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

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today's movie on Weird

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Speaker 3: House is the nineteen seventy six Greek or greek Ish

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Speaker 3: horror film The Devil's Men, also known as Land of

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Speaker 3: the Minotaur. And I'm going to say right at the top,

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Speaker 3: this is definitely not one of the best or most

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Speaker 3: riveting films we have watched for Weird House Cinema, though

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Speaker 3: I think it will still make for a fun episode.

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Speaker 3: I almost feel like we were kind of tricked into

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Speaker 3: it because there are a lot of names here that

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Speaker 3: really want to invite you into the labyrinth. It stars

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Speaker 3: Donald Pleasance and Peter Cushing. It's also got Luwan Peters

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Speaker 3: and a score by Brian Eno.

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Speaker 2: I think that was the kicker, that was the what

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Speaker 2: really drew us in. We're like, oh, oh, Brian Eno

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Speaker 2: scored this film. Well, of course we want to take

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Speaker 2: a closer look as we'll discuss it's I mean, this

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Speaker 2: is exceedingly noteworthy, and ultimately I think this is the

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Speaker 2: factor that makes this such an interesting hidden gym there

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Speaker 2: are a few other production notes that I think make

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Speaker 2: it stand out. Again, you mentioned it is a Greek

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Speaker 2: or a greek Ish horror film. It was a Greek

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Speaker 2: American co production essentially, and we'll get into some of

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Speaker 2: those details. But yeah, it has two big stars, it

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Speaker 2: has this fabulous score, and unfortunately it doesn't necessarily have

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Speaker 2: a lot else to recommend it, but it's still going

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Speaker 2: to be fun to talk about.

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Speaker 3: The score is really good. I feel like it is

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Speaker 3: deserving of a much better movie. It's a modest score, Like,

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Speaker 3: there's not a whole lot of it in the film.

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Speaker 3: There are like I think maybe like two or three

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Speaker 3: main musical motifs that are used multiple times throughout the movie,

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Speaker 3: but they're good and they're deserving of a more thought

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Speaker 3: full set of images to accompany the sounds.

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Speaker 2: Yeah, my only critique on the score is that I

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Speaker 2: wish there was more of it, because there are plenty

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Speaker 2: of scenes where there's no Brian eno. And then also

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Speaker 2: I wish it was louder because it is it's so

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Speaker 2: subtle that it also actually, at least in my viewing,

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Speaker 2: and who knows, you know, stereo settings and so forth.

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Speaker 2: I felt like the score wasn't loud enough. The score

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Speaker 2: could have been a little louder.

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Speaker 3: I agree, and that a lot of the scenes with

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Speaker 3: music were just using the same music over and over.

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Speaker 3: But did you notice the script had a similar quality.

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Speaker 3: There's a very copy paste quality to Land of the Minotaur,

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Speaker 3: where characters would have whole scenes where they were only

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Speaker 3: saying lines that they had already said in earlier scenes.

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Speaker 2: Yeah, this is not a film where anybody gets any

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Speaker 2: good lines. Nobody, whether you're the star top Build, Donald Pleasants,

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Speaker 2: whether you're the evil cult leader Peter Cushing, even if

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Speaker 2: you're one of the various other smaller players in the picture,

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Speaker 2: you don't really to get any cool lines. Nobody has

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Speaker 2: anything really cool to say in this movie. Most people

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Speaker 2: don't really have anything cool to do in this movie.

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Speaker 3: Rob, I'm gonna have to disagree with you about the lines,

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Speaker 3: because you were forgetting the part where the character Milo

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Speaker 3: says where the devil did the whole village get to?

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Speaker 3: And Donald Pleasant answers him You've answered your own question

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Speaker 3: to the devil.

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Speaker 2: Yeah, I guess we should hit on. An important fact

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Speaker 2: concerning this movie at this point is that it is

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Speaker 2: essentially a Satanic cult movie of the nineteen seventies, except

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Speaker 2: instead of it being outright Satan, there's like some slap

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Speaker 2: dash minotaur cult stuff added in instead. But they don't

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Speaker 2: even really commit to that, Like they don't even go

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Speaker 2: all in on some sort of like ancient religion or

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Speaker 2: mythology of crete or some sort of imagined minotar religion.

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Speaker 2: Like at one point Donald Pleasant is like, ah, Satan Minotar.

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Speaker 2: It's all the same.

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Speaker 3: It's all all the same stuff, same thing. There's a

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Speaker 3: whole speech about it. Is like the Force with a

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Speaker 3: thousand faces and no face at all. It's been around

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Speaker 3: since before humankind. Some have called it Mephistopheles, the Devil,

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Speaker 3: the Mino Taar. It's all the same.

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Speaker 2: Yeah. So just one of the many ways in which

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Speaker 2: this film, you know, is competent and has a lot

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Speaker 2: of talented people in it and people doing a very

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Speaker 2: professional job, but it doesn't go for it in any

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Speaker 2: of the ways that you might expect one of these

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Speaker 2: other films to do, both in a positive way in

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Speaker 2: a negative way, Like it doesn't even really go for

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Speaker 2: any of the really exploitive stuff you might expect. I mean,

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Speaker 2: the worst we get is like maybe a little bit

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Speaker 2: of blood and then it looks pretty good. We get

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Speaker 2: some you know, some basic seventies sexism, but that's about it.

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Speaker 2: It's not really an exploitation film at all.

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Speaker 3: No, there are scenes where characters just stand around and

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Speaker 3: take phone calls naked for no reason.

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Speaker 2: Yes, yeah, and they are very naked in those scenes,

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Speaker 2: and I guess the actors involved can be commended for that.

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Speaker 2: But that's about the extent now.

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Speaker 3: I think, as is often the case with lackluster films,

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Speaker 3: a lot of the blame here goes to the script.

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Speaker 3: It's just like, not the most engaging story of all time.

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Speaker 3: But on the other side, like what is working pretty

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Speaker 3: well here? It does have a pretty good cast, though

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Speaker 3: most of them are not giving I think, the best

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Speaker 3: performances of their careers. It does have that nice Brian

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Speaker 3: Nino score, and we'll talk more about that as we

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Speaker 3: go on. It also has some really good locations, like

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Speaker 3: a lot of the outdoor shots and the stuff in

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Speaker 3: the caves and all that. I'm like, oh wow, okay,

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Speaker 3: so like they you know, they got permits, I guess,

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Speaker 3: to shoot in some very pleasant and interesting looking scenery.

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Speaker 2: Yes, solid cave locations, some very gorgeous scenes of the

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Speaker 2: Greek countryside. And also I thought they have a pretty

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Speaker 2: nice like cult layer set that they built some sort

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Speaker 2: of like, you know, sort of gothic dungeon cult kind

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Speaker 2: of a set that that's pretty good.

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Speaker 3: Now, may we compare and contrast with the other cult

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Speaker 3: of Human sacrifice movies that we featured on the show,

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Speaker 3: And I guess in order to do that we need

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Speaker 3: to remember what all of those are. There is, of course,

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Speaker 3: The Devil Rides Out from nineteen sixty eight. That is

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Speaker 3: the one that is based on the novel by Dennis Wheatly.

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Speaker 2: Is that his name correct? Yeah? And I think one

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Speaker 2: of the things about The Devil Rides Out, because it's

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Speaker 2: based on that Wheatly novel, is that it aspires to

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Speaker 2: a sort of and we discussed this in that in

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Speaker 2: Our Weird House on this it aspires to a sort

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Speaker 2: of almost documentary feel like Wheatley and or this movie

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Speaker 2: is trying to warn you about the real threat of

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Speaker 2: the cult, and this movie is just making it all up.

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Speaker 3: I mean, they're both, yes, But in The Devil Rides

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Speaker 3: Out there, I don't know, there are more interesting dynamics

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Speaker 3: about good and evil and all that in this one.

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Speaker 3: It's just kind of like the moral of the story

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Speaker 3: is that, well, there is a devil, and the devil's

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Speaker 3: real and you got to defeat him.

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Speaker 2: Oh yeah, there are all sorts of interesting rules that

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Speaker 2: are employed in the Devil rides out, like magic has

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Speaker 2: has rules and laws to it, and there are all

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Speaker 2: these different examples that were that weakly clearly took out

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Speaker 2: of like old witchcraft, grimours and so forth. And again

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Speaker 2: you just don't have that in this movie.

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Speaker 3: Oh there's another interesting thing, and the Devil rides out

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Speaker 3: about how some people have the power, have the fortitude

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Speaker 3: to explore the occult without being seduced and destroyed by it,

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Speaker 3: and others don't. If they start learning about the occult,

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Speaker 3: it's just going to suck him in and they will

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Speaker 3: be overpowered. Like Christopher Lee, he can read all the

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Speaker 3: occult tons, but simon, you better not read them.

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Speaker 2: Yes, well, there is one classification of human that is

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Speaker 2: safe in this movie, as we find out, it is

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Speaker 2: of course the children.

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Speaker 3: So the children here can read the occult tomes unharmed.

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Speaker 3: But if you're Peter Cushing and you read them, you

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Speaker 3: will not only end up leading a minotar cult, you

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Speaker 3: will literally explode at the end of the film. That

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Speaker 3: brings me to the second point of comparison. Another movie

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Speaker 3: we've talked about on Weird House is The Devil's Rain

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Speaker 3: from nineteen seventy five, which is only one year before

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Speaker 3: this movie came out. I can't help but notice that

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Speaker 3: comparison and the similarity with the titles. So this is

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Speaker 3: The Devil's Men, also known as Land of the Minotaur.

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Speaker 3: I don't remember which titles for what region, but somewhere

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Speaker 3: it was called The Devil's Men. That was The Devil's Rain.

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Speaker 3: Both are about a cult doing human sacrifice in a rocky,

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Speaker 3: arid landscape. And so I wonder if The Devil's Men

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Speaker 3: was trying to use a similar title and a somewhat

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Speaker 3: similar ending to kind of steal some of that melt

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Speaker 3: juice from the Ernest Borg nine hit.

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Speaker 2: Probably so yeah, because The Devil's Men is the US

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Speaker 2: released title which came after The Minotaur or Mino tar

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Speaker 2: Oh release of the UK, is.

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Speaker 3: That it I thought it was the other one around.

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Speaker 3: I thought it was The Devil's Men in the UK

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Speaker 3: and Land of the Menotaur in the US.

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Speaker 2: Hmmm, you could be right. Now, now you have me

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Speaker 2: flipped I'm Lost in the Labyrinth. Now it's one of

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Speaker 2: the two.

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Speaker 3: Now those are the two main satanic cult movies we've

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Speaker 3: covered that I can think of others. Oh well, treasurer

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Speaker 3: of the Four Crowns had a cult. I don't know

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Speaker 3: if that was satanic. It was instead based around that guy.

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Speaker 3: What was his name, like, like Johnny the cult leader.

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Speaker 3: He had a name.

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Speaker 2: Yeah, I don't even remember the name of that guy.

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Speaker 2: I can picture him though. This is an interesting dynamic

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Speaker 2: to point out because I think the Devil Rides out

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Speaker 2: in The Devil's Reign are both a lot more entertaining

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Speaker 2: compared to The Devil's Men. Yeah, and I think those

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Speaker 2: are ultimately perhaps better movies. You know, this is all subjective.

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Speaker 2: I would say Treasure of the Four Crowns is definitely

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Speaker 2: a worse movie than The Devil's Men, but it is

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Speaker 2: more fun to watch because it is so stupid and

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Speaker 2: the Devil's Men it's like on one one it's not

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Speaker 2: you know, it kind of falls into that sort of

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Speaker 2: lukewarm category in some ways because it's not it's not

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Speaker 2: bad enough or stupid enough. It doesn't have wonky enough

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Speaker 2: performances to really make it fall into that, you know,

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Speaker 2: cheesy movie territory, but it doesn't again, just doesn't really

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Speaker 2: go for it in so many other areas.

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Speaker 3: It doesn't have the wall to wall mad cap three

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Speaker 3: D effects of Treasure of the Four Crowns.

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Speaker 2: Oh yeah, imagine if this said three D would have

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Speaker 2: worked in a few scenes.

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Speaker 3: Oh yeah, yeah, I wonder if I can know which

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Speaker 3: ones your thinking of three D nostrils blasting fire in

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Speaker 3: your face?

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Speaker 2: Oh yeah.

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Speaker 3: Now beyond that, did the Blind Dead movie we did

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Speaker 3: have a cult? I don't remember if that had a

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Speaker 3: blood cult or not.

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Speaker 2: Well, the Templars are depicted as a blood cult in that,

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Speaker 2: and of course the whole setup is they were a

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Speaker 2: blood cult, then they're all dead, and then like the

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Speaker 2: lone troublesome occultist in town helps them return from the dead.

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Speaker 2: Way we talked about return to the Blind Dead. So

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Speaker 2: I can't really speak to Tomb of the Blind Dead

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Speaker 2: the first one because I haven't seen it forever. But yeah,

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Speaker 2: similar stuff going on. But I think even more key

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Speaker 2: is that while this movie is filmed in Greece, it

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Speaker 2: still has a similar feel compared to the Blind Dead movies.

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Speaker 2: You know, dry, dusty walls and ruins used as a

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Speaker 2: backdrop for some sort of in a cult story.

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Speaker 3: Now there's one thing I think some of the better

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Speaker 3: satanic cult movies do that most of the movies we've

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Speaker 3: talked about don't really do. I guess the Devil rides

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Speaker 3: Out sort of did is show the advantages one gets

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Speaker 3: from worshiping the devil. So that's, you know, classically there

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Speaker 3: in like Rosemary's Baby, it's like, you know, you make

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Speaker 3: a pact with the devil. Oh, hey, suddenly I'm financially

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Speaker 3: doing better and I'm getting a part in this play

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Speaker 3: and all the you know, the devil is in exchange

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Speaker 3: for your worship and the evil deeds you do in

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Speaker 3: his service, he sort of does favors for you. He

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Speaker 3: does some magic to help you along with to attain

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Speaker 3: your goals. A lot of these movies don't even have that,

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Speaker 3: so you're kind of left wondering, like, what's in it

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Speaker 3: for the cultists? Why are they worshiping a minotaur or

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Speaker 3: a devil? I don't even see that they're getting anything

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Speaker 3: out of this.

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Speaker 2: Yeah, I mean, I guess sometimes it's in the performance,

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Speaker 2: like you know, borgnine looks like he's having a good time,

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Speaker 2: and of course that when to be fair, there is

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Speaker 2: the whole plot line that's established that they have been

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Speaker 2: alive for over one hundred years because maybe centuries I

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Speaker 2: don't recall, but they have vastly extended their lives because

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Speaker 2: of their pact with the devil. In this, I guess

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Speaker 2: we sort of assume wealth has something to do with it,

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Speaker 2: but otherwise we don't see any real results.

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Speaker 3: I don't know, a lot of these cultists don't seem

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Speaker 3: all that wealthy, Like Peter Cushing's character is wealthy, but

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Speaker 3: most of them are like, oh the town, the innkeeper

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Speaker 3: and the guy who works in the grocery store, they're

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Speaker 3: in the cult. What are they are they doing all

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Speaker 3: that hot?

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Speaker 2: I guess it's a pyramid scheme, you know, That's all

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Speaker 2: it is.

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Speaker 3: Gotten the cult too late. They're trying to get some

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Speaker 3: more recruits into their downline.

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Speaker 2: Mm hm.

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Speaker 3: Can you imagine the pyramid scheme pitch? But it's in

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Speaker 3: the minotaur voice from the movie, like the statues talking

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Speaker 3: saying bring me three to five of your Facebook friends.

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Speaker 2: Yeah, I can very well imagine that. In the accoumpning

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Speaker 2: booklet for the Blu Ray that we'll mention here in

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Speaker 2: a minute, Andrew Graves mentions some other influences. He mentions

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Speaker 2: the Devil rides Out, He mentions the Devils. Also mentions

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Speaker 2: the Wickerman from seventy three, which I thought is another

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Speaker 2: great comparison, because the wicker Man, of course, is like

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Speaker 2: the English folk carror film, you know, par excellence. You know,

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Speaker 2: it's the one that you think of when you think

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Speaker 2: of like the lineage of British folk car and this

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Speaker 2: movie kind of aspires to a kind of Greek folk

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Speaker 2: car but again doesn't really go for it, you know,

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Speaker 2: doesn't really give us something that we can latch onto here.

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Speaker 3: Well, yeah, again, because it has so little interaction with

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Speaker 3: any actual Greek mythology or any of the particulars or

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Speaker 3: the feel of the minotaur itself. As we said, it

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Speaker 3: is just sort of like, oh the minotaur, that's just

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Speaker 3: another kind of devil. That's you know, there's a devil

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Speaker 3: in one of his forms is it's a bullhead horns,

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Speaker 3: and there's not much else to it.

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Speaker 2: Yeah, So a lot of missed opportunities here with this film,

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Speaker 2: but there's there's still some fun stuff to talk about here.

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Speaker 2: My elevator pitch, I don't have a great one here,

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Speaker 2: but I just went with ambient six sixty six. Music

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Speaker 2: for satanic minotar cults.

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Speaker 3: Yeah, music for blood gutters.

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Speaker 2: Yeah. The actual tagline, or one of the taglines for

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Speaker 2: the film I thought was extremely deceptive. Half man, half

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Speaker 2: beast trapped in a world forgotten by time. Huh. Great,

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Speaker 2: not this movie, but it sounds great.

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Speaker 3: I feel like it would be equally appropriate if that

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Speaker 3: were the tagline for Honey, I Shrunk the Kids.

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Speaker 2: Yeah, all right, let's go ahead and listen to the

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Speaker 2: trailer audio. It is a pretty fun trailer. I don't

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Speaker 2: actually recommend watching the trailer if you intend to see

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Speaker 2: the film in full, because it does that thing where

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Speaker 2: they take whatever action they can find in this movie

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Speaker 2: and they cobble all of it together into this trailer,

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Speaker 2: like you see stuff from the finale in there as well.

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Speaker 2: But still it's a fun one. So let's have a listen.

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Speaker 4: Madden, come with us. If you dare on a terrifying

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Speaker 4: journey through cells of madness, haunts of horror and fear,

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Speaker 4: Come with us to this forsaken monument of crumbling stones,

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Speaker 4: which echoes the desolate cries of the Descend with us

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Speaker 4: to the forbidden chambers of the ancient pagan gods of wrath,

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Speaker 4: where the Devil's Men perform the secret ritless of the

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Speaker 4: Land of the Mento. Those who enter the forbidden chamber

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Speaker 4: of the Minotaur must die. The Land of the Minotaur.

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Speaker 4: Donald bless us as the man of God who defies

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Speaker 4: the dark and sinister powers that curse this land and

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Speaker 4: all who venture into it. The Devil has many faces,

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Speaker 4: and many helpless too.

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Speaker 2: Come out of.

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Speaker 4: Peter Cushing as the red Prince of Evil who lures

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Speaker 4: young lovers into the deadly embrace of the Devil's Men.

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Speaker 4: The old customs remain, and the ancient gods live off.

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Speaker 4: The bullets cannot stop them, No really power can stop them.

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Speaker 4: The Land of a Minotaur the most terrifying film of

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Speaker 4: nineteen seventy seven. Coming to this theater soon. Don't miss it.

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Speaker 2: All right. I want to take issue with this trailer's

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Speaker 2: claim that this is quote the most terrifying film of

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Speaker 2: nineteen seventy seven. Note that it was released in the

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Speaker 2: UK and Greece in seventy six, and then in the

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Speaker 2: US and seventy seven, Because if this state were true

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Speaker 2: at all, it would mean that The Devil's Men is

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Speaker 2: more terrifying than such films as Alukarda, Blue Sunshine, The Deep,

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Speaker 2: Demon Seed, Eraser head House, The Incredible Melting Man, The

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Speaker 2: Island of Doctor Moreau, Cronenberg's Rabid Rituals, Rolling Thunder, The Sentinel,

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Speaker 2: Mario Baba's Shock, Shock Waves, Sorcerer, and Suspiria. Wow. So granted,

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Speaker 2: it's you know, pure marketing. Everything's fair in marketing. If

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Speaker 2: no one else is going to say you have the

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Speaker 2: most terrifying film with seventy seven, you might as well

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Speaker 2: say it. But I don't think a strong case can

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Speaker 2: be made for The Devil's Men over these films.

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Speaker 3: Now when it comes to ways of watching The Devil's

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Speaker 3: Men or the Land of the Minotaur. This is actually

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Speaker 3: a movie I became aware of a while back. It

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Speaker 3: might have been when we did our core episodes on

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Speaker 3: the Minotaur myth, I'm not sure. Sometime in the past

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Speaker 3: few years I found out about this and the streaming

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Speaker 3: version I found of it online. At the time, I

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Speaker 3: wanted to watch, but the quality was like so bad

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Speaker 3: it looked unwatchable. But there's actually a very nice blu

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Speaker 3: ray or DVD whichever it is that we watched it.

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Speaker 3: But I guess it was a Blu ray and it

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Speaker 3: looked really good.

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Speaker 2: Yeah, this is a terrific Blu ray release from Indicator.

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Speaker 2: I don't think they put out a lot of copies

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Speaker 2: of this is one of these, like limited to however

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Speaker 2: many thousand in the US, but it, you know, reasonably priced.

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Speaker 2: Includes a new two K restoration from the original negative,

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Speaker 2: two different cuts of the film, lots of other extras,

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Speaker 2: so you know, whatever faults you might have with the

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Speaker 2: movie itself, like this is a This is a great

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Speaker 2: presentation of it and has some great background. There's some

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Speaker 2: commentary tracks, so I highly recommend it if you if

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Speaker 2: you are inclined to view the movie. We're going to

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Speaker 2: pass our copy of it onto Videodrome here in Atlanta

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Speaker 2: after we're done with it, so you might be able

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Speaker 2: to rent it from them if you happen to be local.

