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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. My name is Rob.

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Speaker 1: Lamb and I am Joe McCormick.

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Speaker 2: So it's time to check another country off of the

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Speaker 2: Weird House Cinema list. You know, we can imagine our

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Speaker 2: global map and we're putting pins in the different countries

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Speaker 2: that we've visited via the cinematic output of said nation.

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Speaker 2: This time we're going to Estonia and sorry, France, we'll

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Speaker 2: get to you eventually.

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Speaker 1: That's right.

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Speaker 3: Today we're going to be talking about the nineteen seventy

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Speaker 3: nine Estonian Soviet sci fi detective film Dead Mountaineers Hotel,

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Speaker 3: directed by Grigory Kromanov, based on a story by the

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Speaker 3: brothers Boris and Arkadi Strugatsky, who also wrote the source

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Speaker 3: material for another one of my favorite weird Soviet films,

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Speaker 3: which is Tarkovsky's Stalker. In fact, that movie was released

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Speaker 3: the same year as this movie. Both came out in

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Speaker 3: nineteen seventy nine, so a big year for the brothers Strugatsky.

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Speaker 3: I had never seen Dead Mountaineers Hotel before this past week.

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Speaker 3: I was attracted to it after I saw some very

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Speaker 3: intriguing stills online featuring weird sets full of mirrors and

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Speaker 3: some very striking shot composition with interesting use of color.

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Speaker 3: And then I read reviews characterizing this movie as a

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Speaker 3: bizarre but generally quite well liked Eastern European film noir

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Speaker 3: with subversive science fiction themes and several heaping spoonfuls of

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Speaker 3: what is going on? So this sort of pull toward

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Speaker 3: the film was amplified when I went to Videodrome and

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Speaker 3: I saw the employees there had posted a recommendation on

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Speaker 3: this film, so I decided I had to get it

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Speaker 3: check it out. So it was Estonian sci Fi detective

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Speaker 3: week for me, and you know, despite all of that preparation,

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Speaker 3: I was still incredibly surprised by this film. I'll do

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Speaker 3: a short synopsis of the setup the first third of

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Speaker 3: the movie. It is about a police inspector named Glebski

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Speaker 3: working in some country in capitalist western Europe. But did

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Speaker 3: they ever specify what country it is? I think it's unnamed.

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Speaker 2: I think it is unnamed. Yeh, it's just miscellaneous European country,

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Speaker 2: which which is sometimes my favorite country to go to

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Speaker 2: in cinema.

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Speaker 3: Right, So he's a policeman working somewhere further west in Europe,

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Speaker 3: in some alpine region, and he is called to a

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Speaker 3: remote ski lodge up in the mountains known as the

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Speaker 3: Dead Mountaineers Hotel. But once he arrives, it seems he

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Speaker 3: was summoned on a false alarm. The other guests at

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Speaker 3: the hotel behave very strangely and something is not what

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Speaker 3: it seems. Then suddenly there is at the same time

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Speaker 3: an avalanche cutting the guests off from the rest of

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Speaker 3: the world, and a murder, putting Inspector Globsky sort of

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Speaker 3: taking him out of vacation mode and putting him back

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Speaker 3: into on duty mode.

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Speaker 2: Yeah, because initially he's like, well, it took me so

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Speaker 2: long to get up here, and it's a little misty out.

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Speaker 2: I'm clearly going to have to spend the night here

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Speaker 2: and drink some wine exactly. But then yeah, back on duty.

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Speaker 2: When the murder occurs.

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Speaker 3: I'm gonna have to dance to some really good Estonian

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Speaker 3: proud rock.

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Speaker 2: M hm.

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Speaker 3: Now at this point, I think we're gonna have to

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Speaker 3: go ahead and deal with something, which is that this

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Speaker 3: film has major surprises that develop across its run time,

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Speaker 3: and it would be rob I think you'd agree basically

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Speaker 3: impossible for us to talk about this movie without spoiling

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Speaker 3: its big twists.

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Speaker 2: Right right, And we were talking about this a little

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Speaker 2: bit off Mike beforehand. This is not a film that

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Speaker 2: is so dependent upon the twist that you cannot enjoy it.

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Speaker 2: In fact, you might enjoy it a little bit more

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Speaker 2: knowing the sort of territory it we'll get into.

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Speaker 3: I read a blog post somewhere online where the writer

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Speaker 3: was reviewing the film and said that they thought that

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Speaker 3: it actually worked better if you went in already knowing

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Speaker 3: what the twist would be. I'm not sure about that,

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Speaker 3: but that could be the case. I went in already

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Speaker 3: knowing the twist and still greatly enjoyed the movie. But

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Speaker 3: if you suspect that might not be the case for

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Speaker 3: you, You want your chance to duck out and not know

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Speaker 3: what happens later in the Film's here's your here's your moment.

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Speaker 3: Let's do some some spoiler avoidance, walk out music.

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Speaker 1: Flee and terror from the revelations to come.

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Speaker 2: Your mind is not ready. Your mind is not ready.

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Speaker 1: Your mind is okay.

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Speaker 3: But here you are with us to know what happens

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Speaker 3: later in the film. But you know part of the

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Speaker 3: difficulty is that even the genre designation of the movie

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Speaker 3: spoils the twist because it is called like a neo

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Speaker 3: noir or detective science fiction film, and there is nothing

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Speaker 3: science fiction about the movie until the twist is revealed,

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Speaker 3: which is that, well, one part of the twist is

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Speaker 3: not necessary early sci fi. It's more sort of crime

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Speaker 3: thriller themed, and that is that some of the hotel

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Speaker 3: guests are secretly gangsters and or terrorists. I wasn't quite

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Speaker 3: sure exactly what kind of criminal this is supposed to be.

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Speaker 3: But then beyond that, some other hotel guests are robots,

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Speaker 3: and yet other guests are aliens.

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Speaker 2: Yeah. Yeah, And I have to add, like, knowing that

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Speaker 2: we selected this for weird house cinema, you might already

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Speaker 2: suspect that there will be something speculative in the plot.

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Speaker 2: But I also have to highlight that the movie is

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Speaker 2: weird enough in its texture and its tone that I

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Speaker 2: think we could have covered it even had it not

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Speaker 2: involved robots and aliens.

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Speaker 3: Oh yeah, because people have pointed this out about especially

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Speaker 3: like the sets and the music created very otherworldly atmosphere

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Speaker 3: before any technically speculative plot elements are introduced, like this

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Speaker 3: is a ski resort in the mountains, but it feels

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Speaker 3: like a set from Blade Runner.

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Speaker 2: Yeah. Yeah, And then the score is very abstract and tronic.

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Speaker 2: We'll get into that in a bit too, But all

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Speaker 2: of this sort of you know, sets the board, and

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Speaker 2: by the time aliens and robots come around, I have

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Speaker 2: a feeling that even if you didn't know they were

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Speaker 2: going to occur, they it would not feel completely out

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Speaker 2: of left field. You would be like, oh, well, yeah,

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Speaker 2: of course. I mean, a number of human beings have

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Speaker 2: to be robots and aliens. That's where I am in

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Speaker 2: my worldview after experiencing this much of the film.

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Speaker 3: I mean, a lot of the characters are acting incredibly weird,

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Speaker 3: and so it seems something would have to be up

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Speaker 3: to explain the way they behave right, and the films

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Speaker 3: I would say the film's themes don't fully come into

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Speaker 3: focus until the final act, when, after the revelation of

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Speaker 3: the presence of aliens and robots, the policeman Glebski is

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Speaker 3: put in a position to think independently given new information,

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Speaker 3: even unprecedented information, and he has to choose whether to

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Speaker 3: blindly charge ahead, deferring his individual judgment and performing his

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Speaker 3: official duties or to think for himself and act as

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Speaker 3: a human being. And we see Glebsky really struggling with

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Speaker 3: this choice. He feels very strongly pulled to just act

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Speaker 3: out his official duties as a policeman, even if they

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Speaker 3: don't really make sense in the scenario, and it would

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Speaker 3: spell disaster for visitors from another world.

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Speaker 2: Yeah. Yeah, So the making of retrospective feature at on

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Speaker 2: the Blu Ray edition that we both watched more than

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Speaker 2: that in a minute. It shed some interesting light on

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Speaker 2: the production. So, first of all, just a bit of

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Speaker 2: background since we're dealing with Estonian cinema here. At the

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Speaker 2: time Dead Mountaineers Hotel was made, Estonia was the Estonian

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Speaker 2: Soviet Socialist Republic. This is essentially what it was known

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Speaker 2: as nineteen forty through nineteen forty one, and then nineteen

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Speaker 2: forty four through around nineteen ninety one, though asterix by

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Speaker 2: that date I'll explain in a second. And while Estonia

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Speaker 2: had its own distinct film, TV and theater scenes, it

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Speaker 2: seems to have to a large extent been a shared

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Speaker 2: ecosystem with Moscow based film production. At the time you had,

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Speaker 2: you know, you seem to have a very Soviet film

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Speaker 2: bureaucracy in place governing the production of this film and

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Speaker 2: other films that were occurring throughout the than Soviet Union.

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Speaker 2: For instance, composer sim Gruenberg talks about composing music for

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Speaker 2: the film on the train back to Moscow, where he

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Speaker 2: then would record in the same studio that like later

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Speaker 2: in the day, another composer was going to be using

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Speaker 2: to score nineteen seventy nine Stalker, a Soviet Russian production

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Speaker 2: that we just referenced.

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Speaker 3: Oh okay, yeah, and so given this context, one thing

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Speaker 3: that I've read about the film that makes it kind

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Speaker 3: of interesting is that, despite its the weirdness, and I

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Speaker 3: would argue subversiveness of the final product, this is a

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Speaker 3: film that was made under, from what I understand, a

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Speaker 3: heavy hand of censorship.

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Speaker 2: Yeah. Yeah, Yeah, the film was seemingly the product of

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Speaker 2: very bureaucratic film production process. In some ways, it does

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Speaker 2: seems like it held it back, and we'll discuss examples

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Speaker 2: of that. But it also meant that it seems like

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Speaker 2: they had everything lined up when they were about to shoot,

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Speaker 2: Like when they actually went out there, it was a

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Speaker 2: pretty well oiled machine. To a large extent, very streamline production.

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Speaker 2: But yeah, it seems like it maybe did limit and

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Speaker 2: in case in other cases almost limited the creativity of

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Speaker 2: the project as well.

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Speaker 3: I was reading about the making of the film in

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Speaker 3: a piece by an Estonian film critic named Carlo Funk.

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Speaker 3: It was an article published by the Estonian Film Institute,

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Speaker 3: and Funk was sort of writing about how there were

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Speaker 3: certain things you could do if you wanted to tell

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Speaker 3: a certain kind of story under this environment, that you

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Speaker 3: could have more leeway with your storytelling. For example, setting

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Speaker 3: it in the West rather than setting it like in

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Speaker 3: Estonia or something allowed more freedom allegedly to depict characters

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Speaker 3: as sort of like flawed and conflicted in their official duties.

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Speaker 2: Because you could you would essentially be saying like, this

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Speaker 2: is the kind of potential depravity that can be going

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Speaker 2: on elsewhere, but not within these borders. Right, Just a

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Speaker 2: quick cap on the note about Estonia. Estonia became the

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Speaker 2: I believe, the first of the then Soviet controlled countries

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Speaker 2: to declare independence from Moscow and the Soviet Union, and

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Speaker 2: by nineteen ninety one, I believe the sixth of September

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Speaker 2: nineteen ninety one, the Soviet Union recognized Estonian independence. Now

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Speaker 2: key to all of this, of course, is the hotel,

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Speaker 2: the Dead Mountaineers Hotel, which we'll get into. We'll talk

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Speaker 2: a lot about this hotel. And you know, it's film.

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Speaker 2: So you have exteriors and interiors at this place, and

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Speaker 2: I think if you know anything about about filmmaking at all,

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Speaker 2: you know that these don't have to necessarily match up.

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Speaker 2: Sometimes the place where a film is shot the interior,

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Speaker 2: we are also using the exteriors of of set location.

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Speaker 2: Sometimes you'll have the have exterior shots for a particular

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Speaker 2: place in your film, and the inside of that place

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Speaker 2: you're utilizing via another location or perhaps sets.

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Speaker 1: Right.

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Speaker 2: So in this film, we have the exterior of the hotel,

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Speaker 2: which does have its own kind of character. It has

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Speaker 2: this kind of like boxy look that I quite like.

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Speaker 2: It doesn't look completely rustic. It has sort of a

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Speaker 2: modern flare to it.

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Speaker 3: Yeah, it is an asymmetrical architecture that does look like

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Speaker 3: I don't know, some modern homes you would see that

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Speaker 3: are like a you know, a rectangle rising up here

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Speaker 3: and a slanted roof there. And it's not just like

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Speaker 3: your standard sort of boxy resort hotel shape right right.

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Speaker 2: And of course it is very remote and surrounded by

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Speaker 2: all of these snowy mountains and all very captivating. But

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Speaker 2: instead of using this location or some other kind of

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Speaker 2: like ski lodge location for the interiors, and instead of

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Speaker 2: engaging in perhaps the kind of expected rustic or perhaps

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Speaker 2: well worn interiors of an actual remote ski lodge, they said, no, no, no,

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Speaker 2: this is a science fiction film. This film deals with

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Speaker 2: futuristic ideas. We need to have a futuristic set, and

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Speaker 2: so they ended up building out these sets. And what

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Speaker 2: we have is this highly stylized like black and mirrored interior.

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Speaker 2: There's neon and the featurette on the disc describes this

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Speaker 2: as all being very much in line with Estonian hyperrealism

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Speaker 2: of the time period.

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Speaker 3: I don't know exactly what that is, but it's hyper something.

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Speaker 1: It's yes, yeah, yeah.

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Speaker 3: It doesn't feel like a real hotel like it doesn't.

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Speaker 3: It does not at all suggest hospitality. Instead, it is

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Speaker 3: an environment that suggests mystery and doubt. And yet despite this,

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Speaker 3: it does still have some of the features that can

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Speaker 3: make a hotel or resort an exciting location for a

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Speaker 3: mystery story, like the maze like nature of hallways, and

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Speaker 3: a hotel like that you never really understand, like what

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Speaker 3: part of the building you're in or which direction you're facing.

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Speaker 3: You're just going around corners, and this movie does. The

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Speaker 3: sets do have that feeling. There's a kind of like

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Speaker 3: confusing layout of the place, and it almost suggests that

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Speaker 3: it's like not physically plausible.

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Speaker 2: Yeah, and it sounds like the set itself had this

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Speaker 2: kind of like maze like quality. They were talking about

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Speaker 2: like there being lots of places that crew members could

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Speaker 2: sort of hide and you know, have a drink or

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Speaker 2: snack and so forth. And it was apparently quite a

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Speaker 2: struggle to get everybody to be quiet for the for

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Speaker 2: the shoot. But yeah, it was a pretty elaborate build.

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Speaker 2: It wasn't cheap. And on the other end, and certainly

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Speaker 2: I have to stress that it does not feel like

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Speaker 2: a set in that it feels like a real place,

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Speaker 2: Like even though we are getting into this hyper realistic

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Speaker 2: idea of what a remote ski lodge could be, it

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Speaker 2: totally works within the context of the film. And you're

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Speaker 2: never like, oh, look at this set, unless you know,

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Speaker 2: unless I guess you're engaging in the film, you know,

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Speaker 2: outside of the film's context. But it's hard to imagine

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Speaker 2: this film having the same impact or the same flavor

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Speaker 2: at all if it were set in a more traditional

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Speaker 2: or rustic ski lodge setting, you know, that kind of

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Speaker 2: like well worn, perhaps not as easily maintained environment that

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Speaker 2: some of us may have experienced in one form or

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Speaker 2: an other in remote locations. It just I can't help

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Speaker 2: but suspect that if that had been the case with

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Speaker 2: this movie, even if it still had the terrific score,

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Speaker 2: the terrific performances and this weird plot, this film might

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Speaker 2: have been more easily forgotten and it wouldn't stand out

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Speaker 2: as this kind of shining gem of Estonian film from

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Speaker 2: this time period.

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Speaker 3: When you read people talking about this movie, they will

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Speaker 3: end up saying a lot of things, but often the

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Speaker 3: first thing they say is something about the striking vision

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Speaker 3: nature of it.

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Speaker 2: Yeah. Absolutely, And we'll keep touching on more specific examples

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Speaker 2: of that as we go. I'll also point out that

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Speaker 2: the featurett described this as being part of the first

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Speaker 2: and only, at least at the time that this featurette

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Speaker 2: was produced, wave of Estonian science fiction of the mid

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Speaker 2: and late nineteen seventies. So there's like this brief blip

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Speaker 2: where suddenly, and we'll touch on why someone this might

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Speaker 2: have been the case where suddenly Estonian cinema was more

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Speaker 2: concerned with science fiction and then it kind of dies off.

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Speaker 2: Though just looking around a little bit, it looks like

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Speaker 2: it looks like in recent years we have seen more

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Speaker 2: Estonian science fiction come out. So it's not like, you know,

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Speaker 2: Estonian creatives completely abandoned the idea of science fiction. It's

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Speaker 2: more a question of, like what was being funded, what

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Speaker 2: was being produced, especially during this time period in which,

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Speaker 2: like we already we discussed like there were a lot

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Speaker 2: of bolts in place on what sort of films would

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Speaker 2: see the light of day.

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Speaker 1: Okay, what's your elevator pitch for the movie?

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Speaker 2: It's sample a ski lodge madness Estonian style.

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Speaker 1: In a world where the ski lodge is full of robots.

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Speaker 1: One man will be a cop and not think too

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Speaker 1: much about it.

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Speaker 2: Oh, I don't know. There's a lot of thinking. There's

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Speaker 2: a lot of contemplative characters in this. Well, let's go

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Speaker 2: ahead in here, just a little bit of the trailer audio.

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Speaker 2: This is from the I believe, the the Estonian trailer,

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Speaker 2: So we're not going to play all of it, but

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Speaker 2: maybe just a little bit to give you some flavor

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Speaker 2: Milli luma. All right, Now, before we go into the

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Speaker 2: rest of the episode. Let's talk about where you can

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Speaker 2: watch this movie as well, especially if you want to

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Speaker 2: watch it before listening to us talk about all the

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Speaker 2: details of the plot. I can't speak for other regions,

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Speaker 2: but currently over here it looks like the only way

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Speaker 2: to stream it legit is perhaps via cultpick dot com

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Speaker 2: looks like they have it. I'm not familiar with cultpick,

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Speaker 2: but it pops up on letterbox as being a place

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Speaker 2: you can stream it. We watched it on the all

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Speaker 2: region Blu ray from Camera Obscura, which also features an

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Speaker 2: optional German dub. It has English subs and an interesting

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Speaker 2: making up documentary that I've referred to already and I

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Speaker 2: may refer to again.

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Speaker 1: Yeah, this was a good disc I liked it.

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Speaker 2: Yeah, yeah, I had no problem playing it on an Xbox,

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Speaker 2: for example, which sometimes isn't the case with international Blu

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Speaker 2: rays and so forth. All right, let's get into the

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Speaker 2: people who made this film, starting at the top with

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Speaker 2: the director Grigory Kromanov, who lived nineteen twenty six through

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Speaker 2: nineteen eighty four Estonian director and occasionally actor, best known

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Speaker 2: internationally for this film, which was also his last of

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Speaker 2: six films. I believe this was his only genre film.

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Speaker 2: Other films included the nineteen sixty nine nineteen seventy historic

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Speaker 2: drama also described sometimes as a swashbuckler, The Last Relic.

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Speaker 3: Yeah, that's how I've seen it, described as a sort

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Speaker 3: of historical adventure.

