WEBVTT - Weirdhouse Cinema Rewind: The Dunwich Horror

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<v Speaker 1>Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb.

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<v Speaker 2>And this is Joe McCormick and ooh, today we are

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<v Speaker 2>featuring an older episode of Weird House Cinema. This is

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<v Speaker 2>the episode we did on The Dunwich Horror with the

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<v Speaker 2>most Lovecraftian of casts Dean Stockwell, Sandra Dee and Ed

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<v Speaker 2>Begley Sr. Nothing says horror like that.

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<v Speaker 1>Yeah, Yeah, this was a lot of fun. It's like

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<v Speaker 1>it's a hippie necronomicon extravaganza, and it's also something of

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<v Speaker 1>a love story, especially in the early going, so it's

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

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<v Speaker 3>Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Weird House Cinema.

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<v Speaker 2>This is Rob Lamb and I'm Joe McCormick.

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<v Speaker 1>And this week we have a I think we have

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<v Speaker 1>a pretty fun on film for everybody. We're going to

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<v Speaker 1>be talking about the nineteen seventy necronomicon film The dune

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<v Speaker 1>Wich Horror, starring the late great Dean Stockwell.

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<v Speaker 2>Does a beholder make an appearance in this movie? I

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<v Speaker 2>want to know from somebody who has more d and

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<v Speaker 2>d experience than.

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<v Speaker 1>Yeah. Well, the depiction of the monster in this film

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<v Speaker 1>is very interesting. For the most part, is very minimal,

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<v Speaker 1>but we do see a weird splash of some sort

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<v Speaker 1>of a beholder esque, you know, almost kind of Medusa

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<v Speaker 1>esque gorgon head creature towards the end, but you don't

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<v Speaker 1>really get a great look at it.

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<v Speaker 2>Yeah, sort of a flying ball of meat with like

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<v Speaker 2>eyeball stalks and tentacles writhing as the color saturation flashes.

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<v Speaker 1>Now, there's a thing that's featured on the poster for

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

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<v Speaker 1>different versions of it where there's this kind of like

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<v Speaker 1>beastial dean stockwell head with a bunch of snakes and

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<v Speaker 1>serpents and leeches stuff kind of like writhing on the head.

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<v Speaker 1>This is not exactly what you see in the film.

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<v Speaker 1>This is just kind of poster art I think inspired

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<v Speaker 1>by it.

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<v Speaker 2>True though, I do like the diversity of the different

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<v Speaker 2>kinds of heads on the snake things coming out of

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<v Speaker 2>this beast. So you got like a cow skull looking

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<v Speaker 2>thing with horns, but then you got a leech mouth,

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<v Speaker 2>and then is there one thing that just kind of

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<v Speaker 2>looks like a raccoon, like.

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<v Speaker 1>A monst Oh yeah, it does kind of look like

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<v Speaker 1>a raccoon. Yeah, all sorts of stuff going on there.

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<v Speaker 1>It's chaos. It's chaos in that creature. But this is

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<v Speaker 1>a film. It's been on my list for a while,

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<v Speaker 1>but I think a couple of things kind of propelled

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<v Speaker 1>it to the forefront for us to record this month.

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

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<v Speaker 1>You've probably heard our ads about that, and you know

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<v Speaker 1>mentioning you know where you can go to learn more.

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<v Speaker 1>So I wanted to watch some films with solid mustaches

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<v Speaker 1>in them, and Dean Stockwell's mustache in this film was

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<v Speaker 1>essential for me because, unlike the excellent mustaches of someone

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<v Speaker 1>like Vincent Price or Olliver Read, this one looks like

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<v Speaker 1>the sort of mustache that I could conceivably grow, an

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<v Speaker 1>uncanny mustache, a mustache that at once checks out checks

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<v Speaker 1>off all the boxes for being a cool mustache, but

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

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<v Speaker 2>Well, that's the That's the essence of Dean Stockwell's character

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<v Speaker 2>in this movie. Because, while of course this is based

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<v Speaker 2>on a novella originally by HP Lovecraft. One way I

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<v Speaker 2>think the movie is very different than the source material

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<v Speaker 2>is the movie has more suaveness in it. Dean Stockwell

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<v Speaker 2>plays a guy who is ultimately an occult creep whose

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<v Speaker 2>affinities lie in other dimensions. But at the same time,

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<v Speaker 2>there are some scenes where he's kind of he's kind

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<v Speaker 2>of smooth, he's kind of got a little bit of charm.

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<v Speaker 1>Yeah, it kind of feels like a love story at times.

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<v Speaker 1>It doesn't stay that way very long, but there are

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<v Speaker 1>a few moments in here where you're like, oh, this

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<v Speaker 1>is kind of a you know, a slightly horror themed

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<v Speaker 1>love story. Now, the other thing that really propelled this

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<v Speaker 1>to the forefront for us is that, of course, on

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<v Speaker 1>November seventh, Dean Stockwell passed away. The star of this

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<v Speaker 1>film were one of the stars of this film. So

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<v Speaker 1>I thought, well, that settles it. You know, we probably

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<v Speaker 1>need to cover this one. And it is kind of

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<v Speaker 1>a tribute to Dean Stockwell, who, as we'll discuss in

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

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<v Speaker 1>over the years, and there are some very memorable roles

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<v Speaker 1>mixed into that filmography. Now, as you mentioned, this is

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<v Speaker 1>a film that is based on an HP Lovecraft story,

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<v Speaker 1>And I think I long avoided watching this adaptation of

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<v Speaker 1>the Dunwich hor because I'd always heard that Lovecraft officionados

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<v Speaker 1>did not like it. They didn't think it was true

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<v Speaker 1>to his vision. But I think that time has shown

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<v Speaker 1>us that, first of all, cosmic car doesn't always translate

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<v Speaker 1>that well onto the screen anyway. And also the more

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<v Speaker 1>we come to terms with what Lovecraft's vision really entailed

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<v Speaker 1>in its entirety, I think deviation from form sounds increasingly okay.

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<v Speaker 2>Yeah.

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<v Speaker 1>Plus I saw that Electric Wizards just Oborne loves this film,

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<v Speaker 1>so I figured, well, something must be working in this adaptation.

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<v Speaker 2>For people not familiar. That's sort of a house favorite

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<v Speaker 2>Doom Metal Stone or Doom Metal band. But yeah, they

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<v Speaker 2>actually sampled this movie in at least one of their songs.

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

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<v Speaker 1>called Dunewich, which it seems entirely inspired by this movie.

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<v Speaker 1>It has lyrics like Child of Dunewitch Rise you have

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<v Speaker 1>your father's eyes, and it looks like somebody affiliated with

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<v Speaker 1>the band actually cut together, you know, a music video

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<v Speaker 1>for that track using footage exclusively from this movie. So

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<v Speaker 1>there you go.

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<v Speaker 2>I think it's fitting for the band because this movie

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<v Speaker 2>has just the their right sort of balance between cosmic

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<v Speaker 2>menace and absolute cornball.

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<v Speaker 1>Yeah. And by the way, that track that music video,

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<v Speaker 1>I'll include that on the blog post for this episode

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<v Speaker 1>at Sammuda music dot com. And by the way, for

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<v Speaker 1>those of you that have written in and you've said, hey,

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<v Speaker 1>where can I get a list of all the movies

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<v Speaker 1>you've covered of all the Weird House episode so that

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<v Speaker 1>you've done that is where you will find that Samooda

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<v Speaker 1>Music se m u t a m u sic dot com.

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

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<v Speaker 1>in this film? We have a we have like a

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<v Speaker 1>nineteen seventies hippie necronomicon story full of weird music bean stockwell,

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<v Speaker 1>and it's produced by Roger Korman.

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<v Speaker 2>And see the Corman connection, because it has a little

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<v Speaker 2>bit of the same grit as those those like Corman

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<v Speaker 2>Edgar Allan Poe movies from around the same time.

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<v Speaker 1>Yeah, and it also, as we'll point out, a number

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<v Speaker 1>of the people involved in this went on to be

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<v Speaker 1>in episodes of Night Gallery. I feel like this if

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<v Speaker 1>you if you dig Night Gallery, you'll dig this film

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<v Speaker 1>because it has that same texture, that same field, that

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<v Speaker 1>same mouthfeel that you get with Night Gallery.

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<v Speaker 2>So how do you do an elevator pitch on this movie?

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<v Speaker 2>Would you say, like boy meets Girl, boy wants to

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<v Speaker 2>open an interdimensional riff to summon ancient demons that ruled

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<v Speaker 2>the cosmos before humankind, meddling grandpas and professors interfere.

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<v Speaker 1>Yeah. Yeah, sort of generational conflict over over you know,

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<v Speaker 1>illicit books of ancient knowledge. Uh well, what would happen

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<v Speaker 1>if you rolled a doobe with a page from an ecronomicon?

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<v Speaker 4>Uh?

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<v Speaker 1>These are all ideas that are bouncing around my head.

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<v Speaker 2>Yeah. Well, we'll probably need to come back to this

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<v Speaker 2>later on. But it's interesting the little ribbon of hippie

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<v Speaker 2>culture and aesthetics running through the middle of this movie.

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<v Speaker 2>I mean, it's not a you know, it's not a

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<v Speaker 2>Woodstock kind of movie, except in little like moments, and

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<v Speaker 2>those moments are the suggestions of the the the otherworldly evil.

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<v Speaker 2>It's almost like a you might say it's more anti

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<v Speaker 2>hippie than hippie because like the hippie imagery and it

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<v Speaker 2>is the visions coming from the the unspeakable place.

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<v Speaker 1>Yeah. Yeah, so it's gonna be very interesting to discuss

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<v Speaker 1>those themes, because it's not one of those films that

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<v Speaker 1>I feel like purshase itself, you know, perfectly between cultures

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<v Speaker 1>of this time period, where it can fully be one

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<v Speaker 1>thing to one side of the culture war and another

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<v Speaker 1>to the other side. But it does it does seem

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<v Speaker 1>to sort of be trying to have that ambiguity at times.

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<v Speaker 2>Of course, then again it might just be sort of,

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

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<v Speaker 2>imagine if this movie was made in nineteen ninety five,

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<v Speaker 2>the visions from the Other Plane would involve sinister grunge

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<v Speaker 2>people in flannel kind of flailing around in a Seattle alleyway.

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

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<v Speaker 1>some of the trailer here.

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<v Speaker 5>The nights are Darker at night is when it happens

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<v Speaker 5>in The Dunwich Horror and.

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<v Speaker 4>Come back old life, the faces of Dark, and Repossess

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<v Speaker 4>the Earth.

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<v Speaker 6>The Dunwich Horror based on HP Lovecraft's Terrifying Tale of

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<v Speaker 6>Those Who Explore the Unspeakable, starring Sandra d Dean Stockwell

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<v Speaker 6>Academy Award winner Ed Begley, Sam Jeffy Never Heard Anything

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<v Speaker 6>like that.

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<v Speaker 1>All right, sounds pretty good. Sounds pretty good.

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<v Speaker 2>Yep.

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<v Speaker 1>All right, Well let's dive right into the people involved

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<v Speaker 1>in bringing this to the screen. First of all, I

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<v Speaker 1>should know that apparently this was originally going to be

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<v Speaker 1>a Mario Bava film, but it sounds like American International

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<v Speaker 1>Pictures switch things up, you know, sort of for you

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<v Speaker 1>the sort of business reasons you might expect with the

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

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

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<v Speaker 1>so it ended up getting shuffled around and we ended

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<v Speaker 1>up with Daniel Holler directing it. This is a guy

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<v Speaker 1>who was born in nineteen twenty six, and weirdly enough,

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<v Speaker 1>Haller's directorial debut was a nineteen sixty five Lovecraft adaptation

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<v Speaker 1>Die Monster Die, starring Boris Karloff.

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<v Speaker 2>Oh yes, that one based on the Color Out of Space,

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<v Speaker 2>I believe.

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<v Speaker 3>So.

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<v Speaker 1>Yeah. I have not seen this one either.

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

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<v Speaker 2>a new Color out of Space movie within the past

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<v Speaker 2>year or two, and I actually never saw it yet.

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<v Speaker 2>But it's got Nicholas Cage in it.

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

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<v Speaker 1>went on to from Die Monster Die, he went on

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<v Speaker 1>to direct a pair of late sixties biker movies. He

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

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<v Speaker 1>This starred Fabian and also featured one of our favorites,

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<v Speaker 1>Dick Miller in there.

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<v Speaker 2>Of course, you know, this movie really missed out on

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<v Speaker 2>having Dick Miller, and Dick Miller would have been great

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<v Speaker 2>as one of the irate townspeople.

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<v Speaker 6>You know.

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<v Speaker 1>Yeah, yeah, he has townspeople written all over him. He

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<v Speaker 1>could have been the guy the gas station. That's a

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<v Speaker 1>perfect Dick Miller role.

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<v Speaker 2>Yeah, Or he could have been one of the guys

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<v Speaker 2>at the store making fun of Grandpa when he was

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<v Speaker 2>talking about bringing beings over from another dimension.

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<v Speaker 1>Yeah, yeah, missed opportunity. Anyway. Haller went on to do

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<v Speaker 1>mostly a lot of TV work. He directed the pilot

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<v Speaker 1>for Buck Rogers in the twenty fifth Century, which ended

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<v Speaker 1>up being pushed out as a film, so technically there's

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<v Speaker 1>a film credit for him. He was also production designer

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<v Speaker 1>and art director on a bunch of old Roger Kornman movies.

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<v Speaker 1>All right, now, the writers on this there are a

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<v Speaker 1>couple of writers that really didn't go on to do

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<v Speaker 1>a whole lot else, Henry Rosenbaum and Ronald Silkowski, but

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<v Speaker 1>Curtis Hansen was one of the writers. He lived nineteen

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<v Speaker 1>forty five through twenty sixteen, and this was his first screenplay.

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<v Speaker 1>He went on to work on screenplays for White Dog,

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<v Speaker 1>Never cry Wolf, and La Confidential, which he also directed.

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<v Speaker 1>Other directorial credits include The Hand That Rocks the Cradle,

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<v Speaker 1>Wonder Boys, and Eight Mile.

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<v Speaker 2>Now, I guess if you're trying to adapt a Lovecraft

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

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<v Speaker 2>to make, which is sort of I would say, probably

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<v Speaker 2>usually prized for its dreadful imagination, you know, very imaginative

0:12:28.440 --> 0:12:33.720
<v Speaker 2>of strange and powerful imagery that makes you feel small

0:12:33.800 --> 0:12:36.040
<v Speaker 2>and afraid. So it's good horror in that sense, but

0:12:36.280 --> 0:12:40.120
<v Speaker 2>very often lacks a human or humane element. And so

0:12:40.240 --> 0:12:41.760
<v Speaker 2>do you just sort of try to do that in

0:12:41.840 --> 0:12:45.000
<v Speaker 2>a movie and risk making an alienating film that nobody

0:12:45.200 --> 0:12:48.040
<v Speaker 2>doesn't really have characters anybody can connect to, or do

0:12:48.160 --> 0:12:51.240
<v Speaker 2>you try to adapt the story into something more human

0:12:51.400 --> 0:12:53.160
<v Speaker 2>with more identifiable characters.

0:12:54.120 --> 0:12:57.040
<v Speaker 1>Yeah, yeah, that is always a because yes, so generally

0:12:57.120 --> 0:13:00.520
<v Speaker 1>these are stories that are very asexual, don't really have

0:13:00.600 --> 0:13:03.959
<v Speaker 1>any romance in them, and it's all about you know,

0:13:04.120 --> 0:13:08.240
<v Speaker 1>dread and cyclopean architecture and so forth. So, yeah, what

0:13:08.360 --> 0:13:09.599
<v Speaker 1>direction do you go in it? Do you go in

0:13:09.679 --> 0:13:12.800
<v Speaker 1>like an action direction which a number of people have

0:13:12.960 --> 0:13:14.720
<v Speaker 1>gone or tried to go. I know, that's what Gallermeal

0:13:14.760 --> 0:13:17.240
<v Speaker 1>Del Toro I think has been wanting to do with

0:13:17.800 --> 0:13:20.240
<v Speaker 1>at the Mountains of Madness. Do you go in kind

0:13:20.240 --> 0:13:24.760
<v Speaker 1>of a schlocky, sexy horror direction like you know, the

0:13:25.559 --> 0:13:29.360
<v Speaker 1>reanimator movies definitely went in that direction, or do you

0:13:29.440 --> 0:13:30.280
<v Speaker 1>find some other path?

