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

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Speaker 1: and today we have the excellent nineteen sixty two Mexican

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Speaker 1: monster movie The Brainiac. This one is a ton of fun.

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Speaker 1: This one published last year and we were rolling it

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Speaker 1: out for you here today. Hope you enjoy.

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

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

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Speaker 3: And I am Joe McCormick. And today on Weird House

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Speaker 3: we're going to be talking about the nineteen sixty two

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Speaker 3: Mexican horror film The Brainiac, starring Abel Salazar Rosa, Maria

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Speaker 3: Gallardo or Guyardo, and Rubin Rojo. And this is one

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Speaker 3: that I saw many, many years ago. I think I

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Speaker 3: watched this with a friend in high school. Remembered very

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Speaker 3: little about it except the exquisitely bizarre design of the monster,

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Speaker 3: and this was such a treat upon revisit. It is

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Speaker 3: so absurd, but it also just takes your soul on

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Speaker 3: a ride, and in counterintuitive ways, is more thought provoking

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Speaker 3: than some viewers may think.

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Speaker 1: Yeah, I had seen it previously, I think in a

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Speaker 1: rift tracks form, so rifted upon I was not expecting

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Speaker 1: to have my thoughts provoked much at all, and yet

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Speaker 1: they were provoked, So I will agree with you on that.

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Speaker 1: You know, I haven't referenced Michael Weldon's Psychotronic Encyclopedia film recently,

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Speaker 1: so I made sure to bust it out to look

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Speaker 1: up his entry for the Brainiac, and sure enough, he

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Speaker 1: also praised the creature design as well as quote surprisingly

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Speaker 1: surreal elements in the picture, and then also adds if

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Speaker 1: you can't find it on television, rent the video cassette,

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Speaker 1: which makes sense considering that this is a film that

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Speaker 1: was widely seen on cable television at least back in

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Speaker 1: the day, and probably pre cable television as well, so

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Speaker 1: it has had a long, long history of popping up

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Speaker 1: unexpected on television sets and then as a rental across

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Speaker 1: various formats.

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Speaker 3: I think before there was as much of a market

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Speaker 3: as there is today for weird, low budget horror films,

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Speaker 3: this was one of the few. This was one of

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Speaker 3: the ones that was on people's radar, along with maybe

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Speaker 3: ed Wood and stuff like that.

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Speaker 1: Yeah, yeah, I mean there are various references to it.

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Speaker 1: For example, some of you may be familiar with it

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Speaker 1: because Frank Zappa references it in a song from nineteen

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Speaker 1: seventy five called Debra Cadabra. This is the one where

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Speaker 1: he says, make Negro brainiac fingers, but with more hair.

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Speaker 1: And he also there's also a line in that says

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Speaker 1: from the puffed and flabulent Mexican rubber goods mask, which

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Speaker 1: I believe must also be rep sing the monster in

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Speaker 1: this picture.

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Speaker 3: Now, if you at home are wondering what what are

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Speaker 3: brainiact fingers? What how are they different from regular fingers,

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Speaker 3: you gotta stay tuned you'll find out.

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Speaker 1: Essentially, what we have here is a resurrected warlock revenge picture,

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Speaker 1: a subgenre that I honestly love. We've covered various examples

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Speaker 1: of this on the show before, but there are some

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Speaker 1: some neat sci fi touches. There's a there's some creative

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Speaker 1: use of dissolve effects, and again a monster that is

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Speaker 1: deliciously creative in conception and an execution is you know,

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Speaker 1: at times comical, as low budget monsters often are, but

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Speaker 1: also at times pretty terrifying and always absolutely weird.

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Speaker 3: And this is also an example of inquisition'sploitation. Is the

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Speaker 3: reshorter version of that word.

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Speaker 1: No, no, I think I think that's it. In quisploitation maybe,

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Speaker 1: but I don't. I don't feel like that conveys the

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Speaker 1: full meaning.

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Speaker 3: Now, as far as resurrected warlock revenge films go, how

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Speaker 3: does Brainiac square with your other favorites of the genre?

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Speaker 3: I assume you the main one I would think you're

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Speaker 3: referring to there is Horror Rises from the tomb Am.

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Speaker 1: I wrong, that's That's one of my favorites. So though,

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Speaker 1: there was also Piranha mandir Uh Parana Mandia the the

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Speaker 1: the Bollywood horror film from the Ramsey Brothers, a very

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Speaker 1: similar plotline, and I'm sure I'm forgetting some other ones,

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Speaker 1: probably some major examples outside of the Weird House episode list.

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Speaker 3: Now, there's a question that has really been interesting me

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Speaker 3: since I rewatched Brainiac here, and that is how sympathetic

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Speaker 3: is the baron we were talking? We just recently last

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Speaker 3: week did an episode on Todd Browning's Dracula in which

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Speaker 3: we discussed changes to the character of Dracula. As he

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Speaker 3: has been is. The story has been retold and reimagined

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Speaker 3: through different adaptations and films over the years, and one

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Speaker 3: of the big changes is that in the novel, there's

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Speaker 3: really nothing sympathetic about Dracula. Not gonna like Dracula in

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Speaker 3: the novel. He's just nasty, horrible, demonic. And then in

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Speaker 3: these later versions you get a more tragic Dracula, Dracula

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Speaker 3: who there are some good things about him, or maybe

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Speaker 3: at least he's got a sad backstory, and so you

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Speaker 3: sympathize with him, even if it drives him to dark places.

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Speaker 3: In this movie, I feel like the backstory really rides

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Speaker 3: the knife's edge on whether we should consider the Barren

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Speaker 3: character originally sympathetic or not. There are some things said

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Speaker 3: about him that are both quite evil and quite good,

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Speaker 3: and you don't know which ones to believe because we

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Speaker 3: never see the truth of the matter, so we only

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Speaker 3: see him in revenge mode, and we don't know if

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Speaker 3: he's like truly a wronged man. Who was you know,

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Speaker 3: who was just suffering at the at the unjust hands

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Speaker 3: of the Inquisition and then came back for revenge or

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Speaker 3: was he always a nasty warlock?

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Speaker 1: True? True to what extent are these charges by the

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Speaker 1: Inquisition valid at all? Again? Are they all just trumped

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Speaker 1: up charges against a man who did some good in

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Speaker 1: the world and there's some strong questions regarding whether he

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Speaker 1: was a man to begin with. Perhaps we have indeed

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Speaker 1: an alien visitor here who does some good in the

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Speaker 1: world and is punished for it, or it just doesn't

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Speaker 1: know how humans work and does a mix of both,

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Speaker 1: not really understanding how one act falls on the side

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Speaker 1: of evil and one acts that falls on the side

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Speaker 1: of good.

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Speaker 3: Okay, so I was gonna say, elevator pitch. This is

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Speaker 3: not really an elevator pitch, but it might be a

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Speaker 3: good tagline for like a repackaging of the film, and

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Speaker 3: that is the Spanish Inquisition could not have expected this.

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Speaker 1: Oh that's pretty good, pretty good. The only thing that

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Speaker 1: came to my mind was Dracula, but make it weirder,

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Speaker 1: not that it has much to do with Dracula other

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Speaker 1: than the evil. The baron, the Baron of terror in

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Speaker 1: this picture is Dracula esque in some regards. You know,

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Speaker 1: he's a suave dude who does weird eye hypnosis stuff

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Speaker 1: and uh, you know, enjoys the ladies, enjoys not their

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Speaker 1: blood but their brains. Loves them for their minds, but

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Speaker 1: not in the good way.

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Speaker 3: I think there are some some fairly strong similarities.

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Speaker 1: Yeah, yeah, but not in terms of like plot or

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Speaker 1: anything outside of that.

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Speaker 3: I think one of the big differences is that clearly

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Speaker 3: crosses would not work on the barren of terror. Here,

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Speaker 3: the Brainiac would laugh at your at your crucifix.

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Speaker 1: That's right, all right, let's hear just a little bit

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Speaker 1: of the trailer audio.

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Speaker 4: Rainier, I shall return to your world within three hundred years.

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Speaker 4: When that comment completes its cycle, it is once again

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Speaker 4: in these latitudes.

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Speaker 5: Three hundred years later, the contary turns to earth. In

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Speaker 5: the Brainier, see a horrible and insane killing sis. The

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Speaker 5: Count turns into a monster and seeks his revenge. See

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Speaker 5: that count feast from human brains. Don't miss the most

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Speaker 5: horror film of the stramptureing.

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Speaker 6: Bah Radier b Radi A ba Radi A ba Radier

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Speaker 6: ba Radier ba Radiac bo Radier ba Radi act.

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Speaker 1: All right, now, if you want to watch The Brainiac

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Speaker 1: as well, certainly you can follow follow Michael Weldon's advice

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Speaker 1: and watch it on TV or look for the video

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Speaker 1: cassette upgrading that for today. There's a really nice looking

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Speaker 1: blu ray from Indicator. But again, the film has a

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Speaker 1: long history of playing on cable on television. It's been

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Speaker 1: available on DVD for quite a while. The riff Tracks

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Speaker 1: guys covered it at one point. I didn't get myself

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Speaker 1: enough time to get my hands on a physical copy,

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Speaker 1: so I streamed it on Prime. But even though it's

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Speaker 1: good quality, I could only pull up the non rift

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Speaker 1: Tracks version at first, and I had to go on

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Speaker 1: the app on my phone to find the unriffed version,

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Speaker 1: added it to my list, and then was able to

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Speaker 1: pull it up in the big screen. I will also

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Speaker 1: point out that the version I watched is the English

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Speaker 1: dub like the old K. Gordon Murray English dub, but

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Speaker 1: there's one scene that's completely in Spanish with no subtitles.

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Speaker 3: Yep, yeah, we watched the same version. I had the

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Speaker 3: exact same search problems as you like, search often wouldn't

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Speaker 3: bring it up. I had to get it in my

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Speaker 3: library on one device before I could actually view it

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Speaker 3: on another one. So yeah, same issue. And also, yes,

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Speaker 3: the scene in Spanish in the middle of the movie.

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Speaker 3: It's the scene where the characters are like reading newspaper

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Speaker 3: articles about the brain murders.

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Speaker 1: Yeah. Luckily the context is pretty much implied. You don't

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Speaker 1: need to speak Spanish or have a translation to basically

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Speaker 1: what's going on here?

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Speaker 3: So maybe they were just trying to cut costs on

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Speaker 3: the dub. You know, the scenes that are just a

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Speaker 3: recap of what you've already seen anyway.

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Speaker 1: Yeah, and or if you see enough of movies like this,

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Speaker 1: you essentially know what's going on. All right. Let's get

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Speaker 1: into the people behind this film. The director is Chano Iwerta,

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Speaker 1: who lived nineteen oh five through nineteen seventy nine. Mexican

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Speaker 1: film director, producer, screenwriter, and actor active behind the camera

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Speaker 1: from nineteen twenty eight through nineteen seventy four. So while

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Speaker 1: certainly active during the golden age of Mexican cinema, which

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Speaker 1: is roughly thirty six through fifty six, his career expands

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Speaker 1: beyond it in both temporal directions. Among his most well

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Speaker 1: regarded films or nineteen fifties Legota di Sangria, fifty two's

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Speaker 1: Labestia Magnifica, and fifty seven's El Raton. His genre films

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Speaker 1: include nineteen fifty four Is the Witch, nineteen sixties The

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Speaker 1: Witch's Mirror, sixty three is the Living Head That's a

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Speaker 1: Living Severed Head film, and several Blue Demon Luca movies,

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Speaker 1: Beginning with nineteen sixty five's Blue Demon, and also including

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Speaker 1: Blue Demon versus The Satanic Power from sixty six. That

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Speaker 1: one co starred El Santo. And then there are two

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Speaker 1: sixty eight films, Blue Demon Versus The Diabolical Women and

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Speaker 1: Blue Demon Versus The Infernal Brains.

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Speaker 3: I think I've gone looking for a couple of these.

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Speaker 3: In the past.

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Speaker 1: He also acted again, especially later in life. His credits

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Speaker 1: on this front include two Sam Peckinpah films, The Wild

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Speaker 1: Bunch from sixty nine and Bring Me the Head of

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Speaker 1: Alfredo Garcia from seventy four. All Right, in terms of

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Speaker 1: the script and the story, here we have Frederico Corel

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Speaker 1: who lived nineteen seventeen through nineteen eighty five. Adaptation story

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Speaker 1: credit here Mexican writer who also directed in the early sixties,

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Speaker 1: kicking things off with the first Neutron movie in nineteen

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Speaker 1: sixty that we referenced this in one of our recent

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Speaker 1: episodes because this starred Wolf Ruvinsky's and co starred Claudio Brook.

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Speaker 2: No.

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Speaker 3: Yeah, Wolf Ravinsky's was one of the bad guys, one

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Speaker 3: of the Martians in Santo versus The Martian Invasion.

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Speaker 1: Yeah, a luchador turned actor, but not a masked lucidor

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Speaker 1: too handsome for.

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Speaker 3: That, So he played kind of like Kirk Douglas.

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Speaker 1: Yeah, so there's another Neutron film sixty three, and Career

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Speaker 1: also wrote and directed several Santo and Blue Demon films,

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Speaker 1: as well as some Nostra Damis films and vampire films.

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Speaker 1: He's also acted and is in fact one of the

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Speaker 1: detectives in this film. He was also a cartoonist.

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Speaker 3: Oh, which of the detectives is he? Is he the

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Speaker 3: comic relief one or the serious one?

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Speaker 1: I am not sure. I've will had a note getting it.

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Speaker 1: When we get into the cast here, I found some

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Speaker 1: contradictions on the cast lists between two of them may

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Speaker 1: movie databases, specifically concerning the actresses. I think I got

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Speaker 1: it straightened out, but it also led to me not

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Speaker 1: going as in depth on the supporting cast here.

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Speaker 3: Okay, all right.

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Speaker 1: The other adaptation story credit goes to Aldolfo Lopez Portillo

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Speaker 1: dates unknown, credited on several films from the sixty seventies

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Speaker 1: and eighties, mostly westerns, but also including sixty three as

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Speaker 1: the Living Head, and then, according to IMDb, Antonio Arelana

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Speaker 1: nineteen twenty three through twenty eighteen, uncredited writer on this one.

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Speaker 1: Mexican writer, actor and occasional director. He wrote on several

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Speaker 1: Santo films, including sixty two Santo Versus The Vampire Women.

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Speaker 1: I also have to single out a title from nineteen

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Speaker 1: ninety one called El Ninja Mexicano, and that has Germaine, Roebliss,

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Speaker 1: and Roberto Canito. One name that's going to come up

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Speaker 1: in a minute, and another name we've referenced in multiple

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Speaker 1: episodes on Mexican films. Okay, all right, but the star

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Speaker 1: of this picture the Baron of Terror himself, and I

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Speaker 1: guess the brainiac playing Baron Vastelius Destera, and also the

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Speaker 1: producer of the picture. We have Abel Salazar, who lived

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Speaker 1: nineteen seventeen through nineteen ninety five. He also directed fourteen pictures.

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Speaker 1: He played vampire hunter doctor Enriquez in fifty seven's The

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Speaker 1: Vampire and also in fifty eight's The Vampire's Coffin. He

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Speaker 1: also acts in two well regarded old school Mexican horror films,

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Speaker 1: fifty nine's Black Pit of Doctor m and sixty three's

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Speaker 1: Curse of the Crying Woman. He's also in the Living

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Speaker 1: Head and nineteen fifty nine's The Man and the Monster.

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Speaker 1: He produced several of those as well.

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Speaker 3: The Living Head keeps coming up. Maybe this is a

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Speaker 3: sign that we need to go to.

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Speaker 1: That next Yeah, yeah, the posters look cool.

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Speaker 3: I've also seen a lot of references to the Curse

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Speaker 3: of the Crying Woman. Is the Urona movie? Yeah, I

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Speaker 3: actually I just looked it up. The Malediction de la Youurona.

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Speaker 1: Yes, this is not a film I've seen, but I'm

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Speaker 1: familiar with it just by reputation. It shows up in

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Speaker 1: a lot of lists of films that I'm I've considered

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Speaker 1: checking out.

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Speaker 3: So this guy really kept reminding me of somebody. He's

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Speaker 3: great in the film. He's got a lot of scenes

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Speaker 3: where he actually just doesn't say anything, like other characters

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Speaker 3: are talking at him and he is sitting there silently,

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Speaker 3: either staring at them menacingly or just smirking and laughing

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Speaker 3: and scoffing at whatever they're throwing in his face. And

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Speaker 3: so he does a lot of that. But also he's

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Speaker 3: got some swagger when he talks. But the face he makes,

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Speaker 3: especially when he kind of looks skeptical with one raised eyebrow,

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Speaker 3: he was really really reminding me of Garrett Graham as

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Speaker 3: Beef in the Phantom of the Paradise. Do you see

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Speaker 3: the comparison.

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Speaker 1: Yeah, yeah, I can see some Garrett Graham there. I

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Speaker 1: also kept thinking of the actor, contemporary actor Patrick Fischler,

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Speaker 1: who's in like Mulholland Drive and a ton of other things.

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Speaker 1: I can see that too, but with more swaggering charisma.

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Speaker 3: Yeah, but also disdain, just judgment looking at people who

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Speaker 3: he who are who are lesser than him.

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Speaker 1: Yeah, all right, so we'll talk more about this performance.

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Speaker 1: On the good guy side of things, we have again

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Speaker 1: Rubin Rojo playing a double role. Again. This is a

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Speaker 1: this is there's a revenge element to this, but it's

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Speaker 1: a revenge across time, which we sometimes see with undead

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Speaker 1: Warlock pictures. So in the past he plays Rinaldo Miranda

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Speaker 1: and in the present he plays Marcos Miranda or other

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Speaker 1: way around.

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Speaker 3: Okay, Marcos is the one in the seventeenth century, the

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Speaker 3: modern one. They say Rinaldo online. I don't remember if

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Speaker 3: they ever say that in the movie. In the movie

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Speaker 3: they call him Ronnie.

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Speaker 1: Okay, dub at least that's the thing about the dove

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Speaker 1: they do. They do streamline some things.

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Speaker 3: Yeah, and the dub he's Ronnie and Victoria Contreras is Vicky.

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Speaker 1: Well. Rojo lived nineteen twenty two through nineteen ninety three,

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Speaker 1: Mexican actor, perhaps best known for his award winning supporting

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Speaker 1: role in nineteen forty eight Soldad. He also played Matthew

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Speaker 1: in the nineteen sixty one American Bible epic King of Kings,

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Speaker 1: which I think mostly it had a large American cast,

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Speaker 1: but also made use of multiple Mexican actors as well.

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Speaker 1: Rip Torn plays Judas in That By the Way. Rojo's

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Speaker 1: other credits include fifty six is Alexander the Great, sixty

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Speaker 1: three Santo in the Wax Museum, seventy nine's The Whip

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Speaker 1: Versus Satan, and nineteen sixty nine's Romero, starring Raal Julia.

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Speaker 3: I feel like we haven't seen the last of him.

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Speaker 3: No offense to to Reuben, but he's not really the

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Speaker 3: highlight of this film. He's there to just be the

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Speaker 3: good guy. He doesn't have a whole lot to do often.

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Speaker 1: Yeah, and the kind of ghosts for most of the

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Speaker 1: rest of the cast. Really, I mean, everyone is this

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Speaker 1: kind of fulfilling a basic role and you know, doing

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Speaker 1: a good job within those roles. But yeah, this is

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Speaker 1: about our villain. And our monster.

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Speaker 3: It's Brainiac's world. We're just in it.

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Speaker 1: That's right, Okay. We have Vicky as you referenced earlier,

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Speaker 1: or Victoria Contrena's Contreras. This is our leading lady. This

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Speaker 1: is one of the situations where I found some confusing

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Speaker 1: casting information between the databases, but I believe I have

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Speaker 1: it correct correct here. Played by Rosa Marie Gallardo. Her

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Speaker 1: other films include sixty one's Mark of the Dead Man,

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Speaker 1: sixty five's Creature of the Walking Dead, sixty fives She

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Speaker 1: Wolves of the Ring that's a luchadora movie, and nineteen

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Speaker 1: seventies Ruby.

