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

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is 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 nineteen seventy five Italian mystery thriller Footprints

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Speaker 3: on the Moon aka Primal Impulse aka just Footprints. It's

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Speaker 3: a much less intriguing title. I don't know why anybody

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Speaker 3: would just say footprints. Footprints on the Moon much much better.

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Speaker 3: But this movie stars Florinda Bulkan, Peter mckinnery, and in

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Speaker 3: a bit part, klaus Kinski.

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Speaker 2: Right right though, even if you just have a dash

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Speaker 2: of Klauskinski in there, you know it. People notice. It's

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Speaker 2: a powerful spice.

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Speaker 3: So I came to this selection in a slightly awkward way,

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Speaker 3: because here's where it came from, folks, to get the

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Speaker 3: whole backstory. Earlier this month, you had mentioned that some

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Speaker 3: creatures of the Cinemadrome celebrate something called Jallo January, a

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Speaker 3: sort of Jay and B guzzling leather gloved cousin of

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Speaker 3: noir November. And when you mentioned this, I was definitely

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Speaker 3: intrigued because I'm sort of something of a Jallo fan,

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Speaker 3: but I think I had already decided I wanted to

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Speaker 3: do a Santo movie for my previous pick, but when

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Speaker 3: this week came around, I decided to give in to

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Speaker 3: the reason for the season and look for a Jallo

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Speaker 3: to talk about, one that would be weird enough for

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Speaker 3: Weird House and one that I had never seen before.

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Speaker 3: So I was poking around online reading things trying to

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Speaker 3: find a good weird Jallo I was not familiar with,

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Speaker 3: and I ended up settling on Footprints on the Moon.

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Speaker 3: And while I think this movie is very excellent, I'm

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Speaker 3: more than pleased with the choice, I am skeptical whether

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Speaker 3: it would actually be considered a Jallo by most fans

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Speaker 3: of the genre. A lot of the online references were

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Speaker 3: classifying it as such, but it's missing some of the

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Speaker 3: key genre elements, though on the other hand, still maintaining

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Speaker 3: a lot of the genre's signature esthetics. So maybe we

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Speaker 3: can talk about this more later in the episode, but

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Speaker 3: I think there will be serious debate over whether it

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Speaker 3: should be thought of as a Jallo or not.

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Speaker 2: Yeah, you could make a case for it being Jallo adjacent.

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Speaker 2: I guess which is close enough for our purposes here.

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Speaker 3: Now, if you're not familiar with the terminology, I think

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Speaker 3: we've probably gabbed about this on the show before, but hey,

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Speaker 3: why not talk about it again. It's always fun to

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Speaker 3: define and try to understand what the soul of the jallo.

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Speaker 3: But if you're not familiar Jallo movies, the plural is

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Speaker 3: technically Jalli are typically understood as a genre of Italian

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Speaker 3: murder mystery thrillers, often with strong horror elements and often

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Speaker 3: erotically charged Jallo movie. These are kind of a long

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Speaker 3: running staple in our house. Used to be whenever I

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Speaker 3: visited Videodrome, whatever else I was checking out, I would

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Speaker 3: also always grab at least one unfamiliar disc from the

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Speaker 3: video corner of shame, the Jallo corner there, so we

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Speaker 3: know and are fans of jallo around here. So any

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Speaker 3: seemingly disparaging comments I make about the genre in the

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Speaker 3: rest of this episode come from a place of familiarity.

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Speaker 3: In love.

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Speaker 2: Yeah, yeah, I mean it makes sense. You want to

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Speaker 2: get a little side item from the Gava menu. You know,

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Speaker 2: it's like it's you know, it's not super nutritious, but

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Speaker 2: you know you're having a meal out you might as

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Speaker 2: well indulge yourself.

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Speaker 3: It's just I don't know, so often on a Friday night,

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Speaker 3: what Rachel and I wanted was a jallo.

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Speaker 2: And there's so many this genre has. Just it's a

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Speaker 2: never ending well. Anytime we dive into even just into

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Speaker 2: the filmographies of people who worked in this genre or subgenre,

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Speaker 2: I'm always discovering new titles. And it's sometimes helps that

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Speaker 2: there are generally multiple titles in the mix for any

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Speaker 2: given film.

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Speaker 3: Yeah, So, coming back to what makes a yellow, of

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Speaker 3: course they are these usually murder mystery thrillers. Usually the

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Speaker 3: plot involves a series of grizzly, shocking homicides, often committed

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Speaker 3: with a strange or disturbing weapon. So it's usually not

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Speaker 3: just like a gun or a regular knife, but more

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Speaker 3: often say a knitting needle or a shard of glass,

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Speaker 3: or a venomous animal, or like an antique suit of

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Speaker 3: armor glove with spikes on the knuckles or something.

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Speaker 2: Yeah, but it's worth noting that this is distinct from

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Speaker 2: like the whole slasher genre that would then bubble up

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Speaker 2: mostly in America, especially strongly during the nineteen eighties. Like

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Speaker 2: there's there's something different about the way murders are committed,

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Speaker 2: the way that they're stylistically portrayed, and so forth.

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Speaker 3: Yeah, well, I mean, I think Jello is often considered

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Speaker 3: a major predecessor of an influence on the wave of

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Speaker 3: American slasher films that would come in the late seventies

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Speaker 3: and especially in the nineteen eighties, though I think there

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Speaker 3: are important differences. But I think definitely the soul of

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Speaker 3: the Shallo movies of the sixties and seventies is influential

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Speaker 3: on the slasher movies that would come later. So the

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Speaker 3: plot involves a series of murders, but the other thing

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Speaker 3: is that the story is a mystery. The identity of

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Speaker 3: the killer is unknown, and the viewer is pulled along

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Speaker 3: to the conclusion of the movie wanting to find out

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Speaker 3: who the killer is and what their motivation was. So

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Speaker 3: a lot of the big Shallo movies have an exciting

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Speaker 3: payoff because the reveal of the killer is quite surprising.

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Speaker 3: Often it's a minor character you wouldn't have expected, or

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Speaker 3: someone who gave no sign of danger previously. A lot

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Speaker 3: of times the reveal I think this is sort of

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Speaker 3: influenced by Alfred Hitchcock's Psycho. The reveal of the killer's

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Speaker 3: motivations is often a divulging of some kind of like

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Speaker 3: psychological trauma that was previously unknown in a pre existing

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Speaker 3: character's backstory. Common esthetic features of Jello. I notice what

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Speaker 3: feels like a real combination of high art and pulp

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Speaker 3: sensibilities all jumbled together. So these movies are on one hand,

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Speaker 3: quite often trashy and prurient, but also with a really

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Speaker 3: palpable sense of artistic pride that you don't get in

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Speaker 3: most American slasher movies. In these Italian movies, you get

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Speaker 3: the feeling that you know, while they were staging some

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Speaker 3: tawdry potato peel or murder scene, they were thinking, I am,

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Speaker 3: like Michaelangelo, this is important artistic work.

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Speaker 2: They're often It's also I think important to stress that

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Speaker 2: jallo are almost always, if not always, thoroughly modern, and

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Speaker 2: there's probably a subtext in there somewhere in most of

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Speaker 2: these films too, like dealing with issues boiling up around

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Speaker 2: the state of modernity, it current social norms, social problems,

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Speaker 2: and so forth. But yeah, it's not surprising to see,

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Speaker 2: like all the latest technologies that are going to be

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Speaker 2: present in say nineteen seventy three or something in a

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Speaker 2: given example of this subgenre.

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Speaker 3: That's right, and in terms of dealing with like current

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Speaker 3: social issues. Another big thing about Shalla movies is that

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Speaker 3: they often explore themes of sex and gender conflict, sometimes

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Speaker 3: projecting misogynist attitudes by casting women as helpless sort of

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Speaker 3: feeble objects of male lust and violence, or treating women

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Speaker 3: as especially psychologically frail, but in other cases sort of

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Speaker 3: taking the woman's point of view and showing misogyny and

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Speaker 3: pathetic forms of resentment against women as the primary motivators

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Speaker 3: of the movie's villainy and the thing that has to

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Speaker 3: be unmasked and destroyed at the end.

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Speaker 2: Yeah, So there's definitely room in a HOLLO picture for

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Speaker 2: a strong female character. You don't always find them there,

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Speaker 2: but there are examples that you can turn to.

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Speaker 3: Some do and some really don't.

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Speaker 4: Yeah.

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Speaker 3: Another thing is that they tend to be visually striking

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Speaker 3: a lot of times, high contrast, a bold or even

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Speaker 3: lurid color palette, real like artistic attention to shot composition.

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Speaker 3: Like a lot of these movies in terms of plot

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Speaker 3: content might be kind of trash, but a lot of

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Speaker 3: them really look great. They're kind of beautiful.

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Speaker 2: Yeah, murder is often beautiful or at least stylish in

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Speaker 2: these pictures.

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Speaker 3: Yeah. Another thing is an often unsubtle musical score. So

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Speaker 3: you can think about if you've ever heard this Dario

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Speaker 3: Argento's work with Goblin that goes in his movies or

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Speaker 3: in the movie we're talking about today, that it's debatable

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Speaker 3: whether it's actually a jello, the kind of fugue like

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Speaker 3: blasts of organ that we get through throughout the film.

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Speaker 3: Another thing is a tendency toward voyeuristic camera work. So

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Speaker 3: in these movies, the camera watches the protagonist or the

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Speaker 3: murder victim from a hiding place, maybe peeking through the

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Speaker 3: slats in a wall or looking through a keyhole, or

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Speaker 3: it just in some other way kind of intrudes into

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Speaker 3: private spaces to see the characters that their most vulnerable,

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Speaker 3: or it takes the killer's point of view. This is

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Speaker 3: a cinematography choice that is often poured over into the

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Speaker 3: American Slashers as well. In terms of like set dressing

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Speaker 3: and costuming, there are some very strong themes that occur

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Speaker 3: again and again the killer. The killer often hides their

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Speaker 3: identity by wearing a hat, a trench coat, and black

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Speaker 3: leather gloves, and there's also just a general kind of

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Speaker 3: inflammation of seventies clothing. It's one of our favorite elements

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Speaker 3: of these movies when my wife and I watch them.

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Speaker 3: I love the clothes.

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Speaker 2: Oh, I agree to you. I mean, anytime I watch

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Speaker 2: one of these films, it's that focus on the modern

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Speaker 2: world and often some sense of fashion that is just

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Speaker 2: thoroughly captivating. I mean, for me, having been born in

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Speaker 2: the seventies, I'm just you know, endlessly fascinated with you know,

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Speaker 2: the style and the culture that I was born out of.

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Speaker 3: Yeah, another thing I have to mention, can't make a

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Speaker 3: Jallo without a J and B bottle. Something you will

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Speaker 3: always see one either on a shelf or being poured

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Speaker 3: into a glass, into a into a kind of ornate

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Speaker 3: crystal tumbler glass. There's you know, there's a lot of

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Speaker 3: good glassware in the films, and always a J and B. Also,

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Speaker 3: just a lot of focus on loud flourishes of art

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Speaker 3: and design and interior decor. The movie often features, or

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Speaker 3: sometimes actually directly involves in the plot crazy wallpaper patterns,

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Speaker 3: bizarre tapestries, oil paintings, art exhibits, stained glass, statuary, and

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Speaker 3: things like that. Now, beyond that, there are also some

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Speaker 3: common plot and character features of Jolly One is that

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Speaker 3: it's been observed that the main character is usually an

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Speaker 3: outsider of some kind or is alienated, so they might

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Speaker 3: be in an unfamiliar place, or they might be estranged

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Speaker 3: from their social group for some reason. That the protagonist

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Speaker 3: of Ajallo is not in their element as they try

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Speaker 3: to piece together the clues and solve the mystery. Another

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Speaker 3: thing is protagonists are very often found questioning their sanity

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Speaker 3: or being thought insane by others. And then, finally, this

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Speaker 3: is one that I've read about less, but I've just

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Speaker 3: always noticed it myself and found it so interesting. So

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Speaker 3: so many of the movies within this one subgenre have

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Speaker 3: the same plot device, which is a protagonist who already

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Speaker 3: saw the solution to the mystery, or saw some important

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Speaker 3: clue with their own eyes, or sensed it with their

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Speaker 3: own senses. Maybe they heard something but in somehow, they

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Speaker 3: somehow sensed with their own senses the solution to the mystery,

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Speaker 3: but they can't quite remember it or they can't quite

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Speaker 3: make sense of it, and they spend the rest of

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Speaker 3: the film trying to reconstruct the memory or trying to

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Speaker 3: understand what it is they already saw. And this has

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Speaker 3: always struck me as a potent psychological metaphor that may

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Speaker 3: have some deeper cultural significance. I don't know enough about

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Speaker 3: Italy in the sixties and seventies to speculate on exactly

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Speaker 3: what that cultural kind of metaphor would be, but it's

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Speaker 3: very interesting that the solution to the murder mystery is

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Speaker 3: so often not completely hidden. It's something that you already saw,

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Speaker 3: you already took it in, but now, for whatever reason,

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Speaker 3: you can't remember it or can't make sense of it.

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Speaker 3: So the final piece of puzzle in terms of the

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Speaker 3: plot structure, is often an event or a clue that

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Speaker 3: causes the protagonist to suddenly fully remember or finally understand

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Speaker 3: what they already saw in the beginning. I'm trying to

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Speaker 3: think if there's much precedent for this in other mystery

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Speaker 3: stories outside of the shallow subgenre, and nothing's really coming

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Speaker 3: to mind, though I'm sure there are stories like this.

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Speaker 2: Yeah, I wouldn't be surprised if it's a trope that

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Speaker 2: is present in the larger mystery genre. But then within

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Speaker 2: Jalloh becomes like a part of the blueprint more or less,

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Speaker 2: you know, Yeah, you often see that. I guess with

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Speaker 2: different genre spinoffs and subgenres.

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Speaker 3: Yeah, yeah, And I wonder how this plot convention of

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Speaker 3: like in a way you already saw the answer, but

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Speaker 3: you can't remember it or understand it is connected to

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Speaker 3: another thing about Jali, which is that usually the investigator

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Speaker 3: or the protagonist who's trying to solve the mystery is

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Speaker 3: not an investigator by way of like their job.

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Speaker 4: You know.

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Speaker 3: It's not like these cop mystery movies where I'm a

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Speaker 3: detective and I've got to be here and solve the mystery.

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Speaker 3: Usually the protagonist has a personal connection to the crimes

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Speaker 3: take place, and they are a non professional investigator.

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Speaker 4: Yeah.

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Speaker 2: Yeah, it's you know, it's it's interesting when you start

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Speaker 2: piecing together all of these different attributes you get this

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Speaker 2: sort of this picture of a of a stranger in

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Speaker 2: a strange modern world, almost a sense of future shock

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Speaker 2: to it at least, well but less on the technological

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Speaker 2: side of things and more on just like the social

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Speaker 2: side of things. And uh uh, you know, I guess

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Speaker 2: this movie is the one that is that is that

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Speaker 2: I'm most current on since I just watched it, But

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Speaker 2: it lines up with this theme in a number of ways.

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Speaker 2: You know, the sense of like a globe trotting, modern

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Speaker 2: professional woman, and well while there there are you know,

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Speaker 2: there are some elements where we can see that she's

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Speaker 2: maybe not at odds with the world, but it has

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Speaker 2: like real world stressors in play, and that sort of

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Speaker 2: like bleeds over into this more surreal scenario that we

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Speaker 2: see in the picture.

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Speaker 3: Yeah, yeah, I don't want to spoil too much about

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Speaker 3: the ending of the film now, though by the time

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Speaker 3: we get to the end of the plot section, we

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Speaker 3: definitely are going to spoil the ending. And this movie

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Speaker 3: is full of surprises. So if you want to see

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Speaker 3: Footprints on the Moon without having anything spoiled, I guess

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Speaker 3: now would be a good time to pause the episode

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Speaker 3: and go watch it yourself. But there are questions raised

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Speaker 3: by the reveal at the end of the movie about it,

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Speaker 3: like exactly what the motivation for the main character's psychological

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Speaker 3: state or struggle is and to what extent that's brought

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Speaker 3: on by something within her or by circumstances outside her control.

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Speaker 3: So anyway, having reviewed all of this stuff about what

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Speaker 3: Jallo is, is Footprints on the Moon a shallo? I

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Speaker 3: think a lot of people would say no, because it

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Speaker 3: is not a murder mystery. The film does not begin

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Speaker 3: with a murder, and there is really very almost no

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Speaker 3: violence in it until closer to the end. Nevertheless, it

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Speaker 3: does really feel like a shallo. It's a mystery with

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Speaker 3: an aura of menace. It is somewhat sexually charged. It

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Speaker 3: involves an out of place protagonist physically out of place

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Speaker 3: and also alienated, a protagonist haunted by something that she

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Speaker 3: apparently cannot remember. It looks and sounds like a shallo

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Speaker 3: in terms of the musical soundtrack, it looks like one

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Speaker 3: in the shot composition and the use of color and

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Speaker 3: all that, And one of the clues to solve the

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Speaker 3: mystery is a memory of a giant stained glass peacock.

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Speaker 3: So my ruling is, I think, yeah, you can call

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Speaker 3: it a shallo, even though it does not have the

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Speaker 3: main plot element that defines a shallow you know, it's

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Speaker 3: not solving a murder mystery, though it does have murders

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Speaker 3: within a recurring dream, and as a bonus, they are

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Speaker 3: they are moon murders.

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Speaker 2: I'm glad you mentioned that the giant stained glass peacock,

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Speaker 2: which we'll come back to, because that is almost literally

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Speaker 2: a bird with crystal plumage.

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Speaker 3: You know, yes, yeah.

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Speaker 2: I think the most important thing to stress about, and

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Speaker 2: the Gallo or not Jallow conversation is that I think

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Speaker 2: you probably do the film a disservice if you hype

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Speaker 2: it up as yalloh too much, because then you run

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Speaker 2: the risk of people coming into it expecting an Argento

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Speaker 2: film or expecting a folk sci film. And if you

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Speaker 2: do that, you're going to be disappointed. It's just not

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Speaker 2: that sort of picture, and it's it's really very tame

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Speaker 2: by Jalla's standard. It's almost like g rated Joab likewise,

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Speaker 2: even on the color and visual spectrum. If you're if

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Speaker 2: you come in expecting it to be in line with

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Speaker 2: Mario Bava, I mean, you're gonna be disappointed with any

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Speaker 2: non Mario Bava film if you're doing that. But you

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Speaker 2: come in expecting Suspiria or something like that. This film

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Speaker 2: is gorgeous in its own right, but it's it's doing

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Speaker 2: its own thing for the most part. Some scenes are

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Speaker 2: definitely more surreal in their color scheme than others, but

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Speaker 2: you're it's not a picture that's going for those Mario

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Speaker 2: Bava sequences either.

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Speaker 3: Yeah, it's not going nuts with the Jeli. It's like Boba.

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Speaker 2: Yeah, right, So I think it's better to really think

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Speaker 2: of it as art house surreal or psychological mystery.

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Speaker 3: Yes, but I don't know if I've emphasized this enough already.

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Speaker 3: I loved Footprints on the Moon. I thought this movie

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Speaker 3: created such an enticing atmosphere of mystery. I can't remember

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Speaker 3: the last time I saw a movie and I was

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Speaker 3: so curious to know what the solution was.

