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

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Speaker 1: I Heart Radio. Hey you welcome to Weird House Cinema.

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Speaker 1: This is Rob Lamb and this is Joe McCormick. Today's movie.

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Speaker 1: Um goes by many names. It stems from the mid

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Speaker 1: nineties seventies, and you could easily sort of single it

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Speaker 1: out for a few different things. It's on one on

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Speaker 1: one level, it is uh, It's very British. It is

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Speaker 1: the perhaps the most important British zombie film, certainly of

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Speaker 1: this time period. It's also a Spanish Italian co production

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Speaker 1: and has I think no actual British people in it.

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Speaker 1: It's also not only a horror film, but eco horror

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Speaker 1: film all true. This is also definitely a grindhouse era picture.

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Speaker 1: It was actually shown in a double feature with West

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Speaker 1: Craven's notorious Last House on the Left, which I realized

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Speaker 1: is a seventy two film, but guess it was still

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Speaker 1: making the round by seventy four or just hitting certain

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Speaker 1: markets by seventy four. But at any rate, Uh, these

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Speaker 1: two films were sometimes on the same building. It's interesting

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Speaker 1: to realize where different zombie movies come in the course

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Speaker 1: of history, because I think of most zombie films as derivative, uh,

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Speaker 1: not just of Night of the Living Dead, but of

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Speaker 1: Dawn of the Dead, the second film in George Romero's

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Speaker 1: uh trilogy. But of course Dawn of the Dead actually

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Speaker 1: didn't come out, I think until nineteen seventy eight, so

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Speaker 1: like four years after this one. Of course Night was earlier.

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Speaker 1: But it's kind of strange how I would have said

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Speaker 1: this movie was derivative of Dawn, but in fact it

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Speaker 1: proceeds Dawn. Yeah, it's interesting. It's kind of a I

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Speaker 1: think even at the time, a lot of people compared

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Speaker 1: it to Night of the Living Dead, and certainly it

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Speaker 1: owes uh something to to to that film, as pretty

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Speaker 1: much any zombie film that came after it does. But yeah,

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Speaker 1: maybe it's a little head of the curve on something

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Speaker 1: as well. Now we keep talking about it, we haven't

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Speaker 1: said the title of the film yet because you kind

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Speaker 1: of have your pick of titles for this film. The again,

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Speaker 1: it's an Italian Spanish co production, and the original title

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Speaker 1: and both languages translates basically to do not profane the

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Speaker 1: Sleep of the Debt, which I guess the international distributors

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Speaker 1: didn't go for. They saw opportunities to to tap into

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Speaker 1: other areas of fear. Uh. It was released under a

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Speaker 1: lot of different names around the world. The two most

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Speaker 1: common are either Let's Sleeping corpses Lie, which is how

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Speaker 1: we haven't listed in the title for this episode, but

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Speaker 1: it was also widely distributed as The Living Dead at

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Speaker 1: Manchester Morgue, or it eventually was widely distributed under that name. Um,

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Speaker 1: that is the title that displayed in the version of

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Speaker 1: it that I watched, though the screen where that title

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Speaker 1: pops up looks very out of place. It like doesn't

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Speaker 1: match the visual style of anything around it. Yeah, it's

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Speaker 1: also it's a strange title. A lot of these titles

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Speaker 1: are hard to to really rationalize because a lot of

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Speaker 1: them don't really make sense once you get into the

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Speaker 1: plot that there is not a Manchester Morgue in the

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Speaker 1: film as an actual setting. Uh. We only briefly see

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Speaker 1: Manchester at the very beginning of the film, and then

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Speaker 1: we go out into rural Britain and that is where

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Speaker 1: the rest of the film is supposed to be taking place.

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Speaker 1: Is the city at the beginning definitely supposed to be Manchester.

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Speaker 1: I couldn't tell if it was supposed to be Manchester

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Speaker 1: or London. It is Manchester. That's what I've read. Yes,

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Speaker 1: other titles that this film had there was do not

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Speaker 1: Speak Ill of the Dead, which which sounds pretty good.

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Speaker 1: I mean, that's more or less a translation of the original.

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Speaker 1: Even though it kind of implies that that what's going

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Speaker 1: on here is um like the raising of the dead

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Speaker 1: via slander or something. It shouldn't come as anybody to

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Speaker 1: any surprise to anyone out there that it was also

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Speaker 1: known as Zombie three, at least in some markets. And

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Speaker 1: this is hilarious because a number of films seem to

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Speaker 1: have been released at one time or another as part

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Speaker 1: of the very unofficial Italian zombie franchise, including Zombie three,

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Speaker 1: which was a Fucci and Matte film. So anything can

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Speaker 1: or could be a zombie movie. Wait now I'm incredibly

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Speaker 1: confused here, because so Zombie three would mean this is

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Speaker 1: trying to be a sequel to Zombie two, which was

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Speaker 1: the Fulci film that was not actually a sequel to

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Speaker 1: the original Zombie, which was another name for Romero's Dawn

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Speaker 1: of the Dead, which came out in seventy eight. But

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Speaker 1: this movie we're talking about came out in seventy four,

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Speaker 1: and at some point it was called Zombie three. That's

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Speaker 1: the beauty of the Zombie zero MBI franchise. Yes, so

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Speaker 1: I guess this would have to be like in like

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Speaker 1: I don't know, later video releases or something, right, Yeah, yeah,

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Speaker 1: I think so. Now another title that's a lot of

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Speaker 1: fun for this one that, again it doesn't really fit

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Speaker 1: the movie is Don't Open the Window. I love a

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Speaker 1: good seventies don't movie. And we're actually going to hear

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Speaker 1: the trailer for Don't Open the Window for that release

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Speaker 1: of the film here and a bit, just because it's

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Speaker 1: the most, in my opinion, the most amusing of the

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Speaker 1: trailers to listen to in a podcast format. I don't remember. Okay,

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Speaker 1: So running through these different titles, we do I think

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Speaker 1: see a Manchester area hospital as a set used in

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Speaker 1: the movie, but it's not really set in Manchester. Do

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Speaker 1: Not Speak Ill of the Dead, as far as I

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Speaker 1: can tell, has no relationship to the plot. Zombie three

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Speaker 1: is hilarious because this movie came out before the original

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Speaker 1: Zombie and I don't think there's anything about opening a

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Speaker 1: window at all. Can you remember any window stuff? I mean,

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Speaker 1: people probably look through windows, and maybe there's a scene

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Speaker 1: where somebody grabs through a window, but it's not it's

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Speaker 1: not the centerpiece of the picture. I don't know that

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Speaker 1: any of the don't movies really had that going for it.

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Speaker 1: But when a movie's titles say don't go in the basement,

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Speaker 1: I feel like that one really works. And if well,

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Speaker 1: this is a movie about something horrible going on in

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Speaker 1: the basement where horrible things belong. Uh, but don't open

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Speaker 1: the window, this seems very broad like, I mean, I

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Speaker 1: really just not supposed to open the window. Again. Actually,

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Speaker 1: there's one scene where one character, Katie, escapes a zombie

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Speaker 1: by jumping out a window. So she obeyed the title

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Speaker 1: of that version, she would have been killed by the zombie. Yeah,

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Speaker 1: a more fitting title would be don't use ultrasound technology. Yeah, exactly,

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Speaker 1: don't trust science, I think would be the correct title here,

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Speaker 1: and and in that vein, I'd say, let sleeping corpses lie.

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Speaker 1: It's probably the most on track of all these titles

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Speaker 1: because it suggests that something is being done to disturb

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Speaker 1: the dead, like you're kind of meddling in some way

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Speaker 1: that you shouldn't. Ye. So the elevator pitch for this

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Speaker 1: one's pretty straightforward. You have youths from the city clashing

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Speaker 1: with authority figures and the living dad in rural written. Strangely, though,

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Speaker 1: the dichotomy set up in this movie is not an

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Speaker 1: alliance of like urbanity with the youth. The youths are

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Speaker 1: from the city, but urbanity, I would say, is sort

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Speaker 1: of the villain, because that's uh in this nexus of

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Speaker 1: evil things that the movie uh were probably grouped together

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Speaker 1: like UH cops, UH, cities, science, uh, the government, and

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Speaker 1: I guess anything that happens in a big building. And

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Speaker 1: big buildings, of course have windows. So let's let's go

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Speaker 1: ahead and listen to the trailer for Don't Open the Window.

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Speaker 1: A k Let's sleep in corpses live. They tampered with nature,

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Speaker 1: Now they must pay the price. See the grotesque invade

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Speaker 1: an unsuspecting village, See a hospital, panic when day old

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Speaker 1: babies go berserk. See friends turn on each other in

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Speaker 1: a nightmare of horror. You'll cringe with terror when you

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Speaker 1: see don't open the window. Whatever's out there? Wait read

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Speaker 1: it are see. Now you'll think twice about opening that window, right,

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Speaker 1: I mean, I wasn't gonna do it before, but now

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Speaker 1: I'm really convinced. So before we get going here, you

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Speaker 1: you may be wondering, well, where can I find this

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Speaker 1: movie under one title or another? Well? I streamed the

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Speaker 1: movie on AMC Plus on Amazon under the title The

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Speaker 1: Living Dead at Manchester Morgue. Shutter has it as well,

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Speaker 1: and you can render by it digitally. But there's also

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Speaker 1: a Blu ray release from Signapse Films that features a

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Speaker 1: four K restoration and it looks really great, has a

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Speaker 1: lot of neat extra features on it. Now we mentioned

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Speaker 1: a little bit about the locations. One thing to keep

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Speaker 1: in mind with this picture is that parts of it

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Speaker 1: are definitely shot. Their locations and exteriors that are definitely

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Speaker 1: shot in Britain, and they seem to have have done

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Speaker 1: a good enough job where they used just enough of

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Speaker 1: it that, at least to my eyes, it feels like

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Speaker 1: Britain most of the time, like there are enough establishing

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Speaker 1: shots to establish that. Occasionally though, you can tell like, oh,

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Speaker 1: well that's this looks a lot more like an Italian

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Speaker 1: horror film. The hills look more Italian, uh and uh

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Speaker 1: and so yeah, there there are plenty of scenes that

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Speaker 1: were actually shot in Italy. Oh. I thought they did

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Speaker 1: an excellent job with the scenery. I was fully convinced

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Speaker 1: about the English landscape and uh yeah, I have no

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Speaker 1: complaints whatsoever about the locations and scenery in this movie.

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Speaker 1: In fact, they're they're pretty, they're gorgeous most of the time. Yeah,

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Speaker 1: it's it's a really well shot film. So let's go

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Speaker 1: ahead and get into the into the folks involved in it. Here,

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Speaker 1: we'll start with the director. Uh, this is some Jorge

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Speaker 1: Grao who lived nineteen thirty through Spanish director, probably best

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Speaker 1: remembered internationally anyway, I'm not sure about in Spain for

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Speaker 1: this picture, but was responsible for various romances and thrillers.

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Speaker 1: I think he only did three other horror films in

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Speaker 1: nineteen seventy three, Countess Bathory film titled The Legend of

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Speaker 1: Blood Castle, vy Threes, Violent blood Bath and h Hunting Ground.

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Speaker 1: I think those two seventy three films are separate films.

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Speaker 1: But but now that I read them out loud, it

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Speaker 1: makes me wonder maybe this is the same film. I

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Speaker 1: don't know. Oh yeah, the bath Thory Bath Bathing and

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Speaker 1: blood thing that I can see that, But I don't know.

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Speaker 1: I I don't have the details in front of I

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Speaker 1: think it's two separate films, but they sound a lot

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Speaker 1: of like title wise, now There are four different names

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Speaker 1: that are attributed on the screenplay, two credited to uncredited

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Speaker 1: that you find in in a couple of the databases.

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Speaker 1: But one of the credited screenwriters is Sandro Continenza, who

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Speaker 1: lived um, Italian screenwriter best known for such films as

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Speaker 1: nineteen sixty on Valley of the Lions, eight, The Inglorious Bastards, Uh,

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Speaker 1: not the Tarantino one later, but Tarantino was drawing on

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Speaker 1: that title, n Hercules in the Haunted World and really

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Speaker 1: just a long list of thrillers, action movies, horror movies,

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Speaker 1: comedies and more. Okay. The other name is credited is

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Speaker 1: Marcello Kostia. This is um, an Italian screenwriter dates unknown,

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Speaker 1: whose filmography includes work apparently uncredited work on nineteen sixties

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Speaker 1: Black Sunday and such films as nineteen seventy seven Yetti

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Speaker 1: Giant of the Twentieth Century, which stars Tony Kendall and

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Speaker 1: a King Kong sized Yetti. Wait a minute, this nineteen sixties,

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Speaker 1: that's the Mario Baba Black Sunday, Right, yeah, yeah, yeah, Oh,

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Speaker 1: that's a fantastic horror movie. Yeah. So I don't know

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Speaker 1: to what degree, uh the screenwriter actually worked on it.

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Speaker 1: But there's at least an uncredited tagging on that. And

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Speaker 1: then there are a couple of other Spanish screenwriters who

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Speaker 1: are uncredited. There's Miguel Rubio and one Cobos Um. Both

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Speaker 1: of those are individuals who are like Rubio did a

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Speaker 1: number of Spanish romances, it looks like, and uh Cobos

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Speaker 1: did various Western thrillers, etcetera. Now getting into the cast here,

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Speaker 1: it apparently depends on where it was released, who got

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Speaker 1: top billing and so forth. But uh, the character, and

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Speaker 1: I guess she's she's one of our our two main

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Speaker 1: characters in this and that is Edna the City Girl,

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Speaker 1: played by Christina Galbo. She was born nineteen fifty was

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Speaker 1: a Spanish child actor who later worked in various films,

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Speaker 1: a number of horror films, but also some dramas in

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Speaker 1: there as well. Her credits include the Western from Night Twice,

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Speaker 1: a Judas with klaus Kinski, nineteen sixty nine is the

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Speaker 1: House That Screamed? N seventy two is What Have You

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Speaker 1: Done to Solange? And nine The Killer Must Kill Again? Oh,

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Speaker 1: and then also a nine one film titled Sober Natural

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Speaker 1: which just looks amazing. It's also known as Return of

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Speaker 1: the poulter Geist. Oh, this is the verk Beast movie

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Speaker 1: that you shared the cover box and the box art

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Speaker 1: with me on. Yeah. Yeah, this is what a Dutch

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Speaker 1: VHS cover that I found here. And I have read

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Speaker 1: some reviews that say, don't go into this film, uh

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Speaker 1: sober natural expectant return of the poulter Geist, expecting to

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Speaker 1: get this level of insanity. But it's it's supposedly interesting. Nonetheless,

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Speaker 1: I'm sorry it was so funny because the Dutch language

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Speaker 1: on the cover you shared with has this like tagline

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Speaker 1: that says over Winnen, which I think means like will

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Speaker 1: evil prevail? I don't know I haven't seen it. I

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Speaker 1: don't know how how it turns out. They might, but

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Speaker 1: it's got the work beast standing there, like clutching some

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Speaker 1: kind of glowing skull over his crotch. It's yeah, or

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Speaker 1: like his belly has a ghost in it or something.

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Speaker 1: It's it's very intriguing. Yeah. Um. Anyway, the actor here, Gabbo,

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Speaker 1: Christina Gabbo, uh quite good in this. It's, as we'll discuss,

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Speaker 1: it's a role that does limit her to a fair

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Speaker 1: amount of screaming and being afraid. But you know, so

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Speaker 1: it's essentially kind of a scream queen role. But I

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Speaker 1: think she's really good in it. I mean, I would

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Speaker 1: say that the acting in this movie is good for

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Speaker 1: what the movie calls for, which is not very nuanced performances.

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Speaker 1: The roles in this movie are painted with a broad brush,

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Speaker 1: but in in that capacity, the cast is by and

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Speaker 1: large very good. Now our central uh we we kept

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Speaker 1: calling him a hippie, but it might be more accurate

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Speaker 1: to think of him as a rocker. I don't know.

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Speaker 1: There's a lot to dissect there. I've got a note

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Speaker 1: on this later in the plot. All Right, we'll get

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Speaker 1: we'll get back to this. But this is George. George

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Speaker 1: is played by Ray Lovelock, who lived nineteen fifty through seen.

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Speaker 1: He was an Italian actor and musician. His father was English,

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Speaker 1: his mother was Italian. But I'm still doubtful he's he's

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Speaker 1: doing his own English language dubbing in this film because

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Speaker 1: it's very I don't know that it's very um um

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Speaker 1: over the top, it seemed to me, but I could

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Speaker 1: be could be wrong on this. Well, it's it's very

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Speaker 1: loaded with the vernacular markers of British English, so it's

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Speaker 1: just a lot of a lot, a little you know,

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Speaker 1: like I don't know what you call it, a little flourishes,

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Speaker 1: like like referring to women as birds and stuff. So

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Speaker 1: so I'm not sure on this, and this might be

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Speaker 1: his own voice. I think everyone is dubbed in this film.

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Speaker 1: I think this is one of those pictures where they

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Speaker 1: didn't have um, they weren't actually recording this a sound

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Speaker 1: but locally, and then everybody's coming back into dub it.

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Speaker 1: But I'm not sure if he's doing his own dubbing

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Speaker 1: or not here. But at any rate, even if it's

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Speaker 1: just a physical performance, he's still pretty good in this.

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Speaker 1: It's ah So. As a musician, he put out a

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Speaker 1: number of singles in Italy and Japan in the late

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Speaker 1: sixties and then early to mid seventies, and as an actor,

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Speaker 1: his credits include sixties sevens Django, Kill If You Live Shoot,

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Speaker 1: also Norman Jewison's nineteen seventy one adaptation of Fiddler on

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Speaker 1: the Roof. Oh who does he play in in that Fiddler? Um,

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Speaker 1: let's see, I have to look it up again. Okay,

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Speaker 1: let me look it up. Hold on Oh, Okay, he

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Speaker 1: plays He plays uh Fiedka, who is a a Christian

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Speaker 1: farmer who is the husband married by the third daughter,

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Speaker 1: have a Okay, it's been a I think I saw

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Speaker 1: Fiddler on the Roof, this version of it with Toball

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Speaker 1: in it when I was a child, But all I

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Speaker 1: remember is just some of the singing. I always loved

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Speaker 1: Fiddler on the Roof. I think his role in this

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Speaker 1: is sad because when hav falls in love with Fieka

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Speaker 1: and they want to get married, that this is what

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Speaker 1: Teva finally like, won't accept and he says no, no,

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Speaker 1: I will not accept it. Is there a scene in

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Speaker 1: Fiddler in the Roof where someone plays a fiddle on

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Speaker 1: the roof? Yes, okay, that's at the beginning. Yeah, I thought,

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Speaker 1: I mean I I had that image in my mind,

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Speaker 1: but I was suddenly second guessing myself, Like maybe I

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Speaker 1: since I saw it as a kid and I remember

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Speaker 1: the title, I would just create the memory of top

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Speaker 1: Ball singing on the roof. I need to see it again,

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Speaker 1: clearly anyway. There are other pictures that love Luck was in,

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Speaker 1: including the nineteen seventy four umberto Lindsay police thriller Almost

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Speaker 1: Human and the nineteen seventy five Jallo film Autopsy. Oh

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Speaker 1: and he was also in Luccio Folci four musical Murder Rock.

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Speaker 1: That's the gory horror musical. Yes, yeah, I I actually

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Speaker 1: have a blu ray of it, but I haven't watched

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Speaker 1: it yet. Um, So at some point I'll check that

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Speaker 1: out and see if it's um if it is something

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Speaker 1: for weird house, or if it's something just for me,

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Speaker 1: we'll see, Okay, all right. We also have an authority

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Speaker 1: figure in this picture, and that is the inspector, who

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Speaker 1: is not a rural police inspector like he seems to

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Speaker 1: have come in from the city himself because he's staying

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Speaker 1: at the hotel. He doesn't have a local residence. But

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Speaker 1: this character is played by Arthur Kennedy um not a Brett,

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Speaker 1: not an Italian or or a Spanish actor. An American

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Speaker 1: actor of stage and screen who won a Tony Award

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Speaker 1: for his role in the original production of Arthur Miller's

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Speaker 1: Death of a Salesman and was a five time Oscar nominee.

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Speaker 1: He worked in a number of Arthur Miller's Broadway plays

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Speaker 1: as well, and he was in such major films of

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Speaker 1: the forties five teas in sixties as Lawrence of Arabia, Right, Victory,

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Speaker 1: Peyton Place, and Champion. He worked a lot in Europe

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Speaker 1: later in his career. Uh. This is the second Arthur

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Speaker 1: Kennedy movie that we've discussed on Weird House, because it

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Speaker 1: was in the human Oid from it was an Italian

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Speaker 1: star Wars rip off. Right, Yeah, the one that had

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Speaker 1: what's his name in it? Um? Oh, Richard Keel or

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Speaker 1: Kyle Keel. Yeah, yeah, yeah, yeah, he plays the the

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Speaker 1: titular humanoid, I believe. Yeah, I forgot Arthur Kennedy was

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Speaker 1: in that. Well, in this he's just a snarling fascist

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Speaker 1: police inspector who has absolutely had it up to here

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Speaker 1: with the hippies. And it's it's difficult to figure out

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Speaker 1: his accent in this. I was I was, im, I'm guessing, like,

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Speaker 1: since the film is supposed to take place near the

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Speaker 1: Scottish border in what Cumbria, I was thinking, well, maybe

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Speaker 1: he's going for a Scottish accent here. No, to the

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Speaker 1: extent that he is attempting an accent, I think he's

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Speaker 1: going for Irish, not Scottish. But it's but no, it's

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Speaker 1: almost as bad as Kevin Costner in Robin Hood. Uh.

