1
00:00:02,440 --> 00:00:08,719
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:12,960 --> 00:00:15,000
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:15,080 --> 00:00:18,000
Speaker 3: This is Rob Lamb and this is Joe McCormick.

4
00:00:18,640 --> 00:00:21,360
Speaker 2: Happy New Year to everyone. Of course, as we enter

5
00:00:21,560 --> 00:00:23,920
Speaker 2: a new year, it's out with the old and in

6
00:00:23,960 --> 00:00:27,520
Speaker 2: with the new. Right wrong, because it's going to be

7
00:00:27,560 --> 00:00:30,080
Speaker 2: out with the new and in with the old. As

8
00:00:30,160 --> 00:00:33,640
Speaker 2: in The Rising Dead the Undead. We're kicking off twenty

9
00:00:33,680 --> 00:00:36,000
Speaker 2: twenty six on Weird House Cinema with a healthy dose

10
00:00:36,000 --> 00:00:39,600
Speaker 2: of optimism, but with Keith gritted against the onslaught of decay.

11
00:00:39,960 --> 00:00:44,000
Speaker 2: It's time to discuss another grotesque Italian gut munching zombie

12
00:00:44,000 --> 00:00:47,040
Speaker 2: film from the nineteen eighties. Yes, we just did one

13
00:00:47,080 --> 00:00:50,000
Speaker 2: in October, but now it's January and the dead must

14
00:00:50,080 --> 00:00:50,640
Speaker 2: rise again.

15
00:00:52,000 --> 00:00:55,120
Speaker 3: Well put, yeah, this is going to be I think

16
00:00:55,160 --> 00:00:58,240
Speaker 3: of a somewhat different flavor in The one we did

17
00:00:58,360 --> 00:01:02,960
Speaker 3: in October was actually our Halloween episode was for Luccio

18
00:01:03,040 --> 00:01:07,400
Speaker 3: Fulci's City of the Living Dead, part of his Gates

19
00:01:07,400 --> 00:01:12,759
Speaker 3: of Hell trilogy. A weird, dream like, almost free associative

20
00:01:12,920 --> 00:01:17,200
Speaker 3: kind of wander through strange bits of gore and characters

21
00:01:17,200 --> 00:01:20,160
Speaker 3: that don't make a lot of sense, but it's always

22
00:01:20,200 --> 00:01:24,680
Speaker 3: a both gross and nice texture to be over there

23
00:01:24,680 --> 00:01:29,559
Speaker 3: in fulciville. Today's film, the nineteen eighty one zombie movie

24
00:01:29,680 --> 00:01:33,720
Speaker 3: Burial Ground, I would say is at least as much

25
00:01:33,800 --> 00:01:36,720
Speaker 3: fun for me, at least as a City of the

26
00:01:36,760 --> 00:01:40,600
Speaker 3: Living Dead, but I would say a notable downgrade in

27
00:01:41,040 --> 00:01:44,520
Speaker 3: the quality of the dream like imagery. It is a

28
00:01:44,600 --> 00:01:47,680
Speaker 3: more ground level film, and in a way you could

29
00:01:47,720 --> 00:01:50,400
Speaker 3: almost say that's a virtue of it because somehow one

30
00:01:50,400 --> 00:01:52,320
Speaker 3: of its main themes is dirt.

31
00:01:53,000 --> 00:01:56,480
Speaker 2: Yeah. Yeah, I mean, the film's most well known title

32
00:01:56,600 --> 00:01:59,480
Speaker 2: is Burial Ground. It is essentially dirt. The movie is

33
00:01:59,600 --> 00:02:02,880
Speaker 2: essentially dirt. The motion picture yes, Earth Earth.

34
00:02:02,920 --> 00:02:06,040
Speaker 3: You will see it sort of like unfolding as things

35
00:02:06,120 --> 00:02:09,320
Speaker 3: come up from under the turf in the gardens. The

36
00:02:09,440 --> 00:02:12,680
Speaker 3: zombies have a very earthy quality to them. We'll discuss

37
00:02:12,720 --> 00:02:15,400
Speaker 3: more about this later, but Rob, I think was it

38
00:02:15,440 --> 00:02:17,800
Speaker 3: off mic the other day you were comparing the zombies

39
00:02:17,840 --> 00:02:20,239
Speaker 3: in this movie almost like Earth elementals.

40
00:02:20,560 --> 00:02:24,040
Speaker 2: Yeah yeah, and not only this movie, but also certain

41
00:02:24,160 --> 00:02:28,440
Speaker 2: other Fulcy films, especially his movie Zombie or Zombie two.

42
00:02:30,080 --> 00:02:33,359
Speaker 2: Get into that in just a second, but a number

43
00:02:33,400 --> 00:02:36,919
Speaker 2: of these most famous Italian zombie films of the era

44
00:02:37,080 --> 00:02:41,160
Speaker 2: do have these very earthy looking zombies, where a lot

45
00:02:41,200 --> 00:02:44,200
Speaker 2: of effort was put into making them appear not just

46
00:02:44,280 --> 00:02:47,080
Speaker 2: recently dead, but long dead, so dead that they have

47
00:02:47,160 --> 00:02:51,600
Speaker 2: become part of the soil and even have worms wriggling

48
00:02:51,639 --> 00:02:54,440
Speaker 2: throughout their bodies. Now, those worms might not be completely

49
00:02:54,440 --> 00:02:58,639
Speaker 2: biologically accurate. They might be earthworms, they might be maggots

50
00:02:58,760 --> 00:03:01,680
Speaker 2: that have no business on them on a three hundred

51
00:03:01,800 --> 00:03:05,160
Speaker 2: year old corpse, but there are a lot of effort

52
00:03:05,240 --> 00:03:08,880
Speaker 2: is put into giving them that revolting, long dead look.

53
00:03:09,160 --> 00:03:10,720
Speaker 3: Yeah, I would agree, and.

54
00:03:12,360 --> 00:03:14,640
Speaker 2: Part of that is that they are so dead that

55
00:03:14,639 --> 00:03:18,640
Speaker 2: they are probably mostly soil at that point. There's a

56
00:03:18,720 --> 00:03:22,720
Speaker 2: strong case could be made that yes, they're more animated

57
00:03:22,760 --> 00:03:26,639
Speaker 2: soil than they are reanimated body. And you could probably

58
00:03:26,639 --> 00:03:30,080
Speaker 2: do a fair amount of zombie navel gazing over all

59
00:03:30,120 --> 00:03:32,399
Speaker 2: of this as well. But to be clear, the movie

60
00:03:32,440 --> 00:03:34,960
Speaker 2: we were watching here today is not a deep film

61
00:03:35,000 --> 00:03:38,000
Speaker 2: it is. It doesn't even have that dream like depth

62
00:03:38,080 --> 00:03:41,600
Speaker 2: to it. You can certainly toss around a number of

63
00:03:41,800 --> 00:03:45,360
Speaker 2: interesting concepts that come up in the film, but it

64
00:03:45,440 --> 00:03:50,560
Speaker 2: is again sort of a fast and dirty Italian trash

65
00:03:50,640 --> 00:03:52,680
Speaker 2: zombie film, and I love it.

66
00:03:52,720 --> 00:03:56,600
Speaker 3: For that my first experience of burial ground. I don't

67
00:03:56,600 --> 00:03:59,000
Speaker 3: remember what year this was, but I don't know, maybe

68
00:03:59,040 --> 00:04:04,000
Speaker 3: four or five years ago. My friend Chuck came down

69
00:04:04,120 --> 00:04:06,800
Speaker 3: to visit us and he showed you know, so he

70
00:04:06,880 --> 00:04:09,680
Speaker 3: showed up at our house with, you know, a collection

71
00:04:09,720 --> 00:04:12,200
Speaker 3: of horror movies, as he often does. You know, we

72
00:04:12,240 --> 00:04:14,680
Speaker 3: watch a lot of horror movies together, especially a lot

73
00:04:14,760 --> 00:04:17,080
Speaker 3: of Italian horror movies, and this was at the top

74
00:04:17,120 --> 00:04:19,520
Speaker 3: of his pile. I'd never heard of it, never seen it,

75
00:04:19,560 --> 00:04:22,359
Speaker 3: didn't know what I was in for. But he was

76
00:04:22,480 --> 00:04:24,919
Speaker 3: just like, you need to meet a character named Michael.

77
00:04:26,800 --> 00:04:30,320
Speaker 3: So we put it on and afterwards Rachel and I

78
00:04:30,360 --> 00:04:35,040
Speaker 3: were very like, what did we just watch? There is

79
00:04:35,320 --> 00:04:37,960
Speaker 3: a lot, I mean, there are a lot of images

80
00:04:38,000 --> 00:04:41,159
Speaker 3: people recall from this movie, some weird bits of gore

81
00:04:41,360 --> 00:04:45,440
Speaker 3: and the kind of the strange combination of like the

82
00:04:45,480 --> 00:04:50,039
Speaker 3: baroque mansion setting and the very earthy, soil ridden zombies.

83
00:04:51,000 --> 00:04:52,919
Speaker 3: But yeah, one of the things that really sticks with

84
00:04:52,960 --> 00:04:56,280
Speaker 3: people about this movie is the creepiest human character, an

85
00:04:56,320 --> 00:05:00,480
Speaker 3: old man slash child named Michael, who in age is

86
00:05:00,520 --> 00:05:05,960
Speaker 3: in some of the weirdest and most shocking behavior this film.

87
00:05:07,440 --> 00:05:11,680
Speaker 3: I guess what this movie has in common with another

88
00:05:11,720 --> 00:05:16,680
Speaker 3: movie we covered this past year, the Stephen King movie Sleepwalkers,

89
00:05:17,240 --> 00:05:22,839
Speaker 3: is out of nowhere Oedipus complex stuff that really doesn't

90
00:05:22,880 --> 00:05:24,640
Speaker 3: connect to anything else in the movie.

91
00:05:25,240 --> 00:05:28,560
Speaker 2: Yes, yeah, yeah, it's a head scratcher in that regard.

92
00:05:31,360 --> 00:05:34,320
Speaker 2: We'll get into the basically two main scenes that play out,

93
00:05:34,800 --> 00:05:39,760
Speaker 2: three main scenes that play out that pushed this this storyline.

94
00:05:40,600 --> 00:05:43,040
Speaker 2: But it's mostly about the zombies, and that's one of

95
00:05:43,080 --> 00:05:45,440
Speaker 2: the reasons. This is one of many films that was

96
00:05:45,480 --> 00:05:48,760
Speaker 2: released in Italy as Zombie three, not to be confused

97
00:05:48,760 --> 00:05:52,280
Speaker 2: with ful Chi's Zombie three, a sequel to his Zombie two,

98
00:05:52,680 --> 00:05:55,919
Speaker 2: which was an uno unofficial sequel to Romero's nineteen seventy

99
00:05:55,960 --> 00:05:58,560
Speaker 2: eight film Dawn of the Dead, which was released in

100
00:05:58,600 --> 00:06:02,719
Speaker 2: Italy as Zombie. So ful chie Zombie three is the

101
00:06:02,720 --> 00:06:05,159
Speaker 2: official Zombie three, as much as these things can at

102
00:06:05,200 --> 00:06:05,919
Speaker 2: all be settled.

103
00:06:06,800 --> 00:06:10,240
Speaker 3: You mean it's the official unofficial Zombie three, and this

104
00:06:10,279 --> 00:06:14,440
Speaker 3: would be yeah, and this would be the unofficial unofficial

105
00:06:14,520 --> 00:06:15,240
Speaker 3: Zombie three.

106
00:06:15,440 --> 00:06:17,599
Speaker 2: Right, we have one of many, I believe. Yeah. I

107
00:06:17,600 --> 00:06:20,840
Speaker 2: think we've probably watched an unofficial Zombie three before, or

108
00:06:20,880 --> 00:06:23,719
Speaker 2: at least we've discussed them before. All right, elevator pitch

109
00:06:23,800 --> 00:06:26,200
Speaker 2: For this one, I'm gonna go with one of the

110
00:06:26,200 --> 00:06:29,680
Speaker 2: other titles for it, The Nights of Terror, except mostly

111
00:06:29,760 --> 00:06:30,520
Speaker 2: during the day.

112
00:06:30,680 --> 00:06:34,760
Speaker 3: Yeah, and sometimes alternating cuts between night and day, just

113
00:06:34,800 --> 00:06:35,719
Speaker 3: going back and forth.

114
00:06:36,240 --> 00:06:38,359
Speaker 2: Yeah, but I think in general it's supposed to be

115
00:06:38,480 --> 00:06:41,560
Speaker 2: like one night, not even nights, but sometimes it's the

116
00:06:41,680 --> 00:06:43,880
Speaker 2: Nights of Terror. I don't know. Let's listen to part

117
00:06:43,880 --> 00:07:59,880
Speaker 2: of that trailer. Yes, no, no, alright, so that's just

118
00:08:00,080 --> 00:08:02,440
Speaker 2: sample from the trailer because it's mostly music and screams

119
00:08:02,480 --> 00:08:05,040
Speaker 2: and so so forth. But hopefully you heard a little

120
00:08:05,080 --> 00:08:07,240
Speaker 2: bit of the music, because I have to say, this

121
00:08:07,320 --> 00:08:10,400
Speaker 2: is one of those Italian horror movies where the music

122
00:08:10,840 --> 00:08:12,280
Speaker 2: really does a lot of heavy lifting.

123
00:08:12,520 --> 00:08:14,600
Speaker 3: I like the music in this one. It's pretty solid.

124
00:08:15,680 --> 00:08:17,200
Speaker 2: We'll come back to that more when we talk about

125
00:08:17,200 --> 00:08:19,880
Speaker 2: the folks who did the score, and as we get

126
00:08:19,880 --> 00:08:22,560
Speaker 2: into the plot and speaking of which, Yeah, we're going

127
00:08:22,600 --> 00:08:23,920
Speaker 2: to get into the plot in here a bit. We're

128
00:08:23,920 --> 00:08:26,760
Speaker 2: gonna start spoiling some things. If you would like to

129
00:08:26,880 --> 00:08:31,120
Speaker 2: jump out and watch Burial Ground for yourself, well, just

130
00:08:31,120 --> 00:08:33,920
Speaker 2: looking around here in the States. As of this recording,

131
00:08:33,960 --> 00:08:37,800
Speaker 2: it's currently streamable on services like to be the excellent

132
00:08:37,840 --> 00:08:40,880
Speaker 2: Eternal Family. If you want to pick it up on disc,

133
00:08:41,559 --> 00:08:44,120
Speaker 2: head to your local video store. But also you can

134
00:08:44,160 --> 00:08:47,520
Speaker 2: just buy an excellent version from Severn. That's what I

135
00:08:47,559 --> 00:08:49,920
Speaker 2: did it. I'm going to hold it up for you, Joe.

136
00:08:50,320 --> 00:08:51,960
Speaker 2: No one else can see this, but there you go.

137
00:08:52,720 --> 00:08:55,560
Speaker 2: It features a new restored two K scan with full

138
00:08:55,600 --> 00:08:58,880
Speaker 2: shot by shot color correction, various extra features that I'll

139
00:08:58,920 --> 00:09:01,840
Speaker 2: refer to as we discussed the film, and a limited

140
00:09:02,160 --> 00:09:06,080
Speaker 2: edition slip case by the always excellent Wes Benzcotter. So

141
00:09:06,320 --> 00:09:08,280
Speaker 2: I had to pick this one up during one of

142
00:09:08,559 --> 00:09:12,120
Speaker 2: Severn's recent Black Friday sales, and I'm glad I did.

143
00:09:13,720 --> 00:09:17,600
Speaker 2: It will proudly be displayed inside the drawer where my

144
00:09:17,600 --> 00:09:20,360
Speaker 2: wife lets me keep my horrid blue rays.

145
00:09:21,520 --> 00:09:23,560
Speaker 3: Oh well, you're not allowed to have a stack on

146
00:09:23,600 --> 00:09:27,000
Speaker 3: the floor like me, you know.

147
00:09:27,120 --> 00:09:28,679
Speaker 2: I mean, I like them in the drawer too. It's

148
00:09:28,720 --> 00:09:32,600
Speaker 2: kind of like it's like a secret stash of trashy films.

149
00:09:32,880 --> 00:09:34,040
Speaker 3: I cherish my stack.

150
00:09:43,840 --> 00:09:46,760
Speaker 2: All right, Well, shall we discuss some of the folks

151
00:09:46,760 --> 00:09:50,000
Speaker 2: behind this film? I think most of them all but

152
00:09:50,120 --> 00:09:53,320
Speaker 2: one are people we haven't discussed before. But most of

153
00:09:53,360 --> 00:09:56,800
Speaker 2: them are a little more obscure. So the director here

154
00:09:56,960 --> 00:10:01,560
Speaker 2: is Andrea Bianchi, who lived nineteen twenty five through twenty thirteen.

155
00:10:01,880 --> 00:10:06,360
Speaker 2: Italian film director, best known for his harrorjallo and sexploitation films,

156
00:10:06,920 --> 00:10:10,320
Speaker 2: but he also directed comedies, dramas, actions, and even one

157
00:10:10,480 --> 00:10:15,760
Speaker 2: family film, nineteen seventy two's Treasure Island starring Orson Wells

158
00:10:15,800 --> 00:10:16,920
Speaker 2: as Long John Silver.

159
00:10:18,000 --> 00:10:20,959
Speaker 3: I haven't seen that one, but well I would like to. Yeah,

160
00:10:21,160 --> 00:10:22,720
Speaker 3: Orson as Long John Silver.

161
00:10:23,120 --> 00:10:26,560
Speaker 2: It can only be amusing and entertaining on some level,

162
00:10:26,600 --> 00:10:30,560
Speaker 2: bad or good. Yeah, it probably must be seen. So

163
00:10:30,760 --> 00:10:34,600
Speaker 2: Burial Ground is perhaps his best known film internationally, but

164
00:10:35,559 --> 00:10:41,240
Speaker 2: for people more like into Italian exploitation films in eurocinema,

165
00:10:41,320 --> 00:10:43,200
Speaker 2: they might be familiar with some of these other titles.

166
00:10:43,920 --> 00:10:47,680
Speaker 2: They're seventy two's What the Peeper Saw that has Brett

167
00:10:47,679 --> 00:10:50,880
Speaker 2: Ecklund in it and child star Mark Lester, who is

168
00:10:50,880 --> 00:10:54,880
Speaker 2: an Oliver. That's supposed to be rather controversial. There's nineteen

169
00:10:54,920 --> 00:10:58,440
Speaker 2: seventy four's Cry of a Prostitute starring Henry Silva. This

170
00:10:58,600 --> 00:11:01,240
Speaker 2: is said to be one of his better films, not

171
00:11:01,360 --> 00:11:06,199
Speaker 2: Henry Silva, Beyonce's better films. There's the seventy five Gjallo

172
00:11:06,320 --> 00:11:08,000
Speaker 2: strip Nude for Your Killer.

173
00:11:08,880 --> 00:11:13,920
Speaker 3: That one great tasteful title, you know in the Jallo tradition.

174
00:11:15,040 --> 00:11:17,840
Speaker 3: Rachel and I actually rented that one for Jallo Knight

175
00:11:17,880 --> 00:11:20,679
Speaker 3: a few years back, and I recall that being a

176
00:11:20,720 --> 00:11:26,160
Speaker 3: particularly like sweaty, odious bizarre of woman hating and gory

177
00:11:26,240 --> 00:11:29,400
Speaker 3: seventies weirdness. But sometimes that's what you get on Jaalo Knight.

