1
00:00:00,440 --> 00:00:08,000
Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

2
00:00:10,960 --> 00:00:13,840
Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb

3
00:00:14,040 --> 00:00:17,079
Speaker 2: and this is Joe McCormick, and we are once more

4
00:00:17,160 --> 00:00:21,160
Speaker 2: returning to the Nashi verse. This will be our fourth

5
00:00:21,360 --> 00:00:25,000
Speaker 2: Paul Nashi film on Weird House Cinema. Paul Nashy, of

6
00:00:25,000 --> 00:00:30,240
Speaker 2: course an icon of Spanish horror and just in general

7
00:00:30,760 --> 00:00:37,760
Speaker 2: like nineteen seventies grimy horror cinema. We've previously talked about. Yeah,

8
00:00:37,800 --> 00:00:41,920
Speaker 2: three of his films. There's nineteen seventy three's Horror Rises

9
00:00:41,960 --> 00:00:44,040
Speaker 2: from the Tomb, in which he plays no fewer than

10
00:00:44,080 --> 00:00:49,159
Speaker 2: three characters, including the undead warlock Alarak Demarnac alongside his

11
00:00:49,440 --> 00:00:53,400
Speaker 2: undead bride played by Helga Line. And then we also

12
00:00:53,440 --> 00:00:56,800
Speaker 2: talked about nineteen seventies Assignment Terror, which is a ridiculous

13
00:00:56,840 --> 00:01:00,840
Speaker 2: mostly I would say, a spy themed monster mash featuring

14
00:01:00,960 --> 00:01:04,840
Speaker 2: Nashi as the cursed werewolf Valdemar Daninsky.

15
00:01:04,640 --> 00:01:07,120
Speaker 3: And then had like off brand versions of all the

16
00:01:07,200 --> 00:01:11,760
Speaker 3: universal monsters that were being recruited by alien spies to

17
00:01:11,840 --> 00:01:12,679
Speaker 3: attack Earth.

18
00:01:13,280 --> 00:01:16,880
Speaker 2: Yes, but I have to say some really fun monster

19
00:01:16,959 --> 00:01:19,120
Speaker 2: combat in that one. I had that one on Blu

20
00:01:19,240 --> 00:01:22,360
Speaker 2: Ray donated it to Future Shock Video in New Orleans,

21
00:01:22,440 --> 00:01:23,360
Speaker 2: so you can rent it there.

22
00:01:23,840 --> 00:01:26,560
Speaker 3: Yeah. I recall that one was interesting for how they

23
00:01:26,640 --> 00:01:30,600
Speaker 3: sketched out the moral character of the different monsters, like,

24
00:01:30,680 --> 00:01:34,880
Speaker 3: of course, because it was Paul Nashi playing Waldebarn Doninsky

25
00:01:34,920 --> 00:01:37,720
Speaker 3: as the werewolf. The werewolf was the more sympathetic monster.

26
00:01:37,880 --> 00:01:40,600
Speaker 3: It's just got a you know, a romantic role. Paul

27
00:01:40,720 --> 00:01:44,520
Speaker 3: Nashi as this were wolf character, which occurred in many films,

28
00:01:44,560 --> 00:01:47,840
Speaker 3: often played a kind of tragic romantic role. But the

29
00:01:47,920 --> 00:01:51,520
Speaker 3: really bad one was Frankenstein. The Frankenstein monster was like

30
00:01:51,640 --> 00:01:54,080
Speaker 3: the main henchmen of the bad aliens.

31
00:01:54,520 --> 00:01:58,440
Speaker 2: Yeah, that was interesting. And then we talked about nineteen

32
00:01:58,480 --> 00:02:01,480
Speaker 2: eighty one's Night of the Werewolf, a full blown of

33
00:02:01,600 --> 00:02:05,040
Speaker 2: Valdemar Doninski film in which the legendary werewolf does battle

34
00:02:05,080 --> 00:02:09,280
Speaker 2: with Lady Bathrie played by Julius Sally. All three of

35
00:02:09,280 --> 00:02:11,840
Speaker 2: these were written by Nashi as well, and he directed

36
00:02:11,960 --> 00:02:12,840
Speaker 2: Nine of the Werewolf.

37
00:02:13,280 --> 00:02:16,000
Speaker 3: I think did he often write these under I was

38
00:02:16,040 --> 00:02:17,400
Speaker 3: gonna say a pen name, but I think it was

39
00:02:17,440 --> 00:02:19,960
Speaker 3: actually his real name, right, yesinto Molina.

40
00:02:19,960 --> 00:02:22,880
Speaker 2: Yes, yeah, generally that they would be credited to his

41
00:02:23,040 --> 00:02:26,120
Speaker 2: real name Paul Nashy is his performance name.

42
00:02:26,600 --> 00:02:28,919
Speaker 3: Now, in case we're interested in running up the score

43
00:02:28,960 --> 00:02:31,920
Speaker 3: on recent Nashi viewings. Just the other night, my wife

44
00:02:31,960 --> 00:02:36,320
Speaker 3: and I finished watching another nineteen seventy one Paul Nashi movie.

45
00:02:36,880 --> 00:02:40,520
Speaker 3: We watched The Werewolf Versus the Vampire Woman, which I

46
00:02:40,560 --> 00:02:45,520
Speaker 3: acquired this past December. It has some really good gopher

47
00:02:45,639 --> 00:02:48,640
Speaker 3: style vampire fangs. You know, there are different ways you

48
00:02:48,680 --> 00:02:52,240
Speaker 3: can design vampire fangs. This made me think about it,

49
00:02:52,320 --> 00:02:55,480
Speaker 3: Like the kind that are actually rather slight like they

50
00:02:55,520 --> 00:02:57,520
Speaker 3: kind of hide in the mouth, and then you can

51
00:02:57,560 --> 00:02:59,760
Speaker 3: have the ones that were you know, the mouth opens

52
00:02:59,800 --> 00:03:03,160
Speaker 3: way and reveals a kind of longer snake fang, and

53
00:03:03,200 --> 00:03:04,960
Speaker 3: then you've got this style which is a kind of

54
00:03:05,000 --> 00:03:07,760
Speaker 3: fang over by this sort of chipmunk look where the

55
00:03:07,760 --> 00:03:12,600
Speaker 3: fangs go down over the bottom lip, which I don't know.

56
00:03:12,840 --> 00:03:15,440
Speaker 3: I think it looks pretty funny. This is, of course,

57
00:03:15,480 --> 00:03:19,399
Speaker 3: another tragic romantic werewolf part for Paul Nashy. He's reprising

58
00:03:19,400 --> 00:03:22,280
Speaker 3: his role as Waldemartin and Doninsky. I don't know how

59
00:03:22,280 --> 00:03:24,280
Speaker 3: many movies he played Dninsky, and it had to be

60
00:03:24,320 --> 00:03:26,880
Speaker 3: more than a dozen. He's doing it over and over.

61
00:03:27,440 --> 00:03:32,200
Speaker 2: We discussed the full count in our episode on Night

62
00:03:32,240 --> 00:03:34,080
Speaker 2: of the Werewolf, but it's yeah, it's a whole slew

63
00:03:34,120 --> 00:03:34,399
Speaker 2: of them.

64
00:03:34,639 --> 00:03:37,160
Speaker 3: Yeah, so Werewolf versus the Vampire Woman was a lot

65
00:03:37,160 --> 00:03:41,200
Speaker 3: of fun. It's mostly goofball stuff. It has a quite

66
00:03:41,360 --> 00:03:46,360
Speaker 3: wooden love story. The chemistry between Nashi and his romantic

67
00:03:46,400 --> 00:03:49,760
Speaker 3: interest is not really there, but it does have a

68
00:03:49,840 --> 00:03:54,560
Speaker 3: handful of genuinely unnerving and artful sequences. It's kind of interesting.

69
00:03:55,120 --> 00:03:56,880
Speaker 3: I don't know what it comes at. So like, it's

70
00:03:57,000 --> 00:04:00,600
Speaker 3: mostly a B movie, but every now and then there's

71
00:04:00,600 --> 00:04:03,440
Speaker 3: a shot that could be like, oh, that's actually quite scary,

72
00:04:03,480 --> 00:04:05,640
Speaker 3: that that could be in a in a much better film.

73
00:04:05,960 --> 00:04:07,680
Speaker 2: Yeah. I mean, that's one of the wonderful things about

74
00:04:08,240 --> 00:04:11,200
Speaker 2: films of this caliber B cinema in general, is that

75
00:04:11,560 --> 00:04:14,000
Speaker 2: you know there's gonna be some stuff that, you know,

76
00:04:14,080 --> 00:04:17,600
Speaker 2: where the either abilities or a budget wasn't quite there.

77
00:04:18,040 --> 00:04:20,080
Speaker 2: But then there'll be areas where it really shines, you know,

78
00:04:20,120 --> 00:04:23,480
Speaker 2: and it's finding those diamonds in the rough. That's that's

79
00:04:23,520 --> 00:04:24,400
Speaker 2: always the joy.

80
00:04:24,680 --> 00:04:28,040
Speaker 3: Rachel had questions about what the audience was supposed to

81
00:04:28,160 --> 00:04:32,400
Speaker 3: understand about the romantic appeal of Paul Nashi because he's

82
00:04:32,400 --> 00:04:35,479
Speaker 3: sort of part Peter Loriie and part Clark Gable. You know,

83
00:04:35,640 --> 00:04:36,920
Speaker 3: it's it's a mix.

84
00:04:37,320 --> 00:04:39,479
Speaker 2: Yeah, it is often hard in in a way, it's

85
00:04:39,520 --> 00:04:41,440
Speaker 2: interesting because it kind of makes him a bit of

86
00:04:41,480 --> 00:04:43,760
Speaker 2: a chameleon, because he can play a werewolf, he can

87
00:04:43,800 --> 00:04:48,120
Speaker 2: play he can play Dracula, you know, he can play

88
00:04:48,520 --> 00:04:50,960
Speaker 2: an action hero, and as we're going to discuss today,

89
00:04:50,960 --> 00:04:54,040
Speaker 2: he can also play a hunchback like he you know,

90
00:04:54,080 --> 00:04:57,720
Speaker 2: he as we've mentioned before, like he was a former weightlifter,

91
00:04:58,520 --> 00:05:01,400
Speaker 2: so you know, you know, he's the muscular guy and

92
00:05:03,040 --> 00:05:05,160
Speaker 2: not you know, and I think you know, you can

93
00:05:05,160 --> 00:05:07,680
Speaker 2: say Paul Nashi was a handsome fella as well, but

94
00:05:08,080 --> 00:05:11,720
Speaker 2: he didn't have those kind of necessarily those like iconic

95
00:05:11,800 --> 00:05:16,240
Speaker 2: leading man good looks that were kind of like the standard,

96
00:05:16,360 --> 00:05:18,960
Speaker 2: and we have, I think an example of those sorts

97
00:05:18,960 --> 00:05:21,599
Speaker 2: of good looks for a male actor of the nineteen

98
00:05:21,640 --> 00:05:23,480
Speaker 2: seventies in Spanish cinema in this picture.

99
00:05:23,800 --> 00:05:26,840
Speaker 3: Yeah, I think he can be understood as attractive in

100
00:05:26,880 --> 00:05:29,880
Speaker 3: a way, but it's more the byronic hero who's maybe

101
00:05:29,920 --> 00:05:33,840
Speaker 3: not necessarily the most classically handsome, but he has a

102
00:05:33,920 --> 00:05:40,440
Speaker 3: kind of dark, strong, brooding, complicated, dangerous appeal which goes

103
00:05:40,800 --> 00:05:41,960
Speaker 3: with his werewolf roles.

104
00:05:42,560 --> 00:05:44,680
Speaker 2: Yeah, I agree, because I've watched one or two of

105
00:05:44,720 --> 00:05:47,919
Speaker 2: the films where he plays like irresistible action Paul Nashy

106
00:05:48,160 --> 00:05:52,600
Speaker 2: without any supernatural motifs added on, and you know it's

107
00:05:52,640 --> 00:05:53,839
Speaker 2: a little harder to get behind.

108
00:05:54,200 --> 00:05:57,040
Speaker 3: Yeah, but to the extent that he has Peter Laurie energy,

109
00:05:57,080 --> 00:05:58,719
Speaker 3: it's like buff Peter Lourie.

110
00:05:58,839 --> 00:06:03,239
Speaker 2: Yeah. So yeah, in today's film Hunchback of the Morgue,

111
00:06:03,400 --> 00:06:06,400
Speaker 2: we get to experience Nashy is a different horror movie staple,

112
00:06:06,760 --> 00:06:10,159
Speaker 2: the Hunchback. This trope, of course, has deep roots in

113
00:06:10,200 --> 00:06:13,000
Speaker 2: Gothic horror, going back to the eighteen thirty one Victor

114
00:06:13,080 --> 00:06:17,000
Speaker 2: Hugo novel The Hunchback of Notre Dame, with film adaptations

115
00:06:17,000 --> 00:06:19,760
Speaker 2: of that work going back to nineteen oh five. The

116
00:06:19,880 --> 00:06:24,600
Speaker 2: nineteen twenty three silent film adaptation starring Lon Cheney stands out,

117
00:06:24,600 --> 00:06:27,120
Speaker 2: as well as the nineteen thirty nine talkie starring Charles

118
00:06:27,160 --> 00:06:30,279
Speaker 2: Lawton and Marine O'Hara. These have both stood the test

119
00:06:30,279 --> 00:06:33,840
Speaker 2: of time and are considered classics. The makeup as well

120
00:06:33,880 --> 00:06:37,240
Speaker 2: in these two, Like you look up stills or footage

121
00:06:37,240 --> 00:06:40,880
Speaker 2: from these films and it's still very convincing stuff.

122
00:06:41,320 --> 00:06:43,600
Speaker 3: Now, I think the Hunchback of Notre Dame character has

123
00:06:43,600 --> 00:06:47,599
Speaker 3: been brought to screen with a number of different takes,

124
00:06:47,720 --> 00:06:50,960
Speaker 3: but usually the core of the character is that he

125
00:06:51,160 --> 00:06:54,960
Speaker 3: is someone who is rejected and outcast by others because

126
00:06:55,000 --> 00:06:57,320
Speaker 3: of his appearance, but has a good soul.

127
00:06:57,680 --> 00:07:00,719
Speaker 2: Right And there's generally like one fe male character at

128
00:07:00,800 --> 00:07:03,400
Speaker 2: least who sees him for who he really is, who

129
00:07:03,440 --> 00:07:08,480
Speaker 2: recognizes this pure heart within him. So yeah, a lot

130
00:07:08,480 --> 00:07:10,120
Speaker 2: of great actors have played this role over the years.