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Speaker 2: Yeah, and then the screenplay. The screenplay is credited to

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Speaker 2: Arkadi and Boris Strugatsky, who also wrote the novel upon

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Speaker 2: which it is based. So they adapted their own novel

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Speaker 2: here Okay Arkati lived nineteen twenty five through nineteen ninety

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Speaker 2: one and Boris lived nineteen thirty three through twenty twelve,

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Speaker 2: so they were Soviet Russian science fiction authors and brothers

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Speaker 2: who collaborated throughout their careers. Their best known novel is

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Speaker 2: nineteen seventy two's Roadside Picnic, which Tarkovski adapted into the

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Speaker 2: nineteen seventy nine film Stalker, which we already mentioned here.

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Speaker 2: This movie is based on the nineteen seventy novel Dead

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Speaker 2: Mountaineers Hotel, a detective story that veers increasingly into weird territory.

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Speaker 2: Both of these books, by the way, are widely available

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Speaker 2: in English translation. I think you can even get audio

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Speaker 2: books of them, so you know they're they're they're they're

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Speaker 2: available out there, along with other works of theirs. And

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Speaker 2: by the way, in two thousand and nine, the novel

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Speaker 2: Dead Mountaineer's Hotel was adapted into a point and click

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Speaker 2: mystery video game. While I sent you the trailer for

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Speaker 2: this and we were looking at this.

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Speaker 3: Earlier, yeah, I watched this trailer for the game. I

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Speaker 3: would not have imagined this would this adaptation would take place.

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Speaker 3: That was a surprise for me. But you know, it

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Speaker 3: got me thinking about how oh Man, back in the day,

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Speaker 3: I really did enjoy some of those those point and

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Speaker 3: click adventure games like you know, The King's Quest and

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Speaker 3: Maniac Mansion and things like that. This could be a

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Speaker 3: lot of fun.

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Speaker 2: Yeah, yeah, and given the source material, I guess it

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Speaker 2: could be. Like I wonder, I wonder, what's if you

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Speaker 2: had a video game that was not only adapted from

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Speaker 2: the source material, but based on this particular cinematic vision

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Speaker 2: of said book, Like what would it look like? What

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Speaker 2: kind of choices would you have when you pointed and

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00:20:02,480 --> 00:20:05,720
Speaker 2: clicked on characters? You know, would you always have the

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Speaker 2: option to drink and or smoke?

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Speaker 3: Hold on, I'm just thinking, was there at some point

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Speaker 3: a Blade runner point and click adventure game.

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Speaker 2: That sounds right. I never played any of the Blade

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Speaker 2: Runner video games, but there certainly were some video games,

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Speaker 2: I think some PC game of note. I mean it

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Speaker 2: is a it seems like a genre of video game

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Speaker 2: that is well adapted to you know, detective stories are

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Speaker 2: all right. So we have our inspector here, Inspector Peter Glebski,

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Speaker 2: played by oldest Poopsies who lived nineteen thirty seven through

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Speaker 2: to the year two thousand. Yeah, this is one rugged detective. Like,

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00:20:49,000 --> 00:20:51,320
Speaker 2: we get a lot of close ups of this guy's

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Speaker 2: face and it's perfect. It is the perfect like hard

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Speaker 2: boiled detective's face. The lines, the almost like geologic texture

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Speaker 2: to his face, you know, the depths of his eyes.

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Speaker 2: Everything you want out of a noir detective who's having

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Speaker 2: troubled thoughts. This is the guy for you.

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Speaker 1: Yeah, he uh.

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Speaker 3: I mean we talk about square jaws on this show.

379
00:21:13,040 --> 00:21:17,640
Speaker 3: Sometimes this is a jaw that is like fractally square.

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Speaker 3: I'm trying to think what actor I'm more familiar with

381
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Speaker 3: to compare him to. He's almost got a kind of

382
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Speaker 3: Jack Palance energy, you know.

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Speaker 2: Yeah, he reminded me a bit too of Sean Bean.

384
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Speaker 2: He has just facial features and also the kind of

385
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Speaker 2: like stern, distant eyed characters that that Bean has sometimes played.

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Speaker 3: Oh yeah, I can see that because he does there

387
00:21:40,880 --> 00:21:44,399
Speaker 3: is a weariness about him. He has he very well

388
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Speaker 3: does that thing that's familiar to us from a lot

389
00:21:46,440 --> 00:21:50,040
Speaker 3: of movies now of the uh the police detective who's

390
00:21:50,240 --> 00:21:52,399
Speaker 3: just sort of worn out and tired.

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Speaker 1: Of it all.

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Speaker 2: Yeah, and he's so ripe he's about to fall off

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Speaker 2: the tree. I think maybe that's what that line means.

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Speaker 2: This the line, Well, we'll come.

395
00:21:59,320 --> 00:22:01,920
Speaker 3: Back to yea what that means, but that could be Yeah,

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00:22:02,119 --> 00:22:03,320
Speaker 3: I accept that interpretation.

397
00:22:03,440 --> 00:22:07,680
Speaker 2: Yeah, Okay, So this is easily this actor's best known

398
00:22:07,720 --> 00:22:11,480
Speaker 2: film internationally, but he was active in TV and film

399
00:22:11,640 --> 00:22:15,000
Speaker 2: of the region from the late seventies through the late nineties,

400
00:22:15,400 --> 00:22:18,640
Speaker 2: and he was a Latvian actor. Okay, so again, absolutely

401
00:22:18,680 --> 00:22:22,200
Speaker 2: strong presence in the film. You know, a nice central

402
00:22:22,359 --> 00:22:25,159
Speaker 2: performance and physical performance to base everything on.

403
00:22:25,800 --> 00:22:28,399
Speaker 3: I read somewhere online somebody saying that the casting in

404
00:22:28,440 --> 00:22:32,240
Speaker 3: this movie has almost the sensibility of like a caricaturist,

405
00:22:32,560 --> 00:22:40,760
Speaker 3: that the cast is really selected for extremely distinctive looks. Yeah,

406
00:22:40,800 --> 00:22:43,400
Speaker 3: and I would say that's the case of the next

407
00:22:43,680 --> 00:22:46,480
Speaker 3: actor and character we're going to talk about the hotel manager.

408
00:22:46,560 --> 00:22:52,479
Speaker 2: Alex Snavar, that's right, played by Yuri Jarvitt, lived nineteen

409
00:22:52,560 --> 00:22:56,919
Speaker 2: nineteen through nineteen ninety five, playing the owner, the weird

410
00:22:56,960 --> 00:23:00,000
Speaker 2: owner of the hotel, weird owner of a weird Hotel.

411
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Speaker 2: Estonian actor who was also in the Last Relic and

412
00:23:04,320 --> 00:23:07,879
Speaker 2: played the lead in a nineteen seventy adaptation of King Lear,

413
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Speaker 2: which I think is it's fitting given that he has

414
00:23:10,920 --> 00:23:14,479
Speaker 2: a very haunted look at times in this production, and

415
00:23:14,520 --> 00:23:19,040
Speaker 2: he is most famously in Tarkovsky's nineteen seventy two science

416
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Speaker 2: fiction film Solaris. I believe he actually had third billing

417
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Speaker 2: in that.

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00:23:22,840 --> 00:23:25,680
Speaker 3: Okay, I don't remember exactly, but I think he's one

419
00:23:25,720 --> 00:23:27,680
Speaker 3: of the scientists on the base.

420
00:23:27,800 --> 00:23:29,879
Speaker 2: He's a doctor character.

421
00:23:30,040 --> 00:23:34,000
Speaker 3: Yeah, yeah, this guy. What I'm about to say might

422
00:23:34,160 --> 00:23:37,359
Speaker 3: feel like it doesn't make any sense, but stick with me.

423
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Speaker 3: I would almost describe his energy as sweet, cuddly Kinsky.

424
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Speaker 3: Like if you could imagine a mirror image, like suck

425
00:23:46,800 --> 00:23:49,680
Speaker 3: all the like evil and poison out of klaus Kinski

426
00:23:50,040 --> 00:23:53,240
Speaker 3: and make like a sweet, nice version of him, That's

427
00:23:53,359 --> 00:23:54,960
Speaker 3: what this guy makes me think of.

428
00:23:55,560 --> 00:23:57,560
Speaker 2: Yeah, I can see that. I can definitely see that,

429
00:23:58,480 --> 00:24:01,600
Speaker 2: all right. The next character is Simone Simonet. He's our

430
00:24:01,720 --> 00:24:07,960
Speaker 2: wall crawling physicist, played by Limbeth Peterson born nineteen fifty three,

431
00:24:08,560 --> 00:24:11,199
Speaker 2: Estonian actor. And once more, this is probably the actor's

432
00:24:11,240 --> 00:24:12,600
Speaker 2: best known film internationally.

433
00:24:13,080 --> 00:24:16,920
Speaker 3: This guy's got a very nervous kind of high strong

434
00:24:17,040 --> 00:24:20,439
Speaker 3: energy and you really don't know what his deal is

435
00:24:20,480 --> 00:24:21,520
Speaker 3: for most of the movie.

436
00:24:21,600 --> 00:24:23,840
Speaker 1: But I liked him all right.

437
00:24:23,920 --> 00:24:27,479
Speaker 2: And the next character is Hinkus, Oh boy, this is

438
00:24:27,680 --> 00:24:30,359
Speaker 2: the only name that has ever attributed to him, played

439
00:24:30,359 --> 00:24:34,000
Speaker 2: by Mick Mickeverer, who lived nineteen thirty seven through two

440
00:24:34,000 --> 00:24:37,359
Speaker 2: thousand and six. Estonian actor whose credits include some of

441
00:24:37,400 --> 00:24:40,840
Speaker 2: the expected sort of dramas you would imagine, because again

442
00:24:40,840 --> 00:24:43,480
Speaker 2: there are a lot of more traditional dramas, less speculative

443
00:24:43,520 --> 00:24:45,440
Speaker 2: work that you've seen a lot of these actors work

444
00:24:45,760 --> 00:24:50,199
Speaker 2: during this time period, but also another key player in

445
00:24:50,240 --> 00:24:53,359
Speaker 2: the short lived Estonian sci fi wave as well as

446
00:24:53,359 --> 00:24:56,359
Speaker 2: some Russian science fiction. He appears in the Russian nineteen

447
00:24:56,359 --> 00:24:58,960
Speaker 2: eighty seven film The End of Eternity based on the

448
00:24:58,960 --> 00:25:02,240
Speaker 2: work of Isaac Asimov, as well as the bonkers looking

449
00:25:02,400 --> 00:25:06,280
Speaker 2: Estonian Indiana Jones esque sci fi adventure The Curse of

450
00:25:06,320 --> 00:25:08,320
Speaker 2: Snake Valley from nineteen eighty eight.

451
00:25:08,600 --> 00:25:11,639
Speaker 3: He sent me a link to this one. It looked

452
00:25:11,720 --> 00:25:12,680
Speaker 3: I gotta see this.

453
00:25:13,480 --> 00:25:18,120
Speaker 2: Yeah, this one looked it. It looks less great. Yeah,

454
00:25:18,280 --> 00:25:20,879
Speaker 2: respects like it looks. It looks like it's more like

455
00:25:21,000 --> 00:25:24,760
Speaker 2: bonkers and kind of like B cinema in its flavor,

456
00:25:24,800 --> 00:25:28,320
Speaker 2: but also looks just irresistible. So if I, if I,

457
00:25:28,320 --> 00:25:30,400
Speaker 2: if you said, okay, you have to do another Estonian

458
00:25:30,440 --> 00:25:33,040
Speaker 2: film next week, it would it would have to be

459
00:25:33,560 --> 00:25:35,600
Speaker 2: the Curse of the Snake Valley. I'm not sure how

460
00:25:35,600 --> 00:25:36,880
Speaker 2: widely available this one.

461
00:25:36,720 --> 00:25:39,600
Speaker 1: Is, though, Yeah, I've got to see it.

462
00:25:39,640 --> 00:25:41,399
Speaker 3: At some point. I don't know if we'll talk about it,

463
00:25:41,400 --> 00:25:42,320
Speaker 3: but I've got to see it.

464
00:25:43,400 --> 00:25:45,520
Speaker 2: Nick of her Is is quite great in this and

465
00:25:45,600 --> 00:25:48,159
Speaker 2: has numerous places where he really gets to shine.

466
00:25:48,280 --> 00:25:49,800
Speaker 1: Yes, yeah, all right.

467
00:25:49,840 --> 00:25:51,840
Speaker 2: Next, we have a couple of Moses to consider. There's

468
00:25:51,840 --> 00:25:55,360
Speaker 2: mister Moses and there's miss missus Moss. Huh okay, And

469
00:25:56,119 --> 00:25:58,800
Speaker 2: if I'll start with mister Moses played by Carlos Cerberus

470
00:26:00,040 --> 00:26:02,879
Speaker 2: nineteen fourteen through two thousand and nine, Latvian born actor

471
00:26:03,160 --> 00:26:06,080
Speaker 2: who played Gloucester in that King Lear adaptation that I

472
00:26:06,160 --> 00:26:12,320
Speaker 2: referenced earlier, and then we have Irena Crazati born nineteen

473
00:26:12,400 --> 00:26:17,480
Speaker 2: fifty two as Missus Moses, Lithuanian actress best known for

474
00:26:17,520 --> 00:26:20,479
Speaker 2: this film. But she really gets to run wild with

475
00:26:20,800 --> 00:26:22,720
Speaker 2: a kind of weird performance here.

476
00:26:22,920 --> 00:26:25,800
Speaker 1: Oh does she ever? Yeah, she was one of my favorites.

477
00:26:26,400 --> 00:26:30,199
Speaker 2: Like her. Her character's fashion sense in general demeanor is

478
00:26:30,400 --> 00:26:36,920
Speaker 2: basically that of a post zul Dana from Ghostbusters.

479
00:26:36,960 --> 00:26:40,440
Speaker 1: I would say, yes, and she really loves daredevil cops.

480
00:26:40,800 --> 00:26:44,160
Speaker 2: Yes, ex you're a cop, you must be a daredevil. Next,

481
00:26:44,160 --> 00:26:48,359
Speaker 2: we have Lurevic played by Sulev Luik, who lived nineteen

482
00:26:48,400 --> 00:26:51,480
Speaker 2: fifty four through nineteen ninety seven, Estonian actor. Again, this

483
00:26:51,640 --> 00:26:54,159
Speaker 2: was this was his first film, but he worked up

484
00:26:54,240 --> 00:26:57,160
Speaker 2: until his untimely death in nineteen ninety seven. His other

485
00:26:57,200 --> 00:27:01,000
Speaker 2: credits include nineteen ninety three's Tier Up The Prints of Darkness,

486
00:27:01,080 --> 00:27:03,840
Speaker 2: a horror film concerning a cursed ring in the days

487
00:27:03,880 --> 00:27:07,160
Speaker 2: before the outbreak of the Second World War. And that one,

488
00:27:07,200 --> 00:27:09,880
Speaker 2: by the way, is from the director of Cursive Snake.

489
00:27:09,760 --> 00:27:17,879
Speaker 3: Valley sounds thematically loaded. Yeah, this actor brings an intriguing

490
00:27:17,960 --> 00:27:20,040
Speaker 3: sort of doomed mime energy.

491
00:27:20,920 --> 00:27:23,960
Speaker 2: Yes, it does, and I believe by the time we

492
00:27:24,000 --> 00:27:26,119
Speaker 2: really sing a lot from him. I'm like, this dude's

493
00:27:26,119 --> 00:27:27,960
Speaker 2: a robot. There's no way this suit's not a robot

494
00:27:28,160 --> 00:27:29,160
Speaker 2: or an alien or both.

495
00:27:29,800 --> 00:27:31,560
Speaker 1: Wait, but he's actually not a robot.

496
00:27:31,600 --> 00:27:33,399
Speaker 3: He's an alien. The other guy's a robot.

497
00:27:34,480 --> 00:27:37,199
Speaker 2: Yeah, but I feel like the line between robot and

498
00:27:37,240 --> 00:27:41,240
Speaker 2: alien is kind of gray in this film, especially since

499
00:27:41,280 --> 00:27:45,240
Speaker 2: we never get to see alien faces or like robot interiors,

500
00:27:45,280 --> 00:27:46,600
Speaker 2: you know what I'm saying, Like, this is not that

501
00:27:46,760 --> 00:27:49,320
Speaker 2: kind of film. It could have leaned into that a

502
00:27:49,359 --> 00:27:51,600
Speaker 2: little bit and I would have totally would have been

503
00:27:51,600 --> 00:27:54,840
Speaker 2: okay with it, but it doesn't need it.

504
00:27:55,840 --> 00:27:59,040
Speaker 3: Agreed, But yeah, you are correct that even though this

505
00:27:59,119 --> 00:28:01,440
Speaker 3: guy is said to be an organic alien, he does

506
00:28:01,520 --> 00:28:06,120
Speaker 3: behave like the robots. But speaking of robots, this ski

507
00:28:06,160 --> 00:28:09,159
Speaker 3: lodge also has like hot robots.

508
00:28:09,359 --> 00:28:13,479
Speaker 2: That's right. The first character is this guy Oloff, played

509
00:28:13,520 --> 00:28:18,679
Speaker 2: by tit Harm born nineteen forty six, acclaimed Estonian ballet

510
00:28:18,800 --> 00:28:21,840
Speaker 2: dancer turned actor who also went on to be a

511
00:28:21,840 --> 00:28:26,040
Speaker 2: ballet master, ballet manager, ballet choreographer. Like, this is a

512
00:28:26,040 --> 00:28:30,320
Speaker 2: guy that's actually pretty big in the Estonian ballet scene,

513
00:28:30,400 --> 00:28:33,720
Speaker 2: and I think probably well known internationally if you were

514
00:28:33,760 --> 00:28:38,560
Speaker 2: like into ballet. This is his best known film. He

515
00:28:38,640 --> 00:28:41,360
Speaker 2: did some acting here and there, and we do get

516
00:28:41,360 --> 00:28:44,920
Speaker 2: to see him dance, and he's good. You can easily

517
00:28:45,080 --> 00:28:47,320
Speaker 2: knowing that he's a dancer and watching him move you're like, yes,

518
00:28:47,360 --> 00:28:50,360
Speaker 2: this checks out. But he does mention in the extras

519
00:28:50,400 --> 00:28:52,760
Speaker 2: that the set was really cramped and so they didn't

520
00:28:52,760 --> 00:28:54,240
Speaker 2: give him a lot of space to work with, So

521
00:28:54,280 --> 00:28:56,320
Speaker 2: he's having to figure out how to move his body

522
00:28:57,320 --> 00:29:01,840
Speaker 2: in a space that is not enabling him to do much.

523
00:29:02,320 --> 00:29:06,200
Speaker 3: His dancing choices, though, are intriguing and a lot of fun,

524
00:29:06,280 --> 00:29:10,200
Speaker 3: because he's essentially doing ballet ish kinds of moves to

525
00:29:10,520 --> 00:29:13,120
Speaker 3: the sounds of Estonian prog rock.

526
00:29:13,800 --> 00:29:18,440
Speaker 2: Yeah. Yeah, it's interesting to think about these limitations. You know,

527
00:29:18,480 --> 00:29:22,280
Speaker 2: all right, you're a famous ballet dancer. We want you

528
00:29:22,360 --> 00:29:25,880
Speaker 2: to dance, but this is the space you get to

529
00:29:25,880 --> 00:29:28,640
Speaker 2: do it in. And I'm also guessing they might not

530
00:29:28,680 --> 00:29:31,480
Speaker 2: have even had the finished music. They'll be like, we

531
00:29:31,520 --> 00:29:33,320
Speaker 2: don't know what you're dancing to yet, but just go

532
00:29:33,360 --> 00:29:35,760
Speaker 2: ahead and do it. Do it in a way that's

533
00:29:35,800 --> 00:29:37,000
Speaker 2: not going to harm your reputation.