0:13:30.640 --> 0:13:33.680
<v Speaker 2>I would say the screenplay adaptation in this movie doesn't

0:13:33.920 --> 0:13:37.240
<v Speaker 2>step fully into making it like a you know, like

0:13:37.600 --> 0:13:42.120
<v Speaker 2>a rich, lovely world full of identifiable characters that are

0:13:42.240 --> 0:13:44.719
<v Speaker 2>you know fully human, But it takes sort of a

0:13:44.800 --> 0:13:47.920
<v Speaker 2>half step in that direction. It is less barren of

0:13:48.040 --> 0:13:51.280
<v Speaker 2>humanity than your standard Lovecraft story would be.

0:13:52.280 --> 0:13:52.520
<v Speaker 5>Yeah.

0:13:52.800 --> 0:13:57.280
<v Speaker 1>Now, Lovecraft lived eighteen ninety through nineteen thirty seven, pole

0:13:57.360 --> 0:13:59.360
<v Speaker 1>horror author and one of the major voices of the

0:13:59.360 --> 0:14:02.400
<v Speaker 1>Weird Tales era, who became more influential and famous after

0:14:02.480 --> 0:14:05.079
<v Speaker 1>his death. His work has left an undeniable mark on

0:14:05.200 --> 0:14:08.360
<v Speaker 1>modern horror, but modern horror fans have had to contend

0:14:08.480 --> 0:14:11.400
<v Speaker 1>with the racism in his letters of correspondence as well

0:14:11.440 --> 0:14:14.040
<v Speaker 1>as in the fabric of many of his tales in

0:14:14.160 --> 0:14:16.079
<v Speaker 1>the stories themselves. It's one of those things that I

0:14:16.120 --> 0:14:19.520
<v Speaker 1>feel like it's impossible not to see it once you've

0:14:19.600 --> 0:14:22.480
<v Speaker 1>seen it, you know. And even in The Dunwich Horror,

0:14:23.080 --> 0:14:26.080
<v Speaker 1>which I did not reread for the purposes of viewing

0:14:26.160 --> 0:14:28.760
<v Speaker 1>this film, but even in watching this film, there are

0:14:29.000 --> 0:14:32.240
<v Speaker 1>elements that are about like people being despised because of

0:14:32.320 --> 0:14:36.720
<v Speaker 1>their lineage, and it's just impossible to ignore, Like it's

0:14:36.800 --> 0:14:39.280
<v Speaker 1>just baked into so many of his works totally.

0:14:39.320 --> 0:14:41.360
<v Speaker 2>And I think that's one of the reasons I would

0:14:41.400 --> 0:14:43.600
<v Speaker 2>agree with what you said earlier, like I'm not really

0:14:43.680 --> 0:14:47.680
<v Speaker 2>troubled by lovecraft adaptations not being true to his vision.

0:14:47.760 --> 0:14:50.160
<v Speaker 2>I mean, I think you can probably take a lot

0:14:50.200 --> 0:14:54.680
<v Speaker 2>of what's like cool about the monstrous and imaginative qualities

0:14:54.760 --> 0:14:57.200
<v Speaker 2>of some of his stories and do something else with them,

0:14:57.240 --> 0:14:58.760
<v Speaker 2>maybe even something better with them.

0:14:59.240 --> 0:15:03.240
<v Speaker 1>Yeah, in this case, something groovy here. Yeah, so let's

0:15:03.280 --> 0:15:06.600
<v Speaker 1>talk about the groovy humans involved in acting in this film.

0:15:07.280 --> 0:15:12.800
<v Speaker 1>The top build star is Sandra d who plays Nancy Wagner,

0:15:13.000 --> 0:15:15.480
<v Speaker 1>who lived She lived nineteen forty two through two thousand

0:15:15.480 --> 0:15:18.840
<v Speaker 1>and five. A former child model and teen actor, d

0:15:19.120 --> 0:15:21.120
<v Speaker 1>was a big deal in the late fifties through the

0:15:21.200 --> 0:15:24.640
<v Speaker 1>late sixties, known for the title role in nineteen sixty

0:15:24.680 --> 0:15:28.400
<v Speaker 1>two's Gidget, among others, and this film The Dunwich har

0:15:28.560 --> 0:15:30.360
<v Speaker 1>was supposed to be part of a comeback for her,

0:15:30.480 --> 0:15:33.280
<v Speaker 1>but it apparently didn't quite take off, and her work

0:15:33.360 --> 0:15:36.440
<v Speaker 1>after this film was increasingly sporadic. But she did go

0:15:36.560 --> 0:15:39.680
<v Speaker 1>on to appear on three episodes of Rod Serling's Night Gallery,

0:15:40.520 --> 0:15:45.080
<v Speaker 1>which again feels appropriate considering the tone of this film

0:15:45.160 --> 0:15:46.520
<v Speaker 1>and the tone of Night Gallery.

0:15:47.120 --> 0:15:50.240
<v Speaker 2>You know what, I thought Sandra d did really good

0:15:50.280 --> 0:15:52.480
<v Speaker 2>in this movie. I thought her part was a little

0:15:52.520 --> 0:15:56.240
<v Speaker 2>bit underwritten later in the film, but she does a

0:15:56.280 --> 0:15:56.920
<v Speaker 2>good job with it.

0:15:57.280 --> 0:16:00.480
<v Speaker 1>Yeah, I mean, she's very charismatic on the screen. Buy

0:16:00.560 --> 0:16:04.960
<v Speaker 1>into her into her character, just based largely on DEA's performance.

0:16:05.720 --> 0:16:11.800
<v Speaker 1>But yeah, her character increasingly feels less dynamic and more

0:16:11.920 --> 0:16:15.360
<v Speaker 1>powerless and kind of like shuffle to the background of things.

0:16:15.440 --> 0:16:18.240
<v Speaker 1>So that being said, she does a good job with it.

0:16:18.400 --> 0:16:20.360
<v Speaker 2>I was gonna say, actually, very much reminds me of

0:16:20.400 --> 0:16:24.160
<v Speaker 2>the arc of the protagonist in Lords of Salem who.

0:16:24.400 --> 0:16:27.120
<v Speaker 2>My main problem with that movie is that the protagonist

0:16:27.200 --> 0:16:30.560
<v Speaker 2>for the second two thirds of the movie becomes mostly catatonic.

0:16:30.920 --> 0:16:33.200
<v Speaker 1>Oh yeah, I think it was very much a comparison

0:16:33.280 --> 0:16:36.480
<v Speaker 1>to be made between the character trajectories of both of

0:16:36.560 --> 0:16:49.840
<v Speaker 1>these these roles in both of these films. All right, well,

0:16:49.920 --> 0:16:52.480
<v Speaker 1>let's let's talk about Dean Stockwell, then Dean stock Will

0:16:52.480 --> 0:16:56.600
<v Speaker 1>plays Wilbur Weiteley here. So Dean stock Will live nineteen

0:16:56.640 --> 0:16:59.840
<v Speaker 1>thirty six through twenty twenty one, and boy, he had

0:16:59.880 --> 0:17:02.760
<v Speaker 1>a really long career. He started out as a child

0:17:02.880 --> 0:17:06.639
<v Speaker 1>actor in nineteen forty five and continued acting for the

0:17:07.320 --> 0:17:12.200
<v Speaker 1>next seventy years. His last screen credit was in twenty fifteen.

0:17:12.720 --> 0:17:16.080
<v Speaker 1>So some two hundred and four screen credits. Wow, So,

0:17:16.160 --> 0:17:18.560
<v Speaker 1>as you might imagine, there's a why hold on, hold on.

0:17:18.640 --> 0:17:21.800
<v Speaker 2>Sorry, I have to ask, is that counting each individual

0:17:21.920 --> 0:17:25.200
<v Speaker 2>episode of Quantum Leap separately or just as one credit?

0:17:25.440 --> 0:17:29.040
<v Speaker 1>Just as one credit? Yeah? Wow, yeah, because yeah Quantum Leap.

0:17:29.080 --> 0:17:31.080
<v Speaker 1>Of course, because he did a fair amount of TV work,

0:17:31.119 --> 0:17:32.720
<v Speaker 1>And so I think a lot of people when you

0:17:32.880 --> 0:17:35.920
<v Speaker 1>think of Dean stockwell, you probably think of his character

0:17:36.080 --> 0:17:39.719
<v Speaker 1>Al the hologram on Quantum Leap. The guy who appears

0:17:39.760 --> 0:17:41.800
<v Speaker 1>to you and helps helps you figure out what you've

0:17:41.800 --> 0:17:48.000
<v Speaker 1>got to do in this weird sci fi reincarnation serial

0:17:48.960 --> 0:17:52.520
<v Speaker 1>situation in order to keep passing on through other people's lives.

0:17:52.920 --> 0:17:54.480
<v Speaker 1>I was a big fan of Quantum Leap. I remember

0:17:54.520 --> 0:17:57.280
<v Speaker 1>we would it was like a show that my family

0:17:57.320 --> 0:17:59.359
<v Speaker 1>would watch. We would watch it together whenever it was on.

0:18:00.280 --> 0:18:01.240
<v Speaker 1>That's fond memories of that.

0:18:01.920 --> 0:18:03.840
<v Speaker 2>I think that was another one that I sometimes saw

0:18:03.880 --> 0:18:08.879
<v Speaker 2>at hotel cable like Cocation, because they did reruns of

0:18:08.920 --> 0:18:09.880
<v Speaker 2>it on the Sci Fi channel.

0:18:09.960 --> 0:18:12.199
<v Speaker 1>Right, Oh, did they Okay? I think yeah, I think

0:18:12.200 --> 0:18:14.440
<v Speaker 1>you're right. I think you're right. So Stockwell did a

0:18:14.480 --> 0:18:17.760
<v Speaker 1>lot of Western's early on again, a lot of TV work.

0:18:18.320 --> 0:18:21.159
<v Speaker 1>He did the hippie picture psych Out in nineteen sixty

0:18:21.240 --> 0:18:24.400
<v Speaker 1>eight opposite Jack Nicholson. He was also in Dennis Hopper's

0:18:24.440 --> 0:18:27.480
<v Speaker 1>The Last Movie in nineteen seventy one, so to a

0:18:27.520 --> 0:18:29.240
<v Speaker 1>certain extent he seems to have been very much a

0:18:29.280 --> 0:18:32.600
<v Speaker 1>part of that. Nicholson Hopper dern Fond a scene of

0:18:32.680 --> 0:18:36.920
<v Speaker 1>the late sixties early seventies. In the mid eighties, he

0:18:37.080 --> 0:18:41.800
<v Speaker 1>had this sudden film resurgence, appearing in Vim Vender's Paris,

0:18:41.960 --> 0:18:45.640
<v Speaker 1>Texas in nineteen eighty four, as well as David Lynch's

0:18:45.760 --> 0:18:48.639
<v Speaker 1>Dune in nineteen eighty four, in which he played doctor U.

0:18:49.040 --> 0:18:51.000
<v Speaker 2>Oh yeah, I forgot he was in Dune.

0:18:51.280 --> 0:18:53.440
<v Speaker 1>Yeah. Yeah, he's got the mustache, he's got the mark

0:18:53.520 --> 0:18:56.920
<v Speaker 1>on the forehead. In nineteen eighty five, he was in

0:18:57.000 --> 0:19:01.359
<v Speaker 1>William Fredkins To Live and Die in La. Subsequent films

0:19:01.400 --> 0:19:05.199
<v Speaker 1>include Blue Velvet, Beverly Hills Cop two. He also had

0:19:05.200 --> 0:19:08.320
<v Speaker 1>a memorable role in the nineteen eighty eight Jonathan Demi

0:19:08.640 --> 0:19:11.479
<v Speaker 1>comedy Married to the Mob, in which he played a mobster.

0:19:11.840 --> 0:19:13.639
<v Speaker 1>I think it was something like Tony the Tiger or

0:19:13.680 --> 0:19:17.200
<v Speaker 1>something was his name, But yeah on TV though, I

0:19:17.240 --> 0:19:21.040
<v Speaker 1>think he's best remembered for Al and Quantum Leap. He

0:19:21.119 --> 0:19:24.560
<v Speaker 1>also later had a fun recurring role on the Battlestar

0:19:24.680 --> 0:19:28.600
<v Speaker 1>Galactica reboot as a John Cavell, and he did an

0:19:28.640 --> 0:19:29.679
<v Speaker 1>episode of Night Gallery.

0:19:30.040 --> 0:19:32.920
<v Speaker 2>So a weird fact I came across while while reading

0:19:32.920 --> 0:19:37.040
<v Speaker 2>about this movie, Dean Stockwell was in a second movie

0:19:37.200 --> 0:19:40.640
<v Speaker 2>adaptation of the Dunwich Horror of the novella. This movie

0:19:40.680 --> 0:19:43.120
<v Speaker 2>is based on It's one from two thousand and eight

0:19:43.200 --> 0:19:47.240
<v Speaker 2>that looks truly dreadful, but in this one, he's like,

0:19:47.400 --> 0:19:50.280
<v Speaker 2>he switches roles. So in this movie he plays the

0:19:50.320 --> 0:19:53.040
<v Speaker 2>guy who's trying to summon the demons, and in the

0:19:53.080 --> 0:19:55.800
<v Speaker 2>two thousand and eight movie he plays the professor who

0:19:55.880 --> 0:19:58.280
<v Speaker 2>has to battle that guy in the end. So it's

0:19:58.320 --> 0:20:01.320
<v Speaker 2>basically a switch from like playing Macbeth to playing McDuff.

0:20:02.320 --> 0:20:07.280
<v Speaker 2>And this adaptation is set in Louisiana, which what can

0:20:07.320 --> 0:20:11.760
<v Speaker 2>you really separate the stony New englandness from this story

0:20:11.880 --> 0:20:14.560
<v Speaker 2>that seems absolutely crucial to that seems like trying to

0:20:14.600 --> 0:20:16.400
<v Speaker 2>set the shining in Louisiana.

0:20:16.920 --> 0:20:20.760
<v Speaker 1>Well you say that, but then again, this film was

0:20:21.200 --> 0:20:25.800
<v Speaker 1>the dunwichar from nineteen seventy was filmed in coastal northern California.

0:20:25.920 --> 0:20:29.520
<v Speaker 2>So oh, that makes sense given it, and it works, but.

0:20:29.560 --> 0:20:31.960
<v Speaker 1>Then again it works for this film, but yeah, it

0:20:32.040 --> 0:20:35.800
<v Speaker 1>doesn't feel particularly like New England now. I will also

0:20:35.880 --> 0:20:38.679
<v Speaker 1>mention that Dean was the son of actor Harry Stockwell, who,

0:20:38.720 --> 0:20:40.879
<v Speaker 1>among other things, was the voice of the Prince in

0:20:41.000 --> 0:20:45.359
<v Speaker 1>Disney snow White, the classic snow White animated film, and

0:20:45.480 --> 0:20:48.520
<v Speaker 1>Dean's older brother, Guy was also an actor, appearing in

0:20:48.640 --> 0:20:52.440
<v Speaker 1>such films as Santa San Gria and also nineteen sixty

0:20:52.480 --> 0:20:55.640
<v Speaker 1>five's the Warlord. He played the villain in that opposite

0:20:55.720 --> 0:21:01.080
<v Speaker 1>Charlton Heston. Now you mentioned the professor that the battles

0:21:01.400 --> 0:21:06.480
<v Speaker 1>Wilbur This is Professor Armitage, doctor or doctor Henry Armitage,

0:21:06.520 --> 0:21:10.960
<v Speaker 1>as he's referencing the credits for Dunwich Horror and in

0:21:11.080 --> 0:21:13.959
<v Speaker 1>this film, this character is played by Ed Bagley Senior,

0:21:14.040 --> 0:21:17.639
<v Speaker 1>who lived nineteen one through nineteen seventy. So he's the

0:21:17.680 --> 0:21:24.400
<v Speaker 1>hero of the picture. Philosophy professor at I believe from Missicatonic. Yeah, yeah,

0:21:24.640 --> 0:21:27.320
<v Speaker 1>I don't know if this is like the California branch

0:21:27.400 --> 0:21:29.679
<v Speaker 1>of the college or he's visiting.

0:21:30.640 --> 0:21:35.160
<v Speaker 2>It's not really explored. Yeah, Miskatonic University, Riverside.

