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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. Yeah, we have

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Speaker 1: a rewind episode here for you today because we're doing

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Speaker 1: a little stuff behind the scenes to get a little

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Speaker 1: bit ahead. So we'll be back next week with all

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Speaker 1: new content. But today we're going to rerun an episode

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Speaker 1: that originally came out three twenty five, twenty twenty two,

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Speaker 1: so it's a little bit older. It's our look at

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Speaker 1: the excellent Australian supernatural thriller Next of Kin from nineteen

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Speaker 1: eighty two. Let's jump right in.

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

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

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Speaker 3: And this is Joe McCormick.

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Speaker 1: Now, if you've been listening to Weird House Cinema for

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Speaker 1: a while now, you know that we always note the

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Speaker 1: musical score, and I feel like we've had a being

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Speaker 1: of unremarkable scores.

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Speaker 3: La. Yeah, what do we see? Score to Eliminators? That

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Speaker 3: wasn't really anything to write home about. I'd say the

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Speaker 3: same for Beast Masters beast Master two. Why did they

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Speaker 3: try to make that plural? There's only one beast master

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Speaker 3: y beast Master two. Yeah, yeah, that wasn't so great.

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Speaker 3: And Rob, I know your particular weaknesses as well, because

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Speaker 3: while I don't quite feel the same way, I know

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Speaker 3: you hold it against a score merely merely for having

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Speaker 3: three D physical instruments. You prefer an all electronic score.

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Speaker 3: I've literally heard you say before, like about a movie score.

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Speaker 3: You were like, I guess it was fine, but it

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Speaker 3: wasn't electronic.

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Speaker 1: Well, you know, there are exceptions to the rule, but

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Speaker 1: by and large, that's a fair assessment. Yeah. So I

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Speaker 1: figured on this one when you know, we have different

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Speaker 1: ways of picking out movies, and this week I was like,

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Speaker 1: I want something with a good score. I'm gonna let's

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Speaker 1: go with a good score first, searching principle here, and

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Speaker 1: so I started looking around for films that generally I

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Speaker 1: had not seen but were well regarded for their score,

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Speaker 1: and it led us to this motion picture. It is.

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Speaker 1: It's also kind of neat because I think it is

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Speaker 1: our first film from Australia and New Zealand. It's an

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Speaker 1: Australian and New Zealand co production. It is nineteen eighty

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Speaker 1: two's next of kin.

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Speaker 3: Well, if you pick this title based on score alone,

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Speaker 3: maybe we should start by talking about that score. What

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Speaker 3: drew you in about the music?

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Speaker 1: Well, I was looking at these some of these lists saying, oh, listen,

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Speaker 1: is a great score. This son is a great score.

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Speaker 1: And it was really when I saw who was attached

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Speaker 1: to the score, because the score on this film is

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Speaker 1: by an electronic artist, a pioneer of electronic music. Klaus Schulz,

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Speaker 1: who was born nineteen forty seven, is still alive and

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Speaker 1: I still think still performs or has performed in the

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Speaker 1: last few years. I'm not never sure exactly where you're

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Speaker 1: landing with that right now during the pandemic, especially with

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Speaker 1: older performers. But yeah, this this guy is a huge deal.

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Speaker 1: And while he he isn't Tangerine Dream, he was in

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Speaker 1: Tangerine Dream okay a very short period of time, so

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Speaker 1: he is. He's an artist that I'd listened to his

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Speaker 1: albums before, and he hasn't done a lot of score work.

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Speaker 1: I think there are only really three motion pictures that

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Speaker 1: you could say, yes he did. He did the scores

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Speaker 1: for these films, and so I was I was excited

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Speaker 1: by by seeing his name on this one, seeing that

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Speaker 1: it was well regarded, and then also just looking a

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Speaker 1: little bit into the plot, I was like, oh, Yeah,

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Speaker 1: this is, uh, this looks like it's weird house territory.

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Speaker 3: So Rob sent me straight on my electronic terminology. Would

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Speaker 3: I be right in saying that this movie is set

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Speaker 3: to the Berlin sound? Is this the the the famous

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Speaker 3: Berlin style of electronic.

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Speaker 1: I think so. I'm you know, I'm not one to be,

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Speaker 1: you know, super strict on terminology, but yeah, this would

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Speaker 1: be I guess the Berlin school of early electronic music.

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Speaker 1: You know, this is a true synth wizard of old

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Speaker 1: we're dealing with here.

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Speaker 4: You know.

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Speaker 1: He's also attached to certain groups that were considered kroud

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Speaker 1: rock back in the day. So yeah, he was briefly

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Speaker 1: a member of Tangerine Dream in nineteen sixty seven, but

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Speaker 1: he moved on to Ashra Temple, which is not a

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Speaker 1: group I'm familiar with, before he went solo. And he's

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Speaker 1: one of these artists that has just an absolutely intimidating discography.

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Speaker 1: Like if you were excited by what I'm saying about

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Speaker 1: him and you got to look him up on one

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Speaker 1: of your music streaming sites, you'll just be bombarded with

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Speaker 1: like a million different releases.

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Speaker 3: Well, coming back to the movie itself, I gotta say

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Speaker 3: for a movie that you picked purely on the basis

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Speaker 3: of its soundtrack. I thought this was actually a great

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Speaker 3: horror movie. I was surprised I'd never seen this before

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Speaker 3: and that I hadn't seen it. I don't know included

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Speaker 3: on more lists or curated picks of the great overlooked

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Speaker 3: horror movies of the eighties, because I thought that Next

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Speaker 3: to Ken was just excellent, really careful crafted, beautifully shot.

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Speaker 3: It's a great looking movie. It's got a lot of

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Speaker 3: interesting thematic symmetricality. I don't know the things that are.

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Speaker 3: There's some things about it that I really want to

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Speaker 3: talk about, but they're hard to talk about without spoiling

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Speaker 3: the ending. I think this movie has a pretty good

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Speaker 3: reveal in the third act that I don't want to

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Speaker 3: I don't want to get into the details of until

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Speaker 3: maybe after we do a spoiler warning later in the episode.

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Speaker 3: But yeah, this has so much going for it, and

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Speaker 3: I just love the dusty, aw shucks australianisms of it.

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Speaker 1: Yeah, so, I myself was prepared for this to be

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Speaker 1: like a schlocky movie with a great soundtrack, which is

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Speaker 1: which is that I'm all on board for something like that,

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Speaker 1: But I was also pleasantly surprised by just the quality

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Speaker 1: of everything else about the production. Now, by some definitions,

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Speaker 1: this is an example of oz bloitation. You know it is.

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Speaker 1: It is a post nineteen seventy one R rated film

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Speaker 1: from Australia and so again also a newsy Co production.

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Speaker 1: But I've also seen it listed as part of the

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Speaker 1: Australian New Wave, and I think that might be a

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Speaker 1: little more accurate. I don't know, like osploitation doesn't necessarily

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Speaker 1: mean that there is something super exploitive about it, or

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Speaker 1: that it's exploiting the australianness of something. But I've also

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Speaker 1: read that Australian New wave films like they often have

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Speaker 1: this kind of sense of big open spaces, and you know,

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Speaker 1: they are often tying into something about the character of

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Speaker 1: the Australian landscape, and I do think we see that

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Speaker 1: in this film. There are a lot of especially early

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Speaker 1: on and late in the picture, there's some wide shots

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Speaker 1: that really make you feel a certain amount of isolation

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Speaker 1: regarding these characters and the world they live in.

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Speaker 3: Well, not only that, I think the movie is very

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Speaker 3: smart in the way that it plays with contrast of spaces.

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Speaker 3: There are these tight claustrophobic, trapped kinds of scenes in

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Speaker 3: small rooms, and then there are yeah, these big voids

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Speaker 3: in the night or big open fields that we see

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Speaker 3: long shots of as like a car is cutting through them.

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Speaker 1: Talking about, you know, the popularity of this film, It

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Speaker 1: certainly has its following, and there's been a as we'll

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Speaker 1: get to, you know, it's been nicely re released in

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Speaker 1: recent years. I know Quentin Garantino was apparently a fan

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Speaker 1: of this film and has mentioned it, and Michael Weldon

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Speaker 1: includes it in his psychotronic film Guides, so it was

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Speaker 1: on some people's radar. But yeah, in general, this is

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Speaker 1: not a film that I'm super familiar with or remember

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Speaker 1: seeing on shelves anywhere. When I hear the name next

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Speaker 1: of Ken, my mind instantly goes to the VHS box

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Speaker 1: cover art of Patrick Swayzee in that nineteen eighty nine film,

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Speaker 1: which I have not seen but seems to have a

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Speaker 1: great cast.

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Speaker 3: What's it about.

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Speaker 1: I think it's about it's like a crime thing. I

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Speaker 1: think it's like a oh okay, yeah, like I said,

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Speaker 1: really good cast. But I think it's just kind of

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Speaker 1: a crime thriller. That's my limited understanding of what it amounts.

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Speaker 3: To there was actually not a lot I could think

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Speaker 3: of to compare Next of Kin too. It's a very

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Speaker 3: unique film, but you know what, it actually reminded me

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Speaker 3: of more than anything else, And I think having seen it,

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Speaker 3: you might at first balk at this, but then come around.

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Speaker 3: My point of comparison is Fulcy, so not in terms

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Speaker 3: of gratuitous gross out scenes and buckets of blood. There's

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Speaker 3: a little bit of blood in this movie, but nowhere

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Speaker 3: near the you know, the just you know, swimming pools

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Speaker 3: full of gore that you would expect from a Fulcy movie.

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Speaker 3: So it's not gross in the Fulcy sense. It's much

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Speaker 3: more restrained. But the cinematography and camera work frequently brought

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Speaker 3: Fulci to mind, and I think it has to do

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Speaker 3: with the visual fixations and the image drivenness of it,

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Speaker 3: and the kind of slow throbbing, dreamlike focus on things

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Speaker 3: that are maybe there more for texture or for suggesting

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Speaker 3: a feeling than for being informative about the plot.

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Speaker 1: Yeah, I think that's absolutely fair comparison. I thought a

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Speaker 1: little bit about Fulci and perhaps Argento a little bit

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Speaker 1: while watching it.

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Speaker 3: Yeah.

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Speaker 1: There is also one extreme eyeball close up of note

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Speaker 1: oh yeah, that brings to mind some of these films.

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Speaker 3: Oh well, I will say that eyeball scene you're thinking of,

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Speaker 3: I think is directly mirrored in a ful Chi movie,

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Speaker 3: though I don't know which one came first. But another

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Speaker 3: thing I was going to say to bring it back

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Speaker 3: to the score, actually is that so Jallo movies and

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Speaker 3: ful Chy movies, these Italian horror movies that I'm comparing

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Speaker 3: this to, are not known for having this German electronic

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Speaker 3: sound in their music, but somehow it fits and heightens

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Speaker 3: the jallowiness the klaud Schultz does, maybe because of the

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Speaker 3: way the music influences the rhythm of the movie. So

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Speaker 3: I was thinking about, you know, the feeling that the

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Speaker 3: music creates in all these scenes, and it's like you

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Speaker 3: feel the thoughts of the main character, Linda, kind of

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Speaker 3: moving along at the rhythm of the score. So there

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Speaker 3: are these law long, warping synth pads when she's daydreaming

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Speaker 3: or wallowing or just like feeling big, enveloping emotions, and

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Speaker 3: then like the arpeggiators come in, or the rhythm picks

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Speaker 3: up when her thoughts pick up the pace and become focused.

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Speaker 1: Yeah. Yeah, And that's a great description of the kind

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Speaker 1: of music that Klaus Schultz is known for. Like, my

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Speaker 1: big introduction to him was the nineteen seventy five album

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Speaker 1: Time Wind, and I'm not entirely sure how I came

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Speaker 1: across it. I think maybe I was listening. I heard

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Speaker 1: part of it on a like a warp podcast or

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Speaker 1: something where they were featuring some older music or something,

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Speaker 1: but I ended up picking up time Wind, and it's

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Speaker 1: it's very long form, wonderfully dreamy. One of these things

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Speaker 1: where I'm not going to ask Seth to include a

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Speaker 1: sample from time Wind, because you can't. You can't have

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Speaker 1: like a succynct sample of time Wind. You need to

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Speaker 1: listen to at least like a ten minute stretch of it.

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Speaker 3: I listened to it on your recommendation the other day

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Speaker 3: while I was working on notes, and I thought it

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Speaker 3: was just great.

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Speaker 1: Yeah, it was my goat for yoga music for a while,

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Speaker 1: so it's really good stuff. Now Claus Schueles has are

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Speaker 1: He has a wonderful website that I believe someone else

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Speaker 1: curates for him with his input, And according to that website,

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Speaker 1: the score here for this film is not one original composition. Rather,

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Speaker 1: it's composed of parts from quote known ks titles originals

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Speaker 1: and outtakes, So that that's interesting to think about in

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Speaker 1: terms of this film, because it sounds like maybe it

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Speaker 1: was a situation where they're putting together this film and

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Speaker 1: they're like, hey, we'd love to get Claus Schultz, and

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Speaker 1: he's like, oh, well, I have some music. You're welcome

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Speaker 1: to have any of this, and then they made it work,

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Speaker 1: which actually mirrors I was reading. One of the other

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Speaker 1: films that he did a score for was the nineteen

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Speaker 1: eighty three German thriller Angst, which was cut to fit

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Speaker 1: his score rather than the other way around, so you know,

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Speaker 1: he's not he created the score and it's like here

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Speaker 1: you go, all right, all right, we'll cut it together

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Speaker 1: and make it work. He also composed the score. I

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Speaker 1: think the only other film he did was nineteen seventy

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Speaker 1: eight Jaws knockoff by the name of Barrakuda.

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Speaker 3: And how have I not seen that? I thought I'd

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Speaker 3: seen every Jaws ripoff.

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Speaker 1: I mean, it looks like it has all the things

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Speaker 1: you would expect from a Jaws ripoff, but it has

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Speaker 1: this really nice score. I don't see a lot of

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Speaker 1: details about the score, Like it's one of these where

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Speaker 1: I was looking at the movie itself, and it says

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Speaker 1: it says that the soundtrack is available on Island Records,

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Speaker 1: and there's no I've found no reference to that ever

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Speaker 1: actually happening. But it looks like he put out a

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Speaker 1: track called Barracuda Drum on one of his compilations that

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Speaker 1: came out many years later, and I was listening to it,

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Speaker 1: and I think this is one of the underwater dreamy

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Speaker 1: tracks from that movie. His music has been featured though,

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Speaker 1: in the soundtracks of a number of different films, including

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Speaker 1: Michael Mann's Manhunter from nineteen eighty six.

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Speaker 3: Oh that's a good one.

