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Speaker 1: Hey, you welcome to Weird House Cinema. Rewinder. This is

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Speaker 1: Rob Lamb and we have a much older episode to

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Speaker 1: share with you here today. This one is from ten

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Speaker 1: twenty to twenty twenty one. I partially picked this one

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Speaker 1: because we lost Ozzy Osbourne fairly recently. This is going

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Speaker 1: to be the classic Mario Bava horror anthology film Black Sabbath. Enjoy.

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

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Speaker 1: Hey, welcome to Weird House Cinema. My name is Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And today it's that old anthology

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Speaker 3: feeling once again. Rob. I know you're a horror anthology man.

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Speaker 3: What is it about you that makes you gravitate towards

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Speaker 3: the anthology?

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Speaker 1: Well, I mean you're talking about two different things, of course,

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Speaker 1: when you're talking about horror anthologies on TV and those

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Speaker 1: in the film, Because on TVs it's like it's a

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Speaker 1: different generally, it's a different story every week. And with

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Speaker 1: anthology films like the one we're gonna be talking about today,

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Speaker 1: you instead of getting one complete film, you get like

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Speaker 1: three or four shorter pieces that are stitched together and

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Speaker 1: been presented to you so I guess maybe part of

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Speaker 1: it is just out of love for creepy short stories

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Speaker 1: and the fact that that short stories don't have to

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Speaker 1: obey the same rules as novels, and therefore and also

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Speaker 1: short films don't have to obey the same rules as

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Speaker 1: complete films. I guess it's also nice that they're only

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Speaker 1: going to be They're only going to feel so long.

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Speaker 1: You know, they're going to get to the point they

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Speaker 1: can only be so drawn out. And it's also like

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Speaker 1: a little sampler box. Like if an anthology film is

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Speaker 1: coming at you and you know it's going to present

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Speaker 1: you with, say three to four tales, Well you can

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Speaker 1: figure there's going to be maybe one dud in the bunch,

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Speaker 1: but at the very least you'll have one that's pretty good. Right,

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Speaker 1: there's got to be like one central pillar holding up

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Speaker 1: the roof of the thing.

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Speaker 3: Well, another way I would come at it is that

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Speaker 3: even if they're all bad, it's more fun to have

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Speaker 3: bad variety than bad monotony.

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Speaker 1: Yeah, yeah, I would say so, like you're into the

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Speaker 1: badness and then you're out again, and then you're into

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Speaker 1: some fresh badness.

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Speaker 3: Yeah, I think I would really come back to what

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Speaker 3: you were saying about the comparison to the lengths of

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Speaker 3: horror fiction. This came up in a recent episode where

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Speaker 3: we were talking I think it was in the Thing

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Speaker 3: from Another World, where we were talking about how it's

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Speaker 3: hard to survey to be sure about this, but my

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Speaker 3: feeling is that horror novels tend to gravitate more towards

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Speaker 3: some semblance of a quote happy ending, maybe not happy,

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Speaker 3: but some way in which the protagonist is at least

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Speaker 3: partially victorious or escapes or something, whereas horror short stories

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Speaker 3: tend more toward bleak and cruel endings or endings that

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Speaker 3: are that are a really a mean and ironic twist

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Speaker 3: of fate. And obviously I think there are a lot

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Speaker 3: of reasons why people who enjoy horror fiction are drawn

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Speaker 3: to endings of that sort, but they're harder to pull

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Speaker 3: off at the end of a really long narrative where

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Speaker 3: you're more invested with the characters, You've spent more time

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Speaker 3: with them, and it hurts more to see them just

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Speaker 3: sort of like ruined at the end.

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Speaker 1: Yeah, And I think another thing that you certainly see

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Speaker 1: in short fiction is that sometimes short fiction exists in

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Speaker 1: a space where it doesn't have to concern itself with

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Speaker 1: the ins and outs of a complex plot or some

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Speaker 1: sort of fantastic character arc. You know, our characters don't

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Speaker 1: have to evolve and change and learn lessons about themselves.

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Speaker 1: It can be more about trotting out an interesting idea

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Speaker 1: or you know, or or or in the in the

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Speaker 1: case of horror, just a just a fun monster or

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Speaker 1: some you know, diabolical scenario, that sort of thing, right.

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Speaker 3: I think you're correct. I think that the horror genre

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Speaker 3: especially really does lend itself well to the anthology format.

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Speaker 3: I mean, there are plenty of movies that are not

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Speaker 3: horror that you could argue you are, in one way

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Speaker 3: or another anthology films of a sort. I think one

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Speaker 3: thing I've read is that is that pulp fiction was

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Speaker 3: actually the concept for pulp fiction was partially inspired by

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Speaker 3: the movie that we're going to talk about today. Of course,

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Speaker 3: pulp fiction is not horror, but today's movie is today's

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Speaker 3: selection for weird house cinema is the Mario Bava nineteen

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Speaker 3: sixty three Italian anthology horror series Black Sabbath, or in

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Speaker 3: Italian it's called e tre volti di la Pora. I

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Speaker 3: had to look up what that means. It means the

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Speaker 3: three Faces of Fear.

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Speaker 1: Which is a more accurate title because if you're checking

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Speaker 1: out Black Sabbath expecting witchcraft and you know, Satan worshippers

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Speaker 1: dancing around a fire or some sort of like pagan

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Speaker 1: ordeal or something going on, you're going to be disappointed

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Speaker 1: because there is no actual Black Sabbath, real or imagined

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Speaker 1: in this picture.

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Speaker 3: No, I would say the closest we come to that,

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Speaker 3: it still doesn't really get there. There's sort of that

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Speaker 3: vibe in the middle segment of this movie, and by

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Speaker 3: far my favorite the Wordulac, which is I think just

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Speaker 3: an absolutely tremendous segment and I can't wait to talk

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Speaker 3: about it. But yeah, at least the other two really

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Speaker 3: don't have anything to do with that at all.

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Speaker 1: Now, another interesting thing about the title for this film

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Speaker 1: is that this is said to be where the band

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Speaker 1: Black Sabbath got their name.

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Speaker 3: Oh yeah, And I think I could be wrong about this,

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Speaker 3: but I remember hearing It's not even from them necessarily

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Speaker 3: seeing the movie. I think it was like they walked

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Speaker 3: past a movie theater and this was on the Marquee

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Speaker 3: and they're like.

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Speaker 1: Right, yeah, I think there's another version of the tale

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Speaker 1: and I don't know how much. This sounds almost too perfect,

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Speaker 1: so it sounds like maybe it was embellished. But I

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Speaker 1: read a version where they were playing at a theater

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Speaker 1: and then across the street Black Sabbath was playing and

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Speaker 1: the line was far longer to get in to see

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Speaker 1: the movie as opposed to getting in to see them play.

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Speaker 1: And they're like, well, we need to do has changed

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Speaker 1: our name. We need to be Black Sabbath, and then

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Speaker 1: the people will line up for us.

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Speaker 3: It's like when Patty and Selma proposed changing the name

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Speaker 3: of Springfield the Seinfeld. You just look at what's popular

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Speaker 3: now and try to leach off that.

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Speaker 1: Yeah. So, I mean, I don't know which of those

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Speaker 1: stories is true and to what extent, but certainly it

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Speaker 1: would be. It's hard to imagine the band Black Sabbath

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Speaker 1: without the name Black Sabbath because the theme runs so

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Speaker 1: deep through all of their music.

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Speaker 3: And before they were called Black Sabbath they were called Earth.

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Speaker 3: That was not very convenient because I think there was

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Speaker 3: another band at the time in that area called Earth.

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Speaker 1: It has a different taste on the tongue. Initially, Yeah,

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Speaker 1: if you're thinking about going to hear Earth, you have

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Speaker 1: totally different expectations versus Black Sabbath.

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Speaker 3: Well as a huge fan of the at least like

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Speaker 3: the first six Black Sabbath albums. I don't really get

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Speaker 3: into the d years very much, but like the first

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Speaker 3: six Sabbath albums, I think are they're a mega You know,

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Speaker 3: they're like one of those stone monuments from the ancient

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Speaker 3: world and it's really hard to get under them. But

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Speaker 3: I can't imagine how I would feel about them if

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Speaker 3: they weren't by a band called Black Sabbath that's so

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Speaker 3: wrapped up in the feeling.

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Speaker 1: Yeah, can you imagine Nativity and Black by Earth? It

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Speaker 1: just doesn't make sense war Pigs by Earth.

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Speaker 3: However, I could propose an alternative, which is that if

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Speaker 3: they wanted to drill in and get to the heart

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Speaker 3: of what makes Mario Bava's Black Sabbath really great, they

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Speaker 3: could have changed the name of their band to the

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Speaker 3: word Youlaxe.

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Speaker 1: Oh yeah, yeah, that's a fun name for a band.

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Speaker 3: And it would imply that they've been in the mountains

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Speaker 3: for five days and come back in a state of

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Speaker 3: God knows what.

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Speaker 1: All right, well, let's go ahead and give everyone a

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Speaker 1: taste of the trailer on this one. Because this is

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Speaker 1: a pretty good trailer. I love the narration here.

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Speaker 4: Do you believe in ghosts? This is the night twent

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Speaker 4: Fear and horror walk hand in hand. This is Black Sabbath,

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Speaker 4: starring the incomparable Boris Karloff, the personable Mark Damon, and

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Speaker 4: lush and lovely women, even though one is from the

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Speaker 4: nether world, a vampire of Bourdelac, a Black Sabbath as

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Speaker 4: ancient as superstition, as modern as the telephone.

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Speaker 3: So it's obvious from the trailer, but I don't think

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Speaker 3: we mentioned that this movie has Boris Karloff in multiple capacities,

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Speaker 3: so he is not only the star of one of

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Speaker 3: the three segments in the anthology, but he's also sort

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Speaker 3: of the pitchman. He is the company spokesperson at the

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Speaker 3: beginning and end of the film, And.

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Speaker 1: Of course this is perfect because in later years he

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Speaker 1: also served as a horror host on televis you show

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Speaker 1: such as Thriller and Out of This World. As I

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Speaker 1: think we've often driven home though, like, there's such a

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Speaker 1: wealth of TV horror anthologies out there, So, for instance,

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Speaker 1: if you just glance at listings for Boris Karloff's Thriller,

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Speaker 1: you'll see Oh it only went two seasons, but it

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Speaker 1: went two seasons in the nineteen sixties, So those two

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Speaker 1: seasons consist of sixty seven episodes.

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Speaker 3: Wow, yeah, it gets crazy, And man, I thought it

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Speaker 3: was long seasons. When you go back and watch a

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Speaker 3: show from the nineties or something where there's like twenty

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Speaker 3: episodes in the season, that seems like a huge amount.

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Speaker 3: But wow yeah.

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Speaker 1: Now, to be clear, Thriller aired sixty one I mean sorry,

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Speaker 1: sixty through sixty one and sixty one through sixty two,

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Speaker 1: so it actually aired in America at least before Black

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Speaker 1: Sabbath came out, so that might have been part of

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Speaker 1: the rationale here. It's like, well, audiences are used to

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Speaker 1: Boris Karloff presenting material to them. He's already in it.

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Speaker 1: Let's also get him up on the screen introducing this

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Speaker 1: stuff for us.

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Speaker 3: Well, you can hear it right in the narration of

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Speaker 3: the trailer. There's the part where it says like starring

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Speaker 3: the incomparable Boris Karloff. I guess he is incomparable. But

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Speaker 3: then the other cast members they introduce are the personable

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Speaker 3: Mark Damon, which I thought was hilarious, And then they

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Speaker 3: say and lush and lovely women gone unnamed.

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Speaker 1: Come on, dudes, and we will list to some of

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Speaker 1: their names here in a bit. There are some nice

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Speaker 1: performances in here.

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Speaker 3: Oh wait, wait, I left off, though I think the

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Speaker 3: trailer qualifies it says, so the women in this movie, Hey,

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Speaker 3: we got beautiful women, even though one of them is

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Speaker 3: from the nether world. I was trying to think back

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Speaker 3: after having seen it, which woman is it talking about.

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Speaker 3: I'm not even sure.

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Speaker 1: Yeah, there's not really one that's definitely from the nether world.

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Speaker 1: I mean a lot of bad, supernatural things happen to

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Speaker 1: people and to some women in this motion picture, but

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Speaker 1: I don't think any of them are from the nether world.

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Speaker 3: All right, Well, I guess before we talk anymore about

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Speaker 3: the actual contents of the movie, we should discuss some

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Speaker 3: of the the connections. And obviously the place to start

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Speaker 3: is with the director, Mario Bava.

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Speaker 1: Mario Bava who lived nineteen fourteen through nineteen eighty. He

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Speaker 1: was the director, but also collaborated on the screenplay. He

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Speaker 1: was the cinematographer, He did matt paintings, he did special effects.

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Speaker 1: This is the legendary Italian director with an unmistakable obsessive

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Speaker 1: and phantasmagorical emphasis on visual composition. So you can just

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Speaker 1: look up stills from his movies and I feel like,

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Speaker 1: once you've gotten a taste of how Bava directs and

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Speaker 1: how he composes a shot, a strong still from any

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Speaker 1: of his films is just instantly identifiable. It just pops

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Speaker 1: with a certain It's not only the color hue, because

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Speaker 1: I want to stress it's not just a matter of oh, well,

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Speaker 1: Mariobava used some cool gels here and there, like, No,

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Speaker 1: it's the complete it's his use of light and reflections

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Speaker 1: and just the overall composition of every every shot in

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Speaker 1: the film.

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Speaker 3: You ever see one of those animated movies in which

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Speaker 3: there is a magical gem or artifact that glows with

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Speaker 3: magic power, Mario Bava's movies are like that. There's something

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Speaker 3: about the way they look that the frames from the

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Speaker 3: movie glow with magic power.

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Speaker 1: Yeah, even when there's less of a reason for it

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Speaker 1: to be glowing. So like I was thinking as I

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Speaker 1: was watching this particular picture that it's it's like an

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Speaker 1: alien civilization that communicates through like synesthesia is trying to

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Speaker 1: speak through the picture.

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Speaker 2: You know.

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Speaker 1: It's like it's that obsessive, like the colors are clearly

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Speaker 1: of great importance to Bava and all.

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Speaker 3: Of this, though I will say that I totally agree

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Speaker 3: with you. Color is a big part of it, and

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Speaker 3: Bava frequently used sort of expressive colorful lighting, colored lighting

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Speaker 3: in his movies that is not strictly realistic, meaning it's

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Speaker 3: not reflecting a color you would actually expect to see

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Speaker 3: if this scene were taking place in the real world,

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Speaker 3: but rather colors that sort of reflect feelings coming through

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Speaker 3: and reflect sort of other worldly, unseen influences. But there

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Speaker 3: are also visual sensibilities he has where that kind of

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Speaker 3: glowing comes through even when it's not in color. Like

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Speaker 3: the example that comes to my mind is his earlier

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Speaker 3: movie Black Sunday, which is in black and white and

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Speaker 3: yet it still glows with magic power.

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Speaker 1: Yeah, that one was from nineteen sixty and it is

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Speaker 1: interesting to imagine this leap from black and white to

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Speaker 1: color for Mario Bava, where they're like, oh, by the way,

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Speaker 1: you can shoot in color now, and you can imagine

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Speaker 1: his excitement at being able to do so.

