Speaker 1: Welcome to Stuff to Blow your Mind, a production of
Speaker 1: I Heart Radio. Hey you welcome to Weird House Cinema.
Speaker 1: This is Rob Lamb and this is Joe McCormick. Today's movie.
Speaker 1: Um goes by many names. It stems from the mid
Speaker 1: nineties seventies, and you could easily sort of single it
Speaker 1: out for a few different things. It's on one on
Speaker 1: one level, it is uh, It's very British. It is
Speaker 1: the perhaps the most important British zombie film, certainly of
Speaker 1: this time period. It's also a Spanish Italian co production
Speaker 1: and has I think no actual British people in it.
Speaker 1: It's also not only a horror film, but eco horror
Speaker 1: film all true. This is also definitely a grindhouse era picture.
Speaker 1: It was actually shown in a double feature with West
Speaker 1: Craven's notorious Last House on the Left, which I realized
Speaker 1: is a seventy two film, but guess it was still
Speaker 1: making the round by seventy four or just hitting certain
Speaker 1: markets by seventy four. But at any rate, Uh, these
Speaker 1: two films were sometimes on the same building. It's interesting
Speaker 1: to realize where different zombie movies come in the course
Speaker 1: of history, because I think of most zombie films as derivative, uh,
Speaker 1: not just of Night of the Living Dead, but of
Speaker 1: Dawn of the Dead, the second film in George Romero's
Speaker 1: uh trilogy. But of course Dawn of the Dead actually
Speaker 1: didn't come out, I think until nineteen seventy eight, so
Speaker 1: like four years after this one. Of course Night was earlier.
Speaker 1: But it's kind of strange how I would have said
Speaker 1: this movie was derivative of Dawn, but in fact it
Speaker 1: proceeds Dawn. Yeah, it's interesting. It's kind of a I
Speaker 1: think even at the time, a lot of people compared
Speaker 1: it to Night of the Living Dead, and certainly it
Speaker 1: owes uh something to to to that film, as pretty
Speaker 1: much any zombie film that came after it does. But yeah,
Speaker 1: maybe it's a little head of the curve on something
Speaker 1: as well. Now we keep talking about it, we haven't
Speaker 1: said the title of the film yet because you kind
Speaker 1: of have your pick of titles for this film. The again,
Speaker 1: it's an Italian Spanish co production, and the original title
Speaker 1: and both languages translates basically to do not profane the
Speaker 1: Sleep of the Debt, which I guess the international distributors
Speaker 1: didn't go for. They saw opportunities to to tap into
Speaker 1: other areas of fear. Uh. It was released under a
Speaker 1: lot of different names around the world. The two most
Speaker 1: common are either Let's Sleeping corpses Lie, which is how
Speaker 1: we haven't listed in the title for this episode, but
Speaker 1: it was also widely distributed as The Living Dead at
Speaker 1: Manchester Morgue, or it eventually was widely distributed under that name. Um,
Speaker 1: that is the title that displayed in the version of
Speaker 1: it that I watched, though the screen where that title
Speaker 1: pops up looks very out of place. It like doesn't
Speaker 1: match the visual style of anything around it. Yeah, it's
Speaker 1: also it's a strange title. A lot of these titles
Speaker 1: are hard to to really rationalize because a lot of
Speaker 1: them don't really make sense once you get into the
Speaker 1: plot that there is not a Manchester Morgue in the
Speaker 1: film as an actual setting. Uh. We only briefly see
Speaker 1: Manchester at the very beginning of the film, and then
Speaker 1: we go out into rural Britain and that is where
Speaker 1: the rest of the film is supposed to be taking place.
Speaker 1: Is the city at the beginning definitely supposed to be Manchester.
Speaker 1: I couldn't tell if it was supposed to be Manchester
Speaker 1: or London. It is Manchester. That's what I've read. Yes,
Speaker 1: other titles that this film had there was do not
Speaker 1: Speak Ill of the Dead, which which sounds pretty good.
Speaker 1: I mean, that's more or less a translation of the original.
Speaker 1: Even though it kind of implies that that what's going
Speaker 1: on here is um like the raising of the dead
Speaker 1: via slander or something. It shouldn't come as anybody to
Speaker 1: any surprise to anyone out there that it was also
Speaker 1: known as Zombie three, at least in some markets. And
Speaker 1: this is hilarious because a number of films seem to
Speaker 1: have been released at one time or another as part
Speaker 1: of the very unofficial Italian zombie franchise, including Zombie three,
Speaker 1: which was a Fucci and Matte film. So anything can
Speaker 1: or could be a zombie movie. Wait now I'm incredibly
Speaker 1: confused here, because so Zombie three would mean this is
Speaker 1: trying to be a sequel to Zombie two, which was
Speaker 1: the Fulci film that was not actually a sequel to
Speaker 1: the original Zombie, which was another name for Romero's Dawn
Speaker 1: of the Dead, which came out in seventy eight. But
Speaker 1: this movie we're talking about came out in seventy four,
Speaker 1: and at some point it was called Zombie three. That's
Speaker 1: the beauty of the Zombie zero MBI franchise. Yes, so
Speaker 1: I guess this would have to be like in like
Speaker 1: I don't know, later video releases or something, right, Yeah, yeah,
Speaker 1: I think so. Now another title that's a lot of
Speaker 1: fun for this one that, again it doesn't really fit
Speaker 1: the movie is Don't Open the Window. I love a
Speaker 1: good seventies don't movie. And we're actually going to hear
Speaker 1: the trailer for Don't Open the Window for that release
Speaker 1: of the film here and a bit, just because it's
Speaker 1: the most, in my opinion, the most amusing of the
Speaker 1: trailers to listen to in a podcast format. I don't remember. Okay,
Speaker 1: So running through these different titles, we do I think
Speaker 1: see a Manchester area hospital as a set used in
Speaker 1: the movie, but it's not really set in Manchester. Do
Speaker 1: Not Speak Ill of the Dead, as far as I
Speaker 1: can tell, has no relationship to the plot. Zombie three
Speaker 1: is hilarious because this movie came out before the original
Speaker 1: Zombie and I don't think there's anything about opening a
Speaker 1: window at all. Can you remember any window stuff? I mean,
Speaker 1: people probably look through windows, and maybe there's a scene
Speaker 1: where somebody grabs through a window, but it's not it's
Speaker 1: not the centerpiece of the picture. I don't know that
Speaker 1: any of the don't movies really had that going for it.
Speaker 1: But when a movie's titles say don't go in the basement,
Speaker 1: I feel like that one really works. And if well,
Speaker 1: this is a movie about something horrible going on in
Speaker 1: the basement where horrible things belong. Uh, but don't open
Speaker 1: the window, this seems very broad like, I mean, I
Speaker 1: really just not supposed to open the window. Again. Actually,
Speaker 1: there's one scene where one character, Katie, escapes a zombie
Speaker 1: by jumping out a window. So she obeyed the title
Speaker 1: of that version, she would have been killed by the zombie. Yeah,
Speaker 1: a more fitting title would be don't use ultrasound technology. Yeah, exactly,
Speaker 1: don't trust science, I think would be the correct title here,
Speaker 1: and and in that vein, I'd say, let sleeping corpses lie.
Speaker 1: It's probably the most on track of all these titles
Speaker 1: because it suggests that something is being done to disturb
Speaker 1: the dead, like you're kind of meddling in some way
Speaker 1: that you shouldn't. Ye. So the elevator pitch for this
Speaker 1: one's pretty straightforward. You have youths from the city clashing
Speaker 1: with authority figures and the living dad in rural written. Strangely, though,
Speaker 1: the dichotomy set up in this movie is not an
Speaker 1: alliance of like urbanity with the youth. The youths are
Speaker 1: from the city, but urbanity, I would say, is sort
Speaker 1: of the villain, because that's uh in this nexus of
Speaker 1: evil things that the movie uh were probably grouped together
Speaker 1: like UH cops, UH, cities, science, uh, the government, and
Speaker 1: I guess anything that happens in a big building. And
Speaker 1: big buildings, of course have windows. So let's let's go
Speaker 1: ahead and listen to the trailer for Don't Open the Window.
Speaker 1: A k Let's sleep in corpses live. They tampered with nature,
Speaker 1: Now they must pay the price. See the grotesque invade
Speaker 1: an unsuspecting village, See a hospital, panic when day old
Speaker 1: babies go berserk. See friends turn on each other in
Speaker 1: a nightmare of horror. You'll cringe with terror when you
Speaker 1: see don't open the window. Whatever's out there? Wait read
Speaker 1: it are see. Now you'll think twice about opening that window, right,
Speaker 1: I mean, I wasn't gonna do it before, but now
Speaker 1: I'm really convinced. So before we get going here, you
Speaker 1: you may be wondering, well, where can I find this
Speaker 1: movie under one title or another? Well? I streamed the
Speaker 1: movie on AMC Plus on Amazon under the title The
Speaker 1: Living Dead at Manchester Morgue. Shutter has it as well,
Speaker 1: and you can render by it digitally. But there's also
Speaker 1: a Blu ray release from Signapse Films that features a
Speaker 1: four K restoration and it looks really great, has a
Speaker 1: lot of neat extra features on it. Now we mentioned
Speaker 1: a little bit about the locations. One thing to keep
Speaker 1: in mind with this picture is that parts of it
Speaker 1: are definitely shot. Their locations and exteriors that are definitely
Speaker 1: shot in Britain, and they seem to have have done
Speaker 1: a good enough job where they used just enough of
Speaker 1: it that, at least to my eyes, it feels like
Speaker 1: Britain most of the time, like there are enough establishing
Speaker 1: shots to establish that. Occasionally though, you can tell like, oh,
Speaker 1: well that's this looks a lot more like an Italian
Speaker 1: horror film. The hills look more Italian, uh and uh
Speaker 1: and so yeah, there there are plenty of scenes that
Speaker 1: were actually shot in Italy. Oh. I thought they did
Speaker 1: an excellent job with the scenery. I was fully convinced
Speaker 1: about the English landscape and uh yeah, I have no
Speaker 1: complaints whatsoever about the locations and scenery in this movie.
Speaker 1: In fact, they're they're pretty, they're gorgeous most of the time. Yeah,
Speaker 1: it's it's a really well shot film. So let's go
Speaker 1: ahead and get into the into the folks involved in it. Here,
Speaker 1: we'll start with the director. Uh, this is some Jorge
Speaker 1: Grao who lived nineteen thirty through Spanish director, probably best
Speaker 1: remembered internationally anyway, I'm not sure about in Spain for
Speaker 1: this picture, but was responsible for various romances and thrillers.
Speaker 1: I think he only did three other horror films in
Speaker 1: nineteen seventy three, Countess Bathory film titled The Legend of
Speaker 1: Blood Castle, vy Threes, Violent blood Bath and h Hunting Ground.
Speaker 1: I think those two seventy three films are separate films.
Speaker 1: But but now that I read them out loud, it
Speaker 1: makes me wonder maybe this is the same film. I
Speaker 1: don't know. Oh yeah, the bath Thory Bath Bathing and
Speaker 1: blood thing that I can see that, But I don't know.
Speaker 1: I I don't have the details in front of I
Speaker 1: think it's two separate films, but they sound a lot
Speaker 1: of like title wise, now There are four different names
Speaker 1: that are attributed on the screenplay, two credited to uncredited
Speaker 1: that you find in in a couple of the databases.
Speaker 1: But one of the credited screenwriters is Sandro Continenza, who
Speaker 1: lived um, Italian screenwriter best known for such films as
Speaker 1: nineteen sixty on Valley of the Lions, eight, The Inglorious Bastards, Uh,
Speaker 1: not the Tarantino one later, but Tarantino was drawing on
Speaker 1: that title, n Hercules in the Haunted World and really
Speaker 1: just a long list of thrillers, action movies, horror movies,
Speaker 1: comedies and more. Okay. The other name is credited is
Speaker 1: Marcello Kostia. This is um, an Italian screenwriter dates unknown,
Speaker 1: whose filmography includes work apparently uncredited work on nineteen sixties
Speaker 1: Black Sunday and such films as nineteen seventy seven Yetti
Speaker 1: Giant of the Twentieth Century, which stars Tony Kendall and
Speaker 1: a King Kong sized Yetti. Wait a minute, this nineteen sixties,
Speaker 1: that's the Mario Baba Black Sunday, Right, yeah, yeah, yeah, Oh,
Speaker 1: that's a fantastic horror movie. Yeah. So I don't know
Speaker 1: to what degree, uh the screenwriter actually worked on it.
