1
00:00:03,000 --> 00:00:05,400
Speaker 1: Welcome to Stuff to Blow your Mind production of My

2
00:00:05,480 --> 00:00:15,760
Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

3
00:00:15,840 --> 00:00:20,160
Speaker 1: Rob Lamb and I'm Joe McCormick. This is our episode

4
00:00:20,200 --> 00:00:23,400
Speaker 1: of Weird House Cinema and our first venture into the

5
00:00:23,560 --> 00:00:26,920
Speaker 1: cinema of Spain. And it's also going to be our

6
00:00:27,040 --> 00:00:32,360
Speaker 1: fourth episode that jumps into a franchise with the second film. Um,

7
00:00:32,520 --> 00:00:34,360
Speaker 1: we did this with Boggy Creek To, we did this

8
00:00:34,400 --> 00:00:36,839
Speaker 1: with transfers To, and I guess you could make an

9
00:00:36,920 --> 00:00:39,159
Speaker 1: argument that we did this with troll To, though of

10
00:00:39,159 --> 00:00:41,560
Speaker 1: course troll Too had nothing to do with Troll one.

11
00:00:42,120 --> 00:00:45,680
Speaker 1: Uh so that's debatable. Did you actually comb through all

12
00:00:45,760 --> 00:00:48,199
Speaker 1: of our titles to verify this? Well, I mean I

13
00:00:48,240 --> 00:00:50,920
Speaker 1: have a list of of episodes we've done, so okay,

14
00:00:51,240 --> 00:00:53,640
Speaker 1: it wasn't much coming, but I didn't I scanned it

15
00:00:53,680 --> 00:00:56,360
Speaker 1: real quick. Wait a minute, Wait a minute, Wait a minute,

16
00:00:56,400 --> 00:00:59,960
Speaker 1: I think you're forgetting one. What's that The Ewalk Adventure

17
00:01:00,080 --> 00:01:03,560
Speaker 1: movie we did was indeed, as you're right, that's right,

18
00:01:03,640 --> 00:01:06,080
Speaker 1: that was a sequel. Oh and you know what, technically,

19
00:01:06,280 --> 00:01:08,480
Speaker 1: Teams in the Universe also a sequel, so make that

20
00:01:09,480 --> 00:01:12,520
Speaker 1: this This would be what number six then, um, the

21
00:01:12,640 --> 00:01:15,400
Speaker 1: sixth film that we've looked at that is a sequel

22
00:01:15,440 --> 00:01:18,520
Speaker 1: to another film. Um, so here we go. It's good.

23
00:01:18,560 --> 00:01:21,080
Speaker 1: We're gonna be talking about Return of the Blind Dead

24
00:01:21,360 --> 00:01:24,679
Speaker 1: a k a. Return of the Evil Dead. Also another

25
00:01:26,000 --> 00:01:29,520
Speaker 1: another exploitation horror movie from the seventies that is badly

26
00:01:29,560 --> 00:01:31,960
Speaker 1: in need of a bath, Rob, How did you dig

27
00:01:32,040 --> 00:01:35,560
Speaker 1: up this abomination? This is what I've I've been familiar

28
00:01:35,600 --> 00:01:38,120
Speaker 1: with for a while. I think I actually used to

29
00:01:38,160 --> 00:01:40,880
Speaker 1: have the first two of these, the first two Blind

30
00:01:40,880 --> 00:01:45,120
Speaker 1: Dead films on DVD like Ages Past, and lost them

31
00:01:45,120 --> 00:01:47,360
Speaker 1: at some point or traded a man or gave them

32
00:01:47,400 --> 00:01:49,680
Speaker 1: away and figured I would never need to go back

33
00:01:49,680 --> 00:01:53,160
Speaker 1: and watch a Blind Dead film again. Uh. And yet,

34
00:01:53,640 --> 00:01:57,320
Speaker 1: as these things, as these things tend to work, eventually

35
00:01:57,440 --> 00:02:00,520
Speaker 1: the thirst returned and I had to to go out

36
00:02:00,560 --> 00:02:03,200
Speaker 1: and watch these films again, or at least the second one. Here.

37
00:02:03,520 --> 00:02:05,080
Speaker 1: This one was the first for me in a number

38
00:02:05,120 --> 00:02:09,640
Speaker 1: of ways. I I know I've seen some Spanish horror

39
00:02:09,639 --> 00:02:11,920
Speaker 1: movies from the seventies before. I'm struggling to think of

40
00:02:11,960 --> 00:02:14,160
Speaker 1: what they are, but I know I have. But this

41
00:02:14,400 --> 00:02:17,280
Speaker 1: was the first movie that I can recall seeing that

42
00:02:17,360 --> 00:02:21,320
Speaker 1: had zombies riding horseback. Yes, yeah, this one so so,

43
00:02:21,360 --> 00:02:23,200
Speaker 1: this is this is an interesting film from a number

44
00:02:23,240 --> 00:02:25,959
Speaker 1: of different perspectives. First of all, just as a Spanish

45
00:02:26,000 --> 00:02:28,520
Speaker 1: horror film. We'll get into this a little bit, but

46
00:02:28,560 --> 00:02:31,080
Speaker 1: it does have kind of an important place. It is

47
00:02:31,480 --> 00:02:36,160
Speaker 1: a key nineteen seventies Spanish horror film, uh that ultimately

48
00:02:36,680 --> 00:02:40,080
Speaker 1: had a big impact on that on that genre, in

49
00:02:40,160 --> 00:02:43,600
Speaker 1: that world of filmmaking. It's one that also has acquired

50
00:02:43,639 --> 00:02:46,800
Speaker 1: a cult following over the years. You'll see it often

51
00:02:46,800 --> 00:02:49,919
Speaker 1: something you'll see it associated with kind of I guess

52
00:02:50,000 --> 00:02:52,919
Speaker 1: kind of like doom rock kind of vibes. You know.

53
00:02:53,560 --> 00:02:55,680
Speaker 1: It does have like, it has several of the elements,

54
00:02:55,720 --> 00:02:59,000
Speaker 1: you know, the idea of like blackhooded figures writing at night,

55
00:02:59,240 --> 00:03:03,960
Speaker 1: weird sound owns, they have big swords, uh. So, and yeah,

56
00:03:04,000 --> 00:03:07,079
Speaker 1: it is in many respects. I mean, it is a

57
00:03:07,160 --> 00:03:11,040
Speaker 1: zombie film basically, but it it has this interesting place

58
00:03:11,600 --> 00:03:15,480
Speaker 1: kind of sandwich between the like the George Romero era

59
00:03:15,560 --> 00:03:18,840
Speaker 1: of zombie films with the First Night of the Living Dead, uh,

60
00:03:18,919 --> 00:03:23,440
Speaker 1: and then bridging the way to the gorrier realm of

61
00:03:23,720 --> 00:03:26,840
Speaker 1: zombie films that was to come both in the United

62
00:03:26,840 --> 00:03:29,240
Speaker 1: States and in Europe. Yeah, I agree. So if you

63
00:03:29,240 --> 00:03:31,080
Speaker 1: look at like Night of the Living Dead as a

64
00:03:31,960 --> 00:03:34,680
Speaker 1: I don't know, you could argue a more cerebral horror film,

65
00:03:34,880 --> 00:03:38,440
Speaker 1: something that's independent, original, kind of thoughtful, and it is

66
00:03:38,560 --> 00:03:43,120
Speaker 1: very dialogue driven, almost could function as a stage play. Um,

67
00:03:43,160 --> 00:03:45,320
Speaker 1: this is a little bit closer to that that full

68
00:03:45,400 --> 00:03:48,440
Speaker 1: cheese zombie zone where it's it's more just about kind

69
00:03:48,480 --> 00:03:51,400
Speaker 1: of like fluids coming out of people's bodies and things

70
00:03:51,440 --> 00:03:55,040
Speaker 1: being really gross. Now, one of the interesting things about

71
00:03:55,040 --> 00:03:58,600
Speaker 1: our experience here today is that we each watch slightly

72
00:03:58,640 --> 00:04:01,520
Speaker 1: different cuts of the film. Uh Then I went back

73
00:04:01,560 --> 00:04:04,520
Speaker 1: and watched portions of the cut that you watched, But

74
00:04:05,200 --> 00:04:07,880
Speaker 1: the one that I watched is like a minute shorter

75
00:04:08,440 --> 00:04:11,400
Speaker 1: and has a little less gore in it, and is

76
00:04:11,440 --> 00:04:14,120
Speaker 1: missing one crucial scene that we'll get to here in

77
00:04:14,160 --> 00:04:17,440
Speaker 1: a bit. Uh So, so you probably encountered just a

78
00:04:17,480 --> 00:04:20,200
Speaker 1: little more of the oozing juices compared to it to

79
00:04:20,240 --> 00:04:23,160
Speaker 1: what I saw initially. But still there's some dripping blood

80
00:04:23,240 --> 00:04:25,599
Speaker 1: in in my cut as well. But this movie is

81
00:04:25,600 --> 00:04:28,880
Speaker 1: not just a zombie movie. It also ties into some strange,

82
00:04:29,240 --> 00:04:34,919
Speaker 1: uh pseudohistorical themes about the Knights Templar being warlocks or

83
00:04:34,960 --> 00:04:39,279
Speaker 1: something Yeah, So you don't really need to know anything

84
00:04:39,320 --> 00:04:42,520
Speaker 1: about the Knights Templars in order to watch this film,

85
00:04:42,560 --> 00:04:45,120
Speaker 1: but I thought we'd tell you just a minimum of

86
00:04:45,240 --> 00:04:48,560
Speaker 1: what they were and what they were not, so that

87
00:04:48,640 --> 00:04:51,200
Speaker 1: you can maybe have a little more historical understanding of

88
00:04:51,200 --> 00:04:52,800
Speaker 1: what we're gonna be talking about here, because this whole

89
00:04:52,800 --> 00:04:56,080
Speaker 1: film is about uh Templars who have come back from

90
00:04:56,080 --> 00:04:58,560
Speaker 1: the grave, that have come back with a thirst for

91
00:04:58,720 --> 00:05:01,560
Speaker 1: human blood, or at least to kill people. I don't know,

92
00:05:01,600 --> 00:05:04,279
Speaker 1: it's debatable how much blood they actually want to drink

93
00:05:04,520 --> 00:05:06,440
Speaker 1: or if they just want to kill people. I don't

94
00:05:06,480 --> 00:05:08,800
Speaker 1: recall them drinking any blood after they come back. The

95
00:05:08,880 --> 00:05:11,400
Speaker 1: drinking blood, I think, is what allows them to come

96
00:05:11,440 --> 00:05:15,440
Speaker 1: back in the future, Right, Yeah, when they're living nights,

97
00:05:15,960 --> 00:05:20,800
Speaker 1: they're all about drinking blood and doing bloody sacrifices and rituals.

98
00:05:20,920 --> 00:05:23,400
Speaker 1: But once they come back from the dead, they're just

99
00:05:23,440 --> 00:05:27,560
Speaker 1: about riding their horses around, invading the town, climbing into

100
00:05:27,600 --> 00:05:30,560
Speaker 1: your house and coming at you with a long sword. Okay,

101
00:05:30,600 --> 00:05:33,680
Speaker 1: So what's the deal with these knights? Okay, So when

102
00:05:33,680 --> 00:05:36,520
Speaker 1: we're talking about the Templars or the Knights Templars, we're

103
00:05:36,560 --> 00:05:39,279
Speaker 1: talking about the poor Knights of Christ and the Temple

104
00:05:39,320 --> 00:05:42,160
Speaker 1: of Solomon. This was a religious military order of the

105
00:05:42,200 --> 00:05:45,920
Speaker 1: Catholic Church during the time of the Crusades. Now, their

106
00:05:45,920 --> 00:05:49,440
Speaker 1: original purpose was to serve as protectors for pilgrims who

107
00:05:49,440 --> 00:05:52,320
Speaker 1: are on their way to the Holy Lands. But as

108
00:05:52,320 --> 00:05:54,040
Speaker 1: you can imagine with this sort of thing, a kind

109
00:05:54,080 --> 00:05:57,160
Speaker 1: of power creep occurred. So after a while they were

110
00:05:57,160 --> 00:05:59,760
Speaker 1: given free rein to move across borders. They were made

111
00:05:59,760 --> 00:06:03,480
Speaker 1: exist from taxes. They ended up playing key military roles

112
00:06:03,480 --> 00:06:06,760
Speaker 1: in various battles all of the Crusades, sometimes serving as

113
00:06:06,839 --> 00:06:09,599
Speaker 1: kind of like shock troopers. But UM in addition to

114
00:06:09,960 --> 00:06:13,440
Speaker 1: military roles, their non warriors also played UH kind of

115
00:06:13,440 --> 00:06:16,440
Speaker 1: a key role during the Crusades, managing the movement of

116
00:06:16,480 --> 00:06:20,560
Speaker 1: funds across the vast distances all of the Crusades and

117
00:06:20,600 --> 00:06:23,479
Speaker 1: setting up a kind of proto banking system. So they

118
00:06:23,520 --> 00:06:28,320
Speaker 1: became powerful, They made powerful enemies, and as the Crusades failed,

119
00:06:28,640 --> 00:06:30,680
Speaker 1: they ended up taking a lot of the blame. And

120
00:06:30,680 --> 00:06:33,159
Speaker 1: so finally you have filled the Fourth of France with

121
00:06:33,279 --> 00:06:37,760
Speaker 1: the aid of Pope Clement the Fifth, then based in France, UH,

122
00:06:38,000 --> 00:06:41,760
Speaker 1: they worked together to suppress the order and also bring UH.

123
00:06:41,760 --> 00:06:45,640
Speaker 1: These various false charges of blasphemy and heresy against them,

124
00:06:45,880 --> 00:06:49,479
Speaker 1: things like the idea that they worshiped a severed head

125
00:06:49,839 --> 00:06:53,440
Speaker 1: and engaged in you know, all manner of depravities. And

126
00:06:53,560 --> 00:06:57,239
Speaker 1: as a result of this, uh, the Order was dissolved. Uh.

127
00:06:57,279 --> 00:06:59,520
Speaker 1: Some members were burned at the steak, I think fifty

128
00:06:59,560 --> 00:07:03,320
Speaker 1: six in total, including Grand Master Jacques de Malay and

129
00:07:03,440 --> 00:07:06,279
Speaker 1: others were Other members of the Order were absorbed into

130
00:07:06,320 --> 00:07:09,760
Speaker 1: different militaries and different organizations, or they were just sort

131
00:07:09,760 --> 00:07:13,840
Speaker 1: of you know, retired. Um. So you can roughly measure

132
00:07:13,840 --> 00:07:17,680
Speaker 1: the Crusades as as having lasted from ten to twelve

133
00:07:17,800 --> 00:07:21,480
Speaker 1: ninety one, and then the Templars themselves lasted as as

134
00:07:21,520 --> 00:07:26,320
Speaker 1: an organization from eleven nineteen to thirteen twelve. But beyond

135
00:07:26,400 --> 00:07:29,760
Speaker 1: their actual role in history, the Templars have clearly been

136
00:07:29,800 --> 00:07:34,160
Speaker 1: an object of fascination for especially people of a more

137
00:07:34,200 --> 00:07:37,640
Speaker 1: pseudo historiographical bent, people who were trying to sort of like,

138
00:07:37,720 --> 00:07:43,280
Speaker 1: we've conspiracy theories through medieval history. Absolutely yeuh, and you see,

139
00:07:43,480 --> 00:07:45,000
Speaker 1: you know this this is all over the board because

140
00:07:45,000 --> 00:07:48,200
Speaker 1: you see so many sort of you know, tragedy conspiracy

141
00:07:49,080 --> 00:07:52,360
Speaker 1: books that involved the Knights Templars. But but also I

142
00:07:52,400 --> 00:07:54,960
Speaker 1: mean on two levels. First of all, you have people

143
00:07:54,960 --> 00:07:59,320
Speaker 1: like on Burgo Echo factoring them into fucos pendulum. But

144
00:07:59,400 --> 00:08:03,320
Speaker 1: you also have very very you know, very strong, very

145
00:08:03,400 --> 00:08:07,320
Speaker 1: serious histories they concerned the Templars because they were they

146
00:08:07,560 --> 00:08:11,000
Speaker 1: were a very fascinating group that was that was involved

147
00:08:11,040 --> 00:08:16,400
Speaker 1: in a very dynamic time of human history. That being said,

148
00:08:16,520 --> 00:08:19,760
Speaker 1: when you throw in all these uh accusations of of

149
00:08:19,880 --> 00:08:24,280
Speaker 1: blasphemy and heresy, you have the mysteries associated with them. Uh,

150
00:08:24,280 --> 00:08:26,520
Speaker 1: you know, it just opens itself up to so many

151
00:08:26,520 --> 00:08:30,760
Speaker 1: different conspiracy theories and crazy ideas. And yes, it's a

152
00:08:30,800 --> 00:08:33,120
Speaker 1: great hook for the creation of some sort of a

153
00:08:33,120 --> 00:08:36,319
Speaker 1: movie monster and from what Again. I haven't seen any

154
00:08:36,320 --> 00:08:38,959
Speaker 1: of the other movies in this series, but in this one,

155
00:08:39,000 --> 00:08:42,400
Speaker 1: the premise seems to be, Okay, these Nights, the Templars,

156
00:08:42,440 --> 00:08:46,000
Speaker 1: they were warlocks. You know, they did evil magic and uh,

157
00:08:46,080 --> 00:08:48,480
Speaker 1: and people didn't like that, so they killed them. But

158
00:08:48,600 --> 00:08:50,600
Speaker 1: you know what, what warlocks do. They come back from

159
00:08:50,640 --> 00:08:53,280
Speaker 1: the dead, right, And that's basically the premise. That's all

160
00:08:53,320 --> 00:08:55,720
Speaker 1: you really need to know. Uh though I guess the

161
00:08:55,720 --> 00:08:57,880
Speaker 1: other key thing is that they're not only the dead,

162
00:08:57,960 --> 00:09:01,360
Speaker 1: they are the blind dead. They cannot see so they're

163
00:09:01,400 --> 00:09:05,000
Speaker 1: functioning in this kind of sightless way that's has been

164
00:09:05,040 --> 00:09:07,720
Speaker 1: explored in other films. I think we actually got into

165
00:09:07,720 --> 00:09:10,400
Speaker 1: this a little bit with the hopping vampires of Mr Vampire,

166
00:09:11,200 --> 00:09:14,400
Speaker 1: UM and and I and what I guess we have

167
00:09:14,440 --> 00:09:17,160
Speaker 1: some contemporary films as well. Right, Uh, there's there was

168
00:09:17,240 --> 00:09:20,000
Speaker 1: something with Jim from the office like don't make a sound,

169
00:09:20,360 --> 00:09:25,400
Speaker 1: don't don't be noisy. A quiet place, A quiet place, yes, yeah, yeah,

170
00:09:25,559 --> 00:09:28,240
Speaker 1: like a similar thing. Be quiet, so the monsters don't

171
00:09:28,240 --> 00:09:32,040
Speaker 1: get you. Yeah yeah, yeah, that's the monsters are blind,

172
00:09:32,120 --> 00:09:36,000
Speaker 1: but they have supersensitive hearing. Yeah so same basically, same deal,

173
00:09:36,080 --> 00:09:39,440
Speaker 1: some similar situation. And that that was another part of

174
00:09:39,480 --> 00:09:42,520
Speaker 1: like the key cell on these films. Now, when I

175
00:09:42,559 --> 00:09:47,480
Speaker 1: say these films, I'm generally referring to the four essentially

176
00:09:47,600 --> 00:09:53,200
Speaker 1: standalone pictures, all the work of the Spanish filmmaker Armando

177
00:09:53,320 --> 00:09:58,080
Speaker 1: d o Sario. He did four Blind Dead films. The

178
00:09:58,160 --> 00:10:00,120
Speaker 1: first was Tombs of the Blind Dead and seven D

179
00:10:00,200 --> 00:10:03,240
Speaker 1: two and that's basically vacation ers encounter the Blind Dead.

