WEBVTT - Weirdhouse Cinema Rewind: Let Sleeping Corpses Lie 0:00:04.519 --> 0:00:08.400 Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb. 0:00:08.640 --> 0:00:11.760 And this is Joe McCormick. And Hey, today we're going 0:00:11.840 --> 0:00:15.560 to be playing an episode that originally aired on February tenth, 0:00:15.760 --> 0:00:19.360 twenty twenty three. This was our Weird House Cinema on 0:00:19.600 --> 0:00:23.440 Let Sleeping corpses Lie aka what was the other name? 0:00:23.520 --> 0:00:26.360 The Living Dead at Manchester Morgue something like that. 0:00:26.360 --> 0:00:29.720 That's right. Yeah, it's a sci fi spin on the 0:00:29.840 --> 0:00:33.800 zombie genre set in rural England. But it's also a 0:00:33.800 --> 0:00:37.920 Spanish Italian co production. It's really really fun. I was, 0:00:37.960 --> 0:00:40.720 of course, recently traveling in the UK and occasionally I 0:00:40.720 --> 0:00:42.760 would see an old church and I was like, oh man, 0:00:42.840 --> 0:00:44.360 a few of these look kind of like that church 0:00:44.360 --> 0:00:45.800 from Let Sleeping corpses Lie. 0:00:46.880 --> 0:00:50.599 That sounds wonderful. Yeah, I remember this movie being just 0:00:50.880 --> 0:00:55.000 filled with beautiful locations and acerbic jerks. 0:00:57.440 --> 0:01:00.560 All right, Well, without further Ado bright In. 0:01:04.360 --> 0:01:10.120 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:01:14.480 --> 0:01:17.600 Hey you welcome to Weird House Cinema. This is Rob Lamb. 0:01:17.520 --> 0:01:18.800 And this is Joe McCormick. 0:01:19.080 --> 0:01:23.720 Today's movie goes by many names. It stems from the 0:01:23.760 --> 0:01:28.639 mid nineteen seventies, and you could easily sort of single 0:01:28.640 --> 0:01:31.640 it out for a few different things. On one level, 0:01:31.680 --> 0:01:34.880 it's very British. It is the perhaps the most important 0:01:34.959 --> 0:01:38.959 British zombie film, certainly of this time period. It's also 0:01:39.160 --> 0:01:42.520 a Spanish Italian co production and has I think no 0:01:42.680 --> 0:01:46.720 actual British people in it. It's also not only a 0:01:46.760 --> 0:01:50.320 horror film, but an eco horror film all true. This 0:01:50.440 --> 0:01:54.080 is also definitely a grindhouse era picture. It was actually 0:01:54.120 --> 0:01:58.000 shown in a double feature with Wes Craven's notorious Last 0:01:58.000 --> 0:02:01.160 House on the Left, which I really a seventy two film, 0:02:01.200 --> 0:02:03.080 but I guess it was still making the round by 0:02:03.120 --> 0:02:06.600 seventy four or just hitting certain markets by seventy four. 0:02:06.720 --> 0:02:09.200 But at any rate, these two films were sometimes on 0:02:09.280 --> 0:02:09.919 the same billing. 0:02:10.240 --> 0:02:15.560 It's interesting to realize where different zombie movies come in 0:02:15.600 --> 0:02:19.240 the course of history, because I think of most zombie 0:02:19.320 --> 0:02:24.400 films as derivative not just of Night of the Living Dead, 0:02:24.440 --> 0:02:26.960 but of Dawn of the Dead, the second film in 0:02:27.000 --> 0:02:31.200 George Romero's trilogy. But of course Dawn of the Dead 0:02:31.240 --> 0:02:33.560 actually didn't come out I think until nineteen seventy eight, 0:02:33.639 --> 0:02:36.680 so like four years after this one. Of course Night 0:02:36.840 --> 0:02:40.240 was earlier, but it's kind of strange how I would 0:02:40.280 --> 0:02:43.400 have said this movie was derivative of Dawn, but in 0:02:43.440 --> 0:02:44.919 fact it precedes Dawn. 0:02:45.760 --> 0:02:48.560 Yeah, it's interesting. It's kind of a I think even 0:02:48.560 --> 0:02:50.400 at the time, a lot of people compared it to 0:02:50.520 --> 0:02:54.000 Night of the Living Dead, and certainly it owes something 0:02:54.520 --> 0:02:56.679 to that film, as pretty much any zombie film that 0:02:56.720 --> 0:03:00.040 came after it does. But yeah, maybe it was a 0:03:00.080 --> 0:03:01.880 little head of the curve on some things as well. 0:03:02.240 --> 0:03:04.480 Now we keep talking about it. We haven't said the 0:03:04.480 --> 0:03:07.799 title of the film yet because you kind of have 0:03:07.880 --> 0:03:11.560 your pick of titles for this film. The again, it's 0:03:11.560 --> 0:03:14.400 an Italian Spanish co production, and the original title in 0:03:14.440 --> 0:03:18.600 both languages translates basically to do not profane the Sleep 0:03:18.639 --> 0:03:22.440 of the Debt, which I guess the international distributors didn't 0:03:22.480 --> 0:03:27.359 go for. They saw opportunities to tap into other areas 0:03:27.400 --> 0:03:30.800 of fear. It was released under a lot of different 0:03:30.880 --> 0:03:34.400 names around the world. The two most common are either 0:03:34.960 --> 0:03:38.080 let Sleeping corpses Lie, which is how we haven't listed 0:03:38.080 --> 0:03:40.800 in the title for this episode. But it was also 0:03:41.760 --> 0:03:45.320 widely distributed as The Living Dead at Manchester Morgue, where 0:03:45.320 --> 0:03:48.360 it eventually was widely distributed under that name. 0:03:49.480 --> 0:03:52.600 That is the title that displayed in the version of 0:03:52.640 --> 0:03:55.960 it that I watched, though the screen where that title 0:03:56.320 --> 0:03:59.200 pops up looks very out of place. It like doesn't 0:03:59.240 --> 0:04:02.280 match the the visual style of anything around it. 0:04:02.960 --> 0:04:06.840 Yeah, it's also it's a strange title. A lot of 0:04:06.840 --> 0:04:11.040 these titles are hard to really rationalize because a lot 0:04:11.080 --> 0:04:13.200 of them don't really make sense once you get into 0:04:13.240 --> 0:04:16.880 the plot. There is not a Manchester more in the 0:04:16.920 --> 0:04:22.720 film as an actual setting. We only briefly see Manchester 0:04:22.960 --> 0:04:24.680 at the very beginning of the film, and then we 0:04:24.720 --> 0:04:27.359 go out into rural Britain, and that is where the 0:04:27.400 --> 0:04:29.200 rest of the film is supposed to be taking place. 0:04:29.480 --> 0:04:32.279 Is the city at the beginning definitely supposed to be Manchester. 0:04:32.360 --> 0:04:34.680 I couldn't tell if it was supposed to be Manchester 0:04:34.839 --> 0:04:35.400 or London. 0:04:36.080 --> 0:04:39.240 It is Manchester, that is what I've read. Yes, all right. 0:04:39.720 --> 0:04:42.000 Other titles that this film had there was do Not 0:04:42.040 --> 0:04:44.720 Speak Ill of the Dead, which which sounds pretty good. 0:04:44.760 --> 0:04:47.360 I mean, that's more or less a translation of the original, 0:04:47.400 --> 0:04:50.400 even though it kind of implies that that what's going 0:04:50.440 --> 0:04:53.760 on here is like the raising of the dead via 0:04:53.839 --> 0:04:58.120 slander or something. It shouldn't come as anybody to any 0:04:58.120 --> 0:05:00.320 surprise to anyone out there that it was also known 0:05:00.320 --> 0:05:03.000 as Zombie three, at least in some markets. And this 0:05:03.080 --> 0:05:05.240 is hilarious because a number of films seem to have 0:05:05.279 --> 0:05:07.760 been released at one time or another as part of 0:05:07.800 --> 0:05:13.200 the very unofficial Italian zombie franchise, including nineteen eighty eight 0:05:13.440 --> 0:05:18.280 Zombie three, which was a Fulci and a Matte film. 0:05:18.680 --> 0:05:21.520 So anything can or could be a zombie movie. 0:05:21.640 --> 0:05:26.880 Wait, now I'm incredibly confused here, because so Zombie three 0:05:27.040 --> 0:05:29.200 would mean this is trying to be a sequel to 0:05:29.640 --> 0:05:33.039 Zombie two, which was the full chief film that was 0:05:33.120 --> 0:05:37.440 not actually a sequel to the original Zombie, which was 0:05:37.520 --> 0:05:40.920 another name for Romero's Dawn of the Dead, which came 0:05:40.920 --> 0:05:43.559 out in seventy eight. But this movie we're talking about 0:05:43.600 --> 0:05:46.279 came out in seventy four and at some point it 0:05:46.360 --> 0:05:48.839 was called Zombie three. 0:05:48.880 --> 0:05:52.320 That's the beauty of the Zombie zo MBI franchise. 0:05:52.400 --> 0:05:55.240 Yes, so I guess this would have to be like 0:05:55.360 --> 0:05:59.240 in like I don't know, later video releases or something, right. 0:05:59.200 --> 0:06:01.960 Yeah, yeah, I think so. Now another title that's a 0:06:01.960 --> 0:06:04.480 lot of fun for this one that again doesn't really 0:06:04.480 --> 0:06:07.719 fit the movie is Don't Open the Window. I love 0:06:07.720 --> 0:06:10.600 a good seventies Don't movie, And we're actually gonna hear 0:06:10.640 --> 0:06:13.360 the trailer for Don't Open the Window for that release 0:06:13.400 --> 0:06:15.240 of the film here in a bit, just because it's 0:06:15.279 --> 0:06:17.680 the most, in my opinion, the most amusing of the 0:06:17.720 --> 0:06:20.279 trailers to listen to in a podcast format. 0:06:20.839 --> 0:06:25.000 I don't remember, Okay, So running through these different titles, 0:06:25.320 --> 0:06:28.200 we do I think see a Manchester area hospital as 0:06:28.240 --> 0:06:30.520 a set used in the movie, but it's not really 0:06:30.560 --> 0:06:33.520 set in Manchester. Do Not Speak Ill of the Dead, 0:06:33.600 --> 0:06:35.760 as far as I can tell, has no relationship to 0:06:35.800 --> 0:06:39.560 the plot. Zombie three is hilarious because this movie came 0:06:39.560 --> 0:06:43.159 out before the original Zombie and I don't think there's 0:06:43.240 --> 0:06:47.760 anything about opening a window at all. Can you remember 0:06:47.880 --> 0:06:49.600 any window stuff? 0:06:50.240 --> 0:06:53.159 I mean, people probably look through windows, and maybe there's 0:06:53.160 --> 0:06:55.600 a scene where somebody grabs through a window, but it's 0:06:55.720 --> 0:06:59.800 not it's not the centerpiece of the picture. I don't 0:06:59.839 --> 0:07:01.680 know that any of the Don't movies really had that 0:07:01.760 --> 0:07:03.960 going for it. But when a movie's titles say don't 0:07:03.960 --> 0:07:06.040 Go in the Basement, I feel like that one really works. 0:07:06.040 --> 0:07:07.599 And if oh, well, this is a movie about something 0:07:07.640 --> 0:07:11.239 horrible going on in the basement where horrible things belong. 0:07:12.520 --> 0:07:15.280 But don't open the window. This seems very broad, like 0:07:15.280 --> 0:07:17.800 I'm really just not supposed to open the window again. 0:07:18.160 --> 0:07:21.640 Actually, there's one scene where one character, Katie, escapes a 0:07:21.720 --> 0:07:24.480 zombie by jumping out a window, So if she obeyed 0:07:24.520 --> 0:07:27.080 the title of that version, she would have been killed 0:07:27.080 --> 0:07:27.760 by the zombie. 0:07:28.000 --> 0:07:31.760 Yeah, a more fitting title would be don't use ultrasound technology. 0:07:31.920 --> 0:07:35.280 Yeah, exactly, don't trust science, I think would be the 0:07:35.400 --> 0:07:39.160 correct title here, and in that vein, I'd say let 0:07:39.200 --> 0:07:43.560 Sleeping corpses Lie is probably the most on track of 0:07:43.560 --> 0:07:46.640 all these titles because it suggests that something is being 0:07:46.720 --> 0:07:50.000 done to disturb the dead, like you're kind of meddling 0:07:50.120 --> 0:07:51.400 in some way that you shouldn't. 0:07:51.800 --> 0:07:55.000 Yeah. So the elevator pitch for this one's pretty straightforward. 0:07:55.320 --> 0:07:59.120 You have youths from the city clashing with authority figures 0:07:59.320 --> 0:08:01.640 and the living dad in rural Britain. 0:08:02.120 --> 0:08:04.680 Strangely, though, the dichotomy set up in this movie is 0:08:04.760 --> 0:08:09.760 not an alliance of urbanity with the youth. The youths 0:08:09.800 --> 0:08:12.440 are from the city, but urbanity, I would say is 0:08:12.480 --> 0:08:15.880 sort of the villain, because that's in this nexus of 0:08:15.960 --> 0:08:24.400 evil things that the movie were probably group together like cops, cities, science, 0:08:25.600 --> 0:08:28.320 the government, and I guess anything that happens in a 0:08:28.360 --> 0:08:29.160 big building. 0:08:29.640 --> 0:08:33.360 And big buildings of course have windows. So let's go 0:08:33.400 --> 0:08:36.960 ahead and listen to the trailer for Don't Open the Window. Akaa. 0:08:37.080 --> 0:08:38.320 Let's sleep in corpses live. 0:08:39.920 --> 0:08:43.160 They tampered with nature and now they must pay the price. 0:08:43.679 --> 0:08:48.559 See the grotesque invade an unsuspecting village. See a hospital 0:08:48.600 --> 0:08:52.080 panic when they old babies go berserk. You see friends 0:08:52.160 --> 0:08:53.000 turn on each. 0:08:52.800 --> 0:08:54.720 Other in a nightly are of Holliday. 0:08:55.040 --> 0:08:59.400 You'll cringe with terror when you see don't open the window. 0:09:00.120 --> 0:09:02.440 Emm's out there, will wait and read it. 0:09:02.480 --> 0:09:08.959 Are see, Now you'll think twice about opening that window, right. 0:09:09.240 --> 0:09:10.880 I mean, I wasn't gonna do it before, but now 0:09:10.920 --> 0:09:11.960 I'm really convinced. 0:09:13.720 --> 0:09:16.000 So before we get going here, you may be wondering, well, 0:09:16.000 --> 0:09:19.560 where can I find this movie under one title or another? Well? 0:09:19.800 --> 0:09:22.600 I streamed the movie on AMC Plus on Amazon under 0:09:22.640 --> 0:09:25.640 the title The Living Dead at Manchester Morgue. Shutter has 0:09:25.679 --> 0:09:28.000 it as well, and you can render by it digitally. 0:09:28.600 --> 0:09:30.920 But there's also a blu ray release from sign App's 0:09:31.000 --> 0:09:33.640 Films that features a four K restoration and it looks 0:09:33.679 --> 0:09:35.720 really great. There's a lot of neat extra features on it. 0:09:36.800 --> 0:09:39.160 Now we mentioned a little bit about the locations. One 0:09:39.200 --> 0:09:40.959 thing to keep in mind with this picture is that 0:09:41.240 --> 0:09:43.880 parts of it are definitely shot. There are locations and 0:09:43.920 --> 0:09:48.280 exteriors that are definitely shot in Britain, and they seem 0:09:48.320 --> 0:09:50.440 to have done a good enough job where they use 0:09:50.559 --> 0:09:52.559 just enough of it that, at least in my eyes, 0:09:52.600 --> 0:09:54.880 it feels like Britain most of the time, like they 0:09:54.880 --> 0:09:59.240 are enough establishing shots to establish that. Occasionally though, you 0:09:59.280 --> 0:10:01.640 can tell, like, well, this looks a lot more like 0:10:01.760 --> 0:10:06.720 an Italian horror film. The hills look more Italian and so, yeah, 0:10:06.960 --> 0:10:09.880 there are plenty of scenes that were actually shot in Italy. Oh. 0:10:09.960 --> 0:10:12.280 I thought they did an excellent job with the scenery. 0:10:12.360 --> 0:10:16.559 I was fully convinced about the English landscape. And yeah, 0:10:16.600 --> 0:10:19.679 I have no complaints whatsoever about the locations and scenery 0:10:19.679 --> 0:10:22.280 in this movie. In fact, they're pretty, they're gorgeous most 0:10:22.280 --> 0:10:22.720 of the time. 0:10:23.440 --> 0:10:27.040 Yeah, it's a really well shot film. So let's go 0:10:27.040 --> 0:10:29.720 ahead and get into the folks involved in it here. 0:10:29.880 --> 0:10:33.520 We'll start with the director. This is Jorge Grau, who 0:10:33.600 --> 0:10:38.280 lived nineteen thirty through twenty eighteen. Spanish director probably best 0:10:38.320 --> 0:10:41.480 remembered internationally anyway. I'm not sure about in Spain for 0:10:41.559 --> 0:10:45.480 this picture, but was responsible for various romances and thrillers. 0:10:45.520 --> 0:10:48.440 I think he only did three other horror films, a 0:10:48.520 --> 0:10:51.719 nineteen seventy three Countess Bathory film titled The Legend of 0:10:51.760 --> 0:10:57.480 blood Castle, nineteen seventy three's Violent blood Bath, and nineteen 0:10:57.520 --> 0:11:00.240 eighty three's Hunting Ground. I think those two seventy three 0:11:00.240 --> 0:11:03.360 films are separate films, but now that I read them 0:11:03.400 --> 0:11:05.840 out loud, it makes me wonder maybe this is the 0:11:05.880 --> 0:11:07.200 same film. I don't know. 0:11:07.480 --> 0:11:10.960 Oh yeah, the Bathory Bath, Bathing and blood Thing. Yeah, 0:11:11.160 --> 0:11:13.000 I could see that, but I don't know. 0:11:13.320 --> 0:11:15.960 I don't have the details in front of I think 0:11:15.960 --> 0:11:18.720 it's two separate films, but they sound a lot alike 0:11:19.160 --> 0:11:22.440 title wise. Now, there are four different names that are 0:11:22.480 --> 0:11:26.080 attributed on the screenplay, too credited to uncredited, that you 0:11:26.120 --> 0:11:30.200 find in a couple of the databases. But one of 0:11:30.200 --> 0:11:35.600 the credited screenwriters is Sandro Continentza, who lived nineteen twenty 0:11:35.600 --> 0:11:38.760 through nineteen ninety six. It Talian screenwriter best known for 0:11:38.800 --> 0:11:41.120 such films as nineteen sixty one's Valley of the Lions, 0:11:41.559 --> 0:11:46.360 nineteen seventy eight's The Inglorious Bastards, not the Tarantino one later, 0:11:46.360 --> 0:11:49.600 but Tarantino was a drawing on that title, nineteen sixty 0:11:49.600 --> 0:11:52.840 one's Hercules in the Haunted World, and really just a 0:11:52.920 --> 0:11:58.120 long list of thrillers, action movies, horror movies, comedies and more. Okay, 0:11:58.360 --> 0:12:02.439 the other name is credited is or Solo Costia. This 0:12:02.640 --> 0:12:07.680 is an Italian screenwriter dates unknown, whose filmography includes work 0:12:08.080 --> 0:12:12.040 apparently uncredited work on nineteen sixties Black Sunday and such 0:12:12.080 --> 0:12:16.040 films as nineteen seventy seven's YETI Giant of the twentieth Century, 0:12:16.320 --> 0:12:20.120 which stars Tony Kendall and a King Kong sized YETI. 0:12:20.320 --> 0:12:23.560 Wait a minute, this nineteen sixties, that's the Mario Bava 0:12:23.559 --> 0:12:27.160 Black Sunday, right, yeah, yeah, yeah, Oh that's a fantastic 0:12:27.200 --> 0:12:27.960 horror movie. 