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Speaker 2: All right, let's get into the people involved in this movie.

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Speaker 2: And I'm gonna go ahead and apologize at the top here.

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Speaker 2: We're dealing with some Greek names here, and it's entirely possible,

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Speaker 2: if not likely, that I'm going to mispronounce something. The

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Speaker 2: director is Costas Karagaianis, who lived nineteen thirty two through

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Speaker 2: nineteen ninety three, a very established Greek director of various genres,

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Speaker 2: but this was his first and only horror film. He'd

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Speaker 2: done some thrillers, it looks like. But in some of

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Speaker 2: the commentary I've read, a lot of people touch on

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Speaker 2: this that this is the only time he dipped his

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Speaker 2: toes in horror, and perhaps it shows in his unwillingness

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Speaker 2: or I don't know, just inability. I don't know how

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Speaker 2: you want to look at it, but the fact that

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Speaker 2: it doesn't really go after those horror moments the way

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Speaker 2: that other horror films would have. So, you know, because

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Speaker 2: while he draws on a lot on various setenic called

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Speaker 2: horror films, the horror, the tear, the suspense elements in

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Speaker 2: this film often feel a little bit blunted. We get

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Speaker 2: some great ambiance in places, and certainly with the aid

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Speaker 2: of ENO's score, we get a strong dreamlike flavor to

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Speaker 2: various scenes, but I feel like these scenes are often lacking,

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Speaker 2: again in that special something to push them over the

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Speaker 2: top and make them actually memorable.

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Speaker 3: Yeah, I agree, I think I mean, for one thing,

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Speaker 3: I think we have something of a problem that, like

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Speaker 3: the the main monster in this film is actually just

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Speaker 3: a statue, and it's not that scary looking of a statue.

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Speaker 3: It's sort of more on the funny looking side. And

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Speaker 3: so that's the main monster. And then we've got some

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Speaker 3: cult members who where you know, anytime you put somebody

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Speaker 3: in creepy cult robes with hoods, that looks creepy, but

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Speaker 3: they're they're still not really used much. I mean, they're

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Speaker 3: like some scenes where they they like peek in a

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Speaker 3: window to scare some but then they like pull their

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Speaker 3: head back out of the window when the person sees them,

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Speaker 3: and it just looks funny.

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Speaker 2: Yeah, I mean yeah, because there are shots where the

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Speaker 2: cult members are scary and you see those eyes behind

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Speaker 2: the mask and all, but yeah, other times not so much.

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Speaker 2: Sometimes they're bulletproof, and that's never explained either.

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Speaker 3: Dumble Pleasance makes reference to that almost as if it's

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Speaker 3: like a known thing about cult members. He's like, they

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Speaker 3: can't be destroyed by At one point, I think he says,

401
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Speaker 3: the force of an automobile is not enough to destroy

402
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Speaker 3: them because they hit a cult member with the car.

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Speaker 3: But he's fine.

404
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Speaker 2: I guess that's the this is the benefit. This is

405
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Speaker 2: the fringe benefit for worshiping the Minota. Now Cagan is here.

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Speaker 2: His other big films for the Greek market included nineteen

407
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Speaker 2: seventy three's Tango of Perversion, nineteen seventy four's Death Kiss,

408
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Speaker 2: in nineteen seventy seven's Dangerous Cargo. Again, this was partially

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Speaker 2: a Greek production, but you had outside money coming in.

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Speaker 2: Interestingly enough, I think some Getty money was involved in

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Speaker 2: funding this particular picture.

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Speaker 3: Huh.

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Speaker 2: They were involved in the film production for a while there. Huh.

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Speaker 2: All right. The rider here is Arthur Rowe, who lived

415
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Speaker 2: nineteen twenty three through nineteen ninety eight, an American rider

416
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Speaker 2: with TV writing credits going back into the early nineteen fifties,

417
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Speaker 2: eventually including episodes of such shows as Kuljak, The Knight Stalker,

418
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Speaker 2: The Bionic Woman, and Fantasy Island. Those last two he

419
00:23:22,640 --> 00:23:25,480
Speaker 2: was also a producer on those. He wrote three other

420
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Speaker 2: screenplays that made it to that made it to film.

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Speaker 2: Those include nineteen seventy one Zeppelin, nineteen seventy two's The

422
00:23:32,280 --> 00:23:36,920
Speaker 2: Magnificent Seven Ride. I assume it's a sequel. It sounds

423
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Speaker 2: like it's an actual ride though, but you know, like

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Speaker 2: you were with the ride at Universal Studios. Yeah, yeah,

425
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Speaker 2: but it's it's a movie. I don't know anything about it. Also,

426
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Speaker 2: in nineteen seventy six Coljack TV movie Demon and the Mummy.

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Speaker 3: Was there supernatural stuff in Coljak Yeah? Yeah, Oh okay,

428
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Speaker 3: I didn't know that.

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Speaker 2: Yeah. Yeah, that was a fun show back back back

430
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Speaker 2: in the day. I I mean, I didn't watch it

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Speaker 2: back in the day, but I watched it at some point,

432
00:24:03,440 --> 00:24:05,200
Speaker 2: like on sci Fi Channel in nineties.

433
00:24:05,400 --> 00:24:07,840
Speaker 3: Oh okay, I've never seen it. I assumed it was

434
00:24:07,880 --> 00:24:10,560
Speaker 3: an earthy, realistic cop thriller.

435
00:24:11,320 --> 00:24:14,600
Speaker 2: Yeah what Darren McGavin, I believe played the lead in that.

436
00:24:15,200 --> 00:24:17,800
Speaker 2: All right, let's get down into the cast of this film, though,

437
00:24:18,680 --> 00:24:22,119
Speaker 2: top billing goes to Donald Pleasants, who plays Father Roach

438
00:24:22,200 --> 00:24:27,200
Speaker 2: in this lived nineteen nineteen through nineteen ninety five. This

439
00:24:27,560 --> 00:24:30,879
Speaker 2: is our first Donald Pleasants film, famous British actor of stage,

440
00:24:30,880 --> 00:24:34,680
Speaker 2: screen and TV. He was reportedly offered the villain role

441
00:24:34,720 --> 00:24:36,679
Speaker 2: for this picture but said nope, he would only do

442
00:24:36,720 --> 00:24:38,399
Speaker 2: it if you got to play the hero, as he

443
00:24:38,480 --> 00:24:41,760
Speaker 2: was a bit burnout. I'm playing the villains at the time,

444
00:24:42,080 --> 00:24:45,040
Speaker 2: because of course he's a member of the Bond Villain Club.

445
00:24:45,119 --> 00:24:49,640
Speaker 2: Having played the Bond villain Blowfield in nineteen sixty seven's

446
00:24:49,760 --> 00:24:51,560
Speaker 2: You Only Live Twice.

447
00:24:51,440 --> 00:24:54,120
Speaker 3: It's blow Fell, Drob. I know you're not a Bond fan,

448
00:24:54,280 --> 00:25:00,800
Speaker 3: but it's Blowfeld. He Blowfel, not Blowfield. Blowfeld hu Bofield.

449
00:25:00,480 --> 00:25:02,560
Speaker 2: Sounds like more of an actual name. I don't know.

450
00:25:03,480 --> 00:25:10,280
Speaker 3: Blowfeld is Springfield exactly. He has a secret volcano layer

451
00:25:10,359 --> 00:25:12,280
Speaker 3: and you Only Live twice. And you only live twice

452
00:25:12,359 --> 00:25:16,160
Speaker 3: is the one where Blowfeld feeds his victims to piranhas.

453
00:25:16,280 --> 00:25:18,800
Speaker 3: So he has like a bridge leading to his office,

454
00:25:19,119 --> 00:25:22,040
Speaker 3: and when you're walking over the bridge, if he's unhappy

455
00:25:22,080 --> 00:25:24,760
Speaker 3: with you, he presses a button, the bridge collapses and

456
00:25:24,800 --> 00:25:26,080
Speaker 3: you fall into the Piranha pit.

457
00:25:26,720 --> 00:25:30,520
Speaker 2: Hmm. I remember enjoying this one as a child, watching

458
00:25:30,600 --> 00:25:33,199
Speaker 2: it on Turner channels and stuff. I think there's what

459
00:25:33,280 --> 00:25:36,800
Speaker 2: a airplane that folds into a suitcase. There are ninjas,

460
00:25:37,160 --> 00:25:39,520
Speaker 2: and then there's a lot of a lot of racial

461
00:25:39,560 --> 00:25:41,160
Speaker 2: stuff that probably hasn't aged well.

462
00:25:41,640 --> 00:25:44,359
Speaker 3: Yeah, there is a really unfortunate whole sequence where they

463
00:25:44,359 --> 00:25:49,720
Speaker 3: attempt to turn James Bond Japanese and yeah, it's it's weird,

464
00:25:49,840 --> 00:25:52,640
Speaker 3: but the villain stuff in it is pretty good.

465
00:25:53,560 --> 00:25:55,359
Speaker 2: Now I think you can see the impact of that

466
00:25:55,480 --> 00:25:59,320
Speaker 2: role on subsequent Donald Pleasant's villain rolls. You know that

467
00:25:59,400 --> 00:26:04,080
Speaker 2: sort of detched, gray eyed mastermind sort of performance, which,

468
00:26:04,280 --> 00:26:07,159
Speaker 2: again Pleasants is a solid professional, So it's solid stuff

469
00:26:07,240 --> 00:26:12,840
Speaker 2: even in some really lackluster films. But the thing about

470
00:26:12,880 --> 00:26:14,680
Speaker 2: Pleasance is he did a lot more than just those

471
00:26:14,720 --> 00:26:18,159
Speaker 2: villain roles. We see in this film, a kind of

472
00:26:18,240 --> 00:26:20,560
Speaker 2: hint of what was to come with his Doctor Loomis

473
00:26:20,560 --> 00:26:23,760
Speaker 2: performance in the Halloween franchise. He had a memorable role

474
00:26:23,800 --> 00:26:26,280
Speaker 2: in the Great Escape from nineteen sixty three, which was

475
00:26:26,320 --> 00:26:29,560
Speaker 2: itself quite fitting because Donald Pleasant served in the RAF

476
00:26:29,720 --> 00:26:33,320
Speaker 2: during World War II, was captured and imprisoned in a

477
00:26:33,359 --> 00:26:34,680
Speaker 2: German prisoner of war camp.

478
00:26:34,880 --> 00:26:35,800
Speaker 3: Oh I didn't know that.

479
00:26:36,359 --> 00:26:40,359
Speaker 2: Yeah. So he has a pretty interesting filmography, but just

480
00:26:40,400 --> 00:26:44,080
Speaker 2: considering horror and sci fi, his credits include a nineteen

481
00:26:44,080 --> 00:26:48,120
Speaker 2: fifty six TV adaptation of nineteen eighty four nineteen sixties

482
00:26:48,320 --> 00:26:51,720
Speaker 2: The Flesh and the Fimes with Peter Cushing, Circus of Horrors,

483
00:26:51,800 --> 00:26:55,560
Speaker 2: and the Hands of Orlock in nineteen sixty nineteen sixty

484
00:26:55,640 --> 00:26:59,479
Speaker 2: six is Fantastic Voyage, THHX eleven thirty eight and nineteen

485
00:26:59,480 --> 00:27:03,160
Speaker 2: seventy one one Tales that witness Madness in seventy three,

486
00:27:03,520 --> 00:27:06,760
Speaker 2: From Beyond the Grave and Mutations in seventy four, an

487
00:27:06,800 --> 00:27:10,159
Speaker 2: adaptation of Dracula in seventy nine, The Puma Man in

488
00:27:10,240 --> 00:27:15,200
Speaker 2: nineteen eighty Puma Man. Puma Man is a great example

489
00:27:15,280 --> 00:27:18,320
Speaker 2: of him being asked to do the Bond villain thing

490
00:27:18,480 --> 00:27:20,720
Speaker 2: in a movie that is clearly not the best.

491
00:27:21,400 --> 00:27:25,440
Speaker 3: I'm trying to remember whether the villain role I'm thinking

492
00:27:25,480 --> 00:27:27,800
Speaker 3: of him in is the one from Puma Man or

493
00:27:27,840 --> 00:27:29,719
Speaker 3: the one from Warrior of the Lost World.

494
00:27:30,280 --> 00:27:31,919
Speaker 2: That's right, because that's another one where he does the

495
00:27:31,920 --> 00:27:33,639
Speaker 2: same thing, is asked to do the same That's eighty

496
00:27:33,680 --> 00:27:36,480
Speaker 2: three Sandwich. In between these two, You've got to Escape

497
00:27:36,520 --> 00:27:38,480
Speaker 2: from New York. In eighty one, that's a rather different

498
00:27:38,560 --> 00:27:39,160
Speaker 2: role for him.

499
00:27:39,440 --> 00:27:42,760
Speaker 3: He plays the President of the United States of America.

500
00:27:44,080 --> 00:27:47,920
Speaker 2: I remember reading about him talking about that role where

501
00:27:47,960 --> 00:27:50,000
Speaker 2: he's like, yeah, Carpenter asked me to play this role,

502
00:27:50,080 --> 00:27:52,320
Speaker 2: and so I had to work out why a British

503
00:27:52,359 --> 00:27:55,719
Speaker 2: person would become President of the United States and had

504
00:27:55,720 --> 00:27:59,280
Speaker 2: all this background material, and then he asked if Carpenter

505
00:27:59,359 --> 00:28:01,040
Speaker 2: wanted to read it, and Carpenter is like, now, I'm good,

506
00:28:02,960 --> 00:28:05,080
Speaker 2: but I like that commitment. The professionalism.

507
00:28:05,119 --> 00:28:07,760
Speaker 3: You know, the part when he's getting into the egg

508
00:28:07,800 --> 00:28:11,000
Speaker 3: shaped escape pod from Air Force one and he says like, man,

509
00:28:11,160 --> 00:28:12,720
Speaker 3: God being with you all.

510
00:28:14,760 --> 00:28:17,159
Speaker 2: It's a I mean, it's a pretty good performance in

511
00:28:17,320 --> 00:28:20,000
Speaker 2: Escape from New York. You know he especially later on

512
00:28:20,040 --> 00:28:23,280
Speaker 2: in the film where he's he's a little it's more

513
00:28:23,320 --> 00:28:24,720
Speaker 2: of a raw performance, you know.

514
00:28:25,320 --> 00:28:26,080
Speaker 3: Yeah.

515
00:28:26,200 --> 00:28:29,679
Speaker 2: Other filmsles see eighty twos Alone in the Dark Phenomena

516
00:28:29,840 --> 00:28:32,960
Speaker 2: in nineteen eighty five. This is the Dario Argento film, right.

517
00:28:32,960 --> 00:28:36,000
Speaker 3: That's right with him and Jennifer Connelly and one of

518
00:28:36,040 --> 00:28:39,600
Speaker 3: the craziest giallo plots of all time.

519
00:28:41,400 --> 00:28:43,440
Speaker 2: Let's see To Kill a Stranger in eighty six, Warrior

520
00:28:43,520 --> 00:28:47,280
Speaker 2: Queen in eighty seven, Specters and Prince of Darkness in

521
00:28:47,320 --> 00:28:50,200
Speaker 2: eighty seven. And in nineteen eighty eight, he's in that

522
00:28:50,280 --> 00:28:52,600
Speaker 2: nos Faratu in Venice movie. This is the one where

523
00:28:52,640 --> 00:28:56,680
Speaker 2: Klaskinski was asked to reprise his role as nos Faratu,

524
00:28:56,960 --> 00:28:59,120
Speaker 2: asked to shave his head and report to set, and

525
00:28:59,240 --> 00:29:01,080
Speaker 2: he was like, I'm not shaved my head this time.

526
00:29:01,720 --> 00:29:05,640
Speaker 2: And obviously there were a lot of problems with that movie,

527
00:29:05,960 --> 00:29:08,480
Speaker 2: but not pleasants. You can count unpleasants. He's a rock.

528
00:29:09,000 --> 00:29:11,000
Speaker 3: You know, if we ever wanted to do a John

529
00:29:11,040 --> 00:29:13,920
Speaker 3: Carpenter movie, I feel like we could do Prints of Darkness.

530
00:29:14,240 --> 00:29:18,600
Speaker 2: Yeah, I think that one would be a good selection. Yeah,

531
00:29:19,000 --> 00:29:20,960
Speaker 2: let's put a pin in that one. Consider coming back

532
00:29:21,000 --> 00:29:25,840
Speaker 2: to it. Great cast, weird film. Yeah, now real quick.

533
00:29:26,000 --> 00:29:28,600
Speaker 2: A few other things on Pleasants. I'm not going to

534
00:29:28,640 --> 00:29:30,880
Speaker 2: touch on everything he was in because again, all sorts

535
00:29:30,920 --> 00:29:33,440
Speaker 2: of different genres, but I will say he has a

536
00:29:33,600 --> 00:29:36,560
Speaker 2: very fun and very spirited role as a blue collar

537
00:29:36,640 --> 00:29:41,280
Speaker 2: police inspector in nineteen seventy two's Deathline. That it's one

538
00:29:41,320 --> 00:29:45,800
Speaker 2: of those terrific performances that completely elevates a film and

539
00:29:46,080 --> 00:29:48,920
Speaker 2: also is very much against type, at least for what

540
00:29:49,080 --> 00:29:51,640
Speaker 2: many of us might expect of Donald pleasants. If you're

541
00:29:51,680 --> 00:29:54,320
Speaker 2: a pleasance fan, check that one out. It's a lot

542
00:29:54,400 --> 00:29:57,000
Speaker 2: of fun. I've also heard great things about his performance

543
00:29:57,000 --> 00:30:00,280
Speaker 2: in the nineteen seventy one Australian new wave thriller Wake

544
00:30:00,320 --> 00:30:03,320
Speaker 2: and Fright from seventy one. A lot of people hold

545
00:30:03,360 --> 00:30:05,880
Speaker 2: that up is kind of an excellent buried gem.

546
00:30:06,120 --> 00:30:07,040
Speaker 3: Oh never heard of it?

547
00:30:07,640 --> 00:30:08,480
Speaker 2: Yeah.

548
00:30:08,520 --> 00:30:11,680
Speaker 3: Another thing, did you mention that he appears not only

549
00:30:11,680 --> 00:30:14,680
Speaker 3: in the first Halloween movie but in many Halloween sequels,

550
00:30:14,720 --> 00:30:18,120
Speaker 3: including sequels after he was killed in the previous film.

551
00:30:18,520 --> 00:30:21,600
Speaker 2: Oh no, no, I'm not as familiar with the various

552
00:30:21,600 --> 00:30:23,960
Speaker 2: Halloween sequels past two. I think.

553
00:30:24,320 --> 00:30:26,320
Speaker 3: Okay, so you remember at the end of Halloween two,

554
00:30:26,440 --> 00:30:30,280
Speaker 3: he's definitely dead, right, just explodes, huge ball of fire.

555
00:30:30,360 --> 00:30:31,680
Speaker 2: He's dead. Yeah.

556
00:30:31,760 --> 00:30:34,800
Speaker 3: Part three, no doll. Pleasants, totally story, we know.

557
00:30:35,240 --> 00:30:36,960
Speaker 2: I kind of forget that it's part of the Halloween

558
00:30:37,000 --> 00:30:39,520
Speaker 2: franchise because it's Yeah, obviously I'm familiar with three.

559
00:30:39,680 --> 00:30:44,160
Speaker 3: Right, Four he's just back. He's back, just some I think,

560
00:30:44,200 --> 00:30:47,560
Speaker 3: some scars on his face, and then I don't remember

561
00:30:47,600 --> 00:30:49,160
Speaker 3: what happens to him at the end of four, but

562
00:30:49,200 --> 00:30:50,360
Speaker 3: he's back again in five.

563
00:30:51,200 --> 00:30:54,480
Speaker 2: Oh wow. Also, just real quick, I'll note that he

564
00:30:54,560 --> 00:30:56,360
Speaker 2: also did a lot of TV. He was on the

565
00:30:56,400 --> 00:30:59,360
Speaker 2: original Twilight Zone, the original Outer Limits, and then much

566
00:30:59,480 --> 00:31:03,560
Speaker 2: later at the Bradbury Theater. Pretty good, pretty good. I

567
00:31:03,560 --> 00:31:05,680
Speaker 2: believe four of his daughters went into acting as well,

568
00:31:05,720 --> 00:31:08,840
Speaker 2: with the most notable being Angela Pleasants, who did quite

569
00:31:08,880 --> 00:31:11,280
Speaker 2: well for herself on stage, screen and TV. She's been

570
00:31:11,560 --> 00:31:12,440
Speaker 2: in a load of things.

571
00:31:13,080 --> 00:31:15,880
Speaker 3: One last thing you didn't mention, Donald Pleasance was the

572
00:31:15,920 --> 00:31:17,520
Speaker 3: spirit of dark and lonely water.

573
00:31:18,200 --> 00:31:23,560
Speaker 2: Yes, of course this was a like a public service

574
00:31:24,480 --> 00:31:27,760
Speaker 2: TV bit right that was warning children to stay away

575
00:31:27,800 --> 00:31:31,160
Speaker 2: from the dark and lonely water, stay away from those

576
00:31:31,240 --> 00:31:35,120
Speaker 2: green pools, lest dark fate fall upon you.

