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

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Speaker 2: And this is Joe McCormick. And Hey, today we're going

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Speaker 2: to be playing an episode that originally aired on February tenth,

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Speaker 2: twenty twenty three. This was our Weird House Cinema on

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Speaker 2: Let Sleeping corpses Lie aka what was the other name?

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Speaker 2: The Living Dead at Manchester Morgue something like that.

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Speaker 1: That's right. Yeah, it's a sci fi spin on the

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Speaker 1: zombie genre set in rural England. But it's also a

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Speaker 1: Spanish Italian co production. It's really really fun. I was,

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Speaker 1: of course, recently traveling in the UK and occasionally I

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Speaker 1: would see an old church and I was like, oh man,

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Speaker 1: a few of these look kind of like that church

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Speaker 1: from Let Sleeping corpses Lie.

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Speaker 2: That sounds wonderful. Yeah, I remember this movie being just

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Speaker 2: filled with beautiful locations and acerbic jerks.

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Speaker 1: All right, Well, without further Ado bright In.

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

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

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Speaker 2: And this is Joe McCormick.

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Speaker 1: Today's movie goes by many names. It stems from the

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Speaker 1: mid nineteen seventies, and you could easily sort of single

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Speaker 1: it out for a few different things. On one level,

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Speaker 1: it's very British. It is the perhaps the most important

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Speaker 1: British zombie film, certainly of this time period. It's also

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Speaker 1: a Spanish Italian co production and has I think no

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Speaker 1: actual British people in it. It's also not only a

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Speaker 1: horror film, but an eco horror film all true. This

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Speaker 1: is also definitely a grindhouse era picture. It was actually

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Speaker 1: shown in a double feature with Wes Craven's notorious Last

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Speaker 1: House on the Left, which I really a seventy two film,

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Speaker 1: but I guess it was still making the round by

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Speaker 1: seventy four or just hitting certain markets by seventy four.

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Speaker 1: But at any rate, these two films were sometimes on

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Speaker 1: the same billing.

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Speaker 2: It's interesting to realize where different zombie movies come in

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Speaker 2: the course of history, because I think of most zombie

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Speaker 2: films as derivative not just of Night of the Living Dead,

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Speaker 2: but of Dawn of the Dead, the second film in

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Speaker 2: George Romero's trilogy. But of course Dawn of the Dead

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Speaker 2: actually didn't come out I think until nineteen seventy eight,

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Speaker 2: so like four years after this one. Of course Night

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Speaker 2: was earlier, but it's kind of strange how I would

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Speaker 2: have said this movie was derivative of Dawn, but in

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Speaker 2: fact it precedes Dawn.

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Speaker 1: Yeah, it's interesting. It's kind of a I think even

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Speaker 1: at the time, a lot of people compared it to

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Speaker 1: Night of the Living Dead, and certainly it owes something

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Speaker 1: to that film, as pretty much any zombie film that

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Speaker 1: came after it does. But yeah, maybe it was a

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Speaker 1: little head of the curve on some things as well.

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Speaker 1: Now we keep talking about it. We haven't said the

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Speaker 1: title of the film yet because you kind of have

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Speaker 1: your pick of titles for this film. The again, it's

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Speaker 1: an Italian Spanish co production, and the original title in

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Speaker 1: both languages translates basically to do not profane the Sleep

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Speaker 1: of the Debt, which I guess the international distributors didn't

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Speaker 1: go for. They saw opportunities to tap into other areas

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Speaker 1: of fear. It was released under a lot of different

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Speaker 1: names around the world. The two most common are either

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Speaker 1: let Sleeping corpses Lie, which is how we haven't listed

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Speaker 1: in the title for this episode. But it was also

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Speaker 1: widely distributed as The Living Dead at Manchester Morgue, where

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Speaker 1: it eventually was widely distributed under that name.

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Speaker 2: That is the title that displayed in the version of

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Speaker 2: it that I watched, though the screen where that title

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Speaker 2: pops up looks very out of place. It like doesn't

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Speaker 2: match the the visual style of anything around it.

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Speaker 1: Yeah, it's also it's a strange title. A lot of

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Speaker 1: these titles are hard to really rationalize because a lot

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Speaker 1: of them don't really make sense once you get into

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Speaker 1: the plot. There is not a Manchester more in the

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Speaker 1: film as an actual setting. We only briefly see Manchester

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Speaker 1: at the very beginning of the film, and then we

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Speaker 1: go out into rural Britain, and that is where the

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Speaker 1: rest of the film is supposed to be taking place.

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Speaker 2: Is the city at the beginning definitely supposed to be Manchester.

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Speaker 2: I couldn't tell if it was supposed to be Manchester

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Speaker 2: or London.

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Speaker 1: It is Manchester, that is what I've read. Yes, all right.

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Speaker 1: Other titles that this film had there was do Not

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Speaker 1: Speak Ill of the Dead, which which sounds pretty good.

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Speaker 1: I mean, that's more or less a translation of the original,

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Speaker 1: even though it kind of implies that that what's going

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Speaker 1: on here is like the raising of the dead via

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Speaker 1: slander or something. It shouldn't come as anybody to any

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Speaker 1: surprise to anyone out there that it was also known

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Speaker 1: as Zombie three, at least in some markets. And this

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Speaker 1: is hilarious because a number of films seem to have

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Speaker 1: been released at one time or another as part of

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Speaker 1: the very unofficial Italian zombie franchise, including nineteen eighty eight

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Speaker 1: Zombie three, which was a Fulci and a Matte film.

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Speaker 1: So anything can or could be a zombie movie.

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Speaker 2: Wait, now I'm incredibly confused here, because so Zombie three

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Speaker 2: would mean this is trying to be a sequel to

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Speaker 2: Zombie two, which was the full chief film that was

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Speaker 2: not actually a sequel to the original Zombie, which was

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Speaker 2: another name for Romero's Dawn of the Dead, which came

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Speaker 2: out in seventy eight. But this movie we're talking about

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Speaker 2: came out in seventy four and at some point it

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Speaker 2: was called Zombie three.

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Speaker 1: That's the beauty of the Zombie zo MBI franchise.

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Speaker 2: Yes, so I guess this would have to be like

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Speaker 2: in like I don't know, later video releases or something, right.

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Speaker 1: Yeah, yeah, I think so. Now another title that's a

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Speaker 1: lot of fun for this one that again doesn't really

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Speaker 1: fit the movie is Don't Open the Window. I love

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Speaker 1: a good seventies Don't movie, And we're actually gonna hear

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Speaker 1: the trailer for Don't Open the Window for that release

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Speaker 1: of the film here in a bit, just because it's

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Speaker 1: the most, in my opinion, the most amusing of the

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Speaker 1: trailers to listen to in a podcast format.

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Speaker 2: I don't remember, Okay, So running through these different titles,

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Speaker 2: we do I think see a Manchester area hospital as

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Speaker 2: a set used in the movie, but it's not really

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Speaker 2: set in Manchester. Do Not Speak Ill of the Dead,

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Speaker 2: as far as I can tell, has no relationship to

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Speaker 2: the plot. Zombie three is hilarious because this movie came

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Speaker 2: out before the original Zombie and I don't think there's

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Speaker 2: anything about opening a window at all. Can you remember

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Speaker 2: any window stuff?

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Speaker 1: I mean, people probably look through windows, and maybe there's

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Speaker 1: a scene where somebody grabs through a window, but it's

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Speaker 1: not it's not the centerpiece of the picture. I don't

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Speaker 1: know that any of the Don't movies really had that

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Speaker 1: going for it. But when a movie's titles say don't

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Speaker 1: Go in the Basement, I feel like that one really works.

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Speaker 1: And if oh, well, this is a movie about something

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Speaker 1: horrible going on in the basement where horrible things belong.

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Speaker 1: But don't open the window. This seems very broad, like

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Speaker 1: I'm really just not supposed to open the window again.

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Speaker 2: Actually, there's one scene where one character, Katie, escapes a

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Speaker 2: zombie by jumping out a window, So if she obeyed

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Speaker 2: the title of that version, she would have been killed

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Speaker 2: by the zombie.

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Speaker 1: Yeah, a more fitting title would be don't use ultrasound technology.

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Speaker 2: Yeah, exactly, don't trust science, I think would be the

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Speaker 2: correct title here, and in that vein, I'd say let

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Speaker 2: Sleeping corpses Lie is probably the most on track of

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Speaker 2: all these titles because it suggests that something is being

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Speaker 2: done to disturb the dead, like you're kind of meddling

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Speaker 2: in some way that you shouldn't.

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Speaker 1: Yeah. So the elevator pitch for this one's pretty straightforward.

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Speaker 1: You have youths from the city clashing with authority figures

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Speaker 1: and the living dad in rural Britain.

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Speaker 2: Strangely, though, the dichotomy set up in this movie is

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Speaker 2: not an alliance of urbanity with the youth. The youths

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Speaker 2: are from the city, but urbanity, I would say is

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Speaker 2: sort of the villain, because that's in this nexus of

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Speaker 2: evil things that the movie were probably group together like cops, cities, science,

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Speaker 2: the government, and I guess anything that happens in a

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Speaker 2: big building.

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Speaker 1: And big buildings of course have windows. So let's go

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Speaker 1: ahead and listen to the trailer for Don't Open the Window. Akaa.

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Speaker 1: Let's sleep in corpses live.

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Speaker 4: They tampered with nature and now they must pay the price.

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Speaker 4: See the grotesque invade an unsuspecting village. See a hospital

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Speaker 4: panic when they old babies go berserk. You see friends

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Speaker 4: turn on each.

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Speaker 1: Other in a nightly are of Holliday.

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Speaker 4: You'll cringe with terror when you see don't open the window.

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Speaker 4: Emm's out there, will wait and read it.

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Speaker 1: Are see, Now you'll think twice about opening that window, right.

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Speaker 2: I mean, I wasn't gonna do it before, but now

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Speaker 2: I'm really convinced.

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Speaker 1: So before we get going here, you may be wondering, well,

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Speaker 1: where can I find this movie under one title or another? Well?

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Speaker 1: I streamed the movie on AMC Plus on Amazon under

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Speaker 1: the title The Living Dead at Manchester Morgue. Shutter has

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Speaker 1: it as well, and you can render by it digitally.

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Speaker 1: But there's also a blu ray release from sign App's

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Speaker 1: Films that features a four K restoration and it looks

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Speaker 1: really great. There's a lot of neat extra features on it.

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Speaker 1: Now we mentioned a little bit about the locations. One

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Speaker 1: thing to keep in mind with this picture is that

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Speaker 1: parts of it are definitely shot. There are locations and

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Speaker 1: exteriors that are definitely shot in Britain, and they seem

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Speaker 1: to have done a good enough job where they use

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Speaker 1: just enough of it that, at least in my eyes,

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Speaker 1: it feels like Britain most of the time, like they

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Speaker 1: are enough establishing shots to establish that. Occasionally though, you

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Speaker 1: can tell, like, well, this looks a lot more like

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Speaker 1: an Italian horror film. The hills look more Italian and so, yeah,

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Speaker 1: there are plenty of scenes that were actually shot in Italy. Oh.

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Speaker 2: I thought they did an excellent job with the scenery.

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Speaker 2: I was fully convinced about the English landscape. And yeah,

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Speaker 2: I have no complaints whatsoever about the locations and scenery

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Speaker 2: in this movie. In fact, they're pretty, they're gorgeous most

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Speaker 2: of the time.

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Speaker 1: Yeah, it's a really well shot film. So let's go

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Speaker 1: ahead and get into the folks involved in it here.

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Speaker 1: We'll start with the director. This is Jorge Grau, who

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Speaker 1: lived nineteen thirty through twenty eighteen. Spanish director probably best

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Speaker 1: remembered internationally anyway. I'm not sure about in Spain for

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Speaker 1: this picture, but was responsible for various romances and thrillers.

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Speaker 1: I think he only did three other horror films, a

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Speaker 1: nineteen seventy three Countess Bathory film titled The Legend of

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Speaker 1: blood Castle, nineteen seventy three's Violent blood Bath, and nineteen

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Speaker 1: eighty three's Hunting Ground. I think those two seventy three

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Speaker 1: films are separate films, but now that I read them

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Speaker 1: out loud, it makes me wonder maybe this is the

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Speaker 1: same film. I don't know.

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Speaker 2: Oh yeah, the Bathory Bath, Bathing and blood Thing. Yeah,

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Speaker 2: I could see that, but I don't know.

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Speaker 1: I don't have the details in front of I think

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Speaker 1: it's two separate films, but they sound a lot alike

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Speaker 1: title wise. Now, there are four different names that are

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Speaker 1: attributed on the screenplay, too credited to uncredited, that you

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Speaker 1: find in a couple of the databases. But one of

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Speaker 1: the credited screenwriters is Sandro Continentza, who lived nineteen twenty

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Speaker 1: through nineteen ninety six. It Talian screenwriter best known for

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Speaker 1: such films as nineteen sixty one's Valley of the Lions,

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Speaker 1: nineteen seventy eight's The Inglorious Bastards, not the Tarantino one later,

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Speaker 1: but Tarantino was a drawing on that title, nineteen sixty

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Speaker 1: one's Hercules in the Haunted World, and really just a

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Speaker 1: long list of thrillers, action movies, horror movies, comedies and more. Okay,

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Speaker 1: the other name is credited is or Solo Costia. This

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Speaker 1: is an Italian screenwriter dates unknown, whose filmography includes work

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Speaker 1: apparently uncredited work on nineteen sixties Black Sunday and such

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Speaker 1: films as nineteen seventy seven's YETI Giant of the twentieth Century,

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Speaker 1: which stars Tony Kendall and a King Kong sized YETI.

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Speaker 2: Wait a minute, this nineteen sixties, that's the Mario Bava

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Speaker 2: Black Sunday, right, yeah, yeah, yeah, Oh that's a fantastic

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Speaker 2: horror movie.

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Speaker 1: Yeah. So I don't know to what degree the screenwriter

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Speaker 1: actually worked on it, but there's at least an uncredited

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Speaker 1: tagging on that. And then there are a couple of

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Speaker 1: other Spanish screenwriters who are uncredited. There's Miguel Rubio and

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Speaker 1: one Cobos. Both of those are individuals who, like Rubio,

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Speaker 1: did a number of Spanish romance as it looks like,

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Speaker 1: and Cobos did various westerns, thrillers, et cetera. Now getting

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Speaker 1: into the cast here, it apparently depends on where it

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Speaker 1: was released, who got top billing and so. But the character,

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Speaker 1: I guess she's one of our two main characters in

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Speaker 1: this and that is Edna the city girl, played by

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Speaker 1: Christina Galbo. She was born nineteen fifty was a Spanish

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Speaker 1: child actor who later worked in various films, a number

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Speaker 1: of horror films, but also some dramas in there as well.

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Speaker 1: Her credits include the Western from nineteen sixty eight, Twice

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Speaker 1: a Judas with klaus Kinski, nineteen sixty nine is the

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Speaker 1: House that Screamed, nineteen seventy two is what have You

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Speaker 1: Done to Solange? And nineteen seventy five's The Killer Must

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Speaker 1: Kill Again. Oh, and then also a nineteen eighty one

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Speaker 1: film titled Sober Natural which just looks amazing. It's also

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Speaker 1: known as Return of the Poultergeist.

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Speaker 2: Oh, this is the verk Beast movie that you shared

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Speaker 2: the cover box and the box art with me on.

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Speaker 1: Yeah, yeah, this is what a Dutch VHS cover that

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Speaker 1: I found here and I have read some reviews that say,

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Speaker 1: don't go into this film sober natural expectant return of

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Speaker 1: the Poulter, expecting to get this level of insanity, but

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Speaker 1: it's it's supposedly interesting.

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Speaker 2: Nonetheless, I'm sorry it was so funny because the Dutch

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Speaker 2: language on the cover you shared with has this like

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Speaker 2: tagline that says zell hit bosa over women, which I

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Speaker 2: think means like will evil prevail.

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Speaker 1: I don't know, I haven't seen it. I don't know

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Speaker 1: how it turns out.

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Speaker 2: It might, but it's got the verk beast standing there,

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Speaker 2: like clutching some kind of glowing skull over his crotch.

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Speaker 1: It's yeah, or like his belly has a ghost in

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Speaker 1: it or something. It's it's very intriguing. Yeah. Anyway, the

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Speaker 1: actor here, Galbo Christina goalbouh quite good in this It's,

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Speaker 1: as we'll discuss, it's a role that does limit her

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Speaker 1: to a fair amount of screaming and being afraid. But

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Speaker 1: you know, so it's essentially kind of a scream queen role.

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Speaker 1: But I think she's really good in it.

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Speaker 2: I mean, I would say that the acting in this

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Speaker 2: movie is good for what the movie calls for, which

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Speaker 2: is not very nuanced performances. The roles in this movie

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Speaker 2: are painted with a broad brush, but in that capacity,

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Speaker 2: the cast is by and large very good.

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Speaker 1: Now, our central we kept calling him a hippie, but

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Speaker 1: it might be more accurate to think of him as

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Speaker 1: a rocker. I don't know. There's a lot to dissect there.

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Speaker 2: I've got a note on this later in the plot.

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Speaker 1: All right, well, we'll get back to this. But this

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Speaker 1: is George. George is played by Ray Lovelocke, who lived

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Speaker 1: nineteen fifty through twenty seventeen. He was an Italian actor

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Speaker 1: and musician. His father was English, his mother was Italian.

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Speaker 1: But I'm still doubtful he's doing his own English language

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Speaker 1: dubbing in this film, because it's very I don't know,

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Speaker 1: it's very over the top, it seemed to me, but

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Speaker 1: it could be wrong.

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Speaker 2: On this, well, it's very loaded with the vernacular markers

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Speaker 2: of British English, so just a lot of a lot

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Speaker 2: of little you know, like I don't know what you

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Speaker 2: call it, a little flourishes, like referring to women as

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Speaker 2: birds and stuff.

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Speaker 1: So I'm not sure on this this might be his

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Speaker 1: own voice. I think everyone is dubbed in this film.

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Speaker 1: I think this is one of those pictures where they

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Speaker 1: didn't have they weren't actually recording the sound locally, and

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Speaker 1: then everybody's coming back in to dub it. But I'm

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Speaker 1: not sure if he's doing his own dubbing or not here.

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Speaker 1: But at any rate, even if it's just a physical performance,

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Speaker 1: he's still pretty good in this. It's so. As a musician,

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Speaker 1: he put out a number of singles in Italy and

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Speaker 1: Japan in the late sixties and then early to mid seventies,

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Speaker 1: and as an actor, his credits include sixty seven's Django

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Speaker 1: Kill if You Live Shoot, also Norman Jewison's nineteen seventy

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Speaker 1: one adaptation of Fiddler on the Roof.

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Speaker 2: Oh who does he play in that? Fiddler?

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Speaker 1: Let's see, I have to look it up again.

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Speaker 2: Okay, let me look it up. Hold on Oh, Okay.

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Speaker 2: He plays Fiedka, who is a Christian farmer who is

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Speaker 2: the husband married by the third daughter Hava.

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Speaker 1: Okay, it's been a I think I saw Fiddler on

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Speaker 1: the Roof, this version of it with Topaul in it

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Speaker 1: when I was a child, but all I remember is

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Speaker 1: just some of the singing.

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Speaker 2: I always loved Fiddler on the Roof. I think his

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Speaker 2: role in this is sad because when have falls in

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Speaker 2: love with Fiedka and they want to get married, that

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Speaker 2: this is what Tevia finally like, won't accept and he says, no, no,

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Speaker 2: I will not accept it.

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Speaker 1: Is there a scene in Fiddler on the Roof where

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Speaker 1: someone plays a fiddle on the roof?

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Speaker 2: Yes, yeah, okay, it's at the beginning.

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Speaker 1: Yeah, I thought, I mean, I had that image of

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Speaker 1: my mind, but I was suddenly second guessing myself, Like

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Speaker 1: maybe I since I saw it as a kid and

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Speaker 1: I remember the title, I would just create the memory

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Speaker 1: of toppaal singing on the roof. I need to see

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Speaker 1: it again clearly anyway. There are other pictures that Lovelock

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Speaker 1: was in, including the nineteen seventy four Romberto Lindsay police

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Speaker 1: thriller Almost Human and the nineteen seventy five Jallo film Autopsy. Oh,

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Speaker 1: and also in Luccio Fulci's nineteen eighty four musical Murder Rock.

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Speaker 2: That's the gory horror musical.

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Speaker 1: Yes, yeah, I actually have a blu ray of it,

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Speaker 1: but I haven't watched it yet. So at some point

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Speaker 1: I'll check that out and see if it's if it

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Speaker 1: is something for Weird House, or if it's something just

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Speaker 1: for me. We'll see, okay, all right. We also have

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Speaker 1: an authority figure in this picture, and that is the

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Speaker 1: inspector who is not a rural police inspector like he

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Speaker 1: seems to have come in from the city himself because

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Speaker 1: he's staying at the hotel. He doesn't have a local residence.

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Speaker 1: But this character is played by Arthur Kennedy, not a

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Speaker 1: brit not an Italian or a Spanish actor. An American

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Speaker 1: actor of stage and screen who won a nineteen forty

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Speaker 1: nine Tony Award for his role in the original production

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Speaker 1: of Arthur Miller's Death of a Salesman and was a

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Speaker 1: five time Oscar nominee. He worked in a number of

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Speaker 1: Arthur Miller's Broadway plays as well, and he was in

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Speaker 1: such major films of the forties, fifties, and sixties as

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Speaker 1: Lawrence of Arabia, Write Victory, Peyton Place, and Champion. He

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Speaker 1: worked a lot in Europe later in his career. This

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Speaker 1: is the second Arthur Kennedy movie that we've discussed on Weirdhouse,

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Speaker 1: because it was in The Humanoid from nineteen seventy nine.

