1 00:00:05,240 --> 00:00:07,840 Speaker 1: Hey, this is Annie and Samantha and welcome to Stephan. 2 00:00:07,840 --> 00:00:19,400 Speaker 1: I've never told your protection of I Heart Radio. So today, 3 00:00:19,720 --> 00:00:25,640 Speaker 1: in our continuing just really running head first into Halloween 4 00:00:25,800 --> 00:00:28,920 Speaker 1: and spooky times, we are going to be doing a 5 00:00:29,000 --> 00:00:34,240 Speaker 1: double feature of Suspiria, the old one and the new one, 6 00:00:34,960 --> 00:00:37,160 Speaker 1: which has been fun because neither of us had seen 7 00:00:37,200 --> 00:00:39,599 Speaker 1: the old one before when we had decided to do 8 00:00:39,680 --> 00:00:43,800 Speaker 1: this true story, but we both watched it. Now. That 9 00:00:43,880 --> 00:00:46,879 Speaker 1: being said, a trigger warning on this. I don't think 10 00:00:46,920 --> 00:00:49,280 Speaker 1: we're gonna get too intensely into anything, but there is 11 00:00:49,320 --> 00:00:53,120 Speaker 1: some kind of gruesomeness because we are talking about horror movies. 12 00:00:53,760 --> 00:00:55,760 Speaker 1: It's really we're not going to go into depth, but 13 00:00:55,800 --> 00:00:58,800 Speaker 1: you know, just to put that out there. And I 14 00:00:58,840 --> 00:01:00,800 Speaker 1: think we've already mentioned it, but we're probably going to 15 00:01:00,840 --> 00:01:07,240 Speaker 1: do multiple movies this month. Episode movies, episode movies, movies, episodes, 16 00:01:08,200 --> 00:01:10,400 Speaker 1: you know what I mean, because they're just so many. 17 00:01:10,440 --> 00:01:12,640 Speaker 1: We both have horror movies. There's so many to go over. 18 00:01:12,760 --> 00:01:15,880 Speaker 1: I think a lot of them have really interesting themes 19 00:01:15,920 --> 00:01:18,440 Speaker 1: when it comes to women and kind of all these 20 00:01:18,480 --> 00:01:22,880 Speaker 1: anxieties we have around that. And I really want to 21 00:01:22,920 --> 00:01:27,560 Speaker 1: talk about Black Swan. So it's odd to me that 22 00:01:27,600 --> 00:01:32,600 Speaker 1: we're sort of doing those women in horror and dance theme, 23 00:01:33,640 --> 00:01:37,000 Speaker 1: but you know that's just not just what's happening, right. 24 00:01:37,160 --> 00:01:39,160 Speaker 1: I've never seen Black Swans, so this will be an 25 00:01:39,160 --> 00:01:42,560 Speaker 1: interesting take from me as well. Those types of movies 26 00:01:42,880 --> 00:01:45,280 Speaker 1: are a little more trippy because it's not seen as 27 00:01:45,400 --> 00:01:50,720 Speaker 1: horror as a thriller suspense, I guess, like the logical thrillers, 28 00:01:51,120 --> 00:01:54,400 Speaker 1: and typically those are like whatever. So it'll be interesting 29 00:01:54,440 --> 00:01:57,720 Speaker 1: because I've always seen one Aeronofski film and a Belitas Mother. 30 00:01:58,560 --> 00:02:02,560 Speaker 1: That one was twisted as hell. Yes, we will talk 31 00:02:02,600 --> 00:02:06,160 Speaker 1: about butter in the Black Swan one because that there's 32 00:02:06,400 --> 00:02:10,080 Speaker 1: a similar theme in Black Swan of like a male 33 00:02:10,440 --> 00:02:16,000 Speaker 1: artistic director who is getting like a woman is his 34 00:02:16,080 --> 00:02:18,520 Speaker 1: muse and the woman is kind of like suffering for 35 00:02:18,800 --> 00:02:23,160 Speaker 1: the art, which we've talked about before. But yes, yes, 36 00:02:23,240 --> 00:02:25,960 Speaker 1: I will say Black Swan is not as trippy and 37 00:02:26,040 --> 00:02:29,200 Speaker 1: as step as a Mother is, Okay, I mean I 38 00:02:29,280 --> 00:02:32,920 Speaker 1: just remember being prepped for it in that Jennifer Lawrence 39 00:02:32,960 --> 00:02:35,720 Speaker 1: was talking about how it kind of damaged her at 40 00:02:35,760 --> 00:02:38,680 Speaker 1: that point in time, and it made me not really 41 00:02:38,760 --> 00:02:44,200 Speaker 1: love Aronofsky in general. So I'll it'll be an interesting take. 42 00:02:44,280 --> 00:02:47,480 Speaker 1: I think, yes, oh, yes, for sure, but that is 43 00:02:47,560 --> 00:02:51,560 Speaker 1: for the future today. Yes, we're talking about Suspiria. Yes 44 00:02:51,840 --> 00:02:55,360 Speaker 1: and yeah. So let's jump into this classic version, the 45 00:02:55,400 --> 00:02:59,480 Speaker 1: original Suspiria. And there's a lot of feeling about the 46 00:02:59,520 --> 00:03:03,440 Speaker 1: fact it has been remade, including from the director. So 47 00:03:03,760 --> 00:03:05,200 Speaker 1: but let's go ahead and jump into it. So it's 48 00:03:05,200 --> 00:03:09,800 Speaker 1: directed by an Italian filmmaker Dario Argento in nineteen seventies seven, 49 00:03:09,840 --> 00:03:12,360 Speaker 1: and this movie has been held as one of the 50 00:03:12,400 --> 00:03:15,960 Speaker 1: best horror movies of all time. As in fact, according 51 00:03:16,000 --> 00:03:18,400 Speaker 1: to one article, it said that it was in top 52 00:03:18,440 --> 00:03:21,919 Speaker 1: twenty of all time from professional film critics, so they 53 00:03:21,960 --> 00:03:24,720 Speaker 1: if they had to like test, say which ones were 54 00:03:24,760 --> 00:03:27,720 Speaker 1: their top twenty, this made the list. Uh. So we 55 00:03:27,840 --> 00:03:31,720 Speaker 1: open up to see a young American Susie Banion played 56 00:03:31,720 --> 00:03:34,920 Speaker 1: by Jessica Harper, arriving at the airport in Munich on 57 00:03:34,960 --> 00:03:38,040 Speaker 1: a very stormy night, like unusually stormy apparently it is 58 00:03:38,040 --> 00:03:40,880 Speaker 1: a part of the plot. After struggling to get a taxi, 59 00:03:41,000 --> 00:03:44,400 Speaker 1: literally jumping in front of one to stop it, she 60 00:03:44,600 --> 00:03:48,400 Speaker 1: arrives at the prestigious academy in Freiburg, where we see 61 00:03:48,440 --> 00:03:51,960 Speaker 1: another student leaving in a panic and Susie then gets 62 00:03:51,960 --> 00:03:54,600 Speaker 1: turned away from the studio is told to leave like 63 00:03:55,120 --> 00:03:58,000 Speaker 1: the person who's yelling at her the intercommon way leave 64 00:03:58,560 --> 00:04:02,120 Speaker 1: essentially so sleeve the studio, and as she does, as 65 00:04:02,120 --> 00:04:04,720 Speaker 1: she witnesses the young lady who left in a panic, 66 00:04:04,920 --> 00:04:07,840 Speaker 1: who is Pat you'll want to know that name, walking 67 00:04:07,880 --> 00:04:10,520 Speaker 1: through the woods in a hurry, in a very scared 68 00:04:10,760 --> 00:04:13,680 Speaker 1: state of being, and we cut them to see Pat 69 00:04:14,240 --> 00:04:17,159 Speaker 1: arriving at her friend's place after leaving the school, and 70 00:04:17,200 --> 00:04:19,880 Speaker 1: she tries to talk about why she ran away, but 71 00:04:19,960 --> 00:04:23,159 Speaker 1: it's too scared, cold and wet, so she retreats into 72 00:04:23,160 --> 00:04:27,159 Speaker 1: the bathroom. When we proceed to see the first brutal 73 00:04:27,200 --> 00:04:30,880 Speaker 1: scene and apparently Argenta is known for this kind of thing. 74 00:04:31,000 --> 00:04:33,880 Speaker 1: And of course where I come through, going girl run, 75 00:04:34,160 --> 00:04:36,680 Speaker 1: stopped looking at the damn window because I'm like, there's 76 00:04:36,760 --> 00:04:40,360 Speaker 1: b eyes run. That's when you run, you know, whatever, 77 00:04:40,839 --> 00:04:43,680 Speaker 1: in which both Pat and her friend are killed, so 78 00:04:43,760 --> 00:04:47,960 Speaker 1: patistad repeatedly with the final shot of the knife going 79 00:04:48,080 --> 00:04:50,839 Speaker 1: directly into her heart, So you see a knife going 80 00:04:50,920 --> 00:04:57,320 Speaker 1: into an actual heart. I guess it's movie magic makeup maybe, 81 00:04:58,360 --> 00:05:02,000 Speaker 1: and then being hung all falling through a glass ceiling 82 00:05:02,120 --> 00:05:05,000 Speaker 1: and then we see her friend die due to the 83 00:05:05,040 --> 00:05:08,000 Speaker 1: metal and glass falling on top of her, and by 84 00:05:08,040 --> 00:05:09,919 Speaker 1: the way, throughout the scene, she's knocking on all the 85 00:05:09,960 --> 00:05:15,040 Speaker 1: doors screaming, help, my friends getting murdered. Nobody stops to help, 86 00:05:15,120 --> 00:05:17,880 Speaker 1: by the way, and then we move on to see 87 00:05:18,400 --> 00:05:20,920 Speaker 1: Susie who has finally made it inside of the dance 88 00:05:20,960 --> 00:05:24,960 Speaker 1: studio Dance Academy, and she's introduced to Madame Blanc who 89 00:05:25,120 --> 00:05:27,400 Speaker 1: played by Joan Bennett, which, by the way, this was 90 00:05:27,400 --> 00:05:30,560 Speaker 1: her last movie that she'd ever filmed, and she was 91 00:05:30,600 --> 00:05:33,919 Speaker 1: also nominated for a Saturn Award for her performance. She 92 00:05:33,960 --> 00:05:37,360 Speaker 1: didn't win, but she was nominated and Ms Tanner played 93 00:05:37,360 --> 00:05:42,080 Speaker 1: by Alida Valley. Upon her arrival, she learns of Pat's 94 00:05:42,279 --> 00:05:45,159 Speaker 1: death and murder, and at this point Susie tries to 95 00:05:45,200 --> 00:05:48,440 Speaker 1: recall exactly what Pat is saying as she fled from 96 00:05:48,480 --> 00:05:52,200 Speaker 1: the school, but has a hard time remembering what was said. 97 00:05:52,240 --> 00:05:55,920 Speaker 1: Apparently this is a style that Argenta has used before 98 00:05:56,480 --> 00:05:58,479 Speaker 1: um and likes to use in a lot of his movie, 99 00:05:58,560 --> 00:06:01,159 Speaker 1: so the whole like hidden message you can't quite remember 100 00:06:01,760 --> 00:06:04,960 Speaker 1: always there. After she'd been told she would be boarding 101 00:06:05,120 --> 00:06:07,560 Speaker 1: with another student due to her room not being ready 102 00:06:07,600 --> 00:06:10,200 Speaker 1: at the academy. She decides that she would rather stay 103 00:06:10,400 --> 00:06:14,320 Speaker 1: with that other student rather than the academy, but uh 104 00:06:14,640 --> 00:06:17,880 Speaker 1: got some weird reactions from the teachers, including one saying, oh, 105 00:06:18,279 --> 00:06:26,640 Speaker 1: you're strong willed, good yea, and after that another bazaar 106 00:06:26,920 --> 00:06:30,560 Speaker 1: encounter with the cook. A lot of foreboding stairs in 107 00:06:30,560 --> 00:06:35,040 Speaker 1: this movie. Also definitely there's a lot of tropes in 108 00:06:35,080 --> 00:06:40,840 Speaker 1: this probably