534
00:29:37,280 --> 00:29:40,520
Speaker 3: Imagine you're an intergalactic robot dancing to King Crimson.

535
00:29:41,240 --> 00:29:46,160
Speaker 2: Yeah, he pulls it off, though, all right, So that's Oloff,

536
00:29:46,200 --> 00:29:50,160
Speaker 2: and Oloff is kind of running around with this character Brune.

537
00:29:50,840 --> 00:29:56,080
Speaker 2: Brune is played by Lithuanian actress Njoel Oslet born nineteen

538
00:29:56,160 --> 00:29:59,400
Speaker 2: fifty four. I don't have much to add about her career,

539
00:29:59,760 --> 00:30:02,840
Speaker 2: but but she's very good in this And again, this

540
00:30:02,880 --> 00:30:05,360
Speaker 2: is a film that generally lets a lot of its

541
00:30:05,360 --> 00:30:08,840
Speaker 2: actors play a range of different emotions, you know, from

542
00:30:08,880 --> 00:30:14,040
Speaker 2: just sort of detached modern living to like a robot

543
00:30:14,120 --> 00:30:16,880
Speaker 2: or alien level of detachment, and also getting into fear

544
00:30:16,920 --> 00:30:17,760
Speaker 2: and horror as well.

545
00:30:17,840 --> 00:30:21,080
Speaker 3: Yeah, the character of Bruin hides behind sunglasses for most

546
00:30:21,160 --> 00:30:24,320
Speaker 3: of the runtime, but then later reveals her emotions and

547
00:30:24,360 --> 00:30:25,360
Speaker 3: they're quite interesting.

548
00:30:26,160 --> 00:30:32,520
Speaker 2: Yeah. And then finally we have this character Coled Kesa

549
00:30:32,680 --> 00:30:39,040
Speaker 2: I believe, and she's like the housekeeper, the housekeeper, and

550
00:30:39,120 --> 00:30:41,120
Speaker 2: so she's mostly in the background in a lot of

551
00:30:41,120 --> 00:30:44,000
Speaker 2: these scenes. But she's played by Karen Rad who lived

552
00:30:44,040 --> 00:30:47,640
Speaker 2: nineteen forty two through twenty fourteen, an Estonian theater director

553
00:30:47,680 --> 00:30:51,480
Speaker 2: and actor. And then the music, this is a This

554
00:30:51,560 --> 00:30:54,959
Speaker 2: was again the music in this film. The score is

555
00:30:55,080 --> 00:30:59,360
Speaker 2: just exceptionally effective. And this is the work of Svin

556
00:30:59,440 --> 00:31:02,000
Speaker 2: Gruenberg born nineteen fifty six.

557
00:31:03,480 --> 00:31:06,640
Speaker 3: We've summoned the spirit of spin a number of times.

558
00:31:06,680 --> 00:31:08,160
Speaker 3: Now we have to explain who he is.

559
00:31:09,120 --> 00:31:14,040
Speaker 2: Yeah, So the score here is it's contemplative, it's suggestively

560
00:31:14,240 --> 00:31:19,360
Speaker 2: astral in its vibes. It's an electronic score, definitely a

561
00:31:19,360 --> 00:31:24,320
Speaker 2: synth score by Estonian synth master Svinn Gruenberg, whose career

562
00:31:24,560 --> 00:31:27,680
Speaker 2: has also taken him into the realms of prog rock

563
00:31:27,800 --> 00:31:31,920
Speaker 2: and also Tibetan Buddhism. Prior to watching this film, I

564
00:31:32,040 --> 00:31:35,400
Speaker 2: listened to his nineteen eighty one album Hingus or Breath,

565
00:31:36,040 --> 00:31:38,840
Speaker 2: which is widely available on music streaming platforms. So this

566
00:31:39,760 --> 00:31:43,320
Speaker 2: is not somebody whose work is like super hard to find.

567
00:31:44,120 --> 00:31:46,640
Speaker 2: He really made a name for himself and it is.

568
00:31:47,000 --> 00:31:51,560
Speaker 2: And yeah, Hingus is quite a wonderful collection of ambient

569
00:31:51,600 --> 00:31:54,880
Speaker 2: electronic tracks, and it's kind of in keeping with the

570
00:31:54,960 --> 00:31:59,320
Speaker 2: music we see here. His work is typically abstract and experimental.

571
00:31:59,640 --> 00:32:01,880
Speaker 2: He's well worth looking up if you're into this sort

572
00:32:01,880 --> 00:32:03,920
Speaker 2: of sort of sound like I am. You know, a

573
00:32:03,920 --> 00:32:06,040
Speaker 2: lot of a lot of ambient DNA in his work.

574
00:32:06,560 --> 00:32:09,640
Speaker 2: And and Dead Mountaineer at the hotel, his music plays

575
00:32:09,680 --> 00:32:14,440
Speaker 2: again a huge role in establishing the atmosphere both inside

576
00:32:14,560 --> 00:32:17,880
Speaker 2: of this strange hotel and its mini twists and mirrors,

577
00:32:18,160 --> 00:32:23,200
Speaker 2: but also when we're we're contemplating the exteriors, when we're

578
00:32:23,320 --> 00:32:26,160
Speaker 2: like looking up at the mountains and these just like

579
00:32:26,920 --> 00:32:32,840
Speaker 2: haunting pure blue skies and these like gleaning snow banks

580
00:32:32,840 --> 00:32:37,840
Speaker 2: and so forth. Yeah, the score here is just highly effective.

581
00:32:37,920 --> 00:32:41,400
Speaker 3: Yeah, it's a great example of musical compositions that somehow,

582
00:32:42,160 --> 00:32:46,480
Speaker 3: without even having lyrics, sound like the themes you're trying

583
00:32:46,480 --> 00:32:49,360
Speaker 3: to get the audience to think of. So there is

584
00:32:49,720 --> 00:32:54,400
Speaker 3: a sort of recurring synthesizer theme that sounds, and so

585
00:32:54,600 --> 00:32:56,680
Speaker 3: it'll be it'll happen when you're like panning up over

586
00:32:56,720 --> 00:32:59,840
Speaker 3: the mountaintops and seeing the snow drifts and the glaciers,

587
00:33:00,480 --> 00:33:03,920
Speaker 3: and it will sound like ice in a way, almost

588
00:33:03,960 --> 00:33:07,880
Speaker 3: like snow or like kind of a freezing process, ice crackling.

589
00:33:07,960 --> 00:33:09,520
Speaker 1: It has a kind of high drone.

590
00:33:10,000 --> 00:33:13,440
Speaker 3: But then also as the camera sort of pans to

591
00:33:13,560 --> 00:33:19,880
Speaker 3: include the sky, it morphs to suggest cosmic themes. And yeah,

592
00:33:19,960 --> 00:33:23,840
Speaker 3: it's really h as you say, Yeah, it evokes the

593
00:33:23,840 --> 00:33:25,880
Speaker 3: themes with the sounds quite well.

594
00:33:26,960 --> 00:33:30,320
Speaker 2: Yeah, And so it's it's interesting, like you know, went

595
00:33:30,360 --> 00:33:32,720
Speaker 2: into this having a taste for his music, then you know,

596
00:33:32,760 --> 00:33:36,080
Speaker 2: really appreciating the score itself, and then knowing about how

597
00:33:36,120 --> 00:33:38,920
Speaker 2: other aspects of the production we were, you know, so

598
00:33:39,080 --> 00:33:41,720
Speaker 2: planned in advanced and all, it was kind of surprising

599
00:33:42,360 --> 00:33:45,640
Speaker 2: to read then on Deepbaltic dot com this is a

600
00:33:45,640 --> 00:33:50,320
Speaker 2: culture blog centering in on Estonia, Latvia and Lithuania, that

601
00:33:50,440 --> 00:33:53,720
Speaker 2: Gruenberg was kind of a last minute replacement in this

602
00:33:53,800 --> 00:33:58,760
Speaker 2: production for esteemed Estonian composer Arvaux part and as a result,

603
00:33:58,840 --> 00:34:00,880
Speaker 2: and since no work had appe cparently been done on

604
00:34:00,960 --> 00:34:03,200
Speaker 2: it yet, he had a great deal of freedom. So

605
00:34:03,240 --> 00:34:06,320
Speaker 2: it's like everything was already late, like none of the

606
00:34:06,360 --> 00:34:08,880
Speaker 2: music had been turned in. They needed music. He didn't

607
00:34:08,880 --> 00:34:11,439
Speaker 2: have much time, but it also meant that he got

608
00:34:11,440 --> 00:34:14,440
Speaker 2: to really open up and try whatever he wanted.

609
00:34:14,960 --> 00:34:17,399
Speaker 3: I read in one of those articles I was looking at,

610
00:34:17,400 --> 00:34:20,279
Speaker 3: I think it was the one by Carlo Funk from

611
00:34:20,320 --> 00:34:25,560
Speaker 3: the Estonian Film Institute, saying something about Soviet censors being

612
00:34:25,600 --> 00:34:29,839
Speaker 3: concerned that the movie was trying to trying to get

613
00:34:29,880 --> 00:34:32,239
Speaker 3: some slip, some pink floyd in there.

614
00:34:33,200 --> 00:34:35,880
Speaker 2: Yeah. I read this on the Deep Baltic article as well.

615
00:34:36,680 --> 00:34:39,840
Speaker 2: The author here writes, quote, the tiny budget only allotted

616
00:34:39,920 --> 00:34:43,160
Speaker 2: him a few precious moments with an ems synth one

617
00:34:43,200 --> 00:34:46,560
Speaker 2: hundred in Moscow, and even then what he created almost

618
00:34:46,600 --> 00:34:49,840
Speaker 2: got barred by Soviet censors who are convinced that Ball

619
00:34:50,400 --> 00:34:53,359
Speaker 2: was a lesser known track by Pink Floyd Ball, I guess,

620
00:34:53,400 --> 00:34:55,120
Speaker 2: being one of the titles of one of the tracks

621
00:34:55,480 --> 00:34:56,120
Speaker 2: on the score.

622
00:34:56,360 --> 00:34:59,040
Speaker 3: I wonder if that's the sort of proggy sounding track

623
00:34:59,120 --> 00:35:01,439
Speaker 3: that tit haar when everyone are dancing.

624
00:35:01,120 --> 00:35:04,080
Speaker 2: To, I guess. So, yeah, I kept looking around to

625
00:35:04,120 --> 00:35:06,560
Speaker 2: try and find it. Why, I would love to see

626
00:35:06,560 --> 00:35:11,160
Speaker 2: the score and or soundtrack, you know, featured as a release.

627
00:35:11,239 --> 00:35:14,640
Speaker 2: I don't think it's released anywhere. I couldn't find any

628
00:35:14,640 --> 00:35:16,960
Speaker 2: evidence of it. So I also couldn't find a listing

629
00:35:17,000 --> 00:35:19,359
Speaker 2: of what tracks were actually called. But yeah, this might

630
00:35:19,400 --> 00:35:22,880
Speaker 2: be that prog rock dance number that everybody's grooving out to.

631
00:35:23,080 --> 00:35:35,080
Speaker 2: And it is a great number, all right. One that note,

632
00:35:35,160 --> 00:35:36,640
Speaker 2: let's start get into the plot here.

633
00:35:37,320 --> 00:35:37,719
Speaker 1: All right.

634
00:35:37,760 --> 00:35:41,160
Speaker 3: So the opening shot is ridges and peaks of the

635
00:35:41,239 --> 00:35:44,560
Speaker 3: high Alps covered in snow, and there is eerie music.

636
00:35:44,680 --> 00:35:48,240
Speaker 3: This synthesizer music that we were talking about already sounds

637
00:35:48,280 --> 00:35:52,320
Speaker 3: kind of like drops and wheezes panning from one side

638
00:35:52,360 --> 00:35:55,200
Speaker 3: to the other. And we see the lonely mountaintops and

639
00:35:55,480 --> 00:35:59,560
Speaker 3: very cold feeling sunlight, and we zoom in on a

640
00:35:59,600 --> 00:36:02,879
Speaker 3: snow road winding through the rocks, and a car comes

641
00:36:02,880 --> 00:36:06,200
Speaker 3: around the corner, and here begins the voiceover. This is

642
00:36:06,239 --> 00:36:09,720
Speaker 3: a man's voice. It's gruff, weary. This is the voice

643
00:36:09,719 --> 00:36:13,000
Speaker 3: of Glebsky, the detective. And he tells us I was

644
00:36:13,040 --> 00:36:16,359
Speaker 3: on a call driving to a mountain lodge called the

645
00:36:16,360 --> 00:36:20,560
Speaker 3: Dead Mountaineers Hotel. It was quite a difficult drive. Many

646
00:36:20,600 --> 00:36:23,879
Speaker 3: years have passed now, but on dull shifts or during

647
00:36:23,920 --> 00:36:27,319
Speaker 3: sleepless nights, I often recall what happened, and even now

648
00:36:27,360 --> 00:36:30,960
Speaker 3: I cannot decide whether I was right or not. And

649
00:36:31,080 --> 00:36:34,560
Speaker 3: as he narrates, we see him driving through the mountains

650
00:36:34,640 --> 00:36:36,480
Speaker 3: and here one thing that.

651
00:36:36,440 --> 00:36:38,480
Speaker 1: I really like is that there are.

652
00:36:39,000 --> 00:36:44,760
Speaker 3: Some shots that include the sun facing directly into the camera.

653
00:36:45,719 --> 00:36:48,200
Speaker 3: And this is obviously this is not something you would

654
00:36:48,239 --> 00:36:51,080
Speaker 3: normally do, you know, when you're shooting outside, as aim

655
00:36:51,160 --> 00:36:54,359
Speaker 3: the camera right at the sun. But it works here

656
00:36:54,400 --> 00:36:57,600
Speaker 3: and it happens throughout the movie. These shots with the

657
00:36:57,680 --> 00:37:01,160
Speaker 3: camera just like blasting the or sorry, with the sun

658
00:37:01,280 --> 00:37:05,560
Speaker 3: just blasting the camera lens. They capture the way the

659
00:37:05,640 --> 00:37:08,960
Speaker 3: sun sometimes feels when you're on a snowy mountaintop where

660
00:37:08,960 --> 00:37:14,120
Speaker 3: the sunlight seems colder and weirder, and it lacks that

661
00:37:14,239 --> 00:37:16,759
Speaker 3: quality of gentle warmth that you might get on like

662
00:37:16,800 --> 00:37:19,400
Speaker 3: a nice sunny day at sea level. Instead, it feels

663
00:37:19,520 --> 00:37:25,640
Speaker 3: like just a bombardment, a blasting source of pale, hostile radiation.

664
00:37:27,080 --> 00:37:30,400
Speaker 2: Yeah. Yeah, it really makes this whole landscape feel alien

665
00:37:30,440 --> 00:37:32,440
Speaker 2: and otherworldly, quite fittingly.

666
00:37:32,480 --> 00:37:35,880
Speaker 3: So there's also another shot, Rob. I don't know if

667
00:37:35,880 --> 00:37:37,560
Speaker 3: you noticed at the beginning here, but I liked it

668
00:37:37,600 --> 00:37:40,360
Speaker 3: a lot. There's like a framing of a gap in

669
00:37:40,400 --> 00:37:44,680
Speaker 3: a giant rock face that suggests gates or a gateway.

670
00:37:45,120 --> 00:37:47,880
Speaker 3: And when we see this mountain gate, the soundtrack suddenly

671
00:37:47,920 --> 00:37:52,120
Speaker 3: explodes with heavy synth and an emerging beat, and the

672
00:37:52,200 --> 00:37:54,680
Speaker 3: narration goes on to say, what's strange is I can

673
00:37:54,719 --> 00:37:58,240
Speaker 3: tell no one how it actually happened, not my wife,

674
00:37:58,560 --> 00:38:02,280
Speaker 3: my friends, or the authority. Only I know the whole truth.

675
00:38:02,960 --> 00:38:05,879
Speaker 3: So we start with this idea already that Glebsky is

676
00:38:05,880 --> 00:38:09,880
Speaker 3: isolated in his knowledge of what we're about to see unfold.

677
00:38:10,400 --> 00:38:12,759
Speaker 2: Yeah, luckily he's going to tell us. So that's right,

678
00:38:12,880 --> 00:38:13,360
Speaker 2: let's have it.

679
00:38:15,120 --> 00:38:18,480
Speaker 3: So as Glebski approaches the hotel, in his car. The

680
00:38:18,600 --> 00:38:22,360
Speaker 3: narration dies away and instead we just get the ambient

681
00:38:22,480 --> 00:38:26,040
Speaker 3: sounds of the car ride, the sedan bumping and jostling

682
00:38:26,080 --> 00:38:30,080
Speaker 3: over uneven mountain road. And there's a tiny voice chattering

683
00:38:30,080 --> 00:38:33,359
Speaker 3: on the radio. It sounds like it's speaking French, so

684
00:38:33,760 --> 00:38:36,520
Speaker 3: made me wonder if this is supposed to if it's

685
00:38:36,560 --> 00:38:39,959
Speaker 3: suggesting this is taking place in France, or I guess

686
00:38:39,960 --> 00:38:45,120
Speaker 3: also in Switzerland, where parts of Switzerland they speak French. Anyway,

687
00:38:45,320 --> 00:38:48,320
Speaker 3: Glebsky arrives. He walks the snow covered path to the entrance.

688
00:38:48,680 --> 00:38:51,279
Speaker 3: He's dressed in a brown leather trench coat, and I

689
00:38:51,280 --> 00:38:52,960
Speaker 3: have to say, I think he looks very cool.

690
00:38:53,120 --> 00:38:56,400
Speaker 2: Yeah, yeah, Like I said, this guy's perfect, and he's

691
00:38:56,520 --> 00:38:59,719
Speaker 2: the costuming's great. He is our weary detective who just

692
00:38:59,760 --> 00:39:03,240
Speaker 2: had a grueling drive up into the mountains on indeed

693
00:39:03,280 --> 00:39:07,920
Speaker 2: some very snow covered and terrifying looking roads. Now he

694
00:39:08,040 --> 00:39:11,040
Speaker 2: has to look into some sort of perhaps a murder.

695
00:39:11,760 --> 00:39:13,680
Speaker 2: I just look at this man a drink.

696
00:39:14,080 --> 00:39:15,680
Speaker 3: I just look at this guy, and I think, you

697
00:39:15,719 --> 00:39:18,120
Speaker 3: know what, he's gonna end up taking it too personal.

698
00:39:18,360 --> 00:39:19,799
Speaker 2: I think, oh, yeah, you know he will.

699
00:39:21,680 --> 00:39:25,239
Speaker 3: Oh and during this moment, interesting thing like we look

700
00:39:25,280 --> 00:39:27,080
Speaker 3: up in the sky, we see hang gliders.

701
00:39:27,200 --> 00:39:28,760
Speaker 1: We see them swooping.

702
00:39:28,320 --> 00:39:33,080
Speaker 3: Around, sometimes apparently upside down, though it's possible that I

703
00:39:33,080 --> 00:39:36,799
Speaker 3: guess the film is just upside down, and it suggests like,

704
00:39:36,840 --> 00:39:40,080
Speaker 3: are these hang gliders watching him approach the hotel?

705
00:39:41,200 --> 00:39:43,360
Speaker 2: Yeah, I think they are. I think that the footage

706
00:39:43,400 --> 00:39:47,399
Speaker 2: is inverted here to make it feel all the more haunting. Also,

707
00:39:47,520 --> 00:39:49,960
Speaker 2: this is this is We'll find out later that this

708
00:39:50,080 --> 00:39:53,240
Speaker 2: is Olof and Brun up there in the sky, turing around.