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Speaker 1: Yeah, And weirdly enough, I found him credited on some

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Speaker 1: of the Hans Zimmer scores for the most recent done adaptation,

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Speaker 1: and I was trying to figure out what this. So

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Speaker 1: it gets complicated because Hans Zimmer apparently huge Doom fan

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Speaker 1: and didn't just create one score for the movie, but

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Speaker 1: created like three plus albums worth of music, and some

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Speaker 1: of those have some contributors, so I'm not exactly sure

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Speaker 1: what's happening. Maybe they just know each other, they bounced

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Speaker 1: a track between the two of them. I'm not certain,

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Speaker 1: but at any rate, you don't see gloss Shoels doing

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Speaker 1: a lot of soundtrack work. This is one of three

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Speaker 1: real films that he scored, and I feel like his

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Speaker 1: music does really stand out. Like you say, it really

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Speaker 1: contributes to this field, this sort of deeply contemplative hauntedness

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Speaker 1: of things, but also at times it definitely contributes tension.

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Speaker 1: And I thought we might play just a sample from

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Speaker 1: it from this score. This is. This is from the

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Speaker 1: track rhythm Fugue gets your gets your pulse pounding a

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Speaker 1: little bit there, huh.

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Speaker 3: Though I want to stress one thing that I think

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Speaker 3: is interesting is that when the when the music picks

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Speaker 3: up the pace in the movie. I don't know which

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Speaker 3: scene this song corresponded to, but when it does, it's

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Speaker 3: not always because there's something like dangerous or thrilling going

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Speaker 3: on on screen, where like you know, somebody's running or

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Speaker 3: there's some threat.

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Speaker 1: Uh.

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Speaker 3: It's often because a character is like discovering something. You know,

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Speaker 3: a character like suddenly like they're making mental progress, which

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Speaker 3: I liked.

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Speaker 1: Yeah, this is one of those movies that has a

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Speaker 1: very substantial research portion. You know, it's very It's very

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Speaker 1: much like a game with the Colic Cthulu role playing

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Speaker 1: game where you're gonna you're gonna devote a large chunk

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Speaker 1: of your playtime to creeping around libraries and checking out

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Speaker 1: old diaries.

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Speaker 3: I agree with that, though at the same time that

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Speaker 3: could give the wrong impression and make it sound like

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Speaker 3: this movie has a very complicated plot, which actually does not.

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Speaker 3: I would say this is very simple. Actually, it's just

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Speaker 3: well crafted, smart, thoughtful, simple plot.

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Speaker 1: Well, in that case, should we should we give the

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Speaker 1: elevator pitch? What is this movie in a nutshell?

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Speaker 3: Well, I didn't writ one ahead of time, maybe I

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Speaker 3: can wing it, okay, So I'd say something like, when

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Speaker 3: Linda Stevens returns home after the death of her mother

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Speaker 3: to the rural Australian village where she grew up, she

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Speaker 3: finds records of many strange doings in her mother's old

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Speaker 3: diaries and leisure books, and then things get even stranger

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Speaker 3: when some of those strange doings appear to be happening again.

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Speaker 1: M Yeah, I think that's that's pretty accurate. The old

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Speaker 1: VHS cover for this said there's no place like home,

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Speaker 1: bloody home, which I think is okay.

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Speaker 3: Well, I think I left out a crucial detail actually

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Speaker 3: for my elevator pitch, which is that her ancestral home

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Speaker 3: that's been left to her after her mother died is

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Speaker 3: serving as a retirement community. It's like a mansion and

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Speaker 3: they're renting out the rooms to retired people.

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Speaker 1: Creepy retirement home movie. Yes, it's not a subgenre people

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Speaker 1: tend to go wild for, but it's well executed. Here.

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Speaker 1: All right, let's go ahead and here just part of

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Speaker 1: the trailer. This is one of those trailers though, where

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Speaker 1: it's a lot of just the music and just some visuals,

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Speaker 1: and I think there's maybe a little bit of voice

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Speaker 1: over at the end. So we're not going to play

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Speaker 1: at all, but here's just a sample.

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Speaker 4: Will Linda survive the nightmare that threatens her sanity? Fathoms

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Speaker 4: of Gothic Hora will not be disappointed?

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Speaker 1: Well, let's talk about We've already talked about Closs, but

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Speaker 1: let's talk about some of the other humans involved in

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Speaker 1: the production of this film. All right. Right at the top,

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Speaker 1: the director's credit and also one of the screenplay credits,

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Speaker 1: goes to Tony Williams born nineteen forty two, New Zealand

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Speaker 1: born director who mostly did documentary work, as well as

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Speaker 1: the nineteen seventy eight film Solo, which I've Seen, credited

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Speaker 1: as the first Australian New Zealand feature film co production.

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Speaker 1: It's like a romance drama.

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Speaker 3: Huh. I was not familiar with Tony Williams.

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Speaker 1: No, and like I said, I think his name was

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Speaker 1: mostly made in documentary work and he's known for this film.

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Speaker 1: The other screenplay credit goes to Michael Heath. This was

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Speaker 1: his first film, but he went on to write a

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Speaker 1: handful of pictures, including nineteen eighty four's Death Warmed Up,

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Speaker 1: which is I believe a hypnotism horror film, and then

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Speaker 1: who He did a nineteen ninety two film called My

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Speaker 1: Grandpa Is a Vampire and it stars al Lewis, Yes

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Speaker 1: Grandpa Munster basically playing Grandpa Munster. And this is the

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Speaker 1: plot submariny from IMDb quote. Sent on a trip from

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Speaker 1: California to New Zealand to visit his eccentric grandfather, Lannie

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Speaker 1: discovers that his grandpa is a vampire. Unnerved at first,

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Speaker 1: he soon discovers that his grandpa is a good vampire.

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Speaker 1: So that just that sounds amazing.

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Speaker 3: And this is Grandpa his Grandpa's blade.

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Speaker 1: Yes, that's what I do. Imagine it. It's blade. But

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Speaker 1: instead of Wesley Snipes. It'sis Lewis anyway, That screenplay I

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Speaker 1: think is you can't really compare. My grandpa is a

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Speaker 1: vampire too, next of Ken, but at any rate, same

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Speaker 1: individual involved in both projects, all right. The star of

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Speaker 1: this picture is Jackie Kieran playing the character Linda. I'm

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Speaker 1: not sure what her you know, birthdate is, what her

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Speaker 1: age is, but she is still very much alive. Australian

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Speaker 1: actor who mostly did TV and shorts over the years

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Speaker 1: and became increasingly interested in writing and storytelling. She has

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Speaker 1: written a number of really cool looking children's books, some

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Speaker 1: of them I think have like a nature tie in.

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Speaker 1: But she, you know, she makes the rounds reading from

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Speaker 1: these books, supporting these books, and if you want to

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Speaker 1: catch up on all the stuff she's into, you can

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Speaker 1: find her at Jackie Karen dot com dot au. That's

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Speaker 1: j A C k I E K E r I

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Speaker 1: N dot com dot au. And she's really quite good

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Speaker 1: in this. I thought it's the sort of role we've

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Speaker 1: seen plenty of times before in other horror films, you know,

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Speaker 1: particularly of this period. You know, a female character who

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Speaker 1: is in a strange and or slightly haunting environment, kind

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Speaker 1: of experiencing this place physically and emotionally. But I thought

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Speaker 1: it was a real standout performance.

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Speaker 3: I think she's excellent. I think Jackie Karen is sort

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Speaker 3: of the anchor of this movie. She's an extremely likable protagonist.

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Speaker 3: I was initially tempted to say, as I often do

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Speaker 3: about somebody who's just really likable on screen, that they've

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Speaker 3: got screen charisma or star power, but I think actually

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Speaker 3: her strengthen this role is a kind of anti star power.

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Speaker 3: She's a lead actor who has very earnest, down to

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Speaker 3: earth human being energy, real person energy and so and

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Speaker 3: it makes for a very likable lead role.

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Speaker 1: Yeah. Absolutely, So we'll touch on her performance more as

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Speaker 1: we proceed that. I think she's definitely a highlight of

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Speaker 1: this film that you know, you could easily see have

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Speaker 1: seeing this part played by various other actors, and they

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Speaker 1: wouldn't have brought the same likability and real life quality

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Speaker 1: to the character into the performance, all right. Another actor

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Speaker 1: of note in this is John Jarrett born nineteen fifty one,

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Speaker 1: who plays Barney Uh. This is basically the boyfriend character

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Speaker 1: in this movie. He's an Australian actor, possibly best known

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Speaker 1: to international audiences as Mick Taylor in Wolf Creek one,

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Speaker 1: Wolf Creek two, the Wolf Creek TV series. I think

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Speaker 1: there's going to be a Wolf Creek three. I haven't

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Speaker 1: seen any of these. Maybe you have, Joe, but I

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Speaker 1: understand they're quite nasty in the early two thousand sort

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Speaker 1: of way.

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Speaker 3: Oh, the kind of the torture age of movies.

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Speaker 1: Yeah, that's I could be wrong, but that's my understanding

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Speaker 1: of these pictures. And I guess Jared was kind of

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Speaker 1: a staple of two thousand's Australian horror, as he was

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Speaker 1: also in two thousand and seven's Rogue, a giant croc movie.

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Speaker 1: He also pops up in Django Unchained, as well as

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Speaker 1: nineteen eighty seven's Dark Age, which is another killer croc movie.

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Speaker 1: And he's also been in a killer Boorr movie, though

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Speaker 1: not the one you're thinking of, Joe, a more recent movie.

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Speaker 3: Okay, speaking of Jaws ripoffs.

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Speaker 1: But yeah, in this he basically just a boyfriend that

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Speaker 1: Linda reconnects with.

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Speaker 3: The main thing I'm taking away from what you've just

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Speaker 3: said is that there are at least two giant killer

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Speaker 3: crocodile movies that don't have the word crocodile in the title.

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Speaker 3: So I guess I haven't seen them yet, and I've

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Speaker 3: got to look those up.

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Speaker 1: Yes, all right. Another actor of note, Alex Scott, plays

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Speaker 1: Doctor Barton. He lived nineteen twenty nine through twenty fifteen.

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Speaker 1: An Australian actor with a very long career in film

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Speaker 1: and TV. He had uncredited small roles in such sixties

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Speaker 1: films as Beckett and Gorgo That was a wonderful euro

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Speaker 1: Godzilla movie, but he also appeared in a credited role.

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Speaker 1: He had a credited role in the nineteen sixty six

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Speaker 1: adaptation of Fahrenheit four fifty one. He also appears in

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Speaker 1: Twins of Evil in nineteen seventy one.

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Speaker 3: Oh yeah, that's a hammer horror movie that I've seen

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Speaker 3: a number of times. That's one of the count Carnstein movies,

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Speaker 3: and the Carnstein there's a great scene where he's like

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Speaker 3: dining with his with his evil buddy, and I think

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Speaker 3: he raises a glass and he says to Satan.

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Speaker 1: Not enough toast to Satan. It's always a conversation start.

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Speaker 1: He was also in Romper Stomper in nineteen ninety two.

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Speaker 1: This is the Russell Crow Skinhead movie. And I know

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Speaker 1: one of our listeners at least will be excited to

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Speaker 1: know that he was also in The Abominable Doctor Fibes.

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Speaker 3: I got to see that someday.

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Speaker 1: Oh yeah, I haven't seen Doctor Fibes either, but I

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Speaker 1: keep putting it on the list. It's one that you

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Speaker 1: can't really stream anywhere right now. You have to run

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Speaker 1: a copy. So I'm hoping we'll get to it this year.

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Speaker 1: It also is it was popping up on lists that

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Speaker 1: I was looking at for a great or memorable scores.

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Speaker 1: It has a real, I think, weird, kind of jazzy

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Speaker 1: horror score. So I was listening to part of it

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Speaker 1: and I was like, yeah, this is interesting. I really

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Speaker 1: need to get in on the Doctor Fibes magic at

432
00:23:54,400 --> 00:23:57,080
Speaker 1: some point. All right. A couple of other credits here.

433
00:23:57,160 --> 00:24:00,320
Speaker 1: Chris Murray is credited with special effects on this. He

434
00:24:00,359 --> 00:24:03,600
Speaker 1: did special effects on nineteen seventy nine's Mad Max, and

435
00:24:03,640 --> 00:24:05,440
Speaker 1: he went out to work on a ton of projects

436
00:24:05,680 --> 00:24:09,040
Speaker 1: specializing in pyro. It seems worked a lot in Australia,

437
00:24:09,080 --> 00:24:12,600
Speaker 1: as you might expect, including on both Crocodile Dundee movies,

438
00:24:13,240 --> 00:24:17,960
Speaker 1: Peter Weirs Gallipoli, and Russell McKay. He's razorback from nineteen

439
00:24:18,000 --> 00:24:21,960
Speaker 1: eighty four. This I believe is the killer Boar movie

440
00:24:22,000 --> 00:24:23,000
Speaker 1: you were thinking of, Joe.

441
00:24:23,280 --> 00:24:25,480
Speaker 3: Yes, I have seen this one. It's been a while now,

442
00:24:25,520 --> 00:24:27,800
Speaker 3: but a few years back I watched this one and

443
00:24:27,840 --> 00:24:30,679
Speaker 3: it's I remember thinking it is a it's like a

444
00:24:30,720 --> 00:24:33,840
Speaker 3: cross between Jaws but with a pig instead of a

445
00:24:33,880 --> 00:24:38,960
Speaker 3: shark and Texas Chainsaw Mascer, but sat in Australia instead

446
00:24:38,960 --> 00:24:39,520
Speaker 3: of Texas.

447
00:24:39,880 --> 00:24:41,359
Speaker 1: I think this is one that you can make a

448
00:24:41,440 --> 00:24:44,600
Speaker 1: much stronger case for being just pure osploitation.

449
00:24:44,000 --> 00:24:49,040
Speaker 3: Right, yeah, probably, but also with significant elements of Russell mulkay,

450
00:24:49,160 --> 00:24:52,680
Speaker 3: just things you will recognize as like highlander tuisms. Yes,

451
00:24:53,040 --> 00:24:54,080
Speaker 3: it's got wild boys.

452
00:24:54,520 --> 00:24:57,399
Speaker 1: Oh man. Yeah, we've got to watch an actual Russell

453
00:24:57,480 --> 00:24:59,120
Speaker 1: McKay film on the show one day.

