00:59:09,120 --> 00:59:12,080
Speaker 2: Masaker would be different if the people who show up

1099
00:59:12,080 --> 00:59:15,480
Speaker 2: at the Sawyer residence are not just like hapless teenagers

1100
00:59:15,480 --> 00:59:17,440
Speaker 2: who are trying to go to a concert or trying

1101
00:59:17,440 --> 00:59:20,960
Speaker 2: to you know, find visit their old family home or something,

1102
00:59:21,320 --> 00:59:26,880
Speaker 2: but are instead just tough as nails dancer murderers.

1103
00:59:27,240 --> 00:59:29,880
Speaker 1: Oh, the Sawyers wouldn't have stood a chance, Varlow would

1104
00:59:29,920 --> 00:59:32,520
Speaker 1: have made short work of all of them, leather Fays,

1105
00:59:33,720 --> 00:59:37,720
Speaker 1: the hitch hike or any of them. No chainsaw would

1106
00:59:37,760 --> 00:59:39,200
Speaker 1: be even revved up.

1107
00:59:39,720 --> 00:59:42,160
Speaker 2: She would snatch She would snatch the chainsaw out of

1108
00:59:42,240 --> 00:59:44,840
Speaker 2: leather Face's hands, grab it by the blade and pull

1109
00:59:44,840 --> 00:59:47,200
Speaker 2: it out of his hands, and then bend him over

1110
00:59:47,320 --> 00:59:48,200
Speaker 2: and break his neck.

1111
00:59:48,600 --> 00:59:52,760
Speaker 1: Yeah, karate chop that neck, you know. Also like TCM,

1112
00:59:52,800 --> 00:59:54,640
Speaker 1: a different vibe here, But we also get a big

1113
00:59:54,680 --> 00:59:55,680
Speaker 1: sit down meal.

1114
00:59:56,520 --> 00:59:59,720
Speaker 2: That's right. Yeah, So it takes a while. They've got

1115
00:59:59,720 --> 01:00:02,360
Speaker 2: a sort of elaborate plan that I'm not gonna get

1116
01:00:02,360 --> 01:00:06,480
Speaker 2: into in great detail. But so like Varla and the

1117
01:00:06,520 --> 01:00:09,120
Speaker 2: gang arrive on the property and they make a plan

1118
01:00:09,200 --> 01:00:12,880
Speaker 2: to sort of trick the family while they search for

1119
01:00:12,920 --> 01:00:15,720
Speaker 2: the money, and so they claim to have been stranded

1120
01:00:15,720 --> 01:00:18,680
Speaker 2: there and need some water for maybe the radiators in

1121
01:00:18,720 --> 01:00:21,000
Speaker 2: their car or something. But they end up getting invited

1122
01:00:21,040 --> 01:00:24,240
Speaker 2: to lunch, I think, especially because the old man is

1123
01:00:24,360 --> 01:00:27,920
Speaker 2: again nasty and lecherous and wants to ogle them and

1124
01:00:28,400 --> 01:00:32,840
Speaker 2: do much worse. So they're all having like fried chicken

1125
01:00:32,920 --> 01:00:35,520
Speaker 2: and whiskey at lunch. We're not all having whiskey. They're

1126
01:00:35,520 --> 01:00:40,000
Speaker 2: all having chicken that Kirk cooked for everyone, and at

1127
01:00:40,000 --> 01:00:43,320
Speaker 2: some point Billy is like, oh, and Linda's there at

1128
01:00:43,320 --> 01:00:45,600
Speaker 2: the table with them, just the hostage is there, and

1129
01:00:45,640 --> 01:00:47,600
Speaker 2: I think at some point she's begging for help, and

1130
01:00:47,640 --> 01:00:49,520
Speaker 2: they're all like, I don't know what to make of this.

1131
01:00:50,840 --> 01:00:54,760
Speaker 2: But Billy at some point is like, hey, give me

1132
01:00:54,760 --> 01:00:56,960
Speaker 2: some of that whiskey, old man, and he's like okay,

1133
01:00:57,000 --> 01:00:59,960
Speaker 2: and then she just proceeds to immediately get blackout, dry

1134
01:01:00,280 --> 01:01:02,360
Speaker 2: and pass out and let Linda escape.