originated from this, so he definitely created a style. Yes, 109 00:06:40,960 --> 00:06:44,480 Speaker 1: some odd staring for voting stairs as she passes by 110 00:06:44,520 --> 00:06:48,400 Speaker 1: the cook specifically, and then she gets sick. Weird. I 111 00:06:48,440 --> 00:06:50,800 Speaker 1: don't know what's happening. This glittering light made her sick, 112 00:06:50,839 --> 00:06:52,839 Speaker 1: and she's told she has to try to dance, and 113 00:06:52,839 --> 00:06:56,000 Speaker 1: then she passes out while she's dancing. It's really dramatic, 114 00:06:56,360 --> 00:06:58,200 Speaker 1: and then has to be seen by a doctor who 115 00:06:58,279 --> 00:07:01,200 Speaker 1: puts her on a very restrictive eye it that includes 116 00:07:01,279 --> 00:07:04,000 Speaker 1: ambrosia wine. That's how they say it. So I was 117 00:07:04,040 --> 00:07:07,480 Speaker 1: like okay, and it's moved into the dorm against her wishes, 118 00:07:09,360 --> 00:07:12,600 Speaker 1: and of course more weird things happen, like maggots falling 119 00:07:12,600 --> 00:07:14,520 Speaker 1: out of the ceiling causing them to have to be 120 00:07:14,560 --> 00:07:16,560 Speaker 1: moved into the practice hall for the night, and y'all. 121 00:07:16,600 --> 00:07:19,480 Speaker 1: That probably was the creepiest scene to me, the maggots 122 00:07:19,520 --> 00:07:24,520 Speaker 1: in the hair. So they all have to move into 123 00:07:24,560 --> 00:07:27,560 Speaker 1: the practice hall for the night, where her classmate and neighbor, 124 00:07:27,640 --> 00:07:31,400 Speaker 1: her dorm neighbor Sarah, tells her of this incident where 125 00:07:31,480 --> 00:07:34,560 Speaker 1: she is next to the schooler that director or rooms 126 00:07:34,640 --> 00:07:37,000 Speaker 1: next to a school director and she knows this weird 127 00:07:37,360 --> 00:07:40,920 Speaker 1: snoring whistling sound and it has to be her and 128 00:07:41,360 --> 00:07:44,200 Speaker 1: the school director was supposed to be gone at this time, 129 00:07:44,280 --> 00:07:47,960 Speaker 1: but you know, we see this floating image come and 130 00:07:48,400 --> 00:07:50,840 Speaker 1: take a bed next to the students, so that was 131 00:07:50,880 --> 00:07:54,680 Speaker 1: kind of like a huh, another weird occurrence. Of course, 132 00:07:55,200 --> 00:07:58,320 Speaker 1: next day we see a blind pianist who we are 133 00:07:58,360 --> 00:08:01,440 Speaker 1: introduced earlier into in the movie, but he comes in 134 00:08:01,680 --> 00:08:04,040 Speaker 1: leaves his guide dog at the door, and I was 135 00:08:04,160 --> 00:08:05,840 Speaker 1: very scared. I was like, oh no, not a dog. 136 00:08:05,960 --> 00:08:09,040 Speaker 1: Not a horror movie. And then we hear noises from 137 00:08:09,040 --> 00:08:11,920 Speaker 1: the outside as the nephew of Madame Blanc, who she's 138 00:08:11,920 --> 00:08:14,040 Speaker 1: already stated means a lot to her, so we know 139 00:08:14,640 --> 00:08:18,160 Speaker 1: he's something walks to the school and immediately see Missed 140 00:08:18,160 --> 00:08:21,120 Speaker 1: Tanner yelling at the pianist, accusing his dog of attacking 141 00:08:21,160 --> 00:08:23,680 Speaker 1: the child, which leads to him leaving the school with 142 00:08:23,760 --> 00:08:26,920 Speaker 1: him yelling he knows what happens at this school, and 143 00:08:26,960 --> 00:08:29,200 Speaker 1: then we later witnessed his death as his dog gets 144 00:08:29,200 --> 00:08:33,520 Speaker 1: spooped and kills him. Weird moment too. Also, there's a 145 00:08:33,559 --> 00:08:36,439 Speaker 1: lot of foreboding stairs from the cops in this one, 146 00:08:37,040 --> 00:08:40,000 Speaker 1: of course, we also see Sarah trying to figure out 147 00:08:40,440 --> 00:08:43,199 Speaker 1: with Susie what the staff is doing, as they can 148 00:08:43,240 --> 00:08:46,600 Speaker 1: hear footsteps down the hallways, only to realize thanks to 149 00:08:46,640 --> 00:08:51,240 Speaker 1: Susie that they are not leaving but going somewhere unknown. Um. 150 00:08:51,320 --> 00:08:53,400 Speaker 1: At the same time, we see that Susie can't stay 151 00:08:53,400 --> 00:08:56,960 Speaker 1: awake and pass it out. Big sign of course, with 152 00:08:57,040 --> 00:09:01,960 Speaker 1: Sarah being that nosy uh, bad time's come for her. Yes, 153 00:09:02,240 --> 00:09:05,880 Speaker 1: after Susie accidentally outs her after telling Madame Blanc about 154 00:09:05,880 --> 00:09:09,680 Speaker 1: what Pat said something about iris and secret Uh, Sarah 155 00:09:09,679 --> 00:09:12,040 Speaker 1: tries to tell her what she found, including that she 156 00:09:12,120 --> 00:09:13,720 Speaker 1: was meeting up with a friend to talk about some 157 00:09:13,840 --> 00:09:17,000 Speaker 1: notes she had about the school. But as she's trying 158 00:09:17,000 --> 00:09:19,559 Speaker 1: to tell Susie about everything, Sarah realized that Susie is 159 00:09:19,559 --> 00:09:23,200 Speaker 1: completely passed out. She runs in fear and after a 160 00:09:23,280 --> 00:09:26,360 Speaker 1: long dramatic moment of being cornered into a room, and 161 00:09:26,400 --> 00:09:29,560 Speaker 1: I mean dramatic, y'all. She gets caught up in what 162 00:09:29,640 --> 00:09:31,840 Speaker 1: I think is supposed to be barbed wire fence, but 163 00:09:31,880 --> 00:09:33,920 Speaker 1: if you look at it closely, it's not. But it's 164 00:09:33,920 --> 00:09:36,560 Speaker 1: still like I had the moment of a girl. No 165 00:09:37,160 --> 00:09:41,079 Speaker 1: she's trapped um and then gets her throat slashed, very 166 00:09:41,200 --> 00:09:45,719 Speaker 1: vivid scene. Next day, Susie discovers Sarah's rooms empty, and 167 00:09:45,760 --> 00:09:48,600 Speaker 1: it's told that she left without telling anyone, and Susie, 168 00:09:48,600 --> 00:09:51,920 Speaker 1: now suspicious, meets up with Sarah's friend, finds out about 169 00:09:51,920 --> 00:09:54,000 Speaker 1: the history of which Is and some of the things 170 00:09:54,000 --> 00:09:56,880 Speaker 1: that Sarah has been talking about through a professor that 171 00:09:56,920 --> 00:09:59,520 Speaker 1: they both know, so that she has this long conversation 172 00:09:59,520 --> 00:10:02,040 Speaker 1: about which is and the fact and the history of 173 00:10:02,080 --> 00:10:04,640 Speaker 1: the school is long and dark and all my goodness, 174 00:10:05,120 --> 00:10:07,760 Speaker 1: including the fact that he tells her that as long 175 00:10:07,840 --> 00:10:11,040 Speaker 1: as the mother which is alive, all of them will 176 00:10:11,320 --> 00:10:13,840 Speaker 1: be alive, so that you must kill the queen essentially 177 00:10:14,120 --> 00:10:18,280 Speaker 1: to kill off the rest of them. So important information 178 00:10:18,360 --> 00:10:21,680 Speaker 1: to know. And by the way, if you haven't seen 179 00:10:21,720 --> 00:10:24,240 Speaker 1: this film, I had to tell any that each one 180 00:10:24,280 --> 00:10:26,960 Speaker 1: of the actors speak their own language, so you have 181 00:10:27,080 --> 00:10:30,680 Speaker 1: four different languages spoken, but because of those types of movies, 182 00:10:30,679 --> 00:10:33,280 Speaker 1: they would just dub them according to where they were 183 00:10:33,280 --> 00:10:35,880 Speaker 1: going to be seen. So you have an American actors 184 00:10:35,920 --> 00:10:38,640 Speaker 1: speaking English while the German actors are speaking German, and 185 00:10:38,679 --> 00:10:41,320 Speaker 1: they just dubbed over it. So it's really obvious and 186 00:10:41,400 --> 00:10:44,840 Speaker 1: kind of confusing because you're like, but that's English, but 187 00:10:44,880 --> 00:10:47,559 Speaker 1: that's not. I had that moment for a couple of times, 188 00:10:47,600 --> 00:10:49,160 Speaker 1: and when I read that, I was like, oh, that's smart, 189 00:10:50,559 --> 00:10:52,559 Speaker 1: cheapest way to do this. So yes, say, would just 190 00:10:52,600 --> 00:10:55,280 Speaker 1: memorize each other's lines so they knew how to react. 191 00:10:55,440 --> 00:10:58,480 Speaker 1: So when you see the German professor talking to the 192 00:10:58,559 --> 00:11:03,000 Speaker 1: American actress, is very obvious, like huh, just so you know. 193 00:11:03,720 --> 00:11:07,360 Speaker 1: So after Susie returns, she gets suspicious of the food 194 00:11:07,760 --> 00:11:10,280 Speaker 1: as well, and she dumps all of it and then decides, 195 00:11:10,400 --> 00:11:13,920 Speaker 1: after finding a note left by Sarah, to follow the footsteps, 196 00:11:13,920 --> 00:11:16,720 Speaker 1: which leads her to Blanc's office, which has a blue 197 00:11:16,720 --> 00:11:20,120 Speaker 1: iris that she knows about, uh, and she turns it 198 00:11:20,160 --> 00:11:22,640 Speaker 1: opens it up to an eerie hallway, lots of writing, 199 00:11:22,720 --> 00:11:25,960 Speaker 1: lots of weird chanting items everywhere. That leads her to 200 00:11:26,240 --> 00:11:29,040 Speaker 1: the coven, where the staff are meeting and find out 201 00:11:29,040 --> 00:11:31,400 Speaker 1: that not only are they all witches, but they're going 202 00:11:31,440 --> 00:11:33,679 Speaker 1: to kill her that night, like they keep saying, kill 203 00:11:33,760 --> 00:11:37,280 Speaker 1: the American, Kill the Americans, um. And she tries to 204 00:11:37,320 --> 00:11:39,679 Speaker 1: find a way out and instead finds the Corps of 205 00:11:39,720 --> 00:11:44,360 Speaker 1: Sarah really interesting thing, and find the director, who turns 206 00:11:44,400 --> 00:11:47,000 Speaker 1: out to be Helena Marcos, who is the Queen of 207 00:11:47,000 --> 00:11:51,160 Speaker 1: the coven or Mutter Suspiriorum or Mother of Size, who 208 00:11:51,200 --> 00:11:54,240 Speaker 1: is part of the Three Witches Um. After Marcos six 209 00:11:54,559 --> 00:11:58,840 Speaker 1: zombie Sarah onto her to kill Susie, Susie stabs Marcos 210 00:11:58,880 --> 00:12:00,600 Speaker 1: so you can only see the out line of her, 211 00:12:00,880 --> 00:12:04,480 Speaker 1: which causes the death of the entire coven and as 212 00:12:04,520 --> 00:12:07,600 Speaker 1: she runs to leave the academy, the entire academy burst 213 00:12:07,600 --> 00:12:10,719 Speaker 1: into flames, and that's the end, as we see her 214 00:12:10,760 --> 00:12:16,760 Speaker 1: crying and we hear screaming in the background. So thin, yep. 215 00:12:17,400 --> 00:12:20,280 Speaker 1: And we're going to talk more about the style differences 216 00:12:20,320 --> 00:12:23,600 Speaker 1: and compare in contrast these movies, because Samantha and I 217 00:12:23,640 --> 00:12:26,000 Speaker 1: came at it from a very interesting angle, I think, 218 00:12:26,040 --> 00:12:29,760 Speaker 1: where we both saw the new one first, and so 219 00:12:29,880 --> 00:12:32,240 Speaker 1: when I was watching the old one, it was interesting 220 00:12:32,280 --> 00:12:34,360 Speaker 1: because I was kind of having the reverse of like, oh, 221 00:12:34,480 --> 00:12:37,600 Speaker 1: Marcos and like trying to fit it into what I've 222 00:12:37,600 --> 00:12:39,200 Speaker 1: seen in the new one and how that was going 223 00:12:39,240 --> 00:12:43,960 Speaker 1: to match up, and most of it really doesn't match it, 224 00:12:45,800 --> 00:12:48,319 Speaker 1: which I think, according to a lot of what we 225 00:12:48,400 --> 00:12:51,839 Speaker 1: read was probably good for us because we didn't enter 226 00:12:51,920 --> 00:12:56,120 Speaker 1: the new one like constantly comparing and sort of being disappointed. 