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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb.

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Speaker 2: And this is Joe McCormick, and today we're bringing you

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Speaker 2: an older episode of Weird House Cinema. This is on

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Speaker 2: Luccio Folcheese House by the Cemetery about as weird a

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Speaker 2: movie as you could want. This episode originally published October

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Speaker 2: twenty ninth, twenty twenty one.

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Speaker 1: It's a movie that literally has it all so dive

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Speaker 1: right in. It's a great Halloween selection. Here.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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

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Speaker 2: And this is Joe McCormick, and it's October. And though

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Speaker 2: we cover horror movies a lot on this show, I

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Speaker 2: guess we have to do some really intense horror this month.

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Speaker 2: And so what better time to introduce our very first

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Speaker 2: Luccio Fulci movie on Weird House.

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Speaker 1: That's right, Luccio Fulci's nineteen eighty one film, The House

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Speaker 1: by the Cemetery. This is a just a bloody and

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Speaker 1: bonker's tale that has multiple elements in it that I

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Speaker 1: think are worth geeking out over, and it also feels

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Speaker 1: on some level. It feels like the perfect film too

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Speaker 1: to discuss this week, because as of this week, Weird

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Speaker 1: House Cinema has completed its first Journey around the Sun.

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Speaker 1: We've been doing these episodes for a year now, and

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Speaker 1: you've been either putting up with them or enjoying them

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Speaker 1: with us for a year, and so we appreciate that.

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Speaker 2: Now, Rob, this movie was your pick, So I assume

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Speaker 2: this must you must have some kind of personal history

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Speaker 2: with it. What is your connection to House by the Cemetery.

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Speaker 1: I think it was the first Fulci film that I

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Speaker 1: saw that really connected with me. That the first film

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Speaker 1: where I felt like, I mean, they're even his worst film,

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Speaker 1: his less celebrated films. Often there's generally something enjoyable in them,

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Speaker 1: but sometimes if you don't, if you're not really a connoisseur,

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Speaker 1: it's easy to get caught up on the things that

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Speaker 1: don't work. And so I think i'd had that experience

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Speaker 1: with some of his other films, like what New York Ripper?

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Speaker 1: And is it New York Ripper? Yeah?

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Speaker 2: I think so, I've never seen that one.

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Speaker 1: In Manhattan Baby, which is a wonderful I love the

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Speaker 1: title Manhattan Baby because it's kind of implies a certain

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Speaker 1: unders like a b cinema international idea of what New

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Speaker 1: York was, and therefore you could just put the word

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Speaker 1: Manhattan in front of Baby and it takes on sinister qualities.

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Speaker 1: But those are all films where I think I saw

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Speaker 1: more of the flaws than the genius, and in this film,

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Speaker 1: the genius stood out to me. So I was really

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Speaker 1: excited to revisit it, and I found that in revisiting it,

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Speaker 1: I got to appreciate all the bonker stuff a lot more.

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Speaker 1: I feel like my memory had kind of selectively cut

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Speaker 1: out a lot of the weirder plot holes in this film,

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Speaker 1: and I mainly remembered like a really great monster. I

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Speaker 1: remembered some, you know, some weird scenes and some heightened tension,

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Speaker 1: but ultimately this is just a wonderful weird pick. Well.

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Speaker 2: So we've been talking recently a number of times about

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Speaker 2: specifically about these rubbed the Fur movies, movies that are

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Speaker 2: more about a vision of audio visual texture than they

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Speaker 2: are about the narrative contents of the film. And it's

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Speaker 2: funny that that Folcie never came up when we were

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Speaker 2: talking about these before, because I think in the most

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Speaker 2: disgusting possible way. Folci was deeply committed to making rub

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Speaker 2: the fur type movies cinema as a as a almost

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Speaker 2: purely esthetic exercise over a narrative one. And so I've

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Speaker 2: seen a number of Fulcy horror movies and I can't

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Speaker 2: remember a single one of them for its characters or plot. Instead,

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Speaker 2: what you what you remember from these movies are and images.

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Speaker 2: So I tend to think of a Fulci as a

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Speaker 2: I think of his approach to movie making as kind

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Speaker 2: of similar to a child creating shoebox dioramas, except of

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Speaker 2: course they're strewn with ludicrous amounts of blood and gore.

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Speaker 2: So he has like an extraordinary eye for these memorable

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Speaker 2: set pieces of weirdness and wet violence. But on the

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Speaker 2: narrative level, these scenes and the characters in them always

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Speaker 2: feel just barely held together by the vaguest of narrative logic.

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Speaker 2: Every ful Chie movie I have ever seen feels like

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Speaker 2: it takes place in a dream, where in every scene,

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Speaker 2: you know, it's like that moment in a dream where

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Speaker 2: some things are going on around you, but you couldn't

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Speaker 2: necessarily explain how you got there or why.

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Speaker 1: Now, like a dream, you can, I think, what I do,

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Speaker 1: or what I've done in the past with fullshoe movies

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Speaker 1: is afterwards, I kind of reflect on the dream and

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Speaker 1: sort of ascribe it a structure, you know, And I

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Speaker 1: feel like you can certainly do that with a film

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Speaker 1: like this. You can be like, Okay, well, this was

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Speaker 1: at heart a film about a house that is haunted.

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Speaker 1: People move into said haunted house, have encounters with the haunt,

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Speaker 1: and you know, there are consequences for all of that.

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Speaker 1: I think that's basically the plot, but what we actually

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Speaker 1: witness on screen is a lot more I don't know, frenzied,

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Speaker 1: and like you say, it kind of definitely follows the

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Speaker 1: logic or the lack of logic found in dreams.

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Speaker 2: Yeah, and like you're saying, I mean, actually, it's kind

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Speaker 2: of hard to describe because his movies do, in fact

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Speaker 2: have plots and they have characters. So Housed by the Cemetery,

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Speaker 2: which we just watched, is a movie that technically has

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Speaker 2: a story that you could summarize in words. It's more

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Speaker 2: that it just doesn't really feel that way when you're

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Speaker 2: watching it. You know, like you could write out a

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Speaker 2: plot summary and it would more or less make sense.

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Speaker 2: It's just that seemed to see, and I at least

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Speaker 2: don't feel the normal levels of narrative logic that you

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Speaker 2: would in a movie where the plot hangs together like

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Speaker 2: it should. Instead, once again, what we get is more

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Speaker 2: like a collection of images, shots, set pieces, and scenes,

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Speaker 2: as if billowing out of a dream and then kind

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Speaker 2: of haphazardly strung together along a pretty standard kind of

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Speaker 2: horror plot arc.

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Speaker 1: I think one aspect of this, or one reason for this,

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Speaker 1: is that I don't think full two was ever the

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Speaker 1: sort of director to let the plot get in the

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Speaker 1: way of a great shot, right there was something visually

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Speaker 1: interesting to be done, it seems like he would do

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Speaker 1: it even if it wasn't really helping out the plot

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Speaker 1: all that much.

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Speaker 2: Not even plot, I mean, just to let any kind

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Speaker 2: of logic or reality get in the way of a

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Speaker 2: good shot. So say the laws of physics. You know,

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Speaker 2: he will show some kind of bizarre murder that he

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Speaker 2: maybe came to him in a dream or whatever, and

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Speaker 2: it doesn't really matter if this is not how like

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Speaker 2: fluids flow in the real world, or if this is

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Speaker 2: you know, it doesn't really gravity would interfere with what

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Speaker 2: he wants to be showing you. He's just going to

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Speaker 2: show it.

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Speaker 1: Yeah.

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Speaker 2: You know. Another thing that's kind of interesting about full

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Speaker 2: Cheesse horror movies is that, though they are classifiable as

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Speaker 2: horror and they generally have you know, ghosts and zombies,

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Speaker 2: supernatural horror plot elements, I don't know if they're really

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Speaker 2: intended to be scary. I never really find them scary.

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Speaker 2: They're more like disgusting psychedelic art films.

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Speaker 1: Yeah, this film in particular, Yeah, it feels like it's

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Speaker 1: trying to be haunting and supernatural. It's it's definitely going

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Speaker 1: out there to be gory, but really there's only there's

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Speaker 1: only like one sequence of a child in peril that

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Speaker 1: felt suspenseful. I don't know, maybe the opening kill sequence

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Speaker 1: is a little bit suspenseful, even though you don't really

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Speaker 1: have a firm attachment to any of the characters.

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Speaker 2: Okay, so what's the elevator pitch on this one? Absurdly

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Speaker 2: grizzly murders keep happening at the old freud Stein house.

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Speaker 2: Let's watch what happens when a new family moves in.

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Speaker 1: Don't you mean oak manor isn't it? Oh yeah, the

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Speaker 1: realtors keep insisting don't call it the Freudstein House.

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Speaker 2: God, I love the cutaways to the real estate office.

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Speaker 1: Yeah, we got we had a strong real estate agent

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Speaker 1: subplot in this.

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Speaker 2: Yeah, and the real estate office was strangely political compared

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Speaker 2: to you know, there was nothing else in the movie

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Speaker 2: like this. But in the real estate office there are

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Speaker 2: a bunch of flags. There's like an American flag and

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Speaker 2: then some other flags. I don't know what they were,

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Speaker 2: and then there's a might have been state flags or something.

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Speaker 2: And then there's a framed portrait of John F. Kennedy

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Speaker 2: and there's a big bust of an eagle. I don't

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Speaker 2: know why it was so patriotic in there.

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Speaker 1: Interesting. All right, Well, let's go ahead and hear the

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Speaker 1: audio for some of the trailer audio. Maybe we'll play

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Speaker 1: the whole trailer because this was a fun win and

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Speaker 1: I'll explain why after you hear it. Even where are

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Speaker 1: you playing for me?

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Speaker 4: Stee in this house? What you don't know will hurt you.

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Speaker 5: It was to be a getaway dream.

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Speaker 4: It's becoming the runaway nightmare. Do you see anything? Some

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Speaker 4: old steps coming down?

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Speaker 5: He has been awaiting the arrival of his new guests.

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Speaker 4: One by one.

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Speaker 5: They are disappearing, one by bloody one.

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Speaker 4: When you move to this house before you get locked

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Speaker 4: in the fine friends, you may have just Morgan, you're right.

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Speaker 5: Due to the graphic nature of this film, no one

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Speaker 5: under eighteen will.

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Speaker 4: Be admitted house by the cemetery.

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Speaker 1: All right. So you might have noticed, Well, that's not

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Speaker 1: a Maybe that's not our typical movie narrator. That's not

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Speaker 1: that's a slightly different voice of God. Doesn't sound like

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Speaker 1: a god at all. Maybe a devil is narrating this. Well,

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Speaker 1: that devil is brother Theodore, the comedian and character actor

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Speaker 1: that we discussed in the Warhawk Tanzania film The Devil's Express.

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Speaker 1: You might also know him from the Verbs and the

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Speaker 1: animated adaptations of The Hobbit in The Last Unicorn. He

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Speaker 1: was the voice of Gollum in the animated Hobbit film,

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Speaker 1: and here he is narrating a trailer. I love it.

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Speaker 2: In The Devil's Express he was the street preacher who,

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Speaker 2: in one scene was giving a sermon by the subway

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Speaker 2: entrance about how all your gods are dead and the

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Speaker 2: rats are screaming.

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Speaker 1: I was looking around trying to figure out what other

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Speaker 1: trailers he narrated, and I couldn't find evidence of a

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Speaker 1: lot of them. So I don't know if this was

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Speaker 1: like just a very brief gig for him, or if

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Speaker 1: I'm missing a lot of trailers here, But oh, I

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Speaker 1: wish he had done more. I wish he was still

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Speaker 1: around to do film trailers. Like any kind of Oscar

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Speaker 1: bait comes out, I want to hear Brothers Theodore narrated.

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Speaker 2: How would he say it featuring the personable Mark Damon.

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Speaker 4: It'd be good.

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Speaker 1: Well, speaking of humans, let's let's get into the humans

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Speaker 1: involved in bringing this strange film to life first. I

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Speaker 1: guess we'll begin with the director here, the key individual

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Speaker 1: we've already we've already brought up already. That's Lucie Fulci,

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Speaker 1: who lived nineteen twenty seven through nineteen ninety six. So

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Speaker 1: we've mentioned him multiple times on Weird House Cinema, so

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Speaker 1: it's it's ultimately nice to finally discuss him in one

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Speaker 1: of his own films instead of just you know, referring

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Speaker 1: to people who worked with him. He's best remembered today

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Speaker 1: for his horror films of the mainly the nineteen eighties era.

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Speaker 1: I guess it's the big time for him, and he is,

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Speaker 1: without a doubt, one of the titans of Italian b

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Speaker 1: cinema from this era. But all this really kicked into

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Speaker 1: high gear after nineteen seventy nine's Zombie came out. We've

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Speaker 1: talked about this one before. This was a very prolific

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Speaker 1: period of his career to produced some of his best

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Speaker 1: remembered films.

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Speaker 2: Now this is Zombie with Justin and I instead of

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Speaker 2: Is this the one that was marketed as an unofficial

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Speaker 2: sequel to Dawn of the Dead.

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Speaker 1: Yeah, yeah, it was very much cashing in on the

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Speaker 1: success of that film, and it is also you may

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Speaker 1: remember us discussing the like some of the bonkers scenes

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Speaker 1: in this this is another one where he didn't let

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Speaker 1: the plot get in the way of an interesting scene,

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Speaker 1: such as the one where what a shark and a

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Speaker 1: zombie battle each other while a topless scuba diver swims by.

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Speaker 1: Just you know, completely bonkers and definitely stands out in

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Speaker 1: one's memory. But he'd been active for a while prior

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Speaker 1: to to Zombie. He'd been directing full length films for

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Speaker 1: twenty years at that point, including some horror films such

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Speaker 1: as nineteen seventy one's A Lizard in a Woman's Skin

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Speaker 1: nineteen seventy twos, Don't Torture a Duckling. He also did

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Speaker 1: a nineteen sixty nine Jalla film titled One on Top

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Speaker 1: of the Other. But he directed a number of different

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Speaker 1: genre films before the nineteen eighties, including Western spy, thrillers, comedies,

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Speaker 1: and more. He did an adaptation of Jack London's White Fang.

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Speaker 1: He also did a fantasy film, nineteen eighty three's Conquest,

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Speaker 1: which is quite entertaining and weird. Maybe we'll come back

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Speaker 1: to that one.

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Speaker 2: Conquest can sometimes be kind of rough because it looks

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Speaker 2: like it was filmed through cloth. Like it there is

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Speaker 2: a just an impenetrable haze through the entire movie. It

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Speaker 2: looks like there was a I don't know, gauze over

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Speaker 2: the camera lens or something how I think they would

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Speaker 2: normally describe it. It's just this gray, hazy look that

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Speaker 2: never ends. But Conquest star so it's like a you know,

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Speaker 2: it's a one of those barbarian movies, sort of a

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Speaker 2: cone and ripoff, but it's got a Jorge Rivera from

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Speaker 2: from where Wolf as the Conan character.

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Speaker 1: Yes, yeah, yeah, it has a number of fun elements

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Speaker 1: in it. I wonder though, if if you're one of

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Speaker 1: the things about these films is that is that some

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Speaker 1: of us saw them years ago with less than on

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Speaker 1: less than great formats, you know, maybe we even saw

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Speaker 1: them on VHS. So I wonder if the version of

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Speaker 1: Conquest you saw was like one of the was like

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Speaker 1: a more recent restoration of it, or it was like

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Speaker 1: it was older, because the film we're talking about here

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Speaker 1: today was recently restored in two K and that was

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Speaker 1: the version that I watched in preparation for this episode,

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Speaker 1: and it really did seem a lot clearer than I

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Speaker 1: remember watching it, you know, like ten or fifteen years

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Speaker 1: ago the same.

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Speaker 2: Yeah, this one, it looks a lot better now than

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Speaker 2: the version I saw about fifteen years ago. One more

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Speaker 2: note about one of the movies you mentioned, I've actually

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Speaker 2: seen a Lizard in Woman's Skin. That's a fulchy jallo

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Speaker 2: movie that is very strange. It involves I think it's

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Speaker 2: one of the number of these Italian jalli that take

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Speaker 2: place in London, if I remember correctly, and it involves

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Speaker 2: it involves like a like a party house. There's like

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Speaker 2: a it's like a total I think the plot is

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Speaker 2: the main character and her husband live in one part

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Speaker 2: apartment and then right next door there's a total party

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Speaker 2: house and she has these like dreams and visions about

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Speaker 2: weird stuff going on in there. I think it's kind

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Speaker 2: of there's like, I don't know, naked people and panthers

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Speaker 2: wandering around and stuff.

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Speaker 1: Now, if I'm not mistaken, the title on that one

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Speaker 1: has to do with the success of doc Rio Argento

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Speaker 1: is the Bird with a Crystal Plumage. And if you

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Speaker 1: start looking at titles of Jallo films, you'll find that

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Speaker 1: you have the Bird with a Crystal Plumage come out,

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Speaker 1: and then various other titles that have a similar structure.

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Speaker 1: You know, it'll be like, you know, the Rhino with

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Speaker 1: a diamond toenail, you know, something like that that seems

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Speaker 1: to get him on the same trend.

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Speaker 2: Oh man, there's so many Jello movies with great titles,

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Speaker 2: totally independent. A lot of times I don't even remember

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Speaker 2: which movie the title goes with. There's one that always

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Speaker 2: sticks in my mind called Your vice is a locked

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Speaker 2: Room and only I have the key.

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Speaker 1: Got to make copies of that key. Well, anyway, back

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Speaker 1: back to Fulchi he again. He died in nineteen ninety six,

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Speaker 1: and his output slowed down later in life as he

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Speaker 1: wrestled with health issues, but his next to last film

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Speaker 1: was nineteen nineties A Cat in the Brain, which I

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Speaker 1: have not seen and really didn't know much about it.