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Speaker 2: Yeah, and it's it's exceedingly beautiful, as we'll discuss. Like

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Speaker 2: the first twenty minutes of this picture, I was just

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Speaker 2: captivated by the cinematography and the shot composition. Like I get,

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Speaker 2: it's something you can take for granted in a lot

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Speaker 2: of movies, obviously, but this this film does such a

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Speaker 2: great job with just like the little details and just

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Speaker 2: like there's there's some puttsing around in an apartment building

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Speaker 2: early on in the picture that could just be, you know,

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Speaker 2: thankless and maybe a little bit boring in another picture.

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Speaker 2: But it was very captivating here, just in large part

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Speaker 2: because of the way it was shot and the way

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Speaker 2: it was presented.

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Speaker 3: Yeah. I mentioned that a lot of shallow films are

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Speaker 3: more visually striking than you would have given their subject matter.

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Speaker 3: But I feel like this is an especially beautiful movie.

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Speaker 3: It is better looking even than the shallow standard. Yeah,

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Speaker 3: and there are some ugly shallows. I just meant that

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Speaker 3: generalization on average.

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Speaker 2: Yeah, the better ones are often remembered for their stunning visuals. Yeah,

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Speaker 2: all right, well hit us with an elevator pitch.

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Speaker 3: H here we go. Alice Chespie is missing three days

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Speaker 3: of her memory and is haunted by visions of an

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Speaker 3: astronaut murdered on the surface of the moon. What happened

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Speaker 3: to her? And what does klaus Kinsky have to do

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Speaker 3: with it?

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Speaker 2: All right, let's hear a little bit of the trailer audio.

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Speaker 5: Why am I here? Why did I come to Gama,

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Speaker 5: to this strange town? I know I was never in before.

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Speaker 4: Your prince is Alice. My name is Alice. That's not true.

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Speaker 4: Look it looks like blood.

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Speaker 5: What was I doing for those three days? Why can't

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Speaker 5: I remember a single thing about them?

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Speaker 4: It's all those tranquilizer as you take. You probably took

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Speaker 4: a larger dose than usual and slept right through you.

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Speaker 5: This morning, I saw you on the beach.

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Speaker 4: I think one day this week?

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Speaker 5: Was it Tuesday?

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Speaker 4: Are you sure it was me? No? I didn't see

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Speaker 4: it at all on Tuesday.

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Speaker 5: Alice, I know you can hear me open the door.

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Speaker 4: Did you find him? Who? Your friend? What friend? Your friend? Harry?

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Speaker 4: Who told you I had a friend named Harry?

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Speaker 2: All right, so at this point, if you would like

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Speaker 2: to go out and watch Footprints on the Moon, well,

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Speaker 2: there is a DVD of the film, but it's also

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Speaker 2: widely available for digital rental or purchase, and is also

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Speaker 2: on some of the package streaming services. I was snowed in,

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Speaker 2: so I rented it on Prime and the quality was great. However,

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Speaker 2: I will say I had no audio options I was.

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Speaker 2: I do not know if there are other language dubs

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Speaker 2: for this, but the version I watched it in was English.

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Speaker 3: You said the disc version is a DVD, but I'm

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Speaker 3: pretty sure there is a blu ray from Severin.

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Speaker 2: Is there? Okay? Yeah, well that, oh it would be

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Speaker 2: even better.

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Speaker 3: It's under the alternate title. It's not called Footprints on

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Speaker 3: the Moon. It just says Footprints. I mean, what's what

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Speaker 3: why I put the moon in the title, That's what

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Speaker 3: sells it.

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Speaker 2: I think that was the name of the original Italian novel.

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Speaker 2: But all right, now I'm pulling up the Severin's website.

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Speaker 2: I'm looking at the cuts let's see what do we have.

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Speaker 2: We have an Italian cut and a US cut. I'm

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Speaker 2: assuming I probably watched the US cut based on everything.

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Speaker 3: Yeah, that's probably what I saw. That we may have

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Speaker 3: watched the same streaming version. I watched the one available

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Speaker 3: through scream Box, which is a premium subscription on Prime.

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Speaker 2: My main question is just about like the version I watched,

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Speaker 2: Kloskinski is dubbed. It's not klass Kinski's voice, and you

387
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Speaker 2: know is we'll discuss his is a bit part and

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Speaker 2: it doesn't really matter. But I mean that whether it's

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Speaker 2: his voice or not. But I was just wondering, well,

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Speaker 2: does this mean there is a different cut like in

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Speaker 2: the Italian cut?

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Speaker 5: Is?

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Speaker 2: I mean, I don't know. They're probably dubbed in either case,

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Speaker 2: but at any rate, the version I watched was in English.

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Speaker 2: But this Blu ray does look excellent, So this would

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Speaker 2: be the ideal physical media viewing A choice right here?

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Speaker 2: All right, Well, let's get into the people behind Footprints

398
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Speaker 2: on the Moon, starting at the top with the director

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Speaker 2: Luigi Bzzoni born nineteen twenty nine died twenty twelve, also

400
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Speaker 2: a writer on the picture, a Tiger director and screenwriter

401
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Speaker 2: with five films to his credit, all genre pictures of

402
00:23:51,680 --> 00:23:54,960
Speaker 2: different types. There's a nineteen sixty five's The Possessed that

403
00:23:55,080 --> 00:23:58,919
Speaker 2: was a mystery starring Peter Baldwin. Sixty seven's Man Pride

404
00:23:58,960 --> 00:24:02,280
Speaker 2: and Vengeance that's a western with Franco Nero and Klauskinski.

405
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Speaker 2: Seventy one's The Fifth Chord that's a Franco Nero Jallo

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Speaker 2: and also and then there's seventy three's Brothers Blue that

407
00:24:10,000 --> 00:24:13,480
Speaker 2: say Western with jack palettes. And then came this film

408
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Speaker 2: Footprints on the Moon, which was his final picture.

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Speaker 3: Never seen anything else by this guy, but Footprints is

410
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Speaker 3: so strong. I may have to check these other ones out.

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Speaker 3: Even the westerns. Oh, come on a Franco Niro and

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Speaker 3: Klauskinski western.

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Speaker 2: What I mean? There are a number of spaghetti westerns

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Speaker 2: that that are on my eventual viewing list. Sometimes it's

415
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Speaker 2: really hard to pass up a horror film for a western,

416
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Speaker 2: but some of these are very well regarded, and there

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Speaker 2: you know, obviously there are some real classics in the

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Speaker 2: spaghetti western zone. So uh yeah, we should maybe come

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Speaker 2: back to one. Even on Weird House. There are some

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Speaker 2: weird spaghetti westerns for sure, all right. The other writing

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Speaker 2: credit and also credit for the original novel goes to

422
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Speaker 2: Mario Finelli, who lived nineteen twenty four through nineteen ninety one,

423
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Speaker 2: an Italian writer, screenwriter, and director in his own right.

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Speaker 2: In fact, he seemingly directed some on this film in

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Speaker 2: an uncredited capacity. Again, the film was based on his

426
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Speaker 2: original novel The Footprints, but he'd also worked with Bozoni

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Speaker 2: on The Fifth Chord and Brothers Blue. He has an

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Speaker 2: extensive directing filmography as well, including a great deal of

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Speaker 2: TV work. All right, now getting into the cast. The

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Speaker 2: star of the picture is Florinda Bulkin playing Alice. Born

431
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Speaker 2: nineteen forty one, Brazilian actress and model who moved through

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Speaker 2: both art house and grindhouse Italian cinema. She was active

433
00:25:39,400 --> 00:25:41,960
Speaker 2: to one degree or another from nineteen sixty eight through

434
00:25:42,000 --> 00:25:46,560
Speaker 2: twenty nineteen. Her first film credit was a supporting role

435
00:25:46,640 --> 00:25:49,159
Speaker 2: in the nineteen sixty eight picture Candy, which had an

436
00:25:49,240 --> 00:25:52,520
Speaker 2: all star international cast like I think John Houston was

437
00:25:52,520 --> 00:25:55,679
Speaker 2: in it, and Ringo Star and just various other folks.

438
00:25:55,720 --> 00:25:59,640
Speaker 2: It was a lot of pretty crowded cast on that one.

439
00:26:00,160 --> 00:26:02,920
Speaker 3: Of movie is that like is it a screwball comedy

440
00:26:03,080 --> 00:26:06,960
Speaker 3: or it is a sex farce? Oh boy, but.

441
00:26:08,640 --> 00:26:12,199
Speaker 2: It's from a screenplay by Buck Henry. I haven't seen it,

442
00:26:12,240 --> 00:26:15,080
Speaker 2: but again, it's like it's got Marlon Brando, Richard Burton,

443
00:26:15,480 --> 00:26:17,440
Speaker 2: Walter Mathowl, Yeah.

444
00:26:17,280 --> 00:26:20,280
Speaker 3: Oh, James Coburn. Yeah, it's it's a loaded cast.

445
00:26:20,880 --> 00:26:23,800
Speaker 2: But I can't I can't really speak for it beyond that,

446
00:26:24,000 --> 00:26:26,720
Speaker 2: just that it's it has a lot of people I

447
00:26:26,760 --> 00:26:27,359
Speaker 2: recognize in it.

448
00:26:27,640 --> 00:26:28,280
Speaker 3: Oki Doki.

449
00:26:29,119 --> 00:26:32,480
Speaker 2: Her subsequent work again weaves back and forth between the genres,

450
00:26:32,520 --> 00:26:35,520
Speaker 2: including the likes of Luccio Fulci's Lizard in a Woman's

451
00:26:35,520 --> 00:26:38,480
Speaker 2: Skin in seventy one and Don't Torture a Duckling in

452
00:26:38,520 --> 00:26:41,960
Speaker 2: seventy two, as well as pictures like like the James

453
00:26:41,960 --> 00:26:47,200
Speaker 2: Clavel directed and adapted The Last Valley in seventy one

454
00:26:47,240 --> 00:26:50,280
Speaker 2: that starred Michael Kine and Omar Sharif. I was a

455
00:26:50,280 --> 00:26:52,040
Speaker 2: big fan of this picture when I was younger. I

456
00:26:52,040 --> 00:26:54,000
Speaker 2: haven't seen it in a long time, but it's set

457
00:26:54,040 --> 00:26:57,520
Speaker 2: during the Thirty Years War. Has to do with this

458
00:26:57,560 --> 00:27:01,440
Speaker 2: whole like com mercenary crew. It's headed up by Michael

459
00:27:01,520 --> 00:27:04,760
Speaker 2: Kaine's character and they defect, and as they defect, he

460
00:27:05,119 --> 00:27:08,720
Speaker 2: stabs somebody to death with his spiked helmet. So that

461
00:27:08,840 --> 00:27:10,800
Speaker 2: was That's a pretty fun I think I've probably mentioned

462
00:27:10,840 --> 00:27:14,680
Speaker 2: that before on the show. Okay anyway, Bulcan was also

463
00:27:14,720 --> 00:27:19,359
Speaker 2: in nineteen seventies Investigation of a Citizen Above Suspicion, and yeah,

464
00:27:19,400 --> 00:27:21,760
Speaker 2: she's been in a ton of stuff. She also wrote

465
00:27:21,800 --> 00:27:25,760
Speaker 2: and directed the two thousand film I Didn't Know Taruru,

466
00:27:26,400 --> 00:27:29,560
Speaker 2: and she was the longtime partner of producer Marina Chigona.

467
00:27:30,160 --> 00:27:34,160
Speaker 3: Florinda Bulkan is fantastic in this movie, and she has

468
00:27:34,240 --> 00:27:37,320
Speaker 3: to The movie really rests on her because there are

469
00:27:37,480 --> 00:27:41,080
Speaker 3: long stretches of the film where she is acting alone.

470
00:27:41,359 --> 00:27:44,879
Speaker 3: She is in scenes without anyone, in scenes with no dialogue,

471
00:27:44,880 --> 00:27:48,080
Speaker 3: with no one to act against, and so she's communicating

472
00:27:48,119 --> 00:27:51,560
Speaker 3: the whole arc of her of her character's you know,

473
00:27:51,680 --> 00:27:54,879
Speaker 3: feelings and discovery of things, just silently kind of reacting

474
00:27:54,920 --> 00:27:59,560
Speaker 3: to her environment. And I think she really carries the

475
00:27:59,600 --> 00:28:00,680
Speaker 3: film wonderful.

476
00:28:00,880 --> 00:28:04,080
Speaker 2: Absolutely, she's terrific in this. This is not a picture

477
00:28:04,359 --> 00:28:06,720
Speaker 2: where she's going to spend the run time running from

478
00:28:06,760 --> 00:28:08,840
Speaker 2: a mass man trying to stab her with a moon rock.

479
00:28:09,240 --> 00:28:16,560
Speaker 2: Now it's her quietly investigating her surroundings, and it's very

480
00:28:16,600 --> 00:28:20,120
Speaker 2: psychological in nature for the most part. With that PS

481
00:28:20,600 --> 00:28:24,879
Speaker 2: psychological focus turned inward. So yeah, it always takes a

482
00:28:24,880 --> 00:28:27,480
Speaker 2: skilled performer to really bring that sort of thing to life.

483
00:28:28,040 --> 00:28:30,480
Speaker 2: So we were talking about the potential for strong female

484
00:28:30,560 --> 00:28:33,560
Speaker 2: characters in a Jallah or Jallah adjacent film, and I

485
00:28:33,640 --> 00:28:36,080
Speaker 2: feel like this is a pretty strong character in a

486
00:28:36,119 --> 00:28:37,320
Speaker 2: definitely a strong performance.

487
00:28:37,680 --> 00:28:40,560
Speaker 3: Definitely strong performance. I think, I don't know people would

488
00:28:40,680 --> 00:28:44,360
Speaker 3: argue about the meaning of the ending in that regard,

489
00:28:44,440 --> 00:28:47,239
Speaker 3: but yeah, I mean, regardless there, I mean, I think

490
00:28:47,280 --> 00:28:51,360
Speaker 3: it's definitely a fascinating character and a wonderful performance by

491
00:28:51,400 --> 00:28:53,600
Speaker 3: Florinda Bulkan. Yeah, all right.

492
00:28:53,640 --> 00:28:57,040
Speaker 2: Another character that turns up is the character Henry, played

493
00:28:57,040 --> 00:29:01,640
Speaker 2: by Peter mcchinry born nineteen forty, a well regarded actor

494
00:29:01,760 --> 00:29:03,840
Speaker 2: with a long career on the British stage and in

495
00:29:03,880 --> 00:29:08,280
Speaker 2: British television obviously some euro projects as well. We chatted

496
00:29:08,280 --> 00:29:10,560
Speaker 2: about him before in one of our core stuff to

497
00:29:10,560 --> 00:29:14,000
Speaker 2: Blow your Mind episodes, Anthology of Horror seven, because he

498
00:29:14,080 --> 00:29:17,480
Speaker 2: starred in the nineteen eighty Hammer House of Horror episode

499
00:29:17,560 --> 00:29:18,520
Speaker 2: The Mark of Satan.

500
00:29:18,960 --> 00:29:19,240
Speaker 5: Oh.

501
00:29:19,320 --> 00:29:22,640
Speaker 3: Yeah, we did that in an anthology episode because it

502
00:29:22,680 --> 00:29:26,880
Speaker 3: was a movie about a man who became who became

503
00:29:27,680 --> 00:29:31,040
Speaker 3: possessed of the notion that there was an evil virus

504
00:29:31,160 --> 00:29:34,720
Speaker 3: that was infecting people and turning them against him, and

505
00:29:34,760 --> 00:29:38,400
Speaker 3: it was a kind of loss of sanity play as well.

506
00:29:39,280 --> 00:29:43,080
Speaker 3: But that was an interesting Hammer episode, and I think

507
00:29:43,080 --> 00:29:45,720
Speaker 3: we ended up relating it to certain kinds of viral

508
00:29:46,320 --> 00:29:47,800
Speaker 3: viral conditions in real life.

509
00:29:48,080 --> 00:29:51,239
Speaker 2: Yeah. Among the other things that he was in, there

510
00:29:51,320 --> 00:29:54,200
Speaker 2: was a seventy three this nineteen seventy three horror anthology

511
00:29:54,240 --> 00:29:57,760
Speaker 2: picture Tales that Witnessed Madness. Oh, and he was in

512
00:29:57,800 --> 00:30:01,480
Speaker 2: a wonderful nineteen eighty one adaptation of A Midsummer Night's Dream,

513
00:30:02,080 --> 00:30:05,200
Speaker 2: one that I believe I watched in a Shakespeare class

514
00:30:05,240 --> 00:30:08,400
Speaker 2: in college. Uh, it's not too much if I remember correctly,

515
00:30:08,440 --> 00:30:10,120
Speaker 2: it's not too much more than a film play.

516
00:30:10,560 --> 00:30:10,760
Speaker 5: Uh.

517
00:30:10,800 --> 00:30:13,200
Speaker 2: They're a number of these that, you know, like British

518
00:30:13,240 --> 00:30:15,760
Speaker 2: productions where it's you know, there aren't a bunch of

519
00:30:15,760 --> 00:30:19,120
Speaker 2: like lavish locations and sets. It's pretty minimal. But then

520
00:30:19,160 --> 00:30:22,720
Speaker 2: the but then the performances are generally really top notch.

521
00:30:23,040 --> 00:30:25,560
Speaker 2: And this particular production had the likes of Helen Mirren

522
00:30:25,640 --> 00:30:29,440
Speaker 2: as Titania, Phil Daniels from Billy the Kid in the

523
00:30:29,440 --> 00:30:33,080
Speaker 2: Green Bays Vampire, Yeah, and many other things obviously, but

524
00:30:33,120 --> 00:30:36,360
Speaker 2: he played pucking It and then Brian Glover from Alien

525
00:30:36,400 --> 00:30:39,200
Speaker 2: three plays Bottom. You'll remember Brian Glover. He was the

526
00:30:39,240 --> 00:30:39,760
Speaker 2: bald guy.

527
00:30:40,040 --> 00:30:43,200
Speaker 3: Yeah, he's the he's like the boss at the prison.

528
00:30:43,400 --> 00:30:52,240
Speaker 2: Yes, yes, they're all bald. That's the joke from his head.

529
00:30:52,280 --> 00:30:56,120
Speaker 2: I think is bigger, So he's more, he's more. But

530
00:30:56,400 --> 00:31:00,760
Speaker 2: mcginny played Oberon in that adaptation of Summer Night's Dream.

531
00:31:00,920 --> 00:31:03,040
Speaker 3: I can see that he's got range. I mean, in

532
00:31:03,120 --> 00:31:07,440
Speaker 3: the Hammer House of Horror episode he played a very unsettling,

533
00:31:07,560 --> 00:31:11,440
Speaker 3: troubled guy who did not at all have the same

534
00:31:11,560 --> 00:31:13,720
Speaker 3: energy he has in this and Footprints on the Moon,

535
00:31:13,800 --> 00:31:19,200
Speaker 3: he plays a kind of intriguing, good natured and mysterious hunk.

536
00:31:19,760 --> 00:31:22,680
Speaker 2: Yeah. Yeah, and one is mustache and one is not

537
00:31:22,760 --> 00:31:25,240
Speaker 2: must No mustache. In this picture he had a mustache,

538
00:31:25,240 --> 00:31:29,400
Speaker 2: and yeah, the Hammer Horror anthology. But yeah, he's quite good.

539
00:31:29,880 --> 00:31:31,640
Speaker 2: And there may be some other things I've seen him in.

540
00:31:31,680 --> 00:31:33,840
Speaker 2: He has, Like I say, he's had a very long career.

