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

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Speaker 1: Rob Lamb. We have a classic episode here for you today.

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Speaker 1: It originally published one seventeen, twenty twenty five, and it

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Speaker 1: concerns the nineteen seventy three Paul Nashi film The Hunchback

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Speaker 1: of the Morgue or Hunchback of the Morgue rather this one.

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Speaker 1: This one is a lot of fun. It's a real

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Speaker 1: gore fest and has Paul Nashi, one of our absolute favorites,

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Speaker 1: in the lead as the titular character. Let's jump right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick.

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Speaker 1: And we are once more returning to the Nashi verse.

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Speaker 1: This will be our fourth Paul Nashi film on Weird

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Speaker 1: House Cinema. Paul Nashy, of course, an icon of Spanish

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Speaker 1: horror and just in general like nineteen seventies grimy horror cinema.

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Speaker 1: We've previously talked about. Yeah, three of his films. There's

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Speaker 1: nineteen seventy three's Horror Rises from the Tomb, in which

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Speaker 1: he plays no fewer than three characters, including the undead

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Speaker 1: warlock Alaak Demarnac alongside his undead bride played by Helga Line.

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Speaker 1: And then we also talked about nineteen seventies Assignment Terror,

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Speaker 1: which is a ridiculous mostly I would say a spy

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Speaker 1: themed monster mash featuring Nashi as the cursed Werewolf Valdemar Daninski.

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Speaker 3: And then had like off brand versions of all the

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Speaker 3: universal monsters that were being recruited by alien spies to

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Speaker 3: attack Earth.

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Speaker 1: Yes, but I have to say some really fun monster

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Speaker 1: combat in that one. I had that one on Blu Ray,

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Speaker 1: donated it to Future Shock Video in New Orleans. You

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Speaker 1: can rent it there.

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Speaker 3: Yeah. I recall that one was interesting for how they

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Speaker 3: sketched out the moral character of the different monsters, like,

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Speaker 3: of course, because it was Paul Nashi playing Valdemar Doninsky

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Speaker 3: as the werewolf. The werewolf was the more sympathetic monster.

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Speaker 3: It's he's got a you know, a romantic role. Paul

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Speaker 3: Nashy as this werewolf character which occurred in many films,

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Speaker 3: often played a kind of a tragic romantic role. But

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Speaker 3: the really bad one was Frankenstein. The Frankenstein monster was

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Speaker 3: like the main henchmen of the Bad Aliens.

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Speaker 1: Yeah, that was that was interesting, And then we talked

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Speaker 1: about nineteen eighty one's Night of the Werewolf, a full

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Speaker 1: blown of Valdemar Doninsky film in which the legendary werewolf

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Speaker 1: does battle with Lady Bathrie played by Julius Sally. All

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Speaker 1: three of these were written by Nashi as well, and

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Speaker 1: he directed Knight of the Werewolf.

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Speaker 3: I think did he often write these under I was

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Speaker 3: gonna say a pen name, but I think it was

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Speaker 3: actually his real name, right, yesinto Molina.

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Speaker 1: Yes, yeah, generally they would be credited Who is his

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Speaker 1: real name? Paul Nashy is his performance name.

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Speaker 3: Now, in case we're interested in running up the score

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Speaker 3: on recent Nashi viewings. Just the other night, my wife

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Speaker 3: and I finished watching another nineteen seventy one Paul Nashi movie.

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Speaker 3: We watched The Werewolf Versus the Vampire Woman, which I

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Speaker 3: acquired this past December. It has some really good gopher

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Speaker 3: style vampire fangs. You know, there are different ways you

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Speaker 3: can design vampire fangs. This made me think about it,

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Speaker 3: Like the kind that are actually rather slight like they

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Speaker 3: kind of hide in the mouth, and then you can

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Speaker 3: have the ones that were you know, the mouth opens

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Speaker 3: wide and reveals a kind of longer snake fang, and

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Speaker 3: then you've got this style which is a kind of

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Speaker 3: fang over by this sort of chipmunk look where the

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Speaker 3: fangs go down over the bottom lip, which I don't know,

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Speaker 3: I think it looks pretty funny. This is, of course,

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Speaker 3: another tragic romantic werewolf part for Paul Nashi. He's reprising

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Speaker 3: his role as Waldemartin and Doninsky. I don't know how

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Speaker 3: many move he played Doninsky, and it had to be

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Speaker 3: more than a dozen. He's doing it over and over.

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Speaker 1: We discussed the full count in our episode on Night

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Speaker 1: of the Werewolf, but it's yeah, it's a whole slew

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Speaker 1: of them.

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Speaker 3: Yeah, so Werewolf versus the Vampire Woman was a lot

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Speaker 3: of fun. It's mostly goofball stuff. It has a quite

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Speaker 3: wooden love story that the chemistry between Nashi and his

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Speaker 3: romantic interest is not really there. But it does have

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Speaker 3: a handful of genuinely unnerving and artful sequences. It's kind

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Speaker 3: of interesting. I don't know what it comes at as

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Speaker 3: so like it's mostly a B movie, but every now

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Speaker 3: and then there's a shot that could be like, oh,

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Speaker 3: that's actually quite scary, that could be in a much

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Speaker 3: better film.

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Speaker 1: Yeah. I mean, that's one of the wonderful things about

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Speaker 1: films of this caliber B cinema in general, is that

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Speaker 1: you know, there's gonna be some stuff that, you know,

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Speaker 1: where the either abilities or a budget wasn't quite there.

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Speaker 1: But then there'll be areas where it really shines, you know,

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Speaker 1: and it's finding those diamonds in the right that's that's

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Speaker 1: always the joy.

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Speaker 3: Rachel had questions about what the audience was supposed to

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Speaker 3: understand about the romantic appeal of Paul Nashey because he's

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Speaker 3: sort of part Peter Lourie and part Clark Gable. You know,

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Speaker 3: it's a mix.

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Speaker 1: Yeah, it is often hard in a way it's interesting

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Speaker 1: because it kind of makes him a bit of a chameleon,

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Speaker 1: because he can play a werewolf, he can play he

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Speaker 1: can play Dracula, you know, he can play an action hero.

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Speaker 1: And as we're going to discuss today, he can also

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Speaker 1: play a hunchback like he you know, he as we've

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Speaker 1: mentioned before, like he was a former weightlifter, so you know,

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Speaker 1: you know, he's a muscular guy and not you know,

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Speaker 1: and and I think you know, you can say Paul

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Speaker 1: Nashey was a handsome fella as well, but he didn't

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Speaker 1: have those kind of necessarily those like iconic leading man

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Speaker 1: good looks that were kind of like the standard. And

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Speaker 1: we have an, i think an example of those sorts

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Speaker 1: of good looks for a male actor of the nineteen

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Speaker 1: seventies in Spanish Center in this picture.

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Speaker 3: Yeah, I think he can be understood as attractive in

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Speaker 3: a way, but it's more the byronic hero who's maybe

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Speaker 3: not necessarily the most classically handsome, but he has a

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Speaker 3: kind of dark, strong, brooding, complicated, dangerous appeal which goes

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Speaker 3: with his werewolf roles.

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Speaker 1: Yeah, I agree, because I've watched one or two of

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Speaker 1: the films where he plays like irresistible action Paul Nashi

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Speaker 1: without any supernatural motifs added on, and you know, it's

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Speaker 1: a little harder to get behind.

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Speaker 3: Yeah, but to the extent that he has Peter Lourie energy,

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Speaker 3: it's like buff Peter Lourie.

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Speaker 1: Yeah.

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Speaker 4: So yeah.

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Speaker 1: In today's film, Hunchback of the Morgue, we get to

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Speaker 1: experience Nashi is a different horror movie staple, the Hunchback.

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Speaker 1: This trope, of course, has deep roots in Gothic horror,

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Speaker 1: going back to the eighteen thirty one Victor Hugo novel

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Speaker 1: The Hunchback of Notre Dame, with film adaptations of that

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Speaker 1: work going back to nineteen oh five. The nineteen twenty

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Speaker 1: three silent film adaptation starring a Lot Cheney stands out,

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Speaker 1: as well as the nineteen thirty nine talkie starring Charles

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Speaker 1: Lawton and Marine O'Hara. These have both stood the test

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Speaker 1: of time and are considered classics. The makeup as well

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Speaker 1: in these two, Like you look up stills or footage

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Speaker 1: from these films and it's still very convincing stuff.

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Speaker 4: Now.

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Speaker 3: I think the Hunchback of Notre Dame character has been

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Speaker 3: brought to screen with a number of different takes, but

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Speaker 3: usually the core of the character is that he is

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Speaker 3: someone who is rejected and outcast by others because of

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Speaker 3: his appearance, but has a good.

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Speaker 1: Soul right And there's generally like one female character at

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Speaker 1: least who sees him for who he really is, who

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Speaker 1: recognizes this pure heart within him. So yeah, a lot

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Speaker 1: of great actors have played the role over the years.

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Speaker 1: Some of these I've never seen and wasn't familiar with,

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Speaker 1: Like Anthony Quinn played Quasimodo in fifty six, Anthony Hopkins

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Speaker 1: played him in eighty two, alongside Derek Jacobi, who I

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Speaker 1: believe played the villain in that one. Mandy Tinkn played

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Speaker 1: him in nineteen ninety seven. I vaguely remember that one.

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Speaker 1: I think it was a TV adaptation opposite Samahayak and

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Speaker 1: Richard Harris. We also have the nineteen ninety six Walt

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Speaker 1: Disney film adaptation animated, and I'm not sure where the

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Speaker 1: project stands, but there was talk of Idris Elba starring

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Speaker 1: in and directing a Netflix adaptation of the Hunchback of

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Speaker 1: Notre Dame. Sadly, I think fate has probably robbed us

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Speaker 1: of our chance to see Big Dress as Quasimoto.

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Speaker 3: That would have been something. Don't even know if I

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Speaker 3: can imagine it, but sorry, I just had to go

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Speaker 3: over and look at the I had to look up

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Speaker 3: the story because I couldn't remember the name of the

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Speaker 3: villain from the Hunchback of Notre Dame. The Archdeacon the

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Speaker 3: church official, but that was Archdeacon Frolo or Frolo. I

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Speaker 3: don't know how you say it, but yeah, this character.

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Speaker 3: It's funny because I misremembered what this character was supposed

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Speaker 3: to be, and thinking back on him, I had been

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Speaker 3: thinking of him more as a I don't know, a

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Speaker 3: character more like Jo and Limius, a rob and another

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Speaker 3: Victor Hugo novel, who is a kind of misguided, overly

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Speaker 3: strict enforcer of the rules, who you know, does kind

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Speaker 3: of fails to see ways in which strict enforcement of

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Speaker 3: the rules can be can be harmful, or you know,

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Speaker 3: can do more harm than good. I don't know if

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Speaker 3: that's actually what this character is. It seems like in

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Speaker 3: the novel at least he is a He is a

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Speaker 3: weird sort of outsider figure in the church who people

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Speaker 3: think he might be some kind of wizard. He's doing

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Speaker 3: alchemy experiments, and he's a lecherous creep, which is funny

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Speaker 3: because that means there's there's maybe some overlap between that

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Speaker 3: character and one of the main villains in The Hunchback

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Speaker 3: of the Morgue.

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Speaker 1: That's a great point. Yeah, Now, given Paul Nashey's love

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Speaker 1: for universal monsters in classic Gothic horror, yeah, it was

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Speaker 1: only a matter of time, I guess, until he did

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Speaker 1: a Quasimoto like character. Though it is important to stress

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Speaker 1: here this is not another retelling of the Hunchback of

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Speaker 1: Notre Dame. Instead, we have have a largely original story

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Speaker 1: involving grave robbing, doomed love, mad science, and just a

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Speaker 1: splash of lovecrafty.

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Speaker 3: And horror set in the modern world at the time

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Speaker 3: of the film. Or is it questions about that this

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Speaker 3: one was temporally confusing.

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Speaker 1: Yes, Now you had a great note as well about

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Speaker 1: the likely inspiration for this. I mentioned Nashi was, of

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Speaker 1: course a big fan of the universal horror movies, all

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Speaker 1: the classics that he grew up on. And you brought

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Speaker 1: up the character of Fritz.

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Speaker 3: Oh yeah, well, because this movie to me seemed you

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Speaker 3: could definitely interpret it as Frankenstein, not so much to

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Speaker 3: the novel, but the first James Whyale movie, the first

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Speaker 3: universal Frankenstein from Fritz's perspective.

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Speaker 1: That's a great point. Yeah, Fritz, of course, being the

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Speaker 1: hunchback esque sidekick to the doctor.

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Speaker 3: In the first film, played by Dwight Fry.

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Speaker 1: Yeah, so yeah, I could see some there's some Fritz

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Speaker 1: DNA did this as well, for sure, be a little

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Speaker 1: Igor in there as well, though I gore, of course

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Speaker 1: pure villain.

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Speaker 3: So I guess a real question about this movie is

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Speaker 3: how sympathetic are we supposed to think Paul Nash's character

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Speaker 3: is Because it's clear he's being portrayed, at least in

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Speaker 3: the beginning, as mostly sympathetic. I mean, the story is

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Speaker 3: basically told from from Paul Nash's character's perspective, and we

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Speaker 3: see all of his loves and disappointments and humiliations, we

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Speaker 3: identify emotionally with his struggles. We see and other characters

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Speaker 3: repeatedly tell him that despite the fact that he has outcast,

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Speaker 3: he has a good heart and he means well. But

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Speaker 3: we also just see him carry out murder after murder,

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Speaker 3: and not just murders like live later in the movie,

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Speaker 3: kidnappings of live human subjects to be fed to some

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Speaker 3: kind of monster.

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Speaker 4: Yeah.

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Speaker 1: Yeah, And in a sense it's the murders have the

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Speaker 1: sort of standard trajectory of any kind kind of at

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Speaker 1: least initially sympathetic killer in a film, because the initial

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Speaker 1: victims will all be dirt bags, and then later on

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Speaker 1: you're like, oh, well, they're not really that much of

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Speaker 1: the he's straight over in the less dirt bag territory.

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Speaker 1: But this film doesn't really make much out of that.

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Speaker 1: We can observe it in comment on it, but the

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Speaker 1: film doesn't really spend a lot of time with the

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Speaker 1: fact that yeah, he's increasingly just murdering and kidnapping people

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Speaker 1: to feed them to a monster. And yet at the

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Speaker 1: same time, I do feel like the movie encourages us

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Speaker 1: to feel sympathy for Gotho the Hunchback the whole time.

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Speaker 1: So yeahs, and different characters speak about him in ways

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Speaker 1: where it's like, oh, none of this is his fault,

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Speaker 1: and I'm.

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Speaker 3: Like, I don't know, He's got some responsibility there, he

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Speaker 3: knows what he's doing.

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Speaker 1: Yeah. So yeah, we'll discuss as we proceed here. But

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Speaker 1: as far as the elevator pitches go, I would say

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Speaker 1: my elevator pitch would be I would do anything for

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Speaker 1: love up to you and including murder and.

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Speaker 3: Grave Robin, including after my love is long dead.

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Speaker 1: Yes, all right, let's let's hear a little bit of

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Speaker 1: the trailer audio. I'm not sure we're going to be

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Speaker 1: busting out some English trailer audio or Spanish trailer audio,

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Speaker 1: but either one will give you a taste you you.

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Speaker 4: Lovey, you you got your great colors station person no

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Speaker 4: do no, no, no no. Never before has a motion

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Speaker 4: picture told such a story in which love and horror

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Speaker 4: race hand in hand to their final consequences. Never has

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Speaker 4: love been so terrifying. Never has horror been more romantic.

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Speaker 4: Close your eyes tightly if you're unable to look at

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Speaker 4: the terrifying scenes of this motion picture interpreted by Paul Nashy,

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Speaker 4: Rosanna Yanni, Vic Winnard, Alberto Delbiz and Maria Person.

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Speaker 3: All right, Rob, Speaking of the English and Spanish dubs,

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Speaker 3: I have to report that I had a slightly chaotic

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Speaker 3: viewing experience with this movie because the streaming version that

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Speaker 3: I found to watch. I don't know if I should

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Speaker 3: call out the platform. It was, the one that's on

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Speaker 3: the shout Factory streaming collection, only had one. Maybe this

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Speaker 3: is my fault. Maybe I just didn't figure out how

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Speaker 3: to set it up correctly or something. But at least

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Speaker 3: when I was watching it, I could only figure out

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Speaker 3: how to use one audio option, and that audio option

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Speaker 3: was both the English and Spanish dubs playing simultaneously, which

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Speaker 3: was somewhat maddening, but I was still able to enjoy

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Speaker 3: the movie.

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Speaker 1: Yeah, that can always be confusing. If you've never, of course,

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Speaker 1: played around with this, you might easily make the mistake

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Speaker 1: of thinking, well, the dub and the subtitles are going

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Speaker 1: to be identical right now. Very often they are not

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Speaker 1: if there, even if they're just a little off it,

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Speaker 1: you can feel your brain hemispheres becoming like moving away

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Speaker 1: from each other, you know, your brain splitting in half.

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Speaker 3: Yeah. Yeah, it's like creating the dial tone noise. Yeah.

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Speaker 3: But so I was watching it with both of the

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Speaker 3: audios playing simultaneously, and then looking at the English subtitles.

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Speaker 3: So the amusing when I reference lines in the film,

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Speaker 3: I'm referring to the English subtitles.

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Speaker 1: Mostly I watched this one in Spanish with the English subs.

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Speaker 1: I checked out the English dub at first, because it's

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Speaker 1: important to note, especially the films from this era Spanish cinema,

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Speaker 1: they're almost always dubbed, even in Spanish. It was just

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Speaker 1: sort of the standard. It wasn't until later that there

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Speaker 1: was more of an emphasis on getting Spanish actors to

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Speaker 1: use their own voices.

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Speaker 3: Yeah, in the sense that a lot of times the

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Speaker 3: movie would not have live sound from the set, even

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Speaker 3: in the language it was shot in. They would do

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Speaker 3: they would record lines later.

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Speaker 1: Yeah, And I think maybe part of it too is like, yeah,

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Speaker 1: you're bringing a voice actor. They're like they're better anyway,

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Speaker 1: bring them in. But I listened to a little bit

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Speaker 1: of the English dub and I'm like, no, this, this

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Speaker 1: Gotho doesn't sound right, so I just switched to the

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Speaker 1: Spanish version. But I watched it on the screen. Factory

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Speaker 1: released Paul Nashi Collection Volume two, which is a pretty

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Speaker 1: great blu ray set. It contains a number of Paul

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Speaker 1: Nashi films, including The Werewolf and The Yetti, which is

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Speaker 1: really fun. That's another Doninsky film in which he travels

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Speaker 1: to Tibet. I believe, so a lot of fun stuff

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Speaker 1: in that. The disc offers two different versions of The

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Speaker 1: Hunchback of the Morgue, regular and uncensored. I've only watched

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Speaker 1: the uncensored version. I rewatched it, and I watched it

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Speaker 1: originally a few years back while I was like deep

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Speaker 1: in COVID, and I think the only difference is like

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Speaker 1: one or two scenes. There's not like a huge difference

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Speaker 1: between the censored and the uncensored as far as I

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Speaker 1: understand it. But this is a great collection worth checking

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Speaker 1: out if you live in Atlanta. You can rent it

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Speaker 1: from Video Drome. Great quality, great stuff, few extras as

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Speaker 1: well on the disc.

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Speaker 3: From what I could detect the uncensored version, there was

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Speaker 3: only really one scene of brief mild anudity that was

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Speaker 3: on a completely different film quality than the rest of

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Speaker 3: the movie.

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Speaker 1: That stands out. That's the main scene that stands out

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Speaker 1: as being added on.

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Speaker 3: This feels like it was from somewhere else.

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Speaker 1: All right, Well, let's get into the people involved here.

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Speaker 1: The director of this picture, and they also have a

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Speaker 1: screenplay credit, so I think they had some influence on

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Speaker 1: the screenplay. It's Javier Aghiri, who lived nineteen thirty five

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Speaker 1: through twenty nineteen, Spanish film director whose films include a

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Speaker 1: trio of seventy three horror pictures, Hunchback of the Morgue,

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Speaker 1: of course, another Paul Nashy film, Dracula's Great Love and

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Speaker 1: The Killer is one of thirteen. He worked in multiple

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Speaker 1: genres and was well regarded for his short films. He's

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Speaker 1: one of these directors that I believe did some more

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Speaker 1: experimental short film work early on.

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Speaker 3: The Killer is one of thirteen. Don't know anything about

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Speaker 3: that one, but it sounds by the title like a Jallo.

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Speaker 1: I looked into it briefly when we were it was

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Speaker 1: like a Friday the thirteenth episode publication, and I was like,

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Speaker 1: we should do something with thirteen in the title. So

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Speaker 1: I was looking into it. It looks it looks it

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Speaker 1: looks like it might be good, but I haven't seen it.

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Speaker 3: If the name of the movie is a complete sentence,

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Speaker 3: there's a good chance it's a Jallo.

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Speaker 1: Yeah. Or if it has something cryptic about like the

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Speaker 1: moth with the sapphire plumage or whatever. You know, there

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Speaker 1: are a number of those that sound like like your

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Speaker 1: auto generated jallo.

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Speaker 3: Title twenty seven daggers for the Owl Queen, Yes.

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Speaker 1: All right. There's also a screenplay credit for Alberto s

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Speaker 1: and Sua dates unknown, who also worked on Dracula's Great

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Speaker 1: Love and the Killer is one of thirteen, but the

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Speaker 1: main screenplay credit goes to Paul Nashi, who of course

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Speaker 1: also plays our hunchback Wolfgang Gotho. So yeah, Paul Nashi,

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Speaker 1: the legend himself. We've of course talked about Paul Nashey

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Speaker 1: on the show before. Real name Jacinto Molina Alvarez, he

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Speaker 1: was an aspiring architect turned bodybuilder turned horror writer, actor,

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Speaker 1: and eventually director. He grew up idolizing the universal monsters

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Speaker 1: he saw at the cinema and eventually got to become them.

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Speaker 1: He worked in various genres in addition to horror, including

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Speaker 1: action comedy and history, though history, I think, with some

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Speaker 1: obvious horror elements as well, But his horror work is

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Speaker 1: what has become legendary and has found an international audience.