709
00:39:54,400 --> 00:39:56,080
Speaker 2: I have questions about how they got up there, but

710
00:39:56,320 --> 00:39:58,120
Speaker 2: I don't know. We can just take it for granted

711
00:39:58,160 --> 00:40:00,680
Speaker 2: that they knew how to do it. But yeah, it's

712
00:40:00,680 --> 00:40:03,439
Speaker 2: an excellent weird sequence very early in the film here,

713
00:40:04,080 --> 00:40:07,160
Speaker 2: especially as it is combined with the music to create

714
00:40:07,200 --> 00:40:10,200
Speaker 2: this kind of horror of the empty blue sky field.

715
00:40:10,360 --> 00:40:13,359
Speaker 2: Then I know I've personally long connected with since I

716
00:40:13,440 --> 00:40:15,719
Speaker 2: was a child, you know, there being something about like

717
00:40:16,080 --> 00:40:19,120
Speaker 2: a perfect blue sky that feels kind of overwhelming and

718
00:40:19,160 --> 00:40:22,480
Speaker 2: a little uncanny. So a very creepy moment at least

719
00:40:22,520 --> 00:40:22,759
Speaker 2: for me.

720
00:40:23,320 --> 00:40:23,760
Speaker 1: Totally.

721
00:40:23,840 --> 00:40:27,480
Speaker 3: Yes, So Glebsky goes inside the lobby of the hotel

722
00:40:27,560 --> 00:40:29,279
Speaker 3: is empty, it's cavernous.

723
00:40:29,320 --> 00:40:30,879
Speaker 1: His footsteps echoed.

724
00:40:30,600 --> 00:40:32,640
Speaker 3: This doesn't feel like what you'd think of when you

725
00:40:32,680 --> 00:40:37,000
Speaker 3: think a mountain ski lodge, which you know, you'd think cozy,

726
00:40:37,320 --> 00:40:38,200
Speaker 3: roaring fire.

727
00:40:38,440 --> 00:40:39,840
Speaker 1: I don't know that kind of stuff.

728
00:40:40,040 --> 00:40:46,200
Speaker 3: No, this place feels cavernous and dank, and it's just

729
00:40:46,239 --> 00:40:49,640
Speaker 3: a vibe. Like Rabbi attached a screenshot from the lobby

730
00:40:49,719 --> 00:40:53,680
Speaker 3: that we can talk about here. There are sickly green

731
00:40:54,000 --> 00:40:58,759
Speaker 3: tones over the white marble tile. There is black darkness

732
00:40:58,800 --> 00:41:01,759
Speaker 3: in the recesses of the room. In the middle of

733
00:41:01,800 --> 00:41:05,080
Speaker 3: the lobby, there is a prominent portrait. It's a man

734
00:41:05,200 --> 00:41:08,960
Speaker 3: with shaggy hair wearing sunglasses with what looks like a

735
00:41:09,120 --> 00:41:12,799
Speaker 3: neon orange tube light tracing the outline of the top

736
00:41:12,840 --> 00:41:15,680
Speaker 3: of his head, suggesting a sort of tech noir halo.

737
00:41:16,440 --> 00:41:20,080
Speaker 3: And the inspector stops to examine the portrait, and again,

738
00:41:20,160 --> 00:41:22,920
Speaker 3: something about this place feels not quite like a hotel.

739
00:41:23,040 --> 00:41:25,240
Speaker 3: It feels like some other kind of place.

740
00:41:26,239 --> 00:41:29,080
Speaker 2: Yeah, it really feels like this could be a corporate

741
00:41:29,120 --> 00:41:32,000
Speaker 2: headquarters from an early Cronenberg film.

742
00:41:32,200 --> 00:41:36,719
Speaker 3: Yeah, but something you pointed this out in the in

743
00:41:36,760 --> 00:41:39,600
Speaker 3: the notes, Rob, there's something about the portrait of the

744
00:41:40,000 --> 00:41:43,160
Speaker 3: mountaineer here, because we will find out that the face

745
00:41:43,239 --> 00:41:46,880
Speaker 3: we see in this portrait is the titular dead Mountaineer

746
00:41:46,920 --> 00:41:48,080
Speaker 3: of the Dead Mountaineer's Hotel.

747
00:41:49,239 --> 00:41:51,480
Speaker 1: It's it suggests.

748
00:41:51,040 --> 00:41:54,600
Speaker 3: Not just like a portrait, but something almost kind of

749
00:41:54,680 --> 00:41:59,200
Speaker 3: like religious or there's like a it's like a shrine

750
00:41:59,280 --> 00:41:59,720
Speaker 3: or something.

751
00:42:00,320 --> 00:42:02,719
Speaker 2: Yeah, yeah, totally so.

752
00:42:02,800 --> 00:42:06,080
Speaker 3: Glebsky's wandering around in this weird lobby and suddenly somebody

753
00:42:06,120 --> 00:42:08,640
Speaker 3: starts to speak from the shadows behind him. It's a

754
00:42:08,640 --> 00:42:11,439
Speaker 3: man's voice, and he says, speaking of the portrait, that's

755
00:42:11,480 --> 00:42:14,800
Speaker 3: the mountaineer. He was caught in an avalanche. He was

756
00:42:14,880 --> 00:42:18,480
Speaker 3: carried five hundred meters to his death. And there's a

757
00:42:18,520 --> 00:42:22,760
Speaker 3: reverse shot and we see the man speaking, and again

758
00:42:22,840 --> 00:42:24,520
Speaker 3: this is just like what is going on? I guess

759
00:42:24,520 --> 00:42:27,000
Speaker 3: this is the front desk of the hotel, but it

760
00:42:27,080 --> 00:42:31,279
Speaker 3: could not be less hospitable. There's an old man in

761
00:42:31,360 --> 00:42:34,000
Speaker 3: sort of a black turtleneck standing in the shadows in

762
00:42:34,000 --> 00:42:37,000
Speaker 3: front of a window shutter. He looks like count or lock.

763
00:42:37,239 --> 00:42:41,000
Speaker 3: And there's a cherry red lamp in the foreground. Something

764
00:42:41,000 --> 00:42:44,879
Speaker 3: about it gives it suggests blood. And then also there

765
00:42:45,000 --> 00:42:48,160
Speaker 3: is a Saint Bernard panting in the right of the frame.

766
00:42:48,280 --> 00:42:51,520
Speaker 3: Just a dog sitting there like what's a leaking.

767
00:42:51,560 --> 00:42:54,400
Speaker 2: Enormous yeah, enormous dog which turns out to be a

768
00:42:54,440 --> 00:42:57,000
Speaker 2: real sweetheart. But you know, initially it's just like that

769
00:42:57,000 --> 00:42:57,600
Speaker 2: dog's huge.

770
00:42:57,680 --> 00:43:00,520
Speaker 3: Yes, and this man who looks like maybe he just

771
00:43:00,560 --> 00:43:04,960
Speaker 3: drank someone's blood. He introduces himself as Alex Snavar, owner

772
00:43:04,960 --> 00:43:07,439
Speaker 3: of the hotel as well as the valley.

773
00:43:07,200 --> 00:43:08,520
Speaker 1: And the surrounding mountains.

774
00:43:08,520 --> 00:43:10,200
Speaker 3: That's what he says. And I was like, wait, you

775
00:43:10,239 --> 00:43:14,440
Speaker 3: can own a mountain. I guess he can, but you

776
00:43:14,480 --> 00:43:17,280
Speaker 3: know he actually the same thing happens with Alex Snavar

777
00:43:17,400 --> 00:43:20,840
Speaker 3: that happens with the dog, because Snavar looks kind of

778
00:43:20,840 --> 00:43:22,600
Speaker 3: threatening at first, but he will turn out to be

779
00:43:22,640 --> 00:43:26,160
Speaker 3: a sweetheart. Yeah, we learned that the Saint Bernard is

780
00:43:26,239 --> 00:43:29,440
Speaker 3: named Lel, and he goes to sit underneath the portrait

781
00:43:29,480 --> 00:43:33,480
Speaker 3: of the mountaineer. Snavar explains that the dog was the

782
00:43:33,520 --> 00:43:37,160
Speaker 3: mountaineer's faithful companion before the accident, so the accident can

783
00:43:37,239 --> 00:43:41,200
Speaker 3: have happened all that long ago, and Lel now likes

784
00:43:41,239 --> 00:43:43,680
Speaker 3: to sit and gaze at the image of his old friend.

785
00:43:45,440 --> 00:43:47,680
Speaker 3: So Glebsky, of course, he wants to know why he

786
00:43:47,760 --> 00:43:49,799
Speaker 3: was summoned to the hotel somebody called the police and

787
00:43:49,880 --> 00:43:52,760
Speaker 3: here he is. But Snavar has no answers. He claims

788
00:43:52,800 --> 00:43:55,280
Speaker 3: he never called them. It must have been a guest.

789
00:43:55,800 --> 00:43:58,919
Speaker 3: So Glebsky he rings up his captain and tells him,

790
00:43:59,200 --> 00:44:01,640
Speaker 3: you know, it's too late to return through the mountain fog.

791
00:44:01,719 --> 00:44:04,000
Speaker 3: He's gonna have to stay the night at this resort hotel,

792
00:44:04,960 --> 00:44:06,720
Speaker 3: and he's gonna have to try some of the hotel's

793
00:44:06,760 --> 00:44:09,120
Speaker 3: famous Adelweiss vine.

794
00:44:09,280 --> 00:44:11,640
Speaker 2: Yeah. So, like we were saying earlier, he's kind of

795
00:44:11,680 --> 00:44:14,040
Speaker 2: going into vacation mode. It's like, all right, false alarm,

796
00:44:14,120 --> 00:44:16,160
Speaker 2: but I've at least got the night.

797
00:44:16,880 --> 00:44:21,759
Speaker 3: No taking it too personal for me tonight, I'm gonna relax. Oh,

798
00:44:21,760 --> 00:44:24,080
Speaker 3: and I like how well the Saint Bernard is the

799
00:44:24,080 --> 00:44:26,400
Speaker 3: bell hop here at the hotel, Like snave Bar tells

800
00:44:26,440 --> 00:44:29,520
Speaker 3: the dog Glebsky's room number, and the dog picks up

801
00:44:29,560 --> 00:44:31,840
Speaker 3: his bag and his big slobbery mouth and takes it

802
00:44:31,880 --> 00:44:32,799
Speaker 3: to the room.

803
00:44:33,120 --> 00:44:35,440
Speaker 2: Yep, So we see.

804
00:44:35,320 --> 00:44:39,400
Speaker 3: The inspector settling in Outside his window, he sees a

805
00:44:39,520 --> 00:44:43,080
Speaker 3: shadow in the snow. It looks like the silhouette of

806
00:44:43,280 --> 00:44:46,680
Speaker 3: someone on the roof of the hotel, drinking and throwing

807
00:44:46,760 --> 00:44:49,439
Speaker 3: bottles over the edge. So here we start to get

808
00:44:49,480 --> 00:44:53,120
Speaker 3: glimpses of the other guests. Those two people hang gliding

809
00:44:53,160 --> 00:44:56,640
Speaker 3: from earlier. They come in after they finish their hang gliding,

810
00:44:56,719 --> 00:44:59,360
Speaker 3: and we learned that these are ol Off and Bruin

811
00:45:00,160 --> 00:45:03,440
Speaker 3: is the man played by the dancer tit Harm and

812
00:45:03,480 --> 00:45:07,480
Speaker 3: Bruin is the woman. And then also up on the

813
00:45:07,560 --> 00:45:10,640
Speaker 3: roof there is a man in a fur coat admiring

814
00:45:10,680 --> 00:45:13,560
Speaker 3: the mountains. He's in like a sort of lawn chair,

815
00:45:14,239 --> 00:45:17,360
Speaker 3: and we meet him and learn that his name Ishnkas

816
00:45:18,000 --> 00:45:20,279
Speaker 3: And I wanted to add a note about this. You know,

817
00:45:20,320 --> 00:45:24,799
Speaker 3: there's that Spinn Greenberg album called Hingus, which, as you said,

818
00:45:24,840 --> 00:45:28,880
Speaker 3: is Estonian for breath. So I'm wondering if this is

819
00:45:28,920 --> 00:45:32,960
Speaker 3: actually different or if it's basically suggesting that this character's

820
00:45:33,040 --> 00:45:34,000
Speaker 3: name is breath.

821
00:45:35,320 --> 00:45:38,480
Speaker 2: I don't know, but yeah, it's a you can't help

822
00:45:38,520 --> 00:45:39,720
Speaker 2: him make that connection.

823
00:45:40,080 --> 00:45:43,320
Speaker 3: And it would be thematically appropriate because Hinkus tells Glebski

824
00:45:43,800 --> 00:45:46,440
Speaker 3: that he is here at the hotel because he has

825
00:45:46,480 --> 00:45:49,279
Speaker 3: tuberculosis and the doctors have told him that he must

826
00:45:49,320 --> 00:45:52,480
Speaker 3: breathe fresh mountain air in order to recover. Now Here

827
00:45:52,520 --> 00:45:55,040
Speaker 3: comes a funny moment next because Glebsky hears the dinner

828
00:45:55,040 --> 00:45:57,319
Speaker 3: bell and so on the way down to dinner with

829
00:45:57,360 --> 00:46:00,800
Speaker 3: all the other guests, he encounters a man jing himself

830
00:46:00,840 --> 00:46:03,959
Speaker 3: between the walls up near the ceiling and the staircase,

831
00:46:04,960 --> 00:46:07,560
Speaker 3: and the guy hops down and introduces himself. He says,

832
00:46:07,600 --> 00:46:12,520
Speaker 3: I'm Simone Simene, commander of the cyber Forces. But then

833
00:46:12,520 --> 00:46:14,960
Speaker 3: he says he's a he's a physicist actually, and this

834
00:46:15,120 --> 00:46:18,360
Speaker 3: is his first vacation in four years. He says, Project

835
00:46:18,440 --> 00:46:23,040
Speaker 3: Midas heard of it top secret. Then why would you

836
00:46:23,040 --> 00:46:26,600
Speaker 3: have heard of it? But Simone Cimine says that he

837
00:46:26,680 --> 00:46:29,280
Speaker 3: came here to climb the mountain, but there's too much snow,

838
00:46:29,400 --> 00:46:31,239
Speaker 3: so he can't climb the mountain, so he climbs the

839
00:46:31,280 --> 00:46:36,520
Speaker 3: walls instead. He says that the doctors prescribed him sensory pleasures.

840
00:46:39,600 --> 00:46:43,279
Speaker 3: Now at the dinner table, here Snaevar introduces Glebsky to

841
00:46:43,320 --> 00:46:46,160
Speaker 3: the other guests. There is a young lady in an

842
00:46:46,200 --> 00:46:51,760
Speaker 3: orange top wearing huge, weird sunglasses. This is the woman Brune.

843
00:46:52,360 --> 00:46:54,360
Speaker 3: Next to her is this handsome young man in a

844
00:46:54,400 --> 00:46:58,520
Speaker 3: blue shirt and an orange ascot with a shaggy mulletish haircut.

845
00:46:58,560 --> 00:47:02,280
Speaker 3: This is Olaf again brunan oll Off for the hang gliders,

846
00:47:02,640 --> 00:47:04,359
Speaker 3: and they seem to be an item. They're kind of

847
00:47:04,400 --> 00:47:07,879
Speaker 3: just smooching and cuddling at the dinner table. We also

848
00:47:07,960 --> 00:47:12,080
Speaker 3: meet missus Moses, a woman in a lavender outfit with

849
00:47:12,080 --> 00:47:16,440
Speaker 3: a first hole, curly hair and sort of frightening makeup.

850
00:47:17,480 --> 00:47:21,759
Speaker 2: Yeah again roughly post zule Dana and Ghostbusters. That's her

851
00:47:21,840 --> 00:47:22,560
Speaker 2: fashion vibe.

852
00:47:22,640 --> 00:47:24,880
Speaker 1: That's exactly right right on the nose.

853
00:47:25,000 --> 00:47:27,839
Speaker 3: And so Glebski comes in and she's like, she says,

854
00:47:27,960 --> 00:47:30,680
Speaker 3: I love policeman, heroes, daredevils.

855
00:47:30,719 --> 00:47:32,440
Speaker 1: Are you a daredevil inspector?

856
00:47:32,960 --> 00:47:37,799
Speaker 3: And he's like, nope, just just regular And she says, no, no, no,

857
00:47:38,040 --> 00:47:41,040
Speaker 3: any man who looks like you must be a daredevil.

858
00:47:43,400 --> 00:47:46,400
Speaker 3: And the next here comes mister Moses. He's sort of

859
00:47:46,600 --> 00:47:49,319
Speaker 3: a boring, seeming older man with gray hair and a

860
00:47:49,360 --> 00:47:52,719
Speaker 3: gray card. Again, he almost kind of blends into the background.

861
00:47:52,719 --> 00:47:56,400
Speaker 3: It's like you're not really supposed to notice him. Yeah,

862
00:47:56,440 --> 00:47:58,680
Speaker 3: And then there's also the housekeeper at the hotel here,

863
00:47:58,719 --> 00:48:02,560
Speaker 3: this is Kaisa. So everybody settles in and the hotel

864
00:48:02,600 --> 00:48:05,880
Speaker 3: manager is like, anyway, as I was saying before you arrived,

865
00:48:05,960 --> 00:48:09,480
Speaker 3: I am in total agreement with mister Eric von Danikin,

866
00:48:09,760 --> 00:48:13,520
Speaker 3: aliens have repeatedly visited Earth, and I was I could

867
00:48:13,520 --> 00:48:15,680
Speaker 3: not believe what we were in for here was. I

868
00:48:15,760 --> 00:48:17,960
Speaker 3: did not know we would get an Eric von Danikin

869
00:48:18,960 --> 00:48:19,880
Speaker 3: reference in the movie.

870
00:48:19,920 --> 00:48:21,120
Speaker 1: This is in the real world.

871
00:48:21,239 --> 00:48:25,080
Speaker 3: The author of the book Chariots of the Gods.

872
00:48:25,400 --> 00:48:29,440
Speaker 2: Yeah, with the with the question mark yeah, which.

873
00:48:29,239 --> 00:48:33,160
Speaker 3: Is a famous book alleging on the basis of incredibly

874
00:48:33,160 --> 00:48:36,479
Speaker 3: poor evidence and reasoning that aliens have repeatedly visited Earth

875
00:48:36,520 --> 00:48:39,360
Speaker 3: in the in the past and are responsible for I

876
00:48:39,400 --> 00:48:41,480
Speaker 3: don't remember exactly what he connects it to, probably the

877
00:48:41,719 --> 00:48:44,160
Speaker 3: various ancient stories and monuments and stuff.

878
00:48:44,719 --> 00:48:49,399
Speaker 2: Yeah, the whole alien astronaut hypothesis situation, which which we

879
00:48:49,520 --> 00:48:52,040
Speaker 2: recorded a few episodes of stuff to blow your mind

880
00:48:52,080 --> 00:48:54,000
Speaker 2: about a few years.

881
00:48:53,719 --> 00:48:57,480
Speaker 3: Back, analyzing from a from a skeptical perspective, and then

882
00:48:57,480 --> 00:49:00,680
Speaker 3: we talking about like Carl Sagan's point of view on

883
00:49:00,840 --> 00:49:03,520
Speaker 3: like if aliens had visited Earth, what kind of evidence

884
00:49:03,520 --> 00:49:05,680
Speaker 3: you would actually expect to see and stuff like that.

885
00:49:06,360 --> 00:49:07,000
Speaker 2: Yeah.

886
00:49:07,040 --> 00:49:10,680
Speaker 3: So yeah, so Snavevar He's like, I love Eric Vondanakin.

887
00:49:10,800 --> 00:49:13,719
Speaker 3: Aliens have been here, I know it. And Simon the

888
00:49:13,719 --> 00:49:17,960
Speaker 3: physicist is like Fontanakin is a Charlatan, no way, and

889
00:49:18,000 --> 00:49:21,440
Speaker 3: Stavar rebukes him, basically saying that his opinion doesn't count

890
00:49:21,480 --> 00:49:25,000
Speaker 3: because he is a scientist and thus biased. Uh, And

891
00:49:25,040 --> 00:49:28,120
Speaker 3: he says that the question of aliens is one of poetry.