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Speaker 3: So.

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Speaker 1: Bava's background is interesting. He was the son of early

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Speaker 1: Italian cinematographer Eugenio Bava, and Mario trained as a painter,

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Speaker 1: venturing into the world of cinematography as well in the

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Speaker 1: late thirties in the early forties, but then he eventually

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Speaker 1: started directing as well. It began with some documentary shorts

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Speaker 1: and some uncredited directing work on some various genre films.

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Speaker 1: But then in nineteen sixty that's when Black Sunday came out.

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Speaker 1: He directed that, and that was a very well regarded

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Speaker 1: and financially successful film, and so Black Sabbath is very

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Speaker 1: much the color follow up to that. Thus the similar

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Speaker 1: release title again kind of coming back to the studio

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Speaker 1: thought here, it's like, well, Black Sunday did pretty good.

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Speaker 1: Welcome we call the next one. Let's call it a

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Speaker 1: Black Sabbath.

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Speaker 3: There we go, Well, this may be if that is

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Speaker 3: indeed where the title comes from. I got to say,

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Speaker 3: this is the rare case where I would go with

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Speaker 3: the marketing over the original because once again the three

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Speaker 3: faces of fear, that may be more literally descriptive of

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Speaker 3: what you're getting with the movie, but it doesn't really

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Speaker 3: have the same punch to it.

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Speaker 1: Yeah, So Mario Baba directed into thenineteen seventies. Initially he retired,

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Speaker 1: then he came back at the behest of a new

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Speaker 1: generation of Italian horror filmmakers, including his own son, director

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Speaker 1: of Lomberto Bava. He came back to direct nineteen seventy

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Speaker 1: five Shock, and this would prove to be his last

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Speaker 1: feature film, as he then died in nineteen eighty. But

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Speaker 1: he directed a number of pictures, so we're not going

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Speaker 1: to touch on them all, but I thought we might

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Speaker 1: talk about a few of them here. One of them

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Speaker 1: is Planet of the Vampires from nineteen sixty.

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Speaker 3: Five, Rob, Can you see the Planet of the Vampire's

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Speaker 3: poster right behind me on the wall?

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Speaker 1: I do? I see that you have it right there

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Speaker 1: up on the wall behind you, so you know obviously

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Speaker 1: you're a fan. I finally got around to watching this

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Speaker 1: in full this year, and I have to say it

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Speaker 1: wasn't the most enthralling motion picture when it came to

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Speaker 1: acting and the plot, but such a gorgeous science fiction

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Speaker 1: film to watch. Like all of the visuals in it,

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Speaker 1: he does an amazing job and devotes the vast majority

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Speaker 1: of the film's energy and limited budget, I have to

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Speaker 1: add to create highly effective and colorful alien landscapes Haunted

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Speaker 1: spaceship Hallways also has just some incredible costumes.

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Speaker 3: Absolutely so I love Planet of the Vampires, but I

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Speaker 3: usually watch it without sound. It's a movie that I

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Speaker 3: love to put on, like in the background while I'm

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Speaker 3: hanging out with friends and listening to music. That's the

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Speaker 3: ideal Planet of the Vampires experience for me, because it's

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Speaker 3: one of those movies. It's a rub the fur movie.

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Speaker 3: It's a movie that's not really about the plot or

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Speaker 3: what happens in it. It is about the visual textures

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Speaker 3: on screen, and that includes everything from like you single

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Speaker 3: out the costumes. The spacefarers in the movie are wearing

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Speaker 3: these bizarre black leather space suits with these leather helmets,

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Speaker 3: and yeah, the lighting and the sets are just absolutely wonderful.

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Speaker 1: Yeah, and it reminds me of a quote that I

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Speaker 1: ran across from Mario Bava where he said that horror

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Speaker 1: films are seventy percent lighting. And I think he has

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Speaker 1: a strong point. I mean, you definitely see that in

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Speaker 1: his work. But we've talked about various examples on the

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Speaker 1: show before where we say things like, oh, well, the

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Speaker 1: monster costume wasn't great, but in this scene, the lighting's amazing,

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Speaker 1: so it absolutely works well.

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Speaker 3: Like in the Thing from Another World, Yeah, there was

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Speaker 3: like if you look at the costume James Arness's wearing like, actually,

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Speaker 3: in full lighting, it doesn't look very impressive, but they've

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Speaker 3: found a way to make it look good within the

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Speaker 3: narrative by either keeping him in silhouette backlits so you

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Speaker 3: can't really see him, so he's just a frame, and

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Speaker 3: or just by giving you quick glimpses of him where

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Speaker 3: you can't really understand what's going on. Like, they make

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Speaker 3: do in a very effective manner with some limitations in

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Speaker 3: terms of costuming and makeup effects.

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Speaker 1: Of course, Planet of the Vampires was highly influential. It's

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Speaker 1: sometimes been asked, would we even have Alien and all

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Speaker 1: the films that came after Alien had it not been

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Speaker 1: for Planet of the Vampires, And perhaps not, you know,

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Speaker 1: certainly Bava was a very influential filmmaker. Yeah.

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Speaker 3: I mean one of the big things I think that's

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Speaker 3: called out with respect to Alien is there's a scene

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Speaker 3: in Planet of the Vampires, and Planet of the Vampires

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Speaker 3: came much before it was nineteen sixty five, Is that right?

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Speaker 1: Yeah, sixty five.

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Speaker 3: There's a scene where the astronauts are on this desolate

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Speaker 3: planet and they go into a cave and they find

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Speaker 3: a giant alien skeleton stretched out on this surface in there,

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Speaker 3: very much like with the discovery of the Derylic spacecraft

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Speaker 3: with the bizarre sort of alien skeleton fuse to the

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Speaker 3: chair in Alien.

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Speaker 1: So ultimately I think Black Sabbath moves along a lot,

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Speaker 1: a lot better. It has better pacing than Planet of

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Speaker 1: the Vampires. But there were still times in this film,

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Speaker 1: as within as in Planet of the Vampires, where I

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Speaker 1: felt myself disconnected from whatever was happening or supposed to

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Speaker 1: be happening in the plot, but I was still completely

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Speaker 1: drawn in to the visual world presented on the film.

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Speaker 3: You know what I mean? Yeah, totally. I mean I

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Speaker 3: really appreciated the plot, especially in the word you lack,

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Speaker 3: but through and through it looks pretty great.

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Speaker 1: Another Bava film that I'm a fond of is Danger

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Speaker 1: Diabolique from nineteen sixty eight. This is a stunning, stylish

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Speaker 1: spy crime yarn starring John Philip Law and Adolfo Selly.

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Speaker 1: People might remember him as the villain from Thunderball. The

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Speaker 1: James Bond film. Terry Thomas is also in it. This

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Speaker 1: was featured on Mystery Science Theater three thousand back in

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Speaker 1: the day, and it is indeed quite ridiculous, but stunning

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Speaker 1: from a visual perspective. Basically, it has that sixties bond vibe,

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Speaker 1: focused all on comic book crime and then turned up

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Speaker 1: to about a thousand Bava style.

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Speaker 3: I think it was actually the very last episode of

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Speaker 3: the main run of Mystery Science Theater. That's right, it was,

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Speaker 3: and kind of a strange choice there, because I don't know,

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Speaker 3: I would actually argue that movie is not all that bad.

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Speaker 3: I mean, it's silly in a way that a lot

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Speaker 3: of these movies would be silly, but it's also I

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Speaker 3: don't know, it's stylishly executed in a very pleasing way.

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Speaker 1: I mean, the best films on Mystery Science Theater three

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Speaker 1: thousand and often that the best episodes of Mystery Science

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Speaker 1: three thousand revolve around movies that are on their own

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Speaker 1: very watchable.

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Speaker 3: I know you're thinking about Jack Frost.

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Speaker 1: Oh yeah, I think that's a great example. There are

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Speaker 1: multiple example. I think when I think of my favorite episodes,

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Speaker 1: there are often films that that I can and sometimes

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Speaker 1: have watched on on my own, you know, without without

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Speaker 1: the riffing. Now, Mario Bava was again highly influential, and

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Speaker 1: one of his most famous students was Dario Argento. If

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Speaker 1: you've ever seen Argento's nineteen seventy seven classic Suspiria, then

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Speaker 1: you've certainly bathed your eyeballs in a very Bava inspired

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Speaker 1: color scheme.

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Speaker 3: Yeah, I think it's it's pretty much unquestionable that Argento

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Speaker 3: picked up where Bava left off with the expressive, colorful lighting,

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Speaker 3: especially for his Jallo films.

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Speaker 1: And I mentioned Mario's son, Lamberto Bava, he directed such

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Speaker 1: films that went on to direct such films as nineteen

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Speaker 1: eighty five's Demons, which is excellent, along with a couple

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Speaker 1: of sequels to that, nineteen eighty four's Devilfish, which is

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Speaker 1: not so excellent. It's basically a Jaws cash in, one

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Speaker 1: of many. But Lamberto Bava is still making movies. He

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Speaker 1: had a horror movie starring Gerard Depardieu come out this year.

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Speaker 3: Really yeah, okay.

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Speaker 1: Called Twins, I believe, and I had to check. It

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Speaker 1: has nothing to do with the Arnold movie.

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Speaker 3: Okay, I gotta look that up.

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Speaker 1: All right, Let's see a few other people involved in

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Speaker 1: this film. Marcelo Fondato has a screenplay credit lived nineteen

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Speaker 1: twenty four through two, an eight Italian screenwriter and direct

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Speaker 1: and director. Though I don't really know any of their films.

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Speaker 1: Then there's Alberto Bivillakua, who lived nineteen thirty four through

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Speaker 1: twenty thirteen, has a screenplay collaboration credit. Also was a

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Speaker 1: screenwriter on Planet of the Vampires, as well as the

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Speaker 1: satanic Panic documentary Witchcraft seventy, which was narrated by Jack Palance.

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Speaker 1: Now the film, and certainly this comes out in the trailer.

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Speaker 1: The film claims that the three stories in it are

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Speaker 1: based upon fictions by Chekov, Tolstoy, and Snyder, and specifically

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Speaker 1: it's supposed to break down like this, the Drop of

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Speaker 1: Water by Ivan Chekhov, though seemingly connected to a story

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Speaker 1: by Franco Lucentini, and then the Telephone by F. G. Snyder,

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Speaker 1: And then a story not by Leo Tolstoy as that

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Speaker 1: might lead you to belief, but won by Alexei Tolstoy.

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Speaker 3: And this would be the one allegedly by Alexei Tolstoy,

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Speaker 3: would be the wordlac, the one that is the one

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Speaker 3: with Boris Karloff in it.

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Speaker 1: Yeah, well, let's talk about Boris Karloff. Then Boris Karloff

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Speaker 1: plays Gorka in this and he's also the host. He

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Speaker 1: lived eighteen eighty seven through nineteen sixty nine, A bona

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Speaker 1: fide cinema legend, going beyond genre films and horror films

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Speaker 1: and weird films. I mean, he's just one of these

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Speaker 1: icons of cinema.

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Speaker 3: His horror charisma is unmeasurable in this it's just off

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Speaker 3: the screen.

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Speaker 1: Yeah. Absolutely. Karloff was a British actor, born William Henry Pratt,

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Speaker 1: so you know, this is very much his stage name.

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Speaker 1: Boris Karloff probably is just going to be forever associated

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Speaker 1: with Frankenstein because he played the monster in James Wales's

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Speaker 1: nineteen thirty two adaptation of Mary Shelley's Frankenstein, and then

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Speaker 1: he went on to play the role in other pictures

435
00:23:58,480 --> 00:24:01,919
Speaker 1: as well, including the excellent nighteen thirty five film The

436
00:24:01,920 --> 00:24:06,000
Speaker 1: Bride of Frankenstein. Other key horror films from Karloff include

437
00:24:06,240 --> 00:24:10,120
Speaker 1: thirty two's The Mummy, thirty four's The Black Cat, nineteen

438
00:24:10,200 --> 00:24:12,440
Speaker 1: forties Black Friday, and much more.

439
00:24:12,800 --> 00:24:16,320
Speaker 3: The Black Cat he actually stars opposite Bella Lagosi, and

440
00:24:16,359 --> 00:24:18,400
Speaker 3: I think that was the first movie where they had

441
00:24:19,040 --> 00:24:21,720
Speaker 3: both done that. And I actually haven't seen that one,

442
00:24:21,720 --> 00:24:23,320
Speaker 3: but I've been meaning to see it for a long

443
00:24:23,359 --> 00:24:26,320
Speaker 3: time and apparently it's a lot of fun.

444
00:24:26,880 --> 00:24:29,280
Speaker 1: I've heard great things about it. I've heard that it

445
00:24:29,320 --> 00:24:33,040
Speaker 1: holds up really well, so I have checked that out now.

446
00:24:33,119 --> 00:24:36,239
Speaker 1: Karloff was also famously the non singing voice of The

447
00:24:36,240 --> 00:24:39,760
Speaker 1: Grinch in the nineteen sixty six animated version from Chuck Jones.

448
00:24:41,640 --> 00:24:44,720
Speaker 1: So the thing about Karloff is that he worked a lot.

449
00:24:44,760 --> 00:24:47,159
Speaker 1: And even though he's best remembered for his horror roles today,

450
00:24:47,400 --> 00:24:50,920
Speaker 1: he acted in a wide variety of films. He worked

451
00:24:50,920 --> 00:24:55,040
Speaker 1: stage and screen, he did television. We already mentioned his

452
00:24:55,160 --> 00:24:56,320
Speaker 1: horror host gigs.

453
00:24:57,640 --> 00:25:00,679
Speaker 3: He did a lot, yes, and I will say that.

454
00:25:01,040 --> 00:25:03,280
Speaker 3: So I just saw this movie Black Sabbath for the

455
00:25:03,320 --> 00:25:06,199
Speaker 3: first time this week, and I gotta say this is

456
00:25:06,240 --> 00:25:09,159
Speaker 3: a new favorite Karloff role for me. We'll discuss the

457
00:25:09,200 --> 00:25:11,560
Speaker 3: details of the word Olac in a little bit, but

458
00:25:11,920 --> 00:25:16,879
Speaker 3: he plays this wild, hairy, wind blown patriarch of the

459
00:25:16,920 --> 00:25:21,119
Speaker 3: Carpathian Mountains who has this demonic energy and it's so

460
00:25:21,119 --> 00:25:24,160
Speaker 3: so powerful. I don't know exactly how he's doing it,

461
00:25:24,600 --> 00:25:27,400
Speaker 3: but in every line he feels so at home, truly,

462
00:25:27,520 --> 00:25:30,480
Speaker 3: like a man just hardened by the wilderness who has

463
00:25:30,600 --> 00:25:33,000
Speaker 3: met something unspeakable upon the Mountaintop.