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Speaker 1: He just alternating freely between attempting an accent and not

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Speaker 1: at all and in the cases where he does actually

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Speaker 1: alter his accent, I do think he's trying for Irish,

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Speaker 1: but there are plenty of scenes where it's just nothing,

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Speaker 1: not even trying. He has a gravelly American voice. I

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Speaker 1: guess it's just his natural voice, and he sounds kind

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Speaker 1: of like imagine the voice of William Holden, you know,

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Speaker 1: kind of gruff, gravelly, um core American accent. And I'd

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Speaker 1: say this is what we hear at least half the time. Yeah,

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Speaker 1: now trying to figure out the accent itself. Aside, I

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Speaker 1: think he is a very convincing screen presence in the film. Like, again,

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Speaker 1: not maybe not the most nuanced character of all time here,

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Speaker 1: but just as a just as an absolute authority figure

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Speaker 1: villain to to menace our our freethinking youths are supposedly

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Speaker 1: freethinking youths. I think he's he's pretty great. Like he's

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Speaker 1: just bristling and snarling every time he's on the screen,

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Speaker 1: Basically every scene, he's just decrying the decadence and filth

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Speaker 1: of the young and and saying, why don't we just

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Speaker 1: lock them all up? Yeah? Why why can't I abuse

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Speaker 1: my power more? If only I could abuse my power? Uh,

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Speaker 1: like a few degrees more than we could, we wouldn't

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Speaker 1: have any problems at all. Yeah, we'll see some other

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Speaker 1: actors in this of note, Janine Mestry plays Katie Katie West.

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Speaker 1: This is the sister of the character played by Christina Galbo.

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Speaker 1: So this is Edna's sister. Uh. She's a major uh,

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Speaker 1: an important character that kind of brings everyone together here.

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Speaker 1: But the actor here was born in forty seven, Spanish

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Speaker 1: actor whose work seems to lean more historical and more

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Speaker 1: into dramas. But she had a small role as a

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Speaker 1: vampire woman in Jeff Franco's nineteen seventy Dracula movie that

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Speaker 1: had Christopher Lee, Klaskinski and Herbert lom in it. Mm

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Speaker 1: hmm quite a cast. I mean you can guess who

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Speaker 1: klaus Kinsky played, right, Yes? Wait are you saying not Dracula,

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Speaker 1: not drag Christopher Lee's Dracula. Oh klaus Kinsey Rinfield? Yes, yes, okay,

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Speaker 1: makes sense all right? And then playing Katie's husband, Martin West,

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Speaker 1: who have Jose Lafonte, Spanish actor with two hundred four

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Speaker 1: almost at two thousand, two hundred and four varied credits,

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Speaker 1: including seven's beaks. The movie is that when you've seen

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Speaker 1: what You don't remember us talking about Beaks in the past,

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Speaker 1: I don't remind me. I think it came up on

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Speaker 1: this show, maybe because a listener UH asked us what

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Speaker 1: were the worst films we've ever seen? And I don't

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Speaker 1: know exactly how to answer that. Not you know, it's

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Speaker 1: hard to put old movies on the same scale. You

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Speaker 1: can't consider them all with the same criteria. But I

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Speaker 1: think one of the worst times I ever had trying

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Speaker 1: to finish watching a movie was Beaks, which is a

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Speaker 1: rip off of the Bird, but it was like excruciating.

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Speaker 1: It had these high pitched, droning synthesizer sounds that were

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Speaker 1: just like needles going into your ears. And pair that

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Speaker 1: with overuse of slow motion and you can imagine just

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Speaker 1: the nausea and the pain of trying to get to

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Speaker 1: the end. This was a Renee Cardona Junior picture too.

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Speaker 1: All right, well, now you've been twice warned to avoid Beaks.

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Speaker 1: We also have a character that will become important. Guthrie Wilson,

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Speaker 1: who is a tramp lives by the river in this

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Speaker 1: rural British setting, played by Fernando Hillbeck, who of ninety

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Speaker 1: three through two thousand and nine. Um, I thought Hillbeck

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Speaker 1: was interesting in this, and maybe it's more in the

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Speaker 1: way he was shot, but he almost has kind of

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Speaker 1: George Eastman vibes going on here, very intimidating physical presence. Uh.

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Speaker 1: He was a Spanish actor, mostly the character actor, who

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Speaker 1: did a lot of work in various genres. One of

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Speaker 1: his biggest international credits is I believe he plays a

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Speaker 1: uh like an evil night or something in Paul Verhoven's

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Speaker 1: medieval drama Flesh. I guess it's flesh and blood, but

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Speaker 1: it's always flesh plus blood. Um, like it's supposed to

401
00:23:08,640 --> 00:23:12,520
Speaker 1: equal something equals negative fun. Yeah, I guess because I

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Speaker 1: don't think it's you never really hear it. Um discussed

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Speaker 1: a lot, all right, don't anyway, But anyway, it had

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Speaker 1: a great cast, Rudgar Howard, Jennifer Jason Lee, Ronald Lacy,

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Speaker 1: Brian James So uh fun cast. I love. I love Verehoven.

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Speaker 1: I've never seen. Oh yeah I would. It's on my radar.

407
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Speaker 1: Is something I want to check out at some point,

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Speaker 1: like because the Paul Verhoven movies that that I'm familiar,

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Speaker 1: most people are familiar, you know, like it's it's it's

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Speaker 1: it's it's gonna be the RoboCop. It's gonna be um

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Speaker 1: um total recall. It's gonna be like that caliber of film,

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Speaker 1: which which is great. I mean, those are are perfect

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Speaker 1: films in their own way. But I am curious at times,

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Speaker 1: like what what are the predecessors to that? You know,

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Speaker 1: what sort of brought him to the international scene, And

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Speaker 1: I just haven't seen any of them. All Right, we

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Speaker 1: also have this is a minor character, but I don't

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Speaker 1: want to mention him because he's kind of I kept

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Speaker 1: thinking of him as the discount Peter Cushing in this um.

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Speaker 1: Perhaps a lot of this has to do is just

421
00:24:18,840 --> 00:24:20,800
Speaker 1: the shape of his skull and the way he's presented.

422
00:24:20,840 --> 00:24:26,040
Speaker 1: But vincente Vega plays Dr Duffield uh dates unknown on

423
00:24:26,160 --> 00:24:28,600
Speaker 1: the two databases I was looking at, but he's been

424
00:24:28,640 --> 00:24:33,120
Speaker 1: inactive since nineteen so I suspect he may be dead.

425
00:24:33,680 --> 00:24:37,760
Speaker 1: But anyway, the actor himself seems to have fairly had

426
00:24:37,880 --> 00:24:41,120
Speaker 1: had a fairly diverse career, and he acted in various dramas,

427
00:24:41,160 --> 00:24:43,439
Speaker 1: even some Shakespeare. I can see why you would say

428
00:24:43,480 --> 00:24:45,480
Speaker 1: Cushing because they bring him into be the kind of

429
00:24:45,640 --> 00:24:51,760
Speaker 1: thin angular, clinical, semi good guy. Mm hmm. Yeah, kind

430
00:24:51,760 --> 00:24:55,640
Speaker 1: of as a grim demeanor. He he's almost a good

431
00:24:55,680 --> 00:24:57,800
Speaker 1: guy in the movie, but he can't fully be that

432
00:24:57,880 --> 00:25:00,760
Speaker 1: way because he's too closely aligned with science. This is

433
00:25:00,840 --> 00:25:04,720
Speaker 1: a major problem. Yeah, this, this film seems to have

434
00:25:04,960 --> 00:25:09,200
Speaker 1: some some definite opinions about science and it's overreach. Yeah,

435
00:25:09,240 --> 00:25:11,479
Speaker 1: we'll we'll get to that in the plot section. All right,

436
00:25:11,520 --> 00:25:14,840
Speaker 1: it's worth noting that, uh, you know, there are multiple

437
00:25:14,920 --> 00:25:19,120
Speaker 1: individuals that are credited with the makeup and the special effects,

438
00:25:19,200 --> 00:25:23,399
Speaker 1: but gianetto do Rosie Is is credited as makeup artist

439
00:25:23,480 --> 00:25:28,440
Speaker 1: and special optical effects here. He lived one through and

440
00:25:28,680 --> 00:25:32,479
Speaker 1: Rossi was a big name in both Italian and American films,

441
00:25:32,560 --> 00:25:37,280
Speaker 1: with a noted specialty in prosthetic appliances for gory movies. So,

442
00:25:38,160 --> 00:25:39,840
Speaker 1: I mean, this is a zombie movie, so you know

443
00:25:39,960 --> 00:25:42,399
Speaker 1: what that means, scenes in which people have parts of

444
00:25:42,440 --> 00:25:46,560
Speaker 1: their anatomy ripped open or ripped off and eaten by

445
00:25:46,680 --> 00:25:52,560
Speaker 1: bloodthirsty creatures. I am not really a gorehound, you know,

446
00:25:52,680 --> 00:25:54,560
Speaker 1: That's not what I usually come to a movie for.

447
00:25:54,840 --> 00:25:56,680
Speaker 1: But the stuff in this movie is good that there

448
00:25:56,720 --> 00:26:00,720
Speaker 1: are scenes of zombies like pulling people's guts out and

449
00:26:00,920 --> 00:26:04,480
Speaker 1: chowed down on him. And stuff, and it's it's quite convincing. Yeah,

450
00:26:04,680 --> 00:26:08,600
Speaker 1: And I mean everyone's tolerance level for this is gonna vary.

451
00:26:08,760 --> 00:26:12,880
Speaker 1: For my taste level, I felt like they they gave

452
00:26:13,000 --> 00:26:16,159
Speaker 1: us just enough for it to be shocking within the

453
00:26:16,200 --> 00:26:19,800
Speaker 1: context of the film without feeling like the the cameras

454
00:26:19,960 --> 00:26:23,159
Speaker 1: really lingering too long, either on the effects or on

455
00:26:23,400 --> 00:26:28,000
Speaker 1: the like the intended blood and gore itself. Anyway, do

456
00:26:28,119 --> 00:26:30,639
Speaker 1: Rosie's credits are are pretty robust. I mean, they're all

457
00:26:30,680 --> 00:26:32,760
Speaker 1: over the place, and I'm not even I didn't list

458
00:26:32,800 --> 00:26:34,080
Speaker 1: all of them here, and I'm not gonna read all

459
00:26:34,080 --> 00:26:37,880
Speaker 1: the ones I listed. But uh, he worked on The Humanoid,

460
00:26:37,960 --> 00:26:41,520
Speaker 1: which we already referenced. Um, he worked on nineteen eighties

461
00:26:41,560 --> 00:26:45,680
Speaker 1: Cannibal Apocalypse, which we've covered on the show. Um he was.

462
00:26:45,960 --> 00:26:48,280
Speaker 1: He worked on a film I've never seen, but this

463
00:26:48,480 --> 00:26:52,159
Speaker 1: title never fails to make me snicker is nineteen eighties

464
00:26:52,520 --> 00:26:57,119
Speaker 1: Dr Butcher m d uh, which I don't know. I

465
00:26:57,200 --> 00:27:00,800
Speaker 1: just always I'm always intrigued that that there's Dr Butcher

466
00:27:00,840 --> 00:27:04,159
Speaker 1: empty but anyway, um as it well, I liked that

467
00:27:04,280 --> 00:27:11,280
Speaker 1: it's opposed to Dr Butcher like Masters of Education or something. Yeah. Um,

468
00:27:12,040 --> 00:27:13,720
Speaker 1: but yeah, he has also worked on Full Cheese, The

469
00:27:13,760 --> 00:27:16,560
Speaker 1: Beyond House by the Cemetery, which we've also talked about,

470
00:27:16,880 --> 00:27:20,480
Speaker 1: Piranha two and eighty one, Conan the Destroyer. In eighty

471
00:27:20,560 --> 00:27:23,000
Speaker 1: four he did the remember Andre the Giant is in

472
00:27:23,080 --> 00:27:27,919
Speaker 1: that is this like big like statue monster creature? Okay,

473
00:27:28,400 --> 00:27:30,840
Speaker 1: well he was responsible for the monster effects there. He

474
00:27:30,960 --> 00:27:34,680
Speaker 1: worked on four's Dune. He was one of the people

475
00:27:34,680 --> 00:27:37,880
Speaker 1: who brought the Guild Navigator to life. Oh yeah, even

476
00:27:37,960 --> 00:27:40,119
Speaker 1: though the Guild Navigator doesn't really show up in the

477
00:27:40,160 --> 00:27:42,280
Speaker 1: first Dune novel, but they had to get him in

478
00:27:42,320 --> 00:27:44,960
Speaker 1: the Lynch movie. Yeah, there's like, we gotta get get

479
00:27:45,040 --> 00:27:46,719
Speaker 1: him in there, and let's cart him in and it's

480
00:27:46,760 --> 00:27:48,200
Speaker 1: a great scene. I mean, let's say what you will

481
00:27:48,240 --> 00:27:52,399
Speaker 1: about that adaptation of Dune. It's visually enthralling. Anyway. He

482
00:27:52,560 --> 00:27:54,600
Speaker 1: has some other lists that that go on up um

483
00:27:55,200 --> 00:27:59,960
Speaker 1: uh into into subsequent periods of motion picture. Here include

484
00:28:00,000 --> 00:28:02,560
Speaker 1: in two thousand and threes, High Tension, a k A

485
00:28:02,680 --> 00:28:07,280
Speaker 1: Switchblade Romance, which there's a film I enjoyed when it

486
00:28:07,359 --> 00:28:09,200
Speaker 1: came out. I haven't gone back and watched it again.

487
00:28:09,240 --> 00:28:12,560
Speaker 1: It's not a film that really um bears a lot

488
00:28:12,640 --> 00:28:16,360
Speaker 1: of revisiting, but the first viewing is pretty pretty fun,

489
00:28:16,600 --> 00:28:18,840
Speaker 1: and it does have some gross score in it. Sorry,

490
00:28:18,880 --> 00:28:20,639
Speaker 1: I'm just looking at the credits. You're listed from the

491
00:28:20,760 --> 00:28:24,080
Speaker 1: nineties where he did Dragonheart, which just that Sean Connery

492
00:28:24,160 --> 00:28:28,960
Speaker 1: c g I Dragon movie, yeah, oh man. And then

493
00:28:29,119 --> 00:28:32,040
Speaker 1: he did the um he did the U the Conan

494
00:28:32,200 --> 00:28:36,720
Speaker 1: rip off that had Kevin Sorbo from TV's Hercules in it. Yep,

495
00:28:36,880 --> 00:28:40,480
Speaker 1: Cole the Conqueror. Yeah, also the man in the Iron

496
00:28:40,560 --> 00:28:42,280
Speaker 1: Mask in there. So let like I say, he worked

497
00:28:42,320 --> 00:28:46,680
Speaker 1: on a wide variety of pictures from low budget um

498
00:28:47,600 --> 00:28:52,280
Speaker 1: grindhouse fair uh to to maybe even worse stuff than that,

499
00:28:52,880 --> 00:28:55,760
Speaker 1: but then also some big pictures as well. And so

500
00:28:55,960 --> 00:28:57,280
Speaker 1: so any of these films, you know, if you check

501
00:28:57,320 --> 00:28:59,000
Speaker 1: them out, well at least they're gonna have maybe a

502
00:28:59,680 --> 00:29:02,440
Speaker 1: an in resting gut ripped sequence in them or something

503
00:29:03,640 --> 00:29:07,360
Speaker 1: a neat monster effect that sort of thing. Finally, the

504
00:29:07,560 --> 00:29:10,680
Speaker 1: music on this one, I was really enthralled by this.

505
00:29:10,840 --> 00:29:14,320
Speaker 1: This film has has really nice sound design and really

506
00:29:14,400 --> 00:29:20,040
Speaker 1: nice music, and the credited musician here is Giuliano Sorghini.

507
00:29:20,840 --> 00:29:23,720
Speaker 1: Dates I couldn't find the dates for him. I think

508
00:29:23,800 --> 00:29:27,840
Speaker 1: he's still around though. Uh. Italian composer and keyboardists whose

509
00:29:28,040 --> 00:29:30,640
Speaker 1: work in this film is really good. In my opinion,

510
00:29:30,760 --> 00:29:35,960
Speaker 1: it's very creepy and unsettling, definitely electronic. Uh. This was

511
00:29:36,080 --> 00:29:39,000
Speaker 1: his first score, and I don't know, it's kind of

512
00:29:39,040 --> 00:29:41,960
Speaker 1: all downhill from here in terms of the film quality,

513
00:29:42,000 --> 00:29:43,960
Speaker 1: of the quality of the films he was attached to.

514
00:29:44,640 --> 00:29:46,400
Speaker 1: I'm not even gonna list all of these because some

515
00:29:46,520 --> 00:29:49,520
Speaker 1: of these are really skiezy. But uh. He followed this

516
00:29:49,640 --> 00:29:52,200
Speaker 1: up within the scores for a number of Spanish exploitation

517
00:29:52,320 --> 00:29:54,920
Speaker 1: films of the nineties seventies. Some real trash in there,

518
00:29:55,000 --> 00:29:58,320
Speaker 1: some of it just notoriously so. But the score for

519
00:29:58,560 --> 00:30:01,680
Speaker 1: let Sleeping corpses Lie has been released on various formats

520
00:30:01,760 --> 00:30:04,720
Speaker 1: a number of times, and his non film work is

521
00:30:04,720 --> 00:30:07,920
Speaker 1: also available on streaming sides. Over the weekend, I was

522
00:30:08,040 --> 00:30:13,440
Speaker 1: listening to of streaming a record titled Um Occulto and

523
00:30:13,760 --> 00:30:16,320
Speaker 1: it is supposed to be I believe ten unreleased tracks

524
00:30:16,720 --> 00:30:19,280
Speaker 1: from his archives. So stuff that he was, he was

525
00:30:19,480 --> 00:30:22,320
Speaker 1: he was putting together and composing in the nineteen seventies

526
00:30:22,400 --> 00:30:25,320
Speaker 1: four film that just wasn't used, and it's it's really

527
00:30:25,360 --> 00:30:28,200
Speaker 1: good stuff if you if you like, uh like nineteen

528
00:30:28,240 --> 00:30:32,000
Speaker 1: seventies cinemas, seventh and and the kind of stuff that

529
00:30:32,040 --> 00:30:35,160
Speaker 1: would show up on a Spanish or Italian horror picture. Uh.

530
00:30:35,200 --> 00:30:38,080
Speaker 1: Then this is right up your alley. I've been meaning

531
00:30:38,160 --> 00:30:39,840
Speaker 1: to listen to it. I haven't gotten to it yet,

532
00:30:39,880 --> 00:30:43,080
Speaker 1: but but I I believe you. Well, I just have

533
00:30:43,160 --> 00:30:44,880
Speaker 1: to say this. If you do listen to it, Joe,

534
00:30:45,800 --> 00:30:48,080
Speaker 1: make sure the windows are shut. Okay you want to go,

535
00:30:48,240 --> 00:30:51,200
Speaker 1: don't open the window. Well? Should we let sleeping corpses

536
00:30:51,280 --> 00:30:53,240
Speaker 1: lie here and just call it an episode? Or should

537
00:30:53,240 --> 00:30:54,880
Speaker 1: we get into the plot of this And I think

538
00:30:54,920 --> 00:30:59,240
Speaker 1: we should disturb the corpses? Yes? Um, okay, So uh

539
00:30:59,560 --> 00:31:02,880
Speaker 1: let's see. The movie opens strangely quiet. We we come

540
00:31:02,960 --> 00:31:06,800
Speaker 1: up cold, no credits yet, in an art shop full

541
00:31:06,880 --> 00:31:12,080
Speaker 1: of pieces both old and new. And we've got this handsome, bearded, blonde,

542
00:31:12,600 --> 00:31:16,040
Speaker 1: slightly Robert Redford ish looking guy who's closing up. I

543
00:31:16,040 --> 00:31:18,840
Speaker 1: don't know, maybe he somewhere between Redford kind of a

544
00:31:19,120 --> 00:31:23,200
Speaker 1: bearded young Mark Hamill. Uh. Then again, the hair beard

545
00:31:23,280 --> 00:31:26,239
Speaker 1: combination also kept making me think of Kurt Russell, though

546
00:31:26,280 --> 00:31:28,240
Speaker 1: he doesn't really look like him at all in the face.