892
00:49:29,560 --> 00:49:31,560
Speaker 2: I kind of like that. I feel like we would

893
00:49:31,600 --> 00:49:34,560
Speaker 2: be better off if all alien conspiracy theorists were so

894
00:49:34,680 --> 00:49:36,920
Speaker 2: honest and self reflective where they were like, you know,

895
00:49:37,680 --> 00:49:40,120
Speaker 2: this isn't a fact based thing. This is about This

896
00:49:40,200 --> 00:49:43,080
Speaker 2: is about feelings, This is about art, you know. Yeah,

897
00:49:43,120 --> 00:49:45,680
Speaker 2: like I know, this doesn't actually connect with reality. This

898
00:49:45,800 --> 00:49:49,879
Speaker 2: is about like a mythic understanding of the world or something.

899
00:49:49,719 --> 00:49:52,440
Speaker 3: Right, Yeah, this is I'm talking about this for fun,

900
00:49:52,600 --> 00:49:55,440
Speaker 3: because it's you know, it's it's interesting and exciting to

901
00:49:55,480 --> 00:49:58,560
Speaker 3: my emotions, not because you know, I'm insisting that the

902
00:49:58,600 --> 00:50:00,840
Speaker 3: evidence is a must be real.

903
00:50:01,680 --> 00:50:04,839
Speaker 2: Yeah. But already we get a little flavor here of Yeah,

904
00:50:04,840 --> 00:50:07,840
Speaker 2: there's like, on one hand, the logical, on the other hand,

905
00:50:08,200 --> 00:50:12,200
Speaker 2: something that seems illogical but also might conform to a

906
00:50:12,280 --> 00:50:15,280
Speaker 2: different reality or different expectations of reality.

907
00:50:15,400 --> 00:50:16,240
Speaker 1: Yeah.

908
00:50:16,239 --> 00:50:20,560
Speaker 3: So they ask the police inspector's opinion, and Glebsky identifies

909
00:50:20,640 --> 00:50:23,160
Speaker 3: himself as a rationalist and I guess that means he

910
00:50:23,239 --> 00:50:27,560
Speaker 3: agrees with Simone, he doubts Eric Vondanakin. So later, some

911
00:50:27,640 --> 00:50:29,880
Speaker 3: time passes and there are a few different scenes of

912
00:50:29,880 --> 00:50:32,560
Speaker 3: the guests hanging out together. One is some kind of

913
00:50:32,640 --> 00:50:36,560
Speaker 3: Billiard's game. I assume this is not, unfortunately snooker. The

914
00:50:37,120 --> 00:50:40,279
Speaker 3: Billiard's game featured in what was it called Billy the

915
00:50:40,360 --> 00:50:43,359
Speaker 3: Kid in the Green Bays Vampire, a previous weird house pick.

916
00:50:43,960 --> 00:50:45,919
Speaker 3: I don't could you recognize what game they're playing?

917
00:50:46,000 --> 00:50:46,520
Speaker 1: Round?

918
00:50:47,080 --> 00:50:51,960
Speaker 2: I don't have a good eye for these related games. Yeah,

919
00:50:52,000 --> 00:50:54,000
Speaker 2: it looked like they were playing with all white balls

920
00:50:54,000 --> 00:50:55,840
Speaker 2: at one point. I don't know if that means anything.

921
00:50:56,040 --> 00:50:57,719
Speaker 1: Yeah, I don't know what all white balls means.

922
00:50:58,080 --> 00:51:00,640
Speaker 2: Yeah, pool enthusiasts can write let us know.

923
00:51:01,040 --> 00:51:04,759
Speaker 3: But they have this conversation about whether or not the

924
00:51:04,760 --> 00:51:09,640
Speaker 3: inspector is going to turn Olof into food. But then

925
00:51:09,640 --> 00:51:13,080
Speaker 3: interesting thing is that like Olof is so good at

926
00:51:13,120 --> 00:51:15,560
Speaker 3: the game that it's like not any fun because he

927
00:51:15,680 --> 00:51:19,759
Speaker 3: just like sneaks. He sinks every shot with absolute precision.

928
00:51:19,840 --> 00:51:22,879
Speaker 3: So Oloff is like the ultimate Billiard's hustler here.

929
00:51:23,680 --> 00:51:24,919
Speaker 2: Yeah, and then he's like I'm out.

930
00:51:25,520 --> 00:51:29,160
Speaker 3: Yeah, So it'd be great to see him go up

931
00:51:29,160 --> 00:51:31,560
Speaker 3: against the Green Bays Vampire Alan Armstrong.

932
00:51:32,320 --> 00:51:35,120
Speaker 2: Yeah, that would have been a logical sequel, right, Green

933
00:51:35,160 --> 00:51:40,960
Speaker 2: Bays Vampire versus a robot versus tit harm Yeah yeah.

934
00:51:40,000 --> 00:51:43,520
Speaker 3: Okay, So later that night we get the scene where

935
00:51:43,560 --> 00:51:45,600
Speaker 3: this is the dancing scene we've referred to a few

936
00:51:45,600 --> 00:51:49,120
Speaker 3: times where everybody's like dancing to heavy prog rock. Oloff

937
00:51:49,160 --> 00:51:52,239
Speaker 3: and Brun are dancing with these jerky whipping movements with

938
00:51:52,280 --> 00:51:56,120
Speaker 3: their arms going out. Mister Moses is playing chess with

939
00:51:56,160 --> 00:51:59,640
Speaker 3: somebody I wasn't sure who, and then Glebsky talking to

940
00:51:59,680 --> 00:52:02,920
Speaker 3: snave Oar is he has questions. He's like, who is

941
00:52:02,960 --> 00:52:06,279
Speaker 3: this mister Moses, and Snaevar says he's registered as a

942
00:52:06,320 --> 00:52:09,920
Speaker 3: traveling businessman, but I have no idea where he's traveling.

943
00:52:10,040 --> 00:52:12,560
Speaker 3: The road ends here. The only way is back.

944
00:52:13,320 --> 00:52:16,080
Speaker 2: It's a great little party. We gonna say, like, I

945
00:52:16,120 --> 00:52:17,920
Speaker 2: kind of want to go to this party. Always have

946
00:52:18,000 --> 00:52:19,879
Speaker 2: some cool dancing, great music, and if you don't want

947
00:52:19,880 --> 00:52:22,239
Speaker 2: to dance, well, you know, have yourself a drink and

948
00:52:22,239 --> 00:52:25,360
Speaker 2: play some chess. You've got activities for everyone.

949
00:52:26,440 --> 00:52:28,320
Speaker 1: Extroverts and introverts are welcome.

950
00:52:28,560 --> 00:52:33,959
Speaker 3: Yeah yeah, yeah, So Glebsky dances with Missus Moses here again,

951
00:52:34,000 --> 00:52:36,640
Speaker 3: she's she seems very into him. She's got like a

952
00:52:36,640 --> 00:52:39,640
Speaker 3: big white feather in her hat or on her head.

953
00:52:40,360 --> 00:52:42,840
Speaker 3: He seems kind of hypnotized. I wasn't sure what this

954
00:52:42,920 --> 00:52:44,920
Speaker 3: was supposed to mean. Did you get the same impression

955
00:52:44,960 --> 00:52:47,000
Speaker 3: that Glebsky's like sort of out of his mind here?

956
00:52:47,840 --> 00:52:51,040
Speaker 2: Yeah? I mean I assumed he was drunk. That was

957
00:52:51,080 --> 00:52:52,040
Speaker 2: where I was at in it.

958
00:52:52,600 --> 00:52:54,160
Speaker 1: That would make sense, because.

959
00:52:53,880 --> 00:52:55,920
Speaker 2: He did say he wanted to have that wine, and

960
00:52:56,000 --> 00:52:59,000
Speaker 2: he had this point. He's just like, I'm off the clock.

961
00:52:59,120 --> 00:53:01,400
Speaker 2: You know, there's no no crime to investigate here. I

962
00:53:01,480 --> 00:53:02,439
Speaker 2: might as well have a good time.

963
00:53:02,560 --> 00:53:05,880
Speaker 3: Yeah, And so basically everybody at the hotel's partying except Forhnkus.

964
00:53:05,920 --> 00:53:08,759
Speaker 3: They say he's still up on the roof. He just

965
00:53:08,800 --> 00:53:10,600
Speaker 3: doesn't come down to party. He's on the roof all

966
00:53:10,640 --> 00:53:13,680
Speaker 3: the time. And there was somewhere in here there's a

967
00:53:13,680 --> 00:53:16,120
Speaker 3: shot I really like, this creepy shot of a big

968
00:53:16,160 --> 00:53:18,400
Speaker 3: evergreen tree back lit by the moon.

969
00:53:19,400 --> 00:53:20,240
Speaker 2: Yeah.

970
00:53:20,320 --> 00:53:22,520
Speaker 3: So Glebsky was dancing with miss and Moses, but then

971
00:53:22,520 --> 00:53:24,759
Speaker 3: Simone comes in for his dance. He's like, Hey, you

972
00:53:24,800 --> 00:53:26,799
Speaker 3: want to dance with a with a cyber commander of

973
00:53:26,840 --> 00:53:32,480
Speaker 3: cyber forces, and so she dances with Simon A and Globsky,

974
00:53:32,560 --> 00:53:35,080
Speaker 3: admitting in the narration that he was drunk, he steps

975
00:53:35,080 --> 00:53:37,799
Speaker 3: away from the party. He goes outside for some night air,

976
00:53:38,520 --> 00:53:41,359
Speaker 3: and then he discovers that someone he doesn't know who

977
00:53:41,800 --> 00:53:45,360
Speaker 3: has slipped an anonymous note into his pocket. He opens

978
00:53:45,400 --> 00:53:48,319
Speaker 3: the note to read it on this snowy pathway lit

979
00:53:48,360 --> 00:53:51,479
Speaker 3: by these globe shaped lamps, and the note is cut

980
00:53:51,520 --> 00:53:54,240
Speaker 3: and pasted with letters from a magazine, like those ransom

981
00:53:54,280 --> 00:53:58,200
Speaker 3: notes in the movies, and it reads, Hinkus is part

982
00:53:58,400 --> 00:54:03,120
Speaker 3: of a criminal organization. He is a dangerous terrorist called

983
00:54:03,560 --> 00:54:05,520
Speaker 3: owl owl w L.

984
00:54:07,880 --> 00:54:10,839
Speaker 2: That's fitting creepy night bird with you know, various supernatural

985
00:54:10,840 --> 00:54:12,160
Speaker 2: connotations in different cultures.

986
00:54:12,640 --> 00:54:15,440
Speaker 3: Yeah, this this struck me as funny when I was watching,

987
00:54:15,480 --> 00:54:18,200
Speaker 3: just because my daughter is currently obsessed with owls.

988
00:54:18,200 --> 00:54:20,680
Speaker 1: She loves to tell us what an owl says. It

989
00:54:20,719 --> 00:54:21,440
Speaker 1: says who who?

990
00:54:22,400 --> 00:54:23,400
Speaker 2: Oh, that's correct.

991
00:54:24,440 --> 00:54:27,160
Speaker 3: But anyway, the note goes on to say a murder

992
00:54:27,200 --> 00:54:27,840
Speaker 3: is planned.

993
00:54:28,120 --> 00:54:28,880
Speaker 1: Do something.

994
00:54:30,000 --> 00:54:32,520
Speaker 3: So Glebski is troubled by this, and he looks up

995
00:54:32,560 --> 00:54:36,120
Speaker 3: on the roof to see the outline of Hinkas still

996
00:54:36,120 --> 00:54:37,759
Speaker 3: in the chair up there, and he calls out to him.

997
00:54:37,760 --> 00:54:43,680
Speaker 3: He yells hing OUs, hing goose. But unfortunately this shout

998
00:54:43,920 --> 00:54:47,719
Speaker 3: seems to trigger something. There is some kind of rumbling

999
00:54:47,800 --> 00:54:51,239
Speaker 3: in the snow covered peaks above this. This was an

1000
00:54:51,320 --> 00:54:58,280
Speaker 3: unfortunate Hincus and the ominous like, there's this ominous droning sound.

1001
00:54:58,360 --> 00:55:02,320
Speaker 3: Matt to this pad underneath everything that begins here, and

1002
00:55:02,480 --> 00:55:05,560
Speaker 3: Hinkas from the roof does not respond. So Glebski runs

1003
00:55:05,640 --> 00:55:07,600
Speaker 3: up there, and when he arrives, he finds that the

1004
00:55:07,640 --> 00:55:10,800
Speaker 3: silhouette in the chair that he believed to be Hinkas

1005
00:55:11,160 --> 00:55:14,360
Speaker 3: is actually just Hinkas's coat stuffed with balls of snow.

1006
00:55:14,440 --> 00:55:19,200
Speaker 3: It's like a decoy snowman. So where is Hinkus? Well,

1007
00:55:19,320 --> 00:55:22,640
Speaker 3: the rumbling which started after Glebsky's shout begins to reach

1008
00:55:22,680 --> 00:55:25,360
Speaker 3: a sort of peak of intensity, and then the hotel

1009
00:55:25,400 --> 00:55:29,080
Speaker 3: guests see out the windows an avalanche coming down the

1010
00:55:29,080 --> 00:55:29,760
Speaker 3: mountain side.

1011
00:55:30,680 --> 00:55:34,480
Speaker 2: Oh man, So first he's Ferris buellerd Byhnkas here and

1012
00:55:34,520 --> 00:55:37,000
Speaker 2: then we get the avalanche. And I have to point

1013
00:55:37,000 --> 00:55:41,040
Speaker 2: out they apparently induced avalanches for the sequences we see

1014
00:55:41,080 --> 00:55:45,719
Speaker 2: in the film. They weren't relying on stock footage or anything. No,

1015
00:55:46,000 --> 00:55:48,719
Speaker 2: I don't know the full details. They may have aligned

1016
00:55:48,800 --> 00:55:53,319
Speaker 2: that with like planned induced avalanches that were done for

1017
00:55:53,480 --> 00:55:54,280
Speaker 2: safety reasons.

1018
00:55:55,280 --> 00:55:57,160
Speaker 3: Yeah, oh yeah, it looked totally real. I was like,

1019
00:55:57,200 --> 00:55:58,400
Speaker 3: these aren't special effects.

1020
00:55:58,480 --> 00:56:01,839
Speaker 2: Yeah, these are terrifying because at least later in the picture,

1021
00:56:01,840 --> 00:56:03,759
Speaker 2: I can't remember this sequence so much, but later in

1022
00:56:03,760 --> 00:56:04,960
Speaker 2: the picture where we get one where it's you know,

1023
00:56:05,000 --> 00:56:08,040
Speaker 2: it's coming right at the camera and like that's a

1024
00:56:08,080 --> 00:56:10,239
Speaker 2: lot of snow, that's a lot of mass coming at you.

1025
00:56:10,560 --> 00:56:13,240
Speaker 1: Totally agree. Yeah, very effective shots.

1026
00:56:14,080 --> 00:56:17,080
Speaker 3: So when the avalanche happens, the power goes out at first,

1027
00:56:17,480 --> 00:56:19,759
Speaker 3: and we will discover that the avalanche has blocked the

1028
00:56:19,840 --> 00:56:22,640
Speaker 3: road and trapped them on the hotel grounds. It has

1029
00:56:22,640 --> 00:56:25,800
Speaker 3: also knocked out the telephone lines, and according to Snavar

1030
00:56:25,880 --> 00:56:28,320
Speaker 3: in a later scene, it will probably be days before

1031
00:56:28,840 --> 00:56:31,080
Speaker 3: the authorities can clear the road and they can leave.

1032
00:56:32,040 --> 00:56:34,000
Speaker 3: So Glebsky's sort of on the case. He's trying to

1033
00:56:34,040 --> 00:56:36,640
Speaker 3: figure out what's going on. He investigates Hnkas's room and

1034
00:56:36,680 --> 00:56:40,800
Speaker 3: finds it empty. He searches through Hankas's belongings and finds

1035
00:56:40,800 --> 00:56:45,319
Speaker 3: a small pistol in his suitcase, and then Glebsky narrates though,

1036
00:56:45,360 --> 00:56:48,160
Speaker 3: that this is not the weapon of a career criminal.

1037
00:56:48,440 --> 00:56:51,239
Speaker 3: He thinks somebody must be trying to set Hankas up.

1038
00:56:51,480 --> 00:56:52,160
Speaker 1: But who.

1039
00:56:54,640 --> 00:56:58,640
Speaker 3: Next thing, Snavar and Kaisa brings someone in from outside

1040
00:56:58,640 --> 00:57:02,600
Speaker 3: the hotel, someone who appears to be unconscious. Globsky goes

1041
00:57:02,640 --> 00:57:05,240
Speaker 3: to help, and they're like, who is this. We don't

1042
00:57:05,280 --> 00:57:09,200
Speaker 3: know what's wrong? Possibly hypothermia, And they're like, get brandy,

1043
00:57:09,280 --> 00:57:10,080
Speaker 3: gotta have liquor.

1044
00:57:11,880 --> 00:57:14,720
Speaker 2: Yeah, this is one of those movies where hard spirits

1045
00:57:14,760 --> 00:57:18,919
Speaker 2: are essentially potions of healing, you know what. They're two called,

1046
00:57:19,280 --> 00:57:23,960
Speaker 2: get him some liquor, Oh, the injured liquor, the delirium,

1047
00:57:24,040 --> 00:57:28,080
Speaker 2: unconscious and whatever it is, surely hard spirits can solve

1048
00:57:28,120 --> 00:57:28,560
Speaker 2: the problem.

1049
00:57:29,360 --> 00:57:31,160
Speaker 3: I mean, I don't know why Hinkus is not just

1050
00:57:31,240 --> 00:57:35,880
Speaker 3: taking cotton candy flavored vodka for his for his tuberculosis.

1051
00:57:35,040 --> 00:57:35,240
Speaker 2: You know.

1052
00:57:37,600 --> 00:57:41,400
Speaker 3: Anyway, so Snaevar guesses maybe this is a friend of

1053
00:57:41,440 --> 00:57:45,960
Speaker 3: Hincus because he heard Hinkus dictating a telegram earlier telling

1054
00:57:46,000 --> 00:57:48,480
Speaker 3: someone to come quickly to join him at the hotel.

1055
00:57:48,520 --> 00:57:51,000
Speaker 3: Sohnkus has summoned someone.

1056
00:57:50,760 --> 00:57:53,040
Speaker 1: Earlier in the day, and we don't.

1057
00:57:52,800 --> 00:58:04,840
Speaker 3: Know who, but maybe this is who he called. Anyway,

1058
00:58:04,880 --> 00:58:06,600
Speaker 3: they give the guy some brandy and get him to

1059
00:58:06,680 --> 00:58:08,439
Speaker 3: say a couple of words, but all he can say

1060
00:58:08,560 --> 00:58:09,760
Speaker 3: is the name of Oloff.

1061
00:58:10,280 --> 00:58:10,440
Speaker 2: Oh.

1062
00:58:10,520 --> 00:58:12,960
Speaker 3: Remember, Oloff's already a guest here at the hotel. This

1063
00:58:13,480 --> 00:58:16,400
Speaker 3: is the dancer guy. So they go to check out

1064
00:58:16,400 --> 00:58:20,120
Speaker 3: Oloff's room. But when they get there, uh oh, they

1065
00:58:20,120 --> 00:58:23,680
Speaker 3: find him lying out on the floor, pale, motionless.

1066
00:58:24,120 --> 00:58:26,040
Speaker 1: Dead. Oloff is dead.

