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Speaker 1: Hey, welcome to Weird House Cinema Rewind. What kind of

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Speaker 1: creepy Halloween nonsense do we have for you today? Oh,

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Speaker 1: it is a great one. We're going to get into

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Speaker 1: some of that Lucio Fulci madness here with City of

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Speaker 1: the Living Dead from 1980. Maggot Wind comes blowing in.

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Speaker 1: It originally published Halloween of last year. This one's a

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Speaker 1: whole lot of fun, one of our favorites, and we

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Speaker 1: hope you enjoy the episode.

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

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Speaker 1: Hey, happy Halloween and welcome to Weird House Cinema. My

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Speaker 1: name is Rob Lamb.

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Speaker 3: And my name is Joe McCormick. And on this special

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Speaker 3: Halloween episode of Weird House Cinema, we're going to be

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Speaker 3: talking about Lucio Fulci's supernatural gore dream. City of the

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Speaker 3: Living Dead, released in the year 1980, also known as

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Speaker 3: Fear in the City of the Living Dead. I think

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Speaker 3: the Italian translation of that was the Italian title, and

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Speaker 3: sometimes called The Gates of Hell. Earlier this month, I

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Speaker 3: watched this movie for the second time with a friend

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Speaker 3: of mine, and I realized we had to do this

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Speaker 3: for the show. We had to make another journey into

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Speaker 3: the with this movie for Halloween because this movie arranges

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Speaker 3: its climax around Halloween according to, in the story, the

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Speaker 3: prediction of an ancient prophecy that must be averted before

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Speaker 3: the dawn of All Saints Day or else the dead

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Speaker 3: will rise to wrest control of the earth from the living. Now,

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Speaker 3: I mentioned one of the alternate titles of this film

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Speaker 3: is The Gates of Hell, and that title is also

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Speaker 3: used to refer to Fulci's infamously violent, bizarre, beautiful, disgusting

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Speaker 3: spiritual trilogy, The Gates of Hell series, of which today's

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Speaker 3: movie is the first entry. So City of the Living

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Speaker 3: Dead begins The Gates of Hell trilogy in 1980. And

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Speaker 3: then after that, you've got The Beyond and Housed by

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Speaker 3: the Cemetery, both released in 1981. The last of which

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Speaker 3: is a film that we've talked about on Weird House

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Speaker 3: Cinema before called and has a lot in common with

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Speaker 3: City of the Living Dead, though it's called a trilogy.

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Speaker 3: There's not really any plot thread connecting them, but they're

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Speaker 3: very much, it's a spiritual trilogy. They have a lot

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Speaker 3: of the same obsessions and sensibilities.

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Speaker 1: That's right, yeah. It doesn't matter which order you watch

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Speaker 1: them in. I watched them in, let's see, I watched

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Speaker 1: The Beyond when I was in college, and then at

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Speaker 1: some point after that, I watched House by the Cemetery,

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Speaker 1: and that's That's one of my favorites. I've seen that

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Speaker 1: several times. But I didn't get around to watching City

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Speaker 1: of the Living Dead until this week. You know, sometimes

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Speaker 1: it's good to have some Fulci that you haven't seen

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Speaker 1: yet that you can always enjoy for the first time.

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Speaker 3: Save a little for later in the meat locker.

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Speaker 1: Yeah, don't be greedy. Don't eat all the Fulci at once.

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Speaker 1: I don't know. I mean, the other obvious argument is,

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Speaker 1: you know, you only live once. Watch all the Fulci

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Speaker 1: you can while you can. But... It is a joy,

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Speaker 1: a film like this, for certain film fans anyway. It

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Speaker 1: is also a notoriously gory picture.

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Speaker 3: That's right. So a warning, especially if you haven't seen

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Speaker 3: a Fulci movie before, this one, like many of his

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Speaker 3: other films, is fascinating in a way. It is unintentionally

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Speaker 3: funny in several ways. It has a weird, cranky, artistic

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Speaker 3: integrity to it. There's a reason that Fulci, I think,

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Speaker 3: gets a lot more academic attention and treatment than many

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Speaker 3: other horror and gore film creators. So it has all

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Speaker 3: of that, but it is also absolutely disgusting. I would

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Speaker 3: not recommend watching this movie while eating or if you

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Speaker 3: are sensitive to gore and guts because it doesn't hold back.

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Speaker 3: There are a couple of exceptionally nasty scenes. One in particular,

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Speaker 3: I'm thinking of the gut emesis scene that tends to

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Speaker 3: make people say wow out loud when they see it.

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Speaker 1: Yeah. And I should also add the caveat here that

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Speaker 1: the gore effects in this film are very well done.

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Speaker 1: So if you're thinking, oh, it's, you know, it's an

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Speaker 1: Italian B movie. I can watch some gore. It's not

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Speaker 1: going to really affect me all that much because it's

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Speaker 1: going to look fake. But these effects are really solid.

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Speaker 1: I mean, it's a combination of great, just great practical

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Speaker 1: effects work, great editing, great lighting, you know, maybe using

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Speaker 1: a little bit of actual viscera here and there. as

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Speaker 1: well uh non-human of course uh but uh but yeah

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Speaker 1: it it's gonna be one it's not gonna be one

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Speaker 1: of those cases where you can be like ahaha fake

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Speaker 1: blood and fake guts uh i think the gore in

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Speaker 1: this film hits pretty.

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Speaker 3: Hard you can kind of taste it yeah yeah you

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Speaker 3: can smell it a little bit yeah so does this

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Speaker 3: movie fit a subgenre i guess this is technically a

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Speaker 3: zombie film right.

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Speaker 1: Yeah, yeah. I think it's accurate to say this is

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Speaker 1: a zombie film. And, you know, honestly, that might have

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Speaker 1: been one of the things that helped me out from

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Speaker 1: watching it because I'd already seen Zombie, and I love Zombie,

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Speaker 1: but I'm not one of those film fans that needs

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Speaker 1: to see every single zombie film. I want to throw

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Speaker 1: some Draculas and Frankensteins in there as well and so forth.

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Speaker 1: But it has such a particular flavor of zombie.

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Speaker 4: It is.

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Speaker 1: kind of a super, it's certainly a supernatural zombie film.

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Speaker 1: So the zombies are, we're not sure exactly what's happening here.

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Speaker 1: Everything has a dreamlike, illogical quality to it. But there's

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Speaker 1: some sort of supernatural event that's happening. It may or

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Speaker 1: may not be tied in with ancient prophecies, but it

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Speaker 1: is also kind of a theological crisis and one weirdly

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Speaker 1: brought on on an individual level. It's also, I think

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Speaker 1: one of the really captivating things for me about this

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Speaker 1: film is that The origin of the threat, the thing

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Speaker 1: that is opening the gates of hell and creating the

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Speaker 1: city of the Livingdale, it almost seems to be not

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Speaker 1: a disturbing entity, but like a disturbing idea. Just the

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Speaker 1: idea of something that is shocking enough that it, you know,

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Speaker 1: tears open the shroud that exists between our world and

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Speaker 1: the next, that sort of thing.

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Speaker 3: Does this film have a villain element? Like a main

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Speaker 3: bad guy monster? I've seen it several times. I'm not

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Speaker 3: sure if I could answer that. I don't think it

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Speaker 3: really does.

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Speaker 1: There is a figure that reappears frequently. And you could

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Speaker 1: make a case that he's sort of like the lead antagonist.

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Speaker 1: But he also seems as much as anything a symbol.

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Speaker 1: Maybe he is kind of a ghost figure. He's certainly

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Speaker 1: ghostly in the way that he is represented at various

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Speaker 1: points in the film. But, you know, it's not like

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Speaker 1: he's the general leading the dead here either.

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Speaker 3: It feels more like the characters are fighting back against entropy.

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Speaker 3: The horror in this film is almost a natural process

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Speaker 3: that is irresistible, like rot.

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Speaker 4: Yeah.

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Speaker 1: Yeah. Something has been unleashed. And if there is there

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Speaker 1: does seem to be a focal point and that focal

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Speaker 1: point is also perhaps the way they might stop it.

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Speaker 1: But it is it's like, yeah, it's like there's a

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Speaker 1: great dam that is rotting and there is a hole

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Speaker 1: that is rotted out in that dam. And there might

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Speaker 1: be a way that our heroes can can stop up

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Speaker 1: that hole for a little bit anyway. But the rest

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Speaker 1: of the dam still kind of feels like it's rotting.

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Speaker 1: But again, the picture definitely has that dreamlike illogical quality

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Speaker 1: to it. So things will feel different. you know, highly

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Speaker 1: contradictory at times. And this is not one of those

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Speaker 1: films you need to watch and look for a lot

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Speaker 1: of plot holes because there will be as many plot

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Speaker 1: holes as there are in your dreams. Um, you know,

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Speaker 1: and within the context of your dreams, those aren't necessarily

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Speaker 1: plot holes. So like I was thinking about the guts

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Speaker 1: in this movie, um, uh, you know, as, as, uh,

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Speaker 1: as we were talking about the other day regarding Fulci's work,

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Speaker 1: like Fulci's A lot of filmmakers will show you a

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Speaker 1: lot of gross stuff and linger on some gross stuff,

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Speaker 1: some blood, some gore, monster faces and so forth. And

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Speaker 1: sometimes it can really feel like a flaw in their presentation.

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Speaker 1: Like they don't really know how to present things. With Fulci,

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Speaker 1: it's definitely not that. Like Fulci is showing you something.

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Speaker 1: And you might ask yourself, Fulci, why are you showing

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Speaker 1: me this? Why are we spending so much time on this?

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Speaker 1: And Fulci seems to be telling us, no, you must

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Speaker 1: see this. This is important. Yeah.

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Speaker 3: I'm not padding the movie out or something. It's like, no,

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Speaker 3: you need to look at this. It's important.

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Speaker 1: Yeah. This is something you need to see. And even

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Speaker 1: if we never fully understand why we need to see it,

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Speaker 1: we ultimately believe him. We believe that he is correct.

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Speaker 1: We do need to see this and it means something.

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Speaker 4: Yeah.

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Speaker 3: We were talking about this off mic the other day

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Speaker 3: about how There is a really singular quality to a

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Speaker 3: Fulci film. And the way this came out is I

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Speaker 3: was actually having a conversation beforehand with my friend Chuck,

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Speaker 3: who I watched this movie with. And we were talking

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Speaker 3: about horror film remakes. You know, a lot of horror movies,

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Speaker 3: whether good or bad, originally eventually get the remake treatment.

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Speaker 3: And whether that's a good idea in each individual case,

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Speaker 3: you can almost always at least see how it could work.

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Speaker 3: whether you're remaking a great film or a film that

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Speaker 3: had kind of squandered potential. There's usually something interesting in

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Speaker 3: there you could pick up, you could put your own

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Speaker 3: spin on, you could do it a different way. But

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Speaker 3: I was thinking about how Fulci's movies are not like that.

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Speaker 3: It doesn't really feel like somebody else could pick up

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Speaker 3: this premise and do it their own way or put

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Speaker 3: their own spin on it. A Fulci movie, especially the

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Speaker 3: ones in the Gates of Hell trilogy, are just exactly

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Speaker 3: what they are and couldn't be anything else. Could you

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Speaker 3: imagine somebody like, I'm going to try to do a

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Speaker 3: different take on City of the Living Dead. That doesn't

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Speaker 3: even make any sense. these movies are such a unique

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Speaker 3: and singular exercise. And so it doesn't really make sense

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Speaker 3: to like take parts out and change them. And also

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Speaker 3: I think that there's sort of nothing there. That's like

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Speaker 3: the core that has texture built around it. The texture

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Speaker 3: is everything that, that the movie is.

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Speaker 1: Yeah.

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Speaker 4: Yeah.

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Speaker 1: If you were to strip this down to the bones,

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Speaker 1: you would find that the bones are cartilage or, or

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Speaker 1: something even softer, you know, putting your own spin, on

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Speaker 1: a film like City of the Living Dead, it's already

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Speaker 1: all spin. And I mean that in the best way. Again,

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Speaker 1: this is not a film where character matters all that much.

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Speaker 1: It's not a film where the plot is this tight

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Speaker 1: skeleton to be adhered to. So yeah, if you strip

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Speaker 1: away what Fulci did with it, you're left with something

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Speaker 1: else entirely. So if you were to remake it, what

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Speaker 1: would you be doing? Would you just be making a

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Speaker 1: beat for beat remake that would be useless would you

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Speaker 1: be creating something so entirely new that it's pointless to

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Speaker 1: even point to this being its key origin.

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Speaker 3: Yeah um i mean i guess you could take certain

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Speaker 3: aesthetic inspirations but you couldn't really remake this film i

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Speaker 3: would argue it would be like trying to dream someone

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Speaker 3: else's dream.

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Speaker 1: Yeah i think that puts it perfectly well i have

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Speaker 1: more thoughts about the guts in this movie but i'll

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Speaker 1: save them for when we get into some examples of

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Speaker 1: the guts.

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Speaker 3: Okay I guess we just got into why it would

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Speaker 3: be hard to give an elevator pitch on this movie.

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Speaker 3: There's not really a core idea. Instead, it is a

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Speaker 3: collection of little obsessions. For some reason, several different people

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Speaker 3: end up in a place called Dunwich where there is

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Speaker 3: much putrefaction.

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Speaker 1: Yes. And one of the great things about Dunwich here, Dunwich,

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Speaker 1: of course, this is an allusion to like H.P. Lovecraft's

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Speaker 1: The Dunwich Horror. Yeah. And On IMDb, for example, they

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Speaker 1: list the works of H.P. Lovecraft and Clark Ashton Smith

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Speaker 1: as inspiration, though this film is not based on anything

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Speaker 1: that either author actually wrote, as far as I know.

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Speaker 1: It's just kind of general vibes, I guess, and we

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Speaker 1: get the name Dunwich. But the city of Dunwich in

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Speaker 1: this film, I love the fact that this is actually Savannah, Georgia.

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Speaker 1: This is, again, an Italian film. The interiors are shot

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Speaker 1: in Rome, I believe. But the exteriors for Dunwich itself

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Speaker 1: are Savannah, Georgia. So this is a certified Georgia picture.

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Speaker 1: And that's one of the things I ended up really

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Speaker 1: loving about it because some of the locations I've been there,

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Speaker 1: I've seen them and I recognize them. And now I

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Speaker 1: haven't been to Savannah in a number of years, but

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Speaker 1: I kind of want to go back and I want

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Speaker 1: to take the Lucio Fulci tour of Savannah, Georgia now.

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Speaker 3: I would love to do that. Yeah, it's clearly throughout

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Speaker 3: southeastern American flora and architecture, and it's supposed to be

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Speaker 3: standing in for Lovecraft's New England.

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Speaker 1: Yeah, I was watching some extras on the Blue Underground

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Speaker 1: Blu-ray edition of this picture, and they were talking about how, yeah,

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Speaker 1: they got to Savannah and they love the buildings, you know,

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Speaker 1: they have great character. Savannah's a lovely town. Um, but

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Speaker 1: they also wanted it to be more dismal than it was.

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Speaker 1: I think they were shooting, um, pretty hot weather if

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Speaker 1: I remember correctly, but at any rate, they needed to

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Speaker 1: be more dismal. So they, uh, they wanted to blast

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Speaker 1: a bunch of, uh, like, uh, like sand and, uh,

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Speaker 1: and or like, um, baby powder around to make everything dusty. Uh,

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Speaker 1: but they also couldn't get a hold of actual, um,

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Speaker 1: cinematic wind machines. So they had to get a couple

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Speaker 1: of swamp boats, uh, kind of with the big, uh, uh,

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Speaker 1: spinning blades on the back of them, you know? Got

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Speaker 1: a couple of those and I guess brought them in

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Speaker 1: on the backs of trailers and fired those up and

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Speaker 1: used those as wind machines for the exterior scenes in Savannah, Georgia, a.k.a. Dunwich.

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Speaker 3: When you said on the backs of trailers, for some

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Speaker 3: reason I thought you were going to say on the

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Speaker 3: backs of alligators, like draft alligator teams.

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Speaker 1: That would have been good, too. All right, let's go

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Speaker 1: ahead and listen to a little bit of the trailer audio.

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Speaker 1: This is one of those pictures from a time period

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Speaker 1: in which we had so many great trailers. So I

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Speaker 1: think we'll hear a little bit of the music in

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Speaker 1: this and we'll get some of that grindhouse flair.

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Speaker 2: The city of the dead.

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Speaker 1: The living dead.

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Speaker 4: A cursed city where the gates of hell have been opened.

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Speaker 4: You've got to. You must be close those gates.

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Speaker 3: We interrupt this program to bring you a special broadcast.

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Speaker 3: Dunwich police authorities have declared a.

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Speaker 1: State of emergency. Effective immediately within Dunwich County.

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Speaker 3: All citizens are requested to.

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Speaker 1: Return to their homes as quickly as possible.

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Speaker 3: In case of necessity.

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Speaker 3: Five, nine, eight, eight, one. All citizens are urged to

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Speaker 3: remain calm.

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Speaker 2: Did you see, when you were in this trance, did

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Speaker 2: you see anything besides that tombstone?

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Speaker 1: Oh yes.

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Speaker 4: I saw a priest.

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Speaker 1: Guess what?

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Speaker 3: It's All Saints Day.

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Speaker 4: A demanding, implacable enemy whose search for blood is never satiated.

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Speaker 1: All right. Well, if you would like to go out

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Speaker 1: and watch City of the Living Dead, it's out there.

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Speaker 1: This is one that I don't think there's ever been

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Speaker 1: really a problem or a difficulty in getting a hold

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Speaker 1: of it. you may find it still released under various

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Speaker 1: different titles. Again, I watched it on the blue underground

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Speaker 1: Blu-ray that came out, I believe, several years ago. I

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Speaker 1: rented it from Videodrome here in Atlanta.

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Speaker 3: I actually bought the recent 4K disc put out by

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Speaker 3: Cauldron Films, where it looks excellent. The cleanup on it

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Speaker 3: is beautiful. This set is also packed with tons of

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Speaker 3: great-looking extras. I really wish I'd had time to check

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Speaker 3: out before recording this week, but as often happens, ran

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Speaker 3: out of time. But it's got some Really excellent-looking commentaries

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Speaker 3: and interviews, documentary features, and that kind of stuff.

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Speaker 1: Cauldron Films was new to me. I had not really

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Speaker 1: paid attention to their releases, but I checked out their website,

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Speaker 1: and it looks like we have a lot of cool

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Speaker 1: releases out already.

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Speaker 4: Yeah.

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Speaker 1: All right, let's talk about some of the folks involved

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Speaker 1: in this picture. Starting at the top once more, With

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Speaker 1: Lucio Fulci. He lived 1927 through 1996. He was the director.

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Speaker 1: He has a story and screenplay credit. He was one

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Speaker 1: of the producers. And he has a little bit of

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Speaker 1: a cameo in there playing Dr. Joe Thompson.

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Speaker 3: Oh, love a Fulci cameo.

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Speaker 1: Yeah, though he didn't have the beard, right? Or he

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Speaker 1: didn't have as much of a beard as I was expecting.

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Speaker 1: So it kind of like snuck up on me a

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Speaker 1: little bit.

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Speaker 3: I honestly don't remember. I can't picture what he looked

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Speaker 3: like in the movie now.

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Speaker 1: Yeah, I guess that's a good thing about a director cameo.

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Speaker 1: It would not stop him from taking on the starring

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Speaker 1: role as a version of himself, however, in 1990's A

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Speaker 1: Cat in the Brain.

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Speaker 3: Never seen that one, but I am familiar with the idea.

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Speaker 1: It's very much on my list, but it's... That's one

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Speaker 1: of the Fulci's I'm saving for myself. As we've been

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Speaker 1: referring to, this is our third Fulci film for Weird

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Speaker 1: House Cinema. We have discussed House by the Cemetery, and

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Speaker 1: we've also discussed his fantasy film Conquest, which is one

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Speaker 1: of my favorite Fulci's easily.

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Speaker 3: Yeah, Jorge Rivera as a leather diaper barbarian, just exquisite.

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Speaker 1: With nunchucks made from bones going up against werewolves and

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Speaker 1: ghouls and an evil sexy witch. It has literally everything.

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Speaker 3: That one is magnificent.

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Speaker 1: Yeah. So Fulci is, of course, a horror legend today

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Speaker 1: and a titan of Italian B-cinema. But all this really

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Speaker 1: kicked into high gear after 1979's Zombie came out. This

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Speaker 1: was a very prolific period of his career that produced

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Speaker 1: some of his best-remembered films. But he had been directing

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Speaker 1: full-length films for 20 years at that point, including such

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Speaker 1: horror films as 1971's A Lizard in a Woman's Skin

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Speaker 1: and 1972's Don't Torture a Duckling.

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Speaker 3: I think these are both considered JALO or JALO-adjacent films.

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Speaker 3: Lizard in a Woman's Skin, definitely.

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Speaker 1: Yeah. He'd also done a Jalo film in 69 titled

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Speaker 1: One on Top of the Other. Uh, but, uh, yeah,

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Speaker 1: he directed a number of different genre films before the 1980s. Uh,

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Speaker 1: he did Westerns, he did spy thrillers, he did comedies, um,

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Speaker 1: and more. So he was a very capable director, could

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Speaker 1: tackle various genres, but really excelled and found success with

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Speaker 1: these phantasmagorical, um, Gore and violence-laden horror films. Like, it

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Speaker 1: just seems like he really found his thing here. And again,

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Speaker 1: that's what we remember him for the most.

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Speaker 3: Horror films that are exercises in spectacle, that almost seem

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Speaker 3: to be comprised of individualism. paintings and images and and

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Speaker 3: scenarios or scenes famously in zombie or sometimes known as

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Speaker 3: zombie too because I think because the original title zombie

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Speaker 3: was the title used in Italian for Dawn of the

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Speaker 3: Dead and I.

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Speaker 1: Believe that's right. But you think too much about it

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Speaker 1: and it's just like every film just needs to be

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Speaker 1: called zombie and assigned it a number. And then it's

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Speaker 1: just a simpler system for everybody.

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Speaker 3: A random number.

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Speaker 4: Yeah.

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Speaker 3: Not necessarily in order. But for example, in zombie, it's famous,

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Speaker 3: whether you've seen the movie or not, whether you remember

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Speaker 3: much about it, if you have seen it, almost everybody

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Speaker 3: knows what you're talking about.

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Speaker 1: Well, not everybody. I don't know.

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Speaker 3: Everybody with a certain kind of movie diet knows what

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Speaker 3: you're talking about when you say the movie where a

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Speaker 3: zombie fights a shark.

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Speaker 1: Yes. Yes. And I think there's a there's like a

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Speaker 1: topless snorkeler in that scene as well.

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Speaker 4: Maybe.

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Speaker 2: Yeah.

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Speaker 1: So, yeah, his films are full of such moments where

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Speaker 1: you might not remember the whole thing. And certainly there's

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Speaker 1: a good chance you don't remember the plot, but you

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Speaker 1: will remember these just startling images.

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Speaker 3: All right.

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Speaker 1: We also have Dardano Saccetti, born 1944. He has the

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Speaker 1: other screenplay and story credit here. Italian screenwriter who worked

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Speaker 1: with the likes of Lomberto Bava, Lucio Fulci, Enzo G. Castarelli,

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Speaker 1: and Dario Argento. His first credit was Argento's The Cat o'

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Speaker 1: Nine Tails. He worked with Fulci a lot, including some

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Speaker 1: of his most well-known films, including Zombie, House by the Cemetery,

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Speaker 1: The Beyond, New York Ripper, Manhattan Baby, and so forth.

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Speaker 1: He worked on Bava's Monster Shark and Demons, and he

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Speaker 1: was on Castarelli's 1990 The Bronx Warriors, so an important

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Speaker 1: name in Italian B-cinema. All right, let's get into the

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Speaker 1: cast of actors here. Playing characters who, you know, I've seen,

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Speaker 1: I've read people say that the characters in this film

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Speaker 1: are essentially ciphers. You don't need to really think too

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Speaker 1: long and hard about who they are and why they're

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Speaker 1: doing what they're doing.

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Speaker 3: It's not entirely wrong. They're almost like pieces being used

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Speaker 3: in the little diorama play.

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Speaker 1: Yeah. but still top billing and in many ways are

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Speaker 1: our main protagonists though i feel like the film kind

401
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Speaker 1: of abandons them later on we have christopher george playing

402
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Speaker 1: peter bell a journalist or specifically a rough around the

403
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Speaker 1: edges uh almost noir as cigar smoking reporter i don't

404
00:22:24,390 --> 00:22:26,830
Speaker 1: know he's not really noir but you know he's very

405
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Speaker 1: much that kind of like bad guy cut corners uh

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Speaker 1: probably womanizing report.

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Speaker 4: Yeah.

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Speaker 3: He's a wily street smart rascal.

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Speaker 4: Yeah.

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Speaker 1: Yeah.

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Speaker 4: It is.

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Speaker 1: We were talking about this earlier in the week. It

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Speaker 1: is an unintentionally hilarious performance.

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Speaker 3: Oh my God. It's so often whenever he had a line,

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Speaker 3: whatever it was, I ended up laughing. Yeah.