180
00:10:04,080 --> 00:10:05,960
Speaker 1: Then he did Return of the Blind Dad. The pictures

181
00:10:06,000 --> 00:10:09,160
Speaker 1: are discussing here today in seventy three, that's locals encounter

182
00:10:09,240 --> 00:10:11,720
Speaker 1: The Blind Dead, and then he did The Ghost Gallleon

183
00:10:11,880 --> 00:10:14,600
Speaker 1: in nineteen seventy four, which is basically The Blind Dead

184
00:10:14,640 --> 00:10:17,679
Speaker 1: plus a ghost ship. And then finally he did Night

185
00:10:17,720 --> 00:10:20,640
Speaker 1: of the Seagulls in nineteen seventy five, which is The

186
00:10:20,679 --> 00:10:23,520
Speaker 1: Blind Dead with a coastal setting and a love crafty

187
00:10:23,559 --> 00:10:26,520
Speaker 1: and element thrown in as well. I've only seen the

188
00:10:26,559 --> 00:10:29,520
Speaker 1: first two thus far, but I've been tempted. I've been

189
00:10:29,520 --> 00:10:32,440
Speaker 1: tempted to get to go to to go ahead. Like basically,

190
00:10:32,480 --> 00:10:35,160
Speaker 1: there's a lot of debate of these films, like which

191
00:10:35,160 --> 00:10:37,360
Speaker 1: one is the best and which one is the worst.

192
00:10:37,960 --> 00:10:41,640
Speaker 1: And you'll find connoisseurs land in different places. I've seen.

193
00:10:42,640 --> 00:10:44,520
Speaker 1: I've seen people. A lot of people are like, Nope,

194
00:10:44,520 --> 00:10:46,360
Speaker 1: it's only the first one. I've seen people who say, no,

195
00:10:46,520 --> 00:10:48,839
Speaker 1: the second one, returning The Blind Dead is the best. Uh.

196
00:10:48,880 --> 00:10:51,439
Speaker 1: Some people are actually like, nope, the Ghost Gallion, that's

197
00:10:51,480 --> 00:10:53,760
Speaker 1: the one. I think I saw someone say Night of

198
00:10:53,800 --> 00:10:55,920
Speaker 1: the seagull So it's it's it's it's kind of all

199
00:10:55,920 --> 00:10:59,200
Speaker 1: over the place, depending on I guess what exactly you're

200
00:10:59,200 --> 00:11:03,600
Speaker 1: looking for in an undead, blind, medieval night movie. What

201
00:11:03,600 --> 00:11:07,080
Speaker 1: what is the forum for these debates? Oh? I don't know,

202
00:11:07,160 --> 00:11:09,840
Speaker 1: you see just different different posts about these movies. Um.

203
00:11:10,760 --> 00:11:12,880
Speaker 1: I saw an interview with the lead singer of Electric

204
00:11:12,920 --> 00:11:16,240
Speaker 1: Wizard where he referred to the one he liked the most. Uh,

205
00:11:16,360 --> 00:11:19,160
Speaker 1: I think he likes the Ghost Gallion the most. Okay,

206
00:11:19,200 --> 00:11:21,000
Speaker 1: so you know, it's it's all over the place. I

207
00:11:21,000 --> 00:11:24,880
Speaker 1: guess it depends on what your particular tastes are. So far,

208
00:11:25,000 --> 00:11:27,480
Speaker 1: my favorite is this one, though it's hard to imagine

209
00:11:27,480 --> 00:11:30,280
Speaker 1: the other one's having human villains as profound as like

210
00:11:30,360 --> 00:11:33,559
Speaker 1: the mayor and all of the creeps in this one. Yeah,

211
00:11:33,640 --> 00:11:37,080
Speaker 1: this one has a great lineup of human creeps that

212
00:11:37,080 --> 00:11:39,000
Speaker 1: That's one of the main things I noticed about It

213
00:11:39,080 --> 00:11:43,400
Speaker 1: is basically like essentially except for the main character Jack

214
00:11:43,480 --> 00:11:47,079
Speaker 1: and like one other guy, every other dude in this

215
00:11:47,160 --> 00:11:51,760
Speaker 1: movie is cartoonishly cowardly, selfish, and misogynistic and just like

216
00:11:51,920 --> 00:11:56,840
Speaker 1: awful scumbags. Yeah yeah that. The elevator pitch I came

217
00:11:56,920 --> 00:11:59,679
Speaker 1: up with for this film is Undead Crusader. Nights are

218
00:11:59,679 --> 00:12:01,760
Speaker 1: back for the dead, but we can surely handle it

219
00:12:01,800 --> 00:12:04,000
Speaker 1: if all the men in town are not dirt back.

220
00:12:04,679 --> 00:12:07,280
Speaker 1: But of course almost all of them are dirt back,

221
00:12:07,400 --> 00:12:11,080
Speaker 1: so most of the people in town are doomed. Now

222
00:12:11,120 --> 00:12:12,960
Speaker 1: before we move forward that I do want to touch

223
00:12:12,960 --> 00:12:15,480
Speaker 1: on one other things concertainly just the nature of these films,

224
00:12:16,360 --> 00:12:18,000
Speaker 1: because because one thing I was I like to think

225
00:12:18,040 --> 00:12:19,920
Speaker 1: about is okay when you have something like this occur,

226
00:12:20,040 --> 00:12:23,240
Speaker 1: when you have a series of four films that are

227
00:12:23,280 --> 00:12:25,720
Speaker 1: that are influential, seemed to have hit a nerve, but

228
00:12:25,760 --> 00:12:29,360
Speaker 1: are also unlike uh so many other films, they seem

229
00:12:29,440 --> 00:12:32,600
Speaker 1: to exist in isolation. You find yourself asking, well, what

230
00:12:32,760 --> 00:12:35,280
Speaker 1: are these films like? Where do they emerge from? And

231
00:12:35,360 --> 00:12:38,600
Speaker 1: sort of the you know, the Spanish mindset of the day,

232
00:12:38,720 --> 00:12:42,200
Speaker 1: or you know, culture and politics of that period. And

233
00:12:42,200 --> 00:12:44,679
Speaker 1: of course one way of looking at is okay, well, sorry,

234
00:12:45,200 --> 00:12:46,760
Speaker 1: was just he just had it came up with a

235
00:12:46,760 --> 00:12:49,600
Speaker 1: cool twist on the zombie format, right lean into history

236
00:12:49,600 --> 00:12:52,600
Speaker 1: a little bit, throwing a little wild hunt. Maybe maybe

237
00:12:52,640 --> 00:12:54,480
Speaker 1: you've read Lord of the Rings and you when you

238
00:12:54,520 --> 00:12:56,680
Speaker 1: throw a little Nascal in there. I don't know, there's

239
00:12:56,720 --> 00:12:58,959
Speaker 1: so many different ways you could basically come up with

240
00:12:59,000 --> 00:13:01,480
Speaker 1: these same results. Oh yeah, I didn't think about it.

241
00:13:01,520 --> 00:13:03,920
Speaker 1: But the blind dead in this film are kind of nasgal.

242
00:13:04,040 --> 00:13:09,160
Speaker 1: They're they're sort of ghostly or otherworldly undead writers with swords, yeah,

243
00:13:09,280 --> 00:13:13,959
Speaker 1: and have at least a different sensory realm that they inhabit. Yeah.

244
00:13:14,040 --> 00:13:15,760
Speaker 1: So I wanted to read more about this. I was like,

245
00:13:15,760 --> 00:13:18,160
Speaker 1: all right, somebody, somebody has bound to have explored this,

246
00:13:18,240 --> 00:13:21,920
Speaker 1: and I found an article titled Spanish Zombie Films by

247
00:13:21,960 --> 00:13:27,400
Speaker 1: Alex del Almo Ramon published in the journal Coolabah, and

248
00:13:27,440 --> 00:13:30,080
Speaker 1: the author argues that prior to the sixties and seventies,

249
00:13:30,120 --> 00:13:34,000
Speaker 1: Spanish fantasy and horror cinema was just severely repressed due

250
00:13:34,000 --> 00:13:36,959
Speaker 1: to quote the repression that was still being meted out

251
00:13:37,000 --> 00:13:41,000
Speaker 1: by the Church Catholic power and the harsh dictatorship imposed

252
00:13:41,080 --> 00:13:43,880
Speaker 1: by General Franco. Another element that they point out is

253
00:13:43,880 --> 00:13:47,400
Speaker 1: that in nineteen four Spain's news Standards for Film Development

254
00:13:47,400 --> 00:13:50,359
Speaker 1: initiative opened the door for co productions and the international

255
00:13:50,400 --> 00:13:53,000
Speaker 1: growth of Spanish cinema. And then on top of that,

256
00:13:53,080 --> 00:13:55,520
Speaker 1: there was a big corruption case at the time involving

257
00:13:55,640 --> 00:13:59,960
Speaker 1: loans to Spanish cinema production. So for both reasons, low

258
00:14:00,080 --> 00:14:03,480
Speaker 1: budget horror movies were suddenly just a smart investment. Uh.

259
00:14:03,559 --> 00:14:06,120
Speaker 1: They point out that despite the fact that Spanish horror

260
00:14:06,120 --> 00:14:09,160
Speaker 1: and fantasy films only numbered something like three hundred or

261
00:14:09,200 --> 00:14:12,720
Speaker 1: so during the sixties and seventies. Total, almost a hundred

262
00:14:12,800 --> 00:14:15,800
Speaker 1: films were shot between sixty nine and seventy three, so

263
00:14:15,840 --> 00:14:20,640
Speaker 1: the ideas cheap movies, cheap thrills immediately profitable. But in

264
00:14:20,680 --> 00:14:22,280
Speaker 1: all of that, I think the thing that I latched

265
00:14:22,280 --> 00:14:24,560
Speaker 1: onto the most of this idea that you know, this

266
00:14:24,680 --> 00:14:28,480
Speaker 1: inside about state and church repression being uh, you know,

267
00:14:28,720 --> 00:14:31,640
Speaker 1: you know, because ultimately with this film, we have these

268
00:14:31,680 --> 00:14:35,720
Speaker 1: horrifying creatures all of the church that rise up against

269
00:14:35,760 --> 00:14:40,840
Speaker 1: the townsfolk and corrupt politicians are ultimately powerless to stop them. Now,

270
00:14:40,840 --> 00:14:42,520
Speaker 1: of course, I think if you were going to try

271
00:14:42,560 --> 00:14:45,800
Speaker 1: to defend this movie against charges of blasphemy or something,

272
00:14:45,840 --> 00:14:47,800
Speaker 1: you would say that like, oh, well, they're not The

273
00:14:47,920 --> 00:14:50,640
Speaker 1: knights in this movie are not true Christians. They're they're

274
00:14:50,680 --> 00:14:54,280
Speaker 1: devil worshipers in secret, right right, Though apparently I was

275
00:14:54,320 --> 00:14:56,760
Speaker 1: reading that he was very concerned there were a number

276
00:14:56,800 --> 00:14:59,080
Speaker 1: of challenges to making this film and pretty much all

277
00:14:59,120 --> 00:15:02,680
Speaker 1: the films that sorry it did. But uh, in the

278
00:15:02,720 --> 00:15:04,720
Speaker 1: first film, if you go back and watch it, you'll

279
00:15:04,760 --> 00:15:08,520
Speaker 1: see that the the the templars, the blind dead all

280
00:15:08,640 --> 00:15:11,360
Speaker 1: clearly have not a not a cross on their chest,

281
00:15:11,440 --> 00:15:14,600
Speaker 1: not a templar across, but instead they have the ONC

282
00:15:15,960 --> 00:15:18,160
Speaker 1: on their chest instead. And and that was in part

283
00:15:18,520 --> 00:15:22,760
Speaker 1: a direct choice to try and prevent uh, you know,

284
00:15:22,840 --> 00:15:27,400
Speaker 1: accusations of of inappropriateness because he didn't. He was like,

285
00:15:27,520 --> 00:15:29,440
Speaker 1: I don't want to shoot this film and then they're

286
00:15:29,440 --> 00:15:30,880
Speaker 1: gonna come back and say, I'm sorry, you have to

287
00:15:30,960 --> 00:15:33,960
Speaker 1: take all the parts with the blind dead out. So

288
00:15:34,160 --> 00:15:36,320
Speaker 1: he said it was safer to just go with an alternate,

289
00:15:36,800 --> 00:15:39,680
Speaker 1: you know, crucifix design. So these Nights just happened to

290
00:15:39,720 --> 00:15:42,960
Speaker 1: be followers of the Egyptian religion or something. Well. Remember

291
00:15:43,000 --> 00:15:44,960
Speaker 1: part of the plot is that they went off to

292
00:15:45,080 --> 00:15:49,600
Speaker 1: foreign lands and they they learned foreign concepts, including the

293
00:15:49,680 --> 00:15:54,000
Speaker 1: secret of immortality. It's not a very good form of immortality.

294
00:15:54,240 --> 00:15:55,920
Speaker 1: This is something I've wanted to bring up about a

295
00:15:56,000 --> 00:15:59,480
Speaker 1: number of movies that have some kind of demonic figure

296
00:15:59,720 --> 00:16:03,680
Speaker 1: Van Empire, Zombie whatever that says, you fools, you know

297
00:16:03,920 --> 00:16:05,920
Speaker 1: you you can strike me down, but I will come

298
00:16:05,960 --> 00:16:08,440
Speaker 1: back from the grave. I will live forever. But in

299
00:16:08,600 --> 00:16:11,320
Speaker 1: almost every case, it looks like the form they get

300
00:16:11,360 --> 00:16:14,080
Speaker 1: to come back in their immortality does not look very

301
00:16:14,200 --> 00:16:17,120
Speaker 1: pleasant for them. I mean, are they are they having

302
00:16:17,160 --> 00:16:20,320
Speaker 1: a good time being these rotted corpses that are having

303
00:16:20,360 --> 00:16:23,280
Speaker 1: to chase down the villagers. I mean, it doesn't really

304
00:16:23,400 --> 00:16:26,960
Speaker 1: seem like functional immortality. It just seems like, well, your

305
00:16:27,000 --> 00:16:29,360
Speaker 1: body can kind of come back and lumber around and

306
00:16:29,440 --> 00:16:32,640
Speaker 1: do some violence. I mean, I guess it's just the whole,

307
00:16:33,120 --> 00:16:36,640
Speaker 1: you know, trope of clinging to life, of of putting

308
00:16:36,920 --> 00:16:41,080
Speaker 1: upmost importance on the mortal existence, right, even if the

309
00:16:41,120 --> 00:16:45,320
Speaker 1: mortal existence is reduced by it. Right, I guess it's

310
00:16:45,360 --> 00:16:48,160
Speaker 1: a symbol of a certain kind of imagined vanity, right

311
00:16:48,280 --> 00:16:50,960
Speaker 1: that you would it's more important that you continue to

312
00:16:51,040 --> 00:16:55,680
Speaker 1: be animate than what the what form that that life takes. Yeah,

313
00:16:55,840 --> 00:16:58,320
Speaker 1: but certainly these are some of my favorite like Mad

314
00:16:58,400 --> 00:17:02,040
Speaker 1: Scientists and Wizard Care. There's from fiction where they clear

315
00:17:02,280 --> 00:17:05,440
Speaker 1: clearly this was a terrible choice. You made a terrible choice.