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Speaker 1: I just kind of assumed it was just another standard,

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Speaker 1: you know, body Fulcy affair, but it apparently stars a

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Speaker 1: fictionalized version of himself. He plays this fictionalized version of

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Speaker 1: himself in the film, seeking the aid of a twisted

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Speaker 1: psychiatrist over his own violent visions. So I watched the

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Speaker 1: trailer for it, and it looks it looks amazing. It's

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Speaker 1: a lot of Fulcy ranting, you know, dubbed into English

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Speaker 1: for the you know, the version we would watch where

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Speaker 1: he's saying things like the man was all red and

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Speaker 1: I wanted to kill him, and then you'll, you know,

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Speaker 1: cut to some sort of a bizarre sequence.

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Speaker 2: Trying to understand the reception history of Fulci is interesting

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Speaker 2: because he seems like a figure who simultaneously evokes a

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Speaker 2: disgust reaction from people, and I think a lot of

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Speaker 2: people would sort of look down on as a kind

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Speaker 2: of low brow pervert of gore, somebody who made these

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Speaker 2: gross movies full of almost hilarious quantities of gratuitous blood

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Speaker 2: and guts. And yet at the same time, I think

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Speaker 2: there's a lot of film scholarship on Fulgi. I sense

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Speaker 2: that he enjoys a kind of special aura of artistic

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Speaker 2: respect set apart from most other directors of lowbrow B

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Speaker 2: horror movies of this kind.

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Speaker 1: Yeah, I think part of it may be that he's

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Speaker 1: important enough and ultimately impressive enough that he stands out,

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Speaker 1: you know, he kind of emerges out of that world

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Speaker 1: of Italian B cinema, and therefore he might be the

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Speaker 1: most notorious name that someone is familiar with from that world.

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Speaker 1: But of course, if you if you dig dig a

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Speaker 1: little deeper into Italian B cinema, you find plenty of

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Speaker 1: other more notorious names. You know, there are a lot

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Speaker 1: more arguably unsavory characters than Luccio Fulci.

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Speaker 2: I mean, I guess the weird distinction here is that,

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Speaker 2: I bet at multiple colleges out there in the world,

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Speaker 2: there are entire courses on Fulci, Like, you know, he's

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Speaker 2: at that level of subject matter worthy of critical analysis.

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Speaker 1: I think, well, let's look at some of the other

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Speaker 1: other names involved here. We also have Alisa Braganti, who

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Speaker 1: has a story credit. This is an Italian screenwriter who

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Speaker 1: wrote on such films as Zombie Manhattan, Baby nineteen ninety,

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Speaker 1: The Bronx Warriors, A Blade in the Dark, Hands of Steel,

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Speaker 1: which we've discussed on the show before, and many more.

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Speaker 2: Hands of Steele was the Italian terminator ripoff that had

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Speaker 2: the big beefy guy who comes to the desert bar

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Speaker 2: and then ends up in an arm wrestling scene.

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Speaker 1: Yeah, an Arizona movie filmed by Italians and also featuring

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Speaker 1: John Saxon.

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Speaker 2: Oh Yeah, John Saxon and oh in that movie was

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Speaker 2: the one where we encountered the worst song of all

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Speaker 2: time because the lead actress in it sings that pop

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Speaker 2: single Teddy Bear.

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Speaker 1: I don't know, I kind of like teddy Bear, tyer

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Speaker 1: like teddy Bear. Okay, I look back fondly on teddy Bear.

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Speaker 1: I don't remember it though, I don't remember how it goes. Oh,

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Speaker 1: let me remind you no no afterwards after Okay. So

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Speaker 1: the next name worth pointing out Dardano Sachetti, who has

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Speaker 1: a screenplay credit born nineteen forty four, Italian screenwriter who

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Speaker 1: worked on the likes with the likes of Lomberto Bava,

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Speaker 1: Luccio fulci Zo g Castellari, Dario Argento. His first credit

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Speaker 1: was Argento's The Cat of Nine Tales. He worked with

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Speaker 1: Fulci quite a bit, including some of his most well

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Speaker 1: known films, some of the ones we've mentioned here already.

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Speaker 1: He worked on Lomberto Bava's Monster, Shark and Demons, and

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Speaker 1: he also worked on nineteen ninety The Bronx Warriors. So

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Speaker 1: another important name in Italian b cinema. And there's another

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Speaker 1: screenplay credit to Giorgio Mariuzzo, who also wrote on the

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Speaker 1: ful Chi films The Beyond and Enigma, as well as

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Speaker 1: some others.

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Speaker 2: Now is House by the Cemetery sometimes considered part of a.

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Speaker 2: I'm afraid I'm getting this wrong with part of A's

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Speaker 2: sort of conceptual trio of horror films that she did

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Speaker 2: along with Gates of Hell and The Beyond. Is that right?

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Speaker 1: Yes, the so called Gates of Hell trilogy of films.

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Speaker 1: And I'm personally not sure if I was dubbed a

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Speaker 1: trilogy by Folk she himself, or if this is something

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Speaker 1: that commentators and fans have come up with, But at

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Speaker 1: any rate, yeah, we have these three films, City of

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Speaker 1: the Living Dead from nineteen eighty and The Beyond and

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Speaker 1: House by the Cemetery both from nineteen eighty one, and

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Speaker 1: it is just so happens. We have an actor that

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Speaker 1: is in all three of these. It is Catherine McCall

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Speaker 1: or Katrianna McCall, and she plays Lucy Boyle, the wife

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Speaker 1: in this picture. She was born in nineteen fifty four.

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Speaker 1: British born ballet dancer turned actor again in all three

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Speaker 1: of the Gates of Hell films. She also was in

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Speaker 1: nineteen eighty's Hawk the Slayer, which starred Jack Palance as

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Speaker 1: well as John Terry Patricia Quinn. And it looks pretty interesting.

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Speaker 1: I can't remember I've seen it or not. I may

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Speaker 1: have seen it. She was also in nineteen ninety one's

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Speaker 1: Afraid of the Dark, which starred James Fox, Paul McGann

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Speaker 1: and David Thulis.

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Speaker 2: Right, So I guess if we're getting into the cast,

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Speaker 2: we should say that there's a main family in this movie,

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Speaker 2: and Catherine McCall plays the mother and the family. The

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Speaker 2: father is played by this guy named Paolo Malco.

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Speaker 1: Yeah, plays doctor Norman Boyle. Malco was born in nineteen

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Speaker 1: forty seven an Italian actor who was also in Ful Cheese,

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Speaker 1: New York Ripper, was in Sergio Martinez The Scorpion with

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Speaker 1: Two Tales. He was in Castellari's Escape the Bronx, as

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Speaker 1: well as Limberto Baba's Demons three, the Ogre that came

395
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Speaker 1: out in nineteen eighty nine, and this one's it's kind

396
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Speaker 1: of a weird connection here because the ogre is apparently

397
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Speaker 1: very similar to this film, to House by the Semi Terry,

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Speaker 1: and it is apparently based on Sachetti's original script for

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Speaker 1: House by the Cemetery. So they went back. This is

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Speaker 1: according to Lomberto Bava. So basically they're like, well, you know,

401
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Speaker 1: full she did some some slightly different things with the script.

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Speaker 1: Let's go back and we'll just do the script as

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Speaker 1: it was before full she did what he did with it.

404
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Speaker 1: So I don't know. I have not seen Demons three.

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Speaker 1: I think I've only seen Demons one, so I speak

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Speaker 1: to it personally.

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Speaker 2: I didn't know there was a Demon's three, Demons one

408
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Speaker 2: and Demons two. Demons one has a bunch of people

409
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Speaker 2: go to a movie theater and they watch a movie

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Speaker 2: and then Demon's attack. Demons two has a bunch of

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Speaker 2: people in an apartment building and then Demon's attack. Demons three.

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Speaker 2: I guess it must be a house. So they're scaling back.

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Speaker 1: Well, I think it was very much a case of

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Speaker 1: them making a film called the Ogre again based on

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Speaker 1: this older script, and then they were like, well, maybe

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Speaker 1: this will perform better if we just call it Demons three.

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Speaker 1: Why not are people going to complain that it doesn't

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Speaker 1: match up? Although well with the plot of Demons Demons

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Speaker 1: one and two.

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Speaker 2: I think Demons too, I don't recall much continuity between them.

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Speaker 2: In fact, I even seem to recall that there are

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Speaker 2: actors who are in the first movie playing different characters

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Speaker 2: in the second Demons movie.

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Speaker 1: Well, anyway, Malcom as doctor Norman Boyle in this pretty

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Speaker 1: entertaining and has great hair in most of the scenes.

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Speaker 1: There are some scenes of him standing on wind swept

427
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Speaker 1: streets in New York City and you're like, wow, that's

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Speaker 1: a good head of hair.

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Speaker 2: As Vincent Price would say, his hair is loos urious,

430
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Speaker 2: just absolutely wonderful hair. This is hair first casting, to

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Speaker 2: be sure.

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Speaker 1: And you know it runs in the family because his

433
00:24:40,600 --> 00:24:44,639
Speaker 1: son in the film, his son Bob, also has an

434
00:24:44,640 --> 00:24:45,680
Speaker 1: impressive head of hair.

435
00:24:46,040 --> 00:24:48,600
Speaker 2: This is really the star of the film. Here is Bob.

436
00:24:49,000 --> 00:24:51,399
Speaker 2: Years ago, when I first saw this movie, the movie

437
00:24:51,400 --> 00:24:54,280
Speaker 2: in general didn't make all that much of an impression

438
00:24:54,320 --> 00:24:58,680
Speaker 2: on me, except I remembered Bob. This movie has this weird,

439
00:24:59,000 --> 00:25:03,520
Speaker 2: haunting child in it that's maybe actually the scariest thing

440
00:25:03,560 --> 00:25:07,119
Speaker 2: in the movie, but also the funniest because he's named Bob,

441
00:25:07,200 --> 00:25:09,720
Speaker 2: and characters are constantly yelling out Bob.

442
00:25:10,359 --> 00:25:14,040
Speaker 1: Yes, Bob, an adult's name that is here given to

443
00:25:14,080 --> 00:25:19,359
Speaker 1: a child, a child that is also the child. His

444
00:25:19,520 --> 00:25:23,159
Speaker 1: voice is dubbed into English and performed by an adult

445
00:25:23,160 --> 00:25:27,560
Speaker 1: woman doing a child's voice, so that adds this extra

446
00:25:27,920 --> 00:25:31,840
Speaker 1: level of the uncanny to it. And also the actor

447
00:25:31,880 --> 00:25:35,440
Speaker 1: playing Bob, Giovanni Freza, who was born in nineteen seventy two,

448
00:25:36,000 --> 00:25:40,760
Speaker 1: just a very cute child, just objectively extremely cute child

449
00:25:41,240 --> 00:25:44,840
Speaker 1: who just comes off like a cheruld, like an actual

450
00:25:44,920 --> 00:25:48,720
Speaker 1: angelic being that seems to glow on the screen and

451
00:25:50,359 --> 00:25:54,160
Speaker 1: in a way that just feels unnatural, just unnaturally cute.

452
00:25:54,160 --> 00:25:54,639
Speaker 1: This kid.

453
00:25:55,000 --> 00:25:57,680
Speaker 2: The glowing quality also, like you say, it, takes after

454
00:25:57,760 --> 00:26:01,840
Speaker 2: his dad in this film luxury hair, like glowing hair.

455
00:26:02,200 --> 00:26:07,320
Speaker 1: Yeah, just basically platinum. Now. The child actor here, Giovanni Frezo,

456
00:26:07,760 --> 00:26:10,919
Speaker 1: pops up in an excellent assortment of Italian genre pictures

457
00:26:10,920 --> 00:26:15,760
Speaker 1: from this time period, including Manhattan Baby, the excellent Warriors

458
00:26:15,760 --> 00:26:18,439
Speaker 1: of the Wasteland, A Blade in the Dark, and the

459
00:26:18,480 --> 00:26:21,880
Speaker 1: first Demons movie. Demons came out in nineteen eighty five,

460
00:26:21,880 --> 00:26:24,560
Speaker 1: and that was his last acting role. He grew up,

461
00:26:24,560 --> 00:26:27,840
Speaker 1: apparently to become a product development director, and I think

462
00:26:27,880 --> 00:26:30,760
Speaker 1: still works and resides in the United States. I looked

463
00:26:30,800 --> 00:26:33,280
Speaker 1: up some footage of him from a I think from

464
00:26:33,320 --> 00:26:35,879
Speaker 1: a DVD or Blu Ray extra, and I'm pleased to

465
00:26:36,320 --> 00:26:38,960
Speaker 1: see that he did not turn into like a terrifying

466
00:26:39,040 --> 00:26:43,080
Speaker 1: klaus Kinsky looking adult duode, because there's something about like,

467
00:26:43,320 --> 00:26:48,879
Speaker 1: he's so innocent and you know, and cute in this film.

468
00:26:48,960 --> 00:26:52,119
Speaker 1: You're like, you can easily imagine it twisted into the

469
00:26:52,160 --> 00:26:55,879
Speaker 1: grotesque and the cruel instead of growing up into what

470
00:26:56,000 --> 00:26:57,959
Speaker 1: seems like probably a normal adult.

471
00:26:58,240 --> 00:26:59,960
Speaker 2: But you can confirm normal adult.

472
00:27:00,440 --> 00:27:02,440
Speaker 1: I mean, I don't know the guy, but you look

473
00:27:02,440 --> 00:27:04,080
Speaker 1: at a picture of him, you're like, oh, that's a

474
00:27:04,240 --> 00:27:08,119
Speaker 1: that's a grown human being, normally looking adult. Yes, yeah, okay,

475
00:27:08,280 --> 00:27:10,480
Speaker 1: I mean product development sounds normal enough, So I.

476
00:27:11,760 --> 00:27:13,520
Speaker 2: Think that could be the stands out there that can

477
00:27:13,560 --> 00:27:14,600
Speaker 2: be final processing.

478
00:27:16,840 --> 00:27:19,560
Speaker 1: All right, So that is the family that's our central

479
00:27:19,600 --> 00:27:23,199
Speaker 1: trio here, But then you could basically look at the

480
00:27:23,240 --> 00:27:27,760
Speaker 1: rest of the cast is by dividing them into like ghosts, monsters,

481
00:27:27,800 --> 00:27:33,359
Speaker 1: and victims. So the main ghost is May May, the

482
00:27:33,400 --> 00:27:38,320
Speaker 1: ghost girl played by Sylvia Colatina born nineteen seventy two.

483
00:27:38,359 --> 00:27:41,160
Speaker 1: And she's the interesting thing. And I guess this makes

484
00:27:41,160 --> 00:27:44,320
Speaker 1: sense because of the raid at which girls and boys mature.

485
00:27:44,359 --> 00:27:47,160
Speaker 1: But she's actually the same age as the actor playing

486
00:27:47,200 --> 00:27:50,600
Speaker 1: Bob in this. She was also a child actor, active

487
00:27:50,640 --> 00:27:53,000
Speaker 1: only from nineteen seventy nine to nineteen eighty four, but

488
00:27:53,040 --> 00:27:56,800
Speaker 1: with fewer credits. She acted in Sergio Martinez The Great

489
00:27:56,800 --> 00:28:00,320
Speaker 1: Alligator in nineteen seventy nine, a movie that has a

490
00:28:00,359 --> 00:28:03,639
Speaker 1: story credit by George Eastman, and then she was also

491
00:28:03,680 --> 00:28:07,080
Speaker 1: in ful Che's Murder Rock Dancing Death in nineteen eighty four.

492
00:28:07,440 --> 00:28:10,560
Speaker 2: I did not know Sergio Martino had an alligator movie.

493
00:28:10,600 --> 00:28:11,600
Speaker 2: I got to look into that.

494
00:28:12,560 --> 00:28:13,639
Speaker 1: Penned by George Eastman.

495
00:28:14,000 --> 00:28:17,280
Speaker 2: Well, I mean perfect Italian Crocodilian movies can be quite

496
00:28:17,400 --> 00:28:20,919
Speaker 2: have you ever seen I forget the director's name. There

497
00:28:20,920 --> 00:28:23,800
Speaker 2: are a couple of Italian horror films called Killer Crocodile

498
00:28:23,840 --> 00:28:26,399
Speaker 2: and Killer Crocodile Too. I don't think i've seen that

499
00:28:27,240 --> 00:28:32,000
Speaker 2: were they're just they're extremely bad, but very funny.

500
00:28:32,200 --> 00:28:36,080
Speaker 1: Well, as for our ghost here, may I feel like

501
00:28:36,920 --> 00:28:39,080
Speaker 1: called Attina's really good in this. You know, it's hard

502
00:28:39,080 --> 00:28:42,560
Speaker 1: to judge a child actor, particularly if they're dubbed probably

503
00:28:42,600 --> 00:28:45,160
Speaker 1: by like a different person, But I don't know. There's

504
00:28:45,160 --> 00:28:49,320
Speaker 1: a certain quality to her delivery here where I totally

505
00:28:49,360 --> 00:28:52,920
Speaker 1: buy her sense of like occasional detachment but also kind

506
00:28:52,920 --> 00:28:56,400
Speaker 1: of like shocked outrage at the danger that is lurking

507
00:28:56,440 --> 00:28:56,959
Speaker 1: on the screen.

508
00:28:57,280 --> 00:28:59,800
Speaker 2: Yeah, she has a lot of like look into the camera,

509
00:29:00,240 --> 00:29:02,240
Speaker 2: wide eyed and gasp kind of moments.

510
00:29:02,520 --> 00:29:06,360
Speaker 1: Yeah. The next character is kind of perplexing because depending

511
00:29:06,360 --> 00:29:08,000
Speaker 1: on where you are in the film, it's hard to

512
00:29:08,000 --> 00:29:11,600
Speaker 1: tell where she falls into these divisions of victims and

513
00:29:11,680 --> 00:29:15,440
Speaker 1: ghosts and monsters. This is the character of an the Babysitter,

514
00:29:15,760 --> 00:29:20,800
Speaker 1: played by Ania Perni. She was born in nineteen fifty seven,

515
00:29:20,880 --> 00:29:24,480
Speaker 1: an Italian actor. She also appeared in Daria Argenta's Tenebre

516
00:29:24,680 --> 00:29:27,560
Speaker 1: and Inferno, in which she apparently plays the mother of Tears.