0:12:28.280 --> 0:12:31.599 Yeah. So I don't know to what degree the screenwriter 0:12:31.800 --> 0:12:35.080 actually worked on it, but there's at least an uncredited 0:12:35.240 --> 0:12:37.440 tagging on that. And then there are a couple of 0:12:37.440 --> 0:12:42.520 other Spanish screenwriters who are uncredited. There's Miguel Rubio and 0:12:42.800 --> 0:12:47.920 one Cobos. Both of those are individuals who, like Rubio, 0:12:47.960 --> 0:12:50.080 did a number of Spanish romance as it looks like, 0:12:50.640 --> 0:12:55.120 and Cobos did various westerns, thrillers, et cetera. Now getting 0:12:55.120 --> 0:12:57.600 into the cast here, it apparently depends on where it 0:12:57.640 --> 0:13:02.160 was released, who got top billing and so. But the character, 0:13:03.160 --> 0:13:05.480 I guess she's one of our two main characters in 0:13:05.520 --> 0:13:08.800 this and that is Edna the city girl, played by 0:13:09.080 --> 0:13:12.920 Christina Galbo. She was born nineteen fifty was a Spanish 0:13:13.040 --> 0:13:15.880 child actor who later worked in various films, a number 0:13:15.880 --> 0:13:18.480 of horror films, but also some dramas in there as well. 0:13:18.760 --> 0:13:22.000 Her credits include the Western from nineteen sixty eight, Twice 0:13:22.040 --> 0:13:25.200 a Judas with klaus Kinski, nineteen sixty nine is the 0:13:25.280 --> 0:13:28.280 House that Screamed, nineteen seventy two is what have You 0:13:28.360 --> 0:13:31.920 Done to Solange? And nineteen seventy five's The Killer Must 0:13:32.000 --> 0:13:35.120 Kill Again. Oh, and then also a nineteen eighty one 0:13:35.200 --> 0:13:40.240 film titled Sober Natural which just looks amazing. It's also 0:13:40.280 --> 0:13:42.000 known as Return of the Poultergeist. 0:13:42.280 --> 0:13:45.440 Oh, this is the verk Beast movie that you shared 0:13:45.480 --> 0:13:48.080 the cover box and the box art with me on. 0:13:48.400 --> 0:13:51.960 Yeah, yeah, this is what a Dutch VHS cover that 0:13:52.000 --> 0:13:55.200 I found here and I have read some reviews that say, 0:13:55.280 --> 0:13:59.640 don't go into this film sober natural expectant return of 0:13:59.640 --> 0:14:04.400 the Poulter, expecting to get this level of insanity, but 0:14:04.760 --> 0:14:07.000 it's it's supposedly interesting. 0:14:07.040 --> 0:14:10.280 Nonetheless, I'm sorry it was so funny because the Dutch 0:14:10.480 --> 0:14:13.800 language on the cover you shared with has this like 0:14:13.960 --> 0:14:18.720 tagline that says zell hit bosa over women, which I 0:14:18.760 --> 0:14:20.880 think means like will evil prevail. 0:14:21.360 --> 0:14:23.680 I don't know, I haven't seen it. I don't know 0:14:23.720 --> 0:14:24.720 how it turns out. 0:14:24.840 --> 0:14:28.040 It might, but it's got the verk beast standing there, 0:14:28.160 --> 0:14:32.200 like clutching some kind of glowing skull over his crotch. 0:14:32.320 --> 0:14:35.280 It's yeah, or like his belly has a ghost in 0:14:35.320 --> 0:14:39.440 it or something. It's it's very intriguing. Yeah. Anyway, the 0:14:39.760 --> 0:14:43.920 actor here, Galbo Christina goalbouh quite good in this It's, 0:14:44.120 --> 0:14:46.360 as we'll discuss, it's a role that does limit her 0:14:46.360 --> 0:14:50.000 to a fair amount of screaming and being afraid. But 0:14:50.440 --> 0:14:53.040 you know, so it's essentially kind of a scream queen role. 0:14:53.480 --> 0:14:55.000 But I think she's really good in it. 0:14:55.640 --> 0:14:58.480 I mean, I would say that the acting in this 0:14:58.560 --> 0:15:01.200 movie is good for what the movie calls for, which 0:15:01.240 --> 0:15:05.640 is not very nuanced performances. The roles in this movie 0:15:06.080 --> 0:15:10.359 are painted with a broad brush, but in that capacity, 0:15:10.600 --> 0:15:12.320 the cast is by and large very good. 0:15:12.720 --> 0:15:16.440 Now, our central we kept calling him a hippie, but 0:15:17.640 --> 0:15:19.160 it might be more accurate to think of him as 0:15:19.200 --> 0:15:22.480 a rocker. I don't know. There's a lot to dissect there. 0:15:22.760 --> 0:15:24.880 I've got a note on this later in the plot. 0:15:25.080 --> 0:15:27.320 All right, well, we'll get back to this. But this 0:15:27.480 --> 0:15:31.280 is George. George is played by Ray Lovelocke, who lived 0:15:31.360 --> 0:15:35.000 nineteen fifty through twenty seventeen. He was an Italian actor 0:15:35.040 --> 0:15:38.400 and musician. His father was English, his mother was Italian. 0:15:38.720 --> 0:15:41.600 But I'm still doubtful he's doing his own English language 0:15:41.640 --> 0:15:44.560 dubbing in this film, because it's very I don't know, 0:15:45.200 --> 0:15:50.720 it's very over the top, it seemed to me, but 0:15:50.760 --> 0:15:51.920 it could be wrong. 0:15:51.960 --> 0:15:56.720 On this, well, it's very loaded with the vernacular markers 0:15:56.840 --> 0:16:01.320 of British English, so just a lot of a lot 0:16:01.360 --> 0:16:03.920 of little you know, like I don't know what you 0:16:03.960 --> 0:16:07.480 call it, a little flourishes, like referring to women as 0:16:07.520 --> 0:16:08.680 birds and stuff. 0:16:09.680 --> 0:16:12.040 So I'm not sure on this this might be his 0:16:12.080 --> 0:16:15.000 own voice. I think everyone is dubbed in this film. 0:16:15.040 --> 0:16:16.520 I think this is one of those pictures where they 0:16:16.520 --> 0:16:21.400 didn't have they weren't actually recording the sound locally, and 0:16:21.400 --> 0:16:24.040 then everybody's coming back in to dub it. But I'm 0:16:24.080 --> 0:16:26.560 not sure if he's doing his own dubbing or not here. 0:16:27.160 --> 0:16:30.760 But at any rate, even if it's just a physical performance, 0:16:30.960 --> 0:16:33.520 he's still pretty good in this. It's so. As a musician, 0:16:33.560 --> 0:16:35.160 he put out a number of singles in Italy and 0:16:35.240 --> 0:16:38.359 Japan in the late sixties and then early to mid seventies, 0:16:38.760 --> 0:16:42.560 and as an actor, his credits include sixty seven's Django 0:16:42.720 --> 0:16:47.240 Kill if You Live Shoot, also Norman Jewison's nineteen seventy 0:16:47.240 --> 0:16:48.920 one adaptation of Fiddler on the Roof. 0:16:49.040 --> 0:16:51.000 Oh who does he play in that? Fiddler? 0:16:52.360 --> 0:16:53.680 Let's see, I have to look it up again. 0:16:54.000 --> 0:16:58.240 Okay, let me look it up. Hold on Oh, Okay. 0:16:57.880 --> 0:17:03.240 He plays Fiedka, who is a Christian farmer who is 0:17:03.800 --> 0:17:06.560 the husband married by the third daughter Hava. 0:17:07.280 --> 0:17:09.679 Okay, it's been a I think I saw Fiddler on 0:17:09.720 --> 0:17:11.639 the Roof, this version of it with Topaul in it 0:17:11.920 --> 0:17:14.280 when I was a child, but all I remember is 0:17:14.359 --> 0:17:15.199 just some of the singing. 0:17:15.680 --> 0:17:18.040 I always loved Fiddler on the Roof. I think his 0:17:18.200 --> 0:17:20.480 role in this is sad because when have falls in 0:17:20.480 --> 0:17:22.399 love with Fiedka and they want to get married, that 0:17:22.640 --> 0:17:26.000 this is what Tevia finally like, won't accept and he says, no, no, 0:17:26.160 --> 0:17:27.560 I will not accept it. 0:17:27.600 --> 0:17:29.280 Is there a scene in Fiddler on the Roof where 0:17:29.280 --> 0:17:30.520 someone plays a fiddle on the roof? 0:17:30.760 --> 0:17:32.720 Yes, yeah, okay, it's at the beginning. 0:17:32.800 --> 0:17:35.040 Yeah, I thought, I mean, I had that image of 0:17:35.080 --> 0:17:37.280 my mind, but I was suddenly second guessing myself, Like 0:17:37.359 --> 0:17:40.439 maybe I since I saw it as a kid and 0:17:40.480 --> 0:17:43.040 I remember the title, I would just create the memory 0:17:43.480 --> 0:17:46.080 of toppaal singing on the roof. I need to see 0:17:46.080 --> 0:17:50.159 it again clearly anyway. There are other pictures that Lovelock 0:17:50.280 --> 0:17:54.199 was in, including the nineteen seventy four Romberto Lindsay police 0:17:54.200 --> 0:17:59.640 thriller Almost Human and the nineteen seventy five Jallo film Autopsy. Oh, 0:17:59.720 --> 0:18:03.680 and also in Luccio Fulci's nineteen eighty four musical Murder Rock. 0:18:04.080 --> 0:18:05.920 That's the gory horror musical. 0:18:06.680 --> 0:18:09.600 Yes, yeah, I actually have a blu ray of it, 0:18:09.720 --> 0:18:12.400 but I haven't watched it yet. So at some point 0:18:12.440 --> 0:18:14.840 I'll check that out and see if it's if it 0:18:14.920 --> 0:18:16.720 is something for Weird House, or if it's something just 0:18:16.760 --> 0:18:19.960 for me. We'll see, okay, all right. We also have 0:18:20.280 --> 0:18:23.479 an authority figure in this picture, and that is the 0:18:23.520 --> 0:18:28.600 inspector who is not a rural police inspector like he 0:18:28.640 --> 0:18:32.120 seems to have come in from the city himself because 0:18:32.119 --> 0:18:34.840 he's staying at the hotel. He doesn't have a local residence. 0:18:35.600 --> 0:18:40.119 But this character is played by Arthur Kennedy, not a 0:18:40.160 --> 0:18:43.720 brit not an Italian or a Spanish actor. An American 0:18:43.760 --> 0:18:47.000 actor of stage and screen who won a nineteen forty 0:18:47.040 --> 0:18:49.480 nine Tony Award for his role in the original production 0:18:49.520 --> 0:18:52.639 of Arthur Miller's Death of a Salesman and was a 0:18:52.680 --> 0:18:55.600 five time Oscar nominee. He worked in a number of 0:18:55.760 --> 0:18:59.280 Arthur Miller's Broadway plays as well, and he was in 0:18:59.320 --> 0:19:02.199 such major films of the forties, fifties, and sixties as 0:19:02.280 --> 0:19:06.439 Lawrence of Arabia, Write Victory, Peyton Place, and Champion. He 0:19:06.480 --> 0:19:09.480 worked a lot in Europe later in his career. This 0:19:09.600 --> 0:19:13.040 is the second Arthur Kennedy movie that we've discussed on Weirdhouse, 0:19:13.080 --> 0:19:15.480 because it was in The Humanoid from nineteen seventy nine. 0:19:16.160 --> 0:19:19.760 It was an Italian star Wars ripoff, right, Yeah, Yeah, 0:19:20.000 --> 0:19:23.760 the one that had what's his name in it, oh, 0:19:23.840 --> 0:19:25.640 Richard Keel or Kyle Keel. 0:19:25.800 --> 0:19:29.480 Oh yeah, yeah, yeah, yeah. He plays the titular humanoid, 0:19:29.520 --> 0:19:30.240 I believe. 0:19:30.000 --> 0:19:33.000 Mm hmm, yeah, I forgot Arthur Kennedy was in that. 0:19:34.320 --> 0:19:38.359 Well. In this he's just a snarling fascist police inspector 0:19:38.400 --> 0:19:42.520 who has absolutely had it up to here with the hippies. Yes, 0:19:42.680 --> 0:19:45.879 and it's it's difficult to figure out his accent in this. 0:19:46.040 --> 0:19:46.359 I was. 0:19:48.080 --> 0:19:50.960 I must I'm guessing, like, since the film is supposed 0:19:51.000 --> 0:19:53.639 to take place near the Scottish border in what Cumbria, 0:19:53.960 --> 0:19:56.000 I was thinking, well, maybe he's going for a Scottish 0:19:56.080 --> 0:19:56.840 accent here. 0:19:57.359 --> 0:20:01.000 No, to the extent that he is tempting an accent, 0:20:01.200 --> 0:20:04.000 I think he's going for Irish, not Scottish. But it's 0:20:04.080 --> 0:20:07.560 but why why No, It's almost as bad as Kevin 0:20:07.640 --> 0:20:13.120 Costner and Robin Hood. He just alternating freely between attempting 0:20:13.160 --> 0:20:16.040 an accent and not at all. And in the cases 0:20:16.080 --> 0:20:19.120 where he does actually alter his accent, I do think 0:20:19.119 --> 0:20:21.560 he's trying for Irish, but there are plenty of scenes 0:20:21.560 --> 0:20:24.119 where it's just nothing, not even trying. He has a 0:20:24.320 --> 0:20:28.520 gravelly American voice. I guess it's just his natural voice, 0:20:28.560 --> 0:20:31.080 and he sounds kind of like you imagine the voice 0:20:31.119 --> 0:20:34.560 of William Holden, you know, a kind of rough, gravelly 0:20:35.800 --> 0:20:38.520 core American accent, and I'd say this is what we 0:20:38.600 --> 0:20:39.879 hear at least half the time. 0:20:40.840 --> 0:20:44.440 Yeah, now trying to figure out the accent itself. Aside, 0:20:44.920 --> 0:20:48.239 I think he is a very convincing screen presence in 0:20:48.280 --> 0:20:52.480 the film. Like you. Again, maybe not the most nuanced 0:20:52.600 --> 0:20:55.240 character of all time here, but just as a just 0:20:55.320 --> 0:21:00.560 as an absolute authority figure villain to menace our our 0:21:00.600 --> 0:21:05.120 freethinking youths or supposedly freethinking youths, I think he's pretty great. 0:21:05.200 --> 0:21:07.720 Like he's just bristling and snarling every time he's on the. 0:21:07.640 --> 0:21:12.280 Screen, basically every scene, he's just decrying the decadence and 0:21:12.359 --> 0:21:15.040 filth of the young and saying, why don't we just 0:21:15.119 --> 0:21:16.000 lock them all up? 0:21:16.480 --> 0:21:19.800 Yeah? Why can't I abuse my power more? If only 0:21:19.880 --> 0:21:24.280 I could abuse my power like a few degrees more 0:21:24.320 --> 0:21:27.160 than we wouldn't have any problems at all. Yeah. Let's 0:21:27.160 --> 0:21:29.919 see some other actors in this of note, Janine Mestri 0:21:30.160 --> 0:21:34.960 plays Katie. Katie West this is the sister of the 0:21:35.040 --> 0:21:40.080 character played by Christina Galbo. So this is Edna's sister Yep, 0:21:40.680 --> 0:21:43.520 she's a major, an important character that kind of brings 0:21:43.560 --> 0:21:46.679 everyone together here. But the actor here was born in 0:21:46.720 --> 0:21:49.720 forty seven, Spanish actor whose work seems to lean more 0:21:49.840 --> 0:21:53.520 historical and more into dramas. But she had a small 0:21:53.600 --> 0:21:56.600 role as a vampire woman in Jess Franco's nineteen seventy 0:21:56.680 --> 0:22:01.000 Dracula movie that had Christopher Lee, Klaskinsky and Herbert Lohm 0:22:01.080 --> 0:22:04.440 in it. Quite a cask, I mean you can guess 0:22:04.480 --> 0:22:05.919 who klows Kinsky played, right. 0:22:06.000 --> 0:22:10.000 Yes, Wade, are you saying not Dracula. 0:22:10.000 --> 0:22:11.880 Not Dragton No, Christopher Lee's Dracula? 0:22:12.240 --> 0:22:17.080 Oh, klaus Kinsey Renfield? Yes, yes, okay, makes sense. 0:22:17.040 --> 0:22:20.520 All right? And then playing Katie's husband Martin West, who 0:22:20.560 --> 0:22:24.360 have Jose Lafonte, Spanish actor with two hundred and four 0:22:24.400 --> 0:22:26.360 almost in two thousand and four, two hundred and four 0:22:26.480 --> 0:22:31.879 varied credits, including nineteen eighty seven's Beaks the movie. Oh 0:22:32.000 --> 0:22:33.440 is that when you've seen what? 0:22:33.680 --> 0:22:35.919 You don't remember us talking about Beaks in the past. 0:22:36.640 --> 0:22:38.000 I don't remind me. 0:22:38.200 --> 0:22:40.280 I think it came up on this show maybe because 0:22:40.320 --> 0:22:45.200 a listener UH asked us what were the worst films 0:22:45.240 --> 0:22:47.320 we've ever seen? And I don't know exactly how to 0:22:47.359 --> 0:22:49.920 answer that. You know, it's hard to put old movies 0:22:49.960 --> 0:22:52.240 on the same scale. You can't consider them all with 0:22:52.320 --> 0:22:54.720 the same criteria. But I think one of the worst 0:22:54.960 --> 0:22:58.080 times I ever had trying to finish watching a movie 0:22:58.200 --> 0:23:01.399 was Beaks, which is a rip off of The Birds, 0:23:01.480 --> 0:23:05.000 but it was like excruciating. It had these high pitched, 0:23:05.560 --> 0:23:09.400 droning synthesizer sounds that were just like needles going into 0:23:09.400 --> 0:23:13.480 your ears. And pair that with overuse of slow motion 0:23:14.320 --> 0:23:17.359 and you can imagine just the nausea and the pain 0:23:17.600 --> 0:23:19.160 of trying to get to the end. 0:23:20.040 --> 0:23:23.919 This was a Renee Cardona junior picture too. All right, well, 0:23:23.960 --> 0:23:26.880 now you've been twice warned to avoid Beaks. We also 0:23:26.920 --> 0:23:29.520 have a character that will become important, Guthrie Wilson, who's 0:23:29.760 --> 0:23:32.959 a tramp. He lives by the river in this rural 0:23:33.080 --> 0:23:36.960 British setting, played by Fernando Hillbeck, who of nineteen thirty 0:23:36.960 --> 0:23:40.679 three through two thousand and nine. I thought Hillbeck was 0:23:40.680 --> 0:23:42.400 interesting in this, and maybe it's more in the way 0:23:42.440 --> 0:23:45.439 he was shot, but he almost has kind of George 0:23:45.480 --> 0:23:50.800 Eastman vibes going on here, very intimidating physical presence. He 0:23:50.880 --> 0:23:53.840 was a Spanish actor mostly a character actor, did a 0:23:53.840 --> 0:23:56.320 lot of work in various genres. One of his biggest 0:23:56.359 --> 0:24:00.199 international credits is I believe he plays like a an 0:24:00.240 --> 0:24:03.920 evil knight or something in Paul Verhoven's nineteen eighty five 0:24:04.080 --> 0:24:06.600 medieval drama Flesh. I guess it's flesh and blood, but 0:24:06.640 --> 0:24:10.520 it's always flesh plus blood, like it's supposed to equal. 