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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and I am Joe McCormick. And

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Speaker 3: today on Weird House Cinema, we are going to be

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Speaker 3: talking about the famous, slash infamous nineteen eighty eight Polish

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Speaker 3: science fiction epic On the Silver Globe, directed by Andre Zuofski.

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Speaker 3: I first became interested in this movie by reading about it.

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Speaker 3: Several film critics and historians that I came across characterized

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Speaker 3: On the Silver Globe kind of like the final boss

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Speaker 3: of weird movies, as like the ultimate Macdaddy of weird, difficult,

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Speaker 3: fascinating films, and it's been described in a lot of

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Speaker 3: superlative terms. It's one of the most beautiful, one of

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Speaker 3: the ugliest, one of the most astounding, one of the

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Speaker 3: most exhausting and utterly bizarre, intensely compelling and impossible to

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Speaker 3: follow films ever made. And having seen it now I

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Speaker 3: have to agree with all of that. I found this

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Speaker 3: film both both amazingly interesting and tiring and difficult to

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Speaker 3: the point of annoyance. I have such such strong reactions

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Speaker 3: in multiple directions to it, but I'm really glad we

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Speaker 3: saw it, and I think it's a film that most

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Speaker 3: people should try to see if they can at some

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Speaker 3: point just be prepared. You are in for a very long,

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Speaker 3: very tiring, highly confusing experience, but it's also extremely rewarding.

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Speaker 2: I do want to add a caveat here that it

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Speaker 2: is and this is all subjective, of course, it's never boring,

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Speaker 2: and it is also not a when we talk about

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Speaker 2: films that are, you know, sometimes challenging to watch, this

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Speaker 2: film is not a film that is cruel. It's not

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Speaker 2: a film that is like daring you to watch it

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Speaker 2: or anything of that nature. I mean, there's some there's

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Speaker 2: some grizzly moments, there are some you know, there are

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Speaker 2: some bloody moments, but it's not one of those those

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Speaker 2: films that like has it in for the audience. It

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Speaker 2: it wants the audience to go on the journey with it.

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Speaker 3: Right right. It is a movie that's difficult, but not

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Speaker 3: because it's like Waaldewall torture scenes, though there are some.

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Speaker 3: There are some scenes of physical pain and trauma, but

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Speaker 3: that's not what the movie is largely about. So despite

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Speaker 3: the enormous run time of this movie, I think the

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Speaker 3: cut that I saw, which I think is the main

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Speaker 3: cut available, was one hundred and sixty six minutes. Was

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Speaker 3: that yours? Rob?

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Speaker 2: I believe so?

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Speaker 3: Yes, so very long movie, two hours and forty six minutes.

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Speaker 2: Wrong?

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Speaker 3: Am I doing the math right there? Yeah?

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Speaker 2: Believe sow forty four to forty six something like that?

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Speaker 2: It is, It's not even close. It is the longest

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Speaker 2: movie that we have watched for Weird House Cinema.

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Speaker 3: And despite that massive runtime, this film is technically unfinished

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Speaker 3: as the original production in the nineteen seventies. We can

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Speaker 3: talk more about the production process as we go on,

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Speaker 3: but when they were originally shooting this movie, it was

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Speaker 3: shut down by Polish authorities in the year nineteen seventy

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Speaker 3: seven with roughly twenty percent of the movie yet to

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Speaker 3: be filmed, had not been filmed yet, and I understand

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Speaker 3: that at one point what was shot the eighty percent

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Speaker 3: we have was supposed to have been destroyed, but by

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Speaker 3: some miscommunication or stroke of luck, it was not. And then,

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Speaker 3: roughly a decade after the production was halted, the still

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Speaker 3: existing pieces of the movie were put together by the

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Speaker 3: director by Andre Zuowski, with the gaps patched over by

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Speaker 3: voiceover narration and in a strange choice, but one that

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Speaker 3: I think actually works quite well Tonally, It's kind of

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Speaker 3: hard to explain exactly why modern documentary footage unrelated to

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Speaker 3: the plot of the film is just shown while director

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Speaker 3: is explaining what happens in the unfilmed scenes.

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Speaker 2: Yeah, that is an interesting choice because I've seen other

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Speaker 2: unfinished or partially lost films where they'll stitch things together

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Speaker 2: with say storyboards or illustrations or something to that effect.

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Speaker 2: So this is a choice that it first seemed rather jarring.

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Speaker 2: I'm like, what are we doing, what's happening? Why are

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Speaker 2: we in contemporary Polish urban environment? Here? Is this supposed

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Speaker 2: to be a world of the film? No, it is

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Speaker 2: not a world in the film. It is, but it

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Speaker 2: is not also completely disconnected from the film, so it

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Speaker 2: ultimately ends up working like you're saying, but it is

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Speaker 2: a unique choice.

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Speaker 3: Often, somehow the documentary film that's paired with the voiceover

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Speaker 3: narration seems to connect in a feeling way to what's

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Speaker 3: going on, even if it doesn't connect in a concrete way,

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Speaker 3: Like there'll be a scene where something is being uncovered,

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Speaker 3: and there is kind of the documentary camera seems to

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Speaker 3: un cover something in a way.

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Speaker 2: Yeah, yeah, and it's and as we'll be discussing, there

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Speaker 2: is often a kind of documentary point of view, almost

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Speaker 2: found footage vibe to the camera work in the movie proper, Okay,

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Speaker 2: So that connects nicely, I think with this added footage

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Speaker 2: of these European streets. I'm not sure offhand of these

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Speaker 2: I am assuming Polish, but it could have been. These

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Speaker 2: could be French streets, because I know Zubowski spent time

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Speaker 2: in France as well. Well.

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Speaker 3: Even the original footage of the movie, like the first

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Speaker 3: third of the movie is like the the Blair Planet Project.

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Speaker 3: You know, it's it's filmed via not exactly clear what

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Speaker 3: the sci fi devices are, but there's like video diaries,

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Speaker 3: so we get tons of point of view shots.

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Speaker 2: And the memory of the video diaries and so forth,

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Speaker 2: and then there's just a lot there's there's there are

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Speaker 2: extensive monologues that are about like the voyeuristic quality of film,

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Speaker 2: because you have characters in the in the film that

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Speaker 2: are filming things and recording things and documenting things. And

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Speaker 2: one character in particular of the old Man, ends up

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Speaker 2: ruminating on this for a while, like what does it

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Speaker 2: mean that I don't speak? But I absorb and so forth.

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Speaker 2: So there's a lot in the film that seems to

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Speaker 2: be speaking to a director slash creator's experience, and then

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Speaker 2: we see that reflected back into these bits about the

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Speaker 2: lost portions of the film.

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Speaker 3: Yeah, that's right. I mean, for example, there are parts

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Speaker 3: where when the characters are looking into one of the

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Speaker 3: other characters faces as they're recording a so called video diary,

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Speaker 3: like one of them sort of tries to direct for them.

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Speaker 3: They say, like turn it off now, you fools, this

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Speaker 3: is not the right time or something. But then there's

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Speaker 3: another thing that connects to that about the sort of

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Speaker 3: metafilmmaking themes of the movie is how many characters throughout

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Speaker 3: the plot are described as actors. This is a recurring

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Speaker 3: theme that like, well, it'll make more sense once we

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Speaker 3: describe the plot that exists. But like a society that

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Speaker 3: emerges on another planet as it is colonized by humans,

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Speaker 3: and it seems that a major function within the emerging

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Speaker 3: society is that of an actor. Somebody who says I'm

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Speaker 3: an actor, I'm playing a role, and they'll like look

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Speaker 3: into the camera at certain moments and say, how do

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Speaker 3: you like my acting?

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Speaker 2: Yeah? Yeah, in this kind of bohemian, pagan, post apocalyptic

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Speaker 2: society that emerges on this alien world. We see important

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Speaker 2: roles set aside for of course martyrs and saviors, but

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Speaker 2: also ultimately filmmakers and profits and actors.

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Speaker 3: And presumably the designers of parade floats, because we get

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Speaker 3: those two. Yeah, So we'll probably talk a bit more

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Speaker 3: about the production of the movie in a bit here,

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Speaker 3: but just to say at the beginning, the production was

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Speaker 3: quite famously intense, expensive and challenging. I think demanded a

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Speaker 3: lot of the actors, and there are some reports that

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Speaker 3: like it was a rewarding but grueling experience. It was

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Speaker 3: very expensive and lavish. It was like an extravagant production.

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Speaker 3: They shot in many different locations all over the place,

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Speaker 3: from the Gobi Desert to the Baltic coast of Poland

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Speaker 3: and places in between, I think in the Caucasus mountains.

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Speaker 3: It was just supposedly incredibly intense. And then it was

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Speaker 3: brought to a conclusion before they had actually finished making

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Speaker 3: the movie, because the Polish authorities shut it down for

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Speaker 3: some reason. There is dispute about what that reason actually was, like,

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Speaker 3: was it related to was it related to supposedly subversive

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Speaker 3: themes of the film that the authorities were uncomfortable with.

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Speaker 3: Was it related to them going over budget and just

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Speaker 3: like it being too expensive or was it one article

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Speaker 3: I was reading. I don't know how seriously this suggestion

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Speaker 3: is made, but there's a very good article about the

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Speaker 3: movie you can look up in Film Comment magazine by

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Speaker 3: a writer named Jonathan Romney, who mentions first of all

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Speaker 3: that On the Silver Globe is sort of the one

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Speaker 3: of the defining examples of a film mode in the

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Speaker 3: French expression m audit meaning a cursed film, a film

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Speaker 3: that just like doesn't really belong in this world. In fact,

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Speaker 3: Romney says that it is. It's a film mode made

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Speaker 3: by a director who seemed to specialize in making film mode.

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Speaker 3: But also he mentions the possibility that it could have

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Speaker 3: been shut down just because people were looking at this

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Speaker 3: and like, people can't take like forty more minutes of

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Speaker 3: this movie, you know, even the eighty percent we have

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Speaker 3: is one hundred and sixty six minutes long, and it's

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Speaker 3: and it's so intense. It's going to be it's going

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Speaker 3: to be amazing if people sit through this whole thing

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Speaker 3: and can take it in all at once.

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Speaker 2: Yeah, yeah, absolutely, And you can imagine that some of

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Speaker 2: the more aversive qualities, and there's plenty of places you

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Speaker 2: can point to in the film that these may have

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Speaker 2: been some definite contributing factors to like the order to

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Speaker 2: destroy the film, because of course it's one thing to

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Speaker 2: cancel something for going over budget, but to say, actually

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Speaker 2: we want this erased from the world. And again, like

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Speaker 2: you said, thankfully that effort was not fruitful.

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Speaker 3: So what we're left with is, in my opinion, a

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Speaker 3: really truly fascinating artifact, not necessarily something that's going to

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Speaker 3: be fun viewing for your regular movie night, Like you

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Speaker 3: need to commit, you need to know what you're getting

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Speaker 3: into with this one, But if you're willing to go there,

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Speaker 3: it is an amazing film. It exhibits at once a

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Speaker 3: weird genius and a deep passion like for all of

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Speaker 3: the you know, we'll have some things to say about

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Speaker 3: this movie's almost random feeling philosophical monologues, but it is

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Speaker 3: clearly a movie made with deep feeling. The feeling is

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Speaker 3: just pouring out of it, and it's hard not to

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Speaker 3: be infected by some of that. Also, just the textural

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Speaker 3: genius of it, all of the costumes and the sets

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Speaker 3: and the visual composition is just amazing, but it also

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Speaker 3: does have a kind of artistic belligerence to it, like

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Speaker 3: it is rob You you mentioned that it's not a

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Speaker 3: movie that's like, you know, trying to harm the audience

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Speaker 3: by just showing them gross torture scenes and all that.

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Speaker 3: I agree, it's not like that, but it is kind

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Speaker 3: of a belligerent film, Like in a way it is

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Speaker 3: challenging your attention to single combat.

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Speaker 2: Yeah, it is a film that will philosophically berate you

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Speaker 2: and you want to take it all in. You're like

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Speaker 2: this because the acting scenes in which we get these

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Speaker 2: extended monologues, they're often just just amazing. Like the energy

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Speaker 2: of the performance and the severity of the performance is

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Speaker 2: just so enthralling. But it is kind of a struggle

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Speaker 2: at times to really fall follow all the threads that

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Speaker 2: are going on there.

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Speaker 3: In that article and film comment, Jonathan Romney describes sort

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Speaker 3: of a set of films that don't feel like they

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Speaker 3: belong in our world, that feel like they sort of

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Speaker 3: come from another place, And he writes quote adhering neither

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Speaker 3: to familiar screen aesthetics nor to the customary logic of

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Speaker 3: filmmaking economics, they present themselves as free floating, lawless bodies,

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Speaker 3: autonomously occupying their own sectors of the filmic cosmos. And

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Speaker 3: I think that nails it. That's what this movie feels like.

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Speaker 3: It is a free floating lawless body. Yeah.

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Speaker 2: I mean it is difficult to compare this to other films,

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Speaker 2: and certainly almost impossible to try to make it adhere

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Speaker 2: to the laws of other films and to the framework

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Speaker 2: of other films. That it has its own vibe, its

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Speaker 2: own rules, and you can't fault it for following that pathway.

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Speaker 2: So yes, this is indeed a Polish film, and in

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Speaker 2: fact it is our first Polish film on weird House cinema,

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Speaker 2: and I have to say it might also be my

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Speaker 2: first purely Polish film viewing experience, you know, not counting

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Speaker 2: like co productions and of course various films with Polish

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Speaker 2: talent or Polish you know, authorship and so forth. So

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Speaker 2: we can put another pin in the map and another

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Speaker 2: apology to France. We'll get to weird French movies eventually,

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Speaker 2: so often we'll throw in an elevator pitch here. I

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Speaker 2: don't know that an elevator pitch can really do this

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Speaker 2: film justice, so we might have to skip that, but

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Speaker 2: it is. It is an epically weird film in multiple ways.

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Speaker 2: So it is a it is a it is a

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Speaker 2: fitting pit for weird house cinema.

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Speaker 3: It's kind of an alternate Book of Genesis set on

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Speaker 3: another planet, Like, yeah, like a sci fi book of Genesis.

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Speaker 3: Or maybe it's bigger than Genesis. Maybe it's like the

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Speaker 3: whole Bible set on another planet. It's really got everything

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Speaker 3: it's got. It's got saviors and profits and strife and

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Speaker 3: concret quest and loss, and it's got it all.

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Speaker 2: Yeah. And aliens. It's got some really cool aliens. Yeah.

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Speaker 2: In a way, it reminds me a little bit of

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Speaker 2: Paradise Lost, only instead of trying to justify the ways

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Speaker 2: of God to man, it's trying to justify the ways

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Speaker 2: of man to God by by shouting at God.

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Speaker 3: Yeah.

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Speaker 2: All right, let's go ahead and listen to some trailer audio.

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Speaker 2: This is from I'm honestly not sure if this is

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Speaker 2: in any way an original trailer. This one was posted

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Speaker 2: by the Austin Film Society. This might be more aligned

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Speaker 2: with a recent re release of the film, which I'll

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Speaker 2: mention here in a bit, but it should give you

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Speaker 2: some flavor and you'll get to hear some of the

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Speaker 2: Polish language of this film.

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Speaker 3: Are we going to hear one of the Sharns talking, Yes.

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Speaker 2: We will hear a sharn.

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Speaker 4: Esta es. Yeah. Yeah, you still scord, Yeah, you still

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Speaker 4: want to be champas of tenty eighteen, station to be

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Speaker 4: champs of them or it's your papa a pianetto for

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Speaker 4: pretty us.

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Speaker 2: All right, So that gives you just a little little taste,

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Speaker 2: but insufficient, because this is a film full of sights

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Speaker 2: and sounds that I just have to be absorbed over

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Speaker 2: the course of nearly three hours, and even the language itself. Again,

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Speaker 2: I don't think I'd watched anything in the Polish language before,

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Speaker 2: a film in the Polish language before, and this is

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Speaker 2: like a lot. There's a lot of Polish language to

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Speaker 2: absorb here watching it in Polish with English subtitles, and

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Speaker 2: as is often the case, you know, like the rhythm

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Speaker 2: and the poetry, all the language seeps into you even

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Speaker 2: if you don't you know, understand it, even as you're

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Speaker 2: reading it, along with the dialogue and these performances.

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Speaker 3: Yeah, obviously I don't speak Polish, but there were little

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Speaker 3: moments where like a word I would recognize would like

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Speaker 3: hit and lock in. Like, there were many points in

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Speaker 3: the movie where somebody would place huge emphasis on the

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Speaker 3: word provda meaning truth.

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Speaker 2: Yeah, And.

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Speaker 3: There were a few things like that, the word the

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Speaker 3: Polish word for earth, which I forget now there are

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Speaker 3: parts where that is sort of repeated in fatically and

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Speaker 3: it kind of burns in. Yeah.

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Speaker 2: So that's always an interesting experience in a foreign language film.

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Speaker 2: All right, If you would like to see on the

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Speaker 2: Silver Globe before we proceed here, well it is. You

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Speaker 2: can get it. That's the good news. However, as of

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Speaker 2: this recording, there's sadly neither a current legit streaming option

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Speaker 2: or a Region A or region free disc as far

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Speaker 2: as I'm aware of, but the film has been restored

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Speaker 2: in HD. Eureka Video in the UK put out a

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Speaker 2: great looking Region B blu ray with a bunch of extras.

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Speaker 2: I think we have heard that a Region A or

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Speaker 2: some sort of region free release might be on the way,

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Speaker 2: but I don't know the details on that or who's

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Speaker 2: putting it out.

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Speaker 3: I hope they do. I mean, I know this movie

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Speaker 3: has been shown in screenings at like art house theaters

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Speaker 3: and stuff in recent years, but I don't know who

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Speaker 3: is actually working on a disc release that can be

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Speaker 3: seen in all your regular players in the US. But

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Speaker 3: but yeah, I hope that's coming soon.

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Speaker 2: Yeah. Yeah, So you watch this on a disc rented

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Speaker 2: from Videodrome, and I ended up just watching it on YouTube,

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Speaker 2: just because that's the best way I could get it,

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Speaker 2: and it ended up getting really good film quality. But

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Speaker 2: of course none of that is guaranteed when you're depending

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Speaker 2: on YouTube rips of movies. So still looking forward to

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Speaker 2: a proper region A or reading free to release in

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Speaker 2: the future. All right, Well, let's talk a bit about

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Speaker 2: some of the people involved here, and in doing so

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Speaker 2: we'll sort of also go through some of the main characters,

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Speaker 2: I guess, before getting into the plot. Starting here at

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Speaker 2: the top with Andrea Zuwawski, the director and the writer

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Speaker 2: screenplay credit on this. He lived nineteen forty through twenty sixteen,

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Speaker 2: Ukrainian born Polish director and writer who made a career

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Speaker 2: of really going against the mainstream and state sensibilities, appealing

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Speaker 2: ultimately more to art house tastes, while also working with

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Speaker 2: some of the biggest names Polish cinema. He studied cinema

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Speaker 2: in France and then served under Polish director Andre Wasta,

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Speaker 2: and he directed a pair of nineteen sixty nine TV

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Speaker 2: movies which I'll come back to, and then he directed

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Speaker 2: a film titled The Third Part of Night in nineteen

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Speaker 2: seventy one. I haven't seen this one, but I've read

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Speaker 2: that it's a rather intense and horrific holocaust drama with

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Speaker 2: various dreamlike elements to it. And in nineteen seventy two,

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Speaker 2: he's credited with directing two episodes of the Polish Christopher

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Speaker 2: Lee hosted horror anthology series Theater Macabre. Though these two

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Speaker 2: episodes that he directed seemed to be these same short

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Speaker 2: films from nineteen sixty nine, so they might have just

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Speaker 2: been repackaged for TV anthology usage, which of course is

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Speaker 2: not unheard of with horror anthology series in general.