316
00:17:06,200 --> 00:17:08,440
Speaker 1: But I don't know, maybe they're they're they're thinking, ha,

317
00:17:08,800 --> 00:17:11,479
Speaker 1: pulled one over on death this time. Should we hear

318
00:17:11,520 --> 00:17:14,760
Speaker 1: some of that trailer, Yes, let's hear. I'm not sure

319
00:17:14,800 --> 00:17:16,600
Speaker 1: if we may even play the whole trailer, so just

320
00:17:16,680 --> 00:17:19,360
Speaker 1: be prepared. Sometimes we play a clip, we might play

321
00:17:19,400 --> 00:17:23,120
Speaker 1: the whole thing, because it's just a fabulous nineties seventies

322
00:17:23,160 --> 00:17:26,359
Speaker 1: grindhouse trailer, and I should, uh, I should remind you

323
00:17:26,520 --> 00:17:29,879
Speaker 1: that this is using the English title for the film

324
00:17:30,160 --> 00:17:41,080
Speaker 1: The Return of the Evil Dead. Terror once again tricks,

325
00:17:41,200 --> 00:17:47,480
Speaker 1: It's legendary course, making your flesh creep with pleasure. Night

326
00:17:48,000 --> 00:17:51,000
Speaker 1: when the unliving rise again from their graves, you will

327
00:17:51,040 --> 00:18:00,840
Speaker 1: tremble with the return of the Evil Dead, hell born

328
00:18:01,000 --> 00:18:04,639
Speaker 1: revenge by which there is no assurance of protection. Or

329
00:18:04,720 --> 00:18:09,040
Speaker 1: will you escape the fear, the anxiety which the return

330
00:18:09,160 --> 00:18:13,600
Speaker 1: of the Evil Dead provokes a new high and excitement?

331
00:18:18,240 --> 00:18:40,119
Speaker 1: Help me The Return of the Evil Dead. The Return

332
00:18:40,160 --> 00:18:44,280
Speaker 1: of the Evil Dead with Tony Kendall and Fernando Sancho,

333
00:18:45,119 --> 00:18:50,800
Speaker 1: The terrifying thriller of the year. Do not attend this

334
00:18:50,920 --> 00:18:54,920
Speaker 1: film alone. We suggest you bring at least one large

335
00:18:55,040 --> 00:18:59,719
Speaker 1: part to hold you tightly. The Lifeless Horseman will make

336
00:18:59,800 --> 00:19:07,840
Speaker 1: this theater into a living horror. The Return of the

337
00:19:07,960 --> 00:19:14,600
Speaker 1: Evil Dead, The Return of the Evil Dead. Are you

338
00:19:14,720 --> 00:19:29,800
Speaker 1: sure you're in a fit condition and don't scream? All right?

339
00:19:30,000 --> 00:19:33,879
Speaker 1: Oh man? I love this trailer so much for starters

340
00:19:34,240 --> 00:19:38,520
Speaker 1: it makes. It makes several promises or statements about what

341
00:19:38,760 --> 00:19:40,840
Speaker 1: is going to happen when you see this film. They're

342
00:19:40,840 --> 00:19:43,600
Speaker 1: trying to get you to sign that contract. Right. They

343
00:19:43,680 --> 00:19:45,880
Speaker 1: let you know. It's almost like the side effects list

344
00:19:45,960 --> 00:19:48,520
Speaker 1: on a medication. They let you know that your flesh

345
00:19:48,560 --> 00:19:52,399
Speaker 1: will creep with pleasure, you'll tremble your Also, fear and

346
00:19:52,400 --> 00:19:55,480
Speaker 1: anxiety are going to be unavoidable. You will get high.

347
00:19:56,320 --> 00:19:58,399
Speaker 1: You should not attend this film alone. You should bring

348
00:19:58,440 --> 00:20:02,359
Speaker 1: at least one large partner to hold you tight. The

349
00:20:02,520 --> 00:20:06,000
Speaker 1: theater itself will become quote a living horror. I'm not

350
00:20:06,080 --> 00:20:09,040
Speaker 1: sure what that means, but it sounds impressive. You need

351
00:20:09,080 --> 00:20:11,160
Speaker 1: to make sure you were in fit condition to see

352
00:20:11,240 --> 00:20:13,840
Speaker 1: this film, so I guess consider going to your doctor

353
00:20:14,280 --> 00:20:18,040
Speaker 1: and making sure that you're cleared. And then also, don't scream.

354
00:20:18,200 --> 00:20:20,240
Speaker 1: Not it's a good idea not to scream. I guess

355
00:20:20,280 --> 00:20:23,240
Speaker 1: it's in case the Blind Dead also infiltrate the theater.

356
00:20:23,520 --> 00:20:26,119
Speaker 1: It's the opposite of the Tingler. Yeah, well, the thing

357
00:20:26,280 --> 00:20:29,040
Speaker 1: that's right, the Tingler you had to scream to alleviate

358
00:20:29,119 --> 00:20:32,199
Speaker 1: the growing monster in your what your spinal colm. I mean,

359
00:20:32,280 --> 00:20:35,000
Speaker 1: in general, this trailer does have a strong William Castle

360
00:20:35,119 --> 00:20:38,160
Speaker 1: quality to it, and that it's Yeah, it's making lots

361
00:20:38,200 --> 00:20:41,000
Speaker 1: of promises about what the film will deliver and saying like,

362
00:20:41,119 --> 00:20:43,000
Speaker 1: I don't know if you're up to it. I don't know,

363
00:20:43,320 --> 00:20:48,560
Speaker 1: you know, we dare you to see this film. Oh

364
00:20:48,600 --> 00:20:50,159
Speaker 1: and then that's the other thing too that I love

365
00:20:50,160 --> 00:20:53,119
Speaker 1: about it. I love a movie trailer that repeats the

366
00:20:53,240 --> 00:20:56,080
Speaker 1: name of the moves movie multiple times, and this one

367
00:20:56,200 --> 00:20:58,639
Speaker 1: does it. It says that is some of you may

368
00:20:58,640 --> 00:21:00,760
Speaker 1: have noticed that the narrator said as the return of

369
00:21:00,800 --> 00:21:04,520
Speaker 1: the Evil Dead six times and in less than two minutes.

370
00:21:04,880 --> 00:21:07,440
Speaker 1: It reminds me of those great old radio spots for

371
00:21:07,680 --> 00:21:12,239
Speaker 1: Zombie that would just be like Zombie. Oh, it's got

372
00:21:12,320 --> 00:21:15,920
Speaker 1: my arms, Zombie. No one under seventeen will be admitted.

373
00:21:25,840 --> 00:21:27,680
Speaker 1: All right, shall we get into some of the people

374
00:21:28,000 --> 00:21:30,359
Speaker 1: here involved in this film? All right? Well, you already

375
00:21:30,400 --> 00:21:35,639
Speaker 1: mentioned the director Amando di Osorio. Yes, director, also writer,

376
00:21:35,880 --> 00:21:38,440
Speaker 1: and he also did special effects on this one. So

377
00:21:38,800 --> 00:21:41,280
Speaker 1: he lived nineteen eighteen through two thousand and one, one

378
00:21:41,320 --> 00:21:45,040
Speaker 1: of the key names in the nineteen seventies Spanish horror resurgence.

379
00:21:45,320 --> 00:21:49,000
Speaker 1: He was also a painter. He directed commercials and documentaries

380
00:21:49,040 --> 00:21:52,760
Speaker 1: before branching into horror with nineteen sixty nine Malenka The

381
00:21:52,840 --> 00:21:57,560
Speaker 1: Vampire's Niece, and he often employed inventive ideas to that

382
00:21:57,760 --> 00:22:02,040
Speaker 1: ran up against budgetary frustrations and vegetary realities. So he's

383
00:22:02,080 --> 00:22:04,160
Speaker 1: one of these guys that he seemed to always dream

384
00:22:04,200 --> 00:22:07,240
Speaker 1: big and never had the budget to realize the sorts

385
00:22:07,280 --> 00:22:10,640
Speaker 1: of effects and you know, visuals that he actually wanted.

386
00:22:11,080 --> 00:22:13,800
Speaker 1: I love the vampires and these because it just seems

387
00:22:13,800 --> 00:22:15,359
Speaker 1: like you're working your way down the chain. It's like

388
00:22:15,400 --> 00:22:19,440
Speaker 1: you got bride of Frankenstein, son of Dracula, the vampires,

389
00:22:19,480 --> 00:22:23,840
Speaker 1: and niece, um the Mummy, second cousin. I don't know,

390
00:22:24,080 --> 00:22:26,240
Speaker 1: it didn't sound like a boat, like like, okay, let's

391
00:22:26,240 --> 00:22:28,879
Speaker 1: start small vampires, niece and will work the horror empire

392
00:22:29,000 --> 00:22:31,800
Speaker 1: up from there. Apparently he almost got Boris Karla for

393
00:22:31,880 --> 00:22:35,359
Speaker 1: that one, but yeah, I think it wasn't. His choice

394
00:22:35,440 --> 00:22:37,840
Speaker 1: was something that the producers finally said, now, this too much.

395
00:22:37,960 --> 00:22:40,560
Speaker 1: He's asking too much now. As Ramon points out in

396
00:22:40,600 --> 00:22:43,440
Speaker 1: that article I referenced earlier, Oh sorry, oh did it

397
00:22:43,520 --> 00:22:46,040
Speaker 1: just encounter all sorts of issues making the first Blind

398
00:22:46,119 --> 00:22:49,280
Speaker 1: Dead film. He couldn't film in Spain as originally planned,

399
00:22:49,280 --> 00:22:52,560
Speaker 1: because authorities were concerned that filming a horror movie there

400
00:22:52,640 --> 00:22:55,600
Speaker 1: might ruin tourism or hurt tourism, so he ended up

401
00:22:55,640 --> 00:22:58,040
Speaker 1: having to go and shoot in Portugal instead. I feel

402
00:22:58,080 --> 00:23:00,480
Speaker 1: like I missed something in the logic there where what

403
00:23:00,600 --> 00:23:04,000
Speaker 1: would be the relationship between those two things. But between

404
00:23:04,080 --> 00:23:08,520
Speaker 1: the I mean hurting tourism, yeah, um I Ramon mentions

405
00:23:08,560 --> 00:23:10,600
Speaker 1: that there were some other things hurting tourism at the

406
00:23:10,640 --> 00:23:14,120
Speaker 1: same time. Um, so like they tourism had already taken

407
00:23:14,119 --> 00:23:17,120
Speaker 1: a hit, and then here this filmmaker wants to come

408
00:23:17,160 --> 00:23:20,479
Speaker 1: and do some sort of a sleazy horror film right

409
00:23:20,560 --> 00:23:22,600
Speaker 1: next door, and they're like, I don't know about that.

410
00:23:22,720 --> 00:23:24,520
Speaker 1: So he didn't, you know, he didn't want to risk it.

411
00:23:24,840 --> 00:23:27,600
Speaker 1: He went to Portugal to film instead. And then of

412
00:23:27,640 --> 00:23:29,240
Speaker 1: course there was the deal with the Crosses too. He

413
00:23:29,359 --> 00:23:31,879
Speaker 1: was worried about censorship in that regard. So that's how

414
00:23:31,920 --> 00:23:35,959
Speaker 1: you get the ons. Yes, so it's but it's interesting

415
00:23:36,040 --> 00:23:38,639
Speaker 1: to place this film at the very end of Francisco

416
00:23:38,720 --> 00:23:44,040
Speaker 1: Franco's rule, which ended in nine because given all of this, um,

417
00:23:45,240 --> 00:23:47,040
Speaker 1: you know, you have to figure out, like what kind

418
00:23:47,040 --> 00:23:49,600
Speaker 1: of audience was this was this film playing too? And

419
00:23:49,960 --> 00:23:52,960
Speaker 1: Ramon in his article writes quote the Blind Dead series

420
00:23:53,000 --> 00:23:57,159
Speaker 1: attracted two types of very different generations of audiences. The

421
00:23:57,240 --> 00:24:00,480
Speaker 1: first were hardline fascists and the second where young people

422
00:24:00,640 --> 00:24:03,120
Speaker 1: who just wanted to have fun at the cinema. As

423
00:24:03,240 --> 00:24:06,400
Speaker 1: Nigel J. Burrell noted, Tombs of the Blind Dead can

424
00:24:06,440 --> 00:24:09,200
Speaker 1: be read as an analogy of the rising up of

425
00:24:09,280 --> 00:24:13,320
Speaker 1: old Spain against the permissive generation um, but also the

426
00:24:13,440 --> 00:24:17,000
Speaker 1: repressive fascism of the Franco regime versus the youth of

427
00:24:17,080 --> 00:24:20,480
Speaker 1: the day. So that that does sound it's kind of

428
00:24:20,520 --> 00:24:22,840
Speaker 1: like I've read about the appeal of the movie Patent,

429
00:24:23,160 --> 00:24:26,000
Speaker 1: about how it was able to be two different films

430
00:24:26,080 --> 00:24:30,040
Speaker 1: to two different demographics. Oh okay, so you can imagine like,

431
00:24:30,359 --> 00:24:33,360
Speaker 1: uh so some very old conservative people would be sort

432
00:24:33,400 --> 00:24:35,920
Speaker 1: of siding with the Blind Dead and and being happy

433
00:24:36,000 --> 00:24:39,400
Speaker 1: watching them punish young people for partying. But you could

434
00:24:39,400 --> 00:24:41,720
Speaker 1: also be the teenagers going out to see the movie.

435
00:24:42,119 --> 00:24:44,640
Speaker 1: Who you know, You're you're getting your frights and thrills

436
00:24:44,800 --> 00:24:47,280
Speaker 1: from identifying with the teens who are partying and are

437
00:24:47,359 --> 00:24:51,760
Speaker 1: being chased by these monsters exactly now. A. Sario's final

438
00:24:51,880 --> 00:24:55,720
Speaker 1: film was The Sea Serpent, which is apparently kind of

439
00:24:55,760 --> 00:24:58,439
Speaker 1: a dream project for him, involving a giant monster attacking

440
00:24:58,520 --> 00:25:01,960
Speaker 1: the Spanish coast. The sut ultimately included both Timothy Bottoms

441
00:25:02,320 --> 00:25:06,320
Speaker 1: and Ray Milan, but the lack of budget once again

442
00:25:06,400 --> 00:25:09,800
Speaker 1: frustrated him, and he he basically retired after that film.

443
00:25:09,880 --> 00:25:12,200
Speaker 1: And I think he went on to to use some

444
00:25:12,760 --> 00:25:15,000
Speaker 1: he used to He went on to like paint blind

445
00:25:15,600 --> 00:25:18,960
Speaker 1: undead templars to sort of supplement his income sell those

446
00:25:18,960 --> 00:25:21,720
Speaker 1: two fans. And it's interesting and that he apparently used

447
00:25:21,760 --> 00:25:23,720
Speaker 1: those kind of paintings to pitch the film to begin with,

448
00:25:23,800 --> 00:25:26,439
Speaker 1: because again he he was a painter as well. Uh.

449
00:25:26,520 --> 00:25:28,639
Speaker 1: And then he finally tried to get a film titled

450
00:25:28,680 --> 00:25:31,520
Speaker 1: The Necronomicon of the Templars off the ground, but that

451
00:25:31,640 --> 00:25:34,680
Speaker 1: project never came together either. Now, the main character in

452
00:25:34,800 --> 00:25:38,560
Speaker 1: this movie, played by Tony Kendall is I think this

453
00:25:38,720 --> 00:25:42,159
Speaker 1: is a first for me in films, is a pyrotechnician.

454
00:25:42,680 --> 00:25:46,200
Speaker 1: His job is that he's a fireworks expert. And I

455
00:25:46,600 --> 00:25:49,440
Speaker 1: cannot recall that ever being a job for a main

456
00:25:49,560 --> 00:25:52,280
Speaker 1: character and anything I've seen, No, I don't think i've

457
00:25:52,320 --> 00:25:54,600
Speaker 1: seen it either. I guess it kind of works because

458
00:25:54,880 --> 00:25:57,840
Speaker 1: the whole thing is this this small town uh that

459
00:25:58,040 --> 00:26:00,560
Speaker 1: is supposed to be in Portugal. Uh. They're about to

460
00:26:00,600 --> 00:26:03,639
Speaker 1: have this traditional festival that they have every year in

461
00:26:03,760 --> 00:26:08,199
Speaker 1: which they burned templars in effigy. Uh So, as it's

462
00:26:08,240 --> 00:26:09,880
Speaker 1: the case often the case you bring in an outsider

463
00:26:09,920 --> 00:26:12,000
Speaker 1: if you're gonna do fireworks, you know, it's like some

464
00:26:12,280 --> 00:26:15,360
Speaker 1: it's not the local fireworks guy. But in this case, yeah,

465
00:26:15,520 --> 00:26:17,360
Speaker 1: it's not even it's not just an out of town

466
00:26:17,440 --> 00:26:21,400
Speaker 1: or it is an American. It's American fireworks expert Jack Marlowe.

467
00:26:21,720 --> 00:26:24,520
Speaker 1: This role was written for John Saxon. H Yeah, I

468
00:26:24,560 --> 00:26:27,280
Speaker 1: mean clearly like this, this is what I was thinking too.