227 00:12:56,160 --> 00:13:13,640 Speaker 1: It sounds like, yeah, let's talk about the news Suspiria, 228 00:13:14,679 --> 00:13:18,040 Speaker 1: and it was inspired by this, this nineteen version, but 229 00:13:18,200 --> 00:13:22,479 Speaker 1: this is eighteen supernatural horror film directed by Luca guadno 230 00:13:22,559 --> 00:13:26,040 Speaker 1: and written by David Casanis. I hope I'm getting it 231 00:13:26,160 --> 00:13:29,240 Speaker 1: somewhat in the ballpark, And this movie was a long 232 00:13:29,559 --> 00:13:33,960 Speaker 1: time coming. Guad Nino attained the rights from the original 233 00:13:34,000 --> 00:13:36,920 Speaker 1: creators in two thousand eight, so it's ten years. The 234 00:13:36,960 --> 00:13:40,880 Speaker 1: plot follows an American woman, Susie Bannon, played by Dakota Johnson, 235 00:13:40,880 --> 00:13:43,160 Speaker 1: who enrolls in a dancing school in Berlin that is 236 00:13:43,240 --> 00:13:47,160 Speaker 1: run by coven of witches. It also stars Tilda Swinton, 237 00:13:47,520 --> 00:13:50,240 Speaker 1: who plays both the female lead choreographer and the male 238 00:13:50,280 --> 00:13:54,760 Speaker 1: psychotherapist associated with the company, which, by the way, I 239 00:13:54,840 --> 00:13:58,720 Speaker 1: saw this at a local theater, the Plaza. I believe 240 00:13:58,800 --> 00:14:02,200 Speaker 1: there were several drinks in before I went. I did 241 00:14:02,200 --> 00:14:05,719 Speaker 1: not know that that was to me, So it was 242 00:14:05,720 --> 00:14:08,960 Speaker 1: supposed to be hidden. They even made a pseudonym for her, uh, 243 00:14:09,000 --> 00:14:11,839 Speaker 1: in order to the identity. So it was purposeful that 244 00:14:12,000 --> 00:14:14,240 Speaker 1: you weren't supposed to know. But then there was like, 245 00:14:14,320 --> 00:14:17,240 Speaker 1: of course to the deep investigative people like nope, I 246 00:14:17,280 --> 00:14:19,840 Speaker 1: gotta know, and then just blasted it. And it wasn't 247 00:14:19,880 --> 00:14:21,560 Speaker 1: supposed to be told. It was supposed to keep you 248 00:14:21,600 --> 00:14:24,400 Speaker 1: with suspense at that level of like, you're not supposed 249 00:14:24,400 --> 00:14:27,120 Speaker 1: to know who this person is. And hopefully the intent 250 00:14:27,240 --> 00:14:29,360 Speaker 1: was that she did such a great job and portraying 251 00:14:29,400 --> 00:14:31,280 Speaker 1: this role and she does. Although for me when I 252 00:14:31,320 --> 00:14:35,560 Speaker 1: first watched it, I was like, uh, that person looks 253 00:14:35,600 --> 00:14:38,160 Speaker 1: off was with the mackup, Like I knew it was makeup. 254 00:14:38,160 --> 00:14:40,960 Speaker 1: I just didn't know who. I remember looking it up, 255 00:14:41,360 --> 00:14:42,920 Speaker 1: but it was. It was supposed to be a whole 256 00:14:43,000 --> 00:14:46,960 Speaker 1: like hidden like Jim, but could not handle it, and 257 00:14:47,000 --> 00:14:51,200 Speaker 1: so well, that makes me feel better than that wouldn't 258 00:14:51,200 --> 00:14:53,680 Speaker 1: be the first time I've seen kind of a cerebral 259 00:14:53,720 --> 00:14:55,840 Speaker 1: movie at the plaza with a couple of drinks and 260 00:14:55,920 --> 00:15:01,520 Speaker 1: left later like uh, I didn't make since I just 261 00:15:01,600 --> 00:15:04,880 Speaker 1: didn't get it and I don't know where the line is. 262 00:15:05,600 --> 00:15:08,680 Speaker 1: The original film star Jessica Harper has a cameo in 263 00:15:08,720 --> 00:15:12,000 Speaker 1: this as well. It is set up in acts and 264 00:15:12,040 --> 00:15:14,960 Speaker 1: starts in nineteen seventy seven when Susie Bannon arrives in 265 00:15:15,000 --> 00:15:18,840 Speaker 1: Berlin to audition for the Marcos Dance Academy. In part 266 00:15:18,960 --> 00:15:22,120 Speaker 1: escaping her abusive mother, who refers to her as Sin incarnate. 267 00:15:22,400 --> 00:15:25,240 Speaker 1: Susie makes friends with another student, well off Sarah, and 268 00:15:25,320 --> 00:15:28,120 Speaker 1: at the same time draws the eyes of Adam Blanc 269 00:15:28,400 --> 00:15:33,080 Speaker 1: Tilda Swinton Um, the artistic director and choreographer. But wouldn't 270 00:15:33,080 --> 00:15:35,360 Speaker 1: you know it, there her arrival happens to be right 271 00:15:35,400 --> 00:15:39,680 Speaker 1: as another student named Patricia went missing after she told 272 00:15:39,680 --> 00:15:42,240 Speaker 1: a psychotherapist that the academy was run by a coven 273 00:15:42,280 --> 00:15:47,720 Speaker 1: of witches who worships the Three Mothers. One of Patricia's friends, Alga, 274 00:15:47,760 --> 00:15:50,760 Speaker 1: accuses the academy's patrons of being witches and being the 275 00:15:50,800 --> 00:15:54,560 Speaker 1: culprits behind whatever happened to Patricia. Olga tries to make 276 00:15:54,560 --> 00:15:57,200 Speaker 1: her escape, but get stuck in a room in the school. 277 00:15:57,560 --> 00:16:01,000 Speaker 1: As she has trapped, Susie dances from Adam long and 278 00:16:01,120 --> 00:16:04,240 Speaker 1: her movements after Madam Blanc does some kind of weird 279 00:16:04,560 --> 00:16:07,240 Speaker 1: there's a lot of weird stairs in this one as well, 280 00:16:07,920 --> 00:16:11,600 Speaker 1: where you're like touching, so you're like something happened here, 281 00:16:11,680 --> 00:16:16,560 Speaker 1: some transparence happened. So as Susie is dancing, her movements 282 00:16:16,560 --> 00:16:19,720 Speaker 1: are somehow inflicting damage on Olga, or that's what the 283 00:16:19,800 --> 00:16:24,040 Speaker 1: cuts seemed to imply. Between the scenes, the matrons find 284 00:16:24,040 --> 00:16:28,400 Speaker 1: her body and drag her away with hooks covin politics. 285 00:16:28,440 --> 00:16:30,680 Speaker 1: There's a lot of coup of politics in here. The 286 00:16:30,760 --> 00:16:34,440 Speaker 1: coven holds an informal election um deciding to stick with 287 00:16:34,520 --> 00:16:37,360 Speaker 1: Helena Marcos as their leader. She's been the leader for 288 00:16:37,400 --> 00:16:40,360 Speaker 1: a very long time, and they choose her over Block 289 00:16:40,880 --> 00:16:44,160 Speaker 1: even while planning to use Susie as a host body 290 00:16:44,320 --> 00:16:49,520 Speaker 1: for Marcos. Bit later, another matron kills herself, so a 291 00:16:49,560 --> 00:16:53,200 Speaker 1: lot of unrest apparently going on, a lot of taking 292 00:16:53,200 --> 00:16:56,000 Speaker 1: of sides. There was a whole thing with the because 293 00:16:56,000 --> 00:16:57,720 Speaker 1: I was really confused. I was trying to figure this 294 00:16:57,760 --> 00:17:01,200 Speaker 1: out because the entire time way always see the dancing 295 00:17:01,240 --> 00:17:04,359 Speaker 1: of Susie and then the Alga being pretty much broken 296 00:17:04,359 --> 00:17:07,560 Speaker 1: into pieces. The baitment is in horror like she you 297 00:17:07,600 --> 00:17:10,159 Speaker 1: see her face as if she knows what's happening, but 298 00:17:10,200 --> 00:17:12,360 Speaker 1: then we also see her unrest. We don't know what's 299 00:17:12,400 --> 00:17:15,960 Speaker 1: happening with her internally, and why maybe she just finally 300 00:17:16,000 --> 00:17:20,600 Speaker 1: had enough doesn't ever explain. I don't think it ever explains. 301 00:17:21,040 --> 00:17:26,439 Speaker 1: And my interpretation of it was because I feel like 302 00:17:26,600 --> 00:17:28,960 Speaker 1: a part of this whole movie. The thing is that 303 00:17:29,359 --> 00:17:33,360 Speaker 1: this coven became corrupt and really lost sight of their 304 00:17:33,400 --> 00:17:36,840 Speaker 1: whole thing, and they get punished at the end for it, 305 00:17:36,960 --> 00:17:40,479 Speaker 1: which we'll talk about. And I felt like she was 306 00:17:40,520 --> 00:17:43,160 Speaker 1: because she never says anything, even if I'm remembering quickly, 307 00:17:43,200 --> 00:17:45,120 Speaker 1: She's just kind of always in this state of like 308 00:17:45,240 --> 00:17:49,600 Speaker 1: watching in horror, and so I feel like maybe she 309 00:17:49,720 --> 00:17:51,840 Speaker 1: just had this moment of like, yeah, opening her eyes 310 00:17:51,840 --> 00:17:54,080 Speaker 1: and thinking, what have we done? What if we become? 311 00:17:54,720 --> 00:17:59,159 Speaker 1: But I don't think it ever really explains it. I 312 00:17:59,160 --> 00:18:01,640 Speaker 1: could be wrong, though, because again I've missed a lot 313 00:18:01,680 --> 00:18:04,280 Speaker 1: of things the first time I watched it, and I 314 00:18:04,320 --> 00:18:06,600 Speaker 1: did rewatch it for this but still there's a lot 315 00:18:06,600 --> 00:18:08,040 Speaker 1: going on in this movie, and that's probably one of 316 00:18:08,040 --> 00:18:09,880 Speaker 1: the biggest critiques of it is that it never really 317 00:18:09,880 --> 00:18:12,640 Speaker 1: seems to decide what it wants to be. There's just 318 00:18:12,720 --> 00:18:18,640 Speaker 1: so much happening, right, okay, but anyway, as blocksmant, Susie 319 00:18:18,720 --> 00:18:23,159 Speaker 1: lands the starring role in Vulk. The psychotherapist, suspicious of 320 00:18:23,160 --> 00:18:25,399 Speaker 1: the goings on at the academy, requests that Sarah help 321 00:18:25,480 --> 00:18:28,280 Speaker 1: him secure Patress's journal so he can learn more about 322 00:18:28,280 --> 00:18:32,040 Speaker 1: the events leading up to her disappearance. Sarah eventually disagrees, 323 00:18:32,080 --> 00:18:35,480 Speaker 1: but in her search accidentally uncovers the inner sanctum of 324 00:18:35,480 --> 00:18:38,560 Speaker 1: the academy that the coveny uses for their rituals. She 325 00:18:38,680 --> 00:18:41,480 Speaker 1: recovers one of the hooks and takes it to the psychotherapist. 