WEBVTT - Weirdhouse Cinema: Footprints on the Moon 0:00:00.440 --> 0:00:03.519 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:11.080 --> 0:00:13.120 Hey, welcome to Weird House Cinema. 0:00:13.200 --> 0:00:16.479 This is Rob Lamb and this is Joe McCormick. And 0:00:16.520 --> 0:00:18.799 today on Weird House Cinema we are going to be 0:00:18.880 --> 0:00:24.439 talking about the nineteen seventy five Italian mystery thriller Footprints 0:00:24.600 --> 0:00:30.680 on the Moon aka Primal Impulse aka just Footprints. It's 0:00:30.680 --> 0:00:33.360 a much less intriguing title. I don't know why anybody 0:00:33.360 --> 0:00:36.440 would just say footprints. Footprints on the Moon much much better. 0:00:37.320 --> 0:00:41.599 But this movie stars Florinda Bulkan, Peter mckinnery, and in 0:00:41.640 --> 0:00:43.360 a bit part, klaus Kinski. 0:00:44.040 --> 0:00:45.960 Right right though, even if you just have a dash 0:00:45.960 --> 0:00:49.919 of Klauskinski in there, you know it. People notice. It's 0:00:49.920 --> 0:00:50.879 a powerful spice. 0:00:51.800 --> 0:00:55.560 So I came to this selection in a slightly awkward way, 0:00:56.160 --> 0:00:59.040 because here's where it came from, folks, to get the 0:00:59.040 --> 0:01:04.160 whole backstory. Earlier this month, you had mentioned that some 0:01:04.440 --> 0:01:10.360 creatures of the Cinemadrome celebrate something called Jallo January, a 0:01:10.440 --> 0:01:13.920 sort of Jay and B guzzling leather gloved cousin of 0:01:14.120 --> 0:01:18.080 noir November. And when you mentioned this, I was definitely 0:01:18.160 --> 0:01:20.959 intrigued because I'm sort of something of a Jallo fan, 0:01:22.080 --> 0:01:24.600 but I think I had already decided I wanted to 0:01:24.640 --> 0:01:27.520 do a Santo movie for my previous pick, but when 0:01:27.560 --> 0:01:29.679 this week came around, I decided to give in to 0:01:29.760 --> 0:01:32.880 the reason for the season and look for a Jallo 0:01:33.000 --> 0:01:35.399 to talk about, one that would be weird enough for 0:01:35.640 --> 0:01:38.639 Weird House and one that I had never seen before. 0:01:39.240 --> 0:01:41.680 So I was poking around online reading things trying to 0:01:41.720 --> 0:01:44.280 find a good weird Jallo I was not familiar with, 0:01:44.360 --> 0:01:47.920 and I ended up settling on Footprints on the Moon. 0:01:48.520 --> 0:01:52.840 And while I think this movie is very excellent, I'm 0:01:52.880 --> 0:01:55.960 more than pleased with the choice, I am skeptical whether 0:01:56.120 --> 0:01:59.800 it would actually be considered a Jallo by most fans 0:01:59.840 --> 0:02:03.080 of the genre. A lot of the online references were 0:02:03.200 --> 0:02:06.760 classifying it as such, but it's missing some of the 0:02:07.200 --> 0:02:11.079 key genre elements, though on the other hand, still maintaining 0:02:11.120 --> 0:02:14.440 a lot of the genre's signature esthetics. So maybe we 0:02:14.480 --> 0:02:16.960 can talk about this more later in the episode, but 0:02:17.000 --> 0:02:19.320 I think there will be serious debate over whether it 0:02:19.360 --> 0:02:21.040 should be thought of as a Jallo or not. 0:02:21.680 --> 0:02:24.880 Yeah, you could make a case for it being Jallo adjacent. 0:02:25.840 --> 0:02:28.639 I guess which is close enough for our purposes here. 0:02:29.440 --> 0:02:32.679 Now, if you're not familiar with the terminology, I think 0:02:32.720 --> 0:02:36.079 we've probably gabbed about this on the show before, but hey, 0:02:36.080 --> 0:02:38.200 why not talk about it again. It's always fun to 0:02:38.200 --> 0:02:42.079 define and try to understand what the soul of the jallo. 0:02:42.320 --> 0:02:45.200 But if you're not familiar Jallo movies, the plural is 0:02:45.240 --> 0:02:51.440 technically Jalli are typically understood as a genre of Italian 0:02:51.760 --> 0:02:57.160 murder mystery thrillers, often with strong horror elements and often 0:02:57.320 --> 0:03:00.840 erotically charged Jallo movie. These are kind of a long 0:03:00.919 --> 0:03:03.800 running staple in our house. Used to be whenever I 0:03:03.880 --> 0:03:07.680 visited Videodrome, whatever else I was checking out, I would 0:03:07.720 --> 0:03:12.560 also always grab at least one unfamiliar disc from the 0:03:12.639 --> 0:03:16.080 video corner of shame, the Jallo corner there, so we 0:03:16.200 --> 0:03:19.360 know and are fans of jallo around here. So any 0:03:19.520 --> 0:03:22.520 seemingly disparaging comments I make about the genre in the 0:03:22.560 --> 0:03:25.280 rest of this episode come from a place of familiarity. 0:03:25.320 --> 0:03:25.680 In love. 0:03:26.440 --> 0:03:28.120 Yeah, yeah, I mean it makes sense. You want to 0:03:28.120 --> 0:03:30.720 get a little side item from the Gava menu. You know, 0:03:30.760 --> 0:03:33.800 it's like it's you know, it's not super nutritious, but 0:03:34.040 --> 0:03:36.480 you know you're having a meal out you might as 0:03:36.480 --> 0:03:37.400 well indulge yourself. 0:03:37.560 --> 0:03:40.040 It's just I don't know, so often on a Friday night, 0:03:40.080 --> 0:03:42.200 what Rachel and I wanted was a jallo. 0:03:43.520 --> 0:03:46.240 And there's so many this genre has. Just it's a 0:03:46.280 --> 0:03:52.240 never ending well. Anytime we dive into even just into 0:03:52.240 --> 0:03:56.760 the filmographies of people who worked in this genre or subgenre, 0:03:57.040 --> 0:04:00.360 I'm always discovering new titles. And it's sometimes helps that 0:04:00.760 --> 0:04:03.680 there are generally multiple titles in the mix for any 0:04:03.720 --> 0:04:04.520 given film. 0:04:05.120 --> 0:04:09.160 Yeah, So, coming back to what makes a yellow, of 0:04:09.240 --> 0:04:14.200 course they are these usually murder mystery thrillers. Usually the 0:04:14.320 --> 0:04:20.080 plot involves a series of grizzly, shocking homicides, often committed 0:04:20.120 --> 0:04:23.640 with a strange or disturbing weapon. So it's usually not 0:04:23.880 --> 0:04:26.320 just like a gun or a regular knife, but more 0:04:26.320 --> 0:04:30.320 often say a knitting needle or a shard of glass, 0:04:30.600 --> 0:04:34.960 or a venomous animal, or like an antique suit of 0:04:35.120 --> 0:04:38.040 armor glove with spikes on the knuckles or something. 0:04:38.520 --> 0:04:41.760 Yeah, but it's worth noting that this is distinct from 0:04:41.800 --> 0:04:45.360 like the whole slasher genre that would then bubble up 0:04:46.080 --> 0:04:50.719 mostly in America, especially strongly during the nineteen eighties. Like 0:04:50.720 --> 0:04:54.440 there's there's something different about the way murders are committed, 0:04:54.839 --> 0:04:57.920 the way that they're stylistically portrayed, and so forth. 0:04:58.120 --> 0:05:00.919 Yeah, well, I mean, I think Jello is often considered 0:05:00.960 --> 0:05:04.839 a major predecessor of an influence on the wave of 0:05:04.880 --> 0:05:07.680 American slasher films that would come in the late seventies 0:05:07.720 --> 0:05:10.440 and especially in the nineteen eighties, though I think there 0:05:10.440 --> 0:05:14.400 are important differences. But I think definitely the soul of 0:05:14.440 --> 0:05:17.880 the Shallo movies of the sixties and seventies is influential 0:05:18.040 --> 0:05:21.560 on the slasher movies that would come later. So the 0:05:21.560 --> 0:05:24.120 plot involves a series of murders, but the other thing 0:05:24.240 --> 0:05:27.279 is that the story is a mystery. The identity of 0:05:27.400 --> 0:05:30.880 the killer is unknown, and the viewer is pulled along 0:05:30.960 --> 0:05:33.360 to the conclusion of the movie wanting to find out 0:05:33.360 --> 0:05:37.400 who the killer is and what their motivation was. So 0:05:37.520 --> 0:05:40.120 a lot of the big Shallo movies have an exciting 0:05:40.200 --> 0:05:43.800 payoff because the reveal of the killer is quite surprising. 0:05:43.920 --> 0:05:47.360 Often it's a minor character you wouldn't have expected, or 0:05:47.400 --> 0:05:50.880 someone who gave no sign of danger previously. A lot 0:05:50.880 --> 0:05:54.760 of times the reveal I think this is sort of 0:05:54.839 --> 0:05:59.120 influenced by Alfred Hitchcock's Psycho. The reveal of the killer's 0:05:59.160 --> 0:06:03.560 motivations is often a divulging of some kind of like 0:06:04.080 --> 0:06:08.400 psychological trauma that was previously unknown in a pre existing 0:06:08.480 --> 0:06:13.760 character's backstory. Common esthetic features of Jello. I notice what 0:06:13.880 --> 0:06:17.360 feels like a real combination of high art and pulp 0:06:17.480 --> 0:06:21.919 sensibilities all jumbled together. So these movies are on one hand, 0:06:22.360 --> 0:06:27.640 quite often trashy and prurient, but also with a really 0:06:27.800 --> 0:06:30.880 palpable sense of artistic pride that you don't get in 0:06:30.960 --> 0:06:34.839 most American slasher movies. In these Italian movies, you get 0:06:34.839 --> 0:06:37.600 the feeling that you know, while they were staging some 0:06:37.680 --> 0:06:41.200 tawdry potato peel or murder scene, they were thinking, I am, 0:06:41.279 --> 0:06:44.679 like Michaelangelo, this is important artistic work. 0:06:45.160 --> 0:06:47.920 They're often It's also I think important to stress that 0:06:48.320 --> 0:06:53.840 jallo are almost always, if not always, thoroughly modern, and 0:06:54.120 --> 0:06:57.440 there's probably a subtext in there somewhere in most of 0:06:57.480 --> 0:07:02.880 these films too, like dealing with issues boiling up around 0:07:02.880 --> 0:07:08.760 the state of modernity, it current social norms, social problems, 0:07:08.800 --> 0:07:12.440 and so forth. But yeah, it's not surprising to see, 0:07:12.480 --> 0:07:16.400 like all the latest technologies that are going to be 0:07:16.400 --> 0:07:20.040 present in say nineteen seventy three or something in a 0:07:20.080 --> 0:07:23.120 given example of this subgenre. 0:07:22.880 --> 0:07:25.760 That's right, and in terms of dealing with like current 0:07:25.880 --> 0:07:29.240 social issues. Another big thing about Shalla movies is that 0:07:29.280 --> 0:07:34.120 they often explore themes of sex and gender conflict, sometimes 0:07:34.160 --> 0:07:38.280 projecting misogynist attitudes by casting women as helpless sort of 0:07:38.680 --> 0:07:42.880 feeble objects of male lust and violence, or treating women 0:07:42.920 --> 0:07:46.680 as especially psychologically frail, but in other cases sort of 0:07:46.720 --> 0:07:50.200 taking the woman's point of view and showing misogyny and 0:07:50.680 --> 0:07:54.880 pathetic forms of resentment against women as the primary motivators 0:07:54.920 --> 0:07:57.040 of the movie's villainy and the thing that has to 0:07:57.080 --> 0:07:59.080 be unmasked and destroyed at the end. 0:07:59.560 --> 0:08:03.640 Yeah, So there's definitely room in a HOLLO picture for 0:08:03.720 --> 0:08:07.000 a strong female character. You don't always find them there, 0:08:07.040 --> 0:08:09.840 but there are examples that you can turn to. 0:08:10.200 --> 0:08:11.559 Some do and some really don't. 0:08:11.720 --> 0:08:11.920 Yeah. 0:08:12.960 --> 0:08:15.480 Another thing is that they tend to be visually striking 0:08:15.520 --> 0:08:18.960 a lot of times, high contrast, a bold or even 0:08:19.080 --> 0:08:24.080 lurid color palette, real like artistic attention to shot composition. 0:08:24.200 --> 0:08:27.280 Like a lot of these movies in terms of plot 0:08:27.360 --> 0:08:29.600 content might be kind of trash, but a lot of 0:08:29.600 --> 0:08:32.640 them really look great. They're kind of beautiful. 0:08:33.080 --> 0:08:36.720 Yeah, murder is often beautiful or at least stylish in 0:08:36.760 --> 0:08:37.440 these pictures. 0:08:37.600 --> 0:08:41.640 Yeah. Another thing is an often unsubtle musical score. So 0:08:41.720 --> 0:08:43.880 you can think about if you've ever heard this Dario 0:08:43.960 --> 0:08:47.559 Argento's work with Goblin that goes in his movies or 0:08:48.200 --> 0:08:50.480 in the movie we're talking about today, that it's debatable 0:08:50.480 --> 0:08:53.160 whether it's actually a jello, the kind of fugue like 0:08:53.280 --> 0:08:56.880 blasts of organ that we get through throughout the film. 0:08:57.400 --> 0:09:01.280 Another thing is a tendency toward voyeuristic camera work. So 0:09:01.440 --> 0:09:05.160 in these movies, the camera watches the protagonist or the 0:09:05.240 --> 0:09:08.640 murder victim from a hiding place, maybe peeking through the 0:09:08.800 --> 0:09:12.319 slats in a wall or looking through a keyhole, or 0:09:12.400 --> 0:09:15.360 it just in some other way kind of intrudes into 0:09:15.400 --> 0:09:18.840 private spaces to see the characters that their most vulnerable, 0:09:19.240 --> 0:09:22.040 or it takes the killer's point of view. This is 0:09:22.120 --> 0:09:26.360 a cinematography choice that is often poured over into the 0:09:26.360 --> 0:09:30.840 American Slashers as well. In terms of like set dressing 0:09:30.880 --> 0:09:33.880 and costuming, there are some very strong themes that occur 0:09:33.960 --> 0:09:37.200 again and again the killer. The killer often hides their 0:09:37.240 --> 0:09:40.240 identity by wearing a hat, a trench coat, and black 0:09:40.320 --> 0:09:44.560 leather gloves, and there's also just a general kind of 0:09:45.480 --> 0:09:49.120 inflammation of seventies clothing. It's one of our favorite elements 0:09:49.120 --> 0:09:51.520 of these movies when my wife and I watch them. 0:09:51.760 --> 0:09:52.800 I love the clothes. 0:09:53.160 --> 0:09:55.160 Oh, I agree to you. I mean, anytime I watch 0:09:55.240 --> 0:09:58.760 one of these films, it's that focus on the modern 0:09:58.840 --> 0:10:03.280 world and often some sense of fashion that is just 0:10:03.520 --> 0:10:06.600 thoroughly captivating. I mean, for me, having been born in 0:10:06.600 --> 0:10:10.320 the seventies, I'm just you know, endlessly fascinated with you know, 0:10:10.480 --> 0:10:12.600 the style and the culture that I was born out of. 0:10:13.000 --> 0:10:15.520 Yeah, another thing I have to mention, can't make a 0:10:15.600 --> 0:10:17.880 Jallo without a J and B bottle. Something you will 0:10:17.920 --> 0:10:20.480 always see one either on a shelf or being poured 0:10:20.520 --> 0:10:22.920 into a glass, into a into a kind of ornate 0:10:22.960 --> 0:10:25.920 crystal tumbler glass. There's you know, there's a lot of 0:10:25.920 --> 0:10:30.440 good glassware in the films, and always a J and B. Also, 0:10:30.720 --> 0:10:33.920 just a lot of focus on loud flourishes of art 0:10:34.040 --> 0:10:38.520 and design and interior decor. The movie often features, or 0:10:38.559 --> 0:10:43.520 sometimes actually directly involves in the plot crazy wallpaper patterns, 0:10:43.640 --> 0:10:49.480 bizarre tapestries, oil paintings, art exhibits, stained glass, statuary, and 0:10:49.520 --> 0:10:53.680 things like that. Now, beyond that, there are also some 0:10:53.720 --> 0:10:59.040 common plot and character features of Jolly One is that 0:10:59.120 --> 0:11:02.520 it's been observed that the main character is usually an 0:11:02.600 --> 0:11:07.559 outsider of some kind or is alienated, so they might 0:11:07.640 --> 0:11:11.800 be in an unfamiliar place, or they might be estranged 0:11:11.840 --> 0:11:15.559 from their social group for some reason. That the protagonist 0:11:15.600 --> 0:11:18.720 of Ajallo is not in their element as they try 0:11:18.760 --> 0:11:22.320 to piece together the clues and solve the mystery. Another 0:11:22.400 --> 0:11:26.360 thing is protagonists are very often found questioning their sanity 0:11:26.559 --> 0:11:30.280 or being thought insane by others. And then, finally, this 0:11:30.360 --> 0:11:32.320 is one that I've read about less, but I've just 0:11:32.360 --> 0:11:36.120 always noticed it myself and found it so interesting. So 0:11:36.120 --> 0:11:39.200 so many of the movies within this one subgenre have 