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Speaker 2: It was an Italian star Wars ripoff, right, Yeah, Yeah,

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Speaker 2: the one that had what's his name in it, oh,

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Speaker 2: Richard Keel or Kyle Keel.

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Speaker 1: Oh yeah, yeah, yeah, yeah. He plays the titular humanoid,

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Speaker 1: I believe.

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Speaker 2: Mm hmm, yeah, I forgot Arthur Kennedy was in that.

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Speaker 1: Well. In this he's just a snarling fascist police inspector

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Speaker 1: who has absolutely had it up to here with the hippies. Yes,

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Speaker 1: and it's it's difficult to figure out his accent in this.

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Speaker 4: I was.

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Speaker 1: I must I'm guessing, like, since the film is supposed

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Speaker 1: to take place near the Scottish border in what Cumbria,

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Speaker 1: I was thinking, well, maybe he's going for a Scottish

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Speaker 1: accent here.

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Speaker 2: No, to the extent that he is tempting an accent,

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Speaker 2: I think he's going for Irish, not Scottish. But it's

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Speaker 2: but why why No, It's almost as bad as Kevin

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Speaker 2: Costner and Robin Hood. He just alternating freely between attempting

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Speaker 2: an accent and not at all. And in the cases

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Speaker 2: where he does actually alter his accent, I do think

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Speaker 2: he's trying for Irish, but there are plenty of scenes

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Speaker 2: where it's just nothing, not even trying. He has a

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Speaker 2: gravelly American voice. I guess it's just his natural voice,

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Speaker 2: and he sounds kind of like you imagine the voice

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Speaker 2: of William Holden, you know, a kind of rough, gravelly

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Speaker 2: core American accent, and I'd say this is what we

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Speaker 2: hear at least half the time.

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Speaker 1: Yeah, now trying to figure out the accent itself. Aside,

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Speaker 1: I think he is a very convincing screen presence in

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Speaker 1: the film. Like you. Again, maybe not the most nuanced

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Speaker 1: character of all time here, but just as a just

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Speaker 1: as an absolute authority figure villain to menace our our

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Speaker 1: freethinking youths or supposedly freethinking youths, I think he's pretty great.

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Speaker 1: Like he's just bristling and snarling every time he's on the.

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Speaker 2: Screen, basically every scene, he's just decrying the decadence and

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Speaker 2: filth of the young and saying, why don't we just

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Speaker 2: lock them all up?

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Speaker 1: Yeah? Why can't I abuse my power more? If only

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Speaker 1: I could abuse my power like a few degrees more

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Speaker 1: than we wouldn't have any problems at all. Yeah. Let's

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Speaker 1: see some other actors in this of note, Janine Mestri

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Speaker 1: plays Katie. Katie West this is the sister of the

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Speaker 1: character played by Christina Galbo. So this is Edna's sister Yep,

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Speaker 1: she's a major, an important character that kind of brings

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Speaker 1: everyone together here. But the actor here was born in

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Speaker 1: forty seven, Spanish actor whose work seems to lean more

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Speaker 1: historical and more into dramas. But she had a small

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Speaker 1: role as a vampire woman in Jess Franco's nineteen seventy

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Speaker 1: Dracula movie that had Christopher Lee, Klaskinsky and Herbert Lohm

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Speaker 1: in it. Quite a cask, I mean you can guess

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Speaker 1: who klows Kinsky played, right.

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Speaker 2: Yes, Wade, are you saying not Dracula.

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Speaker 1: Not Dragton No, Christopher Lee's Dracula?

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Speaker 2: Oh, klaus Kinsey Renfield? Yes, yes, okay, makes sense.

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Speaker 1: All right? And then playing Katie's husband Martin West, who

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Speaker 1: have Jose Lafonte, Spanish actor with two hundred and four

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Speaker 1: almost in two thousand and four, two hundred and four

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Speaker 1: varied credits, including nineteen eighty seven's Beaks the movie. Oh

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Speaker 1: is that when you've seen what?

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Speaker 2: You don't remember us talking about Beaks in the past.

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Speaker 1: I don't remind me.

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Speaker 2: I think it came up on this show maybe because

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Speaker 2: a listener UH asked us what were the worst films

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Speaker 2: we've ever seen? And I don't know exactly how to

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Speaker 2: answer that. You know, it's hard to put old movies

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Speaker 2: on the same scale. You can't consider them all with

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Speaker 2: the same criteria. But I think one of the worst

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Speaker 2: times I ever had trying to finish watching a movie

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Speaker 2: was Beaks, which is a rip off of The Birds,

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Speaker 2: but it was like excruciating. It had these high pitched,

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Speaker 2: droning synthesizer sounds that were just like needles going into

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Speaker 2: your ears. And pair that with overuse of slow motion

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Speaker 2: and you can imagine just the nausea and the pain

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Speaker 2: of trying to get to the end.

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Speaker 1: This was a Renee Cardona junior picture too. All right, well,

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Speaker 1: now you've been twice warned to avoid Beaks. We also

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Speaker 1: have a character that will become important, Guthrie Wilson, who's

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Speaker 1: a tramp. He lives by the river in this rural

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Speaker 1: British setting, played by Fernando Hillbeck, who of nineteen thirty

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Speaker 1: three through two thousand and nine. I thought Hillbeck was

430
00:23:40,680 --> 00:23:42,400
Speaker 1: interesting in this, and maybe it's more in the way

431
00:23:42,440 --> 00:23:45,439
Speaker 1: he was shot, but he almost has kind of George

432
00:23:45,480 --> 00:23:50,800
Speaker 1: Eastman vibes going on here, very intimidating physical presence. He

433
00:23:50,880 --> 00:23:53,840
Speaker 1: was a Spanish actor mostly a character actor, did a

434
00:23:53,840 --> 00:23:56,320
Speaker 1: lot of work in various genres. One of his biggest

435
00:23:56,359 --> 00:24:00,199
Speaker 1: international credits is I believe he plays like a an

436
00:24:00,240 --> 00:24:03,920
Speaker 1: evil knight or something in Paul Verhoven's nineteen eighty five

437
00:24:04,080 --> 00:24:06,600
Speaker 1: medieval drama Flesh. I guess it's flesh and blood, but

438
00:24:06,640 --> 00:24:10,520
Speaker 1: it's always flesh plus blood, like it's supposed to equal.

439
00:24:10,320 --> 00:24:14,040
Speaker 2: Something equals negative. Fun, I guess because.

440
00:24:13,840 --> 00:24:17,240
Speaker 1: I don't think it's You never really hear it discussed

441
00:24:17,280 --> 00:24:19,080
Speaker 1: a lot, all right, don't anyway, But anyway, I had

442
00:24:19,080 --> 00:24:22,439
Speaker 1: a great Caves, Rudger Howard, Jennifer Jason Lee, Ronald Lacy,

443
00:24:23,200 --> 00:24:27,720
Speaker 1: Brian James. So yeah, fun cast, I love, I love Verhoven.

444
00:24:27,800 --> 00:24:30,080
Speaker 2: I've never seen Oh yeah, yeah I would.

445
00:24:30,160 --> 00:24:32,880
Speaker 1: It's on my radar. Is something I want to check

446
00:24:32,920 --> 00:24:36,200
Speaker 1: out at some point, like as the Paul Verhoven movies

447
00:24:36,240 --> 00:24:39,480
Speaker 1: that that I'm familiar most people are familiar, like It's

448
00:24:39,560 --> 00:24:43,040
Speaker 1: It's It's it's gonna be the RoboCop, It's going to

449
00:24:43,119 --> 00:24:48,000
Speaker 1: be total recall, it's gonna be like that caliber of film,

450
00:24:48,000 --> 00:24:50,959
Speaker 1: which which is great. I mean, those are are perfect

451
00:24:51,000 --> 00:24:53,600
Speaker 1: films in their own way, But I am curious at times,

452
00:24:53,640 --> 00:24:56,480
Speaker 1: like what what are the predecessors to that, you know

453
00:24:56,520 --> 00:25:00,000
Speaker 1: what sort of brought him to the international scene. Yeah,

454
00:25:00,240 --> 00:25:10,520
Speaker 1: I just haven't seen any of those, all right, we

455
00:25:10,560 --> 00:25:12,640
Speaker 1: also have This is a minor character, but I don't

456
00:25:12,680 --> 00:25:15,080
Speaker 1: want to mention him because he's kind of I kept

457
00:25:15,080 --> 00:25:17,199
Speaker 1: thinking of him as the discount Peter Cushing in this.

458
00:25:18,520 --> 00:25:20,159
Speaker 1: Perhaps a lot of this has to do is just

459
00:25:20,160 --> 00:25:22,160
Speaker 1: the shape of his skull and the way he's presented.

460
00:25:22,240 --> 00:25:27,560
Speaker 1: But vincente Vega plays doctor Dufffield. Dates unknown on the

461
00:25:27,920 --> 00:25:30,480
Speaker 1: two databases I was looking at, but he's been inactive

462
00:25:30,520 --> 00:25:34,480
Speaker 1: since nineteen seventy nine, so I suspect he maybe did.

463
00:25:35,040 --> 00:25:39,160
Speaker 1: But anyway, the actor himself seems to have fairly had

464
00:25:39,240 --> 00:25:42,480
Speaker 1: had a fairly diverse career, and I acted in various dramas,

465
00:25:42,520 --> 00:25:43,640
Speaker 1: even some Shakespeare.

466
00:25:43,720 --> 00:25:45,680
Speaker 2: I can see why you would say Cushing because they

467
00:25:45,720 --> 00:25:49,320
Speaker 2: bring him in to be the kind of thin angular, clinical,

468
00:25:50,080 --> 00:25:51,080
Speaker 2: semi good guy.

469
00:25:52,400 --> 00:25:54,400
Speaker 1: Yeah, kind of has a grim demeanor.

470
00:25:54,720 --> 00:25:57,840
Speaker 2: Yeah, he's almost a good guy in the movie, but

471
00:25:57,880 --> 00:26:00,640
Speaker 2: he can't fully be that way because he's too closely

472
00:26:00,680 --> 00:26:03,760
Speaker 2: aligned with science. This is a major problem.

473
00:26:04,080 --> 00:26:08,359
Speaker 1: Yeah, this film seems to have some definite opinions about

474
00:26:08,440 --> 00:26:10,159
Speaker 1: science and its overreach.

475
00:26:10,359 --> 00:26:12,520
Speaker 2: Yeah, we'll get to that in the plot section.

476
00:26:12,520 --> 00:26:16,760
Speaker 1: All right. It's worth noting that there are multiple individuals

477
00:26:16,800 --> 00:26:20,520
Speaker 1: that are credited with the makeup and the special effects,

478
00:26:20,560 --> 00:26:24,919
Speaker 1: but Gianetto de Rosi is credited as makeup artist and

479
00:26:24,960 --> 00:26:28,320
Speaker 1: special optical effects here. He lived nineteen forty one through

480
00:26:28,440 --> 00:26:31,440
Speaker 1: twenty twenty one, and de Rosi was a big name

481
00:26:31,760 --> 00:26:35,040
Speaker 1: in both Italian and American films, with a noted specialty

482
00:26:35,359 --> 00:26:39,919
Speaker 1: in prosthetic appliances for gory movies. So, I mean, this

483
00:26:40,000 --> 00:26:42,000
Speaker 1: is a zombie movie, so you know what that means,

484
00:26:42,160 --> 00:26:45,000
Speaker 1: scenes in which people have parts of their anatomy ripped

485
00:26:45,200 --> 00:26:49,960
Speaker 1: open or ripped off and eaten by bloodthirsty creatures.

486
00:26:51,160 --> 00:26:54,240
Speaker 2: I am not really a gore hound, you know, That's

487
00:26:54,280 --> 00:26:56,280
Speaker 2: not what I usually come to a movie for. But

488
00:26:56,320 --> 00:26:58,239
Speaker 2: the stuff in this movie is good. That there are

489
00:26:58,320 --> 00:27:02,639
Speaker 2: scenes of zombies like pulling people's guts out and chound

490
00:27:02,680 --> 00:27:05,280
Speaker 2: down on them and stuff, and it's quite convincing.

491
00:27:05,640 --> 00:27:09,439
Speaker 1: Yeah, And I mean everyone's tolerance level for this is

492
00:27:09,440 --> 00:27:12,119
Speaker 1: going to vary. For my taste level, I felt like

493
00:27:12,840 --> 00:27:16,400
Speaker 1: they gave us just enough for it to be shocking

494
00:27:17,200 --> 00:27:19,680
Speaker 1: within the context of the film without feeling like the

495
00:27:20,640 --> 00:27:24,000
Speaker 1: camera is really lingering too long, either on the effects

496
00:27:24,240 --> 00:27:29,280
Speaker 1: or on the like the intended blood and gore itself. Anyway,

497
00:27:29,320 --> 00:27:31,880
Speaker 1: de Rosi's credits are are pretty robust. I mean, they're

498
00:27:31,880 --> 00:27:33,680
Speaker 1: all over the place, and I'm not even going I

499
00:27:33,680 --> 00:27:35,200
Speaker 1: didn't list all of them here, and I'm not gonna

500
00:27:35,200 --> 00:27:38,200
Speaker 1: read all the ones I listed. But he worked on

501
00:27:38,640 --> 00:27:42,479
Speaker 1: The Humanoid, which we already referenced. He worked on nineteen

502
00:27:42,560 --> 00:27:46,760
Speaker 1: eighties Cannibal Apocalypse, which we've covered on the show. He

503
00:27:47,480 --> 00:27:50,200
Speaker 1: worked on a film I've never seen, but this title

504
00:27:50,359 --> 00:27:54,199
Speaker 1: never fails to make me snicker is nineteen eighties Doctor

505
00:27:54,200 --> 00:27:59,560
Speaker 1: Butcher MD, which I don't know. I just I'm always

506
00:27:59,560 --> 00:28:02,840
Speaker 1: intrigued that there's Doctor Butcher empty.

507
00:28:02,560 --> 00:28:06,399
Speaker 2: But anyway, as well, I like that it's opposed to

508
00:28:06,840 --> 00:28:10,040
Speaker 2: Doctor Butcher, like Masters of Education or something.

509
00:28:11,560 --> 00:28:15,040
Speaker 1: Yeah, but yeah. He has also worked on Full Cheese,

510
00:28:15,040 --> 00:28:18,000
Speaker 1: The Beyond House by the Cemetery, which we've also talked about,

511
00:28:18,240 --> 00:28:22,160
Speaker 1: Piranha two in eighty one, Conan the Destroyer in eighty four.

512
00:28:22,320 --> 00:28:24,399
Speaker 1: He did the you remember Andre the Giant is in

513
00:28:24,440 --> 00:28:29,360
Speaker 1: that as this like big like statue monster creature. Hmm, okay,

514
00:28:29,760 --> 00:28:32,280
Speaker 1: well he was responsible for the monster effects there. He

515
00:28:32,359 --> 00:28:35,720
Speaker 1: worked on nineteen eighty four's Dune. He was one of

516
00:28:35,760 --> 00:28:38,040
Speaker 1: the people who brought the Guild Navigator to life.

517
00:28:38,320 --> 00:28:41,200
Speaker 2: Oh yeah, even though the Guild Navigator doesn't really show

518
00:28:41,280 --> 00:28:43,240
Speaker 2: up in the first Dune novel, but they had to

519
00:28:43,240 --> 00:28:44,400
Speaker 2: get him in the Lynch movie.

520
00:28:44,640 --> 00:28:46,880
Speaker 1: Yeah, there's like, we gotta get get him in there,

521
00:28:46,920 --> 00:28:48,640
Speaker 1: and let's cart him in and it's a great scene.

522
00:28:48,640 --> 00:28:51,200
Speaker 1: I mean, say what you will about that adaptation of Doune.

523
00:28:51,240 --> 00:28:54,840
Speaker 1: It's visually enthralling. Anyway. He has some other lists that

524
00:28:55,160 --> 00:29:01,000
Speaker 1: go on up into into subsequent periods of motion picture here,

525
00:29:01,040 --> 00:29:05,280
Speaker 1: including two thousand and three's High Tension aka Switchblade Romance,

526
00:29:05,680 --> 00:29:09,160
Speaker 1: which was a film I enjoyed when it came out.

527
00:29:09,200 --> 00:29:10,840
Speaker 1: I haven't gone back and watched it again. It's not

528
00:29:10,840 --> 00:29:15,080
Speaker 1: a film that really bears a lot of revisiting, but

529
00:29:15,720 --> 00:29:18,520
Speaker 1: the first viewing is pretty fun and it does have

530
00:29:18,560 --> 00:29:19,719
Speaker 1: some gross gore in it.

531
00:29:20,000 --> 00:29:21,960
Speaker 2: Sorry, I'm just looking at the credits you listed from

532
00:29:22,000 --> 00:29:24,480
Speaker 2: the nineties where he did Dragon Heart, which is that

533
00:29:24,640 --> 00:29:30,560
Speaker 2: Sean Connery cgi Dragon movie. Yeah, man, And then he

534
00:29:30,640 --> 00:29:35,200
Speaker 2: did the he did the Conan ripoff that had Kevin

535
00:29:35,240 --> 00:29:37,479
Speaker 2: Sorbo from TV's Hercules in it.

536
00:29:37,960 --> 00:29:41,280
Speaker 1: Yep. Cole the Conqueror. Yeah, also nineteen ninety eight's The

537
00:29:41,280 --> 00:29:43,320
Speaker 1: Man in the Iron Mask in there. So, like I say,

538
00:29:43,320 --> 00:29:46,840
Speaker 1: he worked on a wide variety of pictures from low

539
00:29:46,880 --> 00:29:53,760
Speaker 1: budget grindhouse affair to maybe even worse stuff than that,

540
00:29:54,280 --> 00:29:57,120
Speaker 1: but then also some big pictures as well. And so

541
00:29:57,480 --> 00:29:58,959
Speaker 1: any of these films, you know, if you check them out,

542
00:29:59,000 --> 00:30:01,760
Speaker 1: well at least they're going to have maybe an interesting

543
00:30:02,000 --> 00:30:06,280
Speaker 1: gut rip sequence in them or something a neat monster effect,

544
00:30:06,360 --> 00:30:10,120
Speaker 1: that sort of thing. Finally, the music on this one,

545
00:30:10,560 --> 00:30:14,160
Speaker 1: I was really enthralled by. This film has really nice

546
00:30:14,160 --> 00:30:18,600
Speaker 1: sound design and really nice music. And the credit musician

547
00:30:18,680 --> 00:30:23,840
Speaker 1: here is Guliano SORGINI dates. I couldn't find the dates

548
00:30:23,880 --> 00:30:28,160
Speaker 1: for him. I think he's still around though, Italian composer

549
00:30:28,160 --> 00:30:31,080
Speaker 1: and keyboardist whose work in this film is really good.

550
00:30:31,360 --> 00:30:36,320
Speaker 1: In my opinion, it's very creepy and unsettling, definitely electronic.

551
00:30:37,040 --> 00:30:40,160
Speaker 1: This was his first score, and I don't know, it's

552
00:30:40,200 --> 00:30:42,480
Speaker 1: kind of all downhill from here in terms of the

553
00:30:42,480 --> 00:30:45,440
Speaker 1: film quality. The quality of the films he was attached to.

554
00:30:46,000 --> 00:30:47,720
Speaker 1: I'm not even going to list all of these because

555
00:30:47,720 --> 00:30:50,880
Speaker 1: some of these are really skeazy. But he followed this

556
00:30:51,000 --> 00:30:53,560
Speaker 1: up with the scores for a number of Spanish exploitation

557
00:30:53,680 --> 00:30:56,360
Speaker 1: films of the nineteen seventies. Some real trash in there,

558
00:30:56,360 --> 00:30:59,680
Speaker 1: some of it just notoriously so. But the score for

559
00:31:00,160 --> 00:31:03,160
Speaker 1: Sleeping Corpses Lie has been released on various formats a

560
00:31:03,240 --> 00:31:06,320
Speaker 1: number of times, and his non film work is also

561
00:31:06,360 --> 00:31:09,720
Speaker 1: available on streaming sites. Over the weekend, I was listening

562
00:31:09,760 --> 00:31:15,760
Speaker 1: to streaming a record titled Occulto and it is supposed

563
00:31:15,760 --> 00:31:19,040
Speaker 1: to be I believe ten unreleased tracks from his archives,

564
00:31:19,040 --> 00:31:22,600
Speaker 1: so stuff that he was putting together and composing in

565
00:31:22,640 --> 00:31:26,040
Speaker 1: the nineteen seventies for film that just wasn't used. And

566
00:31:26,080 --> 00:31:31,000
Speaker 1: it's really good stuff. If you like like nineteen seventies cinemas,

567
00:31:31,280 --> 00:31:34,120
Speaker 1: synth and the kind of stuff that would show up

568
00:31:34,120 --> 00:31:36,880
Speaker 1: on a Spanish or an Italian horror picture, then this

569
00:31:36,960 --> 00:31:37,880
Speaker 1: is right up your alley.

570
00:31:38,800 --> 00:31:40,720
Speaker 2: I've been meaning to listen to it. I haven't gotten

571
00:31:40,760 --> 00:31:42,960
Speaker 2: to it yet, but I believe you.