0:21:35.400 --> 0:21:39.159
<v Speaker 1>Yeah, so Ed Bagley Senior. As you may notice, this

0:21:39.280 --> 0:21:42.920
<v Speaker 1>is of course Ed Bangley Junior's dad. He was nearly

0:21:43.440 --> 0:21:46.280
<v Speaker 1>seventy years old during this film, and it definitely shows

0:21:46.359 --> 0:21:49.040
<v Speaker 1>he has very much the feel of an older guy

0:21:49.520 --> 0:21:54.000
<v Speaker 1>in this which I think is rather fitting because we

0:21:54.040 --> 0:21:57.800
<v Speaker 1>talked about sort of the themes of generational tug of

0:21:57.920 --> 0:22:01.080
<v Speaker 1>war in this picture. You know that it's about the

0:22:01.160 --> 0:22:03.399
<v Speaker 1>old people telling the young people they shouldn't do things,

0:22:03.480 --> 0:22:08.399
<v Speaker 1>and and ultimately it feels like it has this. You know,

0:22:08.680 --> 0:22:11.679
<v Speaker 1>it makes sense that that armitage would be this grandfatherly

0:22:11.880 --> 0:22:15.040
<v Speaker 1>character who's trying to protect young Sandra d from the

0:22:15.160 --> 0:22:17.719
<v Speaker 1>dangers posed by hippie sorcerers.

0:22:18.200 --> 0:22:20.560
<v Speaker 2>Oh yeah, I can see that. And well, even though

0:22:20.720 --> 0:22:23.280
<v Speaker 2>Ed Begley is supposed to be on the side of

0:22:23.400 --> 0:22:25.520
<v Speaker 2>good at the end of this at the end of

0:22:25.600 --> 0:22:29.240
<v Speaker 2>this movie, he plays so well into the cranky old

0:22:29.359 --> 0:22:32.119
<v Speaker 2>man archetype. I mean, and I think he was often

0:22:32.280 --> 0:22:34.480
<v Speaker 2>type cast that way. I'm not I haven't seen all

0:22:34.520 --> 0:22:36.800
<v Speaker 2>of his movie, but like, for example, in Twelve Angry Men,

0:22:37.359 --> 0:22:40.800
<v Speaker 2>he plays like the worst duror. You know, he's like

0:22:40.920 --> 0:22:43.640
<v Speaker 2>the racist one, he's the he's the like nasty old

0:22:43.720 --> 0:22:46.680
<v Speaker 2>guy who they eventually went over in the end, but

0:22:46.960 --> 0:22:50.120
<v Speaker 2>like it becomes clear that he's just like a mean

0:22:50.200 --> 0:22:53.280
<v Speaker 2>old crank, and he can play a mean old crank.

0:22:53.800 --> 0:22:56.280
<v Speaker 1>M yeah. I don't know that I've really seen him

0:22:56.320 --> 0:22:58.679
<v Speaker 1>in much, or I at least don't remember him for much,

0:22:58.720 --> 0:23:00.679
<v Speaker 1>but he was a major actor. He won an Academy

0:23:00.680 --> 0:23:03.879
<v Speaker 1>Award for Best Supporting Actor for his performance in nineteen

0:23:03.920 --> 0:23:07.720
<v Speaker 1>sixty two Sweet Bird of Youth. You already mentioned fifty

0:23:07.760 --> 0:23:09.800
<v Speaker 1>seven is Twelve Angry Men, he was also in The

0:23:09.920 --> 0:23:12.879
<v Speaker 1>Unsinkable Molly Brown in nineteen sixty four, and he was

0:23:12.920 --> 0:23:15.600
<v Speaker 1>nominated for an Emmy Award for Inherit the Wind?

0:23:16.000 --> 0:23:17.840
<v Speaker 2>Oh who did he play? And Inherit the Wind was he?

0:23:18.520 --> 0:23:25.520
<v Speaker 1>Was he Darrow or a caveman? I think it's been watsin? Oh?

0:23:25.560 --> 0:23:27.800
<v Speaker 2>Okay, no, I just looked it up. It was in

0:23:28.080 --> 0:23:30.960
<v Speaker 2>not the original movie adaptation with Spencer Tracy, but another

0:23:31.000 --> 0:23:34.760
<v Speaker 2>one they did for TV. And Ed Begley plays plays

0:23:35.080 --> 0:23:39.520
<v Speaker 2>Matthew Brady, who is the character based on William Jennings Bryan. Okay,

0:23:39.880 --> 0:23:42.120
<v Speaker 2>so he's the do not teach evolution guy.

0:23:42.560 --> 0:23:46.000
<v Speaker 1>Okay, well, that falls in line with your basic argument

0:23:46.040 --> 0:23:49.760
<v Speaker 1>here though that he tended to play the cranky antagonist.

0:23:50.080 --> 0:23:52.320
<v Speaker 2>But yeah, so something about it does work in this movie,

0:23:52.400 --> 0:23:56.000
<v Speaker 2>like you're saying, because I think because the like the

0:23:56.119 --> 0:23:59.399
<v Speaker 2>evil visions are inflected with this kind of like youth

0:23:59.560 --> 0:24:03.880
<v Speaker 2>and counterculture hippie strangeness that in the end the day

0:24:04.000 --> 0:24:06.840
<v Speaker 2>is saved by just like a like a grumpy old crank.

0:24:07.560 --> 0:24:09.640
<v Speaker 1>Yeah, an old guy who's like, you get your hands

0:24:09.680 --> 0:24:12.520
<v Speaker 1>off the necronomicon. That's that's not for young folks, that's

0:24:12.560 --> 0:24:15.359
<v Speaker 1>for us old, right, that's not for the common folk.

0:24:15.400 --> 0:24:17.919
<v Speaker 1>That's for the professors like me. That's why we behinde

0:24:17.920 --> 0:24:22.720
<v Speaker 1>the Necronomicon behind a paywall. I get to study it.

0:24:22.800 --> 0:24:23.240
<v Speaker 1>You don't.

0:24:23.880 --> 0:24:26.200
<v Speaker 2>But this is literally a conflict in the movie. Like

0:24:26.320 --> 0:24:29.679
<v Speaker 2>early on, Dean Stockwell and Ed Begley have an argument

0:24:29.760 --> 0:24:32.680
<v Speaker 2>about whether whether he can like look at the Necronomicon,

0:24:32.760 --> 0:24:34.120
<v Speaker 2>and Ed Begley's.

0:24:33.720 --> 0:24:34.960
<v Speaker 1>Just like, no, it's not for it.

0:24:35.160 --> 0:24:36.000
<v Speaker 2>It's not for you to do.

0:24:36.680 --> 0:24:38.640
<v Speaker 1>It's for me. It's for my study. It's like, yeah,

0:24:38.680 --> 0:24:40.159
<v Speaker 1>he's not of the mind like, no one should look

0:24:40.200 --> 0:24:42.240
<v Speaker 1>at the Necronomicon, you know, no one, not one of those.

0:24:42.720 --> 0:24:44.720
<v Speaker 1>He's like, oh, I should totally look at it. It's

0:24:44.840 --> 0:24:45.600
<v Speaker 1>this is my thing.

0:24:46.200 --> 0:24:48.040
<v Speaker 2>Well, we can discuss this when we get more into

0:24:48.080 --> 0:24:51.159
<v Speaker 2>the plot. But I think the idea is Ed Begley

0:24:51.240 --> 0:24:54.920
<v Speaker 2>believes Dean Stockwell's interests in it or not purer, which

0:24:55.080 --> 0:24:57.400
<v Speaker 2>he's correct in actually true true.

0:24:58.720 --> 0:25:03.000
<v Speaker 1>Okay, So Wilbur Weightly's father is Old Weighty, and he's

0:25:03.000 --> 0:25:06.199
<v Speaker 1>played by Sam Jaffey, who lived eighteen ninety one through

0:25:06.760 --> 0:25:10.520
<v Speaker 1>nineteen eighty four, character actor known for roles in The

0:25:10.600 --> 0:25:13.800
<v Speaker 1>Asphalt Jungle, The Day the Earth Stood Still, Bed Knobs

0:25:13.840 --> 0:25:17.320
<v Speaker 1>and Broomsticks and Ben Her and you better know he

0:25:17.359 --> 0:25:19.760
<v Speaker 1>appeared in an episode of The Night Gallery.

0:25:20.119 --> 0:25:22.160
<v Speaker 2>Now you know. One of the actors I was most

0:25:22.240 --> 0:25:25.479
<v Speaker 2>surprised to see in this movie was that Talia Shire

0:25:25.600 --> 0:25:28.560
<v Speaker 2>shows up in a very small role. She plays a

0:25:29.240 --> 0:25:34.200
<v Speaker 2>receptionist in a doctor's office who sort of passes along

0:25:34.440 --> 0:25:39.200
<v Speaker 2>some general folk town knowledge about the evil of the

0:25:39.240 --> 0:25:42.720
<v Speaker 2>Weightly family and how you know you better stay away

0:25:42.760 --> 0:25:45.200
<v Speaker 2>from them. But I guess this makes sense because I

0:25:45.280 --> 0:25:47.080
<v Speaker 2>was like, man, this is a strange role. But this

0:25:47.320 --> 0:25:49.480
<v Speaker 2>was before The Godfather Rocky.

0:25:49.359 --> 0:25:53.320
<v Speaker 1>Right, Yeah, this was only her second film credit. But yeah,

0:25:53.400 --> 0:25:56.960
<v Speaker 1>she would go on to play Adrian. She's Adrian. She's

0:25:57.000 --> 0:25:59.760
<v Speaker 1>the one that Rocky is where you'll like about yea,

0:26:00.040 --> 0:26:02.280
<v Speaker 1>He's Connie and The Godfather. She was in a ton

0:26:02.400 --> 0:26:06.840
<v Speaker 1>of other movies, including the nineteen seventy nine mutant bear

0:26:06.960 --> 0:26:10.600
<v Speaker 1>film Prophecy, which of course also stars our favorite work

0:26:10.640 --> 0:26:12.960
<v Speaker 1>beast Robert Foxworth.

0:26:13.240 --> 0:26:17.200
<v Speaker 2>Ferk Based maybe we should start making a list of

0:26:17.320 --> 0:26:20.560
<v Speaker 2>the movies that most often get mentioned with crossover. I

0:26:20.640 --> 0:26:22.720
<v Speaker 2>feel like Prophecy somehow comes up a lot.

0:26:23.160 --> 0:26:26.120
<v Speaker 1>Yeah, I guess we've got to do Prophecy at some point,

0:26:26.760 --> 0:26:30.199
<v Speaker 1>just because it keeps coming up. It's this collection picture

0:26:30.280 --> 0:26:32.280
<v Speaker 1>that it just collects all these other actors that we

0:26:32.440 --> 0:26:35.639
<v Speaker 1>keep referring to, and I guess it's one that I've

0:26:35.760 --> 0:26:39.479
<v Speaker 1>never seen myself. But the VHS cover is like firmly

0:26:39.560 --> 0:26:41.639
<v Speaker 1>fixed in my head because it has this like mutant

0:26:41.720 --> 0:26:44.919
<v Speaker 1>bear in sort of this embryotic state. All right, well,

0:26:44.960 --> 0:26:46.720
<v Speaker 1>let's talk about the music in this film, because this

0:26:47.520 --> 0:26:50.240
<v Speaker 1>I was really excited for because the music once more

0:26:50.960 --> 0:26:53.880
<v Speaker 1>is by Les Baxter, who lived nineteen twenty two through

0:26:54.000 --> 0:26:57.040
<v Speaker 1>nineteen sixty six. We've discussed him a few different times.

0:26:57.080 --> 0:27:00.280
<v Speaker 1>This is the king of exotica music. He did the

0:27:00.440 --> 0:27:04.720
<v Speaker 1>effective jazzy score in Mario Bava's Black Sabbath. He also

0:27:04.800 --> 0:27:09.320
<v Speaker 1>did the very minimal electric blooping frog noise score for

0:27:09.600 --> 0:27:13.960
<v Speaker 1>the film Frog. Okay, what always happens is Baxter comes

0:27:14.040 --> 0:27:16.240
<v Speaker 1>up and I mentioned, well, okay, Baxter's got all this

0:27:16.359 --> 0:27:20.240
<v Speaker 1>excellent exotica work that he did, and then I'll say

0:27:20.320 --> 0:27:22.520
<v Speaker 1>something to the effect of, well, but this isn't really

0:27:22.520 --> 0:27:25.680
<v Speaker 1>an exotica score or anything. Because Baxter did a number

0:27:25.680 --> 0:27:28.399
<v Speaker 1>of B movie scores and then it went on to

0:27:28.480 --> 0:27:31.520
<v Speaker 1>compose music for SeaWorld. When scorework kind of dried up

0:27:31.600 --> 0:27:34.320
<v Speaker 1>for him, So I think his work is probably better

0:27:34.440 --> 0:27:38.000
<v Speaker 1>understood as a professional output rather than anything like, hey,

0:27:38.320 --> 0:27:41.200
<v Speaker 1>let's get that exotica guy to do this film because

0:27:41.200 --> 0:27:44.359
<v Speaker 1>we want an exotica score. But with Dunwich Horror, I

0:27:44.400 --> 0:27:48.760
<v Speaker 1>think the elements of weird pagan ceremonies and it really

0:27:48.840 --> 0:27:51.639
<v Speaker 1>provided a reason for some of those exotica elements to

0:27:51.720 --> 0:27:55.080
<v Speaker 1>flare up. So we have this fun mix of nineteen

0:27:55.160 --> 0:27:59.359
<v Speaker 1>seventies cinematic jazz. We have Eastern motifs, we have weird

0:27:59.520 --> 0:28:04.159
<v Speaker 1>theram and electronic sound effects. We have foreboding drums and

0:28:04.359 --> 0:28:10.359
<v Speaker 1>blaring horns. It very much feels like jazz cigarette rolled

0:28:10.400 --> 0:28:12.639
<v Speaker 1>with a paid for an acronomicon here. You know.

0:28:12.760 --> 0:28:14.880
<v Speaker 2>I thought one of the sonic elements of this movie

0:28:15.480 --> 0:28:18.560
<v Speaker 2>that was especially effective, And I don't know if Les

0:28:18.640 --> 0:28:20.880
<v Speaker 2>Baxter did this part I would assume he at least

0:28:20.920 --> 0:28:25.600
<v Speaker 2>partially did, was that when you are seeing the evil

0:28:25.680 --> 0:28:28.879
<v Speaker 2>twin brother from the house. I guess would this be

0:28:29.080 --> 0:28:31.879
<v Speaker 2>the titular Dunwich Horror or just the horror refer to

0:28:32.560 --> 0:28:35.480
<v Speaker 2>like this guy or like the whole sort of situation.

0:28:35.840 --> 0:28:36.360
<v Speaker 2>I'm not sure.

0:28:36.720 --> 0:28:38.680
<v Speaker 1>I always took it to mean like the whole situation,

0:28:39.360 --> 0:28:42.840
<v Speaker 1>but I think it could apply specifically to the brother.

0:28:43.120 --> 0:28:46.280
<v Speaker 2>Yeah, so the twin brother. There is this monstrous twin

0:28:46.400 --> 0:28:48.280
<v Speaker 2>brother who is sort of the Hugo, if you will,

0:28:48.400 --> 0:28:51.520
<v Speaker 2>the Hugo of the film, who's behind a rattling door

0:28:51.640 --> 0:28:53.680
<v Speaker 2>for most of the movie, but later on in the

0:28:53.720 --> 0:28:56.160
<v Speaker 2>film he gets out and that's when when things really

0:28:56.200 --> 0:28:59.440
<v Speaker 2>get wild. But so when he gets out, we sort

0:28:59.480 --> 0:29:03.040
<v Speaker 2>of see Hugo caam and so we're seeing from his

0:29:03.240 --> 0:29:06.760
<v Speaker 2>perspective as he floats around over the landscape looking for

0:29:07.080 --> 0:29:11.280
<v Speaker 2>people to terrorize. And in those sequences or when you're

0:29:11.320 --> 0:29:13.840
<v Speaker 2>seeing people and you just know that the twin brother

0:29:14.000 --> 0:29:18.000
<v Speaker 2>is near, there's just this steady, ominous chord and a

0:29:18.200 --> 0:29:22.959
<v Speaker 2>slow kind of heartbeat rhythm. I know that sounds very

0:29:23.000 --> 0:29:26.360
<v Speaker 2>standard for horror movies, but it works really well in

0:29:26.440 --> 0:29:28.920
<v Speaker 2>this one. I always really liked the sound in those scenes.

0:29:29.680 --> 0:29:29.880
<v Speaker 6>Yeah.

0:29:30.000 --> 0:29:31.480
<v Speaker 1>I mean, I think a huge part of it is,

0:29:31.640 --> 0:29:35.520
<v Speaker 1>first of all, they're adapting a story about essentially an

0:29:35.600 --> 0:29:39.360
<v Speaker 1>evil brother who's an invisible space blob. So if you're

0:29:39.400 --> 0:29:43.080
<v Speaker 1>going to try and portray that accurately, you're already limited.