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Speaker 1: There's a line later on in the picture where he's

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Speaker 1: traveling with Mary to Dunwich to, you know, to get

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Speaker 1: to the bottom of things. And she's brought up the

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Speaker 1: importance of all saints day and all in first of all, he,

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Speaker 1: he mentions all saints day and talks about it as

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Speaker 1: if it is something that women just made up and

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Speaker 1: he's just completely dismissive of it. Like you'd never heard

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Speaker 1: of it before. And then he, he says something about

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Speaker 1: chasing your galloping cadavers. It's just, oh man, it's so,

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Speaker 1: it's so rich. It's so wonderful. Yeah. Uh, so cheesy, but, um, still, uh,

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Speaker 1: if to give Christopher George credit, you know, this was

427
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Speaker 1: a solid, um, actor of the sixties and seventies, especially, um,

428
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Speaker 1: He'd been nominated for a Golden Globe for his work

429
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Speaker 1: on the 67 TV show The Rat Patrol. Other major

430
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Speaker 1: credits include 1966's El Dorado and 1970's Chisholm. He's one

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Speaker 1: of those actors who is clearly more at home in

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Speaker 1: a Western or a cop drama. But he also acted

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Speaker 1: in his share of horror and genre films, including 76's Grizzly,

434
00:23:47,910 --> 00:23:52,530
Speaker 1: 77's Day of the Animals, 81's Graduation Day, and Enter

435
00:23:52,550 --> 00:23:56,070
Speaker 1: the Ninja. And in 1982, he was in Pieces and Mortuary.

436
00:23:56,510 --> 00:23:57,450
Speaker 3: Have you seen Pieces?

437
00:23:58,150 --> 00:24:01,580
Speaker 1: Yes, it's been a while. That's from a director we've

438
00:24:01,600 --> 00:24:02,520
Speaker 1: discussed on the show before.

439
00:24:02,820 --> 00:24:04,020
Speaker 3: Yeah, Juan Piquero Simon.

440
00:24:04,359 --> 00:24:07,540
Speaker 1: Yeah, yeah, yeah. So we may come back to Pieces,

441
00:24:07,700 --> 00:24:09,920
Speaker 1: or if not Pieces, we might do his film Slugs.

442
00:24:11,680 --> 00:24:13,580
Speaker 1: Both of those have a, I'm not going to say

443
00:24:14,040 --> 00:24:16,840
Speaker 1: a special place in my heart, but I have definite

444
00:24:16,900 --> 00:24:17,480
Speaker 1: memories of them.

445
00:24:17,800 --> 00:24:21,480
Speaker 3: Yeah, Pieces isn't the most pleasant, but it has things

446
00:24:21,540 --> 00:24:23,310
Speaker 3: about it that are pretty interesting.

447
00:24:23,350 --> 00:24:24,379
Speaker 1: It's nutty. It is nutty.

448
00:24:24,930 --> 00:24:28,910
Speaker 3: It's trying to be a version of the Texas Chainsaw Massacre,

449
00:24:28,970 --> 00:24:32,050
Speaker 3: but set in an urban setting, like on a college campus.

450
00:24:32,710 --> 00:24:32,950
Speaker 4: Yeah.

451
00:24:34,590 --> 00:24:38,869
Speaker 1: Yeah, it's a lot. So Christopher George here rather famously

452
00:24:38,990 --> 00:24:42,730
Speaker 1: did not get along with the director, Lucio Fulci, though

453
00:24:42,760 --> 00:24:45,720
Speaker 1: to be sure, Fulci had a very strong reputation as

454
00:24:45,800 --> 00:24:51,119
Speaker 1: being just difficult to work with if you were an actor.

455
00:24:52,119 --> 00:24:55,520
Speaker 1: Harsh on his actors. If we're being generous here, he's, he's,

456
00:24:55,800 --> 00:25:00,119
Speaker 1: you would not say that he was an actor's director. Um, and, uh,

457
00:25:00,220 --> 00:25:02,739
Speaker 1: I don't know, there are various ways to cut that apart. Um,

458
00:25:03,400 --> 00:25:05,169
Speaker 1: you know, you might say that he didn't respect his

459
00:25:05,310 --> 00:25:07,790
Speaker 1: actors or maybe he didn't understand the craft of acting

460
00:25:07,850 --> 00:25:11,109
Speaker 1: as much, or maybe he really did sort of see

461
00:25:11,130 --> 00:25:14,530
Speaker 1: them as a necessary evil for telling his stories. Uh,

462
00:25:14,630 --> 00:25:18,250
Speaker 1: so you can easily imagine how, you know, how an

463
00:25:18,369 --> 00:25:20,910
Speaker 1: actor who just, uh, you know, like Christopher George comes

464
00:25:20,950 --> 00:25:24,760
Speaker 1: onto a project like this and ends up clashing, numerous

465
00:25:24,800 --> 00:25:28,740
Speaker 1: times with Fulci over various things. Like one of the

466
00:25:28,780 --> 00:25:33,260
Speaker 1: things they apparently clashed on over was whether his character, Peter,

467
00:25:33,600 --> 00:25:37,680
Speaker 1: would smoke inside a church. And Fulci was like, absolutely not.

468
00:25:38,160 --> 00:25:41,350
Speaker 1: And George was like, no, this is America. My character

469
00:25:41,369 --> 00:25:43,550
Speaker 1: would smoke in a church. And it was apparently a

470
00:25:43,570 --> 00:25:44,510
Speaker 1: big blow up over that.

471
00:25:45,070 --> 00:25:47,910
Speaker 3: Interesting. I can feel that kind of tension between them

472
00:25:48,970 --> 00:25:54,190
Speaker 3: just with Christopher George's on-screen demeanor. But Yeah, thinking about

473
00:25:54,810 --> 00:26:00,050
Speaker 3: Fulci having a lot of conflicts with actors, this is

474
00:26:00,130 --> 00:26:02,170
Speaker 3: maybe reading too much into things because I'm not an

475
00:26:02,770 --> 00:26:07,340
Speaker 3: expert on Fulci's psychology or biography, but what little I

476
00:26:07,880 --> 00:26:10,760
Speaker 3: know about him, I almost get the sense that he

477
00:26:10,820 --> 00:26:14,419
Speaker 3: would wish there to be a kind of psychic photography

478
00:26:14,480 --> 00:26:18,340
Speaker 3: where he could just put his imagination directly onto film

479
00:26:18,920 --> 00:26:23,070
Speaker 3: and thus dealing with actors like other people and personalities

480
00:26:23,150 --> 00:26:27,030
Speaker 3: getting in between your ability to realize exactly what you

481
00:26:27,090 --> 00:26:29,750
Speaker 3: want in the film, like could be frustrating.

482
00:26:30,450 --> 00:26:33,670
Speaker 1: Yeah. Yeah. Like I've heard accounts where people talk about,

483
00:26:33,930 --> 00:26:35,689
Speaker 1: you know, other people involved in the project about how

484
00:26:35,710 --> 00:26:37,590
Speaker 1: he would get there and he'd know exactly how he

485
00:26:37,630 --> 00:26:40,530
Speaker 1: wanted to frame a shot. Uh, he'd know exactly what

486
00:26:40,550 --> 00:26:42,810
Speaker 1: he wanted to get. So it was like, there were

487
00:26:42,830 --> 00:26:45,230
Speaker 1: so many aspects of the filmmaking process where he had

488
00:26:45,320 --> 00:26:48,720
Speaker 1: much more control over what he was getting. And maybe

489
00:26:48,760 --> 00:26:51,610
Speaker 1: with actors, um, you know, if he got on set

490
00:26:51,670 --> 00:26:53,869
Speaker 1: and suddenly the actor said, Hey, I've got some ideas

491
00:26:53,910 --> 00:26:56,530
Speaker 1: for my character. Fulci was just not the sort of

492
00:26:56,570 --> 00:27:00,590
Speaker 1: director to welcome that sort of thing. Like that's just

493
00:27:00,710 --> 00:27:03,570
Speaker 1: one more, again, one more roadblock to him realizing the

494
00:27:03,609 --> 00:27:04,880
Speaker 1: vision in his head. Yeah.

495
00:27:04,910 --> 00:27:06,520
Speaker 3: But I mean, in some ways you could just think

496
00:27:06,630 --> 00:27:09,820
Speaker 3: that film is not a great medium for an artist

497
00:27:09,859 --> 00:27:12,480
Speaker 3: of that kind. A film is inherently collaborative.

498
00:27:12,640 --> 00:27:13,260
Speaker 1: Yeah.

499
00:27:13,300 --> 00:27:16,389
Speaker 3: So it, you know, it's, if you have that kind

500
00:27:16,430 --> 00:27:18,850
Speaker 3: of artistic personality, it's like going to be hard to

501
00:27:18,910 --> 00:27:21,189
Speaker 3: work in film. You're always going to be having this issue.

502
00:27:21,840 --> 00:27:24,230
Speaker 1: Yeah. I mean, of course that's one of the, the,

503
00:27:24,440 --> 00:27:26,520
Speaker 1: the collaborative aspect of it. That's one of the things

504
00:27:26,560 --> 00:27:29,900
Speaker 1: that often makes behind the scenes stories interesting, not just

505
00:27:29,940 --> 00:27:33,659
Speaker 1: the clashes, but the compromises, uh, or the cases where

506
00:27:34,260 --> 00:27:36,540
Speaker 1: the actor that's bringing the ideas, there are a lot

507
00:27:36,560 --> 00:27:38,280
Speaker 1: of bad ideas they're bringing. And then how does the

508
00:27:38,320 --> 00:27:42,580
Speaker 1: director sort of navigate that and, and sort of, uh,

509
00:27:43,320 --> 00:27:47,040
Speaker 1: even manipulate their way into getting the best possible performance.

510
00:27:47,740 --> 00:27:51,050
Speaker 3: On the other hand, I am aware that Fulci had

511
00:27:51,070 --> 00:27:54,030
Speaker 3: a reputation for having certain actors that he liked to

512
00:27:54,070 --> 00:27:58,310
Speaker 3: work with again and again. Wasn't Catriona McCall in multiple

513
00:27:58,330 --> 00:27:59,530
Speaker 3: of his Gates of Hell movies?

514
00:28:00,070 --> 00:28:02,750
Speaker 1: Yeah, she's in all three. Okay, yeah. Yeah, so she

515
00:28:02,790 --> 00:28:07,389
Speaker 1: plays Mary Woodhouse in this, born 1954, British-born ballet dancer

516
00:28:07,430 --> 00:28:10,300
Speaker 1: turned actor. Yeah, and she's in City of the Living Dead,

517
00:28:10,320 --> 00:28:13,930
Speaker 1: The Beyond, and House by the Cemetery. And she's often

518
00:28:13,970 --> 00:28:18,440
Speaker 1: been referred to as one of Fulci's favorites. She's said

519
00:28:18,480 --> 00:28:21,119
Speaker 1: in interviews that it was perhaps because she really did

520
00:28:21,180 --> 00:28:24,560
Speaker 1: recognize the serious aspects of his films and leaned hard

521
00:28:24,619 --> 00:28:28,640
Speaker 1: into the emotional depths of those scenes. Maybe she got

522
00:28:28,720 --> 00:28:33,050
Speaker 1: Fulci's work on a level that other actors didn't. Maybe

523
00:28:33,070 --> 00:28:35,689
Speaker 1: some actors thought they were above doing a horror film

524
00:28:35,730 --> 00:28:38,040
Speaker 1: and so forth. or they were green and they didn't

525
00:28:38,060 --> 00:28:40,680
Speaker 1: know what they were doing. And Fulci maybe probably didn't

526
00:28:40,700 --> 00:28:43,160
Speaker 1: have as much time for that sort of thing. But

527
00:28:43,200 --> 00:28:45,240
Speaker 1: she's also pointed out that like, Hey, I might've been

528
00:28:45,280 --> 00:28:48,500
Speaker 1: one of his favorites, but he still blasted me with

529
00:28:48,680 --> 00:28:54,200
Speaker 1: a maggot filled vacuum cleaner for this movie. So, so

530
00:28:54,240 --> 00:28:57,430
Speaker 1: being Fulci's favorite doesn't necessarily mean that you're going to

531
00:28:57,450 --> 00:28:58,650
Speaker 1: have an easy time on the set.

532
00:28:59,090 --> 00:29:03,570
Speaker 3: But it still like, I can see why she's great

533
00:29:03,610 --> 00:29:06,550
Speaker 3: for these projects because she, uh, she's very good in

534
00:29:06,610 --> 00:29:09,450
Speaker 3: this movie in the sense that any actor can be

535
00:29:09,490 --> 00:29:13,820
Speaker 3: good in this movie, uh, because she is not like,

536
00:29:13,860 --> 00:29:17,740
Speaker 3: she's not approaching it ironically. She's not like going for laughs.

537
00:29:17,800 --> 00:29:21,240
Speaker 3: She's taking the role seriously. And she's also not half-assing it.

538
00:29:21,320 --> 00:29:22,440
Speaker 3: She's like all in.

539
00:29:22,460 --> 00:29:22,540
Speaker 4: Yeah.

540
00:29:23,000 --> 00:29:26,360
Speaker 1: Yeah. And I, I, I think that was the reason,

541
00:29:26,540 --> 00:29:29,480
Speaker 1: one of the reasons that, that full, she really liked her. Uh,

542
00:29:29,560 --> 00:29:31,530
Speaker 1: and she's great in, All right, we have some other

543
00:29:31,570 --> 00:29:36,730
Speaker 1: humans here. We also have the character Jerry, played by

544
00:29:36,830 --> 00:29:42,290
Speaker 1: Carlo Di Mezzo, lived 1945 through 2015, an Italian actor

545
00:29:42,410 --> 00:29:46,100
Speaker 1: born into show business, musician father, actress mother, whose breakthrough

546
00:29:46,130 --> 00:29:49,020
Speaker 1: role was the role of a male prostitute in Pasolini's

547
00:29:49,760 --> 00:29:53,580
Speaker 1: Teorema from 1968. That was a film that starred Terrence Stamp.

548
00:29:55,060 --> 00:29:55,840
Speaker 3: He worked for Zod.

549
00:29:56,220 --> 00:29:59,800
Speaker 1: Yeah, yeah. This was back when Terrence Stamp was, he

550
00:29:59,860 --> 00:30:02,600
Speaker 1: had a number of very, there are a few Terrence

551
00:30:02,620 --> 00:30:05,880
Speaker 1: Stamp films on my list of possible Weird House selections

552
00:30:05,920 --> 00:30:08,300
Speaker 1: for the future. He did some very interesting European films.

553
00:30:09,880 --> 00:30:14,010
Speaker 1: But anyway, Carlo here worked with Fulci on three different movies.

554
00:30:14,090 --> 00:30:19,190
Speaker 1: So Fulci apparently didn't hate him. There was this, 81's

555
00:30:19,230 --> 00:30:22,950
Speaker 1: House by the Cemetery, and also 82's Manhattan Baby. And

556
00:30:22,990 --> 00:30:24,990
Speaker 1: in general, this guy has a pretty nice footprint in

557
00:30:25,050 --> 00:30:28,910
Speaker 1: Italian B-cinema. His other credits include 72's The Dead Are Alive,

558
00:30:29,530 --> 00:30:33,370
Speaker 1: like that title, 75's The Net, and the 1980 alien

559
00:30:33,430 --> 00:30:34,670
Speaker 1: knockoff Contamination.

560
00:30:35,470 --> 00:30:41,590
Speaker 3: Ah, I mainly know of that one because a sample

561
00:30:41,670 --> 00:30:44,230
Speaker 3: from the audio of that film, I believe I'm thinking

562
00:30:44,280 --> 00:30:47,500
Speaker 3: of the right movie, is used in a track from

563
00:30:47,780 --> 00:30:50,220
Speaker 3: the uh from a recent album by the band blood

564
00:30:50,300 --> 00:30:52,660
Speaker 3: incantation are you do you know what i'm talking i

565
00:30:53,000 --> 00:30:55,020
Speaker 3: feel like i sent this to you it's like a

566
00:30:55,140 --> 00:30:57,680
Speaker 3: metal album that has some tangerine dream in it.

567
00:30:57,880 --> 00:31:00,110
Speaker 1: Yes yes i like that release quite a bit i've

568
00:31:00,140 --> 00:31:03,210
Speaker 1: listened to that a few times and i've actually watched

569
00:31:03,270 --> 00:31:05,370
Speaker 1: part of contamination i it's one of those i need

570
00:31:05,390 --> 00:31:07,990
Speaker 1: to come back to okay wasn't the film's fault it

571
00:31:08,030 --> 00:31:10,670
Speaker 1: was my fault i just didn't finish it but i think.

572
00:31:10,570 --> 00:31:14,500
Speaker 3: I have a memory of uh letterboxd reviews for that film,

573
00:31:15,080 --> 00:31:17,100
Speaker 3: many of which were along the lines of the best

574
00:31:17,160 --> 00:31:18,660
Speaker 3: part was when people exploded.

575
00:31:18,980 --> 00:31:23,650
Speaker 1: Yes. Yeah, it was a little slow. But, you know,

576
00:31:24,650 --> 00:31:26,070
Speaker 1: I didn't watch the whole thing and I do hate

577
00:31:26,090 --> 00:31:28,070
Speaker 1: it when I don't. Usually I hate it when I

578
00:31:28,130 --> 00:31:32,560
Speaker 1: don't finish a movie. There are exceptions. Oh, Carlo DiMaggio

579
00:31:32,600 --> 00:31:36,680
Speaker 1: was also in a 1970 anti-drug movie called Microscopic Liquid

580
00:31:36,740 --> 00:31:40,380
Speaker 1: Subway to Oblivion. I glanced at this. Looks like you

581
00:31:40,400 --> 00:31:43,860
Speaker 1: can watch this online. It at least looks like one

582
00:31:43,880 --> 00:31:48,940
Speaker 1: of these anti-drug movies that is also very psychedelic. It's

583
00:31:48,980 --> 00:31:51,880
Speaker 1: filmmaking style. So it raises some questions.

584
00:31:52,100 --> 00:31:54,300
Speaker 3: It's probably made by people taking a lot of drugs.

585
00:31:55,340 --> 00:32:00,970
Speaker 1: I think some people have given that exact review of it. Anyway,

586
00:32:01,050 --> 00:32:07,430
Speaker 1: I like Carlo in this. He's sort of our third-tier protagonist,

587
00:32:07,530 --> 00:32:11,690
Speaker 1: third-tier lead character. But I also get the impression that

588
00:32:11,770 --> 00:32:15,510
Speaker 1: Fulci liked this guy much more than he liked Christopher

589
00:32:15,530 --> 00:32:18,790
Speaker 1: George and was probably at one point like, actually, George,

590
00:32:18,970 --> 00:32:21,410
Speaker 1: you're done. I'm killing your character off. We're going with

591
00:32:21,470 --> 00:32:23,570
Speaker 1: this guy. He gets the girl. He gets to be

592
00:32:24,130 --> 00:32:25,990
Speaker 1: in the final scene. Yeah.

593
00:32:26,060 --> 00:32:28,880
Speaker 3: So there are sort of four main characters of the movie.

594
00:32:28,920 --> 00:32:31,000
Speaker 3: I would say it's these three we've just mentioned. And

595
00:32:31,060 --> 00:32:34,040
Speaker 3: then also Sandra played by Janet Agron. Would you agree? Yeah.

596
00:32:34,360 --> 00:32:39,870
Speaker 1: Yeah, yeah. Sandra is also important. And we've mentioned Janet

597
00:32:39,980 --> 00:32:42,790
Speaker 1: Agren before on the show. She was born in 1949

598
00:32:42,790 --> 00:32:45,970
Speaker 1: and she was in Hands of Steel from 1986 from

599
00:32:46,010 --> 00:32:51,610
Speaker 1: Sergio Martino, the post-apocalyptic cyborg action film. She was a

600
00:32:51,630 --> 00:32:54,830
Speaker 1: Swedish model turned actor who appeared in 1985's Red Sonja

601
00:32:55,450 --> 00:32:58,070
Speaker 1: and a number of other genre films, including 88's Ratman.

602
00:32:59,270 --> 00:33:02,250
Speaker 3: I had completely forgotten about this, but you reminded me,

603
00:33:02,350 --> 00:33:05,670
Speaker 3: digging up our old notes from Hands of Steel, that

604
00:33:05,760 --> 00:33:11,400
Speaker 3: Janet Agron was the actress who did that absolutely bizarre

605
00:33:11,480 --> 00:33:14,040
Speaker 3: Italian disco song called Teddy Bear.

606
00:33:14,060 --> 00:33:14,220
Speaker 1: Yes.

607
00:33:14,240 --> 00:33:17,980
Speaker 3: I wonder if we can get a little sample of that.

608
00:33:18,250 --> 00:33:22,470
Speaker 1: My little teddy bear. Give me, give me teddy, teddy,

609
00:33:22,510 --> 00:33:24,050
Speaker 1: my teddy bear.

610
00:33:24,150 --> 00:33:26,650
Speaker 2: Give me, give me teddy, teddy, my teddy bear.

611
00:33:27,800 --> 00:33:30,780
Speaker 3: Gimme, gimme, teddy, teddy, my teddy bear. I kind of

612
00:33:30,820 --> 00:33:33,240
Speaker 3: feel like this song could do things to you that

613
00:33:33,370 --> 00:33:37,750
Speaker 3: that happened to the characters in Gates of Hell. You know,

614
00:33:37,790 --> 00:33:40,610
Speaker 3: you're listening to this enough and eventually there is full

615
00:33:40,750 --> 00:33:42,390
Speaker 3: on like intestinal amnesis.

616
00:33:42,710 --> 00:33:45,650
Speaker 1: Yeah, it might be the sort of troubling idea that

617
00:33:45,690 --> 00:33:47,810
Speaker 1: awakens something like this for sure.

618
00:33:48,090 --> 00:33:49,990
Speaker 3: Yeah, that way lies madness.

619
00:33:50,650 --> 00:33:54,469
Speaker 1: Let's see. Oh, another fun, fun connection here. We have

620
00:33:54,490 --> 00:33:58,190
Speaker 1: a character in this film called Bob. This is no relation,

621
00:33:58,210 --> 00:34:01,500
Speaker 1: I assume, to the Bob in House by the Cemetery

622
00:34:01,540 --> 00:34:02,500
Speaker 1: who is a small child.

623
00:34:02,700 --> 00:34:05,700
Speaker 3: I had the same question. I don't think that makes

624
00:34:05,780 --> 00:34:06,300
Speaker 3: any sense.

625
00:34:06,580 --> 00:34:06,940
Speaker 1: No.

626
00:34:07,320 --> 00:34:09,380
Speaker 3: No, just happens to be two different Bobs.

627
00:34:09,660 --> 00:34:13,609
Speaker 1: Yeah. But this Bob is like an older, I guess

628
00:34:13,630 --> 00:34:17,410
Speaker 1: he's a sex criminal. There's a lot of dirt talking

629
00:34:17,810 --> 00:34:20,170
Speaker 1: about Bob, and I'm not sure how much of it

630
00:34:20,230 --> 00:34:23,029
Speaker 1: we're supposed to believe, how much of it is true. is,

631
00:34:23,340 --> 00:34:25,660
Speaker 1: is like is accurate and how much of it is just, Hey,

632
00:34:25,700 --> 00:34:27,780
Speaker 1: we hate the local weirdo. Yeah.

633
00:34:27,920 --> 00:34:32,120
Speaker 3: He, so he's presented as a creep and he sometimes

634
00:34:32,320 --> 00:34:35,200
Speaker 3: looks creepy. I'm trying to remember, maybe this will come

635
00:34:35,260 --> 00:34:36,960
Speaker 3: up in the plot section. I don't remember now. Does

636
00:34:37,000 --> 00:34:40,259
Speaker 3: he actually like hurt anybody in the movie? I don't know.

637
00:34:40,280 --> 00:34:42,460
Speaker 1: I think they just talk about it and where any

638
00:34:42,640 --> 00:34:46,480
Speaker 1: looks creepy at times. So again, this is, this is

639
00:34:46,520 --> 00:34:49,060
Speaker 1: not one of those films where, where you can really

640
00:34:49,100 --> 00:34:50,989
Speaker 1: feel like you're supposed to feel one way or another.

641
00:34:51,010 --> 00:34:54,759
Speaker 3: Um, I guess I can't tell if he's actually dangerous

642
00:34:54,840 --> 00:34:57,500
Speaker 3: or if he is being persecuted. And the movie maybe

643
00:34:57,540 --> 00:34:58,840
Speaker 3: doesn't fully resolve that.

644
00:34:59,180 --> 00:34:59,379
Speaker 4: Right.

645
00:34:59,400 --> 00:35:02,930
Speaker 1: And the film doesn't give us enough ammo to really

646
00:35:03,010 --> 00:35:03,930
Speaker 1: lean one way or another.

647
00:35:04,230 --> 00:35:04,410
Speaker 2: Yeah.

648
00:35:05,230 --> 00:35:08,330
Speaker 1: But he is played by Giovanni Radici, who lived 1954

649
00:35:08,330 --> 00:35:13,070
Speaker 1: through 2023. We previously talked about him in our episode

650
00:35:13,230 --> 00:35:17,230
Speaker 1: on Cannibal Apocalypse, which was partially filmed in Decatur, Georgia.

651
00:35:17,310 --> 00:35:21,140
Speaker 1: So another Italian Georgia zombie movie.

652
00:35:21,610 --> 00:35:22,390
Speaker 3: Hometown favorite.

653
00:35:22,410 --> 00:35:25,790
Speaker 1: Yeah. I want to see all Italian zombie films that

654
00:35:25,810 --> 00:35:28,390
Speaker 1: were made in at least partially in Georgia. Now I

655
00:35:28,430 --> 00:35:30,569
Speaker 1: feel like I have, I have a responsibility to do so.

656
00:35:30,890 --> 00:35:33,989
Speaker 3: But so this was the same year as cannibal apocalypse.

657
00:35:34,260 --> 00:35:34,680
Speaker 1: Yeah.

658
00:35:34,820 --> 00:35:35,060
Speaker 3: Yeah.

659
00:35:35,060 --> 00:35:35,319
Speaker 4: 1980. Yeah.