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Speaker 3: Okay, so she is usually going to be in the

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Speaker 3: same scenes as Ruben Rojo. Again, they're mostly they're the

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Speaker 3: good characters, but they're mostly just reactive. They're like young

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Speaker 3: people who are studying astronomy and they're just sucked into

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Speaker 3: the world of the Baron of Terror, and they kind

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Speaker 3: of hang around in the world until finally he tries

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Speaker 3: to suck their brains out, and fortunately they're saved at

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Speaker 3: the last minute.

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Speaker 1: That's right now. One of the victims is noteworthy, at

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Speaker 1: least one of the victims credited just as bar Girl.

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Speaker 1: She is the you'll know when we come to this scene.

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Speaker 1: She is a lady hanging out at the bar that

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Speaker 1: the baron ends up killing and brain gobbling. Played by

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Speaker 1: Aradni Welter. She lived nineteen thirty through nineteen ninety eight.

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Speaker 1: Mexican actress with a ton of Golden age credits. She

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Speaker 1: was in the Lewis Bounell film The Criminal Life of

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Speaker 1: Archibaldo de la Cruz from fifty five, but she pops

336
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Speaker 1: up in various horror films. She's in the Luchadora film

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Speaker 1: The Panther Women from sixty seven. Her other credits include

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Speaker 1: El Gampiro sixty one's The Devil's Hand and The Vampire's Coffin.

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Speaker 3: She has a good scene in fact, one of the

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Speaker 3: ones I was just talking about a minute ago, where

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Speaker 3: people talk at the baron and he doesn't say anything

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Speaker 3: back to them. She's drunk at a bar and is

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Speaker 3: I guess, falling in love with him while he just

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Speaker 3: stands there staring at some place like behind her head,

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Speaker 3: over her shoulder, and then suddenly he brainiacts out, and

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Speaker 3: we'll describe what happens later.

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Speaker 1: But yeah, she gets a great scream in, that's for sure.

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Speaker 3: Yeah, there's a brainiac process. He goes into processing mode.

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Speaker 1: All right. The lead detective, the Commandant is played by

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Speaker 1: David Silva, who lived nineteen seventeen through nineteen seventy six.

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Speaker 1: Pretty standard performance here, but he was an opera singer

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Speaker 1: and actor with some great connections, connections to some shining

353
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Speaker 1: gems of Mexican weird cinema. He pops up in The

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Speaker 1: Batwoman from sixty eight, which we previously referenced, really fun flick.

355
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Speaker 3: Starring one of the Martians from Zetto and the Martian Invasion.

356
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Speaker 1: Yeah. Yeah, it's little Lichadora film with fish people in it.

357
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Speaker 1: But Silva also appears in both Alejandro Jodowski's Al Topo

358
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Speaker 1: from seventy and Holy Mountain from seventy three.

359
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Speaker 3: I don't recall him in that, but that would make sense.

360
00:20:59,600 --> 00:21:02,119
Speaker 3: He he feels like he's from a different world than

361
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Speaker 3: most of the cast. This is the serious one, right,

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Speaker 3: not the comic relief cop. The comic relief cop is Benny.

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Speaker 1: Yeah, this is the serious one. I'm pretty sure. He's

364
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Speaker 1: also in a pair of weird films from Juan Lopez Montezuma,

365
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Speaker 1: The Mention of Madness from seventy one and Alocarda from

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Speaker 1: seventy seven. Those are both those both star Claudio Brook.

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Speaker 1: I have not seen Alacarta yet. It's supposed to be

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Speaker 1: pretty terrific. I've seen The Mansion of Madness and it

369
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Speaker 1: is super weird as well. I would say almost Holy

370
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Speaker 1: Mountain es well, not Holy mountain esk and it's Holy

371
00:21:38,800 --> 00:21:41,400
Speaker 1: Mountain is kind of on its own level. But let's

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Speaker 1: say it has a lot of surreal elements. It is

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Speaker 1: a film in which the inmates run an asylum, and

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Speaker 1: the leader of the asylum folk is played by Claudio

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Speaker 1: Brook in a very spirited performance.

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Speaker 3: That's a recipe for fun.

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Speaker 1: Yeah, all right, now, just a few other characters. There's

378
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Speaker 1: another double role here, someone who is an inquisitor in

379
00:22:04,040 --> 00:22:06,959
Speaker 1: the past and is a victim in the present. This

380
00:22:07,040 --> 00:22:09,000
Speaker 1: is the one that gets to make some really crazy eyes.

381
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Speaker 1: Played by Jermain Roeblis lived nineteen twenty nine through twenty fifteen,

382
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Speaker 1: Mexican actor in horror movie legend in his own right.

383
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Speaker 1: The Vampiro movies that I mentioned, well, he plays Count

384
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Speaker 1: Caro di Luvade les Lavoud in those. He plays Nostradamus

385
00:22:25,040 --> 00:22:27,880
Speaker 1: in the Nostra Damis films which I don't know much about,

386
00:22:27,880 --> 00:22:30,240
Speaker 1: but it looks like they center around an evil Nostradamus,

387
00:22:30,680 --> 00:22:34,919
Speaker 1: and he's in the Living Head as well. Also pops

388
00:22:35,000 --> 00:22:37,399
Speaker 1: up in the Jess Franco film from seventy one, She

389
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Speaker 1: Killed in Ecstasy.

390
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Speaker 3: This is the guy who plays in his modern of course,

391
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Speaker 3: he's one of the inquisitors, as you said, but in

392
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Speaker 3: his modern form he is the professor. He's a professor

393
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Speaker 3: of history and he gets to invite the baron over

394
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Speaker 3: to his house to meet his beautiful daughter and then

395
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Speaker 3: talk about the history of the Inquisition. What do you know,

396
00:22:56,320 --> 00:22:58,159
Speaker 3: it's just his area of specialty.

397
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Speaker 1: It's not gonna go well. And one, I'll say a

398
00:23:01,840 --> 00:23:04,480
Speaker 1: couple of others here. This film was not directed by

399
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Speaker 1: Renee Cardona, but just because he didn't direct it doesn't

400
00:23:07,960 --> 00:23:11,280
Speaker 1: mean he can't show up anyway. And he also plays

401
00:23:11,280 --> 00:23:16,119
Speaker 1: one of the inquisitors slashed like doomed aristocrats that is

402
00:23:16,200 --> 00:23:18,080
Speaker 1: ultimately killed by the bear.

403
00:23:18,720 --> 00:23:21,800
Speaker 3: He's like the head inquisitor. And then in the modern

404
00:23:21,880 --> 00:23:24,639
Speaker 3: day he's the guy who's an industrialist who's coming up

405
00:23:24,680 --> 00:23:26,240
Speaker 3: with new metal alloys.

406
00:23:26,960 --> 00:23:30,360
Speaker 1: Yes, let me show you my alloys in the basement. Yeah,

407
00:23:31,680 --> 00:23:36,160
Speaker 1: you want to see my Alloys Bro and then there's

408
00:23:36,359 --> 00:23:40,320
Speaker 1: there's one more one of the let's say, Senora Mensis

409
00:23:40,760 --> 00:23:44,880
Speaker 1: is played by Ophilia Gomin. She lived nineteen twenty one

410
00:23:45,040 --> 00:23:48,200
Speaker 1: through two thousand and five, Spanish actress whose other films

411
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Speaker 1: include sixty two Is the Exterminating Angel and The Man

412
00:23:51,160 --> 00:23:55,320
Speaker 1: in the Monster. Now, I mentioned Kay Gordon Murray earlier,

413
00:23:55,400 --> 00:23:58,680
Speaker 1: who lived nineteen twenty two through nineteen seventy nine, producer

414
00:23:59,119 --> 00:24:03,320
Speaker 1: and distributor of the English dub of this film. Murray

415
00:24:03,440 --> 00:24:05,680
Speaker 1: is a familiar name here because he was responsible for

416
00:24:05,720 --> 00:24:09,400
Speaker 1: the US theatrical distribution of several different Mexican films back

417
00:24:09,400 --> 00:24:13,119
Speaker 1: in the day, including fifty nine Santa Claus and sixty

418
00:24:13,160 --> 00:24:16,680
Speaker 1: three's Doctor of Doom. I think that's maybe his voice

419
00:24:16,760 --> 00:24:18,800
Speaker 1: is the inquisitor during the opening sequence.

420
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Speaker 3: Oh interesting, I was gonna say, it's very similar. The

421
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Speaker 3: so we get some narration in the prologue of the film,

422
00:24:26,160 --> 00:24:27,719
Speaker 3: and I'll talk about this in a bit, but it

423
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Speaker 3: felt familiar. It felt like the narrator from Santa Claus.

424
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Speaker 1: Yes, yes, like it would be the voice should be saying, Lupita,

425
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Speaker 1: do not sentence the baron to death.

426
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Speaker 3: Yeah, exactly.

427
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Speaker 1: And then finally the composer on this picture is Gustavo

428
00:24:45,160 --> 00:24:49,040
Speaker 1: Caesar Carrion, who lived nineteen sixteen through nineteen ninety six,

429
00:24:49,320 --> 00:24:52,160
Speaker 1: Mexican film composer who worked on a number of horror films,

430
00:24:52,440 --> 00:24:55,240
Speaker 1: including several of the titles we already mentioned, The Witch

431
00:24:55,320 --> 00:24:59,160
Speaker 1: Is Mirror, El Vampiro, Curse of the Crying Woman, and more. Now,

432
00:24:59,160 --> 00:25:01,520
Speaker 1: this guy recently came on my radar because I was

433
00:25:01,560 --> 00:25:06,520
Speaker 1: reading twenty twenty four interview with just Oborn of Electric

434
00:25:06,600 --> 00:25:11,320
Speaker 1: Wizard in Psychedelic Baby magazine, and they're asking him a

435
00:25:11,320 --> 00:25:14,440
Speaker 1: lot of questions about, you know, old horror movies as

436
00:25:14,480 --> 00:25:17,920
Speaker 1: the as they tend to and he said, quote, I'm

437
00:25:17,920 --> 00:25:20,240
Speaker 1: really into the music from Mexican horror films. It has

438
00:25:20,240 --> 00:25:24,119
Speaker 1: a strange mix of sinister orchestral music with primitive electronic noise,

439
00:25:24,640 --> 00:25:28,840
Speaker 1: like Gustava Caesar carry on. It's really cool stuff. And

440
00:25:29,400 --> 00:25:31,760
Speaker 1: I have to say I think that largely pans out

441
00:25:32,000 --> 00:25:33,679
Speaker 1: at least early on in the film. The music is

442
00:25:33,680 --> 00:25:38,040
Speaker 1: certainly very sinister and orchestral, very dramatic. But then when

443
00:25:38,040 --> 00:25:41,480
Speaker 1: the sci fi elements start bleeding into the picture, we

444
00:25:41,560 --> 00:25:43,919
Speaker 1: do get some electronic elements, like a little dash of

445
00:25:43,960 --> 00:25:45,160
Speaker 1: space music here and there.

446
00:25:45,720 --> 00:25:48,720
Speaker 3: Yeah, and I can see how that's also a change

447
00:25:48,720 --> 00:25:53,800
Speaker 3: from the kind of core of that band's musical musical

448
00:25:53,880 --> 00:25:56,000
Speaker 3: movie kind of crossover space, which I would say is

449
00:25:56,000 --> 00:25:57,680
Speaker 3: something like The Witchfinder General.

450
00:25:59,160 --> 00:25:59,879
Speaker 1: Yeah. Yeah.

451
00:26:00,160 --> 00:26:00,200
Speaker 4: That.

452
00:26:00,200 --> 00:26:02,600
Speaker 1: Having said, I am curious to check out some of

453
00:26:02,640 --> 00:26:05,560
Speaker 1: his scores for these other films of note, like Curse

454
00:26:05,600 --> 00:26:08,320
Speaker 1: of the Crying Woman. I wonder if those have any

455
00:26:08,359 --> 00:26:10,520
Speaker 1: of these electronic elements, or if this is just a

456
00:26:10,560 --> 00:26:13,520
Speaker 1: case where he's scoring this film and it's like, oh,

457
00:26:13,560 --> 00:26:17,600
Speaker 1: a comet shows up astronomy factors into the picture, so

458
00:26:17,680 --> 00:26:19,760
Speaker 1: we need to add some sci fi noises. I wonder

459
00:26:19,800 --> 00:26:21,560
Speaker 1: if those are present in these other pictures or not.

460
00:26:23,000 --> 00:26:25,640
Speaker 1: So I would say, for my money, a more memorable

461
00:26:25,680 --> 00:26:28,840
Speaker 1: score than a lot of the Mexican genre films from

462
00:26:28,880 --> 00:26:32,760
Speaker 1: this period have been that we viewed for weird house cinema. Well,

463
00:26:32,760 --> 00:26:36,879
Speaker 1: they're not counting Santa Claus. Santa Claus has very memorable music,

464
00:26:36,960 --> 00:26:37,880
Speaker 1: but in a different way.

465
00:26:38,520 --> 00:26:41,920
Speaker 3: You know, a really great ending of this film would

466
00:26:41,920 --> 00:26:45,080
Speaker 3: have been if instead of death for the Baron, he

467
00:26:45,240 --> 00:26:48,480
Speaker 3: just became Santa Claus. Did you see that transition?

468
00:26:48,600 --> 00:26:52,040
Speaker 1: It would make sense Santa Brainiac. Yeah, I think it

469
00:26:52,080 --> 00:26:53,359
Speaker 1: would work. Someone should do it.

470
00:26:53,760 --> 00:26:56,240
Speaker 3: He sees you when you're sleeping, he knows when you're awake,

471
00:26:56,520 --> 00:26:58,240
Speaker 3: he knows if you've been bad or good. I mean

472
00:26:58,280 --> 00:26:59,200
Speaker 3: Brainiac would know.

473
00:26:59,440 --> 00:27:01,960
Speaker 1: Yeah, to leave a bowl of brains out for him

474
00:27:03,840 --> 00:27:04,520
Speaker 1: in a little spin.

475
00:27:13,160 --> 00:27:15,000
Speaker 3: All right, you ready to talk about the plot, Let's

476
00:27:15,000 --> 00:27:18,440
Speaker 3: get into it. So the credits play over some very

477
00:27:18,520 --> 00:27:23,399
Speaker 3: nice goyademonia illustrations. We've got some kind of winged imp

478
00:27:23,520 --> 00:27:26,320
Speaker 3: with a lion's head sprouting out of his crotch, who

479
00:27:26,359 --> 00:27:29,000
Speaker 3: appears to be swooping around in the air or terrorizing

480
00:27:29,040 --> 00:27:33,400
Speaker 3: the peasantry. There's also imagery of the tortures of the damned.

481
00:27:33,440 --> 00:27:37,080
Speaker 3: We get penitents writhing in agony and these naked wretches

482
00:27:37,160 --> 00:27:39,520
Speaker 3: fusing into trees. So I think there's a bit of

483
00:27:40,320 --> 00:27:44,040
Speaker 3: Dante stuff going on here. Also, there's a really good

484
00:27:44,040 --> 00:27:47,400
Speaker 3: one under at one point in the credits of two Witches.

485
00:27:48,560 --> 00:27:50,800
Speaker 3: So of these witches cruising on a broom, two on

486
00:27:50,800 --> 00:27:53,840
Speaker 3: one broom, and then an owl in the background looking

487
00:27:53,920 --> 00:27:58,240
Speaker 3: at them like you're overloading that broom, And then the title,

488
00:27:58,280 --> 00:28:01,119
Speaker 3: of course appears. It's not brain in the original The

489
00:28:01,160 --> 00:28:04,679
Speaker 3: original title is Elberon del Terror. The Baron of terror,

490
00:28:06,840 --> 00:28:10,240
Speaker 3: but plenty of sick six sketches with the credits. Also

491
00:28:10,400 --> 00:28:14,280
Speaker 3: witches with melting mask faces, a lady with breasts on

492
00:28:14,320 --> 00:28:18,399
Speaker 3: her back, more gargoyles, feathers and talons and places they

493
00:28:18,440 --> 00:28:22,920
Speaker 3: shouldn't be and predator head groins. Now, when we come

494
00:28:22,920 --> 00:28:25,400
Speaker 3: to the action, we're told it is the year sixteen

495
00:28:25,480 --> 00:28:29,040
Speaker 3: sixty one in a bleeding type face. I like the

496
00:28:29,720 --> 00:28:32,439
Speaker 3: what do you call it? The kind of glowing white,

497
00:28:32,560 --> 00:28:35,280
Speaker 3: bleeding type script that appears in this because it's also

498
00:28:35,359 --> 00:28:39,120
Speaker 3: kind of italic. So it's like swooping away from the camera. Yes,

499
00:28:40,560 --> 00:28:42,960
Speaker 3: And we're in a hall under great stone arches and

500
00:28:43,000 --> 00:28:46,080
Speaker 3: a hanging crucifix, and there's a chair in the middle

501
00:28:46,120 --> 00:28:49,240
Speaker 3: of the room in which sits a man in shackles

502
00:28:49,280 --> 00:28:51,600
Speaker 3: and leg irons, the kind of the ball and chain

503
00:28:51,640 --> 00:28:54,680
Speaker 3: that drags behind you. This we will learn is Baron

504
00:28:54,720 --> 00:28:59,920
Speaker 3: Vitellius Desterra. He is surrounded by frightening figures covered crowned

505
00:29:00,080 --> 00:29:04,280
Speaker 3: ankle in black cloaks and hoods with their faces hidden

506
00:29:04,280 --> 00:29:08,480
Speaker 3: behind masks. So these are the inquisitors. And then begins

507
00:29:08,560 --> 00:29:14,600
Speaker 3: this monologue from a booming, reverberating voice, which again reminds

508
00:29:14,600 --> 00:29:16,760
Speaker 3: me of the narrator in Santa Claus. It's like you

509
00:29:17,120 --> 00:29:20,800
Speaker 3: take that, but you replace the Christmas cheer with pontifical menace.

510
00:29:22,080 --> 00:29:24,960
Speaker 3: And the voice says Loupita. No, the voice says, we,

511
00:29:25,240 --> 00:29:29,320
Speaker 3: the Grand Inquisitors, protector of the Faith against heretic sins

512
00:29:29,400 --> 00:29:32,880
Speaker 3: of apostasy in the city of Mexico and all the

513
00:29:32,920 --> 00:29:35,840
Speaker 3: states and dominions in the Province of New Spain and

514
00:29:35,960 --> 00:29:39,880
Speaker 3: its vice royalties, in governing bodies, through royal audiences in

515
00:29:39,920 --> 00:29:43,200
Speaker 3: all the cities and states, do proclaim that the other

516
00:29:43,280 --> 00:29:47,000
Speaker 3: inquisitors and I have attended this hearing in the secret

517
00:29:47,120 --> 00:29:50,200
Speaker 3: chamber of the Holy Tribunal of the Inquisition in Mexico

518
00:29:50,560 --> 00:29:53,680
Speaker 3: to do justice in the trial that has been initiated

519
00:29:53,720 --> 00:29:59,120
Speaker 3: against the aforementioned Baron Vitellius of Astera of unknown origin,

520
00:29:59,320 --> 00:30:03,000
Speaker 3: who has repeat refuse to stay same aware of the

521
00:30:03,160 --> 00:30:06,040
Speaker 3: edicts and merits of this trial and the evidence and

522
00:30:06,080 --> 00:30:10,880
Speaker 3: suspicion resulting thereof. And my Lord, this is like a

523
00:30:11,000 --> 00:30:15,600
Speaker 3: real legal legal kind of contract language reading of the

524
00:30:15,680 --> 00:30:17,400
Speaker 3: fine print quality, isn't it.

525
00:30:17,680 --> 00:30:20,840
Speaker 1: Yeah, It's like like c span for the Inquisition.

526
00:30:20,400 --> 00:30:23,200
Speaker 3: Here and it will go on and on there is

527
00:30:23,440 --> 00:30:27,520
Speaker 3: a macabre absurdity to the sheer volume of text we

528
00:30:27,600 --> 00:30:31,480
Speaker 3: get in these verdicts and proclamations. In the opening scene here,

529
00:30:31,960 --> 00:30:34,600
Speaker 3: there are even moments where it feels like the voiceover

530
00:30:34,720 --> 00:30:38,040
Speaker 3: artist is like reading fast to try to get through

531
00:30:38,080 --> 00:30:41,720
Speaker 3: it all. Originally I was torn on whether to like

532
00:30:41,840 --> 00:30:45,080
Speaker 3: actually read everything from the scene because I did transcribe it,

533
00:30:45,200 --> 00:30:47,680
Speaker 3: or just summarize. I think I'm just going to summarize,

534
00:30:47,680 --> 00:30:49,880
Speaker 3: starting at one point because it's too much to read.