1135
01:01:02,840 --> 01:01:05,440
Speaker 1: Yes, yeah, it is interesting that the whole vibe of

1136
01:01:05,480 --> 01:01:07,439
Speaker 1: this dinner is like the dinner table is this place

1137
01:01:07,440 --> 01:01:11,400
Speaker 1: of decorum, but everyone there is either a villain or

1138
01:01:11,440 --> 01:01:14,400
Speaker 1: a hostage, and yet there is this like weird like

1139
01:01:14,560 --> 01:01:18,760
Speaker 1: truth in place here as they engage in this strange meal.

1140
01:01:19,080 --> 01:01:25,240
Speaker 1: Of course, eventually Varla goads the old man by mentioning train.

1141
01:01:25,440 --> 01:01:27,880
Speaker 1: I think she's the one who mentions trains and gets

1142
01:01:27,960 --> 01:01:30,400
Speaker 1: him all upset and he ends up storming off. Oh

1143
01:01:30,440 --> 01:01:32,640
Speaker 1: and there are also a lot of a lot of

1144
01:01:32,680 --> 01:01:35,919
Speaker 1: comments about how much chicken the beefy son can eat.

1145
01:01:36,240 --> 01:01:39,680
Speaker 2: Oh yes, I think at one point he is advised

1146
01:01:39,680 --> 01:01:42,760
Speaker 2: to help himself to both abreast and a thigh.

1147
01:01:43,120 --> 01:01:45,320
Speaker 1: Yes, a lot of winkie dialogue.

1148
01:01:47,280 --> 01:01:49,760
Speaker 2: Oh oh, but we forgot a part earlier on which

1149
01:01:49,760 --> 01:01:54,520
Speaker 2: I think is that the old man is like, I

1150
01:01:54,560 --> 01:01:57,400
Speaker 2: think it happens off screen, but he tries to assault

1151
01:01:57,440 --> 01:02:01,240
Speaker 2: Linda the hostage, and she flees away into the desert

1152
01:02:01,720 --> 01:02:04,720
Speaker 2: and is like, okay, I'm going to escape now, and

1153
01:02:04,840 --> 01:02:07,560
Speaker 2: is picked up in a truck by a nice young

1154
01:02:07,560 --> 01:02:10,600
Speaker 2: man who seems very helpful. But it turns out this

1155
01:02:10,680 --> 01:02:13,960
Speaker 2: is Kirk, the other son, and he just like drives

1156
01:02:13,960 --> 01:02:16,120
Speaker 2: her back to the house and she's like, no, no, no,

1157
01:02:16,200 --> 01:02:18,960
Speaker 2: not back here, and he's like, oh no, it's fine.

1158
01:02:19,000 --> 01:02:20,360
Speaker 2: This is my family's house.

1159
01:02:21,360 --> 01:02:24,919
Speaker 1: We'd probably been more impactful if we the audience didn't

1160
01:02:24,920 --> 01:02:28,240
Speaker 1: already know that Kirk was a member of that family. Yes,

1161
01:02:28,400 --> 01:02:31,320
Speaker 1: but it's still pretty great. She escapes a couple of

1162
01:02:31,360 --> 01:02:34,640
Speaker 1: different times. They're not very good at keeping her in place,

1163
01:02:34,960 --> 01:02:36,680
Speaker 1: but then she's not particularly good at getting away.

1164
01:02:37,240 --> 01:02:40,440
Speaker 2: Oh. At some point I think also Varla seduces Kirk.

1165
01:02:40,680 --> 01:02:43,880
Speaker 2: I do not recall why. I think somehow, I guess

1166
01:02:43,880 --> 01:02:45,560
Speaker 2: she thinks this is going to help her get the money.

1167
01:02:46,000 --> 01:02:49,680
Speaker 1: It's just is a multi stage plan to get that money.

1168
01:02:49,680 --> 01:02:54,720
Speaker 1: That involves violence and seduction and dinner. I mean, don't

1169
01:02:54,760 --> 01:02:56,600
Speaker 1: try and create a flow chart of all of this.

1170
01:02:57,240 --> 01:02:58,040
Speaker 1: Just trust the plan.