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Speaker 3: Was Christopher Lee hosting an exclusively Polish show or is

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Speaker 3: this a show that aired in multiple countries?

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Speaker 2: Now? This was a Polish horror thought the series, and

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Speaker 2: you know they were able to get Christopher Lee to

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Speaker 2: come in probably similar to we were talking recently about

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Speaker 2: a small scale Canadian production that brought in Vincent Price

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Speaker 2: to do something similar. So they probably brought him in

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Speaker 2: for like a day, and he reported all this stuff.

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Speaker 3: Yeah, they shot all his segments and then they just

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Speaker 3: space him out.

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Speaker 2: That would makes sense, and perhaps repackaged some already existing

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Speaker 2: films and commissioned some other short works. So yeah, I'd

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Speaker 2: love to hear from anyone in any of our Polish

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Speaker 2: listeners or listeners with access or memories of Polish television.

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Speaker 2: Perhaps you can provide more information about this.

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Speaker 3: Nineteen seventy two I think that would have been right

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Speaker 3: around the time of the Wickerman. By the way, Wickerman

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Speaker 3: is maybe what seventy three? Oh yeah, so you're getting

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Speaker 3: that Christopher Lee, which is all the Christopher Lees are great,

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Speaker 3: but that's the best one I think.

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Speaker 2: All right, So after this, Zuotsky follows it up with

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Speaker 2: the nineteen seventy two historical satanic horror film The Devil

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Speaker 2: and I also have not seen this one, but apparently

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Speaker 2: there's plenty in here to poke Polish authorities, because they

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Speaker 2: ended up banning the film in Poland. And in the

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Speaker 2: midst of this, Zuotsky moves to France.

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Speaker 3: I heard it described as him being basically exiled.

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Speaker 2: Yeah, yeah too, it was too much, so he ends

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Speaker 2: up going to France. After this, he makes the nineteen

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Speaker 2: seventy five French romance drama That most Important Thing Love.

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Speaker 2: And he returned to Poland for his next project, which is,

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Speaker 2: of course the ambitious adaptation of his grandfather's science fiction novels.

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Speaker 2: This is On the Silver Globe, shot between nineteen seventy

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Speaker 2: six and nineteen seventy seven.

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Speaker 3: Yeah, so, from what I understand, on the Silver Globe

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Speaker 3: is the title of the first of a cycle of

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Speaker 3: three science fiction novels that Zuofsky's grandfather wrote.

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Speaker 2: Yeah, the Lunar Trilogy. Yeah, and a little more on

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Speaker 2: the grandfather here in just a minute. So we've already

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Speaker 2: discussed the problems this production, and we'll probably touch on

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Speaker 2: it a bit more. Needless to say, the film does

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Speaker 2: not come out in the late seventies. It's going to

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Speaker 2: be another decade before it comes out. After for a

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Speaker 2: while it may seem that it is completely lost. So

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Speaker 2: but he keeps me moving on. You know, He's going

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Speaker 2: to keep making films. So Zowski after this point makes

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Speaker 2: what might be his best known film internationally, one that

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Speaker 2: I think if you've spent any amount of time like

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Speaker 2: I have, rummaging around in video rental stores, you've probably

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Speaker 2: seen the box out for this one because it has

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Speaker 2: like an illustration of a gorgon of a Medusa on

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Speaker 2: the cover. This is the nineteen eighty one psycho sexual

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Speaker 2: horror film Possession.

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Speaker 3: I've never seen this, but I've heard I've heard it

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Speaker 3: described actually in kind of similar terms like intense and

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Speaker 3: difficult but very good.

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Speaker 2: Yeah. Yeah. It stars French actress Isabelle and Johnny sam

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Speaker 2: Neil and German actress Margaret Carstensen. And yeah, I was

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Speaker 2: reading a little bit. I haven't seen this one either.

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Speaker 2: I'm just familiar with it by reputation. And I did

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Speaker 2: see some interview segments from sam Neil and also from

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Speaker 2: a Johnny who were pointing out that he out this

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Speaker 2: was a rewarding but grueling acting experience that they're glad

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Speaker 2: they did when they were younger. And these are like,

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Speaker 2: you know, decade or two old interviews, so we're not

395
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Speaker 2: dealing with like, you know, current sam Neil reflecting on

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Speaker 2: a film from the eighties. This is like nineties or

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Speaker 2: early two thousand, Sam Neils reflecting on a film he did.

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Speaker 3: I'm in my Jurassic Park era. Yeah, Jurassic Park and

399
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Speaker 3: Event Horizon. I can't do stuff like Possession anymore. Where

400
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Speaker 3: we were going, we won't need eyes to make films.

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Speaker 2: Yeah. So, this was Zuotsky's only English language film and

402
00:23:46,600 --> 00:23:50,200
Speaker 2: it was a French West German co production. He followed

403
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Speaker 2: it up with the French drama The Public Woman in

404
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Speaker 2: eighty four, Mad Love in eighty five, though this is

405
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Speaker 2: not related to any other film with the title Mad Love,

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Speaker 2: And then after this point, On the Silver Globe was

407
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Speaker 2: finally released in the more or less in the forum

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Speaker 2: that we experienced it in.

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Speaker 3: Yeah, so the way he describes it, because he you know,

410
00:24:12,560 --> 00:24:14,600
Speaker 3: it's funny. The version of On the Silver Globe we

411
00:24:14,720 --> 00:24:18,200
Speaker 3: have is mostly just a reconstruction of the film with

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00:24:18,359 --> 00:24:22,480
Speaker 3: these patches filled in with the modern documentary footage and

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Speaker 3: Zuofsky himself narrating the missing scenes. But it's also, I

414
00:24:26,560 --> 00:24:29,760
Speaker 3: don't know, like two percent a documentary, Like there are

415
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Speaker 3: parts where he just talks about what happened with the film,

416
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Speaker 3: especially at the beginning and the end, and so he

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Speaker 3: has like a monologue at the beginning that we'll get

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Speaker 3: to when we get to the plot section. But I

419
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Speaker 3: think toward the end he talks a bit about what

420
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Speaker 3: happened with the film. Doesn't he say that, you know,

421
00:24:47,520 --> 00:24:51,440
Speaker 3: all of the costumes and the sets and everything were destroyed,

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Speaker 3: but that maybe some people were able to hide to

423
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Speaker 3: get a few of them away.

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Speaker 2: M yeah. Yeah. And then in the towards the very

425
00:24:59,800 --> 00:25:04,280
Speaker 2: end too, we see his reflection in like a window

426
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Speaker 2: or some glass on the street, and I don't know

427
00:25:07,119 --> 00:25:10,680
Speaker 2: Poland or France wherever he's walking around here, So we

428
00:25:10,840 --> 00:25:15,360
Speaker 2: get this this mirrored glimpse of the director, which which

429
00:25:15,400 --> 00:25:18,199
Speaker 2: I thought was was quite perfect for.

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Speaker 3: This portion of the film, and that the any kind

431
00:25:20,600 --> 00:25:22,560
Speaker 3: of bolts away. Yeah. Yeah.

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Speaker 2: So after On the Silver Globe was finally released, he

433
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Speaker 2: would direct six more films, the last being twenty fifteen's Cosmos,

434
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Speaker 2: a French Portuguese thriller that apparently does have some fantastic elements.

435
00:25:33,560 --> 00:25:35,600
Speaker 2: So I'm not sure if it's if we're talking like

436
00:25:35,680 --> 00:25:39,520
Speaker 2: magical realism or sci fi, but I think it doesn't

437
00:25:39,520 --> 00:25:43,040
Speaker 2: seem to be defined as like a purely you know,

438
00:25:43,160 --> 00:25:46,840
Speaker 2: speculative picture or anything. All right, So that is the

439
00:25:46,920 --> 00:25:51,760
Speaker 2: director Andre Zuwewski. But then we have Jersey Zuwowski, his grandfather.

440
00:25:52,960 --> 00:25:56,320
Speaker 2: This is the author who wrote the Lunar Trilogy upon

441
00:25:56,480 --> 00:25:59,800
Speaker 2: which this is based. He lived eighteen seventy four through

442
00:25:59,840 --> 00:26:03,840
Speaker 2: no nineteen fifteen. Yeah, he wrote the Lunar Trilogy between

443
00:26:03,880 --> 00:26:06,960
Speaker 2: the years of nineteen oh one and nineteen eleven, so

444
00:26:07,119 --> 00:26:10,000
Speaker 2: these serve as at least in large part, basis for

445
00:26:10,080 --> 00:26:13,560
Speaker 2: the film, though this adaptation certainly seems to update the

446
00:26:13,640 --> 00:26:16,440
Speaker 2: lunar setting and replace it with an alien world. We

447
00:26:16,560 --> 00:26:18,719
Speaker 2: often see this with older science fiction that has been

448
00:26:19,080 --> 00:26:23,960
Speaker 2: translated into latter decades, you know, where we have a

449
00:26:24,000 --> 00:26:27,879
Speaker 2: different understanding of what the cosmos has in store for us.

450
00:26:29,080 --> 00:26:33,000
Speaker 2: And the trilogy was apparently pretty successful. It was beloved

451
00:26:33,080 --> 00:26:36,360
Speaker 2: by a wide Polish readership, including Polish sci fi writer

452
00:26:36,520 --> 00:26:41,160
Speaker 2: Stanislav Limb of Solaris fame. And it's hey, it's also

453
00:26:41,200 --> 00:26:43,880
Speaker 2: available in English translation. I'm not sure at what point

454
00:26:43,920 --> 00:26:46,359
Speaker 2: it enters English translation, but it is out there right

455
00:26:46,400 --> 00:26:48,680
Speaker 2: now and you can pick it up in most formats.

456
00:26:49,080 --> 00:26:51,800
Speaker 2: Jersey Zuwefski's career was cut short as he died of

457
00:26:51,880 --> 00:26:54,919
Speaker 2: typhus during World War One, and this stands out as

458
00:26:54,960 --> 00:26:56,200
Speaker 2: his most well known work.

459
00:26:56,600 --> 00:27:00,479
Speaker 3: Did you read anything about what motivated Andre to adapt

460
00:27:00,600 --> 00:27:04,000
Speaker 3: his own grandfather's novel, like why was he interested in

461
00:27:04,160 --> 00:27:06,520
Speaker 3: doing that? I didn't come across that, but it seems

462
00:27:06,560 --> 00:27:07,280
Speaker 3: like a good question.

463
00:27:07,840 --> 00:27:11,119
Speaker 2: I didn't run across particular reason, but I understand that

464
00:27:11,160 --> 00:27:13,280
Speaker 2: he had long wanted to do it, you know, like

465
00:27:13,560 --> 00:27:16,840
Speaker 2: he felt a you know, obviously a connection to his grandfather,

466
00:27:16,920 --> 00:27:20,040
Speaker 2: the father, and his grandfather's work. But at the same time,

467
00:27:20,160 --> 00:27:24,639
Speaker 2: you know, it's the adaptation seems to from what I

468
00:27:24,640 --> 00:27:26,159
Speaker 2: can tell, it's, you know, it's true to a lot

469
00:27:26,200 --> 00:27:28,680
Speaker 2: of the elements of those of those books, but also

470
00:27:28,800 --> 00:27:33,320
Speaker 2: has this additional philosophical content and also you know, commentary

471
00:27:33,440 --> 00:27:39,359
Speaker 2: on creativity and being a director that do seem to

472
00:27:39,480 --> 00:27:41,600
Speaker 2: originate more with the director here.

473
00:27:42,200 --> 00:27:45,679
Speaker 3: And by philosophical content, I assume there you are referring

474
00:27:45,760 --> 00:27:52,640
Speaker 3: in large part to this film's monologues's it's bold all caps,

475
00:27:52,760 --> 00:27:57,440
Speaker 3: thirty two point font monologues about you know, one must

476
00:27:57,560 --> 00:28:00,840
Speaker 3: if one acts, one has roots and oh god, I

477
00:28:01,200 --> 00:28:04,360
Speaker 3: pulled a couple of quotes in here. Oh, here's here's one.

478
00:28:04,480 --> 00:28:08,040
Speaker 3: I will feel in me, your inhuman translucence. I will

479
00:28:08,119 --> 00:28:13,800
Speaker 3: feel your incomprehensible breath, your absolute coldness, and stuff about

480
00:28:13,840 --> 00:28:17,680
Speaker 3: how like my identity is now you and your identity

481
00:28:17,840 --> 00:28:22,920
Speaker 3: has penetrated my identity and we have become you. Yeah, man,

482
00:28:23,960 --> 00:28:26,040
Speaker 3: I think we got to talk about the actors because

483
00:28:26,119 --> 00:28:28,720
Speaker 3: they are the ones screaming these lines in the surf.

484
00:28:29,480 --> 00:28:32,879
Speaker 2: Yeah. Absolutely, this is this is a film where pretty

485
00:28:32,920 --> 00:28:36,639
Speaker 2: much every performance is just this existential waltz at the

486
00:28:36,800 --> 00:28:42,000
Speaker 2: edge of sanity. Yeah, and it actually put in my mind,

487
00:28:43,000 --> 00:28:46,160
Speaker 2: I believe it's a fresh air. Interview that I heard

488
00:28:47,840 --> 00:28:51,920
Speaker 2: recently with the actor Emma Stone. Contemporary actor Emma Stone

489
00:28:52,280 --> 00:28:56,400
Speaker 2: was recently in the excellent weird movie Poor Things. But

490
00:28:56,560 --> 00:28:59,360
Speaker 2: she was talking about like the riders of acting and

491
00:28:59,520 --> 00:29:03,800
Speaker 2: about like afterwards, you you may the actor will feel

492
00:29:03,960 --> 00:29:08,640
Speaker 2: often emotionally drained. They need to sort of like come down, reprocess.

493
00:29:08,680 --> 00:29:11,720
Speaker 2: They may be just physically tired, if not from anything

494
00:29:11,800 --> 00:29:14,040
Speaker 2: they're doing, like physically in terms of stunts or anything,

495
00:29:14,120 --> 00:29:18,120
Speaker 2: but just from like the like the raised levels of

496
00:29:18,200 --> 00:29:21,440
Speaker 2: excitement in the body while having to embody these you know,

497
00:29:21,520 --> 00:29:24,920
Speaker 2: sometimes it's you know, often extreme states of human emotion

498
00:29:25,040 --> 00:29:25,560
Speaker 2: and behavior.

499
00:29:25,920 --> 00:29:29,960
Speaker 3: Yeah, when you perform intense emotion deliberately to play a

500
00:29:30,080 --> 00:29:34,160
Speaker 3: role in many ways that that it convinces your brain

501
00:29:34,240 --> 00:29:36,800
Speaker 3: and your body that you're actually having those emotions, and

502
00:29:36,880 --> 00:29:39,200
Speaker 3: so you can't just like turn it off easily after

503
00:29:39,280 --> 00:29:41,600
Speaker 3: the scene's over. For for a lot of actors, you can't.

504
00:29:42,040 --> 00:29:43,760
Speaker 3: So there's sort of a you've got to ramp up

505
00:29:43,840 --> 00:29:47,000
Speaker 3: and then you've got to coast back down after it's over. Yeah.

506
00:29:47,160 --> 00:29:49,280
Speaker 2: Yeah, And and this is a lot of times, I

507
00:29:49,320 --> 00:29:51,480
Speaker 2: mean that's often going on, if not always going on

508
00:29:51,680 --> 00:29:55,160
Speaker 2: in film, but sometimes it's invisible. This is a movie

509
00:29:55,200 --> 00:29:59,800
Speaker 2: where it's almost impossible to ignore that reality, especially as

510
00:29:59,840 --> 00:30:03,120
Speaker 2: the characters are giving these like these just high intensity,

511
00:30:03,600 --> 00:30:08,280
Speaker 2: extended monologues whilst you know, being waist deep in the

512
00:30:08,360 --> 00:30:12,600
Speaker 2: water or wallowing in the mud or or you know,

513
00:30:12,880 --> 00:30:15,520
Speaker 2: or they're naked or they're you know, covered in blood

514
00:30:16,080 --> 00:30:18,840
Speaker 2: or some other kind of uh uh, you know, additional

515
00:30:18,960 --> 00:30:22,400
Speaker 2: factor is involved here that really just drives home, like wow,

516
00:30:22,480 --> 00:30:24,080
Speaker 2: this this was a commitment.

517
00:30:24,600 --> 00:30:26,720
Speaker 3: I think most of the main cast in this movie

518
00:30:26,840 --> 00:30:29,280
Speaker 3: is very good, but I don't think that with with

519
00:30:29,440 --> 00:30:34,520
Speaker 3: maybe one exception, there really aren't subtle performances there. I mean,

520
00:30:34,800 --> 00:30:38,160
Speaker 3: this is a movie where it's it's fever pitch with

521
00:30:38,560 --> 00:30:40,400
Speaker 3: almost everybody all the time.

522
00:30:40,840 --> 00:30:43,960
Speaker 2: That's right, and the really one of the best examples

523
00:30:44,000 --> 00:30:47,120
Speaker 2: of this is ultimately are our central character. Uh this

524
00:30:47,520 --> 00:30:52,960
Speaker 2: is Andre Severin, who plays Merrik Marek, is a second

525
00:30:53,000 --> 00:30:55,520
Speaker 2: wave astronaut from Earth. Who is received on the alien

526
00:30:55,560 --> 00:30:58,640
Speaker 2: world as a savior and yeah is ultimately I guess

527
00:30:58,680 --> 00:31:02,040
Speaker 2: our central character. Severin was born in nineteen forty six.

528
00:31:03,240 --> 00:31:06,000
Speaker 2: Polish actor of stage and screen as well as a director.

529
00:31:06,360 --> 00:31:08,840
Speaker 2: He is considered one of the greatest Polish actors of

530
00:31:08,880 --> 00:31:12,000
Speaker 2: all time. Highly decorated and respected. His credits go back

531
00:31:12,040 --> 00:31:15,320
Speaker 2: to nineteen sixty five, still active today. Most of his

532
00:31:15,400 --> 00:31:18,880
Speaker 2: credits are Polish or French films, including nineteen eighties The

533
00:31:18,920 --> 00:31:23,160
Speaker 2: Conductor starring Sir John Gilgood and Golum from the same year.