454
00:24:59,400 --> 00:25:02,720
Speaker 3: Well, this may be the one. Yeah, all right, fair

455
00:25:02,760 --> 00:25:05,520
Speaker 3: warning though, I remember this one being really gross, like

456
00:25:05,560 --> 00:25:08,560
Speaker 3: it being a very just like wet, nasty movie with

457
00:25:09,560 --> 00:25:12,480
Speaker 3: unlike I think one of the main sets is like

458
00:25:12,520 --> 00:25:17,359
Speaker 3: an unethical dog food factory. Oh but one other credit

459
00:25:17,400 --> 00:25:20,400
Speaker 3: I wanted to mention is the cinematography in this by

460
00:25:20,440 --> 00:25:22,560
Speaker 3: Gary Hanson. I just wanted to bring that up because

461
00:25:22,600 --> 00:25:24,879
Speaker 3: a lot of what's great about this film is I

462
00:25:24,920 --> 00:25:27,679
Speaker 3: think the camera work in the framing. This movie has

463
00:25:27,720 --> 00:25:30,760
Speaker 3: a wonderful look to it. I think that is what

464
00:25:30,880 --> 00:25:33,920
Speaker 3: calls to mind, the full gess of it or the

465
00:25:34,040 --> 00:25:37,320
Speaker 3: jallowness of it. So I looked up this guy, Gary Hanson.

466
00:25:37,359 --> 00:25:39,720
Speaker 3: I don't think I'm familiar with anything else he did.

467
00:25:40,440 --> 00:25:42,680
Speaker 3: He was a cinematographer on what looked like a few

468
00:25:42,720 --> 00:25:46,680
Speaker 3: made for TV thriller movies called things like Demolition from

469
00:25:46,760 --> 00:25:51,520
Speaker 3: nineteen seventy nine and Roses Bloom Twice from seventy seven.

470
00:25:51,840 --> 00:25:54,280
Speaker 3: So I don't really know much of anything else about

471
00:25:54,320 --> 00:25:57,439
Speaker 3: this guy, but yeah, stellar job on Next of Ken.

472
00:25:57,800 --> 00:25:59,560
Speaker 1: Yeah, there are plenty of shots. There are a lot

473
00:25:59,600 --> 00:26:03,040
Speaker 1: of like scenes are allowed to really breathe in this film,

474
00:26:03,080 --> 00:26:04,320
Speaker 1: and so yeah, there were a lot of times where

475
00:26:04,359 --> 00:26:06,280
Speaker 1: I was watching it and I just really liked the

476
00:26:06,280 --> 00:26:08,119
Speaker 1: way things were framed. All right.

477
00:26:08,200 --> 00:26:10,160
Speaker 3: Well, as I think we mentioned before, this movie does

478
00:26:10,200 --> 00:26:12,160
Speaker 3: have a pretty simple plot, and yet at the same

479
00:26:12,200 --> 00:26:16,000
Speaker 3: time it has a more interesting series of twists and

480
00:26:16,080 --> 00:26:18,680
Speaker 3: developments than most movies we talk about. So I don't

481
00:26:18,680 --> 00:26:21,520
Speaker 3: want to spoil too much about the third act. I

482
00:26:21,520 --> 00:26:23,720
Speaker 3: think maybe this is one where we shouldn't go scene

483
00:26:23,720 --> 00:26:25,760
Speaker 3: by scene, but maybe we can talk about the setup

484
00:26:25,800 --> 00:26:28,919
Speaker 3: and then discuss some things that we liked or noticed

485
00:26:28,960 --> 00:26:29,560
Speaker 3: along the way.

486
00:26:30,040 --> 00:26:31,920
Speaker 1: Sounds good and yeah, and if we decide to get

487
00:26:31,920 --> 00:26:35,080
Speaker 1: into spoilers, we'll put a firm barrier so that folks

488
00:26:35,119 --> 00:26:38,640
Speaker 1: will know to stop there and come back later if

489
00:26:38,680 --> 00:26:40,160
Speaker 1: they don't want to be spoiled.

490
00:26:40,480 --> 00:26:43,600
Speaker 3: I thought that the very opening shot was interesting because

491
00:26:43,640 --> 00:26:46,440
Speaker 3: I didn't love it the first time I watched the movie.

492
00:26:46,440 --> 00:26:48,280
Speaker 3: The first time, it was one of my least favorite

493
00:26:48,280 --> 00:26:51,359
Speaker 3: things in the movie, and then on my second viewing

494
00:26:51,920 --> 00:26:53,879
Speaker 3: when I went back and showed it to Rachel, I

495
00:26:53,920 --> 00:26:56,960
Speaker 3: actually thought it was great because it forms a kind

496
00:26:57,000 --> 00:26:58,840
Speaker 3: of bookend. I don't want to say too much, but

497
00:26:59,400 --> 00:27:02,480
Speaker 3: the movie opens with this slow mo shot, and you know,

498
00:27:02,640 --> 00:27:05,159
Speaker 3: that's just like always a thing that bothers me. I

499
00:27:05,200 --> 00:27:09,199
Speaker 3: don't like movies opening in slow motion. But yeah, we

500
00:27:09,240 --> 00:27:12,760
Speaker 3: get slow mo of Jackie Karen as Linda, looking dirty

501
00:27:12,800 --> 00:27:16,560
Speaker 3: and exhausted, walking around the outside of a pickup truck

502
00:27:16,920 --> 00:27:19,879
Speaker 3: in this low frame rate slow mo, and you're just

503
00:27:19,920 --> 00:27:23,240
Speaker 3: wondering what has happened, And then you start getting voiceover

504
00:27:23,400 --> 00:27:26,320
Speaker 3: of this kind of echoing older woman's voice saying to

505
00:27:26,440 --> 00:27:30,040
Speaker 3: my daughter, Linda, Mary Stevens, I leave all my inheritance,

506
00:27:30,480 --> 00:27:32,520
Speaker 3: and she explains that, you know, she's leaving her the

507
00:27:32,640 --> 00:27:35,200
Speaker 3: estate of Montclair. We don't know what that is yet,

508
00:27:35,240 --> 00:27:38,240
Speaker 3: but that's what the voiceover says. I don't know if

509
00:27:38,280 --> 00:27:41,159
Speaker 3: you feel the same way I do. Rob. I generally

510
00:27:41,280 --> 00:27:44,080
Speaker 3: hate movies starting in slow mo, but I'm going to

511
00:27:44,119 --> 00:27:46,359
Speaker 3: make an exception for this and say, once I got

512
00:27:46,400 --> 00:27:48,440
Speaker 3: it and had seen the whole thing, I liked it.

513
00:27:49,320 --> 00:27:50,840
Speaker 1: I don't. I guess I don't really have a firm

514
00:27:50,880 --> 00:27:54,080
Speaker 1: opinion about it. I don't remember being ever being offended

515
00:27:54,160 --> 00:27:56,480
Speaker 1: by slow moo in the opening of a film, but

516
00:27:56,480 --> 00:27:58,679
Speaker 1: I also can't think of a firm example of it

517
00:27:58,720 --> 00:27:59,520
Speaker 1: outside of this one.

518
00:28:00,000 --> 00:28:02,680
Speaker 3: I feel like it's most common in like moody horror

519
00:28:02,720 --> 00:28:05,160
Speaker 3: movies that are starting with a kind of like, oh,

520
00:28:05,240 --> 00:28:07,720
Speaker 3: here's a weird vibe, and then we'll we'll take you

521
00:28:07,800 --> 00:28:09,400
Speaker 3: back and show you how we got here.

522
00:28:09,720 --> 00:28:11,199
Speaker 1: Mmm yeah yeah.

523
00:28:11,240 --> 00:28:13,119
Speaker 3: But then we get a credit sequence and then we

524
00:28:13,200 --> 00:28:15,840
Speaker 3: come back to sort of the beginning of the story.

525
00:28:15,920 --> 00:28:19,399
Speaker 3: So we see a long on the road shot cutting

526
00:28:19,440 --> 00:28:22,040
Speaker 3: through the middle of these golden fields. The road is

527
00:28:22,119 --> 00:28:25,720
Speaker 3: receding as the camera flies backwards, and I really liked

528
00:28:25,720 --> 00:28:29,000
Speaker 3: the look of that and we find Jackie Karen driving

529
00:28:29,080 --> 00:28:31,199
Speaker 3: a truck with a young boy standing up in the

530
00:28:31,200 --> 00:28:31,919
Speaker 3: bed of the truck.

531
00:28:32,240 --> 00:28:34,120
Speaker 1: Yeah, and we did. This is one of those sequences

532
00:28:34,160 --> 00:28:37,480
Speaker 1: where we get we certainly get that Australian quality of

533
00:28:37,520 --> 00:28:40,280
Speaker 1: the of the geography here, you know, wide open spaces.

534
00:28:40,640 --> 00:28:40,880
Speaker 3: Yes.

535
00:28:41,000 --> 00:28:41,240
Speaker 1: Yeah.

536
00:28:41,280 --> 00:28:43,640
Speaker 3: The color palette of the landscape too in these shots

537
00:28:43,680 --> 00:28:47,480
Speaker 3: is really cool because you have these dry blonde fields

538
00:28:47,560 --> 00:28:50,160
Speaker 3: cut through by like a stripe of green trees which

539
00:28:50,200 --> 00:28:52,400
Speaker 3: I assume are they're along the banks of a river

540
00:28:52,480 --> 00:28:55,640
Speaker 3: that we can't see. And you know, we often complain

541
00:28:56,080 --> 00:29:00,200
Speaker 3: about driving scenes in movies because they are clearly being

542
00:29:00,280 --> 00:29:02,400
Speaker 3: used to pad out the runtime of a movie that

543
00:29:02,520 --> 00:29:05,959
Speaker 3: is wanting for content. Don't have enough plot, pad that

544
00:29:06,000 --> 00:29:08,880
Speaker 3: thing out. Have some driving scenes, show people parking, Yeah,

545
00:29:08,880 --> 00:29:12,920
Speaker 3: go for it. But I love Oh they're they're terrible,

546
00:29:12,960 --> 00:29:15,120
Speaker 3: But I love these driving scenes. This is how to

547
00:29:15,160 --> 00:29:17,200
Speaker 3: do it right. They're they're setting the tone.

548
00:29:17,480 --> 00:29:19,880
Speaker 1: Yeah, yeah, I've done properly. They can definitely set the

549
00:29:19,920 --> 00:29:24,479
Speaker 1: tone and tell you something about the world that these

550
00:29:24,560 --> 00:29:26,000
Speaker 1: characters are are living in.

551
00:29:26,360 --> 00:29:28,720
Speaker 3: But also I liked this opening shot of the you know,

552
00:29:28,760 --> 00:29:33,080
Speaker 3: the camera receding along the road over the truck because

553
00:29:33,080 --> 00:29:34,680
Speaker 3: it got us used to the idea that there's going

554
00:29:34,720 --> 00:29:37,240
Speaker 3: to be a lot of camera movement in this movie.

555
00:29:37,560 --> 00:29:40,719
Speaker 3: This this was a movie with a very active camera,

556
00:29:41,120 --> 00:29:44,840
Speaker 3: and it likes the camera pulling away shot, and I

557
00:29:45,240 --> 00:29:48,760
Speaker 3: thought that worked very well throughout the runtime. Yeah, so

558
00:29:48,880 --> 00:29:52,080
Speaker 3: we're seeing Linda driving along on these on these rural

559
00:29:52,160 --> 00:29:56,480
Speaker 3: roads through the stry landscape, and the dryness is accentuated

560
00:29:56,480 --> 00:29:58,680
Speaker 3: by what we're hearing on the radio, which is an

561
00:29:58,680 --> 00:30:01,920
Speaker 3: announcer saying, you know, clear all combustible materials from around

562
00:30:01,960 --> 00:30:06,360
Speaker 3: your home and remove trash from gutters. Fire conditions are

563
00:30:06,360 --> 00:30:09,200
Speaker 3: in an all time high, which connects to something in

564
00:30:09,240 --> 00:30:12,120
Speaker 3: an interesting way later in the scene. I wonder, I

565
00:30:12,160 --> 00:30:14,600
Speaker 3: guess we can come back to it. But eventually Linda

566
00:30:14,680 --> 00:30:18,360
Speaker 3: ends up the friendly roadside diner and gas station. Maybe

567
00:30:18,440 --> 00:30:20,920
Speaker 3: my favorite set from the movie, though it has multiple

568
00:30:20,960 --> 00:30:23,640
Speaker 3: good sets, but this diner is just everything.

569
00:30:24,040 --> 00:30:27,080
Speaker 1: Yes, this is one of these environments that I just

570
00:30:28,000 --> 00:30:30,280
Speaker 1: my eyes were just busy the whole time checking out

571
00:30:30,280 --> 00:30:32,880
Speaker 1: all the little details and taking it in, and like

572
00:30:32,880 --> 00:30:35,400
Speaker 1: everything in the film is very well shot. I couldn't

573
00:30:35,400 --> 00:30:38,520
Speaker 1: decide though, and I guess this speaks to just how

574
00:30:38,560 --> 00:30:41,320
Speaker 1: well it was put together. I couldn't decide how natural

575
00:30:41,360 --> 00:30:44,520
Speaker 1: the environment was, Like is this did they just basically

576
00:30:44,560 --> 00:30:46,280
Speaker 1: walk in, clean this place up a little and start

577
00:30:46,280 --> 00:30:49,360
Speaker 1: filming it, or did they meticulously put it together? Because

578
00:30:50,440 --> 00:30:52,960
Speaker 1: it certainly feels real. It feels like just a slice

579
00:30:53,000 --> 00:30:56,320
Speaker 1: of late seventies Australia, something that I don't think I've

580
00:30:56,360 --> 00:30:58,880
Speaker 1: seen on screen before, and of course I don't have

581
00:30:58,920 --> 00:31:02,040
Speaker 1: any personal experience with seventies Australia, but it feels so authentic.

582
00:31:02,520 --> 00:31:04,760
Speaker 1: And he had, on the other hand, like the colors

583
00:31:04,800 --> 00:31:07,880
Speaker 1: popped in a certain way that felt that made me think, well,

584
00:31:07,880 --> 00:31:11,000
Speaker 1: maybe this, you know, there's something very intentional about it

585
00:31:11,040 --> 00:31:14,560
Speaker 1: as well, like something about the bright greens that show up,

586
00:31:15,520 --> 00:31:17,920
Speaker 1: you know, concerning like the jukebox and some of the

587
00:31:17,960 --> 00:31:19,560
Speaker 1: other details in the location.

588
00:31:19,960 --> 00:31:22,320
Speaker 3: To mention the greens, one of the characters who talks

589
00:31:22,320 --> 00:31:24,960
Speaker 3: in the scene is the cook who's operating the kitchen,

590
00:31:24,960 --> 00:31:27,600
Speaker 3: who eventually comes out to talk to Linda. But in

591
00:31:27,640 --> 00:31:31,600
Speaker 3: the kitchen, of course, one thing is Elvis posters everywhere.

592
00:31:31,640 --> 00:31:34,280
Speaker 3: It looks like he's got at least five Elvis posters up,

593
00:31:35,000 --> 00:31:38,520
Speaker 3: but he's also got these green cones that he grabs

594
00:31:38,560 --> 00:31:40,560
Speaker 3: at various times are they supposed to be salt and

595
00:31:40,640 --> 00:31:41,520
Speaker 3: pepper shakers.