535
00:30:50,160 --> 00:30:52,000
Speaker 3: But by the way, I do just want to say

536
00:30:52,040 --> 00:30:54,840
Speaker 3: before I go on, I love the posture of the

537
00:30:54,840 --> 00:30:58,440
Speaker 3: inquisitors because it's almost a superhero pose. You get multiple

538
00:30:58,480 --> 00:31:01,640
Speaker 3: of them standing there in black cloaks with like their

539
00:31:01,720 --> 00:31:05,080
Speaker 3: you know, facing forward, feet at shoulder width and then

540
00:31:05,120 --> 00:31:07,800
Speaker 3: the arms folded. What do you call that? You know,

541
00:31:07,880 --> 00:31:09,600
Speaker 3: they're on their hips, the hands on the hips.

542
00:31:09,800 --> 00:31:11,280
Speaker 1: Yes, yes, very judgmental.

543
00:31:11,840 --> 00:31:14,640
Speaker 3: So this part I will read. The prosecutor comes in

544
00:31:15,000 --> 00:31:17,400
Speaker 3: and he reads from a scroll and it says the

545
00:31:17,440 --> 00:31:21,600
Speaker 3: following report on the sentence and the trial by torment,

546
00:31:21,840 --> 00:31:26,120
Speaker 3: that this Tribunal of the Holy Inquisition instituted against said

547
00:31:26,200 --> 00:31:30,960
Speaker 3: Baron Vitelius for heresy and the instigation of heresy for

548
00:31:31,120 --> 00:31:35,080
Speaker 3: practicing dogmatism, and I was like, huh, and that what

549
00:31:35,200 --> 00:31:39,800
Speaker 3: they're doing. But like, even with that line for practicing dogmatism,

550
00:31:40,200 --> 00:31:43,040
Speaker 3: even the voice actor sounds a little confused, like he

551
00:31:43,160 --> 00:31:45,520
Speaker 3: just stops for a second, as if to check and

552
00:31:45,560 --> 00:31:47,480
Speaker 3: make sure that's really what the script said.

553
00:31:47,720 --> 00:31:50,040
Speaker 1: Yeah, does that mean magnetism with dogs?

554
00:31:50,200 --> 00:31:50,400
Speaker 4: Yeah?

555
00:31:50,440 --> 00:31:53,840
Speaker 3: No, no, So there's kind of a pause. He's like,

556
00:31:53,880 --> 00:31:58,440
Speaker 3: for practicing dogmatism, and then he goes on for having

557
00:31:58,520 --> 00:32:04,360
Speaker 3: used witchcraft prestitions and conjurations for depraved and dishonest ends,

558
00:32:04,760 --> 00:32:08,680
Speaker 3: for having employed the art of necromancy, invoking the dead

559
00:32:09,040 --> 00:32:12,240
Speaker 3: and trying to foretell the future through the use of corpses,

560
00:32:12,320 --> 00:32:15,200
Speaker 3: which I think that's the same thing as necromancy. And

561
00:32:15,240 --> 00:32:18,320
Speaker 3: then there's a long pause and he says for having

562
00:32:18,400 --> 00:32:22,280
Speaker 3: seduced married women and maidens. And here we cut to

563
00:32:22,320 --> 00:32:24,360
Speaker 3: Vitellius and he gives a big old smile.

564
00:32:24,680 --> 00:32:25,000
Speaker 1: Yeah.

565
00:32:25,920 --> 00:32:30,520
Speaker 3: So, to summarize what follows, Vitelius gets sentenced to torture

566
00:32:31,040 --> 00:32:33,760
Speaker 3: and told that if he should be maimed or have

567
00:32:33,840 --> 00:32:36,640
Speaker 3: blood drawn or die during the torture, that's going to

568
00:32:36,680 --> 00:32:41,040
Speaker 3: be divine proof of his guilt. Then they read he

569
00:32:41,080 --> 00:32:44,880
Speaker 3: doesn't say this. They read out that they previously sentenced

570
00:32:44,960 --> 00:32:48,200
Speaker 3: him to torture, and he told them that he welcomed

571
00:32:48,200 --> 00:32:50,560
Speaker 3: as much torture as they as they were, you know,

572
00:32:50,680 --> 00:32:52,600
Speaker 3: as much as they could give him. He was like,

573
00:32:52,640 --> 00:32:56,080
Speaker 3: bring it on. And then they describe all the tortures

574
00:32:56,120 --> 00:32:58,640
Speaker 3: they did on him. It sounds like they did some

575
00:32:58,720 --> 00:33:03,000
Speaker 3: form of strepato, as well as stretching on the rack quote,

576
00:33:03,080 --> 00:33:06,480
Speaker 3: and with his arms and legs almost torn from his body,

577
00:33:06,800 --> 00:33:10,600
Speaker 3: he continued to make jest of our holy authority, which

578
00:33:10,760 --> 00:33:13,160
Speaker 3: doesn't make you sound cool when you say that. It

579
00:33:13,880 --> 00:33:17,479
Speaker 3: makes the inquisitor sound like the loser. But they decide

580
00:33:17,480 --> 00:33:20,560
Speaker 3: he needs more punishment, has not had enough yet. But

581
00:33:20,800 --> 00:33:23,400
Speaker 3: before they get to that punishment, there is a twist

582
00:33:24,080 --> 00:33:30,520
Speaker 3: because the person presiding over this trial says, and now,

583
00:33:30,600 --> 00:33:34,239
Speaker 3: as if our justice had not been sufficiently ridiculed, a

584
00:33:34,280 --> 00:33:38,000
Speaker 3: witness has come before this tribunal to defend the accused.

585
00:33:38,440 --> 00:33:42,120
Speaker 3: This is the epitome of all brazen defiance. Lowered inquisitors.

586
00:33:42,400 --> 00:33:44,760
Speaker 3: Now tell me, are we going to stand for it?

587
00:33:45,560 --> 00:33:48,520
Speaker 3: But then they just bring the witness in anyway, and

588
00:33:48,800 --> 00:33:52,600
Speaker 3: it's Ruben Rojo who's gonna play another character later on.

589
00:33:53,200 --> 00:33:57,520
Speaker 3: But he comes in as the character Marcos Miranda. He's

590
00:33:57,520 --> 00:33:59,880
Speaker 3: a guy dressed in a black doublet and a puffy

591
00:34:00,400 --> 00:34:04,320
Speaker 3: who is here to vouch for Baron Vitellius's character. Now

592
00:34:04,360 --> 00:34:07,040
Speaker 3: here's where things, I think get kind of interesting, because

593
00:34:07,160 --> 00:34:10,480
Speaker 3: up until this point, I hadn't really thought about whether

594
00:34:10,719 --> 00:34:14,520
Speaker 3: the Inquisition's accusations were supposed to be true or not.

595
00:34:15,600 --> 00:34:18,000
Speaker 3: But this guy comes in and says, no, no, no,

596
00:34:18,280 --> 00:34:21,200
Speaker 3: the Baron is a good guy. He says that he

597
00:34:21,280 --> 00:34:24,600
Speaker 3: says that the Baron has helped the downtrodden people in

598
00:34:24,640 --> 00:34:28,040
Speaker 3: this new land of Mexico, and that he has dedicated

599
00:34:28,120 --> 00:34:31,640
Speaker 3: himself to the promotion of the fine arts and sciences.

600
00:34:32,160 --> 00:34:34,120
Speaker 3: And I was just thinking, oh, yeah, I'm sure these

601
00:34:34,160 --> 00:34:37,279
Speaker 3: hooded inquisitors are greatly put at ease by that love

602
00:34:37,320 --> 00:34:40,120
Speaker 3: it when you help the downtrodden and promote the arts

603
00:34:40,120 --> 00:34:41,840
Speaker 3: and sciences. That's what they're into.

604
00:34:42,320 --> 00:34:44,319
Speaker 1: And to be clear, like, there's no reason this guy

605
00:34:44,480 --> 00:34:46,759
Speaker 1: would We're given no reason to believe he would be

606
00:34:46,880 --> 00:34:49,000
Speaker 1: lying here, Like he seems like a you know, a

607
00:34:49,000 --> 00:34:52,359
Speaker 1: complete babyface. He's like, yeah, he's I knew him back

608
00:34:52,400 --> 00:34:54,560
Speaker 1: in Europe and he's yeah, he's he's a good guy.

609
00:34:54,600 --> 00:34:57,280
Speaker 1: He seems like he's he's really tried to help people.

610
00:34:57,719 --> 00:35:01,520
Speaker 3: Yeah. But then so immediately from the end of the testimony,

611
00:35:01,640 --> 00:35:05,840
Speaker 3: without a moment's pause, the head inquisitor says Marcos Miranda,

612
00:35:06,239 --> 00:35:08,719
Speaker 3: the force that you have tried to perpetrate has earned

613
00:35:08,719 --> 00:35:13,960
Speaker 3: you the punishment of two hundred lashes. What, Yeah, which

614
00:35:14,000 --> 00:35:16,920
Speaker 3: shall be applied immediately in the torture chamber.

615
00:35:17,840 --> 00:35:20,759
Speaker 1: Wow. Yeah, And sudden he's just taken off to be

616
00:35:20,760 --> 00:35:22,520
Speaker 1: whipped and the trial.

617
00:35:22,400 --> 00:35:25,200
Speaker 3: Two hundred lashes. I think that. I think that is

618
00:35:25,239 --> 00:35:29,799
Speaker 3: a death sentence. And before he's led away, Miranda and

619
00:35:29,840 --> 00:35:32,520
Speaker 3: Vitellius make brief eye contact, but they never talk to

620
00:35:32,520 --> 00:35:34,440
Speaker 3: each other, so we don't really we don't know anything

621
00:35:34,480 --> 00:35:35,600
Speaker 3: about their relationship.

622
00:35:35,760 --> 00:35:36,000
Speaker 1: Yeah.

623
00:35:36,480 --> 00:35:39,800
Speaker 3: So the inquisitors very briefly compare notes and then render

624
00:35:39,840 --> 00:35:42,440
Speaker 3: a guilty verdict. But didn't they already I thought that

625
00:35:42,520 --> 00:35:45,000
Speaker 3: was part of the proclamation. It was already like he's guilty.

626
00:35:45,680 --> 00:35:48,359
Speaker 3: But they they do it again, and they sentence him

627
00:35:49,000 --> 00:35:52,440
Speaker 3: quote to be dressed in the clothing of shame, bearing

628
00:35:52,560 --> 00:35:57,000
Speaker 3: symbols of fire. He will undergo personal debasement before the people.

629
00:35:57,400 --> 00:36:00,640
Speaker 3: All his lands and his possessions will be confiscated, and

630
00:36:00,680 --> 00:36:03,440
Speaker 3: finally he will be burned to death in an open field.

631
00:36:04,120 --> 00:36:06,320
Speaker 3: So okay, things are not looking good for the baron.

632
00:36:06,360 --> 00:36:10,359
Speaker 3: But then, ooh, there's an interesting twist. Vitelius, who has

633
00:36:10,440 --> 00:36:15,240
Speaker 3: not really said anything yet, hits them with some sublime truculence.

634
00:36:15,680 --> 00:36:18,160
Speaker 3: He says, if my body is to be burned, it

635
00:36:18,200 --> 00:36:23,360
Speaker 3: will be without chains. Yeah, and then he uses sorcery

636
00:36:23,560 --> 00:36:27,239
Speaker 3: to make the chains on his legs disappear and reappear

637
00:36:27,400 --> 00:36:30,480
Speaker 3: around the legs of his captors. So he like stands

638
00:36:30,520 --> 00:36:32,760
Speaker 3: up to walk out of the room, and the captors

639
00:36:32,800 --> 00:36:35,760
Speaker 3: awkwardly hobble after him, dragging the iron balls.

640
00:36:36,480 --> 00:36:38,640
Speaker 1: It's pretty cool. I mean, we're overthinking it. We might

641
00:36:38,680 --> 00:36:41,320
Speaker 1: wonder why he hasn't used these powers to escape already,

642
00:36:41,320 --> 00:36:44,640
Speaker 1: but yeah, you know he's using it to dramatic effect

643
00:36:44,680 --> 00:36:45,319
Speaker 1: here at any rate.

644
00:36:45,600 --> 00:36:48,319
Speaker 3: Well, yeah, it does kind of suggest that if he

645
00:36:48,440 --> 00:36:51,640
Speaker 3: were so inclined, he would be able to magically escape

646
00:36:51,640 --> 00:36:57,239
Speaker 3: his punishment altogether, but he chooses not to. It's implying

647
00:36:57,360 --> 00:37:02,040
Speaker 3: that the baron is willingly facing this unjust sentence. He's

648
00:37:02,080 --> 00:37:05,440
Speaker 3: willingly going out to be burned at the stake. And

649
00:37:05,800 --> 00:37:08,960
Speaker 3: when I realized that, I started noticing a number of

650
00:37:09,040 --> 00:37:13,600
Speaker 3: parallels here. This might sound crazy, but are the filmmakers

651
00:37:13,640 --> 00:37:16,840
Speaker 3: trying to tap into some kind of parallel between Baron

652
00:37:16,920 --> 00:37:22,239
Speaker 3: Vitellius and Jesus at his trial before Pilot? Think about

653
00:37:22,280 --> 00:37:25,200
Speaker 3: all this, okay, think about the similarities in the stories.

654
00:37:25,840 --> 00:37:29,799
Speaker 3: He helps the downtrodden. He is accused of sorcery and

655
00:37:29,960 --> 00:37:33,720
Speaker 3: immorality by the religious leaders of his time. He faces

656
00:37:33,760 --> 00:37:38,480
Speaker 3: an unfair trial, faces torture, and then cruel execution, during

657
00:37:38,520 --> 00:37:41,400
Speaker 3: which he is dressed in garments of mockery. So I

658
00:37:41,400 --> 00:37:44,160
Speaker 3: think a crown of thorns versus the clothing of shame

659
00:37:44,280 --> 00:37:47,400
Speaker 3: that they just talked about. And then, to get to

660
00:37:47,480 --> 00:37:50,759
Speaker 3: what we know is coming in the movie, these characters

661
00:37:50,800 --> 00:37:55,800
Speaker 3: will die and then later rise again to render judgment.

662
00:37:56,840 --> 00:38:00,239
Speaker 3: So it's kind of a shocking number of similarities here.

663
00:38:00,239 --> 00:38:02,600
Speaker 3: But then I don't know exactly how it would connect

664
00:38:02,920 --> 00:38:05,759
Speaker 3: the passion of Christ to the fact that this guy

665
00:38:05,800 --> 00:38:08,320
Speaker 3: has tube fingers and eats people's brains.

666
00:38:08,960 --> 00:38:12,480
Speaker 1: Yeah, that might be separate from this, but yeah, I

667
00:38:12,480 --> 00:38:14,239
Speaker 1: think these are strong points. I mean, this wouldn't be

668
00:38:14,320 --> 00:38:18,280
Speaker 1: the only example we can look to where a Spanish

669
00:38:18,400 --> 00:38:23,520
Speaker 1: filmmaker has incorporated some elements of Catholicism, be they thematic

670
00:38:23,760 --> 00:38:27,640
Speaker 1: or visual into some sort of horror picture.

671
00:38:28,160 --> 00:38:30,680
Speaker 3: So at this point in the story, what are you thinking, Rob,

672
00:38:30,719 --> 00:38:34,920
Speaker 3: Are you thinking that the baron is actually he's what

673
00:38:35,080 --> 00:38:38,000
Speaker 3: his friend said here, that he's actually somebody who is

674
00:38:38,040 --> 00:38:40,600
Speaker 3: a nice guy who's trying to help the downtrodden and

675
00:38:41,440 --> 00:38:44,160
Speaker 3: is mostly just doing things to help people and is

676
00:38:44,160 --> 00:38:47,920
Speaker 3: being unjustly accused by the inquisition. Or is he actually

677
00:38:48,280 --> 00:38:52,080
Speaker 3: a wicked warlock and sorcerer who is manipulating people and

678
00:38:52,120 --> 00:38:56,360
Speaker 3: so forth. I mean, the strange parallels to Jesus would

679
00:38:56,840 --> 00:39:00,120
Speaker 3: imply that the filmmakers had the former in mind, but

680
00:39:00,160 --> 00:39:03,080
Speaker 3: that also doesn't really square very well with the rest

681
00:39:03,080 --> 00:39:04,240
Speaker 3: of what happens in the movie.

682
00:39:04,440 --> 00:39:06,880
Speaker 1: Yeah, they don't give us anything to build upon this

683
00:39:07,040 --> 00:39:09,600
Speaker 1: idea that he may have any decency to him, you know,

684
00:39:10,719 --> 00:39:13,719
Speaker 1: which is kind of a missed opportunity. Or I don't know,

685
00:39:13,760 --> 00:39:17,160
Speaker 1: maybe they weren't permitted to go there, But that would

686
00:39:17,200 --> 00:39:19,640
Speaker 1: have been rather interesting if we hit later on, when

687
00:39:19,680 --> 00:39:22,680
Speaker 1: we see his return in the nineteen sixties, if we

688
00:39:22,719 --> 00:39:25,920
Speaker 1: see him at least in small moments, reaching out to

689
00:39:25,960 --> 00:39:30,759
Speaker 1: the poor and helping the downtrotten. Instead of just just

690
00:39:31,040 --> 00:39:34,760
Speaker 1: making social calls and getting seeking revenge and eating brains.

691
00:39:35,120 --> 00:39:38,640
Speaker 3: Yeah. Anyway, the staging of the execution is pretty cool.

692
00:39:38,719 --> 00:39:42,520
Speaker 3: So it's an indoor for outdoor shot sets with creepy

693
00:39:42,520 --> 00:39:45,920
Speaker 3: crooked trees, this big crowd of onlookers in the night.

694
00:39:45,960 --> 00:39:50,080
Speaker 3: They're all huddled together behind hooded inquisitors carrying luminous torches,

695
00:39:50,719 --> 00:39:54,080
Speaker 3: each one putting off this huge tower of flame. And

696
00:39:54,120 --> 00:39:58,600
Speaker 3: they have Vitelius dressed up in mockery as some kind

697
00:39:58,600 --> 00:40:00,840
Speaker 3: of anti pope in a pointed hat.

698
00:40:01,440 --> 00:40:05,760
Speaker 1: Yeah. Yeah, all the hallmarks of a classic cinematic witch

699
00:40:05,760 --> 00:40:12,160
Speaker 1: burning here, you know, vengeful Christianity in its most base

700
00:40:12,560 --> 00:40:15,960
Speaker 1: and dark form, the withered trees kind of you know,

701
00:40:16,000 --> 00:40:20,520
Speaker 1: matching up with this idea that here is just a fruitless, decadent,

702
00:40:21,080 --> 00:40:23,520
Speaker 1: degregated faith before us.

703
00:40:23,880 --> 00:40:25,480
Speaker 3: There are a bunch of movies I can think of

704
00:40:25,520 --> 00:40:28,799
Speaker 3: from the sixties and seventies that have this as their prologue,

705
00:40:28,800 --> 00:40:32,760
Speaker 3: Like somebody gets executed by the Inquisition and it looks

706
00:40:32,800 --> 00:40:36,000
Speaker 3: soften like this. I'm thinking of Mario Bava's Black Sunday.

707
00:40:36,200 --> 00:40:39,280
Speaker 3: Yeah yeah, and of course horror rises from the tomb.

708
00:40:40,320 --> 00:40:41,720
Speaker 1: Well it's time to burn him, then.

709
00:40:42,080 --> 00:40:44,520
Speaker 3: That's all right. Well, so he's at the stake and

710
00:40:44,600 --> 00:40:48,080
Speaker 3: Vitellius makes eye contact with Marcos Miranda in the crowd.

