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Speaker 1: Hello, Welcome to Weird House Cinema. Rewind. My name is

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Speaker 1: Joe McCormick. Today we're bringing you an older episode of

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Speaker 1: Weird House Cinema. This one originally published on July twelfth,

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Speaker 1: twenty twenty four, and it is our feature on The

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Speaker 1: Devil Bat from nineteen forty, starring Bella Lagosi. So let's

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Speaker 1: jump right in.

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

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Speaker 3: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 1: And I am Joe McCormick. And today on Weird House

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Speaker 1: Cinema we are going to be talking about the nineteen

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Speaker 1: forty horror thriller The Devil Bat starring Bella Lagosi and

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Speaker 1: Suzanne Karen, a movie where the one sentence plot Summarie

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Speaker 1: not only includes the phrase giant mutant bat, but also

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Speaker 1: the word lotion.

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Speaker 3: Yeah that's right. Yeah. In this episode, we're returning once

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Speaker 3: more to the nineteen forties. This is only our third

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Speaker 3: forties picture on Weird House with and the first in

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Speaker 3: a long time, following nineteen forties Doctor Cyclops and nineteen

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Speaker 3: forty six is The Beast with Five Fingers. So I

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Speaker 3: am excited to return to one of our least explored

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Speaker 3: decades on the show, like this, the thirties and the twenties,

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Speaker 3: we just haven't hit as much.

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Speaker 1: Yes, though, you know, some of our the sci fi

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Speaker 1: movies we've done from like the thirties and the forties

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Speaker 1: have been some of my favorites. Actually. Oh, I actually

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Speaker 1: in fact came to the idea of doing Devil Bat

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Speaker 1: this week by looking specifically for movies that are similar

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Speaker 1: to the Beast with Five Fingers starring Peter Lourie, which

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Speaker 1: I loved, and I was thinking, ooh, I want something

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Speaker 1: in that zone, and this is what I turned up,

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Speaker 1: And I think it's close. Beast with Five Fingers I

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Speaker 1: think was a little more, you know, higher budget, a

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Speaker 1: little more elaborate, had a little bit more class, but

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Speaker 1: ultimately on I think the same frequency.

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Speaker 3: Yeah, it had more of a gothic flare. This one

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Speaker 3: is more Middle America meets mutant bats.

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Speaker 1: Yeah. And while I would say that the plot of

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Speaker 1: this movie is quite formulaic, like there is a pattern

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Speaker 1: that's established with how each of the Bat murders takes

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Speaker 1: place that just sort of repeats and is the same

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Speaker 1: way each time. It's almost like the setup to a joke,

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Speaker 1: you know where it's just like there's a very formulaic

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Speaker 1: repetition until the inversion. It's like that, and yet at

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Speaker 1: the same time, the script isn't actually half bad. I

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Speaker 1: think there is more kind of character and flare in

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Speaker 1: it than you would get for a lot of similar

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Speaker 1: movies from this time period. I'll also say for a

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Speaker 1: horror movie from nineteen forty, I found Devil Bat to

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Speaker 1: have a surprisingly lively pace after the first ten minutes

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Speaker 1: or so, that is the opening scene. I don't know

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Speaker 1: if you felt the same way. Rob opening scene is

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Speaker 1: almost comically dull. It's like they thought, you know what

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Speaker 1: people want to see, Bela Lugosi looking through a pane

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Speaker 1: of glass for like three minutes straight while he microwaves

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Speaker 1: a bat.

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Speaker 3: Yeah. Yeah, there are a lot of scenes of Bello

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Speaker 3: Lugosi microwaving bats in this film, and you just need

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Speaker 3: to be on board for that. But but then again,

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Speaker 3: it's Bela Lgosi, And if you have to ask, you

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Speaker 3: have to watch any actor do these scenes, it might

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Speaker 3: as well be Bella because at least, uh you know,

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Speaker 3: he had you know, even at this point point in

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Speaker 3: his career, uh you know, he still had a lot

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Speaker 3: of energy, a lot of charisma, and you see that

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Speaker 3: in a film like this, where he's working alongside a

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Speaker 3: lot of very solid professional actors of the time period.

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Speaker 3: This is not this is a low budget picture, but

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Speaker 3: it's not like a zero talent picture. This is not

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Speaker 3: the ed Woods end of the spectrum for Bello's career.

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Speaker 3: But even with all these other, like very perfectly perfectly

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Speaker 3: good and sometimes kind of great performances around him, he

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Speaker 3: still shines and you still see that in him.

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Speaker 1: I totally agree, Yeah, Bella Bella is the star. There's

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Speaker 1: no question about that. Which is it's always a good

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Speaker 1: move to make the villain the real star of the movie.

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Speaker 1: I like that choice here, and I think it works out.

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Speaker 1: But also, as I was saying, I think even with

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Speaker 1: the more mundane characters and the more mundane scenes, I

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Speaker 1: think it's pretty lively, Like the pace really picks up

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Speaker 1: once we meet the journalist character, and there's a good

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Speaker 1: bit of snap and personality to the dialogue.

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Speaker 3: Absolutely, it doesn't have the at times dull plotting pace

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Speaker 3: that you encounter in genre pictures from these decades. So

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Speaker 3: of course I had to look up this one in

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Speaker 3: the Psychotronic Encyclopedia film and Michael Weldon, the reviewer, the

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Speaker 3: author there. Look him up if you're not familiar with him.

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Speaker 3: If you love weird films, you'd love the work of

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Speaker 3: Michael Weldon. He points out that this was a Producer's

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Speaker 3: Releasing Corporation or PRC film, and PRC was the quote

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Speaker 3: cheapest studio in the business, bottom of the ranking of

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Speaker 3: the eleven Hollywood film companies active in the nineteen forties.

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Speaker 3: They only lasted from like nineteen thirty nine to nineteen

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Speaker 3: forties seven, and The Devil Bat was their very first

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Speaker 3: horror film. It was also a success, so they followed

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Speaker 3: it up in forty six with what Welden refers to

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Speaker 3: as a cheat sequel, which does certainly sound like a

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Speaker 3: cheat because it concerns the daughter of Bela Lugosi's character,

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Speaker 3: while also, yeah, it's his daughter.

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Speaker 1: Can't recall him having one in this movie.

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Speaker 3: I know, so he has one now, so introducing the

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Speaker 3: unknown daughter and then completely exonerating his character for all

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Speaker 3: of his actions in the first film and blaming them

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Speaker 3: on a new villain. This is a picture no spoilers.

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Speaker 3: This is a picture where there's never any doubt that

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Speaker 3: Belo Lagosa is murder is plotting to murder people with

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Speaker 3: mutant bats and doing it, and there's scenes with internal

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Speaker 3: dialogue about it.

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Speaker 1: Yeah. In fact, I would almost say, if there were

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Speaker 1: any criticism I would make of the plot in this movie,

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Speaker 1: the first one I would probably make is that the

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Speaker 1: good characters are trying to solve a mystery, but you

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Speaker 1: know the answer to the mystery the whole time. You

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Speaker 1: know the answer before they even start investigating. So there's

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Speaker 1: no tension for the audience in resolving the mystery, except

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Speaker 1: like wanting to see what happens when Belly gets caught.

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Speaker 1: But there's no ambiguity. Yes, he's sending the bats. We

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Speaker 1: know he's sending the bats. We watched him make the bats.

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Speaker 3: Yeah. Yeah, you completely derail everything about the first movie.

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Speaker 3: So so yeah, it's not supposed to be that great.

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Speaker 3: It's supposed to be more of a psychological thriller and

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Speaker 3: less of a horror film. And I'm not even sure

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Speaker 3: there are any bats in it.

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Speaker 1: But what we're not talking about that don't have bats?

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Speaker 3: I know, I know, but anyway, we're not talking about

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Speaker 3: Devil Bat two or the bat daughter of Bat Devil.

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Speaker 3: I forget what it's called now. But Weldon certainly liked

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Speaker 3: this one. He thought this one was pretty lively, And

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Speaker 3: I have to say, given the low budget nature of

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Speaker 3: the picture, I have to say, uh yeah, the pace

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Speaker 3: is great and the bad action looks I thought surprisingly good.

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Speaker 3: I know we're going to maybe disagree a little bit

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Speaker 3: on the special effects in this film, but I went

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Speaker 3: into it with very little expectations from us flapping bats.

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Speaker 3: I love any bad effects in a film, from bad

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Speaker 3: puppets to great puppets, from bad CGI to just you know,

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Speaker 3: mind bending CGI. I'll take any of it. And so

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Speaker 3: I was expecting everything to be a lot more flippity

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Speaker 3: and floppity, and I was pleasantly surprised that it was

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Speaker 3: more believable than that.

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Speaker 1: It is better than the batpuppet in Suspiria. But that's

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Speaker 1: not a high bar.

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Speaker 3: The bar is love for this sort of thing. I wouldn't.

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Speaker 1: But yeah, what will I say. I don't think it

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Speaker 1: looks great. I don't think it looks realistic, but it

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Speaker 1: it's fun. You know they staged the scenes.

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Speaker 3: Well, yeah, all right, I have an elevator pitch for

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Speaker 3: this one. I think it'll make sense once we get

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Speaker 3: into the plot, but it's breaking bad except with bats

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Speaker 3: in aftershave.

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Speaker 1: Yeah, that's right. Yeah, it's if Walter White, instead of

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Speaker 1: making methamphetamine was making bats.

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Speaker 3: Yeah, because you have a so you do have a

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Speaker 3: similar plot with him, like like he was this brilliant

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Speaker 3: innovation who kind of got jerked around by the moneymen

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Speaker 3: and has a lot of personal pride and his scientific powers.

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Speaker 3: But again, no meth just bats and after shaft.

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Speaker 1: Yeah, I think a great villain they always need one,

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Speaker 1: like characteristic sin of your seven deadlys, and in both cases,

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Speaker 1: the sin here is pride.

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Speaker 3: Yes, all right, let's go ahead and listen to at

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Speaker 3: least some of the trailer audio here. I think this

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Speaker 3: one gives you some of the snappy dialogue as well.

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Speaker 4: When an animal attacks a human, there's bound to be

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Speaker 4: a lot of noise.

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Speaker 1: I die of the scientist. They many things into consideration.

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Speaker 1: A layman my overlook.

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Speaker 4: Ever smelled anything like this before. Found it in Don

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Speaker 4: Martin's bathroom. Yes, that's the same stuff that's been on

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Speaker 4: every one of the Devil bats victims. All four of

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Speaker 4: the murdered people had this lotion on them when the

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Speaker 4: Devil Bat struck Late And I'm afraid all these murders

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Speaker 4: have affected you my Now, my plan is to sit

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Speaker 4: in the garden and when the killer makes one of

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Speaker 4: those power dives, I'm blasting.

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Speaker 3: All right now. At this point, you may be wondering,

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Speaker 3: where can I see the devil bat? This one apparently

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Speaker 3: entered into the public domain a while ago, which may

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Speaker 3: sound good at first, but this isn't necessarily a good thing, because, well,

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Speaker 3: it means you can easily find a film like this

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Speaker 3: in various streaming and physical formats. Not all of them

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Speaker 3: are going to be worth your time. The best source

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Speaker 3: that I'm aware of for the film is the twenty

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Speaker 3: thirteen Kinoclassics disc. You can get it on DVD or

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Speaker 3: Blu Ray mastered in HD from archival film Elements, and

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Speaker 3: that one also features audio commentary by film historian Richard

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Speaker 3: Harlan Smith. They had every intention of viewing it in

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Speaker 3: this format. They have this disc at Atlanta's own video Drome,

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Speaker 3: but then my week got super busy. I wasn't able

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Speaker 3: to make it over there and rent it, so I

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Speaker 3: had had to find a stream instead. I found a

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Speaker 3: pretty solid stream of it, but I am going to

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Speaker 3: rent the disc at some point. From the drone and

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Speaker 3: maybe dive in a little deeper, you know, little forward

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Speaker 3: facing research for forthcoming Bell Legosi Pictures.

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Speaker 1: I do want to see a higher resolution version than

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Speaker 1: I saw of the flat bats, the flat bats on

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Speaker 1: the coat hangers.

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Speaker 3: Yes, all right, let's get into the people who made

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Speaker 3: this film. Starting in the director's chair as usual, it's

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Speaker 3: gene Yarborough, who lived nineteen hundred through nineteen seventy five,

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Speaker 3: American producer and director who worked his way out. This

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Speaker 3: is one of those crazy Hollywood stories, a guy who

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Speaker 3: worked his way up from being a chauffeur for like

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Speaker 3: a producer his too, all the way up to being

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Speaker 3: a director. His directorial duties began in RCO's short subjects division,

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Speaker 3: so doing a lot of shorts for RKO beginning back

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Speaker 3: in nineteen thirty six, and then he went on to

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Speaker 3: direct his first full feature for the Poverty Row Studio

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Speaker 3: this is the term for like the lower budget Hollywood

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Speaker 3: studios Progressive Pictures in nineteen thirty eight, Who's called Rebellious Daughters.

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Speaker 1: Oh boy.

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Speaker 3: The head of that studio would then go on to

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Speaker 3: found PRC, the studio behind this picture. So he did

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Speaker 3: this film in nineteen forty followed by I believe a

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Speaker 3: few different PRC films, Caught in the Act and South

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Speaker 3: of Panama in forty one, and The Brute Man in

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Speaker 3: forty six. That one starred Rondo Hatton. You know the

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Speaker 3: If you've ever seen a picture of him, you know

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Speaker 3: a very very famous character actor with an extremely unique look.

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Speaker 3: And even if you haven't seen a Rondo picture, you

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Speaker 3: may have seen The Rocketeer, which features a henchman character

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Speaker 3: who is modeled via special makeup effects to look like

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Speaker 3: a Rondeau character. Okay, yeah so. Yarborough also directed for

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Speaker 3: other studios during the time, and moved on to work

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Speaker 3: for Monogram Pictures, which became Allied Artists in fifty three,

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Speaker 3: and ultimately Universal Pictures, where he directed the nineteen forty

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Speaker 3: six Rondo film House of Horrors and some of the

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Speaker 3: lesser known but still quite successful Abbit and Costello movies,

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Speaker 3: as well as multiple episodes of TVs. The Abbot and

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Speaker 3: Costello Show, which ran fifty two through fifty four. I

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Speaker 3: don't know about you, Joe, but I often forget that

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Speaker 3: there are all these abb and Costello movies. There's something

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Speaker 3: like thirty seven of them, though I'm mostly familiar with it.

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Speaker 3: Imagine a lot of you are only familiar with the

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Speaker 3: ones that have monsters in the title, like you know,

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Speaker 3: Abit and Costello meet Frankenstein or whatever. He did not

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Speaker 3: direct any of those. He directed these various other ones

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Speaker 3: that don't even necessarily mention Abbot and Costello in the title.

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Speaker 1: I've actually never seen any of those, but I know

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Speaker 1: some of the core ones where they meet I don't know,

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Speaker 1: Dracula or Frankenstein. Whatever the main universal crossover ones are

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Speaker 1: are supposed to be pretty funny.

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Speaker 3: Yeah, I don't know. I don't think I've ever watched

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Speaker 3: one myself. So Yarborough cut his teeth on quick and

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Speaker 3: low budget film projects. He developed a great reputation and

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Speaker 3: skill set for quick turnaround and this made it been

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Speaker 3: natural for television. So he just ended up doing more

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Speaker 3: and more of that, serving as a director for TV

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Speaker 3: until around nineteen seventy one. His last feature film was

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Speaker 3: nineteen sixty seven's Hillbilly's in a Haunted House. I believe

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Speaker 3: I've seen a riff tracks version of this. It features

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Speaker 3: John Carrodine, Lon Cheney Jr. Basil Rathbone, and Merle Haggard.

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Speaker 1: Merle Haggard, well.

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Speaker 3: Yeah, it is Hillbilly's in a Haunted House. I think,

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Speaker 3: if memory serves, it's like a Nashville country act, you know,

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Speaker 3: contemporary to the time, encountering creepy characters in a haunted house.

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Speaker 3: I don't recall it being very good, but I remember

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Speaker 3: there being some laughs.

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Speaker 1: Mama tried to make me not a hillbillyon a haunted.

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Speaker 3: House, but it failed. Now the screenplay here is by

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Speaker 3: John T. Neville, who lived eighteen eighty six through nineteen

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Speaker 3: seventy American screenwriter with credits going back to nineteen twenty seven.

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Speaker 3: He worked on a lot of westerns and adventure films,

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Speaker 3: with some crime and sports thrown in there. There's like

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Speaker 3: a boxing film called The Heart Punch, I think. But however,

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Speaker 3: this in nineteen forty six is The Flying Serpent. Seems

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Speaker 3: to be. They seem to be the only horror films

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Speaker 3: that he worked on, and The Flying Serpent is said

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Speaker 3: to be very similar in plot to The Devil Bat,

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Speaker 3: but with some sort of giant Meso American flying serpent

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Speaker 3: instead of a devil Bat. And I can only assume

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Speaker 3: this might have been at least some small influence on

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Speaker 3: the much later film Cue The Winged Serpent.

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Speaker 1: Ah, okay, you remember. Actually there is a similar plot

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Speaker 1: device to make a connection to another director who made

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Speaker 1: a name for himself by working fast and cheap, Roger

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Speaker 1: Corman's movie Not of This Earth, the one where the

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Speaker 1: guy from another planet is trying to send people back,

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Speaker 1: trying to steal people's Earth blood because his home planet

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Speaker 1: has been contaminated. But he's also got a suitcase that

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Speaker 1: sends out this flying bat monster. It's like an alien

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Speaker 1: that I guess steals people's blood.