541
00:31:34,440 --> 00:31:36,880
Speaker 2: All right, another role in this one, and this one

542
00:31:36,880 --> 00:31:40,760
Speaker 2: definitely gets into some other Jallo credits. We have Nicoletta

543
00:31:40,800 --> 00:31:45,560
Speaker 2: Elmi playing this child, this child that wanders up and

544
00:31:46,000 --> 00:31:49,280
Speaker 2: has various interactions with our star and a face that

545
00:31:49,360 --> 00:31:55,240
Speaker 2: you will recognize from various nineteen seventies Italian genre and

546
00:31:55,280 --> 00:31:59,080
Speaker 2: horror pictures, including seventy one's Bay of Blood, seventy two's

547
00:31:59,080 --> 00:32:04,120
Speaker 2: Barren Blood, seventy three's Flesh for Frankenstein, seventy five's Night Child,

548
00:32:04,440 --> 00:32:08,560
Speaker 2: and of course nineteen seventy five's Deep Red Dario Argento film.

549
00:32:08,960 --> 00:32:11,320
Speaker 2: And she continued to act through the nineteen eighties as

550
00:32:11,360 --> 00:32:14,960
Speaker 2: an adult, appearing in such pictures as nineteen eighty five's Demons.

551
00:32:15,360 --> 00:32:17,560
Speaker 3: What would it be like to, you know, have your

552
00:32:17,600 --> 00:32:20,240
Speaker 3: acting career start when you were younger? Is like, I

553
00:32:20,920 --> 00:32:25,040
Speaker 3: was the recurring character character type of creepy child in

554
00:32:25,160 --> 00:32:29,800
Speaker 3: Jallo film. Actually she's not so creepy in this one.

555
00:32:29,840 --> 00:32:31,640
Speaker 3: She's creepy I think in some of the other ones.

556
00:32:32,000 --> 00:32:35,200
Speaker 2: Yeah, yeah, in this she's I mean, she's a little creepy,

557
00:32:35,560 --> 00:32:38,120
Speaker 2: but not to the to the point where you're like,

558
00:32:38,240 --> 00:32:40,880
Speaker 2: is this a ghost child or not? Yeah, Like when

559
00:32:40,880 --> 00:32:43,280
Speaker 2: this character is I believe she slapped at one point

560
00:32:43,320 --> 00:32:46,760
Speaker 2: at one point, oh yeah, yeah, our main character slaps

561
00:32:46,760 --> 00:32:49,120
Speaker 2: her and I'm like, that's not okay. And whereas if

562
00:32:49,200 --> 00:32:51,920
Speaker 2: we thought she was a ghost child, I don't know

563
00:32:52,000 --> 00:32:54,560
Speaker 2: then it's kind of a gray area at that point.

564
00:32:54,640 --> 00:32:56,440
Speaker 2: Is it okay to slap a ghost? It's not really

565
00:32:56,480 --> 00:32:59,719
Speaker 2: a child, it's not really a person anymore. It's a ghost.

566
00:32:59,760 --> 00:33:02,080
Speaker 2: And can your hand make contact with the ghost? I'm

567
00:33:02,080 --> 00:33:02,480
Speaker 2: not sure?

568
00:33:03,280 --> 00:33:04,280
Speaker 3: Important questions?

569
00:33:04,720 --> 00:33:07,840
Speaker 2: Yeah, all right, the Okay, the next two actors. I

570
00:33:07,840 --> 00:33:11,240
Speaker 2: want to mention There are characters I honestly don't completely

571
00:33:11,240 --> 00:33:15,720
Speaker 2: one remember from this film, because not all the A

572
00:33:15,720 --> 00:33:18,680
Speaker 2: lot of the investigations end up being very visually memorable,

573
00:33:18,680 --> 00:33:23,360
Speaker 2: but I don't necessarily remember what information was gained from them.

574
00:33:23,680 --> 00:33:28,720
Speaker 2: There's a character named Mary, and then there's a character

575
00:33:28,800 --> 00:33:30,400
Speaker 2: named Marie.

576
00:33:30,560 --> 00:33:33,920
Speaker 3: So, if I'm getting this right, Alice has there are

577
00:33:34,040 --> 00:33:37,760
Speaker 3: essentially three other women her age that she interacts with

578
00:33:37,880 --> 00:33:40,440
Speaker 3: in the beginning of the movie before she leaves for Garma,

579
00:33:41,200 --> 00:33:44,440
Speaker 3: and they are named Rosemary, Mary, and Marie.

580
00:33:45,000 --> 00:33:48,320
Speaker 2: Okay, these two characters are not very important to the

581
00:33:48,360 --> 00:33:53,040
Speaker 2: picture towards, but I did want to mention them briefly,

582
00:33:53,120 --> 00:33:55,440
Speaker 2: just because they do have connections to other Jallo pictures

583
00:33:55,480 --> 00:33:57,520
Speaker 2: and some pictures we've talked about on the show before.

584
00:33:58,520 --> 00:34:02,520
Speaker 2: So Ida Golly born nineteen thirty nine, credited here as

585
00:34:02,600 --> 00:34:09,800
Speaker 2: Evelyn Stewart. She's an Italian actress who pops up in

586
00:34:09,800 --> 00:34:13,400
Speaker 2: a number of Spaghetti Western Jaalo pictures. We previously mentioned

587
00:34:13,440 --> 00:34:16,360
Speaker 2: her in our episode on Mario Bava's dark peplum film

588
00:34:16,440 --> 00:34:20,160
Speaker 2: Hercules in the Haunted World, in which she played a

589
00:34:20,239 --> 00:34:23,680
Speaker 2: character I don't one hundred percent remember named Missotidi.

590
00:34:24,000 --> 00:34:25,279
Speaker 3: I don't remember her at all.

591
00:34:25,600 --> 00:34:28,359
Speaker 2: Yeah, but her other credits include sixty threes, The Whip

592
00:34:28,360 --> 00:34:31,520
Speaker 2: in the Body, sixty four's War of the Zombies, sixty six,

593
00:34:31,880 --> 00:34:35,880
Speaker 2: Django Shoots First, and Lucio Fulci's seventy seven thriller The

594
00:34:35,920 --> 00:34:40,600
Speaker 2: Psychic and then Marie is played by Rosita Torros. As

595
00:34:40,760 --> 00:34:44,400
Speaker 2: Rosita Torros. She lived nineteen forty five through nineteen ninety

596
00:34:44,400 --> 00:34:47,320
Speaker 2: five Italian actress who also appeared in various Shalloh and

597
00:34:47,360 --> 00:34:50,200
Speaker 2: horror films, including nineteen seventies The Bird with the Crystal

598
00:34:50,200 --> 00:34:54,399
Speaker 2: Plumage Regento Picture and seventy four Is Almost Human from

599
00:34:54,480 --> 00:34:55,680
Speaker 2: umberto Lindsay.

600
00:34:55,840 --> 00:34:59,759
Speaker 3: So, I think this is the character of Marie Leblanche,

601
00:35:00,120 --> 00:35:05,719
Speaker 3: the translator who takes Alice's job after she disappeared.

602
00:35:05,800 --> 00:35:10,600
Speaker 2: That's right, Yeah, So again they're not vital too. The

603
00:35:11,000 --> 00:35:14,600
Speaker 2: large stretches of the picture but they're kind of interesting connections.

604
00:35:15,160 --> 00:35:18,960
Speaker 2: And then, of course Klaskinsky we mentioned plays Professor Blackman.

605
00:35:20,080 --> 00:35:21,960
Speaker 2: I don't know if it was the same for you,

606
00:35:22,000 --> 00:35:25,880
Speaker 2: but I found different versions. Different renditions of this character's

607
00:35:25,960 --> 00:35:28,319
Speaker 2: name have different numbers of n's and k's in it,

608
00:35:28,680 --> 00:35:32,720
Speaker 2: so that may vary depending on where you're looking. Kinsky

609
00:35:32,880 --> 00:35:37,520
Speaker 2: saw two ends at the end. Maybe I just I

610
00:35:37,520 --> 00:35:41,040
Speaker 2: imagined the extra K. But at any rate, Klauskinsky lived

611
00:35:41,080 --> 00:35:43,680
Speaker 2: nineteen twenty six through nineteen ninety one. We've previously discussed

612
00:35:43,719 --> 00:35:46,560
Speaker 2: Kinsky in our episodes on Venom from eighty one and

613
00:35:46,680 --> 00:35:50,520
Speaker 2: Creature from eighty five. You know, this was, of course

614
00:35:51,040 --> 00:35:55,520
Speaker 2: an infamous actor known for his crazed intensity, and his

615
00:35:55,560 --> 00:35:57,880
Speaker 2: career also is one of those that straddles worlds of

616
00:35:57,880 --> 00:36:01,160
Speaker 2: both art house and grind house, you know, B movies

617
00:36:01,960 --> 00:36:05,160
Speaker 2: and very well regarded productions as well. We're not going

618
00:36:05,200 --> 00:36:07,400
Speaker 2: to go into put too much depth here, in part

619
00:36:07,440 --> 00:36:10,600
Speaker 2: because it is a bit part for Kinski. We only

620
00:36:10,640 --> 00:36:13,880
Speaker 2: see him in dream sequences in Stunning black and White,

621
00:36:14,160 --> 00:36:16,840
Speaker 2: and his voice, at least for me, was dubbed with

622
00:36:16,960 --> 00:36:18,680
Speaker 2: a thoroughly non Kinsky voice.

623
00:36:18,880 --> 00:36:21,160
Speaker 3: Yeah, it didn't sound like him at all. I don't

624
00:36:21,160 --> 00:36:22,720
Speaker 3: think even had a German accent.

625
00:36:23,000 --> 00:36:25,239
Speaker 2: No, they weren't even going for Kinski. They were just

626
00:36:25,320 --> 00:36:26,879
Speaker 2: like that, just dub him over.

627
00:36:27,239 --> 00:36:29,840
Speaker 3: But Kinsky's voice would have made sense because the character

628
00:36:30,000 --> 00:36:33,239
Speaker 3: he plays as a mad scientist, like the character he

629
00:36:33,280 --> 00:36:35,680
Speaker 3: plays as a character who sounds like Klaus Kinsky does

630
00:36:35,680 --> 00:36:36,320
Speaker 3: in real life.

631
00:36:36,840 --> 00:36:39,600
Speaker 2: Yeah, and like Kinsky's voice is one of those that, like,

632
00:36:39,640 --> 00:36:42,120
Speaker 2: I feel like a lot of people can do, so

633
00:36:42,719 --> 00:36:46,319
Speaker 2: it seems like a very deliberate choice. Yeah, it's kind

634
00:36:46,320 --> 00:36:48,200
Speaker 2: of like if you dubbed Peter Lorie, you know, it's

635
00:36:48,239 --> 00:36:51,920
Speaker 2: like somebody could do that voice. Come on, Yeah, yeah,

636
00:36:52,239 --> 00:36:54,480
Speaker 2: all right. I mentioned how I spent the first twenty

637
00:36:54,560 --> 00:36:57,120
Speaker 2: minutes of the film like just really admiring the composition

638
00:36:57,200 --> 00:36:59,399
Speaker 2: of it all. And that's the point where I was like, oh,

639
00:36:59,440 --> 00:37:03,360
Speaker 2: I didn't check to see who the cinematographer was. And

640
00:37:03,719 --> 00:37:05,800
Speaker 2: that's when I checked and saw that the director of

641
00:37:05,840 --> 00:37:11,800
Speaker 2: photography was Vittorio Storraro, who was born in nineteen forty

642
00:37:12,040 --> 00:37:16,080
Speaker 2: and is a three time Oscar winner. He earned the

643
00:37:16,120 --> 00:37:19,160
Speaker 2: Oscar for his work on nineteen seventy nine Apocalypse Now

644
00:37:20,200 --> 00:37:23,360
Speaker 2: nineteen eighty one's Reds that I Haven't seen. That was

645
00:37:23,400 --> 00:37:26,840
Speaker 2: written and directed by Warren Beatty and nineteen eighty seven's

646
00:37:26,840 --> 00:37:31,160
Speaker 2: The Last Emperor, so a legendary cinematographer working on this picture.

647
00:37:31,160 --> 00:37:33,920
Speaker 2: He was also nominated for nineteen nineties Dick Tracy.

648
00:37:35,840 --> 00:37:39,000
Speaker 3: I've wondered before if we should cover Dick Tracy on

649
00:37:39,040 --> 00:37:42,240
Speaker 3: the show because talk about weird, weird movies.

650
00:37:42,760 --> 00:37:46,080
Speaker 2: Yes, a weird film that I loved as a kid,

651
00:37:46,400 --> 00:37:49,880
Speaker 2: haven't seen in forever, but yeah, it's like a brightly

652
00:37:50,040 --> 00:37:54,160
Speaker 2: colored comic book, old time comic book, gangster picture full

653
00:37:54,200 --> 00:37:55,480
Speaker 2: of mutant gangsters.

654
00:37:55,760 --> 00:37:59,600
Speaker 3: Yeah, yeah, I don't know how well it would hold up,

655
00:37:59,640 --> 00:38:02,640
Speaker 3: but it's got to be one of the weirder mainstream

656
00:38:02,719 --> 00:38:03,760
Speaker 3: films ever released.

657
00:38:04,160 --> 00:38:06,240
Speaker 2: It has to be. Yeah, I would like to revisit

658
00:38:06,280 --> 00:38:11,080
Speaker 2: it sometime. Other pictures of note for stro include nineteen

659
00:38:11,120 --> 00:38:15,320
Speaker 2: seventies The Bird with a Crystal Plumage, another bird related picture,

660
00:38:15,360 --> 00:38:19,720
Speaker 2: nineteen eighty five's Lady Hawk, and the two thousand Dune

661
00:38:19,760 --> 00:38:25,360
Speaker 2: mini series, which all of these had very strong visual composition,

662
00:38:25,520 --> 00:38:28,279
Speaker 2: So you know, yeah, this is a big name, and

663
00:38:28,520 --> 00:38:30,560
Speaker 2: it makes sense that a big name was involved here

664
00:38:30,600 --> 00:38:32,360
Speaker 2: given how great everything looks.

665
00:38:32,840 --> 00:38:35,880
Speaker 3: It is a gorgeously shot film, so this makes a

666
00:38:35,880 --> 00:38:38,759
Speaker 3: lot of sense. I'm still kind of processing where the

667
00:38:38,760 --> 00:38:42,120
Speaker 3: two thousand Dune mini series fits in. Maybe I'm not

668
00:38:42,160 --> 00:38:44,239
Speaker 3: being fair because I haven't seen that, but I've seen

669
00:38:44,280 --> 00:38:49,160
Speaker 3: stills from it. It never struck me as something that

670
00:38:49,520 --> 00:38:51,760
Speaker 3: looked amazing. But maybe I'm wrong.

671
00:38:53,160 --> 00:38:55,840
Speaker 2: I recently rewatched parts of it, and I will have

672
00:38:55,880 --> 00:38:59,640
Speaker 2: to say the CGI did not hold up well at all,

673
00:39:00,160 --> 00:39:04,720
Speaker 2: and it does feel I know it cost a pretty penny,

674
00:39:04,719 --> 00:39:09,360
Speaker 2: but it feels like a TV production, you know, in

675
00:39:09,400 --> 00:39:12,719
Speaker 2: many respects. But on the other hand, like the costumes

676
00:39:12,719 --> 00:39:15,839
Speaker 2: are very inventive, It's got some great performances in it,

677
00:39:16,560 --> 00:39:19,439
Speaker 2: and given its length, it actually gives you a chance

678
00:39:19,480 --> 00:39:22,200
Speaker 2: to see some of the scenes that are often omitted

679
00:39:22,239 --> 00:39:26,280
Speaker 2: from adaptations of Doom. All right, then, finally, the composer

680
00:39:26,360 --> 00:39:28,279
Speaker 2: on this one. We already mentioned how nice the music is.

681
00:39:28,520 --> 00:39:32,399
Speaker 2: It is the work of Nicola Piovanni born nineteen forty six,

682
00:39:32,520 --> 00:39:35,520
Speaker 2: Italian composer who won an Oscar himself in nineteen ninety

683
00:39:35,600 --> 00:39:39,440
Speaker 2: nine for Life Is Beautiful. His other credits include seventy

684
00:39:39,440 --> 00:39:42,160
Speaker 2: four's The Perfume of the Lady in Black. I don't

685
00:39:42,160 --> 00:39:43,880
Speaker 2: think I have to tell you that's a Gallo picture

686
00:39:43,920 --> 00:39:47,440
Speaker 2: with the title like that, as well as Flavia the Heretic,

687
00:39:47,600 --> 00:39:57,600
Speaker 2: which starred Florinda Bulcan.

688
00:39:58,239 --> 00:40:00,320
Speaker 3: All right, do you want to start talking about the BLA.

689
00:40:00,560 --> 00:40:03,799
Speaker 2: Yeah, let's get into the plot of Footprints on the Moon.

690
00:40:04,280 --> 00:40:07,799
Speaker 3: Okay, Well, the credits play in yellow type script over

691
00:40:07,880 --> 00:40:11,359
Speaker 3: a deep blue night sky with no stars in sight,

692
00:40:11,560 --> 00:40:14,600
Speaker 3: just the moon, which is pale and gray in the

693
00:40:14,600 --> 00:40:17,880
Speaker 3: center of the frame. And I quite like the music

694
00:40:17,920 --> 00:40:20,239
Speaker 3: that plays over the opening credits here. So at the

695
00:40:20,239 --> 00:40:25,919
Speaker 3: beginning it's mostly strings and flute, and the melody is subtle, mysterious,

696
00:40:26,440 --> 00:40:29,239
Speaker 3: kind of cold. I was thinking of it as the

697
00:40:29,320 --> 00:40:33,520
Speaker 3: sound of like seeing something that looks very odd far

698
00:40:33,560 --> 00:40:36,600
Speaker 3: away out of window and then looking back to try

699
00:40:36,600 --> 00:40:39,960
Speaker 3: to see it more clearly, and it's gone. But suddenly

700
00:40:40,120 --> 00:40:43,759
Speaker 3: into this texture, the pipe organ comes roaring in, and

701
00:40:44,040 --> 00:40:48,360
Speaker 3: it's immediately like we are phantoming the opera out of this. Yes,

702
00:40:49,440 --> 00:40:51,319
Speaker 3: So the credits roll and we zoom in on the

703
00:40:51,320 --> 00:40:54,560
Speaker 3: moon to reveal this is not genuine night sky photography.