Speaker 1: But there's at least an uncredited tagging on that. And
Speaker 1: then there are a couple of other Spanish screenwriters who
Speaker 1: are uncredited. There's Miguel Rubio and one Cobos Um. Both
Speaker 1: of those are individuals who are like Rubio did a
Speaker 1: number of Spanish romances, it looks like, and uh Cobos
Speaker 1: did various Western thrillers, etcetera. Now getting into the cast here,
Speaker 1: it apparently depends on where it was released, who got
Speaker 1: top billing and so forth. But uh, the character, and
Speaker 1: I guess she's she's one of our our two main
Speaker 1: characters in this and that is Edna the City Girl,
Speaker 1: played by Christina Galbo. She was born nineteen fifty was
Speaker 1: a Spanish child actor who later worked in various films,
Speaker 1: a number of horror films, but also some dramas in
Speaker 1: there as well. Her credits include the Western from Night Twice,
Speaker 1: a Judas with klaus Kinski, nineteen sixty nine is the
Speaker 1: House That Screamed? N seventy two is What Have You
Speaker 1: Done to Solange? And nine The Killer Must Kill Again? Oh,
Speaker 1: and then also a nine one film titled Sober Natural
Speaker 1: which just looks amazing. It's also known as Return of
Speaker 1: the poulter Geist. Oh, this is the verk Beast movie
Speaker 1: that you shared the cover box and the box art
Speaker 1: with me on. Yeah. Yeah, this is what a Dutch
Speaker 1: VHS cover that I found here. And I have read
Speaker 1: some reviews that say, don't go into this film, uh
Speaker 1: sober natural expectant return of the poulter Geist, expecting to
Speaker 1: get this level of insanity. But it's it's supposedly interesting. Nonetheless,
Speaker 1: I'm sorry it was so funny because the Dutch language
Speaker 1: on the cover you shared with has this like tagline
Speaker 1: that says over Winnen, which I think means like will
Speaker 1: evil prevail? I don't know I haven't seen it. I
Speaker 1: don't know how how it turns out. They might, but
Speaker 1: it's got the work beast standing there, like clutching some
Speaker 1: kind of glowing skull over his crotch. It's yeah, or
Speaker 1: like his belly has a ghost in it or something.
Speaker 1: It's it's very intriguing. Yeah. Um. Anyway, the actor here, Gabbo,
Speaker 1: Christina Gabbo, uh quite good in this. It's, as we'll discuss,
Speaker 1: it's a role that does limit her to a fair
Speaker 1: amount of screaming and being afraid. But you know, so
Speaker 1: it's essentially kind of a scream queen role. But I
Speaker 1: think she's really good in it. I mean, I would
Speaker 1: say that the acting in this movie is good for
Speaker 1: what the movie calls for, which is not very nuanced performances.
Speaker 1: The roles in this movie are painted with a broad brush,
Speaker 1: but in in that capacity, the cast is by and
Speaker 1: large very good. Now our central uh we we kept
Speaker 1: calling him a hippie, but it might be more accurate
Speaker 1: to think of him as a rocker. I don't know.
Speaker 1: There's a lot to dissect there. I've got a note
Speaker 1: on this later in the plot. All Right, we'll get
Speaker 1: we'll get back to this. But this is George. George
Speaker 1: is played by Ray Lovelock, who lived nineteen fifty through seen.
Speaker 1: He was an Italian actor and musician. His father was English,
Speaker 1: his mother was Italian. But I'm still doubtful he's he's
Speaker 1: doing his own English language dubbing in this film because
Speaker 1: it's very I don't know that it's very um um
Speaker 1: over the top, it seemed to me, but I could
Speaker 1: be could be wrong on this. Well, it's it's very
Speaker 1: loaded with the vernacular markers of British English, so it's
Speaker 1: just a lot of a lot, a little you know,
Speaker 1: like I don't know what you call it, a little flourishes,
Speaker 1: like like referring to women as birds and stuff. So
Speaker 1: so I'm not sure on this, and this might be
Speaker 1: his own voice. I think everyone is dubbed in this film.
Speaker 1: I think this is one of those pictures where they
Speaker 1: didn't have um, they weren't actually recording this a sound
Speaker 1: but locally, and then everybody's coming back into dub it.
Speaker 1: But I'm not sure if he's doing his own dubbing
Speaker 1: or not here. But at any rate, even if it's
Speaker 1: just a physical performance, he's still pretty good in this.
Speaker 1: It's ah So. As a musician, he put out a
Speaker 1: number of singles in Italy and Japan in the late
Speaker 1: sixties and then early to mid seventies, and as an actor,
Speaker 1: his credits include sixties sevens Django, Kill If You Live Shoot,
Speaker 1: also Norman Jewison's nineteen seventy one adaptation of Fiddler on
Speaker 1: the Roof. Oh who does he play in in that Fiddler? Um,
Speaker 1: let's see, I have to look it up again. Okay,
Speaker 1: let me look it up. Hold on Oh, Okay, he
Speaker 1: plays He plays uh Fiedka, who is a a Christian
Speaker 1: farmer who is the husband married by the third daughter,
Speaker 1: have a Okay, it's been a I think I saw
Speaker 1: Fiddler on the Roof, this version of it with Toball
Speaker 1: in it when I was a child, But all I
Speaker 1: remember is just some of the singing. I always loved
Speaker 1: Fiddler on the Roof. I think his role in this
Speaker 1: is sad because when hav falls in love with Fieka
Speaker 1: and they want to get married, that this is what
Speaker 1: Teva finally like, won't accept and he says no, no,
Speaker 1: I will not accept it. Is there a scene in
Speaker 1: Fiddler in the Roof where someone plays a fiddle on
Speaker 1: the roof? Yes, okay, that's at the beginning. Yeah, I thought,
Speaker 1: I mean I I had that image in my mind,
Speaker 1: but I was suddenly second guessing myself, Like maybe I
Speaker 1: since I saw it as a kid and I remember
Speaker 1: the title, I would just create the memory of top
Speaker 1: Ball singing on the roof. I need to see it again,
Speaker 1: clearly anyway. There are other pictures that love Luck was in,
Speaker 1: including the nineteen seventy four umberto Lindsay police thriller Almost
Speaker 1: Human and the nineteen seventy five Jallo film Autopsy. Oh
Speaker 1: and he was also in Luccio Folci four musical Murder Rock.
Speaker 1: That's the gory horror musical. Yes, yeah, I I actually
Speaker 1: have a blu ray of it, but I haven't watched
Speaker 1: it yet. Um, So at some point I'll check that
Speaker 1: out and see if it's um if it is something
Speaker 1: for weird house, or if it's something just for me,
Speaker 1: we'll see, Okay, all right. We also have an authority
Speaker 1: figure in this picture, and that is the inspector, who
Speaker 1: is not a rural police inspector like he seems to
Speaker 1: have come in from the city himself because he's staying
Speaker 1: at the hotel. He doesn't have a local residence. But
Speaker 1: this character is played by Arthur Kennedy um not a Brett,
Speaker 1: not an Italian or or a Spanish actor. An American
Speaker 1: actor of stage and screen who won a Tony Award
Speaker 1: for his role in the original production of Arthur Miller's
Speaker 1: Death of a Salesman and was a five time Oscar nominee.
Speaker 1: He worked in a number of Arthur Miller's Broadway plays
Speaker 1: as well, and he was in such major films of
Speaker 1: the forties five teas in sixties as Lawrence of Arabia, Right, Victory,
Speaker 1: Peyton Place, and Champion. He worked a lot in Europe
Speaker 1: later in his career. Uh. This is the second Arthur
Speaker 1: Kennedy movie that we've discussed on Weird House, because it
Speaker 1: was in the human Oid from it was an Italian
Speaker 1: star Wars rip off. Right, Yeah, the one that had
Speaker 1: what's his name in it? Um? Oh, Richard Keel or
Speaker 1: Kyle Keel. Yeah, yeah, yeah, yeah, he plays the the
Speaker 1: titular humanoid, I believe. Yeah, I forgot Arthur Kennedy was
Speaker 1: in that. Well, in this he's just a snarling fascist
Speaker 1: police inspector who has absolutely had it up to here
Speaker 1: with the hippies. And it's it's difficult to figure out
Speaker 1: his accent in this. I was I was, im, I'm guessing, like,
Speaker 1: since the film is supposed to take place near the
Speaker 1: Scottish border in what Cumbria, I was thinking, well, maybe
Speaker 1: he's going for a Scottish accent here. No, to the
Speaker 1: extent that he is attempting an accent, I think he's
Speaker 1: going for Irish, not Scottish. But it's but no, it's
Speaker 1: almost as bad as Kevin Costner in Robin Hood. Uh.
Speaker 1: He just alternating freely between attempting an accent and not
Speaker 1: at all and in the cases where he does actually
Speaker 1: alter his accent, I do think he's trying for Irish,
Speaker 1: but there are plenty of scenes where it's just nothing,
Speaker 1: not even trying. He has a gravelly American voice. I
Speaker 1: guess it's just his natural voice, and he sounds kind
Speaker 1: of like imagine the voice of William Holden, you know,
Speaker 1: kind of gruff, gravelly, um core American accent. And I'd
Speaker 1: say this is what we hear at least half the time. Yeah,
Speaker 1: now trying to figure out the accent itself. Aside, I
Speaker 1: think he is a very convincing screen presence in the film. Like, again,
Speaker 1: not maybe not the most nuanced character of all time here,
Speaker 1: but just as a just as an absolute authority figure
Speaker 1: villain to to menace our our freethinking youths are supposedly
Speaker 1: freethinking youths. I think he's he's pretty great. Like he's
Speaker 1: just bristling and snarling every time he's on the screen,
Speaker 1: Basically every scene, he's just decrying the decadence and filth
Speaker 1: of the young and and saying, why don't we just
Speaker 1: lock them all up? Yeah? Why why can't I abuse
Speaker 1: my power more? If only I could abuse my power? Uh,
Speaker 1: like a few degrees more than we could, we wouldn't
Speaker 1: have any problems at all. Yeah, we'll see some other
Speaker 1: actors in this of note, Janine Mestry plays Katie Katie West.
Speaker 1: This is the sister of the character played by Christina Galbo.
Speaker 1: So this is Edna's sister. Uh. She's a major uh,
Speaker 1: an important character that kind of brings everyone together here.
Speaker 1: But the actor here was born in forty seven, Spanish
Speaker 1: actor whose work seems to lean more historical and more
Speaker 1: into dramas. But she had a small role as a
Speaker 1: vampire woman in Jeff Franco's nineteen seventy Dracula movie that
Speaker 1: had Christopher Lee, Klaskinski and Herbert lom in it. Mm
Speaker 1: hmm quite a cast. I mean you can guess who
Speaker 1: klaus Kinsky played, right, Yes? Wait are you saying not Dracula,
Speaker 1: not drag Christopher Lee's Dracula. Oh klaus Kinsey Rinfield? Yes, yes, okay,
Speaker 1: makes sense all right? And then playing Katie's husband, Martin West,
Speaker 1: who have Jose Lafonte, Spanish actor with two hundred four
Speaker 1: almost at two thousand, two hundred and four varied credits,
Speaker 1: including seven's beaks. The movie is that when you've seen
Speaker 1: what You don't remember us talking about Beaks in the past,
Speaker 1: I don't remind me. I think it came up on
Speaker 1: this show, maybe because a listener UH asked us what
Speaker 1: were the worst films we've ever seen? And I don't
Speaker 1: know exactly how to answer that. Not you know, it's
Speaker 1: hard to put old movies on the same scale. You
Speaker 1: can't consider them all with the same criteria. But I
Speaker 1: think one of the worst times I ever had trying
Speaker 1: to finish watching a movie was Beaks, which is a
Speaker 1: rip off of the Bird, but it was like excruciating.
Speaker 1: It had these high pitched, droning synthesizer sounds that were
Speaker 1: just like needles going into your ears. And pair that
Speaker 1: with overuse of slow motion and you can imagine just
Speaker 1: the nausea and the pain of trying to get to
Speaker 1: the end. This was a Renee Cardona Junior picture too.
Speaker 1: All right, well, now you've been twice warned to avoid Beaks.
Speaker 1: We also have a character that will become important. Guthrie Wilson,
Speaker 1: who is a tramp lives by the river in this
Speaker 1: rural British setting, played by Fernando Hillbeck, who of ninety
Speaker 1: three through two thousand and nine. Um, I thought Hillbeck
Speaker 1: was interesting in this, and maybe it's more in the
Speaker 1: way he was shot, but he almost has kind of
Speaker 1: George Eastman vibes going on here, very intimidating physical presence. Uh.
Speaker 1: He was a Spanish actor, mostly the character actor, who
Speaker 1: did a lot of work in various genres. One of
Speaker 1: his biggest international credits is I believe he plays a
Speaker 1: uh like an evil night or something in Paul Verhoven's
Speaker 1: medieval drama Flesh. I guess it's flesh and blood, but
Speaker 1: it's always flesh plus blood. Um, like it's supposed to
Speaker 1: equal something equals negative fun. Yeah, I guess because I
Speaker 1: don't think it's you never really hear it. Um discussed
Speaker 1: a lot, all right, don't anyway, But anyway, it had
Speaker 1: a great cast, Rudgar Howard, Jennifer Jason Lee, Ronald Lacy,
Speaker 1: Brian James So uh fun cast. I love. I love Verehoven.