1171
01:02:58,440 --> 01:03:02,160
Speaker 2: But at some point Kirk finally it takes a lot,

1172
01:03:02,200 --> 01:03:06,360
Speaker 2: but finally Kirk wises up to the fact that not

1173
01:03:06,440 --> 01:03:09,920
Speaker 2: only is his own family evil, but Varla and the

1174
01:03:09,960 --> 01:03:13,280
Speaker 2: gang are evil as well, and so then he's like, oh, okay,

1175
01:03:13,320 --> 01:03:16,200
Speaker 2: I need to help Linda. So at some point Kirk

1176
01:03:16,240 --> 01:03:19,400
Speaker 2: and Linda try to escape into the desert. Meanwhile, back

1177
01:03:19,400 --> 01:03:24,160
Speaker 2: at the house, Varla they've started murdering everybody and that

1178
01:03:24,320 --> 01:03:29,520
Speaker 2: let's see, they murder Varla and Rosie murder Billy I

1179
01:03:29,560 --> 01:03:32,360
Speaker 2: don't quite remember why. She's leaving at some point and

1180
01:03:32,440 --> 01:03:34,000
Speaker 2: they like throw a knife in her back.

1181
01:03:34,320 --> 01:03:37,520
Speaker 1: Yeah, great, great kill scene. Yeah, She's like I'm done,

1182
01:03:37,560 --> 01:03:39,840
Speaker 1: I'll see you gals at church. And she's gone off

1183
01:03:39,880 --> 01:03:43,640
Speaker 1: and was like, pass me the switchblade and throws it

1184
01:03:43,680 --> 01:03:44,320
Speaker 1: into her back.

1185
01:03:44,680 --> 01:03:47,680
Speaker 2: So they end up murdering the muscle Son and the

1186
01:03:47,720 --> 01:03:51,520
Speaker 2: old Man, and they discover where the muscle Sun kills Rosie.

1187
01:03:51,720 --> 01:03:56,120
Speaker 2: The muscle Son kills Rosie, and then they they Varla

1188
01:03:56,560 --> 01:03:59,720
Speaker 2: kills well, let's see, yeah, they kill him and the

1189
01:03:59,720 --> 01:04:02,840
Speaker 2: old man. The old man it turns out had all

1190
01:04:02,880 --> 01:04:06,040
Speaker 2: of the money that he was hiding stash somehow inside

1191
01:04:06,040 --> 01:04:09,080
Speaker 2: his wheelchair, and when they hit him with their car,

1192
01:04:09,200 --> 01:04:12,160
Speaker 2: it is all it like busts out all over the place.

1193
01:04:13,040 --> 01:04:14,120
Speaker 4: Yeah. Yeah.

1194
01:04:14,320 --> 01:04:16,680
Speaker 1: Varla goes into revenge mode at this point though, and

1195
01:04:16,720 --> 01:04:18,720
Speaker 1: she gets She's this great scene where she's trying to

1196
01:04:18,800 --> 01:04:23,720
Speaker 1: run over the muscle and he's pushing back like he's hercules,

1197
01:04:23,840 --> 01:04:26,320
Speaker 1: you know, against the horsepower of the car, and there's

1198
01:04:26,360 --> 01:04:29,360
Speaker 1: just kind of a stalemate that of course eventually wears

1199
01:04:29,440 --> 01:04:32,080
Speaker 1: him out completely and he topples. Oh, he's like Samson,

1200
01:04:32,120 --> 01:04:35,480
Speaker 1: you've cut his hair. At this point, he's powerless. But

1201
01:04:35,520 --> 01:04:38,640
Speaker 1: I don't think he dies. What I don't think he dies?

1202
01:04:38,720 --> 01:04:39,000
Speaker 1: Does he?

1203
01:04:39,400 --> 01:04:39,600
Speaker 4: Oh?