178
00:11:29,800 --> 00:11:32,960
Speaker 2: All right, let's see. There's also an exploitation film in

179
00:11:33,000 --> 00:11:37,360
Speaker 2: the mix, seventy nine's Malabimba, And there's nineteen eighty five's

180
00:11:37,400 --> 00:11:42,200
Speaker 2: Angel of Death aka Commando Mangola, co directed by Jess Franco,

181
00:11:42,400 --> 00:11:45,440
Speaker 2: with Howard Vernon playing Joseph Mangola, and it's apparently an

182
00:11:45,480 --> 00:11:51,200
Speaker 2: action movie. So yeah, there's some some trashy and questionable

183
00:11:51,240 --> 00:11:56,920
Speaker 2: titles in the filmography there. Yeah, multiple interview subjects on

184
00:11:57,000 --> 00:11:59,600
Speaker 2: the extras on the disc that I watched, though commented

185
00:11:59,679 --> 00:12:03,640
Speaker 2: on the director here being a silver haired gentleman, very

186
00:12:03,640 --> 00:12:08,080
Speaker 2: professional to work with, but mostly remembered for his trashier films. Yeah,

187
00:12:08,400 --> 00:12:12,080
Speaker 2: all right. The screenplay here is by Piero Regnoli, who

188
00:12:12,080 --> 00:12:16,079
Speaker 2: lived nineteen twenty one through two thousand and one. Italian screenwriter,

189
00:12:16,200 --> 00:12:19,400
Speaker 2: active from nineteen fifty one through nineteen ninety seven. His

190
00:12:19,440 --> 00:12:25,000
Speaker 2: filmography is an Italian B movie explosion. We're talking peplam,

191
00:12:25,040 --> 00:12:29,640
Speaker 2: Western's action, romance, erotica, and of course various shades of horror,

192
00:12:30,360 --> 00:12:32,960
Speaker 2: so the likes of fifty seven's Lust of the Vampire

193
00:12:33,080 --> 00:12:37,040
Speaker 2: nineteen eighties, Patrick Still Lives. Sixty six is Navajo Joe

194
00:12:37,160 --> 00:12:41,920
Speaker 2: starring Burt Reynolds, Heromberto Lindsay's Nightmare City from nineteen eighty

195
00:12:42,360 --> 00:12:45,360
Speaker 2: eighty two's The Sword of the Barbarians and Guna and

196
00:12:45,520 --> 00:12:48,880
Speaker 2: King of the Barbarians, and Sergio Martinez The Smile of

197
00:12:48,920 --> 00:12:53,079
Speaker 2: the Fox from nineteen ninety two. He wrote four films

198
00:12:53,120 --> 00:12:58,880
Speaker 2: for Andrea Bianci, Crib, The Prostitute, Malabimba, Burial Ground, which

199
00:12:58,880 --> 00:13:01,640
Speaker 2: we're talking about m Patrick Still Lives. He also wrote

200
00:13:01,640 --> 00:13:06,480
Speaker 2: three Luccio Fulci films. Seventy three is White Fang, nineteen

201
00:13:06,559 --> 00:13:10,240
Speaker 2: nineties Demonia and nineteen ninety one's Voices from Beyond.

202
00:13:10,600 --> 00:13:13,440
Speaker 3: Oh, I don't know if I've seen any of those three.

203
00:13:14,000 --> 00:13:17,040
Speaker 2: Yeah, those are three that I haven't seen either. Yeah, yeah,

204
00:13:17,120 --> 00:13:19,439
Speaker 2: with Voices from the Beyond being definitely one of the

205
00:13:20,360 --> 00:13:23,240
Speaker 2: both that in Demonia being two of the later pictures

206
00:13:23,240 --> 00:13:26,760
Speaker 2: in his filmography. All right, let's get into the cast here,

207
00:13:26,800 --> 00:13:28,920
Speaker 2: and I'm going to cover them in different order than

208
00:13:28,920 --> 00:13:31,439
Speaker 2: they're build because the decaying heart of this picture in

209
00:13:31,520 --> 00:13:35,840
Speaker 2: Key tow It's reputation is the oedipal relationship between Evelyn

210
00:13:35,880 --> 00:13:36,840
Speaker 2: and her son Michael.

211
00:13:37,080 --> 00:13:39,559
Speaker 3: Yes, which goes pretty much in one direction.

212
00:13:39,920 --> 00:13:43,280
Speaker 2: Yes, yes, all right, So starting with the family unit,

213
00:13:43,320 --> 00:13:47,880
Speaker 2: there's basically like a man and a woman and a child,

214
00:13:47,960 --> 00:13:51,120
Speaker 2: and then like two other couples. Yeah, some supporting characters

215
00:13:51,120 --> 00:13:53,520
Speaker 2: and a bunch of zombies, so this won't take too long.

216
00:13:53,920 --> 00:13:56,960
Speaker 2: But yeah, starting at the top. Playing Evelyn Michael's hot

217
00:13:57,000 --> 00:14:01,559
Speaker 2: mom is mari Angelo Giordano, who lived nineteen thirty seven

218
00:14:01,640 --> 00:14:05,840
Speaker 2: through twenty eleven, Italian actress of stage and screen, former

219
00:14:05,880 --> 00:14:11,920
Speaker 2: beauty queen who acted in all manner of films, including historical epics, westerns, comedies,

220
00:14:12,320 --> 00:14:14,679
Speaker 2: but she's often best remembered for her roles in horror

221
00:14:14,760 --> 00:14:18,160
Speaker 2: exploitation cinema of the seventies and eighties. These include a

222
00:14:18,160 --> 00:14:21,760
Speaker 2: pair of nineteen seventy films, Jalloh and Venice, and the

223
00:14:21,760 --> 00:14:27,000
Speaker 2: aforementioned Malabemba nineteen eighties. Patrick Still Lives, which by the way,

224
00:14:27,080 --> 00:14:30,000
Speaker 2: was an unauthorized sequel in and out itself to the

225
00:14:30,040 --> 00:14:34,280
Speaker 2: Australian horror film Patrick Let's See nineteen eighty two, Satan's

226
00:14:34,360 --> 00:14:39,280
Speaker 2: Baby Doll and Michael Suavees The Sect in nineteen ninety

227
00:14:39,320 --> 00:14:43,080
Speaker 2: one and Let's See Oh. Also of note, she played

228
00:14:43,160 --> 00:14:46,720
Speaker 2: Countess von Fladermouse in the nineteen ninety six Jess Franco

229
00:14:46,880 --> 00:14:50,560
Speaker 2: film Killer Barbies, about a Spanish female punk band that

230
00:14:50,640 --> 00:14:53,800
Speaker 2: winds up in a haunted house. That one also starred

231
00:14:54,480 --> 00:14:57,480
Speaker 2: Santiago Segura from Day of the Beast that we recently

232
00:14:57,520 --> 00:14:58,200
Speaker 2: covered on the show.

233
00:14:58,360 --> 00:14:59,720
Speaker 3: I would be interested to see this.

234
00:15:00,320 --> 00:15:04,480
Speaker 2: Yeah, it looks like it might be fun. I can't tell.

235
00:15:04,840 --> 00:15:07,440
Speaker 2: I don't know much about it, all right, So that's

236
00:15:07,480 --> 00:15:11,120
Speaker 2: Evelyn the mother. She was about forty three when this

237
00:15:11,200 --> 00:15:15,600
Speaker 2: movie was filmed, and then playing her son, Michael is

238
00:15:15,680 --> 00:15:18,920
Speaker 2: Peter Bark born nineteen fifty five, who I believe was

239
00:15:19,000 --> 00:15:20,640
Speaker 2: like twenty five at the time.

240
00:15:21,840 --> 00:15:26,720
Speaker 3: That is odd. My impression is that Michael is supposed

241
00:15:26,760 --> 00:15:30,120
Speaker 3: to be like ten. I don't know, I don't know,

242
00:15:30,240 --> 00:15:33,240
Speaker 3: something like that, But he looks like he's been being

243
00:15:33,280 --> 00:15:34,480
Speaker 3: played by an old man.

244
00:15:35,480 --> 00:15:39,640
Speaker 2: Yeah, like it seems like the situation here is they're like, yeah,

245
00:15:40,080 --> 00:15:44,360
Speaker 2: let's really go for an uncomfortable, edible fixation on the

246
00:15:44,360 --> 00:15:46,360
Speaker 2: part of the child, and then we'll have a zombie

247
00:15:46,440 --> 00:15:49,880
Speaker 2: payoff on that later on. But they couldn't cast an

248
00:15:49,880 --> 00:15:52,560
Speaker 2: actual child in a role like this, so they got

249
00:15:52,600 --> 00:15:55,040
Speaker 2: a very short, fully grown man to play the role.

250
00:15:55,600 --> 00:15:58,960
Speaker 2: And then I'm just spitballing here, but I'm guessing they realized,

251
00:15:59,040 --> 00:16:02,360
Speaker 2: you know, it's really hard to buy him as an

252
00:16:02,400 --> 00:16:06,200
Speaker 2: actual child, Like he straight up just looks like a man,

253
00:16:06,480 --> 00:16:09,960
Speaker 2: doesn't go off all. Yeah, right, so then maybe they

254
00:16:10,040 --> 00:16:12,360
Speaker 2: just leaned into it more and that's one of the

255
00:16:12,360 --> 00:16:14,680
Speaker 2: reasons we have just such a But it's just such

256
00:16:14,720 --> 00:16:18,240
Speaker 2: a bizarre relationship portrayed on the screen. I mean, to

257
00:16:18,320 --> 00:16:20,880
Speaker 2: be clear, you never really mistake any of the human

258
00:16:20,960 --> 00:16:24,680
Speaker 2: characters in this for real people, you know, it's it's

259
00:16:24,720 --> 00:16:27,880
Speaker 2: not that sort of film. But you never buy this

260
00:16:27,920 --> 00:16:30,760
Speaker 2: guy as as a kid. He's you just get this

261
00:16:30,880 --> 00:16:33,640
Speaker 2: uncanny feeling about him, though, and that does feel like

262
00:16:33,800 --> 00:16:36,200
Speaker 2: legitimately weird and unsettling on the screen.

263
00:16:36,400 --> 00:16:39,320
Speaker 3: Yeah, I guess he is part little kid, part twenty

264
00:16:39,360 --> 00:16:40,960
Speaker 3: five year old, part old man.

265
00:16:41,360 --> 00:16:43,280
Speaker 2: Yeah. Yeah, because he's also yeah, he's made up in

266
00:16:43,360 --> 00:16:47,280
Speaker 2: kind of ghastly makeup. Yes, so he does. Even before

267
00:16:47,320 --> 00:16:51,080
Speaker 2: he you know, spoiler, gets zombiefied. That's going to come

268
00:16:51,160 --> 00:16:54,000
Speaker 2: much later. But yeah, even before then, he already feels

269
00:16:54,080 --> 00:16:55,440
Speaker 2: weird and otherworldly.

270
00:16:55,720 --> 00:16:57,560
Speaker 3: It looks like they have gone out of their way

271
00:16:57,600 --> 00:16:59,520
Speaker 3: to make him look pale and sickly.

272
00:17:00,160 --> 00:17:04,440
Speaker 2: Yeah, yeah, yeah, so Peter bark here. He only has

273
00:17:04,480 --> 00:17:08,600
Speaker 2: a scattering of credits, mostly Italian screwball comedies from seventy

274
00:17:08,680 --> 00:17:11,040
Speaker 2: nine through eighty three, and this is his only horror film,

275
00:17:11,760 --> 00:17:15,760
Speaker 2: all right, And then so that's that's Evelyn, Evelyn's kid,

276
00:17:15,840 --> 00:17:20,040
Speaker 2: and then Evelyn's husband or current partner. I'm not sure.

277
00:17:21,000 --> 00:17:25,400
Speaker 2: This is George and he is played by Roberto Capperatti.

278
00:17:26,240 --> 00:17:28,880
Speaker 2: Dates unknown on this particular actor. He was active from

279
00:17:28,920 --> 00:17:33,359
Speaker 2: nineteen sixty through nineteen ninety four, and this and nineteen

280
00:17:33,400 --> 00:17:38,840
Speaker 2: eighty's Terror Express are his only horror films. But is ohka, sorry,

281
00:17:38,880 --> 00:17:40,879
Speaker 2: I didn't mean to interrupt. I was just gonna say.

282
00:17:40,920 --> 00:17:45,600
Speaker 2: His other work seems pretty varied, including Fellini's nineteen eighty

283
00:17:45,600 --> 00:17:48,280
Speaker 2: three film and The Ship Sails On and you know,

284
00:17:48,359 --> 00:17:49,080
Speaker 2: supporting role.

285
00:17:49,240 --> 00:17:52,080
Speaker 3: You know, he's also in an uncanny age range When

286
00:17:52,119 --> 00:17:54,320
Speaker 3: I first saw him, I was thinking, like, okay, guy

287
00:17:54,320 --> 00:17:56,720
Speaker 3: in his forties, and then I got a different angle

288
00:17:56,800 --> 00:17:59,359
Speaker 3: on him, and I'm like, guy in his sixties. Maybe

289
00:17:59,440 --> 00:18:02,199
Speaker 3: I could can quite tell like he was alternating. And

290
00:18:02,240 --> 00:18:06,359
Speaker 3: also he looks significantly younger or older based on what

291
00:18:06,440 --> 00:18:09,520
Speaker 3: he's wearing, Like he looks like an older guy when

292
00:18:09,520 --> 00:18:13,200
Speaker 3: they put him in that skin tight, long sleeve red

293
00:18:13,280 --> 00:18:16,879
Speaker 3: T shirt where he almost looks like like he's a

294
00:18:16,880 --> 00:18:19,359
Speaker 3: member of the Enterprise crew in Wrath of Khan with

295
00:18:19,440 --> 00:18:22,840
Speaker 3: the red he's got that that Shatner look.

296
00:18:22,920 --> 00:18:26,000
Speaker 2: Yeah, so I guess maybe the situation George owns the

297
00:18:26,720 --> 00:18:30,000
Speaker 2: like the manor house they're going to. Yeah, so maybe

298
00:18:30,040 --> 00:18:33,080
Speaker 2: he's like, you know, richer, older guy. And then Evelyn

299
00:18:33,200 --> 00:18:37,080
Speaker 2: is his newer, younger love interest, but she happens to

300
00:18:37,119 --> 00:18:40,920
Speaker 2: have this weird son, and so that's their their new

301
00:18:41,119 --> 00:18:44,719
Speaker 2: like you know, sort of perverse atomic nuclear family here.

302
00:18:44,760 --> 00:18:47,640
Speaker 2: I don't know, I guess, so, all right, so that's

303
00:18:47,720 --> 00:18:50,440
Speaker 2: that's that group. But then we have two couples. First

304
00:18:50,440 --> 00:18:53,639
Speaker 2: of all, we have Janet and Mark. Janet is played

305
00:18:53,640 --> 00:18:57,280
Speaker 2: by Karen Well born nineteen fifty four. She's she's actually

306
00:18:57,320 --> 00:19:01,399
Speaker 2: top build Italian actress, who mostly did sex comedies and

307
00:19:01,440 --> 00:19:04,600
Speaker 2: erotic films, but with some other genre work thrown in there.

308
00:19:04,680 --> 00:19:08,199
Speaker 2: Her films include seventy seven's The Perfect Killer starring Lee

309
00:19:08,240 --> 00:19:12,359
Speaker 2: Van Cleef, and eighty six's Convent of Sinners That's a

310
00:19:12,480 --> 00:19:16,879
Speaker 2: Joe Demata picture. And then playing Mark is Jean Luigi

311
00:19:17,080 --> 00:19:21,320
Speaker 2: Choditzi dates unknown as well, active from seventy three through

312
00:19:21,400 --> 00:19:24,240
Speaker 2: nineteen eighty one, with this being his last film. His

313
00:19:24,320 --> 00:19:26,840
Speaker 2: other films includes seventy Threes than None in the Devil.

314
00:19:27,080 --> 00:19:30,640
Speaker 3: This couple is funny. When we first meet them, she's

315
00:19:30,720 --> 00:19:34,280
Speaker 3: already having premonitions of terrible things to come, and he's

316
00:19:34,400 --> 00:19:37,960
Speaker 3: just like, what will everyone think if everyone will think

317
00:19:38,000 --> 00:19:41,280
Speaker 3: you foolish if you leave this place early? But joke's

318
00:19:41,280 --> 00:19:41,840
Speaker 3: on him.

319
00:19:41,760 --> 00:19:46,520
Speaker 2: Huh Yeah, And her premonition here doesn't really go anywhere.

320
00:19:46,560 --> 00:19:48,720
Speaker 2: It's just kind of like there's usually somebody in a

321
00:19:48,720 --> 00:19:50,760
Speaker 2: movie like this who has a bad feeling about this.

322
00:19:51,520 --> 00:19:53,439
Speaker 2: Therefore that's Janet.

323
00:19:53,600 --> 00:19:56,080
Speaker 3: She also she gets stuck in a bear trap in

324
00:19:56,119 --> 00:19:57,280
Speaker 3: like a beautiful garden.

325
00:19:57,720 --> 00:20:02,679
Speaker 2: Yeah, a bear trap maybe for the Etruscan zombies, but

326
00:20:04,080 --> 00:20:06,439
Speaker 2: it could be a zombie trap. Yeah, all right. And

327
00:20:06,480 --> 00:20:10,600
Speaker 2: then our other couple is Leslie and James Leslie is

328
00:20:10,640 --> 00:20:16,200
Speaker 2: played by Antonella Antoni. Dates unknown, active from seventy six

329
00:20:16,280 --> 00:20:19,680
Speaker 2: through at least twenty twenty one or seventy six through

330
00:20:19,760 --> 00:20:23,120
Speaker 2: nineteen ninety, depending on which database you believe. I'm more

331
00:20:23,119 --> 00:20:26,359
Speaker 2: inclined to think seventy six through nineteen ninety. That's just

332
00:20:26,480 --> 00:20:29,320
Speaker 2: my guess, and maybe there's some sort of you know,

333
00:20:29,320 --> 00:20:32,600
Speaker 2: sometimes there's name confusion in the databases. In either case,

334
00:20:32,920 --> 00:20:36,000
Speaker 2: she'd previously been in some Italian sex comedies. Her other

335
00:20:36,040 --> 00:20:39,960
Speaker 2: horror titles include seventy nine's Play Hotel, eighty nine's Maya,

336
00:20:40,119 --> 00:20:44,919
Speaker 2: and eighty nine's Eyewitness and Then playing James is Simone

337
00:20:45,160 --> 00:20:49,879
Speaker 2: Mattiali Dates unknown. Primarily a theater actor. There's actually an

338
00:20:49,920 --> 00:20:53,240
Speaker 2: interview with him on the disc, but he was active

339
00:20:53,400 --> 00:20:56,400
Speaker 2: in Italian film and especially TV from nineteen sixty five

340
00:20:56,440 --> 00:20:58,520
Speaker 2: through eighty one. The way he tells that he was

341
00:20:58,560 --> 00:21:02,480
Speaker 2: primarily focused on theatre and especially with this film. Did

342
00:21:02,720 --> 00:21:07,520
Speaker 2: take it just for the money, but this was this

343
00:21:07,680 --> 00:21:10,360
Speaker 2: was his last credited film, so I guess they get

344
00:21:10,520 --> 00:21:13,760
Speaker 2: either the payday was amazing. Maybe he was like, you know,

345
00:21:14,520 --> 00:21:17,760
Speaker 2: maybe I'm just good with theater at this point, but

346
00:21:18,280 --> 00:21:18,920
Speaker 2: he has some other.

347
00:21:18,880 --> 00:21:20,840
Speaker 3: Film he'd seen and done it all by this point.

348
00:21:23,480 --> 00:21:25,920
Speaker 2: It was kind of interesting to hear him talk about

349
00:21:26,119 --> 00:21:30,960
Speaker 2: the filming of Burial Ground, because with a piece of

350
00:21:31,000 --> 00:21:35,320
Speaker 2: like sort of trashy eurocinema like this, it's easy to

351
00:21:35,359 --> 00:21:37,560
Speaker 2: assume that everyone in the picture at this point is

352
00:21:37,600 --> 00:21:40,119
Speaker 2: already a season that of doing nude scenes and then

353
00:21:40,119 --> 00:21:42,119
Speaker 2: having a chunk of their fake flesh torn out of

354
00:21:42,160 --> 00:21:46,320
Speaker 2: their neck by a zombie. But in that interview, he

355
00:21:46,400 --> 00:21:48,840
Speaker 2: reflects on the production and points out that this was

356
00:21:48,840 --> 00:21:51,840
Speaker 2: his first nude scene and he found it very uncomfortable

357
00:21:51,840 --> 00:21:53,840
Speaker 2: and embarrassing to film. So I was kind of like, oh,

358
00:21:53,920 --> 00:21:58,240
Speaker 2: that's that's different insight than I was expecting.

359
00:21:58,440 --> 00:22:02,399
Speaker 3: Yeah, well, especially since the main characteristic of James and

360
00:22:02,480 --> 00:22:04,840
Speaker 3: Leslie's characters is that they do sex.

361
00:22:05,080 --> 00:22:07,879
Speaker 2: Yes, yeah, that's pretty much. Yet, that's well, he's a

362
00:22:08,160 --> 00:22:10,919
Speaker 2: he's a he's a writer, that's true. Yeah. Yeah, he

363
00:22:10,960 --> 00:22:14,320
Speaker 2: brought his typewriter, and then he also does some writing outside,

364
00:22:14,400 --> 00:22:16,199
Speaker 2: just as some free handwriting as well. He can do

365
00:22:16,240 --> 00:22:16,520
Speaker 2: it all.