0:29:43.200 --> 0:29:45.480
<v Speaker 1>So a lot of what they do is based in

0:29:45.680 --> 0:29:48.600
<v Speaker 1>sound and then also in like weird colors and stuff.

0:29:49.440 --> 0:29:52.040
<v Speaker 1>So the sound is essential here. And I don't know

0:29:52.200 --> 0:29:54.840
<v Speaker 1>for certain, but I suspect this was totally Baxter's deal

0:29:54.920 --> 0:29:58.040
<v Speaker 1>as well, for no other reason because it lines up

0:29:58.080 --> 0:30:02.080
<v Speaker 1>with his work in Frogs, which is almost entirely you know,

0:30:02.480 --> 0:30:06.120
<v Speaker 1>electronic and like minimal ambient in that regard. Now, I

0:30:06.160 --> 0:30:08.480
<v Speaker 1>don't think the score for this film is widely available

0:30:08.560 --> 0:30:11.000
<v Speaker 1>in digital or physical form right now, but it has

0:30:11.080 --> 0:30:14.040
<v Speaker 1>been released over the years, and it was originally released

0:30:14.080 --> 0:30:17.400
<v Speaker 1>on vinyl in nineteen seventy under the title and I

0:30:17.520 --> 0:30:21.400
<v Speaker 1>Kid you Not Music of the Devil God Cult Strange

0:30:21.560 --> 0:30:26.760
<v Speaker 1>Sounds from Dunwich and then it it's just it's a

0:30:26.880 --> 0:30:29.720
<v Speaker 1>wonderful title, like they seem to be going like further away,

0:30:29.720 --> 0:30:31.600
<v Speaker 1>like it's not just hey, here's the score for the

0:30:31.640 --> 0:30:34.280
<v Speaker 1>dunwichar by Less Baxter, like they no, here is the

0:30:34.440 --> 0:30:36.080
<v Speaker 1>music of that Devil God Cult.

0:30:36.520 --> 0:30:40.920
<v Speaker 2>And the cover of the album is just Dean Stockwell's

0:30:40.960 --> 0:30:43.360
<v Speaker 2>face with his eyes so wide it looks like his

0:30:43.440 --> 0:30:44.480
<v Speaker 2>head's gonna explode.

0:30:45.120 --> 0:30:47.480
<v Speaker 1>Yeah, this is one of this wonderful pose that he

0:30:47.560 --> 0:30:50.200
<v Speaker 1>does where he puts his his hands to either side

0:30:50.240 --> 0:30:53.240
<v Speaker 1>of his face while they're crossed. During one of his

0:30:53.320 --> 0:30:55.880
<v Speaker 1>many yog Sagath chants.

0:30:56.080 --> 0:30:59.120
<v Speaker 2>Oh yeah, I like that. So he puts his hands

0:30:59.200 --> 0:31:01.040
<v Speaker 2>up beside his head and he's got a ring on

0:31:01.120 --> 0:31:03.760
<v Speaker 2>each pinky, so it's like he's got a second pair

0:31:03.800 --> 0:31:07.280
<v Speaker 2>of eyes almost. But also the way his hands are

0:31:07.280 --> 0:31:10.240
<v Speaker 2>out flat beside his face, he looks like a cobra flaring.

0:31:10.360 --> 0:31:14.400
<v Speaker 1>It's it's hood, yeah, it's it's it's it's excellent. It's

0:31:14.440 --> 0:31:17.640
<v Speaker 1>it's a great pose. Maybe maybe my wife will let

0:31:17.680 --> 0:31:20.160
<v Speaker 1>me use this pose and in the next photo.

0:31:23.040 --> 0:31:24.520
<v Speaker 2>Yeah, that'd be good for the Christmas card.

0:31:24.840 --> 0:31:27.960
<v Speaker 1>Yeah, So yeah, I would say that in general this

0:31:28.080 --> 0:31:30.720
<v Speaker 1>movie is excellent from an audio standpoint. I watched it

0:31:30.840 --> 0:31:33.760
<v Speaker 1>with with earbuds in and I felt like the weird

0:31:33.920 --> 0:31:36.720
<v Speaker 1>sounds were just kind of like rolling around me in

0:31:36.840 --> 0:31:39.280
<v Speaker 1>like three D audio. It has this these great dark

0:31:39.360 --> 0:31:43.600
<v Speaker 1>ambient stretches. It has some wonderful like like you know,

0:31:43.840 --> 0:31:47.920
<v Speaker 1>cosmic horror jazz going on, uh, which which I I

0:31:48.040 --> 0:31:50.960
<v Speaker 1>absolutely loved. So this is yeah, this is this is

0:31:51.000 --> 0:31:54.120
<v Speaker 1>a wonderful score, and I really hope someone puts it

0:31:54.200 --> 0:31:56.520
<v Speaker 1>out again, not only digitally, but like all these like

0:31:56.640 --> 0:31:58.840
<v Speaker 1>crazy vinyls that we often touch on that come out

0:31:58.920 --> 0:32:00.960
<v Speaker 1>to re release these very scores, like, oh man, you

0:32:01.000 --> 0:32:03.360
<v Speaker 1>could go in so many fun directions with this.

0:32:03.880 --> 0:32:07.360
<v Speaker 2>Yeah, I agree. I really enjoyed the music. The whole

0:32:07.400 --> 0:32:10.160
<v Speaker 2>audio landscape I thought was a highlight of the movie.

0:32:19.200 --> 0:32:21.560
<v Speaker 1>All right, Well, let's get into the plot for this baby.

0:32:21.800 --> 0:32:24.880
<v Speaker 2>All right, So this movie begins with a pre credit sequence,

0:32:24.960 --> 0:32:27.560
<v Speaker 2>but it has some amazing animations that go along with

0:32:27.640 --> 0:32:29.280
<v Speaker 2>the credits. We should talk about those in the second

0:32:29.320 --> 0:32:31.920
<v Speaker 2>But before we get to that, there is this pre

0:32:32.080 --> 0:32:36.000
<v Speaker 2>credit sequence where there's like a bunch of witches in

0:32:36.120 --> 0:32:39.240
<v Speaker 2>a bedroom. It's kind of the it's kind of Rosemary's

0:32:39.320 --> 0:32:43.520
<v Speaker 2>Baby ending scene, almost some witches in a bedroom and

0:32:43.760 --> 0:32:47.240
<v Speaker 2>like a lady maybe going to give birth or having

0:32:47.280 --> 0:32:51.800
<v Speaker 2>given birth. And the problem with this scene is all

0:32:51.880 --> 0:32:56.720
<v Speaker 2>of the characters are being drastically upstaged by the decorps

0:32:56.960 --> 0:33:01.800
<v Speaker 2>in the rooms, which is just the busiest purple wallpaper

0:33:01.920 --> 0:33:06.000
<v Speaker 2>I've ever seen, and like weird clocks that look like

0:33:06.040 --> 0:33:09.080
<v Speaker 2>they're made out of like they're like, you know, trash sculpture,

0:33:10.520 --> 0:33:16.280
<v Speaker 2>strange framed photos, weird like popping sconces and sculptures everywhere.

0:33:16.720 --> 0:33:20.840
<v Speaker 2>This house is awesome, but the interior decoration is so

0:33:21.200 --> 0:33:23.280
<v Speaker 2>busy it's almost funny.

0:33:24.080 --> 0:33:27.840
<v Speaker 1>Yeah, yeah, it is. It is an intensely decorated house

0:33:27.960 --> 0:33:30.600
<v Speaker 1>that they use for this film, and that, like the

0:33:30.720 --> 0:33:33.760
<v Speaker 1>color scheme is wonderful. It's got like these weird purples

0:33:33.840 --> 0:33:35.360
<v Speaker 1>going on. I love it now.

0:33:35.440 --> 0:33:38.160
<v Speaker 2>I guess we're just supposed to assume that something ominous

0:33:38.240 --> 0:33:41.760
<v Speaker 2>has happened in the scene. But after the scene we

0:33:42.040 --> 0:33:45.160
<v Speaker 2>go to the credits, and the credits are wonderful. They

0:33:45.200 --> 0:33:49.640
<v Speaker 2>are these blue and black silhouette animations where we're like,

0:33:50.040 --> 0:33:52.800
<v Speaker 2>we're watching all these scenes. For example, there are like

0:33:52.880 --> 0:33:55.720
<v Speaker 2>these little figures that look like wizards of some kind

0:33:55.920 --> 0:33:59.600
<v Speaker 2>running around on a blue background over the solid black terrain,

0:34:00.440 --> 0:34:01.920
<v Speaker 2>and then we kind of get a zoom out and

0:34:01.960 --> 0:34:05.360
<v Speaker 2>it turns out that the terrain is not ground, but

0:34:05.440 --> 0:34:10.160
<v Speaker 2>it's like muscles on a giant horned devil body, which

0:34:10.320 --> 0:34:12.520
<v Speaker 2>was great. But then they're also I don't know, there's

0:34:12.560 --> 0:34:15.279
<v Speaker 2>just great imagery in it, like these weird trees and

0:34:15.360 --> 0:34:19.040
<v Speaker 2>a big snakehead, and then a guy who I got

0:34:19.200 --> 0:34:22.440
<v Speaker 2>to say, in his pose with his big cloak and

0:34:22.520 --> 0:34:25.720
<v Speaker 2>staff looks way too much like the Master from Manos

0:34:25.760 --> 0:34:26.439
<v Speaker 2>The Hands of Fate.

0:34:26.920 --> 0:34:30.880
<v Speaker 1>But that's Okay, I agree that the opening credits for

0:34:30.960 --> 0:34:34.240
<v Speaker 1>this are really fabulous. They also kind of tell a story,

0:34:34.320 --> 0:34:35.880
<v Speaker 1>like they kind of fill you in and get you

0:34:35.960 --> 0:34:39.920
<v Speaker 1>prepared for what's happening. It's about some sort of you know,

0:34:40.000 --> 0:34:44.640
<v Speaker 1>presented story about a miraculous birth and you know, the

0:34:44.680 --> 0:34:46.560
<v Speaker 1>coming of a sorcerer and so forth.

0:34:46.840 --> 0:34:49.560
<v Speaker 2>It's it's nice, but okay, we cut from here to

0:34:50.120 --> 0:34:53.360
<v Speaker 2>a modern university. It's like a university campus again. I

0:34:53.400 --> 0:34:57.880
<v Speaker 2>guess this is supposed to be the infamous Miskatonic University,

0:34:58.440 --> 0:35:02.760
<v Speaker 2>and we see Ed Begley as this character, Professor Henry Armitage.

0:35:02.920 --> 0:35:06.160
<v Speaker 2>He's walking with some students, having just given a lecture

0:35:06.800 --> 0:35:10.719
<v Speaker 2>on this book. The book is the Necronomicon. It is

0:35:10.880 --> 0:35:14.880
<v Speaker 2>this tone of ancient evil that is stored in a

0:35:14.920 --> 0:35:16.880
<v Speaker 2>glass case in the Miskatonic library.

0:35:17.120 --> 0:35:18.560
<v Speaker 1>Yeah, plain sight of everything.

0:35:19.200 --> 0:35:23.640
<v Speaker 2>Yeah, and he well, I don't know if you understood

0:35:23.640 --> 0:35:26.800
<v Speaker 2>it the same way. My read on this was that

0:35:28.000 --> 0:35:33.719
<v Speaker 2>the Armitage character doesn't necessarily believe that the like spells

0:35:33.800 --> 0:35:36.080
<v Speaker 2>in the book would actually work, or I was a

0:35:36.120 --> 0:35:38.279
<v Speaker 2>little unclear on that, but he seems to have some

0:35:38.520 --> 0:35:43.560
<v Speaker 2>kind of cautious respect for this book and its power,

0:35:43.680 --> 0:35:46.399
<v Speaker 2>even if he doesn't fully buy into magic or any

0:35:46.480 --> 0:35:47.280
<v Speaker 2>such nonsense.

0:35:48.040 --> 0:35:51.359
<v Speaker 1>Yeah, he is, I mean again thinking of putting kind

0:35:51.400 --> 0:35:53.440
<v Speaker 1>of like a generational conflict read on all of this.

0:35:53.560 --> 0:35:56.040
<v Speaker 1>It's kind of like he's evaluating the hippie culture. And

0:35:56.080 --> 0:35:59.720
<v Speaker 1>he's like, I don't actually believe in you know, Eastern

0:35:59.760 --> 0:36:03.600
<v Speaker 1>real religion. I don't believe that you know that in

0:36:03.719 --> 0:36:07.040
<v Speaker 1>all these beneficial, you know, powers that the young people

0:36:07.120 --> 0:36:09.920
<v Speaker 1>say that these you know that these various drugs have.

0:36:10.200 --> 0:36:12.960
<v Speaker 1>I don't believe in their music, but I believe that

0:36:13.040 --> 0:36:15.440
<v Speaker 1>all these things are dangerous and can hurt them, and

0:36:15.480 --> 0:36:18.239
<v Speaker 1>therefore I need to protect them from those influences.

0:36:18.920 --> 0:36:20.160
<v Speaker 2>Oh yeah, I could see that.

0:36:20.800 --> 0:36:20.960
<v Speaker 1>Well.

0:36:21.000 --> 0:36:24.920
<v Speaker 2>So anyway, sander D who plays a character named Nancy,

0:36:25.160 --> 0:36:29.239
<v Speaker 2>and her friend Elizabeth is that her friend's name, I

0:36:29.360 --> 0:36:32.680
<v Speaker 2>think so they're apparently students who have been attending these lectures,

0:36:32.760 --> 0:36:35.920
<v Speaker 2>so I guess they're interested in ancient evil tomes and

0:36:36.280 --> 0:36:39.600
<v Speaker 2>uh and and Ed Begley hands off the Necronomicon to

0:36:39.680 --> 0:36:41.560
<v Speaker 2>sander D. He's like, take this back to the library,

0:36:41.640 --> 0:36:45.200
<v Speaker 2>and she's like, okay, uh. But while she's taking it back,

0:36:45.600 --> 0:36:48.839
<v Speaker 2>Dean Stockwell shows up, and he is from the very

0:36:48.880 --> 0:36:54.120
<v Speaker 2>first moment. This this powerful combination of suave and unsettling.

0:36:54.760 --> 0:36:57.239
<v Speaker 2>You know, is he is he a smooth operator or

0:36:57.360 --> 0:36:59.839
<v Speaker 2>is he a dangerous creep? Seems like he's both.

0:37:00.520 --> 0:37:03.440
<v Speaker 1>Yeah. Yeah, he really walks that line. It's it's a

0:37:03.480 --> 0:37:05.719
<v Speaker 1>great performance. There's a lot of a lot of him

0:37:06.040 --> 0:37:12.880
<v Speaker 1>staring intently at characters and talking very calmly about, you know,

0:37:12.960 --> 0:37:16.160
<v Speaker 1>either about some sort of esoteric topic or in this case,

0:37:16.400 --> 0:37:18.920
<v Speaker 1>he's just like, oh, yes, I understand, but can I

0:37:19.040 --> 0:37:21.360
<v Speaker 1>see the Necronomicon? Like he's very insistent.

0:37:22.440 --> 0:37:25.920
<v Speaker 2>Yeah, he really wants to borrow the Necronomicon for five minutes.

0:37:26.200 --> 0:37:29.040
<v Speaker 1>Yeah, And she's like, she's finally like, oh yeah, okay,

0:37:29.120 --> 0:37:31.120
<v Speaker 1>you can, just don't take it into the bathroom. Oh.

0:37:31.160 --> 0:37:34.480
<v Speaker 2>And also, sander Dee immediately has a crush on Dean Stockwell.

0:37:35.160 --> 0:37:36.960
<v Speaker 2>She and she and her friend are like, wow, did

0:37:37.000 --> 0:37:38.840
<v Speaker 2>you see his eyes. He's got great eyes.

0:37:39.120 --> 0:37:40.560
<v Speaker 1>Yeah, he's got his father's eyes.

0:37:41.640 --> 0:37:44.480
<v Speaker 2>So Dean Stockwell takes this book and I think he

0:37:44.560 --> 0:37:46.479
<v Speaker 2>goes to a side room or something and he's reading

0:37:46.520 --> 0:37:49.560
<v Speaker 2>aloud from it, and he's he's just enraptured. He's reading

0:37:49.600 --> 0:37:53.439
<v Speaker 2>these lines about yogs of Thoth and various prophecies about

0:37:53.520 --> 0:37:56.600
<v Speaker 2>gates and old ones and so forth. But then Ed

0:37:56.680 --> 0:37:59.520
<v Speaker 2>Begley shows up and he's like, the book please. I

0:37:59.600 --> 0:38:02.479
<v Speaker 2>beg does not like this screwing around this. This book

0:38:02.520 --> 0:38:06.640
<v Speaker 2>needs to go immediately back to its display case. So

0:38:06.920 --> 0:38:10.120
<v Speaker 2>this whole group ends up like going out to a

0:38:10.280 --> 0:38:15.759
<v Speaker 2>bar and grill together to get realisticks and talk about

0:38:15.760 --> 0:38:16.440
<v Speaker 2>ancient evil.