577
00:31:35,880 --> 00:31:38,040
Speaker 3: I think we talked about this in our episodes on

578
00:31:38,200 --> 00:31:39,240
Speaker 3: Jinny Green Teeth.

579
00:31:39,360 --> 00:31:41,080
Speaker 2: But yes, yeah, stuff to blow your mind.

580
00:31:41,120 --> 00:31:43,720
Speaker 3: Episode Yeah, narrated by Donald Pleasance.

581
00:31:44,120 --> 00:31:48,680
Speaker 2: All right, again, Peter Cushing is in this playing Barren CHLOROPHYX.

582
00:31:49,440 --> 00:31:50,920
Speaker 2: We're not gonna spend a lot of time talking about

583
00:31:50,920 --> 00:31:54,080
Speaker 2: Cushing here in this part because we've covered Cushing before.

584
00:31:54,160 --> 00:31:57,200
Speaker 2: He lived nineteen thirteen through nineteen ninety four, kind of

585
00:31:57,240 --> 00:31:59,800
Speaker 2: a weird, weird house cinema standard at this point. I

586
00:32:00,040 --> 00:32:02,160
Speaker 2: think the first time we discussed him was in our

587
00:32:02,240 --> 00:32:05,720
Speaker 2: episode on shock Waves, which came out the same year

588
00:32:05,720 --> 00:32:08,840
Speaker 2: as this. You know, this is what can you say?

589
00:32:08,840 --> 00:32:12,680
Speaker 2: This is Hammer's Doctor Frankenstein, this is Star Wars's Grand

590
00:32:12,800 --> 00:32:15,920
Speaker 2: Moth Tarkan. So he's always solid, whether he's playing a

591
00:32:16,000 --> 00:32:20,120
Speaker 2: villain or a hero. Though this is, as Graves points

592
00:32:20,160 --> 00:32:23,040
Speaker 2: out in the material on the Blu Ray later day Cushing,

593
00:32:23,640 --> 00:32:26,920
Speaker 2: during which he's generally more memorable and smaller, more intense

594
00:32:27,000 --> 00:32:30,280
Speaker 2: roles rather than bigger villain roles or you know, more

595
00:32:30,280 --> 00:32:31,440
Speaker 2: pronounced roles like this.

596
00:32:32,040 --> 00:32:36,080
Speaker 3: I want to say he seemed especially angular in this film.

597
00:32:36,120 --> 00:32:39,840
Speaker 3: Like Cushing always has a striking face with very sharp features,

598
00:32:40,360 --> 00:32:44,040
Speaker 3: but in this movie, it's just ridiculous his head. I

599
00:32:44,080 --> 00:32:45,880
Speaker 3: was trying to think what it reminded me of, and

600
00:32:45,960 --> 00:32:49,360
Speaker 3: I realized he looks like a Boss from the original

601
00:32:49,480 --> 00:32:54,560
Speaker 3: Star Fox video game, where it's just polygons, the angles,

602
00:32:54,640 --> 00:32:56,160
Speaker 3: the corners. It's crazy.

603
00:32:56,720 --> 00:32:58,640
Speaker 2: Yeah, I can see the comparison. It is a very

604
00:32:58,680 --> 00:33:00,600
Speaker 2: stark face. I mean, when he was a younger man,

605
00:33:00,640 --> 00:33:02,560
Speaker 2: he still had a very stark face, and here he's

606
00:33:02,640 --> 00:33:05,240
Speaker 2: you know, he's leaner, he's older. You know. I think

607
00:33:05,480 --> 00:33:07,680
Speaker 2: at this point he'd been through some you know, some

608
00:33:07,760 --> 00:33:11,160
Speaker 2: intense personal loss. His wife of many years had died

609
00:33:11,720 --> 00:33:14,040
Speaker 2: earlier in the seventies, and I think that kind of

610
00:33:14,040 --> 00:33:17,680
Speaker 2: cast a shadow on him personally for a good decade there,

611
00:33:19,000 --> 00:33:22,520
Speaker 2: if not the rest of his life. But again, consummate professional,

612
00:33:23,160 --> 00:33:26,080
Speaker 2: very talented, even in a role like this that isn't

613
00:33:26,120 --> 00:33:29,720
Speaker 2: really asking him to go beyond any anywhere, you know,

614
00:33:29,880 --> 00:33:32,400
Speaker 2: even even though he doesn't really do anything all that

615
00:33:32,520 --> 00:33:34,760
Speaker 2: memorable it's still nice when he's on screen. All right?

616
00:33:35,040 --> 00:33:37,800
Speaker 2: Who else is in this thing? Okay? We have lou

617
00:33:37,880 --> 00:33:41,360
Speaker 2: N Peters playing Laurie. Lou N Peters lived nineteen forty

618
00:33:41,400 --> 00:33:44,800
Speaker 2: six through twenty seventeen, also sometimes known as Carol Keys,

619
00:33:45,080 --> 00:33:48,800
Speaker 2: beautiful blonde English actress and singer. She started out on

620
00:33:48,880 --> 00:33:51,600
Speaker 2: TV in the late sixties, but eventually became a hammer

621
00:33:51,680 --> 00:33:55,280
Speaker 2: horror star after appearing in nineteen seventy one's Lust for

622
00:33:55,320 --> 00:33:59,520
Speaker 2: a Vampire and Twins of Evil, which had Peter Cushing

623
00:33:59,520 --> 00:33:59,760
Speaker 2: in it.

624
00:34:00,120 --> 00:34:04,800
Speaker 3: Peter Cushing plays a kind of witch finder inquisitor sort

625
00:34:04,800 --> 00:34:11,000
Speaker 3: of character in that he's the very stern church like

626
00:34:11,160 --> 00:34:14,280
Speaker 3: uncle of the twins of the titular Twins of Evil.

627
00:34:14,920 --> 00:34:17,719
Speaker 2: Ah are the twins themselves evil? Or are they just

628
00:34:17,760 --> 00:34:18,360
Speaker 2: aw of evil?

629
00:34:18,880 --> 00:34:21,200
Speaker 3: Only one of them is evil? One becomes the sort

630
00:34:21,239 --> 00:34:25,040
Speaker 3: of vampire bride of Count Carnstein.

631
00:34:25,400 --> 00:34:26,040
Speaker 2: Is that what he is?

632
00:34:26,080 --> 00:34:29,000
Speaker 3: He's the guy in the So there's like an evil

633
00:34:29,200 --> 00:34:31,880
Speaker 3: count in the movie who is a Satan worshiper. He

634
00:34:31,960 --> 00:34:34,719
Speaker 3: has dinner parties where he lifts his goblet and says

635
00:34:34,840 --> 00:34:40,280
Speaker 3: to Satan, and he seduces one of the two twins,

636
00:34:40,280 --> 00:34:42,279
Speaker 3: and that and she becomes evil, but the other one

637
00:34:42,320 --> 00:34:42,680
Speaker 3: is good.

638
00:34:43,200 --> 00:34:47,440
Speaker 2: Oh okay, all right. Her other Lun Peter's other horror

639
00:34:47,440 --> 00:34:50,239
Speaker 2: credits include the Flesh and Blood Show from seventy two,

640
00:34:50,840 --> 00:34:53,840
Speaker 2: Vampira from nineteen seventy four, but I have to stress

641
00:34:54,200 --> 00:34:58,160
Speaker 2: not the seemingly lost German TV movie Vampira, directed by

642
00:34:58,200 --> 00:35:02,440
Speaker 2: George Morse, starring Grisha Huber and with an early score

643
00:35:02,520 --> 00:35:05,239
Speaker 2: by Tangerine Dream. I'd love to get my hands on this.

644
00:35:05,520 --> 00:35:07,600
Speaker 2: If you have a copy of this, email us. But

645
00:35:07,760 --> 00:35:10,879
Speaker 2: no Peters was in the Vampira movie that is also

646
00:35:11,000 --> 00:35:12,280
Speaker 2: known as Old Dracula.

647
00:35:12,560 --> 00:35:13,520
Speaker 3: I don't know that one.

648
00:35:14,280 --> 00:35:17,280
Speaker 2: It's not supposed to be very good. Her TV credits

649
00:35:17,320 --> 00:35:20,560
Speaker 2: include two episodes of Doctor Who and a memorable gag

650
00:35:20,600 --> 00:35:24,279
Speaker 2: on Faulty Towers. I included a screenshot from this for

651
00:35:24,440 --> 00:35:27,400
Speaker 2: You Hear Joe, as well as one of her album covers.

652
00:35:27,480 --> 00:35:30,440
Speaker 2: So yeah, she was quite a fairly successful back in

653
00:35:30,480 --> 00:35:30,759
Speaker 2: the day.

654
00:35:31,200 --> 00:35:34,080
Speaker 3: Love Countdown is the Leun Peters album.

655
00:35:34,520 --> 00:35:36,640
Speaker 2: Yeah, she's wearing like gold pants.

656
00:35:36,719 --> 00:35:41,080
Speaker 3: Gold pants, yellow top, blonde hair, sort of gold background

657
00:35:41,120 --> 00:35:42,360
Speaker 3: with gold lettering it.

658
00:35:42,840 --> 00:35:47,080
Speaker 2: Yeah, all right. We also have a character named Milo

659
00:35:47,239 --> 00:35:50,280
Speaker 2: that's going to be important, played by Kostas Kara Georgis,

660
00:35:50,640 --> 00:35:54,319
Speaker 2: who lived nineteen thirty eight through nineteen eighty nine. So

661
00:35:54,520 --> 00:35:57,800
Speaker 2: his character in this is an American playboy who spends

662
00:35:57,840 --> 00:36:01,480
Speaker 2: the first couple of scenes naked in New York, not

663
00:36:01,520 --> 00:36:04,600
Speaker 2: on the streets, like in a like a penthouse apartment.

664
00:36:05,520 --> 00:36:08,239
Speaker 2: But the actor is a Greek leading man.

665
00:36:08,480 --> 00:36:12,080
Speaker 3: He looks like he's in a room at the playboy mansion,

666
00:36:12,239 --> 00:36:14,920
Speaker 3: but in all of his scenes in his room there's

667
00:36:15,160 --> 00:36:18,440
Speaker 3: like church organ music playing in the background. Did you

668
00:36:18,480 --> 00:36:19,000
Speaker 3: notice that?

669
00:36:19,080 --> 00:36:20,000
Speaker 2: I didn't notice that.

670
00:36:20,320 --> 00:36:21,080
Speaker 3: What's going on?

671
00:36:21,960 --> 00:36:27,000
Speaker 2: Yeah? So this may be his best known international film,

672
00:36:27,239 --> 00:36:30,880
Speaker 2: but his other works include nineteen sixty two Sky, nineteen

673
00:36:30,920 --> 00:36:33,880
Speaker 2: seventy three's Love on a Horse, and nineteen seventy seven's

674
00:36:33,960 --> 00:36:37,440
Speaker 2: Dangerous Cargo, which we referenced earlier. He's kind of a young,

675
00:36:37,880 --> 00:36:43,200
Speaker 2: prematurely gray or white haired fella, and I think he's

676
00:36:43,280 --> 00:36:47,160
Speaker 2: ultimately he's good in this, but again it's this is

677
00:36:47,200 --> 00:36:49,080
Speaker 2: a hard film to gauge anyone's talent on.

678
00:36:49,560 --> 00:36:52,120
Speaker 3: Yeah, I don't think the actor is bad. I think

679
00:36:52,160 --> 00:36:56,880
Speaker 3: it's a very poorly written part. His character is very flat,

680
00:36:57,080 --> 00:37:00,160
Speaker 3: like he just has basically one type of line, which

681
00:37:00,239 --> 00:37:03,440
Speaker 3: is I'm a detective. I need facts, stop with your

682
00:37:03,480 --> 00:37:04,080
Speaker 3: day dreaming.

683
00:37:06,200 --> 00:37:10,560
Speaker 2: Yeah, he's like a private detective that I this film.

684
00:37:10,800 --> 00:37:14,919
Speaker 2: I'm really floored by what the actual connections between any

685
00:37:14,920 --> 00:37:18,319
Speaker 2: given character is to another. Like, yes, we have this

686
00:37:18,480 --> 00:37:24,800
Speaker 2: basic idea that Donald pleasants, this kind of Catholic priest

687
00:37:25,080 --> 00:37:28,439
Speaker 2: has like this, this long standing relationship with these these

688
00:37:28,480 --> 00:37:30,680
Speaker 2: young folk that have gone out all over the world.

689
00:37:31,040 --> 00:37:32,920
Speaker 2: But I don't know what that was like he was

690
00:37:32,960 --> 00:37:36,400
Speaker 2: he a teacher, did he raise them? I don't. I

691
00:37:36,520 --> 00:37:37,040
Speaker 2: just don't know.

692
00:37:37,280 --> 00:37:39,400
Speaker 3: They don't make it seem like that. So yeah, but

693
00:37:39,440 --> 00:37:44,880
Speaker 3: it's very perplexing. He he's father Roach. Father Roche sorry

694
00:37:44,960 --> 00:37:49,840
Speaker 3: for Roche, is an Irish priest living in Greece who

695
00:37:49,880 --> 00:37:56,200
Speaker 3: constantly has American archaeology students coming to live at his

696
00:37:56,320 --> 00:37:58,160
Speaker 3: house while they do archaeology.

697
00:37:58,920 --> 00:38:04,239
Speaker 2: Yeah, in his main finding characteristics are, you know, likes

698
00:38:04,239 --> 00:38:06,800
Speaker 2: the young people, he's hip with the young people, loves

699
00:38:06,800 --> 00:38:08,879
Speaker 2: God of course, hates minotar.

700
00:38:08,600 --> 00:38:11,720
Speaker 3: Cults, hates the devil. He's really not into the devil.

701
00:38:12,360 --> 00:38:14,600
Speaker 3: But yeah, also, like you said, it would be one

702
00:38:14,600 --> 00:38:16,959
Speaker 3: thing if he was like, oh, yeah, I run a

703
00:38:17,040 --> 00:38:20,600
Speaker 3: hostel for traveling students or something, but it's not like that.

704
00:38:20,640 --> 00:38:23,360
Speaker 3: It's like he knows all of these students from long before.

705
00:38:23,360 --> 00:38:25,080
Speaker 3: He's like, oh, I remember you when you were just

706
00:38:25,120 --> 00:38:27,600
Speaker 3: a child. So does he Where does he know him from?

707
00:38:28,160 --> 00:38:30,240
Speaker 2: Was there another movie we were supposed to have watched

708
00:38:30,360 --> 00:38:31,520
Speaker 2: or something?

709
00:38:31,600 --> 00:38:33,719
Speaker 3: You know, I think they're trying to set up a

710
00:38:33,760 --> 00:38:35,480
Speaker 3: sequel to this movie at the very.

711
00:38:35,320 --> 00:38:37,400
Speaker 2: He did do that at the end, yeah, where they're like,

712
00:38:37,600 --> 00:38:39,960
Speaker 2: well the evil is defeated for today.

713
00:38:40,200 --> 00:38:43,520
Speaker 3: But he turns to Milo and he's like, I may

714
00:38:43,600 --> 00:38:45,640
Speaker 3: need your help in films yet to come.

715
00:38:46,120 --> 00:38:49,719
Speaker 2: Yeah, if the Getty money continues to pour in, we

716
00:38:49,760 --> 00:38:51,000
Speaker 2: may have another adventure.

717
00:38:51,719 --> 00:38:54,840
Speaker 3: But also so that those are our three main characters

718
00:38:54,840 --> 00:38:59,600
Speaker 3: when we've got father, Father, Roche, Milo and Laurie that

719
00:38:59,760 --> 00:39:02,440
Speaker 3: they're they're the three main casts starting at like a

720
00:39:02,480 --> 00:39:04,839
Speaker 3: third of the way in. But also, this movie has

721
00:39:04,880 --> 00:39:05,920
Speaker 3: too many characters.

722
00:39:06,640 --> 00:39:08,560
Speaker 2: Yeah, there are a whole bunch of other characters who

723
00:39:08,600 --> 00:39:13,040
Speaker 2: really don't do much other than behave in a sexist

724
00:39:13,120 --> 00:39:15,719
Speaker 2: manner and then get kidnapped by minotar cults. So we

725
00:39:15,840 --> 00:39:21,000
Speaker 2: have Bob Belling playing Tom Belling lived I believe nineteen

726
00:39:21,080 --> 00:39:23,279
Speaker 2: forty four through nineteen seventy seven. These dates are not

727
00:39:23,320 --> 00:39:26,239
Speaker 2: listed on the major databases, but I spoken around. I

728
00:39:26,280 --> 00:39:29,560
Speaker 2: think they're correct, but they could be incorrect. American actor

729
00:39:29,600 --> 00:39:32,200
Speaker 2: and model who worked extensively in Greece for a while,

730
00:39:32,480 --> 00:39:35,560
Speaker 2: appearing in at least five films, but I'm to understand

731
00:39:35,600 --> 00:39:38,840
Speaker 2: he also did some modeling work. Three of his films

732
00:39:38,880 --> 00:39:42,040
Speaker 2: were all released in seventy six. This a kind of

733
00:39:42,080 --> 00:39:45,520
Speaker 2: Greek jallo film called The Hook, and a notorious video

734
00:39:45,680 --> 00:39:49,200
Speaker 2: nasty titled Island of Death, about a pair of British

735
00:39:49,239 --> 00:39:52,840
Speaker 2: newlyweds who seem like they're just on a honeymoon and

736
00:39:52,920 --> 00:39:55,600
Speaker 2: enjoying life, but then they go on a religious, murderous

737
00:39:55,680 --> 00:40:00,239
Speaker 2: rampage through rural Greece. It's kind of universally reviled and

738
00:40:00,480 --> 00:40:04,960
Speaker 2: was seemingly his final film before his possible untimely death. Again,

739
00:40:05,360 --> 00:40:07,719
Speaker 2: I'm not one hundred percent sure on these dates, but

740
00:40:07,760 --> 00:40:08,800
Speaker 2: that seems to be the story.

741
00:40:09,440 --> 00:40:13,160
Speaker 3: I noticed in this movie when I was first watching it,

742
00:40:13,200 --> 00:40:15,120
Speaker 3: I saw an actor. I was like, wait a minute,

743
00:40:15,280 --> 00:40:18,839
Speaker 3: Brad Douriff's in this. It wasn't Brad Dourif, but at

744
00:40:18,840 --> 00:40:22,200
Speaker 3: certain angles, this actor looks a lot like Brad Douraf,

745
00:40:22,280 --> 00:40:24,839
Speaker 3: except more with a kind of football player physique.

746
00:40:25,440 --> 00:40:27,040
Speaker 2: Yeah, I think he has a great look, you know,

747
00:40:27,160 --> 00:40:30,439
Speaker 2: like clearly he's he's like a cut leading man type

748
00:40:30,480 --> 00:40:34,040
Speaker 2: with this kind of like rugged seventies hair and face. Again,

749
00:40:34,080 --> 00:40:36,400
Speaker 2: he doesn't really get to do much in this and

750
00:40:36,440 --> 00:40:38,680
Speaker 2: once he's kidnapped by the Minotaur cult, like that's it.

751
00:40:39,320 --> 00:40:41,320
Speaker 2: You're tied up for the remainder of scenes.

752
00:40:41,640 --> 00:40:44,040
Speaker 3: I guess you wouldn't think that brad Dorof could so

753
00:40:44,200 --> 00:40:47,200
Speaker 3: easily with a few tweaks go into like total hunk mode.

754
00:40:47,280 --> 00:40:51,359
Speaker 3: But yeah, he's pretty close already. Sorry, we just got

755
00:40:51,360 --> 00:40:54,919
Speaker 3: sidetracked with a significant off mic conversation about which guy

756
00:40:55,160 --> 00:40:59,600
Speaker 3: was which, whether which Tom was witch character and Ian

757
00:40:59,840 --> 00:41:02,880
Speaker 3: was which character. But I think all the stuff you

758
00:41:03,040 --> 00:41:05,080
Speaker 3: just said we are talking about the same guy.

759
00:41:05,680 --> 00:41:10,239
Speaker 2: Yeah. There, the secondary young people are easily confused in

760
00:41:10,280 --> 00:41:13,640
Speaker 2: this film, all right. We also have an actor named

761
00:41:13,880 --> 00:41:18,760
Speaker 2: Jane Lyle who plays Milo's girlfriend dates unknown British model.

762
00:41:19,160 --> 00:41:22,680
Speaker 2: I think she plays the wife in Island of the

763
00:41:22,760 --> 00:41:26,759
Speaker 2: Dead opposite Belling. These are her only film credits, though

764
00:41:26,760 --> 00:41:29,160
Speaker 2: there is also sometimes a third credit nineteen seventy eight's

765
00:41:29,160 --> 00:41:33,480
Speaker 2: Erotic Nightmare. Is she a great actor? Probably not, but

766
00:41:33,680 --> 00:41:35,719
Speaker 2: to be fair, she's given very little to do in

767
00:41:35,760 --> 00:41:38,759
Speaker 2: this film other than be naked in that penthouse in

768
00:41:38,800 --> 00:41:42,520
Speaker 2: New York. One last person of note is that this

769
00:41:42,560 --> 00:41:46,520
Speaker 2: film also features Jessica Dublin playing Miss Zagross. She lived

770
00:41:46,600 --> 00:41:49,600
Speaker 2: nineteen eighteen through twenty twelve, another American actor who is

771
00:41:49,640 --> 00:41:51,759
Speaker 2: working in Europe at the time. Her credits go all

772
00:41:51,760 --> 00:41:53,880
Speaker 2: the way back to nineteen sixty nine, but then with

773
00:41:53,920 --> 00:41:56,719
Speaker 2: a lot of early work in eurocinema, she appeared in

774
00:41:56,880 --> 00:42:00,440
Speaker 2: The Hook, Death Has Blue Eyes, The Devil's Men. Of course,

775
00:42:00,600 --> 00:42:03,600
Speaker 2: She's also an Island of Death all in seventy six.