326 00:18:42,040 --> 00:18:44,400 Speaker 1: Sarah later returns to the sanctum on the opening night 327 00:18:44,400 --> 00:18:49,280 Speaker 1: of Vulk and finds Patricia shriveled and unwell. The matrons 328 00:18:49,560 --> 00:18:52,879 Speaker 1: find Sarah and Condra hole in the floor that Sarah 329 00:18:52,880 --> 00:18:56,200 Speaker 1: falls through, breaking her leg. She manifests in the middle 330 00:18:56,200 --> 00:18:58,439 Speaker 1: of the performance of Volk, dancing her part in some 331 00:18:58,520 --> 00:19:01,399 Speaker 1: sort of trance, but her and Susie's eyes seemed to 332 00:19:01,520 --> 00:19:06,360 Speaker 1: change color while they're dancing, and Sarah collapses once her 333 00:19:06,359 --> 00:19:11,159 Speaker 1: performances over. Afterwards, the company is eating to celebrate opening night, 334 00:19:11,160 --> 00:19:13,119 Speaker 1: but the matrons but all the students except Susie in 335 00:19:13,119 --> 00:19:16,760 Speaker 1: a similar trance. The psychotherapist gets rid of the evidence 336 00:19:16,800 --> 00:19:19,000 Speaker 1: all around Patricia and goes home to each journey, only 337 00:19:19,000 --> 00:19:21,520 Speaker 1: to find his long lost wife who went missing after 338 00:19:21,560 --> 00:19:24,840 Speaker 1: the war. However, after talking for a bit, she disappears 339 00:19:24,840 --> 00:19:27,600 Speaker 1: in the psychotherapist realizes he has been led back to 340 00:19:27,760 --> 00:19:31,240 Speaker 1: the academy, where the Matrons are waiting for him. They 341 00:19:31,280 --> 00:19:34,640 Speaker 1: take him to their sanctum where they lure Susie and 342 00:19:34,800 --> 00:19:38,880 Speaker 1: do you see a disemboweled Patricia, Olga and Sarah and 343 00:19:38,960 --> 00:19:43,200 Speaker 1: they start their ritual um. We also see Helena Marcos 344 00:19:43,760 --> 00:19:47,040 Speaker 1: and she doesn't look good. Everybody look good. It's like 345 00:19:47,080 --> 00:19:51,560 Speaker 1: a kind of like the Mermaid from Cabin in the Woods, 346 00:19:51,600 --> 00:19:56,680 Speaker 1: just a bloated fish shop thing. Yeah yeah, yeah, okay. 347 00:19:56,680 --> 00:20:00,000 Speaker 1: So Blanc attempts to intervene when it seems that Susie 348 00:20:00,080 --> 00:20:03,159 Speaker 1: is ready to accept her fate as Marcus's host, but 349 00:20:03,240 --> 00:20:07,919 Speaker 1: then reveals Susie then reveals herself to be Mother's Suspirium, 350 00:20:07,960 --> 00:20:10,280 Speaker 1: one of the three witches that once from the Earth 351 00:20:10,440 --> 00:20:14,400 Speaker 1: that the coven worships. She summons an incantation of death 352 00:20:14,560 --> 00:20:18,320 Speaker 1: to kill corrupt Marcos and her followers in order to 353 00:20:18,359 --> 00:20:23,400 Speaker 1: cleanse the academy, So everybody who voted for Marcos, that's 354 00:20:23,400 --> 00:20:29,080 Speaker 1: the end um. They blow up. Yeah, just a spray 355 00:20:29,160 --> 00:20:32,720 Speaker 1: of very bright red blood and a very red lit scene. 356 00:20:33,520 --> 00:20:38,360 Speaker 1: Susie Slash Suspirium leads Patricia, Olga and Sarah into their 357 00:20:38,400 --> 00:20:40,960 Speaker 1: desks as peacefully as possible. It's something that when she 358 00:20:41,000 --> 00:20:43,760 Speaker 1: asked what you want, what they say they want while 359 00:20:43,800 --> 00:20:48,000 Speaker 1: the students and matrons left alive dance in the background. 360 00:20:48,680 --> 00:20:53,280 Speaker 1: The psychotherapist is released and Susie Slash Suspirium later apologizes 361 00:20:53,320 --> 00:20:56,480 Speaker 1: to him, telling him how his wife actually died. She 362 00:20:56,600 --> 00:21:04,960 Speaker 1: then erases his memories, causing a seizure. And that's yeah, 363 00:21:05,760 --> 00:21:08,720 Speaker 1: very interesting. Well we come back to see coming back 364 00:21:08,720 --> 00:21:13,320 Speaker 1: to life. Yeah, kind of it's like if they held 365 00:21:13,320 --> 00:21:15,600 Speaker 1: her her neck in place, she was alive, but I 366 00:21:15,600 --> 00:21:22,399 Speaker 1: don't know if like she breathed a sigh content and 367 00:21:22,440 --> 00:21:25,760 Speaker 1: then the other witch who was helping Marcos is like 368 00:21:26,880 --> 00:21:29,439 Speaker 1: she feels she feels it. So you see this like 369 00:21:29,520 --> 00:21:33,080 Speaker 1: despair within the school because they announced Blank had left, 370 00:21:33,640 --> 00:21:37,760 Speaker 1: but then is actually alive and you're like what. And 371 00:21:37,840 --> 00:21:41,159 Speaker 1: then you see them cleaning the like all of the 372 00:21:41,160 --> 00:21:45,000 Speaker 1: blood and such below and she's actually alive. So it's 373 00:21:45,080 --> 00:21:49,480 Speaker 1: kind of like, what's happening. What's happening? Right, So there's 374 00:21:49,520 --> 00:21:53,040 Speaker 1: this like kind of uneven ending. I think, you know how, 375 00:21:53,240 --> 00:21:55,040 Speaker 1: I feel like this is how most horror movies go 376 00:21:55,160 --> 00:21:58,000 Speaker 1: in order to like open up just in case it 377 00:21:58,000 --> 00:22:01,600 Speaker 1: goes really well to come in. But I guess it 378 00:22:01,600 --> 00:22:05,960 Speaker 1: didn't go very well. I don't know this later in 379 00:22:06,000 --> 00:22:08,320 Speaker 1: the makings, who knows. Who knows. It took ten years 380 00:22:08,359 --> 00:22:12,200 Speaker 1: after he bought the right, so maybe maybe not. It's true. Yeah, 381 00:22:12,760 --> 00:22:15,560 Speaker 1: there's a lot to be said about both movies, and yeah, 382 00:22:15,880 --> 00:22:20,359 Speaker 1: obviously both movies are very very different except for common 383 00:22:20,400 --> 00:22:25,360 Speaker 1: thing throughout, and as Argento stated, when he was talking 384 00:22:25,400 --> 00:22:29,760 Speaker 1: about the new remake coming, he wasn't too pleased. He 385 00:22:29,880 --> 00:22:33,119 Speaker 1: essentially said, either you're gonna do exactly what was there, 386 00:22:33,800 --> 00:22:35,920 Speaker 1: If you're remaking it and doing exactly what I did, 387 00:22:36,000 --> 00:22:39,280 Speaker 1: so what's the point did you do that? Or you're 388 00:22:39,320 --> 00:22:41,639 Speaker 1: going to do something completely different? And then how is 389 00:22:41,640 --> 00:22:45,439 Speaker 1: this suspiria? So he made that statement in regards to 390 00:22:45,480 --> 00:22:49,320 Speaker 1: the remake. I didn't see any reports after it was done. 391 00:22:49,400 --> 00:22:51,600 Speaker 1: I don't know if you watched it or what, so 392 00:22:51,600 --> 00:22:53,480 Speaker 1: if anybody wants to let me know because I didn't 393 00:22:53,480 --> 00:22:56,639 Speaker 1: see an after reaction of the film, because obviously it 394 00:22:56,760 --> 00:22:58,959 Speaker 1: is very different, so we wanted to do a quick comparison. 395 00:23:00,119 --> 00:23:03,280 Speaker 1: Is the same name and similar in themes, so again 396 00:23:03,320 --> 00:23:06,800 Speaker 1: we have common characters coming in. We have the American 397 00:23:06,960 --> 00:23:10,800 Speaker 1: coming to a school in Germany, except the location has 398 00:23:10,880 --> 00:23:13,760 Speaker 1: changed a little bit. There's more politics in the second 399 00:23:13,760 --> 00:23:17,600 Speaker 1: one than the first one, obviously definitely different in its 400 00:23:17,640 --> 00:23:20,960 Speaker 1: intent and presentation, including the fact that the first one 401 00:23:21,080 --> 00:23:24,359 Speaker 1: is a part of a trilogy, which is a part 402 00:23:24,480 --> 00:23:28,240 Speaker 1: of what was written I believe by Thomas D. Quincy, 403 00:23:28,320 --> 00:23:33,200 Speaker 1: who did I believe the concept of the Three Mothers. 404 00:23:33,280 --> 00:23:36,800 Speaker 1: So the three witches in this one again originally part 405 00:23:36,840 --> 00:23:39,159 Speaker 1: of the trilogy three three Mothers. This is what the 406 00:23:39,520 --> 00:23:42,680 Speaker 1: fandom sizes us. This piece asserts that just as there 407 00:23:42,680 --> 00:23:46,280 Speaker 1: are three faiths and three graces, there are three sorrows 408 00:23:46,600 --> 00:23:50,800 Speaker 1: Matter Lackrimm, our Lady of Tears, Matters, Suspirium, our lady 409 00:23:50,800 --> 00:23:54,680 Speaker 1: of size and matter, Tenant bad Room, our Lady of darkness. 410 00:23:54,760 --> 00:23:59,479 Speaker 1: So her AGENTO did three movies, including Suspiria, which is 411 00:23:59,560 --> 00:24:03,480 Speaker 1: what we Inferno and The Mother of Tears. Um I 412 00:24:03,560 --> 00:24:07,479 Speaker 1: have not seen the other two, have you Nope, I 413 00:24:07,560 --> 00:24:12,080 Speaker 1: have not. Okay, So there is an intent behind the entirety, 414 00:24:12,119 --> 00:24:14,080 Speaker 1: and we do talk about that in the first one. 415 00:24:14,480 --> 00:24:16,640 Speaker 1: Does it talk about in the second one? It does. Yeah, 416 00:24:16,760 --> 00:24:18,280 Speaker 1: they talked about the three mothers in there, but I 417 00:24:18,280 --> 00:24:23,959 Speaker 1: think it's very like brief passing. And then obviously this 418 00:24:24,000 --> 00:24:26,199 Speaker 1: one is too. I think it's very brief. Is the 419 00:24:26,240 --> 00:24:29,560 Speaker 1: German professor explaining what's happening, and the queen and mother, 420 00:24:29,680 --> 00:24:32,040 Speaker 1: but Marcos is the center. And that's kind of the 421 00:24:32,040 --> 00:24:36,360 Speaker 1: difference is that Marcos is already seen as matters Suspirium 422 00:24:36,359 --> 00:24:39,919 Speaker 1: in the first one, and obviously she's not in the 423 00:24:40,000 --> 00:24:45,920 Speaker 1: second one. She's just a person, yes, right, She's like 424 00:24:46,720 --> 00:24:51,520 Speaker 1: the corrupt person who's lost their way and believes are 425 00:24:51,800 --> 00:24:55,800 Speaker 1: uses a name like Suspirium to do what they want 426 00:24:55,840 --> 00:24:57,800 Speaker 1: to do and to have power and power over others, 427 00:24:57,800 --> 00:25:01,560 Speaker 1: but really has lost the original intent and it is 428 00:25:01,640 --> 00:25:06,840 Speaker 1: kind of like blasphemously using this name. She was not happy. 