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Speaker 1: And clearly this was his deepest love. Several of his

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Speaker 1: films certainly explored the darker side of human nature, but

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Speaker 1: his most iconic role, that of the were wolf Valdemar

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Speaker 1: de Doninski, embodies a clearly heartfelt sense of tragic love

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Speaker 1: and doom. And we see elements of these sensibilities and

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Speaker 1: other roles as well, including this one. And I think

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Speaker 1: that when we're talking about sympathy for Gotho, I think

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Speaker 1: I think doom is important. Like there's a strong doom

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Speaker 1: vibe to everything here with him, Like, you know, he

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Speaker 1: he is a doomed individual. He's a tragic individual. He

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Speaker 1: stands outside of the laws. He's been pushed outside of society,

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Speaker 1: and therefore he also has a sort of liberation in

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Speaker 1: being completely untethered from those laws and moral standards.

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Speaker 3: Yeah, there are even scenes that communicate essentially that idea

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Speaker 3: in the movie. Yeah, but it seems over and over

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Speaker 3: again across his career, Nash liked to play characters whose

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Speaker 3: love was more powerful than anything in the universe, and

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Speaker 3: who in the end are destroyed by their love.

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Speaker 1: Yes. Yeah, so it's always.

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Speaker 3: Like in the werewolf role, he's always got to get

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Speaker 3: stabbed in the heart with the silver cross by the

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Speaker 3: one woman who truly loves him.

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Speaker 1: Yes, there's a great quote from Nashie that I read

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Speaker 1: in the last nashi film we covered Night of the Werewolf,

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Speaker 1: where he's talking about Night of the Werewolf in some

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Speaker 1: of the plot elements, and he says, the claustrophobic castle,

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Speaker 1: the gothic tombs, the ill fated love affair, the menace

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Speaker 1: of the undead, the ostracism of someone who is despised

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Speaker 1: for being different, in the allbravating shadow of death. All

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Speaker 1: of these elements go to make up my personality and

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Speaker 1: my work.

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Speaker 3: Sounds about right.

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Speaker 1: And yeah, these characters, these films like these were the

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Speaker 1: soul of Paul Nashy. So yeah, he in this film,

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Speaker 1: I say, I think he gives a great performance at

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Speaker 1: once sympathetic and menacing or altering between the two depending

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Speaker 1: on the scene. And his physicality works really well. Here

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Speaker 1: he's splaying a hunchback, which is you know, he's hunched over,

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Speaker 1: he's shambling as he moves from scene to scene, and

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Speaker 1: I just have to say, this must have just been

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Speaker 1: physically exhausting. I am not an actor, but I played

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Speaker 1: a character in a video series, a mad scientist talking

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Speaker 1: about science called Anton Jess, and I had like a

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Speaker 1: slightly hunched over posture for the shoot. And this was

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Speaker 1: just like a few hours on a couple of days,

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Speaker 1: and I just felt like my body was racked after

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Speaker 1: from having to hold like a posture that I wasn't

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Speaker 1: accustomed to, and you know, it's probably not good posture

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Speaker 1: at all. And you know, for someone to play a

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Speaker 1: character like this and shamble about and maintain this kind

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Speaker 1: of posture and gait, yeah, this must have just absolutely

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Speaker 1: wrecked him.

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Speaker 3: Yeah. I would say you could even see the strain

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Speaker 3: on him in certain scenes. Yeah.

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Speaker 1: All right, well let's get into the love interest for

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Speaker 1: Old Gotho here. First of all, we have Ilsa. This

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Speaker 1: is Gotho's initial doomed crush, played by Maria Elena Apron

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Speaker 1: born nineteen forty eight, Spanish actress whose other credits include

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Speaker 1: sixty nine Is the House That Screamed, Armando dios Ario's

418
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Speaker 1: first Blind Dead movie, seventy two's Tombs of the Blind

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Speaker 1: Dead and nineteen to seventy fours The Fish with the

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Speaker 1: Eyes of Gold. Now there's a job title for you.

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Speaker 3: Yeah, yep.

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Speaker 1: She was also so in the seventy three Western Tequila

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Speaker 1: exclamation Point, and she was only active during the late

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Speaker 1: sixties early seventies. But she's good, I means. As far

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Speaker 1: as roles where someone mostly plays a corpse, this was

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Speaker 1: pretty physically demanding.

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Speaker 3: Yeah, I know. I already said. There are several things

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Speaker 3: that are temporally confusing about the setting of the film.

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Speaker 3: We'll keep coming back to that, especially throughout the plot.

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Speaker 3: This is set in the modern times, it's set in

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Speaker 3: the nineteen seventies, but this character feels like something out

432
00:23:28,480 --> 00:23:32,560
Speaker 3: of a Victorian novel. She very much just has a

433
00:23:32,680 --> 00:23:38,120
Speaker 3: story based disease that's kind of oh I die now.

434
00:23:39,200 --> 00:23:41,480
Speaker 3: I don't even know which story in particular I'm thinking of,

435
00:23:41,560 --> 00:23:43,639
Speaker 3: but she feels like a Victorian character.

436
00:23:44,080 --> 00:23:46,760
Speaker 1: I love that your sample cough there was that clearly

437
00:23:46,800 --> 00:23:48,400
Speaker 1: the cough from Black Sabbath Sweetly.

438
00:23:50,080 --> 00:23:51,920
Speaker 3: You know, my daughter heard that song for the first

439
00:23:52,000 --> 00:23:55,160
Speaker 3: time the other day and she proclaimed, it's heavy.

440
00:23:55,600 --> 00:23:56,480
Speaker 1: It is quite heavy.

441
00:23:56,720 --> 00:24:00,600
Speaker 3: She didn't originate that terminology. I had instructed what he

442
00:24:00,920 --> 00:24:02,000
Speaker 3: means awesome.

443
00:24:02,640 --> 00:24:05,040
Speaker 1: All right, So this is the doom the initial doomed

444
00:24:05,080 --> 00:24:07,399
Speaker 1: crush of Gotho. But then Gotho is going to get

445
00:24:07,400 --> 00:24:10,080
Speaker 1: a new love of interest, and that is the character Elki,

446
00:24:10,400 --> 00:24:16,280
Speaker 1: played by Rosanna Yanni born nineteen thirty eight, Argentinian born actress,

447
00:24:16,359 --> 00:24:19,320
Speaker 1: active from the early sixties to the early two thousands.

448
00:24:20,000 --> 00:24:22,280
Speaker 1: She was in Count Dracuta with Great Love same year.

449
00:24:22,400 --> 00:24:25,440
Speaker 1: She was also in sixty eights Frankenstein's Bloody Terror. That's

450
00:24:25,480 --> 00:24:28,720
Speaker 1: another Dninski picture. And she's also in nineteen sixty nine

451
00:24:28,720 --> 00:24:32,240
Speaker 1: Spangs of the Living Dead that was directed by Diasorrio,

452
00:24:32,760 --> 00:24:34,960
Speaker 1: which she also had a production credit on. Oh, and

453
00:24:35,040 --> 00:24:38,080
Speaker 1: she was in a very interesting looking nineteen seventy three

454
00:24:38,320 --> 00:24:43,400
Speaker 1: Amazonian warrior peplam film that also featured Helga Line titled

455
00:24:43,440 --> 00:24:46,320
Speaker 1: War Goddess, and it was directed by Terrence Young, the

456
00:24:46,359 --> 00:24:49,200
Speaker 1: guy who directed several of the early James Bond pictures.

457
00:24:49,440 --> 00:24:49,680
Speaker 4: Oh.

458
00:24:49,800 --> 00:24:52,880
Speaker 3: Okay, that's funny because I can just see her. I'm

459
00:24:52,880 --> 00:24:55,160
Speaker 3: not saying she was in one, but I could see

460
00:24:55,160 --> 00:24:57,159
Speaker 3: her in a James Bond movie. She looks like she

461
00:24:57,440 --> 00:24:59,320
Speaker 3: would fit right in And I don't know in a

462
00:24:59,400 --> 00:25:00,960
Speaker 3: Blackjacks in a casino.

463
00:25:01,520 --> 00:25:04,840
Speaker 1: She's really tall, yeah, and of course gorgeous, and I

464
00:25:04,880 --> 00:25:07,760
Speaker 1: feel like her height really helps in this picture opposite Gotho,

465
00:25:08,280 --> 00:25:10,520
Speaker 1: because again it's Paul Nashew, I think is already shorter

466
00:25:10,600 --> 00:25:14,119
Speaker 1: than her, and then he's stumped. He's stooped over as well,

467
00:25:14,520 --> 00:25:18,960
Speaker 1: so I don't know, like her very vertical alignment like

468
00:25:19,080 --> 00:25:20,880
Speaker 1: makes him even more hunchbacky.

469
00:25:21,520 --> 00:25:24,040
Speaker 3: She's good in the role. She plays a doctor, so

470
00:25:24,119 --> 00:25:28,440
Speaker 3: she has a very very caring and therapeutic kind of presence.

471
00:25:29,760 --> 00:25:33,159
Speaker 3: Her kindness, however, just not in her performance, but the

472
00:25:33,160 --> 00:25:37,000
Speaker 3: way the character is written, her kindness and level of

473
00:25:37,080 --> 00:25:40,640
Speaker 3: understanding goes to such lengths that it becomes a kind

474
00:25:40,640 --> 00:25:43,560
Speaker 3: of hilarious naivete. At the end of you know, there's

475
00:25:43,640 --> 00:25:46,720
Speaker 3: like murder after murder, and she's like, he's really very good.

476
00:25:48,920 --> 00:25:52,160
Speaker 1: Yes, yeah, yeah. There are a lot of characters who

477
00:25:52,960 --> 00:25:56,639
Speaker 1: see the see the good in in Gotho to the

478
00:25:56,680 --> 00:25:58,960
Speaker 1: point where they're clearly overlooking a lot of crimes.

479
00:25:59,200 --> 00:25:59,720
Speaker 3: Yeah.

480
00:25:59,840 --> 00:26:02,159
Speaker 1: Are we mentioned that this has a mad scientist in it,

481
00:26:03,040 --> 00:26:06,200
Speaker 1: and that is the character to doctor or Law who's

482
00:26:06,200 --> 00:26:09,639
Speaker 1: a real treat played by Alberto Dalbis who lived nineteen

483
00:26:09,680 --> 00:26:13,000
Speaker 1: twenty two through nineteen eighty three. Yeah, he's our chief antagonist.

484
00:26:13,040 --> 00:26:17,280
Speaker 1: Are mad scientist Argentine film and television actor who worked

485
00:26:17,280 --> 00:26:21,359
Speaker 1: a lot in horror, Jallo, crime and westerns, something of

486
00:26:21,400 --> 00:26:24,520
Speaker 1: a Spanish horror icon himself, and yet this is the

487
00:26:24,520 --> 00:26:26,840
Speaker 1: only role that he ever had in a Nashi film.

488
00:26:27,119 --> 00:26:30,520
Speaker 1: He pops up in no fewer than e eleveness Franco films.

489
00:26:30,720 --> 00:26:33,359
Speaker 1: So his credits include the likes of seventy three's The

490
00:26:33,400 --> 00:26:36,560
Speaker 1: Erotic Rights of Frankenstein. I'm not sure if it's the

491
00:26:36,560 --> 00:26:39,120
Speaker 1: monster of the Doctor that has the erotic rights here,

492
00:26:40,240 --> 00:26:43,920
Speaker 1: and that's rights like sacred rights, not like legal.

493
00:26:43,640 --> 00:26:45,800
Speaker 3: Rights, satanic rights of Dracula.

494
00:26:46,000 --> 00:26:49,360
Speaker 1: Yeah. Yeah, But he also appeared in the sci fi

495
00:26:49,480 --> 00:26:52,840
Speaker 1: action sci fi action films like sixty seven's Danger, two

496
00:26:52,920 --> 00:26:57,160
Speaker 1: Exclamation Points, Death Ray and the seventy two Telesavalas film

497
00:26:57,160 --> 00:26:59,920
Speaker 1: Pancho Villa, which we've talked about on the show before.

498
00:27:00,359 --> 00:27:03,879
Speaker 3: He is an interesting and different kind of mad scientist,

499
00:27:04,840 --> 00:27:07,720
Speaker 3: if you follow me here. So, I don't know, I

500
00:27:07,760 --> 00:27:10,160
Speaker 3: feel like the mad scientists we see in movies are

501
00:27:10,280 --> 00:27:14,520
Speaker 3: more often of either the Colin Clive kind of coming

502
00:27:14,520 --> 00:27:18,080
Speaker 3: apart of the seems nervous energy variety, or they might

503
00:27:18,080 --> 00:27:21,359
Speaker 3: be more like Doctor Septimus Pretorious and Bride of Frankenstein

504
00:27:21,840 --> 00:27:25,160
Speaker 3: and be a kind of oh, I don't know, beyond

505
00:27:25,200 --> 00:27:29,640
Speaker 3: good and evil libertine of weird obsessions and all that.

506
00:27:30,119 --> 00:27:34,040
Speaker 3: This guy instead has more of a kind of academic,

507
00:27:34,240 --> 00:27:38,520
Speaker 3: masculine bully energy. He feels like the guy, like the

508
00:27:38,560 --> 00:27:42,320
Speaker 3: guy in an academic department who has a kind of

509
00:27:42,400 --> 00:27:47,560
Speaker 3: charisma and authority and likes to boss other people around

510
00:27:47,600 --> 00:27:48,680
Speaker 3: and always get his way.

511
00:27:49,520 --> 00:27:49,720
Speaker 4: Yeah.

512
00:27:49,840 --> 00:27:51,600
Speaker 1: I think that's a good read on the character, and

513
00:27:51,920 --> 00:27:54,159
Speaker 1: it does make him stand out, Like he has some

514
00:27:54,200 --> 00:27:58,520
Speaker 1: great villain monologues, but they're not about ruling the universe

515
00:27:58,680 --> 00:28:01,560
Speaker 1: or anything like that. It's largely about like, yeah, some

516
00:28:01,600 --> 00:28:03,960
Speaker 1: real scientific advancements are going to come out of this work.

517
00:28:04,880 --> 00:28:07,760
Speaker 1: So yeah, I thought Doctor Orla was a lot of

518
00:28:07,760 --> 00:28:08,200
Speaker 1: fun here.

519
00:28:08,600 --> 00:28:11,400
Speaker 3: Yeah. I like him too. I don't know exactly how

520
00:28:11,440 --> 00:28:14,159
Speaker 3: I got here. He doesn't look a whole lot like

521
00:28:14,200 --> 00:28:16,320
Speaker 3: this guy, But the comparison I kept coming to in

522
00:28:16,359 --> 00:28:19,879
Speaker 3: my mind is he reminded me of the American actor

523
00:28:20,040 --> 00:28:23,439
Speaker 3: Richard Thomas, who played John Boy on The Waltons and

524
00:28:24,320 --> 00:28:27,880
Speaker 3: a bunch of other roles since then. He was in

525
00:28:27,920 --> 00:28:30,440
Speaker 3: the adult half of the nineteen ninety eight and he

526
00:28:30,760 --> 00:28:32,720
Speaker 3: had a role in The Americans, which is a great

527
00:28:33,320 --> 00:28:37,879
Speaker 3: espionage TV show. If there's a slightly more science oriented

528
00:28:37,960 --> 00:28:40,080
Speaker 3: version of that kind of energy, that's what I got

529
00:28:40,080 --> 00:28:40,640
Speaker 3: from this guy.

530
00:28:41,320 --> 00:28:44,600
Speaker 1: He has a great, smoldering, hateful glare that put me

531
00:28:44,640 --> 00:28:46,880
Speaker 1: in the mind of Powers Booth and Michael Shannon.

532
00:28:47,560 --> 00:28:50,320
Speaker 3: Okay, I can see that too, all right.

533
00:28:50,360 --> 00:28:53,280
Speaker 1: So we have our love interests set in place here.

534
00:28:53,400 --> 00:28:57,880
Speaker 1: We have our sympathetic monster, and we have our mad scientists.

535
00:28:58,120 --> 00:28:59,760
Speaker 1: We have a few other parts here to round out

536
00:28:59,760 --> 00:29:02,440
Speaker 1: the ca I mentioned that there would be traditional handsome

537
00:29:02,480 --> 00:29:05,560
Speaker 1: in this picture, and the traditional handsomeness is provided by

538
00:29:06,160 --> 00:29:11,200
Speaker 1: Victor Barrera credited as Vic Winner or Vic Wiener as

539
00:29:11,760 --> 00:29:15,000
Speaker 1: I think it depends on which trader you watched exactly

540
00:29:15,040 --> 00:29:18,720
Speaker 1: how it is pronounced, but he plays doctor Frederick Togner.

541
00:29:19,520 --> 00:29:24,320
Speaker 1: He is the second author on the forthcoming study that

542
00:29:24,640 --> 00:29:26,040
Speaker 1: doctor Orla is working on.

543
00:29:26,800 --> 00:29:30,320
Speaker 3: He is is he a mad scientist? And not really?

544
00:29:30,400 --> 00:29:33,840
Speaker 3: But he I don't know. I think he, on one hand,

545
00:29:34,080 --> 00:29:36,160
Speaker 3: is kind of a nice guy who means well, but

546
00:29:36,200 --> 00:29:38,560
Speaker 3: he also comes across like a chump. He just keeps

547
00:29:38,640 --> 00:29:41,440
Speaker 3: getting talked into doing bad stuff by Orla.

548
00:29:42,080 --> 00:29:46,360
Speaker 1: Yeah, yeah, he's here for the applications of this study

549
00:29:46,680 --> 00:29:49,320
Speaker 1: and seems willing to turn a blind eye to some

550
00:29:49,360 --> 00:29:53,600
Speaker 1: of the horrors. That being said, I feel like his

551
00:29:53,680 --> 00:29:56,880
Speaker 1: character is really the only decent male character in the film.

552
00:29:57,360 --> 00:29:59,280
Speaker 1: The vast majority of the men we meet in the

553
00:29:59,280 --> 00:30:03,040
Speaker 1: picture are bellig drunken, hateful bullies. One character is a

554
00:30:03,080 --> 00:30:06,440
Speaker 1: mad scientist. Then there's Gotho, a tragic figure who murders

555
00:30:06,720 --> 00:30:09,800
Speaker 1: everyone else. Even the children are just the absolute worst.

556
00:30:10,360 --> 00:30:13,640
Speaker 3: Yeah, I guess the only really truly good and pure

557
00:30:13,760 --> 00:30:17,240
Speaker 3: characters are Ilsa and then Elkie, and then I guess

558
00:30:17,320 --> 00:30:21,280
Speaker 3: you could argue about Tauchner here, and then also about

559
00:30:21,320 --> 00:30:22,560
Speaker 3: doctor Meyer, his fiance.

560
00:30:22,920 --> 00:30:26,479
Speaker 1: That's right. Yeah, all the women are fine, but of

561
00:30:26,520 --> 00:30:32,000
Speaker 1: the men, only Fred here is decent. Yeah. Now, Barrera

562
00:30:32,160 --> 00:30:35,880
Speaker 1: or Winner, he worked in a few different Nashi pictures.

563
00:30:36,120 --> 00:30:38,480
Speaker 1: We talked about him, I think briefly before, because he

564
00:30:38,520 --> 00:30:40,720
Speaker 1: pops up in Horror Rises from the Tomb. He's also

565
00:30:40,760 --> 00:30:45,320
Speaker 1: in Count Dracula's Great Love. So yeah, pretty standard stuff here,

566
00:30:45,320 --> 00:30:48,280
Speaker 1: but you know he plays his part well. Yeah, all right,

567
00:30:48,320 --> 00:30:52,240
Speaker 1: we mentioned doctor Meyer, doctor Maria Meyer. This is doctor

568
00:30:52,280 --> 00:30:56,640
Speaker 1: Fred's fiance played by Maria Percy who lived nineteen thirty

569
00:30:56,680 --> 00:30:59,280
Speaker 1: eight through two thousand and four. Percie Here was an

570
00:30:59,360 --> 00:31:02,760
Speaker 1: Austrian born actress whose biggest film was likely nineteen sixty

571
00:31:02,760 --> 00:31:06,400
Speaker 1: four is Man's Favorite Sport. She was billed third in

572
00:31:06,440 --> 00:31:09,640
Speaker 1: that film. It starred Rock Hudson and was directed by

573
00:31:09,680 --> 00:31:12,440
Speaker 1: none other than Howard Hawks in his fourth to last film.

574
00:31:13,240 --> 00:31:15,520
Speaker 1: She appeared in five films with Paul Nashy. She was

575
00:31:15,560 --> 00:31:18,600
Speaker 1: also in the third Blind Dead picture, The Ghost Gallion.

576
00:31:20,200 --> 00:31:22,480
Speaker 1: Now a brief note on special effects, because I have

577
00:31:22,520 --> 00:31:24,360
Speaker 1: to say I thought that the gore in this movie

578
00:31:24,680 --> 00:31:27,840
Speaker 1: looks pretty good, Like it's really fun blood and slime.

579
00:31:28,560 --> 00:31:31,560
Speaker 3: Yes, you know, I'm not primarily a gorehound by nature.

580
00:31:31,640 --> 00:31:33,720
Speaker 3: It's not the first thing I'm looking for in a movie,

581
00:31:33,720 --> 00:31:36,120
Speaker 3: but I but I do appreciate better gore, and this

582
00:31:36,200 --> 00:31:37,360
Speaker 3: is better gore than much.

583
00:31:37,760 --> 00:31:42,000
Speaker 1: Yeah, some good disembodied heads in this picture, for example.

584
00:31:43,160 --> 00:31:47,840
Speaker 1: The special effects credit goes to one Pablo Perez, Spanish

585
00:31:47,840 --> 00:31:50,800
Speaker 1: effects artists who also worked on such films as seventy

586
00:31:50,800 --> 00:31:53,680
Speaker 1: two's Horror Express, which we previously talked about and had

587
00:31:53,720 --> 00:31:57,719
Speaker 1: some very fun effects in it. Past October. Yeah, yeah,

588
00:31:57,840 --> 00:32:01,240
Speaker 1: Count Dracke was great. Love Luccio. Well, she's nineteen seventy

589
00:32:01,240 --> 00:32:02,640
Speaker 1: three White Fang adaptation.