0:38:17.080 --> 0:38:19.719
<v Speaker 1>Yeah. Like there's the conflict is not such that it

0:38:19.800 --> 0:38:23.520
<v Speaker 1>prevents everyone from going out to lunch, which I wish

0:38:23.600 --> 0:38:26.600
<v Speaker 1>more conflicts in films would go like this, where there's

0:38:26.640 --> 0:38:29.839
<v Speaker 1>an initial argument and they're like, well, hey, let's do lunch.

0:38:29.920 --> 0:38:30.959
<v Speaker 1>Let's talk about this further.

0:38:31.239 --> 0:38:34.240
<v Speaker 2>Shall we discuss yogso thought over a shrimp cocktail?

0:38:34.440 --> 0:38:34.640
<v Speaker 1>Yes.

0:38:35.800 --> 0:38:38.319
<v Speaker 2>So while they're all out, you know, talking to each other,

0:38:38.440 --> 0:38:42.280
<v Speaker 2>I think we find out something about Dean Stockwell's character's background.

0:38:42.400 --> 0:38:45.719
<v Speaker 2>He is he's a guy named Wilbur Weighte and he's

0:38:45.800 --> 0:38:50.920
<v Speaker 2>from this famous Weightly family that their family history is

0:38:51.160 --> 0:38:55.040
<v Speaker 2>tied up in the Necronomicon, this evil book. And so

0:38:55.520 --> 0:38:58.719
<v Speaker 2>Wilbur Weightly is the great either the grandson or great

0:38:58.760 --> 0:39:00.960
<v Speaker 2>grandson I think great grand son of a guy named

0:39:01.040 --> 0:39:06.160
<v Speaker 2>Oliver Weightly who was was murdered by the townsfolk of Dunwich.

0:39:06.680 --> 0:39:07.560
<v Speaker 1>I think is done.

0:39:07.560 --> 0:39:09.800
<v Speaker 2>What's supposed to be in Massachusetts.

0:39:09.400 --> 0:39:13.840
<v Speaker 1>Or something like that, Yeah, or in this case, perhaps

0:39:15.320 --> 0:39:16.360
<v Speaker 1>in northern California.

0:39:16.440 --> 0:39:21.040
<v Speaker 2>Yeah, right, But his his great grandfather was murdered by

0:39:21.040 --> 0:39:24.640
<v Speaker 2>the towns folk after having you know, it was mob violence,

0:39:24.719 --> 0:39:29.440
<v Speaker 2>for allegedly having done something very evil. And Dean Stockwell

0:39:29.480 --> 0:39:32.200
<v Speaker 2>wants to borrow the Necronomicon so he can study it

0:39:32.400 --> 0:39:34.680
<v Speaker 2>because he says he's a student of the occult, and

0:39:34.840 --> 0:39:37.600
<v Speaker 2>he says that this book is like the Bible to him.

0:39:38.440 --> 0:39:41.840
<v Speaker 2>And Armitage is not amused by this. He's like, I

0:39:42.160 --> 0:39:44.759
<v Speaker 2>know enough about strange things not to laugh at them,

0:39:44.840 --> 0:39:47.920
<v Speaker 2>and so he won't let the book go and and

0:39:48.080 --> 0:39:52.200
<v Speaker 2>so he heads off. And then Wilbur and Nancy are

0:39:52.320 --> 0:39:56.520
<v Speaker 2>just hanging out Dean Stockwell and sanderde and and Wilbur's like,

0:39:56.600 --> 0:39:59.879
<v Speaker 2>I can't stand pomposity, which is funny because his care

0:40:00.440 --> 0:40:03.759
<v Speaker 2>is extremely pompous. Like there these moments where he is

0:40:04.080 --> 0:40:07.719
<v Speaker 2>just making these grandiose prophecies. I don't remember exactly how

0:40:07.760 --> 0:40:10.800
<v Speaker 2>he phrases them, but I would say that that Wilbur

0:40:10.880 --> 0:40:15.399
<v Speaker 2>gets pompous, Yes, but his is the pomposity of youth, right, yeah,

0:40:15.480 --> 0:40:18.439
<v Speaker 2>which is apparently more acceptable. So it ends up where

0:40:18.840 --> 0:40:22.040
<v Speaker 2>Sandra Dee drives Dean stock Well back to Dunwich because

0:40:22.040 --> 0:40:25.080
<v Speaker 2>he misses his bus, and we get a taste of

0:40:25.360 --> 0:40:28.880
<v Speaker 2>the townsfolk's feelings about him and his family when they

0:40:28.920 --> 0:40:32.520
<v Speaker 2>stop for gas in Dunwich and the gas station attendant

0:40:32.560 --> 0:40:35.480
<v Speaker 2>once he sees Dean Stockwell in the car, he's like, oh, Wilbur,

0:40:35.719 --> 0:40:38.040
<v Speaker 2>I don't want anything. He says, he just wants one

0:40:38.120 --> 0:40:40.440
<v Speaker 2>dollar for the gas, and then he like leaves them alone,

0:40:41.000 --> 0:40:44.560
<v Speaker 2>and apparently the animosity goes both ways. Wilbur does not

0:40:44.800 --> 0:40:47.120
<v Speaker 2>like the townsfolk. He says, they've treated me that way

0:40:47.200 --> 0:40:51.520
<v Speaker 2>since childhood. They're still the same, frightened, superstitious fools.

0:40:51.640 --> 0:40:55.200
<v Speaker 1>And true enough, everything we see of the townspeople from

0:40:55.239 --> 0:40:58.920
<v Speaker 1>here on out like they do seem they do seem awful.

0:40:59.400 --> 0:41:02.840
<v Speaker 1>So i'm i'm, i'm, I'm i'm. When I was watching this,

0:41:02.960 --> 0:41:05.000
<v Speaker 1>I was kind of at times wondering whose side we're

0:41:05.040 --> 0:41:08.120
<v Speaker 1>supposed to be on. So you know, it becomes clear

0:41:08.200 --> 0:41:10.360
<v Speaker 1>that you know, Wilbur does not have great intentions for

0:41:10.560 --> 0:41:14.040
<v Speaker 1>humanity through his dealings here with an acronomicon and it's

0:41:14.800 --> 0:41:17.600
<v Speaker 1>it's forbidden wisdom. But on the other hand, the townspeople suck.

0:41:18.040 --> 0:41:20.560
<v Speaker 1>So I don't know, I don't know who we're supposed

0:41:20.560 --> 0:41:23.040
<v Speaker 1>to be rooting for here. I guess Sandra D. I think.

0:41:23.200 --> 0:41:25.600
<v Speaker 2>I think ultimately the audience is supposed to be on

0:41:25.680 --> 0:41:29.520
<v Speaker 2>the side of Sandra D and her friend and professor Armitage.

0:41:29.880 --> 0:41:30.080
<v Speaker 1>Yeah.

0:41:30.600 --> 0:41:34.080
<v Speaker 2>So anyway, Sandra D comes over to Wilbur's house for

0:41:34.360 --> 0:41:36.279
<v Speaker 2>a cup of tea or something, I think a cup

0:41:36.320 --> 0:41:39.400
<v Speaker 2>of tea, and inside it's immediately clear that this is

0:41:39.520 --> 0:41:41.719
<v Speaker 2>the house that the pre credit sequence took place in,

0:41:42.080 --> 0:41:46.400
<v Speaker 2>because again, the busiest decor of any house ever. And

0:41:46.760 --> 0:41:49.840
<v Speaker 2>I don't recall if it's like this in the novella.

0:41:50.200 --> 0:41:52.640
<v Speaker 2>My impression of the house and the novella was that

0:41:52.760 --> 0:41:56.239
<v Speaker 2>it was more of just a wreck. Yeah, this house

0:41:56.320 --> 0:41:59.759
<v Speaker 2>looks like it was decorated by a family of a

0:42:00.040 --> 0:42:01.839
<v Speaker 2>flamboyant stage magicians.

0:42:02.400 --> 0:42:05.360
<v Speaker 1>Yes, yeah, they have. For instance, they have these wonderful

0:42:05.480 --> 0:42:10.880
<v Speaker 1>crystals setting around that are never fully explained and are

0:42:10.880 --> 0:42:14.360
<v Speaker 1>pretty fabulous. They occasionally are moved around, or move on

0:42:14.480 --> 0:42:19.520
<v Speaker 1>their own, or suddenly set off intense fires. It's great.

0:42:20.000 --> 0:42:22.680
<v Speaker 2>Yeah, the house is just wonderful. It's one of my

0:42:22.760 --> 0:42:25.719
<v Speaker 2>favorite things about the movie, honestly, is the wallpaper, the

0:42:26.360 --> 0:42:30.400
<v Speaker 2>little ornaments on the coffee tables and the hearth and everything,

0:42:30.520 --> 0:42:34.000
<v Speaker 2>all the wall art. It's just oh and the floor decorations.

0:42:34.080 --> 0:42:36.600
<v Speaker 2>When you get those sudden like shots from up above,

0:42:36.719 --> 0:42:38.480
<v Speaker 2>it's just a great, great house.

0:42:38.920 --> 0:42:42.080
<v Speaker 1>Yeah, yeah, just a complete environment that they put together

0:42:42.160 --> 0:42:42.839
<v Speaker 1>here now.

0:42:42.960 --> 0:42:45.640
<v Speaker 2>At first, even though Wilbur has already said some strange things,

0:42:45.719 --> 0:42:48.839
<v Speaker 2>we get the impression that sander d I think likes him.

0:42:48.960 --> 0:42:54.000
<v Speaker 2>He's very handsome and charming and I don't know about charming, yah,

0:42:54.200 --> 0:42:56.480
<v Speaker 2>sort of charming. I mean he's at least like smooth

0:42:56.640 --> 0:43:01.279
<v Speaker 2>and confident and there's something about him. But we start

0:43:01.400 --> 0:43:03.359
<v Speaker 2>immediately seeing this is not going to go well because

0:43:03.400 --> 0:43:06.719
<v Speaker 2>Wilbur is not a cool guy. Wilbur is the inner

0:43:06.800 --> 0:43:11.040
<v Speaker 2>dimensional creep that you got that hint of earlier. So

0:43:11.320 --> 0:43:14.840
<v Speaker 2>he immediately sneaks out to Sanderde's car and steals something

0:43:14.920 --> 0:43:18.680
<v Speaker 2>from her engine, disabling the car, and then back inside

0:43:18.719 --> 0:43:22.160
<v Speaker 2>the house, Sanderdie starts having visions of threatening hippies in

0:43:22.239 --> 0:43:26.600
<v Speaker 2>elaborate face paint and clothing, and she sees tree limbs

0:43:26.680 --> 0:43:28.240
<v Speaker 2>and waves crashing on rocks.

0:43:28.920 --> 0:43:30.640
<v Speaker 1>Yeah, and this is where we get that real sense

0:43:30.680 --> 0:43:33.960
<v Speaker 1>of hippie danger and I love it. The hippies and

0:43:34.040 --> 0:43:37.440
<v Speaker 1>their magic pose a threat to the innocent youth and

0:43:37.520 --> 0:43:41.239
<v Speaker 1>it's up to the olds to protect her from their influence.

0:43:41.760 --> 0:43:44.200
<v Speaker 2>Okay, so we already saw Wilbur steal something from her

0:43:44.280 --> 0:43:47.640
<v Speaker 2>car engine, which is bad enough, and then he gets

0:43:47.680 --> 0:43:49.880
<v Speaker 2>even worse. We see him inside the house putting some

0:43:50.040 --> 0:43:54.040
<v Speaker 2>kind of potion or substance into her tea, presumably to

0:43:54.480 --> 0:43:56.440
<v Speaker 2>knock her out and keep her at the house to

0:43:56.520 --> 0:43:59.480
<v Speaker 2>keep her from returning back to wherever Miss Katonic is.

0:44:00.120 --> 0:44:03.800
<v Speaker 2>But while while Wilbur's being a creep over here, Sandra

0:44:03.880 --> 0:44:07.319
<v Speaker 2>Dese somehow stumbles into Wilbur's grandfather.

0:44:07.960 --> 0:44:11.720
<v Speaker 1>Mm hmm. Yeah, he's just kind of just lurching around

0:44:11.760 --> 0:44:14.240
<v Speaker 1>the house with his weird, funky staff.

0:44:15.280 --> 0:44:18.480
<v Speaker 2>Oh yeah, that's staff. It's great. It's just got a

0:44:18.520 --> 0:44:20.200
<v Speaker 2>big occult pendant on the top.

0:44:20.840 --> 0:44:23.440
<v Speaker 1>Yeah yeah. And later, of course, we see that it's

0:44:23.520 --> 0:44:25.320
<v Speaker 1>not just around the house. He like takes this with

0:44:25.440 --> 0:44:27.800
<v Speaker 1>him when he goes to like the gas station in town,

0:44:29.480 --> 0:44:32.719
<v Speaker 1>which you can just imagine, like Wilbur's like, Dad, please

0:44:32.880 --> 0:44:35.279
<v Speaker 1>please don't bring that to town again. Stop bringing that

0:44:35.360 --> 0:44:36.280
<v Speaker 1>to the gas station.

0:44:36.239 --> 0:44:39.000
<v Speaker 2>With you, Okay. Well, Sandra d finds out her car

0:44:39.080 --> 0:44:42.480
<v Speaker 2>won't start, and she's getting very sleepy, presumably for the

0:44:42.680 --> 0:44:45.360
<v Speaker 2>sleeping powder or whatever it was that he put in

0:44:45.400 --> 0:44:47.319
<v Speaker 2>the tea. So she decides she's gonna have to stay

0:44:47.360 --> 0:44:51.839
<v Speaker 2>the night at the house, and so Wilbur gives her

0:44:51.880 --> 0:44:55.080
<v Speaker 2>a guest bedroom and she settles down and then she

0:44:55.239 --> 0:44:59.080
<v Speaker 2>has a dream. And this dream really reinforces those vision

0:44:59.200 --> 0:45:02.480
<v Speaker 2>themes from earlier, because it's these like elderritch half naked

0:45:02.560 --> 0:45:05.880
<v Speaker 2>hippies running around grabbing at her face, and then waves

0:45:05.920 --> 0:45:09.520
<v Speaker 2>crashing on the rocks, and these visions of just psychedelic

0:45:09.640 --> 0:45:12.920
<v Speaker 2>evil woodstock, and then she gets chased into a shack

0:45:13.120 --> 0:45:14.560
<v Speaker 2>and then I think that's the end of the dream.

0:45:14.960 --> 0:45:17.960
<v Speaker 1>These are great sequences because we really don't see too

0:45:18.080 --> 0:45:20.520
<v Speaker 1>much of them, and but what we do see of

0:45:20.560 --> 0:45:24.440
<v Speaker 1>them is evocative and colorful and a little bit scary.

0:45:25.400 --> 0:45:28.320
<v Speaker 1>I reminded. It made me think back to the nineteen

0:45:28.440 --> 0:45:32.360
<v Speaker 1>sixty seven film The Trip, which was Roger Corman directed

0:45:32.440 --> 0:45:37.480
<v Speaker 1>Jack Nicholson written film about basically about character played by

0:45:37.520 --> 0:45:41.279
<v Speaker 1>Peter Fonda going on an acid trip. In that film,

0:45:41.320 --> 0:45:44.799
<v Speaker 1>there are a number of different psychedelic sequences, but also

0:45:45.120 --> 0:45:47.960
<v Speaker 1>sequences that go on way too long. And she used

0:45:48.000 --> 0:45:50.200
<v Speaker 1>to feel very trippy because you've been in them for

0:45:50.320 --> 0:45:53.719
<v Speaker 1>like five minutes and had sort of like stationary effects

0:45:53.880 --> 0:45:56.759
<v Speaker 1>and so forth. But these these feel very trippy because

0:45:56.760 --> 0:45:59.000
<v Speaker 1>they are given in like dreamlike flashes.