547
00:31:29,440 --> 00:31:32,200
Speaker 1: But this is George, this is Ray Lovelock. And he

548
00:31:32,280 --> 00:31:35,200
Speaker 1: will be I guess, one of our two protagonists. So

549
00:31:35,320 --> 00:31:36,960
Speaker 1: we see him getting ready to leave the store. I

550
00:31:37,000 --> 00:31:40,320
Speaker 1: guess he's the shopkeeper, and uh, you know, we're painting

551
00:31:40,360 --> 00:31:42,840
Speaker 1: around seeing all the stuff. The store has everything from

552
00:31:43,040 --> 00:31:47,840
Speaker 1: antique fertility statues to cubist paintings of fish and uh

553
00:31:48,000 --> 00:31:50,239
Speaker 1: and I just noticed when looking back, it goes by

554
00:31:50,360 --> 00:31:53,200
Speaker 1: very fast. But Rob, did you notice there is a

555
00:31:53,280 --> 00:31:56,560
Speaker 1: telephone on the desk and then a clay statue of

556
00:31:56,640 --> 00:31:59,160
Speaker 1: a telephone sitting right across from it. Look at this.

557
00:32:00,200 --> 00:32:03,200
Speaker 1: I did not notice this during my viewing of the film,

558
00:32:03,320 --> 00:32:05,680
Speaker 1: but yeah, there's no denying it. What is that for?

559
00:32:07,400 --> 00:32:10,880
Speaker 1: I don't know, it's it's um. One gets the impression

560
00:32:10,960 --> 00:32:14,640
Speaker 1: that these are pieces of art from cultures around the world.

561
00:32:15,160 --> 00:32:17,720
Speaker 1: So maybe this is just a mimicry of a of

562
00:32:17,800 --> 00:32:21,760
Speaker 1: a telephone from some culture, the traditional art of Manchester. Uh,

563
00:32:23,240 --> 00:32:28,160
Speaker 1: maybe it's the first telephone. I don't know. Yeah, So

564
00:32:28,520 --> 00:32:31,960
Speaker 1: George gets one, gets this ancient looking fertility statue and

565
00:32:32,080 --> 00:32:34,120
Speaker 1: he stashes it in his bag. As he's heading out

566
00:32:34,160 --> 00:32:36,400
Speaker 1: the door, he leaves a sign up says closed for

567
00:32:36,480 --> 00:32:38,880
Speaker 1: the holidays. And then I thought this was funny. We

568
00:32:38,960 --> 00:32:41,960
Speaker 1: get like an extreme close up of the guts of

569
00:32:42,080 --> 00:32:45,040
Speaker 1: this guy's motorcycle as he is driving away. You know,

570
00:32:45,200 --> 00:32:48,000
Speaker 1: the camera's right up in the gears and stuff. Now,

571
00:32:48,480 --> 00:32:50,560
Speaker 1: did you get the impression that he was just a

572
00:32:50,640 --> 00:32:53,640
Speaker 1: shopkeeper at this store or that he owned the store?

573
00:32:54,480 --> 00:32:56,360
Speaker 1: And in either case, does he have a right to

574
00:32:56,960 --> 00:32:58,720
Speaker 1: shove the stuff in a bag and take off for

575
00:32:58,800 --> 00:33:02,520
Speaker 1: the country. That's a good question. I could not tell

576
00:33:02,600 --> 00:33:05,360
Speaker 1: that it was ever answered in the film. Whether he's

577
00:33:05,560 --> 00:33:07,960
Speaker 1: taking the statue because it belongs to him and he

578
00:33:08,040 --> 00:33:11,600
Speaker 1: plans to sell it, uh, and that's fine, or if

579
00:33:11,640 --> 00:33:14,640
Speaker 1: he's stealing it. Yeah, I'm not sure. His stories about

580
00:33:14,680 --> 00:33:17,640
Speaker 1: why he's going into the countryside are also hard for

581
00:33:17,720 --> 00:33:19,360
Speaker 1: me to figure out, because at one point kind of

582
00:33:19,440 --> 00:33:21,920
Speaker 1: like yeah, yeah, they changed, but he's saying, oh, I'm

583
00:33:22,120 --> 00:33:25,000
Speaker 1: meeting some people to fix up a house. We never

584
00:33:25,120 --> 00:33:27,880
Speaker 1: hear anything else about that. And then it's also said

585
00:33:27,920 --> 00:33:29,840
Speaker 1: that he's taking these things to sell them somewhere in

586
00:33:29,880 --> 00:33:32,720
Speaker 1: the countryside, and I'm not sure about that either. This

587
00:33:32,880 --> 00:33:37,120
Speaker 1: is never resolved. Yeah, so in retrospect, I'm a little

588
00:33:37,160 --> 00:33:40,360
Speaker 1: suspicious of George. After he leaves the shop, we get

589
00:33:40,440 --> 00:33:44,080
Speaker 1: a slow zoom shot through through the space where we

590
00:33:44,200 --> 00:33:47,920
Speaker 1: see more pieces from the collection while these ominous droning

591
00:33:48,080 --> 00:33:51,560
Speaker 1: sounds and these little like hollow hoots and crackles play

592
00:33:51,640 --> 00:33:54,560
Speaker 1: on the soundtrack, and you see a Caesar head and

593
00:33:55,120 --> 00:33:57,920
Speaker 1: the Holy Grail and then a painting that looks a

594
00:33:58,000 --> 00:34:01,960
Speaker 1: lot like the poster for Apocalypse. Now did you notice that? Yeah, yeah,

595
00:34:01,960 --> 00:34:04,480
Speaker 1: I know that you pointed out. But right from the beginning,

596
00:34:04,720 --> 00:34:07,000
Speaker 1: one thing I love about this movie is the spooky

597
00:34:07,160 --> 00:34:09,719
Speaker 1: sound design. It's not just the music. There's a lot

598
00:34:09,760 --> 00:34:13,720
Speaker 1: of just to kind of i don't know, ambient atmospheric

599
00:34:13,880 --> 00:34:17,239
Speaker 1: sound effects, kind of droning and worrying, as if from

600
00:34:17,320 --> 00:34:20,680
Speaker 1: distant machines or things coming from underground, and these kind

601
00:34:20,719 --> 00:34:24,839
Speaker 1: of uh drips and echoing sounds that that create an

602
00:34:24,880 --> 00:34:28,440
Speaker 1: ominous feeling, and it's very good stuff. Yeah, yeah, you

603
00:34:28,480 --> 00:34:32,320
Speaker 1: get that feeling of dread even before anything starts dripping blood.

604
00:34:32,600 --> 00:34:35,759
Speaker 1: But then suddenly there's green rings a zooming in through

605
00:34:35,800 --> 00:34:38,520
Speaker 1: the screen and we see red eyes on pale faces,

606
00:34:39,000 --> 00:34:41,120
Speaker 1: and then a title card that looks straight out of

607
00:34:41,160 --> 00:34:44,279
Speaker 1: a power point presentation. It says the Living Dead at

608
00:34:44,360 --> 00:34:47,400
Speaker 1: the Manchester Morgue. And I'm gonna say this title just

609
00:34:47,560 --> 00:34:50,120
Speaker 1: does not look like it fits the rest of the movie.

610
00:34:50,200 --> 00:34:53,560
Speaker 1: It feels kind of inserted hastily. Yeah, if we had

611
00:34:53,600 --> 00:34:55,319
Speaker 1: more time, it would be interesting to look at other

612
00:34:55,360 --> 00:34:58,040
Speaker 1: additional title cards for this picture and let's see which

613
00:34:58,080 --> 00:35:00,600
Speaker 1: once felt the most authentic. But the this one feels

614
00:35:00,800 --> 00:35:03,880
Speaker 1: very spliced in anyway. We follow the shopkeeper on his

615
00:35:04,040 --> 00:35:07,400
Speaker 1: motorcycle and he's buzzing down the city streets in busy traffic.

616
00:35:07,560 --> 00:35:11,080
Speaker 1: We see roundabouts, double decker buses. I was trying to

617
00:35:11,440 --> 00:35:14,040
Speaker 1: pause it and see what the signs on the buses said.

618
00:35:14,080 --> 00:35:18,000
Speaker 1: One said next stop Magnet Building Society, and I tried

619
00:35:18,040 --> 00:35:19,799
Speaker 1: to look that up and didn't find much. I think

620
00:35:19,840 --> 00:35:22,680
Speaker 1: it might be like a name for an old construction firm.

621
00:35:23,480 --> 00:35:25,759
Speaker 1: But anyway, I was wondering, what is this supposed to

622
00:35:25,840 --> 00:35:29,480
Speaker 1: be Manchester? Because there are later comments that make me

623
00:35:29,520 --> 00:35:32,279
Speaker 1: wonder if it's supposed to be London, because somebody's saying, oh,

624
00:35:32,320 --> 00:35:35,080
Speaker 1: the way you're dressed, you must have come up from London. Yeah,

625
00:35:35,239 --> 00:35:38,200
Speaker 1: I I noticed that as well. I think this that

626
00:35:38,360 --> 00:35:42,280
Speaker 1: they did shoot these scenes in Manchester, so that leans

627
00:35:42,320 --> 00:35:45,799
Speaker 1: one to interpret it as Manchester, but who knows. Again,

628
00:35:45,880 --> 00:35:48,960
Speaker 1: this was not a British film, but an Italian Spanish

629
00:35:49,000 --> 00:35:52,320
Speaker 1: co production. Uh. So, even if it creates a convincing

630
00:35:52,840 --> 00:35:57,319
Speaker 1: vision of life and unlife in Britain, uh, it's still

631
00:35:57,400 --> 00:36:00,120
Speaker 1: like from the outside looking in, so George's drive being

632
00:36:00,120 --> 00:36:02,440
Speaker 1: around on the motorcycle. But then we see some bits

633
00:36:02,480 --> 00:36:05,839
Speaker 1: of green English countryside, but then that inter cuts back

634
00:36:05,920 --> 00:36:09,320
Speaker 1: with smoke stacks, heavy industry. We see a man in

635
00:36:09,400 --> 00:36:12,440
Speaker 1: a trench code weaving his way through the rush hour crowd,

636
00:36:12,520 --> 00:36:15,600
Speaker 1: wearing a surgical mask, and they're actually a number of

637
00:36:15,680 --> 00:36:19,160
Speaker 1: images of people wearing masks or scarves over their faces.

638
00:36:19,239 --> 00:36:22,440
Speaker 1: I wondered if this is supposed to be about like

639
00:36:22,640 --> 00:36:25,000
Speaker 1: air pollution, because there are a lot of images coming

640
00:36:25,040 --> 00:36:27,640
Speaker 1: really fast in this sequence, and a lot of them

641
00:36:28,640 --> 00:36:31,080
Speaker 1: seem to me to be highlighting some kind of pollution

642
00:36:31,280 --> 00:36:34,720
Speaker 1: or chemical themes. We see vapor coming out of pipes,

643
00:36:35,239 --> 00:36:39,080
Speaker 1: steam rising from the sewer, nuclear cooling towers. We see

644
00:36:39,239 --> 00:36:43,320
Speaker 1: paper waste and just litter blowing through a graveyard. We

645
00:36:43,400 --> 00:36:46,839
Speaker 1: see dead rats and the gutters, and then there's one uh,

646
00:36:47,680 --> 00:36:51,920
Speaker 1: we just see a guy taking pills. They just they're

647
00:36:51,960 --> 00:36:54,160
Speaker 1: really shoehorn in it all in there, like look at

648
00:36:54,239 --> 00:36:59,120
Speaker 1: the modern world. Manchester is a city of just absolute

649
00:37:00,440 --> 00:37:02,960
Speaker 1: urban decay, right, I mean it's just like like lots

650
00:37:03,000 --> 00:37:07,120
Speaker 1: of just like black metal things around, like like industrial

651
00:37:07,840 --> 00:37:12,520
Speaker 1: um buildings where everything is just so grimy. Yeah, so pollution,

652
00:37:13,040 --> 00:37:15,759
Speaker 1: a guy sticking pills, and then there's a streaker. I

653
00:37:15,880 --> 00:37:18,719
Speaker 1: kept expecting to find out what this meant later, but

654
00:37:18,800 --> 00:37:21,520
Speaker 1: it's never revisited in the movie. There is just randomly

655
00:37:21,600 --> 00:37:24,279
Speaker 1: a streaker running through a cross walk while cars and

656
00:37:24,360 --> 00:37:27,439
Speaker 1: busses wait at the light. Yeah. I mean, on one level,

657
00:37:27,520 --> 00:37:30,320
Speaker 1: we can definitely interpret this is just pure seventies tittilation

658
00:37:30,360 --> 00:37:32,200
Speaker 1: in a way to make sure that people kept watching

659
00:37:32,280 --> 00:37:35,240
Speaker 1: the movie at this time period in this time period,

660
00:37:35,320 --> 00:37:37,879
Speaker 1: But within the context of the film, I think maybe

661
00:37:37,920 --> 00:37:40,760
Speaker 1: it's supposed to let us know that that urban England

662
00:37:41,239 --> 00:37:45,080
Speaker 1: is also a place of sort of gleeful liberation. That yeah,

663
00:37:45,160 --> 00:37:50,080
Speaker 1: it's polluted and gross and people are wearing masks, but also, hey,

664
00:37:50,200 --> 00:37:52,920
Speaker 1: here's a naked lady running across the street. Okay, I

665
00:37:53,000 --> 00:37:56,600
Speaker 1: guess so I did not know what to make of that. Um,

666
00:37:57,080 --> 00:37:59,320
Speaker 1: So George makes it out of the city's riding his

667
00:37:59,400 --> 00:38:02,279
Speaker 1: motorcycle through the countryside, and I guess here maybe is

668
00:38:02,280 --> 00:38:04,279
Speaker 1: a good place to come back to. This flag we

669
00:38:04,440 --> 00:38:09,560
Speaker 1: raised earlier about what George is supposed to be, like,

670
00:38:09,719 --> 00:38:14,600
Speaker 1: what subculture or cultural stereotype are we supposed to understand

671
00:38:14,719 --> 00:38:18,440
Speaker 1: George as belonging to, Because, as we will find out later,

672
00:38:18,520 --> 00:38:22,080
Speaker 1: the movie is establishing a clear divide, with George on

673
00:38:22,160 --> 00:38:25,000
Speaker 1: the one side of it and the Man on the

674
00:38:25,080 --> 00:38:28,200
Speaker 1: other side, and George is supposed to stand in for

675
00:38:29,520 --> 00:38:34,240
Speaker 1: counterculture youth rebellion in some way. The police inspector character,

676
00:38:34,360 --> 00:38:38,120
Speaker 1: who is our main representative of the man, obviously hates

677
00:38:38,360 --> 00:38:42,279
Speaker 1: hippies in particular, which would seem to indicate that that's

678
00:38:42,320 --> 00:38:45,120
Speaker 1: what George is supposed to be because they clash. But

679
00:38:45,200 --> 00:38:47,800
Speaker 1: then again, this is nineteen seventy four, so it's a

680
00:38:47,880 --> 00:38:51,800
Speaker 1: little late for your your classic movement hippie, and George

681
00:38:51,920 --> 00:38:55,200
Speaker 1: doesn't exactly read to me as hippie anyway. He has

682
00:38:55,360 --> 00:38:58,920
Speaker 1: long hair, yes, but he doesn't display other hippie visual

683
00:38:59,040 --> 00:39:02,879
Speaker 1: cues or loathing, nor any traces of like a make

684
00:39:03,000 --> 00:39:06,160
Speaker 1: love not war kind of personality. Instead, he is just

685
00:39:06,440 --> 00:39:09,920
Speaker 1: a he's more just kind of like a middle finger

686
00:39:10,160 --> 00:39:14,600
Speaker 1: to the world kind of guy. He is a disagreeable, acerbic, sexist,

687
00:39:14,800 --> 00:39:20,839
Speaker 1: leather clad, motorcycle driving jerk. I don't. So what's your

688
00:39:20,880 --> 00:39:23,239
Speaker 1: take on this? Do you think he's supposed Is it

689
00:39:23,360 --> 00:39:26,040
Speaker 1: just kind of like, is this what the people who

690
00:39:26,239 --> 00:39:28,279
Speaker 1: used to be hippies or thought to have sort of

691
00:39:28,400 --> 00:39:32,640
Speaker 1: turned into by nine four? Yeah? So yeah, so on

692
00:39:32,760 --> 00:39:37,000
Speaker 1: one level, obviously, when we think of British biker gangs

693
00:39:37,200 --> 00:39:40,120
Speaker 1: and uh in motorcycles, we instantly think of of Psychomania

694
00:39:40,760 --> 00:39:43,800
Speaker 1: and which would have just been seventy three, so basically

695
00:39:43,880 --> 00:39:46,200
Speaker 1: the same time period. He does not feel like he

696
00:39:46,520 --> 00:39:50,120
Speaker 1: would this character would fit in with the living Dead

697
00:39:50,239 --> 00:39:53,000
Speaker 1: motorcycle gang of Psychomania, though, Oh you don't think so.

698
00:39:53,320 --> 00:39:56,000
Speaker 1: I kind of feel like maybe he could be in Psychomania.

699
00:39:56,160 --> 00:39:58,319
Speaker 1: I don't know. I don't know. I don't think he could.

700
00:39:58,360 --> 00:40:00,480
Speaker 1: He get it, he didn't care in off, I don't

701
00:40:00,480 --> 00:40:02,920
Speaker 1: think this guy cares about anything as much as the

702
00:40:03,040 --> 00:40:07,000
Speaker 1: crew in Psychomania cares about killing themselves and living forever.

703
00:40:07,440 --> 00:40:10,600
Speaker 1: That's right. The Psychomania, you've gotta be really dedicated to

704
00:40:10,840 --> 00:40:14,480
Speaker 1: mayhem and destruction, and George isn'thing like that. He more

705
00:40:14,600 --> 00:40:20,400
Speaker 1: just like hates authority and hates institutions and just doesn't

706
00:40:20,400 --> 00:40:23,520
Speaker 1: want to be hassled. I think, yeah, I was looking

707
00:40:23,600 --> 00:40:25,600
Speaker 1: poking around a little on this because I was thinking, well,

708
00:40:25,640 --> 00:40:29,120
Speaker 1: I guess maybe he is technically this sort of British

709
00:40:29,320 --> 00:40:32,719
Speaker 1: biker stereotype of the day, the rocker, not a mod

710
00:40:32,840 --> 00:40:37,400
Speaker 1: but a rocker. And it does seem like motorcycle culture

711
00:40:37,440 --> 00:40:39,800
Speaker 1: in Britain from from what I was looking at, like

712
00:40:39,920 --> 00:40:42,120
Speaker 1: you have kind of this earlier version of it, where

713
00:40:42,120 --> 00:40:44,239
Speaker 1: it was it was seen as quite quite quite this

714
00:40:44,320 --> 00:40:47,680
Speaker 1: independent and refined thing for you to do, like nice

715
00:40:47,840 --> 00:40:51,560
Speaker 1: people ride motorcycles around the British countryside. But then you

716
00:40:51,640 --> 00:40:54,080
Speaker 1: get kind of this influx of of sort of the

717
00:40:54,280 --> 00:40:57,560
Speaker 1: the American motorcycle gang culture, and then you get kind

718
00:40:57,600 --> 00:41:01,000
Speaker 1: of like, uh so the hippie culture or also affects it,

719
00:41:01,120 --> 00:41:04,320
Speaker 1: and so you kind of get this rocker um version

720
00:41:04,360 --> 00:41:09,040
Speaker 1: of the rocker uh stereotype, this rocker subculture that I

721
00:41:09,200 --> 00:41:12,239
Speaker 1: guess George is supposed to be a part of. That's

722
00:41:12,280 --> 00:41:15,440
Speaker 1: my best bet. I should also add that as of now,

723
00:41:15,600 --> 00:41:18,680
Speaker 1: I have not seen a British biker film that doesn't

724
00:41:18,760 --> 00:41:21,760
Speaker 1: have a zombie in it or a living dead creature

725
00:41:21,800 --> 00:41:24,279
Speaker 1: of one form or another. So this is something that

726
00:41:24,400 --> 00:41:27,040
Speaker 1: this is a question that might also be answered by

727
00:41:27,120 --> 00:41:31,080
Speaker 1: just broader exposure to say, biking films of the nineteen

728
00:41:31,160 --> 00:41:33,399
Speaker 1: seventies that are set in Britain. Now, wait, I thought

729
00:41:33,440 --> 00:41:38,239
Speaker 1: we determined that the undead gang in uh in Psychomania,

730
00:41:38,320 --> 00:41:41,160
Speaker 1: we're not zombies but liches or something like that. Yeah,

731
00:41:41,200 --> 00:41:44,560
Speaker 1: they're more like liches for sure, Okay, undead, but but

732
00:41:44,719 --> 00:41:56,400
Speaker 1: not zombies. Okay. But to come back from that tangent,

733
00:41:56,520 --> 00:42:00,400
Speaker 1: George whatever he is, hippie rocker whatever. He comes up

734
00:42:00,400 --> 00:42:02,640
Speaker 1: to a stop at a full service gas station where

735
00:42:02,719 --> 00:42:05,440
Speaker 1: there's a lady parked in front, parked in front of him,

736
00:42:05,480 --> 00:42:08,440
Speaker 1: and she's getting some petrol and he says, give us

737
00:42:08,480 --> 00:42:11,320
Speaker 1: a fill up, and he runs over to get some

738
00:42:11,440 --> 00:42:15,560
Speaker 1: sweet treats from the pascal stand. Uh. And I was

739
00:42:15,640 --> 00:42:18,160
Speaker 1: just looking. I love kind of pausing in old movies

740
00:42:18,239 --> 00:42:20,279
Speaker 1: to look at all the I don't know, the the

741
00:42:20,440 --> 00:42:24,080
Speaker 1: ephemeral ads and stuff in the windows. And there was

742
00:42:24,120 --> 00:42:27,640
Speaker 1: one thing I found here that was a a pin

743
00:42:27,800 --> 00:42:30,960
Speaker 1: that said it's hanging in the windows of the gas station.

