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

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Speaker 1: As promised, since we're on vacation, this is going to

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Speaker 1: be part two of two in our look at nineteen

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Speaker 1: seventy three's The wicker Man. We just re aired part

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Speaker 1: one on Monday, and so here is the second half. Enjoy.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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

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Speaker 3: And this is Joe McCormick, and we're back with part

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Speaker 3: two of our Weird House Cinema feature on the nineteen

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Speaker 3: seventy three British folk horror classic The wicker Man, starring

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Speaker 3: Christopher Lee, Edward Woodward and Diane Chillento. Normally on Weird

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Speaker 3: House we keep it to one episode per movie, but

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Speaker 3: we figured we would have more than usual to say

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Speaker 3: about The wicker Man, especially since it's one of my

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Speaker 3: personal favorite films. I don't know, is it one of

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Speaker 3: yours too, Rob, I don't want to speak for you.

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Speaker 1: Yeah, I would say it's in there somewhere. You know.

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Speaker 1: It's a film that I used to own on VHS

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Speaker 1: that had a profound impact on me when I first

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Speaker 1: watched it, and even though I hadn't seen it in

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Speaker 1: many years before rewatching it for this episode, it certainly

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Speaker 1: has resonated with me.

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Speaker 3: Yeah, So if we were going to do it in

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Speaker 3: one episode, I think there was extreme danger of that

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Speaker 3: becoming like a three hour episode. So it's a good

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Speaker 3: thing we split it up. So we aired part one

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Speaker 3: last week. If you haven't heard part one, please go

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Speaker 3: back and listen to that first. And also if you

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Speaker 3: haven't seen the film, let me reiterate what I said

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Speaker 3: last time. As always, there are going to be extensive

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Speaker 3: spoilers in our discussion. We usually talk about the plot

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Speaker 3: in pretty great detail, and The wicker Man is a

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Speaker 3: movie that I think really benefits from viewing with no

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Speaker 3: fore knowledge or as little for knowledge as possible. So

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Speaker 3: if you have an appetite or this kind of thing,

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Speaker 3: if you're comfortable with seventies full horror themes. In general,

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Speaker 3: R rated content are rated in terms of sex and violence. Strangely,

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Speaker 3: I don't recall much foul language in the movie. If

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Speaker 3: any they say fallis that's true. Yeah, But as long

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Speaker 3: as you're comfortable with that kind of material, and it's

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Speaker 3: the sort of thing you'd be into, I would recommend

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Speaker 3: watching this movie without reading anything or listening any further.

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Speaker 1: All right, you've been warned.

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Speaker 3: So last time, of course, we talked about the cast

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Speaker 3: and crew, the connections, and we discussed some general thoughts

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Speaker 3: about what makes The Wickerman unique. For instance, the question

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Speaker 3: what genre is this? It's often called a horror movie,

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Speaker 3: but I think that is based largely on the last

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Speaker 3: five to ten minutes of the film. For most of

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Speaker 3: the movies run time, it really doesn't feel like horror.

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Speaker 3: It feels more like a religiously themed mystery musical. So

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Speaker 3: it really is kind of its own genre. There is

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Speaker 3: no other movie quite like it. We also talked about

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Speaker 3: the way it creates this tangled garden of religious themes,

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Speaker 3: with the strained interactions between Christianity and some strange variant

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Speaker 3: of Celtic Paganism. Seems to be partially made up for

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Speaker 3: the movie, and it achieves a lot of thoughtful commentary

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Speaker 3: without ever reaching an overly simplistic message. It's not like

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Speaker 3: a thesis movie. We talked about the weird and from

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Speaker 3: my perspective, refreshingly unusual character dynamics. For example, it's a

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Speaker 3: detective story, but the detective protagonist is largely unlikable. He's rude, puritanical,

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Speaker 3: high handed, and not even especially skilled at detective work,

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Speaker 3: you know, kind of contrasting with the Sherlock Holmes how

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Speaker 3: he sergeant, how he misses a lot of things in

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Speaker 3: his investigation, and yet he seems to be possibly the

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Speaker 3: only person in the movie who's actually trying to help

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Speaker 3: an endangered child. On the other and you've got the

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Speaker 3: structural antagonists of the detective story, like the local Pagans

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Speaker 3: of summer Isle, mostly rendered as friendly, fascinating, thoughtful, even

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Speaker 3: joyful souls, and yet we're constantly suspicious that they're up

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Speaker 3: to something terrible. So it really always kind of keeps

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Speaker 3: you off balance.

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Speaker 1: You know. I had a thought I wonder First of all,

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Speaker 1: I was wondering if anyone has ever pulled a reverse

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Speaker 1: wicker Man in a film. But then this idea solidified

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Speaker 1: a little bit, and I realized I would kind of

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Speaker 1: like to see a show in which a detective from

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Speaker 1: a secluded pagan island comes to the mainland to investigate

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Speaker 1: a crime, and we get this sort of fish out

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Speaker 1: of water tail. But in this case, the detective is

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Speaker 1: really good at what they do, but they're also you know,

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Speaker 1: they're they're bringing a totally different mindset and you know

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Speaker 1: they're handling frogs and whatnot. I think there's a lot

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Speaker 1: of room for amusement there.

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Speaker 3: I mean, I would love that, but I think that

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Speaker 3: would be a lot more similar to the kind of

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Speaker 3: detective heroes we're used to, a kind of oh yeah,

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Speaker 3: a smart, a smart, admirable in some way, likable, outsider protagonist.

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Speaker 1: Yes, for the most part. But the twist in this

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Speaker 1: is he or she or they solves every case with

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Speaker 1: human sacrifice. That's how we arrive. It's formulaic, you'll get

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Speaker 1: the same thing every episode, But I think people could

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Speaker 1: get behind it.

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Speaker 3: People want something they can count on. I mean that's

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Speaker 3: part of you know, people like the murder mystery because

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Speaker 3: it's like it's got a surprise every time. But it's

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Speaker 3: also a very a very familiar format, So it's both

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Speaker 3: surprising and familiar every time. I think that's part of

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Speaker 3: the appeal. So so yeah, I think you're onto something.

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Speaker 3: We also talked last time extensively about the role of

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Speaker 3: music in The wicker Man and the fact that the

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Speaker 3: movie features not only in scene diegetic music where the

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Speaker 3: characters stand around, playing musical instruments and singing songs. But

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Speaker 3: it actually has several scenes that are essentially musical numbers,

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Speaker 3: like in a musical movie, where the characters break the

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Speaker 3: fourth wall sing directly into the camera and they're singing

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Speaker 3: along to music playing not in the world of the movie,

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Speaker 3: but on the soundtrack. So I don't know, it's just

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Speaker 3: like again, not another horror movie like that I can

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Speaker 3: think of.

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Speaker 1: Yeah, it really does stand alone.

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Speaker 3: But that gets us caught up to today. So, Robert,

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Speaker 3: are you ready to talk about the plot of the Wickerman.

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Speaker 1: Yeah, let's get into it.

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Speaker 3: We are going to be. But by the way, this

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Speaker 3: came up last time, that there are multiple cuts of

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Speaker 3: the movie out there. I think we're going to be

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Speaker 3: talking about what's known as the final cut, which was

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Speaker 3: released in twenty thirteen. Any notes on the history of

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Speaker 3: the different cuts you want to talk about. If not,

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Speaker 3: that's okay.

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Speaker 1: I mean, I'll be honest. Once there are more than

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Speaker 1: two cuts of a film, in consideration, I begin to

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Speaker 1: lose interest in the whole situation. Like if there are

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Speaker 1: two cuts, I can get more into it, like which

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Speaker 1: one's the good cut, which one's the bad one? What

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Speaker 1: does this one, say versus this one. But when there

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Speaker 1: are three or more, it gets a little annoying for me.

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Speaker 1: But with the Wickerman, yeah, there are also these added drinkles.

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Speaker 1: There are all these loose ends of hearsay and perhaps

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Speaker 1: even movie myth about lost and destroyed footage, and I'm

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Speaker 1: not sure where the truth ultimately lies on all of it.

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Speaker 1: But yeah, essentially we have three cuts to consider, the

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Speaker 1: original theatrical cut eighty eight minutes, the director's cut ninety

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Speaker 1: nine minutes, said to be more of like a work print,

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Speaker 1: and then the final cut ninety four minutes, And this

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Speaker 1: has been this is said to be the director's preferred

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Speaker 1: cut of the picture. So I thought it was great

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Speaker 1: works for me, and I think the only if memory serves.

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Speaker 1: The only thing we're really missing out on from that

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Speaker 1: full ninety nine minute cut is some preliminary stuff with

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Speaker 1: Howie before he leaves for the island.

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Speaker 3: Oh, I don't know if we need that.

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Speaker 1: Yeah, there's plenty to go on to know about him

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Speaker 1: and the world he came from.

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Speaker 3: Do we need to see him getting called into the

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Speaker 3: Chief's office and being like, I got a case for you. Yeah,

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Speaker 3: I need you back on the force. I don't know that.

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Speaker 3: I don't know that's what's in there.

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Speaker 1: Yeah, you know, check what check for details about the

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Speaker 1: runtime before you watch it, but I think the final

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Speaker 1: cut is widely available. This may be, in fact the

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Speaker 1: primary means of watching it these days.

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Speaker 3: So we begin on a black screen with an image

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Speaker 3: of a godlike face carved in a wooden disc, suggesting

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Speaker 3: Celtic folk art as it's supposed to be, I think,

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Speaker 3: a god of the sun with dreamy, placid upturned eyes.

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Speaker 3: And then the camera zooms through the darkness to the

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Speaker 3: wooden face, and when it gets closer and eventually fills

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Speaker 3: the screen, we can make out that the god's mouth

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Speaker 3: is ever so slightly bent into this little smile, not

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Speaker 3: like he's beaming with happiness, but instead like like he

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Speaker 3: knows something, like he's got a little joke. At least

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Speaker 3: that's how it looks to me.

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Speaker 1: Yeah, yeah, this is will We will come to know

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Speaker 1: this des Nuanna. However, it is just a super weird

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Speaker 1: opening for this picture. This just appears out of darkness

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Speaker 1: without commentary, and you know, we later get the idea

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Speaker 1: that it's a solar deity, but at the time it's

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Speaker 1: like it is he at least part arboreal. Is he

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Speaker 1: fungal because he has this very woody look. And I

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Speaker 1: do agree with you about the about the face. You know,

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Speaker 1: the face is sublime and all knowing calm, but also

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Speaker 1: a little bit smug.

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Speaker 3: Yeah, And once you've seen the whole movie and the ending,

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Speaker 3: I think the the image of him having a little

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Speaker 3: private joke that's in this ever so slight smile, that

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Speaker 3: makes more sense.

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Speaker 1: This is also the god of the teletuppies. Right. Isn't

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Speaker 1: there a sun face that they also worship?

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Speaker 3: Is there?

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Speaker 1: Really? I think so? Yeah, there's like a there there's

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Speaker 1: like a child's face on the sun, and they worship it.

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Speaker 3: I think is that part of the fundamentalist Christian complaint

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Speaker 3: against them?

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Speaker 1: Probably?

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Speaker 3: Yeah, they're they're paganism. It's the Wickerman, the wicker Tubb. Yes,

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Speaker 3: all right, Well, anyway we come into the prologue. Now

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Speaker 3: this cut does have some things with Sergeant Howie before

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Speaker 3: he leaves for the island, but it doesn't have him

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Speaker 3: like at the station like we were joking about it. Instead,

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Speaker 3: we begin by hearing Christian churchgoers singing a hymn which

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Speaker 3: is based on the words of Psalm twenty three that's

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Speaker 3: the one that says the Lord's my shepherd, shall I

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Speaker 3: shall not want? He makes me to lie down by

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Speaker 3: green pastures, he leads me beside still waters, and so

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Speaker 3: forth and so text on the black screen tells us Sunday,

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Speaker 3: the twenty ninth of April nineteen seventy three, the camera

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Speaker 3: comes up on a church congregation singing from their hymnal.

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Speaker 3: The man in the middle of the frame is Sergeant Howie,

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Speaker 3: our protagonist, played by Edward Woodward. I would say modestly

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Speaker 3: handsome Scottish police detective of about forty I think he's

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Speaker 3: in his early forties, dressed in a suit for church,

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Speaker 3: and there's a woman standing next to him sharing his hymnal. Rob,

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Speaker 3: did you take this woman to be his fiance?

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Speaker 1: Yeah? Yeah, that's that's the impression I got based on

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Speaker 1: this scene, and then some some stuff that the character

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Speaker 1: says later on.

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Speaker 3: Yeah. So they trade a little smile in between lines

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Speaker 3: of the song, and then the camera pulls back and

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Speaker 3: shows us the whole congregation. It's a lot of it's

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Speaker 3: a lot of very old people with white and gray hair.

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Speaker 1: You know.

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Speaker 3: It's a maybe stereotypically old church crowd, especially for people

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Speaker 3: of the like the mainline Protestant denominations.

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Speaker 1: Yeah, yeah, not to be confused with the afternoon service

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Speaker 1: where they have the rock band. This is this is

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Speaker 1: the other one where all the old people go.

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Speaker 3: And the song goes on. After we see our characters here,

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Speaker 3: it goes on where they're singing. He leadeth me, he

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Speaker 3: leadeth me. The quiet waters by. And I can't help

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Speaker 3: but notice a thing that is often pointed out about

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Speaker 3: singing and a lot of mainline Protestant Christian denominations. The

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Speaker 3: singing does not sound especially joyful. It's kind of you know,

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Speaker 3: it's kind of wrote and robotic. The quiets by.

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Speaker 1: Yeah, this must be a John Wesley him.

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Speaker 3: Huh, yeah, I think so. But again based on the

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Speaker 3: words Psalm twenty three, which will come up again in

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Speaker 3: the end of the movie. Anyway, after the hymn, Sergeant

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Speaker 3: Howie gets up to deliver a reading from the scripture.

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Speaker 3: And he's not the priest. This is just a lay reading.

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Speaker 3: He gets up and he reads, in front of everyone,

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Speaker 3: I have received of the Lord that which also I

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Speaker 3: delivered unto you, that the Lord Jesus, the same night

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Speaker 3: in which he was betrayed, took bread and when he

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Speaker 3: had given thanks, he broke it and said, take eat.

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Speaker 3: This is my body which is broken for you. This

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Speaker 3: do in remembrance of me. I love that little inversion

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Speaker 3: and that this.

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Speaker 1: Do not do this. I think this is a director's

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Speaker 1: cameo as well. I believe this is Robin Hardy, if memory.

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Speaker 3: Serves Robin Hardy doing what.

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Speaker 1: As the pastor of the preacher.

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Speaker 3: Here, oh, I see the priest in the church. Okay, oh,

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Speaker 3: And here also we see Sergeant how Hee taking communion

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Speaker 3: himself in a cut of way, how he says, and

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Speaker 3: after the same manner, he also took the cup when

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Speaker 3: he had eaten, saying, this cup is the new covenant

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Speaker 3: in my blood. This oft as you drink in remembrance

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Speaker 3: of me, for as often as you eat this bread

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Speaker 3: and drink this wine, you do show the Lord's death

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Speaker 3: till he comes again. Then we cut to black. Next

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Speaker 3: sound of seagulls and airplane propellers spinning up, and bagpipes

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Speaker 3: that just blasting on into the bagpipes, and the credits

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Speaker 3: begin to play. So as the credits play, we see

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Speaker 3: Sergeant Howie climb into a single engine prop seaplane and

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Speaker 3: take off from a bay on the Scottish coast. He's

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Speaker 3: flying out over the waters to a remote island, and

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Speaker 3: we see him traveling while a beautiful folk song plays.

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Speaker 3: And there's plenty of use of natural scenery here, which

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Speaker 3: is truly gorgeous. You've got these silent gray waters, rocky

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Speaker 3: islands with green pastures and very sharp cliffs and outcroppings,

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Speaker 3: and Sergeant how he flies over all this until eventually

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Speaker 3: he reaches an island where we see large fertile fields

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Speaker 3: and rows of trees and orchards. And here the music changes.

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Speaker 3: It goes from the first folk song that plays into

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Speaker 3: corn rigs and barley rigs. Rob, how much have you

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Speaker 3: been singing this one?

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Speaker 1: Yeah? I played the soundtrack quite a bit while making

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Speaker 1: notes for this episode, so I did catch myself humming

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Speaker 1: at a few times. And I rather like this tune.

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Speaker 1: It has a strong seventies folk vibe that puts me

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Speaker 1: in the mind of artist like Tom Rush.

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Speaker 3: I'm not going to sing it, but just to read

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Speaker 3: for some of the lyrics. It was upon a Lamas

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Speaker 3: night when corn rigs are Bonnie beneath the moon's unclouded light.

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Speaker 3: I held a while to Annie. The time went by

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Speaker 3: with careless heed till tween the late and early, with

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Speaker 3: small persuasions. She agreed to see me through the barley

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Speaker 3: corn rigs and barley rigs and corn rigs are Bonnie.

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Speaker 1: Yeah. This song, like many of the others, is primarily

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Speaker 1: concerned with fertility, here painted with a little bit of

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Speaker 1: human sexuality and also some agricultural practices. This trend will continue.

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Speaker 3: So Sergeant Howie lands his seaplane in the waters of

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Speaker 3: the summerle Harbor, and all around the little village here

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Speaker 3: we see pink flowers blooming on black tree limbs, green hedges,

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Speaker 3: but also a kind of gray on gray palette of

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Speaker 3: the cold sea and the cobbled stone streets by the dock.

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Speaker 3: There are several old men standing around watching the plane land,

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Speaker 3: just sort of gawking without saying anything, And we can

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Speaker 3: hear seagulls calling in the distance. And there is a

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Speaker 3: very strong atmosphere right at the beginning here, I think,

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Speaker 3: created in part by the sort of hollow soundscape, like

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Speaker 3: there's lapping water, the seagulls, kind of a faint echo everywhere.

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Speaker 3: This place is at once both desolate and lush, both

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Speaker 3: welcoming and a bit stand offish. That great sense of

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Speaker 3: ambivalence that you get through much of the movie begins

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Speaker 3: right here.

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Speaker 1: Yeah, a sense of like, well this is beautiful, but

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Speaker 1: is life possible here? Do people live here? Well, yes

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Speaker 1: they do, We do see them, but they are a

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Speaker 1: bit hostile, respectfully to the newcomer.

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Speaker 3: First line of the movie is Sergeant Howie yelling, will

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Speaker 3: you send a dinghy please? He's out of the boat

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Speaker 3: and he keeps yelling for a dinghy. In the middle

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Speaker 3: of his line, he gets out of megaphone and starts

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Speaker 3: yelling at them for the dinghy, and the guy's standing

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Speaker 3: around at the edge of the harbor call back as

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Speaker 3: if they didn't hear what he said, and they say, hello, sir,

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Speaker 3: have you lost your bearings? Kind of like are you

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Speaker 3: supposed to be here? And how he calls back into

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Speaker 3: his megaphone that yes, he's supposed to be here. He's

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Speaker 3: trying to reach Summerle and he triples down on his

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Speaker 3: request for a dinghy. They first try to tell him

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Speaker 3: that he cannot land without written permission from Lord Summerle,

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Speaker 3: and this is a theme that will repeat quite often.

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Speaker 3: But Sergeant Howie, now getting annoyed, says that he's a

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Speaker 3: police officer and they must allow him to come ashore.

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Speaker 3: He must have that dinghy. So they send the dinghy out.

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Speaker 3: And I like the dinghy too. It's got little decorations

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Speaker 3: on it.

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Speaker 1: Yeah, it's got an eye on it, as if to

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Speaker 1: ward away evil. And I've read that this just happened

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Speaker 1: to be the dinghy that was available, Like they didn't

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Speaker 1: decorate this or anything. This is just an accurate taste

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Speaker 1: of local decoration.

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Speaker 3: Okay. So Sergeant Howie comes ashore and as I said,

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Speaker 3: there are a bunch of old men just kind of

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Speaker 3: standing around. He explains his business to the harbormaster. He

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Speaker 3: says that he is a representative of the West Highland

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Speaker 3: Police and that he has been summoned to the island

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Speaker 3: by an anonymous note that he received in the mail

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Speaker 3: saying that a twelve year old girl named Rowan Morrison

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Speaker 3: had gone missing. He is here to investigate the matter.

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Speaker 3: The note also came with a picture of the missing girl.

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Speaker 3: How He takes out the photo and he shows it

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Speaker 3: to the men gathered around the harbor. They all pass

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Speaker 3: it around, they take a look, and they all agree

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Speaker 3: in the end they have never seen her before. The

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Speaker 3: note also says that Rowan is the daughter of someone

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Speaker 3: named May Morrison. Confusingly, the old men standing here first

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Speaker 3: act like they don't know who that is, but then

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Speaker 3: suddenly one of them says, oh, May Morrison, Yes, she

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Speaker 3: runs the post office. And then all of the guys

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Speaker 3: remember May. They're all like, oh, yeah, May Oh. But

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Speaker 3: as Howie is walking away, I guess to go to

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Speaker 3: the post office, the harbormaster calls out that's not May's daughter.

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Speaker 3: Though not deterred yet, how he follows up his first lead.

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Speaker 3: He heads to the post office, and along the way

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Speaker 3: we see him passing some very beautiful gardens. They are

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Speaker 3: these blushing flowers and even kind of tropical looking plants

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Speaker 3: and corn rigs and barley riggs play some more, of course,

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Speaker 3: but along the way we see local residents peeking out

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Speaker 3: of windows curiously, almost suspiciously at Sergeant Howie as he passes.

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Speaker 3: But when he gets to the post office, this we

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Speaker 3: alluded to at the end of the last episode. This

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Speaker 3: ain't just a post office. It is a combination post

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Speaker 3: office and confection Err.

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Speaker 1: That's right, yeah, And like like you were saying, I

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Speaker 1: love the shop, love all the details here, you know,

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Speaker 1: it feels very lived in and legitimate. I imagine they

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Speaker 1: took out like an actual storefront of some sort here

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Speaker 1: and you filled it up with all these custom suits.

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Speaker 1: And I don't know, I don't know the full story

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Speaker 1: on these. Some of these feel they just look too

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Speaker 1: good to not also be some sort of traditional pagan

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Speaker 1: treat of one sort or another, some sort of traditional

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Speaker 1: cake and cookie.

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Speaker 3: Yeah, edible psychedelic toad cakes, little little chocolate rams heads

370
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Speaker 3: with yellow eyes, I don't know what those What are

371
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Speaker 3: these like black and yellow discs, I don't know.

372
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Speaker 1: They look kind of like Saturn, also kind of like

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Speaker 1: the eye of Sauron. I don't know.

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Speaker 3: And then there are just like lollipops and stuff. There's

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Speaker 3: some stuff that is not very representative.

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Speaker 1: Yeah, some of just sweets for sweets sake. Other stuff

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Speaker 1: we can already tell has some sort of ritual significance.

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Speaker 3: Anyway, how he goes into the shop. He's sort of

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Speaker 3: checking out the sweets, and a woman's voice calls out

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Speaker 3: from the back saying good afternoon. So a woman comes

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Speaker 3: out and having been looking at some cakes shaped like rabbits,

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Speaker 3: Sergeant Howie tries to pay a compliment. He says, I

383
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Speaker 3: like your rabbits, and the woman who runs the shop,

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Speaker 3: May Morrison, says, those are hairs, not silly old rabbits,

385
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Speaker 3: lovely march hares, shouldn't you know. The woman meets Sergeant

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Speaker 3: Howie and they introduce themselves. This is indeed May Morrison,

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Speaker 3: and she's curious to know what this is about. Sergeant

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Speaker 3: Howie says that he's here to see about her missing daughter,

389
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Speaker 3: but May reacts with bafflement. She says she does have

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Speaker 3: a daughter, but her daughter is not missing. She looks

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Speaker 3: at the photo that how he brought and says this

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Speaker 3: is not her daughter, and how He tries to keep digging,

393
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Speaker 3: but May just says, I tell you no, and then laughs,

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Speaker 3: and then takes him into the back of the shop

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Speaker 3: to her residence, where she introduces him to her daughter, Myrtle,

396
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Speaker 3: who indeed looks nothing like the girl in the photograph.