Speaker 1: I've never seen. Oh yeah I would. It's on my radar.
Speaker 1: Is something I want to check out at some point,
Speaker 1: like because the Paul Verhoven movies that that I'm familiar,
Speaker 1: most people are familiar, you know, like it's it's it's
Speaker 1: it's it's gonna be the RoboCop. It's gonna be um
Speaker 1: um total recall. It's gonna be like that caliber of film,
Speaker 1: which which is great. I mean, those are are perfect
Speaker 1: films in their own way. But I am curious at times,
Speaker 1: like what what are the predecessors to that? You know,
Speaker 1: what sort of brought him to the international scene, And
Speaker 1: I just haven't seen any of them. All Right, we
Speaker 1: also have this is a minor character, but I don't
Speaker 1: want to mention him because he's kind of I kept
Speaker 1: thinking of him as the discount Peter Cushing in this um.
Speaker 1: Perhaps a lot of this has to do is just
Speaker 1: the shape of his skull and the way he's presented.
Speaker 1: But vincente Vega plays Dr Duffield uh dates unknown on
Speaker 1: the two databases I was looking at, but he's been
Speaker 1: inactive since nineteen so I suspect he may be dead.
Speaker 1: But anyway, the actor himself seems to have fairly had
Speaker 1: had a fairly diverse career, and he acted in various dramas,
Speaker 1: even some Shakespeare. I can see why you would say
Speaker 1: Cushing because they bring him into be the kind of
Speaker 1: thin angular, clinical, semi good guy. Mm hmm. Yeah, kind
Speaker 1: of as a grim demeanor. He he's almost a good
Speaker 1: guy in the movie, but he can't fully be that
Speaker 1: way because he's too closely aligned with science. This is
Speaker 1: a major problem. Yeah, this, this film seems to have
Speaker 1: some some definite opinions about science and it's overreach. Yeah,
Speaker 1: we'll we'll get to that in the plot section. All right,
Speaker 1: it's worth noting that, uh, you know, there are multiple
Speaker 1: individuals that are credited with the makeup and the special effects,
Speaker 1: but gianetto do Rosie Is is credited as makeup artist
Speaker 1: and special optical effects here. He lived one through and
Speaker 1: Rossi was a big name in both Italian and American films,
Speaker 1: with a noted specialty in prosthetic appliances for gory movies. So,
Speaker 1: I mean, this is a zombie movie, so you know
Speaker 1: what that means, scenes in which people have parts of
Speaker 1: their anatomy ripped open or ripped off and eaten by
Speaker 1: bloodthirsty creatures. I am not really a gorehound, you know,
Speaker 1: That's not what I usually come to a movie for.
Speaker 1: But the stuff in this movie is good that there
Speaker 1: are scenes of zombies like pulling people's guts out and
Speaker 1: chowed down on him. And stuff, and it's it's quite convincing. Yeah,
Speaker 1: And I mean everyone's tolerance level for this is gonna vary.
Speaker 1: For my taste level, I felt like they they gave
Speaker 1: us just enough for it to be shocking within the
Speaker 1: context of the film without feeling like the the cameras
Speaker 1: really lingering too long, either on the effects or on
Speaker 1: the like the intended blood and gore itself. Anyway, do
Speaker 1: Rosie's credits are are pretty robust. I mean, they're all
Speaker 1: over the place, and I'm not even I didn't list
Speaker 1: all of them here, and I'm not gonna read all
Speaker 1: the ones I listed. But uh, he worked on The Humanoid,
Speaker 1: which we already referenced. Um, he worked on nineteen eighties
Speaker 1: Cannibal Apocalypse, which we've covered on the show. Um he was.
Speaker 1: He worked on a film I've never seen, but this
Speaker 1: title never fails to make me snicker is nineteen eighties
Speaker 1: Dr Butcher m d uh, which I don't know. I
Speaker 1: just always I'm always intrigued that that there's Dr Butcher
Speaker 1: empty but anyway, um as it well, I liked that
Speaker 1: it's opposed to Dr Butcher like Masters of Education or something. Yeah. Um,
Speaker 1: but yeah, he has also worked on Full Cheese, The
Speaker 1: Beyond House by the Cemetery, which we've also talked about,
Speaker 1: Piranha two and eighty one, Conan the Destroyer. In eighty
Speaker 1: four he did the remember Andre the Giant is in
Speaker 1: that is this like big like statue monster creature? Okay,
Speaker 1: well he was responsible for the monster effects there. He
Speaker 1: worked on four's Dune. He was one of the people
Speaker 1: who brought the Guild Navigator to life. Oh yeah, even
Speaker 1: though the Guild Navigator doesn't really show up in the
Speaker 1: first Dune novel, but they had to get him in
Speaker 1: the Lynch movie. Yeah, there's like, we gotta get get
Speaker 1: him in there, and let's cart him in and it's
Speaker 1: a great scene. I mean, let's say what you will
Speaker 1: about that adaptation of Dune. It's visually enthralling. Anyway. He
Speaker 1: has some other lists that that go on up um
Speaker 1: uh into into subsequent periods of motion picture. Here include
Speaker 1: in two thousand and threes, High Tension, a k A
Speaker 1: Switchblade Romance, which there's a film I enjoyed when it
Speaker 1: came out. I haven't gone back and watched it again.
Speaker 1: It's not a film that really um bears a lot
Speaker 1: of revisiting, but the first viewing is pretty pretty fun,
Speaker 1: and it does have some gross score in it. Sorry,
Speaker 1: I'm just looking at the credits. You're listed from the
Speaker 1: nineties where he did Dragonheart, which just that Sean Connery
Speaker 1: c g I Dragon movie, yeah, oh man. And then
Speaker 1: he did the um he did the U the Conan
Speaker 1: rip off that had Kevin Sorbo from TV's Hercules in it. Yep,
Speaker 1: Cole the Conqueror. Yeah, also the man in the Iron
Speaker 1: Mask in there. So let like I say, he worked
Speaker 1: on a wide variety of pictures from low budget um
Speaker 1: grindhouse fair uh to to maybe even worse stuff than that,
Speaker 1: but then also some big pictures as well. And so
Speaker 1: so any of these films, you know, if you check
Speaker 1: them out, well at least they're gonna have maybe a
Speaker 1: an in resting gut ripped sequence in them or something
Speaker 1: a neat monster effect that sort of thing. Finally, the
Speaker 1: music on this one, I was really enthralled by this.
Speaker 1: This film has has really nice sound design and really
Speaker 1: nice music, and the credited musician here is Giuliano Sorghini.
Speaker 1: Dates I couldn't find the dates for him. I think
Speaker 1: he's still around though. Uh. Italian composer and keyboardists whose
Speaker 1: work in this film is really good. In my opinion,
Speaker 1: it's very creepy and unsettling, definitely electronic. Uh. This was
Speaker 1: his first score, and I don't know, it's kind of
Speaker 1: all downhill from here in terms of the film quality,
Speaker 1: of the quality of the films he was attached to.
Speaker 1: I'm not even gonna list all of these because some
Speaker 1: of these are really skiezy. But uh. He followed this
Speaker 1: up within the scores for a number of Spanish exploitation
Speaker 1: films of the nineties seventies. Some real trash in there,
Speaker 1: some of it just notoriously so. But the score for
Speaker 1: let Sleeping corpses Lie has been released on various formats
Speaker 1: a number of times, and his non film work is
Speaker 1: also available on streaming sides. Over the weekend, I was
Speaker 1: listening to of streaming a record titled Um Occulto and
Speaker 1: it is supposed to be I believe ten unreleased tracks
Speaker 1: from his archives. So stuff that he was, he was
Speaker 1: he was putting together and composing in the nineteen seventies
Speaker 1: four film that just wasn't used, and it's it's really
Speaker 1: good stuff if you if you like, uh like nineteen
Speaker 1: seventies cinemas, seventh and and the kind of stuff that
Speaker 1: would show up on a Spanish or Italian horror picture. Uh.
Speaker 1: Then this is right up your alley. I've been meaning
Speaker 1: to listen to it. I haven't gotten to it yet,
Speaker 1: but but I I believe you. Well, I just have
Speaker 1: to say this. If you do listen to it, Joe,
Speaker 1: make sure the windows are shut. Okay you want to go,
Speaker 1: don't open the window. Well? Should we let sleeping corpses
Speaker 1: lie here and just call it an episode? Or should
Speaker 1: we get into the plot of this And I think
Speaker 1: we should disturb the corpses? Yes? Um, okay, So uh
Speaker 1: let's see. The movie opens strangely quiet. We we come
Speaker 1: up cold, no credits yet, in an art shop full
Speaker 1: of pieces both old and new. And we've got this handsome, bearded, blonde,
Speaker 1: slightly Robert Redford ish looking guy who's closing up. I
Speaker 1: don't know, maybe he somewhere between Redford kind of a
Speaker 1: bearded young Mark Hamill. Uh. Then again, the hair beard
Speaker 1: combination also kept making me think of Kurt Russell, though
Speaker 1: he doesn't really look like him at all in the face.
Speaker 1: But this is George, this is Ray Lovelock. And he
Speaker 1: will be I guess, one of our two protagonists. So
Speaker 1: we see him getting ready to leave the store. I
Speaker 1: guess he's the shopkeeper, and uh, you know, we're painting
Speaker 1: around seeing all the stuff. The store has everything from
Speaker 1: antique fertility statues to cubist paintings of fish and uh
Speaker 1: and I just noticed when looking back, it goes by
Speaker 1: very fast. But Rob, did you notice there is a
Speaker 1: telephone on the desk and then a clay statue of
Speaker 1: a telephone sitting right across from it. Look at this.
Speaker 1: I did not notice this during my viewing of the film,
Speaker 1: but yeah, there's no denying it. What is that for?
Speaker 1: I don't know, it's it's um. One gets the impression
Speaker 1: that these are pieces of art from cultures around the world.
Speaker 1: So maybe this is just a mimicry of a of
Speaker 1: a telephone from some culture, the traditional art of Manchester. Uh,
Speaker 1: maybe it's the first telephone. I don't know. Yeah, So
Speaker 1: George gets one, gets this ancient looking fertility statue and
Speaker 1: he stashes it in his bag. As he's heading out
Speaker 1: the door, he leaves a sign up says closed for
Speaker 1: the holidays. And then I thought this was funny. We
Speaker 1: get like an extreme close up of the guts of
Speaker 1: this guy's motorcycle as he is driving away. You know,
Speaker 1: the camera's right up in the gears and stuff. Now,
Speaker 1: did you get the impression that he was just a
Speaker 1: shopkeeper at this store or that he owned the store?
Speaker 1: And in either case, does he have a right to
Speaker 1: shove the stuff in a bag and take off for
Speaker 1: the country. That's a good question. I could not tell
Speaker 1: that it was ever answered in the film. Whether he's
Speaker 1: taking the statue because it belongs to him and he
Speaker 1: plans to sell it, uh, and that's fine, or if
Speaker 1: he's stealing it. Yeah, I'm not sure. His stories about
Speaker 1: why he's going into the countryside are also hard for
Speaker 1: me to figure out, because at one point kind of
Speaker 1: like yeah, yeah, they changed, but he's saying, oh, I'm
Speaker 1: meeting some people to fix up a house. We never
Speaker 1: hear anything else about that. And then it's also said
Speaker 1: that he's taking these things to sell them somewhere in
Speaker 1: the countryside, and I'm not sure about that either. This
Speaker 1: is never resolved. Yeah, so in retrospect, I'm a little
Speaker 1: suspicious of George. After he leaves the shop, we get
Speaker 1: a slow zoom shot through through the space where we
Speaker 1: see more pieces from the collection while these ominous droning
Speaker 1: sounds and these little like hollow hoots and crackles play
Speaker 1: on the soundtrack, and you see a Caesar head and
Speaker 1: the Holy Grail and then a painting that looks a
Speaker 1: lot like the poster for Apocalypse. Now did you notice that? Yeah, yeah,
Speaker 1: I know that you pointed out. But right from the beginning,
Speaker 1: one thing I love about this movie is the spooky
Speaker 1: sound design. It's not just the music. There's a lot
Speaker 1: of just to kind of i don't know, ambient atmospheric
Speaker 1: sound effects, kind of droning and worrying, as if from
Speaker 1: distant machines or things coming from underground, and these kind
Speaker 1: of uh drips and echoing sounds that that create an
Speaker 1: ominous feeling, and it's very good stuff. Yeah, yeah, you
Speaker 1: get that feeling of dread even before anything starts dripping blood.
Speaker 1: But then suddenly there's green rings a zooming in through
Speaker 1: the screen and we see red eyes on pale faces,
Speaker 1: and then a title card that looks straight out of
Speaker 1: a power point presentation. It says the Living Dead at
Speaker 1: the Manchester Morgue. And I'm gonna say this title just
Speaker 1: does not look like it fits the rest of the movie.