776
00:42:03,640 --> 00:42:05,880
Speaker 2: But then she eventually moves back to the States and

777
00:42:05,960 --> 00:42:08,800
Speaker 2: appears in the nineteen eighty eight horror movie The Rejuvenator,

778
00:42:09,239 --> 00:42:13,240
Speaker 2: and also several trauma films, including Trauma's War in eighty

779
00:42:13,239 --> 00:42:16,799
Speaker 2: eight and Toxic Avenger two and three in eighty nine.

780
00:42:17,080 --> 00:42:19,480
Speaker 3: Haven't seen those, and please don't tell me we're going

781
00:42:19,520 --> 00:42:21,239
Speaker 3: to start doing trauma films.

782
00:42:22,480 --> 00:42:24,880
Speaker 2: I you know, off the top of my head, I

783
00:42:24,920 --> 00:42:26,880
Speaker 2: don't know that I've ever watched one in its entirety.

784
00:42:26,880 --> 00:42:29,840
Speaker 2: I remember seeing parts of them on TV back in

785
00:42:29,880 --> 00:42:34,440
Speaker 2: the nineties. But yeah, so listener recommendations, let us let's happen.

786
00:42:35,040 --> 00:42:38,480
Speaker 3: I mean, they're you know, they embrace the cheese, and

787
00:42:38,800 --> 00:42:41,359
Speaker 3: I feel like they're the kind of film that, on

788
00:42:41,520 --> 00:42:44,399
Speaker 3: paper would be something that we should enjoy, but I

789
00:42:44,480 --> 00:42:55,000
Speaker 3: just don't like them.

790
00:42:55,040 --> 00:42:56,800
Speaker 2: All right, Well, let's talk about the music. What do

791
00:42:56,840 --> 00:42:58,080
Speaker 2: you want to talk about first? You want to talk

792
00:42:58,120 --> 00:43:00,160
Speaker 2: about eno or do you want to talk about the

793
00:43:00,160 --> 00:43:02,040
Speaker 2: theme song that we get at the credits?

794
00:43:02,080 --> 00:43:04,800
Speaker 3: Oh? Man, how about that rockin theme song?

795
00:43:05,840 --> 00:43:09,520
Speaker 2: Yeah? This is It's titled The Devil's Men, with music

796
00:43:09,560 --> 00:43:13,080
Speaker 2: by Carl Jenkins, who I think, unless I'm confused here,

797
00:43:13,160 --> 00:43:16,640
Speaker 2: I believe as a Welsh composer born nineteen forty four,

798
00:43:17,840 --> 00:43:21,759
Speaker 2: lyrics by Carol Ann Barrett. And then the singer is

799
00:43:21,800 --> 00:43:26,319
Speaker 2: Paul Williams, though not that Paul Williams, a different Paul.

800
00:43:26,480 --> 00:43:30,040
Speaker 2: This is the English blues and rock singer Paul Williams

801
00:43:30,160 --> 00:43:34,040
Speaker 2: who was in the band Zoot Money and Juicy Lucy.

802
00:43:34,400 --> 00:43:38,600
Speaker 2: Juicy Lucy apparently also featured future Whitesnake guitarist Nick Moody.

803
00:43:39,040 --> 00:43:42,759
Speaker 3: Juicy Lucy's album titles sound like spinal tap albums. One

804
00:43:42,800 --> 00:43:46,760
Speaker 3: of them is pretty much called Smell the Glove. It's

805
00:43:48,080 --> 00:43:50,080
Speaker 3: I don't really I'm not familiar with this band much,

806
00:43:50,160 --> 00:43:53,799
Speaker 3: but this track was rockin it felt like, you know,

807
00:43:53,800 --> 00:43:56,319
Speaker 3: it had a little bit of I was trying to

808
00:43:56,320 --> 00:44:00,200
Speaker 3: think what reminded me of Black Sabbath about it, and

809
00:44:00,239 --> 00:44:02,359
Speaker 3: I think maybe it was the drums. It had some

810
00:44:02,480 --> 00:44:06,000
Speaker 3: kind of more interesting, kind of jazzy drum fills like

811
00:44:06,040 --> 00:44:09,520
Speaker 3: Bill Ward does on some Black Sabbath songs. But it

812
00:44:09,520 --> 00:44:13,200
Speaker 3: also had this driving, kind of up tempo beat and

813
00:44:13,520 --> 00:44:16,200
Speaker 3: some really good synth, and the singer on it sounds

814
00:44:16,280 --> 00:44:17,760
Speaker 3: like the guy from Jethro Tull.

815
00:44:18,560 --> 00:44:21,680
Speaker 2: Yeah, yeah, yeah, I can see that comparison. It's kind

816
00:44:21,680 --> 00:44:22,080
Speaker 2: of catchy.

817
00:44:22,160 --> 00:44:28,040
Speaker 3: I kind of like it Devil Devil's Mayh.

818
00:44:28,160 --> 00:44:31,480
Speaker 2: But of course, the main attraction here is this terrific

819
00:44:31,520 --> 00:44:35,440
Speaker 2: score by Brian Eno born nineteen forty eight. Eno is,

820
00:44:35,480 --> 00:44:39,640
Speaker 2: of course, the legendary British musician, composer, record producer and

821
00:44:39,760 --> 00:44:43,600
Speaker 2: visual artists. I got it. I'm tempted to say bet

822
00:44:43,600 --> 00:44:46,239
Speaker 2: perhaps best known for his ambient work, but I mean

823
00:44:46,280 --> 00:44:50,239
Speaker 2: it's really too limiting to say that, because he's I mean,

824
00:44:50,280 --> 00:44:55,680
Speaker 2: his work encompasses pop, rock, funk, electronica, all sorts of stuff.

825
00:44:56,080 --> 00:44:59,520
Speaker 3: I was just trying to remember when I first became

826
00:44:59,640 --> 00:45:04,040
Speaker 3: aware of who Brian Eno was and I think I

827
00:45:04,080 --> 00:45:09,319
Speaker 3: discovered him through his collaborations with David Bowie. So I

828
00:45:09,320 --> 00:45:11,360
Speaker 3: think like when I was in high school, I first

829
00:45:11,400 --> 00:45:15,319
Speaker 3: heard some of those three Berlin albums. I heard like

830
00:45:15,440 --> 00:45:18,680
Speaker 3: low and I was like, oh wow, what is all

831
00:45:18,719 --> 00:45:23,520
Speaker 3: this real? Like spooky, haunting synthesizer, And I found out

832
00:45:23,520 --> 00:45:26,120
Speaker 3: Brian Eno had been a collaborator on these albums and

833
00:45:26,239 --> 00:45:29,239
Speaker 3: was partially responsible for the sound and direction of them.

834
00:45:30,239 --> 00:45:32,720
Speaker 3: But yeah, God, where do you start with Eno? That's

835
00:45:32,800 --> 00:45:33,880
Speaker 3: my personal story.

836
00:45:34,640 --> 00:45:37,360
Speaker 2: Yeah, yeah, I mean he he played synth and roxy

837
00:45:37,440 --> 00:45:40,720
Speaker 2: music from seventy through seventy three. He's still active today,

838
00:45:40,840 --> 00:45:45,000
Speaker 2: still producing, still writing, you know, still building up that legacy.

839
00:45:46,280 --> 00:45:48,360
Speaker 2: When now I guess it's in a way it's easier

840
00:45:48,440 --> 00:45:50,880
Speaker 2: to just sort of like hone in on his work

841
00:45:50,920 --> 00:45:54,560
Speaker 2: with film over the years, because when it comes to film,

842
00:45:54,680 --> 00:45:58,360
Speaker 2: his tracks and tracks that he's produced have been featured

843
00:45:58,400 --> 00:46:02,040
Speaker 2: on various soundtracks. His track an Ending Assent from the

844
00:46:02,120 --> 00:46:06,040
Speaker 2: nineteen eighty three album Apollo Atmospheres and Soundtracks has popped

845
00:46:06,120 --> 00:46:08,640
Speaker 2: up in more films and TV shows than I can list.

846
00:46:09,000 --> 00:46:14,640
Speaker 2: Absolutely amazing ambient track. He has also had composed isolated

847
00:46:14,719 --> 00:46:18,160
Speaker 2: tracks for films over the years, including the prophecy theme

848
00:46:18,200 --> 00:46:21,920
Speaker 2: from David Lynch's Dune in eighty four and from the

849
00:46:21,960 --> 00:46:26,600
Speaker 2: beginning from Dario Argento's Opera from eighty seven. He's also

850
00:46:26,680 --> 00:46:31,200
Speaker 2: composed a number of tracks for non existent films, and

851
00:46:31,239 --> 00:46:33,480
Speaker 2: I'm not deep enough on the background of these tracks

852
00:46:33,520 --> 00:46:36,960
Speaker 2: to know which ones were were in fact tracks he

853
00:46:37,040 --> 00:46:39,440
Speaker 2: composed for films that don't exist, that are kind of

854
00:46:39,480 --> 00:46:42,799
Speaker 2: like in the spirit of score composition, and I think

855
00:46:42,840 --> 00:46:45,399
Speaker 2: some of them were also like originally intended for film

856
00:46:45,440 --> 00:46:49,280
Speaker 2: product projects and they didn't come together. But you'll find

857
00:46:49,280 --> 00:46:52,160
Speaker 2: these on nineteen seventy eight's Music for Films and nineteen

858
00:46:52,200 --> 00:46:55,919
Speaker 2: eighty threes Music for Films, Volume two. But as far

859
00:46:55,960 --> 00:46:59,120
Speaker 2: as complete eno scores for films where like he's doing

860
00:46:59,520 --> 00:47:02,680
Speaker 2: the soul score work, he did some scores for Derek

861
00:47:02,760 --> 00:47:06,520
Speaker 2: Jarman Peter Jackson's The Lovely Bones in two thousand and

862
00:47:06,600 --> 00:47:09,120
Speaker 2: nine and also the two thousand and five film The Jacket.

863
00:47:09,560 --> 00:47:12,279
Speaker 2: His score for The Devil's Men aka Land of the

864
00:47:12,280 --> 00:47:16,360
Speaker 2: Minotaur was I believe, his first full score and for film,

865
00:47:16,400 --> 00:47:19,319
Speaker 2: and his only his second composition for film, following a

866
00:47:19,320 --> 00:47:23,719
Speaker 2: short nineteen seventy film titled Berlin Horse. In terms of

867
00:47:23,760 --> 00:47:27,000
Speaker 2: his discography. This comes out in seventy six, so it's

868
00:47:27,040 --> 00:47:30,520
Speaker 2: following his work with Robert Fripp on seventy five's Evening Star.

869
00:47:31,000 --> 00:47:35,239
Speaker 2: This is an album that JJ was talking to me

870
00:47:35,280 --> 00:47:38,320
Speaker 2: about and recommended that I listened to and indeed is awesome.

871
00:47:39,600 --> 00:47:42,440
Speaker 2: This also comes out after his solo album seventy four

872
00:47:42,520 --> 00:47:46,240
Speaker 2: is Here Come the Warm Jets, seventy four's Taking Tiger

873
00:47:46,320 --> 00:47:50,400
Speaker 2: Mountain By Strategy, seventy five's Another Green World, and nineteen

874
00:47:50,480 --> 00:47:54,560
Speaker 2: seventy five's Discrete Music. The weird thing about this score, though,

875
00:47:54,719 --> 00:47:57,600
Speaker 2: is despite the fact that it's Eno, I don't think

876
00:47:57,640 --> 00:48:00,400
Speaker 2: it has ever been released, and none of the acts

877
00:48:00,440 --> 00:48:04,280
Speaker 2: are seemingly featured on his release film Music nineteen seventy

878
00:48:04,280 --> 00:48:06,680
Speaker 2: six through twenty twenty. So I'm not sure if it's

879
00:48:06,680 --> 00:48:10,960
Speaker 2: a rights thing or if it's a situation where ENO

880
00:48:11,480 --> 00:48:13,960
Speaker 2: is not you know, doesn't look back on this music favorably.

881
00:48:14,040 --> 00:48:15,560
Speaker 2: But I mean, to my ear, I think it sounds

882
00:48:15,600 --> 00:48:18,120
Speaker 2: wonderful and it seems like the sort of film score

883
00:48:18,200 --> 00:48:21,160
Speaker 2: that film fans would jump at, and also Eno complete

884
00:48:21,160 --> 00:48:22,480
Speaker 2: as would jump at.

885
00:48:22,719 --> 00:48:25,200
Speaker 3: I agree, and you know, I was thinking about this.

886
00:48:25,520 --> 00:48:28,560
Speaker 3: I can't say for sure because I knew about ENO's

887
00:48:28,600 --> 00:48:32,000
Speaker 3: involvement before I started watching the movie, but I feel

888
00:48:32,040 --> 00:48:35,279
Speaker 3: like the music here is so distinctively Eno that I

889
00:48:35,400 --> 00:48:38,960
Speaker 3: might have identified it even if I hadn't known. Like,

890
00:48:39,040 --> 00:48:42,040
Speaker 3: the first track we hear in the movie is actually

891
00:48:42,200 --> 00:48:44,319
Speaker 3: very simple. It only has a few elements. There's kind

892
00:48:44,360 --> 00:48:48,120
Speaker 3: of a lower droning pad, like a robot moaning softly,

893
00:48:48,320 --> 00:48:51,239
Speaker 3: and then there is there's what sounds kind of like

894
00:48:51,280 --> 00:48:55,080
Speaker 3: a tape loop effect, introducing little rhythmic hiccups and interruptions

895
00:48:55,120 --> 00:48:57,879
Speaker 3: in the drone, and then there's a soft higher part

896
00:48:58,080 --> 00:49:01,400
Speaker 3: that's basically just stepping back and forth between two notes.

897
00:49:01,960 --> 00:49:04,879
Speaker 3: So it's a pretty simple track, but I think it's

898
00:49:05,000 --> 00:49:08,120
Speaker 3: just unusual for a movie of this kind, and its

899
00:49:08,320 --> 00:49:12,360
Speaker 3: mood imbues what you're seeing on the screen with so

900
00:49:12,520 --> 00:49:17,320
Speaker 3: much more interest and emotional paradox than would be there otherwise,

901
00:49:17,440 --> 00:49:21,040
Speaker 3: Like it is at the same time calming and unnerving.

902
00:49:21,239 --> 00:49:23,960
Speaker 3: It kind of feels like it's safe to settle down

903
00:49:24,000 --> 00:49:26,800
Speaker 3: and go to sleep, but also it suggests a question

904
00:49:27,120 --> 00:49:28,200
Speaker 3: like is there danger?

905
00:49:28,719 --> 00:49:30,800
Speaker 2: Yeah, I mean really in the opening scene there's about

906
00:49:30,840 --> 00:49:33,879
Speaker 2: to be a Satanic sacrifice, but the music does kind

907
00:49:33,920 --> 00:49:37,840
Speaker 2: of imbue you with that feeling of like, yeah, I'm

908
00:49:37,880 --> 00:49:40,799
Speaker 2: feeling kind of chill about this. Then you kind of

909
00:49:40,800 --> 00:49:44,000
Speaker 2: reflect on that and compare that feeling to what's actually

910
00:49:44,000 --> 00:49:47,200
Speaker 2: happening on the screen. A dreamlike quality sets in.

911
00:49:47,800 --> 00:49:49,680
Speaker 3: So there's not a ton of it, but I think

912
00:49:49,719 --> 00:49:51,240
Speaker 3: it's a very very good score.

913
00:49:51,800 --> 00:49:54,520
Speaker 2: Yeah, so, you know, I would like to hear it

914
00:49:54,560 --> 00:49:58,359
Speaker 2: in isolation, but I dotter maybe Brian, you know, has

915
00:49:58,400 --> 00:50:00,799
Speaker 2: different thoughts in the manner, and you know you can't

916
00:50:00,880 --> 00:50:01,400
Speaker 2: argue with you know.

917
00:50:02,360 --> 00:50:04,040
Speaker 3: All right, we're going to talk about the plot a bit.

918
00:50:04,640 --> 00:50:06,040
Speaker 2: Yeah, let's get into the plot.

919
00:50:06,440 --> 00:50:09,080
Speaker 3: As I've mentioned before, I love a film that begins

920
00:50:09,080 --> 00:50:12,200
Speaker 3: by showing you its papers. The disc release here debuts

921
00:50:12,280 --> 00:50:15,399
Speaker 3: with a certificate showing that The Devil's Been has been

922
00:50:15,440 --> 00:50:18,080
Speaker 3: reviewed by the British Board of Film Sensors and has

923
00:50:18,080 --> 00:50:22,520
Speaker 3: been rated X. And I was thinking, really, it doesn't

924
00:50:22,520 --> 00:50:24,680
Speaker 3: seem that off the charts to me.

925
00:50:25,680 --> 00:50:28,480
Speaker 2: Yeah, Like I say, this film does not really have

926
00:50:29,120 --> 00:50:31,840
Speaker 2: any exploitive elements to it. I mean, there's a little

927
00:50:31,840 --> 00:50:35,040
Speaker 2: bit of a full nudity, but it's even so it's

928
00:50:35,360 --> 00:50:38,320
Speaker 2: very tame compared to other like naked films of the seventies.

929
00:50:38,600 --> 00:50:41,759
Speaker 3: Yeah, I don't know, so the rated X. But who

930
00:50:41,760 --> 00:50:45,480
Speaker 3: are we to question right X? So saith the right

931
00:50:45,560 --> 00:50:50,439
Speaker 3: Honorable the Lord Harleck KCMG, president of the British Board

932
00:50:50,440 --> 00:50:54,200
Speaker 3: of Film Sensors, and so I briefly got interested. I

933
00:50:54,200 --> 00:50:56,360
Speaker 3: was like, wait a minute, his name's on this movie.

934
00:50:56,400 --> 00:51:00,319
Speaker 3: Who is the right honorable the Lord Harleck KCMG. If

935
00:51:00,320 --> 00:51:03,080
Speaker 3: my googling has not led me astray, this is William

936
00:51:03,200 --> 00:51:08,920
Speaker 3: David ormsby Gore, the fifth Baron Harleck, who lived nineteen

937
00:51:08,960 --> 00:51:11,480
Speaker 3: eighteen to nineteen eighty five, who was a member of

938
00:51:11,560 --> 00:51:14,960
Speaker 3: the UK House of Lords and a diplomat, including he

939
00:51:15,120 --> 00:51:18,839
Speaker 3: was ambassador to the United States during the Kennedy administration,

940
00:51:19,400 --> 00:51:22,080
Speaker 3: and he was an associate of the Kennedy family. Apparently

941
00:51:22,120 --> 00:51:25,279
Speaker 3: he proposed marriage to Jackie Kennedy in nineteen sixty eight,

942
00:51:25,360 --> 00:51:29,200
Speaker 3: but she turned him down, and somehow that led to this.

943
00:51:29,320 --> 00:51:32,480
Speaker 3: So he years later was overseeing the review and classification

944
00:51:32,600 --> 00:51:34,000
Speaker 3: of fine films like this one.

945
00:51:34,960 --> 00:51:38,120
Speaker 2: So he's like, what's this one here? Minotaz rated X,

946
00:51:38,880 --> 00:51:40,200
Speaker 2: no menotas on my watch.

947
00:51:41,239 --> 00:51:43,160
Speaker 3: I don't know if he actually watched the films. He

948
00:51:43,239 --> 00:51:45,719
Speaker 3: may have just been president of the organization. I like

949
00:51:45,840 --> 00:51:50,520
Speaker 3: to think he watched every film personally anyway. The movie

950
00:51:50,719 --> 00:51:54,120
Speaker 3: proper opens with a deep blue night sky, a full moon,

951
00:51:54,280 --> 00:51:57,520
Speaker 3: and dark tree branches looming in the foreground, and there

952
00:51:57,560 --> 00:52:01,640
Speaker 3: is ambient music. There are owls and insects chirping in

953
00:52:01,680 --> 00:52:04,800
Speaker 3: the dark, and then we see figures walking through the

954
00:52:04,920 --> 00:52:07,799
Speaker 3: night around a Greek city on a hill, or maybe

955
00:52:07,880 --> 00:52:10,040
Speaker 3: not a city, more like a Greek village on a hill.

956
00:52:10,320 --> 00:52:14,360
Speaker 3: There are men in multicolored robes and hoods, like inquisitors,

957
00:52:14,719 --> 00:52:17,520
Speaker 3: marching between the houses and climbing up the rocks to

958
00:52:17,600 --> 00:52:18,560
Speaker 3: a secret cavern.

959
00:52:19,920 --> 00:52:22,960
Speaker 2: Yeah, like we said earlier, these various shots of like

960
00:52:23,000 --> 00:52:26,320
Speaker 2: the Greek countryside and Greek cities and so forth, Greek ruins,

961
00:52:26,760 --> 00:52:29,480
Speaker 2: they look good. I mean, it's attractive looking. I mean,

962
00:52:30,000 --> 00:52:32,600
Speaker 2: even though some of the footage I looked at from

963
00:52:32,880 --> 00:52:35,719
Speaker 2: Island of Death like nothing else you can say like

964
00:52:35,920 --> 00:52:38,080
Speaker 2: this looks looks like a cool place to visit.

965
00:52:38,600 --> 00:52:42,400
Speaker 3: Agreed, I like the rocky crags. And here's where we

966
00:52:42,440 --> 00:52:45,360
Speaker 3: get that eno track I was describing a minute ago.