517
00:29:28,760 --> 00:29:32,520
Speaker 1: She's fun in this as a mysterious character who does

518
00:29:32,560 --> 00:29:37,520
Speaker 1: a lot of suspicious staring, a lot of silent staring.

519
00:29:37,600 --> 00:29:40,120
Speaker 1: And I have to say this new two K release,

520
00:29:40,240 --> 00:29:42,840
Speaker 1: this new two K Master of House by the cemetery.

521
00:29:43,240 --> 00:29:47,760
Speaker 1: It reveals every follicle in her lush, loupine eyebrows. It's

522
00:29:47,800 --> 00:29:48,320
Speaker 1: pretty great.

523
00:29:48,520 --> 00:29:50,400
Speaker 2: I was going to point out those eyebrows. So if

524
00:29:50,440 --> 00:29:54,560
Speaker 2: Paulo Malco, if he was hair first casting, I think

525
00:29:54,680 --> 00:29:58,080
Speaker 2: this actress was eyebrow first casting. It's all about the

526
00:29:58,080 --> 00:29:58,840
Speaker 2: eyebrows here.

527
00:29:59,080 --> 00:30:01,040
Speaker 1: Yeah. I mean she has really tense eyes as well,

528
00:30:01,080 --> 00:30:04,840
Speaker 1: but luscious eyebrows. You've never seen eyebrows like these before.

529
00:30:06,080 --> 00:30:08,239
Speaker 1: And she a lot of the scenes again getting back

530
00:30:08,280 --> 00:30:11,760
Speaker 1: to like fulchi, never letting the plot get in the

531
00:30:11,800 --> 00:30:14,040
Speaker 1: way of a good scene. I think a lot of

532
00:30:14,040 --> 00:30:17,400
Speaker 1: his direction was like, yes, stare hauntingly into the camera,

533
00:30:18,240 --> 00:30:21,040
Speaker 1: keep doing it. Okay, good, that's great. Now we'll move

534
00:30:21,080 --> 00:30:21,360
Speaker 1: on to.

535
00:30:21,320 --> 00:30:23,920
Speaker 2: The next sent You almost wonder if a lot of

536
00:30:23,920 --> 00:30:25,840
Speaker 2: scenes in this movie could have been done with the

537
00:30:25,880 --> 00:30:28,200
Speaker 2: actor is not even knowing yet what they were going

538
00:30:28,280 --> 00:30:30,280
Speaker 2: to be looking at. It's just we get a lot

539
00:30:30,320 --> 00:30:33,200
Speaker 2: of footage of the actor going like oh, and then

540
00:30:33,320 --> 00:30:36,400
Speaker 2: later we figure out what the image is that they're seeing.

541
00:30:36,680 --> 00:30:41,040
Speaker 1: Yeah, or sometimes we don't exactly Yeah, one more actor

542
00:30:41,080 --> 00:30:43,880
Speaker 1: to highlight that. We may come back to one or

543
00:30:43,880 --> 00:30:45,880
Speaker 1: two more when we get into the plot. But we

544
00:30:45,920 --> 00:30:49,000
Speaker 1: also have this realder character. We have multiple realder characters,

545
00:30:49,000 --> 00:30:52,000
Speaker 1: but the main one is Laura, played by the actor

546
00:30:52,320 --> 00:30:56,680
Speaker 1: Dagmar Alassander. She was born nineteen forty three, a checkborn

547
00:30:56,760 --> 00:30:58,880
Speaker 1: actor who pops up in a lot of Italian films.

548
00:30:59,480 --> 00:31:02,400
Speaker 1: And I don't know, perhaps she's just more memorable because

549
00:31:02,520 --> 00:31:05,520
Speaker 1: of her name, you know, Dagmar Lassiter. Lasseners tends to

550
00:31:05,840 --> 00:31:09,120
Speaker 1: stand out in the credits of a film. Her credits

551
00:31:09,160 --> 00:31:14,120
Speaker 1: include Mario Bava's Hatchet for the Honeymoon, Lumberto Bava's Devilfish,

552
00:31:14,440 --> 00:31:17,520
Speaker 1: and also Fool Cheese the Black Cat. Also a picture

553
00:31:17,800 --> 00:31:21,280
Speaker 1: unrelated to these filmmakers titled were Wolf Woman.

554
00:31:22,520 --> 00:31:25,680
Speaker 2: So she plays a character in this named well, you said, Laura,

555
00:31:26,240 --> 00:31:31,760
Speaker 2: missus Gidtleson, right, Yeah, yeah, missus Gidtleson. She's the real

556
00:31:31,840 --> 00:31:34,840
Speaker 2: estate agent. And there's a great scene where she is

557
00:31:35,200 --> 00:31:38,520
Speaker 2: trying to back out of the driveway of the titular house,

558
00:31:38,560 --> 00:31:41,400
Speaker 2: the house by the cemetery, and she like drives over

559
00:31:41,440 --> 00:31:44,800
Speaker 2: a tombstone and just like swears at it. She's just

560
00:31:44,880 --> 00:31:46,600
Speaker 2: like a damn tombstones.

561
00:31:48,200 --> 00:31:52,520
Speaker 1: She's fun. All right. Well, let's get to the music,

562
00:31:52,560 --> 00:31:55,560
Speaker 1: because the music on this film is definitely worth highlighting

563
00:31:56,120 --> 00:31:59,520
Speaker 1: this is a this is a fun score. You know,

564
00:31:59,560 --> 00:32:03,240
Speaker 1: it's a little bit Uh, it's a little bit, a

565
00:32:03,280 --> 00:32:09,400
Speaker 1: little bit funky. Uh, definitely synthy and apparently highly influential.

566
00:32:10,400 --> 00:32:12,920
Speaker 1: I saw it pointed out that the muse some of

567
00:32:12,920 --> 00:32:17,080
Speaker 1: the music that was used or created for Garth Marenghi's

568
00:32:17,160 --> 00:32:20,040
Speaker 1: Dark Place years later. It's kind of like like a

569
00:32:20,120 --> 00:32:22,600
Speaker 1: direct reference to the score to this film.

570
00:32:22,960 --> 00:32:25,920
Speaker 2: That makes so much sense. And a lot of what's

571
00:32:25,960 --> 00:32:30,440
Speaker 2: funny about Garth Maringhi's Dark Place is just slightly tweaking

572
00:32:30,520 --> 00:32:33,200
Speaker 2: things that are already true about House by the Cemetery,

573
00:32:33,360 --> 00:32:36,000
Speaker 2: like some of the kind of the vibe in the

574
00:32:36,040 --> 00:32:40,840
Speaker 2: dialogue scenes with these long pauses between lines and awkward staring.

575
00:32:41,280 --> 00:32:43,320
Speaker 1: Yeah. Absolutely, In fact.

576
00:32:43,200 --> 00:32:45,920
Speaker 2: I even thought of Garth Murringay's Dark Place. And there's

577
00:32:45,920 --> 00:32:49,080
Speaker 2: one part of the movie where where Paolo starts listening

578
00:32:49,080 --> 00:32:51,960
Speaker 2: to a tape by the old doctor that starts talking

579
00:32:52,000 --> 00:32:56,240
Speaker 2: about blood, blood, blood, and I wanted to complete it

580
00:32:56,280 --> 00:32:58,000
Speaker 2: with and bits of bits of sick.

581
00:32:58,160 --> 00:33:02,600
Speaker 1: Yeah. I had the same thought. That's a great sequence too,

582
00:33:02,640 --> 00:33:04,600
Speaker 1: by the way, Yeah, listening to that and it aren't

583
00:33:04,640 --> 00:33:07,080
Speaker 1: we get it represented with visuals of blood flowing over

584
00:33:07,120 --> 00:33:07,840
Speaker 1: a tombstone.

585
00:33:08,040 --> 00:33:10,680
Speaker 2: Yes, yes, yeah, all right.

586
00:33:10,720 --> 00:33:15,520
Speaker 1: So the individuals responsible for this music primarily Walter Rizzodi.

587
00:33:16,480 --> 00:33:19,560
Speaker 1: I'm not sure when this Italian composer was born or

588
00:33:19,600 --> 00:33:21,520
Speaker 1: if he's still with us. I couldn't find any dates

589
00:33:21,560 --> 00:33:24,240
Speaker 1: on him, but he seems to have been primarily active

590
00:33:24,240 --> 00:33:27,680
Speaker 1: from nineteen sixty six through nineteen ninety three. His notable

591
00:33:27,680 --> 00:33:32,120
Speaker 1: scores include this one, nineteen ninety The Bronx Warriors, as

592
00:33:32,120 --> 00:33:34,360
Speaker 1: well as some various action films. I think this is

593
00:33:34,560 --> 00:33:39,400
Speaker 1: the main standout, but you also have Alexander Blanksteiner on

594
00:33:39,480 --> 00:33:42,400
Speaker 1: this with an additional music credit. You might remember him

595
00:33:42,440 --> 00:33:44,680
Speaker 1: as the guy who gave us that fabulously funky disco

596
00:33:44,760 --> 00:33:48,800
Speaker 1: score for Cannibal Apocalypse. He has composition credit on five

597
00:33:48,920 --> 00:33:52,840
Speaker 1: of the scorer's tracks. So it all comes together again

598
00:33:52,880 --> 00:33:55,600
Speaker 1: into just a very fun score that is, you know,

599
00:33:55,920 --> 00:34:00,400
Speaker 1: occasionally definitely gets into this kind of cheesy groove that

600
00:34:00,400 --> 00:34:03,520
Speaker 1: that only works with this film, but I think is

601
00:34:03,560 --> 00:34:07,240
Speaker 1: overall pretty excellent and has some wonderful moments of horror.

602
00:34:07,280 --> 00:34:09,799
Speaker 1: Synth organ I thought we might have a taste of

603
00:34:09,880 --> 00:34:10,439
Speaker 1: it right here.

604
00:34:25,080 --> 00:34:27,560
Speaker 2: Yes, I love the synth pipe organs, and I also

605
00:34:27,760 --> 00:34:30,320
Speaker 2: at a couple of points. I was hearing a plinking

606
00:34:30,480 --> 00:34:33,280
Speaker 2: walk down that reminds me of the melody from Banana

607
00:34:33,400 --> 00:34:34,600
Speaker 2: Rama's Cruel Summer.

608
00:34:34,960 --> 00:34:35,160
Speaker 4: Yeah.

609
00:34:35,200 --> 00:34:36,640
Speaker 1: I think I know which part you're talking about. I

610
00:34:36,640 --> 00:34:38,480
Speaker 1: need to go back and listen to that though, And

611
00:34:38,520 --> 00:34:40,400
Speaker 1: speaking of going back and listening to it, I should

612
00:34:40,400 --> 00:34:43,120
Speaker 1: point out that that there have been some excellent re

613
00:34:43,120 --> 00:34:45,839
Speaker 1: releases of this score. I don't I can't really speak

614
00:34:45,840 --> 00:34:48,759
Speaker 1: to its digital availability on streaming sites, but you've had

615
00:34:48,760 --> 00:34:53,040
Speaker 1: some fabulous vinyl additions put out by both Death Waltz Records,

616
00:34:53,200 --> 00:34:55,440
Speaker 1: which you know excels at this sort of thing, as

617
00:34:55,480 --> 00:34:58,640
Speaker 1: well as Burning Witch Records. So if you're if you're

618
00:34:58,680 --> 00:35:01,560
Speaker 1: into the into the vinyl uh, and you're into scores

619
00:35:01,640 --> 00:35:04,279
Speaker 1: like this, definitely check those out. So though, oh wait,

620
00:35:04,320 --> 00:35:06,759
Speaker 1: those were the humans. But there's also one non human

621
00:35:06,800 --> 00:35:08,960
Speaker 1: credit I need to give, and that's the house itself.

622
00:35:09,280 --> 00:35:11,360
Speaker 1: This is one of those those fabulous movies where we

623
00:35:11,400 --> 00:35:14,799
Speaker 1: have a central haunted house or haunted location, and that

624
00:35:14,840 --> 00:35:17,640
Speaker 1: at location actually exists in the real world and you

625
00:35:17,680 --> 00:35:20,960
Speaker 1: can you can technically go and see it. I mean,

626
00:35:21,239 --> 00:35:23,880
Speaker 1: you know, of ob obey local laws as far as

627
00:35:23,920 --> 00:35:28,759
Speaker 1: approaching it. But the house here is the The Freudstein House

628
00:35:28,880 --> 00:35:31,880
Speaker 1: is actually the Bailey Ellis House, located on the Ellis

629
00:35:32,000 --> 00:35:36,239
Speaker 1: Estate in the coastal Massachusetts town of Let's see, I'm

630
00:35:36,280 --> 00:35:38,120
Speaker 1: not I'm sure. I'm going to busher the name of

631
00:35:38,160 --> 00:35:40,200
Speaker 1: this skitchuwat.

632
00:35:40,680 --> 00:35:43,680
Speaker 2: No idea s c I t U a t E

633
00:35:43,960 --> 00:35:45,920
Speaker 2: situate sketchy Watts.

634
00:35:45,760 --> 00:35:49,600
Speaker 1: Done in any rate. It's about thirty miles southeast of Boston,

635
00:35:49,880 --> 00:35:52,520
Speaker 1: and according to Atlas Obscura, it's currently owned by the

636
00:35:52,719 --> 00:35:56,239
Speaker 1: Sketchwat Arts Association, and if you go to their website

637
00:35:56,840 --> 00:36:00,520
Speaker 1: you can see recent photos of it. The website states

638
00:36:00,560 --> 00:36:03,840
Speaker 1: quote the Ellis House is a unique Gothic Romanesque mansion

639
00:36:04,120 --> 00:36:07,719
Speaker 1: and home to the SAA's indoor classes and workshops. It

640
00:36:07,800 --> 00:36:11,399
Speaker 1: also provides studio space for half a dozen artists. So hey,

641
00:36:11,520 --> 00:36:14,880
Speaker 1: oh oh, go there, sign up to create your own

642
00:36:15,080 --> 00:36:18,959
Speaker 1: entry for the night gallery. Uh this, Yeah, this house

643
00:36:19,000 --> 00:36:22,040
Speaker 1: is still standing and there and there's there's still wonderfully

644
00:36:22,040 --> 00:36:23,640
Speaker 1: creative things going on inside it.

645
00:36:23,880 --> 00:36:25,960
Speaker 2: I will drop everything in my life and go to

646
00:36:26,000 --> 00:36:29,320
Speaker 2: Massachusetts to become a part of doctor Freudstein's art collective.

647
00:36:31,000 --> 00:36:33,000
Speaker 1: Uh. And, by the way, this house was also used

648
00:36:33,040 --> 00:36:36,319
Speaker 1: in Umberto Lindsay's ghost house, so you get to double

649
00:36:36,360 --> 00:36:38,320
Speaker 1: dip by visiting this place.

650
00:36:38,920 --> 00:36:41,120
Speaker 2: It's a really good house, I will say.

651
00:36:41,040 --> 00:36:43,319
Speaker 1: Yeah, it's it's a handsome house, and they fix it

652
00:36:43,400 --> 00:36:46,239
Speaker 1: up nicely for the film because they're just they're they're

653
00:36:46,280 --> 00:36:50,279
Speaker 1: just uh, headstones everywhere, just all through the yard and

654
00:36:50,320 --> 00:36:58,800
Speaker 1: then also in the surrounding woods.

655
00:37:00,880 --> 00:37:02,960
Speaker 2: All right, Now, here's the part of the episode where

656
00:37:02,960 --> 00:37:06,319
Speaker 2: we would normally start getting into a full plot breakdown.

657
00:37:06,760 --> 00:37:09,560
Speaker 2: I don't know if that's quite the terminology to use here.

658
00:37:09,640 --> 00:37:11,480
Speaker 2: I think what happens is we are going to be

659
00:37:11,520 --> 00:37:14,239
Speaker 2: able to describe a bunch of scenes that happened in

660
00:37:14,280 --> 00:37:16,240
Speaker 2: the movie. But I don't know if we can really

661
00:37:16,280 --> 00:37:17,640
Speaker 2: explain the plot.

662
00:37:18,000 --> 00:37:19,880
Speaker 1: Right, I mean, I still have there's still things I

663
00:37:19,920 --> 00:37:23,600
Speaker 1: do not understand, and I've I've seen this film more

664
00:37:23,640 --> 00:37:27,759
Speaker 1: than I've seen some truly, you know, you know, subjectively

665
00:37:27,800 --> 00:37:31,680
Speaker 1: great works of art. I've also, especially on this last viewing,

666
00:37:31,760 --> 00:37:34,400
Speaker 1: I really tried to understand everything. You know. It was

667
00:37:34,440 --> 00:37:37,480
Speaker 1: like I was gonna be quizzed on it. Can I

668
00:37:37,520 --> 00:37:40,000
Speaker 1: really speak to what's happening in this movie? And I

669
00:37:40,080 --> 00:37:43,240
Speaker 1: really can't explain some of the choices and elements here,

670
00:37:43,600 --> 00:37:44,799
Speaker 1: though I will try.

671
00:37:44,800 --> 00:37:47,719
Speaker 2: We will at least try to describe a number of

672
00:37:47,120 --> 00:37:50,720
Speaker 2: the dioramas that ful She creates in the shoe box

673
00:37:50,760 --> 00:37:54,719
Speaker 2: of this film. Yes, so from the very opening, I

674
00:37:54,760 --> 00:37:57,680
Speaker 2: gotta say, especially with this restoration, it looks great. The

675
00:37:57,719 --> 00:38:00,640
Speaker 2: house is beautifully framed on the opening shot with the

676
00:38:00,880 --> 00:38:03,319
Speaker 2: you know it's it's got the dark in the background,

677
00:38:03,360 --> 00:38:07,200
Speaker 2: with tombstones and dead limbs in the foreground. I assume

678
00:38:07,520 --> 00:38:09,600
Speaker 2: I could. I can't remember if you mentioned this a

679
00:38:09,640 --> 00:38:12,879
Speaker 2: minute ago. Is there actually a cemetery by the house

680
00:38:12,920 --> 00:38:15,520
Speaker 2: or with the tombstones added for the film?