744
00:42:31,040 --> 00:42:34,520
Speaker 1: It says blow up a groundhog today. And I was like,

745
00:42:34,640 --> 00:42:36,239
Speaker 1: what is this But it looks like it was a

746
00:42:36,320 --> 00:42:41,600
Speaker 1: promotional pin for a type of British tires called groundhog tires. Yeah,

747
00:42:41,600 --> 00:42:43,120
Speaker 1: There are a number of fun moments in this when

748
00:42:43,160 --> 00:42:45,600
Speaker 1: they're poking around stores or they're at gas stations that

749
00:42:45,680 --> 00:42:49,320
Speaker 1: occasionally there'll be some some logo or cartoon character that

750
00:42:49,400 --> 00:42:51,399
Speaker 1: catch my eye. There's a pink one that shows up later.

751
00:42:51,480 --> 00:42:54,440
Speaker 1: There's like a pink elephant looking creature. Oh, I didn't

752
00:42:54,560 --> 00:42:57,800
Speaker 1: I didn't see that one. There's something like paraffin or

753
00:42:57,840 --> 00:43:01,160
Speaker 1: but not paraffin. Oh it is this what George is

754
00:43:01,160 --> 00:43:03,560
Speaker 1: going to use later to light his axe on fire.

755
00:43:05,320 --> 00:43:07,240
Speaker 1: I don't think so. I don't remember it it actually

756
00:43:07,280 --> 00:43:08,719
Speaker 1: playing out a part in the plot. It was just

757
00:43:08,960 --> 00:43:11,239
Speaker 1: me noticing it on a shelf and thinking it was cool.

758
00:43:11,440 --> 00:43:14,000
Speaker 1: All right. Well, as George is just getting ready to leave,

759
00:43:14,080 --> 00:43:15,920
Speaker 1: the lady in front of him backs up. Her car

760
00:43:16,200 --> 00:43:20,200
Speaker 1: crashes into his motorcycle rexit destroys his front tire. She

761
00:43:20,320 --> 00:43:22,520
Speaker 1: gets outd and says, I'm so sorry. I must be

762
00:43:22,560 --> 00:43:25,879
Speaker 1: a little tired, and uh, well, his bike is all

763
00:43:25,920 --> 00:43:28,200
Speaker 1: busted up and the mechanics says it can't be fixed

764
00:43:28,280 --> 00:43:32,359
Speaker 1: until Monday. So George just insists that the lady give

765
00:43:32,440 --> 00:43:34,799
Speaker 1: him a ride to where he's going, which is Windermere,

766
00:43:34,960 --> 00:43:37,439
Speaker 1: which is the name of a lake, and I guess

767
00:43:37,520 --> 00:43:40,359
Speaker 1: probably the area around the lake in northern England. Yeah.

768
00:43:40,400 --> 00:43:44,200
Speaker 1: He's not very easy going, like that's established pretty early on.

769
00:43:44,600 --> 00:43:47,680
Speaker 1: This guy is fussy and bossy and self centered. Um

770
00:43:48,360 --> 00:43:51,560
Speaker 1: and uh it's not all that agreeable. Yeah. He says, like,

771
00:43:51,640 --> 00:43:53,400
Speaker 1: you'll take me where I'm going is the least you

772
00:43:53,440 --> 00:43:56,120
Speaker 1: can do? And then he she's just like, well, I

773
00:43:56,440 --> 00:43:58,560
Speaker 1: guess and then he says, I'll drive. I mean we

774
00:43:58,600 --> 00:44:00,520
Speaker 1: don't want to go all the way and reverst do we?

775
00:44:02,360 --> 00:44:07,719
Speaker 1: The vibes are instantly weird. Yeah uh and uh. Then

776
00:44:07,800 --> 00:44:10,080
Speaker 1: she goes, actually, you'll be doing me a favor because

777
00:44:10,120 --> 00:44:12,080
Speaker 1: I have driven all the way from London and I'm

778
00:44:12,080 --> 00:44:14,880
Speaker 1: a little tired. And he just says, then go to sleep,

779
00:44:15,120 --> 00:44:17,640
Speaker 1: and he gets in the driver's seat and they drive off,

780
00:44:18,040 --> 00:44:20,640
Speaker 1: driving a car, by the way, the approximate size and

781
00:44:20,880 --> 00:44:26,120
Speaker 1: shape of a Galapagos tortoise. Yeah. Um, and there there's

782
00:44:26,320 --> 00:44:29,439
Speaker 1: so there's a lot a little like character color while

783
00:44:29,440 --> 00:44:32,840
Speaker 1: they're driving along. At one point, the lady goes to

784
00:44:32,920 --> 00:44:35,239
Speaker 1: light up a cigarette and he just like yoinks it

785
00:44:35,360 --> 00:44:38,000
Speaker 1: out of her mouth and takes it for himself. And

786
00:44:38,160 --> 00:44:40,880
Speaker 1: they introduced themselves. We find out his name is George.

787
00:44:41,080 --> 00:44:44,319
Speaker 1: She introduces herself as Edna and he goes, you look

788
00:44:44,360 --> 00:44:47,719
Speaker 1: a little like an Edna. So I kept thinking of

789
00:44:47,800 --> 00:44:51,480
Speaker 1: her as Edna for the rest of the film. But

790
00:44:51,680 --> 00:44:54,880
Speaker 1: we learned about Edna's mission. She's up from London to

791
00:44:55,040 --> 00:44:58,560
Speaker 1: visit her sister who has a cottage at Southgate, and

792
00:44:58,760 --> 00:45:02,319
Speaker 1: while they're driving along, the dude starts getting mad at

793
00:45:02,400 --> 00:45:06,879
Speaker 1: the radio because there is a report on there where

794
00:45:07,040 --> 00:45:12,640
Speaker 1: scientists are talking about how ecological problems are exaggerated and

795
00:45:12,719 --> 00:45:15,600
Speaker 1: there's no reason to get worked up about them, and

796
00:45:15,719 --> 00:45:17,920
Speaker 1: he gets very mad at this. He says to Edna,

797
00:45:18,080 --> 00:45:23,520
Speaker 1: he's like, when we all die, only the scientists will survive. Yeah.

798
00:45:23,560 --> 00:45:25,799
Speaker 1: I was kind of taken aback that this movie would

799
00:45:25,840 --> 00:45:28,200
Speaker 1: would draw this. You know, obviously it's going to draw

800
00:45:28,200 --> 00:45:30,640
Speaker 1: a line between the rebellious youths of the day and

801
00:45:30,800 --> 00:45:34,040
Speaker 1: the aged establishment at the police and so forth. But

802
00:45:34,120 --> 00:45:36,480
Speaker 1: they just go ahead and heap science in with the

803
00:45:36,560 --> 00:45:39,360
Speaker 1: man as well. Yeah, and this is not unique to

804
00:45:39,440 --> 00:45:41,200
Speaker 1: this film, and this movie is sort of one of

805
00:45:41,239 --> 00:45:44,000
Speaker 1: a type. There are other horror movies of this period

806
00:45:44,080 --> 00:45:48,080
Speaker 1: that have this kind of I would say it's a shallow,

807
00:45:48,280 --> 00:45:51,560
Speaker 1: anti intellectual view of science that doesn't really understand what

808
00:45:51,760 --> 00:45:55,120
Speaker 1: science is or what it means. Uh. And unfortunately there's

809
00:45:55,120 --> 00:45:57,160
Speaker 1: still plenty of this thinking in the world today, but

810
00:45:57,360 --> 00:46:00,640
Speaker 1: it sort of thinks of science not as a word

811
00:46:00,719 --> 00:46:03,320
Speaker 1: that refers to like the totality of the human effort

812
00:46:03,360 --> 00:46:07,320
Speaker 1: to understand the world through empirical method and rigorous experimentation,

813
00:46:07,880 --> 00:46:11,359
Speaker 1: but instead to refer to a cabal of wicked old

814
00:46:11,440 --> 00:46:17,279
Speaker 1: men who want to do unnatural things with chemicals and radiation. Yeah.

815
00:46:17,560 --> 00:46:19,640
Speaker 1: And in a way, this this hearkens back to the

816
00:46:19,960 --> 00:46:23,840
Speaker 1: mad scientists of of older films. But this is definitely

817
00:46:23,880 --> 00:46:25,560
Speaker 1: a period we saw and we've talked about some of

818
00:46:25,640 --> 00:46:29,480
Speaker 1: these ecological horror films. Sometimes it's it's it's the ecological

819
00:46:29,560 --> 00:46:33,480
Speaker 1: horror going on. Is pollution or uh, you know, it's chemical,

820
00:46:33,800 --> 00:46:38,080
Speaker 1: or it's it's certainly radiation. Uh. And then sometimes it's

821
00:46:38,200 --> 00:46:40,960
Speaker 1: it's it's very distant, it doesn't have a face, it

822
00:46:41,040 --> 00:46:43,759
Speaker 1: doesn't have a mad scientist at the center of it.

823
00:46:43,840 --> 00:46:46,439
Speaker 1: There's more of the sense of bureaucracy to it. Yeah,

824
00:46:46,480 --> 00:46:48,160
Speaker 1: and this movie, I would say it's more like that,

825
00:46:48,360 --> 00:46:50,600
Speaker 1: like we don't even know the person who invented the

826
00:46:50,680 --> 00:46:53,480
Speaker 1: machine in this movie. That will that will raise the dead.

827
00:46:54,200 --> 00:46:56,920
Speaker 1: We only see some kind of low level functionaries bringing

828
00:46:56,960 --> 00:46:59,520
Speaker 1: it out to the field to implement it. Yeah, and

829
00:46:59,600 --> 00:47:01,879
Speaker 1: when we see it, it looks nice. It doesn't look

830
00:47:01,920 --> 00:47:06,560
Speaker 1: particularly particularly suspect um, but it is modern and shiny

831
00:47:06,719 --> 00:47:10,360
Speaker 1: and uh and ultimately poses a threat. Yeah. But but again, like,

832
00:47:10,560 --> 00:47:13,080
Speaker 1: I think it's funny that the radio broadcast here in

833
00:47:13,120 --> 00:47:17,040
Speaker 1: the movie is used specifically to introduce us to scientists,

834
00:47:17,239 --> 00:47:21,000
Speaker 1: as like the voices who tell people not to worry

835
00:47:21,080 --> 00:47:24,920
Speaker 1: about ecological problems or pollution and just ignore it. The

836
00:47:25,040 --> 00:47:27,720
Speaker 1: irony being that in reality, like if you know about

837
00:47:28,200 --> 00:47:32,080
Speaker 1: ecological threats like I don't know, like how did we

838
00:47:32,239 --> 00:47:35,359
Speaker 1: find out about ozone depletion, or like the human health

839
00:47:35,440 --> 00:47:39,239
Speaker 1: effects of environment lead from gasoline and other sources. Here,

840
00:47:39,280 --> 00:47:41,480
Speaker 1: it's all like paved over. Like I guess if if

841
00:47:41,560 --> 00:47:44,439
Speaker 1: George in this movie met Claire Cameron Patterson, he would

842
00:47:44,480 --> 00:47:46,799
Speaker 1: like call him a twisted old geezer and punch him

843
00:47:46,840 --> 00:47:50,440
Speaker 1: in the face. Uh. But it's like, you know, we

844
00:47:50,520 --> 00:47:54,840
Speaker 1: are often made aware of these ecological threats specifically because

845
00:47:54,880 --> 00:47:59,080
Speaker 1: of the work of scientists. Anyway, get off the hobby horse. Uh.

846
00:47:59,200 --> 00:48:01,600
Speaker 1: So back on the journey, there is a really funny

847
00:48:01,640 --> 00:48:04,759
Speaker 1: scene where they get stuck behind a City of Manchester

848
00:48:04,960 --> 00:48:09,640
Speaker 1: mortuary truck and they're weaving back and forth wildly. George's driving,

849
00:48:09,719 --> 00:48:13,280
Speaker 1: of course, and he performs a hideously reckless passing maneuver,

850
00:48:13,480 --> 00:48:16,320
Speaker 1: like driving off into the grass. I guess this is

851
00:48:16,400 --> 00:48:18,640
Speaker 1: the show. He's like, he's cool and he doesn't play

852
00:48:18,680 --> 00:48:22,720
Speaker 1: by the rules. And so they're going to Windermere. George

853
00:48:22,760 --> 00:48:24,800
Speaker 1: says it's because he has a house there. Again, his

854
00:48:24,880 --> 00:48:27,000
Speaker 1: story kind of keeps changing, but he says he has

855
00:48:27,000 --> 00:48:29,200
Speaker 1: a house in the country. He says it's away from

856
00:48:29,440 --> 00:48:32,160
Speaker 1: industry in city life, and he likes to sit there

857
00:48:32,320 --> 00:48:35,160
Speaker 1: and be natural and listen to the grass grow. But

858
00:48:35,360 --> 00:48:37,800
Speaker 1: this leads to an argument because Edna needs to go

859
00:48:37,920 --> 00:48:41,080
Speaker 1: to Southgate to to meet her sister to go to

860
00:48:41,160 --> 00:48:44,239
Speaker 1: her cottage. So they argue, and then eventually they decide, okay,

861
00:48:44,320 --> 00:48:47,680
Speaker 1: he'll take her to Southgate. And here is they're going through.

862
00:48:47,800 --> 00:48:52,080
Speaker 1: There is absolutely marvelous scenery. I love the locations picked out.

863
00:48:52,200 --> 00:48:54,840
Speaker 1: I assume most of these are in Britain because they

864
00:48:54,880 --> 00:48:56,239
Speaker 1: look like Britain. I don't know if some of them

865
00:48:56,280 --> 00:49:00,160
Speaker 1: were actually Italian. But for example, they come across Uh,

866
00:49:00,400 --> 00:49:03,200
Speaker 1: this kind of craggy relic of an abbey or something

867
00:49:03,360 --> 00:49:06,800
Speaker 1: on these green cliffs overlooking a road down at the

868
00:49:06,840 --> 00:49:09,640
Speaker 1: bottom of the ravine. Uh. And I was wondering. I

869
00:49:09,719 --> 00:49:13,719
Speaker 1: think some parts of this movie were shot at Tintagel,

870
00:49:13,800 --> 00:49:16,680
Speaker 1: which is like a medieval Cornish fortress down in the

871
00:49:16,920 --> 00:49:20,560
Speaker 1: southwest of England, and it might have been this sequence,

872
00:49:20,600 --> 00:49:22,279
Speaker 1: but I'm not sure. But yeah, there are number of

873
00:49:22,320 --> 00:49:26,879
Speaker 1: sequences here where it's like lush green landscape surrounding them

874
00:49:26,960 --> 00:49:31,200
Speaker 1: and these winding isolated roads and uh. And it's quite beautiful.

875
00:49:31,239 --> 00:49:35,320
Speaker 1: But of course the film score, the sound effects that

876
00:49:35,400 --> 00:49:40,440
Speaker 1: we hear the droning begins to uh make as suspect

877
00:49:40,480 --> 00:49:42,800
Speaker 1: that there's something else going on here. There's something underneath

878
00:49:42,840 --> 00:49:46,640
Speaker 1: the surface of all of this natural beauty. Yes, certainly. Uh.

879
00:49:46,760 --> 00:49:49,040
Speaker 1: Now they get lost, of course, So they got to

880
00:49:49,080 --> 00:49:52,239
Speaker 1: ask for directions at a nearby farm. And there's a

881
00:49:52,239 --> 00:49:54,360
Speaker 1: scene where George he's gonna go ask for directions, so

882
00:49:54,440 --> 00:49:56,200
Speaker 1: he leaves Edna in the car, and it looks like

883
00:49:56,280 --> 00:49:58,880
Speaker 1: he has to like cross a stream and climb a

884
00:49:58,960 --> 00:50:00,920
Speaker 1: mountain to get to a farm where he's going to

885
00:50:00,960 --> 00:50:02,960
Speaker 1: ask for directions. It looks like it is a it

886
00:50:03,120 --> 00:50:05,960
Speaker 1: is a ways. Uh oh, and he takes the car

887
00:50:06,080 --> 00:50:08,959
Speaker 1: keys with him because he's just again, he's just gonna

888
00:50:09,000 --> 00:50:11,839
Speaker 1: be in a jerk. Uh. And Edna has left behind

889
00:50:11,960 --> 00:50:14,239
Speaker 1: to smoke a cigarette. And I'm sure get into no

890
00:50:14,320 --> 00:50:18,440
Speaker 1: trouble whatsoever. But at the farm, George goes out. He's

891
00:50:18,440 --> 00:50:20,719
Speaker 1: looking around. The place seems kind of deserted, and I

892
00:50:20,840 --> 00:50:24,200
Speaker 1: love the eerie feeling conjured here. There are chickens clucking

893
00:50:24,239 --> 00:50:27,680
Speaker 1: in the distance, but nobody in sight until a weird

894
00:50:28,000 --> 00:50:31,399
Speaker 1: droning sound comes in and George looks up up through

895
00:50:31,440 --> 00:50:34,560
Speaker 1: the fields up the hill and sees a strange red

896
00:50:34,760 --> 00:50:37,680
Speaker 1: vehicle with what looked like people in white lab coats

897
00:50:37,760 --> 00:50:40,719
Speaker 1: or I guess they're in white full body jumpsuits. And

898
00:50:40,840 --> 00:50:43,040
Speaker 1: so next we jump to them. We're going to meet

899
00:50:43,080 --> 00:50:45,719
Speaker 1: them and see what's going on here. The vehicle they're

900
00:50:45,760 --> 00:50:50,000
Speaker 1: working from says that it is the Midland Area Agricultural

901
00:50:50,120 --> 00:50:54,200
Speaker 1: Department Experimental Section. These guys will be a recurring theme

902
00:50:54,280 --> 00:50:56,439
Speaker 1: in the movie, Rob. Do you want to describe what's

903
00:50:56,480 --> 00:50:59,680
Speaker 1: going on with the agg Department scientists? Yeah, we have

904
00:51:00,360 --> 00:51:03,000
Speaker 1: a couple of gentlemen here in these white jump suits. Uh.

905
00:51:03,400 --> 00:51:06,480
Speaker 1: And I want to say not your space age jump suit.

906
00:51:06,560 --> 00:51:10,120
Speaker 1: They look very you know, blue collar in many respects,

907
00:51:10,160 --> 00:51:12,960
Speaker 1: and the individuals act very uh. You know, they're very

908
00:51:13,000 --> 00:51:15,359
Speaker 1: laid back about it. They're not, they're not. They're happy

909
00:51:15,400 --> 00:51:17,719
Speaker 1: to talk about their work to a random dude who

910
00:51:17,800 --> 00:51:22,319
Speaker 1: just walked up across the field. Uh. And yeah, they're

911
00:51:22,480 --> 00:51:26,800
Speaker 1: They have this big red um vehicle that, you know,

912
00:51:26,840 --> 00:51:28,680
Speaker 1: they're very much looks like some sort of like a

913
00:51:28,840 --> 00:51:32,440
Speaker 1: combine type vehicle, except you don't see any any traditional

914
00:51:32,520 --> 00:51:36,560
Speaker 1: agricultural tools on it. So that instantly makes you wonder, like,

915
00:51:36,680 --> 00:51:39,640
Speaker 1: what does it do? It doesn't have, um, it doesn't

916
00:51:39,680 --> 00:51:41,239
Speaker 1: have a combine on, it doesn't have any kind of

917
00:51:41,239 --> 00:51:43,480
Speaker 1: like a plow attached to it. And then one of

918
00:51:43,480 --> 00:51:46,400
Speaker 1: the dudes is walking around with some sort of scanning device.