704
00:40:55,080 --> 00:40:59,080
Speaker 3: This is an illustration of the moon in a gorgeous

705
00:40:59,160 --> 00:41:01,839
Speaker 3: but old school style, so it looks like something out

706
00:41:01,840 --> 00:41:04,800
Speaker 3: of one of those great old nineteenth century astronomy books

707
00:41:04,800 --> 00:41:07,319
Speaker 3: with the hand drawn illustrations of the craters and the

708
00:41:07,360 --> 00:41:11,920
Speaker 3: lunar maria, and then in the foreground we see a

709
00:41:12,000 --> 00:41:16,480
Speaker 3: lunar landing vehicle appear, so it's drifting gracefully down toward

710
00:41:16,560 --> 00:41:19,839
Speaker 3: the toward the Moon, down toward the surface. And then

711
00:41:19,880 --> 00:41:22,760
Speaker 3: when we see the surface in close up, it's another

712
00:41:22,800 --> 00:41:25,960
Speaker 3: classic style illustration, the kind of planet surface you would

713
00:41:26,000 --> 00:41:29,320
Speaker 3: get in Planet of the Vampires and these landing party

714
00:41:29,320 --> 00:41:32,440
Speaker 3: adventures of the fifties and sixties. So it's not just

715
00:41:32,640 --> 00:41:36,320
Speaker 3: rocks and dust, but these craggy spires which you don't

716
00:41:36,360 --> 00:41:39,319
Speaker 3: really get in the actual topography of the Moon, at

717
00:41:39,400 --> 00:41:43,439
Speaker 3: least not our Moon. So after the lander sets down,

718
00:41:43,520 --> 00:41:47,080
Speaker 3: we cut to a rather surprising shot. We see one

719
00:41:47,280 --> 00:41:52,320
Speaker 3: astronaut in a suit and a classic bubble helmet, apparently unconscious,

720
00:41:52,800 --> 00:41:57,720
Speaker 3: being dragged across the surface by another astronaut with his boots,

721
00:41:57,800 --> 00:42:00,680
Speaker 3: leaving these streaks in the regolith as his limp body

722
00:42:00,760 --> 00:42:05,120
Speaker 3: is pulled along, and then the upright astronaut drops the

723
00:42:05,160 --> 00:42:07,719
Speaker 3: other one in the dust in a field that is

724
00:42:07,760 --> 00:42:10,719
Speaker 3: framed by these pointy moon spires, and then begins to

725
00:42:10,760 --> 00:42:14,120
Speaker 3: walk away. So is somebody just being abandoned on the

726
00:42:14,120 --> 00:42:17,520
Speaker 3: surface of the moon, it seems. Yes, we watched the

727
00:42:17,640 --> 00:42:20,600
Speaker 3: lander begin to take off and then rise up into

728
00:42:20,719 --> 00:42:24,600
Speaker 3: orbit once again, and it's only once the lander is

729
00:42:24,640 --> 00:42:27,719
Speaker 3: far away that the astronaut comes to and sits up

730
00:42:27,760 --> 00:42:31,399
Speaker 3: and realizes what's happening, and they watch in terror as

731
00:42:31,440 --> 00:42:35,399
Speaker 3: the vehicle departs. And Rabbi attached a couple of screenshots

732
00:42:35,440 --> 00:42:37,280
Speaker 3: of this moment for you to look at here, because

733
00:42:37,280 --> 00:42:41,120
Speaker 3: I thought this part was wonderful. It's so strange and

734
00:42:41,360 --> 00:42:46,520
Speaker 3: mysterious and evocative. The soundtrack goes on alternating between the cold,

735
00:42:46,600 --> 00:42:50,800
Speaker 3: ominous strings and woodwinds with these sudden explosions of pipe

736
00:42:50,880 --> 00:42:55,200
Speaker 3: organ and we're thrown off by this unusual scenario and

737
00:42:55,320 --> 00:42:58,920
Speaker 3: the mid century science fiction aesthetics of the EVA suits

738
00:42:58,920 --> 00:43:01,920
Speaker 3: and the lunar set design. So it sounds based on

739
00:43:01,960 --> 00:43:04,839
Speaker 3: that the latter stuff there like the effect of this

740
00:43:04,880 --> 00:43:08,080
Speaker 3: could be comical, but it's really not in this moment,

741
00:43:08,200 --> 00:43:12,440
Speaker 3: because we're seeing the abandoned astronaut's eyes wide in fear

742
00:43:12,560 --> 00:43:15,160
Speaker 3: behind the curved glass of the face plate, but the

743
00:43:15,320 --> 00:43:18,719
Speaker 3: glass is partially fogged over, so we only see their

744
00:43:18,760 --> 00:43:22,719
Speaker 3: face through this obscuring screen of fog, which kind of

745
00:43:22,960 --> 00:43:26,920
Speaker 3: mutes the detection of emotion there and makes them inaccessible

746
00:43:26,960 --> 00:43:30,160
Speaker 3: and haunting. I think it's a really great moments.

747
00:43:30,320 --> 00:43:34,600
Speaker 2: It's extremely well executed because it manages to walk that

748
00:43:34,760 --> 00:43:39,279
Speaker 2: line where it never feels hokey. But it also is

749
00:43:39,360 --> 00:43:46,719
Speaker 2: not going for a high highly accurate rendition, like they're

750
00:43:46,719 --> 00:43:49,240
Speaker 2: not trying to make it look like the actual surface

751
00:43:49,239 --> 00:43:52,040
Speaker 2: of the Moon in actual like lunar landings and so forth.

752
00:43:52,280 --> 00:43:55,520
Speaker 3: Yeah, then from here we cut to a different scene,

753
00:43:55,760 --> 00:43:59,319
Speaker 3: still in the aesthetics of old school sci fi, but

754
00:43:59,440 --> 00:44:02,319
Speaker 3: now fully in black and white. So we see a

755
00:44:02,400 --> 00:44:06,480
Speaker 3: gruff man in an EVA helmet starting a radio communication.

756
00:44:06,640 --> 00:44:10,080
Speaker 3: He announces himself as Gunter, and he calls out for

757
00:44:10,239 --> 00:44:14,680
Speaker 3: a Professor Blackmann. Who could that be? Why it's Klaus Kinski.

758
00:44:15,320 --> 00:44:19,360
Speaker 3: Kinsky says, receiving you over in a non Kinsky voice,

759
00:44:19,960 --> 00:44:23,239
Speaker 3: And so Kinsky is hunched over in some kind of

760
00:44:23,440 --> 00:44:27,759
Speaker 3: mad science mission control room with lights flashing everywhere and

761
00:44:27,880 --> 00:44:31,759
Speaker 3: computers making little beeps and boops, and we learn from

762
00:44:31,760 --> 00:44:36,239
Speaker 3: their exchange that Blackman and Gunter are collaborating on some

763
00:44:36,320 --> 00:44:41,640
Speaker 3: kind of morbid experiment. They intentionally abandoned the other astronaut,

764
00:44:41,680 --> 00:44:45,160
Speaker 3: whose name is we learn as McGregor on the moon

765
00:44:45,360 --> 00:44:48,360
Speaker 3: so they could study something about him from a distance.

766
00:44:48,920 --> 00:44:50,879
Speaker 3: And by the way, when we get a look at

767
00:44:50,880 --> 00:44:53,160
Speaker 3: this full control room, I was kind of wondering for

768
00:44:53,160 --> 00:44:56,160
Speaker 3: some reason if they shot these in like a real

769
00:44:56,280 --> 00:44:59,480
Speaker 3: decommissioned nuclear plant like they did in Shocking Dark. Whatever

770
00:44:59,480 --> 00:45:01,439
Speaker 3: these controls panels are, they look pretty good.

771
00:45:01,920 --> 00:45:05,640
Speaker 2: Yeah, And I love this gritty black and white that

772
00:45:05,680 --> 00:45:07,600
Speaker 2: they shoot everything, and it reminds me a lot of

773
00:45:08,400 --> 00:45:11,040
Speaker 2: a picture that would come much later two thousand and

774
00:45:11,040 --> 00:45:14,280
Speaker 2: one is the American Astronauts. The same kind of quality

775
00:45:14,320 --> 00:45:18,600
Speaker 2: where it's just like grungy black and white and it

776
00:45:18,640 --> 00:45:20,880
Speaker 2: doesn't feel it doesn't have that feeling like you just

777
00:45:20,960 --> 00:45:23,920
Speaker 2: turned down the color settings on your old school television

778
00:45:24,040 --> 00:45:24,719
Speaker 2: or anything. You know.

779
00:45:25,080 --> 00:45:27,320
Speaker 3: Yeah, yeah, black and white.

780
00:45:27,320 --> 00:45:30,120
Speaker 2: You can taste, get the grid of it in your teeth.

781
00:45:30,520 --> 00:45:34,120
Speaker 3: Yeah. Yeah, it's as a little bit salty. Yeah. Anyway,

782
00:45:34,239 --> 00:45:38,160
Speaker 3: the mad scientists, mad scientists conspirators here, they confirm that

783
00:45:38,239 --> 00:45:41,640
Speaker 3: the experiment is underway, and then Kinsky says, I will

784
00:45:41,680 --> 00:45:45,799
Speaker 3: alert the organization. And from here we cut to a

785
00:45:45,920 --> 00:45:49,960
Speaker 3: telephone buzzing on a furry shag carpet. Could this be

786
00:45:50,080 --> 00:45:52,800
Speaker 3: Kinsky's call to the organization. I don't think so because

787
00:45:52,800 --> 00:45:55,400
Speaker 3: something has changed. We have gone from black and white

788
00:45:55,480 --> 00:45:59,279
Speaker 3: to full color, and we pan up to see our protagonist,

789
00:45:59,360 --> 00:46:02,880
Speaker 3: Alice Chess be sleeping on her bed. She's wearing a

790
00:46:02,920 --> 00:46:07,520
Speaker 3: black eye mask, curiously in almost the same posture as

791
00:46:07,560 --> 00:46:11,520
Speaker 3: the unconscious astronaut from the other story, and the blinds

792
00:46:11,560 --> 00:46:13,839
Speaker 3: are drawn over the windows in the room, but from

793
00:46:13,840 --> 00:46:16,799
Speaker 3: in between them. The light is falling in over her

794
00:46:16,800 --> 00:46:19,160
Speaker 3: face in a way that suggests it's late morning. She

795
00:46:19,200 --> 00:46:24,239
Speaker 3: has overslept groggily. Alice answers the phone, and it's her

796
00:46:24,280 --> 00:46:26,920
Speaker 3: friend Rosemary, who says she's been trying to reach her

797
00:46:26,960 --> 00:46:29,560
Speaker 3: for hours. I think she literally says the phone, the

798
00:46:29,560 --> 00:46:33,680
Speaker 3: phone has been ringing for hours. That's that's dedication for

799
00:46:33,880 --> 00:46:34,960
Speaker 3: Rosemary to wait that long.

800
00:46:35,000 --> 00:46:38,080
Speaker 2: What is wrong with you? Why would you the phone

801
00:46:38,160 --> 00:46:41,279
Speaker 2: ring for hours, not just on the receiving end, but

802
00:46:41,600 --> 00:46:44,040
Speaker 2: on the calling in is Why would you do that?

803
00:46:44,600 --> 00:46:47,719
Speaker 3: So Alice seems disoriented, but discovers it's late in the

804
00:46:47,719 --> 00:46:50,360
Speaker 3: morning and she has to turn in a translation she

805
00:46:50,360 --> 00:46:53,920
Speaker 3: hasn't finished yet. Alice works as a translator for some

806
00:46:54,040 --> 00:46:58,600
Speaker 3: kind of consolate or diplomatic office, apparently specializing in scientific topics.

807
00:46:58,640 --> 00:47:01,520
Speaker 3: I think so it makes plans to meet with Rosemary

808
00:47:01,600 --> 00:47:03,960
Speaker 3: later that morning, and then she gets to business. So

809
00:47:03,960 --> 00:47:05,960
Speaker 3: there are kind of some scenes here of like you

810
00:47:06,000 --> 00:47:08,480
Speaker 3: said earlier, Alice, She's just kind of puttering around her

811
00:47:08,520 --> 00:47:12,400
Speaker 3: apartment doing nothing all that mysterious, but they are framed

812
00:47:12,520 --> 00:47:17,880
Speaker 3: in such a strange and beautiful way. Immediately something feels significant.

813
00:47:18,000 --> 00:47:20,880
Speaker 3: I'm kind of looking for clues, even before the plot

814
00:47:20,920 --> 00:47:25,240
Speaker 3: suggests I should. And we see her standing at her window,

815
00:47:25,480 --> 00:47:28,240
Speaker 3: looking in the mirror, getting ready for the day, lighting

816
00:47:28,320 --> 00:47:31,240
Speaker 3: the gas under her coffee maker, settling down to finish

817
00:47:31,280 --> 00:47:35,600
Speaker 3: typing her translation of an audio tape. And one thing

818
00:47:35,640 --> 00:47:38,799
Speaker 3: I noticed is that outside of her apartment window there

819
00:47:38,880 --> 00:47:41,320
Speaker 3: is first of all, a beautiful view of whatever city

820
00:47:41,360 --> 00:47:44,120
Speaker 3: this is. I don't know if this is Rome or whatever.

821
00:47:44,160 --> 00:47:49,200
Speaker 3: But the second thing is there is a giant construction crane,

822
00:47:49,520 --> 00:47:53,160
Speaker 3: and Alice's body is a couple of times seen framed

823
00:47:53,239 --> 00:47:57,000
Speaker 3: within the angle of the crane. Feels like it means something.

824
00:47:58,200 --> 00:48:01,440
Speaker 3: So while she goes about her business, Alice at one

825
00:48:01,520 --> 00:48:04,280
Speaker 3: point finds something on the floor of her kitchen, next

826
00:48:04,280 --> 00:48:07,719
Speaker 3: to the garbage can. It is a torn up postcard

827
00:48:08,080 --> 00:48:12,760
Speaker 3: bearing the image of a stately old hotel. She puzzles

828
00:48:12,760 --> 00:48:14,960
Speaker 3: the pieces back together and then looks at it and

829
00:48:15,000 --> 00:48:17,080
Speaker 3: then flips it over to see that this is the

830
00:48:17,160 --> 00:48:21,200
Speaker 3: Hotel Garma of a place called Garma. What is it?

831
00:48:21,239 --> 00:48:23,960
Speaker 3: She has no idea where it came from, So Alice

832
00:48:24,040 --> 00:48:27,080
Speaker 3: leaves home and then goes about her day. First of all,

833
00:48:27,080 --> 00:48:29,800
Speaker 3: she meets up with her friend Rosemary. There's a funny

834
00:48:29,800 --> 00:48:32,000
Speaker 3: scene where Rosemary's trying to tell her a story about

835
00:48:32,000 --> 00:48:34,319
Speaker 3: something that happened when she went to a club on

836
00:48:34,440 --> 00:48:37,920
Speaker 3: Tuesday night, which is strange because we just saw Alice

837
00:48:37,920 --> 00:48:42,440
Speaker 3: flip her daily calendar from Monday to Tuesday. And she

838
00:48:42,560 --> 00:48:45,600
Speaker 3: realizes Alice is lost in thought, not really paying attention,

839
00:48:46,200 --> 00:48:49,160
Speaker 3: and Alice says she is thinking about a dream she

840
00:48:49,239 --> 00:48:51,680
Speaker 3: had the night before, and in fact, a dream she's

841
00:48:51,719 --> 00:48:55,359
Speaker 3: had many times, where she says a man is abandoned

842
00:48:55,440 --> 00:48:59,280
Speaker 3: on the moon for an experiment. Rosemary says this sounds

843
00:48:59,320 --> 00:49:02,720
Speaker 3: like science fic, and Alice says, yes, it was. In fact,

844
00:49:02,960 --> 00:49:05,320
Speaker 3: this was a dream that was inspired by a film

845
00:49:05,440 --> 00:49:08,040
Speaker 3: she saw when she was young. The movie was called

846
00:49:08,200 --> 00:49:11,640
Speaker 3: Footprints on the Moon, and it scared her so much

847
00:49:11,680 --> 00:49:14,160
Speaker 3: that she ran out of the theater and never saw

848
00:49:14,200 --> 00:49:16,120
Speaker 3: the end of it. So it's just kind of been

849
00:49:16,200 --> 00:49:19,319
Speaker 3: hanging in her mind all these years. Now, after this,

850
00:49:19,400 --> 00:49:22,720
Speaker 3: we see Alice going to work. She's going to whatever

851
00:49:22,760 --> 00:49:26,200
Speaker 3: this diplomatic office is to turn in her translations, and

852
00:49:26,239 --> 00:49:29,120
Speaker 3: on the way there she moves through such interesting spaces,

853
00:49:29,880 --> 00:49:33,080
Speaker 3: like this big empty auditorium with all these green chairs

854
00:49:33,080 --> 00:49:37,280
Speaker 3: lined up and these stained wooden walls, and then walking

855
00:49:37,320 --> 00:49:42,000
Speaker 3: through behind this colonnade with these doorways framed against the sunlight.

856
00:49:42,560 --> 00:49:45,239
Speaker 3: She eventually comes for a meeting with her boss or

857
00:49:45,239 --> 00:49:47,680
Speaker 3: maybe it's her client I think. Actually she's supposed to

858
00:49:47,680 --> 00:49:51,399
Speaker 3: be a freelancer. But when she gets there, everything is confused,

859
00:49:51,480 --> 00:49:54,840
Speaker 3: like she tries to turn in the translation, which was

860
00:49:54,920 --> 00:49:58,680
Speaker 3: due at noon, but this leads to a bizarre revelation.

861
00:49:59,520 --> 00:50:03,279
Speaker 3: The trans reslation was of a speech I think concerning

862
00:50:03,480 --> 00:50:07,440
Speaker 3: science and astronautics that was given on Monday, and it

863
00:50:07,480 --> 00:50:09,960
Speaker 3: was supposed to be turned in at noon on Tuesday,

864
00:50:10,000 --> 00:50:13,719
Speaker 3: which is what time Alice believes it is. But actually

865
00:50:14,320 --> 00:50:16,919
Speaker 3: her client here informs her that it is now noon

866
00:50:17,040 --> 00:50:21,200
Speaker 3: on Thursday, and Alice has no memory of the missing

867
00:50:21,239 --> 00:50:26,160
Speaker 3: two days. Her handler tells her that she abruptly left

868
00:50:26,280 --> 00:50:29,719
Speaker 3: in the middle of the address. In the forum there

869
00:50:30,160 --> 00:50:32,319
Speaker 3: and then for the following several days they tried to

870
00:50:32,360 --> 00:50:36,640
Speaker 3: contact her and got nothing, so in her absence they

871
00:50:36,719 --> 00:50:40,839
Speaker 3: had to hire a different translator, a miss Lablanche, and

872
00:50:41,000 --> 00:50:43,400
Speaker 3: Alice is clearly shaken by this. She doesn't know what

873
00:50:43,480 --> 00:50:45,719
Speaker 3: to make of it and apparently has no memory of

874
00:50:45,840 --> 00:50:48,120
Speaker 3: leaving the speech or of the missing time.

875
00:50:48,800 --> 00:50:50,359
Speaker 2: And so in this we we really begin to get

876
00:50:50,360 --> 00:50:55,440
Speaker 2: into the big psychological mysteries of the picture of missing time,

877
00:50:56,080 --> 00:51:00,680
Speaker 2: of lost memories. And again, these are questions that are

878
00:51:01,000 --> 00:51:03,840
Speaker 2: very internal. And so it's another way that this performance

879
00:51:03,880 --> 00:51:06,560
Speaker 2: is so good. It's that you know, they're not really

880
00:51:07,200 --> 00:51:09,560
Speaker 2: exploring all of this through flashbacks or exploring it through

881
00:51:09,560 --> 00:51:14,200
Speaker 2: conversations in facial expressions. It's very nice.

882
00:51:14,360 --> 00:51:16,640
Speaker 3: Yeah, And this is also another way it really does

883
00:51:16,680 --> 00:51:19,520
Speaker 3: fit Jallo conventions, even though it's not a murder mystery.