534
00:31:23,960 --> 00:31:27,680
Speaker 2: He also appears in nineteen ninety three's Schindler's List, which

535
00:31:27,720 --> 00:31:31,520
Speaker 2: features several Polish actors. It's a supporting role, but it's

536
00:31:31,560 --> 00:31:34,520
Speaker 2: you know, it's in the top like six or seven

537
00:31:35,760 --> 00:31:38,760
Speaker 2: credits when you look at the films listing on the

538
00:31:38,880 --> 00:31:42,840
Speaker 2: various movie databases. He was also part of the international

539
00:31:42,960 --> 00:31:47,200
Speaker 2: cast for Peter Brook's epic adaptation of the Mahabarata, playing

540
00:31:47,240 --> 00:31:50,000
Speaker 2: the part of Yudistra, one of the Pandava brothers and

541
00:31:50,120 --> 00:31:54,640
Speaker 2: a central character in that. That is also that in

542
00:31:54,680 --> 00:31:57,960
Speaker 2: a way you could compare this production that that particular

543
00:31:58,000 --> 00:32:01,760
Speaker 2: production with on this over globe, because that is a

544
00:32:01,920 --> 00:32:06,200
Speaker 2: very long adaptation of an epic that contains, in this

545
00:32:06,320 --> 00:32:11,200
Speaker 2: case a number of international actors from various countries, but

546
00:32:11,480 --> 00:32:14,480
Speaker 2: they are often engaging in extended monologues that have that

547
00:32:14,560 --> 00:32:17,600
Speaker 2: are very deep and at times challenging to follow in full.

548
00:32:18,800 --> 00:32:21,760
Speaker 2: So Severin here, Yeah, spends a lot of screen time

549
00:32:22,080 --> 00:32:25,760
Speaker 2: at or toppling over that edge of sanity, and even

550
00:32:25,800 --> 00:32:29,240
Speaker 2: the less extreme emotional parts of the performance are he

551
00:32:29,440 --> 00:32:33,760
Speaker 2: is at least emotionally naked, sometimes actually naked. And Yeah,

552
00:32:33,920 --> 00:32:37,680
Speaker 2: this is definitely one of those performances, perhaps aided by

553
00:32:37,720 --> 00:32:40,960
Speaker 2: the close proximity we are too. So many of these

554
00:32:41,000 --> 00:32:43,400
Speaker 2: monologues there is a sense that the actor is not

555
00:32:43,560 --> 00:32:45,840
Speaker 2: just speaking into the middle distance like they are speaking

556
00:32:45,920 --> 00:32:48,720
Speaker 2: at you. They are like sort of clawing their way

557
00:32:49,240 --> 00:32:52,280
Speaker 2: as if as if trying to emerge from this world

558
00:32:52,360 --> 00:32:55,880
Speaker 2: and this picture into your living room or into your cinema,

559
00:32:56,000 --> 00:32:56,520
Speaker 2: et cetera.

560
00:32:56,800 --> 00:32:59,960
Speaker 3: In that article in Film Comment, I mentioned Jonathan Romney

561
00:33:00,080 --> 00:33:05,200
Speaker 3: speaking of multiple characters doing these kinds of high intensity performances,

562
00:33:06,040 --> 00:33:09,760
Speaker 3: But I think he probably has sever and most front

563
00:33:09,800 --> 00:33:12,680
Speaker 3: of mine when he says this quote. The performances are

564
00:33:12,800 --> 00:33:17,880
Speaker 3: flambuoyantly incantatory or declamatory, as if each actor is addressing

565
00:33:17,920 --> 00:33:21,240
Speaker 3: an audience position somewhere over the brow of Yonder Hill.

566
00:33:21,920 --> 00:33:25,520
Speaker 3: Much agonized screaming and mad laughter is called for as

567
00:33:25,600 --> 00:33:30,920
Speaker 3: the actors deliver grandly philosophical or religios discourse and then

568
00:33:31,120 --> 00:33:33,640
Speaker 3: a few sentences later, Bear in mind that much of

569
00:33:33,720 --> 00:33:37,520
Speaker 3: this dialogue is shouted, even screamed, by actors sometimes drenched

570
00:33:37,600 --> 00:33:40,200
Speaker 3: in blood or standing waist high in the sea.

571
00:33:42,600 --> 00:33:42,800
Speaker 4: Yeah.

572
00:33:44,040 --> 00:33:49,520
Speaker 2: One of the videodrome gang on letterboxed, a guy by

573
00:33:49,560 --> 00:33:52,240
Speaker 2: the name of John, commented that he quote kept expecting

574
00:33:52,280 --> 00:33:55,400
Speaker 2: klaus Kinsky to stumble into frame Yeah, which I totally

575
00:33:55,440 --> 00:33:57,920
Speaker 2: get that, because I would say that the raw energy

576
00:33:58,080 --> 00:34:01,200
Speaker 2: and madness injected into this and other performances in the

577
00:34:01,280 --> 00:34:04,480
Speaker 2: film are easily comparable to the sort of intensity that

578
00:34:04,680 --> 00:34:06,520
Speaker 2: klaus Kinsky tended to bring to a picture.

579
00:34:07,080 --> 00:34:09,640
Speaker 3: As I often emphasize, I think Kinsky would bring a

580
00:34:09,800 --> 00:34:13,919
Speaker 3: more chaotic evil energy to the proceedings, whereas I don't

581
00:34:14,000 --> 00:34:17,759
Speaker 3: feel that kind of like malice in any of these performances,

582
00:34:18,680 --> 00:34:23,000
Speaker 3: but I do feel that intensity. Yeah, the Kinsky intensity

583
00:34:23,120 --> 00:34:23,439
Speaker 3: is there.

584
00:34:24,080 --> 00:34:27,440
Speaker 2: Yeah, all right. The next actor of note, and this

585
00:34:27,560 --> 00:34:30,400
Speaker 2: is a character is more important early on. This is

586
00:34:30,480 --> 00:34:34,640
Speaker 2: the character Jersey played by Jersey Trella who lived nineteen

587
00:34:34,680 --> 00:34:38,320
Speaker 2: forty two through twenty twenty two, also known in the

588
00:34:38,360 --> 00:34:39,359
Speaker 2: film as the Old Man.

589
00:34:40,239 --> 00:34:43,160
Speaker 3: So this is the actor Jersey playing the character Jersey

590
00:34:43,320 --> 00:34:45,120
Speaker 3: based on the novel written by Jersey.

591
00:34:45,480 --> 00:34:49,120
Speaker 2: Yes, yeah, And I don't think that is an accident here,

592
00:34:50,400 --> 00:34:54,640
Speaker 2: because this character is the filmmaker. This is a filmmaking

593
00:34:54,760 --> 00:34:58,400
Speaker 2: first wave astronaut to the alien planet who yeah, shares

594
00:34:58,440 --> 00:35:01,520
Speaker 2: his first name with the author and also seems to

595
00:35:01,600 --> 00:35:05,040
Speaker 2: echo various ideas about filmmaking that align the character with

596
00:35:05,160 --> 00:35:07,920
Speaker 2: the director. And he also becomes a demigod.

597
00:35:08,200 --> 00:35:11,520
Speaker 3: He's interesting in that. So we haven't gotten much into

598
00:35:11,600 --> 00:35:13,879
Speaker 3: what the plot of the movie is, and there will

599
00:35:13,920 --> 00:35:18,239
Speaker 3: be difficulties with ever explaining it fully. But yeah, So

600
00:35:18,440 --> 00:35:21,680
Speaker 3: it is a movie about Earthlings colonizing another planet and

601
00:35:21,880 --> 00:35:25,200
Speaker 3: founding a new culture there. And one thing that I

602
00:35:25,239 --> 00:35:29,320
Speaker 3: think is interesting is that we see this character Jersey

603
00:35:29,560 --> 00:35:33,520
Speaker 3: is one of the original astronauts who creates this colony,

604
00:35:33,880 --> 00:35:37,200
Speaker 3: and he is the one who remains the most aloof

605
00:35:37,560 --> 00:35:40,759
Speaker 3: from the emerging culture that is created, you know what

606
00:35:40,800 --> 00:35:45,640
Speaker 3: I mean. Yeah, he's the filmmaker, but he's also for

607
00:35:45,760 --> 00:35:50,600
Speaker 3: a long time depicted as resistant to becoming fully integrated

608
00:35:51,040 --> 00:35:54,200
Speaker 3: into the culture that comes into being.

609
00:35:54,880 --> 00:35:57,560
Speaker 2: Yeah, like he wants to observe, he wants to film,

610
00:35:58,120 --> 00:36:03,440
Speaker 2: he doesn't speak, becomes this person of mystery to the

611
00:36:03,840 --> 00:36:07,320
Speaker 2: descendants of these first wave astronauts to the alien planet,

612
00:36:08,160 --> 00:36:10,680
Speaker 2: in part because he doesn't die. He's like the oldest

613
00:36:10,719 --> 00:36:14,279
Speaker 2: person anyone knows of on this white Don't you die? Yeah,

614
00:36:14,360 --> 00:36:16,960
Speaker 2: So he's like this, you know, this this immortal, this

615
00:36:17,040 --> 00:36:20,759
Speaker 2: haunted immortal that keeps filming things, but also doesn't really

616
00:36:20,880 --> 00:36:24,239
Speaker 2: share anything. It stands apart from this society.

617
00:36:24,920 --> 00:36:27,120
Speaker 3: This is the character I mentioned. This seems like the

618
00:36:27,280 --> 00:36:30,640
Speaker 3: only actor in character that's actually not at eleven the

619
00:36:30,680 --> 00:36:31,360
Speaker 3: whole time.

620
00:36:31,640 --> 00:36:34,719
Speaker 2: Right, Yeah, and he's still going to drill right into

621
00:36:34,760 --> 00:36:39,719
Speaker 2: your soul with you know, at times kind of mumbly monologues,

622
00:36:40,360 --> 00:36:44,520
Speaker 2: you know, looking right into the camera. But yeah, certainly

623
00:36:44,600 --> 00:36:48,200
Speaker 2: subdued compared to the other performances. So Trela here was

624
00:36:48,239 --> 00:36:50,799
Speaker 2: a Polish actor with credits going back to nineteen sixty eight,

625
00:36:50,920 --> 00:36:55,080
Speaker 2: including seventy three's The Hourglass Sanatorium, eighty six is Gagag

626
00:36:55,200 --> 00:36:58,920
Speaker 2: Glory to the Heroes, nineteen ninety four's Three Colors White

627
00:36:59,520 --> 00:37:02,759
Speaker 2: and what is This two thousand and one's Quovadas. This

628
00:37:02,840 --> 00:37:04,840
Speaker 2: is a film that pops up for a number of

629
00:37:04,920 --> 00:37:07,520
Speaker 2: people involved in this film. All right, The next character

630
00:37:07,640 --> 00:37:08,799
Speaker 2: is and I could be wrong with this, I believe

631
00:37:08,880 --> 00:37:13,920
Speaker 2: Asol and she is played by Grausner Dalagh born nineteen

632
00:37:14,040 --> 00:37:16,799
Speaker 2: fifty four. So this character is one of the human

633
00:37:16,880 --> 00:37:21,800
Speaker 2: descendants of the alien world. She becomes Merrick's lover. This

634
00:37:21,960 --> 00:37:24,120
Speaker 2: is a Polish actress with credits going back to seventy

635
00:37:24,239 --> 00:37:26,680
Speaker 2: nine and continuing on through at least twenty twenty two.

636
00:37:27,040 --> 00:37:28,959
Speaker 2: Looks like she did a fair amount of German TV

637
00:37:29,160 --> 00:37:32,279
Speaker 2: and cinema as well. This is another intense performance.

638
00:37:32,640 --> 00:37:35,520
Speaker 3: She's really intense and quite good. I think this is

639
00:37:35,640 --> 00:37:39,280
Speaker 3: one of the characters who plays an actor and looks

640
00:37:39,320 --> 00:37:41,319
Speaker 3: into the camera and says, what do you think about

641
00:37:41,360 --> 00:37:41,880
Speaker 3: my acting?

642
00:37:42,239 --> 00:37:45,239
Speaker 2: Yeah? So great, great performance here.

643
00:37:45,560 --> 00:37:45,759
Speaker 3: Yeah.

644
00:37:46,400 --> 00:37:49,360
Speaker 2: The next one, okay, this is the next character is

645
00:37:49,400 --> 00:37:51,800
Speaker 2: a third wave human astronaut to the planet.

646
00:37:52,560 --> 00:37:55,279
Speaker 3: This is this character is where I start getting confused

647
00:37:55,320 --> 00:37:59,880
Speaker 3: about whose relationship to what where is he when? I

648
00:38:00,000 --> 00:38:01,759
Speaker 3: don't know? We can talk about that later. But this

649
00:38:01,920 --> 00:38:02,520
Speaker 3: is Yasick.

650
00:38:02,840 --> 00:38:07,520
Speaker 2: Yeah. Yasick is played by Valdemar Kownowski born nineteen forty nine,

651
00:38:08,600 --> 00:38:11,520
Speaker 2: another Polish actor. He played the Witcher's father in the

652
00:38:11,600 --> 00:38:15,120
Speaker 2: original Polish adaptations of the Polish Witcher fantasy novels.

653
00:38:15,320 --> 00:38:16,560
Speaker 3: Oh okay, So for.

654
00:38:16,560 --> 00:38:18,880
Speaker 2: A lot of you out there, Yeah yeah, Even if

655
00:38:18,920 --> 00:38:22,240
Speaker 2: you haven't seen a Polish film, you've in all likelihood

656
00:38:22,320 --> 00:38:26,960
Speaker 2: seen something that originated in Polish literature of one form

657
00:38:27,040 --> 00:38:30,759
Speaker 2: or another. Be that something like Solaris or something like

658
00:38:30,920 --> 00:38:31,760
Speaker 2: the Witcher series.

659
00:38:32,160 --> 00:38:34,920
Speaker 3: Ah, the shared DNA between on the Silver Globe and

660
00:38:35,000 --> 00:38:39,799
Speaker 3: the Witcher wouldn't be great. If the Witcher showed up

661
00:38:39,840 --> 00:38:40,520
Speaker 3: on this planet.

662
00:38:41,160 --> 00:38:43,800
Speaker 2: Oh man, he'd find plenty to do.

663
00:38:44,239 --> 00:38:48,600
Speaker 3: He's like, I'll take care of your shurns for a price.

664
00:38:49,880 --> 00:38:53,520
Speaker 2: All right. The next character is Marta. Marta is a

665
00:38:53,680 --> 00:38:56,320
Speaker 2: first wave human astronaut to the alien planet and ultimately

666
00:38:56,360 --> 00:38:58,759
Speaker 2: I believe the mother to all human descendants there.

667
00:38:59,200 --> 00:39:02,200
Speaker 3: That's right. She's the Eve of the interplanetary Adam and

668
00:39:02,280 --> 00:39:04,600
Speaker 3: Eve and Jersey trio.

669
00:39:05,360 --> 00:39:09,720
Speaker 2: Played by Iwana Bilska born nineteen fifty two, an award

670
00:39:09,800 --> 00:39:12,959
Speaker 2: winning actress with credits from nineteen seventy eight till today,

671
00:39:13,040 --> 00:39:16,520
Speaker 2: including two horror films of possible interest. One is nineteen

672
00:39:16,560 --> 00:39:18,959
Speaker 2: eighty three, She Wolf which is said to be pretty great,

673
00:39:19,360 --> 00:39:22,560
Speaker 2: and twenty fifteen's The Lure, a Mermaid movie that I've

674
00:39:22,600 --> 00:39:23,880
Speaker 2: also read good things.

675
00:39:23,680 --> 00:39:26,359
Speaker 3: About, a scary Mermaid movie, I think.

676
00:39:26,480 --> 00:39:29,120
Speaker 2: So I don't know a lot about it, but I

677
00:39:29,200 --> 00:39:32,280
Speaker 2: just did like preliminary glancing around looking at some reviews,

678
00:39:32,320 --> 00:39:35,520
Speaker 2: and people seem to like it, so color me interested.

679
00:39:36,080 --> 00:39:39,000
Speaker 2: But anyway, her performance here as Marta, the mother of

680
00:39:39,120 --> 00:39:44,279
Speaker 2: humans on this alien world, another intense performance. As we'll

681
00:39:44,320 --> 00:39:47,719
Speaker 2: discuss with this character. This is basically the first wave

682
00:39:47,800 --> 00:39:52,600
Speaker 2: astronauts almost immediately to send this kind of bohemian pagan

683
00:39:54,160 --> 00:39:57,399
Speaker 2: waltz with madness. It's you know, it's like it's going

684
00:39:57,440 --> 00:40:01,400
Speaker 2: into going to another planet seems to just intrinsically trigger

685
00:40:02,080 --> 00:40:08,200
Speaker 2: just a philosophical conundrum, to say the least for any

686
00:40:08,239 --> 00:40:11,160
Speaker 2: space traveler. You know, it's like in Event Horizon, you

687
00:40:11,239 --> 00:40:13,840
Speaker 2: go into space and you turn into hell Raiser, And

688
00:40:14,440 --> 00:40:16,719
Speaker 2: in this movie, you travel to another planet and you

689
00:40:16,800 --> 00:40:21,520
Speaker 2: are just instantly unmoored from your understanding of self or world.

690
00:40:22,040 --> 00:40:24,800
Speaker 3: Yeah, it's like you arrive on the Silver Globe and

691
00:40:25,000 --> 00:40:27,719
Speaker 3: you are deeply troubled by the question of what it

692
00:40:27,880 --> 00:40:28,680
Speaker 3: means to act.

693
00:40:30,320 --> 00:40:32,839
Speaker 2: All right, A couple of other actors I'll mention more

694
00:40:32,840 --> 00:40:35,000
Speaker 2: in passing. I don't have extensive notes on them, but

695
00:40:35,360 --> 00:40:40,080
Speaker 2: Jersey Graalek plays Peter. Peter is the one or the

696
00:40:40,160 --> 00:40:42,440
Speaker 2: other of the three first wave human astronauts the alien

697
00:40:42,520 --> 00:40:46,680
Speaker 2: planet who seems to have the most pronounced descent into

698
00:40:46,760 --> 00:40:47,880
Speaker 2: raving madness.

699
00:40:47,960 --> 00:40:51,360
Speaker 3: Though he is the primary atom of all of the colonists,

700
00:40:51,400 --> 00:40:54,120
Speaker 3: so he's like the father of many of the do

701
00:40:54,440 --> 00:40:55,479
Speaker 3: people on this Earth.

702
00:40:55,840 --> 00:40:58,719
Speaker 2: Yeah, and graphically of nineteen forty six through twenty sixteen,

703
00:40:59,440 --> 00:41:02,520
Speaker 2: then I believe the first daughter of Marta is the

704
00:41:02,600 --> 00:41:07,920
Speaker 2: character Ada, played by Helsbitta Karovska born nineteen forty three

705
00:41:08,120 --> 00:41:12,200
Speaker 2: is another Polish actress with extensive Polish film credits. Oh

706
00:41:12,239 --> 00:41:14,560
Speaker 2: and then we also have a character that is called

707
00:41:14,719 --> 00:41:17,160
Speaker 2: the actress because she is an actress, but not an

708
00:41:17,239 --> 00:41:21,840
Speaker 2: actress on the alien world. She is an actress on Earth,

709
00:41:22,400 --> 00:41:25,880
Speaker 2: which should we be calling Earth Old Earth? In the

710
00:41:25,960 --> 00:41:28,000
Speaker 2: film they talked about Old Earth a little bit.

711
00:41:28,560 --> 00:41:30,719
Speaker 3: I mean, I've been thinking of it as Earth and

712
00:41:31,000 --> 00:41:31,840
Speaker 3: the Silver Globe.