469
00:26:27,359 --> 00:26:29,440
Speaker 1: It's like, this seems like the perfect role. It was

470
00:26:29,560 --> 00:26:31,920
Speaker 1: written to bring in some sort of like a B

471
00:26:32,119 --> 00:26:35,480
Speaker 1: lister from Hollywood to be your your big star in

472
00:26:35,600 --> 00:26:38,320
Speaker 1: this picture and sort of you know, pump up you know,

473
00:26:38,400 --> 00:26:43,440
Speaker 1: international um viewership. But yeah, it's just played. It's played

474
00:26:43,440 --> 00:26:46,280
Speaker 1: by a Spanish actor. Uh but I don't know, maybe

475
00:26:46,320 --> 00:26:47,960
Speaker 1: that was easier. I think this is an actor that

476
00:26:48,320 --> 00:26:51,160
Speaker 1: Sorio had worked with before or ended up working without

477
00:26:51,160 --> 00:26:54,920
Speaker 1: another picture, so maybe you know, the connections were there

478
00:26:54,960 --> 00:26:57,159
Speaker 1: where the producers liked him. Who knows, he's a very

479
00:26:57,240 --> 00:27:01,200
Speaker 1: handsome man. Yeah. Former model turned actor did quite a

480
00:27:01,280 --> 00:27:03,920
Speaker 1: few Spanish action films. He was in seven movies in

481
00:27:04,040 --> 00:27:07,840
Speaker 1: nineteen seventy three. Um. He was in a string of

482
00:27:08,280 --> 00:27:11,800
Speaker 1: commissar x action movies in the sixties, and he went

483
00:27:11,840 --> 00:27:14,159
Speaker 1: on to do a lot of Spaghetti Western work. He

484
00:27:14,240 --> 00:27:17,360
Speaker 1: was in some Chollo films, he was in Mario Baba's

485
00:27:17,400 --> 00:27:20,200
Speaker 1: The Whip in the Body, So he seemed to to

486
00:27:20,560 --> 00:27:23,120
Speaker 1: wound up in just about every genre of film possible

487
00:27:23,680 --> 00:27:26,040
Speaker 1: at that time. Now, as we mentioned, apart from the

488
00:27:26,119 --> 00:27:29,160
Speaker 1: main character I played by Tony Kendall here, basically all

489
00:27:29,280 --> 00:27:31,400
Speaker 1: of the other dudes in the movie are just these

490
00:27:31,520 --> 00:27:34,520
Speaker 1: unbelievable like creeps and dirt bags. And I'd say that

491
00:27:34,600 --> 00:27:36,200
Speaker 1: the one at the top of the heap is good

492
00:27:36,200 --> 00:27:40,960
Speaker 1: old Mayor Duncan. This is played by someone named Fernando Sancho,

493
00:27:41,600 --> 00:27:44,720
Speaker 1: who I want to give a bouquet of flowers to

494
00:27:44,800 --> 00:27:47,639
Speaker 1: this man, like he does not hold back. He was like,

495
00:27:48,080 --> 00:27:50,480
Speaker 1: you know, he is committed to making the audience hate

496
00:27:50,560 --> 00:27:53,720
Speaker 1: him more than they have hated anyone ever. Yes, yeah,

497
00:27:53,760 --> 00:27:56,520
Speaker 1: he has a total heell um, he's basically I was

498
00:27:56,560 --> 00:27:58,320
Speaker 1: thinking about this as we were putting the notes together.

499
00:27:58,600 --> 00:28:02,080
Speaker 1: He's He's everything Mayor Wimby is on The Simpsons, except

500
00:28:02,600 --> 00:28:06,359
Speaker 1: you know, the like the nineteen seventies small Portuguese or

501
00:28:06,400 --> 00:28:09,760
Speaker 1: Spanish Town version of that. Yeah, but without the charm

502
00:28:09,920 --> 00:28:15,080
Speaker 1: that makes Yeah. Yeah, this guy is not watering the

503
00:28:15,200 --> 00:28:19,480
Speaker 1: plants in his closet and stuff. Yeah, this this guy

504
00:28:19,600 --> 00:28:24,439
Speaker 1: is a selfish brute. Um. The actor himself of Fernando Sancho.

505
00:28:24,560 --> 00:28:26,920
Speaker 1: He uh, he worked in a lot of spaghetti westerns,

506
00:28:27,280 --> 00:28:29,479
Speaker 1: you know that sort of film. Apparently he has an

507
00:28:29,560 --> 00:28:35,040
Speaker 1: uncredited role in nineteen sixty two Lawrence of Arabia. But this,

508
00:28:35,440 --> 00:28:36,960
Speaker 1: this seems to be I don't know, as far as

509
00:28:37,000 --> 00:28:39,479
Speaker 1: movies I've seen him, and this is his crowning achievement. Now,

510
00:28:39,600 --> 00:28:42,960
Speaker 1: his character has a fiance and she's a major character

511
00:28:43,040 --> 00:28:46,360
Speaker 1: in this, uh, and that is a Vivian, the mayor's fiance,

512
00:28:46,560 --> 00:28:51,240
Speaker 1: played by Esperanza Roy born five and as of this recording,

513
00:28:51,280 --> 00:28:53,680
Speaker 1: I think she's still still alive. I'd say she's the

514
00:28:53,760 --> 00:28:58,400
Speaker 1: other main character apart from from Jack Marlowe Tony Kendall. Yeah, yeah,

515
00:28:58,440 --> 00:29:00,360
Speaker 1: she's our I don't know if you want car the

516
00:29:00,400 --> 00:29:04,680
Speaker 1: heroine um or or just the the love interest. But

517
00:29:04,800 --> 00:29:06,960
Speaker 1: I don't know, she's not. It's not the worst role

518
00:29:07,080 --> 00:29:09,880
Speaker 1: that you could imagine in a film of this caliber.

519
00:29:10,000 --> 00:29:12,720
Speaker 1: You know, She's she's not a complete damsel in distress

520
00:29:12,800 --> 00:29:14,880
Speaker 1: like she seems she has a certain amount of strength

521
00:29:14,960 --> 00:29:19,080
Speaker 1: and character to her. Um and uh and apparently she

522
00:29:19,360 --> 00:29:21,160
Speaker 1: I haven't. I don't think I've seen her in anything else,

523
00:29:21,240 --> 00:29:23,920
Speaker 1: but I've read that she she has a chance to

524
00:29:23,960 --> 00:29:26,720
Speaker 1: showcase her skills more in films like nineteen is a

525
00:29:26,760 --> 00:29:29,360
Speaker 1: Candle for the Devil. But she was a Spanish actor

526
00:29:29,600 --> 00:29:32,320
Speaker 1: trained dancer, and then I think later she was married

527
00:29:32,360 --> 00:29:36,400
Speaker 1: to an important Spanish film producer. Now, if you have

528
00:29:36,480 --> 00:29:38,760
Speaker 1: a character like may Or Duncan, you've got to have

529
00:29:38,840 --> 00:29:42,080
Speaker 1: a thug. And the flug in this film is Howard

530
00:29:42,160 --> 00:29:47,479
Speaker 1: played by Frank Brana, another exquisite scumbag. Yeah Live nineteen

531
00:29:47,480 --> 00:29:50,320
Speaker 1: thirty four through two thousand twelve. And this guy has

532
00:29:50,360 --> 00:29:54,680
Speaker 1: been in a number of Spanish genre films that that

533
00:29:54,880 --> 00:29:57,920
Speaker 1: we have seen, some of you have may have seen. Uh,

534
00:29:58,000 --> 00:30:00,960
Speaker 1: and that are just some exquisite she Oh wait, he

535
00:30:01,120 --> 00:30:05,600
Speaker 1: was in some one peak Simon movies like pod People. Yes,

536
00:30:05,840 --> 00:30:08,479
Speaker 1: he was in pod People, which I think the original

537
00:30:08,520 --> 00:30:11,960
Speaker 1: title was Extraterrestrial Visitors as from nineteen eighty three. But

538
00:30:12,080 --> 00:30:15,280
Speaker 1: he was also in Slugs from n eight, which is

539
00:30:15,400 --> 00:30:20,200
Speaker 1: indeed a nature attacks film about slugs that will either

540
00:30:20,520 --> 00:30:22,840
Speaker 1: you know, crawl on your body or crawl up the toilet.

541
00:30:23,200 --> 00:30:26,160
Speaker 1: And then also a filmed titled Pieces from nineteen eighty two.

542
00:30:26,440 --> 00:30:28,200
Speaker 1: I don't recall if I know anything about that one

543
00:30:28,280 --> 00:30:30,320
Speaker 1: or not. I think it's a chainsaw film, I believe.

544
00:30:30,480 --> 00:30:33,400
Speaker 1: But okay, which one is the one you've seen? But

545
00:30:33,720 --> 00:30:36,600
Speaker 1: I've seen pod People, and I think I've seen slugs. Okay,

546
00:30:36,800 --> 00:30:39,320
Speaker 1: I think with Pieces, I think I've seen Pieces. But

547
00:30:39,480 --> 00:30:42,480
Speaker 1: you've seen another chainsaw film that I sometimes get confused

548
00:30:42,520 --> 00:30:45,240
Speaker 1: with it like a Spanish chainsaw film, maybe an Italian

549
00:30:45,320 --> 00:30:48,880
Speaker 1: chainsaw film. Torso is that the one? Like a really

550
00:30:48,960 --> 00:30:53,360
Speaker 1: weird one? Well, I mean to be honest, Sometimes I

551
00:30:53,400 --> 00:30:55,560
Speaker 1: see these movies I later don't recall with the title

552
00:30:55,640 --> 00:30:58,720
Speaker 1: is because they all have multiple titles. Yeah, but wait,

553
00:30:58,720 --> 00:31:00,640
Speaker 1: which guy is he in Pod People? Is he one

554
00:31:00,640 --> 00:31:04,800
Speaker 1: of the trappers in the woods or not? Because their hunters? Yeah,

555
00:31:04,960 --> 00:31:08,160
Speaker 1: hunters or poachers? I can't remember, which has been a

556
00:31:08,160 --> 00:31:10,959
Speaker 1: little while since I've seen pod People. But he has Uh,

557
00:31:11,440 --> 00:31:15,000
Speaker 1: this guy has a real sam the Eagle looked to him. Yeah,

558
00:31:15,400 --> 00:31:18,960
Speaker 1: silver hair, a strong brow line, and and he looks

559
00:31:19,040 --> 00:31:21,400
Speaker 1: like he could do some do some real cruelty, like

560
00:31:21,520 --> 00:31:24,720
Speaker 1: you know, the brow turns inward that way. Yeah, show

561
00:31:24,800 --> 00:31:26,840
Speaker 1: that he has no heart. Yeah. So this is the

562
00:31:26,840 --> 00:31:29,360
Speaker 1: guy who played a lot of police inspectors and enforcers

563
00:31:29,480 --> 00:31:31,440
Speaker 1: that sort of role. Oh but hey, we're not done

564
00:31:31,480 --> 00:31:34,240
Speaker 1: with the creeps. Oh yes, because this film has a

565
00:31:34,560 --> 00:31:39,560
Speaker 1: terrific central creep in the form of Murder and Murder

566
00:31:39,720 --> 00:31:45,640
Speaker 1: is played by jose Kana Lejas, who lived. Yeah, this

567
00:31:45,760 --> 00:31:49,080
Speaker 1: is probably the most outlandish role in the entire film.

568
00:31:49,840 --> 00:31:54,200
Speaker 1: Murdo is the caretaker of the ruined abbey, out of

569
00:31:54,320 --> 00:31:58,360
Speaker 1: which the undead blind dead are going to emerge. Uh.

570
00:31:58,440 --> 00:32:02,160
Speaker 1: He's sometimes described as the Villege idiot. He reminds me

571
00:32:02,280 --> 00:32:07,120
Speaker 1: a lot of Ron Pearlman's later portrayal of Salvatore in

572
00:32:07,200 --> 00:32:11,440
Speaker 1: the adaptation of the Name of the Rose. I would

573
00:32:11,480 --> 00:32:14,560
Speaker 1: kind of describe him as a disturbed Stephen King look

574
00:32:14,600 --> 00:32:17,680
Speaker 1: alike with the with the mono brow. He does kind

575
00:32:17,680 --> 00:32:20,840
Speaker 1: of have a king look to them to him, doesn't he. Um, Yeah,

576
00:32:20,920 --> 00:32:23,360
Speaker 1: he's oh man, this this guy is so great in

577
00:32:23,440 --> 00:32:27,080
Speaker 1: this film. Um and and uh. We'll get into some

578
00:32:27,160 --> 00:32:29,320
Speaker 1: of the differences here in a bit. But if you

579
00:32:29,520 --> 00:32:31,640
Speaker 1: if you go with the Spanish dub, I mean, if

580
00:32:31,680 --> 00:32:33,360
Speaker 1: you go with the English dub on this, you're gonna

581
00:32:33,480 --> 00:32:37,280
Speaker 1: miss out on on the creepy voice of Murdo because

582
00:32:37,320 --> 00:32:39,720
Speaker 1: the dub has a creepy voice. But the authentic Murdo

583
00:32:39,880 --> 00:32:44,040
Speaker 1: voice is just excellent. Oh. I love the voice acting

584
00:32:44,160 --> 00:32:46,960
Speaker 1: in this. So you know, this movie got me thinking

585
00:32:47,160 --> 00:32:52,160
Speaker 1: about how each language has its own standard vocal tropes

586
00:32:52,360 --> 00:32:55,760
Speaker 1: for representing the voice of an evil or creepy person.

587
00:32:56,080 --> 00:32:59,120
Speaker 1: And there's some similarities across languages, but but there are

588
00:32:59,160 --> 00:33:02,960
Speaker 1: also some peculiarities to each language. And and I feel like,

589
00:33:03,040 --> 00:33:07,400
Speaker 1: I really like the Spanish language is way of doing

590
00:33:07,520 --> 00:33:10,640
Speaker 1: an evil or creepy voice. Uh. There there's a through

591
00:33:10,720 --> 00:33:13,320
Speaker 1: line between like the way the Templar Warlock in this

592
00:33:13,480 --> 00:33:16,760
Speaker 1: movie talks and the way Murder talks, and like the

593
00:33:16,920 --> 00:33:20,680
Speaker 1: vocal performances you get from the NPCs and Resident Evil four.

594
00:33:22,360 --> 00:33:24,080
Speaker 1: How do they sound? I don't think i've played Resident

595
00:33:24,160 --> 00:33:26,480
Speaker 1: Evil for I mean, they sound a lot like characters

596
00:33:26,520 --> 00:33:30,520
Speaker 1: in this movie. Okay, um, well, before we keep going,

597
00:33:30,560 --> 00:33:33,400
Speaker 1: let's go ahead have a quick sample of of Murdo's voice.

598
00:33:33,680 --> 00:33:36,040
Speaker 1: There's from a particular spot in the film that I

599
00:33:36,080 --> 00:33:51,400
Speaker 1: thought was just excellent. I'll reference what he was saying

600
00:33:51,480 --> 00:33:53,880
Speaker 1: here in a bit, but this is a great scene

601
00:33:53,880 --> 00:33:57,880
Speaker 1: where he's encountering Vivian and Jack Marlowe in the ruins.

602
00:33:58,400 --> 00:34:00,720
Speaker 1: Now kind of Lais was a Spanish actor and he

603
00:34:00,720 --> 00:34:03,160
Speaker 1: seems to have played a lot of hinchmen in a

604
00:34:03,320 --> 00:34:06,080
Speaker 1: lot of westerns. If you just look up pictures of him,

605
00:34:06,120 --> 00:34:08,040
Speaker 1: you'll most often see him with a beard and a

606
00:34:08,120 --> 00:34:11,440
Speaker 1: cowboy hat. He even shows up in a fistful of

607
00:34:11,560 --> 00:34:14,719
Speaker 1: dollars and for a few dollars more. These are Clint

608
00:34:14,719 --> 00:34:18,279
Speaker 1: Eastwood spaghetti westerns. As he this guy's just showing up

609
00:34:18,320 --> 00:34:22,279
Speaker 1: his uncredited gang members and both um. But yeah, so

610
00:34:22,440 --> 00:34:26,480
Speaker 1: he generally was playing heavies. But he also directed a

611
00:34:26,520 --> 00:34:28,880
Speaker 1: couple of Spanish comedies in the mid seventies. But in

612
00:34:28,960 --> 00:34:31,600
Speaker 1: this he's just a fabulous creep. Now, one of the

613
00:34:31,719 --> 00:34:34,360
Speaker 1: templars at the beginning of this movie is played by

614
00:34:34,400 --> 00:34:37,040
Speaker 1: somebody who looked familiar to me, but I couldn't place him.