711
00:40:48,360 --> 00:40:51,000
Speaker 3: I guess Miranda already got the two hundred lashes and

712
00:40:51,040 --> 00:40:53,239
Speaker 3: now he's just out there watching. I guess he has

713
00:40:53,280 --> 00:40:57,520
Speaker 3: to watch, yeah, And we hear chatter from some people

714
00:40:57,560 --> 00:41:00,000
Speaker 3: in the crowd, so like there's one guy who stay

715
00:41:00,280 --> 00:41:03,200
Speaker 3: there with some ladies next to him, and he says

716
00:41:03,200 --> 00:41:05,320
Speaker 3: to one of the ladies that fiend will pay dearly

717
00:41:05,440 --> 00:41:07,600
Speaker 3: for all his sins now for what he did to you.

718
00:41:08,600 --> 00:41:10,480
Speaker 3: But the lady doesn't say anything, so I don't know

719
00:41:10,520 --> 00:41:13,400
Speaker 3: what she thinks about it. We also see a couple

720
00:41:13,440 --> 00:41:17,080
Speaker 3: of older ladies apparently filled with glee. They're just excited

721
00:41:17,120 --> 00:41:20,520
Speaker 3: to see this witch burning, and they're gossiping about how

722
00:41:20,840 --> 00:41:23,840
Speaker 3: quote the Viceroy's baby is in tears because they're burning

723
00:41:23,880 --> 00:41:27,200
Speaker 3: her boyfriend. But then the other one says, be quiet

724
00:41:27,239 --> 00:41:30,520
Speaker 3: or they'll burn you too, so climb it of fear,

725
00:41:30,560 --> 00:41:33,000
Speaker 3: I guess. But then they go on to burn the

726
00:41:33,000 --> 00:41:35,680
Speaker 3: baron and we get some great dramatic music here. It

727
00:41:36,320 --> 00:41:41,319
Speaker 3: feels very similar to Night on Bald Mountain, like with

728
00:41:42,000 --> 00:41:46,880
Speaker 3: the fluttering bat wing kind of violins, and Vitelius is

729
00:41:47,120 --> 00:41:50,240
Speaker 3: a pretty darn calm while getting burned at the stake.

730
00:41:50,760 --> 00:41:53,080
Speaker 3: For the first half of the cook he mostly keeps

731
00:41:53,080 --> 00:41:57,680
Speaker 3: a straight face, but occasionally looks amused. Then suddenly on

732
00:41:57,719 --> 00:42:02,920
Speaker 3: the score. There is a familiar musico dramatic cliche that

733
00:42:03,320 --> 00:42:05,480
Speaker 3: I'm not sure I've ever given much thought to before.

734
00:42:05,920 --> 00:42:08,720
Speaker 3: I would call it something like the sound of magic.

735
00:42:09,239 --> 00:42:12,560
Speaker 3: You probably recognize what I'm talking about, rob It's often

736
00:42:12,640 --> 00:42:16,320
Speaker 3: done on the harp, with a kind of rolling glissando

737
00:42:16,560 --> 00:42:19,319
Speaker 3: up and down the scale on the harp that lets

738
00:42:19,360 --> 00:42:22,520
Speaker 3: you know that we're often that we're entering a dream world,

739
00:42:22,840 --> 00:42:26,640
Speaker 3: or that a magical transformation is taking place here. It

740
00:42:26,680 --> 00:42:29,120
Speaker 3: doesn't sound like a harp. I think it's some kind

741
00:42:29,160 --> 00:42:31,600
Speaker 3: of mallet instrument, like a marimba. It's kind of a

742
00:42:31,600 --> 00:42:36,880
Speaker 3: soft mallet sound. But now I'm curious, people listening with

743
00:42:37,000 --> 00:42:40,640
Speaker 3: musical knowledge, is there a name for this convention, like

744
00:42:40,719 --> 00:42:44,760
Speaker 3: the dreamy rolling glissando that lets us know that something

745
00:42:44,800 --> 00:42:46,120
Speaker 3: magical is taking place?

746
00:42:46,840 --> 00:42:49,960
Speaker 1: Yeah, magical or surreal, dream like and so forth. Yeah,

747
00:42:50,000 --> 00:42:54,280
Speaker 1: it's certainly a common musical cue anyway.

748
00:42:54,280 --> 00:42:57,480
Speaker 3: What it corresponds to here is that the baron suddenly

749
00:42:57,640 --> 00:43:00,760
Speaker 3: looks up in the night sky and have to see

750
00:43:00,800 --> 00:43:04,880
Speaker 3: a comet from our point of view, a very blurry comet.

751
00:43:05,200 --> 00:43:07,919
Speaker 3: This is not the best special effects in this part,

752
00:43:07,960 --> 00:43:09,759
Speaker 3: because it looks more like a dead bug on a

753
00:43:09,800 --> 00:43:14,080
Speaker 3: car windshield that got smeared by the wiper blades. Yeah,

754
00:43:14,120 --> 00:43:18,040
Speaker 3: we've seen some better space effects in movies from this period.

755
00:43:18,840 --> 00:43:23,919
Speaker 3: But Marcus Miranda, the Baron's character witness, sees the comet too.

756
00:43:24,480 --> 00:43:27,560
Speaker 3: Does this mean something like? What's his role here? And

757
00:43:27,640 --> 00:43:30,120
Speaker 3: again doesn't seem at all in pain or bothered by

758
00:43:30,160 --> 00:43:33,360
Speaker 3: the two hundred lashes, And so they both see the

759
00:43:33,400 --> 00:43:35,920
Speaker 3: comet and there's kind of an exchange like what does

760
00:43:35,960 --> 00:43:39,400
Speaker 3: it mean? Something's happening? And then comes the I Curse

761
00:43:39,520 --> 00:43:43,560
Speaker 3: You sequence, in which the Baron changes his He shifts

762
00:43:43,600 --> 00:43:47,200
Speaker 3: his attention from the comet to one by one, each

763
00:43:47,360 --> 00:43:51,839
Speaker 3: of the four primary inquisitors, so, looking between them, he

764
00:43:51,960 --> 00:43:55,840
Speaker 3: uses his powers of sorcery to see through their masks

765
00:43:55,920 --> 00:43:59,239
Speaker 3: and to learn their true identities. And then he promises

766
00:43:59,280 --> 00:44:02,480
Speaker 3: that he will return hern in three hundred years, riding

767
00:44:02,560 --> 00:44:06,440
Speaker 3: upon the comet above to punish their descendants, and the

768
00:44:06,560 --> 00:44:11,360
Speaker 3: enemies are in order. Baltasar of Menaces who is wearing

769
00:44:11,400 --> 00:44:14,719
Speaker 3: a hilarious puffy barrister wig. I think this is Renee Cardona.

770
00:44:15,880 --> 00:44:19,720
Speaker 3: There's Alvaro Contreras who looks like a cool dude, actually

771
00:44:19,920 --> 00:44:23,680
Speaker 3: looks like he could. He kind of has a biker look. Okay,

772
00:44:24,560 --> 00:44:27,920
Speaker 3: Sebastian of Pintoa, who's kind of weasily looking guy with

773
00:44:27,960 --> 00:44:30,959
Speaker 3: a goatee and another big white wig. This guy gives

774
00:44:30,960 --> 00:44:33,680
Speaker 3: a nasty little smile. This is the guy who's a

775
00:44:33,719 --> 00:44:37,320
Speaker 3: descendant will be the professor. And then Helendo of Vivar,

776
00:44:37,640 --> 00:44:40,359
Speaker 3: who no wig, no smile, don't don't remember a lot

777
00:44:40,400 --> 00:44:44,879
Speaker 3: about this guy. And you know the baron promises. He says,

778
00:44:44,880 --> 00:44:48,480
Speaker 3: I shall exponge your foul lineage from this earth. So

779
00:44:48,640 --> 00:44:52,040
Speaker 3: here we get. Suddenly some years flash up on the

780
00:44:52,040 --> 00:44:55,239
Speaker 3: screen and so it says sixteen sixty one, that's where

781
00:44:55,239 --> 00:44:58,520
Speaker 3: we are. Then it says seventeen sixty one, and I

782
00:44:58,640 --> 00:45:02,000
Speaker 3: was like, oh, is it going to show us this

783
00:45:02,239 --> 00:45:04,680
Speaker 3: same place at each of those years, like we'll see

784
00:45:04,680 --> 00:45:08,480
Speaker 3: it across the different centuries time machine style? But no,

785
00:45:08,640 --> 00:45:11,040
Speaker 3: for some reason, it just counts each century on the

786
00:45:11,080 --> 00:45:13,560
Speaker 3: screen with the number and doesn't change anything. It shows

787
00:45:13,600 --> 00:45:17,200
Speaker 3: us seventeen sixty one eighteen sixty one nineteen sixty one

788
00:45:17,520 --> 00:45:21,040
Speaker 3: aka modern Day. That's right, So we arrive in modern

789
00:45:21,080 --> 00:45:25,240
Speaker 3: Mexico nineteen sixty one at a hip nightclub with couples

790
00:45:25,280 --> 00:45:28,400
Speaker 3: out dancing to soft jazz music, and here we're going

791
00:45:28,440 --> 00:45:30,759
Speaker 3: to meet our main characters in the Modern Day, who

792
00:45:30,800 --> 00:45:33,919
Speaker 3: wouldn't you know it, are both descendants of characters from

793
00:45:33,960 --> 00:45:38,759
Speaker 3: the violent prologue. We get Victoria Contreras Vicky, who is

794
00:45:38,800 --> 00:45:43,560
Speaker 3: descended from one of the inquisitors, and Ronnie Miranda descended

795
00:45:43,600 --> 00:45:46,680
Speaker 3: from the baron's friend or character witness, who we never

796
00:45:46,719 --> 00:45:49,680
Speaker 3: really learned anything about. So as we will find out,

797
00:45:49,760 --> 00:45:54,640
Speaker 3: these two are both young astronomers, but they're also an item.

798
00:45:54,960 --> 00:45:57,360
Speaker 3: So they're dancing to the music in a close embrace,

799
00:45:57,800 --> 00:46:00,359
Speaker 3: and they're so entranced by each other's company that they

800
00:46:00,360 --> 00:46:03,799
Speaker 3: almost forget they have a date at the observatory, so

801
00:46:03,840 --> 00:46:05,759
Speaker 3: they notice the time and then they kind of rush

802
00:46:05,760 --> 00:46:07,600
Speaker 3: out of the place. They explain to some friends that

803
00:46:07,640 --> 00:46:10,200
Speaker 3: they've got to go leave the club to meet their

804
00:46:10,239 --> 00:46:14,279
Speaker 3: mentor professor Milan, who is helping them search for what

805
00:46:14,960 --> 00:46:18,239
Speaker 3: Ronnie calls a real star tonight because the weather is

806
00:46:18,360 --> 00:46:21,920
Speaker 3: very clear, so they go to the observatory where the

807
00:46:21,920 --> 00:46:25,520
Speaker 3: professor begins quizzing them on comments with a patronizing tone.

808
00:46:26,400 --> 00:46:30,160
Speaker 3: I'm gonna say, on one hand, I appreciate the presence

809
00:46:30,239 --> 00:46:33,400
Speaker 3: of the astronomy and the observatory plot line in the

810
00:46:33,440 --> 00:46:38,440
Speaker 3: movie because I like the themes of sort of crossing

811
00:46:38,480 --> 00:46:41,560
Speaker 3: the streams of fantasy and science fiction in horror that

812
00:46:41,600 --> 00:46:44,440
Speaker 3: it brings in, So I like what it does for

813
00:46:44,480 --> 00:46:47,400
Speaker 3: the atmosphere of the film. On the other hand, I

814
00:46:47,480 --> 00:46:50,200
Speaker 3: have to say that the observatory scenes are by far

815
00:46:50,280 --> 00:46:52,480
Speaker 3: the most boring thing in the movie. Every time we

816
00:46:52,600 --> 00:46:55,800
Speaker 3: go back to Professor Milan, I am not excited. Usually

817
00:46:56,400 --> 00:46:58,560
Speaker 3: he's going to spend most of the movie just opening

818
00:46:58,640 --> 00:47:01,439
Speaker 3: letters from people who do not confirm that they saw

819
00:47:01,520 --> 00:47:05,759
Speaker 3: the same comment as him, and just acting forlorn about that.

820
00:47:06,160 --> 00:47:08,040
Speaker 1: It kind of comes back to something we said in

821
00:47:08,120 --> 00:47:10,279
Speaker 1: a recent episode of Weird House Cinema, a film like

822
00:47:10,320 --> 00:47:14,480
Speaker 1: this you need various, like middle aged experts that you

823
00:47:14,600 --> 00:47:17,200
Speaker 1: go to to get just additional tidbits on what you

824
00:47:17,239 --> 00:47:19,000
Speaker 1: may or may not be facing in your monster.

825
00:47:19,760 --> 00:47:22,160
Speaker 3: Yeah, so this setting and the character they kind of

826
00:47:22,400 --> 00:47:26,600
Speaker 3: indirectly infuse the plot with some nice scientific energy, but

827
00:47:26,640 --> 00:47:29,200
Speaker 3: at the same time, that it doesn't make for great

828
00:47:29,280 --> 00:47:32,680
Speaker 3: moments on screen generally, like when the when the two

829
00:47:32,960 --> 00:47:36,520
Speaker 3: younger characters first arrived there with Professor Malan, he just

830
00:47:36,520 --> 00:47:41,200
Speaker 3: starts quizzing them about comments. He's like, how many miles

831
00:47:41,280 --> 00:47:44,439
Speaker 3: you know? How many miles close does the Halle does

832
00:47:44,440 --> 00:47:47,480
Speaker 3: Halle's comment come to the earth and you know? The

833
00:47:47,520 --> 00:47:50,040
Speaker 3: guy says, and he's like, oh, good job, you know,

834
00:47:50,239 --> 00:47:53,319
Speaker 3: you know your comment trivia. But also he's treating them

835
00:47:53,400 --> 00:47:56,160
Speaker 3: like kids, but they're adults, and they're also supposed to

836
00:47:56,160 --> 00:47:57,600
Speaker 3: be astronomers themselves.

837
00:47:58,000 --> 00:48:01,000
Speaker 1: Yeah. Yeah, he's talking to them like their students or something.

838
00:48:08,840 --> 00:48:11,800
Speaker 3: Anyway, Professor's on the hunt tonight. He's got a big

839
00:48:12,400 --> 00:48:15,920
Speaker 3: stack of decaying cottices on his desk that he shows them.

840
00:48:15,920 --> 00:48:18,880
Speaker 3: He explains he's been looking through them, and they all

841
00:48:18,920 --> 00:48:21,719
Speaker 3: tell of a comet that appeared three hundred years ago

842
00:48:21,800 --> 00:48:26,120
Speaker 3: in sixteen sixty one, and based on Professor Milan's calculations,

843
00:48:26,440 --> 00:48:30,319
Speaker 3: the comet should appear again tonight at two thirty six

844
00:48:30,360 --> 00:48:34,040
Speaker 3: am local time, which means right now. So they go

845
00:48:34,120 --> 00:48:38,880
Speaker 3: to look through the telescope. It seems not correctly aligned.

846
00:48:38,920 --> 00:48:42,600
Speaker 3: The first thing they see is the Andromeda galaxy, and

847
00:48:42,640 --> 00:48:45,759
Speaker 3: then Eventually they're looking around, and finally Victoria locates the

848
00:48:45,760 --> 00:48:48,680
Speaker 3: commet while the other two were complaining about not being

849
00:48:48,680 --> 00:48:51,800
Speaker 3: able to find it. We get some dramatic horn stings

850
00:48:51,840 --> 00:48:56,200
Speaker 3: in the soundtrack, and the comet first still looks like

851
00:48:56,239 --> 00:48:58,719
Speaker 3: a comet. Then it suddenly turns into a firework. It's

852
00:48:58,719 --> 00:49:02,880
Speaker 3: shooting sparks everywhere, and it crashes down in a field nearby.

853
00:49:03,360 --> 00:49:05,680
Speaker 3: And so we see a local man driving a car.

854
00:49:06,000 --> 00:49:08,960
Speaker 3: He comes to a stop to watch an astonishment as

855
00:49:09,040 --> 00:49:11,400
Speaker 3: the as the comet comes down, and the way it

856
00:49:11,480 --> 00:49:15,080
Speaker 3: falls is pretty funny. It's a big paper mache boulder

857
00:49:15,480 --> 00:49:18,319
Speaker 3: with jagged edges, and it just falls straight down and

858
00:49:18,400 --> 00:49:22,560
Speaker 3: hits the ground like a sack of flower. But then

859
00:49:22,920 --> 00:49:29,080
Speaker 3: something you might not expect happens. Slowly, the comet itself dematerializes,

860
00:49:29,760 --> 00:49:34,800
Speaker 3: leaving in its place a being a beast of unspeakable horror.

861
00:49:35,680 --> 00:49:37,919
Speaker 3: This is the part where we're gonna have to describe

862
00:49:38,080 --> 00:49:42,560
Speaker 3: what the titular brainiac looks like. So rob, let me

863
00:49:42,600 --> 00:49:44,640
Speaker 3: know if I leave out any important details, but I'm

864
00:49:44,680 --> 00:49:47,120
Speaker 3: gonna try to. I'm gonna try to run down a list.

865
00:49:47,360 --> 00:49:50,120
Speaker 3: All right, Here we go, So the brainiac is bipedal,

866
00:49:50,520 --> 00:49:54,720
Speaker 3: size of a tall man with a loose fitting rubber

867
00:49:54,760 --> 00:49:58,680
Speaker 3: mask of a goblinoid character. And I have to emphasize

868
00:49:58,760 --> 00:50:01,759
Speaker 3: loose fitting on the mask, so this is a this

869
00:50:01,840 --> 00:50:06,239
Speaker 3: is not a tightly organized monster makeup face. Like the

870
00:50:06,280 --> 00:50:09,400
Speaker 3: mask is dangling and jiggling off of the head.

871
00:50:09,480 --> 00:50:12,960
Speaker 1: But also pulsating, which I really like. Yes, And I

872
00:50:13,000 --> 00:50:16,799
Speaker 1: would say, in addition to goblin esque, it also has

873
00:50:16,880 --> 00:50:20,440
Speaker 1: certain satanic elements to it. Like it feels, you know,

874
00:50:20,520 --> 00:50:24,440
Speaker 1: kind of like you know, classic illustration of a devil.

875
00:50:24,840 --> 00:50:28,640
Speaker 3: Yeah. Yeah, it's kind of a goblin baphomet, so like

876
00:50:28,880 --> 00:50:33,520
Speaker 3: long pointy ears drooping at the tips, a long sharp

877
00:50:33,840 --> 00:50:37,839
Speaker 3: beak like nose, shaggy black hair and beard, and it's

878
00:50:37,920 --> 00:50:40,480
Speaker 3: kind of patchy, doesn't look healthy, but it is. Also

879
00:50:40,920 --> 00:50:43,920
Speaker 3: there's a lot of it, a lot of hair, deep

880
00:50:44,200 --> 00:50:48,279
Speaker 3: hollow empty eyes that are just sagging, like it's not

881
00:50:48,680 --> 00:50:52,880
Speaker 3: tight around the eyes of the actor underneath. Instead, you

882
00:50:53,040 --> 00:50:56,200
Speaker 3: just see that there are spaces behind the eye holes.

883
00:50:57,280 --> 00:51:00,359
Speaker 3: And then at the mouth there are two narrow fans

884
00:51:00,480 --> 00:51:03,279
Speaker 3: like those of a venomous snake, protruding from the upper jaw.

885
00:51:03,680 --> 00:51:06,920
Speaker 3: The mouth is often hanging open, and then out of

886
00:51:06,960 --> 00:51:12,200
Speaker 3: the mouth extends a foot long, floppy, forked rubber tongue

887
00:51:12,880 --> 00:51:16,280
Speaker 3: again like that of a snake, except usually not flicking

888
00:51:16,360 --> 00:51:18,399
Speaker 3: in and out of the mouth to taste the air

889
00:51:18,520 --> 00:51:21,719
Speaker 3: like a snake's tongue. It's just hanging there, just jiggling

890
00:51:21,760 --> 00:51:22,760
Speaker 3: when the guy moves.