0:24:10.320 --> 0:24:14.040 Something equals negative. Fun, I guess because. 0:24:13.840 --> 0:24:17.240 I don't think it's You never really hear it discussed 0:24:17.280 --> 0:24:19.080 a lot, all right, don't anyway, But anyway, I had 0:24:19.080 --> 0:24:22.439 a great Caves, Rudger Howard, Jennifer Jason Lee, Ronald Lacy, 0:24:23.200 --> 0:24:27.720 Brian James. So yeah, fun cast, I love, I love Verhoven. 0:24:27.800 --> 0:24:30.080 I've never seen Oh yeah, yeah I would. 0:24:30.160 --> 0:24:32.880 It's on my radar. Is something I want to check 0:24:32.920 --> 0:24:36.200 out at some point, like as the Paul Verhoven movies 0:24:36.240 --> 0:24:39.480 that that I'm familiar most people are familiar, like It's 0:24:39.560 --> 0:24:43.040 It's It's it's gonna be the RoboCop, It's going to 0:24:43.119 --> 0:24:48.000 be total recall, it's gonna be like that caliber of film, 0:24:48.000 --> 0:24:50.959 which which is great. I mean, those are are perfect 0:24:51.000 --> 0:24:53.600 films in their own way, But I am curious at times, 0:24:53.640 --> 0:24:56.480 like what what are the predecessors to that, you know 0:24:56.520 --> 0:25:00.000 what sort of brought him to the international scene. Yeah, 0:25:00.240 --> 0:25:10.520 I just haven't seen any of those, all right, we 0:25:10.560 --> 0:25:12.640 also have This is a minor character, but I don't 0:25:12.680 --> 0:25:15.080 want to mention him because he's kind of I kept 0:25:15.080 --> 0:25:17.199 thinking of him as the discount Peter Cushing in this. 0:25:18.520 --> 0:25:20.159 Perhaps a lot of this has to do is just 0:25:20.160 --> 0:25:22.160 the shape of his skull and the way he's presented. 0:25:22.240 --> 0:25:27.560 But vincente Vega plays doctor Dufffield. Dates unknown on the 0:25:27.920 --> 0:25:30.480 two databases I was looking at, but he's been inactive 0:25:30.520 --> 0:25:34.480 since nineteen seventy nine, so I suspect he maybe did. 0:25:35.040 --> 0:25:39.160 But anyway, the actor himself seems to have fairly had 0:25:39.240 --> 0:25:42.480 had a fairly diverse career, and I acted in various dramas, 0:25:42.520 --> 0:25:43.640 even some Shakespeare. 0:25:43.720 --> 0:25:45.680 I can see why you would say Cushing because they 0:25:45.720 --> 0:25:49.320 bring him in to be the kind of thin angular, clinical, 0:25:50.080 --> 0:25:51.080 semi good guy. 0:25:52.400 --> 0:25:54.400 Yeah, kind of has a grim demeanor. 0:25:54.720 --> 0:25:57.840 Yeah, he's almost a good guy in the movie, but 0:25:57.880 --> 0:26:00.640 he can't fully be that way because he's too closely 0:26:00.680 --> 0:26:03.760 aligned with science. This is a major problem. 0:26:04.080 --> 0:26:08.359 Yeah, this film seems to have some definite opinions about 0:26:08.440 --> 0:26:10.159 science and its overreach. 0:26:10.359 --> 0:26:12.520 Yeah, we'll get to that in the plot section. 0:26:12.520 --> 0:26:16.760 All right. It's worth noting that there are multiple individuals 0:26:16.800 --> 0:26:20.520 that are credited with the makeup and the special effects, 0:26:20.560 --> 0:26:24.919 but Gianetto de Rosi is credited as makeup artist and 0:26:24.960 --> 0:26:28.320 special optical effects here. He lived nineteen forty one through 0:26:28.440 --> 0:26:31.440 twenty twenty one, and de Rosi was a big name 0:26:31.760 --> 0:26:35.040 in both Italian and American films, with a noted specialty 0:26:35.359 --> 0:26:39.919 in prosthetic appliances for gory movies. So, I mean, this 0:26:40.000 --> 0:26:42.000 is a zombie movie, so you know what that means, 0:26:42.160 --> 0:26:45.000 scenes in which people have parts of their anatomy ripped 0:26:45.200 --> 0:26:49.960 open or ripped off and eaten by bloodthirsty creatures. 0:26:51.160 --> 0:26:54.240 I am not really a gore hound, you know, That's 0:26:54.280 --> 0:26:56.280 not what I usually come to a movie for. But 0:26:56.320 --> 0:26:58.239 the stuff in this movie is good. That there are 0:26:58.320 --> 0:27:02.639 scenes of zombies like pulling people's guts out and chound 0:27:02.680 --> 0:27:05.280 down on them and stuff, and it's quite convincing. 0:27:05.640 --> 0:27:09.439 Yeah, And I mean everyone's tolerance level for this is 0:27:09.440 --> 0:27:12.119 going to vary. For my taste level, I felt like 0:27:12.840 --> 0:27:16.400 they gave us just enough for it to be shocking 0:27:17.200 --> 0:27:19.680 within the context of the film without feeling like the 0:27:20.640 --> 0:27:24.000 camera is really lingering too long, either on the effects 0:27:24.240 --> 0:27:29.280 or on the like the intended blood and gore itself. Anyway, 0:27:29.320 --> 0:27:31.880 de Rosi's credits are are pretty robust. I mean, they're 0:27:31.880 --> 0:27:33.680 all over the place, and I'm not even going I 0:27:33.680 --> 0:27:35.200 didn't list all of them here, and I'm not gonna 0:27:35.200 --> 0:27:38.200 read all the ones I listed. But he worked on 0:27:38.640 --> 0:27:42.479 The Humanoid, which we already referenced. He worked on nineteen 0:27:42.560 --> 0:27:46.760 eighties Cannibal Apocalypse, which we've covered on the show. He 0:27:47.480 --> 0:27:50.200 worked on a film I've never seen, but this title 0:27:50.359 --> 0:27:54.199 never fails to make me snicker is nineteen eighties Doctor 0:27:54.200 --> 0:27:59.560 Butcher MD, which I don't know. I just I'm always 0:27:59.560 --> 0:28:02.840 intrigued that there's Doctor Butcher empty. 0:28:02.560 --> 0:28:06.399 But anyway, as well, I like that it's opposed to 0:28:06.840 --> 0:28:10.040 Doctor Butcher, like Masters of Education or something. 0:28:11.560 --> 0:28:15.040 Yeah, but yeah. He has also worked on Full Cheese, 0:28:15.040 --> 0:28:18.000 The Beyond House by the Cemetery, which we've also talked about, 0:28:18.240 --> 0:28:22.160 Piranha two in eighty one, Conan the Destroyer in eighty four. 0:28:22.320 --> 0:28:24.399 He did the you remember Andre the Giant is in 0:28:24.440 --> 0:28:29.360 that as this like big like statue monster creature. Hmm, okay, 0:28:29.760 --> 0:28:32.280 well he was responsible for the monster effects there. He 0:28:32.359 --> 0:28:35.720 worked on nineteen eighty four's Dune. He was one of 0:28:35.760 --> 0:28:38.040 the people who brought the Guild Navigator to life. 0:28:38.320 --> 0:28:41.200 Oh yeah, even though the Guild Navigator doesn't really show 0:28:41.280 --> 0:28:43.240 up in the first Dune novel, but they had to 0:28:43.240 --> 0:28:44.400 get him in the Lynch movie. 0:28:44.640 --> 0:28:46.880 Yeah, there's like, we gotta get get him in there, 0:28:46.920 --> 0:28:48.640 and let's cart him in and it's a great scene. 0:28:48.640 --> 0:28:51.200 I mean, say what you will about that adaptation of Doune. 0:28:51.240 --> 0:28:54.840 It's visually enthralling. Anyway. He has some other lists that 0:28:55.160 --> 0:29:01.000 go on up into into subsequent periods of motion picture here, 0:29:01.040 --> 0:29:05.280 including two thousand and three's High Tension aka Switchblade Romance, 0:29:05.680 --> 0:29:09.160 which was a film I enjoyed when it came out. 0:29:09.200 --> 0:29:10.840 I haven't gone back and watched it again. It's not 0:29:10.840 --> 0:29:15.080 a film that really bears a lot of revisiting, but 0:29:15.720 --> 0:29:18.520 the first viewing is pretty fun and it does have 0:29:18.560 --> 0:29:19.719 some gross gore in it. 0:29:20.000 --> 0:29:21.960 Sorry, I'm just looking at the credits you listed from 0:29:22.000 --> 0:29:24.480 the nineties where he did Dragon Heart, which is that 0:29:24.640 --> 0:29:30.560 Sean Connery cgi Dragon movie. Yeah, man, And then he 0:29:30.640 --> 0:29:35.200 did the he did the Conan ripoff that had Kevin 0:29:35.240 --> 0:29:37.479 Sorbo from TV's Hercules in it. 0:29:37.960 --> 0:29:41.280 Yep. Cole the Conqueror. Yeah, also nineteen ninety eight's The 0:29:41.280 --> 0:29:43.320 Man in the Iron Mask in there. So, like I say, 0:29:43.320 --> 0:29:46.840 he worked on a wide variety of pictures from low 0:29:46.880 --> 0:29:53.760 budget grindhouse affair to maybe even worse stuff than that, 0:29:54.280 --> 0:29:57.120 but then also some big pictures as well. And so 0:29:57.480 --> 0:29:58.959 any of these films, you know, if you check them out, 0:29:59.000 --> 0:30:01.760 well at least they're going to have maybe an interesting 0:30:02.000 --> 0:30:06.280 gut rip sequence in them or something a neat monster effect, 0:30:06.360 --> 0:30:10.120 that sort of thing. Finally, the music on this one, 0:30:10.560 --> 0:30:14.160 I was really enthralled by. This film has really nice 0:30:14.160 --> 0:30:18.600 sound design and really nice music. And the credit musician 0:30:18.680 --> 0:30:23.840 here is Guliano SORGINI dates. I couldn't find the dates 0:30:23.880 --> 0:30:28.160 for him. I think he's still around though, Italian composer 0:30:28.160 --> 0:30:31.080 and keyboardist whose work in this film is really good. 0:30:31.360 --> 0:30:36.320 In my opinion, it's very creepy and unsettling, definitely electronic. 0:30:37.040 --> 0:30:40.160 This was his first score, and I don't know, it's 0:30:40.200 --> 0:30:42.480 kind of all downhill from here in terms of the 0:30:42.480 --> 0:30:45.440 film quality. The quality of the films he was attached to. 0:30:46.000 --> 0:30:47.720 I'm not even going to list all of these because 0:30:47.720 --> 0:30:50.880 some of these are really skeazy. But he followed this 0:30:51.000 --> 0:30:53.560 up with the scores for a number of Spanish exploitation 0:30:53.680 --> 0:30:56.360 films of the nineteen seventies. Some real trash in there, 0:30:56.360 --> 0:30:59.680 some of it just notoriously so. But the score for 0:31:00.160 --> 0:31:03.160 Sleeping Corpses Lie has been released on various formats a 0:31:03.240 --> 0:31:06.320 number of times, and his non film work is also 0:31:06.360 --> 0:31:09.720 available on streaming sites. Over the weekend, I was listening 0:31:09.760 --> 0:31:15.760 to streaming a record titled Occulto and it is supposed 0:31:15.760 --> 0:31:19.040 to be I believe ten unreleased tracks from his archives, 0:31:19.040 --> 0:31:22.600 so stuff that he was putting together and composing in 0:31:22.640 --> 0:31:26.040 the nineteen seventies for film that just wasn't used. And 0:31:26.080 --> 0:31:31.000 it's really good stuff. If you like like nineteen seventies cinemas, 0:31:31.280 --> 0:31:34.120 synth and the kind of stuff that would show up 0:31:34.120 --> 0:31:36.880 on a Spanish or an Italian horror picture, then this 0:31:36.960 --> 0:31:37.880 is right up your alley. 0:31:38.800 --> 0:31:40.720 I've been meaning to listen to it. I haven't gotten 0:31:40.760 --> 0:31:42.960 to it yet, but I believe you. 0:31:43.520 --> 0:31:45.360 Well, I just have to say this. If you do 0:31:45.480 --> 0:31:48.920 listen to it, Joe, make sure the windows are shut, Okay, 0:31:49.600 --> 0:31:52.600 don't open the window. Well, should we let Sleeping Corpses 0:31:52.640 --> 0:31:54.600 lie here and just call it an episode? Or should 0:31:54.600 --> 0:31:56.240 we get into the plot of this, and I think 0:31:56.280 --> 0:32:01.400 we should disturb the corpses. Yes, okay, so let's see. 0:32:01.400 --> 0:32:05.480 The movie opens strangely quiet. We come up cold, no 0:32:05.560 --> 0:32:09.120 credits yet, in an art shop full of pieces, both 0:32:09.160 --> 0:32:13.520 old and new, and we've got this handsome, bearded, blonde, 0:32:13.960 --> 0:32:17.720 slightly Robert redfordish looking guy who's closing up. I don't know, 0:32:17.760 --> 0:32:22.240 maybe somewhere between Redford kind of a bearded young Mark Hamill. 0:32:23.160 --> 0:32:26.320 Then again, the hair beard combination also kept making me 0:32:26.360 --> 0:32:28.520 think of Kurt Russell, though he doesn't really look like 0:32:28.600 --> 0:32:31.800 him at all in the face. But this is George, 0:32:31.880 --> 0:32:34.520 this is Ray Lovelocke, and he will be I guess, 0:32:34.600 --> 0:32:37.480 one of our two protagonists. So we see him getting 0:32:37.480 --> 0:32:37.760 ready to. 0:32:37.800 --> 0:32:41.000 Leave the store. I guess he's the shopkeeper. And you know, 0:32:41.200 --> 0:32:43.440 we're panting around seeing all this stuff. The store has 0:32:43.440 --> 0:32:49.320 everything from antique fertility statues to cubist paintings of fish. 0:32:48.640 --> 0:32:51.640 And I just noticed when looking back, it goes by 0:32:51.760 --> 0:32:54.640 very fast. But Rob, did you notice there is a 0:32:54.640 --> 0:32:57.960 telephone on the desk and then a clay statue of 0:32:58.000 --> 0:33:00.600 a telephone sitting right across from it. Look at this. 0:33:01.200 --> 0:33:04.120 Yeah, I did not notice this during my viewing of 0:33:03.920 --> 0:33:06.760 the film. But yeah, there's no denying it. What is 0:33:06.800 --> 0:33:12.280 that for, I don't know. It's one gets the impression 0:33:12.280 --> 0:33:16.040 that these are pieces of art from cultures around the world. 0:33:16.520 --> 0:33:19.760 So maybe this is just a mimicry of a telephone 0:33:19.760 --> 0:33:20.880 from some culture. 0:33:20.760 --> 0:33:22.600 The traditional art of Manchester. 0:33:24.600 --> 0:33:27.160 Maybe it's the first telephone. I don't know. Oh, maybe 0:33:27.520 --> 0:33:28.520 so many telephones. 0:33:28.960 --> 0:33:32.040 Yeah, So George gets what it gets this ancient looking 0:33:32.080 --> 0:33:34.920 fertility statue, and he stashes it in his bag as 0:33:34.960 --> 0:33:37.080 he's heading out the door. He leaves a sign up 0:33:37.080 --> 0:33:39.600 that says closed for the holidays. And then I thought 0:33:39.600 --> 0:33:42.280 this was funny. We get like an extreme close up 0:33:42.320 --> 0:33:45.320 of the guts of this guy's motorcycle as he is 0:33:45.400 --> 0:33:47.880 driving away. You know, the camera's right up in the 0:33:47.920 --> 0:33:48.920 gears and stuff. 0:33:49.240 --> 0:33:51.880 Now, did you get the impression that he was just 0:33:51.920 --> 0:33:55.040 a shopkeeper at this store or that he owned the store? 0:33:55.840 --> 0:33:58.320 And in either case, does he have a right to 0:33:58.360 --> 0:34:00.160 shove this stuff in a bag and take off for 0:34:00.200 --> 0:34:00.680 the country. 0:34:01.240 --> 0:34:04.040 This is a good question. I could not tell that 0:34:04.120 --> 0:34:07.280 it was ever answered in the film. Whether he's taking 0:34:07.320 --> 0:34:09.800 the statue because it belongs to him and he plans 0:34:09.800 --> 0:34:14.040 to sell it and that's fine, or if he's stealing it, yeah, 0:34:14.080 --> 0:34:14.720 I'm not sure. 0:34:15.120 --> 0:34:17.799 His stories about why he's going into the countryside are 0:34:17.840 --> 0:34:20.160 also hard for me to figure out, because at one 0:34:20.160 --> 0:34:23.160 point I'm kind of like, yeah, yeah, they change. He's saying, Oh, 0:34:23.320 --> 0:34:25.960 I'm meeting some people to fix up a house. Yeah, 0:34:26.080 --> 0:34:28.719 we never hear anything else about that. And then it's 0:34:28.760 --> 0:34:30.799 also said that he's taking these things to sell them 0:34:30.800 --> 0:34:33.279 somewhere in the countryside. Yeah, and I'm not sure about 0:34:33.280 --> 0:34:37.799 that either. This has never resolved. Yeah, so in retrospect, 0:34:37.920 --> 0:34:39.600 I'm a little suspicious of George. 0:34:40.040 --> 0:34:43.360 After he leaves the shop, we get a slow zoom 0:34:43.400 --> 0:34:46.839 shot through the space where we see more pieces from 0:34:46.840 --> 0:34:50.799 the collection while these ominous droning sounds and these little 0:34:50.840 --> 0:34:54.160 like hollow hoots and crackles play on the soundtrack, And 0:34:54.200 --> 0:34:57.880 you see a Caesar head and the Holy Grail, and 0:34:57.920 --> 0:35:00.240 then a painting that looks a lot like the post 0:35:00.400 --> 0:35:02.399 for Apocalypse. Now did you notice that? 0:35:02.800 --> 0:35:04.279 Yeah, yeah, I know that you pointed out. 0:35:04.719 --> 0:35:07.120 But right from the beginning. One thing I love about 0:35:07.120 --> 0:35:10.040 this movie is the spooky sound design. It's not just 0:35:10.120 --> 0:35:13.319 the music. There's a lot of just kind of I 0:35:13.320 --> 0:35:17.800 don't know, ambient atmospheric sound effects, kind of droning and worrying, 0:35:18.120 --> 0:35:21.520 as if from distant machines or things coming from underground, 0:35:21.560 --> 0:35:26.040 and these kind of drips and echoing sounds that create 0:35:26.080 --> 0:35:28.640 an ominous feeling. And it's very good stuff. 0:35:29.239 --> 0:35:31.880 Yeah, yeah, you get that feeling of dread even before 0:35:32.200 --> 0:35:33.680 anything starts dripping blood. 