572
00:31:43,520 --> 00:31:45,360
Speaker 1: Well, I just have to say this. If you do

573
00:31:45,480 --> 00:31:48,920
Speaker 1: listen to it, Joe, make sure the windows are shut, Okay,

574
00:31:49,600 --> 00:31:52,600
Speaker 1: don't open the window. Well, should we let Sleeping Corpses

575
00:31:52,640 --> 00:31:54,600
Speaker 1: lie here and just call it an episode? Or should

576
00:31:54,600 --> 00:31:56,240
Speaker 1: we get into the plot of this, and I think

577
00:31:56,280 --> 00:32:01,400
Speaker 1: we should disturb the corpses. Yes, okay, so let's see.

578
00:32:01,400 --> 00:32:05,480
Speaker 1: The movie opens strangely quiet. We come up cold, no

579
00:32:05,560 --> 00:32:09,120
Speaker 1: credits yet, in an art shop full of pieces, both

580
00:32:09,160 --> 00:32:13,520
Speaker 1: old and new, and we've got this handsome, bearded, blonde,

581
00:32:13,960 --> 00:32:17,720
Speaker 1: slightly Robert redfordish looking guy who's closing up. I don't know,

582
00:32:17,760 --> 00:32:22,240
Speaker 1: maybe somewhere between Redford kind of a bearded young Mark Hamill.

583
00:32:23,160 --> 00:32:26,320
Speaker 1: Then again, the hair beard combination also kept making me

584
00:32:26,360 --> 00:32:28,520
Speaker 1: think of Kurt Russell, though he doesn't really look like

585
00:32:28,600 --> 00:32:31,800
Speaker 1: him at all in the face. But this is George,

586
00:32:31,880 --> 00:32:34,520
Speaker 1: this is Ray Lovelocke, and he will be I guess,

587
00:32:34,600 --> 00:32:37,480
Speaker 1: one of our two protagonists. So we see him getting

588
00:32:37,480 --> 00:32:37,760
Speaker 1: ready to.

589
00:32:37,800 --> 00:32:41,000
Speaker 2: Leave the store. I guess he's the shopkeeper. And you know,

590
00:32:41,200 --> 00:32:43,440
Speaker 2: we're panting around seeing all this stuff. The store has

591
00:32:43,440 --> 00:32:49,320
Speaker 2: everything from antique fertility statues to cubist paintings of fish.

592
00:32:48,640 --> 00:32:51,640
Speaker 2: And I just noticed when looking back, it goes by

593
00:32:51,760 --> 00:32:54,640
Speaker 2: very fast. But Rob, did you notice there is a

594
00:32:54,640 --> 00:32:57,960
Speaker 2: telephone on the desk and then a clay statue of

595
00:32:58,000 --> 00:33:00,600
Speaker 2: a telephone sitting right across from it. Look at this.

596
00:33:01,200 --> 00:33:04,120
Speaker 1: Yeah, I did not notice this during my viewing of

597
00:33:03,920 --> 00:33:06,760
Speaker 1: the film. But yeah, there's no denying it. What is

598
00:33:06,800 --> 00:33:12,280
Speaker 1: that for, I don't know. It's one gets the impression

599
00:33:12,280 --> 00:33:16,040
Speaker 1: that these are pieces of art from cultures around the world.

600
00:33:16,520 --> 00:33:19,760
Speaker 1: So maybe this is just a mimicry of a telephone

601
00:33:19,760 --> 00:33:20,880
Speaker 1: from some culture.

602
00:33:20,760 --> 00:33:22,600
Speaker 2: The traditional art of Manchester.

603
00:33:24,600 --> 00:33:27,160
Speaker 1: Maybe it's the first telephone. I don't know. Oh, maybe

604
00:33:27,520 --> 00:33:28,520
Speaker 1: so many telephones.

605
00:33:28,960 --> 00:33:32,040
Speaker 2: Yeah, So George gets what it gets this ancient looking

606
00:33:32,080 --> 00:33:34,920
Speaker 2: fertility statue, and he stashes it in his bag as

607
00:33:34,960 --> 00:33:37,080
Speaker 2: he's heading out the door. He leaves a sign up

608
00:33:37,080 --> 00:33:39,600
Speaker 2: that says closed for the holidays. And then I thought

609
00:33:39,600 --> 00:33:42,280
Speaker 2: this was funny. We get like an extreme close up

610
00:33:42,320 --> 00:33:45,320
Speaker 2: of the guts of this guy's motorcycle as he is

611
00:33:45,400 --> 00:33:47,880
Speaker 2: driving away. You know, the camera's right up in the

612
00:33:47,920 --> 00:33:48,920
Speaker 2: gears and stuff.

613
00:33:49,240 --> 00:33:51,880
Speaker 1: Now, did you get the impression that he was just

614
00:33:51,920 --> 00:33:55,040
Speaker 1: a shopkeeper at this store or that he owned the store?

615
00:33:55,840 --> 00:33:58,320
Speaker 1: And in either case, does he have a right to

616
00:33:58,360 --> 00:34:00,160
Speaker 1: shove this stuff in a bag and take off for

617
00:34:00,200 --> 00:34:00,680
Speaker 1: the country.

618
00:34:01,240 --> 00:34:04,040
Speaker 2: This is a good question. I could not tell that

619
00:34:04,120 --> 00:34:07,280
Speaker 2: it was ever answered in the film. Whether he's taking

620
00:34:07,320 --> 00:34:09,800
Speaker 2: the statue because it belongs to him and he plans

621
00:34:09,800 --> 00:34:14,040
Speaker 2: to sell it and that's fine, or if he's stealing it, yeah,

622
00:34:14,080 --> 00:34:14,720
Speaker 2: I'm not sure.

623
00:34:15,120 --> 00:34:17,799
Speaker 1: His stories about why he's going into the countryside are

624
00:34:17,840 --> 00:34:20,160
Speaker 1: also hard for me to figure out, because at one

625
00:34:20,160 --> 00:34:23,160
Speaker 1: point I'm kind of like, yeah, yeah, they change. He's saying, Oh,

626
00:34:23,320 --> 00:34:25,960
Speaker 1: I'm meeting some people to fix up a house. Yeah,

627
00:34:26,080 --> 00:34:28,719
Speaker 1: we never hear anything else about that. And then it's

628
00:34:28,760 --> 00:34:30,799
Speaker 1: also said that he's taking these things to sell them

629
00:34:30,800 --> 00:34:33,279
Speaker 1: somewhere in the countryside. Yeah, and I'm not sure about

630
00:34:33,280 --> 00:34:37,799
Speaker 1: that either. This has never resolved. Yeah, so in retrospect,

631
00:34:37,920 --> 00:34:39,600
Speaker 1: I'm a little suspicious of George.

632
00:34:40,040 --> 00:34:43,360
Speaker 2: After he leaves the shop, we get a slow zoom

633
00:34:43,400 --> 00:34:46,839
Speaker 2: shot through the space where we see more pieces from

634
00:34:46,840 --> 00:34:50,799
Speaker 2: the collection while these ominous droning sounds and these little

635
00:34:50,840 --> 00:34:54,160
Speaker 2: like hollow hoots and crackles play on the soundtrack, And

636
00:34:54,200 --> 00:34:57,880
Speaker 2: you see a Caesar head and the Holy Grail, and

637
00:34:57,920 --> 00:35:00,240
Speaker 2: then a painting that looks a lot like the post

638
00:35:00,400 --> 00:35:02,399
Speaker 2: for Apocalypse. Now did you notice that?

639
00:35:02,800 --> 00:35:04,279
Speaker 1: Yeah, yeah, I know that you pointed out.

640
00:35:04,719 --> 00:35:07,120
Speaker 2: But right from the beginning. One thing I love about

641
00:35:07,120 --> 00:35:10,040
Speaker 2: this movie is the spooky sound design. It's not just

642
00:35:10,120 --> 00:35:13,319
Speaker 2: the music. There's a lot of just kind of I

643
00:35:13,320 --> 00:35:17,800
Speaker 2: don't know, ambient atmospheric sound effects, kind of droning and worrying,

644
00:35:18,120 --> 00:35:21,520
Speaker 2: as if from distant machines or things coming from underground,

645
00:35:21,560 --> 00:35:26,040
Speaker 2: and these kind of drips and echoing sounds that create

646
00:35:26,080 --> 00:35:28,640
Speaker 2: an ominous feeling. And it's very good stuff.

647
00:35:29,239 --> 00:35:31,880
Speaker 1: Yeah, yeah, you get that feeling of dread even before

648
00:35:32,200 --> 00:35:33,680
Speaker 1: anything starts dripping blood.

649
00:35:33,960 --> 00:35:37,160
Speaker 2: But then suddenly there's green rings a zooming in through

650
00:35:37,160 --> 00:35:39,960
Speaker 2: the screen and we see red eyes on pale faces,

651
00:35:40,360 --> 00:35:42,520
Speaker 2: and then a title card that looks straight out of

652
00:35:42,520 --> 00:35:45,839
Speaker 2: a PowerPoint presentation. It says the Living Dead at the

653
00:35:45,840 --> 00:35:49,160
Speaker 2: Manchester Morgue. And I'm gonna say this title just does

654
00:35:49,200 --> 00:35:51,520
Speaker 2: not look like it fits the rest of the movie.

655
00:35:51,560 --> 00:35:53,799
Speaker 2: It feels kind of inserted hastily.

656
00:35:54,200 --> 00:35:56,040
Speaker 1: Yeah, if we had more time, it would be interested

657
00:35:56,080 --> 00:35:58,640
Speaker 1: to look at additional title cards for this picture and

658
00:35:59,000 --> 00:36:01,400
Speaker 1: see which ones felt the most authentic. But the other

659
00:36:01,400 --> 00:36:03,520
Speaker 1: this one feels very spliced in anyway.

660
00:36:03,600 --> 00:36:06,800
Speaker 2: We follow the shopkeeper on his motorcycle and he's buzzing

661
00:36:06,840 --> 00:36:10,120
Speaker 2: down the city streets in busy traffic. We see roundabouts,

662
00:36:10,200 --> 00:36:13,400
Speaker 2: double decker buses. I was trying to pause it and

663
00:36:13,440 --> 00:36:16,000
Speaker 2: see what the signs on the buses said. One said,

664
00:36:16,200 --> 00:36:19,719
Speaker 2: next stop magnet Building Society, and I tried to look

665
00:36:19,719 --> 00:36:21,520
Speaker 2: that up and didn't find much. I think that might

666
00:36:21,560 --> 00:36:25,320
Speaker 2: be like a name for an old construction firm. But anyway,

667
00:36:25,360 --> 00:36:28,400
Speaker 2: I was wondering, is this supposed to be Manchester? Because

668
00:36:28,400 --> 00:36:31,440
Speaker 2: there are later comments that make me wonder if it's

669
00:36:31,440 --> 00:36:33,920
Speaker 2: supposed to be London, because somebody's saying, oh, the way

670
00:36:33,920 --> 00:36:35,840
Speaker 2: you're dressed, you must have come up from London.

671
00:36:36,200 --> 00:36:39,839
Speaker 1: Yeah, I noticed that as well. I think this they

672
00:36:39,880 --> 00:36:44,200
Speaker 1: did shoot these scenes in Manchester, so that leans one

673
00:36:44,239 --> 00:36:47,279
Speaker 1: to interpret it as Manchester. But who knows. Again, this

674
00:36:47,480 --> 00:36:50,960
Speaker 1: was not a British film but an Italian Spanish co production,

675
00:36:51,719 --> 00:36:56,239
Speaker 1: so even if it creates a convincing vision of life

676
00:36:56,320 --> 00:37:00,080
Speaker 1: and unlife and Britain, and still like from the outside looking.

677
00:37:00,560 --> 00:37:02,799
Speaker 2: So, George is driving around on the motorcycle, but then

678
00:37:02,840 --> 00:37:06,279
Speaker 2: we see some bits of green English countryside, but then

679
00:37:06,360 --> 00:37:10,400
Speaker 2: that intercuts back with smokestacks, heavy industry. We see a

680
00:37:10,440 --> 00:37:12,880
Speaker 2: man in a trench code weaving his way through the

681
00:37:12,960 --> 00:37:16,440
Speaker 2: rush hour crowd, wearing a surgical mask, and they're actually

682
00:37:16,480 --> 00:37:19,719
Speaker 2: a number of images of people wearing masks or scarves

683
00:37:19,760 --> 00:37:23,080
Speaker 2: over their faces. I wondered if this is supposed to

684
00:37:23,120 --> 00:37:25,520
Speaker 2: be about like air pollution, because there are a lot

685
00:37:25,560 --> 00:37:28,400
Speaker 2: of images coming really fast in this sequence, and a

686
00:37:28,440 --> 00:37:31,480
Speaker 2: lot of them seem to me to be highlighting some

687
00:37:31,600 --> 00:37:35,400
Speaker 2: kind of pollution or chemical themes. We see vapor coming

688
00:37:35,400 --> 00:37:40,040
Speaker 2: out of pipes, steam rising from the sewer, nuclear cooling towers.

689
00:37:40,120 --> 00:37:44,000
Speaker 2: We see paper waste and just litter blowing through a graveyard.

690
00:37:44,600 --> 00:37:47,480
Speaker 2: We see dead rats and the gutters, and then there's

691
00:37:47,560 --> 00:37:50,680
Speaker 2: one we just see a guy taking pills.

692
00:37:53,120 --> 00:37:55,399
Speaker 1: Did really shoehorn in it all in there? Like look

693
00:37:55,440 --> 00:37:58,840
Speaker 1: at the modern world? Manchester is a city of just

694
00:37:59,719 --> 00:38:03,520
Speaker 1: at salute urban decay, right, I mean it's just like

695
00:38:04,080 --> 00:38:08,640
Speaker 1: lots of just like black metal things around, like industrial

696
00:38:09,920 --> 00:38:12,360
Speaker 1: buildings where everything is just so grimy.

697
00:38:12,760 --> 00:38:15,919
Speaker 2: Yeah, so pollution. A guy's sticking pills. And then there's

698
00:38:15,920 --> 00:38:19,399
Speaker 2: a streaker. I kept expecting to find out what this

699
00:38:19,440 --> 00:38:21,920
Speaker 2: meant later, but it never revisited in the movie. There

700
00:38:21,960 --> 00:38:25,120
Speaker 2: is just randomly a streaker running through a crosswalk while

701
00:38:25,280 --> 00:38:26,839
Speaker 2: cars and buses wait at the light.

702
00:38:27,640 --> 00:38:29,960
Speaker 1: Yeah. I mean, on one level, we can definitely interpret

703
00:38:30,040 --> 00:38:32,160
Speaker 1: this as just peer seventies titillation and a way to

704
00:38:32,280 --> 00:38:35,200
Speaker 1: make sure that people kept watching the movie at this

705
00:38:35,280 --> 00:38:38,200
Speaker 1: time period. In this time period, but within the context

706
00:38:38,200 --> 00:38:40,080
Speaker 1: of the film, I think maybe it's supposed to let

707
00:38:40,160 --> 00:38:43,759
Speaker 1: us know that urban England is also a place of

708
00:38:43,800 --> 00:38:47,800
Speaker 1: sort of gleeful liberation, that yeah, it's polluted and gross

709
00:38:48,760 --> 00:38:52,120
Speaker 1: people are wearing masks, but also, hey, here's a naked

710
00:38:52,160 --> 00:38:53,360
Speaker 1: lady running across the street.

711
00:38:53,840 --> 00:38:56,480
Speaker 2: Okay, I guess so I did not know what to

712
00:38:56,480 --> 00:38:59,880
Speaker 2: make of that. So George makes it out of the

713
00:39:00,160 --> 00:39:03,000
Speaker 2: He's riding his motorcycle through the countryside, and I guess

714
00:39:03,000 --> 00:39:04,680
Speaker 2: here maybe is a good place to come back to

715
00:39:04,760 --> 00:39:09,920
Speaker 2: this flag we raised earlier about what George is supposed

716
00:39:10,000 --> 00:39:14,680
Speaker 2: to be, Like, what subculture or cultural stereotype are we

717
00:39:14,840 --> 00:39:19,160
Speaker 2: supposed to understand George's belonging to, Because, as we will

718
00:39:19,200 --> 00:39:22,560
Speaker 2: find out later, the movie is establishing a clear divide,

719
00:39:22,600 --> 00:39:25,440
Speaker 2: with George on the one side of it and the

720
00:39:25,560 --> 00:39:28,680
Speaker 2: Man on the other side, and George is supposed to

721
00:39:28,760 --> 00:39:33,439
Speaker 2: stand in for a counterculture youth rebellion in some way.

722
00:39:34,080 --> 00:39:37,680
Speaker 2: The police inspector character, who is our main representative of

723
00:39:37,800 --> 00:39:42,479
Speaker 2: the man, obviously hates hippies in particular, which would seem

724
00:39:42,520 --> 00:39:45,080
Speaker 2: to indicate that that's what George is supposed to be

725
00:39:45,080 --> 00:39:48,680
Speaker 2: because they clash. But then again, this is nineteen seventy four,

726
00:39:48,840 --> 00:39:52,200
Speaker 2: so it's a little late for your classic movement hippie,

727
00:39:52,640 --> 00:39:56,080
Speaker 2: and George doesn't exactly read to me as hippie anyway.

728
00:39:56,200 --> 00:39:59,440
Speaker 2: He has long hair, yes, but he doesn't display other

729
00:39:59,520 --> 00:40:03,600
Speaker 2: hippie v visual cues or clothing, nor any traces of

730
00:40:03,680 --> 00:40:06,880
Speaker 2: like a make love not war kind of personality. Instead,

731
00:40:06,960 --> 00:40:10,239
Speaker 2: he is just a he's more just kind of like

732
00:40:10,280 --> 00:40:12,840
Speaker 2: a middle finger to the world kind of guy. He

733
00:40:12,960 --> 00:40:18,800
Speaker 2: is a disagreeable, acerbic, sexist, leather clad motorcycle driving jerk.

734
00:40:21,680 --> 00:40:23,440
Speaker 2: So what's your take on this? Do you think he's

735
00:40:23,480 --> 00:40:26,200
Speaker 2: supposed to Is it just kind of like, is this

736
00:40:26,440 --> 00:40:29,080
Speaker 2: what the people who used to be hippies are thought

737
00:40:29,120 --> 00:40:31,879
Speaker 2: to have sort of turned into by nineteen seventy four?

738
00:40:32,520 --> 00:40:35,919
Speaker 1: Yeah? So yeah, So on one level, obviously, when we

739
00:40:36,000 --> 00:40:40,359
Speaker 1: think of British biker gangs and motorcycles, we instantly think

740
00:40:40,360 --> 00:40:43,959
Speaker 1: of Psychomania, Yeah, which would have just been seventy three,

741
00:40:44,120 --> 00:40:47,320
Speaker 1: so basically the same time period. He does not feel

742
00:40:47,360 --> 00:40:50,640
Speaker 1: like he would this character would fit in with the

743
00:40:50,960 --> 00:40:53,680
Speaker 1: Living Dead motorcycle gang of Psychomania, though.

744
00:40:53,520 --> 00:40:55,600
Speaker 2: Oh you don't think so. I kind of feel like

745
00:40:55,680 --> 00:40:57,880
Speaker 2: maybe he could be in Psychomania I don't know.

746
00:40:58,560 --> 00:41:00,759
Speaker 1: I don't I don't think he can get it. He

747
00:41:00,760 --> 00:41:02,879
Speaker 1: didn't care enough. I don't think this guy cares about

748
00:41:02,920 --> 00:41:06,840
Speaker 1: anything as much as the crew in Psychomania cares about

749
00:41:06,920 --> 00:41:08,400
Speaker 1: killing themselves and living forever.

750
00:41:08,800 --> 00:41:12,000
Speaker 2: That's right, the Psychomania, you gotta be really dedicated to

751
00:41:12,200 --> 00:41:15,879
Speaker 2: mayhem and destruction. And George isn't like that. He more

752
00:41:16,040 --> 00:41:21,760
Speaker 2: just like hates authority and hates institutions and just doesn't

753
00:41:21,800 --> 00:41:22,680
Speaker 2: want to be hassled.

754
00:41:22,760 --> 00:41:25,760
Speaker 1: I think, yeah, I was looking poking around a little

755
00:41:25,760 --> 00:41:27,640
Speaker 1: on this because I was thinking, well, I guess maybe

756
00:41:27,640 --> 00:41:31,880
Speaker 1: he is technically this sort of British biker stereotype of

757
00:41:31,920 --> 00:41:34,840
Speaker 1: the day, the rocker, not a mod but a rocker.

758
00:41:35,600 --> 00:41:39,799
Speaker 1: And it does seem like motorcycle culture in Britain from

759
00:41:39,840 --> 00:41:41,560
Speaker 1: from what I I was looking at, like you have

760
00:41:41,680 --> 00:41:43,839
Speaker 1: kind of this earlier version of it where it was

761
00:41:43,960 --> 00:41:46,440
Speaker 1: it was seen as quite quite quite this independent and

762
00:41:46,920 --> 00:41:50,160
Speaker 1: refined thing for you to do, like nice people ride

763
00:41:50,160 --> 00:41:53,399
Speaker 1: motorcycles around the British countryside. But then you get kind

764
00:41:53,400 --> 00:41:57,480
Speaker 1: of this influx of the sort of the American motorcycle

765
00:41:57,520 --> 00:42:00,440
Speaker 1: gang culture, and then you get kind of like the

766
00:42:00,520 --> 00:42:03,160
Speaker 1: hippie culture also affects it, and so you kind of

767
00:42:03,160 --> 00:42:08,560
Speaker 1: get this rocker a version of the rocker stereotype, this

768
00:42:08,760 --> 00:42:12,480
Speaker 1: rocker subculture that I guess George is supposed to be

769
00:42:12,560 --> 00:42:15,239
Speaker 1: a part of. That's my best bet. I should also

770
00:42:15,360 --> 00:42:18,239
Speaker 1: add that, as of now, I have not seen a

771
00:42:18,239 --> 00:42:21,080
Speaker 1: British biker film that doesn't have a zombie in it

772
00:42:22,040 --> 00:42:24,080
Speaker 1: or a living dead creature of one form or another.