713
00:41:31,920 --> 00:41:33,960
Speaker 2: I guess, all right, So this is the Denizen of

714
00:41:34,080 --> 00:41:39,400
Speaker 2: Earth and she is played by Christina Janda born nineteen

715
00:41:39,480 --> 00:41:42,480
Speaker 2: fifty two. Award winning Polish actress, best known for nineteen

716
00:41:42,520 --> 00:41:46,239
Speaker 2: eighty nine's Interrogation, in which she starred and one Best

717
00:41:46,280 --> 00:41:49,480
Speaker 2: Actress at the Kinds Film Festival. Other films include nineteen

718
00:41:49,520 --> 00:41:53,640
Speaker 2: eighty six's Leputa, nineteen ninety five's Pesca, and two thousand

719
00:41:53,640 --> 00:41:56,600
Speaker 2: and fives A Few People a Little Time. She was

720
00:41:56,680 --> 00:41:59,279
Speaker 2: also in the Polish sci fi films The War of

721
00:41:59,320 --> 00:42:02,919
Speaker 2: the World's Century from nineteen eighty, Synthesis from eighty four,

722
00:42:03,320 --> 00:42:06,040
Speaker 2: and nineteen eighty five's Oh b oh Ba The End

723
00:42:06,120 --> 00:42:06,839
Speaker 2: of Civilization.

724
00:42:07,680 --> 00:42:11,160
Speaker 3: This is the one on Earth who Yasick is her lover,

725
00:42:11,560 --> 00:42:15,640
Speaker 3: and Marek was her lover, but they got rid of

726
00:42:15,760 --> 00:42:18,160
Speaker 3: him by sending him to another planet.

727
00:42:18,520 --> 00:42:21,960
Speaker 2: Correct, that is, okay, the primary connection between these characters.

728
00:42:22,320 --> 00:42:25,160
Speaker 2: And we get to see some drama play out between

729
00:42:25,320 --> 00:42:31,320
Speaker 2: her and Jossick on Earth, and it's she's not in

730
00:42:31,440 --> 00:42:33,080
Speaker 2: it a lot, but she has this kind of like

731
00:42:33,760 --> 00:42:36,600
Speaker 2: noir ice queen actress type with that kind of like

732
00:42:36,680 --> 00:42:40,400
Speaker 2: old fashioned hat, you know. And she also, like everybody

733
00:42:40,480 --> 00:42:43,440
Speaker 2: in this film, looks visibly pale, in part due to

734
00:42:43,480 --> 00:42:45,440
Speaker 2: I think just like the way they shot or processed

735
00:42:45,440 --> 00:42:49,040
Speaker 2: the film. So if she has a real ice queen vibe.

736
00:42:49,160 --> 00:42:51,960
Speaker 3: Yeah, she looks like she would be stumbling into the

737
00:42:52,040 --> 00:42:55,360
Speaker 3: private detective's office with a cigarette and a holder, saying,

738
00:42:55,760 --> 00:42:59,680
Speaker 3: you know, my husband, I need you to but she

739
00:43:00,080 --> 00:43:02,160
Speaker 3: she also there's a great scene where she's trying to

740
00:43:02,239 --> 00:43:04,360
Speaker 3: run over Yossick with a car in the middle of

741
00:43:04,400 --> 00:43:05,680
Speaker 3: the desert, and.

742
00:43:05,840 --> 00:43:11,000
Speaker 2: That great space car or future dystopian future hot wheels

743
00:43:11,040 --> 00:43:12,000
Speaker 2: car is pretty great.

744
00:43:12,560 --> 00:43:14,520
Speaker 3: I think this is the scene where Yosick says in

745
00:43:14,640 --> 00:43:18,040
Speaker 3: the end, every reduction to physiology is the fascism of

746
00:43:18,120 --> 00:43:18,520
Speaker 3: the soul.

747
00:43:19,239 --> 00:43:23,359
Speaker 2: Yeah. Of course, I've always thought that that's also where

748
00:43:23,400 --> 00:43:25,320
Speaker 2: we get to in some of these scenes. This is

749
00:43:25,320 --> 00:43:26,959
Speaker 2: when we get to hear the most of the prog

750
00:43:27,120 --> 00:43:28,800
Speaker 2: rock section off the score.

751
00:43:29,320 --> 00:43:32,080
Speaker 3: Bet you didn't think you'd get that, huh. Yeah. So

752
00:43:32,560 --> 00:43:34,920
Speaker 3: it's not until the last quarter of the movie that

753
00:43:35,040 --> 00:43:38,560
Speaker 3: the electric guitars come in and you get some rock music.

754
00:43:39,040 --> 00:43:41,920
Speaker 2: Yeah, and so fitting that. The final person in the

755
00:43:41,920 --> 00:43:44,920
Speaker 2: production we're going to talk about here is Andre Korzinski,

756
00:43:45,920 --> 00:43:49,040
Speaker 2: who lived nineteen forty through twenty twenty two, highly successful

757
00:43:49,080 --> 00:43:52,600
Speaker 2: Polish composer who worked with Zuofsky on eleven of his films,

758
00:43:52,719 --> 00:43:56,920
Speaker 2: including The Devil and Possession. So the Devil score I

759
00:43:57,040 --> 00:43:59,600
Speaker 2: listened to a little bit of this has a kind

760
00:43:59,640 --> 00:44:04,880
Speaker 2: of psychdelic rock and kind of like chaotic jazz percussion

761
00:44:05,040 --> 00:44:09,160
Speaker 2: vibe to it, and Possession has which again I haven't seen,

762
00:44:09,280 --> 00:44:12,040
Speaker 2: I just was listening to portions of the score has

763
00:44:12,120 --> 00:44:14,400
Speaker 2: like a stronger synth than disco vibe to it, but

764
00:44:14,520 --> 00:44:19,239
Speaker 2: with also a lot of flute, kind of jazz flute vibe.

765
00:44:19,280 --> 00:44:21,880
Speaker 2: I guess you might call it jazz clute on classical

766
00:44:21,920 --> 00:44:25,640
Speaker 2: notes and flute. And then on the silver globe, I

767
00:44:25,680 --> 00:44:27,200
Speaker 2: don't know. I guess you might say it leans more

768
00:44:27,280 --> 00:44:30,440
Speaker 2: towards a kind of serious sci fi ambiance for a

769
00:44:30,480 --> 00:44:34,000
Speaker 2: lot of the score, but then has these very noticeable

770
00:44:34,160 --> 00:44:38,319
Speaker 2: splashes of prog rock, especially later in the picture. Nice Now.

771
00:44:38,360 --> 00:44:41,480
Speaker 2: I don't believe this score has ever been released, but

772
00:44:41,840 --> 00:44:45,640
Speaker 2: Finders Keepers Records put out The Devil just last year,

773
00:44:45,800 --> 00:44:47,880
Speaker 2: and they have been before that. I believe they put

774
00:44:47,920 --> 00:44:51,359
Speaker 2: out the score of Possession, so you never know. Again,

775
00:44:51,400 --> 00:44:56,360
Speaker 2: He's a he was a highly successful, pretty famous Polish composer,

776
00:44:56,719 --> 00:44:59,560
Speaker 2: and these scores are are very interesting, so I think

777
00:44:59,600 --> 00:45:00,799
Speaker 2: there is an audience for them.

778
00:45:09,960 --> 00:45:11,600
Speaker 3: Okay, is it time to talk about the plot.

779
00:45:11,920 --> 00:45:14,759
Speaker 2: Yeah, let's venture into space to the.

780
00:45:14,800 --> 00:45:17,960
Speaker 3: Extent we can. Let's start with some disclaimers. This is

781
00:45:18,080 --> 00:45:21,399
Speaker 3: not like an just abstract art house film without a plot.

782
00:45:21,440 --> 00:45:23,800
Speaker 3: The movie does have a plot. It has a concrete

783
00:45:23,840 --> 00:45:28,280
Speaker 3: story that I think can in principle mostly be followed,

784
00:45:28,719 --> 00:45:32,080
Speaker 3: but it is quite difficult to follow for reasons at

785
00:45:32,200 --> 00:45:36,880
Speaker 3: multiple levels. For one thing, there there's a lot of

786
00:45:36,880 --> 00:45:40,799
Speaker 3: stuff in the movie that does not really advance the action,

787
00:45:41,040 --> 00:45:43,440
Speaker 3: does not move the plot forward. There are the weird

788
00:45:43,520 --> 00:45:47,680
Speaker 3: philosophical monologues, which are interesting though they can themselves be

789
00:45:47,760 --> 00:45:52,040
Speaker 3: difficult to follow, but they don't seem to often affect

790
00:45:52,160 --> 00:45:55,000
Speaker 3: what happens between the characters moving on. They're more kind

791
00:45:55,000 --> 00:46:00,319
Speaker 3: of reflections of inner thoughts that, to varying extent, seem

792
00:46:00,440 --> 00:46:02,920
Speaker 3: connected to what's happening in the plot, though sometimes they

793
00:46:02,960 --> 00:46:06,800
Speaker 3: seem totally unconnected. Another problem is who is who? I

794
00:46:06,880 --> 00:46:09,920
Speaker 3: could not always keep the characters and their correspondence as straight.

795
00:46:10,040 --> 00:46:11,759
Speaker 3: I don't know if you have the same problem, but

796
00:46:13,560 --> 00:46:15,799
Speaker 3: I would be wondering, like, wait, is this the same

797
00:46:15,920 --> 00:46:18,800
Speaker 3: person who was just in the last scene? And sometimes

798
00:46:18,840 --> 00:46:20,600
Speaker 3: I'd rewind it and try to figure it out, and

799
00:46:20,640 --> 00:46:22,480
Speaker 3: other times I was just like I don't know.

800
00:46:23,080 --> 00:46:27,440
Speaker 2: I would highly suggest having the Wikipedia plot summary for

801
00:46:28,040 --> 00:46:31,719
Speaker 2: this on your phone handy just to glance at now

802
00:46:31,760 --> 00:46:33,640
Speaker 2: and again. That's what I did, and I found that

803
00:46:33,719 --> 00:46:37,480
Speaker 2: it helped immensely. Yeah, probably not entirely necessary, but if

804
00:46:37,520 --> 00:46:40,200
Speaker 2: you're suddenly like, wait, who is this character? What is

805
00:46:40,360 --> 00:46:42,440
Speaker 2: he doing? You can just sort of get up to

806
00:46:42,520 --> 00:46:43,640
Speaker 2: speed and then you're good to go.

807
00:46:44,120 --> 00:46:47,040
Speaker 3: We also have the missing segments that we get narrative

808
00:46:47,080 --> 00:46:49,799
Speaker 3: explanation to tell us what goes on there. In fact,

809
00:46:49,800 --> 00:46:52,280
Speaker 3: I would say it's probably easiest to follow the parts

810
00:46:52,320 --> 00:46:54,200
Speaker 3: of the plot that are just being narrated by the

811
00:46:54,280 --> 00:46:59,480
Speaker 3: director because there's less confusion about what's happening than when

812
00:46:59,480 --> 00:47:01,320
Speaker 3: you're actually watching it acted out.

813
00:47:01,600 --> 00:47:01,759
Speaker 4: You know.

814
00:47:01,840 --> 00:47:04,200
Speaker 2: And I didn't expect this to be the case, because

815
00:47:04,200 --> 00:47:05,880
Speaker 2: the first time there was one of these segments, I

816
00:47:06,000 --> 00:47:07,480
Speaker 2: was kind of like, oh man, it's a shame we

817
00:47:07,520 --> 00:47:09,160
Speaker 2: don't get to see that, and you know, what they're

818
00:47:09,200 --> 00:47:12,200
Speaker 2: describing sounds very visual. By the end of the movie,

819
00:47:12,760 --> 00:47:15,080
Speaker 2: there is one scene in particular that I was almost

820
00:47:15,120 --> 00:47:17,520
Speaker 2: kind of glad that I didn't see, because by that

821
00:47:17,719 --> 00:47:21,120
Speaker 2: point you have been completely indoctrinated into the visual and

822
00:47:21,239 --> 00:47:24,560
Speaker 2: sonic world of this picture, so anything he describes to you.

823
00:47:25,120 --> 00:47:27,520
Speaker 2: You can basically simulate it in your head. You know

824
00:47:27,640 --> 00:47:29,480
Speaker 2: what the characters look like, you know what the set

825
00:47:29,560 --> 00:47:32,440
Speaker 2: looks like in many cases, so you can piece it together.

826
00:47:33,520 --> 00:47:37,040
Speaker 2: So it weirdly like works really well later in the picture,

827
00:47:37,239 --> 00:47:38,960
Speaker 2: to the point where you almost feel like you saw

828
00:47:39,040 --> 00:47:40,080
Speaker 2: the scene that was missing.

829
00:47:40,520 --> 00:47:43,560
Speaker 3: I agree, and in fact, I think we should consider

830
00:47:43,640 --> 00:47:47,840
Speaker 3: ourselves as reviewing not the movie that was intended to

831
00:47:47,960 --> 00:47:51,520
Speaker 3: be made in nineteen seventy seven, but the product that

832
00:47:51,680 --> 00:47:54,520
Speaker 3: exists now. The movie we're talking about is the version

833
00:47:54,920 --> 00:47:57,520
Speaker 3: with these patches and the narration by Zoovski, and the

834
00:47:57,560 --> 00:48:01,200
Speaker 3: modern documentary footage that is now on the Silver Globe

835
00:48:01,400 --> 00:48:05,920
Speaker 3: is which is another reason it's a really interesting artistic product.

836
00:48:06,520 --> 00:48:09,560
Speaker 3: I don't know how I would feel about the movie

837
00:48:09,719 --> 00:48:12,000
Speaker 3: if I had just seen what it was supposed to

838
00:48:12,120 --> 00:48:16,000
Speaker 3: be when he was making it in seventy seven. But okay, so,

839
00:48:16,160 --> 00:48:19,720
Speaker 3: But to come back to other problems with recapping the plot,

840
00:48:20,239 --> 00:48:23,480
Speaker 3: it's also just a conceptually confusing story to begin with,

841
00:48:23,719 --> 00:48:26,799
Speaker 3: because I rob maybe you understood this better than I did.

842
00:48:27,520 --> 00:48:32,759
Speaker 3: What exactly is the time space relationship of the astronauts

843
00:48:32,800 --> 00:48:34,680
Speaker 3: in the very opening of the film that I'm going

844
00:48:34,760 --> 00:48:38,759
Speaker 3: to talk about in just a minute, and also Yasik's

845
00:48:38,840 --> 00:48:42,400
Speaker 3: culture to the main action of the movie. That's like

846
00:48:42,560 --> 00:48:46,200
Speaker 3: the colony on the Silver Globe. Are Yasick and the

847
00:48:46,360 --> 00:48:50,000
Speaker 3: actress on the same planet as the others or on

848
00:48:50,080 --> 00:48:52,920
Speaker 3: a different one. They're on the same planet at some point,

849
00:48:53,360 --> 00:48:56,200
Speaker 3: but do they have to travel to it? I don't know.

850
00:48:56,360 --> 00:48:58,759
Speaker 3: It becomes really hard to figure out what's going on

851
00:48:58,960 --> 00:48:59,200
Speaker 3: for me.

852
00:48:59,320 --> 00:49:02,959
Speaker 2: There limited understanding is that, Okay, there is contemporary Earth

853
00:49:03,000 --> 00:49:05,640
Speaker 2: that we see in those missing segment portions that we

854
00:49:05,719 --> 00:49:09,040
Speaker 2: talked about, but for the film proper, the story proper,

855
00:49:09,440 --> 00:49:12,440
Speaker 2: we have the Silver Globe planet, and then we have

856
00:49:13,040 --> 00:49:18,080
Speaker 2: Earth or perhaps Old Earth, which is a very like

857
00:49:18,320 --> 00:49:20,759
Speaker 2: ruined dystopian world like it is.

858
00:49:22,880 --> 00:49:23,120
Speaker 4: It is.

859
00:49:23,400 --> 00:49:25,840
Speaker 2: It is a place where humanity is kind of like

860
00:49:26,040 --> 00:49:28,960
Speaker 2: run out, you know. It's like there's an advanced space

861
00:49:29,040 --> 00:49:33,040
Speaker 2: program that is still barely chugging along. There's a lot

862
00:49:33,120 --> 00:49:36,960
Speaker 2: of ruin new like tribal cultures have emerged on the planet,

863
00:49:38,400 --> 00:49:41,080
Speaker 2: and they're also handing out some sort of weird space drug.

864
00:49:42,040 --> 00:49:44,880
Speaker 2: But for the most part, I am to understand. You

865
00:49:45,000 --> 00:49:47,160
Speaker 2: have to use a spaceship to travel from one world

866
00:49:47,239 --> 00:49:50,919
Speaker 2: to the next with the caveat that in the latter

867
00:49:51,000 --> 00:49:52,960
Speaker 2: portion of the film, it's possible you travel there by

868
00:49:53,000 --> 00:49:56,560
Speaker 2: taking space drugs that the people on horseback give you.

869
00:49:56,840 --> 00:50:00,880
Speaker 3: I'm not sure on that, all right. So we cannot

870
00:50:00,960 --> 00:50:04,040
Speaker 3: possibly do a more scene by scene talk like we

871
00:50:04,160 --> 00:50:07,240
Speaker 3: do with some movies. This movie is too long, too confusing,

872
00:50:07,360 --> 00:50:09,840
Speaker 3: too uncertain. There would be too much to talk about.

873
00:50:10,560 --> 00:50:13,120
Speaker 3: So instead, I think what I'm gonna do is kind

874
00:50:13,160 --> 00:50:15,959
Speaker 3: of closely narrate the opening, and then we can zoom

875
00:50:16,000 --> 00:50:18,440
Speaker 3: out and do a loose synopsis of the whole story,

876
00:50:18,640 --> 00:50:22,279
Speaker 3: and then maybe zoom in on some individual elements that

877
00:50:22,480 --> 00:50:23,200
Speaker 3: interested us.

878
00:50:23,680 --> 00:50:24,000
Speaker 2: All right.

879
00:50:24,640 --> 00:50:27,200
Speaker 3: So the first thing we see is wide blankets of

880
00:50:27,320 --> 00:50:32,800
Speaker 3: snow over mountaintops, and we see trees, the tree tops

881
00:50:32,840 --> 00:50:37,360
Speaker 3: of a snow dusted conifer forest. The color palette for

882
00:50:37,480 --> 00:50:41,440
Speaker 3: the whole movie is very moody and cold. It's sort

883
00:50:41,480 --> 00:50:45,719
Speaker 3: of dominated by blue green and gray. But there is

884
00:50:45,920 --> 00:50:49,239
Speaker 3: a different look when we get to the planet later.