0:45:59.440 --> 0:46:02.320
<v Speaker 2>Okay, and then the next day comes along and we

0:46:02.400 --> 0:46:05.920
<v Speaker 2>get two different threads. One is that we see Professor

0:46:06.120 --> 0:46:11.239
<v Speaker 2>armitage Ed Begley and Sandrode's friend Elizabeth are driving out

0:46:11.280 --> 0:46:13.640
<v Speaker 2>to Dunwich to find her because she disappeared the night

0:46:13.680 --> 0:46:17.359
<v Speaker 2>before and the Weiteleys don't have a phone at their house,

0:46:17.440 --> 0:46:20.200
<v Speaker 2>so she couldn't call anybody, so they're like, well, what

0:46:20.280 --> 0:46:22.400
<v Speaker 2>happened to her? So they're driving out to check on her.

0:46:23.280 --> 0:46:24.960
<v Speaker 2>But then the other half is we see Sander d

0:46:25.160 --> 0:46:29.360
<v Speaker 2>and Dean Stockwell just hanging out walking around town, getting

0:46:29.400 --> 0:46:34.080
<v Speaker 2>to know one another and sharing information. So among the

0:46:34.160 --> 0:46:36.839
<v Speaker 2>conversations they have, one is where Wilbur and Nancy are

0:46:37.440 --> 0:46:40.959
<v Speaker 2>exploring downtown Dunwich and he explains how the town's folk

0:46:41.120 --> 0:46:44.360
<v Speaker 2>murdered his great grandfather and he says the reason for

0:46:44.440 --> 0:46:46.480
<v Speaker 2>this is that he didn't believe in God or the

0:46:46.560 --> 0:46:50.720
<v Speaker 2>devil and instead believed in an ancient erace of beings

0:46:50.800 --> 0:46:54.440
<v Speaker 2>from another dimension that came before humanity are more powerful

0:46:54.560 --> 0:46:57.799
<v Speaker 2>than us, and that he could bring them back from

0:46:57.880 --> 0:47:00.960
<v Speaker 2>the plane where they sit waiting. And then he claims

0:47:01.040 --> 0:47:03.920
<v Speaker 2>that they that they put a trumped up murder charge

0:47:04.000 --> 0:47:06.520
<v Speaker 2>on his great grandfather, that a girl disappeared and they

0:47:06.640 --> 0:47:09.520
<v Speaker 2>claimed that he had murdered her in some kind of

0:47:09.680 --> 0:47:13.120
<v Speaker 2>human sacrifice. Though I think we were maybe supposed to

0:47:13.200 --> 0:47:15.879
<v Speaker 2>understand that that charge may in fact be true.

0:47:16.560 --> 0:47:16.799
<v Speaker 1>Yeah.

0:47:17.160 --> 0:47:20.880
<v Speaker 2>Meanwhile, Armitage and Elizabeth end up they end up connecting

0:47:20.960 --> 0:47:24.640
<v Speaker 2>with the local town doctor who might know something about

0:47:24.640 --> 0:47:27.120
<v Speaker 2>the Weighty family, And this is where we meet Talia Shire.

0:47:27.280 --> 0:47:30.879
<v Speaker 2>She's the receptionist of the doctor's office, and she, when

0:47:30.920 --> 0:47:34.000
<v Speaker 2>speaking to Elizabeth kind of discloses the town's beliefs about

0:47:34.000 --> 0:47:38.279
<v Speaker 2>the Weightles, Like she tells Nancy's friend that Wilbur never

0:47:38.360 --> 0:47:41.120
<v Speaker 2>had a girlfriend before and no girl should go over

0:47:41.200 --> 0:47:43.560
<v Speaker 2>to that house because that house is bad news.

0:47:44.280 --> 0:47:45.920
<v Speaker 1>And this is a nice little scene, I thought, I mean,

0:47:45.920 --> 0:47:48.319
<v Speaker 1>it's nothing groundbreaking or anything, but I felt like they

0:47:48.360 --> 0:47:51.080
<v Speaker 1>had a nice little scene together with some well written dialogue.

0:47:51.480 --> 0:47:53.520
<v Speaker 2>Yes, and it's a funny counterpoint to what's going on

0:47:53.640 --> 0:47:56.000
<v Speaker 2>in the room next door, where Ed Begley is talking

0:47:56.040 --> 0:47:58.200
<v Speaker 2>to the doctor and he's explaining, well, you know, there're

0:47:58.239 --> 0:48:01.440
<v Speaker 2>these old ones, and so it's at least alleged that

0:48:01.480 --> 0:48:03.480
<v Speaker 2>they can be brought back from another dimension and then

0:48:03.480 --> 0:48:04.640
<v Speaker 2>the earth will be destroyed.

0:48:05.200 --> 0:48:07.640
<v Speaker 1>I also love how it's basically armatage showing up and

0:48:07.719 --> 0:48:11.440
<v Speaker 1>he's been like, hello, doctor, I'd like to I was

0:48:11.480 --> 0:48:13.160
<v Speaker 1>wondering if I could sit down with you for a moment,

0:48:13.280 --> 0:48:16.800
<v Speaker 1>you could tell me the medical histories of this entire family.

0:48:17.200 --> 0:48:19.000
<v Speaker 1>And he's like, well, it'd better be good for a

0:48:19.080 --> 0:48:19.920
<v Speaker 1>good reason.

0:48:21.160 --> 0:48:24.200
<v Speaker 2>And it's because of these ancient gods from another dimension. Yes,

0:48:24.480 --> 0:48:26.839
<v Speaker 2>And then the doctor is like, well in that case, yes,

0:48:27.239 --> 0:48:28.520
<v Speaker 2>let me get out the file.

0:48:30.800 --> 0:48:30.880
<v Speaker 1>Now.

0:48:31.040 --> 0:48:32.960
<v Speaker 2>Somewhere in here, I don't remember how we get into this,

0:48:33.040 --> 0:48:37.160
<v Speaker 2>but there's like a flashback of a scene, or maybe

0:48:37.200 --> 0:48:39.480
<v Speaker 2>it's not a flashback. Maybe it's either a flashback or

0:48:39.520 --> 0:48:41.640
<v Speaker 2>it takes place at the same time, but at some

0:48:41.760 --> 0:48:43.200
<v Speaker 2>points a.

0:48:43.239 --> 0:48:44.480
<v Speaker 1>Tone, so it must be in the past.

0:48:44.560 --> 0:48:47.600
<v Speaker 2>Right, Oh, okay, okay, you're right. Grandpa Waiteley is in

0:48:47.680 --> 0:48:51.680
<v Speaker 2>a local general store and he's just ranting about old

0:48:51.719 --> 0:48:56.480
<v Speaker 2>gods I think, and the locals are viciously mocking him.

0:48:56.880 --> 0:48:57.040
<v Speaker 5>Yeah.

0:48:57.120 --> 0:48:59.200
<v Speaker 1>Yeah, this is one of those where you're like, oh, man,

0:48:59.520 --> 0:49:02.400
<v Speaker 1>the people done, which like they mostly suck, so I

0:49:02.520 --> 0:49:04.799
<v Speaker 1>really can't side with them, and all this feel bad

0:49:05.160 --> 0:49:06.120
<v Speaker 1>for old Wayley here.

0:49:06.440 --> 0:49:09.520
<v Speaker 2>But somehow in all this, the doctor and Armitage they

0:49:09.600 --> 0:49:15.200
<v Speaker 2>figure out that Wilbur's mother, Lavinia, is currently in an asylum,

0:49:15.760 --> 0:49:18.000
<v Speaker 2>and they go to see her there and she's in

0:49:18.160 --> 0:49:20.799
<v Speaker 2>a padded room and her hair is turned completely white,

0:49:21.320 --> 0:49:23.839
<v Speaker 2>and she's in there screaming about how my son's open

0:49:23.920 --> 0:49:26.600
<v Speaker 2>the gate, my son's and then she says, kill them all.

0:49:27.480 --> 0:49:29.120
<v Speaker 2>And so I think it's one of those cases where

0:49:29.280 --> 0:49:32.760
<v Speaker 2>a character who is said to be mad is speaking

0:49:32.880 --> 0:49:35.800
<v Speaker 2>things that are directly informative of the coming plot, but

0:49:35.960 --> 0:49:38.200
<v Speaker 2>none of the characters realize it, so they're just kind

0:49:38.200 --> 0:49:41.040
<v Speaker 2>of like, oh, what's this nonsense? And then meanwhile we're

0:49:41.120 --> 0:49:43.320
<v Speaker 2>just seeing more stuff with Dean Stockwell and Sandra d

0:49:45.080 --> 0:49:48.000
<v Speaker 2>they're hanging out. Dean Stockwell is always in a suit.

0:49:49.040 --> 0:49:51.440
<v Speaker 1>Yep, great dapper, and I think it's.

0:49:51.360 --> 0:49:55.280
<v Speaker 2>Implied Sandra Dee appears to be from this point increasingly,

0:49:56.239 --> 0:49:59.080
<v Speaker 2>it's kind of hard to describe, just like increasingly kind

0:49:59.080 --> 0:50:02.240
<v Speaker 2>of hypnotized, like she's always kind of sleepy.

0:50:02.840 --> 0:50:06.160
<v Speaker 1>Yeah, I'm kind of unclear on this, but the film

0:50:06.239 --> 0:50:07.960
<v Speaker 1>seems to keep her in this weird place where she

0:50:08.000 --> 0:50:10.840
<v Speaker 1>doesn't seem like she's like one hundred percent been kidnapped,

0:50:11.239 --> 0:50:14.200
<v Speaker 1>but she's also not one hundred percent of collaborator either.

0:50:14.360 --> 0:50:16.319
<v Speaker 1>She's not like, yeah, let's go up there and raise

0:50:16.400 --> 0:50:20.440
<v Speaker 1>some old ones Wilbur. It really does feel like this

0:50:20.600 --> 0:50:23.320
<v Speaker 1>film aligns with something we've talked about on the show before,

0:50:23.520 --> 0:50:27.879
<v Speaker 1>this late sixties early seventies fear of hippie occult mind

0:50:28.120 --> 0:50:31.240
<v Speaker 1>washing during this period. So it's really as if Sandra

0:50:31.320 --> 0:50:34.160
<v Speaker 1>D's character is she's not being held captive by the

0:50:34.239 --> 0:50:36.840
<v Speaker 1>evil Wilbur. He's not tying her to train tracks so

0:50:36.960 --> 0:50:40.680
<v Speaker 1>the old Ones will run over. And she's also not

0:50:40.880 --> 0:50:43.360
<v Speaker 1>portrayed as like a complete doll person where she's like,

0:50:43.680 --> 0:50:46.680
<v Speaker 1>I obey Wilbur and the old Ones. Now, No, she's

0:50:46.800 --> 0:50:49.840
<v Speaker 1>just under their spell in the non magical sense, like

0:50:49.920 --> 0:50:52.320
<v Speaker 1>she's she's been caught up in all of this hippie

0:50:52.400 --> 0:50:57.320
<v Speaker 1>danger and that's why she needs Professor Armitage to Grandpa

0:50:57.480 --> 0:50:59.560
<v Speaker 1>Armitage here to jump in and save her.

0:51:00.080 --> 0:51:01.920
<v Speaker 2>Yeah, I think that's about right. So, yeah, she's not

0:51:02.040 --> 0:51:05.319
<v Speaker 2>being portrayed as being held and done which against her will,

0:51:05.440 --> 0:51:09.000
<v Speaker 2>but at the same time it is suggested that that's

0:51:09.040 --> 0:51:13.960
<v Speaker 2>something she's somehow enchanted, like her free will has been

0:51:14.040 --> 0:51:17.440
<v Speaker 2>compromised in some way. Yeah, and so she and Dean

0:51:17.520 --> 0:51:20.360
<v Speaker 2>Stockwell are out on these They're out on a seaside

0:51:20.440 --> 0:51:22.560
<v Speaker 2>cliff at some point, and they walk up to some

0:51:22.640 --> 0:51:25.680
<v Speaker 2>old stone ruins. They're like these pillars and a staircase

0:51:25.760 --> 0:51:30.359
<v Speaker 2>and a stone altar, and Wilbur says, legend says, it's

0:51:30.400 --> 0:51:33.719
<v Speaker 2>been here forever. It's called the Devil's hop Yard, which

0:51:33.960 --> 0:51:35.719
<v Speaker 2>is the name. I look this up. It is the

0:51:35.800 --> 0:51:38.799
<v Speaker 2>name of a place in Connecticut which does not look

0:51:38.880 --> 0:51:41.120
<v Speaker 2>like this at all. There's no temple as far as

0:51:41.160 --> 0:51:44.359
<v Speaker 2>I can tell. But the landscape is very beautiful looking

0:51:44.400 --> 0:51:44.879
<v Speaker 2>in the movie.

0:51:45.200 --> 0:51:48.960
<v Speaker 1>Yeah, again it's it's clearly coastal northern California, but it

0:51:49.040 --> 0:51:51.960
<v Speaker 1>looks gorgeous. And yeah, they're increasingly these shots, and I

0:51:52.000 --> 0:51:54.719
<v Speaker 1>think these are ultimately closing shots of the film of

0:51:55.200 --> 0:51:59.040
<v Speaker 1>this the seaside and the waves crashing on these rocky beaches,

0:51:59.120 --> 0:52:01.239
<v Speaker 1>and it's it's good, it's really good.

0:52:01.680 --> 0:52:04.520
<v Speaker 2>And so Wilbert starts talking about this ancient ritual, ancient

0:52:04.520 --> 0:52:08.719
<v Speaker 2>occult rituals here that would involve like virgin sacrifice, and

0:52:09.000 --> 0:52:11.440
<v Speaker 2>this would somehow open a gate that would allow the

0:52:11.520 --> 0:52:15.319
<v Speaker 2>old ones to come through. And then he does the thing.

0:52:15.440 --> 0:52:17.640
<v Speaker 2>He puts his hands to the sides of his head,

0:52:17.920 --> 0:52:20.800
<v Speaker 2>flares them like the cobra hood, and he's got the

0:52:20.840 --> 0:52:23.280
<v Speaker 2>pinky rings next to his eyes, and he starts yelling

0:52:23.360 --> 0:52:26.919
<v Speaker 2>yogs of Thoth. And so here we get more weird

0:52:27.000 --> 0:52:31.000
<v Speaker 2>psychedelic visions. Sandrade imagines herself to be sacrificed on this

0:52:31.120 --> 0:52:34.840
<v Speaker 2>stone altar. She's surrounded by evil priests with these black

0:52:34.880 --> 0:52:38.319
<v Speaker 2>hoods over their heads, and there's Wilbur standing among them.

0:52:38.440 --> 0:52:41.200
<v Speaker 2>So it seems like he may have some kind of

0:52:41.239 --> 0:52:45.319
<v Speaker 2>connection to these evil rituals from the deep past. Oh oh,

0:52:45.400 --> 0:52:47.360
<v Speaker 2>and in this whole sequence, this is where we finally

0:52:47.400 --> 0:52:51.160
<v Speaker 2>get the Wilbur chest reveal, which is where he takes

0:52:51.200 --> 0:52:53.920
<v Speaker 2>his shirt off and he's covered in tattoos that look

0:52:54.040 --> 0:52:55.000
<v Speaker 2>like hieroglyphics.

0:52:55.680 --> 0:52:58.000
<v Speaker 1>Yeah, which is great. I think in the original short story,

0:52:58.680 --> 0:53:01.319
<v Speaker 1>Wilbur for starters of not dashing. I think he comes

0:53:01.360 --> 0:53:04.239
<v Speaker 1>off more as like a dangerous bum and we find

0:53:04.280 --> 0:53:07.000
<v Speaker 1>out that he ultimately find out that he's like he

0:53:07.080 --> 0:53:10.239
<v Speaker 1>has part monster body or something, and in this we

0:53:10.320 --> 0:53:12.560
<v Speaker 1>don't have that. Instead we just have these really cool,

0:53:13.160 --> 0:53:15.040
<v Speaker 1>you know, occult tattoos all over him.

0:53:24.200 --> 0:53:27.480
<v Speaker 2>After this, there's a whole sequence where we follow Nancy's

0:53:27.520 --> 0:53:31.480
<v Speaker 2>friend Elizabeth, who's trying to investigate you know, she's worried

0:53:31.480 --> 0:53:33.799
<v Speaker 2>about the well being of her friend, so she's going

0:53:33.840 --> 0:53:35.960
<v Speaker 2>to the Weightely house to look around for her, to

0:53:36.320 --> 0:53:39.239
<v Speaker 2>check on her and make sure she's okay. And while

0:53:39.360 --> 0:53:41.880
<v Speaker 2>she's investigating the house, there are several times so far

0:53:42.000 --> 0:53:44.880
<v Speaker 2>in the movie where we have seen this door upstairs

0:53:44.960 --> 0:53:47.480
<v Speaker 2>in the house rattling as if there is something behind

0:53:47.600 --> 0:53:52.120
<v Speaker 2>it that wants to get out. And unfortunately it is

0:53:52.560 --> 0:53:55.560
<v Speaker 2>Elizabeth who opens this door and goes into the forbidden

0:53:55.640 --> 0:53:58.120
<v Speaker 2>room while she's looking around the house. And so this

0:53:58.280 --> 0:54:00.759
<v Speaker 2>is the first like attack, like the first murder scene

0:54:00.800 --> 0:54:03.600
<v Speaker 2>in the movie. By this the why Wilbert's twin this

0:54:03.719 --> 0:54:07.320
<v Speaker 2>other being in the house. And this scene is weird.

