WEBVTT - Weirdhouse Cinema: Deep Red 0:00:02.440 --> 0:00:08.719 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:12.920 --> 0:00:15.560 Hey, welcome to Weird House Cinema. This is Rob Lamb 0:00:15.960 --> 0:00:19.440 and this is Joe McCormick. And today on Weird House Cinema, 0:00:19.480 --> 0:00:22.040 we are going to be talking about the nineteen seventy 0:00:22.040 --> 0:00:27.560 five horror classic Deep Red or Profundo Rosso, starring David 0:00:27.600 --> 0:00:33.640 Hemmings and Daria Nickelode, directed by Dario Argento. This movie 0:00:33.840 --> 0:00:37.479 is often held up as one of Argento's best, and 0:00:37.840 --> 0:00:39.960 in this case, I think I'm going to agree with 0:00:40.040 --> 0:00:42.280 the commonly held opinion not going to stake out any 0:00:42.280 --> 0:00:44.920 weird territory. I do think this is one of the 0:00:45.240 --> 0:00:48.720 best Jallo films ever made, if not the greatest one 0:00:48.720 --> 0:00:51.920 of all. Now, why are we talking about Jallo in January? 0:00:52.000 --> 0:00:55.680 Because it's January Jallo once more. What is this? Well, 0:00:55.720 --> 0:00:58.880 it's a tradition started by La based cult cinema outfit 0:00:59.440 --> 0:01:02.280 Cinematic Void. You can learn more about them at cinematic 0:01:02.360 --> 0:01:06.240 void dot com. Beginning in twenty sixteen, I believe, and 0:01:06.319 --> 0:01:09.600 it steadily become more official, spread to other cities and 0:01:09.680 --> 0:01:13.720 an official capacity, even while also being picked up informally 0:01:14.000 --> 0:01:17.320 as a viewing tradition, alongside the likes of Noir November 0:01:17.840 --> 0:01:20.360 and hopefully more themed months to come. I love a 0:01:20.400 --> 0:01:22.520 good theme, and I know you do. 0:01:22.680 --> 0:01:25.040 You're you're more aware of these calendar things than I am. 0:01:25.080 --> 0:01:27.399 I never would have known about Jallo January, you. 0:01:27.360 --> 0:01:30.160 Know, I'm not. I don't get behind a lot of holidays. 0:01:30.640 --> 0:01:33.640 So I like these new holidays we're presenting ourselves with. 0:01:34.520 --> 0:01:37.319 And hey, this is the tenth anniversary of this new tradition, 0:01:38.280 --> 0:01:40.759 so you know, we embraced it. We decided to pick 0:01:40.800 --> 0:01:43.720 a film last year. We did Footsteps on the Moon. 0:01:44.000 --> 0:01:46.760 Footprints on the Moon, Footprints on the Moon, Footprints on 0:01:46.800 --> 0:01:49.520 the Moon, Yeah, which was a kind of weird pick. 0:01:49.560 --> 0:01:52.960 We picked it because we had seen it listed online 0:01:53.040 --> 0:01:55.960 among Jello films, and it was supposed to be really good. 0:01:56.360 --> 0:01:58.440 And I'm going to say, however, much I liked it. 0:01:58.480 --> 0:02:00.960 I think we both liked it a lot, didn't we Yeah. 0:02:00.960 --> 0:02:01.680 I really liked it. 0:02:02.000 --> 0:02:04.840 But it turned out it really wasn't a Jallo film, 0:02:05.360 --> 0:02:07.520 at least as most people would describe it. It's sort 0:02:07.560 --> 0:02:12.679 of aesthetically Jallo adjacent. So I think in that episode 0:02:12.720 --> 0:02:15.160 we may have actually said something like, if you want 0:02:15.200 --> 0:02:18.200 to see what a core Jallo film is. Watch Deep Red. 0:02:18.960 --> 0:02:22.919 So here we are, and I would say, in all 0:02:22.960 --> 0:02:26.519 but maybe a few respects, Deep Red is about as 0:02:26.680 --> 0:02:31.160 Jallo as it gets. It hits all the bullseye markers. 0:02:31.200 --> 0:02:35.240 It's like, what the absolute essence of what this genre is. 0:02:35.960 --> 0:02:38.120 I'll have some questions about that as we proceed, because 0:02:38.440 --> 0:02:40.600 this is one of those areas where people get very 0:02:40.639 --> 0:02:44.320 specific about what should constitute jallo and what isn't Jallo. 0:02:45.400 --> 0:02:51.240 Well, can I offer a very actually oversimplified theory about 0:02:51.240 --> 0:02:53.079 why that question comes up so much? 0:02:53.320 --> 0:02:53.760 Yeah? 0:02:53.800 --> 0:02:56.760 I think it is specifically because a lot of people 0:02:57.000 --> 0:03:02.800 get into jallo by watching Spiria first and then starting 0:03:02.840 --> 0:03:07.200 to watch Dario Argento's other movies, and Suspiria is not 0:03:07.480 --> 0:03:11.440 usually considered jello because it's supernatural, but some of his 0:03:11.520 --> 0:03:14.360 other movies like Deep Bread and Tinebray and Bird with 0:03:14.440 --> 0:03:20.399 Crystal Plumage are very like core Jallo. But because Suspiria 0:03:20.480 --> 0:03:23.000 has a lot of esthetic things in common with these 0:03:23.080 --> 0:03:26.720 other main Jallo movies, and because it's usually the first 0:03:26.840 --> 0:03:30.320 movie people see to get into this Italian film niche, 0:03:30.639 --> 0:03:33.000 I think the question just comes up over and over again. 0:03:33.040 --> 0:03:36.240 Wait a minute, is Suspiria, not Jallo. Well, and so 0:03:36.320 --> 0:03:38.920 it creates the impression that there's a lot of discussion 0:03:39.000 --> 0:03:41.000 about this like category boundary. 0:03:41.440 --> 0:03:43.800 Well, and it gets confusing too because then like Deep 0:03:43.880 --> 0:03:46.840 Read has a psychic in it. It's true. Yeah, it's 0:03:46.840 --> 0:03:49.600 not like this film is completely devoid of the speculative elopment. 0:03:50.040 --> 0:03:52.280 But as they make clear in the film, and they're 0:03:52.320 --> 0:03:56.920 like this, this psychic powers have nothing to do with magic. 0:03:57.080 --> 0:03:58.440 You remember the whole speech about that. 0:03:58.440 --> 0:04:01.120 That's true. Yeah, this is parapsycho. 0:04:00.840 --> 0:04:05.800 Right, science, it's pure science. So yeah, so I guess 0:04:06.440 --> 0:04:08.040 Robbie you had a section in the outline where you 0:04:08.080 --> 0:04:10.680 thought we should do a brief refresher on what makes 0:04:10.680 --> 0:04:11.160 a jallo. 0:04:11.640 --> 0:04:13.440 Yeah. Yeah, let's remind everybody. 0:04:13.760 --> 0:04:17.960 So. Jallo is an Italian movie genre which evolved out 0:04:17.960 --> 0:04:21.120 of a pulp literary genre of the same name. So 0:04:21.160 --> 0:04:24.359 you had Jallo novels which go back almost one hundred years. 0:04:24.720 --> 0:04:29.359 These were mystery and crime thriller paperbacks, originally published with 0:04:29.400 --> 0:04:33.599 this iconic yellow cover design, which is where the genre 0:04:33.720 --> 0:04:38.120 name comes from. Jallo means yellow, and Jallo films in 0:04:38.200 --> 0:04:42.719 plural are known as jalli Jalli plural of jello so 0:04:42.960 --> 0:04:47.400 while the original Jallo novels were I think more in 0:04:47.440 --> 0:04:50.800 line with your classic and maybe classier who done it? 0:04:51.040 --> 0:04:55.440 You can think of authors like Agatha Christie. Jallo films, 0:04:55.920 --> 0:05:00.320 which became especially popular in the nineteen seventies, are known 0:05:00.360 --> 0:05:05.680 today for being seedier, having seed deier, trashier elements. You 0:05:05.720 --> 0:05:09.920 can still think of them basically as murder mystery thrillers, 0:05:10.520 --> 0:05:15.960 but with strong elements of horror, usually grizzly violence, and 0:05:16.120 --> 0:05:19.559 what was usually seen as tawdry sexual subject matter. 0:05:20.080 --> 0:05:24.159 Yeah. Yeah, usually like the kills especially. Yeah, you're not 0:05:24.200 --> 0:05:26.600 going to get an implied stabbing. You're gonna get a nice, 0:05:26.760 --> 0:05:28.479 juicy stabbing, that sort of thing. 0:05:28.720 --> 0:05:31.240 Yeah. So a lot of these movies have gore a 0:05:31.240 --> 0:05:35.240 lot of them. They they feel kind of perverted in 0:05:35.320 --> 0:05:38.400 some way, and almost in that luccio fulcy sense. There's 0:05:38.480 --> 0:05:40.480 a great sense of like, let's get a look at 0:05:40.480 --> 0:05:43.440 this as something that you wouldn't normally see or you're 0:05:43.480 --> 0:05:46.480 not supposed to see. The camera will really dwell on that. 0:05:48.080 --> 0:05:51.640 So there are core plot elements you will find in 0:05:51.800 --> 0:05:57.000 most Jello films. Usually there is a series of cold 0:05:57.080 --> 0:06:02.120 blooded murders that are very very chilling. There's you know, 0:06:02.200 --> 0:06:05.280 they're not your run of the mill crime movie murder. 0:06:05.640 --> 0:06:09.960 There's something really shocking and weird and disgusting committed by 0:06:10.000 --> 0:06:13.560 a killer with an unknown identity. So like, there's a 0:06:13.640 --> 0:06:15.400 killer on the loose, we don't know who they are. 0:06:15.960 --> 0:06:19.000 Maybe somebody only saw them from behind leaving the scene, 0:06:19.040 --> 0:06:21.080 and so there's a there's a mystery. Who is it? 0:06:21.120 --> 0:06:24.680 Who from the cast of characters could it be. Usually 0:06:24.720 --> 0:06:27.719 police are not very helpful. They are baffled and useless, 0:06:27.760 --> 0:06:30.599 except in a few movies where the main character is 0:06:30.640 --> 0:06:33.960 a police officer, but usually they're not. I really want 0:06:34.000 --> 0:06:36.479 to emphasize a thing that makes Jallo different than a 0:06:36.480 --> 0:06:41.160 lot of other mysteries or crime thrillers is the quality 0:06:41.320 --> 0:06:45.000 of the violence. The violence is more disturbing than your 0:06:45.040 --> 0:06:49.760 standard movie homicide. And these movies really like weird, icky 0:06:49.800 --> 0:06:54.159 weapons and the kinds of wounds that make you go 0:06:54.320 --> 0:06:57.400 ooh uh, Like, you know, you suck your air through 0:06:57.400 --> 0:06:59.240 your teeth when you see these movie deaths. 0:06:59.760 --> 0:07:03.279 Yeah, yeah, grizzly would be a good description. 0:07:04.160 --> 0:07:06.559 So, for example, there's like one scene in this movie 0:07:06.600 --> 0:07:09.320 where you know, the killer comes up on a professor 0:07:09.440 --> 0:07:11.760 character and you think the killer is just gonna stab 0:07:11.840 --> 0:07:13.880 him with a knife, and the killer does stab him 0:07:13.880 --> 0:07:15.720 with a knife, but before that there's a lot of 0:07:15.760 --> 0:07:19.040 like bashing his teeth out on the corners of furniture. 0:07:19.640 --> 0:07:22.160 Yeah, yeah, on the whole. There were multiple times in 0:07:22.200 --> 0:07:24.560 this film where and I'm no prude when it comes 0:07:24.560 --> 0:07:26.600 to violence, but there are multiple times where us like 0:07:26.680 --> 0:07:29.280 this is a bit much, a genta, we really didn't 0:07:29.280 --> 0:07:30.240 need to see all of this. 0:07:30.600 --> 0:07:32.680 That's what Jello is all about. It's all a bit much. 0:07:33.720 --> 0:07:37.880 These movies also very frequently have an out of place 0:07:38.240 --> 0:07:43.200 or alienated protagonist who finds themselves carrying out an independent 0:07:43.320 --> 0:07:47.200 investigation into the murders. Usually they there's some kind of 0:07:47.240 --> 0:07:52.280 circumstance by which they have to become an amateur detective, 0:07:52.440 --> 0:07:55.640 despite you know, dealing with hardships along the way. So 0:07:55.720 --> 0:07:59.080 they might have something is wrong with them that makes 0:07:59.120 --> 0:08:01.840 it hard for them to investigate, or they're dealing with 0:08:02.960 --> 0:08:06.680 fear or psychic trauma of some kind, or a lack 0:08:06.720 --> 0:08:09.040 of support from the community if they're an outsider. There 0:08:09.040 --> 0:08:10.720 are a lot of jala movies like this, where like 0:08:11.040 --> 0:08:15.320 somebody comes in from the outside. They're investigating murders for 0:08:15.360 --> 0:08:19.400 some reason, and the locals are not helping. At the 0:08:19.520 --> 0:08:21.800 end of the movie, there will usually be a final 0:08:21.880 --> 0:08:25.840 revelation where we learn the killer's identity. Of course, it's 0:08:25.920 --> 0:08:28.560 usually a character already known to us in some way, 0:08:28.640 --> 0:08:32.520 and we get some kind of full download of what 0:08:32.720 --> 0:08:36.720 happened with a full explanation, like in Hitchcock's Psycho, where 0:08:36.720 --> 0:08:39.200 we learn not just who did it, and usually who 0:08:39.200 --> 0:08:42.120 did it is kind of surprising. It's rare that it's 0:08:42.200 --> 0:08:46.400 like the main suspect, who did it, why they did it? 0:08:46.600 --> 0:08:49.520 Usually in these movies they were driven mad by some 0:08:49.600 --> 0:08:53.840 sort of bizarre childhood experience or trauma. Very often Freudian 0:08:53.920 --> 0:08:58.680 logic is in play. And then another thing that I 0:08:58.679 --> 0:09:02.480 think is crucial to the the flavor of Jello is 0:09:02.600 --> 0:09:06.000 that we have to get an explanation for why we 0:09:06.120 --> 0:09:09.840 didn't realize it was them all along, like how they 0:09:09.880 --> 0:09:13.560 covered it up, or why we wrongly suspected somebody else. 0:09:15.120 --> 0:09:18.400 More incidental plot elements that I think are very interesting 0:09:18.440 --> 0:09:20.640 and how often they recur. One that I know I 0:09:20.679 --> 0:09:23.480 mentioned in Footprints on the Moon in our episode on 0:09:23.520 --> 0:09:26.760 that is that so many of these movies have a 0:09:26.800 --> 0:09:32.360 protagonist who begins the investigation with the central clue to 0:09:32.520 --> 0:09:36.840 solving the mystery already in their possession or already in 0:09:36.880 --> 0:09:40.120 their memory, but they can't make sense of it yet. 0:09:40.400 --> 0:09:44.480 So in several Argento movies, the main character of the 0:09:44.520 --> 0:09:49.000 film actually witnesses something at the beginning that reveals the 0:09:49.080 --> 0:09:51.880 killer's identity. This is there in Bird with a Crystal plumage. 0:09:51.920 --> 0:09:54.800 It's in a bunch of them, but they're not able 0:09:54.920 --> 0:09:59.120 to fully remember what they saw, or they can't make 0:09:59.160 --> 0:10:01.920 sense of it or un or stand it until something 0:10:02.000 --> 0:10:07.240 locks into place at the final revelation. And I think 0:10:07.280 --> 0:10:08.840 I said this last time as well, but I find 0:10:08.840 --> 0:10:11.960 this recurring plot element one of the most interesting things 0:10:12.000 --> 0:10:16.480 about Jello that these stories are about people who already 0:10:16.559 --> 0:10:19.960 saw the answer. It's there in their memory, but they 0:10:20.040 --> 0:10:23.760 can't consciously apply the information. It's like blind sight. 0:10:24.440 --> 0:10:27.240 Yeah, yeah, it'll be fun to come back to this 0:10:27.240 --> 0:10:30.040 one as we actually break down the plot of Deep Red. 0:10:31.600 --> 0:10:35.480 Another thing is that the protagonist often ends up questioning 0:10:35.520 --> 0:10:38.000 their sanity. Not always, but there's a good bit of that. 0:10:38.960 --> 0:10:43.120 Often there is also a central love story, and the 0:10:43.200 --> 0:10:47.240 protagonist's love interest is both threatened by the killer but 0:10:47.320 --> 0:10:51.480 also suspected of being the killer, and sometimes they are 0:10:51.520 --> 0:10:56.000 the killer. And then, just to mention a few overriding 0:10:56.160 --> 0:10:59.960 esthetic choices you see throughout Jallo films. One is voyeuristic 0:11:00.040 --> 0:11:03.800 photography that is huge in Argento and in Deep Red, 0:11:03.880 --> 0:11:05.920 but it's throughout the genre as well. A lot of 0:11:06.000 --> 0:11:07.360 killer point of view shots. 0:11:07.720 --> 0:11:12.679 Yeah, a lot of hands doing things, picking up weapons, 0:11:12.720 --> 0:11:16.720 caressing documents, that sort of thing. And of course Urgento 0:11:16.920 --> 0:11:19.480 is known for often playing the hands of the killer 0:11:20.120 --> 0:11:20.840 in his films. 0:11:21.400 --> 0:11:24.199 Of course, as we already said, explicit violence in Gore, 0:11:24.800 --> 0:11:28.760 there is a thematic and esthetic union of sex and death, 0:11:28.880 --> 0:11:32.080 a lot of eroticized violence. A little bit, I would say, 0:11:32.200 --> 0:11:34.520 less of that in Deep Red than in a lot 0:11:34.520 --> 0:11:36.520 of Jello's, but there's a bit of it. 0:11:36.840 --> 0:11:41.440 It's still there. It's a little more tastefully balanced compared 0:11:41.480 --> 0:11:43.680 to where it goes in some films. That's the thing 0:11:43.760 --> 0:11:46.520 about the genre as a whole, right, I mean sometimes 0:11:46.760 --> 0:11:49.640 it is not subtle. Now, what we're looking at here 0:11:49.840 --> 0:11:53.440 is really a finely crafted example of the genre. 0:11:53.679 --> 0:11:57.839 Yeah. The Jallo killer's uniform. This occurs again and again. 0:11:58.360 --> 0:12:02.520 Trench coat with the collar flipped off, flipped up, maybe 0:12:02.679 --> 0:12:06.480 a fedora hat, and black leather gloves. An outfit that 0:12:06.679 --> 0:12:08.760 hides their face. You know, you might see them only 0:12:08.760 --> 0:12:11.480 from behind going around a corner, and it's the coat, 0:12:11.559 --> 0:12:15.800 the hat, and especially the gloves. And then I would say, 0:12:15.920 --> 0:12:19.680 especially in the better Jallo films, I notice they really 0:12:19.720 --> 0:12:24.360 often love interior decor. So many of these movies are 0:12:24.559 --> 0:12:30.960 full of striking sets, just apartments with wild detailed furniture 0:12:31.120 --> 0:12:35.440 and wallpaper patterns and stuff, just way more than you'd 0:12:35.480 --> 0:12:37.760 see in any other movie genre I can think of, 0:12:38.840 --> 0:12:41.959 you know. Yeah, so like wallpaper and furniture in fashion too, 0:12:42.040 --> 0:12:46.559 a lot of like wild interesting clothing. But one of 0:12:46.600 --> 0:12:51.280 the last things I'd say about the esthetic commonalities is 0:12:51.360 --> 0:12:55.880 that they often feature high art and low art sensibilities 0:12:55.960 --> 0:12:59.040 crammed together in the same project. You get the feeling 0:12:59.120 --> 0:13:04.040 that a lot of these Jallo films were like perverted 0:13:04.240 --> 0:13:09.200 trash being made consciously as such by filmmakers who considered 0:13:09.240 --> 0:13:10.880 themselves great artists. 0:13:11.640 --> 0:13:14.360 Yeah. Yeah, that's interesting to think about with Deep Red, 0:13:14.440 --> 0:13:18.800 especially because I feel like the trashier aspects of the 0:13:18.800 --> 0:13:21.079 film are really elevated in a number of ways. I 0:13:21.080 --> 0:13:24.679 think it's elevated in the writing, elevated in the acting, 0:13:24.800 --> 0:13:26.760 and of course in the direction. In a look of 0:13:26.800 --> 0:13:27.160 the film. 0:13:27.480 --> 0:13:32.520 Yeah, yeah, so yeah, deep Red hits basically all of 0:13:32.559 --> 0:13:35.560 these notes, not quite all, but most of them pretty perfectly. 0:13:36.160 --> 0:13:39.320 It certainly wasn't the first Jallo film. There's debate about 0:13:39.320 --> 0:13:41.800 what was the first Jallo film. A lot of people 0:13:41.840 --> 0:13:44.320 point to the influence of Mario Bava's Blood and Black 0:13:44.400 --> 0:13:47.600 Lace as excellent film. Yeah, really good. Maybe not the 0:13:47.679 --> 0:13:50.240 first one, but like a standard setter in the genre. 0:13:50.280 --> 0:13:52.600 That was I forget what year, in the late sixties, 0:13:53.440 --> 0:13:55.679 so we were well into the Jallo craze when Deep 0:13:55.720 --> 0:13:58.800 Red came out. It also wasn't even Argento's first jallow film. 0:13:58.840 --> 0:14:01.200 You know, he had made Bird the Crystal Plumage, and 0:14:01.920 --> 0:14:04.440 I think I think a couple others, maybe Four Flies 0:14:04.440 --> 0:14:08.240 on Gray Velvet and The Cat and Nine Tails. But 0:14:08.440 --> 0:14:11.000 a lot of people think this is his best Jallo film, 0:14:11.040 --> 0:14:14.120 and I think that's probably right, But some of his 0:14:14.200 --> 0:14:16.520 other ones are also really good. Bird with Crystal Plumage 0:14:16.520 --> 0:14:18.439 I haven't seen in years, but I remember being great. 0:14:19.360 --> 0:14:22.560 Yeah, this was actually my first time watching Deep Red. 0:14:22.920 --> 0:14:26.080 I've been listening to parts of the soundtrack for years, 0:14:26.160 --> 0:14:30.600 especially in different like hard disco mixes, and I've seen 0:14:30.800 --> 0:14:33.560 other Argento films, of course, but I guess for some 0:14:33.640 --> 0:14:37.240 reason I've often been drawn more to his films that 0:14:37.760 --> 0:14:41.880 seem to offer a stronger spect cotive elopment, like Oh, 0:14:42.040 --> 0:14:45.280 Stendel Syndrome, people are gonna be falling into paintings, kissing fish, 0:14:45.360 --> 0:14:48.720 I'm in you know it's Oh, it's Fantom of the Opera. Okay, 0:14:48.760 --> 0:14:51.240 I'll sign up for that, and of course Suspiria and 0:14:51.280 --> 0:14:55.160 the other the other Witches films, you know, Yeah, Dracula 0:14:55.360 --> 0:14:58.000 three D. Sign me up. I love I'll watch any 0:14:58.080 --> 0:15:00.000 Dracula film three D even better. 