464
00:25:33,560 --> 00:25:35,960
Speaker 1: Yeah, he's really able to channel a lot of energy

465
00:25:36,000 --> 00:25:39,440
Speaker 1: through this role. And it's especially interesting considering that this,

466
00:25:39,520 --> 00:25:43,080
Speaker 1: again is late career Karloff. He was seventy five or

467
00:25:43,119 --> 00:25:45,840
Speaker 1: seventy six at the time when they filmed this. But

468
00:25:45,880 --> 00:25:49,159
Speaker 1: he's still incredible and apparently it was just always a

469
00:25:49,160 --> 00:25:52,080
Speaker 1: pleasure to work with. I noticed that that Bava singled

470
00:25:52,160 --> 00:25:55,480
Speaker 1: him out as being just a great guy to work with. Now,

471
00:25:55,680 --> 00:25:59,200
Speaker 1: another interesting late Karloff film. I don't know if you've

472
00:25:59,200 --> 00:26:01,919
Speaker 1: seen this one. Joe. Peter Bogdanovitch did a film in

473
00:26:01,960 --> 00:26:03,600
Speaker 1: nineteen sixty eight called Targets.

474
00:26:04,119 --> 00:26:07,760
Speaker 3: Yes, I have seen this one, in which Karloff essentially

475
00:26:07,800 --> 00:26:10,920
Speaker 3: plays himself. I mean, he plays a character, but the

476
00:26:11,000 --> 00:26:15,760
Speaker 3: character he plays is named like named like Doris Orlock

477
00:26:15,960 --> 00:26:19,879
Speaker 3: or something, and he's an aging horror film star and

478
00:26:19,920 --> 00:26:23,560
Speaker 3: he has to go up against like a crazed mass murderer.

479
00:26:23,920 --> 00:26:26,560
Speaker 1: Yeah, like he ends up confronting an active shooter at

480
00:26:26,600 --> 00:26:30,040
Speaker 1: a drive in movie theater. It's it's a serious, serious

481
00:26:30,080 --> 00:26:33,919
Speaker 1: film from a young Peter Bogdanovitch would of course go

482
00:26:34,000 --> 00:26:38,240
Speaker 1: on to direct The Last Picture Show, but he was

483
00:26:38,280 --> 00:26:41,040
Speaker 1: one of Roger Corman's crew at the time, and for

484
00:26:41,119 --> 00:26:44,239
Speaker 1: this film, Corman apparently told Bogdanovitch that he could make

485
00:26:44,240 --> 00:26:46,480
Speaker 1: any kind of film he wanted to. There were just

486
00:26:46,520 --> 00:26:49,560
Speaker 1: two things he needed to make sure off. One he

487
00:26:49,680 --> 00:26:52,600
Speaker 1: had to use stock footage from nineteen sixty three's The Terror,

488
00:26:53,320 --> 00:26:56,560
Speaker 1: and he had to use Boris Karloff for the two

489
00:26:56,760 --> 00:27:02,640
Speaker 1: days of filming that he still owed Corman. But as

490
00:27:02,680 --> 00:27:05,360
Speaker 1: it was, it worked out. Karloff loved the script and

491
00:27:05,440 --> 00:27:09,280
Speaker 1: shot a total of five days and refused additional pay.

492
00:27:10,280 --> 00:27:13,240
Speaker 1: So it's a fun story man. But also I remembered

493
00:27:13,200 --> 00:27:14,720
Speaker 1: it as being a good movie. I haven't seen it

494
00:27:14,720 --> 00:27:16,960
Speaker 1: in a long time, but I remember being impressed with it.

495
00:27:17,320 --> 00:27:17,480
Speaker 4: Yeah.

496
00:27:17,520 --> 00:27:20,160
Speaker 3: A good friend of mine showed me this movie many

497
00:27:20,200 --> 00:27:23,240
Speaker 3: many years ago, back before I really was in the

498
00:27:23,280 --> 00:27:26,400
Speaker 3: weird house cinema mode. I think I didn't know who

499
00:27:26,440 --> 00:27:29,399
Speaker 3: Roger Corman was at the time or anything, but I

500
00:27:29,440 --> 00:27:33,240
Speaker 3: remember being very enthralled and impressed by it. It's a

501
00:27:33,359 --> 00:27:38,680
Speaker 3: very stark, scary, realistic kind of movie, different than, very

502
00:27:38,680 --> 00:27:43,120
Speaker 3: different than the stylish fantasy horror that Woris Karloff did

503
00:27:43,119 --> 00:27:44,000
Speaker 3: for most of his career.

504
00:27:44,600 --> 00:27:48,800
Speaker 1: Yeah, well, should we talk about the personal mark Damon? Oh?

505
00:27:48,880 --> 00:27:52,520
Speaker 3: Yeah, as he's introduced in the trailer The Personable Mark Damon.

506
00:27:53,200 --> 00:27:56,840
Speaker 3: I'd say he's a seven or eight on the personability scale.

507
00:27:57,400 --> 00:27:59,439
Speaker 1: Yeah he's I guess he's the closest that we have

508
00:27:59,560 --> 00:28:03,360
Speaker 1: to like a male hero character in the whole picture

509
00:28:04,240 --> 00:28:07,199
Speaker 1: plays the carried what Vladimir drf Durfe.

510
00:28:07,920 --> 00:28:11,439
Speaker 3: He plays a count or some kind of aristocrat who

511
00:28:11,560 --> 00:28:14,080
Speaker 3: rides through this village in the word you Lac Again.

512
00:28:14,119 --> 00:28:15,919
Speaker 3: I guess we'll discuss more of the plot details of

513
00:28:15,920 --> 00:28:17,840
Speaker 3: that in a bit, But yeah, he's the closest thing

514
00:28:18,000 --> 00:28:20,600
Speaker 3: the movie has to sort of a dashing leading man.

515
00:28:21,080 --> 00:28:23,200
Speaker 3: But even in that story, I don't know if he's

516
00:28:23,240 --> 00:28:25,919
Speaker 3: exactly that, because he comes off to me is in

517
00:28:25,960 --> 00:28:28,919
Speaker 3: that story is kind of glib, callow and confused, not

518
00:28:29,000 --> 00:28:33,320
Speaker 3: really recognizing the weight of the supernatural power he's up against.

519
00:28:33,920 --> 00:28:39,360
Speaker 1: Yeah, he's doomed, this guy. But Mark Damon is interesting though,

520
00:28:39,360 --> 00:28:41,440
Speaker 1: because of the first all. I was born nineteen thirty three,

521
00:28:41,720 --> 00:28:45,880
Speaker 1: still alive as of this recording, and still active. Not

522
00:28:46,000 --> 00:28:49,120
Speaker 1: as an actor though at least not since I think

523
00:28:49,120 --> 00:28:51,840
Speaker 1: he retired in the late seventies or I'm not sure

524
00:28:51,840 --> 00:28:53,440
Speaker 1: about the late say, at some point in the seventies,

525
00:28:53,440 --> 00:28:56,080
Speaker 1: he retired from acting, and I think did a few

526
00:28:56,120 --> 00:28:58,840
Speaker 1: little bits here and there, the most recent being in

527
00:28:58,880 --> 00:29:02,280
Speaker 1: nineteen ninety seven, but he's continued to produce. He's been

528
00:29:02,320 --> 00:29:05,840
Speaker 1: a producer or an executive producer on sixty seven pictures

529
00:29:05,840 --> 00:29:09,320
Speaker 1: in counting, and those titles that he has a credit

530
00:29:09,360 --> 00:29:13,320
Speaker 1: on include Dos Boot, The Never Ending Story, Clam The

531
00:29:13,440 --> 00:29:17,040
Speaker 1: Cave Bear, Nine and a half Weeks, Short Circuit, Flight

532
00:29:17,160 --> 00:29:22,440
Speaker 1: of the Navigator, The Lost Boys, Beastmaster two, not one,

533
00:29:22,600 --> 00:29:25,880
Speaker 1: but two different Universal Soldier sequels, and then just a

534
00:29:25,920 --> 00:29:29,360
Speaker 1: bunch else. So seems kind of like a big money

535
00:29:29,360 --> 00:29:30,360
Speaker 1: player in Hollywood.

536
00:29:30,680 --> 00:29:33,520
Speaker 3: Maybe he's the producer who came in and demanded that

537
00:29:33,600 --> 00:29:36,840
Speaker 3: The Lost Boys feature more footage of that saxophone guy.

538
00:29:37,360 --> 00:29:40,880
Speaker 3: It could be like, I want ten minutes a saxophone guy,

539
00:29:40,920 --> 00:29:41,840
Speaker 3: at least.

540
00:29:43,400 --> 00:29:46,480
Speaker 1: Now. Acting wise, Damon was also in Roger Corman's nineteen

541
00:29:46,600 --> 00:29:50,479
Speaker 1: sixty film House of Usher, which starred Vincent Price, and

542
00:29:50,520 --> 00:29:53,560
Speaker 1: he has one writing credit. And I found it interesting

543
00:29:53,600 --> 00:29:57,000
Speaker 1: because it's The Devil's Wedding Night from nineteen seventy three,

544
00:29:57,800 --> 00:30:03,720
Speaker 1: on which Joe Diamato apparently did some uncredited directing, which

545
00:30:03,720 --> 00:30:07,800
Speaker 1: is always a great sign. And then Damon plays not one,

546
00:30:07,880 --> 00:30:11,480
Speaker 1: but two different roles in it. So I looked it up.

547
00:30:11,520 --> 00:30:17,520
Speaker 1: The poster looks fabulous. It looks very nineteen seventies international horror.

548
00:30:17,840 --> 00:30:20,280
Speaker 3: Okay, featuring the personable George Eastman.

549
00:30:21,000 --> 00:30:24,480
Speaker 1: No, there's no George Eastman in this one, though, I

550
00:30:24,520 --> 00:30:28,480
Speaker 1: will say that Mario Bava directed at least one film

551
00:30:28,560 --> 00:30:31,400
Speaker 1: that had George Eastman. I can confirm at least one

552
00:30:31,440 --> 00:30:32,560
Speaker 1: George Eastman project.

553
00:30:32,800 --> 00:30:33,880
Speaker 3: Was he in Bay of Blood?

554
00:30:34,320 --> 00:30:36,400
Speaker 1: No, he was in What Rabid Dogs? He might have

555
00:30:36,400 --> 00:30:39,800
Speaker 1: been in Bay of Blood. There's a little Eastman just

556
00:30:39,840 --> 00:30:44,720
Speaker 1: sprinkled throughout the cinematic universe. All right, let's talk about

557
00:30:44,720 --> 00:30:49,840
Speaker 1: some of the other players in these three different segments. Now,

558
00:30:49,880 --> 00:30:52,640
Speaker 1: a lot of these are actors that I'm not really

559
00:30:52,640 --> 00:30:54,960
Speaker 1: familiar with, and there aren't a lot of titles that

560
00:30:55,000 --> 00:30:57,640
Speaker 1: they were in that really connected with me. So there's

561
00:30:58,000 --> 00:31:00,760
Speaker 1: not a lot to really to go through here. But

562
00:31:01,680 --> 00:31:05,320
Speaker 1: let's start with her. Susie Anderson, who played what's the

563
00:31:05,360 --> 00:31:08,600
Speaker 1: what's his character's name, Stenka.

564
00:31:07,760 --> 00:31:12,360
Speaker 3: Stink, which no offense to people who actually have that name,

565
00:31:12,440 --> 00:31:15,000
Speaker 3: but in English, that name does sound funny because it

566
00:31:15,040 --> 00:31:15,880
Speaker 3: sounds like stinker.

567
00:31:16,280 --> 00:31:19,240
Speaker 1: Yeah, but this is a. This is I guess, our

568
00:31:19,240 --> 00:31:23,880
Speaker 1: gorgeous love interest for Damon's character. She was born nineteen

569
00:31:23,960 --> 00:31:28,320
Speaker 1: forty Croatian actor who worked during the nineteen sixties. And

570
00:31:28,360 --> 00:31:32,120
Speaker 1: then there's Rika Deliana who plays Maria born in nineteen

571
00:31:32,160 --> 00:31:36,800
Speaker 1: thirty four. Greek actor with extremely expressive eyes, or at

572
00:31:36,840 --> 00:31:40,200
Speaker 1: least Mario Blava was able to shoot her in many

573
00:31:40,200 --> 00:31:43,040
Speaker 1: scenes where she has really expressive eyes. She's the mother

574
00:31:43,160 --> 00:31:46,920
Speaker 1: I believe in these sequences, and we'll discuss her in

575
00:31:46,960 --> 00:31:49,040
Speaker 1: a bit, But she had a long career, mostly in

576
00:31:49,120 --> 00:31:50,080
Speaker 1: Greek cinema and TV.

577
00:31:50,560 --> 00:31:52,800
Speaker 3: Now these are all actors who are in the word

578
00:31:52,960 --> 00:31:56,000
Speaker 3: lax segment, but there are a couple of other segments

579
00:31:56,040 --> 00:31:57,880
Speaker 3: of the movie that I guess we've been focusing on lust.

580
00:31:57,880 --> 00:32:00,080
Speaker 3: Do we want to mention some of the actors in

581
00:32:00,160 --> 00:32:02,880
Speaker 3: these segments before coming back to describe them.

582
00:32:03,080 --> 00:32:07,120
Speaker 1: Yeah. So the Telephone, which we'll discuss, has a very

583
00:32:07,120 --> 00:32:10,800
Speaker 1: small cast. The main character is Rosy played by Michelle Mercier,

584
00:32:11,080 --> 00:32:13,640
Speaker 1: who is a French actor who worked across multiple decades,

585
00:32:13,680 --> 00:32:16,760
Speaker 1: born nineteen thirty nine, still alive as of this recording.

586
00:32:17,240 --> 00:32:19,920
Speaker 1: And then the other major character in that is Mary

587
00:32:20,160 --> 00:32:24,080
Speaker 1: played by Lydia Alphonsi, who was born in nineteen twenty eight,

588
00:32:24,160 --> 00:32:27,320
Speaker 1: also still alive as of this recording Italian actor who

589
00:32:27,400 --> 00:32:30,720
Speaker 1: was active well into the nineteen nineties. Her last film

590
00:32:31,080 --> 00:32:34,520
Speaker 1: was the much acclaimed Life Is Beautiful from nineteen ninety seven,

591
00:32:34,840 --> 00:32:37,800
Speaker 1: and she also appeared in a Steve Reeves Hercules movie

592
00:32:37,800 --> 00:32:38,840
Speaker 1: in nineteen fifty eight.

593
00:32:39,480 --> 00:32:42,280
Speaker 3: So I don't really love the Telephone. We can explain

594
00:32:42,320 --> 00:32:44,800
Speaker 3: more about our feelings about the individual segments in a bit.

595
00:32:45,080 --> 00:32:47,800
Speaker 3: The Telephone was definitely my least favorite of the three,

596
00:32:47,880 --> 00:32:50,960
Speaker 3: but I do really like Lydia Alphonsi in it because

597
00:32:51,000 --> 00:32:53,920
Speaker 3: she does a very good job of acting creepy.