590
00:32:03,560 --> 00:32:05,840
Speaker 3: What I didn't even know that existed.

591
00:32:05,760 --> 00:32:08,360
Speaker 1: As well as seventy three is The Vampire's Night Orgy,

592
00:32:08,640 --> 00:32:10,800
Speaker 1: a movie I haven't seen, but it's on my radar

593
00:32:10,960 --> 00:32:14,480
Speaker 1: because there's a scene in the picture and it's featured

594
00:32:14,600 --> 00:32:18,960
Speaker 1: on promotional materials, including the poster that shows Helga Line

595
00:32:19,280 --> 00:32:21,840
Speaker 1: as a vampire carrying a male victim, which is a

596
00:32:21,920 --> 00:32:25,320
Speaker 1: nice inversion of the horror movie poster trope in which

597
00:32:25,360 --> 00:32:29,360
Speaker 1: a male monster carries a female captive. So the movie

598
00:32:29,560 --> 00:32:31,480
Speaker 1: may just be absolute trash, it may not be good.

599
00:32:31,560 --> 00:32:35,400
Speaker 1: I don't know, but bravo for doing the gender flip

600
00:32:35,400 --> 00:32:39,520
Speaker 1: on this iconic bit of poster sleeves. I love it.

601
00:32:39,760 --> 00:32:40,760
Speaker 3: Yeah, and it looks good.

602
00:32:41,320 --> 00:32:43,760
Speaker 1: Yeah yeah, I mean I think she's really carrying him here.

603
00:32:43,960 --> 00:32:46,720
Speaker 3: Yeah, I mean they've they've posed him just right, showing

604
00:32:46,760 --> 00:32:48,200
Speaker 3: off the thighs and all that. Yeah.

605
00:32:48,240 --> 00:33:00,600
Speaker 1: Yeah. And then finally, the music here is by Carmelo

606
00:33:00,760 --> 00:33:04,280
Speaker 1: A Berniola, who lived nineteen twenty nine through two thousand

607
00:33:04,280 --> 00:33:07,000
Speaker 1: and two, highly influential Spanish composer who also worked in

608
00:33:07,000 --> 00:33:11,040
Speaker 1: film and TV. Scores. He won some Spanish Film Awards

609
00:33:11,080 --> 00:33:15,720
Speaker 1: for a few different pictures, including seventy four's Tormento. His

610
00:33:15,800 --> 00:33:20,400
Speaker 1: other scores include The House Without Frontiers and Cutthroat nine

611
00:33:20,400 --> 00:33:23,640
Speaker 1: and seventy two and three Nashy Films from seventy three, Hunchback,

612
00:33:24,040 --> 00:33:26,960
Speaker 1: count Dracula's Great Love, and Horror Rises from the Tomb.

613
00:33:27,360 --> 00:33:29,960
Speaker 1: I would say, good melodramatic score on the whole.

614
00:33:30,400 --> 00:33:32,280
Speaker 3: Yeah, I would agree with that, though I will say

615
00:33:32,480 --> 00:33:35,400
Speaker 3: it's not that the music is bad. Especially early in

616
00:33:35,440 --> 00:33:37,800
Speaker 3: the film. There is a lot of use of music

617
00:33:37,840 --> 00:33:42,200
Speaker 3: that is really not my favorite style. But it's not

618
00:33:42,320 --> 00:33:45,000
Speaker 3: the music's fault. It's there's a lot of like, I

619
00:33:45,040 --> 00:33:49,040
Speaker 3: don't know, marches with heavy horns and october Fest style

620
00:33:49,160 --> 00:33:53,080
Speaker 3: music that's I don't know, I get that's some people's thing.

621
00:33:53,440 --> 00:33:57,040
Speaker 1: They lean heavily on the score right as the movie

622
00:33:57,080 --> 00:34:01,720
Speaker 1: opens to let you know that this is Germany, it's Germanic,

623
00:34:01,880 --> 00:34:06,920
Speaker 1: or it's Austria, it's somewhere. It's somewhere that has october Fest,

624
00:34:07,440 --> 00:34:09,839
Speaker 1: and later on in some things we see like Octoberfest

625
00:34:09,840 --> 00:34:11,520
Speaker 1: posters on the walls and so forth.

626
00:34:11,719 --> 00:34:11,919
Speaker 4: Yeah.

627
00:34:12,080 --> 00:34:14,920
Speaker 3: Yeah, So well, speaking of that, should we jump right

628
00:34:14,960 --> 00:34:16,120
Speaker 3: into the plot.

629
00:34:16,400 --> 00:34:18,000
Speaker 1: Yeah, let's hit the polka music.

630
00:34:18,200 --> 00:34:20,480
Speaker 3: So, yeah, this is the music we're getting while we

631
00:34:20,520 --> 00:34:22,919
Speaker 3: see the credits play. It's not exactly it's not polka music.

632
00:34:22,960 --> 00:34:25,879
Speaker 3: I think this might technically be a march of some kind.

633
00:34:25,920 --> 00:34:28,759
Speaker 3: I don't know the music term, but it's Yeah, it's

634
00:34:28,800 --> 00:34:32,600
Speaker 3: a lot of horns. It's like blasting. It's really loud

635
00:34:32,680 --> 00:34:37,359
Speaker 3: on the soundtrack, like going into the red and you know, yeah,

636
00:34:37,400 --> 00:34:40,280
Speaker 3: the Octoberfest zone. But this is playing while the camera

637
00:34:40,719 --> 00:34:44,000
Speaker 3: camera pans over the beautiful landscape of wherever this is.

638
00:34:44,040 --> 00:34:47,000
Speaker 3: I think it's supposed to be Germany. There are mountains

639
00:34:47,000 --> 00:34:50,040
Speaker 3: in the distance, hills in the foreground covered in forests.

640
00:34:50,120 --> 00:34:52,799
Speaker 3: The leaves are going orange for the autumn, and then

641
00:34:52,800 --> 00:34:55,520
Speaker 3: we see green, clear expanses of farm land. So it's

642
00:34:55,560 --> 00:34:57,120
Speaker 3: a very beautiful landscape.

643
00:34:58,080 --> 00:35:01,560
Speaker 1: Yeah. Yeah, most of this film was filmed in Spain,

644
00:35:01,760 --> 00:35:04,160
Speaker 1: but there are some shots from Austria, and I think

645
00:35:04,160 --> 00:35:06,880
Speaker 1: some of these zoom in on the town shots are

646
00:35:06,880 --> 00:35:07,720
Speaker 1: definitely Austrian.

647
00:35:08,200 --> 00:35:10,120
Speaker 3: Oh yeah, maybe it's supposed to be Austria, but it

648
00:35:10,120 --> 00:35:12,240
Speaker 3: feels like one of those feels like Germany or Austria

649
00:35:12,280 --> 00:35:16,040
Speaker 3: or something. Anyway, we zoom in on one sleepy town

650
00:35:16,320 --> 00:35:18,960
Speaker 3: somewhere in these hills now here. I want to come

651
00:35:19,000 --> 00:35:22,080
Speaker 3: back to the issue of how someone could easily be

652
00:35:22,160 --> 00:35:25,160
Speaker 3: confused about when this movie is supposed to take place,

653
00:35:25,800 --> 00:35:30,480
Speaker 3: because some of the sets and plot elements really imply

654
00:35:30,719 --> 00:35:33,719
Speaker 3: this is supposed to take place in the nineteenth century

655
00:35:33,800 --> 00:35:36,440
Speaker 3: or even earlier. But that can't be because there are

656
00:35:36,440 --> 00:35:39,960
Speaker 3: contemporary cars, and some of the characters but not others,

657
00:35:40,000 --> 00:35:42,560
Speaker 3: are wearing nineteen seventies clothes, so this has to be

658
00:35:42,640 --> 00:35:46,400
Speaker 3: set in the nineteen seventies. But again, we will just

659
00:35:46,480 --> 00:35:51,319
Speaker 3: see things here and there, like some interior decoration, some

660
00:35:51,600 --> 00:35:54,160
Speaker 3: clothes and things like that that make it seem like

661
00:35:54,200 --> 00:35:56,600
Speaker 3: it's from another time. And I don't know what contributed

662
00:35:56,640 --> 00:35:59,920
Speaker 3: to that weird anachronism, but there to is.

663
00:36:00,760 --> 00:36:02,400
Speaker 1: Yeah, I mean, some of it probably has to do

664
00:36:02,440 --> 00:36:06,640
Speaker 1: with the locations and the sets, where on one hand

665
00:36:06,680 --> 00:36:09,439
Speaker 1: you'll have mad Science equipment, but then on the other

666
00:36:09,520 --> 00:36:15,040
Speaker 1: hand you'll have these tremendous ruins and stone hallways with

667
00:36:15,160 --> 00:36:19,680
Speaker 1: straw strewn on the ground. So yeah, some temporal confusion

668
00:36:19,719 --> 00:36:20,960
Speaker 1: does ensue.

669
00:36:21,200 --> 00:36:23,680
Speaker 3: Yeah, So in this town we see an empty street.

670
00:36:24,080 --> 00:36:28,320
Speaker 3: It is empty except for Paul Nashy, who's wandering along

671
00:36:28,360 --> 00:36:33,720
Speaker 3: the cobblestones in his hunchback costume. And this is our protagonist, Gotho.

672
00:36:34,320 --> 00:36:36,400
Speaker 3: I'm going to call him Gotho because that's how it's spelled.

673
00:36:36,440 --> 00:36:38,640
Speaker 3: I think when I was hearing the characters say it,

674
00:36:39,320 --> 00:36:41,200
Speaker 3: this might have been more in the Spanish dub. They

675
00:36:41,200 --> 00:36:44,320
Speaker 3: were calling him more like go Toe, but I think

676
00:36:44,480 --> 00:36:48,239
Speaker 3: Gotho is easier for me to remember to say, so

677
00:36:48,400 --> 00:36:51,520
Speaker 3: Gotho makes his way toward I think this place would

678
00:36:51,560 --> 00:36:54,680
Speaker 3: be called a beer haul in the cultural context. It

679
00:36:54,800 --> 00:36:57,879
Speaker 3: is a drinking establishment with tables and chairs. It's got

680
00:36:57,880 --> 00:37:03,200
Speaker 3: an accordion player, and it's beer in comical, almost gallon

681
00:37:03,400 --> 00:37:07,719
Speaker 3: sized glasses. And inside we meet several bar patrons. There

682
00:37:07,800 --> 00:37:11,640
Speaker 3: is a young Foppish man with shaggy brown hair, wearing

683
00:37:11,680 --> 00:37:14,600
Speaker 3: an olive green sweater. This might be a commando sweater,

684
00:37:14,640 --> 00:37:18,240
Speaker 3: I'm not sure, but he's carousing with two women, also

685
00:37:18,320 --> 00:37:22,800
Speaker 3: in temporally confusing outfits. They're dressed to like bar maids,

686
00:37:22,840 --> 00:37:26,520
Speaker 3: like the Saint Paula girl. And this guy is named

687
00:37:26,680 --> 00:37:29,640
Speaker 3: Udo and he's just partying with these ladies. They're like

688
00:37:29,719 --> 00:37:34,040
Speaker 3: swaying back and forth wildly drunkenly to the accordion music,

689
00:37:34,160 --> 00:37:38,040
Speaker 3: laughing at nothing. They just clinking their mugs together about

690
00:37:38,080 --> 00:37:42,360
Speaker 3: again apparently nothing. And then this guy Udo rudely yells

691
00:37:42,400 --> 00:37:44,680
Speaker 3: at the accordion player to play something different. He says

692
00:37:44,719 --> 00:37:49,320
Speaker 3: they're getting bored. The accordion player stops plays a different

693
00:37:49,320 --> 00:37:52,439
Speaker 3: song which sounds exactly like the first song. And then

694
00:37:52,840 --> 00:37:56,080
Speaker 3: Paul Nashy watches this scene play out. So he's peeking

695
00:37:56,080 --> 00:37:59,080
Speaker 3: in through the beer hall window. At a table nearby,

696
00:37:59,160 --> 00:38:01,879
Speaker 3: there are a couple of other young louts. Somebody says

697
00:38:01,920 --> 00:38:04,920
Speaker 3: that they are students, and they challenge Udo to a

698
00:38:05,000 --> 00:38:08,520
Speaker 3: drinking contest by saying this was the line, can you

699
00:38:08,640 --> 00:38:12,040
Speaker 3: handle your beer as well as it can handle your girls?

700
00:38:13,320 --> 00:38:17,759
Speaker 3: I don't know. So they order four huge beers. You

701
00:38:17,840 --> 00:38:19,480
Speaker 3: just gigantic beers.

702
00:38:19,920 --> 00:38:22,720
Speaker 1: These beers are so huge, the glasses are so huge,

703
00:38:22,760 --> 00:38:25,000
Speaker 1: and the quantity of beer is so huge that like

704
00:38:26,080 --> 00:38:29,279
Speaker 1: you almost feel like the humans are shrinking, or that

705
00:38:29,280 --> 00:38:32,920
Speaker 1: you're in some sort of a surreal sequence, Like, surely

706
00:38:33,040 --> 00:38:35,600
Speaker 1: beer is not served in quantities this vast.

707
00:38:35,760 --> 00:38:37,880
Speaker 3: It's when they go to the pub and Brie and

708
00:38:37,960 --> 00:38:40,120
Speaker 3: Lord of the Rings. Yeah it comes in pints.

709
00:38:40,640 --> 00:38:42,600
Speaker 1: Yeah, It's like if you're a hobbit and you're drinking

710
00:38:42,640 --> 00:38:45,280
Speaker 1: a human sized beer. I mean, I guess this is legit.

711
00:38:45,320 --> 00:38:47,799
Speaker 1: I have no reason to believe that they they faked this.

712
00:38:48,760 --> 00:38:51,080
Speaker 1: I just and I'm not a beer drinker, So it

713
00:38:51,200 --> 00:38:53,640
Speaker 1: just seems like, wouldn't it just become so warm by

714
00:38:53,640 --> 00:38:55,320
Speaker 1: the time you get to the bottom of that glass.

715
00:38:55,520 --> 00:38:57,360
Speaker 3: Well not if you drink it like Udo and this

716
00:38:57,440 --> 00:38:59,600
Speaker 3: other guy, because they just chug it all at once.

717
00:39:00,160 --> 00:39:02,839
Speaker 3: So they have a drinking contest. Udo goes toe to

718
00:39:02,840 --> 00:39:05,719
Speaker 3: toe with one of the students, a tall guy with sideburns,

719
00:39:06,320 --> 00:39:09,360
Speaker 3: and I would say this bar scene is good to

720
00:39:09,440 --> 00:39:12,560
Speaker 3: watch if you want to convince yourself to quit drinking alcohol.

721
00:39:12,760 --> 00:39:17,840
Speaker 3: It makes alcohol look absolutely revolting. These two guys. So

722
00:39:17,880 --> 00:39:21,000
Speaker 3: they're drinking the giant beer as they're drooling everywhere, they're

723
00:39:21,040 --> 00:39:24,600
Speaker 3: spitting little flecks of froth. They end up with their

724
00:39:24,680 --> 00:39:29,160
Speaker 3: faces and clothes covered in some kind of gleaming mucus

725
00:39:29,160 --> 00:39:32,200
Speaker 3: from the chugging process. So they're not just wet, you know,

726
00:39:32,200 --> 00:39:35,360
Speaker 3: they've got drool and wet going down their shirts and

727
00:39:35,400 --> 00:39:38,600
Speaker 3: on their pants, but then their faces are covered with

728
00:39:38,800 --> 00:39:42,600
Speaker 3: this muca seed like shining stuff. And when I say

729
00:39:42,640 --> 00:39:44,880
Speaker 3: their faces, I don't just mean their mouth, it's like

730
00:39:44,880 --> 00:39:48,319
Speaker 3: their forehead and their eyebrows are wet. It's disgusting.

731
00:39:48,680 --> 00:39:53,080
Speaker 1: Yeah, just sweaty, toxically masculine beer guzzling. It seems to eventually,

732
00:39:53,120 --> 00:39:55,359
Speaker 1: it seems to destroy both their sex drives and their

733
00:39:55,360 --> 00:39:59,400
Speaker 1: internal organs. Yes, because after you're done drinking at this place,

734
00:39:59,440 --> 00:40:02,200
Speaker 1: you're just like, I have to leave now and fall

735
00:40:02,239 --> 00:40:02,800
Speaker 1: in the street.

736
00:40:03,120 --> 00:40:06,560
Speaker 3: Yeah, yeah, that's right. So Udo wins the drinking contest

737
00:40:06,600 --> 00:40:10,600
Speaker 3: because kid's sideburns here, falls unconscious and then smashes his

738
00:40:10,640 --> 00:40:14,080
Speaker 3: beer stein on the floor. Udo mocks him and then announces,

739
00:40:14,120 --> 00:40:16,479
Speaker 3: soaking wet, that it's time he has to go home.

740
00:40:17,440 --> 00:40:19,719
Speaker 3: The ladies dressed up like the Saint Pauly girl or

741
00:40:19,840 --> 00:40:23,040
Speaker 3: they're like, no, Udo, don't go. I think the implication

742
00:40:23,239 --> 00:40:25,560
Speaker 3: is that Udo is the life of the party. He's

743
00:40:25,680 --> 00:40:28,080
Speaker 3: very handsome and charismatic, and they want him to stay

744
00:40:28,080 --> 00:40:31,239
Speaker 3: and party. But you know, how's he going to stay

745
00:40:31,239 --> 00:40:34,200
Speaker 3: in party? He's like soaked in beer. So he gets up.

746
00:40:34,400 --> 00:40:38,520
Speaker 3: He wanders outside by himself, stumbling and staggering back and

747
00:40:38,560 --> 00:40:41,160
Speaker 3: forth as he makes his way down the street. Now

748
00:40:41,200 --> 00:40:45,680
Speaker 3: from the shadows nearby, Gotho watches Udo leave and then

749
00:40:45,719 --> 00:40:49,440
Speaker 3: follows him at a distance, looking concerned. At some point,

750
00:40:49,480 --> 00:40:52,080
Speaker 3: while he's going down the street, Udo drops something I

751
00:40:52,080 --> 00:40:55,240
Speaker 3: think it's his wallet, and Gotho sees this and runs

752
00:40:55,280 --> 00:40:57,799
Speaker 3: to pick it up. He calls out, Udo, you dropped this,

753
00:40:58,560 --> 00:41:03,320
Speaker 3: but Udo does not appreciate Gotho's help. Instead, he hits

754
00:41:03,400 --> 00:41:06,839
Speaker 3: Gotho and then he says, like, Gotho, you monster, what

755
00:41:06,840 --> 00:41:09,640
Speaker 3: were you gonna do? Rob me? One direct quote from

756
00:41:09,680 --> 00:41:12,480
Speaker 3: this part from the subtitles is he says to Gotho,

757
00:41:12,640 --> 00:41:17,279
Speaker 3: your fart face turns my guss. But in this altercation,

758
00:41:17,520 --> 00:41:21,120
Speaker 3: Udo drops a photograph of a woman signed with a note.

759
00:41:21,440 --> 00:41:23,960
Speaker 3: Gotho picks it up and it says to Udo, with

760
00:41:24,040 --> 00:41:27,880
Speaker 3: all my love Ilsa. And Gotho reads this to himself

761
00:41:27,960 --> 00:41:32,719
Speaker 3: clearly in pain reading it. It's just it's wounding him emotionally. Meanwhile,

762
00:41:32,880 --> 00:41:36,480
Speaker 3: Udo is walking on ahead, but suddenly he starts coughing

763
00:41:36,640 --> 00:41:40,319
Speaker 3: and gagging and clutching his stomach and he just collapses

764
00:41:40,440 --> 00:41:43,480
Speaker 3: on the street and apparently dies.

765
00:41:44,000 --> 00:41:44,520
Speaker 1: Yeah.

766
00:41:44,600 --> 00:41:48,880
Speaker 3: I was confused about this, but I don't know. We

767
00:41:48,920 --> 00:41:50,879
Speaker 3: can check in on this in a minute, but first

768
00:41:50,880 --> 00:41:52,880
Speaker 3: we have to say we go to a second location

769
00:41:53,280 --> 00:41:56,480
Speaker 3: that we're told in a subtitle is Feldkirch Hospital or

770
00:41:56,520 --> 00:41:59,600
Speaker 3: feldkirk It's about f E. L D s k i

771
00:41:59,800 --> 00:42:03,920
Speaker 3: R Hospital. And so it's a clinic situated up on

772
00:42:03,960 --> 00:42:07,359
Speaker 3: a slope overlooking the town. It's surrounded by elegant, well

773
00:42:07,440 --> 00:42:10,879
Speaker 3: kept gardens and a fountain courtyard. And tonight the rain

774
00:42:10,960 --> 00:42:13,759
Speaker 3: is pouring. We see the rain pouring into the fountain outside.

775
00:42:14,200 --> 00:42:17,120
Speaker 3: But suddenly we are in the morgue of the hospital.

776
00:42:18,000 --> 00:42:21,360
Speaker 3: It's a room with white tile walls, lockers for body storage,

777
00:42:21,360 --> 00:42:24,839
Speaker 3: and autopsy tables. And here we see Udo laid out

778
00:42:25,000 --> 00:42:28,920
Speaker 3: I think already dead on one of the tables. And

779
00:42:28,960 --> 00:42:33,759
Speaker 3: then Gotho is here, wearing a heavy leather apron. He approaches.

780
00:42:34,080 --> 00:42:37,880
Speaker 3: He approaches Udo's body with a knife in hand, grinning,

781
00:42:38,320 --> 00:42:42,120
Speaker 3: and Gotho says, now, Udo, your skin is pale white.

782
00:42:42,440 --> 00:42:45,360
Speaker 3: You no longer have that handsome, olive complexion the women

783
00:42:45,520 --> 00:42:48,280
Speaker 3: like so much. You were so proud of your good looks.