Speaker 1: It feels kind of inserted hastily. Yeah, if we had
Speaker 1: more time, it would be interesting to look at other
Speaker 1: additional title cards for this picture and let's see which
Speaker 1: once felt the most authentic. But the this one feels
Speaker 1: very spliced in anyway. We follow the shopkeeper on his
Speaker 1: motorcycle and he's buzzing down the city streets in busy traffic.
Speaker 1: We see roundabouts, double decker buses. I was trying to
Speaker 1: pause it and see what the signs on the buses said.
Speaker 1: One said next stop Magnet Building Society, and I tried
Speaker 1: to look that up and didn't find much. I think
Speaker 1: it might be like a name for an old construction firm.
Speaker 1: But anyway, I was wondering, what is this supposed to
Speaker 1: be Manchester? Because there are later comments that make me
Speaker 1: wonder if it's supposed to be London, because somebody's saying, oh,
Speaker 1: the way you're dressed, you must have come up from London. Yeah,
Speaker 1: I I noticed that as well. I think this that
Speaker 1: they did shoot these scenes in Manchester, so that leans
Speaker 1: one to interpret it as Manchester, but who knows. Again,
Speaker 1: this was not a British film, but an Italian Spanish
Speaker 1: co production. Uh. So, even if it creates a convincing
Speaker 1: vision of life and unlife in Britain, uh, it's still
Speaker 1: like from the outside looking in, so George's drive being
Speaker 1: around on the motorcycle. But then we see some bits
Speaker 1: of green English countryside, but then that inter cuts back
Speaker 1: with smoke stacks, heavy industry. We see a man in
Speaker 1: a trench code weaving his way through the rush hour crowd,
Speaker 1: wearing a surgical mask, and they're actually a number of
Speaker 1: images of people wearing masks or scarves over their faces.
Speaker 1: I wondered if this is supposed to be about like
Speaker 1: air pollution, because there are a lot of images coming
Speaker 1: really fast in this sequence, and a lot of them
Speaker 1: seem to me to be highlighting some kind of pollution
Speaker 1: or chemical themes. We see vapor coming out of pipes,
Speaker 1: steam rising from the sewer, nuclear cooling towers. We see
Speaker 1: paper waste and just litter blowing through a graveyard. We
Speaker 1: see dead rats and the gutters, and then there's one uh,
Speaker 1: we just see a guy taking pills. They just they're
Speaker 1: really shoehorn in it all in there, like look at
Speaker 1: the modern world. Manchester is a city of just absolute
Speaker 1: urban decay, right, I mean it's just like like lots
Speaker 1: of just like black metal things around, like like industrial
Speaker 1: um buildings where everything is just so grimy. Yeah, so pollution,
Speaker 1: a guy sticking pills, and then there's a streaker. I
Speaker 1: kept expecting to find out what this meant later, but
Speaker 1: it's never revisited in the movie. There is just randomly
Speaker 1: a streaker running through a cross walk while cars and
Speaker 1: busses wait at the light. Yeah. I mean, on one level,
Speaker 1: we can definitely interpret this is just pure seventies tittilation
Speaker 1: in a way to make sure that people kept watching
Speaker 1: the movie at this time period in this time period,
Speaker 1: But within the context of the film, I think maybe
Speaker 1: it's supposed to let us know that that urban England
Speaker 1: is also a place of sort of gleeful liberation. That yeah,
Speaker 1: it's polluted and gross and people are wearing masks, but also, hey,
Speaker 1: here's a naked lady running across the street. Okay, I
Speaker 1: guess so I did not know what to make of that. Um,
Speaker 1: So George makes it out of the city's riding his
Speaker 1: motorcycle through the countryside, and I guess here maybe is
Speaker 1: a good place to come back to. This flag we
Speaker 1: raised earlier about what George is supposed to be, like,
Speaker 1: what subculture or cultural stereotype are we supposed to understand
Speaker 1: George as belonging to, Because, as we will find out later,
Speaker 1: the movie is establishing a clear divide, with George on
Speaker 1: the one side of it and the Man on the
Speaker 1: other side, and George is supposed to stand in for
Speaker 1: counterculture youth rebellion in some way. The police inspector character,
Speaker 1: who is our main representative of the man, obviously hates
Speaker 1: hippies in particular, which would seem to indicate that that's
Speaker 1: what George is supposed to be because they clash. But
Speaker 1: then again, this is nineteen seventy four, so it's a
Speaker 1: little late for your your classic movement hippie, and George
Speaker 1: doesn't exactly read to me as hippie anyway. He has
Speaker 1: long hair, yes, but he doesn't display other hippie visual
Speaker 1: cues or loathing, nor any traces of like a make
Speaker 1: love not war kind of personality. Instead, he is just
Speaker 1: a he's more just kind of like a middle finger
Speaker 1: to the world kind of guy. He is a disagreeable, acerbic, sexist,
Speaker 1: leather clad, motorcycle driving jerk. I don't. So what's your
Speaker 1: take on this? Do you think he's supposed Is it
Speaker 1: just kind of like, is this what the people who
Speaker 1: used to be hippies or thought to have sort of
Speaker 1: turned into by nine four? Yeah? So yeah, so on
Speaker 1: one level, obviously, when we think of British biker gangs
Speaker 1: and uh in motorcycles, we instantly think of of Psychomania
Speaker 1: and which would have just been seventy three, so basically
Speaker 1: the same time period. He does not feel like he
Speaker 1: would this character would fit in with the living Dead
Speaker 1: motorcycle gang of Psychomania, though, Oh you don't think so.
Speaker 1: I kind of feel like maybe he could be in Psychomania.
Speaker 1: I don't know. I don't know. I don't think he could.
Speaker 1: He get it, he didn't care in off, I don't
Speaker 1: think this guy cares about anything as much as the
Speaker 1: crew in Psychomania cares about killing themselves and living forever.
Speaker 1: That's right. The Psychomania, you've gotta be really dedicated to
Speaker 1: mayhem and destruction, and George isn'thing like that. He more
Speaker 1: just like hates authority and hates institutions and just doesn't
Speaker 1: want to be hassled. I think, yeah, I was looking
Speaker 1: poking around a little on this because I was thinking, well,
Speaker 1: I guess maybe he is technically this sort of British
Speaker 1: biker stereotype of the day, the rocker, not a mod
Speaker 1: but a rocker. And it does seem like motorcycle culture
Speaker 1: in Britain from from what I was looking at, like
Speaker 1: you have kind of this earlier version of it, where
Speaker 1: it was it was seen as quite quite quite this
Speaker 1: independent and refined thing for you to do, like nice
Speaker 1: people ride motorcycles around the British countryside. But then you
Speaker 1: get kind of this influx of of sort of the
Speaker 1: the American motorcycle gang culture, and then you get kind
Speaker 1: of like, uh so the hippie culture or also affects it,
Speaker 1: and so you kind of get this rocker um version
Speaker 1: of the rocker uh stereotype, this rocker subculture that I
Speaker 1: guess George is supposed to be a part of. That's
Speaker 1: my best bet. I should also add that as of now,
Speaker 1: I have not seen a British biker film that doesn't
Speaker 1: have a zombie in it or a living dead creature
Speaker 1: of one form or another. So this is something that
Speaker 1: this is a question that might also be answered by
Speaker 1: just broader exposure to say, biking films of the nineteen
Speaker 1: seventies that are set in Britain. Now, wait, I thought
Speaker 1: we determined that the undead gang in uh in Psychomania,
Speaker 1: we're not zombies but liches or something like that. Yeah,
Speaker 1: they're more like liches for sure, Okay, undead, but but
Speaker 1: not zombies. Okay. But to come back from that tangent,
Speaker 1: George whatever he is, hippie rocker whatever. He comes up
Speaker 1: to a stop at a full service gas station where
Speaker 1: there's a lady parked in front, parked in front of him,
Speaker 1: and she's getting some petrol and he says, give us
Speaker 1: a fill up, and he runs over to get some
Speaker 1: sweet treats from the pascal stand. Uh. And I was
Speaker 1: just looking. I love kind of pausing in old movies
Speaker 1: to look at all the I don't know, the the
Speaker 1: ephemeral ads and stuff in the windows. And there was
Speaker 1: one thing I found here that was a a pin
Speaker 1: that said it's hanging in the windows of the gas station.
Speaker 1: It says blow up a groundhog today. And I was like,
Speaker 1: what is this But it looks like it was a
Speaker 1: promotional pin for a type of British tires called groundhog tires. Yeah,
Speaker 1: There are a number of fun moments in this when
Speaker 1: they're poking around stores or they're at gas stations that
Speaker 1: occasionally there'll be some some logo or cartoon character that
Speaker 1: catch my eye. There's a pink one that shows up later.
Speaker 1: There's like a pink elephant looking creature. Oh, I didn't
Speaker 1: I didn't see that one. There's something like paraffin or
Speaker 1: but not paraffin. Oh it is this what George is
Speaker 1: going to use later to light his axe on fire.
Speaker 1: I don't think so. I don't remember it it actually
Speaker 1: playing out a part in the plot. It was just
Speaker 1: me noticing it on a shelf and thinking it was cool.
Speaker 1: All right. Well, as George is just getting ready to leave,
Speaker 1: the lady in front of him backs up. Her car
Speaker 1: crashes into his motorcycle rexit destroys his front tire. She
Speaker 1: gets outd and says, I'm so sorry. I must be
Speaker 1: a little tired, and uh, well, his bike is all
Speaker 1: busted up and the mechanics says it can't be fixed
Speaker 1: until Monday. So George just insists that the lady give
Speaker 1: him a ride to where he's going, which is Windermere,
Speaker 1: which is the name of a lake, and I guess
Speaker 1: probably the area around the lake in northern England. Yeah.
Speaker 1: He's not very easy going, like that's established pretty early on.
Speaker 1: This guy is fussy and bossy and self centered. Um
Speaker 1: and uh it's not all that agreeable. Yeah. He says, like,
Speaker 1: you'll take me where I'm going is the least you
Speaker 1: can do? And then he she's just like, well, I
Speaker 1: guess and then he says, I'll drive. I mean we
Speaker 1: don't want to go all the way and reverst do we?
Speaker 1: The vibes are instantly weird. Yeah uh and uh. Then
Speaker 1: she goes, actually, you'll be doing me a favor because
Speaker 1: I have driven all the way from London and I'm
Speaker 1: a little tired. And he just says, then go to sleep,
Speaker 1: and he gets in the driver's seat and they drive off,
Speaker 1: driving a car, by the way, the approximate size and
Speaker 1: shape of a Galapagos tortoise. Yeah. Um, and there there's
Speaker 1: so there's a lot a little like character color while
Speaker 1: they're driving along. At one point, the lady goes to
Speaker 1: light up a cigarette and he just like yoinks it
Speaker 1: out of her mouth and takes it for himself. And
Speaker 1: they introduced themselves. We find out his name is George.
Speaker 1: She introduces herself as Edna and he goes, you look
Speaker 1: a little like an Edna. So I kept thinking of
Speaker 1: her as Edna for the rest of the film. But
Speaker 1: we learned about Edna's mission. She's up from London to
Speaker 1: visit her sister who has a cottage at Southgate, and
Speaker 1: while they're driving along, the dude starts getting mad at
Speaker 1: the radio because there is a report on there where
Speaker 1: scientists are talking about how ecological problems are exaggerated and
Speaker 1: there's no reason to get worked up about them, and
Speaker 1: he gets very mad at this. He says to Edna,
Speaker 1: he's like, when we all die, only the scientists will survive. Yeah.
Speaker 1: I was kind of taken aback that this movie would
Speaker 1: would draw this. You know, obviously it's going to draw
Speaker 1: a line between the rebellious youths of the day and
Speaker 1: the aged establishment at the police and so forth. But
Speaker 1: they just go ahead and heap science in with the
Speaker 1: man as well. Yeah, and this is not unique to
Speaker 1: this film, and this movie is sort of one of
Speaker 1: a type. There are other horror movies of this period
Speaker 1: that have this kind of I would say it's a shallow,
Speaker 1: anti intellectual view of science that doesn't really understand what
Speaker 1: science is or what it means. Uh. And unfortunately there's
Speaker 1: still plenty of this thinking in the world today, but
Speaker 1: it sort of thinks of science not as a word
Speaker 1: that refers to like the totality of the human effort
Speaker 1: to understand the world through empirical method and rigorous experimentation,
Speaker 1: but instead to refer to a cabal of wicked old
Speaker 1: men who want to do unnatural things with chemicals and radiation. Yeah.
Speaker 1: And in a way, this this hearkens back to the
Speaker 1: mad scientists of of older films. But this is definitely
Speaker 1: a period we saw and we've talked about some of
Speaker 1: these ecological horror films. Sometimes it's it's it's the ecological
Speaker 1: horror going on. Is pollution or uh, you know, it's chemical,
Speaker 1: or it's it's certainly radiation. Uh. And then sometimes it's
Speaker 1: it's it's very distant, it doesn't have a face, it
Speaker 1: doesn't have a mad scientist at the center of it.