884
00:51:19,560 --> 00:51:22,960
Speaker 3: I mean, this idea of like having to reconstruct the

885
00:51:23,040 --> 00:51:25,960
Speaker 3: lost memory to solve the mystery of what happened is

886
00:51:26,480 --> 00:51:30,920
Speaker 3: absolutely like core Jallo feeling. Yeah. So Alice meets with

887
00:51:30,960 --> 00:51:33,879
Speaker 3: another friend of hers named Mary to talk about what's

888
00:51:33,920 --> 00:51:38,000
Speaker 3: going on. Mary asks if she can remember anything about

889
00:51:38,000 --> 00:51:41,640
Speaker 3: what happened at this session in the assembly, that she

890
00:51:41,680 --> 00:51:44,120
Speaker 3: apparently ran out in the middle of So we cut

891
00:51:44,120 --> 00:51:47,640
Speaker 3: to this big public auditorium with a stage and electern,

892
00:51:48,320 --> 00:51:51,960
Speaker 3: with a speaker talking into the microphone, and at the

893
00:51:51,960 --> 00:51:55,600
Speaker 3: back of the room there are sound isolated translation booths

894
00:51:55,640 --> 00:51:58,960
Speaker 3: surrounded by glass, with a line of these different booths,

895
00:51:59,000 --> 00:52:02,640
Speaker 3: each one filled with worker translating the speech into different

896
00:52:02,760 --> 00:52:07,799
Speaker 3: languages in real time, and Alice is one of these translators. Curiously,

897
00:52:08,040 --> 00:52:11,160
Speaker 3: this memory is in black and white and on a

898
00:52:11,239 --> 00:52:14,920
Speaker 3: grainier film stock, and in that way it resembles Alice's

899
00:52:15,000 --> 00:52:18,000
Speaker 3: dreams of the science fiction movie Footprints on the Moon.

900
00:52:19,120 --> 00:52:22,280
Speaker 3: The speaker who's talking and being translated in the scene

901
00:52:22,800 --> 00:52:26,879
Speaker 3: is someone named Madame Verdi, who says, I actually wrote

902
00:52:26,920 --> 00:52:29,200
Speaker 3: down because it's kind of confusing because we were seeing

903
00:52:30,200 --> 00:52:34,000
Speaker 3: subtitles of the translation of the narration, but then also

904
00:52:34,680 --> 00:52:37,760
Speaker 3: the subtitles of the speech that's going on. The speech says,

905
00:52:38,200 --> 00:52:41,920
Speaker 3: so that man will find the possibility of surviving extremely

906
00:52:41,960 --> 00:52:46,000
Speaker 3: difficult unless he begins immediately to totally alter his ways

907
00:52:46,040 --> 00:52:49,360
Speaker 3: of thinking and living, to devote all his energies to

908
00:52:49,440 --> 00:52:52,319
Speaker 3: try to avoid these dangers which are rushing upon him.

909
00:52:52,800 --> 00:52:56,279
Speaker 3: By nineteen ninety, pollution and poisoning will have killed all

910
00:52:56,320 --> 00:52:59,600
Speaker 3: the biological life in the sea. Our computer has also

911
00:52:59,680 --> 00:53:02,200
Speaker 3: shown that in the year two thousand, it will be

912
00:53:02,280 --> 00:53:06,239
Speaker 3: almost impossible for men to live on planet Earth. So

913
00:53:06,480 --> 00:53:09,560
Speaker 3: within the scenario of this movie, it's funny because she's

914
00:53:09,680 --> 00:53:13,400
Speaker 3: listening to this speech that's full of these extremely dire

915
00:53:13,520 --> 00:53:18,120
Speaker 3: warnings of like coming environmental catastrophe, but she makes no

916
00:53:18,360 --> 00:53:21,440
Speaker 3: direct reference to the contents of the speech. Instead, this

917
00:53:21,560 --> 00:53:24,920
Speaker 3: is just presented as like it's just her job to

918
00:53:25,000 --> 00:53:28,359
Speaker 3: translate this, and the content is almost like neutral, it

919
00:53:28,360 --> 00:53:31,440
Speaker 3: doesn't matter what's being said. She's just there to translate it.

920
00:53:31,760 --> 00:53:36,439
Speaker 2: But it's so effective, isn't it, Because the content is horrifying. Yes,

921
00:53:36,880 --> 00:53:40,600
Speaker 2: it's just flowing through her being translated. It's part of

922
00:53:40,640 --> 00:53:43,080
Speaker 2: her job. And so you get kind of an early

923
00:53:43,520 --> 00:53:47,399
Speaker 2: idea that, yeah, this could be having a toll on her.

924
00:53:47,440 --> 00:53:49,600
Speaker 2: She may not be quite aware of it, but like,

925
00:53:49,920 --> 00:53:53,319
Speaker 2: this is horrible news, and you know, it's interesting to

926
00:53:53,360 --> 00:53:57,160
Speaker 2: sort of take this sort of forecast, you know, certainly

927
00:53:57,200 --> 00:54:00,320
Speaker 2: within the context again of a very modern setting of

928
00:54:00,360 --> 00:54:03,480
Speaker 2: the original picture, but then as a contemporary viewer of

929
00:54:03,480 --> 00:54:05,560
Speaker 2: this film, like on one level, like you hear that

930
00:54:05,640 --> 00:54:08,160
Speaker 2: and you're like, Oh, it's like it's like realizing you've

931
00:54:08,160 --> 00:54:11,960
Speaker 2: been you know, eating, you know, using a jar of

932
00:54:12,080 --> 00:54:16,920
Speaker 2: jam and it expired you know, twenty five years ago. Yeah, yeah,

933
00:54:17,080 --> 00:54:20,960
Speaker 2: you know, so in a way it feels even more dire.

934
00:54:21,080 --> 00:54:22,759
Speaker 2: And then also the other part of the course, it

935
00:54:22,800 --> 00:54:24,480
Speaker 2: is that like this is still the scenario that we

936
00:54:24,520 --> 00:54:27,360
Speaker 2: have roughly without the exact dates in play, like yeah,

937
00:54:27,719 --> 00:54:32,239
Speaker 2: like we're on a terrible path. Yeah, and it does

938
00:54:32,280 --> 00:54:34,400
Speaker 2: to have a toll take a toll on one.

939
00:54:34,560 --> 00:54:37,520
Speaker 3: Yes, But it's so interesting the way that it's like

940
00:54:37,680 --> 00:54:40,239
Speaker 3: it's presented to us the viewer, so we can see

941
00:54:40,239 --> 00:54:43,279
Speaker 3: that and we can see the emotional effect it should have,

942
00:54:43,360 --> 00:54:45,680
Speaker 3: but she doesn't really comment on it.

943
00:54:46,040 --> 00:54:49,480
Speaker 2: Yeah, this is this is a wonderful tool that is

944
00:54:49,719 --> 00:54:53,080
Speaker 2: these sometimes you see used in pictures. I'm reminded of

945
00:54:52,960 --> 00:54:55,880
Speaker 2: the nineteen eighty five neo noir film Trouble in Mind

946
00:54:56,560 --> 00:55:01,320
Speaker 2: by Alan Rudolph that starred Chris Christofferson. Picture is also

947
00:55:01,400 --> 00:55:03,759
Speaker 2: super weird, and I go back and forth on whether

948
00:55:03,800 --> 00:55:06,520
Speaker 2: we should cover it on the show. Maybe someday. But

949
00:55:07,480 --> 00:55:10,400
Speaker 2: in the background of that setting, like it's clear that

950
00:55:10,440 --> 00:55:14,280
Speaker 2: there's some sort of a foreign occupation of the city,

951
00:55:14,280 --> 00:55:16,879
Speaker 2: which I think is like Seattle or something. But it's

952
00:55:16,920 --> 00:55:19,600
Speaker 2: never really like nobody ever really comments on it as

953
00:55:19,600 --> 00:55:22,879
Speaker 2: far as I remember. It's just sort of in the background.

954
00:55:23,160 --> 00:55:25,120
Speaker 2: But then you know, it's in the psyche, it's in

955
00:55:25,200 --> 00:55:29,680
Speaker 2: the world, like it's definitely it's presented as background material,

956
00:55:29,719 --> 00:55:32,240
Speaker 2: but it's very much a part of the foreground as well.

957
00:55:33,360 --> 00:55:33,600
Speaker 5: Yeah.

958
00:55:33,880 --> 00:55:37,759
Speaker 3: Absolutely, I mean in storytelling, like what characters don't see

959
00:55:37,840 --> 00:55:42,960
Speaker 3: fit to comment on, it can be such a powerful storytelling.

960
00:55:42,400 --> 00:55:46,799
Speaker 2: Tool, absolutely, and so they're just wonderful job with it

961
00:55:46,840 --> 00:55:47,640
Speaker 2: here in this picture.

962
00:55:48,040 --> 00:55:51,440
Speaker 3: So anyway, in this scene, we pan over the different translators,

963
00:55:51,520 --> 00:55:54,800
Speaker 3: each speaking their respective languages while taking down the speech.

964
00:55:55,480 --> 00:55:57,680
Speaker 3: And this really also kind of takes on the feeling

965
00:55:57,719 --> 00:56:00,719
Speaker 3: of a political espionage thriller, you know, it has that

966
00:56:00,760 --> 00:56:03,600
Speaker 3: feeling of I don't know, like three Days of Condor

967
00:56:03,719 --> 00:56:07,400
Speaker 3: or something. Alice talking to Mary while we watched this

968
00:56:07,480 --> 00:56:09,840
Speaker 3: scene play out in black and white from her memory.

969
00:56:10,120 --> 00:56:12,560
Speaker 3: Talking to Mary, she says that the speech was very long,

970
00:56:13,040 --> 00:56:16,520
Speaker 3: and in her isolation booth, she became very hot, so

971
00:56:16,640 --> 00:56:20,200
Speaker 3: hot she couldn't breathe and she couldn't really concentrate, and

972
00:56:20,239 --> 00:56:23,879
Speaker 3: then she noticed looking down at the crowd below that

973
00:56:24,000 --> 00:56:27,120
Speaker 3: Marie le Blanche was sitting there, and ooh, we get

974
00:56:27,160 --> 00:56:30,960
Speaker 3: a rear window style zoom in on Leblanche. Remember she's

975
00:56:31,000 --> 00:56:34,600
Speaker 3: the woman who the Diplomatic office hired to replace Alice

976
00:56:34,640 --> 00:56:37,799
Speaker 3: when she disappeared. And she says that le Blanche was

977
00:56:37,880 --> 00:56:40,440
Speaker 3: just staring at her, so like everybody else in the

978
00:56:40,560 --> 00:56:43,200
Speaker 3: room is looking forward, but Leblanche is in her chair

979
00:56:43,239 --> 00:56:47,880
Speaker 3: looking straight back up at Alice, and she says, you know,

980
00:56:47,920 --> 00:56:50,200
Speaker 3: it's like she was willing her to make a mistake,

981
00:56:50,280 --> 00:56:52,520
Speaker 3: kind of putting a curse on her from a distance.

982
00:56:53,040 --> 00:56:56,279
Speaker 3: And Alice says she felt overwhelmed. She couldn't keep up

983
00:56:56,280 --> 00:56:59,240
Speaker 3: with the voice she was translating it. She was afraid

984
00:56:59,280 --> 00:57:01,480
Speaker 3: it would just keep going on without her, which I

985
00:57:01,520 --> 00:57:03,680
Speaker 3: guess it would write, you know, if she can't keep up,

986
00:57:03,680 --> 00:57:07,160
Speaker 3: it's just going to keep going. Then she says something happened,

987
00:57:07,560 --> 00:57:09,920
Speaker 3: and we don't really know exactly what it was, but

988
00:57:10,120 --> 00:57:13,600
Speaker 3: in the black and white memory, now everyone in the

989
00:57:13,640 --> 00:57:17,200
Speaker 3: hall turns to stare up at Alice, and in this moment,

990
00:57:17,280 --> 00:57:20,200
Speaker 3: we don't really have a way of knowing whether that

991
00:57:20,480 --> 00:57:24,360
Speaker 3: actually happened, or whether her memory of this event might

992
00:57:24,400 --> 00:57:27,120
Speaker 3: be faulty or we're getting a kind of emotionally tinged

993
00:57:27,280 --> 00:57:31,160
Speaker 3: version of it. So suddenly everybody turns and looks and

994
00:57:31,240 --> 00:57:34,640
Speaker 3: is staring at her in this isolation booth, and she

995
00:57:34,760 --> 00:57:36,920
Speaker 3: gets up and runs. She remembers she got up and

996
00:57:37,000 --> 00:57:39,520
Speaker 3: ran out and rushed out of the building through the

997
00:57:39,520 --> 00:57:42,600
Speaker 3: gardens next door, like she was running away from something.

998
00:57:43,000 --> 00:57:45,919
Speaker 3: But that's where her memory stops. She can't recall where

999
00:57:45,960 --> 00:57:49,800
Speaker 3: she went after that or why now. Mary suggests it's

1000
00:57:49,840 --> 00:57:54,000
Speaker 3: all those tranquilizers in take. She says, you know, you

1001
00:57:54,080 --> 00:57:56,920
Speaker 3: took a big dose and you just simply slept through

1002
00:57:56,960 --> 00:57:59,840
Speaker 3: two whole days. And Mary reminds her of how eggs

1003
00:57:59,840 --> 00:58:01,560
Speaker 3: are she has been from work.

1004
00:58:02,760 --> 00:58:06,560
Speaker 2: She's like, look, it's the seventies. It happens, yeah, But.

1005
00:58:06,840 --> 00:58:09,640
Speaker 3: Alice has good reason for thinking that's not what happened,

1006
00:58:09,720 --> 00:58:13,040
Speaker 3: because she brings up something she hasn't told anybody else

1007
00:58:13,080 --> 00:58:16,120
Speaker 3: so far, the torn up postcard of the Hotel Garma.

1008
00:58:17,080 --> 00:58:20,040
Speaker 3: She says that the facade of the building looked so

1009
00:58:20,280 --> 00:58:22,680
Speaker 3: familiar to her. She doesn't have a memory of going there,

1010
00:58:22,680 --> 00:58:25,480
Speaker 3: but she could swear she had seen it before, and

1011
00:58:25,520 --> 00:58:28,640
Speaker 3: she has a memory of a room inside the hotel

1012
00:58:28,960 --> 00:58:34,200
Speaker 3: with a window painted and stained glass showing a giant peacock. Oh,

1013
00:58:35,440 --> 00:58:37,680
Speaker 3: then there are some more clues that something must have

1014
00:58:37,720 --> 00:58:41,720
Speaker 3: been going on. Back in her apartment, Alice realizes that

1015
00:58:41,800 --> 00:58:45,160
Speaker 3: she only has one of her two gold earrings. She's

1016
00:58:45,200 --> 00:58:48,680
Speaker 3: got one for one ear, but it's missing its mate. Also,

1017
00:58:48,920 --> 00:58:51,560
Speaker 3: she is missing a gray suit that should be in

1018
00:58:51,600 --> 00:58:54,840
Speaker 3: her closet, and in its place she finds a yellow

1019
00:58:54,960 --> 00:58:58,600
Speaker 3: dress her size that she has never seen before. Then

1020
00:58:58,800 --> 00:59:01,520
Speaker 3: on that yellow dress there is a small stain, a

1021
00:59:01,560 --> 00:59:06,320
Speaker 3: spot of blood. Also right around here. There's these little

1022
00:59:06,360 --> 00:59:08,840
Speaker 3: things throughout the movie that I think are so clever

1023
00:59:09,040 --> 00:59:13,240
Speaker 3: because there will be a scene where nothing overtly scary happens,

1024
00:59:13,800 --> 00:59:19,720
Speaker 3: but there's just a little strange, slightly ominous accident. So

1025
00:59:20,200 --> 00:59:23,480
Speaker 3: one case of something like that that happens here is

1026
00:59:23,920 --> 00:59:26,880
Speaker 3: her phone rings and she answers and there's just silence

1027
00:59:26,920 --> 00:59:29,520
Speaker 3: on the other side. No one is there. Nothing super

1028
00:59:29,560 --> 00:59:31,760
Speaker 3: scary happens. But I don't know when things like that

1029
00:59:31,800 --> 00:59:34,520
Speaker 3: pile up in a movie, they can really they can

1030
00:59:34,560 --> 00:59:36,960
Speaker 3: really be effective. It just feels like something is wrong

1031
00:59:37,000 --> 00:59:40,560
Speaker 3: with the world. She's being targeted somehow. And I also

1032
00:59:40,680 --> 00:59:42,840
Speaker 3: love that the phone looks like a computer mouse.

1033
00:59:43,320 --> 00:59:46,520
Speaker 2: This phone? Is it is this is a plug into

1034
00:59:46,520 --> 00:59:50,200
Speaker 2: the wall telephone? Yes, but yeah, it looks the most

1035
00:59:50,240 --> 00:59:52,520
Speaker 2: like a like a mouse. But I couldn't even I

1036
00:59:52,520 --> 00:59:54,120
Speaker 2: didn't even know what it was when I saw it there.

1037
00:59:54,160 --> 00:59:57,280
Speaker 2: I was like, is this something that you use like

1038
00:59:57,360 --> 01:00:01,520
Speaker 2: on your body or scans? I like, I just this

1039
01:00:01,560 --> 01:00:04,400
Speaker 2: is clearly some sort of modern technology, but it's like

1040
01:00:04,480 --> 01:00:09,720
Speaker 2: so cutting edge that it's unrecognizable decades later, you know.

1041
01:00:18,080 --> 01:00:21,800
Speaker 3: So Alice is troubled by this situation and by her

1042
01:00:21,840 --> 01:00:25,120
Speaker 3: inability to remember the past two days. So she wakes

1043
01:00:25,200 --> 01:00:28,880
Speaker 3: up in the middle of the night. She's clearly wrestling

1044
01:00:28,920 --> 01:00:31,640
Speaker 3: with this, and she goes to the kitchen and retrieves

1045
01:00:31,760 --> 01:00:34,600
Speaker 3: the pieces of the torn up postcard and once again

1046
01:00:34,640 --> 01:00:37,520
Speaker 3: puts them together. And this causes her to think once

1047
01:00:37,520 --> 01:00:40,800
Speaker 3: again of the painted peacock in the glass. What is

1048
01:00:40,840 --> 01:00:44,000
Speaker 3: the source of that memory? And it seems if there

1049
01:00:44,040 --> 01:00:46,520
Speaker 3: is an answer to this riddle, it may lie in

1050
01:00:46,600 --> 01:00:49,960
Speaker 3: Garma wherever. That is from what I can tell, Garma

1051
01:00:50,200 --> 01:00:52,120
Speaker 3: is not a real place. I tried to look it

1052
01:00:52,200 --> 01:00:55,160
Speaker 3: up and couldn't really come up with anything, but within

1053
01:00:55,280 --> 01:00:58,600
Speaker 3: the world of the movie, it is a small island

1054
01:00:58,680 --> 01:01:01,600
Speaker 3: in the Mediterranean. I thinks it's supposed to be off

1055
01:01:01,600 --> 01:01:02,600
Speaker 3: the coast of Turkey.

1056
01:01:03,440 --> 01:01:06,720
Speaker 2: Yeah, it looks like they film at a couple of

1057
01:01:06,720 --> 01:01:10,440
Speaker 2: different locations in Turkey, So I think that's fair too soon.

1058
01:01:11,240 --> 01:01:13,640
Speaker 3: So Alice books a flight to the nearest airport. There's

1059
01:01:13,680 --> 01:01:15,840
Speaker 3: no airport on Garma. She has to fly to another

1060
01:01:15,880 --> 01:01:18,080
Speaker 3: island or a town on the mainland, I think, and

1061
01:01:18,120 --> 01:01:21,680
Speaker 3: then take a boat out to Garma. And on the

1062
01:01:21,680 --> 01:01:24,760
Speaker 3: airplane we see she like sleeps in the in the

1063
01:01:24,800 --> 01:01:27,800
Speaker 3: airplane chair and she's dreaming about the astronaut strained on

1064
01:01:27,800 --> 01:01:31,920
Speaker 3: the moon again and it's again a haunting image because

1065
01:01:32,120 --> 01:01:35,400
Speaker 3: the astronaut is this is after the lander has already left,

1066
01:01:35,440 --> 01:01:39,360
Speaker 3: So the astronaut is like stumbling around in the moon dust.