0:35:33.960 --> 0:35:37.160 But then suddenly there's green rings a zooming in through 0:35:37.160 --> 0:35:39.960 the screen and we see red eyes on pale faces, 0:35:40.360 --> 0:35:42.520 and then a title card that looks straight out of 0:35:42.520 --> 0:35:45.839 a PowerPoint presentation. It says the Living Dead at the 0:35:45.840 --> 0:35:49.160 Manchester Morgue. And I'm gonna say this title just does 0:35:49.200 --> 0:35:51.520 not look like it fits the rest of the movie. 0:35:51.560 --> 0:35:53.799 It feels kind of inserted hastily. 0:35:54.200 --> 0:35:56.040 Yeah, if we had more time, it would be interested 0:35:56.080 --> 0:35:58.640 to look at additional title cards for this picture and 0:35:59.000 --> 0:36:01.400 see which ones felt the most authentic. But the other 0:36:01.400 --> 0:36:03.520 this one feels very spliced in anyway. 0:36:03.600 --> 0:36:06.800 We follow the shopkeeper on his motorcycle and he's buzzing 0:36:06.840 --> 0:36:10.120 down the city streets in busy traffic. We see roundabouts, 0:36:10.200 --> 0:36:13.400 double decker buses. I was trying to pause it and 0:36:13.440 --> 0:36:16.000 see what the signs on the buses said. One said, 0:36:16.200 --> 0:36:19.719 next stop magnet Building Society, and I tried to look 0:36:19.719 --> 0:36:21.520 that up and didn't find much. I think that might 0:36:21.560 --> 0:36:25.320 be like a name for an old construction firm. But anyway, 0:36:25.360 --> 0:36:28.400 I was wondering, is this supposed to be Manchester? Because 0:36:28.400 --> 0:36:31.440 there are later comments that make me wonder if it's 0:36:31.440 --> 0:36:33.920 supposed to be London, because somebody's saying, oh, the way 0:36:33.920 --> 0:36:35.840 you're dressed, you must have come up from London. 0:36:36.200 --> 0:36:39.839 Yeah, I noticed that as well. I think this they 0:36:39.880 --> 0:36:44.200 did shoot these scenes in Manchester, so that leans one 0:36:44.239 --> 0:36:47.279 to interpret it as Manchester. But who knows. Again, this 0:36:47.480 --> 0:36:50.960 was not a British film but an Italian Spanish co production, 0:36:51.719 --> 0:36:56.239 so even if it creates a convincing vision of life 0:36:56.320 --> 0:37:00.080 and unlife and Britain, and still like from the outside looking. 0:37:00.560 --> 0:37:02.799 So, George is driving around on the motorcycle, but then 0:37:02.840 --> 0:37:06.279 we see some bits of green English countryside, but then 0:37:06.360 --> 0:37:10.400 that intercuts back with smokestacks, heavy industry. We see a 0:37:10.440 --> 0:37:12.880 man in a trench code weaving his way through the 0:37:12.960 --> 0:37:16.440 rush hour crowd, wearing a surgical mask, and they're actually 0:37:16.480 --> 0:37:19.719 a number of images of people wearing masks or scarves 0:37:19.760 --> 0:37:23.080 over their faces. I wondered if this is supposed to 0:37:23.120 --> 0:37:25.520 be about like air pollution, because there are a lot 0:37:25.560 --> 0:37:28.400 of images coming really fast in this sequence, and a 0:37:28.440 --> 0:37:31.480 lot of them seem to me to be highlighting some 0:37:31.600 --> 0:37:35.400 kind of pollution or chemical themes. We see vapor coming 0:37:35.400 --> 0:37:40.040 out of pipes, steam rising from the sewer, nuclear cooling towers. 0:37:40.120 --> 0:37:44.000 We see paper waste and just litter blowing through a graveyard. 0:37:44.600 --> 0:37:47.480 We see dead rats and the gutters, and then there's 0:37:47.560 --> 0:37:50.680 one we just see a guy taking pills. 0:37:53.120 --> 0:37:55.399 Did really shoehorn in it all in there? Like look 0:37:55.440 --> 0:37:58.840 at the modern world? Manchester is a city of just 0:37:59.719 --> 0:38:03.520 at salute urban decay, right, I mean it's just like 0:38:04.080 --> 0:38:08.640 lots of just like black metal things around, like industrial 0:38:09.920 --> 0:38:12.360 buildings where everything is just so grimy. 0:38:12.760 --> 0:38:15.919 Yeah, so pollution. A guy's sticking pills. And then there's 0:38:15.920 --> 0:38:19.399 a streaker. I kept expecting to find out what this 0:38:19.440 --> 0:38:21.920 meant later, but it never revisited in the movie. There 0:38:21.960 --> 0:38:25.120 is just randomly a streaker running through a crosswalk while 0:38:25.280 --> 0:38:26.839 cars and buses wait at the light. 0:38:27.640 --> 0:38:29.960 Yeah. I mean, on one level, we can definitely interpret 0:38:30.040 --> 0:38:32.160 this as just peer seventies titillation and a way to 0:38:32.280 --> 0:38:35.200 make sure that people kept watching the movie at this 0:38:35.280 --> 0:38:38.200 time period. In this time period, but within the context 0:38:38.200 --> 0:38:40.080 of the film, I think maybe it's supposed to let 0:38:40.160 --> 0:38:43.759 us know that urban England is also a place of 0:38:43.800 --> 0:38:47.800 sort of gleeful liberation, that yeah, it's polluted and gross 0:38:48.760 --> 0:38:52.120 people are wearing masks, but also, hey, here's a naked 0:38:52.160 --> 0:38:53.360 lady running across the street. 0:38:53.840 --> 0:38:56.480 Okay, I guess so I did not know what to 0:38:56.480 --> 0:38:59.880 make of that. So George makes it out of the 0:39:00.160 --> 0:39:03.000 He's riding his motorcycle through the countryside, and I guess 0:39:03.000 --> 0:39:04.680 here maybe is a good place to come back to 0:39:04.760 --> 0:39:09.920 this flag we raised earlier about what George is supposed 0:39:10.000 --> 0:39:14.680 to be, Like, what subculture or cultural stereotype are we 0:39:14.840 --> 0:39:19.160 supposed to understand George's belonging to, Because, as we will 0:39:19.200 --> 0:39:22.560 find out later, the movie is establishing a clear divide, 0:39:22.600 --> 0:39:25.440 with George on the one side of it and the 0:39:25.560 --> 0:39:28.680 Man on the other side, and George is supposed to 0:39:28.760 --> 0:39:33.439 stand in for a counterculture youth rebellion in some way. 0:39:34.080 --> 0:39:37.680 The police inspector character, who is our main representative of 0:39:37.800 --> 0:39:42.479 the man, obviously hates hippies in particular, which would seem 0:39:42.520 --> 0:39:45.080 to indicate that that's what George is supposed to be 0:39:45.080 --> 0:39:48.680 because they clash. But then again, this is nineteen seventy four, 0:39:48.840 --> 0:39:52.200 so it's a little late for your classic movement hippie, 0:39:52.640 --> 0:39:56.080 and George doesn't exactly read to me as hippie anyway. 0:39:56.200 --> 0:39:59.440 He has long hair, yes, but he doesn't display other 0:39:59.520 --> 0:40:03.600 hippie v visual cues or clothing, nor any traces of 0:40:03.680 --> 0:40:06.880 like a make love not war kind of personality. Instead, 0:40:06.960 --> 0:40:10.239 he is just a he's more just kind of like 0:40:10.280 --> 0:40:12.840 a middle finger to the world kind of guy. He 0:40:12.960 --> 0:40:18.800 is a disagreeable, acerbic, sexist, leather clad motorcycle driving jerk. 0:40:21.680 --> 0:40:23.440 So what's your take on this? Do you think he's 0:40:23.480 --> 0:40:26.200 supposed to Is it just kind of like, is this 0:40:26.440 --> 0:40:29.080 what the people who used to be hippies are thought 0:40:29.120 --> 0:40:31.879 to have sort of turned into by nineteen seventy four? 0:40:32.520 --> 0:40:35.919 Yeah? So yeah, So on one level, obviously, when we 0:40:36.000 --> 0:40:40.359 think of British biker gangs and motorcycles, we instantly think 0:40:40.360 --> 0:40:43.959 of Psychomania, Yeah, which would have just been seventy three, 0:40:44.120 --> 0:40:47.320 so basically the same time period. He does not feel 0:40:47.360 --> 0:40:50.640 like he would this character would fit in with the 0:40:50.960 --> 0:40:53.680 Living Dead motorcycle gang of Psychomania, though. 0:40:53.520 --> 0:40:55.600 Oh you don't think so. I kind of feel like 0:40:55.680 --> 0:40:57.880 maybe he could be in Psychomania I don't know. 0:40:58.560 --> 0:41:00.759 I don't I don't think he can get it. He 0:41:00.760 --> 0:41:02.879 didn't care enough. I don't think this guy cares about 0:41:02.920 --> 0:41:06.840 anything as much as the crew in Psychomania cares about 0:41:06.920 --> 0:41:08.400 killing themselves and living forever. 0:41:08.800 --> 0:41:12.000 That's right, the Psychomania, you gotta be really dedicated to 0:41:12.200 --> 0:41:15.879 mayhem and destruction. And George isn't like that. He more 0:41:16.040 --> 0:41:21.760 just like hates authority and hates institutions and just doesn't 0:41:21.800 --> 0:41:22.680 want to be hassled. 0:41:22.760 --> 0:41:25.760 I think, yeah, I was looking poking around a little 0:41:25.760 --> 0:41:27.640 on this because I was thinking, well, I guess maybe 0:41:27.640 --> 0:41:31.880 he is technically this sort of British biker stereotype of 0:41:31.920 --> 0:41:34.840 the day, the rocker, not a mod but a rocker. 0:41:35.600 --> 0:41:39.799 And it does seem like motorcycle culture in Britain from 0:41:39.840 --> 0:41:41.560 from what I I was looking at, like you have 0:41:41.680 --> 0:41:43.839 kind of this earlier version of it where it was 0:41:43.960 --> 0:41:46.440 it was seen as quite quite quite this independent and 0:41:46.920 --> 0:41:50.160 refined thing for you to do, like nice people ride 0:41:50.160 --> 0:41:53.399 motorcycles around the British countryside. But then you get kind 0:41:53.400 --> 0:41:57.480 of this influx of the sort of the American motorcycle 0:41:57.520 --> 0:42:00.440 gang culture, and then you get kind of like the 0:42:00.520 --> 0:42:03.160 hippie culture also affects it, and so you kind of 0:42:03.160 --> 0:42:08.560 get this rocker a version of the rocker stereotype, this 0:42:08.760 --> 0:42:12.480 rocker subculture that I guess George is supposed to be 0:42:12.560 --> 0:42:15.239 a part of. That's my best bet. I should also 0:42:15.360 --> 0:42:18.239 add that, as of now, I have not seen a 0:42:18.239 --> 0:42:21.080 British biker film that doesn't have a zombie in it 0:42:22.040 --> 0:42:24.080 or a living dead creature of one form or another. 0:42:24.160 --> 0:42:26.480 So this is something that this is a question that 0:42:26.560 --> 0:42:30.439 might also be answered by just broader exposure to say, 0:42:30.560 --> 0:42:33.800 biking films of the nineteen seventies that are set in Britain. 0:42:33.960 --> 0:42:37.560 Now, wait, I thought we determined that the undead gang 0:42:37.760 --> 0:42:42.279 in Psychomania were not zombies but lyches or something like that. 0:42:42.360 --> 0:42:45.280 Yeah, they're more like lyitches for sure. Yeah, okay, undead 0:42:45.480 --> 0:42:48.320 but not zombies. 0:42:56.120 --> 0:42:58.760 Okay. But to come back from that tangent, George whatever 0:42:58.800 --> 0:43:01.840 he is, hippie rocker or whatever, he comes up to 0:43:01.960 --> 0:43:04.239 a stop at a full service gas station where there's 0:43:04.280 --> 0:43:06.839 a lady parked in front, parked in front of him, 0:43:06.840 --> 0:43:09.840 and she's getting some petrol and he says, give us 0:43:09.840 --> 0:43:12.759 a fill up, and he runs over to get some 0:43:12.800 --> 0:43:17.400 sweet treats from the pascal stand and I was just looking. 0:43:17.600 --> 0:43:19.920 I love kind of pausing in old movies to look 0:43:19.920 --> 0:43:23.920 at all the I don't know, the ephemeral ads and 0:43:23.960 --> 0:43:25.920 stuff in the windows. And there was one thing I 0:43:25.960 --> 0:43:30.440 found here that was a pin that said it's hanging 0:43:30.480 --> 0:43:33.160 in the windows of the gas station. It says blow 0:43:33.239 --> 0:43:36.520 up a groundhog today, and I was like, what is this? 0:43:36.640 --> 0:43:38.759 But it looks like it was a promotional pin for 0:43:38.840 --> 0:43:42.360 a type of British tires called groundhog tires. 0:43:42.760 --> 0:43:44.279 Yeah, there are a number of fun moments in this 0:43:44.400 --> 0:43:46.920 when they're poking around stores or there at gas stations 0:43:46.920 --> 0:43:50.600 that occasionally there'll be some some logo or cartoon character 0:43:50.640 --> 0:43:52.359 to catch my eye. There's a pink one that shows 0:43:52.440 --> 0:43:55.120 up later. There's like a pink elephant looking creature. 0:43:55.280 --> 0:43:56.839 Oh, I didn't see that one. 0:43:57.160 --> 0:43:59.960 There's something like paraffin or but not paraffin. 0:44:00.239 --> 0:44:03.000 Oh wait, is this what George is going to use 0:44:03.080 --> 0:44:04.960 later to light his axe on fire? 0:44:06.680 --> 0:44:08.879 I don't think so. I don't remember it actually playing 0:44:09.040 --> 0:44:11.040 a part in the plot. It was just me noticing 0:44:11.040 --> 0:44:13.120 it on a shelf and thinking it was cool. All right. 0:44:13.160 --> 0:44:15.480 Well, as George is just getting ready to leave, the 0:44:15.560 --> 0:44:18.279 lady in front of him backs upper car crashes into 0:44:18.320 --> 0:44:22.239 his motorcycle wrexit, destroys his front tire. She gets ound 0:44:22.280 --> 0:44:24.720 and says, I'm so sorry. I must be a little tired, 0:44:25.400 --> 0:44:28.160 and well his bike is all busted up and the 0:44:28.160 --> 0:44:31.680 mechanic says it can't be fixed until Monday. So George 0:44:31.800 --> 0:44:34.400 just insists that the lady give him a ride to 0:44:34.440 --> 0:44:37.560 where he's going, which is Windermere, which is the name 0:44:37.600 --> 0:44:39.960 of a lake and I guess probably the area around 0:44:40.000 --> 0:44:41.320 the lake in northern England. 0:44:41.520 --> 0:44:45.160 Yeah, he's not very easy going, like that's established pretty 0:44:45.200 --> 0:44:48.360 early on. This guy's fussy and bossy and self centered 0:44:49.719 --> 0:44:51.920 and it's not all that agreeable. 0:44:52.120 --> 0:44:54.120 Yeah. He says, like, you'll take me where I'm going, 0:44:54.120 --> 0:44:56.720 It's the least you can do. And then he she's 0:44:56.800 --> 0:44:59.439 just like, well, I guess, and then he says, I'll drive. 0:45:00.040 --> 0:45:01.920 Don't want to go all the way in reverse, do we? 0:45:03.400 --> 0:45:09.920 So the vibes are instantly weird. Yeah, and then she goes, actually, 0:45:10.000 --> 0:45:12.080 you'll be doing me a favor because I have driven 0:45:12.120 --> 0:45:14.200 all the way from London and I'm a little tired, 0:45:14.400 --> 0:45:16.759 and he just says, then go to sleep, and he 0:45:16.880 --> 0:45:19.760 gets in the driver's seat and they drive off, driving 0:45:19.760 --> 0:45:22.640 a car by the way, the approximate size and shape 0:45:22.640 --> 0:45:24.000 of a Galapagos tortoise. 0:45:24.480 --> 0:45:24.680 Yeah. 0:45:24.760 --> 0:45:28.440 Yeah, it's tidy and there's so there's a lot a 0:45:28.480 --> 0:45:32.760 little like character color. While they're driving along, at one point, 0:45:33.280 --> 0:45:35.560 the lady goes to light up a cigarette and he 0:45:35.719 --> 0:45:37.960 just like yoinks it out of her mouth and takes 0:45:37.960 --> 0:45:41.279 it for himself, and they introduce themselves. We find out 0:45:41.320 --> 0:45:44.680 his name is George. She introduces herself as Edna, and 0:45:44.719 --> 0:45:48.120 he goes, you look a little like an Edna. So 0:45:48.280 --> 0:45:50.719 I kept thinking of her as Edna for the rest 0:45:50.719 --> 0:45:54.880 of the film. But we learn about Edna's mission. She's 0:45:55.320 --> 0:45:57.719 up from London to visit her sister who has a 0:45:57.760 --> 0:46:02.320 cottage at Southgate, And while they're driving along, the dude 0:46:02.400 --> 0:46:06.400 starts getting mad at the radio because there is a 0:46:06.600 --> 0:46:12.040 report on there where scientists are talking about how ecological 0:46:12.080 --> 0:46:15.880 problems are exaggerated and there's no reason to get worked 0:46:15.960 --> 0:46:18.160 up about them, and he gets very mad at this. 0:46:18.239 --> 0:46:20.759 He says to Dna, he's like, when we all die, 0:46:20.880 --> 0:46:22.720 only the scientists will survive. 0:46:24.680 --> 0:46:26.920 Yeah. I was kind of taken aback that this movie 0:46:27.200 --> 0:46:29.560 would draw this. You know, obviously it's going to draw 0:46:29.560 --> 0:46:32.080 a line between the rebellious youths of the day and 0:46:32.640 --> 0:46:35.440 the aged establishment at the police and so forth. But 0:46:35.480 --> 0:46:37.880 they just go ahead and heap science in with the 0:46:37.960 --> 0:46:38.760 man as well. 0:46:39.120 --> 0:46:41.640 Yeah, and this is not unique to this film. This 0:46:41.719 --> 0:46:43.600 movie is sort of one of a type. There are 0:46:43.640 --> 0:46:46.239 other horror movies of this period that have this kind 0:46:46.280 --> 0:46:51.080 of I would say it's a shallow, anti intellectual view 0:46:51.120 --> 0:46:54.080 of science that doesn't really understand what science is or 0:46:54.120 --> 0:46:57.239 what it means. And unfortunately there's still plenty of this 0:46:57.320 --> 0:46:59.840 thinking in the world today. But it sort of thinks 0:46:59.840 --> 0:47:02.840 of science not as a word that refers to like 0:47:02.920 --> 0:47:05.800 the totality of the human effort to understand the world 0:47:05.840 --> 0:47:10.680 through empirical method and rigorous experimentation, but instead to refer 0:47:10.800 --> 0:47:13.680 to a cabal of wicked old men who want to 0:47:13.680 --> 0:47:17.640 do unnatural things with chemicals and radiation. 