429 00:25:07,840 --> 00:25:12,800 Speaker 1: She was not happy. She was she was kind of 430 00:25:12,840 --> 00:25:15,880 Speaker 1: an anti hero in that she was trying to put 431 00:25:15,920 --> 00:25:18,760 Speaker 1: back what was wrong, as in like some of the 432 00:25:18,800 --> 00:25:21,679 Speaker 1: things like including the fact that she took that memory 433 00:25:21,760 --> 00:25:25,359 Speaker 1: from the psychoanalysis the doctor because she was like, we 434 00:25:25,400 --> 00:25:27,720 Speaker 1: did not mean I regret what my daughters have done 435 00:25:27,720 --> 00:25:30,399 Speaker 1: to you, was what she says to him. And I'm like, huh, 436 00:25:30,480 --> 00:25:35,800 Speaker 1: that's an interesting justice level of takes. Yeah. I mean, 437 00:25:37,080 --> 00:25:40,600 Speaker 1: I think the movie is the new one. The remake 438 00:25:40,680 --> 00:25:43,760 Speaker 1: is really uneven, but there are parts I really like 439 00:25:43,840 --> 00:25:46,639 Speaker 1: of it. And I do really like the kind of 440 00:25:46,680 --> 00:25:53,000 Speaker 1: primal modern dancing that feels really like it's very yeah, visceral, 441 00:25:53,440 --> 00:25:59,439 Speaker 1: and it feels just very kind of yeah, primal. And 442 00:26:00,480 --> 00:26:05,600 Speaker 1: so in the end when it reveals her, there's kind 443 00:26:05,600 --> 00:26:08,760 Speaker 1: of like this level of you know, this is when 444 00:26:09,119 --> 00:26:11,480 Speaker 1: these witches what this earth? It was a much more 445 00:26:11,600 --> 00:26:16,639 Speaker 1: like primal violent time where her sense of balance seems 446 00:26:16,680 --> 00:26:20,600 Speaker 1: to be I'm killing you because you've been using the 447 00:26:20,680 --> 00:26:26,359 Speaker 1: right for these things. It is really interesting because that 448 00:26:26,800 --> 00:26:32,080 Speaker 1: the new one is almost all women, right, right, right? 449 00:26:32,240 --> 00:26:34,360 Speaker 1: I agree. So there's a couple of things I wanted 450 00:26:34,359 --> 00:26:36,399 Speaker 1: to talk about between the two movies on that, but 451 00:26:36,480 --> 00:26:38,760 Speaker 1: you just brought up, including dance. And I think it's 452 00:26:38,920 --> 00:26:41,320 Speaker 1: very obvious that in the first one it's just a 453 00:26:41,320 --> 00:26:44,359 Speaker 1: plot point. You just have somewhere to go. This is 454 00:26:44,359 --> 00:26:46,639 Speaker 1: set up here we go. In the second one, it 455 00:26:46,640 --> 00:26:49,800 Speaker 1: actually becomes a character. It becomes a part of the 456 00:26:49,840 --> 00:26:52,320 Speaker 1: actual movie as it is a character in itself, because 457 00:26:52,560 --> 00:26:56,800 Speaker 1: they use dance as a form of casting spells. And 458 00:26:56,840 --> 00:26:59,240 Speaker 1: I found that very necessary because at the end with 459 00:26:59,280 --> 00:27:01,960 Speaker 1: the whole ritual where you see them do that, but 460 00:27:02,119 --> 00:27:04,560 Speaker 1: when she does the whole actual performance in front of 461 00:27:04,560 --> 00:27:07,119 Speaker 1: the audience, so that is also invoking the spirit and 462 00:27:07,400 --> 00:27:11,080 Speaker 1: bringing a whole thing, including again Dakota Johnson's and ursuits, 463 00:27:11,080 --> 00:27:14,399 Speaker 1: these character dancing alone and feeling all of that and 464 00:27:14,440 --> 00:27:16,359 Speaker 1: talking about how it's gonna make our sick and just 465 00:27:16,560 --> 00:27:20,760 Speaker 1: overall exhaustion. But it actually broke a person's body, like 466 00:27:20,840 --> 00:27:23,600 Speaker 1: that's what it did to her with like every pool, 467 00:27:23,680 --> 00:27:27,320 Speaker 1: every tug, like the vast differences caused enough critics to 468 00:27:27,359 --> 00:27:29,959 Speaker 1: be like, Okay, we didn't love the second movie, but 469 00:27:30,040 --> 00:27:33,639 Speaker 1: we love the dance portion in this movie. And I 470 00:27:33,640 --> 00:27:37,440 Speaker 1: thought it was beautiful because also she is the mother 471 00:27:37,520 --> 00:27:41,040 Speaker 1: of size, and throughout the movie there's no music tied 472 00:27:41,080 --> 00:27:44,439 Speaker 1: into the dance. It's all heavy breathing and it sounds 473 00:27:44,440 --> 00:27:49,879 Speaker 1: like yeah within the movie, and I found that very 474 00:27:49,920 --> 00:27:53,240 Speaker 1: like telling as a person who loves modern dance, So 475 00:27:53,240 --> 00:27:56,200 Speaker 1: obviously you have a ballet studio versus modern dance studio, 476 00:27:56,520 --> 00:27:59,640 Speaker 1: and then it's very different in form, graceful and beautiful 477 00:27:59,640 --> 00:28:03,000 Speaker 1: in both, but this interpreted level of this instead of 478 00:28:03,040 --> 00:28:06,399 Speaker 1: just performance in this other way of using it in 479 00:28:06,400 --> 00:28:11,080 Speaker 1: the movie where you see her literally fleeting through one 480 00:28:11,359 --> 00:28:14,720 Speaker 1: thirty second part to the film as versus whole scenes 481 00:28:15,720 --> 00:28:20,240 Speaker 1: beautifully choreographed dancing that is very vastly different, and how 482 00:28:20,280 --> 00:28:23,679 Speaker 1: he's focusing the art and the color of the dance. 483 00:28:24,000 --> 00:28:29,440 Speaker 1: Did you think that, Yeah? Yeah, And I think it 484 00:28:29,480 --> 00:28:32,520 Speaker 1: was it was so almost violent of a style of dancing, 485 00:28:33,160 --> 00:28:36,520 Speaker 1: and I liked, like the silence was unnerving and it 486 00:28:36,680 --> 00:28:40,520 Speaker 1: just felt so like kind of jerky but powerful, and 487 00:28:40,840 --> 00:28:45,360 Speaker 1: those discussions around like physical limitations and having to push 488 00:28:45,400 --> 00:28:47,840 Speaker 1: yourself and jump higher and higher up the floor and 489 00:28:47,880 --> 00:28:52,360 Speaker 1: then having that juxtaposed against like a broken body from 490 00:28:52,560 --> 00:28:56,280 Speaker 1: from this style of dancing. And again, like there's so 491 00:28:56,320 --> 00:28:58,600 Speaker 1: many things in this movie where I'm like, am I 492 00:28:58,680 --> 00:29:01,720 Speaker 1: reading into this too much? But it's like, you know 493 00:29:01,800 --> 00:29:04,280 Speaker 1: that kind of physicality of dancing and how it does 494 00:29:04,360 --> 00:29:08,080 Speaker 1: often leave people broken or hurt or injured and have 495 00:29:08,240 --> 00:29:12,360 Speaker 1: these things and that for this art there is a 496 00:29:12,440 --> 00:29:14,360 Speaker 1: danger behind it, even though I think a lot of 497 00:29:14,360 --> 00:29:16,320 Speaker 1: people see it as sort of frivolous, and I like 498 00:29:16,480 --> 00:29:20,480 Speaker 1: that that jectiposition as well. Of like dancing women is 499 00:29:20,520 --> 00:29:24,080 Speaker 1: seen as often like kind of a quote freely thing, 500 00:29:24,400 --> 00:29:27,120 Speaker 1: pretty thing, but this was very much like the opposite 501 00:29:27,120 --> 00:29:30,200 Speaker 1: of that. It felt like dangerous and violent and intense. 502 00:29:30,560 --> 00:29:34,520 Speaker 1: And then they talked about that Susie actually broke the 503 00:29:34,600 --> 00:29:38,600 Speaker 1: spell because she kind of just alternated from the routine, 504 00:29:38,640 --> 00:29:43,440 Speaker 1: which is what made Sarah collapse because she wasn't doing 505 00:29:43,480 --> 00:29:45,600 Speaker 1: the actual full dance. And they have a whole conversation 506 00:29:45,640 --> 00:29:47,320 Speaker 1: in her dream, which we need to talk about the 507 00:29:47,400 --> 00:29:50,840 Speaker 1: dreams later on, but in her dream having a talk 508 00:29:50,920 --> 00:29:53,080 Speaker 1: with Blanc about the fact that she broke the spell 509 00:29:53,120 --> 00:29:55,800 Speaker 1: and she knew it, but she couldn't stop what she 510 00:29:55,920 --> 00:29:58,640 Speaker 1: was doing even though it was going against the choreography, 511 00:29:58,920 --> 00:30:02,440 Speaker 1: so it broke the trance essentially what she's talking about. 512 00:30:02,640 --> 00:30:05,400 Speaker 1: But of course that is a big again character point 513 00:30:05,760 --> 00:30:08,960 Speaker 1: in that movie as versus the old movie. That was 514 00:30:09,000 --> 00:30:11,040 Speaker 1: not a focus. They did not care about the dance, 515 00:30:11,120 --> 00:30:13,640 Speaker 1: and that's fine because it was literally made as a 516 00:30:13,640 --> 00:30:16,760 Speaker 1: plot point. Move on, here's a scenery. We're setting this up. 517 00:30:17,160 --> 00:30:19,920 Speaker 1: Although we do see one class in the pianist, so 518 00:30:19,960 --> 00:30:22,880 Speaker 1: we see that in the original. But speaking of the pianist, 519 00:30:22,960 --> 00:30:25,400 Speaker 1: as you talked about, so the in the first movie, 520 00:30:26,280 --> 00:30:28,200 Speaker 1: there are men in there. So you see the young 521 00:30:28,240 --> 00:30:31,200 Speaker 1: man who is helping her move into the place, and 522 00:30:31,280 --> 00:30:34,960 Speaker 1: he apparently is the go boy for Madame Blanc is 523 00:30:35,000 --> 00:30:37,800 Speaker 1: how they say. Essentially, he doesn't have enough money to 524 00:30:37,840 --> 00:30:40,160 Speaker 1: pay for dorm, so what he does is servitude to 525 00:30:40,920 --> 00:30:43,640 Speaker 1: Madame Blanc in order to stay. And then you see 526 00:30:43,640 --> 00:30:46,640 Speaker 1: the pianist, who obviously makes enemies of them, and it's 527 00:30:46,720 --> 00:30:49,719 Speaker 1: just there. Then you have the large guy with new teeth. 528 00:30:50,560 --> 00:30:53,200 Speaker 1: I guess he's like the butler character and is quiet 529 00:30:53,240 --> 00:30:56,760 Speaker 1: and is just there. And then you have the young 530 00:30:56,920 --> 00:31:00,680 Speaker 1: man and the doctor and then the outside two outside 531 00:31:00,720 --> 00:31:04,320 Speaker 1: characters that are friends with Sarah. But if you look 532 00:31:04,360 --> 00:31:07,120 Speaker 1: at the way they use men in this, they're all subjugated. 