773
00:42:24,160 --> 00:42:26,480
Speaker 1: So this is something that this is a question that

774
00:42:26,560 --> 00:42:30,439
Speaker 1: might also be answered by just broader exposure to say,

775
00:42:30,560 --> 00:42:33,800
Speaker 1: biking films of the nineteen seventies that are set in Britain.

776
00:42:33,960 --> 00:42:37,560
Speaker 2: Now, wait, I thought we determined that the undead gang

777
00:42:37,760 --> 00:42:42,279
Speaker 2: in Psychomania were not zombies but lyches or something like that.

778
00:42:42,360 --> 00:42:45,280
Speaker 1: Yeah, they're more like lyitches for sure. Yeah, okay, undead

779
00:42:45,480 --> 00:42:48,320
Speaker 1: but not zombies.

780
00:42:56,120 --> 00:42:58,760
Speaker 2: Okay. But to come back from that tangent, George whatever

781
00:42:58,800 --> 00:43:01,840
Speaker 2: he is, hippie rocker or whatever, he comes up to

782
00:43:01,960 --> 00:43:04,239
Speaker 2: a stop at a full service gas station where there's

783
00:43:04,280 --> 00:43:06,839
Speaker 2: a lady parked in front, parked in front of him,

784
00:43:06,840 --> 00:43:09,840
Speaker 2: and she's getting some petrol and he says, give us

785
00:43:09,840 --> 00:43:12,759
Speaker 2: a fill up, and he runs over to get some

786
00:43:12,800 --> 00:43:17,400
Speaker 2: sweet treats from the pascal stand and I was just looking.

787
00:43:17,600 --> 00:43:19,920
Speaker 2: I love kind of pausing in old movies to look

788
00:43:19,920 --> 00:43:23,920
Speaker 2: at all the I don't know, the ephemeral ads and

789
00:43:23,960 --> 00:43:25,920
Speaker 2: stuff in the windows. And there was one thing I

790
00:43:25,960 --> 00:43:30,440
Speaker 2: found here that was a pin that said it's hanging

791
00:43:30,480 --> 00:43:33,160
Speaker 2: in the windows of the gas station. It says blow

792
00:43:33,239 --> 00:43:36,520
Speaker 2: up a groundhog today, and I was like, what is this?

793
00:43:36,640 --> 00:43:38,759
Speaker 2: But it looks like it was a promotional pin for

794
00:43:38,840 --> 00:43:42,360
Speaker 2: a type of British tires called groundhog tires.

795
00:43:42,760 --> 00:43:44,279
Speaker 1: Yeah, there are a number of fun moments in this

796
00:43:44,400 --> 00:43:46,920
Speaker 1: when they're poking around stores or there at gas stations

797
00:43:46,920 --> 00:43:50,600
Speaker 1: that occasionally there'll be some some logo or cartoon character

798
00:43:50,640 --> 00:43:52,359
Speaker 1: to catch my eye. There's a pink one that shows

799
00:43:52,440 --> 00:43:55,120
Speaker 1: up later. There's like a pink elephant looking creature.

800
00:43:55,280 --> 00:43:56,839
Speaker 2: Oh, I didn't see that one.

801
00:43:57,160 --> 00:43:59,960
Speaker 1: There's something like paraffin or but not paraffin.

802
00:44:00,239 --> 00:44:03,000
Speaker 2: Oh wait, is this what George is going to use

803
00:44:03,080 --> 00:44:04,960
Speaker 2: later to light his axe on fire?

804
00:44:06,680 --> 00:44:08,879
Speaker 1: I don't think so. I don't remember it actually playing

805
00:44:09,040 --> 00:44:11,040
Speaker 1: a part in the plot. It was just me noticing

806
00:44:11,040 --> 00:44:13,120
Speaker 1: it on a shelf and thinking it was cool. All right.

807
00:44:13,160 --> 00:44:15,480
Speaker 2: Well, as George is just getting ready to leave, the

808
00:44:15,560 --> 00:44:18,279
Speaker 2: lady in front of him backs upper car crashes into

809
00:44:18,320 --> 00:44:22,239
Speaker 2: his motorcycle wrexit, destroys his front tire. She gets ound

810
00:44:22,280 --> 00:44:24,720
Speaker 2: and says, I'm so sorry. I must be a little tired,

811
00:44:25,400 --> 00:44:28,160
Speaker 2: and well his bike is all busted up and the

812
00:44:28,160 --> 00:44:31,680
Speaker 2: mechanic says it can't be fixed until Monday. So George

813
00:44:31,800 --> 00:44:34,400
Speaker 2: just insists that the lady give him a ride to

814
00:44:34,440 --> 00:44:37,560
Speaker 2: where he's going, which is Windermere, which is the name

815
00:44:37,600 --> 00:44:39,960
Speaker 2: of a lake and I guess probably the area around

816
00:44:40,000 --> 00:44:41,320
Speaker 2: the lake in northern England.

817
00:44:41,520 --> 00:44:45,160
Speaker 1: Yeah, he's not very easy going, like that's established pretty

818
00:44:45,200 --> 00:44:48,360
Speaker 1: early on. This guy's fussy and bossy and self centered

819
00:44:49,719 --> 00:44:51,920
Speaker 1: and it's not all that agreeable.

820
00:44:52,120 --> 00:44:54,120
Speaker 2: Yeah. He says, like, you'll take me where I'm going,

821
00:44:54,120 --> 00:44:56,720
Speaker 2: It's the least you can do. And then he she's

822
00:44:56,800 --> 00:44:59,439
Speaker 2: just like, well, I guess, and then he says, I'll drive.

823
00:45:00,040 --> 00:45:01,920
Speaker 2: Don't want to go all the way in reverse, do we?

824
00:45:03,400 --> 00:45:09,920
Speaker 2: So the vibes are instantly weird. Yeah, and then she goes, actually,

825
00:45:10,000 --> 00:45:12,080
Speaker 2: you'll be doing me a favor because I have driven

826
00:45:12,120 --> 00:45:14,200
Speaker 2: all the way from London and I'm a little tired,

827
00:45:14,400 --> 00:45:16,759
Speaker 2: and he just says, then go to sleep, and he

828
00:45:16,880 --> 00:45:19,760
Speaker 2: gets in the driver's seat and they drive off, driving

829
00:45:19,760 --> 00:45:22,640
Speaker 2: a car by the way, the approximate size and shape

830
00:45:22,640 --> 00:45:24,000
Speaker 2: of a Galapagos tortoise.

831
00:45:24,480 --> 00:45:24,680
Speaker 1: Yeah.

832
00:45:24,760 --> 00:45:28,440
Speaker 2: Yeah, it's tidy and there's so there's a lot a

833
00:45:28,480 --> 00:45:32,760
Speaker 2: little like character color. While they're driving along, at one point,

834
00:45:33,280 --> 00:45:35,560
Speaker 2: the lady goes to light up a cigarette and he

835
00:45:35,719 --> 00:45:37,960
Speaker 2: just like yoinks it out of her mouth and takes

836
00:45:37,960 --> 00:45:41,279
Speaker 2: it for himself, and they introduce themselves. We find out

837
00:45:41,320 --> 00:45:44,680
Speaker 2: his name is George. She introduces herself as Edna, and

838
00:45:44,719 --> 00:45:48,120
Speaker 2: he goes, you look a little like an Edna. So

839
00:45:48,280 --> 00:45:50,719
Speaker 2: I kept thinking of her as Edna for the rest

840
00:45:50,719 --> 00:45:54,880
Speaker 2: of the film. But we learn about Edna's mission. She's

841
00:45:55,320 --> 00:45:57,719
Speaker 2: up from London to visit her sister who has a

842
00:45:57,760 --> 00:46:02,320
Speaker 2: cottage at Southgate, And while they're driving along, the dude

843
00:46:02,400 --> 00:46:06,400
Speaker 2: starts getting mad at the radio because there is a

844
00:46:06,600 --> 00:46:12,040
Speaker 2: report on there where scientists are talking about how ecological

845
00:46:12,080 --> 00:46:15,880
Speaker 2: problems are exaggerated and there's no reason to get worked

846
00:46:15,960 --> 00:46:18,160
Speaker 2: up about them, and he gets very mad at this.

847
00:46:18,239 --> 00:46:20,759
Speaker 2: He says to Dna, he's like, when we all die,

848
00:46:20,880 --> 00:46:22,720
Speaker 2: only the scientists will survive.

849
00:46:24,680 --> 00:46:26,920
Speaker 1: Yeah. I was kind of taken aback that this movie

850
00:46:27,200 --> 00:46:29,560
Speaker 1: would draw this. You know, obviously it's going to draw

851
00:46:29,560 --> 00:46:32,080
Speaker 1: a line between the rebellious youths of the day and

852
00:46:32,640 --> 00:46:35,440
Speaker 1: the aged establishment at the police and so forth. But

853
00:46:35,480 --> 00:46:37,880
Speaker 1: they just go ahead and heap science in with the

854
00:46:37,960 --> 00:46:38,760
Speaker 1: man as well.

855
00:46:39,120 --> 00:46:41,640
Speaker 2: Yeah, and this is not unique to this film. This

856
00:46:41,719 --> 00:46:43,600
Speaker 2: movie is sort of one of a type. There are

857
00:46:43,640 --> 00:46:46,239
Speaker 2: other horror movies of this period that have this kind

858
00:46:46,280 --> 00:46:51,080
Speaker 2: of I would say it's a shallow, anti intellectual view

859
00:46:51,120 --> 00:46:54,080
Speaker 2: of science that doesn't really understand what science is or

860
00:46:54,120 --> 00:46:57,239
Speaker 2: what it means. And unfortunately there's still plenty of this

861
00:46:57,320 --> 00:46:59,840
Speaker 2: thinking in the world today. But it sort of thinks

862
00:46:59,840 --> 00:47:02,840
Speaker 2: of science not as a word that refers to like

863
00:47:02,920 --> 00:47:05,800
Speaker 2: the totality of the human effort to understand the world

864
00:47:05,840 --> 00:47:10,680
Speaker 2: through empirical method and rigorous experimentation, but instead to refer

865
00:47:10,800 --> 00:47:13,680
Speaker 2: to a cabal of wicked old men who want to

866
00:47:13,680 --> 00:47:17,640
Speaker 2: do unnatural things with chemicals and radiation.

867
00:47:18,400 --> 00:47:21,000
Speaker 1: Yeah, and in a way this hearkens back to the

868
00:47:21,320 --> 00:47:25,200
Speaker 1: mad scientists of older films. But yeah, this was definitely

869
00:47:25,239 --> 00:47:26,960
Speaker 1: a period we saw and we've talked about some of

870
00:47:26,960 --> 00:47:31,479
Speaker 1: these ecological horror films. Sometimes it's the ecological horror going

871
00:47:31,520 --> 00:47:35,440
Speaker 1: on is pollution or you know, it's chemical or it's

872
00:47:36,520 --> 00:47:41,000
Speaker 1: certainly radiation, and then sometimes it's it's very distant, it

873
00:47:41,000 --> 00:47:43,960
Speaker 1: doesn't have a face, it doesn't have a mad scientist

874
00:47:44,000 --> 00:47:45,919
Speaker 1: at the center of it. There's more of the sense

875
00:47:45,960 --> 00:47:47,200
Speaker 1: of bureaucracy to it.

876
00:47:47,600 --> 00:47:49,600
Speaker 2: Yeah, in this movie, I would say, is more like that.

877
00:47:49,760 --> 00:47:52,040
Speaker 2: Like we don't even know the person who invented the

878
00:47:52,080 --> 00:47:55,680
Speaker 2: machine in this movie that will raise the dead. We

879
00:47:55,719 --> 00:47:58,440
Speaker 2: only see some kind of low level functionaries bringing it

880
00:47:58,440 --> 00:48:00,200
Speaker 2: out to the field to implement it.

881
00:48:00,440 --> 00:48:02,759
Speaker 1: Yeah, and when we see it, it looks nice. It

882
00:48:02,800 --> 00:48:08,000
Speaker 1: doesn't look particularly suspect, but it is modern and shiny

883
00:48:08,080 --> 00:48:10,839
Speaker 1: and ultimately poses a threat. Yeah.

884
00:48:10,880 --> 00:48:13,480
Speaker 2: But again, like I think it's funny that the radio

885
00:48:13,600 --> 00:48:17,200
Speaker 2: broadcast here in the movie is used specifically to introduce

886
00:48:17,280 --> 00:48:21,600
Speaker 2: us to scientists, as like the voices who tell people

887
00:48:21,680 --> 00:48:25,120
Speaker 2: not to worry about ecological problems or pollution and just

888
00:48:25,200 --> 00:48:28,279
Speaker 2: ignore it. The irony being that in reality, like if

889
00:48:28,320 --> 00:48:32,360
Speaker 2: you know about ecological threats like I don't know, like

890
00:48:32,840 --> 00:48:36,000
Speaker 2: how did we find out about ozone depletion, or like

891
00:48:36,040 --> 00:48:39,360
Speaker 2: the human health effects of environmental lad from gasoline and

892
00:48:39,400 --> 00:48:42,160
Speaker 2: other sources. Here it's all like paved over. Like I

893
00:48:42,200 --> 00:48:45,400
Speaker 2: guess if George in this movie met Claire Cameron Patterson,

894
00:48:45,480 --> 00:48:47,719
Speaker 2: he would like call him a twisted old geezer and

895
00:48:47,760 --> 00:48:51,680
Speaker 2: punch him in the face. But it's like, you know,

896
00:48:51,760 --> 00:48:55,799
Speaker 2: we are often made aware of these ecological threats, specifically

897
00:48:55,840 --> 00:48:59,160
Speaker 2: because of the work of scientists. Anyway, get off the

898
00:48:59,200 --> 00:49:02,360
Speaker 2: hobby horse. So back on the journey. There is a

899
00:49:02,400 --> 00:49:05,320
Speaker 2: really funny scene where they get stuck behind a City

900
00:49:05,360 --> 00:49:10,080
Speaker 2: of Manchester mortuary truck and they're weaving back and forth wildly.

901
00:49:10,200 --> 00:49:13,200
Speaker 2: George is driving, of course, and he performs a hideously

902
00:49:13,320 --> 00:49:17,120
Speaker 2: reckless passing maneuver, like driving off into the grass. I

903
00:49:17,120 --> 00:49:19,319
Speaker 2: guess this is to show he's like, he's cool and

904
00:49:19,360 --> 00:49:22,640
Speaker 2: he doesn't play by the rules. And so they're going

905
00:49:22,640 --> 00:49:26,080
Speaker 2: to Windermere. George says it's because he has a house there. Again,

906
00:49:26,120 --> 00:49:28,200
Speaker 2: his story kind of keeps changing, but he says he

907
00:49:28,239 --> 00:49:30,320
Speaker 2: has a house in the country. He says it's away

908
00:49:30,360 --> 00:49:33,279
Speaker 2: from industry and city life and he likes to sit

909
00:49:33,320 --> 00:49:36,120
Speaker 2: there and be natural and listen to the grass grow.

910
00:49:36,480 --> 00:49:39,120
Speaker 2: But this leads to an argument because Edna needs to

911
00:49:39,160 --> 00:49:42,480
Speaker 2: go to Southgate to meet her sister to go to

912
00:49:42,520 --> 00:49:45,640
Speaker 2: her cottage. So they argue, and then eventually they decide, okay,

913
00:49:45,680 --> 00:49:49,120
Speaker 2: he'll take her to Southgate and here is they're going through.

914
00:49:49,160 --> 00:49:53,480
Speaker 2: There is absolutely marvelous scenery. I love the locations picked out.

915
00:49:53,800 --> 00:49:56,239
Speaker 2: I assume most of these are in Britain because they

916
00:49:56,239 --> 00:49:57,640
Speaker 2: look like Britain. I don't know if some of them

917
00:49:57,640 --> 00:50:01,880
Speaker 2: were actually Italian. But for examp, they come across this

918
00:50:01,960 --> 00:50:04,799
Speaker 2: kind of craggy relic of an abbey or something on

919
00:50:04,840 --> 00:50:08,560
Speaker 2: these green cliffs overlooking a road down at the bottom

920
00:50:08,560 --> 00:50:11,520
Speaker 2: of the ravine, and I was wondering. I think some

921
00:50:11,600 --> 00:50:15,480
Speaker 2: parts of this movie were shot at Tintagil, which is

922
00:50:15,520 --> 00:50:19,440
Speaker 2: like a medieval Cornish fortress down in the southwest of England,

923
00:50:19,880 --> 00:50:22,720
Speaker 2: and it might have been the sequence, but I'm not sure.

924
00:50:22,880 --> 00:50:24,480
Speaker 1: But yeah, there are a number of sequences here where

925
00:50:24,520 --> 00:50:29,280
Speaker 1: it's like lush, green landscape surrounding them and these winding

926
00:50:29,360 --> 00:50:33,280
Speaker 1: isolated roads. Yea, and it's quite beautiful. But of course

927
00:50:34,400 --> 00:50:37,279
Speaker 1: the film score, the sound effects that we hear the

928
00:50:37,360 --> 00:50:42,680
Speaker 1: droning begins to make a suspect that there's something else

929
00:50:42,719 --> 00:50:45,040
Speaker 1: going on here. There's something underneath the surface of all

930
00:50:45,080 --> 00:50:46,280
Speaker 1: of this natural beauty.

931
00:50:46,520 --> 00:50:49,920
Speaker 2: Yes, certainly. Now they get lost, of course, so they

932
00:50:50,160 --> 00:50:53,200
Speaker 2: got to ask for directions at a nearby farm, and

933
00:50:53,320 --> 00:50:55,120
Speaker 2: there's a scene where George he's going to go ask

934
00:50:55,160 --> 00:50:57,160
Speaker 2: for directions. So he leaves Edna in the car, and

935
00:50:57,200 --> 00:50:59,680
Speaker 2: it looks like he has to cross a stream and

936
00:50:59,719 --> 00:51:01,919
Speaker 2: clim i'm a mountain to get to the farm where

937
00:51:01,920 --> 00:51:03,840
Speaker 2: he's going to ask for directions. It looks like it

938
00:51:04,480 --> 00:51:07,760
Speaker 2: is a ways. Oh, and he takes the car keys

939
00:51:07,800 --> 00:51:10,560
Speaker 2: with him because he's just again, he's just gonna being

940
00:51:10,600 --> 00:51:14,040
Speaker 2: a jerk. And Edna is left behind to smoke a

941
00:51:14,080 --> 00:51:17,960
Speaker 2: cigarette and I'm sure get into no trouble whatsoever. But

942
00:51:18,120 --> 00:51:20,560
Speaker 2: at the farm, George goes out. He's looking around the

943
00:51:20,600 --> 00:51:22,920
Speaker 2: place seems kind of deserted, and I love the eerie

944
00:51:22,960 --> 00:51:26,360
Speaker 2: feeling conjured here. There are chickens clucking in the distance,

945
00:51:26,520 --> 00:51:30,760
Speaker 2: but nobody in sight until a weird droning sound comes

946
00:51:30,760 --> 00:51:33,640
Speaker 2: in and George looks up up through the fields up

947
00:51:33,680 --> 00:51:36,840
Speaker 2: the hill and sees a strange red vehicle with what

948
00:51:37,080 --> 00:51:39,399
Speaker 2: looks like people in white lab coats or I guess

949
00:51:39,440 --> 00:51:42,759
Speaker 2: they're in white full body jumpsuits. And so next we

950
00:51:43,080 --> 00:51:44,839
Speaker 2: jump to them. We're going to meet them and see

951
00:51:44,880 --> 00:51:48,320
Speaker 2: what's going on here. The vehicle they're working from says

952
00:51:48,920 --> 00:51:53,280
Speaker 2: that it is the Midland Area Agricultural Department Experimental Section

953
00:51:53,880 --> 00:51:56,399
Speaker 2: these guys will be a recurring theme in the movie Rob.

954
00:51:56,440 --> 00:51:58,520
Speaker 2: Do you want to describe what's going on with the

955
00:51:58,560 --> 00:51:59,880
Speaker 2: ag department scientist.

956
00:52:00,560 --> 00:52:02,799
Speaker 1: Yeah, we have some a couple of gentlemen here in

957
00:52:02,840 --> 00:52:06,200
Speaker 1: these white jump suits, and I want to say, not

958
00:52:06,239 --> 00:52:10,280
Speaker 1: your space age jumpsuit. They look very you know, blue

959
00:52:10,280 --> 00:52:13,920
Speaker 1: collar in many respects, and the individuals act very you know,

960
00:52:13,960 --> 00:52:16,120
Speaker 1: they're very laid back about it. They're not. They're not.