131
00:07:10,120 --> 00:07:12,480
Speaker 2: Some of these I've never seen and wasn't familiar with,

132
00:07:12,520 --> 00:07:16,720
Speaker 2: Like Anthony Quinn played Quasimoto in fifty six. Anthony Hopkins

133
00:07:16,720 --> 00:07:20,600
Speaker 2: played him in eighty two alongside Derek Jacobi, who I

134
00:07:20,680 --> 00:07:23,360
Speaker 2: believe played the villain in that one. Mandy Patinkin played

135
00:07:23,400 --> 00:07:26,120
Speaker 2: him in nineteen ninety seven. I vaguely remember that one.

136
00:07:26,120 --> 00:07:29,680
Speaker 2: I think it was a TV adaptation opposite Samahayak and

137
00:07:29,760 --> 00:07:32,640
Speaker 2: Richard Harris. We also have the nineteen ninety six Walt

138
00:07:32,680 --> 00:07:37,000
Speaker 2: Disney film adaptation animated, and I'm not sure where the

139
00:07:37,000 --> 00:07:40,840
Speaker 2: project stands, but there was talk of Idris Elba starring

140
00:07:40,880 --> 00:07:43,680
Speaker 2: in and directing a Netflix adaptation of the Hunchback of

141
00:07:43,720 --> 00:07:46,960
Speaker 2: Notre Dame. Sadly, I think fate has probably robbed us

142
00:07:47,000 --> 00:07:49,720
Speaker 2: of our chance to see Big driss as Quasimoto.

143
00:07:50,400 --> 00:07:53,200
Speaker 3: That would have been something. Don't even know if I

144
00:07:53,200 --> 00:07:56,000
Speaker 3: can imagine it, but sorry, I just had to go

145
00:07:56,080 --> 00:07:58,880
Speaker 3: over and look at the I had to look up

146
00:07:59,080 --> 00:08:01,720
Speaker 3: the story because I remember the name of the villain

147
00:08:01,920 --> 00:08:05,280
Speaker 3: from the Hunchback of Notre Dame, the archdeacon, the church official.

148
00:08:05,800 --> 00:08:09,320
Speaker 3: But that was Archdeacon Frolo or Frollo. I don't know

149
00:08:09,840 --> 00:08:12,679
Speaker 3: how you say it, but yeah, this character. It's funny

150
00:08:12,720 --> 00:08:17,000
Speaker 3: because I misremembered what this character was supposed to be,

151
00:08:17,080 --> 00:08:19,720
Speaker 3: and thinking back on him, I had been thinking of

152
00:08:19,800 --> 00:08:22,240
Speaker 3: him more as a I don't know, a character more

153
00:08:22,320 --> 00:08:25,239
Speaker 3: like Javert and Limius, a rob and another Victor Hugo novel,

154
00:08:25,800 --> 00:08:30,600
Speaker 3: who is a kind of misguided, overly strict enforcer of

155
00:08:31,400 --> 00:08:35,360
Speaker 3: the rules, who you know, kind of fails to see

156
00:08:35,559 --> 00:08:38,120
Speaker 3: ways in which strict enforcement of the rules can be

157
00:08:39,120 --> 00:08:41,680
Speaker 3: harmful or you know, can do more harm than good.

158
00:08:41,880 --> 00:08:43,800
Speaker 3: I don't know if that's actually what this character is.

159
00:08:43,880 --> 00:08:45,920
Speaker 3: It seems like in the novel at least he is

160
00:08:46,000 --> 00:08:49,440
Speaker 3: a He is a weird sort of outsider figure in

161
00:08:49,480 --> 00:08:51,840
Speaker 3: the church who people think he might be some kind

162
00:08:51,880 --> 00:08:55,600
Speaker 3: of wizard. He's doing alchemy experiments, and he's a lecherous creep,

163
00:08:56,160 --> 00:08:59,240
Speaker 3: which is funny because that means there's there's maybe some

164
00:08:59,360 --> 00:09:02,440
Speaker 3: overlap betwe between that character and one of the main

165
00:09:02,600 --> 00:09:04,640
Speaker 3: villains in The Hunchback of the Morgue.

166
00:09:04,960 --> 00:09:08,280
Speaker 2: That's a great point. Yeah, Now, given Paul Nashy's love

167
00:09:08,360 --> 00:09:12,240
Speaker 2: for universal monsters and classic gothic horror, yeah, it was

168
00:09:12,240 --> 00:09:14,439
Speaker 2: only a matter of time, I guess, until he did

169
00:09:14,480 --> 00:09:18,480
Speaker 2: a Quasimoto like character. Though it is important to stress

170
00:09:18,520 --> 00:09:20,920
Speaker 2: here this is not another retelling of the Hunchback of

171
00:09:20,920 --> 00:09:24,760
Speaker 2: Notre Dame. Instead, we have a largely original story involving

172
00:09:24,880 --> 00:09:29,520
Speaker 2: grave robbing, doomed love, mad science, and just a splash

173
00:09:29,559 --> 00:09:31,200
Speaker 2: of lovecrafty and horror.

174
00:09:32,120 --> 00:09:34,360
Speaker 3: Set in the modern world at the time of the film.

175
00:09:34,480 --> 00:09:40,160
Speaker 3: Or is it questions about that this one was temporally confusing.

176
00:09:40,440 --> 00:09:44,800
Speaker 2: Yes. Now you had a great note as well about

177
00:09:44,840 --> 00:09:48,000
Speaker 2: the likely inspiration for this. I mentioned Nashi was, of

178
00:09:48,080 --> 00:09:50,080
Speaker 2: course a big fan of the universal horror movies, all

179
00:09:50,120 --> 00:09:52,800
Speaker 2: the classics that he grew up on, and you brought

180
00:09:52,840 --> 00:09:53,840
Speaker 2: up the character of Fritz.

181
00:09:54,120 --> 00:09:56,920
Speaker 3: Oh yeah, well, because this movie to me seemed you

182
00:09:57,200 --> 00:10:00,880
Speaker 3: could definitely interpret it as Franken's not so much to

183
00:10:00,920 --> 00:10:03,040
Speaker 3: the novel, but the first James Whyale movie, the first

184
00:10:03,160 --> 00:10:05,760
Speaker 3: universal Frankenstein from Fritz's perspective.

185
00:10:06,640 --> 00:10:09,000
Speaker 2: That's a great point. Yeah, Fritz, of course, being the

186
00:10:10,360 --> 00:10:14,240
Speaker 2: hunchback esque sidekick to the doctor.

187
00:10:14,960 --> 00:10:17,000
Speaker 3: In the first film, played by Dwight Fry.

188
00:10:17,400 --> 00:10:20,800
Speaker 2: Yeah, so yeah, I could see there's some Fritz. DNA

189
00:10:20,840 --> 00:10:23,000
Speaker 2: did this as well, for sure, and maybe a little

190
00:10:23,000 --> 00:10:25,559
Speaker 2: I Gore in there as well, though I Gore, of

191
00:10:25,600 --> 00:10:26,600
Speaker 2: course pure villain.

192
00:10:27,200 --> 00:10:29,840
Speaker 3: So I guess a real question about this movie is

193
00:10:30,120 --> 00:10:36,040
Speaker 3: how sympathetic are we supposed to think Paul Nashy's character is,

194
00:10:36,120 --> 00:10:39,240
Speaker 3: because it's clear he's being portrayed, at least in the beginning,

195
00:10:39,320 --> 00:10:43,240
Speaker 3: as mostly sympathetic. I mean, the story is basically told

196
00:10:43,440 --> 00:10:49,439
Speaker 3: from Paul Nashy's character's perspective, and we see all of

197
00:10:49,440 --> 00:10:54,520
Speaker 3: his loves and disappointments and humiliations we identify emotionally with

198
00:10:54,600 --> 00:10:59,360
Speaker 3: his struggles. We see and other characters repeatedly tell him

199
00:10:59,440 --> 00:11:02,040
Speaker 3: that despite the fact that he is outcast, he has

200
00:11:02,040 --> 00:11:05,040
Speaker 3: a good heart and he means well. But we also

201
00:11:05,160 --> 00:11:08,640
Speaker 3: just see him carry out murder after murder and not

202
00:11:08,679 --> 00:11:12,760
Speaker 3: just murders like live later in the movie, kidnappings of

203
00:11:13,000 --> 00:11:16,720
Speaker 3: live human subjects to be fed to some kind of monster.

204
00:11:17,640 --> 00:11:17,920
Speaker 4: Yeah.

205
00:11:18,040 --> 00:11:20,520
Speaker 2: Yeah, And in a sense, it's the murders have the

206
00:11:20,760 --> 00:11:24,040
Speaker 2: sort of standard trajectory of any kind of at least

207
00:11:24,320 --> 00:11:29,280
Speaker 2: initially sympathetic killer in a film, because the initial victims

208
00:11:29,280 --> 00:11:32,600
Speaker 2: will all be dirt bags, and then later on you're like, oh, well,

209
00:11:32,600 --> 00:11:37,080
Speaker 2: they're not really that much of he's straight over in

210
00:11:37,160 --> 00:11:40,319
Speaker 2: the less dirt bag territory. But this film doesn't really

211
00:11:40,360 --> 00:11:42,760
Speaker 2: make much out of that. We can observe it in

212
00:11:42,800 --> 00:11:45,000
Speaker 2: comment on it, but the film doesn't really spend a

213
00:11:45,000 --> 00:11:47,319
Speaker 2: lot of time with the fact that, yeah, he's increasingly

214
00:11:47,400 --> 00:11:50,240
Speaker 2: just murdering and kidnapping people to feed them to a monster.

215
00:11:50,720 --> 00:11:52,520
Speaker 2: And yet at the same time, I do feel like

216
00:11:52,600 --> 00:11:57,600
Speaker 2: the movie encourages us to feel sympathy for Gotho the

217
00:11:57,640 --> 00:12:01,960
Speaker 2: Hunchback the whole time. So yeah, it's it's weird and

218
00:12:02,000 --> 00:12:04,959
Speaker 2: different characters speak about him in ways where it's like, oh,

219
00:12:05,000 --> 00:12:06,439
Speaker 2: none of this is his fault, and I'm like.

220
00:12:06,480 --> 00:12:10,280
Speaker 3: I don't know, if he's got some responsibility in there,

221
00:12:10,320 --> 00:12:11,240
Speaker 3: he knows what he's doing.

222
00:12:11,480 --> 00:12:16,440
Speaker 2: Yeah, So yeah, we'll discuss as we proceed here. But

223
00:12:16,480 --> 00:12:18,720
Speaker 2: as far as the elevator pitches go, I would say

224
00:12:19,240 --> 00:12:21,800
Speaker 2: my elevator pitch would be I would do anything for love,

225
00:12:22,320 --> 00:12:24,160
Speaker 2: up to and including murder and grave.

226
00:12:24,000 --> 00:12:26,600
Speaker 3: Robbing, including after my love is long dead.

227
00:12:26,920 --> 00:12:31,160
Speaker 2: Yes, all right, Uh, let's let's hear a little bit

228
00:12:31,200 --> 00:12:33,559
Speaker 2: of the trailer audio. I'm not sure we're going to

229
00:12:33,600 --> 00:12:37,000
Speaker 2: be busting out some English trailer audio or Spanish trailer audio,

230
00:12:37,120 --> 00:12:41,600
Speaker 2: but either one will give you a taste you every one.

231
00:12:42,160 --> 00:12:53,800
Speaker 5: You got three colors, no wish, no, no, no.

232
00:12:54,400 --> 00:12:57,119
Speaker 4: Never before as a motion picture told such a story

233
00:12:57,320 --> 00:13:00,079
Speaker 4: in which love and horror race hand in hand so

234
00:13:00,160 --> 00:13:04,600
Speaker 4: their final consequences. Never has love been so terrifying, Never

235
00:13:04,679 --> 00:13:07,880
Speaker 4: has horror been more romantic. Close your eyes tightly if

236
00:13:07,880 --> 00:13:10,080
Speaker 4: you're unable to look at the terrifying scenes of this

237
00:13:10,200 --> 00:13:17,240
Speaker 4: motion picture interpreted by Paul Nashy, Rosana Yanni, Vic Winnard,

238
00:13:19,000 --> 00:13:22,679
Speaker 4: Alberto Delbiz, and Maria Pushy.

239
00:13:26,400 --> 00:13:29,880
Speaker 3: All right, rob Speaking of the English and Spanish dubs,

240
00:13:30,040 --> 00:13:33,199
Speaker 3: I have to report that I had a slightly chaotic

241
00:13:33,320 --> 00:13:37,960
Speaker 3: viewing experience with this movie because the streaming version that

242
00:13:38,040 --> 00:13:41,240
Speaker 3: I found to watch. I don't know if I should

243
00:13:41,280 --> 00:13:43,280
Speaker 3: call out the platform it was the one that's on

244
00:13:43,400 --> 00:13:50,000
Speaker 3: the shout Factory streaming collection only had one. Maybe this

245
00:13:50,040 --> 00:13:51,920
Speaker 3: is my fault. Maybe I just didn't figure out how

246
00:13:51,920 --> 00:13:55,080
Speaker 3: to set it up correctly or something. But at least

247
00:13:55,080 --> 00:13:57,080
Speaker 3: when I was watching it, I could only figure out

248
00:13:57,080 --> 00:14:00,679
Speaker 3: how to use one audio option, and that audio option

249
00:14:00,920 --> 00:14:06,040
Speaker 3: was both the English and Spanish dubs playing simultaneously, which

250
00:14:06,160 --> 00:14:08,640
Speaker 3: was somewhat maddening, but I was still able to enjoy

251
00:14:08,679 --> 00:14:09,079
Speaker 3: the movie.

252
00:14:09,559 --> 00:14:12,640
Speaker 2: Yeah, that can always be confusing. If you've never, of course,

253
00:14:12,679 --> 00:14:15,160
Speaker 2: played around with this, you might easily make the mistake

254
00:14:15,200 --> 00:14:18,520
Speaker 2: of thinking, well, the dub and the subtitles are going

255
00:14:18,520 --> 00:14:22,760
Speaker 2: to be identical, right, No, very often they are not.

256
00:14:22,920 --> 00:14:25,400
Speaker 2: If they're even if they're just a little off it,

257
00:14:25,920 --> 00:14:29,680
Speaker 2: you can feel your your brain hemispheres becoming like moving

258
00:14:29,720 --> 00:14:31,880
Speaker 2: away from each other, you know, your brain splitting in half.

259
00:14:32,120 --> 00:14:32,320
Speaker 4: Yeah.

260
00:14:32,440 --> 00:14:37,600
Speaker 3: Yeah, it's like creating the dial tone noise. Yeah. But

261
00:14:37,920 --> 00:14:40,440
Speaker 3: so I was watching it with both of the audios

262
00:14:40,440 --> 00:14:44,200
Speaker 3: playing simultaneously, and then looking at the English subtitles. So

263
00:14:44,280 --> 00:14:47,600
Speaker 3: the amusing. When I reference lines in the film, I'm

264
00:14:47,600 --> 00:14:49,320
Speaker 3: referring to the English subtitles.

