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

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Speaker 2: And this is Joe McCormick and ooh, today we are

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Speaker 2: featuring an older episode of Weird House Cinema. This is

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Speaker 2: the episode we did on The Dunwich Horror with the

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Speaker 2: most Lovecraftian of casts Dean Stockwell, Sandra Dee and Ed

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Speaker 2: Begley Sr. Nothing says horror like that.

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Speaker 1: Yeah, Yeah, this was a lot of fun. It's like

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Speaker 1: it's a hippie necronomicon extravaganza, and it's also something of

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Speaker 1: a love story, especially in the early going, so it's

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Speaker 1: not a bad lead end to Valentine's Day in my opinion.

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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.

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Speaker 2: This is Rob Lamb and I'm Joe McCormick.

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Speaker 1: And this week we have a I think we have

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Speaker 1: a pretty fun on film for everybody. We're going to

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Speaker 1: be talking about the nineteen seventy necronomicon film The dune

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Speaker 1: Wich Horror, starring the late great Dean Stockwell.

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Speaker 2: Does a beholder make an appearance in this movie? I

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Speaker 2: want to know from somebody who has more d and

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Speaker 2: d experience than.

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Speaker 1: Yeah. Well, the depiction of the monster in this film

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Speaker 1: is very interesting. For the most part, is very minimal,

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Speaker 1: but we do see a weird splash of some sort

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Speaker 1: of a beholder esque, you know, almost kind of Medusa

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Speaker 1: esque gorgon head creature towards the end, but you don't

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Speaker 1: really get a great look at it.

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Speaker 2: Yeah, sort of a flying ball of meat with like

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Speaker 2: eyeball stalks and tentacles writhing as the color saturation flashes.

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Speaker 1: Now, there's a thing that's featured on the poster for

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Speaker 1: this film, and it's a pretty cool poster. You'll see

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Speaker 1: different versions of it where there's this kind of like

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Speaker 1: beastial dean stockwell head with a bunch of snakes and

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Speaker 1: serpents and leeches stuff kind of like writhing on the head.

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Speaker 1: This is not exactly what you see in the film.

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Speaker 1: This is just kind of poster art I think inspired

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Speaker 1: by it.

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Speaker 2: True though, I do like the diversity of the different

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Speaker 2: kinds of heads on the snake things coming out of

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Speaker 2: this beast. So you got like a cow skull looking

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Speaker 2: thing with horns, but then you got a leech mouth,

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Speaker 2: and then is there one thing that just kind of

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Speaker 2: looks like a raccoon, like.

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Speaker 1: A monst Oh yeah, it does kind of look like

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Speaker 1: a raccoon. Yeah, all sorts of stuff going on there.

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Speaker 1: It's chaos. It's chaos in that creature. But this is

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Speaker 1: a film. It's been on my list for a while,

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Speaker 1: but I think a couple of things kind of propelled

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Speaker 1: it to the forefront for us to record this month.

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Speaker 1: First of all, I'm growing a mustache for the November effort.

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Speaker 1: You've probably heard our ads about that, and you know

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Speaker 1: mentioning you know where you can go to learn more.

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Speaker 1: So I wanted to watch some films with solid mustaches

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Speaker 1: in them, and Dean Stockwell's mustache in this film was

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Speaker 1: essential for me because, unlike the excellent mustaches of someone

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Speaker 1: like Vincent Price or Olliver Read, this one looks like

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Speaker 1: the sort of mustache that I could conceivably grow, an

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Speaker 1: uncanny mustache, a mustache that at once checks out checks

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Speaker 1: off all the boxes for being a cool mustache, but

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Speaker 1: also looks somewhat uncomfortable. I don't know, maybe it's just me.

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Speaker 2: Well, that's the That's the essence of Dean Stockwell's character

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Speaker 2: in this movie. Because, while of course this is based

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Speaker 2: on a novella originally by HP Lovecraft. One way I

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Speaker 2: think the movie is very different than the source material

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Speaker 2: is the movie has more suaveness in it. Dean Stockwell

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Speaker 2: plays a guy who is ultimately an occult creep whose

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Speaker 2: affinities lie in other dimensions. But at the same time,

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Speaker 2: there are some scenes where he's kind of he's kind

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Speaker 2: of smooth, he's kind of got a little bit of charm.

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Speaker 1: Yeah, it kind of feels like a love story at times.

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Speaker 1: It doesn't stay that way very long, but there are

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Speaker 1: a few moments in here where you're like, oh, this

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Speaker 1: is kind of a you know, a slightly horror themed

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Speaker 1: love story. Now, the other thing that really propelled this

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Speaker 1: to the forefront for us is that, of course, on

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Speaker 1: November seventh, Dean Stockwell passed away. The star of this

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Speaker 1: film were one of the stars of this film. So

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Speaker 1: I thought, well, that settles it. You know, we probably

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Speaker 1: need to cover this one. And it is kind of

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Speaker 1: a tribute to Dean Stockwell, who, as we'll discuss in

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Speaker 1: a bet. You know, it's been in tons of stuff

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Speaker 1: over the years, and there are some very memorable roles

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Speaker 1: mixed into that filmography. Now, as you mentioned, this is

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Speaker 1: a film that is based on an HP Lovecraft story,

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Speaker 1: And I think I long avoided watching this adaptation of

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Speaker 1: the Dunwich hor because I'd always heard that Lovecraft officionados

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Speaker 1: did not like it. They didn't think it was true

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Speaker 1: to his vision. But I think that time has shown

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Speaker 1: us that, first of all, cosmic car doesn't always translate

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Speaker 1: that well onto the screen anyway. And also the more

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Speaker 1: we come to terms with what Lovecraft's vision really entailed

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Speaker 1: in its entirety, I think deviation from form sounds increasingly okay.

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Speaker 2: Yeah.

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Speaker 1: Plus I saw that Electric Wizards just Oborne loves this film,

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Speaker 1: so I figured, well, something must be working in this adaptation.

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Speaker 2: For people not familiar. That's sort of a house favorite

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Speaker 2: Doom Metal Stone or Doom Metal band. But yeah, they

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Speaker 2: actually sampled this movie in at least one of their songs.

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Speaker 1: Right, Yeah. And then there's another song that is just

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Speaker 1: called Dunewich, which it seems entirely inspired by this movie.

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Speaker 1: It has lyrics like Child of Dunewitch Rise you have

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Speaker 1: your father's eyes, and it looks like somebody affiliated with

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Speaker 1: the band actually cut together, you know, a music video

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Speaker 1: for that track using footage exclusively from this movie. So

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Speaker 1: there you go.

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Speaker 2: I think it's fitting for the band because this movie

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Speaker 2: has just the their right sort of balance between cosmic

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Speaker 2: menace and absolute cornball.

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Speaker 1: Yeah. And by the way, that track that music video,

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Speaker 1: I'll include that on the blog post for this episode

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Speaker 1: at Sammuda music dot com. And by the way, for

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Speaker 1: those of you that have written in and you've said, hey,

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Speaker 1: where can I get a list of all the movies

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Speaker 1: you've covered of all the Weird House episode so that

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Speaker 1: you've done that is where you will find that Samooda

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Speaker 1: Music se m u t a m u sic dot com.

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Speaker 1: So let's get into it. Yeah, what do we have

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Speaker 1: in this film? We have a we have like a

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Speaker 1: nineteen seventies hippie necronomicon story full of weird music bean stockwell,

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Speaker 1: and it's produced by Roger Korman.

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Speaker 2: And see the Corman connection, because it has a little

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Speaker 2: bit of the same grit as those those like Corman

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Speaker 2: Edgar Allan Poe movies from around the same time.

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Speaker 1: Yeah, and it also, as we'll point out, a number

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Speaker 1: of the people involved in this went on to be

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Speaker 1: in episodes of Night Gallery. I feel like this if

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Speaker 1: you if you dig Night Gallery, you'll dig this film

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Speaker 1: because it has that same texture, that same field, that

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Speaker 1: same mouthfeel that you get with Night Gallery.

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Speaker 2: So how do you do an elevator pitch on this movie?

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Speaker 2: Would you say, like boy meets Girl, boy wants to

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Speaker 2: open an interdimensional riff to summon ancient demons that ruled

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Speaker 2: the cosmos before humankind, meddling grandpas and professors interfere.

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Speaker 1: Yeah. Yeah, sort of generational conflict over over you know,

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Speaker 1: illicit books of ancient knowledge. Uh well, what would happen

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Speaker 1: if you rolled a doobe with a page from an ecronomicon?

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Speaker 4: Uh?

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Speaker 1: These are all ideas that are bouncing around my head.

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Speaker 2: Yeah. Well, we'll probably need to come back to this

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Speaker 2: later on. But it's interesting the little ribbon of hippie

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Speaker 2: culture and aesthetics running through the middle of this movie.

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Speaker 2: I mean, it's not a you know, it's not a

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Speaker 2: Woodstock kind of movie, except in little like moments, and

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Speaker 2: those moments are the suggestions of the the the otherworldly evil.

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Speaker 2: It's almost like a you might say it's more anti

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Speaker 2: hippie than hippie because like the hippie imagery and it

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Speaker 2: is the visions coming from the the unspeakable place.

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Speaker 1: Yeah. Yeah, so it's gonna be very interesting to discuss

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Speaker 1: those themes, because it's not one of those films that

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Speaker 1: I feel like purshase itself, you know, perfectly between cultures

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Speaker 1: of this time period, where it can fully be one

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Speaker 1: thing to one side of the culture war and another

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Speaker 1: to the other side. But it does it does seem

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Speaker 1: to sort of be trying to have that ambiguity at times.

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Speaker 2: Of course, then again it might just be sort of,

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Speaker 2: I don't know, historical happenstance. The same way you might

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Speaker 2: imagine if this movie was made in nineteen ninety five,

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Speaker 2: the visions from the Other Plane would involve sinister grunge

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Speaker 2: people in flannel kind of flailing around in a Seattle alleyway.

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Speaker 1: Yeah, exactly. All right, Well, let's go ahead and have

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Speaker 1: some of the trailer here.

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Speaker 5: The nights are Darker at night is when it happens

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Speaker 5: in The Dunwich Horror and.

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Speaker 4: Come back old life, the faces of Dark, and Repossess

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Speaker 4: the Earth.

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Speaker 6: The Dunwich Horror based on HP Lovecraft's Terrifying Tale of

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Speaker 6: Those Who Explore the Unspeakable, starring Sandra d Dean Stockwell

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Speaker 6: Academy Award winner Ed Begley, Sam Jeffy Never Heard Anything

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Speaker 6: like that.

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Speaker 1: All right, sounds pretty good. Sounds pretty good.

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Speaker 2: Yep.

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Speaker 1: All right, Well let's dive right into the people involved

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Speaker 1: in bringing this to the screen. First of all, I

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Speaker 1: should know that apparently this was originally going to be

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Speaker 1: a Mario Bava film, but it sounds like American International

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Speaker 1: Pictures switch things up, you know, sort of for you

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Speaker 1: the sort of business reasons you might expect with the

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Speaker 1: STU Radio. Like, I think one of Baba's previous films

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Speaker 1: underperformed or didn't perform in the way they wanted it to,

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Speaker 1: so it ended up getting shuffled around and we ended

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Speaker 1: up with Daniel Holler directing it. This is a guy

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Speaker 1: who was born in nineteen twenty six, and weirdly enough,

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Speaker 1: Haller's directorial debut was a nineteen sixty five Lovecraft adaptation

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Speaker 1: Die Monster Die, starring Boris Karloff.

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Speaker 2: Oh yes, that one based on the Color Out of Space,

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Speaker 2: I believe.

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Speaker 3: So.

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Speaker 1: Yeah. I have not seen this one either.

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Speaker 2: I haven't either of it. You know, they just made

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Speaker 2: a new Color out of Space movie within the past

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Speaker 2: year or two, and I actually never saw it yet.

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Speaker 2: But it's got Nicholas Cage in it.

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Speaker 1: Oh wow. Well, you know, it's good then. So Haller

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Speaker 1: went on to from Die Monster Die, he went on

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Speaker 1: to direct a pair of late sixties biker movies. He

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Speaker 1: did Devil's Angels, starring John Cassavetti's he did The Wild Racers.

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Speaker 1: This starred Fabian and also featured one of our favorites,

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Speaker 1: Dick Miller in there.

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Speaker 2: Of course, you know, this movie really missed out on

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Speaker 2: having Dick Miller, and Dick Miller would have been great

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Speaker 2: as one of the irate townspeople.

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Speaker 6: You know.

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Speaker 1: Yeah, yeah, he has townspeople written all over him. He

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Speaker 1: could have been the guy the gas station. That's a

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Speaker 1: perfect Dick Miller role.

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Speaker 2: Yeah, Or he could have been one of the guys

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Speaker 2: at the store making fun of Grandpa when he was

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Speaker 2: talking about bringing beings over from another dimension.

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Speaker 1: Yeah, yeah, missed opportunity. Anyway. Haller went on to do

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Speaker 1: mostly a lot of TV work. He directed the pilot

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Speaker 1: for Buck Rogers in the twenty fifth Century, which ended

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Speaker 1: up being pushed out as a film, so technically there's

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Speaker 1: a film credit for him. He was also production designer

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Speaker 1: and art director on a bunch of old Roger Kornman movies.

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Speaker 1: All right, now, the writers on this there are a

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Speaker 1: couple of writers that really didn't go on to do

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Speaker 1: a whole lot else, Henry Rosenbaum and Ronald Silkowski, but

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Speaker 1: Curtis Hansen was one of the writers. He lived nineteen

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Speaker 1: forty five through twenty sixteen, and this was his first screenplay.

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Speaker 1: He went on to work on screenplays for White Dog,

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Speaker 1: Never cry Wolf, and La Confidential, which he also directed.

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Speaker 1: Other directorial credits include The Hand That Rocks the Cradle,

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Speaker 1: Wonder Boys, and Eight Mile.

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Speaker 2: Now, I guess if you're trying to adapt a Lovecraft

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Speaker 2: story for the screen, there's always a choice you've got

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Speaker 2: to make, which is sort of I would say, probably

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Speaker 2: usually prized for its dreadful imagination, you know, very imaginative

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Speaker 2: of strange and powerful imagery that makes you feel small

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Speaker 2: and afraid. So it's good horror in that sense, but

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Speaker 2: very often lacks a human or humane element. And so

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Speaker 2: do you just sort of try to do that in

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Speaker 2: a movie and risk making an alienating film that nobody

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Speaker 2: doesn't really have characters anybody can connect to, or do

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Speaker 2: you try to adapt the story into something more human

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Speaker 2: with more identifiable characters.

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Speaker 1: Yeah, yeah, that is always a because yes, so generally

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Speaker 1: these are stories that are very asexual, don't really have

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Speaker 1: any romance in them, and it's all about you know,

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Speaker 1: dread and cyclopean architecture and so forth. So, yeah, what

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Speaker 1: direction do you go in it? Do you go in

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Speaker 1: like an action direction which a number of people have

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Speaker 1: gone or tried to go. I know, that's what Gallermeal

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Speaker 1: Del Toro I think has been wanting to do with

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Speaker 1: at the Mountains of Madness. Do you go in kind

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Speaker 1: of a schlocky, sexy horror direction like you know, the

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Speaker 1: reanimator movies definitely went in that direction, or do you

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Speaker 1: find some other path?