0:54:07.600 --> 0:54:12.759
<v Speaker 2>It's it's done with this flashing color abstract animation suggesting

0:54:12.880 --> 0:54:15.839
<v Speaker 2>kind of the flailing of octopus arms and lights from

0:54:15.880 --> 0:54:18.879
<v Speaker 2>another world. It does this heavy like red and blue

0:54:19.000 --> 0:54:21.280
<v Speaker 2>color saturation that goes back and forth.

0:54:21.960 --> 0:54:23.640
<v Speaker 1>Yeah, like they're really I feel like they were really

0:54:23.680 --> 0:54:26.080
<v Speaker 1>going for like an LSD trip kind of a vibe

0:54:26.160 --> 0:54:28.680
<v Speaker 1>here and again. It comes back to the fact too,

0:54:28.760 --> 0:54:31.120
<v Speaker 1>that they can't really show the monster. They seem to

0:54:31.160 --> 0:54:33.360
<v Speaker 1>have some sort of physical apparatus that they're shooting, some

0:54:33.480 --> 0:54:36.600
<v Speaker 1>sort of tentically thing about. They're not showing as much

0:54:36.600 --> 0:54:38.719
<v Speaker 1>of it at all, and the film works better for that.

0:54:39.320 --> 0:54:42.359
<v Speaker 2>I think it's always a better decision to show less

0:54:42.520 --> 0:54:45.759
<v Speaker 2>of the monster. I mean, you can find exceptions, like

0:54:45.880 --> 0:54:48.240
<v Speaker 2>the thing shows a lot of the monster and it's wonderful,

0:54:48.320 --> 0:54:51.200
<v Speaker 2>but that that's pretty rare. Most of the time. You're

0:54:51.200 --> 0:54:54.879
<v Speaker 2>going to do better if you give suggestive imagery rather

0:54:55.040 --> 0:54:57.200
<v Speaker 2>than just getting a good long look at the suit.

0:54:57.440 --> 0:54:59.319
<v Speaker 2>And you know, because often if you get a good

0:54:59.360 --> 0:55:01.759
<v Speaker 2>long look at the suit or the makeup effect or

0:55:01.760 --> 0:55:04.200
<v Speaker 2>whatever it is, it starts to look less and less great.

0:55:04.480 --> 0:55:06.600
<v Speaker 1>Yeah, that the flaws become increasingly obvious.

0:55:06.960 --> 0:55:10.080
<v Speaker 2>It's the Jaws principle. They did not have a great

0:55:10.200 --> 0:55:13.280
<v Speaker 2>robotic shark, but they ended up getting really good footage

0:55:13.320 --> 0:55:16.120
<v Speaker 2>out of what they did have, just by clever use

0:55:16.200 --> 0:55:16.400
<v Speaker 2>of it.

0:55:16.960 --> 0:55:18.960
<v Speaker 1>Yeah. Yeah, I mean, even today when you have some

0:55:19.160 --> 0:55:22.480
<v Speaker 1>tremendous CGI effects, and granted there are some pitfalls with

0:55:22.560 --> 0:55:24.640
<v Speaker 1>CGI at times as well, but like, even if the

0:55:25.040 --> 0:55:28.560
<v Speaker 1>monster is perfectly well executed on the screen, you know,

0:55:28.719 --> 0:55:30.960
<v Speaker 1>I mean, you have to remember what are monsters? Historically,

0:55:31.080 --> 0:55:34.840
<v Speaker 1>Monsters are things that lurk in the imagination, and monsters

0:55:34.920 --> 0:55:37.879
<v Speaker 1>are things that are not fully seen but partially seen

0:55:38.320 --> 0:55:41.480
<v Speaker 1>in the mist, in the dark, in the wild, et cetera.

0:55:42.000 --> 0:55:44.520
<v Speaker 2>Now there's a scene shortly after this that I think

0:55:44.640 --> 0:55:47.120
<v Speaker 2>this is more indication of that there's something going wrong

0:55:47.239 --> 0:55:52.719
<v Speaker 2>with Sandra D's volition that because there's a scene where

0:55:53.040 --> 0:55:57.560
<v Speaker 2>Wilbur and Grandpa start arguing about whether Wilbur is going

0:55:57.600 --> 0:56:01.279
<v Speaker 2>to be successful in usingancy to open the gate and

0:56:01.360 --> 0:56:03.360
<v Speaker 2>allow the old ones in. And I think she's just

0:56:03.480 --> 0:56:05.600
<v Speaker 2>like right there, She's like in the room with them, right,

0:56:05.760 --> 0:56:09.560
<v Speaker 2>m yeah, yeah. And Grandpa, I guess Grandpa has been

0:56:09.600 --> 0:56:12.400
<v Speaker 2>turned against this ritual. He used to be for it,

0:56:12.520 --> 0:56:15.840
<v Speaker 2>now he's against it. And he swings his staff at

0:56:15.920 --> 0:56:18.440
<v Speaker 2>Wilbur and misses and then falls down the stairs to

0:56:18.560 --> 0:56:18.919
<v Speaker 2>his death.

0:56:19.360 --> 0:56:19.600
<v Speaker 1>Yep.

0:56:20.520 --> 0:56:23.000
<v Speaker 2>And there was a great moment here though, where there's

0:56:23.320 --> 0:56:26.200
<v Speaker 2>these creepy sound effects these birds in the background, and

0:56:26.400 --> 0:56:30.520
<v Speaker 2>Sandra desques those birds, what does it mean, and Wilbur explains, well,

0:56:30.560 --> 0:56:32.440
<v Speaker 2>they were trying to capture his soul as it left

0:56:32.520 --> 0:56:32.920
<v Speaker 2>his body.

0:56:33.360 --> 0:56:36.600
<v Speaker 1>Yeah, it was so weird. It's such an interesting addition.

0:56:36.680 --> 0:56:37.040
<v Speaker 1>I love it.

0:56:37.480 --> 0:56:40.800
<v Speaker 2>But then I love at the funeral for Grandpa, weitly

0:56:40.880 --> 0:56:44.560
<v Speaker 2>here it must not be this. But for some reason

0:56:44.960 --> 0:56:48.239
<v Speaker 2>when I so, townsfolk arrived to bust up the ceremony

0:56:48.880 --> 0:56:51.080
<v Speaker 2>and it looked to me like it was implying that

0:56:51.160 --> 0:56:53.840
<v Speaker 2>about thirty people got out of one pickup truck.

0:56:54.239 --> 0:56:57.000
<v Speaker 1>Yeah, there's just suddenly a mob of town folk here

0:56:57.200 --> 0:57:01.000
<v Speaker 1>to object to them carrying how to burial.

0:57:01.320 --> 0:57:04.360
<v Speaker 2>Yeah, so they're like, this is a Christian cemetery. We

0:57:04.480 --> 0:57:07.120
<v Speaker 2>dispose of our trash at the town dump. But then

0:57:07.160 --> 0:57:09.480
<v Speaker 2>I think eventually the police come in and they're like, okay, okay,

0:57:09.560 --> 0:57:10.040
<v Speaker 2>break it up.

0:57:10.400 --> 0:57:14.080
<v Speaker 1>Yeah, I mean, we can't possibly be supposed to feel

0:57:14.120 --> 0:57:16.560
<v Speaker 1>anything but disdain for these town folk, right, I mean,

0:57:17.080 --> 0:57:20.480
<v Speaker 1>this is bad. Like, even if you know Wilbur is

0:57:20.560 --> 0:57:22.200
<v Speaker 1>the villain of the piece, he's just trying to bury

0:57:22.240 --> 0:57:23.320
<v Speaker 1>his dad in the cemetery.

0:57:23.720 --> 0:57:27.520
<v Speaker 2>Well, and some of elder gods that will destroy the world.

0:57:27.680 --> 0:57:29.760
<v Speaker 1>Well, yeah, well he's doing that too, but this is

0:57:29.840 --> 0:57:33.560
<v Speaker 1>a side thing, you know, like like come on, come on, guys,

0:57:34.000 --> 0:57:34.920
<v Speaker 1>leave this man alone.

0:57:35.160 --> 0:57:38.520
<v Speaker 2>So Wilbert, you know, he still needs that necronomicon. He's like,

0:57:38.960 --> 0:57:41.000
<v Speaker 2>you know, the professor wouldn't let me borrow the book

0:57:41.080 --> 0:57:43.480
<v Speaker 2>for five minutes, so I guess I'm gonna have to

0:57:43.520 --> 0:57:45.680
<v Speaker 2>go to the university library and steal it. And then

0:57:45.720 --> 0:57:48.000
<v Speaker 2>there's a whole sequence where he does that. He breaks in,

0:57:48.200 --> 0:57:49.800
<v Speaker 2>he tries to get the book, he gets into a

0:57:49.880 --> 0:57:55.200
<v Speaker 2>fist fight with a security guard, and so they have

0:57:55.280 --> 0:57:56.800
<v Speaker 2>a fist fight, and then the funny part is the

0:57:56.840 --> 0:58:00.400
<v Speaker 2>guard wins kind of surprisingly, like he knocks will We're

0:58:00.440 --> 0:58:02.840
<v Speaker 2>unconscious apparently. Then he goes to the phone, I think,

0:58:02.880 --> 0:58:05.920
<v Speaker 2>to dial the police. But then Wilbur just picks up

0:58:06.040 --> 0:58:08.840
<v Speaker 2>this big weap it's like a halbird that is on

0:58:08.960 --> 0:58:11.240
<v Speaker 2>display in the library and stabs the guard and the

0:58:11.320 --> 0:58:11.840
<v Speaker 2>guts with it.

0:58:12.320 --> 0:58:15.240
<v Speaker 1>Yeah, it's a nice ending to a fight scene that, yeah,

0:58:15.240 --> 0:58:18.680
<v Speaker 1>has this unexpected twist, but is also very like Old

0:58:18.760 --> 0:58:21.240
<v Speaker 1>West style fighting, you know, like people getting punched and

0:58:21.320 --> 0:58:25.520
<v Speaker 1>falling through tables and such. So it's a fun sequence

0:58:25.800 --> 0:58:29.000
<v Speaker 1>and it's also I think a nice twist on what

0:58:29.120 --> 0:58:32.200
<v Speaker 1>happens in the story. In the original short story, if

0:58:32.280 --> 0:58:35.760
<v Speaker 1>I remember correctly, Wilbur breaks into the museum to try

0:58:35.760 --> 0:58:37.840
<v Speaker 1>and steal the book and guard dogs kill him.

0:58:38.720 --> 0:58:38.920
<v Speaker 3>You know.

0:58:39.400 --> 0:58:42.360
<v Speaker 1>So, yeah, so, which is clear? I mean, I guess

0:58:42.480 --> 0:58:44.000
<v Speaker 1>you know, you can argue whether that worked in the

0:58:44.040 --> 0:58:47.320
<v Speaker 1>original story, but it would not have worked in this story.

0:58:47.440 --> 0:58:50.560
<v Speaker 1>We need Wilburt to be there at the finale. We

0:58:50.680 --> 0:58:53.840
<v Speaker 1>don't need him to be done in by a German shepherd.

0:58:54.240 --> 0:58:56.400
<v Speaker 1>And it adds to this additional twist. He's not only

0:58:56.480 --> 0:58:59.280
<v Speaker 1>willing to break the laws of nature and all to

0:58:59.360 --> 0:59:02.439
<v Speaker 1>bring about this resurgence of the old ones, he's also

0:59:02.520 --> 0:59:05.560
<v Speaker 1>willing to kill for it, right right, Yes, but even

0:59:05.560 --> 0:59:08.600
<v Speaker 1>then it was in self defense. Towards the end, it's

0:59:08.600 --> 0:59:10.600
<v Speaker 1>still they managed to walk this line where it's not

0:59:10.760 --> 0:59:13.600
<v Speaker 1>like he kills the cop in cold blood. He grabs

0:59:13.640 --> 0:59:15.400
<v Speaker 1>the spear and then the cop rushes him and he

0:59:15.520 --> 0:59:18.240
<v Speaker 1>like pulls it up in time to impale the security guy.

0:59:18.480 --> 0:59:20.919
<v Speaker 2>Yeah. So, there are several scenes in this movie where

0:59:20.920 --> 0:59:23.440
<v Speaker 2>I think Wilbert is presented as having a kind of

0:59:23.560 --> 0:59:28.960
<v Speaker 2>dangerous nichean beyond good and evil outlook. You know that

0:59:29.160 --> 0:59:33.360
<v Speaker 2>he believes that moral concerns are just sort of like

0:59:34.000 --> 0:59:38.080
<v Speaker 2>a petty folly. Like there's a part where Grandpa's trying

0:59:38.120 --> 0:59:40.120
<v Speaker 2>to like convince him, like you can't do this, you know,

0:59:40.800 --> 0:59:42.760
<v Speaker 2>you shouldn't do this, and then he says, I do

0:59:42.880 --> 0:59:43.479
<v Speaker 2>what I want.

0:59:44.160 --> 0:59:44.400
<v Speaker 4>Yeah.

0:59:44.840 --> 0:59:48.040
<v Speaker 2>So I think Wilburt maybe he rejects the idea of

0:59:48.120 --> 0:59:50.880
<v Speaker 2>an aught or a should. You know, there is nothing

0:59:50.960 --> 0:59:52.919
<v Speaker 2>I should or ought to do. There is what I will.

0:59:53.720 --> 0:59:53.919
<v Speaker 4>Yeah.

0:59:54.480 --> 0:59:56.720
<v Speaker 1>So at this point he's killed, he's crossed that line.

0:59:56.840 --> 0:59:59.400
<v Speaker 1>But he also has an ecronomicon.

0:59:59.040 --> 1:00:01.280
<v Speaker 2>Right, And so this sets the third act of the movie,

1:00:01.400 --> 1:00:05.200
<v Speaker 2>which is going to be some twin monster rampage and

1:00:06.840 --> 1:00:10.400
<v Speaker 2>a very slow moving ritual. So the final showdown is

1:00:10.520 --> 1:00:14.000
<v Speaker 2>wilbur is setting up to do this ritual to open

1:00:14.080 --> 1:00:16.200
<v Speaker 2>the gate to allow the old gods in, or the

1:00:16.280 --> 1:00:18.360
<v Speaker 2>old ones, and they're going to come and destroy the world.

1:00:19.400 --> 1:00:22.480
<v Speaker 2>This is probably going to involve human sacrifice of Sandra

1:00:22.560 --> 1:00:25.960
<v Speaker 2>d on the altar. And then meanwhile his brother, Oh,

1:00:26.120 --> 1:00:28.800
<v Speaker 2>he says at the beginning of the rituals, he's saying

1:00:28.840 --> 1:00:31.000
<v Speaker 2>the name of these gods. He's singing like yogso Thoth,

1:00:31.760 --> 1:00:34.480
<v Speaker 2>and he's got the necronomicon, and he says, I summon you,

1:00:34.600 --> 1:00:38.320
<v Speaker 2>brother of darkness, I summon you. And his brother is

1:00:38.920 --> 1:00:41.880
<v Speaker 2>his twin brother, is apparently this thing upstairs in the

1:00:41.960 --> 1:00:45.040
<v Speaker 2>house that keeps rattling on the door, and it bursts

1:00:45.160 --> 1:00:47.560
<v Speaker 2>forth from its confinement, and that goes out to roam

1:00:47.600 --> 1:00:50.080
<v Speaker 2>around the town and get into all kinds of mischief,

1:00:52.200 --> 1:00:57.440
<v Speaker 2>good natured mischief, some unspeakable, deadly mischief, the geometry of

1:00:57.480 --> 1:01:01.400
<v Speaker 2>which is impossible to describe. Now, I will say, in

1:01:01.560 --> 1:01:05.400
<v Speaker 2>some of these scenes where the monster is roaming around again,

1:01:05.600 --> 1:01:09.000
<v Speaker 2>we're not really seeing it. We're seeing more from its

1:01:09.080 --> 1:01:12.280
<v Speaker 2>point of view, and then getting a kind of audio texture,

1:01:12.360 --> 1:01:15.960
<v Speaker 2>that heart beat sound that that allows that helps us

1:01:16.040 --> 1:01:18.920
<v Speaker 2>know that something very dangerous is going on. And then

1:01:18.960 --> 1:01:22.440
<v Speaker 2>we're getting these suggestive flashes of imagery that aren't I

1:01:22.520 --> 1:01:26.000
<v Speaker 2>think are not to be understood as pictures of the

1:01:26.120 --> 1:01:28.880
<v Speaker 2>monster itself. But in a way, the monster itself kind

1:01:28.920 --> 1:01:32.800
<v Speaker 2>of can't be seen or can't be comprehended with human eyes,

1:01:32.960 --> 1:01:37.280
<v Speaker 2>so it's just this presence that suggests other images.