265
00:14:49,320 --> 00:14:54,440
Speaker 2: Mostly I watched this one in Spanish with the English

266
00:14:54,600 --> 00:14:58,200
Speaker 2: subs I checked out the English dub at first, because

267
00:14:58,200 --> 00:15:01,920
Speaker 2: it's important to note, especially filmed films from this era

268
00:15:02,040 --> 00:15:06,360
Speaker 2: Spanish cinema, they're almost always dubbed, even in Spanish. It

269
00:15:06,400 --> 00:15:08,240
Speaker 2: was just sort of the standard. It wasn't until later

270
00:15:08,320 --> 00:15:12,040
Speaker 2: that there was more of an emphasis on getting Spanish

271
00:15:12,040 --> 00:15:12,800
Speaker 2: actors to use their.

272
00:15:12,760 --> 00:15:15,520
Speaker 3: Own voices, in the sense that a lot of times

273
00:15:15,520 --> 00:15:18,080
Speaker 3: the movie would not have live sound from the set,

274
00:15:19,000 --> 00:15:21,080
Speaker 3: even in the language it was shot in. They would

275
00:15:21,120 --> 00:15:23,400
Speaker 3: do they would record their lines later.

276
00:15:23,800 --> 00:15:25,720
Speaker 2: Yeah, and I think maybe part of it too, is like, yeah,

277
00:15:25,720 --> 00:15:28,040
Speaker 2: you're bring in a voice actor. They're like, they're better anyway,

278
00:15:28,120 --> 00:15:32,520
Speaker 2: bring them in. But I listened to a little bit

279
00:15:32,520 --> 00:15:36,280
Speaker 2: of the English dub and I'm like, no, this Gotho

280
00:15:36,360 --> 00:15:39,240
Speaker 2: doesn't sound right. So I just switched to the Spanish version,

281
00:15:39,320 --> 00:15:44,600
Speaker 2: but I watched it on the screen. Factory released Paul

282
00:15:44,680 --> 00:15:48,600
Speaker 2: Nashi Collection Volume two, which is a pretty great Blu

283
00:15:48,760 --> 00:15:52,040
Speaker 2: ray set. It contains a number of Paul Nashi films,

284
00:15:52,080 --> 00:15:55,000
Speaker 2: including The Werewolf and The Yetti, which is really fun.

285
00:15:55,240 --> 00:15:59,080
Speaker 2: That's another Doninsky film in which he travels to Tibet.

286
00:15:59,160 --> 00:16:02,360
Speaker 2: I believe, so a lot of fun stuff in that.

287
00:16:03,480 --> 00:16:06,080
Speaker 2: The disc offers two different versions of The Hunchback of

288
00:16:06,080 --> 00:16:10,480
Speaker 2: the Morgue, regular and uncensored. I've only watched the uncensored version.

289
00:16:11,240 --> 00:16:13,280
Speaker 2: I rewatched it, and I watched it originally a few

290
00:16:13,360 --> 00:16:16,000
Speaker 2: years back while I was like deep in COVID, and

291
00:16:16,040 --> 00:16:18,600
Speaker 2: I think the only difference is like one or two scenes.

292
00:16:18,640 --> 00:16:21,520
Speaker 2: There's not like a huge difference between the censored and

293
00:16:21,560 --> 00:16:23,760
Speaker 2: the uncensored as far as I understand it. But this

294
00:16:23,840 --> 00:16:26,720
Speaker 2: is a great collection worth checking out. If you live

295
00:16:26,720 --> 00:16:30,880
Speaker 2: in Atlanta. You can rent it from Videodrome. Great quality,

296
00:16:30,960 --> 00:16:33,920
Speaker 2: great stuff, a few extras as well on the disc.

297
00:16:34,720 --> 00:16:37,720
Speaker 3: From what I could detect the uncensored version, there was

298
00:16:37,760 --> 00:16:42,720
Speaker 3: only really one scene of brief mild nudity that was

299
00:16:42,840 --> 00:16:45,560
Speaker 3: on a completely different film quality than the rest of

300
00:16:45,600 --> 00:16:46,160
Speaker 3: the movie.

301
00:16:46,480 --> 00:16:49,040
Speaker 2: That stands out. That's the main scene that stands out.

302
00:16:49,160 --> 00:16:50,280
Speaker 2: Is being added on.

303
00:16:50,920 --> 00:16:52,640
Speaker 3: This feels like it was from somewhere else.

304
00:17:01,440 --> 00:17:03,640
Speaker 2: All right. Well, let's get into the people involved here.

305
00:17:04,640 --> 00:17:07,520
Speaker 2: The director of this picture, and they also have a

306
00:17:07,560 --> 00:17:10,200
Speaker 2: screenplay credit, so I think they had some influence on

307
00:17:10,240 --> 00:17:14,520
Speaker 2: the screenplay. It's Javier Aguiri, who lived nineteen thirty five

308
00:17:14,560 --> 00:17:17,840
Speaker 2: through twenty nineteen, Spanish film director whose films include a

309
00:17:17,880 --> 00:17:21,520
Speaker 2: trio of seventy three horror pictures. Hunchback of the Morgue.

310
00:17:21,520 --> 00:17:25,479
Speaker 2: Of course, another Paul Nashy film, Dracula's Great Love and

311
00:17:25,600 --> 00:17:28,480
Speaker 2: the Killer, is one of thirteen. He worked in multiple

312
00:17:28,520 --> 00:17:32,280
Speaker 2: genres and was well regarded for his short films. He's

313
00:17:32,320 --> 00:17:34,040
Speaker 2: one of these directors that I believe did some more

314
00:17:34,040 --> 00:17:36,000
Speaker 2: experimental short film work early on.

315
00:17:36,520 --> 00:17:39,280
Speaker 3: The Killer is one of thirteen. Don't know anything about

316
00:17:39,280 --> 00:17:41,800
Speaker 3: that one, but it sounds by the title like a Jallo.

317
00:17:42,720 --> 00:17:44,680
Speaker 2: I looked into it briefly when it was like a

318
00:17:44,720 --> 00:17:47,359
Speaker 2: Friday the Thirteenth episode publication, and I was like, we

319
00:17:47,359 --> 00:17:49,119
Speaker 2: should do something with thirteen in the title. So I

320
00:17:49,119 --> 00:17:51,200
Speaker 2: was looking into it. It looks it looks it looks

321
00:17:51,200 --> 00:17:52,520
Speaker 2: like it might be good, but I haven't seen it.

322
00:17:52,840 --> 00:17:55,480
Speaker 3: If the name of the movie is a complete sentence,

323
00:17:55,520 --> 00:17:57,080
Speaker 3: there's a good chance it's a jallo.

324
00:17:57,560 --> 00:18:02,359
Speaker 2: Yeah. Or if it has something cryptic about like the

325
00:18:02,400 --> 00:18:04,959
Speaker 2: moth with the sapphire plumage or whatever. You know, there

326
00:18:04,960 --> 00:18:06,720
Speaker 2: are a number of those that sound like like your

327
00:18:06,800 --> 00:18:09,240
Speaker 2: auto generated jallo title.

328
00:18:09,640 --> 00:18:12,840
Speaker 3: Twenty seven Daggers for the Owl Queens, Yes.

329
00:18:14,000 --> 00:18:17,199
Speaker 2: All right. There's also a screenplay credit for Alberto S.

330
00:18:17,320 --> 00:18:20,040
Speaker 2: And Sua dates unknown who also worked on tract It

331
00:18:20,080 --> 00:18:22,439
Speaker 2: was Great Love and the Killers one of thirteen, but

332
00:18:22,800 --> 00:18:26,600
Speaker 2: the main screenplay credit goes to Paul Nashi, who of

333
00:18:26,640 --> 00:18:33,400
Speaker 2: course also plays our hunchback Wolfgang Gotho. So yeah, Paul Nashi,

334
00:18:33,480 --> 00:18:35,760
Speaker 2: the legend himself. We've of course talked about Paul Nashey

335
00:18:35,800 --> 00:18:39,800
Speaker 2: on the show before. Real name Jacinto Molina Alvarez, he

336
00:18:39,920 --> 00:18:43,639
Speaker 2: was an aspiring architect turned bodybuilder turned horror writer, actor,

337
00:18:43,680 --> 00:18:47,440
Speaker 2: and eventually director. He grew up idolizing the universal monsters

338
00:18:47,480 --> 00:18:50,560
Speaker 2: he saw at the cinema and eventually got to become them.

339
00:18:50,920 --> 00:18:54,640
Speaker 2: He worked in various genres in addition to horror, including action, comedy,

340
00:18:54,720 --> 00:18:58,520
Speaker 2: and history, though history I think you know, with some

341
00:18:58,720 --> 00:19:04,639
Speaker 2: obvious horror elements. Well, but his horror work is what

342
00:19:04,720 --> 00:19:09,959
Speaker 2: has become legendary and has found an international audience, And

343
00:19:10,000 --> 00:19:13,439
Speaker 2: clearly this was his deepest love. Several of his films

344
00:19:13,440 --> 00:19:16,040
Speaker 2: certainly explored the darker side of human nature, but his

345
00:19:16,080 --> 00:19:19,119
Speaker 2: most iconic role, that of the werewolf Voldemart de Doninski,

346
00:19:19,400 --> 00:19:23,720
Speaker 2: embodies a clearly heartfelt sense of tragic love and doom,

347
00:19:23,920 --> 00:19:26,280
Speaker 2: and we see elements of these sensibilities and other roles

348
00:19:26,320 --> 00:19:29,360
Speaker 2: as well, including this one. And I think that when

349
00:19:29,359 --> 00:19:33,400
Speaker 2: we're talking about sympathy for Gotho, I think I think

350
00:19:33,440 --> 00:19:36,399
Speaker 2: doom is important, Like there is a strong doom vibe

351
00:19:36,440 --> 00:19:39,600
Speaker 2: to everything here with him, Like, you know, he he

352
00:19:39,680 --> 00:19:42,159
Speaker 2: is a doomed individual. He's a tragic individual. He stands

353
00:19:42,200 --> 00:19:46,000
Speaker 2: outside of the laws. He's been pushed outside of society,

354
00:19:46,640 --> 00:19:50,119
Speaker 2: and therefore he also has a sort of liberation in

355
00:19:50,200 --> 00:19:54,800
Speaker 2: being completely untethered from those laws and moral standards.

356
00:19:55,280 --> 00:19:58,600
Speaker 3: Yeah. There are even scenes that communicate essentially that idea

357
00:19:58,680 --> 00:20:01,360
Speaker 3: in the movie. Yeah, but it seems over and over

358
00:20:01,440 --> 00:20:06,760
Speaker 3: again across his career. Nashi liked to play characters whose

359
00:20:06,840 --> 00:20:09,920
Speaker 3: love was more powerful than anything in the universe and

360
00:20:10,080 --> 00:20:12,960
Speaker 3: who in the end are destroyed by their love.

361
00:20:13,520 --> 00:20:15,680
Speaker 2: Yes. Yeah, so it's always.

362
00:20:15,560 --> 00:20:17,360
Speaker 3: Like in the werewolf role, he's always got to get

363
00:20:17,359 --> 00:20:19,600
Speaker 3: stabbed in the heart with the silver cross by the

364
00:20:19,600 --> 00:20:21,120
Speaker 3: one woman who truly loves him.

365
00:20:21,320 --> 00:20:25,240
Speaker 2: Yes, there's a great quote from Nashie that I read

366
00:20:25,280 --> 00:20:28,080
Speaker 2: in the last Nashi film we covered Knight of the Werewolf,

367
00:20:29,480 --> 00:20:31,280
Speaker 2: where he's talking about Night of the Werewolf in some

368
00:20:31,359 --> 00:20:34,600
Speaker 2: of the plot elements, and he says, the claustrophobic castle

369
00:20:34,680 --> 00:20:37,399
Speaker 2: the gothic tombs, the ill fated love affair, the menace

370
00:20:37,400 --> 00:20:40,720
Speaker 2: of the undead, the ostracism of someone who is despised

371
00:20:40,720 --> 00:20:43,880
Speaker 2: for being different, in the albravating shadow of death. All

372
00:20:43,920 --> 00:20:46,880
Speaker 2: of these elements go to make up my personality and my.

373
00:20:46,920 --> 00:20:48,320
Speaker 3: Work sounds about right.

374
00:20:48,320 --> 00:20:51,560
Speaker 2: And yeah, these characters, these films like these were the

375
00:20:51,600 --> 00:20:54,800
Speaker 2: soul of Paul Nashy. So yeah, he in this film,

376
00:20:54,960 --> 00:20:56,879
Speaker 2: I say, I think he gives a great performance at

377
00:20:56,920 --> 00:20:59,840
Speaker 2: once sympathetic and menacing or altering between the two depending

378
00:20:59,880 --> 00:21:03,240
Speaker 2: on the scene. And his physicality works really really well.

379
00:21:03,240 --> 00:21:07,160
Speaker 2: Here he's playing a hunchback, which is you know, he's

380
00:21:07,240 --> 00:21:10,919
Speaker 2: hunched over, he's shambling as he moves from scene to scene,

381
00:21:10,960 --> 00:21:12,480
Speaker 2: and I just have to say, this must have just

382
00:21:12,560 --> 00:21:16,399
Speaker 2: been physically exhausting. I am not an actor, but I

383
00:21:16,600 --> 00:21:20,159
Speaker 2: played a character in a video series, a mad scientist

384
00:21:20,359 --> 00:21:23,919
Speaker 2: talking about science called Anton Jessup, and I had like

385
00:21:23,960 --> 00:21:27,399
Speaker 2: a slightly hunched over posture for the shoot. And this

386
00:21:27,560 --> 00:21:30,000
Speaker 2: was just like a few hours on a couple of days,

387
00:21:30,119 --> 00:21:32,520
Speaker 2: and I just felt like my body was racked after

388
00:21:32,680 --> 00:21:35,000
Speaker 2: from having to hold like a posture that I wasn't

389
00:21:35,680 --> 00:21:39,119
Speaker 2: accustomed to. And you know, It's probably not good posture

390
00:21:39,200 --> 00:21:41,280
Speaker 2: at all. And you know, for someone to play a

391
00:21:41,320 --> 00:21:44,120
Speaker 2: character like this and shamble about and maintain this kind

392
00:21:44,119 --> 00:21:46,840
Speaker 2: of posture and gait, yeah, this must have just absolutely

393
00:21:46,840 --> 00:21:47,360
Speaker 2: wrecked him.

394
00:21:47,720 --> 00:21:50,560
Speaker 3: Yeah. I would say you can even see the strain

395
00:21:50,680 --> 00:21:52,800
Speaker 3: on him in certain scenes. Yeah.