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Speaker 2: I would say the screenplay adaptation in this movie doesn't

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Speaker 2: step fully into making it like a you know, like

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Speaker 2: a rich, lovely world full of identifiable characters that are

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Speaker 2: you know fully human, But it takes sort of a

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Speaker 2: half step in that direction. It is less barren of

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Speaker 2: humanity than your standard Lovecraft story would be.

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Speaker 5: Yeah.

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Speaker 1: Now, Lovecraft lived eighteen ninety through nineteen thirty seven, pole

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Speaker 1: horror author and one of the major voices of the

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Speaker 1: Weird Tales era, who became more influential and famous after

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Speaker 1: his death. His work has left an undeniable mark on

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Speaker 1: modern horror, but modern horror fans have had to contend

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Speaker 1: with the racism in his letters of correspondence as well

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Speaker 1: as in the fabric of many of his tales in

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Speaker 1: the stories themselves. It's one of those things that I

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Speaker 1: feel like it's impossible not to see it once you've

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Speaker 1: seen it, you know. And even in The Dunwich Horror,

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Speaker 1: which I did not reread for the purposes of viewing

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Speaker 1: this film, but even in watching this film, there are

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Speaker 1: elements that are about like people being despised because of

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Speaker 1: their lineage, and it's just impossible to ignore, Like it's

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Speaker 1: just baked into so many of his works totally.

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Speaker 2: And I think that's one of the reasons I would

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Speaker 2: agree with what you said earlier, like I'm not really

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Speaker 2: troubled by lovecraft adaptations not being true to his vision.

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Speaker 2: I mean, I think you can probably take a lot

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Speaker 2: of what's like cool about the monstrous and imaginative qualities

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Speaker 2: of some of his stories and do something else with them,

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Speaker 2: maybe even something better with them.

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Speaker 1: Yeah, in this case, something groovy here. Yeah, so let's

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Speaker 1: talk about the groovy humans involved in acting in this film.

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Speaker 1: The top build star is Sandra d who plays Nancy Wagner,

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Speaker 1: who lived She lived nineteen forty two through two thousand

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Speaker 1: and five. A former child model and teen actor, d

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Speaker 1: was a big deal in the late fifties through the

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Speaker 1: late sixties, known for the title role in nineteen sixty

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Speaker 1: two's Gidget, among others, and this film The Dunwich har

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Speaker 1: was supposed to be part of a comeback for her,

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Speaker 1: but it apparently didn't quite take off, and her work

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Speaker 1: after this film was increasingly sporadic. But she did go

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Speaker 1: on to appear on three episodes of Rod Serling's Night Gallery,

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Speaker 1: which again feels appropriate considering the tone of this film

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Speaker 1: and the tone of Night Gallery.

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Speaker 2: You know what, I thought Sandra d did really good

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Speaker 2: in this movie. I thought her part was a little

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Speaker 2: bit underwritten later in the film, but she does a

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Speaker 2: good job with it.

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Speaker 1: Yeah, I mean, she's very charismatic on the screen. Buy

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Speaker 1: into her into her character, just based largely on DEA's performance.

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Speaker 1: But yeah, her character increasingly feels less dynamic and more

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Speaker 1: powerless and kind of like shuffle to the background of things.

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Speaker 1: So that being said, she does a good job with it.

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Speaker 2: I was gonna say, actually, very much reminds me of

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Speaker 2: the arc of the protagonist in Lords of Salem who.

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Speaker 2: My main problem with that movie is that the protagonist

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Speaker 2: for the second two thirds of the movie becomes mostly catatonic.

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Speaker 1: Oh yeah, I think it was very much a comparison

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Speaker 1: to be made between the character trajectories of both of

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Speaker 1: these these roles in both of these films. All right, well,

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Speaker 1: let's let's talk about Dean Stockwell, then Dean stock Will

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Speaker 1: plays Wilbur Weiteley here. So Dean stock Will live nineteen

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Speaker 1: thirty six through twenty twenty one, and boy, he had

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Speaker 1: a really long career. He started out as a child

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Speaker 1: actor in nineteen forty five and continued acting for the

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Speaker 1: next seventy years. His last screen credit was in twenty fifteen.

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Speaker 1: So some two hundred and four screen credits. Wow, So,

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Speaker 1: as you might imagine, there's a why hold on, hold on.

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Speaker 2: Sorry, I have to ask, is that counting each individual

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Speaker 2: episode of Quantum Leap separately or just as one credit?

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Speaker 1: Just as one credit? Yeah? Wow, yeah, because yeah Quantum Leap.

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Speaker 1: Of course, because he did a fair amount of TV work,

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Speaker 1: And so I think a lot of people when you

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Speaker 1: think of Dean stockwell, you probably think of his character

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Speaker 1: Al the hologram on Quantum Leap. The guy who appears

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Speaker 1: to you and helps helps you figure out what you've

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Speaker 1: got to do in this weird sci fi reincarnation serial

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Speaker 1: situation in order to keep passing on through other people's lives.

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Speaker 1: I was a big fan of Quantum Leap. I remember

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Speaker 1: we would it was like a show that my family

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Speaker 1: would watch. We would watch it together whenever it was on.

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Speaker 1: That's fond memories of that.

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Speaker 2: I think that was another one that I sometimes saw

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Speaker 2: at hotel cable like Cocation, because they did reruns of

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Speaker 2: it on the Sci Fi channel.

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Speaker 1: Right, Oh, did they Okay? I think yeah, I think

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Speaker 1: you're right. I think you're right. So Stockwell did a

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Speaker 1: lot of Western's early on again, a lot of TV work.

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Speaker 1: He did the hippie picture psych Out in nineteen sixty

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Speaker 1: eight opposite Jack Nicholson. He was also in Dennis Hopper's

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Speaker 1: The Last Movie in nineteen seventy one, so to a

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Speaker 1: certain extent he seems to have been very much a

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Speaker 1: part of that. Nicholson Hopper dern Fond a scene of

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Speaker 1: the late sixties early seventies. In the mid eighties, he

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Speaker 1: had this sudden film resurgence, appearing in Vim Vender's Paris,

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Speaker 1: Texas in nineteen eighty four, as well as David Lynch's

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Speaker 1: Dune in nineteen eighty four, in which he played doctor U.

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Speaker 2: Oh yeah, I forgot he was in Dune.

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Speaker 1: Yeah. Yeah, he's got the mustache, he's got the mark

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Speaker 1: on the forehead. In nineteen eighty five, he was in

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Speaker 1: William Fredkins To Live and Die in La. Subsequent films

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Speaker 1: include Blue Velvet, Beverly Hills Cop two. He also had

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Speaker 1: a memorable role in the nineteen eighty eight Jonathan Demi

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Speaker 1: comedy Married to the Mob, in which he played a mobster.

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Speaker 1: I think it was something like Tony the Tiger or

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Speaker 1: something was his name, But yeah on TV though, I

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Speaker 1: think he's best remembered for Al and Quantum Leap. He

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Speaker 1: also later had a fun recurring role on the Battlestar

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Speaker 1: Galactica reboot as a John Cavell, and he did an

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Speaker 1: episode of Night Gallery.

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Speaker 2: So a weird fact I came across while while reading

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Speaker 2: about this movie, Dean Stockwell was in a second movie

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Speaker 2: adaptation of the Dunwich Horror of the novella. This movie

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Speaker 2: is based on It's one from two thousand and eight

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Speaker 2: that looks truly dreadful, but in this one, he's like,

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Speaker 2: he switches roles. So in this movie he plays the

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Speaker 2: guy who's trying to summon the demons, and in the

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Speaker 2: two thousand and eight movie he plays the professor who

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Speaker 2: has to battle that guy in the end. So it's

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Speaker 2: basically a switch from like playing Macbeth to playing McDuff.

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Speaker 2: And this adaptation is set in Louisiana, which what can

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Speaker 2: you really separate the stony New englandness from this story

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Speaker 2: that seems absolutely crucial to that seems like trying to

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Speaker 2: set the shining in Louisiana.

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Speaker 1: Well you say that, but then again, this film was

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Speaker 1: the dunwichar from nineteen seventy was filmed in coastal northern California.

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Speaker 2: So oh, that makes sense given it, and it works, but.

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Speaker 1: Then again it works for this film, but yeah, it

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Speaker 1: doesn't feel particularly like New England now. I will also

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Speaker 1: mention that Dean was the son of actor Harry Stockwell, who,

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Speaker 1: among other things, was the voice of the Prince in

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Speaker 1: Disney snow White, the classic snow White animated film, and

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Speaker 1: Dean's older brother, Guy was also an actor, appearing in

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Speaker 1: such films as Santa San Gria and also nineteen sixty

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Speaker 1: five's the Warlord. He played the villain in that opposite

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Speaker 1: Charlton Heston. Now you mentioned the professor that the battles

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Speaker 1: Wilbur This is Professor Armitage, doctor or doctor Henry Armitage,

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Speaker 1: as he's referencing the credits for Dunwich Horror and in

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Speaker 1: this film, this character is played by Ed Bagley Senior,

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Speaker 1: who lived nineteen one through nineteen seventy. So he's the

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Speaker 1: hero of the picture. Philosophy professor at I believe from Missicatonic. Yeah, yeah,

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Speaker 1: I don't know if this is like the California branch

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Speaker 1: of the college or he's visiting.

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Speaker 2: It's not really explored. Yeah, Miskatonic University, Riverside.

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Speaker 1: Yeah, so Ed Bagley Senior. As you may notice, this

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Speaker 1: is of course Ed Bangley Junior's dad. He was nearly

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Speaker 1: seventy years old during this film, and it definitely shows

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Speaker 1: he has very much the feel of an older guy

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Speaker 1: in this which I think is rather fitting because we

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Speaker 1: talked about sort of the themes of generational tug of

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Speaker 1: war in this picture. You know that it's about the

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Speaker 1: old people telling the young people they shouldn't do things,

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Speaker 1: and and ultimately it feels like it has this. You know,

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Speaker 1: it makes sense that that armitage would be this grandfatherly

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Speaker 1: character who's trying to protect young Sandra d from the

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Speaker 1: dangers posed by hippie sorcerers.

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Speaker 2: Oh yeah, I can see that. And well, even though

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Speaker 2: Ed Begley is supposed to be on the side of

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Speaker 2: good at the end of this at the end of

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Speaker 2: this movie, he plays so well into the cranky old

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Speaker 2: man archetype. I mean, and I think he was often

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Speaker 2: type cast that way. I'm not I haven't seen all

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Speaker 2: of his movie, but like, for example, in Twelve Angry Men,

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Speaker 2: he plays like the worst duror. You know, he's like

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Speaker 2: the racist one, he's the he's the like nasty old

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Speaker 2: guy who they eventually went over in the end, but

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Speaker 2: like it becomes clear that he's just like a mean

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Speaker 2: old crank, and he can play a mean old crank.

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Speaker 1: M yeah. I don't know that I've really seen him

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Speaker 1: in much, or I at least don't remember him for much,

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Speaker 1: but he was a major actor. He won an Academy

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Speaker 1: Award for Best Supporting Actor for his performance in nineteen

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Speaker 1: sixty two Sweet Bird of Youth. You already mentioned fifty

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Speaker 1: seven is Twelve Angry Men, he was also in The

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Speaker 1: Unsinkable Molly Brown in nineteen sixty four, and he was

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Speaker 1: nominated for an Emmy Award for Inherit the Wind?

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Speaker 2: Oh who did he play? And Inherit the Wind was he?

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Speaker 1: Was he Darrow or a caveman? I think it's been watsin? Oh?

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Speaker 2: Okay, no, I just looked it up. It was in

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Speaker 2: not the original movie adaptation with Spencer Tracy, but another

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Speaker 2: one they did for TV. And Ed Begley plays plays

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Speaker 2: Matthew Brady, who is the character based on William Jennings Bryan. Okay,

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Speaker 2: so he's the do not teach evolution guy.

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Speaker 1: Okay, well, that falls in line with your basic argument

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Speaker 1: here though that he tended to play the cranky antagonist.

431
00:23:50,080 --> 00:23:52,320
Speaker 2: But yeah, so something about it does work in this movie,

432
00:23:52,400 --> 00:23:56,000
Speaker 2: like you're saying, because I think because the like the

433
00:23:56,119 --> 00:23:59,399
Speaker 2: evil visions are inflected with this kind of like youth

434
00:23:59,560 --> 00:24:03,880
Speaker 2: and counterculture hippie strangeness that in the end the day

435
00:24:04,000 --> 00:24:06,840
Speaker 2: is saved by just like a like a grumpy old crank.

436
00:24:07,560 --> 00:24:09,640
Speaker 1: Yeah, an old guy who's like, you get your hands

437
00:24:09,680 --> 00:24:12,520
Speaker 1: off the necronomicon. That's that's not for young folks, that's

438
00:24:12,560 --> 00:24:15,359
Speaker 1: for us old, right, that's not for the common folk.

439
00:24:15,400 --> 00:24:17,919
Speaker 1: That's for the professors like me. That's why we behinde

440
00:24:17,920 --> 00:24:22,720
Speaker 1: the Necronomicon behind a paywall. I get to study it.

441
00:24:22,800 --> 00:24:23,240
Speaker 1: You don't.

442
00:24:23,880 --> 00:24:26,200
Speaker 2: But this is literally a conflict in the movie. Like

443
00:24:26,320 --> 00:24:29,679
Speaker 2: early on, Dean Stockwell and Ed Begley have an argument

444
00:24:29,760 --> 00:24:32,680
Speaker 2: about whether whether he can like look at the Necronomicon,

445
00:24:32,760 --> 00:24:34,120
Speaker 2: and Ed Begley's.

446
00:24:33,720 --> 00:24:34,960
Speaker 1: Just like, no, it's not for it.

447
00:24:35,160 --> 00:24:36,000
Speaker 2: It's not for you to do.

448
00:24:36,680 --> 00:24:38,640
Speaker 1: It's for me. It's for my study. It's like, yeah,

449
00:24:38,680 --> 00:24:40,159
Speaker 1: he's not of the mind like, no one should look

450
00:24:40,200 --> 00:24:42,240
Speaker 1: at the Necronomicon, you know, no one, not one of those.

451
00:24:42,720 --> 00:24:44,720
Speaker 1: He's like, oh, I should totally look at it. It's

452
00:24:44,840 --> 00:24:45,600
Speaker 1: this is my thing.

453
00:24:46,200 --> 00:24:48,040
Speaker 2: Well, we can discuss this when we get more into

454
00:24:48,080 --> 00:24:51,159
Speaker 2: the plot. But I think the idea is Ed Begley

455
00:24:51,240 --> 00:24:54,920
Speaker 2: believes Dean Stockwell's interests in it or not purer, which

456
00:24:55,080 --> 00:24:57,400
Speaker 2: he's correct in actually true true.

457
00:24:58,720 --> 00:25:03,000
Speaker 1: Okay, So Wilbur Weightly's father is Old Weighty, and he's

458
00:25:03,000 --> 00:25:06,199
Speaker 1: played by Sam Jaffey, who lived eighteen ninety one through

459
00:25:06,760 --> 00:25:10,520
Speaker 1: nineteen eighty four, character actor known for roles in The

460
00:25:10,600 --> 00:25:13,800
Speaker 1: Asphalt Jungle, The Day the Earth Stood Still, Bed Knobs

461
00:25:13,840 --> 00:25:17,320
Speaker 1: and Broomsticks and Ben Her and you better know he

462
00:25:17,359 --> 00:25:19,760
Speaker 1: appeared in an episode of The Night Gallery.