885
00:50:49,560 --> 00:50:51,520
Speaker 3: The whole thing is kind of blue green and gray,

886
00:50:51,640 --> 00:50:56,000
Speaker 3: but the planet itself is going to feel very silvery

887
00:50:56,680 --> 00:51:00,480
Speaker 3: according to the title, I guess. But here I think

888
00:51:00,520 --> 00:51:03,800
Speaker 3: we're looking at Earth and we see on one of

889
00:51:03,880 --> 00:51:07,279
Speaker 3: the slopes covered in deep snow, surrounded by all these

890
00:51:07,360 --> 00:51:11,640
Speaker 3: pine trees. A figure on horseback in a bulky, elaborate

891
00:51:11,719 --> 00:51:16,439
Speaker 3: costume made of furs, pelts, feathers, and sticks is coming

892
00:51:16,520 --> 00:51:20,360
Speaker 3: down the mountain. And here the narrator comes in, and

893
00:51:20,520 --> 00:51:23,879
Speaker 3: this is the director Zuofski talking. He says, you will

894
00:51:23,880 --> 00:51:26,800
Speaker 3: see a film made ten years ago, a shred of

895
00:51:26,880 --> 00:51:29,680
Speaker 3: a film, a two and a half hour story, one

896
00:51:29,800 --> 00:51:33,120
Speaker 3: fifth of which is missing. That one fifth, dating back

897
00:51:33,160 --> 00:51:36,759
Speaker 3: to nineteen seventy seven, when the film was annihilated, will

898
00:51:36,840 --> 00:51:40,200
Speaker 3: never be recreated. In place of the missing scenes. You

899
00:51:40,239 --> 00:51:43,040
Speaker 3: will hear a voice which will briefly explain what was

900
00:51:43,120 --> 00:51:45,960
Speaker 3: to be. We are bringing on the Silver Globe to

901
00:51:46,040 --> 00:51:49,600
Speaker 3: an end in the year nineteen eighty seven. So again

902
00:51:49,640 --> 00:51:53,600
Speaker 3: there's this meta commentary, these almost documentary comments within the

903
00:51:53,719 --> 00:51:56,480
Speaker 3: movie itself, now in the form we have it. So

904
00:51:56,680 --> 00:51:59,520
Speaker 3: on screen, the figure on horseback makes it down the

905
00:51:59,560 --> 00:52:03,000
Speaker 3: mountain to a flat expanse, and the horse starts to gallop,

906
00:52:03,680 --> 00:52:06,279
Speaker 3: and the rider's face we don't see. It's covered in

907
00:52:06,360 --> 00:52:09,960
Speaker 3: a large gray mask. And the figure rides into the

908
00:52:10,000 --> 00:52:14,920
Speaker 3: courtyard of an empty, dilapidated Polish palace where more figures

909
00:52:14,960 --> 00:52:17,759
Speaker 3: are dressed in the same style, and they're encamped there.

910
00:52:18,280 --> 00:52:21,160
Speaker 3: And one interesting thing is we see the hearth there's

911
00:52:21,239 --> 00:52:25,040
Speaker 3: like a campfire burning and the flames are green.

912
00:52:25,480 --> 00:52:27,920
Speaker 2: What did you make of that, Rob, Oh yeah, the

913
00:52:28,000 --> 00:52:31,000
Speaker 2: green flames. I mean on one level, yeah, the way

914
00:52:31,080 --> 00:52:33,760
Speaker 2: that the film was filtered or shot, you know, everything

915
00:52:33,840 --> 00:52:37,680
Speaker 2: has this kind of sort of a bluish tint to it,

916
00:52:37,800 --> 00:52:41,239
Speaker 2: I guess, this pale blue tint. But also within the

917
00:52:41,320 --> 00:52:43,040
Speaker 2: context of the film, it feels like, well, this is

918
00:52:43,120 --> 00:52:47,120
Speaker 2: the maybe the fire of an alien or in this case,

919
00:52:47,120 --> 00:52:51,360
Speaker 2: perhaps an altered world, because again, Earth itself in this

920
00:52:51,840 --> 00:52:55,720
Speaker 2: film it seems to be a dystopian, at least semi

921
00:52:56,000 --> 00:53:00,239
Speaker 2: post apocalyptic world. Things have not gone well here, world

922
00:53:00,320 --> 00:53:03,080
Speaker 2: in decline, and to a large extent that is also

923
00:53:03,160 --> 00:53:05,600
Speaker 2: the case we will find out concerning the Silver Globe.

924
00:53:05,640 --> 00:53:09,120
Speaker 2: It is also a world in decline, populated by a

925
00:53:09,280 --> 00:53:13,160
Speaker 2: native species that seems to be in decline as well.

926
00:53:13,560 --> 00:53:15,080
Speaker 2: So maybe fires just green now.

927
00:53:15,520 --> 00:53:18,640
Speaker 3: Yes, I almost took it as something about the atmosphere

928
00:53:18,760 --> 00:53:22,120
Speaker 3: of the world at this point. Anyway, the rider dismounts

929
00:53:22,320 --> 00:53:25,080
Speaker 3: and runs up the stairs inside the palace and bursts

930
00:53:25,200 --> 00:53:28,200
Speaker 3: into this big empty room where two men are resting

931
00:53:28,280 --> 00:53:31,400
Speaker 3: on cots, and the men here are dressed in a

932
00:53:31,520 --> 00:53:34,359
Speaker 3: totally different style of clothing from the rest of the camp.

933
00:53:34,480 --> 00:53:36,400
Speaker 3: All the other people at the camp are dressed in

934
00:53:36,480 --> 00:53:40,279
Speaker 3: these pelts and feathers and these haunting opaque masks. The

935
00:53:40,360 --> 00:53:44,960
Speaker 3: two men here are dressed in dirty, well worn green jumpsuits.

936
00:53:45,840 --> 00:53:48,320
Speaker 3: They look like, you know, employees of a space center

937
00:53:48,480 --> 00:53:50,160
Speaker 3: in the science fiction future.

938
00:53:51,040 --> 00:53:53,520
Speaker 2: Yeah. Yeah, And again to be clear, this is Earth.

939
00:53:54,000 --> 00:53:56,080
Speaker 2: This may not be clear when you're first watching the film,

940
00:53:56,160 --> 00:53:59,279
Speaker 2: but this is a dilapidated Earth, right.

941
00:53:59,400 --> 00:54:02,640
Speaker 3: So these two guys receive the rider, and the rider

942
00:54:02,760 --> 00:54:06,440
Speaker 3: presents them with an object wrapped in furs that was

943
00:54:06,520 --> 00:54:09,000
Speaker 3: found in the mountains and brought down with great haste.

944
00:54:09,520 --> 00:54:11,879
Speaker 3: It is something that should be of interest to them.

945
00:54:12,680 --> 00:54:15,640
Speaker 3: It's an artifact made of metal, and it looks like

946
00:54:15,719 --> 00:54:19,160
Speaker 3: it could be part of a spaceship or satellite. A

947
00:54:19,200 --> 00:54:24,319
Speaker 3: few interesting things about this scene. The people here, who

948
00:54:24,360 --> 00:54:27,360
Speaker 3: are dressed sort of like astronauts even though they're on Earth,

949
00:54:27,480 --> 00:54:31,800
Speaker 3: are obviously like foreigners living among these people. So the

950
00:54:31,960 --> 00:54:37,520
Speaker 3: riders people are dressed in this elaborate kind of beautiful clothing,

951
00:54:38,000 --> 00:54:41,640
Speaker 3: and they speak a different language that the astronauts here

952
00:54:41,840 --> 00:54:46,720
Speaker 3: must translate, and the people are treating the astronauts almost

953
00:54:46,800 --> 00:54:51,080
Speaker 3: like guests, but there is a division between them. One

954
00:54:51,120 --> 00:54:53,560
Speaker 3: of the astronauts, the younger one, seems to have kind

955
00:54:53,560 --> 00:54:56,640
Speaker 3: of a warm relationship with the people, while the older

956
00:54:56,719 --> 00:54:59,600
Speaker 3: guide does not. The younger man seems to maybe have

957
00:54:59,680 --> 00:55:01,879
Speaker 3: a really relationship with one of the women in the group,

958
00:55:02,960 --> 00:55:05,239
Speaker 3: but the older man gives the people some kind of

959
00:55:05,360 --> 00:55:09,120
Speaker 3: pellets or pills that they desire, though he says his

960
00:55:09,239 --> 00:55:13,520
Speaker 3: supply will eventually run out, and the older guy seems

961
00:55:13,560 --> 00:55:17,000
Speaker 3: to regard these people with suspicion. He worries that they're

962
00:55:17,000 --> 00:55:20,000
Speaker 3: going to tamper with his equipment and damage the electronics,

963
00:55:20,000 --> 00:55:23,480
Speaker 3: which would be catastrophic for them, and he sort of

964
00:55:23,520 --> 00:55:26,800
Speaker 3: speaks with scorn about the younger man's relationship with the

965
00:55:26,880 --> 00:55:30,520
Speaker 3: other people. So when I was first watching this, the

966
00:55:30,600 --> 00:55:34,239
Speaker 3: way I interpreted it was, oh, Okay, these are astronauts

967
00:55:34,360 --> 00:55:38,480
Speaker 3: on an alien planet and they're having this tense, kind

968
00:55:38,520 --> 00:55:43,120
Speaker 3: of different or difficult relationship with the locals who seem

969
00:55:43,200 --> 00:55:45,879
Speaker 3: to be treating them well, but it's also it's complicated,

970
00:55:47,120 --> 00:55:50,239
Speaker 3: and so that was one way that sort of made

971
00:55:50,480 --> 00:55:54,120
Speaker 3: a kind of sense. But then as I realized more

972
00:55:54,160 --> 00:55:56,400
Speaker 3: as the plot developed, I realized, like, no, these are

973
00:55:56,440 --> 00:55:57,520
Speaker 3: people on Earth.

974
00:55:58,440 --> 00:56:01,320
Speaker 2: Yeah, that's right. It seems to be the case in

975
00:56:01,400 --> 00:56:03,960
Speaker 2: this film, both on Earth and then ultimately on the

976
00:56:04,000 --> 00:56:09,880
Speaker 2: alien planet, that humanity has a tendency to descend into

977
00:56:10,120 --> 00:56:14,240
Speaker 2: this kind of like Bohemian New Pagan sort of tribal

978
00:56:14,880 --> 00:56:19,960
Speaker 2: structure of life with brilliant costuming. Yes, it is just

979
00:56:20,280 --> 00:56:23,320
Speaker 2: important to stress how glorious all of the costuming in

980
00:56:23,360 --> 00:56:27,120
Speaker 2: this film is. You know, just everything that is worn

981
00:56:27,320 --> 00:56:32,280
Speaker 2: is grimy and imperfectly fitting of the atmosphere and the character,

982
00:56:33,040 --> 00:56:38,960
Speaker 2: be it the feather festooned and garments of these riders,

983
00:56:39,520 --> 00:56:44,239
Speaker 2: or the even the pristine spacesuits of the space travelers,

984
00:56:44,760 --> 00:56:47,440
Speaker 2: and then also the garments that the descendants of the

985
00:56:47,520 --> 00:56:51,000
Speaker 2: space travelers end up wearing on the alien world. Clearly

986
00:56:51,080 --> 00:56:53,279
Speaker 2: a great deal of work and creativity went into the

987
00:56:53,320 --> 00:56:54,400
Speaker 2: costuming on this picture.

988
00:56:54,719 --> 00:56:58,800
Speaker 3: Oh yeah, the costumes are an absolute highlight. But anyway,

989
00:56:58,840 --> 00:57:00,600
Speaker 3: so coming back to the sea, and so there's a

990
00:57:00,680 --> 00:57:03,279
Speaker 3: dispute about the origin of this object that the rider

991
00:57:03,360 --> 00:57:06,120
Speaker 3: brought them. The writer says that they saw it fall

992
00:57:06,239 --> 00:57:09,000
Speaker 3: from the sky during the night just two days ago,

993
00:57:09,560 --> 00:57:11,480
Speaker 3: but one of the guys in the astronaut suit says,

994
00:57:11,560 --> 00:57:16,280
Speaker 3: that's impossible. This thing looks like it was launched into space.

995
00:57:16,440 --> 00:57:17,680
Speaker 3: You know, it was burnt. We can see how it

996
00:57:17,800 --> 00:57:20,400
Speaker 3: was burned in the rocket launch process, and that would

997
00:57:20,440 --> 00:57:22,919
Speaker 3: mean it had to be fifty or sixty years old.

998
00:57:23,120 --> 00:57:25,160
Speaker 3: So it sounds like they're saying, you know, there hasn't

999
00:57:25,280 --> 00:57:28,760
Speaker 3: been a rocket launch in fifty or sixty years. But

1000
00:57:28,880 --> 00:57:31,600
Speaker 3: then they sort of process it. They seem concerned. They're like,

1001
00:57:31,640 --> 00:57:34,720
Speaker 3: if it really is recent, what does that mean. So

1002
00:57:35,080 --> 00:57:38,600
Speaker 3: they decide that the artifact must be analyzed, and when

1003
00:57:38,640 --> 00:57:41,240
Speaker 3: it is analyzed, it will contain some kind of recording.

1004
00:57:41,840 --> 00:57:44,320
Speaker 3: So they suit up to travel outside, where it is

1005
00:57:44,360 --> 00:57:47,480
Speaker 3: freezing by the way. They put on these ghoulish gas masks,

1006
00:57:48,560 --> 00:57:50,840
Speaker 3: and they go out, passing by what looks like an

1007
00:57:50,920 --> 00:57:55,120
Speaker 3: airfield with pulsing lights on the runway, and then there

1008
00:57:55,200 --> 00:57:58,240
Speaker 3: is a hatch that they used to access an underground bunker.

1009
00:57:58,840 --> 00:58:02,560
Speaker 3: Now Here we reached the first missing scene. We cannot

1010
00:58:02,680 --> 00:58:06,360
Speaker 3: follow the actors into the bunker because that film was

1011
00:58:06,440 --> 00:58:10,400
Speaker 3: either lost or never shot. So instead the narrator comes

1012
00:58:10,440 --> 00:58:13,480
Speaker 3: in to tell us what happens. The narrator says, under

1013
00:58:13,560 --> 00:58:16,680
Speaker 3: the hatchway into which the two astronauts enter, there is

1014
00:58:16,760 --> 00:58:20,360
Speaker 3: a lab, a huge room filled with machines that listen

1015
00:58:20,440 --> 00:58:23,840
Speaker 3: to the sounds from outer space. And then meanwhile on

1016
00:58:24,040 --> 00:58:27,680
Speaker 3: the screen, we are shown contemporary footage of crowds moving

1017
00:58:27,760 --> 00:58:30,640
Speaker 3: through what looks like an airport or a subway tunnel

1018
00:58:31,200 --> 00:58:35,080
Speaker 3: in nineteen eighties Poland, and the camera glides over the

1019
00:58:35,200 --> 00:58:39,320
Speaker 3: floor of this huge windowless passageway at about knee height,

1020
00:58:39,960 --> 00:58:43,000
Speaker 3: just looking up at hundreds of busy strangers as they

1021
00:58:43,080 --> 00:58:46,680
Speaker 3: walk on without noticing. And then the narration goes on

1022
00:58:46,880 --> 00:58:49,880
Speaker 3: saying only one of the oldest machines, which has remained

1023
00:58:49,920 --> 00:58:52,480
Speaker 3: idle for decades, can read out what is inside the

1024
00:58:52,560 --> 00:58:56,040
Speaker 3: container which the astronauts received from the rider. It is

1025
00:58:56,120 --> 00:59:00,000
Speaker 3: a diary, or rather a series of semi transparent plays

1026
00:59:00,360 --> 00:59:03,479
Speaker 3: featuring screens as if shot with a camera. The first

1027
00:59:03,560 --> 00:59:06,960
Speaker 3: shows the journey of a spacecraft, the pilots losing control

1028
00:59:07,320 --> 00:59:10,360
Speaker 3: crashing it into the mountains. Only a fragment of this

1029
00:59:10,560 --> 00:59:14,320
Speaker 3: recording survives, and then we cut to the inside of

1030
00:59:14,400 --> 00:59:18,400
Speaker 3: a spacecraft cockpit with astronauts in full suits and helmets

1031
00:59:18,600 --> 00:59:22,000
Speaker 3: strapped into their seats in cramped quarters. With this just

1032
00:59:22,920 --> 00:59:27,240
Speaker 3: hell of wires protruding everywhere, and the spacecraft is shaking

1033
00:59:27,320 --> 00:59:30,960
Speaker 3: and rattling. It's obviously going through you know, it's a

1034
00:59:31,000 --> 00:59:34,400
Speaker 3: bumpy ride. And then something happens. The cockpit starts to

1035
00:59:34,480 --> 00:59:37,120
Speaker 3: fill with what looks like white foam. It's like a

1036
00:59:37,160 --> 00:59:40,680
Speaker 3: bubble bath in there, and one of the astronauts silently

1037
00:59:40,800 --> 00:59:43,840
Speaker 3: writes the word death in chalk on the inner wall

1038
00:59:43,920 --> 00:59:47,360
Speaker 3: of the fuselage. Now I thought this was interesting because

1039
00:59:47,480 --> 00:59:51,040
Speaker 3: Zuofsky tells us in the narration that only a fragment

1040
00:59:51,200 --> 00:59:55,800
Speaker 3: of this recording survives and then shows us this moment

1041
00:59:55,960 --> 00:59:59,600
Speaker 3: from the spacecraft crashing. But since within the plot the

1042
01:00:00,560 --> 01:00:03,560
Speaker 3: are looking at a degraded film record of events in

1043
01:00:03,600 --> 01:00:08,760
Speaker 3: the past, I think it's genuinely ambiguous whether Zuovsky is

1044
01:00:08,840 --> 01:00:12,200
Speaker 3: saying that only a fragment of this part of his

1045
01:00:12,600 --> 01:00:16,080
Speaker 3: film on the Silver Globe survives and it's this clip

1046
01:00:16,160 --> 01:00:19,000
Speaker 3: that we're about to see, or that the clip is

1047
01:00:19,040 --> 01:00:22,080
Speaker 3: supposed to be only a fragment which survives of the

1048
01:00:22,240 --> 01:00:26,320
Speaker 3: video diary of the semi transparent plates within the plot,

1049
01:00:27,440 --> 01:00:29,040
Speaker 3: And in fact, I would say this is not the

1050
01:00:29,160 --> 01:00:32,080
Speaker 3: only way in which the events of the story have

1051
01:00:32,280 --> 01:00:36,360
Speaker 3: weird overlaps with the circumstances of the production and restoration

1052
01:00:36,520 --> 01:00:37,040
Speaker 3: and release.

1053
01:00:37,800 --> 01:00:40,720
Speaker 2: Yeah, it ends up creating a complex tapestry here.

1054
01:00:41,040 --> 01:00:44,240
Speaker 3: Anyway, we learned through more narration the spacecraft crashes on

1055
01:00:44,320 --> 01:00:47,840
Speaker 3: a mountaintop on this other planet, an earth like planet

1056
01:00:48,200 --> 01:00:52,080
Speaker 3: which was chosen for its ability to support life. This

1057
01:00:52,240 --> 01:00:55,560
Speaker 3: mission was not just one of exploration, but of colonization.

1058
01:00:55,720 --> 01:00:59,120
Speaker 3: You almost get the sense that the astronauts are trying

1059
01:00:59,160 --> 01:01:02,840
Speaker 3: to escape something on Earth. They're here to start a

1060
01:01:02,960 --> 01:01:05,440
Speaker 3: new life. But I don't know, Rob, did you have

1061
01:01:05,520 --> 01:01:07,800
Speaker 3: the same feeling that It's almost like you wonder if

1062
01:01:08,320 --> 01:01:12,160
Speaker 3: was this sanctioned? Is this a sanctioned colonization attempt or

1063
01:01:12,280 --> 01:01:15,080
Speaker 3: these astronauts who just managed to get hold of a

1064
01:01:15,160 --> 01:01:17,760
Speaker 3: spaceship and leave on their own accord.