396
00:21:52,880 --> 00:21:54,879
Speaker 2: All right, well let's get into the love interest for

397
00:21:55,119 --> 00:21:59,320
Speaker 2: old Gotho here. First of all, we have Ilsa. This

398
00:21:59,480 --> 00:22:05,040
Speaker 2: is Gotho's initial doomed crush, played by Maria Elena Apron

399
00:22:05,480 --> 00:22:08,600
Speaker 2: born nineteen forty eight, Spanish actress whose other credits include

400
00:22:08,640 --> 00:22:11,800
Speaker 2: sixty nine Is the House That Screamed, Armando Dios Aarrio's

401
00:22:11,800 --> 00:22:14,640
Speaker 2: first Blind Dead movie, seventy two's Tombs of the Blind Dead,

402
00:22:14,960 --> 00:22:17,760
Speaker 2: and nineteen to seventy four's The Fish with the Eyes

403
00:22:17,800 --> 00:22:20,359
Speaker 2: of Gold. Now there's a job title for you.

404
00:22:20,520 --> 00:22:21,600
Speaker 3: Yeah, yep.

405
00:22:22,119 --> 00:22:26,080
Speaker 2: She was also in the seventy three Western Tequila exclamation Point,

406
00:22:26,400 --> 00:22:30,000
Speaker 2: and she was only active during the late sixties early seventies.

407
00:22:30,040 --> 00:22:32,800
Speaker 2: But she's good. I mean, it's as far as roles

408
00:22:32,800 --> 00:22:36,360
Speaker 2: where someone mostly plays a corpse, this was pretty physically demanding.

409
00:22:36,720 --> 00:22:39,160
Speaker 3: Yeah, I know, I already said there are several things

410
00:22:39,200 --> 00:22:41,920
Speaker 3: that are temporally confusing about the setting of the film.

411
00:22:42,119 --> 00:22:44,480
Speaker 3: We'll keep coming back to that, especially throughout the plot.

412
00:22:44,800 --> 00:22:47,480
Speaker 3: This is set in the modern times, it's set in

413
00:22:47,480 --> 00:22:51,040
Speaker 3: the nineteen seventies, but this character feels like something out

414
00:22:51,040 --> 00:22:55,200
Speaker 3: of a Victorian novel. She very much just has a

415
00:22:55,280 --> 00:23:00,640
Speaker 3: story based disease. That's kind of Oh I die now.

416
00:23:01,760 --> 00:23:04,040
Speaker 3: I don't even know which story in particular I'm thinking of,

417
00:23:04,119 --> 00:23:06,199
Speaker 3: but she feels like a Victorian character.

418
00:23:06,640 --> 00:23:09,439
Speaker 2: I love that your sample cough there was clearly the

419
00:23:09,480 --> 00:23:10,960
Speaker 2: cough from Black Sabbath. Sweetly.

420
00:23:12,640 --> 00:23:14,560
Speaker 3: You know, my daughter heard that song for the first

421
00:23:14,560 --> 00:23:17,720
Speaker 3: time the other day and she proclaimed, it's heavy.

422
00:23:18,200 --> 00:23:19,040
Speaker 2: That is quite heavy.

423
00:23:19,280 --> 00:23:22,800
Speaker 3: She didn't originate that terminology. I had instructed her what

424
00:23:23,119 --> 00:23:24,560
Speaker 3: heavy means awesome.

425
00:23:25,240 --> 00:23:27,600
Speaker 2: All right. So this is the doom the initial doomed

426
00:23:27,640 --> 00:23:30,000
Speaker 2: crush of Gotho. But then Gotho is going to get

427
00:23:30,000 --> 00:23:32,679
Speaker 2: a new love interest, and that is the character Elki,

428
00:23:32,960 --> 00:23:38,280
Speaker 2: played by Rosanna Yanni born nineteen thirty eight, Argentinian born

429
00:23:38,400 --> 00:23:41,879
Speaker 2: actress active from the early sixties to the early two thousands.

430
00:23:42,560 --> 00:23:44,840
Speaker 2: She was in Count Dracula with Great Love same year.

431
00:23:45,000 --> 00:23:48,040
Speaker 2: She was also in sixty eight's Frankenstein's Bloody Terror. That's

432
00:23:48,040 --> 00:23:51,280
Speaker 2: another Dninsky picture. And she's also in nineteen sixty nine

433
00:23:51,280 --> 00:23:54,800
Speaker 2: Spangs of the Living Dead that was directed by Diasorrio,

434
00:23:55,359 --> 00:23:57,520
Speaker 2: which she also had a production credit on. Oh, and

435
00:23:57,600 --> 00:24:01,640
Speaker 2: she was in a very interesting looking nineteen three Amazonian

436
00:24:01,800 --> 00:24:06,680
Speaker 2: warrior peplam film that also featured Helga Line, titled War Goddess,

437
00:24:06,680 --> 00:24:09,320
Speaker 2: and it was directed by Terrence Young, the guy who

438
00:24:09,400 --> 00:24:11,760
Speaker 2: directed several of the early James Bond pictures.

439
00:24:12,000 --> 00:24:14,600
Speaker 3: Oh, Okay, that's funny because I can just see her.

440
00:24:15,040 --> 00:24:17,440
Speaker 3: I'm not saying she was in one, but I could

441
00:24:17,520 --> 00:24:19,639
Speaker 3: see her in a James Bond movie. She looks like

442
00:24:19,680 --> 00:24:21,720
Speaker 3: she would fit right in and a I don't know,

443
00:24:21,760 --> 00:24:23,560
Speaker 3: in a blackjack scene in a casino.

444
00:24:24,080 --> 00:24:27,680
Speaker 2: She's really tall and of course gorgeous, and I feel

445
00:24:27,680 --> 00:24:30,480
Speaker 2: like her height really helps in this picture opposite Gotho,

446
00:24:30,840 --> 00:24:33,080
Speaker 2: because again it's Paul Nashew, I think, is already shorter

447
00:24:33,160 --> 00:24:36,680
Speaker 2: than her, and then he's stumped. He's stooped over as well,

448
00:24:37,080 --> 00:24:41,560
Speaker 2: so I don't know, like her very vertical alignment like

449
00:24:41,640 --> 00:24:43,440
Speaker 2: makes him even more hunchbacky.

450
00:24:44,080 --> 00:24:46,600
Speaker 3: She's good in the role. She plays a doctor, so

451
00:24:46,680 --> 00:24:50,520
Speaker 3: she has a very very caring and therapeutic kind of

452
00:24:50,520 --> 00:24:55,639
Speaker 3: presence her kindness, however, just not in her performance, but

453
00:24:55,680 --> 00:24:59,440
Speaker 3: the way the character is written, her kindness and level

454
00:24:59,440 --> 00:25:02,879
Speaker 3: of understand goes to such lengths that it becomes a

455
00:25:03,000 --> 00:25:05,800
Speaker 3: kind of hilarious naivete. At the end of you know,

456
00:25:05,880 --> 00:25:08,680
Speaker 3: there's like murder after murder, and she's like, he's really

457
00:25:08,800 --> 00:25:09,320
Speaker 3: very good.

458
00:25:11,480 --> 00:25:14,720
Speaker 2: Yes, yeah, yeah. There are a lot of characters who

459
00:25:15,560 --> 00:25:19,800
Speaker 2: see the good in Gotho to the point where they're

460
00:25:19,840 --> 00:25:21,560
Speaker 2: clearly overlooking a lot of crimes.

461
00:25:21,760 --> 00:25:22,679
Speaker 3: Yeah, all right.

462
00:25:22,720 --> 00:25:24,760
Speaker 2: We mentioned that this has a mad scientist in it,

463
00:25:25,640 --> 00:25:28,760
Speaker 2: and that is the character to doctor or La, who's

464
00:25:28,800 --> 00:25:32,160
Speaker 2: a real treat played by Alberto Dalbis who lived nineteen

465
00:25:32,240 --> 00:25:34,920
Speaker 2: twenty two through nineteen eighty three. Yeah, he's our chief

466
00:25:34,960 --> 00:25:39,600
Speaker 2: antagonist are mad scientist Argentine film and television actor who

467
00:25:39,600 --> 00:25:43,840
Speaker 2: worked a lot in horror, Jallo, crime and westerns. Something

468
00:25:43,840 --> 00:25:46,960
Speaker 2: of a Spanish horror icon himself, and yet this is

469
00:25:46,960 --> 00:25:49,399
Speaker 2: the only role that he ever had in a Nashi film.

470
00:25:49,680 --> 00:25:53,040
Speaker 2: He pops up in no fewer than eleven Jess Franco films,

471
00:25:53,280 --> 00:25:55,920
Speaker 2: so his credits include the likes of seventy three's The

472
00:25:55,960 --> 00:25:59,119
Speaker 2: Erotic Rights of Frankenstein. I'm not sure if it's the

473
00:25:59,160 --> 00:26:01,680
Speaker 2: monster of the doctor that has the erotic rights here,

474
00:26:02,800 --> 00:26:06,480
Speaker 2: and that's rights like sacred rights, not like legal.

475
00:26:06,240 --> 00:26:08,360
Speaker 3: Rights, satanic rights of Dracula.

476
00:26:08,600 --> 00:26:08,800
Speaker 4: Yeah.

477
00:26:08,840 --> 00:26:12,320
Speaker 2: Yeah, But he also appeared in the sci fi action

478
00:26:12,680 --> 00:26:16,520
Speaker 2: sci fi action films like sixty seven's Danger to Exclamation Points,

479
00:26:16,600 --> 00:26:20,640
Speaker 2: Death Ray and the seventy two Telesavahas film Pancho Villa,

480
00:26:20,920 --> 00:26:22,359
Speaker 2: which we've talked about on the show before.

481
00:26:22,920 --> 00:26:26,480
Speaker 3: He is an interesting and different kind of mad scientist

482
00:26:27,400 --> 00:26:30,320
Speaker 3: if you follow me here. So, I don't know, I

483
00:26:30,320 --> 00:26:32,720
Speaker 3: feel like the mad scientists we see in movies are

484
00:26:32,840 --> 00:26:37,080
Speaker 3: more often of either the Colin Clive kind of coming

485
00:26:37,119 --> 00:26:40,640
Speaker 3: apart of the seems nervous energy variety, or they might

486
00:26:40,680 --> 00:26:43,960
Speaker 3: be more like Doctor Septimus pretorious and Bride of Frankenstein

487
00:26:44,400 --> 00:26:47,720
Speaker 3: and be a kind of oh, I don't know, beyond

488
00:26:47,760 --> 00:26:52,240
Speaker 3: good and evil libertine, of weird obsessions and all that.

489
00:26:52,680 --> 00:26:56,640
Speaker 3: This guy instead has more of a kind of academic,

490
00:26:56,800 --> 00:27:01,080
Speaker 3: masculine bully energy. He feels like the guy, like the

491
00:27:01,160 --> 00:27:04,879
Speaker 3: guy in an academic department who has a kind of

492
00:27:04,960 --> 00:27:10,119
Speaker 3: charisma and authority and likes to boss other people around

493
00:27:10,160 --> 00:27:11,280
Speaker 3: and always get his way.

494
00:27:12,080 --> 00:27:13,959
Speaker 2: Yeah. I think that's a good read on the character,

495
00:27:14,119 --> 00:27:16,560
Speaker 2: and it does make him stand out, Like he has

496
00:27:16,600 --> 00:27:20,399
Speaker 2: some great villain monologues, but they're not about ruling the

497
00:27:20,520 --> 00:27:23,960
Speaker 2: universe or anything like that. It's largely about like, yeah,

498
00:27:24,040 --> 00:27:26,000
Speaker 2: some real scientific advancements you are going to come out

499
00:27:26,000 --> 00:27:30,000
Speaker 2: of this work. So yeah, I thought Doctor Orla was

500
00:27:30,040 --> 00:27:30,800
Speaker 2: a lot of fun here.

501
00:27:31,160 --> 00:27:33,960
Speaker 3: Yeah, I like him too. I don't know exactly how

502
00:27:34,000 --> 00:27:36,720
Speaker 3: I got here. He doesn't look a whole lot like

503
00:27:36,800 --> 00:27:38,840
Speaker 3: this guy. But the comparison I kept coming to in

504
00:27:38,920 --> 00:27:42,480
Speaker 3: my mind is he reminded me of the American actor

505
00:27:42,600 --> 00:27:46,040
Speaker 3: Richard Thomas, who played John Boy on The Waltons, And

506
00:27:46,080 --> 00:27:49,399
Speaker 3: it's a bunch of other roles since then. He was

507
00:27:49,440 --> 00:27:52,919
Speaker 3: in the adult half of the nineteen ninety eight, and

508
00:27:52,960 --> 00:27:55,040
Speaker 3: he had a role in The Americans, which is a

509
00:27:55,080 --> 00:27:59,760
Speaker 3: great espionage TV show. If there's a slightly more science

510
00:28:00,000 --> 00:28:02,480
Speaker 3: oriented version of that kind of energy, that's what I

511
00:28:02,480 --> 00:28:03,200
Speaker 3: got from this guy.

512
00:28:03,880 --> 00:28:07,159
Speaker 2: He has a great, smoldering, hateful glare that put me

513
00:28:07,200 --> 00:28:09,440
Speaker 2: in the mind of Powers Booth and Michael Shannon.

514
00:28:09,800 --> 00:28:12,879
Speaker 3: M Okay, I can see that too, all right.

515
00:28:12,920 --> 00:28:15,840
Speaker 2: So we have our love interests set in place here,

516
00:28:15,960 --> 00:28:20,440
Speaker 2: we have our sympathetic monster, and we have our mad scientists.

517
00:28:20,720 --> 00:28:22,400
Speaker 2: We have a few other parts here to round out

518
00:28:22,400 --> 00:28:25,040
Speaker 2: the cast. I mentioned that there would be traditional handsome

519
00:28:25,040 --> 00:28:28,120
Speaker 2: in this picture, and the traditional handsomeness is provided by

520
00:28:28,720 --> 00:28:33,919
Speaker 2: Victor Barrera credited as Vic Winner or Vic Wiener as

521
00:28:34,320 --> 00:28:37,560
Speaker 2: I think it depends on which trader you watched exactly

522
00:28:37,600 --> 00:28:41,360
Speaker 2: how it is pronounced, But he plays doctor Frederick Togner.

523
00:28:42,080 --> 00:28:46,880
Speaker 2: He is the second author on the forthcoming study that

524
00:28:47,200 --> 00:28:48,600
Speaker 2: doctor Orla is working on.

525
00:28:49,360 --> 00:28:52,920
Speaker 3: He is is he a mad scientist? And not really?

526
00:28:52,960 --> 00:28:56,440
Speaker 3: But he I don't know. I think he, on one hand,

527
00:28:56,640 --> 00:28:58,720
Speaker 3: is kind of a nice guy who means well, but

528
00:28:58,760 --> 00:29:01,560
Speaker 3: he also comes across like a he just keeps getting

529
00:29:01,640 --> 00:29:04,040
Speaker 3: talked into doing bad stuff by Orla.

530
00:29:04,680 --> 00:29:05,000
Speaker 4: Yeah.