1067
00:58:27,720 --> 00:58:30,600
Speaker 2: All right, So now we really have a murder story

1068
00:58:30,640 --> 00:58:33,360
Speaker 2: going on here. It's time for our inspector to get

1069
00:58:33,400 --> 00:58:35,320
Speaker 2: back on the clock. He's got some work to do.

1070
00:58:35,440 --> 00:58:35,680
Speaker 1: Yeah.

1071
00:58:35,720 --> 00:58:38,120
Speaker 3: In fact, Oloff is not just dead, like, his head

1072
00:58:38,200 --> 00:58:41,560
Speaker 3: is twisted around unnaturally. It's kind of the Exorcist going

1073
00:58:41,640 --> 00:58:45,560
Speaker 3: on here. So of course Gleb's key concludes what strength

1074
00:58:45,720 --> 00:58:48,040
Speaker 3: the killer must have had, and we see him like

1075
00:58:48,200 --> 00:58:50,600
Speaker 3: lie down on the floor and try to mimic like

1076
00:58:50,720 --> 00:58:56,240
Speaker 3: twisting his head around. But they also see that Oloff's

1077
00:58:56,280 --> 00:58:59,160
Speaker 3: hand was stretching out toward the handle of a suitcase,

1078
00:58:59,160 --> 00:59:01,120
Speaker 3: so it's like he was reaching for the suitcase when

1079
00:59:01,120 --> 00:59:05,520
Speaker 3: he died. In another room, they find Hinkas finally, but

1080
00:59:05,800 --> 00:59:09,600
Speaker 3: he is found tied to a bed. He says he

1081
00:59:09,680 --> 00:59:12,080
Speaker 3: was attacked by someone and he does not know who,

1082
00:59:13,320 --> 00:59:17,720
Speaker 3: and then the weird behavior just continues. We encounter Simone

1083
00:59:18,320 --> 00:59:22,440
Speaker 3: Simone Semone, a physicist. He's running around in his tidy whiteies,

1084
00:59:22,520 --> 00:59:25,520
Speaker 3: trying to hide behind a sheet that he's like holding

1085
00:59:25,600 --> 00:59:29,120
Speaker 3: up with his hands. That's not gonna work, buddy, and

1086
00:59:29,160 --> 00:59:33,080
Speaker 3: we get a confession from him. Missus Moses is dead.

1087
00:59:33,440 --> 00:59:35,720
Speaker 3: He swears he didn't kill her. He says that he

1088
00:59:35,760 --> 00:59:38,440
Speaker 3: went into her room and she was already lying cold

1089
00:59:38,480 --> 00:59:41,880
Speaker 3: on the floor when he went in there. The wait, no,

1090
00:59:41,920 --> 00:59:44,680
Speaker 3: not lying cold on the floor, she was standing upright,

1091
00:59:44,840 --> 00:59:47,919
Speaker 3: but cold and dead. And then her wig fell off,

1092
00:59:48,040 --> 00:59:52,240
Speaker 3: revealing a bald head. Things are getting stranger.

1093
00:59:52,920 --> 00:59:55,720
Speaker 2: Yeah, yeah, we're getting kind of a Blue Sunshine vibe

1094
00:59:55,720 --> 00:59:56,840
Speaker 2: going on in this one scene.

1095
00:59:56,920 --> 00:59:57,560
Speaker 1: Yeah, exactly.

1096
00:59:57,680 --> 01:00:00,760
Speaker 3: Yeah, maybe she took the Blue Sunshine app and now

1097
01:00:00,800 --> 01:00:05,320
Speaker 3: she's ready to activate. But then they go to missus

1098
01:00:05,320 --> 01:00:08,600
Speaker 3: Moses's room to check this out, and she's not dead.

1099
01:00:08,720 --> 01:00:11,440
Speaker 3: She's in there, alive, reading a book. She's fine. She

1100
01:00:11,480 --> 01:00:14,480
Speaker 3: smiles at them. So something really weird is afoot now.

1101
01:00:14,480 --> 01:00:18,120
Speaker 3: And Glebsky is starting to get frustrated because I think

1102
01:00:18,160 --> 01:00:19,800
Speaker 3: when it was just a murder, he was sort of

1103
01:00:19,800 --> 01:00:21,680
Speaker 3: like he was like, okay, I'm on the case, but

1104
01:00:21,760 --> 01:00:24,320
Speaker 3: now everything's so weird. He's like, I don't know what's

1105
01:00:24,360 --> 01:00:26,960
Speaker 3: going on, and I don't like it. So back in

1106
01:00:27,520 --> 01:00:30,960
Speaker 3: Simone's rooms, Simon a showers, he tries to sober up,

1107
01:00:31,000 --> 01:00:33,920
Speaker 3: and Glebsky shows him a strange contraption that he found

1108
01:00:33,920 --> 01:00:37,920
Speaker 3: with Olaf. It's this weird device inside the suitcase that

1109
01:00:37,960 --> 01:00:40,960
Speaker 3: Oloff had been reaching for. It has this soft pulsing

1110
01:00:41,080 --> 01:00:44,760
Speaker 3: light and it emits low beeping sounds, and Simone says

1111
01:00:44,760 --> 01:00:46,200
Speaker 3: he doesn't know what it is, but it could be

1112
01:00:46,200 --> 01:00:50,960
Speaker 3: something military or from outer space. Better be careful.

1113
01:00:51,320 --> 01:00:52,560
Speaker 1: Then he runs away in fear.

1114
01:00:53,880 --> 01:00:56,400
Speaker 3: So they I think they like lock up this contraption

1115
01:00:56,520 --> 01:00:59,800
Speaker 3: in a cabinet under the dog bed, and Glebsky has

1116
01:00:59,840 --> 01:01:01,760
Speaker 3: the only key, so he's the only person who can

1117
01:01:01,800 --> 01:01:05,520
Speaker 3: get to this suitcase. Now he goes and tries to

1118
01:01:05,560 --> 01:01:08,520
Speaker 3: talk to Brune, and the mystery just keeps developing. He

1119
01:01:08,560 --> 01:01:12,360
Speaker 3: tries to talk to Brune about what happened. She apparently

1120
01:01:12,600 --> 01:01:15,480
Speaker 3: Sawhnkas walking in the hall after he claimed to have

1121
01:01:15,520 --> 01:01:16,240
Speaker 3: been attacked.

1122
01:01:16,920 --> 01:01:18,840
Speaker 1: And then we.

1123
01:01:19,000 --> 01:01:21,160
Speaker 3: Go and check with Hinkus about this what was going on?

1124
01:01:21,400 --> 01:01:24,480
Speaker 3: You know, were you lying, and he says that it

1125
01:01:24,640 --> 01:01:28,160
Speaker 3: was him that he tied himself up. The implication here

1126
01:01:28,280 --> 01:01:30,120
Speaker 3: is that there is another one of him.

1127
01:01:31,000 --> 01:01:33,400
Speaker 2: And this is a great scene. It's especially a great

1128
01:01:33,400 --> 01:01:37,440
Speaker 2: place for the actor Mick Micavir playing Hankas to really

1129
01:01:37,480 --> 01:01:41,520
Speaker 2: shine because it's he's not just saying oh, yeah, yeah,

1130
01:01:41,720 --> 01:01:43,320
Speaker 2: I encountered me and I tied him up, Like no,

1131
01:01:43,400 --> 01:01:48,840
Speaker 2: this that the character is clearly confronting this moment of horror,

1132
01:01:48,880 --> 01:01:53,680
Speaker 2: this moment of duplication where he encountered like his own double,

1133
01:01:53,760 --> 01:01:57,880
Speaker 2: his own doppelganger here and had this kind of violent

1134
01:01:57,960 --> 01:02:02,240
Speaker 2: interaction with them, and is clearly just traumatized and confused

1135
01:02:02,240 --> 01:02:03,160
Speaker 2: by the whole incident.

1136
01:02:03,600 --> 01:02:06,360
Speaker 3: Yes, agree that Mickever is great in the scene and

1137
01:02:06,760 --> 01:02:10,440
Speaker 3: Glebsky is totally disturbed at this point. He wanders through

1138
01:02:10,440 --> 01:02:13,560
Speaker 3: the hotel by himself, thinking over the case. I like,

1139
01:02:13,600 --> 01:02:17,080
Speaker 3: here there's a there's a visual motif of flickering lights,

1140
01:02:17,120 --> 01:02:20,160
Speaker 3: Like often somewhere in the background a light will flutter

1141
01:02:20,280 --> 01:02:25,880
Speaker 3: on and then flutter off on a loop throughout a scene. Yeah,

1142
01:02:26,000 --> 01:02:29,760
Speaker 3: there's also a moment in here where somebody is watching TV,

1143
01:02:29,880 --> 01:02:32,080
Speaker 3: or at least there's a TV on somewhere like in

1144
01:02:32,120 --> 01:02:34,560
Speaker 3: the lobby of the hotel, and it looks like what

1145
01:02:34,600 --> 01:02:37,600
Speaker 3: it's showing is like news clips of people falling out

1146
01:02:37,600 --> 01:02:38,440
Speaker 3: of buildings.

1147
01:02:39,440 --> 01:02:42,040
Speaker 2: Yeah, this was very disturbing. So this is like in

1148
01:02:42,080 --> 01:02:44,320
Speaker 2: a I think this kind of like circular room with

1149
01:02:44,400 --> 01:02:48,000
Speaker 2: one of these neat like central circular stoves warming everything up,

1150
01:02:48,040 --> 01:02:52,400
Speaker 2: and there's a TV. And Yeah, it was disturbing because

1151
01:02:52,400 --> 01:02:54,200
Speaker 2: on one hand, I kind of have to assume this

1152
01:02:54,280 --> 01:02:56,720
Speaker 2: is real footage of people falling to their deaths here.

1153
01:02:57,320 --> 01:02:59,640
Speaker 2: So it's outside of the context of the film, it's

1154
01:02:59,640 --> 01:03:01,640
Speaker 2: disturbed to see that kind of thing. But even within

1155
01:03:01,680 --> 01:03:04,439
Speaker 2: the context of the film, why is it playing here

1156
01:03:04,480 --> 01:03:06,400
Speaker 2: in the lobby of the hotel. Did they just play

1157
01:03:06,440 --> 01:03:08,120
Speaker 2: Faces of Death on repeat here?

1158
01:03:08,560 --> 01:03:08,840
Speaker 1: Yeah?

1159
01:03:08,840 --> 01:03:12,919
Speaker 2: Do they tune into the Outlaw Videodrome snuff channel as

1160
01:03:13,000 --> 01:03:19,040
Speaker 2: in Cronenberg's videodrome film. It's just weird and strange and

1161
01:03:19,840 --> 01:03:23,440
Speaker 2: just adds to that level of uncertainty about where we're

1162
01:03:23,480 --> 01:03:24,480
Speaker 2: going in this film.

1163
01:03:24,760 --> 01:03:25,000
Speaker 1: Yeah.

1164
01:03:25,120 --> 01:03:28,919
Speaker 3: Yeah, So there were more interrogation scenes where Glebsky's trying

1165
01:03:28,920 --> 01:03:31,760
Speaker 3: to figure out what's happening. He interrogates Brune about what

1166
01:03:31,840 --> 01:03:35,080
Speaker 3: happened earlier when she went to Oloff's room. She said

1167
01:03:35,080 --> 01:03:38,200
Speaker 3: that they were They're dancing, kissing, having a wild time,

1168
01:03:38,280 --> 01:03:41,360
Speaker 3: and then suddenly they see the avalanche beginning outside the

1169
01:03:41,400 --> 01:03:45,120
Speaker 3: window of the room, and Oloff panics and throws Brune

1170
01:03:45,120 --> 01:03:47,080
Speaker 3: out of the room into the hall, and then later

1171
01:03:47,160 --> 01:03:51,760
Speaker 3: he's found dead. Glebsky and Alex sort of talk over

1172
01:03:51,840 --> 01:03:56,200
Speaker 3: the mystery together. Snaevar's sort of Glebsky's confidant, he's playing

1173
01:03:56,200 --> 01:04:00,760
Speaker 3: his doctor Watson, and Alex says that Gleb's he's rational

1174
01:04:00,800 --> 01:04:05,200
Speaker 3: investigatory tools are useless here. He says, like time at

1175
01:04:05,240 --> 01:04:09,640
Speaker 3: greater than light speed. That's a strange comparison. But then

1176
01:04:09,680 --> 01:04:11,600
Speaker 3: he says, there is nothing we can do.

1177
01:04:12,000 --> 01:04:13,200
Speaker 1: You are not ripe.

1178
01:04:13,080 --> 01:04:15,640
Speaker 3: Yet, And this is the moment when Glebsky says, I'm

1179
01:04:15,680 --> 01:04:17,959
Speaker 3: so ripe I will fall off the trees soon.

1180
01:04:19,840 --> 01:04:22,800
Speaker 2: I love this exchange. It's I assume something is lost

1181
01:04:22,800 --> 01:04:26,880
Speaker 2: in translation here, like it doesn't fully translate into English

1182
01:04:26,440 --> 01:04:30,360
Speaker 2: from the original Estonian, but I still sort of get it,

1183
01:04:30,400 --> 01:04:32,760
Speaker 2: like it's still it still feels very true.

1184
01:04:32,520 --> 01:04:34,080
Speaker 1: You know, yeah, yeah.

1185
01:04:34,120 --> 01:04:38,000
Speaker 3: So in the scene, also they talk about the concept

1186
01:04:38,040 --> 01:04:42,280
Speaker 3: of zombies, and Snavar wonders if perhaps zombie is the

1187
01:04:42,320 --> 01:04:45,440
Speaker 3: third state of living organisms, beyond.

1188
01:04:45,160 --> 01:04:45,920
Speaker 1: Life and death.

1189
01:04:47,120 --> 01:04:48,160
Speaker 2: Yeah, very haunting.

1190
01:04:48,480 --> 01:04:51,960
Speaker 3: So Glebsky falls asleep listening to Snavar talk about zombies,

1191
01:04:52,000 --> 01:04:54,680
Speaker 3: and then he has dreams of skiing down a vast

1192
01:04:54,760 --> 01:04:57,680
Speaker 3: snow covered mountain side and he's going so fast. He

1193
01:04:58,280 --> 01:05:01,040
Speaker 3: seems to be smiling at first, but then maybe it

1194
01:05:01,080 --> 01:05:03,960
Speaker 3: seems his expression is actually one of fear. There are

1195
01:05:04,040 --> 01:05:07,640
Speaker 3: weird tones on the soundtrack that sound like animals wheezing.

1196
01:05:07,960 --> 01:05:10,440
Speaker 3: And then suddenly in the dream, Globski goes off the

1197
01:05:10,560 --> 01:05:13,280
Speaker 3: edge of a cliff and he falls and falls into

1198
01:05:13,280 --> 01:05:16,640
Speaker 3: the snow down below, and then from up above a

1199
01:05:16,800 --> 01:05:20,400
Speaker 3: figure looks down at his body. We zoom on the

1200
01:05:20,400 --> 01:05:23,080
Speaker 3: figure and there are two figures. In fact, it is

1201
01:05:23,360 --> 01:05:26,040
Speaker 3: the dead mountaineer from the portrait and his dog.

1202
01:05:26,160 --> 01:05:26,440
Speaker 1: Well.

1203
01:05:28,120 --> 01:05:31,320
Speaker 2: Yeah, really great moment, you know, haunting and also makes

1204
01:05:31,360 --> 01:05:33,160
Speaker 2: us think back to that kind of the shrine like

1205
01:05:33,240 --> 01:05:36,440
Speaker 2: qualities of the dead mountaineer's portrait. You know, is the

1206
01:05:36,480 --> 01:05:40,680
Speaker 2: dead mountaineer like a even in the context of dream here,

1207
01:05:40,720 --> 01:05:43,400
Speaker 2: is it like a ghost? Is it a divine force?

1208
01:05:44,000 --> 01:05:45,560
Speaker 2: And I also have to point out this may be

1209
01:05:45,600 --> 01:05:48,520
Speaker 2: the only sequence in the film where anybody does any skiing? Yeah,

1210
01:05:48,560 --> 01:05:49,840
Speaker 2: and it is within a dream.

1211
01:05:50,280 --> 01:05:52,560
Speaker 3: No, there is some skiing later, but it happens without

1212
01:05:52,600 --> 01:05:53,960
Speaker 3: skis and in the wrong direction.

1213
01:05:54,360 --> 01:05:58,360
Speaker 2: Yes, yes, and by by robots. Yes. I guess. Well,

1214
01:05:58,400 --> 01:06:00,320
Speaker 2: we did see the hand gliding earlier, and I guess

1215
01:06:00,440 --> 01:06:02,400
Speaker 2: maybe that involves skiing. I don't know how they got

1216
01:06:02,440 --> 01:06:04,760
Speaker 2: up there, and they skied off of something, and yeah.

1217
01:06:04,560 --> 01:06:07,600
Speaker 3: I'm not sure. We'll come back to that in a minute. So,

1218
01:06:08,440 --> 01:06:10,840
Speaker 3: so Glebski is woken up by the Saint Bernard lel

1219
01:06:11,160 --> 01:06:14,400
Speaker 3: like slobbering on his face, and apparently the dog has

1220
01:06:14,400 --> 01:06:15,280
Speaker 3: brought him something.

1221
01:06:15,880 --> 01:06:17,560
Speaker 1: It is a gun covered in drool.

1222
01:06:19,200 --> 01:06:21,280
Speaker 3: So Glebsky's like, where did it come from?

1223
01:06:21,320 --> 01:06:21,560
Speaker 1: Boy?

1224
01:06:21,680 --> 01:06:24,000
Speaker 3: And Lell leads him outside into the snow and shows

1225
01:06:24,080 --> 01:06:27,080
Speaker 3: him where the gun was. Glebsky deduces that it must

1226
01:06:27,080 --> 01:06:29,880
Speaker 3: have been thrown from the roof, So did it belong

1227
01:06:29,960 --> 01:06:34,640
Speaker 3: to Hinkus? Next, Snaevar brings news, I remember that unconscious

1228
01:06:34,680 --> 01:06:38,360
Speaker 3: guy we found outside. He's conscious now, so they go

1229
01:06:38,480 --> 01:06:41,320
Speaker 3: to interrogate him. And now that he's awake, he really

1230
01:06:41,320 --> 01:06:44,200
Speaker 3: looks like death. There's this dark makeup under his eyes,

1231
01:06:44,240 --> 01:06:46,920
Speaker 3: his skin is pale, even kind of blue in places.

1232
01:06:47,240 --> 01:06:49,440
Speaker 3: The whites of his eyes are bloodshot and he just

1233
01:06:49,480 --> 01:06:54,080
Speaker 3: stares ahead in a daze, and Glebsky interrogates him, finds

1234
01:06:54,080 --> 01:06:58,520
Speaker 3: out that his name is Lurevic, mister Lurevic, Luarvic. He

1235
01:06:58,680 --> 01:07:02,800
Speaker 3: is looking for Olaf and he won't say a whole lot.

1236
01:07:02,840 --> 01:07:05,080
Speaker 3: Glebsky's like, who are you? Are you a foreigner and

1237
01:07:05,120 --> 01:07:09,200
Speaker 3: the man says, yes, a foreigner. And also in this scene,

1238
01:07:09,240 --> 01:07:11,840
Speaker 3: mister moses remember him. He was kind of like a

1239
01:07:12,120 --> 01:07:15,240
Speaker 3: nondescript earlier on. He tries to sneak in on the interrogation,

1240
01:07:15,320 --> 01:07:19,600
Speaker 3: but Glebsky chases him away, and Lurevic, on finding out

1241
01:07:19,640 --> 01:07:23,520
Speaker 3: that Oloff is dead, doesn't seem all that concerned. He says, well,

1242
01:07:23,560 --> 01:07:26,000
Speaker 3: he still needs to see Oloff anyway, to conduct some

1243
01:07:26,080 --> 01:07:29,360
Speaker 3: business with him. And Glebsky's like, no, he's dead, and

1244
01:07:29,440 --> 01:07:34,240
Speaker 3: Lurevic is like, yeah, let me talk to him. But

1245
01:07:34,600 --> 01:07:38,640
Speaker 3: in this whole scene, Lurevic is dreamy, languid, kind of unconcerned,

1246
01:07:38,760 --> 01:07:41,640
Speaker 3: but does look like he's in a bad state, and

1247
01:07:41,680 --> 01:07:45,520
Speaker 3: he does identify Oloff's body. He says he recognizes, he

1248
01:07:45,600 --> 01:07:49,960
Speaker 3: recognizes him, and he knew him from elsewhere and this.