Speaker 1: There's more of the sense of bureaucracy to it. Yeah,
Speaker 1: and this movie, I would say it's more like that,
Speaker 1: like we don't even know the person who invented the
Speaker 1: machine in this movie. That will that will raise the dead.
Speaker 1: We only see some kind of low level functionaries bringing
Speaker 1: it out to the field to implement it. Yeah, and
Speaker 1: when we see it, it looks nice. It doesn't look
Speaker 1: particularly particularly suspect um, but it is modern and shiny
Speaker 1: and uh and ultimately poses a threat. Yeah. But but again, like,
Speaker 1: I think it's funny that the radio broadcast here in
Speaker 1: the movie is used specifically to introduce us to scientists,
Speaker 1: as like the voices who tell people not to worry
Speaker 1: about ecological problems or pollution and just ignore it. The
Speaker 1: irony being that in reality, like if you know about
Speaker 1: ecological threats like I don't know, like how did we
Speaker 1: find out about ozone depletion, or like the human health
Speaker 1: effects of environment lead from gasoline and other sources. Here,
Speaker 1: it's all like paved over. Like I guess if if
Speaker 1: George in this movie met Claire Cameron Patterson, he would
Speaker 1: like call him a twisted old geezer and punch him
Speaker 1: in the face. Uh. But it's like, you know, we
Speaker 1: are often made aware of these ecological threats specifically because
Speaker 1: of the work of scientists. Anyway, get off the hobby horse. Uh.
Speaker 1: So back on the journey, there is a really funny
Speaker 1: scene where they get stuck behind a City of Manchester
Speaker 1: mortuary truck and they're weaving back and forth wildly. George's driving,
Speaker 1: of course, and he performs a hideously reckless passing maneuver,
Speaker 1: like driving off into the grass. I guess this is
Speaker 1: the show. He's like, he's cool and he doesn't play
Speaker 1: by the rules. And so they're going to Windermere. George
Speaker 1: says it's because he has a house there. Again, his
Speaker 1: story kind of keeps changing, but he says he has
Speaker 1: a house in the country. He says it's away from
Speaker 1: industry in city life, and he likes to sit there
Speaker 1: and be natural and listen to the grass grow. But
Speaker 1: this leads to an argument because Edna needs to go
Speaker 1: to Southgate to to meet her sister to go to
Speaker 1: her cottage. So they argue, and then eventually they decide, okay,
Speaker 1: he'll take her to Southgate. And here is they're going through.
Speaker 1: There is absolutely marvelous scenery. I love the locations picked out.
Speaker 1: I assume most of these are in Britain because they
Speaker 1: look like Britain. I don't know if some of them
Speaker 1: were actually Italian. But for example, they come across Uh,
Speaker 1: this kind of craggy relic of an abbey or something
Speaker 1: on these green cliffs overlooking a road down at the
Speaker 1: bottom of the ravine. Uh. And I was wondering. I
Speaker 1: think some parts of this movie were shot at Tintagel,
Speaker 1: which is like a medieval Cornish fortress down in the
Speaker 1: southwest of England, and it might have been this sequence,
Speaker 1: but I'm not sure. But yeah, there are number of
Speaker 1: sequences here where it's like lush green landscape surrounding them
Speaker 1: and these winding isolated roads and uh. And it's quite beautiful.
Speaker 1: But of course the film score, the sound effects that
Speaker 1: we hear the droning begins to uh make as suspect
Speaker 1: that there's something else going on here. There's something underneath
Speaker 1: the surface of all of this natural beauty. Yes, certainly. Uh.
Speaker 1: Now they get lost, of course, So they got to
Speaker 1: ask for directions at a nearby farm. And there's a
Speaker 1: scene where George he's gonna go ask for directions, so
Speaker 1: he leaves Edna in the car, and it looks like
Speaker 1: he has to like cross a stream and climb a
Speaker 1: mountain to get to a farm where he's going to
Speaker 1: ask for directions. It looks like it is a it
Speaker 1: is a ways. Uh oh, and he takes the car
Speaker 1: keys with him because he's just again, he's just gonna
Speaker 1: be in a jerk. Uh. And Edna has left behind
Speaker 1: to smoke a cigarette. And I'm sure get into no
Speaker 1: trouble whatsoever. But at the farm, George goes out. He's
Speaker 1: looking around. The place seems kind of deserted, and I
Speaker 1: love the eerie feeling conjured here. There are chickens clucking
Speaker 1: in the distance, but nobody in sight until a weird
Speaker 1: droning sound comes in and George looks up up through
Speaker 1: the fields up the hill and sees a strange red
Speaker 1: vehicle with what looked like people in white lab coats
Speaker 1: or I guess they're in white full body jumpsuits. And
Speaker 1: so next we jump to them. We're going to meet
Speaker 1: them and see what's going on here. The vehicle they're
Speaker 1: working from says that it is the Midland Area Agricultural
Speaker 1: Department Experimental Section. These guys will be a recurring theme
Speaker 1: in the movie, Rob. Do you want to describe what's
Speaker 1: going on with the agg Department scientists? Yeah, we have
Speaker 1: a couple of gentlemen here in these white jump suits. Uh.
Speaker 1: And I want to say not your space age jump suit.
Speaker 1: They look very you know, blue collar in many respects,
Speaker 1: and the individuals act very uh. You know, they're very
Speaker 1: laid back about it. They're not, they're not. They're happy
Speaker 1: to talk about their work to a random dude who
Speaker 1: just walked up across the field. Uh. And yeah, they're
Speaker 1: They have this big red um vehicle that, you know,
Speaker 1: they're very much looks like some sort of like a
Speaker 1: combine type vehicle, except you don't see any any traditional
Speaker 1: agricultural tools on it. So that instantly makes you wonder, like,
Speaker 1: what does it do? It doesn't have, um, it doesn't
Speaker 1: have a combine on, it doesn't have any kind of
Speaker 1: like a plow attached to it. And then one of
Speaker 1: the dudes is walking around with some sort of scanning device.
Speaker 1: It kind of looks kind of like a metal detector
Speaker 1: type thing, except with some added dude ads on it. Uh,
Speaker 1: clearly monitoring something going on in the soil. Yes, it
Speaker 1: looks like a big sci fi weed whacker. Uh. And
Speaker 1: so he's holding it there and George comes walking up
Speaker 1: to everybody and he's like, hey, tell me how to
Speaker 1: get to the Madison place. But they're like, wait a second, Um, now,
Speaker 1: and the scientist is show or at least the I
Speaker 1: don't know if these are supposed to be scientists or
Speaker 1: just the guys who work for the scientists, I'm not sure,
Speaker 1: but they they they're showing the farmer how to use
Speaker 1: this metal weed whacker thing to do something to either
Speaker 1: scan something or emit raise or something. And George goes, oh,
Speaker 1: what is that thing? And uh? And they explain, or
Speaker 1: the farmer does, that it's supposed to destroy insects and parasites.
Speaker 1: He says it was simply the Department of Agriculture. And
Speaker 1: then George goes, oh, I'd send it right back where
Speaker 1: it came from and keep the insects and parasites nature
Speaker 1: has given you. And so they argue about it. They say, no,
Speaker 1: hold on, now, it's they make excuses for it. They're like,
Speaker 1: it works by ultrasonic radiation, not a chemical involved. Love
Speaker 1: that no chemicals. Uh. And then they also explained that
Speaker 1: it is progress. But meanwhile, so George is trying to
Speaker 1: get directions from the farmer to the place they're going,
Speaker 1: and then we see the agg department guys in the
Speaker 1: background like they're going like, all right, Bernard, let's give
Speaker 1: it another bash at the main rotator. Yeah, they're they're
Speaker 1: good nature trusting technicians of this machine ray that they've
Speaker 1: been sent out to test. Yeah, I think so. Now,
Speaker 1: I don't think it's much of a spoiler to go
Speaker 1: ahead and reveal. Yeah, this is definitely the science running
Speaker 1: buck that will raise the living dead later on in
Speaker 1: the picture. And I do love the localized nature of
Speaker 1: the premise here, and I think the specivity of it
Speaker 1: works well with the themes here. Our main character will
Speaker 1: of course put one and two together in time and
Speaker 1: realize that we know what is causing the deep ecological
Speaker 1: unrest here, and we know exactly what we need to
Speaker 1: do to stop it. But is the establishment going to
Speaker 1: let him? Is the man going to let him? Or
Speaker 1: they just gonna accuse him of everything? Well, no, because
Speaker 1: they are allied with science, and as we know, science
Speaker 1: is evil and all it wants to do is do
Speaker 1: unnatural experiments and cause pain and suffering. I you like
Speaker 1: so again you have a very specific origin for the
Speaker 1: zombie minutes that's gonna come, And I like that it's
Speaker 1: not the old standby of radiation, it's not chemical waste.
Speaker 1: Maybe it's a little early for chemical waste. Cinema, I'm
Speaker 1: not sure. Electricity is often a frequent pick as well,
Speaker 1: even in pictures from this time period. You get they
Speaker 1: get some get some electricity leaching into the ground, and
Speaker 1: watch out, earthworms that're gonna come for you. But this
Speaker 1: one is this is a picture that involves ultrasound as
Speaker 1: being the source of the unrest, and I'm struggling to
Speaker 1: think of another ultrasound eco horror film. I'm sure such
Speaker 1: a thing exists, but I can't think of it. But
Speaker 1: I also think it's funny that they can't just call
Speaker 1: it ultrasound because I think that doesn't sound scary enough,
Speaker 1: so they call it an ultra sonic radiation. Oh well yeah,
Speaker 1: and then you do get to invoke radiation uh in
Speaker 1: in the in the picture as well, So yeah, yeah,
Speaker 1: But anyway, so you know, they're giving another bash at
Speaker 1: the oscillator, and then there is this ominous humming and
Speaker 1: worrying as the machine spins up and again. As I
Speaker 1: mentioned earlier, the sound design is very nice and a
Speaker 1: lot of the scary scenes in this movie there are
Speaker 1: these various types of eerie, throbbing, hooting sounds that seem
Speaker 1: to come from nowhere or from everywhere, very effective. Meanwhile,
Speaker 1: back down at the car, we're we're here with Edna
Speaker 1: or Edna, and here's our first zombie attack. It kind
Speaker 1: of comes out of nowhere. She's just standing there in
Speaker 1: the road. And then there is and so there's a
Speaker 1: nice beautiful stream going by. And again I want to
Speaker 1: emphasize that the location here is gorgeous. So every uh
Speaker 1: you know, it's like this green, verdant valley with the
Speaker 1: with trees running along the side of the stream and
Speaker 1: an old uh you know, stone walled cemetery. And then
Speaker 1: we see suddenly a man just sort of like walking
Speaker 1: into frame in the cemetery and we get a close
Speaker 1: up of him and the pupils of his eyes are
Speaker 1: not round there, star shaped, and they're set against red irises,
Speaker 1: and uh oh, he's coming for Edna. It's very creepy looking.
Speaker 1: I think, extremely good zombie design. I think so too. Yeah,
Speaker 1: the zombies in this picture are not greatly decayed. This
Speaker 1: is not going to be a real um. What we
Speaker 1: might think of today is kind of like you know,
Speaker 1: the the the walking dead sort of zombie that's that's
Speaker 1: heavily rotted. Uh And that these contacts are nice. They
Speaker 1: give them this nice um other worldliness to them. And
Speaker 1: also the zombies I think they're just they're shot well,
Speaker 1: they presented well. Uh, it can be a challenge, evidently
Speaker 1: you can see this in some of the lesser zombie
Speaker 1: pictures out there. How do you make a man stumbling
Speaker 1: around or even lunging, uh, you know, incoherently? How do
Speaker 1: you make that that frightening to people who have all
Speaker 1: their wits about them? How do you make them a surprise?
Speaker 1: How do you make them feel terrifying? And uh? This
Speaker 1: picture you know uses a number of different tools to
Speaker 1: really get that across. Uh. Not only you know, a
Speaker 1: distance and angle at the shot, but but again that
Speaker 1: that that sound design which just seems to you know,
Speaker 1: to resonate and and also invoked this idea of like
Speaker 1: sound waves. Yes, and hey, I want to be really
Speaker 1: I want to be fair to the people who called
Speaker 1: this movie don't open the window. There is a part
Speaker 1: here where and that tries to hide in the car,
Speaker 1: and the zombie reaches through the window at her. So okay,
Speaker 1: I stand corrected. There there is a window and the
Speaker 1: zombie tries to come through it, but it's a car window,
Speaker 1: which is not what you think of when you hear
Speaker 1: don't open the window. Yeah. Yeah, this was gonna be
Speaker 1: the inspiration for the picture they just got Don't hide
Speaker 1: in the car. Yeah anyway, and escapes. She meets up
Speaker 1: with George and the farmer. She tries to explain what happened.