533 00:31:07,160 --> 00:31:10,560 Speaker 1: They are all servants and or in uh, some type 534 00:31:10,600 --> 00:31:14,720 Speaker 1: of labor intensive to the women there. And they do 535 00:31:14,920 --> 00:31:17,080 Speaker 1: the dirty word because in the first scene you see 536 00:31:17,360 --> 00:31:20,040 Speaker 1: the hairy arm, not that women can't have hairy arms, 537 00:31:20,080 --> 00:31:21,720 Speaker 1: but I think it's intent to be like, this is 538 00:31:21,720 --> 00:31:24,400 Speaker 1: a man carrying this out and when we see the 539 00:31:24,400 --> 00:31:27,680 Speaker 1: scene with Susie finding that someone is trying to come 540 00:31:27,760 --> 00:31:30,440 Speaker 1: get her is the dude with the teeth who never speak. 541 00:31:30,720 --> 00:31:33,680 Speaker 1: So the very limited amount of things that are there, 542 00:31:33,760 --> 00:31:37,320 Speaker 1: but they still have the men there in that scene, 543 00:31:37,320 --> 00:31:39,480 Speaker 1: which I think is a striking contrast to the second 544 00:31:39,520 --> 00:31:42,520 Speaker 1: one where even the one main male character is not 545 00:31:42,600 --> 00:31:46,640 Speaker 1: actually a man, right right, right right, And there's that 546 00:31:46,720 --> 00:31:51,680 Speaker 1: whole seeing where the male police officers come and then 547 00:31:53,200 --> 00:31:55,080 Speaker 1: one of them is putting in a trance and Susie 548 00:31:55,120 --> 00:31:58,600 Speaker 1: sees them like with the govin like taunting him with 549 00:31:58,680 --> 00:32:01,080 Speaker 1: the hook around his petas it is like, oh my god, 550 00:32:01,200 --> 00:32:05,760 Speaker 1: what am I watching? I was not expecting this, But yeah, 551 00:32:05,800 --> 00:32:11,640 Speaker 1: I just I find that so interesting because I've one 552 00:32:11,680 --> 00:32:13,520 Speaker 1: of the main messages I keep coming back to that 553 00:32:13,520 --> 00:32:15,680 Speaker 1: movie to me is corruption and I like having this 554 00:32:16,160 --> 00:32:19,880 Speaker 1: you know, organization that is all women, but they are 555 00:32:20,960 --> 00:32:25,920 Speaker 1: you know, abusing their power. They are after youth and 556 00:32:26,080 --> 00:32:29,640 Speaker 1: kind of like taking these younger bodies of women, and 557 00:32:29,680 --> 00:32:32,840 Speaker 1: there's just kind of these power dynamics and structures and 558 00:32:32,840 --> 00:32:36,880 Speaker 1: in both of these, you know, even the men, the 559 00:32:36,920 --> 00:32:39,160 Speaker 1: men play like the lesser role that I think a 560 00:32:39,160 --> 00:32:42,840 Speaker 1: lot of times we get or like some people get 561 00:32:42,840 --> 00:32:44,560 Speaker 1: mad about when they're like, men have no roles, Like 562 00:32:44,560 --> 00:32:46,640 Speaker 1: that's what women have been doing in horror movies forever. 563 00:32:46,800 --> 00:32:50,040 Speaker 1: It's like having these background roles. But that being Tilda's 564 00:32:50,040 --> 00:32:56,280 Speaker 1: when as the psychotherapist is interesting because I it's the 565 00:32:56,320 --> 00:32:59,400 Speaker 1: fact that he is sort of throughout you have sympathy 566 00:32:59,440 --> 00:33:02,280 Speaker 1: for him, and he's the one that's trying to investigate 567 00:33:02,320 --> 00:33:05,520 Speaker 1: into this coven. And then he had the one yes, 568 00:33:05,600 --> 00:33:10,160 Speaker 1: gets apologized to is spared for what all these women 569 00:33:10,200 --> 00:33:15,800 Speaker 1: have done. I just find very very interesting, right, interesting, right, 570 00:33:16,000 --> 00:33:31,720 Speaker 1: And I think it's of course again purposely done. And 571 00:33:31,760 --> 00:33:33,560 Speaker 1: then a couple of other things I was thinking about. Two, 572 00:33:33,720 --> 00:33:37,840 Speaker 1: the use of color very different. So our is absolutely 573 00:33:37,880 --> 00:33:40,920 Speaker 1: all about bright colors, and each color is almost like 574 00:33:41,000 --> 00:33:44,239 Speaker 1: a framework of what's about to happen, even to the 575 00:33:44,280 --> 00:33:47,160 Speaker 1: fact that he obviously I don't know if it's the 576 00:33:47,160 --> 00:33:49,640 Speaker 1: technicolor bit and and like they came in and put 577 00:33:49,680 --> 00:33:52,080 Speaker 1: color in it later or trying to adjust that. Maybe 578 00:33:52,120 --> 00:33:55,120 Speaker 1: I watched it remastered in the four K type of thing, 579 00:33:55,160 --> 00:33:57,400 Speaker 1: and I'm like, wait, what because the blood looks actually 580 00:33:57,480 --> 00:34:00,320 Speaker 1: like paint that he wanted it so vibrant, that is 581 00:34:00,400 --> 00:34:03,120 Speaker 1: over the top the glass in the first scene where 582 00:34:03,160 --> 00:34:06,560 Speaker 1: she falls through is a very brightly colored and beautiful. 583 00:34:06,920 --> 00:34:09,440 Speaker 1: Even the wine that she can't get the stains out 584 00:34:09,480 --> 00:34:13,640 Speaker 1: of it looks like thick paint onto the sink. Uh. 585 00:34:13,840 --> 00:34:16,520 Speaker 1: He really wants a different and she ate the blood 586 00:34:16,640 --> 00:34:18,640 Speaker 1: versus whatever else is there. But he wants you to 587 00:34:18,640 --> 00:34:21,760 Speaker 1: see that blood for sure. And I found that interesting 588 00:34:21,800 --> 00:34:24,880 Speaker 1: that because he's very Italian. To me, that's very Italian 589 00:34:25,040 --> 00:34:27,880 Speaker 1: level of like the bright colors as what brings the 590 00:34:27,960 --> 00:34:31,239 Speaker 1: horror in this type of movie, as opposed to the 591 00:34:31,239 --> 00:34:34,040 Speaker 1: second one, which is very muted except for the moments 592 00:34:34,040 --> 00:34:37,240 Speaker 1: that are supposed to kind of shock you. Yes, yes, 593 00:34:37,440 --> 00:34:40,440 Speaker 1: And I loved the color and the old one it 594 00:34:40,560 --> 00:34:44,200 Speaker 1: was very striking. It was very very striking. Uh. And 595 00:34:44,200 --> 00:34:45,799 Speaker 1: I would just catch because a lot of the scenes 596 00:34:45,840 --> 00:34:48,200 Speaker 1: go on for a minute, like you said, there's a 597 00:34:48,200 --> 00:34:51,440 Speaker 1: lot of like staring or like it'll it'll linger in 598 00:34:51,520 --> 00:34:55,799 Speaker 1: that color for a minute, and you're like, it's kind 599 00:34:55,800 --> 00:34:59,480 Speaker 1: of trippy almost. In the new one, it is very 600 00:34:59,560 --> 00:35:02,319 Speaker 1: And that was of the big complaints people had, was 601 00:35:02,360 --> 00:35:05,400 Speaker 1: like it's so muted, it's so neutral except for yeah, 602 00:35:05,520 --> 00:35:08,719 Speaker 1: like I would say red, like spikes of red when 603 00:35:08,760 --> 00:35:13,520 Speaker 1: there's violence, and especially in that end scene where Suspirium 604 00:35:14,200 --> 00:35:19,239 Speaker 1: is punishing the people and Marcus's crew, and it's like 605 00:35:19,280 --> 00:35:21,840 Speaker 1: the whole thing is red. The lights are red, people 606 00:35:21,880 --> 00:35:25,560 Speaker 1: are exploding red. By the way, everyone's naked. I don't 607 00:35:25,600 --> 00:35:28,720 Speaker 1: think I mentioned that. Yes, there's a lot of nudity 608 00:35:28,760 --> 00:35:34,000 Speaker 1: in the second one, yeah, but other than that there, yeah, 609 00:35:34,040 --> 00:35:39,279 Speaker 1: there really isn't that much color, right, except again the 610 00:35:39,360 --> 00:35:42,239 Speaker 1: little dream sequence where they're supposed to be like a 611 00:35:42,280 --> 00:35:49,440 Speaker 1: floating I guess colorful rainbow rainbow, and I feel like 612 00:35:49,520 --> 00:35:51,319 Speaker 1: he did that on purpose. He also likes to do 613 00:35:51,360 --> 00:35:54,560 Speaker 1: the slow scene where it slows down drags a little 614 00:35:54,560 --> 00:35:57,520 Speaker 1: bit when they're supposed to be either in I guess 615 00:35:57,560 --> 00:36:01,320 Speaker 1: conversation with each other through their minds. Is that what's happening, 616 00:36:02,200 --> 00:36:04,239 Speaker 1: because like even at the end where she says, what 617 00:36:04,280 --> 00:36:09,080 Speaker 1: do you want? They're not speaking. But it's very floaty 618 00:36:09,239 --> 00:36:11,040 Speaker 1: as well as the scene is very and I'm doing 619 00:36:11,040 --> 00:36:13,000 Speaker 1: a gesture with my hands, y'all. That's like a floaty, 620 00:36:13,360 --> 00:36:16,680 Speaker 1: wavy thing, like al was that trippy? That's the second one. 621 00:36:16,840 --> 00:36:18,440 Speaker 1: We don't see that at all. The first one you 622 00:36:18,480 --> 00:36:21,040 Speaker 1: see some black shadows, you see the eyes and then 623 00:36:21,080 --> 00:36:24,319 Speaker 1: you see, uh, when Marcos disappears, because you really never 624 00:36:24,520 --> 00:36:27,839 Speaker 1: see too much of Marcos except for at the very 625 00:36:27,920 --> 00:36:30,960 Speaker 1: end word they die, and you see it the knife 626 00:36:31,000 --> 00:36:34,080 Speaker 1: protruding on the back of her neck, but the outline 627 00:36:34,120 --> 00:36:43,040 Speaker 1: of hers in gold, sparkly gold. Yeah, I wasn't expecting that, right, right, 628 00:36:43,520 --> 00:36:46,520 Speaker 1: And then, like I will say, also the difference with 629 00:36:46,880 --> 00:36:49,839 Speaker 1: and as I'm talking about the final scene the Final Girl, 630 00:36:50,560 --> 00:36:53,279 Speaker 1: I will say I did like the fact that the 631 00:36:53,320 --> 00:36:56,680 Speaker 1: new movie did not follow that trope to the core. 632 00:36:56,960 --> 00:37:00,600 Speaker 1: He wanted a completely different final girl where we in 633 00:37:00,640 --> 00:37:04,720 Speaker 1: the original. It is absolutely his every mark of the trope. Again, 634 00:37:04,760 --> 00:37:07,160 Speaker 1: though he put a like he was kind of the 635 00:37:07,200 --> 00:37:10,680 Speaker 1: standard at that point of those gruesome horror movies that 636 00:37:10,800 --> 00:37:13,880 Speaker 1: he set up a whole new context and waited to 637 00:37:13,880 --> 00:37:16,920 Speaker 1: do this film, and so it wasn't so tropy that 638 00:37:17,160 --> 00:37:20,600 Speaker 1: it was more original to have this girl survived, which 639 00:37:20,600 --> 00:37:23,440 Speaker 1: typically yeah, most of the girls don't always survive, and 640 00:37:23,440 --> 00:37:25,600 Speaker 1: it's like, what just happened? And she ends up being 641 00:37:25,640 --> 00:37:27,839 Speaker 1: the hero of it too, which is the final girl. 642 00:37:28,160 --> 00:37:31,480 Speaker 1: But yeah, yeah, and in the new one, it was 643 00:37:32,280 --> 00:37:34,320 Speaker 1: interesting to watch it because this was the only the 644 00:37:34,360 --> 00:37:36,200 Speaker 1: second time I've seen it So the first time I 645 00:37:36,200 --> 00:37:40,480 Speaker 1: watched it, I was like, wait, what, right, she's the witch? 