0:15:00.200 --> 0:15:02.800 Oh boy, is that the one with Rutger Howard? 0:15:02.880 --> 0:15:05.920 It is the one with record Yeah. 0:15:05.080 --> 0:15:08.360 Yeah, yeah, no insult intended. But a lot of his 0:15:08.920 --> 0:15:12.400 later films are not not usually favorites of the the 0:15:12.520 --> 0:15:16.440 Argento fans, but you know, check them out if you 0:15:16.480 --> 0:15:16.920 feel like it. 0:15:17.440 --> 0:15:20.920 I had to double check it is three D. Uh. 0:15:21.280 --> 0:15:23.960 Should we do a note on the different cuts of 0:15:24.000 --> 0:15:24.960 this film? 0:15:25.320 --> 0:15:28.880 Yeah? Yeah, different cuts as always, bunch of cuts, different titles. 0:15:28.960 --> 0:15:29.520 Yeah yeah. 0:15:29.880 --> 0:15:32.720 So there's one out there going around under the title 0:15:32.800 --> 0:15:35.360 the Hatchet Murders. That doesn't make any sense. I don't 0:15:35.360 --> 0:15:38.280 think any of the murders in the movie used to hatchet. 0:15:38.080 --> 0:15:42.160 Now Cleaver, Yes, so maybe they meant Cleaver and they can. 0:15:42.240 --> 0:15:44.080 They're like, it's the Clever Murders and I'm like, uh, 0:15:44.320 --> 0:15:46.840 it sounds like it's a Cleaver family or something, and 0:15:46.840 --> 0:15:48.320 they're like, Okay, hatchet. 0:15:48.320 --> 0:15:50.040 No hat Yeah, I don't want to mix it up 0:15:50.080 --> 0:15:52.520 with leave it to Beaver. Yeah, there's no hatchet in 0:15:52.560 --> 0:15:55.280 the movie. From what I recall there you could call 0:15:55.320 --> 0:15:59.040 it like the I don't know, Elevator Necklace Murders or something. 0:15:59.160 --> 0:16:04.400 But but there are at least three different cuts of 0:16:04.400 --> 0:16:07.400 the film out there, maybe more. I really don't know 0:16:07.440 --> 0:16:10.720 how many total there are. So there are said to 0:16:10.800 --> 0:16:13.800 be some shorter edits that have been kind of censored 0:16:14.040 --> 0:16:18.440 for particular international distribution that from what I can tell, 0:16:18.520 --> 0:16:21.200 people don't like those cuts. And then I think there's 0:16:21.360 --> 0:16:26.000 basically an original or theatrical cut, which I think runs 0:16:26.080 --> 0:16:29.480 like ninety something minutes or maybe just over one hundred minutes, 0:16:29.880 --> 0:16:32.280 and then there are some longer versions. There's definitely a 0:16:32.440 --> 0:16:36.480 longer director's cut with a lot of additional material that 0:16:36.760 --> 0:16:39.880 wasn't in the theatrical release, and that's the one that 0:16:40.120 --> 0:16:42.880 I watched for today. So Rob I think you and 0:16:42.920 --> 0:16:46.200 I may have accidentally watched different cuts even though we 0:16:46.200 --> 0:16:49.200 were trying to watch the same ones, So I apologize 0:16:49.200 --> 0:16:50.760 if I miscommunicated about that. 0:16:51.680 --> 0:16:54.400 Oh no, we've certainly watched different cuts of the same 0:16:54.440 --> 0:16:57.040 film for Weird House before, so it actually can make 0:16:57.040 --> 0:17:01.400 for an interesting comparison between our two experiences. Yeah. I 0:17:01.440 --> 0:17:03.320 normally don't do this, but it was a busy week, 0:17:03.360 --> 0:17:07.400 so I ended up streaming it on Pluto TV free 0:17:07.560 --> 0:17:12.480 with commercials. It was great. It was definitely a different cut. 0:17:12.520 --> 0:17:14.520 It wasn't the full extended cut, as we'll get into 0:17:15.400 --> 0:17:19.400 great quality though some scenes missing compared to what you're discussing, 0:17:19.520 --> 0:17:21.560 But it still had the comedic scenes, which I understand 0:17:21.600 --> 0:17:25.200 are sometimes cut, and it certainly had seemingly full gore 0:17:25.440 --> 0:17:26.200 because it. 0:17:26.080 --> 0:17:30.440 Was I'm thinking that the one you saw probably wasn't 0:17:30.760 --> 0:17:32.679 censored at all. It probably just had a lot of 0:17:32.680 --> 0:17:34.879 the stuff that was cut for time. And some people, 0:17:35.160 --> 0:17:38.400 from what I read online, do like the shorter theatrical cut, 0:17:38.440 --> 0:17:41.000 which I think is probably what you saw. They like 0:17:41.040 --> 0:17:43.320 it because they say that it's tighter. You know, it's 0:17:43.400 --> 0:17:46.200 just got tighter editing and the story just moves along. 0:17:46.960 --> 0:17:50.880 The one I saw. My impression was that most of 0:17:50.920 --> 0:17:55.479 the extra stuff that was added back in was stuff 0:17:55.760 --> 0:17:59.439 in the romantic subplot, like a lot of scenes with 0:17:59.520 --> 0:18:01.840 the character played by Daria and Nickelode which were cut 0:18:01.880 --> 0:18:05.440 out of the theatrical version. Like I've read people saying 0:18:05.480 --> 0:18:08.240 that in the other versions her character has a lot 0:18:08.320 --> 0:18:10.639 less screen time and less to do, but in the 0:18:10.680 --> 0:18:15.280 version I saw, there's a lot of her. So the 0:18:15.400 --> 0:18:17.800 one that I watched is the one currently streaming on 0:18:17.880 --> 0:18:21.920 Prime through a service called Cineverse, and so it looks 0:18:21.920 --> 0:18:25.200 like it's a fairly recent restoration. It has a few quirks. 0:18:25.240 --> 0:18:29.320 For example, the film is dubbed in English, so I 0:18:29.359 --> 0:18:31.679 was watching it mostly in English, but there are some 0:18:31.880 --> 0:18:34.480 scenes that are in Italian because that was the only 0:18:34.560 --> 0:18:38.119 format in which that scene was available. Also, we should 0:18:38.119 --> 0:18:41.200 say going forward, this will be a spoiler laden discussion 0:18:41.240 --> 0:18:43.639 of the film, So if you want to see it 0:18:43.680 --> 0:18:46.040 you haven't seen it yet, you should probably pause here, 0:18:46.640 --> 0:18:48.680 go watch the movie before you listen to the rest 0:18:48.720 --> 0:18:51.320 of the episode, because we are going to talk about 0:18:51.320 --> 0:18:53.000 the plot and spoil things about it. 0:18:53.280 --> 0:18:55.280 Yeah, and it is a who done it, so I 0:18:55.320 --> 0:18:58.200 do recommend going in spoiler free. I was fortunate enough 0:18:58.320 --> 0:19:01.440 to go in spoiler free on this one, which a 0:19:01.480 --> 0:19:04.120 lot of these films, especially ones that are particularly well known, 0:19:04.200 --> 0:19:05.760 you're just going to be spoiled on them one way 0:19:05.840 --> 0:19:10.520 or ano they're reading about films in general or so forth, 0:19:10.560 --> 0:19:14.640 listening to podcasts. So yeah, I highly recommend going into 0:19:14.680 --> 0:19:18.720 this one as fresh as possible. Let's see, we often 0:19:18.760 --> 0:19:21.000 do an elevator pitch. My elevator pitch is this is 0:19:21.040 --> 0:19:24.800 Dario Argento's only Murders in the Building, because. 0:19:24.720 --> 0:19:26.640 I've seen that show, so I don't get the joke. 0:19:26.720 --> 0:19:29.480 But well, if you've seen only Murders in the Building, 0:19:29.560 --> 0:19:31.960 you basically get it. Like there's been a murder in 0:19:32.000 --> 0:19:35.199 your building, in your apartment complex, and you are the 0:19:35.320 --> 0:19:39.399 amateur that is now investigating it. Yeah, it lines up 0:19:39.400 --> 0:19:40.639 in at least two ways. 0:19:41.760 --> 0:19:44.119 I think. No, I'm going to defend the logic of 0:19:44.160 --> 0:19:45.920 it a little bit. There's a lot in this movie 0:19:45.920 --> 0:19:48.600 that doesn't make sense. But I think there's a reason 0:19:48.720 --> 0:19:51.840 that David Hemmings character has to investigate, and it's that, 0:19:53.080 --> 0:19:56.679 having been identified in the press as a witness to 0:19:56.840 --> 0:20:00.480 the murder, he is now the target, the next target 0:20:00.520 --> 0:20:03.160 for the killer, and so he feels like he has 0:20:03.200 --> 0:20:06.399 to solve the murder because he's implicated in it, Like 0:20:06.480 --> 0:20:07.879 the killer is going to come for him next, so 0:20:07.920 --> 0:20:09.000 he's got to find out who it is. 0:20:09.240 --> 0:20:11.399 Yeah, yeah, no, and I bought that. I bought that. 0:20:11.480 --> 0:20:13.960 Watching the film, OK, I think it is for the 0:20:14.000 --> 0:20:15.800 most part well support though there are a few times 0:20:15.800 --> 0:20:18.719 where you're like, Wow, this guy's just straight up destroying 0:20:18.720 --> 0:20:21.879 a villa with his bare hands to solve a crime 0:20:22.119 --> 0:20:23.560 and it's not his job at all. 0:20:24.040 --> 0:20:26.760 Some of the yeah, some of the clue leaps are 0:20:26.760 --> 0:20:31.800 incredibly tenuous, Like remember when he goes to the professors 0:20:32.000 --> 0:20:37.159 and they're like, oh, that song that you that you heard, Yeah, 0:20:37.440 --> 0:20:40.040 one time people heard that song playing at a house. 0:20:40.119 --> 0:20:42.280 You should go look up a book about this house. 0:20:43.000 --> 0:20:44.760 Yeah. Yeah. We get a little into the weeds on 0:20:44.840 --> 0:20:47.359 the in the research phase at that point, but it 0:20:47.480 --> 0:20:51.480 ends up working and it leads to some wonderful revelations. 0:20:52.840 --> 0:20:55.040 All right, let's go ahead and listen to just a 0:20:55.040 --> 0:20:57.080 little bit of the trailer audio. This one had a 0:20:57.240 --> 0:21:00.159 in the English language release of this had a wonderful 0:21:00.280 --> 0:21:02.879 grind housey trailer, So hopefully we can hear just a 0:21:02.880 --> 0:21:07.679 little bit of that that that narration and that music. 0:21:08.119 --> 0:21:10.639 Do they call it deep Red or profund Rosso? 0:21:11.240 --> 0:21:13.639 Oh? You know, I don't remember, but this is definitely 0:21:13.640 --> 0:21:16.200 one of those films where you hear you hear English 0:21:16.440 --> 0:21:18.760 speaking fans of the film refer to it both ways. 0:21:19.480 --> 0:21:22.240 And you know, because deep Red is how it was released, 0:21:22.280 --> 0:21:25.480 and that's a solid title. But I think Profundoso is 0:21:25.520 --> 0:21:27.800 just fun to say, even if you don't know the 0:21:27.840 --> 0:21:32.400 next thing about Italian. Uh, it just it sounds profound. 0:21:32.840 --> 0:21:35.680 Profound and fun funds right there. It's fun. 0:21:36.480 --> 0:21:41.240 Yeah, yeah, have fun with all right, let's listen to 0:21:41.280 --> 0:21:53.240 a little bit of that trailer everywhere you look, everywhere 0:21:53.280 --> 0:21:56.560 you turn, and get this running with your. 0:22:35.600 --> 0:22:39.800 Deep Red. It'll put you into deep shock. 0:22:44.160 --> 0:22:47.280 All right. So at this point you might have decided, Okay, 0:22:47.359 --> 0:22:49.960 I do need to watch Deep Red. I need to 0:22:50.280 --> 0:22:52.800 watch it again. What have you? Where can I watch it? Well, 0:22:52.800 --> 0:22:55.480 it's widely available in pretty much any format you could desire. 0:22:56.119 --> 0:22:58.359 If you're going for physical media, which is always a 0:22:58.440 --> 0:23:00.960 nice way to go, Arrow has a nice blu ray edition. 0:23:01.040 --> 0:23:03.640 It looks like would have probably been my pick if 0:23:03.680 --> 0:23:06.600 my schedule had allowed it this week. But it's this 0:23:06.680 --> 0:23:09.600 is you know, this is an Argento film, so it's 0:23:09.600 --> 0:23:13.439 probably had just multiple rounds of releases with special editions 0:23:13.480 --> 0:23:15.840 and so forth. Same could be said for the soundtrack. 0:23:25.680 --> 0:23:28.880 All right, let's get into the people behind this film, 0:23:28.880 --> 0:23:33.119 starting with Argento himself born nineteen forty, the director, the writer, 0:23:33.920 --> 0:23:35.879 one of the producers, and of course he plays the 0:23:35.880 --> 0:23:38.520 hands of the killers this time. What will our killer 0:23:38.560 --> 0:23:41.960 be wearing? How would you describe these leather black leather 0:23:41.960 --> 0:23:43.280 gloves with the gold zipper. 0:23:43.720 --> 0:23:46.080 Yeah, that's exactly right. You can see there are lots 0:23:46.080 --> 0:23:50.320 of zipping up the glove scenes getting ready. It's like, 0:23:50.640 --> 0:23:52.960 what did we learned a name for that in the 0:23:53.000 --> 0:23:56.360 cinema in the cinema space? You know the suiting up 0:23:56.400 --> 0:23:59.119 scenes where you see people putting on their gear. I 0:23:59.160 --> 0:24:02.320 forget the name for it, but we talked about that 0:24:02.320 --> 0:24:04.560 in some movies last year. But this movie has suiting 0:24:04.640 --> 0:24:08.040 up scenes where you see like somebody staring into a 0:24:08.080 --> 0:24:11.639 mirror and putting like eyeliner on a crazy looking eye, 0:24:11.680 --> 0:24:13.840 and then like zipping up the black gloves. 0:24:14.080 --> 0:24:18.520 Yeah yeah, all right, our Gento we almost I really 0:24:18.520 --> 0:24:20.080 don't have to tell many of you who are gentle 0:24:20.200 --> 0:24:23.520 is legendary Italian horror director, writer, and producer, celebrated for 0:24:23.600 --> 0:24:28.000 his stylish contributions to not only Shallo and shallow adjacent cinema, 0:24:28.080 --> 0:24:31.280 but to the global horror genre as a whole. Active 0:24:31.280 --> 0:24:34.159 as a director from nineteen seventy with The Bird with 0:24:34.200 --> 0:24:39.080 the Crystal Plumage through twenty twenty two's Dark Glasses. Now 0:24:39.080 --> 0:24:41.960 he has not, as of this recording, like officially retired 0:24:42.040 --> 0:24:44.920 or anything, and I was trying to figure out, like 0:24:44.960 --> 0:24:47.760 what is he working on? Hard to say he may 0:24:47.840 --> 0:24:50.960 or may not be remaking a nineteen forties Mexican film, 0:24:51.080 --> 0:24:54.600 which is a tantalizing possibility, because there's a lot of great, 0:24:55.560 --> 0:24:59.080 you know, Golden age Mexican cinema that even you know, 0:24:59.440 --> 0:25:05.119 a late our Gento adaptation could be pretty fascinating. And 0:25:05.160 --> 0:25:08.119 I think, you know, everybody's rooting for Argento to to 0:25:08.760 --> 0:25:12.240 put something else out and like really sort of, you know, 0:25:12.240 --> 0:25:13.720 I guess, kind of like finish up his career with 0:25:13.760 --> 0:25:16.560 something really strong. Not that you have to, because, as 0:25:16.560 --> 0:25:20.760 we'll discuss, so many strong Argento films in his filmography. 0:25:21.840 --> 0:25:25.360 Unlike many of his fellow Italian horror directors, Argento almost 0:25:25.400 --> 0:25:29.080 exclusively worked in horror directing as far as I can 0:25:29.119 --> 0:25:32.440 tell only a single non horror film, nineteen seventy three's 0:25:32.520 --> 0:25:35.720 The Five Days, a kind of comedy set during the 0:25:35.760 --> 0:25:39.520 Italian Revolution. This was his film directly before Deep Red. 0:25:39.720 --> 0:25:41.800 That's funny. I thought he had done some other stuff, 0:25:41.800 --> 0:25:44.760 but actually maybe I'm thinking of he wrote other stuff, right, 0:25:44.840 --> 0:25:45.600 didn't direct it. 0:25:46.000 --> 0:25:49.680 He did write a number of genre films prior to 0:25:49.720 --> 0:25:53.440 his directorial, but as far as things he actually directed, 0:25:53.720 --> 0:25:55.400 I think this is the only one could be wrong. 0:25:55.560 --> 0:25:57.720 He also did some TV projects, but I think those 0:25:57.720 --> 0:26:02.600 were all more or less in the horror as well. Now, Yeah, 0:26:02.640 --> 0:26:05.920 briefly though, our Gento followed his debut film, of which 0:26:05.960 --> 0:26:08.120 we already mentioned with seventy one's The Cat of Nine 0:26:08.160 --> 0:26:12.919 Tales and Four Flies on Gray Velvet, then Five Days 0:26:13.840 --> 0:26:17.720 and which I just mentioned, and in seventy five Deep Red. 0:26:18.000 --> 0:26:20.960 He followed this up with the all time classic Suspiria 0:26:21.080 --> 0:26:23.600 in seventy seven, which I think you're supposed to be 0:26:23.880 --> 0:26:30.159 more properly pronounced as Suspiria, right, Spurria trailer. Then nineteen 0:26:30.160 --> 0:26:34.560 eighties Inferno eighty two, s tenebrae eighty five's Phenomena, eighty 0:26:34.600 --> 0:26:37.439 seven's Opera just a heck of a run there. Like 0:26:37.480 --> 0:26:40.960 seventies and eighties, our gento was simply genre defining. 0:26:40.840 --> 0:26:43.080 You know, we were just talking about movies where, for 0:26:43.119 --> 0:26:46.880 some reason, English speakers don't translate the title, you let 0:26:46.920 --> 0:26:49.800 it remain in another language, versus titles where you do. 0:26:49.960 --> 0:26:52.720 Like so we call the Bird with the Crystal plumage 0:26:52.720 --> 0:26:55.480 the bird with a crystal plumage, not the Italian version 0:26:55.520 --> 0:26:57.280 of that. I don't know what it is, but we 0:26:57.680 --> 0:27:02.080 don't translate titles like Suspiria and tenebrae there where we 0:27:02.160 --> 0:27:05.400 say the original. Yeah, I think Suspiria means like size 0:27:05.440 --> 0:27:06.000 and Latin. 0:27:06.200 --> 0:27:10.160 Yeah, size is not a good title at least, yeah, 0:27:10.240 --> 0:27:14.240 not as English. But so Spiria, like that's great, Like 0:27:14.480 --> 0:27:16.320 you don't even have to know what it means. You're 0:27:16.359 --> 0:27:21.240 just you're drawn in. It's a fascinating word. So subsequent 0:27:21.280 --> 0:27:24.479 decades of our gentle output, you know, haven't necessarily been 0:27:24.520 --> 0:27:27.600 as strong, but still featured some notable titles and some 0:27:27.680 --> 0:27:31.320 ambitious projects, including ninety six is the Stindell syndrome. That's 0:27:31.359 --> 0:27:34.879 one where people fall into paintings and kiss fishes. So 0:27:35.480 --> 0:27:38.840 you know, he's even his films that maybe don't have 0:27:38.920 --> 0:27:41.960 as strong a following or didn't resonate with critics. I mean, 0:27:42.000 --> 0:27:44.640 some of them have developed a cult following over time, certainly, 0:27:45.680 --> 0:27:47.160 but I think a lot of more still like they're 0:27:47.160 --> 0:27:50.760 really going for something like that. He was definitely making 0:27:50.800 --> 0:27:55.880 some big swings, and he's continued to act as well, 0:27:56.000 --> 0:28:01.280 not only playing killer hands but sometimes taking on more 0:28:01.359 --> 0:28:05.440 pronounced dramatic roles. And again, his writing credits go back 0:28:05.440 --> 0:28:07.800 to I think nineteen sixty six, with a mix of 0:28:07.880 --> 0:28:13.520 genre films, and he also contributed to several screenplays on 0:28:13.600 --> 0:28:15.480 films that he did not direct, but that he was 0:28:15.520 --> 0:28:17.240 like at least loosely associated with. 0:28:17.760 --> 0:28:20.160 I just had an idea. I can't believe I've never 0:28:20.200 --> 0:28:25.960 thought of this before. You know, those hands only cooking videos. 0:28:26.200 --> 0:28:28.960 There's cooking shows where you'd never see the person's face. 0:28:29.119 --> 0:28:32.760 You're just looking down hands making food. Or Jento should 0:28:32.760 --> 0:28:36.320 make those right, And he wears the gloves and probably 0:28:36.359 --> 0:28:38.560 he's a little bit violent, you know, he appeels the 0:28:38.640 --> 0:28:41.720 potatoes with a needle or something. It takes a while, 0:28:41.840 --> 0:28:43.600 but gets the job done. 0:28:44.000 --> 0:28:47.680 The first season of Look Around You has these science 0:28:47.720 --> 0:28:50.840 experiments with a pair of hands conducting the experiments, and 0:28:50.880 --> 0:28:52.640 there's one of the experiments where the hand, one of 0:28:52.640 --> 0:28:57.280 the hands becomes scalded by boiling water. So the hand 0:28:57.480 --> 0:29:00.920 then is adorned with a leather glove. And there are 0:29:00.960 --> 0:29:05.840 several nods to Jallo in that particular episode, with it 0:29:06.600 --> 0:29:08.960 not too overt, but in the way it's like caressing 0:29:09.000 --> 0:29:14.960 and fondling various scientific paraphernalia. All right, let's go further 0:29:15.000 --> 0:29:18.960 behind the camera here. The other credited writer is Bernardino 0:29:19.120 --> 0:29:21.520 z a Pony who lived nineteen twenty seven through the 0:29:21.600 --> 0:29:25.640 year two thousand, Italian screenwriter, best known internationally for his 0:29:25.800 --> 0:29:31.280 collaborations with Federico Fellini and Tinto Brass. His Fellini films 0:29:31.280 --> 0:29:34.920 include Toby Dammit, part of the anthology Spirits of the 0:29:35.000 --> 0:29:38.000 Dead from nineteen sixty eight this is the one hit 0:29:38.080 --> 0:29:42.280 Terrence Stamp in it, as well as Satiricon from sixty nine, 0:29:42.400 --> 0:29:46.240 The Clowns from nineteen seventy, Roma from seventy two, Casanova 0:29:46.280 --> 0:29:49.440 from seventy six, and City of Women from nineteen eighty. 