0:11:39.920 --> 0:11:45.640 the same plot device, which is a protagonist who already 0:11:45.920 --> 0:11:50.880 saw the solution to the mystery, or saw some important 0:11:50.960 --> 0:11:53.800 clue with their own eyes, or sensed it with their 0:11:53.800 --> 0:11:56.959 own senses. Maybe they heard something but in somehow, they 0:11:56.960 --> 0:12:01.000 somehow sensed with their own senses the solution to the mystery, 0:12:01.400 --> 0:12:05.120 but they can't quite remember it or they can't quite 0:12:05.240 --> 0:12:07.880 make sense of it, and they spend the rest of 0:12:07.920 --> 0:12:11.920 the film trying to reconstruct the memory or trying to 0:12:12.120 --> 0:12:16.480 understand what it is they already saw. And this has 0:12:16.640 --> 0:12:20.120 always struck me as a potent psychological metaphor that may 0:12:20.160 --> 0:12:25.200 have some deeper cultural significance. I don't know enough about 0:12:25.200 --> 0:12:28.880 Italy in the sixties and seventies to speculate on exactly 0:12:28.920 --> 0:12:31.960 what that cultural kind of metaphor would be, but it's 0:12:32.080 --> 0:12:35.560 very interesting that the solution to the murder mystery is 0:12:35.600 --> 0:12:40.520 so often not completely hidden. It's something that you already saw, 0:12:40.600 --> 0:12:44.000 you already took it in, but now, for whatever reason, 0:12:44.040 --> 0:12:46.520 you can't remember it or can't make sense of it. 0:12:47.000 --> 0:12:49.440 So the final piece of puzzle in terms of the 0:12:49.440 --> 0:12:52.880 plot structure, is often an event or a clue that 0:12:53.120 --> 0:12:58.559 causes the protagonist to suddenly fully remember or finally understand 0:12:58.640 --> 0:13:02.160 what they already saw in the beginning. I'm trying to 0:13:02.200 --> 0:13:05.360 think if there's much precedent for this in other mystery 0:13:05.440 --> 0:13:09.680 stories outside of the shallow subgenre, and nothing's really coming 0:13:09.679 --> 0:13:11.560 to mind, though I'm sure there are stories like this. 0:13:12.200 --> 0:13:14.600 Yeah, I wouldn't be surprised if it's a trope that 0:13:14.679 --> 0:13:18.280 is present in the larger mystery genre. But then within 0:13:18.400 --> 0:13:21.200 Jalloh becomes like a part of the blueprint more or less, 0:13:21.200 --> 0:13:23.280 you know, Yeah, you often see that. I guess with 0:13:23.600 --> 0:13:27.000 different genre spinoffs and subgenres. 0:13:27.400 --> 0:13:31.080 Yeah, yeah, And I wonder how this plot convention of 0:13:31.160 --> 0:13:34.360 like in a way you already saw the answer, but 0:13:34.400 --> 0:13:37.240 you can't remember it or understand it is connected to 0:13:37.240 --> 0:13:42.880 another thing about Jali, which is that usually the investigator 0:13:43.000 --> 0:13:46.040 or the protagonist who's trying to solve the mystery is 0:13:46.240 --> 0:13:50.000 not an investigator by way of like their job. 0:13:50.160 --> 0:13:50.360 You know. 0:13:50.400 --> 0:13:53.000 It's not like these cop mystery movies where I'm a 0:13:53.040 --> 0:13:55.439 detective and I've got to be here and solve the mystery. 0:13:55.800 --> 0:13:59.760 Usually the protagonist has a personal connection to the crimes 0:13:59.760 --> 0:14:03.720 take place, and they are a non professional investigator. 0:14:04.160 --> 0:14:04.439 Yeah. 0:14:04.679 --> 0:14:07.760 Yeah, it's you know, it's it's interesting when you start 0:14:07.800 --> 0:14:11.240 piecing together all of these different attributes you get this 0:14:11.280 --> 0:14:14.240 sort of this picture of a of a stranger in 0:14:14.320 --> 0:14:17.360 a strange modern world, almost a sense of future shock 0:14:17.440 --> 0:14:20.680 to it at least, well but less on the technological 0:14:20.760 --> 0:14:22.760 side of things and more on just like the social 0:14:22.840 --> 0:14:25.840 side of things. And uh uh, you know, I guess 0:14:25.920 --> 0:14:28.360 this movie is the one that is that is that 0:14:28.400 --> 0:14:30.800 I'm most current on since I just watched it, But 0:14:30.840 --> 0:14:33.240 it lines up with this theme in a number of ways. 0:14:33.320 --> 0:14:36.040 You know, the sense of like a globe trotting, modern 0:14:36.080 --> 0:14:41.440 professional woman, and well while there there are you know, 0:14:41.480 --> 0:14:44.640 there are some elements where we can see that she's 0:14:45.400 --> 0:14:47.320 maybe not at odds with the world, but it has 0:14:47.400 --> 0:14:50.480 like real world stressors in play, and that sort of 0:14:50.520 --> 0:14:54.640 like bleeds over into this more surreal scenario that we 0:14:54.680 --> 0:14:55.440 see in the picture. 0:14:55.920 --> 0:14:59.080 Yeah, yeah, I don't want to spoil too much about 0:14:59.120 --> 0:15:01.800 the ending of the film now, though by the time 0:15:01.840 --> 0:15:03.360 we get to the end of the plot section, we 0:15:03.480 --> 0:15:05.680 definitely are going to spoil the ending. And this movie 0:15:05.760 --> 0:15:07.560 is full of surprises. So if you want to see 0:15:07.560 --> 0:15:10.680 Footprints on the Moon without having anything spoiled, I guess 0:15:10.720 --> 0:15:12.600 now would be a good time to pause the episode 0:15:12.640 --> 0:15:17.640 and go watch it yourself. But there are questions raised 0:15:17.680 --> 0:15:19.800 by the reveal at the end of the movie about it, 0:15:19.880 --> 0:15:25.400 like exactly what the motivation for the main character's psychological 0:15:25.400 --> 0:15:28.720 state or struggle is and to what extent that's brought 0:15:28.760 --> 0:15:33.440 on by something within her or by circumstances outside her control. 0:15:34.600 --> 0:15:37.720 So anyway, having reviewed all of this stuff about what 0:15:37.880 --> 0:15:41.360 Jallo is, is Footprints on the Moon a shallo? I 0:15:41.360 --> 0:15:44.120 think a lot of people would say no, because it 0:15:44.200 --> 0:15:47.560 is not a murder mystery. The film does not begin 0:15:47.640 --> 0:15:51.000 with a murder, and there is really very almost no 0:15:51.320 --> 0:15:55.400 violence in it until closer to the end. Nevertheless, it 0:15:55.440 --> 0:15:59.200 does really feel like a shallo. It's a mystery with 0:15:59.280 --> 0:16:03.400 an aura of menace. It is somewhat sexually charged. It 0:16:03.680 --> 0:16:07.120 involves an out of place protagonist physically out of place 0:16:07.160 --> 0:16:12.120 and also alienated, a protagonist haunted by something that she 0:16:12.240 --> 0:16:16.720 apparently cannot remember. It looks and sounds like a shallo 0:16:16.840 --> 0:16:19.280 in terms of the musical soundtrack, it looks like one 0:16:19.320 --> 0:16:21.560 in the shot composition and the use of color and 0:16:21.640 --> 0:16:24.920 all that, And one of the clues to solve the 0:16:24.960 --> 0:16:28.320 mystery is a memory of a giant stained glass peacock. 0:16:28.720 --> 0:16:31.480 So my ruling is, I think, yeah, you can call 0:16:31.520 --> 0:16:34.080 it a shallo, even though it does not have the 0:16:34.120 --> 0:16:38.000 main plot element that defines a shallow you know, it's 0:16:38.000 --> 0:16:40.600 not solving a murder mystery, though it does have murders 0:16:40.640 --> 0:16:43.720 within a recurring dream, and as a bonus, they are 0:16:43.880 --> 0:16:45.120 they are moon murders. 0:16:45.400 --> 0:16:47.760 I'm glad you mentioned that the giant stained glass peacock, 0:16:47.760 --> 0:16:50.000 which we'll come back to, because that is almost literally 0:16:50.160 --> 0:16:52.800 a bird with crystal plumage. 0:16:53.040 --> 0:16:55.240 You know, yes, yeah. 0:16:54.840 --> 0:16:57.920 I think the most important thing to stress about, and 0:16:57.960 --> 0:17:00.960 the Gallo or not Jallow conversation is that I think 0:17:01.280 --> 0:17:03.840 you probably do the film a disservice if you hype 0:17:03.880 --> 0:17:07.080 it up as yalloh too much, because then you run 0:17:07.119 --> 0:17:10.480 the risk of people coming into it expecting an Argento 0:17:10.640 --> 0:17:13.800 film or expecting a folk sci film. And if you 0:17:13.920 --> 0:17:15.960 do that, you're going to be disappointed. It's just not 0:17:16.200 --> 0:17:19.000 that sort of picture, and it's it's really very tame 0:17:19.080 --> 0:17:23.960 by Jalla's standard. It's almost like g rated Joab likewise, 0:17:24.160 --> 0:17:27.439 even on the color and visual spectrum. If you're if 0:17:27.480 --> 0:17:29.639 you come in expecting it to be in line with 0:17:29.720 --> 0:17:31.879 Mario Bava, I mean, you're gonna be disappointed with any 0:17:31.960 --> 0:17:34.040 non Mario Bava film if you're doing that. But you 0:17:34.119 --> 0:17:38.000 come in expecting Suspiria or something like that. This film 0:17:38.119 --> 0:17:41.800 is gorgeous in its own right, but it's it's doing 0:17:41.800 --> 0:17:44.840 its own thing for the most part. Some scenes are 0:17:44.840 --> 0:17:48.639 definitely more surreal in their color scheme than others, but 0:17:48.760 --> 0:17:51.120 you're it's not a picture that's going for those Mario 0:17:51.280 --> 0:17:52.560 Bava sequences either. 0:17:52.840 --> 0:17:55.639 Yeah, it's not going nuts with the Jeli. It's like Boba. 0:17:56.119 --> 0:17:58.520 Yeah, right, So I think it's better to really think 0:17:58.520 --> 0:18:02.440 of it as art house surreal or psychological mystery. 0:18:02.880 --> 0:18:06.560 Yes, but I don't know if I've emphasized this enough already. 0:18:06.600 --> 0:18:09.280 I loved Footprints on the Moon. I thought this movie 0:18:09.320 --> 0:18:13.760 created such an enticing atmosphere of mystery. I can't remember 0:18:13.800 --> 0:18:15.560 the last time I saw a movie and I was 0:18:15.640 --> 0:18:18.119 so curious to know what the solution was. 0:18:18.800 --> 0:18:23.359 Yeah, and it's it's exceedingly beautiful, as we'll discuss. Like 0:18:23.440 --> 0:18:25.840 the first twenty minutes of this picture, I was just 0:18:25.920 --> 0:18:31.920 captivated by the cinematography and the shot composition. Like I get, 0:18:32.200 --> 0:18:34.000 it's something you can take for granted in a lot 0:18:34.040 --> 0:18:37.480 of movies, obviously, but this this film does such a 0:18:37.480 --> 0:18:40.960 great job with just like the little details and just 0:18:41.119 --> 0:18:43.879 like there's there's some puttsing around in an apartment building 0:18:43.960 --> 0:18:46.879 early on in the picture that could just be, you know, 0:18:47.400 --> 0:18:50.840 thankless and maybe a little bit boring in another picture. 0:18:50.840 --> 0:18:52.800 But it was very captivating here, just in large part 0:18:52.840 --> 0:18:54.680 because of the way it was shot and the way 0:18:54.680 --> 0:18:55.280 it was presented. 0:18:55.640 --> 0:18:57.919 Yeah. I mentioned that a lot of shallow films are 0:18:58.080 --> 0:19:01.520 more visually striking than you would have given their subject matter. 0:19:02.240 --> 0:19:05.439 But I feel like this is an especially beautiful movie. 0:19:05.480 --> 0:19:08.880 It is better looking even than the shallow standard. Yeah, 0:19:08.920 --> 0:19:11.359 and there are some ugly shallows. I just meant that 0:19:11.640 --> 0:19:13.080 generalization on average. 0:19:13.320 --> 0:19:17.960 Yeah, the better ones are often remembered for their stunning visuals. Yeah, 0:19:18.440 --> 0:19:20.560 all right, well hit us with an elevator pitch. 0:19:21.119 --> 0:19:25.000 H here we go. Alice Chespie is missing three days 0:19:25.040 --> 0:19:27.520 of her memory and is haunted by visions of an 0:19:27.560 --> 0:19:31.240 astronaut murdered on the surface of the moon. What happened 0:19:31.240 --> 0:19:33.480 to her? And what does klaus Kinsky have to do 0:19:33.520 --> 0:19:33.760 with it? 0:19:34.720 --> 0:19:36.800 All right, let's hear a little bit of the trailer audio. 0:19:55.880 --> 0:19:58.719 Why am I here? Why did I come to Gama, 0:19:59.520 --> 0:20:02.679 to this strange town? I know I was never in before. 0:20:03.720 --> 0:20:07.840 Your prince is Alice. My name is Alice. That's not true. 0:20:08.600 --> 0:20:12.399 Look it looks like blood. 0:20:18.040 --> 0:20:20.760 What was I doing for those three days? Why can't 0:20:20.760 --> 0:20:23.280 I remember a single thing about them? 0:20:23.600 --> 0:20:26.240 It's all those tranquilizer as you take. You probably took 0:20:26.280 --> 0:20:28.760 a larger dose than usual and slept right through you. 0:20:28.880 --> 0:20:30.360 This morning, I saw you on the beach. 0:20:30.400 --> 0:20:31.520 I think one day this week? 0:20:31.760 --> 0:20:32.440 Was it Tuesday? 0:20:32.480 --> 0:20:35.800 Are you sure it was me? No? I didn't see 0:20:35.880 --> 0:20:36.920 it at all on Tuesday. 0:20:38.200 --> 0:20:42.680 Alice, I know you can hear me open the door. 0:20:48.760 --> 0:20:54.479 Did you find him? Who? Your friend? What friend? Your friend? Harry? 0:20:55.240 --> 0:21:37.040 Who told you I had a friend named Harry? 0:21:37.920 --> 0:21:39.920 All right, so at this point, if you would like 0:21:39.960 --> 0:21:42.840 to go out and watch Footprints on the Moon, well, 0:21:42.880 --> 0:21:45.520 there is a DVD of the film, but it's also 0:21:45.560 --> 0:21:48.800 widely available for digital rental or purchase, and is also 0:21:48.840 --> 0:21:52.359 on some of the package streaming services. I was snowed in, 0:21:52.760 --> 0:21:55.959 so I rented it on Prime and the quality was great. However, 0:21:56.000 --> 0:21:59.639 I will say I had no audio options I was. 0:22:00.040 --> 0:22:03.440 I do not know if there are other language dubs 0:22:03.560 --> 0:22:07.040 for this, but the version I watched it in was English. 0:22:07.720 --> 0:22:10.000 You said the disc version is a DVD, but I'm 0:22:10.040 --> 0:22:13.400 pretty sure there is a blu ray from Severin. 0:22:13.440 --> 0:22:15.840 Is there? Okay? Yeah, well that, oh it would be 0:22:15.880 --> 0:22:16.399 even better. 0:22:16.640 --> 0:22:19.159 It's under the alternate title. It's not called Footprints on 0:22:19.160 --> 0:22:22.200 the Moon. It just says Footprints. I mean, what's what 0:22:22.480 --> 0:22:25.720 why I put the moon in the title, That's what 0:22:25.840 --> 0:22:26.400 sells it. 0:22:26.800 --> 0:22:30.560 I think that was the name of the original Italian novel. 0:22:31.119 --> 0:22:34.640 But all right, now I'm pulling up the Severin's website. 0:22:34.680 --> 0:22:36.600 I'm looking at the cuts let's see what do we have. 0:22:37.359 --> 0:22:41.480 We have an Italian cut and a US cut. I'm 0:22:41.480 --> 0:22:45.639 assuming I probably watched the US cut based on everything. 0:22:46.040 --> 0:22:47.919 Yeah, that's probably what I saw. That we may have 0:22:47.960 --> 0:22:50.639 watched the same streaming version. I watched the one available 0:22:50.680 --> 0:22:54.240 through scream Box, which is a premium subscription on Prime. 0:22:55.119 --> 0:22:57.919 My main question is just about like the version I watched, 0:22:58.040 --> 0:23:02.240 Kloskinski is dubbed. It's not klass Kinski's voice, and you 0:23:02.240 --> 0:23:04.800 know is we'll discuss his is a bit part and 0:23:04.840 --> 0:23:08.160 it doesn't really matter. But I mean that whether it's 0:23:08.160 --> 0:23:10.879 his voice or not. But I was just wondering, well, 0:23:11.280 --> 0:23:13.199 does this mean there is a different cut like in 0:23:13.200 --> 0:23:14.000 the Italian cut? 0:23:14.080 --> 0:23:14.199 Is? 0:23:14.280 --> 0:23:16.160 I mean, I don't know. They're probably dubbed in either case, 0:23:16.200 --> 0:23:19.120 but at any rate, the version I watched was in English. 0:23:19.320 --> 0:23:22.160 But this Blu ray does look excellent, So this would 0:23:22.160 --> 0:23:25.120 be the ideal physical media viewing A choice right here? 0:23:33.680 --> 0:23:36.920 All right, Well, let's get into the people behind Footprints 0:23:36.960 --> 0:23:39.280 on the Moon, starting at the top with the director 0:23:39.640 --> 0:23:45.720 Luigi Bzzoni born nineteen twenty nine died twenty twelve, also 0:23:45.720 --> 0:23:48.600 a writer on the picture, a Tiger director and screenwriter 0:23:48.720 --> 0:23:51.639 with five films to his credit, all genre pictures of 0:23:51.680 --> 0:23:54.960 different types. There's a nineteen sixty five's The Possessed that 0:23:55.080 --> 0:23:58.919 was a mystery starring Peter Baldwin. Sixty seven's Man Pride 0:23:58.960 --> 0:24:02.280 and Vengeance that's a western with Franco Nero and Klauskinski. 