397
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Speaker 3: The girl is in the middle of drawing this big

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Speaker 3: rabbit or I guess maybe it's a hair not a rabbit,

399
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Speaker 3: big hair on sketch paper, and Mey gets called away

400
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Speaker 3: to the front of the shop by the bell, and

401
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Speaker 3: so Sergeant Howie is just left alone with Myrtle here.

402
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Speaker 3: So he squats down to talk with her. First she

403
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Speaker 3: hands him a paint brush and this gets paint all

404
00:21:28,080 --> 00:21:31,719
Speaker 3: over his hands. The first of there is a running

405
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Speaker 3: theme in the movie that people who apparently mean no

406
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Speaker 3: harm and are in fact being quite friendly, just constantly

407
00:21:39,119 --> 00:21:45,320
Speaker 3: in little ways kind of blemish or annoy or humiliate

408
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Speaker 3: Sergeant Howie by like handing him a paint brush brush

409
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Speaker 3: side first, and he just gets brown paint all over

410
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Speaker 3: his hands.

411
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Speaker 1: Yeah, this is it's kind of the physical embodiment of

412
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Speaker 1: what goes on with ideas that are conveyed to him,

413
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Speaker 1: you know, because people will just in a very friendly tone,

414
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Speaker 1: like give them give him a little bit of insight

415
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Speaker 1: into what they believe here on Summer Isle and how

416
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Speaker 1: they go about their lives, and it's it. We're to

417
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Speaker 1: infer that there is no malice meant by these statements,

418
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Speaker 1: but they often, you know, they often poke him the

419
00:22:16,920 --> 00:22:22,760
Speaker 1: wrong way and sometimes provoke him to some embarrassing sequences

420
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Speaker 1: where we'll get into examples as we go.

421
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Speaker 3: Yeah, but so how he's still trying to get some

422
00:22:28,760 --> 00:22:32,680
Speaker 3: information makes sense of this confusing situation that he's come

423
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Speaker 3: in to. So he asks Myrtle, do you know Rowan,

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Speaker 3: and Myrtle says, in the fields, she runs and plays

425
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Speaker 3: there all day. And he says, oh, do you think

426
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Speaker 3: she'll be coming back for tea? And Myrtle says tea.

427
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Speaker 3: Hairs don't have tea. Silly. So, according to Myrtle, Rowan

428
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Speaker 3: is a hare. And how he keeps trying to get

429
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Speaker 3: confirmation on this, and she's like, of course she's a hair.

430
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Speaker 3: She has a lovely time. So this inquiry is off

431
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Speaker 3: to a strange start. Later that evening we see Sergeant

432
00:23:03,920 --> 00:23:06,520
Speaker 3: Howie wandering around. He has to find lodgings on the

433
00:23:06,520 --> 00:23:08,640
Speaker 3: island while he is on the case, so he makes

434
00:23:08,640 --> 00:23:10,920
Speaker 3: his way to the local inn. I get the sense

435
00:23:10,960 --> 00:23:13,680
Speaker 3: that this is the only local inn. There's probably just one,

436
00:23:14,520 --> 00:23:19,159
Speaker 3: and this is the green Man Inn. And wow, the

437
00:23:19,280 --> 00:23:22,360
Speaker 3: sign on this place, by the way, is amazing. So

438
00:23:22,440 --> 00:23:25,160
Speaker 3: it is one of the kind of wild man green

439
00:23:25,200 --> 00:23:27,600
Speaker 3: man motifs that you will find in the British Isles.

440
00:23:27,600 --> 00:23:32,360
Speaker 3: But the eyes on the green Man are first of all,

441
00:23:32,359 --> 00:23:34,640
Speaker 3: it's just like a vegetation head, you know, the kind

442
00:23:34,640 --> 00:23:39,200
Speaker 3: of the green night. But then the eyes are these sunken,

443
00:23:39,480 --> 00:23:44,320
Speaker 3: spiraling down concentric circles of brass or gold that look

444
00:23:44,440 --> 00:23:48,120
Speaker 3: like they're like the structure of Dante's Inferno. But they're

445
00:23:48,160 --> 00:23:52,800
Speaker 3: going down and these like gold metal pits. It looks insane.

446
00:23:53,080 --> 00:23:58,000
Speaker 1: Yeah, absolutely overflowing with psychedelic pagan mischief. I also want

447
00:23:58,040 --> 00:24:00,879
Speaker 1: to note this is something that I made. No several times,

448
00:24:02,320 --> 00:24:07,640
Speaker 1: we're more likely to say the wicker Man, but every

449
00:24:07,680 --> 00:24:10,960
Speaker 1: time I feel like, especially Christopher Lee, says the wicker Man,

450
00:24:10,960 --> 00:24:14,080
Speaker 1: he says the wicker Man. And when they talk about

451
00:24:14,119 --> 00:24:16,480
Speaker 1: the green Man in, they say the green Man in.

452
00:24:17,800 --> 00:24:23,919
Speaker 1: So I just noted that found it interesting. Yeah, like

453
00:24:23,960 --> 00:24:27,320
Speaker 1: when they speak of Batman in that way, I don't know.

454
00:24:27,760 --> 00:24:29,320
Speaker 3: Do you know where Batman is now?

455
00:24:29,440 --> 00:24:29,640
Speaker 1: Oh?

456
00:24:29,680 --> 00:24:32,080
Speaker 3: He flies through the caves. He has a lovely time.

457
00:24:34,840 --> 00:24:38,119
Speaker 3: So when Sergeant Howie arrives, the pub is hoppin. It

458
00:24:38,160 --> 00:24:40,280
Speaker 3: looks like a good time. It is full of people

459
00:24:40,359 --> 00:24:44,119
Speaker 3: drinking lively music. But the music stops as soon as

460
00:24:44,119 --> 00:24:46,160
Speaker 3: he walks in. It's like that scene in a western,

461
00:24:46,200 --> 00:24:48,520
Speaker 3: you know, where the wrong guy walks into the saloon

462
00:24:48,600 --> 00:24:50,680
Speaker 3: and the piano player eh oh yeah.

463
00:24:50,720 --> 00:24:52,720
Speaker 1: And this is a great scene too, because we have

464
00:24:52,800 --> 00:24:56,000
Speaker 1: a lot of musicians and non actors in this scene.

465
00:24:56,040 --> 00:24:58,320
Speaker 1: So this is definitely one of those scenes where they

466
00:24:58,359 --> 00:25:01,440
Speaker 1: was talking about in the last episode that really has

467
00:25:01,520 --> 00:25:03,679
Speaker 1: that authentic feel to it. You kind of feel like

468
00:25:03,680 --> 00:25:06,200
Speaker 1: you're in a documentary here and these are these are

469
00:25:06,240 --> 00:25:09,000
Speaker 1: just the locals, like we are in a very authentic setting.

470
00:25:09,359 --> 00:25:12,080
Speaker 3: Yeah. So Howie goes up to the counter and he

471
00:25:12,119 --> 00:25:15,560
Speaker 3: meets the innkeeper. And this guy has such suspicious energy.

472
00:25:15,640 --> 00:25:19,520
Speaker 3: We mentioned him last time. This is Alder McGregor, the landlord,

473
00:25:19,600 --> 00:25:22,959
Speaker 3: the innkeeper, and he's he's just got this raised die bro.

474
00:25:23,080 --> 00:25:24,760
Speaker 3: He's like, you're a policeman.

475
00:25:24,920 --> 00:25:31,040
Speaker 1: I yeah, yeah, this is Lindsay Kemp. Yeah, fun, fun performance.

476
00:25:31,160 --> 00:25:34,919
Speaker 3: Yeah, he's great. So Sergeant Howie requests a room for

477
00:25:34,960 --> 00:25:38,520
Speaker 3: the night and a hot supper, and the landlord calls

478
00:25:38,560 --> 00:25:41,320
Speaker 3: his daughter to the counter to show Sergeant Howie to

479
00:25:41,400 --> 00:25:44,400
Speaker 3: his room. Here we meet another one of the main

480
00:25:44,480 --> 00:25:47,280
Speaker 3: characters in the movie, played by Britt Eklund in the

481
00:25:47,359 --> 00:25:52,000
Speaker 3: role of Willow McGregor, the quote landlord's daughter and on

482
00:25:52,280 --> 00:25:54,480
Speaker 3: cue as she comes into the room. First of all,

483
00:25:54,520 --> 00:25:56,440
Speaker 3: when she comes into the room and meets Howie, she

484
00:25:56,560 --> 00:25:58,960
Speaker 3: like gives him a real good like look up and down,

485
00:26:00,400 --> 00:26:04,000
Speaker 3: and all the locals start singing a dirty pub song

486
00:26:04,119 --> 00:26:06,840
Speaker 3: about her, and I want to be clear, Willow seems

487
00:26:06,880 --> 00:26:09,520
Speaker 3: not to mind the dirty pub song. As soon as

488
00:26:09,640 --> 00:26:12,000
Speaker 3: she sees Sergeant Howie, she looks at him with this

489
00:26:12,240 --> 00:26:15,120
Speaker 3: mischievous smile, like, yes, I am going to make this

490
00:26:15,200 --> 00:26:19,159
Speaker 3: Christian do some sinning. And I think it's the harbor

491
00:26:19,240 --> 00:26:23,280
Speaker 3: master who starts singing the song, and the lyrics begins saying,

492
00:26:23,359 --> 00:26:26,199
Speaker 3: much has been said of the strumpets of your of

493
00:26:26,320 --> 00:26:29,840
Speaker 3: winches and body house queens by the score, But I

494
00:26:29,880 --> 00:26:33,399
Speaker 3: sing of a baggage that we all adore, the landlord's daughter.

495
00:26:33,960 --> 00:26:36,880
Speaker 1: And if it were not already clear, Sergeant Howie has

496
00:26:36,960 --> 00:26:39,680
Speaker 1: landed on the hornist island in the British Isles.

497
00:26:39,960 --> 00:26:44,200
Speaker 3: Yes. Now, something I want to note about the tone

498
00:26:44,240 --> 00:26:48,400
Speaker 3: of this scene, which I think is interesting. In another context,

499
00:26:49,200 --> 00:26:53,080
Speaker 3: you could imagine that this exact song, this horny drinking song,

500
00:26:53,160 --> 00:26:56,760
Speaker 3: with the same lyrics, would have more of the quality

501
00:26:56,960 --> 00:26:59,879
Speaker 3: of an insult, like it would have more of a

502
00:27:00,000 --> 00:27:03,080
Speaker 3: a misogynist tone and a kind of insult to the

503
00:27:03,119 --> 00:27:06,800
Speaker 3: woman that the song is about. And somehow to me,

504
00:27:07,080 --> 00:27:09,840
Speaker 3: this scene does not feel like it has any implication

505
00:27:10,000 --> 00:27:13,840
Speaker 3: of that kind. There's obviously humor in the song, but

506
00:27:14,040 --> 00:27:18,720
Speaker 3: it actually does not feel like the characters understand the

507
00:27:18,800 --> 00:27:23,000
Speaker 3: song to be at Willow's expense. Instead, the song feels

508
00:27:23,040 --> 00:27:25,920
Speaker 3: like it is genuinely meant as a kind of cheeky

509
00:27:26,000 --> 00:27:29,879
Speaker 3: celebration of a woman who is beloved by the pub community,

510
00:27:30,600 --> 00:27:33,280
Speaker 3: and she seems to be reveling in this adoration. She's

511
00:27:33,320 --> 00:27:35,520
Speaker 3: like smiling and laughing and dancing along.

512
00:27:35,920 --> 00:27:39,680
Speaker 1: Yeah, I agree. I'm left after this scene, in particular,

513
00:27:39,680 --> 00:27:41,960
Speaker 1: I'm left with an impression of a very sex positive

514
00:27:42,000 --> 00:27:45,000
Speaker 1: culture here on Summer Isle and the way it hits

515
00:27:45,000 --> 00:27:47,080
Speaker 1: given that this again was filmed in seventy two, came

516
00:27:47,119 --> 00:27:50,240
Speaker 1: out like seventy three. Initially, I assume this is bringing

517
00:27:50,280 --> 00:27:53,399
Speaker 1: in a lot of like sixties free love energy along

518
00:27:53,440 --> 00:27:57,320
Speaker 1: with these older pagan vibes, pre Christian vibes. But yeah,

519
00:27:57,359 --> 00:28:00,439
Speaker 1: this is an island where we're already getting the idea

520
00:28:00,560 --> 00:28:03,440
Speaker 1: that sex is no sin, but rather the chiefest of

521
00:28:03,520 --> 00:28:07,959
Speaker 1: virtues to be celebrated as such. And to someone like Howie,

522
00:28:08,400 --> 00:28:12,280
Speaker 1: for whom sex is original sin, this just absolutely flips

523
00:28:12,280 --> 00:28:16,080
Speaker 1: his universe on its head, because it quickly becomes obvious

524
00:28:16,119 --> 00:28:18,359
Speaker 1: that this is not just a young folks thing or

525
00:28:18,400 --> 00:28:23,119
Speaker 1: a subgroup thing. Everyone here on Summer Aisle has this worldview.

526
00:28:23,280 --> 00:28:25,119
Speaker 3: Yeah, everybody's having a great time. It's a lot of

527
00:28:25,119 --> 00:28:29,119
Speaker 3: old people in the pub. They all love this. Another

528
00:28:29,200 --> 00:28:32,679
Speaker 3: thing that I think is kind of interesting about the

529
00:28:32,720 --> 00:28:35,320
Speaker 3: tone of this song and the way the characters seem

530
00:28:35,359 --> 00:28:38,760
Speaker 3: to feel and understand it, especially given what we learn

531
00:28:38,920 --> 00:28:41,680
Speaker 3: later about the history of the island. It almost feels

532
00:28:41,720 --> 00:28:45,120
Speaker 3: like this song could be a relic from a different

533
00:28:45,320 --> 00:28:49,720
Speaker 3: time from people with different values, and now the words

534
00:28:49,760 --> 00:28:52,760
Speaker 3: and melody are still being sung, but by people who

535
00:28:52,920 --> 00:28:54,520
Speaker 3: understand them differently.

536
00:28:55,160 --> 00:28:55,400
Speaker 1: Yeah.

537
00:28:55,600 --> 00:28:59,680
Speaker 3: Yeah, but anyway, everybody starts singing and dancing. The pub is,

538
00:29:00,440 --> 00:29:03,760
Speaker 3: by the way, like half of the patrons have musical instruments.

539
00:29:04,320 --> 00:29:06,680
Speaker 3: Some of the dance moves not so much in this scene,

540
00:29:06,720 --> 00:29:10,360
Speaker 3: but we will see in later scenes are basically wrestling moves,

541
00:29:10,440 --> 00:29:13,040
Speaker 3: Like they'll be playing music and people are like picking

542
00:29:13,080 --> 00:29:15,080
Speaker 3: each other up in the air as if to do

543
00:29:15,120 --> 00:29:16,400
Speaker 3: a suplex or something.

544
00:29:16,520 --> 00:29:18,440
Speaker 1: Yeah, there are a lot of clearly, as this crowd

545
00:29:18,480 --> 00:29:20,720
Speaker 1: really gets into their cups, there are some tests of

546
00:29:20,760 --> 00:29:26,000
Speaker 1: strength involved. Yeah, nobody has This is where everyone is

547
00:29:26,040 --> 00:29:29,040
Speaker 1: going tonight, and there is no second location. Well, there's

548
00:29:29,080 --> 00:29:32,320
Speaker 1: one possible second location. There is the field. There's also

549
00:29:32,360 --> 00:29:33,880
Speaker 1: the cemetery, but we'll get into that later.

550
00:29:34,000 --> 00:29:37,000
Speaker 3: Yeah, So, as the song about the landlord's daughter is

551
00:29:37,040 --> 00:29:40,440
Speaker 3: really heating up, Sergeant Howie is just like, stop all

552
00:29:40,480 --> 00:29:43,280
Speaker 3: this nonsense. He starts rapping on the counter to make

553
00:29:43,320 --> 00:29:47,000
Speaker 3: everybody shut up and listen to him, total scold, And

554
00:29:47,040 --> 00:29:49,920
Speaker 3: once everybody is finally quiet, he tells them he's a

555
00:29:49,960 --> 00:29:52,880
Speaker 3: policeman and that he is looking for a child named

556
00:29:53,000 --> 00:29:56,200
Speaker 3: Rowan Morrison and if anyone has knowledge of her whereabouts,

557
00:29:56,240 --> 00:29:59,040
Speaker 3: they should come speak with him. And it's funny because, like,

558
00:29:59,080 --> 00:30:01,360
Speaker 3: if you force your self to think about it, like

559
00:30:02,160 --> 00:30:06,920
Speaker 3: his business is important. He is actually trying to solve

560
00:30:07,480 --> 00:30:11,040
Speaker 3: what's going on within an apparently missing child who people

561
00:30:11,120 --> 00:30:15,360
Speaker 3: are like giving him weird, conflicting information about, and yet

562
00:30:15,960 --> 00:30:19,440
Speaker 3: it feels like this is completely inappropriate behavior on his part.

563
00:30:20,000 --> 00:30:22,400
Speaker 1: Yeah yeah, I mean part of it is that so far,

564
00:30:22,960 --> 00:30:26,479
Speaker 1: no one has acknowledged that anyone is actually missing, So

565
00:30:26,720 --> 00:30:29,400
Speaker 1: like maybe we're inclined to forgive them a bit more

566
00:30:29,520 --> 00:30:32,280
Speaker 1: for just not answering any of his questions all that night,

567
00:30:32,400 --> 00:30:35,560
Speaker 1: because I mean, so far, we're to assume that, well,

568
00:30:35,680 --> 00:30:38,000
Speaker 1: there's no kid missing, Like what you're just going to

569
00:30:38,040 --> 00:30:39,720
Speaker 1: shout out us some more about this, But we can't

570
00:30:39,720 --> 00:30:40,040
Speaker 1: help you.

571
00:30:40,360 --> 00:30:43,160
Speaker 3: So while Sergeant Howie is showing the photo to everyone,

572
00:30:43,240 --> 00:30:45,400
Speaker 3: we also see some photos up on the wall of

573
00:30:45,520 --> 00:30:50,440
Speaker 3: the Green Man in from each of the ten years past. Actually,

574
00:30:50,520 --> 00:30:53,920
Speaker 3: there's a photo of the harvest festival featuring a girl

575
00:30:53,960 --> 00:30:56,160
Speaker 3: who is the Queen of the Harvest. I'm not sure

576
00:30:56,160 --> 00:30:57,920
Speaker 3: if this is supposed to be the same as the

577
00:30:58,000 --> 00:31:01,120
Speaker 3: Queen of the May Festival crowned the Queen of the

578
00:31:01,160 --> 00:31:02,800
Speaker 3: May and then she also is the Queen of the

579
00:31:02,800 --> 00:31:06,200
Speaker 3: Harvest Festival, or it's different girls. I'm not sure, but anyway,

580
00:31:06,440 --> 00:31:08,400
Speaker 3: it'll have like a girl with like a wreath of

581
00:31:08,440 --> 00:31:11,520
Speaker 3: flowers on her hair, and she'll be surrounded by crates

582
00:31:11,560 --> 00:31:14,600
Speaker 3: of fruit and other produce the harvest of the island.

583
00:31:15,440 --> 00:31:19,000
Speaker 3: The photo from last year's harvest festival is missing. All

584
00:31:19,040 --> 00:31:21,240
Speaker 3: of the other photos are lined up, but how He

585
00:31:21,320 --> 00:31:23,480
Speaker 3: asks about it, and the landlord says that the frame

586
00:31:23,600 --> 00:31:26,920
Speaker 3: was broken and it's being repaired anyway. Time for supper.

587
00:31:27,400 --> 00:31:30,040
Speaker 3: We cut away to Howie eating and we see his

588
00:31:30,120 --> 00:31:33,280
Speaker 3: food which looks gross, so we just hear him mutter disgusting.

589
00:31:34,120 --> 00:31:36,320
Speaker 3: He's got like a little cut of meat on his plate,

590
00:31:36,400 --> 00:31:39,480
Speaker 3: and then some beans that look blue and then some

591
00:31:39,560 --> 00:31:42,320
Speaker 3: canned boiled potatoes. It does not look like a very

592
00:31:42,320 --> 00:31:46,360
Speaker 3: good plate of food. Willow comes in to clear his plate,

593
00:31:46,640 --> 00:31:49,280
Speaker 3: and she's like, what's the matter. Aren't you hungry? And

594
00:31:49,360 --> 00:31:52,440
Speaker 3: how He says yes, he says he's hungry, but he

595
00:31:52,520 --> 00:31:55,720
Speaker 3: says that most of the food I've had, the farmhouse soup,

596
00:31:55,840 --> 00:31:58,240
Speaker 3: the potatoes, broad beans all come out of a can.

597
00:31:58,840 --> 00:32:02,600
Speaker 3: Broad Beans in their natural state aren't usually turquois, are they?

598
00:32:04,040 --> 00:32:07,000
Speaker 3: And Willow says, oh, this is the part where Willow

599
00:32:07,120 --> 00:32:08,880
Speaker 3: just like looks at him and she goes, some things

600
00:32:08,880 --> 00:32:11,640
Speaker 3: in their natural state have the most vivid colors.

601
00:32:13,200 --> 00:32:15,160
Speaker 1: Yeah, she was laying it on a bit thick here,

602
00:32:15,200 --> 00:32:18,360
Speaker 1: but I do love the continued botanical sexual themes here.

603
00:32:18,720 --> 00:32:21,040
Speaker 3: Also, Willow asked him you want any Do you wan

604
00:32:21,000 --> 00:32:24,040
Speaker 3: any dessert? She says, do you want afters he asks

605
00:32:24,040 --> 00:32:26,520
Speaker 3: for an apple, but she says, no apples, they don't

606
00:32:26,520 --> 00:32:29,400
Speaker 3: have any. And Sergeant how He is shocked by this.

607
00:32:29,480 --> 00:32:32,320
Speaker 3: He's like, well, I thought Summerle was famous for its

608
00:32:32,360 --> 00:32:35,080
Speaker 3: fruit and vegetables. Your apples are what you do here,

609
00:32:35,160 --> 00:32:39,280
Speaker 3: that's your whole thing. And she says, sorry, I expect

610
00:32:39,280 --> 00:32:42,000
Speaker 3: they've all been exported. You can have peaches and cream

611
00:32:42,080 --> 00:32:45,200
Speaker 3: if you like Sergeant. Sergeant how he asks if it

612
00:32:45,240 --> 00:32:49,520
Speaker 3: will come from a can, and Willow nods, oh. But

613
00:32:49,600 --> 00:32:52,480
Speaker 3: she also gives him another sexy stinger. She's like, cheer

614
00:32:52,560 --> 00:32:54,440
Speaker 3: up food. Isn't everything in life? You know?

615
00:32:56,440 --> 00:32:59,800
Speaker 1: I love this little scene made me start thinking about

616
00:33:00,640 --> 00:33:06,280
Speaker 1: religion as fruit here, with Christianity Howie's Christianity being the

617
00:33:06,360 --> 00:33:09,960
Speaker 1: canned fruit from a distant land introduced here. While the

618
00:33:10,040 --> 00:33:12,800
Speaker 1: pagan beliefs are of the soil and of the people,

619
00:33:12,920 --> 00:33:16,480
Speaker 1: they're like the crops that are grown locally, or at

620
00:33:16,560 --> 00:33:18,480
Speaker 1: least at this point in the film. That's how it

621
00:33:18,560 --> 00:33:22,040
Speaker 1: may seem. Things may seem different later on.

622
00:33:22,560 --> 00:33:25,760
Speaker 3: That is interesting. I didn't think of that. I wonder

623
00:33:25,760 --> 00:33:28,920
Speaker 3: how that interfaces with the fact that the local fruits

624
00:33:28,960 --> 00:33:31,440
Speaker 3: have failed in the last harvest.