366
00:22:17,000 --> 00:22:18,919
Speaker 3: Yeah, writing on a notepad.

367
00:22:19,800 --> 00:22:23,880
Speaker 2: Yeah, imagine that people used to do it. Yeah, all right,

368
00:22:24,240 --> 00:22:26,920
Speaker 2: we also have a we have a few supporting characters.

369
00:22:27,080 --> 00:22:30,480
Speaker 2: There's the Professor. I think we eventually find out his

370
00:22:30,560 --> 00:22:33,240
Speaker 2: last name, but he's I think just credited as Professor's

371
00:22:33,280 --> 00:22:39,720
Speaker 2: professor Ayers, Oh, professor Ayers, Okay yeah, played by Benito Barbieri,

372
00:22:40,119 --> 00:22:44,400
Speaker 2: living Well born nineteen thirty six, presumably still with us,

373
00:22:44,680 --> 00:22:48,920
Speaker 2: seemingly has uncredited appearances in seventy six Salon Kitty and

374
00:22:48,920 --> 00:22:53,480
Speaker 2: eighty six is Othello, a Zephyrrelli picture. Nicholas is played

375
00:22:53,480 --> 00:22:56,120
Speaker 2: by Claudio zukette to Live nineteen thirty five through two

376
00:22:56,119 --> 00:23:00,840
Speaker 2: thousand and five, Italian stumpman and extra often popping up

377
00:23:00,880 --> 00:23:03,679
Speaker 2: as a henchman. So His titles include seventy eight's The

378
00:23:03,920 --> 00:23:08,000
Speaker 2: Inglorious Bastard's, seventy nine Star Odyssey, eighty five's Lady Hawk,

379
00:23:08,440 --> 00:23:11,359
Speaker 2: nineteen nineties The Godfather Part three, and two thousand and

380
00:23:11,359 --> 00:23:12,320
Speaker 2: two Gangs of New York.

381
00:23:12,560 --> 00:23:16,479
Speaker 3: Oh okay? Is he anybody significant in Godfather three?

382
00:23:16,760 --> 00:23:19,159
Speaker 2: I think just like a Hinchman background care. I mean,

383
00:23:19,200 --> 00:23:20,879
Speaker 2: you know, he did a lot of stunt work, and

384
00:23:20,920 --> 00:23:22,879
Speaker 2: I think he's one of these guys that if you're

385
00:23:22,920 --> 00:23:25,240
Speaker 2: filming in Italy, there's a chance he'll he'll find his

386
00:23:25,280 --> 00:23:30,520
Speaker 2: way into the set, delivers the canol laid Eli. Yeah,

387
00:23:30,720 --> 00:23:33,520
Speaker 2: and then there's there's also so he's like the butler,

388
00:23:33,520 --> 00:23:38,840
Speaker 2: and then there's also like a house servant named Catherine

389
00:23:39,000 --> 00:23:42,840
Speaker 2: played by Anna Valente. Dates unknown as well. She did

390
00:23:42,880 --> 00:23:46,200
Speaker 2: like one other TV project the same year. Now getting

391
00:23:46,240 --> 00:23:50,320
Speaker 2: into the special effects, though, Gino de Rossi is back

392
00:23:50,400 --> 00:23:53,280
Speaker 2: in nineteen forty two through twenty twenty one. We recently

393
00:23:53,280 --> 00:23:56,480
Speaker 2: discussed him in our episode on City of the Living Dead.

394
00:23:58,160 --> 00:24:03,440
Speaker 2: Tremendous practical effects in that movie. Less I think less

395
00:24:03,480 --> 00:24:08,439
Speaker 2: of a budget here and less maybe stand out special

396
00:24:08,480 --> 00:24:11,160
Speaker 2: effect moments. But for the most part, I think everything

397
00:24:11,160 --> 00:24:13,400
Speaker 2: looks pretty good here and it makes sense. He also

398
00:24:13,440 --> 00:24:17,439
Speaker 2: worked on Let Sleeping Corpses Lie, another zombie film Italian

399
00:24:17,520 --> 00:24:20,119
Speaker 2: zombie film that we've discussed, and during the course of

400
00:24:20,160 --> 00:24:23,159
Speaker 2: his career he worked with everyone from Joe Tomato to

401
00:24:23,240 --> 00:24:23,879
Speaker 2: David Lynch.

402
00:24:24,320 --> 00:24:26,960
Speaker 3: Oh what did he work with David Lynch on Dune?

403
00:24:27,359 --> 00:24:28,000
Speaker 2: Oh?

404
00:24:28,080 --> 00:24:28,480
Speaker 3: Wow?

405
00:24:28,680 --> 00:24:33,760
Speaker 2: Okay, all right. Chief makeup artist on this was Moro Gavazzi,

406
00:24:34,320 --> 00:24:37,400
Speaker 2: who this is another individual with dates unknown, active from

407
00:24:37,440 --> 00:24:40,919
Speaker 2: sixty seven through nineteen ninety five, with credits that include

408
00:24:40,960 --> 00:24:43,960
Speaker 2: seventy nine's The Killer None and nineteen sixty eight to

409
00:24:44,040 --> 00:24:49,720
Speaker 2: Romeo and Juliet. The Zephyrrelli picture that I have. I

410
00:24:49,800 --> 00:24:53,360
Speaker 2: distinctly remember watching in English classes, like in junior high

411
00:24:53,400 --> 00:24:55,440
Speaker 2: or high school, and you would get to the nude

412
00:24:55,440 --> 00:24:57,080
Speaker 2: scene and the teacher would have to hold like a

413
00:24:57,119 --> 00:24:58,080
Speaker 2: book over the screen.

414
00:24:58,560 --> 00:24:58,760
Speaker 3: Yeah.

415
00:24:59,640 --> 00:25:02,560
Speaker 2: The zom bombie masks in this film are quite impressive

416
00:25:02,680 --> 00:25:08,400
Speaker 2: and quite grotesque. They are by Rosario Prostopino, who lived

417
00:25:08,440 --> 00:25:11,880
Speaker 2: nineteen fifty through two thousand and eight, famed Italian practical

418
00:25:11,920 --> 00:25:16,360
Speaker 2: effects artist whose other credits include eighty Zombie Holocaust aka

419
00:25:16,520 --> 00:25:21,280
Speaker 2: Doctor Butcher MD, nineteen eighty five's Demons, eighty seven's The Barbarians,

420
00:25:21,480 --> 00:25:25,560
Speaker 2: eighty seven's Opera, the Dario Argento film, eighty nine's The Church,

421
00:25:26,280 --> 00:25:32,159
Speaker 2: nineteen nineties Meridian that's a band Charles Band picture, and

422
00:25:32,320 --> 00:25:33,760
Speaker 2: nineteen ninety one's The Sect.

423
00:25:34,320 --> 00:25:36,760
Speaker 3: Oh okay, so a number of films I've seen here.

424
00:25:36,920 --> 00:25:41,040
Speaker 2: Yeah, because again, the zombies look amazing in this I thought,

425
00:25:41,119 --> 00:25:44,160
Speaker 2: I mean, the thing about having a horde of zombies

426
00:25:44,240 --> 00:25:45,919
Speaker 2: is you know you're going to have some that are

427
00:25:45,960 --> 00:25:48,240
Speaker 2: even to look a little goofier than others and maybe

428
00:25:48,400 --> 00:25:50,879
Speaker 2: a little less polished. That's just part of the course.

429
00:25:51,240 --> 00:25:53,080
Speaker 2: And some of that applies here. But for the most part,

430
00:25:53,119 --> 00:25:54,840
Speaker 2: your standout zombies look really great.

431
00:25:55,080 --> 00:25:59,600
Speaker 3: With a lot of zombie movies, it's unclear if you

432
00:25:59,760 --> 00:26:03,480
Speaker 3: are supposed to be seeing the same main one or

433
00:26:03,520 --> 00:26:06,439
Speaker 3: two zombies over and over again, or if they're supposed

434
00:26:06,440 --> 00:26:08,919
Speaker 3: to be different ones and they're just assuming people are

435
00:26:08,960 --> 00:26:11,240
Speaker 3: not going to notice they're the same ones because they're zombies,

436
00:26:11,280 --> 00:26:14,320
Speaker 3: you know, but you often do. There's often a kind

437
00:26:14,359 --> 00:26:18,000
Speaker 3: of lee to zombie who has more detailed work on

438
00:26:18,040 --> 00:26:21,080
Speaker 3: them than all of the others. Yeah, I think that's

439
00:26:21,119 --> 00:26:22,879
Speaker 3: sort of the case here, with a couple of different

440
00:26:23,000 --> 00:26:25,320
Speaker 3: zombies that are like the ones that clearly got the

441
00:26:25,359 --> 00:26:28,199
Speaker 3: most love. And then in the background, a little more

442
00:26:28,200 --> 00:26:30,080
Speaker 3: out of focus, there are some that are just kind

443
00:26:30,080 --> 00:26:32,160
Speaker 3: of a mask with a little bit of crud on it.

444
00:26:32,680 --> 00:26:35,680
Speaker 2: Yeah, all right, And then coming back to the music,

445
00:26:36,080 --> 00:26:40,920
Speaker 2: we have two credited composers here. There's Elsio Mancuso and

446
00:26:41,560 --> 00:26:47,800
Speaker 2: Berto Pisano, who's credited as Bert Rexen and dates unknown

447
00:26:48,040 --> 00:26:52,360
Speaker 2: on Elcio and Berto lived nineteen twenty eight through two

448
00:26:52,359 --> 00:26:57,119
Speaker 2: thousand and two. Elcio's other credits include Malabimba that he

449
00:26:57,160 --> 00:27:01,920
Speaker 2: also worked with Berto on that onearious Spaghetti Westerns, including

450
00:27:01,960 --> 00:27:05,560
Speaker 2: the gloriously titled God Will Forgive My Pistol in nineteen

451
00:27:05,640 --> 00:27:09,439
Speaker 2: sixty nine. Number of theological questions arise from that title,

452
00:27:09,440 --> 00:27:10,040
Speaker 2: but I love it.

453
00:27:10,400 --> 00:27:13,000
Speaker 3: Wait, who was the actor we recently talked about who

454
00:27:13,040 --> 00:27:16,800
Speaker 3: was in some amazingly titled Italian Western movies. Was it

455
00:27:16,840 --> 00:27:19,639
Speaker 3: the guy who was in Empire of the Dark. Do

456
00:27:19,640 --> 00:27:20,919
Speaker 3: you remember what I'm talking about?

457
00:27:21,240 --> 00:27:25,080
Speaker 2: Oh? Well, a bunch of Yeah, the older guy they played,

458
00:27:25,119 --> 00:27:25,720
Speaker 2: the cult leader.

459
00:27:26,040 --> 00:27:28,439
Speaker 3: Yes, exactly, he was in a bunch of Western movies

460
00:27:28,480 --> 00:27:31,800
Speaker 3: that the title would be a really sinister entire sentence.

461
00:27:32,600 --> 00:27:33,480
Speaker 2: Richard Harrison.

462
00:27:33,680 --> 00:27:36,199
Speaker 3: Yes, what do you have any of those titles pulled up?

463
00:27:36,560 --> 00:27:38,760
Speaker 2: I well, let's see. I mean, I can glance at

464
00:27:38,760 --> 00:27:42,040
Speaker 2: his filmography and I'm sure something will pop up, pop

465
00:27:42,200 --> 00:27:42,879
Speaker 2: pop out at me.

466
00:27:43,520 --> 00:27:45,679
Speaker 3: You know, they had titles. There's things like you know,

467
00:27:45,800 --> 00:27:49,960
Speaker 3: God will Spit on You three Times or something, Dig.

468
00:27:49,800 --> 00:27:53,840
Speaker 2: Your Grave Friend, Sabata's Coming seventy one. Titles like that,

469
00:27:54,920 --> 00:27:57,320
Speaker 2: or even between God the Devil and a Winchester from

470
00:27:57,359 --> 00:28:01,800
Speaker 2: sixty eight. Also great Titlember of the spaghetti westerns, especially

471
00:28:01,800 --> 00:28:04,560
Speaker 2: some of the Franco Nero westerns, he had great The

472
00:28:04,600 --> 00:28:09,680
Speaker 2: Django film sometimes had really alarming titles as well. Yeah,

473
00:28:09,680 --> 00:28:12,240
Speaker 2: oh yeah. But then coming back to the other guy,

474
00:28:12,560 --> 00:28:16,720
Speaker 2: Berto Pisano. His credits go from about sixty three through

475
00:28:16,800 --> 00:28:19,639
Speaker 2: two thousand and seven. They include strip nude for Your Killer,

476
00:28:20,520 --> 00:28:24,440
Speaker 2: which has a great reputation as a soundtrack. I should

477
00:28:24,480 --> 00:28:27,760
Speaker 2: add I've not seen it myself, but I hear more

478
00:28:27,800 --> 00:28:29,920
Speaker 2: about the soundtrack than I do about the movie.

479
00:28:30,000 --> 00:28:33,119
Speaker 3: Well, as I said earlier, it's one of the I

480
00:28:33,160 --> 00:28:38,400
Speaker 3: feel like thematically just grosser and more misogynistic of the

481
00:28:38,680 --> 00:28:42,880
Speaker 3: Gallo films I've seen. So it's not the most fun watch.

482
00:28:42,960 --> 00:28:45,760
Speaker 3: But I think I recall, yeah, I think he had

483
00:28:45,760 --> 00:28:46,400
Speaker 3: good music.

484
00:28:46,920 --> 00:28:49,760
Speaker 2: Yeah, And the music here in Burial Ground is am

485
00:28:49,760 --> 00:28:54,680
Speaker 2: I beinon really good. You have these glittering, almost mystical

486
00:28:55,920 --> 00:28:59,960
Speaker 2: tracks that play in key moments that I guess under

487
00:29:00,280 --> 00:29:03,920
Speaker 2: you know, underlies that the magic of the Etruscan sorcery

488
00:29:04,000 --> 00:29:06,920
Speaker 2: that's taking place here, that's raising the dead. And then

489
00:29:06,920 --> 00:29:10,880
Speaker 2: also some nice suspenseful notes as well. Yeah, really fun

490
00:29:11,280 --> 00:29:12,720
Speaker 2: score as far as I'm concerned.

491
00:29:13,240 --> 00:29:17,840
Speaker 3: Also some fairly funny use of like cool jazz.

492
00:29:18,240 --> 00:29:22,080
Speaker 2: Yeah yeah, And I'm not sure if that's one, if

493
00:29:22,080 --> 00:29:25,200
Speaker 2: that's the work of these guys or one of them,

494
00:29:25,320 --> 00:29:27,520
Speaker 2: or if that's you know, the track that they dropped

495
00:29:27,560 --> 00:29:32,520
Speaker 2: in from another source Best Library music. Yeah, but yeah, musically,

496
00:29:32,880 --> 00:29:34,600
Speaker 2: Burial Ground really saw.

497
00:29:43,160 --> 00:29:44,520
Speaker 3: All right, You want to talk about the plot?

498
00:29:45,080 --> 00:29:46,080
Speaker 2: Oh yeah, let's do it.

499
00:29:46,520 --> 00:29:49,800
Speaker 3: So before we get any zombies, we begin the film

500
00:29:50,160 --> 00:29:53,520
Speaker 3: in research mode. It's kind of like that little scene

501
00:29:53,600 --> 00:29:55,760
Speaker 3: in Lord of the Rings where Gandalf frides off to

502
00:29:55,840 --> 00:29:59,480
Speaker 3: Ministeriris to consult the ancient tomes and discover the lost

503
00:29:59,520 --> 00:30:01,880
Speaker 3: history of the Ring. You know, he's like drinking out

504
00:30:01,920 --> 00:30:04,960
Speaker 3: of a cup of something. We get a guy doing

505
00:30:05,040 --> 00:30:08,120
Speaker 3: some research like that, but it's significantly less epic and

506
00:30:08,160 --> 00:30:12,440
Speaker 3: more Italian. So we open on this very bearded guy

507
00:30:12,480 --> 00:30:14,560
Speaker 3: who looks like an if they made it of the

508
00:30:14,600 --> 00:30:18,480
Speaker 3: five most famous Russian novelists. You noticed that, Yeah, yeah

509
00:30:18,720 --> 00:30:22,960
Speaker 3: he does. He's sort of a Tolstoyevski And this is

510
00:30:23,040 --> 00:30:27,960
Speaker 3: the Professor aka Professor Ayers, and so we meet him

511
00:30:28,000 --> 00:30:33,000
Speaker 3: first in underground catacomb where he's just wandering around kind

512
00:30:33,040 --> 00:30:35,800
Speaker 3: of scraping at rocks with a little pick, and then

513
00:30:35,840 --> 00:30:40,240
Speaker 3: he ends up removing something from the rock wall. Later

514
00:30:40,280 --> 00:30:43,400
Speaker 3: we see him back home in his study looking through

515
00:30:43,440 --> 00:30:48,000
Speaker 3: some documents. I guess translation notes and studying an ancient artifact,

516
00:30:48,040 --> 00:30:50,720
Speaker 3: which I've got a picture you can look at in

517
00:30:50,720 --> 00:30:54,560
Speaker 3: the outline here, Rob to zoom in. The artifact is

518
00:30:54,600 --> 00:30:57,920
Speaker 3: a rectangular slab. I guess it's supposed to be of

519
00:30:58,040 --> 00:31:01,840
Speaker 3: rock that has some kind of writing carved in it.

520
00:31:01,880 --> 00:31:05,200
Speaker 3: And then down below that we have a carved feather,

521
00:31:05,960 --> 00:31:10,760
Speaker 3: a capital A, and a smiley face just like like

522
00:31:10,760 --> 00:31:13,480
Speaker 3: like a have a nice day smiley face, but not smiling.

523
00:31:13,640 --> 00:31:16,640
Speaker 3: It's a straight line for a mouth. Otherwise perfect smiley

524
00:31:16,640 --> 00:31:19,720
Speaker 3: face dot ies line circle line mouth.

525
00:31:20,520 --> 00:31:24,600
Speaker 2: Yeah. I basically these are ancient Etruscan emoticons, and I

526
00:31:25,120 --> 00:31:29,040
Speaker 2: knowing what's to come, I think it's plow zombie face,

527
00:31:29,800 --> 00:31:34,000
Speaker 2: plant growing, and so the idea is like magic makes

528
00:31:34,080 --> 00:31:35,240
Speaker 2: zombie grow like plant.

529
00:31:35,960 --> 00:31:37,480
Speaker 3: Oh good.

530
00:31:37,560 --> 00:31:40,120
Speaker 2: My translation my ancient Etruscan is a little rusty. But

531
00:31:40,440 --> 00:31:42,200
Speaker 2: that's my take on what we see here in the film.

532
00:31:42,320 --> 00:31:42,840
Speaker 2: I buy it.

533
00:31:42,880 --> 00:31:47,520
Speaker 3: I confer upon you the honorary PhD and zombie studies here.

534
00:31:48,880 --> 00:31:50,320
Speaker 3: So yeah, I think that's right.

535
00:31:50,520 --> 00:31:50,720
Speaker 2: Uh.

536
00:31:50,880 --> 00:31:53,480
Speaker 3: Now, through this whole part, like you were saying earlier, Rob,

537
00:31:53,560 --> 00:31:56,920
Speaker 3: there is some soft electronic music that's kind of bubbling

538
00:31:57,000 --> 00:32:02,080
Speaker 3: up occasionally. It's you know, it's not instant's these tones

539
00:32:02,160 --> 00:32:05,520
Speaker 3: come up. There's a shimmering quality to it, and there's

540
00:32:05,560 --> 00:32:08,200
Speaker 3: also a steady white noise in the background, like wind

541
00:32:08,280 --> 00:32:11,880
Speaker 3: blowing outside beyond the walls. And then while he's studying

542
00:32:11,880 --> 00:32:15,440
Speaker 3: this artifact, the professor says in voice over, I am

543
00:32:15,480 --> 00:32:19,600
Speaker 3: the only one who knows the secret. It's incredible, incredible,

544
00:32:19,800 --> 00:32:21,880
Speaker 3: yet it's true, it must be.