463
00:25:20,119 --> 00:25:22,160
Speaker 2: Now you know. One of the actors I was most

464
00:25:22,240 --> 00:25:25,479
Speaker 2: surprised to see in this movie was that Talia Shire

465
00:25:25,600 --> 00:25:28,560
Speaker 2: shows up in a very small role. She plays a

466
00:25:29,240 --> 00:25:34,200
Speaker 2: receptionist in a doctor's office who sort of passes along

467
00:25:34,440 --> 00:25:39,200
Speaker 2: some general folk town knowledge about the evil of the

468
00:25:39,240 --> 00:25:42,720
Speaker 2: Weightly family and how you know you better stay away

469
00:25:42,760 --> 00:25:45,200
Speaker 2: from them. But I guess this makes sense because I

470
00:25:45,280 --> 00:25:47,080
Speaker 2: was like, man, this is a strange role. But this

471
00:25:47,320 --> 00:25:49,480
Speaker 2: was before The Godfather Rocky.

472
00:25:49,359 --> 00:25:53,320
Speaker 1: Right, Yeah, this was only her second film credit. But yeah,

473
00:25:53,400 --> 00:25:56,960
Speaker 1: she would go on to play Adrian. She's Adrian. She's

474
00:25:57,000 --> 00:25:59,760
Speaker 1: the one that Rocky is where you'll like about yea,

475
00:26:00,040 --> 00:26:02,280
Speaker 1: He's Connie and The Godfather. She was in a ton

476
00:26:02,400 --> 00:26:06,840
Speaker 1: of other movies, including the nineteen seventy nine mutant bear

477
00:26:06,960 --> 00:26:10,600
Speaker 1: film Prophecy, which of course also stars our favorite work

478
00:26:10,640 --> 00:26:12,960
Speaker 1: beast Robert Foxworth.

479
00:26:13,240 --> 00:26:17,200
Speaker 2: Ferk Based maybe we should start making a list of

480
00:26:17,320 --> 00:26:20,560
Speaker 2: the movies that most often get mentioned with crossover. I

481
00:26:20,640 --> 00:26:22,720
Speaker 2: feel like Prophecy somehow comes up a lot.

482
00:26:23,160 --> 00:26:26,120
Speaker 1: Yeah, I guess we've got to do Prophecy at some point,

483
00:26:26,760 --> 00:26:30,199
Speaker 1: just because it keeps coming up. It's this collection picture

484
00:26:30,280 --> 00:26:32,280
Speaker 1: that it just collects all these other actors that we

485
00:26:32,440 --> 00:26:35,639
Speaker 1: keep referring to, and I guess it's one that I've

486
00:26:35,760 --> 00:26:39,479
Speaker 1: never seen myself. But the VHS cover is like firmly

487
00:26:39,560 --> 00:26:41,639
Speaker 1: fixed in my head because it has this like mutant

488
00:26:41,720 --> 00:26:44,919
Speaker 1: bear in sort of this embryotic state. All right, well,

489
00:26:44,960 --> 00:26:46,720
Speaker 1: let's talk about the music in this film, because this

490
00:26:47,520 --> 00:26:50,240
Speaker 1: I was really excited for because the music once more

491
00:26:50,960 --> 00:26:53,880
Speaker 1: is by Les Baxter, who lived nineteen twenty two through

492
00:26:54,000 --> 00:26:57,040
Speaker 1: nineteen sixty six. We've discussed him a few different times.

493
00:26:57,080 --> 00:27:00,280
Speaker 1: This is the king of exotica music. He did the

494
00:27:00,440 --> 00:27:04,720
Speaker 1: effective jazzy score in Mario Bava's Black Sabbath. He also

495
00:27:04,800 --> 00:27:09,320
Speaker 1: did the very minimal electric blooping frog noise score for

496
00:27:09,600 --> 00:27:13,960
Speaker 1: the film Frog. Okay, what always happens is Baxter comes

497
00:27:14,040 --> 00:27:16,240
Speaker 1: up and I mentioned, well, okay, Baxter's got all this

498
00:27:16,359 --> 00:27:20,240
Speaker 1: excellent exotica work that he did, and then I'll say

499
00:27:20,320 --> 00:27:22,520
Speaker 1: something to the effect of, well, but this isn't really

500
00:27:22,520 --> 00:27:25,680
Speaker 1: an exotica score or anything. Because Baxter did a number

501
00:27:25,680 --> 00:27:28,399
Speaker 1: of B movie scores and then it went on to

502
00:27:28,480 --> 00:27:31,520
Speaker 1: compose music for SeaWorld. When scorework kind of dried up

503
00:27:31,600 --> 00:27:34,320
Speaker 1: for him, So I think his work is probably better

504
00:27:34,440 --> 00:27:38,000
Speaker 1: understood as a professional output rather than anything like, hey,

505
00:27:38,320 --> 00:27:41,200
Speaker 1: let's get that exotica guy to do this film because

506
00:27:41,200 --> 00:27:44,359
Speaker 1: we want an exotica score. But with Dunwich Horror, I

507
00:27:44,400 --> 00:27:48,760
Speaker 1: think the elements of weird pagan ceremonies and it really

508
00:27:48,840 --> 00:27:51,639
Speaker 1: provided a reason for some of those exotica elements to

509
00:27:51,720 --> 00:27:55,080
Speaker 1: flare up. So we have this fun mix of nineteen

510
00:27:55,160 --> 00:27:59,359
Speaker 1: seventies cinematic jazz. We have Eastern motifs, we have weird

511
00:27:59,520 --> 00:28:04,159
Speaker 1: theram and electronic sound effects. We have foreboding drums and

512
00:28:04,359 --> 00:28:10,359
Speaker 1: blaring horns. It very much feels like jazz cigarette rolled

513
00:28:10,400 --> 00:28:12,639
Speaker 1: with a paid for an acronomicon here. You know.

514
00:28:12,760 --> 00:28:14,880
Speaker 2: I thought one of the sonic elements of this movie

515
00:28:15,480 --> 00:28:18,560
Speaker 2: that was especially effective, And I don't know if Les

516
00:28:18,640 --> 00:28:20,880
Speaker 2: Baxter did this part I would assume he at least

517
00:28:20,920 --> 00:28:25,600
Speaker 2: partially did, was that when you are seeing the evil

518
00:28:25,680 --> 00:28:28,879
Speaker 2: twin brother from the house. I guess would this be

519
00:28:29,080 --> 00:28:31,879
Speaker 2: the titular Dunwich Horror or just the horror refer to

520
00:28:32,560 --> 00:28:35,480
Speaker 2: like this guy or like the whole sort of situation.

521
00:28:35,840 --> 00:28:36,360
Speaker 2: I'm not sure.

522
00:28:36,720 --> 00:28:38,680
Speaker 1: I always took it to mean like the whole situation,

523
00:28:39,360 --> 00:28:42,840
Speaker 1: but I think it could apply specifically to the brother.

524
00:28:43,120 --> 00:28:46,280
Speaker 2: Yeah, so the twin brother. There is this monstrous twin

525
00:28:46,400 --> 00:28:48,280
Speaker 2: brother who is sort of the Hugo, if you will,

526
00:28:48,400 --> 00:28:51,520
Speaker 2: the Hugo of the film, who's behind a rattling door

527
00:28:51,640 --> 00:28:53,680
Speaker 2: for most of the movie, but later on in the

528
00:28:53,720 --> 00:28:56,160
Speaker 2: film he gets out and that's when when things really

529
00:28:56,200 --> 00:28:59,440
Speaker 2: get wild. But so when he gets out, we sort

530
00:28:59,480 --> 00:29:03,040
Speaker 2: of see Hugo caam and so we're seeing from his

531
00:29:03,240 --> 00:29:06,760
Speaker 2: perspective as he floats around over the landscape looking for

532
00:29:07,080 --> 00:29:11,280
Speaker 2: people to terrorize. And in those sequences or when you're

533
00:29:11,320 --> 00:29:13,840
Speaker 2: seeing people and you just know that the twin brother

534
00:29:14,000 --> 00:29:18,000
Speaker 2: is near, there's just this steady, ominous chord and a

535
00:29:18,200 --> 00:29:22,959
Speaker 2: slow kind of heartbeat rhythm. I know that sounds very

536
00:29:23,000 --> 00:29:26,360
Speaker 2: standard for horror movies, but it works really well in

537
00:29:26,440 --> 00:29:28,920
Speaker 2: this one. I always really liked the sound in those scenes.

538
00:29:29,680 --> 00:29:29,880
Speaker 6: Yeah.

539
00:29:30,000 --> 00:29:31,480
Speaker 1: I mean, I think a huge part of it is,

540
00:29:31,640 --> 00:29:35,520
Speaker 1: first of all, they're adapting a story about essentially an

541
00:29:35,600 --> 00:29:39,360
Speaker 1: evil brother who's an invisible space blob. So if you're

542
00:29:39,400 --> 00:29:43,080
Speaker 1: going to try and portray that accurately, you're already limited.

543
00:29:43,200 --> 00:29:45,480
Speaker 1: So a lot of what they do is based in

544
00:29:45,680 --> 00:29:48,600
Speaker 1: sound and then also in like weird colors and stuff.

545
00:29:49,440 --> 00:29:52,040
Speaker 1: So the sound is essential here. And I don't know

546
00:29:52,200 --> 00:29:54,840
Speaker 1: for certain, but I suspect this was totally Baxter's deal

547
00:29:54,920 --> 00:29:58,040
Speaker 1: as well, for no other reason because it lines up

548
00:29:58,080 --> 00:30:02,080
Speaker 1: with his work in Frogs, which is almost entirely you know,

549
00:30:02,480 --> 00:30:06,120
Speaker 1: electronic and like minimal ambient in that regard. Now, I

550
00:30:06,160 --> 00:30:08,480
Speaker 1: don't think the score for this film is widely available

551
00:30:08,560 --> 00:30:11,000
Speaker 1: in digital or physical form right now, but it has

552
00:30:11,080 --> 00:30:14,040
Speaker 1: been released over the years, and it was originally released

553
00:30:14,080 --> 00:30:17,400
Speaker 1: on vinyl in nineteen seventy under the title and I

554
00:30:17,520 --> 00:30:21,400
Speaker 1: Kid you Not Music of the Devil God Cult Strange

555
00:30:21,560 --> 00:30:26,760
Speaker 1: Sounds from Dunwich and then it it's just it's a

556
00:30:26,880 --> 00:30:29,720
Speaker 1: wonderful title, like they seem to be going like further away,

557
00:30:29,720 --> 00:30:31,600
Speaker 1: like it's not just hey, here's the score for the

558
00:30:31,640 --> 00:30:34,280
Speaker 1: dunwichar by Less Baxter, like they no, here is the

559
00:30:34,440 --> 00:30:36,080
Speaker 1: music of that Devil God Cult.

560
00:30:36,520 --> 00:30:40,920
Speaker 2: And the cover of the album is just Dean Stockwell's

561
00:30:40,960 --> 00:30:43,360
Speaker 2: face with his eyes so wide it looks like his

562
00:30:43,440 --> 00:30:44,480
Speaker 2: head's gonna explode.

563
00:30:45,120 --> 00:30:47,480
Speaker 1: Yeah, this is one of this wonderful pose that he

564
00:30:47,560 --> 00:30:50,200
Speaker 1: does where he puts his his hands to either side

565
00:30:50,240 --> 00:30:53,240
Speaker 1: of his face while they're crossed. During one of his

566
00:30:53,320 --> 00:30:55,880
Speaker 1: many yog Sagath chants.

567
00:30:56,080 --> 00:30:59,120
Speaker 2: Oh yeah, I like that. So he puts his hands

568
00:30:59,200 --> 00:31:01,040
Speaker 2: up beside his head and he's got a ring on

569
00:31:01,120 --> 00:31:03,760
Speaker 2: each pinky, so it's like he's got a second pair

570
00:31:03,800 --> 00:31:07,280
Speaker 2: of eyes almost. But also the way his hands are

571
00:31:07,280 --> 00:31:10,240
Speaker 2: out flat beside his face, he looks like a cobra flaring.

572
00:31:10,360 --> 00:31:14,400
Speaker 1: It's it's hood, yeah, it's it's it's it's excellent. It's

573
00:31:14,440 --> 00:31:17,640
Speaker 1: it's a great pose. Maybe maybe my wife will let

574
00:31:17,680 --> 00:31:20,160
Speaker 1: me use this pose and in the next photo.

575
00:31:23,040 --> 00:31:24,520
Speaker 2: Yeah, that'd be good for the Christmas card.

576
00:31:24,840 --> 00:31:27,960
Speaker 1: Yeah, So yeah, I would say that in general this

577
00:31:28,080 --> 00:31:30,720
Speaker 1: movie is excellent from an audio standpoint. I watched it

578
00:31:30,840 --> 00:31:33,760
Speaker 1: with with earbuds in and I felt like the weird

579
00:31:33,920 --> 00:31:36,720
Speaker 1: sounds were just kind of like rolling around me in

580
00:31:36,840 --> 00:31:39,280
Speaker 1: like three D audio. It has this these great dark

581
00:31:39,360 --> 00:31:43,600
Speaker 1: ambient stretches. It has some wonderful like like you know,

582
00:31:43,840 --> 00:31:47,920
Speaker 1: cosmic horror jazz going on, uh, which which I I

583
00:31:48,040 --> 00:31:50,960
Speaker 1: absolutely loved. So this is yeah, this is this is

584
00:31:51,000 --> 00:31:54,120
Speaker 1: a wonderful score, and I really hope someone puts it

585
00:31:54,200 --> 00:31:56,520
Speaker 1: out again, not only digitally, but like all these like

586
00:31:56,640 --> 00:31:58,840
Speaker 1: crazy vinyls that we often touch on that come out

587
00:31:58,920 --> 00:32:00,960
Speaker 1: to re release these very scores, like, oh man, you

588
00:32:01,000 --> 00:32:03,360
Speaker 1: could go in so many fun directions with this.

589
00:32:03,880 --> 00:32:07,360
Speaker 2: Yeah, I agree. I really enjoyed the music. The whole

590
00:32:07,400 --> 00:32:10,160
Speaker 2: audio landscape I thought was a highlight of the movie.

591
00:32:19,200 --> 00:32:21,560
Speaker 1: All right, Well, let's get into the plot for this baby.

592
00:32:21,800 --> 00:32:24,880
Speaker 2: All right, So this movie begins with a pre credit sequence,

593
00:32:24,960 --> 00:32:27,560
Speaker 2: but it has some amazing animations that go along with

594
00:32:27,640 --> 00:32:29,280
Speaker 2: the credits. We should talk about those in the second

595
00:32:29,320 --> 00:32:31,920
Speaker 2: But before we get to that, there is this pre

596
00:32:32,080 --> 00:32:36,000
Speaker 2: credit sequence where there's like a bunch of witches in

597
00:32:36,120 --> 00:32:39,240
Speaker 2: a bedroom. It's kind of the it's kind of Rosemary's

598
00:32:39,320 --> 00:32:43,520
Speaker 2: Baby ending scene, almost some witches in a bedroom and

599
00:32:43,760 --> 00:32:47,240
Speaker 2: like a lady maybe going to give birth or having

600
00:32:47,280 --> 00:32:51,800
Speaker 2: given birth. And the problem with this scene is all

601
00:32:51,880 --> 00:32:56,720
Speaker 2: of the characters are being drastically upstaged by the decorps

602
00:32:56,960 --> 00:33:01,800
Speaker 2: in the rooms, which is just the busiest purple wallpaper

603
00:33:01,920 --> 00:33:06,000
Speaker 2: I've ever seen, and like weird clocks that look like

604
00:33:06,040 --> 00:33:09,080
Speaker 2: they're made out of like they're like, you know, trash sculpture,

605
00:33:10,520 --> 00:33:16,280
Speaker 2: strange framed photos, weird like popping sconces and sculptures everywhere.