0:24:02.720 --> 0:24:06.840 Seventy one's The Fifth Chord that's a Franco Nero Jallo 0:24:07.240 --> 0:24:09.879 and also and then there's seventy three's Brothers Blue that 0:24:10.000 --> 0:24:13.480 say Western with jack palettes. And then came this film 0:24:13.640 --> 0:24:16.880 Footprints on the Moon, which was his final picture. 0:24:17.600 --> 0:24:20.000 Never seen anything else by this guy, but Footprints is 0:24:20.040 --> 0:24:22.760 so strong. I may have to check these other ones out. 0:24:22.800 --> 0:24:27.240 Even the westerns. Oh, come on a Franco Niro and 0:24:27.359 --> 0:24:28.760 Klauskinski western. 0:24:28.920 --> 0:24:32.120 What I mean? There are a number of spaghetti westerns 0:24:32.160 --> 0:24:37.120 that that are on my eventual viewing list. Sometimes it's 0:24:37.160 --> 0:24:40.000 really hard to pass up a horror film for a western, 0:24:40.040 --> 0:24:42.840 but some of these are very well regarded, and there 0:24:42.880 --> 0:24:44.679 you know, obviously there are some real classics in the 0:24:44.680 --> 0:24:48.199 spaghetti western zone. So uh yeah, we should maybe come 0:24:48.200 --> 0:24:49.840 back to one. Even on Weird House. There are some 0:24:49.880 --> 0:24:55.439 weird spaghetti westerns for sure, all right. The other writing 0:24:55.480 --> 0:24:58.280 credit and also credit for the original novel goes to 0:24:58.800 --> 0:25:02.120 Mario Finelli, who lived nineteen twenty four through nineteen ninety one, 0:25:02.280 --> 0:25:05.120 an Italian writer, screenwriter, and director in his own right. 0:25:05.240 --> 0:25:08.000 In fact, he seemingly directed some on this film in 0:25:08.000 --> 0:25:11.439 an uncredited capacity. Again, the film was based on his 0:25:11.480 --> 0:25:15.240 original novel The Footprints, but he'd also worked with Bozoni 0:25:15.359 --> 0:25:18.280 on The Fifth Chord and Brothers Blue. He has an 0:25:18.320 --> 0:25:21.480 extensive directing filmography as well, including a great deal of 0:25:21.520 --> 0:25:25.280 TV work. All right, now getting into the cast. The 0:25:25.280 --> 0:25:30.160 star of the picture is Florinda Bulkin playing Alice. Born 0:25:30.280 --> 0:25:34.000 nineteen forty one, Brazilian actress and model who moved through 0:25:34.080 --> 0:25:39.360 both art house and grindhouse Italian cinema. She was active 0:25:39.400 --> 0:25:41.960 to one degree or another from nineteen sixty eight through 0:25:42.000 --> 0:25:46.560 twenty nineteen. Her first film credit was a supporting role 0:25:46.640 --> 0:25:49.159 in the nineteen sixty eight picture Candy, which had an 0:25:49.240 --> 0:25:52.520 all star international cast like I think John Houston was 0:25:52.520 --> 0:25:55.679 in it, and Ringo Star and just various other folks. 0:25:55.720 --> 0:25:59.640 It was a lot of pretty crowded cast on that one. 0:26:00.160 --> 0:26:02.920 Of movie is that like is it a screwball comedy 0:26:03.080 --> 0:26:06.960 or it is a sex farce? Oh boy, but. 0:26:08.640 --> 0:26:12.199 It's from a screenplay by Buck Henry. I haven't seen it, 0:26:12.240 --> 0:26:15.080 but again, it's like it's got Marlon Brando, Richard Burton, 0:26:15.480 --> 0:26:17.440 Walter Mathowl, Yeah. 0:26:17.280 --> 0:26:20.280 Oh, James Coburn. Yeah, it's it's a loaded cast. 0:26:20.880 --> 0:26:23.800 But I can't I can't really speak for it beyond that, 0:26:24.000 --> 0:26:26.720 just that it's it has a lot of people I 0:26:26.760 --> 0:26:27.359 recognize in it. 0:26:27.640 --> 0:26:28.280 Oki Doki. 0:26:29.119 --> 0:26:32.480 Her subsequent work again weaves back and forth between the genres, 0:26:32.520 --> 0:26:35.520 including the likes of Luccio Fulci's Lizard in a Woman's 0:26:35.520 --> 0:26:38.480 Skin in seventy one and Don't Torture a Duckling in 0:26:38.520 --> 0:26:41.960 seventy two, as well as pictures like like the James 0:26:41.960 --> 0:26:47.200 Clavel directed and adapted The Last Valley in seventy one 0:26:47.240 --> 0:26:50.280 that starred Michael Kine and Omar Sharif. I was a 0:26:50.280 --> 0:26:52.040 big fan of this picture when I was younger. I 0:26:52.040 --> 0:26:54.000 haven't seen it in a long time, but it's set 0:26:54.040 --> 0:26:57.520 during the Thirty Years War. Has to do with this 0:26:57.560 --> 0:27:01.440 whole like com mercenary crew. It's headed up by Michael 0:27:01.520 --> 0:27:04.760 Kaine's character and they defect, and as they defect, he 0:27:05.119 --> 0:27:08.720 stabs somebody to death with his spiked helmet. So that 0:27:08.840 --> 0:27:10.800 was That's a pretty fun I think I've probably mentioned 0:27:10.840 --> 0:27:14.680 that before on the show. Okay anyway, Bulcan was also 0:27:14.720 --> 0:27:19.359 in nineteen seventies Investigation of a Citizen Above Suspicion, and yeah, 0:27:19.400 --> 0:27:21.760 she's been in a ton of stuff. She also wrote 0:27:21.800 --> 0:27:25.760 and directed the two thousand film I Didn't Know Taruru, 0:27:26.400 --> 0:27:29.560 and she was the longtime partner of producer Marina Chigona. 0:27:30.160 --> 0:27:34.160 Florinda Bulkan is fantastic in this movie, and she has 0:27:34.240 --> 0:27:37.320 to The movie really rests on her because there are 0:27:37.480 --> 0:27:41.080 long stretches of the film where she is acting alone. 0:27:41.359 --> 0:27:44.879 She is in scenes without anyone, in scenes with no dialogue, 0:27:44.880 --> 0:27:48.080 with no one to act against, and so she's communicating 0:27:48.119 --> 0:27:51.560 the whole arc of her of her character's you know, 0:27:51.680 --> 0:27:54.879 feelings and discovery of things, just silently kind of reacting 0:27:54.920 --> 0:27:59.560 to her environment. And I think she really carries the 0:27:59.600 --> 0:28:00.680 film wonderful. 0:28:00.880 --> 0:28:04.080 Absolutely, she's terrific in this. This is not a picture 0:28:04.359 --> 0:28:06.720 where she's going to spend the run time running from 0:28:06.760 --> 0:28:08.840 a mass man trying to stab her with a moon rock. 0:28:09.240 --> 0:28:16.560 Now it's her quietly investigating her surroundings, and it's very 0:28:16.600 --> 0:28:20.120 psychological in nature for the most part. With that PS 0:28:20.600 --> 0:28:24.879 psychological focus turned inward. So yeah, it always takes a 0:28:24.880 --> 0:28:27.480 skilled performer to really bring that sort of thing to life. 0:28:28.040 --> 0:28:30.480 So we were talking about the potential for strong female 0:28:30.560 --> 0:28:33.560 characters in a Jallah or Jallah adjacent film, and I 0:28:33.640 --> 0:28:36.080 feel like this is a pretty strong character in a 0:28:36.119 --> 0:28:37.320 definitely a strong performance. 0:28:37.680 --> 0:28:40.560 Definitely strong performance. I think, I don't know people would 0:28:40.680 --> 0:28:44.360 argue about the meaning of the ending in that regard, 0:28:44.440 --> 0:28:47.239 but yeah, I mean, regardless there, I mean, I think 0:28:47.280 --> 0:28:51.360 it's definitely a fascinating character and a wonderful performance by 0:28:51.400 --> 0:28:53.600 Florinda Bulkan. Yeah, all right. 0:28:53.640 --> 0:28:57.040 Another character that turns up is the character Henry, played 0:28:57.040 --> 0:29:01.640 by Peter mcchinry born nineteen forty, a well regarded actor 0:29:01.760 --> 0:29:03.840 with a long career on the British stage and in 0:29:03.880 --> 0:29:08.280 British television obviously some euro projects as well. We chatted 0:29:08.280 --> 0:29:10.560 about him before in one of our core stuff to 0:29:10.560 --> 0:29:14.000 Blow your Mind episodes, Anthology of Horror seven, because he 0:29:14.080 --> 0:29:17.480 starred in the nineteen eighty Hammer House of Horror episode 0:29:17.560 --> 0:29:18.520 The Mark of Satan. 0:29:18.960 --> 0:29:19.240 Oh. 0:29:19.320 --> 0:29:22.640 Yeah, we did that in an anthology episode because it 0:29:22.680 --> 0:29:26.880 was a movie about a man who became who became 0:29:27.680 --> 0:29:31.040 possessed of the notion that there was an evil virus 0:29:31.160 --> 0:29:34.720 that was infecting people and turning them against him, and 0:29:34.760 --> 0:29:38.400 it was a kind of loss of sanity play as well. 0:29:39.280 --> 0:29:43.080 But that was an interesting Hammer episode, and I think 0:29:43.080 --> 0:29:45.720 we ended up relating it to certain kinds of viral 0:29:46.320 --> 0:29:47.800 viral conditions in real life. 0:29:48.080 --> 0:29:51.239 Yeah. Among the other things that he was in, there 0:29:51.320 --> 0:29:54.200 was a seventy three this nineteen seventy three horror anthology 0:29:54.240 --> 0:29:57.760 picture Tales that Witnessed Madness. Oh, and he was in 0:29:57.800 --> 0:30:01.480 a wonderful nineteen eighty one adaptation of A Midsummer Night's Dream, 0:30:02.080 --> 0:30:05.200 one that I believe I watched in a Shakespeare class 0:30:05.240 --> 0:30:08.400 in college. Uh, it's not too much if I remember correctly, 0:30:08.440 --> 0:30:10.120 it's not too much more than a film play. 0:30:10.560 --> 0:30:10.760 Uh. 0:30:10.800 --> 0:30:13.200 They're a number of these that, you know, like British 0:30:13.240 --> 0:30:15.760 productions where it's you know, there aren't a bunch of 0:30:15.760 --> 0:30:19.120 like lavish locations and sets. It's pretty minimal. But then 0:30:19.160 --> 0:30:22.720 the but then the performances are generally really top notch. 0:30:23.040 --> 0:30:25.560 And this particular production had the likes of Helen Mirren 0:30:25.640 --> 0:30:29.440 as Titania, Phil Daniels from Billy the Kid in the 0:30:29.440 --> 0:30:33.080 Green Bays Vampire, Yeah, and many other things obviously, but 0:30:33.120 --> 0:30:36.360 he played pucking It and then Brian Glover from Alien 0:30:36.400 --> 0:30:39.200 three plays Bottom. You'll remember Brian Glover. He was the 0:30:39.240 --> 0:30:39.760 bald guy. 0:30:40.040 --> 0:30:43.200 Yeah, he's the he's like the boss at the prison. 0:30:43.400 --> 0:30:52.240 Yes, yes, they're all bald. That's the joke from his head. 0:30:52.280 --> 0:30:56.120 I think is bigger, So he's more, he's more. But 0:30:56.400 --> 0:31:00.760 mcginny played Oberon in that adaptation of Summer Night's Dream. 0:31:00.920 --> 0:31:03.040 I can see that he's got range. I mean, in 0:31:03.120 --> 0:31:07.440 the Hammer House of Horror episode he played a very unsettling, 0:31:07.560 --> 0:31:11.440 troubled guy who did not at all have the same 0:31:11.560 --> 0:31:13.720 energy he has in this and Footprints on the Moon, 0:31:13.800 --> 0:31:19.200 he plays a kind of intriguing, good natured and mysterious hunk. 0:31:19.760 --> 0:31:22.680 Yeah. Yeah, and one is mustache and one is not 0:31:22.760 --> 0:31:25.240 must No mustache. In this picture he had a mustache, 0:31:25.240 --> 0:31:29.400 and yeah, the Hammer Horror anthology. But yeah, he's quite good. 0:31:29.880 --> 0:31:31.640 And there may be some other things I've seen him in. 0:31:31.680 --> 0:31:33.840 He has, Like I say, he's had a very long career. 0:31:34.440 --> 0:31:36.880 All right, another role in this one, and this one 0:31:36.880 --> 0:31:40.760 definitely gets into some other Jallo credits. We have Nicoletta 0:31:40.800 --> 0:31:45.560 Elmi playing this child, this child that wanders up and 0:31:46.000 --> 0:31:49.280 has various interactions with our star and a face that 0:31:49.360 --> 0:31:55.240 you will recognize from various nineteen seventies Italian genre and 0:31:55.280 --> 0:31:59.080 horror pictures, including seventy one's Bay of Blood, seventy two's 0:31:59.080 --> 0:32:04.120 Barren Blood, seventy three's Flesh for Frankenstein, seventy five's Night Child, 0:32:04.440 --> 0:32:08.560 and of course nineteen seventy five's Deep Red Dario Argento film. 0:32:08.960 --> 0:32:11.320 And she continued to act through the nineteen eighties as 0:32:11.360 --> 0:32:14.960 an adult, appearing in such pictures as nineteen eighty five's Demons. 0:32:15.360 --> 0:32:17.560 What would it be like to, you know, have your 0:32:17.600 --> 0:32:20.240 acting career start when you were younger? Is like, I 0:32:20.920 --> 0:32:25.040 was the recurring character character type of creepy child in 0:32:25.160 --> 0:32:29.800 Jallo film. Actually she's not so creepy in this one. 0:32:29.840 --> 0:32:31.640 She's creepy I think in some of the other ones. 0:32:32.000 --> 0:32:35.200 Yeah, yeah, in this she's I mean, she's a little creepy, 0:32:35.560 --> 0:32:38.120 but not to the to the point where you're like, 0:32:38.240 --> 0:32:40.880 is this a ghost child or not? Yeah, Like when 0:32:40.880 --> 0:32:43.280 this character is I believe she slapped at one point 0:32:43.320 --> 0:32:46.760 at one point, oh yeah, yeah, our main character slaps 0:32:46.760 --> 0:32:49.120 her and I'm like, that's not okay. And whereas if 0:32:49.200 --> 0:32:51.920 we thought she was a ghost child, I don't know 0:32:52.000 --> 0:32:54.560 then it's kind of a gray area at that point. 0:32:54.640 --> 0:32:56.440 Is it okay to slap a ghost? It's not really 0:32:56.480 --> 0:32:59.719 a child, it's not really a person anymore. It's a ghost. 0:32:59.760 --> 0:33:02.080 And can your hand make contact with the ghost? I'm 0:33:02.080 --> 0:33:02.480 not sure? 0:33:03.280 --> 0:33:04.280 Important questions? 0:33:04.720 --> 0:33:07.840 Yeah, all right, the Okay, the next two actors. I 0:33:07.840 --> 0:33:11.240 want to mention There are characters I honestly don't completely 0:33:11.240 --> 0:33:15.720 one remember from this film, because not all the A 0:33:15.720 --> 0:33:18.680 lot of the investigations end up being very visually memorable, 0:33:18.680 --> 0:33:23.360 but I don't necessarily remember what information was gained from them. 0:33:23.680 --> 0:33:28.720 There's a character named Mary, and then there's a character 0:33:28.800 --> 0:33:30.400 named Marie. 0:33:30.560 --> 0:33:33.920 So, if I'm getting this right, Alice has there are 0:33:34.040 --> 0:33:37.760 essentially three other women her age that she interacts with 0:33:37.880 --> 0:33:40.440 in the beginning of the movie before she leaves for Garma, 0:33:41.200 --> 0:33:44.440 and they are named Rosemary, Mary, and Marie. 0:33:45.000 --> 0:33:48.320 Okay, these two characters are not very important to the 0:33:48.360 --> 0:33:53.040 picture towards, but I did want to mention them briefly, 0:33:53.120 --> 0:33:55.440 just because they do have connections to other Jallo pictures 0:33:55.480 --> 0:33:57.520 and some pictures we've talked about on the show before. 0:33:58.520 --> 0:34:02.520 So Ida Golly born nineteen thirty nine, credited here as 0:34:02.600 --> 0:34:09.800 Evelyn Stewart. She's an Italian actress who pops up in 0:34:09.800 --> 0:34:13.400 a number of Spaghetti Western Jaalo pictures. We previously mentioned 0:34:13.440 --> 0:34:16.360 her in our episode on Mario Bava's dark peplum film 0:34:16.440 --> 0:34:20.160 Hercules in the Haunted World, in which she played a 0:34:20.239 --> 0:34:23.680 character I don't one hundred percent remember named Missotidi. 0:34:24.000 --> 0:34:25.279 I don't remember her at all. 0:34:25.600 --> 0:34:28.359 Yeah, but her other credits include sixty threes, The Whip 0:34:28.360 --> 0:34:31.520 in the Body, sixty four's War of the Zombies, sixty six, 0:34:31.880 --> 0:34:35.880 Django Shoots First, and Lucio Fulci's seventy seven thriller The 0:34:35.920 --> 0:34:40.600 Psychic and then Marie is played by Rosita Torros. As 0:34:40.760 --> 0:34:44.400 Rosita Torros. She lived nineteen forty five through nineteen ninety 0:34:44.400 --> 0:34:47.320 five Italian actress who also appeared in various Shalloh and 0:34:47.360 --> 0:34:50.200 horror films, including nineteen seventies The Bird with the Crystal 0:34:50.200 --> 0:34:54.399 Plumage Regento Picture and seventy four Is Almost Human from 0:34:54.480 --> 0:34:55.680 umberto Lindsay. 