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Speaker 3: I like that one. There's a really cheap kind of

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Speaker 3: variation on this theme too, and the phantom creeps the

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Speaker 3: at times exciting, at times exceedingly dull, Bella Lagosi cereal

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Speaker 3: for more or less this same time period, they're like

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Speaker 3: robot spiders or something of that effect.

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Speaker 1: A couple times recently that's come up. Did you say

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Speaker 1: there's a version of that that's like condensed that maybe

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Speaker 1: we could watch for the show.

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Speaker 3: There is At some point it was cut down from

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Speaker 3: like what did I would I say before some way

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Speaker 3: too much from an extremely long serial format into a

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Speaker 3: condensed film format that probably makes less sense but is

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Speaker 3: probably less boring. Okay, all right, so that was the

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Speaker 3: screenwriter The original story credit goes to George Bricker eighteen

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Speaker 3: ninety eight through nineteen fifty five. Worked from the mid

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Speaker 3: thirties to the mid fifties, with his most notable works

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Speaker 3: being a pair that pair of nineteen forty six Rondo

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Speaker 3: Hattan Films, nineteen forty six is She Wolf of London,

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Speaker 3: which was also directed by Yarborough, and nineteen fifty two's

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Speaker 3: macau All right, but getting into the cast, Yes, of

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Speaker 3: course this is a Bella Lagosi film, and we've talked

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Speaker 3: about Bella Lgosi at least briefly before, because we covered

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Speaker 3: Plan nine from outer Space, and I think out when

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Speaker 3: we said this cannot be the first episode where we

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Speaker 3: really talk about Bella, will have to come back to him.

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Speaker 3: So I guess this is the episode where we go

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Speaker 3: into more detail about Bella Lagosi.

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Speaker 1: Okay, because in fact, I think we recently re ran

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Speaker 1: Plan nine for matter Swedes, which of course made for

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Speaker 1: a really fun weird house episode. But yes, Bella is

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Speaker 1: barely in planine and he's only a couple of scenes,

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Speaker 1: so I can understand why we said that. So let's

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Speaker 1: talk about him now.

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Speaker 3: Yeah, that was his last picture and certainly not his

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Speaker 3: best picture. This is not his best picture either, but

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Speaker 3: I think it's more fitting to talk about him here.

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Speaker 1: Yeah, Yeah, this is a good one.

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Speaker 3: Yeah, Bell Goosie Here plays doctor Paul Carruthers. Lagosi lived

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Speaker 3: eighteen eighty two through nineteen fifty six. Legendary Hungarian American

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Speaker 3: actor and classic horror icon who's of course, best known

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Speaker 3: for his portrayal of Dracula in the nineteen thirty one

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Speaker 3: Universal horror film of the same name. I mean, it's

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Speaker 3: pretty impressive. I think that all these years after that

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Speaker 3: film came out, he is still like one of the

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Speaker 3: stars you think of when you think of Dracula, Like, yeah,

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Speaker 3: you think of Christopher Lee. You probably think of Gary Oldman.

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Speaker 3: Maybe there's one or two others in the mix, but

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Speaker 3: probably not like I feel like, I feel like Bela

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Speaker 3: Lagosi is still like somewhere in that top three for

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Speaker 3: most film fans, oh yeah, or horror fans in general.

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Speaker 3: So Lgosi started out in Hungarian theater in silent films,

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Speaker 3: before making his way to Germany and doing some silent

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Speaker 3: films there, and finally making his way to America. His

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Speaker 3: May he made his way up to New York became

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Speaker 3: very active in the theater scene there, mostly as an actor,

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Speaker 3: but I think he did a little directing as well.

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Speaker 3: I don't have any details on that, but he also

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Speaker 3: did some silent films there, and it's here that he

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Speaker 3: landed the lead in the Broadway play Dracula in nineteen

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Speaker 3: twenty seven, and then moved to la in nineteen twenty eight.

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Speaker 3: I believe it's part of a tour of Dracula, and

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Speaker 3: this is where he kicked off his proper Hollywood career.

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Speaker 3: The next year, he appeared in Todd Browning's The Thirteenth Chair.

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Speaker 3: Browning would of course go on to direct Bella in

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Speaker 3: that nineteen thirty one adaptation of the Dracula stage play,

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Speaker 3: and this of course led to his you know, many

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Speaker 3: of his best known films, especially the horror films that

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Speaker 3: remained such a central part of his legacy. Though we

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Speaker 3: have to point out that he was he was type

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Speaker 3: cast by all of this, and I think accounts indicate

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Speaker 3: that he was rather he felt limited by this, like

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Speaker 3: he saw himself as a more versatile actor, but he

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Speaker 3: was mostly relegated too horror roles and the you know,

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Speaker 3: the scary Bella Legosi type characters that we think of

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Speaker 3: today and wasn't really able to break out of that.

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Speaker 3: And we have to remember too and all of this that, yeah,

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Speaker 3: as big of a film as Dracula was, as things

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Speaker 3: like Frankenstein and Bride of Frankenstein were horror and science fiction,

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Speaker 3: these other genres were very much considered further down the

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Speaker 3: studio pecking order, but anyway had a number of notable films,

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Speaker 3: followed thirty two's Murders in the Room Morgue, White Zombie,

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Speaker 3: and Island of Lost Souls thirty four as the Black Cat,

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Speaker 3: That's when we might come back to Mark the Vampire

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Speaker 3: thirty nine, Son of Frankenstein, and the serial The Phantom

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Speaker 3: Creeps Nineteen forty gave us The Devil Bat, followed by

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Speaker 3: the likes of forty two's The Ghost of Frankenstein and

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Speaker 3: The Corpse Vanishes, forty three's Frankenstein Meets the Wolfman forty

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Speaker 3: eighth Abadan Costello Meet Frankenstein. This being his last A

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Speaker 3: List movie and also his final portrayal of Count Dracula.

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Speaker 1: So I feel like The Devil Bat in the arc

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Speaker 1: of Legosi's film career is kind of positioned in the

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Speaker 1: middle between his early apex with Dracula, in the early

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Speaker 1: universal movies, and then what would happen later in the

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Speaker 1: fifties when he would end up working with ed Wood.

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Speaker 3: Yeah, the fifties were rougher, you know, including fifty two's

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Speaker 3: Bella Lugosi Meets of Brooklyn Gorilla that's at least one

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Speaker 3: of the titles, and of course that trio of Edwood films.

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Speaker 3: Fifty three is Glenn or Glinda, fifty five's Bride of

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Speaker 3: the Monster, and fifty seven's Plan nine from Outer Space.

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Speaker 3: And during this period in particular, understand he battled physical

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Speaker 3: anim drug addiction, for which he saw treatment and financial problems.

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Speaker 3: And it is fitting though that he was apparently buried

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Speaker 3: in that Dracula cape. You know, he ultimately, you know,

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Speaker 3: he wanted to escape the legacy of that character to

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Speaker 3: a certain extent, but he also fully embraced, like the

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Speaker 3: star power, the lasting legacy of what that role meant.

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Speaker 1: I believe Devil bat is not Bela Lugosi's best performance

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Speaker 1: of all time. It's not in his top top tier.

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Speaker 1: But I would find Bella entertaining if he were sleepwalking,

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Speaker 1: And so I love all of his scenes, even the

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Speaker 1: ones where he's just like infinitely sniffing chemicals or looking

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Speaker 1: through the glass. You know, he's great and all that,

395
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Speaker 1: but the really good scenes are the dialogue scenes where

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Speaker 1: he's like trying to get somebody to try on the

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Speaker 1: lotion that makes the bats kill them. He has so

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Speaker 1: many hilariously overt like I am about to murder you

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Speaker 1: with the bat lines.

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Speaker 3: Yeah, yeah, so yeah. The charisma and the Dallon shines.

401
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Speaker 3: And one of the reasons again that Plan nine from

402
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Speaker 3: Outer Space is not generally considered her a good film

403
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Speaker 3: is that Bela Agosi's barely in it. Like if he

404
00:21:09,080 --> 00:21:13,679
Speaker 3: had been in it more, had he not died, you know,

405
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Speaker 3: it would have been a better picture. Would it have

406
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Speaker 3: been good, No, but it would have been a better picture.

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Speaker 3: All right, Let's get into the supporting cast here, because

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Speaker 3: we have some interesting characters here as well. We have

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Speaker 3: Suzanne Karen playing Mary Heath. She's one of the daughters

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Speaker 3: of the the main family is involved in this pivotal

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Speaker 3: fragrance company in the film.

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Speaker 1: Yeah, the plot is sort of so like Bela Lagosi

413
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Speaker 1: is trying to wipe out these two families who run

414
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Speaker 1: this cosmetics and perfume company, and there's this long list

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Speaker 1: of brothers he's working down before he gets to marry

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Speaker 1: And I guess the whole point is the audience is

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Speaker 1: supposed to be like, no, you know, you can get

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Speaker 1: all the brothers, but don't hurt Mary.

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Speaker 3: Yeah. You know, classic classic structure here. You know, you

420
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Speaker 3: have your your vengeful killer who either begins by killing

421
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Speaker 3: characters you want to see die or at least you're

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Speaker 3: neutral about, before working their way to the characters that

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Speaker 3: you're more invested in. Yeah, and this is the one

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Speaker 3: we're invested in.

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Speaker 1: Yeah.

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Speaker 3: So Karen Was She lived nineteen twelve through two thousand

427
00:22:23,320 --> 00:22:26,040
Speaker 3: and four American actress and dancer who also worked in

428
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Speaker 3: the New York theater and on Broadway. In Hollywood. She

429
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Speaker 3: worked in I believe some Three Stooges shorts, as well

430
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Speaker 3: as some various uncredited roles and occasional lead roles such

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00:22:34,359 --> 00:22:36,680
Speaker 3: as this. She was active on the screen from around

432
00:22:36,720 --> 00:22:39,639
Speaker 3: thirty three to forty four, but also made an uncredited

433
00:22:39,680 --> 00:22:42,840
Speaker 3: cameo in nineteen eighty four as the Cotton Club. I

434
00:22:42,880 --> 00:22:46,679
Speaker 3: think she's good in this. She has very captivating eyes

435
00:22:47,200 --> 00:22:48,840
Speaker 3: in a solid performance. Like I said, this is a

436
00:22:48,840 --> 00:22:51,919
Speaker 3: film that may be low budget but is filled with

437
00:22:52,040 --> 00:22:55,119
Speaker 3: very competent actors. Yeah, all right. The next one of

438
00:22:55,119 --> 00:22:57,920
Speaker 3: note ooh, this one's a real treat is the character

439
00:22:58,000 --> 00:23:01,560
Speaker 3: Johnny Layton. He's your hot reporter looking into all these

440
00:23:01,880 --> 00:23:04,960
Speaker 3: what turned out to be mutant bat murders, and for

441
00:23:05,000 --> 00:23:10,879
Speaker 3: a time they think prehistoric bat murders. Played by Dave O'Brien,

442
00:23:10,960 --> 00:23:15,560
Speaker 3: who lived nineteen twelve through nineteen sixty nine, American film actor,

443
00:23:16,320 --> 00:23:20,760
Speaker 3: I think at least one time director, also a screenwriter.

444
00:23:20,800 --> 00:23:23,400
Speaker 3: He wrote a number of screenplays as well. He's pretty prolific,

445
00:23:24,240 --> 00:23:29,199
Speaker 3: and I think he was credited has co credit on

446
00:23:29,240 --> 00:23:32,280
Speaker 3: an Emmy for work on The Red Skeleton show writing comedy.

447
00:23:32,400 --> 00:23:37,120
Speaker 3: So this guy was very talented. He worked a lot

448
00:23:37,160 --> 00:23:43,400
Speaker 3: in these categories, but he's best remembered today, perhaps secondarily

449
00:23:43,600 --> 00:23:46,479
Speaker 3: for his role in this film, but mostly for his

450
00:23:46,600 --> 00:23:52,920
Speaker 3: role as a deranged dope theend in the nineteen thirty

451
00:23:52,960 --> 00:23:56,720
Speaker 3: six film Tell Your Children, better known, I think to everyone,

452
00:23:57,440 --> 00:24:00,800
Speaker 3: as its re released title ref for Madness.

453
00:24:01,520 --> 00:24:06,239
Speaker 1: We just a powerhouse performance. He's the one who is

454
00:24:06,359 --> 00:24:10,560
Speaker 1: aggressively puffing the marijuana cigarette over and over as the

455
00:24:10,640 --> 00:24:13,120
Speaker 1: lady is playing the piano and he's screaming at her

456
00:24:13,119 --> 00:24:16,840
Speaker 1: to play faster. Play faster. Yes, and the narrator tells

457
00:24:16,920 --> 00:24:20,240
Speaker 1: us that this is what happens to the refer addict

458
00:24:20,320 --> 00:24:22,760
Speaker 1: that he ends up with, is they call him like

459
00:24:22,840 --> 00:24:24,919
Speaker 1: inescapable madness or something.

460
00:24:25,560 --> 00:24:31,040
Speaker 3: A notorious film, a piece of anti marijuana propaganda that

461
00:24:31,040 --> 00:24:33,480
Speaker 3: would later on to become like a cult classic because

462
00:24:33,480 --> 00:24:37,320
Speaker 3: it is so ridiculously over the top and an ultimately

463
00:24:37,440 --> 00:24:40,440
Speaker 3: very telling of this time period and its sensibilities and

464
00:24:40,800 --> 00:24:45,520
Speaker 3: objectives in his messaging. But it's a delirious performance, and

465
00:24:45,600 --> 00:24:49,280
Speaker 3: it's interesting that it ultimately outshines a lot of his

466
00:24:50,080 --> 00:24:52,919
Speaker 3: very successful and popular contemporary work, Like he was a

467
00:24:53,040 --> 00:24:56,679
Speaker 3: successful contemporary actor. But you know, we often end up

468
00:24:56,720 --> 00:24:58,280
Speaker 3: remembering folks for the weird stuff.

469
00:24:58,800 --> 00:25:02,040
Speaker 1: Yeah, yeah, so yeah, as you said in Devil Bat

470
00:25:02,080 --> 00:25:05,760
Speaker 1: he plays our sort of Jack Rabbit wise newspaperman. He's cool,

471
00:25:05,920 --> 00:25:09,520
Speaker 1: he's quick witted, he's a touch devious, like he's got

472
00:25:09,520 --> 00:25:11,680
Speaker 1: a little bit of a flim flam artist in him,

473
00:25:11,720 --> 00:25:14,960
Speaker 1: but just enough that he's he's a bad boy, but

474
00:25:15,040 --> 00:25:16,040
Speaker 1: still the good guy.

475
00:25:16,720 --> 00:25:19,600
Speaker 3: Yeah. It's weird that there's a whole subplot that goes

476
00:25:19,640 --> 00:25:23,199
Speaker 3: on with him and his photographer attempting to fake a

477
00:25:23,240 --> 00:25:25,400
Speaker 3: bad attack or fake a bat so they can get

478
00:25:25,400 --> 00:25:28,960
Speaker 3: a photograph of it, so they don't have a They're

479
00:25:28,960 --> 00:25:32,480
Speaker 3: a little low on journalistic integrity. But there's still our heroes.

480
00:25:32,520 --> 00:25:34,960
Speaker 3: We're still totally rooting for them. You know.

481
00:25:35,000 --> 00:25:37,320
Speaker 1: We've talked on the show before about how so many

482
00:25:37,840 --> 00:25:41,359
Speaker 1: sci fi and horror films from before roughly the sixties

483
00:25:41,760 --> 00:25:44,520
Speaker 1: have very boring male leads. I mean, some after the

484
00:25:44,560 --> 00:25:47,200
Speaker 1: sixties do too, but especially like in the fifties, that's

485
00:25:47,320 --> 00:25:51,600
Speaker 1: just the dead zone for protagonists in this Male protagonists

486
00:25:52,000 --> 00:25:56,640
Speaker 1: in these genres the kind of low deaf rectangles who

487
00:25:56,640 --> 00:25:59,080
Speaker 1: are there to just kind of look vaguely handsome and

488
00:25:59,119 --> 00:26:03,040
Speaker 1: punch the villain, rescue the female lead, but don't really

489
00:26:03,040 --> 00:26:06,240
Speaker 1: have any interesting dialogue or sharp angles to their personality.

490
00:26:06,480 --> 00:26:08,880
Speaker 1: I found this guy refreshingly different. He's got a good

491
00:26:08,880 --> 00:26:12,640
Speaker 1: bit of personality. There are weird quirks about him, and

492
00:26:12,720 --> 00:26:15,760
Speaker 1: some of his dialogue is kind of witty. You know

493
00:26:15,800 --> 00:26:18,720
Speaker 1: who he actually reminded me of was the male lead

494
00:26:18,920 --> 00:26:22,200
Speaker 1: in Doctor X from nineteen thirty two, that the pre

495
00:26:22,280 --> 00:26:26,800
Speaker 1: code horror film with synthetic flesh. That character was also

496
00:26:27,000 --> 00:26:28,840
Speaker 1: a wise cracking newspaper reporter.

497
00:26:29,359 --> 00:26:31,399
Speaker 3: That's good, I mean, I guess that ultimately, like the

498
00:26:31,440 --> 00:26:35,479
Speaker 3: news paper reporter, just in the long term, as a

499
00:26:35,520 --> 00:26:38,120
Speaker 3: fictional archetype, you know, kind of removed from the reality

500
00:26:38,160 --> 00:26:42,760
Speaker 3: of actual journalism. It is often a space where we

501
00:26:42,840 --> 00:26:45,040
Speaker 3: play with more rogue individuals.

502
00:26:45,080 --> 00:26:45,240
Speaker 1: You know.