545
00:32:22,920 --> 00:32:26,720
Speaker 2: And we don't really see anything like too horrifying here,

546
00:32:27,600 --> 00:32:30,520
Speaker 2: And especially with this music, I think the pre zombie

547
00:32:30,560 --> 00:32:33,040
Speaker 2: opening of this film feels like a almost like a

548
00:32:33,120 --> 00:32:38,240
Speaker 2: transcendentalist vision quest. Yeah, there professor here making this discovery,

549
00:32:38,280 --> 00:32:40,760
Speaker 2: and then very shortly he's going to he's going to

550
00:32:41,160 --> 00:32:44,040
Speaker 2: set out once more to go back to the ruins

551
00:32:44,040 --> 00:32:47,680
Speaker 2: of the cave I guess, you know, having discovered the

552
00:32:47,720 --> 00:32:51,160
Speaker 2: secret back in his study, you know, ends up traversing

553
00:32:51,200 --> 00:32:54,479
Speaker 2: this beautiful countryside, and we see stunning ruins as the

554
00:32:54,480 --> 00:32:58,880
Speaker 2: sun comes up, you know, especially with that dreamy, glittering

555
00:32:58,920 --> 00:33:00,760
Speaker 2: synth music in the background, and it feels like the

556
00:33:00,760 --> 00:33:04,160
Speaker 2: origin story of a new religious movement. M Yeah, like

557
00:33:04,160 --> 00:33:06,640
Speaker 2: I almost forgot I was watching a zombie movie called

558
00:33:06,680 --> 00:33:08,360
Speaker 2: Burial Ground for a moment there.

559
00:33:08,840 --> 00:33:12,880
Speaker 3: Yeah, there is a feeling of contemplation and discovery here

560
00:33:12,880 --> 00:33:13,520
Speaker 3: at the beginning.

561
00:33:14,200 --> 00:33:18,200
Speaker 2: There will be no payoff, but not in the way

562
00:33:18,200 --> 00:33:19,040
Speaker 2: we're talking about.

563
00:33:19,240 --> 00:33:22,560
Speaker 3: But also what the professor is like, it must be true.

564
00:33:23,080 --> 00:33:25,239
Speaker 3: What is it that must be true? We don't know,

565
00:33:25,320 --> 00:33:27,480
Speaker 3: He doesn't say. The Professor gets up from his desk

566
00:33:28,000 --> 00:33:30,840
Speaker 3: and he gathers some equipment, including a flashlight, and he

567
00:33:30,880 --> 00:33:34,720
Speaker 3: goes outside. Should probably also mention here, since we're gonna

568
00:33:34,720 --> 00:33:37,360
Speaker 3: see him walk through the house. This house is the

569
00:33:37,400 --> 00:33:40,240
Speaker 3: setting for most of the rest of the movie. The

570
00:33:40,280 --> 00:33:44,640
Speaker 3: Professor apparently lives in some kind of palace or baroque mansion.

571
00:33:45,000 --> 00:33:48,680
Speaker 3: It's got what looks like marble everywhere, marble staircases, marble

572
00:33:48,720 --> 00:33:52,400
Speaker 3: on the walls, with these gilded accents and weird bronze

573
00:33:52,440 --> 00:33:57,080
Speaker 3: statues up on pedestals. The dominant colors throughout the house

574
00:33:57,160 --> 00:34:00,720
Speaker 3: are white, red, and gold, so you've got red drugs,

575
00:34:01,160 --> 00:34:04,960
Speaker 3: red cushions and upholstery on the furniture with the gold fringe,

576
00:34:05,080 --> 00:34:09,160
Speaker 3: and these glossy red curtains and tapestries. It's very regal.

577
00:34:09,360 --> 00:34:13,240
Speaker 3: It's a place fit for, you know, someone of great

578
00:34:14,320 --> 00:34:16,080
Speaker 3: I don't know, great baron or something.

579
00:34:16,600 --> 00:34:19,600
Speaker 2: Yeah, And while I don't think the place actually was

580
00:34:19,760 --> 00:34:24,200
Speaker 2: or is neglected within the film. It has a neglected

581
00:34:24,280 --> 00:34:28,239
Speaker 2: feel to it, you know, it feels like dingy elegance.

582
00:34:29,600 --> 00:34:31,399
Speaker 2: I don't know if you know what I'm talking about here,

583
00:34:31,400 --> 00:34:36,359
Speaker 2: but yeah, yeah, yeah, it's it feels like people have

584
00:34:36,400 --> 00:34:39,200
Speaker 2: not lived, actually lived here in a long time, like

585
00:34:39,239 --> 00:34:42,640
Speaker 2: a lot of the manor houses and castles that pop

586
00:34:42,719 --> 00:34:43,600
Speaker 2: up in movies like this.

587
00:34:43,920 --> 00:34:45,400
Speaker 3: Yeah.

588
00:34:45,600 --> 00:34:49,520
Speaker 2: The filming location here is the Villa Parisi, a seventeenth

589
00:34:49,560 --> 00:34:53,920
Speaker 2: century Baroque estate some twenty kilometers or twenty miles southeast

590
00:34:53,960 --> 00:34:56,160
Speaker 2: of Rome, and it's been used in quite a few

591
00:34:56,280 --> 00:35:00,759
Speaker 2: Italian films and TV shows over the years this time period,

592
00:35:00,800 --> 00:35:04,560
Speaker 2: but also like up until today, like recent productions. So

593
00:35:04,680 --> 00:35:07,919
Speaker 2: this includes Mario Bava's A Bay of Blood in seventy one,

594
00:35:08,280 --> 00:35:12,080
Speaker 2: Oh Weird Blood for Dracula in seventy four, and more recently,

595
00:35:12,080 --> 00:35:16,200
Speaker 2: there was a Sydney Sweeney horror film titled Immaculate. This

596
00:35:16,320 --> 00:35:18,600
Speaker 2: was twenty twenty four and it was also some of

597
00:35:18,640 --> 00:35:22,200
Speaker 2: it was filmed here. Burial ground was filmed entirely here.

598
00:35:22,320 --> 00:35:24,640
Speaker 2: Like even the bits that I think are supposed to

599
00:35:24,640 --> 00:35:28,680
Speaker 2: be like the ancient Etruscan ruins are just parts of

600
00:35:27,920 --> 00:35:29,560
Speaker 2: this villa.

601
00:35:30,320 --> 00:35:33,640
Speaker 3: I've not seen immaculate. I don't recall if I've seen

602
00:35:33,680 --> 00:35:36,160
Speaker 3: Blood for Dracula. I've definitely seen Bay of Blood, but

603
00:35:36,200 --> 00:35:38,680
Speaker 3: I don't remember this location from it. I remember Bay

604
00:35:38,719 --> 00:35:42,360
Speaker 3: of Blood taking place at a more modern looking house,

605
00:35:42,400 --> 00:35:43,719
Speaker 3: some like the edge of a lake.

606
00:35:44,480 --> 00:35:47,240
Speaker 2: Yeah, yeah, well, I haven't seen a Bay of Blood,

607
00:35:47,239 --> 00:35:49,360
Speaker 2: so I can't can't say too much. But I did

608
00:35:49,400 --> 00:35:52,160
Speaker 2: look at a couple of screenshots, and one thing we

609
00:35:52,320 --> 00:35:55,000
Speaker 2: have to take into account is, of course Mario Bava's lighting,

610
00:35:55,760 --> 00:35:57,960
Speaker 2: which is not present in Burial Ground.

611
00:35:58,280 --> 00:36:02,520
Speaker 3: Yeah. Okay, so we're here at this beautiful house, this old,

612
00:36:03,400 --> 00:36:07,600
Speaker 3: stately mansion, and the professor trudges out into the dark,

613
00:36:08,000 --> 00:36:10,359
Speaker 3: and while he does this again, we get some very

614
00:36:10,440 --> 00:36:14,239
Speaker 3: nice musical accents. I think this atmospheric synth music picks up.

615
00:36:14,800 --> 00:36:18,839
Speaker 3: We've gone from the shimmering, kind of occasional, bubbling up

616
00:36:18,920 --> 00:36:22,200
Speaker 3: sounds of music that we heard in the very opening

617
00:36:22,719 --> 00:36:27,439
Speaker 3: into these deep, warm, mysterious synth chords. And there's also

618
00:36:27,480 --> 00:36:30,080
Speaker 3: a dog barking in the background every now and then.

619
00:36:30,200 --> 00:36:32,080
Speaker 3: And for a moment here I was thinking, like, wow,

620
00:36:32,160 --> 00:36:35,840
Speaker 3: the movie is actually building some atmosphere. And then in

621
00:36:35,880 --> 00:36:39,400
Speaker 3: the next cut, we're suddenly alternating between daytime shots and

622
00:36:39,520 --> 00:36:41,640
Speaker 3: night time shots while the dude is on the same

623
00:36:41,719 --> 00:36:44,520
Speaker 3: walk out to the backyard, so it dissipates a bit

624
00:36:44,560 --> 00:36:49,000
Speaker 3: of the mood they were constructing. But anyway, the Professor

625
00:36:50,160 --> 00:36:53,400
Speaker 3: he makes his way out to a cavern in the

626
00:36:53,440 --> 00:36:57,400
Speaker 3: earth that opens from the grounds outside his mansion. He

627
00:36:57,480 --> 00:37:01,320
Speaker 3: takes out a flashlight and he descends into the tunnels.

628
00:37:01,880 --> 00:37:05,120
Speaker 3: Eventually he finds what he's looking for down there. Don't

629
00:37:05,120 --> 00:37:06,919
Speaker 3: know what it is. It's just something on the wall,

630
00:37:06,960 --> 00:37:09,960
Speaker 3: and he starts bashing it with a pick axe, just

631
00:37:10,000 --> 00:37:12,239
Speaker 3: sort of hammering at a rock wall. We don't see

632
00:37:12,239 --> 00:37:15,680
Speaker 3: what he's interested in. But while the Professor is busy

633
00:37:15,920 --> 00:37:20,680
Speaker 3: whacking at the rock, something begins to move behind him.

634
00:37:21,239 --> 00:37:25,719
Speaker 3: The stone lid of an ancient sarcophagus slides away, and

635
00:37:25,760 --> 00:37:31,640
Speaker 3: then out of the void inside climbs a zombie. Now, question, Rob,

636
00:37:32,080 --> 00:37:35,759
Speaker 3: do we have any indication why the zombie wakes up

637
00:37:35,800 --> 00:37:38,920
Speaker 3: at this moment? Is there anything that has like happened

638
00:37:39,040 --> 00:37:41,200
Speaker 3: to make that to make the zombie get up?

639
00:37:42,440 --> 00:37:44,960
Speaker 2: No indication as far as I can tell. I mean,

640
00:37:45,000 --> 00:37:47,839
Speaker 2: he's been here plenty of times before. We later find

641
00:37:47,840 --> 00:37:51,399
Speaker 2: out that he sometimes sleeps here, so he's been here

642
00:37:51,400 --> 00:37:55,040
Speaker 2: plenty of times and not encountered zombies. He did take

643
00:37:55,080 --> 00:37:58,520
Speaker 2: that emoticon plaque out earlier. Maybe that had something to

644
00:37:58,560 --> 00:38:00,719
Speaker 2: do with it. Or maybe it's the rece and hammering

645
00:38:00,760 --> 00:38:05,440
Speaker 2: on that one spot, which I don't know why he's

646
00:38:05,440 --> 00:38:09,200
Speaker 2: hammering there. Maybe he expects something to happen. Maybe that's

647
00:38:09,280 --> 00:38:14,360
Speaker 2: what the translation was, hammereth here and the miracle of

648
00:38:14,440 --> 00:38:16,600
Speaker 2: unlife will be revealed to you or something. I don't know.

649
00:38:17,040 --> 00:38:20,960
Speaker 3: Maybe I like your original translation better. Yeah, the plow

650
00:38:21,000 --> 00:38:22,760
Speaker 3: and the plant, I think that makes a lot of sense.

651
00:38:23,480 --> 00:38:25,640
Speaker 3: But so we're gonna get to see our first zombie

652
00:38:25,680 --> 00:38:28,239
Speaker 3: of the film, so I wanted to comment for a

653
00:38:28,239 --> 00:38:31,200
Speaker 3: moment on the appearance of this zombie. It is a

654
00:38:31,400 --> 00:38:37,080
Speaker 3: relatively bony undead. The head here is a nearly defleshed skull,

655
00:38:37,280 --> 00:38:40,840
Speaker 3: not really recognizable as having human flesh on it, but

656
00:38:40,880 --> 00:38:44,719
Speaker 3: it's also not naked bone. It's just got kind of

657
00:38:45,040 --> 00:38:49,360
Speaker 3: gunk or dirt all around it, and also a ridiculously

658
00:38:49,600 --> 00:38:53,400
Speaker 3: toothy mouth like it's got long white teeth all lined up.

659
00:38:53,520 --> 00:38:55,680
Speaker 3: It was, for some reason, reminding me of a row

660
00:38:55,719 --> 00:38:57,360
Speaker 3: of cigarette filters.

661
00:38:58,000 --> 00:39:01,799
Speaker 2: Yeah, yeah, and I meanbviously, with when constructing a mask,

662
00:39:02,000 --> 00:39:04,320
Speaker 2: you end up with an oversized skull when you're creating

663
00:39:04,320 --> 00:39:07,360
Speaker 2: a skull mask on top of a human head, and

664
00:39:07,400 --> 00:39:09,279
Speaker 2: so that just adds to the weirdness of it, Like

665
00:39:09,400 --> 00:39:13,120
Speaker 2: is this even a human skeleton zombie or is this

666
00:39:13,280 --> 00:39:16,080
Speaker 2: you know, is this some sort of archaic human relative.

667
00:39:16,840 --> 00:39:18,600
Speaker 2: It just you know, creates all sort of a you know,

668
00:39:18,680 --> 00:39:20,320
Speaker 2: uncanny waves through the mind.

669
00:39:20,719 --> 00:39:24,560
Speaker 3: So it's dressed in these nasty ancient rags and it

670
00:39:24,600 --> 00:39:28,280
Speaker 3: has its hands outstretched in a fairly standard zombie posture.

671
00:39:28,320 --> 00:39:30,839
Speaker 3: It's kind of half reaching at whatever is in front

672
00:39:30,840 --> 00:39:31,080
Speaker 3: of it.

673
00:39:31,600 --> 00:39:36,960
Speaker 2: Yeah, very very earthy, as we've been discussing. Reminiscent of

674
00:39:36,960 --> 00:39:41,560
Speaker 2: those folksgey zombies for sure. Again, strong connection there as well,

675
00:39:41,600 --> 00:39:47,160
Speaker 2: because Geneto de Rossi also worked on Zombie, so you know,

676
00:39:47,200 --> 00:39:51,719
Speaker 2: we might expect a similar look here. Yeah, they're they're

677
00:39:51,719 --> 00:39:55,680
Speaker 2: earth They're they're like pottery zombies in a way. I'm

678
00:39:55,719 --> 00:39:58,720
Speaker 2: to understand that they used clay and you know, making

679
00:39:58,800 --> 00:40:01,839
Speaker 2: the masks here, so they're kind of walking them into

680
00:40:01,920 --> 00:40:04,080
Speaker 2: moreize reflecting our connection to the Earth.

681
00:40:04,600 --> 00:40:07,239
Speaker 3: I think there is something really strong to that that

682
00:40:07,920 --> 00:40:10,880
Speaker 3: it's true that they have that in common with some

683
00:40:11,040 --> 00:40:14,080
Speaker 3: other Italian zombies of this period, especially with some ful

684
00:40:14,160 --> 00:40:18,840
Speaker 3: chee zombies, but these in particular are of the wandering

685
00:40:18,920 --> 00:40:21,600
Speaker 3: dirt clod. So I think you're exactly right about that.

686
00:40:22,480 --> 00:40:26,720
Speaker 3: They're very earthy and they're if this makes any sense,

687
00:40:26,840 --> 00:40:31,799
Speaker 3: they're quite dry as far as zombies go. Some zombies

688
00:40:31,880 --> 00:40:36,120
Speaker 3: are very moist. I'd say your full cheese zombies are.

689
00:40:36,239 --> 00:40:38,920
Speaker 3: Usually they're kind of like this, but they're on the

690
00:40:38,920 --> 00:40:41,279
Speaker 3: moister side. You feel like if you touched them, they

691
00:40:41,280 --> 00:40:44,400
Speaker 3: would feel wet, and you can kind of see things

692
00:40:44,520 --> 00:40:45,600
Speaker 3: dripping off of them.

693
00:40:45,600 --> 00:40:45,839
Speaker 2: More.

694
00:40:46,160 --> 00:40:48,879
Speaker 3: These zombies are not like this. They have a more

695
00:40:49,280 --> 00:40:52,879
Speaker 3: a dry, crumbly texture almost. I guess in baking terms

696
00:40:52,920 --> 00:40:54,120
Speaker 3: you would say that they're short.

697
00:40:54,960 --> 00:40:57,640
Speaker 2: Yeah, yeah, yeah, you're right FULCI did like a good

698
00:40:57,680 --> 00:41:01,200
Speaker 2: drip on just about everything. Yeah, these guys are drier,

699
00:41:01,520 --> 00:41:04,480
Speaker 2: as we'll discuss when they start getting busted open. We

700
00:41:04,600 --> 00:41:09,120
Speaker 2: do see some zombie juices and those are thoroughly disgusting

701
00:41:09,160 --> 00:41:09,560
Speaker 2: as well.

702
00:41:09,640 --> 00:41:12,120
Speaker 3: They have gu but the gu is mostly contained on

703
00:41:12,200 --> 00:41:15,240
Speaker 3: the outside. They're fairly dry and they're fairly crumbly.

704
00:41:15,719 --> 00:41:16,399
Speaker 2: Yeah.

705
00:41:16,440 --> 00:41:19,440
Speaker 3: So, anyway, the zombie approaches the professor and he turns

706
00:41:19,480 --> 00:41:23,520
Speaker 3: and sees it, he yells stand back to the zombie,

707
00:41:23,840 --> 00:41:26,680
Speaker 3: and then to the zombie he says, no, no, I'm

708
00:41:26,800 --> 00:41:31,000
Speaker 3: your friend. What to make of this? The professor is

709
00:41:31,040 --> 00:41:34,040
Speaker 3: the zombie's friend. I don't know of whatever that means

710
00:41:34,040 --> 00:41:36,360
Speaker 3: to the professor. The zombie is not buying it or

711
00:41:36,400 --> 00:41:38,800
Speaker 3: does not value the friendship. He eats his friend.

712
00:41:39,719 --> 00:41:41,960
Speaker 2: I guess it means he thought he was going to

713
00:41:42,000 --> 00:41:45,280
Speaker 2: control some zombies and oh, really, it's not going to happen.

714
00:41:45,600 --> 00:41:48,560
Speaker 3: He was going to be commanding an army of the undead.

715
00:41:49,040 --> 00:41:50,799
Speaker 2: That's the only thing that makes sense to me, right,

716
00:41:50,800 --> 00:41:52,840
Speaker 2: because otherwise, why would you say, hey, I'm your friend.

717
00:41:53,120 --> 00:41:55,280
Speaker 2: It just seems like an odd response to zombie.

718
00:41:55,560 --> 00:41:57,439
Speaker 3: Or maybe that's just what you'd say to anybody who's

719
00:41:57,480 --> 00:42:00,480
Speaker 3: approaching you menacingly, like hey, disarmy, Yeah.

720
00:42:00,440 --> 00:42:02,120
Speaker 2: Your buddies, we're pals.

721
00:42:02,520 --> 00:42:05,720
Speaker 3: We're all good. Yeah. But yeah, so the zombie, actually,

722
00:42:06,040 --> 00:42:08,680
Speaker 3: I said, the zombie who's approaching and bites him. But

723
00:42:08,800 --> 00:42:13,240
Speaker 3: first another zombie appears and bites him from behind first,

724
00:42:13,239 --> 00:42:17,319
Speaker 3: So they both zombies take bites a friend here, And

725
00:42:17,440 --> 00:42:20,120
Speaker 3: I wanted to add another thing I thought was interesting.

726
00:42:20,719 --> 00:42:23,759
Speaker 3: This is one of those undead movies. Where you not

727
00:42:23,920 --> 00:42:28,720
Speaker 3: only see the zombie biting the human victim, we also

728
00:42:28,800 --> 00:42:32,800
Speaker 3: get a cutaway without the victim's full body and frame,

729
00:42:33,280 --> 00:42:37,120
Speaker 3: so it's just the zombie gnawing on some now detached

730
00:42:37,239 --> 00:42:40,960
Speaker 3: red offal that it's got in his hands. Somehow, I

731
00:42:41,000 --> 00:42:45,320
Speaker 3: think this carries thematic significance. Like some movies only really

732
00:42:45,360 --> 00:42:50,359
Speaker 3: care to emphasize zombie kills man. Other movies decide it's

733
00:42:50,600 --> 00:42:53,800
Speaker 3: at least as important to make the point that zombie

734
00:42:53,800 --> 00:42:54,759
Speaker 3: gets plenty to eat.