0:34:55.840 --> 0:34:59.759 So, I think this is the character of Marie Leblanche, 0:35:00.120 --> 0:35:05.719 the translator who takes Alice's job after she disappeared. 0:35:05.800 --> 0:35:10.600 That's right, Yeah, So again they're not vital too. The 0:35:11.000 --> 0:35:14.600 large stretches of the picture but they're kind of interesting connections. 0:35:15.160 --> 0:35:18.960 And then, of course Klaskinsky we mentioned plays Professor Blackman. 0:35:20.080 --> 0:35:21.960 I don't know if it was the same for you, 0:35:22.000 --> 0:35:25.880 but I found different versions. Different renditions of this character's 0:35:25.960 --> 0:35:28.319 name have different numbers of n's and k's in it, 0:35:28.680 --> 0:35:32.720 so that may vary depending on where you're looking. Kinsky 0:35:32.880 --> 0:35:37.520 saw two ends at the end. Maybe I just I 0:35:37.520 --> 0:35:41.040 imagined the extra K. But at any rate, Klauskinsky lived 0:35:41.080 --> 0:35:43.680 nineteen twenty six through nineteen ninety one. We've previously discussed 0:35:43.719 --> 0:35:46.560 Kinsky in our episodes on Venom from eighty one and 0:35:46.680 --> 0:35:50.520 Creature from eighty five. You know, this was, of course 0:35:51.040 --> 0:35:55.520 an infamous actor known for his crazed intensity, and his 0:35:55.560 --> 0:35:57.880 career also is one of those that straddles worlds of 0:35:57.880 --> 0:36:01.160 both art house and grind house, you know, B movies 0:36:01.960 --> 0:36:05.160 and very well regarded productions as well. We're not going 0:36:05.200 --> 0:36:07.400 to go into put too much depth here, in part 0:36:07.440 --> 0:36:10.600 because it is a bit part for Kinski. We only 0:36:10.640 --> 0:36:13.880 see him in dream sequences in Stunning black and White, 0:36:14.160 --> 0:36:16.840 and his voice, at least for me, was dubbed with 0:36:16.960 --> 0:36:18.680 a thoroughly non Kinsky voice. 0:36:18.880 --> 0:36:21.160 Yeah, it didn't sound like him at all. I don't 0:36:21.160 --> 0:36:22.720 think even had a German accent. 0:36:23.000 --> 0:36:25.239 No, they weren't even going for Kinski. They were just 0:36:25.320 --> 0:36:26.879 like that, just dub him over. 0:36:27.239 --> 0:36:29.840 But Kinsky's voice would have made sense because the character 0:36:30.000 --> 0:36:33.239 he plays as a mad scientist, like the character he 0:36:33.280 --> 0:36:35.680 plays as a character who sounds like Klaus Kinsky does 0:36:35.680 --> 0:36:36.320 in real life. 0:36:36.840 --> 0:36:39.600 Yeah, and like Kinsky's voice is one of those that, like, 0:36:39.640 --> 0:36:42.120 I feel like a lot of people can do, so 0:36:42.719 --> 0:36:46.319 it seems like a very deliberate choice. Yeah, it's kind 0:36:46.320 --> 0:36:48.200 of like if you dubbed Peter Lorie, you know, it's 0:36:48.239 --> 0:36:51.920 like somebody could do that voice. Come on, Yeah, yeah, 0:36:52.239 --> 0:36:54.480 all right. I mentioned how I spent the first twenty 0:36:54.560 --> 0:36:57.120 minutes of the film like just really admiring the composition 0:36:57.200 --> 0:36:59.399 of it all. And that's the point where I was like, oh, 0:36:59.440 --> 0:37:03.360 I didn't check to see who the cinematographer was. And 0:37:03.719 --> 0:37:05.800 that's when I checked and saw that the director of 0:37:05.840 --> 0:37:11.800 photography was Vittorio Storraro, who was born in nineteen forty 0:37:12.040 --> 0:37:16.080 and is a three time Oscar winner. He earned the 0:37:16.120 --> 0:37:19.160 Oscar for his work on nineteen seventy nine Apocalypse Now 0:37:20.200 --> 0:37:23.360 nineteen eighty one's Reds that I Haven't seen. That was 0:37:23.400 --> 0:37:26.840 written and directed by Warren Beatty and nineteen eighty seven's 0:37:26.840 --> 0:37:31.160 The Last Emperor, so a legendary cinematographer working on this picture. 0:37:31.160 --> 0:37:33.920 He was also nominated for nineteen nineties Dick Tracy. 0:37:35.840 --> 0:37:39.000 I've wondered before if we should cover Dick Tracy on 0:37:39.040 --> 0:37:42.240 the show because talk about weird, weird movies. 0:37:42.760 --> 0:37:46.080 Yes, a weird film that I loved as a kid, 0:37:46.400 --> 0:37:49.880 haven't seen in forever, but yeah, it's like a brightly 0:37:50.040 --> 0:37:54.160 colored comic book, old time comic book, gangster picture full 0:37:54.200 --> 0:37:55.480 of mutant gangsters. 0:37:55.760 --> 0:37:59.600 Yeah, yeah, I don't know how well it would hold up, 0:37:59.640 --> 0:38:02.640 but it's got to be one of the weirder mainstream 0:38:02.719 --> 0:38:03.760 films ever released. 0:38:04.160 --> 0:38:06.240 It has to be. Yeah, I would like to revisit 0:38:06.280 --> 0:38:11.080 it sometime. Other pictures of note for stro include nineteen 0:38:11.120 --> 0:38:15.320 seventies The Bird with a Crystal Plumage, another bird related picture, 0:38:15.360 --> 0:38:19.720 nineteen eighty five's Lady Hawk, and the two thousand Dune 0:38:19.760 --> 0:38:25.360 mini series, which all of these had very strong visual composition, 0:38:25.520 --> 0:38:28.279 So you know, yeah, this is a big name, and 0:38:28.520 --> 0:38:30.560 it makes sense that a big name was involved here 0:38:30.600 --> 0:38:32.360 given how great everything looks. 0:38:32.840 --> 0:38:35.880 It is a gorgeously shot film, so this makes a 0:38:35.880 --> 0:38:38.759 lot of sense. I'm still kind of processing where the 0:38:38.760 --> 0:38:42.120 two thousand Dune mini series fits in. Maybe I'm not 0:38:42.160 --> 0:38:44.239 being fair because I haven't seen that, but I've seen 0:38:44.280 --> 0:38:49.160 stills from it. It never struck me as something that 0:38:49.520 --> 0:38:51.760 looked amazing. But maybe I'm wrong. 0:38:53.160 --> 0:38:55.840 I recently rewatched parts of it, and I will have 0:38:55.880 --> 0:38:59.640 to say the CGI did not hold up well at all, 0:39:00.160 --> 0:39:04.720 and it does feel I know it cost a pretty penny, 0:39:04.719 --> 0:39:09.360 but it feels like a TV production, you know, in 0:39:09.400 --> 0:39:12.719 many respects. But on the other hand, like the costumes 0:39:12.719 --> 0:39:15.839 are very inventive, It's got some great performances in it, 0:39:16.560 --> 0:39:19.439 and given its length, it actually gives you a chance 0:39:19.480 --> 0:39:22.200 to see some of the scenes that are often omitted 0:39:22.239 --> 0:39:26.280 from adaptations of Doom. All right, then, finally, the composer 0:39:26.360 --> 0:39:28.279 on this one. We already mentioned how nice the music is. 0:39:28.520 --> 0:39:32.399 It is the work of Nicola Piovanni born nineteen forty six, 0:39:32.520 --> 0:39:35.520 Italian composer who won an Oscar himself in nineteen ninety 0:39:35.600 --> 0:39:39.440 nine for Life Is Beautiful. His other credits include seventy 0:39:39.440 --> 0:39:42.160 four's The Perfume of the Lady in Black. I don't 0:39:42.160 --> 0:39:43.880 think I have to tell you that's a Gallo picture 0:39:43.920 --> 0:39:47.440 with the title like that, as well as Flavia the Heretic, 0:39:47.600 --> 0:39:57.600 which starred Florinda Bulcan. 0:39:58.239 --> 0:40:00.320 All right, do you want to start talking about the BLA. 0:40:00.560 --> 0:40:03.799 Yeah, let's get into the plot of Footprints on the Moon. 0:40:04.280 --> 0:40:07.799 Okay, Well, the credits play in yellow type script over 0:40:07.880 --> 0:40:11.359 a deep blue night sky with no stars in sight, 0:40:11.560 --> 0:40:14.600 just the moon, which is pale and gray in the 0:40:14.600 --> 0:40:17.880 center of the frame. And I quite like the music 0:40:17.920 --> 0:40:20.239 that plays over the opening credits here. So at the 0:40:20.239 --> 0:40:25.919 beginning it's mostly strings and flute, and the melody is subtle, mysterious, 0:40:26.440 --> 0:40:29.239 kind of cold. I was thinking of it as the 0:40:29.320 --> 0:40:33.520 sound of like seeing something that looks very odd far 0:40:33.560 --> 0:40:36.600 away out of window and then looking back to try 0:40:36.600 --> 0:40:39.960 to see it more clearly, and it's gone. But suddenly 0:40:40.120 --> 0:40:43.759 into this texture, the pipe organ comes roaring in, and 0:40:44.040 --> 0:40:48.360 it's immediately like we are phantoming the opera out of this. Yes, 0:40:49.440 --> 0:40:51.319 So the credits roll and we zoom in on the 0:40:51.320 --> 0:40:54.560 moon to reveal this is not genuine night sky photography. 0:40:55.080 --> 0:40:59.080 This is an illustration of the moon in a gorgeous 0:40:59.160 --> 0:41:01.839 but old school style, so it looks like something out 0:41:01.840 --> 0:41:04.800 of one of those great old nineteenth century astronomy books 0:41:04.800 --> 0:41:07.319 with the hand drawn illustrations of the craters and the 0:41:07.360 --> 0:41:11.920 lunar maria, and then in the foreground we see a 0:41:12.000 --> 0:41:16.480 lunar landing vehicle appear, so it's drifting gracefully down toward 0:41:16.560 --> 0:41:19.839 the toward the Moon, down toward the surface. And then 0:41:19.880 --> 0:41:22.760 when we see the surface in close up, it's another 0:41:22.800 --> 0:41:25.960 classic style illustration, the kind of planet surface you would 0:41:26.000 --> 0:41:29.320 get in Planet of the Vampires and these landing party 0:41:29.320 --> 0:41:32.440 adventures of the fifties and sixties. So it's not just 0:41:32.640 --> 0:41:36.320 rocks and dust, but these craggy spires which you don't 0:41:36.360 --> 0:41:39.319 really get in the actual topography of the Moon, at 0:41:39.400 --> 0:41:43.439 least not our Moon. So after the lander sets down, 0:41:43.520 --> 0:41:47.080 we cut to a rather surprising shot. We see one 0:41:47.280 --> 0:41:52.320 astronaut in a suit and a classic bubble helmet, apparently unconscious, 0:41:52.800 --> 0:41:57.720 being dragged across the surface by another astronaut with his boots, 0:41:57.800 --> 0:42:00.680 leaving these streaks in the regolith as his limp body 0:42:00.760 --> 0:42:05.120 is pulled along, and then the upright astronaut drops the 0:42:05.160 --> 0:42:07.719 other one in the dust in a field that is 0:42:07.760 --> 0:42:10.719 framed by these pointy moon spires, and then begins to 0:42:10.760 --> 0:42:14.120 walk away. So is somebody just being abandoned on the 0:42:14.120 --> 0:42:17.520 surface of the moon, it seems. Yes, we watched the 0:42:17.640 --> 0:42:20.600 lander begin to take off and then rise up into 0:42:20.719 --> 0:42:24.600 orbit once again, and it's only once the lander is 0:42:24.640 --> 0:42:27.719 far away that the astronaut comes to and sits up 0:42:27.760 --> 0:42:31.399 and realizes what's happening, and they watch in terror as 0:42:31.440 --> 0:42:35.399 the vehicle departs. And Rabbi attached a couple of screenshots 0:42:35.440 --> 0:42:37.280 of this moment for you to look at here, because 0:42:37.280 --> 0:42:41.120 I thought this part was wonderful. It's so strange and 0:42:41.360 --> 0:42:46.520 mysterious and evocative. The soundtrack goes on alternating between the cold, 0:42:46.600 --> 0:42:50.800 ominous strings and woodwinds with these sudden explosions of pipe 0:42:50.880 --> 0:42:55.200 organ and we're thrown off by this unusual scenario and 0:42:55.320 --> 0:42:58.920 the mid century science fiction aesthetics of the EVA suits 0:42:58.920 --> 0:43:01.920 and the lunar set design. So it sounds based on 0:43:01.960 --> 0:43:04.839 that the latter stuff there like the effect of this 0:43:04.880 --> 0:43:08.080 could be comical, but it's really not in this moment, 0:43:08.200 --> 0:43:12.440 because we're seeing the abandoned astronaut's eyes wide in fear 0:43:12.560 --> 0:43:15.160 behind the curved glass of the face plate, but the 0:43:15.320 --> 0:43:18.719 glass is partially fogged over, so we only see their 0:43:18.760 --> 0:43:22.719 face through this obscuring screen of fog, which kind of 0:43:22.960 --> 0:43:26.920 mutes the detection of emotion there and makes them inaccessible 0:43:26.960 --> 0:43:30.160 and haunting. I think it's a really great moments. 0:43:30.320 --> 0:43:34.600 It's extremely well executed because it manages to walk that 0:43:34.760 --> 0:43:39.279 line where it never feels hokey. But it also is 0:43:39.360 --> 0:43:46.719 not going for a high highly accurate rendition, like they're 0:43:46.719 --> 0:43:49.240 not trying to make it look like the actual surface 0:43:49.239 --> 0:43:52.040 of the Moon in actual like lunar landings and so forth. 0:43:52.280 --> 0:43:55.520 Yeah, then from here we cut to a different scene, 0:43:55.760 --> 0:43:59.319 still in the aesthetics of old school sci fi, but 0:43:59.440 --> 0:44:02.319 now fully in black and white. So we see a 0:44:02.400 --> 0:44:06.480 gruff man in an EVA helmet starting a radio communication. 0:44:06.640 --> 0:44:10.080 He announces himself as Gunter, and he calls out for 0:44:10.239 --> 0:44:14.680 a Professor Blackmann. Who could that be? Why it's Klaus Kinski. 0:44:15.320 --> 0:44:19.360 Kinsky says, receiving you over in a non Kinsky voice, 0:44:19.960 --> 0:44:23.239 And so Kinsky is hunched over in some kind of 0:44:23.440 --> 0:44:27.759 mad science mission control room with lights flashing everywhere and 0:44:27.880 --> 0:44:31.759 computers making little beeps and boops, and we learn from 0:44:31.760 --> 0:44:36.239 their exchange that Blackman and Gunter are collaborating on some 0:44:36.320 --> 0:44:41.640 kind of morbid experiment. They intentionally abandoned the other astronaut, 0:44:41.680 --> 0:44:45.160 whose name is we learn as McGregor on the moon 0:44:45.360 --> 0:44:48.360 so they could study something about him from a distance. 0:44:48.920 --> 0:44:50.879 And by the way, when we get a look at 0:44:50.880 --> 0:44:53.160 this full control room, I was kind of wondering for 0:44:53.160 --> 0:44:56.160 some reason if they shot these in like a real 0:44:56.280 --> 0:44:59.480 decommissioned nuclear plant like they did in Shocking Dark. Whatever 0:44:59.480 --> 0:45:01.439 these controls panels are, they look pretty good. 0:45:01.920 --> 0:45:05.640 Yeah, And I love this gritty black and white that 0:45:05.680 --> 0:45:07.600 they shoot everything, and it reminds me a lot of 0:45:08.400 --> 0:45:11.040 a picture that would come much later two thousand and 0:45:11.040 --> 0:45:14.280 one is the American Astronauts. The same kind of quality 0:45:14.320 --> 0:45:18.600 where it's just like grungy black and white and it 0:45:18.640 --> 0:45:20.880 doesn't feel it doesn't have that feeling like you just 0:45:20.960 --> 0:45:23.920 turned down the color settings on your old school television 0:45:24.040 --> 0:45:24.719 or anything. You know. 0:45:25.080 --> 0:45:27.320 Yeah, yeah, black and white. 0:45:27.320 --> 0:45:30.120 You can taste, get the grid of it in your teeth. 0:45:30.520 --> 0:45:34.120 Yeah. Yeah, it's as a little bit salty. Yeah. Anyway, 0:45:34.239 --> 0:45:38.160 the mad scientists, mad scientists conspirators here, they confirm that 0:45:38.239 --> 0:45:41.640 the experiment is underway, and then Kinsky says, I will 0:45:41.680 --> 0:45:45.799 alert the organization. And from here we cut to a 0:45:45.920 --> 0:45:49.960 telephone buzzing on a furry shag carpet. Could this be 0:45:50.080 --> 0:45:52.800 Kinsky's call to the organization. I don't think so because 0:45:52.800 --> 0:45:55.400 something has changed. We have gone from black and white 0:45:55.480 --> 0:45:59.279 to full color, and we pan up to see our protagonist, 0:45:59.360 --> 0:46:02.880 Alice Chess be sleeping on her bed. She's wearing a 0:46:02.920 --> 0:46:07.520 black eye mask, curiously in almost the same posture as 0:46:07.560 --> 0:46:11.520 the unconscious astronaut from the other story, and the blinds 0:46:11.560 --> 0:46:13.839 are drawn over the windows in the room, but from 0:46:13.840 --> 0:46:16.799 in between them. The light is falling in over her 0:46:16.800 --> 0:46:19.160 face in a way that suggests it's late morning. She 0:46:19.200 --> 0:46:24.239 has overslept groggily. Alice answers the phone, and it's her 0:46:24.280 --> 0:46:26.920 friend Rosemary, who says she's been trying to reach her 0:46:26.960 --> 0:46:29.560 for hours. I think she literally says the phone, the 0:46:29.560 --> 0:46:33.680 phone has been ringing for hours. That's that's dedication for 0:46:33.880 --> 0:46:34.960 Rosemary to wait that long. 0:46:35.000 --> 0:46:38.080 What is wrong with you? Why would you the phone 0:46:38.160 --> 0:46:41.279 ring for hours, not just on the receiving end, but 0:46:41.600 --> 0:46:44.040 on the calling in is Why would you do that? 0:46:44.600 --> 0:46:47.719 So Alice seems disoriented, but discovers it's late in the 0:46:47.719 --> 0:46:50.360 morning and she has to turn in a translation she 0:46:50.360 --> 0:46:53.920 hasn't finished yet. Alice works as a translator for some 0:46:54.040 --> 0:46:58.600 kind of consolate or diplomatic office, apparently specializing in scientific topics. 