615
00:34:37,120 --> 00:34:38,960
Speaker 1: But now that you've done the research, I think I

616
00:34:39,080 --> 00:34:42,319
Speaker 1: know where I know him from, and that's Luis Barbou. Yes,

617
00:34:42,480 --> 00:34:45,680
Speaker 1: he plays the executed templar. He lived seven through two

618
00:34:45,719 --> 00:34:48,480
Speaker 1: thousand and one. It's not a huge role, but you

619
00:34:48,560 --> 00:34:51,640
Speaker 1: do get to see him drink blood and or consuming

620
00:34:51,719 --> 00:34:54,719
Speaker 1: human heart. But this is a guy that had a

621
00:34:54,800 --> 00:34:57,360
Speaker 1: hundred and twenty five credits and does pop up in

622
00:34:57,440 --> 00:35:00,680
Speaker 1: some big Western films like Conan the barbe Arian, in

623
00:35:00,760 --> 00:35:03,560
Speaker 1: which he plays quote unquote red hair. I think I

624
00:35:03,640 --> 00:35:05,560
Speaker 1: recall him here. Yeah, he's like a he's like a

625
00:35:05,640 --> 00:35:08,040
Speaker 1: warrior type guy. Is he like one of the sort

626
00:35:08,080 --> 00:35:12,439
Speaker 1: of father figures to Conan after he has abducted Well,

627
00:35:12,600 --> 00:35:15,839
Speaker 1: now he's the guy who like buys Conan the Barbarian

628
00:35:16,000 --> 00:35:19,000
Speaker 1: trains and to fight as a gladiator. That's right, that's right,

629
00:35:19,080 --> 00:35:21,000
Speaker 1: I remember him now. But anyway, this is the guy

630
00:35:21,040 --> 00:35:22,880
Speaker 1: that shows up in a lot of Spanish genre films

631
00:35:22,920 --> 00:35:25,840
Speaker 1: of this time period. Now, one thing I noticed about

632
00:35:25,880 --> 00:35:28,560
Speaker 1: this movie is that it has it has a very

633
00:35:28,680 --> 00:35:31,640
Speaker 1: distinctive musical theme. It has like a melody that you

634
00:35:31,719 --> 00:35:34,640
Speaker 1: can hum walking out of the movie. But it also

635
00:35:34,880 --> 00:35:38,000
Speaker 1: the melody really reminds me of like the theme song

636
00:35:38,440 --> 00:35:41,880
Speaker 1: of an anthology horror TV show, Like it sounds like

637
00:35:42,000 --> 00:35:44,080
Speaker 1: it would be the theme song of Tales from the

638
00:35:44,160 --> 00:35:47,000
Speaker 1: Dark Side or something, which which one a you're talking

639
00:35:47,000 --> 00:35:50,959
Speaker 1: about the more melodic uh yeah, the one that plays

640
00:35:51,000 --> 00:35:53,399
Speaker 1: over the end credits. Okay, Yeah, let's have a quick

641
00:35:53,440 --> 00:36:13,200
Speaker 1: sample of that. Yeah, see, I think that it's it's

642
00:36:13,280 --> 00:36:16,120
Speaker 1: very contemplated. This is a this is a walking off

643
00:36:16,800 --> 00:36:19,600
Speaker 1: into the distance bit of music here. But then of

644
00:36:19,640 --> 00:36:22,640
Speaker 1: course the other, uh, the the other types of sounds

645
00:36:22,680 --> 00:36:26,200
Speaker 1: we hear. The other main really the main character of

646
00:36:26,280 --> 00:36:28,600
Speaker 1: this soundtrack, which you I believe heard in the trailer

647
00:36:29,120 --> 00:36:37,000
Speaker 1: is this kind of cacophonous um masonic chanting, synthy uh,

648
00:36:37,400 --> 00:36:41,000
Speaker 1: just kind of just sounds from hell, like the sort

649
00:36:41,040 --> 00:36:45,400
Speaker 1: of synth music that would arise from the crypt alongside

650
00:36:45,800 --> 00:36:49,080
Speaker 1: of dark riders and slow motion. Yeah, a lot of

651
00:36:49,480 --> 00:36:53,280
Speaker 1: a lot of evil, laughter and size and echoee noises

652
00:36:53,320 --> 00:36:56,160
Speaker 1: with digital post processing on them. Right. And this is

653
00:36:56,200 --> 00:36:58,520
Speaker 1: the work all four films, all four of the Blind

654
00:36:58,560 --> 00:37:01,120
Speaker 1: Dead films, is the work of ant On Garcia April

655
00:37:01,440 --> 00:37:04,799
Speaker 1: who lived nineteen thirty three through two thousand and twenty one.

656
00:37:05,440 --> 00:37:09,239
Speaker 1: And that that COOLABA article I referenced earlier included an

657
00:37:09,320 --> 00:37:13,560
Speaker 1: interesting tidbit about this uh quote. Osorio's film is adorned

658
00:37:13,680 --> 00:37:16,800
Speaker 1: by a soundtrack by Anton Garcia Abro, who did a

659
00:37:16,840 --> 00:37:20,920
Speaker 1: brilliant job with limited resources, repeatedly recording the name of

660
00:37:20,960 --> 00:37:23,399
Speaker 1: the production manager of the film Tomb of the Blind

661
00:37:23,480 --> 00:37:28,560
Speaker 1: Dad Perez Guinner and then running the tape backwards to

662
00:37:28,680 --> 00:37:31,400
Speaker 1: create a sound treatment with the addition of a chorus

663
00:37:31,760 --> 00:37:35,080
Speaker 1: made up of only two people. Wait, so was this

664
00:37:35,640 --> 00:37:38,120
Speaker 1: was this in honor of the production manager or in

665
00:37:38,239 --> 00:37:41,800
Speaker 1: mockery of him? I don't know. I guess it depends.

666
00:37:42,160 --> 00:37:46,120
Speaker 1: It depends how he received it. Um. But but yeah,

667
00:37:46,160 --> 00:37:49,839
Speaker 1: that sounds incredible because the end result is very atmospheric,

668
00:37:50,080 --> 00:37:53,680
Speaker 1: very very doomy and gloomy, and I think absolutely holds up.

669
00:37:54,360 --> 00:37:57,000
Speaker 1: I do think it is a shame that so many

670
00:37:57,040 --> 00:38:01,239
Speaker 1: of these, especially you look at Italian films. Uh, there's

671
00:38:01,320 --> 00:38:04,279
Speaker 1: been there have been some really classy vinyl releases of

672
00:38:04,360 --> 00:38:07,120
Speaker 1: those soundtracks and and we've mentioned these before on the

673
00:38:07,160 --> 00:38:09,560
Speaker 1: show when they pop up. But I don't think the

674
00:38:09,920 --> 00:38:12,960
Speaker 1: music from the Blind Dead movies has ever been released

675
00:38:13,040 --> 00:38:15,400
Speaker 1: in any format. I was looking around on discoids to

676
00:38:15,440 --> 00:38:18,399
Speaker 1: see if it even came out on any format back

677
00:38:18,400 --> 00:38:19,719
Speaker 1: in the day, and as far as I can tell,

678
00:38:19,760 --> 00:38:21,560
Speaker 1: it has not. Well, it could be wrong. I don't

679
00:38:21,560 --> 00:38:25,000
Speaker 1: know if I noticed as much variation in the musical

680
00:38:25,120 --> 00:38:27,719
Speaker 1: content and this one as you might find and say,

681
00:38:27,920 --> 00:38:31,520
Speaker 1: you know, the the Italian jello movies of the era. True, yeah,

682
00:38:31,719 --> 00:38:33,080
Speaker 1: but you know they could at least put out a

683
00:38:33,160 --> 00:38:36,120
Speaker 1: single right or or put it on a compilation. I

684
00:38:36,160 --> 00:38:39,200
Speaker 1: don't know, because ultimately, the other thing about it is

685
00:38:39,239 --> 00:38:42,800
Speaker 1: that the Anton Garcia April was an acclaim Spanish composer

686
00:38:42,880 --> 00:38:45,480
Speaker 1: and musician. Um, I don't know if I gave his days.

687
00:38:45,520 --> 00:38:48,640
Speaker 1: You know, he was born ninety three and died this year,

688
00:38:48,760 --> 00:38:51,680
Speaker 1: so he was around for a while long time head

689
00:38:51,719 --> 00:38:54,120
Speaker 1: of the Department of Compositions and Musical Forms of the

690
00:38:54,200 --> 00:38:57,040
Speaker 1: Madrid Royal Conservatory. And if you look him up on

691
00:38:57,120 --> 00:39:01,320
Speaker 1: your favorite digital music source, you'll find numerous releases of

692
00:39:01,520 --> 00:39:04,120
Speaker 1: his work. And he also did a number of scores

693
00:39:04,160 --> 00:39:06,560
Speaker 1: from film and TV over the years as well, So

694
00:39:07,080 --> 00:39:10,840
Speaker 1: you know, he's not an obscure figure. But uh, this,

695
00:39:11,200 --> 00:39:14,000
Speaker 1: like I said this, this, these these particular sounds have

696
00:39:14,200 --> 00:39:18,200
Speaker 1: not been rereleased in any format that I could come across. Uh,

697
00:39:18,280 --> 00:39:20,759
Speaker 1: there was there there was a bug in my ear

698
00:39:20,960 --> 00:39:23,040
Speaker 1: when I was watching this movie, which is that one

699
00:39:23,160 --> 00:39:26,680
Speaker 1: of the sounds in the sort of blind Dead Caafhey

700
00:39:26,800 --> 00:39:30,360
Speaker 1: theme is something that sounds exactly like a sound that

701
00:39:30,440 --> 00:39:34,319
Speaker 1: they make in that SNL musical skit, the creep when

702
00:39:34,360 --> 00:39:38,800
Speaker 1: they say, ah, it did that multiple times. There is

703
00:39:38,840 --> 00:39:42,480
Speaker 1: a shocking ha sound that occurs. I wonder if there's

704
00:39:42,480 --> 00:39:45,279
Speaker 1: any connection there a murder would have been. It would

705
00:39:45,280 --> 00:39:47,080
Speaker 1: have been a great creep he would have been he

706
00:39:47,200 --> 00:39:50,560
Speaker 1: kind of does creep video. Yeah, he definitely could have

707
00:39:50,600 --> 00:40:01,200
Speaker 1: done a verse. All right, we'll show we get into

708
00:40:01,239 --> 00:40:03,839
Speaker 1: the plot of this one a little bit. Okay, Now,

709
00:40:04,120 --> 00:40:06,800
Speaker 1: this is one of those movies that is they're not

710
00:40:06,840 --> 00:40:08,879
Speaker 1: going to take their time. They're gonna kick things right

711
00:40:09,000 --> 00:40:12,200
Speaker 1: off with high action from frame one. So from the

712
00:40:12,440 --> 00:40:15,880
Speaker 1: very beginning, we have pitchforks folks. Um My version started

713
00:40:15,920 --> 00:40:18,920
Speaker 1: with a bunch of fourteenth century villagers all armed with

714
00:40:19,080 --> 00:40:24,400
Speaker 1: classic pitchfork torch combo, rounding up templars and a frenzied

715
00:40:24,520 --> 00:40:28,560
Speaker 1: mob saying to them, you are evil warlocks. You must die,

716
00:40:28,760 --> 00:40:31,719
Speaker 1: and then burning their eyes out with fire. Uh. And

717
00:40:32,040 --> 00:40:34,360
Speaker 1: they give a reason for that. Actually, when when they

718
00:40:34,560 --> 00:40:37,120
Speaker 1: grab the templars and they're like, you are evil warlocks,

719
00:40:37,120 --> 00:40:40,000
Speaker 1: spring kill you, the templars promise they will return from

720
00:40:40,040 --> 00:40:42,800
Speaker 1: the grave. They say, we'll rise from the grave for

721
00:40:43,000 --> 00:40:46,399
Speaker 1: revenge and raise this town to the ground. And when

722
00:40:46,480 --> 00:40:48,719
Speaker 1: they make this promise, you know we'll rise from the

723
00:40:48,760 --> 00:40:51,800
Speaker 1: grave and get you. The villager responds, well, you know,

724
00:40:51,880 --> 00:40:54,000
Speaker 1: we'll put a stop to that will burn your eyes

725
00:40:54,080 --> 00:40:57,759
Speaker 1: out and you'll never find this town again. It's one

726
00:40:57,760 --> 00:41:00,440
Speaker 1: of those things that it's very like magical movie logic

727
00:41:00,560 --> 00:41:02,760
Speaker 1: because what they do after this is they just completely

728
00:41:02,840 --> 00:41:05,239
Speaker 1: burned the templars, in which case I think their eyes

729
00:41:05,280 --> 00:41:07,440
Speaker 1: would be burned anyway, but like first they poke them

730
00:41:07,480 --> 00:41:11,279
Speaker 1: in the eyes with their torches. Yeah, that's now. I

731
00:41:11,320 --> 00:41:12,759
Speaker 1: guess there are a couple of things going on here.

732
00:41:12,800 --> 00:41:14,600
Speaker 1: First of all, in general about this film being right

733
00:41:14,640 --> 00:41:17,680
Speaker 1: to the action, since it is it's you know, it's

734
00:41:17,680 --> 00:41:19,920
Speaker 1: not directly connected to the first film, and I think

735
00:41:20,040 --> 00:41:23,040
Speaker 1: basically all the Blind Dead films are standalone films. But

736
00:41:23,160 --> 00:41:25,200
Speaker 1: you could make an argument that this is the prequel,

737
00:41:25,360 --> 00:41:27,560
Speaker 1: that this is showing like where they came from. And

738
00:41:27,640 --> 00:41:32,160
Speaker 1: at any rate, they dispense with any kind of, um,

739
00:41:32,480 --> 00:41:35,000
Speaker 1: you know, mystery about what's going on. You know, it's

740
00:41:35,040 --> 00:41:37,560
Speaker 1: the Blind Dad, so they're they're not even gonna pretend

741
00:41:37,640 --> 00:41:39,960
Speaker 1: that there's any mystery regarding what they are or where

742
00:41:39,960 --> 00:41:41,920
Speaker 1: they're coming from. They're gonna go ahead and also establish

743
00:41:42,200 --> 00:41:44,560
Speaker 1: why they're blind. Oh and the other movies is it

744
00:41:44,680 --> 00:41:46,880
Speaker 1: like a mystery, like we don't know what these things are.

745
00:41:47,000 --> 00:41:50,080
Speaker 1: Suddenly they're just zombies riding horses poking us with swords.

746
00:41:50,440 --> 00:41:52,920
Speaker 1: In the first one, I believe, and I didn't rewatch

747
00:41:53,000 --> 00:41:54,560
Speaker 1: the first one in its entirety, but I kind of

748
00:41:54,600 --> 00:41:57,520
Speaker 1: poked around in the film, you know, like zoomed around

749
00:41:57,560 --> 00:41:59,480
Speaker 1: with the slider, and I believe it has a much

750
00:42:00,040 --> 00:42:03,040
Speaker 1: lower rollout of what's going on, so it has a

751
00:42:03,120 --> 00:42:06,360
Speaker 1: much slower pace until you start getting some some some

752
00:42:06,520 --> 00:42:09,960
Speaker 1: undead templar action. Well, anyway, in this prologue, the villagers

753
00:42:10,040 --> 00:42:14,560
Speaker 1: then burn a bunch of extremely obvious mannequins dressed as templars,

754
00:42:14,640 --> 00:42:17,759
Speaker 1: like like really obvious mannequins, to the point where I

755
00:42:17,880 --> 00:42:20,400
Speaker 1: was thinking, wait a second, are they just supposed to

756
00:42:20,400 --> 00:42:22,880
Speaker 1: be burning mannequins? But no, I think it was just

757
00:42:23,360 --> 00:42:26,279
Speaker 1: not super convincing as humans. But hey, that's okay, yeah

758
00:42:26,440 --> 00:42:28,279
Speaker 1: one of these things where were these are supposed to

759
00:42:28,280 --> 00:42:30,720
Speaker 1: be real humans being burned? But in the same picture

760
00:42:30,800 --> 00:42:33,600
Speaker 1: we see people burning what are supposed to be effigies

761
00:42:34,200 --> 00:42:36,640
Speaker 1: all of the of the same templars, So uh, you know,

762
00:42:36,840 --> 00:42:40,920
Speaker 1: it creates unfair comparisons for sure. But then immediately it's

763
00:42:40,960 --> 00:42:43,000
Speaker 1: present day or present day at the time of the film,

764
00:42:43,520 --> 00:42:45,840
Speaker 1: and it looks like the villagers are preparing for some

765
00:42:46,040 --> 00:42:48,200
Speaker 1: kind of festival. So it turns out it is the

766
00:42:48,360 --> 00:42:52,640
Speaker 1: five hundredth anniversary of the village's defeat of the Templars.

767
00:42:53,160 --> 00:42:55,640
Speaker 1: So you see people out there messing with some I

768
00:42:55,760 --> 00:42:58,719
Speaker 1: think they are Templar effigies right that they're going to

769
00:42:58,840 --> 00:43:01,880
Speaker 1: burn in the town square, Like that's what the festival is, Like,

770
00:43:02,200 --> 00:43:04,759
Speaker 1: I remember when we burned these warlocks. Well, we're gonna

771
00:43:04,840 --> 00:43:07,800
Speaker 1: burn statues of them and then we're gonna drink and

772
00:43:07,840 --> 00:43:13,640
Speaker 1: there's gonna be dancing and American fireworks. But quite immediately

773
00:43:13,960 --> 00:43:17,600
Speaker 1: as the preparations for the festivities are going on, we

774
00:43:17,760 --> 00:43:21,240
Speaker 1: meet Murdo. He's sort of creeping and and peeking around

775
00:43:21,360 --> 00:43:26,480
Speaker 1: a corner and uh, and immediately some children are just like, hey,

776
00:43:26,600 --> 00:43:31,719
Speaker 1: look there's murder. Get him and yeah, and what what

777
00:43:31,960 --> 00:43:35,000
Speaker 1: is going on here? Yeah, because these kids they throw

778
00:43:35,080 --> 00:43:37,400
Speaker 1: I think they throw rocks, and then they managed to

779
00:43:37,680 --> 00:43:39,920
Speaker 1: knock him down and just start kicking the crap out

780
00:43:39,960 --> 00:43:42,280
Speaker 1: of him. Like it's a brutal beat down on murder.

781
00:43:42,719 --> 00:43:45,200
Speaker 1: And we haven't seen Murder do anything wrong yet. I mean,

782
00:43:45,280 --> 00:43:47,440
Speaker 1: we will later on, but so far, he's just this

783
00:43:47,560 --> 00:43:50,120
Speaker 1: guy who looks kind of weird and like a bunch

784
00:43:50,160 --> 00:43:52,879
Speaker 1: of eight year olds are kicking this guy to death.

785
00:43:53,080 --> 00:43:56,640
Speaker 1: Like the the implication is that these extremely evil children

786
00:43:56,760 --> 00:43:59,680
Speaker 1: would have killed this guy except a very nice lady

787
00:43:59,760 --> 00:44:02,719
Speaker 1: comes and intervenes and she kind of chases them off. Yeah,

788
00:44:02,800 --> 00:44:05,839
Speaker 1: the brutality of the kids attacking him. I kept thinking

789
00:44:05,840 --> 00:44:08,520
Speaker 1: about it because this this seems like a very intentional choice.