735
00:42:55,640 --> 00:42:58,879
Speaker 2: Yeah, yeah, some I would also say that, yeah, part

736
00:42:58,880 --> 00:43:00,879
Speaker 2: of that zombie kills man. A lot of times there's

737
00:43:00,920 --> 00:43:04,759
Speaker 2: more emphasis on the actual like the killing bites. Yeah,

738
00:43:04,800 --> 00:43:07,200
Speaker 2: and there are plenty of killing bites in this film,

739
00:43:07,200 --> 00:43:09,960
Speaker 2: but yeah, there's a lot of emphasis on the zombie

740
00:43:10,040 --> 00:43:13,759
Speaker 2: feast that comes afterwards. They're dry, they're thirsty. It makes sense.

741
00:43:14,040 --> 00:43:16,920
Speaker 3: There is a particularly good scene in that regard. I

742
00:43:16,920 --> 00:43:22,920
Speaker 3: remember later when zombie Leslie is eating Michael and Evelyn

743
00:43:22,960 --> 00:43:25,200
Speaker 3: comes into the room and she's like, oh no, and

744
00:43:25,360 --> 00:43:28,279
Speaker 3: she goes to Michael's body, and then in the background

745
00:43:28,320 --> 00:43:31,720
Speaker 3: of that scene, Evelyn or not Evelyn Leslie is still

746
00:43:31,760 --> 00:43:32,320
Speaker 3: just munching.

747
00:43:32,800 --> 00:43:34,640
Speaker 2: Yeah, And it's like if a zombie in this film

748
00:43:34,680 --> 00:43:37,239
Speaker 2: is munching. They're mostly content. They're just like, carry on,

749
00:43:37,440 --> 00:43:39,160
Speaker 2: do what you want, I've got mine.

750
00:43:39,280 --> 00:43:43,640
Speaker 3: They don't attack while they're eating, Yeah, which is polite, right,

751
00:43:44,400 --> 00:43:47,920
Speaker 3: so you know? So, yeah, the zombies munching on this

752
00:43:48,160 --> 00:43:51,360
Speaker 3: hunk of the professor here. And then suddenly we cut

753
00:43:51,400 --> 00:43:55,160
Speaker 3: to two yellow cars zooming down a country road with

754
00:43:55,280 --> 00:43:58,720
Speaker 3: hep jazz music playing, and then up comes the title.

755
00:43:58,880 --> 00:44:01,239
Speaker 3: Is it gonna say burial Ground? Nope, it says the

756
00:44:01,400 --> 00:44:02,320
Speaker 3: Nights of Terror.

757
00:44:03,400 --> 00:44:05,520
Speaker 2: Yeah. I like burial grounds so much.

758
00:44:05,320 --> 00:44:10,239
Speaker 3: More, especially since as there's barely more than you could

759
00:44:10,360 --> 00:44:13,399
Speaker 3: argue maybe two nights in this film, like if the

760
00:44:13,480 --> 00:44:18,360
Speaker 3: first the opening here at the prologue is like early morning,

761
00:44:18,400 --> 00:44:20,920
Speaker 3: hours before dawn. I guess you could say there are two.

762
00:44:20,800 --> 00:44:24,479
Speaker 2: Nights, yeah, Nights of Terror on a technicality only.

763
00:44:24,719 --> 00:44:30,080
Speaker 3: Yeah, So the portions of driving scene here are fairly generous.

764
00:44:30,560 --> 00:44:33,520
Speaker 3: But as you could probably guess, the cars they're making

765
00:44:33,520 --> 00:44:35,719
Speaker 3: their way up to the mansion where we met the professor.

766
00:44:36,600 --> 00:44:40,040
Speaker 3: Everybody arrives at the mansion in one car. You've got

767
00:44:40,080 --> 00:44:43,120
Speaker 3: the couple Evelyn and George. Are they supposed to be married?

768
00:44:43,160 --> 00:44:43,840
Speaker 3: I don't remember.

769
00:44:44,080 --> 00:44:46,719
Speaker 2: Does it say I don't think it says yeah, yeah,

770
00:44:46,880 --> 00:44:48,239
Speaker 2: it was left to our imagination.

771
00:44:48,600 --> 00:44:50,839
Speaker 3: Yeah. So Evelyn and George are a couple, and then

772
00:44:50,840 --> 00:44:54,839
Speaker 3: you've got either their son or Evelyn's son, Michael. In

773
00:44:54,880 --> 00:44:59,879
Speaker 3: this first scene, Evelyn is very glamorous, like she gives

774
00:44:59,880 --> 00:45:02,520
Speaker 3: the this big, kind of pearly tooth smile even when

775
00:45:02,560 --> 00:45:07,000
Speaker 3: delivering fairly mundane dialogue. George has a has a blazer

776
00:45:07,040 --> 00:45:09,520
Speaker 3: and an ascot. He's sort of a yacht club type.

777
00:45:10,120 --> 00:45:14,000
Speaker 3: And Michael, the first moment you see him, you're like,

778
00:45:14,560 --> 00:45:18,400
Speaker 3: he looks like a peeping Tom Benjamin Button with consumption.

779
00:45:18,960 --> 00:45:19,440
Speaker 2: Yeah.

780
00:45:20,640 --> 00:45:24,560
Speaker 3: Yeah, and I think this is supposed to be their house,

781
00:45:24,640 --> 00:45:27,960
Speaker 3: or at least George's house, But also several lines make

782
00:45:28,000 --> 00:45:30,160
Speaker 3: it sound like they've never been here before.

783
00:45:31,200 --> 00:45:33,759
Speaker 2: Yeah, and like what's the professor doing there? Does he?

784
00:45:33,840 --> 00:45:36,279
Speaker 2: Do they co own it? The professor just stay here?

785
00:45:36,360 --> 00:45:38,879
Speaker 2: Like what's the arrangement? We also hear later they're like, hey,

786
00:45:38,960 --> 00:45:41,239
Speaker 2: you know, where's that professor guy? He invited us all

787
00:45:41,239 --> 00:45:44,279
Speaker 2: out here to share some ancient secret with us that

788
00:45:44,360 --> 00:45:48,759
Speaker 2: he'd discovered. So yeah, so that seems to be the

789
00:45:48,760 --> 00:45:52,160
Speaker 2: purpose of the weekend, but they're also just happy to

790
00:45:52,160 --> 00:45:52,560
Speaker 2: hang out.

791
00:45:52,640 --> 00:45:54,440
Speaker 3: So Yeah, I was gonna ask, are the other people

792
00:45:54,480 --> 00:45:58,080
Speaker 3: there George and Evelyn's guests or the professor's guests?

793
00:45:58,800 --> 00:46:01,759
Speaker 2: Hm? I mean it may well. Okay, we do know

794
00:46:01,840 --> 00:46:04,520
Speaker 2: that one of them is a photographer. Yeah, one of

795
00:46:04,560 --> 00:46:07,400
Speaker 2: them is a writer, don't. I don't know if we

796
00:46:07,440 --> 00:46:09,800
Speaker 2: really know what sort of writer. So maybe a journalist.

797
00:46:09,880 --> 00:46:12,600
Speaker 2: So maybe he brought them out there because Hey, I'm

798
00:46:12,600 --> 00:46:16,240
Speaker 2: about to reveal that I am the new ancient Etruscan sorcerer,

799
00:46:16,400 --> 00:46:19,600
Speaker 2: master of the Undead, and I want this published in

800
00:46:19,760 --> 00:46:24,080
Speaker 2: all the top Italian newspapers. So write this down, get.

801
00:46:23,880 --> 00:46:26,840
Speaker 3: Some good photosta, gotta get an article in the post

802
00:46:26,880 --> 00:46:27,200
Speaker 3: about it.

803
00:46:27,280 --> 00:46:36,080
Speaker 2: Yeah.

804
00:46:36,200 --> 00:46:39,440
Speaker 3: Okay. So they arrive at the gate and we've got George, Evelyn,

805
00:46:39,520 --> 00:46:43,320
Speaker 3: and Michael here. Evelyn makes several comments after they arrive.

806
00:46:43,560 --> 00:46:45,839
Speaker 3: She's like, someone should be answering the gate. I thought

807
00:46:45,880 --> 00:46:48,279
Speaker 3: you told me you'd hired all new staff. Didn't you

808
00:46:48,360 --> 00:46:51,000
Speaker 3: telephone them to tell to tell them we were coming.

809
00:46:51,560 --> 00:46:54,320
Speaker 3: And George responds by saying, no, I don't allow the

810
00:46:54,400 --> 00:47:00,440
Speaker 3: use of telephones on my property. Okay, but that will

811
00:47:00,480 --> 00:47:04,520
Speaker 3: conveniently explain why later they can't call anyone for help. Yeah,

812
00:47:04,560 --> 00:47:09,160
Speaker 3: that's right, And then Evelyn also assures George that he

813
00:47:09,239 --> 00:47:12,040
Speaker 3: will now get to relax because they are at the house.

814
00:47:13,320 --> 00:47:15,480
Speaker 3: So all the cars pull up and they're met by

815
00:47:15,520 --> 00:47:18,440
Speaker 3: the butler and the maid. Here the butler's name Nicholas,

816
00:47:18,520 --> 00:47:21,760
Speaker 3: the maid is named Kathleen, and the guests all unload

817
00:47:21,800 --> 00:47:24,440
Speaker 3: their luggage and move into their rooms for a semi

818
00:47:24,480 --> 00:47:26,440
Speaker 3: extended stay. I don't know how long they're supposed to

819
00:47:26,480 --> 00:47:29,560
Speaker 3: be here, maybe the weekend or something. And we learn

820
00:47:29,640 --> 00:47:33,120
Speaker 3: that the professor only vanished earlier this morning, so it's

821
00:47:33,160 --> 00:47:36,040
Speaker 3: the same day as the opening scene. And I love

822
00:47:36,080 --> 00:47:38,480
Speaker 3: how the first guy we see in his bedroom it

823
00:47:38,520 --> 00:47:41,279
Speaker 3: looks like Louis the fourteenth sleeps in here. It's just

824
00:47:41,640 --> 00:47:46,080
Speaker 3: gilding and ornamentation everywhere. The fireplace is roaring, it's got

825
00:47:46,120 --> 00:47:50,120
Speaker 3: this towering flame. And then next door, so I guess

826
00:47:50,120 --> 00:47:52,920
Speaker 3: this is George and Evelyn's room. And then in the

827
00:47:53,000 --> 00:47:56,279
Speaker 3: room next door, Michael is sleeping, and this is one

828
00:47:56,320 --> 00:47:58,640
Speaker 3: of the most memorable scenes from the film because it's

829
00:47:58,640 --> 00:48:02,360
Speaker 3: got the Michael scare. So Evelyn peeks in at the

830
00:48:02,440 --> 00:48:04,960
Speaker 3: kid and he's sleeping in this bed with this creepy

831
00:48:05,000 --> 00:48:07,680
Speaker 3: flower print on the pillow matching on the pillow in

832
00:48:07,719 --> 00:48:11,120
Speaker 3: the blankets, and then she shuts the door, and Michael's

833
00:48:11,200 --> 00:48:16,680
Speaker 3: eyes just joint open and he's like laser eyes at

834
00:48:16,680 --> 00:48:17,080
Speaker 3: the door.

835
00:48:17,920 --> 00:48:21,919
Speaker 2: Yeah. But when this happens, you know, you have to wonder.

836
00:48:21,920 --> 00:48:23,880
Speaker 2: It's like, okay, is he just suddenly alert to the

837
00:48:24,200 --> 00:48:28,080
Speaker 2: you know, weird supernatural happenings, the dead rising, you know

838
00:48:28,160 --> 00:48:31,520
Speaker 2: somewhere outside the house, or has this like inner alarm

839
00:48:31,520 --> 00:48:34,359
Speaker 2: clock gone off that Oh, if there's mommy daddy sheet

840
00:48:34,360 --> 00:48:37,080
Speaker 2: monster times about to happen, I should go wander into

841
00:48:37,120 --> 00:48:37,520
Speaker 2: their room.

842
00:48:37,640 --> 00:48:41,680
Speaker 3: Yeah. And then right after the Michael scare, we cut

843
00:48:41,719 --> 00:48:45,479
Speaker 3: straight to somebody's butt. The next thing we see, well,

844
00:48:45,560 --> 00:48:48,840
Speaker 3: so what's going on here? It is Leslie's butt. We

845
00:48:48,960 --> 00:48:52,560
Speaker 3: cut to a scene of the couple, James and Leslie

846
00:48:52,800 --> 00:48:57,120
Speaker 3: in in their room. Leslie is doing an erotic dance

847
00:48:57,320 --> 00:49:01,560
Speaker 3: in some antique lingerie she found in a trunk. She says, yeah,

848
00:49:01,560 --> 00:49:04,480
Speaker 3: in the bathroom. Yeah, I found this in a trunk.

849
00:49:05,440 --> 00:49:07,839
Speaker 3: I don't know. It must be hundreds of years old,

850
00:49:07,920 --> 00:49:10,960
Speaker 3: I guess. So she's like doing a dance, and then

851
00:49:10,960 --> 00:49:13,840
Speaker 3: it cuts to James and he says, quote, may I

852
00:49:13,920 --> 00:49:21,200
Speaker 3: ask what you're doing? You nut so nutty and then

853
00:49:21,239 --> 00:49:24,920
Speaker 3: they have some fascinating conversation. It's basically like, do you

854
00:49:25,080 --> 00:49:29,120
Speaker 3: like doing sex? Yes, I'm rather interested in sex. And

855
00:49:29,880 --> 00:49:32,359
Speaker 3: I think also after this, so like they have a

856
00:49:32,400 --> 00:49:35,799
Speaker 3: sex scene that is intercut with at least one other

857
00:49:35,920 --> 00:49:39,279
Speaker 3: couple sex scene and maybe multiple of the other couples there,

858
00:49:39,360 --> 00:49:41,800
Speaker 3: but it's hard to tell because you can't see anybody's face.

859
00:49:42,040 --> 00:49:45,239
Speaker 2: Yeah, it's like just somebody's thighs. So yeah, it took

860
00:49:45,239 --> 00:49:47,160
Speaker 2: me a minute to really piece together because yeah, we're

861
00:49:47,160 --> 00:49:49,600
Speaker 2: also cutting over to Evelyn and George.

862
00:49:49,719 --> 00:49:53,239
Speaker 3: Yeah, so there are definitely some different people here, but

863
00:49:53,280 --> 00:49:55,440
Speaker 3: I guess everybody's just having a good time up at

864
00:49:55,440 --> 00:49:59,279
Speaker 3: the villa. And then eventually it becomes clear though that

865
00:50:00,080 --> 00:50:02,400
Speaker 3: not everybody's having a good time, because while Evelyn and

866
00:50:02,440 --> 00:50:06,440
Speaker 3: George are in bed, Michael, the old Man's last child

867
00:50:06,640 --> 00:50:10,080
Speaker 3: is he gets the desire to creep and peep on

868
00:50:10,160 --> 00:50:12,400
Speaker 3: his parents, and so he like comes in and the

869
00:50:12,520 --> 00:50:15,160
Speaker 3: energy of this scene is so weird it is difficult

870
00:50:15,200 --> 00:50:15,840
Speaker 3: to describe.

871
00:50:16,080 --> 00:50:18,680
Speaker 2: Yeah, because he like walks in wide eyed and he's

872
00:50:18,680 --> 00:50:22,440
Speaker 2: like mother, and then she's like Michael, and she jumps

873
00:50:22,440 --> 00:50:25,600
Speaker 2: out of bed newde to run across this enormous room

874
00:50:25,680 --> 00:50:28,719
Speaker 2: to pick her nightgown up off the ground, off the

875
00:50:28,760 --> 00:50:32,799
Speaker 2: floor and cover herself. Also ridiculous.

876
00:50:32,960 --> 00:50:36,160
Speaker 3: The editing in this scene makes it even funnier because

877
00:50:36,200 --> 00:50:38,839
Speaker 3: it will like cut from her having like picked up

878
00:50:38,840 --> 00:50:41,400
Speaker 3: the nightgown to cut to a shot where she hasn't

879
00:50:41,440 --> 00:50:48,719
Speaker 3: done it yet. So yeah, bizarre vibes off the charts.

880
00:50:48,760 --> 00:50:51,440
Speaker 3: Also somewhere in here we get our first scene with

881
00:50:51,680 --> 00:50:54,239
Speaker 3: Janet and Mark as far as we know, the first

882
00:50:54,239 --> 00:50:55,280
Speaker 3: time we're meeting them.

883
00:50:55,440 --> 00:50:57,879
Speaker 2: And Marcus the photographer, right and.

884
00:50:57,800 --> 00:51:00,279
Speaker 3: When we just pop right into them in the middle

885
00:51:00,320 --> 00:51:03,120
Speaker 3: of an argument where Janet is freaking out saying she's

886
00:51:03,120 --> 00:51:05,040
Speaker 3: got a bad feeling they have to leave the house.

887
00:51:05,360 --> 00:51:07,439
Speaker 3: And this is where Mark's I said this earlier. Mark,

888
00:51:07,719 --> 00:51:10,360
Speaker 3: He's like, calm down, you're just going to appear foolish

889
00:51:10,360 --> 00:51:15,440
Speaker 3: to everyone. And I love the Google Translate quality of

890
00:51:15,480 --> 00:51:19,080
Speaker 3: some of the dialogue, like some of the informality of

891
00:51:19,200 --> 00:51:22,640
Speaker 3: human speech is missing here, and we get these textbook

892
00:51:22,680 --> 00:51:23,560
Speaker 3: type sentences.

893
00:51:24,920 --> 00:51:28,400
Speaker 2: Yeah, yeah, and I was hoping. I watched it initially

894
00:51:29,080 --> 00:51:31,520
Speaker 2: dubbed into English, and then I watched it well dubbed

895
00:51:31,520 --> 00:51:33,880
Speaker 2: into Italian. This is one of those films whereas stuff

896
00:51:34,560 --> 00:51:38,560
Speaker 2: but the subtitles were pretty much just the same as

897
00:51:39,440 --> 00:51:42,840
Speaker 2: the English dubbing, so there were no additional revelations about

898
00:51:42,840 --> 00:51:43,759
Speaker 2: any of the dialogue.

899
00:51:43,760 --> 00:51:46,919
Speaker 3: For me, I love the scene later where they're sitting

900
00:51:46,960 --> 00:51:50,439
Speaker 3: around the breakfast table talking about how the professor has

901
00:51:50,960 --> 00:51:53,960
Speaker 3: summoned them to learn something about the secrets of the dead,

902
00:51:54,680 --> 00:51:57,800
Speaker 3: and Janet says, I've always been terrified of the dead.

903
00:51:57,960 --> 00:51:59,640
Speaker 3: I hope we're going to leave them in peace.

904
00:52:01,440 --> 00:52:03,560
Speaker 2: Yes, maybe that is how the movie will play out.

905
00:52:04,040 --> 00:52:07,440
Speaker 3: Yeah. And then also we see scenes you know, it

906
00:52:07,480 --> 00:52:12,000
Speaker 3: cuts away to show zombies assembling. They're all shambling out

907
00:52:12,000 --> 00:52:14,800
Speaker 3: of their individual graves in the catacomb and they form

908
00:52:14,800 --> 00:52:16,320
Speaker 3: a marching column.

909
00:52:16,320 --> 00:52:17,200
Speaker 2: In broad daylight.

910
00:52:17,480 --> 00:52:20,080
Speaker 3: Yes, yeah, and we're kind of off to the races here.

911
00:52:20,120 --> 00:52:23,040
Speaker 3: So we get like, you know, the characters gather for breakfast,

912
00:52:23,080 --> 00:52:24,239
Speaker 3: but after breakfast.

913
00:52:24,440 --> 00:52:26,840
Speaker 2: Oh, at breakfast, we also get a good old fashioned

914
00:52:26,920 --> 00:52:30,239
Speaker 2: J and B placement shot. Love it, Yeah, where when

915
00:52:30,320 --> 00:52:32,920
Speaker 2: Nicholas brings out the platter and there's a big bottle

916
00:52:32,960 --> 00:52:33,880
Speaker 2: of JB, J and B.

917
00:52:34,120 --> 00:52:36,960
Speaker 3: There would not be an Italian horror movie without it.

918
00:52:38,160 --> 00:52:40,160
Speaker 2: I keep thinking I should have a bottle of it

919
00:52:40,200 --> 00:52:42,279
Speaker 2: on hand, and then I like, I have to have

920
00:52:42,360 --> 00:52:44,840
Speaker 2: some whenever it pops up an Italian film, but I've.