503
00:26:45,280 --> 00:26:48,879
Speaker 3: They are in this gray space between like pure authority

504
00:26:48,920 --> 00:26:52,840
Speaker 3: figures and of course the criminal elemental forces of chaos

505
00:26:53,400 --> 00:26:56,280
Speaker 3: and so forth. And so there is often a lot

506
00:26:56,280 --> 00:26:58,760
Speaker 3: of room there for it to be wacky, weird or

507
00:26:58,760 --> 00:27:01,280
Speaker 3: even just completely chaotic, you know. And it's like, yeah,

508
00:27:01,359 --> 00:27:03,640
Speaker 3: fear and loathing in Las Vegas, you know, getting into

509
00:27:03,680 --> 00:27:06,919
Speaker 3: gonzo journalism and all. So even in this time period

510
00:27:06,920 --> 00:27:09,040
Speaker 3: where there's a lot that's you know, getting more and

511
00:27:09,080 --> 00:27:12,240
Speaker 3: more straight laced and buckled down, this is so much

512
00:27:12,240 --> 00:27:15,359
Speaker 3: better than just your square jawed, you know, steak eating

513
00:27:15,400 --> 00:27:18,320
Speaker 3: policeman type character you would get in various other pictures.

514
00:27:18,680 --> 00:27:21,560
Speaker 1: Yeah, and though I don't want to oversell the weirdness

515
00:27:21,600 --> 00:27:23,399
Speaker 1: of this character. He's not super I mean, he's not

516
00:27:23,480 --> 00:27:26,120
Speaker 1: Hunter Thompson, but he is kind of a fox. He's

517
00:27:26,160 --> 00:27:28,560
Speaker 1: kind of like he's kind of wily and funny and

518
00:27:30,080 --> 00:27:32,520
Speaker 1: not just there to be your you know, lawful, good

519
00:27:32,560 --> 00:27:33,280
Speaker 1: slab of meat.

520
00:27:33,560 --> 00:27:35,840
Speaker 3: Yeah, and Ultimately, I thought it held his own in

521
00:27:36,240 --> 00:27:38,080
Speaker 3: his big one on one scene with Bella at the

522
00:27:38,160 --> 00:27:38,760
Speaker 3: end of the picture.

523
00:27:39,000 --> 00:27:40,800
Speaker 1: Yeah, I agreed, all right.

524
00:27:41,040 --> 00:27:44,040
Speaker 3: Supporting character in this is Yolanda Donlin, who plays the

525
00:27:44,119 --> 00:27:47,480
Speaker 3: character Maxine, who is a French maid. She lived in

526
00:27:47,560 --> 00:27:50,920
Speaker 3: nineteen twenty through twenty fourteen American born British based actress

527
00:27:51,160 --> 00:27:53,840
Speaker 3: who mostly worked in the UK. This is not the

528
00:27:53,880 --> 00:27:57,000
Speaker 3: only film where she plays a french Maid, but her

529
00:27:57,040 --> 00:27:59,120
Speaker 3: career on the British stage seems to have been far

530
00:27:59,160 --> 00:28:01,919
Speaker 3: more substantial. So she worked with the likes of Laurence

531
00:28:01,920 --> 00:28:05,040
Speaker 3: Olivier and her last film was nineteen seventy six is

532
00:28:05,080 --> 00:28:06,080
Speaker 3: Seven Nights in Japan.

533
00:28:06,840 --> 00:28:09,439
Speaker 1: She was a ray of sunshine here. I loved Maxine

534
00:28:09,800 --> 00:28:10,200
Speaker 1: all right.

535
00:28:10,880 --> 00:28:15,400
Speaker 3: The main perfume boss is this guy, Henry Morton, and

536
00:28:15,480 --> 00:28:18,280
Speaker 3: he is played by Guy Usher, who lived eighteen eighty

537
00:28:18,280 --> 00:28:21,480
Speaker 3: three through nineteen forty four. Prolific character actor of the

538
00:28:21,520 --> 00:28:23,520
Speaker 3: thirties and forties. His films include The Case of the

539
00:28:23,520 --> 00:28:25,880
Speaker 3: Black Cat from thirty six, Buck Rogers from thirty nine,

540
00:28:26,400 --> 00:28:30,080
Speaker 3: and The Spanish Kate Mystery from nineteen thirty five. I

541
00:28:30,080 --> 00:28:31,199
Speaker 3: thought he's pretty solid in this.

542
00:28:31,560 --> 00:28:33,880
Speaker 1: Yeah, he is business man.

543
00:28:34,200 --> 00:28:37,119
Speaker 3: Yeah, he has a kind of there's a very funny

544
00:28:37,480 --> 00:28:40,840
Speaker 3: but at times a very awkwardly written scene with him

545
00:28:40,840 --> 00:28:44,239
Speaker 3: in Bell Lagosi's character where bell We'll get to it,

546
00:28:44,280 --> 00:28:45,160
Speaker 3: but what is.

547
00:28:45,120 --> 00:28:47,320
Speaker 1: It one of the many scenes where Bella is trying

548
00:28:47,360 --> 00:28:48,960
Speaker 1: to convince somebody to put lotion on.

549
00:28:49,440 --> 00:28:53,360
Speaker 3: Yes, and also like Bell Lagosi like eventually just out

550
00:28:53,400 --> 00:28:57,440
Speaker 3: of pride, like all but admitting to the previous murders

551
00:28:57,480 --> 00:29:00,520
Speaker 3: in the film, and Henry Morton's just kind of like,

552
00:29:00,640 --> 00:29:02,920
Speaker 3: what is this guy talking about? And then finally Don's

553
00:29:02,920 --> 00:29:04,680
Speaker 3: on him. Oh he killed all these people? Yeah?

554
00:29:04,800 --> 00:29:07,160
Speaker 1: Yeah? Oh wait next, are we going to get to

555
00:29:07,160 --> 00:29:08,560
Speaker 1: the newspaper editor.

556
00:29:08,840 --> 00:29:13,640
Speaker 3: Yes, the character is Joe McGuinty. The actor is Arthur Q.

557
00:29:13,920 --> 00:29:17,240
Speaker 3: Brian who of eighteen ninety nine through nineteen fifty nine

558
00:29:17,680 --> 00:29:21,640
Speaker 3: American actor and radio personality who he had many other credits,

559
00:29:21,880 --> 00:29:24,000
Speaker 3: but he served as the voice of the Looney Tunes

560
00:29:24,080 --> 00:29:28,520
Speaker 3: character Elmer Fudd from nineteen forty through nineteen fifty nine. Yeah,

561
00:29:28,560 --> 00:29:31,440
Speaker 3: he was not the originator, and there were others who

562
00:29:31,440 --> 00:29:34,000
Speaker 3: did that voice during this time, but he was an

563
00:29:34,040 --> 00:29:36,880
Speaker 3: official Elmer Fudd voice actor.

564
00:29:37,400 --> 00:29:39,800
Speaker 1: That totally fits. I did not make that connection.

565
00:29:40,520 --> 00:29:43,520
Speaker 3: I mean, it's it's not. It feels like the least

566
00:29:43,520 --> 00:29:45,160
Speaker 3: shocking thing in the world when you see him in

567
00:29:45,160 --> 00:29:48,840
Speaker 3: the film, because he looks like Elmer Fudd. It's like

568
00:29:48,880 --> 00:29:50,760
Speaker 3: he has a very Elmer Fudd look. He's just not

569
00:29:50,800 --> 00:29:52,280
Speaker 3: wearing the hunting cap.

570
00:29:52,560 --> 00:29:55,680
Speaker 1: But he's also so I mean, it's early in the

571
00:29:55,720 --> 00:29:58,520
Speaker 1: existence of this cliche. So I guess he's one of

572
00:29:58,560 --> 00:30:01,560
Speaker 1: the examples that is being copied in later films and

573
00:30:01,600 --> 00:30:05,680
Speaker 1: TV shows. But he is the classic like police chief

574
00:30:05,920 --> 00:30:10,000
Speaker 1: or newspaper editor who's barking at our rogue main character

575
00:30:10,040 --> 00:30:13,320
Speaker 1: about how you're a loose cannon. He's mcgarnigle's boss on

576
00:30:13,360 --> 00:30:16,280
Speaker 1: the Simpsons. He's like, well, mccarnicle, you know, Billy is dead.

577
00:30:18,200 --> 00:30:20,240
Speaker 3: Yeah, there are a lot of fun scenes with this character.

578
00:30:20,840 --> 00:30:23,520
Speaker 3: All right, And I'm gonna mention the musical director here.

579
00:30:23,560 --> 00:30:25,320
Speaker 3: This is you know, films of this nature from this

580
00:30:25,360 --> 00:30:29,400
Speaker 3: time period, they're often using like stock music, and ultimately,

581
00:30:29,440 --> 00:30:32,400
Speaker 3: I don't know, I couldn't tell. I didn't do deep

582
00:30:32,480 --> 00:30:35,760
Speaker 3: enough research to find out exactly how much this guy

583
00:30:35,840 --> 00:30:37,960
Speaker 3: worked on the music, how much of it his stock

584
00:30:38,200 --> 00:30:41,080
Speaker 3: and so forth, But he was very prolific. So I'm

585
00:30:41,120 --> 00:30:44,400
Speaker 3: just gonna mention him briefly anyway, It's David Chudnow, who

586
00:30:44,440 --> 00:30:48,240
Speaker 3: lived nineteen oh nine through two thousand and two, Russian

587
00:30:48,320 --> 00:30:51,560
Speaker 3: born composer and musical director who worked as music supervisor

588
00:30:51,680 --> 00:30:54,440
Speaker 3: or musical director on one hundred and sixty four credits

589
00:30:54,480 --> 00:30:58,200
Speaker 3: between thirty eight and fifty six. His composer credits include

590
00:30:58,280 --> 00:31:01,360
Speaker 3: nineteen forty two Is the Mad Monster and then later

591
00:31:01,560 --> 00:31:05,160
Speaker 3: Russ Meyer's nineteen sixty one film Erotica, and he went

592
00:31:05,200 --> 00:31:07,640
Speaker 3: on to produce a number of projects in the sixties

593
00:31:07,640 --> 00:31:10,200
Speaker 3: and seventies, mostly the films that were directed by his

594
00:31:10,280 --> 00:31:15,200
Speaker 3: son byronshud Now born nineteen twenty six, including a trilogy

595
00:31:15,320 --> 00:31:18,840
Speaker 3: of G rated intelligent Doberman pictures. I've mentioned these on

596
00:31:18,880 --> 00:31:22,400
Speaker 3: the show before. They are The Doberman Gang seventy two,

597
00:31:22,680 --> 00:31:26,400
Speaker 3: The Daring Doberman's from seventy three, and The Amazing Doberman's

598
00:31:26,440 --> 00:31:30,440
Speaker 3: from seventy six. William Goldstein of Doctor Fib's fame was

599
00:31:30,480 --> 00:31:32,160
Speaker 3: one of the writers on that last picture.

600
00:31:32,880 --> 00:31:36,120
Speaker 1: These are Doberman. You're not talking about people named Doberman.

601
00:31:36,200 --> 00:31:37,480
Speaker 1: These are Doberman's the dogs.

602
00:31:37,480 --> 00:31:42,280
Speaker 3: These are straight up dogs. I think solving crimes and stuff. Again,

603
00:31:42,360 --> 00:31:44,280
Speaker 3: not a horror movie or anything. It's like apparently g

604
00:31:44,400 --> 00:31:47,320
Speaker 3: rated fun, but it was like a whole franchise that

605
00:31:47,400 --> 00:31:50,120
Speaker 3: I feel like this largely forgot beautiful.

606
00:31:50,520 --> 00:31:52,440
Speaker 1: Well, I don't want to be mean, but I do

607
00:31:52,480 --> 00:31:56,240
Speaker 1: not Nothing about the music in this movie really struck me.

608
00:31:56,440 --> 00:31:57,360
Speaker 1: It was kind of forgettable.

609
00:31:57,480 --> 00:32:00,200
Speaker 3: It does everything expect a film from this time period do,

610
00:32:00,400 --> 00:32:03,560
Speaker 3: and nothing more. All right, well, shall we unleash the

611
00:32:03,600 --> 00:32:05,240
Speaker 3: plot in an unsuspecting audience.

612
00:32:05,360 --> 00:32:08,120
Speaker 1: Yeah, let's open the window and let the bats out. Okay,

613
00:32:08,880 --> 00:32:13,320
Speaker 1: So we begin with a text legend over like superimposed

614
00:32:13,360 --> 00:32:16,760
Speaker 1: over a shot of just a town that by the way,

615
00:32:17,000 --> 00:32:19,720
Speaker 1: did you have an idea of where this was supposed

616
00:32:19,720 --> 00:32:23,120
Speaker 1: to take place? Because the opening shots made me think

617
00:32:23,200 --> 00:32:26,400
Speaker 1: this is supposed to be in the American Southwest. Looks

618
00:32:26,440 --> 00:32:30,000
Speaker 1: like the Southwest, But then the reporter that goes to

619
00:32:30,080 --> 00:32:32,200
Speaker 1: investigate is from the Chicago Register.

620
00:32:33,240 --> 00:32:35,880
Speaker 3: Yeah, oh, you know, they might just have a satellite

621
00:32:35,880 --> 00:32:39,800
Speaker 3: office here. So I don't know. Everything feels very solid

622
00:32:39,840 --> 00:32:40,880
Speaker 3: Middle America, you know.

623
00:32:41,400 --> 00:32:47,400
Speaker 1: Okay, Anyway, the text says, all Heathville loved Paul Carruthers.

624
00:32:47,480 --> 00:32:51,320
Speaker 1: They're kindly village doctor. No one suspected that in his

625
00:32:51,440 --> 00:32:55,480
Speaker 1: home laboratory on a hillside overlooking the magnificent estate of

626
00:32:55,640 --> 00:33:01,080
Speaker 1: Martin Heath. The doctor found time to conduct certain private experiments,

627
00:33:01,760 --> 00:33:08,760
Speaker 1: weird terrifying experiments. Period. Okay, so then we open on

628
00:33:08,960 --> 00:33:12,720
Speaker 1: Bela Lugosi hunched over a table covered in chemistry equipment.

629
00:33:12,760 --> 00:33:16,680
Speaker 1: You got beakers, flasks, gas flames, in a room with

630
00:33:16,840 --> 00:33:22,160
Speaker 1: fake stonework walls, and he's doing chemistry, mixing solutions, decanting

631
00:33:22,200 --> 00:33:25,840
Speaker 1: things into bottles, occasionally just having him a little free sample,

632
00:33:26,000 --> 00:33:28,400
Speaker 1: like like sniffing, you know, getting a sniff.

633
00:33:28,240 --> 00:33:31,080
Speaker 3: Yep, yep, doing some mad science. Basically, you know what

634
00:33:31,120 --> 00:33:33,440
Speaker 3: he's up to. You didn't even need the crawl. Of course,

635
00:33:33,480 --> 00:33:37,280
Speaker 3: Bello Lugosi is up to weird, terrifying experiments and you know,

636
00:33:37,320 --> 00:33:39,760
Speaker 3: I don't know, we don't know. It's illegal, you know,

637
00:33:39,840 --> 00:33:42,440
Speaker 3: God bless him. Go ahead do your weird terrifying stuff.

638
00:33:42,760 --> 00:33:44,800
Speaker 1: Why would he be sniffing the chemicals if there was

639
00:33:44,840 --> 00:33:49,840
Speaker 1: anything wrong with them? So he goes into a secret passageway.

640
00:33:50,480 --> 00:33:53,080
Speaker 1: This is accessed by way of a hidden switch in

641
00:33:53,120 --> 00:33:56,560
Speaker 1: a bookcase, and this leads down into a dungeon. And

642
00:33:56,640 --> 00:34:00,880
Speaker 1: the dungeon is full of bats. It's hard to tell

643
00:34:00,920 --> 00:34:03,400
Speaker 1: exactly what's going on. So Rob, I'm going to lay

644
00:34:03,400 --> 00:34:05,440
Speaker 1: it out what I thought was going on, and you

645
00:34:05,480 --> 00:34:08,600
Speaker 1: tell me if it matches your impression. I think there

646
00:34:08,640 --> 00:34:13,760
Speaker 1: are lots of bats, but for substantial portions of the movie,

647
00:34:14,320 --> 00:34:17,920
Speaker 1: only one bat seems to be active at a time.

648
00:34:18,480 --> 00:34:22,360
Speaker 1: So I believe these other bats are backup bats that

649
00:34:22,440 --> 00:34:27,839
Speaker 1: are in storage waiting to be activated by the microwave,

650
00:34:27,880 --> 00:34:29,920
Speaker 1: as you put it, the thing that he's going to

651
00:34:29,960 --> 00:34:31,840
Speaker 1: put this bat into in a minute.

652
00:34:31,960 --> 00:34:34,359
Speaker 3: That's right. You can only cook up one mutant bat

653
00:34:34,360 --> 00:34:36,080
Speaker 3: at a time, but you've got to have a lot

654
00:34:36,120 --> 00:34:38,680
Speaker 3: of normal bats on hand to cook up if something

655
00:34:38,719 --> 00:34:40,239
Speaker 3: happens to that prime bat.

656
00:34:40,440 --> 00:34:43,279
Speaker 1: Okay, So the bats are dangling upside down from what

657
00:34:43,400 --> 00:34:46,719
Speaker 1: looked like coat hangers. There is one main bat at

658
00:34:46,760 --> 00:34:49,480
Speaker 1: the center of the room. It's bigger than all the others,

659
00:34:49,800 --> 00:34:52,759
Speaker 1: and Legosi approaches it to say the first line of

660
00:34:52,800 --> 00:34:54,600
Speaker 1: the film, what do you think the opening line of

661
00:34:54,680 --> 00:34:59,040
Speaker 1: dialogue in this movie will be? He says, ah, my friend,

662
00:34:59,440 --> 00:35:05,319
Speaker 1: our theory of glandular stimulation through electrical impulses was correct.