919
00:51:46,480 --> 00:51:48,480
Speaker 1: It kind of looks kind of like a metal detector

920
00:51:48,520 --> 00:51:51,279
Speaker 1: type thing, except with some added dude ads on it. Uh,

921
00:51:51,600 --> 00:51:55,759
Speaker 1: clearly monitoring something going on in the soil. Yes, it

922
00:51:55,840 --> 00:51:58,920
Speaker 1: looks like a big sci fi weed whacker. Uh. And

923
00:51:59,080 --> 00:52:01,759
Speaker 1: so he's holding it there and George comes walking up

924
00:52:01,800 --> 00:52:03,840
Speaker 1: to everybody and he's like, hey, tell me how to

925
00:52:03,880 --> 00:52:08,400
Speaker 1: get to the Madison place. But they're like, wait a second, Um, now,

926
00:52:08,520 --> 00:52:11,160
Speaker 1: and the scientist is show or at least the I

927
00:52:11,160 --> 00:52:13,239
Speaker 1: don't know if these are supposed to be scientists or

928
00:52:13,280 --> 00:52:15,359
Speaker 1: just the guys who work for the scientists, I'm not sure,

929
00:52:15,440 --> 00:52:18,200
Speaker 1: but they they they're showing the farmer how to use

930
00:52:18,320 --> 00:52:21,839
Speaker 1: this metal weed whacker thing to do something to either

931
00:52:21,920 --> 00:52:26,040
Speaker 1: scan something or emit raise or something. And George goes, oh,

932
00:52:26,120 --> 00:52:29,960
Speaker 1: what is that thing? And uh? And they explain, or

933
00:52:30,040 --> 00:52:33,400
Speaker 1: the farmer does, that it's supposed to destroy insects and parasites.

934
00:52:33,440 --> 00:52:36,520
Speaker 1: He says it was simply the Department of Agriculture. And

935
00:52:36,640 --> 00:52:39,040
Speaker 1: then George goes, oh, I'd send it right back where

936
00:52:39,080 --> 00:52:41,799
Speaker 1: it came from and keep the insects and parasites nature

937
00:52:41,840 --> 00:52:45,880
Speaker 1: has given you. And so they argue about it. They say, no,

938
00:52:46,120 --> 00:52:49,400
Speaker 1: hold on, now, it's they make excuses for it. They're like,

939
00:52:49,600 --> 00:52:53,839
Speaker 1: it works by ultrasonic radiation, not a chemical involved. Love

940
00:52:53,920 --> 00:52:57,200
Speaker 1: that no chemicals. Uh. And then they also explained that

941
00:52:57,320 --> 00:53:00,279
Speaker 1: it is progress. But meanwhile, so George is trying to

942
00:53:00,320 --> 00:53:03,040
Speaker 1: get directions from the farmer to the place they're going,

943
00:53:03,440 --> 00:53:05,200
Speaker 1: and then we see the agg department guys in the

944
00:53:05,239 --> 00:53:08,120
Speaker 1: background like they're going like, all right, Bernard, let's give

945
00:53:08,120 --> 00:53:11,759
Speaker 1: it another bash at the main rotator. Yeah, they're they're

946
00:53:11,800 --> 00:53:15,640
Speaker 1: good nature trusting technicians of this machine ray that they've

947
00:53:15,680 --> 00:53:18,200
Speaker 1: been sent out to test. Yeah, I think so. Now,

948
00:53:18,200 --> 00:53:19,800
Speaker 1: I don't think it's much of a spoiler to go

949
00:53:19,840 --> 00:53:22,560
Speaker 1: ahead and reveal. Yeah, this is definitely the science running

950
00:53:22,600 --> 00:53:25,080
Speaker 1: buck that will raise the living dead later on in

951
00:53:25,160 --> 00:53:28,440
Speaker 1: the picture. And I do love the localized nature of

952
00:53:28,520 --> 00:53:30,960
Speaker 1: the premise here, and I think the specivity of it

953
00:53:31,520 --> 00:53:34,799
Speaker 1: works well with the themes here. Our main character will

954
00:53:34,840 --> 00:53:37,080
Speaker 1: of course put one and two together in time and

955
00:53:37,200 --> 00:53:40,440
Speaker 1: realize that we know what is causing the deep ecological

956
00:53:40,520 --> 00:53:43,480
Speaker 1: unrest here, and we know exactly what we need to

957
00:53:43,680 --> 00:53:46,920
Speaker 1: do to stop it. But is the establishment going to

958
00:53:47,040 --> 00:53:48,719
Speaker 1: let him? Is the man going to let him? Or

959
00:53:48,800 --> 00:53:51,720
Speaker 1: they just gonna accuse him of everything? Well, no, because

960
00:53:51,800 --> 00:53:54,320
Speaker 1: they are allied with science, and as we know, science

961
00:53:54,440 --> 00:53:56,080
Speaker 1: is evil and all it wants to do is do

962
00:53:56,280 --> 00:54:00,279
Speaker 1: unnatural experiments and cause pain and suffering. I you like

963
00:54:00,680 --> 00:54:05,000
Speaker 1: so again you have a very specific origin for the

964
00:54:05,160 --> 00:54:08,120
Speaker 1: zombie minutes that's gonna come, And I like that it's

965
00:54:08,160 --> 00:54:11,320
Speaker 1: not the old standby of radiation, it's not chemical waste.

966
00:54:11,400 --> 00:54:13,719
Speaker 1: Maybe it's a little early for chemical waste. Cinema, I'm

967
00:54:13,719 --> 00:54:17,040
Speaker 1: not sure. Electricity is often a frequent pick as well,

968
00:54:17,760 --> 00:54:20,400
Speaker 1: even in pictures from this time period. You get they

969
00:54:20,440 --> 00:54:23,640
Speaker 1: get some get some electricity leaching into the ground, and

970
00:54:24,000 --> 00:54:27,759
Speaker 1: watch out, earthworms that're gonna come for you. But this

971
00:54:27,920 --> 00:54:31,399
Speaker 1: one is this is a picture that involves ultrasound as

972
00:54:31,520 --> 00:54:34,680
Speaker 1: being the source of the unrest, and I'm struggling to

973
00:54:34,719 --> 00:54:38,080
Speaker 1: think of another ultrasound eco horror film. I'm sure such

974
00:54:38,120 --> 00:54:40,960
Speaker 1: a thing exists, but I can't think of it. But

975
00:54:41,160 --> 00:54:43,600
Speaker 1: I also think it's funny that they can't just call

976
00:54:43,680 --> 00:54:46,719
Speaker 1: it ultrasound because I think that doesn't sound scary enough,

977
00:54:46,840 --> 00:54:50,480
Speaker 1: so they call it an ultra sonic radiation. Oh well yeah,

978
00:54:50,520 --> 00:54:53,279
Speaker 1: and then you do get to invoke radiation uh in

979
00:54:53,520 --> 00:54:55,680
Speaker 1: in the in the picture as well, So yeah, yeah,

980
00:54:56,000 --> 00:54:58,480
Speaker 1: But anyway, so you know, they're giving another bash at

981
00:54:58,480 --> 00:55:01,440
Speaker 1: the oscillator, and then there is this ominous humming and

982
00:55:01,600 --> 00:55:05,279
Speaker 1: worrying as the machine spins up and again. As I

983
00:55:05,360 --> 00:55:08,120
Speaker 1: mentioned earlier, the sound design is very nice and a

984
00:55:08,239 --> 00:55:10,200
Speaker 1: lot of the scary scenes in this movie there are

985
00:55:10,239 --> 00:55:14,839
Speaker 1: these various types of eerie, throbbing, hooting sounds that seem

986
00:55:14,920 --> 00:55:19,200
Speaker 1: to come from nowhere or from everywhere, very effective. Meanwhile,

987
00:55:19,320 --> 00:55:21,759
Speaker 1: back down at the car, we're we're here with Edna

988
00:55:21,960 --> 00:55:25,080
Speaker 1: or Edna, and here's our first zombie attack. It kind

989
00:55:25,120 --> 00:55:27,040
Speaker 1: of comes out of nowhere. She's just standing there in

990
00:55:27,080 --> 00:55:30,640
Speaker 1: the road. And then there is and so there's a

991
00:55:30,719 --> 00:55:32,880
Speaker 1: nice beautiful stream going by. And again I want to

992
00:55:32,880 --> 00:55:37,400
Speaker 1: emphasize that the location here is gorgeous. So every uh

993
00:55:37,760 --> 00:55:41,520
Speaker 1: you know, it's like this green, verdant valley with the

994
00:55:41,880 --> 00:55:44,200
Speaker 1: with trees running along the side of the stream and

995
00:55:44,280 --> 00:55:48,839
Speaker 1: an old uh you know, stone walled cemetery. And then

996
00:55:49,120 --> 00:55:51,640
Speaker 1: we see suddenly a man just sort of like walking

997
00:55:51,680 --> 00:55:54,160
Speaker 1: into frame in the cemetery and we get a close

998
00:55:54,239 --> 00:55:57,040
Speaker 1: up of him and the pupils of his eyes are

999
00:55:57,160 --> 00:56:01,879
Speaker 1: not round there, star shaped, and they're set against red irises,

1000
00:56:02,440 --> 00:56:05,640
Speaker 1: and uh oh, he's coming for Edna. It's very creepy looking.

1001
00:56:05,800 --> 00:56:09,640
Speaker 1: I think, extremely good zombie design. I think so too. Yeah,

1002
00:56:09,800 --> 00:56:14,160
Speaker 1: the zombies in this picture are not greatly decayed. This

1003
00:56:14,360 --> 00:56:17,320
Speaker 1: is not going to be a real um. What we

1004
00:56:17,400 --> 00:56:19,160
Speaker 1: might think of today is kind of like you know,

1005
00:56:19,239 --> 00:56:22,359
Speaker 1: the the the walking dead sort of zombie that's that's

1006
00:56:22,360 --> 00:56:26,040
Speaker 1: heavily rotted. Uh And that these contacts are nice. They

1007
00:56:26,080 --> 00:56:29,480
Speaker 1: give them this nice um other worldliness to them. And

1008
00:56:29,600 --> 00:56:31,960
Speaker 1: also the zombies I think they're just they're shot well,

1009
00:56:32,000 --> 00:56:36,800
Speaker 1: they presented well. Uh, it can be a challenge, evidently

1010
00:56:36,920 --> 00:56:38,680
Speaker 1: you can see this in some of the lesser zombie

1011
00:56:38,719 --> 00:56:41,920
Speaker 1: pictures out there. How do you make a man stumbling

1012
00:56:42,000 --> 00:56:46,560
Speaker 1: around or even lunging, uh, you know, incoherently? How do

1013
00:56:46,640 --> 00:56:49,680
Speaker 1: you make that that frightening to people who have all

1014
00:56:49,719 --> 00:56:52,200
Speaker 1: their wits about them? How do you make them a surprise?

1015
00:56:52,280 --> 00:56:55,160
Speaker 1: How do you make them feel terrifying? And uh? This

1016
00:56:55,280 --> 00:56:57,279
Speaker 1: picture you know uses a number of different tools to

1017
00:56:57,440 --> 00:57:01,160
Speaker 1: really get that across. Uh. Not only you know, a

1018
00:57:01,239 --> 00:57:03,279
Speaker 1: distance and angle at the shot, but but again that

1019
00:57:04,040 --> 00:57:07,080
Speaker 1: that that sound design which just seems to you know,

1020
00:57:07,200 --> 00:57:09,960
Speaker 1: to resonate and and also invoked this idea of like

1021
00:57:10,080 --> 00:57:13,080
Speaker 1: sound waves. Yes, and hey, I want to be really

1022
00:57:13,480 --> 00:57:15,200
Speaker 1: I want to be fair to the people who called

1023
00:57:15,280 --> 00:57:18,040
Speaker 1: this movie don't open the window. There is a part

1024
00:57:18,120 --> 00:57:20,320
Speaker 1: here where and that tries to hide in the car,

1025
00:57:20,760 --> 00:57:23,440
Speaker 1: and the zombie reaches through the window at her. So okay,

1026
00:57:23,560 --> 00:57:25,920
Speaker 1: I stand corrected. There there is a window and the

1027
00:57:26,000 --> 00:57:28,320
Speaker 1: zombie tries to come through it, but it's a car window,

1028
00:57:28,760 --> 00:57:30,480
Speaker 1: which is not what you think of when you hear

1029
00:57:30,560 --> 00:57:33,520
Speaker 1: don't open the window. Yeah. Yeah, this was gonna be

1030
00:57:33,600 --> 00:57:35,400
Speaker 1: the inspiration for the picture they just got Don't hide

1031
00:57:35,400 --> 00:57:38,840
Speaker 1: in the car. Yeah anyway, and escapes. She meets up

1032
00:57:38,840 --> 00:57:41,960
Speaker 1: with George and the farmer. She tries to explain what happened.

1033
00:57:42,040 --> 00:57:43,960
Speaker 1: She says, that man, he's following me, he tried to

1034
00:57:44,000 --> 00:57:47,080
Speaker 1: attack me. But George looks down there, there's no one there.

1035
00:57:47,240 --> 00:57:49,600
Speaker 1: They just see, you know, the peaceful little ravine, the

1036
00:57:49,680 --> 00:57:53,120
Speaker 1: stream going along, And it seems like George doesn't believe her.

1037
00:57:53,640 --> 00:57:56,840
Speaker 1: He's like, are you certain? And uh. The farmer here's

1038
00:57:56,880 --> 00:57:59,160
Speaker 1: the description she gives it says it sounds like she's

1039
00:57:59,200 --> 00:58:02,200
Speaker 1: describing three the tramp who used to sleep down by

1040
00:58:02,240 --> 00:58:05,520
Speaker 1: the river, but he drowned recently, so it probably wasn't him.

1041
00:58:07,400 --> 00:58:08,760
Speaker 1: And then from here we go on to meet some

1042
00:58:08,840 --> 00:58:12,080
Speaker 1: more characters. We meet Edna's sister, Katie, the one who

1043
00:58:12,200 --> 00:58:15,320
Speaker 1: she's going to visit, and Katie's husband Martin, who together

1044
00:58:15,440 --> 00:58:18,520
Speaker 1: live in a rustic country cottage with a waterfall in

1045
00:58:18,600 --> 00:58:21,320
Speaker 1: the yard. This is a nice piece of land. And

1046
00:58:21,800 --> 00:58:24,480
Speaker 1: Martin seems to be like an artist and a photographer,

1047
00:58:24,720 --> 00:58:28,080
Speaker 1: and we learned that Katie has been addicted to heroin

1048
00:58:28,320 --> 00:58:31,960
Speaker 1: she has she's been addicted, and Martin is trying to

1049
00:58:32,120 --> 00:58:35,240
Speaker 1: help her quit, but she like secretly uses the drug

1050
00:58:35,320 --> 00:58:37,880
Speaker 1: when he's not looking. Yeah. I don't know where she's

1051
00:58:37,920 --> 00:58:39,760
Speaker 1: getting her drug out here in the middle of nowhere,

1052
00:58:39,880 --> 00:58:42,440
Speaker 1: but but we we see her with it, so she

1053
00:58:42,560 --> 00:58:45,640
Speaker 1: does have some. She's stashing it away and trying to

1054
00:58:45,680 --> 00:58:48,040
Speaker 1: get to it in secret. Right, And like I said,

1055
00:58:48,080 --> 00:58:51,920
Speaker 1: Martin is a photographer, and his particular art photography seems

1056
00:58:51,960 --> 00:58:57,800
Speaker 1: to revolve in large part around taking photographs of flowers

1057
00:58:57,960 --> 00:59:03,240
Speaker 1: at night with stupendous artificial lighting. So it looks interesting

1058
00:59:03,280 --> 00:59:05,800
Speaker 1: in the picture unless you stop to wonder, like, what's

1059
00:59:05,840 --> 00:59:08,680
Speaker 1: going on here? Is is all the artificial lighting we're

1060
00:59:08,720 --> 00:59:10,440
Speaker 1: seeing in this shot? Is this supposed to be his

1061
00:59:10,560 --> 00:59:13,880
Speaker 1: artificial lighting? Or is this movie lighting just to make

1062
00:59:13,920 --> 00:59:16,600
Speaker 1: it things look cool? Uh? It was kind of hard

1063
00:59:16,600 --> 00:59:18,760
Speaker 1: to figure out what they were going for here. Did

1064
00:59:18,840 --> 00:59:21,120
Speaker 1: you show Bonnie the scene? Did she have thoughts? I

1065
00:59:21,200 --> 00:59:23,960
Speaker 1: didn't show her this particular scene. Um, I mean, so,

1066
00:59:24,120 --> 00:59:26,200
Speaker 1: I don't know. Maybe I'm wrong, but it seems like

1067
00:59:26,680 --> 00:59:28,320
Speaker 1: this guy's going to a lot of trouble to to

1068
00:59:28,360 --> 00:59:30,560
Speaker 1: shoot these flowers, Like shouldn't he be. If he wants

1069
00:59:30,600 --> 00:59:32,680
Speaker 1: to control the lighting so much, he should just shoot

1070
00:59:32,720 --> 00:59:35,600
Speaker 1: them indoors in the studio and he's gonna shoot him outside.

1071
00:59:35,640 --> 00:59:38,000
Speaker 1: He should make use of natural lighting. But who am

1072
00:59:38,040 --> 00:59:41,960
Speaker 1: I to tell Martin how to how to follow his dreams? Here? Yeah? Okay,

1073
00:59:42,000 --> 00:59:45,280
Speaker 1: so Martin is kind of strange looking. Would you say?

1074
00:59:45,360 --> 00:59:47,360
Speaker 1: He's got sort of a bird of prey face with

1075
00:59:47,600 --> 00:59:51,920
Speaker 1: like metal heavy eyebrows. And whenever I see if it's

1076
00:59:51,960 --> 00:59:54,880
Speaker 1: a zombie movie and they introduce a human character who

1077
00:59:55,080 --> 00:59:58,600
Speaker 1: is visually striking in this way, I often wonder if

1078
00:59:58,680 --> 01:00:01,760
Speaker 1: this person was cast first of all, with an eye

1079
01:00:01,880 --> 01:00:05,880
Speaker 1: for what he will look like once he inevitably gets zombified. Uh,

1080
01:00:06,040 --> 01:00:08,800
Speaker 1: and then rather than being cast for the part of

1081
01:00:08,840 --> 01:00:11,360
Speaker 1: the movie where he's a living human with lines and

1082
01:00:11,440 --> 01:00:13,720
Speaker 1: not saying he's bad in the part where he has lines.

1083
01:00:13,800 --> 01:00:16,080
Speaker 1: But I just look at this guy and I think, Okay,

1084
01:00:16,160 --> 01:00:18,320
Speaker 1: they wanted him as a zombie, and they will get

1085
01:00:18,440 --> 01:00:21,160
Speaker 1: him as a zombie. Oh. Absolutely, he'll spend most of

1086
01:00:21,200 --> 01:00:23,320
Speaker 1: his screen time as a zombie. But but first you

1087
01:00:23,400 --> 01:00:27,080
Speaker 1: gotta make him believable as as a non zombified human being,

1088
01:00:27,840 --> 01:00:30,920
Speaker 1: which they guess mostly do. So we find out he

1089
01:00:31,080 --> 01:00:33,200
Speaker 1: and Katie talk, and we find out Katie knows her

1090
01:00:33,240 --> 01:00:36,120
Speaker 1: sister is coming to visit. She deduces that's because Martin

1091
01:00:36,240 --> 01:00:38,160
Speaker 1: is going to try to send her to a clinic

1092
01:00:38,320 --> 01:00:41,280
Speaker 1: so that she can get off drugs. But she she

1093
01:00:41,480 --> 01:00:44,520
Speaker 1: is not ready, and she she has a big emotional

1094
01:00:44,560 --> 01:00:48,640
Speaker 1: breakdown about this, and uh and that that it leads

1095
01:00:48,680 --> 01:00:50,560
Speaker 1: to a fight, and so Martin just goes off to

1096
01:00:50,640 --> 01:00:53,640
Speaker 1: do his photography by himself. And oh and then meanwhile

1097
01:00:53,720 --> 01:00:56,480
Speaker 1: we cut back to George and Edna while they're approaching

1098
01:00:56,560 --> 01:00:59,840
Speaker 1: the house. They're still driving and and Edna is saying like,

1099
01:01:00,000 --> 01:01:02,800
Speaker 1: I'm not mad, you know, I don't imagine things, and

1100
01:01:03,000 --> 01:01:07,560
Speaker 1: George just goes me thinks the lady don't protest too much. Yeah,

1101
01:01:07,640 --> 01:01:10,480
Speaker 1: absolutely does not believe her. I think it's what he says, like,

1102
01:01:10,960 --> 01:01:12,760
Speaker 1: go three must have had a twin brother, that's all

1103
01:01:12,840 --> 01:01:15,160
Speaker 1: it was. No, he hasn't even gotten to that yet.

1104
01:01:15,400 --> 01:01:17,960
Speaker 1: He says that later once he starts a little bit

1105
01:01:18,000 --> 01:01:20,320
Speaker 1: believing her. At this point, it seems like he doesn't

1106
01:01:20,360 --> 01:01:32,439
Speaker 1: even believe anybody actually attacked her. So, like you said,

1107
01:01:32,480 --> 01:01:34,640
Speaker 1: at the cottage, Martin is like setting up his camera

1108
01:01:34,720 --> 01:01:38,280
Speaker 1: to automatically take pictures of a flower next to a waterfall,

1109
01:01:38,400 --> 01:01:40,640
Speaker 1: and with all this artificial lighting and so like, what

1110
01:01:40,720 --> 01:01:43,280
Speaker 1: do you know, if it's just snapping shot after shot,

1111
01:01:43,440 --> 01:01:46,600
Speaker 1: it's it's gonna keep taking pictures as zombie attacks, right,

1112
01:01:47,120 --> 01:01:50,680
Speaker 1: how convenient. So of course, Guthrie, the tramp zombie shows up.