1204
01:04:39,840 --> 01:04:43,440
Speaker 2: Well, I don't recall actually that he has defeated. Yes,

1205
01:04:44,000 --> 01:04:47,640
Speaker 2: But finally there is a showdown where okay, so Linda

1206
01:04:47,800 --> 01:04:50,680
Speaker 2: are our good character and Kirk are I guess kind

1207
01:04:50,720 --> 01:04:54,240
Speaker 2: of good character. They're escaping into the desert. They're trying

1208
01:04:54,280 --> 01:04:57,520
Speaker 2: to run away from the farm and get out of

1209
01:04:57,520 --> 01:05:01,120
Speaker 2: all this madness, and Varla must get revenge. So she's

1210
01:05:01,200 --> 01:05:05,640
Speaker 2: like hunting them down in this truck. And I think

1211
01:05:05,680 --> 01:05:07,920
Speaker 2: you compared her to the terminator at this point, and

1212
01:05:07,960 --> 01:05:10,160
Speaker 2: I think that that is a good comparison. She is

1213
01:05:10,240 --> 01:05:12,480
Speaker 2: just a machine out for destruction.

1214
01:05:13,240 --> 01:05:17,920
Speaker 1: Yeah, completely relentless. There's no way you can possibly get

1215
01:05:18,320 --> 01:05:20,480
Speaker 1: You can't stop her, you can't get away from her

1216
01:05:20,520 --> 01:05:23,880
Speaker 1: because she has no quit in her. At one point,

1217
01:05:24,000 --> 01:05:26,120
Speaker 1: she's driving after them and they like cross over the

1218
01:05:26,160 --> 01:05:28,600
Speaker 1: railroad tracks and I was I was afraid they were

1219
01:05:28,600 --> 01:05:29,920
Speaker 1: gonna I was like, oh man, it is this how

1220
01:05:29,920 --> 01:05:31,960
Speaker 1: they're going to defeat Varla, because they're going to bring

1221
01:05:32,000 --> 01:05:36,040
Speaker 1: the train back into it somehow. But that's not what happens. Instead,

1222
01:05:36,080 --> 01:05:39,880
Speaker 1: they end up reaching this point where the like the truck.

1223
01:05:40,080 --> 01:05:43,320
Speaker 1: She gets out of the truck, Varla does, and and

1224
01:05:43,360 --> 01:05:46,600
Speaker 1: now they're going to have this this final fight Varla

1225
01:05:47,000 --> 01:05:51,280
Speaker 1: versus Kirk and Linda in the desert, just fisticuffs and

1226
01:05:51,360 --> 01:05:52,200
Speaker 1: chops and boots.

1227
01:05:52,600 --> 01:05:56,040
Speaker 2: Well, at this point Varla is again beating Kirk up

1228
01:05:56,080 --> 01:05:59,160
Speaker 2: totally because Kirk doesn't stand a chance against Varla. Of

1229
01:05:59,160 --> 01:06:02,760
Speaker 2: course he would, she would kill him. But I think

1230
01:06:02,880 --> 01:06:05,640
Speaker 2: Linda comes to the to the rescue with the truck.

1231
01:06:06,160 --> 01:06:08,520
Speaker 1: Yeah, she jumps back into the truck, starts it up,

1232
01:06:08,800 --> 01:06:12,840
Speaker 1: and hits Varla with the truck. And so we end

1233
01:06:12,920 --> 01:06:16,200
Speaker 1: up with again. Varla's already totally kicked Kirk's by it

1234
01:06:16,240 --> 01:06:19,560
Speaker 1: at this point, like she hits first, She like kicks

1235
01:06:19,640 --> 01:06:22,640
Speaker 1: him in the kidney or something. She's chopped in multiple times,

1236
01:06:23,160 --> 01:06:25,360
Speaker 1: and she's now she's been hit by the vehicle. She's

1237
01:06:25,440 --> 01:06:27,880
Speaker 1: laying there next to him, and she raises one last

1238
01:06:27,960 --> 01:06:30,320
Speaker 1: karate chop into the air to bring down on him.

1239
01:06:30,440 --> 01:06:32,040
Speaker 1: You just know it's going to be a death blow.

1240
01:06:32,280 --> 01:06:35,920
Speaker 1: But then, uh, she succumbs to her injuries and dies.

1241
01:06:36,480 --> 01:06:39,720
Speaker 2: The ending is great, though I did have one note.