663
00:35:06,360 --> 00:35:08,839
Speaker 1: That's a hell of an opener. And then he goes

664
00:35:08,840 --> 00:35:11,680
Speaker 1: on to say, a few days ago, you were as

665
00:35:11,719 --> 00:35:15,040
Speaker 1: small as your companion, and now look at you, and

666
00:35:15,400 --> 00:35:17,920
Speaker 1: I think he's got to be a good thirty percent

667
00:35:17,960 --> 00:35:21,200
Speaker 1: bigger than the other bats. Now Here we cut to

668
00:35:21,360 --> 00:35:24,080
Speaker 1: a close up shot of a real bat's face. We

669
00:35:24,120 --> 00:35:27,120
Speaker 1: will see this exact same bat close up footage so

670
00:35:27,280 --> 00:35:30,239
Speaker 1: many times in the movie. I don't know if it

671
00:35:30,280 --> 00:35:32,239
Speaker 1: was something shot for the film or if they were

672
00:35:32,239 --> 00:35:34,719
Speaker 1: just getting you know, nature stock footage, but it's like

673
00:35:34,840 --> 00:35:36,960
Speaker 1: right up in the bat's face and it's some kind

674
00:35:36,960 --> 00:35:41,040
Speaker 1: of bat like looking around, looking like it's struggling against restraints.

675
00:35:41,600 --> 00:35:43,760
Speaker 3: Yeah, I thought they did a pretty good job integrating

676
00:35:43,800 --> 00:35:47,439
Speaker 3: their live animal shots and their prop shots here. Of course,

677
00:35:47,480 --> 00:35:49,840
Speaker 3: as you might expect, this is often the case. The

678
00:35:49,880 --> 00:35:52,080
Speaker 3: bat we see enclose up is clearly a fruit bat

679
00:35:52,080 --> 00:35:54,839
Speaker 3: of some sort, yes, which is of course in real life,

680
00:35:54,880 --> 00:35:58,200
Speaker 3: absolutely not interested in human flesh or anything like that.

681
00:35:58,280 --> 00:36:02,000
Speaker 3: It wants to eat mangoes or something. But they to

682
00:36:02,040 --> 00:36:04,480
Speaker 3: the untrained eye, they look more ferocious. They look kind

683
00:36:04,480 --> 00:36:07,960
Speaker 3: of like wolves, so that's what we get. But yeah,

684
00:36:08,000 --> 00:36:10,520
Speaker 3: I thought the integration between the shots was pretty good, though.

685
00:36:10,560 --> 00:36:13,080
Speaker 3: The hanger bat kind of looks like some sort of

686
00:36:13,080 --> 00:36:14,760
Speaker 3: like cured bat jerky, right.

687
00:36:14,880 --> 00:36:17,560
Speaker 1: Yes, it looks like a bat got caught into a

688
00:36:17,640 --> 00:36:20,600
Speaker 1: hydraulic press and so it's just a furry pancake with

689
00:36:20,680 --> 00:36:22,440
Speaker 1: wings and then they left it out to dry in

690
00:36:22,480 --> 00:36:22,839
Speaker 1: the sun.

691
00:36:23,120 --> 00:36:23,640
Speaker 3: Exactly.

692
00:36:23,760 --> 00:36:28,120
Speaker 1: Yeah, So Lugosi dismounts the bat hangar and transports it

693
00:36:28,160 --> 00:36:31,880
Speaker 1: to another room. This is a high voltage bombardment chamber

694
00:36:32,000 --> 00:36:36,240
Speaker 1: behind a steel door with thick glass viewing windows. He leaves,

695
00:36:36,320 --> 00:36:38,920
Speaker 1: He like hangs the bat up in the room, leaves

696
00:36:38,960 --> 00:36:41,920
Speaker 1: the room, puts on welding goggles, flips a switch. The

697
00:36:41,960 --> 00:36:45,040
Speaker 1: electricity starts going nuts inside the room. It's like arcing

698
00:36:45,120 --> 00:36:48,600
Speaker 1: from all these tesla coils and stuff, and the bat

699
00:36:48,719 --> 00:36:51,600
Speaker 1: is just hanging there while Lugosi watches through the glass.

700
00:36:52,200 --> 00:36:54,960
Speaker 1: And I think the director must have thought that people

701
00:36:55,000 --> 00:36:57,839
Speaker 1: would just really get a kick out of the glandular

702
00:36:57,920 --> 00:37:01,160
Speaker 1: stimulation scene because it goes on for some time. It's

703
00:37:01,200 --> 00:37:04,440
Speaker 1: like zap zap zaps app for a while. Then Legosi

704
00:37:04,600 --> 00:37:07,879
Speaker 1: goes inside the room to make some adjustments, then goes

705
00:37:07,920 --> 00:37:10,319
Speaker 1: back outside and starts zapping it again, and we just

706
00:37:10,360 --> 00:37:11,120
Speaker 1: get to watch.

707
00:37:11,520 --> 00:37:14,080
Speaker 3: Yeah. I mean, I guess it's worth pointing out that, like,

708
00:37:14,120 --> 00:37:17,160
Speaker 3: what the full run time of this picture is sixty

709
00:37:17,200 --> 00:37:20,359
Speaker 3: eight minutes. Yeah, so maybe we do have a certain

710
00:37:20,360 --> 00:37:21,680
Speaker 3: amount of padding going on here.

711
00:37:21,880 --> 00:37:26,320
Speaker 1: Yeah, But as the electrical stimulation continues, the bat begins

712
00:37:26,440 --> 00:37:29,719
Speaker 1: to flex its wings. So it's I guess it's coming

713
00:37:29,800 --> 00:37:34,160
Speaker 1: to life, coming out of cold storage now. Once the

714
00:37:34,200 --> 00:37:37,400
Speaker 1: stimulation is over, Legosi checks the bat for a heartbeat.

715
00:37:37,400 --> 00:37:39,480
Speaker 1: He goes in with like a stethoscope, and he's checking

716
00:37:39,520 --> 00:37:42,160
Speaker 1: it out, and he seems very very pleased with himself.

717
00:37:42,520 --> 00:37:45,160
Speaker 1: But he is interrupted by a phone call. It's a

718
00:37:45,160 --> 00:37:48,720
Speaker 1: call from his bosses that they are the business partners

719
00:37:48,760 --> 00:37:52,719
Speaker 1: Henry Morton and Martin Heath Heath of this heath Ville Heath,

720
00:37:52,719 --> 00:37:55,319
Speaker 1: the Heath Company, and Henry Morton is his partner, and

721
00:37:55,360 --> 00:37:58,400
Speaker 1: they are inviting doctor Caruthers to a family get together

722
00:37:58,480 --> 00:38:02,320
Speaker 1: at the Heath residence that night. And then Carrothers says

723
00:38:02,360 --> 00:38:05,960
Speaker 1: he appreciates the invitation quote, but I am very busy

724
00:38:06,000 --> 00:38:09,560
Speaker 1: working on a formula for a new shaving lotion. And

725
00:38:09,600 --> 00:38:12,239
Speaker 1: then Heath replies, oh, you know, but Doc, this is

726
00:38:12,280 --> 00:38:15,720
Speaker 1: my daughter's idea. And this is referring to Heath's adult

727
00:38:15,800 --> 00:38:19,720
Speaker 1: daughter Mary. They say, you know, Henry Morton's son Don

728
00:38:19,960 --> 00:38:23,200
Speaker 1: is going to propose to her tonight, and apparently she

729
00:38:23,360 --> 00:38:25,920
Speaker 1: will be very upset if Bella Lagosi isn't there for that.

730
00:38:27,560 --> 00:38:30,400
Speaker 1: So they hang up the phone, and then Henry Morton

731
00:38:30,480 --> 00:38:33,319
Speaker 1: says he's going to be surprised when he finds the

732
00:38:33,360 --> 00:38:36,800
Speaker 1: special occasion is to present him with this bonus check.

733
00:38:37,480 --> 00:38:40,000
Speaker 1: He says this while holding the check in his hand,

734
00:38:40,320 --> 00:38:43,040
Speaker 1: and then Heath takes the check and stares at it

735
00:38:43,120 --> 00:38:48,319
Speaker 1: and says, almost wistfully, five thousand dollars. I don't know,

736
00:38:48,320 --> 00:38:50,440
Speaker 1: maybe it's not coming across in the way I'm describing,

737
00:38:50,480 --> 00:38:53,600
Speaker 1: but there are so many, like out loud references to

738
00:38:53,719 --> 00:38:56,640
Speaker 1: this five thousand dollars check. It got very funny to me.

739
00:38:56,840 --> 00:38:59,960
Speaker 3: Yeah, five thousand snaggers. Yeah, this is a lot of money.

740
00:39:00,360 --> 00:39:03,000
Speaker 1: Well, whatever the amount is, it's just all these people

741
00:39:03,080 --> 00:39:05,920
Speaker 1: gathered around being like, wow, this is the dollar amount

742
00:39:06,000 --> 00:39:10,200
Speaker 1: of the check. Anyway, Before Carothers goes to the party,

743
00:39:10,280 --> 00:39:13,279
Speaker 1: we see him explaining his giant bat scheme to the

744
00:39:13,320 --> 00:39:16,440
Speaker 1: giant bat. He dips a cotton ball in the new

745
00:39:16,480 --> 00:39:19,160
Speaker 1: shaving lotion he's making and he holds it up to

746
00:39:19,200 --> 00:39:24,600
Speaker 1: the glandular stimulated bat, the glandularly stimulated bat, and the

747
00:39:24,640 --> 00:39:28,080
Speaker 1: bat starts screaming, and Legosi is like, good, yes, I

748
00:39:28,160 --> 00:39:31,520
Speaker 1: taught you to hate this fragrance while you slept. Now

749
00:39:31,560 --> 00:39:33,640
Speaker 1: if you smell it while you are awake, you will

750
00:39:33,680 --> 00:39:34,960
Speaker 1: strike to kill.

751
00:39:35,320 --> 00:39:38,080
Speaker 3: All right, all right, murderous conditioning. Okay.

752
00:39:38,360 --> 00:39:40,160
Speaker 1: Then we go to a scene of the party at

753
00:39:40,160 --> 00:39:43,520
Speaker 1: Morton and Heath's house. So Mary is Heath's daughter, but

754
00:39:43,560 --> 00:39:47,040
Speaker 1: they are also just a bunch of loose suns running around.

755
00:39:47,320 --> 00:39:49,719
Speaker 1: I don't remember whose son is whose. There's a bunch

756
00:39:49,800 --> 00:39:53,680
Speaker 1: of them. And Morton is like, remember, Roy, Tommy, you're

757
00:39:53,680 --> 00:39:56,440
Speaker 1: not supposed to say anything about this five thousand dollars

758
00:39:56,480 --> 00:39:58,600
Speaker 1: check that I hold in my hand until you get

759
00:39:58,640 --> 00:40:02,160
Speaker 1: the signal from Heath. And then Mary, Heath and a

760
00:40:02,280 --> 00:40:05,080
Speaker 1: Morton son named don A. They're sort of cuddling and

761
00:40:05,120 --> 00:40:07,960
Speaker 1: flirting on the other couch and Morton starts to give

762
00:40:08,000 --> 00:40:10,400
Speaker 1: them the same talk, and they have all these ideas

763
00:40:10,440 --> 00:40:13,239
Speaker 1: about how they should unveil the five thousand dollars check.

764
00:40:13,680 --> 00:40:16,400
Speaker 1: But then they find out car Others is not going

765
00:40:16,440 --> 00:40:18,319
Speaker 1: to come to the party because he is busy with

766
00:40:18,360 --> 00:40:22,080
Speaker 1: his lotion. So Roy, one of the heath sons, offers

767
00:40:22,120 --> 00:40:25,239
Speaker 1: to take the check up to the laboratory and here

768
00:40:25,239 --> 00:40:28,160
Speaker 1: we get our first like put on the lotion Roy scene.

769
00:40:28,600 --> 00:40:31,880
Speaker 1: So Roy goes up to the lab and Carrothers reacts

770
00:40:31,880 --> 00:40:35,080
Speaker 1: with this strange, kind of hard to read cascade of

771
00:40:35,120 --> 00:40:38,480
Speaker 1: emotions when he receives the five thousand dollars check. He'll

772
00:40:38,520 --> 00:40:41,280
Speaker 1: explain why in a minute. But then he's like, okay,

773
00:40:41,360 --> 00:40:44,239
Speaker 1: Roy Heath, I want you to try my new aftershave.

774
00:40:44,800 --> 00:40:46,800
Speaker 1: And so Roy takes some of it and he smells that.

775
00:40:46,880 --> 00:40:50,480
Speaker 1: He says, ooh, pretty strong, isn't it. This establishes a pattern.

776
00:40:50,680 --> 00:40:52,879
Speaker 1: All the victims are going to say this like wow,

777
00:40:52,960 --> 00:40:57,399
Speaker 1: smells really strong. But Legosi reassures him. He says, no, no,

778
00:40:57,480 --> 00:41:00,279
Speaker 1: the scent evaporates a short time after you use it.

779
00:41:00,760 --> 00:41:03,200
Speaker 1: So Roy takes a few drops in his hand, and

780
00:41:03,200 --> 00:41:06,680
Speaker 1: then the Legosi gleefully explains. He says, now, rub it

781
00:41:06,760 --> 00:41:09,919
Speaker 1: on the tender part of your neck. Here. I love

782
00:41:10,000 --> 00:41:12,319
Speaker 1: these scenes. So he keeps like touching his throat and

783
00:41:12,360 --> 00:41:15,000
Speaker 1: being like, here's where you rub it. It's so soft

784
00:41:15,080 --> 00:41:15,640
Speaker 1: on the skin.

785
00:41:16,080 --> 00:41:18,040
Speaker 3: Yes, he says, you want to apply lots of it to

786
00:41:18,080 --> 00:41:19,640
Speaker 3: the esophagus and the jugular.

787
00:41:19,960 --> 00:41:24,200
Speaker 1: Yeah, that's right. So Roy rubs the lotion on his throat,

788
00:41:24,360 --> 00:41:27,360
Speaker 1: then he departs. When he leaves, he says good night, doctor,

789
00:41:27,760 --> 00:41:32,279
Speaker 1: and Legosi replies, goodbye Roy. He will also do this

790
00:41:32,440 --> 00:41:35,520
Speaker 1: in every one of the murders. Yes. Then we get

791
00:41:35,560 --> 00:41:38,879
Speaker 1: a weird voiceover of Legosi's thoughts. Is this the only

792
00:41:38,960 --> 00:41:41,600
Speaker 1: time in the entire movie when we hear a character's

793
00:41:41,640 --> 00:41:42,480
Speaker 1: thoughts out loud?

794
00:41:42,560 --> 00:41:44,880
Speaker 3: I think so it is. Yeah, this really feels like

795
00:41:44,880 --> 00:41:48,240
Speaker 3: one of those classic moments of the director or someone

796
00:41:48,280 --> 00:41:51,080
Speaker 3: in the production saying, I don't think we got this across.

797
00:41:51,360 --> 00:41:54,000
Speaker 3: Let's have some voice over here, and that's what they do.

798
00:41:54,400 --> 00:41:57,359
Speaker 1: Absolutely feels tacked on. But what So He's standing there

799
00:41:57,400 --> 00:42:00,759
Speaker 1: staring at the check and we hear Legosi's voiceover say,

800
00:42:01,000 --> 00:42:05,120
Speaker 1: lovely check, isn't it? Doctor? They are wealthy because of you.

801
00:42:05,120 --> 00:42:09,080
Speaker 1: You made them rich. Doctor. It was your formula tonight.

802
00:42:09,239 --> 00:42:12,440
Speaker 1: They gave you five thousand dollars and wanted you to

803
00:42:12,440 --> 00:42:14,600
Speaker 1: come down to their house and thank them for it.

804
00:42:14,880 --> 00:42:17,760
Speaker 1: That was your money they gave you, like a bone

805
00:42:17,920 --> 00:42:21,120
Speaker 1: tossed to a faithful dog. And we get some very

806
00:42:21,120 --> 00:42:25,560
Speaker 1: good facial expressions from Bella here. First he looks sad,

807
00:42:25,600 --> 00:42:27,799
Speaker 1: and then it turns into a grimace, and then it

808
00:42:27,840 --> 00:42:32,280
Speaker 1: turns into maniacal laughter and then straight into a furious glower.

809
00:42:32,520 --> 00:42:34,920
Speaker 1: He is ready now to send the bats, so he

810
00:42:34,960 --> 00:42:37,640
Speaker 1: goes down into the secret passageway. He goes to his

811
00:42:37,719 --> 00:42:40,480
Speaker 1: mutant bat and he says, tonight, you have work to do,

812
00:42:41,080 --> 00:42:42,360
Speaker 1: and the bat flies out.

813
00:42:42,880 --> 00:42:46,000
Speaker 3: Yep, yep. And I think the bat flying looks pretty good,

814
00:42:46,000 --> 00:42:47,759
Speaker 3: though there's going to be a plot element that kind

815
00:42:47,760 --> 00:42:50,160
Speaker 3: of tarnishes the effect a bit later on.