921
00:52:44,640 --> 00:52:46,640
Speaker 3: Yet to do that. Yeah one day.

922
00:52:47,120 --> 00:52:49,080
Speaker 2: Yeah, probably not a healthy choice to make.

923
00:52:50,960 --> 00:52:53,279
Speaker 3: So we are going to narrate some more. But I

924
00:52:53,320 --> 00:52:56,279
Speaker 3: guess by way of summary, we can just say there

925
00:52:56,360 --> 00:52:58,560
Speaker 3: is not a whole lot of plot in this film.

926
00:52:58,800 --> 00:53:03,040
Speaker 3: The rest of the movie is basically human characters screwing

927
00:53:03,080 --> 00:53:05,880
Speaker 3: around doing various things at the mansion and mostly like

928
00:53:06,080 --> 00:53:11,040
Speaker 3: indulging in lust, Michael being a little weird sex school,

929
00:53:11,840 --> 00:53:15,760
Speaker 3: and then zombies attacking people and laying siege to the house.

930
00:53:16,200 --> 00:53:18,520
Speaker 2: Yeah. Yeah, that's pretty much exactly how things are going

931
00:53:18,560 --> 00:53:21,319
Speaker 2: to play out, and you can guess exactly how things

932
00:53:21,320 --> 00:53:25,000
Speaker 2: are going to end. Yeah, this is not a film

933
00:53:25,000 --> 00:53:28,680
Speaker 2: that is going to greatly surprise you with how things

934
00:53:28,719 --> 00:53:30,880
Speaker 2: turn out for the human characters.

935
00:53:31,280 --> 00:53:33,080
Speaker 3: So when the characters split up, let's see what does

936
00:53:33,080 --> 00:53:36,760
Speaker 3: everybody go do. Janet and Mark and James and Leslie

937
00:53:36,800 --> 00:53:39,799
Speaker 3: both separately go off and play, you know, to go

938
00:53:39,840 --> 00:53:43,520
Speaker 3: do things in the garden, like Mark. Mark is a

939
00:53:43,560 --> 00:53:46,680
Speaker 3: photographer and Janet is a model. I guess, so he's

940
00:53:46,719 --> 00:53:50,080
Speaker 3: taken pictures of her in the garden and he's everything.

941
00:53:50,120 --> 00:53:52,160
Speaker 3: He's like, yes, go with it. So at one point

942
00:53:52,200 --> 00:53:54,719
Speaker 3: she like trips and falls and he's like, yes, hold

943
00:53:54,719 --> 00:53:57,200
Speaker 3: it like that, you know, go with it, use it.

944
00:53:58,880 --> 00:54:02,000
Speaker 3: And meanwhile, you know, Mark is trying to write something

945
00:54:02,160 --> 00:54:06,239
Speaker 3: Longhand on just a legal pad notepad paper and les

946
00:54:07,360 --> 00:54:10,160
Speaker 3: Leslie comes up and she's like, but what about sex?

947
00:54:10,239 --> 00:54:12,719
Speaker 3: And he's like, oh, yeah, I forgot I forgot about that.

948
00:54:13,719 --> 00:54:17,239
Speaker 3: So you know, they're they're fooling around. Meanwhile, we get

949
00:54:17,280 --> 00:54:21,319
Speaker 3: some strange doings going on inside the house there. They're

950
00:54:21,560 --> 00:54:26,160
Speaker 3: they're a random poltergeist phenomena where light bulbs start exploding

951
00:54:26,239 --> 00:54:28,560
Speaker 3: while the butler and the maid are looking on and

952
00:54:28,600 --> 00:54:30,840
Speaker 3: they just, oh, what is that?

953
00:54:31,680 --> 00:54:33,680
Speaker 2: Yeah, and I guess it's just part of the ancient

954
00:54:33,680 --> 00:54:36,719
Speaker 2: Etruscan magic that's raising the dead. It's also messing with

955
00:54:36,800 --> 00:54:38,560
Speaker 2: the electrical devices.

956
00:54:38,719 --> 00:54:42,000
Speaker 3: What did you make of the scene where Evelyn, George

957
00:54:42,040 --> 00:54:46,400
Speaker 3: and Michael are in what looks like a sculpture sculpture shop.

958
00:54:46,600 --> 00:54:49,680
Speaker 3: It looks like a place where people make marble sculptures.

959
00:54:50,480 --> 00:54:53,680
Speaker 3: I think that's what it is. And yeah, they're in there,

960
00:54:53,760 --> 00:54:59,040
Speaker 3: and inside the shop, George and Evelyn are doing sexy

961
00:54:59,200 --> 00:55:03,360
Speaker 3: gun training slash target practice amid all of the Roman busts.

962
00:55:03,640 --> 00:55:07,440
Speaker 2: Yeah, yeah, completely ridiculous in a movie that's filled with

963
00:55:07,560 --> 00:55:13,040
Speaker 2: ridiculous moments. Yeah, they're just doing random pistol target practice inside,

964
00:55:13,200 --> 00:55:19,080
Speaker 2: no ear protection or anything like that, presumably just live ammo.

965
00:55:18,880 --> 00:55:22,320
Speaker 2: While Michael just wanders around the rest of the room.

966
00:55:22,360 --> 00:55:25,080
Speaker 3: Yes, wandering around the room. Where that's going. And then

967
00:55:25,080 --> 00:55:30,160
Speaker 3: Michael at one point finds this strip of like burr

968
00:55:30,239 --> 00:55:32,719
Speaker 3: lap it looks like, and he just runs over to

969
00:55:34,160 --> 00:55:37,160
Speaker 3: Evelyn and he says, Mama, this cloth smells of death.

970
00:55:39,160 --> 00:55:40,239
Speaker 2: And she's like, put that down.

971
00:55:40,440 --> 00:55:42,520
Speaker 3: I think she says, it's just a piece of cloth.

972
00:55:42,840 --> 00:55:46,680
Speaker 2: Yeah, she doesn't smell it because, as we're about to

973
00:55:46,680 --> 00:55:49,080
Speaker 2: find out, it probably fell off of a zombie. I

974
00:55:49,120 --> 00:55:51,840
Speaker 2: guess one came through here, perhaps moments earlier.

975
00:55:52,560 --> 00:55:56,800
Speaker 3: Yeah, So while everybody's doing their thing, the zombies start

976
00:55:57,120 --> 00:56:00,399
Speaker 3: busting up through the turf in the garden, and here

977
00:56:00,440 --> 00:56:02,480
Speaker 3: we get our first look at one of the main

978
00:56:02,600 --> 00:56:05,319
Speaker 3: zombies we're going to see in the movie, a real

979
00:56:06,000 --> 00:56:09,000
Speaker 3: like creepy Crawley zombies, got maggots on his face. Again,

980
00:56:09,040 --> 00:56:12,840
Speaker 3: he's quite he's a quite dry consistency, kind of crumbly

981
00:56:13,120 --> 00:56:18,640
Speaker 3: dirt head with skull, you know, exaggerated orbital sockets in

982
00:56:18,719 --> 00:56:22,400
Speaker 3: the skull and like big toothy mouth, bony fingers, but

983
00:56:22,480 --> 00:56:24,879
Speaker 3: also grass all over him. I guess because he came

984
00:56:25,000 --> 00:56:27,920
Speaker 3: up from the grass. It's almost like grass is growing

985
00:56:27,960 --> 00:56:30,000
Speaker 3: from some of his joints. And I like that.

986
00:56:30,440 --> 00:56:32,520
Speaker 2: Yeah, yeah, it reminds me of you know, various folk

987
00:56:32,520 --> 00:56:35,640
Speaker 2: traditions where there'll be some sort of a costume tradition

988
00:56:36,080 --> 00:56:38,960
Speaker 2: where you know, someone becomes a sort of beast and

989
00:56:39,000 --> 00:56:41,640
Speaker 2: perhaps their body is made out of straw or moss

990
00:56:41,719 --> 00:56:44,960
Speaker 2: or some other you know, you know, plant life slash

991
00:56:45,000 --> 00:56:48,239
Speaker 2: earthen material. And you know, this is another one of

992
00:56:48,239 --> 00:56:51,680
Speaker 2: those films where we're now seeing these zombies in far

993
00:56:51,719 --> 00:56:55,279
Speaker 2: greater detail than was perhaps ever intended or expected by

994
00:56:55,280 --> 00:56:57,680
Speaker 2: the filmmakers. And I have to say, looks still looks

995
00:56:57,760 --> 00:57:00,000
Speaker 2: really good. Why are there maggots on it? I'll get

996
00:57:00,400 --> 00:57:03,000
Speaker 2: that's another question for another day. But yeah, who knows

997
00:57:03,040 --> 00:57:07,920
Speaker 2: how ancient etruscan magic affects the decay rate of human remains.

998
00:57:08,440 --> 00:57:10,879
Speaker 3: So while out in the garden, Mark and Janet get

999
00:57:10,880 --> 00:57:13,319
Speaker 3: attacked by a zombie. They're like making out in the

1000
00:57:13,360 --> 00:57:15,799
Speaker 3: grass and then the zombie comes up on them and

1001
00:57:16,480 --> 00:57:19,160
Speaker 3: they start talking about it while it's coming at them.

1002
00:57:19,200 --> 00:57:22,720
Speaker 3: They're having a conversation, I mean with some level of alarm,

1003
00:57:22,760 --> 00:57:25,040
Speaker 3: but they are just sort of talking it through. Mark says,

1004
00:57:25,080 --> 00:57:28,840
Speaker 3: whatever it is, it's not human, and they get chased

1005
00:57:28,880 --> 00:57:31,560
Speaker 3: through the grounds and through this sort of hedge labyrinth.

1006
00:57:32,280 --> 00:57:35,680
Speaker 3: Lots of shots of zombies just shambling through the grass

1007
00:57:35,680 --> 00:57:37,000
Speaker 3: with no humans insight.

1008
00:57:37,920 --> 00:57:39,640
Speaker 2: Yeah what the zombies.

1009
00:57:40,480 --> 00:57:44,000
Speaker 3: I would say their clothing is somewhat varied here because

1010
00:57:44,040 --> 00:57:47,480
Speaker 3: some of them are wearing just what looks like rotten burlap,

1011
00:57:48,400 --> 00:57:51,960
Speaker 3: very earth tones and full of holes and dusty, and

1012
00:57:52,120 --> 00:57:55,880
Speaker 3: other ones are wearing like green silvery, you know, green

1013
00:57:56,120 --> 00:57:58,680
Speaker 3: or purple cloaks. Do you know what I'm talking about?

1014
00:57:58,880 --> 00:58:01,120
Speaker 2: Yeah, I don't know. Maybe this is supposed to be

1015
00:58:01,200 --> 00:58:03,960
Speaker 2: like a priest class. Presumably at this point in the film,

1016
00:58:04,400 --> 00:58:08,080
Speaker 2: these are all like og zombies that came out of

1017
00:58:08,080 --> 00:58:11,520
Speaker 2: that tomb, right, Like these are ancient zombies front of

1018
00:58:11,560 --> 00:58:15,560
Speaker 2: Etruscan origin, and it's too early for there to be

1019
00:58:15,560 --> 00:58:17,360
Speaker 2: a sprinkling of modern zombies.

1020
00:58:17,480 --> 00:58:20,600
Speaker 3: I guess we have not seen any humans made zombie yet.

1021
00:58:21,160 --> 00:58:21,400
Speaker 2: Yeah.

1022
00:58:22,520 --> 00:58:25,200
Speaker 3: So later in this chase, this is the part where

1023
00:58:25,280 --> 00:58:27,600
Speaker 3: Janet gets her foot caught in the bear trap, in

1024
00:58:27,640 --> 00:58:28,200
Speaker 3: the garden.

1025
00:58:29,320 --> 00:58:31,480
Speaker 2: Now, what would this possibly have been said? Out? Would

1026
00:58:31,520 --> 00:58:34,560
Speaker 2: you have it out for wolves? Again? This is what

1027
00:58:34,600 --> 00:58:36,880
Speaker 2: did I say, like ten twenty miles outside of Rome,

1028
00:58:37,080 --> 00:58:40,360
Speaker 2: Like what would this be out for just rabbits or something?

1029
00:58:40,440 --> 00:58:42,200
Speaker 3: It doesn't make a lot of sense. But she gets

1030
00:58:42,200 --> 00:58:44,320
Speaker 3: her ankle caught, and this is of course played for

1031
00:58:44,400 --> 00:58:46,840
Speaker 3: suspense because Mark is there trying to He's like, I

1032
00:58:46,880 --> 00:58:49,680
Speaker 3: can't get it open, and the zombies are closing in

1033
00:58:49,800 --> 00:58:52,280
Speaker 3: and she's like, Mark helped me, and he's just struggling

1034
00:58:52,320 --> 00:58:55,960
Speaker 3: with it over and over. Finally he picks up a pitchfork,

1035
00:58:56,320 --> 00:58:58,960
Speaker 3: but then seems kind of reluctant to actually stab the

1036
00:58:59,080 --> 00:59:01,320
Speaker 3: zombies with the PRAWLNGS. Do you notice that it's like

1037
00:59:01,360 --> 00:59:04,000
Speaker 3: he's kind of unsure of himself. I don't know, maybe

1038
00:59:04,000 --> 00:59:04,840
Speaker 3: he's just a whimp.

1039
00:59:05,480 --> 00:59:06,120
Speaker 2: Yeah.

1040
00:59:06,280 --> 00:59:11,040
Speaker 3: But meanwhile, so that's going on, and then zombies attack

1041
00:59:11,200 --> 00:59:15,120
Speaker 3: the sculpture workshop where George, Evelyn, and Michael are hanging out,

1042
00:59:15,720 --> 00:59:18,919
Speaker 3: and George starts shooting the zombies. But here is where

1043
00:59:18,960 --> 00:59:21,880
Speaker 3: we learned that bullets appear to do no good, So

1044
00:59:21,920 --> 00:59:24,640
Speaker 3: we get lots of close ups of exploding bullet holes

1045
00:59:24,640 --> 00:59:27,840
Speaker 3: in zombie bodies with you know, holes popping in the

1046
00:59:27,880 --> 00:59:31,240
Speaker 3: old burlap and weird colored liquids squirting out.

1047
00:59:31,880 --> 00:59:36,000
Speaker 2: Mixes of green, black, and sometimes gray paint coming out

1048
00:59:36,000 --> 00:59:37,280
Speaker 2: his blood, which I thought.

1049
00:59:37,080 --> 00:59:41,000
Speaker 3: Looked pretty good, great sometimes yellow. Yeah. Eventually George runs

1050
00:59:41,000 --> 00:59:43,000
Speaker 3: out of bullets, but it doesn't I mean, he wasn't

1051
00:59:43,000 --> 00:59:45,360
Speaker 3: stopping him anyway, and the zombies surround him and so

1052
00:59:45,480 --> 00:59:47,960
Speaker 3: first they like press him down by the top of

1053
00:59:48,000 --> 00:59:50,240
Speaker 3: his head, and then you could just see them getting

1054
00:59:50,240 --> 00:59:53,040
Speaker 3: all around and digging for guts, and Evelyn and Michael

1055
00:59:53,160 --> 00:59:57,760
Speaker 3: escape out the door. So we're George down, repeat, George down.

1056
00:59:59,040 --> 01:00:01,520
Speaker 2: Yeah, they tear. This is a film where we get like,

1057
01:00:02,040 --> 01:00:05,720
Speaker 2: not one, not too but I think multiple Romero gut

1058
01:00:05,800 --> 01:00:11,200
Speaker 2: the sequences, which is nice. I will go ahead and

1059
01:00:11,240 --> 01:00:13,000
Speaker 2: say it. It's nice in this film.

1060
01:00:13,360 --> 01:00:16,680
Speaker 3: So next thing, James and Leslie are also making out

1061
01:00:16,720 --> 01:00:18,560
Speaker 3: in the garden. It's just a good place for that,

1062
01:00:18,640 --> 01:00:20,600
Speaker 3: I guess. So they're out there making out and they

1063
01:00:20,760 --> 01:00:24,360
Speaker 3: also get attacked by zombies, this time from one that

1064
01:00:24,560 --> 01:00:27,480
Speaker 3: climbs out of a stone planter full of hostas was

1065
01:00:27,520 --> 01:00:29,600
Speaker 3: this an ancient Etruscan stone planter?

1066
01:00:30,520 --> 01:00:32,000
Speaker 2: I know this is one of this moment where it

1067
01:00:32,000 --> 01:00:33,880
Speaker 2: looks great, But when you stop and think about it,

1068
01:00:33,880 --> 01:00:37,400
Speaker 2: you're like, has there been a human body a zombie

1069
01:00:37,840 --> 01:00:42,240
Speaker 2: in that planter for centuries? Yeah? What?

1070
01:00:44,200 --> 01:00:46,720
Speaker 3: Unclear? Yeah, or maybe it just got in there right

1071
01:00:46,760 --> 01:00:50,080
Speaker 3: before they showed up, Like that was a good ambush spot.

1072
01:00:50,160 --> 01:00:50,600
Speaker 2: I don't know.

1073
01:00:51,080 --> 01:00:53,520
Speaker 3: Yeah, they're big on theatrics, but how would it have

1074
01:00:53,560 --> 01:00:55,280
Speaker 3: gotten the plants back on top of it?

1075
01:00:56,800 --> 01:00:57,560
Speaker 2: Tucked itself in?

1076
01:00:58,600 --> 01:01:01,960
Speaker 3: So a chase breaks, the zombies run after them. Leslie

1077
01:01:02,000 --> 01:01:04,400
Speaker 3: keeps falling over. Of course, Oh I've fallen and I

1078
01:01:04,400 --> 01:01:09,200
Speaker 3: can't get up. But eventually Leslie and James cross paths

1079
01:01:09,280 --> 01:01:12,200
Speaker 3: with Mark and Janet. Janet's still stuck in the bear trap,

1080
01:01:12,720 --> 01:01:16,880
Speaker 3: and we're like, Leslie and James save the day. They

1081
01:01:16,920 --> 01:01:20,400
Speaker 3: go into action mode and they are much more effective

1082
01:01:20,520 --> 01:01:24,959
Speaker 3: than Mark at protecting Janet. They break out the head

1083
01:01:25,000 --> 01:01:29,360
Speaker 3: smash move, so James and Leslie both grab big rocks

1084
01:01:29,400 --> 01:01:32,280
Speaker 3: and just start bashing open zombie heads.

1085
01:01:33,120 --> 01:01:36,720
Speaker 2: Yes, it is glorious, just like husky zombie heads. And

1086
01:01:36,720 --> 01:01:39,960
Speaker 2: then like a splash of one of these multicolored liquids,

1087
01:01:40,680 --> 01:01:43,000
Speaker 2: but yeah, they really start kicking zombie butt.

1088
01:01:43,000 --> 01:01:45,880
Speaker 3: Here we get to see the skulls cracking open like

1089
01:01:45,960 --> 01:01:49,360
Speaker 3: Easter eggs, and also roughly the color of Easter eggs,

1090
01:01:49,360 --> 01:01:51,160
Speaker 3: like some real pastel pinks.

1091
01:01:51,440 --> 01:01:53,919
Speaker 2: Yeah. Yeah, a certain feel of coconut to it as well.

1092
01:01:54,120 --> 01:01:59,280
Speaker 3: Yeah, very pinata, actually quite quite pinata busting open. That

1093
01:02:00,120 --> 01:02:04,320
Speaker 3: visual theme will be repeated throughout the movie. Yeah, And

1094
01:02:04,520 --> 01:02:07,160
Speaker 3: at one point around here, I think, Leslie says, this

1095
01:02:07,280 --> 01:02:09,800
Speaker 3: must be what the professor was trying to warn us about.

1096
01:02:10,960 --> 01:02:14,040
Speaker 3: But I was like, what, what did he say? They

1097
01:02:14,160 --> 01:02:15,800
Speaker 3: never met the professor.

1098
01:02:15,480 --> 01:02:18,040
Speaker 2: Yeah, we never. Yeah, there's nothing about a warning. It

1099
01:02:18,120 --> 01:02:19,880
Speaker 2: was just hey, come here, I got something to tell you.

1100
01:02:20,200 --> 01:02:22,280
Speaker 2: It wasn't hey, everyone, come here, I have something to

1101
01:02:22,320 --> 01:02:23,919
Speaker 2: warn you about. Right.