660
00:35:35,640 --> 00:35:38,700
Speaker 3: So he was, he was getting around working Italian actor

661
00:35:38,760 --> 00:35:40,140
Speaker 3: working in Georgia that year.

662
00:35:40,500 --> 00:35:42,120
Speaker 1: Yeah. Yeah.

663
00:35:42,219 --> 00:35:42,419
Speaker 4: Yeah.

664
00:35:42,480 --> 00:35:44,980
Speaker 1: Radici was indeed an Italian actor, played a lot of

665
00:35:45,000 --> 00:35:48,799
Speaker 1: sleazebags and monsters. Uh, his credits include Fulci city of

666
00:35:48,860 --> 00:35:52,110
Speaker 1: the living dead, of course, uh, Joe D'Amato's Cannibal Love

667
00:35:52,170 --> 00:35:56,850
Speaker 1: alongside George Eastman, Michael Suave's The Church from 1989, and

668
00:35:57,870 --> 00:36:01,390
Speaker 1: Umberto Lindsay's Cannibal Ferox, a film that proudly boasted that

669
00:36:01,410 --> 00:36:03,720
Speaker 1: it was banned in 31 countries. Okay.

670
00:36:04,340 --> 00:36:07,340
Speaker 3: I didn't verify the story for myself, but I believe

671
00:36:07,600 --> 00:36:09,259
Speaker 3: my friend and I were talking about this and he

672
00:36:09,280 --> 00:36:12,400
Speaker 3: was saying, is there some kind of story where Fulci

673
00:36:12,460 --> 00:36:15,020
Speaker 3: was mad at this guy because he was too handsome

674
00:36:15,239 --> 00:36:17,140
Speaker 3: for the role he was supposed to play? He's like,

675
00:36:17,560 --> 00:36:19,760
Speaker 3: you are too good looking. I will make you hideous.

676
00:36:20,610 --> 00:36:20,810
Speaker 4: Yeah.

677
00:36:21,010 --> 00:36:23,450
Speaker 1: Yeah. I read that he was or I heard in

678
00:36:23,510 --> 00:36:25,200
Speaker 1: one of the extras that he was supposed to be

679
00:36:25,239 --> 00:36:28,960
Speaker 1: a hunchback. This character was. And instead of having a hunch,

680
00:36:29,000 --> 00:36:32,220
Speaker 1: he just supposedly walks a little stiffly in some scenes.

681
00:36:32,760 --> 00:36:36,180
Speaker 1: But otherwise, yeah, he doesn't look like like a like

682
00:36:36,219 --> 00:36:40,660
Speaker 1: a Paul Nash character or anything. So I can see where, OK,

683
00:36:40,680 --> 00:36:42,620
Speaker 1: this whole idea that like the locals are saying, oh,

684
00:36:42,640 --> 00:36:46,120
Speaker 1: that's Bob. He's he's responsible for all these crimes. That

685
00:36:46,140 --> 00:36:47,859
Speaker 1: would almost make more sense if we were going with

686
00:36:47,900 --> 00:36:51,160
Speaker 1: this sort of stereotypical hunchback outsider sort of a thing.

687
00:36:51,489 --> 00:36:55,730
Speaker 1: But instead, he just looks like a slightly coked up

688
00:36:55,790 --> 00:36:59,930
Speaker 1: young Robert De Niro, which is like maybe that's a

689
00:36:59,950 --> 00:37:02,509
Speaker 1: reason to blame the local crimes on him. But but

690
00:37:02,550 --> 00:37:03,610
Speaker 1: maybe it's just happenstance.

691
00:37:03,770 --> 00:37:06,710
Speaker 3: I mean, he's like really in the film. They make

692
00:37:06,750 --> 00:37:09,009
Speaker 3: him up to look really pale with circles under his

693
00:37:09,190 --> 00:37:11,009
Speaker 3: eyes and greasy hair.

694
00:37:11,310 --> 00:37:13,890
Speaker 1: But everybody in this film looks like that at one point. Yeah.

695
00:37:14,460 --> 00:37:18,430
Speaker 3: Everybody except Christopher George, who's always suave and dashed.

696
00:37:18,469 --> 00:37:22,010
Speaker 1: That's right, yeah. He's always leathered and ready for action.

697
00:37:22,790 --> 00:37:25,510
Speaker 1: All right, let's move on to a few other supporting characters.

698
00:37:26,150 --> 00:37:31,290
Speaker 1: We have Fabrizio Jovine playing Father Thomas. Age unknown on

699
00:37:31,330 --> 00:37:34,320
Speaker 1: this actor, but I think he's still out there, still active.

700
00:37:35,219 --> 00:37:38,879
Speaker 1: This is the character we were alluding to earlier that

701
00:37:39,080 --> 00:37:43,819
Speaker 1: may or may not be our chief antagonist. He is...

702
00:37:44,440 --> 00:37:49,009
Speaker 1: a priest who has committed suicide in a graveyard and

703
00:37:49,070 --> 00:37:52,350
Speaker 1: in doing so has at least helped open the gates

704
00:37:52,390 --> 00:37:52,710
Speaker 1: of hell.

705
00:37:53,110 --> 00:37:56,750
Speaker 3: That has, that has something to do with the opening

706
00:37:56,770 --> 00:37:57,489
Speaker 3: of the gates of hell.

707
00:37:57,550 --> 00:38:00,880
Speaker 1: Yeah. It creates like the legal loophole through which the

708
00:38:00,940 --> 00:38:03,560
Speaker 1: gates may open. We don't know. We'll get into this later,

709
00:38:03,600 --> 00:38:07,160
Speaker 1: but he has a recurring role. He's almost, I kind

710
00:38:07,180 --> 00:38:09,719
Speaker 1: of thought of him in terms of the character we

711
00:38:09,739 --> 00:38:13,860
Speaker 1: would get many years later. of the chief Cenobite from Hellraiser.

712
00:38:13,900 --> 00:38:17,660
Speaker 1: He kind of pops up like that, but sometimes more as, again,

713
00:38:17,719 --> 00:38:20,820
Speaker 1: as a symbol as opposed to a character. Like sometimes

714
00:38:21,300 --> 00:38:22,690
Speaker 1: he'll just pop in on his noose.

715
00:38:23,870 --> 00:38:27,630
Speaker 3: Yeah, exactly. He's not, well, much like the lead Cenobite,

716
00:38:27,930 --> 00:38:30,250
Speaker 3: he just stands there to like look at you and

717
00:38:30,350 --> 00:38:33,509
Speaker 3: talk while the horrors are unfolding. And he might not talk.

718
00:38:33,550 --> 00:38:36,550
Speaker 3: He might just literally hang from a noose. The Cenobite

719
00:38:36,590 --> 00:38:38,759
Speaker 3: does talk. The priest does not talk.

720
00:38:39,020 --> 00:38:39,160
Speaker 4: Yeah.

721
00:38:39,420 --> 00:38:43,940
Speaker 1: He just looks at you with those eyes. So this actor,

722
00:38:44,520 --> 00:38:48,739
Speaker 1: definitely a memorable presence, despite the lack of lines. His

723
00:38:48,780 --> 00:38:52,850
Speaker 1: other credits, though, include Fulci's The Psychic from 79 and

724
00:38:52,890 --> 00:38:56,210
Speaker 1: 1980's The Day Christ Died, in which he plays Philip.

725
00:38:57,150 --> 00:39:01,590
Speaker 1: All right, another actor we have, Daniela Doria, age-unknown horror

726
00:39:01,650 --> 00:39:04,610
Speaker 1: actress who appeared as a victim in House by the Cemetery.

727
00:39:04,969 --> 00:39:08,580
Speaker 1: She's also in Fulci's The Black Cat from 82 and

728
00:39:08,640 --> 00:39:11,359
Speaker 1: The New York Ripper from 82. She has a big

729
00:39:11,440 --> 00:39:14,299
Speaker 1: scene in this film, a big special effects scene, one

730
00:39:14,320 --> 00:39:17,100
Speaker 1: we have already alluded to and we'll come back to

731
00:39:17,140 --> 00:39:23,570
Speaker 1: in a bit. It involves guts. We mentioned Michael Suave,

732
00:39:24,030 --> 00:39:27,170
Speaker 1: who would go on to direct Cemetery Man and The

733
00:39:27,210 --> 00:39:31,020
Speaker 1: Church and so forth. He popped up in Absurd, which

734
00:39:31,040 --> 00:39:32,680
Speaker 1: we talked about last year. Oh, yeah.

735
00:39:32,880 --> 00:39:34,000
Speaker 3: He was in that as an actor?

736
00:39:34,440 --> 00:39:36,240
Speaker 1: Yeah, he was in it as an actor and also

737
00:39:36,340 --> 00:39:40,230
Speaker 1: motorcycle provider. Oh, that's right. I don't think he was

738
00:39:40,290 --> 00:39:44,350
Speaker 1: able to bring his motorcycle on the flight to Atlanta

739
00:39:44,430 --> 00:39:46,509
Speaker 1: and then bring it on, I guess, the bus to

740
00:39:46,530 --> 00:39:49,810
Speaker 1: Savannah or however they did it. But he has a

741
00:39:49,850 --> 00:39:53,629
Speaker 1: minor character here as a victim. And he does get

742
00:39:53,670 --> 00:39:54,850
Speaker 1: his brain opened up.

743
00:39:55,430 --> 00:39:58,310
Speaker 3: Is he also the mask guy in Demons?

744
00:39:58,430 --> 00:39:58,690
Speaker 1: He is.

745
00:39:58,710 --> 00:39:59,549
Speaker 3: I think that's right.

746
00:39:59,770 --> 00:39:59,969
Speaker 2: Yeah.

747
00:40:00,070 --> 00:40:04,430
Speaker 1: In fact, that is, I think, still his IMDb photo

748
00:40:04,550 --> 00:40:07,360
Speaker 1: is him from that movie with that metal mask. I

749
00:40:07,400 --> 00:40:09,540
Speaker 1: think he had a motorcycle in that one. That one

750
00:40:09,600 --> 00:40:12,480
Speaker 1: was definitely bring your motorcycle to work. Swapping.

751
00:40:13,130 --> 00:40:17,410
Speaker 3: Now this movie has a grave digger scene to rival Shakespeare.

752
00:40:17,550 --> 00:40:18,410
Speaker 3: I would argue.

753
00:40:20,130 --> 00:40:22,469
Speaker 1: Yeah. It's such a, such a terrible and trashy scene,

754
00:40:22,530 --> 00:40:24,650
Speaker 1: but I had to look these guys up and I

755
00:40:24,690 --> 00:40:27,589
Speaker 1: was not disappointed. There's, there's two guys. There's a blonde

756
00:40:27,630 --> 00:40:29,950
Speaker 1: guy and another guy. The blonde grave digger is played

757
00:40:29,989 --> 00:40:34,290
Speaker 1: by cannibal Holocaust actor, Perry per cannon and the other

758
00:40:34,370 --> 00:40:39,580
Speaker 1: by seventies adult film actor, Michael Gaunt. Um, And they're

759
00:40:39,600 --> 00:40:42,100
Speaker 1: discussing pornography briefly whilst digging the grave.

760
00:40:42,120 --> 00:40:45,000
Speaker 3: They're just like shoveling in a cemetery and being like, hey,

761
00:40:45,200 --> 00:40:46,280
Speaker 3: have you heard about sex?

762
00:40:49,300 --> 00:40:52,370
Speaker 1: Yeah, it's terrible. This is one of those scenes where

763
00:40:52,489 --> 00:40:54,549
Speaker 1: I really, I don't know if this was meant to

764
00:40:54,590 --> 00:40:56,810
Speaker 1: be funny or meant to be funny in the way

765
00:40:56,850 --> 00:40:57,610
Speaker 1: that it is funny.

766
00:40:59,780 --> 00:41:00,759
Speaker 3: Sometimes hard to tell.

767
00:41:01,100 --> 00:41:02,860
Speaker 1: All right, a number of folks were involved in the

768
00:41:02,880 --> 00:41:04,950
Speaker 1: special effects, but I do want to call out, this

769
00:41:05,010 --> 00:41:09,469
Speaker 1: is another installment from Gino De Rossi, who lived 1942

770
00:41:09,469 --> 00:41:13,390
Speaker 1: through 2021. He played a key role in bringing to

771
00:41:13,430 --> 00:41:15,790
Speaker 1: life some of the more memorable effects in this film, which,

772
00:41:17,070 --> 00:41:19,420
Speaker 1: looking at some of the extras on the blue underground

773
00:41:19,880 --> 00:41:23,680
Speaker 1: disc for this movie, and they're quite impressive. He was

774
00:41:23,719 --> 00:41:26,980
Speaker 1: talking about getting there, and he had the task of

775
00:41:27,320 --> 00:41:30,780
Speaker 1: figuring out how to bring these ideas together That Fulci

776
00:41:31,040 --> 00:41:33,779
Speaker 1: and the screenwriter brought to the table, you know, and

777
00:41:33,800 --> 00:41:37,170
Speaker 1: there would be things like we need a window to

778
00:41:37,250 --> 00:41:40,410
Speaker 1: explode and then the glass shards to embed themselves in

779
00:41:40,450 --> 00:41:44,350
Speaker 1: a wall. And then the wall needs to bleed. And and,

780
00:41:44,489 --> 00:41:47,290
Speaker 1: you know, that's a great looking effect. It's an amazing

781
00:41:47,330 --> 00:41:50,620
Speaker 1: looking effect, you know, and it's but it's so perfectly executed.

782
00:41:51,020 --> 00:41:54,529
Speaker 1: You don't necessarily stop and think about that one. And

783
00:41:54,670 --> 00:41:56,609
Speaker 1: think about, oh, what all went into it? It's like

784
00:41:56,790 --> 00:41:59,049
Speaker 1: a week's worth of planning went into it and just

785
00:41:59,570 --> 00:42:03,270
Speaker 1: some amazing details. So this guy was a true master.

786
00:42:03,870 --> 00:42:05,950
Speaker 1: We previously talked about him in our episode on Let

787
00:42:05,989 --> 00:42:09,850
Speaker 1: Sleeping Corpses Lie. And he worked with everyone from Joe

788
00:42:09,870 --> 00:42:13,000
Speaker 1: D'Amato to David Lynch. He was involved in bringing the

789
00:42:13,040 --> 00:42:14,219
Speaker 1: Guild Navigator to life.

790
00:42:15,560 --> 00:42:18,040
Speaker 3: I'm sure in this film, the most common question he

791
00:42:18,080 --> 00:42:21,339
Speaker 3: would get asked is, what's the deal with the Grubnado? Like,

792
00:42:21,420 --> 00:42:23,899
Speaker 3: where is the maggot storm? How did that work?

793
00:42:24,250 --> 00:42:26,050
Speaker 1: And that's amazing, too. But that one is like a

794
00:42:26,090 --> 00:42:29,640
Speaker 1: little more straightforward. It's like, well, you have a high

795
00:42:29,680 --> 00:42:32,500
Speaker 1: powered vacuum cleaner. You put it on reverse and then

796
00:42:32,520 --> 00:42:35,180
Speaker 1: you bring in all the maggots in the world. And

797
00:42:35,320 --> 00:42:40,200
Speaker 1: that's how it comes together. You know, not all the

798
00:42:40,239 --> 00:42:43,219
Speaker 1: effects in this movie are sort of like that blatant there.

799
00:42:43,410 --> 00:42:45,830
Speaker 1: Like I say, there's a there's some excellent use of

800
00:42:45,890 --> 00:42:50,750
Speaker 1: like mixing prosthetic and live action and then cutting it

801
00:42:50,850 --> 00:42:55,590
Speaker 1: just right so that everything feels believable. But yeah, the

802
00:42:55,610 --> 00:42:58,520
Speaker 1: effects in this film are really good. And another great

803
00:42:58,560 --> 00:43:00,020
Speaker 1: thing about this movie is, of course.

804
00:43:00,260 --> 00:43:01,100
Speaker 3: Its music.

805
00:43:01,180 --> 00:43:06,360
Speaker 1: It's a score by Fabio Frizi, born 1951. This is,

806
00:43:06,400 --> 00:43:09,319
Speaker 1: as far as I'm concerned, Italo horror disco at its

807
00:43:09,380 --> 00:43:10,240
Speaker 1: absolute finest.

808
00:43:10,540 --> 00:43:14,180
Speaker 3: Really great. I love the score to this movie. And

809
00:43:14,200 --> 00:43:17,770
Speaker 3: it's varied, you know, a lot of different tones. There

810
00:43:17,830 --> 00:43:21,990
Speaker 3: are parts of it. So, yes, it has the disco elements,

811
00:43:22,050 --> 00:43:26,810
Speaker 3: some with like the Almost the Thing-style thudding bass, that

812
00:43:26,890 --> 00:43:31,550
Speaker 3: sort of ominous driving pulse. So I see disco elements.

813
00:43:31,650 --> 00:43:35,350
Speaker 3: I see more of electronic synth score elements. And then

814
00:43:35,390 --> 00:43:38,920
Speaker 3: there are parts that almost feel like occult folk rock.

815
00:43:39,100 --> 00:43:42,240
Speaker 3: There are parts where it sounds like a pentangle song.

816
00:43:42,280 --> 00:43:45,759
Speaker 3: And I think that, what's her name? Jackie Shee is

817
00:43:45,800 --> 00:43:46,720
Speaker 3: about to come in singing.

818
00:43:46,739 --> 00:43:50,759
Speaker 1: Yeah. Yeah, the score is highly effective, but it's also,

819
00:43:50,820 --> 00:43:55,279
Speaker 1: it's funky, it's brooding, it's surreal and dreamlike. You know,

820
00:43:55,300 --> 00:43:58,160
Speaker 1: some of you out there, your squares might be saying, oh,

821
00:43:58,180 --> 00:44:01,320
Speaker 1: disco's dead, right? No, no, no. Disco is undead, and

822
00:44:01,340 --> 00:44:05,220
Speaker 1: it's coming through your precious guts in this movie. That's good.

823
00:44:05,969 --> 00:44:07,529
Speaker 3: By the way, did I just say, I think I

824
00:44:07,570 --> 00:44:10,910
Speaker 3: accidentally called her Jackie Shee, Jackie McShee of Pentangle, the

825
00:44:10,950 --> 00:44:11,910
Speaker 3: singer in Pentangle.

826
00:44:12,770 --> 00:44:14,750
Speaker 1: This is the British folk band, right? Yeah, yeah.

827
00:44:14,790 --> 00:44:19,299
Speaker 3: With that comparison, I'm thinking particularly of The parts in

828
00:44:19,340 --> 00:44:22,760
Speaker 3: the soundtrack here where like the acoustic guitar, the dissonant

829
00:44:22,800 --> 00:44:24,200
Speaker 3: acoustic guitar riff comes.

830
00:44:26,170 --> 00:44:26,530
Speaker 1: In.

831
00:44:26,910 --> 00:44:28,569
Speaker 3: And you can just imagine she's about to come in

832
00:44:28,610 --> 00:44:33,170
Speaker 3: with the witchy vocals like on the moonlit night. But yeah.

833
00:44:33,210 --> 00:44:35,450
Speaker 1: OK. Yeah, I definitely see what you're saying there. Yeah.

834
00:44:35,790 --> 00:44:36,009
Speaker 4: Yeah.

835
00:44:36,090 --> 00:44:38,430
Speaker 1: And then we do get some just weird. I don't

836
00:44:38,450 --> 00:44:40,359
Speaker 1: know how much of this is the score or just

837
00:44:40,380 --> 00:44:42,160
Speaker 1: the sound design, but we get some like weird sort

838
00:44:42,200 --> 00:44:45,879
Speaker 1: of like a zombie moans thrown at times as well.

839
00:44:46,540 --> 00:44:47,899
Speaker 3: A lot of soundscapes, yeah.

840
00:44:47,920 --> 00:44:51,800
Speaker 1: Yeah, some great soundscapes. And, you know, given that Fabio

841
00:44:51,840 --> 00:44:55,880
Speaker 1: Frizzi worked on several Fulci movies, so he worked on

842
00:44:55,900 --> 00:44:59,180
Speaker 1: The Beyond, Zombie, The Psychic, A Cat in the Brain,

843
00:44:59,290 --> 00:45:02,170
Speaker 1: Manhattan Baby, a couple of his westerns, and then one

844
00:45:02,190 --> 00:45:04,430
Speaker 1: of his action films, I think there's a strong case

845
00:45:04,469 --> 00:45:07,469
Speaker 1: to be made that Frizzi's sound here is just a

846
00:45:07,510 --> 00:45:09,930
Speaker 1: key part of the overall Fulci vibe, you know?

847
00:45:09,969 --> 00:45:13,260
Speaker 3: Yeah, yeah, I agree. Much in the same way that

848
00:45:13,340 --> 00:45:17,970
Speaker 3: I think even though the scores in John Carpenter movies

849
00:45:18,050 --> 00:45:20,109
Speaker 3: do get a lot of attention. I think people still

850
00:45:20,430 --> 00:45:24,109
Speaker 3: underestimate how much the feeling they associate with the John

851
00:45:24,150 --> 00:45:27,799
Speaker 3: Carpenter movie is about the music that like the music

852
00:45:27,880 --> 00:45:30,819
Speaker 3: is almost like half of the effect of a John

853
00:45:30,880 --> 00:45:32,259
Speaker 3: Carpenter film. Yeah.

854
00:45:32,300 --> 00:45:34,800
Speaker 1: It's just such an important part of the flavor. Absolutely.

855
00:45:35,640 --> 00:45:38,020
Speaker 1: So this is one, for example, I've been listening to

856
00:45:38,219 --> 00:45:41,180
Speaker 1: parts of the score for years. Uh, it's, it often

857
00:45:41,219 --> 00:45:45,150
Speaker 1: pops up in mixes, uh, that I listened to. So, uh, yeah, it, it,

858
00:45:45,620 --> 00:45:48,259
Speaker 1: It really it really has a life outside of this movie.

859
00:45:48,640 --> 00:45:51,569
Speaker 1: But it is also clearly an essential part of this movie.

860
00:45:51,890 --> 00:46:02,910
Speaker 3: Yeah. OK, are you ready to talk about the plot?

861
00:46:03,380 --> 00:46:05,739
Speaker 1: Let's talk about the plot of The Living Dead.

862
00:46:05,980 --> 00:46:08,640
Speaker 3: To the extent there is a plot. I think the

863
00:46:08,700 --> 00:46:10,860
Speaker 3: way I want to approach it this time, we'll see

864
00:46:10,900 --> 00:46:13,880
Speaker 3: how it goes. is to narrate the beginning, maybe the

865
00:46:13,920 --> 00:46:17,990
Speaker 3: first third, in some detail, and then kind of summarize

866
00:46:18,070 --> 00:46:20,310
Speaker 3: the rest, and then we can zoom in on some

867
00:46:20,390 --> 00:46:25,810
Speaker 3: particular scenes within that summary. So the film opens with

868
00:46:25,989 --> 00:46:29,250
Speaker 3: a heart-stopping scream in the dark, and then the credits

869
00:46:29,370 --> 00:46:33,430
Speaker 3: play over panning footage of an eerie location. It is

870
00:46:33,510 --> 00:46:37,870
Speaker 3: a hazy, deserted cemetery, clearly in the southern United States.

871
00:46:37,890 --> 00:46:40,270
Speaker 3: You can see Spanish moss hanging from the trees in

872
00:46:40,290 --> 00:46:43,340
Speaker 3: the distance. though I think, again, the story is supposed

873
00:46:43,380 --> 00:46:46,060
Speaker 3: to be somewhere in New England. The music here is

874
00:46:46,100 --> 00:46:48,739
Speaker 3: something we will hear several times in the film. At

875
00:46:48,780 --> 00:46:52,390
Speaker 3: this point, it is a slow, dreadful march with a

876
00:46:52,469 --> 00:46:56,810
Speaker 3: languid beat accented on the snare drum, dark chords, and

877
00:46:56,850 --> 00:46:59,589
Speaker 3: a loopy flanger effect kind of zipping up and down

878
00:46:59,630 --> 00:47:02,830
Speaker 3: throughout the song. And at first, the cemetery appears to

879
00:47:02,870 --> 00:47:06,470
Speaker 3: be completely empty. There's nothing here but headstones and mist.

880
00:47:06,890 --> 00:47:09,880
Speaker 3: But eventually, we see the figure of a man, far

881
00:47:09,960 --> 00:47:12,860
Speaker 3: off in the distance, step out from behind one of

882
00:47:12,880 --> 00:47:16,259
Speaker 3: the larger grave markers. He is dressed in black, and

883
00:47:16,320 --> 00:47:20,640
Speaker 3: he strolls slowly toward the camera. We cut to a close-up,

884
00:47:21,100 --> 00:47:23,040
Speaker 3: and now we can see the man is a priest

885
00:47:23,200 --> 00:47:25,620
Speaker 3: in a black clerical shirt with a white tab collar,

886
00:47:26,100 --> 00:47:29,069
Speaker 3: and he looks morose with red raw skin on the

887
00:47:29,120 --> 00:47:32,930
Speaker 3: undersides of his eyes. And then text on screen tells

888
00:47:33,050 --> 00:47:37,069
Speaker 3: us this is Dunwich. Obviously, again, a nod to Lovecraft.

889
00:47:37,350 --> 00:47:40,650
Speaker 3: I think the Dunwich is all lowercase. Interesting choice on

890
00:47:40,670 --> 00:47:44,790
Speaker 3: the the typeface there. Then the music playing underneath gets

891
00:47:44,830 --> 00:47:47,990
Speaker 3: a new layer. We add in a thin noodling electric

892
00:47:48,010 --> 00:47:51,069
Speaker 3: guitar for a more psychedelic rock layer on top of

893
00:47:51,130 --> 00:47:54,450
Speaker 3: what we're already hearing. And the camera zooms on a

894
00:47:54,510 --> 00:47:59,180
Speaker 3: particular gravestone, which reads, and this is verbatim, the soul

895
00:47:59,260 --> 00:48:04,259
Speaker 3: that pines for eternity shall outspan death. You dweller of

896
00:48:04,320 --> 00:48:07,620
Speaker 3: the twilight void come Dunwich. Yeah.