967
00:52:46,080 --> 00:52:49,879
Speaker 3: But your classic cult sacrifice scene starts to unfold. There

968
00:52:49,960 --> 00:52:53,799
Speaker 3: is an ancient stone temple with columns and archways and

969
00:52:53,920 --> 00:52:58,399
Speaker 3: menacing statues of bullheads and double bladed axes, and then

970
00:52:58,440 --> 00:53:01,520
Speaker 3: somebody cranks a wheel and the giant statue of a

971
00:53:01,560 --> 00:53:05,239
Speaker 3: minotaur emerges from beneath the floor. And this isn't just

972
00:53:05,320 --> 00:53:09,440
Speaker 3: any minotar statue. This one has full blow torch nose,

973
00:53:09,719 --> 00:53:13,080
Speaker 3: jets of flame blasting out of each of his nostrils.

974
00:53:13,560 --> 00:53:19,800
Speaker 2: That's right. It's a magical, technological marvel. I think it

975
00:53:19,840 --> 00:53:22,480
Speaker 2: also has genitalia, which I think was also pointed out

976
00:53:22,480 --> 00:53:25,960
Speaker 2: on the the IMDb parental notes for this film.

977
00:53:26,239 --> 00:53:29,280
Speaker 3: That's what got it an X rating. The full frontal

978
00:53:29,320 --> 00:53:30,560
Speaker 3: mintar statue.

979
00:53:30,239 --> 00:53:33,120
Speaker 2: Nut a Minita penis rated X.

980
00:53:35,320 --> 00:53:37,920
Speaker 3: You know one thing about the minotar statue on its nose.

981
00:53:38,840 --> 00:53:40,680
Speaker 3: Rachel and I were watching this, and she pointed out

982
00:53:40,719 --> 00:53:44,160
Speaker 3: that she could see the texture of the paper mache

983
00:53:45,000 --> 00:53:47,080
Speaker 3: on the on the nose. They're like, you can see

984
00:53:47,160 --> 00:53:49,480
Speaker 3: sort of strips of cloth and paper.

985
00:53:50,040 --> 00:53:52,160
Speaker 2: That's a good note. I was noticing the texture, but

986
00:53:52,200 --> 00:53:55,440
Speaker 2: I didn't, like instantly identify what it was. But I

987
00:53:55,560 --> 00:53:57,719
Speaker 2: was thinking about the fact that I guess most of

988
00:53:57,760 --> 00:53:59,839
Speaker 2: the people that originally saw this film would not have

989
00:54:00,400 --> 00:54:05,160
Speaker 2: seen that texture. You know, there's so much that's lost

990
00:54:07,120 --> 00:54:09,320
Speaker 2: in the prior projection of these films.

991
00:54:09,560 --> 00:54:13,360
Speaker 3: I guess I imagine this primarily playing on television, but

992
00:54:14,120 --> 00:54:15,719
Speaker 3: I don't know, maybe.

993
00:54:15,480 --> 00:54:18,000
Speaker 2: Not not without X rating.

994
00:54:18,520 --> 00:54:22,319
Speaker 3: Oh that's a good point. Okay. So acolytes in red

995
00:54:22,320 --> 00:54:25,760
Speaker 3: and green satin robes. They light fires in a semicircular

996
00:54:25,800 --> 00:54:28,880
Speaker 3: trench on the floor. It's surrounding not an altar, but

997
00:54:29,120 --> 00:54:32,360
Speaker 3: three stone reclining chairs.

998
00:54:32,800 --> 00:54:33,640
Speaker 2: Okay, all right.

999
00:54:34,400 --> 00:54:36,919
Speaker 3: Some cultists bring in a man and a woman who

1000
00:54:36,960 --> 00:54:38,920
Speaker 3: are dressed not like the rest of the cult. They're

1001
00:54:38,920 --> 00:54:42,920
Speaker 3: wearing just seventies straight clothes and looks like we've got

1002
00:54:42,960 --> 00:54:46,319
Speaker 3: some victims. So they're placed on these stone recliners. Peter

1003
00:54:46,360 --> 00:54:49,920
Speaker 3: Cushing appears and he is the head cult member. He

1004
00:54:50,000 --> 00:54:51,640
Speaker 3: stands in the middle of the room in a red

1005
00:54:51,719 --> 00:54:55,120
Speaker 3: robe with a big gold minotaur chain around his neck,

1006
00:54:55,400 --> 00:54:58,279
Speaker 3: and he says, we cover our faces in sight of

1007
00:54:58,320 --> 00:55:01,920
Speaker 3: our Lord. And then every and the cult repeats his words,

1008
00:55:01,960 --> 00:55:04,839
Speaker 3: and they all pull masks down over their faces, and

1009
00:55:04,880 --> 00:55:07,960
Speaker 3: the minotaur statue is just snorting so much fire.

1010
00:55:08,600 --> 00:55:14,600
Speaker 2: Yeah yeah again, Minotaur statue looks good, strong atmospheric opening.

1011
00:55:14,640 --> 00:55:17,200
Speaker 2: I feel like I love the set. I like the

1012
00:55:17,280 --> 00:55:20,239
Speaker 2: multi colored robes that seemingly hint at different ranks in

1013
00:55:20,280 --> 00:55:22,280
Speaker 2: the colt. So this is not just a black robes

1014
00:55:22,280 --> 00:55:23,920
Speaker 2: in the darkness kind of a cult. You know, they

1015
00:55:23,920 --> 00:55:27,719
Speaker 2: put a little color into it. I looking back in

1016
00:55:27,800 --> 00:55:31,880
Speaker 2: these sequences, though, they are revealing that all the villagers

1017
00:55:32,000 --> 00:55:34,520
Speaker 2: are members of the cult. I don't think I necessarily

1018
00:55:34,520 --> 00:55:36,920
Speaker 2: got that the first way through, But there's not like this.

1019
00:55:37,120 --> 00:55:40,120
Speaker 2: It kind of takes the punch out of any revelation that, oh,

1020
00:55:40,680 --> 00:55:42,440
Speaker 2: all the villagers are in the cult. Like, no, you

1021
00:55:42,480 --> 00:55:43,239
Speaker 2: know that from the get go.

1022
00:55:43,600 --> 00:55:45,920
Speaker 3: Yeah, they're all pretty much there. And then you know what,

1023
00:55:46,040 --> 00:55:48,279
Speaker 3: not just the adults, the kids too, because there is

1024
00:55:48,320 --> 00:55:50,840
Speaker 3: a young girl in a cult robe. She comes up

1025
00:55:50,920 --> 00:55:53,640
Speaker 3: to the two people in street clothes on the stone

1026
00:55:53,680 --> 00:55:57,080
Speaker 3: recliners and she stabs them in the heart with a knife.

1027
00:55:57,760 --> 00:56:00,120
Speaker 3: And I think I saw a comment somewhere online and

1028
00:56:00,200 --> 00:56:03,000
Speaker 3: asking is that the director's daughter in that role? And

1029
00:56:03,160 --> 00:56:06,000
Speaker 3: I have no idea, but I want to believe that.

1030
00:56:06,480 --> 00:56:08,799
Speaker 2: Well. Either way, it's just super creepy. I love it.

1031
00:56:08,920 --> 00:56:12,239
Speaker 3: So the human sacrifice is done, the people are dead.

1032
00:56:12,320 --> 00:56:15,120
Speaker 3: I guess that was for the minotaur. Did he like it?

1033
00:56:16,440 --> 00:56:19,439
Speaker 2: There's no way to know. It doesn't. Again, there's nothing

1034
00:56:19,440 --> 00:56:21,960
Speaker 2: you can even compare to in the like the classic

1035
00:56:22,360 --> 00:56:26,160
Speaker 2: more or less canonical minotar myth, Like what does this

1036
00:56:26,239 --> 00:56:31,800
Speaker 2: do for relations between you know, the the an ancient

1037
00:56:31,800 --> 00:56:36,280
Speaker 2: crete and the rest of the of of the ancient world,

1038
00:56:36,320 --> 00:56:38,200
Speaker 2: Like there's none of that, Like nobody's been thrown into

1039
00:56:38,239 --> 00:56:40,120
Speaker 2: a labyrinth. We have nothing to go on here.

1040
00:56:40,480 --> 00:56:42,520
Speaker 3: Oh but there's a hilarious choice here.

1041
00:56:43,000 --> 00:56:46,560
Speaker 2: Oh yes, the opening titles. The letters for the opening

1042
00:56:46,560 --> 00:56:50,759
Speaker 2: title blast out of the freeze frame minotaur's nostrils, just

1043
00:56:50,800 --> 00:56:52,440
Speaker 2: an absolutely excellent choice.

1044
00:56:52,600 --> 00:56:55,920
Speaker 3: Right, so it snorts out the I don't know, snort's

1045
00:56:55,920 --> 00:56:57,880
Speaker 3: the right word that implies the air is going in

1046
00:56:58,000 --> 00:57:01,960
Speaker 3: it like uh sneezes out the letters that formed the

1047
00:57:02,000 --> 00:57:05,279
Speaker 3: Devil's men, and then freeze frame on the fire. It's

1048
00:57:05,320 --> 00:57:11,600
Speaker 3: like duh. And then there were some legitimate chortles at

1049
00:57:11,600 --> 00:57:14,880
Speaker 3: that moment on our couch, but because it sounds like

1050
00:57:14,920 --> 00:57:16,960
Speaker 3: the kind of idea like a seven year old would have,

1051
00:57:17,040 --> 00:57:18,560
Speaker 3: you know. And then the words come out of the

1052
00:57:18,560 --> 00:57:24,200
Speaker 3: monster's noseholes. Yeah, so that's good. And you might think

1053
00:57:24,360 --> 00:57:28,520
Speaker 3: this is the part since there's a freeze frame that

1054
00:57:28,600 --> 00:57:31,840
Speaker 3: you you know, cut to the uptempo rock theme, But no,

1055
00:57:31,960 --> 00:57:35,919
Speaker 3: not at all. Instead, we transition to a different ambient track,

1056
00:57:36,000 --> 00:57:39,680
Speaker 3: another big spooky mood. I guess it's Eno again, And

1057
00:57:39,920 --> 00:57:42,120
Speaker 3: this one is actually very spare, with a lot of

1058
00:57:42,160 --> 00:57:45,920
Speaker 3: space in it, and the main motif is made of dissonant,

1059
00:57:46,040 --> 00:57:49,440
Speaker 3: swelling synth chords that sounded to me like a choir

1060
00:57:49,520 --> 00:57:53,000
Speaker 3: of ancient mummies sighing on the other side of a wall.

1061
00:57:54,040 --> 00:57:56,480
Speaker 2: Yeah. It immediately pulls you back in and you're like,

1062
00:57:56,560 --> 00:57:59,720
Speaker 2: oh no, he knows being real serious here, so I'm

1063
00:57:59,760 --> 00:58:00,760
Speaker 2: gonna serious too.

1064
00:58:10,320 --> 00:58:12,800
Speaker 3: But okay, on to more action. Now we're in the daytime,

1065
00:58:12,960 --> 00:58:15,439
Speaker 3: children running through the streets kicking a soccer ball.

1066
00:58:16,320 --> 00:58:19,120
Speaker 2: Yeah yeah, I see these kids come running through the

1067
00:58:19,120 --> 00:58:21,680
Speaker 2: streets though in a dusty European town, and I immediately

1068
00:58:21,720 --> 00:58:24,480
Speaker 2: assume they're going to start pelting the local hunchback with

1069
00:58:24,680 --> 00:58:28,040
Speaker 2: rocks or cabbages or something. That probably says more about

1070
00:58:28,080 --> 00:58:30,200
Speaker 2: my viewing habits than anything. Yep.

1071
00:58:30,760 --> 00:58:33,880
Speaker 3: So there's a local police inspector. He's receiving a phone call.

1072
00:58:34,320 --> 00:58:37,280
Speaker 3: It's from a man named Father Roche, and that's Donald

1073
00:58:37,320 --> 00:58:42,040
Speaker 3: Pleasance again playing an Irish priest living in Greece. Father

1074
00:58:42,160 --> 00:58:45,680
Speaker 3: Roach is like, hey, how come so many people keep

1075
00:58:45,720 --> 00:58:49,680
Speaker 3: disappearing in your village? He mailed this cop a letter

1076
00:58:49,840 --> 00:58:52,280
Speaker 3: and a photo of two students who had been there

1077
00:58:52,360 --> 00:58:55,080
Speaker 3: and went missing recently, And what do you know, it's

1078
00:58:55,120 --> 00:58:57,360
Speaker 3: the two people from those Stone Recliners that we saw

1079
00:58:57,480 --> 00:59:00,160
Speaker 3: being sacrificed to a menotaur. But he doesn't know that.

1080
00:59:00,600 --> 00:59:03,000
Speaker 3: So the police inspector says to him, you can't expect

1081
00:59:03,040 --> 00:59:05,200
Speaker 3: me to keep track of every person who goes missing

1082
00:59:05,200 --> 00:59:10,240
Speaker 3: in my jurisdiction, and okay, And Father Roche suggests that

1083
00:59:10,280 --> 00:59:12,720
Speaker 3: they may have been victims of murder, and the police

1084
00:59:12,720 --> 00:59:15,320
Speaker 3: inspector gets real mad and says, why don't you stick

1085
00:59:15,360 --> 00:59:19,200
Speaker 3: to your job and I'll stick to mine. And I disagree.

1086
00:59:19,200 --> 00:59:20,480
Speaker 3: I think they should trade jobs.

1087
00:59:21,560 --> 00:59:23,120
Speaker 2: I want to point out, and this is something I

1088
00:59:23,120 --> 00:59:26,440
Speaker 2: didn't get at first. But the police inspector is clearly

1089
00:59:26,520 --> 00:59:29,600
Speaker 2: one of the cultists, Like this actor was clearly one

1090
00:59:29,680 --> 00:59:32,520
Speaker 2: of the cultists, pulling a hood over his face for

1091
00:59:32,600 --> 00:59:36,640
Speaker 2: the for the sacrifice. So there's no there's no you know,

1092
00:59:38,400 --> 00:59:41,880
Speaker 2: suspicion or mystery here. Like he's clearly in with the cult.

1093
00:59:42,160 --> 00:59:45,800
Speaker 3: Everybody's in the cult, everybody. So we see Father Roche

1094
00:59:45,800 --> 00:59:48,880
Speaker 3: in his humble office and he's pondering a gold trinket

1095
00:59:48,880 --> 00:59:51,440
Speaker 3: on his desk, which is a little bull head hmmm.

1096
00:59:52,360 --> 00:59:54,760
Speaker 3: And then we see him going about his business. So

1097
00:59:54,800 --> 00:59:58,360
Speaker 3: he walks on the hillside and he talks to the locals.

1098
00:59:58,360 --> 01:00:01,480
Speaker 3: We see him kneeling alone in a tiny rustic chapel

1099
01:00:01,560 --> 01:00:04,440
Speaker 3: and praying, and then we see him writing a letter.

1100
01:00:04,560 --> 01:00:06,840
Speaker 3: By the way, there are a lot of letters, handwritten

1101
01:00:06,920 --> 01:00:11,240
Speaker 3: letters in this movie. He's writing it to Milo Kea

1102
01:00:11,520 --> 01:00:15,200
Speaker 3: in New York. And so then and then we fade

1103
01:00:15,200 --> 01:00:16,840
Speaker 3: to New York, just like come up on the New

1104
01:00:16,920 --> 01:00:17,760
Speaker 3: York skyline.

1105
01:00:18,120 --> 01:00:20,439
Speaker 2: Yeah, so far this movie set itself up again kind

1106
01:00:20,440 --> 01:00:22,760
Speaker 2: of like a full car movie. But no, it's more

1107
01:00:22,800 --> 01:00:24,440
Speaker 2: of a globe trotter apparently.

1108
01:00:24,320 --> 01:00:27,240
Speaker 3: I guess. So when we first meet Milo, he is

1109
01:00:27,360 --> 01:00:30,880
Speaker 3: lying naked on a bed with pink sheets and pillows,

1110
01:00:30,920 --> 01:00:34,160
Speaker 3: smoking a cigarette. His chest hair is catching a shaft

1111
01:00:34,160 --> 01:00:38,360
Speaker 3: of sunlight. Milo, he creates the impression of kind of

1112
01:00:38,400 --> 01:00:42,480
Speaker 3: shaggy cad. He's got puffy gray hair. Though he's a

1113
01:00:42,520 --> 01:00:45,120
Speaker 3: young guy. He's one of those young guys with gray hair,

1114
01:00:45,440 --> 01:00:50,920
Speaker 3: dark eyebrows, and a very sarcastic, almost mean kind of edge.

1115
01:00:51,360 --> 01:00:54,120
Speaker 3: He's hanging out with his lady friend in this bedroom.

1116
01:00:54,200 --> 01:00:57,640
Speaker 3: That's just crammed with candles and liquor bottles and stuff.

1117
01:00:57,680 --> 01:00:59,880
Speaker 3: But again, this is the room where there's church or

1118
01:01:00,240 --> 01:01:01,000
Speaker 3: music playing.

1119
01:01:01,760 --> 01:01:04,040
Speaker 2: Yeah, And when we check in with him again in

1120
01:01:04,080 --> 01:01:06,280
Speaker 2: New York, it seems to be the same room, the

1121
01:01:06,320 --> 01:01:10,920
Speaker 2: same setting, still naked. So it implies that whatever his

1122
01:01:11,040 --> 01:01:13,240
Speaker 2: job is supposed to be, the only thing he does

1123
01:01:13,280 --> 01:01:15,880
Speaker 2: in New York is sex pretty much.

1124
01:01:15,960 --> 01:01:19,000
Speaker 3: Yeah, so he's hanging out here. He gets the letter

1125
01:01:19,040 --> 01:01:22,160
Speaker 3: from father Roche like his lady friend is like, oh,

1126
01:01:22,160 --> 01:01:24,200
Speaker 3: there's mail for you, and so he opens it up

1127
01:01:24,240 --> 01:01:26,680
Speaker 3: and he's reading it. She sees him reading the letter

1128
01:01:26,840 --> 01:01:30,040
Speaker 3: and is jealous. When she sees him reading, she's like,

1129
01:01:30,080 --> 01:01:33,080
Speaker 3: who is she? And she takes the letter and then

1130
01:01:33,120 --> 01:01:35,080
Speaker 3: she reads it and she's like, oh, it's just that

1131
01:01:35,240 --> 01:01:38,920
Speaker 3: unwell irish priest that you are constantly exchanging letters with.

1132
01:01:39,760 --> 01:01:42,600
Speaker 3: And my love is like, Okay, maybe he's gone a

1133
01:01:42,640 --> 01:01:45,120
Speaker 3: little too far with some of his minotaur theories, but

1134
01:01:45,280 --> 01:01:48,440
Speaker 3: lay off him. This is a direct quote. He's the

1135
01:01:48,440 --> 01:01:50,280
Speaker 3: best friend I ever had.

1136
01:01:51,120 --> 01:01:55,360
Speaker 2: Oh, no additional detail on that, really, but he seems sincere.

1137
01:01:55,640 --> 01:01:59,840
Speaker 3: How do they know each other? Well? She says these things?

1138
01:01:59,880 --> 01:02:03,240
Speaker 3: He he keeps writing you about students disappearing, being swallowed

1139
01:02:03,320 --> 01:02:06,880
Speaker 3: up by some ancient magic or something. It's crazy, it's medieval.

1140
01:02:07,480 --> 01:02:10,000
Speaker 3: And Milo says, yeah, I don't really believe him, but

1141
01:02:10,280 --> 01:02:14,160
Speaker 3: you know, he's a good guy. Even though and even

1142
01:02:14,160 --> 01:02:16,920
Speaker 3: though Father Roche is a good guy, and he's asking

1143
01:02:16,960 --> 01:02:19,520
Speaker 3: Milo to come out to Greece to help him investigate

1144
01:02:19,560 --> 01:02:21,880
Speaker 3: the missing students, he will not do it. He's going

1145
01:02:21,920 --> 01:02:24,080
Speaker 3: to stay here in New York and mostly just stay

1146
01:02:24,120 --> 01:02:25,920
Speaker 3: in bed and in fact, never even put his clothes

1147
01:02:25,960 --> 01:02:26,760
Speaker 3: on or leave the house.

1148
01:02:27,240 --> 01:02:29,880
Speaker 2: Right, Yeah, very little to suggest he wears clothes in

1149
01:02:30,400 --> 01:02:31,280
Speaker 2: America at all.

1150
01:02:31,600 --> 01:02:34,080
Speaker 3: I think he's supposed to be a private detective.

1151
01:02:35,840 --> 01:02:37,520
Speaker 2: I guess that makes as much sense as anything.

1152
01:02:37,680 --> 01:02:42,560
Speaker 3: Sure, so there's more globe trotting. A group of three

1153
01:02:42,680 --> 01:02:46,200
Speaker 3: archaeology students show up at Father Roche's house to stay

1154
01:02:46,200 --> 01:02:48,200
Speaker 3: there while they're doing some kind of field work.

1155
01:02:48,640 --> 01:02:51,600
Speaker 2: Oh this is where they drive up in the Australia van, right,

1156
01:02:51,920 --> 01:02:55,400
Speaker 2: the super confusing van that says Australia on the front.