531
00:29:05,080 --> 00:29:09,400
Speaker 2: Yeah, he's here for the applications of this study, and

532
00:29:09,760 --> 00:29:11,880
Speaker 2: it seems willing to turn a blind eye to some

533
00:29:11,960 --> 00:29:16,160
Speaker 2: of the horrors. That being said, I feel like his

534
00:29:16,280 --> 00:29:19,479
Speaker 2: character is really the only decent male character in the film.

535
00:29:19,920 --> 00:29:21,840
Speaker 2: The vast majority of the men we meet in the

536
00:29:21,880 --> 00:29:25,600
Speaker 2: picture are belligerent, drunken, hateful bullies. One character is a

537
00:29:25,640 --> 00:29:29,040
Speaker 2: mad scientist, then there's Gotho, a tragic figure who murders

538
00:29:29,280 --> 00:29:32,400
Speaker 2: everyone else. Even the children are just the absolute worst.

539
00:29:32,920 --> 00:29:36,200
Speaker 3: Yeah, I guess the only really truly good and pure

540
00:29:36,320 --> 00:29:39,800
Speaker 3: characters are Ilsa and then Elkie, and then I guess

541
00:29:39,880 --> 00:29:43,880
Speaker 3: you could argue about Tauchner here and then also about

542
00:29:43,880 --> 00:29:45,120
Speaker 3: doctor Meyer his fiance.

543
00:29:45,480 --> 00:29:49,040
Speaker 2: That's right. Yeah, all the women are fine, but of

544
00:29:49,120 --> 00:29:55,200
Speaker 2: the men, only Fred Here is decent. Now Barrera or Winner.

545
00:29:56,640 --> 00:29:58,960
Speaker 2: He worked in a few different Nashi pictures. We talked

546
00:29:59,000 --> 00:30:01,520
Speaker 2: about him, I think briefly before because he pops up

547
00:30:01,520 --> 00:30:03,840
Speaker 2: in Horror Rises from the Tomb. He's also in Count

548
00:30:03,920 --> 00:30:07,960
Speaker 2: Dracula's Great Love. So yeah, pretty standard stuff here, but

549
00:30:08,080 --> 00:30:10,840
Speaker 2: you know he plays his part well, yeah, all right,

550
00:30:10,880 --> 00:30:14,800
Speaker 2: we mentioned doctor Meyer, doctor Maria Meyer. This is doctor

551
00:30:14,880 --> 00:30:19,200
Speaker 2: Fred's fiance, played by Maria Percy, who lived nineteen thirty

552
00:30:19,240 --> 00:30:21,920
Speaker 2: eight through two thousand and four. Persciy Here was an

553
00:30:21,920 --> 00:30:25,320
Speaker 2: Austrian born actress whose biggest film was likely nineteen sixty

554
00:30:25,320 --> 00:30:28,960
Speaker 2: four Is Man's Favorite Sport. She was billed third in

555
00:30:29,000 --> 00:30:32,200
Speaker 2: that film. It starred Rock Hudson and was directed by

556
00:30:32,240 --> 00:30:35,040
Speaker 2: none other than Howard Hawks in his fourth to last film.

557
00:30:35,800 --> 00:30:38,120
Speaker 2: She appeared in five films with Paul Nashey. She was

558
00:30:38,120 --> 00:30:41,160
Speaker 2: also in the third Blind Dead picture, The Ghost Gallion.

559
00:30:42,760 --> 00:30:45,040
Speaker 2: Now a brief note on special effects because I have

560
00:30:45,080 --> 00:30:46,920
Speaker 2: to say I thought that the gore in this movie

561
00:30:47,240 --> 00:30:50,400
Speaker 2: looks pretty good, Like it's really fun blood and slime.

562
00:30:51,120 --> 00:30:54,120
Speaker 3: Yes, you know, I'm not primarily a gorehound by nature.

563
00:30:54,200 --> 00:30:56,280
Speaker 3: It's not the first thing I'm looking for in a movie,

564
00:30:56,320 --> 00:30:58,719
Speaker 3: but I but I do appreciate better gore, and this

565
00:30:58,760 --> 00:30:59,880
Speaker 3: is better gore than much.

566
00:31:00,320 --> 00:31:04,560
Speaker 2: Yeah, some good disembodied heads in this picture. For example.

567
00:31:05,760 --> 00:31:10,360
Speaker 2: The special effects credit goes to one Pablo Perez, Spanish

568
00:31:10,400 --> 00:31:13,360
Speaker 2: effects artists who also worked on such films as seventy

569
00:31:13,360 --> 00:31:16,239
Speaker 2: two's Horror Express, which we previously talked about and had

570
00:31:16,320 --> 00:31:21,040
Speaker 2: some very fun effects in its Yeah. Yeah, Count Dracula

571
00:31:21,120 --> 00:31:25,200
Speaker 2: was great. Love Luccio Fulciese nineteen seventy three White Fang adaptation.

572
00:31:26,120 --> 00:31:28,880
Speaker 2: What I didn't even know that existed as well as

573
00:31:28,920 --> 00:31:31,760
Speaker 2: seventy three is The Vampire's Night Orgy, a movie I

574
00:31:31,800 --> 00:31:34,440
Speaker 2: haven't seen, but it's on my radar because there's a

575
00:31:34,480 --> 00:31:38,360
Speaker 2: scene in the picture and it's featured on promotional materials,

576
00:31:38,360 --> 00:31:42,680
Speaker 2: including the poster that shows Helga Line as a vampire

577
00:31:42,840 --> 00:31:45,880
Speaker 2: carrying a male victim, which is a nice inversion of

578
00:31:45,920 --> 00:31:49,000
Speaker 2: the horror movie poster trope in which a male monster

579
00:31:49,120 --> 00:31:52,600
Speaker 2: carries a female captive. So the movie may just be

580
00:31:52,640 --> 00:31:54,600
Speaker 2: absolute trash, it may not be good. I don't know,

581
00:31:54,920 --> 00:31:58,959
Speaker 2: but bravo for doing the gender flip on this iconic

582
00:31:59,760 --> 00:32:02,120
Speaker 2: bit of poster sleeves. I love it.

583
00:32:02,320 --> 00:32:03,560
Speaker 3: Yeah, and it looks good.

584
00:32:03,880 --> 00:32:06,320
Speaker 2: Yeah yeah, I mean I think she's really carrying him here.

585
00:32:06,520 --> 00:32:09,280
Speaker 3: Yeah, I mean they've they've posed him just right, showing

586
00:32:09,320 --> 00:32:10,440
Speaker 3: off the thighs and all that.

587
00:32:10,560 --> 00:32:22,320
Speaker 2: Yeah. Yeah. And then finally, the music here is by

588
00:32:22,560 --> 00:32:26,560
Speaker 2: Carmelo A Berniola, who lived nineteen twenty nine through two

589
00:32:26,560 --> 00:32:29,480
Speaker 2: thousand and two. Highly influential Spanish composer who also worked

590
00:32:29,480 --> 00:32:33,200
Speaker 2: in film and TV scores. He won some Spanish Film

591
00:32:33,200 --> 00:32:37,720
Speaker 2: Awards for a few different pictures, including seventy four's Tormento.

592
00:32:38,200 --> 00:32:42,640
Speaker 2: His other scores include The House Without Frontiers and Cutthroat

593
00:32:42,720 --> 00:32:46,240
Speaker 2: nine and seventy two and three Nashy films from seventy three, Hunchback,

594
00:32:46,640 --> 00:32:49,560
Speaker 2: count Dracula's Great Love and Horror Rises from the Tomb.

595
00:32:49,960 --> 00:32:52,520
Speaker 2: I would say, good melodramatic score on the whole.

596
00:32:52,960 --> 00:32:54,840
Speaker 3: Yeah, I would agree with that, though I will say

597
00:32:55,080 --> 00:32:57,960
Speaker 3: it's not that the music is bad, especially early in

598
00:32:58,000 --> 00:33:00,400
Speaker 3: the film. There is a lot of use of music

599
00:33:00,400 --> 00:33:04,680
Speaker 3: that is really not my favorite style. Yeah, but it's

600
00:33:04,720 --> 00:33:06,880
Speaker 3: not the music's fault. It's just not there's a lot

601
00:33:06,880 --> 00:33:10,160
Speaker 3: of like, I don't know, marches with heavy horns and

602
00:33:10,280 --> 00:33:14,440
Speaker 3: Octoberfest style music that's I don't know, I get that

603
00:33:14,440 --> 00:33:15,600
Speaker 3: that's that's some people's thing.

604
00:33:16,000 --> 00:33:19,240
Speaker 2: They they lean heavily on the score right as the

605
00:33:19,280 --> 00:33:22,320
Speaker 2: movie opens to let you know that this is Germany,

606
00:33:23,200 --> 00:33:28,320
Speaker 2: it's Germanic, or it's Austria. It's somewhere. It's somewhere that

607
00:33:28,360 --> 00:33:31,600
Speaker 2: has Octoberfest. And later on in some things we see

608
00:33:31,600 --> 00:33:34,560
Speaker 2: like Octoberfest posters on the walls and so forth. Yeah.

609
00:33:34,640 --> 00:33:37,479
Speaker 3: Yeah, so well, speaking of that, should we jump right

610
00:33:37,520 --> 00:33:38,680
Speaker 3: into the plot.

611
00:33:38,960 --> 00:33:40,560
Speaker 2: Yeah, let's let's hit the poke music.

612
00:33:40,760 --> 00:33:43,040
Speaker 3: So, yeah, this is the music we're getting while we

613
00:33:43,080 --> 00:33:45,480
Speaker 3: see the credits play. It's not exactly it's not polka music.

614
00:33:45,520 --> 00:33:48,440
Speaker 3: I think this might technically be a march of some kind.

615
00:33:48,480 --> 00:33:51,320
Speaker 3: I don't know the music term, but it's Yeah, it's

616
00:33:51,360 --> 00:33:55,200
Speaker 3: a lot of horns. It's like blasting. It's really loud

617
00:33:55,280 --> 00:33:59,880
Speaker 3: on the soundtrack, like going into the red and you know, yeah,

618
00:34:00,040 --> 00:34:03,520
Speaker 3: the Octoberfest zone. But this is playing while the camera

619
00:34:03,640 --> 00:34:06,680
Speaker 3: pans over the beautiful landscape of wherever this is. I

620
00:34:06,720 --> 00:34:09,640
Speaker 3: think it's supposed to be Germany. There are mountains in

621
00:34:09,680 --> 00:34:12,759
Speaker 3: the distance, hills in the foreground covered in forests. The

622
00:34:12,840 --> 00:34:15,440
Speaker 3: leaves are going orange for the autumn, and then we

623
00:34:15,480 --> 00:34:18,440
Speaker 3: see green, clear expanses of farmland. So it's a very

624
00:34:18,520 --> 00:34:20,480
Speaker 3: beautiful landscape.

625
00:34:20,640 --> 00:34:24,120
Speaker 2: Yeah. Yeah, most of this film was filmed in Spain,

626
00:34:24,320 --> 00:34:26,719
Speaker 2: but there are some shots from Austria, and I think

627
00:34:26,760 --> 00:34:29,440
Speaker 2: some of these zoom in on the town shots are

628
00:34:29,440 --> 00:34:30,280
Speaker 2: definitely Austrian.

629
00:34:30,760 --> 00:34:32,680
Speaker 3: Oh yeah, maybe it's supposed to be Austria, but it

630
00:34:32,719 --> 00:34:34,760
Speaker 3: feels like one of those feels like Germany or Austria

631
00:34:34,880 --> 00:34:38,560
Speaker 3: or something. Anyway, we zoom in on one sleepy town

632
00:34:38,880 --> 00:34:41,560
Speaker 3: somewhere in these hills now here. I want to come

633
00:34:41,600 --> 00:34:44,640
Speaker 3: back to the issue of how someone could easily be

634
00:34:44,719 --> 00:34:47,760
Speaker 3: confused about when this movie is supposed to take place,

635
00:34:48,360 --> 00:34:53,080
Speaker 3: because some of the sets and plot elements really imply

636
00:34:53,280 --> 00:34:56,280
Speaker 3: this is supposed to take place in the nineteenth century

637
00:34:56,400 --> 00:34:58,960
Speaker 3: or even earlier. But that can't be because there are

638
00:34:59,000 --> 00:35:02,520
Speaker 3: contemporary cars, and some of the characters but not others,

639
00:35:02,560 --> 00:35:05,120
Speaker 3: are wearing nineteen seventies clothes, So this has to be

640
00:35:05,200 --> 00:35:09,000
Speaker 3: set in the nineteen seventies. But again we will just

641
00:35:09,040 --> 00:35:13,919
Speaker 3: see things here and there, like some interior decoration, some

642
00:35:14,160 --> 00:35:16,759
Speaker 3: clothes and things like that that make it seem like

643
00:35:16,760 --> 00:35:19,160
Speaker 3: it's from another time. And I don't know what contributed

644
00:35:19,200 --> 00:35:22,719
Speaker 3: to that weird anachronism, but there it is.

645
00:35:23,320 --> 00:35:24,960
Speaker 2: Yeah, I mean, some of it probably has to do

646
00:35:25,040 --> 00:35:29,200
Speaker 2: with the locations and the sets, where on one hand

647
00:35:29,239 --> 00:35:32,000
Speaker 2: you'll have mad science equipment, but then on the other

648
00:35:32,080 --> 00:35:37,640
Speaker 2: hand you'll have these tremendous ruins and stone hallways with

649
00:35:37,719 --> 00:35:42,240
Speaker 2: straw strewn on the ground. So yeah, some temporal confusion

650
00:35:42,280 --> 00:35:43,520
Speaker 2: does ensue.

651
00:35:43,800 --> 00:35:46,240
Speaker 3: Yeah, So in this town we see an empty street.

652
00:35:46,640 --> 00:35:50,880
Speaker 3: It is empty except for Paul Nashy who's wandering along

653
00:35:50,920 --> 00:35:56,280
Speaker 3: the cobblestones in his hunchback costume. And this is our protagonist, Gotho.

654
00:35:56,880 --> 00:35:59,000
Speaker 3: I'm going to call him Gotho because that's how it's spelled.

655
00:35:59,000 --> 00:36:01,200
Speaker 3: I think when I was hearing the characters say it,

656
00:36:01,920 --> 00:36:03,759
Speaker 3: this might have been more in the Spanish stub they

657
00:36:03,800 --> 00:36:06,920
Speaker 3: were calling him more like go Toe, but I think

658
00:36:07,080 --> 00:36:10,799
Speaker 3: Gotho is easier for me to remember to say. So

659
00:36:10,960 --> 00:36:14,080
Speaker 3: Gotho makes his way toward I think this place would

660
00:36:14,120 --> 00:36:17,279
Speaker 3: be called a beer haul in the cultural context. It

661
00:36:17,360 --> 00:36:20,440
Speaker 3: is a drinking establishment with tables and chairs. It's got

662
00:36:20,480 --> 00:36:25,200
Speaker 3: an accordion player, and it serves beer in comical, almost

663
00:36:25,320 --> 00:36:30,000
Speaker 3: gallon sized glasses. And inside we meet several bar patrons.