897
00:48:09,070 --> 00:48:11,910
Speaker 1: This is one that this will reappear at different points

898
00:48:11,989 --> 00:48:14,549
Speaker 1: in the picture. And, um, I'm still trying to figure

899
00:48:14,570 --> 00:48:15,129
Speaker 1: out what it means.

900
00:48:16,450 --> 00:48:19,600
Speaker 3: I mean, I, I like the phrasing, especially the second

901
00:48:19,640 --> 00:48:22,779
Speaker 3: sentence you dweller of the twilight void come done, which

902
00:48:22,840 --> 00:48:26,500
Speaker 3: it feels like it's missing a preposition somewhere or I

903
00:48:26,680 --> 00:48:27,239
Speaker 3: I'm not sure.

904
00:48:27,340 --> 00:48:29,009
Speaker 1: But, uh, yeah, that's what it says.

905
00:48:29,030 --> 00:48:33,330
Speaker 3: Uh, and, uh, then the priest wanders past this gravestone,

906
00:48:33,489 --> 00:48:35,890
Speaker 3: looks up at a branch in one of the trees overhead.

907
00:48:36,250 --> 00:48:39,169
Speaker 3: And then we cut to, now text tells us we're

908
00:48:39,210 --> 00:48:42,710
Speaker 3: in New York City. We drop in on a seance.

909
00:48:43,150 --> 00:48:45,750
Speaker 3: There are several people gathered around a table in a

910
00:48:45,830 --> 00:48:50,400
Speaker 3: dimly lit room, surrounded by black shrouds and flickering candles.

911
00:48:51,000 --> 00:48:54,500
Speaker 3: The people spread their hands flat on the tabletop, and

912
00:48:54,540 --> 00:48:56,739
Speaker 3: a woman from the group appears to be having an

913
00:48:56,800 --> 00:49:00,480
Speaker 3: encounter with a spirit. This woman has a pale face

914
00:49:00,560 --> 00:49:04,589
Speaker 3: with lank, almost wet-looking long hair framing it, I think

915
00:49:04,710 --> 00:49:07,350
Speaker 3: she's supposed to give the impression of someone carrying a

916
00:49:07,410 --> 00:49:13,100
Speaker 3: great mental burden, suffering inside. This is Catriona McCall playing

917
00:49:13,140 --> 00:49:17,630
Speaker 3: Mary Woodhouse. When we first see her, her eyes are

918
00:49:17,910 --> 00:49:21,170
Speaker 3: peeled wide open and she's trembling madly. in terror and awe.

919
00:49:21,590 --> 00:49:25,830
Speaker 3: And she whispers, I see, I see. And then next

920
00:49:25,870 --> 00:49:29,129
Speaker 3: to her at the table, a medium is speaking. And

921
00:49:29,370 --> 00:49:34,030
Speaker 3: the medium says, the contact is entered. The contact, the contact.

922
00:49:34,530 --> 00:49:38,080
Speaker 3: And then we see Mary's vision somewhere else in daylight,

923
00:49:38,260 --> 00:49:41,940
Speaker 3: surrounded by treetops. A hemp noose is thrown over the

924
00:49:41,980 --> 00:49:44,900
Speaker 3: branch of an Oak tree. And then the priest we

925
00:49:44,940 --> 00:49:47,940
Speaker 3: saw from the prologue comes into frame, he slips the

926
00:49:47,980 --> 00:49:50,920
Speaker 3: noose over his head and then drops. Uh, and this

927
00:49:50,980 --> 00:49:53,200
Speaker 3: is when we start to get that, that pretty, uh,

928
00:49:53,400 --> 00:49:55,879
Speaker 3: sick dissonant acoustic guitar riff. The thing I was saying

929
00:49:55,920 --> 00:49:57,640
Speaker 3: sounds like pentangle or something like that.

930
00:49:57,700 --> 00:49:57,960
Speaker 1: Yeah.

931
00:49:58,400 --> 00:50:01,930
Speaker 3: It's great. Uh, so in the vision, the priest has

932
00:50:02,010 --> 00:50:04,910
Speaker 3: hanged himself in the church yard and then the camera

933
00:50:04,930 --> 00:50:08,310
Speaker 3: pans down to the grounds of the cemetery, grassy and

934
00:50:08,370 --> 00:50:12,020
Speaker 3: littered with dead leaves. And from the plot, in front

935
00:50:12,040 --> 00:50:15,360
Speaker 3: of an old tombstone, the earth begins to swell and

936
00:50:15,400 --> 00:50:18,660
Speaker 3: then fold away. And up from the soil rises a

937
00:50:18,960 --> 00:50:23,720
Speaker 3: dead body, dark, rotten, and expressionless, coming back from its

938
00:50:23,820 --> 00:50:25,450
Speaker 3: rest in a mockery of life.

939
00:50:26,130 --> 00:50:29,430
Speaker 1: And we don't know exactly why or how this is occurring.

940
00:50:30,150 --> 00:50:32,390
Speaker 1: This is one of the great sort of cryptic dreamlike

941
00:50:33,550 --> 00:50:37,319
Speaker 1: aspects of this movie is that Is it just this

942
00:50:37,360 --> 00:50:40,489
Speaker 1: disturbing idea itself has opened up the gates of hell?

943
00:50:41,570 --> 00:50:44,969
Speaker 1: Is it some sort of theological legal loophole that allows

944
00:50:44,989 --> 00:50:47,549
Speaker 1: the gates of hell to open? We don't know, and

945
00:50:47,570 --> 00:50:51,370
Speaker 1: we'll never know. We can never fully understand these supernatural mysteries.

946
00:50:52,790 --> 00:50:55,410
Speaker 3: So then Mary, in the room in New York, begins

947
00:50:55,469 --> 00:50:59,250
Speaker 3: to channel a message, or at least describe something. She's gasping,

948
00:50:59,330 --> 00:51:02,700
Speaker 3: and she shouts,' The dead! I see the dead! The

949
00:51:02,760 --> 00:51:05,900
Speaker 3: city of the dead!' and foam drips from her mouth.

950
00:51:06,060 --> 00:51:08,720
Speaker 3: She looks frenzied, and then she lets out a shriek,

951
00:51:08,980 --> 00:51:11,780
Speaker 3: falls away from the table, and collapses on the floor.

952
00:51:12,280 --> 00:51:14,840
Speaker 3: And then lying there on the floor, she's writhing in agony,

953
00:51:15,360 --> 00:51:18,879
Speaker 3: and a bizarre soundscape unfolds. It sounds to me like

954
00:51:18,920 --> 00:51:24,620
Speaker 3: a combination of wind howling, a baby crying, birds chirping,

955
00:51:24,950 --> 00:51:29,149
Speaker 3: and wild animals grunting and making other noises. While she's

956
00:51:29,430 --> 00:51:33,050
Speaker 3: having this attack, We see more visions. The camera pans

957
00:51:33,110 --> 00:51:36,150
Speaker 3: over the Dunwich Cemetery at night now and comes to

958
00:51:36,210 --> 00:51:39,090
Speaker 3: rest again on that headstone with the message we saw earlier.

959
00:51:39,170 --> 00:51:43,480
Speaker 3: You dweller of the twilight void come Dunwich. And suddenly

960
00:51:43,540 --> 00:51:47,860
Speaker 3: we cut to later. Mary's body lies on a couch,

961
00:51:47,980 --> 00:51:52,400
Speaker 3: apparently dead. She's frozen, eyes open, staring at the ceiling,

962
00:51:52,700 --> 00:51:56,190
Speaker 3: not breathing. And there's a guy here holding two fingers

963
00:51:56,230 --> 00:51:59,090
Speaker 3: to her throat and he says, I'm afraid Mary's dead.

964
00:51:59,110 --> 00:51:59,190
Speaker 4: Yeah.

965
00:52:01,020 --> 00:52:05,450
Speaker 3: The medium from the seance then screams, no, and begins

966
00:52:05,530 --> 00:52:08,810
Speaker 3: to sob. And we see the body taken away in

967
00:52:08,850 --> 00:52:12,430
Speaker 3: an ambulance. And then immediately, next thing, police are on

968
00:52:12,450 --> 00:52:16,290
Speaker 3: the scene. They're investigating. And the detective here is so funny.

969
00:52:16,410 --> 00:52:21,810
Speaker 3: He's just so exaggeratedly suspicious of everyone, pacing the room

970
00:52:21,850 --> 00:52:24,910
Speaker 3: in a trench coat, spitting venom at all of the

971
00:52:24,969 --> 00:52:30,630
Speaker 3: traumatized spiritualists. I transcribed his line here. He says, all right,

972
00:52:31,050 --> 00:52:33,900
Speaker 3: maybe I've got no imagination, but your story is a

973
00:52:33,950 --> 00:52:36,580
Speaker 3: little tough to swallow. And then he goes up to

974
00:52:36,719 --> 00:52:38,799
Speaker 3: one random guy in the room. We don't know who

975
00:52:38,820 --> 00:52:40,759
Speaker 3: this guy is or like why he's there, but he

976
00:52:40,800 --> 00:52:42,680
Speaker 3: just goes up to this random guy and gets in

977
00:52:42,700 --> 00:52:47,780
Speaker 3: his face and says, James McLuhan busted twice for peddling

978
00:52:47,820 --> 00:52:51,620
Speaker 3: and possession. And you expect me to believe that Mary

979
00:52:51,700 --> 00:52:54,680
Speaker 3: Woodhouse died out of sheer fright while you were having

980
00:52:54,719 --> 00:53:02,029
Speaker 3: a seance? The guy says, mm-hmm. okay, fellas, you help us.

981
00:53:02,190 --> 00:53:06,290
Speaker 3: We'll help you. What were you on? Coke grass. Where's

982
00:53:06,350 --> 00:53:08,090
Speaker 3: the stash down the toilet?

983
00:53:08,930 --> 00:53:13,340
Speaker 1: Yeah. Yeah. This, this, uh, detective knows that clearly hippies

984
00:53:13,600 --> 00:53:16,459
Speaker 1: is the answer. That's what happened here. Hippies were doing

985
00:53:16,500 --> 00:53:18,350
Speaker 1: drugs and that's all there is to it.

986
00:53:18,760 --> 00:53:23,360
Speaker 3: Mary died of, of, of acute grass exposure. They flushed the,

987
00:53:23,530 --> 00:53:27,900
Speaker 3: they flushed the stash down the toilet. Um, So he

988
00:53:27,980 --> 00:53:31,400
Speaker 3: starts interrogating the medium here, who is named the Great Teresa.

989
00:53:31,420 --> 00:53:35,120
Speaker 3: And they talk about how, according to the Great Teresa,

990
00:53:35,560 --> 00:53:40,280
Speaker 3: Mary died because of a book called the Book of Enoch,

991
00:53:40,460 --> 00:53:44,120
Speaker 3: which they say was written 4,000 years ago. Now, I

992
00:53:44,140 --> 00:53:47,040
Speaker 3: want to note that there is a real ancient text

993
00:53:47,140 --> 00:53:49,910
Speaker 3: called the Book of Enoch, sometimes called the First Enoch,

994
00:53:50,110 --> 00:53:52,970
Speaker 3: I guess because there's more than one. The first Enoch

995
00:53:53,010 --> 00:53:56,160
Speaker 3: is a Jewish apocalyptic text from sometime in the first

996
00:53:56,200 --> 00:53:59,900
Speaker 3: few centuries BCE, so not 4,000 years old, more like two,

997
00:53:59,980 --> 00:54:03,640
Speaker 3: a little more than 2,000 years old. The actual Book

998
00:54:03,660 --> 00:54:06,000
Speaker 3: of Enoch is really interesting. I'd love to find a

999
00:54:06,040 --> 00:54:07,480
Speaker 3: reason to come back and talk about it on the

1000
00:54:07,500 --> 00:54:10,880
Speaker 3: show someday. It's got wild dream visions in it and stuff.

1001
00:54:10,980 --> 00:54:14,600
Speaker 3: One's called The Animal Apocalypse. But as far as I

1002
00:54:14,640 --> 00:54:17,379
Speaker 3: can tell, the Book of Enoch in this movie has

1003
00:54:17,660 --> 00:54:21,440
Speaker 3: no resemblance to and nothing to do with the real text.

1004
00:54:21,620 --> 00:54:24,399
Speaker 1: Yeah, it's more like, say, the Book of Ebeon or

1005
00:54:24,420 --> 00:54:29,680
Speaker 1: the Necronomicon or something from the world of weird fiction.

1006
00:54:30,020 --> 00:54:30,280
Speaker 4: Right.

1007
00:54:30,440 --> 00:54:35,260
Speaker 3: So the great Teresa explains that somehow this 4,000-year-old book

1008
00:54:35,510 --> 00:54:40,130
Speaker 3: described what happened to Mary in every detail in advance.

1009
00:54:40,690 --> 00:54:40,760
Speaker 2: Hmm.

1010
00:54:41,780 --> 00:54:43,540
Speaker 3: I would love to see what the text said. It

1011
00:54:43,700 --> 00:54:46,000
Speaker 3: was like, so there was a seance gathered in New

1012
00:54:46,040 --> 00:54:51,700
Speaker 3: York City. But the detective says to her, lady, you're

1013
00:54:51,800 --> 00:54:55,620
Speaker 3: either on grass or you're pulling my leg. And Teresa

1014
00:54:55,660 --> 00:54:57,930
Speaker 3: says to him, the problem is in your mind, but

1015
00:54:57,989 --> 00:55:01,129
Speaker 3: I'll help you. In the book of Enoch, the killer is,

1016
00:55:01,150 --> 00:55:06,089
Speaker 3: but before she can say, they are interrupted by something.

1017
00:55:06,489 --> 00:55:08,790
Speaker 3: I would love to know how you would describe this, Robin.

1018
00:55:09,090 --> 00:55:10,350
Speaker 1: It's like demon fire.

1019
00:55:10,610 --> 00:55:10,830
Speaker 4: Yeah.

1020
00:55:11,050 --> 00:55:11,370
Speaker 1: Yeah.

1021
00:55:11,710 --> 00:55:15,670
Speaker 3: It's a ball of fire that belches itself out of

1022
00:55:15,770 --> 00:55:18,009
Speaker 3: thin air in the middle of the room, coming up

1023
00:55:18,050 --> 00:55:22,210
Speaker 3: from the floor, rising toward the ceiling, moaning while it rises.

1024
00:55:22,690 --> 00:55:25,669
Speaker 3: And then it reverses the footage and sucks itself back

1025
00:55:25,730 --> 00:55:26,750
Speaker 3: into another dimension.

1026
00:55:26,989 --> 00:55:27,209
Speaker 1: Yeah.

1027
00:55:27,830 --> 00:55:29,950
Speaker 3: Oh, and there's a great point. There's like a uniformed

1028
00:55:30,010 --> 00:55:32,379
Speaker 3: cop next to the detective here. And he points, he says,

1029
00:55:32,469 --> 00:55:36,810
Speaker 3: it came out of the floor. Yeah. And the police ask,

1030
00:55:36,850 --> 00:55:38,810
Speaker 3: you know, they're like, well, what's going on in the

1031
00:55:38,850 --> 00:55:42,969
Speaker 3: apartment below here? Apparently it's just vacant, abandoned apartment. And

1032
00:55:43,030 --> 00:55:46,800
Speaker 3: the detective is enraged. He's like, you know, these fireball

1033
00:55:46,840 --> 00:55:48,940
Speaker 3: belching pranks, they're not going to work on me. I'm

1034
00:55:48,980 --> 00:55:52,839
Speaker 3: going to get to the bottom of this. And Teresa here,

1035
00:55:52,980 --> 00:55:55,760
Speaker 3: I wrote down what she said. This is an exact quote.

1036
00:55:56,540 --> 00:55:58,520
Speaker 3: First of all, she kind of taunts him. She's like,

1037
00:55:58,600 --> 00:56:01,469
Speaker 3: keep refusing the truth if you must. But then she says,

1038
00:56:01,850 --> 00:56:05,430
Speaker 3: at this very precise moment in some other distant town,

1039
00:56:05,940 --> 00:56:08,120
Speaker 3: horrendously awful things are happening.

1040
00:56:09,160 --> 00:56:13,440
Speaker 1: It's true. It's true. Now, for those of you hoping

1041
00:56:13,460 --> 00:56:16,040
Speaker 1: that this film will be a police procedural, we're really

1042
00:56:16,080 --> 00:56:17,720
Speaker 1: not going to see much more from the detectives.

1043
00:56:17,940 --> 00:56:18,339
Speaker 4: Oh yeah.

1044
00:56:18,380 --> 00:56:19,900
Speaker 3: I was thinking the first time I saw this, I

1045
00:56:19,920 --> 00:56:21,480
Speaker 3: was like, okay, here's our main character.

1046
00:56:22,120 --> 00:56:24,860
Speaker 1: But now this, this investigation is going nowhere.

1047
00:56:25,860 --> 00:56:29,339
Speaker 3: Uh, so after this, we smash cut to Bob. What,

1048
00:56:29,480 --> 00:56:32,480
Speaker 3: what can we say about Bob? Uh, You know, actually,

1049
00:56:32,540 --> 00:56:34,920
Speaker 3: I think the first time I saw him, I thought, wait,

1050
00:56:35,020 --> 00:56:37,400
Speaker 3: is this guy a zombie? But no, he is a

1051
00:56:37,580 --> 00:56:42,120
Speaker 3: living human. He is presented as the town creep. I guess,

1052
00:56:42,180 --> 00:56:45,379
Speaker 3: as we mentioned earlier, it's not clear exactly to what

1053
00:56:45,440 --> 00:56:48,920
Speaker 3: extent he is like actually an awful creep or he

1054
00:56:49,020 --> 00:56:52,919
Speaker 3: is being falsely accused and persecuted by the townspeople.

1055
00:56:53,500 --> 00:56:57,320
Speaker 1: Yeah, yeah. But he is definitely made up in almost

1056
00:56:57,360 --> 00:57:01,660
Speaker 1: zombie-like fashion. Or this would be zombie- makeup in many

1057
00:57:01,739 --> 00:57:04,740
Speaker 1: other movies in this film it's not anywhere near gross enough.

1058
00:57:04,900 --> 00:57:08,279
Speaker 3: Right so pale almost like kind of green skin uh

1059
00:57:09,030 --> 00:57:12,290
Speaker 3: greasy hair dark circles under his eyes he looks like

1060
00:57:12,330 --> 00:57:15,630
Speaker 3: he lives on the food that the computer supplies and

1061
00:57:15,670 --> 00:57:18,290
Speaker 3: i have no mouth and i must scream uh like

1062
00:57:18,570 --> 00:57:20,730
Speaker 3: maybe like they only let him sleep for five minutes

1063
00:57:20,770 --> 00:57:23,870
Speaker 3: a week hanging upside down yeah it's pretty rough looking

1064
00:57:24,130 --> 00:57:26,410
Speaker 3: yeah and so when we meet him i guess that's

1065
00:57:26,450 --> 00:57:29,630
Speaker 3: fulci trying to overcompensate for him being too handsome yeah

1066
00:57:30,180 --> 00:57:32,000
Speaker 3: So we meet him standing in the middle of a

1067
00:57:32,080 --> 00:57:35,500
Speaker 3: field with wind whipping crazily around him and the sound

1068
00:57:35,540 --> 00:57:38,580
Speaker 3: of ravens calling from above. And he's staring off into

1069
00:57:38,620 --> 00:57:42,580
Speaker 3: the distance, looking half pitiful, half malicious. Again, he's sort

1070
00:57:42,600 --> 00:57:45,450
Speaker 3: of always balanced right on the edge between being somebody

1071
00:57:45,490 --> 00:57:49,390
Speaker 3: we're afraid for and somebody we're afraid of. And then

1072
00:57:49,610 --> 00:57:52,710
Speaker 3: Bob turns into the wind and walks toward a big

1073
00:57:52,790 --> 00:57:56,290
Speaker 3: wooden house, um, I'm not sure how to describe this building.

1074
00:57:56,330 --> 00:57:58,990
Speaker 3: It's like raised up on beams above the ground. So

1075
00:57:59,010 --> 00:58:01,270
Speaker 3: I guess it's built in a place where flooding is likely.

1076
00:58:02,090 --> 00:58:05,420
Speaker 3: And based on the flora and sandy soil, it looks

1077
00:58:05,460 --> 00:58:08,060
Speaker 3: like a coastal area. So this may be around Savannah.

1078
00:58:09,180 --> 00:58:12,740
Speaker 3: I don't know why, but I was thinking this looks

1079
00:58:12,760 --> 00:58:16,300
Speaker 3: like the service building attached to an abandoned alligator farm.

1080
00:58:17,390 --> 00:58:18,130
Speaker 4: Yeah. Yeah.

1081
00:58:18,610 --> 00:58:20,870
Speaker 3: Well, whatever it is, it does have some stained glass

1082
00:58:20,910 --> 00:58:23,250
Speaker 3: windows that we see later. And whatever it is, it

1083
00:58:23,290 --> 00:58:25,770
Speaker 3: seems to have been left behind by its original owners,

1084
00:58:25,830 --> 00:58:28,430
Speaker 3: and now it belongs to Bob. It's his squatter pad.

1085
00:58:29,200 --> 00:58:34,280
Speaker 3: Bob staggers inside, goes into a room, and finds a

1086
00:58:34,480 --> 00:58:38,780
Speaker 3: deflated blow-up doll of a woman on the floor. And

1087
00:58:38,820 --> 00:58:42,110
Speaker 3: then he tosses it across the room, and it instantly

1088
00:58:42,240 --> 00:58:44,450
Speaker 3: inflates itself, as if by sorcery.

1089
00:58:44,470 --> 00:58:47,170
Speaker 1: Yeah, and I wasn't sure if it was supposed to

1090
00:58:47,210 --> 00:58:50,010
Speaker 1: be sorcery, or if this is something that this doll

1091
00:58:50,050 --> 00:58:51,550
Speaker 1: is supposed to do on its own. I don't know.

1092
00:58:52,590 --> 00:58:55,130
Speaker 3: I don't know. It's like an emergency instant inflate. It's

1093
00:58:55,150 --> 00:58:56,610
Speaker 3: like those, you know, life rafts.

1094
00:58:58,520 --> 00:58:59,120
Speaker 1: I guess so.

1095
00:58:59,140 --> 00:59:04,380
Speaker 3: For emergencies only. Bob makes some creepy faces at the

1096
00:59:04,420 --> 00:59:07,170
Speaker 3: inflatable doll and kind of has himself a little chuckle

1097
00:59:07,390 --> 00:59:10,050
Speaker 3: and then walks up and grabs the doll. But then...

1098
00:59:10,260 --> 00:59:14,560
Speaker 3: looks across the room and sees something horrifying. On the floor,

1099
00:59:14,820 --> 00:59:19,780
Speaker 3: a human-shaped mass of slimy, rotten flesh covered entirely in

1100
00:59:19,920 --> 00:59:25,040
Speaker 3: exposed pink blood vessels and wriggling worms. And Bob is afraid.

1101
00:59:25,560 --> 00:59:28,340
Speaker 1: I have no idea what's going on here. This is

1102
00:59:28,420 --> 00:59:33,080
Speaker 1: definitely dreamlike. disturbing imagery. But I don't know what these

1103
00:59:33,200 --> 00:59:34,400
Speaker 1: two things have to do with each other.

1104
00:59:35,020 --> 00:59:38,000
Speaker 3: We cut away from this. Something else. Let's see something else.

1105
00:59:38,440 --> 00:59:40,160
Speaker 3: Let's go back to New York. Here we meet a

1106
00:59:40,200 --> 00:59:42,740
Speaker 3: new character. Finally, it's time for Peter Bell, played by

1107
00:59:42,780 --> 00:59:48,640
Speaker 3: Christopher George. Bell is sarcastic, streetwise. He's a reporter with

1108
00:59:48,700 --> 00:59:51,540
Speaker 3: a nose for a good story and an amoral skill

1109
00:59:51,600 --> 00:59:55,130
Speaker 3: set for chasing these stories down. He arrives on the

1110
00:59:55,170 --> 00:59:57,590
Speaker 3: scene of the seance death, wanting to get into the

1111
00:59:57,630 --> 01:00:00,370
Speaker 3: apartment to get some more details. He tries to bribe

1112
01:00:00,410 --> 01:00:02,650
Speaker 3: a cop at the door to get in there, but

1113
01:00:03,030 --> 01:00:05,990
Speaker 3: no luck. So no worries, he will find another way

1114
01:00:06,050 --> 01:00:09,050
Speaker 3: to run down this lead. And then we pop away

1115
01:00:09,130 --> 01:00:11,490
Speaker 3: to yet another location that will recur in the film.

1116
01:00:11,550 --> 01:00:15,140
Speaker 3: This time we're at Junie's Lounge, which seems to be

1117
01:00:15,180 --> 01:00:17,720
Speaker 3: the townie bar in Dunwich. Did you get that feeling?

1118
01:00:18,020 --> 01:00:23,130
Speaker 1: Yeah, yeah. This is... The local watering hole. Not a

1119
01:00:23,150 --> 01:00:26,990
Speaker 1: classy place, but this is where life happens.

1120
01:00:27,490 --> 01:00:30,090
Speaker 3: It's got a package shop attached to it, right on

1121
01:00:30,110 --> 01:00:32,960
Speaker 3: the side of the bar. That's an interesting setup.