681
00:38:16,040 --> 00:38:19,120
Speaker 1: I think the tombstones were added for the film. I'm

682
00:38:19,120 --> 00:38:22,279
Speaker 1: not one clear on that, but but I didn't I

683
00:38:22,280 --> 00:38:25,400
Speaker 1: didn't see anybody pointing out, you know, there being an

684
00:38:25,440 --> 00:38:28,160
Speaker 1: actual cemetery surrounding this house.

685
00:38:28,600 --> 00:38:31,000
Speaker 2: Okay, well we see it in the opening frame like this,

686
00:38:31,000 --> 00:38:34,359
Speaker 2: this this beautiful old house with the darkness behind it

687
00:38:34,400 --> 00:38:37,240
Speaker 2: and the tombstones and the dead trees with bare limbs

688
00:38:37,239 --> 00:38:39,960
Speaker 2: in the foreground. And this, of course is setting up

689
00:38:40,000 --> 00:38:44,360
Speaker 2: a classic horror movie style opening in which some people

690
00:38:44,360 --> 00:38:46,200
Speaker 2: are in a place they're not supposed to be and

691
00:38:46,239 --> 00:38:48,839
Speaker 2: they're probably about to meet an ill end.

692
00:38:49,480 --> 00:38:51,960
Speaker 1: Right, It's it's ultimately a familiar scene I feel like

693
00:38:52,040 --> 00:38:55,759
Speaker 1: I've seen and other films. A woman is dressing and

694
00:38:55,800 --> 00:38:59,040
Speaker 1: then she starts looking around the house for her boyfriend,

695
00:38:59,120 --> 00:39:03,360
Speaker 1: assuming he's preyanking her by suddenly disappearing. And then, you know,

696
00:39:03,400 --> 00:39:06,680
Speaker 1: so she wanders around being like, oh, what is his name?

697
00:39:06,719 --> 00:39:07,160
Speaker 1: Is it Mike?

698
00:39:07,200 --> 00:39:07,560
Speaker 2: Steve?

699
00:39:07,760 --> 00:39:10,680
Speaker 1: It's Steve. She's like, Steve, are you there, Steve? Steve,

700
00:39:10,760 --> 00:39:13,680
Speaker 1: stop kidding around, Steve. And then, of course what happens.

701
00:39:13,680 --> 00:39:17,600
Speaker 1: She discovers Steve. Steve is dead. He's been nailed at

702
00:39:17,600 --> 00:39:19,800
Speaker 1: the backside of a door with a pair of surgical scissors,

703
00:39:19,880 --> 00:39:25,279
Speaker 1: and his brain has been surgically or through blunt trauma exposed.

704
00:39:26,360 --> 00:39:28,879
Speaker 1: And then an unseen killer stabs her through the back

705
00:39:28,920 --> 00:39:31,320
Speaker 1: of the head with a kitchen knife so that the blade,

706
00:39:31,480 --> 00:39:33,800
Speaker 1: the end of the blade, emerges out of her mouth,

707
00:39:34,239 --> 00:39:36,640
Speaker 1: and then she falls to the floor dead, and then

708
00:39:36,680 --> 00:39:39,120
Speaker 1: a pair of well a pair of hands, one of

709
00:39:39,120 --> 00:39:41,480
Speaker 1: which appears human and one of which appears to be

710
00:39:41,480 --> 00:39:44,640
Speaker 1: a monster hand drags her away into the cellar.

711
00:39:44,960 --> 00:39:47,439
Speaker 2: So a standard B horror opening, but there's a lot

712
00:39:47,560 --> 00:39:51,480
Speaker 2: stylistically about it that's just very elegant and very much

713
00:39:51,520 --> 00:39:53,719
Speaker 2: a cut above what you would see in movies like

714
00:39:53,760 --> 00:39:57,000
Speaker 2: this normally. So one thing I wanted to draw attention

715
00:39:57,080 --> 00:40:00,800
Speaker 2: to is a wonderful shot where while she is wandering

716
00:40:00,840 --> 00:40:03,040
Speaker 2: around calling out to Steve, saying like, Steve, are you

717
00:40:03,080 --> 00:40:05,319
Speaker 2: trying to scare me? I don't think it's funny, But

718
00:40:05,840 --> 00:40:09,000
Speaker 2: she's coming down a hallway that is lit from behind,

719
00:40:09,080 --> 00:40:12,280
Speaker 2: and in the foreground we are looking through the gaps

720
00:40:12,360 --> 00:40:16,759
Speaker 2: in an iron spiral staircase that's just covered in cobwebs,

721
00:40:16,800 --> 00:40:18,400
Speaker 2: and it's a gorgeous shot.

722
00:40:18,719 --> 00:40:23,040
Speaker 1: Yeah, yeah, And a great shot of this seemingly endless

723
00:40:23,080 --> 00:40:26,200
Speaker 1: sellar in this house. I mean, it's supposed to be

724
00:40:26,239 --> 00:40:28,719
Speaker 1: a haunted house, so it makes sense that maybe the

725
00:40:29,040 --> 00:40:33,960
Speaker 1: seller doesn't obey the laws of reality and space and time.

726
00:40:34,680 --> 00:40:37,320
Speaker 1: But yeah, it seems enormous, and it seems like there

727
00:40:37,360 --> 00:40:39,680
Speaker 1: are corners of it that haven't been explored in like

728
00:40:39,760 --> 00:40:43,480
Speaker 1: a century and a half. I ultimately love the unreality

729
00:40:43,520 --> 00:40:44,120
Speaker 1: of this cellar.

730
00:40:44,480 --> 00:40:46,880
Speaker 2: But then after the opening murders, you get some music,

731
00:40:46,920 --> 00:40:51,000
Speaker 2: of course, this electronic organ fugue. You get the title

732
00:40:51,080 --> 00:40:55,080
Speaker 2: it says House by the Cemetery, and then there's an

733
00:40:55,120 --> 00:40:58,560
Speaker 2: interesting compositional shift coming up, so you see the same

734
00:40:58,680 --> 00:41:02,319
Speaker 2: house and a girl standing in the window looking out

735
00:41:02,440 --> 00:41:07,200
Speaker 2: making kind of a scary screaming face, which then cross

736
00:41:07,200 --> 00:41:10,799
Speaker 2: fades to a black and white photograph hanging on a

737
00:41:10,920 --> 00:41:13,360
Speaker 2: wall of that house with the girl looking out the

738
00:41:13,400 --> 00:41:16,200
Speaker 2: window with the screaming face. Then you see a title

739
00:41:16,320 --> 00:41:19,879
Speaker 2: that says New York pulls back. The wall is in

740
00:41:19,920 --> 00:41:22,840
Speaker 2: a modern apartment, modern at the time the film was made.

741
00:41:23,280 --> 00:41:26,279
Speaker 2: And then sitting there staring at the photo is a

742
00:41:26,440 --> 00:41:30,680
Speaker 2: profoundly uncanny blonde child. Ladies and gentlemen, it's Bob.

743
00:41:31,400 --> 00:41:32,759
Speaker 1: I want to come back to that ghost girl for

744
00:41:32,800 --> 00:41:35,759
Speaker 1: a second, because yes, she's haunting in the photo, but

745
00:41:35,840 --> 00:41:39,200
Speaker 1: the face she's making it could be interpreted as fear.

746
00:41:39,239 --> 00:41:41,760
Speaker 1: But it's also the kind of face that a child

747
00:41:41,840 --> 00:41:44,319
Speaker 1: like this would make when somebody does a cannon ball

748
00:41:44,400 --> 00:41:46,120
Speaker 1: into a swimming pool and a kool Aid commercial. You

749
00:41:46,160 --> 00:41:46,640
Speaker 1: know what I'm saying.

750
00:41:47,000 --> 00:41:50,920
Speaker 2: Wow, Yeah, yeah, that's radical.

751
00:41:50,719 --> 00:41:53,480
Speaker 1: And it is radical. But yes, now we meet Bob,

752
00:41:54,640 --> 00:41:57,200
Speaker 1: and we say we meet the whole family. Yeah, there's

753
00:41:57,200 --> 00:42:00,320
Speaker 1: doctor Norman Boyle, there's his wife, Lucy Boyle. There is

754
00:42:00,360 --> 00:42:05,960
Speaker 1: adorable Bob, who we've already described disturbingly cherubic and speaks

755
00:42:06,000 --> 00:42:08,120
Speaker 1: in the dubbed voice of an adult woman doing a

756
00:42:08,160 --> 00:42:13,520
Speaker 1: kid's voice, so uncanny. Yeah, and in there, yeah, a

757
00:42:13,520 --> 00:42:16,480
Speaker 1: lot of thought of scenes too, of Bob playing just

758
00:42:16,520 --> 00:42:19,839
Speaker 1: way too diligently with his toys. I'm like, who has

759
00:42:19,880 --> 00:42:22,680
Speaker 1: ever given a remote control car to a child and

760
00:42:22,680 --> 00:42:25,520
Speaker 1: seeing them and get that this much usage out of it?

761
00:42:25,280 --> 00:42:26,600
Speaker 1: It's really not fair.

762
00:42:26,920 --> 00:42:29,400
Speaker 2: Well this movie. Also, I'm not sure if it understands

763
00:42:29,400 --> 00:42:32,719
Speaker 2: that remote control cars don't work in the woods where

764
00:42:32,719 --> 00:42:34,960
Speaker 2: the ground is covered in leaves and is not flat.

765
00:42:35,520 --> 00:42:36,040
Speaker 1: Yeah.

766
00:42:36,080 --> 00:42:40,120
Speaker 2: Oh, but so here's a question I have. Is Bob

767
00:42:40,280 --> 00:42:44,200
Speaker 2: like Danny Torrance like, is he psychic or is just

768
00:42:44,320 --> 00:42:48,000
Speaker 2: the ghost girl picking him as a regular, non psychic

769
00:42:48,080 --> 00:42:49,759
Speaker 2: person to send messages to.

770
00:42:51,920 --> 00:42:55,879
Speaker 1: I don't know. I mean, I may only speaks to Bob, right,

771
00:42:56,239 --> 00:42:58,239
Speaker 1: Bob seems to be the only one who can see her,

772
00:42:59,200 --> 00:43:02,279
Speaker 1: So it's here she can speak to him because he's

773
00:43:02,320 --> 00:43:05,520
Speaker 1: a child, or he's a special child. But I have

774
00:43:05,520 --> 00:43:08,800
Speaker 1: a suspicion that the idea is that children are weird

775
00:43:08,920 --> 00:43:10,080
Speaker 1: and can see ghosts.

776
00:43:10,520 --> 00:43:13,799
Speaker 2: Okay, Okay, so it's it's not him in particular, He's

777
00:43:13,880 --> 00:43:16,440
Speaker 2: just a child and the child, the child's mind is

778
00:43:16,480 --> 00:43:18,360
Speaker 2: open to the spirit world in a way that the

779
00:43:18,360 --> 00:43:19,719
Speaker 2: adult's mind is closed.

780
00:43:20,200 --> 00:43:22,480
Speaker 1: I guess so, but ultimately that's just how I choose

781
00:43:22,520 --> 00:43:25,919
Speaker 1: to interpret it. And there's I'm not sure where ful

782
00:43:25,960 --> 00:43:26,920
Speaker 1: she actually stood on this.

783
00:43:27,440 --> 00:43:31,839
Speaker 2: Well, immediately what happens here is that Lucy the mother

784
00:43:32,040 --> 00:43:34,560
Speaker 2: comes in. It is like hey, Bob, and Bob's like, well,

785
00:43:34,600 --> 00:43:37,280
Speaker 2: I'm hearing voices talking to me out of this photograph

786
00:43:37,360 --> 00:43:41,360
Speaker 2: and she's just like oh haha, And he's like, Mommy,

787
00:43:41,680 --> 00:43:44,040
Speaker 2: why does that girl in the photograph keep telling us

788
00:43:44,080 --> 00:43:46,680
Speaker 2: we shouldn't go to the house. And the mom can't

789
00:43:46,680 --> 00:43:49,200
Speaker 2: see the girl in the window in the photo, so

790
00:43:49,239 --> 00:43:52,160
Speaker 2: she just kind of shrugs it off. But then we

791
00:43:52,200 --> 00:43:55,560
Speaker 2: see a kind of alternate reality where may the ghost

792
00:43:55,600 --> 00:43:58,120
Speaker 2: girl and I guess her mom are standing in the

793
00:43:58,120 --> 00:44:01,080
Speaker 2: woods somewhere. I guess they are standing among the tombstones

794
00:44:01,120 --> 00:44:03,279
Speaker 2: and the cemetery outside the house. And we're told that

795
00:44:03,360 --> 00:44:05,520
Speaker 2: this is in New Whitby, Boston.

796
00:44:06,239 --> 00:44:09,520
Speaker 1: Yeah, yeah, this film most of these scenes were filmed

797
00:44:09,520 --> 00:44:12,800
Speaker 1: in Massachusetts, take place in Massachusetts, and this is ultimately

798
00:44:12,880 --> 00:44:15,520
Speaker 1: a Massachusetts film, maybe our first I'm not sure if

799
00:44:15,560 --> 00:44:18,400
Speaker 1: we've I can't remember if any of the previous films

800
00:44:18,400 --> 00:44:20,839
Speaker 1: we've watched have been set or filmed there.

801
00:44:21,200 --> 00:44:23,360
Speaker 2: I believe this film is sort of trying to tap

802
00:44:23,400 --> 00:44:24,920
Speaker 2: into some Miskatonic magic.

803
00:44:25,440 --> 00:44:28,279
Speaker 1: Yeah, yeah, I think so, But that doesn't mean we

804
00:44:28,280 --> 00:44:30,360
Speaker 1: don't have a brief stop over in New York City.

805
00:44:31,080 --> 00:44:33,840
Speaker 1: On the streets of New York, Doctor Norman Boyle is

806
00:44:33,840 --> 00:44:37,480
Speaker 1: seen chatting with Professor Mueller, who is played by the

807
00:44:37,520 --> 00:44:42,360
Speaker 1: director Luccio Folci, and they're discussing Boyle's research. He is

808
00:44:42,400 --> 00:44:44,720
Speaker 1: about to move his entire family out of the city

809
00:44:44,760 --> 00:44:48,359
Speaker 1: into rural Massachusetts so that he can continue the suicide

810
00:44:48,400 --> 00:44:52,640
Speaker 1: research that his colleague, doctor Peterson, was doing right before

811
00:44:52,760 --> 00:44:56,759
Speaker 1: said colleague murdered his mistress and committed suicide himself. Now,

812
00:44:56,800 --> 00:44:59,239
Speaker 1: what sort of research could this possibly have been? What

813
00:44:59,360 --> 00:45:03,640
Speaker 1: breakthroughs was he making? I have no idea, and there's

814
00:45:03,719 --> 00:45:06,120
Speaker 1: not a lot of of There are not really any

815
00:45:06,120 --> 00:45:07,440
Speaker 1: answers to be found in the film.

816
00:45:07,920 --> 00:45:10,920
Speaker 2: What a setup. And yeah, this scene on the sidewalk

817
00:45:11,080 --> 00:45:13,480
Speaker 2: is hilarious, and I think maybe it's supposed to be.

818
00:45:13,760 --> 00:45:17,720
Speaker 2: I don't think this is unintentional because Fulchi is talking

819
00:45:17,760 --> 00:45:20,200
Speaker 2: to this lead actor here with you know, the glorious

820
00:45:20,200 --> 00:45:23,080
Speaker 2: head of hair, and Fullchi's I guess playing playing an

821
00:45:23,120 --> 00:45:26,480
Speaker 2: older colleague who's got this ridiculous huge red bow tie

822
00:45:26,600 --> 00:45:30,920
Speaker 2: and these thick glasses and uh. And as he's talking

823
00:45:30,960 --> 00:45:35,160
Speaker 2: to Ta Paolo, here to what's a Norman Boyle, he says,

824
00:45:35,719 --> 00:45:39,840
Speaker 2: and there he was researching suicide times. We have to

825
00:45:39,880 --> 00:45:43,839
Speaker 2: live in taxi. He just nails a taxi, hops in

826
00:45:43,880 --> 00:45:44,600
Speaker 2: and takes off.

827
00:45:45,120 --> 00:45:47,959
Speaker 1: That's just that's just New York living. Yeah, you gotta

828
00:45:48,000 --> 00:45:50,239
Speaker 1: you gotta keep moving otherwise the Manhattan babies will catch

829
00:45:50,280 --> 00:45:50,640
Speaker 1: up with you.

830
00:45:50,960 --> 00:45:53,400
Speaker 2: So next the family is driving out to the house.

831
00:45:53,440 --> 00:45:55,239
Speaker 2: And this is one of the parts where I heard

832
00:45:55,280 --> 00:45:58,680
Speaker 2: that that that walk down melody that sounds like a

833
00:45:58,800 --> 00:46:02,000
Speaker 2: music version of Cruels Summer. But this is also the

834
00:46:02,000 --> 00:46:04,640
Speaker 2: part where the dad says. The dad is talking about

835
00:46:04,640 --> 00:46:06,520
Speaker 2: how if it weren't for so and so, I don't

836
00:46:06,560 --> 00:46:08,959
Speaker 2: remember who he's talking about, we wouldn't have a house

837
00:46:09,000 --> 00:46:10,680
Speaker 2: to live in where we're going, we'd have to live

838
00:46:10,680 --> 00:46:18,600
Speaker 2: in a tent. And Bob yells, I wish.

839
00:46:15,719 --> 00:46:17,480
Speaker 1: Well, that's pretty authentic. That's pretty good.