1065
01:01:18,080 --> 01:01:20,640
Speaker 2: Hard to say, yeah, because it feels like Earth is

1066
01:01:20,680 --> 01:01:25,840
Speaker 2: in bad shape and there's not like a strong central

1067
01:01:26,000 --> 01:01:28,760
Speaker 2: command center that is really in touch with the mission.

1068
01:01:28,800 --> 01:01:32,840
Speaker 2: Once it is sent off. Communication between Earth and the

1069
01:01:32,920 --> 01:01:38,720
Speaker 2: Silver Globe is very tenuous. So yeah, yeah, I don't

1070
01:01:38,760 --> 01:01:42,280
Speaker 2: know that this was necessarily a state sponsored mission so much,

1071
01:01:44,080 --> 01:01:45,840
Speaker 2: but we do learn a little bit more about it

1072
01:01:45,920 --> 01:01:46,520
Speaker 2: as we proceed.

1073
01:01:46,920 --> 01:01:49,000
Speaker 3: So the commander of the mission is killed in the

1074
01:01:49,080 --> 01:01:51,520
Speaker 3: crash and his body is left behind, and at some

1075
01:01:51,600 --> 01:01:55,120
Speaker 3: point we see I think there are multiple of the

1076
01:01:55,240 --> 01:01:57,200
Speaker 3: cruise remains they end up doing this for, but they

1077
01:01:57,320 --> 01:02:00,680
Speaker 3: create a kind of mountaintop tomb for him. This like

1078
01:02:00,720 --> 01:02:03,440
Speaker 3: a big pile of rocks on which the body is left.

1079
01:02:04,400 --> 01:02:06,760
Speaker 3: And for some reason, up in this upper mountain area,

1080
01:02:06,840 --> 01:02:10,040
Speaker 3: maybe because it's so arid, the body doesn't really decay.

1081
01:02:10,360 --> 01:02:12,360
Speaker 3: Like we come back and see these bodies later on

1082
01:02:12,440 --> 01:02:16,080
Speaker 3: the mountaintop and they become like preserved, like the body

1083
01:02:16,120 --> 01:02:18,760
Speaker 3: of Linen or something up there, and they are visited

1084
01:02:18,840 --> 01:02:20,120
Speaker 3: later in a religious sense.

1085
01:02:20,720 --> 01:02:20,919
Speaker 4: Yeah.

1086
01:02:21,680 --> 01:02:25,480
Speaker 3: Another one of the astronauts on this mission, Tomash, survives

1087
01:02:25,640 --> 01:02:30,440
Speaker 3: but is badly injured. And here we see haunting barren

1088
01:02:30,600 --> 01:02:33,840
Speaker 3: landscapes as the astronauts look down from a mountain into

1089
01:02:33,960 --> 01:02:37,040
Speaker 3: the silver valleys all around. I think this is probably

1090
01:02:37,280 --> 01:02:39,520
Speaker 3: part of the film that was filmed in the Gobi Desert,

1091
01:02:39,680 --> 01:02:40,520
Speaker 3: like in Mongolia.

1092
01:02:41,480 --> 01:02:44,760
Speaker 2: Yeah, I believe so. Breath taking locations.

1093
01:02:45,040 --> 01:02:47,800
Speaker 3: Yeah, And the narrator tells us while we look at

1094
01:02:47,840 --> 01:02:51,400
Speaker 3: footage of houses and rooftops shot from the window of

1095
01:02:51,440 --> 01:02:54,960
Speaker 3: a passing car in modern Poland, that the astronauts see

1096
01:02:55,080 --> 01:02:59,160
Speaker 3: another rocket ship crash into the mountains nearby and explode,

1097
01:02:59,800 --> 01:03:03,160
Speaker 3: and they wonder quote were those who died in it

1098
01:03:03,480 --> 01:03:08,880
Speaker 3: with them or after them? Intriguing question. But they come

1099
01:03:08,960 --> 01:03:12,520
Speaker 3: down from the mountains and a couple of surface exploration buggies.

1100
01:03:12,640 --> 01:03:16,080
Speaker 3: These are big all terrain vehicles, and they're heading toward

1101
01:03:16,160 --> 01:03:18,400
Speaker 3: the ocean. They think they want to set up their

1102
01:03:18,440 --> 01:03:21,680
Speaker 3: colony on the beach with access to the sea. And

1103
01:03:21,880 --> 01:03:24,440
Speaker 3: on the way they pass a formation of rocks that

1104
01:03:24,600 --> 01:03:29,360
Speaker 3: looks deliberately piled together quote like an architectural form, as

1105
01:03:29,400 --> 01:03:32,440
Speaker 3: if this apparently empty planet had once been home to

1106
01:03:32,520 --> 01:03:35,800
Speaker 3: a civilization long in the past, and we will learn

1107
01:03:35,880 --> 01:03:38,080
Speaker 3: that maybe it is still home to a civilization that

1108
01:03:38,160 --> 01:03:40,600
Speaker 3: they don't know about. Then the narrator tells us that

1109
01:03:40,760 --> 01:03:45,920
Speaker 3: in missing footage, the injured astronaut Tamash hallucinates while riding

1110
01:03:46,000 --> 01:03:48,280
Speaker 3: in back of one of these buggies across the desert.

1111
01:03:48,600 --> 01:03:52,360
Speaker 3: He believes that he sees the ghosts of dead astronauts

1112
01:03:52,480 --> 01:03:55,760
Speaker 3: trying to capture him and chain him up for what purpose.

1113
01:03:55,920 --> 01:03:59,120
Speaker 3: He doesn't know. That is one missing scene I kind

1114
01:03:59,160 --> 01:04:00,680
Speaker 3: of wish we had. I would like to see the

1115
01:04:00,720 --> 01:04:02,200
Speaker 3: astronaut ghosts.

1116
01:04:02,480 --> 01:04:04,440
Speaker 2: Feel like an adaptation of a pac Man.

1117
01:04:06,880 --> 01:04:10,160
Speaker 3: Also, the other astronauts are a woman named Marta and

1118
01:04:10,280 --> 01:04:14,760
Speaker 3: two men named Pyotr in Jersey, so we watched them

1119
01:04:15,040 --> 01:04:18,760
Speaker 3: swing between bouts of ecstasy and terror in their new environment.

1120
01:04:19,160 --> 01:04:23,800
Speaker 3: The philosophical monologues begin almost immediately, and they are raving

1121
01:04:23,880 --> 01:04:28,320
Speaker 3: about the divine potential of human nature, like, oh, what

1122
01:04:28,520 --> 01:04:29,760
Speaker 3: is the seed of man?

1123
01:04:31,120 --> 01:04:31,160
Speaker 4: This?

1124
01:04:31,440 --> 01:04:33,960
Speaker 3: If the seed has a sense to it, it is

1125
01:04:34,000 --> 01:04:37,040
Speaker 3: an animal. If the seed has reasoning to it, it

1126
01:04:37,200 --> 01:04:40,880
Speaker 3: is a man. If the seed has what intellect to it,

1127
01:04:41,040 --> 01:04:43,720
Speaker 3: it is an angel or the son of man. And

1128
01:04:44,560 --> 01:04:47,040
Speaker 3: it just I was like trying to follow this. At first,

1129
01:04:47,120 --> 01:04:49,240
Speaker 3: I was like, what exactly is he talking about? And

1130
01:04:49,320 --> 01:04:50,960
Speaker 3: then I just had to get used to like, Oh,

1131
01:04:51,000 --> 01:04:52,160
Speaker 3: it's just going to be like this.

1132
01:04:52,640 --> 01:04:54,040
Speaker 2: Yeah, a lot of it is just going to sort

1133
01:04:54,040 --> 01:04:57,120
Speaker 2: of roll off of your brain. But in a way

1134
01:04:57,160 --> 01:04:59,919
Speaker 2: it's you know, it's like it's like a poetic lyric

1135
01:05:00,160 --> 01:05:02,880
Speaker 2: to a song that you're maybe not supposed to really

1136
01:05:03,000 --> 01:05:05,960
Speaker 2: understand beat for beat, but if you sort of pick

1137
01:05:06,040 --> 01:05:07,720
Speaker 2: up on half of it, I feel like you're probably

1138
01:05:07,760 --> 01:05:09,880
Speaker 2: doing pretty well. I don't know if the experience is

1139
01:05:09,960 --> 01:05:13,760
Speaker 2: different if you were a native, a Polish speaker, and

1140
01:05:14,200 --> 01:05:18,600
Speaker 2: this film is speaking directly to you without translation and subtitles.

1141
01:05:18,720 --> 01:05:21,640
Speaker 2: But and certainly I would love to hear from anyone

1142
01:05:21,720 --> 01:05:26,080
Speaker 2: out there who has had that experience. But I don't know.

1143
01:05:26,200 --> 01:05:29,200
Speaker 2: I have my doubts. I feel like the contents of

1144
01:05:29,360 --> 01:05:32,960
Speaker 2: these monologues are so thick and philosophical and poetic that

1145
01:05:35,040 --> 01:05:38,120
Speaker 2: it would be difficult to follow everything beat by beat

1146
01:05:38,480 --> 01:05:40,959
Speaker 2: unless you had multiple viewings of this film.

1147
01:05:41,360 --> 01:05:53,040
Speaker 3: I agree with that. So the narrative continues to cut

1148
01:05:53,120 --> 01:05:57,400
Speaker 3: between lost segments that are narrated by Zuofski and film

1149
01:05:57,520 --> 01:06:00,840
Speaker 3: shots of the actors struggling with condition on the planet.

1150
01:06:01,280 --> 01:06:04,000
Speaker 3: They're at one point hit by a hurricane and swept

1151
01:06:04,040 --> 01:06:07,720
Speaker 3: into a flood current, nearly drowned. Then they are stranded

1152
01:06:07,840 --> 01:06:11,680
Speaker 3: on a vast mud flat, with Marda quite movingly still

1153
01:06:11,760 --> 01:06:16,000
Speaker 3: clutching Tomasha's dead body after he passes away, so like

1154
01:06:16,120 --> 01:06:18,640
Speaker 3: the implication is that she clung to him the whole

1155
01:06:18,720 --> 01:06:22,320
Speaker 3: time they were struggling to survive the flood. Again, most

1156
01:06:22,360 --> 01:06:24,240
Speaker 3: of this part of the movie seems to be shot

1157
01:06:24,400 --> 01:06:26,960
Speaker 3: in point of view. Shots like these are the video

1158
01:06:27,080 --> 01:06:31,520
Speaker 3: diaries that we saw being received from space earlier, And

1159
01:06:31,640 --> 01:06:33,920
Speaker 3: I guess here is a good point to kind of

1160
01:06:34,000 --> 01:06:37,240
Speaker 3: zoom out and recap the plot with a little more distance.

1161
01:06:37,440 --> 01:06:42,160
Speaker 3: So what happens after this is that the remaining astronauts Marta, Pyotr,

1162
01:06:42,360 --> 01:06:47,280
Speaker 3: and Jersey will go on to found an extraterrestrial kind

1163
01:06:47,320 --> 01:06:50,080
Speaker 3: of Swiss family Robinson base on the beach on the

1164
01:06:50,160 --> 01:06:52,920
Speaker 3: beach of this world. So we see them building, or

1165
01:06:52,960 --> 01:06:55,000
Speaker 3: in fact, we don't see a lot of the building process.

1166
01:06:55,080 --> 01:06:58,160
Speaker 3: They just suddenly have these like huts and structures and

1167
01:06:58,960 --> 01:07:03,040
Speaker 3: underground layers, these tunnels they've dug out, and fence posts,

1168
01:07:03,120 --> 01:07:06,800
Speaker 3: and they have tools and weapons, and they have clothing

1169
01:07:06,920 --> 01:07:10,160
Speaker 3: that they've created. They start to sort of change their

1170
01:07:10,200 --> 01:07:15,040
Speaker 3: appearance to be I don't know, Like they make tattoos

1171
01:07:15,160 --> 01:07:18,240
Speaker 3: and markings on their faces and their skin, and they

1172
01:07:18,320 --> 01:07:22,400
Speaker 3: wear these new styles, and they set about having children.

1173
01:07:22,480 --> 01:07:24,920
Speaker 3: They become a sort of Adam and Eve trio of

1174
01:07:25,120 --> 01:07:29,560
Speaker 3: this new generation of humans. So they learn that the

1175
01:07:29,680 --> 01:07:33,280
Speaker 3: humans born on the new planet grow and mature at

1176
01:07:33,320 --> 01:07:37,480
Speaker 3: an accelerated pace. It's something about the planet and its atmosphere,

1177
01:07:37,520 --> 01:07:40,960
Speaker 3: I guess. So it seems that within a few years

1178
01:07:42,000 --> 01:07:44,480
Speaker 3: the children, the first generation of children they have, are

1179
01:07:44,480 --> 01:07:47,800
Speaker 3: already reaching adulthood and then again, sort of like the

1180
01:07:47,840 --> 01:07:52,120
Speaker 3: Adam and Eve story, there is an unrealistic proliferation of

1181
01:07:52,240 --> 01:07:54,400
Speaker 3: new humans from these three progenitors.

1182
01:07:54,880 --> 01:07:55,280
Speaker 4: With you.

1183
01:07:55,600 --> 01:07:57,640
Speaker 3: They don't really get into this deeply, but a lot

1184
01:07:57,680 --> 01:08:02,560
Speaker 3: of implied incest mythological incests. Yes, So the astronauts and

1185
01:08:02,600 --> 01:08:06,960
Speaker 3: the children that grow up on the Silver Globe, interestingly

1186
01:08:07,120 --> 01:08:11,080
Speaker 3: do not seem to reproduce the old the Earth culture

1187
01:08:11,240 --> 01:08:15,439
Speaker 3: that they come from, and instead they create a new

1188
01:08:15,880 --> 01:08:21,439
Speaker 3: Neolithic culture with their own emerging styles of clothing and art,

1189
01:08:21,680 --> 01:08:25,880
Speaker 3: their own technology, and their own religious beliefs and customs.

1190
01:08:25,960 --> 01:08:27,360
Speaker 3: And this is what I thought was one of the

1191
01:08:27,400 --> 01:08:31,080
Speaker 3: most interesting things about the movie. It was just the

1192
01:08:31,240 --> 01:08:35,439
Speaker 3: idea that, like, so they land, and I think what

1193
01:08:35,600 --> 01:08:38,760
Speaker 3: you normally see in a sci fi movie is just

1194
01:08:38,840 --> 01:08:41,559
Speaker 3: that like adults land on another planet and they are

1195
01:08:42,200 --> 01:08:44,800
Speaker 3: inculturated in the culture they come from and they just

1196
01:08:44,840 --> 01:08:47,080
Speaker 3: sort of like reproduce that in the new place. But

1197
01:08:47,200 --> 01:08:51,800
Speaker 3: here instead they're shown like making a new, previously non

1198
01:08:51,880 --> 01:08:53,719
Speaker 3: existent human culture from scratch.

1199
01:08:54,280 --> 01:08:58,400
Speaker 2: Yeah, there's like a just a break from the previous culture.

1200
01:08:58,520 --> 01:09:00,920
Speaker 2: You know, it's like almost like a visiting the other

1201
01:09:01,000 --> 01:09:04,120
Speaker 2: plant is in and of itself an intense psychedelic experience

1202
01:09:04,600 --> 01:09:08,320
Speaker 2: that changed completely, changes how you relate to yourself and

1203
01:09:08,400 --> 01:09:11,200
Speaker 2: your world. And so yeah, they seem to just sort

1204
01:09:11,240 --> 01:09:18,439
Speaker 2: of create wholesale this new pagan bohemian society. Like you said,

1205
01:09:18,479 --> 01:09:21,599
Speaker 2: they start engaging in all these different forms of face

1206
01:09:21,680 --> 01:09:26,479
Speaker 2: painting and or tattoos, intricate braiding of hair and so forth.

1207
01:09:26,840 --> 01:09:28,920
Speaker 3: There's one thing I love of what they do with

1208
01:09:29,040 --> 01:09:32,559
Speaker 3: the bodies of the dead, Like there is this little

1209
01:09:32,680 --> 01:09:35,360
Speaker 3: island off the shore of the beach where they live,

1210
01:09:35,479 --> 01:09:38,720
Speaker 3: and the island has these huge standing stones on it,

1211
01:09:38,920 --> 01:09:42,840
Speaker 3: like it like this offshore stone hinge. And I don't

1212
01:09:42,920 --> 01:09:45,320
Speaker 3: know exactly how that was created or if they found

1213
01:09:45,360 --> 01:09:48,400
Speaker 3: it that way, but it becomes a kind of island

1214
01:09:48,479 --> 01:09:53,280
Speaker 3: of the dead where. Yeah, after Pyotr and Marta die,

1215
01:09:54,680 --> 01:09:57,960
Speaker 3: I think Jersey the one remaining original astronaut, now the

1216
01:09:58,080 --> 01:10:00,920
Speaker 3: old man who's revered is kind of a prophet and

1217
01:10:00,960 --> 01:10:05,799
Speaker 3: a demi god by the new generations of humans their children.

1218
01:10:07,320 --> 01:10:11,040
Speaker 3: He takes the bodies of the other two dead astronauts

1219
01:10:11,080 --> 01:10:14,880
Speaker 3: and puts them back into their astronaut suits which they

1220
01:10:14,920 --> 01:10:18,000
Speaker 3: have not been wearing, and then takes them out to

1221
01:10:18,160 --> 01:10:21,479
Speaker 3: this island of the dead. With the standing stones and

1222
01:10:21,680 --> 01:10:23,679
Speaker 3: like leaves them there. Is that what happened?

1223
01:10:23,920 --> 01:10:24,360
Speaker 2: I believe?

1224
01:10:24,439 --> 01:10:24,479
Speaker 4: So?

1225
01:10:24,680 --> 01:10:26,880
Speaker 2: Yeah, And now that you mentioned Island of the Dead,

1226
01:10:27,000 --> 01:10:28,880
Speaker 2: like it's not, you know, one to one looking like

1227
01:10:28,960 --> 01:10:32,120
Speaker 2: Boukland's Island Isle of the Dead painting, But there is

1228
01:10:32,200 --> 01:10:36,360
Speaker 2: something to the asymmetry of the island that does kind

1229
01:10:36,400 --> 01:10:38,760
Speaker 2: of match up with that painting. So I don't know,

1230
01:10:38,880 --> 01:10:41,880
Speaker 2: maybe that I don't know if this is a reference

1231
01:10:41,920 --> 01:10:45,439
Speaker 2: to that painting or that painting and this particular shot

1232
01:10:45,800 --> 01:10:48,880
Speaker 2: are both sort of referencing the same thing, like deep

1233
01:10:49,000 --> 01:10:50,719
Speaker 2: in the Bowels of the human mind?

1234
01:10:52,280 --> 01:10:55,280
Speaker 3: Now, is it? At some point around here after Marta

1235
01:10:55,479 --> 01:10:59,799
Speaker 3: and Pyotr de that some of the Silver Globe humans

1236
01:11:00,160 --> 01:11:03,519
Speaker 3: lead an expedition across the ocean and canoes to see

1237
01:11:03,560 --> 01:11:06,360
Speaker 3: what's on the other side, and then only one of

1238
01:11:06,439 --> 01:11:09,439
Speaker 3: them comes back alive, saying they were attacked by something

1239
01:11:09,520 --> 01:11:10,080
Speaker 3: over the water.