961
00:52:16,320 --> 00:52:18,640
Speaker 1: They're happy to talk about their work to a random

962
00:52:18,719 --> 00:52:23,399
Speaker 1: dude who just walked up across the field. Uh. And yeah,

963
00:52:23,440 --> 00:52:28,200
Speaker 1: they're They have this big red vehicle that you know,

964
00:52:28,280 --> 00:52:30,799
Speaker 1: it very much looks like some sort of a combine

965
00:52:30,800 --> 00:52:34,800
Speaker 1: type vehicle, except you don't see any any traditional agricultural

966
00:52:34,880 --> 00:52:38,000
Speaker 1: tools on it, So that instantly makes you wonder, like,

967
00:52:38,000 --> 00:52:41,080
Speaker 1: what does it do It doesn't have It doesn't have

968
00:52:41,120 --> 00:52:42,680
Speaker 1: a combine on, it doesn't have any kind of like

969
00:52:42,680 --> 00:52:44,880
Speaker 1: a plow attached to it. And then one of the

970
00:52:44,960 --> 00:52:47,760
Speaker 1: dudes is walking around with some sort of scanning device.

971
00:52:47,840 --> 00:52:49,840
Speaker 1: It kind of looks kind of like a metal detector

972
00:52:49,880 --> 00:52:52,360
Speaker 1: type thing, except with some added dude ads on it,

973
00:52:52,960 --> 00:52:55,760
Speaker 1: clearly monitoring something going on in the soil.

974
00:52:56,200 --> 00:52:59,240
Speaker 2: Yes, it looks like a big sci fi weed whacker,

975
00:53:00,239 --> 00:53:02,960
Speaker 2: and so he's holding it there and George comes walking

976
00:53:03,040 --> 00:53:05,120
Speaker 2: up to everybody and he's like, hey, tell me how

977
00:53:05,160 --> 00:53:08,000
Speaker 2: to get to the Madison place. But they're like, wait

978
00:53:08,040 --> 00:53:12,520
Speaker 2: a second. And the scientist is or at least I

979
00:53:12,520 --> 00:53:14,640
Speaker 2: don't know if these are supposed to be scientists or

980
00:53:14,680 --> 00:53:16,759
Speaker 2: just the guys who work for the scientists. I'm not sure,

981
00:53:16,800 --> 00:53:19,759
Speaker 2: but they they're showing the farmer how to use this

982
00:53:19,840 --> 00:53:23,520
Speaker 2: metal weed whacker thing to do something to either scan

983
00:53:23,680 --> 00:53:27,560
Speaker 2: something or emit rays or something. And George goes, what

984
00:53:27,840 --> 00:53:32,080
Speaker 2: is that thing? And they explain, or the farmer does

985
00:53:32,120 --> 00:53:35,080
Speaker 2: that it's supposed to destroy insects and parasites. He says

986
00:53:35,120 --> 00:53:39,160
Speaker 2: it was simply the Department of Agriculture. And then George goes, oh,

987
00:53:39,200 --> 00:53:41,160
Speaker 2: I'd send it right back where it came from and

988
00:53:41,239 --> 00:53:44,920
Speaker 2: keep the insects and parasites nature's given you. And so

989
00:53:45,120 --> 00:53:48,239
Speaker 2: they argue about it. They say, no, hold on. Now

990
00:53:49,200 --> 00:53:51,520
Speaker 2: they make excuses for it. They're like, it works by

991
00:53:51,600 --> 00:53:56,400
Speaker 2: ultrasonic radiation, not a chemical involved. Love that no chemicals,

992
00:53:57,239 --> 00:54:00,680
Speaker 2: and then they also explain that it is progress. But meanwhile,

993
00:54:00,719 --> 00:54:03,120
Speaker 2: so George is trying to get directions from the farmer

994
00:54:03,280 --> 00:54:05,480
Speaker 2: to the place they're going, and then we see the

995
00:54:05,520 --> 00:54:08,160
Speaker 2: agg Department guys in the background like they're going, like,

996
00:54:08,200 --> 00:54:10,560
Speaker 2: all right, Bernard, let's give it another bash at the

997
00:54:10,600 --> 00:54:11,400
Speaker 2: main rotator.

998
00:54:12,480 --> 00:54:16,600
Speaker 1: Yeah, they're good nature, trusting technicians of this machinery that

999
00:54:16,800 --> 00:54:18,000
Speaker 1: they've been sent out to test.

1000
00:54:18,280 --> 00:54:18,960
Speaker 2: Yeah, I think so.

1001
00:54:19,480 --> 00:54:20,880
Speaker 1: Now, I don't think it's much of a spoiler to

1002
00:54:21,120 --> 00:54:23,160
Speaker 1: go ahead and reveal, yeah, that this is definitely the

1003
00:54:23,200 --> 00:54:26,239
Speaker 1: science run amuck that will raise the living dead later

1004
00:54:26,320 --> 00:54:29,360
Speaker 1: on in the picture. And I do love the localized

1005
00:54:29,440 --> 00:54:32,120
Speaker 1: nature of the premise here, and I think the fecivity

1006
00:54:32,160 --> 00:54:35,520
Speaker 1: of it works well with the themes here. Our main

1007
00:54:35,600 --> 00:54:38,120
Speaker 1: character will of course put one and two together in

1008
00:54:38,160 --> 00:54:40,799
Speaker 1: time and realize that we know what is causing the

1009
00:54:40,840 --> 00:54:44,320
Speaker 1: deep ecological unrest here, and we know exactly what we

1010
00:54:44,520 --> 00:54:48,080
Speaker 1: need to do to stop it. But is the establishment

1011
00:54:48,120 --> 00:54:49,960
Speaker 1: going to let him? Is the man going to let him?

1012
00:54:50,040 --> 00:54:51,920
Speaker 1: Or are they just going to accuse him of everything?

1013
00:54:52,280 --> 00:54:54,960
Speaker 2: Well, no, because they are allied with science, and as

1014
00:54:54,960 --> 00:54:57,040
Speaker 2: we know, science is evil and all it wants to

1015
00:54:57,080 --> 00:54:59,960
Speaker 2: do is do unnatural experiments and cause pain and st.

1016
00:55:01,160 --> 00:55:04,200
Speaker 1: I do like, so again, you've have a very specific

1017
00:55:05,080 --> 00:55:08,920
Speaker 1: origin for the zombie minutes that's gonna come. And I

1018
00:55:09,040 --> 00:55:11,719
Speaker 1: like that it's not the old standby of radiation. It's

1019
00:55:11,719 --> 00:55:14,320
Speaker 1: not chemical waste. Maybe it's a little early for chemical

1020
00:55:14,360 --> 00:55:17,800
Speaker 1: waste cinema, I'm not sure. Electricity is often a frequent

1021
00:55:17,840 --> 00:55:21,200
Speaker 1: pick as well, even in pictures from this time period.

1022
00:55:21,360 --> 00:55:26,320
Speaker 1: Get some electricity leeching into the ground, and watch out, earthworms,

1023
00:55:26,320 --> 00:55:29,960
Speaker 1: they're gonna come for you. But this one is this

1024
00:55:30,040 --> 00:55:34,600
Speaker 1: is a picture that involves ultrasound as being the source

1025
00:55:34,640 --> 00:55:36,640
Speaker 1: of the unrest. And I'm struggling to think of another

1026
00:55:36,760 --> 00:55:38,480
Speaker 1: ultrasound eco horror film.

1027
00:55:38,800 --> 00:55:41,279
Speaker 2: I'm sure such a thing exists, but I can't think

1028
00:55:41,280 --> 00:55:44,440
Speaker 2: of it. But I also think it's funny that they

1029
00:55:44,440 --> 00:55:47,160
Speaker 2: can't just call it ultrasound, because I think that doesn't

1030
00:55:47,160 --> 00:55:50,680
Speaker 2: sound scary enough, so they call it an ultrasonic radiation.

1031
00:55:51,280 --> 00:55:53,120
Speaker 1: Oh well yeah, and then you do get to invoke

1032
00:55:53,280 --> 00:55:57,280
Speaker 1: radiation in the picture as well, so yeah, yeah.

1033
00:55:57,360 --> 00:55:59,799
Speaker 2: But anyway, so you know, they're giving another bash at

1034
00:55:59,800 --> 00:56:03,360
Speaker 2: the oscillator, and then there's this ominous humming and whirring

1035
00:56:03,520 --> 00:56:07,400
Speaker 2: as the machine spins up and again. As I mentioned earlier,

1036
00:56:07,440 --> 00:56:09,840
Speaker 2: the sound design is very nice and a lot of

1037
00:56:09,840 --> 00:56:12,320
Speaker 2: the scary scenes in this movie, there are these various

1038
00:56:12,400 --> 00:56:16,600
Speaker 2: types of eerie, throbbing, hooting sounds that seem to come

1039
00:56:16,640 --> 00:56:21,120
Speaker 2: from nowhere or from everywhere. Very effective. Meanwhile, back down

1040
00:56:21,160 --> 00:56:24,600
Speaker 2: at the car, we're here with Edna or Edna, and

1041
00:56:24,800 --> 00:56:26,960
Speaker 2: here's our first zombie attack. It kind of comes out

1042
00:56:27,000 --> 00:56:29,800
Speaker 2: of nowhere. She's just standing there in the road, and

1043
00:56:29,840 --> 00:56:33,280
Speaker 2: then there is and so there's a nice beautiful stream

1044
00:56:33,320 --> 00:56:34,960
Speaker 2: going by, and again I want to emphasize that the

1045
00:56:35,000 --> 00:56:40,480
Speaker 2: location here is gorgeous, so every you know, it's this green,

1046
00:56:40,880 --> 00:56:45,040
Speaker 2: verdant valley with trees running along the side of the

1047
00:56:45,040 --> 00:56:50,000
Speaker 2: stream and an old, you know, stone walled cemetery. And

1048
00:56:50,040 --> 00:56:52,560
Speaker 2: then we see suddenly a man just sort of like

1049
00:56:52,640 --> 00:56:55,239
Speaker 2: walking into frame in the cemetery and we get a

1050
00:56:55,280 --> 00:56:58,000
Speaker 2: close up of him and the pupils of his eyes

1051
00:56:58,280 --> 00:57:02,040
Speaker 2: are not round, their star shaped and they're set against

1052
00:57:02,200 --> 00:57:05,840
Speaker 2: red irises, and oh, he's coming for Edna. And it

1053
00:57:05,920 --> 00:57:09,640
Speaker 2: is very creepy looking. I think, extremely good zombie design.

1054
00:57:09,960 --> 00:57:12,400
Speaker 1: I think so too. Yeah, the zombies in this picture

1055
00:57:13,000 --> 00:57:16,320
Speaker 1: are not greatly decayed. This is not going to be

1056
00:57:16,440 --> 00:57:20,160
Speaker 1: a real what we might think of today as kind

1057
00:57:20,160 --> 00:57:23,400
Speaker 1: of you know, the walking dead sort of zombie that's

1058
00:57:23,520 --> 00:57:27,440
Speaker 1: that's heavily rotted, and that these contacts are nice. They

1059
00:57:27,440 --> 00:57:32,080
Speaker 1: give them this nice otherworldliness to them. And also the zombies,

1060
00:57:32,200 --> 00:57:34,200
Speaker 1: I think they're just they're shot well, they're presented well.

1061
00:57:35,240 --> 00:57:38,800
Speaker 1: It can be a challenge, evidently you can see this

1062
00:57:38,880 --> 00:57:40,880
Speaker 1: in some of the lesser zombie pictures out there. How

1063
00:57:40,880 --> 00:57:44,600
Speaker 1: do you make a man stumbling around or even lunging,

1064
00:57:46,160 --> 00:57:49,760
Speaker 1: you know, incoherently. How do you make that frightening to

1065
00:57:50,360 --> 00:57:52,440
Speaker 1: people who have all their wits about them? How do

1066
00:57:52,480 --> 00:57:54,400
Speaker 1: you make them a surprise? How do you make them

1067
00:57:54,400 --> 00:57:57,800
Speaker 1: feel terrifying? And this picture, you know, uses a number

1068
00:57:57,800 --> 00:58:01,920
Speaker 1: of different tools to really get that across, not only

1069
00:58:02,520 --> 00:58:06,080
Speaker 1: a distance and angle the shot, but again that sound

1070
00:58:06,120 --> 00:58:09,640
Speaker 1: design which just seems to you know, to resonate and

1071
00:58:09,880 --> 00:58:12,200
Speaker 1: also invoke this idea of like sound waves.

1072
00:58:12,520 --> 00:58:15,160
Speaker 2: Yes, and hey, I want to be really I want

1073
00:58:15,160 --> 00:58:17,120
Speaker 2: to be fair to the people who called this movie

1074
00:58:17,160 --> 00:58:20,440
Speaker 2: don't open the window. There is a part here and

1075
00:58:20,480 --> 00:58:22,800
Speaker 2: that tries to hide in the car and the zombie

1076
00:58:22,800 --> 00:58:25,920
Speaker 2: reaches through the window at her. So okay, I stand corrected.

1077
00:58:25,960 --> 00:58:28,080
Speaker 2: There there is a window and the zombie tries to

1078
00:58:28,120 --> 00:58:30,480
Speaker 2: come through it, but it's a car window which is

1079
00:58:30,520 --> 00:58:32,360
Speaker 2: not what you think of when you hear don't open

1080
00:58:32,400 --> 00:58:32,880
Speaker 2: the window.

1081
00:58:33,520 --> 00:58:35,640
Speaker 1: Yeah, yeah, this was gonna be the inspiration for the

1082
00:58:35,640 --> 00:58:37,160
Speaker 1: picture they just got don't hide in the car.

1083
00:58:37,600 --> 00:58:40,680
Speaker 2: Yeah, anyway, and that escapes. She meets up with George

1084
00:58:40,680 --> 00:58:43,720
Speaker 2: and the farmer. She tries to explain what happened. She says,

1085
00:58:43,760 --> 00:58:45,880
Speaker 2: that man he's following me, he tried to attack me,

1086
00:58:46,000 --> 00:58:49,160
Speaker 2: but George looks down. There's no one there. They just see,

1087
00:58:49,160 --> 00:58:52,000
Speaker 2: you know, the peaceful little ravine, the stream going along,

1088
00:58:52,520 --> 00:58:55,320
Speaker 2: And it seems like George doesn't believe her. He's like,

1089
00:58:55,400 --> 00:58:59,040
Speaker 2: are you certain, And the farmer hears the description she

1090
00:58:59,120 --> 00:59:01,880
Speaker 2: gives it says it's sounds like she's describing Guthrie, the

1091
00:59:02,000 --> 00:59:04,680
Speaker 2: tramp who used to sleep down by the river, but

1092
00:59:04,760 --> 00:59:09,040
Speaker 2: he drowned recently, so it probably wasn't him. And then

1093
00:59:09,080 --> 00:59:10,920
Speaker 2: from here we go on to meet some more characters.

1094
00:59:10,960 --> 00:59:13,960
Speaker 2: We meet Edna's sister, Katie, the one who she's going

1095
00:59:14,000 --> 00:59:17,040
Speaker 2: to visit, and Katie's husband Martin, who together live in

1096
00:59:17,080 --> 00:59:20,440
Speaker 2: a rustic country cottage with a waterfall in the yard.

1097
00:59:20,560 --> 00:59:23,880
Speaker 2: This is a nice piece of land. And Martin seems

1098
00:59:23,880 --> 00:59:26,320
Speaker 2: to be like an artist and a photographer, and we

1099
00:59:26,480 --> 00:59:31,640
Speaker 2: learn that Katie has been addicted to heroin. She's been addicted,

1100
00:59:31,760 --> 00:59:34,640
Speaker 2: and Martin is trying to help her quit, but she

1101
00:59:35,040 --> 00:59:37,600
Speaker 2: like secretly uses the drug when he's not looking.

1102
00:59:38,320 --> 00:59:40,160
Speaker 1: Yeah, I don't know where she's getting her drug out

1103
00:59:40,160 --> 00:59:42,680
Speaker 1: here in the middle of nowhere, but we see her

1104
00:59:43,120 --> 00:59:44,640
Speaker 1: with it, so she does have some.

1105
00:59:44,840 --> 00:59:47,200
Speaker 2: Yeah, she's like dashing it away and trying to get

1106
00:59:47,200 --> 00:59:48,000
Speaker 2: to it in secret.

1107
00:59:48,560 --> 00:59:50,960
Speaker 1: Right, And like you say, Martin is a photographer, and

1108
00:59:51,080 --> 00:59:55,920
Speaker 1: his particular art photography seems to revolve in large part

1109
00:59:56,360 --> 01:00:02,320
Speaker 1: around taking photographs of flowers at night with stupendous artificial lighting,

1110
01:00:02,760 --> 01:00:06,040
Speaker 1: so it looks interesting in the picture unless you stop

1111
01:00:06,120 --> 01:00:09,080
Speaker 1: to wonder, like, what's going on here? Is all the

1112
01:00:09,160 --> 01:00:11,480
Speaker 1: artificial lighting we're seeing in this shot? Is this supposed

1113
01:00:11,520 --> 01:00:14,760
Speaker 1: to be his artificial lighting? Or is this movie lighting

1114
01:00:14,880 --> 01:00:17,760
Speaker 1: just to make if things look cool? It was kind

1115
01:00:17,760 --> 01:00:19,320
Speaker 1: of hard to figure out what they were going for here.

1116
01:00:20,000 --> 01:00:22,200
Speaker 2: Did you show Bonnie the scene? Did she have thoughts?

1117
01:00:22,440 --> 01:00:25,400
Speaker 1: I didn't show her this particular scene. I mean, so,

1118
01:00:25,720 --> 01:00:27,720
Speaker 1: I don't know. Maybe I'm wrong, but it seems like

1119
01:00:28,040 --> 01:00:30,040
Speaker 1: this guy's going to a lot of trouble to shoot

1120
01:00:30,080 --> 01:00:32,040
Speaker 1: these flowers, Like shouldn't he be. If he wants to

1121
01:00:32,040 --> 01:00:34,200
Speaker 1: control the lighting so much, he should just shoot them

1122
01:00:34,200 --> 01:00:36,960
Speaker 1: indoors in a studio. And if he's gonna shoot them outside,

1123
01:00:37,000 --> 01:00:39,400
Speaker 1: he should make use of natural lighting. But who am

1124
01:00:39,400 --> 01:00:42,280
Speaker 1: I to tell Martin how to follow his dreams here?

1125
01:00:42,560 --> 01:00:46,400
Speaker 2: Yeah? Okay, so Martin is kind of strange looking. Would

1126
01:00:46,400 --> 01:00:48,200
Speaker 2: you say? He's got sort of a bird of prey

1127
01:00:48,280 --> 01:00:52,919
Speaker 2: face with like metal heavy eyebrows. And whenever I see

1128
01:00:53,000 --> 01:00:55,520
Speaker 2: if it's a zombie movie and they introduce a human

1129
01:00:55,600 --> 01:00:59,320
Speaker 2: character who is visually striking in this way, I often

1130
01:00:59,400 --> 01:01:02,640
Speaker 2: wonder if this person was cast first of all, with

1131
01:01:02,720 --> 01:01:04,880
Speaker 2: an eye for what he will look like once he

1132
01:01:04,960 --> 01:01:09,640
Speaker 2: inevitably gets zombified, and then rather than being cast for

1133
01:01:09,800 --> 01:01:12,200
Speaker 2: the part of the movie where he's a living human

1134
01:01:12,240 --> 01:01:14,280
Speaker 2: with lines and not saying he's bad in the part

1135
01:01:14,280 --> 01:01:16,360
Speaker 2: where he has lines. But I just look at this

1136
01:01:16,400 --> 01:01:18,400
Speaker 2: guy and I think, Okay, they wanted him as a

1137
01:01:18,480 --> 01:01:20,880
Speaker 2: zombie and they will get him as a zombie.

1138
01:01:21,080 --> 01:01:23,360
Speaker 1: Oh. Absolutely, He'll spend most of his screen time as

1139
01:01:23,360 --> 01:01:26,000
Speaker 1: a zombie. But first you got to make him believable

1140
01:01:26,040 --> 01:01:29,800
Speaker 1: as as a non zombified human being, which they, I

1141
01:01:29,880 --> 01:01:30,640
Speaker 1: guess mostly do.

1142
01:01:31,280 --> 01:01:33,480
Speaker 2: So we find out he and Katie talk and we

1143
01:01:33,520 --> 01:01:35,840
Speaker 2: find out Katie knows her sister's coming to visit. She

1144
01:01:36,000 --> 01:01:38,800
Speaker 2: deduces that's because Martin is going to try to send

1145
01:01:38,840 --> 01:01:41,120
Speaker 2: her to a clinic so that she can get off drugs,

1146
01:01:41,880 --> 01:01:45,400
Speaker 2: but she is not ready, and she has a big

1147
01:01:45,440 --> 01:01:50,480
Speaker 2: emotional breakdown about this, and that it leads to a fight,

1148
01:01:50,560 --> 01:01:53,120
Speaker 2: and so Martin just goes off to do his photography

1149
01:01:53,240 --> 01:01:56,040
Speaker 2: by himself. Oh and then meanwhile we cut back to

1150
01:01:56,120 --> 01:01:59,680
Speaker 2: George and Edna while they're approaching the house. They're still driving,

1151
01:01:59,760 --> 01:02:02,320
Speaker 2: and and Edna's saying like, I'm not mad, you know,

1152
01:02:02,440 --> 01:02:05,920
Speaker 2: I don't imagine things, and George just goes methinks the

1153
01:02:06,040 --> 01:02:07,760
Speaker 2: lady don't protest too much.

1154
01:02:08,720 --> 01:02:11,520
Speaker 1: Yeah, absolutely does not believe her. I think what he

1155
01:02:11,520 --> 01:02:13,720
Speaker 1: says like gout three must have had a twin brother,

1156
01:02:13,800 --> 01:02:14,520
Speaker 1: that's all it was.