790
00:44:09,560 --> 00:44:11,239
Speaker 1: But what does it mean? Or is it to make

791
00:44:11,360 --> 00:44:14,600
Speaker 1: us feel for murder? Like he's this outsider character who's

792
00:44:14,680 --> 00:44:17,239
Speaker 1: kind of weird, and hey, maybe you'd be weird too

793
00:44:17,719 --> 00:44:19,600
Speaker 1: you have kids attacked you on site and try to

794
00:44:19,680 --> 00:44:22,880
Speaker 1: kill you? Or or is it something about the town itself?

795
00:44:23,040 --> 00:44:26,080
Speaker 1: Like this is what the children are like in this town? Um,

796
00:44:26,320 --> 00:44:31,240
Speaker 1: can you imagine what sort of like the local business culture,

797
00:44:31,440 --> 00:44:34,360
Speaker 1: local government, what that that they grow up into? Like,

798
00:44:34,480 --> 00:44:36,759
Speaker 1: maybe this town is just you know, cursed from the

799
00:44:37,200 --> 00:44:40,319
Speaker 1: from the seed up, I guess. I mean a large

800
00:44:40,400 --> 00:44:43,480
Speaker 1: number of the adults are also very bad. Yes, Now,

801
00:44:43,560 --> 00:44:46,719
Speaker 1: did you make anything of Murdo's monobrow here? We talked

802
00:44:46,719 --> 00:44:51,080
Speaker 1: about in Mr. Vampire? How the the one eyebrow priest,

803
00:44:51,719 --> 00:44:54,600
Speaker 1: that we think that that eyebrow was supposed to be

804
00:44:55,239 --> 00:44:58,040
Speaker 1: a sign of like respect, like that, you know, the

805
00:44:58,120 --> 00:45:01,160
Speaker 1: one eyebrow shows that he's strong, long, that he's serious,

806
00:45:01,360 --> 00:45:04,320
Speaker 1: that he means business. Yeah, and this I don't know,

807
00:45:04,360 --> 00:45:06,440
Speaker 1: I guess it just kind of feels like they did

808
00:45:06,520 --> 00:45:10,239
Speaker 1: a random assortment of physical characteristics that would make their

809
00:45:10,520 --> 00:45:12,960
Speaker 1: weird character stand out as a weirdo in a film

810
00:45:13,040 --> 00:45:16,600
Speaker 1: of this caliber. Yeah. But anyway, from here we get

811
00:45:16,600 --> 00:45:18,920
Speaker 1: the basic situation of the plot. This is not a

812
00:45:19,080 --> 00:45:21,120
Speaker 1: very plot driven movie, so there's not a whole lot

813
00:45:21,160 --> 00:45:23,200
Speaker 1: to explain in terms of here. We we might just

814
00:45:23,400 --> 00:45:25,160
Speaker 1: pick a few things here and there to talk about.

815
00:45:25,239 --> 00:45:27,840
Speaker 1: But the basic situation is that they're going to have

816
00:45:28,000 --> 00:45:31,040
Speaker 1: this festival here in the town, and the town has

817
00:45:31,120 --> 00:45:35,320
Speaker 1: summoned an American fireworks expert named Jack Marlowe to do

818
00:45:35,600 --> 00:45:40,440
Speaker 1: fireworks stuff, and he was hired on behalf of the

819
00:45:40,600 --> 00:45:46,200
Speaker 1: Mayor Duncan by Vivian, with whom Jack the fireworks guy,

820
00:45:46,440 --> 00:45:50,879
Speaker 1: has a history, and so she is the mayor's assistant

821
00:45:51,239 --> 00:45:55,600
Speaker 1: and she is engaged to him, but she does not

822
00:45:55,880 --> 00:45:58,960
Speaker 1: really like him, and she has summoned Jack to the

823
00:45:59,080 --> 00:46:03,640
Speaker 1: town as their Fireworksky, presumably because she wants to reignite

824
00:46:03,680 --> 00:46:07,160
Speaker 1: her relationship with him. Yeah, and and escape the town

825
00:46:07,400 --> 00:46:10,040
Speaker 1: like this, this is a possible way out of this place,

826
00:46:10,640 --> 00:46:13,760
Speaker 1: which I think. You know, this place sucks, the kids

827
00:46:13,800 --> 00:46:18,160
Speaker 1: are awful. Um, you got murder creeping around and then, uh,

828
00:46:18,440 --> 00:46:21,000
Speaker 1: nobody knows this is going to happen. But the dead

829
00:46:21,000 --> 00:46:23,240
Speaker 1: are going to rise from the grave and start butchering

830
00:46:23,280 --> 00:46:25,680
Speaker 1: people in the streets tonight, right, And then that's what

831
00:46:25,800 --> 00:46:29,359
Speaker 1: happens while Marlowe is there. The blind Dead rise from

832
00:46:29,400 --> 00:46:32,640
Speaker 1: their graves and set out on their quest of warlocky vengeance.

833
00:46:33,160 --> 00:46:35,640
Speaker 1: Now it's a question. I think it's a difference in

834
00:46:35,719 --> 00:46:38,360
Speaker 1: the different versions of the film will give you different

835
00:46:38,440 --> 00:46:42,440
Speaker 1: understandings of why the blind Dead rise. Yeah, so the

836
00:46:42,560 --> 00:46:44,840
Speaker 1: version I watched so so to be clear, so you

837
00:46:44,880 --> 00:46:47,680
Speaker 1: can't find this film just everywhere right now. It seems

838
00:46:47,680 --> 00:46:50,200
Speaker 1: like it should be streaming everywhere. But I had to

839
00:46:50,520 --> 00:46:53,960
Speaker 1: rent a digital copy through Apple like Apple Movies or

840
00:46:54,000 --> 00:46:56,960
Speaker 1: whatever it is. And the version I watched that the

841
00:46:57,480 --> 00:46:59,560
Speaker 1: film called Yourself was pretty good, but it was dubbed

842
00:46:59,600 --> 00:47:03,239
Speaker 1: into England is with no option for the Spanish, and uh,

843
00:47:03,440 --> 00:47:06,120
Speaker 1: there were there was like one minute of footage cut

844
00:47:06,920 --> 00:47:09,960
Speaker 1: with your version versus my version. So I didn't see

845
00:47:10,040 --> 00:47:11,799
Speaker 1: some of the blood that you saw. I didn't see

846
00:47:11,880 --> 00:47:15,359
Speaker 1: a woman's heart ripped out and bitten like an apple. Um.

847
00:47:16,120 --> 00:47:19,840
Speaker 1: But but then the other thing is it totally changes

848
00:47:20,000 --> 00:47:23,960
Speaker 1: Murder's role in everything and exactly why the dead have risen.

849
00:47:24,320 --> 00:47:28,160
Speaker 1: In the version I watched, it's um implied or even

850
00:47:28,360 --> 00:47:31,960
Speaker 1: stated through some of the the the added dialogue in

851
00:47:32,080 --> 00:47:35,400
Speaker 1: the dub that the Templars or Templars were always going

852
00:47:35,440 --> 00:47:37,719
Speaker 1: to come back five years later and denied his five

853
00:47:38,160 --> 00:47:40,920
Speaker 1: years later, like this is just something that was always

854
00:47:40,960 --> 00:47:44,359
Speaker 1: going to happen, and Murdo kind of knows that it's

855
00:47:44,360 --> 00:47:47,040
Speaker 1: going to happen, perhaps because he hears the sounds, you know,

856
00:47:47,239 --> 00:47:50,799
Speaker 1: beneath the abbey, that's sort of thing. But he's basically like, oh, yeah,

857
00:47:50,840 --> 00:47:52,759
Speaker 1: they're coming back, and I'm looking forward to it, and

858
00:47:53,080 --> 00:47:55,239
Speaker 1: they're going to be my friends. Uh, you know, I'm

859
00:47:55,280 --> 00:47:58,000
Speaker 1: creepy about it. He's more like Ralph in the First

860
00:47:58,040 --> 00:48:01,359
Speaker 1: Friday movie. He's just kind of like creeping around, going

861
00:48:01,400 --> 00:48:05,879
Speaker 1: you're all doomed, yes, exactly. But in the version I saw,

862
00:48:06,400 --> 00:48:10,000
Speaker 1: Murdo is more an active villain of the film who

863
00:48:10,640 --> 00:48:14,480
Speaker 1: summons the blind dead by performing a human sacrifice in

864
00:48:14,640 --> 00:48:17,279
Speaker 1: order to make them rise from their graves. Oh yeah, yeah,

865
00:48:17,360 --> 00:48:20,040
Speaker 1: in the in the version you watched, and then I

866
00:48:20,120 --> 00:48:23,360
Speaker 1: went back and watch parts of again, Like, Murdo is

867
00:48:23,480 --> 00:48:26,920
Speaker 1: a kidnapper and a cold blooded murderer who wants to

868
00:48:27,200 --> 00:48:30,600
Speaker 1: who engage is in blood sacrifice in order to have

869
00:48:30,840 --> 00:48:33,960
Speaker 1: the Templage rise from the grave and destroy the town

870
00:48:34,040 --> 00:48:35,640
Speaker 1: that he hates. And maybe he has every right to

871
00:48:35,719 --> 00:48:37,640
Speaker 1: hate it. I think you can make that argument. But

872
00:48:38,200 --> 00:48:40,520
Speaker 1: he is a kidnapper and a murder And the version

873
00:48:40,600 --> 00:48:43,560
Speaker 1: I initially saw, um, it's just kind of like, oh, well,

874
00:48:43,640 --> 00:48:45,719
Speaker 1: he's you know, he's just there. He's he's here to watch,

875
00:48:45,800 --> 00:48:48,880
Speaker 1: but he's not. He certainly hasn't killed anybody. Now the

876
00:48:49,000 --> 00:48:51,399
Speaker 1: version you saw, though, you said that he thinks they're

877
00:48:51,560 --> 00:48:54,080
Speaker 1: his friends. One thing is he's hanging out when they

878
00:48:54,160 --> 00:48:57,279
Speaker 1: first rise from their tombs and he's like, hey, you

879
00:48:57,360 --> 00:49:00,680
Speaker 1: remember me, I'm Murdo, I'm your friend. Like he literally

880
00:49:00,760 --> 00:49:03,560
Speaker 1: said that in in the subtitles, at least to the

881
00:49:03,600 --> 00:49:06,600
Speaker 1: part I watched. Did your version have that? Yes, it did,

882
00:49:06,719 --> 00:49:09,239
Speaker 1: so he was saying that. But the one area I

883
00:49:09,400 --> 00:49:13,200
Speaker 1: noticed where where the dub was totally different versus what

884
00:49:13,280 --> 00:49:15,759
Speaker 1: he actually said was the very end of that. So

885
00:49:15,840 --> 00:49:18,360
Speaker 1: there's a sequence where Jack and Vivian go to the

886
00:49:18,400 --> 00:49:20,919
Speaker 1: abbey Ruins and you know, it's it's the abbey ruins

887
00:49:20,960 --> 00:49:22,600
Speaker 1: are all grown up and it's you know, it's it's

888
00:49:22,680 --> 00:49:25,640
Speaker 1: kind of green and lush, and so they start to

889
00:49:25,840 --> 00:49:30,080
Speaker 1: reacquaint uh with each other, and she's like, She's like,

890
00:49:30,200 --> 00:49:33,520
Speaker 1: I still love you. Let's run away together, right, and

891
00:49:33,640 --> 00:49:38,239
Speaker 1: Murdo is just hardcore on Murdo is watching from the bushes. Uh,

892
00:49:38,320 --> 00:49:39,920
Speaker 1: And then they see Murdo and they end up having

893
00:49:39,920 --> 00:49:43,120
Speaker 1: a conversation with Murdo. And at the very end of

894
00:49:43,280 --> 00:49:46,200
Speaker 1: that uh. In the version I watched in the English dub,

895
00:49:46,840 --> 00:49:49,719
Speaker 1: she says something dismissive to Murdo and he's and he

896
00:49:49,800 --> 00:49:52,600
Speaker 1: just responds with something like, oh, they never listen. But

897
00:49:52,760 --> 00:49:56,719
Speaker 1: in the original, Murder is super creepy because she's saying,

898
00:49:57,000 --> 00:49:59,000
Speaker 1: you should forget all this and just go get a girlfriend,

899
00:49:59,080 --> 00:50:01,759
Speaker 1: go dance at the at the festival, and then he

900
00:50:01,880 --> 00:50:04,960
Speaker 1: says in Spanish, I already have one, and there's this

901
00:50:05,120 --> 00:50:10,680
Speaker 1: evil snicker and then a jump cut to Murder murdering

902
00:50:10,800 --> 00:50:14,399
Speaker 1: the woman that he has kidnapped. So it's a it's

903
00:50:14,440 --> 00:50:16,360
Speaker 1: a really creepy moment in the film, and one that

904
00:50:16,719 --> 00:50:19,160
Speaker 1: I'm really surprised that they cut, because I feel like

905
00:50:19,200 --> 00:50:22,640
Speaker 1: you don't tremendously sanitize the film by taking that out.

906
00:50:22,719 --> 00:50:25,959
Speaker 1: It's like it's already a penlody. Yeah, so I don't

907
00:50:26,120 --> 00:50:29,840
Speaker 1: it's like unless it was just like the Murder Appreciation Society,

908
00:50:29,880 --> 00:50:32,560
Speaker 1: whether like, no, Murdo needs to be a good person

909
00:50:32,920 --> 00:50:36,960
Speaker 1: in this film, where I don't quite understand why you

910
00:50:36,960 --> 00:50:38,920
Speaker 1: would do that. Again, you're just cutting a minute off

911
00:50:39,000 --> 00:50:42,719
Speaker 1: the runtime. I mean, perhaps it seems incongruous because later

912
00:50:42,920 --> 00:50:46,600
Speaker 1: in the movie Murdo does appear too genuinely try to

913
00:50:46,680 --> 00:50:49,560
Speaker 1: help the lady who saved him from being murdered by

914
00:50:49,600 --> 00:50:52,880
Speaker 1: the mob of eight year old's earliest and maybe that

915
00:50:53,160 --> 00:50:56,600
Speaker 1: they thought it wouldn't make sense for him to be

916
00:50:56,800 --> 00:50:59,880
Speaker 1: trying to help her if he had already murdered somebody

917
00:51:00,080 --> 00:51:02,759
Speaker 1: earlier in the movie. I guess so I could see

918
00:51:02,840 --> 00:51:04,919
Speaker 1: that being the case, because, yeah, later on in the film,

919
00:51:04,960 --> 00:51:07,440
Speaker 1: you're kind of expecting Murdo to to turn on her

920
00:51:07,520 --> 00:51:09,960
Speaker 1: or something, but he doesn't, or at least he never

921
00:51:10,040 --> 00:51:12,400
Speaker 1: gets the chance to Oh, yeah, maybe he would have

922
00:51:12,600 --> 00:51:14,800
Speaker 1: if they if the Blind Dead had not cut his

923
00:51:14,880 --> 00:51:18,759
Speaker 1: head off spoiler. Oh. But also here we get a

924
00:51:18,800 --> 00:51:21,840
Speaker 1: flashback where we learned that the Templars learned secret rights

925
00:51:22,000 --> 00:51:25,279
Speaker 1: that allowed them to achieve eternal life. Uh. And a

926
00:51:25,360 --> 00:51:28,000
Speaker 1: couple of observations about this. Again, Like I said, the

927
00:51:28,120 --> 00:51:31,560
Speaker 1: the immortality that they're able to achieve does not seem

928
00:51:31,680 --> 00:51:34,200
Speaker 1: very pleasant. But the other thing is that the quote

929
00:51:34,280 --> 00:51:38,400
Speaker 1: secret rights appear to be simply doing a human sacrifice,

930
00:51:38,680 --> 00:51:42,200
Speaker 1: drinking somebody's blood and then pulling their heart out and

931
00:51:42,320 --> 00:51:44,560
Speaker 1: just like eating it, just biting into it like a

932
00:51:44,600 --> 00:51:47,759
Speaker 1: big turkey leg. Now, to to complicate things, not only

933
00:51:47,840 --> 00:51:49,719
Speaker 1: did my cut of the film not have the heart

934
00:51:49,800 --> 00:51:54,560
Speaker 1: biting us seen, it also positions this human sacrifice right

935
00:51:54,600 --> 00:51:57,520
Speaker 1: at the beginning of the film, before we see the

936
00:51:57,640 --> 00:52:02,360
Speaker 1: villagers kill the Templars. So, uh, it's interesting. Doesn't make

937
00:52:02,400 --> 00:52:04,439
Speaker 1: a huge difference, I guess, But I guess it comes

938
00:52:04,480 --> 00:52:07,279
Speaker 1: by virtue of also moving around that murder, removing that

939
00:52:07,400 --> 00:52:12,440
Speaker 1: murder human sacrifice part Oh, I see, okay, but whatever

940
00:52:12,560 --> 00:52:15,960
Speaker 1: the mechanics in in any version, the talents folk are

941
00:52:15,960 --> 00:52:18,440
Speaker 1: having a big party. They're all dancing in the town square,

942
00:52:18,480 --> 00:52:21,799
Speaker 1: everybody's drinking, having a good time. Jack and Vivian are

943
00:52:21,840 --> 00:52:24,600
Speaker 1: planning to run off together that night, and then the

944
00:52:24,680 --> 00:52:27,640
Speaker 1: Blind Dead awake, they come out of their graves. We

945
00:52:27,760 --> 00:52:32,239
Speaker 1: get a great subtitle that says, Masonic chanting intensifies. Uh,

946
00:52:32,719 --> 00:52:34,799
Speaker 1: murder is like, hey, I'm your friend. And then they

947
00:52:34,920 --> 00:52:37,760
Speaker 1: run off toward the town to start knocking on doors

948
00:52:37,840 --> 00:52:42,279
Speaker 1: and whacking people with swords. Yes, and oh yeah there.