1122
01:00:34,200 --> 01:00:37,140
Speaker 1: This is, I guess, wherever Dunwich is actually supposed to be.

1123
01:00:37,440 --> 01:00:40,840
Speaker 1: These are the county liquor laws, I guess.

1124
01:00:41,980 --> 01:00:43,860
Speaker 3: What's your read on the food at Junie's? Do you

1125
01:00:43,890 --> 01:00:44,970
Speaker 3: think they have good food there?

1126
01:00:45,770 --> 01:00:48,810
Speaker 1: I think they barely have food. I imagine it's literal

1127
01:00:48,890 --> 01:00:49,650
Speaker 1: packets of peanuts.

1128
01:00:49,960 --> 01:00:54,430
Speaker 3: Yeah, probably. So, yeah, it's in the middle of the afternoon.

1129
01:00:54,450 --> 01:00:57,750
Speaker 3: The bartender is unpacking pallets of canned beer, and two

1130
01:00:57,770 --> 01:01:00,490
Speaker 3: guys are sitting at the bar drinking, I'm going to guess,

1131
01:01:00,570 --> 01:01:04,530
Speaker 3: Miller High Life, and they're talking local gossip. Suddenly, there

1132
01:01:04,590 --> 01:01:07,760
Speaker 3: is a crashing sound, and across the room, a mirror

1133
01:01:07,900 --> 01:01:10,240
Speaker 3: on the wall shatters, and we get a stab of

1134
01:01:10,300 --> 01:01:13,540
Speaker 3: high-pitched tones, and the three men wander over to look

1135
01:01:13,560 --> 01:01:17,490
Speaker 3: at the cracked mirror, and one of the men It says,

1136
01:01:17,530 --> 01:01:21,290
Speaker 3: you know something? Ever since Father Thomas hanged himself, Dunwich

1137
01:01:21,330 --> 01:01:24,870
Speaker 3: ain't been the same. It's kind of scary. So I

1138
01:01:24,910 --> 01:01:28,030
Speaker 3: guess they're attributing the sudden crash and the crack of

1139
01:01:28,050 --> 01:01:31,340
Speaker 3: the mirror to Father Thomas, I suppose.

1140
01:01:31,680 --> 01:01:35,160
Speaker 1: I think just a lot of weird things, unexplainable things

1141
01:01:35,180 --> 01:01:37,180
Speaker 1: have been happening around here. And they're like, it didn't

1142
01:01:37,220 --> 01:01:39,010
Speaker 1: happen before that tragic suicide.

1143
01:01:41,060 --> 01:01:41,540
Speaker 4: Yeah.

1144
01:01:41,580 --> 01:01:43,760
Speaker 3: But the bartender, he tries to calm them. He's like,

1145
01:01:43,880 --> 01:01:46,280
Speaker 3: there's got to be a logical explanation, maybe a truck

1146
01:01:46,360 --> 01:01:49,450
Speaker 3: passing by the vibration. So he's the skeptic of the town.

1147
01:01:49,970 --> 01:01:52,250
Speaker 3: And then one of the bar flies says, you forget

1148
01:01:52,330 --> 01:01:56,270
Speaker 3: who our ancestors were. There will be more on that later.

1149
01:01:56,790 --> 01:01:59,630
Speaker 3: The bartender offers them another round of beers on the house.

1150
01:01:59,770 --> 01:02:02,650
Speaker 3: And then suddenly there's another kind of quake. The earth

1151
01:02:02,710 --> 01:02:05,810
Speaker 3: shakes and the wall splits into a big crack, goes

1152
01:02:05,850 --> 01:02:08,130
Speaker 3: down the cinder block wall from the roof to the floor.

1153
01:02:09,040 --> 01:02:11,720
Speaker 3: And the barflies are both like, well, I got to go.

1154
01:02:11,820 --> 01:02:14,590
Speaker 3: Me too. And they run outside and the bartender is

1155
01:02:14,630 --> 01:02:17,530
Speaker 3: left alone cussing at his wall for being poorly built.

1156
01:02:19,630 --> 01:02:22,890
Speaker 3: Next thing is we cut to a psychiatrist's couch. Here

1157
01:02:22,910 --> 01:02:25,430
Speaker 3: we're going to meet a couple of our other main characters.

1158
01:02:25,870 --> 01:02:29,100
Speaker 3: We meet Sandra, played by Janet Agron, and Jerry, played

1159
01:02:29,140 --> 01:02:34,240
Speaker 3: by Carlo DiMeo. Jerry is a psychiatrist and Sandra is

1160
01:02:34,300 --> 01:02:37,300
Speaker 3: his patient. And she's lying on a couch in his

1161
01:02:37,380 --> 01:02:41,130
Speaker 3: office with talking about her neuroses and obsessions. The core

1162
01:02:41,150 --> 01:02:45,790
Speaker 3: problem is that because of childhood experiences, she now has

1163
01:02:45,850 --> 01:02:49,550
Speaker 3: a hatred of all men. And Sandra comes off as

1164
01:02:49,640 --> 01:02:52,520
Speaker 3: someone who is always a bit spaced out. There's a

1165
01:02:52,560 --> 01:02:55,919
Speaker 3: bit of a Star Wars holiday special aura about her.

1166
01:02:57,040 --> 01:03:01,920
Speaker 3: Jerry is calm, reassuring, and in a way professional, like

1167
01:03:01,940 --> 01:03:04,900
Speaker 3: he's wearing a suede jacket and has a squared off

1168
01:03:04,960 --> 01:03:07,530
Speaker 3: necktie and a beard. And so he, He looks the

1169
01:03:07,550 --> 01:03:12,120
Speaker 3: part of a very professional psychiatrist and therapist, though the

1170
01:03:12,180 --> 01:03:14,960
Speaker 3: way some of his lines are written, they feel like

1171
01:03:15,000 --> 01:03:19,580
Speaker 3: things that are not what a therapist would say. Also,

1172
01:03:20,260 --> 01:03:23,280
Speaker 3: she's like lying there talking about the painful memories of

1173
01:03:23,360 --> 01:03:28,230
Speaker 3: her Freudian complexes from childhood. And Jerry is standing in

1174
01:03:28,270 --> 01:03:31,430
Speaker 3: the office, standing over her, not sitting in a chair,

1175
01:03:31,450 --> 01:03:34,669
Speaker 3: but just standing there like while he's listening. That felt

1176
01:03:34,770 --> 01:03:35,380
Speaker 3: so wrong.

1177
01:03:36,030 --> 01:03:38,750
Speaker 1: I mean, maybe it's a different branch of therapy. This

1178
01:03:38,810 --> 01:03:42,890
Speaker 1: is the looming method. You loom over the subject. I

1179
01:03:42,950 --> 01:03:43,390
Speaker 1: see Dr.

1180
01:03:43,430 --> 01:03:43,840
Speaker 3: Loomis.

1181
01:03:43,860 --> 01:03:45,820
Speaker 1: Do you? Yeah, yeah. There you go. Invented it.

1182
01:03:46,500 --> 01:03:51,120
Speaker 3: Suddenly things get weirder because into the office comes another woman, Emily,

1183
01:03:51,740 --> 01:03:56,420
Speaker 3: interrupting this very personal and intense therapy session. Emily is

1184
01:03:56,480 --> 01:04:00,040
Speaker 3: Jerry's girlfriend and also seems to be a personal friend

1185
01:04:00,080 --> 01:04:02,360
Speaker 3: of Sandra. So she comes in in the middle of

1186
01:04:02,500 --> 01:04:06,490
Speaker 3: like this Freudian monologue and she's like, oh, hi, Sandra. Hey, Emily,

1187
01:04:06,530 --> 01:04:09,910
Speaker 3: how you doing? And Emily has interrupted the appointment to

1188
01:04:09,950 --> 01:04:12,290
Speaker 3: explain to Jerry that she has to break her date

1189
01:04:12,330 --> 01:04:15,010
Speaker 3: with him tonight because she needs to see Bob. And

1190
01:04:15,710 --> 01:04:17,530
Speaker 3: we're thinking, Bob? Yes, Bob.

1191
01:04:17,550 --> 01:04:18,610
Speaker 1: The creep? Yeah.

1192
01:04:18,790 --> 01:04:19,370
Speaker 3: The creep?

1193
01:04:19,490 --> 01:04:19,689
Speaker 1: Yeah.

1194
01:04:19,810 --> 01:04:22,360
Speaker 3: Jerry says, you've been seeing an awful lot of him lately,

1195
01:04:22,410 --> 01:04:26,560
Speaker 3: haven't you? And Emily says, poor Bob. He's a sick

1196
01:04:26,600 --> 01:04:29,390
Speaker 3: and lonely kid. I don't see why people hate him so.

1197
01:04:29,410 --> 01:04:33,390
Speaker 3: I mean, he looks like he's in his 30s, to

1198
01:04:33,430 --> 01:04:35,810
Speaker 3: be clear. Yeah, he doesn't look quite like a kid.

1199
01:04:35,890 --> 01:04:40,700
Speaker 3: But Sandra explains that Bob is discriminated against by the

1200
01:04:40,740 --> 01:04:44,740
Speaker 3: people of Dunwich because his mother was believed to be promiscuous.

1201
01:04:45,220 --> 01:04:48,120
Speaker 3: And they say, in Dunwich, anybody like that is branded

1202
01:04:48,160 --> 01:04:51,940
Speaker 3: a witch. And then Emily, this is weird. Way to

1203
01:04:51,980 --> 01:04:54,840
Speaker 3: go with the conversation. Emily says, look, Sandra, I don't

1204
01:04:54,900 --> 01:04:57,720
Speaker 3: believe those idiots who tell me that our ancestors were

1205
01:04:57,780 --> 01:04:59,450
Speaker 3: Salem witch burners. All right.

1206
01:05:00,870 --> 01:05:03,709
Speaker 1: Weirdly and specifically defensive on that. Okay. Yeah.

1207
01:05:04,530 --> 01:05:08,030
Speaker 3: So, but the suggestion here is that Emily believes that

1208
01:05:08,170 --> 01:05:11,030
Speaker 3: Bob is actually fine. There's nothing wrong with him. He's

1209
01:05:11,070 --> 01:05:13,650
Speaker 3: just being mistreated by the people of the town and

1210
01:05:13,710 --> 01:05:17,220
Speaker 3: she's sort of mentoring him like she's his unofficial social worker.

1211
01:05:18,260 --> 01:05:29,410
Speaker 3: So she leaves to keep her appointment with Bob. So

1212
01:05:29,530 --> 01:05:33,510
Speaker 3: Jerry and Sandra resume their conversation. Sandra says, it's the

1213
01:05:33,570 --> 01:05:36,300
Speaker 3: same old problem. Men, why do they have to make

1214
01:05:36,380 --> 01:05:40,580
Speaker 3: life so difficult? And then suddenly there is a loud

1215
01:05:40,920 --> 01:05:43,660
Speaker 3: wrenching sound that fills the room. And I was thinking,

1216
01:05:43,980 --> 01:05:44,580
Speaker 3: is that men?

1217
01:05:44,800 --> 01:05:45,220
Speaker 1: Is it men?

1218
01:05:45,420 --> 01:05:48,030
Speaker 3: But no, it is not men. It's some kind of

1219
01:05:48,410 --> 01:05:50,910
Speaker 3: supernatural force. This will happen a lot throughout the rest

1220
01:05:50,950 --> 01:05:55,330
Speaker 3: of the movie. Suddenly there's a noise, just a growling

1221
01:05:55,370 --> 01:05:58,990
Speaker 3: of the earth and an animalistic yowling sounds all layered

1222
01:05:59,030 --> 01:06:02,830
Speaker 3: on top of that. And that sound fills the room.

1223
01:06:03,210 --> 01:06:08,000
Speaker 3: Sandra screams. And then a gray kitten, which has, I guess,

1224
01:06:08,040 --> 01:06:10,480
Speaker 3: been sitting in her lap the whole time, but we

1225
01:06:10,500 --> 01:06:13,660
Speaker 3: didn't see it. It yowls and it scratches the back

1226
01:06:13,700 --> 01:06:17,180
Speaker 3: of her hand and runs across the room. And she says, strange.

1227
01:06:17,240 --> 01:06:19,200
Speaker 3: It's the first time he ever acted up like that.

1228
01:06:19,220 --> 01:06:23,430
Speaker 1: Yeah. Well, cats are like that, too. It's the same

1229
01:06:23,470 --> 01:06:27,730
Speaker 1: old problem. Cats. But this is a really cute kitten.

1230
01:06:27,790 --> 01:06:31,310
Speaker 1: I can't stress that enough. Yes. And the scratch that

1231
01:06:31,350 --> 01:06:33,610
Speaker 1: it gives her is super grisly. Like, not so much

1232
01:06:33,650 --> 01:06:36,170
Speaker 1: that it's just completely ridiculous, but it's pretty bloody.

1233
01:06:36,670 --> 01:06:36,930
Speaker 4: Yes.

1234
01:06:37,070 --> 01:06:40,870
Speaker 3: It's like a tiny, adorable gray kitten that left a leopard,

1235
01:06:41,370 --> 01:06:42,950
Speaker 3: you know, gouge on her hand.

1236
01:06:43,030 --> 01:06:45,130
Speaker 1: It's a Fulci scratch for sure. Right.

1237
01:06:46,050 --> 01:06:48,710
Speaker 3: So after this is a great scene, the New York

1238
01:06:48,890 --> 01:06:51,970
Speaker 3: graveyard scene, we're back in New York at a cemetery

1239
01:06:52,010 --> 01:06:54,350
Speaker 3: in the middle of the day, broad daylight. And a

1240
01:06:54,390 --> 01:06:57,420
Speaker 3: couple of workers are sitting at the edge of an

1241
01:06:57,500 --> 01:07:00,760
Speaker 3: open grave, their feet dangling in where you can see

1242
01:07:01,080 --> 01:07:05,800
Speaker 3: just a fleshless bleached skeleton lying exposed at the bottom

1243
01:07:05,820 --> 01:07:09,230
Speaker 3: of the grave. The grave diggers are eating lunch. They're

1244
01:07:09,250 --> 01:07:13,010
Speaker 3: having some sandwiches, having a conversation basically about how it's

1245
01:07:13,070 --> 01:07:14,350
Speaker 3: cool to be a pervert.

1246
01:07:14,670 --> 01:07:14,810
Speaker 4: Yeah.

1247
01:07:15,290 --> 01:07:19,880
Speaker 3: And then suddenly Christopher George is here. So he's, again,

1248
01:07:19,910 --> 01:07:22,840
Speaker 3: this is the character Peter Bell. I like his outfit.

1249
01:07:22,880 --> 01:07:26,180
Speaker 3: He's wearing a cool corduroy blazer. He's got a cigar

1250
01:07:26,260 --> 01:07:29,120
Speaker 3: clenched between his teeth. And he approaches the two guys,

1251
01:07:29,180 --> 01:07:31,450
Speaker 3: and they have a brief disagreement about whether he is

1252
01:07:31,510 --> 01:07:34,790
Speaker 3: allowed to stare into open graves. The workers are like,

1253
01:07:34,830 --> 01:07:35,310
Speaker 3: get out of here.

1254
01:07:35,690 --> 01:07:38,850
Speaker 1: There's just some dignified journalism going on here, just showing

1255
01:07:38,970 --> 01:07:41,690
Speaker 1: up and questioning a couple of grave diggers. Right.

1256
01:07:41,890 --> 01:07:45,810
Speaker 3: So nearby is the freshly dug grave of Mary Woodhouse

1257
01:07:46,330 --> 01:07:49,170
Speaker 3: and her coffin right next to it. We briefly get

1258
01:07:49,190 --> 01:07:52,630
Speaker 3: a glimpse inside the coffin where Mary's body lies peacefully

1259
01:07:52,690 --> 01:07:55,510
Speaker 3: in the dark. And then Peter Bell, he leans on

1260
01:07:55,530 --> 01:07:57,770
Speaker 3: the coffin. He's making notes on his notepad and the

1261
01:07:57,810 --> 01:07:59,910
Speaker 3: two grave diggers come and they shoo him out of

1262
01:07:59,930 --> 01:08:02,280
Speaker 3: the way so they can bury her. So they deposit

1263
01:08:02,300 --> 01:08:04,500
Speaker 3: her coffin on the straps over the pit and then

1264
01:08:04,520 --> 01:08:06,260
Speaker 3: they use the machine to lower it down.

1265
01:08:06,880 --> 01:08:10,620
Speaker 1: Again, I referenced who these individuals were earlier, and I

1266
01:08:10,660 --> 01:08:13,180
Speaker 1: just feel like if I was told, guess which one

1267
01:08:13,200 --> 01:08:16,140
Speaker 1: of these is the professional sex person, I would not

1268
01:08:16,280 --> 01:08:19,099
Speaker 1: choose the guy who actually was. I would have gone

1269
01:08:19,140 --> 01:08:24,670
Speaker 1: with the blonde guy or, of course, our actor, Christopher George, here.

1270
01:08:24,710 --> 01:08:25,610
Speaker 1: But no, it's the other guy.

1271
01:08:26,050 --> 01:08:29,190
Speaker 3: Christopher George, in some stills from this scene, looks like

1272
01:08:29,530 --> 01:08:33,370
Speaker 3: a much more weathered version of Roger Moore.

1273
01:08:33,430 --> 01:08:37,740
Speaker 1: He does. He really does. He's like American... roger moore

1274
01:08:38,020 --> 01:08:39,639
Speaker 1: uh smoking yeah.

1275
01:08:39,460 --> 01:08:43,340
Speaker 3: Yeah so bell watches as the two guys start to

1276
01:08:43,400 --> 01:08:46,710
Speaker 3: shovel dirt uh in to cover the coffin but then

1277
01:08:47,070 --> 01:08:48,990
Speaker 3: when you look at the scene it's like that is

1278
01:08:49,030 --> 01:08:51,530
Speaker 3: a shallow grave the top of the vault is like

1279
01:08:51,689 --> 01:08:54,030
Speaker 3: six inches below the surface.

1280
01:08:54,350 --> 01:08:58,020
Speaker 1: Yeah so some of the extras that i watched regarding

1281
01:08:58,100 --> 01:09:00,840
Speaker 1: making this film alluded to the fact that not only

1282
01:09:00,880 --> 01:09:03,260
Speaker 1: did they need to get permission to film in cemeteries

1283
01:09:03,300 --> 01:09:06,840
Speaker 1: and graveyards for this film, so obviously in the New

1284
01:09:06,860 --> 01:09:10,560
Speaker 1: York area and also in the Savannah area, but for

1285
01:09:10,580 --> 01:09:12,380
Speaker 1: this scene in particular, they also needed to be able

1286
01:09:12,420 --> 01:09:15,630
Speaker 1: to dig a hole. So maybe this was as deep

1287
01:09:15,689 --> 01:09:18,410
Speaker 1: as they were allowed to dig their hole. I believe

1288
01:09:18,470 --> 01:09:21,370
Speaker 1: they'd been kicked out of one cemetery already for digging

1289
01:09:21,430 --> 01:09:23,470
Speaker 1: a hole. I mean, they were supposed to be there,

1290
01:09:23,530 --> 01:09:26,090
Speaker 1: but then some sort of disagreement on how deep they

1291
01:09:26,110 --> 01:09:28,269
Speaker 1: were going to allow them to dig a grave for

1292
01:09:28,290 --> 01:09:29,150
Speaker 1: the shooting of the scene.

1293
01:09:29,470 --> 01:09:32,050
Speaker 3: That makes sense. So while the earth is falling over

1294
01:09:32,110 --> 01:09:35,510
Speaker 3: the top of the coffin, we see inside the coffin again,

1295
01:09:35,630 --> 01:09:38,830
Speaker 3: and a pink rose in Mary's hand begins to wilt suddenly,

1296
01:09:38,930 --> 01:09:43,920
Speaker 3: shedding petals. With the coffin about 10% buried. One of

1297
01:09:43,960 --> 01:09:47,240
Speaker 3: the gravediggers looks at his watch and says, it's five o'clock.

1298
01:09:47,560 --> 01:09:49,540
Speaker 3: We bust our balls enough. Let's go.

1299
01:09:50,900 --> 01:09:52,599
Speaker 1: Didn't they just take a lunch break?

1300
01:09:52,620 --> 01:09:53,200
Speaker 3: They did.

1301
01:09:53,240 --> 01:09:53,519
Speaker 4: Yeah.

1302
01:09:54,200 --> 01:09:57,840
Speaker 3: So they quit. They just walk away. Peter Bell is

1303
01:09:57,880 --> 01:10:00,480
Speaker 3: a little incredulous, but what can he do? It's not

1304
01:10:00,510 --> 01:10:02,310
Speaker 3: like he's going to pick up a shovel and finish

1305
01:10:02,350 --> 01:10:02,910
Speaker 3: burying her.

1306
01:10:02,930 --> 01:10:04,910
Speaker 1: I mean, he seems concerned enough. I was like, is

1307
01:10:04,950 --> 01:10:06,950
Speaker 1: that what he's going to do? Is he going to

1308
01:10:07,010 --> 01:10:07,690
Speaker 1: finish the job?

1309
01:10:08,510 --> 01:10:12,150
Speaker 3: Then once again, we're inside the coffin with Mary and

1310
01:10:12,270 --> 01:10:16,230
Speaker 3: somehow she awakes. She wakes up from the sleep of death.

1311
01:10:16,750 --> 01:10:20,270
Speaker 3: She looks around, realizes she's trapped and begins to panic.

1312
01:10:20,350 --> 01:10:23,010
Speaker 3: She gasps and beats on the inside of the coffin

1313
01:10:23,050 --> 01:10:26,590
Speaker 3: with her fists. She rakes with her nails until her

1314
01:10:26,670 --> 01:10:30,839
Speaker 3: fingers are bloody. And just as Peter Bell is walking

1315
01:10:30,900 --> 01:10:34,910
Speaker 3: away from the cemetery, he stops and thinks he hears

1316
01:10:34,950 --> 01:10:37,990
Speaker 3: something it's very faint especially against the background noise of

1317
01:10:38,010 --> 01:10:41,050
Speaker 3: the traffic in the city but he makes out mary's

1318
01:10:41,210 --> 01:10:44,719
Speaker 3: screams and the thudding from inside the box he says

1319
01:10:44,939 --> 01:10:48,920
Speaker 3: oh my god and then he retrieves a pickaxe then

1320
01:10:49,000 --> 01:10:52,140
Speaker 3: the scene takes a turn so he's i guess he's

1321
01:10:52,180 --> 01:10:54,219
Speaker 3: gonna try to help but the way he's gonna help

1322
01:10:54,360 --> 01:10:57,740
Speaker 3: is he slams the pickaxe into the lid of the

1323
01:10:57,780 --> 01:11:00,950
Speaker 3: coffin just chopping at it And we see from the inside,

1324
01:11:00,990 --> 01:11:04,390
Speaker 3: when it pierces through, it comes centimeters from Mary's face.

1325
01:11:04,770 --> 01:11:08,910
Speaker 1: Yeah. I mean, on one level, you have to admit,

1326
01:11:09,250 --> 01:11:11,830
Speaker 1: sometimes when you do something for the first time, you

1327
01:11:11,850 --> 01:11:15,410
Speaker 1: make really bad choices in how you do it. And

1328
01:11:15,630 --> 01:11:18,510
Speaker 1: I doubt that Peter Bell had ever had to break

1329
01:11:18,570 --> 01:11:22,410
Speaker 1: into a casket before to retrieve somebody who'd been prematurely buried.

1330
01:11:22,810 --> 01:11:25,420
Speaker 1: That's a good point. But that being said, he is

1331
01:11:25,460 --> 01:11:27,880
Speaker 1: bringing this thing down right where her head is going

1332
01:11:27,900 --> 01:11:30,269
Speaker 1: to be. And usually on a casket, I don't remember

1333
01:11:30,290 --> 01:11:32,630
Speaker 1: the details on this one, but you can tell. And

1334
01:11:32,650 --> 01:11:37,229
Speaker 1: this casket's not even in a sarcophagus or anything. Additional questions, again,

1335
01:11:37,650 --> 01:11:41,510
Speaker 1: can't ask too many questions about Fulci dream logic. But

1336
01:11:42,050 --> 01:11:44,979
Speaker 1: this is indeed a terrifying sequence. And I'm to understand,

1337
01:11:45,340 --> 01:11:50,020
Speaker 1: somewhat terrifying to film, especially for the person inside the casket.

1338
01:11:50,060 --> 01:11:52,979
Speaker 1: I'm not saying it was necessarily unsafe or anything. It

1339
01:11:53,040 --> 01:11:55,700
Speaker 1: seems like the crew really knew what they were doing.

1340
01:11:55,820 --> 01:12:00,640
Speaker 1: But it can't help but be terrified. Step one, climb

1341
01:12:00,660 --> 01:12:03,740
Speaker 1: inside this casket. Step two, prepare for things to break

1342
01:12:03,780 --> 01:12:05,260
Speaker 1: through really close to your face.