0:29:50.360 --> 0:29:53.360 His films with Brass consist of ninety one's Paprika and 0:29:53.440 --> 0:29:56.480 ninety two's All Ladies Do It. He also worked with 0:29:56.560 --> 0:29:59.960 Pasolini on sixty seven's The Witches and other films include 0:30:00.080 --> 0:30:04.200 seventy five's Lenore and seventy six is Plot of Fear, 0:30:04.480 --> 0:30:07.200 Oh in seventy sevens Lost Soul, and eighty one's Phantom 0:30:07.240 --> 0:30:10.560 of Love. This was his only collaboration with our gento 0:30:11.000 --> 0:30:15.560 no Bummer. They work well together apparently. Yeah, all right, 0:30:15.560 --> 0:30:19.080 Getting into the cast. We mentioned David Hemmings already. He 0:30:19.160 --> 0:30:25.160 plays our protagonist, the character Marcus Hemmings with nineteen forty 0:30:25.160 --> 0:30:28.800 one through two thousand and three British actor, director and 0:30:29.080 --> 0:30:32.120 something of a nineteen sixties cultural icon in his own right. 0:30:32.880 --> 0:30:35.160 He started out as a child actor and a singer 0:30:35.440 --> 0:30:37.920 that really came into his own during the nineteen sixties 0:30:37.960 --> 0:30:41.040 following his lead role in the film blow Up. This 0:30:42.040 --> 0:30:45.040 is set in like mod London, so very stylish affair 0:30:45.880 --> 0:30:49.720 and also very very eye catching poster art that I 0:30:49.720 --> 0:30:51.720 think everyone's probably seen if you spend any amount of 0:30:51.720 --> 0:30:54.760 time in like a movie theater or a video store. 0:30:55.280 --> 0:30:59.120 Am I correct in thinking that a key plot detail 0:30:59.200 --> 0:31:02.720 in blow Up is kind of like that that incriminating 0:31:02.800 --> 0:31:05.520 detail that is at the beginning of so many Gallo 0:31:05.640 --> 0:31:09.640 movies where there's like a the protagonist already has a 0:31:09.720 --> 0:31:12.200 revelatory kind of clue in their possession, but they just 0:31:12.280 --> 0:31:14.720 have to keep like zooming in to understand it. 0:31:14.920 --> 0:31:19.720 Mm yeah, yeah, that's a good connection. Yeah, let's see. 0:31:19.760 --> 0:31:21.960 Hemmings followed this up with see he was in the 0:31:22.000 --> 0:31:25.680 film adaptation of the musical Camelot in sixty seven. Oh 0:31:25.720 --> 0:31:28.360 and then a lot of you probably will recognize him 0:31:28.480 --> 0:31:31.720 as the rebel leader dil Dano from sixty eight to 0:31:31.760 --> 0:31:36.520 Barbarella if you don't remember specific plot elements or or 0:31:36.680 --> 0:31:39.880 character names. The guy with the mustache from Barbarella. 0:31:39.720 --> 0:31:42.240 Not John Philip Lawa's character correctly. 0:31:42.000 --> 0:31:46.880 Not the angel yeah, and not Duran Durant, So let's see. 0:31:46.920 --> 0:31:49.480 Hemmings filmography includes the various films that are now I 0:31:49.520 --> 0:31:52.480 would say deeper cuts outside of their time, but that 0:31:52.560 --> 0:31:54.560 seemed like they were a bigger deal when they came out, 0:31:54.840 --> 0:31:57.480 some lower budget fair for sure, as well as roles 0:31:57.480 --> 0:32:00.320 in noted blockbusters Towards the end of his career, so 0:32:01.200 --> 0:32:03.240 he was in two thousands Gladiator, he was in two 0:32:03.240 --> 0:32:06.120 thousand and two Gangs of New York, and his horror 0:32:06.120 --> 0:32:09.880 output includes sixty six His Eye of the Devil, seventy 0:32:09.920 --> 0:32:13.880 threes Voices, seventy nine thirst eighties Harlequin in eighty nine's 0:32:14.120 --> 0:32:17.440 The Turn of the Screw. He was also a prolific 0:32:17.480 --> 0:32:20.400 director in his own right, helming such films as seventy 0:32:20.400 --> 0:32:23.040 eight's Just a Jigglo, that one's the one with David 0:32:23.040 --> 0:32:26.440 Bowie in it, eighty one Survivor, and he also helmed 0:32:26.560 --> 0:32:28.040 various TV show episodes. 0:32:28.440 --> 0:32:29.760 Have you ever seen an Eye of the Devil? 0:32:30.440 --> 0:32:32.600 I have not seen Eye of the Devil the movie 0:32:32.800 --> 0:32:35.680 or the actual Eye of the Devil. 0:32:36.800 --> 0:32:38.880 Maybe we should check that out sometimes. That one, it's 0:32:38.920 --> 0:32:43.360 a little weird. It's got Sharon Tate in it, one 0:32:43.400 --> 0:32:46.720 of her film roles, and it's got Donald Pleasance and 0:32:47.120 --> 0:32:51.239 of course David Hemmings and David Niven. It's about like 0:32:51.320 --> 0:32:54.640 a person who goes to a I don't know actually 0:32:54.680 --> 0:32:57.040 now I'm forgetting some of the details, but somebody goes 0:32:57.080 --> 0:32:59.360 out to like a country estate with the castle and 0:32:59.400 --> 0:33:02.800 there is a be cult with hoods and robes all around. 0:33:03.640 --> 0:33:07.120 And if I'm remembering the details correctly, David Hemmings plays 0:33:07.760 --> 0:33:12.280 Sharon Tate's brother, and they're like a creepy, kind of 0:33:12.440 --> 0:33:15.320 ambiguous brother and sister duo. 0:33:15.760 --> 0:33:18.920 Okay, all right, sounds interesting. Well, maybe we'll have to 0:33:18.920 --> 0:33:22.040 come back to that one. As for Hemming's role here, 0:33:22.880 --> 0:33:26.080 I think he's very good in this, and I think 0:33:26.080 --> 0:33:28.400 we have to stress as well that while in Lesser 0:33:29.760 --> 0:33:32.440 Jollo Fair this sort of character can be pretty trite, 0:33:32.480 --> 0:33:36.000 you know, but Marcus here is far better developed. He's 0:33:36.040 --> 0:33:41.720 an obsessive, flawed, often over confident man, and this I 0:33:41.720 --> 0:33:44.360 think plays into what we were getting at. Like, here's 0:33:44.400 --> 0:33:47.400 a character who early in the film is going to 0:33:47.520 --> 0:33:50.800 acquire the pieces he needs to solve the mystery, but 0:33:50.880 --> 0:33:52.240 it's not going to really be able to put it 0:33:52.280 --> 0:33:55.520 all together. But he he has the abilities, and yet 0:33:55.560 --> 0:33:58.960 he has overconfidence in his abilities at times to figure 0:33:58.960 --> 0:34:00.960 it out. Like it's a great It all comes together 0:34:01.040 --> 0:34:01.880 nicely on the screen. 0:34:02.160 --> 0:34:05.600 I think it's interesting that despite the dark and disturbing 0:34:05.680 --> 0:34:08.680 subject matter that makes up the core plot of Deep Red, 0:34:09.880 --> 0:34:14.160 the protagonist here, played by David Hemmings, is the subject 0:34:14.200 --> 0:34:17.719 of a lot of fun. Like the movie has fun 0:34:17.760 --> 0:34:21.280 at his expense. We are often laughing at his FOI. 0:34:21.080 --> 0:34:24.880 Boles, Yeah, because he is he's flowed and over confident. 0:34:25.040 --> 0:34:27.400 He's a bit of a sexist and gets called on 0:34:27.480 --> 0:34:28.160 his sexism. 0:34:28.560 --> 0:34:32.120 There's an actually I thought hilarious scene where he gets 0:34:32.160 --> 0:34:35.360 beaten at arm wrestling after like yelling at his girlfriend 0:34:35.400 --> 0:34:37.400 about how men are stronger than women, and then she 0:34:37.480 --> 0:34:40.320 beats him at arm wrestling and he's like, you cheated, 0:34:40.400 --> 0:34:41.200 it's not fair. 0:34:43.200 --> 0:34:47.239 Yeah. Yeah. He gets to have multiple comedic scenes that 0:34:47.760 --> 0:34:52.319 I thought were just perfectly balanced. Like, sometimes it gets 0:34:52.320 --> 0:34:57.680 complicated because you have different eras, different different film cultures 0:34:58.000 --> 0:35:00.719 that maybe have different ideas of how much humor you 0:35:00.760 --> 0:35:04.200 should have in your horror film, and so sometimes things 0:35:04.239 --> 0:35:06.920 can feel really out of balance, at least to us, 0:35:06.960 --> 0:35:10.759 to modern viewers. But here it feels just about right. 0:35:10.760 --> 0:35:13.000 Even though this is a dark, deep, and in many 0:35:13.000 --> 0:35:16.600 way statistic film, the humor doesn't feel out of place. 0:35:16.640 --> 0:35:18.319 It feels like a chance to sort of catch your 0:35:18.320 --> 0:35:20.479 breath and maybe forget where you were for a minute 0:35:20.560 --> 0:35:22.160 or two before things get dark again. 0:35:22.360 --> 0:35:24.279 Well it's grand gain, y'all. You know. It's the hot 0:35:24.280 --> 0:35:26.520 and cold showers where the idea is that you would 0:35:26.520 --> 0:35:30.200 get a you know, a frightening, disturbing short play followed 0:35:30.200 --> 0:35:32.680 by a comedy sketch, and so it you know, takes 0:35:32.680 --> 0:35:36.560 you back and forth and the contrast makes each one 0:35:36.600 --> 0:35:38.120 more exciting and refreshing. 0:35:38.600 --> 0:35:40.120 All right. Up next, we have another actor that we 0:35:40.120 --> 0:35:44.400 already mentioned, Daria Nickelode, playing the character Gianna. This is 0:35:44.440 --> 0:35:48.440 our nosy reporter, another role that we've just come to 0:35:48.520 --> 0:35:52.920 expect from genre films, but here she's a strong, confident 0:35:53.040 --> 0:35:58.840 character played by Italian actress and frequent Argento collaborator Nickelode, also, 0:35:58.920 --> 0:36:02.080 of course, one time a romantic partner and mother of 0:36:02.560 --> 0:36:06.439 their daughter Aja Argento. She lived nineteen forty nine through 0:36:06.480 --> 0:36:11.000 twenty twenty, and she appeared in five films directed by 0:36:11.120 --> 0:36:14.600 Argento between seventy five and eighty seven. We have Deep Red, 0:36:14.840 --> 0:36:19.880 but also Inferno, Tinebray, Phenomena and Opera. In fact, I 0:36:19.920 --> 0:36:23.040 believe the two of them met on this film, so 0:36:23.480 --> 0:36:28.040 professional relationship giving away to romantic relationship. She also has 0:36:28.080 --> 0:36:32.040 screenplay credits on Suspiria and Inferno, but may have contributed 0:36:32.080 --> 0:36:35.320 to others in an uncredited capacity during their time together. 0:36:35.880 --> 0:36:39.080 Her other film credits include Mario Bava's final film Shock 0:36:39.160 --> 0:36:40.080 from seventy seven. 0:36:40.440 --> 0:36:42.160 I'm trying to remember if I've seen that one. 0:36:42.680 --> 0:36:47.480 I have not that I have not seen Bava's Mario 0:36:47.600 --> 0:36:48.560 Bava's later. 0:36:48.440 --> 0:36:52.799 Work Beyond the Door too. What I just looked it up, 0:36:52.840 --> 0:36:55.319 and it's known it was released in the US as 0:36:55.400 --> 0:36:58.880 Beyond the Door too, which is hilarious because have you 0:36:58.920 --> 0:37:00.240 seen Beyond the Door? 0:37:00.760 --> 0:37:03.920 No, this is a foro Italian film, but I'm not 0:37:03.920 --> 0:37:06.040 familiar with this. What's the deal on it? 0:37:06.600 --> 0:37:10.280 Beyond the Door is an Italian ripoff of the Exorsus. 0:37:10.560 --> 0:37:13.839 That is we I think maybe we should watch it? 0:37:13.960 --> 0:37:14.160 Oh? 0:37:14.200 --> 0:37:17.000 Really, yeah, it's pretty wild. 0:37:17.120 --> 0:37:18.920 We could probably. It's kind of like with Jaws. We 0:37:18.960 --> 0:37:22.680 could probably do a solid month or many months of 0:37:22.880 --> 0:37:27.520 just exorcist ripoffs from other countries, because I've seen some 0:37:27.520 --> 0:37:31.600 some Spanish exorcist ripoffs. All right, we'll remember that one. 0:37:31.640 --> 0:37:35.239 But as for Nickelode here, solid presence here. I think 0:37:35.239 --> 0:37:35.720 she's great. 0:37:36.120 --> 0:37:39.440 Yeah, I agree, and I would say probably, especially if 0:37:39.480 --> 0:37:42.759 you watch this longer cut that I watched, which has 0:37:43.120 --> 0:37:45.600 all these restored scenes, and again, I really get the 0:37:45.600 --> 0:37:48.480 impression that most of what's restored has to do with 0:37:48.560 --> 0:37:50.239 her character, building her out more. 0:37:51.120 --> 0:37:55.760 All right, let's see up next. We have the character Carlo, 0:37:55.800 --> 0:38:00.399 played by Gabrielle Lavia born nineteen forty two. Talent and 0:38:00.520 --> 0:38:03.360 a well known Italian stage actor, active on screen and 0:38:03.440 --> 0:38:07.120 TV from about sixty six through twenty twenty two, and 0:38:07.160 --> 0:38:10.040 as a director and writer from eighty three through twenty 0:38:10.080 --> 0:38:14.160 twenty one. In fact, he directed, co wrote, and starred 0:38:14.320 --> 0:38:17.440 in a nineteen eighty three film titled Believe This is 0:38:17.480 --> 0:38:21.320 the Prince of Homburg and an historical drama that was 0:38:21.360 --> 0:38:24.320 apparently well regarded upon release. But I see few signs 0:38:24.320 --> 0:38:29.239 of it today. Maybe it's more prominent, prominently discussed on 0:38:29.360 --> 0:38:32.640 Italian language websites and so forth, but like on letterboxed 0:38:32.680 --> 0:38:34.759 and so forth, I just don't see people talking about 0:38:34.800 --> 0:38:37.680 what this film even really is. But it looked like 0:38:37.680 --> 0:38:39.960 it was nominated for various awards when it came out, 0:38:41.160 --> 0:38:43.680 As is often the case, sometimes it's the genre films 0:38:43.680 --> 0:38:47.880 that of course resonate internationally in a stronger fashion. And 0:38:47.920 --> 0:38:51.640 so yeah. Lavia's other films include nineteen seventy fours Beyond 0:38:51.640 --> 0:38:54.520 the Door, which I had in the notes here and 0:38:55.520 --> 0:38:58.279 we just talked about. He was also in a film 0:38:58.320 --> 0:39:01.480 the same year titled The Tempter. He was in Inferno, 0:39:01.680 --> 0:39:05.000 playing a different character, also named Carlo. I think, okay, 0:39:05.000 --> 0:39:07.560 it's just a nod back to this film. He's an 0:39:07.560 --> 0:39:09.920 a don't remember who that is. I have seen Inferno, 0:39:09.960 --> 0:39:12.520 but I think it's a supporting character. I don't remember 0:39:12.600 --> 0:39:14.239 him either from it. I think I've seen Inferno, but 0:39:14.280 --> 0:39:17.080 it's been a while. He's an eighty three Zetter and 0:39:17.200 --> 0:39:20.759 he's in another Argenta film, Sleepless from two thousand and one. 0:39:21.239 --> 0:39:24.600 So Lavia here really solid, and I would say that 0:39:24.680 --> 0:39:28.080 his scenes with Himmings especially have a lot of character. 0:39:28.640 --> 0:39:30.920 I don't know if they had any additional scenes together 0:39:31.000 --> 0:39:33.080 in the extended version that you watched or not, but 0:39:33.160 --> 0:39:36.120 the ones I saw they had great chemistry. 0:39:36.160 --> 0:39:39.960 I thought they did well. Actually I can't be sure, 0:39:40.000 --> 0:39:42.920 but I think the version you saw probably didn't have 0:39:42.960 --> 0:39:46.239 the scene where they after they talk, they go out 0:39:46.280 --> 0:39:48.400 together and they go to the bar and they play 0:39:48.480 --> 0:39:50.440 piano together on the same piano. 0:39:50.520 --> 0:39:52.879 I didn't know. Now I really want to see that 0:39:52.920 --> 0:39:55.080 because that's one of the whole things is they're both 0:39:55.120 --> 0:39:57.920 pianists and they have this discussion about how they have 0:39:57.960 --> 0:40:03.600 different philosophies and politics regarding their profession. So Carlo is 0:40:03.719 --> 0:40:09.000 playing piano to survive, where as as Marcus is more 0:40:09.040 --> 0:40:13.040 of a he's a professional. It's his career and he's 0:40:13.560 --> 0:40:15.880 he's ascending via the piano. 0:40:15.719 --> 0:40:19.200 The way Carlo explains it is he says that he 0:40:19.280 --> 0:40:22.799 says that Marcus is a bourgeois artist who you know, 0:40:22.920 --> 0:40:26.799 is a professional. Yeah, he does it because he has ideas. 0:40:26.960 --> 0:40:30.080 Whereas he says about himself, he says, I, Carlo am 0:40:30.160 --> 0:40:34.520 a proletarian artist. I play music because it's the only 0:40:34.560 --> 0:40:37.080 way I can make money, and thus my music is 0:40:37.120 --> 0:40:38.640 actually more pure than yours. 0:40:40.080 --> 0:40:42.960 Yeah. Yeah, so Carlo. We'll discuss more about Carlo when 0:40:43.000 --> 0:40:45.560 we get into the plot. But you know, obviously a 0:40:45.600 --> 0:40:51.399 complex character that is ultimately just fascinating in the way 0:40:51.400 --> 0:40:53.360 that it's realized on the screen. 0:40:53.840 --> 0:40:58.080 I quite sympathetic and tragic, even before some of the 0:40:58.120 --> 0:41:00.239 developments that come at the end of the film, like 0:41:00.320 --> 0:41:03.080 early on when there's just scenes of them talking together, 0:41:03.120 --> 0:41:06.400 when Carlo is drinking. You know, Carlo is like drunk 0:41:06.400 --> 0:41:09.040 out in a piazza and they're having a conversation together, 0:41:09.520 --> 0:41:15.080 and there is a great kind of wise sadness about him. 0:41:16.000 --> 0:41:16.800 It really works. 0:41:17.120 --> 0:41:28.160 Yeah, absolutely, all right. We mentioned there was a psychic 0:41:28.200 --> 0:41:31.600 in the film. The psychic is the character Helga played 0:41:31.640 --> 0:41:37.560 by Masha Morel born nineteen forty. She's a German psychic 0:41:37.680 --> 0:41:41.240 played here by a French model turned actress of Russian 0:41:41.320 --> 0:41:44.560 and Ukrainian descent. She was already an established name in 0:41:44.640 --> 0:41:48.840 eurocinema at this point, having worked with multiple big name directors. 0:41:49.160 --> 0:41:53.480 She'd worked with Jean lu Gotter a married Woman in 0:41:53.520 --> 0:41:59.120 sixty four, She'd worked with Louis Bounel Belldajour in sixty seven, 0:41:59.400 --> 0:42:01.640 and then right after this she'd worked with She would 0:42:01.640 --> 0:42:05.239 go on to work with Renier Werner of Fastpender in 0:42:05.320 --> 0:42:08.799 seventy six in the movie Chinese Roulette. Other films of 0:42:08.800 --> 0:42:12.480 note include eighty five's Vagabond and seventy five's Last Stop 0:42:12.600 --> 0:42:18.680 on the Night Train. So a stylish and doomed character, 0:42:20.320 --> 0:42:23.680 as we'll discuss our psychic discovers who the killer is 0:42:23.800 --> 0:42:26.879 way too early in the film, even before there are 0:42:26.880 --> 0:42:29.880 any present day murders, So you know it's not going 0:42:29.960 --> 0:42:30.759 to end well for her. 0:42:31.120 --> 0:42:33.680 I think we're going to have an amazing discussion about 0:42:33.680 --> 0:42:36.240 what it means the way she takes a sip of water. 0:42:36.840 --> 0:42:40.560 Yes, yes, there's a lot of water falling out of 0:42:40.560 --> 0:42:44.120 people's mouths in this movie. It was a distinctive choice. 0:42:44.160 --> 0:42:46.680 I think I've noticed it three times. Hers is the 0:42:46.719 --> 0:42:50.360 most pronounced I think in a couple of the murder 0:42:50.440 --> 0:42:53.839 or attack scenes, we see either water or some other 0:42:53.880 --> 0:42:56.359 liquid that is not blood coming out of someone's mouth. 0:42:56.760 --> 0:42:59.560 Interesting, okay, yeah, and we can check in about that later. 0:42:59.680 --> 0:43:05.600 Yeah, all right, we we have some additional investigators. So 0:43:06.239 --> 0:43:11.759 we have Professor Giordani played by Gloco Mai who lived 0:43:11.800 --> 0:43:14.400 nineteen thirty through twenty twenty four. This is our the 0:43:14.480 --> 0:43:18.720 character is our parapsychologist, and the actor is an Italian 0:43:18.760 --> 0:43:21.400 actor and theater director who was a specially active in 0:43:21.440 --> 0:43:25.399 Shakespearean theater. Again, one of these characters who I think 0:43:25.480 --> 0:43:28.400 was far more active on the stage in Italy, and 0:43:28.480 --> 0:43:32.799 this is perhaps his best known film, certainly internationally. The 0:43:32.880 --> 0:43:35.200 stage is where we would find most of his prestige. 