891
00:51:23,160 --> 00:51:25,440
Speaker 1: Yeah, yeah, there are elements of the creature that also

892
00:51:25,520 --> 00:51:28,120
Speaker 1: remind me a bit of crampus, you know, yes, yeah,

893
00:51:28,160 --> 00:51:30,719
Speaker 1: for sure, the lolling tongue, though in this case, again

894
00:51:30,800 --> 00:51:32,239
Speaker 1: it is forked, and that'll be key.

895
00:51:33,120 --> 00:51:35,840
Speaker 3: So then we got to go down to the hands.

896
00:51:36,320 --> 00:51:40,840
Speaker 3: Each hand is a sort of flesh clamp with exactly

897
00:51:40,880 --> 00:51:44,560
Speaker 3: two fingers per hand that can close together in a

898
00:51:44,680 --> 00:51:50,000
Speaker 3: pincer motion. These fingers are, as we see, not solid

899
00:51:50,239 --> 00:51:55,080
Speaker 3: but hollow. They are some kind of flaccid tube fingers,

900
00:51:55,280 --> 00:51:59,160
Speaker 3: so think soft, squishy tube claws.

901
00:52:00,120 --> 00:52:04,080
Speaker 1: Yeah, and they are. They're the most bizarre detail of

902
00:52:04,200 --> 00:52:08,799
Speaker 1: this creature design. And they're completely mysterious because we have

903
00:52:08,880 --> 00:52:11,279
Speaker 1: no idea what if anything they're doing, Like does he

904
00:52:11,440 --> 00:52:14,719
Speaker 1: breathe through those holes? The ends of the fingers, are

905
00:52:14,719 --> 00:52:16,680
Speaker 1: they indeed finger I mean he does use them to

906
00:52:16,760 --> 00:52:21,120
Speaker 1: grasp and to grab, but are those indeed apertures for

907
00:52:21,480 --> 00:52:24,640
Speaker 1: you know, anything? He doesn't see. He doesn't feed with them.

908
00:52:25,040 --> 00:52:27,319
Speaker 1: Maybe they're for drinking water. Maybe he hears through them.

909
00:52:27,320 --> 00:52:29,120
Speaker 1: I don't know. But he also has ears on his head.

910
00:52:29,440 --> 00:52:31,360
Speaker 1: So many questions all unanswered.

911
00:52:32,000 --> 00:52:35,720
Speaker 3: Do liquids come in or go out through the tips

912
00:52:35,719 --> 00:52:36,719
Speaker 3: of those fingers?

913
00:52:36,920 --> 00:52:39,120
Speaker 1: Yeah? Or what? Or what goes in? And now I

914
00:52:39,160 --> 00:52:43,000
Speaker 1: don't know. Uh, it's but it's you know, it's bizarre

915
00:52:43,520 --> 00:52:49,439
Speaker 1: and strange and it's and I love it. It's because again,

916
00:52:49,440 --> 00:52:52,120
Speaker 1: it's just a monster design that is really going for it.

917
00:52:52,160 --> 00:52:54,960
Speaker 1: They just really set out to create something here that

918
00:52:55,200 --> 00:52:57,680
Speaker 1: is unlike anything we've seen before, and I don't know

919
00:52:57,719 --> 00:53:00,680
Speaker 1: that we've seen much like this sense. It's as bizarre

920
00:53:00,760 --> 00:53:04,960
Speaker 1: as anything that has been in a monster movie in

921
00:53:05,000 --> 00:53:07,000
Speaker 1: the subsequent decades, for sure.

922
00:53:07,360 --> 00:53:10,719
Speaker 3: So when the Brainiac first appears, he's wearing the Baron's

923
00:53:10,760 --> 00:53:13,600
Speaker 3: clothes from sixteen sixty one, but they're very tattered, so

924
00:53:13,640 --> 00:53:16,000
Speaker 3: I guess it's been a rough ride on the comet,

925
00:53:16,280 --> 00:53:18,600
Speaker 3: assuming that's where he was. I'll have questions about that.

926
00:53:19,400 --> 00:53:25,000
Speaker 3: But he quickly fixes his clothing situation via the terminator method.

927
00:53:25,040 --> 00:53:27,400
Speaker 3: He steals clothes from a chronolocal.

928
00:53:27,800 --> 00:53:31,000
Speaker 1: Yeah, he kind of like teleports the clothes off of

929
00:53:31,040 --> 00:53:34,920
Speaker 1: the guy onto himself, but not the underwear because Brainiac

930
00:53:35,000 --> 00:53:35,560
Speaker 1: goes commando.

931
00:53:35,880 --> 00:53:39,080
Speaker 3: That's exactly right. So the Beast advances on the man

932
00:53:39,120 --> 00:53:42,040
Speaker 3: who pulled over to see the comet crash down. He

933
00:53:42,080 --> 00:53:45,960
Speaker 3: then begins to hypnotize him, and we will see that

934
00:53:46,000 --> 00:53:49,680
Speaker 3: the Brainiac has some of the same powers as Dracula,

935
00:53:49,800 --> 00:53:54,840
Speaker 3: including a hypnotizing glare, which interestingly is signaled on screen

936
00:53:54,920 --> 00:53:58,360
Speaker 3: with the same effect we highlighted in Todd Browning's Dracula

937
00:53:58,480 --> 00:54:02,000
Speaker 3: last week, where the face is mostly kept in shadow,

938
00:54:02,080 --> 00:54:05,520
Speaker 3: but a focused beam of light falls over the eyes

939
00:54:05,640 --> 00:54:07,840
Speaker 3: that lets you know that the hypnotizing is going on.

940
00:54:08,320 --> 00:54:11,480
Speaker 1: Yeah, I'd say it's not quite as like it's perfectly

941
00:54:11,560 --> 00:54:17,680
Speaker 1: executed in Dracula. Here it feels less perfected, but it's

942
00:54:17,680 --> 00:54:18,280
Speaker 1: still great.

943
00:54:18,520 --> 00:54:21,480
Speaker 3: But there's also a difference because in Dracula it's a

944
00:54:21,560 --> 00:54:24,759
Speaker 3: static light. This effect is like just a beam that

945
00:54:24,840 --> 00:54:29,560
Speaker 3: goes over Dracula's own face when he's working his evil magic.

946
00:54:30,160 --> 00:54:34,560
Speaker 3: In Brainiac, the light flashes on and off, so it's

947
00:54:34,600 --> 00:54:37,399
Speaker 3: a pulsing light. But also we see the focused light

948
00:54:37,440 --> 00:54:43,160
Speaker 3: effect on both the monster and sometimes on his victim. Also,

949
00:54:43,719 --> 00:54:46,640
Speaker 3: you alluded to this earlier up in time with the

950
00:54:46,719 --> 00:54:50,600
Speaker 3: flashing hypnotic light, there is another pulsing effect, which is

951
00:54:50,680 --> 00:54:55,760
Speaker 3: a rhythmic inflation and deflation of the monster's rubber mask.

952
00:54:56,400 --> 00:54:59,640
Speaker 3: So the same way that a sleeping person's chest may

953
00:54:59,719 --> 00:55:03,719
Speaker 3: rise and fall as they breathe, the brainiac's face slightly

954
00:55:03,760 --> 00:55:06,520
Speaker 3: balloons and then collapses on a pulse.

955
00:55:07,000 --> 00:55:09,040
Speaker 1: Yeah, pretty ambitious for the time. I mean this kind

956
00:55:09,080 --> 00:55:11,560
Speaker 1: of thing would become more of a hallmark later on.

957
00:55:11,800 --> 00:55:15,680
Speaker 1: You and I both recently rewatched Joe Dante's The Howling,

958
00:55:16,040 --> 00:55:18,440
Speaker 1: which makes great use of this kind of like pulsating

959
00:55:18,680 --> 00:55:22,880
Speaker 1: you know, bladders inside of you know, monster mask. You

960
00:55:22,920 --> 00:55:25,600
Speaker 1: know this is a lot cruder, but it is kind

961
00:55:25,600 --> 00:55:26,759
Speaker 1: of a sign of things to come.

962
00:55:27,120 --> 00:55:30,399
Speaker 3: Mm hmm. One last thing we should know. Brainiac does

963
00:55:30,440 --> 00:55:33,680
Speaker 3: make noises. They are essentially the growls of a lion

964
00:55:33,840 --> 00:55:34,520
Speaker 3: or a big cat.

965
00:55:34,800 --> 00:55:37,200
Speaker 1: Yeah, they're very effective, though I thought they were quite creepy.

966
00:55:37,440 --> 00:55:40,200
Speaker 3: So, in an attack pattern that we will see repeated

967
00:55:40,239 --> 00:55:44,319
Speaker 3: many times, the brainiac approaches his terrified victim, who is

968
00:55:44,480 --> 00:55:48,920
Speaker 3: somewhat hypnotized or frozen in place, grabs him about the

969
00:55:48,960 --> 00:55:52,319
Speaker 3: neck and shoulders with his tube fingers, and then goes

970
00:55:52,360 --> 00:55:55,880
Speaker 3: around behind the victim and then pokes him in the

971
00:55:55,880 --> 00:55:58,960
Speaker 3: back of the head with his floppy, forked reptile tongue.

972
00:56:00,200 --> 00:56:02,520
Speaker 1: As we'll find out, this is how he sucks out

973
00:56:02,560 --> 00:56:06,959
Speaker 1: the brains of his victims, which course, yeah, which is fabulous. Again,

974
00:56:07,000 --> 00:56:09,680
Speaker 1: they really went for it. They took sort of the

975
00:56:09,719 --> 00:56:13,360
Speaker 1: basic vampire myth and they're like, they said, well, what

976
00:56:13,400 --> 00:56:15,239
Speaker 1: can we do to make this stranger? What can we

977
00:56:15,280 --> 00:56:18,719
Speaker 1: do to make this more grotesque? And yeah, they pulled

978
00:56:18,760 --> 00:56:21,319
Speaker 1: it off. Now, one of the big questions that I

979
00:56:21,440 --> 00:56:24,840
Speaker 1: end up asking myself throughout the rest of the picture,

980
00:56:25,200 --> 00:56:29,960
Speaker 1: is this what we see here the brainiac? Is this

981
00:56:30,239 --> 00:56:34,920
Speaker 1: the Baron's true form, his true alien form? Or is

982
00:56:35,000 --> 00:56:38,239
Speaker 1: this something? Or is this his transformed body from having

983
00:56:38,280 --> 00:56:41,400
Speaker 1: been taken up to the comet and been in space

984
00:56:42,000 --> 00:56:45,280
Speaker 1: aboard a comment for decades and then return to Earth.

985
00:56:45,800 --> 00:56:48,520
Speaker 3: This is such a good question. I had the exact

986
00:56:48,600 --> 00:56:51,720
Speaker 3: same thoughts. I actually made a list of questions here

987
00:56:52,080 --> 00:56:56,719
Speaker 3: or ideas. So my question was what is the brainiac

988
00:56:56,800 --> 00:56:58,960
Speaker 3: or the Baron? What is his nature? And what is

989
00:56:59,000 --> 00:57:02,480
Speaker 3: the source of his power? So to review what we

990
00:57:02,600 --> 00:57:07,399
Speaker 3: know before execution in sixteen sixty one, the Baron had

991
00:57:07,440 --> 00:57:11,240
Speaker 3: at least some powers of sorcery. Some of these powers

992
00:57:11,239 --> 00:57:14,440
Speaker 3: we see directly, such as the power to dematerialize and

993
00:57:14,560 --> 00:57:17,680
Speaker 3: materialize objects like the chains on his legs, remember that,

994
00:57:18,560 --> 00:57:21,800
Speaker 3: and then also the power to see behind masks. He

995
00:57:22,160 --> 00:57:26,040
Speaker 3: is alleged to have other powers by the inquisitors, we

996
00:57:26,120 --> 00:57:28,880
Speaker 3: never see whether that's true or not, but powers like

997
00:57:29,280 --> 00:57:34,120
Speaker 3: necromancy and using some kind of seductive entransment, though that

998
00:57:34,160 --> 00:57:37,160
Speaker 3: could be a parallel of the hypnotism we see later.

999
00:57:37,680 --> 00:57:40,400
Speaker 3: Then he gets burned at the stake with a comet

1000
00:57:40,440 --> 00:57:44,360
Speaker 3: flying overhead. Then when the comet returns, it lands on

1001
00:57:44,440 --> 00:57:49,200
Speaker 3: Earth and transforms into him or releases him. Now he

1002
00:57:49,280 --> 00:57:53,520
Speaker 3: has something we've never seen before, a secondary brain goblin form,

1003
00:57:53,880 --> 00:57:57,240
Speaker 3: and can transform back and forth between the humanoid barren

1004
00:57:57,360 --> 00:58:00,720
Speaker 3: form and the brainiac form at will. Now he can

1005
00:58:00,800 --> 00:58:05,080
Speaker 3: also turn invisible, He can hypnotize people, and he can

1006
00:58:05,120 --> 00:58:07,880
Speaker 3: do the tongue thing and suck out people's brains. So

1007
00:58:08,200 --> 00:58:12,240
Speaker 3: the question is did something about him change on the

1008
00:58:12,320 --> 00:58:16,240
Speaker 3: comet journey or was he always the brainiac? Did he

1009
00:58:16,320 --> 00:58:19,520
Speaker 3: physically ride the comet all that time, in which case,

1010
00:58:19,720 --> 00:58:23,680
Speaker 3: did he encounter something in space or did the return

1011
00:58:23,760 --> 00:58:26,720
Speaker 3: of the comet simply resurrect him here is it like

1012
00:58:26,800 --> 00:58:29,840
Speaker 3: he's been here? The comet coming back brought him back?

1013
00:58:30,880 --> 00:58:33,880
Speaker 3: So and also I guess secondary from all this is

1014
00:58:33,920 --> 00:58:36,760
Speaker 3: his power based on fantasy or science fiction.

1015
00:58:37,520 --> 00:58:41,120
Speaker 1: Yeah, and we have no idea. These questions are never answered,

1016
00:58:41,720 --> 00:58:43,800
Speaker 1: but I think that's part of the appeal of the film.

1017
00:58:43,800 --> 00:58:47,880
Speaker 1: I think is is just such a bizarre character, such

1018
00:58:47,880 --> 00:58:50,600
Speaker 1: a bizarre monster, and we're just left to wonder at

1019
00:58:50,600 --> 00:58:54,400
Speaker 1: how it all pieces together. And maybe that's quite accidental.

1020
00:58:54,560 --> 00:58:55,040
Speaker 1: I don't know.

1021
00:58:55,560 --> 00:58:58,360
Speaker 3: You know, I'm timpto to say that he was merely

1022
00:58:59,040 --> 00:59:01,840
Speaker 3: a master of some minor tricks and you know, master

1023
00:59:01,920 --> 00:59:05,440
Speaker 3: of the arts and sciences back in the seventeenth century.

1024
00:59:05,760 --> 00:59:08,880
Speaker 3: Then he somehow got himself aboard a comet, rode it

1025
00:59:08,920 --> 00:59:13,400
Speaker 3: around space a long time and encountered strange alien beings

1026
00:59:13,400 --> 00:59:16,040
Speaker 3: who gave him these additional powers. He brought them back.

1027
00:59:16,160 --> 00:59:18,360
Speaker 3: Maybe he fused with them and brought all that back

1028
00:59:18,400 --> 00:59:19,160
Speaker 3: to Earth with him.

1029
00:59:19,440 --> 00:59:22,960
Speaker 1: I like that, that is. I lean towards that explanation.

1030
00:59:23,040 --> 00:59:25,080
Speaker 1: But we also have the whole thing about him being

1031
00:59:25,080 --> 00:59:26,000
Speaker 1: of unknown origin.

1032
00:59:26,440 --> 00:59:27,480
Speaker 3: That's true, Yeah.

1033
00:59:27,320 --> 00:59:29,560
Speaker 1: And that could just mean that he was a foreigner,

1034
00:59:29,720 --> 00:59:31,840
Speaker 1: but he could also mean he could be from space.

1035
00:59:31,880 --> 00:59:32,240
Speaker 1: I don't know.

1036
00:59:32,920 --> 00:59:35,720
Speaker 3: There's one part later where he claims that he never

1037
00:59:35,880 --> 00:59:38,800
Speaker 3: had any ancestors, and I didn't know if that's just

1038
00:59:38,840 --> 00:59:41,760
Speaker 3: a weird translation of a line or if he means

1039
00:59:41,800 --> 00:59:42,400
Speaker 3: that literally.

1040
00:59:42,680 --> 00:59:44,560
Speaker 1: Yeah, that he's not of this.

1041
00:59:44,600 --> 00:59:48,880
Speaker 3: Earth anyway, So Brainiac in this scene, he steals the

1042
00:59:48,920 --> 00:59:53,480
Speaker 3: guy's clothes via like clothes teleportation, victims clothes under his body,

1043
00:59:54,160 --> 00:59:58,600
Speaker 3: and also of course transforms himself out of brainiac mode.

1044
00:59:58,640 --> 01:00:01,600
Speaker 3: So he's no longer a giant Harry reptilian brain goblin.

1045
01:00:02,000 --> 01:00:06,000
Speaker 3: Now he has the suave face of the original Baron Vitilius.

1046
01:00:06,280 --> 01:00:08,480
Speaker 1: Yeah, he's good to go. Now, he has the tools,

1047
01:00:08,560 --> 01:00:12,560
Speaker 1: he has a mission. He's in the wilderness, but you

1048
01:00:12,560 --> 01:00:14,520
Speaker 1: know he can remedy that pretty quickly. I think.

1049
01:00:14,840 --> 01:00:17,760
Speaker 3: Also right here, Victoria and Ronnie arrive on the scene

1050
01:00:17,760 --> 01:00:20,480
Speaker 3: because they're looking for where the comet landed, and they

1051
01:00:20,560 --> 01:00:24,240
Speaker 3: run into Baron Vitellius and they just stand there saying nothing,

1052
01:00:24,360 --> 01:00:26,440
Speaker 3: looking at each other for a long time.

1053
01:00:27,120 --> 01:00:29,880
Speaker 1: Yes, but then we get to we get some excellent

1054
01:00:29,920 --> 01:00:30,640
Speaker 1: dialogue here.

1055
01:00:30,920 --> 01:00:34,160
Speaker 3: Yeah, the Baron is like, allow me to explain myself.

1056
01:00:34,280 --> 01:00:36,520
Speaker 3: I always those walks at this hour of the night

1057
01:00:39,520 --> 01:00:42,600
Speaker 3: and then Ronnie explains that he and VICKI are astronomers

1058
01:00:42,640 --> 01:00:46,560
Speaker 3: and they're hunting a meteor, and I think Vicky is like, oh,

1059
01:00:46,640 --> 01:00:48,960
Speaker 3: don't bore him. There's no way he'll understand what you

1060
01:00:49,040 --> 01:00:53,240
Speaker 3: mean talking about a meteor. But then Baron Vitilius is like, no, no,

1061
01:00:53,360 --> 01:00:56,040
Speaker 3: I too have great interest in astronomy, so I know

1062
01:00:56,080 --> 01:00:57,000
Speaker 3: what meteors are.

1063
01:00:57,440 --> 01:01:01,920
Speaker 1: Yeah, He's like, astronomy is actually my weakness, which is

1064
01:01:02,040 --> 01:01:04,040
Speaker 1: is At first I had to at for a second.

1065
01:01:04,120 --> 01:01:05,880
Speaker 1: I'm like, wait, does that mean it's like garlic? And

1066
01:01:05,960 --> 01:01:08,080
Speaker 1: I'm like no, No, that just means he's like, that's

1067
01:01:08,080 --> 01:01:11,120
Speaker 1: how into astronomy he is. Yeah, that's his weakness. So

1068
01:01:11,480 --> 01:01:13,760
Speaker 1: that's something to keep in mind for, you know, any

1069
01:01:13,840 --> 01:01:15,880
Speaker 1: job interviews folks have coming up. If you get asked

1070
01:01:15,880 --> 01:01:18,640
Speaker 1: that question, well, what's your your biggest short following or

1071
01:01:18,640 --> 01:01:21,600
Speaker 1: your weakness or whatever, you can say astronomy. I'm just

1072
01:01:21,600 --> 01:01:22,680
Speaker 1: too into the stars.