1343
01:12:05,900 --> 01:12:08,180
Speaker 3: Several times, by the way. He keeps hitting it like

1344
01:12:08,260 --> 01:12:11,100
Speaker 3: four times. Finally, he pries away a big piece of

1345
01:12:11,140 --> 01:12:16,160
Speaker 3: the box and reveals Mary inside, alive and shrieking. Suddenly,

1346
01:12:16,200 --> 01:12:18,540
Speaker 3: we cut to Mary is out of the coffin. She

1347
01:12:18,600 --> 01:12:20,930
Speaker 3: and Peter Bell are hanging out back at the apartment

1348
01:12:20,939 --> 01:12:24,590
Speaker 3: with the great Teresa, the medium. They're all sitting around

1349
01:12:25,090 --> 01:12:28,610
Speaker 3: Teresa starts talking at Bell about her favorite subject, the

1350
01:12:28,630 --> 01:12:30,950
Speaker 3: Book of Enoch. In this scene, we learn a bit

1351
01:12:30,990 --> 01:12:34,269
Speaker 3: more lore. She reiterates that the book was written 4,000

1352
01:12:34,270 --> 01:12:37,469
Speaker 3: years ago. Got that. But then she says it contains, quote,

1353
01:12:37,900 --> 01:12:42,099
Speaker 3: man's first description of his boundless mortal fear in the

1354
01:12:42,180 --> 01:12:46,500
Speaker 3: face of malice itself. And she says it is, quote,

1355
01:12:46,560 --> 01:12:50,320
Speaker 3: the implacable enemy whose thirst for blood is never satiated.

1356
01:12:52,620 --> 01:12:56,229
Speaker 3: seems vague uh then mary begins to explain to him

1357
01:12:56,250 --> 01:12:59,190
Speaker 3: uh what was revealed to her during the seance where

1358
01:12:59,229 --> 01:13:02,309
Speaker 3: she died she says the city of the dead the

1359
01:13:02,410 --> 01:13:05,250
Speaker 3: living dead a cursed city where the gates of hell

1360
01:13:05,350 --> 01:13:09,140
Speaker 3: have been opened and now for some reason here fulci

1361
01:13:09,580 --> 01:13:14,720
Speaker 3: starts showing the characters only as extreme close-ups of their

1362
01:13:15,160 --> 01:13:17,740
Speaker 3: eyes not even going the shot not even going below

1363
01:13:17,780 --> 01:13:21,280
Speaker 3: the nose and I wonder why that is. I don't know,

1364
01:13:21,340 --> 01:13:23,560
Speaker 3: but it's very deliberate, obviously.

1365
01:13:23,580 --> 01:13:26,370
Speaker 1: Yeah, I mean, I guess he's trying to capture, you know,

1366
01:13:26,870 --> 01:13:32,790
Speaker 1: inner emotional reaction to these revelations. Though the weird thing is,

1367
01:13:32,830 --> 01:13:36,370
Speaker 1: of course, these revelations are not completely out of keeping

1368
01:13:36,390 --> 01:13:39,740
Speaker 1: with what we already knew. But, you know, I don't know.

1369
01:13:40,040 --> 01:13:41,620
Speaker 1: Some of this is new material for the characters.

1370
01:13:41,920 --> 01:13:42,100
Speaker 4: Yeah.

1371
01:13:42,620 --> 01:13:45,240
Speaker 3: Mary says she doesn't know where this city is, but

1372
01:13:45,280 --> 01:13:47,620
Speaker 3: she does know what it's called. It's called Dunwich.

1373
01:13:47,640 --> 01:13:48,120
Speaker 1: Dunwich.

1374
01:13:49,250 --> 01:13:52,210
Speaker 3: And then the medium explains the danger. The gates of

1375
01:13:52,250 --> 01:13:56,010
Speaker 3: hell have been opened. If they are left open, it

1376
01:13:56,090 --> 01:13:58,250
Speaker 3: will be the end of the human race. And we

1377
01:13:58,450 --> 01:14:02,259
Speaker 3: only have until the stroke of midnight on the transition

1378
01:14:02,310 --> 01:14:05,180
Speaker 3: to All Saints Day. So that would be midnight on

1379
01:14:05,240 --> 01:14:08,980
Speaker 3: Halloween because November 1st is All Saints Day. So if

1380
01:14:09,020 --> 01:14:11,660
Speaker 3: we don't close the gates of hell by then, they

1381
01:14:11,700 --> 01:14:14,880
Speaker 3: will be stuck open forever and quote, no dead body

1382
01:14:14,939 --> 01:14:17,680
Speaker 3: will ever be able to rest in peace again. and

1383
01:14:17,720 --> 01:14:20,500
Speaker 3: so the dead will rise up and take over the earth.

1384
01:14:21,420 --> 01:14:23,980
Speaker 1: Okay, so first step, they need to find out which

1385
01:14:24,040 --> 01:14:28,680
Speaker 1: Dunwich this is. Is it Dunwich, Texas? Dunwich, Tennessee? Dunwich, Wyoming?

1386
01:14:28,700 --> 01:14:30,730
Speaker 1: You know, presumably there's at least one in every state.

1387
01:14:30,860 --> 01:14:33,510
Speaker 3: It's like Rome or Athens. There's a number of them.

1388
01:14:33,930 --> 01:14:36,370
Speaker 3: So our main characters have a mission now. Peter Bell

1389
01:14:36,510 --> 01:14:38,530
Speaker 3: and Mary Woodhouse are going to do a road trip

1390
01:14:38,590 --> 01:14:41,750
Speaker 3: to Dunwich to close the portal before All Saints Day.

1391
01:14:43,130 --> 01:14:44,880
Speaker 3: So here, I guess, I'm going to try to do

1392
01:14:44,900 --> 01:14:47,840
Speaker 3: a summary of the rest, a brief sketch of the

1393
01:14:47,880 --> 01:14:49,640
Speaker 3: rest of the story, and then we can zoom in

1394
01:14:49,720 --> 01:14:54,800
Speaker 3: on a few things. In Dunwich, increasingly evil and disturbing

1395
01:14:54,900 --> 01:15:00,540
Speaker 3: things happen. There are weird magic murders, insane visions. One

1396
01:15:00,560 --> 01:15:02,560
Speaker 3: of the first things to happen after this is the

1397
01:15:02,640 --> 01:15:06,340
Speaker 3: death of Emily, Jerry's girlfriend, when she goes to visit

1398
01:15:06,420 --> 01:15:11,060
Speaker 3: Bob that night, though she's not killed by Bob. Peter

1399
01:15:11,100 --> 01:15:15,379
Speaker 3: and Mary... Meanwhile, travel to Dunwich to track down the mystery.

1400
01:15:15,840 --> 01:15:17,960
Speaker 3: As they're having their little road trip, there are some

1401
01:15:18,040 --> 01:15:22,420
Speaker 3: wonderful interactions. Christopher George keeps saying things like, I get

1402
01:15:22,460 --> 01:15:24,809
Speaker 3: visions too, you know, just give me a bottle of scotch.

1403
01:15:26,470 --> 01:15:28,570
Speaker 1: Machismo seance there. Right.

1404
01:15:29,090 --> 01:15:31,510
Speaker 3: And at one point they're pulled over on the side

1405
01:15:31,530 --> 01:15:34,050
Speaker 3: of the road looking at a map and Mary says,

1406
01:15:34,210 --> 01:15:37,170
Speaker 3: I'm starved. He goes, there's a lollipop in the glove box.

1407
01:15:38,950 --> 01:15:40,650
Speaker 3: He's like, you're the one who's got me out here

1408
01:15:40,689 --> 01:15:43,590
Speaker 3: in the armpit of the world chasing your galloping cadavers.

1409
01:15:44,030 --> 01:15:46,070
Speaker 1: Oh, God, this is such a great line. And the

1410
01:15:46,110 --> 01:15:48,170
Speaker 1: way he says it, I can't properly replicate it, but

1411
01:15:48,189 --> 01:15:52,630
Speaker 1: it's like galloping cadavers. Yeah. This is right after he

1412
01:15:53,090 --> 01:15:55,530
Speaker 1: seems to have just heard about All Saints Day for

1413
01:15:55,570 --> 01:15:58,070
Speaker 1: the first time. And it's just seems to doubt that

1414
01:15:58,090 --> 01:16:00,790
Speaker 1: this is, again, not something that women just made up.

1415
01:16:01,010 --> 01:16:01,250
Speaker 4: Yeah.

1416
01:16:01,490 --> 01:16:03,330
Speaker 3: All Saints Day, huh?

1417
01:16:03,670 --> 01:16:03,890
Speaker 4: Yeah.

1418
01:16:03,930 --> 01:16:04,190
Speaker 1: What?

1419
01:16:04,810 --> 01:16:07,429
Speaker 3: We meet a few other characters, such as the rest

1420
01:16:07,470 --> 01:16:11,470
Speaker 3: of Emily's family. Again, Emily is Jerry the psychiatrist's girlfriend.

1421
01:16:11,830 --> 01:16:15,500
Speaker 3: We meet her younger brother, John John, who is initiated

1422
01:16:15,560 --> 01:16:18,300
Speaker 3: into the horrors of the film when he sees the

1423
01:16:18,400 --> 01:16:22,059
Speaker 3: rotten ghost of his sister floating outside his bedroom window

1424
01:16:22,120 --> 01:16:23,420
Speaker 3: at night. She looks gross.

1425
01:16:23,800 --> 01:16:26,760
Speaker 1: Yeah, she looks incredible. The lighting on the zombies is

1426
01:16:26,800 --> 01:16:29,200
Speaker 1: terrific in this film. I mean, we have different types.

1427
01:16:29,360 --> 01:16:32,340
Speaker 1: We did see one of the older bodies rising almost

1428
01:16:32,400 --> 01:16:35,930
Speaker 1: immediately after the priest's suicide, but The ones we're encountering

1429
01:16:35,990 --> 01:16:39,929
Speaker 1: increasingly later on in the picture are these fresher, rotting,

1430
01:16:40,210 --> 01:16:44,570
Speaker 1: disgusting looking zombie corpses. And yeah, the lighting is great.

1431
01:16:44,610 --> 01:16:48,580
Speaker 1: Gives them this real brooding appearance. And the energy of

1432
01:16:48,620 --> 01:16:51,100
Speaker 1: the dead in this film will, I'm sure, keep coming

1433
01:16:51,140 --> 01:16:54,240
Speaker 1: back to this. But these are not your sort of

1434
01:16:54,280 --> 01:16:57,160
Speaker 1: like mindless, you know, me want brain zombies.

1435
01:16:57,460 --> 01:16:57,840
Speaker 4: No.

1436
01:16:57,920 --> 01:17:02,190
Speaker 1: These zombies seem to be like staring blankly out. Like

1437
01:17:02,229 --> 01:17:04,820
Speaker 1: there's a, There's an intelligence on the other side. Maybe

1438
01:17:04,840 --> 01:17:07,860
Speaker 1: it's just one intelligence. Maybe it's this void dweller that's

1439
01:17:07,880 --> 01:17:14,270
Speaker 1: been referred to. But they stare at us with some

1440
01:17:14,310 --> 01:17:17,590
Speaker 1: sort of almost at times unreadable what they actually want.

1441
01:17:17,750 --> 01:17:19,970
Speaker 1: But they don't intend anything good for us. That's for sure.

1442
01:17:20,270 --> 01:17:23,870
Speaker 3: No, it is meaningful and it is cruel. To quote

1443
01:17:23,890 --> 01:17:27,070
Speaker 3: a film title, the feeling is the dead hate the living.

1444
01:17:27,380 --> 01:17:27,640
Speaker 4: Yes.

1445
01:17:27,910 --> 01:17:30,160
Speaker 1: Yeah. I also thought of that film title. I have

1446
01:17:30,200 --> 01:17:33,510
Speaker 1: not seen it. I haven't either. But it's such a

1447
01:17:33,550 --> 01:17:35,760
Speaker 1: great title that I think works so well with what

1448
01:17:35,800 --> 01:17:38,939
Speaker 1: we see here. The zombies do hate us. We don't

1449
01:17:38,960 --> 01:17:42,400
Speaker 1: understand all the parameters of that hate, but it's palpable.

1450
01:17:43,200 --> 01:17:47,010
Speaker 3: So, Sandra, played by Janet Agron, she keeps having visions

1451
01:17:47,070 --> 01:17:49,650
Speaker 3: of death and corpses, and so she recruits Jerry the

1452
01:17:49,670 --> 01:17:54,059
Speaker 3: psychiatrist to help her out. Eventually, our four main characters die.

1453
01:17:54,500 --> 01:17:57,640
Speaker 3: join forces they meet up in the cursed cemetery they

1454
01:17:57,680 --> 01:18:00,410
Speaker 3: start to compare notes at least until they're caught in

1455
01:18:00,450 --> 01:18:05,210
Speaker 3: a maggot storm zombie Emily attacks and kills her family

1456
01:18:05,290 --> 01:18:08,550
Speaker 3: except for her brother John John who escapes the house

1457
01:18:08,590 --> 01:18:12,379
Speaker 3: with the help of our main heroes after this Sandra

1458
01:18:12,720 --> 01:18:15,080
Speaker 3: tries to take John John I think to some relatives

1459
01:18:15,140 --> 01:18:18,960
Speaker 3: but she gets killed by zombie Emily in the process

1460
01:18:19,100 --> 01:18:20,960
Speaker 3: in a murder method we will see quite a few

1461
01:18:21,000 --> 01:18:24,430
Speaker 3: times in this film The cranial grip and rip. I'm

1462
01:18:24,490 --> 01:18:27,910
Speaker 3: going to discuss more about that in a minute. John

1463
01:18:27,950 --> 01:18:29,990
Speaker 3: John runs away through the streets. He goes down some

1464
01:18:30,030 --> 01:18:33,700
Speaker 3: very nice exorcist stairs and ends up in the custody

1465
01:18:33,720 --> 01:18:38,120
Speaker 3: of the police. The undead and magic murder attacks continue

1466
01:18:38,140 --> 01:18:40,900
Speaker 3: throughout the town. Eventually we hear on a radio broadcast

1467
01:18:40,920 --> 01:18:44,030
Speaker 3: that a state of emergency has been declared by the police.

1468
01:18:44,050 --> 01:18:46,050
Speaker 3: So I guess like, I don't know, news at the

1469
01:18:46,110 --> 01:18:49,790
Speaker 3: events of dunwich have gotten to the governor uh and

1470
01:18:50,010 --> 01:18:54,880
Speaker 3: as midnight draws near mary peter and jerry go back

1471
01:18:54,910 --> 01:18:57,660
Speaker 3: to the cemetery where father thomas the priest from the

1472
01:18:57,680 --> 01:19:00,740
Speaker 3: monologue died to find a way to stop the invasion

1473
01:19:00,760 --> 01:19:03,760
Speaker 3: of the living dead They open up a tomb, which

1474
01:19:03,820 --> 01:19:06,380
Speaker 3: looks like it's just a box on the surface that

1475
01:19:06,420 --> 01:19:08,260
Speaker 3: looks like it would have a coffin in it. But

1476
01:19:08,300 --> 01:19:10,690
Speaker 3: instead they open it up and it's a portal to

1477
01:19:10,729 --> 01:19:14,889
Speaker 3: this underground cavern. So they descend to go down some

1478
01:19:14,930 --> 01:19:18,710
Speaker 3: ladders and find inside the tomb of Father Thomas himself.

1479
01:19:19,370 --> 01:19:22,140
Speaker 3: They open that up and that's yet another portal crawl

1480
01:19:22,160 --> 01:19:26,220
Speaker 3: through there to find this putrid underground world of the

1481
01:19:26,280 --> 01:19:31,150
Speaker 3: dead where. in some places, corpses are part of the architecture.

1482
01:19:31,189 --> 01:19:34,660
Speaker 3: They're poking out from the ceiling like ornaments. I was

1483
01:19:34,700 --> 01:19:37,979
Speaker 3: thinking of it as almost a zombie hive or nest.

1484
01:19:38,540 --> 01:19:42,880
Speaker 1: Yeah, it really does have that kind of vibe. Terrific set.

1485
01:19:42,900 --> 01:19:45,750
Speaker 1: I believe this is one that they built in Rome. And,

1486
01:19:45,790 --> 01:19:48,650
Speaker 1: you know, lighting is amazing. On one level, you could say,

1487
01:19:48,670 --> 01:19:50,729
Speaker 1: all right, this is supposed to be underneath a graveyard

1488
01:19:50,750 --> 01:19:54,480
Speaker 1: that's just choked with human remains and they're just pushing

1489
01:19:54,520 --> 01:19:57,799
Speaker 1: down from above but also at the same time equally

1490
01:19:57,880 --> 01:20:01,620
Speaker 1: likely and maybe even probable this feels like another world

1491
01:20:01,680 --> 01:20:03,550
Speaker 1: like this is the world of the dead this is

1492
01:20:03,600 --> 01:20:07,930
Speaker 1: a true underworld and given again the dreamlike nature of

1493
01:20:07,970 --> 01:20:11,090
Speaker 1: the film you can't say it's necessarily one or the

1494
01:20:11,130 --> 01:20:12,450
Speaker 1: other it's probably all of these things at.

1495
01:20:12,470 --> 01:20:17,759
Speaker 3: Once yeah So down here, Sandra reappears and then unceremoniously

1496
01:20:17,840 --> 01:20:20,600
Speaker 3: kills Christopher George. She does the grip and rip on

1497
01:20:20,640 --> 01:20:22,760
Speaker 3: his head. It feels almost like they were trying to

1498
01:20:22,800 --> 01:20:24,580
Speaker 3: get it over with as fast as they could.

1499
01:20:24,600 --> 01:20:29,380
Speaker 1: This really felt like Fulci firing the actor and saying,

1500
01:20:29,600 --> 01:20:31,599
Speaker 1: you know, you were supposed to survive to the end,

1501
01:20:31,660 --> 01:20:34,090
Speaker 1: but I don't like you. Your character dies here and

1502
01:20:34,110 --> 01:20:35,250
Speaker 1: gets his brain ripped out.

1503
01:20:35,630 --> 01:20:35,830
Speaker 4: Yeah.

1504
01:20:36,410 --> 01:20:38,700
Speaker 1: Or part of the brain. That's the gross thing about it.

1505
01:20:38,750 --> 01:20:40,530
Speaker 1: It's like, it's not like a full on, like, I

1506
01:20:40,590 --> 01:20:42,550
Speaker 1: just pulled your brain out. It's just like, I just

1507
01:20:42,590 --> 01:20:45,380
Speaker 1: kind of like, ripped a portion of your scalp and

1508
01:20:45,460 --> 01:20:49,100
Speaker 1: skull open, and then brains kind of just inadvertently get

1509
01:20:49,420 --> 01:20:53,000
Speaker 1: partially scraped out and spilled out onto the ground. They

1510
01:20:53,020 --> 01:20:55,180
Speaker 1: don't even eat any of it. Yeah, yeah.

1511
01:20:56,000 --> 01:20:59,620
Speaker 3: So Mary and Jerry, the two remaining heroes, venture further

1512
01:20:59,660 --> 01:21:03,330
Speaker 3: into Grave World. Oh, well, they stab Sandra, I think.

1513
01:21:04,390 --> 01:21:07,710
Speaker 3: I think Jerry stabs her with a big pole, like

1514
01:21:08,150 --> 01:21:13,830
Speaker 3: a big iron spike, to stop her from making... It's

1515
01:21:13,890 --> 01:21:16,280
Speaker 3: implied that she's going to kill Mary in the same

1516
01:21:16,340 --> 01:21:18,420
Speaker 3: way that we see another character die in one of

1517
01:21:18,460 --> 01:21:21,559
Speaker 3: the scenes. I'll describe in more detail in a minute. But,

1518
01:21:21,600 --> 01:21:23,800
Speaker 3: you know, her eyes get kind of bloody and it's like, oh,

1519
01:21:23,880 --> 01:21:28,130
Speaker 3: and so Jerry intervenes by stabbing Sandra. Mary and Jerry,

1520
01:21:28,870 --> 01:21:32,689
Speaker 3: they finally come across the reanimated corpse of Father Thomas,

1521
01:21:32,770 --> 01:21:35,890
Speaker 3: the priest. But did he ever really die? Unclear. He

1522
01:21:35,930 --> 01:21:40,120
Speaker 3: doesn't look rotten like the other corpses. but he seems

1523
01:21:40,300 --> 01:21:43,160
Speaker 3: to be, we were discussing earlier, is there actually a

1524
01:21:43,340 --> 01:21:46,979
Speaker 3: villain of this film? Is Father Thomas the villain or

1525
01:21:47,040 --> 01:21:51,030
Speaker 3: is he being acted on by this evil magic? I

1526
01:21:51,050 --> 01:21:51,889
Speaker 3: couldn't quite tell.

1527
01:21:51,910 --> 01:21:54,350
Speaker 1: Like, is he a focal point? Is he again like

1528
01:21:54,410 --> 01:21:58,349
Speaker 1: a legal loophole? Is he, has he become the host

1529
01:21:58,510 --> 01:22:02,320
Speaker 1: for this void dweller that's been alluded to? Unclear, unknowable.

1530
01:22:02,700 --> 01:22:05,260
Speaker 3: But he seems to be at least the, Yeah, he's

1531
01:22:05,820 --> 01:22:08,340
Speaker 3: the vanguard of the army of the living dead, whether

1532
01:22:08,380 --> 01:22:11,180
Speaker 3: that's because of the malice of the original person in

1533
01:22:11,220 --> 01:22:15,380
Speaker 3: some way or his body's just being used. Anyway, Mary

1534
01:22:15,400 --> 01:22:18,740
Speaker 3: and Jerry manage to sort of defeat the priest with

1535
01:22:18,760 --> 01:22:22,080
Speaker 3: a move that has to be seen to be believed.

1536
01:22:22,220 --> 01:22:24,640
Speaker 3: We'll talk about it in a bit. But then everything

1537
01:22:24,660 --> 01:22:27,140
Speaker 3: catches on fire. All the zombies catch on fire and

1538
01:22:27,180 --> 01:22:31,120
Speaker 3: our two heroes escape the tomb. They crawl out in

1539
01:22:31,140 --> 01:22:33,820
Speaker 3: the daylight and you think, OK, well, evil seems to

1540
01:22:33,860 --> 01:22:37,360
Speaker 3: be averted. But the ending is quite ambiguous. As morning

1541
01:22:37,400 --> 01:22:40,840
Speaker 3: is breaking, we see the police arriving at the cemetery.

1542
01:22:41,020 --> 01:22:43,660
Speaker 3: How they knew to come there, I don't recall. And

1543
01:22:43,700 --> 01:22:46,809
Speaker 3: we see Emily's younger brother, John John, and she runs

1544
01:22:46,950 --> 01:22:50,370
Speaker 3: toward Mary. I don't know why, as if they're like,

1545
01:22:50,610 --> 01:22:53,590
Speaker 3: you know, people who know each other and they're being reunited,

1546
01:22:53,630 --> 01:22:55,650
Speaker 3: but they don't know each other at all. But he's

1547
01:22:55,750 --> 01:22:58,610
Speaker 3: running toward her. And then we see Emily's face and

1548
01:22:58,630 --> 01:23:01,170
Speaker 3: she's like, oh no. And she starts to scream like

1549
01:23:01,210 --> 01:23:03,270
Speaker 3: something terrible has happened, but we don't see what it

1550
01:23:03,310 --> 01:23:06,500
Speaker 3: would be. And so the ending is totally ambiguous. I

1551
01:23:06,500 --> 01:23:07,700
Speaker 3: have no idea what it means.

1552
01:23:07,760 --> 01:23:10,300
Speaker 1: Yeah, things slow down and then we get this kind

1553
01:23:10,320 --> 01:23:15,180
Speaker 1: of animated like spider web shattering of the film frame. Yeah.

1554
01:23:15,320 --> 01:23:21,260
Speaker 1: And that ends the film. And it is absolutely impossible

1555
01:23:21,320 --> 01:23:24,650
Speaker 1: to read. I mean, already to your point, it's already

1556
01:23:24,729 --> 01:23:27,680
Speaker 1: weird that he's like, new mom, new dad, you know,

1557
01:23:27,700 --> 01:23:32,360
Speaker 1: like the irresistible gravity of a post-horror movie newly formed

1558
01:23:32,400 --> 01:23:35,200
Speaker 1: nuclear family of survivors, you know, like he's like, you're

1559
01:23:35,229 --> 01:23:36,670
Speaker 1: my mom and dad now, let's do this.

1560
01:23:37,130 --> 01:23:40,189
Speaker 3: He does know Jerry, they already know, but he doesn't know.

1561
01:23:40,110 --> 01:23:43,730
Speaker 1: Her at all. Yeah. So there's that for sure, but

1562
01:23:43,750 --> 01:23:48,019
Speaker 1: that is way overshadowed by this, yeah, this sudden weird ending,

1563
01:23:48,070 --> 01:23:50,639
Speaker 1: which I don't know that it's ever been fully explained.

1564
01:23:50,680 --> 01:23:53,719
Speaker 1: Maybe there's a more recent extra or interview where someone

1565
01:23:53,760 --> 01:23:56,000
Speaker 1: sheds more light on this, but When I was reading

1566
01:23:56,040 --> 01:23:58,120
Speaker 1: about it, it seemed like there were a few different theories. Like,

1567
01:23:58,900 --> 01:24:03,060
Speaker 1: they shot a happy ending, and then Fulci decided he

1568
01:24:03,560 --> 01:24:06,780
Speaker 1: wanted more of a gloomy ending instead, and they just

1569
01:24:06,820 --> 01:24:09,480
Speaker 1: had to fix it in the edit. Or there was

1570
01:24:09,540 --> 01:24:13,170
Speaker 1: something that was shot that was lost, that was inadvertently destroyed.

1571
01:24:13,189 --> 01:24:15,830
Speaker 1: You know, coffee spilled on the film or something. I

1572
01:24:15,870 --> 01:24:20,490
Speaker 1: don't know. But it really does have that feeling of

1573
01:24:20,550 --> 01:24:25,050
Speaker 1: being sort of stitched together. It feels like something is missing.