0:43:35.239 --> 0:43:38.960 But he's very good here and is at times kind 0:43:39.000 --> 0:43:41.120 of our central character. Like there's a point in the 0:43:41.160 --> 0:43:44.200 film not long before he dies, really where he's like 0:43:44.239 --> 0:43:46.920 out on his own side quest and Marcus listen, even 0:43:46.960 --> 0:43:47.880 along for the ride. 0:43:48.080 --> 0:43:51.719 Yeah, he's doing some investigating and he figures out a 0:43:51.960 --> 0:43:54.799 message written by one of the previous murder victims. And 0:43:54.960 --> 0:43:56.960 I'm going to be honest, I did not figure out 0:43:57.000 --> 0:44:01.160 what that message was or what it contributed to the solution, did. 0:44:01.000 --> 0:44:04.440 You think, Well, he saw the full so basically, as 0:44:04.480 --> 0:44:07.040 we'll discuss the situation is, he figures out that the 0:44:07.120 --> 0:44:11.960 murder victim wrote on the steamed up mirror wall wrote something, 0:44:12.160 --> 0:44:15.080 but we don't get to read the full ride out. 0:44:15.520 --> 0:44:18.400 We get to read like the killer is. And I 0:44:18.520 --> 0:44:21.280 was to assume, maybe this is I'm interpreting it incorrectly, 0:44:21.320 --> 0:44:24.719 but I thought he read the whole thing, so like 0:44:25.040 --> 0:44:26.640 he knew who the killer was, or he had some 0:44:26.760 --> 0:44:29.239 vital clue and he didn't get to pass that on 0:44:29.360 --> 0:44:35.400 to chief investigator Marcus okay, unofficial investigation hierarchy. 0:44:35.160 --> 0:44:38.399 That would all make sense. I just I never got 0:44:38.440 --> 0:44:42.799 any indication that what she had written was the killer's name. Yeah, 0:44:42.840 --> 0:44:44.640 I just saw like she wrote something, and then we 0:44:44.719 --> 0:44:45.839 never get a good look at it. 0:44:46.320 --> 0:44:49.960 Very stylish scene. Not the only film with great use 0:44:50.000 --> 0:44:53.560 of mirrors, but one of them in this movie. All right, Now, 0:44:53.600 --> 0:44:56.200 there's another professor that's kind of helping out somewhere in 0:44:56.239 --> 0:45:00.800 the parapsychology department. And this is the character Professor Bardie, 0:45:00.920 --> 0:45:04.440 played by Piro Matt Singhi. I'm not sure what his 0:45:04.640 --> 0:45:07.319 dates happened to be. His other credits include seventy four 0:45:07.360 --> 0:45:10.719 is the night Porter. Apparently he was a graphic designer 0:45:10.800 --> 0:45:13.720 or illustrator and art director who just kind of pops 0:45:13.800 --> 0:45:16.160 up in the corners of this film and a few others. 0:45:16.560 --> 0:45:20.000 He always has a vaguely comic presence. I don't know 0:45:20.080 --> 0:45:22.600 quite why, but yeah, in all the scenes he's in, 0:45:22.680 --> 0:45:25.120 he's kind of there smirking in the background. Isn't he 0:45:25.160 --> 0:45:27.720 the guy who's like, oh, by the way, this song 0:45:27.800 --> 0:45:30.080 you heard, you should go look up a book about 0:45:30.080 --> 0:45:31.880 that song. That'll tell you who the killer is. 0:45:32.080 --> 0:45:35.600 Yeah? Yeah, so he has some important suggestions for the 0:45:35.640 --> 0:45:39.160 investigation yet, but I don't think he He doesn't even 0:45:39.160 --> 0:45:41.800 We don't even bother to murder this guy, right, I 0:45:41.840 --> 0:45:43.920 don't murder not in my cut. 0:45:44.280 --> 0:45:48.080 Though, there are some some implied murders in the movie, 0:45:48.120 --> 0:45:50.960 do you know what I'm talking about? For example, the 0:45:52.480 --> 0:45:57.399 maid who is cleaning up Amanda Righetti's house, remember this. 0:45:57.560 --> 0:46:01.560 After Professor Jordani leaves, we see the maid like hear 0:46:01.640 --> 0:46:04.000 a sound down the hall and she's like, what is 0:46:04.040 --> 0:46:06.120 that and then starts to go investigate, and then we 0:46:06.200 --> 0:46:09.160 never see her again. So I think there are at 0:46:09.200 --> 0:46:12.600 least some characters who we understand have probably been murdered, 0:46:12.640 --> 0:46:14.720 but we never find out that's true. 0:46:14.719 --> 0:46:18.359 That's true. Now we mentioned Carlo earlier, Carlo's mother often 0:46:18.400 --> 0:46:20.840 shows up. Joke. Does Carlo's mother have a name? I 0:46:20.840 --> 0:46:23.520 think on IMDb she just listened to Carlo's mother. 0:46:23.680 --> 0:46:26.000 I don't remember this from the movie, but on the 0:46:26.000 --> 0:46:29.359 wiki that says her name is Martha, So that sounds right. 0:46:29.520 --> 0:46:32.320 So Carlo's mother is Martha. We have some interesting little 0:46:32.360 --> 0:46:35.600 meetings with her earlier in the film, where Marcus is 0:46:35.640 --> 0:46:37.960 looking for Carlo and goes to her apartment, and she 0:46:38.080 --> 0:46:40.840 keeps thinking he's an engineer instead of a pianist. Of 0:46:41.000 --> 0:46:43.919 like a common mistake. Yeah, yeah, yeah. But she also 0:46:44.080 --> 0:46:47.759 recurring humor. She likes to she seems a little bit, 0:46:49.080 --> 0:46:51.560 a little bit confused about what's going on, and she 0:46:51.680 --> 0:46:53.480 often refers to the fact that she used to be 0:46:53.520 --> 0:46:54.160 an actress. 0:46:54.520 --> 0:46:59.200 Yes, and that's a nice little detail because the actress 0:46:59.239 --> 0:47:04.240 playing her is a classic Italian actress. This is Clara Kalamai, 0:47:04.440 --> 0:47:07.239 who of nineteen oh nine through nineteen ninety eight. Her 0:47:07.239 --> 0:47:09.160 credits go back to the late thirties and she was 0:47:09.200 --> 0:47:13.120 acclaimed for roles in a string of nineteen forties historical dramas. 0:47:14.960 --> 0:47:17.960 This is getting and we're talking like big pictures, like 0:47:19.000 --> 0:47:21.799 not the genre stuff from Italian cinema that I'm more 0:47:21.840 --> 0:47:25.879 informed about. But I was reading that she's considered kind 0:47:25.880 --> 0:47:29.080 of a bridge between two distinct periods of Italian cinema, 0:47:29.360 --> 0:47:32.960 the White Telephone era, which is like this escapist era 0:47:33.080 --> 0:47:37.400 of thirties and forties Italian cinema with white telephones, apparently 0:47:37.440 --> 0:47:40.080 serving as a stark contrast between the style and the 0:47:40.080 --> 0:47:44.239 wealth on screen and the grim realities of the war 0:47:44.320 --> 0:47:48.160 torn fascist state. And then she goes on from this 0:47:48.320 --> 0:47:53.959 into neorealism, Italian neorealism, which emerges post warld War two. 0:47:54.960 --> 0:47:58.600 So by the time Deep Red comes out, she'd already 0:47:58.680 --> 0:48:02.680 pretty much retired but came back for this film, and 0:48:02.719 --> 0:48:05.120 I think she did one other film before retiring for good. 0:48:05.120 --> 0:48:08.720 But Argento apparently wanted an actress with like a classic 0:48:08.800 --> 0:48:12.880 cinematic appeal, because in part because that's kind of what 0:48:12.920 --> 0:48:15.120 she's playing. She's kind of playing. I'm not saying she's 0:48:15.120 --> 0:48:18.719 playing herself, but she's playing like maybe some take on 0:48:19.080 --> 0:48:21.560 the sort of actress that she was. All Right, let's 0:48:21.560 --> 0:48:24.000 see other characters of note. I'm going to try and 0:48:24.000 --> 0:48:25.920 skip ahead here. You know, we have characters that come 0:48:26.000 --> 0:48:28.439 up that are important. They catch a murder or two, 0:48:28.960 --> 0:48:33.880 but then we move on. There's a character named Massimo 0:48:34.640 --> 0:48:39.800 introduced as Carlo's romantic partner, played here by Geraldine Hooper. 0:48:40.040 --> 0:48:42.560 So it's an interesting bit of casting because we have 0:48:42.640 --> 0:48:45.880 a female actor playing a character with a masculine Italian name, 0:48:46.360 --> 0:48:49.120 but whose gender identity would seem to be feminine or 0:48:49.160 --> 0:48:52.760 non binary. Hooper was a British actress with a handful 0:48:52.840 --> 0:48:56.000 of mostly bit parts in such films as seventies Queens 0:48:56.040 --> 0:48:59.040 of Evil and seventy one's they have changed their face, 0:49:00.120 --> 0:49:03.799 but very small role at least in the cut I watch. 0:49:03.840 --> 0:49:06.000 I don't know if this character has additional scenes. We 0:49:06.000 --> 0:49:07.840 don't really get to know this character at least in 0:49:07.840 --> 0:49:12.320 the version of the film I watch, but her performance 0:49:12.360 --> 0:49:13.399 plays an important role. 0:49:14.000 --> 0:49:17.920 Yeah, it's an interesting scene. So the setup is that 0:49:18.719 --> 0:49:20.920 Marcus is looking for his friend Carlo. He goes to 0:49:21.000 --> 0:49:23.480 Carlo's mother's apartment. That's when we get this weird meeting 0:49:23.520 --> 0:49:25.120 where she's like, I used to be an actress, but 0:49:25.200 --> 0:49:29.200 somehow she sends him to this other apartment where Carlo 0:49:29.320 --> 0:49:32.160 might be found and when Marcus gets there, he meets 0:49:32.200 --> 0:49:36.799 this character Massimo, and you think, based on the very 0:49:36.840 --> 0:49:39.759 first interaction, like it seemed to me like, oh, no, 0:49:39.920 --> 0:49:42.239 is this being set up as kind of a homophobic 0:49:42.280 --> 0:49:48.960 reaction From what I from the context in the scene, 0:49:49.160 --> 0:49:51.279 it made it seem like this is the first time 0:49:51.320 --> 0:49:57.000 that Marcus discovers that Carlo is gay, but he actually 0:49:57.000 --> 0:49:59.160 in the scene doesn't really go that way. He comes 0:49:59.239 --> 0:50:01.680 in and then he kind of tries to be a 0:50:01.719 --> 0:50:05.879 good friend, and then like together Marcus and Massimo talk 0:50:05.960 --> 0:50:08.600 about Carlo's problems and how they're like both trying to 0:50:08.640 --> 0:50:09.120 help him. 0:50:09.280 --> 0:50:13.319 Yeah, it's a it's a very humanizing scene and kind 0:50:13.320 --> 0:50:15.480 of a breath of fresh air. I'm really a breath 0:50:15.480 --> 0:50:17.560 of fresh air. Though at this point in the film, 0:50:17.600 --> 0:50:19.600 like you're still in a genre movie. If you haven't 0:50:19.600 --> 0:50:21.319 seen it before, you don't know how things are gonna 0:50:21.360 --> 0:50:24.960 ultimately land. Yeah, but looking back on it still, I 0:50:25.000 --> 0:50:26.120 think it was a very nice scene. 0:50:26.560 --> 0:50:30.439 I would say that Jallo films overall are not known 0:50:30.560 --> 0:50:34.000 for having super cool thoughts about gender and sexuality. 0:50:34.360 --> 0:50:36.600 No, I mean you can basically say that of genre 0:50:36.719 --> 0:50:41.400 films from throughout the nineteen seventies, So but not the 0:50:41.400 --> 0:50:44.080 place you're gonna find it. But you do find it sometimes, 0:50:44.080 --> 0:50:47.239 but it's just it's an exception when you do this movie. 0:50:47.280 --> 0:50:50.000 Though it didn't end up going in a bad direction 0:50:50.120 --> 0:50:52.760 that it felt like it might be going. It actually 0:50:53.160 --> 0:50:55.600 ended up being kind of like a sweet and interesting scene. 0:50:55.960 --> 0:50:57.960 Yeah, And I think it'll be interesting to discuss this 0:50:58.040 --> 0:51:00.799 once all the cards are on the table, because I 0:51:00.880 --> 0:51:05.799 believe this film is intentionally subversive in that, like it 0:51:05.920 --> 0:51:12.759 is taking certain genre staples and stereotypes, cinematic stereotypes, and 0:51:12.880 --> 0:51:18.279 also stereotypes that are probably in the viewer's mind as 0:51:18.280 --> 0:51:21.200 well either, I mean, stereotypes that they're bringing into a 0:51:21.239 --> 0:51:24.680 cinematic experience and probably bringing into real life as well, 0:51:25.400 --> 0:51:31.319 and then taking those and then subverting expectations. So yeah, 0:51:31.640 --> 0:51:35.399 we'll get back to that. Let's see rounding of the cast. 0:51:35.520 --> 0:51:37.120 Just a couple of small roles that I just want 0:51:37.120 --> 0:51:39.520 to mention because of their connection to other horror films. 0:51:39.920 --> 0:51:43.120 Nicoletta Elmi is in it playing Olga. This is the 0:51:43.160 --> 0:51:45.840 creepy redheaded girl from Footprints on the Moon that we 0:51:45.880 --> 0:51:46.719 watched last year. 0:51:47.000 --> 0:51:52.440 Yep, actually in both movies, if I'm remembering her right. 0:51:52.520 --> 0:51:55.440 In Footprints on the Moon. It's a character who shows 0:51:55.520 --> 0:51:58.440 up to be like a kind of strange, haunting child 0:51:58.560 --> 0:52:01.960 presence who had first seen weird and threatening, but then 0:52:02.120 --> 0:52:03.440 they turn out to be harmless. 0:52:03.680 --> 0:52:05.799 Yeah, and I think she gets slapped around by the 0:52:05.800 --> 0:52:09.200 protagonist Footprints, and here she just gets kind of like 0:52:09.320 --> 0:52:10.200 strong armed. Yeah. 0:52:10.920 --> 0:52:14.400 In both movies she's treated badly by adults Summer, but 0:52:15.880 --> 0:52:19.520 here she ultimately ends up being the able to give 0:52:19.560 --> 0:52:23.040 the protagonists the clue that, oh, if we just go 0:52:23.160 --> 0:52:26.000 to a certain middle school and look at every drawing 0:52:26.160 --> 0:52:29.360 ever made by a child there, we'll find the drawing 0:52:29.440 --> 0:52:30.800 that will unlock the mystery. 0:52:31.000 --> 0:52:34.440 That's right, And they do. But yeah, fun Little just 0:52:34.440 --> 0:52:37.319 sort of almost an Easter egg for horror fans because 0:52:37.320 --> 0:52:39.120 she was also in Bava's Bay of Blood as well 0:52:39.160 --> 0:52:41.799 as Baron Blood. She's in seventy three's Flesh for Frankenstein, 0:52:42.080 --> 0:52:44.480 and she's the grown up redhead in nineteen eighty five 0:52:44.600 --> 0:52:49.759 Demons Now, and even Trashire Deep Cut. Though there's a 0:52:49.760 --> 0:52:51.920 scene where we see a fruit vendor in the street, 0:52:52.840 --> 0:52:57.480 a very distinctive looking man. This is Salvatory Bacco, who 0:52:57.520 --> 0:53:00.279 lived nineteen thirty two through nineteen eighty four. He was 0:53:00.320 --> 0:53:05.560 an actual flower vendor outside of some Italian film studios, 0:53:06.239 --> 0:53:09.759 but then got cast because of his distinctive looks, frequently 0:53:09.840 --> 0:53:13.160 cast as heavies and beast men, cave men and the like. 0:53:13.680 --> 0:53:15.799 He was definitely in some sludge in his day, and 0:53:15.840 --> 0:53:17.960 I think some like spaghetti westerns as well. 0:53:18.200 --> 0:53:21.600 Oh okay, I'm not super familiar, but well. 0:53:22.000 --> 0:53:25.040 He pops up. Let's see the cinema. We have to 0:53:25.080 --> 0:53:27.160 mention the cinematographer because of the look of this film. 0:53:27.640 --> 0:53:33.399 We can't reference everybody, but Luigi Cuvolar lived nineteen twenty 0:53:33.440 --> 0:53:36.920 seven through twenty thirteen, noted Italian cinematographer who worked with 0:53:36.960 --> 0:53:41.280 the likes of Billy Wilder, Paul Morrissey and Luccio Fulci. 0:53:41.680 --> 0:53:45.319 And then finally the music. We've already talked about this 0:53:45.360 --> 0:53:50.360 a little bit. There are two individuals quote to There's Goblin, 0:53:50.400 --> 0:53:52.960 of course, which we'll get to, but then also we 0:53:53.080 --> 0:53:58.879 have Giorgio Gazzlini, who is credited as well, who lived 0:53:58.960 --> 0:54:02.799 nineteen twenty nine through twenty fourteen. He was a composer 0:54:02.880 --> 0:54:06.600 and jazz pianist, and he apparently composed the initial score 0:54:07.040 --> 0:54:09.960 and then our Gento wasn't really happy with all of it, 0:54:10.040 --> 0:54:15.359 and said, okay, let's bring in Pink Floyd. I don't 0:54:15.400 --> 0:54:17.640 know the full I don't know he actually reached out 0:54:17.680 --> 0:54:21.000 to Pink Floyd or he was like, we need something 0:54:21.160 --> 0:54:24.160 like Pink Floyd. But this leads to him checking out 0:54:24.600 --> 0:54:28.120 a more local prog rock group by the name of Goblin, 0:54:28.239 --> 0:54:31.480 headed up by Claudio Seminetti born nineteen fifty two. 0:54:31.840 --> 0:54:33.960 It was destiny, a match made in heaven. 0:54:34.960 --> 0:54:40.080 So some of the GOSLINI tracks apparently remain, it's like 0:54:40.160 --> 0:54:42.600 three or four tracks. Some of them have been re 0:54:42.600 --> 0:54:46.000 recorded by Goblin. So I'm just guessing here. I'm no 0:54:46.640 --> 0:54:50.960 score expert, but I think maybe the indeed the jazzy 0:54:51.040 --> 0:54:55.760 or piano numbers, or perhaps his compositions, And of course 0:54:55.880 --> 0:54:59.680 you know Goblin. When you hear Goblin that key deep 0:54:59.719 --> 0:55:02.400 red theme song that gets stuck in your head, you 0:55:02.440 --> 0:55:07.319 know that's totally their work. This is interesting because this 0:55:07.400 --> 0:55:10.600 is of course, this is of course Argento's first collaboration with Goblin, 0:55:10.920 --> 0:55:14.920 and indeed Goblin's first film score. Many more would follow. 0:55:14.960 --> 0:55:16.560 They would go on to become a huge part of 0:55:16.560 --> 0:55:19.239 the sound of Jallo and Italian genre cinema of the 0:55:19.320 --> 0:55:24.040 seventies and eighties seminettes work as a solo artist as well. 0:55:24.320 --> 0:55:29.279 We've previously discussed him independently as an independent artist on 0:55:29.320 --> 0:55:32.840 our episodes concerning Let's See eighty three's Conquest from Fulci. 0:55:33.239 --> 0:55:36.439 I'm wearing my Conquest shirt today, and then eighty six 0:55:36.560 --> 0:55:37.560 is hands of Steel. 0:55:37.719 --> 0:55:39.880 If only I could be wearing my Hands of Steel today. 0:55:41.160 --> 0:55:45.520 You know their hands of Steel shirts out there somewhere. Yeah, 0:55:45.560 --> 0:55:46.120 what can you say? 0:55:46.360 --> 0:55:50.480 Amazing score, right, wonderful. In fact, if you're ready to 0:55:50.600 --> 0:55:53.239 switch over and talk about the plot a bit, one 0:55:53.239 --> 0:55:55.919 of the first notes I had was about the opening music. Yeah, 0:55:56.000 --> 0:55:59.240 let's do it so in general about the plot section. 0:55:59.280 --> 0:56:01.640 I think maybe we should do some close narration of 0:56:01.680 --> 0:56:03.960 the opening few scenes and then shift to a more 0:56:04.000 --> 0:56:07.719 general discussion for the rest of the movie. But yeah, 0:56:07.760 --> 0:56:10.920 so we open the film with music playing over credits, 0:56:11.000 --> 0:56:15.200 and visually it's a pretty straightforward credit sequence. It's sans 0:56:15.239 --> 0:56:21.960 serif text on a black background, and I love the 0:56:22.000 --> 0:56:24.799 main musical theme of Deep Red that's playing over this. 0:56:25.040 --> 0:56:29.800 I think it is really interesting how the primary riff 0:56:29.960 --> 0:56:32.680 that you hear repeated in this song is sort of 0:56:32.680 --> 0:56:38.640 the structure that everything else builds around. Is a musical 0:56:38.680 --> 0:56:44.080 phrase on a harpsichord that I think communicates this feeling 0:56:44.280 --> 0:56:49.400 of stuttering or disordered thought. The way this riff has 0:56:49.400 --> 0:56:54.200 always sounded to me is the musical equivalent of somebody rapidly, 0:56:54.480 --> 0:56:59.960 repeatedly saying the first few words of sentences without finishing them. 0:57:00.880 --> 0:57:02.760 So if you can kind of match what I'm about 0:57:02.760 --> 0:57:05.000 to say to the riff in the song, it's like 0:57:05.320 --> 0:57:08.200 I would, would you if I would? If we could. 0:57:08.680 --> 0:57:09.840 It's that kind of feeling. 0:57:10.200 --> 0:57:12.759 Hmmm, Okay, now you said this is this is on 0:57:12.800 --> 0:57:14.480 a harpsichord, though this is not synth. 0:57:14.760 --> 0:57:17.919 Well they're synth in the song, but the main riff 0:57:17.920 --> 0:57:24.400 you're probably hearing in your head that thing, well you'll 0:57:24.400 --> 0:57:26.880 get that on a couple of instruments in the track. 0:57:26.960 --> 0:57:28.800 So I think at one point it might be being 0:57:29.440 --> 0:57:33.040 plucked on an acoustic or classical guitar. I'm not sure, 0:57:33.320 --> 0:57:35.760 but the main version that sticks out with the high 0:57:35.760 --> 0:57:38.280 pitched ringing is on a harpsichord. And I looked this up. 0:57:38.600 --> 0:57:42.880 They used a real harpsichord here, so it's not a synthesizer. 0:57:42.960 --> 0:57:47.360 It's a real harpsichord. Being played by Goblin keyboardist Claudio Simonetti. 0:57:47.880 --> 0:57:50.840 And then below that you've got you've got a rhythm section. 0:57:50.920 --> 0:57:53.560 Of course, you've got a bassline that's played on an 0:57:53.640 --> 0:57:58.360 electric bass with this great, really plucky, hollow percussive sound. 0:57:59.440 --> 0:58:04.120 And then up top there is an extremely high pitched, 0:58:04.640 --> 0:58:09.000 almost painful to the ears lead melody played on synthesizer 0:58:09.080 --> 0:58:13.320 with this metallic whistle like voicing. I'm not sure what 0:58:13.400 --> 0:58:15.280 kind of synthesizer this is played on. It might be 0:58:15.320 --> 0:58:17.520 a minimog. I think they did use a minimog for 0:58:17.640 --> 0:58:20.640 some of the synth in this movie. But the way 0:58:20.840 --> 0:58:24.520 the high pitched lead and the bass fit together, they 0:58:24.520 --> 0:58:28.560 almost form these counter melodies playing off of this machine, 0:58:28.640 --> 0:58:31.760 like stuttering from the harpsichord, and it's just so cool. 0:58:32.080 --> 0:58:34.080 I couldn't love this theme more. 0:58:34.880 --> 0:58:37.000 Yeah. Like I said, I've been listening to this particular 0:58:37.360 --> 0:58:40.160 number for years, popping up in mixes and so forth. 