1157
01:02:14,880 --> 01:02:17,160
Speaker 2: No, he hasn't even gotten to that yet. He says

1158
01:02:17,200 --> 01:02:19,880
Speaker 2: that later once he starts a little bit believing her.

1159
01:02:19,920 --> 01:02:22,240
Speaker 2: At this point, it seems like he doesn't even believe

1160
01:02:22,280 --> 01:02:34,520
Speaker 2: anybody actually attacked her. So, like you said, at the cottage,

1161
01:02:34,560 --> 01:02:37,160
Speaker 2: Martin is like setting up his camera to automatically take

1162
01:02:37,200 --> 01:02:40,000
Speaker 2: pictures of a flower next to a waterfall and with

1163
01:02:40,040 --> 01:02:42,360
Speaker 2: all this artificial lighting and so like, what do you know,

1164
01:02:42,400 --> 01:02:46,000
Speaker 2: if it's just snapping shot after shots, it's gonna keep

1165
01:02:46,000 --> 01:02:48,160
Speaker 2: taking pictures as a zombie attacks.

1166
01:02:47,840 --> 01:02:49,240
Speaker 1: Right, how convenient?

1167
01:02:49,720 --> 01:02:52,120
Speaker 2: So of course, Guthrie, the tramp zombie shows up. I

1168
01:02:52,160 --> 01:02:54,520
Speaker 2: don't know how it beat the car, like he got

1169
01:02:54,560 --> 01:02:55,840
Speaker 2: there before the car did.

1170
01:02:56,760 --> 01:02:59,440
Speaker 1: Well, you know, they're shambling when they actually go over

1171
01:02:59,520 --> 01:03:02,080
Speaker 1: the attack, because they've been just booking it the rest

1172
01:03:02,080 --> 01:03:05,200
Speaker 1: of the time, I guess, because you know, we have

1173
01:03:05,520 --> 01:03:08,560
Speaker 1: all the zombie action going on at locations in this

1174
01:03:08,640 --> 01:03:11,560
Speaker 1: film that are are very isolated, like this is very

1175
01:03:11,640 --> 01:03:14,720
Speaker 1: rural Britain, we're supposed to believe here. So yeah, they're

1176
01:03:14,760 --> 01:03:17,800
Speaker 1: traveling from one location to another pretty quickly somehow.

1177
01:03:17,960 --> 01:03:21,920
Speaker 2: But the zombie shows up. It chases Katie around. Initially

1178
01:03:21,960 --> 01:03:23,920
Speaker 2: I think she's trying to do drugs, and then she

1179
01:03:24,000 --> 01:03:26,600
Speaker 2: gets startled and the zombie chases her. She escapes out

1180
01:03:26,640 --> 01:03:29,840
Speaker 2: a window manages to get away, but then the thing

1181
01:03:29,920 --> 01:03:32,560
Speaker 2: comes upon Martin on the banks of the creek and

1182
01:03:32,640 --> 01:03:35,919
Speaker 2: it kills him, and just then George and Edna arrive

1183
01:03:36,040 --> 01:03:38,360
Speaker 2: to find Katie screaming, and then we cut to the

1184
01:03:38,360 --> 01:03:42,360
Speaker 2: next morning and the police are here. They're investigating Martin's death,

1185
01:03:42,840 --> 01:03:45,400
Speaker 2: and so the setup of the movie is complete, and

1186
01:03:45,480 --> 01:03:48,120
Speaker 2: here we are about to meet I guess our chief

1187
01:03:48,160 --> 01:03:52,560
Speaker 2: antagonist other than like science and the zombies created by science,

1188
01:03:52,880 --> 01:03:57,080
Speaker 2: and that is our vicious fascist police inspector. I don't

1189
01:03:57,120 --> 01:03:59,560
Speaker 2: think he has a name, does He's just the inspector.

1190
01:04:00,320 --> 01:04:00,680
Speaker 1: M hm.

1191
01:04:01,160 --> 01:04:03,040
Speaker 2: So they're looking at the body and the I think

1192
01:04:03,040 --> 01:04:06,000
Speaker 2: the medical examiner is like, I've never seen anything like it.

1193
01:04:06,120 --> 01:04:10,640
Speaker 2: Somebody certainly enjoyed themselves here, and the inspector says, oh,

1194
01:04:10,680 --> 01:04:13,880
Speaker 2: a sadist, huh. And then the medical examiner goes or

1195
01:04:13,920 --> 01:04:17,920
Speaker 2: a lunatic, but he says, one thing's for sure, the

1196
01:04:17,960 --> 01:04:22,400
Speaker 2: attacker was enormously strong, because the victims of bones have

1197
01:04:22,560 --> 01:04:28,720
Speaker 2: been crushed, every one of them. I don't know about that, yeah,

1198
01:04:28,760 --> 01:04:31,480
Speaker 2: but oh and then meanwhile, so the inspector is going

1199
01:04:31,560 --> 01:04:35,080
Speaker 2: to go interrogate all of the witnesses, so George, Katie

1200
01:04:35,080 --> 01:04:37,760
Speaker 2: and Edna. And on the way to doing that, he

1201
01:04:37,920 --> 01:04:40,200
Speaker 2: like pulls aside at one of the cops there and

1202
01:04:40,200 --> 01:04:42,800
Speaker 2: he goes, button up. Man, you're wearing a uniform, not

1203
01:04:42,840 --> 01:04:45,760
Speaker 2: a pair of pajamas. So he's that kind of guy.

1204
01:04:45,800 --> 01:04:47,640
Speaker 2: He's a he's a uniform code guy.

1205
01:04:48,160 --> 01:04:50,800
Speaker 1: Yeah, he's He's just a real ray of sunshine, this guy.

1206
01:04:51,080 --> 01:04:54,480
Speaker 2: But the interrogation is going on, and Katie is describing

1207
01:04:54,520 --> 01:04:58,600
Speaker 2: the zombie who attacked her, and then Edna tells the cops.

1208
01:04:58,600 --> 01:05:01,800
Speaker 2: She's like, oh, I was attacked by that same zombie.

1209
01:05:02,160 --> 01:05:05,440
Speaker 2: And obviously the inspector does not believe them. But then

1210
01:05:06,280 --> 01:05:08,640
Speaker 2: Edna says, why would I invent such a thing? And

1211
01:05:08,680 --> 01:05:11,880
Speaker 2: he says, why, it's very simple, miss to back up

1212
01:05:11,960 --> 01:05:15,560
Speaker 2: your sister's story. And I was just thinking, okay, wait,

1213
01:05:15,760 --> 01:05:19,040
Speaker 2: is this correct interrogation procedure? Are you just supposed to

1214
01:05:19,120 --> 01:05:22,840
Speaker 2: like explain your theory of the case directly to the interviewee?

1215
01:05:23,200 --> 01:05:25,680
Speaker 1: No, I mean I mean, likewise, is the inspector just

1216
01:05:25,680 --> 01:05:28,600
Speaker 1: going to sit there and just consider any wild idea

1217
01:05:28,760 --> 01:05:32,160
Speaker 1: that a medical examiner throws out there? Or or later

1218
01:05:32,200 --> 01:05:34,280
Speaker 1: on there'll be another scene where somebody just brings up

1219
01:05:34,280 --> 01:05:36,120
Speaker 1: an ID and he's like, yeah, yeah, I think you're right.

1220
01:05:36,280 --> 01:05:38,400
Speaker 1: Yeah lunatic, yeah yeah, broke.

1221
01:05:38,200 --> 01:05:40,960
Speaker 2: All the bones, all of them. I love how this

1222
01:05:41,000 --> 01:05:43,760
Speaker 2: will connect later to when somebody tells him about the

1223
01:05:43,800 --> 01:05:45,480
Speaker 2: existence of Satanic cults.

1224
01:05:46,000 --> 01:05:49,320
Speaker 1: Yeah, yes, yeah, that's the same. Yeah, So he's just

1225
01:05:49,400 --> 01:05:51,640
Speaker 1: he's hard. Nos, he's out to finger somebody for this crime.

1226
01:05:52,000 --> 01:05:54,600
Speaker 1: And and he doesn't mind telling you to your face

1227
01:05:54,680 --> 01:05:56,400
Speaker 1: like yeah, I think you're I think you're a killer,

1228
01:05:56,480 --> 01:05:59,160
Speaker 1: and uh yeah and uh and we're gonna we're gonna

1229
01:05:59,200 --> 01:06:01,160
Speaker 1: get you for this one. No escaping me, there's no

1230
01:06:01,240 --> 01:06:02,479
Speaker 1: escaping the law and this one.

1231
01:06:03,040 --> 01:06:06,240
Speaker 2: And he has several just like brilliant things in the scene.

1232
01:06:06,240 --> 01:06:10,920
Speaker 2: One is that the inspector finds that Katie's photographer husband

1233
01:06:10,960 --> 01:06:14,360
Speaker 2: had taken naked photos of her, and he's like, explain this.

1234
01:06:15,080 --> 01:06:18,360
Speaker 2: It's like, what is the relevance? And here we get

1235
01:06:18,400 --> 01:06:22,240
Speaker 2: to the inspector's awesome theory that Katie must have done

1236
01:06:22,240 --> 01:06:25,240
Speaker 2: the murder because, as is well known, being addicted to

1237
01:06:25,280 --> 01:06:29,120
Speaker 2: heroin gives people superhuman strength enough to crush every bone

1238
01:06:29,120 --> 01:06:30,080
Speaker 2: in Martin's body.

1239
01:06:30,480 --> 01:06:34,200
Speaker 1: Now, as we're dissecting it here, all of this sounds ludicrous,

1240
01:06:34,720 --> 01:06:36,800
Speaker 1: but there is something about the way that it's presented

1241
01:06:36,840 --> 01:06:39,280
Speaker 1: in the film, like the authority with it with which

1242
01:06:39,280 --> 01:06:43,120
Speaker 1: he presented, and like Arthur Kennedy's character, the inspector here

1243
01:06:43,440 --> 01:06:46,960
Speaker 1: is so sure of himself and so sure of his

1244
01:06:46,960 --> 01:06:50,840
Speaker 1: his his role in the investigation that everything he says

1245
01:06:50,920 --> 01:06:54,680
Speaker 1: is just considered reality, is just considered a considered a fact,

1246
01:06:55,040 --> 01:06:58,240
Speaker 1: and the proper interpretation of the evidence before him.

1247
01:06:58,680 --> 01:07:02,120
Speaker 2: Yes, that's exactly right. I mean, I am explaining this

1248
01:07:02,160 --> 01:07:04,560
Speaker 2: in a matter of fact way to highlight how ludicrous

1249
01:07:04,600 --> 01:07:07,640
Speaker 2: it is. But he delivers it with cold cruel authority.

1250
01:07:08,760 --> 01:07:10,560
Speaker 2: Oh and then George comes in by the way to

1251
01:07:10,600 --> 01:07:12,400
Speaker 2: be like, hey, I'm not part of this. Let me

1252
01:07:12,400 --> 01:07:14,280
Speaker 2: get out of here. I've got a house to look after,

1253
01:07:14,480 --> 01:07:17,360
Speaker 2: and the inspector like grabs him by the collar and

1254
01:07:17,360 --> 01:07:19,560
Speaker 2: he goes, listen, boy, you keep getting on my nerves.

1255
01:07:19,600 --> 01:07:21,959
Speaker 2: I'll give you another house to look after, the kind

1256
01:07:22,000 --> 01:07:24,080
Speaker 2: with lots of bars on the windows.

1257
01:07:24,440 --> 01:07:29,000
Speaker 1: Yeah, Like he's he's already like physically grabbing him, even

1258
01:07:29,040 --> 01:07:31,960
Speaker 1: though he's like, I don't think he's really they've really

1259
01:07:31,960 --> 01:07:33,440
Speaker 1: had a lot of time in the picture yet to

1260
01:07:33,520 --> 01:07:35,439
Speaker 1: really bump up against each other.

1261
01:07:35,920 --> 01:07:38,560
Speaker 2: Yeah, not at all. And so anyway, the police tell

1262
01:07:38,600 --> 01:07:41,160
Speaker 2: George and Edna you can't leave. You have to stay

1263
01:07:41,360 --> 01:07:44,880
Speaker 2: in the hotel in Southgate until the investigation is finished.

1264
01:07:45,480 --> 01:07:47,800
Speaker 2: And so while they're getting out of there, Oh, but

1265
01:07:48,000 --> 01:07:51,240
Speaker 2: George steals the film from Martin's camera, because they think

1266
01:07:51,280 --> 01:07:53,720
Speaker 2: if they can get it developed, it will prove Katie

1267
01:07:53,760 --> 01:07:57,040
Speaker 2: is innocent. And George says, we better develop it ourselves

1268
01:07:57,080 --> 01:07:59,680
Speaker 2: because cops never like to admit that they're wrong, and

1269
01:07:59,760 --> 01:08:02,720
Speaker 2: if it shows that Katie is innocent, they'll just destroy it.

1270
01:08:03,840 --> 01:08:06,000
Speaker 2: So they go to a place to get the film developed.

1271
01:08:06,080 --> 01:08:09,600
Speaker 2: It is a place that is a store called Croceries

1272
01:08:10,080 --> 01:08:13,800
Speaker 2: cro ce r I e s maybe that's supposed to

1273
01:08:13,840 --> 01:08:16,000
Speaker 2: be a g but if there's a bar on it,

1274
01:08:16,000 --> 01:08:18,040
Speaker 2: it is indistinguishable from a serah.

1275
01:08:18,920 --> 01:08:21,240
Speaker 1: But these are delightful looking storefronts. You just want to

1276
01:08:21,280 --> 01:08:21,519
Speaker 1: go in.

1277
01:08:21,680 --> 01:08:25,360
Speaker 2: Oh yeah, I love it, check out the labels, freshly

1278
01:08:25,400 --> 01:08:28,719
Speaker 2: made sandwiches. And then they go to the hotel which

1279
01:08:28,760 --> 01:08:31,439
Speaker 2: is called the Old Owl Hotel, which has an old

1280
01:08:31,520 --> 01:08:34,320
Speaker 2: owl in it. And I so thought this owl was

1281
01:08:34,360 --> 01:08:36,759
Speaker 2: going to go berserk and attack somebody in the movie

1282
01:08:36,840 --> 01:08:40,280
Speaker 2: due to the ultrasonic rays, alas never happens.

1283
01:08:40,920 --> 01:08:43,760
Speaker 1: Yeah, it looks impressive though, sitting there in its little perch.

1284
01:08:44,040 --> 01:08:46,640
Speaker 2: And when they're checking in, George is again just a

1285
01:08:46,760 --> 01:08:49,240
Speaker 2: jerk for no reason. To the hotel owner, He's like,

1286
01:08:49,280 --> 01:08:51,120
Speaker 2: I don't want to spend any longer in this place

1287
01:08:51,120 --> 01:08:51,840
Speaker 2: than I have to.

1288
01:08:53,320 --> 01:08:57,040
Speaker 1: He hates everything. Yeah, I mean, granted he's going through

1289
01:08:57,080 --> 01:08:59,519
Speaker 1: a lot in this particular moment, but he was grumpy

1290
01:08:59,520 --> 01:09:00,280
Speaker 1: before all this.

1291
01:09:00,560 --> 01:09:02,880
Speaker 2: So let me get to the hospital sequence, and there

1292
01:09:02,880 --> 01:09:06,360
Speaker 2: are several things to discuss here. One is the Okay,

1293
01:09:06,360 --> 01:09:09,200
Speaker 2: so the setup is they find out Katie has been

1294
01:09:09,240 --> 01:09:11,360
Speaker 2: taken to the hospital and George and Edna go to

1295
01:09:11,360 --> 01:09:14,840
Speaker 2: see her. First is the location. I love the location. Again,

1296
01:09:14,960 --> 01:09:18,120
Speaker 2: this hospital looks awesome. It's like a kind of New

1297
01:09:18,200 --> 01:09:19,160
Speaker 2: Gothic style.

1298
01:09:19,640 --> 01:09:22,000
Speaker 1: Yeah. I was ringing this as Barnes Hospital for the

1299
01:09:22,040 --> 01:09:23,760
Speaker 1: exteriors anyway near Manchester.

1300
01:09:24,160 --> 01:09:25,920
Speaker 2: But let's see, there are a few things to describe here,

1301
01:09:26,000 --> 01:09:27,880
Speaker 2: Rob can you can you explain what's going on with

1302
01:09:27,920 --> 01:09:30,360
Speaker 2: the cadaver freezer boxes here?

1303
01:09:30,680 --> 01:09:34,080
Speaker 1: Oh yeah, So we're introduced to these these freezer boxes

1304
01:09:34,120 --> 01:09:36,639
Speaker 1: that they're hauling corpses out in and they look very

1305
01:09:36,680 --> 01:09:40,400
Speaker 1: space age. Yeah, like it's I guess it's possible that

1306
01:09:40,439 --> 01:09:45,919
Speaker 1: this is exactly what what these kind of sarcophagus coolers

1307
01:09:45,920 --> 01:09:50,200
Speaker 1: looked like at the time, but they felt a little

1308
01:09:50,680 --> 01:09:53,120
Speaker 1: high tech. But the idea here is that, hey, we

1309
01:09:53,160 --> 01:09:57,080
Speaker 1: need to move dead bodies across the countryside. We don't

1310
01:09:57,080 --> 01:09:59,880
Speaker 1: want them to rot, so we have these special cooler

1311
01:10:00,520 --> 01:10:00,920
Speaker 1: for them.

1312
01:10:01,160 --> 01:10:03,400
Speaker 2: And so George is looking at one of these things

1313
01:10:03,400 --> 01:10:06,400
Speaker 2: in the hospital and doctor Duffield comes across him. This

1314
01:10:06,479 --> 01:10:10,160
Speaker 2: is the Peter Cushing kind of guy, and they discuss.

1315
01:10:10,280 --> 01:10:13,360
Speaker 2: He's like, what is this and he explains. He's like, oh, well,

1316
01:10:13,360 --> 01:10:15,720
Speaker 2: it's a ways to the Manchester Morgue, and so you

1317
01:10:15,760 --> 01:10:18,679
Speaker 2: have to put him in these boxes. But doctor Duffield

1318
01:10:18,720 --> 01:10:21,120
Speaker 2: says to George, quite a few people leave their bodies

1319
01:10:21,160 --> 01:10:24,360
Speaker 2: to science these days. Shall I make a reservation for you?

1320
01:10:24,560 --> 01:10:26,760
Speaker 2: And of course George is like, of course not. I

1321
01:10:26,760 --> 01:10:28,639
Speaker 2: would not leave my body to science.

1322
01:10:29,680 --> 01:10:32,760
Speaker 1: It applies that science is just this ghoulish endeavor and

1323
01:10:32,800 --> 01:10:35,640
Speaker 1: all at once is just to desecrate your body for it.

1324
01:10:35,760 --> 01:10:37,600
Speaker 1: So sinister purposes.

1325
01:10:37,200 --> 01:10:39,479
Speaker 2: Give me bodies so I can do something evil and

1326
01:10:39,560 --> 01:10:42,360
Speaker 2: unnatural with them. I'll probably put chemicals on it, probably,

1327
01:10:44,479 --> 01:10:48,080
Speaker 2: But this gives way to the aggressive baby to scene.

1328
01:10:49,000 --> 01:10:52,280
Speaker 1: Oh my god, this was just out of kind of

1329
01:10:52,320 --> 01:10:54,360
Speaker 1: out of nowhere. It's one of these scenes where I

1330
01:10:54,400 --> 01:10:57,160
Speaker 1: guess in the grand scheme of things, they introduce this

1331
01:10:57,200 --> 01:11:01,920
Speaker 1: to further explain how's zombies work in this picture, but

1332
01:11:02,040 --> 01:11:04,400
Speaker 1: it ends up just feeling like this sort of side

1333
01:11:04,479 --> 01:11:09,000
Speaker 1: pool of just absurdity and weirdness that is, of course delightful,

1334
01:11:09,280 --> 01:11:10,759
Speaker 1: the very kind of thing I love in a picture.

1335
01:11:11,240 --> 01:11:13,280
Speaker 2: What is the deal with the aggressive babies?

1336
01:11:14,800 --> 01:11:18,360
Speaker 1: Well, it's just suddenly and this will I'll make sense

1337
01:11:18,439 --> 01:11:21,240
Speaker 1: later on. But all the babies that are being born

1338
01:11:21,320 --> 01:11:25,120
Speaker 1: are born super aggressive, and they're so aggressive that like,

1339
01:11:25,160 --> 01:11:27,679
Speaker 1: if you get close to one, the baby will bite

1340
01:11:27,720 --> 01:11:29,679
Speaker 1: you and draw blood or scratch you and draw blood.

1341
01:11:29,720 --> 01:11:31,760
Speaker 1: In fact, doesn't it happen to George, like he gets

1342
01:11:31,760 --> 01:11:32,559
Speaker 1: a little too close.

1343
01:11:33,760 --> 01:11:36,439
Speaker 2: Well, it starts because one of the nurses gets like

1344
01:11:36,479 --> 01:11:40,559
Speaker 2: her eye poked out by a baby, and then the

1345
01:11:40,640 --> 01:11:43,160
Speaker 2: doctor is like, come help me, so he just enlists

1346
01:11:43,240 --> 01:11:45,639
Speaker 2: this random guy from the hallway to come help him

1347
01:11:45,640 --> 01:11:48,040
Speaker 2: with the baby. I guess they're trying to sedate the

1348
01:11:48,080 --> 01:11:52,400
Speaker 2: baby because otherwise the baby is ripping people's arms off,

1349
01:11:52,840 --> 01:11:55,280
Speaker 2: and they do. And yeah, the baby, I think, like

1350
01:11:55,320 --> 01:11:58,480
Speaker 2: attacks George while they're they're trying to get it sedated.