1242
01:06:39,720 --> 01:06:42,240
Speaker 2: I was like, one way you could make this movie

1243
01:06:42,280 --> 01:06:44,960
Speaker 2: better is if at the end of Varla, instead of

1244
01:06:45,000 --> 01:06:49,320
Speaker 2: just succumbing to her injuries, is it somehow explodes like

1245
01:06:49,440 --> 01:06:52,360
Speaker 2: the Shark and Jaws, you know, like they put like

1246
01:06:52,440 --> 01:06:54,800
Speaker 2: a pressure air tank in her mouth and shoot that

1247
01:06:55,160 --> 01:06:57,400
Speaker 2: and then she explodes into ten billion pieces.

1248
01:06:57,840 --> 01:07:00,320
Speaker 1: That would have been good, you know, I could see.

1249
01:07:00,320 --> 01:07:04,960
Speaker 1: I could see the train ending having worked. I wonder

1250
01:07:05,000 --> 01:07:07,720
Speaker 1: if that was ever on the menu as a potential

1251
01:07:07,800 --> 01:07:11,080
Speaker 1: ending for this film. But I also like the idea

1252
01:07:11,120 --> 01:07:13,120
Speaker 1: of I think Varla should have just won. I think

1253
01:07:13,200 --> 01:07:16,360
Speaker 1: Varla should have murdered Kirk. But then again we back

1254
01:07:16,360 --> 01:07:18,400
Speaker 1: come back to the question of well, what is the

1255
01:07:18,840 --> 01:07:20,400
Speaker 1: where is she going to go with Linda? Like, what's

1256
01:07:20,440 --> 01:07:23,160
Speaker 1: the plan here? Does she just kill Linda as well

1257
01:07:23,200 --> 01:07:26,240
Speaker 1: and then go off into the desert or is there

1258
01:07:26,280 --> 01:07:28,800
Speaker 1: some next step there? I'm not sure, So I guess

1259
01:07:28,800 --> 01:07:31,160
Speaker 1: it ultimately is just as well that she that this

1260
01:07:31,280 --> 01:07:31,960
Speaker 1: character dies.

1261
01:07:32,560 --> 01:07:34,800
Speaker 2: I think, let's see what would Varla have done if

1262
01:07:34,800 --> 01:07:37,440
Speaker 2: she'd won. Yeah, she'd get the money. She would stand

1263
01:07:37,440 --> 01:07:40,080
Speaker 2: there and declare that she is not sad that her

1264
01:07:40,120 --> 01:07:42,800
Speaker 2: friends are dead. She's like, I don't miss them one bit,

1265
01:07:43,280 --> 01:07:45,240
Speaker 2: and then she would get in her car and drive

1266
01:07:45,280 --> 01:07:47,280
Speaker 2: away to her to the next adventure.

1267
01:07:47,960 --> 01:07:50,400
Speaker 1: Yeah, yeah, I think maybe just leave Linda alive in

1268
01:07:50,440 --> 01:07:53,560
Speaker 1: the desert to you know, to surely die. That would

1269
01:07:53,560 --> 01:07:55,600
Speaker 1: have probably worked. I feel like that's the ending this

1270
01:07:55,640 --> 01:07:58,680
Speaker 1: film would have had in the seventies. But already, you know,

1271
01:07:58,720 --> 01:08:01,560
Speaker 1: even mid sixties, ahead of its time, and there's only

1272
01:08:01,680 --> 01:08:03,520
Speaker 1: so much meanness that it could muster.

1273
01:08:04,280 --> 01:08:07,720
Speaker 2: I just remembered something about the final dialogue exchange after

1274
01:08:07,880 --> 01:08:10,640
Speaker 2: Varla is defeated, and I had to look it up.

1275
01:08:10,680 --> 01:08:15,480
Speaker 2: So what exactly they say? It's so, you know, Varla

1276
01:08:15,520 --> 01:08:17,840
Speaker 2: dies and then Linda gets out of the truck, and

1277
01:08:17,880 --> 01:08:20,559
Speaker 2: she says I killed her like she was an animal,

1278
01:08:20,880 --> 01:08:25,759
Speaker 2: like she was nothing. And then Kirk says she was nothing, nothing, human,

1279
01:08:26,520 --> 01:08:29,040
Speaker 2: And so I wonder if the ending maybe means that

1280
01:08:29,160 --> 01:08:32,720
Speaker 2: Linda now has has acquired a taste for violence and

1281
01:08:32,760 --> 01:08:35,880
Speaker 2: she has been set on a path to become like them.