0:58:40.200 --> 0:58:41.080 It's just so good. 0:58:41.440 --> 0:58:43.840 Yeah. And also when we hear more of this theme 0:58:43.960 --> 0:58:47.440 later on, it will introduce other instruments, so you end 0:58:47.480 --> 0:58:51.520 up getting organ. I wonder, I don't remember for sure, 0:58:51.560 --> 0:58:53.280 but the organ might be playing on one of those 0:58:53.520 --> 0:58:56.240 on a Leslie speaker on a rotating speaker that creates 0:58:56.240 --> 0:59:00.320 this whirling effect, and you get a electric guitar and 0:59:00.400 --> 0:59:03.880 drums and it builds up to you this bombastic crescendo. 0:59:05.200 --> 0:59:07.960 But anyway, in the opening, before we get to this 0:59:08.160 --> 0:59:10.480 big part of the song, we actually cut away to 0:59:10.680 --> 0:59:14.160 an opening scene. It's the first action we see. I'll 0:59:14.200 --> 0:59:16.480 come back and describe that in just a second. But 0:59:16.800 --> 0:59:19.320 one of the things, Rob, if this makes any sense, 0:59:19.840 --> 0:59:22.320 one of the things I like so much about the 0:59:22.400 --> 0:59:26.040 Deep Red theme is how it feels old world and 0:59:26.160 --> 0:59:30.120 new world at the same time. The harpsichord creates this 0:59:30.200 --> 0:59:33.640 feeling of antiquity. It very much fits with all of 0:59:33.680 --> 0:59:37.920 the old architecture and sculpture that we see throughout the film. 0:59:38.120 --> 0:59:42.760 It's very baroque, almost like you know js Bach, and 0:59:42.960 --> 0:59:45.520 yet it's a proud rock song. So you have this 0:59:45.640 --> 0:59:48.640 electric bass, maybe with some kind of modulation on it. 0:59:48.680 --> 0:59:51.960 You've got the drums and the synthesizers, and it's groovy 0:59:52.080 --> 0:59:55.280 and it is very rocking, but it has this baroque 0:59:55.320 --> 0:59:59.440 harpsichord thing as like the main texture that runs through 0:59:59.480 --> 1:00:00.240 the whole song. 1:00:00.800 --> 1:00:03.200 Okay, this is good. It's this interesting analysis. 1:00:03.240 --> 1:00:05.960 Okay, So anyway, what's this opening scene that we get 1:00:05.960 --> 1:00:07.600 in the middle of the credits. It seems to be 1:00:07.640 --> 1:00:12.400 a flashback. We're looking at the interior of a house 1:00:12.560 --> 1:00:15.920 sometime in the nineteen fifties, seems to be in Italy, 1:00:16.320 --> 1:00:19.520 and it's a room decorated for Christmas. This room will 1:00:19.560 --> 1:00:21.760 play play a big role in the film. 1:00:22.040 --> 1:00:24.840 Yeah, a Christmas film. I can't believe we didn't consider 1:00:24.880 --> 1:00:26.120 this one for Last Night. 1:00:26.400 --> 1:00:28.400 We should have. So you get a tree with a 1:00:28.400 --> 1:00:31.440 bunch of ornaments and tensil, and there is a dining 1:00:31.520 --> 1:00:34.080 room table with a bunch of half empty wine glasses 1:00:34.120 --> 1:00:37.280 on it. There's a record player. Rob did you notice 1:00:37.320 --> 1:00:40.680 that the crazy wallpaper and the pattern on the dining 1:00:40.720 --> 1:00:44.200 room tablecloth almost look like they match. I really assumed 1:00:44.240 --> 1:00:47.400 in they don't actually match that that would have been amazing, 1:00:47.440 --> 1:00:51.920 but they're close. And then so we're looking at this 1:00:52.080 --> 1:00:56.720 room at Christmas time. And the opening shot here in 1:00:56.760 --> 1:00:59.880 the room is weird because it is it is shot 1:01:00.080 --> 1:01:03.880 from like three inches above the hardwood floor, almost like 1:01:03.960 --> 1:01:07.640 we're seeing the room from the perspective of someone lying 1:01:07.720 --> 1:01:11.680 down on the floor. And then we hear a child's 1:01:11.760 --> 1:01:15.240 voice singing a creepy song without lyrics. It's just some 1:01:15.400 --> 1:01:17.520 la la las. But this song we will hear it 1:01:17.600 --> 1:01:20.040 a bunch of times in the film, not nearly as 1:01:20.080 --> 1:01:24.479 good as the Goblin song. And then suddenly we see 1:01:24.720 --> 1:01:28.600 shadows on the wall. There are two human silhouettes. One 1:01:28.640 --> 1:01:31.240 shadow is stabbing the other one with a knife. We 1:01:31.320 --> 1:01:34.040 don't see who's casting the shadows. And then after the 1:01:34.080 --> 1:01:38.880 stabbing is finished, the perpetrator relaxes posture and walks away, 1:01:39.360 --> 1:01:41.760 and then we see a bloody knife clatter to the 1:01:41.800 --> 1:01:45.040 floor right in front of the camera, and then into 1:01:45.080 --> 1:01:48.560 frame step a pair of feet, children's feet, so it's 1:01:48.600 --> 1:01:52.800 a child in black shoes and tall socks walking up 1:01:52.800 --> 1:01:55.160 to this cast a side knife as if to pick 1:01:55.200 --> 1:01:57.640 it up. And then the scene ends and we just 1:01:57.680 --> 1:01:59.520 smash back to credits and Goblin. 1:02:00.440 --> 1:02:04.080 So we've established a murder in the past before we 1:02:04.280 --> 1:02:06.480 fast forward into the present day. 1:02:06.960 --> 1:02:09.760 Even in the nineteen fifties, though, did kids wear like, 1:02:10.560 --> 1:02:13.720 you know, knee high socks and shoes like this at home? 1:02:13.840 --> 1:02:17.280 This just seems uncomfortable, don't you. When you get home. 1:02:17.480 --> 1:02:20.560 It's Christmas or some I mean, and their gifts still 1:02:20.640 --> 1:02:23.600 under the tree. So I'm to assume this is maybe 1:02:23.920 --> 1:02:26.320 Christmas Eve. I don't know when the depends when the 1:02:26.320 --> 1:02:30.440 presents are opened, given the household tradition, but maybe it 1:02:30.480 --> 1:02:32.720 was a special dinner and therefore everyone's stressed up. 1:02:41.520 --> 1:02:43.919 So we get a scene where we meet our protagonist, 1:02:44.120 --> 1:02:48.160 Marcus Daley, who is a jazz piano player, a band leader, 1:02:48.240 --> 1:02:51.960 and a music conservatory instructor. We learn later that he's 1:02:51.960 --> 1:02:55.600 originally from England but now living in Rome. And when 1:02:55.600 --> 1:02:59.080 we meet Marcus, he is rehearsing with his jazz band 1:02:59.200 --> 1:03:02.520 in an awesome I'm at first I did not know 1:03:02.560 --> 1:03:05.000 what the space was, but I looked it up. I'm 1:03:05.000 --> 1:03:07.320 gonna get to that in just a second. It looks 1:03:07.400 --> 1:03:10.480 like the inner sanctum of a temple of Jupiter. It's 1:03:10.600 --> 1:03:15.400 this huge circular space ringed with marble columns, and then 1:03:15.520 --> 1:03:18.960 light falling down from a skylight above, and Marcus has 1:03:18.960 --> 1:03:22.160 his piano pushed right up against this stone box in 1:03:22.160 --> 1:03:24.120 the middle of the room that looks like an altar. 1:03:25.400 --> 1:03:28.000 So I looked up the actual location. It's kind of 1:03:28.120 --> 1:03:31.720 unbelievable they shot this at a real place in Rome. 1:03:32.240 --> 1:03:37.400 It is the fourth century mausoleum of Constantina, The daughter 1:03:37.600 --> 1:03:41.600 of Constantine the first, the first Christian emperor. So his 1:03:42.320 --> 1:03:46.840 adult daughter's grave here her you know, tomb is and 1:03:47.080 --> 1:03:50.040 this was the mausoleum was later turned into a church. 1:03:50.400 --> 1:03:53.760 And then they actually shot a jazz practice scene for 1:03:53.840 --> 1:03:55.240 Deep Red Inside. 1:03:55.680 --> 1:03:58.480 Oh wow. Now I have to note the version of 1:03:58.520 --> 1:04:01.440 the film I watch does not feature scene. We go 1:04:01.840 --> 1:04:07.000 straight to the sequence afterwards, but it does. This sounds 1:04:07.000 --> 1:04:10.360 stunning and I love this detail. You're going to get 1:04:10.360 --> 1:04:13.040 into in a bit here that perhaps a meta commentary 1:04:13.080 --> 1:04:15.320 on the film and horror films in general. 1:04:15.520 --> 1:04:18.280 So they're playing music and Marcus stops his band in 1:04:18.320 --> 1:04:20.680 the middle of a song to give them some direction. 1:04:21.280 --> 1:04:23.280 He says, you know, you guys are doing a great job, 1:04:23.360 --> 1:04:26.600 good effort. But there's a problem. He says, it's too good. 1:04:27.160 --> 1:04:31.400 You're playing is too precise, it's too formal. He says, 1:04:31.800 --> 1:04:35.200 this is a quote. It should be more trashy. And 1:04:35.320 --> 1:04:38.280 he explains that the kind of jazz he's interested in 1:04:38.320 --> 1:04:41.439 playing was invented in Brothels and it should sound that way. 1:04:42.560 --> 1:04:44.560 And so I was just thinking, wait a minute, is 1:04:44.600 --> 1:04:47.600 this a meta commentary. It's like a great way to 1:04:47.600 --> 1:04:48.720 open a jallo film. 1:04:48.800 --> 1:04:51.160 Either way, needs more trash. 1:04:51.640 --> 1:04:55.440 But coming back to the fact that so this scene 1:04:55.560 --> 1:05:00.080 wasn't in your version. You know, I've seen people talk 1:05:00.120 --> 1:05:03.360 about the virtues of the different cuts of the film. 1:05:03.920 --> 1:05:06.160 This was one of the scenes with Italian audio, so 1:05:06.160 --> 1:05:08.560 I think it was definitely added back in for this 1:05:08.600 --> 1:05:12.800 particular release. I was watching, and yeah, I think maybe 1:05:12.800 --> 1:05:15.080 you could go either way. Like I like the perhaps 1:05:15.120 --> 1:05:18.840 meta commentary about needing more trashiness. I think it's nice 1:05:18.880 --> 1:05:21.720 to see our protagonist in his element before we meet 1:05:21.800 --> 1:05:25.200 him on the night that changes his life. But I 1:05:25.240 --> 1:05:30.240 would agree that it is probably a stronger, more vigorous, 1:05:30.640 --> 1:05:32.760 and grabbier way to start the film if we go 1:05:33.000 --> 1:05:36.600 straight from the credits to what comes next, which is 1:05:36.840 --> 1:05:39.240 the psychic demonstration scene. 1:05:39.320 --> 1:05:44.120 Right the parapsychology conference that is of course central to 1:05:44.160 --> 1:05:46.440 the plot and also just visually stunning. We go right 1:05:46.480 --> 1:05:50.440 from the credits into this just visually stunning sequence with 1:05:50.560 --> 1:05:55.200 some amazing Hitchcock esque long tracking shots. They take us 1:05:55.440 --> 1:05:59.280 into the auditorium where the parapsychology conference is taking place. 1:06:00.000 --> 1:06:01.520 And then later out into the bathroom. 1:06:01.600 --> 1:06:03.840 Yeah, and then you're out into the bathroom. But yeah, 1:06:03.880 --> 1:06:05.800 it's also I think key because this is a very 1:06:05.960 --> 1:06:10.000 red room. I mean, the rosso here is very profundo. 1:06:12.160 --> 1:06:15.600 Yeah, so this was shot in another location I looked up. 1:06:15.600 --> 1:06:19.400 This was the Teatro Carignano in Turin, which several of 1:06:19.440 --> 1:06:23.080 the locations in this movie are in Turin or to Reno, Italy. 1:06:23.840 --> 1:06:26.200 So this is a beautiful theater with this red and 1:06:26.240 --> 1:06:29.120 gold color theme, built in the late eighteenth century. Apparently 1:06:29.160 --> 1:06:31.600 at one point it burned down but then was restored. 1:06:32.240 --> 1:06:37.000 Overwhelming sensations of like opera and blood and champagne. It's 1:06:37.480 --> 1:06:42.240 really cool space. And yeah, so here's where this we're 1:06:42.280 --> 1:06:44.400 what we see, based on a sign, is going to 1:06:44.440 --> 1:06:47.840 be the World Parapsychology Congress. First we see the poster 1:06:48.280 --> 1:06:51.120 and then suddenly we're inside the lobby for the event, 1:06:51.200 --> 1:06:54.680 and we're just gliding along past the ushers toward the 1:06:54.680 --> 1:06:58.440 auditorium and we hear a professor's voice delivering a lecture 1:06:58.480 --> 1:07:04.040 about telepathy. There are a lot of wonderful moving camera 1:07:04.120 --> 1:07:07.520 shots in this film, but I would like to note 1:07:07.560 --> 1:07:12.040 a special eerie quality they have, and this one illustrates 1:07:12.080 --> 1:07:14.560 it nicely. So you've got to here. I guess I 1:07:14.560 --> 1:07:16.360 don't know if it's a dolly shot or a steady 1:07:16.360 --> 1:07:20.120 cam shot, but it's a smooth, gliding moving camera going 1:07:20.160 --> 1:07:23.400 through the space of the lobby into the auditorium, and 1:07:23.440 --> 1:07:26.520 it's shot at human eye level, so we get a 1:07:26.560 --> 1:07:29.680 strong feeling of moving point of view. We're seeing through 1:07:29.760 --> 1:07:32.959 somebody's eyes as they move through this scene, but there's 1:07:33.040 --> 1:07:37.000 no indication whatsoever of whose point of view we're getting. 1:07:38.000 --> 1:07:40.840 We are seeing through the eyes of a mystery, and 1:07:41.840 --> 1:07:45.440 that's kind of an unsettling feeling in itself. We don't 1:07:45.480 --> 1:07:49.160 know whose perspective we're sharing. But then also there are 1:07:49.200 --> 1:07:52.160 these other eerie things the way, Rob do you remember 1:07:52.200 --> 1:07:56.840 the shot as the camera approaches the auditorium, the curtains 1:07:56.880 --> 1:08:00.160 in the door to the event suddenly part without being 1:08:00.200 --> 1:08:03.160 touched as the camera approaches them. It's as if these 1:08:03.200 --> 1:08:05.880 portals are just opening in front of us by magic. 1:08:05.960 --> 1:08:08.800 It's kind of like we got movie signs, you know, yeah, exactly, 1:08:08.920 --> 1:08:12.960 the doors are just opening. But then also the camera 1:08:13.000 --> 1:08:16.280 movement is very smooth. It doesn't have the bounce that 1:08:16.320 --> 1:08:18.600 we associate with a human point of view when we 1:08:18.640 --> 1:08:22.280 are walking through a room, so it's got this agentic 1:08:22.400 --> 1:08:25.639 human point of view quality, but it's gliding smoothly through 1:08:25.640 --> 1:08:28.120 the air, so it seems a little unnatural. 1:08:28.840 --> 1:08:31.600 Yeah, I think I've seen this referred to what is 1:08:31.600 --> 1:08:37.800 a decoupled POV shot. So creates this weird sense of like, 1:08:37.880 --> 1:08:41.599 whose point of view is this? Is this the killer? 1:08:41.760 --> 1:08:44.920 Is this a ghost? Or is this like something a 1:08:44.920 --> 1:08:48.880 little more vague and something that is at once a 1:08:49.000 --> 1:08:52.479 character in the film and also just like a sort 1:08:52.479 --> 1:08:57.280 of an extension of us the viewer in a cinematic world. 1:08:57.360 --> 1:08:59.960 So we come into the auditorium and there is a 1:09:00.280 --> 1:09:05.559 parapsychologist named a Professor Giordani on stage delivering a lecture 1:09:05.640 --> 1:09:09.439 on telepathic communication, and then beside him at this table 1:09:09.520 --> 1:09:12.439 speaker's table, or a couple of other people. One of them, 1:09:12.479 --> 1:09:15.840 we will learn, is a psychic named Helga Ullman. I 1:09:15.880 --> 1:09:18.439 want to read part of this lecture that Giordani is 1:09:18.479 --> 1:09:21.760 giving because I thought this was interesting. He says, this 1:09:21.840 --> 1:09:24.439 is in translation, because this part of the lecture in 1:09:24.479 --> 1:09:27.120 my cut was in Italian, but I looked up a translation, 1:09:28.000 --> 1:09:31.080 so he says quote. The phenomenon, as confirmed by the 1:09:31.120 --> 1:09:34.800 most recent studies, is not limited to higher species, but 1:09:34.880 --> 1:09:41.040 includes both vertebrates and invertebrates, butterflies, termites, zebras, all these 1:09:41.080 --> 1:09:44.080 animals and many others use telepathy to give orders and 1:09:44.160 --> 1:09:47.559 exchange information. This fact is well known and can be 1:09:47.600 --> 1:09:51.559 easily demonstrated. For example, if we cage a butterfly within 1:09:51.600 --> 1:09:54.360 a few hours, it will be able to attract numerous 1:09:54.400 --> 1:09:58.160 other butterflies that, at its call will flock together in 1:09:58.280 --> 1:10:03.479 rapid flocks, even covering several kilometers. This is telepathy, a 1:10:03.560 --> 1:10:07.200 faculty that newborns possess well in their first months in 1:10:07.240 --> 1:10:10.040 the first months of their lives, but which they lose 1:10:10.160 --> 1:10:12.960 as with the passing of the years they acquire the 1:10:13.080 --> 1:10:17.960 means of verbal communication. There are some exceptions. Certain individuals, 1:10:17.960 --> 1:10:23.120 for reasons still unknown to us, do not lose this faculty. So, 1:10:23.240 --> 1:10:25.519 as we mentioned already, this is a movie in which 1:10:25.680 --> 1:10:29.439 psychic powers are real, but they're not just real. We 1:10:29.520 --> 1:10:32.639 get a scientific explanation of how they're supposed to work. 1:10:33.120 --> 1:10:35.639 Some animals possess these power or I guess not how 1:10:35.680 --> 1:10:38.760 they work, but some things about when they work. Some 1:10:38.920 --> 1:10:43.880 animals possess these powers. All humans are born psychics, but 1:10:44.000 --> 1:10:49.360 we lose our psychic powers somehow when we acquire language. 1:10:49.720 --> 1:10:53.280 Except in a few rare exceptions, a few people can 1:10:53.560 --> 1:10:56.639 gain language, but still keep the power to read minds, 1:10:57.080 --> 1:10:59.880 and they say, Helga Ullman, the psychic sitting beside him 1:11:00.240 --> 1:11:04.240 is one of these exceptions. Interesting. I don't know, do 1:11:04.280 --> 1:11:06.439 you know if this is a common theory that like 1:11:06.479 --> 1:11:10.639 parapsychologists had, that like everybody's born psychic, but you lose 1:11:10.680 --> 1:11:12.400 it when you learn words. 1:11:13.040 --> 1:11:18.519 I have not explored it myself. It sounds convincingly like 1:11:18.560 --> 1:11:22.680 something you would hear from parapsychologists, and you know, it's 1:11:22.760 --> 1:11:25.040 kind of a neat idea. I guess the idea being 1:11:25.080 --> 1:11:28.080 that humans are all psychic and then we lose again. 1:11:28.120 --> 1:11:31.479 We lose the psychic power because we acquire language, and 1:11:31.520 --> 1:11:34.720 therefore there's no need to communicate psychically anymore, and it's 1:11:34.760 --> 1:11:37.000 like an energy intensive thing that we no longer need 1:11:37.040 --> 1:11:41.479 to do, or just all babies lose Or is it 1:11:41.520 --> 1:11:43.680 because we lost our psychic abilities so we had to 1:11:43.680 --> 1:11:46.559 develop language. I guess you could look at it either way. 1:11:46.760 --> 1:11:50.400 This film's not really concerned with such questions, but stop provoking. 1:11:51.280 --> 1:11:54.560 There might be something going on with it thematically. I 1:11:54.600 --> 1:11:57.760 don't know something about the idea of perceptive powers that 1:11:57.800 --> 1:12:00.320 are lost or something that we can't see once we 1:12:00.400 --> 1:12:04.360 start to talk about things that, like the talking clouds 1:12:04.360 --> 1:12:08.000 our minds in some way, I see that maybe we'll 1:12:08.040 --> 1:12:11.519 come back to that possibly, But anyway, so we go 1:12:11.560 --> 1:12:14.240 on with Helga here, and Helga starts to talk. She 1:12:14.360 --> 1:12:18.120 explains that her powers, she says, my powers have nothing 1:12:18.160 --> 1:12:21.400 to do with magic, and they are not fortune telling, 1:12:21.600 --> 1:12:25.000 she says, in fact, she has no ability whatsoever to 1:12:25.120 --> 1:12:29.160 predict or see the future. Instead, what she sees are 1:12:29.479 --> 1:12:33.200 people's thoughts, other people's thoughts at the moment they arise, 1:12:33.880 --> 1:12:37.040 or sometimes, she says, if the thoughts are very strong, 1:12:37.520 --> 1:12:41.240 she can detect them after they have arisen, she says, 1:12:41.320 --> 1:12:45.960 quote for they linger about the room like cobwebs, and 1:12:46.000 --> 1:12:49.120 she does a brief demonstration where she reads the mind 1:12:49.120 --> 1:12:51.040 of a man in the third row. She tells him, 1:12:51.080 --> 1:12:53.000 you know, here's what you've got in your pockets. Here's 1:12:53.000 --> 1:12:55.760 some personal details about you, and he confirms that she 1:12:55.840 --> 1:12:59.120 got everything right. But in the middle of this demonstration, 1:12:59.560 --> 1:13:04.080 suddenly Helga is seized by something powerful and she starts 1:13:04.120 --> 1:13:07.960 to gasp and cry out in fear and pain, and 1:13:08.040 --> 1:13:11.280 Professor Jordani, next to her, asks her if she's all right, 1:13:12.040 --> 1:13:15.479 and she says she says, it was I can't explain it. 1:13:15.560 --> 1:13:18.160 Something strange and sharp, like the prick of a thorn. 