784
00:42:48,480 --> 00:42:50,520
Speaker 3: You made fun of the hump on my back. You

785
00:42:50,560 --> 00:42:52,880
Speaker 3: never realized you would end up as a pile of

786
00:42:52,960 --> 00:42:57,320
Speaker 3: meat at the hands of bungling students. Then Gotho takes

787
00:42:57,360 --> 00:43:00,480
Speaker 3: the knife and proceeds to I think it's not exactly

788
00:43:00,560 --> 00:43:03,040
Speaker 3: clear what all happens here, but I think he cuts

789
00:43:03,040 --> 00:43:06,960
Speaker 3: off Udo's head, hands, and feet and puts them in

790
00:43:07,000 --> 00:43:10,040
Speaker 3: a bag in his cart. While he's doing this, he's

791
00:43:10,080 --> 00:43:13,799
Speaker 3: singing song lyrics to himself that go the dead will

792
00:43:13,800 --> 00:43:17,799
Speaker 3: never rise again. The crows, they sing and sing. So

793
00:43:19,480 --> 00:43:22,640
Speaker 3: it's a little ambiguous what happened here, Like, how did

794
00:43:22,800 --> 00:43:25,840
Speaker 3: Udo die? Was he already dead when the cutting happened?

795
00:43:25,880 --> 00:43:28,400
Speaker 1: I think, I assume, yeah, I mean, because he's in

796
00:43:28,440 --> 00:43:31,400
Speaker 1: the morgue. My understanding is he just straight up like

797
00:43:31,640 --> 00:43:33,680
Speaker 1: died of alcohol poisoning in the street.

798
00:43:34,000 --> 00:43:36,000
Speaker 3: He drank so much beer that he died in the

799
00:43:36,040 --> 00:43:36,840
Speaker 3: middle of the street.

800
00:43:37,040 --> 00:43:38,200
Speaker 1: Yeah.

801
00:43:38,640 --> 00:43:42,799
Speaker 3: Anyway, Gotho, after this, he takes his little cart presumably

802
00:43:42,840 --> 00:43:46,120
Speaker 3: full of Udo's organs, like his head and his hands

803
00:43:46,120 --> 00:43:48,320
Speaker 3: and stuff, and he wheels it out of the morgue,

804
00:43:48,400 --> 00:43:51,000
Speaker 3: going past a couple of doctors who work in the morgue.

805
00:43:51,360 --> 00:43:54,840
Speaker 3: And these guys stink as Gotho's coming in there in

806
00:43:54,880 --> 00:43:58,320
Speaker 3: the middle of some misogynous knee slapper, and they stop

807
00:43:58,360 --> 00:44:00,680
Speaker 3: Gotho to insult him and yell at They call him

808
00:44:00,680 --> 00:44:02,799
Speaker 3: a gorilla. They tell him he's not welcome in the

809
00:44:02,840 --> 00:44:05,759
Speaker 3: dissection room. One of them says, you know that the

810
00:44:05,760 --> 00:44:10,080
Speaker 3: students have a special dislike for your baboon face. So

811
00:44:10,120 --> 00:44:12,680
Speaker 3: what's worse here, baboon face or fart face. We've already

812
00:44:12,680 --> 00:44:17,240
Speaker 3: gotten both, but I do want to emphasize here. Many

813
00:44:17,320 --> 00:44:21,759
Speaker 3: times characters comment on the ugliness of Gotho's face, but

814
00:44:21,920 --> 00:44:25,640
Speaker 3: he doesn't have any special makeup. Really. He has a scar,

815
00:44:25,840 --> 00:44:28,240
Speaker 3: but that's about it. Otherwise it's just Paul Nashi face.

816
00:44:28,760 --> 00:44:31,120
Speaker 1: Yeah. Yeah, So on one hand, it is always a

817
00:44:31,120 --> 00:44:35,399
Speaker 1: little jarring. You're like, he doesn't look on that ugly guys.

818
00:44:35,520 --> 00:44:38,640
Speaker 1: He just looks like Paul Nashy. But on the other hand,

819
00:44:38,719 --> 00:44:41,719
Speaker 1: I guess it's it's kind of nice that it makes

820
00:44:41,719 --> 00:44:46,279
Speaker 1: the performance pure Nashy, you know, like there's no potentially

821
00:44:48,520 --> 00:44:51,239
Speaker 1: distracting makeup getting between you and the performance.

822
00:44:51,480 --> 00:44:54,879
Speaker 3: Yeah. So, anyway, Gotho goes about his business. I don't

823
00:44:54,880 --> 00:44:58,200
Speaker 3: know what he's doing with this with the Udo Organs,

824
00:44:58,280 --> 00:45:00,800
Speaker 3: but he at one point he stopped in a hallway

825
00:45:00,840 --> 00:45:04,560
Speaker 3: to gaze longingly at the photograph of Ilsa that Udo dropped,

826
00:45:05,000 --> 00:45:08,080
Speaker 3: And it's obvious that Gotho is in love with Ilsa,

827
00:45:08,120 --> 00:45:08,960
Speaker 3: whoever she is.

828
00:45:09,120 --> 00:45:11,240
Speaker 1: She's single. Now, yeah, that's true.

829
00:45:11,760 --> 00:45:14,800
Speaker 3: So we're about to meet her. You see, Ilsa is

830
00:45:14,840 --> 00:45:18,319
Speaker 3: actually a patient at this hospital where Gotho works, and

831
00:45:18,360 --> 00:45:21,279
Speaker 3: they have a relationship, not a romantic one, but a friendship.

832
00:45:21,760 --> 00:45:26,200
Speaker 3: Ilsa is here with a very Victorian movie disease. It

833
00:45:26,280 --> 00:45:29,360
Speaker 3: causes her to appear pale and go into fits of weak,

834
00:45:29,440 --> 00:45:32,759
Speaker 3: dry coughing. When we meet her, the doctor tells her

835
00:45:32,800 --> 00:45:35,080
Speaker 3: she's gonna be fine, But then after they leave the room,

836
00:45:35,440 --> 00:45:37,879
Speaker 3: Gotho hears the doctor and the nurse talking about how

837
00:45:37,880 --> 00:45:41,720
Speaker 3: she actually has no chance whatsoever, and the doctor says

838
00:45:41,719 --> 00:45:43,640
Speaker 3: her lungs are practically destroyed.

839
00:45:44,200 --> 00:45:45,879
Speaker 1: I feel like they're barely out of ear shot when

840
00:45:45,920 --> 00:45:46,759
Speaker 1: they say that. Yeah.

841
00:45:47,239 --> 00:45:50,200
Speaker 3: Yeah. So Gotho comes into the room to visit Ilsa

842
00:45:50,280 --> 00:45:53,080
Speaker 3: and brings her flowers that he picked from the gardens outside,

843
00:45:53,560 --> 00:45:56,799
Speaker 3: and Ilsa is obviously glad to see him. She thanks

844
00:45:56,880 --> 00:45:59,680
Speaker 3: him for the flowers and they talk about a number

845
00:45:59,719 --> 00:46:02,080
Speaker 3: of things. They talk about the death of her boyfriend Udo.

846
00:46:02,280 --> 00:46:05,400
Speaker 3: Gotho tells her not to cry because Udo died dreaming

847
00:46:05,440 --> 00:46:16,960
Speaker 3: of her. I mean, this does raise questions, like, does

848
00:46:17,000 --> 00:46:19,520
Speaker 3: it make sense to you that Ilsa and Udo or

849
00:46:19,560 --> 00:46:21,759
Speaker 3: an item I know, listeners, you haven't gotten to know

850
00:46:21,880 --> 00:46:24,440
Speaker 3: Ilsa all that well yet, but Ilsa is going to

851
00:46:24,520 --> 00:46:27,200
Speaker 3: be presented as just an angel on earth, a kind

852
00:46:27,200 --> 00:46:31,920
Speaker 3: of impossibly pure, kind and perfect soul. And Udo, in

853
00:46:32,000 --> 00:46:34,280
Speaker 3: the short time we get to know him, is presented

854
00:46:34,360 --> 00:46:38,680
Speaker 3: as just overtly vain, stupid, hostile and violent.

855
00:46:39,560 --> 00:46:43,359
Speaker 1: Yeah, yeah, I agree that the only read I have

856
00:46:43,440 --> 00:46:45,319
Speaker 1: on it that makes sense as well, we only got

857
00:46:45,320 --> 00:46:47,960
Speaker 1: to see Udo at his absolute worst. Ye, Like, maybe

858
00:46:47,960 --> 00:46:50,879
Speaker 1: he's just drinking really heavily right now because he knows

859
00:46:50,880 --> 00:46:54,239
Speaker 1: that his girlfriend is dying, and so yeah, we caught

860
00:46:54,280 --> 00:46:57,000
Speaker 1: him at his worst, being drunk and belligerent and hateful

861
00:46:57,040 --> 00:46:59,680
Speaker 1: in the street. And maybe he has other qualities we're

862
00:46:59,680 --> 00:47:00,600
Speaker 1: just not too.

863
00:47:00,760 --> 00:47:02,920
Speaker 3: Yeah, I don't know. I guess they do say he's

864
00:47:03,000 --> 00:47:06,600
Speaker 3: very handsome. That's the one redeeming quality we know about.

865
00:47:07,320 --> 00:47:11,080
Speaker 3: So Gotho promises to bring Ilsea flowers every day. She

866
00:47:11,239 --> 00:47:13,680
Speaker 3: tells him that he's the only one who visits her,

867
00:47:13,719 --> 00:47:16,160
Speaker 3: the only one who cares. It seems ILSA's family have

868
00:47:16,239 --> 00:47:18,520
Speaker 3: all died and she has no one else, so Gotho's

869
00:47:18,520 --> 00:47:23,600
Speaker 3: her only friend. She asks Gotho to describe the countryside

870
00:47:23,640 --> 00:47:25,799
Speaker 3: while she closes her eyes. She wants to sort of,

871
00:47:25,880 --> 00:47:28,760
Speaker 3: you know, do some mental travel with with Gotho narrating

872
00:47:28,800 --> 00:47:32,080
Speaker 3: for her, and she seems to know that she's going

873
00:47:32,120 --> 00:47:34,840
Speaker 3: to die, even though the doctor's told her otherwise. Ilsa

874
00:47:34,960 --> 00:47:37,960
Speaker 3: kind of knows everything. She's a little bit mild omniscience.

875
00:47:38,600 --> 00:47:40,600
Speaker 1: This is, of course, the first scene in which we

876
00:47:40,640 --> 00:47:43,799
Speaker 1: see Gotho entering a room with flowers, and there's I

877
00:47:43,840 --> 00:47:45,880
Speaker 1: love every sequence that he has is because there's generally

878
00:47:45,960 --> 00:47:49,880
Speaker 1: this just look of complete optimism. As walking into a

879
00:47:49,960 --> 00:47:55,720
Speaker 1: terrible situation, he somehow thinks everything is going to be okay.

880
00:47:55,880 --> 00:47:59,200
Speaker 1: And yeah, I love it. I want to make Valentine

881
00:47:59,280 --> 00:48:02,719
Speaker 1: cards this year with images of Gotho holding flowers.

882
00:48:02,800 --> 00:48:06,239
Speaker 3: He makes a very very adorable face. It's almost I

883
00:48:06,320 --> 00:48:07,840
Speaker 3: made you a cookie, but I ate it.

884
00:48:07,760 --> 00:48:16,360
Speaker 1: It levels Yeah.

885
00:48:17,440 --> 00:48:20,880
Speaker 3: So after this, there's a scene where Gotho is wandering

886
00:48:20,920 --> 00:48:23,600
Speaker 3: the streets of the town melancholy, I think because of

887
00:48:23,640 --> 00:48:27,120
Speaker 3: ILSA's health, and there are school children who appear to

888
00:48:27,200 --> 00:48:29,400
Speaker 3: taunt him. They call him a dirty monkey, and he

889
00:48:29,480 --> 00:48:32,040
Speaker 3: shakes his fist at them, and then the kids pelt

890
00:48:32,120 --> 00:48:34,560
Speaker 3: him with rocks, like hitting him in the head and

891
00:48:34,640 --> 00:48:36,840
Speaker 3: causing him to bleed and then they all run away,

892
00:48:36,960 --> 00:48:37,880
Speaker 3: evil children.

893
00:48:38,400 --> 00:48:43,239
Speaker 1: Yeah, like they basically stone him in the streets. And yeah,

894
00:48:43,239 --> 00:48:45,880
Speaker 1: this reminded me. There's a scene in seventy three's Return

895
00:48:45,920 --> 00:48:49,200
Speaker 1: of the Blind Dead same year in which children pelt Murdo,

896
00:48:50,080 --> 00:48:56,319
Speaker 1: the outcast character in that film, with rocks. I don't know, Bragger, Yeah, yes,

897
00:48:56,400 --> 00:48:58,440
Speaker 1: I don't know if these films were both riffing on

898
00:48:58,640 --> 00:49:02,279
Speaker 1: the same reference point, But at any rate, there's a

899
00:49:02,320 --> 00:49:06,279
Speaker 1: lot of kids throwing rocks at altcasts in nineteen seventy three.

900
00:49:06,960 --> 00:49:11,440
Speaker 3: Well, anyway, immediately after this, Gotho is helped to his

901
00:49:11,440 --> 00:49:13,600
Speaker 3: feet by a woman who seems to appear out of nowhere,

902
00:49:13,600 --> 00:49:17,080
Speaker 3: a tall, elegant woman. She's blotting his wounds with a handkerchief.

903
00:49:17,800 --> 00:49:20,400
Speaker 3: This woman tells Gotho to come with her for treatment

904
00:49:20,440 --> 00:49:23,040
Speaker 3: because she is a doctor, and we will learn that

905
00:49:23,160 --> 00:49:26,239
Speaker 3: this is Elki. So they go on a walk to

906
00:49:26,400 --> 00:49:29,279
Speaker 3: Elk's house and she and Gotho get to know each other.

907
00:49:29,920 --> 00:49:32,920
Speaker 3: She hears the story of Gotho's history with Ilsa. They

908
00:49:32,920 --> 00:49:35,719
Speaker 3: were friends as children. She played with him even though

909
00:49:35,719 --> 00:49:39,279
Speaker 3: the other children said he was ugly and frightening. Then

910
00:49:39,360 --> 00:49:42,120
Speaker 3: later he found out that she was ill in the hospital,

911
00:49:42,120 --> 00:49:44,800
Speaker 3: and he began to visit her every day. And Elkie

912
00:49:44,880 --> 00:49:47,600
Speaker 3: infers from listening to all this that Gotho is in

913
00:49:47,640 --> 00:49:50,319
Speaker 3: love with her, But he asks her, and Gotho says

914
00:49:50,320 --> 00:49:52,239
Speaker 3: he doesn't know. He doesn't know whether he's in love

915
00:49:52,239 --> 00:49:54,000
Speaker 3: with her. He just knows that he does care for

916
00:49:54,040 --> 00:49:56,440
Speaker 3: her and he wants her to be well. So they

917
00:49:56,480 --> 00:49:59,520
Speaker 3: go to Elk's home and she treats his wounds, and

918
00:49:59,600 --> 00:50:01,920
Speaker 3: he thanks her. In fact, he doesn't just thank her.

919
00:50:01,960 --> 00:50:05,480
Speaker 3: He bows down on the floor and kisses her feet.

920
00:50:05,760 --> 00:50:08,279
Speaker 3: And that was like, man, it's good to show appreciation.

921
00:50:08,440 --> 00:50:10,759
Speaker 3: That's a little too thankful, buddy. You need a dell

922
00:50:10,800 --> 00:50:12,520
Speaker 3: it back just a little bit. I don't know. It

923
00:50:12,600 --> 00:50:15,359
Speaker 3: might be appropriate in some other cultural context, hear it.

924
00:50:15,360 --> 00:50:16,919
Speaker 3: It reads a little much.

925
00:50:17,120 --> 00:50:19,000
Speaker 1: Yeah, I think Gotho has no sense of proportion.

926
00:50:19,320 --> 00:50:21,480
Speaker 3: But also I just wanted to linger here for a

927
00:50:21,520 --> 00:50:25,200
Speaker 3: second because Rob I had to take a photo of

928
00:50:25,239 --> 00:50:28,560
Speaker 3: the screen. Did you stop to get a good look

929
00:50:28,600 --> 00:50:32,000
Speaker 3: at this room in Elkie's house? What is going on here?

930
00:50:32,080 --> 00:50:35,200
Speaker 3: There's a random hand railing in the middle of the room,

931
00:50:35,360 --> 00:50:39,160
Speaker 3: not apparently attached to any stairs or anything. There's a

932
00:50:39,200 --> 00:50:44,759
Speaker 3: green treasure chest, very busy floral print upholstery on the furniture,

933
00:50:45,280 --> 00:50:50,279
Speaker 3: a golden, highly decorated, almost Buddhist temple style archway over

934
00:50:50,320 --> 00:50:53,640
Speaker 3: the exit from the living room. There are animal pelts

935
00:50:53,680 --> 00:50:57,040
Speaker 3: and a crossbow hanging on the wall. And then here's

936
00:50:57,080 --> 00:51:01,640
Speaker 3: the real topper, two severed human hands on a table

937
00:51:01,760 --> 00:51:04,600
Speaker 3: in the foreground. This is so easy to miss. I

938
00:51:04,640 --> 00:51:06,520
Speaker 3: did not even catch it the first time I saw

939
00:51:06,560 --> 00:51:09,200
Speaker 3: this scene, but then the second time I was like, wait,

940
00:51:09,239 --> 00:51:13,040
Speaker 3: what what what? And we get no explanation at all.

941
00:51:13,880 --> 00:51:16,120
Speaker 1: Yeah, I did not notice these hands in either of

942
00:51:16,120 --> 00:51:19,719
Speaker 1: my viewings. So maybe these are supposed to be anatomical models.

943
00:51:20,000 --> 00:51:21,040
Speaker 3: Why are they bloody?

944
00:51:21,080 --> 00:51:21,200
Speaker 2: Then?

945
00:51:21,200 --> 00:51:22,680
Speaker 3: Why do they have bloody stumps?

946
00:51:22,840 --> 00:51:24,840
Speaker 1: I don't know. My other read is that maybe this

947
00:51:25,000 --> 00:51:27,319
Speaker 1: was Nashi's home or apartment at the time, Like that

948
00:51:27,360 --> 00:51:30,440
Speaker 1: would make more sense with the helt in the crossbow.

949
00:51:30,640 --> 00:51:33,040
Speaker 3: Oh, I mean it was shot there because I think

950
00:51:33,040 --> 00:51:34,359
Speaker 3: this is supposed to be Elkie's home.

951
00:51:34,440 --> 00:51:36,760
Speaker 1: It was supposed to be Elkie's home. But I'm just wondering,

952
00:51:36,800 --> 00:51:39,920
Speaker 1: like what was Yeah, did they build this, did they

953
00:51:39,920 --> 00:51:42,120
Speaker 1: put all these odd things together? Or it was just

954
00:51:42,120 --> 00:51:45,479
Speaker 1: just this is just like a snapshot of someone's home,

955
00:51:45,640 --> 00:51:47,239
Speaker 1: maybe Paul Nashy's home. I don't know.

956
00:51:48,320 --> 00:51:50,800
Speaker 3: I could believe this was Paul Nashy's home in real life.

957
00:51:51,560 --> 00:51:53,560
Speaker 3: But yeah, why the severed hands. I mean, she is

958
00:51:53,600 --> 00:51:56,279
Speaker 3: a doctor, but would it be normal for doctors to

959
00:51:56,280 --> 00:51:57,840
Speaker 3: have severed hands in their houses?

960
00:51:58,080 --> 00:51:59,799
Speaker 1: Yeah, mean, at least keep those in the fridge, right.

961
00:52:00,160 --> 00:52:02,960
Speaker 3: So, next scene, Gotho is taking Ilsa for a walk

962
00:52:03,000 --> 00:52:06,160
Speaker 3: around the pleasant little gardens outside the hospital. She's in

963
00:52:06,160 --> 00:52:09,319
Speaker 3: a wheelchair. He's pushing her, and she's talking about how

964
00:52:09,320 --> 00:52:12,600
Speaker 3: she knows her life is fading. But Ilsa says she

965
00:52:12,719 --> 00:52:14,600
Speaker 3: likes to look at the roses in the garden. So

966
00:52:14,680 --> 00:52:16,840
Speaker 3: these visits where Gotho pushes her around to look at

967
00:52:16,880 --> 00:52:19,759
Speaker 3: the flowers, they're really helping her feel better. And then

968
00:52:19,920 --> 00:52:22,880
Speaker 3: when she says this, Gotho cuts one of the roses

969
00:52:23,120 --> 00:52:26,560
Speaker 3: from the garden and brings it to her, and she says,

970
00:52:26,680 --> 00:52:29,840
Speaker 3: we can't do that. Cutting the flowers is forbidden, and

971
00:52:29,880 --> 00:52:31,400
Speaker 3: then Gotho has a great line.

972
00:52:31,640 --> 00:52:34,239
Speaker 1: Yeah, he says, it's okay. Everything is forbidden from me,

973
00:52:34,920 --> 00:52:38,160
Speaker 1: And yeah, obviously it speaks to Gotho's outsider status, but

974
00:52:38,200 --> 00:52:40,879
Speaker 1: it also helps us understand why Gotho does the other

975
00:52:41,000 --> 00:52:44,239
Speaker 1: things that he does, i e. The murders and the

976
00:52:44,320 --> 00:52:47,200
Speaker 1: dismemberments and the grave robbing. He's been pushed outside of

977
00:52:47,239 --> 00:52:50,279
Speaker 1: society and therefore its rules no longer ably to him.

978
00:52:50,719 --> 00:52:53,400
Speaker 1: So he still has this deep down a heart of gold,

979
00:52:53,960 --> 00:52:56,560
Speaker 1: but he has already been pushed over the line in

980
00:52:56,680 --> 00:52:59,080
Speaker 1: terms of society's laws.

981
00:52:59,160 --> 00:53:04,840
Speaker 3: And yeah, yeah, that's right. So Ilsa says, these roses

982
00:53:04,880 --> 00:53:07,000
Speaker 3: are my last happiness. If only I could have a

983
00:53:07,040 --> 00:53:10,919
Speaker 3: bouquet every day, And then Gotho said promises her, he says,

984
00:53:10,960 --> 00:53:14,080
Speaker 3: you'll have them. And then from this sweet scene, the

985
00:53:14,120 --> 00:53:17,839
Speaker 3: sweet sad scene, we cut straight to something else. Now

986
00:53:17,880 --> 00:53:23,000
Speaker 3: we're told we're in the Feldkirch Women's Reformatory, so it

987
00:53:23,040 --> 00:53:27,400
Speaker 3: seems this is some kind of mental hospital for women.