606
00:33:16,720 --> 00:33:20,840
Speaker 2: This house is awesome, but the interior decoration is so

607
00:33:21,200 --> 00:33:23,280
Speaker 2: busy it's almost funny.

608
00:33:24,080 --> 00:33:27,840
Speaker 1: Yeah, yeah, it is. It is an intensely decorated house

609
00:33:27,960 --> 00:33:30,600
Speaker 1: that they use for this film, and that, like the

610
00:33:30,720 --> 00:33:33,760
Speaker 1: color scheme is wonderful. It's got like these weird purples

611
00:33:33,840 --> 00:33:35,360
Speaker 1: going on. I love it now.

612
00:33:35,440 --> 00:33:38,160
Speaker 2: I guess we're just supposed to assume that something ominous

613
00:33:38,240 --> 00:33:41,760
Speaker 2: has happened in the scene. But after the scene we

614
00:33:42,040 --> 00:33:45,160
Speaker 2: go to the credits, and the credits are wonderful. They

615
00:33:45,200 --> 00:33:49,640
Speaker 2: are these blue and black silhouette animations where we're like,

616
00:33:50,040 --> 00:33:52,800
Speaker 2: we're watching all these scenes. For example, there are like

617
00:33:52,880 --> 00:33:55,720
Speaker 2: these little figures that look like wizards of some kind

618
00:33:55,920 --> 00:33:59,600
Speaker 2: running around on a blue background over the solid black terrain,

619
00:34:00,440 --> 00:34:01,920
Speaker 2: and then we kind of get a zoom out and

620
00:34:01,960 --> 00:34:05,360
Speaker 2: it turns out that the terrain is not ground, but

621
00:34:05,440 --> 00:34:10,160
Speaker 2: it's like muscles on a giant horned devil body, which

622
00:34:10,320 --> 00:34:12,520
Speaker 2: was great. But then they're also I don't know, there's

623
00:34:12,560 --> 00:34:15,279
Speaker 2: just great imagery in it, like these weird trees and

624
00:34:15,360 --> 00:34:19,040
Speaker 2: a big snakehead, and then a guy who I got

625
00:34:19,200 --> 00:34:22,440
Speaker 2: to say, in his pose with his big cloak and

626
00:34:22,520 --> 00:34:25,720
Speaker 2: staff looks way too much like the Master from Manos

627
00:34:25,760 --> 00:34:26,439
Speaker 2: The Hands of Fate.

628
00:34:26,920 --> 00:34:30,880
Speaker 1: But that's Okay, I agree that the opening credits for

629
00:34:30,960 --> 00:34:34,240
Speaker 1: this are really fabulous. They also kind of tell a story,

630
00:34:34,320 --> 00:34:35,880
Speaker 1: like they kind of fill you in and get you

631
00:34:35,960 --> 00:34:39,920
Speaker 1: prepared for what's happening. It's about some sort of you know,

632
00:34:40,000 --> 00:34:44,640
Speaker 1: presented story about a miraculous birth and you know, the

633
00:34:44,680 --> 00:34:46,560
Speaker 1: coming of a sorcerer and so forth.

634
00:34:46,840 --> 00:34:49,560
Speaker 2: It's it's nice, but okay, we cut from here to

635
00:34:50,120 --> 00:34:53,360
Speaker 2: a modern university. It's like a university campus again. I

636
00:34:53,400 --> 00:34:57,880
Speaker 2: guess this is supposed to be the infamous Miskatonic University,

637
00:34:58,440 --> 00:35:02,760
Speaker 2: and we see Ed Begley as this character, Professor Henry Armitage.

638
00:35:02,920 --> 00:35:06,160
Speaker 2: He's walking with some students, having just given a lecture

639
00:35:06,800 --> 00:35:10,719
Speaker 2: on this book. The book is the Necronomicon. It is

640
00:35:10,880 --> 00:35:14,880
Speaker 2: this tone of ancient evil that is stored in a

641
00:35:14,920 --> 00:35:16,880
Speaker 2: glass case in the Miskatonic library.

642
00:35:17,120 --> 00:35:18,560
Speaker 1: Yeah, plain sight of everything.

643
00:35:19,200 --> 00:35:23,640
Speaker 2: Yeah, and he well, I don't know if you understood

644
00:35:23,640 --> 00:35:26,800
Speaker 2: it the same way. My read on this was that

645
00:35:28,000 --> 00:35:33,719
Speaker 2: the Armitage character doesn't necessarily believe that the like spells

646
00:35:33,800 --> 00:35:36,080
Speaker 2: in the book would actually work, or I was a

647
00:35:36,120 --> 00:35:38,279
Speaker 2: little unclear on that, but he seems to have some

648
00:35:38,520 --> 00:35:43,560
Speaker 2: kind of cautious respect for this book and its power,

649
00:35:43,680 --> 00:35:46,399
Speaker 2: even if he doesn't fully buy into magic or any

650
00:35:46,480 --> 00:35:47,280
Speaker 2: such nonsense.

651
00:35:48,040 --> 00:35:51,359
Speaker 1: Yeah, he is, I mean again thinking of putting kind

652
00:35:51,400 --> 00:35:53,440
Speaker 1: of like a generational conflict read on all of this.

653
00:35:53,560 --> 00:35:56,040
Speaker 1: It's kind of like he's evaluating the hippie culture. And

654
00:35:56,080 --> 00:35:59,720
Speaker 1: he's like, I don't actually believe in you know, Eastern

655
00:35:59,760 --> 00:36:03,600
Speaker 1: real religion. I don't believe that you know that in

656
00:36:03,719 --> 00:36:07,040
Speaker 1: all these beneficial, you know, powers that the young people

657
00:36:07,120 --> 00:36:09,920
Speaker 1: say that these you know that these various drugs have.

658
00:36:10,200 --> 00:36:12,960
Speaker 1: I don't believe in their music, but I believe that

659
00:36:13,040 --> 00:36:15,440
Speaker 1: all these things are dangerous and can hurt them, and

660
00:36:15,480 --> 00:36:18,239
Speaker 1: therefore I need to protect them from those influences.

661
00:36:18,920 --> 00:36:20,160
Speaker 2: Oh yeah, I could see that.

662
00:36:20,800 --> 00:36:20,960
Speaker 1: Well.

663
00:36:21,000 --> 00:36:24,920
Speaker 2: So anyway, sander D who plays a character named Nancy,

664
00:36:25,160 --> 00:36:29,239
Speaker 2: and her friend Elizabeth is that her friend's name, I

665
00:36:29,360 --> 00:36:32,680
Speaker 2: think so they're apparently students who have been attending these lectures,

666
00:36:32,760 --> 00:36:35,920
Speaker 2: so I guess they're interested in ancient evil tomes and

667
00:36:36,280 --> 00:36:39,600
Speaker 2: uh and and Ed Begley hands off the Necronomicon to

668
00:36:39,680 --> 00:36:41,560
Speaker 2: sander D. He's like, take this back to the library,

669
00:36:41,640 --> 00:36:45,200
Speaker 2: and she's like, okay, uh. But while she's taking it back,

670
00:36:45,600 --> 00:36:48,839
Speaker 2: Dean Stockwell shows up, and he is from the very

671
00:36:48,880 --> 00:36:54,120
Speaker 2: first moment. This this powerful combination of suave and unsettling.

672
00:36:54,760 --> 00:36:57,239
Speaker 2: You know, is he is he a smooth operator or

673
00:36:57,360 --> 00:36:59,839
Speaker 2: is he a dangerous creep? Seems like he's both.

674
00:37:00,520 --> 00:37:03,440
Speaker 1: Yeah. Yeah, he really walks that line. It's it's a

675
00:37:03,480 --> 00:37:05,719
Speaker 1: great performance. There's a lot of a lot of him

676
00:37:06,040 --> 00:37:12,880
Speaker 1: staring intently at characters and talking very calmly about, you know,

677
00:37:12,960 --> 00:37:16,160
Speaker 1: either about some sort of esoteric topic or in this case,

678
00:37:16,400 --> 00:37:18,920
Speaker 1: he's just like, oh, yes, I understand, but can I

679
00:37:19,040 --> 00:37:21,360
Speaker 1: see the Necronomicon? Like he's very insistent.

680
00:37:22,440 --> 00:37:25,920
Speaker 2: Yeah, he really wants to borrow the Necronomicon for five minutes.

681
00:37:26,200 --> 00:37:29,040
Speaker 1: Yeah, And she's like, she's finally like, oh yeah, okay,

682
00:37:29,120 --> 00:37:31,120
Speaker 1: you can, just don't take it into the bathroom. Oh.

683
00:37:31,160 --> 00:37:34,480
Speaker 2: And also, sander Dee immediately has a crush on Dean Stockwell.

684
00:37:35,160 --> 00:37:36,960
Speaker 2: She and she and her friend are like, wow, did

685
00:37:37,000 --> 00:37:38,840
Speaker 2: you see his eyes. He's got great eyes.

686
00:37:39,120 --> 00:37:40,560
Speaker 1: Yeah, he's got his father's eyes.

687
00:37:41,640 --> 00:37:44,480
Speaker 2: So Dean Stockwell takes this book and I think he

688
00:37:44,560 --> 00:37:46,479
Speaker 2: goes to a side room or something and he's reading

689
00:37:46,520 --> 00:37:49,560
Speaker 2: aloud from it, and he's he's just enraptured. He's reading

690
00:37:49,600 --> 00:37:53,439
Speaker 2: these lines about yogs of Thoth and various prophecies about

691
00:37:53,520 --> 00:37:56,600
Speaker 2: gates and old ones and so forth. But then Ed

692
00:37:56,680 --> 00:37:59,520
Speaker 2: Begley shows up and he's like, the book please. I

693
00:37:59,600 --> 00:38:02,479
Speaker 2: beg does not like this screwing around this. This book

694
00:38:02,520 --> 00:38:06,640
Speaker 2: needs to go immediately back to its display case. So

695
00:38:06,920 --> 00:38:10,120
Speaker 2: this whole group ends up like going out to a

696
00:38:10,280 --> 00:38:15,759
Speaker 2: bar and grill together to get realisticks and talk about

697
00:38:15,760 --> 00:38:16,440
Speaker 2: ancient evil.

698
00:38:17,080 --> 00:38:19,719
Speaker 1: Yeah. Like there's the conflict is not such that it

699
00:38:19,800 --> 00:38:23,520
Speaker 1: prevents everyone from going out to lunch, which I wish

700
00:38:23,600 --> 00:38:26,600
Speaker 1: more conflicts in films would go like this, where there's

701
00:38:26,640 --> 00:38:29,839
Speaker 1: an initial argument and they're like, well, hey, let's do lunch.

702
00:38:29,920 --> 00:38:30,959
Speaker 1: Let's talk about this further.

703
00:38:31,239 --> 00:38:34,240
Speaker 2: Shall we discuss yogso thought over a shrimp cocktail?

704
00:38:34,440 --> 00:38:34,640
Speaker 1: Yes.

705
00:38:35,800 --> 00:38:38,319
Speaker 2: So while they're all out, you know, talking to each other,

706
00:38:38,440 --> 00:38:42,280
Speaker 2: I think we find out something about Dean Stockwell's character's background.

707
00:38:42,400 --> 00:38:45,719
Speaker 2: He is he's a guy named Wilbur Weighte and he's

708
00:38:45,800 --> 00:38:50,920
Speaker 2: from this famous Weightly family that their family history is

709
00:38:51,160 --> 00:38:55,040
Speaker 2: tied up in the Necronomicon, this evil book. And so

710
00:38:55,520 --> 00:38:58,719
Speaker 2: Wilbur Weightly is the great either the grandson or great

711
00:38:58,760 --> 00:39:00,960
Speaker 2: grandson I think great grand son of a guy named

712
00:39:01,040 --> 00:39:06,160
Speaker 2: Oliver Weightly who was was murdered by the townsfolk of Dunwich.

713
00:39:06,680 --> 00:39:07,560
Speaker 1: I think is done.

714
00:39:07,560 --> 00:39:09,800
Speaker 2: What's supposed to be in Massachusetts.

715
00:39:09,400 --> 00:39:13,840
Speaker 1: Or something like that, Yeah, or in this case, perhaps

716
00:39:15,320 --> 00:39:16,360
Speaker 1: in northern California.

717
00:39:16,440 --> 00:39:21,040
Speaker 2: Yeah, right, But his his great grandfather was murdered by

718
00:39:21,040 --> 00:39:24,640
Speaker 2: the towns folk after having you know, it was mob violence,

719
00:39:24,719 --> 00:39:29,440
Speaker 2: for allegedly having done something very evil. And Dean Stockwell

720
00:39:29,480 --> 00:39:32,200
Speaker 2: wants to borrow the Necronomicon so he can study it

721
00:39:32,400 --> 00:39:34,680
Speaker 2: because he says he's a student of the occult, and

722
00:39:34,840 --> 00:39:37,600
Speaker 2: he says that this book is like the Bible to him.

723
00:39:38,440 --> 00:39:41,840
Speaker 2: And Armitage is not amused by this. He's like, I

724
00:39:42,160 --> 00:39:44,759
Speaker 2: know enough about strange things not to laugh at them,

725
00:39:44,840 --> 00:39:47,920
Speaker 2: and so he won't let the book go and and

726
00:39:48,080 --> 00:39:52,200
Speaker 2: so he heads off. And then Wilbur and Nancy are

727
00:39:52,320 --> 00:39:56,520
Speaker 2: just hanging out Dean Stockwell and sanderde and and Wilbur's like,

728
00:39:56,600 --> 00:39:59,879
Speaker 2: I can't stand pomposity, which is funny because his care

729
00:40:00,440 --> 00:40:03,759
Speaker 2: is extremely pompous. Like there these moments where he is

730
00:40:04,080 --> 00:40:07,719
Speaker 2: just making these grandiose prophecies. I don't remember exactly how

731
00:40:07,760 --> 00:40:10,800
Speaker 2: he phrases them, but I would say that that Wilbur

732
00:40:10,880 --> 00:40:15,399
Speaker 2: gets pompous, Yes, but his is the pomposity of youth, right, yeah,

733
00:40:15,480 --> 00:40:18,439
Speaker 2: which is apparently more acceptable. So it ends up where

734
00:40:18,840 --> 00:40:22,040
Speaker 2: Sandra Dee drives Dean stock Well back to Dunwich because

735
00:40:22,040 --> 00:40:25,080
Speaker 2: he misses his bus, and we get a taste of

736
00:40:25,360 --> 00:40:28,880
Speaker 2: the townsfolk's feelings about him and his family when they

737
00:40:28,920 --> 00:40:32,520
Speaker 2: stop for gas in Dunwich and the gas station attendant

738
00:40:32,560 --> 00:40:35,480
Speaker 2: once he sees Dean Stockwell in the car, he's like, oh, Wilbur,

739
00:40:35,719 --> 00:40:38,040
Speaker 2: I don't want anything. He says, he just wants one

740
00:40:38,120 --> 00:40:40,440
Speaker 2: dollar for the gas, and then he like leaves them alone,

741
00:40:41,000 --> 00:40:44,560
Speaker 2: and apparently the animosity goes both ways. Wilbur does not

742
00:40:44,800 --> 00:40:47,120
Speaker 2: like the townsfolk. He says, they've treated me that way

743
00:40:47,200 --> 00:40:51,520
Speaker 2: since childhood. They're still the same, frightened, superstitious fools.