0:46:58.640 --> 0:47:01.520 I think so it makes plans to meet with Rosemary 0:47:01.600 --> 0:47:03.960 later that morning, and then she gets to business. So 0:47:03.960 --> 0:47:05.960 there are kind of some scenes here of like you 0:47:06.000 --> 0:47:08.480 said earlier, Alice, She's just kind of puttering around her 0:47:08.520 --> 0:47:12.400 apartment doing nothing all that mysterious, but they are framed 0:47:12.520 --> 0:47:17.880 in such a strange and beautiful way. Immediately something feels significant. 0:47:18.000 --> 0:47:20.880 I'm kind of looking for clues, even before the plot 0:47:20.920 --> 0:47:25.240 suggests I should. And we see her standing at her window, 0:47:25.480 --> 0:47:28.240 looking in the mirror, getting ready for the day, lighting 0:47:28.320 --> 0:47:31.240 the gas under her coffee maker, settling down to finish 0:47:31.280 --> 0:47:35.600 typing her translation of an audio tape. And one thing 0:47:35.640 --> 0:47:38.799 I noticed is that outside of her apartment window there 0:47:38.880 --> 0:47:41.320 is first of all, a beautiful view of whatever city 0:47:41.360 --> 0:47:44.120 this is. I don't know if this is Rome or whatever. 0:47:44.160 --> 0:47:49.200 But the second thing is there is a giant construction crane, 0:47:49.520 --> 0:47:53.160 and Alice's body is a couple of times seen framed 0:47:53.239 --> 0:47:57.000 within the angle of the crane. Feels like it means something. 0:47:58.200 --> 0:48:01.440 So while she goes about her business, Alice at one 0:48:01.520 --> 0:48:04.280 point finds something on the floor of her kitchen, next 0:48:04.280 --> 0:48:07.719 to the garbage can. It is a torn up postcard 0:48:08.080 --> 0:48:12.760 bearing the image of a stately old hotel. She puzzles 0:48:12.760 --> 0:48:14.960 the pieces back together and then looks at it and 0:48:15.000 --> 0:48:17.080 then flips it over to see that this is the 0:48:17.160 --> 0:48:21.200 Hotel Garma of a place called Garma. What is it? 0:48:21.239 --> 0:48:23.960 She has no idea where it came from, So Alice 0:48:24.040 --> 0:48:27.080 leaves home and then goes about her day. First of all, 0:48:27.080 --> 0:48:29.800 she meets up with her friend Rosemary. There's a funny 0:48:29.800 --> 0:48:32.000 scene where Rosemary's trying to tell her a story about 0:48:32.000 --> 0:48:34.319 something that happened when she went to a club on 0:48:34.440 --> 0:48:37.920 Tuesday night, which is strange because we just saw Alice 0:48:37.920 --> 0:48:42.440 flip her daily calendar from Monday to Tuesday. And she 0:48:42.560 --> 0:48:45.600 realizes Alice is lost in thought, not really paying attention, 0:48:46.200 --> 0:48:49.160 and Alice says she is thinking about a dream she 0:48:49.239 --> 0:48:51.680 had the night before, and in fact, a dream she's 0:48:51.719 --> 0:48:55.359 had many times, where she says a man is abandoned 0:48:55.440 --> 0:48:59.280 on the moon for an experiment. Rosemary says this sounds 0:48:59.320 --> 0:49:02.720 like science fic, and Alice says, yes, it was. In fact, 0:49:02.960 --> 0:49:05.320 this was a dream that was inspired by a film 0:49:05.440 --> 0:49:08.040 she saw when she was young. The movie was called 0:49:08.200 --> 0:49:11.640 Footprints on the Moon, and it scared her so much 0:49:11.680 --> 0:49:14.160 that she ran out of the theater and never saw 0:49:14.200 --> 0:49:16.120 the end of it. So it's just kind of been 0:49:16.200 --> 0:49:19.319 hanging in her mind all these years. Now, after this, 0:49:19.400 --> 0:49:22.720 we see Alice going to work. She's going to whatever 0:49:22.760 --> 0:49:26.200 this diplomatic office is to turn in her translations, and 0:49:26.239 --> 0:49:29.120 on the way there she moves through such interesting spaces, 0:49:29.880 --> 0:49:33.080 like this big empty auditorium with all these green chairs 0:49:33.080 --> 0:49:37.280 lined up and these stained wooden walls, and then walking 0:49:37.320 --> 0:49:42.000 through behind this colonnade with these doorways framed against the sunlight. 0:49:42.560 --> 0:49:45.239 She eventually comes for a meeting with her boss or 0:49:45.239 --> 0:49:47.680 maybe it's her client I think. Actually she's supposed to 0:49:47.680 --> 0:49:51.399 be a freelancer. But when she gets there, everything is confused, 0:49:51.480 --> 0:49:54.840 like she tries to turn in the translation, which was 0:49:54.920 --> 0:49:58.680 due at noon, but this leads to a bizarre revelation. 0:49:59.520 --> 0:50:03.279 The trans reslation was of a speech I think concerning 0:50:03.480 --> 0:50:07.440 science and astronautics that was given on Monday, and it 0:50:07.480 --> 0:50:09.960 was supposed to be turned in at noon on Tuesday, 0:50:10.000 --> 0:50:13.719 which is what time Alice believes it is. But actually 0:50:14.320 --> 0:50:16.919 her client here informs her that it is now noon 0:50:17.040 --> 0:50:21.200 on Thursday, and Alice has no memory of the missing 0:50:21.239 --> 0:50:26.160 two days. Her handler tells her that she abruptly left 0:50:26.280 --> 0:50:29.719 in the middle of the address. In the forum there 0:50:30.160 --> 0:50:32.319 and then for the following several days they tried to 0:50:32.360 --> 0:50:36.640 contact her and got nothing, so in her absence they 0:50:36.719 --> 0:50:40.839 had to hire a different translator, a miss Lablanche, and 0:50:41.000 --> 0:50:43.400 Alice is clearly shaken by this. She doesn't know what 0:50:43.480 --> 0:50:45.719 to make of it and apparently has no memory of 0:50:45.840 --> 0:50:48.120 leaving the speech or of the missing time. 0:50:48.800 --> 0:50:50.359 And so in this we we really begin to get 0:50:50.360 --> 0:50:55.440 into the big psychological mysteries of the picture of missing time, 0:50:56.080 --> 0:51:00.680 of lost memories. And again, these are questions that are 0:51:01.000 --> 0:51:03.840 very internal. And so it's another way that this performance 0:51:03.880 --> 0:51:06.560 is so good. It's that you know, they're not really 0:51:07.200 --> 0:51:09.560 exploring all of this through flashbacks or exploring it through 0:51:09.560 --> 0:51:14.200 conversations in facial expressions. It's very nice. 0:51:14.360 --> 0:51:16.640 Yeah, And this is also another way it really does 0:51:16.680 --> 0:51:19.520 fit Jallo conventions, even though it's not a murder mystery. 0:51:19.560 --> 0:51:22.960 I mean, this idea of like having to reconstruct the 0:51:23.040 --> 0:51:25.960 lost memory to solve the mystery of what happened is 0:51:26.480 --> 0:51:30.920 absolutely like core Jallo feeling. Yeah. So Alice meets with 0:51:30.960 --> 0:51:33.879 another friend of hers named Mary to talk about what's 0:51:33.920 --> 0:51:38.000 going on. Mary asks if she can remember anything about 0:51:38.000 --> 0:51:41.640 what happened at this session in the assembly, that she 0:51:41.680 --> 0:51:44.120 apparently ran out in the middle of So we cut 0:51:44.120 --> 0:51:47.640 to this big public auditorium with a stage and electern, 0:51:48.320 --> 0:51:51.960 with a speaker talking into the microphone, and at the 0:51:51.960 --> 0:51:55.600 back of the room there are sound isolated translation booths 0:51:55.640 --> 0:51:58.960 surrounded by glass, with a line of these different booths, 0:51:59.000 --> 0:52:02.640 each one filled with worker translating the speech into different 0:52:02.760 --> 0:52:07.799 languages in real time, and Alice is one of these translators. Curiously, 0:52:08.040 --> 0:52:11.160 this memory is in black and white and on a 0:52:11.239 --> 0:52:14.920 grainier film stock, and in that way it resembles Alice's 0:52:15.000 --> 0:52:18.000 dreams of the science fiction movie Footprints on the Moon. 0:52:19.120 --> 0:52:22.280 The speaker who's talking and being translated in the scene 0:52:22.800 --> 0:52:26.879 is someone named Madame Verdi, who says, I actually wrote 0:52:26.920 --> 0:52:29.200 down because it's kind of confusing because we were seeing 0:52:30.200 --> 0:52:34.000 subtitles of the translation of the narration, but then also 0:52:34.680 --> 0:52:37.760 the subtitles of the speech that's going on. The speech says, 0:52:38.200 --> 0:52:41.920 so that man will find the possibility of surviving extremely 0:52:41.960 --> 0:52:46.000 difficult unless he begins immediately to totally alter his ways 0:52:46.040 --> 0:52:49.360 of thinking and living, to devote all his energies to 0:52:49.440 --> 0:52:52.319 try to avoid these dangers which are rushing upon him. 0:52:52.800 --> 0:52:56.279 By nineteen ninety, pollution and poisoning will have killed all 0:52:56.320 --> 0:52:59.600 the biological life in the sea. Our computer has also 0:52:59.680 --> 0:53:02.200 shown that in the year two thousand, it will be 0:53:02.280 --> 0:53:06.239 almost impossible for men to live on planet Earth. So 0:53:06.480 --> 0:53:09.560 within the scenario of this movie, it's funny because she's 0:53:09.680 --> 0:53:13.400 listening to this speech that's full of these extremely dire 0:53:13.520 --> 0:53:18.120 warnings of like coming environmental catastrophe, but she makes no 0:53:18.360 --> 0:53:21.440 direct reference to the contents of the speech. Instead, this 0:53:21.560 --> 0:53:24.920 is just presented as like it's just her job to 0:53:25.000 --> 0:53:28.359 translate this, and the content is almost like neutral, it 0:53:28.360 --> 0:53:31.440 doesn't matter what's being said. She's just there to translate it. 0:53:31.760 --> 0:53:36.439 But it's so effective, isn't it, Because the content is horrifying. Yes, 0:53:36.880 --> 0:53:40.600 it's just flowing through her being translated. It's part of 0:53:40.640 --> 0:53:43.080 her job. And so you get kind of an early 0:53:43.520 --> 0:53:47.399 idea that, yeah, this could be having a toll on her. 0:53:47.440 --> 0:53:49.600 She may not be quite aware of it, but like, 0:53:49.920 --> 0:53:53.319 this is horrible news, and you know, it's interesting to 0:53:53.360 --> 0:53:57.160 sort of take this sort of forecast, you know, certainly 0:53:57.200 --> 0:54:00.320 within the context again of a very modern setting of 0:54:00.360 --> 0:54:03.480 the original picture, but then as a contemporary viewer of 0:54:03.480 --> 0:54:05.560 this film, like on one level, like you hear that 0:54:05.640 --> 0:54:08.160 and you're like, Oh, it's like it's like realizing you've 0:54:08.160 --> 0:54:11.960 been you know, eating, you know, using a jar of 0:54:12.080 --> 0:54:16.920 jam and it expired you know, twenty five years ago. Yeah, yeah, 0:54:17.080 --> 0:54:20.960 you know, so in a way it feels even more dire. 0:54:21.080 --> 0:54:22.759 And then also the other part of the course, it 0:54:22.800 --> 0:54:24.480 is that like this is still the scenario that we 0:54:24.520 --> 0:54:27.360 have roughly without the exact dates in play, like yeah, 0:54:27.719 --> 0:54:32.239 like we're on a terrible path. Yeah, and it does 0:54:32.280 --> 0:54:34.400 to have a toll take a toll on one. 0:54:34.560 --> 0:54:37.520 Yes, But it's so interesting the way that it's like 0:54:37.680 --> 0:54:40.239 it's presented to us the viewer, so we can see 0:54:40.239 --> 0:54:43.279 that and we can see the emotional effect it should have, 0:54:43.360 --> 0:54:45.680 but she doesn't really comment on it. 0:54:46.040 --> 0:54:49.480 Yeah, this is this is a wonderful tool that is 0:54:49.719 --> 0:54:53.080 these sometimes you see used in pictures. I'm reminded of 0:54:52.960 --> 0:54:55.880 the nineteen eighty five neo noir film Trouble in Mind 0:54:56.560 --> 0:55:01.320 by Alan Rudolph that starred Chris Christofferson. Picture is also 0:55:01.400 --> 0:55:03.759 super weird, and I go back and forth on whether 0:55:03.800 --> 0:55:06.520 we should cover it on the show. Maybe someday. But 0:55:07.480 --> 0:55:10.400 in the background of that setting, like it's clear that 0:55:10.440 --> 0:55:14.280 there's some sort of a foreign occupation of the city, 0:55:14.280 --> 0:55:16.879 which I think is like Seattle or something. But it's 0:55:16.920 --> 0:55:19.600 never really like nobody ever really comments on it as 0:55:19.600 --> 0:55:22.879 far as I remember. It's just sort of in the background. 0:55:23.160 --> 0:55:25.120 But then you know, it's in the psyche, it's in 0:55:25.200 --> 0:55:29.680 the world, like it's definitely it's presented as background material, 0:55:29.719 --> 0:55:32.240 but it's very much a part of the foreground as well. 0:55:33.360 --> 0:55:33.600 Yeah. 0:55:33.880 --> 0:55:37.759 Absolutely, I mean in storytelling, like what characters don't see 0:55:37.840 --> 0:55:42.960 fit to comment on, it can be such a powerful storytelling. 0:55:42.400 --> 0:55:46.799 Tool, absolutely, and so they're just wonderful job with it 0:55:46.840 --> 0:55:47.640 here in this picture. 0:55:48.040 --> 0:55:51.440 So anyway, in this scene, we pan over the different translators, 0:55:51.520 --> 0:55:54.800 each speaking their respective languages while taking down the speech. 0:55:55.480 --> 0:55:57.680 And this really also kind of takes on the feeling 0:55:57.719 --> 0:56:00.719 of a political espionage thriller, you know, it has that 0:56:00.760 --> 0:56:03.600 feeling of I don't know, like three Days of Condor 0:56:03.719 --> 0:56:07.400 or something. Alice talking to Mary while we watched this 0:56:07.480 --> 0:56:09.840 scene play out in black and white from her memory. 0:56:10.120 --> 0:56:12.560 Talking to Mary, she says that the speech was very long, 0:56:13.040 --> 0:56:16.520 and in her isolation booth, she became very hot, so 0:56:16.640 --> 0:56:20.200 hot she couldn't breathe and she couldn't really concentrate, and 0:56:20.239 --> 0:56:23.879 then she noticed looking down at the crowd below that 0:56:24.000 --> 0:56:27.120 Marie le Blanche was sitting there, and ooh, we get 0:56:27.160 --> 0:56:30.960 a rear window style zoom in on Leblanche. Remember she's 0:56:31.000 --> 0:56:34.600 the woman who the Diplomatic office hired to replace Alice 0:56:34.640 --> 0:56:37.799 when she disappeared. And she says that le Blanche was 0:56:37.880 --> 0:56:40.440 just staring at her, so like everybody else in the 0:56:40.560 --> 0:56:43.200 room is looking forward, but Leblanche is in her chair 0:56:43.239 --> 0:56:47.880 looking straight back up at Alice, and she says, you know, 0:56:47.920 --> 0:56:50.200 it's like she was willing her to make a mistake, 0:56:50.280 --> 0:56:52.520 kind of putting a curse on her from a distance. 