1240
01:11:10,240 --> 01:11:12,519
Speaker 2: I think, yeah, divisions begin to occur.

1241
01:11:12,640 --> 01:11:12,800
Speaker 4: You know.

1242
01:11:12,840 --> 01:11:14,479
Speaker 2: There seem to be like a faction that are like,

1243
01:11:14,600 --> 01:11:16,160
Speaker 2: we're good here, and the other faction is like, we

1244
01:11:16,280 --> 01:11:18,360
Speaker 2: need to cross the ocean and see what's there. Claim

1245
01:11:18,439 --> 01:11:21,840
Speaker 2: what's there? You know, they're expansionists. But only one comes

1246
01:11:21,920 --> 01:11:27,000
Speaker 2: back because they're like there are like cities of stone, there,

1247
01:11:27,479 --> 01:11:30,920
Speaker 2: vast cities, and there are these winged creatures and they

1248
01:11:31,360 --> 01:11:34,200
Speaker 2: killed most of us. And so now we have we

1249
01:11:34,280 --> 01:11:38,920
Speaker 2: have a hint of some sort of indigenous civilization here,

1250
01:11:39,040 --> 01:11:42,240
Speaker 2: some sort of alien life form, and so far first

1251
01:11:42,280 --> 01:11:43,519
Speaker 2: contact has not gone well.

1252
01:11:44,040 --> 01:11:45,760
Speaker 3: There's also a section in here, I think it's a

1253
01:11:45,800 --> 01:11:49,760
Speaker 3: little earlier where there are random explosions everywhere that are

1254
01:11:50,000 --> 01:11:53,280
Speaker 3: never explained, but just I love the effects. They're just like,

1255
01:11:53,960 --> 01:11:56,800
Speaker 3: you know, explosives planted under the soil, so they just

1256
01:11:56,840 --> 01:11:59,920
Speaker 3: start popping up from the beach and the surrounding land

1257
01:12:00,200 --> 01:12:03,679
Speaker 3: in the forest. It's just exploding and you never understand why.

1258
01:12:04,240 --> 01:12:07,760
Speaker 2: Yeah, it's just a weird alien world where we don't

1259
01:12:07,760 --> 01:12:11,479
Speaker 2: know if this is seismic chemical or it's stuff falling

1260
01:12:11,520 --> 01:12:15,479
Speaker 2: from the sky, but it creates chaos and death.

1261
01:12:16,120 --> 01:12:19,479
Speaker 3: Before the final of the Astronauts, before Jersey dies, he

1262
01:12:19,640 --> 01:12:23,879
Speaker 3: makes a pilgrimage to the mountaintop where the Astronauts originally landed,

1263
01:12:24,040 --> 01:12:25,760
Speaker 3: and I think this is when he sends off his

1264
01:12:25,960 --> 01:12:27,959
Speaker 3: video diaries to return to Earth.

1265
01:12:28,479 --> 01:12:32,320
Speaker 2: Which is I guess what they're talking about. Having received

1266
01:12:32,560 --> 01:12:33,920
Speaker 2: at the top of the picture.

1267
01:12:33,920 --> 01:12:37,000
Speaker 3: That's how I took it as well. Yeah, so a

1268
01:12:37,160 --> 01:12:40,799
Speaker 3: new batch of astronauts from Earth they receive this message

1269
01:12:41,040 --> 01:12:44,760
Speaker 3: and some are sent to the planet. Maybe just one

1270
01:12:44,840 --> 01:12:46,519
Speaker 3: is sent or multiple are scent I don't know. We

1271
01:12:46,600 --> 01:12:50,639
Speaker 3: only really encounter one, and that is Marek played by

1272
01:12:50,760 --> 01:12:53,280
Speaker 3: Andre Severin, who is going to become sort of the

1273
01:12:53,360 --> 01:12:57,200
Speaker 3: main character of the movie going forward. When Marek arrives,

1274
01:12:57,640 --> 01:13:00,679
Speaker 3: he is welcomed by a religious order that has arisen

1275
01:13:00,720 --> 01:13:04,000
Speaker 3: among the humans, and he is treated as a long

1276
01:13:04,200 --> 01:13:08,120
Speaker 3: prophesied messiah figure. And it's going to fall to Merrick

1277
01:13:08,320 --> 01:13:13,599
Speaker 3: to lead the humans against a terrifying and mysterious alien

1278
01:13:13,760 --> 01:13:18,240
Speaker 3: enemy known as the Shurns. Now, what are the Shurans?

1279
01:13:18,439 --> 01:13:18,639
Speaker 2: Oh?

1280
01:13:18,880 --> 01:13:22,400
Speaker 3: Boy, I loved the Shurans. They were so creepy. It's

1281
01:13:22,479 --> 01:13:25,479
Speaker 3: kind of unclear to me exactly what their origin is.

1282
01:13:25,560 --> 01:13:28,720
Speaker 3: I think they are just supposed to be the indigenous

1283
01:13:28,800 --> 01:13:31,880
Speaker 3: inhabitants of this planet, but it also seemed possible to

1284
01:13:32,000 --> 01:13:35,599
Speaker 3: me that they were created by humans in some unclear

1285
01:13:36,000 --> 01:13:37,000
Speaker 3: I don't know exactly.

1286
01:13:37,560 --> 01:13:42,400
Speaker 2: Yeah, they are some sort of humanoid bird person that

1287
01:13:43,200 --> 01:13:48,200
Speaker 2: was slash perhaps still is capable of flight, and they

1288
01:13:48,400 --> 01:13:53,040
Speaker 2: also are psychic. They have some sort of telepathic abilities,

1289
01:13:54,000 --> 01:13:56,080
Speaker 2: and in this I feel like this might have been connected,

1290
01:13:56,160 --> 01:13:59,879
Speaker 2: might have been partially inspired by the writings of Edgar Reisberg,

1291
01:14:00,160 --> 01:14:04,479
Speaker 2: where we have at one point we have we have

1292
01:14:04,800 --> 01:14:08,840
Speaker 2: a psychic winged alien species that features into the plots

1293
01:14:08,880 --> 01:14:11,120
Speaker 2: of some of his world. But yeah, these creatures have

1294
01:14:11,200 --> 01:14:13,760
Speaker 2: some sort of telepathic ability, and also later on we

1295
01:14:13,960 --> 01:14:17,800
Speaker 2: learned some sort of like cybernetic enhancement that is a

1296
01:14:17,880 --> 01:14:21,600
Speaker 2: part of how they are expressed. Yeah, there will be

1297
01:14:21,680 --> 01:14:22,519
Speaker 2: monologues about this.

1298
01:14:22,960 --> 01:14:25,679
Speaker 3: Yeah. Oh, but you know, you could get the wrong

1299
01:14:25,760 --> 01:14:28,439
Speaker 3: idea by hearing that these are bird like creatures, because

1300
01:14:28,439 --> 01:14:32,280
Speaker 3: you might be imagining like big, beautiful feathery wings, and

1301
01:14:32,400 --> 01:14:34,400
Speaker 3: it's not quite like that. It's more like they are

1302
01:14:34,520 --> 01:14:39,800
Speaker 3: humanoids draped in shaggy modeled cloth and caked in mud,

1303
01:14:40,479 --> 01:14:44,760
Speaker 3: hobbling stiffly around on two feet, sort of like scarecrows

1304
01:14:44,880 --> 01:14:49,560
Speaker 3: with heads covered by scary burlap bags. They're covered in

1305
01:14:49,800 --> 01:14:52,840
Speaker 3: you know, just filth and cobwebs, but they do have

1306
01:14:53,000 --> 01:14:56,280
Speaker 3: hidden bird like anatomy underneath underneath it all. So they

1307
01:14:56,400 --> 01:14:58,439
Speaker 3: have like the sort of angel wings coming off of

1308
01:14:58,520 --> 01:15:02,080
Speaker 3: their backs, and then the lump of a beak just

1309
01:15:02,200 --> 01:15:04,720
Speaker 3: protruding in the front of the face, but always, like

1310
01:15:04,800 --> 01:15:07,280
Speaker 3: I said, sort of under a burlap sack or something.

1311
01:15:07,760 --> 01:15:11,200
Speaker 3: And then these dark recesses that contain no visible eyes.

1312
01:15:11,320 --> 01:15:12,519
Speaker 3: They are so creepy looking.

1313
01:15:12,800 --> 01:15:16,840
Speaker 2: Yeah, reminded me. There's a certain sketchy esque quality to them.

1314
01:15:16,880 --> 01:15:18,880
Speaker 2: And they also reminded me of the Beast from the

1315
01:15:18,960 --> 01:15:23,080
Speaker 2: nineteen seventy eight Check Beauty and the Beast film that

1316
01:15:24,040 --> 01:15:25,840
Speaker 2: we watch for Weird House a while back.

1317
01:15:26,200 --> 01:15:29,240
Speaker 3: So at this point, the Sharns are a hated foe

1318
01:15:29,439 --> 01:15:32,280
Speaker 3: of the humans on the Silver Globe. They are oppressing

1319
01:15:32,479 --> 01:15:36,000
Speaker 3: and enslaving the humans. And then I think also they

1320
01:15:36,040 --> 01:15:39,479
Speaker 3: are mating with humans to create a type of terrible

1321
01:15:39,600 --> 01:15:43,680
Speaker 3: hybrid offspring called the Mortase, which seem to function kind

1322
01:15:43,680 --> 01:15:45,559
Speaker 3: of like undead soldiers. Almost.

1323
01:15:46,200 --> 01:15:49,680
Speaker 2: Yeah, definitely. There's a scene later on where we see

1324
01:15:49,720 --> 01:15:51,479
Speaker 2: a whole bunch of them together that have been kind

1325
01:15:51,479 --> 01:15:52,960
Speaker 2: of like collected and imprisoned.

1326
01:15:53,360 --> 01:15:57,680
Speaker 3: So anyway, the new astronaut Marek is brought into the

1327
01:15:57,760 --> 01:16:00,200
Speaker 3: culture and politics of the human faction here.

1328
01:16:00,840 --> 01:16:00,960
Speaker 4: Uh.

1329
01:16:01,080 --> 01:16:05,200
Speaker 3: There is the woman named Hazel who is destined by

1330
01:16:05,280 --> 01:16:07,720
Speaker 3: prophecy to be his lover, I think, But she's also

1331
01:16:07,840 --> 01:16:11,760
Speaker 3: like an actress and is brilliantly acting out the part

1332
01:16:11,920 --> 01:16:15,680
Speaker 3: that has been prophesied for her. But then they do

1333
01:16:15,920 --> 01:16:18,840
Speaker 3: genuinely fall in love with each other. And then there

1334
01:16:18,880 --> 01:16:22,720
Speaker 3: are priests and monks who I sort of understood as

1335
01:16:22,800 --> 01:16:28,040
Speaker 3: each trying to manipulate Merick for his perceived power. We

1336
01:16:28,160 --> 01:16:31,880
Speaker 3: also see Merrik presiding over battles against the Mortes in

1337
01:16:32,000 --> 01:16:35,360
Speaker 3: the in the Shurans, writing what looks like a parade

1338
01:16:35,479 --> 01:16:38,280
Speaker 3: float through the middle of the field of combat while

1339
01:16:38,320 --> 01:16:40,439
Speaker 3: his adoring minions slay their enemies.

1340
01:16:41,040 --> 01:16:45,840
Speaker 2: Yeah, there's a lot of religious zeal and in this,

1341
01:16:46,120 --> 01:16:49,760
Speaker 2: this feeling of just of a crusade here that at

1342
01:16:49,840 --> 01:16:51,320
Speaker 2: times made me, you know, it made me think of

1343
01:16:51,400 --> 01:16:55,639
Speaker 2: doune In in the The Rise of the Messiah character

1344
01:16:56,160 --> 01:17:00,800
Speaker 2: in Dune, the Rise of paul A Treades and as

1345
01:17:00,880 --> 01:17:04,880
Speaker 2: Malatib and so, yeah, there's a frenzied energy to this

1346
01:17:05,120 --> 01:17:09,600
Speaker 2: is like getting everybody worked up to and into it

1347
01:17:09,720 --> 01:17:13,320
Speaker 2: to go on these these campaigns against the shern So

1348
01:17:13,479 --> 01:17:17,400
Speaker 2: it's it's really like splendid cinematic stuff. I should also

1349
01:17:17,479 --> 01:17:19,200
Speaker 2: know that there are a number of scenes here that

1350
01:17:19,320 --> 01:17:22,200
Speaker 2: take place in some sort of vast cave complex.

1351
01:17:22,560 --> 01:17:25,920
Speaker 3: Yeah, I think it was shot in an abandoned salt mine.

1352
01:17:26,400 --> 01:17:29,599
Speaker 2: Ah, that absolutely makes sense because you see like parts

1353
01:17:29,640 --> 01:17:31,960
Speaker 2: of the cavern are augmented clearly, and you see like,

1354
01:17:32,360 --> 01:17:35,840
Speaker 2: you know, clear human structures of some sort, but in

1355
01:17:35,920 --> 01:17:38,760
Speaker 2: a very like alien decayed way. That works perfectly for

1356
01:17:38,840 --> 01:17:39,160
Speaker 2: the film.

1357
01:17:39,560 --> 01:17:43,879
Speaker 3: Yeah, there are beautiful, beautiful, ugly sets in these caves

1358
01:17:44,120 --> 01:17:48,800
Speaker 3: and in the mines that are so good and just

1359
01:17:48,960 --> 01:17:53,519
Speaker 3: generally that this movie uses. It chooses the locations of

1360
01:17:53,640 --> 01:17:57,799
Speaker 3: its shots very well. You know, it's almost always framed

1361
01:17:57,880 --> 01:18:01,600
Speaker 3: in an interesting place. And it's interesting the way that

1362
01:18:03,200 --> 01:18:07,040
Speaker 3: these settings seem to have changed the culture of the humans,

1363
01:18:07,080 --> 01:18:09,720
Speaker 3: because we see them doing stuff down in the subterranean

1364
01:18:09,800 --> 01:18:11,840
Speaker 3: settings that we don't see them doing above. Like in

1365
01:18:11,920 --> 01:18:15,400
Speaker 3: the subterranean setting is where they keep their prisoners, Like

1366
01:18:15,520 --> 01:18:18,200
Speaker 3: they take the leader of the Shurns prisoner and they've

1367
01:18:18,240 --> 01:18:20,599
Speaker 3: got him captive there, and they've got all these mortas

1368
01:18:20,720 --> 01:18:23,599
Speaker 3: as prisoners. But it's also the only place we see

1369
01:18:24,400 --> 01:18:28,280
Speaker 3: the humans like engaging in orgies. There seems to be

1370
01:18:28,360 --> 01:18:31,759
Speaker 3: some kind of ritual orgy going on that's like hundreds

1371
01:18:31,760 --> 01:18:34,200
Speaker 3: of people sort of writhing about naked on the ground,

1372
01:18:34,640 --> 01:18:36,800
Speaker 3: their bodies like painted gray and blue.

1373
01:18:37,280 --> 01:18:39,519
Speaker 2: I think it and I may be wrong in this,

1374
01:18:39,600 --> 01:18:42,120
Speaker 2: but I think the idea is that these are humans

1375
01:18:42,320 --> 01:18:45,720
Speaker 2: who have been like psychically touched by the shurn in

1376
01:18:45,840 --> 01:18:48,280
Speaker 2: some way that is like, you know, they've kind of

1377
01:18:48,360 --> 01:18:52,680
Speaker 2: just fallen off into just unending desire and they're like

1378
01:18:52,760 --> 01:18:55,240
Speaker 2: writhing on the floor the cavern in a way that

1379
01:18:55,439 --> 01:18:58,760
Speaker 2: feels like directly inspired by the Gustaf Door illustrations for

1380
01:18:58,880 --> 01:19:02,679
Speaker 2: Dante's Inferno. And and I believe Purgatory as well. Maybe

1381
01:19:02,680 --> 01:19:05,400
Speaker 2: I'm more specifically thinking of scenes from Purgatory.

1382
01:19:05,760 --> 01:19:07,760
Speaker 3: Absolutely, yeah, I can see that link.

1383
01:19:08,320 --> 01:19:12,080
Speaker 2: At one point, we have characters walk across them even

1384
01:19:12,240 --> 01:19:13,840
Speaker 2: like they are not only on the floor, but they

1385
01:19:13,880 --> 01:19:15,080
Speaker 2: are the floor of the cavern.

1386
01:19:15,400 --> 01:19:19,280
Speaker 3: Yeah. Yeah, So, as I said in this section, Marek

1387
01:19:19,439 --> 01:19:24,040
Speaker 3: does fall in love with Iol, but he also seems

1388
01:19:24,160 --> 01:19:28,240
Speaker 3: plagued by bad memories of failed relationships on Earth. And

1389
01:19:28,640 --> 01:19:32,160
Speaker 3: as you alluded to earlier, this character Marek is always

1390
01:19:32,280 --> 01:19:35,400
Speaker 3: operating right at the brink of madness, Like he is

1391
01:19:36,000 --> 01:19:41,800
Speaker 3: giving these incredibly powerful, passionate monologues, but he is not

1392
01:19:42,200 --> 01:19:47,200
Speaker 3: doing well emotionally, yeah, from the get go. So Marek

1393
01:19:47,240 --> 01:19:50,120
Speaker 3: eventually leads his forces in an assault on the schern

1394
01:19:50,240 --> 01:19:53,439
Speaker 3: homeland across the sea, which strangely looks like it could

1395
01:19:53,439 --> 01:19:55,559
Speaker 3: be the war torn ruins of a Polish city.

1396
01:19:56,400 --> 01:19:59,720
Speaker 2: Yeah, yeah, it is. It definitely has that feel to it.

1397
01:20:00,040 --> 01:20:02,400
Speaker 2: And you know, obviously that was probably more or less

1398
01:20:02,439 --> 01:20:04,400
Speaker 2: how they shot it. They use some sort of like

1399
01:20:05,439 --> 01:20:09,720
Speaker 2: fittingly gray section of some Polish city and they just

1400
01:20:09,840 --> 01:20:13,240
Speaker 2: dirtied and grimed it up a lot. But I guess

1401
01:20:13,280 --> 01:20:16,200
Speaker 2: it's fitting for the film in that it's again, even

1402
01:20:16,240 --> 01:20:18,519
Speaker 2: the world of the Silver Globe is a world in decline,

1403
01:20:18,840 --> 01:20:21,840
Speaker 2: like Sharan civilization is in decline. There's at least at

1404
01:20:21,920 --> 01:20:24,840
Speaker 2: some point mentioned that they have lost the ability to

1405
01:20:24,960 --> 01:20:27,519
Speaker 2: fly am I remembering that correctly, though, then there are

1406
01:20:27,560 --> 01:20:29,559
Speaker 2: it seems like there are instances where they do fly,

1407
01:20:30,200 --> 01:20:35,440
Speaker 2: so they Again it's like one civilization in decline attempting

1408
01:20:35,479 --> 01:20:39,120
Speaker 2: to topple another civilization decline in decline on this strange world.