596
00:31:41,560 --> 00:31:44,640
Speaker 1: I don't know if he's cooking, so maybe that's what

597
00:31:44,720 --> 00:31:45,000
Speaker 1: they are.

598
00:31:45,400 --> 00:31:48,040
Speaker 3: But the other thing is I got overly fixated on

599
00:31:48,280 --> 00:31:51,880
Speaker 3: the game cabinets inside this diner. So one of them

600
00:31:52,440 --> 00:31:55,840
Speaker 3: was a real arcade cabinet called space Wars. I had

601
00:31:55,840 --> 00:31:58,160
Speaker 3: to look this up. You've ever seen this game, rob now?

602
00:31:58,280 --> 00:32:00,720
Speaker 1: I don't remember ever seeing it before. Why this film?

603
00:32:00,960 --> 00:32:04,640
Speaker 3: Okay, So it's like a player versus player game where

604
00:32:04,680 --> 00:32:06,680
Speaker 3: you have these two little space ships on a star

605
00:32:06,800 --> 00:32:09,880
Speaker 3: field and you're trying to like shoot missiles at each other.

606
00:32:10,120 --> 00:32:12,120
Speaker 3: The two space ships are trying to destroy each other,

607
00:32:12,480 --> 00:32:14,800
Speaker 3: and you can pilot around in space, and I think

608
00:32:14,880 --> 00:32:17,040
Speaker 3: usually there's like a star in the middle of the

609
00:32:17,080 --> 00:32:20,240
Speaker 3: screen that acts as like a gravitational pull that pulls

610
00:32:20,240 --> 00:32:22,440
Speaker 3: you in, and so these ships are flying around, they're

611
00:32:22,440 --> 00:32:24,720
Speaker 3: trying to shoot each other, and it's it's a kind

612
00:32:24,760 --> 00:32:27,600
Speaker 3: of thing that I don't know if that really exists

613
00:32:27,640 --> 00:32:29,680
Speaker 3: much anymore, but it's like an arcade game that only

614
00:32:29,720 --> 00:32:31,959
Speaker 3: works player versus player, I guess, like an air hockey

615
00:32:31,960 --> 00:32:34,960
Speaker 3: table or something. It doesn't you can't play against the computer.

616
00:32:35,400 --> 00:32:35,840
Speaker 1: Huh.

617
00:32:35,880 --> 00:32:38,800
Speaker 3: Interesting, But the other thing that really caught my attention

618
00:32:39,040 --> 00:32:44,400
Speaker 3: is the pinball machine which is called beat Nicks. Yeah,

619
00:32:44,760 --> 00:32:50,280
Speaker 3: it's a Beat Nicks themed pinball game. The back I

620
00:32:50,320 --> 00:32:51,840
Speaker 3: don't know what you call it, the back face of

621
00:32:51,880 --> 00:32:53,760
Speaker 3: it that's got all the art on it. It shows like

622
00:32:53,800 --> 00:32:57,960
Speaker 3: some people whacked out at a crazy party. Man, And

623
00:32:58,240 --> 00:33:01,800
Speaker 3: it's got one guy who looks like Prince Valleyant or something.

624
00:33:01,840 --> 00:33:05,200
Speaker 3: He's got the long blonde hair but he's clearly been

625
00:33:05,600 --> 00:33:06,760
Speaker 3: been on the tee sticks.

626
00:33:06,880 --> 00:33:11,400
Speaker 1: And oh boy, it looks like an exciting machine. You know,

627
00:33:11,600 --> 00:33:14,000
Speaker 1: it doesn't have any competition out here in the middle

628
00:33:14,000 --> 00:33:16,120
Speaker 1: of nowhere, so I guess it doesn't matter what the

629
00:33:16,120 --> 00:33:18,520
Speaker 1: theme is. It's not like folks are going to drive

630
00:33:18,560 --> 00:33:21,720
Speaker 1: over to the next town and play their sci fi

631
00:33:21,840 --> 00:33:23,760
Speaker 1: themed pinball machine over there.

632
00:33:23,960 --> 00:33:26,920
Speaker 3: Yeah, I want to play a Star Wars pinball machine. Sorry, Bud,

633
00:33:26,920 --> 00:33:28,320
Speaker 3: we only got beat Nicks here.

634
00:33:30,120 --> 00:33:32,520
Speaker 1: But this day the machine is. It has this wonderful

635
00:33:33,520 --> 00:33:38,320
Speaker 1: purple and black kind of coloration going on, so it

636
00:33:38,400 --> 00:33:40,760
Speaker 1: really pops in the scene. And it's right next to

637
00:33:40,800 --> 00:33:41,480
Speaker 1: the jukebox.

638
00:33:41,760 --> 00:33:43,760
Speaker 3: Oh yeah, and we see like a kind of greasy

639
00:33:43,800 --> 00:33:46,440
Speaker 3: outback guy working the jukebox, and then right I don't

640
00:33:46,440 --> 00:33:48,480
Speaker 3: know if you noticed the poster right above the jukebox

641
00:33:48,880 --> 00:33:52,920
Speaker 3: that says new polywaffle and that ring a bell, rung

642
00:33:52,920 --> 00:33:54,440
Speaker 3: a bell. The second time I was watching because I

643
00:33:54,480 --> 00:33:56,040
Speaker 3: was like, wait a minute later on the kid is

644
00:33:56,120 --> 00:34:00,000
Speaker 3: offering somebody a polywaffle. What the heck is a polywaffle?

645
00:34:00,480 --> 00:34:02,520
Speaker 3: It's real. I looked it up. It's a type of

646
00:34:02,600 --> 00:34:07,200
Speaker 3: chocolate bar. It's got a waffle wafer tube inside it

647
00:34:07,600 --> 00:34:10,279
Speaker 3: that's full of marshmallow, and then it's got chocolate on

648
00:34:10,320 --> 00:34:13,960
Speaker 3: the outside. Interesting choice, poly waffle.

649
00:34:14,640 --> 00:34:17,840
Speaker 1: Yep. Okay, I've pulled up I've pulled up an example

650
00:34:17,840 --> 00:34:20,120
Speaker 1: of this. Yep, that's interesting.

651
00:34:20,120 --> 00:34:25,640
Speaker 3: I mean, yeah, okay, this has been Australian anthropology with

652
00:34:25,760 --> 00:34:27,000
Speaker 3: Robert and Joe.

653
00:34:27,040 --> 00:34:28,960
Speaker 1: I mean, it looks a lot of images are popping up.

654
00:34:28,960 --> 00:34:32,080
Speaker 1: It looks quite popular. It looks like there may be

655
00:34:32,160 --> 00:34:35,960
Speaker 1: some sort of an ice cream version of it as well. Yeah.

656
00:34:35,960 --> 00:34:38,359
Speaker 1: This is definitely one of the many instances in this

657
00:34:38,400 --> 00:34:42,520
Speaker 1: podcast where we'll be asking for our Australian listeners to

658
00:34:42,680 --> 00:34:46,560
Speaker 1: reach out and let us know more about the polywaffle experience.

659
00:34:55,600 --> 00:34:58,480
Speaker 3: But when so, Linda sits down at the counter in

660
00:34:58,560 --> 00:35:01,000
Speaker 3: the diner where she's clearly no and remembered, you know

661
00:35:01,040 --> 00:35:03,359
Speaker 3: that people start talking to her. She knows this kid

662
00:35:03,400 --> 00:35:06,759
Speaker 3: here and the cook, and she does something interesting. She

663
00:35:06,880 --> 00:35:11,879
Speaker 3: starts building a balanced tower of forks, like propping them

664
00:35:11,920 --> 00:35:16,120
Speaker 3: up against each other and making a little tower. And

665
00:35:16,160 --> 00:35:18,080
Speaker 3: the kid asks her about it, and she says, it's

666
00:35:18,120 --> 00:35:21,080
Speaker 3: a test of nerves. And I think it's interesting. It

667
00:35:21,160 --> 00:35:23,400
Speaker 3: has a parallel with a scene later on in the

668
00:35:23,440 --> 00:35:26,960
Speaker 3: movie where she's building a pyramid out of sugar cubes

669
00:35:27,000 --> 00:35:29,440
Speaker 3: in the same diner, but under very different conditions.

670
00:35:29,920 --> 00:35:32,840
Speaker 1: Yeah, it's just another example of things in this film

671
00:35:33,320 --> 00:35:35,640
Speaker 1: makes sense. There's an economy of things in this film

672
00:35:35,680 --> 00:35:39,000
Speaker 1: and an interconnectedness of things in this film that it's

673
00:35:39,040 --> 00:35:41,520
Speaker 1: not always there in pictures we discussed. You know, I'm

674
00:35:41,560 --> 00:35:44,000
Speaker 1: so used to there being like some sort of plot

675
00:35:44,040 --> 00:35:47,920
Speaker 1: element that goes nowhere. There's a dead end road that

676
00:35:48,120 --> 00:35:50,560
Speaker 1: you know, it's something that sometimes it's like a major

677
00:35:50,719 --> 00:35:53,920
Speaker 1: like four lane dead end highway. And in this movie,

678
00:35:54,000 --> 00:35:56,840
Speaker 1: even the little Oh, it seems like maybe a meandering

679
00:35:56,920 --> 00:36:00,279
Speaker 1: path will come back and reconnect to something else in

680
00:36:00,320 --> 00:36:01,279
Speaker 1: a delightful way.

681
00:36:01,800 --> 00:36:03,160
Speaker 3: What do you think about those hamburgers?

682
00:36:03,239 --> 00:36:03,439
Speaker 4: Huh?

683
00:36:03,440 --> 00:36:06,840
Speaker 3: When the cook comes out with the hamburgers. What you

684
00:36:06,840 --> 00:36:08,319
Speaker 3: want to eat those things? You want to put that

685
00:36:08,360 --> 00:36:08,839
Speaker 3: in your mouth?

686
00:36:09,080 --> 00:36:11,839
Speaker 1: I mean they're definitely small town hamburgers. I mean, what's

687
00:36:11,880 --> 00:36:13,280
Speaker 1: the competition here in this place?

688
00:36:13,600 --> 00:36:14,440
Speaker 3: Not too good, is it?

689
00:36:14,560 --> 00:36:14,840
Speaker 1: Chief.

690
00:36:16,560 --> 00:36:18,399
Speaker 3: So the cook comes out and he says, sorry about

691
00:36:18,440 --> 00:36:20,960
Speaker 3: your mother, Linda, and they have a little talk. When

692
00:36:21,000 --> 00:36:23,279
Speaker 3: we find out from Linda's conversation with the cook at

693
00:36:23,280 --> 00:36:25,960
Speaker 3: the diner that, of course her mother died recently, that

694
00:36:26,040 --> 00:36:28,680
Speaker 3: Linda has been away and that she's come back. I

695
00:36:28,680 --> 00:36:30,400
Speaker 3: think we find out later on in the movie that

696
00:36:30,480 --> 00:36:35,920
Speaker 3: she has been teaching at a school for emotionally disturbed children,

697
00:36:36,360 --> 00:36:38,840
Speaker 3: and that she's returned after her mother died, and that

698
00:36:38,880 --> 00:36:42,000
Speaker 3: her mother left her the Montclair Estate, which is a

699
00:36:42,000 --> 00:36:45,440
Speaker 3: big mansion where they rent out rooms and it functions

700
00:36:45,440 --> 00:36:47,960
Speaker 3: as a retirement home. And the cook says, what are

701
00:36:47,960 --> 00:36:50,640
Speaker 3: you going to do with that big house, Linda, And

702
00:36:50,719 --> 00:36:53,960
Speaker 3: she doesn't know. So next thing, she's driving to the

703
00:36:54,000 --> 00:36:55,640
Speaker 3: house and we get to see it from the outside,

704
00:36:55,640 --> 00:36:58,319
Speaker 3: and I love the look of it because it is

705
00:36:58,400 --> 00:37:01,680
Speaker 3: this type of mansion. I don't know what type it's called.

706
00:37:01,719 --> 00:37:03,759
Speaker 3: I was actually trying to even look this up. It

707
00:37:03,840 --> 00:37:07,719
Speaker 3: might be a new Victorian style, but it's made of

708
00:37:07,840 --> 00:37:10,680
Speaker 3: brick instead of wood, so I don't know what it is.

709
00:37:10,719 --> 00:37:15,160
Speaker 3: But one whole corner of it is just completely covered

710
00:37:15,200 --> 00:37:18,120
Speaker 3: in thick ivy or some kind of green leafy vine,

711
00:37:18,320 --> 00:37:21,359
Speaker 3: and I don't know. I love the contrast. The other

712
00:37:21,440 --> 00:37:26,120
Speaker 3: half of the house is totally clean, just like clean stonemasonry,

713
00:37:26,719 --> 00:37:30,600
Speaker 3: and then this corner is a forest. It's just total vegetation.

714
00:37:31,600 --> 00:37:32,840
Speaker 3: It felt like it meant something.

715
00:37:33,239 --> 00:37:36,239
Speaker 1: Yeah, yeah, Like I said, it feels like there's very

716
00:37:36,239 --> 00:37:39,440
Speaker 1: little wasted detail in this picture that everything kind of

717
00:37:39,440 --> 00:37:40,080
Speaker 1: works together.

718
00:37:40,680 --> 00:37:43,080
Speaker 3: So we meet some of the characters. Linda apparently has

719
00:37:43,080 --> 00:37:45,440
Speaker 3: a long friendship with one of the residents. I think

720
00:37:45,440 --> 00:37:48,400
Speaker 3: he sort of helped raise her. It's a man there

721
00:37:48,480 --> 00:37:51,239
Speaker 3: named Lance who is wearing a blue beret and he's

722
00:37:51,280 --> 00:37:54,200
Speaker 3: sort of always going on about the Great War. There's

723
00:37:54,600 --> 00:37:56,400
Speaker 3: a story he tells where he was well, I was

724
00:37:56,440 --> 00:37:59,000
Speaker 3: walking out to the latrine and then along comes a

725
00:37:59,000 --> 00:38:03,400
Speaker 3: big whacking shit l and repeat that many times throughout

726
00:38:03,400 --> 00:38:06,120
Speaker 3: the movie. I guess the other characters that are worth

727
00:38:06,200 --> 00:38:09,239
Speaker 3: mentioning that she she meets there at the home are

728
00:38:09,320 --> 00:38:12,799
Speaker 3: Connie and doctor Barton, who both I guess her employees

729
00:38:12,840 --> 00:38:15,800
Speaker 3: who work there. Doctor Barton is a doctor, he tends

730
00:38:15,840 --> 00:38:20,000
Speaker 3: to the residence, and Connie is she's a general caretaker.