Speaker 1: She says, that man, he's following me, he tried to
Speaker 1: attack me. But George looks down there, there's no one there.
Speaker 1: They just see, you know, the peaceful little ravine, the
Speaker 1: stream going along, And it seems like George doesn't believe her.
Speaker 1: He's like, are you certain? And uh. The farmer here's
Speaker 1: the description she gives it says it sounds like she's
Speaker 1: describing three the tramp who used to sleep down by
Speaker 1: the river, but he drowned recently, so it probably wasn't him.
Speaker 1: And then from here we go on to meet some
Speaker 1: more characters. We meet Edna's sister, Katie, the one who
Speaker 1: she's going to visit, and Katie's husband Martin, who together
Speaker 1: live in a rustic country cottage with a waterfall in
Speaker 1: the yard. This is a nice piece of land. And
Speaker 1: Martin seems to be like an artist and a photographer,
Speaker 1: and we learned that Katie has been addicted to heroin
Speaker 1: she has she's been addicted, and Martin is trying to
Speaker 1: help her quit, but she like secretly uses the drug
Speaker 1: when he's not looking. Yeah. I don't know where she's
Speaker 1: getting her drug out here in the middle of nowhere,
Speaker 1: but but we we see her with it, so she
Speaker 1: does have some. She's stashing it away and trying to
Speaker 1: get to it in secret. Right, And like I said,
Speaker 1: Martin is a photographer, and his particular art photography seems
Speaker 1: to revolve in large part around taking photographs of flowers
Speaker 1: at night with stupendous artificial lighting. So it looks interesting
Speaker 1: in the picture unless you stop to wonder, like, what's
Speaker 1: going on here? Is is all the artificial lighting we're
Speaker 1: seeing in this shot? Is this supposed to be his
Speaker 1: artificial lighting? Or is this movie lighting just to make
Speaker 1: it things look cool? Uh? It was kind of hard
Speaker 1: to figure out what they were going for here. Did
Speaker 1: you show Bonnie the scene? Did she have thoughts? I
Speaker 1: didn't show her this particular scene. Um, I mean, so,
Speaker 1: I don't know. Maybe I'm wrong, but it seems like
Speaker 1: this guy's going to a lot of trouble to to
Speaker 1: shoot these flowers, Like shouldn't he be. If he wants
Speaker 1: to control the lighting so much, he should just shoot
Speaker 1: them indoors in the studio and he's gonna shoot him outside.
Speaker 1: He should make use of natural lighting. But who am
Speaker 1: I to tell Martin how to how to follow his dreams? Here? Yeah? Okay,
Speaker 1: so Martin is kind of strange looking. Would you say?
Speaker 1: He's got sort of a bird of prey face with
Speaker 1: like metal heavy eyebrows. And whenever I see if it's
Speaker 1: a zombie movie and they introduce a human character who
Speaker 1: is visually striking in this way, I often wonder if
Speaker 1: this person was cast first of all, with an eye
Speaker 1: for what he will look like once he inevitably gets zombified. Uh,
Speaker 1: and then rather than being cast for the part of
Speaker 1: the movie where he's a living human with lines and
Speaker 1: not saying he's bad in the part where he has lines.
Speaker 1: But I just look at this guy and I think, Okay,
Speaker 1: they wanted him as a zombie, and they will get
Speaker 1: him as a zombie. Oh. Absolutely, he'll spend most of
Speaker 1: his screen time as a zombie. But but first you
Speaker 1: gotta make him believable as as a non zombified human being,
Speaker 1: which they guess mostly do. So we find out he
Speaker 1: and Katie talk, and we find out Katie knows her
Speaker 1: sister is coming to visit. She deduces that's because Martin
Speaker 1: is going to try to send her to a clinic
Speaker 1: so that she can get off drugs. But she she
Speaker 1: is not ready, and she she has a big emotional
Speaker 1: breakdown about this, and uh and that that it leads
Speaker 1: to a fight, and so Martin just goes off to
Speaker 1: do his photography by himself. And oh and then meanwhile
Speaker 1: we cut back to George and Edna while they're approaching
Speaker 1: the house. They're still driving and and Edna is saying like,
Speaker 1: I'm not mad, you know, I don't imagine things, and
Speaker 1: George just goes me thinks the lady don't protest too much. Yeah,
Speaker 1: absolutely does not believe her. I think it's what he says, like,
Speaker 1: go three must have had a twin brother, that's all
Speaker 1: it was. No, he hasn't even gotten to that yet.
Speaker 1: He says that later once he starts a little bit
Speaker 1: believing her. At this point, it seems like he doesn't
Speaker 1: even believe anybody actually attacked her. So, like you said,
Speaker 1: at the cottage, Martin is like setting up his camera
Speaker 1: to automatically take pictures of a flower next to a waterfall,
Speaker 1: and with all this artificial lighting and so like, what
Speaker 1: do you know, if it's just snapping shot after shot,
Speaker 1: it's it's gonna keep taking pictures as zombie attacks, right,
Speaker 1: how convenient. So of course, Guthrie, the tramp zombie shows up.
Speaker 1: I don't know how it beat the car, like I
Speaker 1: got there before the car did. Well, you know, they're
Speaker 1: they're shambling when they actually go over the attack because
Speaker 1: they've been just booking it the rest of the time,
Speaker 1: I guess um because because you know, we have all
Speaker 1: the zombie action going on at locations in this film
Speaker 1: that are are very isolated, like this is very rural Britain,
Speaker 1: we're supposed to believe here. So uh yeah, they're traveling
Speaker 1: from one location to to another pretty quickly somehow. But
Speaker 1: the zombie shows up. It chases Katie around. Uh initially
Speaker 1: I think she's trying to do drugs and then she
Speaker 1: gets startled and the zombie chases her. She escapes out
Speaker 1: a window manages to get away, but then the thing
Speaker 1: comes upon Martin on the banks of the creek and
Speaker 1: it kills him. And just then George and Edna arrived
Speaker 1: to find Katie screaming. And then we cut to the
Speaker 1: next morning and the police are here. They're investigating Martin's death,
Speaker 1: and so the setup of the movie is complete, and
Speaker 1: here we are about to meet I guess our chief
Speaker 1: antagonist other than like science and the zombies created by science,
Speaker 1: and that is our vicious fascist police inspector. I don't
Speaker 1: think he has a name, does He's just the inspector. Inspector.
Speaker 1: So they're looking at the body, and the I think
Speaker 1: the medical examiner he's like, I've never seen anything like it.
Speaker 1: Somebody certainly enjoyed themselves here. And the inspector says, oh,
Speaker 1: a sadist, huh. And then the medical examiner goes or
Speaker 1: a lunatic, But he says, one thing is for sure,
Speaker 1: the attacker was enormously strong, because the victims of Bones
Speaker 1: have been crushed, every one of them. M M. I
Speaker 1: don't know about that, yeah, but oh and then meanwhile,
Speaker 1: so the inspector is going to go interrogate all of
Speaker 1: the witnesses, so George, Katie, and Edna. And on the
Speaker 1: way to doing that, he like pulls aside one of
Speaker 1: the cops there and he goes, button up, man, you're
Speaker 1: wearing a uniform, not a pair of pajamas. So he's
Speaker 1: that kind of guy. He's a he's a uniform code guy. Yeah,
Speaker 1: he's a he's just a real ray of SunShot of
Speaker 1: this guy. But the interrogation is going on, and Katie
Speaker 1: is describing the zombie who attacked her, and then Edna
Speaker 1: tells the cops. She's like, oh, I was attacked by
Speaker 1: that same zombie, And obviously the inspector does not believe them.
Speaker 1: But then h and the says, why would I invent
Speaker 1: such a thing? And he says, why, it's very simple,
Speaker 1: miss to back up your sister's story. And I was
Speaker 1: just thinking, okay, wait, is this correct interrogation procedure? Are
Speaker 1: you just supposed to like explain your theory of the
Speaker 1: case directly to the Interviewee? No, I mean I mean, likewise,
Speaker 1: is the inspector just gonna set there and just consider
Speaker 1: any wild idea that a medical examiner throws out there?
Speaker 1: Or or later on there'll be another scene where somebody
Speaker 1: just brings up an idea and he's like, yeah, yeah,
Speaker 1: I think you're right. Yeah lunatic, Yeah, broke all the bones,
Speaker 1: all of them. I love how this will connect later
Speaker 1: to when somebody tells him about the existence of satanic cults. Yeah, yeah, yeah,
Speaker 1: that's the same. Yeah. So he's just he's hard, nos,
Speaker 1: he's out to finger somebody for this crime. And and
Speaker 1: he doesn't mind telling you to your face like yeah,
Speaker 1: I think you're I think you're a killer, and uh
Speaker 1: yeah and and uh and we're gonna We're gonna get
Speaker 1: you for this one. There's no escaping me. There's no
Speaker 1: I think the law on this one. And he he
Speaker 1: has several just like brilliant things in the scene. One
Speaker 1: is that the inspector finds that Katie's photographer husband had
Speaker 1: taken naked photos of her, and he's like, explain this.
Speaker 1: It's like, what what is the relevance? And here we
Speaker 1: get to the inspector's awesome theory that Katie must have
Speaker 1: done the murder because, as is well known, being addicted
Speaker 1: to heroin gives people superhuman strength enough to crush every
Speaker 1: bone in Martin's body. Now, as we're dissecting it here,
Speaker 1: all of this sounds ludicrous, but there is something about
Speaker 1: the way that it's presented in the film, like the
Speaker 1: authority with it with which is presented, and like like
Speaker 1: Arthur Kennedy's character. The inspector here is so sure of
Speaker 1: himself and so sure of his um, his his role
Speaker 1: in the investigation that everything he says is just considered reality,
Speaker 1: is just considered a considered a fact and the proper
Speaker 1: interpretation of the evidence before him. Yes, that's exactly right.
Speaker 1: He I mean, he said, I explaining this in a
Speaker 1: matter of fact way to highlight how ludicrous it is,
Speaker 1: but he delivers it with cold cruel authority. Oh and
Speaker 1: then George comes in, by the way to be like, hey,
Speaker 1: I'm not part of this. Let let me get out
Speaker 1: of here. I've got a house to look after. And
Speaker 1: the inspector like grabs him by the collar and he goes, listen, boy,
Speaker 1: you keep getting on my nerves. I'll give you another
Speaker 1: house to look after, the kind with lots of bars
Speaker 1: on the windows. Yeah. Like he's he's already like physically grabbing,
Speaker 1: even though he's like, they don't think he's really they've
Speaker 1: really had a lot of time in the picture yet
Speaker 1: to really bump up against each other. Yeah, not at all.
Speaker 1: So anyway, the police tell George and Edna you can't leave.
Speaker 1: You have to stay in the hotel in south Gate
Speaker 1: until the investigation is finished. And uh so, while they're
Speaker 1: getting out of there, but George steals the film from
Speaker 1: Martin's camera because they think if they can get it developed,
Speaker 1: it will prove Katie is innocent. And George says, we
Speaker 1: better develop it ourselves because cops never like to admit
Speaker 1: that they're wrong, and if it shows that Katie is
Speaker 1: in a sense, they'll just destroy it. So they go
Speaker 1: to a place to get the film developed. It is
Speaker 1: a place that is a store called Groceries c R
Speaker 1: O C E R I E S. Maybe that's supposed
Speaker 1: to be a G but if there's a bar on it,
Speaker 1: it is indistinguishable from a seraph. But these are delightful
Speaker 1: looking storefronts. You just want to go in. Oh yeah,
Speaker 1: I love it, check out the labels, freshly made sandwiches.
Speaker 1: And then they go to the hotel which is called
Speaker 1: the Old Owl Hotel, which has an old owl in it.
Speaker 1: And I so thought this owl was gonna go berserk
Speaker 1: and attack somebody in the movie due to the ultrasonic rays,
Speaker 1: alas never happens. Yeah, it looks impressive though, sitting there
Speaker 1: in this little perch, and when they're checking in George
Speaker 1: is again just a jerk for no reason. To the
Speaker 1: hotel owner, He's like, I don't want to spend any
Speaker 1: longer in this place than I have to. He hates everything. Yeah,
Speaker 1: I mean, granted he's going through a lot in this
Speaker 1: particular moment, but he was grumpy before all of this.
Speaker 1: So let me get to the hospital sequence. And there
Speaker 1: are several things to discuss here. One is the okay,
Speaker 1: so the setup is, uh, they find out Katie has
Speaker 1: been taken to the hospital, and George and Ed and
Speaker 1: I go to see her. First is the location. I
Speaker 1: love the location again, this hospital looks awesome. It's like
Speaker 1: a kind of New Gothic style. Yeah, I was reading
Speaker 1: this is Barnes Hospital for the exteriors. Anyway here Manchester.