0:47:18.400 --> 0:47:21.000 Yeah, and in a way this hearkens back to the 0:47:21.320 --> 0:47:25.200 mad scientists of older films. But yeah, this was definitely 0:47:25.239 --> 0:47:26.960 a period we saw and we've talked about some of 0:47:26.960 --> 0:47:31.479 these ecological horror films. Sometimes it's the ecological horror going 0:47:31.520 --> 0:47:35.440 on is pollution or you know, it's chemical or it's 0:47:36.520 --> 0:47:41.000 certainly radiation, and then sometimes it's it's very distant, it 0:47:41.000 --> 0:47:43.960 doesn't have a face, it doesn't have a mad scientist 0:47:44.000 --> 0:47:45.919 at the center of it. There's more of the sense 0:47:45.960 --> 0:47:47.200 of bureaucracy to it. 0:47:47.600 --> 0:47:49.600 Yeah, in this movie, I would say, is more like that. 0:47:49.760 --> 0:47:52.040 Like we don't even know the person who invented the 0:47:52.080 --> 0:47:55.680 machine in this movie that will raise the dead. We 0:47:55.719 --> 0:47:58.440 only see some kind of low level functionaries bringing it 0:47:58.440 --> 0:48:00.200 out to the field to implement it. 0:48:00.440 --> 0:48:02.759 Yeah, and when we see it, it looks nice. It 0:48:02.800 --> 0:48:08.000 doesn't look particularly suspect, but it is modern and shiny 0:48:08.080 --> 0:48:10.839 and ultimately poses a threat. Yeah. 0:48:10.880 --> 0:48:13.480 But again, like I think it's funny that the radio 0:48:13.600 --> 0:48:17.200 broadcast here in the movie is used specifically to introduce 0:48:17.280 --> 0:48:21.600 us to scientists, as like the voices who tell people 0:48:21.680 --> 0:48:25.120 not to worry about ecological problems or pollution and just 0:48:25.200 --> 0:48:28.279 ignore it. The irony being that in reality, like if 0:48:28.320 --> 0:48:32.360 you know about ecological threats like I don't know, like 0:48:32.840 --> 0:48:36.000 how did we find out about ozone depletion, or like 0:48:36.040 --> 0:48:39.360 the human health effects of environmental lad from gasoline and 0:48:39.400 --> 0:48:42.160 other sources. Here it's all like paved over. Like I 0:48:42.200 --> 0:48:45.400 guess if George in this movie met Claire Cameron Patterson, 0:48:45.480 --> 0:48:47.719 he would like call him a twisted old geezer and 0:48:47.760 --> 0:48:51.680 punch him in the face. But it's like, you know, 0:48:51.760 --> 0:48:55.799 we are often made aware of these ecological threats, specifically 0:48:55.840 --> 0:48:59.160 because of the work of scientists. Anyway, get off the 0:48:59.200 --> 0:49:02.360 hobby horse. So back on the journey. There is a 0:49:02.400 --> 0:49:05.320 really funny scene where they get stuck behind a City 0:49:05.360 --> 0:49:10.080 of Manchester mortuary truck and they're weaving back and forth wildly. 0:49:10.200 --> 0:49:13.200 George is driving, of course, and he performs a hideously 0:49:13.320 --> 0:49:17.120 reckless passing maneuver, like driving off into the grass. I 0:49:17.120 --> 0:49:19.319 guess this is to show he's like, he's cool and 0:49:19.360 --> 0:49:22.640 he doesn't play by the rules. And so they're going 0:49:22.640 --> 0:49:26.080 to Windermere. George says it's because he has a house there. Again, 0:49:26.120 --> 0:49:28.200 his story kind of keeps changing, but he says he 0:49:28.239 --> 0:49:30.320 has a house in the country. He says it's away 0:49:30.360 --> 0:49:33.279 from industry and city life and he likes to sit 0:49:33.320 --> 0:49:36.120 there and be natural and listen to the grass grow. 0:49:36.480 --> 0:49:39.120 But this leads to an argument because Edna needs to 0:49:39.160 --> 0:49:42.480 go to Southgate to meet her sister to go to 0:49:42.520 --> 0:49:45.640 her cottage. So they argue, and then eventually they decide, okay, 0:49:45.680 --> 0:49:49.120 he'll take her to Southgate and here is they're going through. 0:49:49.160 --> 0:49:53.480 There is absolutely marvelous scenery. I love the locations picked out. 0:49:53.800 --> 0:49:56.239 I assume most of these are in Britain because they 0:49:56.239 --> 0:49:57.640 look like Britain. I don't know if some of them 0:49:57.640 --> 0:50:01.880 were actually Italian. But for examp, they come across this 0:50:01.960 --> 0:50:04.799 kind of craggy relic of an abbey or something on 0:50:04.840 --> 0:50:08.560 these green cliffs overlooking a road down at the bottom 0:50:08.560 --> 0:50:11.520 of the ravine, and I was wondering. I think some 0:50:11.600 --> 0:50:15.480 parts of this movie were shot at Tintagil, which is 0:50:15.520 --> 0:50:19.440 like a medieval Cornish fortress down in the southwest of England, 0:50:19.880 --> 0:50:22.720 and it might have been the sequence, but I'm not sure. 0:50:22.880 --> 0:50:24.480 But yeah, there are a number of sequences here where 0:50:24.520 --> 0:50:29.280 it's like lush, green landscape surrounding them and these winding 0:50:29.360 --> 0:50:33.280 isolated roads. Yea, and it's quite beautiful. But of course 0:50:34.400 --> 0:50:37.279 the film score, the sound effects that we hear the 0:50:37.360 --> 0:50:42.680 droning begins to make a suspect that there's something else 0:50:42.719 --> 0:50:45.040 going on here. There's something underneath the surface of all 0:50:45.080 --> 0:50:46.280 of this natural beauty. 0:50:46.520 --> 0:50:49.920 Yes, certainly. Now they get lost, of course, so they 0:50:50.160 --> 0:50:53.200 got to ask for directions at a nearby farm, and 0:50:53.320 --> 0:50:55.120 there's a scene where George he's going to go ask 0:50:55.160 --> 0:50:57.160 for directions. So he leaves Edna in the car, and 0:50:57.200 --> 0:50:59.680 it looks like he has to cross a stream and 0:50:59.719 --> 0:51:01.919 clim i'm a mountain to get to the farm where 0:51:01.920 --> 0:51:03.840 he's going to ask for directions. It looks like it 0:51:04.480 --> 0:51:07.760 is a ways. Oh, and he takes the car keys 0:51:07.800 --> 0:51:10.560 with him because he's just again, he's just gonna being 0:51:10.600 --> 0:51:14.040 a jerk. And Edna is left behind to smoke a 0:51:14.080 --> 0:51:17.960 cigarette and I'm sure get into no trouble whatsoever. But 0:51:18.120 --> 0:51:20.560 at the farm, George goes out. He's looking around the 0:51:20.600 --> 0:51:22.920 place seems kind of deserted, and I love the eerie 0:51:22.960 --> 0:51:26.360 feeling conjured here. There are chickens clucking in the distance, 0:51:26.520 --> 0:51:30.760 but nobody in sight until a weird droning sound comes 0:51:30.760 --> 0:51:33.640 in and George looks up up through the fields up 0:51:33.680 --> 0:51:36.840 the hill and sees a strange red vehicle with what 0:51:37.080 --> 0:51:39.399 looks like people in white lab coats or I guess 0:51:39.440 --> 0:51:42.759 they're in white full body jumpsuits. And so next we 0:51:43.080 --> 0:51:44.839 jump to them. We're going to meet them and see 0:51:44.880 --> 0:51:48.320 what's going on here. The vehicle they're working from says 0:51:48.920 --> 0:51:53.280 that it is the Midland Area Agricultural Department Experimental Section 0:51:53.880 --> 0:51:56.399 these guys will be a recurring theme in the movie Rob. 0:51:56.440 --> 0:51:58.520 Do you want to describe what's going on with the 0:51:58.560 --> 0:51:59.880 ag department scientist. 0:52:00.560 --> 0:52:02.799 Yeah, we have some a couple of gentlemen here in 0:52:02.840 --> 0:52:06.200 these white jump suits, and I want to say, not 0:52:06.239 --> 0:52:10.280 your space age jumpsuit. They look very you know, blue 0:52:10.280 --> 0:52:13.920 collar in many respects, and the individuals act very you know, 0:52:13.960 --> 0:52:16.120 they're very laid back about it. They're not. They're not. 0:52:16.320 --> 0:52:18.640 They're happy to talk about their work to a random 0:52:18.719 --> 0:52:23.399 dude who just walked up across the field. Uh. And yeah, 0:52:23.440 --> 0:52:28.200 they're They have this big red vehicle that you know, 0:52:28.280 --> 0:52:30.799 it very much looks like some sort of a combine 0:52:30.800 --> 0:52:34.800 type vehicle, except you don't see any any traditional agricultural 0:52:34.880 --> 0:52:38.000 tools on it, So that instantly makes you wonder, like, 0:52:38.000 --> 0:52:41.080 what does it do It doesn't have It doesn't have 0:52:41.120 --> 0:52:42.680 a combine on, it doesn't have any kind of like 0:52:42.680 --> 0:52:44.880 a plow attached to it. And then one of the 0:52:44.960 --> 0:52:47.760 dudes is walking around with some sort of scanning device. 0:52:47.840 --> 0:52:49.840 It kind of looks kind of like a metal detector 0:52:49.880 --> 0:52:52.360 type thing, except with some added dude ads on it, 0:52:52.960 --> 0:52:55.760 clearly monitoring something going on in the soil. 0:52:56.200 --> 0:52:59.240 Yes, it looks like a big sci fi weed whacker, 0:53:00.239 --> 0:53:02.960 and so he's holding it there and George comes walking 0:53:03.040 --> 0:53:05.120 up to everybody and he's like, hey, tell me how 0:53:05.160 --> 0:53:08.000 to get to the Madison place. But they're like, wait 0:53:08.040 --> 0:53:12.520 a second. And the scientist is or at least I 0:53:12.520 --> 0:53:14.640 don't know if these are supposed to be scientists or 0:53:14.680 --> 0:53:16.759 just the guys who work for the scientists. I'm not sure, 0:53:16.800 --> 0:53:19.759 but they they're showing the farmer how to use this 0:53:19.840 --> 0:53:23.520 metal weed whacker thing to do something to either scan 0:53:23.680 --> 0:53:27.560 something or emit rays or something. And George goes, what 0:53:27.840 --> 0:53:32.080 is that thing? And they explain, or the farmer does 0:53:32.120 --> 0:53:35.080 that it's supposed to destroy insects and parasites. He says 0:53:35.120 --> 0:53:39.160 it was simply the Department of Agriculture. And then George goes, oh, 0:53:39.200 --> 0:53:41.160 I'd send it right back where it came from and 0:53:41.239 --> 0:53:44.920 keep the insects and parasites nature's given you. And so 0:53:45.120 --> 0:53:48.239 they argue about it. They say, no, hold on. Now 0:53:49.200 --> 0:53:51.520 they make excuses for it. They're like, it works by 0:53:51.600 --> 0:53:56.400 ultrasonic radiation, not a chemical involved. Love that no chemicals, 0:53:57.239 --> 0:54:00.680 and then they also explain that it is progress. But meanwhile, 0:54:00.719 --> 0:54:03.120 so George is trying to get directions from the farmer 0:54:03.280 --> 0:54:05.480 to the place they're going, and then we see the 0:54:05.520 --> 0:54:08.160 agg Department guys in the background like they're going, like, 0:54:08.200 --> 0:54:10.560 all right, Bernard, let's give it another bash at the 0:54:10.600 --> 0:54:11.400 main rotator. 0:54:12.480 --> 0:54:16.600 Yeah, they're good nature, trusting technicians of this machinery that 0:54:16.800 --> 0:54:18.000 they've been sent out to test. 0:54:18.280 --> 0:54:18.960 Yeah, I think so. 0:54:19.480 --> 0:54:20.880 Now, I don't think it's much of a spoiler to 0:54:21.120 --> 0:54:23.160 go ahead and reveal, yeah, that this is definitely the 0:54:23.200 --> 0:54:26.239 science run amuck that will raise the living dead later 0:54:26.320 --> 0:54:29.360 on in the picture. And I do love the localized 0:54:29.440 --> 0:54:32.120 nature of the premise here, and I think the fecivity 0:54:32.160 --> 0:54:35.520 of it works well with the themes here. Our main 0:54:35.600 --> 0:54:38.120 character will of course put one and two together in 0:54:38.160 --> 0:54:40.799 time and realize that we know what is causing the 0:54:40.840 --> 0:54:44.320 deep ecological unrest here, and we know exactly what we 0:54:44.520 --> 0:54:48.080 need to do to stop it. But is the establishment 0:54:48.120 --> 0:54:49.960 going to let him? Is the man going to let him? 0:54:50.040 --> 0:54:51.920 Or are they just going to accuse him of everything? 0:54:52.280 --> 0:54:54.960 Well, no, because they are allied with science, and as 0:54:54.960 --> 0:54:57.040 we know, science is evil and all it wants to 0:54:57.080 --> 0:54:59.960 do is do unnatural experiments and cause pain and st. 0:55:01.160 --> 0:55:04.200 I do like, so again, you've have a very specific 0:55:05.080 --> 0:55:08.920 origin for the zombie minutes that's gonna come. And I 0:55:09.040 --> 0:55:11.719 like that it's not the old standby of radiation. It's 0:55:11.719 --> 0:55:14.320 not chemical waste. Maybe it's a little early for chemical 0:55:14.360 --> 0:55:17.800 waste cinema, I'm not sure. Electricity is often a frequent 0:55:17.840 --> 0:55:21.200 pick as well, even in pictures from this time period. 0:55:21.360 --> 0:55:26.320 Get some electricity leeching into the ground, and watch out, earthworms, 0:55:26.320 --> 0:55:29.960 they're gonna come for you. But this one is this 0:55:30.040 --> 0:55:34.600 is a picture that involves ultrasound as being the source 0:55:34.640 --> 0:55:36.640 of the unrest. And I'm struggling to think of another 0:55:36.760 --> 0:55:38.480 ultrasound eco horror film. 0:55:38.800 --> 0:55:41.279 I'm sure such a thing exists, but I can't think 0:55:41.280 --> 0:55:44.440 of it. But I also think it's funny that they 0:55:44.440 --> 0:55:47.160 can't just call it ultrasound, because I think that doesn't 0:55:47.160 --> 0:55:50.680 sound scary enough, so they call it an ultrasonic radiation. 0:55:51.280 --> 0:55:53.120 Oh well yeah, and then you do get to invoke 0:55:53.280 --> 0:55:57.280 radiation in the picture as well, so yeah, yeah. 0:55:57.360 --> 0:55:59.799 But anyway, so you know, they're giving another bash at 0:55:59.800 --> 0:56:03.360 the oscillator, and then there's this ominous humming and whirring 0:56:03.520 --> 0:56:07.400 as the machine spins up and again. As I mentioned earlier, 0:56:07.440 --> 0:56:09.840 the sound design is very nice and a lot of 0:56:09.840 --> 0:56:12.320 the scary scenes in this movie, there are these various 0:56:12.400 --> 0:56:16.600 types of eerie, throbbing, hooting sounds that seem to come 0:56:16.640 --> 0:56:21.120 from nowhere or from everywhere. Very effective. Meanwhile, back down 0:56:21.160 --> 0:56:24.600 at the car, we're here with Edna or Edna, and 0:56:24.800 --> 0:56:26.960 here's our first zombie attack. It kind of comes out 0:56:27.000 --> 0:56:29.800 of nowhere. She's just standing there in the road, and 0:56:29.840 --> 0:56:33.280 then there is and so there's a nice beautiful stream 0:56:33.320 --> 0:56:34.960 going by, and again I want to emphasize that the 0:56:35.000 --> 0:56:40.480 location here is gorgeous, so every you know, it's this green, 0:56:40.880 --> 0:56:45.040 verdant valley with trees running along the side of the 0:56:45.040 --> 0:56:50.000 stream and an old, you know, stone walled cemetery. And 0:56:50.040 --> 0:56:52.560 then we see suddenly a man just sort of like 0:56:52.640 --> 0:56:55.239 walking into frame in the cemetery and we get a 0:56:55.280 --> 0:56:58.000 close up of him and the pupils of his eyes 0:56:58.280 --> 0:57:02.040 are not round, their star shaped and they're set against 0:57:02.200 --> 0:57:05.840 red irises, and oh, he's coming for Edna. And it 0:57:05.920 --> 0:57:09.640 is very creepy looking. I think, extremely good zombie design. 0:57:09.960 --> 0:57:12.400 I think so too. Yeah, the zombies in this picture 0:57:13.000 --> 0:57:16.320 are not greatly decayed. This is not going to be 0:57:16.440 --> 0:57:20.160 a real what we might think of today as kind 0:57:20.160 --> 0:57:23.400 of you know, the walking dead sort of zombie that's 0:57:23.520 --> 0:57:27.440 that's heavily rotted, and that these contacts are nice. They 0:57:27.440 --> 0:57:32.080 give them this nice otherworldliness to them. And also the zombies, 0:57:32.200 --> 0:57:34.200 I think they're just they're shot well, they're presented well. 0:57:35.240 --> 0:57:38.800 It can be a challenge, evidently you can see this 0:57:38.880 --> 0:57:40.880 in some of the lesser zombie pictures out there. How 0:57:40.880 --> 0:57:44.600 do you make a man stumbling around or even lunging, 0:57:46.160 --> 0:57:49.760 you know, incoherently. How do you make that frightening to 0:57:50.360 --> 0:57:52.440 people who have all their wits about them? How do 0:57:52.480 --> 0:57:54.400 you make them a surprise? How do you make them 0:57:54.400 --> 0:57:57.800 feel terrifying? And this picture, you know, uses a number 0:57:57.800 --> 0:58:01.920 of different tools to really get that across, not only 0:58:02.520 --> 0:58:06.080 a distance and angle the shot, but again that sound 0:58:06.120 --> 0:58:09.640 design which just seems to you know, to resonate and 0:58:09.880 --> 0:58:12.200 also invoke this idea of like sound waves. 0:58:12.520 --> 0:58:15.160 Yes, and hey, I want to be really I want 0:58:15.160 --> 0:58:17.120 to be fair to the people who called this movie 0:58:17.160 --> 0:58:20.440 don't open the window. There is a part here and 0:58:20.480 --> 0:58:22.800 that tries to hide in the car and the zombie 0:58:22.800 --> 0:58:25.920 reaches through the window at her. So okay, I stand corrected. 0:58:25.960 --> 0:58:28.080 There there is a window and the zombie tries to 0:58:28.120 --> 0:58:30.480 come through it, but it's a car window which is 0:58:30.520 --> 0:58:32.360 not what you think of when you hear don't open 0:58:32.400 --> 0:58:32.880 the window. 