731
00:38:20,040 --> 00:38:22,560
Speaker 1: I guess, yeah. And they kind of have the role

732
00:38:22,600 --> 00:38:25,120
Speaker 1: in the film that you encounter in a lot of films,

733
00:38:25,160 --> 00:38:27,759
Speaker 1: you know, like this, where she is supposed to come

734
00:38:27,760 --> 00:38:29,839
Speaker 1: to them and say, I think something is wrong here,

735
00:38:29,920 --> 00:38:32,160
Speaker 1: and their job is to say, no, there's nothing wrong

736
00:38:32,160 --> 00:38:32,600
Speaker 1: here at all.

737
00:38:32,760 --> 00:38:35,799
Speaker 3: Whyever would you say that? Yes, But here's where we

738
00:38:35,800 --> 00:38:40,000
Speaker 3: start getting scenes of Linda going through her mother's old things.

739
00:38:40,040 --> 00:38:42,480
Speaker 3: So she's looking through her possessions as the you know,

740
00:38:42,719 --> 00:38:45,920
Speaker 3: the synth music is pulsing. She's looking through her mother's things,

741
00:38:46,000 --> 00:38:50,560
Speaker 3: her account ledgers, her diaries, and the music really sort

742
00:38:50,560 --> 00:38:53,080
Speaker 3: of invites you to wonder what's happening in her mind.

743
00:38:53,800 --> 00:38:57,359
Speaker 3: But she's clearly because there are unanswered questions about her mother.

744
00:38:57,440 --> 00:39:00,000
Speaker 3: She's trying to figure out what happened in the time

745
00:39:00,280 --> 00:39:03,400
Speaker 3: she was away, I think. And we learn about Linda's

746
00:39:03,440 --> 00:39:06,760
Speaker 3: mother and her sister Rita trying to solve their money

747
00:39:06,800 --> 00:39:11,239
Speaker 3: problems by turning Montclair into a retirement home. And there

748
00:39:11,239 --> 00:39:12,920
Speaker 3: are just so many things here where I noticed how

749
00:39:13,320 --> 00:39:16,839
Speaker 3: symmetrical the movie is and how well things are set up,

750
00:39:16,880 --> 00:39:20,040
Speaker 3: like there's a scene of her taking her mother's red

751
00:39:20,120 --> 00:39:22,960
Speaker 3: shawl or cape whatever it is, and I didn't notice

752
00:39:22,960 --> 00:39:25,960
Speaker 3: it the first time, but she's like, she's, you know,

753
00:39:26,280 --> 00:39:29,160
Speaker 3: having an emotional connection to this article of clothing, which

754
00:39:29,360 --> 00:39:32,359
Speaker 3: turns up again later in the movie, but somebody's wearing it.

755
00:39:33,640 --> 00:39:34,200
Speaker 1: Yeah.

756
00:39:34,239 --> 00:39:38,440
Speaker 3: And another symmetrical thing I noticed was early on establishing

757
00:39:38,520 --> 00:39:41,960
Speaker 3: the spiral staircase in the mansion and how it's you know,

758
00:39:42,000 --> 00:39:45,800
Speaker 3: it's shot multiple times from above looking down. These shots

759
00:39:45,840 --> 00:39:49,040
Speaker 3: are all banging. There's even one later on where somebody

760
00:39:49,080 --> 00:39:52,040
Speaker 3: is descending the staircase very rapidly and the camera's just

761
00:39:52,080 --> 00:39:55,520
Speaker 3: like following over their shoulder, but with a weird type

762
00:39:55,520 --> 00:39:58,440
Speaker 3: of focus that's distorting the edges of the frame, and

763
00:39:58,480 --> 00:39:59,480
Speaker 3: it's just glorious.

764
00:40:00,040 --> 00:40:04,400
Speaker 1: Oh yeah, these spiral staircase shots are indeed just absolutely beautiful,

765
00:40:05,520 --> 00:40:09,040
Speaker 1: very well composed. I also was drawn in by those.

766
00:40:09,080 --> 00:40:12,640
Speaker 1: There's also a great scene where you included a picture

767
00:40:12,640 --> 00:40:16,359
Speaker 1: of this in our notes here where she's researching. She's

768
00:40:16,400 --> 00:40:19,239
Speaker 1: in pure research mode and we see her in the

769
00:40:19,239 --> 00:40:23,400
Speaker 1: middle of the floor with various boxes of research material

770
00:40:23,480 --> 00:40:25,560
Speaker 1: around her. There's a lamp in the floor. She's looking

771
00:40:25,600 --> 00:40:28,080
Speaker 1: at a book, and it's just so well structured. She

772
00:40:28,160 --> 00:40:30,440
Speaker 1: is not engaged, to be clear, she's not engaging in

773
00:40:30,480 --> 00:40:33,799
Speaker 1: any kind of supernatural activity in this shot, but it

774
00:40:33,880 --> 00:40:36,400
Speaker 1: has this feel of seance to it. It has this

775
00:40:36,520 --> 00:40:41,399
Speaker 1: feel of sort of ritual diving into the past, which,

776
00:40:41,400 --> 00:40:43,360
Speaker 1: of course she is diving into the past here she

777
00:40:43,520 --> 00:40:47,960
Speaker 1: is trying to sort of commune with the deceased, though

778
00:40:48,000 --> 00:40:50,719
Speaker 1: not in a supernatural way, in a very real world way.

779
00:40:51,120 --> 00:40:53,240
Speaker 1: And I just loved that shot.

780
00:40:53,520 --> 00:40:56,279
Speaker 3: Yeah, yeah, I agree. It's this darkened room with these

781
00:40:56,600 --> 00:41:00,080
Speaker 3: pools of warm light coming from a few lamps, and

782
00:41:00,200 --> 00:41:01,880
Speaker 3: then in the middle of the room she's on the

783
00:41:01,920 --> 00:41:04,600
Speaker 3: floor and it's almost like, actually the possessions are forming

784
00:41:04,600 --> 00:41:08,200
Speaker 3: a kind of spiral around her. And there's another scene

785
00:41:08,200 --> 00:41:12,200
Speaker 3: early on that is so good at setting this strange mood.

786
00:41:12,480 --> 00:41:15,279
Speaker 3: It's so weird. But it's the new arrival scene. They

787
00:41:15,280 --> 00:41:17,760
Speaker 3: find out, oh, somebody, we're getting a new resident tonight,

788
00:41:18,440 --> 00:41:21,640
Speaker 3: and I think Linda has a brief argument with Connie

789
00:41:21,640 --> 00:41:23,600
Speaker 3: about this. She's like, I don't know what we're going

790
00:41:23,640 --> 00:41:25,040
Speaker 3: to do with this place. You know, we don't want

791
00:41:25,080 --> 00:41:27,719
Speaker 3: new residents, and Connie's like, we need the money, and

792
00:41:27,760 --> 00:41:30,680
Speaker 3: so the new arrival comes in just as lightning strikes

793
00:41:30,719 --> 00:41:33,640
Speaker 3: a tree outside. The tree falls across the driveway, and

794
00:41:33,680 --> 00:41:36,360
Speaker 3: so the van that's approaching has to stop, and we

795
00:41:36,440 --> 00:41:39,279
Speaker 3: see a man helping his mother out of the van

796
00:41:39,440 --> 00:41:41,799
Speaker 3: and having to like carry her over the tree to

797
00:41:41,800 --> 00:41:43,920
Speaker 3: get her into the wheelchair on the lawn, and then

798
00:41:43,920 --> 00:41:47,160
Speaker 3: the wheelchair won't move because the lawn's all soaking wet,

799
00:41:47,640 --> 00:41:50,279
Speaker 3: and it's just very strange, big mood. But another thing

800
00:41:50,360 --> 00:41:54,120
Speaker 3: that really hits about the scene is how out of

801
00:41:54,200 --> 00:41:57,040
Speaker 3: place it feels to have this driving rain, because just

802
00:41:57,080 --> 00:42:00,400
Speaker 3: earlier today we were watching these scenes where everything looks

803
00:42:00,440 --> 00:42:02,840
Speaker 3: so dry, and the guy on the radio is talking

804
00:42:02,920 --> 00:42:06,840
Speaker 3: about the unprecedented dry condition and fire hazard. So something

805
00:42:06,880 --> 00:42:11,840
Speaker 3: in the weather has changed upon Linda's arrival. Yeah, So

806
00:42:11,920 --> 00:42:15,320
Speaker 3: the new arrivals or missus Ryan and her son, and

807
00:42:16,600 --> 00:42:19,520
Speaker 3: so we get some weird scenes of them coming in

808
00:42:19,520 --> 00:42:22,000
Speaker 3: in the dark, in the rain, and more scenes of

809
00:42:22,040 --> 00:42:24,520
Speaker 3: Linda sort of interacting with the other characters, you know,

810
00:42:25,480 --> 00:42:29,359
Speaker 3: showing her friendly and fond relationship with Lance, the guy

811
00:42:29,360 --> 00:42:32,480
Speaker 3: who was in the war. And eventually we start getting

812
00:42:32,480 --> 00:42:36,560
Speaker 3: into seeing spooky things. And I would say one of

813
00:42:36,600 --> 00:42:40,560
Speaker 3: the first examples of This is a time when Linda

814
00:42:40,880 --> 00:42:43,319
Speaker 3: is alone in her room and she looks out the

815
00:42:43,360 --> 00:42:46,720
Speaker 3: window at night and it's still i think raining outside,

816
00:42:46,760 --> 00:42:50,080
Speaker 3: or at least it's you know, wet and kind of hazy,

817
00:42:50,200 --> 00:42:52,960
Speaker 3: and there's a single lamp standing out in the middle

818
00:42:53,000 --> 00:42:56,239
Speaker 3: of the front lawn out in front of Montclair, and

819
00:42:56,520 --> 00:43:00,520
Speaker 3: behind the lamp there's just a shadowy figure, a figure

820
00:43:00,560 --> 00:43:03,240
Speaker 3: in silhouette that looks so cool, but it's just looking

821
00:43:03,320 --> 00:43:07,000
Speaker 3: up as if looking at her window, and no idea

822
00:43:07,040 --> 00:43:09,520
Speaker 3: who it is. But it starts to set this unsettling

823
00:43:09,600 --> 00:43:13,280
Speaker 3: mood of things just weirder and weirder stuff starts happening.

824
00:43:14,200 --> 00:43:17,799
Speaker 1: Yeah, and of course deaths begin to occur. And it's

825
00:43:17,840 --> 00:43:20,560
Speaker 1: interesting that this is where the setting becomes interesting as well,

826
00:43:20,600 --> 00:43:23,320
Speaker 1: because this is a retirement community, this is a place

827
00:43:23,880 --> 00:43:27,680
Speaker 1: that is populated by the elderly, and it's a place

828
00:43:27,719 --> 00:43:31,640
Speaker 1: where death is you know, maybe not in everyday occurrence,

829
00:43:31,640 --> 00:43:36,120
Speaker 1: but death is regular enough that this location, this world

830
00:43:36,360 --> 00:43:40,360
Speaker 1: that the characters are moving around in, is more adjacent

831
00:43:40,400 --> 00:43:43,759
Speaker 1: to death than the rest of the world, which I

832
00:43:43,800 --> 00:43:46,960
Speaker 1: think adds to the texture of everything rather nicely.

833
00:43:47,280 --> 00:43:50,040
Speaker 3: Yeah, there's actually a lot of ambiguity in this movie.

834
00:43:50,040 --> 00:43:52,960
Speaker 3: So you mentioned earlier, I think the idea of this

835
00:43:53,000 --> 00:43:55,200
Speaker 3: movie has a lot of ambiguity about whether it is

836
00:43:55,320 --> 00:43:59,680
Speaker 3: ghosts or not. And I love that ambiguity. So Linda

837
00:43:59,760 --> 00:44:02,680
Speaker 3: res in her mother's diaries all these stories she tells

838
00:44:02,719 --> 00:44:06,520
Speaker 3: about things moving on their own, or hearing whispering or

839
00:44:06,640 --> 00:44:09,080
Speaker 3: voices in the night, or you know, things that start

840
00:44:09,120 --> 00:44:12,719
Speaker 3: to suggest so maybe Montclair is haunted. And there are

841
00:44:12,760 --> 00:44:16,120
Speaker 3: a number of just like eerie encounters that Linda has

842
00:44:16,160 --> 00:44:19,759
Speaker 3: where it could be that somebody is screwing with her

843
00:44:19,960 --> 00:44:23,040
Speaker 3: or it could be ghosts, and it's really not clear.

844
00:44:23,080 --> 00:44:26,160
Speaker 3: It could work either way. So there are like times

845
00:44:26,200 --> 00:44:28,719
Speaker 3: when she leaves her room and then comes back and

846
00:44:28,760 --> 00:44:30,960
Speaker 3: then a candle that she blew out is lit again,

847
00:44:31,400 --> 00:44:33,840
Speaker 3: and all of the faucets are running and the bathroom

848
00:44:33,920 --> 00:44:35,920
Speaker 3: is flooding. Like there's a great scene where she has

849
00:44:35,960 --> 00:44:38,520
Speaker 3: to go turn all the faucets off as the bathtub

850
00:44:38,560 --> 00:44:42,320
Speaker 3: is overflowing onto the floor. And I love the bathroom,

851
00:44:42,320 --> 00:44:46,080
Speaker 3: by the way, because it has this disgusting looking linoleum floor,

852
00:44:46,160 --> 00:44:49,759
Speaker 3: but these beautiful I think the fixtures are green, like

853
00:44:49,800 --> 00:44:51,440
Speaker 3: the green tub and sink.

854
00:44:52,360 --> 00:44:56,839
Speaker 1: Yeah, these are great bathroom locations. Accentuated, of course by

855
00:44:56,920 --> 00:44:59,440
Speaker 1: the fact that we have we have drowning deaths occurring,

856
00:45:00,520 --> 00:45:02,879
Speaker 1: and that also plays into the ambiguity because these are

857
00:45:02,920 --> 00:45:08,759
Speaker 1: deaths that could very well be natural, they could be suspicious,

858
00:45:09,160 --> 00:45:12,560
Speaker 1: but they could also play into this idea of the supernatural.

859
00:45:12,640 --> 00:45:16,120
Speaker 1: You know, this of the haunting of the water, it

860
00:45:16,200 --> 00:45:20,040
Speaker 1: made me think of some of the yokai, the Japanese

861
00:45:20,680 --> 00:45:26,840
Speaker 1: spirit creatures that are associated with hauntings, haunting bathrooms, particularly

862
00:45:26,880 --> 00:45:31,200
Speaker 1: like elementary school bathroom situations, that there might be some

863
00:45:31,760 --> 00:45:35,040
Speaker 1: supernatural force that lurks in a place like this. And

864
00:45:35,080 --> 00:45:37,280
Speaker 1: you did very much get that vibe in this film,

865
00:45:38,080 --> 00:45:39,920
Speaker 1: kind of a moaning myrtle kind of a thing. I

866
00:45:39,920 --> 00:45:42,399
Speaker 1: guess if you want to draw in a Harry Potter a.