664
00:36:30,120 --> 00:36:33,520
Speaker 3: There is a young Foppish man with shaggy brown hair

665
00:36:33,920 --> 00:36:37,160
Speaker 3: wearing an olive green sweater. This might be a commando sweater,

666
00:36:37,200 --> 00:36:40,800
Speaker 3: I'm not sure, but he's carousing with two women, also

667
00:36:40,920 --> 00:36:45,080
Speaker 3: in temporally confusing outfits. They're dressed to bar maids like

668
00:36:45,520 --> 00:36:49,479
Speaker 3: the Saint Paul girl. And this guy is named Udo,

669
00:36:50,040 --> 00:36:52,800
Speaker 3: and he's just partying with these ladies. They're like swaying

670
00:36:52,920 --> 00:36:57,120
Speaker 3: back and forth wildly, drunkenly to the accordion music, laughing

671
00:36:57,160 --> 00:37:01,840
Speaker 3: at nothing, just clinking their mugs together about again, apparently nothing.

672
00:37:02,680 --> 00:37:05,600
Speaker 3: And then this guy Udo rudely yells at the accordion

673
00:37:05,640 --> 00:37:08,160
Speaker 3: player to play something different. He says they're getting bored.

674
00:37:09,160 --> 00:37:12,560
Speaker 3: The accordion player stops, plays a different song which sounds

675
00:37:12,600 --> 00:37:16,800
Speaker 3: exactly like the first song. And then Paul Nashy watches

676
00:37:16,880 --> 00:37:19,120
Speaker 3: this scene play out. So he's peeking in through the

677
00:37:19,160 --> 00:37:22,000
Speaker 3: beer hall window. At a table nearby, there are a

678
00:37:22,080 --> 00:37:25,480
Speaker 3: couple of other young louts. Somebody says that they are students,

679
00:37:25,880 --> 00:37:29,320
Speaker 3: and they challenge Udo to a drinking contest by saying,

680
00:37:29,480 --> 00:37:32,560
Speaker 3: this was the line, can you handle your beer as

681
00:37:32,600 --> 00:37:36,279
Speaker 3: well as it can handle your girls? I don't know.

682
00:37:37,120 --> 00:37:42,040
Speaker 3: So they order four huge beers. You just gigantic beers.

683
00:37:42,520 --> 00:37:45,280
Speaker 2: These beers are so huge, the glasses are so huge,

684
00:37:45,320 --> 00:37:47,560
Speaker 2: and the quantity of beer is so huge that like

685
00:37:48,640 --> 00:37:51,840
Speaker 2: you almost feel like the humans are shrinking, or that

686
00:37:51,880 --> 00:37:55,520
Speaker 2: you're in some sort of a surreal sequence, Like, surely

687
00:37:55,600 --> 00:37:58,160
Speaker 2: beer is not served in quantities this vast.

688
00:37:58,320 --> 00:38:00,799
Speaker 3: It's when they go to the pub and and Lord

689
00:38:00,800 --> 00:38:02,560
Speaker 3: of the Rings, Yeah, it comes in pints.

690
00:38:03,200 --> 00:38:05,120
Speaker 2: Yeah, it's like if you're a hobbit and you're drinking

691
00:38:05,200 --> 00:38:07,880
Speaker 2: a human sized beer. I mean, I guess this is legit.

692
00:38:07,920 --> 00:38:10,279
Speaker 2: I have no reason to believe that they they faked this.

693
00:38:11,320 --> 00:38:13,680
Speaker 2: I just and I'm not a beer drinker. So it

694
00:38:13,800 --> 00:38:16,200
Speaker 2: just seems like, wouldn't it just become so warm by

695
00:38:16,239 --> 00:38:17,920
Speaker 2: the time you get to the bottom of that glass.

696
00:38:18,080 --> 00:38:19,920
Speaker 3: Well not if you drink it like Udo in this

697
00:38:20,000 --> 00:38:22,160
Speaker 3: other guy, because they just chug it all at once.

698
00:38:22,680 --> 00:38:25,400
Speaker 3: So they have a drinking contest. Udo goes toe to

699
00:38:25,400 --> 00:38:28,279
Speaker 3: toe with one of the students, a tall guy with Sideburns,

700
00:38:28,880 --> 00:38:31,920
Speaker 3: And I would say this bar scene is good to

701
00:38:32,000 --> 00:38:35,120
Speaker 3: watch if you want to convince yourself to quit drinking alcohol.

702
00:38:35,320 --> 00:38:40,400
Speaker 3: It makes alcohol look absolutely revolting. These two guys. So

703
00:38:40,440 --> 00:38:43,560
Speaker 3: they're drinking the giant beer as they're drooling everywhere, they're

704
00:38:43,640 --> 00:38:47,160
Speaker 3: spitting little flecks of froth. They end up with their

705
00:38:47,239 --> 00:38:51,719
Speaker 3: faces and clothes covered in some kind of gleaming mucus

706
00:38:51,760 --> 00:38:54,759
Speaker 3: from the chugging process. So they're not just wet, you know,

707
00:38:54,760 --> 00:38:57,960
Speaker 3: They've got drool and wet going down their shirts and

708
00:38:57,960 --> 00:39:01,160
Speaker 3: on their pants. But then their face are covered with

709
00:39:01,360 --> 00:39:05,840
Speaker 3: this mucusy like shining stuff. And when I say their faces,

710
00:39:06,000 --> 00:39:08,320
Speaker 3: I don't just mean their mouth. It's like their forehead

711
00:39:08,360 --> 00:39:10,879
Speaker 3: and their eyebrows are wet. It's disgusting.

712
00:39:11,239 --> 00:39:15,640
Speaker 2: Yeah, just sweaty, toxically masculine beer guzzling. It seems to eventually,

713
00:39:15,680 --> 00:39:17,920
Speaker 2: it seems to destroy both their sex drives and their

714
00:39:17,920 --> 00:39:22,000
Speaker 2: internal organs. Yes, because after you're done drinking at this place,

715
00:39:22,040 --> 00:39:24,759
Speaker 2: you're just like, I have to leave now and fall

716
00:39:24,800 --> 00:39:25,360
Speaker 2: in the street.

717
00:39:25,680 --> 00:39:29,120
Speaker 3: Yeah, yeah, that's right. So Udo wins the drinking contest

718
00:39:29,160 --> 00:39:33,439
Speaker 3: because kids sideburns here falls unconscious and then smashes his beer,

719
00:39:33,480 --> 00:39:36,680
Speaker 3: steining on the floor, Udo mocks him and then announces,

720
00:39:36,680 --> 00:39:39,040
Speaker 3: soaking wet, that it's time he has to go home.

721
00:39:40,040 --> 00:39:42,279
Speaker 3: The ladies dressed up like the Saint poly girl or

722
00:39:42,400 --> 00:39:45,600
Speaker 3: they're like, no, Udo, don't go. I think the implication

723
00:39:45,800 --> 00:39:48,160
Speaker 3: is that Udo is the life of the party. He's

724
00:39:48,239 --> 00:39:50,640
Speaker 3: very handsome and charismatic, and they want him to stay

725
00:39:50,640 --> 00:39:53,799
Speaker 3: and party. But you know, how's he going to stay

726
00:39:53,840 --> 00:39:56,759
Speaker 3: in party? He's like soaked in beer. So he gets up.

727
00:39:56,960 --> 00:40:01,080
Speaker 3: He wanders outside by himself, stumbling and staggering back and

728
00:40:01,120 --> 00:40:03,759
Speaker 3: forth as he makes his way down the street. Now

729
00:40:03,760 --> 00:40:08,239
Speaker 3: from the shadows nearby, Gotho watches Udo leave and then

730
00:40:08,280 --> 00:40:11,960
Speaker 3: follows him at a distance, looking concerned. At some point

731
00:40:12,040 --> 00:40:14,640
Speaker 3: while he's going down the street, Udo drops something I

732
00:40:14,680 --> 00:40:17,840
Speaker 3: think it's his wallet, and Gotho sees this and runs

733
00:40:17,840 --> 00:40:20,399
Speaker 3: to pick it up. He calls out, Udo, you dropped this,

734
00:40:21,120 --> 00:40:25,880
Speaker 3: but Udo does not appreciate Gotho's help. Instead, he hits

735
00:40:25,960 --> 00:40:29,400
Speaker 3: Gotho and then he says, like Gotho, you monster, what

736
00:40:29,440 --> 00:40:32,080
Speaker 3: were you going to do? Rob me? One direct quote

737
00:40:32,080 --> 00:40:35,040
Speaker 3: from this part from the subtitles is he says to Gotho,

738
00:40:35,200 --> 00:40:39,839
Speaker 3: your fart face turns my guss. But in this altercation,

739
00:40:40,080 --> 00:40:43,680
Speaker 3: Udo drops a photograph of a woman signed with a note.

740
00:40:44,000 --> 00:40:46,480
Speaker 3: Gotho picks it up and it says to Udo, with

741
00:40:46,600 --> 00:40:50,440
Speaker 3: all my love Ilsa, and Gotho reads this to himself

742
00:40:50,520 --> 00:40:55,320
Speaker 3: clearly in pain reading it. It's just it's wounding him emotionally. Meanwhile,

743
00:40:55,440 --> 00:40:59,040
Speaker 3: Udo is walking on ahead, but suddenly he starts coughing

744
00:40:59,200 --> 00:41:02,879
Speaker 3: and gagging and clutching his stomach and he just collapses

745
00:41:03,000 --> 00:41:06,080
Speaker 3: on the street and apparently dies.

746
00:41:06,560 --> 00:41:06,759
Speaker 2: Yeah.

747
00:41:07,160 --> 00:41:11,440
Speaker 3: I was confused about this, but I don't know. We

748
00:41:11,480 --> 00:41:13,439
Speaker 3: can check in on this in a minute, but first

749
00:41:13,440 --> 00:41:15,440
Speaker 3: we have to say. We go to a second location

750
00:41:15,880 --> 00:41:19,040
Speaker 3: that we're told in a subtitle is Feldkirch Hospital or

751
00:41:19,080 --> 00:41:25,080
Speaker 3: feldkirk It's about feld k Rch Hospital, and so it's

752
00:41:25,120 --> 00:41:28,080
Speaker 3: a clinic situated up on a slope overlooking the town.

753
00:41:28,520 --> 00:41:32,000
Speaker 3: It's surrounded by elegant, well kept gardens and a fountain courtyard,

754
00:41:32,480 --> 00:41:34,600
Speaker 3: and tonight the rain is pouring. We see the rain

755
00:41:34,640 --> 00:41:37,960
Speaker 3: pouring into the fountain outside. But suddenly we are in

756
00:41:38,000 --> 00:41:41,560
Speaker 3: the morgue of the hospital. It's a room with white

757
00:41:41,600 --> 00:41:45,560
Speaker 3: tile walls, lockers for body storage, and autopsy tables, and

758
00:41:45,600 --> 00:41:49,520
Speaker 3: here we see Udo laid out I think, already dead

759
00:41:49,719 --> 00:41:52,600
Speaker 3: on one of the tables. And then Gotho is here,

760
00:41:52,920 --> 00:41:57,720
Speaker 3: wearing a heavy leather apron. He approaches. He approaches Udo's

761
00:41:57,719 --> 00:42:02,719
Speaker 3: body with a knife in hand. It's rinning, and Gotho says, now, Udo,

762
00:42:02,960 --> 00:42:06,040
Speaker 3: your skin is pale white. You no longer have that

763
00:42:06,160 --> 00:42:09,399
Speaker 3: handsome olive complexion the women like so much. You were

764
00:42:09,440 --> 00:42:11,759
Speaker 3: so proud of your good looks. You made fun of

765
00:42:11,760 --> 00:42:14,240
Speaker 3: the hump on my back. You never realized you would

766
00:42:14,320 --> 00:42:16,640
Speaker 3: end up as a pile of meat at the hands

767
00:42:16,680 --> 00:42:21,480
Speaker 3: of bungling students. Then Gotho takes the knife and proceeds

768
00:42:21,520 --> 00:42:24,600
Speaker 3: to I think it's not exactly clear what all happens here,

769
00:42:24,640 --> 00:42:28,160
Speaker 3: but I think he cuts off Udo's head, hands, and

770
00:42:28,239 --> 00:42:31,040
Speaker 3: feet and puts them in a bag in his cart.

771
00:42:31,600 --> 00:42:34,440
Speaker 3: While he's doing this, he's singing song lyrics to himself

772
00:42:35,320 --> 00:42:38,000
Speaker 3: that go the dead will never rise again. The crows,

773
00:42:38,080 --> 00:42:43,480
Speaker 3: they sing and sing. So it's a little ambiguous what

774
00:42:43,760 --> 00:42:47,080
Speaker 3: happened here, Like, how did Udo die? Was he already

775
00:42:47,120 --> 00:42:48,400
Speaker 3: dead when the cutting happened?

776
00:42:48,440 --> 00:42:50,960
Speaker 2: I think, I assume yeah, I mean, because he's in

777
00:42:51,000 --> 00:42:53,960
Speaker 2: the morgue. My understanding is he just straight up like

778
00:42:54,239 --> 00:42:56,280
Speaker 2: died of alcohol poisoning in the street.

779
00:42:56,600 --> 00:42:58,600
Speaker 3: He drank so much beer that he died in the

780
00:42:58,640 --> 00:42:59,440
Speaker 3: middle of the street.

781
00:42:59,600 --> 00:43:00,319
Speaker 2: Yeah.

782
00:43:01,200 --> 00:43:05,400
Speaker 3: Anyway, Gotho, after this, he takes his little cart, presumably

783
00:43:05,400 --> 00:43:08,680
Speaker 3: full of Udo's organs, like his head and his hands

784
00:43:08,680 --> 00:43:10,840
Speaker 3: and stuff, and he wheels it out of the morgue,

785
00:43:10,960 --> 00:43:13,560
Speaker 3: going past a couple of doctors who work in the morgue.

786
00:43:13,920 --> 00:43:17,400
Speaker 3: And these guys stink as Gotho's coming in there in

787
00:43:17,440 --> 00:43:20,880
Speaker 3: the middle of some misogynous knee slapper, and they stop

788
00:43:20,960 --> 00:43:23,080
Speaker 3: Gotho to insult him and yell at him. They call

789
00:43:23,120 --> 00:43:25,239
Speaker 3: him a gorilla. They tell him he's not welcome in

790
00:43:25,280 --> 00:43:28,200
Speaker 3: the dissection room. One of them says, you know that

791
00:43:28,239 --> 00:43:31,240
Speaker 3: the students have a special dislike for your baboon face.

792
00:43:32,480 --> 00:43:35,280
Speaker 3: So what's worse here, baboon face or fartface. We've already

793
00:43:35,280 --> 00:43:39,759
Speaker 3: gotten both, but I do want to emphasize here. Many

794
00:43:39,880 --> 00:43:44,319
Speaker 3: times characters comment on the ugliness of Gotho's face, But

795
00:43:44,480 --> 00:43:48,200
Speaker 3: he doesn't have any special makeup. Really. He has a scar,

796
00:43:48,400 --> 00:43:50,800
Speaker 3: but that's about it. Otherwise it's just Paul Nashy face.