1067
01:01:39,440 --> 01:01:42,520
Speaker 3: But where can he go? You know, you imagine yourself

1068
01:01:42,560 --> 01:01:45,160
Speaker 3: in that situation, like why what sense would it even

1069
01:01:45,200 --> 01:01:47,320
Speaker 3: make to walk anywhere? There's no help to be found.

1070
01:01:47,400 --> 01:01:50,280
Speaker 3: You're on the moon. So she arrives at the port

1071
01:01:50,360 --> 01:01:52,880
Speaker 3: of Garma, where she disembarks from the boat and then

1072
01:01:52,960 --> 01:01:56,560
Speaker 3: meets a friendly young man with a British accent named Henry,

1073
01:01:57,000 --> 01:01:59,240
Speaker 3: who offers to give her a ride to the hotel.

1074
01:02:00,160 --> 01:02:02,880
Speaker 3: And on the way, we see some beautiful local sites

1075
01:02:02,960 --> 01:02:06,400
Speaker 3: and architecture. There are these old stone mosques with huge

1076
01:02:06,520 --> 01:02:11,600
Speaker 3: rising domes and minarets. There are wooded cemeteries with tall,

1077
01:02:11,720 --> 01:02:15,320
Speaker 3: slender headstones. I really liked these graveyards where there would

1078
01:02:15,400 --> 01:02:17,560
Speaker 3: be like trees in them, and the trees are kind

1079
01:02:17,560 --> 01:02:21,800
Speaker 3: of the low branches are hanging out and mingling among

1080
01:02:21,880 --> 01:02:26,200
Speaker 3: the tall headstones of the graves. There's even what looks

1081
01:02:26,240 --> 01:02:29,240
Speaker 3: like an antique city wall with an arched gateway and

1082
01:02:29,280 --> 01:02:31,880
Speaker 3: the car just drives underneath it. It looks like something

1083
01:02:31,880 --> 01:02:33,640
Speaker 3: where I don't know, they'd want to keep traffic away

1084
01:02:33,640 --> 01:02:36,240
Speaker 3: from it or something, But I guess you get that

1085
01:02:36,320 --> 01:02:39,360
Speaker 3: more in I don't know, in like Europe and Turkey

1086
01:02:39,400 --> 01:02:42,720
Speaker 3: and stuff, where just like the ancient and the modern

1087
01:02:42,800 --> 01:02:44,920
Speaker 3: are just commingled. Everything's right there together.

1088
01:02:45,600 --> 01:02:45,840
Speaker 5: Yeah.

1089
01:02:45,960 --> 01:02:47,560
Speaker 2: Yeah, I mean it is one of the great things

1090
01:02:47,600 --> 01:02:51,280
Speaker 2: about about traveling to locations like this. I've never been

1091
01:02:51,280 --> 01:02:55,200
Speaker 2: to Turkey, but these Turkish locations look look fabulous, and

1092
01:02:55,200 --> 01:02:58,480
Speaker 2: this film really found some great locations for these shots.

1093
01:02:58,760 --> 01:03:01,600
Speaker 3: Yeah. I wonder what this main mosque that we keep

1094
01:03:01,640 --> 01:03:04,280
Speaker 3: seeing is with the minarets. It's really really gorgeous.

1095
01:03:05,120 --> 01:03:07,040
Speaker 2: Yeah, I'm not sure, I think there are, Like, there

1096
01:03:07,080 --> 01:03:11,000
Speaker 2: are three different Turkish locations that are sited in IMDb.

1097
01:03:12,320 --> 01:03:15,040
Speaker 2: One of them is Kemer, which I'm to understand is

1098
01:03:15,240 --> 01:03:19,160
Speaker 2: essentially like a Mediterranean vacation destination. So I think when

1099
01:03:19,160 --> 01:03:24,120
Speaker 2: we see the more vacationy parts of this place where

1100
01:03:24,120 --> 01:03:28,560
Speaker 2: we're looking at Kemer, I'm not sure about these, about

1101
01:03:28,560 --> 01:03:31,520
Speaker 2: the cemetery or the mosque and so forth.

1102
01:03:32,120 --> 01:03:34,240
Speaker 3: So Alice tells Henry on the car ride that it

1103
01:03:34,320 --> 01:03:37,600
Speaker 3: is her first time visiting Garma, and Henry explains that

1104
01:03:37,680 --> 01:03:40,840
Speaker 3: he's there because he owns an old house. There's an

1105
01:03:40,880 --> 01:03:42,919
Speaker 3: old house on the island in the woods, and he's

1106
01:03:42,960 --> 01:03:45,160
Speaker 3: trying to fix it up, though he says he is

1107
01:03:45,240 --> 01:03:47,400
Speaker 3: not a very good carpenter, and he holds up a

1108
01:03:47,440 --> 01:03:51,680
Speaker 3: bandaged hand as proof of that. I guess it would

1109
01:03:51,720 --> 01:03:53,360
Speaker 3: have been funnier if there was like still a nail

1110
01:03:53,400 --> 01:03:56,080
Speaker 3: sticking out of it, but it's just a bandage hand.

1111
01:03:56,560 --> 01:03:59,600
Speaker 3: Henry drops Alice off at the hotel, the one from

1112
01:03:59,600 --> 01:04:01,919
Speaker 3: the post and we see it framed exactly the same

1113
01:04:01,960 --> 01:04:04,240
Speaker 3: way it is in the postcard. There's a nice little

1114
01:04:04,280 --> 01:04:07,800
Speaker 3: touch where a flock of pigeons on the sidewalk scatter

1115
01:04:07,880 --> 01:04:10,120
Speaker 3: into the air as the car arrives outside, and then

1116
01:04:10,160 --> 01:04:13,360
Speaker 3: they all just kind of settle down again. But at

1117
01:04:13,400 --> 01:04:16,320
Speaker 3: the hotel, Alice tries to ask for the room she

1118
01:04:16,360 --> 01:04:19,080
Speaker 3: remembers the room with the peacock painted on the window,

1119
01:04:19,200 --> 01:04:21,680
Speaker 3: but the manager doesn't seem to know what she's talking about,

1120
01:04:21,720 --> 01:04:23,960
Speaker 3: so she takes a regular room with a balcony facing

1121
01:04:23,960 --> 01:04:26,720
Speaker 3: the ocean. And as with so many of the sets,

1122
01:04:26,800 --> 01:04:30,960
Speaker 3: the inside of this hotel is elegantly wacky. Like the

1123
01:04:31,080 --> 01:04:36,600
Speaker 3: lobby is just beautiful. It has these pillars and arches

1124
01:04:36,720 --> 01:04:42,000
Speaker 3: and this tile pattern, and I guess a lot of

1125
01:04:42,040 --> 01:04:45,040
Speaker 3: this looks like, you know, kind of classic Islamic architecture,

1126
01:04:45,120 --> 01:04:48,680
Speaker 3: so those kind of like arch window styles. But then

1127
01:04:48,720 --> 01:04:52,040
Speaker 3: also these beautiful hanging lights that have I don't know,

1128
01:04:52,080 --> 01:04:55,120
Speaker 3: they're not like a normal chandelier, They're more like randomly

1129
01:04:55,280 --> 01:04:59,240
Speaker 3: arranged lights along i don't know, kind of a Christmas

1130
01:04:59,320 --> 01:05:03,800
Speaker 3: light vibe. And then the plants indoors and old furniture

1131
01:05:04,120 --> 01:05:06,600
Speaker 3: is just a beautiful looking place. And also her room

1132
01:05:06,880 --> 01:05:12,120
Speaker 3: is by contrast, kind of lovely but hideous, like a

1133
01:05:12,240 --> 01:05:16,280
Speaker 3: totally red blanket on the bed, and then these wallpaper

1134
01:05:16,360 --> 01:05:19,960
Speaker 3: walls and like bear light bulbs it's something.

1135
01:05:20,360 --> 01:05:22,919
Speaker 2: Yeah, this movie does a great job at something that

1136
01:05:23,040 --> 01:05:24,600
Speaker 2: This is another thing is easy to take for granted

1137
01:05:24,600 --> 01:05:26,720
Speaker 2: in a film, and not all films pulled this off,

1138
01:05:27,160 --> 01:05:33,080
Speaker 2: but making you so invested in the pre speculativelopment or

1139
01:05:33,240 --> 01:05:37,040
Speaker 2: pre call to adventures and so forth aspect of the plot.

1140
01:05:37,520 --> 01:05:40,040
Speaker 2: You're like on vacation with this woman and you're like,

1141
01:05:40,080 --> 01:05:42,520
Speaker 2: this is pleasant. I want to see what's next. What's

1142
01:05:42,520 --> 01:05:45,520
Speaker 2: she doing for lunch? Let's look at more details in

1143
01:05:45,520 --> 01:05:48,040
Speaker 2: her hotel room. Like I'm game. I'm totally down with

1144
01:05:48,080 --> 01:05:50,280
Speaker 2: the pace at which we're exploring this world.

1145
01:05:50,520 --> 01:05:53,240
Speaker 3: That's right. So Alice explores the island. She takes in

1146
01:05:53,280 --> 01:05:56,000
Speaker 3: more of the sites in the atmosphere. There's one particularly

1147
01:05:56,120 --> 01:05:59,680
Speaker 3: lovely shot where she's i think, wandering around outside the

1148
01:05:59,720 --> 01:06:02,200
Speaker 3: moss we saw earlier, and there are these trees in

1149
01:06:02,240 --> 01:06:05,560
Speaker 3: the courtyard sort of you just see like the tree

1150
01:06:05,800 --> 01:06:09,760
Speaker 3: trunks and these stone pillars framed in almost the same way,

1151
01:06:09,880 --> 01:06:12,919
Speaker 3: like you can mistake one for the other, and it's

1152
01:06:13,040 --> 01:06:16,960
Speaker 3: quite beautiful. And so she's exploring the island, lounging on

1153
01:06:17,000 --> 01:06:20,320
Speaker 3: the coast. There's one thing that's kind of interesting here.

1154
01:06:21,680 --> 01:06:25,000
Speaker 3: We were talking about the scene earlier with the speech

1155
01:06:25,080 --> 01:06:30,120
Speaker 3: about the coming environmental catastrophe, where this very captivating and

1156
01:06:30,200 --> 01:06:34,120
Speaker 3: disturbing premise is established by what's happening in the background,

1157
01:06:34,120 --> 01:06:37,040
Speaker 3: but the characters don't really acknowledge or comment on this

1158
01:06:37,160 --> 01:06:40,120
Speaker 3: at all, so it's like it might not be affecting them,

1159
01:06:40,360 --> 01:06:43,240
Speaker 3: or maybe maybe it is affecting them, but they don't

1160
01:06:43,360 --> 01:06:47,240
Speaker 3: acknowledge or realize themselves how it is affecting them. There's

1161
01:06:47,280 --> 01:06:50,720
Speaker 3: a similar thing with the history in the setting, this

1162
01:06:50,920 --> 01:06:56,280
Speaker 3: island being full of old buildings, holy places, ruins, ruins

1163
01:06:56,320 --> 01:07:00,560
Speaker 3: in the woods, ancient city walls, and cemeteries. Very little

1164
01:07:00,600 --> 01:07:03,920
Speaker 3: is said about this, but the setting really contributes to

1165
01:07:03,960 --> 01:07:08,080
Speaker 3: the psychic connotations of the action, like something is old, buried,

1166
01:07:08,240 --> 01:07:12,560
Speaker 3: maybe sacred, maybe haunted. So I guess at this point

1167
01:07:12,560 --> 01:07:14,360
Speaker 3: it makes sense to kind of zoom out and give

1168
01:07:14,400 --> 01:07:17,200
Speaker 3: a more summary description of this middle portion of the movie,

1169
01:07:17,240 --> 01:07:20,680
Speaker 3: a lot of which is Alice going about having various

1170
01:07:20,800 --> 01:07:25,720
Speaker 3: encounters on the island, trying to piece together what happened,

1171
01:07:25,800 --> 01:07:29,080
Speaker 3: what her connection to this place is, and what people know.

1172
01:07:29,200 --> 01:07:31,560
Speaker 3: And a big thing is that as she meets people

1173
01:07:31,600 --> 01:07:36,760
Speaker 3: on the island, especially other tourists, she gets recognized, so

1174
01:07:37,160 --> 01:07:41,200
Speaker 3: she meets a red haired girl named Paula. They're out

1175
01:07:41,200 --> 01:07:43,880
Speaker 3: on the beach. I think she's lounging in a chair

1176
01:07:44,000 --> 01:07:46,520
Speaker 3: sort of in the shade of a tree that's very

1177
01:07:46,520 --> 01:07:49,000
Speaker 3: close to the beach. It just looks closer to the

1178
01:07:49,040 --> 01:07:52,080
Speaker 3: beach than the tree usually is, I think. But she's

1179
01:07:52,200 --> 01:07:54,520
Speaker 3: sitting there and this girl, Paula, comes up and talks

1180
01:07:54,520 --> 01:07:57,200
Speaker 3: to her as if she already knows her, and she

1181
01:07:57,280 --> 01:08:00,360
Speaker 3: says they've met before, but this girl knows her not

1182
01:08:00,600 --> 01:08:05,200
Speaker 3: as Alice, but as Nicole, And Paula says that Nicole

1183
01:08:05,320 --> 01:08:09,920
Speaker 3: looked alike her, but with long red hair. And I

1184
01:08:10,040 --> 01:08:14,800
Speaker 3: like that a sort of double doppelganger theme is established here.

1185
01:08:14,840 --> 01:08:18,320
Speaker 3: It's sort of spooky because not only is the implication

1186
01:08:18,479 --> 01:08:22,439
Speaker 3: that Alice has some kind of unknown lookalike, but also

1187
01:08:22,800 --> 01:08:26,040
Speaker 3: it's kind of spooky because the child telling her about

1188
01:08:26,080 --> 01:08:29,240
Speaker 3: this look alike with long red hair also has long

1189
01:08:29,280 --> 01:08:29,760
Speaker 3: red hair.

1190
01:08:30,360 --> 01:08:30,880
Speaker 5: Yeah.

1191
01:08:31,400 --> 01:08:34,040
Speaker 2: Yeah, And so these are the moments where you do wonder.

1192
01:08:34,080 --> 01:08:37,280
Speaker 2: It's like, is the child also some manner of doppelganger

1193
01:08:37,520 --> 01:08:40,320
Speaker 2: or a ghost of the child that you were, that

1194
01:08:40,439 --> 01:08:40,920
Speaker 2: sort of thing.

1195
01:08:41,280 --> 01:08:46,280
Speaker 3: Yeah. Paula says that Alice is similar to Nicole but nicer.

1196
01:08:46,520 --> 01:08:50,839
Speaker 3: Something about Nicole was frightening, and she did something scary

1197
01:08:50,920 --> 01:08:54,080
Speaker 3: out in the woods. And I love in the setting here,

1198
01:08:54,160 --> 01:08:56,599
Speaker 3: the presence of these woods kind of at the edge

1199
01:08:56,600 --> 01:08:58,679
Speaker 3: of a lot of these beach scenes. So we'll see

1200
01:08:59,120 --> 01:09:01,840
Speaker 3: Alice talking to people out on the beach or out

1201
01:09:01,840 --> 01:09:04,200
Speaker 3: on the rocks near the coast, and then there's often

1202
01:09:04,400 --> 01:09:09,599
Speaker 3: like arow throw of attention towards this peninsular coast that's

1203
01:09:09,920 --> 01:09:13,360
Speaker 3: got a pine forest on it, and it's very ominous.

1204
01:09:13,400 --> 01:09:16,960
Speaker 3: So something about the energy that these woods radiate is powerful.

1205
01:09:17,760 --> 01:09:21,320
Speaker 2: Yeah, they feel thick and wild, as if all the

1206
01:09:21,400 --> 01:09:25,960
Speaker 2: like the resort town energy that we see elsewhere, and

1207
01:09:26,000 --> 01:09:29,400
Speaker 2: even the deeper history of the island, the human history

1208
01:09:29,640 --> 01:09:33,040
Speaker 2: that they seem to struggle here in these woods. These

1209
01:09:33,040 --> 01:09:37,440
Speaker 2: woods are more primal, wilder, and less touched by humanity.

1210
01:09:37,640 --> 01:09:39,600
Speaker 3: Yeah, there's a really good scene in them coming up

1211
01:09:39,640 --> 01:09:41,880
Speaker 3: in a minute. But first of all, Alice also has

1212
01:09:41,920 --> 01:09:46,519
Speaker 3: an encounter with an older woman named missus Him also

1213
01:09:46,560 --> 01:09:50,200
Speaker 3: a tourist on the island who also recently saw Nicole.

1214
01:09:50,400 --> 01:09:53,000
Speaker 3: This woman who looked like Alice, but with long red hair.

1215
01:09:53,680 --> 01:09:56,240
Speaker 3: So what's going on? Does Alice have a secret look

1216
01:09:56,280 --> 01:09:59,200
Speaker 3: alike or was she somehow here in disguise in the

1217
01:09:59,280 --> 01:10:01,880
Speaker 3: days she can't remember. Why would she have been in

1218
01:10:02,000 --> 01:10:05,960
Speaker 3: disguise if that was her. She also has another meeting

1219
01:10:06,000 --> 01:10:08,280
Speaker 3: with Henry, the nice man who gave her a ride

1220
01:10:08,320 --> 01:10:11,080
Speaker 3: to the hotel, and there is a hint of romantic

1221
01:10:11,120 --> 01:10:13,720
Speaker 3: interest between them, and Henry invites her to meet him

1222
01:10:13,720 --> 01:10:17,240
Speaker 3: for a drink later. But I mentioned the creepy scene

1223
01:10:17,240 --> 01:10:19,360
Speaker 3: in the woods is the scene with the dog and

1224
01:10:19,439 --> 01:10:23,320
Speaker 3: the wig. So there's a scene where Alice and Paula

1225
01:10:23,439 --> 01:10:26,559
Speaker 3: the younger girl, they go out into the woods into

1226
01:10:26,640 --> 01:10:29,320
Speaker 3: I think these are like there are ruins in the

1227
01:10:29,360 --> 01:10:30,160
Speaker 3: pine woods.

1228
01:10:30,560 --> 01:10:33,959
Speaker 2: Yeah, it was like an arch that's still intact.

1229
01:10:34,360 --> 01:10:38,240
Speaker 3: Yeah, And they go here because am I remembering right

1230
01:10:38,360 --> 01:10:40,960
Speaker 3: that this? They went here because this is the place

1231
01:10:41,000 --> 01:10:45,439
Speaker 3: where Paula said she saw Nicole burning things in a fire. Yes,

1232
01:10:45,840 --> 01:10:47,960
Speaker 3: So they go here and they find the remains of

1233
01:10:48,040 --> 01:10:51,799
Speaker 3: whatever Nicole had been burning, and Paula confesses that Nicole

1234
01:10:52,040 --> 01:10:56,800
Speaker 3: scared her. Nicole herself apparently was afraid she had been

1235
01:10:56,840 --> 01:11:00,679
Speaker 3: acting erradically and she was afraid that people or following

1236
01:11:00,720 --> 01:11:06,400
Speaker 3: her hunting her. And there's some kind of espionage story implication,

1237
01:11:06,680 --> 01:11:11,120
Speaker 3: like was Alice burning documents in the woods, burning something

1238
01:11:11,200 --> 01:11:14,840
Speaker 3: having to do with her work, maybe diplomatic secrets about

1239
01:11:14,880 --> 01:11:18,639
Speaker 3: scientific research and with somebody trying to get a hold

1240
01:11:18,680 --> 01:11:21,639
Speaker 3: of that information. But in the end of the scene,

1241
01:11:21,880 --> 01:11:26,160
Speaker 3: Paula is scared by Nicole slash Alice and runs away,

1242
01:11:26,680 --> 01:11:31,360
Speaker 3: and Alice sees a stray dog. I think they have

1243
01:11:31,400 --> 01:11:34,960
Speaker 3: a name for this dog. Is he called Fox or something? Fox? Yeah,

1244
01:11:35,080 --> 01:11:37,559
Speaker 3: there's a stray dog who hangs around and the dog

1245
01:11:37,800 --> 01:11:42,440
Speaker 3: is like chewing on a red wig. So Alice retrieves

1246
01:11:42,479 --> 01:11:45,080
Speaker 3: the wig, and this is another clue, and it takes

1247
01:11:45,080 --> 01:11:48,400
Speaker 3: her to the local wig shop. So Garma appears to

1248
01:11:48,400 --> 01:11:50,320
Speaker 3: have a very it's a small town, but they do

1249
01:11:50,400 --> 01:11:53,520
Speaker 3: have a wig shop and like a wig styling specialist.