840
00:46:17,719 --> 00:46:19,600
Speaker 2: There's a scene that comes up in a minute here

841
00:46:19,840 --> 00:46:24,200
Speaker 2: that is great. That has May the ghost girl, who

842
00:46:24,239 --> 00:46:26,319
Speaker 2: by the way, doesn't look like a she just looks

843
00:46:26,320 --> 00:46:29,319
Speaker 2: like a normal person, just like a kid. Yeah, not like,

844
00:46:29,640 --> 00:46:32,200
Speaker 2: you know, translucent or anything. So it's just like a

845
00:46:32,320 --> 00:46:35,120
Speaker 2: kid is out on a street. I think this is

846
00:46:35,120 --> 00:46:38,120
Speaker 2: supposed to be in Boston or this town outside of

847
00:46:38,120 --> 00:46:41,640
Speaker 2: Boston that they're going to, and she is staring into

848
00:46:41,719 --> 00:46:45,920
Speaker 2: the window of a storefront that has mannikins dressed up

849
00:46:45,960 --> 00:46:48,960
Speaker 2: in I guess the clothes the store is selling. And

850
00:46:49,000 --> 00:46:51,440
Speaker 2: so one of these mannequins looks like a very evil

851
00:46:51,520 --> 00:46:55,120
Speaker 2: Denise Richards type face, and it's wearing one of the

852
00:46:55,400 --> 00:46:57,920
Speaker 2: what do you call those frilly white collars, kind of

853
00:46:57,920 --> 00:46:58,680
Speaker 2: like Doiley's.

854
00:46:59,200 --> 00:47:02,600
Speaker 1: Yeah, kind of like like a like a witch costume.

855
00:47:02,719 --> 00:47:03,640
Speaker 1: I guess it looks.

856
00:47:03,400 --> 00:47:09,000
Speaker 2: At sort of. But then it's like May hallucinates the

857
00:47:09,000 --> 00:47:13,080
Speaker 2: the mannequin getting decapitated and it bleeds everywhere. So this

858
00:47:13,200 --> 00:47:15,719
Speaker 2: is a mannequin, but it's full of blood and organs

859
00:47:15,760 --> 00:47:19,080
Speaker 2: and stuff. The head falls off and it's just splatter

860
00:47:19,200 --> 00:47:22,919
Speaker 2: for a moment, and then somehow this leads into the

861
00:47:22,960 --> 00:47:26,040
Speaker 2: meeting of May and Bob, which is very funny as well.

862
00:47:26,120 --> 00:47:28,520
Speaker 2: Like Bob shows up in town his parents going to

863
00:47:28,560 --> 00:47:31,439
Speaker 2: talk to the realtors, and he's just sitting in the car,

864
00:47:31,560 --> 00:47:33,879
Speaker 2: I think, playing with the toy, and then suddenly they're

865
00:47:33,960 --> 00:47:35,400
Speaker 2: like psychic mind melding.

866
00:47:35,560 --> 00:47:38,120
Speaker 1: Yeah, Like she's a block or two away, and they're

867
00:47:38,160 --> 00:47:39,960
Speaker 1: just chatting with each other like they're right next to

868
00:47:40,000 --> 00:47:41,719
Speaker 1: each other through their brains.

869
00:47:42,120 --> 00:47:46,040
Speaker 2: Oh oh, and somehow this sequence ends with Bob like

870
00:47:46,160 --> 00:47:49,760
Speaker 2: sitting in a park cradling this gigantic, horrible doll.

871
00:47:50,080 --> 00:47:53,400
Speaker 1: Yeah, this giant garbage doll that he's been given. I

872
00:47:53,440 --> 00:47:56,759
Speaker 1: guess by May. He's like, Mom, we're taking this home, right,

873
00:47:57,400 --> 00:47:59,880
Speaker 1: and they're like, yeah, yeah, load it up, load up

874
00:47:59,880 --> 00:48:02,040
Speaker 1: your garbage doll.

875
00:48:02,120 --> 00:48:04,279
Speaker 2: But so from here we get the family moving into

876
00:48:04,320 --> 00:48:06,399
Speaker 2: the new house, and there's a lot of great photography.

877
00:48:07,880 --> 00:48:10,480
Speaker 2: We get to see them interacting with the realtors. This

878
00:48:10,560 --> 00:48:13,960
Speaker 2: is where there's that funny scene where MSUs Giddleson drives

879
00:48:14,000 --> 00:48:19,000
Speaker 2: over a tombstone and then yells at it, and Lucy

880
00:48:19,200 --> 00:48:21,800
Speaker 2: the mother, has this strange freak out about the doll

881
00:48:21,920 --> 00:48:24,319
Speaker 2: that Bob found. It's like, but it's after they get

882
00:48:24,360 --> 00:48:26,120
Speaker 2: back to the house, so I didn't really understand that

883
00:48:26,160 --> 00:48:29,880
Speaker 2: he brings this disgusting doll home. And then it's sitting

884
00:48:29,920 --> 00:48:31,759
Speaker 2: there in the house and she sees it and she's like,

885
00:48:32,520 --> 00:48:35,600
Speaker 2: does the little whip zoom on her eyes? This movie

886
00:48:35,800 --> 00:48:38,520
Speaker 2: loves whip zooms. By the way, did you notice.

887
00:48:38,239 --> 00:48:40,920
Speaker 1: That now that you pointed out, Yeah, there's a lot,

888
00:48:41,040 --> 00:48:42,400
Speaker 1: a lot of whip zooming going.

889
00:48:42,200 --> 00:48:45,319
Speaker 2: On sometimes in situations where it wouldn't seem to make

890
00:48:45,640 --> 00:48:48,560
Speaker 2: total sense, like it will happen in cases where somebody

891
00:48:48,640 --> 00:48:50,960
Speaker 2: is having a horrible vision, but it also sometimes just

892
00:48:51,000 --> 00:48:52,560
Speaker 2: happens in the middle of a conversation.

893
00:48:52,960 --> 00:48:56,080
Speaker 1: Yeah. Now, this is the point in the film where

894
00:48:56,120 --> 00:48:59,399
Speaker 1: we introduce one of my favorite characters. And we've already

895
00:48:59,400 --> 00:49:01,799
Speaker 1: talked a little bit about her the actor playing her,

896
00:49:01,840 --> 00:49:06,799
Speaker 1: But Anne and the babysitter with the magnificent eyebrows shows up,

897
00:49:07,239 --> 00:49:10,960
Speaker 1: and apparently we're supposed to connect her to the mannequin

898
00:49:11,040 --> 00:49:14,279
Speaker 1: that we saw, the mannequin that's head fell off in

899
00:49:14,320 --> 00:49:17,600
Speaker 1: the window is supposed to look like this actor, even

900
00:49:17,680 --> 00:49:20,200
Speaker 1: though she really doesn't. And I got more caught up

901
00:49:20,239 --> 00:49:23,400
Speaker 1: on the fact that she looks like a particular former

902
00:49:23,560 --> 00:49:27,799
Speaker 1: First Lady of the United States. But I'm supposed to

903
00:49:27,800 --> 00:49:30,520
Speaker 1: be Anne. It's supposed to be Anne. Apparently I didn't

904
00:49:30,560 --> 00:49:33,400
Speaker 1: notice that, but yeah, you're right. But yeah, well I

905
00:49:33,520 --> 00:49:36,640
Speaker 1: was thinking Denise Richards. But either way, yeah, it doesn't

906
00:49:36,680 --> 00:49:38,840
Speaker 1: exactly look like Ann. I guess it has long brown

907
00:49:38,880 --> 00:49:42,440
Speaker 1: hair and in intense eyebrows, So there you go. But anyway,

908
00:49:42,520 --> 00:49:45,080
Speaker 1: when Anne shows up, she's just a lady in their house.

909
00:49:45,120 --> 00:49:48,799
Speaker 1: Suddenly they're unpacking or something, and suddenly a person's there

910
00:49:48,800 --> 00:49:52,480
Speaker 1: and they're like huh, and she says, miss Gettleman sent me,

911
00:49:52,840 --> 00:49:57,080
Speaker 1: I'm Anne, the babysitter, and then just zoom whip zoom, zoom,

912
00:49:57,280 --> 00:50:00,800
Speaker 1: cut zoom. So this is just instantly just so insane,

913
00:50:00,840 --> 00:50:05,120
Speaker 1: because I mean, in what universe does a realitter provide

914
00:50:05,160 --> 00:50:08,279
Speaker 1: your babysitter? In which case does a babysitter just sort

915
00:50:08,280 --> 00:50:11,319
Speaker 1: of appear without you know, there're no credentials, Like the

916
00:50:11,360 --> 00:50:14,000
Speaker 1: parents weren't involved in this at all. They just suddenly

917
00:50:14,040 --> 00:50:16,919
Speaker 1: they have this strange woman in their house babysitting for them.

918
00:50:17,400 --> 00:50:20,400
Speaker 1: And then various other questions come up regarding Anne and

919
00:50:20,719 --> 00:50:25,040
Speaker 1: this whole babysitting arrangement and her relationship with any other

920
00:50:25,239 --> 00:50:27,080
Speaker 1: entity in the film. It's bonkers.

921
00:50:27,520 --> 00:50:29,960
Speaker 2: For a moment one Anne appears to be up to

922
00:50:30,160 --> 00:50:33,839
Speaker 2: no good like, so from here the family starts going

923
00:50:33,880 --> 00:50:36,759
Speaker 2: about their business and Norman is I think trying to

924
00:50:36,800 --> 00:50:39,440
Speaker 2: discover what the scholar who lived in this house before

925
00:50:39,520 --> 00:50:41,839
Speaker 2: him was up to, like what he had found out

926
00:50:41,920 --> 00:50:44,480
Speaker 2: and what had led him to do these horrible things.

927
00:50:45,120 --> 00:50:48,760
Speaker 2: And meanwhile, there's like a scene where Lucy is walking

928
00:50:48,800 --> 00:50:52,600
Speaker 2: around at night having heard strange sounds in the house

929
00:50:52,760 --> 00:50:55,359
Speaker 2: and she just like comes up on Anne, who is

930
00:50:55,440 --> 00:50:58,360
Speaker 2: trying to pry her way into the boarded up basement

931
00:50:58,440 --> 00:51:02,120
Speaker 2: with a shovel. She give gives her the most evil

932
00:51:02,239 --> 00:51:03,360
Speaker 2: just hyena eyes.

933
00:51:04,200 --> 00:51:07,200
Speaker 1: So Anne lives in the house with them, right, she's

934
00:51:07,239 --> 00:51:11,040
Speaker 1: like a living yeah, babysitter, Like basically she's a nanny,

935
00:51:11,880 --> 00:51:14,160
Speaker 1: even though they don't really use the word that's that's

936
00:51:14,160 --> 00:51:16,600
Speaker 1: apparently what they mean nanny. But but then at the

937
00:51:16,640 --> 00:51:19,400
Speaker 1: same time, like the relationship is so weird. There's a

938
00:51:19,480 --> 00:51:22,799
Speaker 1: point later on where Anne disappears from the film for

939
00:51:22,920 --> 00:51:27,960
Speaker 1: good and the mom comes home finds that Anne is no, no,

940
00:51:27,960 --> 00:51:30,640
Speaker 1: no longer around. It's just bob by himself, and she

941
00:51:30,719 --> 00:51:32,640
Speaker 1: just dismisses it. She's like, oh, I guess Anne went

942
00:51:32,680 --> 00:51:36,359
Speaker 1: home to see her parents. They're like there's no communication

943
00:51:36,520 --> 00:51:39,239
Speaker 1: with the babysitter slash nanny. It's just like, oh, well,

944
00:51:39,280 --> 00:51:42,560
Speaker 1: she's done. She wandered off. That's fine, that's what babysitters do.

945
00:51:43,040 --> 00:51:45,200
Speaker 2: That is the end of Anne the the O pair.

946
00:51:45,719 --> 00:51:47,759
Speaker 1: And yet there's still more questions about Ann. We'll get

947
00:51:47,760 --> 00:51:49,200
Speaker 1: to as we proceed.

948
00:51:49,520 --> 00:51:52,279
Speaker 2: So where is it? After this? We follow Norman for

949
00:51:52,320 --> 00:51:54,840
Speaker 2: a bit because he's trying to figure out what was

950
00:51:54,880 --> 00:51:57,400
Speaker 2: going on with doctor Peterson's research, and he goes to

951
00:51:57,520 --> 00:51:59,680
Speaker 2: some place as a library. I guess it's supposed to

952
00:51:59,680 --> 00:52:03,640
Speaker 2: be a university, Like, is this Miskatonic University or something?

953
00:52:03,760 --> 00:52:05,440
Speaker 1: Yeah, I think we're getting kind of kind of vibe.

954
00:52:05,480 --> 00:52:07,680
Speaker 1: You know, this is the this is the Arkham Horror

955
00:52:08,040 --> 00:52:11,320
Speaker 1: section of the movie where he's going and researching the

956
00:52:11,800 --> 00:52:13,640
Speaker 1: strange research of his predecessor.

957
00:52:14,000 --> 00:52:17,760
Speaker 2: Yeah, And so he meets a scholar there, a scholar

958
00:52:17,800 --> 00:52:22,160
Speaker 2: who's got like this awesome looking beard, and the scholars like,

959
00:52:22,200 --> 00:52:25,920
Speaker 2: you've been here before with your daughter, and Norman is like, nope,

960
00:52:25,960 --> 00:52:27,960
Speaker 2: I've never been here before and I don't have a daughter.

961
00:52:28,520 --> 00:52:31,520
Speaker 2: And does that ever come up again? I don't recall

962
00:52:31,600 --> 00:52:32,960
Speaker 2: that connecting to anything.

963
00:52:34,239 --> 00:52:36,839
Speaker 1: Yeah, I didn't really understand that, Like what are they

964
00:52:37,480 --> 00:52:39,279
Speaker 1: At first? I was like, they just mistook Bob for

965
00:52:39,480 --> 00:52:42,680
Speaker 1: a girl, which, you know, it's The misgendering of children

966
00:52:42,719 --> 00:52:45,759
Speaker 1: happens all the time, sure, you know, with with when

967
00:52:45,800 --> 00:52:47,760
Speaker 1: you're when you're a parent, or when you're you're talking

968
00:52:47,760 --> 00:52:49,680
Speaker 1: to parents. So I thought, well, maybe that's it. But no,

969
00:52:49,760 --> 00:52:50,640
Speaker 1: but I don't think so.

970
00:52:51,840 --> 00:52:52,759
Speaker 2: He'd never been there.

971
00:52:53,080 --> 00:52:58,759
Speaker 1: But then who was it? But we get to meet

972
00:52:58,760 --> 00:53:02,120
Speaker 1: the librarian in this Yes, right, the librarian was It

973
00:53:02,120 --> 00:53:03,480
Speaker 1: was a lot of fun. It's a small role, but

974
00:53:03,480 --> 00:53:07,720
Speaker 1: it's played by this guy. Uh Dimpolo sachar Rola ska

975
00:53:07,800 --> 00:53:12,200
Speaker 1: Rolla perhaps playing the librarian. Uh yeah, and he's I

976
00:53:12,280 --> 00:53:14,960
Speaker 1: really like this guy. He has some real Ronald Lacy energy.

977
00:53:15,040 --> 00:53:17,960
Speaker 1: You know, he's got kind of a you know, a

978
00:53:18,040 --> 00:53:19,239
Speaker 1: devious babyface.

979
00:53:19,760 --> 00:53:22,680
Speaker 2: Yes, yes, yes, he reminds me a little bit of

980
00:53:22,840 --> 00:53:24,120
Speaker 2: Dylan Baker, you know.

981
00:53:24,080 --> 00:53:26,040
Speaker 1: The actor. Yeah, yeah, but either.

982
00:53:25,840 --> 00:53:30,480
Speaker 2: Way, he's a stupendous baby faced Renfield, boiling over with

983
00:53:30,600 --> 00:53:32,600
Speaker 2: nervous laughter. I loved his scenes.

984
00:53:33,000 --> 00:53:37,040
Speaker 1: Yeah, and he ultimately doesn't play a particularly devious character.

985
00:53:37,040 --> 00:53:38,480
Speaker 1: He doesn't. You know, this is not a character that

986
00:53:38,520 --> 00:53:40,600
Speaker 1: turns out later to be a ghost or a cult

987
00:53:40,640 --> 00:53:43,120
Speaker 1: member or anything weird like that. He just is this

988
00:53:43,400 --> 00:53:48,040
Speaker 1: this slightly suspicious librarian, and it's he's a fun screen

989
00:53:48,080 --> 00:53:50,160
Speaker 1: presence apparently shows up in a number of number of

990
00:53:50,160 --> 00:53:54,040
Speaker 1: other Italian B movies of this this time period, just

991
00:53:54,080 --> 00:53:55,080
Speaker 1: a bookish weirdo.

992
00:53:55,200 --> 00:53:57,600
Speaker 2: There's also an awesome scene later on in the movie

993
00:53:57,960 --> 00:54:00,640
Speaker 2: where he's wearing a green sweater. It looks like it's

994
00:54:00,640 --> 00:54:02,799
Speaker 2: made of felt. So he comes in, he's like a

995
00:54:02,840 --> 00:54:04,799
Speaker 2: walking pool table. I loved it.

996
00:54:04,920 --> 00:54:09,440
Speaker 1: Yeah, yeah, And it actually got some fun dialogue in

997
00:54:09,480 --> 00:54:11,400
Speaker 1: that part because it's it's like he's coming off a

998
00:54:11,440 --> 00:54:14,120
Speaker 1: little passive aggressive. He's like, I was just checking on

999
00:54:14,160 --> 00:54:19,200
Speaker 1: the room because the library he's closed on Sundays. And meanwhile,

1000
00:54:19,239 --> 00:54:20,800
Speaker 1: our hero I was like, I'm here to research.

1001
00:54:21,880 --> 00:54:24,359
Speaker 2: Yeah, have you seen my hair? Do you know who

1002
00:54:24,400 --> 00:54:24,759
Speaker 2: I am?

1003
00:54:26,000 --> 00:54:28,960
Speaker 1: Look? How handsome I am? How dare you question my

1004
00:54:29,000 --> 00:54:30,040
Speaker 1: presence here.