1073
01:01:24,560 --> 01:01:25,400
Speaker 3: I'm a brainiac.

1074
01:01:25,640 --> 01:01:25,880
Speaker 1: Yeah.

1075
01:01:26,560 --> 01:01:29,760
Speaker 3: At first they exchange information one did they give each

1076
01:01:29,760 --> 01:01:33,240
Speaker 3: other their cards, But the Baron goes out after this

1077
01:01:33,280 --> 01:01:36,320
Speaker 3: to prowl the city. He's on a brain hunt, so

1078
01:01:36,400 --> 01:01:39,160
Speaker 3: he goes to a restaurant which appears to still be

1079
01:01:39,240 --> 01:01:42,320
Speaker 3: open at three am or whenever. This is so the

1080
01:01:42,360 --> 01:01:45,560
Speaker 3: bar crowd is winding down. This place does look very cool.

1081
01:01:45,640 --> 01:01:49,240
Speaker 3: There's a backsplash behind the bar that's like this big round,

1082
01:01:49,720 --> 01:01:52,760
Speaker 3: you know, kind of translucent window with these weird symbols

1083
01:01:52,760 --> 01:01:55,240
Speaker 3: on it, and an upside down brandy bottle.

1084
01:01:56,040 --> 01:01:59,320
Speaker 1: It's cool, yeah, absolutely Like the what we see of

1085
01:02:00,440 --> 01:02:04,120
Speaker 1: presumably Mexico City nightlife is very very swap and charming here.

1086
01:02:04,360 --> 01:02:06,920
Speaker 3: So in this place, there is a single woman drinking

1087
01:02:06,960 --> 01:02:09,760
Speaker 3: by herself at the bar. All the other patrons have left,

1088
01:02:09,840 --> 01:02:12,600
Speaker 3: and there are a manager and a bartender closing up

1089
01:02:12,640 --> 01:02:15,640
Speaker 3: for the night, like drying glasses and counting money, and

1090
01:02:15,800 --> 01:02:18,360
Speaker 3: the baron walks into the place. He approaches the woman

1091
01:02:18,560 --> 01:02:22,200
Speaker 3: for some reason, he turns invisible as he's walking up,

1092
01:02:22,600 --> 01:02:25,920
Speaker 3: and then he appears again, becomes solid again when he

1093
01:02:25,960 --> 01:02:28,840
Speaker 3: reaches his destination, which is standing right next to her.

1094
01:02:29,400 --> 01:02:31,160
Speaker 3: I wasn't sure what the point of this was, but

1095
01:02:31,200 --> 01:02:33,080
Speaker 3: I think it's just to show off another one of

1096
01:02:33,080 --> 01:02:36,120
Speaker 3: the baron's powers he can turn invisible.

1097
01:02:35,840 --> 01:02:38,800
Speaker 1: And of course to highlight again that the effects guys

1098
01:02:38,800 --> 01:02:40,920
Speaker 1: can do dissolve shots.

1099
01:02:41,120 --> 01:02:42,920
Speaker 3: Yea, they use this.

1100
01:02:42,880 --> 01:02:45,200
Speaker 1: All the time, whether it's stripping the clothes from a

1101
01:02:45,280 --> 01:02:48,120
Speaker 1: victim in a field, or just making him go invisible

1102
01:02:48,160 --> 01:02:50,560
Speaker 1: for no real reason. We also saw it earlier when

1103
01:02:50,560 --> 01:02:53,400
Speaker 1: he was seeing the faces of the hooded judges.

1104
01:02:53,760 --> 01:02:56,960
Speaker 3: Yeah. Yeah, So the woman talks to the bartender into

1105
01:02:57,040 --> 01:02:59,479
Speaker 3: giving this new guy a drink, even though they're trying

1106
01:02:59,520 --> 01:03:02,160
Speaker 3: to close and he didn't ask for one. In fact,

1107
01:03:02,200 --> 01:03:03,960
Speaker 3: not only did he not ask for a drink, The

1108
01:03:04,000 --> 01:03:07,680
Speaker 3: baron says nothing. In the scene, he doesn't talk, but

1109
01:03:07,720 --> 01:03:11,240
Speaker 3: the lady at the bar starts talking to him and

1110
01:03:11,280 --> 01:03:15,080
Speaker 3: then seemingly forms a very intimate connection without him saying

1111
01:03:15,120 --> 01:03:18,320
Speaker 3: anything back. He just stares and drinks kgnac out of

1112
01:03:18,360 --> 01:03:22,520
Speaker 3: this very cute tiny glass, and she's like, you don't

1113
01:03:22,520 --> 01:03:25,240
Speaker 3: say anything, You're just looking at me. And then she says,

1114
01:03:25,280 --> 01:03:27,520
Speaker 3: I don't want you to stop looking at me, and

1115
01:03:27,560 --> 01:03:30,520
Speaker 3: he's obviously not looking at her. He's like staring over

1116
01:03:30,560 --> 01:03:33,920
Speaker 3: her shoulder at the wall, and then she goes in

1117
01:03:34,000 --> 01:03:38,000
Speaker 3: for a kiss dramatic music sting. He doesn't react at all.

1118
01:03:38,480 --> 01:03:41,440
Speaker 3: Finally she gets mad and tries to walk away, so

1119
01:03:42,400 --> 01:03:44,880
Speaker 3: it's brainiac time and nothing else to do. The light

1120
01:03:44,960 --> 01:03:49,000
Speaker 3: flashes on the baron's eyes and he transforms. The woman

1121
01:03:49,040 --> 01:03:51,920
Speaker 3: at the bar screams in terror, and he grabs her

1122
01:03:51,960 --> 01:03:53,760
Speaker 3: and he does the tongue to the back of the

1123
01:03:53,800 --> 01:03:56,480
Speaker 3: head thing and then drops her body to the floor

1124
01:03:56,520 --> 01:03:57,160
Speaker 3: with a thud.

1125
01:03:57,680 --> 01:03:59,800
Speaker 1: So more brains for the brainiac.

1126
01:03:59,760 --> 01:04:02,200
Speaker 3: Right, And then we got straight to the morgue, so

1127
01:04:02,800 --> 01:04:05,880
Speaker 3: we're seeing bodies on slabs, and here we meet several

1128
01:04:05,920 --> 01:04:09,000
Speaker 3: more recurring characters. There's the morgue attendant, who I think

1129
01:04:09,040 --> 01:04:12,880
Speaker 3: shows up a couple of times. Surprisingly handsome and cool

1130
01:04:12,960 --> 01:04:16,880
Speaker 3: looking fellow with horn rimmed glasses, a thin mustache, and

1131
01:04:17,040 --> 01:04:18,360
Speaker 3: very neatly parted hair.

1132
01:04:19,040 --> 01:04:20,400
Speaker 1: Yeah. I don't know why this guy is in our

1133
01:04:20,440 --> 01:04:22,760
Speaker 1: star because he has all the hallmarks of one.

1134
01:04:22,960 --> 01:04:27,120
Speaker 3: Yeah. And then the two cops we mentioned, the inspector detective,

1135
01:04:27,320 --> 01:04:31,200
Speaker 3: the gruff, stoic bald man. He's very strongly builled, with

1136
01:04:31,240 --> 01:04:34,560
Speaker 3: a fedora low over his eyes. He's serious. And then

1137
01:04:34,560 --> 01:04:38,640
Speaker 3: there is Benny, his partner or subordinate, who's the goofy

1138
01:04:38,680 --> 01:04:42,840
Speaker 3: comic relief cop. And the first action we get of

1139
01:04:42,880 --> 01:04:46,680
Speaker 3: this guy is him offering impossible theories to explain the crimes.

1140
01:04:47,120 --> 01:04:49,320
Speaker 3: And then when his partner's like, no, that doesn't make

1141
01:04:49,360 --> 01:04:53,360
Speaker 3: any sense, he desires to quit the investigation. But while

1142
01:04:53,360 --> 01:04:56,040
Speaker 3: they're looking at the bodies here, the morgattendant tells them

1143
01:04:56,360 --> 01:04:58,360
Speaker 3: that he's never seen murders like this in all of

1144
01:04:58,400 --> 01:05:01,439
Speaker 3: his career. He says, quote, the skulls of these two

1145
01:05:01,520 --> 01:05:07,160
Speaker 3: victims show two perforations. Possibly the murderer used an electric drill.

1146
01:05:07,240 --> 01:05:09,400
Speaker 3: I say this because the person who did it was

1147
01:05:09,480 --> 01:05:14,200
Speaker 3: quite skilled. Just look at these two orifices, and they look.

1148
01:05:14,880 --> 01:05:17,760
Speaker 3: He really there is a tone of admiration here, like

1149
01:05:17,840 --> 01:05:21,240
Speaker 3: he's appreciating the work. And then he tells them the

1150
01:05:21,280 --> 01:05:23,840
Speaker 3: most amazing thing has happened to both of these bodies.

1151
01:05:24,240 --> 01:05:28,440
Speaker 3: The brains were sucked out through the two holes. And

1152
01:05:28,480 --> 01:05:31,360
Speaker 3: the doctor tells them that this means the person who

1153
01:05:31,360 --> 01:05:36,120
Speaker 3: did it must be an expert in anatomy. And I'm thinking, yeah,

1154
01:05:36,120 --> 01:05:38,120
Speaker 3: because how else would they know that the brains are

1155
01:05:38,120 --> 01:05:39,000
Speaker 3: inside the skull.

1156
01:05:40,520 --> 01:05:42,360
Speaker 1: I mean, it is interesting to think there are other

1157
01:05:42,400 --> 01:05:46,160
Speaker 1: ways to get to the brain, but the brainiac chooses

1158
01:05:46,200 --> 01:05:48,160
Speaker 1: to just make his own holes, not to use any

1159
01:05:48,200 --> 01:05:50,440
Speaker 1: of the various other holes that are there, and in

1160
01:05:50,480 --> 01:05:53,600
Speaker 1: a roundabout way, do lead to the brain. The police

1161
01:05:53,640 --> 01:05:54,520
Speaker 1: with a little help, with.

1162
01:05:54,480 --> 01:05:58,600
Speaker 3: A little yeah, well, one of the police inspector responds

1163
01:05:58,640 --> 01:06:01,479
Speaker 3: to this by saying, I wish they'd find some way

1164
01:06:01,520 --> 01:06:05,200
Speaker 3: to control the subjects of man's studies. A maniac with

1165
01:06:05,240 --> 01:06:07,120
Speaker 3: a lot of knowledge is a threat.

1166
01:06:07,640 --> 01:06:09,000
Speaker 1: Yeah, clearly that's the problem.

1167
01:06:09,320 --> 01:06:12,600
Speaker 3: Yeah, that's an interesting perspective, Like the most important part

1168
01:06:12,600 --> 01:06:16,000
Speaker 3: of law and order is preventing maniacs from doing research.

1169
01:06:17,520 --> 01:06:20,360
Speaker 3: We also learned from the two cops that last night

1170
01:06:20,440 --> 01:06:23,160
Speaker 3: there was a major bank robbery, and I think we

1171
01:06:23,160 --> 01:06:25,680
Speaker 3: can assume it was the Baron acquiring funds for his

1172
01:06:25,760 --> 01:06:26,840
Speaker 3: mission of revenge.

1173
01:06:27,200 --> 01:06:28,960
Speaker 1: Yeah. I kind of feel cheated. We didn't get to

1174
01:06:29,000 --> 01:06:30,080
Speaker 1: see that sequence though.

1175
01:06:30,240 --> 01:06:33,520
Speaker 3: Yeah. It's kind of like in the face behind the mask, right,

1176
01:06:33,560 --> 01:06:34,880
Speaker 3: we never actually see the heist.

1177
01:06:35,080 --> 01:06:37,080
Speaker 1: Yeah, I want to see the heist. Don't skip the heist.

1178
01:06:37,120 --> 01:06:38,760
Speaker 1: But they're like they know what a heist is.

1179
01:06:40,360 --> 01:06:42,360
Speaker 3: Okay. So from here, the rest of the movie I

1180
01:06:42,440 --> 01:06:44,880
Speaker 3: think can be split up into like two or three

1181
01:06:45,000 --> 01:06:48,480
Speaker 3: main plots. You're going to have the Baron locating and

1182
01:06:48,520 --> 01:06:51,760
Speaker 3: then getting revenge on the descendants of all of his enemies,

1183
01:06:51,800 --> 01:06:54,680
Speaker 3: generally by sucking their brains out, sometimes by other means.

1184
01:06:55,480 --> 01:06:58,200
Speaker 3: Then you're gonna have the police investigators trying to solve

1185
01:06:58,200 --> 01:07:01,320
Speaker 3: the case. And then you also have Ronnie and Vicki

1186
01:07:01,480 --> 01:07:05,480
Speaker 3: being brought into the baron's high society social circle and

1187
01:07:05,520 --> 01:07:08,360
Speaker 3: then being in danger. Of course, because Vicky is a

1188
01:07:08,400 --> 01:07:11,440
Speaker 3: descendant of one of the judges, two.

1189
01:07:11,240 --> 01:07:13,400
Speaker 1: Of these plots are more interesting than the other. I

1190
01:07:13,440 --> 01:07:17,120
Speaker 1: would have to say that the police investigation, aside from

1191
01:07:17,320 --> 01:07:21,240
Speaker 1: one kind of hammy bit of comedic relief, I don't know,

1192
01:07:21,280 --> 01:07:23,560
Speaker 1: I always felt a little slow for me.

1193
01:07:24,040 --> 01:07:27,360
Speaker 3: Yeah, I'd agree. The police scenes are usually over pretty quick.

1194
01:07:27,400 --> 01:07:31,160
Speaker 3: At least they're sprightly, that's true. There is a scene

1195
01:07:31,200 --> 01:07:35,000
Speaker 3: where Baron Vitellius visits the local historical site of the

1196
01:07:35,040 --> 01:07:38,520
Speaker 3: inquisition executions. He goes to the place I guess where

1197
01:07:38,520 --> 01:07:40,960
Speaker 3: he was burned, and then he also goes to the

1198
01:07:41,000 --> 01:07:44,600
Speaker 3: city archives and learns the names of the judges in

1199
01:07:44,640 --> 01:07:46,760
Speaker 3: his trial. But I was like, what is the point

1200
01:07:46,760 --> 01:07:48,600
Speaker 3: of the scene. I thought he already knew them. He

1201
01:07:48,720 --> 01:07:50,600
Speaker 3: said these names three hundred years ago.

1202
01:07:51,240 --> 01:07:52,920
Speaker 1: Now mean it was three hundred years ago. Maybe he

1203
01:07:53,000 --> 01:07:56,400
Speaker 1: for kayle, Yeah, you know, I mean I'd seen this

1204
01:07:56,480 --> 01:07:59,000
Speaker 1: movie before and it was less than three hundred years ago,

1205
01:07:59,000 --> 01:08:00,520
Speaker 1: and I forgot everybody name.

1206
01:08:01,400 --> 01:08:06,120
Speaker 3: But they weren't. It wasn't your Inquisition trial true. After this,

1207
01:08:06,480 --> 01:08:09,080
Speaker 3: he goes out on the street and then he meets

1208
01:08:09,120 --> 01:08:12,560
Speaker 3: a sex worker on the sidewalk, lights a cigarette for her.

1209
01:08:12,800 --> 01:08:14,959
Speaker 3: They make out a little bit, but then he turns

1210
01:08:15,000 --> 01:08:16,639
Speaker 3: into Brainiac and eats her brains.

1211
01:08:16,920 --> 01:08:19,040
Speaker 1: I feel like he's missing out on so many moments

1212
01:08:19,080 --> 01:08:22,680
Speaker 1: for like authentic connection with people. Yeah, and or to

1213
01:08:22,680 --> 01:08:25,360
Speaker 1: help the downtrodden you know this. Yeah, these would have

1214
01:08:25,400 --> 01:08:26,200
Speaker 1: been good seeds for that.

1215
01:08:26,880 --> 01:08:29,519
Speaker 3: He goes brainiac mode too early, Like if he got

1216
01:08:29,520 --> 01:08:31,320
Speaker 3: to know people, maybe he wouldn't want to suck their

1217
01:08:31,320 --> 01:08:34,920
Speaker 3: brains out. He could. Then again, maybe this is his

1218
01:08:34,960 --> 01:08:36,600
Speaker 3: way of getting to know people, if we go with

1219
01:08:36,640 --> 01:08:41,000
Speaker 3: the alien theory. Actually, this raises a question. When Brainiac

1220
01:08:41,080 --> 01:08:43,360
Speaker 3: eats people's brains, does he gain their knowledge?

1221
01:08:43,680 --> 01:08:48,960
Speaker 1: Hmmm, maybe maybe he does? Or yeah, I don't know.

1222
01:08:49,040 --> 01:08:52,800
Speaker 1: Maybe I would like to think that maybe it's just sustenance.

1223
01:08:52,840 --> 01:08:55,680
Speaker 1: Though there's so much I feel like a like a

1224
01:08:55,720 --> 01:08:58,559
Speaker 1: Gimmel del Toro or someone like that could could really

1225
01:08:58,600 --> 01:09:02,520
Speaker 1: have come in and done like a really thoughtful, heartfelt

1226
01:09:02,560 --> 01:09:06,600
Speaker 1: remake of Brainiac and explored some of these questions.

1227
01:09:06,880 --> 01:09:12,559
Speaker 3: Hmm, yeah, like the Chronos take on Brainiac. Yeah, Anyway,

1228
01:09:12,600 --> 01:09:14,960
Speaker 3: after this, there's a scene with the two cops having

1229
01:09:15,000 --> 01:09:17,120
Speaker 3: lunch in a cafe while they talk about the case.

1230
01:09:17,520 --> 01:09:20,040
Speaker 3: There's one I took a screenshot here of one of

1231
01:09:20,080 --> 01:09:23,200
Speaker 3: the cops says, as usual, Benny, his brains have been

1232
01:09:23,200 --> 01:09:27,960
Speaker 3: sucked out. And then Benny Wheelern has ordered calf brains

1233
01:09:28,000 --> 01:09:30,360
Speaker 3: to eat at the cafe. That's just on the menu here.

1234
01:09:30,439 --> 01:09:32,479
Speaker 3: But then when the waitress brings his plate, it seems

1235
01:09:32,520 --> 01:09:34,559
Speaker 3: he has lost his appetite. Yuck, yuck.

1236
01:09:35,040 --> 01:09:36,920
Speaker 1: They don't play this scene up as much as I

1237
01:09:36,960 --> 01:09:42,320
Speaker 1: feel like other movies would have, but I still appreciate it.

1238
01:09:42,439 --> 01:09:46,080
Speaker 3: The inspector also concludes, based on the fact that the

1239
01:09:46,080 --> 01:09:49,400
Speaker 3: brains have been sucked out that quote, the killer must

1240
01:09:49,479 --> 01:09:51,360
Speaker 3: be a schizophrenic.

1241
01:09:51,439 --> 01:09:54,800
Speaker 1: Okay, I to thing throwing anything at the wall here

1242
01:09:54,800 --> 01:09:56,400
Speaker 1: to see what sticks.

1243
01:09:56,560 --> 01:10:01,040
Speaker 3: I guess, okay. And then so we also get the

1244
01:10:01,400 --> 01:10:04,080
Speaker 3: first of these mini scenes, the recurring subplot where Professor

1245
01:10:04,120 --> 01:10:07,479
Speaker 3: Miland can't get any other observatory in the world to

1246
01:10:07,600 --> 01:10:11,120
Speaker 3: confirm his sighting of the comet. So he's like opening

1247
01:10:11,200 --> 01:10:14,760
Speaker 3: letters from Moscow, from Paris, from everywhere, and they're all

1248
01:10:14,800 --> 01:10:18,080
Speaker 3: saying Nope, didn't see a comet. But anyway, in this

1249
01:10:18,160 --> 01:10:20,800
Speaker 3: first scene, while the three astronomer characters are opening all

1250
01:10:20,840 --> 01:10:23,840
Speaker 3: the letters from around the world, they also get an

1251
01:10:23,920 --> 01:10:26,800
Speaker 3: invitation to attend a fancy party at the home of

1252
01:10:26,800 --> 01:10:30,160
Speaker 3: Baron Vitellius. So let's go to the party. It is

1253
01:10:30,200 --> 01:10:34,320
Speaker 3: a fancy black tie affair with Champagne and caviare. The

1254
01:10:34,320 --> 01:10:38,559
Speaker 3: butler keeps announcing the arrival of new guests, including all

1255
01:10:38,600 --> 01:10:41,439
Speaker 3: of the descendants of the inquisitors who condemned the baron.