1:13:18.280 --> 1:13:20.960 It upset me. But it's all right now. But it's 1:13:21.000 --> 1:13:23.160 not all right because she gasps again, Oh Dad, it's 1:13:23.200 --> 1:13:25.960 in there again. And she she's like, I can feel 1:13:26.000 --> 1:13:28.959 death in this room. I feel a presence, a twisted 1:13:29.000 --> 1:13:33.160 mind sending me thoughts, perverted, murderous thoughts. Go away. You 1:13:33.240 --> 1:13:34.960 have killed and you will kill again. 1:13:36.040 --> 1:13:38.920 And this is where she has the airplane drinking problem, 1:13:38.960 --> 1:13:41.840 where she tries to drink water and it just falls 1:13:41.840 --> 1:13:42.479 out of her mouth. 1:13:42.760 --> 1:13:45.000 Yeah, so yeah, he gives her a glass of water. 1:13:45.040 --> 1:13:47.840 We get an extreme close up of her mouth. Her 1:13:47.880 --> 1:13:50.080 lips are actually she's got lipstick on, so her lips 1:13:50.080 --> 1:13:53.240 are deep red, and she takes a sip of water 1:13:53.320 --> 1:13:56.000 and it just like drools out all over her chin. 1:13:57.320 --> 1:14:00.280 And then she also says that she hears a child 1:14:00.320 --> 1:14:03.800 singing a song in the house. I think that'll connect 1:14:03.840 --> 1:14:07.040 to the song we heard earlier. She says, death, blood. 1:14:07.200 --> 1:14:09.720 We must hide everything, everything in the house back the 1:14:09.800 --> 1:14:14.240 way it was, and then she collapses in fear. Here 1:14:14.360 --> 1:14:17.280 Suddenly we cut away back to the point of viewshot 1:14:17.520 --> 1:14:21.200 of someone unknown, probably the same person who we were 1:14:21.200 --> 1:14:24.759 with when we came into the auditorium. This unknown person 1:14:24.880 --> 1:14:27.360 stands up from one of the rows in the audience, 1:14:27.680 --> 1:14:30.519 and while Helga is having this episode on the stage, 1:14:31.320 --> 1:14:34.760 this unknown person moves down the row and they make 1:14:34.800 --> 1:14:36.960 their way out to the exit. They go to the 1:14:37.000 --> 1:14:40.400 bathroom and then go to the sink. And I really 1:14:40.520 --> 1:14:45.200 loved this bathroom, this squalid, almost science fiction bathroom with 1:14:45.240 --> 1:14:49.040 these gray tiles on every surface. There's something about the 1:14:49.160 --> 1:14:53.639 lack of furniture or fixtures that makes this room very weird. 1:14:54.160 --> 1:14:58.080 And then the mirror is tiny and degraded, so you 1:14:58.120 --> 1:14:59.840 can't see anything in it. So we get a point 1:14:59.840 --> 1:15:02.640 of shot of this character looking into the mirror, but 1:15:02.720 --> 1:15:06.280 they are just a pale blurb. Basically, the mirror almost 1:15:06.320 --> 1:15:09.400 looks kind of diseased, like the silver ring is eaten away. 1:15:09.520 --> 1:15:12.759 In all these places and great location. Yeah, it feels 1:15:12.800 --> 1:15:14.720 like I said out of THX eleven thirty eight. 1:15:15.120 --> 1:15:17.680 Yea. Now I have a quick question. As I was 1:15:17.720 --> 1:15:20.280 watching the film at this point and we sell the 1:15:20.320 --> 1:15:22.559 character get up and leave, part of me was tempted 1:15:22.560 --> 1:15:26.360 to do something that, of course the original audience would 1:15:26.360 --> 1:15:28.320 not have been able to do. And that's rewind the 1:15:28.320 --> 1:15:30.960 film and see if I could piece together who in 1:15:30.960 --> 1:15:34.160 the audience had just risen from their seat. I don't 1:15:34.200 --> 1:15:38.040 know if that's actually possible. I haven't. I didn't have 1:15:38.080 --> 1:15:41.240 time to attempt it, but it would make it in 1:15:41.479 --> 1:15:43.800 a way, it would make sense that the film would 1:15:43.840 --> 1:15:46.960 contain that spoiler. But also it might be it might 1:15:47.000 --> 1:15:47.759 not be revealed. 1:15:48.160 --> 1:15:51.200 So I don't know if you can see anything in 1:15:51.240 --> 1:15:53.439 this scene. But there is a scene later the scene 1:15:53.479 --> 1:15:57.080 where where Marcus gets his clue that he will be 1:15:57.120 --> 1:15:59.200 trying to make sense of the rest of the film. 1:15:59.560 --> 1:16:01.880 If you know what to look for in the scene, 1:16:02.040 --> 1:16:05.400 you will absolutely see the killer's identity in that scene. 1:16:05.479 --> 1:16:07.479 But it goes by so fast. If you don't know 1:16:07.560 --> 1:16:09.120 to look out for it, you're not you're probably not 1:16:09.160 --> 1:16:09.760 going to see it. 1:16:09.880 --> 1:16:11.719 Nice well, I like the consistency there. 1:16:12.040 --> 1:16:16.240 Yeah, So anyway, this point of view character we've been following, 1:16:16.280 --> 1:16:18.639 they seem to be in distress. They're leaning over the sink, 1:16:18.800 --> 1:16:22.040 and a man on the way walking past asks them 1:16:22.080 --> 1:16:24.920 if they need help. But this person never speaks, so 1:16:24.960 --> 1:16:28.280 we get no clues about their identity. And then after 1:16:28.320 --> 1:16:30.360 the man walks away and goes through the door, we 1:16:30.479 --> 1:16:34.120 see suddenly black gloves being pulled on, black gloves with 1:16:34.200 --> 1:16:37.479 gold zippers, and ooh, that'll just you know, if you 1:16:37.560 --> 1:16:39.800 know what Ajallo is, that'll just get you going, like, 1:16:39.880 --> 1:16:42.519 here's what it's about to happen. But it's actually not 1:16:42.720 --> 1:16:45.240 about to happen just yet. It will be a gap 1:16:45.280 --> 1:16:45.759 in time. 1:16:46.040 --> 1:16:49.160 Yeah. The character, whoever they may be, is saying, it's 1:16:49.160 --> 1:16:51.800 time to get those gloves out again. I've been keeping 1:16:51.840 --> 1:16:54.200 those gloves for a reason, and now that reason has arrived. 1:16:54.479 --> 1:16:56.920 And this is another scene where there are various other 1:16:57.000 --> 1:16:59.479 clues that can be important later on when you're looking 1:16:59.479 --> 1:17:01.519 back on it. But I'm not going to get into 1:17:01.520 --> 1:17:04.960 everything otherwise, we're just we're trotting out every detail at 1:17:05.000 --> 1:17:08.560 every scene, but there's some bathroom specific details here that 1:17:09.120 --> 1:17:10.599 could be important later on as well. 1:17:10.840 --> 1:17:15.439 Yeah, and then also there is a little scene after 1:17:15.479 --> 1:17:17.439 this where we're still in the same point of view 1:17:17.520 --> 1:17:20.519 and this person is watching Helga Ulman speak to Professor 1:17:20.560 --> 1:17:24.280 Giordani after the event's over, so they're spying from the wings, 1:17:24.680 --> 1:17:27.439 and I think in the scene Helga is she gives 1:17:27.439 --> 1:17:31.040 away that she has incriminating information about the killer because 1:17:31.080 --> 1:17:32.720 she mine melded with them I don't know if she 1:17:32.760 --> 1:17:34.960 can go to the police and say I psychically read 1:17:34.960 --> 1:17:37.439 someone's mind and I know that they're a murderer now. 1:17:37.600 --> 1:17:40.840 Yeah, yeah, and she suspects they will kill again again. 1:17:40.880 --> 1:17:44.000 She can't see the future, but she can tell this 1:17:44.240 --> 1:17:46.760 person is up for more murders if need to be. 1:17:47.439 --> 1:17:49.960 And you know, it doesn't look good for our psyche 1:17:50.000 --> 1:17:54.080 because again she just she just revealed to the entire audience, 1:17:54.120 --> 1:17:56.360 including the killer, that I know what's up. I know 1:17:56.400 --> 1:17:56.880 who you are. 1:17:57.320 --> 1:17:59.439 But then from out of this, I think this is 1:17:59.479 --> 1:18:02.160 the moment where or we just blast out of a 1:18:02.320 --> 1:18:07.120 canon into this almost music video style sequence that is awesome. 1:18:07.800 --> 1:18:14.160 Oh yeah, a tremendous object fetishization decoupled POV sequence where 1:18:14.240 --> 1:18:17.320 the audience seems to be asked to consider the power 1:18:17.439 --> 1:18:20.280 and symbolism of a number of artifacts, and at the 1:18:20.320 --> 1:18:22.600 same time we seem to be seeing them through the 1:18:22.640 --> 1:18:27.040 presumed killer's eyes, all set to that glorious Goblin theme music. 1:18:27.479 --> 1:18:29.040 You know, we get the idea of this. Okay, here's 1:18:29.080 --> 1:18:33.960 a knife, and this knife is a holy thing, and 1:18:34.360 --> 1:18:36.639 and then there are various other objects that are displayed. 1:18:36.640 --> 1:18:39.479 Each one is presented to us as if like, here's 1:18:39.520 --> 1:18:41.720 some clues. See if you can make something of this, 1:18:41.840 --> 1:18:45.160 but also like, these are fetishes that the killer is 1:18:46.000 --> 1:18:46.679 fawning over. 1:18:47.040 --> 1:18:49.719 A lot of the objects are toys. There are dolls, 1:18:49.800 --> 1:18:53.000 there's a toy devil. There are marbles. I think they're 1:18:53.040 --> 1:18:55.680 on feldt It looks like is that right? They look 1:18:55.760 --> 1:18:57.519 like they might be on a pool table or something. 1:18:58.520 --> 1:19:10.559 But yeah, then Gloves and Nie. After this, we're going 1:19:10.600 --> 1:19:14.000 to come back and meet up with Marcus again, or 1:19:14.080 --> 1:19:15.640 if you're watching a different cut of the film, this 1:19:15.640 --> 1:19:18.280 will probably be the first time you meet Marcus where 1:19:18.320 --> 1:19:22.600 he is out on this piazza at night. And this is, 1:19:22.840 --> 1:19:24.519 by the way, we could go ahead and mention what 1:19:24.600 --> 1:19:28.719 this space is, because it's another wonderful location, this big 1:19:29.080 --> 1:19:34.480 empty piazza in the nighttime that is just radiating emptiness 1:19:34.520 --> 1:19:38.160 if emptiness itself is a presence. It's here and it's 1:19:38.320 --> 1:19:42.320 very cool. So I looked up where this is. It's 1:19:42.360 --> 1:19:46.280 called Well, so the movie is supposed to take place 1:19:46.320 --> 1:19:49.559 in Rome, but this is yet another real location in Turin. 1:19:50.160 --> 1:19:55.200 It's called the Piazza CLN in Turin or Terino. So yeah, 1:19:55.240 --> 1:20:00.479 big empty space, but it has these twin statue of 1:20:00.640 --> 1:20:04.400 reclining gods. There's a god and a goddess. They're both 1:20:04.439 --> 1:20:08.040 kind of like leaning back, like they're really relaxing. They're 1:20:08.160 --> 1:20:12.680 huge statues up on these stone pedestals with fountains that 1:20:12.800 --> 1:20:16.639 pour water out from under the gods into these pools. 1:20:17.240 --> 1:20:19.640 And then in the not in real life, but in 1:20:19.680 --> 1:20:23.759 the movie, there is a cross from these statues, actually 1:20:23.760 --> 1:20:26.439 not across from them, but sort of sideways to them, 1:20:26.920 --> 1:20:29.519 there is a bar called, I think the Blue Bar, 1:20:29.800 --> 1:20:32.800 and we're gonna learn that this is where Carlo plays 1:20:32.840 --> 1:20:33.799 piano usually. 1:20:34.360 --> 1:20:42.000 Yeah, clearly patterned on Edward Hopper's Nighthawks painting. Yes, looks great. Yeah, 1:20:42.000 --> 1:20:45.959 but I get the impression they constructed it or positioned 1:20:45.960 --> 1:20:48.920 it here as part of the production. But also the square. 1:20:49.400 --> 1:20:53.480 This of course brings to mine a particular scene in Suspiria, 1:20:53.720 --> 1:20:56.280 particular sequence in Suspiria that makes use of a great, 1:20:56.320 --> 1:20:58.519 big depopulated e liminal space like this. 1:20:59.080 --> 1:21:01.240 Yeah, there's a big empty space in the scene in 1:21:01.280 --> 1:21:05.320 Suspiria where the piano player actually is another piano player character. 1:21:05.400 --> 1:21:09.200 The blind piano player is attacked by like the fluttering witches, 1:21:09.560 --> 1:21:13.320 and then there's a misdirection in that murder scene that 1:21:13.640 --> 1:21:15.040 I don't know, I don't want to spoil if you've 1:21:15.040 --> 1:21:18.080 never seen Suspiria, but very cool also with the big 1:21:18.200 --> 1:21:21.320 open empty space and the night sky above. So in 1:21:21.360 --> 1:21:24.160 this scene we're going to get the first meeting between 1:21:24.400 --> 1:21:27.799 Marcus and Carlo. We've already talked a bit about their friendship. 1:21:28.280 --> 1:21:29.920 Anything else you want to say about it? Here about 1:21:29.920 --> 1:21:32.799 their conversation. Carlo has some philosophical thoughts. 1:21:33.880 --> 1:21:35.880 Yeah, we discussed this a little bit already about how 1:21:35.920 --> 1:21:39.000 they just have different takes on the profession. You know, 1:21:39.080 --> 1:21:41.840 one is a one is a pianist, the other is 1:21:41.840 --> 1:21:45.479 a piano fighter in a sense. And yeah, it's just 1:21:45.520 --> 1:21:49.600 a It's a great scene, beautifully shot, raw in so 1:21:49.680 --> 1:21:52.640 many ways, revealing of their characters. I really liked it 1:21:52.640 --> 1:21:54.840 a lot, one of several great scenes between these two. 1:21:55.880 --> 1:21:59.240 But this is building up actually to the iconic first 1:21:59.479 --> 1:22:01.800 murder scene in the movie. I guess the first real 1:22:01.880 --> 1:22:06.520 murder scene where in an apartment overlooking the same piazza. 1:22:06.880 --> 1:22:10.080 So in a window up above in her apartment is Olga, 1:22:10.320 --> 1:22:14.479 the psychic from the demonstration earlier. Oh and I totally 1:22:14.479 --> 1:22:18.280 forgot to mention this, but did you notice the huge 1:22:18.360 --> 1:22:22.479 number of similarities between the psychic demonstration in this movie 1:22:22.600 --> 1:22:25.240 and the one that would come later in Scanners. 1:22:25.520 --> 1:22:27.559 Oh, I did think about that. Yes, I shall now 1:22:27.600 --> 1:22:32.120 scan everyone in the room. Yeah, yeah, Yeah, nobody's head explodes. 1:22:32.120 --> 1:22:34.800 But but I wonder if there was some inspiration there 1:22:34.800 --> 1:22:35.400 for Kreunenberg. 1:22:35.560 --> 1:22:39.720 But in both there's so much similarity it would be 1:22:39.720 --> 1:22:43.679 hard to imagine there wasn't an inspiration. Like, in both cases, 1:22:43.720 --> 1:22:46.920 the psychic they scan somebody in the audience and then 1:22:47.000 --> 1:22:51.639 they they pick they like lock in with an audience member, 1:22:51.640 --> 1:22:53.880 but then the audience member like turns it back on 1:22:53.920 --> 1:22:56.240 them and is ultimately going to kill them. You picked 1:22:56.280 --> 1:23:01.599 the wrong brain, yes, exactly. And so in this case, 1:23:01.760 --> 1:23:05.760 the the psychic Hell guy, she's at her apartment and 1:23:05.800 --> 1:23:07.559 she's just, you know, hanging out and doing some things. 1:23:07.720 --> 1:23:09.559 I don't remember what she's doing here. I think she's 1:23:09.560 --> 1:23:10.840 talking to some people on the phone. 1:23:11.400 --> 1:23:14.719 She's talking talking to somebody in She's speaking in German, 1:23:14.880 --> 1:23:17.320 So she's talking I don't know, her agent or somebody 1:23:17.479 --> 1:23:19.400 family member I don't recall. 1:23:19.479 --> 1:23:22.040 But at the same time, while she's just hanging out 1:23:22.040 --> 1:23:25.519 in her apartment, we see somebody getting ready to go 1:23:25.600 --> 1:23:28.800 out for the night. But we get like a close 1:23:28.880 --> 1:23:32.960 up of an eyeball and clearly like putting the putting 1:23:32.960 --> 1:23:36.160 the jallo murder gloves on. So something's about to go 1:23:36.240 --> 1:23:41.240 down and someone arrives at the psychic's apartment. The psychic 1:23:41.439 --> 1:23:44.679 knows before the door even opens that something is wrong, 1:23:44.800 --> 1:23:47.000 like she becomes afraid and tries to block the door, 1:23:47.360 --> 1:23:50.559 but the person comes in and then murders her. Hits 1:23:50.560 --> 1:23:54.439 her first with a cleaver, but then the death gets 1:23:54.560 --> 1:23:57.559 much more jallo because of the way that it uses 1:23:57.720 --> 1:24:01.920 non traditional movie murder weapons. The movie murder weapon after 1:24:01.960 --> 1:24:05.720 this becomes window. Yeah, so she is shoved into a 1:24:05.760 --> 1:24:09.559 window and the jagged glass on the window that goes 1:24:09.600 --> 1:24:13.080 into her neck and kills her. And then down below 1:24:13.280 --> 1:24:17.439 in the piazza, Carlo and Marcus hear the screaming and 1:24:17.720 --> 1:24:20.759 they're they're like, what's that? And so Marcus is drawn 1:24:20.840 --> 1:24:23.320 to go investigate, and he goes up to the apartment. 1:24:23.720 --> 1:24:27.800 Yeah, I mean, we could scrutinize and say he says, hey, 1:24:27.800 --> 1:24:29.519 there's a murder going on up there. Let me get 1:24:29.560 --> 1:24:33.439 up there and get my fingerprints all over that, because 1:24:33.439 --> 1:24:35.160 that is what he's what he does. But the police 1:24:35.640 --> 1:24:38.720 When the police show up, they're surprisingly cool with this. 1:24:38.920 --> 1:24:40.840 They're like like, hey, you want to what are your 1:24:40.880 --> 1:24:42.679 thoughts on this prime suspect. 1:24:43.280 --> 1:24:45.439 Well, yeah, he's genuinely trying to help. 1:24:45.600 --> 1:24:47.840 But then we learn I don't, at least in my cut, 1:24:47.880 --> 1:24:49.880 I don't think this was firmly established. This is his 1:24:49.920 --> 1:24:53.040 apartment building, Like, this is a murder in the building, 1:24:53.560 --> 1:24:53.760 is it? 1:24:54.520 --> 1:24:56.360 I actually don't know the answer to that, but I. 1:24:56.360 --> 1:25:02.240 Believe I, either wrongfully or correctly watching the film, is that, like, 1:25:02.280 --> 1:25:04.160 this is his building, and therefore it makes a little 1:25:04.200 --> 1:25:06.400 more sense that he's like I think he tells the 1:25:06.439 --> 1:25:08.639 police like, yeah, I didn't really know her, but she's 1:25:08.640 --> 1:25:10.200 a floor below me or something like that. 1:25:10.360 --> 1:25:13.840 Yeah, that would make sense. Yeah, So yeah, he comes 1:25:13.880 --> 1:25:16.640 up into the apartment so now, and on the way in, 1:25:16.880 --> 1:25:19.000 he's like going through her apartment, which has all these 1:25:19.040 --> 1:25:23.320 like creepy paintings of screaming faces. There's very like Monks 1:25:23.400 --> 1:25:27.040 the Scream, but just a hundred of those versions like. 1:25:27.000 --> 1:25:29.640 Whoever drew the this is the one artist that like 1:25:29.720 --> 1:25:30.599 really gets there. 1:25:30.880 --> 1:25:34.880 Yeah, And as he's like he's going through the hallway 1:25:35.200 --> 1:25:38.360 and he sees all these weird faces and then as 1:25:38.400 --> 1:25:41.360 he comes to the murder scene like she has is 1:25:41.400 --> 1:25:43.960 either dying or dead there. And then he looks out 1:25:43.960 --> 1:25:46.240 the window and he sees someone leaving the scene on 1:25:46.280 --> 1:25:48.960 the ground down below. Sees them only from behind the 1:25:49.040 --> 1:25:52.200 wearing a raincoat and a hat and gloves, so no 1:25:52.320 --> 1:25:56.760 identifying detail. But so after this we we have an 1:25:56.760 --> 1:25:59.040 interview with the police. The police are there, they're not. 1:25:59.640 --> 1:26:03.080 They don't seemed to be incredibly useful, but we do 1:26:03.280 --> 1:26:05.400 learn some things that will be important for the rest 1:26:05.400 --> 1:26:08.320 of the film, such as the detail that we talked 1:26:08.360 --> 1:26:11.240 about there. This is in so many Gallo films, the 1:26:11.320 --> 1:26:14.439 detail where if you could just remember it right or 1:26:14.479 --> 1:26:17.040 make sense of it, it would solve the mystery. Here 1:26:17.400 --> 1:26:20.560 he remembers coming down the hallway and seeing a painting 1:26:21.000 --> 1:26:23.679 that's not there anymore. So the police are there looking 1:26:23.720 --> 1:26:25.800 in the room and they can't find the painting that 1:26:25.880 --> 1:26:27.720 he saw, a painting of a face. 1:26:27.520 --> 1:26:31.440 Which is a nice bit of it's not pure misdirection, 1:26:31.640 --> 1:26:33.759 but it does bring up this one. You start thinking 1:26:33.760 --> 1:26:35.960 about it as the viewer, like, okay, there's some sort 1:26:35.960 --> 1:26:38.800 of a theft of a painting. Okay, that's a whole 1:26:39.080 --> 1:26:42.080 crime staple in and of itself, but I don't have 1:26:42.160 --> 1:26:44.240 much else to go on beyond that. But it seems 1:26:44.280 --> 1:26:47.080 to be important because Marcus is fixating on it, right, 1:26:47.320 --> 1:26:50.479 even though I don't remember, Like I was like, maybe 1:26:50.479 --> 1:26:52.240 I looked up and I missed what he was talking about, 1:26:52.280 --> 1:26:56.280 But no, you didn't miss anything. It is something in 1:26:56.320 --> 1:26:58.120 his mind and it all makes sense later on. 1:26:58.720 --> 1:27:02.000 Also in this scene, we meet Gianna for the first time, 1:27:02.800 --> 1:27:06.960 played by Daria Nickelode. She arrives to to you know, 1:27:07.320 --> 1:27:09.000 to write a story on what's going on here. I 1:27:09.000 --> 1:27:15.040 guess she's a crime reporter. She is bold, assertive, flippant, difficult, 1:27:15.200 --> 1:27:17.879 and funny, and she's like making fun of the police 1:27:17.880 --> 1:27:19.920 who are trying to stop her from coming and looking in. 1:27:20.000 --> 1:27:24.600 She clearly is she has encountered, you know, their resistance 1:27:24.640 --> 1:27:27.680 to her investigations before, and is inclined to just kind 1:27:27.680 --> 1:27:28.559 of blow through them. 1:27:28.840 --> 1:27:31.240 Yeah, just storms right in and starts taking photos. 