598
00:32:54,360 --> 00:32:57,160
Speaker 1: Yes, all right. And then finally we have the segment

599
00:32:57,240 --> 00:33:00,600
Speaker 1: the Drop of Water. I'm going to highlight three different

600
00:33:00,600 --> 00:33:06,920
Speaker 1: actors in this. There's Jacqueline Peru, who lived nineteen twenty

601
00:33:06,920 --> 00:33:10,440
Speaker 1: three through two thousand and five, plays Helen Chester, so

602
00:33:10,920 --> 00:33:13,800
Speaker 1: she was a French actor active from the early forties

603
00:33:13,840 --> 00:33:17,680
Speaker 1: through the nineteen seventies. And she's the mother of French

604
00:33:17,720 --> 00:33:22,080
Speaker 1: actor and director Jean Pierre Lude, who starred in The

605
00:33:22,080 --> 00:33:26,320
Speaker 1: Four Hundred Blows. There's also a character in this that

606
00:33:26,480 --> 00:33:29,200
Speaker 1: is referred to as the Maid, and it's played by

607
00:33:29,680 --> 00:33:33,840
Speaker 1: Milli no last name Milli, who lived nineteen oh five

608
00:33:33,840 --> 00:33:36,680
Speaker 1: through nineteen eighty was an Italian singer, actress, and cabaret

609
00:33:36,720 --> 00:33:39,560
Speaker 1: performer and apparently something of a pop star of the day.

610
00:33:40,520 --> 00:33:44,000
Speaker 3: So she's older when this movie was made. So she

611
00:33:44,400 --> 00:33:48,400
Speaker 3: plays a maid who sort of comes and goes while

612
00:33:48,520 --> 00:33:52,280
Speaker 3: the main character, played by Jacqueline Peru, is sort of

613
00:33:52,840 --> 00:33:56,400
Speaker 3: contemplating doing something very ill advised with respect to the

614
00:33:56,400 --> 00:33:59,560
Speaker 3: spirit world. But the maid is this kind of mundane

615
00:33:59,600 --> 00:34:01,880
Speaker 3: in floats, flitting in and out of the room while

616
00:34:02,000 --> 00:34:03,280
Speaker 3: this deliberation goes on.

617
00:34:04,680 --> 00:34:07,640
Speaker 1: And then finally there is a neighbor character in this

618
00:34:07,720 --> 00:34:11,839
Speaker 1: played by Harriet Medine who lived nineteen fourteen through two

619
00:34:11,840 --> 00:34:15,200
Speaker 1: thousand and five, an American actor who relocated to Italy

620
00:34:15,280 --> 00:34:17,960
Speaker 1: with the USO after World War Two. She has a

621
00:34:17,960 --> 00:34:22,560
Speaker 1: pretty great filmography, with such titles as Death Race two thousand,

622
00:34:22,960 --> 00:34:25,640
Speaker 1: which is a fun flick we've talked about that before,

623
00:34:25,800 --> 00:34:29,719
Speaker 1: The Witches of Eastwick, Schlock and The Terminator, in which

624
00:34:29,760 --> 00:34:33,520
Speaker 1: she plays the role of customer customer where I was

625
00:34:33,560 --> 00:34:35,440
Speaker 1: trying to figure I was looking around, you know, short

626
00:34:35,440 --> 00:34:38,839
Speaker 1: of actually watching Terminator again, I'm not sure. I can't

627
00:34:38,880 --> 00:34:40,560
Speaker 1: imagine she's in the gun. She's probably in one of

628
00:34:40,600 --> 00:34:44,240
Speaker 1: those sequences where the terminator steals a bunch of stuff,

629
00:34:44,640 --> 00:34:47,440
Speaker 1: because a lot of the Terminator is just him robbing

630
00:34:47,520 --> 00:34:50,000
Speaker 1: places so he can have robbing people in places so

631
00:34:50,040 --> 00:34:51,120
Speaker 1: he can have closed guns.

632
00:34:51,239 --> 00:34:53,880
Speaker 3: They weren't the good guy played by Michael Bean robbing people.

633
00:34:54,160 --> 00:34:57,400
Speaker 1: Yeah, it's a whole sequence. It's just naked dudes committing

634
00:34:57,760 --> 00:34:59,719
Speaker 1: various crimes and robberies.

635
00:35:00,040 --> 00:35:02,719
Speaker 3: Maybe she's walking out of Dick Miller's gun store when

636
00:35:02,800 --> 00:35:06,320
Speaker 3: Arnold Schwarzenegger's walking in that possibility.

637
00:35:06,320 --> 00:35:08,360
Speaker 1: She wrote, she bought the last plasma rifle.

638
00:35:08,680 --> 00:35:11,520
Speaker 3: I was just remembering the part in Terminator. That's actually

639
00:35:11,560 --> 00:35:14,520
Speaker 3: really great when Schwarzenegger rips that guy out of the

640
00:35:14,560 --> 00:35:17,680
Speaker 3: phone booth and he doesn't really harm him. It's just

641
00:35:17,719 --> 00:35:20,000
Speaker 3: a guy on a phone at a phone booth and

642
00:35:21,160 --> 00:35:23,400
Speaker 3: the terminator grabs him by the shoulder and sort of

643
00:35:23,400 --> 00:35:25,520
Speaker 3: throws him down on the sidewalk so he can use

644
00:35:25,560 --> 00:35:26,520
Speaker 3: the telephone book.

645
00:35:26,800 --> 00:35:28,840
Speaker 1: Yeah, it's pretty good. I mean, why would would the

646
00:35:28,920 --> 00:35:32,319
Speaker 1: terminator a machine use any more force or effort than

647
00:35:32,440 --> 00:35:34,040
Speaker 1: was necessary in any given task.

648
00:35:34,320 --> 00:35:36,040
Speaker 3: Yeah, and you can hear the guy going, you got

649
00:35:36,040 --> 00:35:37,880
Speaker 3: a serious attitude problem.

650
00:35:37,960 --> 00:35:42,440
Speaker 1: Man, that's good, all right. Finally, the music on this

651
00:35:42,520 --> 00:35:45,680
Speaker 1: film is interesting because from one thing, you have two

652
00:35:45,680 --> 00:35:49,560
Speaker 1: different scores. The original score was by Italian jazz band

653
00:35:49,640 --> 00:35:55,680
Speaker 1: leader Roberto Nicolossi, but American International Pictures replaced his score

654
00:35:55,880 --> 00:35:58,960
Speaker 1: with one by Less Baxter, who is, of course the

655
00:35:59,040 --> 00:36:02,759
Speaker 1: king of exotica, and also later did the minimal electronic

656
00:36:03,120 --> 00:36:04,880
Speaker 1: score for Frogs.

657
00:36:05,400 --> 00:36:07,680
Speaker 3: Oh I remember that now?

658
00:36:07,800 --> 00:36:10,920
Speaker 1: Yeah, yeah, yeah, I mean it's it's I guess it's

659
00:36:10,960 --> 00:36:13,160
Speaker 1: a memorable score, but it's it's not very It's not

660
00:36:13,200 --> 00:36:16,400
Speaker 1: an exotica score for frogs. And this also is not

661
00:36:16,640 --> 00:36:21,279
Speaker 1: particularly exotica music either. It's certainly not electronic. But I

662
00:36:21,360 --> 00:36:22,799
Speaker 1: liked it well enough because I could pick up on

663
00:36:22,840 --> 00:36:26,640
Speaker 1: some Baxter sensibilities in it. But it made I was

664
00:36:26,680 --> 00:36:29,000
Speaker 1: curious after that, because I'm thinking, well, what did it replace?

665
00:36:29,120 --> 00:36:31,560
Speaker 1: Because we can all think of examples where a score

666
00:36:31,560 --> 00:36:34,839
Speaker 1: has been replaced by something superior and also cases where

667
00:36:34,840 --> 00:36:39,640
Speaker 1: a score has been replaced by something maybe less effective,

668
00:36:40,280 --> 00:36:43,360
Speaker 1: you know, for a different audience. So I was listening

669
00:36:43,400 --> 00:36:46,359
Speaker 1: to the Nickelosi score a bit and it sounded good

670
00:36:46,360 --> 00:36:49,080
Speaker 1: as well. I don't know, I liked I liked them both.

671
00:36:49,120 --> 00:36:52,080
Speaker 1: Maybe Baxter score is a little bit more dramatic and

672
00:36:52,120 --> 00:36:54,160
Speaker 1: a little bit more you know, American.

673
00:36:54,280 --> 00:36:56,200
Speaker 3: I don't know, you know, to be honest, I just

674
00:36:56,440 --> 00:36:58,600
Speaker 3: did not really notice the music much at all, So

675
00:36:58,680 --> 00:37:00,440
Speaker 3: I don't have much of a comment on it.

676
00:37:00,600 --> 00:37:02,000
Speaker 1: Yeah, I don't know if I would have really looked

677
00:37:02,000 --> 00:37:03,960
Speaker 1: at it that closely had had it not been for

678
00:37:04,000 --> 00:37:08,239
Speaker 1: the Less Baxter connection. Uh, because I have I do

679
00:37:08,360 --> 00:37:11,359
Speaker 1: listen to a fair amount of like Less Baxter and

680
00:37:11,400 --> 00:37:15,320
Speaker 1: some like Bostonova music. Uh, generally like very late afternoon.

681
00:37:15,360 --> 00:37:18,400
Speaker 1: There's a point in the late afternoon where where you know,

682
00:37:18,440 --> 00:37:21,000
Speaker 1: I have to put aside the synth music and the

683
00:37:21,360 --> 00:37:26,120
Speaker 1: and the rock music, and only Exotica or Bostonova will do.

684
00:37:26,440 --> 00:37:27,479
Speaker 3: The tiki drink hour.

685
00:37:28,080 --> 00:37:30,680
Speaker 1: Yeah, I guess, even though generally I'm not I'm not

686
00:37:30,680 --> 00:37:33,040
Speaker 1: actually having a tea drink. I'm generally like cooking supper

687
00:37:33,120 --> 00:37:45,239
Speaker 1: or something. But it feels right, it feels appropriate. All right,

688
00:37:45,280 --> 00:37:46,719
Speaker 1: Now that we've got all that out of the way,

689
00:37:46,800 --> 00:37:50,040
Speaker 1: let's get back into the plot of these three horror

690
00:37:50,120 --> 00:37:53,840
Speaker 1: stories that look fabulous, have great people in them, but

691
00:37:54,160 --> 00:37:56,120
Speaker 1: ultimately have some interesting ideas as well.

692
00:37:56,440 --> 00:37:59,160
Speaker 3: Yeah. Yeah, so I would say, and you have you

693
00:37:59,200 --> 00:38:01,359
Speaker 3: and I may have had some different reactions to these,

694
00:38:01,440 --> 00:38:05,880
Speaker 3: but I would say that this is an interesting movie

695
00:38:05,920 --> 00:38:09,759
Speaker 3: to recommend because while there are three segments, and in

696
00:38:09,760 --> 00:38:13,279
Speaker 3: my opinion, one of them is astonishingly good, another is

697
00:38:13,360 --> 00:38:16,359
Speaker 3: quite good, and the third for me, I found kind

698
00:38:16,440 --> 00:38:20,400
Speaker 3: of boring and unpleasant. But there's still I think some

699
00:38:20,520 --> 00:38:23,640
Speaker 3: interesting things to talk about with it. And while I

700
00:38:23,680 --> 00:38:26,680
Speaker 3: think that there were different releases of this movie that

701
00:38:26,960 --> 00:38:30,600
Speaker 3: put them in different orders, the version I saw starts

702
00:38:30,680 --> 00:38:32,840
Speaker 3: with the one of the three that was for me

703
00:38:33,080 --> 00:38:36,960
Speaker 3: by far the weakest. So this would be The Telephone.

704
00:38:37,480 --> 00:38:38,799
Speaker 1: Ah, yes, the Telephone.

705
00:38:39,080 --> 00:38:41,200
Speaker 3: So the Telephone, unlike the other two, is a more

706
00:38:41,280 --> 00:38:44,960
Speaker 3: realistic story and the basic premise is pretty simple. It

707
00:38:45,080 --> 00:38:48,759
Speaker 3: is a psychological thriller about a young woman who is

708
00:38:48,920 --> 00:38:52,840
Speaker 3: terrorized by a threatening, voyeuristic creep who won't stop calling

709
00:38:52,840 --> 00:38:55,080
Speaker 3: her on the phone. And so I gotta say this

710
00:38:55,120 --> 00:38:57,600
Speaker 3: is the one I didn't really super enjoy. I like

711
00:38:57,640 --> 00:38:59,880
Speaker 3: it picked way up with the second one for me

712
00:39:00,040 --> 00:39:02,040
Speaker 3: when you get to the word to lact This one

713
00:39:02,120 --> 00:39:05,120
Speaker 3: kind of has a lot of things I don't really

714
00:39:05,200 --> 00:39:08,279
Speaker 3: love about Italian horror movies of this period, and not

715
00:39:08,440 --> 00:39:10,280
Speaker 3: as much of the stuff that I do love.

716
00:39:10,760 --> 00:39:13,200
Speaker 1: It's weird because, especially from the trailer, you get the

717
00:39:13,239 --> 00:39:16,719
Speaker 1: impression that they moved the telephone to the opening because

718
00:39:16,719 --> 00:39:19,120
Speaker 1: they thought it would connect with audiences more like maybe

719
00:39:19,160 --> 00:39:23,440
Speaker 1: they thought audiences didn't want this gothic horror tale. Instead

720
00:39:23,440 --> 00:39:26,719
Speaker 1: they would want something that's tied into technology and you know,

721
00:39:26,760 --> 00:39:29,920
Speaker 1: feels more cutting edge and dangerous. And yet at the

722
00:39:29,960 --> 00:39:33,080
Speaker 1: same time I was reading it, sounds like American International

723
00:39:33,120 --> 00:39:36,680
Speaker 1: Pictures they asked them to cut down on some of

724
00:39:36,719 --> 00:39:38,239
Speaker 1: the what they would have probably thought of it as

725
00:39:38,320 --> 00:39:45,799
Speaker 1: dangerous aspects of that opening segment. Supposedly AIP asks for

726
00:39:46,280 --> 00:39:49,640
Speaker 1: lesbian romance aspects of the segment to be reduced and

727
00:39:49,680 --> 00:39:54,319
Speaker 1: that a supernatural element be sort of implied. But I

728
00:39:54,360 --> 00:39:56,600
Speaker 1: have to say, at least in the version I watched,

729
00:39:58,160 --> 00:40:00,680
Speaker 1: I mean, I still got this that there was some

730
00:40:00,719 --> 00:40:03,600
Speaker 1: sort of past romantic connection between the two female characters,

731
00:40:03,760 --> 00:40:06,440
Speaker 1: and I don't remember anything supernatural in this segment. It

732
00:40:06,480 --> 00:40:09,120
Speaker 1: seemed very based in the real world, though of course

733
00:40:09,160 --> 00:40:10,840
Speaker 1: through that fabulous Bava lens.

734
00:40:11,239 --> 00:40:13,520
Speaker 3: Yeah. Well, to be honest, now that I think about it,

735
00:40:13,560 --> 00:40:16,279
Speaker 3: I'm not sure which version of the movie it was

736
00:40:16,320 --> 00:40:18,960
Speaker 3: that I saw. One thing I've seen comparing them is

737
00:40:19,000 --> 00:40:21,880
Speaker 3: that the I think it was the original Italian version

738
00:40:21,960 --> 00:40:24,920
Speaker 3: had the more beautiful colors, and that the American release

739
00:40:25,040 --> 00:40:28,080
Speaker 3: might have had some more muted colors. The version I

740
00:40:28,120 --> 00:40:30,480
Speaker 3: saw had very beautiful colors, so I'm thinking. And the

741
00:40:30,560 --> 00:40:33,080
Speaker 3: version I saw, of course was in Italian with subtitles.