1157
01:02:55,440 --> 01:02:56,800
Speaker 2: And at this point in the film, I was like,

1158
01:02:57,160 --> 01:03:00,480
Speaker 2: are we in Australia. I don't know, we were just

1159
01:03:00,520 --> 01:03:04,880
Speaker 2: in New York. Maybe this is truly an international picture

1160
01:03:05,040 --> 01:03:07,280
Speaker 2: going on? Here. But I think the idea is that

1161
01:03:07,320 --> 01:03:10,280
Speaker 2: this is like the hippie fun bus that has brahas

1162
01:03:10,400 --> 01:03:11,560
Speaker 2: driven to Australia.

1163
01:03:11,600 --> 01:03:15,080
Speaker 3: I think it has the names of other countries on

1164
01:03:15,160 --> 01:03:17,160
Speaker 3: different parts of the van as well. I think it

1165
01:03:17,240 --> 01:03:20,080
Speaker 3: just says Australia on the front. But okay, we got

1166
01:03:20,120 --> 01:03:24,200
Speaker 3: the three archaeology students here, we got Tom. Well, actually, no,

1167
01:03:24,280 --> 01:03:26,240
Speaker 3: I think maybe I'm getting the names mixed up. I

1168
01:03:26,280 --> 01:03:28,280
Speaker 3: was gonna say Tom is the one with the dark

1169
01:03:28,320 --> 01:03:30,000
Speaker 3: hair and the beard who looks like a member of

1170
01:03:30,120 --> 01:03:33,920
Speaker 3: Still Water. But if you're correct, you're saying that was

1171
01:03:33,960 --> 01:03:34,760
Speaker 3: actually Ian.

1172
01:03:35,600 --> 01:03:40,919
Speaker 2: Yeah. Ian is played by Nico's Verlicus, who is an

1173
01:03:40,960 --> 01:03:43,320
Speaker 2: actor and I think a director as well. He's still

1174
01:03:43,320 --> 01:03:45,560
Speaker 2: I think he's still around and had a pretty big career.

1175
01:03:45,600 --> 01:03:49,560
Speaker 2: But yeah, just a very handsome, like Greek Jesus or

1176
01:03:50,000 --> 01:03:52,160
Speaker 2: Hercules type of a figure here.

1177
01:03:52,480 --> 01:03:55,280
Speaker 3: Okay, that you're saying that's Ian, So that would make

1178
01:03:55,360 --> 01:03:59,320
Speaker 3: Tom the one who looks like football Brad Doriff, Yes, okay.

1179
01:03:59,320 --> 01:04:02,120
Speaker 3: And then you've got Beth who has long hair, big

1180
01:04:02,200 --> 01:04:05,760
Speaker 3: radiant smile, very short short So we were joking at

1181
01:04:05,840 --> 01:04:08,000
Speaker 3: Rachel and I were noticing that, like there's a scene

1182
01:04:08,000 --> 01:04:10,720
Speaker 3: where she's standing next to one of these guys who's

1183
01:04:10,760 --> 01:04:15,360
Speaker 3: wearing such huge jeans that they're basically jincos, and there's

1184
01:04:15,400 --> 01:04:18,040
Speaker 3: like enough material in his pants to make a whole

1185
01:04:18,120 --> 01:04:22,160
Speaker 3: second pair of pants for her. Yeah, but so anyway,

1186
01:04:22,200 --> 01:04:24,320
Speaker 3: Father Roche takes them inside. He's going to feed him

1187
01:04:24,360 --> 01:04:26,320
Speaker 3: some food. And here, oh boy, we get a table

1188
01:04:26,360 --> 01:04:30,040
Speaker 3: setting scan. We love to examine movie set food more

1189
01:04:30,080 --> 01:04:34,320
Speaker 3: closely than it was meant to withstand. So Father Roche

1190
01:04:34,320 --> 01:04:37,880
Speaker 3: cooks his three guests a big skillet of food of

1191
01:04:37,920 --> 01:04:41,160
Speaker 3: some kind, and it looked to me like the skillet

1192
01:04:41,160 --> 01:04:45,360
Speaker 3: had whole unchopped basically raw tomatoes in it, and then

1193
01:04:45,400 --> 01:04:48,440
Speaker 3: some kind of steaming white substance. And at one point

1194
01:04:49,400 --> 01:04:52,640
Speaker 3: Ian gets served out of the pan and it looks

1195
01:04:52,680 --> 01:04:55,080
Speaker 3: like Donald Pleasants reaches in with the spoon and like

1196
01:04:55,160 --> 01:04:57,360
Speaker 3: serves some food, but what comes out is just one

1197
01:04:57,600 --> 01:05:01,280
Speaker 3: huge floppy lasagna sheet onto his plate and not much else.

1198
01:05:01,760 --> 01:05:04,040
Speaker 2: Well, you know it's served with love, though, so you

1199
01:05:04,080 --> 01:05:06,400
Speaker 2: don't you don't question it. But it could just as

1200
01:05:06,440 --> 01:05:09,080
Speaker 2: easily have been a meal served up by like a

1201
01:05:09,120 --> 01:05:12,000
Speaker 2: harsh witch in another movement than just as fitting.

1202
01:05:12,200 --> 01:05:16,280
Speaker 3: Yeah, this is baba, ye got let's eat it. So

1203
01:05:16,360 --> 01:05:18,760
Speaker 3: the main point of their meeting here is that Father

1204
01:05:18,880 --> 01:05:20,800
Speaker 3: Roche tries to talk them out of going to the

1205
01:05:20,880 --> 01:05:23,200
Speaker 3: village where they're headed. They want to go do archaeology,

1206
01:05:24,000 --> 01:05:28,000
Speaker 3: but he's like, no, students keep disappearing there, and so

1207
01:05:28,080 --> 01:05:30,000
Speaker 3: he thinks he's talked to them out of it. Everybody

1208
01:05:30,000 --> 01:05:32,600
Speaker 3: goes to bed, and then the students, of course, they

1209
01:05:32,600 --> 01:05:34,760
Speaker 3: sneak out and they go to the village anyway, They

1210
01:05:34,760 --> 01:05:36,920
Speaker 3: go to the Village of Death and camp their intents.

1211
01:05:37,080 --> 01:05:37,919
Speaker 3: They know no fear.

1212
01:05:38,640 --> 01:05:40,000
Speaker 2: Yeah, you know, we know how this is going to

1213
01:05:40,040 --> 01:05:42,160
Speaker 2: turn out for them, though, there's no question.

1214
01:05:42,760 --> 01:05:45,320
Speaker 3: And then meanwhile we see Father Roche almost it's like

1215
01:05:45,360 --> 01:05:48,560
Speaker 3: he's playing with minis or something. He's got a parchment

1216
01:05:48,640 --> 01:05:50,760
Speaker 3: map and all these shapes and lines on it, and

1217
01:05:50,840 --> 01:05:53,120
Speaker 3: he's arranging the minotaur trinkets on it.

1218
01:05:53,640 --> 01:05:55,760
Speaker 2: Mm yeah, yeah, I guess they are kind of like mini's.

1219
01:05:55,760 --> 01:05:57,919
Speaker 2: This would have really been more Peter Cushing's thing, who

1220
01:05:58,000 --> 01:06:02,160
Speaker 2: was a famously, you know, a a miniature soldier enthusiast

1221
01:06:02,240 --> 01:06:05,080
Speaker 2: and painted them and so forth. A man after my

1222
01:06:05,120 --> 01:06:05,680
Speaker 2: own heart.

1223
01:06:05,880 --> 01:06:09,360
Speaker 3: So while they're camping, either Tom or Ian, whichever one

1224
01:06:09,400 --> 01:06:12,320
Speaker 3: it is, writes a letter to somebody named Laurie, another

1225
01:06:12,440 --> 01:06:15,440
Speaker 3: blonde woman, telling her this is gonna be the third

1226
01:06:16,200 --> 01:06:19,560
Speaker 3: similar looking blonde woman of the movie, telling her about

1227
01:06:19,600 --> 01:06:22,480
Speaker 3: his quest for knowledge of the past and asking her

1228
01:06:22,520 --> 01:06:25,680
Speaker 3: to come join them in Greece. And the next morning

1229
01:06:25,720 --> 01:06:27,840
Speaker 3: he gives the letter to Beth, asking her to mail

1230
01:06:27,880 --> 01:06:29,960
Speaker 3: it when she goes into town to buy groceries.

1231
01:06:30,560 --> 01:06:32,800
Speaker 2: You know, in this film, we will later find out

1232
01:06:32,880 --> 01:06:36,520
Speaker 2: that the only thing that really works against the cultest

1233
01:06:37,040 --> 01:06:39,720
Speaker 2: is God's stuff. So it is kind of weird in

1234
01:06:39,760 --> 01:06:43,040
Speaker 2: retrospect that he's reaching out to all of these archaeologists

1235
01:06:43,080 --> 01:06:46,200
Speaker 2: and non church people when really he should have just

1236
01:06:46,320 --> 01:06:48,400
Speaker 2: brought in one or two other priests and they could

1237
01:06:48,400 --> 01:06:50,120
Speaker 2: have knocked this cult out in an afternoon.

1238
01:06:50,480 --> 01:06:52,920
Speaker 3: But he doesn't even know it's a cult yet. He

1239
01:06:52,960 --> 01:06:55,680
Speaker 3: doesn't know that he's just looking to find the secrets

1240
01:06:55,680 --> 01:06:58,640
Speaker 3: of ancient Greece. Oh okay, oh waiter, are you talking

1241
01:06:58,640 --> 01:07:01,280
Speaker 3: about Father? Are you talking about Father Roche bringing people in?

1242
01:07:01,520 --> 01:07:01,720
Speaker 2: Yeah?

1243
01:07:01,840 --> 01:07:04,080
Speaker 3: Yeah, Oh, I'm sorry, I was confused. I thought you

1244
01:07:04,120 --> 01:07:07,200
Speaker 3: were talking about either Ian or Tom the guy riding No.

1245
01:07:07,200 --> 01:07:09,960
Speaker 2: No, no, they're basically I mean, they're just they're just

1246
01:07:10,000 --> 01:07:12,680
Speaker 2: ponds in this whole scale but right, right, right, But yeah,

1247
01:07:12,680 --> 01:07:14,440
Speaker 2: I think Father Roach should have brought in like one

1248
01:07:14,480 --> 01:07:17,080
Speaker 2: or two other priests and he could have handled everything

1249
01:07:17,440 --> 01:07:18,919
Speaker 2: in just like an hour or two.

1250
01:07:19,280 --> 01:07:22,360
Speaker 3: I apologize I was confused, Yes, exactly right. He should

1251
01:07:22,360 --> 01:07:25,400
Speaker 3: have known better. He even says it later when when Milo,

1252
01:07:25,680 --> 01:07:28,400
Speaker 3: So he's the guy who summons Milo. Milo just wants

1253
01:07:28,440 --> 01:07:30,760
Speaker 3: to shoot a gun at everything, and he's like, you fool,

1254
01:07:30,920 --> 01:07:35,680
Speaker 3: you fool, that will not work, called us a bulletproof.

1255
01:07:36,120 --> 01:07:39,480
Speaker 3: But Beth goes into town to buy groceries. Oh and then,

1256
01:07:39,720 --> 01:07:41,920
Speaker 3: by the way, while they're the three of them are

1257
01:07:41,920 --> 01:07:44,880
Speaker 3: hanging out, there's a creepy guy with binoculars up on

1258
01:07:44,920 --> 01:07:47,640
Speaker 3: the cliffs above watching them, and the we get the

1259
01:07:47,680 --> 01:07:50,800
Speaker 3: Brian Eno mummy size going and so we know something

1260
01:07:50,840 --> 01:07:53,439
Speaker 3: is really wrong here. And the guy watching them, he's

1261
01:07:53,440 --> 01:07:56,560
Speaker 3: some sort of chauffeur. He's in a uniform driving a

1262
01:07:56,600 --> 01:07:57,760
Speaker 3: fancy black car.

1263
01:07:58,360 --> 01:08:01,800
Speaker 2: M yes, and this'll find out as Peter Cushing's driver.

1264
01:08:02,600 --> 01:08:05,520
Speaker 3: So, while Beth goes into town, Tom and Ian explore

1265
01:08:05,560 --> 01:08:08,640
Speaker 3: the ruins of an ancient temple, and while wandering around

1266
01:08:08,760 --> 01:08:11,120
Speaker 3: among the weathered stones and the columns, they find a

1267
01:08:11,160 --> 01:08:16,000
Speaker 3: secret doorway covered with the double axe symbol and then

1268
01:08:16,040 --> 01:08:19,719
Speaker 3: they open it up. Passageway leads down into a cave

1269
01:08:19,840 --> 01:08:23,960
Speaker 3: full of stalactites and stalagmites, interesting rock formations. It actually

1270
01:08:24,040 --> 01:08:27,720
Speaker 3: is a beautiful cave. And so they're wandering around the

1271
01:08:27,760 --> 01:08:30,360
Speaker 3: caverns and they find a couple of dead bodies wrapped

1272
01:08:30,400 --> 01:08:32,200
Speaker 3: in a red cloth, and what do you know, it's

1273
01:08:32,240 --> 01:08:35,439
Speaker 3: the two people from Father Rosch's photograph. And then we

1274
01:08:35,479 --> 01:08:38,880
Speaker 3: get a minotaur jump scare. There's a minotaur statue just

1275
01:08:39,040 --> 01:08:42,519
Speaker 3: right there at him, fire nose blasting, and it says

1276
01:08:42,640 --> 01:08:47,440
Speaker 3: those who enter the forbidden Chamber of the Minotaur must die.

1277
01:08:48,160 --> 01:08:51,439
Speaker 3: Camera zooms in on Tom and Ian's faces. They appear

1278
01:08:51,479 --> 01:08:53,880
Speaker 3: to be taking this news rather stoically. They just kind

1279
01:08:53,880 --> 01:08:56,160
Speaker 3: of like boom, okay, and then it fades out.

1280
01:08:56,680 --> 01:08:57,880
Speaker 2: Yeah, kind of perplexed.

1281
01:08:58,240 --> 01:09:00,439
Speaker 3: I mean, I guess that would be just con fusing.

1282
01:09:01,360 --> 01:09:05,639
Speaker 2: Yeah, in this bright, bright cave, which just so brightly lit.

1283
01:09:05,680 --> 01:09:08,680
Speaker 3: It is quite you're right, I didn't even think about that.

1284
01:09:08,840 --> 01:09:11,280
Speaker 2: Yeah, but it's a beautiful cave. So it's like you

1285
01:09:11,320 --> 01:09:13,559
Speaker 2: want to show everything. It's kind of like the reverse.

1286
01:09:13,600 --> 01:09:17,240
Speaker 2: If your your cave set is barely cutting it, you're

1287
01:09:17,240 --> 01:09:19,920
Speaker 2: gonna turn those lights way down. But when it's this beautiful,

1288
01:09:21,040 --> 01:09:23,120
Speaker 2: actual cave environment, yeah, light it up.

1289
01:09:23,600 --> 01:09:26,240
Speaker 3: So we see Beth shopping in town. She gets a

1290
01:09:26,320 --> 01:09:29,120
Speaker 3: kind of icy reception from this lady she meets. There's

1291
01:09:29,200 --> 01:09:32,200
Speaker 3: like a lady with redhair pushing a baby carriage, and

1292
01:09:32,240 --> 01:09:34,400
Speaker 3: the lady buys some meat and then puts it in

1293
01:09:34,439 --> 01:09:38,200
Speaker 3: the carriage with the baby, and Beth is like, cute baby,

1294
01:09:38,240 --> 01:09:40,960
Speaker 3: and the woman just gives her dagger eyes. And then

1295
01:09:41,080 --> 01:09:45,120
Speaker 3: outside the market, Beth meets Peter Cushing and he is

1296
01:09:45,160 --> 01:09:49,639
Speaker 3: a very polite, courteous, genteel man. He's wearing a wool

1297
01:09:49,760 --> 01:09:53,920
Speaker 3: jacket and a nice suit. And Beth drops a bag

1298
01:09:54,000 --> 01:09:56,840
Speaker 3: of what looks like cheese puffs or something in the street,

1299
01:09:56,960 --> 01:09:58,599
Speaker 3: and he picks it up for her and then has

1300
01:09:58,640 --> 01:09:59,920
Speaker 3: his chauffeur help her with her grown.

1301
01:10:01,080 --> 01:10:03,799
Speaker 2: Doesn't she call it like, oh, my product or something

1302
01:10:03,960 --> 01:10:04,479
Speaker 2: like that.

1303
01:10:04,800 --> 01:10:08,479
Speaker 3: Yeah, I think she says, my package, my package, Yes,

1304
01:10:08,600 --> 01:10:11,200
Speaker 3: my package, but it's a bag of cheeseballs.

1305
01:10:11,720 --> 01:10:13,559
Speaker 2: Yeah. I mean, you know, I guess if you're in

1306
01:10:13,600 --> 01:10:16,600
Speaker 2: the in the presence of Peter Cushing, you know, you

1307
01:10:16,960 --> 01:10:19,760
Speaker 2: may scramble your words. And afterwards she's like, oh, why

1308
01:10:19,800 --> 01:10:21,960
Speaker 2: did I call my cheese puffs, my package, Oh my god,

1309
01:10:22,560 --> 01:10:23,280
Speaker 2: so embarrassed.

1310
01:10:23,680 --> 01:10:26,559
Speaker 3: Well, she explains that she's an archaeology student. She's here

1311
01:10:26,600 --> 01:10:31,840
Speaker 3: to do archaeology, and he says, well, I am baron Corrafax.

1312
01:10:32,160 --> 01:10:35,240
Speaker 3: This castle is my castle and you're on my land.

1313
01:10:35,760 --> 01:10:37,960
Speaker 3: And it's like, oops, oh, I guess we didn't clear

1314
01:10:38,040 --> 01:10:40,559
Speaker 3: that with him ahead of time. But he says, don't

1315
01:10:40,560 --> 01:10:43,400
Speaker 3: worry if you're genuinely interested. This is one of the

1316
01:10:43,439 --> 01:10:47,280
Speaker 3: oldest pagan sights in the country. Her answer to this is,

1317
01:10:47,479 --> 01:10:51,759
Speaker 3: are you a real baron? He says, it's an ancient

1318
01:10:51,840 --> 01:10:55,720
Speaker 3: title in his own land, which is Carpathia, but now

1319
01:10:55,760 --> 01:11:00,679
Speaker 3: he lives here, and I got so true ripped up here.

1320
01:11:00,840 --> 01:11:02,720
Speaker 3: We had to pause it and try to figure out

1321
01:11:03,280 --> 01:11:07,240
Speaker 3: is he saying hereditary titles and lands are transferable from

1322
01:11:07,360 --> 01:11:11,000
Speaker 3: Carpathia to Greece, Like, can you trade in your Carpathian

1323
01:11:11,080 --> 01:11:12,759
Speaker 3: barony for a Greek castle?

1324
01:11:13,800 --> 01:11:18,200
Speaker 2: Well, European royal families. It's complicated, right, yes.

1325
01:11:19,800 --> 01:11:25,639
Speaker 3: Yes, you see it is because I am my own cousin. Well, anyway,

1326
01:11:25,720 --> 01:11:28,519
Speaker 3: so he's friendly. He offers to help her and her friends,

1327
01:11:28,600 --> 01:11:31,879
Speaker 3: and then she drives away. She asks for her package

1328
01:11:31,920 --> 01:11:35,200
Speaker 3: and he gives her the cheese doodles and then she

1329
01:11:35,320 --> 01:11:37,600
Speaker 3: drives away, and then the Mummy starts sighing in the

1330
01:11:37,760 --> 01:11:40,960
Speaker 3: Eno score and he gives a devilish look, so we know, oh,

1331
01:11:41,000 --> 01:11:43,519
Speaker 3: he's up to no good. And when she gets back

1332
01:11:43,560 --> 01:11:45,680
Speaker 3: to her campsite, Tom and Ian are nowhere to be

1333
01:11:45,720 --> 01:11:48,400
Speaker 3: found and the tents are gone, so she goes to

1334
01:11:48,439 --> 01:11:51,280
Speaker 3: look for them at the Temple Ruins. We see her

1335
01:11:51,360 --> 01:11:54,160
Speaker 3: later that night walking outside the baron's estate and then

1336
01:11:54,320 --> 01:11:56,720
Speaker 3: dudes in cult robes just kind of wander up to

1337
01:11:56,760 --> 01:11:58,400
Speaker 3: her and she screams.

1338
01:11:59,600 --> 01:12:01,880
Speaker 2: Yeah, she's genuinely worried there because like Tom and Ian

1339
01:12:02,000 --> 01:12:04,400
Speaker 2: don't seem to know how food works, and they're out

1340
01:12:04,400 --> 01:12:08,280
Speaker 2: there alone without cheese doodles, and it's just gone from

1341
01:12:08,600 --> 01:12:10,200
Speaker 2: from from bad to worse here.

1342
01:12:10,840 --> 01:12:13,920
Speaker 3: They do genuinely seem like they're like, oh, no, we

1343
01:12:14,040 --> 01:12:18,080
Speaker 3: need Beth to cook for us and otherwise we will starve. Yeah,

1344
01:12:18,200 --> 01:12:21,680
Speaker 3: so we transitioned to a plane landing, and let's get

1345
01:12:21,720 --> 01:12:24,000
Speaker 3: a good look at that plane. Oh it's it's on

1346
01:12:24,040 --> 01:12:27,040
Speaker 3: the runway now, Okay, now it's turning around. Did you

1347
01:12:27,120 --> 01:12:29,759
Speaker 3: see the engines? Here are the jet engines.

1348
01:12:30,520 --> 01:12:33,960
Speaker 2: Yeah, get some good globe trotting stock footage.