744
00:40:51,640 --> 00:40:55,200
Speaker 1: And true enough, everything we see of the townspeople from

745
00:40:55,239 --> 00:40:58,920
Speaker 1: here on out like they do seem they do seem awful.

746
00:40:59,400 --> 00:41:02,840
Speaker 1: So i'm i'm, i'm, I'm i'm. When I was watching this,

747
00:41:02,960 --> 00:41:05,000
Speaker 1: I was kind of at times wondering whose side we're

748
00:41:05,040 --> 00:41:08,120
Speaker 1: supposed to be on. So you know, it becomes clear

749
00:41:08,200 --> 00:41:10,360
Speaker 1: that you know, Wilbur does not have great intentions for

750
00:41:10,560 --> 00:41:14,040
Speaker 1: humanity through his dealings here with an acronomicon and it's

751
00:41:14,800 --> 00:41:17,600
Speaker 1: it's forbidden wisdom. But on the other hand, the townspeople suck.

752
00:41:18,040 --> 00:41:20,560
Speaker 1: So I don't know, I don't know who we're supposed

753
00:41:20,560 --> 00:41:23,040
Speaker 1: to be rooting for here. I guess Sandra D. I think.

754
00:41:23,200 --> 00:41:25,600
Speaker 2: I think ultimately the audience is supposed to be on

755
00:41:25,680 --> 00:41:29,520
Speaker 2: the side of Sandra D and her friend and professor Armitage.

756
00:41:29,880 --> 00:41:30,080
Speaker 1: Yeah.

757
00:41:30,600 --> 00:41:34,080
Speaker 2: So anyway, Sandra D comes over to Wilbur's house for

758
00:41:34,360 --> 00:41:36,279
Speaker 2: a cup of tea or something, I think a cup

759
00:41:36,320 --> 00:41:39,400
Speaker 2: of tea, and inside it's immediately clear that this is

760
00:41:39,520 --> 00:41:41,719
Speaker 2: the house that the pre credit sequence took place in,

761
00:41:42,080 --> 00:41:46,400
Speaker 2: because again, the busiest decor of any house ever. And

762
00:41:46,760 --> 00:41:49,840
Speaker 2: I don't recall if it's like this in the novella.

763
00:41:50,200 --> 00:41:52,640
Speaker 2: My impression of the house and the novella was that

764
00:41:52,760 --> 00:41:56,239
Speaker 2: it was more of just a wreck. Yeah, this house

765
00:41:56,320 --> 00:41:59,759
Speaker 2: looks like it was decorated by a family of a

766
00:42:00,040 --> 00:42:01,839
Speaker 2: flamboyant stage magicians.

767
00:42:02,400 --> 00:42:05,360
Speaker 1: Yes, yeah, they have. For instance, they have these wonderful

768
00:42:05,480 --> 00:42:10,880
Speaker 1: crystals setting around that are never fully explained and are

769
00:42:10,880 --> 00:42:14,360
Speaker 1: pretty fabulous. They occasionally are moved around, or move on

770
00:42:14,480 --> 00:42:19,520
Speaker 1: their own, or suddenly set off intense fires. It's great.

771
00:42:20,000 --> 00:42:22,680
Speaker 2: Yeah, the house is just wonderful. It's one of my

772
00:42:22,760 --> 00:42:25,719
Speaker 2: favorite things about the movie, honestly, is the wallpaper, the

773
00:42:26,360 --> 00:42:30,400
Speaker 2: little ornaments on the coffee tables and the hearth and everything,

774
00:42:30,520 --> 00:42:34,000
Speaker 2: all the wall art. It's just oh and the floor decorations.

775
00:42:34,080 --> 00:42:36,600
Speaker 2: When you get those sudden like shots from up above,

776
00:42:36,719 --> 00:42:38,480
Speaker 2: it's just a great, great house.

777
00:42:38,920 --> 00:42:42,080
Speaker 1: Yeah, yeah, just a complete environment that they put together

778
00:42:42,160 --> 00:42:42,839
Speaker 1: here now.

779
00:42:42,960 --> 00:42:45,640
Speaker 2: At first, even though Wilbur has already said some strange things,

780
00:42:45,719 --> 00:42:48,839
Speaker 2: we get the impression that sander d I think likes him.

781
00:42:48,960 --> 00:42:54,000
Speaker 2: He's very handsome and charming and I don't know about charming, yah,

782
00:42:54,200 --> 00:42:56,480
Speaker 2: sort of charming. I mean he's at least like smooth

783
00:42:56,640 --> 00:43:01,279
Speaker 2: and confident and there's something about him. But we start

784
00:43:01,400 --> 00:43:03,359
Speaker 2: immediately seeing this is not going to go well because

785
00:43:03,400 --> 00:43:06,719
Speaker 2: Wilbur is not a cool guy. Wilbur is the inner

786
00:43:06,800 --> 00:43:11,040
Speaker 2: dimensional creep that you got that hint of earlier. So

787
00:43:11,320 --> 00:43:14,840
Speaker 2: he immediately sneaks out to Sanderde's car and steals something

788
00:43:14,920 --> 00:43:18,680
Speaker 2: from her engine, disabling the car, and then back inside

789
00:43:18,719 --> 00:43:22,160
Speaker 2: the house, Sanderdie starts having visions of threatening hippies in

790
00:43:22,239 --> 00:43:26,600
Speaker 2: elaborate face paint and clothing, and she sees tree limbs

791
00:43:26,680 --> 00:43:28,240
Speaker 2: and waves crashing on rocks.

792
00:43:28,920 --> 00:43:30,640
Speaker 1: Yeah, and this is where we get that real sense

793
00:43:30,680 --> 00:43:33,960
Speaker 1: of hippie danger and I love it. The hippies and

794
00:43:34,040 --> 00:43:37,440
Speaker 1: their magic pose a threat to the innocent youth and

795
00:43:37,520 --> 00:43:41,239
Speaker 1: it's up to the olds to protect her from their influence.

796
00:43:41,760 --> 00:43:44,200
Speaker 2: Okay, so we already saw Wilbur steal something from her

797
00:43:44,280 --> 00:43:47,640
Speaker 2: car engine, which is bad enough, and then he gets

798
00:43:47,680 --> 00:43:49,880
Speaker 2: even worse. We see him inside the house putting some

799
00:43:50,040 --> 00:43:54,040
Speaker 2: kind of potion or substance into her tea, presumably to

800
00:43:54,480 --> 00:43:56,440
Speaker 2: knock her out and keep her at the house to

801
00:43:56,520 --> 00:43:59,480
Speaker 2: keep her from returning back to wherever Miss Katonic is.

802
00:44:00,120 --> 00:44:03,800
Speaker 2: But while while Wilbur's being a creep over here, Sandra

803
00:44:03,880 --> 00:44:07,319
Speaker 2: Dese somehow stumbles into Wilbur's grandfather.

804
00:44:07,960 --> 00:44:11,720
Speaker 1: Mm hmm. Yeah, he's just kind of just lurching around

805
00:44:11,760 --> 00:44:14,240
Speaker 1: the house with his weird, funky staff.

806
00:44:15,280 --> 00:44:18,480
Speaker 2: Oh yeah, that's staff. It's great. It's just got a

807
00:44:18,520 --> 00:44:20,200
Speaker 2: big occult pendant on the top.

808
00:44:20,840 --> 00:44:23,440
Speaker 1: Yeah yeah. And later, of course, we see that it's

809
00:44:23,520 --> 00:44:25,320
Speaker 1: not just around the house. He like takes this with

810
00:44:25,440 --> 00:44:27,800
Speaker 1: him when he goes to like the gas station in town,

811
00:44:29,480 --> 00:44:32,719
Speaker 1: which you can just imagine, like Wilbur's like, Dad, please

812
00:44:32,880 --> 00:44:35,279
Speaker 1: please don't bring that to town again. Stop bringing that

813
00:44:35,360 --> 00:44:36,280
Speaker 1: to the gas station.

814
00:44:36,239 --> 00:44:39,000
Speaker 2: With you, Okay. Well, Sandra d finds out her car

815
00:44:39,080 --> 00:44:42,480
Speaker 2: won't start, and she's getting very sleepy, presumably for the

816
00:44:42,680 --> 00:44:45,360
Speaker 2: sleeping powder or whatever it was that he put in

817
00:44:45,400 --> 00:44:47,319
Speaker 2: the tea. So she decides she's gonna have to stay

818
00:44:47,360 --> 00:44:51,839
Speaker 2: the night at the house, and so Wilbur gives her

819
00:44:51,880 --> 00:44:55,080
Speaker 2: a guest bedroom and she settles down and then she

820
00:44:55,239 --> 00:44:59,080
Speaker 2: has a dream. And this dream really reinforces those vision

821
00:44:59,200 --> 00:45:02,480
Speaker 2: themes from earlier, because it's these like elderritch half naked

822
00:45:02,560 --> 00:45:05,880
Speaker 2: hippies running around grabbing at her face, and then waves

823
00:45:05,920 --> 00:45:09,520
Speaker 2: crashing on the rocks, and these visions of just psychedelic

824
00:45:09,640 --> 00:45:12,920
Speaker 2: evil woodstock, and then she gets chased into a shack

825
00:45:13,120 --> 00:45:14,560
Speaker 2: and then I think that's the end of the dream.

826
00:45:14,960 --> 00:45:17,960
Speaker 1: These are great sequences because we really don't see too

827
00:45:18,080 --> 00:45:20,520
Speaker 1: much of them, and but what we do see of

828
00:45:20,560 --> 00:45:24,440
Speaker 1: them is evocative and colorful and a little bit scary.

829
00:45:25,400 --> 00:45:28,320
Speaker 1: I reminded. It made me think back to the nineteen

830
00:45:28,440 --> 00:45:32,360
Speaker 1: sixty seven film The Trip, which was Roger Corman directed

831
00:45:32,440 --> 00:45:37,480
Speaker 1: Jack Nicholson written film about basically about character played by

832
00:45:37,520 --> 00:45:41,279
Speaker 1: Peter Fonda going on an acid trip. In that film,

833
00:45:41,320 --> 00:45:44,799
Speaker 1: there are a number of different psychedelic sequences, but also

834
00:45:45,120 --> 00:45:47,960
Speaker 1: sequences that go on way too long. And she used

835
00:45:48,000 --> 00:45:50,200
Speaker 1: to feel very trippy because you've been in them for

836
00:45:50,320 --> 00:45:53,719
Speaker 1: like five minutes and had sort of like stationary effects

837
00:45:53,880 --> 00:45:56,759
Speaker 1: and so forth. But these these feel very trippy because

838
00:45:56,760 --> 00:45:59,000
Speaker 1: they are given in like dreamlike flashes.

839
00:45:59,440 --> 00:46:02,320
Speaker 2: Okay, and then the next day comes along and we

840
00:46:02,400 --> 00:46:05,920
Speaker 2: get two different threads. One is that we see Professor

841
00:46:06,120 --> 00:46:11,239
Speaker 2: armitage Ed Begley and Sandrode's friend Elizabeth are driving out

842
00:46:11,280 --> 00:46:13,640
Speaker 2: to Dunwich to find her because she disappeared the night

843
00:46:13,680 --> 00:46:17,359
Speaker 2: before and the Weiteleys don't have a phone at their house,

844
00:46:17,440 --> 00:46:20,200
Speaker 2: so she couldn't call anybody, so they're like, well, what

845
00:46:20,280 --> 00:46:22,400
Speaker 2: happened to her? So they're driving out to check on her.

846
00:46:23,280 --> 00:46:24,960
Speaker 2: But then the other half is we see Sander d

847
00:46:25,160 --> 00:46:29,360
Speaker 2: and Dean Stockwell just hanging out walking around town, getting

848
00:46:29,400 --> 00:46:34,080
Speaker 2: to know one another and sharing information. So among the

849
00:46:34,160 --> 00:46:36,839
Speaker 2: conversations they have, one is where Wilbur and Nancy are

850
00:46:37,440 --> 00:46:40,959
Speaker 2: exploring downtown Dunwich and he explains how the town's folk

851
00:46:41,120 --> 00:46:44,360
Speaker 2: murdered his great grandfather and he says the reason for

852
00:46:44,440 --> 00:46:46,480
Speaker 2: this is that he didn't believe in God or the

853
00:46:46,560 --> 00:46:50,720
Speaker 2: devil and instead believed in an ancient erace of beings

854
00:46:50,800 --> 00:46:54,440
Speaker 2: from another dimension that came before humanity are more powerful

855
00:46:54,560 --> 00:46:57,799
Speaker 2: than us, and that he could bring them back from

856
00:46:57,880 --> 00:47:00,960
Speaker 2: the plane where they sit waiting. And then he claims

857
00:47:01,040 --> 00:47:03,920
Speaker 2: that they that they put a trumped up murder charge

858
00:47:04,000 --> 00:47:06,520
Speaker 2: on his great grandfather, that a girl disappeared and they

859
00:47:06,640 --> 00:47:09,520
Speaker 2: claimed that he had murdered her in some kind of

860
00:47:09,680 --> 00:47:13,120
Speaker 2: human sacrifice. Though I think we were maybe supposed to

861
00:47:13,200 --> 00:47:15,879
Speaker 2: understand that that charge may in fact be true.

862
00:47:16,560 --> 00:47:16,799
Speaker 1: Yeah.

863
00:47:17,160 --> 00:47:20,880
Speaker 2: Meanwhile, Armitage and Elizabeth end up they end up connecting

864
00:47:20,960 --> 00:47:24,640
Speaker 2: with the local town doctor who might know something about

865
00:47:24,640 --> 00:47:27,120
Speaker 2: the Weighty family, And this is where we meet Talia Shire.

866
00:47:27,280 --> 00:47:30,879
Speaker 2: She's the receptionist of the doctor's office, and she, when

867
00:47:30,920 --> 00:47:34,000
Speaker 2: speaking to Elizabeth kind of discloses the town's beliefs about

868
00:47:34,000 --> 00:47:38,279
Speaker 2: the Weightles, Like she tells Nancy's friend that Wilbur never

869
00:47:38,360 --> 00:47:41,120
Speaker 2: had a girlfriend before and no girl should go over

870
00:47:41,200 --> 00:47:43,560
Speaker 2: to that house because that house is bad news.

871
00:47:44,280 --> 00:47:45,920
Speaker 1: And this is a nice little scene, I thought, I mean,

872
00:47:45,920 --> 00:47:48,319
Speaker 1: it's nothing groundbreaking or anything, but I felt like they

873
00:47:48,360 --> 00:47:51,080
Speaker 1: had a nice little scene together with some well written dialogue.