988
00:53:27,960 --> 00:53:30,160
Speaker 3: And the first thing we see is a couple of

989
00:53:30,200 --> 00:53:33,560
Speaker 3: women in a dormitory room here engaging in what seems

990
00:53:33,560 --> 00:53:37,040
Speaker 3: to be recreational whipping of each other with a leather strap.

991
00:53:37,440 --> 00:53:41,000
Speaker 1: Yeah, just spankings all around here in a scene that

992
00:53:41,320 --> 00:53:43,680
Speaker 1: really feels like it was just here to spice up

993
00:53:43,680 --> 00:53:47,160
Speaker 1: a grindhouse trailer, yeah, or lead to more exploitive content

994
00:53:47,239 --> 00:53:49,719
Speaker 1: Regarding these two characters, but it really doesn't. It's just

995
00:53:49,920 --> 00:53:51,279
Speaker 1: we get this one moment.

996
00:53:51,280 --> 00:53:53,279
Speaker 3: Yeah, really doesn't go We don't see any more of this.

997
00:53:53,320 --> 00:53:55,719
Speaker 3: We do see these characters later in the movie when

998
00:53:56,600 --> 00:53:58,880
Speaker 3: there's a creature that needs to eat human flesh, but

999
00:53:58,960 --> 00:53:59,319
Speaker 3: that's it.

1000
00:53:59,440 --> 00:54:01,520
Speaker 1: Yeah, they show up later as victims, but that's about it.

1001
00:54:01,719 --> 00:54:04,600
Speaker 3: Yeah. Anyway, so this is going on, and suddenly Elki

1002
00:54:04,760 --> 00:54:07,080
Speaker 3: comes in the door and she's like, what is the

1003
00:54:07,120 --> 00:54:09,120
Speaker 3: meaning of this and takes the strap out of the

1004
00:54:09,440 --> 00:54:12,799
Speaker 3: patient's hand and she's like, Okay, we're gonna you know,

1005
00:54:12,880 --> 00:54:14,440
Speaker 3: you know what this means. We're gonna have to separate

1006
00:54:14,480 --> 00:54:17,880
Speaker 3: you too. And I'm telling doctor Meyer. So apparently Elkie

1007
00:54:17,960 --> 00:54:20,040
Speaker 3: is a doctor here, but I think not the head doctor.

1008
00:54:20,040 --> 00:54:22,799
Speaker 3: I think she's working for doctor Meyer. So we cut

1009
00:54:22,840 --> 00:54:24,960
Speaker 3: from there to meet doctor Meyer. In fact, we're going

1010
00:54:25,040 --> 00:54:27,680
Speaker 3: to meet a couple of major characters, doctor Meyer and

1011
00:54:27,840 --> 00:54:31,840
Speaker 3: doctor Tauchner. We learned that they are engaged to be married,

1012
00:54:31,880 --> 00:54:34,239
Speaker 3: So there are a couple and they're both professionals here

1013
00:54:34,239 --> 00:54:36,879
Speaker 3: at the hospital, but they're also kind of scheming. They're

1014
00:54:36,920 --> 00:54:41,279
Speaker 3: talking about some secret research that Tauchner is involved in,

1015
00:54:41,920 --> 00:54:45,160
Speaker 3: which they don't want the trustees of the university to

1016
00:54:45,239 --> 00:54:48,160
Speaker 3: find out about and this is the research of doctor

1017
00:54:48,320 --> 00:54:50,759
Speaker 3: or La, a character we haven't met yet. But when

1018
00:54:50,800 --> 00:54:55,000
Speaker 3: Elkie comes in, doctor Meyer I think she says something like, oh, Elkie,

1019
00:54:55,239 --> 00:54:58,799
Speaker 3: this is my fiance, doctor Tauchner. You may remember him

1020
00:54:58,840 --> 00:55:03,520
Speaker 3: because he was your mentor in school. And then she

1021
00:55:03,600 --> 00:55:06,920
Speaker 3: explains that Elkie has a talent for criminal psychiatry. So

1022
00:55:07,000 --> 00:55:09,799
Speaker 3: after this, there's a scene another scene of Gotho in

1023
00:55:09,840 --> 00:55:12,680
Speaker 3: the garden, but this turns into a fight scene. He's

1024
00:55:12,680 --> 00:55:15,319
Speaker 3: not here with Ilsa this time. Instead, she's in her

1025
00:55:15,400 --> 00:55:17,760
Speaker 3: room and he's out here cutting roses from the garden

1026
00:55:17,800 --> 00:55:20,080
Speaker 3: to take to Ilsa. And then a bunch of the

1027
00:55:20,080 --> 00:55:23,520
Speaker 3: hooligan medical students come out and just start harassing him

1028
00:55:23,520 --> 00:55:27,040
Speaker 3: and insulting him. One of these guys is Kid's Sideburns

1029
00:55:27,080 --> 00:55:30,279
Speaker 3: from the bar in the opening scene, and they're mocking him.

1030
00:55:30,400 --> 00:55:33,040
Speaker 3: They're saying, you are the prince of monkeys, you are

1031
00:55:33,160 --> 00:55:36,520
Speaker 3: ugly and so forth, and Gotho I think he's used

1032
00:55:36,560 --> 00:55:39,160
Speaker 3: to this, but then things really escalate. When the dude

1033
00:55:39,200 --> 00:55:43,600
Speaker 3: insults Ilsa, he says something like, I hope you're I

1034
00:55:43,640 --> 00:55:45,839
Speaker 3: wrote this down. He says, I hope your princess can

1035
00:55:45,880 --> 00:55:49,200
Speaker 3: become impregnated by the fragrance of roses.

1036
00:55:51,360 --> 00:55:52,520
Speaker 1: Loslation there.

1037
00:55:52,560 --> 00:55:56,440
Speaker 3: I guess, well, whatever it means, it's clearly supposed to

1038
00:55:56,480 --> 00:55:59,480
Speaker 3: be insulting to her and him. And this sends Gotho

1039
00:55:59,560 --> 00:56:02,319
Speaker 3: over the and he attacks. He's like choking the med

1040
00:56:02,400 --> 00:56:05,120
Speaker 3: student and the fight turns into a four on one

1041
00:56:05,160 --> 00:56:08,239
Speaker 3: against Gotho and he gets badly beaten. They kick him

1042
00:56:08,239 --> 00:56:11,840
Speaker 3: on the ground until Tauchner and another doctor arrive to

1043
00:56:12,239 --> 00:56:12,640
Speaker 3: stop it.

1044
00:56:13,080 --> 00:56:15,440
Speaker 1: But Gotho puts up a good fight, and there's absolutely

1045
00:56:15,440 --> 00:56:18,520
Speaker 1: there's an absolutely beautiful moment in this fight where Gotho

1046
00:56:18,840 --> 00:56:22,120
Speaker 1: pushes one of the hooligans into a bush and the

1047
00:56:22,160 --> 00:56:25,480
Speaker 1: hooligan bounces off of said bush like it's a wrestling

1048
00:56:25,560 --> 00:56:28,360
Speaker 1: ring rope, right back into a kind of back body

1049
00:56:28,440 --> 00:56:31,480
Speaker 1: drop from Gotho, and I was like, oh, man, that's inspired.

1050
00:56:32,719 --> 00:56:34,680
Speaker 3: The next scene, Gotho, I guess he goes straight from

1051
00:56:34,719 --> 00:56:37,400
Speaker 3: here to ILSA's room, but uh oh, Ilsa is dying.

1052
00:56:37,520 --> 00:56:40,680
Speaker 3: She's talking to the nurse here about Gotho bringing her

1053
00:56:40,719 --> 00:56:44,439
Speaker 3: beautiful flowers and then she dies, and then Gotho gets

1054
00:56:44,480 --> 00:56:46,920
Speaker 3: there right after she dies, and the nurse tells him

1055
00:56:47,000 --> 00:56:50,560
Speaker 3: she's like, oh, she died, too bad, you were outside

1056
00:56:50,600 --> 00:56:53,440
Speaker 3: getting whaled on, or you would have been here for it. Yeah.

1057
00:56:53,480 --> 00:56:56,600
Speaker 1: So these heartbreaking scenes of Gotho arriving too late for

1058
00:56:56,719 --> 00:56:59,680
Speaker 1: Ilsa and it'll happen again. These are too much and

1059
00:56:59,719 --> 00:57:02,840
Speaker 1: also is morbidly hilarious again entering the room with those flowers,

1060
00:57:02,880 --> 00:57:05,480
Speaker 1: all the optimism in the world and only to be

1061
00:57:05,520 --> 00:57:07,680
Speaker 1: greeted with like worse and worse news.

1062
00:57:08,000 --> 00:57:10,879
Speaker 3: Yeah. So Gotho is left alone with ILSA's body here,

1063
00:57:10,920 --> 00:57:14,160
Speaker 3: and he is first overwhelmed with grief and then you

1064
00:57:14,200 --> 00:57:17,200
Speaker 3: can see with rage I think he is. He's angry

1065
00:57:17,480 --> 00:57:20,040
Speaker 3: at the students who were who were attacking him because

1066
00:57:20,280 --> 00:57:24,120
Speaker 3: they robbed him of this moment with Ilsa. So from

1067
00:57:24,200 --> 00:57:25,840
Speaker 3: here we go to the next scene, which is that

1068
00:57:26,080 --> 00:57:28,840
Speaker 3: later that night, Gotho is waiting alone in the morgue

1069
00:57:29,360 --> 00:57:33,360
Speaker 3: and the two dissection specialists wheel Ilsa in on a

1070
00:57:33,480 --> 00:57:37,640
Speaker 3: cart and they're like, hey, Gotho, here's your one true love.

1071
00:57:37,720 --> 00:57:40,160
Speaker 3: We just wanted to make you aware that we're immediately

1072
00:57:40,160 --> 00:57:43,160
Speaker 3: going to rob and desecrate her corpse. So they like

1073
00:57:43,440 --> 00:57:46,520
Speaker 3: they're going to steal the gold crucifix from her neck.

1074
00:57:46,600 --> 00:57:49,080
Speaker 3: They're saying they can sell it and buy themselves a

1075
00:57:49,160 --> 00:57:52,680
Speaker 3: round of drinks, and Gotho freaks out and attacks them.

1076
00:57:53,160 --> 00:57:56,840
Speaker 3: In fact, he doesn't just attack them, he starts beating them,

1077
00:57:57,160 --> 00:58:00,400
Speaker 3: but then he grabs an axe, and why is there

1078
00:58:00,440 --> 00:58:03,680
Speaker 3: an axe in the morgue? But he grabs an axe

1079
00:58:03,720 --> 00:58:08,080
Speaker 3: and he decapitates one guy and disembowels the other. The

1080
00:58:08,120 --> 00:58:11,440
Speaker 3: decapitation a single stroke with what looks like a fire axe.

1081
00:58:11,600 --> 00:58:14,120
Speaker 1: Yeah, this sequence is just amazing, Just an absolute blood

1082
00:58:14,120 --> 00:58:16,400
Speaker 1: bath of a scene, and the gore effects hit all

1083
00:58:16,440 --> 00:58:19,000
Speaker 1: the right nineteen seventies hard notes, you know what I'm saying. Like,

1084
00:58:19,000 --> 00:58:23,640
Speaker 1: there's just a certain way the blood looks, the way

1085
00:58:23,640 --> 00:58:26,560
Speaker 1: the bodies come apart here, absolutely perfect.

1086
00:58:26,840 --> 00:58:30,080
Speaker 3: So Gotho grabs his flower bouquet and he quickly wheels

1087
00:58:30,120 --> 00:58:32,480
Speaker 3: Ilsa out of the morgue. He's going to take her

1088
00:58:32,520 --> 00:58:35,880
Speaker 3: to his secret hideaway. So what is this place. It's

1089
00:58:35,880 --> 00:58:37,760
Speaker 3: a place we have not seen in the movie yet.

1090
00:58:38,200 --> 00:58:41,880
Speaker 3: It is some kind of dungeon or passageways. I think

1091
00:58:42,200 --> 00:58:44,640
Speaker 3: maybe better to call it catacombs. It's just like lots

1092
00:58:44,640 --> 00:58:48,520
Speaker 3: of these passageways and rooms underneath the hospital grounds, which

1093
00:58:48,600 --> 00:58:51,960
Speaker 3: Gotho accesses by way of a hatch under a garden path.

1094
00:58:52,440 --> 00:58:55,680
Speaker 3: So he lowers Ilse's body inside on a rope and

1095
00:58:55,760 --> 00:58:59,040
Speaker 3: then descends himself, and he lays her body out on

1096
00:58:59,080 --> 00:59:03,200
Speaker 3: a large table or slab which is covered in cobwebs, chains, rags,

1097
00:59:03,240 --> 00:59:07,280
Speaker 3: and bones, which he awkwardly has to push away. And

1098
00:59:07,960 --> 00:59:09,920
Speaker 3: I don't know. At first, I was like, what is

1099
00:59:09,960 --> 00:59:13,400
Speaker 3: this place? He's got skeletons all along the walls. They're

1100
00:59:13,480 --> 00:59:17,400
Speaker 3: dressed in robes and hoods, some are in coffins. There

1101
00:59:17,400 --> 00:59:21,280
Speaker 3: are just racks of weapons and torture instruments, and there

1102
00:59:21,280 --> 00:59:24,480
Speaker 3: are torches already burning in here. So somebody must regularly

1103
00:59:24,640 --> 00:59:28,000
Speaker 3: use this place. I think, since Gotha's the only character

1104
00:59:28,080 --> 00:59:30,040
Speaker 3: we meet who knows about it, it must sort of

1105
00:59:30,120 --> 00:59:31,360
Speaker 3: be Gotho's residence.

1106
00:59:31,880 --> 00:59:34,720
Speaker 1: Yeah, I think he made. He puts out fresh straw

1107
00:59:34,880 --> 00:59:39,920
Speaker 1: on the ground, and he lights all these torches. Yeah.

1108
00:59:39,920 --> 00:59:42,760
Speaker 3: So Gotho tells Ilsa that she must rest now and

1109
00:59:42,800 --> 00:59:44,760
Speaker 3: he will find a way to take care of her.

1110
00:59:44,960 --> 00:59:47,680
Speaker 3: But first he says he has some business to take

1111
00:59:47,720 --> 00:59:50,600
Speaker 3: care of. He says, I have to deliver a bouquet

1112
00:59:50,680 --> 00:59:53,600
Speaker 3: of roses to one who doubted your beauty.

1113
00:59:54,360 --> 00:59:57,200
Speaker 1: I love Gotho's outfit here as well. It's kind of

1114
00:59:57,240 --> 01:00:00,200
Speaker 1: like a black poncho, but also like it's kind of like,

1115
01:00:00,320 --> 01:00:03,520
Speaker 1: I guess, like a morgue's a mortician smock or something.

1116
01:00:03,680 --> 01:00:06,560
Speaker 3: Yeah. Yeah, so we're gonna go back to the disgusting

1117
01:00:06,560 --> 01:00:09,560
Speaker 3: beer hall. I don't think I mentioned this the first time.

1118
01:00:09,600 --> 01:00:12,680
Speaker 3: Another unpleasant thing about this place is the lighting. This

1119
01:00:12,720 --> 01:00:16,320
Speaker 3: is a bar with off white walls that is extremely

1120
01:00:16,480 --> 01:00:19,400
Speaker 3: well lit inside. Just imagine that for a second for

1121
01:00:19,440 --> 01:00:23,240
Speaker 3: a bar environment. It's the ambiance is bad.

1122
01:00:23,680 --> 01:00:28,440
Speaker 1: Yeah, Like every sticky surface is gleaming. Most likely you

1123
01:00:28,480 --> 01:00:32,439
Speaker 1: can see every dead insect in this place. It's cross.

1124
01:00:33,200 --> 01:00:35,520
Speaker 3: So all of the med students who beat Gotho up

1125
01:00:35,560 --> 01:00:38,680
Speaker 3: earlier here they're getting beard up. They're being loud and

1126
01:00:38,760 --> 01:00:43,120
Speaker 3: rude to servers. And then we do see one server

1127
01:00:43,240 --> 01:00:45,800
Speaker 3: here who I think was one of the bar maids

1128
01:00:45,800 --> 01:00:48,720
Speaker 3: who was partying with Udo the you know in the

1129
01:00:48,760 --> 01:00:51,360
Speaker 3: earlier scene. She's in the middle of bringing beer to

1130
01:00:51,400 --> 01:00:53,960
Speaker 3: these creeps when she looks out the window and sees

1131
01:00:54,000 --> 01:00:57,240
Speaker 3: Paul Nashi and she just starts shrieking at seeing Paul

1132
01:00:57,320 --> 01:01:00,680
Speaker 3: Nashi's face. Again, it's just Paul Nashi with the He

1133
01:01:00,680 --> 01:01:03,160
Speaker 3: doesn't look scary. It's just a guy looking in the window,

1134
01:01:03,560 --> 01:01:06,520
Speaker 3: but she screams. The med students turn and look, but

1135
01:01:06,560 --> 01:01:08,600
Speaker 3: by then Paul Nashy's gone, so they tell her she's

1136
01:01:08,640 --> 01:01:12,680
Speaker 3: hallucinating and they demand more beer. And then the sideburns

1137
01:01:12,720 --> 01:01:17,880
Speaker 3: guy who was leading the mockery earlier. He's once again

1138
01:01:17,920 --> 01:01:21,240
Speaker 3: disgustingly drunk and just glazed with some kind of beer drool.

1139
01:01:21,640 --> 01:01:25,000
Speaker 3: He announces that he has to go home. We learned

1140
01:01:25,040 --> 01:01:27,880
Speaker 3: that his name is Hans, and he stumbles out and

1141
01:01:27,920 --> 01:01:30,400
Speaker 3: they say, be careful, Hans, don't bump into the devil

1142
01:01:30,440 --> 01:01:33,360
Speaker 3: on your way home. And just like in the earlier scene,

1143
01:01:33,400 --> 01:01:35,720
Speaker 3: we watch, we watch Hans go down the street and

1144
01:01:35,720 --> 01:01:39,760
Speaker 3: we watch Gotho follow him at a distance. Eventually Hans

1145
01:01:39,800 --> 01:01:43,240
Speaker 3: makes it back home. Gotho sneaks in and then murders

1146
01:01:43,280 --> 01:01:46,520
Speaker 3: Hans in his bed by cramming a bouquet of roses

1147
01:01:46,560 --> 01:01:51,240
Speaker 3: into his mouth, and Gotho says, experience the aroma because

1148
01:01:51,280 --> 01:01:53,480
Speaker 3: it will be the last smell of your life.

1149
01:01:54,880 --> 01:01:58,800
Speaker 1: It's this murder is less impressive, but it's you know,

1150
01:01:58,880 --> 01:02:03,080
Speaker 1: the gimmick is nice. He kills them with the flowers

1151
01:02:03,200 --> 01:02:05,360
Speaker 1: that he was bringing to Elsa, so fair enough.

1152
01:02:05,560 --> 01:02:08,080
Speaker 3: Now we're going to check in with some police investigators,

1153
01:02:08,120 --> 01:02:10,160
Speaker 3: who I think ultimately don't play that big of a

1154
01:02:10,240 --> 01:02:14,760
Speaker 3: role in the plot. But there's a mustache guy and

1155
01:02:14,760 --> 01:02:16,480
Speaker 3: then a guy who looks like he could be a

1156
01:02:16,560 --> 01:02:19,720
Speaker 3: bishop of some kind, but he's just a police inspector

1157
01:02:19,720 --> 01:02:22,680
Speaker 3: in a suit, and they're talking about the crime scene

1158
01:02:22,680 --> 01:02:25,040
Speaker 3: in the morgue. One of them says, you couldn't imagine it.

1159
01:02:25,040 --> 01:02:29,560
Speaker 3: It was terrible. The two cadavers were absolutely destroyed, and

1160
01:02:29,680 --> 01:02:32,840
Speaker 3: they discuss how Gotho, the clerk in charge of the morgue,

1161
01:02:32,840 --> 01:02:36,480
Speaker 3: has disappeared, but they rule him out as a suspect

1162
01:02:36,560 --> 01:02:41,040
Speaker 3: because their inquiry has revealed that he is harmless and passive.

1163
01:02:42,240 --> 01:02:44,960
Speaker 3: And I was just thinking, wait, did anybody ever follow

1164
01:02:45,080 --> 01:02:48,640
Speaker 3: up on the issue of Udo's body getting chopped into

1165
01:02:48,640 --> 01:02:50,520
Speaker 3: pieces on Gotho's watch?

1166
01:02:51,280 --> 01:02:54,400
Speaker 1: Yeah, no clue. Maybe that one got kind of like

1167
01:02:54,640 --> 01:02:55,800
Speaker 1: swept under the rug, you.

1168
01:02:55,760 --> 01:02:58,680
Speaker 3: Know, Yeah, maybe, I don't know. But then the inspectors

1169
01:02:58,720 --> 01:03:02,560
Speaker 3: discuss how Ilsea's body has also disappeared, and they say,

1170
01:03:02,560 --> 01:03:05,360
Speaker 3: once again, their inquiry has revealed that Gotho was in

1171
01:03:05,400 --> 01:03:10,160
Speaker 3: love with Ilsa. Where are they getting all this information? Also,

1172
01:03:10,240 --> 01:03:13,040
Speaker 3: this is literally supposed to be the same night. This

1173
01:03:13,160 --> 01:03:16,040
Speaker 3: is all the same night, so the murders must have

1174
01:03:16,200 --> 01:03:18,840
Speaker 3: just happened within the past few hours, and they're here

1175
01:03:18,880 --> 01:03:21,000
Speaker 3: talking about it, and they already know all this stuff

1176
01:03:21,040 --> 01:03:22,760
Speaker 3: about Gotho enough to rule him out.

1177
01:03:23,080 --> 01:03:24,360
Speaker 1: And do they know about Hans yet?