742
00:40:33,080 --> 00:40:33,920
Speaker 1: It wasn't the same here.

743
00:40:34,200 --> 00:40:36,480
Speaker 3: Yeah, I don't know if there is a dubbed version

744
00:40:36,520 --> 00:40:36,959
Speaker 3: of the movie.

745
00:40:37,480 --> 00:40:41,560
Speaker 1: I think there is, but I didn't I wasn't able

746
00:40:41,600 --> 00:40:45,799
Speaker 1: to find when I rented it. I rented it through Well,

747
00:40:45,840 --> 00:40:48,279
Speaker 1: I went into to Apple, and then I did a

748
00:40:48,400 --> 00:40:50,640
Speaker 1: like a seven day trial of AMC Plus and that's

749
00:40:50,640 --> 00:40:52,600
Speaker 1: how I got to watch it. And then when I

750
00:40:52,640 --> 00:40:54,400
Speaker 1: pulled it up, I was expecting it to be dubbed,

751
00:40:54,440 --> 00:40:56,440
Speaker 1: but then I saw that as oh it's in Italian

752
00:40:56,520 --> 00:40:59,600
Speaker 1: with no option for other audio channels and it just

753
00:40:59,719 --> 00:41:03,799
Speaker 1: sub titles. But I greatly enjoyed it. But I see

754
00:41:03,840 --> 00:41:05,840
Speaker 1: examples of people saying that they grew up watching a

755
00:41:05,920 --> 00:41:09,160
Speaker 1: version in which they hear Boris Karloff's actual voice, So

756
00:41:10,560 --> 00:41:12,520
Speaker 1: that makes me think there is a dubbed version of it,

757
00:41:12,960 --> 00:41:15,600
Speaker 1: but this was not it. So with the telephone, I'd

758
00:41:15,600 --> 00:41:18,440
Speaker 1: say that I guess I kind of like the simplicity

759
00:41:18,480 --> 00:41:21,359
Speaker 1: of it. It does proceeded a very slow pace, but

760
00:41:21,400 --> 00:41:25,239
Speaker 1: then it has some very nice twists in it. It

761
00:41:25,280 --> 00:41:29,319
Speaker 1: does not have that gothic feel that the second segment has,

762
00:41:30,120 --> 00:41:33,400
Speaker 1: you know, it doesn't have that supernatural sense of other worldliness.

763
00:41:33,920 --> 00:41:37,520
Speaker 1: The interiors in the segment are, at first glance a

764
00:41:37,560 --> 00:41:39,839
Speaker 1: lot more muted. We spend a lot of time with

765
00:41:40,000 --> 00:41:43,480
Speaker 1: beautiful women with perfect skin and kind of porcelain colored

766
00:41:43,480 --> 00:41:48,400
Speaker 1: garments moving through wedding cake colored apartments. But even this

767
00:41:48,480 --> 00:41:53,400
Speaker 1: is very finely crafted and wonderfully punctuated by various colorful

768
00:41:53,440 --> 00:41:56,120
Speaker 1: items in the background. I don't know if you noticed

769
00:41:56,120 --> 00:41:57,640
Speaker 1: this or not, Joe, but it'll be like, you know,

770
00:41:57,640 --> 00:42:00,520
Speaker 1: everything's this kind of wedding cake porcelain world, and then

771
00:42:00,520 --> 00:42:03,719
Speaker 1: there'll be like one jade statuette on a shelf in

772
00:42:03,760 --> 00:42:07,040
Speaker 1: the background, and somehow, like through that Mario Bava magic,

773
00:42:07,080 --> 00:42:09,440
Speaker 1: it makes the whole thing pop. And I don't even

774
00:42:09,520 --> 00:42:12,520
Speaker 1: notice that I'm that the pp plot is moving along

775
00:42:12,520 --> 00:42:14,840
Speaker 1: so slowly because I'm just admiring.

776
00:42:14,400 --> 00:42:17,400
Speaker 3: The shot or the red telephone.

777
00:42:17,040 --> 00:42:20,800
Speaker 1: Red telephone, And then you know, it moves at a

778
00:42:20,840 --> 00:42:23,279
Speaker 1: slow pace, and then alarming things will happen. There's a

779
00:42:23,360 --> 00:42:27,680
Speaker 1: great creepy eyes peering in through the window of the

780
00:42:27,719 --> 00:42:31,239
Speaker 1: apartment that that scene really shook me when I saw it.

781
00:42:31,480 --> 00:42:33,400
Speaker 3: Oh, this movie is all about windows.

782
00:42:34,080 --> 00:42:37,960
Speaker 1: Yeah, windows, mirrors as well, but certainly windows. And I

783
00:42:37,960 --> 00:42:40,360
Speaker 1: think I think you see that in other Bava films

784
00:42:40,400 --> 00:42:43,560
Speaker 1: as well, lots of mirrors, people looking through class and

785
00:42:43,600 --> 00:42:48,600
Speaker 1: it makes sense given his his focus on the visual medium.

786
00:42:49,040 --> 00:42:51,040
Speaker 3: So I think you sort of raised the idea that

787
00:42:51,160 --> 00:42:56,160
Speaker 3: this segment is kind of a proto Jallo film, and

788
00:42:56,440 --> 00:42:58,880
Speaker 3: I wanted to explore that idea a little more so

789
00:42:59,320 --> 00:43:03,200
Speaker 3: for people who are familiar. Jallo films are a particular

790
00:43:03,239 --> 00:43:07,719
Speaker 3: subgenre of Italian murder mystery thrillers that were popular in

791
00:43:07,760 --> 00:43:10,560
Speaker 3: the sixties through the eighties. And some of the big

792
00:43:10,640 --> 00:43:15,400
Speaker 3: name directors of jallo you might recognize our Dario Argento.

793
00:43:15,600 --> 00:43:20,920
Speaker 3: Usually his supernatural movies like Suspiria are not usually considered

794
00:43:21,000 --> 00:43:24,320
Speaker 3: Jallo films that they share a lot in common with them. Stylistically,

795
00:43:24,719 --> 00:43:27,640
Speaker 3: usually Jello films are thought to be to have basically

796
00:43:27,680 --> 00:43:32,320
Speaker 3: realistic causation. They're not like about witchcraft and magic and stuff.

797
00:43:32,320 --> 00:43:35,360
Speaker 3: They're about like a murderer who wields a Razor Blade

798
00:43:35,480 --> 00:43:36,200
Speaker 3: or something.

799
00:43:36,680 --> 00:43:39,320
Speaker 1: Like what the woman with a crystal Wait, is it

800
00:43:39,360 --> 00:43:40,840
Speaker 1: the Bird with a crystal plumage?

801
00:43:40,920 --> 00:43:43,040
Speaker 3: Yeah, Bird with the crystal plumage. I mean, Argento made

802
00:43:43,080 --> 00:43:46,040
Speaker 3: these naturalistic Jello films as well, Bird with a Crystal Plumage,

803
00:43:46,560 --> 00:43:50,560
Speaker 3: Deep Red, Cat of Nine Tales, Tenebrae. These are all

804
00:43:50,840 --> 00:43:54,560
Speaker 3: Jallo films he did. But other big names in Jello

805
00:43:54,719 --> 00:43:58,759
Speaker 3: or Sergio Martino, Luccio Fulci, and the director of the

806
00:43:58,800 --> 00:44:02,160
Speaker 3: movie we're talking about today, Mario Bava. Bava was the

807
00:44:02,200 --> 00:44:05,560
Speaker 3: director of Blood and Black Lace from nineteen sixty four,

808
00:44:05,719 --> 00:44:08,880
Speaker 3: just one year after Black Sabbath, and I think Blood

809
00:44:08,880 --> 00:44:10,840
Speaker 3: and Black Lace, I think is often considered sort of

810
00:44:10,880 --> 00:44:13,600
Speaker 3: the archetype of the early Jallo movie that a lot

811
00:44:13,640 --> 00:44:16,120
Speaker 3: of Jallo descends from. Blood and Black Lace.

812
00:44:16,560 --> 00:44:18,840
Speaker 1: I'd love to watch that one someday because I'd noticed

813
00:44:19,200 --> 00:44:21,080
Speaker 1: just today that it has Cameron Mitchell in it.

814
00:44:21,440 --> 00:44:24,000
Speaker 3: Oh, that's right, it does. It's been a little while

815
00:44:24,000 --> 00:44:25,799
Speaker 3: since I've seen it, so I don't remember much in

816
00:44:25,880 --> 00:44:28,440
Speaker 3: particular about what he does in it. But yeah, anyway,

817
00:44:28,719 --> 00:44:30,560
Speaker 3: one of the things I noticed is that Blood and

818
00:44:30,600 --> 00:44:33,600
Speaker 3: Black Lace I think has a lot of stylistic similarity

819
00:44:33,800 --> 00:44:38,800
Speaker 3: with the telephone segment in this movie, except the stylization

820
00:44:38,960 --> 00:44:42,319
Speaker 3: is turned way up, so I'll get back to that

821
00:44:42,360 --> 00:44:44,040
Speaker 3: in just a minute. But to discuss some of the

822
00:44:44,040 --> 00:44:48,279
Speaker 3: main characteristics of jallo movies, They very often feature a

823
00:44:48,520 --> 00:44:52,320
Speaker 3: murderer who strikes again and again, whose identity is unknown,

824
00:44:52,480 --> 00:44:56,160
Speaker 3: often masked or with their face hidden in shadow, and

825
00:44:56,239 --> 00:44:59,319
Speaker 3: they will very often wear a similar outfit like a

826
00:44:59,320 --> 00:45:03,799
Speaker 3: long trench and black gloves and maybe a hat. In

827
00:45:03,920 --> 00:45:08,160
Speaker 3: jallo movies, the murders are usually sort of creative or grizzly,

828
00:45:08,400 --> 00:45:11,160
Speaker 3: or of a creepy and squeamish nature, so they're usually

829
00:45:11,160 --> 00:45:13,520
Speaker 3: not just going to be like the killer shoots somebody

830
00:45:13,600 --> 00:45:16,400
Speaker 3: with a gun. They might kill somebody with a barber's

831
00:45:16,520 --> 00:45:20,520
Speaker 3: razor or a needle or something. Jeala movies also tend

832
00:45:20,560 --> 00:45:23,600
Speaker 3: to be kind of voyeuristic and sexually charged, off in

833
00:45:23,680 --> 00:45:27,719
Speaker 3: mixing sexuality and violence in an unsettling way, and to

834
00:45:27,880 --> 00:45:32,399
Speaker 3: varying extents, they tend to be highly stylized. Not all

835
00:45:32,440 --> 00:45:34,640
Speaker 3: of the directors or like this, but a lot of

836
00:45:34,640 --> 00:45:39,600
Speaker 3: them are. They'll use these lurid colors and creative cinematography.

837
00:45:40,040 --> 00:45:42,680
Speaker 3: This is typically the opposite by the way of what

838
00:45:42,760 --> 00:45:45,720
Speaker 3: I would say, are the dominant trends in murder mystery films,

839
00:45:45,760 --> 00:45:49,160
Speaker 3: say in the United States, which I think are overwhelmingly

840
00:45:50,040 --> 00:45:53,600
Speaker 3: They tend toward a gritty, realistic or muted look with

841
00:45:53,680 --> 00:45:56,120
Speaker 3: kind of matter of fact camera work. It's like they're

842
00:45:56,160 --> 00:45:59,560
Speaker 3: trying to make it look like real life, whereas Italian

843
00:45:59,640 --> 00:46:02,919
Speaker 3: jello films tend to love these you know, weird red

844
00:46:02,960 --> 00:46:06,480
Speaker 3: and purple gel lights and tilted camera angles and shots

845
00:46:06,520 --> 00:46:08,839
Speaker 3: reflected in a mirror and all kinds of stuff like that.

846
00:46:09,160 --> 00:46:11,440
Speaker 1: Yeah, to say nothing of the music, Yeah.

847
00:46:11,280 --> 00:46:14,359
Speaker 3: Oh yeah. Famously, like the Argento Jallo movies have had

848
00:46:14,480 --> 00:46:18,840
Speaker 3: wonderful scores, usually that you know, involve Goblin or Argento

849
00:46:18,960 --> 00:46:22,719
Speaker 3: himself in some way. There's another strange recurring detail that

850
00:46:22,800 --> 00:46:26,480
Speaker 3: I notice in a lot of Italian jella movies, especially

851
00:46:26,520 --> 00:46:30,360
Speaker 3: the movies of Dario Argento. But a really common recurring

852
00:46:30,360 --> 00:46:35,160
Speaker 3: thing is that the protagonist will witness an image or

853
00:46:35,200 --> 00:46:39,080
Speaker 3: a scene early on in the movie that contains some

854
00:46:39,560 --> 00:46:43,520
Speaker 3: clue that would serve as the master key to solving

855
00:46:43,560 --> 00:46:47,800
Speaker 3: the mystery. And this, this scene or this memory keeps

856
00:46:47,920 --> 00:46:51,400
Speaker 3: replaying in their mind, but they're unable to recall or

857
00:46:51,440 --> 00:46:55,360
Speaker 3: figure out what that key detail is until the final resolution.

858
00:46:56,080 --> 00:46:58,200
Speaker 3: So I think about the museum murder scene and the

859
00:46:58,200 --> 00:47:01,120
Speaker 3: bird with the crystal plumage, the face in the hallway

860
00:47:01,160 --> 00:47:02,720
Speaker 3: in deep red, and so forth.

861
00:47:03,760 --> 00:47:04,320
Speaker 1: Interesting.

862
00:47:04,680 --> 00:47:07,759
Speaker 3: So looking back through this lens, is the telephone sort

863
00:47:07,760 --> 00:47:11,560
Speaker 3: of a short form proto Jallo in a way. I

864
00:47:11,600 --> 00:47:13,920
Speaker 3: think it kind of is. It has some of that

865
00:47:13,960 --> 00:47:20,120
Speaker 3: same naturalistic terror mystery sensibility. It has a clue detail

866
00:47:20,200 --> 00:47:22,719
Speaker 3: in the room except the protagonist. I don't know if

867
00:47:22,719 --> 00:47:24,560
Speaker 3: she sees it. I don't think she does. But I'm

868
00:47:24,560 --> 00:47:26,680
Speaker 3: thinking about the zoom in on the eyes in the

869
00:47:26,680 --> 00:47:29,680
Speaker 3: window looking through the blinds, which is very creepy. It

870
00:47:29,719 --> 00:47:34,120
Speaker 3: does have that creepy, voyeuristic and sexually charged sensibility, which

871
00:47:34,120 --> 00:47:36,760
Speaker 3: I do not always enjoy in these movies, to be honest,

872
00:47:37,200 --> 00:47:39,799
Speaker 3: though it is not as stylized as a lot of

873
00:47:39,920 --> 00:47:42,400
Speaker 3: later Jallo, which I would have enjoyed more. I mean,

874
00:47:42,440 --> 00:47:45,040
Speaker 3: I kind of wish Baba had played up his visual

875
00:47:45,080 --> 00:47:48,879
Speaker 3: sense more in this segment. But with blood and black

876
00:47:48,960 --> 00:47:52,359
Speaker 3: lace that comes later, I almost wonder if Bava sort

877
00:47:52,400 --> 00:47:55,800
Speaker 3: of cross fertilized different parts of his own creative process

878
00:47:55,840 --> 00:47:58,920
Speaker 3: after Black Sabbath, like if he started thinking Okay, what

879
00:47:59,000 --> 00:48:01,239
Speaker 3: if I did a store that was more like this

880
00:48:01,440 --> 00:48:04,160
Speaker 3: set in the modern world. It's sort of a naturalistic

881
00:48:04,280 --> 00:48:08,680
Speaker 3: mystery terror like the telephone, but I filmed it with

882
00:48:08,719 --> 00:48:12,920
Speaker 3: that otherworldly visual sensibility that I used in the Wordillac,

883
00:48:13,239 --> 00:48:15,280
Speaker 3: where everything glows with magic power.