0:56:53.040 --> 0:56:56.279 And Alice says she felt overwhelmed. She couldn't keep up 0:56:56.280 --> 0:56:59.240 with the voice she was translating it. She was afraid 0:56:59.280 --> 0:57:01.480 it would just keep going on without her, which I 0:57:01.520 --> 0:57:03.680 guess it would write, you know, if she can't keep up, 0:57:03.680 --> 0:57:07.160 it's just going to keep going. Then she says something happened, 0:57:07.560 --> 0:57:09.920 and we don't really know exactly what it was, but 0:57:10.120 --> 0:57:13.600 in the black and white memory, now everyone in the 0:57:13.640 --> 0:57:17.200 hall turns to stare up at Alice, and in this moment, 0:57:17.280 --> 0:57:20.200 we don't really have a way of knowing whether that 0:57:20.480 --> 0:57:24.360 actually happened, or whether her memory of this event might 0:57:24.400 --> 0:57:27.120 be faulty or we're getting a kind of emotionally tinged 0:57:27.280 --> 0:57:31.160 version of it. So suddenly everybody turns and looks and 0:57:31.240 --> 0:57:34.640 is staring at her in this isolation booth, and she 0:57:34.760 --> 0:57:36.920 gets up and runs. She remembers she got up and 0:57:37.000 --> 0:57:39.520 ran out and rushed out of the building through the 0:57:39.520 --> 0:57:42.600 gardens next door, like she was running away from something. 0:57:43.000 --> 0:57:45.919 But that's where her memory stops. She can't recall where 0:57:45.960 --> 0:57:49.800 she went after that or why now. Mary suggests it's 0:57:49.840 --> 0:57:54.000 all those tranquilizers in take. She says, you know, you 0:57:54.080 --> 0:57:56.920 took a big dose and you just simply slept through 0:57:56.960 --> 0:57:59.840 two whole days. And Mary reminds her of how eggs 0:57:59.840 --> 0:58:01.560 are she has been from work. 0:58:02.760 --> 0:58:06.560 She's like, look, it's the seventies. It happens, yeah, But. 0:58:06.840 --> 0:58:09.640 Alice has good reason for thinking that's not what happened, 0:58:09.720 --> 0:58:13.040 because she brings up something she hasn't told anybody else 0:58:13.080 --> 0:58:16.120 so far, the torn up postcard of the Hotel Garma. 0:58:17.080 --> 0:58:20.040 She says that the facade of the building looked so 0:58:20.280 --> 0:58:22.680 familiar to her. She doesn't have a memory of going there, 0:58:22.680 --> 0:58:25.480 but she could swear she had seen it before, and 0:58:25.520 --> 0:58:28.640 she has a memory of a room inside the hotel 0:58:28.960 --> 0:58:34.200 with a window painted and stained glass showing a giant peacock. Oh, 0:58:35.440 --> 0:58:37.680 then there are some more clues that something must have 0:58:37.720 --> 0:58:41.720 been going on. Back in her apartment, Alice realizes that 0:58:41.800 --> 0:58:45.160 she only has one of her two gold earrings. She's 0:58:45.200 --> 0:58:48.680 got one for one ear, but it's missing its mate. Also, 0:58:48.920 --> 0:58:51.560 she is missing a gray suit that should be in 0:58:51.600 --> 0:58:54.840 her closet, and in its place she finds a yellow 0:58:54.960 --> 0:58:58.600 dress her size that she has never seen before. Then 0:58:58.800 --> 0:59:01.520 on that yellow dress there is a small stain, a 0:59:01.560 --> 0:59:06.320 spot of blood. Also right around here. There's these little 0:59:06.360 --> 0:59:08.840 things throughout the movie that I think are so clever 0:59:09.040 --> 0:59:13.240 because there will be a scene where nothing overtly scary happens, 0:59:13.800 --> 0:59:19.720 but there's just a little strange, slightly ominous accident. So 0:59:20.200 --> 0:59:23.480 one case of something like that that happens here is 0:59:23.920 --> 0:59:26.880 her phone rings and she answers and there's just silence 0:59:26.920 --> 0:59:29.520 on the other side. No one is there. Nothing super 0:59:29.560 --> 0:59:31.760 scary happens. But I don't know when things like that 0:59:31.800 --> 0:59:34.520 pile up in a movie, they can really they can 0:59:34.560 --> 0:59:36.960 really be effective. It just feels like something is wrong 0:59:37.000 --> 0:59:40.560 with the world. She's being targeted somehow. And I also 0:59:40.680 --> 0:59:42.840 love that the phone looks like a computer mouse. 0:59:43.320 --> 0:59:46.520 This phone? Is it is this is a plug into 0:59:46.520 --> 0:59:50.200 the wall telephone? Yes, but yeah, it looks the most 0:59:50.240 --> 0:59:52.520 like a like a mouse. But I couldn't even I 0:59:52.520 --> 0:59:54.120 didn't even know what it was when I saw it there. 0:59:54.160 --> 0:59:57.280 I was like, is this something that you use like 0:59:57.360 --> 1:00:01.520 on your body or scans? I like, I just this 1:00:01.560 --> 1:00:04.400 is clearly some sort of modern technology, but it's like 1:00:04.480 --> 1:00:09.720 so cutting edge that it's unrecognizable decades later, you know. 1:00:18.080 --> 1:00:21.800 So Alice is troubled by this situation and by her 1:00:21.840 --> 1:00:25.120 inability to remember the past two days. So she wakes 1:00:25.200 --> 1:00:28.880 up in the middle of the night. She's clearly wrestling 1:00:28.920 --> 1:00:31.640 with this, and she goes to the kitchen and retrieves 1:00:31.760 --> 1:00:34.600 the pieces of the torn up postcard and once again 1:00:34.640 --> 1:00:37.520 puts them together. And this causes her to think once 1:00:37.520 --> 1:00:40.800 again of the painted peacock in the glass. What is 1:00:40.840 --> 1:00:44.000 the source of that memory? And it seems if there 1:00:44.040 --> 1:00:46.520 is an answer to this riddle, it may lie in 1:00:46.600 --> 1:00:49.960 Garma wherever. That is from what I can tell, Garma 1:00:50.200 --> 1:00:52.120 is not a real place. I tried to look it 1:00:52.200 --> 1:00:55.160 up and couldn't really come up with anything, but within 1:00:55.280 --> 1:00:58.600 the world of the movie, it is a small island 1:00:58.680 --> 1:01:01.600 in the Mediterranean. I thinks it's supposed to be off 1:01:01.600 --> 1:01:02.600 the coast of Turkey. 1:01:03.440 --> 1:01:06.720 Yeah, it looks like they film at a couple of 1:01:06.720 --> 1:01:10.440 different locations in Turkey, So I think that's fair too soon. 1:01:11.240 --> 1:01:13.640 So Alice books a flight to the nearest airport. There's 1:01:13.680 --> 1:01:15.840 no airport on Garma. She has to fly to another 1:01:15.880 --> 1:01:18.080 island or a town on the mainland, I think, and 1:01:18.120 --> 1:01:21.680 then take a boat out to Garma. And on the 1:01:21.680 --> 1:01:24.760 airplane we see she like sleeps in the in the 1:01:24.800 --> 1:01:27.800 airplane chair and she's dreaming about the astronaut strained on 1:01:27.800 --> 1:01:31.920 the moon again and it's again a haunting image because 1:01:32.120 --> 1:01:35.400 the astronaut is this is after the lander has already left, 1:01:35.440 --> 1:01:39.360 So the astronaut is like stumbling around in the moon dust. 1:01:39.440 --> 1:01:42.520 But where can he go? You know, you imagine yourself 1:01:42.560 --> 1:01:45.160 in that situation, like why what sense would it even 1:01:45.200 --> 1:01:47.320 make to walk anywhere? There's no help to be found. 1:01:47.400 --> 1:01:50.280 You're on the moon. So she arrives at the port 1:01:50.360 --> 1:01:52.880 of Garma, where she disembarks from the boat and then 1:01:52.960 --> 1:01:56.560 meets a friendly young man with a British accent named Henry, 1:01:57.000 --> 1:01:59.240 who offers to give her a ride to the hotel. 1:02:00.160 --> 1:02:02.880 And on the way, we see some beautiful local sites 1:02:02.960 --> 1:02:06.400 and architecture. There are these old stone mosques with huge 1:02:06.520 --> 1:02:11.600 rising domes and minarets. There are wooded cemeteries with tall, 1:02:11.720 --> 1:02:15.320 slender headstones. I really liked these graveyards where there would 1:02:15.400 --> 1:02:17.560 be like trees in them, and the trees are kind 1:02:17.560 --> 1:02:21.800 of the low branches are hanging out and mingling among 1:02:21.880 --> 1:02:26.200 the tall headstones of the graves. There's even what looks 1:02:26.240 --> 1:02:29.240 like an antique city wall with an arched gateway and 1:02:29.280 --> 1:02:31.880 the car just drives underneath it. It looks like something 1:02:31.880 --> 1:02:33.640 where I don't know, they'd want to keep traffic away 1:02:33.640 --> 1:02:36.240 from it or something, But I guess you get that 1:02:36.320 --> 1:02:39.360 more in I don't know, in like Europe and Turkey 1:02:39.400 --> 1:02:42.720 and stuff, where just like the ancient and the modern 1:02:42.800 --> 1:02:44.920 are just commingled. Everything's right there together. 1:02:45.600 --> 1:02:45.840 Yeah. 1:02:45.960 --> 1:02:47.560 Yeah, I mean it is one of the great things 1:02:47.600 --> 1:02:51.280 about about traveling to locations like this. I've never been 1:02:51.280 --> 1:02:55.200 to Turkey, but these Turkish locations look look fabulous, and 1:02:55.200 --> 1:02:58.480 this film really found some great locations for these shots. 1:02:58.760 --> 1:03:01.600 Yeah. I wonder what this main mosque that we keep 1:03:01.640 --> 1:03:04.280 seeing is with the minarets. It's really really gorgeous. 1:03:05.120 --> 1:03:07.040 Yeah, I'm not sure, I think there are, Like, there 1:03:07.080 --> 1:03:11.000 are three different Turkish locations that are sited in IMDb. 1:03:12.320 --> 1:03:15.040 One of them is Kemer, which I'm to understand is 1:03:15.240 --> 1:03:19.160 essentially like a Mediterranean vacation destination. So I think when 1:03:19.160 --> 1:03:24.120 we see the more vacationy parts of this place where 1:03:24.120 --> 1:03:28.560 we're looking at Kemer, I'm not sure about these, about 1:03:28.560 --> 1:03:31.520 the cemetery or the mosque and so forth. 1:03:32.120 --> 1:03:34.240 So Alice tells Henry on the car ride that it 1:03:34.320 --> 1:03:37.600 is her first time visiting Garma, and Henry explains that 1:03:37.680 --> 1:03:40.840 he's there because he owns an old house. There's an 1:03:40.880 --> 1:03:42.919 old house on the island in the woods, and he's 1:03:42.960 --> 1:03:45.160 trying to fix it up, though he says he is 1:03:45.240 --> 1:03:47.400 not a very good carpenter, and he holds up a 1:03:47.440 --> 1:03:51.680 bandaged hand as proof of that. I guess it would 1:03:51.720 --> 1:03:53.360 have been funnier if there was like still a nail 1:03:53.400 --> 1:03:56.080 sticking out of it, but it's just a bandage hand. 1:03:56.560 --> 1:03:59.600 Henry drops Alice off at the hotel, the one from 1:03:59.600 --> 1:04:01.919 the post and we see it framed exactly the same 1:04:01.960 --> 1:04:04.240 way it is in the postcard. There's a nice little 1:04:04.280 --> 1:04:07.800 touch where a flock of pigeons on the sidewalk scatter 1:04:07.880 --> 1:04:10.120 into the air as the car arrives outside, and then 1:04:10.160 --> 1:04:13.360 they all just kind of settle down again. But at 1:04:13.400 --> 1:04:16.320 the hotel, Alice tries to ask for the room she 1:04:16.360 --> 1:04:19.080 remembers the room with the peacock painted on the window, 1:04:19.200 --> 1:04:21.680 but the manager doesn't seem to know what she's talking about, 1:04:21.720 --> 1:04:23.960 so she takes a regular room with a balcony facing 1:04:23.960 --> 1:04:26.720 the ocean. And as with so many of the sets, 1:04:26.800 --> 1:04:30.960 the inside of this hotel is elegantly wacky. Like the 1:04:31.080 --> 1:04:36.600 lobby is just beautiful. It has these pillars and arches 1:04:36.720 --> 1:04:42.000 and this tile pattern, and I guess a lot of 1:04:42.040 --> 1:04:45.040 this looks like, you know, kind of classic Islamic architecture, 1:04:45.120 --> 1:04:48.680 so those kind of like arch window styles. But then 1:04:48.720 --> 1:04:52.040 also these beautiful hanging lights that have I don't know, 1:04:52.080 --> 1:04:55.120 they're not like a normal chandelier, They're more like randomly 1:04:55.280 --> 1:04:59.240 arranged lights along i don't know, kind of a Christmas 1:04:59.320 --> 1:05:03.800 light vibe. And then the plants indoors and old furniture 1:05:04.120 --> 1:05:06.600 is just a beautiful looking place. And also her room 1:05:06.880 --> 1:05:12.120 is by contrast, kind of lovely but hideous, like a 1:05:12.240 --> 1:05:16.280 totally red blanket on the bed, and then these wallpaper 1:05:16.360 --> 1:05:19.960 walls and like bear light bulbs it's something. 1:05:20.360 --> 1:05:22.919 Yeah, this movie does a great job at something that 1:05:23.040 --> 1:05:24.600 This is another thing is easy to take for granted 1:05:24.600 --> 1:05:26.720 in a film, and not all films pulled this off, 1:05:27.160 --> 1:05:33.080 but making you so invested in the pre speculativelopment or 1:05:33.240 --> 1:05:37.040 pre call to adventures and so forth aspect of the plot. 1:05:37.520 --> 1:05:40.040 You're like on vacation with this woman and you're like, 1:05:40.080 --> 1:05:42.520 this is pleasant. I want to see what's next. What's 1:05:42.520 --> 1:05:45.520 she doing for lunch? Let's look at more details in 1:05:45.520 --> 1:05:48.040 her hotel room. Like I'm game. I'm totally down with 1:05:48.080 --> 1:05:50.280 the pace at which we're exploring this world. 1:05:50.520 --> 1:05:53.240 That's right. So Alice explores the island. She takes in 1:05:53.280 --> 1:05:56.000 more of the sites in the atmosphere. There's one particularly 1:05:56.120 --> 1:05:59.680 lovely shot where she's i think, wandering around outside the 1:05:59.720 --> 1:06:02.200 moss we saw earlier, and there are these trees in 1:06:02.240 --> 1:06:05.560 the courtyard sort of you just see like the tree 1:06:05.800 --> 1:06:09.760 trunks and these stone pillars framed in almost the same way, 1:06:09.880 --> 1:06:12.919 like you can mistake one for the other, and it's 1:06:13.040 --> 1:06:16.960 quite beautiful. And so she's exploring the island, lounging on 1:06:17.000 --> 1:06:20.320 the coast. There's one thing that's kind of interesting here. 1:06:21.680 --> 1:06:25.000 We were talking about the scene earlier with the speech 1:06:25.080 --> 1:06:30.120 about the coming environmental catastrophe, where this very captivating and 1:06:30.200 --> 1:06:34.120 disturbing premise is established by what's happening in the background, 1:06:34.120 --> 1:06:37.040 but the characters don't really acknowledge or comment on this 1:06:37.160 --> 1:06:40.120 at all, so it's like it might not be affecting them, 1:06:40.360 --> 1:06:43.240 or maybe maybe it is affecting them, but they don't 1:06:43.360 --> 1:06:47.240 acknowledge or realize themselves how it is affecting them. There's 1:06:47.280 --> 1:06:50.720 a similar thing with the history in the setting, this 1:06:50.920 --> 1:06:56.280 island being full of old buildings, holy places, ruins, ruins 1:06:56.320 --> 1:07:00.560 in the woods, ancient city walls, and cemeteries. Very little 1:07:00.600 --> 1:07:03.920 is said about this, but the setting really contributes to 1:07:03.960 --> 1:07:08.080 the psychic connotations of the action, like something is old, buried, 1:07:08.240 --> 1:07:12.560 maybe sacred, maybe haunted. So I guess at this point 1:07:12.560 --> 1:07:14.360 it makes sense to kind of zoom out and give 1:07:14.400 --> 1:07:17.200 a more summary description of this middle portion of the movie, 1:07:17.240 --> 1:07:20.680 a lot of which is Alice going about having various 1:07:20.800 --> 1:07:25.720 encounters on the island, trying to piece together what happened, 1:07:25.800 --> 1:07:29.080 what her connection to this place is, and what people know. 1:07:29.200 --> 1:07:31.560 And a big thing is that as she meets people 1:07:31.600 --> 1:07:36.760 on the island, especially other tourists, she gets recognized, so 1:07:37.160 --> 1:07:41.200 she meets a red haired girl named Paula. They're out 1:07:41.200 --> 1:07:43.880 on the beach. I think she's lounging in a chair 1:07:44.000 --> 1:07:46.520 sort of in the shade of a tree that's very 1:07:46.520 --> 1:07:49.000 close to the beach. It just looks closer to the 1:07:49.040 --> 1:07:52.080 beach than the tree usually is, I think. But she's 1:07:52.200 --> 1:07:54.520 sitting there and this girl, Paula, comes up and talks 1:07:54.520 --> 1:07:57.200 to her as if she already knows her, and she 1:07:57.280 --> 1:08:00.360 says they've met before, but this girl knows her not 1:08:00.600 --> 1:08:05.200 as Alice, but as Nicole, And Paula says that Nicole 1:08:05.320 --> 1:08:09.920 looked alike her, but with long red hair. And I 1:08:10.040 --> 1:08:14.800 like that a sort of double doppelganger theme is established here. 1:08:14.840 --> 1:08:18.320 It's sort of spooky because not only is the implication 1:08:18.479 --> 1:08:22.439 that Alice has some kind of unknown lookalike, but also 1:08:22.800 --> 1:08:26.040 it's kind of spooky because the child telling her about 1:08:26.080 --> 1:08:29.240 this look alike with long red hair also has long 1:08:29.280 --> 1:08:29.760 red hair. 1:08:30.360 --> 1:08:30.880 Yeah. 1:08:31.400 --> 1:08:34.040 Yeah, And so these are the moments where you do wonder. 