1178
01:03:25,760 --> 01:03:28,640
Speaker 3: Oh, they're just about to find out. So the cops

1179
01:03:28,680 --> 01:03:31,400
Speaker 3: find out about a second crime, this is the murder

1180
01:03:31,400 --> 01:03:36,200
Speaker 3: of Hans with the sideburns rip. And then they find

1181
01:03:36,240 --> 01:03:38,320
Speaker 3: out oh, wait, no, they already know this also, so

1182
01:03:38,320 --> 01:03:40,800
Speaker 3: they've got all this information. They're like, oh, this guy

1183
01:03:40,920 --> 01:03:44,680
Speaker 3: was fighting with Gotho earlier today, so it's got to

1184
01:03:44,680 --> 01:03:46,560
Speaker 3: be Gotho. We got to put out an APB even

1185
01:03:46,560 --> 01:03:50,560
Speaker 3: though we ruled him out. Okay, finally enough evidence has accumulated.

1186
01:03:51,600 --> 01:03:55,080
Speaker 3: Later that night, Gotho comes home to the dungeon to

1187
01:03:55,320 --> 01:03:59,600
Speaker 3: find uh oh, there are rats swarming all over ILSA's body,

1188
01:03:59,680 --> 01:04:02,120
Speaker 3: taking bites out of her, and then he has to

1189
01:04:02,120 --> 01:04:05,280
Speaker 3: fight them off with fire. And this scene is a

1190
01:04:05,280 --> 01:04:07,600
Speaker 3: bummer because, well, Rob you can talk about it. We

1191
01:04:07,680 --> 01:04:10,280
Speaker 3: know apparently there was some animal cruelty on the set

1192
01:04:10,560 --> 01:04:11,960
Speaker 3: in the shooting of this scene.

1193
01:04:12,240 --> 01:04:15,000
Speaker 1: Yeah, it's unfortunate, but this film does entail scenes of

1194
01:04:15,040 --> 01:04:18,040
Speaker 1: live rats on fire. Capping off what sounds like a

1195
01:04:18,080 --> 01:04:22,000
Speaker 1: series of bad production decisions. They apparently set fire to

1196
01:04:22,120 --> 01:04:24,480
Speaker 1: some of the actual sewer rats that were captured for

1197
01:04:24,640 --> 01:04:27,760
Speaker 1: use in these scenes, including the scenes where they attacked Nashi,

1198
01:04:28,120 --> 01:04:30,000
Speaker 1: who had to get a bunch of shots beforehand to

1199
01:04:30,080 --> 01:04:33,640
Speaker 1: keep from getting sewer rat diseases. However, I've read that

1200
01:04:33,680 --> 01:04:36,760
Speaker 1: the rats we see on the corpse here of Ilsa

1201
01:04:36,880 --> 01:04:41,520
Speaker 1: are actually guinea pigs that were dyed brown. Okay, I

1202
01:04:41,560 --> 01:04:44,680
Speaker 1: didn't really have the stomach to really analyze these sequences,

1203
01:04:44,800 --> 01:04:47,400
Speaker 1: but this is what I have read. This is not

1204
01:04:47,480 --> 01:04:50,080
Speaker 1: our first film with flaming rats in it would that

1205
01:04:50,120 --> 01:04:53,600
Speaker 1: it was our last. Nashi would later express regret that

1206
01:04:53,640 --> 01:04:55,880
Speaker 1: they filmed the scenes this way, but at the time

1207
01:04:56,560 --> 01:04:58,480
Speaker 1: it was just presented as the way you did things.

1208
01:04:59,320 --> 01:05:02,640
Speaker 1: So we talked about this before. You know, on pictures, Yeah, Unfortunately,

1209
01:05:02,640 --> 01:05:04,040
Speaker 1: you do see this sort of thing turn up and

1210
01:05:04,480 --> 01:05:08,480
Speaker 1: pictures from prior decades, and some of it's not as visible,

1211
01:05:08,520 --> 01:05:10,280
Speaker 1: Like there are a number of things that are now

1212
01:05:10,320 --> 01:05:14,960
Speaker 1: considered animal cruelty regarding horse stunts. For example, that not

1213
01:05:15,000 --> 01:05:17,520
Speaker 1: being a horse person myself, I tend to not even

1214
01:05:17,560 --> 01:05:19,360
Speaker 1: notice so I don't know how many times I've seen

1215
01:05:20,160 --> 01:05:24,360
Speaker 1: horse cruelty without just having the expertise to recognize it.

1216
01:05:25,280 --> 01:05:27,640
Speaker 1: That being said, with this film, there's no doubting what's

1217
01:05:27,680 --> 01:05:30,320
Speaker 1: going on here. These are clearly live rats on fire. Yeah.

1218
01:05:30,400 --> 01:05:33,400
Speaker 3: Now, if not for knowing about the animal cruelty, there

1219
01:05:33,440 --> 01:05:36,160
Speaker 3: would be some pretty funny things about this scene because

1220
01:05:36,160 --> 01:05:39,960
Speaker 3: it has rats like leaping at Gotho from the floor,

1221
01:05:40,000 --> 01:05:42,280
Speaker 3: like as if they're just jumping right off the ground

1222
01:05:42,360 --> 01:05:45,440
Speaker 3: onto his neck to attack him. Obviously there's people throwing

1223
01:05:45,800 --> 01:05:49,959
Speaker 3: either rats or fake rats. But plot wise, Gotho is like, wow,

1224
01:05:50,000 --> 01:05:52,800
Speaker 3: I guess I shouldn't have left her in the rat room.

1225
01:05:52,920 --> 01:05:56,320
Speaker 3: So he relocates her to another room, which is now

1226
01:05:56,440 --> 01:05:58,880
Speaker 3: which the second room is full of torture equipment. It's

1227
01:05:58,880 --> 01:06:01,040
Speaker 3: got a rack I think I see an iron maiden,

1228
01:06:01,600 --> 01:06:03,640
Speaker 3: and he puts her on the rack table. I mean,

1229
01:06:03,680 --> 01:06:06,760
Speaker 3: he doesn't stretch her, but it's just that's her resting place. Now.

1230
01:06:16,000 --> 01:06:19,040
Speaker 3: Now from here we get more of the police investigators.

1231
01:06:19,080 --> 01:06:21,800
Speaker 3: They go to visit a new character who will become

1232
01:06:21,800 --> 01:06:25,919
Speaker 3: a major character, Professor Orla, who has a nice, expensive home.

1233
01:06:26,000 --> 01:06:29,000
Speaker 3: He's got a proper butler, so Orla is an authority

1234
01:06:29,040 --> 01:06:33,000
Speaker 3: figure here and he admits the police to his comfortable study.

1235
01:06:33,000 --> 01:06:35,960
Speaker 3: He greets them confidently, and we can already see in

1236
01:06:36,000 --> 01:06:39,360
Speaker 3: this kind of cozy environment that Orla radiates a sort

1237
01:06:39,400 --> 01:06:43,720
Speaker 3: of intimidating power and sense of authority. He can he's

1238
01:06:43,760 --> 01:06:45,800
Speaker 3: the kind of person who can talk people out of

1239
01:06:45,840 --> 01:06:50,160
Speaker 3: their suspicions. Like the two police investigators quiz him about

1240
01:06:50,160 --> 01:06:53,200
Speaker 3: Gotho and the murders. He denies Gotho could be involved

1241
01:06:53,240 --> 01:06:55,760
Speaker 3: and says he doesn't know where he is. But from

1242
01:06:55,800 --> 01:07:00,000
Speaker 3: here we follow Orla back to the hospital because of course,

1243
01:07:00,280 --> 01:07:01,880
Speaker 3: you know, the night is long and he has much

1244
01:07:01,920 --> 01:07:04,680
Speaker 3: work to do, and it seems his work is mainly

1245
01:07:04,800 --> 01:07:07,720
Speaker 3: chopping up cow organs with a scalpel and then looking

1246
01:07:07,720 --> 01:07:10,800
Speaker 3: at things under a microscope. But here in the lab

1247
01:07:11,080 --> 01:07:14,240
Speaker 3: Gotho comes into Orla. He actually he starts off hiding

1248
01:07:14,320 --> 01:07:16,760
Speaker 3: under a sheet on one of the cadaver tables, and

1249
01:07:16,800 --> 01:07:20,360
Speaker 3: he pops up like as if you know, a kind

1250
01:07:20,400 --> 01:07:22,520
Speaker 3: of like scene in the fog where the corpse is

1251
01:07:22,600 --> 01:07:26,680
Speaker 3: rising up under the sheet. But then he tells Orla

1252
01:07:26,720 --> 01:07:31,280
Speaker 3: that he needs help, and here begins some negotiation. Gotho

1253
01:07:31,400 --> 01:07:35,360
Speaker 3: has something that Orla could use. He shows Orla his

1254
01:07:35,480 --> 01:07:39,160
Speaker 3: underground hideaway. They sort of tour all the passageways together,

1255
01:07:39,840 --> 01:07:42,840
Speaker 3: and he asked for Orla's help, and Orla says, I

1256
01:07:42,880 --> 01:07:44,840
Speaker 3: can help you, but that means you work for me.

1257
01:07:44,960 --> 01:07:47,320
Speaker 3: Now you must do everything I tell you to do.

1258
01:07:47,800 --> 01:07:51,400
Speaker 3: And then they make the trade more explicit. Orla promises

1259
01:07:51,520 --> 01:07:54,520
Speaker 3: that he can bring Ilsa back to life for Gotho,

1260
01:07:54,960 --> 01:07:58,960
Speaker 3: but Gotho must transfer all of Orla's laboratory equipment down

1261
01:07:58,960 --> 01:08:01,640
Speaker 3: to this secret torture chamber and help him with his work.

1262
01:08:02,680 --> 01:08:05,200
Speaker 3: And this is good timing for Orla because we learned

1263
01:08:05,200 --> 01:08:07,880
Speaker 3: that Orla has just received a notice from the university

1264
01:08:07,960 --> 01:08:09,920
Speaker 3: that he's got to stop his research at once. He

1265
01:08:09,960 --> 01:08:13,280
Speaker 3: will no longer have access to the hospital facilities. And

1266
01:08:13,360 --> 01:08:15,640
Speaker 3: there's a scene, there are actually many scenes like this

1267
01:08:15,720 --> 01:08:18,240
Speaker 3: in the second half of the film, where Orla is

1268
01:08:18,320 --> 01:08:21,320
Speaker 3: talking with Tauchner, who has been helping him in the project,

1269
01:08:21,880 --> 01:08:24,400
Speaker 3: and Orla is like, these neuro minded fools, you know,

1270
01:08:24,439 --> 01:08:29,000
Speaker 3: they're terrified of anything that's new, beautiful and possesses true genius.

1271
01:08:29,520 --> 01:08:31,959
Speaker 3: So what's the project they're working on that's so important?

1272
01:08:32,000 --> 01:08:35,120
Speaker 3: But that the university, the narrow minded fools are afraid

1273
01:08:35,160 --> 01:08:38,400
Speaker 3: of why. It's to create artificial life. Of course, what

1274
01:08:38,439 --> 01:08:42,120
Speaker 3: else would it be. Now Orla and Tauchener are debating

1275
01:08:42,160 --> 01:08:44,439
Speaker 3: what to do next, and Orla reveals that he has

1276
01:08:44,479 --> 01:08:47,280
Speaker 3: Gotho working for him. Tauchener is like, wait, you know

1277
01:08:47,360 --> 01:08:50,519
Speaker 3: he's accused of three murders, right, and Orla is I

1278
01:08:50,800 --> 01:08:54,680
Speaker 3: probably didn't do it. Tauchener then says, this is an

1279
01:08:54,720 --> 01:08:57,720
Speaker 3: actual quote I took down. Dealing with a killer is

1280
01:08:57,760 --> 01:09:01,360
Speaker 3: not only repugnant, it might also causes complications.

1281
01:09:02,520 --> 01:09:05,080
Speaker 1: Well, yeah, you'd have to list those in the complications

1282
01:09:05,120 --> 01:09:09,080
Speaker 1: section of your peer reviewed art study. Ye know, at

1283
01:09:09,080 --> 01:09:12,519
Speaker 1: the bottom it's like potential complications. We did work with

1284
01:09:12,560 --> 01:09:13,200
Speaker 1: a murderer.

1285
01:09:13,360 --> 01:09:16,400
Speaker 3: Yeah, yeah, he's an evil stain on humanity. Also, he

1286
01:09:16,479 --> 01:09:17,719
Speaker 3: might throw sand in the gears.

1287
01:09:19,040 --> 01:09:19,200
Speaker 4: Now.

1288
01:09:19,240 --> 01:09:22,280
Speaker 3: In the end, Orla puts pressure on Tauchner and persuades

1289
01:09:22,360 --> 01:09:24,439
Speaker 3: him to keep working with them on the artificial life

1290
01:09:24,439 --> 01:09:26,840
Speaker 3: project for the time being, and they head out for

1291
01:09:26,880 --> 01:09:30,599
Speaker 3: a tour of the dungeon. There's some quite beautiful location

1292
01:09:30,680 --> 01:09:33,639
Speaker 3: shots here as they go into the nearby abbey that's

1293
01:09:33,720 --> 01:09:36,880
Speaker 3: one of the access points for the catacombs. I wonder

1294
01:09:36,920 --> 01:09:39,519
Speaker 3: where they shot this part because I mentioned earlier that

1295
01:09:39,560 --> 01:09:42,280
Speaker 3: I just watched this other Nashy movie, The Werewolf Versus

1296
01:09:42,280 --> 01:09:45,320
Speaker 3: the Vampire Woman from seventy one, and there is an

1297
01:09:45,400 --> 01:09:49,519
Speaker 3: abbey location in that movie that looks almost identical to this.

1298
01:09:49,720 --> 01:09:52,240
Speaker 3: I wonder if they used the same place.

1299
01:09:53,280 --> 01:09:55,519
Speaker 1: Yeah, I mean they might have. It also reminds me

1300
01:09:55,560 --> 01:09:57,559
Speaker 1: of some of the ruins from the Blind Dead movies,

1301
01:09:58,840 --> 01:10:02,320
Speaker 1: so likely use the same Spanish locations here. But then,

1302
01:10:02,400 --> 01:10:04,120
Speaker 1: on the other hand, like this part of the world,

1303
01:10:04,200 --> 01:10:06,400
Speaker 1: there are a lot of castles, a lot of ruins.

1304
01:10:07,800 --> 01:10:10,040
Speaker 1: I looked around briefly, wasn't able to find a good answer,

1305
01:10:10,040 --> 01:10:13,720
Speaker 1: but I did find evidence of In twenty seventeen, there

1306
01:10:13,760 --> 01:10:16,519
Speaker 1: is a tour company called ECS Tours and they did

1307
01:10:16,520 --> 01:10:20,200
Speaker 1: something called Classic Spanish Horror Film Location Tour, a Paul

1308
01:10:20,320 --> 01:10:23,280
Speaker 1: Nashi tribute Whoa. I was like, oh man, that sounds great,

1309
01:10:23,560 --> 01:10:24,479
Speaker 1: do it again please?

1310
01:10:25,800 --> 01:10:28,839
Speaker 3: So Tauschener gets read in on the whole operation, including

1311
01:10:28,960 --> 01:10:32,160
Speaker 3: Orla's promises to Gotho that he will cause Ilsa to

1312
01:10:32,320 --> 01:10:35,680
Speaker 3: wake up. This does not sit well with Tauchener for

1313
01:10:35,760 --> 01:10:38,120
Speaker 3: multiple reasons. He says, you know, it's not fair to

1314
01:10:38,160 --> 01:10:40,760
Speaker 3: lie to Gotho and manipulate him like this. Also he

1315
01:10:40,760 --> 01:10:45,120
Speaker 3: could kill again, and Orla argues, you know, but science

1316
01:10:45,200 --> 01:10:48,799
Speaker 3: must sometimes use dubious methods because the ends will justify

1317
01:10:48,840 --> 01:10:53,719
Speaker 3: the means, and he says success is waiting. So there's

1318
01:10:53,720 --> 01:10:57,280
Speaker 3: more Dark Knight of the Soul with Tauchener. Here, Tauchener

1319
01:10:57,320 --> 01:10:59,439
Speaker 3: goes and talks to doctor Meyer. We learned her first

1320
01:10:59,479 --> 01:11:02,639
Speaker 3: name as Mura about his work with Orla. I guess

1321
01:11:02,680 --> 01:11:05,919
Speaker 3: they've both sort of been working with Orla, but mainly Tauchner.

1322
01:11:06,520 --> 01:11:09,320
Speaker 3: And he's like, yeah, I've got reservations, but I'm also

1323
01:11:09,360 --> 01:11:11,720
Speaker 3: inclined to push ahead because of the great potential for

1324
01:11:11,760 --> 01:11:15,679
Speaker 3: scientific discovery. But Marie tells him there is something about

1325
01:11:15,840 --> 01:11:18,000
Speaker 3: Orla in his work that has begun to frighten her.

1326
01:11:18,040 --> 01:11:20,320
Speaker 3: He may be a great scientist, but he's willing to

1327
01:11:20,360 --> 01:11:22,920
Speaker 3: destroy anything in anyone who gets in his way.

1328
01:11:23,400 --> 01:11:24,559
Speaker 1: Yeah, that's always a red flag.

1329
01:11:24,840 --> 01:11:29,519
Speaker 3: Yeah, So we get a look after they've been working

1330
01:11:29,520 --> 01:11:31,400
Speaker 3: on setting up the lab in the dungeon. We get

1331
01:11:31,400 --> 01:11:32,799
Speaker 3: a look at it. So there's a lot of beeps

1332
01:11:32,800 --> 01:11:35,920
Speaker 3: and boops, kind of equipment, beakers full of pink liquid

1333
01:11:36,000 --> 01:11:39,760
Speaker 3: that's burbling, and then a giant sulfuric acid pit in

1334
01:11:39,800 --> 01:11:40,240
Speaker 3: the floor.

1335
01:11:40,720 --> 01:11:44,040
Speaker 1: Yes, yes, much like the one from nineteen seventy Scream

1336
01:11:44,040 --> 01:11:46,519
Speaker 1: and Scream again, which he previously talked about on the show.

1337
01:11:46,600 --> 01:11:47,559
Speaker 1: It looks wonderful.

1338
01:11:48,479 --> 01:11:51,639
Speaker 3: Also, it appears that Gotho or somebody has hired movers

1339
01:11:51,680 --> 01:11:53,280
Speaker 3: to get all of the equipment. And now there are

1340
01:11:53,280 --> 01:11:56,679
Speaker 3: just other people involved in the three other guys involved

1341
01:11:56,720 --> 01:11:59,960
Speaker 3: in this? Is this really a top secret laboratory? Just

1342
01:12:00,120 --> 01:12:01,439
Speaker 3: more and more people coming in.

1343
01:12:01,800 --> 01:12:04,640
Speaker 1: Well, it's gonna be, as we find out, with this

1344
01:12:04,720 --> 01:12:06,120
Speaker 1: crew of labors they brought in.

1345
01:12:06,439 --> 01:12:09,760
Speaker 3: That's right. So Orla tries to promise Gotho that he

1346
01:12:09,840 --> 01:12:12,639
Speaker 3: will be famous for his contribution to this very important

1347
01:12:12,680 --> 01:12:16,000
Speaker 3: science project. But Gotho just wants to know when Orla's

1348
01:12:16,000 --> 01:12:18,200
Speaker 3: gonna wake Ilsa up for him, and he's like, oh,

1349
01:12:18,320 --> 01:12:22,760
Speaker 3: real soon, Gotho, Real soon. So we follow Gotho as

1350
01:12:22,800 --> 01:12:25,040
Speaker 3: he goes out still every day to pick flowers for

1351
01:12:25,520 --> 01:12:28,679
Speaker 3: Ilsa in the abbey ruins. So it's still very sad.

1352
01:12:28,760 --> 01:12:30,920
Speaker 3: We follow him and we see his pain that he's

1353
01:12:31,000 --> 01:12:33,960
Speaker 3: you know, he's hoping, he's hoping against hope that she

1354
01:12:34,040 --> 01:12:37,599
Speaker 3: can be revived somehow. Now I mentioned that they hired

1355
01:12:37,640 --> 01:12:39,840
Speaker 3: the movers. I don't know who these guys are, but

1356
01:12:39,880 --> 01:12:42,000
Speaker 3: we see them later and there are three guys just

1357
01:12:42,000 --> 01:12:45,840
Speaker 3: like playing cards and cursing and drinking schnops in the lab.

1358
01:12:46,360 --> 01:12:49,520
Speaker 3: They seem like real no good low lifes. They're complaining

1359
01:12:49,520 --> 01:12:52,360
Speaker 3: about the smell of rotting meat while they're pounding liquor

1360
01:12:52,360 --> 01:12:56,599
Speaker 3: on a torture rack, and they decide to fix the problem.

1361
01:12:56,600 --> 01:12:58,920
Speaker 3: They're like, oh, the problem is this body over here.

1362
01:12:58,920 --> 01:13:02,240
Speaker 3: It's ILSA's body. She's stinking up the place. So they

1363
01:13:02,280 --> 01:13:05,719
Speaker 3: take initiative and they chuck the decomposing body of Ilsa

1364
01:13:06,200 --> 01:13:08,440
Speaker 3: into the sulfuric acid tank.

1365
01:13:08,360 --> 01:13:10,400
Speaker 1: Because clearly that will smell better.

1366
01:13:10,760 --> 01:13:15,360
Speaker 3: Yes, So of course Gotho walks in while they're doing this.

1367
01:13:15,439 --> 01:13:19,080
Speaker 3: He sees it happen, and then he flips once again.

1368
01:13:19,160 --> 01:13:22,280
Speaker 3: He's here too late. He flips out and starts attacking

1369
01:13:22,320 --> 01:13:25,799
Speaker 3: the dudes. Two of them get different kinds of deaths

1370
01:13:25,800 --> 01:13:29,640
Speaker 3: by acid. One guy he throws straight into the sulfuric

1371
01:13:29,640 --> 01:13:32,760
Speaker 3: acid tank alive. The other guy gets smashed in the

1372
01:13:32,760 --> 01:13:36,080
Speaker 3: face with a beaker of acid. And then the third guy, Gotho,

1373
01:13:36,240 --> 01:13:38,360
Speaker 3: slams inside an iron maiden.