1282
01:08:36,200 --> 01:08:39,479
Speaker 1: Hmmm, well that would be interesting. Again, I'm not sure

1283
01:08:39,520 --> 01:08:43,479
Speaker 1: how how deep we can dig into the into the

1284
01:08:43,479 --> 01:08:46,400
Speaker 1: paint on this film, but I like that interpretation.

1285
01:08:47,200 --> 01:08:50,960
Speaker 2: Like immediately after the camera stops rolling, I imagine Linda

1286
01:08:51,000 --> 01:08:52,880
Speaker 2: next is like, hey, Kirk, would you like to go

1287
01:08:53,000 --> 01:08:55,759
Speaker 2: racing on the salt flats? We'll see who wins.

1288
01:08:58,439 --> 01:09:02,840
Speaker 1: All right, Well, there you have it. Astro pussycat, kill Kill. Yeah,

1289
01:09:02,840 --> 01:09:04,400
Speaker 1: this one was a lot of fun. And I think

1290
01:09:04,439 --> 01:09:07,120
Speaker 1: now just in general, in all movies that we watch,

1291
01:09:07,240 --> 01:09:09,920
Speaker 1: I'm at least going to have that voice in the

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Speaker 1: back of my head. What would Varla do in this scenario. Yeah,

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Speaker 1: she's an unforgettable character. At the very least, she would

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Speaker 1: welcome us to violence.

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Speaker 4: That's right. All right.

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Speaker 1: Well, just a reminder that we're primarily a science podcast

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01:09:24,960 --> 01:09:27,040
Speaker 1: here and the stuff to blow your mind feed but

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01:09:27,160 --> 01:09:29,640
Speaker 1: on Fridays we set aside most serious concerns to just

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Speaker 1: talk about a weird film here on Weird House Cinema.

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01:09:33,040 --> 01:09:34,280
Speaker 1: And if you want to see a list of all

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01:09:34,320 --> 01:09:36,000
Speaker 1: the films we've done over the years, where you can

1302
01:09:36,040 --> 01:09:38,040
Speaker 1: go to a couple of places. I blog about these

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01:09:38,040 --> 01:09:40,800
Speaker 1: films at some meuti music dot com, but also over

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01:09:40,840 --> 01:09:43,000
Speaker 1: at letterbox dot com. It's L E T T E

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Speaker 1: R B O x D dot com. You'll find we'll

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01:09:46,760 --> 01:09:50,040
Speaker 1: find us. We have a user name there, weird House,

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01:09:50,080 --> 01:09:51,599
Speaker 1: and we have a nice list of all the movies

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01:09:51,640 --> 01:09:54,160
Speaker 1: we've covered. You can, you know, slice them up and

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01:09:54,200 --> 01:09:58,200
Speaker 1: rearrange them by decade, by genre and so forth. So

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01:09:58,240 --> 01:09:59,680
Speaker 1: it's a it's a pretty good way to see what

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01:09:59,800 --> 01:10:02,639
Speaker 1: else we've talked about, and maybe if you haven't listened

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01:10:02,640 --> 01:10:06,320
Speaker 1: to many of them, find some older episodes that interest you.

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01:10:06,360 --> 01:10:06,919
Speaker 4: In particular.

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Speaker 2: Huge thanks to our excellent audio producer JJ Posway. If

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01:10:10,600 --> 01:10:12,280
Speaker 2: you would like to get in touch with us with

1316
01:10:12,360 --> 01:10:14,720
Speaker 2: feedback on this episode or any other, to suggest a

1317
01:10:14,800 --> 01:10:16,920
Speaker 2: topic for the future, or just to say hello, you

1318
01:10:16,960 --> 01:10:19,640
Speaker 2: can email us at contact at stuff to Blow your

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01:10:19,680 --> 01:10:27,320
Speaker 2: Mind dot com.

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Speaker 3: Stuff to Blow your Mind is production of iHeartRadio. For

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01:10:30,439 --> 01:10:33,240
Speaker 3: more podcasts from My Heart Radio, visit the iHeartRadio app,

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Speaker 3: Apple podcasts, or wherever you listen to your favorite shows.