1005
00:54:29,960 --> 00:54:32,960
Speaker 2: There's a scene somewhere after this that's really funny where

1006
00:54:33,040 --> 00:54:35,520
Speaker 2: Bob is out in the woods with his remote control

1007
00:54:35,640 --> 00:54:37,840
Speaker 2: race car again like you can't really play with a

1008
00:54:37,880 --> 00:54:41,719
Speaker 2: remote control car in the woods, and he's wandering around

1009
00:54:41,719 --> 00:54:45,480
Speaker 2: and he finds a tombstone for somebody named Mary Freudstein,

1010
00:54:46,320 --> 00:54:49,680
Speaker 2: and then he immediately has this incomprehensible encounter with the

1011
00:54:49,680 --> 00:54:54,120
Speaker 2: ghost girl May, where May says she says a line

1012
00:54:54,239 --> 00:54:57,600
Speaker 2: like it's only it's all a lie. She's not really

1013
00:54:57,640 --> 00:55:01,120
Speaker 2: buried there. Oh, I know, she's not really buried there.

1014
00:55:02,320 --> 00:55:03,760
Speaker 2: I don't know what that means.

1015
00:55:04,640 --> 00:55:07,840
Speaker 1: Yeah, I don't know either, because she's she's a ghost.

1016
00:55:07,920 --> 00:55:09,600
Speaker 1: But I guess I don't know where she's buried if

1017
00:55:09,640 --> 00:55:10,399
Speaker 1: she's not buried here.

1018
00:55:10,880 --> 00:55:13,400
Speaker 2: So this is all while Norman in his library is

1019
00:55:13,880 --> 00:55:17,000
Speaker 2: learning about the sort of unsavory history of a doctor,

1020
00:55:17,120 --> 00:55:20,799
Speaker 2: Jacob Freudstein, who I think at one point lived in

1021
00:55:20,880 --> 00:55:23,080
Speaker 2: the house that they're staying in now. So this is

1022
00:55:23,120 --> 00:55:26,840
Speaker 2: not the guy who was there before them, but the

1023
00:55:26,880 --> 00:55:28,880
Speaker 2: guy who was there before that.

1024
00:55:28,800 --> 00:55:32,040
Speaker 1: Guy, right, And this is when we find out that

1025
00:55:32,160 --> 00:55:35,560
Speaker 1: this isn't just a house by the cemetery, it is

1026
00:55:35,640 --> 00:55:40,239
Speaker 1: perhaps a house on the cemetery, or more specifically, the

1027
00:55:40,320 --> 00:55:42,560
Speaker 1: cemetery is also inside the house.

1028
00:55:42,800 --> 00:55:46,040
Speaker 2: The cemetery is coming from inside the house. And the

1029
00:55:46,080 --> 00:55:48,719
Speaker 2: scene that sets that up, by the way, begins with

1030
00:55:48,760 --> 00:55:52,160
Speaker 2: an absolutely gorgeous framing. So, like, this house has these

1031
00:55:52,200 --> 00:55:56,600
Speaker 2: stained glass windows with these like green and yellow and

1032
00:55:56,640 --> 00:56:00,680
Speaker 2: purple flower shapes that are that are framed. It's this

1033
00:56:00,760 --> 00:56:04,920
Speaker 2: blue stained glass. It's just wonderful. And this is the

1034
00:56:04,920 --> 00:56:08,600
Speaker 2: framing for when Lucy's like washing the floor and she

1035
00:56:08,880 --> 00:56:13,120
Speaker 2: pulls aside a rug and discovers under the rug there's

1036
00:56:13,239 --> 00:56:17,160
Speaker 2: just a tomb. There's like a gravestone inside the house.

1037
00:56:17,360 --> 00:56:20,640
Speaker 1: And we'll we'll later find out that in kind of

1038
00:56:20,680 --> 00:56:25,080
Speaker 1: Scooby Doo fashion, this tombstone is also a secret door,

1039
00:56:25,120 --> 00:56:29,759
Speaker 1: like a trapdoor that gives you entryway into the cellar. Yeah,

1040
00:56:29,800 --> 00:56:33,240
Speaker 1: and in addition to the door that nobody can open

1041
00:56:33,320 --> 00:56:35,120
Speaker 1: yet that clearly goes to.

1042
00:56:35,120 --> 00:56:38,480
Speaker 2: The cellar, right yeah, yeah, yeah, And like in this scene,

1043
00:56:38,480 --> 00:56:41,400
Speaker 2: there's a bunch of grunts and jostling and whatnot coming

1044
00:56:41,440 --> 00:56:45,640
Speaker 2: from the basement, so it sort of indicates the trapdoor thing.

1045
00:56:45,880 --> 00:56:47,920
Speaker 1: Yeah, there are a lot of haunted sounds in this house,

1046
00:56:48,000 --> 00:56:53,240
Speaker 1: Like there's creaking, there's progressively grunting, and also like ghost

1047
00:56:53,280 --> 00:56:56,440
Speaker 1: baby weeping. There's a lot of a lot going on

1048
00:56:57,080 --> 00:57:00,960
Speaker 1: in this house from an auditory point of view here.

1049
00:57:01,640 --> 00:57:04,600
Speaker 2: So Lucy is not happy about this, and she screams,

1050
00:57:04,680 --> 00:57:09,600
Speaker 2: but eventually she and Norman are discussing it and Lucy's like, wow,

1051
00:57:09,640 --> 00:57:11,920
Speaker 2: it's weird that there's a tomb inside the house, and

1052
00:57:12,000 --> 00:57:14,520
Speaker 2: Norman says, it's just something you'll have to get used

1053
00:57:14,520 --> 00:57:15,920
Speaker 2: to this ain't New York.

1054
00:57:17,160 --> 00:57:19,000
Speaker 1: Yeah, it's implied like this is just what they do

1055
00:57:19,080 --> 00:57:22,720
Speaker 1: out here. Yeah, And I remember thinking, is it is

1056
00:57:22,760 --> 00:57:26,040
Speaker 1: this ever a thing? I don't think I've ever visited

1057
00:57:26,080 --> 00:57:28,200
Speaker 1: a historic home where they're like, and now you'll notice

1058
00:57:28,360 --> 00:57:30,920
Speaker 1: there's a gravestone in the middle of the house. This

1059
00:57:30,960 --> 00:57:31,640
Speaker 1: is what they did.

1060
00:57:31,960 --> 00:57:34,440
Speaker 2: I'm open minded, but a little doubtful on that. I

1061
00:57:34,440 --> 00:57:37,400
Speaker 2: don't know. Listeners right in do houses in New England

1062
00:57:37,440 --> 00:57:41,600
Speaker 2: all have bodies buried in the floors? Oh and another thing,

1063
00:57:41,640 --> 00:57:43,320
Speaker 2: by the way, that was right in the middle of

1064
00:57:43,320 --> 00:57:47,560
Speaker 2: the sequence, there's a part where Norman is standing in

1065
00:57:47,560 --> 00:57:49,920
Speaker 2: the kitchen and it's one of those things where I

1066
00:57:49,960 --> 00:57:52,280
Speaker 2: think we've talked about how a great thing with some

1067
00:57:52,320 --> 00:57:54,960
Speaker 2: of these Italian horror directors is they really know how

1068
00:57:55,000 --> 00:57:58,880
Speaker 2: to put a colorful item or two in the middle

1069
00:57:58,920 --> 00:58:02,400
Speaker 2: of an otherwise color drab shot to just really make

1070
00:58:02,440 --> 00:58:05,760
Speaker 2: it pop and add some contrast. And in one of

1071
00:58:05,800 --> 00:58:08,560
Speaker 2: these shots, the colorful item in the foreground is this

1072
00:58:08,640 --> 00:58:12,480
Speaker 2: big red box of something called fiddle fattle. It looks

1073
00:58:12,520 --> 00:58:15,400
Speaker 2: like it's a I don't know, it looks like crackerjacks

1074
00:58:15,480 --> 00:58:17,200
Speaker 2: or something. It might be caramel popcorn.

1075
00:58:17,680 --> 00:58:20,920
Speaker 1: Yeah. Watching this scene, I also I thought back to

1076
00:58:21,080 --> 00:58:25,040
Speaker 1: our recent viewing of Mario Bava's Black Sabbath and was

1077
00:58:25,080 --> 00:58:27,600
Speaker 1: thinking about, Yeah, how he'll put just some sort of item,

1078
00:58:27,640 --> 00:58:29,640
Speaker 1: it doesn't even matter what it is, in the center,

1079
00:58:29,680 --> 00:58:32,120
Speaker 1: and the color will just suck you in. This doesn't

1080
00:58:32,200 --> 00:58:34,560
Speaker 1: quite pull that off, but you can see that Fulci

1081
00:58:34,680 --> 00:58:36,920
Speaker 1: was going to the same sort of effect.

1082
00:58:45,960 --> 00:58:48,120
Speaker 2: But I guess this is all leading up to one

1083
00:58:48,120 --> 00:58:51,560
Speaker 2: of the finest sequences in the entire film, which is

1084
00:58:51,640 --> 00:58:55,560
Speaker 2: the bat scene. Oh God, the bat scene is so good,

1085
00:58:55,600 --> 00:58:58,480
Speaker 2: and it comes from the first time the family actually

1086
00:58:58,520 --> 00:59:01,280
Speaker 2: decides to venture into the base. So earlier, Anne was

1087
00:59:01,280 --> 00:59:03,160
Speaker 2: trying to pry her way into the basement in the

1088
00:59:03,160 --> 00:59:06,120
Speaker 2: middle of the night. Nobody ever explained that. I don't

1089
00:59:06,160 --> 00:59:09,280
Speaker 2: know why. She doesn't explain why. I don't think the

1090
00:59:09,280 --> 00:59:12,640
Speaker 2: movie addresses why she was trying to pry in, But

1091
00:59:13,240 --> 00:59:15,680
Speaker 2: if it does, that I missed it. But eventually the

1092
00:59:15,680 --> 00:59:19,960
Speaker 2: whole family goes in, and there's this great scene of Norman,

1093
00:59:20,080 --> 00:59:23,360
Speaker 2: the dad, trying to unlock the door to the basement

1094
00:59:23,880 --> 00:59:27,240
Speaker 2: by prying at the key with the sharp edge of

1095
00:59:27,280 --> 00:59:29,720
Speaker 2: a kitchen knife. So he's got a kitchen kick like

1096
00:59:30,120 --> 00:59:34,320
Speaker 2: wedged in it, blade out like blade poking into the

1097
00:59:34,360 --> 00:59:37,960
Speaker 2: metal of the key and just twisting and twist, wrenching

1098
00:59:38,000 --> 00:59:39,480
Speaker 2: it over to turn the lock.

1099
00:59:40,320 --> 00:59:43,040
Speaker 1: One of several scenes where people were open it, trying

1100
00:59:43,080 --> 00:59:46,640
Speaker 1: to open or are opening doors using knives in the

1101
00:59:46,680 --> 00:59:51,320
Speaker 1: most unsafe manner possible. In a way, it's very effective

1102
00:59:51,320 --> 00:59:53,640
Speaker 1: because you can't help but cringe watching them do this.

1103
00:59:54,440 --> 00:59:57,000
Speaker 2: Fulci Actually, scenes from this movie could be used as

1104
00:59:57,040 --> 00:59:59,680
Speaker 2: a video version of the Don't Do What Donnie Don't

1105
00:59:59,680 --> 01:00:01,440
Speaker 2: Does book about knife safety.

1106
01:00:01,760 --> 01:00:05,440
Speaker 1: Yeah, it's basically it's shake hands with danger, but generally

1107
01:00:06,600 --> 01:00:08,600
Speaker 1: but I guess the thing is you keep expecting that

1108
01:00:08,680 --> 01:00:10,840
Speaker 1: knife to slip in there to be a real bloody

1109
01:00:10,880 --> 01:00:15,000
Speaker 1: gore effect, and then there's not. But then what happens

1110
01:00:15,000 --> 01:00:17,880
Speaker 1: instead is, yeah, they open the door successfully with their knife,

1111
01:00:18,200 --> 01:00:20,440
Speaker 1: and then they start heading down there to check it out.

1112
01:00:20,480 --> 01:00:22,880
Speaker 1: I think Dad's in front right with the flashlight and

1113
01:00:22,920 --> 01:00:26,720
Speaker 1: all yeah, yeah, And then in swoops the bat, the bat,

1114
01:00:27,080 --> 01:00:29,920
Speaker 1: and this is a great scene because the bat latches

1115
01:00:29,960 --> 01:00:33,240
Speaker 1: onto Norman's hand and then he still has a knife,

1116
01:00:33,280 --> 01:00:37,680
Speaker 1: so he stabs it like a million times, like backing

1117
01:00:37,800 --> 01:00:41,040
Speaker 1: up out of the cellar into the kitchen, just still

1118
01:00:41,360 --> 01:00:43,760
Speaker 1: stabbing at this bat. It's a fix to his hand,

1119
01:00:43,960 --> 01:00:47,320
Speaker 1: producing about six bats worth of blood in the process,

1120
01:00:47,720 --> 01:00:49,920
Speaker 1: and just getting it everywhere.

1121
01:00:49,640 --> 01:00:53,000
Speaker 2: A flinging bat, blood on everyone in the room, and

1122
01:00:53,120 --> 01:00:55,760
Speaker 2: it's just stuck on his hand like a leach, like

1123
01:00:55,880 --> 01:00:58,479
Speaker 2: it's just all you can't pull it off, and he's

1124
01:00:58,560 --> 01:01:01,840
Speaker 2: just stabbing and stabbing and getting blood on his whole family,

1125
01:01:02,440 --> 01:01:08,840
Speaker 2: and it's absolutely ludicrous. This scene is everything. By the way,

1126
01:01:08,920 --> 01:01:12,080
Speaker 2: I got to say, it compares quite favorably to another

1127
01:01:12,160 --> 01:01:15,200
Speaker 2: bat attack film from an Italian horror movie. Do you

1128
01:01:15,240 --> 01:01:20,120
Speaker 2: remember the bat scene in Suspiria? I do not very funny,

1129
01:01:20,160 --> 01:01:23,560
Speaker 2: but underwhelming compared to this one. So whereas this bat

1130
01:01:23,600 --> 01:01:28,440
Speaker 2: attack is just the paragon of excess, the bat attack

1131
01:01:28,440 --> 01:01:31,360
Speaker 2: in Suspiria is where Jessica Harper is in her room

1132
01:01:31,400 --> 01:01:34,480
Speaker 2: at the school and suddenly she gets creeped out by

1133
01:01:34,600 --> 01:01:37,200
Speaker 2: It's just like a ball of black socks with wings.

1134
01:01:37,600 --> 01:01:39,480
Speaker 2: It's not a good.

1135
01:01:39,400 --> 01:01:42,880
Speaker 1: Bat one to ten on the bat believability scale. What

1136
01:01:42,920 --> 01:01:44,120
Speaker 1: do you give the Suspiria beat.

1137
01:01:44,440 --> 01:01:47,320
Speaker 2: The Suspiria bat would be like a two or three.

1138
01:01:47,880 --> 01:01:50,640
Speaker 2: This one. I don't know if believability is the word,

1139
01:01:50,760 --> 01:01:54,560
Speaker 2: but it so overwhelms the senses that one need not

1140
01:01:54,760 --> 01:01:57,880
Speaker 2: believe either way. Is just there. It's just in.

1141
01:01:57,720 --> 01:02:00,880
Speaker 1: You, all right, So I'm gonna mark you down for

1142
01:02:00,920 --> 01:02:01,280
Speaker 1: a five.

1143
01:02:01,920 --> 01:02:02,400
Speaker 2: Okay.

1144
01:02:03,160 --> 01:02:05,480
Speaker 1: But the other thing is this scene reminded me of

1145
01:02:05,520 --> 01:02:09,360
Speaker 1: The Simpsons where Homer gets his hand stuck in the toaster. Yeah,

1146
01:02:09,360 --> 01:02:11,560
Speaker 1: and it still has his hand stuck in the toaster.

1147
01:02:12,320 --> 01:02:15,440
Speaker 2: Dad, it's in there again, all right.

1148
01:02:15,480 --> 01:02:19,320
Speaker 1: So event eventually the bat is vanquished. And at that point,

1149
01:02:19,360 --> 01:02:21,840
Speaker 1: I think everybody's had enough of the seller and they

1150
01:02:21,840 --> 01:02:23,760
Speaker 1: have agreed not to go back in there for the time.

1151
01:02:23,840 --> 01:02:26,880
Speaker 2: P Well, and we're to understand that after the scene

1152
01:02:26,880 --> 01:02:29,880
Speaker 2: the family expresses their desire to leave the house, because

1153
01:02:29,920 --> 01:02:32,760
Speaker 2: the next one is at the real estate office. You've

1154
01:02:32,800 --> 01:02:35,440
Speaker 2: got the real ittors, the two realtors sitting there and

1155
01:02:35,480 --> 01:02:38,280
Speaker 2: they're just talking about how, oh yeah, everybody always wants

1156
01:02:38,280 --> 01:02:40,040
Speaker 2: out of this house. Why won't people just stay in

1157
01:02:40,080 --> 01:02:40,520
Speaker 2: the house.

1158
01:02:40,920 --> 01:02:43,000
Speaker 1: And this is great because we don't get enough scenes

1159
01:02:43,040 --> 01:02:46,960
Speaker 1: of realtors talking to real litters in our movies, particularly

1160
01:02:47,040 --> 01:02:50,320
Speaker 1: on a haunted house films. You know, maybe the owners

1161
01:02:50,320 --> 01:02:53,840
Speaker 1: of the renters are talking with the realtor, but but

1162
01:02:54,160 --> 01:02:56,760
Speaker 1: not this kind of inside realortor talk you get.

1163
01:02:56,880 --> 01:02:58,680
Speaker 2: So one of the real ittors is the one we've

1164
01:02:58,680 --> 01:03:02,720
Speaker 2: already met, miss Gidtleson Gitttleston.

1165
01:03:02,680 --> 01:03:04,560
Speaker 1: In one played by Dagmar Yes.

1166
01:03:04,720 --> 01:03:06,560
Speaker 2: And then the other one is this guy who I

1167
01:03:06,560 --> 01:03:09,000
Speaker 2: don't know if he has a name, but he has

1168
01:03:09,880 --> 01:03:11,560
Speaker 2: a powerful aura of sleeves.

1169
01:03:12,280 --> 01:03:12,640
Speaker 1: Yes.