874
00:47:51,480 --> 00:47:53,520
Speaker 2: Yes, and it's a funny counterpoint to what's going on

875
00:47:53,640 --> 00:47:56,000
Speaker 2: in the room next door, where Ed Begley is talking

876
00:47:56,040 --> 00:47:58,200
Speaker 2: to the doctor and he's explaining, well, you know, there're

877
00:47:58,239 --> 00:48:01,440
Speaker 2: these old ones, and so it's at least alleged that

878
00:48:01,480 --> 00:48:03,480
Speaker 2: they can be brought back from another dimension and then

879
00:48:03,480 --> 00:48:04,640
Speaker 2: the earth will be destroyed.

880
00:48:05,200 --> 00:48:07,640
Speaker 1: I also love how it's basically armatage showing up and

881
00:48:07,719 --> 00:48:11,440
Speaker 1: he's been like, hello, doctor, I'd like to I was

882
00:48:11,480 --> 00:48:13,160
Speaker 1: wondering if I could sit down with you for a moment,

883
00:48:13,280 --> 00:48:16,800
Speaker 1: you could tell me the medical histories of this entire family.

884
00:48:17,200 --> 00:48:19,000
Speaker 1: And he's like, well, it'd better be good for a

885
00:48:19,080 --> 00:48:19,920
Speaker 1: good reason.

886
00:48:21,160 --> 00:48:24,200
Speaker 2: And it's because of these ancient gods from another dimension. Yes,

887
00:48:24,480 --> 00:48:26,839
Speaker 2: And then the doctor is like, well in that case, yes,

888
00:48:27,239 --> 00:48:28,520
Speaker 2: let me get out the file.

889
00:48:30,800 --> 00:48:30,880
Speaker 1: Now.

890
00:48:31,040 --> 00:48:32,960
Speaker 2: Somewhere in here, I don't remember how we get into this,

891
00:48:33,040 --> 00:48:37,160
Speaker 2: but there's like a flashback of a scene, or maybe

892
00:48:37,200 --> 00:48:39,480
Speaker 2: it's not a flashback. Maybe it's either a flashback or

893
00:48:39,520 --> 00:48:41,640
Speaker 2: it takes place at the same time, but at some

894
00:48:41,760 --> 00:48:43,200
Speaker 2: points a.

895
00:48:43,239 --> 00:48:44,480
Speaker 1: Tone, so it must be in the past.

896
00:48:44,560 --> 00:48:47,600
Speaker 2: Right, Oh, okay, okay, you're right. Grandpa Waiteley is in

897
00:48:47,680 --> 00:48:51,680
Speaker 2: a local general store and he's just ranting about old

898
00:48:51,719 --> 00:48:56,480
Speaker 2: gods I think, and the locals are viciously mocking him.

899
00:48:56,880 --> 00:48:57,040
Speaker 5: Yeah.

900
00:48:57,120 --> 00:48:59,200
Speaker 1: Yeah, this is one of those where you're like, oh, man,

901
00:48:59,520 --> 00:49:02,400
Speaker 1: the people done, which like they mostly suck, so I

902
00:49:02,520 --> 00:49:04,799
Speaker 1: really can't side with them, and all this feel bad

903
00:49:05,160 --> 00:49:06,120
Speaker 1: for old Wayley here.

904
00:49:06,440 --> 00:49:09,520
Speaker 2: But somehow in all this, the doctor and Armitage they

905
00:49:09,600 --> 00:49:15,200
Speaker 2: figure out that Wilbur's mother, Lavinia, is currently in an asylum,

906
00:49:15,760 --> 00:49:18,000
Speaker 2: and they go to see her there and she's in

907
00:49:18,160 --> 00:49:20,799
Speaker 2: a padded room and her hair is turned completely white,

908
00:49:21,320 --> 00:49:23,839
Speaker 2: and she's in there screaming about how my son's open

909
00:49:23,920 --> 00:49:26,600
Speaker 2: the gate, my son's and then she says, kill them all.

910
00:49:27,480 --> 00:49:29,120
Speaker 2: And so I think it's one of those cases where

911
00:49:29,280 --> 00:49:32,760
Speaker 2: a character who is said to be mad is speaking

912
00:49:32,880 --> 00:49:35,800
Speaker 2: things that are directly informative of the coming plot, but

913
00:49:35,960 --> 00:49:38,200
Speaker 2: none of the characters realize it, so they're just kind

914
00:49:38,200 --> 00:49:41,040
Speaker 2: of like, oh, what's this nonsense? And then meanwhile we're

915
00:49:41,120 --> 00:49:43,320
Speaker 2: just seeing more stuff with Dean Stockwell and Sandra d

916
00:49:45,080 --> 00:49:48,000
Speaker 2: they're hanging out. Dean Stockwell is always in a suit.

917
00:49:49,040 --> 00:49:51,440
Speaker 1: Yep, great dapper, and I think it's.

918
00:49:51,360 --> 00:49:55,280
Speaker 2: Implied Sandra Dee appears to be from this point increasingly,

919
00:49:56,239 --> 00:49:59,080
Speaker 2: it's kind of hard to describe, just like increasingly kind

920
00:49:59,080 --> 00:50:02,240
Speaker 2: of hypnotized, like she's always kind of sleepy.

921
00:50:02,840 --> 00:50:06,160
Speaker 1: Yeah, I'm kind of unclear on this, but the film

922
00:50:06,239 --> 00:50:07,960
Speaker 1: seems to keep her in this weird place where she

923
00:50:08,000 --> 00:50:10,840
Speaker 1: doesn't seem like she's like one hundred percent been kidnapped,

924
00:50:11,239 --> 00:50:14,200
Speaker 1: but she's also not one hundred percent of collaborator either.

925
00:50:14,360 --> 00:50:16,319
Speaker 1: She's not like, yeah, let's go up there and raise

926
00:50:16,400 --> 00:50:20,440
Speaker 1: some old ones Wilbur. It really does feel like this

927
00:50:20,600 --> 00:50:23,320
Speaker 1: film aligns with something we've talked about on the show before,

928
00:50:23,520 --> 00:50:27,879
Speaker 1: this late sixties early seventies fear of hippie occult mind

929
00:50:28,120 --> 00:50:31,240
Speaker 1: washing during this period. So it's really as if Sandra

930
00:50:31,320 --> 00:50:34,160
Speaker 1: D's character is she's not being held captive by the

931
00:50:34,239 --> 00:50:36,840
Speaker 1: evil Wilbur. He's not tying her to train tracks so

932
00:50:36,960 --> 00:50:40,680
Speaker 1: the old Ones will run over. And she's also not

933
00:50:40,880 --> 00:50:43,360
Speaker 1: portrayed as like a complete doll person where she's like,

934
00:50:43,680 --> 00:50:46,680
Speaker 1: I obey Wilbur and the old Ones. Now, No, she's

935
00:50:46,800 --> 00:50:49,840
Speaker 1: just under their spell in the non magical sense, like

936
00:50:49,920 --> 00:50:52,320
Speaker 1: she's she's been caught up in all of this hippie

937
00:50:52,400 --> 00:50:57,320
Speaker 1: danger and that's why she needs Professor Armitage to Grandpa

938
00:50:57,480 --> 00:50:59,560
Speaker 1: Armitage here to jump in and save her.

939
00:51:00,080 --> 00:51:01,920
Speaker 2: Yeah, I think that's about right. So, yeah, she's not

940
00:51:02,040 --> 00:51:05,319
Speaker 2: being portrayed as being held and done which against her will,

941
00:51:05,440 --> 00:51:09,000
Speaker 2: but at the same time it is suggested that that's

942
00:51:09,040 --> 00:51:13,960
Speaker 2: something she's somehow enchanted, like her free will has been

943
00:51:14,040 --> 00:51:17,440
Speaker 2: compromised in some way. Yeah, and so she and Dean

944
00:51:17,520 --> 00:51:20,360
Speaker 2: Stockwell are out on these They're out on a seaside

945
00:51:20,440 --> 00:51:22,560
Speaker 2: cliff at some point, and they walk up to some

946
00:51:22,640 --> 00:51:25,680
Speaker 2: old stone ruins. They're like these pillars and a staircase

947
00:51:25,760 --> 00:51:30,359
Speaker 2: and a stone altar, and Wilbur says, legend says, it's

948
00:51:30,400 --> 00:51:33,719
Speaker 2: been here forever. It's called the Devil's hop Yard, which

949
00:51:33,960 --> 00:51:35,719
Speaker 2: is the name. I look this up. It is the

950
00:51:35,800 --> 00:51:38,799
Speaker 2: name of a place in Connecticut which does not look

951
00:51:38,880 --> 00:51:41,120
Speaker 2: like this at all. There's no temple as far as

952
00:51:41,160 --> 00:51:44,359
Speaker 2: I can tell. But the landscape is very beautiful looking

953
00:51:44,400 --> 00:51:44,879
Speaker 2: in the movie.

954
00:51:45,200 --> 00:51:48,960
Speaker 1: Yeah, again it's it's clearly coastal northern California, but it

955
00:51:49,040 --> 00:51:51,960
Speaker 1: looks gorgeous. And yeah, they're increasingly these shots, and I

956
00:51:52,000 --> 00:51:54,719
Speaker 1: think these are ultimately closing shots of the film of

957
00:51:55,200 --> 00:51:59,040
Speaker 1: this the seaside and the waves crashing on these rocky beaches,

958
00:51:59,120 --> 00:52:01,239
Speaker 1: and it's it's good, it's really good.

959
00:52:01,680 --> 00:52:04,520
Speaker 2: And so Wilbert starts talking about this ancient ritual, ancient

960
00:52:04,520 --> 00:52:08,719
Speaker 2: occult rituals here that would involve like virgin sacrifice, and

961
00:52:09,000 --> 00:52:11,440
Speaker 2: this would somehow open a gate that would allow the

962
00:52:11,520 --> 00:52:15,319
Speaker 2: old ones to come through. And then he does the thing.

963
00:52:15,440 --> 00:52:17,640
Speaker 2: He puts his hands to the sides of his head,

964
00:52:17,920 --> 00:52:20,800
Speaker 2: flares them like the cobra hood, and he's got the

965
00:52:20,840 --> 00:52:23,280
Speaker 2: pinky rings next to his eyes, and he starts yelling

966
00:52:23,360 --> 00:52:26,919
Speaker 2: yogs of Thoth. And so here we get more weird

967
00:52:27,000 --> 00:52:31,000
Speaker 2: psychedelic visions. Sandrade imagines herself to be sacrificed on this

968
00:52:31,120 --> 00:52:34,840
Speaker 2: stone altar. She's surrounded by evil priests with these black

969
00:52:34,880 --> 00:52:38,319
Speaker 2: hoods over their heads, and there's Wilbur standing among them.

970
00:52:38,440 --> 00:52:41,200
Speaker 2: So it seems like he may have some kind of

971
00:52:41,239 --> 00:52:45,319
Speaker 2: connection to these evil rituals from the deep past. Oh oh,

972
00:52:45,400 --> 00:52:47,360
Speaker 2: and in this whole sequence, this is where we finally

973
00:52:47,400 --> 00:52:51,160
Speaker 2: get the Wilbur chest reveal, which is where he takes

974
00:52:51,200 --> 00:52:53,920
Speaker 2: his shirt off and he's covered in tattoos that look

975
00:52:54,040 --> 00:52:55,000
Speaker 2: like hieroglyphics.

976
00:52:55,680 --> 00:52:58,000
Speaker 1: Yeah, which is great. I think in the original short story,

977
00:52:58,680 --> 00:53:01,319
Speaker 1: Wilbur for starters of not dashing. I think he comes

978
00:53:01,360 --> 00:53:04,239
Speaker 1: off more as like a dangerous bum and we find

979
00:53:04,280 --> 00:53:07,000
Speaker 1: out that he ultimately find out that he's like he

980
00:53:07,080 --> 00:53:10,239
Speaker 1: has part monster body or something, and in this we

981
00:53:10,320 --> 00:53:12,560
Speaker 1: don't have that. Instead we just have these really cool,

982
00:53:13,160 --> 00:53:15,040
Speaker 1: you know, occult tattoos all over him.

983
00:53:24,200 --> 00:53:27,480
Speaker 2: After this, there's a whole sequence where we follow Nancy's

984
00:53:27,520 --> 00:53:31,480
Speaker 2: friend Elizabeth, who's trying to investigate you know, she's worried

985
00:53:31,480 --> 00:53:33,799
Speaker 2: about the well being of her friend, so she's going

986
00:53:33,840 --> 00:53:35,960
Speaker 2: to the Weightely house to look around for her, to

987
00:53:36,320 --> 00:53:39,239
Speaker 2: check on her and make sure she's okay. And while

988
00:53:39,360 --> 00:53:41,880
Speaker 2: she's investigating the house, there are several times so far

989
00:53:42,000 --> 00:53:44,880
Speaker 2: in the movie where we have seen this door upstairs

990
00:53:44,960 --> 00:53:47,480
Speaker 2: in the house rattling as if there is something behind

991
00:53:47,600 --> 00:53:52,120
Speaker 2: it that wants to get out. And unfortunately it is

992
00:53:52,560 --> 00:53:55,560
Speaker 2: Elizabeth who opens this door and goes into the forbidden

993
00:53:55,640 --> 00:53:58,120
Speaker 2: room while she's looking around the house. And so this

994
00:53:58,280 --> 00:54:00,759
Speaker 2: is the first like attack, like the first murder scene

995
00:54:00,800 --> 00:54:03,600
Speaker 2: in the movie. By this the why Wilbert's twin this

996
00:54:03,719 --> 00:54:07,320
Speaker 2: other being in the house. And this scene is weird.

997
00:54:07,600 --> 00:54:12,759
Speaker 2: It's it's done with this flashing color abstract animation suggesting

998
00:54:12,880 --> 00:54:15,839
Speaker 2: kind of the flailing of octopus arms and lights from

999
00:54:15,880 --> 00:54:18,879
Speaker 2: another world. It does this heavy like red and blue

1000
00:54:19,000 --> 00:54:21,280
Speaker 2: color saturation that goes back and forth.

1001
00:54:21,960 --> 00:54:23,640
Speaker 1: Yeah, like they're really I feel like they were really

1002
00:54:23,680 --> 00:54:26,080
Speaker 1: going for like an LSD trip kind of a vibe

1003
00:54:26,160 --> 00:54:28,680
Speaker 1: here and again. It comes back to the fact too,

1004
00:54:28,760 --> 00:54:31,120
Speaker 1: that they can't really show the monster. They seem to

1005
00:54:31,160 --> 00:54:33,360
Speaker 1: have some sort of physical apparatus that they're shooting, some

1006
00:54:33,480 --> 00:54:36,600
Speaker 1: sort of tentically thing about. They're not showing as much

1007
00:54:36,600 --> 00:54:38,719
Speaker 1: of it at all, and the film works better for that.

1008
00:54:39,320 --> 00:54:42,359
Speaker 2: I think it's always a better decision to show less

1009
00:54:42,520 --> 00:54:45,759
Speaker 2: of the monster. I mean, you can find exceptions, like

1010
00:54:45,880 --> 00:54:48,240
Speaker 2: the thing shows a lot of the monster and it's wonderful,

1011
00:54:48,320 --> 00:54:51,200
Speaker 2: but that that's pretty rare. Most of the time. You're

1012
00:54:51,200 --> 00:54:54,879
Speaker 2: going to do better if you give suggestive imagery rather

1013
00:54:55,040 --> 00:54:57,200
Speaker 2: than just getting a good long look at the suit.