0:58:33.520 --> 0:58:35.640 Yeah, yeah, this was gonna be the inspiration for the 0:58:35.640 --> 0:58:37.160 picture they just got don't hide in the car. 0:58:37.600 --> 0:58:40.680 Yeah, anyway, and that escapes. She meets up with George 0:58:40.680 --> 0:58:43.720 and the farmer. She tries to explain what happened. She says, 0:58:43.760 --> 0:58:45.880 that man he's following me, he tried to attack me, 0:58:46.000 --> 0:58:49.160 but George looks down. There's no one there. They just see, 0:58:49.160 --> 0:58:52.000 you know, the peaceful little ravine, the stream going along, 0:58:52.520 --> 0:58:55.320 And it seems like George doesn't believe her. He's like, 0:58:55.400 --> 0:58:59.040 are you certain, And the farmer hears the description she 0:58:59.120 --> 0:59:01.880 gives it says it's sounds like she's describing Guthrie, the 0:59:02.000 --> 0:59:04.680 tramp who used to sleep down by the river, but 0:59:04.760 --> 0:59:09.040 he drowned recently, so it probably wasn't him. And then 0:59:09.080 --> 0:59:10.920 from here we go on to meet some more characters. 0:59:10.960 --> 0:59:13.960 We meet Edna's sister, Katie, the one who she's going 0:59:14.000 --> 0:59:17.040 to visit, and Katie's husband Martin, who together live in 0:59:17.080 --> 0:59:20.440 a rustic country cottage with a waterfall in the yard. 0:59:20.560 --> 0:59:23.880 This is a nice piece of land. And Martin seems 0:59:23.880 --> 0:59:26.320 to be like an artist and a photographer, and we 0:59:26.480 --> 0:59:31.640 learn that Katie has been addicted to heroin. She's been addicted, 0:59:31.760 --> 0:59:34.640 and Martin is trying to help her quit, but she 0:59:35.040 --> 0:59:37.600 like secretly uses the drug when he's not looking. 0:59:38.320 --> 0:59:40.160 Yeah, I don't know where she's getting her drug out 0:59:40.160 --> 0:59:42.680 here in the middle of nowhere, but we see her 0:59:43.120 --> 0:59:44.640 with it, so she does have some. 0:59:44.840 --> 0:59:47.200 Yeah, she's like dashing it away and trying to get 0:59:47.200 --> 0:59:48.000 to it in secret. 0:59:48.560 --> 0:59:50.960 Right, And like you say, Martin is a photographer, and 0:59:51.080 --> 0:59:55.920 his particular art photography seems to revolve in large part 0:59:56.360 --> 1:00:02.320 around taking photographs of flowers at night with stupendous artificial lighting, 1:00:02.760 --> 1:00:06.040 so it looks interesting in the picture unless you stop 1:00:06.120 --> 1:00:09.080 to wonder, like, what's going on here? Is all the 1:00:09.160 --> 1:00:11.480 artificial lighting we're seeing in this shot? Is this supposed 1:00:11.520 --> 1:00:14.760 to be his artificial lighting? Or is this movie lighting 1:00:14.880 --> 1:00:17.760 just to make if things look cool? It was kind 1:00:17.760 --> 1:00:19.320 of hard to figure out what they were going for here. 1:00:20.000 --> 1:00:22.200 Did you show Bonnie the scene? Did she have thoughts? 1:00:22.440 --> 1:00:25.400 I didn't show her this particular scene. I mean, so, 1:00:25.720 --> 1:00:27.720 I don't know. Maybe I'm wrong, but it seems like 1:00:28.040 --> 1:00:30.040 this guy's going to a lot of trouble to shoot 1:00:30.080 --> 1:00:32.040 these flowers, Like shouldn't he be. If he wants to 1:00:32.040 --> 1:00:34.200 control the lighting so much, he should just shoot them 1:00:34.200 --> 1:00:36.960 indoors in a studio. And if he's gonna shoot them outside, 1:00:37.000 --> 1:00:39.400 he should make use of natural lighting. But who am 1:00:39.400 --> 1:00:42.280 I to tell Martin how to follow his dreams here? 1:00:42.560 --> 1:00:46.400 Yeah? Okay, so Martin is kind of strange looking. Would 1:00:46.400 --> 1:00:48.200 you say? He's got sort of a bird of prey 1:00:48.280 --> 1:00:52.919 face with like metal heavy eyebrows. And whenever I see 1:00:53.000 --> 1:00:55.520 if it's a zombie movie and they introduce a human 1:00:55.600 --> 1:00:59.320 character who is visually striking in this way, I often 1:00:59.400 --> 1:01:02.640 wonder if this person was cast first of all, with 1:01:02.720 --> 1:01:04.880 an eye for what he will look like once he 1:01:04.960 --> 1:01:09.640 inevitably gets zombified, and then rather than being cast for 1:01:09.800 --> 1:01:12.200 the part of the movie where he's a living human 1:01:12.240 --> 1:01:14.280 with lines and not saying he's bad in the part 1:01:14.280 --> 1:01:16.360 where he has lines. But I just look at this 1:01:16.400 --> 1:01:18.400 guy and I think, Okay, they wanted him as a 1:01:18.480 --> 1:01:20.880 zombie and they will get him as a zombie. 1:01:21.080 --> 1:01:23.360 Oh. Absolutely, He'll spend most of his screen time as 1:01:23.360 --> 1:01:26.000 a zombie. But first you got to make him believable 1:01:26.040 --> 1:01:29.800 as as a non zombified human being, which they, I 1:01:29.880 --> 1:01:30.640 guess mostly do. 1:01:31.280 --> 1:01:33.480 So we find out he and Katie talk and we 1:01:33.520 --> 1:01:35.840 find out Katie knows her sister's coming to visit. She 1:01:36.000 --> 1:01:38.800 deduces that's because Martin is going to try to send 1:01:38.840 --> 1:01:41.120 her to a clinic so that she can get off drugs, 1:01:41.880 --> 1:01:45.400 but she is not ready, and she has a big 1:01:45.440 --> 1:01:50.480 emotional breakdown about this, and that it leads to a fight, 1:01:50.560 --> 1:01:53.120 and so Martin just goes off to do his photography 1:01:53.240 --> 1:01:56.040 by himself. Oh and then meanwhile we cut back to 1:01:56.120 --> 1:01:59.680 George and Edna while they're approaching the house. They're still driving, 1:01:59.760 --> 1:02:02.320 and and Edna's saying like, I'm not mad, you know, 1:02:02.440 --> 1:02:05.920 I don't imagine things, and George just goes methinks the 1:02:06.040 --> 1:02:07.760 lady don't protest too much. 1:02:08.720 --> 1:02:11.520 Yeah, absolutely does not believe her. I think what he 1:02:11.520 --> 1:02:13.720 says like gout three must have had a twin brother, 1:02:13.800 --> 1:02:14.520 that's all it was. 1:02:14.880 --> 1:02:17.160 No, he hasn't even gotten to that yet. He says 1:02:17.200 --> 1:02:19.880 that later once he starts a little bit believing her. 1:02:19.920 --> 1:02:22.240 At this point, it seems like he doesn't even believe 1:02:22.280 --> 1:02:34.520 anybody actually attacked her. So, like you said, at the cottage, 1:02:34.560 --> 1:02:37.160 Martin is like setting up his camera to automatically take 1:02:37.200 --> 1:02:40.000 pictures of a flower next to a waterfall and with 1:02:40.040 --> 1:02:42.360 all this artificial lighting and so like, what do you know, 1:02:42.400 --> 1:02:46.000 if it's just snapping shot after shots, it's gonna keep 1:02:46.000 --> 1:02:48.160 taking pictures as a zombie attacks. 1:02:47.840 --> 1:02:49.240 Right, how convenient? 1:02:49.720 --> 1:02:52.120 So of course, Guthrie, the tramp zombie shows up. I 1:02:52.160 --> 1:02:54.520 don't know how it beat the car, like he got 1:02:54.560 --> 1:02:55.840 there before the car did. 1:02:56.760 --> 1:02:59.440 Well, you know, they're shambling when they actually go over 1:02:59.520 --> 1:03:02.080 the attack, because they've been just booking it the rest 1:03:02.080 --> 1:03:05.200 of the time, I guess, because you know, we have 1:03:05.520 --> 1:03:08.560 all the zombie action going on at locations in this 1:03:08.640 --> 1:03:11.560 film that are are very isolated, like this is very 1:03:11.640 --> 1:03:14.720 rural Britain, we're supposed to believe here. So yeah, they're 1:03:14.760 --> 1:03:17.800 traveling from one location to another pretty quickly somehow. 1:03:17.960 --> 1:03:21.920 But the zombie shows up. It chases Katie around. Initially 1:03:21.960 --> 1:03:23.920 I think she's trying to do drugs, and then she 1:03:24.000 --> 1:03:26.600 gets startled and the zombie chases her. She escapes out 1:03:26.640 --> 1:03:29.840 a window manages to get away, but then the thing 1:03:29.920 --> 1:03:32.560 comes upon Martin on the banks of the creek and 1:03:32.640 --> 1:03:35.919 it kills him, and just then George and Edna arrive 1:03:36.040 --> 1:03:38.360 to find Katie screaming, and then we cut to the 1:03:38.360 --> 1:03:42.360 next morning and the police are here. They're investigating Martin's death, 1:03:42.840 --> 1:03:45.400 and so the setup of the movie is complete, and 1:03:45.480 --> 1:03:48.120 here we are about to meet I guess our chief 1:03:48.160 --> 1:03:52.560 antagonist other than like science and the zombies created by science, 1:03:52.880 --> 1:03:57.080 and that is our vicious fascist police inspector. I don't 1:03:57.120 --> 1:03:59.560 think he has a name, does He's just the inspector. 1:04:00.320 --> 1:04:00.680 M hm. 1:04:01.160 --> 1:04:03.040 So they're looking at the body and the I think 1:04:03.040 --> 1:04:06.000 the medical examiner is like, I've never seen anything like it. 1:04:06.120 --> 1:04:10.640 Somebody certainly enjoyed themselves here, and the inspector says, oh, 1:04:10.680 --> 1:04:13.880 a sadist, huh. And then the medical examiner goes or 1:04:13.920 --> 1:04:17.920 a lunatic, but he says, one thing's for sure, the 1:04:17.960 --> 1:04:22.400 attacker was enormously strong, because the victims of bones have 1:04:22.560 --> 1:04:28.720 been crushed, every one of them. I don't know about that, yeah, 1:04:28.760 --> 1:04:31.480 but oh and then meanwhile, so the inspector is going 1:04:31.560 --> 1:04:35.080 to go interrogate all of the witnesses, so George, Katie 1:04:35.080 --> 1:04:37.760 and Edna. And on the way to doing that, he 1:04:37.920 --> 1:04:40.200 like pulls aside at one of the cops there and 1:04:40.200 --> 1:04:42.800 he goes, button up. Man, you're wearing a uniform, not 1:04:42.840 --> 1:04:45.760 a pair of pajamas. So he's that kind of guy. 1:04:45.800 --> 1:04:47.640 He's a he's a uniform code guy. 1:04:48.160 --> 1:04:50.800 Yeah, he's He's just a real ray of sunshine, this guy. 1:04:51.080 --> 1:04:54.480 But the interrogation is going on, and Katie is describing 1:04:54.520 --> 1:04:58.600 the zombie who attacked her, and then Edna tells the cops. 1:04:58.600 --> 1:05:01.800 She's like, oh, I was attacked by that same zombie. 1:05:02.160 --> 1:05:05.440 And obviously the inspector does not believe them. But then 1:05:06.280 --> 1:05:08.640 Edna says, why would I invent such a thing? And 1:05:08.680 --> 1:05:11.880 he says, why, it's very simple, miss to back up 1:05:11.960 --> 1:05:15.560 your sister's story. And I was just thinking, okay, wait, 1:05:15.760 --> 1:05:19.040 is this correct interrogation procedure? Are you just supposed to 1:05:19.120 --> 1:05:22.840 like explain your theory of the case directly to the interviewee? 1:05:23.200 --> 1:05:25.680 No, I mean I mean, likewise, is the inspector just 1:05:25.680 --> 1:05:28.600 going to sit there and just consider any wild idea 1:05:28.760 --> 1:05:32.160 that a medical examiner throws out there? Or or later 1:05:32.200 --> 1:05:34.280 on there'll be another scene where somebody just brings up 1:05:34.280 --> 1:05:36.120 an ID and he's like, yeah, yeah, I think you're right. 1:05:36.280 --> 1:05:38.400 Yeah lunatic, yeah yeah, broke. 1:05:38.200 --> 1:05:40.960 All the bones, all of them. I love how this 1:05:41.000 --> 1:05:43.760 will connect later to when somebody tells him about the 1:05:43.800 --> 1:05:45.480 existence of Satanic cults. 1:05:46.000 --> 1:05:49.320 Yeah, yes, yeah, that's the same. Yeah, So he's just 1:05:49.400 --> 1:05:51.640 he's hard. Nos, he's out to finger somebody for this crime. 1:05:52.000 --> 1:05:54.600 And and he doesn't mind telling you to your face 1:05:54.680 --> 1:05:56.400 like yeah, I think you're I think you're a killer, 1:05:56.480 --> 1:05:59.160 and uh yeah and uh and we're gonna we're gonna 1:05:59.200 --> 1:06:01.160 get you for this one. No escaping me, there's no 1:06:01.240 --> 1:06:02.479 escaping the law and this one. 1:06:03.040 --> 1:06:06.240 And he has several just like brilliant things in the scene. 1:06:06.240 --> 1:06:10.920 One is that the inspector finds that Katie's photographer husband 1:06:10.960 --> 1:06:14.360 had taken naked photos of her, and he's like, explain this. 1:06:15.080 --> 1:06:18.360 It's like, what is the relevance? And here we get 1:06:18.400 --> 1:06:22.240 to the inspector's awesome theory that Katie must have done 1:06:22.240 --> 1:06:25.240 the murder because, as is well known, being addicted to 1:06:25.280 --> 1:06:29.120 heroin gives people superhuman strength enough to crush every bone 1:06:29.120 --> 1:06:30.080 in Martin's body. 1:06:30.480 --> 1:06:34.200 Now, as we're dissecting it here, all of this sounds ludicrous, 1:06:34.720 --> 1:06:36.800 but there is something about the way that it's presented 1:06:36.840 --> 1:06:39.280 in the film, like the authority with it with which 1:06:39.280 --> 1:06:43.120 he presented, and like Arthur Kennedy's character, the inspector here 1:06:43.440 --> 1:06:46.960 is so sure of himself and so sure of his 1:06:46.960 --> 1:06:50.840 his his role in the investigation that everything he says 1:06:50.920 --> 1:06:54.680 is just considered reality, is just considered a considered a fact, 1:06:55.040 --> 1:06:58.240 and the proper interpretation of the evidence before him. 1:06:58.680 --> 1:07:02.120 Yes, that's exactly right. I mean, I am explaining this 1:07:02.160 --> 1:07:04.560 in a matter of fact way to highlight how ludicrous 1:07:04.600 --> 1:07:07.640 it is. But he delivers it with cold cruel authority. 1:07:08.760 --> 1:07:10.560 Oh and then George comes in by the way to 1:07:10.600 --> 1:07:12.400 be like, hey, I'm not part of this. Let me 1:07:12.400 --> 1:07:14.280 get out of here. I've got a house to look after, 1:07:14.480 --> 1:07:17.360 and the inspector like grabs him by the collar and 1:07:17.360 --> 1:07:19.560 he goes, listen, boy, you keep getting on my nerves. 1:07:19.600 --> 1:07:21.959 I'll give you another house to look after, the kind 1:07:22.000 --> 1:07:24.080 with lots of bars on the windows. 1:07:24.440 --> 1:07:29.000 Yeah, Like he's he's already like physically grabbing him, even 1:07:29.040 --> 1:07:31.960 though he's like, I don't think he's really they've really 1:07:31.960 --> 1:07:33.440 had a lot of time in the picture yet to 1:07:33.520 --> 1:07:35.439 really bump up against each other. 1:07:35.920 --> 1:07:38.560 Yeah, not at all. And so anyway, the police tell 1:07:38.600 --> 1:07:41.160 George and Edna you can't leave. You have to stay 1:07:41.360 --> 1:07:44.880 in the hotel in Southgate until the investigation is finished. 1:07:45.480 --> 1:07:47.800 And so while they're getting out of there, Oh, but 1:07:48.000 --> 1:07:51.240 George steals the film from Martin's camera, because they think 1:07:51.280 --> 1:07:53.720 if they can get it developed, it will prove Katie 1:07:53.760 --> 1:07:57.040 is innocent. And George says, we better develop it ourselves 1:07:57.080 --> 1:07:59.680 because cops never like to admit that they're wrong, and 1:07:59.760 --> 1:08:02.720 if it shows that Katie is innocent, they'll just destroy it. 1:08:03.840 --> 1:08:06.000 So they go to a place to get the film developed. 1:08:06.080 --> 1:08:09.600 It is a place that is a store called Croceries 1:08:10.080 --> 1:08:13.800 cro ce r I e s maybe that's supposed to 1:08:13.840 --> 1:08:16.000 be a g but if there's a bar on it, 1:08:16.000 --> 1:08:18.040 it is indistinguishable from a serah. 1:08:18.920 --> 1:08:21.240 But these are delightful looking storefronts. You just want to 1:08:21.280 --> 1:08:21.519 go in. 1:08:21.680 --> 1:08:25.360 Oh yeah, I love it, check out the labels, freshly 1:08:25.400 --> 1:08:28.719 made sandwiches. And then they go to the hotel which 1:08:28.760 --> 1:08:31.439 is called the Old Owl Hotel, which has an old 1:08:31.520 --> 1:08:34.320 owl in it. And I so thought this owl was 1:08:34.360 --> 1:08:36.759 going to go berserk and attack somebody in the movie 1:08:36.840 --> 1:08:40.280 due to the ultrasonic rays, alas never happens. 1:08:40.920 --> 1:08:43.760 Yeah, it looks impressive though, sitting there in its little perch. 1:08:44.040 --> 1:08:46.640 And when they're checking in, George is again just a 1:08:46.760 --> 1:08:49.240 jerk for no reason. To the hotel owner, He's like, 1:08:49.280 --> 1:08:51.120 I don't want to spend any longer in this place 1:08:51.120 --> 1:08:51.840 than I have to. 1:08:53.320 --> 1:08:57.040 He hates everything. Yeah, I mean, granted he's going through 1:08:57.080 --> 1:08:59.519 a lot in this particular moment, but he was grumpy 1:08:59.520 --> 1:09:00.280 before all this. 1:09:00.560 --> 1:09:02.880 So let me get to the hospital sequence, and there 1:09:02.880 --> 1:09:06.360 are several things to discuss here. One is the Okay, 1:09:06.360 --> 1:09:09.200 so the setup is they find out Katie has been 1:09:09.240 --> 1:09:11.360 taken to the hospital and George and Edna go to 1:09:11.360 --> 1:09:14.840 see her. First is the location. I love the location. Again, 1:09:14.960 --> 1:09:18.120 this hospital looks awesome. It's like a kind of New 1:09:18.200 --> 1:09:19.160 Gothic style. 1:09:19.640 --> 1:09:22.000 Yeah. I was ringing this as Barnes Hospital for the 1:09:22.040 --> 1:09:23.760 exteriors anyway near Manchester. 