1102
01:02:25,560 --> 01:02:29,960
Speaker 3: So Evelyn and Michael, meanwhile are running around in the

1103
01:02:30,200 --> 01:02:32,120
Speaker 3: some part of the house or some building, you know,

1104
01:02:32,160 --> 01:02:34,440
Speaker 3: the place where the sculpture shop was. They're trying to

1105
01:02:34,440 --> 01:02:37,120
Speaker 3: get away from zombies that have gotten in. And this

1106
01:02:37,160 --> 01:02:39,200
Speaker 3: is the part where we get to the Mama we

1107
01:02:39,280 --> 01:02:43,320
Speaker 3: can set that on fire scene. So Michael just points

1108
01:02:43,360 --> 01:02:47,160
Speaker 3: to these buckets of green napalms sitting all around the house.

1109
01:02:47,360 --> 01:02:49,880
Speaker 3: I don't know what they are, and he says, Mama,

1110
01:02:49,920 --> 01:02:52,520
Speaker 3: we can set that on fire. So Evelyn goes into

1111
01:02:52,600 --> 01:02:55,960
Speaker 3: action mode. She throws this stuff on the zombies and

1112
01:02:56,000 --> 01:02:58,360
Speaker 3: sets them on fire indoors by the way.

1113
01:02:58,840 --> 01:03:01,840
Speaker 2: Yeah. Yeah, two points. First of all, I want to

1114
01:03:01,880 --> 01:03:05,200
Speaker 2: stress we didn't mention this again, Michael is played by

1115
01:03:05,240 --> 01:03:09,120
Speaker 2: a grown up. Everybody is dubbed in this, and even

1116
01:03:09,120 --> 01:03:12,600
Speaker 2: in Italian not everyone supplies their own voice. They made

1117
01:03:12,680 --> 01:03:16,200
Speaker 2: they seemingly made the distinct choice to go ahead and dub.

1118
01:03:17,080 --> 01:03:19,840
Speaker 2: If they dubbed Michael with a different actor, they still

1119
01:03:19,920 --> 01:03:23,080
Speaker 2: used an adult actor doing a child's voice, so they

1120
01:03:23,480 --> 01:03:26,240
Speaker 2: they do appear to have doubled down on the you know,

1121
01:03:26,320 --> 01:03:29,120
Speaker 2: the uncanniness and the weirdness of having a grown up

1122
01:03:29,160 --> 01:03:30,080
Speaker 2: play the child here.

1123
01:03:30,280 --> 01:03:32,520
Speaker 3: It's like the it's like the dubbing and manos the

1124
01:03:32,600 --> 01:03:36,640
Speaker 3: hands of Faith. You know, it's like clearly obviously an

1125
01:03:36,640 --> 01:03:40,160
Speaker 3: adult sort of half trying to do a child voice.

1126
01:03:40,440 --> 01:03:44,400
Speaker 2: Or Bob in House by the Cemetery, except that, of course,

1127
01:03:44,480 --> 01:03:48,080
Speaker 2: was an actual child actor. Oh. Another point is that

1128
01:03:48,120 --> 01:03:51,280
Speaker 2: apparently a stumpman was injured in these burn stunts here.

1129
01:03:52,200 --> 01:03:56,800
Speaker 2: So yeah, I mean, I anytime there's a person on

1130
01:03:56,920 --> 01:03:59,320
Speaker 2: fire in one of these films we watch, I always

1131
01:03:59,840 --> 01:04:02,640
Speaker 2: it always disturbs me. I mean I know that, you know,

1132
01:04:02,680 --> 01:04:05,760
Speaker 2: professional stumpmen have their way of doing these things, and

1133
01:04:06,600 --> 01:04:09,360
Speaker 2: you know, in the right hands, you know, it's I

1134
01:04:09,360 --> 01:04:13,320
Speaker 2: guess the risks are low and the rewards are high cinematically,

1135
01:04:14,080 --> 01:04:16,439
Speaker 2: but yeah, occasionally you hear about one of these going wrong,

1136
01:04:16,480 --> 01:04:18,480
Speaker 2: and it's just like I carry that with me and

1137
01:04:18,520 --> 01:04:21,160
Speaker 2: then into every other film that I watched that features

1138
01:04:21,160 --> 01:04:21,800
Speaker 2: a burn suit.

1139
01:04:22,200 --> 01:04:25,840
Speaker 3: Yeah, well, I'd just say, filmmakers, out there, whatever shot

1140
01:04:25,920 --> 01:04:27,960
Speaker 3: you think you can get, it's not worth cutting corners.

1141
01:04:27,960 --> 01:04:30,240
Speaker 3: I mean, come on, practice set safety people.

1142
01:04:31,280 --> 01:04:34,120
Speaker 2: But within the context of the film, they burn up

1143
01:04:34,120 --> 01:04:36,800
Speaker 2: a couple of zombies, and yeah, very much. Our humans

1144
01:04:36,840 --> 01:04:39,760
Speaker 2: are on the offensive now, so they should really wrap

1145
01:04:39,800 --> 01:04:42,040
Speaker 2: this up pretty quickly. I think they're on top of

1146
01:04:42,040 --> 01:04:43,160
Speaker 2: the whole zombie invasion.

1147
01:04:43,960 --> 01:04:54,000
Speaker 4: Yeah, yeah, you'd think so.

1148
01:04:54,000 --> 01:04:56,680
Speaker 3: So the surviving guests all gather in the main house

1149
01:04:56,720 --> 01:04:59,960
Speaker 3: with Evelyn and Michael, and they're like, okay, zombies are attacking.

1150
01:05:00,040 --> 01:05:02,600
Speaker 3: We gotta, you know, go into siege mode. We're gonna

1151
01:05:02,600 --> 01:05:05,600
Speaker 3: lock the doors, board up the windows, and hunker down.

1152
01:05:06,760 --> 01:05:10,200
Speaker 3: So they do that, but then various new types of

1153
01:05:10,280 --> 01:05:15,160
Speaker 3: attacks emerge. So at one point, the maid Kathleen goes

1154
01:05:15,200 --> 01:05:18,320
Speaker 3: to a second floor window and then she succumbs to

1155
01:05:18,360 --> 01:05:20,320
Speaker 3: a ranged attack by the zombies.

1156
01:05:20,760 --> 01:05:22,960
Speaker 2: So yeah, yeah, suddenly they can use weapons.

1157
01:05:23,120 --> 01:05:26,760
Speaker 3: Yeah, so they throw a spike that pins her hand

1158
01:05:26,960 --> 01:05:30,080
Speaker 3: to the shutter beside the window, and then while she's

1159
01:05:30,120 --> 01:05:34,000
Speaker 3: pinned there, the zombies reach up and cut her head

1160
01:05:34,040 --> 01:05:36,960
Speaker 3: off with a scythe and then they so they pull

1161
01:05:37,000 --> 01:05:38,920
Speaker 3: it down and then they pass the head around like

1162
01:05:38,960 --> 01:05:39,800
Speaker 3: a rugby ball.

1163
01:05:40,400 --> 01:05:42,920
Speaker 2: This is actually a pretty great sequence and really a

1164
01:05:42,920 --> 01:05:46,680
Speaker 2: pretty great gjallo style murder. Yeah, like this would feel

1165
01:05:46,720 --> 01:05:50,880
Speaker 2: completely at home and say like a Suspiria or any

1166
01:05:50,960 --> 01:05:53,200
Speaker 2: dary origent of film, you know, where it's a little

1167
01:05:53,200 --> 01:05:57,920
Speaker 2: bit complex, you know, number of moving pieces for an

1168
01:05:57,960 --> 01:06:01,320
Speaker 2: inventive kill. But he does feel a little weird and

1169
01:06:01,360 --> 01:06:03,960
Speaker 2: suddenly kind of out of place with the zombies are

1170
01:06:04,000 --> 01:06:06,080
Speaker 2: suddenly pulling this off. We've been watching these guys just

1171
01:06:06,160 --> 01:06:09,640
Speaker 2: lumber about in traditional zombie style, and now they're working

1172
01:06:09,640 --> 01:06:14,720
Speaker 2: together to do a group kill with tools. Yeah, why,

1173
01:06:14,840 --> 01:06:16,920
Speaker 2: we don't know. Are they evolving? I don't know, are

1174
01:06:16,960 --> 01:06:18,080
Speaker 2: they waking up? Who knows?

1175
01:06:18,840 --> 01:06:21,680
Speaker 3: So James comes along by the way and he finds

1176
01:06:21,800 --> 01:06:26,200
Speaker 3: Kathleen's decapitated body hanging out the window. He looks out,

1177
01:06:26,240 --> 01:06:29,439
Speaker 3: he sees the zombies down below, like slurping blood from

1178
01:06:29,440 --> 01:06:31,960
Speaker 3: her head, and then he gets a wild look in

1179
01:06:32,000 --> 01:06:35,840
Speaker 3: his eye and he's clearly thinking, I've got an idea.

1180
01:06:35,960 --> 01:06:36,960
Speaker 2: What is that idea?

1181
01:06:37,120 --> 01:06:39,280
Speaker 3: It is toss the rest of her down to them,

1182
01:06:41,320 --> 01:06:43,280
Speaker 3: So he tosses her down. I think his plan is

1183
01:06:43,560 --> 01:06:46,160
Speaker 3: let the zombies fill up on housekeepers. They will be

1184
01:06:46,200 --> 01:06:47,680
Speaker 3: too full to eat the guests.

1185
01:06:47,880 --> 01:06:50,840
Speaker 2: Ah, you fool, Now the zombies are going to associate

1186
01:06:50,920 --> 01:06:51,680
Speaker 2: humans with food.

1187
01:06:52,880 --> 01:06:57,640
Speaker 3: Yeah, exactly. So after the scene, the zombies they've already

1188
01:06:57,720 --> 01:07:00,200
Speaker 3: used tools in this one instance, but I think think

1189
01:07:00,240 --> 01:07:03,360
Speaker 3: they I don't know, they must be getting positive reinforcement

1190
01:07:03,360 --> 01:07:06,920
Speaker 3: about it. So the zombies all arm themselves with axes

1191
01:07:06,960 --> 01:07:11,120
Speaker 3: and hose and garden gardening tools, sharp implements, and they

1192
01:07:11,120 --> 01:07:15,920
Speaker 3: start hacking at the doors. There's another scene on a

1193
01:07:15,960 --> 01:07:19,920
Speaker 3: balcony that's like a shotgun blasting scene where James comes

1194
01:07:19,920 --> 01:07:22,560
Speaker 3: out with a shotgun and he's like the only thing

1195
01:07:22,600 --> 01:07:24,840
Speaker 3: that the only thing that can kill them is blowing

1196
01:07:24,880 --> 01:07:27,440
Speaker 3: their heads off, and he starts shooting them with a shotgun,

1197
01:07:27,520 --> 01:07:29,560
Speaker 3: but he doesn't have enough shells to blast them all.

1198
01:07:29,640 --> 01:07:32,919
Speaker 3: There are a lot of zombies at this point. There's

1199
01:07:32,960 --> 01:07:36,720
Speaker 3: also a scene where Leslie is doing medical treatment on Janet.

1200
01:07:37,080 --> 01:07:39,800
Speaker 3: She says, let's look at that ankle. No wonder it's

1201
01:07:39,880 --> 01:07:42,080
Speaker 3: killing you. It's very badly bruised.

1202
01:07:42,360 --> 01:07:43,720
Speaker 2: He was in a bear trap.

1203
01:07:45,400 --> 01:07:48,320
Speaker 3: And then there's a scene where Leslie I think she's

1204
01:07:48,360 --> 01:07:51,960
Speaker 3: going to get bandages for Janet, and she's walking through

1205
01:07:51,960 --> 01:07:55,960
Speaker 3: a hallway downstairs and she gets her hair grabbed through

1206
01:07:56,000 --> 01:07:59,200
Speaker 3: a window like window shatters. The zombie hand reaches in

1207
01:07:59,280 --> 01:08:01,920
Speaker 3: grabs her hair and then ooh like she gets her

1208
01:08:02,000 --> 01:08:05,040
Speaker 3: face pulled into the jagged glass of the window and

1209
01:08:05,440 --> 01:08:06,200
Speaker 3: dies that way.

1210
01:08:06,680 --> 01:08:10,120
Speaker 2: Yeah, a rare, less than fully convincing moment of eyeball

1211
01:08:10,200 --> 01:08:13,840
Speaker 2: violence in European cinema. Usually it's a little more standout

1212
01:08:13,880 --> 01:08:16,320
Speaker 2: than this. But we've been spoiled. We've been spoiled.

1213
01:08:16,400 --> 01:08:18,960
Speaker 3: Yeah, So here, generally, the zombies are kind of breaking

1214
01:08:19,000 --> 01:08:21,720
Speaker 3: through the defenses and attacking the house. They're getting in,

1215
01:08:21,760 --> 01:08:24,160
Speaker 3: they're attacking all the people. We get to see Janet

1216
01:08:24,200 --> 01:08:27,720
Speaker 3: wielding an antique pole arm that was like decorative on

1217
01:08:27,760 --> 01:08:30,360
Speaker 3: the walls of the mansion. In fact, throughout this part

1218
01:08:30,400 --> 01:08:33,080
Speaker 3: they're just a lot of character is using swords and

1219
01:08:33,160 --> 01:08:37,519
Speaker 3: other decorative militaria to hold off the zombies. At one point,

1220
01:08:37,560 --> 01:08:40,880
Speaker 3: that's pretty cool. Evelyn chops some zombie heads off to

1221
01:08:40,920 --> 01:08:43,400
Speaker 3: protect baby Michael, and I can't even tell what tool

1222
01:08:43,479 --> 01:08:46,200
Speaker 3: she's using. It looks like is it a sword cane?

1223
01:08:46,520 --> 01:08:48,080
Speaker 2: I don't know. Yeah, there's like she picks up something

1224
01:08:48,120 --> 01:08:50,080
Speaker 2: looks like a machete off of the table and she's like,

1225
01:08:50,080 --> 01:08:52,280
Speaker 2: there's a zombie crawling up and she like chops its

1226
01:08:52,280 --> 01:08:55,599
Speaker 2: hands off on the window seal. So yeah, she's she's

1227
01:08:55,600 --> 01:09:00,000
Speaker 2: a real bad ass. Evelyn is is pretty pretty awesome.

1228
01:09:00,360 --> 01:09:04,479
Speaker 3: Unfortunately, right after this is the scene where Michael starts

1229
01:09:04,520 --> 01:09:09,760
Speaker 3: making bizarre sexual advances on his mom. WTF. It's like

1230
01:09:10,080 --> 01:09:13,160
Speaker 3: she gets weirded out and she slaps him and then

1231
01:09:13,240 --> 01:09:16,200
Speaker 3: he says, what's wrong, I'm your son, and then he

1232
01:09:16,320 --> 01:09:20,599
Speaker 3: runs away. He finds zombified Leslie and she bites him.

1233
01:09:20,760 --> 01:09:23,720
Speaker 2: Uh oh yeah. The next time we see him, he's

1234
01:09:23,760 --> 01:09:27,559
Speaker 2: gonna have his arm off, laying dead while Leslie choose

1235
01:09:27,600 --> 01:09:31,080
Speaker 2: on the arm and various cuts of meat from dead Michael.

1236
01:09:31,320 --> 01:09:35,519
Speaker 3: Yeah there are oh oh oh. One of the next

1237
01:09:35,520 --> 01:09:38,360
Speaker 3: scenes is what oh favorite the scene where zombies are

1238
01:09:38,360 --> 01:09:41,320
Speaker 3: approaching the house again, Like, wait, didn't they already get inside?

1239
01:09:41,360 --> 01:09:43,720
Speaker 3: They were just in the room attacking everybody, and they

1240
01:09:43,720 --> 01:09:46,280
Speaker 3: were fighting them. But now it's almost as if zombies

1241
01:09:46,520 --> 01:09:49,120
Speaker 3: we've reset and zombies are not inside anymore.

1242
01:09:49,600 --> 01:09:51,879
Speaker 2: Or I guess we've killed all the ones that got inside.

1243
01:09:52,080 --> 01:09:55,080
Speaker 2: Maybe we've put a lot of work into keeping zombies

1244
01:09:55,120 --> 01:09:57,000
Speaker 2: out of the mansion at this point.

1245
01:09:56,920 --> 01:10:00,439
Speaker 3: Right, and then Mark has an amazing idea. He gathers

1246
01:10:00,439 --> 01:10:03,320
Speaker 3: everybody says, I've got an idea, let's let them inside.

1247
01:10:05,760 --> 01:10:08,679
Speaker 3: But they explain the logic. Mark's like, maybe it's something

1248
01:10:08,760 --> 01:10:11,680
Speaker 3: in the house they want, and it's like, yeah, I

1249
01:10:11,720 --> 01:10:12,559
Speaker 3: think that's right.

1250
01:10:13,160 --> 01:10:16,160
Speaker 2: Yeah, legit laugh out loud moment here, because yes, zombies

1251
01:10:16,200 --> 01:10:21,240
Speaker 2: are famously architecturally inclined, right, that's what they're drawn to.

1252
01:10:22,040 --> 01:10:23,640
Speaker 2: So if we just let you, They're like, we'll just

1253
01:10:23,680 --> 01:10:25,840
Speaker 2: let them in the house and will hide in like

1254
01:10:25,920 --> 01:10:29,000
Speaker 2: the side chambers or something. And then what's part two

1255
01:10:29,080 --> 01:10:31,120
Speaker 2: of that plan? They're gonna rush out once all the

1256
01:10:31,200 --> 01:10:34,720
Speaker 2: zombies are inside. I'm not fully formed the zombie. The

1257
01:10:34,760 --> 01:10:36,960
Speaker 2: problem is the zombies wanted to get into the house

1258
01:10:37,000 --> 01:10:39,479
Speaker 2: to use the telephone, and they didn't know about George's

1259
01:10:39,560 --> 01:10:42,280
Speaker 2: rule no telephones in his house. They just want to

1260
01:10:42,360 --> 01:10:44,560
Speaker 2: order some pizzas. That's what they want.

1261
01:10:45,520 --> 01:10:48,679
Speaker 3: Also here we get the scene where Evelyn discovers zombie

1262
01:10:48,800 --> 01:10:53,799
Speaker 3: Leslie munching on Michael and she just starts screaming, screaming, Leslie,

1263
01:10:53,840 --> 01:10:56,680
Speaker 3: you killed my son. Damn you you killed him. And

1264
01:10:56,720 --> 01:11:00,920
Speaker 3: she screams that like a hundred times. And meanwhile Leslie

1265
01:11:00,960 --> 01:11:02,680
Speaker 3: is just munching in the background.

1266
01:11:04,040 --> 01:11:06,720
Speaker 2: Yeah what she she does? Kill those re kills the

1267
01:11:06,840 --> 01:11:10,640
Speaker 2: zombie Leslie just like bashing her head against the the

1268
01:11:10,680 --> 01:11:11,320
Speaker 2: tub there.

1269
01:11:11,200 --> 01:11:13,439
Speaker 3: I think, yeah, and we get she like bashes her

1270
01:11:13,479 --> 01:11:16,759
Speaker 3: head into the tub until we see just fluid leaking

1271
01:11:16,800 --> 01:11:19,320
Speaker 3: down into the tub from behind, and it looks like

1272
01:11:19,400 --> 01:11:20,160
Speaker 3: gray paint.

1273
01:11:20,640 --> 01:11:25,320
Speaker 2: Yeah, yeah, gray paint. This Yeah, nasty zombie brain juice.

1274
01:11:25,880 --> 01:11:28,160
Speaker 3: So now the zombies are really inside. I guess they

1275
01:11:28,320 --> 01:11:30,200
Speaker 3: you know, they got lead inside. So they're just wandering

1276
01:11:30,240 --> 01:11:35,040
Speaker 3: all through the hallways. At one point, the butler comes

1277
01:11:35,080 --> 01:11:38,040
Speaker 3: across Professor Airs from earlier. I remember him.

1278
01:11:38,320 --> 01:11:39,920
Speaker 2: The Professor's here to save the day.

1279
01:11:40,800 --> 01:11:43,559
Speaker 3: Yeah, And the butler says, oh, Professor, we were getting

1280
01:11:43,640 --> 01:11:46,000
Speaker 3: very worried about you, sir. We've got to get you.