625
00:33:31,680 --> 00:33:35,040
Speaker 1: Exactly. Yeah, And I think again, that's one of the

626
00:33:35,040 --> 00:33:37,200
Speaker 1: great things about this film is you can kind of

627
00:33:37,240 --> 00:33:39,760
Speaker 1: drop in at different points and it makes you think

628
00:33:39,800 --> 00:33:42,920
Speaker 1: about things in one direction, and the new information will

629
00:33:43,000 --> 00:33:48,680
Speaker 1: kind of make you consider the alternate argument. So this

630
00:33:48,800 --> 00:33:50,480
Speaker 1: is just yeah, this is one of those moments right

631
00:33:50,520 --> 00:33:53,720
Speaker 1: here where everything you think you might understand about the

632
00:33:54,080 --> 00:33:56,480
Speaker 1: balance is going to shift later on.

633
00:33:57,440 --> 00:33:59,720
Speaker 3: Though, Actually I got ahead of things because we actually

634
00:33:59,760 --> 00:34:01,280
Speaker 3: don't know at this point in the movie that the

635
00:34:01,360 --> 00:34:02,600
Speaker 3: last harvest failed yet.

636
00:34:02,680 --> 00:34:04,160
Speaker 1: Yeah, as far as we know at this point, this

637
00:34:04,280 --> 00:34:07,160
Speaker 1: is just an island where the apples are bountiful, and

638
00:34:07,200 --> 00:34:09,400
Speaker 1: for some reason they're serving this guy can potatoes.

639
00:34:10,080 --> 00:34:14,839
Speaker 3: Yeah, maybe it's just superfluous disrespect for how we even

640
00:34:14,840 --> 00:34:17,719
Speaker 3: though they're being very nice to him. And again, yeah,

641
00:34:17,880 --> 00:34:20,480
Speaker 3: most people are being very nice to him. I should

642
00:34:20,520 --> 00:34:22,960
Speaker 3: just say that again, Like he's gotten a little bit

643
00:34:23,000 --> 00:34:25,520
Speaker 3: of an icy reception here and there, but it's you know,

644
00:34:26,480 --> 00:34:27,680
Speaker 3: they're they're welcoming him.

645
00:34:28,120 --> 00:34:30,440
Speaker 1: Their vibe is just very different than his too, Like

646
00:34:30,520 --> 00:34:33,600
Speaker 1: he's still on the case, on the job, and no

647
00:34:33,640 --> 00:34:37,080
Speaker 1: one else is working exactly, I mean except for the

648
00:34:37,080 --> 00:34:39,719
Speaker 1: people working in the pub. Everyone else here is out

649
00:34:39,719 --> 00:34:40,319
Speaker 1: for a good time.

650
00:34:40,480 --> 00:34:42,600
Speaker 3: Yeah. The people working in the pub seem like they're

651
00:34:42,600 --> 00:34:44,080
Speaker 3: partying in the pub at the same time.

652
00:34:44,200 --> 00:34:44,680
Speaker 1: Yeah.

653
00:34:44,840 --> 00:34:47,840
Speaker 3: We work hard, we play hard at the same time simultaneously.

654
00:34:48,040 --> 00:34:48,680
Speaker 1: Yeah.

655
00:34:49,120 --> 00:34:52,840
Speaker 3: Anyway, right after this, Howie decides to go out for

656
00:34:52,880 --> 00:34:54,800
Speaker 3: a walk. This is, by the way, right after Willow

657
00:34:54,880 --> 00:34:56,720
Speaker 3: told him, you know, there's more to life than food.

658
00:34:57,400 --> 00:34:59,400
Speaker 3: So he goes out for a walk on the lane

659
00:34:59,440 --> 00:35:03,920
Speaker 3: outside the inn, and he discovers in the fields outside

660
00:35:04,760 --> 00:35:07,719
Speaker 3: there just happens to be an orgy taking place. Dozens

661
00:35:07,719 --> 00:35:11,200
Speaker 3: of people are out having passionate sex in the grass,

662
00:35:11,960 --> 00:35:16,040
Speaker 3: and how he is incredibly startled by this. Next, he

663
00:35:16,120 --> 00:35:18,920
Speaker 3: comes to the edge of the old churchyard and peeks

664
00:35:18,960 --> 00:35:22,040
Speaker 3: over the stone wall, and he sees people in the

665
00:35:22,080 --> 00:35:26,359
Speaker 3: graveyard with watering cans, watering graves in the moonlight, and

666
00:35:26,400 --> 00:35:30,520
Speaker 3: he sees a naked woman sitting on another grave and sobbing. Yeah.

667
00:35:30,600 --> 00:35:33,399
Speaker 1: Yeah, Stephen King's character from Sleepwalkers would not approve of them.

668
00:35:33,719 --> 00:35:37,839
Speaker 3: Yeah, I don't need this action, yea. So how He

669
00:35:37,880 --> 00:35:41,560
Speaker 3: goes back to the inn, clearly disturbed. He something is

670
00:35:41,600 --> 00:35:44,720
Speaker 3: not right with this place from his perspective. He quickly

671
00:35:44,719 --> 00:35:54,879
Speaker 3: gets his key goes up to his room. Now Here

672
00:35:54,920 --> 00:35:59,200
Speaker 3: we get a deleted scene of the first night at

673
00:35:59,200 --> 00:36:02,719
Speaker 3: the inn. Later that night, while Howie is alone in

674
00:36:02,760 --> 00:36:05,720
Speaker 3: his room writing in his notebook, we hear a deep

675
00:36:05,920 --> 00:36:10,319
Speaker 3: voice outside the window calling out it's the voice of

676
00:36:10,400 --> 00:36:14,160
Speaker 3: Christopher Lee. And we hear Christopher Lee saying, Willow McGregor,

677
00:36:14,360 --> 00:36:18,040
Speaker 3: I have the honor to present you Ash Buchanan. And

678
00:36:18,080 --> 00:36:20,200
Speaker 3: then outside the window. We look down and we see

679
00:36:20,239 --> 00:36:23,200
Speaker 3: there stands christ forher Lee in the role of Lord Somerle.

680
00:36:24,400 --> 00:36:26,160
Speaker 3: I can't remember. Is he dressed in a kilt in

681
00:36:26,200 --> 00:36:31,440
Speaker 3: this sees yeah, with kinda the Scottish dress, with like

682
00:36:31,480 --> 00:36:34,960
Speaker 3: a pouch of some kind. And then there's a young

683
00:36:35,000 --> 00:36:39,319
Speaker 3: man standing beside him. Willow comes to the window and

684
00:36:39,360 --> 00:36:41,959
Speaker 3: she is overjoyed to see them. She's laughing and she says,

685
00:36:42,000 --> 00:36:45,880
Speaker 3: come on up, Ash Buchanan, and Lord Somerle says another

686
00:36:45,920 --> 00:36:50,239
Speaker 3: sacrifice at the altar of Aphrodite. So Willow is the

687
00:36:50,280 --> 00:36:54,400
Speaker 3: goddess of love in the local mythology. They also have

688
00:36:54,600 --> 00:36:57,480
Speaker 3: a conversation of how she needs to be ready for

689
00:36:57,719 --> 00:37:03,480
Speaker 3: Tomorrow's tomorrow, the day of a more serious offering, and

690
00:37:03,520 --> 00:37:05,600
Speaker 3: the people in the pub downstairs by the way are

691
00:37:05,640 --> 00:37:08,640
Speaker 3: singing a song about sex. This is not a rowdy

692
00:37:08,719 --> 00:37:11,560
Speaker 3: drinking song this time. It's kind of a soft, sad

693
00:37:12,080 --> 00:37:14,840
Speaker 3: minor key song. Sounds like it could be by Nick Drake.

694
00:37:15,760 --> 00:37:15,960
Speaker 1: Oh.

695
00:37:16,040 --> 00:37:18,640
Speaker 3: Also, this is the part I think we talked about

696
00:37:18,640 --> 00:37:22,440
Speaker 3: this in the last episode. The once deleted scene now

697
00:37:22,480 --> 00:37:26,040
Speaker 3: restored where Christopher Lee looks at slugs, Yes, and he's

698
00:37:26,120 --> 00:37:29,600
Speaker 3: like staring at slugs crawling on a leaf, and he says,

699
00:37:29,880 --> 00:37:32,759
Speaker 3: I think I could turn and live with animals. They

700
00:37:32,760 --> 00:37:36,200
Speaker 3: are so placid and self contained. They do not lie

701
00:37:36,239 --> 00:37:39,239
Speaker 3: awake in the dark and weep for their sins. They

702
00:37:39,280 --> 00:37:42,560
Speaker 3: do not make me sick discussing their duty to God.

703
00:37:42,680 --> 00:37:45,279
Speaker 3: Not one of them kneels to another or to his

704
00:37:45,320 --> 00:37:48,839
Speaker 3: own kind that lived thousands of years ago. Not one

705
00:37:48,880 --> 00:37:52,440
Speaker 3: of them is respectable or unhappy all over the earth.

706
00:37:53,040 --> 00:37:58,080
Speaker 1: Yeah, it's really nice. I love this sequence. I've noted

707
00:37:58,120 --> 00:38:02,680
Speaker 1: that some folks online disagree and think that this scene

708
00:38:02,719 --> 00:38:04,640
Speaker 1: kind of like messes with the pace of the picture.

709
00:38:05,200 --> 00:38:08,360
Speaker 1: And I mean, I can maybe acknowledge some ways it

710
00:38:08,440 --> 00:38:10,319
Speaker 1: might do that a little bit, but I feel like

711
00:38:10,360 --> 00:38:15,399
Speaker 1: the benefits of it outweigh any negatives, you know, because

712
00:38:15,400 --> 00:38:17,359
Speaker 1: we get kind of a we get a little more

713
00:38:17,440 --> 00:38:21,520
Speaker 1: about the sort of outlook that the locals have about

714
00:38:21,560 --> 00:38:27,160
Speaker 1: their place and relationship to nature, about like the value

715
00:38:27,200 --> 00:38:30,920
Speaker 1: that they place on willow and on sex in the community.

716
00:38:31,600 --> 00:38:34,319
Speaker 1: So I think it's all it's all an upside here.

717
00:38:35,000 --> 00:38:37,799
Speaker 3: Yeah, I can see both sides about the scene. Having

718
00:38:37,800 --> 00:38:40,239
Speaker 3: seen the movie without it as well, I can see

719
00:38:40,239 --> 00:38:44,680
Speaker 3: how it does sort of disrupt the slow build towards

720
00:38:44,719 --> 00:38:48,160
Speaker 3: the first meeting with Christopher Lee. And it also sort

721
00:38:48,200 --> 00:38:54,600
Speaker 3: of it reveals more about the island's culture earlier on,

722
00:38:55,000 --> 00:38:58,600
Speaker 3: and because without the scene you get a very very

723
00:38:58,719 --> 00:39:02,560
Speaker 3: nice slow build the revelations about what's going on up

724
00:39:02,560 --> 00:39:06,200
Speaker 3: to the payoff. So I see that point. But also

725
00:39:06,280 --> 00:39:09,080
Speaker 3: I just really like the scene, and so I kind

726
00:39:09,080 --> 00:39:09,880
Speaker 3: of hate to lose it.

727
00:39:10,320 --> 00:39:13,319
Speaker 1: I think the first time I saw this film on television,

728
00:39:13,680 --> 00:39:17,719
Speaker 1: I suspect this sequence was missing. And on top of that,

729
00:39:17,719 --> 00:39:19,319
Speaker 1: I'm not sure what else might have been cut for

730
00:39:19,560 --> 00:39:23,759
Speaker 1: length on TP, so that's a possible fourth different cut.

731
00:39:23,800 --> 00:39:26,440
Speaker 1: I always always forget to include that. Yeah, anytime you

732
00:39:26,480 --> 00:39:30,160
Speaker 1: have something for cable television back in the day, or

733
00:39:30,239 --> 00:39:32,839
Speaker 1: certainly broadcast television, there's the chance that something else has

734
00:39:32,840 --> 00:39:35,960
Speaker 1: been cut or sometimes added, depending on what run time

735
00:39:36,000 --> 00:39:36,640
Speaker 1: you're trying to hit.

736
00:39:37,280 --> 00:39:43,000
Speaker 3: You know, another thing regarding the care free, sex positive

737
00:39:43,160 --> 00:39:47,239
Speaker 3: culture of the island that I wanted to talk about,

738
00:39:47,280 --> 00:39:48,640
Speaker 3: Maybe this is a good place to bring it up,

739
00:39:48,680 --> 00:39:50,799
Speaker 3: because I don't know where else to bring it up.

740
00:39:51,239 --> 00:39:55,560
Speaker 3: I think this story would play differently if as soon

741
00:39:55,600 --> 00:39:59,040
Speaker 3: as Sergeant Howie arrived on the island, we were seeing

742
00:39:59,120 --> 00:40:02,719
Speaker 3: lots of like hot young people in diaphanous gowns, or

743
00:40:02,760 --> 00:40:06,640
Speaker 3: people dancing around naked with flowers in their hair, but

744
00:40:07,040 --> 00:40:10,040
Speaker 3: we don't see that. Instead, to the extent that we

745
00:40:10,080 --> 00:40:12,400
Speaker 3: get any of that, it comes much later in the story,

746
00:40:12,880 --> 00:40:16,560
Speaker 3: and that is not generally the local fashion, at least

747
00:40:16,640 --> 00:40:19,160
Speaker 3: not for the for the day to day. The characters

748
00:40:19,200 --> 00:40:23,320
Speaker 3: that we meet early on are mostly older, windburned, gray

749
00:40:23,360 --> 00:40:28,080
Speaker 3: haired people with a kind of wooly authentically rural Scotland

750
00:40:28,160 --> 00:40:32,240
Speaker 3: in the seventies fashion sense. It's not woodstock out here,

751
00:40:32,440 --> 00:40:35,960
Speaker 3: at least not early on. Early on, it's just it's

752
00:40:36,040 --> 00:40:39,120
Speaker 3: lots of old people apparently living a kind of dowdy

753
00:40:39,239 --> 00:40:40,600
Speaker 3: Scottish village life.

754
00:40:41,280 --> 00:40:43,840
Speaker 1: Yeah, it's it's firmly established that this is not a

755
00:40:43,920 --> 00:40:47,319
Speaker 1: generational thing here. Then there are some nods later on

756
00:40:47,360 --> 00:40:50,080
Speaker 1: to the fact that the older members of the community

757
00:40:50,120 --> 00:40:53,359
Speaker 1: are more likely to have biblical names, biblical first names,

758
00:40:53,400 --> 00:40:56,120
Speaker 1: as opposed to the younger people who all have names

759
00:40:56,160 --> 00:40:58,359
Speaker 1: like Rowan and so forth, and it's you know, it's

760
00:40:58,400 --> 00:41:02,279
Speaker 1: more botanical in nature. But yeah, I think this is

761
00:41:02,280 --> 00:41:04,240
Speaker 1: a great point anyway.

762
00:41:04,560 --> 00:41:06,760
Speaker 3: The next day, we check back in with Sergeant Howie

763
00:41:06,760 --> 00:41:10,319
Speaker 3: as he continues his investigation and the first thing we

764
00:41:10,360 --> 00:41:13,239
Speaker 3: see is that as Sergeant Howie is setting out to

765
00:41:13,280 --> 00:41:17,279
Speaker 3: the island schoolhouse, he passes a big celebration out in

766
00:41:17,320 --> 00:41:20,719
Speaker 3: a meadow across the way from the school. The boys

767
00:41:21,040 --> 00:41:24,920
Speaker 3: of the elementary school are out with their teacher, dancing

768
00:41:24,960 --> 00:41:27,759
Speaker 3: around a may pole which is hung with red and

769
00:41:27,800 --> 00:41:31,279
Speaker 3: white streamers, and there is a band playing. We've got

770
00:41:31,280 --> 00:41:35,440
Speaker 3: a guitar, clarinet, violin, and a very prominent mouth harp

771
00:41:35,520 --> 00:41:39,600
Speaker 3: going boying, boying, And here we get another musical number

772
00:41:39,680 --> 00:41:42,720
Speaker 3: sung by the school master in a glorious pink shirt

773
00:41:42,760 --> 00:41:47,359
Speaker 3: with a wide seventies collar, and the boys are running around.

774
00:41:47,400 --> 00:41:50,399
Speaker 3: They're weaving their streamers around the may pole, twisting them

775
00:41:50,480 --> 00:41:52,960
Speaker 3: up if I think most people have probably seen that

776
00:41:53,040 --> 00:41:54,960
Speaker 3: kind of dance where you go around the maypole and

777
00:41:54,960 --> 00:41:57,640
Speaker 3: you weave the you weave the fibers in and out.

778
00:41:59,239 --> 00:42:03,800
Speaker 3: The tune of the is it's both lighthearted and sing songy,

779
00:42:03,880 --> 00:42:07,080
Speaker 3: but also a little bit eerie. And I'm just gonna

780
00:42:07,120 --> 00:42:09,000
Speaker 3: read the lyrics here because they do there are kind

781
00:42:09,000 --> 00:42:11,640
Speaker 3: of important for establishing the tone of the movie as

782
00:42:11,640 --> 00:42:14,920
Speaker 3: it's developing. So the schoolmaster sings in the woods, there

783
00:42:14,920 --> 00:42:17,080
Speaker 3: grew a tree and a fine, fine tree was he

784
00:42:17,520 --> 00:42:19,400
Speaker 3: And on that tree there was a limb, and on

785
00:42:19,440 --> 00:42:21,640
Speaker 3: that limb there was a branch, and on that branch

786
00:42:21,760 --> 00:42:23,719
Speaker 3: there was a nest. And in that nest there was

787
00:42:23,760 --> 00:42:25,960
Speaker 3: an egg. And in that egg there was a bird.

788
00:42:26,000 --> 00:42:28,560
Speaker 3: And from that bird a feather came, and of that

789
00:42:28,600 --> 00:42:31,440
Speaker 3: feather was a bed, and on that bed there was

790
00:42:31,480 --> 00:42:33,479
Speaker 3: a girl, and on that girl there was a man.

791
00:42:33,600 --> 00:42:35,839
Speaker 3: And from that man there was a seed. And from

792
00:42:35,880 --> 00:42:38,200
Speaker 3: that seed there was a boy, and from that boy

793
00:42:38,239 --> 00:42:40,560
Speaker 3: there was a man. And for that man there was

794
00:42:40,600 --> 00:42:44,319
Speaker 3: a grave. And from that grave there grew a tree.

795
00:42:44,960 --> 00:42:47,320
Speaker 1: This is a great song. This is one I definitely

796
00:42:47,320 --> 00:42:49,520
Speaker 1: did catch myself singing a couple of times because it

797
00:42:49,560 --> 00:42:51,400
Speaker 1: has just such a nice, jaunty energy to it.

798
00:42:51,600 --> 00:42:55,880
Speaker 3: Yeah yeah. Howie is again obviously weirded out by this,

799
00:42:55,960 --> 00:42:59,560
Speaker 3: but he walks past to the schoolhouse where the girls

800
00:42:59,560 --> 00:43:01,960
Speaker 3: of the school are sitting at their desks, and as

801
00:43:01,960 --> 00:43:05,040
Speaker 3: Sergeant how he walks into the room. The teacher, Miss

802
00:43:05,160 --> 00:43:08,120
Speaker 3: Rose played by Diane Cilento, is in the middle of

803
00:43:08,160 --> 00:43:11,440
Speaker 3: a lesson. And I love the way Chilento is dressed

804
00:43:11,440 --> 00:43:13,840
Speaker 3: for this role because or or at least in the scene,

805
00:43:14,080 --> 00:43:17,240
Speaker 3: because on one hand, she looks like a classic proper

806
00:43:17,280 --> 00:43:20,240
Speaker 3: school teacher in the conservative fashion. It's like a long

807
00:43:20,560 --> 00:43:24,120
Speaker 3: gray wool dress going down to the floor and like

808
00:43:24,160 --> 00:43:27,319
Speaker 3: a ruffled white top with this like buttoned up to

809
00:43:27,360 --> 00:43:30,919
Speaker 3: the throat with long sleeves. But also at the same

810
00:43:31,000 --> 00:43:34,520
Speaker 3: time she's got a big chain necklace with what looks

811
00:43:34,560 --> 00:43:38,520
Speaker 3: like some kind of giant talismanic tooth or horn hanging

812
00:43:38,600 --> 00:43:42,640
Speaker 3: over her stomach. I don't know if that was I

813
00:43:42,680 --> 00:43:46,480
Speaker 3: don't know which that is, but it's good anyway. Miss

814
00:43:46,600 --> 00:43:48,480
Speaker 3: Rose is doing her lesson and she asks one of

815
00:43:48,480 --> 00:43:50,080
Speaker 3: the students in the class, can you tell us what

816
00:43:50,080 --> 00:43:54,080
Speaker 3: the maypole represents? The first girl she calls on doesn't

817
00:43:54,120 --> 00:43:56,760
Speaker 3: know the answer, but then everybody else in the class

818
00:43:56,800 --> 00:44:01,839
Speaker 3: calls out phallic symbol, and Miss Rose says, quote the

819
00:44:01,880 --> 00:44:04,759
Speaker 3: phallic symbol that is correct. It is the image of

820
00:44:04,800 --> 00:44:08,000
Speaker 3: the penis, which is venerated in religions such as ours,

821
00:44:08,040 --> 00:44:11,960
Speaker 3: as symbolizing the generative force in nature. And here's the

822
00:44:11,960 --> 00:44:15,160
Speaker 3: point where suddenly how he interrupts the school. He's like, aha,

823
00:44:16,160 --> 00:44:18,759
Speaker 3: right in the school door, and you might think how

824
00:44:18,760 --> 00:44:21,239
Speaker 3: he's gonna get right down to business, trying to track

825
00:44:21,280 --> 00:44:24,840
Speaker 3: down leads on the Rowan Morrison case, except no he doesn't. Instead,

826
00:44:24,920 --> 00:44:28,520
Speaker 3: he pulls Miss Rose aside and he's like, he says,

827
00:44:28,600 --> 00:44:30,640
Speaker 3: miss you can be quite sure that I shall report

828
00:44:30,680 --> 00:44:33,880
Speaker 3: this to the proper authorities. Everywhere I go on this island,

829
00:44:33,920 --> 00:44:36,960
Speaker 3: it seems to me I find degeneracy. There was brawling

830
00:44:37,000 --> 00:44:40,080
Speaker 3: in bars, there's indecency in public places, and there is

831
00:44:40,160 --> 00:44:42,480
Speaker 3: corruption of the young. And now I see it all

832
00:44:42,520 --> 00:44:45,279
Speaker 3: stems from here. It stems from the filth taught here

833
00:44:45,280 --> 00:44:49,400
Speaker 3: in this very school room. And Miss Rose, just very calmly,

834
00:44:49,520 --> 00:44:51,840
Speaker 3: is like I was unaware that the police got to

835
00:44:51,840 --> 00:44:58,760
Speaker 3: set school curriculu. And he's just constantly frustrated and annoyed.

836
00:44:58,800 --> 00:45:02,160
Speaker 3: He's like, well, we'll see about that anyway.

837
00:45:03,320 --> 00:45:05,200
Speaker 1: To take this is the great sequence though, and I

838
00:45:05,200 --> 00:45:08,560
Speaker 1: would say this is the one that feels just a

839
00:45:08,600 --> 00:45:11,480
Speaker 1: few degrees away from being a Monty Python sketch. You know,

840
00:45:13,080 --> 00:45:16,120
Speaker 1: certainly some dry comedic energy here, even if it doesn't

841
00:45:16,160 --> 00:45:18,680
Speaker 1: like go for big punchline laughs or anything.

842
00:45:18,880 --> 00:45:21,680
Speaker 3: So how he takes over the class and addresses all

843
00:45:21,680 --> 00:45:26,120
Speaker 3: the girls. He introduces himself as a police officer, and

844
00:45:26,160 --> 00:45:28,399
Speaker 3: he explains that he's looking for a girl named Rowan

845
00:45:28,440 --> 00:45:32,560
Speaker 3: Morrison without asking, he erases the lesson that miss Rose

846
00:45:32,640 --> 00:45:34,719
Speaker 3: was working on on the blackboard so we can ride

847
00:45:34,760 --> 00:45:37,080
Speaker 3: over it. I happened to pause it so I could

848
00:45:37,080 --> 00:45:40,319
Speaker 3: copy down what the class was covering before. How he

849
00:45:40,400 --> 00:45:43,799
Speaker 3: barged in, this is great. This is what the blackboard said.