1409
01:20:39,520 --> 01:20:43,840
Speaker 3: Yeah. But also Mark is strangely affected by like the

1410
01:20:43,960 --> 01:20:48,120
Speaker 3: persuasive powers of the Shurans, like the Sharon leader who

1411
01:20:48,160 --> 01:20:50,560
Speaker 3: he captures and talks to, kind of gets in his

1412
01:20:50,720 --> 01:20:54,599
Speaker 3: head in a way, And when he's on campaign attacking

1413
01:20:54,680 --> 01:20:59,200
Speaker 3: the Sharn homeland, he has these weird moments where he

1414
01:21:00,040 --> 01:21:02,960
Speaker 3: I don't know exactly how to interpret everything emotionally, but like,

1415
01:21:03,080 --> 01:21:05,360
Speaker 3: there's a part that we don't get to fully see,

1416
01:21:05,479 --> 01:21:07,200
Speaker 3: but it is told to us in one of the

1417
01:21:07,320 --> 01:21:10,800
Speaker 3: narrated segments that he goes into like a cathedral in

1418
01:21:10,920 --> 01:21:14,120
Speaker 3: the Sharn city, and the cathedral is full of these

1419
01:21:15,040 --> 01:21:21,040
Speaker 3: like lock boxes containing Sharn brains, And yeah, so what's

1420
01:21:21,080 --> 01:21:21,680
Speaker 3: going on here?

1421
01:21:22,880 --> 01:21:27,320
Speaker 2: Something to do with the complex nature of Sharn existence

1422
01:21:27,439 --> 01:21:31,720
Speaker 2: that they are augmented cybernetic beings. Maybe the brains are

1423
01:21:31,720 --> 01:21:36,240
Speaker 2: from another species and the brains are like remotely controlling

1424
01:21:36,640 --> 01:21:39,760
Speaker 2: the bird bodies. I don't know, it's very complex. I

1425
01:21:39,760 --> 01:21:41,360
Speaker 2: wish we would have gotten those brain scenes.

1426
01:21:41,720 --> 01:21:44,920
Speaker 3: Yeah too, but yeah, it is.

1427
01:21:46,080 --> 01:21:48,080
Speaker 2: It's a lot. Now that being said, just because the

1428
01:21:48,200 --> 01:21:52,040
Speaker 2: Sharn set Merrick off, everything seems to set Merrick off.

1429
01:21:52,680 --> 01:21:54,280
Speaker 2: If you were to ask Merrik, do you want cream

1430
01:21:54,320 --> 01:21:57,400
Speaker 2: and sugar with your coffee, it would probably result in

1431
01:21:57,479 --> 01:22:00,800
Speaker 2: a fifteen minute monologue about, oh, well, to put the

1432
01:22:00,920 --> 01:22:04,320
Speaker 2: coffee in the cream into the coffee is to make

1433
01:22:04,360 --> 01:22:06,799
Speaker 2: my coffee into something that I did not have before,

1434
01:22:07,000 --> 01:22:08,920
Speaker 2: And it would keep going on and it would just

1435
01:22:09,000 --> 01:22:11,280
Speaker 2: be again be at the edge of just complete collapse.

1436
01:22:11,320 --> 01:22:11,800
Speaker 2: The whole time.

1437
01:22:12,080 --> 01:22:14,639
Speaker 3: I don't know if the monologu would even mention coffee,

1438
01:22:14,720 --> 01:22:17,240
Speaker 3: it might set off a monologue is like, in order

1439
01:22:17,320 --> 01:22:19,720
Speaker 3: to understand you must I destroy you.

1440
01:22:22,640 --> 01:22:22,880
Speaker 2: Yeah.

1441
01:22:23,360 --> 01:22:26,719
Speaker 3: Also, okay, so there's the campaign part. When Marrek eventually

1442
01:22:26,880 --> 01:22:30,560
Speaker 3: returns to the Earthling colony across the sea after the

1443
01:22:30,600 --> 01:22:34,320
Speaker 3: attempted conquest, he finds the beach uh oh full of

1444
01:22:34,520 --> 01:22:38,960
Speaker 3: heretics impaled on stakes there is an inquisition going on,

1445
01:22:39,640 --> 01:22:41,840
Speaker 3: and he is next, and then we work our way

1446
01:22:41,880 --> 01:22:45,800
Speaker 3: up to the final, really the final set piece of

1447
01:22:45,800 --> 01:22:48,400
Speaker 3: the movie, which is that Mark gets crucified.

1448
01:22:49,040 --> 01:22:53,680
Speaker 2: If there is like a BINGO card for extravagant art

1449
01:22:53,760 --> 01:22:56,360
Speaker 2: house epics, I feel like this is definitely on there,

1450
01:22:56,479 --> 01:23:01,680
Speaker 2: like crucifixion of central character, and it's uh yeah, it's

1451
01:23:01,720 --> 01:23:05,280
Speaker 2: bloody and horrifying. Though it does come after the scene

1452
01:23:05,280 --> 01:23:08,720
Speaker 2: where we encounter like a good dozen or so heretics

1453
01:23:09,240 --> 01:23:13,519
Speaker 2: impaled on the beach in what is a grizzly scene. Like,

1454
01:23:13,920 --> 01:23:16,000
Speaker 2: you know, at this point, we're over two hours into

1455
01:23:16,040 --> 01:23:18,120
Speaker 2: the film and we've seen a lot. We've seen a lot,

1456
01:23:18,120 --> 01:23:19,680
Speaker 2: a lot of blood and stuff, but this this I

1457
01:23:19,800 --> 01:23:23,360
Speaker 2: was not quite prepared for how grizzly these sections are and.

1458
01:23:23,439 --> 01:23:26,400
Speaker 3: At least one of the impaled guys is a real actor.

1459
01:23:26,520 --> 01:23:28,760
Speaker 3: I'm not they actually impaled him, but they have him

1460
01:23:28,920 --> 01:23:31,960
Speaker 3: up on a really high up stake, sitting there and

1461
01:23:32,280 --> 01:23:35,120
Speaker 3: delivering lines. I don't know how they achieved that effect.

1462
01:23:35,520 --> 01:23:38,360
Speaker 2: Yeah. These not to get too graphic, but these these

1463
01:23:38,439 --> 01:23:41,000
Speaker 2: are these poles are they're impaled on, are like dripping

1464
01:23:41,240 --> 01:23:44,839
Speaker 2: with the ruptured entrails of the people who have been impaled.

1465
01:23:44,880 --> 01:23:48,840
Speaker 2: It's very graphic, and yet there's like this kind of

1466
01:23:48,920 --> 01:23:52,800
Speaker 2: almost Monty Python esque I'm not Dead yet kind of

1467
01:23:52,960 --> 01:23:54,800
Speaker 2: vibe to it, because you have a guy on top

1468
01:23:54,840 --> 01:23:58,360
Speaker 2: of this thing giving an extended monologue, and then another

1469
01:23:58,439 --> 01:24:01,640
Speaker 2: similar feel when we get our main character hauled up

1470
01:24:01,720 --> 01:24:03,440
Speaker 2: on a form of a crucifix.

1471
01:24:03,920 --> 01:24:06,200
Speaker 3: Now there's something I haven't even mentioned yet, which is

1472
01:24:06,320 --> 01:24:08,920
Speaker 3: that the last like third to a quarter of the movie,

1473
01:24:09,320 --> 01:24:13,000
Speaker 3: while the Marek plot is going on, it's also intercutting

1474
01:24:13,280 --> 01:24:17,280
Speaker 3: with the plot of the actress and Yasik, who are

1475
01:24:18,439 --> 01:24:21,519
Speaker 3: I think they are lovers, and the actress was once

1476
01:24:21,920 --> 01:24:25,479
Speaker 3: Mak's partner, but they sent Marek away to another planet

1477
01:24:25,640 --> 01:24:28,080
Speaker 3: so that she and Yasick could be together.

1478
01:24:28,560 --> 01:24:31,160
Speaker 2: Yeah, there was like a love triangle and the solution

1479
01:24:31,439 --> 01:24:34,200
Speaker 2: was to send him off. He comes to the planet

1480
01:24:34,680 --> 01:24:38,160
Speaker 2: becomes its savior, but then at the same time on

1481
01:24:38,240 --> 01:24:41,080
Speaker 2: the planet, he's returned from this campaign across the ocean.

1482
01:24:41,640 --> 01:24:43,760
Speaker 2: And I believe it's implied that the campaign has not

1483
01:24:44,040 --> 01:24:47,439
Speaker 2: been entirely successful. It has perhaps been you could perhaps

1484
01:24:47,520 --> 01:24:50,720
Speaker 2: view it more accurately as a retreat. And at this

1485
01:24:50,920 --> 01:24:53,800
Speaker 2: point there is definitely a schism in the culture here

1486
01:24:53,880 --> 01:24:56,360
Speaker 2: on the Silver Globe, where some people were like her,

1487
01:24:56,520 --> 01:24:59,120
Speaker 2: are saying, I don't think he is the savior, And

1488
01:24:59,479 --> 01:25:02,280
Speaker 2: I've kinda got this vibe that he was not. He

1489
01:25:02,360 --> 01:25:05,479
Speaker 2: did not come here, He was exiled here, right, And

1490
01:25:05,640 --> 01:25:08,200
Speaker 2: that's why you have all these heretics impaled on the beach.

1491
01:25:08,520 --> 01:25:10,920
Speaker 3: Right, there's this other religious figure who we are told

1492
01:25:11,040 --> 01:25:14,679
Speaker 3: says that Mark was not sent to them as a savior.

1493
01:25:14,800 --> 01:25:19,160
Speaker 3: He is a worm expelled from below. But then so, oh,

1494
01:25:19,240 --> 01:25:22,000
Speaker 3: I forget how this even happens. Somehow, Yossick and the

1495
01:25:22,200 --> 01:25:26,040
Speaker 3: actress arrive on the Silver Globe planet and they're there

1496
01:25:26,280 --> 01:25:29,439
Speaker 3: like with the other humans, for the crucifixion in the end,

1497
01:25:29,600 --> 01:25:32,040
Speaker 3: and there's a very they take on kind of religious

1498
01:25:32,160 --> 01:25:34,320
Speaker 3: the trappings of religious figures.

1499
01:25:34,800 --> 01:25:38,960
Speaker 2: Yeah, I could not find a really adequate explanation of this.

1500
01:25:39,080 --> 01:25:41,960
Speaker 2: I looked around and I found other people online trying

1501
01:25:42,000 --> 01:25:44,280
Speaker 2: to figure this out as well. Like they do they

1502
01:25:44,320 --> 01:25:46,000
Speaker 2: travel on a spaceship and we just don't see it.

1503
01:25:46,280 --> 01:25:50,000
Speaker 2: Maybe do they just take weird drugs and magically travel here.

1504
01:25:50,479 --> 01:25:54,200
Speaker 2: Possibly there might be some third option I'm missing, but

1505
01:25:54,280 --> 01:25:55,439
Speaker 2: at any rate, they arrive.

1506
01:25:55,920 --> 01:25:57,960
Speaker 3: I just wanted to mention a frame that I included

1507
01:25:58,080 --> 01:25:59,800
Speaker 3: right here at the end for us Rob which is

1508
01:26:01,400 --> 01:26:03,439
Speaker 3: toward the end of the movie. One character. Wait, is

1509
01:26:03,520 --> 01:26:06,240
Speaker 3: this the character of the actress who is shown with

1510
01:26:06,400 --> 01:26:09,040
Speaker 3: the with like a flesh eating disease at the end?

1511
01:26:09,439 --> 01:26:11,200
Speaker 2: Oh, I thought this was Azel.

1512
01:26:11,520 --> 01:26:14,040
Speaker 3: Oh, okay, it might be okay, Yeah.

1513
01:26:13,920 --> 01:26:16,920
Speaker 2: For she is, assuming I'm correct here, she has now

1514
01:26:17,040 --> 01:26:20,599
Speaker 2: has some sort of a strange kind of like space

1515
01:26:20,880 --> 01:26:24,839
Speaker 2: leprosy thing going on. It's you know, grotesque and beautiful

1516
01:26:24,880 --> 01:26:25,479
Speaker 2: at the same time.

1517
01:26:25,840 --> 01:26:27,800
Speaker 3: Yeah, And so she has that she wears like a

1518
01:26:27,960 --> 01:26:30,320
Speaker 3: veil over her face but it's uncovered and she has

1519
01:26:30,400 --> 01:26:33,800
Speaker 3: these sores and then it Yasik is just standing there

1520
01:26:33,840 --> 01:26:36,040
Speaker 3: next to her and says how much can one endure?

1521
01:26:36,720 --> 01:26:36,840
Speaker 4: Uh?

1522
01:26:37,120 --> 01:26:39,680
Speaker 3: And I have to feel like maybe that was the

1523
01:26:39,800 --> 01:26:42,600
Speaker 3: director talking about both the making of the movie and

1524
01:26:42,920 --> 01:26:43,920
Speaker 3: your watching of it.

1525
01:26:44,400 --> 01:26:47,360
Speaker 2: Yeah, how much can one endure about what one hundred

1526
01:26:47,360 --> 01:26:48,280
Speaker 2: and sixty six minutes.

1527
01:26:48,520 --> 01:26:50,360
Speaker 3: There's so much we haven't talked about, but I feel

1528
01:26:50,400 --> 01:26:52,160
Speaker 3: like we've got to cut it off at some point,

1529
01:26:52,240 --> 01:26:54,720
Speaker 3: So I think maybe we're we're getting there. I don't

1530
01:26:54,760 --> 01:26:56,400
Speaker 3: know if you have anything else you want to hit on.

1531
01:26:56,760 --> 01:26:59,080
Speaker 2: Oh, I mean, I just have to say again, it's

1532
01:26:59,160 --> 01:27:04,720
Speaker 2: the costuming, the setting, the the just exhausting in a

1533
01:27:04,800 --> 01:27:08,479
Speaker 2: good way, performances. You know, it's just so much creative

1534
01:27:08,640 --> 01:27:11,400
Speaker 2: energy went into this thing, and you know, thank goodness

1535
01:27:11,439 --> 01:27:14,599
Speaker 2: it survived. What a tragedy it would have been if

1536
01:27:14,640 --> 01:27:18,080
Speaker 2: all of this work, regardless of the quality of the

1537
01:27:18,360 --> 01:27:20,639
Speaker 2: final film or what we have of the final film,

1538
01:27:20,720 --> 01:27:22,519
Speaker 2: if all of that work had gone to waste and

1539
01:27:23,520 --> 01:27:26,760
Speaker 2: an audience didn't get to experience it. You know. Yeah,

1540
01:27:26,760 --> 01:27:28,560
Speaker 2: but I do think that there was the result of

1541
01:27:28,560 --> 01:27:30,760
Speaker 2: it here. It's again, I was never bored throughout the

1542
01:27:30,800 --> 01:27:34,599
Speaker 2: whole thing. At times, I was exhausted and certainly challenged

1543
01:27:34,920 --> 01:27:40,800
Speaker 2: by the content, but it is a phenomenal film viewing experience,

1544
01:27:41,040 --> 01:27:43,559
Speaker 2: and I do recommend it to anyone out there who

1545
01:27:44,040 --> 01:27:48,719
Speaker 2: likes a weird jaunt into just another cinematic realm.

1546
01:27:49,200 --> 01:27:51,240
Speaker 3: It might not be for everyone, but it is a

1547
01:27:51,720 --> 01:27:54,360
Speaker 3: remarkable piece of filmmaking absolutely.

1548
01:27:55,040 --> 01:27:56,840
Speaker 2: All right, Well, we're going to go and close it

1549
01:27:56,920 --> 01:27:58,920
Speaker 2: out here, but we'd love to hear from everyone out there.

1550
01:27:59,080 --> 01:28:02,080
Speaker 2: Do you have a pass concerning on the Silver Globe

1551
01:28:02,720 --> 01:28:05,960
Speaker 2: or perhaps a future concerning on the Silver Globe? Right in,

1552
01:28:06,080 --> 01:28:08,160
Speaker 2: we would love to hear from you also, you know, certainly,

1553
01:28:08,240 --> 01:28:10,720
Speaker 2: especially with this being our first Polish film, if we

1554
01:28:10,800 --> 01:28:14,800
Speaker 2: have you know, listeners from Poland or of Polish descent,

1555
01:28:15,000 --> 01:28:17,400
Speaker 2: or just you know, film fans who have more familiarity

1556
01:28:17,439 --> 01:28:19,840
Speaker 2: with Polish cinema than we do. Right in, we'd love

1557
01:28:19,880 --> 01:28:22,240
Speaker 2: to hear from you about this movie or about you know,

1558
01:28:22,400 --> 01:28:26,960
Speaker 2: other films from Polish cinema and Polish creators, directors and

1559
01:28:27,080 --> 01:28:30,200
Speaker 2: featuring Polish actors we might consider in the future. Yeah,

1560
01:28:30,240 --> 01:28:32,920
Speaker 2: we'd love to hear it. Just as a reminder. Stuff

1561
01:28:32,960 --> 01:28:35,519
Speaker 2: to Blow Your Mind is primarily a science podcast feed

1562
01:28:35,600 --> 01:28:38,320
Speaker 2: with core episodes of the podcast on Tuesdays and Thursdays

1563
01:28:39,040 --> 01:28:42,559
Speaker 2: dealing with topics you know, scientific and cultural. On Mondays

1564
01:28:42,600 --> 01:28:44,960
Speaker 2: we do listener mail. On Wednesdays we do a short

1565
01:28:45,040 --> 01:28:47,479
Speaker 2: form episode and on Fridays, we set aside most serious

1566
01:28:47,479 --> 01:28:49,479
Speaker 2: concerns to just talk about a weird film on Weird

1567
01:28:49,520 --> 01:28:51,519
Speaker 2: House Cinema. If you want to see a list of

1568
01:28:51,560 --> 01:28:53,400
Speaker 2: all the films we've covered over the years, go to

1569
01:28:53,560 --> 01:28:55,680
Speaker 2: letterbox dot com. It's L E T T E R

1570
01:28:55,760 --> 01:28:58,160
Speaker 2: B O x D dot com. It's a fun website

1571
01:28:58,200 --> 01:29:00,639
Speaker 2: for film fans in general, but we have a profile there.

1572
01:29:01,080 --> 01:29:02,960
Speaker 2: Our profile name is weird House, and we have a

1573
01:29:03,040 --> 01:29:05,599
Speaker 2: list of everything we've covered and sometimes a peek ahead

1574
01:29:05,880 --> 01:29:07,080
Speaker 2: at what's coming out next.

1575
01:29:07,760 --> 01:29:11,400
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1576
01:29:11,640 --> 01:29:13,160
Speaker 3: If you would like to get in touch with us

1577
01:29:13,200 --> 01:29:15,679
Speaker 3: with feedback on this episode or any other, to suggest

1578
01:29:15,760 --> 01:29:17,760
Speaker 3: a topic for the future, or just to say hello,

1579
01:29:18,200 --> 01:29:20,800
Speaker 3: you can email us at contact at stuff to Blow

1580
01:29:20,840 --> 01:29:21,880
Speaker 3: your Mind dot com.

1581
01:29:28,760 --> 01:29:31,680
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1582
01:29:31,800 --> 01:29:34,519
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1583
01:29:34,720 --> 01:29:37,439
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.