1351
01:11:59,280 --> 01:12:02,920
Speaker 2: And they they explained, yes, every baby born here from

1352
01:12:03,320 --> 01:12:05,800
Speaker 2: the region around this farm where they're trying out the

1353
01:12:05,840 --> 01:12:11,040
Speaker 2: agricultural device, it's just been born with hostility and aggression.

1354
01:12:11,560 --> 01:12:14,400
Speaker 2: It's like they're all born bart Harley Jarvis is one

1355
01:12:14,439 --> 01:12:16,439
Speaker 2: of the most aggressive babies I've ever seen.

1356
01:12:17,040 --> 01:12:20,200
Speaker 1: So, Joe, you have a baby. How strong is a baby?

1357
01:12:20,439 --> 01:12:23,960
Speaker 2: They're incredibly strong, but I think not quite as strong

1358
01:12:24,000 --> 01:12:28,200
Speaker 2: as this movie depicts. So George goes on to share

1359
01:12:28,400 --> 01:12:31,040
Speaker 2: his theory. He's like, hey, wait a minute, all these

1360
01:12:31,080 --> 01:12:33,760
Speaker 2: aggressive babies that have been born, they're all from this

1361
01:12:33,880 --> 01:12:39,120
Speaker 2: area around where they're trying out the ultrasonic radiation device.

1362
01:12:39,600 --> 01:12:42,920
Speaker 2: I wonder if that's making the babies aggressive. So doctor

1363
01:12:42,960 --> 01:12:48,320
Speaker 2: Duffield is intrigued, and together George and the scientist or

1364
01:12:48,360 --> 01:12:51,040
Speaker 2: the doctor, they go out to talk to the AGG

1365
01:12:51,120 --> 01:12:54,920
Speaker 2: Department scientists in the field. The AGG Department guys explained

1366
01:12:54,920 --> 01:12:57,320
Speaker 2: to doctor Duffield how it works. They say it works

1367
01:12:57,360 --> 01:13:01,240
Speaker 2: by ultrasonic rays. That the rays are used intentionally to

1368
01:13:01,400 --> 01:13:05,200
Speaker 2: drive insects mad and make them kill all of each other.

1369
01:13:06,560 --> 01:13:09,360
Speaker 2: And it has destroyed They say, it has destroyed every

1370
01:13:09,400 --> 01:13:12,200
Speaker 2: insect for a mile radius, which, to be clear, I

1371
01:13:12,200 --> 01:13:13,679
Speaker 2: think would not be a good thing.

1372
01:13:14,200 --> 01:13:19,360
Speaker 1: No, I mean, imagine the ecological disorder that would erupt

1373
01:13:19,840 --> 01:13:24,160
Speaker 1: if you just totally distorted all the insects in a

1374
01:13:24,160 --> 01:13:28,240
Speaker 1: given area. Yeah, So in a way, it's kind of

1375
01:13:28,640 --> 01:13:31,000
Speaker 1: an interesting concept to roll out in the film, but

1376
01:13:31,080 --> 01:13:34,760
Speaker 1: also one that just seems also unrealistically reckless, like the

1377
01:13:34,760 --> 01:13:39,800
Speaker 1: scientists involved in creating this strange weapon would have to

1378
01:13:39,880 --> 01:13:41,839
Speaker 1: realize that this is incredibly dangerous.

1379
01:13:42,240 --> 01:13:44,080
Speaker 2: Well, they say soon they're going to get it working

1380
01:13:44,120 --> 01:13:45,720
Speaker 2: up to a five mile radius.

1381
01:13:45,960 --> 01:13:48,800
Speaker 1: They're proud. They're like, yeah, there's actually one mile that

1382
01:13:48,880 --> 01:13:51,120
Speaker 1: was yesterday. Five miles that is what we're going for today.

1383
01:13:51,680 --> 01:13:54,679
Speaker 1: We didn't hear anything you said about making rage babies.

1384
01:13:54,680 --> 01:13:55,480
Speaker 1: That's ridiculous.

1385
01:13:55,920 --> 01:13:58,280
Speaker 2: Yeah, And they appeal to him. They say, to the doctor,

1386
01:13:58,360 --> 01:14:01,160
Speaker 2: you're a man of science. Surely you understand this machine

1387
01:14:01,200 --> 01:14:05,120
Speaker 2: only affects the most primitive life forms like insects, and

1388
01:14:05,120 --> 01:14:08,880
Speaker 2: that more evolved life forms cannot be affected. Yeah, that

1389
01:14:08,960 --> 01:14:10,080
Speaker 2: sounds very scientific.

1390
01:14:11,840 --> 01:14:11,960
Speaker 4: Uh.

1391
01:14:12,479 --> 01:14:16,080
Speaker 2: Doctor Duffield seems to acknowledge that this machine may be

1392
01:14:16,280 --> 01:14:21,519
Speaker 2: what's causing the rage babies, but unfortunately he's like, he says, like,

1393
01:14:21,560 --> 01:14:24,360
Speaker 2: it's never wise to exaggerate, you know, they would laugh

1394
01:14:24,400 --> 01:14:28,080
Speaker 2: at us. He says that to George, so it's basically

1395
01:14:28,120 --> 01:14:30,519
Speaker 2: like he's saying, I am I too, am one of

1396
01:14:30,560 --> 01:14:33,080
Speaker 2: the dark envoys of science. So I cannot stop it,

1397
01:14:33,120 --> 01:14:34,439
Speaker 2: no matter how much I would.

1398
01:14:34,240 --> 01:14:36,479
Speaker 1: Like to, I mean, how many rage babies could there

1399
01:14:36,520 --> 01:14:38,719
Speaker 1: be at a given time out here on the side.

1400
01:14:47,720 --> 01:14:50,920
Speaker 2: So there's a scene in the croceries store in town

1401
01:14:51,080 --> 01:14:54,719
Speaker 2: where they're getting their George and Edna get the pictures developed,

1402
01:14:54,760 --> 01:14:56,880
Speaker 2: and then they're like, oh, too bad. The zombie does

1403
01:14:56,920 --> 01:14:59,400
Speaker 2: not show up on any of the pictures. And they're

1404
01:14:59,439 --> 01:15:02,880
Speaker 2: asking the guy like, could could anything cause someone not

1405
01:15:03,000 --> 01:15:04,880
Speaker 2: to appear in a picture? And he goes if they

1406
01:15:04,880 --> 01:15:09,800
Speaker 2: were a ghost maybe, And then George says about one

1407
01:15:09,800 --> 01:15:12,240
Speaker 2: of the pictures, good thing the police haven't seen this one.

1408
01:15:12,320 --> 01:15:14,439
Speaker 2: She really looks like she's about to do him in,

1409
01:15:14,479 --> 01:15:18,400
Speaker 2: I guess talking about Katie. And then just hilarious, the

1410
01:15:18,439 --> 01:15:22,160
Speaker 2: inspector comes right in. He like walks into the store

1411
01:15:22,160 --> 01:15:24,599
Speaker 2: and he's like, got you now, and then he gives

1412
01:15:24,640 --> 01:15:27,640
Speaker 2: a speech about all you damn hippies. I'd kill you

1413
01:15:27,680 --> 01:15:28,800
Speaker 2: all if I had my way.

1414
01:15:29,240 --> 01:15:33,080
Speaker 1: Yeah, this is a wonderful snarling scene from Arthur Kennedy.

1415
01:15:33,160 --> 01:15:35,200
Speaker 1: This is the you're all the same, the lot of

1416
01:15:35,240 --> 01:15:39,000
Speaker 1: you speech that he gives gives George in particular, mm hmm.

1417
01:15:39,960 --> 01:15:44,960
Speaker 2: So oh. But after he leaves, the shopkeeper shows off

1418
01:15:45,280 --> 01:15:48,240
Speaker 2: a newspaper that has a picture of the guy who

1419
01:15:48,280 --> 01:15:52,080
Speaker 2: drowned of Guthrie. And Edna looks at it and she

1420
01:15:52,240 --> 01:15:54,000
Speaker 2: is like, that's him.

1421
01:15:54,840 --> 01:15:56,800
Speaker 1: I was taken by the fact that here is the

1422
01:15:56,880 --> 01:16:00,240
Speaker 1: local newspaper and above the fold huge pic sure of

1423
01:16:00,240 --> 01:16:01,000
Speaker 1: a dead man.

1424
01:16:01,120 --> 01:16:07,080
Speaker 2: Yes, very common, Yeah, just of a corpse. And she's like, yes,

1425
01:16:07,200 --> 01:16:10,479
Speaker 2: that was him. And George is like, well it must

1426
01:16:10,479 --> 01:16:12,360
Speaker 2: have been his twin. Then he must have had a twin,

1427
01:16:12,479 --> 01:16:16,160
Speaker 2: and that's what you saw. So George decides to take

1428
01:16:16,360 --> 01:16:19,280
Speaker 2: Edna to the cemetery so he can. He says, I'm

1429
01:16:19,280 --> 01:16:22,439
Speaker 2: going to cure you of your fancy hallucinations. And I

1430
01:16:22,479 --> 01:16:26,080
Speaker 2: think the plan is George is going to make Edna

1431
01:16:26,400 --> 01:16:29,880
Speaker 2: look at Guthrie's dead body so that she will know

1432
01:16:30,080 --> 01:16:31,400
Speaker 2: that he is actually dead.

1433
01:16:32,080 --> 01:16:34,880
Speaker 1: Yeah. Again, this is another detail of the picture of

1434
01:16:34,960 --> 01:16:39,479
Speaker 1: plot detail that sounds ridiculous, but when you're watching the film, like,

1435
01:16:39,800 --> 01:16:42,400
Speaker 1: I don't know, you don't, I found myself not questioning

1436
01:16:42,479 --> 01:16:45,120
Speaker 1: these plot choices. I'm like, yeah, this is the logical

1437
01:16:45,120 --> 01:16:46,920
Speaker 1: place for them to go. Oh, of course they would

1438
01:16:46,920 --> 01:16:47,799
Speaker 1: go and look for the body.

1439
01:16:47,880 --> 01:16:50,439
Speaker 2: It's great. And so they go. They're followed by a

1440
01:16:50,439 --> 01:16:52,720
Speaker 2: police officer. By the way, this guy named Craig is

1441
01:16:53,160 --> 01:16:56,920
Speaker 2: tailing them and then ooh, so this is this goes

1442
01:16:56,920 --> 01:17:00,320
Speaker 2: into one of the big horror actions set piece is

1443
01:17:00,360 --> 01:17:03,080
Speaker 2: in the movie, the cemetery scene, which I thought was

1444
01:17:03,240 --> 01:17:07,920
Speaker 2: just fantastic, really tense, scary, good staging of a lot

1445
01:17:07,960 --> 01:17:11,120
Speaker 2: of the action. I don't know how you felt, but

1446
01:17:11,400 --> 01:17:14,600
Speaker 2: I thought this was a great centerpiece of like the

1447
01:17:14,640 --> 01:17:15,960
Speaker 2: action horror in the film.

1448
01:17:16,439 --> 01:17:19,160
Speaker 1: Oh. Absolutely. This is one of those sequences that really

1449
01:17:19,160 --> 01:17:21,800
Speaker 1: makes you think about zombie films in general and just

1450
01:17:21,840 --> 01:17:25,640
Speaker 1: realize you don't need a whole horde of zombies to

1451
01:17:25,720 --> 01:17:29,040
Speaker 1: have an effective nail biting sequence. You just have some

1452
01:17:29,040 --> 01:17:33,040
Speaker 1: some internet interesting setting, interesting location, and then you only

1453
01:17:33,080 --> 01:17:36,280
Speaker 1: need like one, two, three zombies tops, which is all

1454
01:17:36,320 --> 01:17:39,360
Speaker 1: they have going on here as they end up having

1455
01:17:39,360 --> 01:17:42,360
Speaker 1: to deal with them in this this basement here that's

1456
01:17:42,400 --> 01:17:45,559
Speaker 1: serving as it's not really mortuary, I don't know, it's

1457
01:17:46,920 --> 01:17:50,719
Speaker 1: wherever they're preparing they're they're casketing the bodies.

1458
01:17:50,760 --> 01:17:52,720
Speaker 2: I guess, yeah, I don't. It seems like it's a

1459
01:17:52,840 --> 01:17:55,800
Speaker 2: crypt maybe or something, or it has vaults on the walls.

1460
01:17:55,840 --> 01:17:56,599
Speaker 1: It does have vaults.

1461
01:17:56,680 --> 01:17:59,719
Speaker 2: Yeah, Okay, so describe that what happens in the cemetery

1462
01:17:59,760 --> 01:18:00,559
Speaker 2: scene here.

1463
01:18:00,680 --> 01:18:03,720
Speaker 1: Well, obviously, Guthrie shows up. He's been booking it this

1464
01:18:03,880 --> 01:18:09,320
Speaker 1: whole time. He knows where his next zombie mauling appointment

1465
01:18:09,439 --> 01:18:12,679
Speaker 1: is going to take place, and so he shows up,

1466
01:18:13,080 --> 01:18:16,360
Speaker 1: and we quickly learned that these these these create critters

1467
01:18:16,360 --> 01:18:17,560
Speaker 1: are pretty indestructible.

1468
01:18:18,240 --> 01:18:21,559
Speaker 2: Yeah, so they're impervious to wounds. Guthrie attacks them in

1469
01:18:21,680 --> 01:18:25,400
Speaker 2: like the basement of this like the caretaker's house in

1470
01:18:25,439 --> 01:18:27,360
Speaker 2: the cemetery. They go down in the basement and they're

1471
01:18:27,400 --> 01:18:30,719
Speaker 2: there in the crypt and Guthrie shows up and locks

1472
01:18:30,760 --> 01:18:33,320
Speaker 2: them inside and so that they can't get back out

1473
01:18:33,320 --> 01:18:36,360
Speaker 2: the way they came in, and he's he's coming at them,

1474
01:18:36,400 --> 01:18:38,280
Speaker 2: and George is trying to like stab him with a

1475
01:18:38,439 --> 01:18:40,760
Speaker 2: rail or something, but it doesn't occur to harm him

1476
01:18:40,760 --> 01:18:44,600
Speaker 2: at all. And then we learn that these zombies, the

1477
01:18:44,640 --> 01:18:50,280
Speaker 2: Ultrasonic zombies, can reanimate other corpses by smearing blood on them,

1478
01:18:50,720 --> 01:18:54,760
Speaker 2: so they recruit freely from the RESTful dead and turn

1479
01:18:54,840 --> 01:18:58,080
Speaker 2: them into the undead. And this was just a whole

1480
01:18:58,320 --> 01:19:02,160
Speaker 2: great tense scene. Organ Edna finally escaped by like knocking

1481
01:19:02,240 --> 01:19:05,559
Speaker 2: bricks out of a vault wall and climbing up through

1482
01:19:05,600 --> 01:19:09,280
Speaker 2: an open grave, and they meet up with officer Craig

1483
01:19:09,360 --> 01:19:12,559
Speaker 2: here the police officer, but then the zombies attack again.

1484
01:19:12,640 --> 01:19:15,200
Speaker 2: They get chased back into the caretaker's room and have

1485
01:19:15,240 --> 01:19:19,760
Speaker 2: to barricade the doors. Eventually, Craig the police officer is

1486
01:19:19,880 --> 01:19:23,040
Speaker 2: killed while trying to escape and get help. And in

1487
01:19:23,200 --> 01:19:26,639
Speaker 2: the last minute, like our character, seemed doomed until George

1488
01:19:26,680 --> 01:19:30,000
Speaker 2: defeats the zombies. He realizes he can by burning them.

1489
01:19:30,040 --> 01:19:31,320
Speaker 2: It's the only thing that works.

1490
01:19:31,840 --> 01:19:35,400
Speaker 1: Oh yeah, yeah, this whole sequence is fabulous. Craig the

1491
01:19:35,439 --> 01:19:38,240
Speaker 1: cop is so doomed from the moment you start getting

1492
01:19:38,240 --> 01:19:40,719
Speaker 1: to know him because he's like, he's like, oh, Georgia.

1493
01:19:40,840 --> 01:19:43,400
Speaker 1: After this, you'll realize not all cops are bad. I'm

1494
01:19:43,400 --> 01:19:45,599
Speaker 1: a good guy, right, Like, Oh, this dude is getting

1495
01:19:45,600 --> 01:19:49,920
Speaker 1: his guts eaten by a zombie. Yeah, no doubt about it.

1496
01:19:50,200 --> 01:19:52,519
Speaker 1: So the two interesting things about the zombies that are

1497
01:19:52,520 --> 01:19:54,400
Speaker 1: revealed in this scene. The first of all, there is

1498
01:19:54,439 --> 01:19:58,280
Speaker 1: the ritualistic dabbing of the blood on other bodies to

1499
01:19:58,400 --> 01:20:03,080
Speaker 1: raise them as like zombie almost like zombie minions that

1500
01:20:03,360 --> 01:20:05,880
Speaker 1: I really liked, and ultimately raises a lot of questions

1501
01:20:06,280 --> 01:20:09,639
Speaker 1: that you cannot answer regarding how zombies work in this picture.

1502
01:20:09,960 --> 01:20:15,280
Speaker 1: But it's very unsettling in the moment because it's so unexpected. Also,

1503
01:20:15,439 --> 01:20:18,439
Speaker 1: we quickly learn that these zombies are tool users. While

1504
01:20:18,520 --> 01:20:21,720
Speaker 1: zombies and other pictures might just want to rip and

1505
01:20:21,760 --> 01:20:23,439
Speaker 1: bite at you, they're just going to use their claw

1506
01:20:23,479 --> 01:20:27,360
Speaker 1: and bite attack. These will actively try and hammer you

1507
01:20:27,400 --> 01:20:28,880
Speaker 1: to pieces with a big crucifix.

1508
01:20:29,160 --> 01:20:32,040
Speaker 2: Yes, oh, and that crucifix will come back in in

1509
01:20:32,080 --> 01:20:35,879
Speaker 2: a minute when the cops arrive on the scene. But anyway,

1510
01:20:36,040 --> 01:20:40,879
Speaker 2: George and Edna escape and they run off in separate directions.

1511
01:20:40,880 --> 01:20:43,280
Speaker 2: I think Edna is going to maybe try to find

1512
01:20:43,320 --> 01:20:46,519
Speaker 2: Katie or something, and George runs off to destroy the

1513
01:20:46,600 --> 01:20:50,960
Speaker 2: ultrasonic machine at the Lewis farm. And meanwhile you think, well,

1514
01:20:51,000 --> 01:20:53,080
Speaker 2: wait a minute, though, or all the zombies dealt with.

1515
01:20:53,160 --> 01:20:55,479
Speaker 2: I think all the zombies we knew about have been destroyed,

1516
01:20:55,479 --> 01:20:58,960
Speaker 2: so maybe the nightmare is over. But no, remember Martin,

1517
01:20:59,240 --> 01:21:02,920
Speaker 2: Remember Martin, the guy who had the weird look from earlier.

1518
01:21:03,400 --> 01:21:06,120
Speaker 2: Looks like the rays have powered him up now, and

1519
01:21:06,200 --> 01:21:10,599
Speaker 2: he attacks and he eats some cops. And then George

1520
01:21:11,439 --> 01:21:15,639
Speaker 2: arrives back at the agg department guys, and he's explaining

1521
01:21:15,680 --> 01:21:18,280
Speaker 2: what's going on, and they, for some reason don't believe him.

1522
01:21:18,360 --> 01:21:21,280
Speaker 2: They go like, you talk about the dead walking and cannibalism,

1523
01:21:21,320 --> 01:21:25,639
Speaker 2: it's unscientific, man. And then George says, lots of things

1524
01:21:25,640 --> 01:21:28,880
Speaker 2: are unscientific and they happen just the same, and he

1525
01:21:29,520 --> 01:21:32,960
Speaker 2: grabs a wrench and starts smashing the oscillator on the machine.

1526
01:21:33,479 --> 01:21:35,840
Speaker 1: Yeah, no examples by the way of what all these

1527
01:21:35,920 --> 01:21:38,120
Speaker 1: unscientific things that are happening all the time.

1528
01:21:37,960 --> 01:21:40,360
Speaker 2: Are I want to know, like, other than the zombies,

1529
01:21:40,400 --> 01:21:44,360
Speaker 2: what does he have in mind? But anyway, back in

1530
01:21:44,360 --> 01:21:47,240
Speaker 2: the scene at the cemetery, the inspector has arrived and

1531
01:21:47,280 --> 01:21:50,280
Speaker 2: he concludes that George is in fact the one who

1532
01:21:50,360 --> 01:21:54,160
Speaker 2: killed Officer Craig here and the caretaker and all the zombies.

1533
01:21:54,520 --> 01:21:56,960
Speaker 2: So he's like, okay, this guy is he's got to

1534
01:21:57,000 --> 01:22:01,080
Speaker 2: be destroyed. Shoot him on site. And then he's like,

1535
01:22:01,160 --> 01:22:03,880
Speaker 2: why did they burn the bodies? And there's this new

1536
01:22:04,040 --> 01:22:06,599
Speaker 2: creep hanging out. I don't know where this creep came from.

1537
01:22:06,760 --> 01:22:10,000
Speaker 2: This guy shows up this late in the movie and

1538
01:22:10,040 --> 01:22:13,439
Speaker 2: he's like, oh, inspector, you need to learn about satanic cults.

1539
01:22:13,720 --> 01:22:13,960
Speaker 1: Yep.