850
00:45:44,800 --> 00:45:48,759
Speaker 3: The pith of the snailstone preserves the eye from darkness.

851
00:45:49,400 --> 00:45:53,480
Speaker 3: The toadstone preserves the newly born from the weird woman.

852
00:45:54,239 --> 00:45:57,520
Speaker 3: The hagstone preserves the people from the nightmare.

853
00:45:58,320 --> 00:46:00,880
Speaker 1: Oh wow, I think they were about to get to

854
00:46:00,920 --> 00:46:05,920
Speaker 1: their lesson about the shadow man. Class is interrupted. First,

855
00:46:06,360 --> 00:46:08,680
Speaker 1: I want to go to this school. Do they do

856
00:46:08,719 --> 00:46:12,040
Speaker 1: adult education there? I mean, one assumes they get around

857
00:46:12,040 --> 00:46:13,080
Speaker 1: to mathematics eventually.

858
00:46:13,640 --> 00:46:16,040
Speaker 3: Well, that is a good point. I don't get the

859
00:46:16,080 --> 00:46:20,680
Speaker 3: sense from miss Rose that this school only teaches witchcraft.

860
00:46:20,719 --> 00:46:23,520
Speaker 3: It seems like they maybe have like a witchcraft class,

861
00:46:23,560 --> 00:46:26,560
Speaker 3: But otherwise I think these students are probably getting a

862
00:46:26,560 --> 00:46:29,560
Speaker 3: good education. They're learning math and science and history and

863
00:46:29,600 --> 00:46:31,799
Speaker 3: all that. But then they're also just this is like

864
00:46:31,880 --> 00:46:33,040
Speaker 3: their religious instruction.

865
00:46:33,280 --> 00:46:36,560
Speaker 1: Yeah, he just happened to walk in and eavesdrop right

866
00:46:36,600 --> 00:46:38,600
Speaker 1: before lunch when they normally cover this stuff.

867
00:46:39,280 --> 00:46:42,120
Speaker 3: Anyway, Howie writes Rowan's name on the blackboard. He passes

868
00:46:42,160 --> 00:46:44,920
Speaker 3: her photo around and he asks, do any of you

869
00:46:45,000 --> 00:46:48,359
Speaker 3: know Rowan? Everyone in the class says no. Miss Rose says,

870
00:46:48,360 --> 00:46:50,680
Speaker 3: there's your answer, Sergeant. If she existed, we would know

871
00:46:50,719 --> 00:46:54,000
Speaker 3: of her. But Sergeant Howie is not satisfied. He points

872
00:46:54,000 --> 00:46:56,000
Speaker 3: to an empty desk in the middle of the classroom

873
00:46:56,000 --> 00:47:00,160
Speaker 3: and asks who sits there. Miss Rose says no one does. Then,

874
00:47:00,800 --> 00:47:03,520
Speaker 3: still suspicious, he goes and he flips up the lid

875
00:47:03,640 --> 00:47:06,400
Speaker 3: of the desk, and in the cavity inside he is

876
00:47:06,480 --> 00:47:10,600
Speaker 3: shocked to see a nail partially hammered into the wood,

877
00:47:10,920 --> 00:47:13,960
Speaker 3: protruding up several inches, and it's tied with a thread,

878
00:47:14,440 --> 00:47:16,800
Speaker 3: and the other end of the thread is tied around

879
00:47:16,800 --> 00:47:20,080
Speaker 3: a beetle who is crawling in circles around the nail.

880
00:47:20,880 --> 00:47:23,480
Speaker 3: I would note the visual similarity to the boys running

881
00:47:23,480 --> 00:47:25,759
Speaker 3: around the maypole holding the end of the streamers from

882
00:47:26,080 --> 00:47:28,320
Speaker 3: just a minute before. And then the girl at the

883
00:47:28,360 --> 00:47:32,120
Speaker 3: desk beside says, the little old beadle goes round and round,

884
00:47:32,239 --> 00:47:34,480
Speaker 3: always the same way you see, until it ends up

885
00:47:34,640 --> 00:47:38,080
Speaker 3: right up tight to the nail, poor old thing. And

886
00:47:38,280 --> 00:47:41,480
Speaker 3: Howie is just he's freaked out. He's like, poor old

887
00:47:41,520 --> 00:47:43,759
Speaker 3: thing and then whine, God's name do you do it?

888
00:47:43,880 --> 00:47:44,160
Speaker 1: Girl?

889
00:47:44,280 --> 00:47:48,080
Speaker 3: He's yelling at the children, still suspicious, he wants to

890
00:47:48,080 --> 00:47:50,719
Speaker 3: see the school registerry. Miss Rose tries to say she

891
00:47:50,760 --> 00:47:54,040
Speaker 3: can't share that without permission from Lord Summerle once again

892
00:47:54,400 --> 00:47:57,359
Speaker 3: needs Lord Somerle sign off, but how he just ignores her,

893
00:47:57,440 --> 00:48:00,319
Speaker 3: barges past, pulls it off the desk and looks through it,

894
00:48:00,360 --> 00:48:03,320
Speaker 3: and sure enough, when looking at through the list of students,

895
00:48:03,320 --> 00:48:08,000
Speaker 3: he finds the name Rowan Morrison residents the post office.

896
00:48:08,200 --> 00:48:13,000
Speaker 3: Now upon finding this, his first reaction appears to be discussed,

897
00:48:13,640 --> 00:48:17,279
Speaker 3: discussed at Miss Rose and at the children in the classroom.

898
00:48:17,560 --> 00:48:19,520
Speaker 3: He looks up and he points at all of the

899
00:48:19,920 --> 00:48:22,040
Speaker 3: children in their desks and he says, you are all

900
00:48:22,160 --> 00:48:26,560
Speaker 3: despicable little liars. Rowan Morrison is a schoolmate of yours,

901
00:48:26,600 --> 00:48:29,400
Speaker 3: isn't she? And that is her desk, isn't it? And

902
00:48:29,440 --> 00:48:32,839
Speaker 3: they all just look completely blank, stone faced at him.

903
00:48:32,880 --> 00:48:34,880
Speaker 3: A few kind of avert their eyes to the floor,

904
00:48:34,960 --> 00:48:40,040
Speaker 3: but mostly it's just crickets nothing. He tries to threaten

905
00:48:40,080 --> 00:48:42,160
Speaker 3: Miss Rose, telling her that he's going to charge her

906
00:48:42,160 --> 00:48:45,879
Speaker 3: with obstruction, but she persuades him to step outside with her,

907
00:48:45,960 --> 00:48:49,439
Speaker 3: so they can talk, and so she gives the girl

908
00:48:49,520 --> 00:48:51,680
Speaker 3: some reading to get back to and they go outside

909
00:48:52,400 --> 00:48:56,520
Speaker 3: and she insists that despite how it seems to him

910
00:48:57,080 --> 00:49:01,200
Speaker 3: from their perspective, no one was lying to him. Miss

911
00:49:01,320 --> 00:49:04,440
Speaker 3: Rose says, I told you plainly, if Rowan Morrison existed,

912
00:49:04,560 --> 00:49:06,680
Speaker 3: we would know of her. He's like, what do you

913
00:49:06,680 --> 00:49:09,440
Speaker 3: mean by that? You mean she's dead? And Miss Rose says,

914
00:49:09,880 --> 00:49:14,480
Speaker 3: you would say so, And Sergeant Howie's just he's like fuming.

915
00:49:14,520 --> 00:49:16,760
Speaker 3: He's like, come on, she's either dead or she's not dead.

916
00:49:17,160 --> 00:49:19,239
Speaker 3: And I love the way Miss Rose appears to be

917
00:49:19,680 --> 00:49:26,400
Speaker 3: navigating this conversation carefully. She's doing her best to authentically

918
00:49:26,480 --> 00:49:29,920
Speaker 3: represent her beliefs, so she's not like just caving and

919
00:49:30,000 --> 00:49:34,040
Speaker 3: talking about things the way that Howie would like to like.

920
00:49:34,120 --> 00:49:38,360
Speaker 3: She's staying in her own mode of speaking about the world.

921
00:49:38,680 --> 00:49:41,800
Speaker 3: But she's also trying to be kind of sensitive and accommodating,

922
00:49:41,840 --> 00:49:45,359
Speaker 3: accommodating to this irritated policeman who has no patience for her.

923
00:49:45,880 --> 00:49:48,960
Speaker 3: So she says, here, we do not use the word

924
00:49:49,000 --> 00:49:52,440
Speaker 3: and then she mouths the word dead. She says that

925
00:49:52,560 --> 00:49:55,440
Speaker 3: we believe when human life is over, the soul returns

926
00:49:55,440 --> 00:49:58,400
Speaker 3: to the trees to the air, to fire, to water,

927
00:49:58,520 --> 00:50:01,799
Speaker 3: to animals, so that Roan Morrison has simply returned to

928
00:50:01,840 --> 00:50:05,280
Speaker 3: the life forces in another form. Now how he begins

929
00:50:05,280 --> 00:50:08,440
Speaker 3: to argue, He's like, he can't believe that they're teaching

930
00:50:08,520 --> 00:50:12,480
Speaker 3: the children this stuff. He's like, this is nonsense, it's insane.

931
00:50:12,600 --> 00:50:16,320
Speaker 3: What about teaching them Christianity? Miss Rose is like, actually,

932
00:50:16,360 --> 00:50:18,680
Speaker 3: you know, the children have it much have a much

933
00:50:18,680 --> 00:50:23,920
Speaker 3: easier time understanding the concept of reincarnation than of resurrection,

934
00:50:24,280 --> 00:50:27,080
Speaker 3: because resurrection involves like the you know, the raising of

935
00:50:27,160 --> 00:50:29,920
Speaker 3: rotting bodies. That makes no sense to the children, But

936
00:50:29,960 --> 00:50:33,200
Speaker 3: the children's imagination can quite well understand coming back as

937
00:50:33,239 --> 00:50:37,880
Speaker 3: other forces in nature. Uh. And again how he's just

938
00:50:37,880 --> 00:50:39,960
Speaker 3: like flummixed by this and he has to move on.

939
00:50:40,440 --> 00:50:43,440
Speaker 3: So finally he's like, okay, okay, okay, where is Rowan

940
00:50:43,480 --> 00:50:46,319
Speaker 3: Morrison's body, her physical body? I want to know where

941
00:50:46,320 --> 00:50:49,520
Speaker 3: it is? And she says, you know, it's in what

942
00:50:49,560 --> 00:50:52,719
Speaker 3: you would call the churchyard, no longer consecrated to the

943
00:50:52,800 --> 00:50:53,640
Speaker 3: Christian religion.

944
00:50:54,200 --> 00:50:56,040
Speaker 1: That does not it does feel like she's baiting him

945
00:50:56,040 --> 00:50:56,560
Speaker 1: a little.

946
00:50:56,320 --> 00:50:58,840
Speaker 3: Bit with this. Yes, yes, yeah.

947
00:50:58,440 --> 00:51:00,799
Speaker 1: Now, as we mentioned already, this is at heart a

948
00:51:00,880 --> 00:51:03,040
Speaker 1: horror movie, so we should keep that in mind when

949
00:51:03,040 --> 00:51:07,440
Speaker 1: we consider its representation of either you know, Christianity or

950
00:51:07,520 --> 00:51:11,120
Speaker 1: any variation on pagan religion here. But I love this

951
00:51:11,400 --> 00:51:15,120
Speaker 1: sequence and this idea that for the children, reincarnation just

952
00:51:15,200 --> 00:51:19,239
Speaker 1: rings more true and requires less rigorous reprogramming of their

953
00:51:19,320 --> 00:51:23,120
Speaker 1: natural inclinations. You know, It's definitely one of the notes

954
00:51:23,200 --> 00:51:26,120
Speaker 1: in the film that makes the viewers see Howie and

955
00:51:26,160 --> 00:51:29,359
Speaker 1: his world as being one of more more tortured thought

956
00:51:29,440 --> 00:51:30,040
Speaker 1: and morals.

957
00:51:31,080 --> 00:51:34,000
Speaker 3: Yeah, and it sort of fits with something that Lord

958
00:51:34,040 --> 00:51:38,960
Speaker 3: Summerle will say later that suggests, at least the locals

959
00:51:39,280 --> 00:51:42,200
Speaker 3: think of it as Paganism is not just their religion,

960
00:51:42,280 --> 00:51:44,600
Speaker 3: but they think of it as something that kind of

961
00:51:44,719 --> 00:51:48,800
Speaker 3: fits onto human life naturally. It fits us like a glove,

962
00:51:48,880 --> 00:51:52,440
Speaker 3: and it's easy to put on and to assume. Whereas

963
00:51:52,520 --> 00:51:57,440
Speaker 3: they talk about Howie's religion and about Christianity like it

964
00:51:57,520 --> 00:52:00,080
Speaker 3: is a thing that must be kind of like for

965
00:52:00,440 --> 00:52:04,440
Speaker 3: into place with great effort and against great resistance.

966
00:52:04,920 --> 00:52:08,200
Speaker 1: Yeah. Yeah, and we see some more examples of this

967
00:52:08,360 --> 00:52:09,920
Speaker 1: idea as we proceed.

968
00:52:18,760 --> 00:52:21,200
Speaker 3: But okay, so how He finally has his next clue.

969
00:52:21,239 --> 00:52:23,480
Speaker 3: He's gonna go look for the grave of Rowan Morrison

970
00:52:23,560 --> 00:52:26,120
Speaker 3: in the churchyard, or at least the yard formerly known

971
00:52:26,160 --> 00:52:31,400
Speaker 3: as a church. Now remember this was before the night before,

972
00:52:31,560 --> 00:52:34,239
Speaker 3: where how we saw people watering, trees growing out of

973
00:52:34,239 --> 00:52:37,320
Speaker 3: the grave plots, and naked people getting sad or getting sexy.

974
00:52:38,360 --> 00:52:40,920
Speaker 3: So how he walks in and he looks around the

975
00:52:40,960 --> 00:52:45,120
Speaker 3: first gravestone he looks at says, hereliath beech Buchanan, protected

976
00:52:45,120 --> 00:52:51,880
Speaker 3: by the ejaculation of serpents. Yes, the graveyard is both

977
00:52:52,080 --> 00:52:55,399
Speaker 3: ugly and beautiful. It's beautiful in the sense that it's

978
00:52:56,520 --> 00:52:59,440
Speaker 3: damp and green, so it's got old stones that have

979
00:52:59,480 --> 00:53:02,200
Speaker 3: a kind of stack lately magic. But it's also covered

980
00:53:02,239 --> 00:53:06,239
Speaker 3: with this green vegetation, so quite beautiful. But also there

981
00:53:06,320 --> 00:53:10,439
Speaker 3: are random piles of junk and debris scattered around. It's

982
00:53:10,480 --> 00:53:13,760
Speaker 3: like it is both taken care of and not. Somebody

983
00:53:13,840 --> 00:53:16,640
Speaker 3: is watering the grave trees and there's it's kind of

984
00:53:16,680 --> 00:53:20,719
Speaker 3: beautifully chaotically gardened in a way, but also nobody is

985
00:53:20,760 --> 00:53:22,880
Speaker 3: cleaning up the mess or keeping it tidy.

986
00:53:23,520 --> 00:53:26,840
Speaker 1: Yeah. Yeah, it feels more like a return to nature

987
00:53:26,880 --> 00:53:29,359
Speaker 1: and death, which of course is very much what they

988
00:53:29,360 --> 00:53:30,600
Speaker 1: seem to be all about here.

989
00:53:30,880 --> 00:53:34,319
Speaker 3: Yeah. So, as how he keeps wandering, he sees one

990
00:53:34,360 --> 00:53:37,279
Speaker 3: grave that has what looks like the Jolly Roger engraved

991
00:53:37,320 --> 00:53:40,520
Speaker 3: on it. It's skull and crossbones. He also comes across

992
00:53:40,520 --> 00:53:44,200
Speaker 3: a woman sitting on a gravestone, holding a baby in

993
00:53:44,239 --> 00:53:47,040
Speaker 3: one arm and breastfeeding her while she's rocking back and forth,

994
00:53:47,080 --> 00:53:49,360
Speaker 3: and then the other hand she is holding out a

995
00:53:49,440 --> 00:53:52,440
Speaker 3: chicken egg as if doing some kind of ritual or magic.

996
00:53:53,160 --> 00:53:55,880
Speaker 3: And then finally how he comes to one large stone

997
00:53:55,920 --> 00:53:58,680
Speaker 3: grave that's covered in wooden crates with the remains of

998
00:53:58,800 --> 00:54:02,120
Speaker 3: rotting fruit and produce. He reacts to this with just

999
00:54:02,280 --> 00:54:05,360
Speaker 3: bitter revulsion. He breaks apart one of the crates and

1000
00:54:05,480 --> 00:54:08,719
Speaker 3: uses two stakes from it to fashion a makeshift cross

1001
00:54:08,800 --> 00:54:11,280
Speaker 3: and he just leaves that by itself on the tomb,

1002
00:54:11,719 --> 00:54:14,520
Speaker 3: almost as like a I know, he wouldn't think of

1003
00:54:14,560 --> 00:54:16,640
Speaker 3: it this way, because he's just like, I'm trying to

1004
00:54:16,680 --> 00:54:19,640
Speaker 3: reconsecrate this with the one true religion. But it feels

1005
00:54:19,640 --> 00:54:21,400
Speaker 3: like he's like just giving a middle finger.

1006
00:54:23,200 --> 00:54:25,560
Speaker 1: Yeah, yeah, that's one way of looking at it. Now.

1007
00:54:25,600 --> 00:54:27,840
Speaker 3: Finally we get to the meeting with the groundskeeper. We

1008
00:54:27,920 --> 00:54:30,560
Speaker 3: flagged the actor who plays the grounds keeper in the

1009
00:54:30,600 --> 00:54:34,640
Speaker 3: last episode because he's got a real good seething laughter.

1010
00:54:35,440 --> 00:54:37,400
Speaker 3: This is the same actor who's the guy in a

1011
00:54:37,440 --> 00:54:41,680
Speaker 3: clockwork orange who gets to tell Alex that he committed murder. You, Alex,

1012
00:54:41,719 --> 00:54:42,960
Speaker 3: you a little murderer.

1013
00:54:44,040 --> 00:54:45,240
Speaker 1: Yeah, this is Morris.

1014
00:54:45,600 --> 00:54:49,400
Speaker 3: Yes, And how he asks him about the trees on

1015
00:54:49,480 --> 00:54:51,880
Speaker 3: the graves. The groundskeeper is like, oh, oh, yes, we

1016
00:54:51,960 --> 00:54:54,200
Speaker 3: plant the trees on the graves, you know, as if

1017
00:54:54,200 --> 00:54:56,880
Speaker 3: this should be obvious. And how he points to a

1018
00:54:56,920 --> 00:54:59,879
Speaker 3: tree on an unmarked grave, one with no headstone. He says,

1019
00:55:00,000 --> 00:55:02,760
Speaker 3: what kind of tree is that? It's a Rowan tree?

1020
00:55:03,040 --> 00:55:07,080
Speaker 3: Who's grave? Is it Rowan Morrison's? And here there is

1021
00:55:07,120 --> 00:55:11,040
Speaker 3: a moment of quiet exasperation, I think because of the

1022
00:55:11,320 --> 00:55:16,040
Speaker 3: contrast between how cagey everybody has been all like denying

1023
00:55:16,080 --> 00:55:18,920
Speaker 3: that they knew who Rowan was or denying she existed,

1024
00:55:19,400 --> 00:55:22,120
Speaker 3: and then suddenly the ease with which this guy just

1025
00:55:22,239 --> 00:55:23,520
Speaker 3: offers up the information.

1026
00:55:23,920 --> 00:55:25,840
Speaker 1: Mm hmm. It's like I've been He's been trying to

1027
00:55:25,840 --> 00:55:28,799
Speaker 1: get somebody to just point him to this spot all day, Yeah,

1028
00:55:28,840 --> 00:55:30,240
Speaker 1: and he keeps getting the run around.

1029
00:55:30,520 --> 00:55:34,360
Speaker 3: Yes, But it's also like how he doesn't understand. He's frustrated,

1030
00:55:34,360 --> 00:55:37,680
Speaker 3: I think because he doesn't understand what exactly he's dealing

1031
00:55:37,719 --> 00:55:40,879
Speaker 3: with here. He's like, are these people all mad? Are

1032
00:55:40,920 --> 00:55:44,400
Speaker 3: they participating in a cover up or a conspiracy? Is

1033
00:55:44,440 --> 00:55:47,680
Speaker 3: it somehow part of their religion to like deny knowing

1034
00:55:47,719 --> 00:55:51,320
Speaker 3: someone existed once they're dead. He truly, he just doesn't

1035
00:55:51,400 --> 00:55:52,759
Speaker 3: understand what he's dealing with.

1036
00:55:53,320 --> 00:55:53,920
Speaker 1: Yeah.

1037
00:55:53,760 --> 00:55:53,840
Speaker 2: Uh.

1038
00:55:53,960 --> 00:55:56,080
Speaker 3: Anyway, so they have a little chat about the dryed

1039
00:55:56,120 --> 00:55:59,360
Speaker 3: and bilical cord hanging from the rowan tree, and eventually

1040
00:56:00,040 --> 00:56:01,840
Speaker 3: this is the part where Howie is like, where is

1041
00:56:01,880 --> 00:56:04,399
Speaker 3: your minister? It's almost with the energy of I need

1042
00:56:04,440 --> 00:56:07,440
Speaker 3: to speak to your manager. Yeah, And this is when

1043
00:56:07,480 --> 00:56:10,560
Speaker 3: the groundskeeper just starts laughing hysterically about the idea of

1044
00:56:10,560 --> 00:56:13,719
Speaker 3: a minister and wanders away. Now we get a few

1045
00:56:13,719 --> 00:56:16,279
Speaker 3: more investigation scenes. I'm not really gonna dwell on these,

1046
00:56:16,680 --> 00:56:19,680
Speaker 3: but how he briefly goes back to the post office

1047
00:56:19,719 --> 00:56:22,840
Speaker 3: slash sweet Shop to see may Morrison again, but he

1048
00:56:23,000 --> 00:56:25,080
Speaker 3: just like tells her they're all raving mad and no

1049
00:56:25,160 --> 00:56:29,160
Speaker 3: new information is exchanged. He goes to visit the town

1050
00:56:29,239 --> 00:56:33,280
Speaker 3: librarian played by Ingrid Pitt. He wants to see records

1051
00:56:33,320 --> 00:56:36,000
Speaker 3: of local deaths, and at first Ingrid Pitt says that

1052
00:56:36,080 --> 00:56:38,680
Speaker 3: he's going to need permission from Lord Summerle but he

1053
00:56:38,760 --> 00:56:42,400
Speaker 3: strong arms her into handing it over, and just another

1054
00:56:42,480 --> 00:56:44,879
Speaker 3: moment we're flagging here is I think it's the name

1055
00:56:44,880 --> 00:56:48,000
Speaker 3: of Rowan Morrison's grand parents that he sees in the register.

1056
00:56:48,520 --> 00:56:50,720
Speaker 3: And he's like, oh, these are names from the Bible,

1057
00:56:50,840 --> 00:56:53,520
Speaker 3: unlike everybody else here, and she's like, oh, yes, they

1058
00:56:53,560 --> 00:56:58,279
Speaker 3: were very old. Little clue there. He also visits the

1059
00:56:58,360 --> 00:57:03,160
Speaker 3: chemist slash photographer, mister Lennox. This shop is full of

1060
00:57:03,200 --> 00:57:07,160
Speaker 3: weird things preserved in jars. You got whole toads, pig fetuses,

1061
00:57:07,400 --> 00:57:10,960
Speaker 3: stuff like that. How he finds out from him, or

1062
00:57:10,960 --> 00:57:13,320
Speaker 3: how he finds out that he takes the Harvest festival

1063
00:57:13,320 --> 00:57:15,520
Speaker 3: photo each year, and how he wants to see the

1064
00:57:15,520 --> 00:57:18,480
Speaker 3: photo from last year, but Linux does not have a copy.