1250
01:11:54,720 --> 01:11:54,920
Speaker 5: Yeah.

1251
01:11:54,960 --> 01:11:56,960
Speaker 2: She brings it in and she's like, I would like

1252
01:11:57,040 --> 01:12:01,200
Speaker 2: this washed, she says, washed in cone. Yeah, yeah, which

1253
01:12:01,200 --> 01:12:02,560
Speaker 2: I don't know. I don't know much about wigs, but

1254
01:12:02,600 --> 01:12:04,639
Speaker 2: I was just assumed, like, once it's in the woods

1255
01:12:04,720 --> 01:12:07,439
Speaker 2: in the mouth of a dog, like maybe that wig's gone.

1256
01:12:07,600 --> 01:12:09,559
Speaker 2: I don't know, but maybe you can bring him back

1257
01:12:09,600 --> 01:12:09,840
Speaker 2: from that.

1258
01:12:10,320 --> 01:12:13,559
Speaker 3: Yeah, yeah, you can always bring a wig back, I'm sure. Anyway,

1259
01:12:13,600 --> 01:12:17,559
Speaker 3: at the whig shop, Alice is once again recognized as Nichole.

1260
01:12:18,280 --> 01:12:20,680
Speaker 3: The man there fixes up her wig and offers to

1261
01:12:20,760 --> 01:12:23,800
Speaker 3: redo her makeup in the way that he had done

1262
01:12:23,800 --> 01:12:29,439
Speaker 3: it before. So, if Nichole was Alice, it seems maybe

1263
01:12:29,439 --> 01:12:32,800
Speaker 3: she had been trying to change her whole appearance. And

1264
01:12:33,080 --> 01:12:36,760
Speaker 3: there are multiple possibilities there, like was she trying to

1265
01:12:36,920 --> 01:12:40,919
Speaker 3: hide her identity or was she trying to change it entirely,

1266
01:12:40,960 --> 01:12:44,640
Speaker 3: like change who she was? We don't know at this point.

1267
01:12:44,880 --> 01:12:48,680
Speaker 3: From here, Alice traces the path of Nichole's business with

1268
01:12:48,800 --> 01:12:51,640
Speaker 3: various shops in town. She finds the shop where she

1269
01:12:51,840 --> 01:12:54,240
Speaker 3: had bought the yellow dress with the spot of blood

1270
01:12:54,280 --> 01:12:58,120
Speaker 3: on it that she found in her closet. She finds

1271
01:12:58,280 --> 01:13:02,160
Speaker 3: somehow reference to an or at the stationery store, and

1272
01:13:02,240 --> 01:13:05,400
Speaker 3: when she goes to pick it up, the shopkeeper there says, oh,

1273
01:13:05,479 --> 01:13:07,880
Speaker 3: you know, this order was already filled. You already got

1274
01:13:07,880 --> 01:13:10,479
Speaker 3: the item. But Alice asks for the same item again

1275
01:13:10,560 --> 01:13:12,920
Speaker 3: to find out what it is. When she gets it,

1276
01:13:12,920 --> 01:13:17,679
Speaker 3: it is a large sharp pair of scissors. Also, throughout

1277
01:13:17,720 --> 01:13:21,640
Speaker 3: this middle section of the movie, there are scenes that

1278
01:13:21,880 --> 01:13:26,559
Speaker 3: just raised the specter of Alice being pursued or watched

1279
01:13:26,640 --> 01:13:29,760
Speaker 3: in some way. You know are there people who are

1280
01:13:29,800 --> 01:13:33,680
Speaker 3: following her? And other people are telling her that if

1281
01:13:33,800 --> 01:13:36,599
Speaker 3: Nicole was her Nicole was afraid of men who had

1282
01:13:36,600 --> 01:13:39,760
Speaker 3: been following her, and she has recurring dreams of the

1283
01:13:39,800 --> 01:13:42,960
Speaker 3: science fiction film with klaus Kinski killing these astronauts on

1284
01:13:43,000 --> 01:13:46,559
Speaker 3: the moon to complete the experiment. There's a scene where

1285
01:13:46,600 --> 01:13:50,559
Speaker 3: Alice meets Henry for a drink, and here he acts

1286
01:13:50,640 --> 01:13:53,840
Speaker 3: a little bit strange. He's still he comes across as

1287
01:13:53,960 --> 01:13:57,160
Speaker 3: very nice, like not threatening at all, but he does

1288
01:13:57,200 --> 01:13:59,320
Speaker 3: start to say things like is there something you'd like

1289
01:13:59,360 --> 01:14:01,240
Speaker 3: to tell me? You have something you want to say,

1290
01:14:01,800 --> 01:14:05,320
Speaker 3: and she doesn't understand what's going on and ends up leaving.

1291
01:14:06,520 --> 01:14:10,040
Speaker 3: Alice tries to make arrangements to leave the island on

1292
01:14:10,080 --> 01:14:12,439
Speaker 3: the last boat of the day, but this ends up

1293
01:14:12,439 --> 01:14:15,400
Speaker 3: going wrong. She misses the boat because she first has

1294
01:14:15,439 --> 01:14:18,120
Speaker 3: to pick up her wallet which she lost, which is

1295
01:14:18,160 --> 01:14:21,880
Speaker 3: in the possession of missus Him that other tourists she met,

1296
01:14:22,439 --> 01:14:25,000
Speaker 3: and missus Him has asked her to meet to meet

1297
01:14:25,080 --> 01:14:28,559
Speaker 3: at an organ concert in a local church, and this

1298
01:14:28,680 --> 01:14:32,040
Speaker 3: is supposed to be some great traveling organist who's performing.

1299
01:14:32,479 --> 01:14:35,160
Speaker 3: Don't normally I'm not going to knock other people's musical

1300
01:14:35,200 --> 01:14:38,840
Speaker 3: performance as a sloppy musician myself. But I heard what

1301
01:14:38,920 --> 01:14:41,639
Speaker 3: sounded like a lot of mistakes on this organ playing.

1302
01:14:41,680 --> 01:14:44,040
Speaker 3: I don't know how like world class this one this

1303
01:14:44,120 --> 01:14:44,880
Speaker 3: performer was.

1304
01:14:46,320 --> 01:14:49,000
Speaker 2: I can't speak to that, but I did find that

1305
01:14:49,040 --> 01:14:52,519
Speaker 2: the whole organ performance felt kind of like creepy and

1306
01:14:52,560 --> 01:14:54,920
Speaker 2: low energy at the same time, where I'm like, is

1307
01:14:54,960 --> 01:14:58,800
Speaker 2: this really the only thing to do in this town

1308
01:14:58,880 --> 01:15:00,720
Speaker 2: right now? I don't know, Maybe it is.

1309
01:15:01,320 --> 01:15:03,640
Speaker 3: It just kind of sounded like the music that's, you know,

1310
01:15:03,760 --> 01:15:06,479
Speaker 3: playing at a local church when people are like filing

1311
01:15:06,520 --> 01:15:07,719
Speaker 3: in and finding their seats.

1312
01:15:08,080 --> 01:15:08,600
Speaker 2: Yeah.

1313
01:15:11,200 --> 01:15:15,200
Speaker 3: Yeah. Now somehow from here, Alice ends up back in

1314
01:15:15,280 --> 01:15:19,200
Speaker 3: the woods trying to piece together what happened, and she

1315
01:15:19,200 --> 01:15:22,840
Speaker 3: she has some kind of mental exhaustion episode and she

1316
01:15:23,160 --> 01:15:26,360
Speaker 3: falls down and faints. Do you remember what the exact

1317
01:15:26,400 --> 01:15:27,680
Speaker 3: trigger of this moment is?

1318
01:15:28,360 --> 01:15:30,920
Speaker 2: I do not. I don't think it was the organ

1319
01:15:31,040 --> 01:15:32,520
Speaker 2: concert specifically.

1320
01:15:32,880 --> 01:15:36,960
Speaker 3: Yeah, that organ music was so bad.

1321
01:15:37,479 --> 01:15:39,800
Speaker 2: But is it Is it ever established that it is

1322
01:15:39,880 --> 01:15:41,639
Speaker 2: perhaps off season in Garma?

1323
01:15:42,040 --> 01:15:42,200
Speaker 4: Oh?

1324
01:15:42,400 --> 01:15:43,360
Speaker 3: Yes, they talk about that.

1325
01:15:43,439 --> 01:15:45,240
Speaker 2: Yeah, I think you're good, that's what I because it

1326
01:15:45,280 --> 01:15:46,599
Speaker 2: feels very off season.

1327
01:15:46,920 --> 01:15:49,760
Speaker 3: Yes, it's not the high tourist season. Henry says that

1328
01:15:49,760 --> 01:15:52,400
Speaker 3: when they're first traveling together, when they're in the car

1329
01:15:52,439 --> 01:15:55,960
Speaker 3: heading into town. So I think this is why the

1330
01:15:56,720 --> 01:15:59,160
Speaker 3: tourist locations are sparsely populated.

1331
01:15:59,360 --> 01:16:02,840
Speaker 2: Yeah, Rgan music is the only the only act in town,

1332
01:16:03,200 --> 01:16:05,240
Speaker 2: because otherwise you'd think, well, maybe there'd be some more

1333
01:16:05,240 --> 01:16:09,160
Speaker 2: traditional Turkish music to listen to, or various uh uh,

1334
01:16:09,200 --> 01:16:12,120
Speaker 2: you know, European acts coming in to appeal to the

1335
01:16:12,120 --> 01:16:15,720
Speaker 2: European tourists. And I guess that's what the organist is

1336
01:16:15,800 --> 01:16:17,439
Speaker 2: doing here anyway.

1337
01:16:17,560 --> 01:16:20,600
Speaker 3: So she falls down unconscious and wakes up in a

1338
01:16:20,680 --> 01:16:25,160
Speaker 3: different place. She is in an old, empty mansion, and

1339
01:16:25,600 --> 01:16:29,559
Speaker 3: looking around, she discovers the peacock, the one from her memory,

1340
01:16:29,720 --> 01:16:33,360
Speaker 3: the window painted with the peacock on the class What

1341
01:16:33,640 --> 01:16:36,160
Speaker 3: is this place? Well, here we get the payoff of

1342
01:16:36,160 --> 01:16:40,240
Speaker 3: an earlier conversation. Remember when she met Henry, he said

1343
01:16:40,280 --> 01:16:42,959
Speaker 3: he was fixing up an old house in the woods.

1344
01:16:43,439 --> 01:16:47,880
Speaker 3: Here it is so, with Henry's help, Alice remembers what

1345
01:16:48,200 --> 01:16:52,080
Speaker 3: apparently happened earlier this week, and in fact, what happened

1346
01:16:52,160 --> 01:16:55,920
Speaker 3: earlier in their lives. Do we do we learn? I

1347
01:16:55,960 --> 01:16:58,880
Speaker 3: think here that Henry is not Henry's real name, that

1348
01:16:58,960 --> 01:17:01,559
Speaker 3: he has he has another name. I'm forgetting what it is.

1349
01:17:02,439 --> 01:17:04,800
Speaker 2: I don't remember what Henry's other possible name is, but

1350
01:17:05,320 --> 01:17:07,879
Speaker 2: there's a lot of insisting that he is actually Henry.

1351
01:17:08,200 --> 01:17:11,719
Speaker 3: Yes, anyway, whatever his real name is. These two characters,

1352
01:17:11,720 --> 01:17:15,320
Speaker 3: when Alice and Henry were both teenagers, they met one

1353
01:17:15,400 --> 01:17:20,040
Speaker 3: summer while Alice's family was on vacation in Garma, and

1354
01:17:20,120 --> 01:17:24,559
Speaker 3: I think Henry's family had owned this house there, And

1355
01:17:24,600 --> 01:17:26,880
Speaker 3: so when they met all these years ago, they had

1356
01:17:26,920 --> 01:17:30,800
Speaker 3: a brief but intense young love, and Alice recalls a

1357
01:17:30,840 --> 01:17:35,160
Speaker 3: memory of taking Henry's hand in front of the peacock window,

1358
01:17:35,880 --> 01:17:40,559
Speaker 3: And so it seems earlier this week. What happened was

1359
01:17:41,000 --> 01:17:45,799
Speaker 3: something in Alice's life back in Rome caused her to snap,

1360
01:17:46,200 --> 01:17:50,280
Speaker 3: and she fled Rome and fled to Garma and assumed

1361
01:17:50,439 --> 01:17:53,800
Speaker 3: this new identity of Nicole, And so she wore a

1362
01:17:53,800 --> 01:17:57,920
Speaker 3: wig and dressed herself differently. They say that she somehow

1363
01:17:57,960 --> 01:18:01,120
Speaker 3: remembered that Henry's favorite color was yellow, and so she

1364
01:18:01,240 --> 01:18:04,000
Speaker 3: bought a yellow dress in town and wore it and

1365
01:18:04,080 --> 01:18:07,559
Speaker 3: came to Henry, seeking to connect with this time in

1366
01:18:07,600 --> 01:18:10,280
Speaker 3: her past when she had felt happy, when she felt

1367
01:18:10,320 --> 01:18:14,120
Speaker 3: loved and felt safe. She came here she found Henry

1368
01:18:14,400 --> 01:18:17,960
Speaker 3: and they rekindled their love after these many years. But

1369
01:18:18,479 --> 01:18:22,040
Speaker 3: for some reason she left again. She'd only been she

1370
01:18:22,080 --> 01:18:24,679
Speaker 3: only stayed for I guess a day or two. She left,

1371
01:18:24,800 --> 01:18:28,160
Speaker 3: went back to Rome, and then somehow lost all memory

1372
01:18:28,200 --> 01:18:29,120
Speaker 3: of what had happened.

1373
01:18:30,040 --> 01:18:32,639
Speaker 2: Well, that's a red flag for everyone involved here.

1374
01:18:32,920 --> 01:18:35,280
Speaker 3: I think. So now it seems at this point like, well,

1375
01:18:35,360 --> 01:18:37,960
Speaker 3: maybe we could have a happy ending here. Maybe they

1376
01:18:38,040 --> 01:18:40,959
Speaker 3: rekindle their love and they you know, they find happiness

1377
01:18:41,000 --> 01:18:42,840
Speaker 3: in each other. You know, they take care of each

1378
01:18:42,840 --> 01:18:44,120
Speaker 3: other and it's all good.

1379
01:18:44,240 --> 01:18:44,400
Speaker 4: Right.

1380
01:18:46,120 --> 01:18:49,920
Speaker 2: Unfortunately, that's not the trajectory of this motion picture, right.

1381
01:18:50,080 --> 01:18:54,000
Speaker 3: So Alice she rests, but she wakes again later and

1382
01:18:54,040 --> 01:18:59,360
Speaker 3: she sneaks downstairs to hear Henry on the phone talking

1383
01:18:59,400 --> 01:19:02,880
Speaker 3: to someone about the fact that he now has Alice

1384
01:19:02,960 --> 01:19:04,840
Speaker 3: here at his house. I think he's talking to somebody

1385
01:19:04,880 --> 01:19:06,439
Speaker 3: on the phone and he's like, yes, I went and

1386
01:19:06,680 --> 01:19:09,120
Speaker 3: I retrieved her things from the hotel. Yes, you don't

1387
01:19:09,120 --> 01:19:11,559
Speaker 3: have to worry about that now I've got them. And

1388
01:19:12,240 --> 01:19:18,479
Speaker 3: something about the conversation sounds suspicious, and Alice begins to fear,

1389
01:19:18,840 --> 01:19:22,240
Speaker 3: Wait a second, is this really my lost teenage love

1390
01:19:22,920 --> 01:19:26,160
Speaker 3: or is this guy here part of the plot, the

1391
01:19:26,200 --> 01:19:29,080
Speaker 3: plot of the men who have been pursuing me. Why

1392
01:19:29,360 --> 01:19:32,240
Speaker 3: was I hiding as Nicole when I came here last?

1393
01:19:32,400 --> 01:19:36,080
Speaker 3: Why was I doing that? You know? Something doesn't feel

1394
01:19:36,160 --> 01:19:40,360
Speaker 3: right here. So she confronts Henry and he claims that

1395
01:19:40,520 --> 01:19:42,600
Speaker 3: he was only on the phone with a doctor. He

1396
01:19:42,680 --> 01:19:45,240
Speaker 3: was trying to arrange for her to receive some medical

1397
01:19:45,240 --> 01:19:48,560
Speaker 3: attention since she obviously suffered some kind of mental episode,

1398
01:19:49,439 --> 01:19:53,840
Speaker 3: and she doesn't believe him, And then it is revealed

1399
01:19:54,040 --> 01:19:57,679
Speaker 3: how their last encounter ended. The wound on his hand

1400
01:19:57,800 --> 01:20:00,479
Speaker 3: is not because he's a bad carpenter and like hammered

1401
01:20:00,479 --> 01:20:03,880
Speaker 3: his own fingers. The bandaged hand is from where she

1402
01:20:04,360 --> 01:20:07,679
Speaker 3: slashed him with the scissors she bought the last time

1403
01:20:07,720 --> 01:20:10,760
Speaker 3: they were together, earlier this week. So why didn't he

1404
01:20:10,800 --> 01:20:14,080
Speaker 3: acknowledge this when they met the day before? Henry says

1405
01:20:14,120 --> 01:20:16,680
Speaker 3: that he wanted her to remember naturally, he didn't want

1406
01:20:16,680 --> 01:20:19,479
Speaker 3: to put pressure on her to recall this all at once,

1407
01:20:19,600 --> 01:20:21,760
Speaker 3: not to force it on her all at once, So

1408
01:20:22,160 --> 01:20:23,680
Speaker 3: he just was giving her space, I.

1409
01:20:23,600 --> 01:20:27,439
Speaker 2: Guess, but also lying, yeah, also gaslighting herself.

1410
01:20:27,479 --> 01:20:31,000
Speaker 3: Yeah yeah, this makes her very fearful and suspicious. She

1411
01:20:31,200 --> 01:20:34,120
Speaker 3: is now thinking about this more like it's the espionage

1412
01:20:34,200 --> 01:20:38,840
Speaker 3: movie we've been talking about, where she's being pursued by agents. Increasingly,

1413
01:20:38,880 --> 01:20:42,080
Speaker 3: it's clear that she's thinking of these as the agents

1414
01:20:42,280 --> 01:20:47,320
Speaker 3: of Blackmun, the professor in the science fiction movie that

1415
01:20:47,360 --> 01:20:50,479
Speaker 3: she has these nightmares about. There are agents working for

1416
01:20:50,640 --> 01:20:56,160
Speaker 3: this evil, mad scientist and they are following her, and

1417
01:20:56,200 --> 01:20:59,080
Speaker 3: it seems kind of plausible even from our perspective. I mean,

1418
01:20:59,280 --> 01:21:03,760
Speaker 3: the identity of the pursuer doesn't seem plausible, but even

1419
01:21:03,800 --> 01:21:06,599
Speaker 3: from the viewer's perspective, I wasn't sure what was going on.