867
00:45:42,320 --> 00:45:45,360
Speaker 3: Connection minor character that I just want to mention because

868
00:45:45,640 --> 00:45:47,880
Speaker 3: Rachel and I liked her so much. I think her

869
00:45:47,920 --> 00:45:50,840
Speaker 3: name is Carol, the girl who's going to the party

870
00:45:50,880 --> 00:45:53,200
Speaker 3: and is having trouble shifting the gears on her car.

871
00:45:55,560 --> 00:45:58,319
Speaker 3: She's just this lady in like a red hat who

872
00:45:58,719 --> 00:46:02,200
Speaker 3: clearly likes to party. And there's a scene so Linda

873
00:46:02,480 --> 00:46:05,239
Speaker 3: reconnects with I think an old boyfriend. Is that how

874
00:46:05,280 --> 00:46:08,400
Speaker 3: you understood Barney that like, yeah, they had been together

875
00:46:08,440 --> 00:46:11,160
Speaker 3: in the past. She comes home and they rekindle.

876
00:46:11,600 --> 00:46:14,520
Speaker 1: Yeah, and you know Barney, Barney's just he's a local boy.

877
00:46:14,920 --> 00:46:16,640
Speaker 3: Yeah, you know, he's just a nice guy.

878
00:46:16,960 --> 00:46:18,200
Speaker 1: Yeah. Yeah.

879
00:46:18,239 --> 00:46:20,879
Speaker 3: There's a great scene where they're like out having fun

880
00:46:20,920 --> 00:46:24,279
Speaker 3: in the woods and then suddenly Linda sees like a

881
00:46:24,320 --> 00:46:29,240
Speaker 3: creepy figure standing on a stump and she thinks it's Barney,

882
00:46:29,280 --> 00:46:31,480
Speaker 3: but then Barney turns out to be behind her, so

883
00:46:31,560 --> 00:46:33,440
Speaker 3: she's like, well, who's that And then they turn and

884
00:46:33,480 --> 00:46:36,480
Speaker 3: look and there's nobody there. So you know, the strange

885
00:46:36,560 --> 00:46:37,480
Speaker 3: doings continue.

886
00:46:37,880 --> 00:46:38,520
Speaker 1: Yeah.

887
00:46:38,600 --> 00:46:42,400
Speaker 3: Now there's one stylistic choice that I thought was very strange,

888
00:46:43,040 --> 00:46:45,160
Speaker 3: and I wonder what you made of this. This movie

889
00:46:45,200 --> 00:46:49,440
Speaker 3: has something I can't recall seeing in other horror movies,

890
00:46:49,600 --> 00:46:53,520
Speaker 3: at least horror movies post Psycho, because I think Psycho

891
00:46:53,880 --> 00:46:56,360
Speaker 3: established a precedent that if you want to make a

892
00:46:56,440 --> 00:46:59,520
Speaker 3: jump scare work, you need loud audio. You know, like

893
00:46:59,560 --> 00:47:02,960
Speaker 3: when when when Missus Bates comes out of the room

894
00:47:03,040 --> 00:47:05,360
Speaker 3: with the knife held high at the at the detective

895
00:47:05,440 --> 00:47:09,080
Speaker 3: and Psycho, we get the stabbing violins. I just tried

896
00:47:09,080 --> 00:47:10,799
Speaker 3: to do an impression of them on mic and I

897
00:47:10,800 --> 00:47:13,600
Speaker 3: am insisting that we cut that out, so so but

898
00:47:13,760 --> 00:47:17,719
Speaker 3: bye bye to me going but yeah, yeah, yeah, So

899
00:47:17,800 --> 00:47:20,760
Speaker 3: you gotta have like a loud noise, something that accompanies

900
00:47:20,840 --> 00:47:24,520
Speaker 3: the visual sting and makes it a total sensory experience,

901
00:47:24,600 --> 00:47:26,279
Speaker 3: and that's how you really get people jumping out of

902
00:47:26,280 --> 00:47:31,440
Speaker 3: their chairs. This movie has what I would call jump

903
00:47:31,480 --> 00:47:35,120
Speaker 3: scares that have no audio at all. They're purely visual

904
00:47:35,160 --> 00:47:38,800
Speaker 3: scares set to absolute silence or just to ambient sound

905
00:47:38,840 --> 00:47:43,360
Speaker 3: from the room. Very unique and it seems intentional to me,

906
00:47:43,560 --> 00:47:47,040
Speaker 3: and I like the effect of it, I mean, being

907
00:47:47,120 --> 00:47:50,240
Speaker 3: silent like that. They don't function as well as loud

908
00:47:50,239 --> 00:47:53,279
Speaker 3: scares at actually getting you to jump to go ah,

909
00:47:53,320 --> 00:47:55,479
Speaker 3: but they have a different kind of effect all their own.

910
00:47:55,560 --> 00:47:59,120
Speaker 3: They're they're more unsettling that way, Like when you when

911
00:47:59,120 --> 00:48:02,160
Speaker 3: you pan up and see the man's face turned rob

912
00:48:02,160 --> 00:48:03,839
Speaker 3: I think you know the scene. I mean, after we've

913
00:48:03,880 --> 00:48:06,440
Speaker 3: been following the cat and then there's the cadaver in

914
00:48:06,440 --> 00:48:08,600
Speaker 3: the room and we pan up and see the man's

915
00:48:08,600 --> 00:48:10,600
Speaker 3: face and it has been turned so that it's looking

916
00:48:10,600 --> 00:48:14,560
Speaker 3: directly at the door into the camera. That's a jump scare,

917
00:48:14,600 --> 00:48:15,520
Speaker 3: but there's no sound.

918
00:48:16,440 --> 00:48:19,239
Speaker 1: Yeah, after you brought this up. I started thinking about it,

919
00:48:19,280 --> 00:48:21,960
Speaker 1: and so I wonder, first of all, it might just

920
00:48:21,960 --> 00:48:24,280
Speaker 1: be purely intentional. This could just be a very intentional

921
00:48:24,360 --> 00:48:26,960
Speaker 1: choice by the filmmakers. I also wonder how much of

922
00:48:27,000 --> 00:48:30,120
Speaker 1: it has to do with their musical choice, because again,

923
00:48:30,200 --> 00:48:32,560
Speaker 1: it doesn't seem like it was a case where Claus

924
00:48:32,600 --> 00:48:36,040
Speaker 1: Schules wrote them a score much less, you know, watch

925
00:48:36,080 --> 00:48:38,520
Speaker 1: the film and then compose something to fit their cut.

926
00:48:38,920 --> 00:48:41,480
Speaker 1: He apparently gave them some music to use and they

927
00:48:41,600 --> 00:48:44,279
Speaker 1: used it. And you know, if you're gonna do a

928
00:48:44,320 --> 00:48:46,920
Speaker 1: jump scare type thing, you need that, you need very

929
00:48:46,920 --> 00:48:50,960
Speaker 1: bombastic music. You need the screeching violins or I don't know,

930
00:48:51,000 --> 00:48:54,440
Speaker 1: maybe like a big wall you know sound, or I

931
00:48:54,480 --> 00:48:57,080
Speaker 1: don't know, maybe that's like a dubstep drop kind of

932
00:48:57,080 --> 00:49:01,080
Speaker 1: a thing. And class Schules is a amazing but that

933
00:49:01,160 --> 00:49:05,359
Speaker 1: is that's not really what he does. I could be wrong,

934
00:49:05,360 --> 00:49:07,040
Speaker 1: because there's a lot of his music. I have not

935
00:49:07,160 --> 00:49:09,120
Speaker 1: listened to it. There's just a tremendous amount of it,

936
00:49:09,120 --> 00:49:11,560
Speaker 1: and I'm only familiar really with a few of his releases.

937
00:49:12,880 --> 00:49:15,799
Speaker 1: But while some artists do engage in that kind of thing,

938
00:49:15,840 --> 00:49:18,160
Speaker 1: like I can think of various sort of industrial noise

939
00:49:18,280 --> 00:49:20,960
Speaker 1: artists who have been a very kind of alarming screechy

940
00:49:21,000 --> 00:49:23,400
Speaker 1: noise is thrown in there. But I don't think he

941
00:49:23,480 --> 00:49:26,239
Speaker 1: has that sort of sound in most of his work,

942
00:49:26,320 --> 00:49:27,600
Speaker 1: or at least stuff that I'm familiar with.

943
00:49:27,920 --> 00:49:29,840
Speaker 3: When you made the waw sound with your mouth, I

944
00:49:29,840 --> 00:49:31,680
Speaker 3: get what you're saying now, But for a second I

945
00:49:31,680 --> 00:49:33,759
Speaker 3: thought you were suggesting it should be a didgeridoo.

946
00:49:34,520 --> 00:49:38,480
Speaker 1: Well, I mean it could. It may very well have

947
00:49:38,520 --> 00:49:39,120
Speaker 1: been done.

948
00:49:39,600 --> 00:49:42,319
Speaker 3: This movie needs more Australian sound in it, so like

949
00:49:42,400 --> 00:49:46,360
Speaker 3: the jump scares are accompanied by the opening riff of Thunderstruck.

950
00:49:46,680 --> 00:49:48,360
Speaker 1: Yeah, I wonder if that might be. One of the

951
00:49:48,360 --> 00:49:51,160
Speaker 1: reasons this film has been more of an underground cult

952
00:49:51,200 --> 00:49:54,520
Speaker 1: favorite is that it's not as exploitive of if of

953
00:49:54,560 --> 00:49:58,319
Speaker 1: its Australian ness. Like, it's more honest and low key

954
00:49:58,040 --> 00:50:01,560
Speaker 1: in how it presents Australia. It's a setting, uh, and

955
00:50:01,600 --> 00:50:05,880
Speaker 1: there's there's no didgerido there's no nobody's being stabbed with

956
00:50:05,880 --> 00:50:08,000
Speaker 1: a shrimp on the barbie. You know it when you

957
00:50:08,040 --> 00:50:12,080
Speaker 1: if you if you bring your your crocodile dundee uh

958
00:50:12,960 --> 00:50:15,600
Speaker 1: e reader up to this thing. Uh, it's not gonna

959
00:50:15,640 --> 00:50:16,760
Speaker 1: go up into the red.

960
00:50:17,880 --> 00:50:20,440
Speaker 3: There's no there's no kangaroos in this movie, not a single.

961
00:50:20,960 --> 00:50:24,320
Speaker 1: But there are koalas. Oh my, they do real ones,

962
00:50:24,440 --> 00:50:29,440
Speaker 1: not real ones. But there's a fabulous koala puppet. I

963
00:50:29,440 --> 00:50:30,880
Speaker 1: thought he was. He was cute.

964
00:50:31,200 --> 00:50:34,400
Speaker 3: Oh, come on. The guy he's operating it is making it.

965
00:50:34,400 --> 00:50:37,640
Speaker 3: It's uh. It's like that laughing clown and the incredibly

966
00:50:37,640 --> 00:50:41,240
Speaker 3: strange creatures who became stopped living and became mixed up zombies.

967
00:50:41,080 --> 00:50:45,080
Speaker 1: Except well, okay, it's a koala puppet. Yes. And then

968
00:50:45,160 --> 00:50:47,440
Speaker 1: later on in the film doing actually a very crucial

969
00:50:47,480 --> 00:50:51,840
Speaker 1: scene there there there's like a there's some koala stuffies

970
00:50:51,920 --> 00:50:52,600
Speaker 1: on a display.

971
00:50:52,920 --> 00:50:55,640
Speaker 3: M I may have missed that part. I don't remember

972
00:50:55,680 --> 00:50:56,320
Speaker 3: the stuffies.

973
00:50:56,560 --> 00:50:57,840
Speaker 1: Oh yeah, it's in the finale.

974
00:50:58,080 --> 00:50:58,720
Speaker 3: Oh okay.

975
00:50:58,960 --> 00:51:01,400
Speaker 1: I know this because my sunwalked in while I was

976
00:51:01,400 --> 00:51:05,800
Speaker 1: finishing watching it. I know. I was like, all right, buddy,

977
00:51:05,800 --> 00:51:07,960
Speaker 1: something violent might be happening here shortly. And then I

978
00:51:08,000 --> 00:51:09,520
Speaker 1: was like, oh no, the kual is stuff and he's

979
00:51:09,680 --> 00:51:14,759
Speaker 1: like no, so then he left. All right, we've reached

980
00:51:14,760 --> 00:51:16,480
Speaker 1: the point where we're going to do a spoiler break.

981
00:51:16,480 --> 00:51:18,160
Speaker 1: But before we do the spoiler break, I'm just going

982
00:51:18,239 --> 00:51:20,400
Speaker 1: to go and tell you Where about the availability of

983
00:51:20,440 --> 00:51:23,879
Speaker 1: this film right now, as of this recording, at least

984
00:51:23,880 --> 00:51:26,719
Speaker 1: in my part of the world, it is available to

985
00:51:26,760 --> 00:51:30,719
Speaker 1: stream on Shutter and AMC Plus. There's also a very

986
00:51:30,840 --> 00:51:34,960
Speaker 1: nice blu ray edition from Second Side Films, And if

987
00:51:35,000 --> 00:51:37,319
Speaker 1: you really want to get into the music, you can

988
00:51:37,440 --> 00:51:39,960
Speaker 1: buy or stream this wherever you get your digital music.

989
00:51:40,000 --> 00:51:43,400
Speaker 1: It's also on band camp, but Roundtable put the soundtrack

990
00:51:43,400 --> 00:51:47,480
Speaker 1: out on vinyl. It has a really nice cover beat,

991
00:51:47,480 --> 00:51:50,360
Speaker 1: a bit of cover art. So these are all wonderful

992
00:51:50,400 --> 00:51:53,279
Speaker 1: ways for you to seek out the film. Yeah, you

993
00:51:53,280 --> 00:51:56,360
Speaker 1: can also go to the Roundtable dot bandcamp dot com

994
00:51:56,680 --> 00:52:00,000
Speaker 1: if you want to find the digital album there. All right,

995
00:52:00,080 --> 00:52:02,080
Speaker 1: let's do it, Joe, Let's jump into the spoiler section.

996
00:52:10,680 --> 00:52:15,080
Speaker 3: All right, Well, as the unsettling events continue on, we're

997
00:52:15,120 --> 00:52:17,400
Speaker 3: looking for a culprit, right, is it ghosts or is

998
00:52:17,400 --> 00:52:20,880
Speaker 3: it some kind of human actor? And Linda begins to

999
00:52:21,040 --> 00:52:26,480
Speaker 3: suspect a pair of human actors actually doctor Barton and Connie. Now,

1000
00:52:26,719 --> 00:52:28,040
Speaker 3: how do we get to them? Do you remember?

1001
00:52:28,600 --> 00:52:29,440
Speaker 1: How do we get to them?