1065
00:57:18,720 --> 00:57:22,520
Speaker 3: Does he remember who was in the photo? No? Anyway,

1066
00:57:22,560 --> 00:57:24,960
Speaker 3: time to go meet Lord summer Isle. So here's like

1067
00:57:25,320 --> 00:57:28,400
Speaker 3: a big kind of centerpiece scene of the movies, the

1068
00:57:28,440 --> 00:57:31,720
Speaker 3: first meeting between Christopher Lee and Edward Woodward. Here on

1069
00:57:31,760 --> 00:57:34,040
Speaker 3: the way, how he rides in a horse drawn buggy

1070
00:57:34,480 --> 00:57:37,240
Speaker 3: and we get to hear corn rigs and barley rigs again.

1071
00:57:37,560 --> 00:57:39,720
Speaker 1: A great song. Might as well play it some more.

1072
00:57:39,640 --> 00:57:42,280
Speaker 3: Once it was not enough. We also see plenty of

1073
00:57:42,280 --> 00:57:45,400
Speaker 3: the local scenery. There are hedges cut into animal shapes

1074
00:57:45,440 --> 00:57:49,080
Speaker 3: and some just seem to be like phalluses, a lot

1075
00:57:49,120 --> 00:57:52,600
Speaker 3: of flowers budding fruit trees. There is one scene where

1076
00:57:52,720 --> 00:57:56,240
Speaker 3: we see pregnant women wandering around in an orchard, touching

1077
00:57:56,280 --> 00:57:57,960
Speaker 3: the trees and what seems to be a kind of

1078
00:57:58,080 --> 00:58:02,080
Speaker 3: ritual and speaking of rituals, as we get closer to

1079
00:58:02,120 --> 00:58:06,480
Speaker 3: Lord Somerle's manner, the music changes into an eerie minor

1080
00:58:06,600 --> 00:58:11,600
Speaker 3: key flute melody and we see a giant stone circle

1081
00:58:11,840 --> 00:58:15,280
Speaker 3: like stone hinge positioned atop a hill, and in the

1082
00:58:15,320 --> 00:58:18,200
Speaker 3: center of this stone circle there is a hearth with

1083
00:58:18,240 --> 00:58:21,880
Speaker 3: a blazing fire, and all around it are naked young

1084
00:58:21,920 --> 00:58:26,840
Speaker 3: women performing a religious dance. This ritual is seemingly being

1085
00:58:26,960 --> 00:58:29,600
Speaker 3: led I think by miss Rose. When this miss Rose

1086
00:58:29,640 --> 00:58:32,600
Speaker 3: from the school, I think you think you're right, yeah,

1087
00:58:32,680 --> 00:58:35,720
Speaker 3: And she's now dressed in a white gown wearing a

1088
00:58:35,760 --> 00:58:38,920
Speaker 3: giant pendant of hammered gold in the shape of the sun,

1089
00:58:39,560 --> 00:58:42,480
Speaker 3: and the women are singing a song. The lyrics are

1090
00:58:42,640 --> 00:58:46,000
Speaker 3: take the flame inside you, burn and burn below, fire

1091
00:58:46,080 --> 00:58:49,160
Speaker 3: seed and fire seed to make the baby grow. And

1092
00:58:49,200 --> 00:58:52,360
Speaker 3: then they take turns running and leaping over the fire

1093
00:58:52,480 --> 00:58:53,520
Speaker 3: as the song goes on.

1094
00:58:53,920 --> 00:58:55,840
Speaker 1: I like the song here as a nye, Like even

1095
00:58:55,840 --> 00:58:57,880
Speaker 1: as you recited the lyrics, I can hear the tune

1096
00:58:57,880 --> 00:59:02,960
Speaker 1: in my head. Yeah yeah. I also should note that

1097
00:59:03,280 --> 00:59:05,760
Speaker 1: modern Blu ray viewers will note that these dancers are

1098
00:59:05,800 --> 00:59:08,720
Speaker 1: in fact not naked, but dressed in skin colored tights,

1099
00:59:09,240 --> 00:59:11,040
Speaker 1: which doesn't detract from the scene at all. But I

1100
00:59:11,320 --> 00:59:13,160
Speaker 1: just find this kind of thing interesting, like the things

1101
00:59:13,160 --> 00:59:15,640
Speaker 1: that I'm assuming it might might have been lost, you know,

1102
00:59:15,760 --> 00:59:18,600
Speaker 1: originally when this was shown theatrically.

1103
00:59:18,480 --> 00:59:20,920
Speaker 3: Because originally it would have been grainy enough that in

1104
00:59:20,960 --> 00:59:23,560
Speaker 3: they're filmed at a distance, so you assume they are naked.

1105
00:59:23,560 --> 00:59:26,800
Speaker 3: But actually now that there's like high enough definition that

1106
00:59:26,880 --> 00:59:28,800
Speaker 3: you can yeah, yeah, yeah.

1107
00:59:28,840 --> 00:59:30,960
Speaker 1: And I mean I think I saw this originally on Ane,

1108
00:59:31,040 --> 00:59:32,920
Speaker 1: and I think I would probably just thought, wow, that

1109
00:59:33,080 --> 00:59:35,520
Speaker 1: Ani just allows nudity. I think maybe they did allow

1110
00:59:35,720 --> 00:59:39,080
Speaker 1: just a little bit of nudity on an e versus

1111
00:59:39,120 --> 00:59:39,840
Speaker 1: other channels.

1112
00:59:40,520 --> 00:59:44,440
Speaker 3: Anyway, Howie arrives at Lord Somerle's mansion. Is this technically

1113
00:59:44,520 --> 00:59:46,840
Speaker 3: a castle, I don't know what counts as a castle.

1114
00:59:47,760 --> 00:59:51,680
Speaker 1: I mean, it's it's somewhere in there. There's a lot

1115
00:59:51,680 --> 00:59:52,760
Speaker 1: of stone, here is.

1116
00:59:52,720 --> 00:59:56,520
Speaker 3: Big Lord Somerrel's manner. I wonder what you make of this,

1117
00:59:56,640 --> 01:00:01,040
Speaker 3: Rob The manor is not decorated like a pagan temple.

1118
01:00:01,760 --> 01:00:04,640
Speaker 3: It feels like the house of a Scottish lord. There's

1119
01:00:04,640 --> 01:00:09,040
Speaker 3: a lot of polished wooden furnishings, hunting trophies, big framed

1120
01:00:09,080 --> 01:00:12,640
Speaker 3: el cantlers and things like that, big paintings on the walls,

1121
01:00:12,680 --> 01:00:15,560
Speaker 3: suits of armor and heraldry, all that kind of thing.

1122
01:00:16,400 --> 01:00:18,280
Speaker 1: Yeah, and it ties in with a lot of what

1123
01:00:18,320 --> 01:00:21,960
Speaker 1: we've seen regarding this community. They haven't rejected modernity, they

1124
01:00:22,000 --> 01:00:26,120
Speaker 1: haven't rejected their Scottishness. Uh, they just have this this

1125
01:00:26,240 --> 01:00:31,400
Speaker 1: other entire aspect of their worldview they have they have

1126
01:00:31,520 --> 01:00:37,240
Speaker 1: rejected you, Christianity to a large degree, but they haven't

1127
01:00:37,240 --> 01:00:39,880
Speaker 1: set everything aside. They're not they're not living in just

1128
01:00:39,920 --> 01:00:42,760
Speaker 1: this this you know, this time out of mind and

1129
01:00:42,800 --> 01:00:43,440
Speaker 1: out of place.

1130
01:00:44,040 --> 01:00:46,720
Speaker 3: That's right. And so I remember being kind of surprised

1131
01:00:46,720 --> 01:00:49,240
Speaker 3: by this. I would have thought, the way they're building

1132
01:00:49,320 --> 01:00:51,400
Speaker 3: up Lord summer Isle, it's gonna be like he's going

1133
01:00:51,480 --> 01:00:54,720
Speaker 3: to be the most and the most pagan aesthetically pagan one.

1134
01:00:54,800 --> 01:00:56,320
Speaker 3: And he might be, I don't know, he might be

1135
01:00:56,360 --> 01:00:58,640
Speaker 3: the most pagan one. But his house doesn't look like

1136
01:00:58,680 --> 01:01:02,600
Speaker 3: you know, it doesn't look like a an apothecary, herbalist

1137
01:01:02,640 --> 01:01:03,520
Speaker 3: shop or something.

1138
01:01:04,040 --> 01:01:07,120
Speaker 1: And I think this could easily make you think, well,

1139
01:01:07,120 --> 01:01:10,080
Speaker 1: maybe he's a hypocrite, maybe he doesn't actually live like this.

1140
01:01:10,760 --> 01:01:15,560
Speaker 1: But once you get into Lee's performance in these scenes,

1141
01:01:16,160 --> 01:01:18,920
Speaker 1: I think all of that is dismissed because his performance

1142
01:01:18,960 --> 01:01:21,200
Speaker 1: that the energy of it. As we talked about in

1143
01:01:21,200 --> 01:01:24,800
Speaker 1: the last episode, he just has this youthful vigor and enthusiasm.

1144
01:01:25,040 --> 01:01:27,800
Speaker 1: This unlike I think any other Christopher Lee performance I've

1145
01:01:27,800 --> 01:01:30,000
Speaker 1: ever seen any other character I've seen him take on,

1146
01:01:30,680 --> 01:01:33,040
Speaker 1: and therefore you just totally buy into it. Of course,

1147
01:01:33,120 --> 01:01:36,000
Speaker 1: this is Summer and of course he believes all these things.

1148
01:01:36,240 --> 01:01:38,320
Speaker 3: Oh okay, I was going to ask a question about that,

1149
01:01:38,360 --> 01:01:40,960
Speaker 3: but you may have answered it in advance, but we

1150
01:01:41,000 --> 01:01:44,919
Speaker 3: can still discuss later. So how he's waiting to meet

1151
01:01:44,920 --> 01:01:49,000
Speaker 3: Lord Summerle and he thinks he is alone, like waiting

1152
01:01:49,040 --> 01:01:51,880
Speaker 3: for I guess for Lord Somerl to come down and

1153
01:01:51,920 --> 01:01:54,480
Speaker 3: meet him. So he's standing at the window watching the

1154
01:01:54,960 --> 01:01:58,200
Speaker 3: fir dance across the lawn, But how he's not alone. Instead,

1155
01:01:58,280 --> 01:02:01,040
Speaker 3: suddenly Christopher Lee pops his head out from around the

1156
01:02:01,320 --> 01:02:03,960
Speaker 3: from around like the corner of a chair, the size

1157
01:02:04,000 --> 01:02:07,160
Speaker 3: of a panel van. What is going on with this chair?

1158
01:02:07,960 --> 01:02:10,120
Speaker 3: They made high backed chairs that are just like, I

1159
01:02:10,120 --> 01:02:11,840
Speaker 3: don't know, needs to be ten feet wide.

1160
01:02:12,280 --> 01:02:14,840
Speaker 1: This just this place is full of old castle stuff. Yeah,

1161
01:02:14,880 --> 01:02:17,480
Speaker 1: I mean it's enormous and unnecessary.

1162
01:02:18,440 --> 01:02:21,160
Speaker 3: So, I don't know, Rob, do you want to describe

1163
01:02:21,240 --> 01:02:24,760
Speaker 3: Christopher Lee's appearance and aura in this scene? He's wearing

1164
01:02:24,800 --> 01:02:27,640
Speaker 3: like a tweed jacket and a green shirt and he's

1165
01:02:27,720 --> 01:02:29,720
Speaker 3: just so happy. He's just beaming.

1166
01:02:30,760 --> 01:02:35,600
Speaker 1: Yeah, God goodness, Yeah, he's he just has this useful energy.

1167
01:02:35,640 --> 01:02:38,440
Speaker 1: Like I've said, he was I think around fifty at

1168
01:02:38,480 --> 01:02:41,200
Speaker 1: the time and feels ten years younger than anywhere I've

1169
01:02:41,200 --> 01:02:43,280
Speaker 1: ever seen it before. Yeah, you know, this is not

1170
01:02:43,520 --> 01:02:47,800
Speaker 1: Christopher Lee, the Vampire of the Hammer films before and

1171
01:02:47,880 --> 01:02:51,680
Speaker 1: after this. This is just a guy that's just full

1172
01:02:51,720 --> 01:02:54,960
Speaker 1: of energy, like he's delightful to be in his presence,

1173
01:02:55,040 --> 01:02:57,120
Speaker 1: or you know, it would be for anyone else other

1174
01:02:57,160 --> 01:03:02,800
Speaker 1: than Howie here. You know is a bit rough around

1175
01:03:02,800 --> 01:03:07,080
Speaker 1: the edges of regarding all of this paganism and and optimism,

1176
01:03:07,120 --> 01:03:10,360
Speaker 1: But yeah, I think optimism is the vibe that he

1177
01:03:10,440 --> 01:03:13,680
Speaker 1: is exuding the most. It's like, you know, everything is possible,

1178
01:03:14,080 --> 01:03:17,640
Speaker 1: and I'm gonna say yes and to whatever you've come

1179
01:03:17,680 --> 01:03:20,280
Speaker 1: here to ask. And Howie is also unprepared for that.

1180
01:03:20,760 --> 01:03:24,400
Speaker 3: Yeah. Yeah. Also he's got big hair. Did we mentioned, yes,

1181
01:03:24,680 --> 01:03:28,200
Speaker 3: Christopher Ley not usually with big hair, but here big hair.

1182
01:03:28,480 --> 01:03:30,600
Speaker 1: Yeah, and this will this will be key compared to

1183
01:03:30,640 --> 01:03:32,760
Speaker 1: the way his hair looks in a later scene here

1184
01:03:33,320 --> 01:03:36,280
Speaker 1: that the hair is. You know, he's got a little

1185
01:03:36,280 --> 01:03:38,400
Speaker 1: bit of gray going on, but it's also not black.

1186
01:03:38,440 --> 01:03:42,120
Speaker 1: It's not vampire black, but the overall appearance is very

1187
01:03:43,880 --> 01:03:47,880
Speaker 1: almost almost blonde's he almost appears blonde in the way

1188
01:03:47,920 --> 01:03:51,720
Speaker 1: that the gray and the brown mixes together. So yeah,

1189
01:03:51,760 --> 01:03:53,320
Speaker 1: just he's beaming. He's like the sun.

1190
01:03:53,880 --> 01:03:56,360
Speaker 3: Yeah, his hair is like the radiance around the edge

1191
01:03:56,400 --> 01:03:59,200
Speaker 3: of the sun. Yeah, kind of like the face of

1192
01:03:59,280 --> 01:04:02,360
Speaker 3: Nuauto we saw at the beginning. Yeah. But anyway, so

1193
01:04:02,440 --> 01:04:05,240
Speaker 3: he pops his head around the corner, uh, and he's

1194
01:04:05,360 --> 01:04:10,160
Speaker 3: he's talking about the young woman dancing naked outside, and

1195
01:04:10,240 --> 01:04:13,800
Speaker 3: Lord Somerrel says, good, good afternoon, Sergeant Howie. He says,

1196
01:04:13,880 --> 01:04:16,200
Speaker 3: I trust the sight of the young people refreshes you.

1197
01:04:16,880 --> 01:04:19,640
Speaker 3: And Sergeant how He says, no, sir, it does not

1198
01:04:19,960 --> 01:04:27,440
Speaker 3: refresh me, but Summerle is unfazed. He recommends that we

1199
01:04:27,480 --> 01:04:30,960
Speaker 3: all be open to the regenerative influences. And how he

1200
01:04:31,000 --> 01:04:35,760
Speaker 3: describes the situation. Uh, he explains to Lord Somerle that

1201
01:04:35,800 --> 01:04:38,200
Speaker 3: he suspects a girl on the island has been the

1202
01:04:38,320 --> 01:04:41,920
Speaker 3: victim of murder and conspiracy to murder, and he needs

1203
01:04:41,960 --> 01:04:45,240
Speaker 3: Lord Somerle's permission to exhume the body for an autopsy.

1204
01:04:45,760 --> 01:04:48,680
Speaker 3: And Lord Somerral is like, yes, permission granted, go for it.

1205
01:04:50,160 --> 01:04:52,800
Speaker 1: Yeah, And so it is totally unprepared to get a

1206
01:04:52,880 --> 01:04:54,800
Speaker 1: yes here that he kind of just keeps.

1207
01:04:54,560 --> 01:04:57,880
Speaker 3: Going, yeah, exactly. And so here I want to quote

1208
01:04:57,880 --> 01:04:59,720
Speaker 3: a good bit of the dialogue because I think you

1209
01:04:59,800 --> 01:05:01,240
Speaker 3: kind of I need to hear what is said in

1210
01:05:01,280 --> 01:05:05,400
Speaker 3: this scene to appreciate it. How he's like, your lordship

1211
01:05:05,440 --> 01:05:09,440
Speaker 3: seems strangely unconcerned and some are all explains He's like, well,

1212
01:05:09,480 --> 01:05:12,520
Speaker 3: I'm just confident your suspicions are wrong. We don't commit

1213
01:05:12,640 --> 01:05:15,280
Speaker 3: murder here on Somemore Isle. He says, we're a deeply

1214
01:05:15,360 --> 01:05:19,040
Speaker 3: religious people. And how he is so annoyed. He's like

1215
01:05:19,120 --> 01:05:23,120
Speaker 3: religious with ruined churches, no ministers, no priests, and children

1216
01:05:23,280 --> 01:05:26,720
Speaker 3: dancing naked and some aere Al's like, oh, they do

1217
01:05:26,840 --> 01:05:30,800
Speaker 3: love their divinity lessons, and how he says, but they're naked.

1218
01:05:33,040 --> 01:05:35,880
Speaker 1: And to be clear, those looked like those were grown

1219
01:05:35,920 --> 01:05:37,800
Speaker 1: women dancing around those stones.

1220
01:05:38,080 --> 01:05:41,000
Speaker 3: Yea he sposed to be. Yeah.

1221
01:05:41,160 --> 01:05:44,640
Speaker 1: How he's like newborn babies dancing naked around the stuff.

1222
01:05:44,760 --> 01:05:47,920
Speaker 3: Also, some are ill, he said. He's like, they're naked,

1223
01:05:47,920 --> 01:05:50,920
Speaker 3: And somewhere All's like, well, naturally, it's too dangerous to

1224
01:05:51,000 --> 01:05:53,920
Speaker 3: jump through the fire with your clothes on, and how

1225
01:05:53,960 --> 01:05:57,840
Speaker 3: he's like, what religion are they learning jumping over fires?

1226
01:05:58,440 --> 01:06:02,960
Speaker 3: And somemore Ile explains, He's like parthenogenesis. It's like what

1227
01:06:04,560 --> 01:06:08,280
Speaker 3: somewhere else says, you know this is a sexual reproduction

1228
01:06:08,480 --> 01:06:11,920
Speaker 3: without sexual union, and how he goes, oh what is

1229
01:06:11,960 --> 01:06:16,880
Speaker 3: all this? He's like, you've got fake biology, fake religion, sir.

1230
01:06:16,920 --> 01:06:20,400
Speaker 3: Have these children never heard of Jesus? And then somewhere

1231
01:06:20,400 --> 01:06:23,760
Speaker 3: else says himself, the son of a virgin impregnated I

1232
01:06:23,760 --> 01:06:25,560
Speaker 3: believe by a ghost.

1233
01:06:25,600 --> 01:06:29,600
Speaker 1: Solid pagan burn right there, solid burn, yeah, yeah, but

1234
01:06:29,680 --> 01:06:32,200
Speaker 1: I love that. Have these children never heard of Jesus?

1235
01:06:33,400 --> 01:06:35,800
Speaker 1: Lord somewhere else, did they know it's Christmas at all?

1236
01:06:38,080 --> 01:06:39,960
Speaker 3: Now there's kind of a break in the tension here

1237
01:06:40,800 --> 01:06:43,920
Speaker 3: because Christopherle he goes on to explain what's happening. He says,

1238
01:06:44,160 --> 01:06:46,680
Speaker 3: you know, these girls are jumping naked over the fire

1239
01:06:47,080 --> 01:06:48,960
Speaker 3: in the hope that the god of the fire will

1240
01:06:48,960 --> 01:06:52,000
Speaker 3: make them fruitful. And he says, after all, who would

1241
01:06:52,000 --> 01:06:54,040
Speaker 3: not prefer to bear the child of a god over

1242
01:06:54,080 --> 01:06:58,800
Speaker 3: that of an Acnes good Autizan and how He again

1243
01:06:58,840 --> 01:07:01,840
Speaker 3: tries to argue, but Lord Samerle says, you know, it's

1244
01:07:01,880 --> 01:07:04,040
Speaker 3: most important for the young people of the island to

1245
01:07:04,120 --> 01:07:07,800
Speaker 3: learn that here the old gods are not dead. Now

1246
01:07:07,840 --> 01:07:10,320
Speaker 3: Howie is very offended. He's like, and what of the

1247
01:07:10,440 --> 01:07:14,919
Speaker 3: true God? You know, what of him? And Lord Somerrel says,

1248
01:07:15,160 --> 01:07:19,280
Speaker 3: he's dead. Can't complain, had his chance and in modern parlance,

1249
01:07:19,640 --> 01:07:20,000
Speaker 3: blew it.

1250
01:07:22,240 --> 01:07:26,120
Speaker 1: This is the first, I think, major overtly stressed note

1251
01:07:26,160 --> 01:07:29,560
Speaker 1: of religion failing modern humans. And we'll come back to

1252
01:07:29,600 --> 01:07:30,919
Speaker 1: this in an important way later.

1253
01:07:31,680 --> 01:07:35,800
Speaker 3: Now Here, Lord Somemrrel begins to explain the backstory of

1254
01:07:35,880 --> 01:07:39,920
Speaker 3: the island a Sergeant Howie. Now, of course we could

1255
01:07:40,000 --> 01:07:43,520
Speaker 3: wonder if he is being honest with Sergeant Howie about everything,

1256
01:07:43,560 --> 01:07:46,480
Speaker 3: but I take it that everything he says here is true.

1257
01:07:47,320 --> 01:07:51,040
Speaker 3: Yet I don't think he's trying to trick Howie at all.

1258
01:07:51,320 --> 01:07:53,560
Speaker 3: This seems to me is just like this is the

1259
01:07:53,600 --> 01:07:55,200
Speaker 3: actual backstory of the island.

1260
01:07:55,400 --> 01:08:00,320
Speaker 1: Yeah, I don't think up Lord Samerle really lies at all. Well,

1261
01:08:00,360 --> 01:08:03,400
Speaker 1: there's one kind of big vlie, but everything else he

1262
01:08:03,440 --> 01:08:05,400
Speaker 1: seems like he's being very truthful about.

1263
01:08:05,680 --> 01:08:07,400
Speaker 3: So I'm just going to read from a transcription of

1264
01:08:07,400 --> 01:08:09,800
Speaker 3: the dialogue here because this part's important. This is Lord

1265
01:08:09,800 --> 01:08:13,560
Speaker 3: Somerle's story. He says, in the last century the islanders

1266
01:08:13,560 --> 01:08:16,880
Speaker 3: were starving like our neighbors today. They were scratching a

1267
01:08:16,880 --> 01:08:21,519
Speaker 3: bear subsistence from sheep and sea. Then in eighteen sixty eight,

1268
01:08:21,680 --> 01:08:25,639
Speaker 3: my grandfather bought this baron island and began to change things.

1269
01:08:26,200 --> 01:08:32,320
Speaker 3: A distinguished Victorian, scientist, agronomist, free thinker, how formidably benevolent.