1113
01:01:50,720 --> 01:01:52,840
Speaker 1: I don't know how it beat the car, like I

1114
01:01:52,960 --> 01:01:56,120
Speaker 1: got there before the car did. Well, you know, they're

1115
01:01:56,280 --> 01:01:58,840
Speaker 1: they're shambling when they actually go over the attack because

1116
01:01:58,880 --> 01:02:01,080
Speaker 1: they've been just booking it the rest of the time,

1117
01:02:01,120 --> 01:02:04,280
Speaker 1: I guess um because because you know, we have all

1118
01:02:04,360 --> 01:02:07,520
Speaker 1: the zombie action going on at locations in this film

1119
01:02:07,600 --> 01:02:10,800
Speaker 1: that are are very isolated, like this is very rural Britain,

1120
01:02:10,840 --> 01:02:13,720
Speaker 1: we're supposed to believe here. So uh yeah, they're traveling

1121
01:02:13,760 --> 01:02:16,640
Speaker 1: from one location to to another pretty quickly somehow. But

1122
01:02:16,840 --> 01:02:20,560
Speaker 1: the zombie shows up. It chases Katie around. Uh initially

1123
01:02:20,560 --> 01:02:22,480
Speaker 1: I think she's trying to do drugs and then she

1124
01:02:22,640 --> 01:02:25,240
Speaker 1: gets startled and the zombie chases her. She escapes out

1125
01:02:25,240 --> 01:02:28,400
Speaker 1: a window manages to get away, but then the thing

1126
01:02:28,560 --> 01:02:31,040
Speaker 1: comes upon Martin on the banks of the creek and

1127
01:02:31,280 --> 01:02:34,640
Speaker 1: it kills him. And just then George and Edna arrived

1128
01:02:34,680 --> 01:02:36,920
Speaker 1: to find Katie screaming. And then we cut to the

1129
01:02:37,000 --> 01:02:40,959
Speaker 1: next morning and the police are here. They're investigating Martin's death,

1130
01:02:41,480 --> 01:02:43,960
Speaker 1: and so the setup of the movie is complete, and

1131
01:02:44,120 --> 01:02:46,680
Speaker 1: here we are about to meet I guess our chief

1132
01:02:46,760 --> 01:02:51,200
Speaker 1: antagonist other than like science and the zombies created by science,

1133
01:02:51,520 --> 01:02:55,720
Speaker 1: and that is our vicious fascist police inspector. I don't

1134
01:02:55,760 --> 01:02:58,760
Speaker 1: think he has a name, does He's just the inspector. Inspector.

1135
01:02:59,800 --> 01:03:01,640
Speaker 1: So they're looking at the body, and the I think

1136
01:03:01,680 --> 01:03:04,560
Speaker 1: the medical examiner he's like, I've never seen anything like it.

1137
01:03:04,760 --> 01:03:09,240
Speaker 1: Somebody certainly enjoyed themselves here. And the inspector says, oh,

1138
01:03:09,320 --> 01:03:12,480
Speaker 1: a sadist, huh. And then the medical examiner goes or

1139
01:03:12,520 --> 01:03:16,280
Speaker 1: a lunatic, But he says, one thing is for sure,

1140
01:03:16,440 --> 01:03:20,760
Speaker 1: the attacker was enormously strong, because the victims of Bones

1141
01:03:20,960 --> 01:03:24,840
Speaker 1: have been crushed, every one of them. M M. I

1142
01:03:24,840 --> 01:03:28,760
Speaker 1: don't know about that, yeah, but oh and then meanwhile,

1143
01:03:28,960 --> 01:03:31,800
Speaker 1: so the inspector is going to go interrogate all of

1144
01:03:31,840 --> 01:03:35,160
Speaker 1: the witnesses, so George, Katie, and Edna. And on the

1145
01:03:35,240 --> 01:03:38,040
Speaker 1: way to doing that, he like pulls aside one of

1146
01:03:38,080 --> 01:03:40,240
Speaker 1: the cops there and he goes, button up, man, you're

1147
01:03:40,240 --> 01:03:43,720
Speaker 1: wearing a uniform, not a pair of pajamas. So he's

1148
01:03:43,800 --> 01:03:46,960
Speaker 1: that kind of guy. He's a he's a uniform code guy. Yeah,

1149
01:03:47,040 --> 01:03:49,040
Speaker 1: he's a he's just a real ray of SunShot of

1150
01:03:49,080 --> 01:03:52,400
Speaker 1: this guy. But the interrogation is going on, and Katie

1151
01:03:52,520 --> 01:03:55,880
Speaker 1: is describing the zombie who attacked her, and then Edna

1152
01:03:56,400 --> 01:03:58,760
Speaker 1: tells the cops. She's like, oh, I was attacked by

1153
01:03:58,840 --> 01:04:03,480
Speaker 1: that same zombie, And obviously the inspector does not believe them.

1154
01:04:03,600 --> 01:04:06,360
Speaker 1: But then h and the says, why would I invent

1155
01:04:06,520 --> 01:04:09,400
Speaker 1: such a thing? And he says, why, it's very simple,

1156
01:04:09,520 --> 01:04:12,960
Speaker 1: miss to back up your sister's story. And I was

1157
01:04:13,080 --> 01:04:16,880
Speaker 1: just thinking, okay, wait, is this correct interrogation procedure? Are

1158
01:04:16,960 --> 01:04:19,360
Speaker 1: you just supposed to like explain your theory of the

1159
01:04:19,480 --> 01:04:23,440
Speaker 1: case directly to the Interviewee? No, I mean I mean, likewise,

1160
01:04:23,520 --> 01:04:25,720
Speaker 1: is the inspector just gonna set there and just consider

1161
01:04:25,920 --> 01:04:29,680
Speaker 1: any wild idea that a medical examiner throws out there?

1162
01:04:29,920 --> 01:04:32,160
Speaker 1: Or or later on there'll be another scene where somebody

1163
01:04:32,280 --> 01:04:34,120
Speaker 1: just brings up an idea and he's like, yeah, yeah,

1164
01:04:34,120 --> 01:04:37,400
Speaker 1: I think you're right. Yeah lunatic, Yeah, broke all the bones,

1165
01:04:38,040 --> 01:04:40,480
Speaker 1: all of them. I love how this will connect later

1166
01:04:40,640 --> 01:04:45,600
Speaker 1: to when somebody tells him about the existence of satanic cults. Yeah, yeah, yeah,

1167
01:04:45,640 --> 01:04:48,680
Speaker 1: that's the same. Yeah. So he's just he's hard, nos,

1168
01:04:48,720 --> 01:04:51,600
Speaker 1: he's out to finger somebody for this crime. And and

1169
01:04:51,720 --> 01:04:53,640
Speaker 1: he doesn't mind telling you to your face like yeah,

1170
01:04:53,640 --> 01:04:55,520
Speaker 1: I think you're I think you're a killer, and uh

1171
01:04:55,760 --> 01:04:57,960
Speaker 1: yeah and and uh and we're gonna We're gonna get

1172
01:04:57,960 --> 01:04:59,720
Speaker 1: you for this one. There's no escaping me. There's no

1173
01:05:00,000 --> 01:05:02,240
Speaker 1: I think the law on this one. And he he

1174
01:05:02,360 --> 01:05:05,000
Speaker 1: has several just like brilliant things in the scene. One

1175
01:05:05,120 --> 01:05:09,720
Speaker 1: is that the inspector finds that Katie's photographer husband had

1176
01:05:09,800 --> 01:05:12,960
Speaker 1: taken naked photos of her, and he's like, explain this.

1177
01:05:13,760 --> 01:05:16,760
Speaker 1: It's like, what what is the relevance? And here we

1178
01:05:16,840 --> 01:05:20,520
Speaker 1: get to the inspector's awesome theory that Katie must have

1179
01:05:20,640 --> 01:05:23,760
Speaker 1: done the murder because, as is well known, being addicted

1180
01:05:23,800 --> 01:05:27,400
Speaker 1: to heroin gives people superhuman strength enough to crush every

1181
01:05:27,480 --> 01:05:31,000
Speaker 1: bone in Martin's body. Now, as we're dissecting it here,

1182
01:05:31,080 --> 01:05:34,439
Speaker 1: all of this sounds ludicrous, but there is something about

1183
01:05:34,480 --> 01:05:36,560
Speaker 1: the way that it's presented in the film, like the

1184
01:05:36,640 --> 01:05:39,160
Speaker 1: authority with it with which is presented, and like like

1185
01:05:39,640 --> 01:05:42,920
Speaker 1: Arthur Kennedy's character. The inspector here is so sure of

1186
01:05:43,080 --> 01:05:46,479
Speaker 1: himself and so sure of his um, his his role

1187
01:05:46,640 --> 01:05:51,440
Speaker 1: in the investigation that everything he says is just considered reality,

1188
01:05:51,560 --> 01:05:54,200
Speaker 1: is just considered a considered a fact and the proper

1189
01:05:54,320 --> 01:05:58,440
Speaker 1: interpretation of the evidence before him. Yes, that's exactly right.

1190
01:05:58,480 --> 01:06:00,880
Speaker 1: He I mean, he said, I explaining this in a

1191
01:06:01,000 --> 01:06:03,440
Speaker 1: matter of fact way to highlight how ludicrous it is,

1192
01:06:03,560 --> 01:06:07,600
Speaker 1: but he delivers it with cold cruel authority. Oh and

1193
01:06:07,680 --> 01:06:09,640
Speaker 1: then George comes in, by the way to be like, hey,

1194
01:06:09,720 --> 01:06:11,320
Speaker 1: I'm not part of this. Let let me get out

1195
01:06:11,360 --> 01:06:13,120
Speaker 1: of here. I've got a house to look after. And

1196
01:06:13,320 --> 01:06:16,959
Speaker 1: the inspector like grabs him by the collar and he goes, listen, boy,

1197
01:06:17,040 --> 01:06:18,960
Speaker 1: you keep getting on my nerves. I'll give you another

1198
01:06:19,040 --> 01:06:21,680
Speaker 1: house to look after, the kind with lots of bars

1199
01:06:21,760 --> 01:06:26,000
Speaker 1: on the windows. Yeah. Like he's he's already like physically grabbing,

1200
01:06:27,440 --> 01:06:30,400
Speaker 1: even though he's like, they don't think he's really they've

1201
01:06:30,400 --> 01:06:31,960
Speaker 1: really had a lot of time in the picture yet

1202
01:06:32,040 --> 01:06:35,360
Speaker 1: to really bump up against each other. Yeah, not at all.

1203
01:06:36,000 --> 01:06:39,040
Speaker 1: So anyway, the police tell George and Edna you can't leave.

1204
01:06:39,160 --> 01:06:41,640
Speaker 1: You have to stay in the hotel in south Gate

1205
01:06:41,720 --> 01:06:45,560
Speaker 1: until the investigation is finished. And uh so, while they're

1206
01:06:45,560 --> 01:06:48,240
Speaker 1: getting out of there, but George steals the film from

1207
01:06:48,280 --> 01:06:51,280
Speaker 1: Martin's camera because they think if they can get it developed,

1208
01:06:51,320 --> 01:06:54,240
Speaker 1: it will prove Katie is innocent. And George says, we

1209
01:06:54,360 --> 01:06:57,400
Speaker 1: better develop it ourselves because cops never like to admit

1210
01:06:57,480 --> 01:06:59,840
Speaker 1: that they're wrong, and if it shows that Katie is

1211
01:06:59,840 --> 01:07:02,840
Speaker 1: in a sense, they'll just destroy it. So they go

1212
01:07:02,960 --> 01:07:04,960
Speaker 1: to a place to get the film developed. It is

1213
01:07:05,040 --> 01:07:09,280
Speaker 1: a place that is a store called Groceries c R

1214
01:07:09,360 --> 01:07:12,360
Speaker 1: O C E R I E S. Maybe that's supposed

1215
01:07:12,360 --> 01:07:14,440
Speaker 1: to be a G but if there's a bar on it,

1216
01:07:14,640 --> 01:07:18,480
Speaker 1: it is indistinguishable from a seraph. But these are delightful

1217
01:07:18,520 --> 01:07:20,760
Speaker 1: looking storefronts. You just want to go in. Oh yeah,

1218
01:07:21,000 --> 01:07:24,880
Speaker 1: I love it, check out the labels, freshly made sandwiches.

1219
01:07:25,920 --> 01:07:27,640
Speaker 1: And then they go to the hotel which is called

1220
01:07:27,680 --> 01:07:30,720
Speaker 1: the Old Owl Hotel, which has an old owl in it.

1221
01:07:30,880 --> 01:07:33,800
Speaker 1: And I so thought this owl was gonna go berserk

1222
01:07:33,880 --> 01:07:36,919
Speaker 1: and attack somebody in the movie due to the ultrasonic rays,

1223
01:07:37,520 --> 01:07:41,680
Speaker 1: alas never happens. Yeah, it looks impressive though, sitting there

1224
01:07:41,680 --> 01:07:44,360
Speaker 1: in this little perch, and when they're checking in George

1225
01:07:44,560 --> 01:07:46,680
Speaker 1: is again just a jerk for no reason. To the

1226
01:07:46,720 --> 01:07:48,840
Speaker 1: hotel owner, He's like, I don't want to spend any

1227
01:07:48,920 --> 01:07:53,800
Speaker 1: longer in this place than I have to. He hates everything. Yeah,

1228
01:07:54,200 --> 01:07:56,520
Speaker 1: I mean, granted he's going through a lot in this

1229
01:07:56,640 --> 01:07:58,800
Speaker 1: particular moment, but he was grumpy before all of this.

1230
01:07:59,200 --> 01:08:01,520
Speaker 1: So let me get to the hospital sequence. And there

1231
01:08:01,520 --> 01:08:04,960
Speaker 1: are several things to discuss here. One is the okay,

1232
01:08:05,000 --> 01:08:07,720
Speaker 1: so the setup is, uh, they find out Katie has

1233
01:08:07,720 --> 01:08:09,600
Speaker 1: been taken to the hospital, and George and Ed and

1234
01:08:09,640 --> 01:08:11,960
Speaker 1: I go to see her. First is the location. I

1235
01:08:12,080 --> 01:08:15,360
Speaker 1: love the location again, this hospital looks awesome. It's like

1236
01:08:15,440 --> 01:08:19,080
Speaker 1: a kind of New Gothic style. Yeah, I was reading

1237
01:08:19,160 --> 01:08:22,360
Speaker 1: this is Barnes Hospital for the exteriors. Anyway here Manchester.

1238
01:08:22,800 --> 01:08:24,559
Speaker 1: But let's see, there are a few things to describe here,

1239
01:08:24,600 --> 01:08:26,439
Speaker 1: Rob can you can you explain what's going on with

1240
01:08:26,560 --> 01:08:30,759
Speaker 1: the cadaver freezer boxes here? Oh yeah, so we're introduced

1241
01:08:30,800 --> 01:08:33,799
Speaker 1: to these, uh, these freezer boxes that they're hauling corpses

1242
01:08:33,840 --> 01:08:37,080
Speaker 1: out in and they look very space age, um like

1243
01:08:37,520 --> 01:08:40,000
Speaker 1: it's I guess it's possible that this is exactly what,

1244
01:08:41,600 --> 01:08:45,760
Speaker 1: um what these kind of sarcophagus coolers looked like um

1245
01:08:46,320 --> 01:08:48,800
Speaker 1: at the time, but I they they felt a little

1246
01:08:49,320 --> 01:08:51,680
Speaker 1: high tech. But the idea here is that, hey, we

1247
01:08:51,760 --> 01:08:55,479
Speaker 1: need to move dead bodies across the countryside. Uh. We

1248
01:08:55,520 --> 01:08:57,320
Speaker 1: don't want them to rot, so we have these special

1249
01:08:57,920 --> 01:09:01,200
Speaker 1: like cooler coffins for them. And so George is looking

1250
01:09:01,280 --> 01:09:03,160
Speaker 1: at one of these things in the hospital and Dr

1251
01:09:03,280 --> 01:09:06,280
Speaker 1: Duffield comes across him. This is the Peter Cushing kind

1252
01:09:06,280 --> 01:09:09,280
Speaker 1: of guy. Uh, and they they discussed. He's like, what

1253
01:09:09,520 --> 01:09:11,960
Speaker 1: is this and and he explains He's like, oh, well

1254
01:09:12,000 --> 01:09:14,080
Speaker 1: it's a way as to the Manchester Morgue and so

1255
01:09:14,280 --> 01:09:16,760
Speaker 1: you have to put him in these boxes. But Dr

1256
01:09:16,840 --> 01:09:19,280
Speaker 1: Duffield says to George, quite a few people leave their

1257
01:09:19,320 --> 01:09:22,520
Speaker 1: bodies to science these days. Shall I make a reservation

1258
01:09:22,640 --> 01:09:25,200
Speaker 1: for you? And of course George is like, of course not.

1259
01:09:25,360 --> 01:09:28,880
Speaker 1: I would not leave my body to science. It plaies

1260
01:09:28,920 --> 01:09:31,680
Speaker 1: that science is just this ghoulish endeavor and all it

1261
01:09:31,840 --> 01:09:34,439
Speaker 1: wants is just to desecrate your body for it some

1262
01:09:34,760 --> 01:09:37,519
Speaker 1: sinister purposes. Give me body so I can do something

1263
01:09:37,640 --> 01:09:40,479
Speaker 1: evil and unnatural with them. I'll probably put chemicals on it,

1264
01:09:40,640 --> 01:09:45,400
Speaker 1: probably um. But this this gives way to the aggressive

1265
01:09:45,560 --> 01:09:49,720
Speaker 1: babies to see, Oh my god, this. This was just

1266
01:09:49,960 --> 01:09:52,040
Speaker 1: out of kind of out of nowhere. It's one of

1267
01:09:52,080 --> 01:09:54,439
Speaker 1: these scenes where I guess in the grand scheme of things,

1268
01:09:54,840 --> 01:09:59,400
Speaker 1: they introduced this to further explain how zombies work in

1269
01:09:59,479 --> 01:10:01,880
Speaker 1: this picture her, but it ends up just feeling like

1270
01:10:02,000 --> 01:10:06,240
Speaker 1: this sort of side pool of just absurdity and weirdness

1271
01:10:06,400 --> 01:10:08,519
Speaker 1: that is of course delightful, like the very kind of thing.

1272
01:10:08,600 --> 01:10:10,680
Speaker 1: I love it a picture. What is the deal with

1273
01:10:10,760 --> 01:10:15,920
Speaker 1: the aggressive babies? Well, it's just suddenly in this um

1274
01:10:16,360 --> 01:10:19,320
Speaker 1: makes sense later on. But all the babies that are

1275
01:10:19,360 --> 01:10:23,240
Speaker 1: being born are born super aggressive, and they're so aggressive

1276
01:10:23,400 --> 01:10:25,840
Speaker 1: that like, if you get close to one, the baby

1277
01:10:25,880 --> 01:10:27,680
Speaker 1: will bite you and draw blood or scratch you and

1278
01:10:27,760 --> 01:10:30,000
Speaker 1: draw blood. In fact, doesn't it happen to George, like

1279
01:10:30,080 --> 01:10:33,120
Speaker 1: he gets a little too close. Um, Well, it starts

1280
01:10:33,439 --> 01:10:36,120
Speaker 1: because one of the nurses gets like her, I poked

1281
01:10:36,160 --> 01:10:39,920
Speaker 1: out by a baby. And then the doctor is like,

1282
01:10:40,240 --> 01:10:42,720
Speaker 1: come help me, So he just enlists this random guy

1283
01:10:42,840 --> 01:10:44,840
Speaker 1: from the hallway to come help him with the baby.

1284
01:10:45,200 --> 01:10:47,759
Speaker 1: I guess they're trying to sedate the baby because otherwise

1285
01:10:47,800 --> 01:10:52,400
Speaker 1: the baby is ripping people's arms off. Um, and they do,

1286
01:10:52,680 --> 01:10:55,080
Speaker 1: and yeah, the baby I think like attacks George while

1287
01:10:55,120 --> 01:10:59,519
Speaker 1: they're they're they're trying to get it sedated. And they explained, Yes,

1288
01:10:59,640 --> 01:11:03,479
Speaker 1: every baby born here from the region around this farm

1289
01:11:03,520 --> 01:11:07,280
Speaker 1: where they're trying out the agricultural device. Uh, it's just

1290
01:11:07,400 --> 01:11:10,960
Speaker 1: been born with hostility and aggression. It's like they're all

1291
01:11:11,040 --> 01:11:13,960
Speaker 1: born bart Harley Jarvis is one of the most aggressive

1292
01:11:14,000 --> 01:11:17,519
Speaker 1: babies I've ever seen. So, Joe, you have a baby.