1002
00:52:29,800 --> 00:52:33,279
Speaker 3: How do we get to thinking that they're doing something nefarious?

1003
00:52:33,600 --> 00:52:35,759
Speaker 1: Well, the main reason would be like if somebody is

1004
00:52:35,840 --> 00:52:39,040
Speaker 1: killing people here and it's obviously not Linda, and it's

1005
00:52:39,080 --> 00:52:42,280
Speaker 1: not ghosts, Like these are the only two other major

1006
00:52:42,360 --> 00:52:45,279
Speaker 1: figures that have access to all the facilities that you

1007
00:52:45,280 --> 00:52:47,279
Speaker 1: know are mobile enough. That's the other thing. It's like,

1008
00:52:47,600 --> 00:52:51,600
Speaker 1: you can't really suspect the people who live here the

1009
00:52:51,800 --> 00:52:54,560
Speaker 1: retirement community, because you know, most of them are kind

1010
00:52:54,560 --> 00:52:57,480
Speaker 1: of infirm and are kind of hobbling around and also

1011
00:52:57,520 --> 00:53:00,920
Speaker 1: just seem very nice. It's a very nice place. And

1012
00:53:01,040 --> 00:53:03,880
Speaker 1: the only characters that we've seen that they really have

1013
00:53:03,960 --> 00:53:07,480
Speaker 1: kind of a suspicious air to them are Connie and

1014
00:53:07,480 --> 00:53:09,319
Speaker 1: the doctor because they're the ones that are like, no,

1015
00:53:09,360 --> 00:53:11,040
Speaker 1: nothing's wrong here, why would you think that?

1016
00:53:11,560 --> 00:53:13,960
Speaker 3: And they appear to be conspiring also, like there are

1017
00:53:13,960 --> 00:53:16,719
Speaker 3: moments where Linda comes across them and they're like whispering

1018
00:53:16,760 --> 00:53:18,600
Speaker 3: to each other, and then they turn and see her

1019
00:53:18,680 --> 00:53:20,280
Speaker 3: and they're like, oh, hey, we're doing nothing.

1020
00:53:20,760 --> 00:53:22,880
Speaker 1: And I think clearly the film is structured so that

1021
00:53:22,920 --> 00:53:26,839
Speaker 1: we're supposed to suspect them. Once it becomes clear that

1022
00:53:26,920 --> 00:53:29,040
Speaker 1: this is not ghosts, we're like, oh, yeah, it has

1023
00:53:29,080 --> 00:53:29,680
Speaker 1: to be these two.

1024
00:53:30,080 --> 00:53:32,759
Speaker 3: Well, I think even up until close to the end,

1025
00:53:32,840 --> 00:53:36,239
Speaker 3: you still think there could be ghosts involved, that maybe

1026
00:53:36,600 --> 00:53:40,239
Speaker 3: it's a combination of nefarious human actors and ghosts. But

1027
00:53:41,480 --> 00:53:45,000
Speaker 3: Linda becomes especially convinced that doctor Barton and Connie are

1028
00:53:45,000 --> 00:53:47,440
Speaker 3: doing something evil because she's been reading all these old

1029
00:53:47,480 --> 00:53:50,240
Speaker 3: diaries and ledger books, and she eventually sneaks into doctor

1030
00:53:50,280 --> 00:53:55,280
Speaker 3: Barton's office and finds discrepancies in the records about deaths

1031
00:53:55,320 --> 00:53:58,640
Speaker 3: that occurred at this place, and so, yeah, she thinks

1032
00:53:58,640 --> 00:54:02,040
Speaker 3: something very nefarious as going on, that maybe doctor Barton

1033
00:54:02,040 --> 00:54:04,560
Speaker 3: and Connie are up to no good. And so there

1034
00:54:04,640 --> 00:54:08,120
Speaker 3: is a scene where she runs out fleeing from after

1035
00:54:08,320 --> 00:54:11,920
Speaker 3: she thinks they've discovered that she knows about them. She

1036
00:54:12,000 --> 00:54:15,480
Speaker 3: flees into the night, and she runs off to Barney's

1037
00:54:15,640 --> 00:54:19,680
Speaker 3: meeting of the what the brush Fire Volunteer brush Fire

1038
00:54:19,719 --> 00:54:24,480
Speaker 3: Fighters Association, where they're all sitting in this bingo hall

1039
00:54:24,880 --> 00:54:27,440
Speaker 3: and this guy is giving some strategy session about I

1040
00:54:27,480 --> 00:54:29,360
Speaker 3: don't know what he's talking about, but he's saying like

1041
00:54:29,680 --> 00:54:34,560
Speaker 3: more thinking, less drinking, and meanwhile Barney is passed out

1042
00:54:34,600 --> 00:54:36,600
Speaker 3: in his chair. He's like a sleep holding a beer,

1043
00:54:37,000 --> 00:54:38,880
Speaker 3: and she has to get his attention in the middle

1044
00:54:38,920 --> 00:54:42,040
Speaker 3: of this meeting and everybody's looking at her, and she

1045
00:54:42,480 --> 00:54:45,400
Speaker 3: and him go outside and she explains the whole situation.

1046
00:54:45,480 --> 00:54:48,080
Speaker 3: So they're going to go back and get the evidence

1047
00:54:48,120 --> 00:54:49,880
Speaker 3: so that they can figure out what's really going on.

1048
00:54:50,400 --> 00:54:52,719
Speaker 1: I would love to say sort of the dry Australian

1049
00:54:52,800 --> 00:54:56,600
Speaker 1: humor sort of set up for this meeting where they're saying, well,

1050
00:54:56,640 --> 00:54:59,120
Speaker 1: we need to really touch on the fact that we

1051
00:54:59,200 --> 00:55:03,520
Speaker 1: need less drinking among our volunteers. And then someone's like, well,

1052
00:55:03,960 --> 00:55:05,840
Speaker 1: we're not gonna have beer at the meeting. Then it's like, oh, no,

1053
00:55:06,400 --> 00:55:07,560
Speaker 1: we should have beer at the meeting.

1054
00:55:08,400 --> 00:55:11,759
Speaker 3: It sounds like what they're talking about. It sounds like

1055
00:55:11,760 --> 00:55:14,719
Speaker 3: what they're talking about is some kind of competition that

1056
00:55:14,800 --> 00:55:17,160
Speaker 3: they're doing. Like I don't know if there's a Brush

1057
00:55:17,360 --> 00:55:21,200
Speaker 3: Firefighters Association challenge that they're going to be competing in.

1058
00:55:21,320 --> 00:55:23,560
Speaker 1: Oh, I don't know. I can imagine some sort of

1059
00:55:23,560 --> 00:55:28,880
Speaker 1: incentive program. Yeah, like Spotify get a free beer something

1060
00:55:28,920 --> 00:55:29,319
Speaker 1: like that.

1061
00:55:29,560 --> 00:55:32,000
Speaker 3: Oh, there you go. But okay, Linda and Barney go

1062
00:55:32,080 --> 00:55:34,040
Speaker 3: back to the mansion together and this is when things

1063
00:55:34,160 --> 00:55:37,480
Speaker 3: really go off the rails. It's funny how restrained most

1064
00:55:37,480 --> 00:55:40,640
Speaker 3: of the movie is and then how hog wild it

1065
00:55:40,680 --> 00:55:42,360
Speaker 3: goes in the last twenty minutes or so.

1066
00:55:42,520 --> 00:55:46,080
Speaker 1: Yeah, yeah, yeah, all the things that you might expect

1067
00:55:47,360 --> 00:55:50,239
Speaker 1: movies like this to do it. It gets around to

1068
00:55:50,360 --> 00:55:52,560
Speaker 1: in the last yeah, twenty minutes or so, and part

1069
00:55:52,600 --> 00:55:55,200
Speaker 1: of this is that the film finally reveals what's going

1070
00:55:55,200 --> 00:55:58,680
Speaker 1: on and commits to being like a full psychopath movie.

1071
00:55:59,040 --> 00:56:01,440
Speaker 3: Right, So of course they go back and then there's

1072
00:56:01,480 --> 00:56:05,640
Speaker 3: just bodies everywhere. So Barney goes in first, but while

1073
00:56:05,680 --> 00:56:07,960
Speaker 3: Linda's waiting for him, she's like, oh, there is a

1074
00:56:08,040 --> 00:56:11,200
Speaker 3: dead body with its throat slashed in the in the

1075
00:56:11,239 --> 00:56:14,440
Speaker 3: water fountain here, and it like turns the jets in

1076
00:56:14,480 --> 00:56:17,239
Speaker 3: the water fountain red as the blood comes through. And

1077
00:56:17,280 --> 00:56:19,600
Speaker 3: then she runs into the mansion and like, oh, well,

1078
00:56:19,680 --> 00:56:23,600
Speaker 3: Barney's dead now, and oh and so someone is chasing

1079
00:56:23,640 --> 00:56:25,600
Speaker 3: her and she runs to Lance's room and she is

1080
00:56:25,640 --> 00:56:27,279
Speaker 3: able to get Lance away, and I was like, that

1081
00:56:27,640 --> 00:56:29,560
Speaker 3: felt so good to me. I was worried about Lance.

1082
00:56:29,600 --> 00:56:30,839
Speaker 3: But Lance gets out all right.

1083
00:56:31,200 --> 00:56:32,759
Speaker 1: I was still worried about him then, because she lets

1084
00:56:32,800 --> 00:56:34,760
Speaker 1: him out through the window and down the fire escape,

1085
00:56:34,760 --> 00:56:36,799
Speaker 1: and I wanted to be like, Lance is an old man.

1086
00:56:37,520 --> 00:56:39,760
Speaker 1: He does not need to be going down the fire escape.

1087
00:56:39,800 --> 00:56:43,120
Speaker 3: Linda, well, better than being left inside with with who

1088
00:56:43,120 --> 00:56:44,200
Speaker 3: we're about to find out about.

1089
00:56:44,280 --> 00:56:45,239
Speaker 1: So she's true.

1090
00:56:45,560 --> 00:56:48,000
Speaker 3: She ends up then locking herself in a room. Somebody

1091
00:56:48,000 --> 00:56:50,560
Speaker 3: has been running around, like jiggling the doors trying to

1092
00:56:50,600 --> 00:56:52,719
Speaker 3: get at her. We don't know who it is. I

1093
00:56:52,760 --> 00:56:55,640
Speaker 3: think she's assuming it's doctor Barton, you know, chasing her,

1094
00:56:55,640 --> 00:56:59,399
Speaker 3: trying to kill her. And so she locks herself into

1095
00:56:59,400 --> 00:57:03,440
Speaker 3: her room. But we get the big reveal. A character

1096
00:57:03,680 --> 00:57:07,920
Speaker 3: is sitting at her desk and the character turns around

1097
00:57:08,120 --> 00:57:11,879
Speaker 3: and who is that what? It's Missus Ryan, the new

1098
00:57:12,000 --> 00:57:14,960
Speaker 3: arrival who came in in the Driving Rain earlier in

1099
00:57:15,000 --> 00:57:18,880
Speaker 3: the movie. She removes her wig and then makes clear

1100
00:57:18,960 --> 00:57:22,520
Speaker 3: she says, I'm not Missus Ryan. I am your aunt Rita,

1101
00:57:23,000 --> 00:57:25,880
Speaker 3: the Rita we've heard all about in the diaries that

1102
00:57:26,080 --> 00:57:29,520
Speaker 3: you know, her mother's sister and who doctor Barton had

1103
00:57:29,520 --> 00:57:33,360
Speaker 3: said earlier, had had been sent away to a psychiatric

1104
00:57:33,440 --> 00:57:39,240
Speaker 3: care facility. And so what Rita says was actually, you know,

1105
00:57:39,320 --> 00:57:41,840
Speaker 3: she says, your mother was the mad one, and they

1106
00:57:41,880 --> 00:57:44,160
Speaker 3: put me away to shut me up because I was

1107
00:57:44,200 --> 00:57:46,560
Speaker 3: going to spill the beans about all the bad stuff

1108
00:57:46,600 --> 00:57:48,479
Speaker 3: that your mother and doctor Barton were doing.

1109
00:57:48,840 --> 00:57:51,480
Speaker 1: Oh wow, So we have a real Hugo bart situation here.

1110
00:57:51,760 --> 00:57:55,320
Speaker 3: Yes, But so like you, you're maybe on board with

1111
00:57:55,320 --> 00:57:57,320
Speaker 3: this for a second, you're like, wait, what's happening. But

1112
00:57:57,360 --> 00:58:01,240
Speaker 3: then she she reaches around to hug Linda, and Linda

1113
00:58:01,280 --> 00:58:03,840
Speaker 3: doesn't see, but the camera sees that her hands are

1114
00:58:03,880 --> 00:58:08,960
Speaker 3: covered in blood, and so she opens the door and

1115
00:58:09,040 --> 00:58:12,800
Speaker 3: into the room comes her terrifyingly creepy son, the guy

1116
00:58:12,840 --> 00:58:15,320
Speaker 3: who brought her in the van that night of the arrival.

1117
00:58:15,760 --> 00:58:17,520
Speaker 3: And no, it turns out that Rita is there in

1118
00:58:17,560 --> 00:58:19,320
Speaker 3: fact to get revenge and kill people.

1119
00:58:20,200 --> 00:58:21,840
Speaker 1: So she is the Hugo.

1120
00:58:22,120 --> 00:58:24,800
Speaker 3: Yes, she is the Hugo and her creepy Hugo son.

1121
00:58:25,160 --> 00:58:29,480
Speaker 3: They have murdered everybody. They have murdered doctor Barton and Connie.

1122
00:58:29,520 --> 00:58:32,400
Speaker 3: They're like in the bathtub in the bathroom, and there's

1123
00:58:32,440 --> 00:58:37,280
Speaker 3: a horrifying struggle and fight scene. Eventually Linda is able

1124
00:58:37,320 --> 00:58:40,280
Speaker 3: to knock the sun unconscious and she locks herself in

1125
00:58:40,320 --> 00:58:43,600
Speaker 3: the bathroom. And here's where we get the horrible eye

1126
00:58:43,680 --> 00:58:47,080
Speaker 3: in the keyhole scene. Oh, where she locks herself in

1127
00:58:47,120 --> 00:58:50,280
Speaker 3: the bathroom and Rita is looking through the key hole

1128
00:58:50,280 --> 00:58:52,280
Speaker 3: in the door saying, I can see you in the mirror.

1129
00:58:52,920 --> 00:58:55,400
Speaker 3: And what does Linda do about this? Well, she gets

1130
00:58:55,400 --> 00:58:57,400
Speaker 3: herself a little I don't know what this is it's

1131
00:58:57,400 --> 00:58:57,880
Speaker 3: some kind of.