1540
01:22:16,560 --> 01:22:19,879
Speaker 2: So this weird rando shows up to introduce the idea

1541
01:22:20,000 --> 01:22:24,080
Speaker 2: of satanic ritual murder into the inspector's mind. It's like

1542
01:22:24,120 --> 01:22:25,400
Speaker 2: it's a match made in heaven.

1543
01:22:26,200 --> 01:22:28,439
Speaker 1: Well, there's a moment where he's like thinking about it.

1544
01:22:28,479 --> 01:22:30,640
Speaker 1: He's like, you know, I hadn't thought about that, But

1545
01:22:30,680 --> 01:22:33,000
Speaker 1: then instantly he's in like, I bet that's it. Yeah,

1546
01:22:33,160 --> 01:22:36,120
Speaker 1: I that's this guy, George. He's awful. He's clearly a

1547
01:22:37,040 --> 01:22:41,519
Speaker 1: sex craze, drug using hippie rebel who hates the police.

1548
01:22:42,200 --> 01:22:44,800
Speaker 1: So it's just it's just one step beyond that to

1549
01:22:44,840 --> 01:22:47,639
Speaker 1: assume that he also worshiped Satan and his carrying out

1550
01:22:47,920 --> 01:22:52,880
Speaker 1: unspeakable acts for a black mass. It's also we were

1551
01:22:52,880 --> 01:22:56,160
Speaker 1: talking about this little off mic. It's fitting and funny

1552
01:22:56,200 --> 01:22:59,599
Speaker 1: that the inspector believes all these things of George, where

1553
01:23:00,280 --> 01:23:03,880
Speaker 1: doesn't Actually we never see George do drugs. We never

1554
01:23:03,920 --> 01:23:08,040
Speaker 1: see George have any kind of a sexual interest in anybody, like,

1555
01:23:08,080 --> 01:23:10,920
Speaker 1: so he's none of these things that he's accused of

1556
01:23:11,000 --> 01:23:15,519
Speaker 1: throughout the picture. He just is a rebellious jerk. Yeah.

1557
01:23:15,600 --> 01:23:19,080
Speaker 2: No, all he really does is like he's just rude

1558
01:23:19,120 --> 01:23:21,200
Speaker 2: to people. That's his main character trait.

1559
01:23:21,760 --> 01:23:24,360
Speaker 1: As if the film is saying, yes, the youth of today,

1560
01:23:24,640 --> 01:23:27,799
Speaker 1: they do suck, but not for the reasons that guys

1561
01:23:27,840 --> 01:23:28,599
Speaker 1: like this think they.

1562
01:23:28,520 --> 01:23:31,760
Speaker 2: Saund it's just because they're they're selfish and rude, and

1563
01:23:31,800 --> 01:23:33,920
Speaker 2: they don't want to be they want to be off

1564
01:23:33,920 --> 01:23:37,760
Speaker 2: doing their own thing. Yeah yeah, not because they're all

1565
01:23:37,760 --> 01:23:42,599
Speaker 2: in satanic cults. But anyways, so Edna is Several other

1566
01:23:42,640 --> 01:23:44,840
Speaker 2: things happen in between here. There's a whole thing where

1567
01:23:44,920 --> 01:23:47,599
Speaker 2: Edna gets attacked by the Martin zombie, but she escapes.

1568
01:23:47,680 --> 01:23:50,360
Speaker 2: She starts to kind of lose her mind. The agg

1569
01:23:50,479 --> 01:23:54,000
Speaker 2: department guys power up the five mile ultrasonic rays. That

1570
01:23:54,040 --> 01:23:56,440
Speaker 2: can't be good because then we cut to the hospital,

1571
01:23:56,560 --> 01:23:59,320
Speaker 2: the Southgate Hospital, and we see all these new freezer

1572
01:23:59,320 --> 01:24:03,400
Speaker 2: bodies awry, so we know there's gonna be a zombie

1573
01:24:03,479 --> 01:24:06,920
Speaker 2: rampage at the hospital and there is The police catch

1574
01:24:07,080 --> 01:24:10,360
Speaker 2: George and interrogate him in a hilarious scene where they're

1575
01:24:11,280 --> 01:24:14,200
Speaker 2: they're telling him, you know what all the satanic murders

1576
01:24:14,240 --> 01:24:17,000
Speaker 2: he's been doing in George he protests, he says, I've

1577
01:24:17,000 --> 01:24:21,000
Speaker 2: never been to a black mass in my life. Oh,

1578
01:24:21,040 --> 01:24:25,640
Speaker 2: because they find the statue, like the antique statue that

1579
01:24:25,720 --> 01:24:28,280
Speaker 2: he had in his luggage that he was bringing up here,

1580
01:24:29,240 --> 01:24:31,840
Speaker 2: and they pull it out and they're like this obviously

1581
01:24:31,880 --> 01:24:35,679
Speaker 2: proves you are involved in Satanic cults. And he says,

1582
01:24:36,240 --> 01:24:39,240
Speaker 2: I don't worship that. I just sell things like that.

1583
01:24:39,600 --> 01:24:41,720
Speaker 2: And then he says, it's not my fault, serge, that

1584
01:24:41,840 --> 01:24:43,759
Speaker 2: Christ and the Saints are out of fashion.

1585
01:24:45,200 --> 01:24:47,439
Speaker 1: Yeah, it's a it's a good scene. I like the

1586
01:24:47,960 --> 01:24:52,040
Speaker 1: that this that his use of these artifacts, whereas having

1587
01:24:52,080 --> 01:24:54,679
Speaker 1: these artifacts on his person, like it's come back around

1588
01:24:54,720 --> 01:24:57,120
Speaker 1: to bite him. And now this is evidence being supposed

1589
01:24:57,160 --> 01:24:59,920
Speaker 1: evidence being thrown at him by the authorities here.

1590
01:25:00,320 --> 01:25:03,080
Speaker 2: Also, though this artifact in no way appears to have

1591
01:25:03,160 --> 01:25:05,839
Speaker 2: anything to do with Satan, I guess it's just because

1592
01:25:05,960 --> 01:25:08,360
Speaker 2: it doesn't look Christian. Maybe I don't know.

1593
01:25:08,520 --> 01:25:11,280
Speaker 1: Yeah, I mean I think it fits with what they're

1594
01:25:11,320 --> 01:25:13,400
Speaker 1: going for here, Like this is a guy who just

1595
01:25:13,439 --> 01:25:16,800
Speaker 1: assumes anything that is a little bit foreign or un

1596
01:25:16,880 --> 01:25:21,120
Speaker 1: Christian is just Satanic. Clearly these are these are occult items,

1597
01:25:21,200 --> 01:25:23,200
Speaker 1: and George is up to bloody business.

1598
01:25:23,520 --> 01:25:27,080
Speaker 2: But the inspector he has like a rage moment and

1599
01:25:27,120 --> 01:25:32,200
Speaker 2: he like punches George. He's he's incredibly mad, and he's

1600
01:25:32,360 --> 01:25:35,280
Speaker 2: complaining to this other guy, the creep who showed up

1601
01:25:35,280 --> 01:25:37,400
Speaker 2: earlier to tell him about Satanic cults. He's like if

1602
01:25:37,400 --> 01:25:40,000
Speaker 2: I just had more of a free hand with these criminals.

1603
01:25:43,120 --> 01:25:46,120
Speaker 2: And meanwhile, the George he escapes out the window and

1604
01:25:46,160 --> 01:25:48,519
Speaker 2: then he runs to the hospital for the final showdown,

1605
01:25:48,600 --> 01:25:50,720
Speaker 2: so you basically know what's gonna happen. It's gonna be

1606
01:25:50,760 --> 01:25:54,759
Speaker 2: a big zombie showdown with all the characters, and basically

1607
01:25:54,800 --> 01:25:57,200
Speaker 2: all of our main characters get killed by the zombies.

1608
01:25:57,240 --> 01:26:00,960
Speaker 2: Here there's a great part where George lights an axe

1609
01:26:01,000 --> 01:26:04,120
Speaker 2: on fire and he's swinging it at the zombies. That's

1610
01:26:04,120 --> 01:26:08,839
Speaker 2: pretty brutal, and at one moment you think, oh, George,

1611
01:26:08,880 --> 01:26:11,599
Speaker 2: is he going to be able to save Edna, But nope,

1612
01:26:11,600 --> 01:26:13,760
Speaker 2: he when he gets her out of the room where

1613
01:26:13,760 --> 01:26:16,519
Speaker 2: the zombies have attacked, she has star shaped pupils now,

1614
01:26:16,560 --> 01:26:18,759
Speaker 2: so it's too late. She's already one of the zombies.

1615
01:26:19,320 --> 01:26:23,760
Speaker 2: And then in a final brutal twist, George is shot

1616
01:26:23,840 --> 01:26:26,160
Speaker 2: by the police. The inspector guns him down.

1617
01:26:26,560 --> 01:26:29,360
Speaker 1: Yeah, just brutally guns him down, shoots him multiple times,

1618
01:26:29,360 --> 01:26:31,320
Speaker 1: and then he kind of like leans over the body

1619
01:26:31,360 --> 01:26:33,760
Speaker 1: and says something about how he wishes he'd come back

1620
01:26:33,800 --> 01:26:36,200
Speaker 1: to life so he could kill him again in cold blood.

1621
01:26:36,920 --> 01:26:42,680
Speaker 1: So just real, real brutal moment there. I mean not unexpected.

1622
01:26:42,720 --> 01:26:44,600
Speaker 1: I mean, this is the mid seventies, but yeah, in

1623
01:26:44,800 --> 01:26:49,400
Speaker 1: the space of just a few minutes, Edna is mauled

1624
01:26:49,600 --> 01:26:53,320
Speaker 1: by her own sister and who has become a zombie.

1625
01:26:53,439 --> 01:26:57,320
Speaker 1: She becomes a zombie, and then our last protagonist is

1626
01:26:57,400 --> 01:26:58,960
Speaker 1: just murdered in cold blood.

1627
01:26:58,800 --> 01:27:00,800
Speaker 2: And then we kept it. Basically the only characters who

1628
01:27:00,840 --> 01:27:04,560
Speaker 2: are left are the fascist cops. And so the inspector

1629
01:27:04,640 --> 01:27:07,320
Speaker 2: is like riding around in a car with his sidekick

1630
01:27:07,400 --> 01:27:09,519
Speaker 2: here and the guys like all the papers say you're

1631
01:27:09,560 --> 01:27:13,479
Speaker 2: a hero, and he says, the inspector says, justice has

1632
01:27:13,520 --> 01:27:15,880
Speaker 2: been a bit slow in these parts. All this permissive

1633
01:27:16,080 --> 01:27:18,720
Speaker 2: rot going on. Maybe people will learn a thing or

1634
01:27:18,720 --> 01:27:23,600
Speaker 2: two from my example here. And so so what's going on?

1635
01:27:23,680 --> 01:27:25,519
Speaker 2: Is he gonna go into a career in politics now

1636
01:27:25,640 --> 01:27:30,679
Speaker 2: or something? But nope. We we then see they drive

1637
01:27:30,840 --> 01:27:35,080
Speaker 2: past another one of the Agriculture department machines and they

1638
01:27:35,240 --> 01:27:37,599
Speaker 2: and the guy comments on it. He's like, oh, they're

1639
01:27:37,640 --> 01:27:41,360
Speaker 2: setting up a new one of those now, and it's

1640
01:27:41,439 --> 01:27:43,920
Speaker 2: gonna They say, it's gonna rid all of the apple

1641
01:27:44,080 --> 01:27:47,600
Speaker 2: orchards of pests. I'm just mad about apples. And the

1642
01:27:47,680 --> 01:27:50,559
Speaker 2: cops laugh about this. Ah, apples. But then, of course,

1643
01:27:51,320 --> 01:27:53,040
Speaker 2: you know what's gonna happen now that they power up

1644
01:27:53,080 --> 01:27:56,639
Speaker 2: another one of these. The Inspector gets to his hotel

1645
01:27:56,720 --> 01:27:59,920
Speaker 2: room and the old Owl hotel, and who's there waiting

1646
01:28:00,080 --> 01:28:05,120
Speaker 2: for him but the reanimated ultrasonic corpse of George to

1647
01:28:05,120 --> 01:28:08,720
Speaker 2: get his revenge, and the Inspector meets his demise and

1648
01:28:08,800 --> 01:28:09,880
Speaker 2: gets his comeupance.

1649
01:28:10,160 --> 01:28:12,920
Speaker 1: Yeah, so it almost kind of like Tails from the Crypt.

1650
01:28:13,479 --> 01:28:17,759
Speaker 1: Nasty ending. Yeah, the most awful character in the film

1651
01:28:17,840 --> 01:28:22,200
Speaker 1: survives to the end but then is killed in horrific fashion.

1652
01:28:22,840 --> 01:28:25,439
Speaker 1: And then something is also quite fitting of Ecohar in general,

1653
01:28:25,640 --> 01:28:27,840
Speaker 1: there's a sense that the threat is far from over.

1654
01:28:27,960 --> 01:28:30,639
Speaker 1: The threat is going to continue to expand it's still

1655
01:28:30,680 --> 01:28:33,240
Speaker 1: out there, which you know, isn't just about setting up

1656
01:28:33,240 --> 01:28:36,080
Speaker 1: the possibility for a sequel or something, as it certainly

1657
01:28:36,080 --> 01:28:39,640
Speaker 1: would would be in subsequent decades, but just kind of

1658
01:28:39,640 --> 01:28:43,040
Speaker 1: this idea that like this is just the starting point

1659
01:28:43,479 --> 01:28:46,639
Speaker 1: and the problem is going to spread and get bigger

1660
01:28:46,720 --> 01:28:47,200
Speaker 1: and bigger.

1661
01:28:47,400 --> 01:28:50,320
Speaker 2: We're going to keep getting zombies and keep getting rage babies.

1662
01:28:50,840 --> 01:28:54,720
Speaker 1: Rage babies and zombies and insects killing the apples though

1663
01:28:54,760 --> 01:28:57,320
Speaker 1: are going to be amazing, we know, that much.

1664
01:28:57,800 --> 01:28:59,720
Speaker 2: Though It's funny. I think you could probably come up

1665
01:28:59,760 --> 01:29:04,320
Speaker 2: with a more plausible hard science fiction film just about

1666
01:29:04,360 --> 01:29:07,799
Speaker 2: what would happen if you literally destroyed every single insect

1667
01:29:07,880 --> 01:29:10,120
Speaker 2: within a five mile radius. So that seems like that

1668
01:29:10,160 --> 01:29:11,960
Speaker 2: would have devastating consequences.

1669
01:29:12,600 --> 01:29:17,000
Speaker 1: Yeah, like taking out most of your decomposers and so forth,

1670
01:29:17,120 --> 01:29:19,679
Speaker 1: just as one example. I mean, it would be dreadful

1671
01:29:19,680 --> 01:29:22,840
Speaker 1: for the environment, dreadful for the apples too. I'm always

1672
01:29:22,840 --> 01:29:26,200
Speaker 1: pleased on a film like this shows some restraint because

1673
01:29:26,360 --> 01:29:28,599
Speaker 1: this is a film where, yeah, there's some really gory

1674
01:29:28,640 --> 01:29:32,120
Speaker 1: moments like the zombie the probably the goryouts are the

1675
01:29:32,160 --> 01:29:35,040
Speaker 1: scenes where the zombies eat the cop, and then there's

1676
01:29:35,080 --> 01:29:37,360
Speaker 1: a scene where they tear apart a nurse in the hospital,

1677
01:29:37,680 --> 01:29:42,240
Speaker 1: and those are very gory sequences. But I felt, at

1678
01:29:42,320 --> 01:29:44,759
Speaker 1: least for my taste, they didn't go too far. And likewise,

1679
01:29:44,800 --> 01:29:48,320
Speaker 1: plot wise, nobody fights a rage baby. There's not a

1680
01:29:48,320 --> 01:29:51,519
Speaker 1: scene we're all good whether rage babies run run wild

1681
01:29:51,560 --> 01:29:53,840
Speaker 1: and George has to fight them off with his flaming acts.

1682
01:29:54,520 --> 01:29:56,320
Speaker 1: There's some other moments in the film too, where I

1683
01:29:56,320 --> 01:29:58,920
Speaker 1: felt like they showed a little restraint with the premise.

1684
01:30:00,400 --> 01:30:03,120
Speaker 1: So yeah, and I think above all as even though

1685
01:30:03,439 --> 01:30:06,000
Speaker 1: a lot of these plot elements are kind of laughable

1686
01:30:06,160 --> 01:30:11,800
Speaker 1: in retrospect, that they are presented with a seriousness and

1687
01:30:11,800 --> 01:30:14,920
Speaker 1: a and a commitment to filmmaking that that makes this

1688
01:30:15,120 --> 01:30:19,599
Speaker 1: probably one of the more entertaining zombie films I've seen.

1689
01:30:19,760 --> 01:30:22,719
Speaker 1: Like the night that I watched this, I just turned

1690
01:30:22,720 --> 01:30:24,479
Speaker 1: it on just to check out part of it and

1691
01:30:24,600 --> 01:30:25,840
Speaker 1: ended up watching the whole thing.

1692
01:30:26,320 --> 01:30:28,960
Speaker 2: Yeah, I totally agree. I thought this was a fairly

1693
01:30:29,000 --> 01:30:34,080
Speaker 2: excellent zombie movie. Surprisingly compelling action and characters in situation,

1694
01:30:34,240 --> 01:30:37,639
Speaker 2: and beautiful looking. I like the horror design, but also

1695
01:30:37,800 --> 01:30:39,920
Speaker 2: just all of the gorgeous locations.

1696
01:30:40,120 --> 01:30:43,360
Speaker 1: Yeah, so there you have it. Let Sleeping Corpses lie

1697
01:30:43,920 --> 01:30:47,200
Speaker 1: aka The Living Dead at Manchester Morgue. It's been a

1698
01:30:47,200 --> 01:30:51,200
Speaker 1: cult favorite for years, and I understand why. This one's

1699
01:30:51,240 --> 01:30:53,360
Speaker 1: a lot of fun, So I definitely recommend it to

1700
01:30:53,360 --> 01:30:57,040
Speaker 1: folks who want a bloody good zombie movie. Now, just

1701
01:30:57,160 --> 01:30:59,479
Speaker 1: reminded everyone out there here it's stuff to blow your mind.

1702
01:30:59,520 --> 01:31:03,479
Speaker 1: Where primary earlier science podcasts and we're pro science. We

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01:31:03,520 --> 01:31:06,599
Speaker 1: don't think science is the enemy trying to turn all

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01:31:06,600 --> 01:31:10,080
Speaker 1: our babies into rage babies or anything to that extent.

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01:31:11,040 --> 01:31:13,200
Speaker 1: In our core episodes of Stuff to Blow Your Mind

1706
01:31:13,200 --> 01:31:15,720
Speaker 1: come out on Tuesdays and Thursdays. We do listener mail

1707
01:31:15,720 --> 01:31:18,800
Speaker 1: on Mondays, short form Artifactor, Monster Fact on Wednesdays, and

1708
01:31:18,840 --> 01:31:21,400
Speaker 1: on Friday, we set aside most serious concerns to just

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01:31:21,400 --> 01:31:23,960
Speaker 1: talk about a weird film here on Weird House Cinema.

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01:31:24,200 --> 01:31:25,680
Speaker 1: If you want to see a list of all the

1711
01:31:25,680 --> 01:31:27,720
Speaker 1: movies we've covered in the past, you can go to

1712
01:31:27,760 --> 01:31:29,519
Speaker 1: a couple of places for that. I blog about these

1713
01:31:29,520 --> 01:31:32,400
Speaker 1: at some immutamusic dot com and then if you go

1714
01:31:32,439 --> 01:31:34,720
Speaker 1: to letterbox that's l E T T E r bo

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01:31:34,920 --> 01:31:38,439
Speaker 1: x d dot com. We have as a place where

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01:31:38,720 --> 01:31:43,040
Speaker 1: people can create accounts and can essentially blog about movies

1717
01:31:43,200 --> 01:31:46,559
Speaker 1: and had their own reviews to various movies, create lists

1718
01:31:46,560 --> 01:31:49,120
Speaker 1: of movies they want to see or have seen. Well,

1719
01:31:49,120 --> 01:31:51,320
Speaker 1: we have an account there it's weird House, and we

1720
01:31:51,360 --> 01:31:53,160
Speaker 1: have a list of all the films that we've looked

1721
01:31:53,160 --> 01:31:55,400
Speaker 1: at on Weird House Cinema thus far, and sometimes we'll

1722
01:31:55,439 --> 01:31:57,719
Speaker 1: have a peek ahead at what's coming along next.

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01:31:58,040 --> 01:32:01,080
Speaker 2: Huge thanks to our audio producer JJ Pauseway. If you

1724
01:32:01,080 --> 01:32:03,400
Speaker 2: would like to get in touch with us with feedback

1725
01:32:03,439 --> 01:32:06,000
Speaker 2: on this episode or any other, if you would like

1726
01:32:06,080 --> 01:32:08,880
Speaker 2: to suggest a topic for the future, or if you'd

1727
01:32:08,920 --> 01:32:10,800
Speaker 2: just like to say hello, you can email us at

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01:32:10,920 --> 01:32:20,920
Speaker 2: contact at stuff to Blow your Mind dot com.

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01:32:21,080 --> 01:32:24,040
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1730
01:32:24,120 --> 01:32:26,920
Speaker 3: more podcasts from my heart Radio, visit the iHeartRadio app,

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01:32:27,040 --> 01:32:30,280
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.