1293
01:11:17,640 --> 01:11:21,080
Speaker 1: How strong is a baby? They're incredibly strong, but I

1294
01:11:21,280 --> 01:11:24,800
Speaker 1: think not quite as strong as this movie depicts. So

1295
01:11:25,439 --> 01:11:28,360
Speaker 1: George goes on to share his theory. He's like, hey,

1296
01:11:28,479 --> 01:11:31,320
Speaker 1: wait a minute, all these aggressive babies that have been born,

1297
01:11:31,720 --> 01:11:34,240
Speaker 1: they're all from this area around where they're trying out

1298
01:11:34,280 --> 01:11:39,040
Speaker 1: the the the ultrasonic radiation device. I wonder if that's

1299
01:11:39,120 --> 01:11:43,360
Speaker 1: making the babies aggressive. So Dr Duffield is intrigued, and

1300
01:11:43,920 --> 01:11:48,000
Speaker 1: together George and and the scientist or the doctor, they

1301
01:11:48,160 --> 01:11:50,960
Speaker 1: go out to talk to the act Department scientists in

1302
01:11:51,120 --> 01:11:54,680
Speaker 1: the field. The aggt department guys explained to Dr Duffield

1303
01:11:54,720 --> 01:11:57,080
Speaker 1: how it works. They say it works by ultrasonic rays.

1304
01:11:57,560 --> 01:12:01,559
Speaker 1: That the rays are used intentionally to drive insects mad

1305
01:12:01,840 --> 01:12:05,280
Speaker 1: and make them kill all of each other. Uh, and

1306
01:12:05,560 --> 01:12:08,439
Speaker 1: it has destroyed they say it has destroyed every insect

1307
01:12:08,560 --> 01:12:11,000
Speaker 1: for a mile radius, which, to be clear, I think

1308
01:12:11,040 --> 01:12:13,679
Speaker 1: would not be a good thing. No. I mean imagine

1309
01:12:13,720 --> 01:12:18,599
Speaker 1: they the the ecological uh disorder that would erupt if

1310
01:12:18,640 --> 01:12:25,000
Speaker 1: you just totally distorted all the insects in a given area. Um. Yeah,

1311
01:12:25,439 --> 01:12:27,960
Speaker 1: So in a way, it's it's kind of an interesting

1312
01:12:28,000 --> 01:12:30,160
Speaker 1: concept to roll out in the film, but also one

1313
01:12:30,240 --> 01:12:34,719
Speaker 1: that just seems also unrealistically breathless, like the scientists involved

1314
01:12:34,720 --> 01:12:39,080
Speaker 1: in creating this strange weapon would have to realize that

1315
01:12:39,200 --> 01:12:41,920
Speaker 1: this is incredibly dangerous. Well, they say soon they're going

1316
01:12:42,000 --> 01:12:44,200
Speaker 1: to get it working up to a five mile radius.

1317
01:12:44,640 --> 01:12:47,400
Speaker 1: They're proud. They're like, yeah, there's actually one mile that

1318
01:12:47,520 --> 01:12:49,679
Speaker 1: was yesterday. Five miles that is what we're going for today.

1319
01:12:50,320 --> 01:12:53,280
Speaker 1: We didn't hear anything you said about making rage babies.

1320
01:12:53,320 --> 01:12:56,400
Speaker 1: That's ridiculous. Yeah, And they they appealed to him. They say,

1321
01:12:56,439 --> 01:12:58,560
Speaker 1: to the doctor, you're a man of science. Surely you

1322
01:12:58,680 --> 01:13:01,880
Speaker 1: understand this machine only the affects the most primitive life

1323
01:13:01,920 --> 01:13:06,000
Speaker 1: forms like insects, and that more evolved life forms cannot

1324
01:13:06,080 --> 01:13:11,400
Speaker 1: be affected. Yeah, that sounds very scientific. Um uh. Dr

1325
01:13:11,520 --> 01:13:15,559
Speaker 1: Delfield seems to acknowledge that this machine maybe what's causing

1326
01:13:15,640 --> 01:13:20,120
Speaker 1: the rage babies. But unfortunately he's like, he says, like,

1327
01:13:20,200 --> 01:13:22,960
Speaker 1: it's never wise to exaggerate, you know, they would laugh

1328
01:13:23,040 --> 01:13:26,639
Speaker 1: at us. He says that to George, so it's basically

1329
01:13:26,760 --> 01:13:29,120
Speaker 1: like he's saying, I am I too, am one of

1330
01:13:29,200 --> 01:13:31,640
Speaker 1: the dark invoys of science, So I cannot stop it

1331
01:13:31,720 --> 01:13:33,720
Speaker 1: no matter how much I would like to. I mean,

1332
01:13:33,760 --> 01:13:36,080
Speaker 1: how many rage babies could there be at a given time?

1333
01:13:36,160 --> 01:13:47,160
Speaker 1: Not here the kind of side. So there's a scene

1334
01:13:47,240 --> 01:13:50,720
Speaker 1: in the groceries store in town where they're getting their

1335
01:13:51,360 --> 01:13:54,160
Speaker 1: George and Edna get the pictures developed, and then they're like, oh,

1336
01:13:54,280 --> 01:13:56,639
Speaker 1: too bad. The zombie does not show up on any

1337
01:13:56,720 --> 01:13:59,519
Speaker 1: of the pictures, and they're asking the guy like, could

1338
01:13:59,680 --> 01:14:02,679
Speaker 1: could anything caused someone not to appear in a picture?

1339
01:14:02,760 --> 01:14:05,559
Speaker 1: And he goes if they were a ghost maybe um,

1340
01:14:06,160 --> 01:14:09,000
Speaker 1: And then uh, George says about one of the pictures,

1341
01:14:09,040 --> 01:14:11,439
Speaker 1: good thing the police haven't seen this one. She really

1342
01:14:11,520 --> 01:14:13,400
Speaker 1: looks like she's about to do him in, I guess

1343
01:14:13,439 --> 01:14:18,080
Speaker 1: talking about Katie. And then just hilarious, the inspector comes

1344
01:14:18,240 --> 01:14:20,840
Speaker 1: right in and he like walks into the store and

1345
01:14:20,920 --> 01:14:23,320
Speaker 1: he's like, got you now, and then he gives a

1346
01:14:23,360 --> 01:14:26,200
Speaker 1: speech about all you damn hippies. I I'd kill you

1347
01:14:26,280 --> 01:14:28,479
Speaker 1: all if I had my way. Yeah, this is a

1348
01:14:28,600 --> 01:14:32,760
Speaker 1: wonderful snarling scene from Marthur Kennedy. This is the you're

1349
01:14:32,800 --> 01:14:35,000
Speaker 1: all the same, the lot of you speech that he

1350
01:14:35,080 --> 01:14:39,840
Speaker 1: gives gives George in particular. So oh, but after he

1351
01:14:39,960 --> 01:14:45,080
Speaker 1: leaves we the shopkeeper shows off a newspaper that has

1352
01:14:45,160 --> 01:14:48,479
Speaker 1: a picture of the guy who drowned of Guthrie, and

1353
01:14:49,640 --> 01:14:53,479
Speaker 1: Edna looks at it and she's like, that's him. I

1354
01:14:53,680 --> 01:14:55,800
Speaker 1: was taken by the fact that here is the local

1355
01:14:55,880 --> 01:14:59,360
Speaker 1: newspaper and above the fold huge picture of a dead man,

1356
01:15:01,760 --> 01:15:05,639
Speaker 1: very common, Yeah, just of a corpse. And she's like, yes,

1357
01:15:05,840 --> 01:15:09,120
Speaker 1: that was him, And George is like, well it must

1358
01:15:09,120 --> 01:15:10,960
Speaker 1: have been his twin. Then he must have had a twin,

1359
01:15:11,120 --> 01:15:14,320
Speaker 1: and that's what you saw. Uh. So George decides to

1360
01:15:14,520 --> 01:15:17,720
Speaker 1: take Edna to the cemetery so he can He says,

1361
01:15:17,720 --> 01:15:20,880
Speaker 1: I'm going to cure you of your fancy hallucinations. And

1362
01:15:21,000 --> 01:15:24,000
Speaker 1: I think the plan is George is going to make

1363
01:15:24,439 --> 01:15:28,320
Speaker 1: Edna look at Guthrie's dead body so that she will

1364
01:15:28,360 --> 01:15:31,680
Speaker 1: know that he is actually dead. Yeah. Again, this is

1365
01:15:31,720 --> 01:15:35,960
Speaker 1: another detail of the picture of plot details that sounds ridiculous.

1366
01:15:36,120 --> 01:15:38,760
Speaker 1: But when you're watching the film, like I don't know,

1367
01:15:39,080 --> 01:15:42,400
Speaker 1: you don't, I found myself not questioning these these plot choices.

1368
01:15:42,439 --> 01:15:44,240
Speaker 1: I'm like, yeah, this is the logical place for them

1369
01:15:44,280 --> 01:15:45,960
Speaker 1: to go. Of course they would go and look for

1370
01:15:46,000 --> 01:15:48,840
Speaker 1: the body. It's great. And so they go. They're followed

1371
01:15:48,880 --> 01:15:50,639
Speaker 1: by a police officer by the way, this guy named

1372
01:15:50,680 --> 01:15:54,880
Speaker 1: Craig is tailing them. And then oh so this is

1373
01:15:55,160 --> 01:15:58,479
Speaker 1: this goes into one of the big horror action set

1374
01:15:58,520 --> 01:16:01,160
Speaker 1: pieces in the movie, the semi terry scene, which I

1375
01:16:01,240 --> 01:16:06,120
Speaker 1: thought was just fantastic, really tense, uh scary, good staging

1376
01:16:06,200 --> 01:16:09,200
Speaker 1: of a lot of the action. I don't know how

1377
01:16:09,280 --> 01:16:11,599
Speaker 1: you felt, but I thought this was a great uh

1378
01:16:12,200 --> 01:16:15,920
Speaker 1: centerpiece of like the action horror in the film. Oh absolutely.

1379
01:16:16,040 --> 01:16:18,120
Speaker 1: This is one of those sequences that really makes you

1380
01:16:18,560 --> 01:16:21,120
Speaker 1: think about zombie films in general and just realize you

1381
01:16:21,160 --> 01:16:24,680
Speaker 1: don't need a whole horde of zombies to have an

1382
01:16:24,720 --> 01:16:28,200
Speaker 1: effective nail biting sequence. You just have some some internet

1383
01:16:28,240 --> 01:16:32,800
Speaker 1: interesting setting, interesting location, and then you only need like one, two,

1384
01:16:32,920 --> 01:16:35,600
Speaker 1: three zombies tops, which is all they have going on

1385
01:16:35,800 --> 01:16:38,680
Speaker 1: here as they end up having to deal with them

1386
01:16:38,720 --> 01:16:42,120
Speaker 1: in this uh this basement here. That's serving as. Uh,

1387
01:16:42,400 --> 01:16:45,839
Speaker 1: it's not really mortuary. I don't know what it's wherever

1388
01:16:45,880 --> 01:16:50,200
Speaker 1: they're they're preparing, they're they're casketing the bodies. I guess, yeah,

1389
01:16:50,240 --> 01:16:52,720
Speaker 1: I don't. It seems like it's a crypt maybe or something,

1390
01:16:52,880 --> 01:16:56,880
Speaker 1: or it has vaults on the wall. Okay, so describe that.

1391
01:16:56,960 --> 01:17:00,000
Speaker 1: What what happens in the cemetery scene here, Well, obviously

1392
01:17:00,000 --> 01:17:02,360
Speaker 1: a gut Thrie shows up. He's been booking it this

1393
01:17:02,479 --> 01:17:07,880
Speaker 1: whole time. He knows where his next zombie mauling appointment

1394
01:17:08,120 --> 01:17:11,240
Speaker 1: is going to take place, and so he shows up,

1395
01:17:11,720 --> 01:17:14,559
Speaker 1: and we quickly learned that these these uh, these create

1396
01:17:14,640 --> 01:17:18,799
Speaker 1: critters are pretty indestructible. Yeah, so they're impervious two wounds.

1397
01:17:19,080 --> 01:17:22,600
Speaker 1: Guthree attacks them in like the basement of this like

1398
01:17:22,760 --> 01:17:25,200
Speaker 1: the caretaker's house in the cemetery. They go down in

1399
01:17:25,240 --> 01:17:28,120
Speaker 1: the basement and they're there in the crypt and Guthrie

1400
01:17:28,160 --> 01:17:30,880
Speaker 1: shows up and locks them inside and so that they

1401
01:17:31,000 --> 01:17:33,600
Speaker 1: can't get back out the way they came in, and

1402
01:17:33,840 --> 01:17:35,920
Speaker 1: he's he's coming at them, and George is trying to

1403
01:17:36,040 --> 01:17:38,200
Speaker 1: like stab him with a rail or something, but it

1404
01:17:38,240 --> 01:17:40,800
Speaker 1: doesn't afford to harm him at all. And then we

1405
01:17:41,000 --> 01:17:45,920
Speaker 1: learn that these zombies. The Ultrasonic zombies can reanimate other

1406
01:17:46,120 --> 01:17:50,880
Speaker 1: corpses by smearing blood on them, so they recruit freely

1407
01:17:51,040 --> 01:17:54,719
Speaker 1: from the RESTful dead and and turn them into the undead.

1408
01:17:55,320 --> 01:17:58,800
Speaker 1: And this was just a whole great tent scene. George

1409
01:17:58,840 --> 01:18:01,680
Speaker 1: and Edna finally escaped by like knocking bricks out of

1410
01:18:01,800 --> 01:18:06,000
Speaker 1: a vault wall and climbing up through an open grave. Uh.

1411
01:18:06,080 --> 01:18:08,519
Speaker 1: And they meet up with Officer Craig here that the

1412
01:18:08,560 --> 01:18:11,559
Speaker 1: police officer, but then the zombies attack again. They get

1413
01:18:11,640 --> 01:18:14,520
Speaker 1: chased back into the caretaker's room and have to barricade

1414
01:18:14,560 --> 01:18:18,719
Speaker 1: the doors. Uh. Eventually, Craig, the police officer, is killed

1415
01:18:18,760 --> 01:18:21,680
Speaker 1: while trying to escape and get help. Uh. And in

1416
01:18:21,840 --> 01:18:24,800
Speaker 1: the last minute, like the air, character seemed doomed until

1417
01:18:24,880 --> 01:18:28,599
Speaker 1: George defeats the zombies. He realizes he can by burning them.

1418
01:18:28,680 --> 01:18:31,240
Speaker 1: It's the only thing that works. Oh yeah, yeah, this,

1419
01:18:31,400 --> 01:18:35,120
Speaker 1: this whole sequences is fabulous. Craig the cop is so

1420
01:18:35,320 --> 01:18:37,320
Speaker 1: doomed from the moment you start getting to know him,

1421
01:18:37,320 --> 01:18:40,040
Speaker 1: because he's like, he's like, oh, Georgia, after this, you'll

1422
01:18:40,080 --> 01:18:42,680
Speaker 1: realize not all cops are bad. I'm a good guy, right,

1423
01:18:42,720 --> 01:18:44,519
Speaker 1: And you're like, oh, this dude is getting his gut

1424
01:18:44,600 --> 01:18:48,920
Speaker 1: seaten by a zombie, no doubt about it. Um. So,

1425
01:18:49,200 --> 01:18:51,439
Speaker 1: the two interesting things about the zombies that are revealed

1426
01:18:51,479 --> 01:18:53,680
Speaker 1: in this thing. First of all, there is the the

1427
01:18:53,880 --> 01:18:57,240
Speaker 1: ritualistic dabbing of the blood on other bodies to raise

1428
01:18:57,320 --> 01:19:01,040
Speaker 1: them as like zombie almost like zombie men, and um

1429
01:19:01,680 --> 01:19:03,840
Speaker 1: that I really liked and ultimately raises a lot of

1430
01:19:03,960 --> 01:19:07,599
Speaker 1: questions that are you cannot answer regarding how zombies work

1431
01:19:07,640 --> 01:19:11,240
Speaker 1: in this picture, but it's very unsettling in the moment

1432
01:19:11,439 --> 01:19:14,960
Speaker 1: because it's it's so unexpected. Also, we quickly learned that

1433
01:19:15,080 --> 01:19:18,280
Speaker 1: these zombies are tool users. While zombies and other pictures

1434
01:19:18,400 --> 01:19:21,160
Speaker 1: might just want to rip and bite at you, they're

1435
01:19:21,160 --> 01:19:23,880
Speaker 1: just gonna use your claw and bide attack. These will

1436
01:19:23,960 --> 01:19:28,960
Speaker 1: actively try and hammer you to pieces with a big crucifix. Yes. Oh,

1437
01:19:29,040 --> 01:19:31,080
Speaker 1: and that crucifix will come back in in a minute

1438
01:19:31,160 --> 01:19:33,760
Speaker 1: when when the cops arrive on the scene. Uh so.

1439
01:19:33,960 --> 01:19:38,599
Speaker 1: But anyway, George and Edna escape and they run off

1440
01:19:38,600 --> 01:19:41,320
Speaker 1: in separate directions. I think Edna is going to maybe

1441
01:19:41,400 --> 01:19:44,280
Speaker 1: try to find Katie or something, and George runs off

1442
01:19:44,360 --> 01:19:48,519
Speaker 1: to destroy the ultrasonic machine at the Lewis farm. And

1443
01:19:48,680 --> 01:19:50,800
Speaker 1: meanwhile you think, well, wait, a minute, though, are all

1444
01:19:50,840 --> 01:19:52,840
Speaker 1: the zombies dealt with? I think all the zombies we

1445
01:19:52,920 --> 01:19:55,320
Speaker 1: knew about have been destroyed, so maybe the nightmare is over.

1446
01:19:56,000 --> 01:19:59,920
Speaker 1: But no, remember Martin, remember market, the guy who had

1447
01:20:00,080 --> 01:20:02,479
Speaker 1: that the weird look from earlier. It looks like the

1448
01:20:02,640 --> 01:20:05,560
Speaker 1: rays have powered him up now and he attacks and

1449
01:20:05,680 --> 01:20:10,840
Speaker 1: he eats some cops. And then George arrives back at

1450
01:20:10,880 --> 01:20:14,800
Speaker 1: the agg department guys, and and he's explaining what's going on,

1451
01:20:14,920 --> 01:20:17,439
Speaker 1: and they, for some reason don't believe him. They go, like,

1452
01:20:17,560 --> 01:20:21,479
Speaker 1: you talk about the dead walking and cannibalism, it's unscientific, man.

1453
01:20:22,240 --> 01:20:25,400
Speaker 1: And then George says, lots of things are unscientific, and

1454
01:20:25,439 --> 01:20:28,560
Speaker 1: they happen just the same, and he like grabs a

1455
01:20:28,640 --> 01:20:32,439
Speaker 1: wrench and starts smashing the oscillator on the machine. No,

1456
01:20:32,640 --> 01:20:35,120
Speaker 1: no examples, by the way of what all these unscientific

1457
01:20:35,200 --> 01:20:37,200
Speaker 1: things that are happening all the time are I want

1458
01:20:37,240 --> 01:20:39,360
Speaker 1: to know, like, other than the zombies, what does he

1459
01:20:39,400 --> 01:20:43,479
Speaker 1: have in mind? But anyway, back in the scene at

1460
01:20:43,479 --> 01:20:46,800
Speaker 1: the cemetery, the inspector has arrived and he concludes that

1461
01:20:47,240 --> 01:20:50,080
Speaker 1: George is in fact the one who killed Officer Craig

1462
01:20:50,160 --> 01:20:54,080
Speaker 1: here and the caretaker and all the zombies. So he's like, Okay,

1463
01:20:54,160 --> 01:20:57,599
Speaker 1: this guy is he's got to be destroyed. Shoot him

1464
01:20:57,640 --> 01:21:00,719
Speaker 1: on site. And then he's like, why did they burn

1465
01:21:00,800 --> 01:21:03,600
Speaker 1: the bodies? And there's this new creep hanging out. I

1466
01:21:03,640 --> 01:21:06,840
Speaker 1: don't know where this creep came from. This guy shows

1467
01:21:06,920 --> 01:21:09,800
Speaker 1: up this late in the movie and he's like, oh, inspector,

1468
01:21:09,960 --> 01:21:15,439
Speaker 1: you need to learn about Satanic cults. Yea, So this

1469
01:21:15,600 --> 01:21:19,320
Speaker 1: weird rando shows up to introduce the idea of Satanic

1470
01:21:19,439 --> 01:21:23,000
Speaker 1: ritual murder into the inspector's mind. It's like it's a

1471
01:21:23,080 --> 01:21:25,479
Speaker 1: match made in heaven. It's a well, there's a moment

1472
01:21:25,520 --> 01:21:28,280
Speaker 1: where he's like thinking about it. He's like, you know,

1473
01:21:28,320 --> 01:21:30,360
Speaker 1: I hadn't thought about that, But then instantly he's in like,

1474
01:21:30,479 --> 01:21:33,839
Speaker 1: I bet that's it. Yeah, that's this guy, George. He's awful.