949
00:52:42,400 --> 00:52:45,200
Speaker 1: So I saw one review of this film which was

950
00:52:45,360 --> 00:52:48,800
Speaker 1: like pointing out that the the Blind Dead are basically

951
00:52:49,160 --> 00:52:51,640
Speaker 1: they get a lot of screen time. They're almost constantly

952
00:52:51,840 --> 00:52:56,360
Speaker 1: on the screen, especially after they rise, and so you

953
00:52:56,440 --> 00:52:59,399
Speaker 1: see a lot of them, and sometimes they look very good.

954
00:52:59,480 --> 00:53:03,040
Speaker 1: I think sometimes they do have that kind of scarecrow

955
00:53:03,120 --> 00:53:06,600
Speaker 1: puppet appearance as well. I think the Blind Dead actually

956
00:53:07,200 --> 00:53:10,120
Speaker 1: I think they look pretty good, pretty scary, and they

957
00:53:10,200 --> 00:53:12,719
Speaker 1: would have looked scarier if you saw less of them

958
00:53:12,760 --> 00:53:14,600
Speaker 1: in the movie. I mean that they're given too much

959
00:53:14,680 --> 00:53:17,040
Speaker 1: screen time. This is a classic mistake in horror movies,

960
00:53:17,080 --> 00:53:20,359
Speaker 1: and you show your monster too much. Yeah, I think

961
00:53:20,400 --> 00:53:23,439
Speaker 1: some of my favorite scenes are of them riding though,

962
00:53:23,640 --> 00:53:28,080
Speaker 1: because despite the complexities of having to use an obviously

963
00:53:28,239 --> 00:53:30,960
Speaker 1: live horse, they cover the horse pretty well. They put

964
00:53:31,040 --> 00:53:35,640
Speaker 1: these kind of like same grave weathered garments over the horse.

965
00:53:36,040 --> 00:53:40,000
Speaker 1: And then the nights the blind dead are riding these horses,

966
00:53:40,600 --> 00:53:43,960
Speaker 1: um in kind of a slow motion effect with that

967
00:53:44,080 --> 00:53:47,719
Speaker 1: super effective creepy music. And then they're also shooting day

968
00:53:47,800 --> 00:53:50,600
Speaker 1: for night in most of these scenes. Oh yeah, yeah,

969
00:53:50,640 --> 00:53:53,320
Speaker 1: I noticed that too, um, which, of course that's not

970
00:53:53,480 --> 00:53:55,680
Speaker 1: unique to this movie. I mean tons of movies, especially

971
00:53:55,719 --> 00:53:58,279
Speaker 1: movies we talked about on this Uh on this show

972
00:53:58,880 --> 00:54:01,640
Speaker 1: do day for Night show and uh, some of the

973
00:54:01,680 --> 00:54:04,919
Speaker 1: ones in here look okay, other ones are less convincing. Well,

974
00:54:05,040 --> 00:54:07,040
Speaker 1: it's it's weird when I when I think about day

975
00:54:07,080 --> 00:54:09,439
Speaker 1: for Night because I think, as we may have pointed

976
00:54:09,480 --> 00:54:11,400
Speaker 1: out before, it's harder to shoot at night, and in

977
00:54:11,480 --> 00:54:13,600
Speaker 1: many cases it's easier to shoot during the day and

978
00:54:13,640 --> 00:54:15,759
Speaker 1: and make it look like night by under exposing the

979
00:54:15,800 --> 00:54:19,120
Speaker 1: scene in camera or darkening it during post production. And

980
00:54:19,920 --> 00:54:22,560
Speaker 1: sometimes you can kind of lean into the disbelief, like

981
00:54:22,680 --> 00:54:26,520
Speaker 1: willingly disbelieve that that you're looking at a daytime shot

982
00:54:26,600 --> 00:54:30,279
Speaker 1: and just just go, Okay, it's night. I'll accept it. Um.

983
00:54:30,760 --> 00:54:33,200
Speaker 1: And sometimes that's easier to do than other times in

984
00:54:33,239 --> 00:54:36,040
Speaker 1: a film. But then in this film particularly, I found

985
00:54:36,120 --> 00:54:37,680
Speaker 1: that the day for night shots had kind of an

986
00:54:37,760 --> 00:54:42,200
Speaker 1: unreality to them that I kind of liked. And it's like, oh,

987
00:54:42,280 --> 00:54:45,799
Speaker 1: it's kind of daylight, but it's not. It's um it's

988
00:54:45,840 --> 00:54:48,960
Speaker 1: it almost has this this weird nether realm kind of

989
00:54:49,040 --> 00:54:51,680
Speaker 1: equality to it, And for that reason, I don't know,

990
00:54:51,719 --> 00:54:53,839
Speaker 1: it kind of works for me. Oh, it's definitely better

991
00:54:53,960 --> 00:54:56,279
Speaker 1: than the ones in Like, when I think about the

992
00:54:56,400 --> 00:54:58,960
Speaker 1: worst examples of day for night shots, I think of,

993
00:54:59,440 --> 00:55:03,040
Speaker 1: for example, the movie made famous on Mystery Science Theater Werewolf,

994
00:55:04,280 --> 00:55:07,560
Speaker 1: where it seems that they have shot nighttime scenes in

995
00:55:07,800 --> 00:55:11,880
Speaker 1: broad daylight, not just daylight, but like bright bright daylight,

996
00:55:11,960 --> 00:55:16,759
Speaker 1: with like maybe a blue gel over the lens or something. Yeah. Yeah,

997
00:55:16,880 --> 00:55:20,480
Speaker 1: Sometimes it's it's really hard to accept it. It's like no, no,

998
00:55:20,680 --> 00:55:23,920
Speaker 1: like the brain will just not shut it off, Whereas

999
00:55:24,000 --> 00:55:25,920
Speaker 1: like in these films, it's almost like there's been an

1000
00:55:25,960 --> 00:55:30,319
Speaker 1: eclipse or something like it feels it feels cosmically wrong,

1001
00:55:30,480 --> 00:55:32,600
Speaker 1: like it doesn't feel like day, but it also doesn't

1002
00:55:32,640 --> 00:55:35,800
Speaker 1: feel like night. It's it's it seems it seems like

1003
00:55:35,920 --> 00:55:38,799
Speaker 1: this is the sort of environment into which the dead

1004
00:55:38,880 --> 00:55:41,959
Speaker 1: might arise. So I end up buying right now. Plot wise,

1005
00:55:42,040 --> 00:55:46,000
Speaker 1: as the blind Dead continue to close in on the

1006
00:55:46,160 --> 00:55:49,960
Speaker 1: town square where everybody is celebrating and dancing at the festival, um,

1007
00:55:50,640 --> 00:55:53,080
Speaker 1: you get this like the mayor and all of his

1008
00:55:53,200 --> 00:55:56,759
Speaker 1: goons become increasingly aware of what's going on, and there's

1009
00:55:56,800 --> 00:55:59,480
Speaker 1: this strange subplot where they were I think maybe two

1010
00:55:59,600 --> 00:56:03,760
Speaker 1: or three times even in the movie, they call somebody

1011
00:56:03,880 --> 00:56:06,799
Speaker 1: who's like the higher up in government, the I guess

1012
00:56:06,920 --> 00:56:10,000
Speaker 1: the local I don't know, the provincial administrator or something,

1013
00:56:10,640 --> 00:56:13,360
Speaker 1: to get him to send in the army and save

1014
00:56:13,480 --> 00:56:17,360
Speaker 1: them from the blind Dead. And he is completely dismissive

1015
00:56:17,440 --> 00:56:20,520
Speaker 1: of them. You see him. He's also just another scumbag,

1016
00:56:20,640 --> 00:56:23,520
Speaker 1: and he's just like, yeah, whatever, you know, you're all drunk,

1017
00:56:23,640 --> 00:56:27,800
Speaker 1: and just hangs up the phone. And I was wondering again, like, okay,

1018
00:56:28,400 --> 00:56:31,920
Speaker 1: I'm wondering how to read the the nineteen seventy three

1019
00:56:32,040 --> 00:56:35,919
Speaker 1: Spanish politics of scenes like this. Yeah, yeah, this film

1020
00:56:36,000 --> 00:56:38,200
Speaker 1: that this feels very intentional, because I think in the

1021
00:56:38,280 --> 00:56:41,000
Speaker 1: Dead version it's the governor they're calling. So you have

1022
00:56:41,400 --> 00:56:46,040
Speaker 1: the local politician who's totally corrupt and um and cowardly

1023
00:56:46,160 --> 00:56:48,360
Speaker 1: and no help at all to the situation. But he

1024
00:56:48,480 --> 00:56:50,560
Speaker 1: reaches the point he's like, I better call the next guy,

1025
00:56:50,640 --> 00:56:53,080
Speaker 1: better called the governor, and the governor is is equally

1026
00:56:53,160 --> 00:56:57,000
Speaker 1: unhelpful and is it seems seemingly equally like morally corrupt,

1027
00:56:57,120 --> 00:57:00,120
Speaker 1: Like it's it's either stated or implied that he is

1028
00:57:00,160 --> 00:57:03,080
Speaker 1: hanging out in a room with his perhaps mistress the

1029
00:57:03,160 --> 00:57:05,520
Speaker 1: whole time, and it just ends ends up just missing

1030
00:57:05,600 --> 00:57:07,359
Speaker 1: them all as drunks and tells him to go pray

1031
00:57:07,360 --> 00:57:10,080
Speaker 1: about it at church. Yes, yes, that's right, he says, yes,

1032
00:57:10,120 --> 00:57:12,200
Speaker 1: pray for and then he asked them to pray for him,

1033
00:57:13,239 --> 00:57:16,480
Speaker 1: say pray for us, pray for your leaders. But also

1034
00:57:16,720 --> 00:57:20,479
Speaker 1: so the mayor. There's this great scene where, uh there

1035
00:57:20,640 --> 00:57:24,040
Speaker 1: the mayor and Jack and Vivianne and the mayor's main

1036
00:57:24,160 --> 00:57:27,360
Speaker 1: henchman guy are standing up on this balcony and they

1037
00:57:27,400 --> 00:57:30,200
Speaker 1: watch as the blind Dead ride into the town square

1038
00:57:30,240 --> 00:57:33,080
Speaker 1: and just start killing everybody at the big party. And

1039
00:57:33,600 --> 00:57:36,520
Speaker 1: the mayor and I think Jack is like, I sort

1040
00:57:36,560 --> 00:57:38,000
Speaker 1: of lost track of who was saying what here, but

1041
00:57:38,040 --> 00:57:39,640
Speaker 1: I think Jack is like, we got to go down

1042
00:57:39,680 --> 00:57:42,640
Speaker 1: there and organize them to fight, and the Mayor's the

1043
00:57:42,720 --> 00:57:48,680
Speaker 1: mayor says, let the slaughter continue. I'll stay here, Yeah,

1044
00:57:48,720 --> 00:57:51,960
Speaker 1: he's he's so the worst, and then you see him there,

1045
00:57:52,600 --> 00:57:55,040
Speaker 1: you see him just like opening up a safe and

1046
00:57:55,200 --> 00:57:59,040
Speaker 1: cramming a bunch of jewels and cash into a suitcase. Yeah,

1047
00:57:59,480 --> 00:58:02,160
Speaker 1: which may me think of the uh the episode of

1048
00:58:02,160 --> 00:58:04,520
Speaker 1: The Simpsons where Quimby is basically doing the same thing,

1049
00:58:04,600 --> 00:58:06,560
Speaker 1: where he's like, I propose that I use what's left

1050
00:58:06,600 --> 00:58:09,000
Speaker 1: at the town treasury to move to a town without

1051
00:58:09,080 --> 00:58:11,880
Speaker 1: zombies and run from mayor and uh, once elected, I

1052
00:58:11,920 --> 00:58:14,560
Speaker 1: will send for the rest of you. Huh. Yep, that's

1053
00:58:14,560 --> 00:58:17,840
Speaker 1: about right. But he doesn't get out. They try to

1054
00:58:17,960 --> 00:58:20,040
Speaker 1: escape on a car, but then they all end up

1055
00:58:20,080 --> 00:58:22,800
Speaker 1: getting stuck in a church. Oh but before they do that.

1056
00:58:22,960 --> 00:58:26,440
Speaker 1: One thing I thought was interesting was that um Jack

1057
00:58:26,560 --> 00:58:30,280
Speaker 1: and the other henchman guy do briefly rally the townsfolk

1058
00:58:30,360 --> 00:58:34,120
Speaker 1: to fight the blind dead and confirm if I'm right here, Rob,

1059
00:58:34,320 --> 00:58:37,360
Speaker 1: I think the townsfolk here are using the exact same

1060
00:58:37,520 --> 00:58:41,120
Speaker 1: pitchfork props that the villagers from five hundred years earlier

1061
00:58:41,200 --> 00:58:44,360
Speaker 1: we're using in the opening scene. Oh wow, I think

1062
00:58:44,400 --> 00:58:47,479
Speaker 1: you may be right. Yeah. These are very antique looking

1063
00:58:47,560 --> 00:58:51,080
Speaker 1: wooden pitchforks. Yeah, some of them just have like two prongs.

1064
00:58:51,160 --> 00:58:54,760
Speaker 1: Some have three, some have four, but I did not

1065
00:58:54,880 --> 00:58:57,480
Speaker 1: expect this film to have as much battle between the

1066
00:58:57,560 --> 00:59:00,200
Speaker 1: modern villagers and the zombies. They battle for it, but

1067
00:59:00,240 --> 00:59:02,720
Speaker 1: then the zombies sort of win, and then the main

1068
00:59:02,840 --> 00:59:05,320
Speaker 1: characters have to retreat to the church, where it turns

1069
00:59:05,480 --> 00:59:08,680
Speaker 1: more into the classic, you know, building under siege by

1070
00:59:08,760 --> 00:59:11,640
Speaker 1: zombie story, like like the original Knight of the Living Dead.

1071
00:59:12,240 --> 00:59:14,160
Speaker 1: But but I really liked some of these scenes too,

1072
00:59:14,280 --> 00:59:15,760
Speaker 1: because I don't know if they shot it in an

1073
00:59:15,800 --> 00:59:18,840
Speaker 1: actual church or or whatnot, but there's all this religious

1074
00:59:18,960 --> 00:59:23,440
Speaker 1: stuff setting around, like various religious decorations and iconography, and

1075
00:59:23,520 --> 00:59:26,080
Speaker 1: it feels like a like the storeroom of an old,

1076
00:59:26,160 --> 00:59:29,960
Speaker 1: stuffy church. Oh yeah, yeah, yeah, I like that too. Um,

1077
00:59:30,160 --> 00:59:32,760
Speaker 1: and there's some funny stuff here too. So, like I said,

1078
00:59:32,840 --> 00:59:36,640
Speaker 1: the appearance of the Blind Dead is a very mixed bag.

1079
00:59:36,720 --> 00:59:39,080
Speaker 1: There are some shots where they look very creepy it's

1080
00:59:39,240 --> 00:59:42,280
Speaker 1: it's effective horror cinematography, and there are other ones where

1081
00:59:42,360 --> 00:59:44,120
Speaker 1: I have to say, they look very funny and what

1082
00:59:44,320 --> 00:59:47,160
Speaker 1: and so Like some of the funniest stuff is when

1083
00:59:47,240 --> 00:59:50,440
Speaker 1: they're doing stuff with their swords, like when the main

1084
00:59:50,560 --> 00:59:53,840
Speaker 1: characters were retreat into the church. There's a very funny

1085
00:59:53,920 --> 00:59:56,880
Speaker 1: shot of the zombie swords like poking in through the

1086
00:59:56,960 --> 01:00:00,400
Speaker 1: window shutters and wiggling around. Do you remember this, Yeah,

1087
01:00:01,360 --> 01:00:04,360
Speaker 1: Like they're kind of trying to pick the window with

1088
01:00:04,480 --> 01:00:07,760
Speaker 1: a long sword. And in fact, the whole way that

1089
01:00:07,840 --> 01:00:11,120
Speaker 1: the zombies hit things with their swords generally looks funny.

1090
01:00:11,600 --> 01:00:14,360
Speaker 1: There's this kind of stiff arm motion like the I

1091
01:00:14,680 --> 01:00:16,880
Speaker 1: was thinking what it reminded me of, and it really

1092
01:00:16,960 --> 01:00:19,680
Speaker 1: kind of looks like the karate chop action figure arm.

1093
01:00:20,240 --> 01:00:22,920
Speaker 1: Oh yeah, yeah it does. It does make me wonder though.

1094
01:00:22,960 --> 01:00:25,600
Speaker 1: It's like the filming of this, I'm trying to imagine

1095
01:00:25,640 --> 01:00:29,560
Speaker 1: the the the the stunt choreography such as it was. Um,

1096
01:00:29,760 --> 01:00:32,680
Speaker 1: where you're you're dressing some people up in these these

1097
01:00:32,800 --> 01:00:35,920
Speaker 1: undead blind dead costumes, which I'm guessing might have been

1098
01:00:35,920 --> 01:00:38,520
Speaker 1: difficult to see out of, and then you start handing

1099
01:00:38,520 --> 01:00:41,200
Speaker 1: out the long swords right right. You can imagine that

1100
01:00:41,360 --> 01:00:46,600
Speaker 1: these these actors are probably somewhat encumbered by their costumes. Um.