1132
00:58:57,840 --> 00:59:01,840
Speaker 1: Pick, Yeah, like the the long narrow pick end of

1133
00:59:01,880 --> 00:59:03,320
Speaker 1: some sort of a hair brush type of thing.

1134
00:59:03,440 --> 00:59:05,800
Speaker 3: Yeah, and then whoosh straight through the keyhole.

1135
00:59:05,880 --> 00:59:10,360
Speaker 1: Oh yeah, very very h for sure, though not as

1136
00:59:10,400 --> 00:59:14,200
Speaker 1: gratuitous as I stabs in a lot of Jala movies.

1137
00:59:14,640 --> 00:59:15,200
Speaker 3: Yeah.

1138
00:59:14,920 --> 00:59:18,960
Speaker 1: Yeah, So that's there's no out foul jelly or whatever

1139
00:59:19,280 --> 00:59:20,000
Speaker 1: going on here.

1140
00:59:20,800 --> 00:59:23,680
Speaker 3: But she eventually so she flees Montclair. She drives away

1141
00:59:23,720 --> 00:59:27,000
Speaker 3: into the night and ends up back at the roadside diner.

1142
00:59:27,120 --> 00:59:29,080
Speaker 3: I knew we would get back here in the end.

1143
00:59:29,160 --> 00:59:31,360
Speaker 3: And so the only person there is the kid that

1144
00:59:31,400 --> 00:59:34,000
Speaker 3: she was driving with at the beginning. He says, yeah,

1145
00:59:34,040 --> 00:59:36,920
Speaker 3: my dad's out hunting rabbits tonight, as just me here.

1146
00:59:37,280 --> 00:59:39,760
Speaker 3: So you know, she's freaking out. She's saying, lock the doors,

1147
00:59:39,800 --> 00:59:42,920
Speaker 3: you know, does your dad have another rifle here? And

1148
00:59:42,960 --> 00:59:46,840
Speaker 3: the kid's just like, why, what's going on? And sorry

1149
00:59:46,920 --> 00:59:49,560
Speaker 3: for I was saying to myself, I was like, I'm

1150
00:59:49,600 --> 00:59:52,000
Speaker 3: never going to do an attempt at Australian accent in

1151
00:59:52,040 --> 00:59:53,360
Speaker 3: this episode. I just failed.

1152
00:59:55,000 --> 00:59:57,480
Speaker 1: This is such a great situation, though, because it feels

1153
00:59:57,720 --> 01:00:01,360
Speaker 1: thoroughly you know, late seventies, early nineteen eighties in a

1154
01:00:01,400 --> 01:00:03,520
Speaker 1: way that not just applies to Australia but also to

1155
01:00:03,560 --> 01:00:05,680
Speaker 1: the United States, that this would be a time when

1156
01:00:05,720 --> 01:00:08,120
Speaker 1: something like this might occur, where a shop would be

1157
01:00:08,240 --> 01:00:11,480
Speaker 1: left in the care of a child with access to

1158
01:00:11,560 --> 01:00:12,080
Speaker 1: a rifle.

1159
01:00:12,280 --> 01:00:14,760
Speaker 3: Well, actually, I think it turns out to be a shotgun,

1160
01:00:14,840 --> 01:00:18,760
Speaker 3: Like okay, yeah, he's got a scatter gun in there. Yeah,

1161
01:00:18,800 --> 01:00:21,840
Speaker 3: And so they lock the doors and she like pushes

1162
01:00:21,880 --> 01:00:24,520
Speaker 3: the space War's arcade cabinet in front of the door.

1163
01:00:25,440 --> 01:00:27,280
Speaker 3: I think she tries to call the police, but the

1164
01:00:27,320 --> 01:00:28,240
Speaker 3: phone doesn't work.

1165
01:00:28,560 --> 01:00:31,400
Speaker 1: Oh man, that phone I love too. It's a payphone

1166
01:00:31,560 --> 01:00:35,040
Speaker 1: and it's a big, red honkin' payphone. I don't think

1167
01:00:35,040 --> 01:00:36,240
Speaker 1: i'd seen one of these before.

1168
01:00:36,440 --> 01:00:39,080
Speaker 3: It's like the President's red phone. But it's Yeah, it's

1169
01:00:39,080 --> 01:00:39,920
Speaker 3: in the diner.

1170
01:00:39,960 --> 01:00:43,840
Speaker 1: But super chunky. Yeah, it's neat. It's another wonderful detail.

1171
01:00:43,880 --> 01:00:45,480
Speaker 1: I just want to go to I want to be

1172
01:00:45,600 --> 01:00:47,680
Speaker 1: in this space and appreciate all these details.

1173
01:00:47,920 --> 01:00:51,320
Speaker 3: And oh I loved this final showdown scene. It's so

1174
01:00:51,480 --> 01:00:54,200
Speaker 3: good where she's she's sitting there in a sort of

1175
01:00:54,320 --> 01:01:00,640
Speaker 3: semi catatonic state, building this pyramid out of sugar cubes. Yeah,

1176
01:01:00,640 --> 01:01:03,520
Speaker 3: and you see her going cube by cube and then

1177
01:01:03,600 --> 01:01:05,520
Speaker 3: right when she gets up to the ending, she needs

1178
01:01:05,560 --> 01:01:07,880
Speaker 3: one last cube to complete it. She runs out of

1179
01:01:07,880 --> 01:01:09,960
Speaker 3: cubes in her little bowl, and the kid like shoves

1180
01:01:10,000 --> 01:01:12,560
Speaker 3: another bowl of sugarcubes over to her so that she

1181
01:01:12,640 --> 01:01:15,120
Speaker 3: can finish it. And right when she's putting the final

1182
01:01:15,160 --> 01:01:17,840
Speaker 3: cube on, there is this rumbling as if an earthquake.

1183
01:01:18,080 --> 01:01:20,880
Speaker 3: But what is it? No, it is the creep sun

1184
01:01:21,520 --> 01:01:25,000
Speaker 3: in his van driving the van through the front of

1185
01:01:25,040 --> 01:01:25,840
Speaker 3: the diner.

1186
01:01:26,200 --> 01:01:28,400
Speaker 1: Right like, he crashes through it, and then it's like

1187
01:01:28,480 --> 01:01:30,840
Speaker 1: he continues to look floor it, so it's getting closer

1188
01:01:30,840 --> 01:01:34,200
Speaker 1: and closer, and this is where it actually hits the

1189
01:01:35,600 --> 01:01:38,080
Speaker 1: display of Koala stuffies.

1190
01:01:38,560 --> 01:01:41,360
Speaker 3: Oh yeah, okay, and the kid. The kid tries to

1191
01:01:41,720 --> 01:01:44,720
Speaker 3: shoot at the driver, but he misses, and he just

1192
01:01:44,840 --> 01:01:47,560
Speaker 3: keeps flooring it. And then eventually the kid calls for help.

1193
01:01:47,640 --> 01:01:50,320
Speaker 3: And I don't know why, this is one of the

1194
01:01:50,360 --> 01:01:53,760
Speaker 3: most satisfying moments of defeating the bad guy I can

1195
01:01:53,800 --> 01:01:56,640
Speaker 3: recall in any movie recently, But Linda just grabs the

1196
01:01:56,680 --> 01:01:59,920
Speaker 3: shotgun and runs straight up, point blank and just make

1197
01:02:00,120 --> 01:02:04,360
Speaker 3: the guy's head explode. Yeah, did you have that same feeling?

1198
01:02:04,360 --> 01:02:06,240
Speaker 3: I was, like, it was it's got to be like

1199
01:02:06,280 --> 01:02:08,880
Speaker 3: a new top ten defeating the bad guy moment.

1200
01:02:09,640 --> 01:02:12,160
Speaker 1: Yeah, it's very just like she's done with it, and

1201
01:02:12,720 --> 01:02:14,520
Speaker 1: it's kind of he has this kind of like sort

1202
01:02:14,520 --> 01:02:17,880
Speaker 1: of helpless, Like he's not helpless, but like you see

1203
01:02:17,920 --> 01:02:20,400
Speaker 1: gasoline leaking onto the floor and there's like a spark,

1204
01:02:20,680 --> 01:02:22,440
Speaker 1: and for a second there you think, oh, he's just

1205
01:02:22,440 --> 01:02:24,920
Speaker 1: gonna get blown up in the car and she'll have

1206
01:02:25,000 --> 01:02:28,480
Speaker 1: like a hands off victory here. But no, she walks

1207
01:02:28,560 --> 01:02:30,560
Speaker 1: up and she just takes him out with the shotgun.

1208
01:02:30,800 --> 01:02:33,080
Speaker 3: And then finally as she and the kid drive away

1209
01:02:33,120 --> 01:02:35,320
Speaker 3: in the truck as the service state because it's a

1210
01:02:35,360 --> 01:02:38,920
Speaker 3: diner and a gas station, and I guess the fire

1211
01:02:39,200 --> 01:02:42,440
Speaker 3: from the leaking gas tank and the wires and everything

1212
01:02:42,520 --> 01:02:46,560
Speaker 3: causes it to explode. So there's like repeated explosions of

1213
01:02:46,600 --> 01:02:48,120
Speaker 3: the gas pumps as they're driving.

1214
01:02:48,360 --> 01:02:48,960
Speaker 1: Fireball.

1215
01:02:49,400 --> 01:02:54,120
Speaker 3: Yeah, and then eventually they stop somewhere and it's the bookend.

1216
01:02:54,160 --> 01:02:56,200
Speaker 3: We see the scene again that the movie began with

1217
01:02:56,200 --> 01:02:58,640
Speaker 3: with the slow motion of her walking around the car.

1218
01:02:58,840 --> 01:03:01,560
Speaker 1: As did you notice that? As she's driving away though,

1219
01:03:01,760 --> 01:03:04,440
Speaker 1: and the gas station's blowing up behind them, we get

1220
01:03:04,480 --> 01:03:06,720
Speaker 1: to see again that warning about dry.

1221
01:03:06,560 --> 01:03:10,880
Speaker 3: Conditions, Yeah, the risk of wildfire is high.

1222
01:03:10,960 --> 01:03:13,720
Speaker 1: Yeah, so it all feels feels connected in a meaningful way.

1223
01:03:14,080 --> 01:03:16,560
Speaker 3: So yeah, I was very pleasantly surprised by this one.

1224
01:03:16,600 --> 01:03:19,080
Speaker 3: I thought this was a really solid, lesser known movie.

1225
01:03:19,360 --> 01:03:22,800
Speaker 1: Yeah. Absolutely. I know some people, it looks like, have

1226
01:03:22,960 --> 01:03:25,920
Speaker 1: have checked it out and not really knowing what to expect,

1227
01:03:25,960 --> 01:03:28,680
Speaker 1: they might find it a little slow. You know. Again,

1228
01:03:28,720 --> 01:03:31,040
Speaker 1: if you're going into this one expecting something kind of

1229
01:03:31,080 --> 01:03:35,480
Speaker 1: schlocky and and exploitive, this this film is not going

1230
01:03:35,560 --> 01:03:37,600
Speaker 1: to satisfy you on those fronts. But it's just a

1231
01:03:37,800 --> 01:03:43,360
Speaker 1: very thoughtfully composed and interconnected thriller film. Yeah, with a

1232
01:03:43,400 --> 01:03:46,240
Speaker 1: wonderful soundtrack. And I have to mention, yeah the soundtrack.

1233
01:03:46,760 --> 01:03:48,800
Speaker 1: The cover to it is a picture of her at

1234
01:03:48,800 --> 01:03:53,680
Speaker 1: the diner table stacking that making that pyramid of sugarcubes.

1235
01:03:53,880 --> 01:03:55,520
Speaker 3: I love it. Those sugarcubes are going to be in

1236
01:03:55,560 --> 01:03:58,560
Speaker 3: my brain forever, Like, it's such a cool image.

1237
01:03:59,520 --> 01:04:01,959
Speaker 1: Go to this, get yourself a box of sugar cubes

1238
01:04:01,960 --> 01:04:02,760
Speaker 1: and start stacking.

1239
01:04:03,240 --> 01:04:06,000
Speaker 3: I guess so, well, I don't want to summon a

1240
01:04:06,000 --> 01:04:06,720
Speaker 3: creep of a van.

1241
01:04:10,480 --> 01:04:13,040
Speaker 1: All right, Well, we're gonna go and close this one out,

1242
01:04:13,080 --> 01:04:15,040
Speaker 1: but we'd love to hear from everyone out there. Specifically,

1243
01:04:15,040 --> 01:04:16,440
Speaker 1: we would love to hear it from any you know,

1244
01:04:16,520 --> 01:04:21,560
Speaker 1: Australian and New Zealand listeners who might have some insight

1245
01:04:21,640 --> 01:04:23,960
Speaker 1: on some of the details that we enjoyed in this film,

1246
01:04:24,160 --> 01:04:27,040
Speaker 1: or or some insight on like where this where this

1247
01:04:27,080 --> 01:04:31,560
Speaker 1: film belongs and sort of the you know, the appreciation

1248
01:04:31,960 --> 01:04:35,800
Speaker 1: of Australian cinema. All that is fair game. We'd love

1249
01:04:35,840 --> 01:04:39,040
Speaker 1: to hear from you. If you have any recommendations on

1250
01:04:39,160 --> 01:04:43,880
Speaker 1: other Australian films that we should consider viewing, you know,

1251
01:04:44,280 --> 01:04:47,440
Speaker 1: let us have it. We'd love to hear. In the meantime,

1252
01:04:48,040 --> 01:04:51,000
Speaker 1: you'll find other episodes of Weird House Cinema every Friday

1253
01:04:51,040 --> 01:04:53,479
Speaker 1: in the Stuff to Blow Your Mind podcast feed We're

1254
01:04:53,520 --> 01:04:57,400
Speaker 1: mostly a science podcast with our core episodes on Tuesdays

1255
01:04:57,440 --> 01:04:59,600
Speaker 1: and Thursdays, but on Friday we set most of that

1256
01:04:59,640 --> 01:05:03,120
Speaker 1: aside and we just settle in to appreciate a strange film.

1257
01:05:03,360 --> 01:05:06,200
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1258
01:05:06,280 --> 01:05:08,640
Speaker 3: Nicholas Johnson. If you would like to get in touch

1259
01:05:08,680 --> 01:05:10,919
Speaker 3: with us with feedback on this episode or any other,

1260
01:05:11,000 --> 01:05:13,280
Speaker 3: to suggest topic for the future, or just to say hello,

1261
01:05:13,360 --> 01:05:16,320
Speaker 3: you can email us at contact at stufft Blow Your

1262
01:05:16,360 --> 01:05:31,680
Speaker 3: Mind dot com.

1263
01:05:24,480 --> 01:05:27,440
Speaker 2: Stuff to blow your mind is production of iHeartRadio. For

1264
01:05:27,520 --> 01:05:30,320
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1265
01:05:30,480 --> 01:05:33,680
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.