646 00:37:40,680 --> 00:37:44,439 Speaker 1: Wait what she's killing everybody? Because she is a very 647 00:37:44,480 --> 00:37:49,239 Speaker 1: demure like she she comes from Mennonite community and her 648 00:37:49,280 --> 00:37:52,920 Speaker 1: mother was abusive and she's just really quiet. So it's 649 00:37:52,960 --> 00:37:55,600 Speaker 1: quite a flip. I mean, she definitely has moments where 650 00:37:55,600 --> 00:37:57,239 Speaker 1: she'll stand up for herself and say like no, I 651 00:37:57,280 --> 00:37:59,120 Speaker 1: want to do the dance like this, or but it's 652 00:37:59,120 --> 00:38:01,080 Speaker 1: still sort of painting it as a way where she's 653 00:38:01,840 --> 00:38:05,160 Speaker 1: backing down almost, or she can't do the physical thing 654 00:38:05,239 --> 00:38:07,400 Speaker 1: that's being asked to her, so she's trying to get 655 00:38:07,440 --> 00:38:13,120 Speaker 1: around it. But when you rewatch it and you're like, huh, okay, 656 00:38:14,280 --> 00:38:17,200 Speaker 1: she was really playing that role of this is the 657 00:38:17,280 --> 00:38:19,360 Speaker 1: problem that she had or one of the problems you 658 00:38:19,400 --> 00:38:22,399 Speaker 1: had with how corrupt the organization was. It's like, look 659 00:38:22,400 --> 00:38:24,520 Speaker 1: if I had been this young girl and come in 660 00:38:24,640 --> 00:38:29,200 Speaker 1: and this is what you expected me, and then you're 661 00:38:29,200 --> 00:38:32,319 Speaker 1: gonna use my body and that's not right. It wasn't 662 00:38:32,360 --> 00:38:34,000 Speaker 1: that she was always the witch. It was that she 663 00:38:34,080 --> 00:38:36,120 Speaker 1: finally she accepted the witch and it was a different 664 00:38:36,200 --> 00:38:40,440 Speaker 1: role than they expected. Correct, That's what I think the 665 00:38:40,480 --> 00:38:42,239 Speaker 1: first time I saw it I thought she was just 666 00:38:42,280 --> 00:38:44,560 Speaker 1: the witch the whole time and was missing and was 667 00:38:44,800 --> 00:38:46,719 Speaker 1: really confused. I was like, wait, why would they do 668 00:38:46,960 --> 00:38:50,600 Speaker 1: because they do the whole uh flashbacks with her childhood 669 00:38:50,640 --> 00:38:56,440 Speaker 1: as a minnit and I'm like being accepted and her 670 00:38:56,440 --> 00:38:59,240 Speaker 1: mother says she's evil and she brought evil into the world, 671 00:38:59,719 --> 00:39:02,279 Speaker 1: and I I thought that maybe it was because her 672 00:39:02,280 --> 00:39:05,680 Speaker 1: mom was insinuating I don't know why, or maybe she 673 00:39:05,760 --> 00:39:09,280 Speaker 1: was raped and or had extramarital affair and so therefore 674 00:39:09,320 --> 00:39:12,200 Speaker 1: she was created out of evil. But then I'm going back, 675 00:39:12,200 --> 00:39:14,439 Speaker 1: I'm like, oh, maybe she just saw evil in her 676 00:39:14,719 --> 00:39:18,640 Speaker 1: because she wouldn't obey. Yeah, because she, like I said, 677 00:39:18,680 --> 00:39:20,960 Speaker 1: she calls her evil incarnate. And I think the first 678 00:39:20,960 --> 00:39:23,000 Speaker 1: time I saw it, that's what I thought too, was like, oh, 679 00:39:23,040 --> 00:39:26,400 Speaker 1: she was born something weird about her birth, and she 680 00:39:26,520 --> 00:39:28,400 Speaker 1: was always this. I mean maybe there's a part of 681 00:39:28,400 --> 00:39:31,360 Speaker 1: that too. Maybe it's she did kind of it was 682 00:39:31,400 --> 00:39:35,960 Speaker 1: always this vessel and she did just have to accept it. Right. Yeah, 683 00:39:36,040 --> 00:39:39,440 Speaker 1: a lot going on, as we said, right. I was like, 684 00:39:39,480 --> 00:39:40,880 Speaker 1: I said, I wonder if they're supposed to be a 685 00:39:40,920 --> 00:39:43,959 Speaker 1: two and it just never got funded or it's in weight, 686 00:39:44,200 --> 00:39:46,360 Speaker 1: who knows, it's only the three years. Last time, I 687 00:39:46,400 --> 00:39:48,640 Speaker 1: take him ten years. But yeah, and I will say 688 00:39:48,920 --> 00:39:52,200 Speaker 1: Jessica Harper was one of the big reasons that this 689 00:39:52,239 --> 00:39:55,920 Speaker 1: movie was so successful. She she really put on this 690 00:39:55,960 --> 00:40:01,280 Speaker 1: whole different role. Apparently they talked about her dide, sweet demeanor, 691 00:40:01,480 --> 00:40:05,600 Speaker 1: being small and coming in as the genuinely kind American, 692 00:40:05,719 --> 00:40:10,000 Speaker 1: suspicious of everyone from jump uh be, feeling like she's 693 00:40:10,000 --> 00:40:13,920 Speaker 1: an outsider, all those things. They do talk about her aunt, 694 00:40:14,000 --> 00:40:17,560 Speaker 1: I believe being from the studio as well, So I 695 00:40:17,600 --> 00:40:20,960 Speaker 1: wonder if she knew everything that was going on whatever whatnot. 696 00:40:21,360 --> 00:40:23,240 Speaker 1: Um to the point that when we were talking about 697 00:40:23,360 --> 00:40:27,799 Speaker 1: the dubbed over speeches for whichever country was released, apparently 698 00:40:28,280 --> 00:40:31,400 Speaker 1: Argenta was not happy with the Italian dub over because 699 00:40:31,520 --> 00:40:35,120 Speaker 1: they lost Jessica Harper's voice and her voices. Uh he 700 00:40:35,239 --> 00:40:38,680 Speaker 1: really loved her voices, very pleasing, so cool, cool cool 701 00:40:39,280 --> 00:40:42,080 Speaker 1: f y. I she was also a cameo. I think 702 00:40:42,080 --> 00:40:45,000 Speaker 1: we already talked about that in the other movie. But 703 00:40:45,040 --> 00:40:48,839 Speaker 1: what made me laugh was like, she's speaking German. Who 704 00:40:49,360 --> 00:40:52,439 Speaker 1: she was an American, the only American girl in this one, 705 00:40:52,560 --> 00:40:54,759 Speaker 1: and they flipped her, decided to make our German as 706 00:40:54,760 --> 00:40:56,959 Speaker 1: a cameo and she looks beautiful, like, oh my god, 707 00:40:57,120 --> 00:41:00,400 Speaker 1: she has not really changed. She I absolutely see. But 708 00:41:00,520 --> 00:41:03,080 Speaker 1: that is Jessica Harper. She was absolutely familiar to me 709 00:41:03,600 --> 00:41:06,000 Speaker 1: because I think she'd been in some other seventies movies. 710 00:41:06,040 --> 00:41:12,839 Speaker 1: But I was like, oh, who she is. Yeah. It 711 00:41:12,920 --> 00:41:14,799 Speaker 1: was fun to watch these because I watched them back 712 00:41:14,800 --> 00:41:17,719 Speaker 1: to back. But I should have started with the old one. 713 00:41:17,719 --> 00:41:20,200 Speaker 1: I started the new one and then did the old one. 714 00:41:20,440 --> 00:41:22,520 Speaker 1: But then I'm like, I'm gonna have to rewatch and 715 00:41:22,520 --> 00:41:24,759 Speaker 1: see if there are any connections because now I'm thinking, well, 716 00:41:24,800 --> 00:41:26,879 Speaker 1: what if they are meant to be connected and it's 717 00:41:26,920 --> 00:41:28,799 Speaker 1: just messing with my head. I think it's meant to 718 00:41:28,800 --> 00:41:31,000 Speaker 1: mess with your head the second one, for sure. Right 719 00:41:31,200 --> 00:41:32,440 Speaker 1: that being said, there were a couple of things I 720 00:41:32,520 --> 00:41:36,000 Speaker 1: wanted to touch on really quickly about the New one, 721 00:41:36,040 --> 00:41:39,080 Speaker 1: and one of them is motherhood. So you know, you've 722 00:41:39,080 --> 00:41:41,399 Speaker 1: got these mother witches who are kind of watching over 723 00:41:41,480 --> 00:41:44,960 Speaker 1: these younger girls or are at this academy. Um, there's 724 00:41:44,760 --> 00:41:47,960 Speaker 1: a stitched pattern in the beginning that says a mother 725 00:41:48,080 --> 00:41:50,080 Speaker 1: is a woman who can take the place of all others, 726 00:41:50,120 --> 00:41:54,080 Speaker 1: but whose place no one else can take, which, given 727 00:41:54,160 --> 00:41:58,160 Speaker 1: the how the Kevin politics go and how superior Um 728 00:41:58,360 --> 00:42:03,480 Speaker 1: turns out m interesting. But also I didn't I hadn't 729 00:42:03,480 --> 00:42:05,040 Speaker 1: really thought about it this way. But when I was 730 00:42:05,080 --> 00:42:09,400 Speaker 1: researching it, I read an article about how kind of 731 00:42:09,719 --> 00:42:13,320 Speaker 1: like this was about picking favorites, like a mother picking favorites. 732 00:42:14,160 --> 00:42:18,200 Speaker 1: And it was one of those articles that I agreed 733 00:42:18,239 --> 00:42:20,000 Speaker 1: with but upset me because it's like, yeah, you know, 734 00:42:20,080 --> 00:42:22,080 Speaker 1: parents have favorites, even if they would never admit it. 735 00:42:22,080 --> 00:42:24,360 Speaker 1: There is one and this is like you see the 736 00:42:24,560 --> 00:42:27,440 Speaker 1: matrons pick like oh, Susie is the one, or oh 737 00:42:27,480 --> 00:42:30,120 Speaker 1: Patricia is the one. Oh Patricia. It is down so 738 00:42:30,239 --> 00:42:32,760 Speaker 1: about you know, just all of these things and how 739 00:42:33,960 --> 00:42:40,200 Speaker 1: those power dynamics play out. A lot of the corruption 740 00:42:40,320 --> 00:42:42,680 Speaker 1: is is a part of that of like playing this 741 00:42:42,719 --> 00:42:46,560 Speaker 1: game and picking these favorites, whether it is the dancers 742 00:42:46,760 --> 00:42:50,759 Speaker 1: or it is the Matrons who will be the leaders um. 743 00:42:50,800 --> 00:42:54,440 Speaker 1: And there's a lot of like abuse of power happening, 744 00:42:55,120 --> 00:43:01,280 Speaker 1: a lot of questioning around ambition and especially around ambition 745 00:43:01,320 --> 00:43:05,120 Speaker 1: at any price and when it means like taking a 746 00:43:05,239 --> 00:43:07,520 Speaker 1: host body. I think that was one of the things too, 747 00:43:07,600 --> 00:43:09,720 Speaker 1: is they kind of revel in it, like they're laughing 748 00:43:10,239 --> 00:43:13,160 Speaker 1: when they use these hooks, and that's That's one of 749 00:43:13,160 --> 00:43:15,600 Speaker 1: the things where I was like, it's just a really 750 00:43:15,680 --> 00:43:19,000 Speaker 1: fascinating take on if you talk about, which is all 751 00:43:19,000 --> 00:43:21,879 Speaker 1: the time