1170
01:03:13,200 --> 01:03:15,160
Speaker 2: And then so after this, I don't know if this

1171
01:03:15,200 --> 01:03:18,080
Speaker 2: has any causal relationship to anything else in the movie,

1172
01:03:18,080 --> 01:03:22,080
Speaker 2: but we get at least one scene of like the

1173
01:03:22,120 --> 01:03:26,680
Speaker 2: ghost people in their own environment, like May and her

1174
01:03:26,720 --> 01:03:30,440
Speaker 2: mom just in a house, hanging out, and May is

1175
01:03:30,480 --> 01:03:34,560
Speaker 2: depicted as dwelling within a gin pop of a supermax

1176
01:03:34,600 --> 01:03:38,560
Speaker 2: prison for dolls. It's, you know, just dolls everywhere, crammed in.

1177
01:03:39,200 --> 01:03:39,400
Speaker 5: Uh.

1178
01:03:40,080 --> 01:03:42,480
Speaker 2: You imagine that the dolls are like, you know, shoving

1179
01:03:42,480 --> 01:03:46,800
Speaker 2: each other for more personal space, and they have some

1180
01:03:46,880 --> 01:03:49,040
Speaker 2: kind of conversation here in the house. And I think

1181
01:03:49,080 --> 01:03:52,240
Speaker 2: this is implied to be the same house, but like

1182
01:03:52,600 --> 01:03:55,640
Speaker 2: not in a different reality version of the house.

1183
01:03:56,280 --> 01:03:58,040
Speaker 1: Yeah, And I'm not sure where to fall on this,

1184
01:03:58,640 --> 01:04:00,960
Speaker 1: like this room and also so to a large extent,

1185
01:04:01,040 --> 01:04:05,320
Speaker 1: the seller are these places that are that physically exist

1186
01:04:05,440 --> 01:04:08,400
Speaker 1: and are closed off from the rest of the house,

1187
01:04:08,480 --> 01:04:12,560
Speaker 1: like the main I presume rental house. I forget if

1188
01:04:12,560 --> 01:04:15,160
Speaker 1: they were supposed to purchase this house or surely they're renting.

1189
01:04:15,480 --> 01:04:17,080
Speaker 1: You don't don't just buy a haunted house you want

1190
01:04:17,080 --> 01:04:19,920
Speaker 1: to rent. But I don't know if these are rooms

1191
01:04:19,920 --> 01:04:23,880
Speaker 1: that physically exist or if they are essentially ghost rooms

1192
01:04:23,960 --> 01:04:27,000
Speaker 1: and ghost domains. And ultimately, the house by the Cemetery

1193
01:04:27,040 --> 01:04:29,560
Speaker 1: is kind of like the House of Leaves and it

1194
01:04:29,560 --> 01:04:32,680
Speaker 1: doesn't obey, you know, the typical laws of time and space.

1195
01:04:32,880 --> 01:04:35,680
Speaker 2: Mmm, that's a nice comparison, except I would say House

1196
01:04:35,680 --> 01:04:38,960
Speaker 2: of Leaves is somehow less confusing than House for Cemetery.

1197
01:04:40,080 --> 01:04:42,480
Speaker 2: So from here the movie kind of ramps up more

1198
01:04:42,560 --> 01:04:47,480
Speaker 2: into into attack mode. So multiple characters are going to

1199
01:04:47,480 --> 01:04:50,520
Speaker 2: get slaughtered by the monster. Here there's a scene where

1200
01:04:50,560 --> 01:04:53,200
Speaker 2: the real estate agent Ms. Gidtlson just kind of pops

1201
01:04:53,240 --> 01:04:56,960
Speaker 2: into the house to wander around. There's some beautiful, eerie

1202
01:04:56,960 --> 01:05:00,520
Speaker 2: shots of the house, like that same window, the bay

1203
01:05:00,560 --> 01:05:03,920
Speaker 2: of windows with the stained glass and all that, and

1204
01:05:04,120 --> 01:05:07,120
Speaker 2: there are these lamps, these globe shaped lamps beside them.

1205
01:05:07,200 --> 01:05:11,680
Speaker 2: Is wonderful, wonderful composition. But so this lady's wandering through

1206
01:05:11,680 --> 01:05:15,080
Speaker 2: the house and she gets attacked by the tomb like

1207
01:05:15,120 --> 01:05:18,760
Speaker 2: the stone slab over the tomb that Lucy discovered there,

1208
01:05:19,200 --> 01:05:23,040
Speaker 2: it bites her leg essentially, and then she is killed

1209
01:05:23,040 --> 01:05:25,560
Speaker 2: by the monster hand guy from the beginning of the movie.

1210
01:05:25,840 --> 01:05:28,320
Speaker 1: And that's that's the doctor. That's doctor freud Stein, who

1211
01:05:28,360 --> 01:05:30,680
Speaker 1: will we will increasingly see a lot.

1212
01:05:30,520 --> 01:05:33,240
Speaker 2: More off right, Well, we don't see it's still just

1213
01:05:33,240 --> 01:05:36,200
Speaker 2: his hands here, Like, that's the big reveal at the

1214
01:05:36,240 --> 01:05:38,480
Speaker 2: end of the movie, is getting to see his full form.

1215
01:05:38,880 --> 01:05:41,280
Speaker 2: Here you just get hands. And then this lady gets

1216
01:05:41,320 --> 01:05:46,040
Speaker 2: murdered in a scene of an absolutely ridiculous excess of blood.

1217
01:05:46,480 --> 01:05:49,040
Speaker 1: Yeah, this is a I think he stabs her with

1218
01:05:49,040 --> 01:05:50,480
Speaker 1: a poker multiple times.

1219
01:05:50,720 --> 01:05:53,360
Speaker 2: Yeah. So sometime around this point in the movie, also

1220
01:05:53,520 --> 01:06:00,160
Speaker 2: Norman discovers the cassette tapes made by his predecessor, by

1221
01:06:00,200 --> 01:06:03,600
Speaker 2: the previous scholar who was working in this house and

1222
01:06:03,880 --> 01:06:07,760
Speaker 2: this guy Peterson, and Peterson's recording himself talking into a

1223
01:06:07,760 --> 01:06:10,880
Speaker 2: tape recorder about the the freud Steen house. He seems

1224
01:06:10,880 --> 01:06:13,720
Speaker 2: to be losing his mind, he says, the house it

1225
01:06:13,840 --> 01:06:17,640
Speaker 2: draws me like an infernal magnet. How many have wandered

1226
01:06:17,720 --> 01:06:20,480
Speaker 2: into the waiting spider web. The smell of the rooms

1227
01:06:20,600 --> 01:06:26,440
Speaker 2: terrifies me, and then eventually we get to him saying blood, blood, blood,

1228
01:06:27,680 --> 01:06:29,920
Speaker 2: which of course it will be irresistible to all the

1229
01:06:29,960 --> 01:06:34,320
Speaker 2: Garth Morangi fans out there. But then then the scenes

1230
01:06:34,400 --> 01:06:36,920
Speaker 2: right after that are really full of stoppin' shop. So

1231
01:06:37,040 --> 01:06:39,920
Speaker 2: like the you know, mom comes home with the grocery

1232
01:06:39,920 --> 01:06:42,360
Speaker 2: bag that has at the Stop and Shop logo on them.

1233
01:06:42,360 --> 01:06:45,360
Speaker 2: Honest values are what stopping shop is all about. And

1234
01:06:45,400 --> 01:06:49,800
Speaker 2: then there's Stop and Shop brand cartons of milk everywhere.

1235
01:06:49,560 --> 01:06:52,280
Speaker 1: Yep, yep, adding that you know, some level of that

1236
01:06:52,360 --> 01:06:54,600
Speaker 1: red Mario Bova pop to the background.

1237
01:06:54,920 --> 01:06:59,760
Speaker 2: Yeah, But here characters really start going down in the basement,

1238
01:07:00,280 --> 01:07:02,360
Speaker 2: so like Anne's going to go down in the basement,

1239
01:07:02,520 --> 01:07:06,680
Speaker 2: Bob's gonna go down in the basement, and and this

1240
01:07:06,680 --> 01:07:08,240
Speaker 2: this is third act territory here.

1241
01:07:08,640 --> 01:07:12,440
Speaker 1: Yeah. So so first of all, I want so one

1242
01:07:12,440 --> 01:07:15,200
Speaker 1: of the people that goes down into the basement is Anne.

1243
01:07:15,560 --> 01:07:18,080
Speaker 1: And this is ultimately a sequence that really raises a

1244
01:07:18,120 --> 01:07:21,320
Speaker 1: lot even more questions for me because after the so

1245
01:07:21,440 --> 01:07:25,160
Speaker 1: after the real estate lady is again just brutally murdered

1246
01:07:25,640 --> 01:07:27,880
Speaker 1: in the upper portion of the house and then dragged

1247
01:07:27,880 --> 01:07:31,240
Speaker 1: into the into the cellar, it appears that Anne has

1248
01:07:31,320 --> 01:07:34,680
Speaker 1: spent quite a bit of time cleaning up after this murder,

1249
01:07:35,040 --> 01:07:38,320
Speaker 1: like the mom comes back. Apparently they went out to

1250
01:07:38,360 --> 01:07:42,600
Speaker 1: a restaurant last night. They had invited Anne, but Anne

1251
01:07:42,640 --> 01:07:45,520
Speaker 1: was going to go quote unquote visit her parents, which

1252
01:07:45,520 --> 01:07:50,200
Speaker 1: apparently means clean up after the murderous creature slash, ghosts,

1253
01:07:50,240 --> 01:07:53,160
Speaker 1: slash whatever that lives in the cellar. And then and

1254
01:07:53,200 --> 01:07:55,720
Speaker 1: then she just kind of avoids the topic about what

1255
01:07:55,760 --> 01:07:58,200
Speaker 1: she's doing. But she's like clearly cleaning up all this blood.

1256
01:07:58,440 --> 01:08:01,120
Speaker 1: So it's like, is Anne work looking for the presence

1257
01:08:01,160 --> 01:08:03,840
Speaker 1: in the basement? Is she a thrall of the forces

1258
01:08:03,840 --> 01:08:08,600
Speaker 1: in this house? What is it? It's not explained. And

1259
01:08:08,640 --> 01:08:13,600
Speaker 1: then when Anne goes looking for Bob wanders into the basement,

1260
01:08:14,800 --> 01:08:17,920
Speaker 1: the force brutally murders her, like chops her head off

1261
01:08:17,960 --> 01:08:21,160
Speaker 1: with a knife, and and so it's like, well, what

1262
01:08:21,200 --> 01:08:23,000
Speaker 1: was that all about? Then? But did she work for

1263
01:08:23,040 --> 01:08:24,920
Speaker 1: the thing in the basement? Did she work for some

1264
01:08:25,000 --> 01:08:27,519
Speaker 1: other force? Like what is the arrangement here? I have

1265
01:08:27,680 --> 01:08:28,360
Speaker 1: no idea.

1266
01:08:28,720 --> 01:08:31,160
Speaker 2: Yeah, I could not understand it all. At first, it

1267
01:08:31,160 --> 01:08:34,400
Speaker 2: seems like she is working for the monster, and then

1268
01:08:34,479 --> 01:08:37,600
Speaker 2: she's surprised when she encounters it and so yeah, I

1269
01:08:37,960 --> 01:08:41,120
Speaker 2: don't know, I don't know. Yeah, why was she cleaning

1270
01:08:41,200 --> 01:08:41,719
Speaker 2: up the blood?

1271
01:08:42,320 --> 01:08:45,639
Speaker 1: Yeah, she died like she lived. A complete mystery. Okay,

1272
01:08:45,680 --> 01:08:48,559
Speaker 1: But when Bob's in the basement, then this is where

1273
01:08:48,600 --> 01:08:51,760
Speaker 1: the cellar really takes on. This this strange, otherworldly to mention,

1274
01:08:51,920 --> 01:08:55,080
Speaker 1: because there are the sounds and you know, creepy and

1275
01:08:55,120 --> 01:08:58,000
Speaker 1: also creepy sits. We keep seeing these big beast eyes

1276
01:08:58,640 --> 01:09:01,280
Speaker 1: glowing in the dark that remind me of the eyes

1277
01:09:01,320 --> 01:09:04,920
Speaker 1: of the Great Dweller from Stephen King's Creep Show. And

1278
01:09:05,439 --> 01:09:07,360
Speaker 1: it's easy to think when you first see them, oh,

1279
01:09:07,400 --> 01:09:09,400
Speaker 1: these must be the eyes of the presence in the basement.

1280
01:09:09,439 --> 01:09:12,920
Speaker 1: These are the eyes of doctor Freudstein. But as we'll

1281
01:09:12,920 --> 01:09:15,479
Speaker 1: explain when we finally see doctor Freudstein, he does not

1282
01:09:15,520 --> 01:09:19,960
Speaker 1: have these eyes. No, So what was this? Is this

1283
01:09:20,040 --> 01:09:21,679
Speaker 1: another presence? Is this another?

1284
01:09:21,880 --> 01:09:21,960
Speaker 5: Like?

1285
01:09:22,560 --> 01:09:24,920
Speaker 1: Is this? Like? I have so many questions about the

1286
01:09:25,400 --> 01:09:28,719
Speaker 1: whole arrangement here with ghosts and potentially de mat demonic

1287
01:09:28,800 --> 01:09:36,760
Speaker 1: presences and also you know, artificially living undead creatures. It's

1288
01:09:36,960 --> 01:09:38,840
Speaker 1: really out there. I have no idea what's going on?

1289
01:09:39,160 --> 01:09:42,559
Speaker 2: Yeah, the same here, just these these weird glowing yellow

1290
01:09:42,600 --> 01:09:46,120
Speaker 2: and red catlike eyes in the dark that don't correspond

1291
01:09:46,160 --> 01:09:49,040
Speaker 2: to any creature or monster we see later in the film.

1292
01:09:49,320 --> 01:09:51,760
Speaker 1: But one of the key sequences is this scene, you know,

1293
01:09:52,040 --> 01:09:55,120
Speaker 1: where Bob is shut into the closet. Whatever's in the

1294
01:09:55,160 --> 01:09:58,120
Speaker 1: basement is able to close the door at will and

1295
01:09:58,200 --> 01:10:01,439
Speaker 1: trap people who wander down. Bob is stuck in the basement.

1296
01:10:01,920 --> 01:10:04,439
Speaker 1: Mom's trying to free him from the other side, and

1297
01:10:04,560 --> 01:10:06,840
Speaker 1: something's coming up the stairs to get him, and of

1298
01:10:06,880 --> 01:10:09,960
Speaker 1: course he is the doctor, uh, doctor freud Stein.

1299
01:10:10,400 --> 01:10:12,960
Speaker 2: Now we don't I think this part, we don't fully

1300
01:10:13,000 --> 01:10:16,200
Speaker 2: see his face yet. That reveal is still coming. But

1301
01:10:16,680 --> 01:10:20,000
Speaker 2: one of the funniest parts again is that Lucy is

1302
01:10:20,000 --> 01:10:22,360
Speaker 2: trying to get in to help Bob and she's literally

1303
01:10:22,439 --> 01:10:25,040
Speaker 2: prying at the basement door with a kitchen knife. It's

1304
01:10:25,080 --> 01:10:28,040
Speaker 2: just the knife in the door, in the door jam,

1305
01:10:28,240 --> 01:10:31,479
Speaker 2: just prying. And then that doesn't work. And then I

1306
01:10:31,520 --> 01:10:36,320
Speaker 2: think this is when Norman comes home and he attacks

1307
01:10:36,360 --> 01:10:38,160
Speaker 2: the door with a hatchet to try to get in

1308
01:10:38,240 --> 01:10:41,320
Speaker 2: and save Bob. There again was a very funny moment

1309
01:10:41,360 --> 01:10:44,200
Speaker 2: where he goes keep away from the door and Bob

1310
01:10:44,280 --> 01:10:44,960
Speaker 2: goes yep.

1311
01:10:44,800 --> 01:10:48,519
Speaker 1: I will and then here comes the monster hand and

1312
01:10:48,640 --> 01:10:51,960
Speaker 1: polds Bob's head against the door while Dad's trying to

1313
01:10:52,000 --> 01:10:53,920
Speaker 1: hack through it with the with the with the with

1314
01:10:53,960 --> 01:10:56,920
Speaker 1: the hatchet. Yes, it's it's pretty great. I mean, it's terrified.

1315
01:10:57,280 --> 01:10:59,760
Speaker 1: It's really an ingenious scene. I don't think I've ever

1316
01:10:59,800 --> 01:11:01,120
Speaker 1: seen anything quite like this.

1317
01:11:01,479 --> 01:11:05,240
Speaker 2: And the dad accidentally chops the monster's arm off with

1318
01:11:05,320 --> 01:11:09,080
Speaker 2: the hatchet, then also keeps hacking at the door in

1319
01:11:09,120 --> 01:11:12,120
Speaker 2: a very inefficient way, like hitting the door in completely

1320
01:11:12,120 --> 01:11:14,880
Speaker 2: different places, like in the middle and then at the side.

1321
01:11:15,320 --> 01:11:18,759
Speaker 1: Yeah, and finally we do get to see our monster,

1322
01:11:18,880 --> 01:11:22,800
Speaker 1: our doctor Freudstein in full and oh man, I've long

1323
01:11:22,880 --> 01:11:26,160
Speaker 1: loved this monster design. So he is apparently one hundred

1324
01:11:26,200 --> 01:11:29,599
Speaker 1: and fifty year old surgeon with a who really liked

1325
01:11:29,680 --> 01:11:34,720
Speaker 1: illegal surgeries. He's beat death through some mix of butchery

1326
01:11:34,840 --> 01:11:38,840
Speaker 1: and cell theft. And when I say beat death, you

1327
01:11:38,880 --> 01:11:44,400
Speaker 1: know it's it's arguable, like how close the score was here,

1328
01:11:44,960 --> 01:11:48,840
Speaker 1: because his body is just this desiccated husk of scars

1329
01:11:48,920 --> 01:11:52,200
Speaker 1: and rot with seemingly new parts at it is needed.