797
00:43:51,320 --> 00:43:53,640
Speaker 2: Yeah. Yeah, So, on one hand, it is always a

798
00:43:53,680 --> 00:43:57,080
Speaker 2: little jarring where you're like he doesn't look that on

799
00:43:57,160 --> 00:43:59,600
Speaker 2: that ugly guys. He just looks like Paul Nashy. But

800
00:44:00,520 --> 00:44:02,279
Speaker 2: on the other hand, I guess it's it's kind of

801
00:44:02,360 --> 00:44:06,400
Speaker 2: nice that it makes the performance pure Nashy, you know,

802
00:44:06,480 --> 00:44:13,120
Speaker 2: like there's no potentially distracting makeup getting between you and

803
00:44:13,160 --> 00:44:13,839
Speaker 2: the performance.

804
00:44:14,040 --> 00:44:17,439
Speaker 3: Yeah. So, anyway, Gotho goes about his business. I don't

805
00:44:17,480 --> 00:44:20,800
Speaker 3: know what he's doing with this with the Udo Organs,

806
00:44:20,840 --> 00:44:23,360
Speaker 3: but he At one point he stops in a hallway

807
00:44:23,400 --> 00:44:27,120
Speaker 3: to gaze longingly at the photograph of Ilsa that Udo dropped,

808
00:44:27,600 --> 00:44:30,680
Speaker 3: And it's obvious that Gotho is in love with Ilsa.

809
00:44:30,680 --> 00:44:31,480
Speaker 3: Whoever she is.

810
00:44:31,680 --> 00:44:33,320
Speaker 2: She's single, now, Yeah.

811
00:44:33,120 --> 00:44:36,839
Speaker 3: That's true. So we're about to meet her. You see,

812
00:44:36,840 --> 00:44:40,280
Speaker 3: Ilsa is actually a patient at this hospital where Gotho works,

813
00:44:40,800 --> 00:44:43,120
Speaker 3: and they have a relationship, not a romantic one, but

814
00:44:43,160 --> 00:44:48,640
Speaker 3: a friendship. Ilsa is here with a very Victorian movie disease.

815
00:44:48,680 --> 00:44:51,520
Speaker 3: It causes her to appear pale and go into fits

816
00:44:51,560 --> 00:44:54,920
Speaker 3: of weak, dry coughing. When we meet her, the doctor

817
00:44:54,960 --> 00:44:56,960
Speaker 3: tells her she's gonna be fine, But then after they

818
00:44:57,040 --> 00:44:59,680
Speaker 3: leave the room, Gotho hears the doctor and the nurse

819
00:44:59,680 --> 00:45:03,440
Speaker 3: talking about how she actually has no chance whatsoever, and

820
00:45:03,520 --> 00:45:06,200
Speaker 3: the doctor says her lungs are practically destroyed.

821
00:45:06,760 --> 00:45:08,440
Speaker 2: I feel like they're barely out of your shot when

822
00:45:08,480 --> 00:45:09,719
Speaker 2: they say that. Yeah.

823
00:45:09,800 --> 00:45:12,800
Speaker 3: Yeah, So Gotho comes into the room to visit Ilsa

824
00:45:12,840 --> 00:45:15,640
Speaker 3: and brings her flowers that he picked from the gardens outside,

825
00:45:16,120 --> 00:45:19,400
Speaker 3: and Ilsa is obviously glad to see him. She thanks

826
00:45:19,440 --> 00:45:22,239
Speaker 3: him for the flowers and they talk about a number

827
00:45:22,280 --> 00:45:24,640
Speaker 3: of things. They talk about the death of her boyfriend Udo.

828
00:45:24,840 --> 00:45:27,960
Speaker 3: Gotho tells her not to cry because Udo died dreaming

829
00:45:28,000 --> 00:45:39,520
Speaker 3: of her. I mean, this does raise questions, like, does

830
00:45:39,560 --> 00:45:42,080
Speaker 3: it make sense to you that Ilsa and Udo or

831
00:45:42,120 --> 00:45:44,360
Speaker 3: an item. I know, listeners, you haven't gotten to know

832
00:45:44,440 --> 00:45:47,040
Speaker 3: Ilsa all that well yet, but Ilsa is going to

833
00:45:47,080 --> 00:45:49,759
Speaker 3: be presented as just an angel on earth, a kind

834
00:45:49,760 --> 00:45:54,480
Speaker 3: of impossibly pure, kind and perfect soul. And Udo, in

835
00:45:54,560 --> 00:45:56,880
Speaker 3: the short time we get to know him, is presented

836
00:45:56,920 --> 00:46:01,240
Speaker 3: as just overtly vain, stupid, hostile, and violent.

837
00:46:02,160 --> 00:46:05,920
Speaker 2: Yeah yeah, I agree that the only read I have

838
00:46:06,000 --> 00:46:07,839
Speaker 2: on it that makes sense as well, we only got

839
00:46:07,880 --> 00:46:10,759
Speaker 2: to see Udo at his absolute worst, Like maybe he's

840
00:46:10,800 --> 00:46:13,560
Speaker 2: just drinking really heavily right now because he knows that

841
00:46:13,600 --> 00:46:17,000
Speaker 2: his girlfriend is dying, and so, yeah, we caught him

842
00:46:17,000 --> 00:46:19,680
Speaker 2: at his worst, being drunk and belligerent and hateful in

843
00:46:19,719 --> 00:46:22,400
Speaker 2: the street. And maybe he has other qualities. We're just

844
00:46:22,400 --> 00:46:23,080
Speaker 2: not privy too.

845
00:46:23,320 --> 00:46:25,480
Speaker 3: Yeah, I don't know. I guess they do say he's

846
00:46:25,560 --> 00:46:28,840
Speaker 3: very handsome. That's the one redeeming quality we know about.

847
00:46:29,880 --> 00:46:33,680
Speaker 3: So Gotho promises to bring Ilsea flowers every day. She

848
00:46:33,800 --> 00:46:36,239
Speaker 3: tells him that he's the only one who visits her,

849
00:46:36,320 --> 00:46:38,719
Speaker 3: the only one who cares. It seems ILSA's family have

850
00:46:38,800 --> 00:46:41,080
Speaker 3: all died and she has no one else, so Gotho's

851
00:46:41,120 --> 00:46:46,160
Speaker 3: her only friend. She asks Gotho to describe the countryside

852
00:46:46,200 --> 00:46:48,360
Speaker 3: while she closes her eyes. She wants to sort of,

853
00:46:48,440 --> 00:46:51,719
Speaker 3: you know, do some mental travel with Gotho narrating for her.

854
00:46:52,440 --> 00:46:55,000
Speaker 3: And she seems to know that she's going to die,

855
00:46:55,040 --> 00:46:57,680
Speaker 3: even though the doctor has told her otherwise. Ilsa kind

856
00:46:57,680 --> 00:47:00,560
Speaker 3: of knows everything. She's a little bit mild on missions.

857
00:47:01,160 --> 00:47:03,160
Speaker 2: This is, of course, the first scene in which we

858
00:47:03,200 --> 00:47:06,359
Speaker 2: see Gotho entering a room with flowers, and there's I

859
00:47:06,400 --> 00:47:08,520
Speaker 2: love every sequence that he has is because there's generally

860
00:47:08,520 --> 00:47:12,480
Speaker 2: this just look of complete optimism as walking into a

861
00:47:12,560 --> 00:47:18,280
Speaker 2: terrible situation he somehow thinks everything is going to be okay,

862
00:47:18,440 --> 00:47:21,759
Speaker 2: And yeah, I love it. I want to make Valentine

863
00:47:21,840 --> 00:47:25,319
Speaker 2: cards this year with images of Gotho holding flowers.

864
00:47:25,400 --> 00:47:28,800
Speaker 3: He makes a very very adorable face. It's almost I

865
00:47:28,920 --> 00:47:30,400
Speaker 3: made you a cookie, but I ate it.

866
00:47:30,320 --> 00:47:36,920
Speaker 2: It levels Yeah.

867
00:47:40,000 --> 00:47:43,440
Speaker 3: So after this, there's a scene where Gotho is wandering

868
00:47:43,480 --> 00:47:46,200
Speaker 3: the streets of the town melancholy, I think because of

869
00:47:46,200 --> 00:47:49,680
Speaker 3: ILSA's health, and there are school children who appear to

870
00:47:49,800 --> 00:47:51,960
Speaker 3: taunt him. They call him a dirty monkey, and he

871
00:47:52,040 --> 00:47:54,600
Speaker 3: shakes his fist at them, and then the kids pelt

872
00:47:54,680 --> 00:47:57,160
Speaker 3: him with rocks, like hitting him in the head and

873
00:47:57,200 --> 00:47:59,400
Speaker 3: causing him to bleed, and then they all run away.

874
00:47:59,520 --> 00:48:00,480
Speaker 3: Evil children.

875
00:48:00,960 --> 00:48:05,799
Speaker 2: Yeah, Like they basically stone him in the streets. And yeah,

876
00:48:05,800 --> 00:48:08,440
Speaker 2: this reminded me. There's a scene in seventy three's Return

877
00:48:08,480 --> 00:48:11,480
Speaker 2: of the Blind Dead same year, in which children pelt Murdo,

878
00:48:12,640 --> 00:48:16,160
Speaker 2: the outcast character in that film, with rocks.

879
00:48:16,880 --> 00:48:18,000
Speaker 3: I don't know, Brave Dirigger.

880
00:48:18,360 --> 00:48:20,440
Speaker 2: Yeah, yes, I don't know if these films were both

881
00:48:20,520 --> 00:48:24,480
Speaker 2: riffing on the same reference point, but at any rate,

882
00:48:24,520 --> 00:48:27,840
Speaker 2: there's a lot of kids throwing rocks at outcasts in

883
00:48:27,920 --> 00:48:28,839
Speaker 2: nineteen seventy three.

884
00:48:29,520 --> 00:48:33,960
Speaker 3: Well, anyway. Immediately after this, Gotho is helped to his

885
00:48:34,040 --> 00:48:36,160
Speaker 3: feet by a woman who seems to appear out of nowhere,

886
00:48:36,200 --> 00:48:39,640
Speaker 3: a tall, elegant woman. She's blotting his wounds with a handkerchief.

887
00:48:40,360 --> 00:48:42,960
Speaker 3: This woman tells Gotho to come with her for treatment

888
00:48:43,000 --> 00:48:45,640
Speaker 3: because she is a doctor, and we will learn that

889
00:48:45,719 --> 00:48:48,799
Speaker 3: this is Elkie. So they go on a walk to

890
00:48:48,960 --> 00:48:51,839
Speaker 3: Elkie's house and she and Gotho get to know each other.

891
00:48:52,480 --> 00:48:55,480
Speaker 3: She hears the story of Gotho's history with Ilsa. They

892
00:48:55,520 --> 00:48:58,279
Speaker 3: were friends as children. She played with him, even though

893
00:48:58,280 --> 00:49:01,839
Speaker 3: the other children said he was ugly and frightening. Then

894
00:49:01,920 --> 00:49:04,160
Speaker 3: later he found out that she was ill in the

895
00:49:04,200 --> 00:49:06,920
Speaker 3: hospital and he began to visit her every day. And

896
00:49:07,000 --> 00:49:09,960
Speaker 3: Elkie infers from listening to all this that Gotho is

897
00:49:10,000 --> 00:49:12,640
Speaker 3: in love with her, But he asks her, and Gotho

898
00:49:12,680 --> 00:49:14,600
Speaker 3: says he doesn't know. He doesn't know whether he's in

899
00:49:14,640 --> 00:49:16,399
Speaker 3: love with her. He just knows that he does care

900
00:49:16,440 --> 00:49:18,799
Speaker 3: for her and he wants her to be well. So

901
00:49:18,880 --> 00:49:21,800
Speaker 3: they go to Elkie's home and she treats his wounds

902
00:49:21,920 --> 00:49:24,480
Speaker 3: and he thanks her. In fact, he doesn't just thank her.

903
00:49:24,560 --> 00:49:27,600
Speaker 3: He bows down on the floor and kisses her feet,

904
00:49:28,360 --> 00:49:30,839
Speaker 3: and I was like, man, it's good to show appreciation.

905
00:49:31,000 --> 00:49:33,319
Speaker 3: That's a little too thankful, buddy. You need a dell

906
00:49:33,360 --> 00:49:35,080
Speaker 3: it back just a little bit. I don't know. It

907
00:49:35,160 --> 00:49:37,920
Speaker 3: might be appropriate in some other cultural context. To hear it,

908
00:49:37,920 --> 00:49:39,479
Speaker 3: it reads at a little much.

909
00:49:39,680 --> 00:49:41,560
Speaker 2: Yeah, I think Gotho has no sense of proportion.

910
00:49:41,880 --> 00:49:44,040
Speaker 3: But also I just wanted to linger here for a

911
00:49:44,080 --> 00:49:47,759
Speaker 3: second because Rob I had to take a photo of

912
00:49:47,800 --> 00:49:51,120
Speaker 3: the screen. Did you stop to get a good look

913
00:49:51,160 --> 00:49:54,560
Speaker 3: at this room in Elkie's house? What is going on here?

914
00:49:54,640 --> 00:49:57,800
Speaker 3: There's a random handrailing in the middle of the room,

915
00:49:57,920 --> 00:50:01,719
Speaker 3: not apparently attached to any darrs or anything. There's a

916
00:50:01,760 --> 00:50:07,320
Speaker 3: green treasure chest, very busy floral print upholstery on the furniture,

917
00:50:07,840 --> 00:50:12,879
Speaker 3: a golden, highly decorated almost Buddhist temple style archway over

918
00:50:12,880 --> 00:50:16,200
Speaker 3: the exit from the living room. There are animal pelts

919
00:50:16,239 --> 00:50:19,640
Speaker 3: and a crossbow hanging on the wall. And then here's

920
00:50:19,680 --> 00:50:24,200
Speaker 3: the real topper, two severed human hands on a table

921
00:50:24,320 --> 00:50:27,160
Speaker 3: in the foreground. This is so easy to miss. I

922
00:50:27,200 --> 00:50:29,080
Speaker 3: did not even catch it the first time I saw

923
00:50:29,160 --> 00:50:31,759
Speaker 3: this scene, but then the second time I was like, wait,

924
00:50:31,800 --> 00:50:35,600
Speaker 3: what we get no explanation at all.

925
00:50:36,480 --> 00:50:38,680
Speaker 2: Yeah, I did not notice these hands in either of

926
00:50:38,680 --> 00:50:42,280
Speaker 2: my viewings, So maybe these are supposed to be anatomical models.

927
00:50:42,600 --> 00:50:45,239
Speaker 3: Why are they bloody then? Why do they have bloody stumps?