on the show, all the time, how it's 752 00:43:21,920 --> 00:43:23,960 Speaker 1: kind of this fear of women and women in power, 753 00:43:24,840 --> 00:43:28,040 Speaker 1: women with ambition, but this is like that. But then 754 00:43:28,080 --> 00:43:31,120 Speaker 1: it went wrong, like then it got correct and messed up. 755 00:43:32,280 --> 00:43:35,160 Speaker 1: There are no men to speak up. Really, this was 756 00:43:35,600 --> 00:43:40,120 Speaker 1: them right doing it. And again in the older movie, 757 00:43:40,160 --> 00:43:43,959 Speaker 1: there's no real theme of motherhood there. They do not care, 758 00:43:44,160 --> 00:43:46,920 Speaker 1: they don't they don't really connect with any of them. 759 00:43:47,120 --> 00:43:49,960 Speaker 1: You have more of like rivalry against the women, but 760 00:43:50,040 --> 00:43:52,239 Speaker 1: also friendships with the women. So it was really kind 761 00:43:52,239 --> 00:43:57,080 Speaker 1: of like who is whom and a lot of distrust. Yeah, yeah, 762 00:43:57,160 --> 00:43:59,560 Speaker 1: because I don't think any of the girls escape that fire. 763 00:44:00,880 --> 00:44:03,600 Speaker 1: I don't think they did either. I think it was 764 00:44:03,760 --> 00:44:07,440 Speaker 1: only Susie. Only Susie and what does she tell everyone 765 00:44:07,480 --> 00:44:12,239 Speaker 1: after the right And then I did briefly want to 766 00:44:12,239 --> 00:44:18,680 Speaker 1: touch on at the end when Susie Suspirium is asking Patricia, 767 00:44:19,000 --> 00:44:22,399 Speaker 1: Olga and Sarah, you know, she's kind of granting them 768 00:44:22,560 --> 00:44:25,360 Speaker 1: this wish and they all say, she says, what do 769 00:44:25,440 --> 00:44:27,040 Speaker 1: you ask? And they all say, we're so tired, we 770 00:44:27,080 --> 00:44:30,239 Speaker 1: want to die. And this is another instance where I 771 00:44:30,320 --> 00:44:32,799 Speaker 1: think I could be reading too deeply into it, but 772 00:44:32,880 --> 00:44:36,919 Speaker 1: it sort of felt like just being stuck in this 773 00:44:37,040 --> 00:44:40,600 Speaker 1: kind of abusive system that is just going to use 774 00:44:40,640 --> 00:44:42,719 Speaker 1: you and abuse you and throw you away and hurt 775 00:44:42,800 --> 00:44:45,600 Speaker 1: you and cause you all this pain, and your way 776 00:44:45,640 --> 00:44:48,440 Speaker 1: out is death, Like all they have, all the suffering, 777 00:44:48,560 --> 00:44:51,840 Speaker 1: and they choose death. And I feel like that's a 778 00:44:51,960 --> 00:44:54,279 Speaker 1: theme you see a lot in horror movies where there's 779 00:44:54,280 --> 00:44:58,000 Speaker 1: a system, whether it's like patriarchy or white supposed to 780 00:44:58,160 --> 00:45:01,080 Speaker 1: ultimately and you can't get out of it, like you 781 00:45:01,120 --> 00:45:03,960 Speaker 1: try and try or try, and you can't get out 782 00:45:03,960 --> 00:45:07,640 Speaker 1: of it, and the only way out is de right, 783 00:45:07,920 --> 00:45:11,839 Speaker 1: just very there was one portion that I was very 784 00:45:11,880 --> 00:45:14,840 Speaker 1: confused by. Maybe I read it too wrong. When they 785 00:45:15,120 --> 00:45:18,520 Speaker 1: get the doctor, they tricked him by having that image 786 00:45:18,560 --> 00:45:23,040 Speaker 1: of his wife reappear when they drug him. They scream 787 00:45:23,080 --> 00:45:26,480 Speaker 1: at him about a not believing women Patricia when she 788 00:45:26,560 --> 00:45:28,239 Speaker 1: came to him about everything that was wrong and he 789 00:45:28,280 --> 00:45:31,919 Speaker 1: didn't believe her, or be leaving women behind, And I thought, 790 00:45:31,920 --> 00:45:33,960 Speaker 1: and they actually say that to him, and I was like, 791 00:45:35,960 --> 00:45:38,360 Speaker 1: I mean, it's true. He did both of those things 792 00:45:38,880 --> 00:45:41,440 Speaker 1: but not necessarily in all in that context, like it 793 00:45:41,520 --> 00:45:43,880 Speaker 1: was an interesting way of like, we're gonna punish you 794 00:45:43,920 --> 00:45:47,239 Speaker 1: for this, And then kind I was like, is he 795 00:45:47,320 --> 00:45:51,040 Speaker 1: trying to make fun of women saying these things and 796 00:45:51,760 --> 00:45:55,120 Speaker 1: blame on one not so innocent man, but a man 797 00:45:55,160 --> 00:45:58,279 Speaker 1: that we were sympathetic too. So I was like, I 798 00:45:58,280 --> 00:46:01,359 Speaker 1: don't know if he's actually being in cheek too feminists, 799 00:46:01,880 --> 00:46:04,000 Speaker 1: but he's actually being honest, Like I don't know what 800 00:46:04,040 --> 00:46:10,080 Speaker 1: he's doing. Yeah, yeah, because it could be like, you know, 801 00:46:10,120 --> 00:46:14,200 Speaker 1: another commentary on how hypocritical they're being and how far 802 00:46:14,360 --> 00:46:17,960 Speaker 1: they've lost their way, which could be I don't know 803 00:46:18,040 --> 00:46:22,840 Speaker 1: this guy, and it could be his critique on like feminism, 804 00:46:23,120 --> 00:46:25,480 Speaker 1: or you know, in a weird way, it could be 805 00:46:25,520 --> 00:46:29,080 Speaker 1: they really did believe that and it was true and 806 00:46:29,120 --> 00:46:30,800 Speaker 1: they were mad about it, but not mad enough to 807 00:46:32,200 --> 00:46:35,799 Speaker 1: care of Essentially one of those things. They were gaslighting 808 00:46:35,800 --> 00:46:39,200 Speaker 1: Patricia pretty hard. No one would believe her they were 809 00:46:39,280 --> 00:46:42,640 Speaker 1: truly trying to kill her because they wanted her body, 810 00:46:42,719 --> 00:46:44,440 Speaker 1: So it's kind of like, why would you blame that 811 00:46:44,520 --> 00:46:48,480 Speaker 1: on him? Yeah? I think they were very That's my 812 00:46:48,560 --> 00:46:51,480 Speaker 1: biggest takeaway from that movie is they were very hypocritical. 813 00:46:51,560 --> 00:46:54,360 Speaker 1: And they were corrupt and they had just like totally 814 00:46:54,400 --> 00:46:58,960 Speaker 1: lost sight of what they purported to be doing, which 815 00:46:59,000 --> 00:47:01,480 Speaker 1: was worshiping these three riches, that they were doing it 816 00:47:01,680 --> 00:47:09,799 Speaker 1: all the wrong way, only for power. Well, so that 817 00:47:10,440 --> 00:47:12,920 Speaker 1: is our discussion. We had a lot of thoughts. We 818 00:47:12,960 --> 00:47:15,200 Speaker 1: did we did. I mean, it's two movies, and two 819 00:47:15,280 --> 00:47:20,040 Speaker 1: very unique and interesting movies with a lot of obviously 820 00:47:20,080 --> 00:47:24,319 Speaker 1: interpretation that you can I don't know if you know this. 821 00:47:24,400 --> 00:47:27,120 Speaker 1: I'm gonna throw this in there. Apparently the original Suspiria 822 00:47:27,840 --> 00:47:31,120 Speaker 1: was such an influence, especially with their music the Goblin. 823 00:47:31,239 --> 00:47:34,880 Speaker 1: Their theme was huge, and it's still very recognizable today 824 00:47:34,880 --> 00:47:38,200 Speaker 1: and it's still used in several different like intros. Apparently 825 00:47:38,239 --> 00:47:40,440 Speaker 1: people use that for their intros because they love it. 826 00:47:40,800 --> 00:47:43,200 Speaker 1: The movie made such an impact that rock bands, including 827 00:47:43,200 --> 00:47:46,920 Speaker 1: Smashing Pumpkins, used that name because of his whrror like 828 00:47:47,000 --> 00:47:51,400 Speaker 1: he influenced rock and roll in a weirdly dynamic way 829 00:47:52,120 --> 00:47:54,520 Speaker 1: and unexpected and I do like, I think it's such 830 00:47:54,520 --> 00:47:58,120 Speaker 1: a contrast again to the newer movie. And we didn't 831 00:47:58,120 --> 00:48:00,399 Speaker 1: talk about that that he uses that type of music 832 00:48:00,400 --> 00:48:02,799 Speaker 1: and he did it purposefully to mess with you, like, 833 00:48:03,040 --> 00:48:06,719 Speaker 1: to mess with that soundscape, and it hit because we've 834 00:48:06,760 --> 00:48:10,480 Speaker 1: kind of heard those same like beats and sounds to uh, 835 00:48:10,600 --> 00:48:15,960 Speaker 1: let's say Halloween or we hear uh he like the 836 00:48:17,080 --> 00:48:20,480 Speaker 1: it brought that like I don't know what came Yeah, yeah, 837 00:48:20,640 --> 00:48:23,360 Speaker 1: like the Psycho was the original, Yeah, it's the original, 838 00:48:23,440 --> 00:48:26,000 Speaker 1: but like that kind of had that whole power dynamic 839 00:48:26,080 --> 00:48:28,840 Speaker 1: within it um and that conversation of this type of 840 00:48:28,880 --> 00:48:31,640 Speaker 1: style of the loud and screechy and you're like what 841 00:48:31,840 --> 00:48:36,440 Speaker 1: is happening to the very like almost silence of the 842 00:48:36,520 --> 00:48:39,719 Speaker 1: newer one. The sounds were very, very purposeful, but he 843 00:48:39,840 --> 00:48:44,799 Speaker 1: used Argenta used music purposely to mess with individuals and 844 00:48:44,840 --> 00:48:46,719 Speaker 1: it it was a whole thing. It's a whole thing 845 00:48:46,760 --> 00:48:49,799 Speaker 1: still when people hear that music. So I thought was 846 00:48:50,360 --> 00:48:53,799 Speaker 1: there Yeah, yeah, No. I thought the music choices were 847 00:48:53,840 --> 00:48:56,120 Speaker 1: interesting in both of them. And I love that kind 848 00:48:56,120 --> 00:48:59,160 Speaker 1: of stuff. I love like the entertainment and art of 849 00:48:59,200 --> 00:49:05,080 Speaker 1: scaring people fascinating. Yeah. But speaking of listeners, if you 850 00:49:05,120 --> 00:49:07,479 Speaker 1: have any topics that you would like us to cover, 851 00:49:08,040 --> 00:49:10,400 Speaker 1: please email them to us that you can do that 852 00:49:10,480 --> 00:49:13,160 Speaker 1: at Stuff Media, mom Stuff at iHeart media dot com. 853 00:49:13,239 --> 00:49:15,280 Speaker 1: You can find us on Twitter at mom Stuff podcast 854 00:49:15,640 --> 00:49:17,719 Speaker 1: or on Instagram at stuff I've never told you. Thanks 855 00:49:17,719 --> 00:49:20,960 Speaker 1: as always you are super producer. Christina, Thank you and 856 00:49:21,080 --> 00:49:23,320 Speaker 1: thanks to you for listening. Stuff Owner told your prediction 857 00:49:23,320 --> 00:49:25,440 Speaker 1: of iHeart Radio. For more podcast on iHeart Radio is 858 00:49:25,520 --> 00:49:27,759 Speaker 1: the iHeart Radio app Apple podcast. I'll ready listen to 859 00:49:27,800 --> 00:49:28,560 Speaker 1: your favorite shows.