884
00:48:15,760 --> 00:48:18,960
Speaker 1: Yeah. Interesting, Well let's talk about the word of lock

885
00:48:19,080 --> 00:48:20,120
Speaker 1: or the Vertilac here?

886
00:48:20,400 --> 00:48:22,040
Speaker 3: Oh yeah, are we gonna? Are we gonna war? Are

887
00:48:22,040 --> 00:48:22,640
Speaker 3: we gonna va?

888
00:48:23,600 --> 00:48:25,200
Speaker 1: What did? What should they use in the film? I

889
00:48:25,200 --> 00:48:28,160
Speaker 1: thought I was hearing a v but but we could

890
00:48:28,200 --> 00:48:30,000
Speaker 1: go either way. I don't think the monster's mind.

891
00:48:30,360 --> 00:48:34,120
Speaker 3: I'm gonna go VA. Let's let's let's assume that's authentic

892
00:48:34,160 --> 00:48:36,879
Speaker 3: and then try it. We could be wrong, but yeah,

893
00:48:36,880 --> 00:48:41,280
Speaker 3: how about the Vertillac. So the Vertilac I think, picking

894
00:48:41,360 --> 00:48:43,360
Speaker 3: up after the first segment, which I which I didn't

895
00:48:43,680 --> 00:48:48,719
Speaker 3: especially love, the Vertillac I think is extraordinary. It's this

896
00:48:48,800 --> 00:48:53,600
Speaker 3: Carpathian Gothic tale where these auroras of weird color just

897
00:48:53,800 --> 00:48:56,680
Speaker 3: dripped from the crags. Like I said earlier, it's a

898
00:48:56,760 --> 00:48:59,120
Speaker 3: new you know. It goes on my list of favorite

899
00:48:59,120 --> 00:49:05,120
Speaker 3: Boris karlaf for roles. He plays this shaggy, wild purple

900
00:49:05,520 --> 00:49:11,399
Speaker 3: Kurt Vonnegut type you notice he looks like. And this

901
00:49:11,440 --> 00:49:15,759
Speaker 3: whole segment is just full of awesome Slavic twang and

902
00:49:16,200 --> 00:49:19,440
Speaker 3: this Menace of the Hills absolutely wonderful.

903
00:49:19,920 --> 00:49:23,839
Speaker 1: The visual world that Bava creates in here that maybe

904
00:49:23,920 --> 00:49:29,160
Speaker 1: isn't noticeable right at first, but then just really leeches in.

905
00:49:29,760 --> 00:49:33,120
Speaker 1: He creates this dark domain that is occupied entirely by

906
00:49:33,239 --> 00:49:40,040
Speaker 1: fog and ruins and desolate farmhouses, multiple just absolutely creepy

907
00:49:40,120 --> 00:49:44,399
Speaker 1: scenes and sequences. Yeah, I absolutely loved it. In fact,

908
00:49:44,480 --> 00:49:46,319
Speaker 1: if you have never watched this film and you're going

909
00:49:46,400 --> 00:49:49,000
Speaker 1: to pick it up, I give you I think you

910
00:49:49,000 --> 00:49:51,160
Speaker 1: should watch it in its entirety. But if you need to,

911
00:49:51,600 --> 00:49:53,360
Speaker 1: you can go ahead and skip the telephone and go

912
00:49:53,480 --> 00:49:55,920
Speaker 1: straight to this, straight to the Verdelac.

913
00:49:56,280 --> 00:49:59,080
Speaker 3: So to do a very quick plot description on it,

914
00:49:59,120 --> 00:50:00,880
Speaker 3: I don't want to spoil it everything about it, but

915
00:50:01,320 --> 00:50:05,920
Speaker 3: it begins with the personable Mark Damon, who is he

916
00:50:05,960 --> 00:50:10,000
Speaker 3: plays an aristocrat, he's a counter something. I don't recall

917
00:50:10,040 --> 00:50:13,120
Speaker 3: exactly what he is, but he's riding through the mountains

918
00:50:13,560 --> 00:50:17,360
Speaker 3: and he's clearly in a rural, rustic area and he

919
00:50:17,440 --> 00:50:21,319
Speaker 3: comes across a corpse just lying there by a riverside.

920
00:50:21,360 --> 00:50:23,839
Speaker 3: And so this is a corpse that's had its head

921
00:50:23,880 --> 00:50:26,600
Speaker 3: removed and it has been stabbed through the heart with

922
00:50:26,640 --> 00:50:30,120
Speaker 3: a very distinctive dagger, and so he's like, oh, I

923
00:50:30,120 --> 00:50:32,120
Speaker 3: guess I gotta do something about this. So he picks

924
00:50:32,200 --> 00:50:36,080
Speaker 3: up the corpse and he carries it with him to

925
00:50:36,320 --> 00:50:38,879
Speaker 3: a nearby village. Or I don't know if it's even

926
00:50:38,920 --> 00:50:41,120
Speaker 3: a village. It might just sort of be the compound

927
00:50:41,200 --> 00:50:43,880
Speaker 3: of one family, you know, under the heading of this

928
00:50:43,920 --> 00:50:45,920
Speaker 3: one patriarch in his house.

929
00:50:46,480 --> 00:50:47,520
Speaker 1: Yeah, I think so.

930
00:50:47,520 --> 00:50:49,239
Speaker 3: So, Yeah, he comes to this house out in the

931
00:50:49,280 --> 00:50:52,000
Speaker 3: mountains and he goes in to meet the people who

932
00:50:52,040 --> 00:50:54,760
Speaker 3: live there, and he says, hey, I found this corpse,

933
00:50:55,040 --> 00:50:58,560
Speaker 3: and immediately they know what's going on. They're like, oh, yes,

934
00:50:58,880 --> 00:51:01,399
Speaker 3: that is our father's dagger you found through the heart

935
00:51:01,440 --> 00:51:05,240
Speaker 3: of this corpse, and that's because our father has gone

936
00:51:05,239 --> 00:51:08,680
Speaker 3: out to kill the Wordillac. Or well, let's see, do

937
00:51:08,760 --> 00:51:11,600
Speaker 3: I remember did they establish that the being he was

938
00:51:11,600 --> 00:51:14,680
Speaker 3: trying to kill they knew was a Wordillac or did

939
00:51:14,680 --> 00:51:17,600
Speaker 3: they just think it was a local highwayman and murderer

940
00:51:17,600 --> 00:51:19,160
Speaker 3: that their father was going out to kill. There was

941
00:51:19,200 --> 00:51:20,759
Speaker 3: sort of blurring of the lines.

942
00:51:20,480 --> 00:51:23,920
Speaker 1: There, Yeah, there was both, because there clearly this region

943
00:51:24,000 --> 00:51:26,840
Speaker 1: is dealing with a serious vertilac problem. But then the

944
00:51:27,160 --> 00:51:30,960
Speaker 1: verdilac has also been identified as a particular individual who

945
00:51:31,080 --> 00:51:32,719
Speaker 1: is also a notorious highwayman.

946
00:51:33,080 --> 00:51:35,640
Speaker 3: Right, so from this they conclude, Oh, okay, our father

947
00:51:35,719 --> 00:51:38,080
Speaker 3: succeeded in his quest. You know, he went out into

948
00:51:38,120 --> 00:51:41,560
Speaker 3: the mountains to find this criminal, this highwayman and kill him.

949
00:51:41,960 --> 00:51:45,600
Speaker 3: And here's his body. But where's Pop. You know, you

950
00:51:46,120 --> 00:51:48,640
Speaker 3: would think you would have come back by now. And

951
00:51:49,080 --> 00:51:52,280
Speaker 3: so the family members here they include the I believe,

952
00:51:52,360 --> 00:51:56,160
Speaker 3: the two sons and the daughter of Boris Karloff's character,

953
00:51:56,360 --> 00:51:59,719
Speaker 3: and then the oldest son's wife and child as well,

954
00:52:00,160 --> 00:52:01,839
Speaker 3: And so they tell the story while our father went

955
00:52:01,880 --> 00:52:04,920
Speaker 3: out into the mountains to hunt down this this brigand

956
00:52:05,040 --> 00:52:10,200
Speaker 3: and possible supernatural menace, the vertiloc and and kill him.

957
00:52:10,239 --> 00:52:13,160
Speaker 3: And then he but they but he warned us, if

958
00:52:13,200 --> 00:52:16,719
Speaker 3: I come back after five days, don't let me in

959
00:52:17,000 --> 00:52:19,640
Speaker 3: because then I'm going to be a word of lo

960
00:52:19,680 --> 00:52:24,000
Speaker 3: act probably by that time. And there's a great plot

961
00:52:24,040 --> 00:52:27,560
Speaker 3: device of ambiguity, because when does Boris Karloff show up

962
00:52:28,000 --> 00:52:30,799
Speaker 3: right at the toll of midnight on the fifth day,

963
00:52:31,280 --> 00:52:33,719
Speaker 3: So he's like coming in right on the line and

964
00:52:33,760 --> 00:52:35,360
Speaker 3: you don't know one way or another.

965
00:52:35,800 --> 00:52:39,799
Speaker 1: Yeah, though, I mean, I think one of the one

966
00:52:39,840 --> 00:52:42,440
Speaker 1: of the messages of this, this whole sequence here is

967
00:52:42,440 --> 00:52:44,919
Speaker 1: that if Grandpa says he he might be a VERTI

968
00:52:44,920 --> 00:52:47,360
Speaker 1: loac just go ahead and assume he's a vertiloc, because

969
00:52:48,000 --> 00:52:58,719
Speaker 1: it's going to be the safe assumption. Some of you

970
00:52:58,800 --> 00:53:01,560
Speaker 1: might be wondering, is is a vertilock really a thing? Well?

971
00:53:02,000 --> 00:53:04,560
Speaker 1: I did look it up, and according to folkloris Carol Rose,

972
00:53:04,600 --> 00:53:08,040
Speaker 1: who I often refer to with my monster career, is here,

973
00:53:08,719 --> 00:53:12,000
Speaker 1: it's actually more werewolf than vampire. But in the Slavic

974
00:53:12,000 --> 00:53:16,120
Speaker 1: tradition the two concepts are kind of interlocked. One version

975
00:53:16,160 --> 00:53:18,600
Speaker 1: at least was that when a were wolf is killed,

976
00:53:18,600 --> 00:53:22,279
Speaker 1: it transforms into a vampire that could then reassume the

977
00:53:22,320 --> 00:53:26,160
Speaker 1: form of a wolf, and vdiloch apparently means wolf's hair.

978
00:53:27,120 --> 00:53:30,880
Speaker 1: But in this movie what we see is essentially a

979
00:53:30,960 --> 00:53:35,319
Speaker 1: take on the vampire legend with a fun twist. Well,

980
00:53:35,320 --> 00:53:36,799
Speaker 1: I don't know if it's fun depending on which end

981
00:53:36,840 --> 00:53:38,480
Speaker 1: of it. If you're just enjoying the horror of it,

982
00:53:38,480 --> 00:53:40,360
Speaker 1: it's I guess it's fun. If you're a character in

983
00:53:40,680 --> 00:53:43,000
Speaker 1: the story, not so fun. And that is that the

984
00:53:43,560 --> 00:53:46,120
Speaker 1: monster when it comes back, when it takes on the

985
00:53:46,160 --> 00:53:48,799
Speaker 1: form of those that is killed, it's going to be

986
00:53:48,920 --> 00:53:52,400
Speaker 1: drawn most to those that it loved in life. Those

987
00:53:52,440 --> 00:53:54,600
Speaker 1: are going to be the ones that it focuses all

988
00:53:54,640 --> 00:53:56,239
Speaker 1: of its monstrous intensity on.

989
00:53:56,800 --> 00:54:01,440
Speaker 3: Yeah, this is a vampire as betrayer of trust. Not

990
00:54:01,520 --> 00:54:04,359
Speaker 3: just a vampire that needs blood anybody's blood, just got

991
00:54:04,400 --> 00:54:06,360
Speaker 3: to have a meal of blood. This is a vampire

992
00:54:06,360 --> 00:54:09,240
Speaker 3: that specifically comes for its loved ones.

993
00:54:09,880 --> 00:54:13,600
Speaker 1: Yeah, Which I was thinking about this a little bit

994
00:54:13,920 --> 00:54:16,280
Speaker 1: because again, the pacing of the film I think invites

995
00:54:16,320 --> 00:54:20,360
Speaker 1: contemplation and also an enjoyment of the visuals. But like,

996
00:54:20,520 --> 00:54:24,600
Speaker 1: what is wonder what the sequence and what this this

997
00:54:24,719 --> 00:54:27,959
Speaker 1: legend is, Like what does it say about like love

998
00:54:28,040 --> 00:54:32,000
Speaker 1: and bereavement, you know, the twisted way that our strongest

999
00:54:32,000 --> 00:54:36,719
Speaker 1: positive emotions can become negative emotions. And then ultimately, is

1000
00:54:36,760 --> 00:54:41,280
Speaker 1: this story advising us not to love anybody because because

1001
00:54:41,320 --> 00:54:43,239
Speaker 1: that alone would protect us from monsters?

1002
00:54:43,600 --> 00:54:45,920
Speaker 3: Well, that's a good question. And then I want to

1003
00:54:45,960 --> 00:54:49,160
Speaker 3: take that a step further. A lot of horror movies

1004
00:54:49,280 --> 00:54:55,480
Speaker 3: have very weakly earned love stories, where you know, the

1005
00:54:55,960 --> 00:54:58,560
Speaker 3: characters fall in love with each other, you don't really

1006
00:54:58,600 --> 00:55:01,080
Speaker 3: see a lot of reason for them to. You know,

1007
00:55:01,120 --> 00:55:03,160
Speaker 3: you don't see a lot of like scenes of chemistry

1008
00:55:03,239 --> 00:55:06,640
Speaker 3: of them, you know, finding things they like about one another.

1009
00:55:06,680 --> 00:55:08,719
Speaker 3: It just kind of happens because the script says so

1010
00:55:09,840 --> 00:55:13,759
Speaker 3: this story, the Vertiloc has a couple of characters who

1011
00:55:14,200 --> 00:55:16,960
Speaker 3: seem to fall in love with each other very quickly

1012
00:55:17,000 --> 00:55:20,080
Speaker 3: and in this sort of weakly justified way. But I

1013
00:55:20,120 --> 00:55:24,680
Speaker 3: wonder if that's not intentional in this case, saying something

1014
00:55:24,680 --> 00:55:27,799
Speaker 3: about like falling you know, loving too easily, and there

1015
00:55:27,840 --> 00:55:29,319
Speaker 3: being a kind of danger in that.