1:08:34.080 --> 1:08:37.280 It's like, is the child also some manner of doppelganger 1:08:37.520 --> 1:08:40.320 or a ghost of the child that you were, that 1:08:40.439 --> 1:08:40.920 sort of thing. 1:08:41.280 --> 1:08:46.280 Yeah. Paula says that Alice is similar to Nicole but nicer. 1:08:46.520 --> 1:08:50.839 Something about Nicole was frightening, and she did something scary 1:08:50.920 --> 1:08:54.080 out in the woods. And I love in the setting here, 1:08:54.160 --> 1:08:56.599 the presence of these woods kind of at the edge 1:08:56.600 --> 1:08:58.679 of a lot of these beach scenes. So we'll see 1:08:59.120 --> 1:09:01.840 Alice talking to people out on the beach or out 1:09:01.840 --> 1:09:04.200 on the rocks near the coast, and then there's often 1:09:04.400 --> 1:09:09.599 like arow throw of attention towards this peninsular coast that's 1:09:09.920 --> 1:09:13.360 got a pine forest on it, and it's very ominous. 1:09:13.400 --> 1:09:16.960 So something about the energy that these woods radiate is powerful. 1:09:17.760 --> 1:09:21.320 Yeah, they feel thick and wild, as if all the 1:09:21.400 --> 1:09:25.960 like the resort town energy that we see elsewhere, and 1:09:26.000 --> 1:09:29.400 even the deeper history of the island, the human history 1:09:29.640 --> 1:09:33.040 that they seem to struggle here in these woods. These 1:09:33.040 --> 1:09:37.440 woods are more primal, wilder, and less touched by humanity. 1:09:37.640 --> 1:09:39.600 Yeah, there's a really good scene in them coming up 1:09:39.640 --> 1:09:41.880 in a minute. But first of all, Alice also has 1:09:41.920 --> 1:09:46.519 an encounter with an older woman named missus Him also 1:09:46.560 --> 1:09:50.200 a tourist on the island who also recently saw Nicole. 1:09:50.400 --> 1:09:53.000 This woman who looked like Alice, but with long red hair. 1:09:53.680 --> 1:09:56.240 So what's going on? Does Alice have a secret look 1:09:56.280 --> 1:09:59.200 alike or was she somehow here in disguise in the 1:09:59.280 --> 1:10:01.880 days she can't remember. Why would she have been in 1:10:02.000 --> 1:10:05.960 disguise if that was her. She also has another meeting 1:10:06.000 --> 1:10:08.280 with Henry, the nice man who gave her a ride 1:10:08.320 --> 1:10:11.080 to the hotel, and there is a hint of romantic 1:10:11.120 --> 1:10:13.720 interest between them, and Henry invites her to meet him 1:10:13.720 --> 1:10:17.240 for a drink later. But I mentioned the creepy scene 1:10:17.240 --> 1:10:19.360 in the woods is the scene with the dog and 1:10:19.439 --> 1:10:23.320 the wig. So there's a scene where Alice and Paula 1:10:23.439 --> 1:10:26.559 the younger girl, they go out into the woods into 1:10:26.640 --> 1:10:29.320 I think these are like there are ruins in the 1:10:29.360 --> 1:10:30.160 pine woods. 1:10:30.560 --> 1:10:33.959 Yeah, it was like an arch that's still intact. 1:10:34.360 --> 1:10:38.240 Yeah, And they go here because am I remembering right 1:10:38.360 --> 1:10:40.960 that this? They went here because this is the place 1:10:41.000 --> 1:10:45.439 where Paula said she saw Nicole burning things in a fire. Yes, 1:10:45.840 --> 1:10:47.960 So they go here and they find the remains of 1:10:48.040 --> 1:10:51.799 whatever Nicole had been burning, and Paula confesses that Nicole 1:10:52.040 --> 1:10:56.800 scared her. Nicole herself apparently was afraid she had been 1:10:56.840 --> 1:11:00.679 acting erradically and she was afraid that people or following 1:11:00.720 --> 1:11:06.400 her hunting her. And there's some kind of espionage story implication, 1:11:06.680 --> 1:11:11.120 like was Alice burning documents in the woods, burning something 1:11:11.200 --> 1:11:14.840 having to do with her work, maybe diplomatic secrets about 1:11:14.880 --> 1:11:18.639 scientific research and with somebody trying to get a hold 1:11:18.680 --> 1:11:21.639 of that information. But in the end of the scene, 1:11:21.880 --> 1:11:26.160 Paula is scared by Nicole slash Alice and runs away, 1:11:26.680 --> 1:11:31.360 and Alice sees a stray dog. I think they have 1:11:31.400 --> 1:11:34.960 a name for this dog. Is he called Fox or something? Fox? Yeah, 1:11:35.080 --> 1:11:37.559 there's a stray dog who hangs around and the dog 1:11:37.800 --> 1:11:42.440 is like chewing on a red wig. So Alice retrieves 1:11:42.479 --> 1:11:45.080 the wig, and this is another clue, and it takes 1:11:45.080 --> 1:11:48.400 her to the local wig shop. So Garma appears to 1:11:48.400 --> 1:11:50.320 have a very it's a small town, but they do 1:11:50.400 --> 1:11:53.520 have a wig shop and like a wig styling specialist. 1:11:54.720 --> 1:11:54.920 Yeah. 1:11:54.960 --> 1:11:56.960 She brings it in and she's like, I would like 1:11:57.040 --> 1:12:01.200 this washed, she says, washed in cone. Yeah, yeah, which 1:12:01.200 --> 1:12:02.560 I don't know. I don't know much about wigs, but 1:12:02.600 --> 1:12:04.639 I was just assumed, like, once it's in the woods 1:12:04.720 --> 1:12:07.439 in the mouth of a dog, like maybe that wig's gone. 1:12:07.600 --> 1:12:09.559 I don't know, but maybe you can bring him back 1:12:09.600 --> 1:12:09.840 from that. 1:12:10.320 --> 1:12:13.559 Yeah, yeah, you can always bring a wig back, I'm sure. Anyway, 1:12:13.600 --> 1:12:17.559 at the whig shop, Alice is once again recognized as Nichole. 1:12:18.280 --> 1:12:20.680 The man there fixes up her wig and offers to 1:12:20.760 --> 1:12:23.800 redo her makeup in the way that he had done 1:12:23.800 --> 1:12:29.439 it before. So, if Nichole was Alice, it seems maybe 1:12:29.439 --> 1:12:32.800 she had been trying to change her whole appearance. And 1:12:33.080 --> 1:12:36.760 there are multiple possibilities there, like was she trying to 1:12:36.920 --> 1:12:40.919 hide her identity or was she trying to change it entirely, 1:12:40.960 --> 1:12:44.640 like change who she was? We don't know at this point. 1:12:44.880 --> 1:12:48.680 From here, Alice traces the path of Nichole's business with 1:12:48.800 --> 1:12:51.640 various shops in town. She finds the shop where she 1:12:51.840 --> 1:12:54.240 had bought the yellow dress with the spot of blood 1:12:54.280 --> 1:12:58.120 on it that she found in her closet. She finds 1:12:58.280 --> 1:13:02.160 somehow reference to an or at the stationery store, and 1:13:02.240 --> 1:13:05.400 when she goes to pick it up, the shopkeeper there says, oh, 1:13:05.479 --> 1:13:07.880 you know, this order was already filled. You already got 1:13:07.880 --> 1:13:10.479 the item. But Alice asks for the same item again 1:13:10.560 --> 1:13:12.920 to find out what it is. When she gets it, 1:13:12.920 --> 1:13:17.679 it is a large sharp pair of scissors. Also, throughout 1:13:17.720 --> 1:13:21.640 this middle section of the movie, there are scenes that 1:13:21.880 --> 1:13:26.559 just raised the specter of Alice being pursued or watched 1:13:26.640 --> 1:13:29.760 in some way. You know are there people who are 1:13:29.800 --> 1:13:33.680 following her? And other people are telling her that if 1:13:33.800 --> 1:13:36.599 Nicole was her Nicole was afraid of men who had 1:13:36.600 --> 1:13:39.760 been following her, and she has recurring dreams of the 1:13:39.800 --> 1:13:42.960 science fiction film with klaus Kinski killing these astronauts on 1:13:43.000 --> 1:13:46.559 the moon to complete the experiment. There's a scene where 1:13:46.600 --> 1:13:50.559 Alice meets Henry for a drink, and here he acts 1:13:50.640 --> 1:13:53.840 a little bit strange. He's still he comes across as 1:13:53.960 --> 1:13:57.160 very nice, like not threatening at all, but he does 1:13:57.200 --> 1:13:59.320 start to say things like is there something you'd like 1:13:59.360 --> 1:14:01.240 to tell me? You have something you want to say, 1:14:01.800 --> 1:14:05.320 and she doesn't understand what's going on and ends up leaving. 1:14:06.520 --> 1:14:10.040 Alice tries to make arrangements to leave the island on 1:14:10.080 --> 1:14:12.439 the last boat of the day, but this ends up 1:14:12.439 --> 1:14:15.400 going wrong. She misses the boat because she first has 1:14:15.439 --> 1:14:18.120 to pick up her wallet which she lost, which is 1:14:18.160 --> 1:14:21.880 in the possession of missus Him that other tourists she met, 1:14:22.439 --> 1:14:25.000 and missus Him has asked her to meet to meet 1:14:25.080 --> 1:14:28.559 at an organ concert in a local church, and this 1:14:28.680 --> 1:14:32.040 is supposed to be some great traveling organist who's performing. 1:14:32.479 --> 1:14:35.160 Don't normally I'm not going to knock other people's musical 1:14:35.200 --> 1:14:38.840 performance as a sloppy musician myself. But I heard what 1:14:38.920 --> 1:14:41.639 sounded like a lot of mistakes on this organ playing. 1:14:41.680 --> 1:14:44.040 I don't know how like world class this one this 1:14:44.120 --> 1:14:44.880 performer was. 1:14:46.320 --> 1:14:49.000 I can't speak to that, but I did find that 1:14:49.040 --> 1:14:52.519 the whole organ performance felt kind of like creepy and 1:14:52.560 --> 1:14:54.920 low energy at the same time, where I'm like, is 1:14:54.960 --> 1:14:58.800 this really the only thing to do in this town 1:14:58.880 --> 1:15:00.720 right now? I don't know, Maybe it is. 1:15:01.320 --> 1:15:03.640 It just kind of sounded like the music that's, you know, 1:15:03.760 --> 1:15:06.479 playing at a local church when people are like filing 1:15:06.520 --> 1:15:07.719 in and finding their seats. 1:15:08.080 --> 1:15:08.600 Yeah. 1:15:11.200 --> 1:15:15.200 Yeah. Now somehow from here, Alice ends up back in 1:15:15.280 --> 1:15:19.200 the woods trying to piece together what happened, and she 1:15:19.200 --> 1:15:22.840 she has some kind of mental exhaustion episode and she 1:15:23.160 --> 1:15:26.360 falls down and faints. Do you remember what the exact 1:15:26.400 --> 1:15:27.680 trigger of this moment is? 1:15:28.360 --> 1:15:30.920 I do not. I don't think it was the organ 1:15:31.040 --> 1:15:32.520 concert specifically. 1:15:32.880 --> 1:15:36.960 Yeah, that organ music was so bad. 1:15:37.479 --> 1:15:39.800 But is it Is it ever established that it is 1:15:39.880 --> 1:15:41.639 perhaps off season in Garma? 1:15:42.040 --> 1:15:42.200 Oh? 1:15:42.400 --> 1:15:43.360 Yes, they talk about that. 1:15:43.439 --> 1:15:45.240 Yeah, I think you're good, that's what I because it 1:15:45.280 --> 1:15:46.599 feels very off season. 1:15:46.920 --> 1:15:49.760 Yes, it's not the high tourist season. Henry says that 1:15:49.760 --> 1:15:52.400 when they're first traveling together, when they're in the car 1:15:52.439 --> 1:15:55.960 heading into town. So I think this is why the 1:15:56.720 --> 1:15:59.160 tourist locations are sparsely populated. 1:15:59.360 --> 1:16:02.840 Yeah, Rgan music is the only the only act in town, 1:16:03.200 --> 1:16:05.240 because otherwise you'd think, well, maybe there'd be some more 1:16:05.240 --> 1:16:09.160 traditional Turkish music to listen to, or various uh uh, 1:16:09.200 --> 1:16:12.120 you know, European acts coming in to appeal to the 1:16:12.120 --> 1:16:15.720 European tourists. And I guess that's what the organist is 1:16:15.800 --> 1:16:17.439 doing here anyway. 1:16:17.560 --> 1:16:20.600 So she falls down unconscious and wakes up in a 1:16:20.680 --> 1:16:25.160 different place. She is in an old, empty mansion, and 1:16:25.600 --> 1:16:29.559 looking around, she discovers the peacock, the one from her memory, 1:16:29.720 --> 1:16:33.360 the window painted with the peacock on the class What 1:16:33.640 --> 1:16:36.160 is this place? Well, here we get the payoff of 1:16:36.160 --> 1:16:40.240 an earlier conversation. Remember when she met Henry, he said 1:16:40.280 --> 1:16:42.959 he was fixing up an old house in the woods. 1:16:43.439 --> 1:16:47.880 Here it is so, with Henry's help, Alice remembers what 1:16:48.200 --> 1:16:52.080 apparently happened earlier this week, and in fact, what happened 1:16:52.160 --> 1:16:55.920 earlier in their lives. Do we do we learn? I 1:16:55.960 --> 1:16:58.880 think here that Henry is not Henry's real name, that 1:16:58.960 --> 1:17:01.559 he has he has another name. I'm forgetting what it is. 1:17:02.439 --> 1:17:04.800 I don't remember what Henry's other possible name is, but 1:17:05.320 --> 1:17:07.879 there's a lot of insisting that he is actually Henry. 1:17:08.200 --> 1:17:11.719 Yes, anyway, whatever his real name is. These two characters, 1:17:11.720 --> 1:17:15.320 when Alice and Henry were both teenagers, they met one 1:17:15.400 --> 1:17:20.040 summer while Alice's family was on vacation in Garma, and 1:17:20.120 --> 1:17:24.559 I think Henry's family had owned this house there, And 1:17:24.600 --> 1:17:26.880 so when they met all these years ago, they had 1:17:26.920 --> 1:17:30.800 a brief but intense young love, and Alice recalls a 1:17:30.840 --> 1:17:35.160 memory of taking Henry's hand in front of the peacock window, 1:17:35.880 --> 1:17:40.559 And so it seems earlier this week. What happened was 1:17:41.000 --> 1:17:45.799 something in Alice's life back in Rome caused her to snap, 1:17:46.200 --> 1:17:50.280 and she fled Rome and fled to Garma and assumed 1:17:50.439 --> 1:17:53.800 this new identity of Nicole, And so she wore a 1:17:53.800 --> 1:17:57.920 wig and dressed herself differently. They say that she somehow 1:17:57.960 --> 1:18:01.120 remembered that Henry's favorite color was yellow, and so she 1:18:01.240 --> 1:18:04.000 bought a yellow dress in town and wore it and 1:18:04.080 --> 1:18:07.559 came to Henry, seeking to connect with this time in 1:18:07.600 --> 1:18:10.280 her past when she had felt happy, when she felt 1:18:10.320 --> 1:18:14.120 loved and felt safe. She came here she found Henry 1:18:14.400 --> 1:18:17.960 and they rekindled their love after these many years. But 1:18:18.479 --> 1:18:22.040 for some reason she left again. She'd only been she 1:18:22.080 --> 1:18:24.679 only stayed for I guess a day or two. She left, 1:18:24.800 --> 1:18:28.160 went back to Rome, and then somehow lost all memory 1:18:28.200 --> 1:18:29.120 of what had happened. 1:18:30.040 --> 1:18:32.639 Well, that's a red flag for everyone involved here. 1:18:32.920 --> 1:18:35.280 I think. So now it seems at this point like, well, 1:18:35.360 --> 1:18:37.960 maybe we could have a happy ending here. Maybe they 1:18:38.040 --> 1:18:40.959 rekindle their love and they you know, they find happiness 1:18:41.000 --> 1:18:42.840 in each other. You know, they take care of each 1:18:42.840 --> 1:18:44.120 other and it's all good. 1:18:44.240 --> 1:18:44.400 Right. 1:18:46.120 --> 1:18:49.920 Unfortunately, that's not the trajectory of this motion picture, right. 