1101
01:00:46,920 --> 01:00:49,920
Speaker 1: But so here I think we also learn some things

1102
01:00:50,120 --> 01:00:52,760
Speaker 1: about some of the rules of the blind dead, right, Like,

1103
01:00:53,240 --> 01:00:55,440
Speaker 1: I think this is when the characters start to figure

1104
01:00:55,480 --> 01:00:58,840
Speaker 1: out that they can hear but they can't see. And

1105
01:00:59,160 --> 01:01:03,680
Speaker 1: also the the zombies are are defeated by fire. Yeah,

1106
01:01:04,120 --> 01:01:06,800
Speaker 1: but that makes sense, right, I mean, you had templaris

1107
01:01:06,880 --> 01:01:09,080
Speaker 1: that were burned at the stakes, so they would they

1108
01:01:09,120 --> 01:01:11,480
Speaker 1: would need to have a weakness to fire, and two

1109
01:01:11,520 --> 01:01:16,400
Speaker 1: papple bulls um and so there are a number of

1110
01:01:16,480 --> 01:01:19,280
Speaker 1: things that go on here. Of course, the scummy characters

1111
01:01:19,320 --> 01:01:23,320
Speaker 1: continue to be scummy. The mayor at one point decides

1112
01:01:23,400 --> 01:01:26,040
Speaker 1: to use a child who is hiding in the church

1113
01:01:26,240 --> 01:01:29,320
Speaker 1: as zombie bait he gets. He goes to the little

1114
01:01:29,400 --> 01:01:32,360
Speaker 1: girl and he's like, hey, your father is across the

1115
01:01:32,440 --> 01:01:35,400
Speaker 1: street with candy for you. Oh, he's also already gotten

1116
01:01:35,480 --> 01:01:38,880
Speaker 1: the kid's father killed, and he already got killed already,

1117
01:01:38,960 --> 01:01:41,480
Speaker 1: so he's responsible for her father's death. And he's like,

1118
01:01:41,760 --> 01:01:43,680
Speaker 1: and then he's going to use her is essentially a

1119
01:01:43,800 --> 01:01:46,919
Speaker 1: human shield to try and escape all by himself. Yeah,

1120
01:01:46,960 --> 01:01:49,360
Speaker 1: he's like, child, you run across the street. Your dad's

1121
01:01:49,400 --> 01:01:51,920
Speaker 1: over there with candy. I'm gonna go over here now.

1122
01:01:52,080 --> 01:01:54,400
Speaker 1: But of course it does not work, and the mayor

1123
01:01:54,520 --> 01:01:58,080
Speaker 1: ends up getting his come upance. Eventually, murder recruits the

1124
01:01:58,200 --> 01:02:00,680
Speaker 1: lady who helped save him from the eight year old's

1125
01:02:00,720 --> 01:02:04,560
Speaker 1: earlier in the movie, too escape through a tunnel in

1126
01:02:04,720 --> 01:02:07,560
Speaker 1: the church, though that kind of doesn't end up going

1127
01:02:07,560 --> 01:02:10,080
Speaker 1: anywhere because they like but he ends up poking his

1128
01:02:10,160 --> 01:02:11,640
Speaker 1: head out of the tunnel at the end and the

1129
01:02:12,080 --> 01:02:13,720
Speaker 1: blind Dad are waiting there for him, and they just

1130
01:02:13,840 --> 01:02:16,440
Speaker 1: chop his head off, and uh, they've got a funny

1131
01:02:16,480 --> 01:02:19,240
Speaker 1: scene of his head severed from his body and lying

1132
01:02:19,320 --> 01:02:21,400
Speaker 1: there on the ground, and he's got this creepy grin

1133
01:02:21,560 --> 01:02:24,880
Speaker 1: on his face. Yeah, he's got this signature Murdo grin,

1134
01:02:25,080 --> 01:02:26,880
Speaker 1: which is the first thing we see, the first facial

1135
01:02:27,000 --> 01:02:30,080
Speaker 1: expression we see from him, where he's smiling to an

1136
01:02:30,120 --> 01:02:33,760
Speaker 1: obscene level with half of his face. Uh. And so yes,

1137
01:02:33,960 --> 01:02:35,760
Speaker 1: we are introduced to him that way, and that's also

1138
01:02:35,840 --> 01:02:38,120
Speaker 1: the way he leaves the world. Now. One thing I

1139
01:02:38,160 --> 01:02:40,720
Speaker 1: thought was interesting is that at the end of the film,

1140
01:02:40,840 --> 01:02:43,520
Speaker 1: the the good characters who are left, Jack and Vivian

1141
01:02:43,640 --> 01:02:46,280
Speaker 1: and the child, the little girl. Uh, they get to

1142
01:02:46,480 --> 01:02:49,200
Speaker 1: escape the church, but they don't really have to do anything.

1143
01:02:49,440 --> 01:02:52,240
Speaker 1: The blind Dead appeared to have just been defeated by

1144
01:02:52,400 --> 01:02:54,960
Speaker 1: dawn breaking. Am I right about that? Yeah, it's like

1145
01:02:55,120 --> 01:02:57,720
Speaker 1: they have made it through the night. The sun has

1146
01:02:57,760 --> 01:03:01,480
Speaker 1: come up the rock, the rooster is cockadoodle doing and

1147
01:03:01,600 --> 01:03:03,480
Speaker 1: of course, it's kind of like Night on Bald Mountain

1148
01:03:03,520 --> 01:03:05,480
Speaker 1: at that point, right, Like the sun has risen, the

1149
01:03:05,520 --> 01:03:08,200
Speaker 1: power of the undead, the power of the demonic forces

1150
01:03:08,760 --> 01:03:12,040
Speaker 1: has ended, and are our heroes who now have this

1151
01:03:12,200 --> 01:03:16,000
Speaker 1: kind of accidental family formed by tragedy that you see

1152
01:03:16,040 --> 01:03:18,480
Speaker 1: in films like this. Sometimes it's like, sorry, kids, you

1153
01:03:18,600 --> 01:03:22,040
Speaker 1: lost both your parents in one just horrific night of

1154
01:03:22,160 --> 01:03:26,160
Speaker 1: supernatural terror. But Jack and Vivian are here, so everything's cool.

1155
01:03:26,600 --> 01:03:30,240
Speaker 1: The victim of mayor Shenanigan's yeah, oh yeah, And I

1156
01:03:30,280 --> 01:03:32,880
Speaker 1: guess like Jack's the mayor now too, right, I mean

1157
01:03:33,720 --> 01:03:38,520
Speaker 1: I don't by default, right, that is a part of

1158
01:03:38,560 --> 01:03:42,320
Speaker 1: every town charter. Right If if all local government is killed,

1159
01:03:42,400 --> 01:03:45,920
Speaker 1: the nearest fireworks expert ascends to the to the office.

1160
01:03:46,520 --> 01:03:49,080
Speaker 1: It also means they're probably all three of them are

1161
01:03:49,120 --> 01:03:51,920
Speaker 1: on the planning committee now for next year's festival. So

1162
01:03:52,040 --> 01:03:53,560
Speaker 1: that's going to be a challenge, Like how do you

1163
01:03:54,120 --> 01:03:56,360
Speaker 1: how do you bounce back from a festival like this

1164
01:03:56,680 --> 01:03:59,959
Speaker 1: and you know, and still make sure it's fun for everybody? Okay,

1165
01:04:00,000 --> 01:04:04,480
Speaker 1: A question, um, how come the characters once they figured

1166
01:04:04,480 --> 01:04:08,240
Speaker 1: out that the blind dead operate by hearing, why didn't

1167
01:04:08,240 --> 01:04:13,280
Speaker 1: they take their shoes off. Well, um, I guess that

1168
01:04:13,320 --> 01:04:16,360
Speaker 1: would work. That would have worked okay for indoors, except okay,

1169
01:04:16,720 --> 01:04:18,960
Speaker 1: if it's an old church, maybe it's creaky. Maybe the

1170
01:04:18,960 --> 01:04:21,920
Speaker 1: floorboards would have creaked anyway. M Well, no, I mean

1171
01:04:21,960 --> 01:04:23,880
Speaker 1: when they were trying to sneak by them outside. There's

1172
01:04:23,960 --> 01:04:27,000
Speaker 1: multiple scenes where they're trying to sneak by the zombies

1173
01:04:27,040 --> 01:04:30,120
Speaker 1: in the street. But they're making noise and the zombies

1174
01:04:30,160 --> 01:04:32,560
Speaker 1: can hear them. It seems logical they should have taken

1175
01:04:32,560 --> 01:04:34,560
Speaker 1: their shoes off. Well, maybe they could be could have

1176
01:04:34,600 --> 01:04:37,920
Speaker 1: been graveled, There could have been bits of fireworks left over,

1177
01:04:38,000 --> 01:04:40,320
Speaker 1: the fireworks have already gone off. I think that you know,

1178
01:04:40,440 --> 01:04:42,800
Speaker 1: there was drinking and dancing. There might be glass in

1179
01:04:42,880 --> 01:04:45,800
Speaker 1: the street. Oh that's a good point. Yeah, I gotta

1180
01:04:45,840 --> 01:04:49,080
Speaker 1: be careful with your been a big party, Yeah, take

1181
01:04:49,120 --> 01:04:51,280
Speaker 1: care of your feet. But that would that would make

1182
01:04:51,320 --> 01:04:53,080
Speaker 1: for a good scene and one of these films. I

1183
01:04:53,080 --> 01:04:54,880
Speaker 1: wonder if that's been done in any of these other films,

1184
01:04:55,000 --> 01:04:56,360
Speaker 1: is that, like in a quiet place? Do they ever

1185
01:04:56,400 --> 01:05:00,320
Speaker 1: take their shoes off in that I don't recall. Yeah,

1186
01:05:00,360 --> 01:05:02,280
Speaker 1: I have to say this was Ultimately I found this

1187
01:05:02,360 --> 01:05:04,480
Speaker 1: to be a really fun flick at um. It's it's

1188
01:05:04,480 --> 01:05:07,400
Speaker 1: the pacing. I feel like it's pretty good, especially for

1189
01:05:07,880 --> 01:05:10,880
Speaker 1: for a film from this this time period. Uh, and

1190
01:05:11,160 --> 01:05:15,680
Speaker 1: to feature creatures like enemies that are slow and plotting,

1191
01:05:16,280 --> 01:05:19,120
Speaker 1: um like they're able to explore that kind of enemy

1192
01:05:19,200 --> 01:05:22,760
Speaker 1: without having it results in a slow and plotting film.

1193
01:05:23,240 --> 01:05:27,120
Speaker 1: And then you have numerous human characters of interest, most

1194
01:05:27,200 --> 01:05:31,120
Speaker 1: of them deplorable but never boring. True. True, Okay, but

1195
01:05:31,400 --> 01:05:35,600
Speaker 1: here here's one question. The zombies in this film are

1196
01:05:35,680 --> 01:05:40,320
Speaker 1: not like the normal shambling, completely brain dead George Romero

1197
01:05:40,480 --> 01:05:44,160
Speaker 1: type zombies. They can operate tools. I mean, you know,

1198
01:05:44,280 --> 01:05:47,200
Speaker 1: they have swords and so they can use them, and

1199
01:05:47,360 --> 01:05:50,000
Speaker 1: they can ride horses, so they've got something left going

1200
01:05:50,080 --> 01:05:53,720
Speaker 1: on in their brains. Should they have been able to speak, well,

1201
01:05:53,960 --> 01:05:55,760
Speaker 1: I mean, I guess they don't really have the apparatus

1202
01:05:55,840 --> 01:05:59,320
Speaker 1: for speech anymore. They look pretty desiccated. But but yeah,

1203
01:05:59,360 --> 01:06:01,760
Speaker 1: it's a good point. Are not just mindlessly pawing at

1204
01:06:01,760 --> 01:06:05,560
Speaker 1: the doors they're stalking around? They're they're also capable of

1205
01:06:05,640 --> 01:06:08,560
Speaker 1: just waiting outside. They're all these scenes where they look

1206
01:06:08,600 --> 01:06:11,520
Speaker 1: outside the church when they're they're barricaded inside and the

1207
01:06:11,600 --> 01:06:14,120
Speaker 1: dead are just waiting like waiting them, for them to

1208
01:06:14,200 --> 01:06:16,920
Speaker 1: make a break for it, besieging them, you know, so

1209
01:06:17,400 --> 01:06:19,439
Speaker 1: they gets to a certain extent, at least some of those,

1210
01:06:19,840 --> 01:06:23,640
Speaker 1: like the military prowess of the Crusades has survived in

1211
01:06:23,760 --> 01:06:28,800
Speaker 1: their their their their their rotten minds. But they don't. Yeah,

1212
01:06:28,840 --> 01:06:31,040
Speaker 1: they could have. I guess they could have taken their

1213
01:06:31,080 --> 01:06:36,480
Speaker 1: swords and written in the gravel if they needed to

1214
01:06:36,600 --> 01:06:39,400
Speaker 1: try and like lay out terms like okay, look, you

1215
01:06:39,480 --> 01:06:42,480
Speaker 1: need to surrender, but we will allow I don't know,

1216
01:06:42,800 --> 01:06:45,080
Speaker 1: two people to go free, or you know the I

1217
01:06:45,120 --> 01:06:46,640
Speaker 1: guess they could have, I guess. But the thing was,

1218
01:06:46,680 --> 01:06:48,640
Speaker 1: they had no terms. They just wanted to kill everybody.

1219
01:06:48,680 --> 01:06:50,240
Speaker 1: That's what they were here for. That's what they came

1220
01:06:50,280 --> 01:06:53,480
Speaker 1: to town for. They're evil warlocks. Man. You can't reason

1221
01:06:53,560 --> 01:06:56,520
Speaker 1: with them, can't. You can't reason with that. All right.

1222
01:06:56,560 --> 01:06:59,880
Speaker 1: If you're wondering, well, where can I watch the Blind

1223
01:07:00,000 --> 01:07:02,160
Speaker 1: add movies? Well, return to the Blind Dead again. I

1224
01:07:02,240 --> 01:07:05,400
Speaker 1: found it on Apple Movies. I think there's some rips

1225
01:07:05,480 --> 01:07:08,000
Speaker 1: of them just floating around on the internet, on YouTube

1226
01:07:08,040 --> 01:07:11,120
Speaker 1: and so forth. You can get some of them on DVD.

1227
01:07:11,240 --> 01:07:13,080
Speaker 1: I think Blue Underground put out a DVD of this

1228
01:07:13,280 --> 01:07:17,120
Speaker 1: movie at one point there was a four DVD set

1229
01:07:17,200 --> 01:07:19,439
Speaker 1: you could get in in like kind of a box

1230
01:07:19,480 --> 01:07:22,320
Speaker 1: set that was shaped like a casket. And I think

1231
01:07:22,360 --> 01:07:24,720
Speaker 1: there's a blu ray of of one of the later films,

1232
01:07:24,760 --> 01:07:26,840
Speaker 1: maybe The Ghostly Gallon or Night of the Seagulls. So

1233
01:07:27,200 --> 01:07:28,640
Speaker 1: I don't know. They kind of go in and out

1234
01:07:28,680 --> 01:07:31,520
Speaker 1: of production, but if you want to get out your

1235
01:07:31,520 --> 01:07:33,240
Speaker 1: hands on a physical copy of it, you can probably

1236
01:07:33,280 --> 01:07:35,720
Speaker 1: find it in. Digital copies are relatively easy to find

1237
01:07:35,720 --> 01:07:38,400
Speaker 1: as well. I think at Lanta's own video Drune Video

1238
01:07:38,480 --> 01:07:41,400
Speaker 1: Store has at least the first two Blind Dead films.

1239
01:07:42,080 --> 01:07:45,840
Speaker 1: Viewer discretion is advised, yes, yeah, do do research these

1240
01:07:45,840 --> 01:07:48,959
Speaker 1: a little bit before just diving in. Um, yeah, because

1241
01:07:49,000 --> 01:07:51,160
Speaker 1: these are these are ultimately horror films out of the

1242
01:07:51,240 --> 01:07:55,520
Speaker 1: early nineteen seventies. All right, Well, we're gonna go ahead

1243
01:07:55,560 --> 01:07:59,040
Speaker 1: and close it out there, you know, seal the sarcophagus

1244
01:07:59,120 --> 01:08:01,240
Speaker 1: for this week, but we'll be back next week with

1245
01:08:01,320 --> 01:08:05,160
Speaker 1: another film. I think, unless chance plans change, we're doing

1246
01:08:05,200 --> 01:08:07,960
Speaker 1: another film from the exact same release here, So we're

1247
01:08:07,960 --> 01:08:11,360
Speaker 1: gonna be stuck in the seventies again. So I hope

1248
01:08:11,360 --> 01:08:14,120
Speaker 1: you're okay with that, everybody. Um, if you want to

1249
01:08:14,200 --> 01:08:16,559
Speaker 1: check out other episodes of of a Weird House Cinema

1250
01:08:16,600 --> 01:08:18,800
Speaker 1: it publishes every Friday, and the Stuff to Blow Your

1251
01:08:18,840 --> 01:08:23,840
Speaker 1: Mind podcast feed We're primarily a science podcast, with episodes

1252
01:08:23,960 --> 01:08:28,800
Speaker 1: airing on Tuesdays and Thursdays, Artifact episode on Wednesday, and

1253
01:08:28,960 --> 01:08:32,040
Speaker 1: listener mail on Monday. Huge thanks as always to our

1254
01:08:32,080 --> 01:08:35,360
Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like

1255
01:08:35,439 --> 01:08:37,360
Speaker 1: to get in touch with us with feedback on this

1256
01:08:37,479 --> 01:08:39,960
Speaker 1: episode or any other, to suggest a topic for the future,

1257
01:08:40,040 --> 01:08:42,400
Speaker 1: or just to say hello, you can email us at

1258
01:08:42,600 --> 01:08:53,000
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1259
01:08:53,040 --> 01:08:55,640
Speaker 1: to Blow Your Mind's production of I Heart Radio for

1260
01:08:55,720 --> 01:08:57,920
Speaker 1: more podcasts for my heart Radio, but at the heart

1261
01:08:57,960 --> 01:09:00,560
Speaker 1: Radio app Apple podcasts are Where are you listening to

1262
01:09:00,600 --> 01:09:01,360
Speaker 1: your favorite shows?