1016
00:55:29,920 --> 00:55:33,799
Speaker 1: Yeah. Yeah, the character that Damon plays, you do kind

1017
00:55:33,840 --> 00:55:35,600
Speaker 1: of feel that, right. It's like, like, what do you do.

1018
00:55:35,640 --> 00:55:38,000
Speaker 1: You're so in you're in love. You just met her,

1019
00:55:38,280 --> 00:55:40,440
Speaker 1: and you're so in love with her that you are

1020
00:55:40,480 --> 00:55:43,360
Speaker 1: going to risk incurring the wrath of her you know,

1021
00:55:43,520 --> 00:55:47,520
Speaker 1: undead transformed family. Uh it seems it seems foolish, and

1022
00:55:47,560 --> 00:55:51,080
Speaker 1: it seems like, uh, as a fool in a short

1023
00:55:51,120 --> 00:55:54,959
Speaker 1: horror work, you are going to be punished for this foolishness.

1024
00:55:55,239 --> 00:55:57,919
Speaker 3: Well, yeah, and it also says something about family. I think,

1025
00:55:58,000 --> 00:56:00,960
Speaker 3: because again this will be a minor spoiler, I don't

1026
00:56:00,960 --> 00:56:03,080
Speaker 3: think it'll ruin your enjoyment of the segment, which you

1027
00:56:03,120 --> 00:56:05,000
Speaker 3: can enjoy even if you read the whole plot ahead

1028
00:56:05,040 --> 00:56:08,319
Speaker 3: of time, but warning to spoil the ending. So I

1029
00:56:08,360 --> 00:56:11,000
Speaker 3: think it is basically the fact that Mark Damon's character,

1030
00:56:11,080 --> 00:56:14,840
Speaker 3: he comes in, he very quickly and maybe unjustifiedly falls

1031
00:56:14,840 --> 00:56:19,319
Speaker 3: in love with Stenka, and then Sedenka apparently sort of reciprocates,

1032
00:56:19,320 --> 00:56:22,800
Speaker 3: you know, she likes him too, and you get the

1033
00:56:22,840 --> 00:56:26,160
Speaker 3: impression that it's interesting that at first Mark Damon's character

1034
00:56:26,239 --> 00:56:28,719
Speaker 3: is not really threatened by the Verdilac because he's not

1035
00:56:28,800 --> 00:56:30,920
Speaker 3: a member of the family and it only wants its

1036
00:56:30,920 --> 00:56:35,080
Speaker 3: own family. But it's once she reciprocates his feelings and

1037
00:56:35,120 --> 00:56:37,800
Speaker 3: they fall in love with each other that then he

1038
00:56:37,960 --> 00:56:41,160
Speaker 3: is also subject to the threat of having his blood drank,

1039
00:56:41,320 --> 00:56:44,400
Speaker 3: drink and drunk, you know, of being attacked by this

1040
00:56:44,480 --> 00:56:47,879
Speaker 3: supernatural creature. It's once there is a bond of love

1041
00:56:47,960 --> 00:56:50,640
Speaker 3: between him and her that now he is fair game

1042
00:56:50,760 --> 00:56:51,520
Speaker 3: for this monster.

1043
00:56:52,160 --> 00:56:55,920
Speaker 1: Yeah, yeah, I mean it's there's probably something telling in

1044
00:56:55,960 --> 00:56:59,160
Speaker 1: there about attachments, but at the same time, it's like

1045
00:56:59,239 --> 00:57:04,280
Speaker 1: he's he clearly is loving strongly and loving deeply, albeit

1046
00:57:04,520 --> 00:57:07,680
Speaker 1: very briefly. So maybe it's all worth it. It's worth

1047
00:57:07,719 --> 00:57:11,920
Speaker 1: all the anguish and death because the love was that strong.

1048
00:57:13,080 --> 00:57:14,680
Speaker 1: It seems to have there is a sort of a

1049
00:57:14,719 --> 00:57:19,200
Speaker 1: bittersweet romantic element to the to the way this this

1050
00:57:19,240 --> 00:57:19,800
Speaker 1: wraps up.

1051
00:57:20,160 --> 00:57:23,160
Speaker 3: Yeah yeah, but I mean, overall every everything else we've

1052
00:57:23,160 --> 00:57:27,240
Speaker 3: said about the Verdiloc, the atmosphere is just amazing, and

1053
00:57:27,720 --> 00:57:30,840
Speaker 3: there are such wonderful scenes of looking out the window

1054
00:57:31,040 --> 00:57:34,360
Speaker 3: and maybe seeing Boris Karloff in his in his purple

1055
00:57:34,440 --> 00:57:39,200
Speaker 3: Kurt Vonnegut with the with the shaggy furry hood. Oh god,

1056
00:57:39,240 --> 00:57:40,880
Speaker 3: it's just so so good.

1057
00:57:41,240 --> 00:57:43,959
Speaker 1: Oh. The sequence with the child crying for the mother,

1058
00:57:44,280 --> 00:57:47,720
Speaker 1: well that's super creepy. That one gave me the shivers. Yeah.

1059
00:57:47,880 --> 00:57:48,040
Speaker 3: Oh.

1060
00:57:48,080 --> 00:57:50,680
Speaker 1: Another great thing about this sequence is it has a

1061
00:57:50,720 --> 00:57:54,600
Speaker 1: great decapitated head. So at this point in my life

1062
00:57:54,600 --> 00:57:57,120
Speaker 1: and my film film Going Life, and I imagine you're

1063
00:57:57,200 --> 00:58:00,400
Speaker 1: much the same, Joe, I've seen a vast spec of

1064
00:58:00,400 --> 00:58:04,040
Speaker 1: decapitated head effects, ranging from just the laughable to the

1065
00:58:04,160 --> 00:58:08,960
Speaker 1: you know, at times shockingly realistic. Though it's interesting to

1066
00:58:09,000 --> 00:58:12,000
Speaker 1: think of like realistic and non realistic decapitated head effects

1067
00:58:12,360 --> 00:58:15,080
Speaker 1: because I think most all of us don't have anything

1068
00:58:15,560 --> 00:58:17,800
Speaker 1: to judge it against, you know, And I think that's

1069
00:58:17,880 --> 00:58:20,400
Speaker 1: ultimately a good thing. We can't really we don't look

1070
00:58:20,440 --> 00:58:22,480
Speaker 1: at a decapitated head and go like, wait a minute,

1071
00:58:22,560 --> 00:58:25,520
Speaker 1: that's not what a decapitated head looks like. I saw

1072
00:58:25,560 --> 00:58:27,560
Speaker 1: a decapitated head this morning.

1073
00:58:27,920 --> 00:58:29,960
Speaker 3: To get out my faces of death videos.

1074
00:58:30,240 --> 00:58:35,040
Speaker 1: Yeah, but at any rate, I love even a hokey

1075
00:58:35,120 --> 00:58:39,080
Speaker 1: beheading effect. But this film has has not one, but

1076
00:58:39,160 --> 00:58:44,280
Speaker 1: two beautifully disturbing corpse head sculpts. And these were actually

1077
00:58:44,320 --> 00:58:49,200
Speaker 1: created by Mario Baba's father, Eugenio Bava, which I thought

1078
00:58:49,240 --> 00:58:54,320
Speaker 1: was interesting. They're both absolutely beautiful and of course terrifying.

1079
00:58:55,080 --> 00:58:58,560
Speaker 3: Well, speaking of beautiful and terrifying corpses, we got to

1080
00:58:58,560 --> 00:59:01,360
Speaker 3: also mention the third segment in this movie, A Drop

1081
00:59:01,400 --> 00:59:04,680
Speaker 3: of Water, which for me, the Vertiloc is the standout.

1082
00:59:04,680 --> 00:59:06,680
Speaker 3: But a Drop of Water I thought was also very,

1083
00:59:06,840 --> 00:59:09,640
Speaker 3: very good, and it has, I got to say, one

1084
00:59:09,640 --> 00:59:12,720
Speaker 3: of the creepiest movie corpses I have ever seen, along

1085
00:59:12,720 --> 00:59:15,960
Speaker 3: with a wonderful twist and some really great set and

1086
00:59:16,040 --> 00:59:16,880
Speaker 3: lighting choices.

1087
00:59:17,320 --> 00:59:20,800
Speaker 1: Yeah, this one again. The telephone things are a little

1088
00:59:21,160 --> 00:59:24,880
Speaker 1: maybe more subdued, but still pretty brilliant. But subdued for Bava,

1089
00:59:25,720 --> 00:59:29,720
Speaker 1: Vertiloc colorful and wonderful and out there. This one too,

1090
00:59:29,880 --> 00:59:34,520
Speaker 1: is just just absolutely touching your eyeballs with its color scheme.

1091
00:59:36,200 --> 00:59:38,880
Speaker 3: Specifically, the thing that stuck with me most about the

1092
00:59:38,920 --> 00:59:41,520
Speaker 3: Drop of Water. There were two things. One is that

1093
00:59:41,600 --> 00:59:47,439
Speaker 3: it has this marvelous, creepy corpse design, but the other

1094
00:59:48,440 --> 00:59:51,200
Speaker 3: was that the main character in this plays a nurse

1095
00:59:51,280 --> 00:59:54,920
Speaker 3: who lives in an apartment that has this oval shaped window,

1096
00:59:55,000 --> 01:00:01,640
Speaker 3: and outside the window is a constantly gently seeing green light.

1097
01:00:02,560 --> 01:00:04,840
Speaker 3: And I don't know what exactly that was supposed to

1098
01:00:04,880 --> 01:00:06,840
Speaker 3: be in terms of realism. I think there's a quick

1099
01:00:06,880 --> 01:00:09,280
Speaker 3: shot from outside at first where it's raining out, and

1100
01:00:09,640 --> 01:00:11,840
Speaker 3: maybe it's supposed to be some kind of rotating sign

1101
01:00:12,000 --> 01:00:15,080
Speaker 3: or something. I'm not quite positive, but the effect within

1102
01:00:15,120 --> 01:00:19,920
Speaker 3: the apartment is these pulses of green that are I

1103
01:00:20,080 --> 01:00:21,880
Speaker 3: just love it. I love it. I want to live

1104
01:00:21,960 --> 01:00:22,280
Speaker 3: in that.

1105
01:00:22,800 --> 01:00:28,120
Speaker 1: Yeah. That window is absolutely amazing. It's like a horizontal

1106
01:00:28,320 --> 01:00:32,840
Speaker 1: oval shape and it has this kind of like iron

1107
01:00:32,960 --> 01:00:37,120
Speaker 1: lattice work cross in the middle of it. I have

1108
01:00:37,240 --> 01:00:39,480
Speaker 1: never seen anything quite like it. And yeah, and then

1109
01:00:39,520 --> 01:00:42,360
Speaker 1: this pulsating light. So this was very much a sequence

1110
01:00:42,600 --> 01:00:44,919
Speaker 1: in the film where I think I was a little

1111
01:00:45,000 --> 01:00:47,080
Speaker 1: uncertain about like what was supposed to be happening. And

1112
01:00:47,560 --> 01:00:49,720
Speaker 1: you know what's supposed to be pulling me along character

1113
01:00:49,800 --> 01:00:52,280
Speaker 1: wise or plot wise. But I could not look away

1114
01:00:52,280 --> 01:00:55,720
Speaker 1: from that window, and it was reminding me of something too,

1115
01:00:56,200 --> 01:00:59,280
Speaker 1: And I realized it was reminding me of a scene

1116
01:00:59,360 --> 01:01:02,440
Speaker 1: from the ninth, teen ninety seven sci fi film Event Horizon,

1117
01:01:04,120 --> 01:01:07,720
Speaker 1: which which I know you've seen as well, Joe. There's

1118
01:01:07,760 --> 01:01:10,800
Speaker 1: a sequence where there is a corpse floating aboard the

1119
01:01:10,800 --> 01:01:14,040
Speaker 1: Event Horizon spaceship, and it's floating in front of this

1120
01:01:14,360 --> 01:01:18,720
Speaker 1: cross shaped window that has kind of bluish greenish space

1121
01:01:18,840 --> 01:01:20,360
Speaker 1: lights pulsating behind it.

1122
01:01:20,560 --> 01:01:22,720
Speaker 3: And you think it was influenced by this short.

1123
01:01:23,560 --> 01:01:26,800
Speaker 1: I wonder if it was, because, for starters, Event Horizon

1124
01:01:26,880 --> 01:01:29,280
Speaker 1: is a film that is not shy about taking inspiration

1125
01:01:29,360 --> 01:01:32,360
Speaker 1: from other films. I love it, but like you, like,

1126
01:01:32,720 --> 01:01:36,360
Speaker 1: you see the DNA of these other films in it.

1127
01:01:36,440 --> 01:01:40,080
Speaker 1: It's all about that, And so yeah, I'm wondering if

1128
01:01:40,120 --> 01:01:42,880
Speaker 1: the cinematographer on Event Horizon, an individual by the name

1129
01:01:42,920 --> 01:01:46,200
Speaker 1: of Adrian Biddle, who worked on Aliens and Judge Dread

1130
01:01:46,240 --> 01:01:50,400
Speaker 1: and various other films. I wonder if this particular scene

1131
01:01:50,440 --> 01:01:54,120
Speaker 1: is kind of a nod to Bava, because it feels

1132
01:01:54,160 --> 01:01:57,120
Speaker 1: Bava esque you know, it feels it feels like it

1133
01:01:57,200 --> 01:01:59,000
Speaker 1: might be a slight tip of the hat.

1134
01:01:59,280 --> 01:02:01,600
Speaker 3: Event Horizon could be an interesting movie to come back

1135
01:02:01,640 --> 01:02:05,240
Speaker 3: to because I find it to be a very, very strange,

1136
01:02:05,760 --> 01:02:10,080
Speaker 3: an unusual combination of very inspired and very hack.

1137
01:02:10,680 --> 01:02:12,919
Speaker 1: Yeah, yeah, I know what you mean. Yeah, there's a there.

1138
01:02:13,280 --> 01:02:16,080
Speaker 1: I loved Event Horizon when it came out, and then

1139
01:02:17,320 --> 01:02:19,560
Speaker 1: when I rewatched it several years ago, there were still

1140
01:02:19,600 --> 01:02:21,720
Speaker 1: things I absolutely loved about it, but some things were

1141
01:02:22,560 --> 01:02:25,120
Speaker 1: I kind of sighed and groaned at. But still it

1142
01:02:25,160 --> 01:02:26,120
Speaker 1: has a place in my heart.

1143
01:02:26,480 --> 01:02:28,440
Speaker 3: Well, I guess you could say, much like The Telephone.

1144
01:02:28,520 --> 01:02:32,480
Speaker 3: The plot of A Drop of Water is pretty straightforward.