1270
01:08:32,400 --> 01:08:36,360
Speaker 3: He seems essentially the face of a man incredulous of

1271
01:08:36,439 --> 01:08:40,600
Speaker 3: all human good And Sergeant Howie says, very cynical, my

1272
01:08:40,680 --> 01:08:44,719
Speaker 3: Lord Sammerle says, what attracted my grandfather to the island,

1273
01:08:44,720 --> 01:08:48,280
Speaker 3: apart from the profuse source of wiry labor that it promised,

1274
01:08:48,680 --> 01:08:52,040
Speaker 3: was the unique combination of volcanic soil and the warm

1275
01:08:52,080 --> 01:08:55,599
Speaker 3: gulf stream that surrounded it. You see, his experiments had

1276
01:08:55,680 --> 01:08:58,080
Speaker 3: led him to believe that it was possible to induce

1277
01:08:58,280 --> 01:09:01,960
Speaker 3: here the successful growth of certain new strains of fruit

1278
01:09:02,120 --> 01:09:06,080
Speaker 3: that he had developed. So, with typical mid Victorian zeal,

1279
01:09:06,160 --> 01:09:09,320
Speaker 3: he set to work. The best way of accomplishing this,

1280
01:09:09,560 --> 01:09:12,320
Speaker 3: so it seemed to him, was to rouse the people

1281
01:09:12,360 --> 01:09:16,759
Speaker 3: from their apathy by giving them back their joyous old gods.

1282
01:09:17,240 --> 01:09:19,559
Speaker 3: And it is as a result of this worship the

1283
01:09:19,600 --> 01:09:23,560
Speaker 3: barren island would burgeon and bring forth fruit in great abundance.

1284
01:09:24,080 --> 01:09:27,040
Speaker 3: What he did, of course, was to develop new cultivars

1285
01:09:27,040 --> 01:09:30,639
Speaker 3: of hardy fruits suited to local conditions. But of course,

1286
01:09:30,680 --> 01:09:32,800
Speaker 3: to begin with they worked for him because he fed

1287
01:09:32,840 --> 01:09:35,759
Speaker 3: them and clothed them. But then later, when the trees

1288
01:09:35,760 --> 01:09:38,519
Speaker 3: started fruiting, it became a very different matter, and the

1289
01:09:38,560 --> 01:09:42,440
Speaker 3: ministers fled the island, never to return. What my grandfather

1290
01:09:42,520 --> 01:09:46,400
Speaker 3: had started out of expediency, my father continued out of love.

1291
01:09:47,080 --> 01:09:49,640
Speaker 3: He brought me up the same way, to reverence the

1292
01:09:49,760 --> 01:09:52,960
Speaker 3: music and the drama and the rituals of the old gods,

1293
01:09:53,360 --> 01:09:56,160
Speaker 3: to love nature and to fear it, and to rely

1294
01:09:56,280 --> 01:09:59,280
Speaker 3: on it, and to appease it where necessary. He brought

1295
01:09:59,360 --> 01:10:02,280
Speaker 3: me up and how he interrupts him, He says, he

1296
01:10:02,320 --> 01:10:06,400
Speaker 3: brought you up to be a pagan, Somerle says with

1297
01:10:06,560 --> 01:10:10,559
Speaker 3: a soft smile. He says, a heathen conceivably, but not

1298
01:10:10,800 --> 01:10:14,519
Speaker 3: I hope an unenlightened one now here, Rob, I think

1299
01:10:14,600 --> 01:10:17,280
Speaker 3: you already answered your take on this question, but I

1300
01:10:17,439 --> 01:10:22,559
Speaker 3: was going to ask. After this monologue, one might wonder

1301
01:10:22,720 --> 01:10:26,240
Speaker 3: if the present Lord Somemrle, if Christopher Lee is in

1302
01:10:26,320 --> 01:10:30,400
Speaker 3: reality more like what he accuses his grandfather of, like

1303
01:10:30,520 --> 01:10:35,760
Speaker 3: if the paganism of Summerle is something that he cynically

1304
01:10:35,880 --> 01:10:40,800
Speaker 3: impresses upon the ignorant locals but does not believe himself.

1305
01:10:40,960 --> 01:10:44,599
Speaker 3: That seems to be Howie's interpretation, and you can certainly

1306
01:10:44,600 --> 01:10:47,120
Speaker 3: see that when you hear kind of the material motivation

1307
01:10:47,320 --> 01:10:50,080
Speaker 3: of the original Lord Somemryle, and how the same motivations

1308
01:10:50,120 --> 01:10:53,840
Speaker 3: would be present for the current Lord Summerle. But also

1309
01:10:54,080 --> 01:10:56,559
Speaker 3: is that really the case? I mean, when he says

1310
01:10:56,680 --> 01:10:59,160
Speaker 3: that it was continued out of love, he seems to

1311
01:10:59,200 --> 01:11:02,280
Speaker 3: be claiming that he now believes the pagan myth, so

1312
01:11:02,400 --> 01:11:05,360
Speaker 3: at least he I don't know, he says he at

1313
01:11:05,439 --> 01:11:10,040
Speaker 3: least reverences them. Whether that means he believes the Celtic

1314
01:11:10,160 --> 01:11:14,519
Speaker 3: pagan gods literally exist and have power over his fate

1315
01:11:14,680 --> 01:11:17,400
Speaker 3: or not, I guess it's hard to see how to

1316
01:11:17,479 --> 01:11:19,759
Speaker 3: translate that, but it feels like maybe he does.

1317
01:11:20,880 --> 01:11:23,080
Speaker 1: Yeah, I mean that is the vibe I've always gotten,

1318
01:11:23,520 --> 01:11:26,280
Speaker 1: and I think a lot of it comes from the

1319
01:11:26,400 --> 01:11:29,800
Speaker 1: nature of Lee's performance here and even what we see

1320
01:11:29,800 --> 01:11:32,400
Speaker 1: from him much later on in the picture. I feel

1321
01:11:32,439 --> 01:11:34,600
Speaker 1: like it's it's ultimately, even though there's a shift that

1322
01:11:34,640 --> 01:11:38,679
Speaker 1: takes place, I think it's consistent. I think that he

1323
01:11:38,960 --> 01:11:43,120
Speaker 1: truly believes in this faith. But as he's already alluded to,

1324
01:11:43,400 --> 01:11:47,080
Speaker 1: there is, of course this dark side. You know, there

1325
01:11:47,120 --> 01:11:50,000
Speaker 1: is the fear of nature, there's the terror of nature,

1326
01:11:50,560 --> 01:11:55,360
Speaker 1: and there's already like this, this realization that to be

1327
01:11:56,280 --> 01:11:59,719
Speaker 1: a worshiper of a god like this is to also

1328
01:11:59,760 --> 01:12:01,640
Speaker 1: in age and a certain amount of uncertainty.

1329
01:12:02,040 --> 01:12:06,439
Speaker 3: Yeah, yeah, yeah, yeah, that's interesting. Another thing from this

1330
01:12:06,560 --> 01:12:09,400
Speaker 3: monologue that really strikes me is the way it just

1331
01:12:09,560 --> 01:12:15,920
Speaker 3: assumes that the people, the locals, the you know, the

1332
01:12:15,920 --> 01:12:19,240
Speaker 3: wiry labor of the island, in the words of his grandfather,

1333
01:12:19,680 --> 01:12:23,479
Speaker 3: that the locals are always just going to be ready

1334
01:12:23,640 --> 01:12:26,840
Speaker 3: for paganism again, and that, you know, even though they

1335
01:12:26,920 --> 01:12:29,640
Speaker 3: had been Christian for many hundreds of years at the

1336
01:12:29,680 --> 01:12:33,080
Speaker 3: point when his grandfather came along, somehow his grandfather knew

1337
01:12:33,120 --> 01:12:36,080
Speaker 3: that you could just give them back the pagan gods

1338
01:12:36,160 --> 01:12:39,960
Speaker 3: that they themselves had never worshiped, and probably their parents

1339
01:12:40,000 --> 01:12:43,120
Speaker 3: and grandparents had never worshiped for many generations going back.

1340
01:12:43,560 --> 01:12:45,840
Speaker 3: But at any point it was like it was in

1341
01:12:45,920 --> 01:12:48,759
Speaker 3: their blood. You could just give them the pagan gods

1342
01:12:48,800 --> 01:12:52,200
Speaker 3: back and they would immediately take them up without any coercion.

1343
01:12:52,439 --> 01:12:55,800
Speaker 3: Isn't it strange? But that does appear to be sort

1344
01:12:55,840 --> 01:12:59,000
Speaker 3: of the belief that's present in the movie here.

1345
01:12:59,560 --> 01:13:01,840
Speaker 1: Yeah, and you know, I don't know that it's ultimately

1346
01:13:01,960 --> 01:13:06,519
Speaker 1: that disconnected from the reality of places where Christianity was

1347
01:13:06,560 --> 01:13:12,080
Speaker 1: introduced and ended up replacing traditional beliefs to at least

1348
01:13:12,120 --> 01:13:15,480
Speaker 1: some extent, because if we as we've seen from various examples,

1349
01:13:15,760 --> 01:13:20,280
Speaker 1: the old ways never or rarely completely go away. Some

1350
01:13:20,640 --> 01:13:24,439
Speaker 1: aspects of them are folded into this new alien faith

1351
01:13:24,720 --> 01:13:27,640
Speaker 1: they consumed. Yeah, yeah, so the old gods take on

1352
01:13:27,760 --> 01:13:32,160
Speaker 1: new you know, slightly new roles or you know, or

1353
01:13:32,240 --> 01:13:35,519
Speaker 1: something continues to exist at like the folk belief and

1354
01:13:35,640 --> 01:13:39,479
Speaker 1: folk lore level of things. And therefore, yeah, nothing completely

1355
01:13:39,479 --> 01:13:42,559
Speaker 1: goes away, and therefore it would be possible perhaps for

1356
01:13:42,600 --> 01:13:45,840
Speaker 1: someone to come free you from these newer ideas and

1357
01:13:45,920 --> 01:13:48,960
Speaker 1: allow those older ideas to grow fresh.

1358
01:13:48,680 --> 01:13:51,920
Speaker 3: Again, even if the quote newer ideas have been around

1359
01:13:51,920 --> 01:13:54,000
Speaker 3: for hundreds of years at this point and you've never

1360
01:13:54,080 --> 01:13:55,320
Speaker 3: known anything else.

1361
01:13:55,439 --> 01:13:58,040
Speaker 1: Right, right, And I think you know, Summer, I would

1362
01:13:58,080 --> 01:14:00,400
Speaker 1: would argue that it's it's in their DNA like it,

1363
01:14:00,439 --> 01:14:02,160
Speaker 1: and it is it is, and it's a way of

1364
01:14:02,800 --> 01:14:05,719
Speaker 1: it's a it's a worldview that is more in keeping

1365
01:14:06,000 --> 01:14:09,799
Speaker 1: with the natural order of the human organism, and therefore,

1366
01:14:10,000 --> 01:14:12,120
Speaker 1: like we take to it like we take to breath

1367
01:14:12,160 --> 01:14:12,759
Speaker 1: and to water.

1368
01:14:13,040 --> 01:14:15,519
Speaker 3: Yeah, And that they believe that they are in fact

1369
01:14:15,640 --> 01:14:20,600
Speaker 3: the reincarnations of pagans from years past. Yeah, as laundered

1370
01:14:20,640 --> 01:14:23,200
Speaker 3: through many stages of nature. You know, they have been

1371
01:14:23,280 --> 01:14:25,360
Speaker 3: the bird and the and its feather and the tree

1372
01:14:25,479 --> 01:14:28,080
Speaker 3: and everything else. But at some point also they were

1373
01:14:28,120 --> 01:14:29,240
Speaker 3: their pagan ancestor.

1374
01:14:29,720 --> 01:14:30,440
Speaker 1: Yeah.

1375
01:14:30,520 --> 01:14:33,439
Speaker 3: Well, anyway, how he tries to he tries to burn

1376
01:14:33,520 --> 01:14:36,320
Speaker 3: Lord Somerl. He's like, well, whatever you believe personally, you

1377
01:14:36,479 --> 01:14:40,520
Speaker 3: are the subject of a Christian country. And he demands

1378
01:14:40,600 --> 01:14:44,559
Speaker 3: to be given permission to exhuom Rowan Morrison's body, and

1379
01:14:44,560 --> 01:14:47,120
Speaker 3: then Lord Somerrel reminds him that he already gave him

1380
01:14:47,120 --> 01:14:50,320
Speaker 3: permission at the beginning of their conversation. And I love

1381
01:14:50,400 --> 01:14:54,800
Speaker 3: this moment. It's it's so good. It's like how he

1382
01:14:54,800 --> 01:14:59,840
Speaker 3: he is somehow mentally manufacturing more friction in his investigation

1383
01:15:00,080 --> 01:15:01,360
Speaker 3: then actually exists.

1384
01:15:01,439 --> 01:15:05,920
Speaker 1: Yeah, yeah, because he told him yes right away. But yeah,

1385
01:15:05,920 --> 01:15:07,160
Speaker 1: I just kept arguing with him.

1386
01:15:07,720 --> 01:15:10,080
Speaker 3: Smerle says. As he's leaving, he's like, it's been a

1387
01:15:10,080 --> 01:15:23,479
Speaker 3: great pleasure meeting a Christian copper. Okay, I'm looking at

1388
01:15:23,479 --> 01:15:25,599
Speaker 3: the time now, so I'm realizing I think we need

1389
01:15:25,640 --> 01:15:28,080
Speaker 3: to be a little more summary as we go on

1390
01:15:28,160 --> 01:15:31,280
Speaker 3: with the rest of the plot, the main event. Yeah, okay,

1391
01:15:31,320 --> 01:15:34,080
Speaker 3: So Sergeant how He goes and exhumes the what he

1392
01:15:34,160 --> 01:15:36,799
Speaker 3: believes to be the body of Rowan Morrison. But uh oh,

1393
01:15:36,840 --> 01:15:38,800
Speaker 3: nobody in there. Well, there is a body, it's not

1394
01:15:38,840 --> 01:15:41,559
Speaker 3: a human body, it's a dead hair inside the coffin.

1395
01:15:42,520 --> 01:15:46,479
Speaker 3: So Howie is very, once again, very annoyed. He goes

1396
01:15:46,560 --> 01:15:48,840
Speaker 3: back to the mansion of Lord Smrle and when he

1397
01:15:48,880 --> 01:15:51,639
Speaker 3: goes there inside Lord Somerle is hanging out with Miss

1398
01:15:51,680 --> 01:15:54,400
Speaker 3: Rose by the way. They're like drinking wine from a

1399
01:15:54,439 --> 01:15:57,439
Speaker 3: golden gomblet. She's laying on a big fur pelt on

1400
01:15:57,479 --> 01:16:00,320
Speaker 3: the floor and they're singing and playing the piano. He's

1401
01:16:00,360 --> 01:16:02,960
Speaker 3: singing in his big, booming bass voice, and how he

1402
01:16:03,000 --> 01:16:05,719
Speaker 3: interrupts them by throwing the dead hair from Rowan's grave

1403
01:16:05,800 --> 01:16:09,280
Speaker 3: on the floor. He demands to know, once again, where

1404
01:16:09,360 --> 01:16:12,639
Speaker 3: is Rowan Morrison? And they're still giving him more run around.

1405
01:16:12,720 --> 01:16:15,320
Speaker 3: Miss Rose is like, oh, you know, Rowan always did

1406
01:16:15,320 --> 01:16:18,520
Speaker 3: loves the march hares. I think it's a very fitting transmutation.

1407
01:16:19,840 --> 01:16:22,200
Speaker 1: Yeah, Like, what did you expect to find in her

1408
01:16:22,240 --> 01:16:24,880
Speaker 1: grave but a hair? We already told you. Children have

1409
01:16:24,920 --> 01:16:26,759
Speaker 1: been telling you that she's a hare now.

1410
01:16:26,840 --> 01:16:29,000
Speaker 3: Yeah, yeah, I mean, why didn't you just listen to

1411
01:16:29,080 --> 01:16:31,080
Speaker 3: us the first time? But so Sergeant how he starts

1412
01:16:31,120 --> 01:16:34,479
Speaker 3: giving them all these threats. He's like, I suspect that

1413
01:16:34,640 --> 01:16:38,680
Speaker 3: Rowan Morrison has been murdered under circumstances of pagan barbarity,

1414
01:16:38,720 --> 01:16:41,200
Speaker 3: which I can scarcely bring myself to believe, or taking

1415
01:16:41,200 --> 01:16:43,960
Speaker 3: place in the twentieth century. So he says, look, I'm

1416
01:16:43,960 --> 01:16:45,439
Speaker 3: going to go to the mainland. I'm going to get

1417
01:16:45,439 --> 01:16:47,280
Speaker 3: a bunch more cops and we're going to come back

1418
01:16:47,280 --> 01:16:53,439
Speaker 3: here and do a full inquiry. And Lord Somerle's like, great, okay. Oh,

1419
01:16:53,439 --> 01:16:55,559
Speaker 3: And he also says at the end day, he's like,

1420
01:16:55,840 --> 01:16:58,160
Speaker 3: it's just as well that you won't be here tomorrow

1421
01:16:58,200 --> 01:17:01,440
Speaker 3: to be offended by the sight of our May Day celebrations.

1422
01:17:02,280 --> 01:17:05,280
Speaker 3: You wouldn't You probably wouldn't like what you're gonna see tomorrow,

1423
01:17:05,280 --> 01:17:09,120
Speaker 3: with like a big smile and a twinkle in his eye. Now,

1424
01:17:09,200 --> 01:17:12,719
Speaker 3: later that night, how he breaks into the chemist's shop

1425
01:17:12,880 --> 01:17:15,759
Speaker 3: to like kind of write, like search through his photos,

1426
01:17:15,800 --> 01:17:17,920
Speaker 3: the one that the chemist said he didn't have, and

1427
01:17:17,960 --> 01:17:20,280
Speaker 3: he does, in fact find the picture of the harvest

1428
01:17:20,320 --> 01:17:24,000
Speaker 3: festival from the year previous, and he confirms his suspicions.

1429
01:17:24,040 --> 01:17:26,479
Speaker 3: It is what he believed. The harvest queen from the

1430
01:17:26,560 --> 01:17:30,240
Speaker 3: year before was Rowan Morrison. And where there is normally

1431
01:17:30,320 --> 01:17:32,719
Speaker 3: a huge pile of fruit next to the harvest queen,

1432
01:17:32,800 --> 01:17:35,120
Speaker 3: instead in this photo there are only a few meager

1433
01:17:35,160 --> 01:17:38,920
Speaker 3: boxes of produce. And he puts it all together. He says,

1434
01:17:39,000 --> 01:17:42,599
Speaker 3: it's Rowan and the crops failed, So this is his theory.

1435
01:17:42,680 --> 01:17:46,000
Speaker 3: It was Rowan. Rowan was the harvest queen. The crops

1436
01:17:46,240 --> 01:17:49,160
Speaker 3: last year were bad, and so they killed Rowan as

1437
01:17:49,240 --> 01:17:52,639
Speaker 3: a sacrifice. All right, so we're almost to may Day,

1438
01:17:52,680 --> 01:17:54,400
Speaker 3: but first we got to have a scene of a

1439
01:17:54,479 --> 01:17:58,519
Speaker 3: wretchedly horny may Day eve where Sergeant how He goes

1440
01:17:58,560 --> 01:18:02,920
Speaker 3: back to the inn and there is a musical number

1441
01:18:03,360 --> 01:18:07,080
Speaker 3: where Willow again that's britt Eklund, she gets naked and

1442
01:18:07,120 --> 01:18:09,680
Speaker 3: then sings a song to him through the wall of

1443
01:18:09,760 --> 01:18:12,519
Speaker 3: the inn, being like, hey, how about it, and he's

1444
01:18:12,520 --> 01:18:13,720
Speaker 3: he's just in there, being like.

1445
01:18:15,439 --> 01:18:18,720
Speaker 1: That's that's true. That's that's essentially what happens. But the

1446
01:18:18,800 --> 01:18:21,960
Speaker 1: music is great. Yeah, the song is Willow's song, and

1447
01:18:22,280 --> 01:18:24,599
Speaker 1: I would argue it's among the best in the picture.

1448
01:18:24,760 --> 01:18:25,160
Speaker 3: It's great.

1449
01:18:25,240 --> 01:18:28,599
Speaker 1: Yeah, yeah, And I mean and then like the physical

1450
01:18:28,600 --> 01:18:31,320
Speaker 1: performances on both sides of the wall are amazing. It's

1451
01:18:31,360 --> 01:18:36,200
Speaker 1: just a great musical sequence of juxtapose temptation and denial

1452
01:18:36,640 --> 01:18:40,200
Speaker 1: on one side with Howie and then on Willow's side,

1453
01:18:40,680 --> 01:18:44,200
Speaker 1: just unabashed sexual freedom, you know, and this whole sequence

1454
01:18:44,280 --> 01:18:47,559
Speaker 1: charged with eroticism, but without either of the chief characters

1455
01:18:47,600 --> 01:18:49,160
Speaker 1: ever occupying the same room.

1456
01:18:49,800 --> 01:18:52,679
Speaker 3: And the next morning they have a meetup. Willow comes

1457
01:18:52,720 --> 01:18:54,960
Speaker 3: to see him at breakfast and she's like, hey, I

1458
01:18:54,960 --> 01:18:56,840
Speaker 3: thought you were gonna come see me last night. I

1459
01:18:56,880 --> 01:18:59,920
Speaker 3: invited you and and he's like, h sorry, I mean

1460
01:19:00,080 --> 01:19:02,559
Speaker 3: auged to be married. And she's like, oh, well, you

1461
01:19:02,600 --> 01:19:05,400
Speaker 3: know you're a very gallant fellow sergeant. And he says

1462
01:19:05,520 --> 01:19:08,960
Speaker 3: it's nothing personal. I just don't believe in it before marriage.

1463
01:19:09,439 --> 01:19:12,599
Speaker 3: She's like, okay, cool, suit yourself. You really should head

1464
01:19:12,680 --> 01:19:15,479
Speaker 3: back though, before we get May Day festivities started. You

1465
01:19:15,479 --> 01:19:17,719
Speaker 3: wouldn't like them, not with how you feel.

1466
01:19:19,280 --> 01:19:21,920
Speaker 1: So there's some important plot stuff going on in this

1467
01:19:22,040 --> 01:19:26,400
Speaker 1: dialogue exchange, but I also really love Howie's vulnerability and

1468
01:19:26,439 --> 01:19:29,040
Speaker 1: honesty here, which I think is a nice touch. It's

1469
01:19:29,120 --> 01:19:30,840
Speaker 1: very much one side because she's still kind of like

1470
01:19:30,880 --> 01:19:34,960
Speaker 1: taunting and temptacy. But you might expect Howie to have

1471
01:19:35,040 --> 01:19:36,960
Speaker 1: been really gruff here and like call her out as

1472
01:19:37,000 --> 01:19:39,760
Speaker 1: a temptress and preach to her on the values of

1473
01:19:39,800 --> 01:19:42,080
Speaker 1: saving yourself for marriage and so forth. But instead we

1474
01:19:42,120 --> 01:19:44,599
Speaker 1: get this nice scene that you had deliver some important

1475
01:19:44,600 --> 01:19:48,160
Speaker 1: plot points, but also deepens our understanding of how He's character.

1476
01:19:48,479 --> 01:19:52,400
Speaker 3: I think Howie at this point is actually exhausted by

1477
01:19:52,479 --> 01:19:55,640
Speaker 3: like being self righteous at everyone. He's literally tired of it.

1478
01:19:55,680 --> 01:19:58,759
Speaker 3: He's been self righteous at everyone for like many scenes

1479
01:19:58,760 --> 01:20:00,599
Speaker 3: in a row, and he's just worn out.

1480
01:20:01,000 --> 01:20:03,599
Speaker 1: And this is very much in keeping with the idea

1481
01:20:03,640 --> 01:20:07,000
Speaker 1: that's presented in the film that how at least Howie's

1482
01:20:07,080 --> 01:20:12,200
Speaker 1: version of Christianity and enforced morality is exhausting and if

1483
01:20:12,200 --> 01:20:14,639
Speaker 1: he were just to like let go and let this

1484
01:20:14,760 --> 01:20:18,040
Speaker 1: fall away from him, he could find another way to live.

1485
01:20:18,520 --> 01:20:20,599
Speaker 3: All right. Well, after this, how he tries to leave

1486
01:20:20,640 --> 01:20:23,360
Speaker 3: the island. He goes to his seaplane, but oh, engine

1487
01:20:23,400 --> 01:20:26,360
Speaker 3: won't start. Classic horror movie problem. I did say that

1488
01:20:26,439 --> 01:20:30,040
Speaker 3: this movie it doesn't rely too much on cliches, but

1489
01:20:30,080 --> 01:20:32,000
Speaker 3: there are there are some. I mean, you can't have

1490
01:20:32,600 --> 01:20:35,960
Speaker 3: a full corror movie without the vehicle that won't start.