816
00:42:50,520 --> 00:43:03,200
Speaker 1: Yeah. Yeah, So first we see Don and Mary out

817
00:43:03,200 --> 00:43:05,279
Speaker 1: in the garden on a bench. Remember they were the

818
00:43:05,320 --> 00:43:08,120
Speaker 1: ones who were going to get engaged. This part I

819
00:43:08,200 --> 00:43:11,680
Speaker 1: found incredibly perplexing. Don says, you know, while our families

820
00:43:11,719 --> 00:43:14,440
Speaker 1: are here, tonight is a good time to announce our engagement,

821
00:43:15,040 --> 00:43:18,400
Speaker 1: and Mary says to him, looked on, I love you,

822
00:43:18,440 --> 00:43:20,680
Speaker 1: I've loved you since we were kids, but not in

823
00:43:20,719 --> 00:43:23,359
Speaker 1: that way. You're more like a brother to me. And

824
00:43:23,760 --> 00:43:25,719
Speaker 1: I was like, what, how did you get to the

825
00:43:25,760 --> 00:43:28,120
Speaker 1: point of thinking they were gonna be engaged?

826
00:43:28,760 --> 00:43:32,759
Speaker 3: Yeah? Yeah, he seemed exceedingly sure of this. Yeah, so

827
00:43:32,920 --> 00:43:35,120
Speaker 3: this was yeah, this is a real head scratcher, But

828
00:43:35,280 --> 00:43:36,200
Speaker 3: he takes it well.

829
00:43:36,480 --> 00:43:38,680
Speaker 1: He doesn't get mad or anything. He's just like, oh, okay,

830
00:43:38,680 --> 00:43:39,520
Speaker 1: fair enough.

831
00:43:39,640 --> 00:43:42,600
Speaker 3: Yeah, it's like we needed more information. Why was this

832
00:43:42,880 --> 00:43:46,600
Speaker 3: miscommunication in place? Were they betrothed? Ye? What was going

833
00:43:46,640 --> 00:43:47,960
Speaker 3: on hereh idea?

834
00:43:48,080 --> 00:43:50,360
Speaker 1: Okay? But yeah, Don takes it well. He's like, okay.

835
00:43:50,360 --> 00:43:54,759
Speaker 1: Then meanwhile, nearby Mary's brother, Roy, the guy who put

836
00:43:54,800 --> 00:43:57,440
Speaker 1: the lotion on his throat, he arrives home, gets out

837
00:43:57,440 --> 00:44:00,280
Speaker 1: of his car and is immediately dive bombed by at.

838
00:44:00,880 --> 00:44:04,239
Speaker 1: And we don't see a lot of it. I mean,

839
00:44:04,239 --> 00:44:06,080
Speaker 1: we see the bat flying, and we see sort of

840
00:44:06,160 --> 00:44:08,040
Speaker 1: a dark dive bomb thing, but it's not like we

841
00:44:08,080 --> 00:44:09,719
Speaker 1: get like a clear close up.

842
00:44:10,239 --> 00:44:13,760
Speaker 3: Eventually, we'll probably watch Life Force for Weird House Cinema

843
00:44:13,800 --> 00:44:16,400
Speaker 3: and we'll have to compare the dive bombing bat sequences.

844
00:44:16,440 --> 00:44:19,160
Speaker 3: I think they have some of these in Fright Night

845
00:44:19,200 --> 00:44:22,280
Speaker 3: as well, right in there, dive bombing bat scene in that.

846
00:44:21,880 --> 00:44:24,880
Speaker 1: That sounds right. Yeah. Oh, and so you know, they

847
00:44:24,880 --> 00:44:27,239
Speaker 1: hear him scream and Mary and Don come running and

848
00:44:27,280 --> 00:44:29,799
Speaker 1: they find Roy in the driveway there and they're like,

849
00:44:29,840 --> 00:44:33,319
Speaker 1: call doctor Carruther is no good. So you know, Carro

850
00:44:33,320 --> 00:44:35,520
Speaker 1: others comes to check on him, and they have both

851
00:44:35,520 --> 00:44:37,800
Speaker 1: families gathered around him as he's lying there in the

852
00:44:37,920 --> 00:44:41,480
Speaker 1: driveway and there's a dialogue exchange that goes like this,

853
00:44:41,600 --> 00:44:44,760
Speaker 1: Carrother says there's nothing I can do, and Heath says,

854
00:44:44,920 --> 00:44:48,200
Speaker 1: you mean he's dead. Her other says, yes, I'd better

855
00:44:48,239 --> 00:44:51,439
Speaker 1: call the coroner. Heath says, you think it's murder? Carro

856
00:44:51,440 --> 00:44:54,040
Speaker 1: Other says, I don't know. I never saw anything like

857
00:44:54,080 --> 00:44:57,880
Speaker 1: it before. The jugular vein is severed. They all look down.

858
00:44:58,239 --> 00:45:01,640
Speaker 3: It cuts to black, and this is where the news

859
00:45:01,640 --> 00:45:02,680
Speaker 3: media comes into play.

860
00:45:02,880 --> 00:45:06,080
Speaker 1: Yeah, but because everybody trusts Carruthers, I mean, of course

861
00:45:06,120 --> 00:45:06,480
Speaker 1: we should have.

862
00:45:06,600 --> 00:45:08,680
Speaker 3: Yeah. They tell us this a lot. They're always like,

863
00:45:08,680 --> 00:45:11,640
Speaker 3: everybody trusts corrects, everyone loves Corrutthers, The community loves him.

864
00:45:11,920 --> 00:45:16,200
Speaker 3: We're given very little in addition to that to make

865
00:45:16,280 --> 00:45:18,239
Speaker 3: us believe this is the case, because come on, it's

866
00:45:18,239 --> 00:45:21,759
Speaker 3: bell Legosi. Uh, Like he brings that ara here. We

867
00:45:21,800 --> 00:45:24,759
Speaker 3: don't really see him doing like nice things for the community.

868
00:45:24,880 --> 00:45:27,640
Speaker 3: He just wants to do terrifying experiments in his laboratory.

869
00:45:27,719 --> 00:45:31,040
Speaker 1: Yeah, he's acting incredibly suspicious from the first scene.

870
00:45:31,400 --> 00:45:34,400
Speaker 3: Yeah, but all right, fair enough, nobody suspects him.

871
00:45:34,719 --> 00:45:36,680
Speaker 1: All right, So it's time to meet some new characters

872
00:45:36,680 --> 00:45:39,920
Speaker 1: at the offices of a newspaper, The Chicago register, and

873
00:45:40,040 --> 00:45:43,720
Speaker 1: so it shows a busy, bustling newsroom. We're two guys

874
00:45:43,760 --> 00:45:46,960
Speaker 1: on the floor of the newsroom throwing punches. It looked

875
00:45:47,040 --> 00:45:48,440
Speaker 1: like it, but then it cuts away quick.

876
00:45:48,760 --> 00:45:51,759
Speaker 3: Yeah it's you know, it's a scrappy environment. They're they're

877
00:45:51,800 --> 00:45:53,520
Speaker 3: having fun, they're working hard, they're playing hard.

878
00:45:53,760 --> 00:45:55,360
Speaker 1: And so we're going to meet a couple of characters

879
00:45:55,360 --> 00:45:59,400
Speaker 1: here the assignment editor McGinty, who again, he's your classic

880
00:45:59,600 --> 00:46:04,920
Speaker 1: large cigar chewing police chief slash newspaper editor. He's telling

881
00:46:04,960 --> 00:46:07,960
Speaker 1: the cop or reporter, you're a loose cannon. You're off

882
00:46:07,960 --> 00:46:10,040
Speaker 1: the force. Here's your new partner. And in fact, we

883
00:46:10,120 --> 00:46:11,800
Speaker 1: get all three of those in this movie.

884
00:46:12,200 --> 00:46:15,080
Speaker 3: Yes, yes, I do like the elements too, though with

885
00:46:15,520 --> 00:46:18,239
Speaker 3: our newspaper editor here, who is like, we got to

886
00:46:18,239 --> 00:46:20,840
Speaker 3: remember the Heath Company. It's a big account, you know,

887
00:46:20,880 --> 00:46:24,160
Speaker 3: big advertising accounts for the paper. So they do interject

888
00:46:24,239 --> 00:46:29,520
Speaker 3: a little bit of like realistic news room politics.

889
00:46:28,920 --> 00:46:32,400
Speaker 1: Here, well kind of, but I didn't understand the dynamics,

890
00:46:32,400 --> 00:46:34,600
Speaker 1: So yeah, I thought that was interesting. They're like, Heath

891
00:46:34,680 --> 00:46:37,000
Speaker 1: is a big advertising account, so you've got to go

892
00:46:37,040 --> 00:46:40,319
Speaker 1: to Heathville. You've got to get a photo photographer to

893
00:46:40,360 --> 00:46:44,640
Speaker 1: go with you go to Heathville and do a big

894
00:46:44,680 --> 00:46:48,719
Speaker 1: sensational news story about his son's unsolved mutant bat murder.

895
00:46:49,040 --> 00:46:52,560
Speaker 3: Yeah yeah, I mean that part makes less sense. It

896
00:46:52,560 --> 00:46:54,800
Speaker 3: would be it would be more realistic. It's like, okay,

897
00:46:54,800 --> 00:46:56,840
Speaker 3: you're going you're going up there, but make sure you

898
00:46:56,840 --> 00:46:59,719
Speaker 3: play it really respectful. We've got to cover this. But

899
00:46:59,760 --> 00:47:03,120
Speaker 3: they're huge advertiser, so again, some things are maybe lost

900
00:47:03,160 --> 00:47:03,919
Speaker 3: in the message here.

901
00:47:04,120 --> 00:47:07,000
Speaker 1: I mean normally, if there's like a big industry mogul

902
00:47:07,040 --> 00:47:10,359
Speaker 1: who has a child with their adult child is killed

903
00:47:10,400 --> 00:47:13,600
Speaker 1: in an unsolved murder, you want the National Inquirer up

904
00:47:13,640 --> 00:47:14,719
Speaker 1: there getting into it.

905
00:47:15,400 --> 00:47:17,879
Speaker 3: Yeah, well they send the A team, as we'll see.

906
00:47:18,200 --> 00:47:21,120
Speaker 1: That's right. So our hero here is Johnny Layden. He's

907
00:47:21,160 --> 00:47:25,040
Speaker 1: a scrappy reporter who's always causing trouble. Somebody's always calling

908
00:47:25,040 --> 00:47:27,120
Speaker 1: the editor to get him fired. But you know what,

909
00:47:27,400 --> 00:47:32,000
Speaker 1: he gets results. And McGinty explains, there's this mystery killing

910
00:47:32,000 --> 00:47:34,960
Speaker 1: in Heathville. It's old Martin Heath's son. He wants Layden

911
00:47:35,000 --> 00:47:39,480
Speaker 1: looking into it. Leydon is unfamiliar. He's like, who's Martin Heath?

912
00:47:39,600 --> 00:47:42,640
Speaker 1: And McGinty this was also weird McGinty's like, who's Martin

913
00:47:42,680 --> 00:47:45,360
Speaker 1: Heath say? Have you ever had a date with a girl?

914
00:47:46,000 --> 00:47:48,000
Speaker 1: And Leyden says, you know, he might have had one

915
00:47:48,040 --> 00:47:51,600
Speaker 1: at some point, And McGinty says, well, did she smell sweet?

916
00:47:52,040 --> 00:47:55,560
Speaker 1: If so, that's because of Martin Heath Cosmetics Limited. They

917
00:47:55,600 --> 00:48:00,120
Speaker 1: make all that goo that women put on their faces.

918
00:48:00,120 --> 00:48:02,759
Speaker 1: The premise here that Heath is the only perfume and

919
00:48:02,800 --> 00:48:06,560
Speaker 1: cosmetics company in the world and invented and has exclusive

920
00:48:06,640 --> 00:48:08,880
Speaker 1: rights to the concept of makeup and perfume.

921
00:48:09,280 --> 00:48:11,640
Speaker 3: I don't know. I guess they're just a major player anyway.

922
00:48:11,680 --> 00:48:14,120
Speaker 1: So Layton goes to Heath Phil he takes along with

923
00:48:14,200 --> 00:48:17,240
Speaker 1: him a photographer. As he was told to. This character

924
00:48:17,320 --> 00:48:21,439
Speaker 1: has a great name, it's one Shot McGuire. One Shot

925
00:48:21,520 --> 00:48:23,680
Speaker 1: McGuire is a bow tie guy who keeps his suit

926
00:48:23,760 --> 00:48:27,560
Speaker 1: jacket buttoned. But he has a kind of he's a

927
00:48:27,560 --> 00:48:30,239
Speaker 1: little bit more nerdy than Layton, but also has he's

928
00:48:30,320 --> 00:48:33,880
Speaker 1: kind of got a nerdy but rascally temperament to match Layton's.

929
00:48:34,400 --> 00:48:36,840
Speaker 3: Yeah, and I don't know from the title, I'm not

930
00:48:36,840 --> 00:48:38,399
Speaker 3: sure is he if he's supposed to be a really

931
00:48:38,440 --> 00:48:41,879
Speaker 3: good photographer or just a really sloppy photographer like, oh,

932
00:48:42,000 --> 00:48:44,359
Speaker 3: did you get pictures of the sporting event? I got

933
00:48:44,360 --> 00:48:46,719
Speaker 3: one shot? Does that mean you only needed one like

934
00:48:46,760 --> 00:48:50,719
Speaker 3: perfect shot, first take? Or you just really don't care?

935
00:48:50,800 --> 00:48:51,960
Speaker 3: He just like good enough.

936
00:48:52,400 --> 00:48:54,319
Speaker 1: I didn't know. Yeah. So if it's a writer and

937
00:48:54,320 --> 00:48:56,880
Speaker 1: they call you like first draft McGuire, what does that

938
00:48:56,960 --> 00:48:58,120
Speaker 1: mean that good?

939
00:48:58,800 --> 00:49:01,799
Speaker 3: Yeah, nailed it first draft? Well, I guess sometimes it

940
00:49:01,840 --> 00:49:06,279
Speaker 3: works like that. But one has right to be suspicious.

941
00:49:06,640 --> 00:49:11,120
Speaker 1: So our two reporters go to Heathville. They meet the

942
00:49:11,120 --> 00:49:13,480
Speaker 1: police chief there and they begin the inquest, and the

943
00:49:13,480 --> 00:49:15,920
Speaker 1: police chief admits that they have not gotten very far

944
00:49:15,960 --> 00:49:20,240
Speaker 1: with the investigation, but that Roy Heath suffered the strangest wounds.

945
00:49:20,280 --> 00:49:24,120
Speaker 1: He had shallow slashes in his throat, too deep for fingernails,

946
00:49:24,280 --> 00:49:27,040
Speaker 1: not deep enough to be a knife. And then the

947
00:49:27,080 --> 00:49:29,800
Speaker 1: coroner says that they could have been the talons of

948
00:49:29,840 --> 00:49:33,640
Speaker 1: a bird, a bird, but the sheriff says they know

949
00:49:33,760 --> 00:49:36,400
Speaker 1: that it wasn't a bird because they found several hairs

950
00:49:36,440 --> 00:49:38,920
Speaker 1: on the shoulder of Heath's coat, so it couldn't have

951
00:49:38,960 --> 00:49:39,520
Speaker 1: been a bird.

952
00:49:40,360 --> 00:49:42,080
Speaker 3: Soide note that there's going to be a lot of

953
00:49:42,120 --> 00:49:44,280
Speaker 3: dialogue in this film related to the idea that people

954
00:49:44,320 --> 00:49:47,000
Speaker 3: think bats are birds and need to be corrected on

955
00:49:47,040 --> 00:49:47,399
Speaker 3: the matter.

956
00:49:47,880 --> 00:49:51,560
Speaker 1: Multiple characters have to correct I think doctor Carruthers and

957
00:49:51,719 --> 00:49:55,000
Speaker 1: Leyton are frequently correcting people on calling bats birds.

958
00:49:55,040 --> 00:49:57,879
Speaker 3: Ye, nobody knows exactly what a bat is, but.

959
00:49:57,840 --> 00:50:00,840
Speaker 1: They say that the hairs on the coat they're not human.

960
00:50:01,080 --> 00:50:04,359
Speaker 1: Lab tests showed that they came from a mouse, and

961
00:50:04,480 --> 00:50:07,800
Speaker 1: Layton says, say, a bat has hair like a mouse.

962
00:50:07,840 --> 00:50:10,080
Speaker 1: What if it was a bat and I don't know,

963
00:50:10,320 --> 00:50:12,920
Speaker 1: I call bs. I think that is too extreme of

964
00:50:12,920 --> 00:50:16,120
Speaker 1: a bull's eye connection there, unless Layton has like undisclosed

965
00:50:16,400 --> 00:50:20,000
Speaker 1: psychic powers or something. Another clue though. They say there

966
00:50:20,040 --> 00:50:23,280
Speaker 1: was a peculiar odor about the wounds, but the police

967
00:50:23,280 --> 00:50:26,000
Speaker 1: were unable to identify it, and now it has been

968
00:50:26,040 --> 00:50:30,040
Speaker 1: destroyed by evaporation. So we're going to go on to

969
00:50:30,320 --> 00:50:33,520
Speaker 1: the meeting with Mary that the reporters are continuing the

970
00:50:33,560 --> 00:50:36,560
Speaker 1: investigation the share were the police chief is just like,

971
00:50:36,600 --> 00:50:39,359
Speaker 1: oh yeah, sure, look into it. You know, you'll get

972
00:50:39,360 --> 00:50:42,440
Speaker 1: no objection from me, which is kind of unusual for

973
00:50:42,480 --> 00:50:45,040
Speaker 1: these films. I feel like it's always a territorial squabble

974
00:50:45,080 --> 00:50:49,160
Speaker 1: about who gets to investigate. So the newspaperman go to

975
00:50:49,200 --> 00:50:52,840
Speaker 1: the Heath residence. Of course, it's immediately clear that Leydon

976
00:50:52,880 --> 00:50:55,040
Speaker 1: and Mary are going to fall in love, and then

977
00:50:55,040 --> 00:50:57,800
Speaker 1: there's a secondary romance as well, because Mary's got the

978
00:50:58,280 --> 00:51:01,560
Speaker 1: french maid, the gorgeous French maid named Maxine, who's running

979
00:51:01,560 --> 00:51:05,560
Speaker 1: around saying, we medemoiselle and apparently she is just wild

980
00:51:05,719 --> 00:51:10,279
Speaker 1: for photojournal East And from their very first introduction one shot,

981
00:51:10,360 --> 00:51:13,560
Speaker 1: Maguire is saying, yes, I will marry this french maid.