1256
01:10:43,240 --> 01:10:45,320
Speaker 3: So one is a young lady about to get married,

1257
01:10:45,439 --> 01:10:47,799
Speaker 3: one is an older dude who's a professor of history,

1258
01:10:47,920 --> 01:10:52,040
Speaker 3: one is an industrial magnate. And then, of course our

1259
01:10:52,080 --> 01:10:56,320
Speaker 3: heroes arrive. I got to laugh here at first at

1260
01:10:56,360 --> 01:10:59,960
Speaker 3: the picture of our astronomers arriving, because, first of all, Vicky,

1261
01:11:00,120 --> 01:11:03,120
Speaker 3: he's outfit it looks like she works at the toy

1262
01:11:03,160 --> 01:11:06,479
Speaker 3: factory at the North Pole. And then she also has

1263
01:11:06,560 --> 01:11:09,679
Speaker 3: two dates. She has both of the astronomer guys, one

1264
01:11:09,720 --> 01:11:10,280
Speaker 3: on each.

1265
01:11:10,200 --> 01:11:12,480
Speaker 1: Arm, representing the sciences.

1266
01:11:12,880 --> 01:11:16,040
Speaker 3: Yeah. Also, at some point during this fancy party, the

1267
01:11:16,040 --> 01:11:19,639
Speaker 3: baron has to sneak away to the coat closet basically

1268
01:11:19,640 --> 01:11:22,840
Speaker 3: to an adjoining room room to eat brains out of

1269
01:11:22,880 --> 01:11:25,599
Speaker 3: a big golden chalice. With a spoon. He's just got

1270
01:11:25,600 --> 01:11:28,040
Speaker 3: a it's like locked inside a chest. He just has

1271
01:11:28,080 --> 01:11:30,280
Speaker 3: a big old grail of brains.

1272
01:11:30,800 --> 01:11:33,200
Speaker 1: I love this, but it also just raises more questions.

1273
01:11:33,200 --> 01:11:35,880
Speaker 1: Whose brains are these? When has he been harvesting? Or

1274
01:11:35,880 --> 01:11:38,880
Speaker 1: did he harvest these? Like he did he maybe buy

1275
01:11:38,920 --> 01:11:42,360
Speaker 1: these off the black market or you know, got them

1276
01:11:42,400 --> 01:11:44,479
Speaker 1: from a morgue or something. We don't know. But he

1277
01:11:44,560 --> 01:11:50,280
Speaker 1: has a sizeable little cauldron, little bowl of brains here.

1278
01:11:50,400 --> 01:11:52,840
Speaker 3: And they're basically intact, which would not be the case

1279
01:11:52,880 --> 01:11:55,200
Speaker 3: if you sucked out the brains through those tiny holes

1280
01:11:55,240 --> 01:11:56,080
Speaker 3: in the back of the head.

1281
01:11:56,479 --> 01:11:59,200
Speaker 1: Yeah, And he's constantly going in for little nibbles and bites.

1282
01:11:59,240 --> 01:12:01,280
Speaker 1: It's like, you know, it's like it's like I do

1283
01:12:01,400 --> 01:12:03,160
Speaker 1: when I'm working here at the house. You know, I'm

1284
01:12:03,160 --> 01:12:06,640
Speaker 1: just constantly snacking on snagnext or something. And he's the

1285
01:12:06,640 --> 01:12:07,519
Speaker 1: same with his brains.

1286
01:12:07,840 --> 01:12:09,439
Speaker 3: So there's a scene at the end of the party

1287
01:12:09,479 --> 01:12:12,200
Speaker 3: where everybody tells the baron what a wonderful time they've had,

1288
01:12:12,479 --> 01:12:15,599
Speaker 3: and they all make plans to see him again. It's like, oh, Baron,

1289
01:12:15,880 --> 01:12:18,240
Speaker 3: won't you please be at our wedding? And he's like, oh, yes,

1290
01:12:18,439 --> 01:12:22,360
Speaker 3: I will be there, so I think we can run

1291
01:12:22,479 --> 01:12:26,559
Speaker 3: kind of quickly through the various revenge murder scenarios. The

1292
01:12:26,640 --> 01:12:30,080
Speaker 3: first one is maybe my favorite one. The professor of

1293
01:12:30,160 --> 01:12:31,560
Speaker 3: history Depentoha.

1294
01:12:32,000 --> 01:12:34,320
Speaker 1: This one's really good. This one's legitimately creepy.

1295
01:12:34,560 --> 01:12:37,240
Speaker 3: Yeah, because the guy just happens to be a scholar

1296
01:12:37,320 --> 01:12:40,679
Speaker 3: of the Inquisition, and also, wouldn't you know it, his

1297
01:12:40,920 --> 01:12:46,240
Speaker 3: beautiful daughter Maria also a brilliant historian of the Inquisition. So, like,

1298
01:12:46,280 --> 01:12:48,040
Speaker 3: they bring the baron to their house and they're like,

1299
01:12:48,080 --> 01:12:50,439
Speaker 3: look at these papers we have about the trial of

1300
01:12:50,520 --> 01:12:53,320
Speaker 3: the whoa Baron Vitilius. He had the same name as you.

1301
01:12:53,560 --> 01:12:57,960
Speaker 3: That's pretty weird, isn't it. Yeah, there's one line where

1302
01:12:57,960 --> 01:13:01,320
Speaker 3: the professor says religion was not a extremely enlightened at

1303
01:13:01,320 --> 01:13:02,240
Speaker 3: that time. Baron.

1304
01:13:02,680 --> 01:13:05,360
Speaker 1: Yeah, Baron's like, yeah, I know, quite.

1305
01:13:05,160 --> 01:13:09,439
Speaker 3: Aware anyway, So they're like, hey, you know he had

1306
01:13:09,439 --> 01:13:11,160
Speaker 3: the same name as you. This guy must have been

1307
01:13:11,160 --> 01:13:14,160
Speaker 3: one of your ancestors. And then, in a kind of

1308
01:13:14,200 --> 01:13:18,519
Speaker 3: shocking twist, the baron just straight up announces himself. He's like,

1309
01:13:19,000 --> 01:13:20,720
Speaker 3: he said, this is the scene where he says, I

1310
01:13:20,800 --> 01:13:25,480
Speaker 3: never had any ancestors. I am the Baron Vitelius Destera

1311
01:13:26,000 --> 01:13:30,599
Speaker 3: and you are the descendants of one of the inquisitorial judges,

1312
01:13:30,640 --> 01:13:32,400
Speaker 3: and now I will destroy you.

1313
01:13:33,600 --> 01:13:36,479
Speaker 1: And this is a great revenge sequence again legitimately creepy

1314
01:13:36,560 --> 01:13:41,960
Speaker 1: because he hypnotizes petrifies the father and then I mean

1315
01:13:42,000 --> 01:13:45,639
Speaker 1: he hypnotizes them both, but he's just frozen there, wide eyed.

1316
01:13:46,040 --> 01:13:49,080
Speaker 1: This is Jermaine Robless that referenced earlier, but he's just

1317
01:13:49,120 --> 01:13:52,760
Speaker 1: frozen in place, petrified with these wide eyes as he

1318
01:13:52,920 --> 01:13:56,920
Speaker 1: watches the baron feast on the brain of his daughter.

1319
01:13:57,200 --> 01:13:57,360
Speaker 2: You know.

1320
01:13:57,400 --> 01:14:00,559
Speaker 3: Well, first he kisses the daughter and she like, oh,

1321
01:14:00,600 --> 01:14:02,840
Speaker 3: I'm in love with the baron now makes a face

1322
01:14:02,880 --> 01:14:06,240
Speaker 3: indicating that I guess she's probably hypnotized. And then he

1323
01:14:06,280 --> 01:14:09,439
Speaker 3: turns into the brainiac and then sucks her brains out,

1324
01:14:09,840 --> 01:14:12,679
Speaker 3: and the guy and the professor is just standing there

1325
01:14:12,720 --> 01:14:15,679
Speaker 3: with like his eyes are like they're like a mile tall.

1326
01:14:16,160 --> 01:14:18,960
Speaker 1: Yeah, so this this scene hits pretty hard, like even today,

1327
01:14:19,000 --> 01:14:21,840
Speaker 1: so I feel this must have terrified folks back in

1328
01:14:21,880 --> 01:14:22,479
Speaker 1: the sixties.

1329
01:14:22,920 --> 01:14:24,880
Speaker 3: And then Brainiac burns down the house.

1330
01:14:24,920 --> 01:14:29,240
Speaker 1: That's right, Yeah, he the trashes the office. Let's you know,

1331
01:14:29,280 --> 01:14:31,799
Speaker 1: we don't see a lot of like really overt rage

1332
01:14:31,800 --> 01:14:34,360
Speaker 1: from him over all. Of this. But but here we do.

1333
01:14:35,080 --> 01:14:37,639
Speaker 3: Later the cops are on the scene and the inspector says,

1334
01:14:38,360 --> 01:14:41,439
Speaker 3: the line is quote these people were burned. Only that

1335
01:14:41,479 --> 01:14:45,280
Speaker 3: doesn't fool me. It's clear that the madman extracted their brains.

1336
01:14:44,960 --> 01:14:46,400
Speaker 1: As well, all right.

1337
01:14:48,320 --> 01:14:50,439
Speaker 3: Also at this scene, this is where we get some

1338
01:14:50,840 --> 01:14:53,800
Speaker 3: more comic relief with Benny. He he's like yelling at

1339
01:14:53,800 --> 01:14:56,960
Speaker 3: the people who are doing the forensics, and he's like,

1340
01:14:57,000 --> 01:14:59,160
Speaker 3: I've got to examine these bodies to find out who

1341
01:14:59,240 --> 01:15:01,880
Speaker 3: drilled those whole and their skulls. It was probably some

1342
01:15:02,040 --> 01:15:04,000
Speaker 3: maniac who thought he was cracking a safe.

1343
01:15:05,360 --> 01:15:07,799
Speaker 1: Maybe that joke lands a little better in the original Spanish,

1344
01:15:07,920 --> 01:15:08,759
Speaker 1: don't Maybe.

1345
01:15:09,120 --> 01:15:14,519
Speaker 3: The next murder is that of the industrialist Manaises, the

1346
01:15:15,160 --> 01:15:20,120
Speaker 3: one descended from Baltazar Demaneses. So they're in his lab

1347
01:15:20,560 --> 01:15:23,800
Speaker 3: with he and with him and his wife, and they're

1348
01:15:23,840 --> 01:15:26,840
Speaker 3: talking about collaborating on a new alloy, and then the

1349
01:15:26,880 --> 01:15:29,960
Speaker 3: BRAINI act does a similar thing here. He's like, hypnotize,

1350
01:15:30,640 --> 01:15:33,840
Speaker 3: kiss the lady, turn into beast mode, eat the wife's brain,

1351
01:15:34,280 --> 01:15:37,679
Speaker 3: except in this case, instead of eating Manase's his brain,

1352
01:15:37,880 --> 01:15:42,240
Speaker 3: he hypnotizes him to jump into his own industrial furnace.

1353
01:15:42,680 --> 01:15:45,880
Speaker 3: Ugh ooh yeah, and then skipping more lightly along toward

1354
01:15:45,920 --> 01:15:49,320
Speaker 3: the end, we get a third revenge scene which occurs

1355
01:15:49,400 --> 01:15:52,880
Speaker 3: after the wedding of the targeted individual. It's a young

1356
01:15:52,960 --> 01:15:56,280
Speaker 3: lady getting married is going to be eating some brains

1357
01:15:56,320 --> 01:15:58,640
Speaker 3: as well. But this is all building up to the

1358
01:15:58,680 --> 01:16:00,960
Speaker 3: final confrontation because we know in the back of our

1359
01:16:01,000 --> 01:16:04,679
Speaker 3: minds all the time that one of the descendants today

1360
01:16:04,840 --> 01:16:08,120
Speaker 3: is Victoria Contreras, and so he's going to be coming

1361
01:16:08,120 --> 01:16:11,519
Speaker 3: for Vicky soon. So in the final showdown, the baron

1362
01:16:11,560 --> 01:16:15,519
Speaker 3: invites Vicky and Ronnie to his house and what now,

1363
01:16:15,560 --> 01:16:18,040
Speaker 3: how does he get them separated? Like he sends Ronnie

1364
01:16:18,040 --> 01:16:20,880
Speaker 3: to the other room to look for something, or.

1365
01:16:21,120 --> 01:16:24,519
Speaker 1: He says, I would like to give Vicky some jewelry,

1366
01:16:24,880 --> 01:16:27,320
Speaker 1: and it should just be her that comes with me

1367
01:16:27,360 --> 01:16:29,479
Speaker 1: into my study where I keep all the jewelry. It

1368
01:16:29,520 --> 01:16:31,880
Speaker 1: would be wrong for you to try to influence her

1369
01:16:31,920 --> 01:16:35,640
Speaker 1: on which piece of jewelry she chooses. Yeah, And you know,

1370
01:16:35,720 --> 01:16:38,200
Speaker 1: Ronnie's like, well it makes sense to me. Carry on,

1371
01:16:38,360 --> 01:16:41,920
Speaker 1: then that's normal. Yeah. So of course he gets there

1372
01:16:42,000 --> 01:16:46,679
Speaker 1: into the into his study or his office there, and

1373
01:16:47,120 --> 01:16:49,120
Speaker 1: I don't even remember if there were any jewels because

1374
01:16:49,120 --> 01:16:53,360
Speaker 1: he almost immediately launches into villain dialogue and an attempt

1375
01:16:53,360 --> 01:16:58,000
Speaker 1: to seduce slash, hypnotize Slash ultimately eat her brains, we assume.

1376
01:16:58,040 --> 01:17:02,080
Speaker 3: But she is saved, so this turns into a scuffle.

1377
01:17:02,400 --> 01:17:06,960
Speaker 3: Of course, Ronnie hears her screams and comes running. But then,

1378
01:17:07,360 --> 01:17:12,160
Speaker 3: in a really surprisingly brutal twist on the side of

1379
01:17:12,200 --> 01:17:15,920
Speaker 3: the good guys, the cops show up. Our inspectors, both

1380
01:17:16,000 --> 01:17:19,160
Speaker 3: Benny and the more serious cop arrive on the scene,

1381
01:17:19,600 --> 01:17:23,240
Speaker 3: both wearing backpack flame throwers.

1382
01:17:23,600 --> 01:17:29,880
Speaker 1: Yeah, like full blown space movie flamethrowers on their back

1383
01:17:30,320 --> 01:17:32,640
Speaker 1: and yeah they and then just light him up. And

1384
01:17:33,640 --> 01:17:36,880
Speaker 1: I mean, I was about to say, unfortunately, sadly from

1385
01:17:36,920 --> 01:17:40,280
Speaker 1: some perspectives, the baron dies a second death by fire.

1386
01:17:40,760 --> 01:17:43,439
Speaker 3: I couldn't believe it when I saw the flamethrowers. They're

1387
01:17:43,479 --> 01:17:49,000
Speaker 3: running in like it's like Drake and Vasquez, like.

1388
01:17:48,280 --> 01:17:54,559
Speaker 1: Rock wearing a huge honking flamethrower apparatuses. Yeah, there's no

1389
01:17:54,640 --> 01:17:57,400
Speaker 1: setup for there's no like, there's no you know, there's

1390
01:17:57,400 --> 01:17:59,200
Speaker 1: no bit where they're like, you know, we just got

1391
01:17:59,200 --> 01:18:02,120
Speaker 1: those new flame throw was in over at the precinct.

1392
01:18:03,680 --> 01:18:05,200
Speaker 1: I don't know why we did all that training on

1393
01:18:05,240 --> 01:18:07,080
Speaker 1: them and we're probably never going to use them. There's

1394
01:18:07,080 --> 01:18:10,120
Speaker 1: nothing like that's just suddenly they're here, a turbo team

1395
01:18:10,520 --> 01:18:13,880
Speaker 1: with flamethrowers ready to go, and.

1396
01:18:13,840 --> 01:18:16,360
Speaker 3: The baron is not part of the turboteam.

1397
01:18:15,880 --> 01:18:19,559
Speaker 1: No, he's not. He gets toasted, burned to a crisp

1398
01:18:19,600 --> 01:18:23,000
Speaker 1: and brainiac form. Then we get like a dissolve effect

1399
01:18:23,600 --> 01:18:25,840
Speaker 1: into do we go right to skeleton or we go

1400
01:18:25,840 --> 01:18:27,479
Speaker 1: to like charred humanoid form?

1401
01:18:27,520 --> 01:18:32,160
Speaker 3: First I think it's charred skeleton with like no feet, right.

1402
01:18:32,280 --> 01:18:34,360
Speaker 1: No feed or hands. That really threw me, and it

1403
01:18:34,439 --> 01:18:36,719
Speaker 1: made me think about the brainiac fingers all over again.

1404
01:18:36,720 --> 01:18:38,519
Speaker 1: It was like, were those maybe those are just he

1405
01:18:38,560 --> 01:18:41,320
Speaker 1: had no hands in their tubes? Yeah, like there were

1406
01:18:41,320 --> 01:18:44,479
Speaker 1: no bones in there. And then again a million questions

1407
01:18:44,520 --> 01:18:46,439
Speaker 1: about exactly how all of this works.

1408
01:18:46,800 --> 01:18:50,759
Speaker 3: So question, did we miss something? I wanted to compare

1409
01:18:50,840 --> 01:18:54,280
Speaker 3: notes with you? Was there something I missed in the

1410
01:18:54,320 --> 01:18:57,400
Speaker 3: movie that explains more about what the brainiac is and

1411
01:18:57,439 --> 01:18:59,800
Speaker 3: where he comes from? Did that scene just go buy me?

1412
01:19:00,840 --> 01:19:03,760
Speaker 1: I don't think so. Now I am to understand there's

1413
01:19:03,760 --> 01:19:08,160
Speaker 1: a director's cut of this, but I also have not

1414
01:19:08,280 --> 01:19:11,680
Speaker 1: read anything to imply that it really answers any of

1415
01:19:11,720 --> 01:19:14,160
Speaker 1: the questions we actually have. I think it was maybe

1416
01:19:14,200 --> 01:19:18,200
Speaker 1: just some more character stuff, but I could be wrong.

1417
01:19:19,680 --> 01:19:22,639
Speaker 1: But it's my understanding that none of these outstanding questions

1418
01:19:22,680 --> 01:19:25,400
Speaker 1: about the nature of the beast are really answered.

1419
01:19:25,760 --> 01:19:29,200
Speaker 3: Listeners, if there are answers to our questions about the Brainiac,

1420
01:19:29,280 --> 01:19:32,040
Speaker 3: things we don't know, but you do right in, let

1421
01:19:32,080 --> 01:19:35,200
Speaker 3: us know. Contact at Stuff to blow your mind dot com.

1422
01:19:36,600 --> 01:19:38,880
Speaker 3: Tell us tell us what are we missing about the Brainiac.

1423
01:19:39,479 --> 01:19:41,720
Speaker 1: Yeah. I also wish I'd been able to see it

1424
01:19:41,960 --> 01:19:45,160
Speaker 1: in the original Spanish, in the original Spanish with subtitles.

1425
01:19:45,200 --> 01:19:47,400
Speaker 1: Not that something like that couldn't be lost in the

1426
01:19:47,439 --> 01:19:50,920
Speaker 1: subtitles as well, but you know, there's always the possibility.

1427
01:19:51,240 --> 01:19:53,600
Speaker 3: Oh you know, sometimes I like the original language, but

1428
01:19:53,640 --> 01:19:57,559
Speaker 3: a movie like this, I love a dub. Dub really

1429
01:19:57,600 --> 01:19:58,880
Speaker 3: works well for Brainiac.