1574
01:24:25,640 --> 01:24:29,420
Speaker 1: But I don't know, given how cryptic and dreamlike everything

1575
01:24:29,460 --> 01:24:32,380
Speaker 1: else in the film is, I don't know. It just

1576
01:24:32,400 --> 01:24:35,049
Speaker 1: gives us one more point to contemplate. And, you know,

1577
01:24:35,060 --> 01:24:37,450
Speaker 1: you can't help but theorize, like, what is wrong? What

1578
01:24:37,510 --> 01:24:41,370
Speaker 1: did they see or feel? Like, I guess the darkness

1579
01:24:41,410 --> 01:24:44,230
Speaker 1: isn't completely defeated. Is it welling back up? Is it

1580
01:24:44,310 --> 01:24:46,970
Speaker 1: in the child? Is it in them? Is it standing

1581
01:24:47,070 --> 01:24:50,770
Speaker 1: off camera to the side? I don't know. We're going

1582
01:24:50,810 --> 01:24:54,470
Speaker 1: to have to do another movie to explain it. But

1583
01:24:54,610 --> 01:25:05,420
Speaker 1: that's not what happens.

1584
01:25:05,640 --> 01:25:07,240
Speaker 3: OK, do you want to focus on a few of

1585
01:25:07,260 --> 01:25:08,200
Speaker 3: the geek scenes here?

1586
01:25:08,220 --> 01:25:08,300
Speaker 4: Yeah.

1587
01:25:08,680 --> 01:25:11,429
Speaker 1: Yeah. Let's get back into some of the gory details.

1588
01:25:11,939 --> 01:25:14,229
Speaker 3: So there is, of course, the scene of Emily's death.

1589
01:25:14,350 --> 01:25:16,250
Speaker 3: This is where, remember, Emily was going to go out

1590
01:25:16,270 --> 01:25:18,930
Speaker 3: to meet Bob. So she goes to do this in

1591
01:25:18,970 --> 01:25:21,870
Speaker 3: some squalid, abandoned building. And I want to flag the

1592
01:25:22,130 --> 01:25:25,470
Speaker 3: atmosphere leading up to this scene is genuinely wonderful. It's

1593
01:25:25,650 --> 01:25:29,490
Speaker 3: so good. We see these exterior shots, obviously, from around

1594
01:25:29,530 --> 01:25:35,330
Speaker 3: Savannah with beautiful architecture, cobblestone streets and these brickwork arches

1595
01:25:35,390 --> 01:25:39,530
Speaker 3: underneath a bridge and stuff. We see shots of townhouses

1596
01:25:39,570 --> 01:25:43,510
Speaker 3: with iron stairways leading up the front. And as usual,

1597
01:25:43,610 --> 01:25:47,130
Speaker 3: everything is drenched in mist with soft, fuzzy focus and

1598
01:25:47,229 --> 01:25:52,490
Speaker 3: interesting placement of light sources. Emily parks this cool sports

1599
01:25:52,550 --> 01:25:56,850
Speaker 3: car at a dark, deserted gas station, glowing from inside

1600
01:25:56,910 --> 01:26:00,190
Speaker 3: with pink and purple light. And then she goes inside

1601
01:26:00,229 --> 01:26:03,259
Speaker 3: a neighboring building. This building looks like a warehouse, calling

1602
01:26:03,320 --> 01:26:06,740
Speaker 3: out for Bob. When she finally sees him, He is

1603
01:26:06,900 --> 01:26:09,760
Speaker 3: curled up in a fetal position on a mattress on

1604
01:26:09,780 --> 01:26:13,150
Speaker 3: the floor, whimpering in terror, which is a bit funny

1605
01:26:13,210 --> 01:26:16,010
Speaker 3: because of the shot framing, because he's got pages from

1606
01:26:16,070 --> 01:26:18,570
Speaker 3: Playboy or something pinned up on the wall right next

1607
01:26:18,610 --> 01:26:18,910
Speaker 3: to him.

1608
01:26:19,910 --> 01:26:22,630
Speaker 1: Yeah, the movie wants to remind us that he's that

1609
01:26:22,650 --> 01:26:23,099
Speaker 1: he's a creep.

1610
01:26:23,150 --> 01:26:23,309
Speaker 4: Yeah.

1611
01:26:23,530 --> 01:26:26,780
Speaker 3: Yeah. So what's the matter? Well, Emily goes and tries

1612
01:26:26,820 --> 01:26:30,000
Speaker 3: to comfort him. But suddenly there is a terrible sound again,

1613
01:26:30,240 --> 01:26:34,229
Speaker 3: that moaning, hissing, yowling from the bowels of hell. Bob

1614
01:26:34,380 --> 01:26:37,439
Speaker 3: runs away, and Emily is left behind on her own.

1615
01:26:37,860 --> 01:26:42,340
Speaker 3: Then appears Father Thomas, the priest. Is he undead? Again,

1616
01:26:42,380 --> 01:26:45,540
Speaker 3: he doesn't look rotten, just with some ghoulish purple makeup.

1617
01:26:46,580 --> 01:26:49,520
Speaker 3: Emily falls to the floor and screams with fright, and

1618
01:26:49,540 --> 01:26:52,469
Speaker 3: we wonder how is he going to attack her. He

1619
01:26:52,979 --> 01:26:57,690
Speaker 3: smothers her with a handful of mud and worms in

1620
01:26:57,750 --> 01:27:00,110
Speaker 3: his hand, shoved into her face.

1621
01:27:00,270 --> 01:27:02,970
Speaker 1: Yeah, just smears it on her face there. What a strange.

1622
01:27:04,130 --> 01:27:06,170
Speaker 3: Horrible, nightmarish movie death.

1623
01:27:06,570 --> 01:27:09,210
Speaker 1: Yeah, it's just like, here's some grave soil and rot.

1624
01:27:11,150 --> 01:27:13,850
Speaker 3: And then pretty much right after that, the nightmares continue.

1625
01:27:14,930 --> 01:27:16,910
Speaker 3: We get to the gut emesis scene. This is one

1626
01:27:16,930 --> 01:27:19,130
Speaker 3: of the most shocking and famous scenes in the movie,

1627
01:27:19,170 --> 01:27:22,570
Speaker 3: I think. A young couple in Dunwich are hanging out

1628
01:27:22,590 --> 01:27:24,920
Speaker 3: in a parked car, which looks like some kind of

1629
01:27:25,030 --> 01:27:29,700
Speaker 3: safari vehicle. They're parked in an old vacant lot full

1630
01:27:29,720 --> 01:27:32,769
Speaker 3: of fog. They're making out. The dude here, is this

1631
01:27:32,990 --> 01:27:34,540
Speaker 3: guy played by Michel Suave?

1632
01:27:34,740 --> 01:27:35,599
Speaker 1: This is Suave, yes.

1633
01:27:35,700 --> 01:27:38,780
Speaker 3: Okay, yeah. And he comes off as a jerk. He's

1634
01:27:38,860 --> 01:27:42,020
Speaker 3: unsympathetic in the scene because he's being pushy and he's

1635
01:27:42,100 --> 01:27:45,330
Speaker 3: dismissive of her concerns about the bad vibes of the

1636
01:27:45,410 --> 01:27:49,610
Speaker 3: most cursed parking lot in Dunwich. And then while they're kissing,

1637
01:27:50,050 --> 01:27:53,630
Speaker 3: we start hearing those crazy layered moaning sounds from before.

1638
01:27:53,650 --> 01:27:57,019
Speaker 3: And the girl gets frightened because she thinks there's somebody

1639
01:27:57,080 --> 01:27:59,580
Speaker 3: out there. The boy is like, nah, nah, see, I'll

1640
01:27:59,620 --> 01:28:02,540
Speaker 3: turn the headlights on. So he flips them on and then, bam,

1641
01:28:02,600 --> 01:28:05,240
Speaker 3: we see the image of Father Thomas hanging from a

1642
01:28:05,300 --> 01:28:09,070
Speaker 3: noose right in front of the car. There's the infrastructure

1643
01:28:09,110 --> 01:28:11,389
Speaker 3: for a noose already there. So why did they park

1644
01:28:11,430 --> 01:28:12,590
Speaker 3: in front of the old gallows?

1645
01:28:13,510 --> 01:28:15,889
Speaker 1: Well, you know, maybe the whole gallow thing is part

1646
01:28:15,930 --> 01:28:18,229
Speaker 1: of the hallucination or whatever. Maybe.

1647
01:28:18,729 --> 01:28:21,820
Speaker 3: So Suave tries to start the car, but the engine

1648
01:28:21,860 --> 01:28:25,380
Speaker 3: won't turn over. And then possession takes hold. The girl

1649
01:28:25,520 --> 01:28:28,380
Speaker 3: is first hypnotized by a vision of the priest and

1650
01:28:28,439 --> 01:28:32,979
Speaker 3: then things get so gross. Blood starts to pool in

1651
01:28:33,040 --> 01:28:35,820
Speaker 3: her lower eyelids and then pours out of her eyes

1652
01:28:35,920 --> 01:28:38,730
Speaker 3: down her face. So tears of blood running in streams

1653
01:28:38,790 --> 01:28:42,360
Speaker 3: down her cheeks. then red and pink foam from her

1654
01:28:42,420 --> 01:28:46,810
Speaker 3: mouth then she just starts vomiting up guts and eventually

1655
01:28:47,010 --> 01:28:50,010
Speaker 3: all of her internal organs it's all just folding straight

1656
01:28:50,050 --> 01:28:51,010
Speaker 3: out of the mouth.

1657
01:28:51,090 --> 01:28:53,960
Speaker 1: And you may well ask at this point um Do

1658
01:28:53,979 --> 01:28:56,680
Speaker 1: you really mean all of her guts? Because I had

1659
01:28:56,740 --> 01:28:58,900
Speaker 1: read the same thing in reviews. I was preparing myself

1660
01:28:58,939 --> 01:29:00,900
Speaker 1: for the film and asking myself, okay, am I up

1661
01:29:00,939 --> 01:29:05,580
Speaker 1: for it? Yes, she does puke out what appears to

1662
01:29:05,620 --> 01:29:08,139
Speaker 1: be all of her guts. You could basically like follow

1663
01:29:08,200 --> 01:29:12,140
Speaker 1: along with an anatomical chart and be like, okay, here

1664
01:29:12,200 --> 01:29:14,849
Speaker 1: we are in the intestine. There's the liver. Yeah, there's

1665
01:29:14,890 --> 01:29:17,670
Speaker 1: the stomach. Yeah, like everything seems to come out. And

1666
01:29:17,710 --> 01:29:21,290
Speaker 1: this in typical Fulci fashion with the gore, this just

1667
01:29:21,330 --> 01:29:22,910
Speaker 1: keeps going and going. Yeah.

1668
01:29:23,320 --> 01:29:26,800
Speaker 3: Then after this, she does the first grip and rip

1669
01:29:26,840 --> 01:29:28,980
Speaker 3: I think we see in the film. So the way

1670
01:29:29,000 --> 01:29:32,160
Speaker 3: this works is Suave is there like, oh, what's going on?

1671
01:29:32,800 --> 01:29:36,420
Speaker 3: And then she grabs a fistful of the back of

1672
01:29:36,460 --> 01:29:41,310
Speaker 3: the guy's head, just grabs the head, clinches, tears his

1673
01:29:41,390 --> 01:29:44,730
Speaker 3: skull open, and rips out. So she gets part of

1674
01:29:44,750 --> 01:29:47,030
Speaker 3: the scalp, part of the skull, and part of the brain.

1675
01:29:47,860 --> 01:29:51,490
Speaker 1: Just punctuating an absolutely grotesque scene. Like, this is the

1676
01:29:51,550 --> 01:29:53,390
Speaker 1: one that I figured a family member would walk in

1677
01:29:53,470 --> 01:29:55,610
Speaker 1: on me watching, and I'd have to, you know, run

1678
01:29:55,630 --> 01:29:58,610
Speaker 1: to pause the screen. But I do think, I thought

1679
01:29:58,650 --> 01:30:02,310
Speaker 1: a lot about this sequence, especially with the gut vomiting.

1680
01:30:03,530 --> 01:30:05,410
Speaker 1: And I was, you know, trying to just figure out, like,

1681
01:30:05,479 --> 01:30:08,400
Speaker 1: what is Fulci saying here? Like, what does it mean,

1682
01:30:08,500 --> 01:30:11,480
Speaker 1: you know? And I'm not saying this is a definite answer,

1683
01:30:11,500 --> 01:30:15,280
Speaker 1: but this is where my head was going. But fairly

1684
01:30:15,340 --> 01:30:18,689
Speaker 1: recently I was reading reading and rereading about various Southeast

1685
01:30:18,770 --> 01:30:23,830
Speaker 1: Asian traditions of flying vampiric heads that have their entrails

1686
01:30:23,890 --> 01:30:26,689
Speaker 1: hanging from their neck stump. I'm sure most of you

1687
01:30:26,720 --> 01:30:30,540
Speaker 1: have seen some sort of version of this in art

1688
01:30:30,720 --> 01:30:33,519
Speaker 1: or even in some Southeast Asian films. There have been

1689
01:30:33,560 --> 01:30:35,500
Speaker 1: some horror films that depict these things and they have

1690
01:30:35,520 --> 01:30:36,280
Speaker 1: different names.

1691
01:30:36,680 --> 01:30:38,280
Speaker 3: Wait, did a version of this show up in The

1692
01:30:38,320 --> 01:30:41,780
Speaker 3: Boxer's Omen? I remember a head with things dangling out

1693
01:30:41,820 --> 01:30:42,220
Speaker 3: of the neck.

1694
01:30:42,750 --> 01:30:46,230
Speaker 1: Yes, there's something that at least is heavily inspired by this. Yes.

1695
01:30:46,670 --> 01:30:49,530
Speaker 1: And it would make sense since we're dealing with like

1696
01:30:49,590 --> 01:30:52,059
Speaker 1: a sort of a conflict in that movie that involves

1697
01:30:52,100 --> 01:30:55,320
Speaker 1: a lot of beliefs and traditions from Thailand or at

1698
01:30:55,360 --> 01:31:02,970
Speaker 1: least magical systems that are attributed to Thailand. Okay. Yeah.

1699
01:31:03,010 --> 01:31:05,050
Speaker 1: So so, yeah, we saw a little bit of it there.

1700
01:31:05,110 --> 01:31:07,290
Speaker 1: We might have alluded to this in our episode on

1701
01:31:07,330 --> 01:31:09,990
Speaker 1: Lady Terminator because, you know, this kind of thing, I think,

1702
01:31:10,030 --> 01:31:13,910
Speaker 1: is also popped up in some Indonesian horror films. But

1703
01:31:14,550 --> 01:31:16,950
Speaker 1: when you get into like discussion of like, what do

1704
01:31:16,970 --> 01:31:20,170
Speaker 1: those mean? Like, why are guts hanging from the neck

1705
01:31:20,189 --> 01:31:25,130
Speaker 1: stump of a flying head? And there are different models. One,

1706
01:31:25,310 --> 01:31:27,430
Speaker 1: you know, one argument is that it feature it's the

1707
01:31:27,510 --> 01:31:30,549
Speaker 1: emphasis of the organs of hunger, you know. Like, oh,

1708
01:31:30,560 --> 01:31:33,370
Speaker 1: you're seeing the guts. The guts are hunger and the

1709
01:31:33,450 --> 01:31:36,330
Speaker 1: head hungers for blood or life force and so forth.

1710
01:31:36,870 --> 01:31:40,050
Speaker 1: There's also the idea that it's like inner foulness and

1711
01:31:40,070 --> 01:31:45,070
Speaker 1: that it's the shame on the outside. And, you know,

1712
01:31:45,450 --> 01:31:47,730
Speaker 1: not quite the same message in this film, but I

1713
01:31:48,490 --> 01:31:52,660
Speaker 1: get a sense of guts here as human mortality, you know,

1714
01:31:52,820 --> 01:31:56,439
Speaker 1: in highly contradictory ways, to be clear. It kind of

1715
01:31:56,479 --> 01:32:00,090
Speaker 1: seems like the undead in this film must expel their

1716
01:32:00,150 --> 01:32:04,030
Speaker 1: guts in order to take on their unholy unlives, you know? Like,

1717
01:32:04,210 --> 01:32:07,719
Speaker 1: here she's transforming, she's becoming the undead. Don't need those

1718
01:32:07,770 --> 01:32:10,960
Speaker 1: guts anymore. That's just, yeah, that's just taking up room.

1719
01:32:11,620 --> 01:32:14,740
Speaker 1: Just go ahead and eject all of that. But as

1720
01:32:14,760 --> 01:32:17,460
Speaker 1: we'll see later on, it also seems like guts remain

1721
01:32:17,500 --> 01:32:20,479
Speaker 1: the weakness for some of the undead entities in the picture.

1722
01:32:20,520 --> 01:32:21,940
Speaker 1: So I'll have more to say on this in just

1723
01:32:22,000 --> 01:32:22,260
Speaker 1: a minute.

1724
01:32:22,600 --> 01:32:25,600
Speaker 3: That's a good point. So after this, let's see, a

1725
01:32:25,650 --> 01:32:29,190
Speaker 3: few more scenes. Oh, we should flag the scene where

1726
01:32:29,210 --> 01:32:33,070
Speaker 3: the police are investigating emily's death mainly because uh fulci

1727
01:32:33,210 --> 01:32:35,389
Speaker 3: is one of the investigators here he's like the medical

1728
01:32:35,450 --> 01:32:39,370
Speaker 3: examinator jerry is on the scene for some reason he

1729
01:32:39,390 --> 01:32:43,050
Speaker 3: doesn't seem too broken up about it he's a professional

1730
01:32:43,390 --> 01:32:48,440
Speaker 3: yeah and uh fulci is explaining that emily appears to

1731
01:32:48,450 --> 01:32:51,600
Speaker 3: have died of sudden cardiac arrest of fright he says

1732
01:32:52,189 --> 01:32:54,729
Speaker 3: And a cop, then a cop is like, what's that?

1733
01:32:54,950 --> 01:32:57,760
Speaker 3: And points, and it's a pile of mud and slime

1734
01:32:57,800 --> 01:32:59,260
Speaker 3: on the floor with worms on it.

1735
01:32:59,780 --> 01:33:01,500
Speaker 1: Yeah, we don't see what happens with it. Do they

1736
01:33:01,540 --> 01:33:03,800
Speaker 1: collect it? Does that go in a baggie? What's going

1737
01:33:03,820 --> 01:33:04,160
Speaker 1: to occur?

1738
01:33:04,720 --> 01:33:05,900
Speaker 3: You think they're going to take it back to the

1739
01:33:05,939 --> 01:33:09,669
Speaker 3: crime lab and be like, I DNA sequenced the slime.

1740
01:33:10,670 --> 01:33:10,870
Speaker 1: No.

1741
01:33:12,250 --> 01:33:15,769
Speaker 3: We also get some scenes of people around town talking

1742
01:33:15,830 --> 01:33:17,670
Speaker 3: about all of the murders of the past few days.

1743
01:33:17,770 --> 01:33:19,410
Speaker 3: Consensus is, it's Bob.

1744
01:33:19,600 --> 01:33:20,380
Speaker 1: It's got to be Bob.

1745
01:33:21,320 --> 01:33:23,760
Speaker 3: We see Bob slinking around town. At one point, he

1746
01:33:23,800 --> 01:33:26,060
Speaker 3: goes back to his alligator farm shack, and he has

1747
01:33:26,140 --> 01:33:30,280
Speaker 3: visions of the hanged priest. Bob is seemingly being driven

1748
01:33:30,320 --> 01:33:33,110
Speaker 3: mad by these visions. There's also a scene I just

1749
01:33:33,130 --> 01:33:36,009
Speaker 3: wanted to mention briefly because it's at the funeral parlor

1750
01:33:36,070 --> 01:33:39,510
Speaker 3: where the mortician is stealing jewelry off the deceased in

1751
01:33:39,530 --> 01:33:41,890
Speaker 3: their coffins, and then one of them bites his hand.

1752
01:33:42,310 --> 01:33:45,680
Speaker 1: This movie doesn't have a rosy opinion of the funeral industry.

1753
01:33:46,140 --> 01:33:46,420
Speaker 4: No.

1754
01:33:47,640 --> 01:33:49,660
Speaker 1: But, I mean, that's kind of standard for your horror movies.

1755
01:33:50,060 --> 01:33:54,080
Speaker 3: Yeah. So maybe we should mention the scene where Jerry

1756
01:33:54,120 --> 01:33:56,799
Speaker 3: goes to Sandra's house. Sandra is at her house painting

1757
01:33:56,840 --> 01:34:01,660
Speaker 3: a rhinoceros. And yeah, that's she's a painter. She's painting

1758
01:34:01,700 --> 01:34:04,599
Speaker 3: a big rhinoceros head on a canvas. She suddenly freaks

1759
01:34:04,740 --> 01:34:08,670
Speaker 3: out and calls her psychiatrist, Jerry, for help. He comes over.

1760
01:34:09,010 --> 01:34:12,190
Speaker 3: She comes to the door with a gun. Jerry is like,

1761
01:34:13,130 --> 01:34:15,549
Speaker 3: what is that? And she goes, am I a basket case?

1762
01:34:15,750 --> 01:34:17,850
Speaker 3: He says, no. And she says, OK, come look at

1763
01:34:17,890 --> 01:34:21,769
Speaker 3: this dead body in my kitchen. And, oh, this scene

1764
01:34:21,850 --> 01:34:25,050
Speaker 3: is funny for, I mentioned earlier that Jerry says a

1765
01:34:25,130 --> 01:34:27,980
Speaker 3: number of things that don't seem like what a therapist

1766
01:34:28,160 --> 01:34:30,800
Speaker 3: would say. At the beginning of the scene, he's like,

1767
01:34:30,920 --> 01:34:33,340
Speaker 3: you're not a basket case, though you could stand to

1768
01:34:33,360 --> 01:34:36,719
Speaker 3: drink less alcohol. And, okay, it seems like good advice.

1769
01:34:36,880 --> 01:34:39,080
Speaker 3: And then she gets him in the kitchen. He's like,

1770
01:34:39,120 --> 01:34:42,380
Speaker 3: let's get to drinking. We need to have some booze.

1771
01:34:42,760 --> 01:34:44,440
Speaker 1: Yeah, I thought you said I need to cut back.

1772
01:34:44,500 --> 01:34:47,439
Speaker 1: I guess he's like, you need to cut back in general, but.

1773
01:34:47,920 --> 01:34:51,580
Speaker 1: given the brewing zombie apocalypse, you know, we, this is

1774
01:34:51,660 --> 01:34:53,500
Speaker 1: one of those, you get a cheat day. Yes.

1775
01:34:53,740 --> 01:34:56,240
Speaker 3: Yeah, exactly. When you, when there's a body that is

1776
01:34:56,300 --> 01:34:58,720
Speaker 3: in your kitchen and then suddenly is not in your kitchen,

1777
01:34:58,800 --> 01:35:01,280
Speaker 3: that's when you get to pour a tall shot of whiskey.

1778
01:35:01,439 --> 01:35:03,160
Speaker 1: Yeah. I'm going to, I'm going to stand by that

1779
01:35:03,180 --> 01:35:04,800
Speaker 1: for my own personal rule. I get to have an

1780
01:35:04,840 --> 01:35:08,510
Speaker 1: extra drink if the zombie apocalypse occurs. No questions asked.

1781
01:35:08,550 --> 01:35:09,410
Speaker 1: I just get to have one.

1782
01:35:10,590 --> 01:35:14,490
Speaker 3: So Jerry, yeah. So the corpse goes missing and Jerry's like,

1783
01:35:14,550 --> 01:35:17,680
Speaker 3: someone took her away. But this leads up to that

1784
01:35:17,720 --> 01:35:20,440
Speaker 3: scene we talked about earlier with the great effect where

1785
01:35:20,620 --> 01:35:22,820
Speaker 3: they're standing in one room of the house and suddenly

1786
01:35:22,880 --> 01:35:26,780
Speaker 3: the window shatters, the glass shatters, shards of glass fly

1787
01:35:26,800 --> 01:35:29,200
Speaker 3: into the wall and pierce the wallpaper. And then the

1788
01:35:29,240 --> 01:35:32,430
Speaker 3: wall bleeds from all the places where it was stabbed.

1789
01:35:32,450 --> 01:35:33,110
Speaker 3: It looks great.

1790
01:35:33,350 --> 01:35:36,590
Speaker 1: Just amazing. And certainly go watch extras about this film.

1791
01:35:36,610 --> 01:35:38,469
Speaker 1: We go on all the details, but like the basics

1792
01:35:38,530 --> 01:35:40,799
Speaker 1: here are, is they had to have two panes of

1793
01:35:40,850 --> 01:35:44,560
Speaker 1: glass and then like fill it with gas until one

1794
01:35:44,580 --> 01:35:48,330
Speaker 1: of the panes or both panes legitimately explode, film that.

1795
01:35:48,870 --> 01:35:50,930
Speaker 1: And then they had to build a portion of a

1796
01:35:51,010 --> 01:35:57,150
Speaker 1: wall that's super soft. It has essentially artificial blood vessels

1797
01:35:57,210 --> 01:35:59,480
Speaker 1: flowing through it with fake blood in them. And then

1798
01:35:59,500 --> 01:36:01,360
Speaker 1: they had to have a bunch of people on set

1799
01:36:01,500 --> 01:36:05,280
Speaker 1: use little rubber bands to fire shards of glass at

1800
01:36:05,340 --> 01:36:09,300
Speaker 1: that wall all at the same time to create that

1801
01:36:09,340 --> 01:36:11,200
Speaker 1: practical effect. It's just amazing.