1330
01:11:52,240 --> 01:11:55,000
Speaker 1: I think that's the reason he has one monster arm

1331
01:11:55,040 --> 01:12:01,760
Speaker 1: and one seemingly normal arm. He's clearly lost all of

1332
01:12:01,800 --> 01:12:05,040
Speaker 1: his humanity and now just exists. Is this thing that

1333
01:12:05,120 --> 01:12:07,599
Speaker 1: lures people into the cellar so he can cut them

1334
01:12:07,600 --> 01:12:09,639
Speaker 1: to ribbons and you know, maybe harvest some of their

1335
01:12:09,680 --> 01:12:13,680
Speaker 1: cells or their body parts. He boasts amazing strength to

1336
01:12:13,760 --> 01:12:17,280
Speaker 1: match his brutality. He can't speak, or doesn't seem to.

1337
01:12:17,280 --> 01:12:19,720
Speaker 1: He seems to only emit guttural sounds, and we don't

1338
01:12:19,760 --> 01:12:21,960
Speaker 1: know if this is due to his state of mind,

1339
01:12:22,080 --> 01:12:24,720
Speaker 1: like is his brain just rotting in there, or is

1340
01:12:24,760 --> 01:12:27,160
Speaker 1: it just because he doesn't have you know, functional speak

1341
01:12:27,200 --> 01:12:32,160
Speaker 1: chapparatus anymore. He also may have supernatural powers, like he

1342
01:12:32,200 --> 01:12:34,519
Speaker 1: may be the one that's opening and closing in that door,

1343
01:12:35,680 --> 01:12:39,920
Speaker 1: or he's aided by the ghosts of his family, or

1344
01:12:40,439 --> 01:12:41,760
Speaker 1: I was trying to figure out, well, maybe it has

1345
01:12:41,800 --> 01:12:44,200
Speaker 1: something to do with those those beast eyes in the cellar.

1346
01:12:44,280 --> 01:12:47,800
Speaker 1: Maybe like he's somehow horre cruxed himself and so he

1347
01:12:47,960 --> 01:12:52,639
Speaker 1: exists both as an incorporeal like presence in the cellar.

1348
01:12:52,680 --> 01:12:57,200
Speaker 1: But then also this this uh, this doomed you know,

1349
01:12:57,280 --> 01:13:02,759
Speaker 1: corporeal rotting creature. It's it's wonderful, Like the suit looks

1350
01:13:02,800 --> 01:13:05,519
Speaker 1: really good. You can basically smell him.

1351
01:13:05,800 --> 01:13:09,800
Speaker 2: Oh yeah, yeah. The design of the monster is absolutely fabulous,

1352
01:13:10,080 --> 01:13:14,320
Speaker 2: especially the head where his head is it's almost like

1353
01:13:14,360 --> 01:13:19,240
Speaker 2: a wax helmet of a kind, with these deeply recessed

1354
01:13:19,320 --> 01:13:22,120
Speaker 2: eye sockets that don't appear to have eyes in them,

1355
01:13:22,400 --> 01:13:25,720
Speaker 2: and and no mouth. Yeah, the mouth part is just

1356
01:13:25,800 --> 01:13:29,400
Speaker 2: kind of smoothed over and it's just this vertical scar.

1357
01:13:29,640 --> 01:13:30,960
Speaker 2: Now it's excellent.

1358
01:13:31,280 --> 01:13:35,360
Speaker 1: Yeah, there's kind of a bodies exhibit sensibility to his head,

1359
01:13:35,560 --> 01:13:39,160
Speaker 1: like he's been plasticized. Oh and then when Dad, Dad

1360
01:13:39,160 --> 01:13:42,240
Speaker 1: gets in there and it stabs him. And when Dad

1361
01:13:42,280 --> 01:13:44,680
Speaker 1: stabs him, another one of the most minervable scenes in

1362
01:13:44,720 --> 01:13:48,000
Speaker 1: the film is what comes out is not blood, but

1363
01:13:48,160 --> 01:13:52,719
Speaker 1: this just kind of rotted sludge filled with squirming maggots.

1364
01:13:52,760 --> 01:13:55,360
Speaker 1: I mean, just packed with maggots and not meal worms.

1365
01:13:55,439 --> 01:13:58,200
Speaker 1: Is sometimes the case, sometimes you have meal worms standing

1366
01:13:58,240 --> 01:14:00,559
Speaker 1: in for maggots. But this is the real deal. This

1367
01:14:00,640 --> 01:14:03,920
Speaker 1: is just a big maggoty sludge that starts dripping out

1368
01:14:03,920 --> 01:14:04,519
Speaker 1: of his body.

1369
01:14:04,880 --> 01:14:10,000
Speaker 2: Yeah. Tremendously gross and in some ways beautiful monster design.

1370
01:14:10,439 --> 01:14:12,919
Speaker 1: Now Here the big spoilers what happens when the family,

1371
01:14:13,040 --> 01:14:16,920
Speaker 1: the final three go up against doctor Freudstein. Well it

1372
01:14:16,960 --> 01:14:20,240
Speaker 1: doesn't go so well. Dad, you know, gets in there

1373
01:14:20,240 --> 01:14:22,400
Speaker 1: and gets the stabbing in on doctor Freudstein. But then

1374
01:14:22,439 --> 01:14:25,680
Speaker 1: doctor Freudstein rips Dad's throat out in a very grizzly sequence.

1375
01:14:26,160 --> 01:14:29,960
Speaker 1: And then Mom and Bob are going up these stairs

1376
01:14:30,040 --> 01:14:32,840
Speaker 1: to that tombstone trap door and trying to force it

1377
01:14:32,880 --> 01:14:35,920
Speaker 1: open so that they can escape, and Freudstein ends up

1378
01:14:35,960 --> 01:14:39,000
Speaker 1: grabbing Mom and like dragging her down the stairs, bonking

1379
01:14:39,000 --> 01:14:41,960
Speaker 1: her head on each rung. And then and I think

1380
01:14:41,960 --> 01:14:43,280
Speaker 1: this must have been a I don't know if this

1381
01:14:43,360 --> 01:14:45,000
Speaker 1: was a cut scene, but like the next scene you

1382
01:14:45,040 --> 01:14:47,559
Speaker 1: see is like her head has been dashed to pieces

1383
01:14:47,600 --> 01:14:50,400
Speaker 1: on the concrete floor, and then the creature's coming back up.

1384
01:14:50,400 --> 01:14:54,120
Speaker 1: Freudstein's coming back up to get Bob, and Bob manages

1385
01:14:54,280 --> 01:14:57,680
Speaker 1: to squeeze his way out and is pulled to safety

1386
01:14:57,800 --> 01:14:59,240
Speaker 1: by May, the ghost girl.

1387
01:14:59,680 --> 01:15:02,679
Speaker 2: Yeah, so I was confused about the ending. Does Bob

1388
01:15:03,520 --> 01:15:07,880
Speaker 2: escape the monster by becoming a ghost?

1389
01:15:08,840 --> 01:15:12,680
Speaker 1: I don't know. Does Bob does mean Bob dies or

1390
01:15:12,720 --> 01:15:15,760
Speaker 1: Bob crosses over or has Bob been saved in the

1391
01:15:15,760 --> 01:15:18,960
Speaker 1: physical world by May. I'm not sure.

1392
01:15:19,360 --> 01:15:21,080
Speaker 2: I really don't. Yeah, I'm not sure.

1393
01:15:21,600 --> 01:15:25,960
Speaker 1: I think it's intentionally haunting and vague and in Fulci

1394
01:15:26,200 --> 01:15:28,639
Speaker 1: does nothing to clear it up by having the final

1395
01:15:28,680 --> 01:15:31,519
Speaker 1: shot in the film be this wide shot of the

1396
01:15:31,560 --> 01:15:34,720
Speaker 1: house again, and then there's a quote there attributed to

1397
01:15:34,760 --> 01:15:39,040
Speaker 1: Henry James, says, no one will ever know whether children

1398
01:15:39,120 --> 01:15:42,240
Speaker 1: or monsters or monsters are children.

1399
01:15:43,960 --> 01:15:47,559
Speaker 2: So I want to reveal something. This didn't exactly sound

1400
01:15:47,640 --> 01:15:49,760
Speaker 2: like Henry James to me, and I was like, I

1401
01:15:49,800 --> 01:15:52,479
Speaker 2: wonder if that's an authentic quote. I looked it up.

1402
01:15:52,960 --> 01:15:55,519
Speaker 2: It appears it is not. I could not find this

1403
01:15:55,560 --> 01:15:58,880
Speaker 2: as a Henry James quote anywhere, and I could find

1404
01:15:58,920 --> 01:16:02,439
Speaker 2: people saying that she made this up and attributed it

1405
01:16:02,520 --> 01:16:06,599
Speaker 2: falsely to Henry James. Why pick Henry James, I'm not sure.

1406
01:16:06,640 --> 01:16:09,080
Speaker 2: I mean Henry James, Like, what's the connection there? I

1407
01:16:09,080 --> 01:16:12,120
Speaker 2: guess James wrote Turn of the Screw, which is a

1408
01:16:12,160 --> 01:16:15,719
Speaker 2: horror classic. Otherwise, I don't know.

1409
01:16:16,200 --> 01:16:18,280
Speaker 1: I have no idea. I mean, maybe it was just

1410
01:16:18,320 --> 01:16:21,600
Speaker 1: inspired by the works of Henry James, and yeah, just

1411
01:16:21,640 --> 01:16:25,160
Speaker 1: wanted to throw in a quotation, but then not a

1412
01:16:25,200 --> 01:16:28,080
Speaker 1: real quotation. I don't know.

1413
01:16:28,720 --> 01:16:31,240
Speaker 2: Good choice either way, good choice.

1414
01:16:32,240 --> 01:16:35,520
Speaker 1: So there you have it, House by the Cemetery. There's

1415
01:16:35,520 --> 01:16:36,559
Speaker 1: so much to love in this one.

1416
01:16:36,960 --> 01:16:38,880
Speaker 2: Well, so one of the things I did think was

1417
01:16:38,880 --> 01:16:42,280
Speaker 2: actually kind of interesting toward the end was did I

1418
01:16:42,400 --> 01:16:45,639
Speaker 2: understand correctly that a lot of the times the characters

1419
01:16:45,680 --> 01:16:49,400
Speaker 2: have heard a sound of a child sobbing and they

1420
01:16:49,439 --> 01:16:52,040
Speaker 2: thought it was Bob, and so they were looking for Bob,

1421
01:16:52,560 --> 01:16:55,960
Speaker 2: but it wasn't Bob. It turns out it was the monster,

1422
01:16:56,200 --> 01:16:59,240
Speaker 2: and the monster was sobbing with the voice of a child.

1423
01:17:00,439 --> 01:17:03,639
Speaker 1: I'm not sure. Possibly, but also I think those are

1424
01:17:03,640 --> 01:17:07,200
Speaker 1: possibly just ambient ghost noises, like ghosts of all the children,

1425
01:17:07,200 --> 01:17:10,120
Speaker 1: because we get these scenes of all these other bodies

1426
01:17:10,120 --> 01:17:12,120
Speaker 1: that have been cut to pieces down there. We see

1427
01:17:12,160 --> 01:17:15,519
Speaker 1: at one point, like a slaughtered child that looks a

1428
01:17:15,520 --> 01:17:17,200
Speaker 1: little bit like Bob. And I don't know if this

1429
01:17:17,240 --> 01:17:20,080
Speaker 1: is a vision of the potential future or this is

1430
01:17:20,120 --> 01:17:22,760
Speaker 1: a child that was killed in the past. I think

1431
01:17:22,800 --> 01:17:26,879
Speaker 1: there's that's during the playing of the Haunted tape.

1432
01:17:27,320 --> 01:17:29,120
Speaker 2: Oh yeah, the Haunted cassette tape where.

1433
01:17:28,960 --> 01:17:32,520
Speaker 1: Doctor Peterson is like, oh not that children. The children.

1434
01:17:33,080 --> 01:17:35,800
Speaker 2: It's labeled I think it says Peterson personal.

1435
01:17:36,439 --> 01:17:38,720
Speaker 1: Yes, And you remember what Norman does with that. After

1436
01:17:38,720 --> 01:17:40,320
Speaker 1: he's through listening to it, He's like, well, this is

1437
01:17:40,360 --> 01:17:45,040
Speaker 1: going directly into the fire burning in the library on

1438
01:17:45,080 --> 01:17:47,679
Speaker 1: a Sunday when it's closed. Why is there an open

1439
01:17:47,760 --> 01:17:50,960
Speaker 1: brazier in the library, so that to keep the tape,

1440
01:17:51,040 --> 01:17:54,720
Speaker 1: keep the place warm, or just in case cursed documents

1441
01:17:54,800 --> 01:17:58,559
Speaker 1: or recordings are found. There's like a sign saying, remember,

1442
01:17:58,800 --> 01:18:00,840
Speaker 1: if you find a cursed document in our cassette tape

1443
01:18:00,840 --> 01:18:05,400
Speaker 1: in the library, incinerate immediately, be considerate of others.

1444
01:18:05,880 --> 01:18:07,519
Speaker 2: I mean, I got to say, we're deep enough in

1445
01:18:07,560 --> 01:18:10,240
Speaker 2: the dream logic of the plot by that point it

1446
01:18:10,280 --> 01:18:14,440
Speaker 2: feels right. Yeah, So I guess that's house by the cemetery.

1447
01:18:15,040 --> 01:18:19,040
Speaker 1: That is a house by the cemetery. So this one is.

1448
01:18:19,640 --> 01:18:22,680
Speaker 1: This one's pretty widely available at this point. You can

1449
01:18:22,760 --> 01:18:25,599
Speaker 1: find you can ultimately find it streaming a lot of places,

1450
01:18:25,640 --> 01:18:28,760
Speaker 1: and the version streaming you can, you know, purchase a

1451
01:18:28,800 --> 01:18:33,040
Speaker 1: rent digitally. I find that it tends to be the

1452
01:18:33,080 --> 01:18:37,720
Speaker 1: restored version. That's the version I watched. I watched the

1453
01:18:37,760 --> 01:18:41,720
Speaker 1: first half of it on my trial of AMC Plus

1454
01:18:41,760 --> 01:18:44,200
Speaker 1: in Apple, and then my trial ran out and I

1455
01:18:44,200 --> 01:18:47,040
Speaker 1: had to switch to a trial of like Showtime or

1456
01:18:47,080 --> 01:18:50,320
Speaker 1: something to finish watching it. So I took the cheapskate approach,

1457
01:18:50,680 --> 01:18:53,479
Speaker 1: but I was also very tempted to pick up the

1458
01:18:53,800 --> 01:18:57,719
Speaker 1: handsome blue Underground Blu ray of this, which has fully restored,

1459
01:18:58,000 --> 01:18:59,960
Speaker 1: but also well with the version I was looking at.

1460
01:19:00,120 --> 01:19:02,600
Speaker 1: It comes with all these behind the scenes features, and

1461
01:19:02,720 --> 01:19:06,160
Speaker 1: also it comes with the soundtrack as a CD, which

1462
01:19:06,240 --> 01:19:07,400
Speaker 1: was very tempting as well.

1463
01:19:07,720 --> 01:19:09,000
Speaker 2: Oh yeah, sounds like a steal.

1464
01:19:09,520 --> 01:19:11,479
Speaker 1: All right, Well, we're gonna go ahead and close it

1465
01:19:11,560 --> 01:19:14,400
Speaker 1: up here. We're gonna we're gonna close up the house

1466
01:19:14,400 --> 01:19:17,680
Speaker 1: by the cemetery. We're gonna put the reorder's lock on

1467
01:19:17,760 --> 01:19:21,240
Speaker 1: the front door, and we'll be back next week with

1468
01:19:21,320 --> 01:19:25,879
Speaker 1: another another weird film. But yeah, thanks again for everyone

1469
01:19:25,880 --> 01:19:28,879
Speaker 1: who's who's enjoyed these or put up with these episodes

1470
01:19:28,880 --> 01:19:31,720
Speaker 1: over the past year. If you want to listen to

1471
01:19:31,760 --> 01:19:34,320
Speaker 1: weird more episodes of Weird House Cinema, we air it

1472
01:19:34,479 --> 01:19:37,280
Speaker 1: every Friday in the Stuff to Blow your Mind podcast feed.

1473
01:19:37,280 --> 01:19:40,240
Speaker 1: We're primarily a science podcast, believe it or not, and

1474
01:19:40,560 --> 01:19:43,519
Speaker 1: we do our core episodes on Tuesdays and Thursdays. I

1475
01:19:43,560 --> 01:19:44,880
Speaker 1: know it's kind of hard to tell during the month

1476
01:19:44,880 --> 01:19:46,320
Speaker 1: of October because we have a lot of a lot

1477
01:19:46,320 --> 01:19:49,640
Speaker 1: of creepy content thrown in there if you're just discovering

1478
01:19:49,720 --> 01:19:53,000
Speaker 1: us or something, But yeah, core episodes on Tuesdays and

1479
01:19:53,000 --> 01:19:57,479
Speaker 1: Thursday's Artifact or Monster Fact on Wednesday. On Monday we

1480
01:19:57,560 --> 01:20:02,080
Speaker 1: have a listener mail and over weekend we air a rerun.

1481
01:20:02,439 --> 01:20:05,320
Speaker 2: Huge thanks as always to our excellent audio producer Seth

1482
01:20:05,439 --> 01:20:07,840
Speaker 2: Nicholas Johnson. If you would like to get in touch

1483
01:20:07,880 --> 01:20:10,120
Speaker 2: with us with feedback on this episode or any other,

1484
01:20:10,240 --> 01:20:12,679
Speaker 2: to suggest a topic for the future, just to say hello,

1485
01:20:12,760 --> 01:20:15,639
Speaker 2: you can email us at contact at stuff to Blow

1486
01:20:15,720 --> 01:20:24,000
Speaker 2: your Mind dot com.

1487
01:20:24,200 --> 01:20:27,120
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1488
01:20:27,200 --> 01:20:30,000
Speaker 3: more podcasts from my heart Radio, visit the iHeartRadio app,

1489
01:20:30,160 --> 01:20:33,360
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.