1:09:24.160 --> 1:09:25.920 But let's see, there are a few things to describe here, 1:09:26.000 --> 1:09:27.880 Rob can you can you explain what's going on with 1:09:27.920 --> 1:09:30.360 the cadaver freezer boxes here? 1:09:30.680 --> 1:09:34.080 Oh yeah, So we're introduced to these these freezer boxes 1:09:34.120 --> 1:09:36.639 that they're hauling corpses out in and they look very 1:09:36.680 --> 1:09:40.400 space age. Yeah, like it's I guess it's possible that 1:09:40.439 --> 1:09:45.919 this is exactly what what these kind of sarcophagus coolers 1:09:45.920 --> 1:09:50.200 looked like at the time, but they felt a little 1:09:50.680 --> 1:09:53.120 high tech. But the idea here is that, hey, we 1:09:53.160 --> 1:09:57.080 need to move dead bodies across the countryside. We don't 1:09:57.080 --> 1:09:59.880 want them to rot, so we have these special cooler 1:10:00.520 --> 1:10:00.920 for them. 1:10:01.160 --> 1:10:03.400 And so George is looking at one of these things 1:10:03.400 --> 1:10:06.400 in the hospital and doctor Duffield comes across him. This 1:10:06.479 --> 1:10:10.160 is the Peter Cushing kind of guy, and they discuss. 1:10:10.280 --> 1:10:13.360 He's like, what is this and he explains. He's like, oh, well, 1:10:13.360 --> 1:10:15.720 it's a ways to the Manchester Morgue, and so you 1:10:15.760 --> 1:10:18.679 have to put him in these boxes. But doctor Duffield 1:10:18.720 --> 1:10:21.120 says to George, quite a few people leave their bodies 1:10:21.160 --> 1:10:24.360 to science these days. Shall I make a reservation for you? 1:10:24.560 --> 1:10:26.760 And of course George is like, of course not. I 1:10:26.760 --> 1:10:28.639 would not leave my body to science. 1:10:29.680 --> 1:10:32.760 It applies that science is just this ghoulish endeavor and 1:10:32.800 --> 1:10:35.640 all at once is just to desecrate your body for it. 1:10:35.760 --> 1:10:37.600 So sinister purposes. 1:10:37.200 --> 1:10:39.479 Give me bodies so I can do something evil and 1:10:39.560 --> 1:10:42.360 unnatural with them. I'll probably put chemicals on it, probably, 1:10:44.479 --> 1:10:48.080 But this gives way to the aggressive baby to scene. 1:10:49.000 --> 1:10:52.280 Oh my god, this was just out of kind of 1:10:52.320 --> 1:10:54.360 out of nowhere. It's one of these scenes where I 1:10:54.400 --> 1:10:57.160 guess in the grand scheme of things, they introduce this 1:10:57.200 --> 1:11:01.920 to further explain how's zombies work in this picture, but 1:11:02.040 --> 1:11:04.400 it ends up just feeling like this sort of side 1:11:04.479 --> 1:11:09.000 pool of just absurdity and weirdness that is, of course delightful, 1:11:09.280 --> 1:11:10.759 the very kind of thing I love in a picture. 1:11:11.240 --> 1:11:13.280 What is the deal with the aggressive babies? 1:11:14.800 --> 1:11:18.360 Well, it's just suddenly and this will I'll make sense 1:11:18.439 --> 1:11:21.240 later on. But all the babies that are being born 1:11:21.320 --> 1:11:25.120 are born super aggressive, and they're so aggressive that like, 1:11:25.160 --> 1:11:27.679 if you get close to one, the baby will bite 1:11:27.720 --> 1:11:29.679 you and draw blood or scratch you and draw blood. 1:11:29.720 --> 1:11:31.760 In fact, doesn't it happen to George, like he gets 1:11:31.760 --> 1:11:32.559 a little too close. 1:11:33.760 --> 1:11:36.439 Well, it starts because one of the nurses gets like 1:11:36.479 --> 1:11:40.559 her eye poked out by a baby, and then the 1:11:40.640 --> 1:11:43.160 doctor is like, come help me, so he just enlists 1:11:43.240 --> 1:11:45.639 this random guy from the hallway to come help him 1:11:45.640 --> 1:11:48.040 with the baby. I guess they're trying to sedate the 1:11:48.080 --> 1:11:52.400 baby because otherwise the baby is ripping people's arms off, 1:11:52.840 --> 1:11:55.280 and they do. And yeah, the baby, I think, like 1:11:55.320 --> 1:11:58.480 attacks George while they're they're trying to get it sedated. 1:11:59.280 --> 1:12:02.920 And they they explained, yes, every baby born here from 1:12:03.320 --> 1:12:05.800 the region around this farm where they're trying out the 1:12:05.840 --> 1:12:11.040 agricultural device, it's just been born with hostility and aggression. 1:12:11.560 --> 1:12:14.400 It's like they're all born bart Harley Jarvis is one 1:12:14.439 --> 1:12:16.439 of the most aggressive babies I've ever seen. 1:12:17.040 --> 1:12:20.200 So, Joe, you have a baby. How strong is a baby? 1:12:20.439 --> 1:12:23.960 They're incredibly strong, but I think not quite as strong 1:12:24.000 --> 1:12:28.200 as this movie depicts. So George goes on to share 1:12:28.400 --> 1:12:31.040 his theory. He's like, hey, wait a minute, all these 1:12:31.080 --> 1:12:33.760 aggressive babies that have been born, they're all from this 1:12:33.880 --> 1:12:39.120 area around where they're trying out the ultrasonic radiation device. 1:12:39.600 --> 1:12:42.920 I wonder if that's making the babies aggressive. So doctor 1:12:42.960 --> 1:12:48.320 Duffield is intrigued, and together George and the scientist or 1:12:48.360 --> 1:12:51.040 the doctor, they go out to talk to the AGG 1:12:51.120 --> 1:12:54.920 Department scientists in the field. The AGG Department guys explained 1:12:54.920 --> 1:12:57.320 to doctor Duffield how it works. They say it works 1:12:57.360 --> 1:13:01.240 by ultrasonic rays. That the rays are used intentionally to 1:13:01.400 --> 1:13:05.200 drive insects mad and make them kill all of each other. 1:13:06.560 --> 1:13:09.360 And it has destroyed They say, it has destroyed every 1:13:09.400 --> 1:13:12.200 insect for a mile radius, which, to be clear, I 1:13:12.200 --> 1:13:13.679 think would not be a good thing. 1:13:14.200 --> 1:13:19.360 No, I mean, imagine the ecological disorder that would erupt 1:13:19.840 --> 1:13:24.160 if you just totally distorted all the insects in a 1:13:24.160 --> 1:13:28.240 given area. Yeah, So in a way, it's kind of 1:13:28.640 --> 1:13:31.000 an interesting concept to roll out in the film, but 1:13:31.080 --> 1:13:34.760 also one that just seems also unrealistically reckless, like the 1:13:34.760 --> 1:13:39.800 scientists involved in creating this strange weapon would have to 1:13:39.880 --> 1:13:41.839 realize that this is incredibly dangerous. 1:13:42.240 --> 1:13:44.080 Well, they say soon they're going to get it working 1:13:44.120 --> 1:13:45.720 up to a five mile radius. 1:13:45.960 --> 1:13:48.800 They're proud. They're like, yeah, there's actually one mile that 1:13:48.880 --> 1:13:51.120 was yesterday. Five miles that is what we're going for today. 1:13:51.680 --> 1:13:54.679 We didn't hear anything you said about making rage babies. 1:13:54.680 --> 1:13:55.480 That's ridiculous. 1:13:55.920 --> 1:13:58.280 Yeah, And they appeal to him. They say, to the doctor, 1:13:58.360 --> 1:14:01.160 you're a man of science. Surely you understand this machine 1:14:01.200 --> 1:14:05.120 only affects the most primitive life forms like insects, and 1:14:05.120 --> 1:14:08.880 that more evolved life forms cannot be affected. Yeah, that 1:14:08.960 --> 1:14:10.080 sounds very scientific. 1:14:11.840 --> 1:14:11.960 Uh. 1:14:12.479 --> 1:14:16.080 Doctor Duffield seems to acknowledge that this machine may be 1:14:16.280 --> 1:14:21.519 what's causing the rage babies, but unfortunately he's like, he says, like, 1:14:21.560 --> 1:14:24.360 it's never wise to exaggerate, you know, they would laugh 1:14:24.400 --> 1:14:28.080 at us. He says that to George, so it's basically 1:14:28.120 --> 1:14:30.519 like he's saying, I am I too, am one of 1:14:30.560 --> 1:14:33.080 the dark envoys of science. So I cannot stop it, 1:14:33.120 --> 1:14:34.439 no matter how much I would. 1:14:34.240 --> 1:14:36.479 Like to, I mean, how many rage babies could there 1:14:36.520 --> 1:14:38.719 be at a given time out here on the side. 1:14:47.720 --> 1:14:50.920 So there's a scene in the croceries store in town 1:14:51.080 --> 1:14:54.719 where they're getting their George and Edna get the pictures developed, 1:14:54.760 --> 1:14:56.880 and then they're like, oh, too bad. The zombie does 1:14:56.920 --> 1:14:59.400 not show up on any of the pictures. And they're 1:14:59.439 --> 1:15:02.880 asking the guy like, could could anything cause someone not 1:15:03.000 --> 1:15:04.880 to appear in a picture? And he goes if they 1:15:04.880 --> 1:15:09.800 were a ghost maybe, And then George says about one 1:15:09.800 --> 1:15:12.240 of the pictures, good thing the police haven't seen this one. 1:15:12.320 --> 1:15:14.439 She really looks like she's about to do him in, 1:15:14.479 --> 1:15:18.400 I guess talking about Katie. And then just hilarious, the 1:15:18.439 --> 1:15:22.160 inspector comes right in. He like walks into the store 1:15:22.160 --> 1:15:24.599 and he's like, got you now, and then he gives 1:15:24.640 --> 1:15:27.640 a speech about all you damn hippies. I'd kill you 1:15:27.680 --> 1:15:28.800 all if I had my way. 1:15:29.240 --> 1:15:33.080 Yeah, this is a wonderful snarling scene from Arthur Kennedy. 1:15:33.160 --> 1:15:35.200 This is the you're all the same, the lot of 1:15:35.240 --> 1:15:39.000 you speech that he gives gives George in particular, mm hmm. 1:15:39.960 --> 1:15:44.960 So oh. But after he leaves, the shopkeeper shows off 1:15:45.280 --> 1:15:48.240 a newspaper that has a picture of the guy who 1:15:48.280 --> 1:15:52.080 drowned of Guthrie. And Edna looks at it and she 1:15:52.240 --> 1:15:54.000 is like, that's him. 1:15:54.840 --> 1:15:56.800 I was taken by the fact that here is the 1:15:56.880 --> 1:16:00.240 local newspaper and above the fold huge pic sure of 1:16:00.240 --> 1:16:01.000 a dead man. 1:16:01.120 --> 1:16:07.080 Yes, very common, Yeah, just of a corpse. And she's like, yes, 1:16:07.200 --> 1:16:10.479 that was him. And George is like, well it must 1:16:10.479 --> 1:16:12.360 have been his twin. Then he must have had a twin, 1:16:12.479 --> 1:16:16.160 and that's what you saw. So George decides to take 1:16:16.360 --> 1:16:19.280 Edna to the cemetery so he can. He says, I'm 1:16:19.280 --> 1:16:22.439 going to cure you of your fancy hallucinations. And I 1:16:22.479 --> 1:16:26.080 think the plan is George is going to make Edna 1:16:26.400 --> 1:16:29.880 look at Guthrie's dead body so that she will know 1:16:30.080 --> 1:16:31.400 that he is actually dead. 1:16:32.080 --> 1:16:34.880 Yeah. Again, this is another detail of the picture of 1:16:34.960 --> 1:16:39.479 plot detail that sounds ridiculous, but when you're watching the film, like, 1:16:39.800 --> 1:16:42.400 I don't know, you don't, I found myself not questioning 1:16:42.479 --> 1:16:45.120 these plot choices. I'm like, yeah, this is the logical 1:16:45.120 --> 1:16:46.920 place for them to go. Oh, of course they would 1:16:46.920 --> 1:16:47.799 go and look for the body. 1:16:47.880 --> 1:16:50.439 It's great. And so they go. They're followed by a 1:16:50.439 --> 1:16:52.720 police officer. By the way, this guy named Craig is 1:16:53.160 --> 1:16:56.920 tailing them and then ooh, so this is this goes 1:16:56.920 --> 1:17:00.320 into one of the big horror actions set piece is 1:17:00.360 --> 1:17:03.080 in the movie, the cemetery scene, which I thought was 1:17:03.240 --> 1:17:07.920 just fantastic, really tense, scary, good staging of a lot 1:17:07.960 --> 1:17:11.120 of the action. I don't know how you felt, but 1:17:11.400 --> 1:17:14.600 I thought this was a great centerpiece of like the 1:17:14.640 --> 1:17:15.960 action horror in the film. 1:17:16.439 --> 1:17:19.160 Oh. Absolutely. This is one of those sequences that really 1:17:19.160 --> 1:17:21.800 makes you think about zombie films in general and just 1:17:21.840 --> 1:17:25.640 realize you don't need a whole horde of zombies to 1:17:25.720 --> 1:17:29.040 have an effective nail biting sequence. You just have some 1:17:29.040 --> 1:17:33.040 some internet interesting setting, interesting location, and then you only 1:17:33.080 --> 1:17:36.280 need like one, two, three zombies tops, which is all 1:17:36.320 --> 1:17:39.360 they have going on here as they end up having 1:17:39.360 --> 1:17:42.360 to deal with them in this this basement here that's 1:17:42.400 --> 1:17:45.559 serving as it's not really mortuary, I don't know, it's 1:17:46.920 --> 1:17:50.719 wherever they're preparing they're they're casketing the bodies. 1:17:50.760 --> 1:17:52.720 I guess, yeah, I don't. It seems like it's a 1:17:52.840 --> 1:17:55.800 crypt maybe or something, or it has vaults on the walls. 1:17:55.840 --> 1:17:56.599 It does have vaults. 1:17:56.680 --> 1:17:59.719 Yeah, Okay, so describe that what happens in the cemetery 1:17:59.760 --> 1:18:00.559 scene here. 1:18:00.680 --> 1:18:03.720 Well, obviously, Guthrie shows up. He's been booking it this 1:18:03.880 --> 1:18:09.320 whole time. He knows where his next zombie mauling appointment 1:18:09.439 --> 1:18:12.679 is going to take place, and so he shows up, 1:18:13.080 --> 1:18:16.360 and we quickly learned that these these these create critters 1:18:16.360 --> 1:18:17.560 are pretty indestructible. 1:18:18.240 --> 1:18:21.559 Yeah, so they're impervious to wounds. Guthrie attacks them in 1:18:21.680 --> 1:18:25.400 like the basement of this like the caretaker's house in 1:18:25.439 --> 1:18:27.360 the cemetery. They go down in the basement and they're 1:18:27.400 --> 1:18:30.719 there in the crypt and Guthrie shows up and locks 1:18:30.760 --> 1:18:33.320 them inside and so that they can't get back out 1:18:33.320 --> 1:18:36.360 the way they came in, and he's he's coming at them, 1:18:36.400 --> 1:18:38.280 and George is trying to like stab him with a 1:18:38.439 --> 1:18:40.760 rail or something, but it doesn't occur to harm him 1:18:40.760 --> 1:18:44.600 at all. And then we learn that these zombies, the 1:18:44.640 --> 1:18:50.280 Ultrasonic zombies, can reanimate other corpses by smearing blood on them, 1:18:50.720 --> 1:18:54.760 so they recruit freely from the RESTful dead and turn 1:18:54.840 --> 1:18:58.080 them into the undead. And this was just a whole 1:18:58.320 --> 1:19:02.160 great tense scene. Organ Edna finally escaped by like knocking 1:19:02.240 --> 1:19:05.559 bricks out of a vault wall and climbing up through 1:19:05.600 --> 1:19:09.280 an open grave, and they meet up with officer Craig 1:19:09.360 --> 1:19:12.559 here the police officer, but then the zombies attack again. 1:19:12.640 --> 1:19:15.200 They get chased back into the caretaker's room and have 1:19:15.240 --> 1:19:19.760 to barricade the doors. Eventually, Craig the police officer is 1:19:19.880 --> 1:19:23.040 killed while trying to escape and get help. And in 1:19:23.200 --> 1:19:26.639 the last minute, like our character, seemed doomed until George 1:19:26.680 --> 1:19:30.000 defeats the zombies. He realizes he can by burning them. 1:19:30.040 --> 1:19:31.320 It's the only thing that works. 1:19:31.840 --> 1:19:35.400 Oh yeah, yeah, this whole sequence is fabulous. Craig the 1:19:35.439 --> 1:19:38.240 cop is so doomed from the moment you start getting 1:19:38.240 --> 1:19:40.719 to know him because he's like, he's like, oh, Georgia. 1:19:40.840 --> 1:19:43.400 After this, you'll realize not all cops are bad. I'm 1:19:43.400 --> 1:19:45.599 a good guy, right, Like, Oh, this dude is getting 1:19:45.600 --> 1:19:49.920 his guts eaten by a zombie. Yeah, no doubt about it. 1:19:50.200 --> 1:19:52.519 So the two interesting things about the zombies that are 1:19:52.520 --> 1:19:54.400 revealed in this scene. The first of all, there is 1:19:54.439 --> 1:19:58.280 the ritualistic dabbing of the blood on other bodies to 1:19:58.400 --> 1:20:03.080 raise them as like zombie almost like zombie minions that 1:20:03.360 --> 1:20:05.880 I really liked, and ultimately raises a lot of questions 1:20:06.280 --> 1:20:09.639 that you cannot answer regarding how zombies work in this picture. 1:20:09.960 --> 1:20:15.280 But it's very unsettling in the moment because it's so unexpected. Also, 1:20:15.439 --> 1:20:18.439 we quickly learn that these zombies are tool users. While 1:20:18.520 --> 1:20:21.720 zombies and other pictures might just want to rip and 1:20:21.760 --> 1:20:23.439 bite at you, they're just going to use their claw 1:20:23.479 --> 1:20:27.360 and bite attack. These will actively try and hammer you 1:20:27.400 --> 1:20:28.880 to pieces with a big crucifix. 1:20:29.160 --> 1:20:32.040 Yes, oh, and that crucifix will come back in in 1:20:32.080 --> 1:20:35.879 a minute when the cops arrive on the scene. But anyway, 1:20:36.040 --> 1:20:40.879 George and Edna escape and they run off in separate directions. 1:20:40.880 --> 1:20:43.280 I think Edna is going to maybe try to find 1:20:43.320 --> 1:20:46.519 Katie or something, and George runs off to destroy the 1:20:46.600 --> 1:20:50.960 ultrasonic machine at the Lewis farm. And meanwhile you think, well, 1:20:51.000 --> 1:20:53.080 wait a minute, though, or all the zombies dealt with. 1:20:53.160 --> 1:20:55.479 I think all the zombies we knew about have been destroyed, 1:20:55.479 --> 1:20:58.960 so maybe the nightmare is over. But no, remember Martin, 1:20:59.240 --> 1:21:02.920 Remember Martin, the guy who had the weird look from earlier. 