1:27:31.479 --> 1:27:36.040 Yeah. But actually there will over time develop a relationship 1:27:36.080 --> 1:27:40.880 between Gianna and Marcus for one reason, because she takes 1:27:40.920 --> 1:27:44.960 his picture and then advertises in the newspaper that he 1:27:45.040 --> 1:27:48.479 is a witness to the murder, and that puts him 1:27:48.600 --> 1:27:51.479 in the crosshairs because after this there's a scene where 1:27:51.520 --> 1:27:54.960 he is home alone and somebody appears to be like 1:27:55.040 --> 1:27:57.880 stalking him in his apartment. He manages to slam the 1:27:57.920 --> 1:28:01.120 door to keep the person away from him, but he 1:28:01.120 --> 1:28:03.200 hears a whispered voice on the other side of the 1:28:03.240 --> 1:28:05.559 door saying, I think I will kill you soon. 1:28:06.520 --> 1:28:09.840 Yeah, so the mysterious murder is onto him as well, 1:28:09.880 --> 1:28:15.120 because whoever committed this crime in the past, this Christmas homicide, 1:28:15.360 --> 1:28:18.040 they don't want anybody to do unearth the secret, the 1:28:18.120 --> 1:28:19.479 dark secrets of this crime. 1:28:20.240 --> 1:28:24.439 Also, she's she's just really into him, not the killer, 1:28:24.479 --> 1:28:27.519 but Gianna. So she's she's not just helping because she 1:28:27.600 --> 1:28:31.080 feels bad for putting him in the crosshairs. Also, she's like, hey, 1:28:31.120 --> 1:28:33.840 you know you're attractive. I'm saying we let's hook up. 1:28:34.200 --> 1:28:36.880 I don't know how much of that was in your version, 1:28:36.960 --> 1:28:38.360 because I know those are a lot of the scenes 1:28:38.400 --> 1:28:41.240 that got cut out, but clearly like, yeah, she's looking, 1:28:41.360 --> 1:28:42.280 she's looking for love. 1:28:42.800 --> 1:28:45.639 Yeah. I felt like the actors had great chemistry and 1:28:45.880 --> 1:28:48.519 they had some just nice playful back and forth here. 1:28:48.560 --> 1:28:50.920 Sometimes in these these scenes that are played a little 1:28:50.920 --> 1:28:52.680 bit more for comedy, but again not in the way 1:28:52.720 --> 1:28:56.000 that feels out of balance. Particularly there's this scene where 1:28:56.120 --> 1:28:59.519 she gives him a ride in her car and there's 1:28:59.520 --> 1:29:01.720 all this like you can't get in on that door 1:29:01.920 --> 1:29:03.720 through that door because that door doesn't work, and then 1:29:03.880 --> 1:29:07.439 like his seat doesn't work either, and he's like hunched 1:29:07.479 --> 1:29:09.879 over and you know, too far down, and. 1:29:10.360 --> 1:29:12.720 He locks his door, which means they can't get out of. 1:29:12.720 --> 1:29:14.559 The Yeah, it's like that door can never be up. 1:29:14.600 --> 1:29:16.439 We have to get a mechanic to open that door. 1:29:16.520 --> 1:29:18.880 Now, well, they from then on they get in and 1:29:18.920 --> 1:29:20.360 out of the car through the sun roof. 1:29:20.600 --> 1:29:23.880 That's right, that's right. So yeah, it's it's fun and 1:29:23.920 --> 1:29:26.479 it helps establish like, yeah, these two are having fun 1:29:26.520 --> 1:29:28.600 together despite all the dark things going on in the 1:29:28.600 --> 1:29:31.160 world around them, Like they have a they have a spark, 1:29:31.800 --> 1:29:34.479 even if they're kind of fighting at times about and 1:29:34.760 --> 1:29:38.519 when he's you know, his sexist side comes out and 1:29:38.560 --> 1:29:42.479 he's talking about, you know, scoffing at women's rights and all, 1:29:42.520 --> 1:29:44.320 and then she has to beat him at arm wrestling. 1:29:45.120 --> 1:29:46.840 It's nicely played out. 1:29:47.240 --> 1:29:49.599 That scene starts with him being like, oh, don't start 1:29:49.640 --> 1:29:53.280 telling me about women's equality, you know, and then it 1:29:53.400 --> 1:29:56.160 just ends with him complaining because she keeps beating him 1:29:56.160 --> 1:29:58.360 at arm wrestling. Yeah, he's like, you're doing we need 1:29:58.400 --> 1:29:59.800 to do it different this next time. 1:30:00.479 --> 1:30:03.320 Yeah. 1:30:03.400 --> 1:30:05.680 Yeah, So so there's that. There are also some more 1:30:05.720 --> 1:30:08.880 scenes of the friendship between Marcus and Carlo, so you 1:30:08.920 --> 1:30:13.000 get the sequence where you know, Marcus goes to check 1:30:13.040 --> 1:30:15.400 on Carlo, meets his mom, she talks about how she 1:30:15.479 --> 1:30:18.320 used to be an actress. Then he goes to find 1:30:18.439 --> 1:30:21.559 Carlo at the apartment of his lover Massimo, and they 1:30:21.680 --> 1:30:24.639 leave together, and then they talk about the case, about 1:30:24.680 --> 1:30:27.760 like whether Carlo also saw somebody leaving the apartment that 1:30:27.880 --> 1:30:30.360 night in a raincoat. Carlo thinks maybe he did, but 1:30:30.400 --> 1:30:34.000 he doesn't have any information. But then Carlo is really 1:30:34.200 --> 1:30:37.320 concerned for Marcus because he's like, he's afraid that if 1:30:37.320 --> 1:30:39.600 his friend keeps looking into this, it will lead to 1:30:39.640 --> 1:30:41.599 more trouble and he's going to end up dead. Two. 1:30:42.000 --> 1:30:45.479 Yeah, So at this point we've pretty much established like 1:30:45.680 --> 1:30:48.040 the mission for all the characters here. You know, Marcus 1:30:48.120 --> 1:30:50.720 is gonna Marcus and UH and Jenna are going to 1:30:50.760 --> 1:30:53.920 continue to investigate. They're going to get various leads, they're 1:30:53.920 --> 1:30:56.479 going to follow those leads, and meanwhile, the mysterious killer 1:30:56.840 --> 1:30:59.600 is going to keep offing people that are key to 1:30:59.640 --> 1:31:02.920 the invent investigation, and these are going to be your 1:31:02.960 --> 1:31:07.559 stylish Jallo murders we already mentioned, like the one that 1:31:07.600 --> 1:31:12.080 takes place in a mirror walled bathroom. Yeah crazy, Yeah, 1:31:12.160 --> 1:31:16.200 death by drowning in a tub of hot water, scholar, 1:31:16.880 --> 1:31:21.920 which is grotesque, but also like physically the flesh aspect 1:31:21.960 --> 1:31:25.280 of it is grotesque, but the steamed up mirrors makes 1:31:25.320 --> 1:31:30.639 for it's just wonderful. It's wonderfully composed scene and then 1:31:30.680 --> 1:31:34.280 makes great use of like the the victim writing something 1:31:34.320 --> 1:31:37.120 out on the mirror before they die, and then our 1:31:37.160 --> 1:31:39.600 investigator having to make sense of that and try and 1:31:39.600 --> 1:31:42.800 figure out, oh, they actually wrote the killer is or 1:31:42.840 --> 1:31:44.280 the killer was such and such. 1:31:44.640 --> 1:31:48.479 Yeah. So the victim there is the author of a 1:31:48.520 --> 1:31:53.439 book about a local legend about a haunted house where 1:31:53.680 --> 1:31:57.960 the song that Marcus heard associated with the killer was 1:31:58.040 --> 1:32:01.439 also heard playing. Yes, implicated, that's how he gets He's 1:32:01.520 --> 1:32:04.559 like trying to find out more, and then she gets killed. 1:32:04.560 --> 1:32:05.960 Somebody gets to her before he can. 1:32:06.200 --> 1:32:08.719 It's a little convoluted to the point. You wonder if 1:32:09.040 --> 1:32:12.240 the point it might be that he has completely gone 1:32:12.360 --> 1:32:14.080 off the rails and it's like fallowed some sort of 1:32:14.160 --> 1:32:18.920 nonsensical clue that's leading him in the wrong direction. But 1:32:18.960 --> 1:32:21.720 who's following him in the wrong direction, the killer. It 1:32:21.760 --> 1:32:23.000 turns out it's the right direction. 1:32:23.280 --> 1:32:26.719 Yes, So he eventually hunts hunts down this local haunted 1:32:26.760 --> 1:32:31.280 house by way of identifying some unusual plants in a 1:32:31.320 --> 1:32:34.799 book photo of the house. So now he's getting somewhere. 1:32:35.520 --> 1:32:38.000 I think they call it the House of the Screaming Child. 1:32:38.479 --> 1:32:42.439 Yes, yeah, it surprisingly has not sold. It's still on 1:32:42.520 --> 1:32:44.519 the market. Nobody wants to live in the House of 1:32:44.520 --> 1:32:48.720 the Screaming Child. It's like when Marge becomes a real 1:32:48.840 --> 1:32:53.080 estate agent. Yeah, yeah, yeah, it's yeah, it will we 1:32:53.120 --> 1:32:55.400 will learn it is a murder house and it is 1:32:55.479 --> 1:32:59.320 an historic villa in Toronto, so it's I was looking 1:32:59.400 --> 1:33:00.799 it up. It's still out there. 1:33:01.439 --> 1:33:04.880 So Marcus goes to investigate. There is some great music, 1:33:05.040 --> 1:33:08.120 just you know, goblin jazz playing while he walks around 1:33:08.160 --> 1:33:10.519 the house. He meets the caretaker of the house and 1:33:10.600 --> 1:33:13.559 the caretaker's daughter who The daughter is played by the 1:33:13.640 --> 1:33:16.040 creepy redheaded child from Footprints on the Moon. 1:33:16.920 --> 1:33:19.679 She's creepy here because she might be murdering lizards. 1:33:20.120 --> 1:33:22.720 Maybe stabbing needles through lizards for witchcraft. 1:33:22.800 --> 1:33:28.360 Yeah, yeah, drawing all sorts of horrendous childhood artwork of murder, 1:33:28.400 --> 1:33:29.520 you know, and that's her specialty. 1:33:29.840 --> 1:33:32.200 Well, but we don't know who drew this. But he 1:33:32.240 --> 1:33:34.280 goes into the house and he finds a place where 1:33:34.320 --> 1:33:37.040 like he peels the plaster away from the wall with 1:33:37.120 --> 1:33:38.040 his fingernails. 1:33:38.040 --> 1:33:39.880 Oh god, that was giving me the all over those like, 1:33:39.920 --> 1:33:42.200 come on, Marcus, find it something. There's got to be 1:33:42.240 --> 1:33:45.559 a shovel or a well. He does eventually, eventually, but 1:33:45.600 --> 1:33:48.479 it's like several minutes of nails scrape thing before he does. 1:33:48.479 --> 1:33:51.880 He goes into a flooded basements. This gets I don't know, 1:33:51.920 --> 1:33:55.920 a scraper of some kind, and it reveals a child, 1:33:56.360 --> 1:33:59.439 a child's drawing on the wall of a murder taking place. 1:33:59.760 --> 1:34:04.519 Yeah, very interesting looking a bit of art. And then 1:34:04.560 --> 1:34:07.640 as he leaves it, another little piece chips away and 1:34:07.680 --> 1:34:10.759 it reveals there's more to that painting. Yeah, he doesn't 1:34:10.800 --> 1:34:13.360 know about it, but we the viewer have privileged information 1:34:13.520 --> 1:34:18.680 that our protagonist is working on an incomplete understanding of 1:34:18.720 --> 1:34:20.880 the situation. So I rather liked that. 1:34:29.920 --> 1:34:32.360 Now we already mentioned earlier that while this is going on, 1:34:32.439 --> 1:34:35.920 there's been a parallel investigation with Professor Jordani. He went 1:34:36.000 --> 1:34:38.920 to the other murder victim's house, the one who died 1:34:38.960 --> 1:34:42.519 in the bathtub, and saw the message written on the wall. 1:34:43.520 --> 1:34:45.360 Was able to like figure out what that was by 1:34:45.400 --> 1:34:49.400 refogging up the bathroom after it had disappeared. But then 1:34:50.200 --> 1:34:52.559 Jordani is now not long for this world. He knows 1:34:52.600 --> 1:34:54.680 too much. Somebody's got to do something about that. 1:34:55.080 --> 1:34:58.800 Oh and his murder scene is bonkers, so it mirrors. 1:34:58.400 --> 1:34:59.920 A lot of people think this is a highlight of 1:35:00.080 --> 1:35:00.479 the film. 1:35:00.560 --> 1:35:03.639 Oh, I mean, I loved it, but it's bonkers. It's 1:35:03.960 --> 1:35:06.920 so set up more or less like Marcus is almost 1:35:07.040 --> 1:35:10.400 murder from earlier where Marcus is like in his study 1:35:10.479 --> 1:35:12.559 doing work, and then he hears something weird and he 1:35:12.600 --> 1:35:16.080 picks up something to protect himself from his table. Well, 1:35:16.200 --> 1:35:21.120 same thing here with our parapsychologist, except he doesn't get 1:35:21.120 --> 1:35:23.200 to shut the door on it. He sees something and 1:35:23.240 --> 1:35:29.800 then is seemingly attacked by a hideous ventrilocus dummy or 1:35:29.960 --> 1:35:32.719 automaton wind up vampire doll. 1:35:33.160 --> 1:35:35.120 He is, Yeah, he's in his study and he hears 1:35:35.120 --> 1:35:39.439 somebody whisper his name. Yeah, the whispered voice is very creepy. 1:35:39.479 --> 1:35:42.120 He arms himself with a knife, then he kind of 1:35:42.120 --> 1:35:44.040 feels silly, I think it, puts the knife down, and 1:35:44.080 --> 1:35:48.719 then bursting out of the closet is a clockwork doll 1:35:48.880 --> 1:35:52.000 that's like wheeling toward him on some kind of contraption, 1:35:53.040 --> 1:35:57.280 just like rushing toward the camera, making crazy noises, and 1:35:57.360 --> 1:36:00.519 it's like ah, and he attacks the doll and breaks 1:36:00.560 --> 1:36:03.640 its head open, revealing that it is a machine of 1:36:03.680 --> 1:36:07.559 some kind of like a giant wind up ventriloquist stummy 1:36:07.680 --> 1:36:10.400 is what it looks like. Yeah, so I incredibly unsettling. 1:36:11.479 --> 1:36:13.880 I guess the main takeaway is it's a toy doll, 1:36:14.000 --> 1:36:16.559 which is one of the things that the killer is into. 1:36:17.040 --> 1:36:18.800 But at the time as this was happening, I was like, 1:36:18.960 --> 1:36:21.920 is this is this a machine? Like is this a robot? 1:36:22.400 --> 1:36:24.679 Is this a psychic? Attack? Is our you know, we've 1:36:24.720 --> 1:36:27.720 already had one psychic in the film, and maybe this 1:36:27.880 --> 1:36:30.960 is our villain? Is our actual killer is a psychic 1:36:31.000 --> 1:36:34.040 And they're like, you know, telekinetically throwing puppets at them. 1:36:34.320 --> 1:36:39.400 I wasn't sure, but no, not necessarily, and we don't 1:36:39.479 --> 1:36:42.080 know why the puppet was used. But it's creepy, and 1:36:42.120 --> 1:36:44.680 then the attack comes from behind. That was a distraction. 1:36:45.680 --> 1:36:48.720 The attack comes from behind and he gets like his 1:36:48.960 --> 1:36:52.280 mouth bashed on all the corners of the furniture. Do 1:36:52.320 --> 1:36:53.920 you notice how I feel like a lot of the 1:36:54.040 --> 1:36:58.599 murders in this movie are they're not. They're like things 1:36:58.960 --> 1:37:04.320 injuries that people might dream up accidentally having on their own, 1:37:04.600 --> 1:37:05.200 you know what I mean. 1:37:05.840 --> 1:37:08.559 Yeah, it's a stark contrast with some of the violence, 1:37:08.680 --> 1:37:11.040 like some of the zombie violence that we discussed, say 1:37:11.200 --> 1:37:16.160 in in our recent look at Folci's What City of 1:37:16.160 --> 1:37:20.519 the Living Dead, where in that it's like zombie barfing 1:37:20.600 --> 1:37:23.920 up their entire intestine something like that. So it's certainly grotesque, 1:37:24.320 --> 1:37:28.000 but it's so grotesque that it's outside of our normal 1:37:28.040 --> 1:37:33.880 anxieties and experiences, whereas like ental trauma, that's like that's 1:37:33.880 --> 1:37:36.479 too real. That's just in factor, you know, because we 1:37:36.520 --> 1:37:39.960 can all we have all had thoughts about that or 1:37:40.040 --> 1:37:43.400 experiences along those lines, So that's that's more real to us. 1:37:43.439 --> 1:37:47.040 It's a common observation in horror, and certainly in horror 1:37:47.040 --> 1:37:49.639 cinema that it's like someone's arm can get cut off 1:37:49.680 --> 1:37:52.080 and it will mean nothing to you. But if someone 1:37:52.120 --> 1:37:55.880 gets like their palm sliced or something to that effect, 1:37:55.920 --> 1:37:59.280 a more minor injury. We'll connect with it viscerally because 1:37:59.520 --> 1:38:02.439 it's just more real. It's something that we can compare 1:38:02.479 --> 1:38:03.519 our own experiences to. 1:38:03.840 --> 1:38:07.639 Yeah, so many of the kills in this movie are 1:38:07.760 --> 1:38:13.599 things that you could imagine happening to yourself by accident somehow. Yeah. 1:38:13.800 --> 1:38:17.080 Yeah, less decapitation and more more dental trauma. 1:38:17.400 --> 1:38:20.799 Yeah. So anyway, it's curtains for Jordanni, no more Jordanni 1:38:20.880 --> 1:38:23.320 to help. So we got I guess we've got a 1:38:23.360 --> 1:38:26.320 race toward the conclusion here. The way we get there 1:38:26.360 --> 1:38:29.400 is that Marcus realizes he has missed a clue. He's 1:38:29.520 --> 1:38:32.000 like looking at the picture of the villa from the 1:38:32.040 --> 1:38:35.519 book and he realizes there used to be a window 1:38:36.280 --> 1:38:38.760 on the house that's not there anymore. It's now just 1:38:38.840 --> 1:38:41.800 walled up. So he goes back to the house. He's 1:38:41.840 --> 1:38:44.040 like got to bash through this wall and find out 1:38:44.040 --> 1:38:46.960 what was behind where this window used to be. And 1:38:47.000 --> 1:38:49.040 this is like a whole action sequence. 1:38:49.200 --> 1:38:51.360 Oh yeah, Like he goes up, you know, goes up 1:38:51.360 --> 1:38:53.720 to the top floor, climbs out onto the outside of 1:38:53.760 --> 1:38:57.160 the house, bashes through what used to be a window, 1:38:57.160 --> 1:38:59.240 but is now a wall with a hammer and then 1:38:59.280 --> 1:39:01.439 begins to fall all off the house and has to 1:39:01.560 --> 1:39:05.880 steadily climb down the outside of the house in a 1:39:06.080 --> 1:39:10.479 really drawn out action sequence set to some really wonky jazz. 1:39:10.760 --> 1:39:13.080 I mean, I loved it, but this jazz is wonky. 1:39:13.160 --> 1:39:19.120 This is thick, it's aggressive, and it does kind of 1:39:19.120 --> 1:39:22.800 feel like the stuntman or whoever did the stunt, was like, hey, 1:39:23.120 --> 1:39:25.959 I climbed down the entire outside of that villa for you. 1:39:25.960 --> 1:39:29.040 You better not cut it, our gento. I nearly died 1:39:29.040 --> 1:39:32.040 for that, And so he didn't and cut it includes 1:39:32.120 --> 1:39:35.599 what seemingly the whole thing, but he successfully bashes through. 1:39:35.640 --> 1:39:38.760 We get in there, and what's inside the Christmas room 1:39:38.800 --> 1:39:40.280 the Christmas house side room. 1:39:40.120 --> 1:39:42.559 Yeah, exactly, complete with the desiccated corpse. 1:39:42.760 --> 1:39:46.479 Yeah yeah, what is I read is a male corpse, 1:39:46.520 --> 1:39:50.559 so like dad corpse in a rocking chair. Perhaps I'm 1:39:50.560 --> 1:39:52.120 not sure it was a rocking chair. Then maybe that's 1:39:52.200 --> 1:39:56.400 old too much, just like a chair interpretation. But yeah, 1:39:56.920 --> 1:39:59.960 ancient remains of a dead body does not come alive, 1:40:00.240 --> 1:40:01.599 but much is revealed here. 1:40:01.840 --> 1:40:05.519 So Marcus gets knocked unconscious by someone unseen, The house 1:40:05.560 --> 1:40:08.160 catches on fire and then he awakes outside the house 1:40:08.160 --> 1:40:12.280 with Gianna standing over him. She she apparently found the 1:40:12.320 --> 1:40:14.479 note that he left for her, and then she followed 1:40:14.520 --> 1:40:17.240 him here and dragged him out of the house before 1:40:17.520 --> 1:40:20.799 he was quote a roast duck baby. 1:40:22.160 --> 1:40:25.120 Oh, and this is where he's like, Oh, that creepy 1:40:25.160 --> 1:40:28.240 redheaded kid. He notices in her room, what is she 1:40:28.360 --> 1:40:31.639 decorated her walls with. She's decorated her walls with drawings. 1:40:31.640 --> 1:40:34.000 It looked just like the one that he uncovered in 1:40:34.040 --> 1:40:34.479 the villa. 1:40:34.680 --> 1:40:36.839 I thought this was going to mean she was psychic 1:40:37.080 --> 1:40:42.280 and had psychically seen the image, but no, it's actually 1:40:42.960 --> 1:40:45.599 I think kind of a dumber and more convoluted twist 1:40:45.680 --> 1:40:45.920 than that. 1:40:46.720 --> 1:40:50.639 Yeah, that she what solid on? She read she saw 1:40:50.640 --> 1:40:53.040 it in the archives at a school. At her middle school. 