1374
01:13:38,479 --> 01:13:41,800
Speaker 1: Yike, nice, Yeah, this is a great kill. All these

1375
01:13:41,800 --> 01:13:44,040
Speaker 1: were great kills, but the Iron Maiden that was the

1376
01:13:44,040 --> 01:13:45,000
Speaker 1: real topping on the cake.

1377
01:13:45,360 --> 01:13:49,160
Speaker 3: So right after this, here comes Maria wandering into the catacombs.

1378
01:13:49,160 --> 01:13:52,800
Speaker 3: She's checking up on the project, so again this place

1379
01:13:52,840 --> 01:13:55,120
Speaker 3: is really not as secret as it first seemed, and

1380
01:13:55,200 --> 01:13:59,320
Speaker 3: she sees some rats and screams and runs away. But

1381
01:13:59,479 --> 01:14:02,880
Speaker 3: also we see Orla and Tauchener here around the same time.

1382
01:14:02,920 --> 01:14:06,000
Speaker 3: They're getting on with their research. They're making exciting progress,

1383
01:14:06,280 --> 01:14:09,439
Speaker 3: occasionally stopping to wonder what happened to those three men

1384
01:14:09,479 --> 01:14:12,439
Speaker 3: who worked for us hm hm, and Orla says something

1385
01:14:12,560 --> 01:14:14,280
Speaker 3: like the fewer witnesses the better.

1386
01:14:15,439 --> 01:14:17,240
Speaker 1: Yeah, it maintains secrecy.

1387
01:14:18,040 --> 01:14:20,439
Speaker 3: But Maria is still running around in the catacombs here,

1388
01:14:20,760 --> 01:14:25,000
Speaker 3: and she encounters a zombie like creature with a burned face.

1389
01:14:25,479 --> 01:14:28,680
Speaker 3: So I was confused about what happened here. But I

1390
01:14:28,760 --> 01:14:31,880
Speaker 3: think this is supposed to be the guy that Gotho

1391
01:14:32,040 --> 01:14:36,120
Speaker 3: hit with the acid beaker. He's either reanimated or somehow

1392
01:14:36,200 --> 01:14:39,559
Speaker 3: sort of zombified, and he just wanders past Maria. But

1393
01:14:39,600 --> 01:14:42,120
Speaker 3: then Gotho arrives and is like, oh, hey, you know

1394
01:14:42,200 --> 01:14:42,600
Speaker 3: you know me?

1395
01:14:43,479 --> 01:14:46,360
Speaker 1: Yeah, So I think it's the taller of the acid

1396
01:14:46,360 --> 01:14:49,439
Speaker 1: burned guys with one of the other acid burn guys

1397
01:14:50,080 --> 01:14:53,680
Speaker 1: strapped to his back. Yeah, and it's unclear whether the

1398
01:14:53,680 --> 01:14:55,960
Speaker 1: guy on his back is alive or dead at this point.

1399
01:14:56,000 --> 01:15:00,160
Speaker 1: Clearly the zombified guy is barely alive in a very

1400
01:15:00,000 --> 01:15:05,040
Speaker 1: a bad state of mind, but it's uncertain whether like

1401
01:15:05,600 --> 01:15:08,559
Speaker 1: tall guy is trying to escape and bring his buddy

1402
01:15:08,560 --> 01:15:11,920
Speaker 1: with him. I'm more inclined to think that what happened

1403
01:15:11,920 --> 01:15:16,120
Speaker 1: here is that is that Gotho, in an act of cruelty,

1404
01:15:16,600 --> 01:15:18,600
Speaker 1: has strapped one to the other and just sort of

1405
01:15:18,600 --> 01:15:20,400
Speaker 1: like kicked them in the butt and send them off

1406
01:15:20,439 --> 01:15:22,479
Speaker 1: to wander the ruins until they die.

1407
01:15:22,960 --> 01:15:25,840
Speaker 3: You know, I noticed this about the Werewolf versus the

1408
01:15:25,880 --> 01:15:29,479
Speaker 3: Vampire Woman as well. A lot of Nashy movies have

1409
01:15:29,760 --> 01:15:34,200
Speaker 3: a random zombie type figure with gross face makeup that

1410
01:15:34,640 --> 01:15:37,400
Speaker 3: appears only for one or two scenes and is not

1411
01:15:37,600 --> 01:15:39,960
Speaker 3: explained at all. Exactly the same in this other movie.

1412
01:15:40,000 --> 01:15:42,519
Speaker 3: There's like a zombie and the Abbey Ruins in that movie,

1413
01:15:42,520 --> 01:15:44,320
Speaker 3: and we never learned what he is or why.

1414
01:15:44,680 --> 01:15:46,840
Speaker 1: Yeah, you gotta go a little bit undead in there,

1415
01:15:47,240 --> 01:15:47,920
Speaker 1: part of his soul.

1416
01:15:48,240 --> 01:15:51,920
Speaker 3: Yeah. So anyway, here Maria joins Orla and Tauchiner in

1417
01:15:51,960 --> 01:15:54,320
Speaker 3: the lab, and they talk more about the progress of

1418
01:15:54,360 --> 01:15:57,599
Speaker 3: the artificial life that they are incubating, and Orla says,

1419
01:15:57,640 --> 01:15:59,160
Speaker 3: you know, they're right on the cusp. It will be

1420
01:15:59,200 --> 01:16:02,519
Speaker 3: assuming a deaf it form any day now. But Meyer

1421
01:16:02,600 --> 01:16:05,120
Speaker 3: points out something. She says, you don't know what form

1422
01:16:05,160 --> 01:16:07,240
Speaker 3: the life will take, which means it could be a

1423
01:16:07,360 --> 01:16:11,880
Speaker 3: human form or a monstrous mutation, and Orla tells her off.

1424
01:16:11,880 --> 01:16:15,479
Speaker 3: He's like, I know what I'm doing, but by the way,

1425
01:16:15,560 --> 01:16:18,040
Speaker 3: the life at this point is in a big vat.

1426
01:16:18,120 --> 01:16:19,960
Speaker 3: It's in like a big glass jar.

1427
01:16:20,520 --> 01:16:22,680
Speaker 1: Yeah. So we begin to see lots of shots of

1428
01:16:23,120 --> 01:16:28,639
Speaker 1: bits of meat and gore, like pulsing and throbbing inside

1429
01:16:28,680 --> 01:16:31,439
Speaker 1: of the vat. Yeah, it's it's great.

1430
01:16:31,840 --> 01:16:34,880
Speaker 3: It looks like a glass stock pot stuffed with blood

1431
01:16:34,920 --> 01:16:37,920
Speaker 3: clots and huge throbbing oysters. Yeah.

1432
01:16:38,000 --> 01:16:40,240
Speaker 1: And you got to throw some stuff in there, like frogs,

1433
01:16:40,320 --> 01:16:41,000
Speaker 1: live frogs.

1434
01:16:41,160 --> 01:16:44,679
Speaker 3: Yes. So obviously Gotho is really down and out. Now

1435
01:16:44,800 --> 01:16:47,599
Speaker 3: he goes to talk to Orla and he's like, well,

1436
01:16:47,800 --> 01:16:50,360
Speaker 3: Ilsa has been disintegrated, so now I have no hope.

1437
01:16:50,560 --> 01:16:52,640
Speaker 3: I can't work this job anymore. So I'm gonna go

1438
01:16:52,680 --> 01:16:56,559
Speaker 3: turn myself into the police, and Orla tells him no, no, no, no,

1439
01:16:56,600 --> 01:16:59,759
Speaker 3: don't do that. I need you and let's see, I'll

1440
01:16:59,760 --> 01:17:03,160
Speaker 3: create a new ilsa for you. Yeah, yeah, that's right,

1441
01:17:03,200 --> 01:17:06,840
Speaker 3: a whole new one. And somehow Gotho goes for this.

1442
01:17:07,000 --> 01:17:09,960
Speaker 3: He's overjoyed. He's like, you do that for me, professor,

1443
01:17:11,439 --> 01:17:13,479
Speaker 3: and or Less says, yes, yes, yes, I will do that,

1444
01:17:13,520 --> 01:17:15,439
Speaker 3: but I need you first to go to the morgue

1445
01:17:15,439 --> 01:17:17,519
Speaker 3: and swipe some fresh body parts for me. I need

1446
01:17:17,560 --> 01:17:19,559
Speaker 3: a head. You've got to get me a human head.

1447
01:17:20,040 --> 01:17:22,559
Speaker 3: So Gotho says, all right, and he goes to the

1448
01:17:22,600 --> 01:17:25,000
Speaker 3: morgue and he saws off a human head and it

1449
01:17:25,040 --> 01:17:26,240
Speaker 3: looks pretty realistic.

1450
01:17:27,040 --> 01:17:30,120
Speaker 1: Yeah yeah, Now, I've read that the filmmakers had the

1451
01:17:30,200 --> 01:17:33,960
Speaker 1: chance to use a real corpse here, but nobody ended

1452
01:17:34,000 --> 01:17:35,799
Speaker 1: up having the stomach to go through with the shoot.

1453
01:17:36,400 --> 01:17:39,120
Speaker 1: I'm unsure personally if this is true or if this

1454
01:17:39,160 --> 01:17:42,200
Speaker 1: is more sort of movie myth making. So you be

1455
01:17:42,240 --> 01:17:45,000
Speaker 1: the judge, But at any rate, this is a this

1456
01:17:45,080 --> 01:17:47,720
Speaker 1: is a fake head. This is an effect. But it

1457
01:17:47,720 --> 01:17:50,160
Speaker 1: looks amazing like it has the big old man ears

1458
01:17:50,160 --> 01:17:51,639
Speaker 1: on it and all very well done.

1459
01:17:52,080 --> 01:17:55,000
Speaker 3: So Gotho gets chased with the head by some kind

1460
01:17:55,000 --> 01:17:57,800
Speaker 3: of night watchmen or police who are wearing I don't know,

1461
01:17:57,800 --> 01:18:00,920
Speaker 3: they're wearing sort of those straw hats, like like Harold Hill,

1462
01:18:01,000 --> 01:18:05,360
Speaker 3: the music Man. And he escapes by climbing onto rooftops

1463
01:18:05,360 --> 01:18:07,840
Speaker 3: and running over the rooftops through the town, eventually making

1464
01:18:07,880 --> 01:18:09,680
Speaker 3: his way. I don't know if this was intentional or

1465
01:18:09,680 --> 01:18:12,000
Speaker 3: by accident, but he makes his way into the window

1466
01:18:12,160 --> 01:18:16,280
Speaker 3: of Elk's apartment and she's here in her nightgown reading

1467
01:18:16,320 --> 01:18:18,960
Speaker 3: a book. I was trying to see what book that is.

1468
01:18:19,000 --> 01:18:20,519
Speaker 3: I wanted to look it up, but I couldn't quite

1469
01:18:20,520 --> 01:18:23,320
Speaker 3: make out the title or the author. But anyway, she

1470
01:18:23,560 --> 01:18:26,360
Speaker 3: confronts him, she's like, well, at first, she says, you know, oh,

1471
01:18:26,439 --> 01:18:28,680
Speaker 3: you shouldn't be jumping through my window with a head

1472
01:18:28,680 --> 01:18:31,280
Speaker 3: and a bag at this time of night. But then

1473
01:18:31,360 --> 01:18:33,839
Speaker 3: comes a knock at the door and it's the police,

1474
01:18:33,920 --> 01:18:37,080
Speaker 3: and Elkie hides Gotho from the police. She lies to them,

1475
01:18:37,160 --> 01:18:40,800
Speaker 3: covers for Gotho and they leave, and Gotho was appreciative,

1476
01:18:40,840 --> 01:18:42,640
Speaker 3: but he asks her, why did you do it? You

1477
01:18:42,720 --> 01:18:43,920
Speaker 3: heard them I'm a killer.

1478
01:18:44,520 --> 01:18:44,680
Speaker 1: Now.

1479
01:18:44,720 --> 01:18:47,840
Speaker 3: Remember, Elk has a great talent for criminal psychiatry. As

1480
01:18:47,880 --> 01:18:51,200
Speaker 3: doctor Meyer told us earlier, and she says, yeah, you

1481
01:18:51,280 --> 01:18:53,519
Speaker 3: might be a killer, but you're not a killer killer.

1482
01:18:53,720 --> 01:18:56,120
Speaker 3: I know why you did it. If only I could

1483
01:18:56,200 --> 01:18:59,160
Speaker 3: have someone who loved me as much as you loved Elsa.

1484
01:19:00,240 --> 01:19:02,160
Speaker 3: Like when I first got to this, I was like,

1485
01:19:02,320 --> 01:19:08,960
Speaker 3: wait a minute, where is this going? But Elkie explains

1486
01:19:09,080 --> 01:19:12,320
Speaker 3: that she doesn't care that everyone else finds him ugly

1487
01:19:12,360 --> 01:19:16,519
Speaker 3: and frightening. She says, sometimes faithfulness and love surpassed beauty.

1488
01:19:17,080 --> 01:19:20,479
Speaker 3: So Gotho kisses her feet once again, and then Elki

1489
01:19:20,600 --> 01:19:22,120
Speaker 3: kisses Gotho on the mouth.

1490
01:19:22,880 --> 01:19:23,760
Speaker 1: They're hitting it off.

1491
01:19:23,920 --> 01:19:27,599
Speaker 3: They're hitting it off, so some more mad science stuff

1492
01:19:27,640 --> 01:19:29,800
Speaker 3: going on in the lab. He goes back, and Orla

1493
01:19:29,880 --> 01:19:32,520
Speaker 3: throws the human head into the vat full of oysters

1494
01:19:32,560 --> 01:19:34,960
Speaker 3: and organs. He just drops it right into the tank.

1495
01:19:35,240 --> 01:19:37,120
Speaker 1: I love how he's like, I should really take the

1496
01:19:37,120 --> 01:19:39,840
Speaker 1: brain out first, but I'm just so excited to carry

1497
01:19:39,840 --> 01:19:41,559
Speaker 1: on with the project, and Hoad goes in.

1498
01:19:41,880 --> 01:19:45,360
Speaker 3: That's all right, so Orla quickly sets Gotho to some

1499
01:19:45,360 --> 01:19:47,960
Speaker 3: more grave robbing. They go out digging up graves while

1500
01:19:48,000 --> 01:19:52,519
Speaker 3: Lorela's standing there making speeches at him. Gotho's digging. They

1501
01:19:52,600 --> 01:19:56,200
Speaker 3: end up killing a security guard at the cemetery, and

1502
01:19:56,280 --> 01:19:58,640
Speaker 3: Gotho is horrified at what he has done, Like he

1503
01:19:58,720 --> 01:20:00,320
Speaker 3: hits him with a shovel, kills the guy. It's like,

1504
01:20:00,320 --> 01:20:04,240
Speaker 3: oh no, but Orla says, oh, you know, sweet bonus bodies.

1505
01:20:05,080 --> 01:20:08,400
Speaker 3: They take both of them back. Now. Next there is

1506
01:20:08,439 --> 01:20:11,040
Speaker 3: a hitch in the project because Orla starts to think

1507
01:20:11,080 --> 01:20:13,600
Speaker 3: that the artificial life's growth is slowing down. And the

1508
01:20:13,600 --> 01:20:16,120
Speaker 3: problem is it doesn't want dead body parts. It needs

1509
01:20:16,120 --> 01:20:17,280
Speaker 3: a live human.

1510
01:20:18,000 --> 01:20:21,000
Speaker 1: And who's going to supply those live humans or at

1511
01:20:21,080 --> 01:20:23,120
Speaker 1: least very fresh humans. Well, you know it's got to

1512
01:20:23,160 --> 01:20:23,840
Speaker 1: be Gotho.

1513
01:20:23,920 --> 01:20:27,000
Speaker 3: That's right. So oh and at some point, kind of

1514
01:20:27,040 --> 01:20:30,840
Speaker 3: without much fanfare, the new creature is suddenly born. Like

1515
01:20:31,120 --> 01:20:34,040
Speaker 3: Orla and Gotho are in the lab and they quickly

1516
01:20:34,080 --> 01:20:36,760
Speaker 3: lock the tank behind a heavy wooden door to one

1517
01:20:36,800 --> 01:20:40,639
Speaker 3: of the cells in the dungeon because Orla he detects

1518
01:20:40,640 --> 01:20:43,000
Speaker 3: that it's about to transform. But we don't get to

1519
01:20:43,000 --> 01:20:44,800
Speaker 3: see what it is initially. We just like hear a

1520
01:20:44,800 --> 01:20:47,200
Speaker 3: commotion inside the room and we see them looking through

1521
01:20:47,240 --> 01:20:50,000
Speaker 3: a little peep hole in the door and they're thinking, Wow,

1522
01:20:50,160 --> 01:20:53,240
Speaker 3: that's amazing, but we won't see it until the very end.

1523
01:20:53,520 --> 01:20:55,280
Speaker 1: Yeah, they describe a little bit. They're like, oh, it

1524
01:20:55,320 --> 01:20:57,479
Speaker 1: broke the tray, it broke the table, and so forth.

1525
01:20:57,520 --> 01:21:01,080
Speaker 1: And we hear the sounds because it builds up in

1526
01:21:01,080 --> 01:21:03,600
Speaker 1: our imagination of what this might be, especially when we

1527
01:21:03,640 --> 01:21:08,080
Speaker 1: have sort of conflicting ideas about what it's going to be.

1528
01:21:08,560 --> 01:21:11,840
Speaker 1: It sounds like a monster. But Orla is eventually going

1529
01:21:11,880 --> 01:21:14,719
Speaker 1: to talk about it in terms of some primordial goddess

1530
01:21:14,800 --> 01:21:20,280
Speaker 1: that is being reborn in this artificial biological state.

1531
01:21:20,680 --> 01:21:23,240
Speaker 3: That's right. So we get more scenes of discussing the

1532
01:21:23,280 --> 01:21:27,040
Speaker 3: ethics of the project between Tauchener and Meyer. Meyer is

1533
01:21:27,120 --> 01:21:29,760
Speaker 3: again the voice of reason here. She's like, there's just

1534
01:21:29,800 --> 01:21:32,160
Speaker 3: something wrong about the way that you are ignoring the

1535
01:21:32,160 --> 01:21:35,599
Speaker 3: impact on people's lives, especially the abuse of Gotho. It's wrong.

1536
01:21:36,520 --> 01:21:39,080
Speaker 3: Meyer says, all these crimes of the Hunchback are really

1537
01:21:39,120 --> 01:21:42,800
Speaker 3: the crimes of Orla. He's the one responsible, which to

1538
01:21:42,800 --> 01:21:45,599
Speaker 3: some extent is true. Maybe not all of the crimes,

1539
01:21:45,600 --> 01:21:46,679
Speaker 3: but some of the crimes.

1540
01:21:47,200 --> 01:21:50,920
Speaker 1: Yeah, I mean Gotho. Still he has agency. You can't

1541
01:21:50,960 --> 01:21:52,400
Speaker 1: pin all of the son Orla.

1542
01:21:52,680 --> 01:21:55,960
Speaker 3: Yeah. Orla clearly shares a lot of the blame. But

1543
01:21:56,040 --> 01:21:59,240
Speaker 3: she breaks through to Tauchener and convinces him to abandon

1544
01:21:59,280 --> 01:22:03,080
Speaker 3: the project. However, whoops. Tauchner goes to Orla and he's like,

1545
01:22:03,520 --> 01:22:06,040
Speaker 3: I'm done, can't do this anymore, and this leads to

1546
01:22:06,120 --> 01:22:11,760
Speaker 3: a fight where Orla gets Gotho to knock Tauchner unconscious

1547
01:22:11,800 --> 01:22:14,559
Speaker 3: and lock him in a cell in the dungeon. Orla

1548
01:22:14,640 --> 01:22:17,519
Speaker 3: tells Gotho that he will have need of Tauchner for

1549
01:22:17,760 --> 01:22:20,519
Speaker 3: a thing. Now Here, we start to see a bunch

1550
01:22:20,560 --> 01:22:22,640
Speaker 3: of these scenes where Gotho has to go out and

1551
01:22:22,720 --> 01:22:27,840
Speaker 3: kidnap living people to bring to feed the artificial life form,

1552
01:22:27,920 --> 01:22:31,720
Speaker 3: so he starts kidnapping women from the women's reformatory. He

1553
01:22:31,800 --> 01:22:34,600
Speaker 3: brings one lady down screaming into the dungeon, where he

1554
01:22:34,680 --> 01:22:37,080
Speaker 3: and Orla throw her into the life form cell. We

1555
01:22:37,120 --> 01:22:39,840
Speaker 3: don't see what's happening, but we hear it eating her.

1556
01:22:41,200 --> 01:22:44,240
Speaker 3: Gotho goes back to Elki's apartment at some point, and

1557
01:22:44,280 --> 01:22:47,640
Speaker 3: Gotho is torn because he not so much about what

1558
01:22:47,760 --> 01:22:50,400
Speaker 3: he's doing on the project. He's torn because he is

1559
01:22:50,439 --> 01:22:53,479
Speaker 3: falling for Elki, but he feels guilty like he's betraying

1560
01:22:53,560 --> 01:22:57,080
Speaker 3: ILSA's memory, and Elkie tells him that if Elsa could

1561
01:22:57,080 --> 01:23:00,080
Speaker 3: see them together, she would approve, and Okay, I think

1562
01:23:00,120 --> 01:23:02,040
Speaker 3: that's all the convincing Gotho needs.

1563
01:23:02,400 --> 01:23:05,160
Speaker 1: Because also Gotho believes that any day now he's going

1564
01:23:05,240 --> 01:23:08,280
Speaker 1: to get that new Ilsa and she can approve in person.

1565
01:23:08,680 --> 01:23:12,639
Speaker 3: Oh yeah, that's right. And obviously Elki is super into Gotho.

1566
01:23:13,000 --> 01:23:15,400
Speaker 3: I think Gotho is like, yes, I like Elki too.

1567
01:23:15,479 --> 01:23:17,920
Speaker 3: So yeah, they start kissing and there's like a full

1568
01:23:18,000 --> 01:23:20,599
Speaker 3: Gotho Elkie love scene. I don't know if I should

1569
01:23:20,640 --> 01:23:23,360
Speaker 3: say full. There's a brief Gotho Elkie love scene.