Speaker 1: But let's see, there are a few things to describe here,
Speaker 1: Rob can you can you explain what's going on with
Speaker 1: the cadaver freezer boxes here? Oh yeah, so we're introduced
Speaker 1: to these, uh, these freezer boxes that they're hauling corpses
Speaker 1: out in and they look very space age, um like
Speaker 1: it's I guess it's possible that this is exactly what,
Speaker 1: um what these kind of sarcophagus coolers looked like um
Speaker 1: at the time, but I they they felt a little
Speaker 1: high tech. But the idea here is that, hey, we
Speaker 1: need to move dead bodies across the countryside. Uh. We
Speaker 1: don't want them to rot, so we have these special
Speaker 1: like cooler coffins for them. And so George is looking
Speaker 1: at one of these things in the hospital and Dr
Speaker 1: Duffield comes across him. This is the Peter Cushing kind
Speaker 1: of guy. Uh, and they they discussed. He's like, what
Speaker 1: is this and and he explains He's like, oh, well
Speaker 1: it's a way as to the Manchester Morgue and so
Speaker 1: you have to put him in these boxes. But Dr
Speaker 1: Duffield says to George, quite a few people leave their
Speaker 1: bodies to science these days. Shall I make a reservation
Speaker 1: for you? And of course George is like, of course not.
Speaker 1: I would not leave my body to science. It plaies
Speaker 1: that science is just this ghoulish endeavor and all it
Speaker 1: wants is just to desecrate your body for it some
Speaker 1: sinister purposes. Give me body so I can do something
Speaker 1: evil and unnatural with them. I'll probably put chemicals on it,
Speaker 1: probably um. But this this gives way to the aggressive
Speaker 1: babies to see, Oh my god, this. This was just
Speaker 1: out of kind of out of nowhere. It's one of
Speaker 1: these scenes where I guess in the grand scheme of things,
Speaker 1: they introduced this to further explain how zombies work in
Speaker 1: this picture her, but it ends up just feeling like
Speaker 1: this sort of side pool of just absurdity and weirdness
Speaker 1: that is of course delightful, like the very kind of thing.
Speaker 1: I love it a picture. What is the deal with
Speaker 1: the aggressive babies? Well, it's just suddenly in this um
Speaker 1: makes sense later on. But all the babies that are
Speaker 1: being born are born super aggressive, and they're so aggressive
Speaker 1: that like, if you get close to one, the baby
Speaker 1: will bite you and draw blood or scratch you and
Speaker 1: draw blood. In fact, doesn't it happen to George, like
Speaker 1: he gets a little too close. Um, Well, it starts
Speaker 1: because one of the nurses gets like her, I poked
Speaker 1: out by a baby. And then the doctor is like,
Speaker 1: come help me, So he just enlists this random guy
Speaker 1: from the hallway to come help him with the baby.
Speaker 1: I guess they're trying to sedate the baby because otherwise
Speaker 1: the baby is ripping people's arms off. Um, and they do,
Speaker 1: and yeah, the baby I think like attacks George while
Speaker 1: they're they're they're trying to get it sedated. And they explained, Yes,
Speaker 1: every baby born here from the region around this farm
Speaker 1: where they're trying out the agricultural device. Uh, it's just
Speaker 1: been born with hostility and aggression. It's like they're all
Speaker 1: born bart Harley Jarvis is one of the most aggressive
Speaker 1: babies I've ever seen. So, Joe, you have a baby.
Speaker 1: How strong is a baby? They're incredibly strong, but I
Speaker 1: think not quite as strong as this movie depicts. So
Speaker 1: George goes on to share his theory. He's like, hey,
Speaker 1: wait a minute, all these aggressive babies that have been born,
Speaker 1: they're all from this area around where they're trying out
Speaker 1: the the the ultrasonic radiation device. I wonder if that's
Speaker 1: making the babies aggressive. So Dr Duffield is intrigued, and
Speaker 1: together George and and the scientist or the doctor, they
Speaker 1: go out to talk to the act Department scientists in
Speaker 1: the field. The aggt department guys explained to Dr Duffield
Speaker 1: how it works. They say it works by ultrasonic rays.
Speaker 1: That the rays are used intentionally to drive insects mad
Speaker 1: and make them kill all of each other. Uh, and
Speaker 1: it has destroyed they say it has destroyed every insect
Speaker 1: for a mile radius, which, to be clear, I think
Speaker 1: would not be a good thing. No. I mean imagine
Speaker 1: they the the ecological uh disorder that would erupt if
Speaker 1: you just totally distorted all the insects in a given area. Um. Yeah,
Speaker 1: So in a way, it's it's kind of an interesting
Speaker 1: concept to roll out in the film, but also one
Speaker 1: that just seems also unrealistically breathless, like the scientists involved
Speaker 1: in creating this strange weapon would have to realize that
Speaker 1: this is incredibly dangerous. Well, they say soon they're going
Speaker 1: to get it working up to a five mile radius.
Speaker 1: They're proud. They're like, yeah, there's actually one mile that
Speaker 1: was yesterday. Five miles that is what we're going for today.
Speaker 1: We didn't hear anything you said about making rage babies.
Speaker 1: That's ridiculous. Yeah, And they they appealed to him. They say,
Speaker 1: to the doctor, you're a man of science. Surely you
Speaker 1: understand this machine only the affects the most primitive life
Speaker 1: forms like insects, and that more evolved life forms cannot
Speaker 1: be affected. Yeah, that sounds very scientific. Um uh. Dr
Speaker 1: Delfield seems to acknowledge that this machine maybe what's causing
Speaker 1: the rage babies. But unfortunately he's like, he says, like,
Speaker 1: it's never wise to exaggerate, you know, they would laugh
Speaker 1: at us. He says that to George, so it's basically
Speaker 1: like he's saying, I am I too, am one of
Speaker 1: the dark invoys of science, So I cannot stop it
Speaker 1: no matter how much I would like to. I mean,
Speaker 1: how many rage babies could there be at a given time?
Speaker 1: Not here the kind of side. So there's a scene
Speaker 1: in the groceries store in town where they're getting their
Speaker 1: George and Edna get the pictures developed, and then they're like, oh,
Speaker 1: too bad. The zombie does not show up on any
Speaker 1: of the pictures, and they're asking the guy like, could
Speaker 1: could anything caused someone not to appear in a picture?
Speaker 1: And he goes if they were a ghost maybe um,
Speaker 1: And then uh, George says about one of the pictures,
Speaker 1: good thing the police haven't seen this one. She really
Speaker 1: looks like she's about to do him in, I guess
Speaker 1: talking about Katie. And then just hilarious, the inspector comes
Speaker 1: right in and he like walks into the store and
Speaker 1: he's like, got you now, and then he gives a
Speaker 1: speech about all you damn hippies. I I'd kill you
Speaker 1: all if I had my way. Yeah, this is a
Speaker 1: wonderful snarling scene from Marthur Kennedy. This is the you're
Speaker 1: all the same, the lot of you speech that he
Speaker 1: gives gives George in particular. So oh, but after he
Speaker 1: leaves we the shopkeeper shows off a newspaper that has
Speaker 1: a picture of the guy who drowned of Guthrie, and
Speaker 1: Edna looks at it and she's like, that's him. I
Speaker 1: was taken by the fact that here is the local
Speaker 1: newspaper and above the fold huge picture of a dead man,
Speaker 1: very common, Yeah, just of a corpse. And she's like, yes,
Speaker 1: that was him, And George is like, well it must
Speaker 1: have been his twin. Then he must have had a twin,
Speaker 1: and that's what you saw. Uh. So George decides to
Speaker 1: take Edna to the cemetery so he can He says,
Speaker 1: I'm going to cure you of your fancy hallucinations. And
Speaker 1: I think the plan is George is going to make
Speaker 1: Edna look at Guthrie's dead body so that she will
Speaker 1: know that he is actually dead. Yeah. Again, this is
Speaker 1: another detail of the picture of plot details that sounds ridiculous.
Speaker 1: But when you're watching the film, like I don't know,
Speaker 1: you don't, I found myself not questioning these these plot choices.
Speaker 1: I'm like, yeah, this is the logical place for them
Speaker 1: to go. Of course they would go and look for
Speaker 1: the body. It's great. And so they go. They're followed
Speaker 1: by a police officer by the way, this guy named
Speaker 1: Craig is tailing them. And then oh so this is
Speaker 1: this goes into one of the big horror action set
Speaker 1: pieces in the movie, the semi terry scene, which I
Speaker 1: thought was just fantastic, really tense, uh scary, good staging
Speaker 1: of a lot of the action. I don't know how
Speaker 1: you felt, but I thought this was a great uh
Speaker 1: centerpiece of like the action horror in the film. Oh absolutely.
Speaker 1: This is one of those sequences that really makes you
Speaker 1: think about zombie films in general and just realize you
Speaker 1: don't need a whole horde of zombies to have an
Speaker 1: effective nail biting sequence. You just have some some internet
Speaker 1: interesting setting, interesting location, and then you only need like one, two,
Speaker 1: three zombies tops, which is all they have going on
Speaker 1: here as they end up having to deal with them
Speaker 1: in this uh this basement here. That's serving as. Uh,
Speaker 1: it's not really mortuary. I don't know what it's wherever
Speaker 1: they're they're preparing, they're they're casketing the bodies. I guess, yeah,
Speaker 1: I don't. It seems like it's a crypt maybe or something,
Speaker 1: or it has vaults on the wall. Okay, so describe that.
Speaker 1: What what happens in the cemetery scene here, Well, obviously
Speaker 1: a gut Thrie shows up. He's been booking it this
Speaker 1: whole time. He knows where his next zombie mauling appointment
Speaker 1: is going to take place, and so he shows up,
Speaker 1: and we quickly learned that these these uh, these create
Speaker 1: critters are pretty indestructible. Yeah, so they're impervious two wounds.
Speaker 1: Guthree attacks them in like the basement of this like
Speaker 1: the caretaker's house in the cemetery. They go down in
Speaker 1: the basement and they're there in the crypt and Guthrie
Speaker 1: shows up and locks them inside and so that they
Speaker 1: can't get back out the way they came in, and
Speaker 1: he's he's coming at them, and George is trying to
Speaker 1: like stab him with a rail or something, but it
Speaker 1: doesn't afford to harm him at all. And then we
Speaker 1: learn that these zombies. The Ultrasonic zombies can reanimate other
Speaker 1: corpses by smearing blood on them, so they recruit freely
Speaker 1: from the RESTful dead and and turn them into the undead.
Speaker 1: And this was just a whole great tent scene. George
Speaker 1: and Edna finally escaped by like knocking bricks out of
Speaker 1: a vault wall and climbing up through an open grave. Uh.
Speaker 1: And they meet up with Officer Craig here that the
Speaker 1: police officer, but then the zombies attack again. They get
Speaker 1: chased back into the caretaker's room and have to barricade
Speaker 1: the doors. Uh. Eventually, Craig, the police officer, is killed
Speaker 1: while trying to escape and get help. Uh. And in
Speaker 1: the last minute, like the air, character seemed doomed until
Speaker 1: George defeats the zombies. He realizes he can by burning them.
Speaker 1: It's the only thing that works. Oh yeah, yeah, this,
Speaker 1: this whole sequences is fabulous. Craig the cop is so
Speaker 1: doomed from the moment you start getting to know him,
Speaker 1: because he's like, he's like, oh, Georgia, after this, you'll
Speaker 1: realize not all cops are bad. I'm a good guy, right,
Speaker 1: And you're like, oh, this dude is getting his gut
Speaker 1: seaten by a zombie, no doubt about it. Um. So,
Speaker 1: the two interesting things about the zombies that are revealed
Speaker 1: in this thing. First of all, there is the the
Speaker 1: ritualistic dabbing of the blood on other bodies to raise
Speaker 1: them as like zombie almost like zombie men, and um
Speaker 1: that I really liked and ultimately raises a lot of
Speaker 1: questions that are you cannot answer regarding how zombies work
Speaker 1: in this picture, but it's very unsettling in the moment
Speaker 1: because it's it's so unexpected. Also, we quickly learned that
Speaker 1: these zombies are tool users. While zombies and other pictures
Speaker 1: might just want to rip and bite at you, they're
Speaker 1: just gonna use your claw and bide attack. These will
Speaker 1: actively try and hammer you to pieces with a big crucifix. Yes. Oh,
Speaker 1: and that crucifix will come back in in a minute
Speaker 1: when when the cops arrive on the scene. Uh so.
Speaker 1: But anyway, George and Edna escape and they run off
Speaker 1: in separate directions. I think Edna is going to maybe
Speaker 1: try to find Katie or something, and George runs off
Speaker 1: to destroy the ultrasonic machine at the Lewis farm. And
Speaker 1: meanwhile you think, well, wait, a minute, though, are all
Speaker 1: the zombies dealt with? I think all the zombies we
Speaker 1: knew about have been destroyed, so maybe the nightmare is over.