1:21:03.400 --> 1:21:06.120 Looks like the rays have powered him up now, and 1:21:06.200 --> 1:21:10.599 he attacks and he eats some cops. And then George 1:21:11.439 --> 1:21:15.639 arrives back at the agg department guys, and he's explaining 1:21:15.680 --> 1:21:18.280 what's going on, and they, for some reason don't believe him. 1:21:18.360 --> 1:21:21.280 They go like, you talk about the dead walking and cannibalism, 1:21:21.320 --> 1:21:25.639 it's unscientific, man. And then George says, lots of things 1:21:25.640 --> 1:21:28.880 are unscientific and they happen just the same, and he 1:21:29.520 --> 1:21:32.960 grabs a wrench and starts smashing the oscillator on the machine. 1:21:33.479 --> 1:21:35.840 Yeah, no examples by the way of what all these 1:21:35.920 --> 1:21:38.120 unscientific things that are happening all the time. 1:21:37.960 --> 1:21:40.360 Are I want to know, like, other than the zombies, 1:21:40.400 --> 1:21:44.360 what does he have in mind? But anyway, back in 1:21:44.360 --> 1:21:47.240 the scene at the cemetery, the inspector has arrived and 1:21:47.280 --> 1:21:50.280 he concludes that George is in fact the one who 1:21:50.360 --> 1:21:54.160 killed Officer Craig here and the caretaker and all the zombies. 1:21:54.520 --> 1:21:56.960 So he's like, okay, this guy is he's got to 1:21:57.000 --> 1:22:01.080 be destroyed. Shoot him on site. And then he's like, 1:22:01.160 --> 1:22:03.880 why did they burn the bodies? And there's this new 1:22:04.040 --> 1:22:06.599 creep hanging out. I don't know where this creep came from. 1:22:06.760 --> 1:22:10.000 This guy shows up this late in the movie and 1:22:10.040 --> 1:22:13.439 he's like, oh, inspector, you need to learn about satanic cults. 1:22:13.720 --> 1:22:13.960 Yep. 1:22:16.560 --> 1:22:19.879 So this weird rando shows up to introduce the idea 1:22:20.000 --> 1:22:24.080 of satanic ritual murder into the inspector's mind. It's like 1:22:24.120 --> 1:22:25.400 it's a match made in heaven. 1:22:26.200 --> 1:22:28.439 Well, there's a moment where he's like thinking about it. 1:22:28.479 --> 1:22:30.640 He's like, you know, I hadn't thought about that, But 1:22:30.680 --> 1:22:33.000 then instantly he's in like, I bet that's it. Yeah, 1:22:33.160 --> 1:22:36.120 I that's this guy, George. He's awful. He's clearly a 1:22:37.040 --> 1:22:41.519 sex craze, drug using hippie rebel who hates the police. 1:22:42.200 --> 1:22:44.800 So it's just it's just one step beyond that to 1:22:44.840 --> 1:22:47.639 assume that he also worshiped Satan and his carrying out 1:22:47.920 --> 1:22:52.880 unspeakable acts for a black mass. It's also we were 1:22:52.880 --> 1:22:56.160 talking about this little off mic. It's fitting and funny 1:22:56.200 --> 1:22:59.599 that the inspector believes all these things of George, where 1:23:00.280 --> 1:23:03.880 doesn't Actually we never see George do drugs. We never 1:23:03.920 --> 1:23:08.040 see George have any kind of a sexual interest in anybody, like, 1:23:08.080 --> 1:23:10.920 so he's none of these things that he's accused of 1:23:11.000 --> 1:23:15.519 throughout the picture. He just is a rebellious jerk. Yeah. 1:23:15.600 --> 1:23:19.080 No, all he really does is like he's just rude 1:23:19.120 --> 1:23:21.200 to people. That's his main character trait. 1:23:21.760 --> 1:23:24.360 As if the film is saying, yes, the youth of today, 1:23:24.640 --> 1:23:27.799 they do suck, but not for the reasons that guys 1:23:27.840 --> 1:23:28.599 like this think they. 1:23:28.520 --> 1:23:31.760 Saund it's just because they're they're selfish and rude, and 1:23:31.800 --> 1:23:33.920 they don't want to be they want to be off 1:23:33.920 --> 1:23:37.760 doing their own thing. Yeah yeah, not because they're all 1:23:37.760 --> 1:23:42.599 in satanic cults. But anyways, so Edna is Several other 1:23:42.640 --> 1:23:44.840 things happen in between here. There's a whole thing where 1:23:44.920 --> 1:23:47.599 Edna gets attacked by the Martin zombie, but she escapes. 1:23:47.680 --> 1:23:50.360 She starts to kind of lose her mind. The agg 1:23:50.479 --> 1:23:54.000 department guys power up the five mile ultrasonic rays. That 1:23:54.040 --> 1:23:56.440 can't be good because then we cut to the hospital, 1:23:56.560 --> 1:23:59.320 the Southgate Hospital, and we see all these new freezer 1:23:59.320 --> 1:24:03.400 bodies awry, so we know there's gonna be a zombie 1:24:03.479 --> 1:24:06.920 rampage at the hospital and there is The police catch 1:24:07.080 --> 1:24:10.360 George and interrogate him in a hilarious scene where they're 1:24:11.280 --> 1:24:14.200 they're telling him, you know what all the satanic murders 1:24:14.240 --> 1:24:17.000 he's been doing in George he protests, he says, I've 1:24:17.000 --> 1:24:21.000 never been to a black mass in my life. Oh, 1:24:21.040 --> 1:24:25.640 because they find the statue, like the antique statue that 1:24:25.720 --> 1:24:28.280 he had in his luggage that he was bringing up here, 1:24:29.240 --> 1:24:31.840 and they pull it out and they're like this obviously 1:24:31.880 --> 1:24:35.679 proves you are involved in Satanic cults. And he says, 1:24:36.240 --> 1:24:39.240 I don't worship that. I just sell things like that. 1:24:39.600 --> 1:24:41.720 And then he says, it's not my fault, serge, that 1:24:41.840 --> 1:24:43.759 Christ and the Saints are out of fashion. 1:24:45.200 --> 1:24:47.439 Yeah, it's a it's a good scene. I like the 1:24:47.960 --> 1:24:52.040 that this that his use of these artifacts, whereas having 1:24:52.080 --> 1:24:54.679 these artifacts on his person, like it's come back around 1:24:54.720 --> 1:24:57.120 to bite him. And now this is evidence being supposed 1:24:57.160 --> 1:24:59.920 evidence being thrown at him by the authorities here. 1:25:00.320 --> 1:25:03.080 Also, though this artifact in no way appears to have 1:25:03.160 --> 1:25:05.839 anything to do with Satan, I guess it's just because 1:25:05.960 --> 1:25:08.360 it doesn't look Christian. Maybe I don't know. 1:25:08.520 --> 1:25:11.280 Yeah, I mean I think it fits with what they're 1:25:11.320 --> 1:25:13.400 going for here, Like this is a guy who just 1:25:13.439 --> 1:25:16.800 assumes anything that is a little bit foreign or un 1:25:16.880 --> 1:25:21.120 Christian is just Satanic. Clearly these are these are occult items, 1:25:21.200 --> 1:25:23.200 and George is up to bloody business. 1:25:23.520 --> 1:25:27.080 But the inspector he has like a rage moment and 1:25:27.120 --> 1:25:32.200 he like punches George. He's he's incredibly mad, and he's 1:25:32.360 --> 1:25:35.280 complaining to this other guy, the creep who showed up 1:25:35.280 --> 1:25:37.400 earlier to tell him about Satanic cults. He's like if 1:25:37.400 --> 1:25:40.000 I just had more of a free hand with these criminals. 1:25:43.120 --> 1:25:46.120 And meanwhile, the George he escapes out the window and 1:25:46.160 --> 1:25:48.519 then he runs to the hospital for the final showdown, 1:25:48.600 --> 1:25:50.720 so you basically know what's gonna happen. It's gonna be 1:25:50.760 --> 1:25:54.759 a big zombie showdown with all the characters, and basically 1:25:54.800 --> 1:25:57.200 all of our main characters get killed by the zombies. 1:25:57.240 --> 1:26:00.960 Here there's a great part where George lights an axe 1:26:01.000 --> 1:26:04.120 on fire and he's swinging it at the zombies. That's 1:26:04.120 --> 1:26:08.839 pretty brutal, and at one moment you think, oh, George, 1:26:08.880 --> 1:26:11.599 is he going to be able to save Edna, But nope, 1:26:11.600 --> 1:26:13.760 he when he gets her out of the room where 1:26:13.760 --> 1:26:16.519 the zombies have attacked, she has star shaped pupils now, 1:26:16.560 --> 1:26:18.759 so it's too late. She's already one of the zombies. 1:26:19.320 --> 1:26:23.760 And then in a final brutal twist, George is shot 1:26:23.840 --> 1:26:26.160 by the police. The inspector guns him down. 1:26:26.560 --> 1:26:29.360 Yeah, just brutally guns him down, shoots him multiple times, 1:26:29.360 --> 1:26:31.320 and then he kind of like leans over the body 1:26:31.360 --> 1:26:33.760 and says something about how he wishes he'd come back 1:26:33.800 --> 1:26:36.200 to life so he could kill him again in cold blood. 1:26:36.920 --> 1:26:42.680 So just real, real brutal moment there. I mean not unexpected. 1:26:42.720 --> 1:26:44.600 I mean, this is the mid seventies, but yeah, in 1:26:44.800 --> 1:26:49.400 the space of just a few minutes, Edna is mauled 1:26:49.600 --> 1:26:53.320 by her own sister and who has become a zombie. 1:26:53.439 --> 1:26:57.320 She becomes a zombie, and then our last protagonist is 1:26:57.400 --> 1:26:58.960 just murdered in cold blood. 1:26:58.800 --> 1:27:00.800 And then we kept it. Basically the only characters who 1:27:00.840 --> 1:27:04.560 are left are the fascist cops. And so the inspector 1:27:04.640 --> 1:27:07.320 is like riding around in a car with his sidekick 1:27:07.400 --> 1:27:09.519 here and the guys like all the papers say you're 1:27:09.560 --> 1:27:13.479 a hero, and he says, the inspector says, justice has 1:27:13.520 --> 1:27:15.880 been a bit slow in these parts. All this permissive 1:27:16.080 --> 1:27:18.720 rot going on. Maybe people will learn a thing or 1:27:18.720 --> 1:27:23.600 two from my example here. And so so what's going on? 1:27:23.680 --> 1:27:25.519 Is he gonna go into a career in politics now 1:27:25.640 --> 1:27:30.679 or something? But nope. We we then see they drive 1:27:30.840 --> 1:27:35.080 past another one of the Agriculture department machines and they 1:27:35.240 --> 1:27:37.599 and the guy comments on it. He's like, oh, they're 1:27:37.640 --> 1:27:41.360 setting up a new one of those now, and it's 1:27:41.439 --> 1:27:43.920 gonna They say, it's gonna rid all of the apple 1:27:44.080 --> 1:27:47.600 orchards of pests. I'm just mad about apples. And the 1:27:47.680 --> 1:27:50.559 cops laugh about this. Ah, apples. But then, of course, 1:27:51.320 --> 1:27:53.040 you know what's gonna happen now that they power up 1:27:53.080 --> 1:27:56.639 another one of these. The Inspector gets to his hotel 1:27:56.720 --> 1:27:59.920 room and the old Owl hotel, and who's there waiting 1:28:00.080 --> 1:28:05.120 for him but the reanimated ultrasonic corpse of George to 1:28:05.120 --> 1:28:08.720 get his revenge, and the Inspector meets his demise and 1:28:08.800 --> 1:28:09.880 gets his comeupance. 1:28:10.160 --> 1:28:12.920 Yeah, so it almost kind of like Tails from the Crypt. 1:28:13.479 --> 1:28:17.759 Nasty ending. Yeah, the most awful character in the film 1:28:17.840 --> 1:28:22.200 survives to the end but then is killed in horrific fashion. 1:28:22.840 --> 1:28:25.439 And then something is also quite fitting of Ecohar in general, 1:28:25.640 --> 1:28:27.840 there's a sense that the threat is far from over. 1:28:27.960 --> 1:28:30.639 The threat is going to continue to expand it's still 1:28:30.680 --> 1:28:33.240 out there, which you know, isn't just about setting up 1:28:33.240 --> 1:28:36.080 the possibility for a sequel or something, as it certainly 1:28:36.080 --> 1:28:39.640 would would be in subsequent decades, but just kind of 1:28:39.640 --> 1:28:43.040 this idea that like this is just the starting point 1:28:43.479 --> 1:28:46.639 and the problem is going to spread and get bigger 1:28:46.720 --> 1:28:47.200 and bigger. 1:28:47.400 --> 1:28:50.320 We're going to keep getting zombies and keep getting rage babies. 1:28:50.840 --> 1:28:54.720 Rage babies and zombies and insects killing the apples though 1:28:54.760 --> 1:28:57.320 are going to be amazing, we know, that much. 1:28:57.800 --> 1:28:59.720 Though It's funny. I think you could probably come up 1:28:59.760 --> 1:29:04.320 with a more plausible hard science fiction film just about 1:29:04.360 --> 1:29:07.799 what would happen if you literally destroyed every single insect 1:29:07.880 --> 1:29:10.120 within a five mile radius. So that seems like that 1:29:10.160 --> 1:29:11.960 would have devastating consequences. 1:29:12.600 --> 1:29:17.000 Yeah, like taking out most of your decomposers and so forth, 1:29:17.120 --> 1:29:19.679 just as one example. I mean, it would be dreadful 1:29:19.680 --> 1:29:22.840 for the environment, dreadful for the apples too. I'm always 1:29:22.840 --> 1:29:26.200 pleased on a film like this shows some restraint because 1:29:26.360 --> 1:29:28.599 this is a film where, yeah, there's some really gory 1:29:28.640 --> 1:29:32.120 moments like the zombie the probably the goryouts are the 1:29:32.160 --> 1:29:35.040 scenes where the zombies eat the cop, and then there's 1:29:35.080 --> 1:29:37.360 a scene where they tear apart a nurse in the hospital, 1:29:37.680 --> 1:29:42.240 and those are very gory sequences. But I felt, at 1:29:42.320 --> 1:29:44.759 least for my taste, they didn't go too far. And likewise, 1:29:44.800 --> 1:29:48.320 plot wise, nobody fights a rage baby. There's not a 1:29:48.320 --> 1:29:51.519 scene we're all good whether rage babies run run wild 1:29:51.560 --> 1:29:53.840 and George has to fight them off with his flaming acts. 1:29:54.520 --> 1:29:56.320 There's some other moments in the film too, where I 1:29:56.320 --> 1:29:58.920 felt like they showed a little restraint with the premise. 1:30:00.400 --> 1:30:03.120 So yeah, and I think above all as even though 1:30:03.439 --> 1:30:06.000 a lot of these plot elements are kind of laughable 1:30:06.160 --> 1:30:11.800 in retrospect, that they are presented with a seriousness and 1:30:11.800 --> 1:30:14.920 a and a commitment to filmmaking that that makes this 1:30:15.120 --> 1:30:19.599 probably one of the more entertaining zombie films I've seen. 1:30:19.760 --> 1:30:22.719 Like the night that I watched this, I just turned 1:30:22.720 --> 1:30:24.479 it on just to check out part of it and 1:30:24.600 --> 1:30:25.840 ended up watching the whole thing. 1:30:26.320 --> 1:30:28.960 Yeah, I totally agree. I thought this was a fairly 1:30:29.000 --> 1:30:34.080 excellent zombie movie. Surprisingly compelling action and characters in situation, 1:30:34.240 --> 1:30:37.639 and beautiful looking. I like the horror design, but also 1:30:37.800 --> 1:30:39.920 just all of the gorgeous locations. 1:30:40.120 --> 1:30:43.360 Yeah, so there you have it. Let Sleeping Corpses lie 1:30:43.920 --> 1:30:47.200 aka The Living Dead at Manchester Morgue. It's been a 1:30:47.200 --> 1:30:51.200 cult favorite for years, and I understand why. This one's 1:30:51.240 --> 1:30:53.360 a lot of fun, So I definitely recommend it to 1:30:53.360 --> 1:30:57.040 folks who want a bloody good zombie movie. Now, just 1:30:57.160 --> 1:30:59.479 reminded everyone out there here it's stuff to blow your mind. 1:30:59.520 --> 1:31:03.479 Where primary earlier science podcasts and we're pro science. We 1:31:03.520 --> 1:31:06.599 don't think science is the enemy trying to turn all 1:31:06.600 --> 1:31:10.080 our babies into rage babies or anything to that extent. 1:31:11.040 --> 1:31:13.200 In our core episodes of Stuff to Blow Your Mind 1:31:13.200 --> 1:31:15.720 come out on Tuesdays and Thursdays. We do listener mail 1:31:15.720 --> 1:31:18.800 on Mondays, short form Artifactor, Monster Fact on Wednesdays, and 1:31:18.840 --> 1:31:21.400 on Friday, we set aside most serious concerns to just 1:31:21.400 --> 1:31:23.960 talk about a weird film here on Weird House Cinema. 1:31:24.200 --> 1:31:25.680 If you want to see a list of all the 1:31:25.680 --> 1:31:27.720 movies we've covered in the past, you can go to 1:31:27.760 --> 1:31:29.519 a couple of places for that. I blog about these 1:31:29.520 --> 1:31:32.400 at some immutamusic dot com and then if you go 1:31:32.439 --> 1:31:34.720 to letterbox that's l E T T E r bo 1:31:34.920 --> 1:31:38.439 x d dot com. We have as a place where 1:31:38.720 --> 1:31:43.040 people can create accounts and can essentially blog about movies 1:31:43.200 --> 1:31:46.559 and had their own reviews to various movies, create lists 1:31:46.560 --> 1:31:49.120 of movies they want to see or have seen. Well, 1:31:49.120 --> 1:31:51.320 we have an account there it's weird House, and we 1:31:51.360 --> 1:31:53.160 have a list of all the films that we've looked 1:31:53.160 --> 1:31:55.400 at on Weird House Cinema thus far, and sometimes we'll 1:31:55.439 --> 1:31:57.719 have a peek ahead at what's coming along next. 1:31:58.040 --> 1:32:01.080 Huge thanks to our audio producer JJ Pauseway. If you 1:32:01.080 --> 1:32:03.400 would like to get in touch with us with feedback 1:32:03.439 --> 1:32:06.000 on this episode or any other, if you would like 1:32:06.080 --> 1:32:08.880 to suggest a topic for the future, or if you'd 1:32:08.920 --> 1:32:10.800 just like to say hello, you can email us at 1:32:10.920 --> 1:32:20.920 contact at stuff to Blow your Mind dot com. 1:32:21.080 --> 1:32:24.040 Stuff to Blow Your Mind is production of iHeartRadio. For 1:32:24.120 --> 1:32:26.920 more podcasts from my heart Radio, visit the iHeartRadio app, 1:32:27.040 --> 1:32:30.280 Apple Podcasts, or wherever you listen to your favorite shows.