1249
01:07:50,040 --> 01:07:50,600
Speaker 1: Was one scene.

1250
01:07:50,640 --> 01:07:52,440
Speaker 3: Yet again, this is all throughout the movie, but I

1251
01:07:52,480 --> 01:07:55,240
Speaker 3: really noticed the presence of like the modular mirrors in

1252
01:07:55,320 --> 01:07:57,360
Speaker 3: the sets in the scene.

1253
01:07:57,600 --> 01:08:00,720
Speaker 2: Yeah, and it's fitting, especially at this point in the picture,

1254
01:08:00,880 --> 01:08:03,720
Speaker 2: because we have already come head to head with this

1255
01:08:04,360 --> 01:08:07,960
Speaker 2: with a theme of duplication here, of doppel gangers and doubles,

1256
01:08:08,000 --> 01:08:11,040
Speaker 2: and so yeah, I feel like we're constantly seeing characters

1257
01:08:11,040 --> 01:08:14,760
Speaker 2: in mirrors or multiple mirrors, and the hotel eventually feels

1258
01:08:14,800 --> 01:08:16,840
Speaker 2: like a place it's not only in the edge of

1259
01:08:16,840 --> 01:08:19,400
Speaker 2: the wilderness, but also in the edge of the known universe.

1260
01:08:19,800 --> 01:08:20,040
Speaker 1: Yeah.

1261
01:08:20,120 --> 01:08:23,200
Speaker 3: Yeah, So Lureovic says he's looking for the suitcase that

1262
01:08:23,240 --> 01:08:26,120
Speaker 3: Olaf had, and Glebsky says, I'm not just going to

1263
01:08:26,160 --> 01:08:28,000
Speaker 3: give it to you. You got to answer questions first.

1264
01:08:28,120 --> 01:08:30,280
Speaker 3: But of course Lurevic he doesn't want to answer questions.

1265
01:08:30,439 --> 01:08:33,559
Speaker 3: He just wants the suitcase instead of answering questions. He

1266
01:08:33,600 --> 01:08:36,280
Speaker 3: gets very slow and says that he must lie down,

1267
01:08:36,400 --> 01:08:38,479
Speaker 3: and then he just sort of slumps back and appears

1268
01:08:38,520 --> 01:08:42,439
Speaker 3: to go to sleep with his eyes open. Somewhere in here,

1269
01:08:42,479 --> 01:08:45,280
Speaker 3: there's a scene with Snavar playing the organ and he's

1270
01:08:45,320 --> 01:08:49,600
Speaker 3: not good at it, and Glebsky's just kind of lounging stoically,

1271
01:08:49,640 --> 01:08:52,799
Speaker 3: smoking a cigarette and listening to the bad organ concert

1272
01:08:54,040 --> 01:08:57,120
Speaker 3: and so, you know, they again have one of their

1273
01:08:57,200 --> 01:09:00,160
Speaker 3: detective consultation sessions. They talk to each other about what

1274
01:09:00,280 --> 01:09:03,920
Speaker 3: could be going on, and Glebsky says, you know, he's

1275
01:09:04,280 --> 01:09:09,280
Speaker 3: nearly convinced that lurevic Oloff and mister Moses, or either

1276
01:09:09,320 --> 01:09:11,280
Speaker 3: mister or missus Moses, maybe both of them.

1277
01:09:11,280 --> 01:09:12,040
Speaker 1: He doesn't say who.

1278
01:09:12,400 --> 01:09:15,439
Speaker 3: He says they belong to the same gang, which doesn't

1279
01:09:15,520 --> 01:09:19,800
Speaker 3: want publicity, and he thinks Hnkas is somehow connected to

1280
01:09:19,840 --> 01:09:22,600
Speaker 3: them as well because of the gun he found. So

1281
01:09:22,680 --> 01:09:24,880
Speaker 3: Glebsky comes up with a plan. He says he's gonna

1282
01:09:24,880 --> 01:09:28,040
Speaker 3: stop detaining Hnkas and set him free, quote like a

1283
01:09:28,080 --> 01:09:32,360
Speaker 3: fox into a chicken coop to see what happens. Meanwhile,

1284
01:09:32,360 --> 01:09:35,479
Speaker 3: Glebsky is busy playing with a metal wind up robot toy.

1285
01:09:35,760 --> 01:09:37,680
Speaker 3: I don't know about this plan, Glebsky. Is that a

1286
01:09:37,680 --> 01:09:39,320
Speaker 3: good police police work plan?

1287
01:09:40,320 --> 01:09:43,120
Speaker 2: Yeah, seems like this is more like rogue cop territory.

1288
01:09:42,760 --> 01:09:46,320
Speaker 3: Right, Yeah, yeah, So everybody comes down for breakfast the

1289
01:09:46,360 --> 01:09:48,479
Speaker 3: next morning. I guess when he's gonna set Hankus loose,

1290
01:09:48,520 --> 01:09:52,000
Speaker 3: and simon A says, I sense the smell of death

1291
01:09:52,040 --> 01:09:55,639
Speaker 3: in here, and Bruin says, beautiful weather today. Poor Oloft

1292
01:09:55,720 --> 01:09:59,200
Speaker 3: didn't live to see it. And Lurevic is now at

1293
01:09:59,200 --> 01:10:01,120
Speaker 3: breakfast with the rect him. He has to be guided

1294
01:10:01,160 --> 01:10:04,040
Speaker 3: to his breakfast chair and he eats some piece of fruit,

1295
01:10:04,200 --> 01:10:07,680
Speaker 3: like letting this juice run all over his face. I

1296
01:10:07,720 --> 01:10:11,200
Speaker 3: think Hinkas arrives to breakfast wearing a tuxedo. That's kind

1297
01:10:11,200 --> 01:10:16,400
Speaker 3: of that's a choice. But Glebsky says, you know, quote,

1298
01:10:16,400 --> 01:10:19,360
Speaker 3: it appears some crooks selected this hotel as a place

1299
01:10:19,400 --> 01:10:22,320
Speaker 3: to settle their scores. With the help of mister Snavar,

1300
01:10:22,479 --> 01:10:25,920
Speaker 3: I sent word to the police by pigeon. The police

1301
01:10:25,960 --> 01:10:29,760
Speaker 3: helicopter will arrive shortly. The criminals will get their just desserts.

1302
01:10:30,040 --> 01:10:31,560
Speaker 3: I advise that criminal.

1303
01:10:31,200 --> 01:10:32,320
Speaker 1: Activity be ceased.

1304
01:10:34,240 --> 01:10:37,720
Speaker 3: Of course, what is missus Moses's reaction to this going

1305
01:10:37,760 --> 01:10:40,160
Speaker 3: to be? Of course, he's like, oh boy, how exciting

1306
01:10:40,320 --> 01:10:41,240
Speaker 3: killers among us?

1307
01:10:41,280 --> 01:10:41,800
Speaker 1: I love it.

1308
01:10:42,520 --> 01:10:46,000
Speaker 2: Stop doing crimes, everybody, because the helicopter will shoot you.

1309
01:10:46,160 --> 01:10:48,880
Speaker 3: Yes, I got the pigeon to bring a helicopter that

1310
01:10:48,960 --> 01:10:52,120
Speaker 3: will stop you from doing crimes. Of course, the pigeon

1311
01:10:52,120 --> 01:10:54,640
Speaker 3: thing was actually a bluff. Glebsky knows he is on

1312
01:10:54,800 --> 01:10:55,240
Speaker 3: his own.

1313
01:10:56,760 --> 01:10:57,080
Speaker 1: Now.

1314
01:10:57,200 --> 01:11:00,599
Speaker 3: This leads up to the interrogation of Hnkas scene. Hankas

1315
01:11:00,640 --> 01:11:02,880
Speaker 3: is like the last one eating breakfast, and then Glebsky

1316
01:11:03,080 --> 01:11:06,040
Speaker 3: watches him and pulls him aside. He's like, okay, I

1317
01:11:06,120 --> 01:11:08,559
Speaker 3: know about you from the note I received. You're this

1318
01:11:08,680 --> 01:11:12,080
Speaker 3: criminal called Owl, and Hankas says, no, I'm not Owl.

1319
01:11:12,200 --> 01:11:14,439
Speaker 3: I don't know what you're talking about. He's asked about

1320
01:11:14,439 --> 01:11:17,000
Speaker 3: the gun. He denies that it's his, but then suddenly

1321
01:11:17,400 --> 01:11:21,040
Speaker 3: he sort of busts out and unleashes martial arts that

1322
01:11:21,120 --> 01:11:25,240
Speaker 3: he would not have seemed prepared to deliver, like he's

1323
01:11:25,240 --> 01:11:28,360
Speaker 3: been playing like he's in poor health, but he easily

1324
01:11:28,400 --> 01:11:31,920
Speaker 3: beats up Glebsky, knocks him nearly unconscious, takes the gun

1325
01:11:31,960 --> 01:11:34,760
Speaker 3: with him, and then while the inspector is lying on

1326
01:11:34,800 --> 01:11:38,120
Speaker 3: the floor, we hear Hankas fighting with someone else off camera,

1327
01:11:39,200 --> 01:11:43,040
Speaker 3: and somehow I guess it is Simone, the physicist, Like

1328
01:11:43,120 --> 01:11:48,040
Speaker 3: Simon a beat Bestshnkas and then helps Glebsky up. That's unexpected.

1329
01:11:48,840 --> 01:11:53,200
Speaker 2: Yeah, so now it's time to interrogate Hankas once more.

1330
01:11:53,320 --> 01:11:53,599
Speaker 1: Yeah.

1331
01:11:53,720 --> 01:11:57,479
Speaker 3: Round two here, and Hankas finally spills the beans. He's like, Okay,

1332
01:11:57,479 --> 01:12:00,680
Speaker 3: here's the deal. Have you heard of the hit squads?

1333
01:12:00,720 --> 01:12:02,559
Speaker 3: That's what he says. I was a member of one

1334
01:12:02,560 --> 01:12:06,240
Speaker 3: of them. Something terrible is going on here. Supernatural forces

1335
01:12:06,400 --> 01:12:09,840
Speaker 3: are at work. He explains that quote. Half a year ago,

1336
01:12:10,000 --> 01:12:12,880
Speaker 3: some guy approached us. No one knew his name. They

1337
01:12:12,920 --> 01:12:17,080
Speaker 3: called him Master. They assigned him the hardest jobs, remember

1338
01:12:17,160 --> 01:12:20,360
Speaker 3: the second National Bank job? That was his doing. But

1339
01:12:20,439 --> 01:12:23,280
Speaker 3: then he quit working for us, left us high and dry.

1340
01:12:23,680 --> 01:12:23,840
Speaker 1: Oh.

1341
01:12:23,920 --> 01:12:26,519
Speaker 3: Yes, he was always a bit eccentric. Wouldn't let us

1342
01:12:26,600 --> 01:12:29,960
Speaker 3: kill hostages or anyone. He said, we shouldn't. That's why

1343
01:12:30,000 --> 01:12:33,000
Speaker 3: we had a fight with the boss. And then he disappeared,

1344
01:12:33,200 --> 01:12:36,400
Speaker 3: along with his assistant and his wife. I was ordered

1345
01:12:36,400 --> 01:12:39,600
Speaker 3: by the boss to find them. And Glebsky says, and

1346
01:12:39,640 --> 01:12:42,880
Speaker 3: you found them here? Who are they? And Hankas says, no,

1347
01:12:43,479 --> 01:12:45,519
Speaker 3: you tell me who they are? What man could get

1348
01:12:45,520 --> 01:12:47,439
Speaker 3: the better of me as if I were a kitten.

1349
01:12:48,120 --> 01:12:50,559
Speaker 3: So you think he's talking about Semina here because Simine

1350
01:12:50,640 --> 01:12:53,600
Speaker 3: just like beat him up after the first interrogation, and

1351
01:12:53,600 --> 01:12:56,000
Speaker 3: we look at Semine. But actually it goes in a

1352
01:12:56,000 --> 01:13:00,639
Speaker 3: different direction. Hankas says, this woman Moses, no, I would

1353
01:13:00,640 --> 01:13:03,760
Speaker 3: not let him live, so he set his wife against me.

1354
01:13:04,120 --> 01:13:06,320
Speaker 3: She was coming right at me. You don't believe me,

1355
01:13:06,400 --> 01:13:09,640
Speaker 3: but I was approaching myself. And so we see in

1356
01:13:09,720 --> 01:13:14,000
Speaker 3: Hankas's flashback missus Moses in her fur coat seeming to

1357
01:13:14,160 --> 01:13:18,679
Speaker 3: transform into a doppelganger Ofhnkas and then attack him by

1358
01:13:18,680 --> 01:13:23,080
Speaker 3: pushing him out a glass window. So what's going on,

1359
01:13:23,240 --> 01:13:27,400
Speaker 3: I don't know, but missus Moses apparently can become can

1360
01:13:27,520 --> 01:13:30,720
Speaker 3: like transform her appearance and become copies of people and

1361
01:13:30,760 --> 01:13:31,360
Speaker 3: attack them.

1362
01:13:32,040 --> 01:13:34,000
Speaker 2: Yeah, we have shape shifters among us.

1363
01:13:34,000 --> 01:13:38,719
Speaker 3: Now, So Hankas admits he's here to hunt down this guy,

1364
01:13:38,840 --> 01:13:44,200
Speaker 3: the Master, and his assistant and his wife. Now, Hinkas

1365
01:13:44,320 --> 01:13:46,680
Speaker 3: says he doesn't actually know what happened to Olaf. He

1366
01:13:46,720 --> 01:13:49,400
Speaker 3: says he never laid a finger on him. But his

1367
01:13:49,479 --> 01:13:52,479
Speaker 3: gang boss is coming with three or four guys to

1368
01:13:52,560 --> 01:13:56,240
Speaker 3: finish the job, to kill mister Moses, who, in fact,

1369
01:13:56,280 --> 01:14:00,280
Speaker 3: the nondescript mister Moses, who seemed so innocent and you know,

1370
01:14:00,400 --> 01:14:04,440
Speaker 3: not even very remarkable, was in fact this criminal mastermind,

1371
01:14:04,800 --> 01:14:08,040
Speaker 3: the Master who did the Second National Bank job. And

1372
01:14:08,439 --> 01:14:11,439
Speaker 3: except he got into some kind of squabble with this

1373
01:14:11,520 --> 01:14:21,840
Speaker 3: terrorist or criminal gang and now they're they're looking for revenge.

1374
01:14:27,200 --> 01:14:32,000
Speaker 2: All right, So we've reached the secret mob members level

1375
01:14:32,040 --> 01:14:33,080
Speaker 2: of the big reveal here.

1376
01:14:33,280 --> 01:14:36,439
Speaker 3: But then there's going to be another reveal, which is

1377
01:14:36,439 --> 01:14:39,280
Speaker 3: so there's a confrontation where Glebsky goes into a room

1378
01:14:39,960 --> 01:14:44,240
Speaker 3: with Snaevar and Simone. They're all here gathered in the room,

1379
01:14:44,800 --> 01:14:48,400
Speaker 3: and when Glebsky enters the room, he sees himself what

1380
01:14:49,560 --> 01:14:52,760
Speaker 3: but then the other hymn transforms back into someone else.

1381
01:14:53,120 --> 01:14:55,640
Speaker 3: He realizes that here in the room are mister and

1382
01:14:55,680 --> 01:14:59,400
Speaker 3: missus Moses and someone else Luarvic, sitting doubled over in

1383
01:14:59,400 --> 01:15:03,680
Speaker 3: a chair, and Glebsky tries to say, okay, based on

1384
01:15:03,760 --> 01:15:07,479
Speaker 3: the testimony of Hincus, mister Moses, you are guilty of

1385
01:15:07,520 --> 01:15:10,360
Speaker 3: the robbery of the Second National Bank and of the

1386
01:15:10,439 --> 01:15:13,320
Speaker 3: murder of Olaf and I'm going to have to arrest you.

1387
01:15:14,479 --> 01:15:15,439
Speaker 1: But Simone is.

1388
01:15:15,400 --> 01:15:18,480
Speaker 3: There and he explains, no, no, no, you don't get it, Inspector.

1389
01:15:18,920 --> 01:15:22,840
Speaker 3: These are not humans. They're aliens from another planet. He says,

1390
01:15:22,880 --> 01:15:25,400
Speaker 3: I don't know where they're from, another dimension or galaxy,

1391
01:15:25,640 --> 01:15:28,400
Speaker 3: but they're in trouble and we have to help them.

1392
01:15:29,160 --> 01:15:29,519
Speaker 1: He says.

1393
01:15:29,560 --> 01:15:32,880
Speaker 3: Mister Moses arrived here as an observer, but he made

1394
01:15:32,880 --> 01:15:37,040
Speaker 3: a fatal mistake. He should not have contacted humans. And

1395
01:15:37,080 --> 01:15:39,840
Speaker 3: mister Moses explains that. He says, it's true. I wasn't

1396
01:15:39,840 --> 01:15:42,160
Speaker 3: supposed to interfere with human life, but when I saw

1397
01:15:42,160 --> 01:15:45,360
Speaker 3: how you were living, I broke the rule. I wanted

1398
01:15:45,400 --> 01:15:47,760
Speaker 3: to help you so much, but your life proved to

1399
01:15:47,800 --> 01:15:54,560
Speaker 3: be too complex for me. So somehow this part is

1400
01:15:54,600 --> 01:15:59,439
Speaker 3: a little murky for me. But somehow mister Moses, being

1401
01:15:59,439 --> 01:16:01,519
Speaker 3: an alien, an observer of Earth who was supposed to

1402
01:16:01,560 --> 01:16:04,640
Speaker 3: look at human life but not interfere with it, decided

1403
01:16:04,840 --> 01:16:07,160
Speaker 3: that he took pity on us because of all the

1404
01:16:07,240 --> 01:16:10,280
Speaker 3: human suffering and got involved. But the way he got

1405
01:16:10,320 --> 01:16:13,800
Speaker 3: involved was with some kind of criminal gang. I'm not

1406
01:16:14,040 --> 01:16:15,800
Speaker 3: quite sure I'm making the connection there.

1407
01:16:16,520 --> 01:16:18,840
Speaker 2: Yeah, maybe there's some sort of Robin Hood thing going

1408
01:16:18,840 --> 01:16:21,479
Speaker 2: on there, or maybe he was like, crime is doing

1409
01:16:21,560 --> 01:16:23,120
Speaker 2: a lot of damage. I'm going to get in there

1410
01:16:23,120 --> 01:16:25,120
Speaker 2: and do crime really well, but not hurt anybody.

1411
01:16:25,240 --> 01:16:26,640
Speaker 1: Yeah yeah, and that so I.

1412
01:16:26,640 --> 01:16:31,040
Speaker 2: Don't know, you know, he's going up against very difficult

1413
01:16:31,320 --> 01:16:34,760
Speaker 2: societal and yeah, yeah, problems and so forth.