982
00:51:15,280 --> 00:51:19,719
Speaker 1: And now they've got competing theories about the murder. They ask,

983
00:51:19,800 --> 00:51:22,160
Speaker 1: you know, did this guy have any enemies? Not really?

984
00:51:22,800 --> 00:51:25,719
Speaker 1: Was it an animal attack? Carruthers says, yes, it was

985
00:51:25,760 --> 00:51:28,680
Speaker 1: a wild animal who attacked him, but Leyden says, I

986
00:51:28,719 --> 00:51:31,839
Speaker 1: don't think so. And this sort of leads into this

987
00:51:31,920 --> 00:51:34,120
Speaker 1: middle section of the movie that's more just sort of

988
00:51:34,160 --> 00:51:38,080
Speaker 1: investigating the murders and more murders taking place. So there

989
00:51:38,160 --> 00:51:40,239
Speaker 1: is a murder of another one of the sons, this

990
00:51:40,360 --> 00:51:44,160
Speaker 1: time it's a guy named Tommy. Legosi gives him the

991
00:51:44,200 --> 00:51:47,279
Speaker 1: lotion to try, and Tommy puts it on and he's like, ooh,

992
00:51:47,360 --> 00:51:50,560
Speaker 1: that feels great, very very soothing, and Legosi says, I

993
00:51:50,600 --> 00:51:55,200
Speaker 1: don't think you will ever use anything else so he's,

994
00:51:55,280 --> 00:51:57,320
Speaker 1: you know, walking around with the lotion on, and he

995
00:51:57,360 --> 00:52:00,359
Speaker 1: gets attacked by a bat in the garden patio. Now

996
00:52:00,719 --> 00:52:04,120
Speaker 1: at this bad attack, the journalists witness it, they see

997
00:52:04,120 --> 00:52:06,680
Speaker 1: it happen, and so they try to report on it.

998
00:52:06,719 --> 00:52:08,800
Speaker 1: They call it McGinty. They're like, yeah, he was attacked

999
00:52:08,800 --> 00:52:11,880
Speaker 1: by a devil bat. McGuinty doesn't believe them at first,

1000
00:52:11,920 --> 00:52:13,920
Speaker 1: but then he does run with their story and the

1001
00:52:13,920 --> 00:52:18,319
Speaker 1: headline is mysterious devil bat kills Thomas Heath. I do

1002
00:52:18,480 --> 00:52:21,200
Speaker 1: like this movie shows us lots of newspaper headlines.

1003
00:52:21,600 --> 00:52:24,480
Speaker 3: Yeah. My one disappointment was I could make any of

1004
00:52:24,560 --> 00:52:28,560
Speaker 3: the lower headlines out. You know, that's always there's always

1005
00:52:28,600 --> 00:52:30,680
Speaker 3: a lot of fun there, especially in like parodies on

1006
00:52:30,760 --> 00:52:33,399
Speaker 3: the Simpson like, what are the stories that didn't make

1007
00:52:34,360 --> 00:52:38,279
Speaker 3: the very top because of whatever supernatural shenanigans are going on.

1008
00:52:38,600 --> 00:52:40,799
Speaker 1: I feel like multiple times we see a newspaper and

1009
00:52:40,840 --> 00:52:46,640
Speaker 1: there's another article with the headline praise from cheerleaders, m okay,

1010
00:52:46,840 --> 00:52:50,600
Speaker 1: otherwise a slow news day. Oh, and then they show

1011
00:52:50,640 --> 00:52:52,960
Speaker 1: a second paper that says who will be the devil

1012
00:52:52,960 --> 00:52:56,680
Speaker 1: Bat's next victim? Villagers cringe and terror of murderer.

1013
00:52:57,080 --> 00:52:57,279
Speaker 3: Oh.

1014
00:52:57,360 --> 00:52:59,640
Speaker 1: In another one of the articles. It has the headline

1015
00:52:59,680 --> 00:53:01,160
Speaker 1: para please the great.

1016
00:53:01,280 --> 00:53:03,719
Speaker 3: What yeah local theater.

1017
00:53:03,840 --> 00:53:07,759
Speaker 1: Maybe I don't know Laura mipsum. So anyway, there's this

1018
00:53:07,800 --> 00:53:10,239
Speaker 1: whole middle section where they've seen the Devil Bat. But

1019
00:53:10,360 --> 00:53:12,640
Speaker 1: McGinty's like, hey, I need a photo. We got to

1020
00:53:12,719 --> 00:53:16,600
Speaker 1: run a photo, So they stage a hoax photo using

1021
00:53:16,640 --> 00:53:20,080
Speaker 1: a stuffed bat from a taxidermy shop. Yes.

1022
00:53:20,239 --> 00:53:23,080
Speaker 3: I loved and hated this because it's just such a weird,

1023
00:53:23,120 --> 00:53:26,120
Speaker 3: wacky element that suddenly like journalistic integrities out the window

1024
00:53:26,160 --> 00:53:28,440
Speaker 3: and they're going to fake this shot. But then it

1025
00:53:28,520 --> 00:53:31,560
Speaker 3: does feel from a filmmaking standpoint like kind of an

1026
00:53:31,719 --> 00:53:34,920
Speaker 3: error because, let's face it, these bat effects, I think

1027
00:53:34,920 --> 00:53:37,960
Speaker 3: they're pretty great considering the budget and the time period.

1028
00:53:38,280 --> 00:53:43,680
Speaker 3: But when you also introduce a fake, fake bat into

1029
00:53:43,800 --> 00:53:46,480
Speaker 3: the scenario, that fake bat looks too much like the

1030
00:53:46,520 --> 00:53:48,560
Speaker 3: actual bat. Yes, and it makes me second guess the

1031
00:53:48,600 --> 00:53:51,960
Speaker 3: effects on some level. So I didn't didn't like that.

1032
00:53:52,239 --> 00:53:54,640
Speaker 1: Same thought the hoax bat looks the same as the

1033
00:53:54,680 --> 00:53:55,520
Speaker 1: real devil bat.

1034
00:53:55,760 --> 00:53:58,080
Speaker 3: Yeah, It's like if somebody wears a monster mask in

1035
00:53:58,160 --> 00:54:01,560
Speaker 3: a movie that also features a monster, that monster mask

1036
00:54:01,920 --> 00:54:05,560
Speaker 3: can't look too good and your actual monster effects better

1037
00:54:05,600 --> 00:54:06,680
Speaker 3: be like a cut above.

1038
00:54:06,960 --> 00:54:10,480
Speaker 1: Yes, yeah, yeah so this Oh but also this movie

1039
00:54:10,560 --> 00:54:14,600
Speaker 1: has a debunking scene. So the hoax photo is debunked

1040
00:54:14,680 --> 00:54:18,200
Speaker 1: by a skeptical scientist on a national radio program, and

1041
00:54:18,239 --> 00:54:20,399
Speaker 1: it shows just like everybody in the country sitting around

1042
00:54:20,480 --> 00:54:24,040
Speaker 1: listening to this radio program. They introduce a scientist named

1043
00:54:24,120 --> 00:54:28,680
Speaker 1: Professor Percival Garland Rains, whom the announcer calls the world's

1044
00:54:28,840 --> 00:54:33,560
Speaker 1: greatest authority on animals, and Rains says that devil bats

1045
00:54:33,600 --> 00:54:36,640
Speaker 1: may have existed in the dark ages when people lived

1046
00:54:36,680 --> 00:54:39,920
Speaker 1: in caves, but not anymore, and he has proof that

1047
00:54:39,960 --> 00:54:42,480
Speaker 1: the photo is a fake. He analyzed it under a

1048
00:54:42,520 --> 00:54:45,520
Speaker 1: magnifying glass, and he says the bat has a tag

1049
00:54:45,600 --> 00:54:49,080
Speaker 1: on it which says made in Japan. But I was thinking,

1050
00:54:49,120 --> 00:54:51,040
Speaker 1: wait a minute, what if the real devil bat is

1051
00:54:51,080 --> 00:54:55,320
Speaker 1: simply a manufactured object, you know, created by magic?

1052
00:54:55,640 --> 00:55:00,799
Speaker 3: How did they get a fake bat? You're shactured? Yeah,

1053
00:55:00,840 --> 00:55:04,080
Speaker 3: either across the ocean or like, are they selling these

1054
00:55:04,120 --> 00:55:06,800
Speaker 3: at the local store? Did just so many questions arise

1055
00:55:06,840 --> 00:55:07,120
Speaker 3: from this.

1056
00:55:07,400 --> 00:55:09,880
Speaker 1: I would have thought the taxidermy bats would be a

1057
00:55:09,920 --> 00:55:11,520
Speaker 1: more locally produced article.

1058
00:55:11,640 --> 00:55:21,239
Speaker 3: Yeah.

1059
00:55:21,280 --> 00:55:23,200
Speaker 1: Oh hey, folks were back. We had to just take

1060
00:55:23,239 --> 00:55:25,319
Speaker 1: a break in the middle of our recording session. But

1061
00:55:25,840 --> 00:55:28,200
Speaker 1: now we are in real time a few hours later,

1062
00:55:28,280 --> 00:55:31,759
Speaker 1: continuing our discussion of the devil bat So where did

1063
00:55:31,840 --> 00:55:34,280
Speaker 1: we leave off? It was where, Oh, they just pulled

1064
00:55:34,280 --> 00:55:36,440
Speaker 1: off the hoax and they got caught. They got caught

1065
00:55:36,480 --> 00:55:37,520
Speaker 1: by the radio guy.

1066
00:55:39,520 --> 00:55:41,600
Speaker 3: Yeah, yeah, they attempted to do the fake photo. And

1067
00:55:41,719 --> 00:55:43,960
Speaker 3: is it. Now we're in just a little bit where like,

1068
00:55:44,000 --> 00:55:45,680
Speaker 3: basically it's like, I've got to fire you guys. This

1069
00:55:45,760 --> 00:55:48,719
Speaker 3: is awful, and they're like, you can't fire us because

1070
00:55:48,719 --> 00:55:51,400
Speaker 3: we're onto this great case. We're going to keep working.

1071
00:55:51,120 --> 00:55:54,120
Speaker 1: It, that's right. So McGinty, they're on the phone with McGuinty,

1072
00:55:54,280 --> 00:55:58,000
Speaker 1: the chief the editor, and he fires Leyton and one

1073
00:55:58,040 --> 00:56:02,200
Speaker 1: shot McGuire though I guess they did so fair enough. Yeah,

1074
00:56:02,239 --> 00:56:04,279
Speaker 1: and obviously this is not the first time he has

1075
00:56:04,320 --> 00:56:06,879
Speaker 1: fired them. They even say so. They're like, you'll hire

1076
00:56:06,920 --> 00:56:10,600
Speaker 1: us back, you always do. But the real downside they

1077
00:56:10,600 --> 00:56:12,719
Speaker 1: don't seem all that upset about getting fired. The real

1078
00:56:12,719 --> 00:56:15,359
Speaker 1: downside is there now on the outs with their their

1079
00:56:15,400 --> 00:56:18,400
Speaker 1: new lady friends, Mary and Maxine are not happy with

1080
00:56:18,440 --> 00:56:22,239
Speaker 1: them for doing a hoax, especially since this hoax involves

1081
00:56:22,360 --> 00:56:27,320
Speaker 1: the creature that allegedly killed their brothers and family friends

1082
00:56:27,320 --> 00:56:29,000
Speaker 1: and so forth, and almost fiance.

1083
00:56:29,560 --> 00:56:32,839
Speaker 3: Yeah, it seems like a massiveness step, especially on that angle.

1084
00:56:33,000 --> 00:56:35,160
Speaker 1: But Layton's a real go getter. He doesn't let this

1085
00:56:36,400 --> 00:56:39,720
Speaker 1: put him to bed. He keeps investigating, and he finds

1086
00:56:39,719 --> 00:56:42,920
Speaker 1: out about the history of Carruthers and the Heath Company.

1087
00:56:43,000 --> 00:56:45,759
Speaker 1: He finds out the Caruthers missed out on getting part

1088
00:56:45,760 --> 00:56:48,359
Speaker 1: of the Heath Company fortune by just being being paid

1089
00:56:48,400 --> 00:56:52,799
Speaker 1: in cash instead. And there's some notes somewhere in here

1090
00:56:52,840 --> 00:56:56,880
Speaker 1: about like a chemist examines the Legosi lotion and finds

1091
00:56:56,920 --> 00:56:59,880
Speaker 1: out that it has a previously unknown element in it

1092
00:57:00,239 --> 00:57:04,360
Speaker 1: that could not be identified. I love this detail. It

1093
00:57:04,400 --> 00:57:08,920
Speaker 1: seems a bit much, but Bella explains that the otherwise

1094
00:57:09,040 --> 00:57:13,040
Speaker 1: unknown element was something he found in Tibet, which the

1095
00:57:13,200 --> 00:57:15,200
Speaker 1: Lamas use in their ceremonies.

1096
00:57:15,960 --> 00:57:19,440
Speaker 3: Okay, all right, I don't know what those ceremonies could be.

1097
00:57:19,800 --> 00:57:24,080
Speaker 3: It gets bats riled up in the scenario, but okay, fair.

1098
00:57:23,960 --> 00:57:28,520
Speaker 1: Enough anyway, So Leyton goes to confront Legosi with questions

1099
00:57:28,520 --> 00:57:30,160
Speaker 1: about all this stuff that they take him some of

1100
00:57:30,200 --> 00:57:34,480
Speaker 1: the after shape to analyze, I believe, and Legosi is like, oh,

1101
00:57:34,520 --> 00:57:36,400
Speaker 1: you know, to the chief of police and to Leyton,

1102
00:57:36,440 --> 00:57:38,640
Speaker 1: why didn't you both each take a bottle of this

1103
00:57:38,680 --> 00:57:41,479
Speaker 1: stuff home with you and use it. Now the chief

1104
00:57:41,520 --> 00:57:43,800
Speaker 1: of police he's having none of it. He says, if

1105
00:57:43,840 --> 00:57:46,959
Speaker 1: my wife ever smelled perfume on me, she'd suspect me. Sure,

1106
00:57:47,600 --> 00:57:50,520
Speaker 1: so he won't take it. But Leyton he's like, yeah, sure,

1107
00:57:50,720 --> 00:57:53,400
Speaker 1: I'll take some. And of course he gets attacked later

1108
00:57:53,480 --> 00:57:55,480
Speaker 1: that night while he is sitting out in the garden

1109
00:57:55,560 --> 00:57:58,640
Speaker 1: with one shot. But this actually works out to their

1110
00:57:58,640 --> 00:58:02,000
Speaker 1: benefit because Leyden pulled a revolver out of his coat pocket,

1111
00:58:02,320 --> 00:58:06,120
Speaker 1: shoots the devil bat, kills the devil bat. So the

1112
00:58:06,160 --> 00:58:08,480
Speaker 1: devil Bat wasn't I don't know all that threatening. In

1113
00:58:08,520 --> 00:58:12,000
Speaker 1: the end, it was destroyed by rather mundane means. And

1114
00:58:12,080 --> 00:58:15,520
Speaker 1: then it's the biggest story on all the newspapers. The

1115
00:58:15,560 --> 00:58:19,840
Speaker 1: headline is reporter kills devil bat, subhead shoots monster.

1116
00:58:21,280 --> 00:58:23,520
Speaker 3: Well, I wondered, did he write this story for the paper?

1117
00:58:23,560 --> 00:58:26,680
Speaker 3: That seems like it would be a massive misstep as well,

1118
00:58:26,720 --> 00:58:28,919
Speaker 3: But I don't think he would. He would probably fight

1119
00:58:29,000 --> 00:58:30,880
Speaker 3: for it. He's like, look, I killed the devil bat,

1120
00:58:30,960 --> 00:58:34,600
Speaker 3: I should get to write the article. Yes, I can

1121
00:58:35,240 --> 00:58:38,560
Speaker 3: maintain my journalistic integrity. Yes, I did just try and

1122
00:58:38,600 --> 00:58:39,480
Speaker 3: fake a bat photo.

1123
00:58:40,920 --> 00:58:45,560
Speaker 1: Do you see the article underneath shoots monster is called Americanism.

1124
00:58:46,200 --> 00:58:48,640
Speaker 3: I was trying to figure or if the Americanism is

1125
00:58:48,720 --> 00:58:50,720
Speaker 3: part of the monster shooting or is this a separate

1126
00:58:51,000 --> 00:58:54,360
Speaker 3: like article. There's a sub section somebody's like Weekly Callum

1127
00:58:54,360 --> 00:58:55,200
Speaker 3: on Americanism.

1128
00:58:55,400 --> 00:58:58,400
Speaker 1: In a classic display of Americanism, the reporter has shot

1129
00:58:58,440 --> 00:59:02,120
Speaker 1: the devil bat. But you know now that they've actually

1130
00:59:02,120 --> 00:59:05,400
Speaker 1: got a real dead devil bat corpse in hand, and

1131
00:59:05,480 --> 00:59:08,960
Speaker 1: not just a taxidermid object. They can prove they were

1132
00:59:09,000 --> 00:59:12,960
Speaker 1: right all along. So everybody has to eat crow. There's

1133
00:59:13,000 --> 00:59:16,480
Speaker 1: another radio program with the remember the skeptic professor rains.