1491
01:20:36,400 --> 01:20:39,080
Speaker 1: And this is where the creepy masks starts showing up. Right,

1492
01:20:39,160 --> 01:20:40,840
Speaker 1: He goes up to the plane and there like the

1493
01:20:40,920 --> 01:20:43,839
Speaker 1: villagers are peeking over the wall with the bunny masks

1494
01:20:43,880 --> 01:20:47,800
Speaker 1: and so forth, and we could start getting some more

1495
01:20:47,840 --> 01:20:50,799
Speaker 1: overtly creepy notes from the local folk beliefs.

1496
01:20:51,080 --> 01:20:55,840
Speaker 3: It's a mix of whimsical and humorous and creepy. Yeah,

1497
01:20:55,880 --> 01:20:57,439
Speaker 3: and I love that mix.

1498
01:20:57,640 --> 01:21:01,240
Speaker 1: Yeah, it never truly goes full e mode. At this point,

1499
01:21:01,320 --> 01:21:03,479
Speaker 1: like a lesser film would I mean a lesser film,

1500
01:21:03,520 --> 01:21:06,160
Speaker 1: much lesser film would have been creep mode the whole time. Yes,

1501
01:21:06,400 --> 01:21:08,800
Speaker 1: it continues to play this nice balance.

1502
01:21:08,600 --> 01:21:11,040
Speaker 3: But I love the masks. So the Villagers starts showing

1503
01:21:11,120 --> 01:21:13,960
Speaker 3: up in animal masks for the May Day celebration. They're

1504
01:21:14,040 --> 01:21:17,280
Speaker 3: dressed as hairs, as foxes, as squirrels. One is the

1505
01:21:17,320 --> 01:21:18,479
Speaker 3: Salmon of Knowledge.

1506
01:21:18,560 --> 01:21:20,880
Speaker 1: Ooh, we've talked about that fish on the show before.

1507
01:21:21,080 --> 01:21:24,639
Speaker 3: Yeah, yeah, and I oh, I'd love all the masks,

1508
01:21:24,680 --> 01:21:27,240
Speaker 3: but I love that a lot of the masks look

1509
01:21:27,360 --> 01:21:30,360
Speaker 3: so dingy. They look like really kind of weathered and

1510
01:21:30,439 --> 01:21:32,840
Speaker 3: like they've been used in many May Day festivals, and

1511
01:21:32,880 --> 01:21:34,519
Speaker 3: like they smell bad now.

1512
01:21:34,920 --> 01:21:37,800
Speaker 1: Yeah, even crumpled up in a drawer.

1513
01:21:38,160 --> 01:21:41,360
Speaker 3: We do get a library research scene where he goes

1514
01:21:41,400 --> 01:21:44,479
Speaker 3: to the town library, which it's funny, has books like

1515
01:21:44,520 --> 01:21:48,400
Speaker 3: of anthropology. I think he may read from the Golden

1516
01:21:48,439 --> 01:21:51,640
Speaker 3: Bough perhaps, Oh, I'm not sure, but he you know,

1517
01:21:51,680 --> 01:21:55,960
Speaker 3: he reads from something that's like James Fraser that tells

1518
01:21:56,000 --> 01:21:58,720
Speaker 3: about the May Day festivals. In fact, I'll just read

1519
01:21:58,760 --> 01:22:01,559
Speaker 3: briefly from what he comes across. So he's reading in

1520
01:22:01,600 --> 01:22:04,519
Speaker 3: the library. Primitive man lived and died by his harvest.

1521
01:22:04,640 --> 01:22:06,880
Speaker 3: The purpose of his spring ceremonies was to ensure a

1522
01:22:06,920 --> 01:22:09,960
Speaker 3: plentiful autumn. Relics of these fertility dramas are to be

1523
01:22:10,040 --> 01:22:13,000
Speaker 3: found all over Europe. In Great Britain, for example, one

1524
01:22:13,040 --> 01:22:15,960
Speaker 3: can still see harmless versions of them danced in obscure

1525
01:22:16,040 --> 01:22:20,200
Speaker 3: villages on May Day. Their cast includes many alarming characters.

1526
01:22:20,240 --> 01:22:23,120
Speaker 3: A man animal or hobby horse who canter is at

1527
01:22:23,160 --> 01:22:26,160
Speaker 3: the head of the procession, charging at the girls, a

1528
01:22:26,240 --> 01:22:29,599
Speaker 3: man woman, the sinister teaser played by the community leader

1529
01:22:29,640 --> 01:22:33,240
Speaker 3: or a priest, and the man fool punch. Most complex

1530
01:22:33,280 --> 01:22:36,720
Speaker 3: of all the symbolic figures, the privileged simpleton and king

1531
01:22:36,840 --> 01:22:40,000
Speaker 3: for a day. Six swordsmen follow these figures, and at

1532
01:22:40,000 --> 01:22:42,840
Speaker 3: the climax of the ceremony lock their swords together in

1533
01:22:42,880 --> 01:22:46,160
Speaker 3: a clear symbol of the sun. In pagan times, however,

1534
01:22:46,200 --> 01:22:50,519
Speaker 3: these dances were not simply picturesque jigs. They were frenzied rites,

1535
01:22:50,640 --> 01:22:53,680
Speaker 3: ending in a sacrifice by which the dancers hoped desperately

1536
01:22:53,720 --> 01:22:56,679
Speaker 3: to win over the goddess of the fields. In good times,

1537
01:22:56,720 --> 01:23:00,160
Speaker 3: they offered produce to the gods and slaughtered animals. In

1538
01:23:00,240 --> 01:23:03,400
Speaker 3: bad years, when the harvest had been poor, the sacrifice

1539
01:23:03,479 --> 01:23:08,280
Speaker 3: was a human being, huh. Sometimes the victim would be

1540
01:23:08,360 --> 01:23:10,320
Speaker 3: drowned in the sea or burnt to death in a

1541
01:23:10,400 --> 01:23:15,519
Speaker 3: huge sacrificial bonfire. Sometimes the six swordsman ritually beheaded the virgin,

1542
01:23:16,040 --> 01:23:18,759
Speaker 3: and he says, Dear God in Heaven, even these people

1543
01:23:18,800 --> 01:23:21,360
Speaker 3: can't be that mad. But he puts it all together.

1544
01:23:21,439 --> 01:23:25,000
Speaker 3: It's the picture of Rowan from last year's harvest, and

1545
01:23:25,120 --> 01:23:28,960
Speaker 3: he knows he knows it's Rowan, she's the sacrifice. But

1546
01:23:29,120 --> 01:23:32,320
Speaker 3: now he realizes something's different. He doesn't think they killed

1547
01:23:32,360 --> 01:23:36,200
Speaker 3: her last year. He thinks she's still alive and they're

1548
01:23:36,240 --> 01:23:39,240
Speaker 3: going to kill her today and so it's up to

1549
01:23:39,280 --> 01:23:42,639
Speaker 3: him to save her. So this turns into the frantic hunt.

1550
01:23:43,120 --> 01:23:45,360
Speaker 3: We get sort of a montage of how we popping

1551
01:23:45,400 --> 01:23:48,000
Speaker 3: around all the different locations on the island trying to

1552
01:23:48,080 --> 01:23:51,240
Speaker 3: find Rowan Morrison. He thinks she's alive and being held

1553
01:23:51,280 --> 01:23:54,439
Speaker 3: somewhere for the sacrifice. For example, he tries to go

1554
01:23:54,479 --> 01:23:56,840
Speaker 3: to May Morrison, her mother, and he's like, don't you

1555
01:23:56,880 --> 01:23:59,960
Speaker 3: realize what they're doing? And May is not any hell.

1556
01:24:00,280 --> 01:24:03,400
Speaker 3: She's just like, oh, sergeant, you'll you'll simply never understand

1557
01:24:03,439 --> 01:24:07,519
Speaker 3: the true nature of sacrifice. Eventually after he's checked a

1558
01:24:07,520 --> 01:24:09,920
Speaker 3: bunch of places and come up empty handed. But by

1559
01:24:09,960 --> 01:24:12,439
Speaker 3: the way, it's also very funny while he's checking things,

1560
01:24:12,479 --> 01:24:15,080
Speaker 3: because the locals are all kind of peeping around, taunting

1561
01:24:15,160 --> 01:24:18,200
Speaker 3: him and like running around in masks, playing little pranks

1562
01:24:18,200 --> 01:24:18,519
Speaker 3: on him.

1563
01:24:18,600 --> 01:24:20,879
Speaker 1: Oh yeah, And we see the hobby horse guy.

1564
01:24:21,120 --> 01:24:23,680
Speaker 3: Yes, yes, and the and the children who are like

1565
01:24:23,760 --> 01:24:26,400
Speaker 3: pretending to be dead, and then he's like what and

1566
01:24:26,439 --> 01:24:29,960
Speaker 3: then they pop up and laugh at him. So like

1567
01:24:30,000 --> 01:24:33,200
Speaker 3: the whole town has started just treating Howie as if

1568
01:24:33,240 --> 01:24:37,360
Speaker 3: he is a joke. Now the here we get the

1569
01:24:37,360 --> 01:24:39,719
Speaker 3: hand of Glory scene coming up, because how he comes

1570
01:24:39,800 --> 01:24:42,840
Speaker 3: back to the inn and he's like, I'm so tired,

1571
01:24:42,880 --> 01:24:44,920
Speaker 3: I've got to take a nap. He lays down in

1572
01:24:44,960 --> 01:24:46,679
Speaker 3: his bed. I think he has a dram of whiskey,

1573
01:24:46,720 --> 01:24:48,200
Speaker 3: and then lays in his bed for an hour.

1574
01:24:48,680 --> 01:24:51,680
Speaker 1: Yeah, and then you know he's he's laying there and

1575
01:24:51,720 --> 01:24:54,800
Speaker 1: he hears a Willow and Willow's dad plotting and they're like, oh,

1576
01:24:54,880 --> 01:24:57,280
Speaker 1: you don't don't don't wanna don't want to make him

1577
01:24:57,320 --> 01:24:59,960
Speaker 1: sleep too long, do you? And we don't want to

1578
01:25:00,040 --> 01:25:02,439
Speaker 1: getting in the way and so forth. And then when

1579
01:25:02,680 --> 01:25:07,120
Speaker 1: those voices subside he comes to and they've lit a

1580
01:25:07,160 --> 01:25:09,960
Speaker 1: hand of Glory in his room. This is the scene

1581
01:25:10,000 --> 01:25:11,960
Speaker 1: that always stuck with me because this is like a

1582
01:25:12,000 --> 01:25:15,320
Speaker 1: really this may be Is this the first like more

1583
01:25:15,360 --> 01:25:17,799
Speaker 1: overt horror note in the picture? Really?

1584
01:25:18,160 --> 01:25:20,639
Speaker 3: I think it could be. Yeah, is the first bit

1585
01:25:20,720 --> 01:25:23,479
Speaker 3: of anything that's like gore because he does in the

1586
01:25:24,680 --> 01:25:28,800
Speaker 3: in the Undertaker's house, he comes across a body that

1587
01:25:28,880 --> 01:25:33,240
Speaker 3: has the hand removed. Yeah, and then later this happens, Yeah.

1588
01:25:33,080 --> 01:25:35,479
Speaker 1: The hand of glory, where this version of it is

1589
01:25:35,520 --> 01:25:40,760
Speaker 1: a disembodied hand that's set up on this candlestick and

1590
01:25:40,760 --> 01:25:43,840
Speaker 1: each finger is a lit candle, and they're different versions

1591
01:25:43,880 --> 01:25:45,880
Speaker 1: of what the Hand of Glory means. But basically it's

1592
01:25:45,880 --> 01:25:47,920
Speaker 1: tied to different stories where a thief would use it

1593
01:25:47,960 --> 01:25:50,800
Speaker 1: as a magical item to subdue a household and force

1594
01:25:50,840 --> 01:25:54,120
Speaker 1: them to sleep. We actually just reran the Artifact episode

1595
01:25:54,400 --> 01:25:56,760
Speaker 1: about the Hand of Glory, but Yeah. In short, we

1596
01:25:56,800 --> 01:26:01,439
Speaker 1: have an occult European item here hied to these different stories,

1597
01:26:01,680 --> 01:26:04,439
Speaker 1: and it may ultimately be linked to ideas concerning the

1598
01:26:04,479 --> 01:26:08,720
Speaker 1: man Drake Root, which was attributed with similar powers and

1599
01:26:08,880 --> 01:26:12,280
Speaker 1: was sometimes described as being handlike in form like a

1600
01:26:12,320 --> 01:26:15,760
Speaker 1: clad hand. Whatever the case. It doesn't work, and he's

1601
01:26:15,840 --> 01:26:18,120
Speaker 1: just like and he like knocks it over, puts it out,

1602
01:26:18,840 --> 01:26:20,960
Speaker 1: and he's back on the case and oh yeah. Then

1603
01:26:21,000 --> 01:26:24,640
Speaker 1: he goes and finds the landlord. The landlord's putting on

1604
01:26:24,800 --> 01:26:28,000
Speaker 1: his fool's costume for the big parade, and so how

1605
01:26:28,000 --> 01:26:30,280
Speaker 1: he brings him with a candlestick.

1606
01:26:30,040 --> 01:26:33,400
Speaker 3: Yeah, beats him over the head and takes his costume. Yeah,

1607
01:26:33,439 --> 01:26:36,519
Speaker 3: and then goes down to join the parade. And oh boy,

1608
01:26:36,560 --> 01:26:38,959
Speaker 3: the parade is one of my favorite parts of the movie.

1609
01:26:39,360 --> 01:26:43,280
Speaker 3: We have Christopher Lee wearing a long wig and a dress.

1610
01:26:43,400 --> 01:26:46,040
Speaker 3: It's like a purple and blue kind of outfit, but

1611
01:26:46,080 --> 01:26:48,839
Speaker 3: with sneakers he's wearing like looks like Converse sneakers.

1612
01:26:48,840 --> 01:26:50,080
Speaker 1: Oh I didn't notice the sneakers.

1613
01:26:50,240 --> 01:26:52,519
Speaker 3: Oh yeah, they're great. And then there is one of

1614
01:26:52,560 --> 01:26:54,800
Speaker 3: the guys that we frequently see at the bar as

1615
01:26:54,880 --> 01:26:58,519
Speaker 3: the man horse, the hobby horse that's like bumping up

1616
01:26:58,560 --> 01:27:01,960
Speaker 3: and down. And then this is supposed to be McGregor,

1617
01:27:02,040 --> 01:27:05,760
Speaker 3: the innkeeper as the fool, but instead, behind the costume

1618
01:27:05,960 --> 01:27:09,080
Speaker 3: it is in fact Sergeant Howie. He's following. He's going

1619
01:27:09,120 --> 01:27:11,360
Speaker 3: along with the parade to try to get there and

1620
01:27:11,400 --> 01:27:14,160
Speaker 3: save Rowan but this is the part where when they're

1621
01:27:14,280 --> 01:27:16,479
Speaker 3: they're walking down the way. Oh, by the way, all

1622
01:27:16,479 --> 01:27:19,080
Speaker 3: the other townspeople. We've got some guys in kilts with

1623
01:27:19,120 --> 01:27:21,479
Speaker 3: their swords to be the swordsman that he read about

1624
01:27:21,479 --> 01:27:23,960
Speaker 3: in the library. And then everybody else is wearing animal masks.

1625
01:27:24,520 --> 01:27:29,800
Speaker 3: Christopher Lee is just dancing heroically. I love his capering about.

1626
01:27:29,800 --> 01:27:32,160
Speaker 3: And then also this is the scene where he yells

1627
01:27:32,320 --> 01:27:36,800
Speaker 3: at Edward Woodward. He's thinking he's McGregor. He's like, cut

1628
01:27:36,840 --> 01:27:38,559
Speaker 3: some capers, man, I told you.

1629
01:27:42,240 --> 01:27:44,840
Speaker 1: And then the eventually they do the deal that the

1630
01:27:44,920 --> 01:27:48,960
Speaker 1: reading prepared is for, with the swords aligned in a

1631
01:27:49,000 --> 01:27:51,920
Speaker 1: pentagram in the shape of the sun, and there's even

1632
01:27:51,960 --> 01:27:54,080
Speaker 1: a mock beheading. He thinks, oh my goodness, they've done it.

1633
01:27:54,080 --> 01:27:56,519
Speaker 1: They've cut a kid's head off, but it was a

1634
01:27:56,560 --> 01:27:58,800
Speaker 1: mock beheading. And then you realize, oh, it's just it's

1635
01:27:58,840 --> 01:28:00,200
Speaker 1: just part of this, right, and it's all so this

1636
01:28:00,360 --> 01:28:03,839
Speaker 1: kind of like moment of relief for us as the viewer, like, Okay,

1637
01:28:03,960 --> 01:28:07,879
Speaker 1: maybe this isn't a big human sacrifice thing he's attending.

1638
01:28:07,920 --> 01:28:12,000
Speaker 1: Maybe it is all just some you know, muted folkloric

1639
01:28:12,160 --> 01:28:15,120
Speaker 1: version of some ancient right, right.

1640
01:28:15,000 --> 01:28:17,280
Speaker 3: But then from there they proceed down to the shore,

1641
01:28:17,400 --> 01:28:20,280
Speaker 3: where first Christopher Lee gets out an axe and he

1642
01:28:20,400 --> 01:28:23,120
Speaker 3: chops open some barrels of ale, which they roll into

1643
01:28:23,160 --> 01:28:25,160
Speaker 3: the sea as a gift to the god of the sea.

1644
01:28:25,720 --> 01:28:27,920
Speaker 3: And then from there he says it's time to move

1645
01:28:27,960 --> 01:28:32,240
Speaker 3: on to our more dreadful sacrifice. And there we see

1646
01:28:32,400 --> 01:28:35,840
Speaker 3: Rowan Morrison standing flanked by some people with torches at

1647
01:28:35,840 --> 01:28:39,040
Speaker 3: the mouth of a cave. And what happens, well, it's

1648
01:28:39,120 --> 01:28:42,760
Speaker 3: just Howie in his fool costume just breaks out in

1649
01:28:42,800 --> 01:28:46,240
Speaker 3: a run in front of everybody. Everybody's gathered there, and

1650
01:28:46,280 --> 01:28:50,080
Speaker 3: he runs up to her and he's like, Rowan, come on,

1651
01:28:50,200 --> 01:28:53,519
Speaker 3: and so they run off together through the cave. Through

1652
01:28:53,520 --> 01:28:53,960
Speaker 3: the cave.

1653
01:28:54,160 --> 01:28:56,960
Speaker 1: Describe this music here, Joe, Oh, I don't know.

1654
01:28:56,880 --> 01:28:59,800
Speaker 3: I forget what the music is like. Oh, it's kind

1655
01:28:59,800 --> 01:29:02,000
Speaker 3: of yeah, yeah, a.

1656
01:29:01,960 --> 01:29:03,519
Speaker 1: Little someone like some bass going on.

1657
01:29:03,640 --> 01:29:06,120
Speaker 3: It's it's a little more electric rock and roll than

1658
01:29:06,120 --> 01:29:09,439
Speaker 3: anything else in the movie. Yeah, chase music. And so

1659
01:29:09,520 --> 01:29:11,959
Speaker 3: they run around through the cave while they're being pursued

1660
01:29:12,040 --> 01:29:16,360
Speaker 3: by people from the island, and eventually Rowan shows him here,

1661
01:29:16,400 --> 01:29:18,120
Speaker 3: here's where we can go, and they crawl out through

1662
01:29:18,120 --> 01:29:20,400
Speaker 3: an opening where they come out through the top of

1663
01:29:20,439 --> 01:29:24,400
Speaker 3: the cave onto a big meadow that's on these cliffs,

1664
01:29:24,439 --> 01:29:28,639
Speaker 3: overlooking the rocky shoreline below. And when they come out above,

1665
01:29:29,680 --> 01:29:34,200
Speaker 3: everyone's waiting for them. Lord Somerle's up there, and may Morrison,

1666
01:29:34,280 --> 01:29:38,600
Speaker 3: Rowan's mother is standing there. And Rowan runs directly to

1667
01:29:38,800 --> 01:29:42,120
Speaker 3: Lord Somerile, and she says, did I do it right?

1668
01:29:42,600 --> 01:29:45,559
Speaker 3: And he says, you did beautifully, my dear, And so

1669
01:29:45,640 --> 01:29:49,000
Speaker 3: now we're left wondering what. Rowan does not seem to

1670
01:29:49,040 --> 01:29:50,960
Speaker 3: be afraid at all. It's like she knows that she

1671
01:29:51,080 --> 01:29:55,280
Speaker 3: is not, in fact, in any danger. And instead everyone's

1672
01:29:55,320 --> 01:30:00,799
Speaker 3: attention turns to Howie in his fool costume. Lord Samrile

1673
01:30:00,920 --> 01:30:03,880
Speaker 3: tells him, welcome, fool. You have come of your own

1674
01:30:03,960 --> 01:30:07,080
Speaker 3: free will to the appointed place. The game is over,

1675
01:30:07,360 --> 01:30:10,280
Speaker 3: the game of the hunted, leading the hunter. You came

1676
01:30:10,320 --> 01:30:12,640
Speaker 3: here to find Rowan Morrison, but it is we who

1677
01:30:12,720 --> 01:30:15,880
Speaker 3: have found you and brought you here and controlled your

1678
01:30:15,920 --> 01:30:20,160
Speaker 3: every thought and action since you arrived. Principally, we persuaded

1679
01:30:20,200 --> 01:30:22,640
Speaker 3: you to think that Rowan Morrison was being held as

1680
01:30:22,680 --> 01:30:26,880
Speaker 3: a sacrifice because our crops failed last year. And how

1681
01:30:26,920 --> 01:30:29,000
Speaker 3: He says, but I know your crops failed. I saw

1682
01:30:29,040 --> 01:30:32,920
Speaker 3: the harvest photograph and Smrle says, oh, yes, they failed,

1683
01:30:32,960 --> 01:30:36,559
Speaker 3: all right, disastrously. So for the first time since my

1684
01:30:36,600 --> 01:30:40,120
Speaker 3: grandfather came here, the blossom came, but the fruit withered

1685
01:30:40,160 --> 01:30:43,519
Speaker 3: and died on the bow. That must not happen again

1686
01:30:43,640 --> 01:30:46,640
Speaker 3: this year. It is our most earnest belief that the

1687
01:30:46,640 --> 01:30:49,360
Speaker 3: best way of presenting this is to offer to our

1688
01:30:49,400 --> 01:30:52,280
Speaker 3: God of the Sun and to the Goddess of our orchards,

1689
01:30:52,280 --> 01:30:56,559
Speaker 3: the most acceptable sacrifice that lies in our power. Animals

1690
01:30:56,600 --> 01:31:00,000
Speaker 3: are fine, but their acceptability is limited. A little child

1691
01:31:00,160 --> 01:31:03,160
Speaker 3: is even better, but not nearly as effective as the

1692
01:31:03,240 --> 01:31:05,000
Speaker 3: right kind of adult.

1693
01:31:06,840 --> 01:31:09,679
Speaker 1: Now it's worth noting that at this point, Lord summer

1694
01:31:09,720 --> 01:31:14,720
Speaker 1: Isle has now subtly changed in demeanor and appearance. For starters.