1414
01:16:34,840 --> 01:16:37,799
Speaker 3: So, but given all the backstory we already got from Hinkas,

1415
01:16:37,840 --> 01:16:40,240
Speaker 3: now we know that the gang bosses are hunting down

1416
01:16:40,520 --> 01:16:45,840
Speaker 3: these these fugitive aliens, and so mister Moses is here

1417
01:16:46,760 --> 01:16:49,280
Speaker 3: at the hotel so he could leave the planet. They say,

1418
01:16:49,320 --> 01:16:51,439
Speaker 3: here in the mountains is our launch pad, but the

1419
01:16:51,520 --> 01:16:57,040
Speaker 3: avalanche destroyed the generator that powered our robots. So missus

1420
01:16:57,080 --> 01:17:01,799
Speaker 3: Moses and Oloff are the robots helpers of mister Moses

1421
01:17:02,280 --> 01:17:05,919
Speaker 3: and Luarvik. The man they discovered outside is the pilot

1422
01:17:05,960 --> 01:17:09,240
Speaker 3: of the alien spaceship and he was severely injured. They say,

1423
01:17:09,280 --> 01:17:13,480
Speaker 3: his spacesuit is torn. He's becoming weaker every second. So

1424
01:17:13,479 --> 01:17:16,679
Speaker 3: so what I mean this this reveal is very sudden,

1425
01:17:16,760 --> 01:17:19,120
Speaker 3: and it's just kind of like poured on Glebsky, and

1426
01:17:19,200 --> 01:17:20,559
Speaker 3: like how is he supposed to react?

1427
01:17:21,240 --> 01:17:25,040
Speaker 2: Yeah, and again it doesn't come with reveals of robotic

1428
01:17:25,080 --> 01:17:27,439
Speaker 2: interiors to human bodies or anything like that.

1429
01:17:27,360 --> 01:17:30,560
Speaker 3: Right, But they say that remember that suitcase Olof was

1430
01:17:30,600 --> 01:17:34,760
Speaker 3: reaching for, It actually has another battery, and if they

1431
01:17:34,800 --> 01:17:38,200
Speaker 3: return it, if they if Glebsky will return the battery

1432
01:17:38,240 --> 01:17:40,920
Speaker 3: to them, Oloff can be revived and then he won't

1433
01:17:40,920 --> 01:17:42,640
Speaker 3: be dead at all. He's just a robot who's on

1434
01:17:42,680 --> 01:17:44,880
Speaker 3: low power and they'll give him more power and he's fine,

1435
01:17:45,200 --> 01:17:46,800
Speaker 3: so this won't actually.

1436
01:17:46,439 --> 01:17:49,799
Speaker 1: Be a murder. But Glebsky thinks this is all madness.

1437
01:17:49,840 --> 01:17:52,919
Speaker 3: He says that every crime can be explained by appealing

1438
01:17:52,920 --> 01:17:57,640
Speaker 3: to fantasy, and this leads to arguments between Glebsky and Semone.

1439
01:17:58,040 --> 01:18:00,800
Speaker 3: Simone is saying like, look, you're being offered per right now,

1440
01:18:00,920 --> 01:18:05,040
Speaker 3: see for yourself. But Glebsky says, interestingly, quote, I'm not

1441
01:18:05,120 --> 01:18:08,519
Speaker 3: a scientist, I'm a police officer. I've heard too many

1442
01:18:08,600 --> 01:18:11,920
Speaker 3: lies about the suitcase. So he's sort of saying that

1443
01:18:11,960 --> 01:18:16,880
Speaker 3: he operates not just on physical evidence, but by primarily

1444
01:18:17,080 --> 01:18:21,280
Speaker 3: suspicion of motive, which can even override physical evidence.

1445
01:18:21,880 --> 01:18:23,559
Speaker 1: Hm oh.

1446
01:18:23,600 --> 01:18:25,720
Speaker 3: We also find out here that mister Moses is the

1447
01:18:25,720 --> 01:18:28,760
Speaker 3: one that called the police and slipped the note into

1448
01:18:28,760 --> 01:18:31,080
Speaker 3: Glebsky's pocket, and it's because he wanted to be rid

1449
01:18:31,120 --> 01:18:33,360
Speaker 3: of Hinkus and he knew Hankus was there. He was

1450
01:18:33,360 --> 01:18:36,120
Speaker 3: the criminal who was hunting him, and so at one

1451
01:18:36,160 --> 01:18:40,160
Speaker 3: point in this conversation, mister Moses laments. He's like, it's

1452
01:18:40,600 --> 01:18:43,480
Speaker 3: it's troubling that you won't be convinced because our robots

1453
01:18:43,560 --> 01:18:46,120
Speaker 3: are too convincing as humans. You know, if they were

1454
01:18:46,160 --> 01:18:49,320
Speaker 3: just obviously robots, then maybe you'd believe us. He says,

1455
01:18:49,320 --> 01:18:51,599
Speaker 3: it's a pity I can't show you my real face.

1456
01:18:52,479 --> 01:18:54,320
Speaker 2: So yeah, this is kind of getting to my earlier

1457
01:18:54,360 --> 01:18:56,280
Speaker 2: point about this is not the sort of film that

1458
01:18:56,360 --> 01:18:59,320
Speaker 2: is that needs to show you the alien face that

1459
01:18:59,360 --> 01:19:01,880
Speaker 2: the roboticiers. Again, I wouldn't have said no to it,

1460
01:19:02,200 --> 01:19:05,439
Speaker 2: but you can understand this choice based on this interaction. Yeah.

1461
01:19:05,560 --> 01:19:09,160
Speaker 3: Yeah, But here we get this conflict with Glebsky where

1462
01:19:09,200 --> 01:19:12,160
Speaker 3: he's like, no, I must turn you into the law.

1463
01:19:13,040 --> 01:19:16,280
Speaker 3: So he's conflicted, and he wanders around the hotel alone.

1464
01:19:16,320 --> 01:19:18,479
Speaker 3: At one point, he even picks up a phone receiver

1465
01:19:18,920 --> 01:19:21,280
Speaker 3: and then says in voiceover narration that he wishes the

1466
01:19:21,320 --> 01:19:25,240
Speaker 3: phone would simply give him orders to follow because he

1467
01:19:25,560 --> 01:19:27,960
Speaker 3: sort of feels like he can't think for himself, he

1468
01:19:28,000 --> 01:19:31,120
Speaker 3: can't decide what's the right thing to do, so he

1469
01:19:31,200 --> 01:19:34,000
Speaker 3: like walks out into the snow and he meets Brune

1470
01:19:34,040 --> 01:19:36,240
Speaker 3: out there. Remember Brune was the one who was in

1471
01:19:36,280 --> 01:19:39,559
Speaker 3: love with Olaf, and Brune begs him to give the

1472
01:19:39,600 --> 01:19:41,840
Speaker 3: battery to them so they can revive Oloft. So she's

1473
01:19:41,880 --> 01:19:44,880
Speaker 3: read into the whole theory now and she believes it.

1474
01:19:45,400 --> 01:19:48,400
Speaker 3: He's like, Glebsky tries to tell her this is nonsense,

1475
01:19:48,439 --> 01:19:51,679
Speaker 3: it's a fairy tale, but she says, if there's something

1476
01:19:51,720 --> 01:19:53,479
Speaker 3: that even might help him, you've got to give it

1477
01:19:53,520 --> 01:19:56,479
Speaker 3: a try. And she says, if Olof is an android,

1478
01:19:56,520 --> 01:19:59,080
Speaker 3: maybe she's an android too. She says, how could I know?

1479
01:20:00,320 --> 01:20:04,400
Speaker 3: So this all finally leads to a conclusion where Glebsky

1480
01:20:04,560 --> 01:20:08,640
Speaker 3: is trying to arrest mister Moses and won't give the

1481
01:20:08,680 --> 01:20:12,519
Speaker 3: battery back. But eventually he is sort of overpowered and

1482
01:20:12,600 --> 01:20:17,280
Speaker 3: overruled by Simone and by Snaevar, who both they they

1483
01:20:17,280 --> 01:20:19,680
Speaker 3: are aware of the aliens and robots and they want

1484
01:20:19,720 --> 01:20:22,559
Speaker 3: to help them, so they sort of restrain Glebsky, and

1485
01:20:22,600 --> 01:20:24,640
Speaker 3: they get the suitcase and they give it to the

1486
01:20:24,720 --> 01:20:29,320
Speaker 3: aliens so that Olaft can be powered back up. And

1487
01:20:30,160 --> 01:20:32,879
Speaker 3: there are these moments in here where Semine is reflecting

1488
01:20:32,920 --> 01:20:35,760
Speaker 3: on the tragedy of the situation. Simone says, here is

1489
01:20:36,000 --> 01:20:38,920
Speaker 3: the first encounter between two worlds. Think of how amazing

1490
01:20:38,960 --> 01:20:42,679
Speaker 3: this is, but think that they arrive from god knows where.

1491
01:20:42,960 --> 01:20:45,639
Speaker 3: First they meet terrorists and then they meet a police

1492
01:20:45,640 --> 01:20:49,040
Speaker 3: officer like you, Glebsky, sort of saying like you're showing

1493
01:20:49,080 --> 01:20:53,600
Speaker 3: them the worst side of humanity. But finally, as the

1494
01:20:53,640 --> 01:20:57,120
Speaker 3: Aliens get the battery back and they are allowed to escape,

1495
01:20:57,160 --> 01:20:59,880
Speaker 3: like the whole building starts shaking and rumbling like something

1496
01:21:00,120 --> 01:21:04,200
Speaker 3: huge is coming. Glass shatters in the windows and we

1497
01:21:04,320 --> 01:21:10,160
Speaker 3: hear a voice echoing saying goodbye. Human's real contact is

1498
01:21:10,280 --> 01:21:12,360
Speaker 3: yet to come. And then we get one of the

1499
01:21:12,400 --> 01:21:16,240
Speaker 3: most striking shots in the movie, which is the aliens departing.

1500
01:21:16,920 --> 01:21:22,360
Speaker 3: They're like cloaked figures seemingly skiing uphill without skis to

1501
01:21:22,439 --> 01:21:22,840
Speaker 3: the top of.

1502
01:21:22,840 --> 01:21:25,040
Speaker 1: The mountain so they can get in their spaceship and leave.

1503
01:21:25,960 --> 01:21:30,400
Speaker 2: Yeah, just just robots moving swiftly, unnaturally over the surface

1504
01:21:30,439 --> 01:21:30,920
Speaker 2: of the snow.

1505
01:21:31,120 --> 01:21:34,280
Speaker 3: Right, so missus Moses is carrying mister Moses, Olaf is

1506
01:21:34,320 --> 01:21:39,360
Speaker 3: carrying Luarvic, and they're going to escape to the stars. Unfortunately, Oh,

1507
01:21:39,360 --> 01:21:42,639
Speaker 3: here comes a helicopter. And at first you might think, oh,

1508
01:21:42,640 --> 01:21:45,600
Speaker 3: the helicopter, that's that's going to be their rescue, right, No,

1509
01:21:46,240 --> 01:21:49,320
Speaker 3: it's the gang. It's the gang members. It's Hinkas's gang

1510
01:21:49,560 --> 01:21:54,559
Speaker 3: arriving and the helicopter buzzes over their heads. Finally, after

1511
01:21:54,600 --> 01:21:57,280
Speaker 3: Snavar sees it and says, God, forgive us all, the

1512
01:21:57,320 --> 01:22:00,679
Speaker 3: helicopter unleashes its guns and it kills the two aliens

1513
01:22:00,720 --> 01:22:03,760
Speaker 3: and the androids and they lie dead in the snow.

1514
01:22:04,280 --> 01:22:08,280
Speaker 2: Yeah, blows them right up. Aliens robots completely destroyed.

1515
01:22:09,720 --> 01:22:12,519
Speaker 3: So the helicopter we see like the Saint Bernard howling

1516
01:22:12,560 --> 01:22:16,760
Speaker 3: in pity. The helicopter leaves silent mountain peaks with this

1517
01:22:17,080 --> 01:22:20,599
Speaker 3: with again the creepy squeaking synthesizers playing out the story,

1518
01:22:21,400 --> 01:22:23,960
Speaker 3: and in the end, the camera zooms in on the

1519
01:22:24,000 --> 01:22:26,680
Speaker 3: sun and then zooms out from the hotel. There is

1520
01:22:26,680 --> 01:22:29,360
Speaker 3: a lot of zooming of the camera in this film,

1521
01:22:30,160 --> 01:22:33,479
Speaker 3: and a huge avalanche approaches, billowing over the mountain side,

1522
01:22:33,479 --> 01:22:36,040
Speaker 3: finally enveloping the camera. This is one of these avalanche

1523
01:22:36,040 --> 01:22:38,680
Speaker 3: shots we talked about earlier, and the final shot of

1524
01:22:38,720 --> 01:22:42,519
Speaker 3: the film is actually Glebsky later in black and white,

1525
01:22:42,520 --> 01:22:45,960
Speaker 3: suddenly staring directly into the camera and he asks why

1526
01:22:46,000 --> 01:22:49,160
Speaker 3: you're looking at them looking at him. He insists that

1527
01:22:49,280 --> 01:22:52,040
Speaker 3: he acted correctly. He says, by upholding the law, he

1528
01:22:52,120 --> 01:22:55,760
Speaker 3: performed his duty and the law is sacred, and he's

1529
01:22:55,760 --> 01:22:59,680
Speaker 3: sort of like he gets defensive and angry and just

1530
01:23:00,120 --> 01:23:04,360
Speaker 3: repeatedly insists directly into the audience's face that he was right,

1531
01:23:04,479 --> 01:23:08,080
Speaker 3: he did the right thing, and considerations to the contrary

1532
01:23:08,160 --> 01:23:09,520
Speaker 3: are just being illogical.

1533
01:23:10,439 --> 01:23:13,400
Speaker 2: Now, according to the featurette, this scene this capper at

1534
01:23:13,439 --> 01:23:15,960
Speaker 2: the end in black and white with him speaking directly

1535
01:23:16,080 --> 01:23:18,640
Speaker 2: to the camera. This is actually footage from this is

1536
01:23:18,720 --> 01:23:21,760
Speaker 2: casting footage for the film, and they added it in

1537
01:23:21,920 --> 01:23:24,800
Speaker 2: post because the studio thought that the ending wasn't clear

1538
01:23:24,920 --> 01:23:30,720
Speaker 2: enough interesting, which is Yeah, I mean I think it

1539
01:23:30,800 --> 01:23:33,000
Speaker 2: still works. You know, it reminds me a bit of

1540
01:23:33,240 --> 01:23:38,200
Speaker 2: you know, some of those those fourth wall breaking moments

1541
01:23:38,240 --> 01:23:43,600
Speaker 2: in Baraka or the ending of the mission. You know,

1542
01:23:43,640 --> 01:23:46,519
Speaker 2: there's a and it makes sense. It's not completely out

1543
01:23:46,560 --> 01:23:48,200
Speaker 2: of contact with the film because we get those scenes

1544
01:23:48,200 --> 01:23:50,720
Speaker 2: where he's narrating, he's speaking to us, and then it

1545
01:23:50,760 --> 01:23:52,599
Speaker 2: seems kind of fitting that at the end he is

1546
01:23:52,680 --> 01:23:56,240
Speaker 2: looking at us, he is addressing us directly about this

1547
01:23:56,680 --> 01:23:59,280
Speaker 2: strange encounter that he had and these choices that he

1548
01:23:59,320 --> 01:23:59,800
Speaker 2: had to make.

1549
01:24:00,120 --> 01:24:03,559
Speaker 3: Yeah, and I guess that does it for Dead Mountaineers Hotel.

1550
01:24:03,680 --> 01:24:07,040
Speaker 3: But I found this a really interesting film. It does

1551
01:24:07,160 --> 01:24:10,200
Speaker 3: actually raise interesting themes in the end, but they kind

1552
01:24:10,240 --> 01:24:12,680
Speaker 3: of come late in the film, these themes about like

1553
01:24:13,560 --> 01:24:18,160
Speaker 3: can this bureaucratic functionary, this policeman like make a decision

1554
01:24:18,160 --> 01:24:20,880
Speaker 3: that makes sense given what he's just encountered, or can

1555
01:24:20,920 --> 01:24:23,120
Speaker 3: he just like not accept what's in front of him

1556
01:24:23,400 --> 01:24:25,879
Speaker 3: and sort of act as a as almost as a machine,

1557
01:24:25,920 --> 01:24:27,040
Speaker 3: as a robot himself.

1558
01:24:27,960 --> 01:24:31,360
Speaker 2: Yeah. Yeah, it's a fascinating film. I really enjoy diving

1559
01:24:31,400 --> 01:24:34,559
Speaker 2: into it, and I enjoyed getting into this realm of

1560
01:24:34,720 --> 01:24:37,800
Speaker 2: Estonian cinema. So yeah, we'll throw it out to our

1561
01:24:37,840 --> 01:24:40,479
Speaker 2: listeners there. If you've seen Dead Mountaineer's Hotel, or if

1562
01:24:40,479 --> 01:24:45,000
Speaker 2: you've read the source material, or are you yourself listening

1563
01:24:45,120 --> 01:24:49,479
Speaker 2: of from Estonia, do you have an additional insight about Estonian

1564
01:24:49,520 --> 01:24:53,800
Speaker 2: culture and cinema locations, actors and so forth right in

1565
01:24:54,040 --> 01:24:56,599
Speaker 2: we would love to hear from you. Just a reminder

1566
01:24:56,600 --> 01:24:58,320
Speaker 2: of the stuff to bliw. Your Mind is primarily a science

1567
01:24:58,320 --> 01:25:01,559
Speaker 2: and culture podcast with new episod core episodes on Tuesdays

1568
01:25:01,600 --> 01:25:06,879
Speaker 2: and Thursdays, short form episode on Wednesdays, listener mail on Mondays.

1569
01:25:06,880 --> 01:25:08,920
Speaker 2: But then on Fridays, we just set aside most serious

1570
01:25:08,960 --> 01:25:10,920
Speaker 2: concerns to just talk about a weird film on Weird

1571
01:25:10,920 --> 01:25:12,800
Speaker 2: House Cinema. If you want a full list of the

1572
01:25:12,800 --> 01:25:15,000
Speaker 2: movies we've covered over the years, go to letterbox dot com.

1573
01:25:15,000 --> 01:25:17,560
Speaker 2: That's l E T T e r box d dot com.

1574
01:25:17,680 --> 01:25:19,840
Speaker 2: Our username is weird House. You'll find a list there

1575
01:25:19,840 --> 01:25:22,000
Speaker 2: of everything we've covered so far, and sometimes a peek

1576
01:25:22,040 --> 01:25:23,599
Speaker 2: ahead at what's coming up next.

1577
01:25:24,360 --> 01:25:27,439
Speaker 3: Our regular audio producer Jjposway is out this week, so

1578
01:25:27,560 --> 01:25:30,960
Speaker 3: huge thanks to our guest producer Andrew Howard for helping

1579
01:25:31,040 --> 01:25:31,599
Speaker 3: us out today.

1580
01:25:31,920 --> 01:25:33,480
Speaker 1: Appreciate it, Andrew.

1581
01:25:34,000 --> 01:25:35,400
Speaker 3: If you would like to get in touch with us

1582
01:25:35,439 --> 01:25:38,440
Speaker 3: with feedback on this episode or any other, to suggest

1583
01:25:38,479 --> 01:25:40,479
Speaker 3: a topic for the future, or just to say hello,

1584
01:25:40,600 --> 01:25:43,920
Speaker 3: you can email us as always at contact at stuff

1585
01:25:43,960 --> 01:25:53,559
Speaker 3: to Blow your Mind dot com.

1586
01:25:53,720 --> 01:25:56,640
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1587
01:25:56,720 --> 01:25:58,519
Speaker 1: more podcasts from my heart Radio, visit

1588
01:25:58,560 --> 01:26:01,720
Speaker 3: The iHeartRadio app podcasts, or wherever you listen to your

1589
01:26:01,720 --> 01:26:02,439
Speaker 3: favorite shows.