1:01:37.840 --> 1:01:41.480
<v Speaker 1>Yeah, and at times they do this with like it's

1:01:41.560 --> 1:01:44.480
<v Speaker 1>like the weather, it's like rain or wind moving in

1:01:44.720 --> 1:01:48.120
<v Speaker 1>it's it's it's I thought, really effectively done.

1:01:48.360 --> 1:01:51.120
<v Speaker 2>Oh yeah, there's a really nice shot of like visions

1:01:51.200 --> 1:01:54.880
<v Speaker 2>of wind blowing dust over a winding road or wind

1:01:55.080 --> 1:01:56.960
<v Speaker 2>blowing over the surface of a pond.

1:01:57.560 --> 1:01:58.480
<v Speaker 1>Mm hmm. Yeah.

1:01:59.040 --> 1:02:01.280
<v Speaker 2>But of course it's gonna attack a bunch of the townsfolk,

1:02:01.400 --> 1:02:02.920
<v Speaker 2>so we get, you know, scenes of that. There's like

1:02:02.960 --> 1:02:06.520
<v Speaker 2>a nearby house that has these people they're about to

1:02:06.600 --> 1:02:08.920
<v Speaker 2>have dinner. I think they're saying. They're saying a blessing

1:02:09.080 --> 1:02:11.560
<v Speaker 2>over some kind of wretched ham. It's some of the

1:02:11.600 --> 1:02:15.760
<v Speaker 2>same townsfolk who busted up the funeral earlier, and they

1:02:15.840 --> 1:02:19.120
<v Speaker 2>hear these weird sounds. The house is kind of shaking.

1:02:19.240 --> 1:02:21.560
<v Speaker 2>The man grabs his rifle and he goes out to investigate,

1:02:21.600 --> 1:02:23.560
<v Speaker 2>and he shoots at something he sees in the barn,

1:02:24.200 --> 1:02:27.200
<v Speaker 2>and then it attacks the house and everything is shaking,

1:02:27.360 --> 1:02:30.760
<v Speaker 2>and we're to understand it doesn't go well. And then

1:02:30.800 --> 1:02:34.200
<v Speaker 2>this is confirmed when Professor Armitage and the doctor from

1:02:34.240 --> 1:02:36.320
<v Speaker 2>the town from earlier, doctor Corey, they show up at

1:02:36.360 --> 1:02:39.560
<v Speaker 2>the house where the townsfolk have gathered. They see the

1:02:39.640 --> 1:02:41.680
<v Speaker 2>remains of this family and they're like, oh no, we

1:02:41.760 --> 1:02:45.800
<v Speaker 2>got to form another angry mob. Because they correctly assumed

1:02:45.840 --> 1:02:48.560
<v Speaker 2>that the Weightlees are responsible, or at least that Wilbur

1:02:48.720 --> 1:02:52.120
<v Speaker 2>is Wilbur and his monstrous twin brother, and they want

1:02:52.160 --> 1:02:55.920
<v Speaker 2>to go get revenge. And Armitage is like, Wilbur Weiteley

1:02:56.040 --> 1:02:58.440
<v Speaker 2>might be the only person who can stop the creature

1:02:58.520 --> 1:03:01.520
<v Speaker 2>that did this. So he's trying to talk sense into them,

1:03:01.640 --> 1:03:03.080
<v Speaker 2>you know, he's like, hold on, we need to figure

1:03:03.080 --> 1:03:06.280
<v Speaker 2>out what's going on. But the shapeless being it attacks

1:03:06.360 --> 1:03:09.960
<v Speaker 2>Talia Shire while she's driving a car. It attacks a

1:03:10.120 --> 1:03:13.760
<v Speaker 2>posse who's hunting for it in the woods. Uh, And

1:03:14.120 --> 1:03:17.240
<v Speaker 2>so they're there are these repeated scenes where people are

1:03:17.280 --> 1:03:20.960
<v Speaker 2>sort of felled by psychedelic visual effects. And again I

1:03:21.000 --> 1:03:21.960
<v Speaker 2>think it works pretty well.

1:03:22.360 --> 1:03:25.920
<v Speaker 1>Yeah, yeah, again for a film that that can't or

1:03:25.920 --> 1:03:29.040
<v Speaker 1>won't show, you know, an actual monster like this works

1:03:29.080 --> 1:03:32.040
<v Speaker 1>really well, I think. I think. Ultimately, I feel like

1:03:32.120 --> 1:03:34.880
<v Speaker 1>Lovecraft officionados are probably too hard on this film because

1:03:34.920 --> 1:03:37.120
<v Speaker 1>like they're they're kind of pulling it off. They're they're

1:03:37.160 --> 1:03:41.480
<v Speaker 1>pulling off this this unseeable, unknowable horror that you know,

1:03:41.840 --> 1:03:43.720
<v Speaker 1>makes you crazy if it touches you sort of thing.

1:03:44.040 --> 1:03:47.120
<v Speaker 2>Now, of course, this all comes down to a wizard battle.

1:03:47.200 --> 1:03:49.120
<v Speaker 2>You got you gotta have a wizard battle to settle

1:03:49.200 --> 1:03:52.000
<v Speaker 2>this problem. Armitage shows up at the sight of the

1:03:52.040 --> 1:03:54.920
<v Speaker 2>Devil's hopyard where they're they're going to do the human sacrifice,

1:03:55.480 --> 1:04:00.400
<v Speaker 2>and Wilbur's there, and so Armitage and Wilbur's start essentially

1:04:00.520 --> 1:04:03.320
<v Speaker 2>yelling spells at each other. I think they're just like

1:04:03.520 --> 1:04:06.200
<v Speaker 2>calling out love crafty and phrases at one another.

1:04:06.760 --> 1:04:09.280
<v Speaker 1>Yeah, and it's it's I love it. It's super weird,

1:04:09.440 --> 1:04:12.360
<v Speaker 1>especially since there are no real added effects like it.

1:04:12.640 --> 1:04:14.240
<v Speaker 1>It's the kind of thing where if you saw actors

1:04:14.280 --> 1:04:16.000
<v Speaker 1>doing this today, you would think, oh, well, this is

1:04:16.040 --> 1:04:18.640
<v Speaker 1>before they added like the lightning and lights and lasers

1:04:18.680 --> 1:04:21.120
<v Speaker 1>shooting off of them every time they say something. But

1:04:21.400 --> 1:04:23.720
<v Speaker 1>none of that was added, and they really didn't have

1:04:23.960 --> 1:04:26.960
<v Speaker 1>to because both actors are doing such a good way

1:04:27.040 --> 1:04:30.400
<v Speaker 1>of saying I don't know of of saying the magic words,

1:04:30.440 --> 1:04:33.320
<v Speaker 1>I don't know, like just their intensity as they're they're

1:04:33.360 --> 1:04:35.880
<v Speaker 1>belting out these lines. It works really well, and you

1:04:35.960 --> 1:04:38.880
<v Speaker 1>totally buy into the fact that, yeah, they're they're they're

1:04:38.960 --> 1:04:41.120
<v Speaker 1>they're blasting out spells here. Yeah.

1:04:41.160 --> 1:04:44.360
<v Speaker 2>I think I think you're quite right that it especially

1:04:44.400 --> 1:04:46.960
<v Speaker 2>has something to do with the audio mixing of this

1:04:47.080 --> 1:04:49.760
<v Speaker 2>scene that makes it more unsettling than you would think

1:04:49.800 --> 1:04:51.040
<v Speaker 2>a wizard battle should be.

1:04:51.480 --> 1:04:51.800
<v Speaker 1>M hm.

1:04:52.360 --> 1:04:55.680
<v Speaker 2>But ultimately Armitage wins the wizard battle. He's yelling out

1:04:55.680 --> 1:04:57.920
<v Speaker 2>these phrases. I guess he must know from having studied

1:04:57.920 --> 1:05:01.840
<v Speaker 2>the Necronomicon and Dean st well, he gets sort of

1:05:02.080 --> 1:05:04.800
<v Speaker 2>like he gets I don't know something about these phrases

1:05:04.800 --> 1:05:07.720
<v Speaker 2>getting his head, and he clearly gets like foggy and

1:05:07.840 --> 1:05:10.880
<v Speaker 2>confused and frustrated. And then he gets struck by lightning and.

1:05:10.920 --> 1:05:13.240
<v Speaker 1>Catches on fire and it falls off a cliff.

1:05:13.600 --> 1:05:16.920
<v Speaker 2>Yeah, and at the very last we do get a

1:05:17.160 --> 1:05:22.280
<v Speaker 2>vision of this unspeakable evil, the Wilbur's brother. And this

1:05:22.480 --> 1:05:25.000
<v Speaker 2>is the one moment where when we get this flash

1:05:25.040 --> 1:05:28.160
<v Speaker 2>of its actual form. I think it looks like a beholder,

1:05:28.360 --> 1:05:30.920
<v Speaker 2>doesn't it, Or at least it looks like illustrations I've

1:05:31.000 --> 1:05:32.000
<v Speaker 2>seen of beholders.

1:05:32.360 --> 1:05:35.600
<v Speaker 1>Yeah, I mean we don't. It's even it's still in

1:05:35.680 --> 1:05:37.880
<v Speaker 1>the big reveal. We don't see it all that clearly.

1:05:38.000 --> 1:05:40.040
<v Speaker 1>So there is the sense of a beholder, there's a

1:05:40.120 --> 1:05:44.120
<v Speaker 1>sense of a gorgon's head. But also it's just like

1:05:44.280 --> 1:05:45.240
<v Speaker 1>color and madness.

1:05:45.680 --> 1:05:49.360
<v Speaker 2>And so then after all the violence is done, things

1:05:49.400 --> 1:05:52.320
<v Speaker 2>are coming back down, and the final thoughts are well,

1:05:52.520 --> 1:05:55.959
<v Speaker 2>Armitage says, well, looks like Wilbur's twin took after the father,

1:05:57.000 --> 1:05:58.760
<v Speaker 2>so like you were saying earlier, you know, he has

1:05:58.800 --> 1:06:02.560
<v Speaker 2>his father's eyes. But then also we see Sandra d

1:06:02.800 --> 1:06:05.320
<v Speaker 2>is okay, but it is suggested she may in fact

1:06:05.520 --> 1:06:08.400
<v Speaker 2>be carrying the child of an interdimensional demon god.

1:06:08.520 --> 1:06:11.400
<v Speaker 1>Now yeah, that's right, because we have that pause and

1:06:11.440 --> 1:06:14.400
<v Speaker 1>then the creepy music, the heartbeat stuff comes in and

1:06:14.480 --> 1:06:17.439
<v Speaker 1>we have like put an animation of a fetus that's

1:06:17.520 --> 1:06:21.720
<v Speaker 1>visible there, which which I quite like because it implies

1:06:21.800 --> 1:06:25.480
<v Speaker 1>like the next level of this curse is the generation

1:06:25.760 --> 1:06:28.520
<v Speaker 1>of those born in the nineteen seventies, which being a

1:06:28.640 --> 1:06:30.440
<v Speaker 1>child in the nineteen seventies, I like this because I'm

1:06:30.440 --> 1:06:32.800
<v Speaker 1>watching the screen and like, that's me. I'm the baby.

1:06:33.280 --> 1:06:37.520
<v Speaker 1>This is my generation that they're referring to. So in

1:06:37.640 --> 1:06:40.920
<v Speaker 1>a way, like you know, people my age and you

1:06:41.000 --> 1:06:45.560
<v Speaker 1>know and younger, like we are the sequel to the dunwichar.

1:06:46.400 --> 1:06:48.720
<v Speaker 2>The generational curse of the old ones is that you

1:06:48.840 --> 1:06:51.840
<v Speaker 2>will give less of a crap than any generation ever before.

1:06:54.600 --> 1:06:57.240
<v Speaker 1>But anyway, it's ahnomenous ending I thought it's a good,

1:06:57.280 --> 1:06:59.400
<v Speaker 1>good place to land it there again, there are also

1:06:59.400 --> 1:07:01.880
<v Speaker 1>all these shots of just a waves crashing on the

1:07:02.920 --> 1:07:06.240
<v Speaker 1>on the coast. It's it ends in a nice spot,

1:07:07.200 --> 1:07:09.560
<v Speaker 1>all right. So there you have it, the Dunwich Horror,

1:07:10.200 --> 1:07:12.360
<v Speaker 1>which I quite enjoyed. I found this a very very,

1:07:12.760 --> 1:07:15.760
<v Speaker 1>very fun film to watch. You might be wondering, well,

1:07:15.760 --> 1:07:17.840
<v Speaker 1>where can I watch The Dunwich Horror. Well, you can

1:07:17.920 --> 1:07:19.920
<v Speaker 1>buy or rent this movie most places you get your

1:07:19.960 --> 1:07:24.360
<v Speaker 1>films these days. You stream it, you know, on all

1:07:24.400 --> 1:07:28.040
<v Speaker 1>the major platforms. You can also pick it up on DVD. Sadly,

1:07:28.520 --> 1:07:31.120
<v Speaker 1>there doesn't seem to be an awesome vinyl re release

1:07:31.160 --> 1:07:33.000
<v Speaker 1>of the score, like I said earlier, but I really

1:07:33.040 --> 1:07:36.200
<v Speaker 1>hope someone does that, maybe something like nice purple vinyl

1:07:36.320 --> 1:07:38.280
<v Speaker 1>or something, or I mean really there are a number

1:07:38.280 --> 1:07:40.480
<v Speaker 1>of wonderful colors used in the film, so you could

1:07:40.520 --> 1:07:41.919
<v Speaker 1>swirl them all together in there.

1:07:42.360 --> 1:07:44.120
<v Speaker 2>Oh yeah, I could see that, you know, if they

1:07:44.160 --> 1:07:46.120
<v Speaker 2>put out one of those big collectors editions of this

1:07:46.280 --> 1:07:48.960
<v Speaker 2>that that comes along with merch. In addition, it should

1:07:48.960 --> 1:07:52.000
<v Speaker 2>come with a roll of wallpaper so you can put

1:07:52.080 --> 1:07:54.720
<v Speaker 2>up the weightlely house wallpaper in your house.

1:07:55.160 --> 1:07:57.120
<v Speaker 1>Yeah, as you can. You can done which your your

1:07:57.160 --> 1:08:01.880
<v Speaker 1>own home. I like it. Yeah, it's a very stylish movie,

1:08:02.280 --> 1:08:06.280
<v Speaker 1>very stylish, very nineteen seventy, so I highly recommend it

1:08:06.720 --> 1:08:10.000
<v Speaker 1>if this is your sort of film, all right, If

1:08:10.000 --> 1:08:12.720
<v Speaker 1>you want to check out other episodes of Weird House Cinema,

1:08:13.040 --> 1:08:14.919
<v Speaker 1>this comes out every Friday and the Stuff to Blow

1:08:14.960 --> 1:08:18.240
<v Speaker 1>Your Mind podcast feed. We're primarily a science and culture podcast,

1:08:18.280 --> 1:08:21.240
<v Speaker 1>with core episodes on Tuesdays and Thursdays, with artifact episodes

1:08:21.280 --> 1:08:24.479
<v Speaker 1>on Wednesdays and listener mail on Mondays. But Friday that's

1:08:24.520 --> 1:08:27.320
<v Speaker 1>our time to cut loose and discuss a weird picture.

1:08:27.160 --> 1:08:30.040
<v Speaker 2>Like this one. Huge thanks as always to our excellent

1:08:30.080 --> 1:08:33.320
<v Speaker 2>audio producer Seth Nicholas Johnson. If you would like to

1:08:33.360 --> 1:08:35.679
<v Speaker 2>get in touch with us with feedback on this episode

1:08:35.720 --> 1:08:37.679
<v Speaker 2>or any other, to suggest a topic for the future,

1:08:37.760 --> 1:08:39.720
<v Speaker 2>or just to say hello, you can email us at

1:08:39.880 --> 1:08:42.320
<v Speaker 2>contact at stuff to Blow your Mind dot com.

1:08:49.600 --> 1:08:52.519
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