1:40:53.320 --> 1:40:56.480 She's like, I was being forced to clean the archives 1:40:56.520 --> 1:40:59.080 at this middle local middle school. They say the name 1:40:59.120 --> 1:41:02.080 a lot of times, Leonardo da Vinci Middle School. I 1:41:02.240 --> 1:41:04.960 was at Leonardo da Vinci Middle School cleaning the archives 1:41:04.960 --> 1:41:06.800 and I saw this drawing and then I made a 1:41:06.840 --> 1:41:10.440 copy of it at my house. And they're like, oh, 1:41:10.520 --> 1:41:12.240 so if we just go to the school and find 1:41:12.240 --> 1:41:14.720 this drawing, it will tell us who the killer is yes. 1:41:14.800 --> 1:41:17.240 So now we have our late movie research mode. We 1:41:17.280 --> 1:41:23.320 have our mission for our protagonist and our punchy reporter. 1:41:23.439 --> 1:41:26.320 Here we know that at some point in the past 1:41:26.400 --> 1:41:30.000 a child has drawn creepy drawings of murder. They went 1:41:30.080 --> 1:41:33.360 to this middle school. This middle school has never thrown 1:41:33.439 --> 1:41:37.200 a single thing away. All the children's drawings are archived. 1:41:37.400 --> 1:41:40.679 They just need to, I guess, break into the school 1:41:41.200 --> 1:41:44.639 and go through all of these drawings, find the one 1:41:44.640 --> 1:41:46.880 they're looking for, and figure out who did it, and 1:41:46.880 --> 1:41:49.599 then they'll know the identity of the killer. 1:41:49.880 --> 1:41:53.640 Perfect, perfect plan, and that's what they do. They go 1:41:53.760 --> 1:41:56.920 there and they start going through the archives. They're being stalked, 1:41:56.960 --> 1:41:59.400 of course by the killer who's watching them from there. 1:41:59.439 --> 1:42:01.800 At one point she's like, should we call We should 1:42:01.800 --> 1:42:04.120 call the police and let them know we're here, which 1:42:04.120 --> 1:42:06.760 made me ask like, didn't you guys just like break in? 1:42:06.920 --> 1:42:08.479 Like I didn't think much about it when they did it, 1:42:08.520 --> 1:42:11.040 because you just do these things in movies like this. 1:42:11.160 --> 1:42:14.960 But guess, my guess is that the script didn't have 1:42:15.040 --> 1:42:17.720 that in it. And then they realized while they were 1:42:17.760 --> 1:42:20.479 shooting these scenes, they're like, wait, the police are showing up, 1:42:20.479 --> 1:42:23.200 but how would the police know, and they're like, oh no, 1:42:23.360 --> 1:42:25.800 we need to have Darius say we should call the 1:42:25.800 --> 1:42:30.679 police so that you know. So there's a reason. So anyway, 1:42:31.360 --> 1:42:34.759 they're there, and while they are there, they indeed discover 1:42:35.160 --> 1:42:38.280 the drawing, and on the drawing, I guess there's a name. 1:42:38.600 --> 1:42:42.120 And this lets Marcus put it all together. He starts 1:42:42.160 --> 1:42:44.640 calling out in the dark because he hears someone is 1:42:44.680 --> 1:42:47.679 there with him. He starts calling out, I know who 1:42:47.720 --> 1:42:50.360 the killer is. I know it's you. I found your drawing. 1:42:50.800 --> 1:42:53.519 Now now it all makes sense, and we get a 1:42:53.520 --> 1:42:57.120 big reveal. We also get the the idea that somebody 1:42:57.240 --> 1:43:00.639 has attacked Jianna, though we don't see exactly what's happened 1:43:00.680 --> 1:43:01.200 to her yet. 1:43:01.200 --> 1:43:04.639 Right right, But yeah, there's what seems like there's there's 1:43:04.880 --> 1:43:09.000 a death sequence, like she's stabbed or something kind of like. 1:43:09.360 --> 1:43:10.840 This is where we get a little bit of that 1:43:11.439 --> 1:43:14.400 eroticism of death here, the kind of like face she 1:43:14.479 --> 1:43:17.439 makes when she's being stabbed. But then the big reveal. 1:43:17.960 --> 1:43:20.600 It's Carlo. He pulls a gun on Marcus and he 1:43:20.600 --> 1:43:22.880 tells him that, hey, I wish you'd stay out of it. 1:43:22.920 --> 1:43:24.600 I stayed out of this. I tried to warn you 1:43:24.640 --> 1:43:28.760 away and you know, he's frazzled and Marcus is trying 1:43:28.800 --> 1:43:32.040 to reason with him. Then the cops show up, as 1:43:32.040 --> 1:43:37.799 we mentioned that they would, and Carlo is is he spooked. 1:43:37.840 --> 1:43:41.120 He runs off, and we get this long, drawn out 1:43:41.200 --> 1:43:45.479 and really disturbing sequence where Marcus runs into traffic and 1:43:45.640 --> 1:43:47.080 I don't want to go through all the details, but 1:43:47.160 --> 1:43:49.600 is essentially torn apart by the traffic. 1:43:49.600 --> 1:43:53.200 Yet again, like a horrible death sequence that you could 1:43:53.200 --> 1:43:56.520 imagine just being like a series of tragic accidents. 1:43:56.840 --> 1:43:59.080 Yeah. In my response at this point, again this was 1:43:59.120 --> 1:44:01.559 my first time seeing the film, I was like, well, 1:44:02.360 --> 1:44:04.320 the movie was great up until this point, but now 1:44:04.360 --> 1:44:09.360 it kind of sucks because, yeah, the movie ends with 1:44:10.040 --> 1:44:15.040 our our main non hetero character is the killer and 1:44:15.240 --> 1:44:17.880 ends up dying by being dragged behind a truck. You know, 1:44:17.960 --> 1:44:22.320 like that's that's gross. But there's more to go. 1:44:23.280 --> 1:44:25.960 Yeah, I mean, it doesn't make sense in multiple levels. 1:44:26.000 --> 1:44:29.400 It is. It is an unsatisfying conclusion, but there is 1:44:29.439 --> 1:44:30.519 another development coming. 1:44:30.760 --> 1:44:32.479 Yeah. I think one of the things about it is 1:44:32.479 --> 1:44:35.479 that like it makes emotional sense at the time, and 1:44:35.560 --> 1:44:38.840 it seems like the movie's wrapping up so and you 1:44:38.840 --> 1:44:40.840 don't really have time to think about like all the 1:44:40.880 --> 1:44:44.439 ways this doesn't work yet, because you're being beat over 1:44:44.479 --> 1:44:46.800 the head with a long drawn out death sequence for 1:44:47.760 --> 1:44:51.960 the character here. It's only afterwards that we the viewer 1:44:52.080 --> 1:44:54.599 can begin to piece things together, and that Marcus can 1:44:54.640 --> 1:44:55.759 begin to piece things together. 1:44:56.000 --> 1:44:58.160 Right, So Marcus does what does he do here? 1:44:58.479 --> 1:45:00.639 Well? First, first of all, first. 1:45:00.640 --> 1:45:02.679 Yeah, we find out that Gianna, she's not dead. 1:45:02.760 --> 1:45:05.639 She's going to be okay, just a fleshmom, she's pulling 1:45:05.680 --> 1:45:08.240 through it. But then he goes back to the square 1:45:08.280 --> 1:45:11.720 from before. The cafe is closed, which I thought was 1:45:11.720 --> 1:45:13.519 a nice that the bar there is closed. I thought 1:45:13.520 --> 1:45:16.600 it was a nice touch. Everything's dark and empty. It 1:45:16.600 --> 1:45:18.479 was dark and empty before, but now even more so. 1:45:19.120 --> 1:45:21.320 And Carlo is not there. Of course Carlo is dead. 1:45:21.360 --> 1:45:24.519 And then he realizes what couldn't have been Carlo. Carlo 1:45:24.680 --> 1:45:27.560 was out here in the square with me when Helga 1:45:27.560 --> 1:45:30.960 was being murdered up there. So he goes back to 1:45:31.000 --> 1:45:33.280 the crime scene, helps himself in, you know, tears the 1:45:33.320 --> 1:45:37.719 type of side, and he starts looking around. He starts 1:45:37.720 --> 1:45:40.960 thinking about that missing painting, where's that missing painting? And 1:45:41.000 --> 1:45:44.679 then he finds it. He realizes there wasn't a missing painting. 1:45:44.880 --> 1:45:47.200 What I was looking at is still here. It's not 1:45:47.280 --> 1:45:51.080 a painting, it's a mirror, and the mirror was reflecting 1:45:51.280 --> 1:45:55.800 somebody standing just out of sight that was hiding from him, 1:45:56.120 --> 1:45:59.040 but the individuals being still, and he thought that they 1:45:59.240 --> 1:46:00.639 that it was a painting of a person. 1:46:01.400 --> 1:46:03.920 Really good twist, by the way. I mean that one 1:46:03.960 --> 1:46:05.960 the first time I saw that. That worked so well 1:46:06.000 --> 1:46:08.280 for me, the painting to mirror reverse. 1:46:08.320 --> 1:46:10.840 Same here. Yeah. I'd see plenty of films where the 1:46:10.880 --> 1:46:15.479 big revelation is feels completely telegraphed and you're like, come on, 1:46:15.760 --> 1:46:17.640 go ahead and say it. You figured it out, We 1:46:17.680 --> 1:46:20.640 figured it out ten minutes ago, But not here. Just 1:46:20.920 --> 1:46:24.120 excellent bait and switch. The true killer is revealed because 1:46:24.120 --> 1:46:26.679 of course the killer shows up to kill Marcus now 1:46:27.000 --> 1:46:28.400 and it's Carlo's mom. 1:46:29.000 --> 1:46:32.840 So yeah, so when Carlo earlier pulled the gun, it's 1:46:32.960 --> 1:46:35.639 not that he was the killer, it's that he knew 1:46:35.960 --> 1:46:39.439 it was his mom and that Marcus was about to 1:46:40.400 --> 1:46:42.800 was about to turn her in, and he was trying 1:46:42.800 --> 1:46:43.759 to protect his mom. 1:46:44.280 --> 1:46:48.360 Yeah, so we get the full Christmas murder reveal where 1:46:48.400 --> 1:46:52.400 we find out that what happened was that Carlo's father 1:46:52.840 --> 1:46:56.880 wanted to send Carlo's mother back to the hospital. I believe. 1:46:57.520 --> 1:47:00.960 Yeah, they're saying that, the doctors, I mean, it suggested 1:47:01.040 --> 1:47:04.640 that she had previously been been hospitalized, maybe for like 1:47:04.680 --> 1:47:09.040 a mental condition, and that she you know, they were 1:47:09.080 --> 1:47:11.439 asking her to go back again. The doctors were saying 1:47:11.479 --> 1:47:15.480 that she would benefit from going back again. But she's refusing. 1:47:15.600 --> 1:47:19.439 She says no, and he's trying to convince her. He's saying, look, 1:47:19.479 --> 1:47:22.120 it'll be good for you, and she's saying no. And 1:47:22.160 --> 1:47:25.000 then she pulls a knife out of a drawer and 1:47:25.040 --> 1:47:25.920 she kills him. 1:47:26.240 --> 1:47:29.160 Right, so now we know what happened. Like, she's the killer, 1:47:29.240 --> 1:47:31.439 She's the one that was in the audience, she's the 1:47:31.439 --> 1:47:35.080 one that's been going around. And she even completely exonerates 1:47:35.080 --> 1:47:38.760 Carlo and says Carlo was never the killer. And she 1:47:38.840 --> 1:47:41.519 goes to kill Marcus. There's a fight, and then the 1:47:41.520 --> 1:47:43.960 way things finally go down is we get this death 1:47:44.000 --> 1:47:51.720 by elevator necklace situation. Decapitation via necklace via elevator and 1:47:51.720 --> 1:47:52.440 it gets. 1:47:52.160 --> 1:47:54.920 Caught in the elevator as it's descending and then pulls 1:47:55.040 --> 1:47:55.960 tight against her neck. 1:47:56.080 --> 1:48:00.839 Oh yeah, really really grim. A lot of blood is produced, 1:48:00.880 --> 1:48:04.000 deep red blood, and we end with Marcus or my 1:48:04.080 --> 1:48:07.240 cut of the film ended with Marcus staring down and 1:48:07.240 --> 1:48:11.840 seeing his own reflection in that pool of blood. And 1:48:11.880 --> 1:48:13.920 then we close and we at least I got the 1:48:13.960 --> 1:48:17.160 text on the screen. You have been watching Deep Red? Yeah? 1:48:17.640 --> 1:48:17.680 You? 1:48:17.800 --> 1:48:19.160 In case you forgot yeah. 1:48:19.080 --> 1:48:20.639 Or I guess if you walked in late. I mean, 1:48:20.640 --> 1:48:22.679 that's the thing we have to think about movie theaters. 1:48:22.720 --> 1:48:26.400 People may have come in late or snuck into the 1:48:26.400 --> 1:48:28.639 theater and didn't know what they were watching. So now 1:48:28.640 --> 1:48:31.559 you know you have been watching Deep Red. I would just. 1:48:31.479 --> 1:48:34.400 Say that that twist the first time I saw it 1:48:34.479 --> 1:48:37.240 really got me, like I did not see it coming 1:48:37.439 --> 1:48:39.800 and it was effective. 1:48:40.200 --> 1:48:42.800 So if I'm understanding everything correctly. Then trying to piece 1:48:42.840 --> 1:48:47.040 everything together again, Carlo is a hard drinking pianist, barely 1:48:47.040 --> 1:48:51.400 holding it all together. His mother attends a parapsychology conference. Helga, 1:48:51.520 --> 1:48:56.439 the psychic detects her past crimes and then makes the 1:48:56.479 --> 1:48:58.880 move to kill her. Does and then the rest of 1:48:58.880 --> 1:49:01.880 the murders are her cover bring up her crimes. Carlo 1:49:02.160 --> 1:49:05.600 then tries to protect her when Marcus is investigating. 1:49:06.680 --> 1:49:09.120 I guess we never find out how early he knew 1:49:09.160 --> 1:49:13.320 about what was going on unclear there. Yeah, but at 1:49:13.400 --> 1:49:16.120 least by the end of the investigation, he intervenes and 1:49:16.160 --> 1:49:19.320 points a gun at at Marcus to stop him from 1:49:19.400 --> 1:49:20.080 getting his mother. 1:49:20.560 --> 1:49:23.120 Yeah. Now I still don't know entirely what to make 1:49:23.160 --> 1:49:26.920 of the baby dolls. Oh yeah, the creepy automaton, some 1:49:27.040 --> 1:49:29.200 of the other fetish items. Why she had to play 1:49:29.240 --> 1:49:31.679 the song each time? Was she playing the song because 1:49:31.720 --> 1:49:34.240 the song played during the Christmas murder? 1:49:35.000 --> 1:49:38.400 Maybe she was like wanting to revisit the murder in 1:49:38.479 --> 1:49:38.960 some way. 1:49:39.360 --> 1:49:41.840 Yeah, But as far as unanswered questions goes, those are 1:49:41.880 --> 1:49:44.840 fine ones to have. It's like, all the actual logistics 1:49:44.920 --> 1:49:47.960 are there on the screen. And yeah, I think the 1:49:48.000 --> 1:49:51.360 film handles its bait and switch twist rather nicely, because 1:49:51.720 --> 1:49:54.320 you know, early on we established that Carlo as an outsider, 1:49:54.720 --> 1:49:57.360 someone living on the edge of society, and especially given 1:49:57.360 --> 1:50:01.440 the nineteen seventies, established his sexual preferences in a lifestyle 1:50:01.840 --> 1:50:05.120 seemingly within the context of the film as a red 1:50:05.160 --> 1:50:08.519 flag so that the moviegoer might then suspect him. This 1:50:08.600 --> 1:50:11.679 is a common trope, certainly in films of that time, 1:50:11.840 --> 1:50:16.120 and and you know, for decades to come. Though in 1:50:16.520 --> 1:50:20.479 the process they actually take a fair amount of time 1:50:20.520 --> 1:50:24.240 to establish this relationship with Massimo. Is something genuine and 1:50:24.320 --> 1:50:29.479 comforting that you know that you know, could go one 1:50:29.560 --> 1:50:31.439 or two ways, Like there's so much misdirection you could 1:50:31.479 --> 1:50:33.640 easily think, well, maybe that's misdirection trying to make me 1:50:33.680 --> 1:50:36.519 think that Carlo isn't the killer. But anyway, when it 1:50:36.600 --> 1:50:39.439 seems that Carlo is the revealed killer, we get this again, 1:50:39.520 --> 1:50:44.599 brutal and violent downfall, and then we feel I think 1:50:44.640 --> 1:50:46.880 the movie goer is made to feel all the worse 1:50:46.920 --> 1:50:48.840 when they realize, oh, well, he never was the killer. 1:50:48.880 --> 1:50:52.960 So the film seems to exploit seventy genre film expectations 1:50:53.000 --> 1:50:56.000 of a character like Carlo, and then in subverting it, 1:50:56.320 --> 1:50:59.760 you know, for plot's sake and for shock's sake, does 1:50:59.760 --> 1:51:02.160 seem to relish and making the film go or analyze 1:51:02.160 --> 1:51:06.360 their own prejudices and stereotypes real life and or cinematic. 1:51:06.479 --> 1:51:08.880 So you know, you might say it holds a mirror 1:51:08.960 --> 1:51:09.639 up to the viewer. 1:51:10.240 --> 1:51:13.559 Oh very nice, the mirror. Yeah yeah, yeah. I don't 1:51:13.640 --> 1:51:17.400 honestly know how intentional all of that is in terms 1:51:17.439 --> 1:51:21.200 of that kind of reversal of prejudices or expectations about 1:51:21.360 --> 1:51:26.760 a character, but possibly. Yeah, anyway, I mean I get 1:51:26.840 --> 1:51:28.760 like lot in. 1:51:28.800 --> 1:51:31.960 Order, only progressive in that it and so that it 1:51:32.000 --> 1:51:34.840 can further the bait and switch. I don't know, but 1:51:35.000 --> 1:51:37.360 I mean I'll take it. I'll take it where I 1:51:37.400 --> 1:51:37.840 can get it. 1:51:38.160 --> 1:51:40.360 I guess. Yeah, I can't quite tell if it is 1:51:40.400 --> 1:51:43.640 intending to be progressive in that sense or not, but 1:51:43.800 --> 1:51:46.559 it's I mean, it certainly doesn't have a lot of 1:51:46.560 --> 1:51:49.760 the kind of nastier elements like that that you would 1:51:49.760 --> 1:51:52.080 get in a lot of other Jalla films of this stuff. 1:51:51.840 --> 1:51:52.200 For sure. 1:51:52.479 --> 1:51:53.320 Yeah. 1:51:53.600 --> 1:51:57.120 So yeah, in closing, I would absolutely agree Deep Red 1:51:57.360 --> 1:51:59.360 is like the total package when it comes to Jallo. 1:51:59.479 --> 1:52:03.200 It has, it has everything, and it delivers everything pretty 1:52:03.240 --> 1:52:05.759 much flawlessly and with tremendous style. 1:52:06.160 --> 1:52:10.120 Yeah. Yeah, really good stuff. Some of the other good 1:52:10.160 --> 1:52:12.320 ones if you're looking for I haven't seen these in 1:52:12.560 --> 1:52:15.200 quite a while now, so I guess I should hesitate 1:52:15.240 --> 1:52:17.840 to recommend. But I don't know. I remember the other 1:52:19.520 --> 1:52:22.280 the other Argento Jello I was talking about Bird with 1:52:22.280 --> 1:52:26.720 the Crystal Plumage being really good. There's one I think 1:52:26.720 --> 1:52:29.040 it's by Bava called All the Colors of the Dark 1:52:29.120 --> 1:52:31.240 that I remember liking a lot. So there's some other 1:52:31.240 --> 1:52:32.200 really good ones out there. 1:52:32.280 --> 1:52:36.960 Yeah. Blood and Black Lace is tremendous and has some 1:52:37.040 --> 1:52:41.160 of just the most atmospheric stalking scenes you could ever imagine, 1:52:42.160 --> 1:52:44.040 like to the point where it feels like, oh, this 1:52:44.120 --> 1:52:48.559 inspired alien, I mean Bob inspired alien in other ways 1:52:48.560 --> 1:52:50.680 as well, but like the scene where the killer is 1:52:50.680 --> 1:52:53.679 stalking one of the main characters in the basement. Tremendous stuff. 1:52:54.080 --> 1:52:56.240 Yeah, and when they're eating dinner and the black glove 1:52:56.320 --> 1:53:01.439 comes out of his stomach, that would be good. 1:53:01.520 --> 1:53:02.120 That would be good. 1:53:03.439 --> 1:53:05.160 Okay, I think that's got to do it for today. 1:53:05.160 --> 1:53:05.800 We've gone long. 1:53:06.120 --> 1:53:07.880 Yeah, we've gone long. We'll cut some of this out, 1:53:07.920 --> 1:53:10.400 you know, but yeah, we got a little got a 1:53:10.400 --> 1:53:15.760 little into the spirit of things for Jallo January, So 1:53:16.040 --> 1:53:18.479 at this point we'll give you the regular rundown here. 1:53:18.520 --> 1:53:20.640 Stuff to Blow your Mind is primarily a science and 1:53:20.640 --> 1:53:25.200 culture podcast with core episodes on Tuesdays and Thursdays. On 1:53:25.240 --> 1:53:28.040 Wednesdays we do a short form episode, and on Fridays 1:53:28.040 --> 1:53:30.080 we set aside most serious concerns to just talk about 1:53:30.080 --> 1:53:33.120 a weird film on Weird House Cinema. If you want 1:53:33.120 --> 1:53:34.759 to see a list of all the movies we've covered 1:53:34.760 --> 1:53:36.760 over the years and sometimes a peek ahead at what 1:53:36.800 --> 1:53:39.599 comes next. Go to letterbox dot com look us up 1:53:39.640 --> 1:53:42.840 our user name there is weird House. So yeah, this 1:53:42.880 --> 1:53:44.160 one's been a lot of fun. It was great to 1:53:44.200 --> 1:53:46.040 finally talk about in our gento film. 1:53:46.240 --> 1:53:50.080 Huge thanks as always to our excellent audio producer Jjposway. 1:53:50.280 --> 1:53:52.000 If you would like to get in touch with us 1:53:52.000 --> 1:53:54.320 with feedback on this episode or any other, to suggest 1:53:54.400 --> 1:53:56.240 a topic for the future, or just to say hello, 1:53:56.720 --> 1:53:59.200 you can email us at contact at stuff to Blow 1:53:59.240 --> 1:54:00.000 your Mind dot. 1:53:59.840 --> 1:54:09.560 Com on Stuff to Blow Your Mind is production of iHeartRadio. 1:54:09.880 --> 1:54:13.880 For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1:54:13.960 --> 1:54:15.759 or wherever you listen to your favorite shows.