1134
00:59:16,880 --> 00:59:19,440
Speaker 1: He comes back. He's like, look, I was wrong. The

1135
00:59:19,440 --> 00:59:22,480
Speaker 1: devil bat does exist, and it is the last of

1136
00:59:22,520 --> 00:59:26,240
Speaker 1: its kind, a giant bat from the Neolithic Age, which

1137
00:59:26,240 --> 00:59:29,920
Speaker 1: he explains is another word for the Stone Age. Thank you, professor.

1138
00:59:30,280 --> 00:59:32,280
Speaker 3: Of course, we know this is not true. We know

1139
00:59:32,400 --> 00:59:36,240
Speaker 3: that this bat is not an ancient creature. It is

1140
00:59:36,480 --> 00:59:39,320
Speaker 3: newly cooked up in Lagosi's microwave.

1141
00:59:39,760 --> 00:59:42,080
Speaker 1: How but he's the foremost authority on animals.

1142
00:59:42,960 --> 00:59:46,440
Speaker 3: Well yeah, I mean, maybe he recognizes the process that's

1143
00:59:46,480 --> 00:59:48,720
Speaker 3: going on, but he doesn't understand the technology involved.

1144
00:59:49,400 --> 00:59:51,560
Speaker 1: Shows how much you know, professor, get out of your

1145
00:59:51,600 --> 00:59:55,360
Speaker 1: ivory tower. You don't even know about Bella Legosi's bat microwave.

1146
00:59:55,840 --> 00:59:58,440
Speaker 1: So Bella has to cook up another bat from the freezer,

1147
00:59:58,440 --> 01:00:01,360
Speaker 1: which he does. He he like, gets it out and

1148
01:00:01,400 --> 01:00:04,000
Speaker 1: he cooks it with the electricity, and then he goes

1149
01:00:04,040 --> 01:00:06,480
Speaker 1: and checks the bat with the stethoscope and he's smiling.

1150
01:00:06,680 --> 01:00:09,440
Speaker 1: He says, splendid, you will be even greater than your

1151
01:00:09,520 --> 01:00:14,080
Speaker 1: unfortunate predecessor, and then the bat screams in stock footage

1152
01:00:14,480 --> 01:00:18,320
Speaker 1: and he's like, enraged, aren't you fine? I'm enraged also

1153
01:00:18,560 --> 01:00:21,760
Speaker 1: tonight I shall call on Henry Morton and you shall

1154
01:00:21,800 --> 01:00:25,480
Speaker 1: strike him down. So we get another scene, another one

1155
01:00:25,480 --> 01:00:28,200
Speaker 1: of these classic scenes of Bella convincing somebody to put

1156
01:00:28,240 --> 01:00:31,200
Speaker 1: the lotion on their skin. He goes to the offices

1157
01:00:31,240 --> 01:00:35,480
Speaker 1: of Heath Cosmetics where he's showing everything to Morton, the

1158
01:00:35,480 --> 01:00:38,280
Speaker 1: big boss, and he's like, you know, my lotion's so good,

1159
01:00:38,320 --> 01:00:40,560
Speaker 1: try it out, and Morton says, no, I'll try it

1160
01:00:40,600 --> 01:00:43,960
Speaker 1: tomorrow after I shave, you know, because it's after shave.

1161
01:00:44,640 --> 01:00:47,560
Speaker 1: He says, quote, then my skin will be more tender

1162
01:00:47,600 --> 01:00:50,680
Speaker 1: and receptive to the lotion, and Legosi is like, eh,

1163
01:00:50,720 --> 01:00:52,920
Speaker 1: why not try it now? See you can put it

1164
01:00:53,040 --> 01:00:55,880
Speaker 1: right over the jugular vein, where the skin is always

1165
01:00:55,960 --> 01:00:59,800
Speaker 1: tender and receptive to a lotion. Once again, comments about

1166
01:00:59,880 --> 01:01:02,880
Speaker 1: is it too strong? He's like, no, no, no, it'll

1167
01:01:02,920 --> 01:01:05,840
Speaker 1: evaporate quickly. So he sort of bullies Morton into putting

1168
01:01:05,840 --> 01:01:09,320
Speaker 1: the lotion on his throat. Then Morton starts gloating about

1169
01:01:09,320 --> 01:01:12,200
Speaker 1: how all of the doctor's formulas have been highly successful

1170
01:01:12,240 --> 01:01:14,400
Speaker 1: and it was quite foolish of him to take cash

1171
01:01:14,440 --> 01:01:16,280
Speaker 1: for his work instead of a cut of the profits.

1172
01:01:16,320 --> 01:01:18,400
Speaker 1: Otherwise he would be he would be a rich man now,

1173
01:01:18,880 --> 01:01:21,800
Speaker 1: So you're not feeling that bad for Morton's just being

1174
01:01:21,840 --> 01:01:22,480
Speaker 1: a jerk here.

1175
01:01:23,080 --> 01:01:25,800
Speaker 3: Yeah, yeah, he is. He absolutely is, though he does

1176
01:01:25,840 --> 01:01:28,560
Speaker 3: seem a bit oblivious too, like so he's not I

1177
01:01:28,600 --> 01:01:31,600
Speaker 3: don't know, it's a weird mix of him being kind

1178
01:01:31,640 --> 01:01:36,560
Speaker 3: of like accidentally jerky and still a bit maliciously jerky.

1179
01:01:36,880 --> 01:01:40,160
Speaker 1: Yeah, yeah, you're right. He's like, huh, isn't it funny?

1180
01:01:40,200 --> 01:01:41,840
Speaker 1: You're the one that did the work, but I got

1181
01:01:41,920 --> 01:01:43,680
Speaker 1: rich and that that's funny, isn't it.

1182
01:01:43,880 --> 01:01:47,160
Speaker 3: Yeah? And then and he continues here as Legosi keeps

1183
01:01:47,200 --> 01:01:51,280
Speaker 3: making even more like cutting and suggestive comments that imply

1184
01:01:51,440 --> 01:01:53,120
Speaker 3: that he has been murdering people with bats.

1185
01:01:53,280 --> 01:01:55,960
Speaker 1: Yeah, that's right. So he's like, you know, you've had

1186
01:01:55,960 --> 01:01:58,240
Speaker 1: a lot of fun in your laboratory with your experiments,

1187
01:01:58,320 --> 01:02:01,120
Speaker 1: dreaming up something new. You're a dreamer, Doc, Money's bad

1188
01:02:01,200 --> 01:02:05,120
Speaker 1: for dreamers. And Legosi is just dissecting Morton's brain with

1189
01:02:05,200 --> 01:02:09,800
Speaker 1: his eyes, and Legosi tells more tells Morton that his

1190
01:02:09,800 --> 01:02:13,320
Speaker 1: feeble intellect cannot begin to comprehend the magnitude of his

1191
01:02:13,360 --> 01:02:17,280
Speaker 1: scientific discoveries. Morton's like, what discovery are you talking about?

1192
01:02:17,560 --> 01:02:19,960
Speaker 1: And he says when you find out, Henry, it will

1193
01:02:20,000 --> 01:02:26,440
Speaker 1: be too late for you anyway, good night. Oh and

1194
01:02:26,600 --> 01:02:29,360
Speaker 1: also before he leaves, he mentioned something about having already

1195
01:02:29,440 --> 01:02:32,760
Speaker 1: proved his discovery three times. There have been three murders.

1196
01:02:33,240 --> 01:02:36,080
Speaker 3: Yeah, and this still doesn't instantly sink in for Morton.

1197
01:02:37,240 --> 01:02:38,040
Speaker 1: It takes a minute.

1198
01:02:38,080 --> 01:02:38,840
Speaker 3: It takes a minute.

1199
01:02:39,080 --> 01:02:41,720
Speaker 1: Morton starts thinking about that, and he's like, huh. So

1200
01:02:41,760 --> 01:02:43,960
Speaker 1: he puts in a phone call to Martin Heath and

1201
01:02:44,000 --> 01:02:45,640
Speaker 1: he's like, I think I've got a clue to solve

1202
01:02:45,640 --> 01:02:48,840
Speaker 1: the murders. He says, if half of what I suspect

1203
01:02:48,920 --> 01:02:51,760
Speaker 1: is true. It's the most diabolical plot then a madman

1204
01:02:51,840 --> 01:02:55,880
Speaker 1: ever concocted. So they're both out driving on a dark

1205
01:02:56,000 --> 01:02:59,680
Speaker 1: road and Legosi leaves first, and he's also going to

1206
01:02:59,800 --> 01:03:04,160
Speaker 1: moreton Hates house. But Lugosi gets there before Morton and

1207
01:03:04,280 --> 01:03:06,880
Speaker 1: he parks. He opens the trunk of his car and

1208
01:03:06,920 --> 01:03:09,440
Speaker 1: a bat just screams and flies out of the trunk.

1209
01:03:10,560 --> 01:03:13,120
Speaker 1: And so, of course, right right after this, Morton arrives.

1210
01:03:13,160 --> 01:03:16,160
Speaker 1: But the bat it gets him. It devil bats him.

1211
01:03:16,520 --> 01:03:18,480
Speaker 1: Now in this case, a bunch of the guys in

1212
01:03:18,520 --> 01:03:20,840
Speaker 1: the house like they don't I think they don't see

1213
01:03:20,880 --> 01:03:23,800
Speaker 1: the bat, but they see Morton like he's banging on

1214
01:03:23,840 --> 01:03:25,800
Speaker 1: the door screaming for help, and they go and open

1215
01:03:25,840 --> 01:03:29,560
Speaker 1: the door and he just like collapses into the foyer dead. Uh,

1216
01:03:29,600 --> 01:03:32,760
Speaker 1: And you know they're like, oh, whoop's another one. So

1217
01:03:33,000 --> 01:03:36,200
Speaker 1: we see a newspaper headline again call and it's Devil

1218
01:03:36,240 --> 01:03:39,520
Speaker 1: Bat's mate kills Henry Morton. Yeah, I don't know, how

1219
01:03:39,520 --> 01:03:40,600
Speaker 1: do they know it's his mate?

1220
01:03:41,120 --> 01:03:43,200
Speaker 3: Yeah? I feel like that that headline. The editor was

1221
01:03:43,200 --> 01:03:44,800
Speaker 3: playing it up a little bit, like let's get a

1222
01:03:44,840 --> 01:03:46,720
Speaker 3: love angle in here between the bats.

1223
01:03:46,880 --> 01:03:47,919
Speaker 1: Bride of Devil Bat.

1224
01:03:48,080 --> 01:03:50,960
Speaker 3: Yeah, that was probably one of the candidates.

1225
01:03:51,320 --> 01:03:53,400
Speaker 1: Oh and while it's showing us all the headlines this

1226
01:03:53,480 --> 01:03:56,520
Speaker 1: time this has happened before. It's like superimposing the shots

1227
01:03:56,560 --> 01:03:59,600
Speaker 1: of the newspaper with that footage of like close up

1228
01:03:59,640 --> 01:04:04,040
Speaker 1: footage of a bat face. So who's the next victim

1229
01:04:04,120 --> 01:04:06,720
Speaker 1: going to be? Well, we see a silhouette of Bella

1230
01:04:06,800 --> 01:04:09,440
Speaker 1: Lagosi wearing a hat in the dark room with the

1231
01:04:09,440 --> 01:04:13,360
Speaker 1: bottle of his formula and he's surreptitiously adding it to something.

1232
01:04:13,440 --> 01:04:17,439
Speaker 1: What could it be? Well, after the scene, we get

1233
01:04:17,520 --> 01:04:21,480
Speaker 1: a scene where Leyden Leyton is addressing Martin Heath, Mary

1234
01:04:21,680 --> 01:04:25,360
Speaker 1: Legosi and one shot Maguire and he explains, you know,

1235
01:04:25,400 --> 01:04:28,360
Speaker 1: he's very glad that mister Heath invited him to come

1236
01:04:28,440 --> 01:04:31,200
Speaker 1: live in their home until Devil Bat two is defeated,

1237
01:04:31,840 --> 01:04:34,080
Speaker 1: because he's worried about Mary, right, you know, he thinks

1238
01:04:34,080 --> 01:04:38,240
Speaker 1: she may be targeted next. It's logical, but Heath hasn't

1239
01:04:38,320 --> 01:04:40,440
Speaker 1: quite caught on yet. He's like, why would you think that?

1240
01:04:41,200 --> 01:04:44,800
Speaker 1: And Leydon explains, well, the other victims were members of

1241
01:04:44,840 --> 01:04:48,240
Speaker 1: the Morton and Heath families. Therefore, he concludes that someone

1242
01:04:48,320 --> 01:04:52,440
Speaker 1: is using the bat to wipe out these two families. Legosi,

1243
01:04:52,560 --> 01:04:55,959
Speaker 1: of course, claims this is preposterous. He says the thought

1244
01:04:56,000 --> 01:05:00,800
Speaker 1: of a human controlling a bat is fantastical, and as

1245
01:05:00,840 --> 01:05:03,760
Speaker 1: a counterexample, he points out that even one shot McGuire

1246
01:05:03,960 --> 01:05:05,880
Speaker 1: was attacked by a bat, and he's not a heather

1247
01:05:06,000 --> 01:05:09,000
Speaker 1: A Morton, so that's a good point. But one shot

1248
01:05:09,080 --> 01:05:12,320
Speaker 1: McGuire argues, Now, wait a second, I'm basically a member

1249
01:05:12,360 --> 01:05:14,800
Speaker 1: of this family because I am definitely going to get

1250
01:05:14,840 --> 01:05:16,560
Speaker 1: married to the French maid.

1251
01:05:16,880 --> 01:05:18,360
Speaker 3: Oh well, yeah, that works out.

1252
01:05:18,640 --> 01:05:20,800
Speaker 1: So they all say they're good nights, and then Lugosi

1253
01:05:21,080 --> 01:05:23,880
Speaker 1: once again does it instance you know, Mary says good

1254
01:05:23,920 --> 01:05:27,600
Speaker 1: night to him and he says goodbye Mary. So later

1255
01:05:27,640 --> 01:05:29,920
Speaker 1: we see Mary getting ready for bed. She wonders if

1256
01:05:30,080 --> 01:05:33,880
Speaker 1: Maxine has filled her perfume bottles with something new, because

1257
01:05:33,880 --> 01:05:37,280
Speaker 1: there is a strong, smelling new fragrance in them. Maxine

1258
01:05:37,280 --> 01:05:40,080
Speaker 1: denies it, and Mary concludes that it must have been

1259
01:05:40,080 --> 01:05:44,520
Speaker 1: her father, who apparently secretly switcheroose her perfume every time

1260
01:05:44,560 --> 01:05:49,920
Speaker 1: his factory produces a new one. That's a bold move. Also,

1261
01:05:50,160 --> 01:05:51,840
Speaker 1: she's putting on perfume to go to bed.

1262
01:05:52,920 --> 01:05:55,680
Speaker 3: I mean, I don't maybe she skipped a shower, don't.

1263
01:05:55,720 --> 01:05:57,200
Speaker 3: I don't really know what the rules here.

1264
01:05:57,680 --> 01:05:59,200
Speaker 1: And maybe that was the thing in the fortieth or

1265
01:05:59,280 --> 01:06:01,000
Speaker 1: maybe people do that. I don't know what people do

1266
01:06:01,080 --> 01:06:03,320
Speaker 1: with perfume. Do people put on perfume to go to bed?

1267
01:06:03,320 --> 01:06:03,840
Speaker 1: Maybe they do?

1268
01:06:04,160 --> 01:06:06,680
Speaker 3: After this moody though, you'll never put on perfume before

1269
01:06:06,680 --> 01:06:07,560
Speaker 3: you go to bed again.

1270
01:06:08,400 --> 01:06:12,440
Speaker 1: Yeah. So anyway, so Mary goes to bed and we

1271
01:06:12,480 --> 01:06:14,880
Speaker 1: see the bat fly out and what's gonna happen. Of

1272
01:06:14,920 --> 01:06:16,480
Speaker 1: course you know it's gonna come to her room, but

1273
01:06:16,520 --> 01:06:19,160
Speaker 1: it actually doesn't get in. It like zooms through the night,

1274
01:06:19,240 --> 01:06:22,400
Speaker 1: screeching until it reaches Mary's window and then it's just

1275
01:06:22,440 --> 01:06:24,920
Speaker 1: there banging against the window and she wakes up alarmed.

1276
01:06:25,000 --> 01:06:28,080
Speaker 1: She screams. All the dudes come running and Mary survives

1277
01:06:28,080 --> 01:06:31,480
Speaker 1: the night. But the next morning there's an investigation what

1278
01:06:31,680 --> 01:06:35,920
Speaker 1: could have happened, and they discover the perfume switch. So Leyden,

1279
01:06:36,080 --> 01:06:38,720
Speaker 1: he's finally putting all the pieces together here. He thinks

1280
01:06:38,720 --> 01:06:40,880
Speaker 1: he's figured out the case, and he comes up with

1281
01:06:40,880 --> 01:06:44,080
Speaker 1: a plan. He's like, Okay, we're gonna lie to Carrothers

1282
01:06:44,080 --> 01:06:47,440
Speaker 1: and make him think that Mary was injured or perhaps

1283
01:06:47,600 --> 01:06:50,240
Speaker 1: driven insane by the bat, and then we're going to

1284
01:06:50,320 --> 01:06:52,880
Speaker 1: trick him into coming over to the house and then

1285
01:06:53,000 --> 01:06:56,800
Speaker 1: stall him here for time. Meanwhile, Leyden's gonna run around

1286
01:06:56,840 --> 01:07:00,200
Speaker 1: and do what he calls a little private bat hunting.