Speaker 1: But no, remember Martin, remember market, the guy who had
Speaker 1: that the weird look from earlier. It looks like the
Speaker 1: rays have powered him up now and he attacks and
Speaker 1: he eats some cops. And then George arrives back at
Speaker 1: the agg department guys, and and he's explaining what's going on,
Speaker 1: and they, for some reason don't believe him. They go, like,
Speaker 1: you talk about the dead walking and cannibalism, it's unscientific, man.
Speaker 1: And then George says, lots of things are unscientific, and
Speaker 1: they happen just the same, and he like grabs a
Speaker 1: wrench and starts smashing the oscillator on the machine. No,
Speaker 1: no examples, by the way of what all these unscientific
Speaker 1: things that are happening all the time are I want
Speaker 1: to know, like, other than the zombies, what does he
Speaker 1: have in mind? But anyway, back in the scene at
Speaker 1: the cemetery, the inspector has arrived and he concludes that
Speaker 1: George is in fact the one who killed Officer Craig
Speaker 1: here and the caretaker and all the zombies. So he's like, Okay,
Speaker 1: this guy is he's got to be destroyed. Shoot him
Speaker 1: on site. And then he's like, why did they burn
Speaker 1: the bodies? And there's this new creep hanging out. I
Speaker 1: don't know where this creep came from. This guy shows
Speaker 1: up this late in the movie and he's like, oh, inspector,
Speaker 1: you need to learn about Satanic cults. Yea, So this
Speaker 1: weird rando shows up to introduce the idea of Satanic
Speaker 1: ritual murder into the inspector's mind. It's like it's a
Speaker 1: match made in heaven. It's a well, there's a moment
Speaker 1: where he's like thinking about it. He's like, you know,
Speaker 1: I hadn't thought about that, But then instantly he's in like,
Speaker 1: I bet that's it. Yeah, that's this guy, George. He's awful.
Speaker 1: He's clearly a sex craze, drug using, um hippie rebel
Speaker 1: who hates the police. Uh. So, it's just it's just
Speaker 1: one step beyond that to assume that he also worships
Speaker 1: Satan and his car hanging out unspeakable acts for a
Speaker 1: black mass. Uh. It's also if we were talking about
Speaker 1: this a little off, Mike, it's fitting and funny that
Speaker 1: the inspector believes all these things of George where George doesn't. Actually,
Speaker 1: we never see George do drugs. We never see George
Speaker 1: um have any kind of a sexual interest in anybody. Like,
Speaker 1: so he's none of these things that he's accused off
Speaker 1: throughout the picture. He he just is a rebellious jerk. Yeah. No,
Speaker 1: all he really does is like he's just rude to people.
Speaker 1: That's his main character trait. As if the film is saying, yes,
Speaker 1: the youth of today they do suck, but but not
Speaker 1: for the reasons that guys like this thing. They say,
Speaker 1: it's just because they're they're selfish and rude and they
Speaker 1: don't want to be uh they want to be off
Speaker 1: to in their own thing. Uh yeah, yeah, not because
Speaker 1: they're all in satanic cults and anyways, so Edna is uh,
Speaker 1: several other things happen in between here. There's a whole
Speaker 1: thing where Edna gets attacked by the Martin zombie, but
Speaker 1: she escapes. She starts to kind of lose her mind. Uh,
Speaker 1: the agg department guys power up the five mile trusonic rays.
Speaker 1: That can't be good because then we cut to the hospital,
Speaker 1: the Southgate Hospital and we see all these new freezer
Speaker 1: bodies arriving. Uh. Um, so we know there's gonna be
Speaker 1: a zombie rampage at the hospital. And there is. The
Speaker 1: police catch George and interrogate him in a hilarious scene
Speaker 1: where they're, uh, they're telling him, you know what all
Speaker 1: the satanic murders he's been doing in George, he protests.
Speaker 1: He says, I've never been to a black mass in
Speaker 1: my life. Oh. Because they find the statue, like the
Speaker 1: antique statue that he had in his luggage that he
Speaker 1: was bringing up here, uh, and they pull it out
Speaker 1: and they're like, this obviously proves you are involved in
Speaker 1: Satanic cults. And he says, I don't worship that. I
Speaker 1: just sell things like that. And then he says, it's
Speaker 1: not my fault, Sarge, that Christ and the Saints are
Speaker 1: out of fashion. It's a it's a it's a good scene.
Speaker 1: I like the that this, uh that his his his
Speaker 1: use of these artifacts or as they're having these artifacts
Speaker 1: on his person, like it's come back around to bite him.
Speaker 1: And now this is evidence being supposed evidence being thrown
Speaker 1: at him by the authorities here. Also, though this are
Speaker 1: effect in no way appears to have anything to do
Speaker 1: with Satan. I guess it's just because it doesn't look Christian.
Speaker 1: Maybe I don't know. Yeah, I mean I think it
Speaker 1: it fits with what they're going for here, Like this
Speaker 1: is a guy who just assumes anything that is a
Speaker 1: little bit foreign or un Christian is just satanic. Clearly
Speaker 1: these are these are occult items. And George is up
Speaker 1: to bloody business. But the inspector he he has like
Speaker 1: a rage moment and he like punches George. He's he's
Speaker 1: incredibly mad. Uh. And he's complaining to this other guy,
Speaker 1: the creep, who showed up earlier to tell him about
Speaker 1: Satanic cults. He's like, if I just had more of
Speaker 1: a free hand with these criminals, um and uh. I mean, well,
Speaker 1: George he escapes out the window and then he runs
Speaker 1: to the hospital for the final showdown, So you basically
Speaker 1: know what's gonna happen. It's gonna be a big zombie
Speaker 1: showdown with all the characters and uh and and basically
Speaker 1: all of our main characters get killed by the zombies. Here.
Speaker 1: There's a great part where where George lights an axe
Speaker 1: on fire and he's swinging it at the zombies, and
Speaker 1: that's that's pretty brutal. Uh and uh, at one moment,
Speaker 1: you think, oh, George, is he gonna be able to
Speaker 1: save Edna? But no he when he gets her out
Speaker 1: of the room where the zombies have attacked, she has
Speaker 1: star shaped pupils. Now, so it's too late. She's already
Speaker 1: one of the zombies. And then in a final brutal twist,
Speaker 1: George is shot by the police. The inspector guns him down. Yeah,
Speaker 1: just brutally guns him down, shoots him multiple times, and
Speaker 1: then he kind of like leans over the body and
Speaker 1: says something about how he wishes he'd come back to
Speaker 1: life so he could kill him again in cold blood.
Speaker 1: Uh so just real, real, real brutal moment that I mean,
Speaker 1: I could not unexpected. I mean, this is the mid seventies.
Speaker 1: But yeah, in the space of just a few minutes, Uh,
Speaker 1: Edna is mauled by her own sister and uh who
Speaker 1: has become a zombie? She becomes a zombie, and then
Speaker 1: our our last protagonist is just murdered in cold blood,
Speaker 1: and then we kept the only characters who were left
Speaker 1: are the fascist cops. And so the inspector is like
Speaker 1: riding ground in a car with his sidekick here and
Speaker 1: the guys like all the papers say you're a hero,
Speaker 1: and uh, he says the inspector says, justice has been
Speaker 1: a bit slow in these parts, all this permissive rot
Speaker 1: going on. Maybe people will learn a thing or two
Speaker 1: from my example here. Um and uh so, so what's
Speaker 1: going on? Is he gonna go into a career in
Speaker 1: politics now or something? But nope, And we we then see, uh,
Speaker 1: they drive past another one of the Agriculture department machines
Speaker 1: and they and the guy comments on it. He's like, oh,
Speaker 1: they're setting up a new one of those now, um,
Speaker 1: and it's gonna they say, it's gonna rid all of
Speaker 1: the the apple orchards of pests. I'm just mad about apples.
Speaker 1: And the cops laugh about this apples. But then, of course, uh,
Speaker 1: you know what's gonna happen now that they power up
Speaker 1: another one of these. Um, the inspector gets to his
Speaker 1: hotel room and the old Owl hotel, and who's there
Speaker 1: waiting for him but the reanimated Ultrasonic Corps of George
Speaker 1: to get his revenge, and and the Inspector meets his
Speaker 1: demise and gets his come up and yeah, so and
Speaker 1: it almost in a kind of like Tales from the
Speaker 1: cryptesk nasty ending. Yeah, the most awful character in the
Speaker 1: film survives to the end but then is killed in
Speaker 1: horrific fashion, and then something is also quite fitting of
Speaker 1: eco horror in general, there's a sense that the threat
Speaker 1: is far from over, the threat is going to continue
Speaker 1: to expand it's still out there, which you know, isn't
Speaker 1: just about setting up the possibility for a sequel or
Speaker 1: something is that uh certainly would would be uh in
Speaker 1: in subsequent decades, but just kind of this idea that
Speaker 1: like this is just the starting point and the problem
Speaker 1: is going to spread and get bigger and bigger. We're
Speaker 1: gonna keep getting zombies and keep getting rage babies. Rage
Speaker 1: babies and zombies and insects killing the apples though, are
Speaker 1: going to be amazing. We know that much. Though It's funny,
Speaker 1: I think you could probably come up with a more plausible,
Speaker 1: hard its fiction UH film just about what would happen
Speaker 1: if you literally destroyed every single insect within a five
Speaker 1: mile radius? So that seems like that would have devastating consequences, Yeah,
Speaker 1: like taking out most of your decomposers and and so forth,
Speaker 1: just just as one example, I mean, it would be
Speaker 1: dreadful for the environment, dreadful for the apples too. I'm
Speaker 1: always pleased on a film like this shows some restraint.
Speaker 1: Um because since this is a film where, yeah, there's
Speaker 1: some really gory moments like the zombie the probably the
Speaker 1: gory ists are the scenes where the zombies eat the
Speaker 1: cop and then the there's a scene where they tear
Speaker 1: apart a nurse in the hospital, and those are very
Speaker 1: gory sequences, but they I felt, at least for my taste,
Speaker 1: they didn't go too far. And likewise, plot wise, nobody
Speaker 1: fights a rage baby. There's not a scene where the
Speaker 1: rage babies run run wild and George has to fight
Speaker 1: them off with his flaming acts. Uh. There's some other
Speaker 1: moments in the film too where I felt like they
Speaker 1: showed a little restraint with the premise. Um. So yeah,
Speaker 1: and I think above all as even though a lot
Speaker 1: of these plot elements are kind of laughable in retrospect,
Speaker 1: that they are presented with a seriousness uh and a
Speaker 1: in a commitment to filmmaking that that makes this probably
Speaker 1: one of the more entertaining zombie films I've seen. Like
Speaker 1: I I the night that I watched this, I just
Speaker 1: turned it on just to check out part of it
Speaker 1: and ended up watching the whole thing. Yeah, I totally agree.
Speaker 1: I thought this was a fairly excellent zombie movie. Surprisingly
Speaker 1: compelling action and characters in situation and beautiful looking. I
Speaker 1: like the the horror design, but also just all of
Speaker 1: the gorgeous locations. Yeah, so there you have it. Let
Speaker 1: Sleeping Corpses lie a k a. The Living Dead at
Speaker 1: Manchester Morgue. It's been a cult favorite for for for years,
Speaker 1: and I understand why this one's This one's a lot
Speaker 1: of fun, so I definitely recommend it to folks who
Speaker 1: want to a bloody good zombie movie. Now. Just reminded
Speaker 1: everyone out there here at Stuff to Blow Your Mind
Speaker 1: were primarily a science podcast. Uh, and we're we're pro science.
Speaker 1: We don't think science the enemy trying to turn out
Speaker 1: our babies into rage babies. There anything to to to
Speaker 1: that extent. Uh. In our core episodes of Stuff to
Speaker 1: Blow Your Mind come out on Tuesdays and Thursdays. We
Speaker 1: do listener mail on Monday's short form artifact or Monster
Speaker 1: Fact on Wednesdays, and on Friday, we set aside most
Speaker 1: series concerns to just talk about a weird film here
Speaker 1: on Weird House Cinema. If you want to see a
Speaker 1: list of all the movies we've covered in the past,
Speaker 1: you can go to a couple of places for that.
Speaker 1: I blog about these at Samuta music dot com and
Speaker 1: then if you go to Letterbox that's L E T
Speaker 1: T E R B O x D dot com. We
Speaker 1: have a It's a place where people can create accounts
Speaker 1: and can essentially blog about movies and had their own
Speaker 1: reviews to various movies, create lists of movies they want
Speaker 1: to see or have seen. Well, we have an account there.
Speaker 1: It's a Weird House and we have a list of
Speaker 1: all the films that we've looked at on Weird How
Speaker 1: Cinema thus far, and sometimes we'll have a peek ahead
Speaker 1: at what's coming along next. Huge thanks to our audio
Speaker 1: producer J J. Pauseway. If you would like to get
Speaker 1: in touch with us with feedback on this episode or
Speaker 1: any other, if you would like to suggest a topic
Speaker 1: for the future, or if you'd just like to say hello,
Speaker 1: you can email us at contact and Stuff to Blow
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