1349
01:12:33,760 --> 01:12:37,040
Speaker 3: And we meet another blond lady. This is Laurie, who

1350
01:12:37,320 --> 01:12:40,439
Speaker 3: either Tom or Ian wrote the letter to and she

1351
01:12:40,600 --> 01:12:43,040
Speaker 3: goes to stay at Father Roche's house. She's like, Hey,

1352
01:12:43,080 --> 01:12:45,960
Speaker 3: what happened to my boyfriend? Why didn't he meet me

1353
01:12:46,000 --> 01:12:50,160
Speaker 3: at the airport? And Father Roche is like, I have

1354
01:12:50,320 --> 01:12:54,120
Speaker 3: had enough of students disappearing. We've got you know, we've

1355
01:12:54,160 --> 01:12:56,599
Speaker 3: got to put a stop to this. So he finally

1356
01:12:56,640 --> 01:13:00,160
Speaker 3: commits to doing the charges of a long distance call

1357
01:13:00,240 --> 01:13:03,240
Speaker 3: to call Milo at his house on the phone and

1358
01:13:03,320 --> 01:13:05,920
Speaker 3: demand he come to Greece to investigate. And then like

1359
01:13:05,960 --> 01:13:07,960
Speaker 3: the very next moment, Milo's there in Greece.

1360
01:13:08,400 --> 01:13:10,640
Speaker 2: Yeah. It's like, Milo, I need you to put pants on.

1361
01:13:11,240 --> 01:13:13,160
Speaker 2: I need you to find your passport, and he does.

1362
01:13:13,880 --> 01:13:16,040
Speaker 3: Milo doesn't own pants, so I'm sure he has to

1363
01:13:16,280 --> 01:13:19,880
Speaker 3: send out for some. So then we get the three

1364
01:13:19,920 --> 01:13:22,200
Speaker 3: of them driving in a car on a country road

1365
01:13:22,280 --> 01:13:25,960
Speaker 3: and Milo is driving fast and recklessly, and Donald Pleasantce

1366
01:13:26,080 --> 01:13:27,880
Speaker 3: is like, I'd have taken the bus if I'd known

1367
01:13:27,920 --> 01:13:32,560
Speaker 3: you were such a speed demon. And this is a dynamic.

1368
01:13:33,520 --> 01:13:36,040
Speaker 3: I said earlier that this is a movie where the

1369
01:13:36,160 --> 01:13:40,840
Speaker 3: same conversations just happen over and over again, and this

1370
01:13:41,000 --> 01:13:43,439
Speaker 3: is definitely one of those things. There's like, there are

1371
01:13:43,479 --> 01:13:46,559
Speaker 3: like four different scenes where they are driving a car

1372
01:13:46,640 --> 01:13:48,720
Speaker 3: and he's driving too fast and they talk about it,

1373
01:13:48,720 --> 01:13:50,000
Speaker 3: how he's driving too fast.

1374
01:13:50,760 --> 01:13:53,560
Speaker 2: Yeah, yeah, because we come back to this later where

1375
01:13:53,600 --> 01:13:56,160
Speaker 2: he's like, yeah, way, they're just talking about the same

1376
01:13:56,200 --> 01:13:58,880
Speaker 2: thing again, more driving, more moving from point A to

1377
01:13:58,880 --> 01:13:59,200
Speaker 2: point B.

1378
01:13:59,560 --> 01:14:04,120
Speaker 3: Another conversation that repeats many times is Milo saying I'm

1379
01:14:04,160 --> 01:14:07,520
Speaker 3: just a simple private detective, ideal in facts, not demons

1380
01:14:07,520 --> 01:14:11,040
Speaker 3: and devils, And of course Father Roache is like, well,

1381
01:14:11,080 --> 01:14:15,240
Speaker 3: you know, you'll learn soon enough. So they're driving around

1382
01:14:15,280 --> 01:14:17,720
Speaker 3: I guess they're trying to start their investigation, and they

1383
01:14:17,800 --> 01:14:20,799
Speaker 3: stumble across a funeral where there is a sudden, weird,

1384
01:14:20,880 --> 01:14:25,160
Speaker 3: psychic mind meld between Laurie and the local girl. Wait

1385
01:14:25,200 --> 01:14:27,439
Speaker 3: a minute, was that the girl wielding the knife in

1386
01:14:27,520 --> 01:14:28,439
Speaker 3: the cave earlier?

1387
01:14:28,840 --> 01:14:32,479
Speaker 2: Oh yeah, yeah, another nice scene of this girl staring

1388
01:14:32,800 --> 01:14:37,240
Speaker 2: blank expression at the camera. I think eno music kicking in,

1389
01:14:37,439 --> 01:14:39,680
Speaker 2: making it nice and creepy and dream like. I like it.

1390
01:14:39,960 --> 01:14:42,280
Speaker 3: So they stay at the local inn, and then later

1391
01:14:42,400 --> 01:14:44,439
Speaker 3: this night there is a scene that's really funny where

1392
01:14:44,479 --> 01:14:47,439
Speaker 3: Laurie is like in the bath and then the cult

1393
01:14:47,479 --> 01:14:49,880
Speaker 3: members I guess are trying to come get her. They're

1394
01:14:49,960 --> 01:14:52,160
Speaker 3: like one's coming in the door and another one's coming

1395
01:14:52,200 --> 01:14:55,439
Speaker 3: in the window, and she sees them. And then when

1396
01:14:55,680 --> 01:14:58,320
Speaker 3: they see that she sees them, they like run away,

1397
01:14:58,400 --> 01:15:00,760
Speaker 3: so they like retract their heads through the doors and

1398
01:15:00,800 --> 01:15:03,360
Speaker 3: the windows and like slam them shut. And we see

1399
01:15:03,400 --> 01:15:07,679
Speaker 3: this happen about seventeen times. So Laurie's like, hey, there

1400
01:15:07,680 --> 01:15:10,360
Speaker 3: were guys in weird hoods trying to get me in

1401
01:15:10,479 --> 01:15:14,200
Speaker 3: the bath and Milo doesn't believe her. He's like, oh, yeah,

1402
01:15:14,240 --> 01:15:15,799
Speaker 3: you were just dreaming or something.

1403
01:15:16,120 --> 01:15:17,799
Speaker 2: He deals in facts, that's.

1404
01:15:17,720 --> 01:15:22,240
Speaker 3: Right, But yeah, nothing she says is even supernatural or anything.

1405
01:15:22,320 --> 01:15:25,120
Speaker 3: She's just like, guys attacked me while I was in

1406
01:15:25,160 --> 01:15:28,639
Speaker 3: the bathroom. Is like, that is a perfectly factual seeming statement.

1407
01:15:29,600 --> 01:15:32,240
Speaker 3: So the next day they explore the temple ruins. They

1408
01:15:32,240 --> 01:15:35,080
Speaker 3: find the passageway, they go down into the caverns, they

1409
01:15:35,120 --> 01:15:39,800
Speaker 3: find the sacrifice room. There is a chandelier trap where

1410
01:15:39,840 --> 01:15:43,680
Speaker 3: Milo saves Donald, Pleasance and Laurie from a falling chandelier

1411
01:15:44,400 --> 01:15:48,120
Speaker 3: and they they I think, Milo goes up to like

1412
01:15:48,160 --> 01:15:51,120
Speaker 3: the rope that has frayed and says, oh, is this

1413
01:15:51,200 --> 01:15:54,400
Speaker 3: an act of God? And then Donald Pleasant says, there's

1414
01:15:54,400 --> 01:15:56,720
Speaker 3: someone here. I can feel him all around me.

1415
01:15:57,360 --> 01:16:00,000
Speaker 2: Yeah, this is a great set in this The chandelier

1416
01:16:00,080 --> 01:16:02,320
Speaker 2: trap is one of the few action sequences in the

1417
01:16:02,320 --> 01:16:06,200
Speaker 2: whole picture, so of course it's in that trailer, but

1418
01:16:06,600 --> 01:16:07,479
Speaker 2: I do love the set.

1419
01:16:07,960 --> 01:16:11,000
Speaker 3: Let's see so skipping over a few things here, Roche

1420
01:16:11,000 --> 01:16:13,000
Speaker 3: and Milo. Oh, there's one point where they go and

1421
01:16:13,000 --> 01:16:15,080
Speaker 3: speak to the baron at his house. He like sends

1422
01:16:15,080 --> 01:16:18,280
Speaker 3: a car for them, and not a lot comes out

1423
01:16:18,320 --> 01:16:20,800
Speaker 3: of the scene. The baron is We learn that he's

1424
01:16:20,800 --> 01:16:24,040
Speaker 3: an exile from his home country, and they kind of

1425
01:16:24,040 --> 01:16:28,160
Speaker 3: play trade some pleasantries, and then we see the lady

1426
01:16:28,240 --> 01:16:30,960
Speaker 3: with the baby from the grocery store and she says

1427
01:16:31,000 --> 01:16:33,680
Speaker 3: she is staying with Baron Korafax, And we see the

1428
01:16:33,680 --> 01:16:36,880
Speaker 3: baby playing with this gold artifact and Donald Pleasant says

1429
01:16:36,920 --> 01:16:40,160
Speaker 3: it's an odd toy, and Cushing says it is old,

1430
01:16:40,280 --> 01:16:44,120
Speaker 3: but not odd. It is the liberis and Donald Pleasant says,

1431
01:16:44,320 --> 01:16:47,800
Speaker 3: I know it is the ancient symbol of the Minoan priesthood.

1432
01:16:48,200 --> 01:16:51,080
Speaker 3: And then later he explains to Milo when they're alone

1433
01:16:51,120 --> 01:16:52,920
Speaker 3: after they've left the house, he says, I didn't want

1434
01:16:52,920 --> 01:16:55,479
Speaker 3: to say too much. But it's also a symbol of

1435
01:16:55,720 --> 01:17:00,479
Speaker 3: human sacrifice. And then Milo's is like, shut, it was

1436
01:17:00,560 --> 01:17:04,479
Speaker 3: just a toy. I only want facts. By the way,

1437
01:17:04,640 --> 01:17:07,639
Speaker 3: remember that Milo said Donald Pleasants is the best friend

1438
01:17:07,680 --> 01:17:08,599
Speaker 3: he's ever had.

1439
01:17:09,280 --> 01:17:11,920
Speaker 2: And again Milo's supposed to be a detective, but the

1440
01:17:12,000 --> 01:17:15,519
Speaker 2: tech detective work in this film is pretty shoddy. We

1441
01:17:15,560 --> 01:17:17,639
Speaker 2: don't feel I don't really never felt like we really

1442
01:17:17,720 --> 01:17:22,680
Speaker 2: have a detective story. It's the investigation portion of the

1443
01:17:22,680 --> 01:17:25,200
Speaker 2: film is just just feels kind of sloppy and with

1444
01:17:25,560 --> 01:17:26,360
Speaker 2: lacking in direction.

1445
01:17:26,720 --> 01:17:28,920
Speaker 3: So they come back to the end that night. Oh

1446
01:17:28,960 --> 01:17:30,880
Speaker 3: and by the way, there's a recurring theme with like

1447
01:17:30,960 --> 01:17:33,760
Speaker 3: this woman from the village who wants to talk to them,

1448
01:17:34,000 --> 01:17:37,080
Speaker 3: but every time she wants to talk to them, one

1449
01:17:37,080 --> 01:17:39,880
Speaker 3: of the like the police inspector, will pop up from

1450
01:17:39,920 --> 01:17:42,519
Speaker 3: behind a bush and kind of grunted her menacingly, and

1451
01:17:42,520 --> 01:17:45,799
Speaker 3: then she'll get scared and run away. So that happens

1452
01:17:45,840 --> 01:17:48,760
Speaker 3: a few times, and then they find her dead at

1453
01:17:48,760 --> 01:17:49,200
Speaker 3: the end.

1454
01:17:49,720 --> 01:17:51,639
Speaker 2: Yeah, I think this is Jessica Dublin, by the.

1455
01:17:51,560 --> 01:17:57,360
Speaker 3: Way, Okay, missus Zagros, Yeah all right. And then also

1456
01:17:57,439 --> 01:17:59,880
Speaker 3: this night we see Laurie getting chased through the woods

1457
01:18:00,000 --> 01:18:03,040
Speaker 3: by people in cult robes, like they're chasing her. And

1458
01:18:03,080 --> 01:18:06,760
Speaker 3: then Milo goes and he hears her screaming, so he

1459
01:18:06,800 --> 01:18:09,160
Speaker 3: goes and finds her in the woods and she's like,

1460
01:18:09,200 --> 01:18:12,960
Speaker 3: there were men chasing me and Milo's like, no nonsense,

1461
01:18:13,080 --> 01:18:15,679
Speaker 3: probably just a cow got loose in the woods.

1462
01:18:16,320 --> 01:18:21,040
Speaker 2: Geez. Yeah, the film is there. Again, it doesn't get

1463
01:18:21,040 --> 01:18:24,519
Speaker 2: into like really big sexism, but there's just like a

1464
01:18:24,600 --> 01:18:28,439
Speaker 2: pervasive film of sexism over the entire thing, you know,

1465
01:18:28,880 --> 01:18:31,760
Speaker 2: Like again, doesn't really get into exploitation territory, but it's

1466
01:18:31,800 --> 01:18:35,080
Speaker 2: like nobody listens to the female characters at all.

1467
01:18:35,439 --> 01:18:38,400
Speaker 3: All of the young men at least do not listen

1468
01:18:38,400 --> 01:18:41,400
Speaker 3: to any of the women. Yeah, yes, I guess Donald

1469
01:18:41,400 --> 01:18:43,400
Speaker 3: Pleasants is sort of he's listening.

1470
01:18:43,880 --> 01:18:46,280
Speaker 2: He's listening to everybody. He's hip, he's hip with the

1471
01:18:46,280 --> 01:18:46,880
Speaker 2: young folk here.

1472
01:18:51,320 --> 01:18:55,080
Speaker 3: So when the three of them get reunited, they let's see,

1473
01:18:55,080 --> 01:18:57,840
Speaker 3: they learn, Oh, the whole village is deserted because Roach

1474
01:18:57,920 --> 01:19:00,519
Speaker 3: had been going out trying to find somebody to help them.

1475
01:19:01,000 --> 01:19:03,639
Speaker 3: I guess I think maybe because they heard Laurie screaming,

1476
01:19:03,920 --> 01:19:08,400
Speaker 3: but he can't find anybody, so all deserted. There's no power.

1477
01:19:08,479 --> 01:19:11,519
Speaker 3: The houses are dark and empty, so they go up

1478
01:19:11,520 --> 01:19:14,479
Speaker 3: to their rooms at the end with candles. But then

1479
01:19:14,520 --> 01:19:16,760
Speaker 3: Milo goes back down to the bar because he says

1480
01:19:16,800 --> 01:19:18,840
Speaker 3: he's gonna have a drink I guess in the dark,

1481
01:19:19,280 --> 01:19:22,040
Speaker 3: and Laurie is scared. She says, there there were people

1482
01:19:22,080 --> 01:19:24,759
Speaker 3: in the woods, like some human fiend. And here Donald

1483
01:19:24,760 --> 01:19:27,320
Speaker 3: Pleasant is listening to her. He's like, I know. And

1484
01:19:27,360 --> 01:19:29,679
Speaker 3: this is where he gives his speech about the devil.

1485
01:19:30,040 --> 01:19:33,280
Speaker 3: The force acting here is older than mankind, the power

1486
01:19:33,320 --> 01:19:36,800
Speaker 3: without a face. It may have been known as Mephistopheles

1487
01:19:37,080 --> 01:19:40,479
Speaker 3: or Beelzebub or whatever else, but it is all the same.

1488
01:19:40,520 --> 01:19:41,360
Speaker 3: It is the devil.

1489
01:19:41,680 --> 01:19:46,639
Speaker 2: Yeah again it's devils, minotaurs and yeah, all the same thing.

1490
01:19:46,760 --> 01:19:49,640
Speaker 2: Doesn't matter. I'm opposed to it. Let's go stop it.

1491
01:19:50,080 --> 01:19:52,400
Speaker 3: So he goes back downstairs, so there's a lot of

1492
01:19:52,479 --> 01:19:55,439
Speaker 3: just kind of going up and downstairs. Here he goes

1493
01:19:55,479 --> 01:19:57,360
Speaker 3: back down to Milo, and this is where they have

1494
01:19:57,439 --> 01:20:00,680
Speaker 3: the exchange about where the devil. Did the whole get too,

1495
01:20:00,880 --> 01:20:03,439
Speaker 3: and he's like, you said it yourself, the devil.

1496
01:20:04,800 --> 01:20:05,000
Speaker 2: Oh.

1497
01:20:05,000 --> 01:20:08,040
Speaker 3: But then it finally reveals where the three archaeology students

1498
01:20:08,040 --> 01:20:11,160
Speaker 3: from thirty minutes ago were they are in a cave,

1499
01:20:11,360 --> 01:20:14,200
Speaker 3: still alive, being held prisoner by Peter Cushing, and he

1500
01:20:14,240 --> 01:20:17,160
Speaker 3: stands in front of them without saying anything, but the

1501
01:20:17,240 --> 01:20:20,559
Speaker 3: minotaur talks to them. The statue says, only one thing

1502
01:20:20,720 --> 01:20:22,559
Speaker 3: can save you now, or I guess it does a

1503
01:20:22,600 --> 01:20:26,679
Speaker 3: creepy voice. Only one thing can save you now. Father

1504
01:20:26,920 --> 01:20:32,280
Speaker 3: Roche must die. He has entered my forbidden chamber, and

1505
01:20:33,439 --> 01:20:35,519
Speaker 3: I think he's sort of talking mostly to Beth, and

1506
01:20:35,560 --> 01:20:39,120
Speaker 3: Beth has a vision of herself stabbing Donald Pleasance with

1507
01:20:39,160 --> 01:20:42,080
Speaker 3: a knife and she's like, oh no, you know it

1508
01:20:42,479 --> 01:20:45,720
Speaker 3: wants me to kill Father Roche and she says she

1509
01:20:45,760 --> 01:20:48,599
Speaker 3: won't do it. But Cushing and his chauffeur are both

1510
01:20:48,640 --> 01:20:51,760
Speaker 3: standing there and they laugh like ha ha ha ha

1511
01:20:51,400 --> 01:20:53,240
Speaker 3: ha ha, and they just wander away.

1512
01:20:53,720 --> 01:20:56,639
Speaker 2: Yeah, it's like a creepy sequence, but nothing's really done

1513
01:20:56,640 --> 01:20:59,320
Speaker 2: with it, and like nothing really evolves out of this moment.

1514
01:20:59,760 --> 01:21:02,040
Speaker 3: There actually a lot of scenes in this movie where

1515
01:21:02,080 --> 01:21:07,080
Speaker 3: nothing changes plot wiseing nothing new has happened.

1516
01:21:08,000 --> 01:21:10,560
Speaker 2: But you keep watching because you know there's going to

1517
01:21:10,600 --> 01:21:12,360
Speaker 2: be a showdown. You know that there's going to be

1518
01:21:12,360 --> 01:21:14,599
Speaker 2: some sort of payoff of the end, right, so we.

1519
01:21:14,600 --> 01:21:19,599
Speaker 3: Start getting there, so Roche and Milo. They see more

1520
01:21:19,640 --> 01:21:22,360
Speaker 3: cult figures moving around or I guess maybe Milo season

1521
01:21:22,400 --> 01:21:25,120
Speaker 3: for the first time, and then they chase after them.

1522
01:21:25,120 --> 01:21:27,759
Speaker 3: They chase the cult members, then the cult members chase them,

1523
01:21:27,840 --> 01:21:30,840
Speaker 3: and there's a lot of chasing around. They get the

1524
01:21:30,880 --> 01:21:33,840
Speaker 3: two non cult members get locked into some kind of

1525
01:21:33,880 --> 01:21:37,960
Speaker 3: walled garden and we see a ceremony beginning where Cushing

1526
01:21:38,120 --> 01:21:41,879
Speaker 3: is saying the old customs remain and the ancient gods

1527
01:21:41,920 --> 01:21:46,160
Speaker 3: live on, which isn't much of a catechism, I don't know,

1528
01:21:47,280 --> 01:21:50,639
Speaker 3: but everybody repeats this. They're saying all the same things

1529
01:21:50,680 --> 01:21:54,360
Speaker 3: he's saying. And then we see the archaeology students. They're

1530
01:21:54,400 --> 01:21:57,920
Speaker 3: tied to poles like prisoners of the Ewoks and brought

1531
01:21:57,960 --> 01:22:01,840
Speaker 3: in put on the recliners, and Ian and Beth get

1532
01:22:01,840 --> 01:22:05,800
Speaker 3: deposited on stone recliners and the girl stabs them in

1533
01:22:05,880 --> 01:22:08,360
Speaker 3: the heart or maybe it's Tom and Beth, whichever Ian

1534
01:22:08,479 --> 01:22:12,240
Speaker 3: or Tom, so they're dead. And later Donald, Pleasance and

1535
01:22:12,280 --> 01:22:15,200
Speaker 3: Milo just walk up on these recliners and find them there.

1536
01:22:15,320 --> 01:22:17,120
Speaker 3: I don't know how they got to where this was,

1537
01:22:18,240 --> 01:22:20,800
Speaker 3: but so they're driving around and at some point they

1538
01:22:20,920 --> 01:22:25,200
Speaker 3: hit a cultist with their car and then they uncover

1539
01:22:25,320 --> 01:22:28,040
Speaker 3: his face and I think it's the police inspector. Is

1540
01:22:28,080 --> 01:22:29,040
Speaker 3: that who you thought it was?