1287
01:07:01,280 --> 01:07:03,440
Speaker 1: What this really means is he's going up to Carruther's

1288
01:07:03,560 --> 01:07:07,040
Speaker 1: lab to snoop around. He does that, and he finds

1289
01:07:07,160 --> 01:07:09,680
Speaker 1: the secret passageway and goes into the bat dungeon.

1290
01:07:10,000 --> 01:07:12,640
Speaker 3: All right, so now all is becoming revealed.

1291
01:07:13,000 --> 01:07:15,840
Speaker 1: But the others don't do a great job at their

1292
01:07:15,880 --> 01:07:18,680
Speaker 1: part of this plan. So like they're trying to stall

1293
01:07:18,760 --> 01:07:21,720
Speaker 1: corre others at the house and he's trying to leave

1294
01:07:21,760 --> 01:07:23,360
Speaker 1: if he needs to get back to his lab, and

1295
01:07:24,120 --> 01:07:26,440
Speaker 1: one shot Maguire is like, I don't feel so good.

1296
01:07:26,520 --> 01:07:28,040
Speaker 1: You ought to see my tongue. It looks like a

1297
01:07:28,040 --> 01:07:31,520
Speaker 1: squirrel's tail. But Carrothers just advises him to take a

1298
01:07:31,520 --> 01:07:35,840
Speaker 1: mercury compound. And so Carrothers goes back to the lab.

1299
01:07:35,880 --> 01:07:38,600
Speaker 1: There's some cat and mouse there with Leyden sneaking around

1300
01:07:38,640 --> 01:07:42,800
Speaker 1: while Carrothers is, you know, doing things, and Leyden witnesses

1301
01:07:42,840 --> 01:07:46,439
Speaker 1: corro Others talking to his bats. So there's no going

1302
01:07:46,480 --> 01:07:50,720
Speaker 1: back now. He knows what's up. I think he's going

1303
01:07:50,760 --> 01:07:53,160
Speaker 1: to let them out for the night, because if you

1304
01:07:53,200 --> 01:07:55,440
Speaker 1: interpreted this the same way, Rob, I think he thinks

1305
01:07:55,480 --> 01:07:57,919
Speaker 1: the jig is up and he doesn't want the bats around.

1306
01:07:57,960 --> 01:07:59,320
Speaker 1: If somebody comes snooping.

1307
01:08:00,240 --> 01:08:02,760
Speaker 3: Let him go, like flush the bats down the toe.

1308
01:08:02,960 --> 01:08:09,080
Speaker 1: Yeah, exactly. And so Leyden sneaks around around the house,

1309
01:08:09,160 --> 01:08:11,560
Speaker 1: knocks on the front door, and he asks for some

1310
01:08:11,600 --> 01:08:13,760
Speaker 1: of the shaving lotion. He says he thinks that if

1311
01:08:13,800 --> 01:08:17,200
Speaker 1: he douses himself in it, it might attract the killer

1312
01:08:17,800 --> 01:08:20,759
Speaker 1: Legosi plays dumb, but you know, gives him the bottle anyway,

1313
01:08:21,120 --> 01:08:23,599
Speaker 1: and Leyden dabs some around his throat and he really

1314
01:08:23,680 --> 01:08:26,040
Speaker 1: gets it up in there, and he explains his plan

1315
01:08:26,120 --> 01:08:28,360
Speaker 1: is to go sit in the garden and quote, when

1316
01:08:28,400 --> 01:08:30,960
Speaker 1: the killer bat does one of its power dives, I'll

1317
01:08:31,000 --> 01:08:33,680
Speaker 1: blast it, which is what he did last time. So

1318
01:08:33,760 --> 01:08:35,880
Speaker 1: I guess he's planning to do this again. Maybe he's

1319
01:08:35,880 --> 01:08:40,080
Speaker 1: hoping there are only two bats total. And so Carruthers

1320
01:08:40,120 --> 01:08:43,760
Speaker 1: agrees to come along and watch this experiment. So they

1321
01:08:43,800 --> 01:08:46,639
Speaker 1: have a little tense conversation in the garden at night.

1322
01:08:47,240 --> 01:08:49,800
Speaker 1: They're a little apprehensive, or at least corrothers is. They

1323
01:08:49,840 --> 01:08:53,400
Speaker 1: trade some comments with heavy implication that maybe they understand

1324
01:08:53,439 --> 01:08:56,920
Speaker 1: one another's motives. And then suddenly, at one point in

1325
01:08:56,960 --> 01:08:59,439
Speaker 1: the conversation, Leyden just like tosses a bunch of the

1326
01:08:59,479 --> 01:09:02,640
Speaker 1: shaving low on her others and then reveals that he

1327
01:09:02,760 --> 01:09:05,920
Speaker 1: knows the whole plot. And so at first Carruthers seems

1328
01:09:05,960 --> 01:09:08,719
Speaker 1: weirdly kind of gloomy. He just kind of accepts his fate,

1329
01:09:09,120 --> 01:09:10,960
Speaker 1: but then tries to make a break for it, Like

1330
01:09:11,000 --> 01:09:13,320
Speaker 1: he tries to grab and wrestle the gun from Leyden,

1331
01:09:13,680 --> 01:09:16,720
Speaker 1: but the devil Bat appears and everybody scatters.

1332
01:09:16,760 --> 01:09:18,559
Speaker 3: Right right, And you know what's going to happen next?

1333
01:09:18,880 --> 01:09:21,040
Speaker 3: What is the come uppance of any mad scientist that

1334
01:09:21,080 --> 01:09:22,200
Speaker 3: creates monsters? Oh?

1335
01:09:22,240 --> 01:09:25,439
Speaker 1: Of course foiled by his own monster. Yeah, not foiled,

1336
01:09:25,680 --> 01:09:28,840
Speaker 1: so Corruthers, Well, first he tries to trick Mary into

1337
01:09:28,880 --> 01:09:31,519
Speaker 1: coming back to his lab, but he doesn't make it.

1338
01:09:31,560 --> 01:09:34,320
Speaker 1: He gets he gets devil Bat dive bombed in the

1339
01:09:34,360 --> 01:09:39,000
Speaker 1: garden on the way there, and so then Leyden comes

1340
01:09:39,000 --> 01:09:41,639
Speaker 1: and has to explain to Mary. I laughed out loud

1341
01:09:41,680 --> 01:09:44,400
Speaker 1: at this part where he's like the devil Bat belonged

1342
01:09:44,400 --> 01:09:47,799
Speaker 1: to him, Mary, He committed those murders, and then Mary

1343
01:09:47,920 --> 01:09:50,840
Speaker 1: just lays her head on Leyden's shoulder and then it's

1344
01:09:50,880 --> 01:09:52,400
Speaker 1: the end. Title the end.

1345
01:09:52,720 --> 01:09:54,479
Speaker 3: Yeah, they're like, check on the doctor, and they're like,

1346
01:09:54,479 --> 01:09:56,040
Speaker 3: I don't think the doc made. Yeah.

1347
01:09:56,280 --> 01:09:59,639
Speaker 1: I love the abruptness with which these older movies end

1348
01:09:59,760 --> 01:10:03,760
Speaker 1: is just the bad guy dies, the leading lady like

1349
01:10:03,840 --> 01:10:06,920
Speaker 1: kisses or layser head on the shoulder of the leading man,

1350
01:10:07,439 --> 01:10:10,280
Speaker 1: and then you get title card, the end, all within

1351
01:10:10,600 --> 01:10:11,560
Speaker 1: twenty seconds.

1352
01:10:11,880 --> 01:10:13,880
Speaker 3: Yeah, I mean, it's been over an hour. People need

1353
01:10:13,920 --> 01:10:16,320
Speaker 3: to get home from the theater and or they need

1354
01:10:16,360 --> 01:10:19,000
Speaker 3: to watch the next movie that's playing immediately after this one.

1355
01:10:19,120 --> 01:10:21,599
Speaker 3: But I think All Things Considered is a pretty good

1356
01:10:21,640 --> 01:10:24,000
Speaker 3: final showdown, like with the back and forth between the

1357
01:10:24,040 --> 01:10:29,720
Speaker 3: hero and the villain in sometimes they're even more by

1358
01:10:29,720 --> 01:10:33,680
Speaker 3: the books than this just We definitely watched some of

1359
01:10:33,680 --> 01:10:36,200
Speaker 3: those and talked about them on Weird House Cinema, where

1360
01:10:36,240 --> 01:10:38,360
Speaker 3: it's like bad guy gets makes a break for it

1361
01:10:38,360 --> 01:10:41,000
Speaker 3: and is shot by the police, Monster is shot by

1362
01:10:41,040 --> 01:10:43,600
Speaker 3: the police, Monster is killed.

1363
01:10:43,280 --> 01:10:46,200
Speaker 1: By the military.

1364
01:10:46,680 --> 01:10:48,280
Speaker 3: Arrives Clint Eastwood is in a jet plane.

1365
01:10:48,320 --> 01:10:49,680
Speaker 1: Yeah, exactly. Tarantula.

1366
01:10:49,800 --> 01:10:52,800
Speaker 3: Yeah, so this one is a little more thought out

1367
01:10:52,840 --> 01:10:55,439
Speaker 3: than that a little less by the numbers, but then

1368
01:10:55,479 --> 01:10:59,639
Speaker 3: it does have that classic abrupt thirties and forties ending,

1369
01:10:59,720 --> 01:11:02,559
Speaker 3: which yeah, I mean it cleans it up nicely. It's

1370
01:11:02,560 --> 01:11:03,519
Speaker 3: just like bam, that's it.

1371
01:11:04,479 --> 01:11:07,880
Speaker 1: Nothing could destroy the monster except the power of explosives.

1372
01:11:09,200 --> 01:11:12,519
Speaker 3: And it's just so ridiculous that, granted years later, someone

1373
01:11:12,560 --> 01:11:14,880
Speaker 3: would say, I got an idea for a sequel to

1374
01:11:14,880 --> 01:11:18,120
Speaker 3: this picture. What if he didn't do those murders. The

1375
01:11:18,200 --> 01:11:21,760
Speaker 3: whole movie was about him doing the murders. It's not

1376
01:11:21,880 --> 01:11:22,360
Speaker 3: in question.

1377
01:11:22,640 --> 01:11:24,080
Speaker 1: I've almost got to watch that now.

1378
01:11:24,280 --> 01:11:26,200
Speaker 3: Oh, I don't know. It might maybe it's fun. I

1379
01:11:26,240 --> 01:11:28,679
Speaker 3: don't know. I haven't seen it. But it doesn't have legosy.

1380
01:11:28,920 --> 01:11:31,439
Speaker 1: Oh it's called Devil Bat's Daughter, that's what it.

1381
01:11:31,360 --> 01:11:34,519
Speaker 3: Is, which is weird because she's she's not the daughter

1382
01:11:34,560 --> 01:11:36,439
Speaker 3: of the Devil Bat, she's Corrother's daughter.

1383
01:11:36,520 --> 01:11:39,559
Speaker 1: But you know, yeah, the poster makes it look like

1384
01:11:39,560 --> 01:11:40,720
Speaker 1: a Western.

1385
01:11:40,720 --> 01:11:42,479
Speaker 3: Yeah, I don't know. It's supposedly, yeah, less of a

1386
01:11:42,520 --> 01:11:44,840
Speaker 3: horror film. And it has Miss America from nineteen forty

1387
01:11:44,880 --> 01:11:47,679
Speaker 3: one in it, so oh it's got that going for it. Okay,

1388
01:11:48,400 --> 01:11:51,559
Speaker 3: all right, so there you have it. Devil Bat, The

1389
01:11:51,640 --> 01:11:57,320
Speaker 3: Devil Bat sorry, except no substitutes. Yeah, this is a

1390
01:11:57,040 --> 01:12:01,320
Speaker 3: it's it's a surprisingly fun watch. Flick moved right along,

1391
01:12:02,600 --> 01:12:04,000
Speaker 3: had some fun performances in it.

1392
01:12:04,280 --> 01:12:06,639
Speaker 1: I feel like we really shouldn't stop here. We should

1393
01:12:06,720 --> 01:12:10,800
Speaker 1: just keep going with killer bat movies and find them,

1394
01:12:11,000 --> 01:12:14,040
Speaker 1: rank them, discuss what they have in common, the themes they address.

1395
01:12:14,400 --> 01:12:17,400
Speaker 1: To what extent was Devil Bat really about the bats?

1396
01:12:17,800 --> 01:12:20,280
Speaker 1: And to what extent was it really about pride and lotion?

1397
01:12:21,160 --> 01:12:23,679
Speaker 3: Yeah? I think it essentially is about pride and lotion,

1398
01:12:23,840 --> 01:12:27,200
Speaker 3: much like Breaking Bad. His Breaking Bad is not really

1399
01:12:27,240 --> 01:12:32,400
Speaker 3: about the meth, it's about other things. But undeniably a

1400
01:12:32,720 --> 01:12:36,200
Speaker 3: giant bat movie. So yeah, I'd be interesting to look

1401
01:12:36,240 --> 01:12:37,880
Speaker 3: and see what all we have to consider in terms

1402
01:12:37,880 --> 01:12:39,640
Speaker 3: of other giant bad films, aside from the ones we

1403
01:12:39,720 --> 01:12:43,360
Speaker 3: already mentioned, like Life Force and possibly Friday Night.

1404
01:12:43,600 --> 01:12:46,560
Speaker 1: Oh what do you know? The British Film Institute website

1405
01:12:46,600 --> 01:12:49,080
Speaker 1: has a list of ten great bat films.

1406
01:12:49,360 --> 01:12:51,920
Speaker 3: Oh excellent, just straight up bat films, not like bad

1407
01:12:52,000 --> 01:12:55,040
Speaker 3: human hybrids, because that's a kind of another subgenre which

1408
01:12:55,320 --> 01:12:57,439
Speaker 3: I can think of at least one really good example there.

1409
01:12:57,960 --> 01:13:01,960
Speaker 1: But oh, one of the examples is Abominable Doctor Fibes

1410
01:13:02,000 --> 01:13:04,559
Speaker 1: because remember one of the guys gets attacked by bats.

1411
01:13:04,720 --> 01:13:07,839
Speaker 3: Oh that's right. Yeah. I mean, if you have vampires

1412
01:13:07,880 --> 01:13:09,439
Speaker 3: in your film, there's a very good chance you can

1413
01:13:09,479 --> 01:13:11,439
Speaker 3: have bats. There's a good chance is going to turn

1414
01:13:11,479 --> 01:13:16,439
Speaker 3: into a bat or bats, and uh yeah, I'm here

1415
01:13:16,479 --> 01:13:16,720
Speaker 3: for it.

1416
01:13:17,000 --> 01:13:18,759
Speaker 1: All right. I think that does it for this one.

1417
01:13:19,120 --> 01:13:20,840
Speaker 3: All right, we'll go ahead and close it out. But

1418
01:13:21,320 --> 01:13:23,479
Speaker 3: just a reminder that Stuff to Blow Your Mind is

1419
01:13:23,520 --> 01:13:26,759
Speaker 3: primarily a science and culture podcast. Core episodes on Tuesdays

1420
01:13:26,760 --> 01:13:29,000
Speaker 3: and Thursdays, but on Fridays we set aside most serious

1421
01:13:29,040 --> 01:13:31,360
Speaker 3: concerns to just talk about a weird film on Weird

1422
01:13:31,400 --> 01:13:33,120
Speaker 3: House Cinema. If you want to see a list of

1423
01:13:33,160 --> 01:13:34,920
Speaker 3: all the episodes we've done over the years, look us

1424
01:13:35,000 --> 01:13:36,920
Speaker 3: up on the letterbox dot com. That's l E T

1425
01:13:36,920 --> 01:13:39,040
Speaker 3: T E R bo x D dot com. Our profile

1426
01:13:39,120 --> 01:13:41,400
Speaker 3: is weird House and we got a list right there.

1427
01:13:41,439 --> 01:13:43,960
Speaker 3: You can look at it, look at all the fun

1428
01:13:44,640 --> 01:13:47,759
Speaker 3: you know, box arts and poster arts. You can arrange

1429
01:13:47,760 --> 01:13:49,880
Speaker 3: things by decade and see what we've gotten into, what

1430
01:13:49,920 --> 01:13:53,240
Speaker 3: we haven't gotten into. Right in with your suggestions, because

1431
01:13:53,280 --> 01:13:55,160
Speaker 3: we always want to hear what kind of films you'd

1432
01:13:55,200 --> 01:13:57,479
Speaker 3: like us to talk about. And we also want your

1433
01:13:57,520 --> 01:13:59,680
Speaker 3: feedback on the films that we've discussed. If you have

1434
01:13:59,720 --> 01:14:02,200
Speaker 3: a hit true with the Devil bat If, so let

1435
01:14:02,280 --> 01:14:03,000
Speaker 3: us know about it.

1436
01:14:03,320 --> 01:14:06,960
Speaker 1: Huge thanks as always to our excellent audio producer JJ Posway.

1437
01:14:07,360 --> 01:14:09,040
Speaker 1: If you would like to get in touch with us

1438
01:14:09,080 --> 01:14:11,599
Speaker 1: with feedback on this episode or any other, to suggest

1439
01:14:11,600 --> 01:14:13,799
Speaker 1: a topic for the future, or just to say hello,

1440
01:14:14,080 --> 01:14:16,519
Speaker 1: you can email us at contact at stuff to Blow

1441
01:14:16,600 --> 01:14:24,280
Speaker 1: your Mind dot com.

1442
01:14:24,400 --> 01:14:27,360
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1443
01:14:27,439 --> 01:14:30,240
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1444
01:14:30,360 --> 01:14:33,600
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.