1570
01:23:23,479 --> 01:23:27,280
Speaker 1: Yeah, And this is the scene that is a noticeably

1571
01:23:27,320 --> 01:23:31,000
Speaker 1: different film quality. I've read that the original I've read

1572
01:23:31,000 --> 01:23:34,000
Speaker 1: two different stories about the original nude footage here. One

1573
01:23:34,120 --> 01:23:37,280
Speaker 1: was that it was destroyed by Spanish censors, and also

1574
01:23:37,400 --> 01:23:41,200
Speaker 1: that now she had a naked hump effect on his

1575
01:23:41,280 --> 01:23:43,680
Speaker 1: back that ended up not looking all that great and

1576
01:23:43,720 --> 01:23:46,160
Speaker 1: they scrapped it and had to redo it. At any rate,

1577
01:23:46,479 --> 01:23:50,120
Speaker 1: the uncensored version here just features a very brief, poorer

1578
01:23:50,280 --> 01:23:54,639
Speaker 1: quality segment of all this with Elkie topless and Gotho

1579
01:23:54,760 --> 01:23:59,320
Speaker 1: still wearing your shirt, but very brief, especially as these movies.

1580
01:23:58,960 --> 01:24:01,800
Speaker 3: Go, Yeah, there's no ambiguity now it's not just a

1581
01:24:01,840 --> 01:24:03,960
Speaker 3: crush like they're having a full on love affair.

1582
01:24:04,280 --> 01:24:05,720
Speaker 1: Yeah, is it doomed love?

1583
01:24:05,840 --> 01:24:09,880
Speaker 3: Well? Yes, probably probably. Yeah. Now there's another scene where

1584
01:24:09,960 --> 01:24:12,160
Speaker 3: doctor Meyer comes down to the dungeon. I think she's

1585
01:24:12,200 --> 01:24:15,080
Speaker 3: looking for her fiance who has been locked in a cell,

1586
01:24:15,520 --> 01:24:17,960
Speaker 3: and she confronts Oorla and finds out, uh oh, that

1587
01:24:18,000 --> 01:24:21,240
Speaker 3: we've been feeding ladies from the hospital to this creature.

1588
01:24:22,160 --> 01:24:24,760
Speaker 3: She looks through the peepole and the cell door to

1589
01:24:24,800 --> 01:24:28,040
Speaker 3: see the creature and says, that's horrible. It has completely

1590
01:24:28,080 --> 01:24:32,280
Speaker 3: devoured her and Orla starts monologuing about his plot, but

1591
01:24:32,400 --> 01:24:35,160
Speaker 3: Meyer wisely whacks him from behind with a pipe and

1592
01:24:35,200 --> 01:24:39,600
Speaker 3: then runs around calling out for Touchner, trying to find him. Instead,

1593
01:24:40,040 --> 01:24:43,120
Speaker 3: she finds Gotho. And what does Gotho do with her?

1594
01:24:43,160 --> 01:24:45,080
Speaker 3: I think he just crams her in a cell. Gotho's

1595
01:24:45,160 --> 01:24:47,160
Speaker 3: kind of all in on the evil plot now he

1596
01:24:47,200 --> 01:24:50,799
Speaker 3: wants that new ilsa. Yeah, so Gotho just keeps kidnapping

1597
01:24:50,800 --> 01:24:54,000
Speaker 3: women to bring to the tank. Being in this section,

1598
01:24:54,160 --> 01:24:58,200
Speaker 3: there are some very funny edits because there will be rapid,

1599
01:24:58,400 --> 01:25:01,439
Speaker 3: abrupt cutting back and forth between Gotho, like doing an

1600
01:25:01,439 --> 01:25:04,599
Speaker 3: abduction and then Suddenly we go back to the dungeon

1601
01:25:04,720 --> 01:25:07,759
Speaker 3: with Orla standing at the cell door listening to the creature,

1602
01:25:08,200 --> 01:25:13,040
Speaker 3: and the creature is constantly unleashing these sound effects, these

1603
01:25:13,240 --> 01:25:16,080
Speaker 3: rage groans. It's just in the cell going.

1604
01:25:18,439 --> 01:25:21,320
Speaker 1: Like a rampaging ogre on the Muppet Show, sort of

1605
01:25:21,360 --> 01:25:22,080
Speaker 1: a sound Yeah.

1606
01:25:22,160 --> 01:25:27,040
Speaker 3: Yeah, and they just are constant. Elkie, she looks out

1607
01:25:27,040 --> 01:25:29,639
Speaker 3: the hospital window at one point and just sees Gotho

1608
01:25:29,760 --> 01:25:32,720
Speaker 3: taking kidnapped women to the dungeon, so she just like

1609
01:25:32,840 --> 01:25:36,400
Speaker 3: directly witnesses it. It's like, oh, that's not good, so

1610
01:25:36,479 --> 01:25:38,519
Speaker 3: she climbs down and follows him. So I think we're

1611
01:25:38,520 --> 01:25:40,240
Speaker 3: building up to a final showdown, aren't we.

1612
01:25:40,520 --> 01:25:44,280
Speaker 1: Yeah. Yeah, Now we do get a nice villain monologue,

1613
01:25:44,600 --> 01:25:47,040
Speaker 1: one of many villain monologues from Orla, But I really

1614
01:25:47,120 --> 01:25:49,479
Speaker 1: like this when where he's talking about the creature that

1615
01:25:49,640 --> 01:25:54,799
Speaker 1: is growing, he says, quote from the subtitles, the creature

1616
01:25:54,840 --> 01:25:57,840
Speaker 1: is a primordial one of the beings that inhabited Earth

1617
01:25:57,880 --> 01:26:01,559
Speaker 1: before the human race, her race. The oldest books like

1618
01:26:01,600 --> 01:26:05,160
Speaker 1: the Necronomicon and the old treaties of magic and alchemy

1619
01:26:05,280 --> 01:26:08,519
Speaker 1: are full of references concerning this entity. That creature holds

1620
01:26:08,520 --> 01:26:11,960
Speaker 1: the secrets of every ancient civilization, and she will share

1621
01:26:12,000 --> 01:26:14,840
Speaker 1: them with us. The world will kneel before us. Okay,

1622
01:26:14,840 --> 01:26:18,200
Speaker 1: so it does get a little more into the megalomaniac

1623
01:26:18,479 --> 01:26:19,960
Speaker 1: side of things with you know, will rule the.

1624
01:26:19,920 --> 01:26:21,840
Speaker 3: World so forth, but more the last five minutes.

1625
01:26:22,000 --> 01:26:24,960
Speaker 1: Yeah, yeah, he's beginning to awaken to that possibility. But

1626
01:26:25,040 --> 01:26:27,519
Speaker 1: mostly they're like, we're going to learn so much from

1627
01:26:27,520 --> 01:26:30,760
Speaker 1: this breakthrough. And I also just love the idea that

1628
01:26:31,000 --> 01:26:33,479
Speaker 1: their eventual peer review journal article on all of this

1629
01:26:33,560 --> 01:26:35,280
Speaker 1: will also reference the Necronomicon.

1630
01:26:35,680 --> 01:26:37,479
Speaker 3: What does the citation on that look like?

1631
01:26:38,479 --> 01:26:43,479
Speaker 1: Well, what's his name? Al Hazard? Reference? Alhazard? And I

1632
01:26:43,520 --> 01:26:48,040
Speaker 1: guess I'm hoping that Gotho would also get an author

1633
01:26:48,120 --> 01:26:49,880
Speaker 1: credit on this. I mean, he's putting in the work.

1634
01:26:50,160 --> 01:26:53,120
Speaker 3: Yeah, but guess what Orla thinks the creature needs more

1635
01:26:53,160 --> 01:26:55,439
Speaker 3: of to reach its final form, needs more food, needs

1636
01:26:55,439 --> 01:26:58,280
Speaker 3: some more living flesh. So oh, and here comes Elkie,

1637
01:26:58,320 --> 01:27:02,200
Speaker 3: following Gotho into the into the catacombs. So what's it

1638
01:27:02,200 --> 01:27:03,960
Speaker 3: going to be. He's like, go get me, Elkie, We're

1639
01:27:04,000 --> 01:27:06,840
Speaker 3: going to feed her to the creature. Gotho does bring

1640
01:27:06,880 --> 01:27:09,320
Speaker 3: her to the lab, but when Orla commands him to

1641
01:27:09,360 --> 01:27:12,880
Speaker 3: put her inside the cell. Gotho refuses, He's like, no,

1642
01:27:13,400 --> 01:27:15,320
Speaker 3: not her. She was kind to me. I have to

1643
01:27:15,360 --> 01:27:19,519
Speaker 3: protect her. So this turns into a Gotho versus Orla battle,

1644
01:27:20,400 --> 01:27:22,040
Speaker 3: and what do you think. Of course, the monster is

1645
01:27:22,040 --> 01:27:22,920
Speaker 3: going to come into play.

1646
01:27:23,200 --> 01:27:25,280
Speaker 1: Absolutely, that monster is going to get loose. It's going

1647
01:27:25,320 --> 01:27:27,000
Speaker 1: to rampage, and we're here for it.

1648
01:27:27,320 --> 01:27:30,040
Speaker 3: Yeah. So well, actually, first there's an interlude in this

1649
01:27:30,120 --> 01:27:33,320
Speaker 3: fight in the lab where Gotho lets Meyer and Tauchiner

1650
01:27:33,439 --> 01:27:35,639
Speaker 3: out of their cells and she asks them to take

1651
01:27:35,680 --> 01:27:40,360
Speaker 3: Elki to safety. So the three basically good people run away.

1652
01:27:40,400 --> 01:27:42,439
Speaker 3: They get to you know, escape and be all right.

1653
01:27:43,120 --> 01:27:46,240
Speaker 3: But this is right before the primordial escapes its cell

1654
01:27:46,720 --> 01:27:50,200
Speaker 3: and it attacks Orla and there's this whole fight here.

1655
01:27:50,680 --> 01:27:53,200
Speaker 3: I think it's a pretty awesome looking monster. Kind of

1656
01:27:53,200 --> 01:27:57,320
Speaker 3: a muddy, melted candle slash oily maniac design.

1657
01:27:57,800 --> 01:28:03,719
Speaker 1: Yeah, like a green around sludge monster that looks especially

1658
01:28:03,760 --> 01:28:06,720
Speaker 1: great in this setting with this film quality. And it

1659
01:28:06,760 --> 01:28:08,880
Speaker 1: also benefits us that we don't see much of it.

1660
01:28:08,960 --> 01:28:11,960
Speaker 1: We've just been leading up to this moment and so

1661
01:28:12,040 --> 01:28:13,599
Speaker 1: that we don't see enough of it to where we

1662
01:28:13,640 --> 01:28:17,040
Speaker 1: really begin to see the seams or anything. Yeah, it's scary.

1663
01:28:17,160 --> 01:28:18,599
Speaker 1: It's a great design. I love it.

1664
01:28:18,800 --> 01:28:21,439
Speaker 3: Yeah, I think it's really good. It kills Orla. And

1665
01:28:21,479 --> 01:28:24,240
Speaker 3: then in the final the tragic ending that we probably

1666
01:28:24,320 --> 01:28:27,519
Speaker 3: knew was coming, Gotho and the primordial sort of lock

1667
01:28:27,640 --> 01:28:31,120
Speaker 3: arms and they fall into the sulfuric acid pit together.

1668
01:28:31,400 --> 01:28:32,680
Speaker 3: Bubble bubble, the end.

1669
01:28:33,120 --> 01:28:36,200
Speaker 1: Yeah. In fact, the words the end appear over the

1670
01:28:36,240 --> 01:28:40,759
Speaker 1: site of blood colored sulfuric acid bubbling in the acid vat.

1671
01:28:41,280 --> 01:28:43,240
Speaker 1: I wonder how much we're supposed to read into this,

1672
01:28:43,240 --> 01:28:46,440
Speaker 1: this kind of Here we have like the tragic masculine

1673
01:28:46,479 --> 01:28:51,799
Speaker 1: figure of Gotho and this perhaps monstrous feminine pre human

1674
01:28:51,840 --> 01:28:55,360
Speaker 1: deity type figure, if you believe everything Oil has been saying,

1675
01:28:55,960 --> 01:28:59,120
Speaker 1: also falling into the acid with him. I'm probably reading

1676
01:28:59,120 --> 01:28:59,920
Speaker 1: too much into the Sinner.

1677
01:29:00,439 --> 01:29:03,679
Speaker 3: Oh yeah, what does that mean? The oily maniac goddess

1678
01:29:03,720 --> 01:29:05,360
Speaker 3: and Gotho meet their fates together.

1679
01:29:06,000 --> 01:29:08,759
Speaker 1: Yeah, I mean it's and but Gotho, to be clear,

1680
01:29:09,760 --> 01:29:14,160
Speaker 1: redeems himself fully here. He has saved all of humanity,

1681
01:29:14,200 --> 01:29:16,960
Speaker 1: and we are in his debt. There can be no

1682
01:29:17,080 --> 01:29:18,040
Speaker 1: argument over that.

1683
01:29:17,920 --> 01:29:20,360
Speaker 3: He did nothing wrong. He's fine, now, Yeah.

1684
01:29:20,080 --> 01:29:23,439
Speaker 1: Well he did. He did several things quite wrong, but

1685
01:29:23,840 --> 01:29:25,800
Speaker 1: he saved us all. In the end, he came through

1686
01:29:25,840 --> 01:29:27,560
Speaker 1: in the end, and that's what matters.

1687
01:29:27,520 --> 01:29:30,280
Speaker 3: That's right, because who knows what the primordial could have done.

1688
01:29:30,320 --> 01:29:32,960
Speaker 3: If it truly was kind of a Goser type figure,

1689
01:29:33,000 --> 01:29:37,240
Speaker 3: a lost god from ancient times, it could have swept

1690
01:29:37,280 --> 01:29:38,680
Speaker 3: over the earth and ruled us.

1691
01:29:38,720 --> 01:29:40,800
Speaker 1: All. Yeah. I don't get the sense that this thing

1692
01:29:40,880 --> 01:29:44,400
Speaker 1: was really interested in sharing ancient civilization secrets, like Orla

1693
01:29:44,560 --> 01:29:47,040
Speaker 1: was talking about, like, it's not gonna I can't imagine.

1694
01:29:47,040 --> 01:29:49,400
Speaker 1: I'm in a conversation with it, with it where you're like, so,

1695
01:29:49,439 --> 01:29:52,640
Speaker 1: what's up with the Egyptian neck rests? How did they

1696
01:29:52,720 --> 01:29:54,559
Speaker 1: use those when they slept? And it would be well,

1697
01:29:54,640 --> 01:29:55,960
Speaker 1: let me tell you all about it. No, no, no,

1698
01:29:56,040 --> 01:29:59,240
Speaker 1: this thing wants to eat and grow and do god

1699
01:29:59,280 --> 01:29:59,920
Speaker 1: knows what else.

1700
01:30:00,080 --> 01:30:02,760
Speaker 3: It would just eat us all. Yeah, yeah, all right,

1701
01:30:02,800 --> 01:30:05,800
Speaker 3: Well that was Hunchback in the Morgue. Yeah yeah, you know,

1702
01:30:05,920 --> 01:30:09,720
Speaker 3: rats aside. I think a real strong picture in the

1703
01:30:09,800 --> 01:30:12,880
Speaker 3: Nashi Verse filmography here. You know, it's got all the

1704
01:30:12,960 --> 01:30:15,040
Speaker 3: all the elements you want out of a Nashy picture,

1705
01:30:16,080 --> 01:30:19,479
Speaker 3: you know, some great effects, some ridiculous moments, you know,

1706
01:30:19,800 --> 01:30:22,640
Speaker 3: has it all? I would be interested to collect the

1707
01:30:22,760 --> 01:30:26,360
Speaker 3: examples of Nashi's filmography, I guess, especially the movies that

1708
01:30:26,560 --> 01:30:30,599
Speaker 3: he had a hand in writing or directing that don't

1709
01:30:30,680 --> 01:30:35,360
Speaker 3: have an element of doomed love in them, doomed tragic love, like,

1710
01:30:36,520 --> 01:30:39,680
Speaker 3: because it seems like he's almost always doing that. So like,

1711
01:30:39,760 --> 01:30:42,760
Speaker 3: what what were his other main interests? You know, what

1712
01:30:43,080 --> 01:30:46,120
Speaker 3: are what are the characters' emotional motivations when it's not that.

1713
01:30:46,760 --> 01:30:48,920
Speaker 1: Well there definitely seemed to be a number of pictures.

1714
01:30:48,920 --> 01:30:51,160
Speaker 1: I've seen a few of them recently. Watch Panic Beats,

1715
01:30:52,400 --> 01:30:55,960
Speaker 1: which brings the warlock all Arak back in an altered form,

1716
01:30:56,840 --> 01:30:59,920
Speaker 1: but is largely a picture about like how awful people are.

1717
01:31:00,160 --> 01:31:02,040
Speaker 1: But I'm not sure, like how much of this is

1718
01:31:02,120 --> 01:31:04,680
Speaker 1: like the example of this film, like speaking, I think

1719
01:31:04,680 --> 01:31:07,280
Speaker 1: maybe to a certain instance, speaking a where, speaking to

1720
01:31:07,320 --> 01:31:09,479
Speaker 1: where like Nashi's mind was at the time, and sort

1721
01:31:09,479 --> 01:31:11,800
Speaker 1: of his views on the state of humanity, but also

1722
01:31:12,080 --> 01:31:15,320
Speaker 1: probably representing we're talking about like early eighties by this point,

1723
01:31:15,520 --> 01:31:19,840
Speaker 1: representing changes in the horror market, and I understand there's

1724
01:31:19,880 --> 01:31:22,320
Speaker 1: like less of a demand for Gothic horror at that time,

1725
01:31:22,360 --> 01:31:24,360
Speaker 1: and like clearly, you know that's where his heart was,

1726
01:31:25,240 --> 01:31:27,799
Speaker 1: so in order to still do a film about undead

1727
01:31:28,160 --> 01:31:30,519
Speaker 1: you know, Murderous Nights and so forth. You had to

1728
01:31:30,560 --> 01:31:34,200
Speaker 1: sort of couch it in these you know, newer slasher

1729
01:31:34,240 --> 01:31:35,280
Speaker 1: tropes and so forth.

1730
01:31:35,479 --> 01:31:36,080
Speaker 3: Yeah.

1731
01:31:36,200 --> 01:31:37,640
Speaker 1: Yeah, so at some point in the future, yeah, well,

1732
01:31:37,680 --> 01:31:39,599
Speaker 1: maybe we'll have to come back and do a Nashy

1733
01:31:39,640 --> 01:31:41,720
Speaker 1: picture where he's sort of playing against type a bit.

1734
01:31:41,800 --> 01:31:44,320
Speaker 1: But then, on the other hand, the ones where he's

1735
01:31:44,360 --> 01:31:48,200
Speaker 1: playing a true Nashy, you know, tragic, doomed character. Those

1736
01:31:48,240 --> 01:31:50,920
Speaker 1: are so good it's hard to resist, though, So it

1737
01:31:50,920 --> 01:31:53,680
Speaker 1: would be very hard to pass up one of his

1738
01:31:53,800 --> 01:31:56,200
Speaker 1: monster roles in favor of one of these other pictures.

1739
01:31:56,560 --> 01:32:00,400
Speaker 3: I'm just imagining a Paul Nashi themed Valentine card. It's like,

1740
01:32:00,520 --> 01:32:03,160
Speaker 3: will you stab me in the heart with a silver cross?

1741
01:32:03,800 --> 01:32:05,320
Speaker 1: There's something you could do, a whole series of them.

1742
01:32:05,360 --> 01:32:07,320
Speaker 1: I'd love to see it. Someone may have done it.

1743
01:32:07,360 --> 01:32:11,320
Speaker 1: I mean, Nash's a big enough horror icon at this point,

1744
01:32:11,560 --> 01:32:14,719
Speaker 1: somebody may have created those already. If so, please someone

1745
01:32:14,760 --> 01:32:18,000
Speaker 1: send me a link and in general, write into us

1746
01:32:18,160 --> 01:32:21,559
Speaker 1: with your thoughts on a Hunchback of the Morgue, other

1747
01:32:21,680 --> 01:32:25,240
Speaker 1: Nashy pictures, or you know a favorite Spanish horror films

1748
01:32:25,240 --> 01:32:29,599
Speaker 1: favorite hunchback movies, everything is fair game. Just a reminder

1749
01:32:29,720 --> 01:32:32,000
Speaker 1: that Stuff to Blow Your Mind is primarily a science

1750
01:32:32,000 --> 01:32:34,759
Speaker 1: and culture podcast, with core episodes on Tuesdays and Thursdays,

1751
01:32:34,800 --> 01:32:37,439
Speaker 1: but on Fridays we set aside most serious concerns to

1752
01:32:37,520 --> 01:32:40,120
Speaker 1: just talk about a weird film on Weird House Cinema,

1753
01:32:40,240 --> 01:32:42,120
Speaker 1: such as this picture. And if you want to see

1754
01:32:42,160 --> 01:32:44,040
Speaker 1: a list of all the films we've covered thus far,

1755
01:32:44,120 --> 01:32:46,559
Speaker 1: and sometimes a peek ahead at what's coming up next,

1756
01:32:46,800 --> 01:32:50,000
Speaker 1: go to letterbox dot com. Our user name there is

1757
01:32:50,160 --> 01:32:51,679
Speaker 1: Weird House Huge Things.

1758
01:32:51,720 --> 01:32:55,080
Speaker 3: As always to our excellent audio producer JJ Posway. If

1759
01:32:55,120 --> 01:32:56,439
Speaker 3: you would like to get in touch with us, we

1760
01:32:56,520 --> 01:32:58,839
Speaker 3: have feedback on this episode or any other, to suggest

1761
01:32:58,840 --> 01:33:00,840
Speaker 3: a topic for the future, or just to say hello,

1762
01:33:00,960 --> 01:33:03,479
Speaker 3: you can email us at contact at stuffed blow your

1763
01:33:03,560 --> 01:33:10,960
Speaker 3: Mind dot com.

1764
01:33:11,080 --> 01:33:14,040
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1765
01:33:14,120 --> 01:33:16,920
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1766
01:33:17,040 --> 01:33:19,799
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.