1802
01:36:11,689 --> 01:36:16,110
Speaker 3: That yeah and it looks so good uh another famous

1803
01:36:16,189 --> 01:36:19,049
Speaker 3: gore scene in this film is the head drilling scene

1804
01:36:19,370 --> 01:36:23,729
Speaker 3: oh my god unbelievable so bob remember bob bob sneaks

1805
01:36:23,790 --> 01:36:26,090
Speaker 3: into the garage of mr ross one of the guys

1806
01:36:26,110 --> 01:36:29,550
Speaker 3: we've seen drinking at junie's lounge uh he's sort of

1807
01:36:29,610 --> 01:36:32,970
Speaker 3: like a grumpy old gruff guy uh and bob starts

1808
01:36:33,130 --> 01:36:35,900
Speaker 3: sleeping in the back of mr ross's car in his

1809
01:36:35,910 --> 01:36:40,010
Speaker 3: garage Then Mr. Ross's teenage daughter comes into the garage

1810
01:36:40,070 --> 01:36:43,549
Speaker 3: to find her stash of drugs. And she finds Bob

1811
01:36:43,610 --> 01:36:46,389
Speaker 3: and she's like, oh, hey, Bob, you know, you're cool.

1812
01:36:46,430 --> 01:36:50,510
Speaker 3: Smoke a joint with me. And then we don't even,

1813
01:36:50,530 --> 01:36:53,030
Speaker 3: I think, really get to see how Bob reacts to this.

1814
01:36:53,380 --> 01:36:55,620
Speaker 3: He's just like, I don't know. And then suddenly Mr.

1815
01:36:55,680 --> 01:36:59,620
Speaker 3: Ross comes in, finds them. In a rage, he grabs Bob,

1816
01:37:00,200 --> 01:37:03,559
Speaker 3: shoves him down on his workbench in the garage where

1817
01:37:03,600 --> 01:37:06,790
Speaker 3: he's got a bunch of tools and equipment. And then

1818
01:37:06,830 --> 01:37:10,790
Speaker 3: he shoves Bob's head into a table mounted drill, or

1819
01:37:10,890 --> 01:37:12,750
Speaker 3: I don't know if this is a drill or a lathe,

1820
01:37:12,810 --> 01:37:15,330
Speaker 3: but it's like a huge rotating bit. And he just

1821
01:37:15,570 --> 01:37:17,470
Speaker 3: runs it straight through Bob's cranium.

1822
01:37:17,530 --> 01:37:19,650
Speaker 1: Yeah. It's horizontally positioned.

1823
01:37:19,890 --> 01:37:20,210
Speaker 3: Yeah.

1824
01:37:20,350 --> 01:37:23,390
Speaker 1: And it, this whole scene is like, it's, it's, I mean,

1825
01:37:23,430 --> 01:37:28,110
Speaker 1: it is fabulously assembled in terms of how it's shot,

1826
01:37:28,150 --> 01:37:30,889
Speaker 1: how it's edited, how they use, you know, a mix

1827
01:37:31,050 --> 01:37:34,130
Speaker 1: of like prosthetic head and real life head and, Again,

1828
01:37:34,170 --> 01:37:36,759
Speaker 1: all the little details of how they filmed this are wonderful.

1829
01:37:37,600 --> 01:37:39,680
Speaker 1: But also just the plotting of it, like the drill

1830
01:37:39,700 --> 01:37:43,260
Speaker 1: gets turned on by accident as he's chasing after Bob.

1831
01:37:43,400 --> 01:37:46,840
Speaker 1: And then he's like, well, drill's already on and I

1832
01:37:46,880 --> 01:37:50,390
Speaker 1: hate this guy. Might as well go ahead and commit murder. Yeah.

1833
01:37:50,850 --> 01:37:53,390
Speaker 3: You almost get the idea that he wouldn't have quite

1834
01:37:53,490 --> 01:37:55,790
Speaker 3: murdered him if the drill had not been spinning.

1835
01:37:56,070 --> 01:37:58,830
Speaker 1: Right. The beat by beat. I mean, when I say

1836
01:37:58,850 --> 01:38:01,570
Speaker 1: it out loud, it sounds ridiculous. But beat by beat,

1837
01:38:01,650 --> 01:38:04,400
Speaker 1: it works really well in the picture, which again, already

1838
01:38:04,520 --> 01:38:07,120
Speaker 1: we have such a dreamlike atmosphere. These things make sense.

1839
01:38:07,600 --> 01:38:10,100
Speaker 3: Let's see, after this, we did already allude to the

1840
01:38:10,160 --> 01:38:13,520
Speaker 3: maggot storm scene, but I guess anything else you want

1841
01:38:13,540 --> 01:38:14,220
Speaker 3: to say about that?

1842
01:38:14,860 --> 01:38:16,820
Speaker 1: Oh, I mean, I could go on and on about this.

1843
01:38:16,840 --> 01:38:21,990
Speaker 1: I mean, when that maggot wind comes blowing in, it's

1844
01:38:22,310 --> 01:38:25,790
Speaker 1: terrific because it is a great gross scene in and

1845
01:38:25,850 --> 01:38:29,250
Speaker 1: of itself in the context of the film. But on

1846
01:38:29,270 --> 01:38:30,430
Speaker 1: the other hand, it looks like it also one of

1847
01:38:30,450 --> 01:38:32,150
Speaker 1: these where the behind the scenes story of it is

1848
01:38:32,170 --> 01:38:34,710
Speaker 1: just so weird because it's like, yeah, they use some

1849
01:38:34,750 --> 01:38:38,070
Speaker 1: sort of high powered vacuum cleaner to blast the actors

1850
01:38:38,130 --> 01:38:41,299
Speaker 1: with just tons and tons of actual live maggots. They

1851
01:38:41,340 --> 01:38:44,540
Speaker 1: glued live maggots to their faces for those scenes where

1852
01:38:44,560 --> 01:38:49,460
Speaker 1: the maggots are hitting them. Yeah. And yeah, on the extras,

1853
01:38:49,560 --> 01:38:52,750
Speaker 1: one of the the filmmakers, you know, effects or something,

1854
01:38:53,530 --> 01:38:56,070
Speaker 1: they were like, oh yeah, Fulci loved filming this because

1855
01:38:56,090 --> 01:38:58,970
Speaker 1: he hates actors. It's like a dream come true for him,

1856
01:38:59,930 --> 01:39:04,769
Speaker 1: which in some ways does seem to track. The actors

1857
01:39:04,800 --> 01:39:07,600
Speaker 1: apparently did not like this. And this scene would seem

1858
01:39:07,620 --> 01:39:10,560
Speaker 1: to be one of the reasons that Christopher George allegedly

1859
01:39:11,020 --> 01:39:14,960
Speaker 1: stuffed a handful of maggots into Fulci's tobacco bag where

1860
01:39:14,979 --> 01:39:18,500
Speaker 1: he kept his tobacco in his pipes. Punked. Yes, a

1861
01:39:18,560 --> 01:39:23,180
Speaker 1: regular George Clooney. right there um but yes it but

1862
01:39:23,200 --> 01:39:25,720
Speaker 1: it is such a crazy scene like it one of

1863
01:39:25,780 --> 01:39:27,960
Speaker 1: the many scenes in this film it was just jaw-dropping

1864
01:39:28,020 --> 01:39:31,020
Speaker 1: for me uh because this one this one especially had

1865
01:39:31,060 --> 01:39:34,240
Speaker 1: not been ruined for me it's like wow it's it's

1866
01:39:34,320 --> 01:39:37,560
Speaker 1: really happening it is blowing tons and tons of maggots

1867
01:39:37,939 --> 01:39:40,040
Speaker 1: into the house on them and what does it mean

1868
01:39:40,140 --> 01:39:43,400
Speaker 1: why it's just part of the the general disruption of

1869
01:39:43,439 --> 01:39:47,100
Speaker 1: the natural order of things because of this brewing apocalypse.

1870
01:39:46,979 --> 01:39:59,160
Speaker 3: Just all dreams in the fulci house yeah I do

1871
01:39:59,180 --> 01:40:01,760
Speaker 3: want to mention the climax because, so this is the

1872
01:40:01,780 --> 01:40:05,150
Speaker 3: part where they climb down into the tomb of Father Thomas.

1873
01:40:05,550 --> 01:40:07,910
Speaker 3: Right as they're going in, Christopher George says, wish I

1874
01:40:07,950 --> 01:40:10,010
Speaker 3: had a cigar. I was wondering if that was in

1875
01:40:10,050 --> 01:40:12,610
Speaker 3: the script or if that was after the conflict from

1876
01:40:12,630 --> 01:40:13,530
Speaker 3: the other scene.

1877
01:40:13,570 --> 01:40:15,010
Speaker 1: I don't know. Yeah, it was just like, I think

1878
01:40:15,050 --> 01:40:17,550
Speaker 1: my character would have a cigar in this scene. And

1879
01:40:17,590 --> 01:40:21,570
Speaker 1: maybe Folch is like, no, it's completely ridiculous. You would

1880
01:40:21,610 --> 01:40:26,030
Speaker 1: never have a cigar in an otherworldly tomb world. And

1881
01:40:26,070 --> 01:40:28,010
Speaker 1: he's like, it's America, damn it. Of course you would

1882
01:40:28,030 --> 01:40:29,750
Speaker 1: have a cigar in another worldly tomb world.

1883
01:40:30,490 --> 01:40:33,590
Speaker 3: This scene also has some good surprise rats or something. Oh,

1884
01:40:33,610 --> 01:40:37,390
Speaker 3: there's a rat on me now. But yeah, so we

1885
01:40:37,410 --> 01:40:40,679
Speaker 3: already talked about how they come into contact with Sandra.

1886
01:40:40,700 --> 01:40:43,080
Speaker 3: Sandra does the grip and rip on Christopher George. He's

1887
01:40:43,100 --> 01:40:46,979
Speaker 3: dead now. So Jerry and Mary go further into the

1888
01:40:47,020 --> 01:40:50,200
Speaker 3: tomb to finally confront the priest. And here's where we

1889
01:40:50,220 --> 01:40:53,580
Speaker 3: get to a weird thing we mentioned earlier. The priest

1890
01:40:53,680 --> 01:40:57,420
Speaker 3: seems to be having another kind of psychic, maybe deadly

1891
01:40:57,600 --> 01:41:02,080
Speaker 3: scanner type hypnosis thing with Mary. And Jerry saves the

1892
01:41:02,120 --> 01:41:07,060
Speaker 3: day by grabbing hold of a wooden cross. Like, I

1893
01:41:07,080 --> 01:41:10,020
Speaker 3: guess crucifix gives the wrong idea because that suggests something small.

1894
01:41:10,040 --> 01:41:13,900
Speaker 3: There's like a huge spear sized wooden cross. And then

1895
01:41:14,380 --> 01:41:20,010
Speaker 3: stabbing the priest, zombie priest in the crotch or where

1896
01:41:20,020 --> 01:41:23,120
Speaker 3: the crotch should be. But then when we see the stabbing,

1897
01:41:23,300 --> 01:41:24,820
Speaker 3: it opens up and it's guts.

1898
01:41:25,080 --> 01:41:26,380
Speaker 1: Yeah, guts fall out.

1899
01:41:26,420 --> 01:41:29,480
Speaker 3: Green, gray guts and different colors. So all the other

1900
01:41:29,540 --> 01:41:33,000
Speaker 3: guts in the movie have been very, you know, red

1901
01:41:33,060 --> 01:41:35,840
Speaker 3: and pink and purple. And these are more green, gray guts.

1902
01:41:37,000 --> 01:41:39,599
Speaker 1: Yes. I don't know how much we're supposed to make

1903
01:41:39,640 --> 01:41:42,220
Speaker 1: of that. But yeah, yeah. Obviously, there's a lot to

1904
01:41:42,260 --> 01:41:45,769
Speaker 1: deal with here again, because it's like earlier a zombie

1905
01:41:45,790 --> 01:41:47,890
Speaker 1: seems to get rid of all its guts in order

1906
01:41:47,910 --> 01:41:51,720
Speaker 1: to become the undead menace that it is. Here, the

1907
01:41:51,800 --> 01:41:54,000
Speaker 1: undead priest still has a lot of guts in him,

1908
01:41:54,120 --> 01:41:56,580
Speaker 1: or at least there's some guts that have settled down

1909
01:41:56,640 --> 01:42:00,240
Speaker 1: into the lower portion of his body. Stabbing in the crotch?

1910
01:42:00,300 --> 01:42:00,559
Speaker 3: I don't know.

1911
01:42:00,580 --> 01:42:01,960
Speaker 1: There's a lot to be made out of that.

1912
01:42:02,360 --> 01:42:05,200
Speaker 3: With a cross. Stabbing the priest with a cross in

1913
01:42:05,240 --> 01:42:05,809
Speaker 3: the crotch.

1914
01:42:05,820 --> 01:42:07,930
Speaker 1: And making the guts fall out. Like, yeah, this sounds

1915
01:42:07,950 --> 01:42:09,530
Speaker 1: like something that maybe needs to be worked out in

1916
01:42:09,550 --> 01:42:11,690
Speaker 1: therapy a little bit. I don't know. This movie is

1917
01:42:11,729 --> 01:42:15,889
Speaker 1: his therapy, I guess. And then I couldn't help be

1918
01:42:16,330 --> 01:42:19,120
Speaker 1: reminded of... Well, a couple of things. It made me

1919
01:42:19,160 --> 01:42:21,420
Speaker 1: think of Lady Terminator again. There's a lot of crotch

1920
01:42:21,460 --> 01:42:25,099
Speaker 1: violence in that movie. But also, I recently, my family

1921
01:42:25,140 --> 01:42:27,349
Speaker 1: always rewatches a bunch of Treehouse of Horrors around this

1922
01:42:27,390 --> 01:42:29,550
Speaker 1: time of year. So, of course, it reminded me of

1923
01:42:29,590 --> 01:42:33,229
Speaker 1: the scene where Homer is pounding the stake into the Mr.

1924
01:42:33,270 --> 01:42:37,370
Speaker 1: Burns Dracula vampire. And then Bart is like, Dad, that's

1925
01:42:37,410 --> 01:42:37,930
Speaker 1: his crotch.

1926
01:42:40,810 --> 01:42:44,070
Speaker 3: So after this, all the zombies catch on fire. Of course,

1927
01:42:44,110 --> 01:42:46,939
Speaker 3: the priest catches on fire. All the zombies burn, burn, burn.

1928
01:42:47,060 --> 01:42:50,530
Speaker 3: And then We see them, interestingly, just kind of turn

1929
01:42:50,570 --> 01:42:54,689
Speaker 3: to sand. There's a sudden peaceful physical resolution as there's

1930
01:42:54,710 --> 01:42:57,850
Speaker 3: been all this violence and chaos. They burn and then

1931
01:42:57,890 --> 01:42:59,110
Speaker 3: they just turn to dust.

1932
01:42:59,530 --> 01:43:02,690
Speaker 1: From dust we were made. From dust we will return.

1933
01:43:02,800 --> 01:43:07,100
Speaker 1: Guts are just an interruption in our dust nature. That's true.

1934
01:43:07,120 --> 01:43:09,479
Speaker 1: Maybe that's what the film's trying to say. From dust

1935
01:43:09,660 --> 01:43:11,040
Speaker 1: to guts to dust again.

1936
01:43:11,360 --> 01:43:15,260
Speaker 3: Guts, wet guts are a deviation from the dust stasis.

1937
01:43:15,500 --> 01:43:15,780
Speaker 1: Yes.

1938
01:43:15,939 --> 01:43:16,120
Speaker 4: Yeah.

1939
01:43:17,240 --> 01:43:19,320
Speaker 3: And then finally, we get the thing we already talked about,

1940
01:43:19,350 --> 01:43:22,210
Speaker 3: the freeze on John John running towards the screen. And

1941
01:43:22,450 --> 01:43:25,490
Speaker 3: what does it mean? I don't think I'll ever know.

1942
01:43:25,510 --> 01:43:28,870
Speaker 1: Yeah, it just I mean, all it seems to really

1943
01:43:28,910 --> 01:43:33,040
Speaker 1: be about is just ultimately making sure that the audience

1944
01:43:33,120 --> 01:43:36,400
Speaker 1: leaves the film feeling a little uneasy, which to be clear,

1945
01:43:36,460 --> 01:43:38,740
Speaker 1: I think they were always going to do. I think

1946
01:43:38,800 --> 01:43:42,519
Speaker 1: maybe Fulci was just a little extra paranoid here about like,

1947
01:43:42,580 --> 01:43:44,950
Speaker 1: are they going to forget the lady's? puking up all

1948
01:43:44,990 --> 01:43:46,689
Speaker 1: those guts if we give them a happy ending? I

1949
01:43:46,729 --> 01:43:48,850
Speaker 1: can't have it. I cannot have it. Not on my watch.

1950
01:43:49,170 --> 01:43:52,550
Speaker 3: I can't remember what the ending of The Beyond or

1951
01:43:52,590 --> 01:43:55,189
Speaker 3: House by the Cemetery is like. I don't recall. Are

1952
01:43:55,210 --> 01:43:58,230
Speaker 3: they happy endings? Are they gross endings? What's the deal?

1953
01:43:58,470 --> 01:44:03,429
Speaker 1: The Beyond is certainly not, if I remember it correctly. Again,

1954
01:44:03,490 --> 01:44:05,930
Speaker 1: it has been decades since I've seen The Beyond, but

1955
01:44:05,970 --> 01:44:11,360
Speaker 1: I believe it basically ends with a horrifying dreamlike emergence

1956
01:44:11,400 --> 01:44:13,990
Speaker 1: in another world. Yeah.

1957
01:44:14,130 --> 01:44:14,430
Speaker 3: OK.

1958
01:44:15,090 --> 01:44:18,550
Speaker 1: And as for House by the Cemetery, I've seen that

1959
01:44:18,610 --> 01:44:20,689
Speaker 1: one much more often and more frequently, and I don't

1960
01:44:20,729 --> 01:44:23,930
Speaker 1: remember exactly how it ends. I think it might have

1961
01:44:23,970 --> 01:44:26,390
Speaker 1: a little bit of a grim haunted. Yeah, there's some

1962
01:44:26,430 --> 01:44:28,410
Speaker 1: sort of a haunting element with the ghost girl at

1963
01:44:28,450 --> 01:44:29,490
Speaker 1: the end, at the very least.

1964
01:44:29,910 --> 01:44:35,130
Speaker 3: Have we talked about how Fulci movies induce amnesia? I've

1965
01:44:35,170 --> 01:44:38,330
Speaker 3: seen this movie twice before, and one of the times

1966
01:44:38,370 --> 01:44:41,510
Speaker 3: I saw it was a couple weeks ago, and I

1967
01:44:41,550 --> 01:44:44,090
Speaker 3: had forgotten so much of what happens in it when

1968
01:44:44,130 --> 01:44:47,450
Speaker 3: I did the rewatch for today. Truly, like, there was like,

1969
01:44:47,750 --> 01:44:49,570
Speaker 3: the scene was not even in my head, and I

1970
01:44:49,670 --> 01:44:50,970
Speaker 3: literally just watched this.

1971
01:44:51,229 --> 01:44:53,679
Speaker 1: Yeah, I mean, I rewatched it yesterday, and I can,

1972
01:44:54,140 --> 01:44:56,740
Speaker 1: I can, I agree with that. Yeah, I guess a

1973
01:44:56,760 --> 01:44:59,280
Speaker 1: big part of it is, you know, for the millionth time,

1974
01:44:59,320 --> 01:45:02,680
Speaker 1: dreamlike quality of the picture, less of a focus on

1975
01:45:02,780 --> 01:45:07,059
Speaker 1: characters and plot beats and traditional narrative. And those are

1976
01:45:07,080 --> 01:45:09,820
Speaker 1: the sort of like stories. Stories are what we latch

1977
01:45:09,920 --> 01:45:11,740
Speaker 1: on to. Like stories are such a key part of

1978
01:45:11,760 --> 01:45:13,200
Speaker 1: the human experience. And so when a film.

1979
01:45:13,220 --> 01:45:14,580
Speaker 3: And they're mnemonic devices.

1980
01:45:14,660 --> 01:45:17,620
Speaker 1: Yeah. And so when a film depends less on that,

1981
01:45:18,360 --> 01:45:20,160
Speaker 1: it sticks in the mindless. This may be a reason

1982
01:45:20,260 --> 01:45:23,960
Speaker 1: why House by the Cemetery does stick with me more

1983
01:45:24,140 --> 01:45:27,719
Speaker 1: in broad strokes compared to other films of his because

1984
01:45:27,800 --> 01:45:31,849
Speaker 1: it does kind of have a more traditional haunted house narrative. Yeah, yeah.

1985
01:45:31,930 --> 01:45:34,550
Speaker 3: Well, I would say There's actually a division. So these

1986
01:45:34,570 --> 01:45:39,099
Speaker 3: Fulci movies have moments that are incredibly memorable. So there

1987
01:45:39,160 --> 01:45:41,920
Speaker 3: are scenes and images from them that I'm never going

1988
01:45:41,939 --> 01:45:45,280
Speaker 3: to forget. I mean, more just the moment to moment

1989
01:45:45,400 --> 01:45:48,210
Speaker 3: happenings of the film, like in between a lot of

1990
01:45:48,250 --> 01:45:51,340
Speaker 3: those big scenes. I that that's the stuff where I'm like,

1991
01:45:51,400 --> 01:45:54,559
Speaker 3: I totally forgot about this. It absolutely left my head

1992
01:45:54,840 --> 01:45:57,040
Speaker 3: the way a dream does after you wake in the morning,

1993
01:45:57,100 --> 01:45:59,820
Speaker 3: just fades away. Like you can't even, you can't grasp it.

1994
01:45:59,900 --> 01:46:00,920
Speaker 3: You know, it was there.

1995
01:46:01,280 --> 01:46:03,980
Speaker 1: Yeah. You'll remember that a character vomited guts, but not

1996
01:46:04,040 --> 01:46:07,620
Speaker 1: necessarily who that character was, why they did it, what

1997
01:46:07,680 --> 01:46:09,800
Speaker 1: scene it was in and how it connected to other

1998
01:46:09,840 --> 01:46:11,080
Speaker 1: moments in the picture. Yeah.

1999
01:46:12,040 --> 01:46:14,720
Speaker 3: Okay. Anything else on a city of the living dead?

2000
01:46:15,270 --> 01:46:18,070
Speaker 1: No, no, I think we have succeeded here. And hopefully,

2001
01:46:18,090 --> 01:46:20,550
Speaker 1: I think we got it done all before All Saints Day.

2002
01:46:20,630 --> 01:46:24,130
Speaker 1: So you're welcome. We have saved the world for another year.

2003
01:46:24,590 --> 01:46:26,299
Speaker 3: But it wasn't worth it if they won't let us

2004
01:46:26,310 --> 01:46:27,060
Speaker 3: smoke in church.

2005
01:46:28,400 --> 01:46:31,040
Speaker 1: It's America. Gosh, darn it. All right.

2006
01:46:31,280 --> 01:46:32,460
Speaker 3: Happy Halloween, everybody.

2007
01:46:32,700 --> 01:46:36,719
Speaker 1: Absolutely. Happy Halloween. Just a reminder to everyone out there

2008
01:46:36,740 --> 01:46:40,060
Speaker 1: that Weird House Cinema is the Friday episode here in

2009
01:46:40,080 --> 01:46:42,349
Speaker 1: the Stuff to Blow Your Mind podcast feed. We're primarily

2010
01:46:42,400 --> 01:46:44,990
Speaker 1: a science and culture podcast, but on Fridays, We just

2011
01:46:45,010 --> 01:46:47,769
Speaker 1: talk about a weird movie. This month has been all

2012
01:46:47,810 --> 01:46:52,790
Speaker 1: about Halloweeny selections. We're about to bust on over into November.

2013
01:46:53,370 --> 01:46:55,110
Speaker 1: So we'll be mixing it up a little bit more.

2014
01:46:55,370 --> 01:46:59,430
Speaker 1: There'll probably still be some horror or horror-esque films going on.

2015
01:46:59,470 --> 01:47:05,580
Speaker 1: We'll probably exercise a little noir-vember energy as well. But

2016
01:47:05,620 --> 01:47:08,210
Speaker 1: just stay tuned to see what we cover next. And

2017
01:47:08,430 --> 01:47:11,410
Speaker 1: if you are on Letterboxd.com, you can look us up.

2018
01:47:11,490 --> 01:47:13,210
Speaker 1: We are Weird House on there, and you can find

2019
01:47:13,250 --> 01:47:15,030
Speaker 1: a nice list of all the movies we've covered over

2020
01:47:15,050 --> 01:47:17,550
Speaker 1: the years and sometimes a peek ahead at what comes next.

2021
01:47:18,170 --> 01:47:21,760
Speaker 3: Huge thanks, as always, to our excellent audio producer, J.J.

2022
01:47:21,800 --> 01:47:22,300
Speaker 1: Posway.

2023
01:47:22,800 --> 01:47:24,360
Speaker 3: If you would like to get in touch with us

2024
01:47:24,420 --> 01:47:27,540
Speaker 3: with feedback on this episode or any other, if you

2025
01:47:27,580 --> 01:47:30,180
Speaker 3: would like to suggest a topic for the future, or

2026
01:47:30,200 --> 01:47:31,840
Speaker 3: if you would just like to say hello, you can

2027
01:47:31,939 --> 01:47:35,019
Speaker 3: email us at contact at stuff to blow your mind

2028
01:47:35,189 --> 01:47:35,590
Speaker 3: dot com.

2029
01:47:42,729 --> 01:47:45,179
Speaker 2: Stuff to Blow Your Mind is a production of iHeartRadio.

2030
01:47:45,560 --> 01:47:48,889
Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app. Apple

2031
01:47:48,900 --> 01:47:51,250
Speaker 2: Podcasts are wherever you listen to your favorite shows.