1430
01:19:59,280 --> 01:20:02,759
Speaker 1: Yeah, you know you all right? And also the dub

1431
01:20:02,760 --> 01:20:04,560
Speaker 1: is a part of this film's history. This is the

1432
01:20:04,600 --> 01:20:09,320
Speaker 1: way so many English speaking moviegoers actually saw the picture

1433
01:20:09,479 --> 01:20:12,519
Speaker 1: over the years on television late at night, trying, you know,

1434
01:20:12,760 --> 01:20:18,640
Speaker 1: themselves flabbergasted by this strange monster that shows up and

1435
01:20:18,680 --> 01:20:26,879
Speaker 1: starts sucking brains out of people's necks with a four tongue.

1436
01:20:30,360 --> 01:20:33,280
Speaker 1: As is sometimes the case, after we watch a film

1437
01:20:33,320 --> 01:20:35,679
Speaker 1: and discuss it on Weird House, we have even more

1438
01:20:35,720 --> 01:20:38,920
Speaker 1: thoughts about the film, and maybe we dig into some

1439
01:20:38,960 --> 01:20:43,640
Speaker 1: additional resources. That was the case here with the Brainiac.

1440
01:20:44,040 --> 01:20:45,240
Speaker 3: Okay, what's the subject.

1441
01:20:45,560 --> 01:20:48,880
Speaker 1: Well, first of all, there's the matter of the Inquisition. Now,

1442
01:20:48,880 --> 01:20:51,160
Speaker 1: some of you might be wondering, well, okay, the Inquisition

1443
01:20:51,240 --> 01:20:54,799
Speaker 1: that was, you know, obviously active in Europe and certainly

1444
01:20:54,840 --> 01:20:58,639
Speaker 1: in Spain. We're talking about Mexico here, we're talking about

1445
01:20:58,680 --> 01:21:02,519
Speaker 1: New Spain. Yes, the Tribunal of the Holy Office. The

1446
01:21:02,520 --> 01:21:05,599
Speaker 1: Inquisition in New Spain was established in fifteen seventy one

1447
01:21:05,960 --> 01:21:09,120
Speaker 1: and wasn't entirely disbanded till eighteen twenty. So the basic

1448
01:21:09,200 --> 01:21:11,559
Speaker 1: time frame we see in the early part of the

1449
01:21:11,560 --> 01:21:13,240
Speaker 1: picture here is reasonable.

1450
01:21:13,720 --> 01:21:17,840
Speaker 3: Yeah, and now this doesn't answer the questions that we

1451
01:21:18,000 --> 01:21:21,479
Speaker 3: have about whether, within the narrative logic of the film,

1452
01:21:21,640 --> 01:21:24,040
Speaker 3: the baron is actually supposed to be guilty of the

1453
01:21:24,080 --> 01:21:27,759
Speaker 3: crimes he's accused of. But on the question of real history,

1454
01:21:27,800 --> 01:21:31,160
Speaker 3: I did want to quickly note that the people who

1455
01:21:31,240 --> 01:21:35,599
Speaker 3: were in reality persecuted by the Mexican Inquisition the Inquisition

1456
01:21:35,640 --> 01:21:39,840
Speaker 3: in New Spain were generally not accused not certainly not

1457
01:21:39,920 --> 01:21:42,760
Speaker 3: guilty of and generally not even accused of the kind

1458
01:21:42,800 --> 01:21:47,840
Speaker 3: of unspeakable occult crimes we see in inquisitionsploitation movies, you know,

1459
01:21:48,520 --> 01:21:52,880
Speaker 3: demonic lechery and violence, you used warlock powers to do

1460
01:21:53,040 --> 01:21:56,880
Speaker 3: murder and that kind of thing. Instead, it's a much

1461
01:21:57,200 --> 01:21:59,919
Speaker 3: sadder and more tragic thing that these were just generally

1462
01:22:00,080 --> 01:22:05,160
Speaker 3: religiously non conforming people, primarily people who were accused of

1463
01:22:05,320 --> 01:22:09,599
Speaker 3: secretly adhering to a religion other than Catholicism, such as

1464
01:22:09,640 --> 01:22:13,920
Speaker 3: pre Hispanic Aztec religion or Judaism. A big target of

1465
01:22:13,960 --> 01:22:18,439
Speaker 3: the Mexican Inquisition were people who were called conversos, Jewish

1466
01:22:18,520 --> 01:22:22,600
Speaker 3: people who had been first forcibly converted to Catholicism, but

1467
01:22:22,680 --> 01:22:28,080
Speaker 3: then subsequently were suspected of continuing to practice Judaism in private.

1468
01:22:28,800 --> 01:22:31,559
Speaker 3: So for an example of the latter, you can look

1469
01:22:31,640 --> 01:22:34,120
Speaker 3: up the story of a guy I was just reading about.

1470
01:22:34,120 --> 01:22:38,439
Speaker 3: A guy named Luis A. Carver Hall, the younger, notable

1471
01:22:38,439 --> 01:22:41,879
Speaker 3: for keeping memoirs of his experiences, which were just recently

1472
01:22:41,920 --> 01:22:44,960
Speaker 3: recovered I believe in twenty sixteen. He was a member

1473
01:22:45,040 --> 01:22:49,320
Speaker 3: of a prominent family in New Spain, the Carva Hall family,

1474
01:22:49,560 --> 01:22:53,160
Speaker 3: which were governors of part of the colony at one point,

1475
01:22:53,200 --> 01:22:57,160
Speaker 3: and he in fifteen ninety six was tortured and executed

1476
01:22:57,200 --> 01:22:59,800
Speaker 3: at the age of thirty for keeping the Jewish faith

1477
01:22:59,800 --> 01:23:03,160
Speaker 3: in secret, along with many members of his family. But

1478
01:23:03,240 --> 01:23:06,120
Speaker 3: you can also look at the story of Carlos Omotokschin,

1479
01:23:06,720 --> 01:23:08,960
Speaker 3: a man who was burned at the stake by the

1480
01:23:09,000 --> 01:23:13,839
Speaker 3: Inquisition in fifteen thirty nine for practicing the traditional Aztec religion.

1481
01:23:14,720 --> 01:23:19,439
Speaker 3: So they're basically religiously non conforming people of various sorts

1482
01:23:19,439 --> 01:23:23,599
Speaker 3: and just general heresy. What the inquisitors decided was heresy

1483
01:23:23,680 --> 01:23:26,600
Speaker 3: not having the right religious beliefs and practices.

1484
01:23:28,000 --> 01:23:31,479
Speaker 1: Now for a little additional context about the use of

1485
01:23:31,640 --> 01:23:36,080
Speaker 1: history in this picture and this picture's place in the

1486
01:23:36,120 --> 01:23:41,080
Speaker 1: history of Mexican cinema, I turned to Doyle Green's Exploitation Cinema,

1487
01:23:41,120 --> 01:23:44,960
Speaker 1: A Critical History of Mexican Vampire, Wrestler, ape Man and

1488
01:23:45,040 --> 01:23:48,360
Speaker 1: similar Films nineteen fifty seven through nineteen seventy seven.

1489
01:23:48,840 --> 01:23:51,280
Speaker 3: That's an enticing title to me, But I was trying

1490
01:23:51,280 --> 01:23:53,479
Speaker 3: to think, have we watched a movie that covers all

1491
01:23:53,600 --> 01:23:56,320
Speaker 3: three of those? I think Doctor of Doom might that

1492
01:23:56,360 --> 01:24:00,120
Speaker 3: would definitely include Wrestler and ape Man, maybe all so

1493
01:24:00,240 --> 01:24:05,400
Speaker 3: Mexican vampire sort of yeah, I don't know, brain ish.

1494
01:24:05,080 --> 01:24:07,640
Speaker 1: That we need to be on the lookout. We need

1495
01:24:07,680 --> 01:24:10,400
Speaker 1: to be on the lookout for that special picture, the

1496
01:24:10,400 --> 01:24:14,240
Speaker 1: Goldilocks picture. Anyway, I was reading through this book and

1497
01:24:14,680 --> 01:24:17,799
Speaker 1: Green has a couple of books dealing with weird Mexican cinema,

1498
01:24:17,840 --> 01:24:19,519
Speaker 1: and so I've added them both to my card. I'm

1499
01:24:19,520 --> 01:24:21,120
Speaker 1: gonna have to pick them up to really dive in

1500
01:24:21,120 --> 01:24:24,559
Speaker 1: in greater depth. But his general thesis here is that

1501
01:24:24,960 --> 01:24:28,799
Speaker 1: while many may be quick to dismiss Mexican genre films

1502
01:24:28,800 --> 01:24:32,040
Speaker 1: of this era as mirror cheap entertainment and as responses

1503
01:24:32,080 --> 01:24:35,160
Speaker 1: to American and British cinema trends, there's a lot more

1504
01:24:35,200 --> 01:24:37,799
Speaker 1: going on here. So again, the golden age of Mexican

1505
01:24:37,840 --> 01:24:40,800
Speaker 1: cinema blossoms during the end of the Second World War

1506
01:24:41,160 --> 01:24:44,080
Speaker 1: and into the post war era, followed roughly by the

1507
01:24:44,120 --> 01:24:47,679
Speaker 1: period of cinema explored in his book, and during this time,

1508
01:24:47,760 --> 01:24:51,439
Speaker 1: he argues, Mexico is wrestling with its identity, seeking to

1509
01:24:51,479 --> 01:24:54,799
Speaker 1: forge a modern future free from the shackles of its past,

1510
01:24:55,120 --> 01:24:58,920
Speaker 1: many of which are tied to European colonialism. As such,

1511
01:24:59,160 --> 01:25:02,280
Speaker 1: the threats in these movies are often creatures of the

1512
01:25:02,320 --> 01:25:08,280
Speaker 1: past interwoven with historic horrors, be they vengeful inquisition burn warlocks,

1513
01:25:09,439 --> 01:25:12,799
Speaker 1: as tech mummies or something else. And on the flip

1514
01:25:12,840 --> 01:25:15,000
Speaker 1: side we see the emergence of a new sort of

1515
01:25:15,080 --> 01:25:19,160
Speaker 1: hero and icon, El Santo, as well as his Lucidor

1516
01:25:19,240 --> 01:25:24,360
Speaker 1: and Lucidora kin like blue demon, mil Mascaris, Gloria Venus,

1517
01:25:24,439 --> 01:25:29,200
Speaker 1: the batwoman, Neutron, and maybe, if we're being generous, cops

1518
01:25:29,200 --> 01:25:31,400
Speaker 1: with flamethrowers and also astronomers.

1519
01:25:32,640 --> 01:25:35,000
Speaker 3: But let's be real, brainiac is not about the good

1520
01:25:35,000 --> 01:25:36,360
Speaker 3: guys right.

1521
01:25:37,720 --> 01:25:42,439
Speaker 1: Now. Specifically on the topic of the brainiac, Green has

1522
01:25:42,479 --> 01:25:45,559
Speaker 1: this to say. He writes, quote, the past is a

1523
01:25:45,600 --> 01:25:50,800
Speaker 1: period of unchanging violence rooted in irrational superstition, reflected in

1524
01:25:50,880 --> 01:25:55,200
Speaker 1: both Baron Vitilius's use of black magic and the oppressive

1525
01:25:55,240 --> 01:25:59,120
Speaker 1: religious dogma of the Inquisition in New Spain. Again, the

1526
01:25:59,160 --> 01:26:02,840
Speaker 1: Baron's resurrection does not simply represent the dangerous return of

1527
01:26:02,840 --> 01:26:06,720
Speaker 1: superstition and irrationality, but carries with it the reminders of

1528
01:26:06,760 --> 01:26:12,040
Speaker 1: an unfortunate chapter of Mexican history, the Inquisition and Spanish colonialism,

1529
01:26:12,439 --> 01:26:15,439
Speaker 1: and their dangerous legacy for the present. And of course

1530
01:26:15,479 --> 01:26:19,160
Speaker 1: this makes the use of Goya's art Prince from Los Coopricos,

1531
01:26:19,280 --> 01:26:23,040
Speaker 1: the Whims series. I think it's like a whole bunch

1532
01:26:23,120 --> 01:26:26,320
Speaker 1: of different illustrations which I think has come up on

1533
01:26:26,360 --> 01:26:30,960
Speaker 1: the show before that harshly satirize religion, superstition, and a

1534
01:26:31,000 --> 01:26:34,719
Speaker 1: seeming decline of rationality in Goya's modern world.

1535
01:26:36,120 --> 01:26:38,360
Speaker 3: I do think it's interesting what Green points out in

1536
01:26:38,360 --> 01:26:41,240
Speaker 3: this passage you read about the vision sort of the

1537
01:26:41,280 --> 01:26:44,360
Speaker 3: worldview of Brainiac being one of a kind of total

1538
01:26:44,439 --> 01:26:48,320
Speaker 3: rejection of the past, that in the prologue there are

1539
01:26:48,360 --> 01:26:53,439
Speaker 3: no good guys really, assuming that we take the side

1540
01:26:53,479 --> 01:26:56,400
Speaker 3: that the Baron was not actually like the nice Jesus

1541
01:26:56,400 --> 01:26:59,960
Speaker 3: figure who is just railroaded, that if it is more

1542
01:27:00,120 --> 01:27:03,160
Speaker 3: what it looks like, where the Baron is a bad

1543
01:27:03,240 --> 01:27:06,439
Speaker 3: evil warlock and the inquisitors are also bad. It's just

1544
01:27:06,520 --> 01:27:11,040
Speaker 3: a place of oppressive superstition and dogma beating you down

1545
01:27:11,080 --> 01:27:14,360
Speaker 3: from both sides. And really the only hope is a

1546
01:27:14,439 --> 01:27:17,000
Speaker 3: kind of modern future. And so it is a very

1547
01:27:17,040 --> 01:27:20,280
Speaker 3: modernist kind of worldview that comes through in the film

1548
01:27:20,800 --> 01:27:25,439
Speaker 3: that does actually seem to have positive views about science

1549
01:27:25,479 --> 01:27:26,800
Speaker 3: and humanism and so forth.

1550
01:27:27,200 --> 01:27:29,320
Speaker 1: Yeah. Yeah, and we have to remember that the Baron's

1551
01:27:29,760 --> 01:27:32,640
Speaker 1: mission of vengeance here is against the descendants of the

1552
01:27:32,640 --> 01:27:35,040
Speaker 1: people who wronged him, you know, so like everything he

1553
01:27:35,120 --> 01:27:39,080
Speaker 1: does in the present is completely vested in the past

1554
01:27:39,160 --> 01:27:39,879
Speaker 1: and its horrors.

1555
01:27:40,760 --> 01:27:42,960
Speaker 3: I guess one question that raises is how are we

1556
01:27:43,040 --> 01:27:46,880
Speaker 3: supposed to feel about those descendants. We like Victoria Contreras,

1557
01:27:46,920 --> 01:27:51,240
Speaker 3: we like Vicky, But the other targets of his vengeance plot,

1558
01:27:51,439 --> 01:27:53,960
Speaker 3: what kind of feelings are we supposed to have about them?

1559
01:27:54,720 --> 01:27:57,240
Speaker 3: I feel like the movie doesn't really nudge us very

1560
01:27:57,280 --> 01:27:59,960
Speaker 3: far one way or the other. They're presented kind of neutral.

1561
01:28:00,960 --> 01:28:04,759
Speaker 1: Yeah. Yeah, in retrospect, it would have been perhaps more

1562
01:28:04,840 --> 01:28:08,920
Speaker 1: interesting if if we'd explored ideas in either direction. You know,

1563
01:28:09,000 --> 01:28:12,360
Speaker 1: like maybe some of them are horrible and entitled and

1564
01:28:12,400 --> 01:28:15,160
Speaker 1: are like you know, they've and you know, we see

1565
01:28:15,200 --> 01:28:20,559
Speaker 1: like the accumulation of vast wealth over generations, while you know,

1566
01:28:20,640 --> 01:28:24,080
Speaker 1: others are our heroes and so forth. And in many ways,

1567
01:28:24,080 --> 01:28:27,640
Speaker 1: that would also fit the pattern we've seen a lot

1568
01:28:27,640 --> 01:28:30,559
Speaker 1: of revenge films. Right start with vengeance against those who

1569
01:28:30,600 --> 01:28:32,920
Speaker 1: seem most deserving of it. Then you work up to

1570
01:28:32,960 --> 01:28:35,120
Speaker 1: the ones that seem least deserving of it, and that's

1571
01:28:35,120 --> 01:28:39,800
Speaker 1: where our revenger meets their downfall. Yeah, not to take

1572
01:28:39,880 --> 01:28:42,759
Speaker 1: away from the Brainiac. Still still a marvelous picture.

1573
01:28:43,320 --> 01:28:45,200
Speaker 3: Okay, that's all I've got on Brainiac.

1574
01:28:46,160 --> 01:28:47,920
Speaker 1: All right, Well, it's a fun one, Like I say,

1575
01:28:48,080 --> 01:28:51,040
Speaker 1: one of the one of the most unique monsters in

1576
01:28:51,240 --> 01:28:54,840
Speaker 1: all of horror cinema. I think it's quite a quite

1577
01:28:54,880 --> 01:28:58,320
Speaker 1: an accomplishment there, because you know, there there have been

1578
01:28:58,360 --> 01:29:01,120
Speaker 1: so many strange monsters over the years. Obviously, there's also

1579
01:29:01,200 --> 01:29:06,080
Speaker 1: a lot of sameness, and while the Brainiac creature certainly

1580
01:29:06,160 --> 01:29:09,720
Speaker 1: riffs on various existing monster tropes, it really goes off

1581
01:29:09,720 --> 01:29:12,080
Speaker 1: in its own ludicrousal direction and it is to be

1582
01:29:12,120 --> 01:29:15,479
Speaker 1: celebrated for that. All Right, we're gonna gohead and close

1583
01:29:15,560 --> 01:29:18,080
Speaker 1: this episode out, but we'd love to hear from everyone

1584
01:29:18,120 --> 01:29:22,040
Speaker 1: out there, Yes, share your thoughts on the Brainiac and

1585
01:29:22,160 --> 01:29:27,040
Speaker 1: also just you know, Mexican genre cinema in general. We've

1586
01:29:27,040 --> 01:29:30,840
Speaker 1: been on something of a kick with these recently, so

1587
01:29:30,920 --> 01:29:32,920
Speaker 1: if there are any favorites you have that you'd like

1588
01:29:33,000 --> 01:29:35,120
Speaker 1: us to consider for the future, just write in and

1589
01:29:35,160 --> 01:29:38,000
Speaker 1: recommend those titles. Just a reminder that Stuff to Blow

1590
01:29:38,000 --> 01:29:40,120
Speaker 1: Your Mind is primarily a science and culture podcast with

1591
01:29:40,160 --> 01:29:43,920
Speaker 1: core episodes on Tuesdays and Thursdays, short episodes on Wednesdays,

1592
01:29:43,920 --> 01:29:46,360
Speaker 1: and on Fridays, we set aside most serious concerns to

1593
01:29:46,439 --> 01:29:49,599
Speaker 1: just talk about a weird film here on Weird House Cinema.

1594
01:29:49,840 --> 01:29:52,040
Speaker 1: You can go to letterbox dot com if you want

1595
01:29:52,040 --> 01:29:55,000
Speaker 1: to follow us. There that our username is weird House,

1596
01:29:55,040 --> 01:29:56,479
Speaker 1: and we have a list of all the movies we've

1597
01:29:56,520 --> 01:29:58,600
Speaker 1: watched thus far, and sometimes a peek ahead at what

1598
01:29:58,640 --> 01:29:59,320
Speaker 1: comes up next.

1599
01:30:00,200 --> 01:30:03,680
Speaker 3: Thanks as always to our excellent audio producer JJ Posway.

1600
01:30:04,000 --> 01:30:05,640
Speaker 3: If you would like to get in touch with us

1601
01:30:05,640 --> 01:30:08,160
Speaker 3: with feedback on this episode or any other, to suggest

1602
01:30:08,160 --> 01:30:10,320
Speaker 3: a topic for the future, or just to say hello,

1603
01:30:10,400 --> 01:30:12,920
Speaker 3: you can email us at contact a, Stuff to Blow

1604
01:30:12,960 --> 01:30:20,560
Speaker 3: your Mind dot com.

1605
01:30:20,640 --> 01:30:23,600
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1606
01:30:23,680 --> 01:30:26,479
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1607
01:30:26,640 --> 01:30:29,840
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.