1281
01:11:46,120 --> 01:11:48,120
Speaker 3: We've got to get out of here. But you know,

1282
01:11:48,160 --> 01:11:50,400
Speaker 3: he doesn't quite say this, but it's almost like my

1283
01:11:50,640 --> 01:11:55,800
Speaker 3: what red eyes you have? H So the Professor is,

1284
01:11:56,000 --> 01:11:59,000
Speaker 3: you know, he pounces on Nicholas the butler and starts

1285
01:11:59,000 --> 01:12:02,120
Speaker 3: biting him, and then we have Mark, Mark and James

1286
01:12:02,240 --> 01:12:06,360
Speaker 3: come upon the scene of the Professor eating Nicholas's guts

1287
01:12:07,080 --> 01:12:11,400
Speaker 3: and Mark says, but that's professor ayers, and James says,

1288
01:12:10,880 --> 01:12:12,439
Speaker 3: he's a zombie too.

1289
01:12:12,479 --> 01:12:14,479
Speaker 2: Then yeah, they put that together.

1290
01:12:14,640 --> 01:12:20,400
Speaker 3: Yeah, clever, not getting anything past James. So the sun

1291
01:12:20,479 --> 01:12:23,559
Speaker 3: comes up the next day and who's left alive at

1292
01:12:23,560 --> 01:12:27,040
Speaker 3: this point It is Mark, James, Evelyn, and Janet that

1293
01:12:27,080 --> 01:12:29,760
Speaker 3: are still alive, and they're sleeping somewhere. They're in a

1294
01:12:29,880 --> 01:12:32,920
Speaker 3: room with a tile floor and these pastel blue walls.

1295
01:12:32,960 --> 01:12:35,000
Speaker 3: I'm not sure how they got where they are or

1296
01:12:35,080 --> 01:12:35,479
Speaker 3: where it.

1297
01:12:35,479 --> 01:12:37,519
Speaker 2: Is where they are in relation to the main house.

1298
01:12:37,680 --> 01:12:41,200
Speaker 3: Yeah, but they decide it's time to move out, so

1299
01:12:41,240 --> 01:12:42,960
Speaker 3: they like move out, and they're going to go ahead

1300
01:12:42,960 --> 01:12:47,439
Speaker 3: for civilization. Janet begs to be left to die rather

1301
01:12:47,520 --> 01:12:50,479
Speaker 3: than moving, but Mark makes her go, and so they

1302
01:12:50,560 --> 01:12:52,439
Speaker 3: wander through the woods and eventually they come to a

1303
01:12:52,479 --> 01:12:55,960
Speaker 3: building at the other edge of the woods and Mark

1304
01:12:56,600 --> 01:12:59,439
Speaker 3: sees a figure in a brown robe with a hood

1305
01:12:59,520 --> 01:13:01,759
Speaker 3: going around the corner and he says, look over there

1306
01:13:01,800 --> 01:13:06,599
Speaker 3: a monk. This must be a monastery exactly. So they

1307
01:13:06,680 --> 01:13:10,600
Speaker 3: head head into the monastery. But uh oh, it's the

1308
01:13:10,640 --> 01:13:14,080
Speaker 3: wrong kind of monastery. This is a zombie monastery. All

1309
01:13:14,160 --> 01:13:17,080
Speaker 3: the brothers here are zombies, and as soon as they

1310
01:13:17,160 --> 01:13:20,439
Speaker 3: lay eyes on James, they're like dinner is served. They

1311
01:13:20,479 --> 01:13:23,000
Speaker 3: grab him, pull him onto the dinner table, and just

1312
01:13:23,040 --> 01:13:24,080
Speaker 3: start getting the guts.

1313
01:13:24,600 --> 01:13:27,439
Speaker 2: If they had watched more European horror films, they would

1314
01:13:27,479 --> 01:13:31,720
Speaker 2: know that religious orders get zombified almost immediately, like it's

1315
01:13:31,840 --> 01:13:33,280
Speaker 2: it's a real epidemic.

1316
01:13:33,280 --> 01:13:37,200
Speaker 3: Does tend to happen? So now, so he gets eaten.

1317
01:13:37,560 --> 01:13:42,400
Speaker 3: Our last three survivors are Janet, Mark and Evelyn, and

1318
01:13:42,439 --> 01:13:45,000
Speaker 3: they get crowded into this weird room with like a

1319
01:13:45,040 --> 01:13:48,040
Speaker 3: staircase and an upper walkway. It's kind of a stone

1320
01:13:48,320 --> 01:13:51,520
Speaker 3: basement room. And this is sort of where our climax

1321
01:13:51,600 --> 01:13:55,040
Speaker 3: takes place, and it leads into the infamous boob bite.

1322
01:13:55,520 --> 01:13:57,960
Speaker 2: That's right, We get this moment where you know, Eveline's

1323
01:13:57,960 --> 01:14:01,280
Speaker 2: pretty delirious at this point, and to be clear, they've

1324
01:14:01,320 --> 01:14:04,320
Speaker 2: all been cornered in this basement environment and they're they're

1325
01:14:04,360 --> 01:14:07,120
Speaker 2: going to die here. There's not going to be an escape.

1326
01:14:07,479 --> 01:14:11,600
Speaker 2: Suddenly who walks in. It's Michael fully zombie fie, like

1327
01:14:11,680 --> 01:14:14,360
Speaker 2: we can tell he's a zombie now he's walking zombie like.

1328
01:14:14,520 --> 01:14:16,000
Speaker 3: He's like purple and bloody.

1329
01:14:16,200 --> 01:14:20,840
Speaker 2: Yeah, yeah, and she's like Michael my son, and she,

1330
01:14:21,360 --> 01:14:24,680
Speaker 2: you know, she reaches out and she embraces this stumbling zombie. Now,

1331
01:14:24,760 --> 01:14:28,479
Speaker 2: remember Michael is short. It only comes up breast high

1332
01:14:28,520 --> 01:14:32,280
Speaker 2: on Evelyn. Michael starts prodding at her shirt and she's

1333
01:14:32,560 --> 01:14:35,720
Speaker 2: again delirious, and she says, yes, let me breastfeed you

1334
01:14:35,880 --> 01:14:38,120
Speaker 2: like I did when you were little. And we all

1335
01:14:38,160 --> 01:14:41,440
Speaker 2: know what happens next, death by zombie boot bite.

1336
01:14:41,120 --> 01:14:45,200
Speaker 3: And the legitimate laugh out loud at the cutaway to

1337
01:14:45,360 --> 01:14:49,640
Speaker 3: Mark and Janet here looking on with increasing skepticism and

1338
01:14:49,640 --> 01:14:53,080
Speaker 3: then horror as Evelyn is like talking herself into.

1339
01:14:52,840 --> 01:14:55,519
Speaker 2: This, yeah, because we all know it's gonna happen.

1340
01:14:58,400 --> 01:15:01,240
Speaker 3: And then oh no, so that's gross, and then the

1341
01:15:01,320 --> 01:15:05,000
Speaker 3: zombies just flood in that they come in from all

1342
01:15:05,040 --> 01:15:08,479
Speaker 3: the doors and there's no escape. At this point, Mark

1343
01:15:08,560 --> 01:15:11,000
Speaker 3: gets grabbed by the zombies and they take him over

1344
01:15:11,160 --> 01:15:15,679
Speaker 3: to a work table where there is a circular saw.

1345
01:15:15,720 --> 01:15:18,439
Speaker 3: It's a circular table saw, and they're like feeding his

1346
01:15:18,600 --> 01:15:19,599
Speaker 3: face toward it.

1347
01:15:19,880 --> 01:15:22,880
Speaker 2: Oh wow, another upgrade in their technological advancement.

1348
01:15:22,479 --> 01:15:24,120
Speaker 3: Though exactly they're using power tools.

1349
01:15:24,240 --> 01:15:26,559
Speaker 2: Now, yeah, they're gonna be gene splicing by the end

1350
01:15:26,560 --> 01:15:26,960
Speaker 2: of the week.

1351
01:15:27,080 --> 01:15:29,639
Speaker 3: There you go. And then Janet also is just screaming

1352
01:15:29,680 --> 01:15:32,639
Speaker 3: as the zombie monks crowd around, and so we're about

1353
01:15:32,640 --> 01:15:34,880
Speaker 3: to see. Oh no, Mark, he's gonna get his head

1354
01:15:34,920 --> 01:15:37,160
Speaker 3: sawed in half. What's that gonna look like? If Fulci

1355
01:15:37,200 --> 01:15:39,559
Speaker 3: would let us get a look at that? But not

1356
01:15:39,680 --> 01:15:43,559
Speaker 3: so lucky here, No look at that. Instead, it's freeze frame.

1357
01:15:44,120 --> 01:15:47,800
Speaker 3: And then text appears on the screen, and this is

1358
01:15:47,800 --> 01:15:52,000
Speaker 3: what it says. The earth shall tremble, graves shall open,

1359
01:15:52,560 --> 01:15:55,599
Speaker 3: they shall come among the living as messengers of death,

1360
01:15:55,720 --> 01:15:58,840
Speaker 3: and there shall be the nights of terror. And then

1361
01:15:58,880 --> 01:16:02,799
Speaker 3: its sites a text called Prophecy of the Black Spider.

1362
01:16:03,800 --> 01:16:05,760
Speaker 3: I should have remembered to look that up and see

1363
01:16:05,800 --> 01:16:07,840
Speaker 3: if that's a real thing. I don't know what it is.

1364
01:16:08,200 --> 01:16:10,960
Speaker 2: I do not know that this is an accurate quote

1365
01:16:11,000 --> 01:16:14,120
Speaker 2: from anything attributed to them, But I believe the Black

1366
01:16:14,160 --> 01:16:18,120
Speaker 2: Spiders at least partially related to some sort of Nostradamus

1367
01:16:18,280 --> 01:16:23,280
Speaker 2: style uh you know, Forecaster of the Future, diviner or

1368
01:16:23,320 --> 01:16:27,559
Speaker 2: what have you, soothsayer. The important thing to note here

1369
01:16:27,600 --> 01:16:30,440
Speaker 2: is that there are what there's at least one misspelling

1370
01:16:31,520 --> 01:16:34,439
Speaker 2: eish text that has played out over the screen here.

1371
01:16:34,680 --> 01:16:39,920
Speaker 2: Ye prophecy p r O F E c Y. It happens.

1372
01:16:39,920 --> 01:16:41,360
Speaker 2: It happens. You just got it. You got to proof

1373
01:16:41,360 --> 01:16:45,519
Speaker 2: that stuff. Yeah, but it provides the viewers with one

1374
01:16:45,560 --> 01:16:47,479
Speaker 2: last laugh as we close out.

1375
01:16:47,560 --> 01:16:50,240
Speaker 3: They didn't have Clippi back then. Yeah, I couldn't fix

1376
01:16:50,280 --> 01:16:50,680
Speaker 3: it for you.

1377
01:16:52,400 --> 01:16:58,520
Speaker 2: I see you're trying to write a closing epilogue though. Yeah.

1378
01:16:59,120 --> 01:17:00,880
Speaker 2: But then but then the it plays again and we

1379
01:17:00,920 --> 01:17:03,639
Speaker 2: get that beautiful music, and you know, then all all

1380
01:17:03,640 --> 01:17:07,920
Speaker 2: flaws are forgiven. I guess so, so if it was

1381
01:17:08,000 --> 01:17:11,439
Speaker 2: not already overtly obvious, This again is a grubby, gut

1382
01:17:11,520 --> 01:17:15,040
Speaker 2: munching zombie trash film and not a serious psychological study

1383
01:17:15,240 --> 01:17:18,360
Speaker 2: of anything, but it does seem like in its own

1384
01:17:18,400 --> 01:17:21,840
Speaker 2: shallow way, the film is playing around with some of

1385
01:17:21,880 --> 01:17:26,720
Speaker 2: the psychosexual concepts proposed by Sigmund Freud, especially concerning the

1386
01:17:27,200 --> 01:17:30,200
Speaker 2: the oral stage of development, as well as the ideas

1387
01:17:30,200 --> 01:17:34,920
Speaker 2: of freud associate Carl Abraham. The oral sadistic phase was

1388
01:17:34,960 --> 01:17:39,320
Speaker 2: one of his concepts and Melanie Klein's a good slash

1389
01:17:39,439 --> 01:17:42,880
Speaker 2: bad breast interpretation. This is, this is the idea that,

1390
01:17:42,960 --> 01:17:46,000
Speaker 2: like an infant splits their mother in two, there's the

1391
01:17:46,040 --> 01:17:49,400
Speaker 2: good breast that feeds in the bad breast, which withholds

1392
01:17:49,479 --> 01:17:52,760
Speaker 2: because at this point they can't comprehend that the that

1393
01:17:52,840 --> 01:17:56,639
Speaker 2: the same person would be capable of both things. Anyway,

1394
01:17:56,720 --> 01:17:59,240
Speaker 2: I hesitate to go to go too deep on any

1395
01:17:59,240 --> 01:18:02,000
Speaker 2: of these concepts because burial Ground gives all of it

1396
01:18:02,040 --> 01:18:04,080
Speaker 2: the exploitation treat me, you know, throw it all into

1397
01:18:04,120 --> 01:18:07,000
Speaker 2: a blinder and then you know, pour it out and

1398
01:18:07,040 --> 01:18:11,439
Speaker 2: paint your picture. So it's ridiculous as it's presented here.

1399
01:18:11,520 --> 01:18:14,599
Speaker 2: But I would argue that it that it does kind

1400
01:18:14,640 --> 01:18:17,760
Speaker 2: of hit in part because it is connecting to some

1401
01:18:17,800 --> 01:18:21,440
Speaker 2: far more complex dualities in the human experience.

1402
01:18:22,560 --> 01:18:25,800
Speaker 3: Interesting, I mean, I want to go with you there.

1403
01:18:25,840 --> 01:18:28,080
Speaker 3: But I would also I would say that like the

1404
01:18:28,160 --> 01:18:33,080
Speaker 3: Oedipal stuff and all that, it doesn't there's nothing else

1405
01:18:33,200 --> 01:18:36,160
Speaker 3: in the plot other than those scenes that it connects to.

1406
01:18:36,280 --> 01:18:38,960
Speaker 3: So it doesn't, you know, there's no dialogue about anything

1407
01:18:39,000 --> 01:18:42,040
Speaker 3: that would raise these themes in any other way, you know,

1408
01:18:42,200 --> 01:18:46,519
Speaker 3: So it feels very out of nowhere, and for no

1409
01:18:46,680 --> 01:18:47,320
Speaker 3: reason we.

1410
01:18:47,320 --> 01:18:50,000
Speaker 2: Oh absolutely, Yeah, I'm not making an argument that it

1411
01:18:50,040 --> 01:18:52,880
Speaker 2: is at all well crafted. Yeah, it is too horned

1412
01:18:52,880 --> 01:18:56,880
Speaker 2: in there, and it is only shallowly explored and only

1413
01:18:57,040 --> 01:18:59,880
Speaker 2: you know, really only executed to get a rise out

1414
01:18:59,880 --> 01:19:02,719
Speaker 2: of the audience. But it does get that rise.

1415
01:19:03,080 --> 01:19:05,840
Speaker 3: I mean though, I would genuinely in this case be

1416
01:19:06,040 --> 01:19:09,840
Speaker 3: fascinated to hear the writer and director explain in their

1417
01:19:09,880 --> 01:19:14,240
Speaker 3: own words what they thought was going on with this stuff. Yeah.

1418
01:19:14,400 --> 01:19:17,040
Speaker 2: But the flip side is, I don't know that I

1419
01:19:17,080 --> 01:19:19,400
Speaker 2: would want to see the well executed version of this

1420
01:19:19,520 --> 01:19:23,360
Speaker 2: vision anyway, So I'd far prefer like the sloppy, hilarious

1421
01:19:23,439 --> 01:19:26,840
Speaker 2: version of it on film. This is not a film

1422
01:19:26,840 --> 01:19:28,880
Speaker 2: where I'm like, they had great ideas here if only

1423
01:19:28,920 --> 01:19:32,280
Speaker 2: they could have perfected it. No, Burial Ground is perfect

1424
01:19:32,360 --> 01:19:32,880
Speaker 2: as it is.

1425
01:19:33,800 --> 01:19:37,000
Speaker 3: No, I mean, as you mentioned earlier, I mean, I

1426
01:19:37,000 --> 01:19:39,759
Speaker 3: think the real theme of this movie for some reason

1427
01:19:40,040 --> 01:19:44,880
Speaker 3: is is earth. It's soil. It's something about the relationship

1428
01:19:45,080 --> 01:19:49,719
Speaker 3: between death and birth and the soil of the ground

1429
01:19:50,000 --> 01:19:52,000
Speaker 3: that that's got to be And it's not something that

1430
01:19:52,040 --> 01:19:54,240
Speaker 3: the characters talk about at all, But clearly I think

1431
01:19:54,280 --> 01:19:55,439
Speaker 3: that's a visual theme.

1432
01:19:56,040 --> 01:19:58,240
Speaker 2: Yeah, yeah, absolutely.

1433
01:19:58,160 --> 01:20:00,880
Speaker 3: Oh wait, Okay, maybe I'm getting there. Maybe the soil

1434
01:20:01,680 --> 01:20:06,720
Speaker 3: is like the mother of all nature somehow, and.

1435
01:20:07,320 --> 01:20:13,519
Speaker 2: You want to kiss your mother. Maybe yes, And maybe

1436
01:20:13,520 --> 01:20:16,360
Speaker 2: there's a good bread, good, good breast, bad breast thing

1437
01:20:16,439 --> 01:20:19,320
Speaker 2: with mother nature. It's like, how can mother nature nourish

1438
01:20:19,439 --> 01:20:23,000
Speaker 2: me and also punish me? You know, clearly it is

1439
01:20:23,040 --> 01:20:26,559
Speaker 2: not capable of both. It must be two mother natures? No,

1440
01:20:26,640 --> 01:20:28,760
Speaker 2: but it is one. Yeah, I don't know we're really

1441
01:20:28,800 --> 01:20:29,320
Speaker 2: reaching here.

1442
01:20:31,320 --> 01:20:33,439
Speaker 3: I think what this really needs is the input of

1443
01:20:33,479 --> 01:20:37,360
Speaker 3: an Etruscan magic scholar. And then I believe so, yeah,

1444
01:20:37,880 --> 01:20:39,639
Speaker 3: all right, does that do it for Burial Ground?

1445
01:20:39,680 --> 01:20:43,040
Speaker 2: I believe it does. Burial Ground pretty fun if you're

1446
01:20:43,280 --> 01:20:45,479
Speaker 2: into this sort of film, and if you are and

1447
01:20:45,520 --> 01:20:48,200
Speaker 2: you've seen Burial Ground right in, we would love to

1448
01:20:48,240 --> 01:20:51,000
Speaker 2: hear from you, get your take on any of these concepts.

1449
01:20:52,200 --> 01:20:53,800
Speaker 2: Just a reminder that Stuff to Blow your Mind is

1450
01:20:53,840 --> 01:20:56,320
Speaker 2: primarily a science and culture podcast with core episodes on

1451
01:20:56,320 --> 01:20:59,000
Speaker 2: Tuesdays and Thursdays, but on Fridays we set aside most

1452
01:20:59,040 --> 01:21:01,759
Speaker 2: serious concerns just talk about a weird film on weird

1453
01:21:01,760 --> 01:21:04,680
Speaker 2: House Cinema. If you are on letterbox dot com, you

1454
01:21:04,720 --> 01:21:06,920
Speaker 2: can look us up there. Our username is Weird House

1455
01:21:06,960 --> 01:21:08,400
Speaker 2: and we have a nice list of all the films

1456
01:21:08,400 --> 01:21:11,400
Speaker 2: we've covered over the years, and sometimes there's a peek

1457
01:21:11,400 --> 01:21:14,640
Speaker 2: ahead at what comes next. We do not have the

1458
01:21:14,800 --> 01:21:17,200
Speaker 2: entire year plotted out for Weird House Cinema, so as

1459
01:21:17,240 --> 01:21:19,880
Speaker 2: always right in with your recommendations for films that we

1460
01:21:19,880 --> 01:21:20,559
Speaker 2: should consider.

1461
01:21:20,760 --> 01:21:25,960
Speaker 3: Absolutely huge thanks as always to our excellent audio producer Jjposway.

1462
01:21:26,320 --> 01:21:28,040
Speaker 3: If you would like to get in touch with us

1463
01:21:28,080 --> 01:21:30,479
Speaker 3: with feedback on this episode or any other, to suggest

1464
01:21:30,479 --> 01:21:32,559
Speaker 3: a topic for the future, or just to say hello,

1465
01:21:32,680 --> 01:21:35,240
Speaker 3: you can email us at contact at stuff to Blow

1466
01:21:35,240 --> 01:21:43,160
Speaker 3: your Mind dot com.

1467
01:21:43,280 --> 01:21:46,240
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1468
01:21:46,320 --> 01:21:49,120
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1469
01:21:49,280 --> 01:21:52,480
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.