1420
01:21:06,720 --> 01:21:09,599
Speaker 3: I was wondering, wait a minute, maybe is Henry trying

1421
01:21:09,640 --> 01:21:12,120
Speaker 3: to exploit her in some way? Is he trying to

1422
01:21:13,240 --> 01:21:18,040
Speaker 3: get her diplomatic information, you know, like learn something for

1423
01:21:18,120 --> 01:21:19,000
Speaker 3: an enemy government.

1424
01:21:19,640 --> 01:21:19,880
Speaker 5: Yeah.

1425
01:21:19,960 --> 01:21:23,920
Speaker 2: Yeah, it's We're unsure as the viewer, like where to

1426
01:21:24,000 --> 01:21:26,640
Speaker 2: stand on this. And it adding to this is that

1427
01:21:26,680 --> 01:21:32,599
Speaker 2: this sequence feels increasingly surreal because we have that huge

1428
01:21:33,240 --> 01:21:38,160
Speaker 2: peacock stained glass piece behind them, the colors are very vibrant. Things.

1429
01:21:38,200 --> 01:21:41,559
Speaker 2: Really feel that this is the sequence in the picture

1430
01:21:41,600 --> 01:21:44,160
Speaker 2: that feels the most baba asque I would say of

1431
01:21:44,200 --> 01:21:44,919
Speaker 2: any sequence.

1432
01:21:52,840 --> 01:21:55,840
Speaker 3: And so as Henry is trying to approach her and

1433
01:21:55,880 --> 01:21:59,920
Speaker 3: calm her. She panics and she stabs him with the scissors,

1434
01:22:00,280 --> 01:22:02,840
Speaker 3: with the scissors she got from the stationary.

1435
01:22:02,280 --> 01:22:04,360
Speaker 2: Store, seemingly fatally this time.

1436
01:22:04,439 --> 01:22:09,120
Speaker 3: Yes, yes, Henry falls down dead, and then we see

1437
01:22:09,640 --> 01:22:13,559
Speaker 3: we see Alice in a panic. She flees out into

1438
01:22:13,640 --> 01:22:15,920
Speaker 3: the woods, is running through the woods and then is

1439
01:22:16,000 --> 01:22:19,160
Speaker 3: running on the beach and is looking over her shoulder

1440
01:22:19,200 --> 01:22:21,360
Speaker 3: everywhere we see her, like looking in the woods and

1441
01:22:21,880 --> 01:22:25,720
Speaker 3: looking for people who she thinks might be Henry's co conspirators,

1442
01:22:25,760 --> 01:22:28,840
Speaker 3: the people who have been following her. And in the

1443
01:22:28,960 --> 01:22:32,519
Speaker 3: end they appear. In fact, they are not just like

1444
01:22:32,640 --> 01:22:35,160
Speaker 3: I was imagining, like if there are men following her,

1445
01:22:35,160 --> 01:22:36,680
Speaker 3: what are we going to see kind of guys in

1446
01:22:36,720 --> 01:22:41,160
Speaker 3: suits with dark sunglasses or what. When they appear, they

1447
01:22:41,160 --> 01:22:45,760
Speaker 3: are astronauts dressed in full EVA suits with the bubble helmets,

1448
01:22:46,200 --> 01:22:48,479
Speaker 3: and they chase her down on the beach, which is

1449
01:22:48,520 --> 01:22:51,439
Speaker 3: interesting because the pebbles of the beach somewhat resemble the

1450
01:22:51,479 --> 01:22:54,759
Speaker 3: surface of the moon set. The astronauts chase her down

1451
01:22:55,080 --> 01:22:57,680
Speaker 3: and they capture her, and that is the end of

1452
01:22:57,680 --> 01:22:58,160
Speaker 3: the film.

1453
01:22:58,720 --> 01:23:02,879
Speaker 2: Yeah, And also the coloration of the chase sequence eventually

1454
01:23:04,000 --> 01:23:07,200
Speaker 2: transfers over to it like a deep Blue very much

1455
01:23:07,280 --> 01:23:10,160
Speaker 2: exactly like those sequences we saw earlier in the picture

1456
01:23:10,200 --> 01:23:12,320
Speaker 2: at at the start of the picture. So instead of

1457
01:23:12,320 --> 01:23:15,280
Speaker 2: a happy ending, we get a descent into madness ending,

1458
01:23:15,320 --> 01:23:17,960
Speaker 2: which I guess in many ways is more in keeping

1459
01:23:18,000 --> 01:23:18,679
Speaker 2: with the genre.

1460
01:23:19,200 --> 01:23:22,160
Speaker 3: Yes, and I think it's a very ambiguous ending. I

1461
01:23:22,200 --> 01:23:26,360
Speaker 3: mean I took it to most likely mean she's not

1462
01:23:26,520 --> 01:23:31,240
Speaker 3: actually being pursued by anyone, that she's having delusions of

1463
01:23:31,280 --> 01:23:35,000
Speaker 3: persecution most likely. But then again I wondered, well, wait

1464
01:23:35,040 --> 01:23:39,320
Speaker 3: a minute, I wonder also if maybe somebody is pursuing

1465
01:23:39,360 --> 01:23:44,240
Speaker 3: her here and it's just that she's also having a

1466
01:23:44,520 --> 01:23:47,720
Speaker 3: mental health episode where she's overlaying the frame of her

1467
01:23:47,840 --> 01:23:51,200
Speaker 3: nightmares about the astronauts on top of this whatever it is.

1468
01:23:51,439 --> 01:23:55,519
Speaker 2: Yeah, these could be operatives for some nation, but she

1469
01:23:55,840 --> 01:24:00,599
Speaker 2: is seeing them as astronauts from this film scarred her

1470
01:24:00,600 --> 01:24:01,360
Speaker 2: so as a child.

1471
01:24:01,720 --> 01:24:06,720
Speaker 3: Yeah, and I really am interested by the choice that

1472
01:24:06,800 --> 01:24:11,360
Speaker 3: they They don't make explicitly clear what caused her to

1473
01:24:11,600 --> 01:24:15,320
Speaker 3: have this psychotic break where she's like where she broke

1474
01:24:15,400 --> 01:24:18,519
Speaker 3: down in the middle of her work and fled to

1475
01:24:18,560 --> 01:24:21,280
Speaker 3: Garma and was trying to seek solace in her young love.

1476
01:24:22,560 --> 01:24:24,960
Speaker 3: We get the indication that like she's very stressed out

1477
01:24:24,960 --> 01:24:27,200
Speaker 3: by her job, and so it could just be that

1478
01:24:27,240 --> 01:24:30,920
Speaker 3: she's overworked and and like reached, you know, a level

1479
01:24:30,960 --> 01:24:33,360
Speaker 3: of burnout at work that you know that sent her

1480
01:24:33,400 --> 01:24:37,639
Speaker 3: into having a mental health episode, or is it something else?

1481
01:24:37,720 --> 01:24:40,680
Speaker 3: I mean, we we are also given these hints, though

1482
01:24:40,720 --> 01:24:44,080
Speaker 3: she never acknowledges it, that there's that there's something wrong

1483
01:24:44,160 --> 01:24:46,680
Speaker 3: with the world, that there's like these heavy themes of

1484
01:24:46,800 --> 01:24:49,880
Speaker 3: doom kind of just in the air around her all

1485
01:24:49,920 --> 01:24:50,320
Speaker 3: the time.

1486
01:24:50,640 --> 01:24:53,000
Speaker 2: Yeah, and as a translator, she's kind of been, like

1487
01:24:53,040 --> 01:24:56,879
Speaker 2: we said earlier, this conduit for all of this terrible

1488
01:24:56,960 --> 01:25:00,320
Speaker 2: news and these these terrible forecasts for the future. And

1489
01:25:00,960 --> 01:25:03,559
Speaker 2: you know, she feels on some level like it has

1490
01:25:03,640 --> 01:25:06,080
Speaker 2: just rolled through her and she has been this conduit,

1491
01:25:06,479 --> 01:25:11,519
Speaker 2: but perhaps it has seeped out into her in disastrous ways.

1492
01:25:12,080 --> 01:25:15,320
Speaker 3: I think back to the scene where she's translating and

1493
01:25:15,880 --> 01:25:18,679
Speaker 3: she says that she, you know, she was feeling hot

1494
01:25:18,720 --> 01:25:20,640
Speaker 3: in the room and like she couldn't breathe, and she

1495
01:25:20,720 --> 01:25:24,240
Speaker 3: says what she feared was that the words would just

1496
01:25:24,360 --> 01:25:26,639
Speaker 3: keep going past her and that she wouldn't be able

1497
01:25:26,680 --> 01:25:28,960
Speaker 3: to keep up. And that's like literally what would happen,

1498
01:25:29,040 --> 01:25:30,760
Speaker 3: you know if you're like, if you can't stop, and

1499
01:25:30,800 --> 01:25:33,439
Speaker 3: you're supposed to be a real time translator. The speech

1500
01:25:33,479 --> 01:25:35,840
Speaker 3: doesn't stop, They just keep going. But it's also a

1501
01:25:35,920 --> 01:25:39,400
Speaker 3: speech about the coming destruction of human life on earth.

1502
01:25:40,040 --> 01:25:43,600
Speaker 2: Yeah. Yeah, and again with kind of I think it

1503
01:25:43,640 --> 01:25:47,920
Speaker 2: wouldn't be unrealistic at all to apply some future shock

1504
01:25:48,560 --> 01:25:51,479
Speaker 2: to this scenario. I mean, it's the right decade as well,

1505
01:25:51,560 --> 01:25:54,479
Speaker 2: on top of everything. But again instead of it being

1506
01:25:54,479 --> 01:25:58,800
Speaker 2: like a pure technological future shock, which future shock, as

1507
01:25:58,840 --> 01:26:04,759
Speaker 2: the Toddler's laid out, doesn't necessarily mean just technological change,

1508
01:26:04,800 --> 01:26:08,680
Speaker 2: but also all these other changes social and environmental.

1509
01:26:09,240 --> 01:26:13,599
Speaker 3: Yeah. And the skin she puts on her her panic

1510
01:26:13,800 --> 01:26:16,160
Speaker 3: is as a science fiction one. It's from this science

1511
01:26:16,160 --> 01:26:18,360
Speaker 3: fiction movie that scared her when she was younger.

1512
01:26:18,880 --> 01:26:19,160
Speaker 4: Yeah.

1513
01:26:19,360 --> 01:26:23,280
Speaker 3: Yeah, but it's so strange and interesting to think how

1514
01:26:23,360 --> 01:26:27,320
Speaker 3: that interacts or doesn't with with like the kind of

1515
01:26:27,400 --> 01:26:30,400
Speaker 3: comfort she's seeking from what she's suffering, and the comfort

1516
01:26:30,439 --> 01:26:33,800
Speaker 3: she's seeking is trying to find her you know, her

1517
01:26:33,800 --> 01:26:36,719
Speaker 3: one true love again from you know this boy she

1518
01:26:36,920 --> 01:26:39,160
Speaker 3: met all these years ago and has never seen since.

1519
01:26:40,000 --> 01:26:43,760
Speaker 2: Yeah, there's probably a great deal of deconstruction one could

1520
01:26:43,760 --> 01:26:47,719
Speaker 2: do in the film too, regarding the differences between Alice

1521
01:26:47,720 --> 01:26:54,559
Speaker 2: and Nicole, Nicole being described as more feminine, as having

1522
01:26:54,640 --> 01:26:58,800
Speaker 2: you know, a different makeup and longer hair. And yeah,

1523
01:26:58,880 --> 01:27:00,680
Speaker 2: so there's there's something to be made of all that

1524
01:27:00,760 --> 01:27:03,960
Speaker 2: as well. So there's a there's a lot going on

1525
01:27:04,640 --> 01:27:07,080
Speaker 2: in this in this picture, uh, and and a lot

1526
01:27:07,080 --> 01:27:09,479
Speaker 2: of it is kind of beneath the surface, and is

1527
01:27:09,520 --> 01:27:12,360
Speaker 2: you know, it's not really you know, push pushed down

1528
01:27:12,400 --> 01:27:15,880
Speaker 2: your throat at all. It's uh, there's a lot of ambiguity.

1529
01:27:16,320 --> 01:27:17,679
Speaker 2: And I think that's one of the things that makes

1530
01:27:17,680 --> 01:27:21,280
Speaker 2: it so tantalizing. It is like a h it is

1531
01:27:21,320 --> 01:27:23,960
Speaker 2: a true mystery in so many respects, and it is

1532
01:27:24,040 --> 01:27:27,240
Speaker 2: it's kind of like a piece of surrealistic art where

1533
01:27:27,400 --> 01:27:29,960
Speaker 2: you get to sort of apply your own interpretation to it.

1534
01:27:30,439 --> 01:27:32,960
Speaker 3: We we both do and do not get an answer

1535
01:27:32,960 --> 01:27:35,559
Speaker 3: to the mystery. Like we do learn in the end

1536
01:27:35,920 --> 01:27:38,960
Speaker 3: it seems what happened, and so like we we learned

1537
01:27:38,960 --> 01:27:43,080
Speaker 3: the physical circumstances that we're missing that we didn't know earlier,

1538
01:27:43,439 --> 01:27:46,040
Speaker 3: but we're still left with a lot of questions about

1539
01:27:46,040 --> 01:27:46,760
Speaker 3: why and how.

1540
01:27:47,439 --> 01:27:50,400
Speaker 2: Yeah, I also like how and you know, this may

1541
01:27:50,400 --> 01:27:52,280
Speaker 2: be this was different in the original novel, but I

1542
01:27:52,400 --> 01:27:54,960
Speaker 2: like how nobody was like, oh, yeah, this movie, you're

1543
01:27:54,960 --> 01:27:59,679
Speaker 2: talking about Footprints on the Moon. I remember that because

1544
01:27:59,720 --> 01:28:03,240
Speaker 2: there is something tantalizing about films you remember or think

1545
01:28:03,280 --> 01:28:06,679
Speaker 2: you remember from your childhood. You know, in some cases

1546
01:28:06,720 --> 01:28:08,680
Speaker 2: they might not exist or you never find out what

1547
01:28:09,280 --> 01:28:13,920
Speaker 2: they are. Yeah. I like that detail as well. There's

1548
01:28:13,960 --> 01:28:16,679
Speaker 2: so many ways that the mystery could have been deluded

1549
01:28:16,800 --> 01:28:18,200
Speaker 2: by just little moments like that.

1550
01:28:18,640 --> 01:28:21,000
Speaker 3: The fact that nobody else in the movie ever claims

1551
01:28:21,000 --> 01:28:24,679
Speaker 3: to have seen this science fiction film. Yeah, it isolates her,

1552
01:28:24,880 --> 01:28:27,920
Speaker 3: and in many ways she is isolated in the film,

1553
01:28:27,920 --> 01:28:30,559
Speaker 3: I mean, keeping with the kind of Jello themes. Even

1554
01:28:30,600 --> 01:28:34,320
Speaker 3: though this isn't strictly as Yello, probably it has so

1555
01:28:34,400 --> 01:28:36,559
Speaker 3: many of these themes. I mean, the main character is

1556
01:28:36,600 --> 01:28:40,400
Speaker 3: an outsider and is alienated. She's both in an unfamiliar

1557
01:28:40,439 --> 01:28:45,440
Speaker 3: location and she is in psychological ways sort of estranged

1558
01:28:45,479 --> 01:28:48,439
Speaker 3: from everyone else. She is the astronaut who is alone

1559
01:28:48,479 --> 01:28:49,599
Speaker 3: on the surface of the moon.

1560
01:28:50,160 --> 01:28:50,559
Speaker 2: Yeah.

1561
01:28:50,600 --> 01:28:54,160
Speaker 3: Absolutely, Okay, does that do it for Footprints on the Moon?

1562
01:28:54,400 --> 01:28:55,280
Speaker 2: I believe it does.

1563
01:28:55,400 --> 01:28:55,599
Speaker 4: Yeah.

1564
01:28:55,640 --> 01:28:57,920
Speaker 2: This was a very interesting one, and again I can't

1565
01:28:57,960 --> 01:29:01,880
Speaker 2: stress enough how beautiful this tomatography is in this one.

1566
01:29:02,479 --> 01:29:05,840
Speaker 2: It's definitely worth worth checking out. But again, don't go

1567
01:29:05,920 --> 01:29:10,120
Speaker 2: into it expecting Dario Argento. Don't go into it expecting,

1568
01:29:10,479 --> 01:29:13,040
Speaker 2: you know, Kloskinsky stabbing people with the moon rock or

1569
01:29:13,040 --> 01:29:16,280
Speaker 2: anything like that. It's a much more subtle affair, but

1570
01:29:16,320 --> 01:29:18,000
Speaker 2: it is rewarding totally.

1571
01:29:18,080 --> 01:29:18,479
Speaker 3: Yeah.

1572
01:29:19,040 --> 01:29:20,760
Speaker 2: All right, well, we're gonna go ahead and close out

1573
01:29:20,760 --> 01:29:23,799
Speaker 2: this episode of Weird House Cinema. A reminder that Stuff

1574
01:29:23,800 --> 01:29:26,479
Speaker 2: to Blow Your Mind is primarily a science and culture podcast,

1575
01:29:26,479 --> 01:29:29,720
Speaker 2: with core episodes on Tuesdays and Thursdays. We do a

1576
01:29:29,760 --> 01:29:32,960
Speaker 2: short form episode on Wednesdays, and on Fridays we set

1577
01:29:33,000 --> 01:29:35,200
Speaker 2: aside most serious concerns to just talk about a weird

1578
01:29:35,240 --> 01:29:37,760
Speaker 2: film on Weird House Cinema. If you'd like to keep

1579
01:29:37,800 --> 01:29:40,240
Speaker 2: up with Weird House Cinema, you can find us on

1580
01:29:40,400 --> 01:29:43,559
Speaker 2: letterbox dot com. Our username is weird house, and we

1581
01:29:43,600 --> 01:29:45,479
Speaker 2: have a list of all the films that we have

1582
01:29:45,560 --> 01:29:47,960
Speaker 2: covered so far. Sometimes there's even a peak ahead at

1583
01:29:47,960 --> 01:29:50,280
Speaker 2: what comes up next. You'll also find us on some

1584
01:29:50,320 --> 01:29:53,840
Speaker 2: other social media platforms under the Stuff to Blow Your

1585
01:29:53,880 --> 01:29:58,560
Speaker 2: Mind banner, including Instagram, where we are STBYM.

1586
01:29:57,840 --> 01:30:02,640
Speaker 3: Podcast Huge thanks as always to our excellent audio producer, Jjposway.

1587
01:30:03,000 --> 01:30:04,479
Speaker 3: If you would like to get in touch with us

1588
01:30:04,479 --> 01:30:06,920
Speaker 3: with feedback on this episode or any other, to suggest

1589
01:30:06,960 --> 01:30:08,960
Speaker 3: a topic for the future, or just to say hello.

1590
01:30:09,280 --> 01:30:12,000
Speaker 3: You can email us at contact at stuff to Blow

1591
01:30:12,040 --> 01:30:19,600
Speaker 3: your Mind dot com.

1592
01:30:19,720 --> 01:30:22,640
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1593
01:30:22,760 --> 01:30:26,560
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1594
01:30:26,640 --> 01:30:28,920
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