1145
01:02:32,520 --> 01:02:37,160
Speaker 3: So a nurse is called out to the apartment of

1146
01:02:37,240 --> 01:02:39,600
Speaker 3: a woman that she has been taken care of who

1147
01:02:39,600 --> 01:02:43,000
Speaker 3: has just died. And this woman apparently was involved in

1148
01:02:43,040 --> 01:02:45,640
Speaker 3: the occult. I think they say that she died during

1149
01:02:45,680 --> 01:02:48,760
Speaker 3: a seance. Yeah, And so then the nurse must go

1150
01:02:48,880 --> 01:02:51,680
Speaker 3: into the room where her dead body is laying and

1151
01:02:51,760 --> 01:02:54,760
Speaker 3: help prepare the corpse. But when she goes into the room,

1152
01:02:54,840 --> 01:02:59,360
Speaker 3: she notices that the kidaver here has a splendid, very

1153
01:02:59,360 --> 01:03:03,040
Speaker 3: expensive looking piece of jewelry on it, a beautiful ring

1154
01:03:03,160 --> 01:03:06,560
Speaker 3: that has maybe a sapphire in it or something, and

1155
01:03:06,640 --> 01:03:08,240
Speaker 3: she looks at it and it's like, well, is this

1156
01:03:08,440 --> 01:03:10,040
Speaker 3: just you know, is this ring going to go to waste?

1157
01:03:10,120 --> 01:03:12,360
Speaker 3: Is this expensive piece of jewelry just gonna go into

1158
01:03:12,440 --> 01:03:14,680
Speaker 3: a coffin and then rot in the ground. I could

1159
01:03:14,760 --> 01:03:16,720
Speaker 3: grab that thing and take it with me. And then

1160
01:03:17,760 --> 01:03:20,160
Speaker 3: you get the sense that the nurse is sort of

1161
01:03:20,200 --> 01:03:22,600
Speaker 3: living in poverty like that she could she could use

1162
01:03:23,160 --> 01:03:25,160
Speaker 3: a big cash in at the pawn shop.

1163
01:03:25,960 --> 01:03:28,360
Speaker 1: She needs buy some curtains to put over that creepy window.

1164
01:03:28,600 --> 01:03:29,520
Speaker 3: Yeah, exactly to.

1165
01:03:29,600 --> 01:03:30,240
Speaker 1: Sleep at night.

1166
01:03:31,880 --> 01:03:35,640
Speaker 3: So she grabs the ring, but of course I don't

1167
01:03:35,680 --> 01:03:37,320
Speaker 3: know if you want to grab the ring off the

1168
01:03:37,320 --> 01:03:39,640
Speaker 3: corpse of a lady who just died while being involved

1169
01:03:39,680 --> 01:03:43,000
Speaker 3: with the occult right, And so the rest of this

1170
01:03:43,040 --> 01:03:47,240
Speaker 3: segment has some wonderful scenes of the haunting of a

1171
01:03:47,280 --> 01:03:50,680
Speaker 3: guilty conscience, and then there's also an excellent twist at

1172
01:03:50,680 --> 01:03:52,560
Speaker 3: the ending of this segment.

1173
01:03:52,600 --> 01:03:52,760
Speaker 4: Two.

1174
01:03:53,200 --> 01:03:56,640
Speaker 1: Yeah, i've kind of downplayed the like the plotting of

1175
01:03:56,720 --> 01:04:00,240
Speaker 1: Bava films, I guess in general here, but but but yeah,

1176
01:04:00,280 --> 01:04:04,320
Speaker 1: I think all three sequences have some fun, some some

1177
01:04:04,400 --> 01:04:07,400
Speaker 1: fun plot twists, and some fun developments. You know that

1178
01:04:07,560 --> 01:04:09,680
Speaker 1: you don't really know where everything's going to go, and

1179
01:04:09,800 --> 01:04:14,080
Speaker 1: things don't follow a clearly defined path, which which is

1180
01:04:14,160 --> 01:04:14,960
Speaker 1: rather pleasurable.

1181
01:04:15,240 --> 01:04:17,560
Speaker 3: I agree. So I mean, as we were saying at

1182
01:04:17,600 --> 01:04:21,760
Speaker 3: the beginning, horror anthologies are often kind of you know,

1183
01:04:22,240 --> 01:04:24,520
Speaker 3: your different segments are going to be of different quality.

1184
01:04:24,560 --> 01:04:27,240
Speaker 3: But I would say, after, I guess if we're wrapping

1185
01:04:27,280 --> 01:04:29,560
Speaker 3: up here at the end, I really enjoyed two out

1186
01:04:29,600 --> 01:04:31,800
Speaker 3: of three segments. But if you only check out one

1187
01:04:31,840 --> 01:04:34,560
Speaker 3: of the segments from this movie, definitely I would say

1188
01:04:34,600 --> 01:04:36,680
Speaker 3: the Vertillac, the Vertillac, the vertill Act.

1189
01:04:36,960 --> 01:04:41,160
Speaker 1: Yeah, come for the Vertillac, stay for the drop of water,

1190
01:04:42,000 --> 01:04:44,760
Speaker 1: and find something to love in the telephone. Oh but

1191
01:04:44,800 --> 01:04:46,880
Speaker 1: then also we should we have to come back to

1192
01:04:46,920 --> 01:04:49,320
Speaker 1: our host here because one of the fun things about

1193
01:04:49,360 --> 01:04:53,680
Speaker 1: the American International Pictures A release of it is that, yeah,

1194
01:04:53,800 --> 01:04:57,320
Speaker 1: we added us this intro bit from Boris Karloth, and

1195
01:04:57,360 --> 01:05:01,600
Speaker 1: apparently they filmed some segments of Orris Karloff that would

1196
01:05:01,600 --> 01:05:05,000
Speaker 1: have gone between each of the segments, but they didn't

1197
01:05:05,120 --> 01:05:07,600
Speaker 1: use those. So we just go from segment one to

1198
01:05:07,600 --> 01:05:10,600
Speaker 1: segment two to segment three. But then when segment three ends,

1199
01:05:11,120 --> 01:05:15,040
Speaker 1: we come back to Boris Karloff, and weirdly enough, he's

1200
01:05:15,080 --> 01:05:18,040
Speaker 1: he's like in his he seems to be in costume

1201
01:05:18,080 --> 01:05:21,400
Speaker 1: from the vertiloc He's riding a horse, but he has

1202
01:05:21,480 --> 01:05:26,720
Speaker 1: this kind of almost crip keeper esque, you know, javial

1203
01:05:27,040 --> 01:05:29,760
Speaker 1: atmosphere about him. And I can't even remember what he's

1204
01:05:29,800 --> 01:05:32,480
Speaker 1: telling us because as he's saying, you know, wrapping up

1205
01:05:32,480 --> 01:05:35,680
Speaker 1: for everybody, we pan out and we have this kind

1206
01:05:35,680 --> 01:05:42,080
Speaker 1: of holy Mountain moment where we pan out and we

1207
01:05:42,160 --> 01:05:44,440
Speaker 1: see that it's a set. We see a camera man,

1208
01:05:44,560 --> 01:05:47,640
Speaker 1: we see people holding up these bushes that are supposed

1209
01:05:47,680 --> 01:05:50,840
Speaker 1: to be you know, rushing past him as he rides

1210
01:05:50,880 --> 01:05:53,200
Speaker 1: this horse, and we see that the horse itself is

1211
01:05:53,320 --> 01:05:56,680
Speaker 1: just a saddle on, like a fake horse rump that's

1212
01:05:56,920 --> 01:06:00,440
Speaker 1: that's being put into motion. And it's such a weird ending.

1213
01:06:00,520 --> 01:06:02,760
Speaker 1: I was thinking about it. It's like, why did we

1214
01:06:02,800 --> 01:06:07,440
Speaker 1: punctuate this film Black Sabbath, this trio of horrifying tales,

1215
01:06:07,480 --> 01:06:10,240
Speaker 1: each with a dark ending. And I was wondering if

1216
01:06:10,240 --> 01:06:12,840
Speaker 1: it was because they thought, well, you know, nineteen sixty

1217
01:06:12,840 --> 01:06:15,840
Speaker 1: three audiences don't want to go home feeling depressed. They

1218
01:06:15,840 --> 01:06:17,600
Speaker 1: need to go home with a smile on their face,

1219
01:06:17,640 --> 01:06:20,400
Speaker 1: so we need this, we need a fund in ending,

1220
01:06:20,440 --> 01:06:23,440
Speaker 1: we need Boris Karloff reminding them that it's all just

1221
01:06:23,480 --> 01:06:26,920
Speaker 1: a movie. It's no, none of this is real. It's

1222
01:06:27,360 --> 01:06:28,000
Speaker 1: it was weird.

1223
01:06:28,280 --> 01:06:30,640
Speaker 3: Yeah, I'm not really sure what motivated that ending. Maybe

1224
01:06:30,800 --> 01:06:32,720
Speaker 3: just yeah, like you're saying, send them home with a

1225
01:06:32,720 --> 01:06:35,240
Speaker 3: smile on their face. But I loved it. Rachel and

1226
01:06:35,280 --> 01:06:39,320
Speaker 3: I both really appreciated the pulling back to see especially.

1227
01:06:39,400 --> 01:06:41,440
Speaker 3: The best part of it for me was the people

1228
01:06:41,520 --> 01:06:43,800
Speaker 3: running around with the potted plants to move them in

1229
01:06:43,800 --> 01:06:47,000
Speaker 3: front of the camera to simulate the horse actually traveling

1230
01:06:47,040 --> 01:06:48,280
Speaker 3: through stuff in the foreground.

1231
01:06:48,680 --> 01:06:55,200
Speaker 1: Yeah, it's something I guess thinking to other horror host environments,

1232
01:06:55,200 --> 01:06:56,840
Speaker 1: like you need to do one of two things. Either

1233
01:06:56,880 --> 01:06:59,960
Speaker 1: you have the horror host punctuate the terror or this

1234
01:07:00,040 --> 01:07:03,360
Speaker 1: Cerebriel nature of it, you know, like the voiceover for

1235
01:07:03,400 --> 01:07:06,000
Speaker 1: the Outer Limits is all about really driving home the

1236
01:07:06,080 --> 01:07:09,560
Speaker 1: serious message of the piece, you know, or if you're

1237
01:07:09,600 --> 01:07:12,680
Speaker 1: watching Twilight Zone, it's all about reminding you of how

1238
01:07:12,760 --> 01:07:15,880
Speaker 1: dark and mysterious things really are. But the Cryptkeeper, he

1239
01:07:16,040 --> 01:07:20,840
Speaker 1: just comes back to make several punny jokes, and so

1240
01:07:21,120 --> 01:07:23,160
Speaker 1: you know, what Cora Karloff is doing here is very

1241
01:07:23,240 --> 01:07:26,720
Speaker 1: much in the cryptkeeper mode of lightning the mood. I feel,

1242
01:07:27,800 --> 01:07:29,960
Speaker 1: all right, well, we're gonna go ahead and close this

1243
01:07:30,040 --> 01:07:32,520
Speaker 1: one out, but we recommend everybody. Yeah, this is the

1244
01:07:32,520 --> 01:07:35,360
Speaker 1: Halloween season, so if you need a nice gothic atmospheric

1245
01:07:35,440 --> 01:07:39,680
Speaker 1: film to watch, check out Black Sabbath. This is also

1246
01:07:39,680 --> 01:07:41,600
Speaker 1: a fine one, you know, just to play visually in

1247
01:07:41,600 --> 01:07:44,640
Speaker 1: the background. If you just want some really strong visuals,

1248
01:07:44,680 --> 01:07:47,960
Speaker 1: this one's This one's good to go. Black Sabbath is

1249
01:07:47,960 --> 01:07:51,400
Speaker 1: widely available for digital rental or purchase. Again, I watched

1250
01:07:51,400 --> 01:07:53,360
Speaker 1: it on Apple TV by doing a free preview of

1251
01:07:53,400 --> 01:07:56,920
Speaker 1: AMC Plus, but it's also widely available on disc and

1252
01:07:56,960 --> 01:07:59,640
Speaker 1: clean it, including Keino Classics. They have a blu ray

1253
01:07:59,680 --> 01:08:03,040
Speaker 1: of it, though. I guess we'll leave the research to

1254
01:08:03,080 --> 01:08:06,600
Speaker 1: you figuring out what version you're about to purchase or rent,

1255
01:08:06,720 --> 01:08:10,040
Speaker 1: because yeah, we both watch the Italian language version subtitled,

1256
01:08:10,240 --> 01:08:12,280
Speaker 1: but I think there is a dubbed version as well.

1257
01:08:12,720 --> 01:08:14,840
Speaker 1: I don't know what the availability on that is. I

1258
01:08:14,840 --> 01:08:15,640
Speaker 1: can't speak to it.

1259
01:08:15,600 --> 01:08:18,439
Speaker 3: Personally, I can't comment on that, but I do think

1260
01:08:18,479 --> 01:08:21,160
Speaker 3: there are different versions that have different levels of sort

1261
01:08:21,200 --> 01:08:24,519
Speaker 3: of color saturation and all that. Try to find one

1262
01:08:24,600 --> 01:08:26,439
Speaker 3: with the really intense colors.

1263
01:08:26,800 --> 01:08:28,280
Speaker 1: Yeah, that's the most important thing.

1264
01:08:28,520 --> 01:08:28,720
Speaker 4: Yeah.

1265
01:08:28,760 --> 01:08:33,240
Speaker 1: The colors speak volumes. The colors speak in ways that

1266
01:08:33,280 --> 01:08:36,559
Speaker 1: the dialogue and the subtitles are going to are going

1267
01:08:36,640 --> 01:08:39,400
Speaker 1: to pale in comparison to all Right, Well, we'll be

1268
01:08:39,439 --> 01:08:43,280
Speaker 1: back next week with another I think thoroughly halloweeny selection.

1269
01:08:43,720 --> 01:08:45,479
Speaker 1: But in the meantime, you can listen to Weird House

1270
01:08:45,520 --> 01:08:48,280
Speaker 1: Cinema every Friday and the Stuff to Blow your Mind

1271
01:08:48,320 --> 01:08:51,640
Speaker 1: podcast feed We're primarily a science podcast with core episodes

1272
01:08:52,000 --> 01:08:55,879
Speaker 1: on Tuesdays and Thursdays, Artifact on Wednesday, listener mail on Monday,

1273
01:08:56,080 --> 01:08:58,640
Speaker 1: but on Fridays we take a little time to just

1274
01:08:58,680 --> 01:09:01,679
Speaker 1: discuss a weird film like Black Sabbath.

1275
01:09:02,080 --> 01:09:04,960
Speaker 3: Huge thanks as always to our wonderful audio producer Seth

1276
01:09:05,040 --> 01:09:07,519
Speaker 3: Nicholas Johnson. If you would like to get in touch

1277
01:09:07,560 --> 01:09:09,720
Speaker 3: with us with feedback on this episode or any other,

1278
01:09:09,800 --> 01:09:11,840
Speaker 3: to suggest a topic for the future, or just to

1279
01:09:11,840 --> 01:09:14,920
Speaker 3: say hello, you can email us at contact at stuff

1280
01:09:15,000 --> 01:09:23,599
Speaker 3: to Blow your Mind dot com.

1281
01:09:23,720 --> 01:09:26,680
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1282
01:09:26,760 --> 01:09:29,559
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1283
01:09:29,720 --> 01:09:32,920
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.