1:18:50.080 --> 1:18:54.000 So Alice she rests, but she wakes again later and 1:18:54.040 --> 1:18:59.360 she sneaks downstairs to hear Henry on the phone talking 1:18:59.400 --> 1:19:02.880 to someone about the fact that he now has Alice 1:19:02.960 --> 1:19:04.840 here at his house. I think he's talking to somebody 1:19:04.880 --> 1:19:06.439 on the phone and he's like, yes, I went and 1:19:06.680 --> 1:19:09.120 I retrieved her things from the hotel. Yes, you don't 1:19:09.120 --> 1:19:11.559 have to worry about that now I've got them. And 1:19:12.240 --> 1:19:18.479 something about the conversation sounds suspicious, and Alice begins to fear, 1:19:18.840 --> 1:19:22.240 Wait a second, is this really my lost teenage love 1:19:22.920 --> 1:19:26.160 or is this guy here part of the plot, the 1:19:26.200 --> 1:19:29.080 plot of the men who have been pursuing me. Why 1:19:29.360 --> 1:19:32.240 was I hiding as Nicole when I came here last? 1:19:32.400 --> 1:19:36.080 Why was I doing that? You know? Something doesn't feel 1:19:36.160 --> 1:19:40.360 right here. So she confronts Henry and he claims that 1:19:40.520 --> 1:19:42.600 he was only on the phone with a doctor. He 1:19:42.680 --> 1:19:45.240 was trying to arrange for her to receive some medical 1:19:45.240 --> 1:19:48.560 attention since she obviously suffered some kind of mental episode, 1:19:49.439 --> 1:19:53.840 and she doesn't believe him, And then it is revealed 1:19:54.040 --> 1:19:57.679 how their last encounter ended. The wound on his hand 1:19:57.800 --> 1:20:00.479 is not because he's a bad carpenter and like hammered 1:20:00.479 --> 1:20:03.880 his own fingers. The bandaged hand is from where she 1:20:04.360 --> 1:20:07.679 slashed him with the scissors she bought the last time 1:20:07.720 --> 1:20:10.760 they were together, earlier this week. So why didn't he 1:20:10.800 --> 1:20:14.080 acknowledge this when they met the day before? Henry says 1:20:14.120 --> 1:20:16.680 that he wanted her to remember naturally, he didn't want 1:20:16.680 --> 1:20:19.479 to put pressure on her to recall this all at once, 1:20:19.600 --> 1:20:21.760 not to force it on her all at once, So 1:20:22.160 --> 1:20:23.680 he just was giving her space, I. 1:20:23.600 --> 1:20:27.439 Guess, but also lying, yeah, also gaslighting herself. 1:20:27.479 --> 1:20:31.000 Yeah yeah, this makes her very fearful and suspicious. She 1:20:31.200 --> 1:20:34.120 is now thinking about this more like it's the espionage 1:20:34.200 --> 1:20:38.840 movie we've been talking about, where she's being pursued by agents. Increasingly, 1:20:38.880 --> 1:20:42.080 it's clear that she's thinking of these as the agents 1:20:42.280 --> 1:20:47.320 of Blackmun, the professor in the science fiction movie that 1:20:47.360 --> 1:20:50.479 she has these nightmares about. There are agents working for 1:20:50.640 --> 1:20:56.160 this evil, mad scientist and they are following her, and 1:20:56.200 --> 1:20:59.080 it seems kind of plausible even from our perspective. I mean, 1:20:59.280 --> 1:21:03.760 the identity of the pursuer doesn't seem plausible, but even 1:21:03.800 --> 1:21:06.599 from the viewer's perspective, I wasn't sure what was going on. 1:21:06.720 --> 1:21:09.599 I was wondering, wait a minute, maybe is Henry trying 1:21:09.640 --> 1:21:12.120 to exploit her in some way? Is he trying to 1:21:13.240 --> 1:21:18.040 get her diplomatic information, you know, like learn something for 1:21:18.120 --> 1:21:19.000 an enemy government. 1:21:19.640 --> 1:21:19.880 Yeah. 1:21:19.960 --> 1:21:23.920 Yeah, it's We're unsure as the viewer, like where to 1:21:24.000 --> 1:21:26.640 stand on this. And it adding to this is that 1:21:26.680 --> 1:21:32.599 this sequence feels increasingly surreal because we have that huge 1:21:33.240 --> 1:21:38.160 peacock stained glass piece behind them, the colors are very vibrant. Things. 1:21:38.200 --> 1:21:41.559 Really feel that this is the sequence in the picture 1:21:41.600 --> 1:21:44.160 that feels the most baba asque I would say of 1:21:44.200 --> 1:21:44.919 any sequence. 1:21:52.840 --> 1:21:55.840 And so as Henry is trying to approach her and 1:21:55.880 --> 1:21:59.920 calm her. She panics and she stabs him with the scissors, 1:22:00.280 --> 1:22:02.840 with the scissors she got from the stationary. 1:22:02.280 --> 1:22:04.360 Store, seemingly fatally this time. 1:22:04.439 --> 1:22:09.120 Yes, yes, Henry falls down dead, and then we see 1:22:09.640 --> 1:22:13.559 we see Alice in a panic. She flees out into 1:22:13.640 --> 1:22:15.920 the woods, is running through the woods and then is 1:22:16.000 --> 1:22:19.160 running on the beach and is looking over her shoulder 1:22:19.200 --> 1:22:21.360 everywhere we see her, like looking in the woods and 1:22:21.880 --> 1:22:25.720 looking for people who she thinks might be Henry's co conspirators, 1:22:25.760 --> 1:22:28.840 the people who have been following her. And in the 1:22:28.960 --> 1:22:32.519 end they appear. In fact, they are not just like 1:22:32.640 --> 1:22:35.160 I was imagining, like if there are men following her, 1:22:35.160 --> 1:22:36.680 what are we going to see kind of guys in 1:22:36.720 --> 1:22:41.160 suits with dark sunglasses or what. When they appear, they 1:22:41.160 --> 1:22:45.760 are astronauts dressed in full EVA suits with the bubble helmets, 1:22:46.200 --> 1:22:48.479 and they chase her down on the beach, which is 1:22:48.520 --> 1:22:51.439 interesting because the pebbles of the beach somewhat resemble the 1:22:51.479 --> 1:22:54.759 surface of the moon set. The astronauts chase her down 1:22:55.080 --> 1:22:57.680 and they capture her, and that is the end of 1:22:57.680 --> 1:22:58.160 the film. 1:22:58.720 --> 1:23:02.879 Yeah, And also the coloration of the chase sequence eventually 1:23:04.000 --> 1:23:07.200 transfers over to it like a deep Blue very much 1:23:07.280 --> 1:23:10.160 exactly like those sequences we saw earlier in the picture 1:23:10.200 --> 1:23:12.320 at at the start of the picture. So instead of 1:23:12.320 --> 1:23:15.280 a happy ending, we get a descent into madness ending, 1:23:15.320 --> 1:23:17.960 which I guess in many ways is more in keeping 1:23:18.000 --> 1:23:18.679 with the genre. 1:23:19.200 --> 1:23:22.160 Yes, and I think it's a very ambiguous ending. I 1:23:22.200 --> 1:23:26.360 mean I took it to most likely mean she's not 1:23:26.520 --> 1:23:31.240 actually being pursued by anyone, that she's having delusions of 1:23:31.280 --> 1:23:35.000 persecution most likely. But then again I wondered, well, wait 1:23:35.040 --> 1:23:39.320 a minute, I wonder also if maybe somebody is pursuing 1:23:39.360 --> 1:23:44.240 her here and it's just that she's also having a 1:23:44.520 --> 1:23:47.720 mental health episode where she's overlaying the frame of her 1:23:47.840 --> 1:23:51.200 nightmares about the astronauts on top of this whatever it is. 1:23:51.439 --> 1:23:55.519 Yeah, these could be operatives for some nation, but she 1:23:55.840 --> 1:24:00.599 is seeing them as astronauts from this film scarred her 1:24:00.600 --> 1:24:01.360 so as a child. 1:24:01.720 --> 1:24:06.720 Yeah, and I really am interested by the choice that 1:24:06.800 --> 1:24:11.360 they They don't make explicitly clear what caused her to 1:24:11.600 --> 1:24:15.320 have this psychotic break where she's like where she broke 1:24:15.400 --> 1:24:18.519 down in the middle of her work and fled to 1:24:18.560 --> 1:24:21.280 Garma and was trying to seek solace in her young love. 1:24:22.560 --> 1:24:24.960 We get the indication that like she's very stressed out 1:24:24.960 --> 1:24:27.200 by her job, and so it could just be that 1:24:27.240 --> 1:24:30.920 she's overworked and and like reached, you know, a level 1:24:30.960 --> 1:24:33.360 of burnout at work that you know that sent her 1:24:33.400 --> 1:24:37.639 into having a mental health episode, or is it something else? 1:24:37.720 --> 1:24:40.680 I mean, we we are also given these hints, though 1:24:40.720 --> 1:24:44.080 she never acknowledges it, that there's that there's something wrong 1:24:44.160 --> 1:24:46.680 with the world, that there's like these heavy themes of 1:24:46.800 --> 1:24:49.880 doom kind of just in the air around her all 1:24:49.920 --> 1:24:50.320 the time. 1:24:50.640 --> 1:24:53.000 Yeah, and as a translator, she's kind of been, like 1:24:53.040 --> 1:24:56.879 we said earlier, this conduit for all of this terrible 1:24:56.960 --> 1:25:00.320 news and these these terrible forecasts for the future. And 1:25:00.960 --> 1:25:03.559 you know, she feels on some level like it has 1:25:03.640 --> 1:25:06.080 just rolled through her and she has been this conduit, 1:25:06.479 --> 1:25:11.519 but perhaps it has seeped out into her in disastrous ways. 1:25:12.080 --> 1:25:15.320 I think back to the scene where she's translating and 1:25:15.880 --> 1:25:18.679 she says that she, you know, she was feeling hot 1:25:18.720 --> 1:25:20.640 in the room and like she couldn't breathe, and she 1:25:20.720 --> 1:25:24.240 says what she feared was that the words would just 1:25:24.360 --> 1:25:26.639 keep going past her and that she wouldn't be able 1:25:26.680 --> 1:25:28.960 to keep up. And that's like literally what would happen, 1:25:29.040 --> 1:25:30.760 you know if you're like, if you can't stop, and 1:25:30.800 --> 1:25:33.439 you're supposed to be a real time translator. The speech 1:25:33.479 --> 1:25:35.840 doesn't stop, They just keep going. But it's also a 1:25:35.920 --> 1:25:39.400 speech about the coming destruction of human life on earth. 1:25:40.040 --> 1:25:43.600 Yeah. Yeah, and again with kind of I think it 1:25:43.640 --> 1:25:47.920 wouldn't be unrealistic at all to apply some future shock 1:25:48.560 --> 1:25:51.479 to this scenario. I mean, it's the right decade as well, 1:25:51.560 --> 1:25:54.479 on top of everything. But again instead of it being 1:25:54.479 --> 1:25:58.800 like a pure technological future shock, which future shock, as 1:25:58.840 --> 1:26:04.759 the Toddler's laid out, doesn't necessarily mean just technological change, 1:26:04.800 --> 1:26:08.680 but also all these other changes social and environmental. 1:26:09.240 --> 1:26:13.599 Yeah. And the skin she puts on her her panic 1:26:13.800 --> 1:26:16.160 is as a science fiction one. It's from this science 1:26:16.160 --> 1:26:18.360 fiction movie that scared her when she was younger. 1:26:18.880 --> 1:26:19.160 Yeah. 1:26:19.360 --> 1:26:23.280 Yeah, but it's so strange and interesting to think how 1:26:23.360 --> 1:26:27.320 that interacts or doesn't with with like the kind of 1:26:27.400 --> 1:26:30.400 comfort she's seeking from what she's suffering, and the comfort 1:26:30.439 --> 1:26:33.800 she's seeking is trying to find her you know, her 1:26:33.800 --> 1:26:36.719 one true love again from you know this boy she 1:26:36.920 --> 1:26:39.160 met all these years ago and has never seen since. 1:26:40.000 --> 1:26:43.760 Yeah, there's probably a great deal of deconstruction one could 1:26:43.760 --> 1:26:47.719 do in the film too, regarding the differences between Alice 1:26:47.720 --> 1:26:54.559 and Nicole, Nicole being described as more feminine, as having 1:26:54.640 --> 1:26:58.800 you know, a different makeup and longer hair. And yeah, 1:26:58.880 --> 1:27:00.680 so there's there's something to be made of all that 1:27:00.760 --> 1:27:03.960 as well. So there's a there's a lot going on 1:27:04.640 --> 1:27:07.080 in this in this picture, uh, and and a lot 1:27:07.080 --> 1:27:09.479 of it is kind of beneath the surface, and is 1:27:09.520 --> 1:27:12.360 you know, it's not really you know, push pushed down 1:27:12.400 --> 1:27:15.880 your throat at all. It's uh, there's a lot of ambiguity. 1:27:16.320 --> 1:27:17.679 And I think that's one of the things that makes 1:27:17.680 --> 1:27:21.280 it so tantalizing. It is like a h it is 1:27:21.320 --> 1:27:23.960 a true mystery in so many respects, and it is 1:27:24.040 --> 1:27:27.240 it's kind of like a piece of surrealistic art where 1:27:27.400 --> 1:27:29.960 you get to sort of apply your own interpretation to it. 1:27:30.439 --> 1:27:32.960 We we both do and do not get an answer 1:27:32.960 --> 1:27:35.559 to the mystery. Like we do learn in the end 1:27:35.920 --> 1:27:38.960 it seems what happened, and so like we we learned 1:27:38.960 --> 1:27:43.080 the physical circumstances that we're missing that we didn't know earlier, 1:27:43.439 --> 1:27:46.040 but we're still left with a lot of questions about 1:27:46.040 --> 1:27:46.760 why and how. 1:27:47.439 --> 1:27:50.400 Yeah, I also like how and you know, this may 1:27:50.400 --> 1:27:52.280 be this was different in the original novel, but I 1:27:52.400 --> 1:27:54.960 like how nobody was like, oh, yeah, this movie, you're 1:27:54.960 --> 1:27:59.679 talking about Footprints on the Moon. I remember that because 1:27:59.720 --> 1:28:03.240 there is something tantalizing about films you remember or think 1:28:03.280 --> 1:28:06.679 you remember from your childhood. You know, in some cases 1:28:06.720 --> 1:28:08.680 they might not exist or you never find out what 1:28:09.280 --> 1:28:13.920 they are. Yeah. I like that detail as well. There's 1:28:13.960 --> 1:28:16.679 so many ways that the mystery could have been deluded 1:28:16.800 --> 1:28:18.200 by just little moments like that. 1:28:18.640 --> 1:28:21.000 The fact that nobody else in the movie ever claims 1:28:21.000 --> 1:28:24.679 to have seen this science fiction film. Yeah, it isolates her, 1:28:24.880 --> 1:28:27.920 and in many ways she is isolated in the film, 1:28:27.920 --> 1:28:30.559 I mean, keeping with the kind of Jello themes. Even 1:28:30.600 --> 1:28:34.320 though this isn't strictly as Yello, probably it has so 1:28:34.400 --> 1:28:36.559 many of these themes. I mean, the main character is 1:28:36.600 --> 1:28:40.400 an outsider and is alienated. She's both in an unfamiliar 1:28:40.439 --> 1:28:45.440 location and she is in psychological ways sort of estranged 1:28:45.479 --> 1:28:48.439 from everyone else. She is the astronaut who is alone 1:28:48.479 --> 1:28:49.599 on the surface of the moon. 1:28:50.160 --> 1:28:50.559 Yeah. 1:28:50.600 --> 1:28:54.160 Absolutely, Okay, does that do it for Footprints on the Moon? 1:28:54.400 --> 1:28:55.280 I believe it does. 1:28:55.400 --> 1:28:55.599 Yeah. 1:28:55.640 --> 1:28:57.920 This was a very interesting one, and again I can't 1:28:57.960 --> 1:29:01.880 stress enough how beautiful this tomatography is in this one. 1:29:02.479 --> 1:29:05.840 It's definitely worth worth checking out. But again, don't go 1:29:05.920 --> 1:29:10.120 into it expecting Dario Argento. Don't go into it expecting, 1:29:10.479 --> 1:29:13.040 you know, Kloskinsky stabbing people with the moon rock or 1:29:13.040 --> 1:29:16.280 anything like that. It's a much more subtle affair, but 1:29:16.320 --> 1:29:18.000 it is rewarding totally. 1:29:18.080 --> 1:29:18.479 Yeah. 1:29:19.040 --> 1:29:20.760 All right, well, we're gonna go ahead and close out 1:29:20.760 --> 1:29:23.799 this episode of Weird House Cinema. A reminder that Stuff 1:29:23.800 --> 1:29:26.479 to Blow Your Mind is primarily a science and culture podcast, 1:29:26.479 --> 1:29:29.720 with core episodes on Tuesdays and Thursdays. We do a 1:29:29.760 --> 1:29:32.960 short form episode on Wednesdays, and on Fridays we set 1:29:33.000 --> 1:29:35.200 aside most serious concerns to just talk about a weird 1:29:35.240 --> 1:29:37.760 film on Weird House Cinema. If you'd like to keep 1:29:37.800 --> 1:29:40.240 up with Weird House Cinema, you can find us on 1:29:40.400 --> 1:29:43.559 letterbox dot com. Our username is weird house, and we 1:29:43.600 --> 1:29:45.479 have a list of all the films that we have 1:29:45.560 --> 1:29:47.960 covered so far. Sometimes there's even a peak ahead at 1:29:47.960 --> 1:29:50.280 what comes up next. You'll also find us on some 1:29:50.320 --> 1:29:53.840 other social media platforms under the Stuff to Blow Your 1:29:53.880 --> 1:29:58.560 Mind banner, including Instagram, where we are STBYM. 1:29:57.840 --> 1:30:02.640 Podcast Huge thanks as always to our excellent audio producer, Jjposway. 1:30:03.000 --> 1:30:04.479 If you would like to get in touch with us 1:30:04.479 --> 1:30:06.920 with feedback on this episode or any other, to suggest 1:30:06.960 --> 1:30:08.960 a topic for the future, or just to say hello. 1:30:09.280 --> 1:30:12.000 You can email us at contact at stuff to Blow 1:30:12.040 --> 1:30:19.600 your Mind dot com. 1:30:19.720 --> 1:30:22.640 Stuff to Blow Your Mind is production of iHeartRadio. For 1:30:22.760 --> 1:30:26.560 more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1:30:26.640 --> 1:30:28.920 or wherever you listen to your favorite shows.