1695
01:31:15,280 --> 01:31:18,400
Speaker 1: Here we get more of the signature of Christopher Lee grimness,

1696
01:31:18,840 --> 01:31:22,439
Speaker 1: you know. And also they're on the coast, they're wind swept,

1697
01:31:22,680 --> 01:31:25,240
Speaker 1: and so his hair is wilder, and the gray in

1698
01:31:25,280 --> 01:31:27,400
Speaker 1: his hair is more apparent. And I don't know the

1699
01:31:27,400 --> 01:31:30,240
Speaker 1: way it's set against the sun, the setting sun, it

1700
01:31:30,280 --> 01:31:33,519
Speaker 1: feels it feels even more like a halo. But also

1701
01:31:34,400 --> 01:31:37,880
Speaker 1: he looks more gray. He doesn't look maybe as full

1702
01:31:37,920 --> 01:31:40,760
Speaker 1: of life as he was. Not that he looks like

1703
01:31:40,760 --> 01:31:42,719
Speaker 1: a vampire or anything, but he looks like a little

1704
01:31:42,720 --> 01:31:46,479
Speaker 1: older and you know, he feels like the embodiment of

1705
01:31:46,520 --> 01:31:49,719
Speaker 1: approaching winter now at this point. And it's worth noting

1706
01:31:49,760 --> 01:31:51,840
Speaker 1: that this film is supposed to take place at the

1707
01:31:52,040 --> 01:31:55,240
Speaker 1: beginning of summer. They're supposed to take place May first,

1708
01:31:56,040 --> 01:32:00,920
Speaker 1: but it was filmed in November and December. So all

1709
01:32:00,960 --> 01:32:02,760
Speaker 1: these scenes where you see like fruiting trees, they had

1710
01:32:02,760 --> 01:32:05,000
Speaker 1: to bring those in or dress up other trees. You know,

1711
01:32:05,040 --> 01:32:08,200
Speaker 1: they had to fake it. And it feels fitting at

1712
01:32:08,240 --> 01:32:11,080
Speaker 1: this point in the picture that we have been living

1713
01:32:11,160 --> 01:32:15,000
Speaker 1: in a fake summer, you know, because here especially has

1714
01:32:15,320 --> 01:32:18,559
Speaker 1: manifested the idea that the world is growing colder, the

1715
01:32:18,600 --> 01:32:22,760
Speaker 1: sun is leaving our world, and what are we going

1716
01:32:22,800 --> 01:32:25,000
Speaker 1: to have to do to ensure Nuada's blessings and the

1717
01:32:25,040 --> 01:32:27,960
Speaker 1: blessings of all the other gods and goddesses and they're pantheon.

1718
01:32:28,640 --> 01:32:31,320
Speaker 3: I think that's beautifully said, exactly right. What are you

1719
01:32:31,400 --> 01:32:34,240
Speaker 3: going to have to do to get Nuada's blessings? You'll

1720
01:32:34,240 --> 01:32:37,120
Speaker 3: have to give him a man, they say, And hear

1721
01:32:37,200 --> 01:32:39,880
Speaker 3: the women from the town come in the willow and

1722
01:32:39,920 --> 01:32:42,879
Speaker 3: the librarian and miss Rose. They come in to explain

1723
01:32:42,920 --> 01:32:45,280
Speaker 3: what kind of man they were looking for. A man

1724
01:32:45,320 --> 01:32:47,800
Speaker 3: who had come here of his own free will, a

1725
01:32:47,800 --> 01:32:49,680
Speaker 3: man who had come here with the power of a

1726
01:32:49,760 --> 01:32:53,080
Speaker 3: king by representing the law, a man who had come

1727
01:32:53,160 --> 01:32:56,320
Speaker 3: here as a virgin, and a man who would come

1728
01:32:56,360 --> 01:32:59,120
Speaker 3: here as a fool. How he is all these things

1729
01:32:59,160 --> 01:33:00,360
Speaker 3: now right?

1730
01:33:00,560 --> 01:33:03,960
Speaker 1: And I'd say we'll ignore the overly complex nature of

1731
01:33:04,000 --> 01:33:07,639
Speaker 1: this trap, just given how splendidly the trap has been

1732
01:33:07,680 --> 01:33:12,040
Speaker 1: sprung here and the drama and ideas surrounding it, Like

1733
01:33:12,080 --> 01:33:14,000
Speaker 1: what if they'd sent a different cop though, what if

1734
01:33:14,000 --> 01:33:16,080
Speaker 1: they sent the cop played by like Oliver Reed. He

1735
01:33:16,160 --> 01:33:18,679
Speaker 1: shows up, he's like, he's been married. This the CoP's

1736
01:33:18,720 --> 01:33:21,280
Speaker 1: been married three times and they're like, oh g lord,

1737
01:33:21,280 --> 01:33:23,240
Speaker 1: this guy's not going to do Nuada is not going

1738
01:33:23,280 --> 01:33:24,160
Speaker 1: to accept this guy.

1739
01:33:24,400 --> 01:33:26,799
Speaker 3: This cop is not a virgin. I think it's interesting

1740
01:33:26,840 --> 01:33:30,240
Speaker 3: also that Howie is like also not like super young,

1741
01:33:30,560 --> 01:33:33,240
Speaker 3: that he's like, you know, he's like a forty something man,

1742
01:33:33,280 --> 01:33:36,000
Speaker 3: but he's now engaged to be married, but is still

1743
01:33:36,040 --> 01:33:40,160
Speaker 3: a virgin. And that's that seems like that is exactly

1744
01:33:40,200 --> 01:33:43,360
Speaker 3: what they wanted. They must have somehow engineered they found out,

1745
01:33:43,479 --> 01:33:45,120
Speaker 3: like how he is the one we need.

1746
01:33:45,600 --> 01:33:47,760
Speaker 1: Yeah, yeah, they pulled it off. They pulled it off.

1747
01:33:47,960 --> 01:33:51,320
Speaker 3: So he tries to argue with them about the principle

1748
01:33:51,400 --> 01:33:54,640
Speaker 3: behind their sacrifice. There will be a lot of exchange here.

1749
01:33:54,720 --> 01:33:58,920
Speaker 3: He tries to argue that he has hope for the resurrection,

1750
01:33:59,439 --> 01:34:01,280
Speaker 3: and he says, even if you kill me now, it

1751
01:34:01,400 --> 01:34:04,240
Speaker 3: is I who will live again in the resurrection of Christ,

1752
01:34:04,439 --> 01:34:08,799
Speaker 3: not your damned apples. And he also there's a wonderful

1753
01:34:08,800 --> 01:34:11,720
Speaker 3: moment where he says to Lord Somerrel. He says, I

1754
01:34:11,760 --> 01:34:14,479
Speaker 3: believe in the life eternal has promised to us by

1755
01:34:14,479 --> 01:34:17,880
Speaker 3: our Lord Jesus Christ. And Lord Somerrel says, that is

1756
01:34:17,960 --> 01:34:21,040
Speaker 3: good for believing what you do, we confer upon you

1757
01:34:21,120 --> 01:34:24,000
Speaker 3: a rare gift these days, a martyr's death.

1758
01:34:24,720 --> 01:34:26,600
Speaker 1: Yeah. That's a line that always stood out to me

1759
01:34:26,680 --> 01:34:30,320
Speaker 1: because it's not completely mocking, like there's grim comfort in

1760
01:34:30,400 --> 01:34:32,120
Speaker 1: what Summerle is saying to him, you know.

1761
01:34:32,400 --> 01:34:35,960
Speaker 3: Yeah. Also in this exchange, there's an interesting moment where

1762
01:34:36,200 --> 01:34:39,320
Speaker 3: Lord Somerrel seems to almost through the entire movie, have

1763
01:34:39,439 --> 01:34:43,000
Speaker 3: complete mastery of every situation he's in. He never really

1764
01:34:43,040 --> 01:34:47,320
Speaker 3: seems bothered. There's only one moment where maybe he does.

1765
01:34:47,680 --> 01:34:49,960
Speaker 3: I wonder what you think. There's a part where Sergeant

1766
01:34:49,960 --> 01:34:53,000
Speaker 3: Howie is saying, you know, he says, killing me will

1767
01:34:53,040 --> 01:34:55,760
Speaker 3: not bring back your apples, that these pagan gods they're

1768
01:34:55,800 --> 01:34:58,600
Speaker 3: not real. You're all making this up. This is insanity.

1769
01:34:59,080 --> 01:35:03,400
Speaker 3: And then he says he says, Lord Somemrle, your crops

1770
01:35:03,479 --> 01:35:05,880
Speaker 3: may may fail again. And he says, if the crops

1771
01:35:05,880 --> 01:35:09,160
Speaker 3: fail next year, Summerle, next year, the people will kill

1772
01:35:09,320 --> 01:35:14,080
Speaker 3: you on May Day. And Christopher Lee, it's kind of

1773
01:35:14,120 --> 01:35:16,600
Speaker 3: hard to read his expression in response, but all he

1774
01:35:16,680 --> 01:35:21,559
Speaker 3: says is they will not fail. He doesn't really argue

1775
01:35:21,560 --> 01:35:24,520
Speaker 3: with how he and everybody's standing around there so everybody

1776
01:35:24,560 --> 01:35:27,240
Speaker 3: can hear. It's like how he's giving them the idea

1777
01:35:27,320 --> 01:35:29,720
Speaker 3: if they didn't have it themselves, that they're going to

1778
01:35:29,800 --> 01:35:34,080
Speaker 3: have to do that next year. But but Somerrel doesn't

1779
01:35:34,200 --> 01:35:36,479
Speaker 3: argue with him that the people will do that. He

1780
01:35:36,640 --> 01:35:40,400
Speaker 3: just argues that this will work. Killing you will will

1781
01:35:40,439 --> 01:35:41,000
Speaker 3: not fail.

1782
01:35:41,400 --> 01:35:44,559
Speaker 1: I think I think Summerle is shaken here by this.

1783
01:35:44,640 --> 01:35:46,640
Speaker 1: I think the mask not that it's a matter. I

1784
01:35:46,680 --> 01:35:49,240
Speaker 1: do believe that Somerle believes in all of this, But

1785
01:35:49,320 --> 01:35:52,720
Speaker 1: I think dowd enters in here because you know, the

1786
01:35:53,080 --> 01:35:56,280
Speaker 1: crops have failed once and it's they're trying to appease

1787
01:35:56,320 --> 01:35:58,680
Speaker 1: these gods and it might not work. And this is

1788
01:35:58,720 --> 01:36:00,680
Speaker 1: also the moment where I think the conflict in the

1789
01:36:00,680 --> 01:36:04,519
Speaker 1: movie reaches its peak, because it's clear that, well, maybe

1790
01:36:04,520 --> 01:36:08,000
Speaker 1: we're just in a position as humans that neither faith

1791
01:36:08,040 --> 01:36:11,080
Speaker 1: can protect us anymore. What if we are truly on

1792
01:36:11,120 --> 01:36:14,320
Speaker 1: our own against the approaching darkness, you know, the darkness

1793
01:36:14,320 --> 01:36:17,160
Speaker 1: of a winter beyond which spring may not save us,

1794
01:36:17,520 --> 01:36:20,519
Speaker 1: the darkness of our continual fall from the optimism of

1795
01:36:20,560 --> 01:36:24,600
Speaker 1: the nineteen sixties into the grim realities of the nineteen seventies, Like,

1796
01:36:24,680 --> 01:36:27,639
Speaker 1: what if we don't have these answers and we don't

1797
01:36:27,680 --> 01:36:30,800
Speaker 1: have these powers we can reach out to at all,

1798
01:36:31,360 --> 01:36:32,800
Speaker 1: what are we going to do? Well?

1799
01:36:32,800 --> 01:36:34,559
Speaker 3: I think this movie does have a sort of answer

1800
01:36:34,560 --> 01:36:36,800
Speaker 3: to that, and the answer is what we will do

1801
01:36:36,960 --> 01:36:41,880
Speaker 3: is every year more desperately increase the violent intensity of

1802
01:36:41,880 --> 01:36:46,240
Speaker 3: our rituals. Yeah, anyway, Lord somemerere else says, come, it

1803
01:36:46,360 --> 01:36:48,719
Speaker 3: is time to keep your appointment with the wicker Man.

1804
01:36:49,520 --> 01:36:52,800
Speaker 3: And here we get the final revelation, which is just

1805
01:36:53,400 --> 01:36:56,840
Speaker 3: blood chilling. They bring Sergeant Howie up above the top

1806
01:36:56,880 --> 01:36:59,639
Speaker 3: of the hill and he sees out in the field

1807
01:37:00,040 --> 01:37:02,759
Speaker 3: above the cliffs, and you can hear the waves crashing

1808
01:37:02,800 --> 01:37:05,240
Speaker 3: on the rocks down below at the sea, there's this

1809
01:37:05,280 --> 01:37:09,400
Speaker 3: big field. And he sees the wicker Man itself of

1810
01:37:09,479 --> 01:37:15,120
Speaker 3: the title, a giant man made out of wood, a

1811
01:37:15,200 --> 01:37:19,720
Speaker 3: man shaped figure with sacrificial animals loaded inside in the

1812
01:37:19,840 --> 01:37:23,240
Speaker 3: arms and legs, and an open chamber, a cell in

1813
01:37:23,280 --> 01:37:26,080
Speaker 3: its chest with the door hanging open, and the ladder

1814
01:37:26,120 --> 01:37:30,400
Speaker 3: leading up to it, and bonfires lit and ready all around.

1815
01:37:30,600 --> 01:37:34,840
Speaker 3: And Sergeant how He begins to scream. It's amazing the

1816
01:37:34,840 --> 01:37:38,719
Speaker 3: way he completely loses his composure and he just begins

1817
01:37:38,760 --> 01:37:41,519
Speaker 3: to shriek. Oh God, oh Jesus Christ.

1818
01:37:42,160 --> 01:37:43,840
Speaker 1: Yeah, I mean, it becomes obvious that you know, there

1819
01:37:43,880 --> 01:37:46,400
Speaker 1: wasn't any fruit to harvest. This is all everyone's been

1820
01:37:46,439 --> 01:37:48,840
Speaker 1: working on, Yes, on this island. This is it.

1821
01:37:49,240 --> 01:37:52,320
Speaker 3: This is the product of their labor. Now they've been

1822
01:37:52,400 --> 01:37:56,360
Speaker 3: planning this and building the Wickerman and yeah, and this

1823
01:37:56,479 --> 01:38:00,639
Speaker 3: is it. So they load Sergeant how He inside the Wickerman,

1824
01:38:00,720 --> 01:38:03,000
Speaker 3: and they light the fires to make him a burnt

1825
01:38:03,040 --> 01:38:07,599
Speaker 3: offering and to their gods. And meanwhile, so like Howie inside,

1826
01:38:07,640 --> 01:38:11,800
Speaker 3: he begins to scream and scream and protest. He also

1827
01:38:11,840 --> 01:38:15,000
Speaker 3: tries to sing the hymn from the church service. At

1828
01:38:15,040 --> 01:38:17,320
Speaker 3: the beginning, he sings the Lord's my shepherd. I'll not

1829
01:38:17,479 --> 01:38:20,880
Speaker 3: want he leadeth me, He leadeth me, the quiet water spy.

1830
01:38:21,560 --> 01:38:25,040
Speaker 3: But eventually it leads to him just shrieking out into

1831
01:38:25,080 --> 01:38:28,080
Speaker 3: the sky as the fires climb up higher and higher

1832
01:38:28,280 --> 01:38:33,759
Speaker 3: into the cage. And meanwhile, Lord summerle and the people

1833
01:38:33,840 --> 01:38:37,080
Speaker 3: of the island are singing a jolly song. They are

1834
01:38:37,160 --> 01:38:40,839
Speaker 3: out there. They're out there like holding hands and swinging

1835
01:38:40,840 --> 01:38:43,479
Speaker 3: their hands back and forth and singing Summer is a

1836
01:38:43,520 --> 01:38:47,479
Speaker 3: coming in loudly sing cuckoo. There's so many things I

1837
01:38:47,479 --> 01:38:49,920
Speaker 3: could say about the scene, but it's it is something

1838
01:38:49,920 --> 01:38:52,240
Speaker 3: you just kind of need to see for itself. We

1839
01:38:52,280 --> 01:38:54,559
Speaker 3: alluded in the last episode to how it is one

1840
01:38:54,600 --> 01:38:58,960
Speaker 3: of the bleakest and most terrifying endings of any movie

1841
01:38:59,000 --> 01:39:02,760
Speaker 3: I can think of, but also it is shot with

1842
01:39:02,800 --> 01:39:05,600
Speaker 3: a real beauty, Like we see the sun setting and

1843
01:39:06,600 --> 01:39:09,680
Speaker 3: there's a kind of bleariness in the sky as it's all,

1844
01:39:09,720 --> 01:39:12,960
Speaker 3: and we see the as the the Wickerman burns up,

1845
01:39:13,000 --> 01:39:14,840
Speaker 3: and we see it kind of beginning to collapse and

1846
01:39:14,880 --> 01:39:18,800
Speaker 3: come down, and as the the people are singing, and

1847
01:39:18,840 --> 01:39:23,040
Speaker 3: they're singing with with real joy and hope, and I

1848
01:39:23,439 --> 01:39:25,519
Speaker 3: don't even know how to put it. It's it's just

1849
01:39:25,800 --> 01:39:27,040
Speaker 3: such a powerful effect.

1850
01:39:27,240 --> 01:39:28,920
Speaker 1: I mean, we're on the we're on the shore, we're

1851
01:39:28,920 --> 01:39:30,760
Speaker 1: on the coast of this island. It's like we're on

1852
01:39:30,800 --> 01:39:33,040
Speaker 1: the edge of the world, We're on the edge of time.

1853
01:39:33,640 --> 01:39:35,960
Speaker 1: And Yeah, this this final closing shot, I think is

1854
01:39:36,000 --> 01:39:38,960
Speaker 1: probably it's one of, if not the finest closing shots

1855
01:39:38,960 --> 01:39:41,920
Speaker 1: I've ever seen in a film, where they're singing and

1856
01:39:41,960 --> 01:39:44,360
Speaker 1: we were viewing it from behind, and we see the

1857
01:39:44,400 --> 01:39:47,800
Speaker 1: head of the burning Wickerman collapse in on itself with

1858
01:39:47,960 --> 01:39:51,719
Speaker 1: kind of a roar and a crackle as we reveal

1859
01:39:51,840 --> 01:39:54,600
Speaker 1: the setting sun behind it. And then you know, we

1860
01:39:55,040 --> 01:39:57,639
Speaker 1: close out, we close out the credits, and we get

1861
01:39:57,640 --> 01:40:01,559
Speaker 1: one last look at that image, that kind of wooden

1862
01:40:01,920 --> 01:40:05,759
Speaker 1: icon of the sublime face of Nuada, the son god

1863
01:40:05,960 --> 01:40:08,680
Speaker 1: of these people, and we're just left to ponder what

1864
01:40:08,720 --> 01:40:09,360
Speaker 1: it all means.

1865
01:40:10,080 --> 01:40:12,760
Speaker 3: Do you think it works or do you think that

1866
01:40:12,760 --> 01:40:15,240
Speaker 3: they're going to put Christopher Lee in the Wickerman next year?

1867
01:40:15,920 --> 01:40:19,479
Speaker 1: Oh? I don't know. I mean, I've honestly, I've honestly

1868
01:40:19,520 --> 01:40:22,479
Speaker 1: never really thought about what actually comes after this. Like,

1869
01:40:22,520 --> 01:40:24,679
Speaker 1: I feel like the movie does such a great job

1870
01:40:25,439 --> 01:40:30,200
Speaker 1: of nicely tying up the narrative and then like handing

1871
01:40:30,280 --> 01:40:32,400
Speaker 1: it to us to think about our own self and

1872
01:40:32,439 --> 01:40:35,720
Speaker 1: our own world, you know, I mean not to say

1873
01:40:35,720 --> 01:40:37,920
Speaker 1: you can't think about that. I was actually reading just

1874
01:40:37,920 --> 01:40:42,160
Speaker 1: the other day that Robin Hardy wrote a novelization of

1875
01:40:42,160 --> 01:40:44,400
Speaker 1: the film that came out years later, and there's like

1876
01:40:44,439 --> 01:40:46,400
Speaker 1: a little bit at the end where they find how

1877
01:40:46,439 --> 01:40:49,800
Speaker 1: he's airplane and it's like implied maybe he got away

1878
01:40:49,840 --> 01:40:53,679
Speaker 1: and lived. It's like, oh my god, what a horrible

1879
01:40:53,720 --> 01:40:56,880
Speaker 1: way to actually tack ending to tack onto all of this,

1880
01:40:57,080 --> 01:40:59,280
Speaker 1: Like that's I mean, maybe it works within the context

1881
01:40:59,320 --> 01:41:01,560
Speaker 1: of the written form. I haven't read it, so I

1882
01:41:01,600 --> 01:41:05,200
Speaker 1: can't actually speak to it, but in summary, it sounds

1883
01:41:05,240 --> 01:41:06,560
Speaker 1: like a terrible idea.

1884
01:41:06,800 --> 01:41:09,280
Speaker 3: Was it you who was telling me that the producers

1885
01:41:09,280 --> 01:41:12,040
Speaker 3: had the idea because they hated the ending? Obviously, the

1886
01:41:12,040 --> 01:41:14,880
Speaker 3: producers had the idea that, like what if a rainstorm

1887
01:41:14,920 --> 01:41:17,559
Speaker 3: breaks out and it puts out the fire in the

1888
01:41:17,600 --> 01:41:20,519
Speaker 3: Wickerman and saves him, you know, it's a miracle.

1889
01:41:20,800 --> 01:41:24,160
Speaker 1: Oh my gosh, that would have been terrible. Yeah, Like

1890
01:41:24,200 --> 01:41:26,479
Speaker 1: it's just such a it's as a very bleak ending,

1891
01:41:26,520 --> 01:41:30,559
Speaker 1: but such a perfect ending like this, I think that

1892
01:41:30,600 --> 01:41:33,280
Speaker 1: the film would still have its following, obviously, and it

1893
01:41:33,280 --> 01:41:35,360
Speaker 1: would still be great in its own way. But yeah,

1894
01:41:35,400 --> 01:41:37,080
Speaker 1: if you've gone with a different ending here, it just

1895
01:41:37,280 --> 01:41:40,040
Speaker 1: wouldn't have been punctuated quite the same way. It wouldn't

1896
01:41:40,080 --> 01:41:41,799
Speaker 1: It would have robbed it of part of its power.

1897
01:41:42,120 --> 01:41:44,439
Speaker 3: Okay, we've been going a long time. I think we've

1898
01:41:44,439 --> 01:41:46,439
Speaker 3: got to call it on the Wickerman.

1899
01:41:46,439 --> 01:41:49,600
Speaker 1: All right, Yep, we've loaded it all up in the

1900
01:41:49,640 --> 01:41:53,160
Speaker 1: effigy and we're gonna set it alight now. So we

1901
01:41:53,200 --> 01:41:55,680
Speaker 1: would obviously love to hear from everyone out there if

1902
01:41:55,720 --> 01:41:58,160
Speaker 1: you have even more thoughts as we did about The

1903
01:41:58,200 --> 01:42:01,920
Speaker 1: Wickerman from seventy three or any other version of The

1904
01:42:01,920 --> 01:42:06,439
Speaker 1: wicker Man sequels, remakes and so forth, novelizations. If you

1905
01:42:06,479 --> 01:42:08,880
Speaker 1: have read the novelization right in and give me more

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Speaker 1: information about what we were talking about here, all of

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01:42:11,760 --> 01:42:14,720
Speaker 1: that is fair game. Other full car films you'd like

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Speaker 1: us to cover, just right in, we'd love to hear

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Speaker 1: from you. Just a reminder that Stuff to Blow Your

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Speaker 1: Mind is primarily a science and culture podcast, with core

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Speaker 1: episodes on Tuesdays and Thursdays, but on Fridays we set

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Speaker 1: aside most serious concerns to just talk about a weird

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Speaker 1: film here on Weird House Cinema. If you want to

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Speaker 1: follow Weird House Cinema online, you can go to stbim

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Speaker 1: podcast on Instagram, but also on letterboxed. We are weird House.

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Speaker 1: That's our user name there, and you can follow our

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Speaker 1: list of all the films we've covered so far, and

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Speaker 1: sometimes a peek ahead at what comes next.

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Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

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Speaker 3: If you would like to get in touch with us

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01:42:50,240 --> 01:42:52,679
Speaker 3: with feedback on this episode or any other, to suggest

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01:42:52,680 --> 01:42:54,639
Speaker 3: a topic for the future, or just to say hello,

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01:42:54,760 --> 01:42:57,280
Speaker 3: you can email us at contact at stuff to Blow

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Speaker 3: your Mind dot com.

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Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

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Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 2: or wherever you listen to your favorite shows.