1475
01:21:33,920 --> 01:21:39,040
Speaker 1: He's clearly a sex craze, drug using, um hippie rebel

1476
01:21:39,120 --> 01:21:42,120
Speaker 1: who hates the police. Uh. So, it's just it's just

1477
01:21:42,240 --> 01:21:44,839
Speaker 1: one step beyond that to assume that he also worships

1478
01:21:44,880 --> 01:21:48,320
Speaker 1: Satan and his car hanging out unspeakable acts for a

1479
01:21:48,400 --> 01:21:51,960
Speaker 1: black mass. Uh. It's also if we were talking about

1480
01:21:52,000 --> 01:21:54,880
Speaker 1: this a little off, Mike, it's fitting and funny that

1481
01:21:55,240 --> 01:21:59,599
Speaker 1: the inspector believes all these things of George where George doesn't. Actually,

1482
01:22:00,720 --> 01:22:03,200
Speaker 1: we never see George do drugs. We never see George

1483
01:22:03,680 --> 01:22:06,640
Speaker 1: um have any kind of a sexual interest in anybody. Like,

1484
01:22:06,720 --> 01:22:09,559
Speaker 1: so he's none of these things that he's accused off

1485
01:22:09,640 --> 01:22:14,240
Speaker 1: throughout the picture. He he just is a rebellious jerk. Yeah. No,

1486
01:22:14,400 --> 01:22:18,200
Speaker 1: all he really does is like he's just rude to people.

1487
01:22:18,439 --> 01:22:21,920
Speaker 1: That's his main character trait. As if the film is saying, yes,

1488
01:22:22,040 --> 01:22:24,720
Speaker 1: the youth of today they do suck, but but not

1489
01:22:24,880 --> 01:22:27,360
Speaker 1: for the reasons that guys like this thing. They say,

1490
01:22:27,640 --> 01:22:30,519
Speaker 1: it's just because they're they're selfish and rude and they

1491
01:22:30,760 --> 01:22:32,479
Speaker 1: don't want to be uh they want to be off

1492
01:22:32,560 --> 01:22:36,040
Speaker 1: to in their own thing. Uh yeah, yeah, not because

1493
01:22:36,080 --> 01:22:40,280
Speaker 1: they're all in satanic cults and anyways, so Edna is uh,

1494
01:22:40,680 --> 01:22:42,960
Speaker 1: several other things happen in between here. There's a whole

1495
01:22:43,120 --> 01:22:45,560
Speaker 1: thing where Edna gets attacked by the Martin zombie, but

1496
01:22:45,640 --> 01:22:48,519
Speaker 1: she escapes. She starts to kind of lose her mind. Uh,

1497
01:22:48,640 --> 01:22:52,439
Speaker 1: the agg department guys power up the five mile trusonic rays.

1498
01:22:52,560 --> 01:22:55,000
Speaker 1: That can't be good because then we cut to the hospital,

1499
01:22:55,200 --> 01:22:57,920
Speaker 1: the Southgate Hospital and we see all these new freezer

1500
01:22:58,000 --> 01:23:01,560
Speaker 1: bodies arriving. Uh. Um, so we know there's gonna be

1501
01:23:01,600 --> 01:23:04,720
Speaker 1: a zombie rampage at the hospital. And there is. The

1502
01:23:04,800 --> 01:23:08,519
Speaker 1: police catch George and interrogate him in a hilarious scene

1503
01:23:08,560 --> 01:23:11,720
Speaker 1: where they're, uh, they're telling him, you know what all

1504
01:23:11,800 --> 01:23:15,080
Speaker 1: the satanic murders he's been doing in George, he protests.

1505
01:23:15,120 --> 01:23:16,880
Speaker 1: He says, I've never been to a black mass in

1506
01:23:16,960 --> 01:23:22,320
Speaker 1: my life. Oh. Because they find the statue, like the

1507
01:23:22,439 --> 01:23:26,000
Speaker 1: antique statue that he had in his luggage that he

1508
01:23:26,080 --> 01:23:29,040
Speaker 1: was bringing up here, uh, and they pull it out

1509
01:23:29,080 --> 01:23:31,720
Speaker 1: and they're like, this obviously proves you are involved in

1510
01:23:31,800 --> 01:23:36,040
Speaker 1: Satanic cults. And he says, I don't worship that. I

1511
01:23:36,200 --> 01:23:39,040
Speaker 1: just sell things like that. And then he says, it's

1512
01:23:39,080 --> 01:23:41,559
Speaker 1: not my fault, Sarge, that Christ and the Saints are

1513
01:23:41,600 --> 01:23:45,200
Speaker 1: out of fashion. It's a it's a it's a good scene.

1514
01:23:45,360 --> 01:23:48,519
Speaker 1: I like the that this, uh that his his his

1515
01:23:48,920 --> 01:23:51,320
Speaker 1: use of these artifacts or as they're having these artifacts

1516
01:23:51,439 --> 01:23:53,840
Speaker 1: on his person, like it's come back around to bite him.

1517
01:23:53,840 --> 01:23:56,639
Speaker 1: And now this is evidence being supposed evidence being thrown

1518
01:23:56,680 --> 01:23:59,880
Speaker 1: at him by the authorities here. Also, though this are

1519
01:24:00,040 --> 01:24:02,360
Speaker 1: effect in no way appears to have anything to do

1520
01:24:02,439 --> 01:24:06,040
Speaker 1: with Satan. I guess it's just because it doesn't look Christian.

1521
01:24:06,160 --> 01:24:08,680
Speaker 1: Maybe I don't know. Yeah, I mean I think it

1522
01:24:09,000 --> 01:24:10,960
Speaker 1: it fits with what they're going for here, Like this

1523
01:24:11,200 --> 01:24:14,200
Speaker 1: is a guy who just assumes anything that is a

1524
01:24:14,320 --> 01:24:17,639
Speaker 1: little bit foreign or un Christian is just satanic. Clearly

1525
01:24:17,720 --> 01:24:20,720
Speaker 1: these are these are occult items. And George is up

1526
01:24:20,760 --> 01:24:23,920
Speaker 1: to bloody business. But the inspector he he has like

1527
01:24:24,080 --> 01:24:27,800
Speaker 1: a rage moment and he like punches George. He's he's

1528
01:24:28,000 --> 01:24:32,400
Speaker 1: incredibly mad. Uh. And he's complaining to this other guy,

1529
01:24:32,560 --> 01:24:34,920
Speaker 1: the creep, who showed up earlier to tell him about

1530
01:24:34,920 --> 01:24:36,760
Speaker 1: Satanic cults. He's like, if I just had more of

1531
01:24:36,840 --> 01:24:42,639
Speaker 1: a free hand with these criminals, um and uh. I mean, well,

1532
01:24:42,880 --> 01:24:45,400
Speaker 1: George he escapes out the window and then he runs

1533
01:24:45,439 --> 01:24:48,160
Speaker 1: to the hospital for the final showdown, So you basically

1534
01:24:48,240 --> 01:24:50,000
Speaker 1: know what's gonna happen. It's gonna be a big zombie

1535
01:24:50,000 --> 01:24:53,360
Speaker 1: showdown with all the characters and uh and and basically

1536
01:24:53,400 --> 01:24:56,040
Speaker 1: all of our main characters get killed by the zombies. Here.

1537
01:24:56,280 --> 01:24:59,479
Speaker 1: There's a great part where where George lights an axe

1538
01:24:59,560 --> 01:25:02,160
Speaker 1: on fire and he's swinging it at the zombies, and

1539
01:25:02,280 --> 01:25:06,280
Speaker 1: that's that's pretty brutal. Uh and uh, at one moment,

1540
01:25:06,360 --> 01:25:08,280
Speaker 1: you think, oh, George, is he gonna be able to

1541
01:25:08,360 --> 01:25:11,599
Speaker 1: save Edna? But no he when he gets her out

1542
01:25:11,640 --> 01:25:13,760
Speaker 1: of the room where the zombies have attacked, she has

1543
01:25:13,800 --> 01:25:16,559
Speaker 1: star shaped pupils. Now, so it's too late. She's already

1544
01:25:16,600 --> 01:25:21,000
Speaker 1: one of the zombies. And then in a final brutal twist,

1545
01:25:21,400 --> 01:25:25,360
Speaker 1: George is shot by the police. The inspector guns him down. Yeah,

1546
01:25:25,520 --> 01:25:28,040
Speaker 1: just brutally guns him down, shoots him multiple times, and

1547
01:25:28,080 --> 01:25:30,040
Speaker 1: then he kind of like leans over the body and

1548
01:25:30,560 --> 01:25:32,479
Speaker 1: says something about how he wishes he'd come back to

1549
01:25:32,560 --> 01:25:34,799
Speaker 1: life so he could kill him again in cold blood.

1550
01:25:35,320 --> 01:25:39,240
Speaker 1: Uh so just real, real, real brutal moment that I mean,

1551
01:25:40,320 --> 01:25:42,679
Speaker 1: I could not unexpected. I mean, this is the mid seventies.

1552
01:25:42,760 --> 01:25:45,599
Speaker 1: But yeah, in the space of just a few minutes, Uh,

1553
01:25:45,960 --> 01:25:50,800
Speaker 1: Edna is mauled by her own sister and uh who

1554
01:25:50,880 --> 01:25:53,760
Speaker 1: has become a zombie? She becomes a zombie, and then

1555
01:25:54,000 --> 01:25:57,280
Speaker 1: our our last protagonist is just murdered in cold blood,

1556
01:25:57,400 --> 01:25:59,760
Speaker 1: and then we kept the only characters who were left

1557
01:25:59,800 --> 01:26:03,439
Speaker 1: are the fascist cops. And so the inspector is like

1558
01:26:03,600 --> 01:26:06,280
Speaker 1: riding ground in a car with his sidekick here and

1559
01:26:06,360 --> 01:26:08,479
Speaker 1: the guys like all the papers say you're a hero,

1560
01:26:09,360 --> 01:26:12,280
Speaker 1: and uh, he says the inspector says, justice has been

1561
01:26:12,280 --> 01:26:14,880
Speaker 1: a bit slow in these parts, all this permissive rot

1562
01:26:15,040 --> 01:26:17,519
Speaker 1: going on. Maybe people will learn a thing or two

1563
01:26:17,640 --> 01:26:21,960
Speaker 1: from my example here. Um and uh so, so what's

1564
01:26:22,000 --> 01:26:23,360
Speaker 1: going on? Is he gonna go into a career in

1565
01:26:23,439 --> 01:26:28,439
Speaker 1: politics now or something? But nope, And we we then see, uh,

1566
01:26:28,720 --> 01:26:32,839
Speaker 1: they drive past another one of the Agriculture department machines

1567
01:26:33,400 --> 01:26:35,840
Speaker 1: and they and the guy comments on it. He's like, oh,

1568
01:26:36,080 --> 01:26:39,360
Speaker 1: they're setting up a new one of those now, um,

1569
01:26:39,640 --> 01:26:41,680
Speaker 1: and it's gonna they say, it's gonna rid all of

1570
01:26:41,760 --> 01:26:45,360
Speaker 1: the the apple orchards of pests. I'm just mad about apples.

1571
01:26:45,960 --> 01:26:49,479
Speaker 1: And the cops laugh about this apples. But then, of course, uh,

1572
01:26:49,960 --> 01:26:51,680
Speaker 1: you know what's gonna happen now that they power up

1573
01:26:51,720 --> 01:26:54,800
Speaker 1: another one of these. Um, the inspector gets to his

1574
01:26:54,920 --> 01:26:58,280
Speaker 1: hotel room and the old Owl hotel, and who's there

1575
01:26:58,320 --> 01:27:03,519
Speaker 1: waiting for him but the reanimated Ultrasonic Corps of George

1576
01:27:03,640 --> 01:27:06,560
Speaker 1: to get his revenge, and and the Inspector meets his

1577
01:27:06,640 --> 01:27:09,360
Speaker 1: demise and gets his come up and yeah, so and

1578
01:27:09,479 --> 01:27:11,120
Speaker 1: it almost in a kind of like Tales from the

1579
01:27:11,200 --> 01:27:15,960
Speaker 1: cryptesk nasty ending. Yeah, the most awful character in the

1580
01:27:16,040 --> 01:27:19,560
Speaker 1: film survives to the end but then is killed in

1581
01:27:20,000 --> 01:27:22,960
Speaker 1: horrific fashion, and then something is also quite fitting of

1582
01:27:23,040 --> 01:27:25,599
Speaker 1: eco horror in general, there's a sense that the threat

1583
01:27:25,680 --> 01:27:28,120
Speaker 1: is far from over, the threat is going to continue

1584
01:27:28,160 --> 01:27:30,800
Speaker 1: to expand it's still out there, which you know, isn't

1585
01:27:30,880 --> 01:27:33,240
Speaker 1: just about setting up the possibility for a sequel or

1586
01:27:33,280 --> 01:27:36,200
Speaker 1: something is that uh certainly would would be uh in

1587
01:27:36,479 --> 01:27:39,080
Speaker 1: in subsequent decades, but just kind of this idea that

1588
01:27:39,960 --> 01:27:43,759
Speaker 1: like this is just the starting point and the problem

1589
01:27:43,880 --> 01:27:46,160
Speaker 1: is going to spread and get bigger and bigger. We're

1590
01:27:46,200 --> 01:27:49,719
Speaker 1: gonna keep getting zombies and keep getting rage babies. Rage

1591
01:27:49,800 --> 01:27:53,519
Speaker 1: babies and zombies and insects killing the apples though, are

1592
01:27:53,600 --> 01:27:57,120
Speaker 1: going to be amazing. We know that much. Though It's funny,

1593
01:27:57,160 --> 01:27:59,520
Speaker 1: I think you could probably come up with a more plausible,

1594
01:27:59,600 --> 01:28:03,639
Speaker 1: hard its fiction UH film just about what would happen

1595
01:28:03,720 --> 01:28:07,080
Speaker 1: if you literally destroyed every single insect within a five

1596
01:28:07,160 --> 01:28:11,439
Speaker 1: mile radius? So that seems like that would have devastating consequences, Yeah,

1597
01:28:11,560 --> 01:28:15,599
Speaker 1: like taking out most of your decomposers and and so forth,

1598
01:28:15,680 --> 01:28:17,640
Speaker 1: just just as one example, I mean, it would be

1599
01:28:17,880 --> 01:28:21,200
Speaker 1: dreadful for the environment, dreadful for the apples too. I'm

1600
01:28:21,200 --> 01:28:23,400
Speaker 1: always pleased on a film like this shows some restraint.

1601
01:28:23,960 --> 01:28:26,519
Speaker 1: Um because since this is a film where, yeah, there's

1602
01:28:26,560 --> 01:28:29,240
Speaker 1: some really gory moments like the zombie the probably the

1603
01:28:29,280 --> 01:28:31,960
Speaker 1: gory ists are the scenes where the zombies eat the

1604
01:28:32,000 --> 01:28:34,479
Speaker 1: cop and then the there's a scene where they tear

1605
01:28:34,520 --> 01:28:36,880
Speaker 1: apart a nurse in the hospital, and those are very

1606
01:28:36,920 --> 01:28:41,679
Speaker 1: gory sequences, but they I felt, at least for my taste,

1607
01:28:41,680 --> 01:28:45,360
Speaker 1: they didn't go too far. And likewise, plot wise, nobody

1608
01:28:45,439 --> 01:28:48,200
Speaker 1: fights a rage baby. There's not a scene where the

1609
01:28:48,320 --> 01:28:51,080
Speaker 1: rage babies run run wild and George has to fight

1610
01:28:51,160 --> 01:28:53,680
Speaker 1: them off with his flaming acts. Uh. There's some other

1611
01:28:53,800 --> 01:28:55,880
Speaker 1: moments in the film too where I felt like they

1612
01:28:55,920 --> 01:28:59,720
Speaker 1: showed a little restraint with the premise. Um. So yeah,

1613
01:28:59,760 --> 01:29:02,280
Speaker 1: and I think above all as even though a lot

1614
01:29:02,360 --> 01:29:05,640
Speaker 1: of these plot elements are kind of laughable in retrospect,

1615
01:29:06,280 --> 01:29:10,519
Speaker 1: that they are presented with a seriousness uh and a

1616
01:29:11,360 --> 01:29:14,080
Speaker 1: in a commitment to filmmaking that that makes this probably

1617
01:29:14,120 --> 01:29:18,439
Speaker 1: one of the more entertaining zombie films I've seen. Like

1618
01:29:18,600 --> 01:29:20,760
Speaker 1: I I the night that I watched this, I just

1619
01:29:21,120 --> 01:29:22,720
Speaker 1: turned it on just to check out part of it

1620
01:29:23,040 --> 01:29:26,000
Speaker 1: and ended up watching the whole thing. Yeah, I totally agree.

1621
01:29:26,040 --> 01:29:29,760
Speaker 1: I thought this was a fairly excellent zombie movie. Surprisingly

1622
01:29:29,840 --> 01:29:34,000
Speaker 1: compelling action and characters in situation and beautiful looking. I

1623
01:29:34,360 --> 01:29:36,800
Speaker 1: like the the horror design, but also just all of

1624
01:29:36,880 --> 01:29:40,519
Speaker 1: the gorgeous locations. Yeah, so there you have it. Let

1625
01:29:40,680 --> 01:29:44,040
Speaker 1: Sleeping Corpses lie a k a. The Living Dead at

1626
01:29:44,120 --> 01:29:47,559
Speaker 1: Manchester Morgue. It's been a cult favorite for for for years,

1627
01:29:47,640 --> 01:29:50,040
Speaker 1: and I understand why this one's This one's a lot

1628
01:29:50,080 --> 01:29:52,400
Speaker 1: of fun, so I definitely recommend it to folks who

1629
01:29:52,439 --> 01:29:56,160
Speaker 1: want to a bloody good zombie movie. Now. Just reminded

1630
01:29:56,200 --> 01:29:58,200
Speaker 1: everyone out there here at Stuff to Blow Your Mind

1631
01:29:58,240 --> 01:30:02,000
Speaker 1: were primarily a science podcast. Uh, and we're we're pro science.

1632
01:30:02,080 --> 01:30:05,240
Speaker 1: We don't think science the enemy trying to turn out

1633
01:30:05,240 --> 01:30:07,600
Speaker 1: our babies into rage babies. There anything to to to

1634
01:30:08,200 --> 01:30:11,000
Speaker 1: that extent. Uh. In our core episodes of Stuff to

1635
01:30:11,000 --> 01:30:13,600
Speaker 1: Blow Your Mind come out on Tuesdays and Thursdays. We

1636
01:30:13,720 --> 01:30:16,360
Speaker 1: do listener mail on Monday's short form artifact or Monster

1637
01:30:16,439 --> 01:30:19,120
Speaker 1: Fact on Wednesdays, and on Friday, we set aside most

1638
01:30:19,120 --> 01:30:21,240
Speaker 1: series concerns to just talk about a weird film here

1639
01:30:21,280 --> 01:30:23,680
Speaker 1: on Weird House Cinema. If you want to see a

1640
01:30:23,760 --> 01:30:25,679
Speaker 1: list of all the movies we've covered in the past,

1641
01:30:26,000 --> 01:30:27,280
Speaker 1: you can go to a couple of places for that.

1642
01:30:27,400 --> 01:30:30,320
Speaker 1: I blog about these at Samuta music dot com and

1643
01:30:30,439 --> 01:30:32,400
Speaker 1: then if you go to Letterbox that's L E T

1644
01:30:32,560 --> 01:30:35,160
Speaker 1: T E R B O x D dot com. We

1645
01:30:35,280 --> 01:30:38,519
Speaker 1: have a It's a place where people can create accounts

1646
01:30:38,720 --> 01:30:42,640
Speaker 1: and can essentially blog about movies and had their own

1647
01:30:42,680 --> 01:30:45,920
Speaker 1: reviews to various movies, create lists of movies they want

1648
01:30:45,960 --> 01:30:48,639
Speaker 1: to see or have seen. Well, we have an account there.

1649
01:30:48,760 --> 01:30:50,479
Speaker 1: It's a Weird House and we have a list of

1650
01:30:50,520 --> 01:30:52,400
Speaker 1: all the films that we've looked at on Weird How

1651
01:30:52,479 --> 01:30:54,759
Speaker 1: Cinema thus far, and sometimes we'll have a peek ahead

1652
01:30:55,040 --> 01:30:57,759
Speaker 1: at what's coming along next. Huge thanks to our audio

1653
01:30:57,840 --> 01:31:00,400
Speaker 1: producer J J. Pauseway. If you would like to get

1654
01:31:00,439 --> 01:31:03,120
Speaker 1: in touch with us with feedback on this episode or

1655
01:31:03,160 --> 01:31:06,280
Speaker 1: any other, if you would like to suggest a topic

1656
01:31:06,400 --> 01:31:08,360
Speaker 1: for the future, or if you'd just like to say hello,

1657
01:31:08,479 --> 01:31:11,240
Speaker 1: you can email us at contact and Stuff to Blow

1658
01:31:11,320 --> 01:31:20,840
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1659
01:31:20,880 --> 01:31:23,560
Speaker 1: production of I Heart Radio. For more podcasts for My

1660
01:31:23,600 --> 01:31:26,519
Speaker 1: Heart Radio, visit the I Heart Radio app, Apple podcasts,

1661
01:31:26,640 --> 01:31:28,400
Speaker 1: or wherever you listen to your favorite shows.