1541
01:22:29,120 --> 01:22:30,840
Speaker 2: I think I think it is, yes.

1542
01:22:30,720 --> 01:22:33,519
Speaker 3: And he smiles. He's like aha, and he gets up

1543
01:22:33,560 --> 01:22:37,880
Speaker 3: and he runs away, and Roche says, yes, he was

1544
01:22:37,920 --> 01:22:40,080
Speaker 3: at the edge of death, but it takes more than

1545
01:22:40,080 --> 01:22:43,439
Speaker 3: the force of an automobile to destroy them. And I

1546
01:22:43,520 --> 01:22:46,000
Speaker 3: was thinking, where did he get this info? He's like

1547
01:22:46,120 --> 01:22:49,000
Speaker 3: Van Helsing, but instead of knowledge on vampires, he has

1548
01:22:49,040 --> 01:22:50,960
Speaker 3: knowledge on Minotaur cult members.

1549
01:22:51,600 --> 01:22:57,000
Speaker 2: Yeah, and they're sort of bland powers, bland but impressive, like, yes,

1550
01:22:57,080 --> 01:22:59,640
Speaker 2: you can survive a gunshot, but it feels like the

1551
01:22:59,680 --> 01:23:02,559
Speaker 2: kind of thing that would have been impressive in like

1552
01:23:02,640 --> 01:23:07,439
Speaker 2: a an action adventure serial from the thirties. You know,

1553
01:23:08,360 --> 01:23:11,240
Speaker 2: that's like the level of threat in magic we're dealing

1554
01:23:11,240 --> 01:23:15,840
Speaker 2: with with these cult members.

1555
01:23:22,000 --> 01:23:24,519
Speaker 3: So the next day in the village, everybody is going

1556
01:23:24,520 --> 01:23:27,479
Speaker 3: about their business, but now Roche and Milo are walking

1557
01:23:27,520 --> 01:23:30,439
Speaker 3: amongst these people in the streets and they realize all

1558
01:23:30,520 --> 01:23:32,920
Speaker 3: of these people are members of the Minotaur Cult.

1559
01:23:32,920 --> 01:23:36,000
Speaker 2: By night, finally putting Linen two together here.

1560
01:23:36,160 --> 01:23:40,400
Speaker 3: Oh wow, how who would have thought? Also, they realize, whoops,

1561
01:23:40,479 --> 01:23:42,840
Speaker 3: Laurie has been cult napped in the night, so now

1562
01:23:42,880 --> 01:23:45,960
Speaker 3: she is she's been taken by them, and they know

1563
01:23:46,080 --> 01:23:48,960
Speaker 3: she's probably going to be sacrificed the next night. So

1564
01:23:49,840 --> 01:23:52,599
Speaker 3: the so they're they're trying to figure out what's going on,

1565
01:23:52,720 --> 01:23:57,559
Speaker 3: and Milo is like, wow, finally finally he recognizes something

1566
01:23:57,600 --> 01:24:00,479
Speaker 3: as up when Laurie is gone, so he he starts

1567
01:24:00,960 --> 01:24:04,360
Speaker 3: The police inspector comes in the door of their room

1568
01:24:04,400 --> 01:24:06,760
Speaker 3: at the end, I guess and is like, hey, what's up,

1569
01:24:06,800 --> 01:24:09,640
Speaker 3: and Milo just starts beating him up and punching him

1570
01:24:09,640 --> 01:24:12,559
Speaker 3: in the face, throwing him down the stairs until he

1571
01:24:12,640 --> 01:24:15,720
Speaker 3: is stopped by Peter Cushing, who is like, hey, why

1572
01:24:15,760 --> 01:24:19,320
Speaker 3: are you beating up a police inspector? And then Cushing

1573
01:24:19,439 --> 01:24:21,680
Speaker 3: pulls a shotgun on him. So it's barren with a

1574
01:24:21,720 --> 01:24:24,920
Speaker 3: shotgun here, and what's the deal with it. He says

1575
01:24:24,960 --> 01:24:27,439
Speaker 3: he's going to give them one minute to do something,

1576
01:24:27,520 --> 01:24:29,840
Speaker 3: maybe to get out of the inn or something, and

1577
01:24:29,880 --> 01:24:33,040
Speaker 3: then he counts down a few seconds but then shoots

1578
01:24:33,120 --> 01:24:37,000
Speaker 3: the clock. It's really kind of a squib of a scene.

1579
01:24:37,600 --> 01:24:42,760
Speaker 2: Yeah, so many squibs in this movie where yeah, it

1580
01:24:42,800 --> 01:24:45,200
Speaker 2: doesn't there's not really any kind of payoff. It's unclear

1581
01:24:45,240 --> 01:24:49,400
Speaker 2: exactly like why we were here, But you keep watching

1582
01:24:49,520 --> 01:24:52,080
Speaker 2: because you know you're gonna get to that big showdown.

1583
01:24:52,120 --> 01:24:54,200
Speaker 2: There's gonna be a show There's got to be a showdown.

1584
01:24:54,400 --> 01:24:57,679
Speaker 3: Oh, we're basically there. So Roche and Milo drive away.

1585
01:24:58,120 --> 01:25:00,920
Speaker 3: Milo pulls a gun out of the glove in the car,

1586
01:25:01,160 --> 01:25:03,680
Speaker 3: and Donald Pleasance is like, haven't you learned anything? Do

1587
01:25:03,720 --> 01:25:06,040
Speaker 3: you really think you can stop this with bullets? There's

1588
01:25:06,040 --> 01:25:09,559
Speaker 3: only one force that can fight them, And so Donald

1589
01:25:09,600 --> 01:25:12,760
Speaker 3: Pleasance and Milo stop at a roadside chapel to get weapons,

1590
01:25:12,760 --> 01:25:15,280
Speaker 3: so they get a crucifix and holy water and all

1591
01:25:15,320 --> 01:25:16,720
Speaker 3: this for the final showdown.

1592
01:25:17,240 --> 01:25:19,679
Speaker 2: I did like that we got to see the sourcing

1593
01:25:19,760 --> 01:25:22,280
Speaker 2: of the holy water. I feel like this is one

1594
01:25:22,280 --> 01:25:24,960
Speaker 2: thing the film does well. More often than not, you

1595
01:25:25,000 --> 01:25:27,800
Speaker 2: see the holy water in a vampire movie or what

1596
01:25:27,880 --> 01:25:30,000
Speaker 2: have you, it's you know, it's already been collected. It's

1597
01:25:30,080 --> 01:25:32,439
Speaker 2: just in a little bottle as if you get it

1598
01:25:32,479 --> 01:25:34,320
Speaker 2: that way and you store it that way. But I

1599
01:25:34,560 --> 01:25:36,280
Speaker 2: kind of like that we saw the collection of the

1600
01:25:36,320 --> 01:25:39,439
Speaker 2: holy water in a way. It it's one of the

1601
01:25:39,479 --> 01:25:42,519
Speaker 2: few moments in the film where they successfully build towards

1602
01:25:42,520 --> 01:25:43,120
Speaker 2: something else.

1603
01:25:43,600 --> 01:25:46,720
Speaker 3: I agree. I like this scene also also we see

1604
01:25:46,720 --> 01:25:49,479
Speaker 3: Peter Cushing go to the temple to speak to the minotaur,

1605
01:25:49,600 --> 01:25:53,160
Speaker 3: and the minotaur, unsurprisingly wants him to kill the priest.

1606
01:25:53,240 --> 01:25:55,439
Speaker 3: He's like, bring me Father Roach. I don't know why

1607
01:25:55,439 --> 01:25:57,759
Speaker 3: he's so interested in Father Roach. I think it's because

1608
01:25:58,120 --> 01:26:01,479
Speaker 3: he entered his forbidden chamber and is still alive. But

1609
01:26:01,520 --> 01:26:06,280
Speaker 3: that's also true of Milo and of Laurie, who I

1610
01:26:06,280 --> 01:26:09,240
Speaker 3: guess the cult has now in custody.

1611
01:26:09,760 --> 01:26:11,960
Speaker 2: You know, time was a minotaur would take care of

1612
01:26:12,000 --> 01:26:14,519
Speaker 2: this problem itself. You know, that was kind of the

1613
01:26:14,520 --> 01:26:16,000
Speaker 2: classic situation.

1614
01:26:16,479 --> 01:26:19,120
Speaker 3: Yeah, yeah, but now he's got to get Peter Cushing

1615
01:26:19,160 --> 01:26:20,160
Speaker 3: to do his work for him.

1616
01:26:20,280 --> 01:26:20,680
Speaker 2: I don't know.

1617
01:26:21,439 --> 01:26:24,120
Speaker 3: So there's a final showdown. Milo and Roach go back

1618
01:26:24,160 --> 01:26:26,280
Speaker 3: to Stop. You know, there's a ceremony going on. You

1619
01:26:26,320 --> 01:26:28,320
Speaker 3: can imagine exactly what it is. There are no real

1620
01:26:28,400 --> 01:26:30,519
Speaker 3: surprises at all at the end of this movie. There's

1621
01:26:30,520 --> 01:26:34,559
Speaker 3: a big ceremony and they've got Laurie there, and then

1622
01:26:34,560 --> 01:26:37,400
Speaker 3: they've got whichever one of the archaeology students it was

1623
01:26:37,479 --> 01:26:40,840
Speaker 3: that's still alive, either Tom or Ian. Those two are

1624
01:26:40,840 --> 01:26:43,000
Speaker 3: still alive and they're going to be sacrificed.

1625
01:26:43,200 --> 01:26:43,400
Speaker 2: You know.

1626
01:26:43,439 --> 01:26:46,120
Speaker 3: The girl with the knife is there ceremonies going on.

1627
01:26:46,800 --> 01:26:49,840
Speaker 3: Milo busts in into the ceremony with a gun, but

1628
01:26:49,880 --> 01:26:51,840
Speaker 3: the cult is basically don't care. They just sort of

1629
01:26:51,880 --> 01:26:55,559
Speaker 3: ignore him while he's like blam blaming at them, and

1630
01:26:55,640 --> 01:26:58,439
Speaker 3: they just grab him, you know, because they're in vulnerable

1631
01:26:58,479 --> 01:27:01,799
Speaker 3: to bullets. Of course, only a greater power can stop them,

1632
01:27:02,280 --> 01:27:04,760
Speaker 3: so they tie him up to the third recliner at

1633
01:27:04,760 --> 01:27:06,320
Speaker 3: the front of the temple, and I guess they're going

1634
01:27:06,400 --> 01:27:11,320
Speaker 3: to sacrifice him too. The minotaur statue once again reiterates

1635
01:27:11,360 --> 01:27:14,360
Speaker 3: those who enter the forbidden chamber of the Minotaur must die.

1636
01:27:15,160 --> 01:27:18,559
Speaker 3: And then Roche bust he comes in and he defeats

1637
01:27:18,600 --> 01:27:20,920
Speaker 3: them all. How does he do it? Does he is there?

1638
01:27:20,960 --> 01:27:21,559
Speaker 2: Any? Is there?

1639
01:27:21,600 --> 01:27:23,920
Speaker 3: Like a big twist? What is it he's gonna do?

1640
01:27:24,520 --> 01:27:27,519
Speaker 3: He holds up a crucifix and he says some Latin

1641
01:27:28,000 --> 01:27:31,240
Speaker 3: he's like in nomine patrees, and then the minotaur and

1642
01:27:31,280 --> 01:27:36,000
Speaker 3: all of the cult members explode like just shrapnel everywhere.

1643
01:27:36,800 --> 01:27:39,960
Speaker 2: The least little bit of religion down here, least little

1644
01:27:40,000 --> 01:27:45,040
Speaker 2: bit of Christianity down in the Minotaur's layer, just explodes.

1645
01:27:45,400 --> 01:27:49,600
Speaker 2: Everyone except for the coldest children. So anybody in I

1646
01:27:49,600 --> 01:27:52,519
Speaker 2: think the children are all wearing white robes. Yeah, so

1647
01:27:52,800 --> 01:27:55,720
Speaker 2: if you have any other color of robe, you just

1648
01:27:55,920 --> 01:27:57,040
Speaker 2: completely explode.

1649
01:27:57,360 --> 01:28:00,640
Speaker 3: The green, the purple, the red, they're all exploded.

1650
01:28:01,200 --> 01:28:04,640
Speaker 2: Yeah, just completely blasted. You know. It's kind of like

1651
01:28:04,680 --> 01:28:07,559
Speaker 2: a low rent version of the Devil's Rain. Instead of

1652
01:28:07,600 --> 01:28:12,280
Speaker 2: having them like slowly painstakingly melting for you know, a

1653
01:28:12,280 --> 01:28:14,920
Speaker 2: good fifteen minutes or what have you, it's just a

1654
01:28:14,960 --> 01:28:16,639
Speaker 2: few quick explosions and they're done.

1655
01:28:16,840 --> 01:28:18,760
Speaker 3: But I think this is kind of funny because the

1656
01:28:19,320 --> 01:28:22,800
Speaker 3: creepy cult girl was the one who actually physically did

1657
01:28:22,840 --> 01:28:25,400
Speaker 3: all the murders, like she put the knife in the people.

1658
01:28:25,439 --> 01:28:28,879
Speaker 2: But she's okay, an innocent She's an innocent Joe.

1659
01:28:28,840 --> 01:28:31,800
Speaker 3: That's right. So she and the other kids they wander out,

1660
01:28:32,360 --> 01:28:35,560
Speaker 3: and you know, Milo's like, how come they didn't explode?

1661
01:28:35,640 --> 01:28:38,880
Speaker 3: And Father Roche explains. He says, they are young, their

1662
01:28:38,920 --> 01:28:42,400
Speaker 3: souls are incorruptible, but the fight against evil goes on.

1663
01:28:42,400 --> 01:28:46,280
Speaker 3: One day, Milo, I may need your help again. They

1664
01:28:46,280 --> 01:28:49,519
Speaker 3: are setting up a sequel, and then it cuts straight

1665
01:28:49,560 --> 01:28:53,280
Speaker 3: to the rock track. You know, let's get a sample

1666
01:28:53,320 --> 01:28:54,240
Speaker 3: of that, Jja.

1667
01:29:00,360 --> 01:29:03,160
Speaker 2: So groovy. What kind of globe trotting adventures are these

1668
01:29:03,200 --> 01:29:05,240
Speaker 2: two going to get into? In the next film that

1669
01:29:05,280 --> 01:29:05,960
Speaker 2: they didn't make.

1670
01:29:06,479 --> 01:29:09,360
Speaker 3: Oh, maybe they'll go back to Roche's home of Ireland

1671
01:29:09,720 --> 01:29:11,760
Speaker 3: and there will be a banshee and we'll learn about

1672
01:29:11,800 --> 01:29:14,560
Speaker 3: how banshee is just the same thing as the Devil.

1673
01:29:14,760 --> 01:29:17,200
Speaker 2: Yeah, like I think that would be the template Satanic

1674
01:29:17,240 --> 01:29:19,439
Speaker 2: cult that's worshiping the Banshee. And then they do a

1675
01:29:19,479 --> 01:29:22,080
Speaker 2: film where they go to somewhere in the US and

1676
01:29:22,120 --> 01:29:25,920
Speaker 2: it's like a Satanic cult that's worshiping Bigfoot, just whatever,

1677
01:29:26,400 --> 01:29:29,920
Speaker 2: just which as yes, yes, I mean in all cases

1678
01:29:29,920 --> 01:29:32,200
Speaker 2: it's obviously the Devil. And then they go to one

1679
01:29:32,240 --> 01:29:34,560
Speaker 2: and it's like it's a Satanic cult and they're worshiping

1680
01:29:34,920 --> 01:29:37,240
Speaker 2: Oh Jesus, oh this is just a church. Then they're like, okay,

1681
01:29:37,400 --> 01:29:39,320
Speaker 2: cancel this, this is just another church.

1682
01:29:42,240 --> 01:29:44,560
Speaker 3: Okay, Well, I think this is definitely not one of

1683
01:29:44,640 --> 01:29:46,760
Speaker 3: the best films we have covered, But you know what,

1684
01:29:46,840 --> 01:29:48,839
Speaker 3: I had a great time on today's episode.

1685
01:29:49,320 --> 01:29:52,080
Speaker 2: Yeah, this is a fun one. I also want to

1686
01:29:52,120 --> 01:29:55,960
Speaker 2: drive those explosions when the cult members explode, it's not gory,

1687
01:29:56,080 --> 01:29:58,439
Speaker 2: it's just kind of they just kind of explode. It's

1688
01:29:58,479 --> 01:30:03,120
Speaker 2: like they're like drift foot. They're yeah, so yeah, this

1689
01:30:03,200 --> 01:30:04,800
Speaker 2: is a this is a fun one. It's a hard

1690
01:30:05,080 --> 01:30:08,200
Speaker 2: it's hard to recommend this one too, folks, unless you were,

1691
01:30:08,439 --> 01:30:12,080
Speaker 2: you know, the completest on any of the talents involved here.

1692
01:30:12,840 --> 01:30:15,679
Speaker 2: I think if you're if you're a big Brian Eno fan,

1693
01:30:15,760 --> 01:30:18,519
Speaker 2: it's worth checking out. Again. If you're a huge Donald

1694
01:30:18,560 --> 01:30:21,160
Speaker 2: pleasant for Peter Cushion fan and you just must see everything,

1695
01:30:21,280 --> 01:30:22,439
Speaker 2: then give it a go.

1696
01:30:23,840 --> 01:30:26,200
Speaker 3: It's I think this is a good This is a

1697
01:30:26,240 --> 01:30:28,559
Speaker 3: good movie to put on while you're doing something else.

1698
01:30:29,080 --> 01:30:31,519
Speaker 3: That's something I like to do sometimes if I'm like

1699
01:30:31,600 --> 01:30:34,240
Speaker 3: hanging out with people, I put on a silly movie

1700
01:30:34,280 --> 01:30:37,960
Speaker 3: on low volume that's not too visually arresting. This is

1701
01:30:37,960 --> 01:30:38,439
Speaker 3: a good.

1702
01:30:38,240 --> 01:30:40,519
Speaker 2: One, Yeah, I think. I think. In fact, I have

1703
01:30:40,560 --> 01:30:43,080
Speaker 2: a neighbor who had these years and years ago. I

1704
01:30:43,120 --> 01:30:46,439
Speaker 2: think he was playing this in his backyard. So yeah,

1705
01:30:46,439 --> 01:30:49,400
Speaker 2: it's it's it's it's pretty good to play in such

1706
01:30:49,400 --> 01:30:51,639
Speaker 2: a setting, and you know, the Greek connection is pretty cool.

1707
01:30:51,720 --> 01:30:54,720
Speaker 2: I like getting to check Greek cinema off to some

1708
01:30:54,800 --> 01:30:58,040
Speaker 2: degree on the Weird House Cinema International checklist.

1709
01:30:58,479 --> 01:31:00,200
Speaker 3: This was the one.

1710
01:31:01,320 --> 01:31:04,040
Speaker 2: Well, we're not doing Island to Death, that's for sure,

1711
01:31:05,840 --> 01:31:10,080
Speaker 2: but we always, you know, we invite a recommendation from listeners.

1712
01:31:10,120 --> 01:31:13,040
Speaker 2: So if there is another example of weird Greek cinema

1713
01:31:13,080 --> 01:31:16,599
Speaker 2: that we should consider, write in and let us know. Yes,

1714
01:31:16,640 --> 01:31:19,080
Speaker 2: of course, all right, well we're gonna go ahead and

1715
01:31:19,080 --> 01:31:21,800
Speaker 2: close this one up. Just a reminder that Stuff to

1716
01:31:21,800 --> 01:31:24,040
Speaker 2: Blow Your Mind is primarily a science podcast with core

1717
01:31:24,080 --> 01:31:26,439
Speaker 2: episodes on Tuesdays and Thursdays, but on Fridays we set

1718
01:31:26,479 --> 01:31:28,960
Speaker 2: aside most serious concerns to just talk about a weird

1719
01:31:29,000 --> 01:31:31,320
Speaker 2: film here on Weird House Cinema. If you want to

1720
01:31:31,320 --> 01:31:33,040
Speaker 2: see a list of all the movies we've covered over

1721
01:31:33,080 --> 01:31:35,240
Speaker 2: the years, you can go to a couple of places.

1722
01:31:35,479 --> 01:31:38,400
Speaker 2: We have a profile on letterbox dot com that's L

1723
01:31:38,400 --> 01:31:41,000
Speaker 2: E T T E R box d dot com. We're

1724
01:31:41,080 --> 01:31:43,720
Speaker 2: weird House. There there's a list where you can see

1725
01:31:43,720 --> 01:31:45,320
Speaker 2: all the films we've covered over the years, and I

1726
01:31:45,320 --> 01:31:48,040
Speaker 2: also blog about these movies. That's Immuta Music dot com.

1727
01:31:48,120 --> 01:31:51,800
Speaker 3: Huge thanks to our excellent audio producer Jjposway. If you

1728
01:31:51,840 --> 01:31:53,839
Speaker 3: would like to get in touch with us with feedback

1729
01:31:53,840 --> 01:31:56,080
Speaker 3: on this episode or any other, do suggest a topic

1730
01:31:56,120 --> 01:31:58,519
Speaker 3: for the future, or just to say hello, you can

1731
01:31:58,600 --> 01:32:01,479
Speaker 3: email us at contact that Stuff to Blow your Mind

1732
01:32:01,640 --> 01:32:08,800
Speaker 3: dot com.

1733
01:32:08,920 --> 01:32:11,880
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1734
01:32:11,960 --> 01:32:14,759
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1735
01:32:14,880 --> 01:32:17,599
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.