1014
00:54:57,440 --> 00:54:59,319
Speaker 2: And you know, because often if you get a good

1015
00:54:59,360 --> 00:55:01,759
Speaker 2: long look at the suit or the makeup effect or

1016
00:55:01,760 --> 00:55:04,200
Speaker 2: whatever it is, it starts to look less and less great.

1017
00:55:04,480 --> 00:55:06,600
Speaker 1: Yeah, that the flaws become increasingly obvious.

1018
00:55:06,960 --> 00:55:10,080
Speaker 2: It's the Jaws principle. They did not have a great

1019
00:55:10,200 --> 00:55:13,280
Speaker 2: robotic shark, but they ended up getting really good footage

1020
00:55:13,320 --> 00:55:16,120
Speaker 2: out of what they did have, just by clever use

1021
00:55:16,200 --> 00:55:16,400
Speaker 2: of it.

1022
00:55:16,960 --> 00:55:18,960
Speaker 1: Yeah. Yeah, I mean, even today when you have some

1023
00:55:19,160 --> 00:55:22,480
Speaker 1: tremendous CGI effects, and granted there are some pitfalls with

1024
00:55:22,560 --> 00:55:24,640
Speaker 1: CGI at times as well, but like, even if the

1025
00:55:25,040 --> 00:55:28,560
Speaker 1: monster is perfectly well executed on the screen, you know,

1026
00:55:28,719 --> 00:55:30,960
Speaker 1: I mean, you have to remember what are monsters? Historically,

1027
00:55:31,080 --> 00:55:34,840
Speaker 1: Monsters are things that lurk in the imagination, and monsters

1028
00:55:34,920 --> 00:55:37,879
Speaker 1: are things that are not fully seen but partially seen

1029
00:55:38,320 --> 00:55:41,480
Speaker 1: in the mist, in the dark, in the wild, et cetera.

1030
00:55:42,000 --> 00:55:44,520
Speaker 2: Now there's a scene shortly after this that I think

1031
00:55:44,640 --> 00:55:47,120
Speaker 2: this is more indication of that there's something going wrong

1032
00:55:47,239 --> 00:55:52,719
Speaker 2: with Sandra D's volition that because there's a scene where

1033
00:55:53,040 --> 00:55:57,560
Speaker 2: Wilbur and Grandpa start arguing about whether Wilbur is going

1034
00:55:57,600 --> 00:56:01,279
Speaker 2: to be successful in usingancy to open the gate and

1035
00:56:01,360 --> 00:56:03,360
Speaker 2: allow the old ones in. And I think she's just

1036
00:56:03,480 --> 00:56:05,600
Speaker 2: like right there, She's like in the room with them, right,

1037
00:56:05,760 --> 00:56:09,560
Speaker 2: m yeah, yeah. And Grandpa, I guess Grandpa has been

1038
00:56:09,600 --> 00:56:12,400
Speaker 2: turned against this ritual. He used to be for it,

1039
00:56:12,520 --> 00:56:15,840
Speaker 2: now he's against it. And he swings his staff at

1040
00:56:15,920 --> 00:56:18,440
Speaker 2: Wilbur and misses and then falls down the stairs to

1041
00:56:18,560 --> 00:56:18,919
Speaker 2: his death.

1042
00:56:19,360 --> 00:56:19,600
Speaker 1: Yep.

1043
00:56:20,520 --> 00:56:23,000
Speaker 2: And there was a great moment here though, where there's

1044
00:56:23,320 --> 00:56:26,200
Speaker 2: these creepy sound effects these birds in the background, and

1045
00:56:26,400 --> 00:56:30,520
Speaker 2: Sandra desques those birds, what does it mean, and Wilbur explains, well,

1046
00:56:30,560 --> 00:56:32,440
Speaker 2: they were trying to capture his soul as it left

1047
00:56:32,520 --> 00:56:32,920
Speaker 2: his body.

1048
00:56:33,360 --> 00:56:36,600
Speaker 1: Yeah, it was so weird. It's such an interesting addition.

1049
00:56:36,680 --> 00:56:37,040
Speaker 1: I love it.

1050
00:56:37,480 --> 00:56:40,800
Speaker 2: But then I love at the funeral for Grandpa, weitly

1051
00:56:40,880 --> 00:56:44,560
Speaker 2: here it must not be this. But for some reason

1052
00:56:44,960 --> 00:56:48,239
Speaker 2: when I so, townsfolk arrived to bust up the ceremony

1053
00:56:48,880 --> 00:56:51,080
Speaker 2: and it looked to me like it was implying that

1054
00:56:51,160 --> 00:56:53,840
Speaker 2: about thirty people got out of one pickup truck.

1055
00:56:54,239 --> 00:56:57,000
Speaker 1: Yeah, there's just suddenly a mob of town folk here

1056
00:56:57,200 --> 00:57:01,000
Speaker 1: to object to them carrying how to burial.

1057
00:57:01,320 --> 00:57:04,360
Speaker 2: Yeah, so they're like, this is a Christian cemetery. We

1058
00:57:04,480 --> 00:57:07,120
Speaker 2: dispose of our trash at the town dump. But then

1059
00:57:07,160 --> 00:57:09,480
Speaker 2: I think eventually the police come in and they're like, okay, okay,

1060
00:57:09,560 --> 00:57:10,040
Speaker 2: break it up.

1061
00:57:10,400 --> 00:57:14,080
Speaker 1: Yeah, I mean, we can't possibly be supposed to feel

1062
00:57:14,120 --> 00:57:16,560
Speaker 1: anything but disdain for these town folk, right, I mean,

1063
00:57:17,080 --> 00:57:20,480
Speaker 1: this is bad. Like, even if you know Wilbur is

1064
00:57:20,560 --> 00:57:22,200
Speaker 1: the villain of the piece, he's just trying to bury

1065
00:57:22,240 --> 00:57:23,320
Speaker 1: his dad in the cemetery.

1066
00:57:23,720 --> 00:57:27,520
Speaker 2: Well, and some of elder gods that will destroy the world.

1067
00:57:27,680 --> 00:57:29,760
Speaker 1: Well, yeah, well he's doing that too, but this is

1068
00:57:29,840 --> 00:57:33,560
Speaker 1: a side thing, you know, like like come on, come on, guys,

1069
00:57:34,000 --> 00:57:34,920
Speaker 1: leave this man alone.

1070
00:57:35,160 --> 00:57:38,520
Speaker 2: So Wilbert, you know, he still needs that necronomicon. He's like,

1071
00:57:38,960 --> 00:57:41,000
Speaker 2: you know, the professor wouldn't let me borrow the book

1072
00:57:41,080 --> 00:57:43,480
Speaker 2: for five minutes, so I guess I'm gonna have to

1073
00:57:43,520 --> 00:57:45,680
Speaker 2: go to the university library and steal it. And then

1074
00:57:45,720 --> 00:57:48,000
Speaker 2: there's a whole sequence where he does that. He breaks in,

1075
00:57:48,200 --> 00:57:49,800
Speaker 2: he tries to get the book, he gets into a

1076
00:57:49,880 --> 00:57:55,200
Speaker 2: fist fight with a security guard, and so they have

1077
00:57:55,280 --> 00:57:56,800
Speaker 2: a fist fight, and then the funny part is the

1078
00:57:56,840 --> 00:58:00,400
Speaker 2: guard wins kind of surprisingly, like he knocks will We're

1079
00:58:00,440 --> 00:58:02,840
Speaker 2: unconscious apparently. Then he goes to the phone, I think,

1080
00:58:02,880 --> 00:58:05,920
Speaker 2: to dial the police. But then Wilbur just picks up

1081
00:58:06,040 --> 00:58:08,840
Speaker 2: this big weap it's like a halbird that is on

1082
00:58:08,960 --> 00:58:11,240
Speaker 2: display in the library and stabs the guard and the

1083
00:58:11,320 --> 00:58:11,840
Speaker 2: guts with it.

1084
00:58:12,320 --> 00:58:15,240
Speaker 1: Yeah, it's a nice ending to a fight scene that, yeah,

1085
00:58:15,240 --> 00:58:18,680
Speaker 1: has this unexpected twist, but is also very like Old

1086
00:58:18,760 --> 00:58:21,240
Speaker 1: West style fighting, you know, like people getting punched and

1087
00:58:21,320 --> 00:58:25,520
Speaker 1: falling through tables and such. So it's a fun sequence

1088
00:58:25,800 --> 00:58:29,000
Speaker 1: and it's also I think a nice twist on what

1089
00:58:29,120 --> 00:58:32,200
Speaker 1: happens in the story. In the original short story, if

1090
00:58:32,280 --> 00:58:35,760
Speaker 1: I remember correctly, Wilbur breaks into the museum to try

1091
00:58:35,760 --> 00:58:37,840
Speaker 1: and steal the book and guard dogs kill him.

1092
00:58:38,720 --> 00:58:38,920
Speaker 3: You know.

1093
00:58:39,400 --> 00:58:42,360
Speaker 1: So, yeah, so, which is clear? I mean, I guess

1094
00:58:42,480 --> 00:58:44,000
Speaker 1: you know, you can argue whether that worked in the

1095
00:58:44,040 --> 00:58:47,320
Speaker 1: original story, but it would not have worked in this story.

1096
00:58:47,440 --> 00:58:50,560
Speaker 1: We need Wilburt to be there at the finale. We

1097
00:58:50,680 --> 00:58:53,840
Speaker 1: don't need him to be done in by a German shepherd.

1098
00:58:54,240 --> 00:58:56,400
Speaker 1: And it adds to this additional twist. He's not only

1099
00:58:56,480 --> 00:58:59,280
Speaker 1: willing to break the laws of nature and all to

1100
00:58:59,360 --> 00:59:02,439
Speaker 1: bring about this resurgence of the old ones, he's also

1101
00:59:02,520 --> 00:59:05,560
Speaker 1: willing to kill for it, right right, Yes, but even

1102
00:59:05,560 --> 00:59:08,600
Speaker 1: then it was in self defense. Towards the end, it's

1103
00:59:08,600 --> 00:59:10,600
Speaker 1: still they managed to walk this line where it's not

1104
00:59:10,760 --> 00:59:13,600
Speaker 1: like he kills the cop in cold blood. He grabs

1105
00:59:13,640 --> 00:59:15,400
Speaker 1: the spear and then the cop rushes him and he

1106
00:59:15,520 --> 00:59:18,240
Speaker 1: like pulls it up in time to impale the security guy.

1107
00:59:18,480 --> 00:59:20,919
Speaker 2: Yeah. So, there are several scenes in this movie where

1108
00:59:20,920 --> 00:59:23,440
Speaker 2: I think Wilbert is presented as having a kind of

1109
00:59:23,560 --> 00:59:28,960
Speaker 2: dangerous nichean beyond good and evil outlook. You know that

1110
00:59:29,160 --> 00:59:33,360
Speaker 2: he believes that moral concerns are just sort of like

1111
00:59:34,000 --> 00:59:38,080
Speaker 2: a petty folly. Like there's a part where Grandpa's trying

1112
00:59:38,120 --> 00:59:40,120
Speaker 2: to like convince him, like you can't do this, you know,

1113
00:59:40,800 --> 00:59:42,760
Speaker 2: you shouldn't do this, and then he says, I do

1114
00:59:42,880 --> 00:59:43,479
Speaker 2: what I want.

1115
00:59:44,160 --> 00:59:44,400
Speaker 4: Yeah.

1116
00:59:44,840 --> 00:59:48,040
Speaker 2: So I think Wilburt maybe he rejects the idea of

1117
00:59:48,120 --> 00:59:50,880
Speaker 2: an aught or a should. You know, there is nothing

1118
00:59:50,960 --> 00:59:52,919
Speaker 2: I should or ought to do. There is what I will.

1119
00:59:53,720 --> 00:59:53,919
Speaker 4: Yeah.

1120
00:59:54,480 --> 00:59:56,720
Speaker 1: So at this point he's killed, he's crossed that line.

1121
00:59:56,840 --> 00:59:59,400
Speaker 1: But he also has an ecronomicon.

1122
00:59:59,040 --> 01:00:01,280
Speaker 2: Right, And so this sets the third act of the movie,

1123
01:00:01,400 --> 01:00:05,200
Speaker 2: which is going to be some twin monster rampage and

1124
01:00:06,840 --> 01:00:10,400
Speaker 2: a very slow moving ritual. So the final showdown is

1125
01:00:10,520 --> 01:00:14,000
Speaker 2: wilbur is setting up to do this ritual to open

1126
01:00:14,080 --> 01:00:16,200
Speaker 2: the gate to allow the old gods in, or the

1127
01:00:16,280 --> 01:00:18,360
Speaker 2: old ones, and they're going to come and destroy the world.

1128
01:00:19,400 --> 01:00:22,480
Speaker 2: This is probably going to involve human sacrifice of Sandra

1129
01:00:22,560 --> 01:00:25,960
Speaker 2: d on the altar. And then meanwhile his brother, Oh,

1130
01:00:26,120 --> 01:00:28,800
Speaker 2: he says at the beginning of the rituals, he's saying

1131
01:00:28,840 --> 01:00:31,000
Speaker 2: the name of these gods. He's singing like yogso Thoth,

1132
01:00:31,760 --> 01:00:34,480
Speaker 2: and he's got the necronomicon, and he says, I summon you,

1133
01:00:34,600 --> 01:00:38,320
Speaker 2: brother of darkness, I summon you. And his brother is

1134
01:00:38,920 --> 01:00:41,880
Speaker 2: his twin brother, is apparently this thing upstairs in the

1135
01:00:41,960 --> 01:00:45,040
Speaker 2: house that keeps rattling on the door, and it bursts

1136
01:00:45,160 --> 01:00:47,560
Speaker 2: forth from its confinement, and that goes out to roam

1137
01:00:47,600 --> 01:00:50,080
Speaker 2: around the town and get into all kinds of mischief,

1138
01:00:52,200 --> 01:00:57,440
Speaker 2: good natured mischief, some unspeakable, deadly mischief, the geometry of

1139
01:00:57,480 --> 01:01:01,400
Speaker 2: which is impossible to describe. Now, I will say, in

1140
01:01:01,560 --> 01:01:05,400
Speaker 2: some of these scenes where the monster is roaming around again,

1141
01:01:05,600 --> 01:01:09,000
Speaker 2: we're not really seeing it. We're seeing more from its

1142
01:01:09,080 --> 01:01:12,280
Speaker 2: point of view, and then getting a kind of audio texture,

1143
01:01:12,360 --> 01:01:15,960
Speaker 2: that heart beat sound that that allows that helps us

1144
01:01:16,040 --> 01:01:18,920
Speaker 2: know that something very dangerous is going on. And then

1145
01:01:18,960 --> 01:01:22,440
Speaker 2: we're getting these suggestive flashes of imagery that aren't I

1146
01:01:22,520 --> 01:01:26,000
Speaker 2: think are not to be understood as pictures of the

1147
01:01:26,120 --> 01:01:28,880
Speaker 2: monster itself. But in a way, the monster itself kind

1148
01:01:28,920 --> 01:01:32,800
Speaker 2: of can't be seen or can't be comprehended with human eyes,

1149
01:01:32,960 --> 01:01:37,280
Speaker 2: so it's just this presence that suggests other images.

1150
01:01:37,840 --> 01:01:41,480
Speaker 1: Yeah, and at times they do this with like it's

1151
01:01:41,560 --> 01:01:44,480
Speaker 1: like the weather, it's like rain or wind moving in

1152
01:01:44,720 --> 01:01:48,120
Speaker 1: it's it's it's I thought, really effectively done.

1153
01:01:48,360 --> 01:01:51,120
Speaker 2: Oh yeah, there's a really nice shot of like visions

1154
01:01:51,200 --> 01:01:54,880
Speaker 2: of wind blowing dust over a winding road or wind

1155
01:01:55,080 --> 01:01:56,960
Speaker 2: blowing over the surface of a pond.

1156
01:01:57,560 --> 01:01:58,480
Speaker 1: Mm hmm. Yeah.

1157
01:01:59,040 --> 01:02:01,280
Speaker 2: But of course it's gonna attack a bunch of the townsfolk,

1158
01:02:01,400 --> 01:02:02,920
Speaker 2: so we get, you know, scenes of that. There's like

1159
01:02:02,960 --> 01:02:06,520
Speaker 2: a nearby house that has these people they're about to

1160
01:02:06,600 --> 01:02:08,920
Speaker 2: have dinner. I think they're saying. They're saying a blessing

1161
01:02:09,080 --> 01:02:11,560
Speaker 2: over some kind of wretched ham. It's some of the

1162
01:02:11,600 --> 01:02:15,760
Speaker 2: same townsfolk who busted up the funeral earlier, and they

1163
01:02:15,840 --> 01:02:19,120
Speaker 2: hear these weird sounds. The house is kind of shaking.

1164
01:02:19,240 --> 01:02:21,560
Speaker 2: The man grabs his rifle and he goes out to investigate,

1165
01:02:21,600 --> 01:02:23,560
Speaker 2: and he shoots at something he sees in the barn,

1166
01:02:24,200 --> 01:02:27,200
Speaker 2: and then it attacks the house and everything is shaking,

1167
01:02:27,360 --> 01:02:30,760
Speaker 2: and we're to understand it doesn't go well. And then

1168
01:02:30,800 --> 01:02:34,200
Speaker 2: this is confirmed when Professor Armitage and the doctor from

1169
01:02:34,240 --> 01:02:36,320
Speaker 2: the town from earlier, doctor Corey, they show up at

1170
01:02:36,360 --> 01:02:39,560
Speaker 2: the house where the townsfolk have gathered. They see the

1171
01:02:39,640 --> 01:02:41,680
Speaker 2: remains of this family and they're like, oh no, we

1172
01:02:41,760 --> 01:02:45,800
Speaker 2: got to form another angry mob. Because they correctly assumed

1173
01:02:45,840 --> 01:02:48,560
Speaker 2: that the Weightlees are responsible, or at least that Wilbur

1174
01:02:48,720 --> 01:02:52,120
Speaker 2: is Wilbur and his monstrous twin brother, and they want

1175
01:02:52,160 --> 01:02:55,920
Speaker 2: to go get revenge. And Armitage is like, Wilbur Weiteley

1176
01:02:56,040 --> 01:02:58,440
Speaker 2: might be the only person who can stop the creature

1177
01:02:58,520 --> 01:03:01,520
Speaker 2: that did this. So he's trying to talk sense into them,

1178
01:03:01,640 --> 01:03:03,080
Speaker 2: you know, he's like, hold on, we need to figure

1179
01:03:03,080 --> 01:03:06,280
Speaker 2: out what's going on. But the shapeless being it attacks

1180
01:03:06,360 --> 01:03:09,960
Speaker 2: Talia Shire while she's driving a car. It attacks a

1181
01:03:10,120 --> 01:03:13,760
Speaker 2: posse who's hunting for it in the woods. Uh, And

1182
01:03:14,120 --> 01:03:17,240
Speaker 2: so they're there are these repeated scenes where people are

1183
01:03:17,280 --> 01:03:20,960
Speaker 2: sort of felled by psychedelic visual effects. And again I

1184
01:03:21,000 --> 01:03:21,960
Speaker 2: think it works pretty well.

1185
01:03:22,360 --> 01:03:25,920
Speaker 1: Yeah, yeah, again for a film that that can't or

1186
01:03:25,920 --> 01:03:29,040
Speaker 1: won't show, you know, an actual monster like this works

1187
01:03:29,080 --> 01:03:32,040
Speaker 1: really well, I think. I think. Ultimately, I feel like

1188
01:03:32,120 --> 01:03:34,880
Speaker 1: Lovecraft officionados are probably too hard on this film because

1189
01:03:34,920 --> 01:03:37,120
Speaker 1: like they're they're kind of pulling it off. They're they're

1190
01:03:37,160 --> 01:03:41,480
Speaker 1: pulling off this this unseeable, unknowable horror that you know,

1191
01:03:41,840 --> 01:03:43,720
Speaker 1: makes you crazy if it touches you sort of thing.

1192
01:03:44,040 --> 01:03:47,120
Speaker 2: Now, of course, this all comes down to a wizard battle.

1193
01:03:47,200 --> 01:03:49,120
Speaker 2: You got you gotta have a wizard battle to settle

1194
01:03:49,200 --> 01:03:52,000
Speaker 2: this problem. Armitage shows up at the sight of the

1195
01:03:52,040 --> 01:03:54,920
Speaker 2: Devil's hopyard where they're they're going to do the human sacrifice,

1196
01:03:55,480 --> 01:04:00,400
Speaker 2: and Wilbur's there, and so Armitage and Wilbur's start essentially

1197
01:04:00,520 --> 01:04:03,320
Speaker 2: yelling spells at each other. I think they're just like

1198
01:04:03,520 --> 01:04:06,200
Speaker 2: calling out love crafty and phrases at one another.

1199
01:04:06,760 --> 01:04:09,280
Speaker 1: Yeah, and it's it's I love it. It's super weird,

1200
01:04:09,440 --> 01:04:12,360
Speaker 1: especially since there are no real added effects like it.

1201
01:04:12,640 --> 01:04:14,240
Speaker 1: It's the kind of thing where if you saw actors

1202
01:04:14,280 --> 01:04:16,000
Speaker 1: doing this today, you would think, oh, well, this is

1203
01:04:16,040 --> 01:04:18,640
Speaker 1: before they added like the lightning and lights and lasers

1204
01:04:18,680 --> 01:04:21,120
Speaker 1: shooting off of them every time they say something. But

1205
01:04:21,400 --> 01:04:23,720
Speaker 1: none of that was added, and they really didn't have

1206
01:04:23,960 --> 01:04:26,960
Speaker 1: to because both actors are doing such a good way

1207
01:04:27,040 --> 01:04:30,400
Speaker 1: of saying I don't know of of saying the magic words,

1208
01:04:30,440 --> 01:04:33,320
Speaker 1: I don't know, like just their intensity as they're they're

1209
01:04:33,360 --> 01:04:35,880
Speaker 1: belting out these lines. It works really well, and you

1210
01:04:35,960 --> 01:04:38,880
Speaker 1: totally buy into the fact that, yeah, they're they're they're

1211
01:04:38,960 --> 01:04:41,120
Speaker 1: they're blasting out spells here. Yeah.

1212
01:04:41,160 --> 01:04:44,360
Speaker 2: I think I think you're quite right that it especially

1213
01:04:44,400 --> 01:04:46,960
Speaker 2: has something to do with the audio mixing of this

1214
01:04:47,080 --> 01:04:49,760
Speaker 2: scene that makes it more unsettling than you would think

1215
01:04:49,800 --> 01:04:51,040
Speaker 2: a wizard battle should be.

1216
01:04:51,480 --> 01:04:51,800
Speaker 1: M hm.

1217
01:04:52,360 --> 01:04:55,680
Speaker 2: But ultimately Armitage wins the wizard battle. He's yelling out

1218
01:04:55,680 --> 01:04:57,920
Speaker 2: these phrases. I guess he must know from having studied

1219
01:04:57,920 --> 01:05:01,840
Speaker 2: the Necronomicon and Dean st well, he gets sort of

1220
01:05:02,080 --> 01:05:04,800
Speaker 2: like he gets I don't know something about these phrases

1221
01:05:04,800 --> 01:05:07,720
Speaker 2: getting his head, and he clearly gets like foggy and

1222
01:05:07,840 --> 01:05:10,880
Speaker 2: confused and frustrated. And then he gets struck by lightning and.

1223
01:05:10,920 --> 01:05:13,240
Speaker 1: Catches on fire and it falls off a cliff.

1224
01:05:13,600 --> 01:05:16,920
Speaker 2: Yeah, and at the very last we do get a

1225
01:05:17,160 --> 01:05:22,280
Speaker 2: vision of this unspeakable evil, the Wilbur's brother. And this

1226
01:05:22,480 --> 01:05:25,000
Speaker 2: is the one moment where when we get this flash

1227
01:05:25,040 --> 01:05:28,160
Speaker 2: of its actual form. I think it looks like a beholder,

1228
01:05:28,360 --> 01:05:30,920
Speaker 2: doesn't it, Or at least it looks like illustrations I've

1229
01:05:31,000 --> 01:05:32,000
Speaker 2: seen of beholders.

1230
01:05:32,360 --> 01:05:35,600
Speaker 1: Yeah, I mean we don't. It's even it's still in

1231
01:05:35,680 --> 01:05:37,880
Speaker 1: the big reveal. We don't see it all that clearly.

1232
01:05:38,000 --> 01:05:40,040
Speaker 1: So there is the sense of a beholder, there's a

1233
01:05:40,120 --> 01:05:44,120
Speaker 1: sense of a gorgon's head. But also it's just like

1234
01:05:44,280 --> 01:05:45,240
Speaker 1: color and madness.

1235
01:05:45,680 --> 01:05:49,360
Speaker 2: And so then after all the violence is done, things

1236
01:05:49,400 --> 01:05:52,320
Speaker 2: are coming back down, and the final thoughts are well,

1237
01:05:52,520 --> 01:05:55,959
Speaker 2: Armitage says, well, looks like Wilbur's twin took after the father,

1238
01:05:57,000 --> 01:05:58,760
Speaker 2: so like you were saying earlier, you know, he has

1239
01:05:58,800 --> 01:06:02,560
Speaker 2: his father's eyes. But then also we see Sandra d

1240
01:06:02,800 --> 01:06:05,320
Speaker 2: is okay, but it is suggested she may in fact

1241
01:06:05,520 --> 01:06:08,400
Speaker 2: be carrying the child of an interdimensional demon god.

1242
01:06:08,520 --> 01:06:11,400
Speaker 1: Now yeah, that's right, because we have that pause and

1243
01:06:11,440 --> 01:06:14,400
Speaker 1: then the creepy music, the heartbeat stuff comes in and

1244
01:06:14,480 --> 01:06:17,439
Speaker 1: we have like put an animation of a fetus that's

1245
01:06:17,520 --> 01:06:21,720
Speaker 1: visible there, which which I quite like because it implies

1246
01:06:21,800 --> 01:06:25,480
Speaker 1: like the next level of this curse is the generation

1247
01:06:25,760 --> 01:06:28,520
Speaker 1: of those born in the nineteen seventies, which being a

1248
01:06:28,640 --> 01:06:30,440
Speaker 1: child in the nineteen seventies, I like this because I'm

1249
01:06:30,440 --> 01:06:32,800
Speaker 1: watching the screen and like, that's me. I'm the baby.

1250
01:06:33,280 --> 01:06:37,520
Speaker 1: This is my generation that they're referring to. So in

1251
01:06:37,640 --> 01:06:40,920
Speaker 1: a way, like you know, people my age and you

1252
01:06:41,000 --> 01:06:45,560
Speaker 1: know and younger, like we are the sequel to the dunwichar.

1253
01:06:46,400 --> 01:06:48,720
Speaker 2: The generational curse of the old ones is that you

1254
01:06:48,840 --> 01:06:51,840
Speaker 2: will give less of a crap than any generation ever before.

1255
01:06:54,600 --> 01:06:57,240
Speaker 1: But anyway, it's ahnomenous ending I thought it's a good,

1256
01:06:57,280 --> 01:06:59,400
Speaker 1: good place to land it there again, there are also

1257
01:06:59,400 --> 01:07:01,880
Speaker 1: all these shots of just a waves crashing on the

1258
01:07:02,920 --> 01:07:06,240
Speaker 1: on the coast. It's it ends in a nice spot,

1259
01:07:07,200 --> 01:07:09,560
Speaker 1: all right. So there you have it, the Dunwich Horror,

1260
01:07:10,200 --> 01:07:12,360
Speaker 1: which I quite enjoyed. I found this a very very,

1261
01:07:12,760 --> 01:07:15,760
Speaker 1: very fun film to watch. You might be wondering, well,

1262
01:07:15,760 --> 01:07:17,840
Speaker 1: where can I watch The Dunwich Horror. Well, you can

1263
01:07:17,920 --> 01:07:19,920
Speaker 1: buy or rent this movie most places you get your

1264
01:07:19,960 --> 01:07:24,360
Speaker 1: films these days. You stream it, you know, on all

1265
01:07:24,400 --> 01:07:28,040
Speaker 1: the major platforms. You can also pick it up on DVD. Sadly,

1266
01:07:28,520 --> 01:07:31,120
Speaker 1: there doesn't seem to be an awesome vinyl re release

1267
01:07:31,160 --> 01:07:33,000
Speaker 1: of the score, like I said earlier, but I really

1268
01:07:33,040 --> 01:07:36,200
Speaker 1: hope someone does that, maybe something like nice purple vinyl

1269
01:07:36,320 --> 01:07:38,280
Speaker 1: or something, or I mean really there are a number

1270
01:07:38,280 --> 01:07:40,480
Speaker 1: of wonderful colors used in the film, so you could

1271
01:07:40,520 --> 01:07:41,919
Speaker 1: swirl them all together in there.

1272
01:07:42,360 --> 01:07:44,120
Speaker 2: Oh yeah, I could see that, you know, if they

1273
01:07:44,160 --> 01:07:46,120
Speaker 2: put out one of those big collectors editions of this

1274
01:07:46,280 --> 01:07:48,960
Speaker 2: that that comes along with merch. In addition, it should

1275
01:07:48,960 --> 01:07:52,000
Speaker 2: come with a roll of wallpaper so you can put

1276
01:07:52,080 --> 01:07:54,720
Speaker 2: up the weightlely house wallpaper in your house.

1277
01:07:55,160 --> 01:07:57,120
Speaker 1: Yeah, as you can. You can done which your your

1278
01:07:57,160 --> 01:08:01,880
Speaker 1: own home. I like it. Yeah, it's a very stylish movie,

1279
01:08:02,280 --> 01:08:06,280
Speaker 1: very stylish, very nineteen seventy, so I highly recommend it

1280
01:08:06,720 --> 01:08:10,000
Speaker 1: if this is your sort of film, all right, If

1281
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Speaker 1: you want to check out other episodes of Weird House Cinema,

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Speaker 1: this comes out every Friday and the Stuff to Blow

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Speaker 1: Your Mind podcast feed. We're primarily a science and culture podcast,

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Speaker 1: with core episodes on Tuesdays and Thursdays, with artifact episodes

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Speaker 1: on Wednesdays and listener mail on Mondays. But Friday that's

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Speaker 1: our time to cut loose and discuss a weird picture.

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Speaker 2: Like this one. Huge thanks as always to our excellent

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Speaker 2: audio producer Seth Nicholas Johnson. If you would like to

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Speaker 2: get in touch with us with feedback on this episode

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Speaker 2: or any other, to suggest a topic for the future,

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Speaker 2: or just to say hello, you can email us at

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Speaker 2: contact at stuff to Blow your Mind dot com.

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Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

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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.