928
00:50:45,440 --> 00:50:47,400
Speaker 2: I don't know. My other read is that maybe this

929
00:50:47,560 --> 00:50:49,880
Speaker 2: was Nashi's home or apartment at the time, Like that

930
00:50:49,920 --> 00:50:53,000
Speaker 2: would make more sense with the pelt and the crossbow.

931
00:50:53,200 --> 00:50:55,600
Speaker 3: Oh, I mean it was shot there because I think

932
00:50:55,600 --> 00:50:56,920
Speaker 3: this is supposed to be Elkie's home.

933
00:50:57,000 --> 00:51:00,719
Speaker 2: It is supposed to be Elkie's home. But I'm just wondering, like, was, yeah,

934
00:51:00,760 --> 00:51:03,560
Speaker 2: did they build this, did they put all these odd

935
00:51:03,560 --> 00:51:05,440
Speaker 2: things together? Or it is just just this is just

936
00:51:05,560 --> 00:51:09,359
Speaker 2: like a snapshot of someone's home. Maybe Paul nash Shey's home.

937
00:51:09,400 --> 00:51:09,839
Speaker 2: I don't know.

938
00:51:10,880 --> 00:51:13,360
Speaker 3: I could believe this was Paul Nashi's home in real life.

939
00:51:14,120 --> 00:51:16,120
Speaker 3: But yeah, why the severed hands. I mean, she is

940
00:51:16,160 --> 00:51:18,840
Speaker 3: a doctor, But would it be normal for doctors to

941
00:51:18,840 --> 00:51:20,440
Speaker 3: have severed hands in their houses?

942
00:51:20,640 --> 00:51:22,359
Speaker 2: Yeah, mean at least keep those in the fridge, right.

943
00:51:22,719 --> 00:51:25,520
Speaker 3: So, next scene, Gotho is taking Ilsa for a walk

944
00:51:25,560 --> 00:51:28,719
Speaker 3: around the pleasant little gardens outside the hospital. She's in

945
00:51:28,760 --> 00:51:31,879
Speaker 3: a wheelchair. He's pushing her, and she's talking about how

946
00:51:31,920 --> 00:51:35,200
Speaker 3: she knows her life is fading, but Ilsa says she

947
00:51:35,280 --> 00:51:37,160
Speaker 3: likes to look at the roses in the garden. So

948
00:51:37,239 --> 00:51:39,440
Speaker 3: these visits where Gotho pushes her around to look at

949
00:51:39,440 --> 00:51:42,319
Speaker 3: the flowers, they're really helping her feel better. And then

950
00:51:42,480 --> 00:51:45,440
Speaker 3: when she says this, Gotho cuts one of the roses

951
00:51:45,680 --> 00:51:49,120
Speaker 3: from the garden and brings it to her, and she says,

952
00:51:49,239 --> 00:51:52,400
Speaker 3: we can't do that. Cutting the flowers is forbidden, and

953
00:51:52,440 --> 00:51:53,960
Speaker 3: then Gotho has a great line.

954
00:51:54,200 --> 00:51:56,799
Speaker 2: Yeah, he says, it's okay. Everything is forbidden from me,

955
00:51:57,520 --> 00:52:00,719
Speaker 2: and yeah, obviously it speaks to Gothos outside status, but

956
00:52:00,760 --> 00:52:03,479
Speaker 2: it also helps us understand why Gotho does the other

957
00:52:03,560 --> 00:52:06,799
Speaker 2: things that he does, i e. The murders and the

958
00:52:06,880 --> 00:52:09,759
Speaker 2: dismemberments and the grave robbing. He's been pushed outside of

959
00:52:09,800 --> 00:52:12,879
Speaker 2: society and therefore its rules no longer apply to him.

960
00:52:13,280 --> 00:52:15,960
Speaker 2: So he still has this, deep down a heart of gold,

961
00:52:16,520 --> 00:52:19,120
Speaker 2: but he has already been pushed over the line in

962
00:52:19,239 --> 00:52:23,000
Speaker 2: terms of society's laws and norms.

963
00:52:23,719 --> 00:52:27,600
Speaker 3: Yeah, yeah, that's right. So Ilsa says, these roses are

964
00:52:27,640 --> 00:52:30,080
Speaker 3: my last happiness. If only I could have a bouquet

965
00:52:30,200 --> 00:52:33,520
Speaker 3: every day, And then Gotho said, promises her he says,

966
00:52:33,520 --> 00:52:36,680
Speaker 3: you'll have them, and then from this sweet scene, the

967
00:52:36,719 --> 00:52:40,399
Speaker 3: sweet sad scene, we cut straight to something else. Now

968
00:52:40,800 --> 00:52:45,560
Speaker 3: we're told we're in the Feldkirch Women's Reformatory, so it

969
00:52:45,600 --> 00:52:49,960
Speaker 3: seems this is some kind of mental hospital for women.

970
00:52:50,520 --> 00:52:52,719
Speaker 3: And the first thing we see is a couple of

971
00:52:52,760 --> 00:52:56,120
Speaker 3: women in a dormitory room here engaging in what seems

972
00:52:56,160 --> 00:52:59,600
Speaker 3: to be recreational whipping of each other with a leather strap.

973
00:53:00,080 --> 00:53:03,560
Speaker 2: Yeah, just spankings all around here in a scene that

974
00:53:03,880 --> 00:53:06,239
Speaker 2: really feels like it was just here to spice up

975
00:53:06,280 --> 00:53:09,720
Speaker 2: a grindhouse trailer, yeah, or lead to more exploitive content

976
00:53:09,800 --> 00:53:12,279
Speaker 2: regarding these two characters. But it really doesn't. It's just

977
00:53:12,520 --> 00:53:13,799
Speaker 2: we get this one moment.

978
00:53:13,840 --> 00:53:15,839
Speaker 3: Yeah, really doesn't go. We don't see any more of this.

979
00:53:15,920 --> 00:53:18,400
Speaker 3: We do see these characters later in the movie when

980
00:53:19,000 --> 00:53:21,280
Speaker 3: when there's a creature that needs to eat human flesh,

981
00:53:21,320 --> 00:53:21,920
Speaker 3: but that's it.

982
00:53:22,080 --> 00:53:24,080
Speaker 2: Yeah, they show up later as victims, but that's about it.

983
00:53:24,280 --> 00:53:27,320
Speaker 3: Yeah. Anyway, so this is going on, and suddenly Elkie

984
00:53:27,320 --> 00:53:29,640
Speaker 3: comes in the door and she's like, what is the

985
00:53:29,680 --> 00:53:31,680
Speaker 3: meaning of this and takes the strap out of the

986
00:53:32,040 --> 00:53:35,359
Speaker 3: patient's hand and she's like, Okay, we're going to you know,

987
00:53:35,440 --> 00:53:37,000
Speaker 3: you know what this means, We're gonna have to separate

988
00:53:37,040 --> 00:53:40,520
Speaker 3: you too. And I'm telling doctor Meyer. So apparently Elkie

989
00:53:40,560 --> 00:53:42,560
Speaker 3: is a doctor here, but I think not the head doctor.

990
00:53:42,640 --> 00:53:45,359
Speaker 3: I think she's working for doctor Meyer. So we cut

991
00:53:45,400 --> 00:53:47,520
Speaker 3: from there to meet doctor Meyer. In fact, we're going

992
00:53:47,600 --> 00:53:50,279
Speaker 3: to meet a couple of major characters, doctor Meyer and

993
00:53:50,400 --> 00:53:54,400
Speaker 3: doctor Tauchner. We learned that they are engaged to be married,

994
00:53:54,440 --> 00:53:56,799
Speaker 3: So there are a couple and they're both professionals here

995
00:53:56,800 --> 00:53:59,399
Speaker 3: at the hospital, but they're also kind of scheming. They're

996
00:53:59,440 --> 00:54:03,879
Speaker 3: talking about some secret research that Tauchener is involved in

997
00:54:04,480 --> 00:54:07,719
Speaker 3: which they don't want the trustees of the university to

998
00:54:07,800 --> 00:54:11,200
Speaker 3: find out about. And this is the research of doctor Orla,

999
00:54:11,239 --> 00:54:14,239
Speaker 3: a character we haven't met yet. But when Elki comes in,

1000
00:54:14,360 --> 00:54:17,600
Speaker 3: doctor Meyer I think she says something like, oh, Elkie,

1001
00:54:17,800 --> 00:54:21,399
Speaker 3: this is my fiance, doctor Tauchner. You may remember him

1002
00:54:21,400 --> 00:54:26,080
Speaker 3: because he was your mentor in school. And then she

1003
00:54:26,160 --> 00:54:29,520
Speaker 3: explains that Elki has a talent for criminal psychiatry. So

1004
00:54:29,560 --> 00:54:32,360
Speaker 3: after this, there's a scene, another scene of Gotho in

1005
00:54:32,400 --> 00:54:35,239
Speaker 3: the garden, but this turns into a fight scene. He's

1006
00:54:35,239 --> 00:54:37,880
Speaker 3: not here with Ilsa this time. Instead, she's in her

1007
00:54:37,960 --> 00:54:40,320
Speaker 3: room and he's out here cutting roses from the garden

1008
00:54:40,360 --> 00:54:42,640
Speaker 3: to take to Ilsa. And then a bunch of the

1009
00:54:42,640 --> 00:54:46,080
Speaker 3: hooligan medical students come out and just start harassing him

1010
00:54:46,120 --> 00:54:49,640
Speaker 3: and insulting him. One of these guys is kids Sideburns

1011
00:54:49,640 --> 00:54:52,839
Speaker 3: from the bar in the opening scene, and they're mocking him.

1012
00:54:52,960 --> 00:54:55,640
Speaker 3: They're saying, you are the prince of monkeys, you are

1013
00:54:55,719 --> 00:54:59,120
Speaker 3: ugly and so forth, and Gotho I think he's used

1014
00:54:59,120 --> 00:55:01,720
Speaker 3: to this, but then they really escalate when the dude

1015
00:55:01,800 --> 00:55:05,719
Speaker 3: insults Ilsa. He says something like, I hope you're h

1016
00:55:06,080 --> 00:55:08,160
Speaker 3: I wrote this down. He says, I hope your princess

1017
00:55:08,239 --> 00:55:11,360
Speaker 3: can become impregnated by the fragrance of roses.

1018
00:55:12,600 --> 00:55:15,080
Speaker 2: Yeah, we lost in translation there.

1019
00:55:15,120 --> 00:55:19,040
Speaker 3: I guess, Well, whatever it means, it's clearly supposed to

1020
00:55:19,040 --> 00:55:22,080
Speaker 3: be insulting to her and him. And this sends Gotho

1021
00:55:22,160 --> 00:55:24,680
Speaker 3: over the edge and he attacks. He's like choking the

1022
00:55:24,719 --> 00:55:27,480
Speaker 3: med student and the fight turns into a four on

1023
00:55:27,480 --> 00:55:30,600
Speaker 3: one against Gotho and he gets badly beaten. They kick

1024
00:55:30,680 --> 00:55:34,240
Speaker 3: him on the ground until Tauchner and another doctor arrive

1025
00:55:34,400 --> 00:55:35,360
Speaker 3: to stop.

1026
00:55:35,120 --> 00:55:37,479
Speaker 2: It, but Gotho puts up a good fight, and there's

1027
00:55:37,520 --> 00:55:40,680
Speaker 2: absolutely there's an absolutely beautiful moment in this fight where

1028
00:55:40,719 --> 00:55:44,520
Speaker 2: Gotho pushes one of the hooligans into a bush and

1029
00:55:44,560 --> 00:55:47,520
Speaker 2: the hooligan bounces off of said bush like it's a

1030
00:55:47,560 --> 00:55:50,600
Speaker 2: wrestling ring rope, right back into a kind of back

1031
00:55:50,640 --> 00:55:52,719
Speaker 2: body drop from Gotho, and I was like, oh, man,

1032
00:55:52,800 --> 00:55:54,040
Speaker 2: that's inspired.

1033
00:55:55,280 --> 00:55:57,279
Speaker 3: The next scene Gotho, I guess he goes straight from

1034
00:55:57,280 --> 00:55:59,920
Speaker 3: here to ILSA's room, but uh oh, Ilsa is dying.

1035
00:56:00,120 --> 00:56:03,239
Speaker 3: She's talking to the nurse here about Gotho bringing her

1036
00:56:03,280 --> 00:56:07,000
Speaker 3: beautiful flowers and then she dies. And then Gotho gets

1037
00:56:07,040 --> 00:56:09,480
Speaker 3: there right after she dies, and the nurse tells him.

1038
00:56:09,600 --> 00:56:13,160
Speaker 3: She's like, oh, she died, too bad, you were outside

1039
00:56:13,160 --> 00:56:16,000
Speaker 3: getting wailed on, or you would have been here for it. Yeah.

1040
00:56:16,040 --> 00:56:19,160
Speaker 2: So these heartbreaking scenes of Gotho arriving too late for

1041
00:56:19,280 --> 00:56:22,319
Speaker 2: Ilsa and it'll happen again. These are too much and

1042
00:56:22,360 --> 00:56:25,400
Speaker 2: also just morbidly hilarious again entering the room with those flowers,

1043
00:56:25,440 --> 00:56:28,040
Speaker 2: all the optimism in the world and only to be

1044
00:56:28,080 --> 00:56:30,240
Speaker 2: greeted with like worse and worse news.

1045
00:56:30,560 --> 00:56:33,439
Speaker 3: Yeah. So Gotho is left alone with ILSA's body here,

1046
00:56:33,480 --> 00:56:36,719
Speaker 3: and he is first overwhelmed with grief, and then you

1047
00:56:36,760 --> 00:56:40,360
Speaker 3: can see with rage. I think he's angry at the

1048
00:56:40,400 --> 00:56:43,840
Speaker 3: students who were attacking him because they robbed him of

1049
00:56:43,880 --> 00:56:47,319
Speaker 3: this moment with Ilsa. So from here we go to

1050
00:56:47,360 --> 00:56:49,880
Speaker 3: the next scene, which is that later that night, Gotho

1051
00:56:50,040 --> 00:56:53,520
Speaker 3: is waiting alone in the morgue and the two dissection

1052
00:56:53,680 --> 00:56:58,760
Speaker 3: specialists wheel Ilsa in on a cart and they're like, hey, Gotho,

1053
00:56:59,080 --> 00:57:01,319
Speaker 3: here's your one true love. We just wanted to make

1054
00:57:01,360 --> 00:57:04,080
Speaker 3: you aware that we're immediately going to rob and desecrate

1055
00:57:04,120 --> 00:57:06,880
Speaker 3: her corpse. So they like they're going to steal the

1056
00:57:07,440 --> 00:57:10,239
Speaker 3: gold crucifix from her neck. They're saying they can sell

1057
00:57:10,280 --> 00:57:13,640
Speaker 3: it and buy themselves a round of drinks, and Gotho

1058
00:57:13,840 --> 00:57:16,680
Speaker 3: freaks out and attacks them. In fact, he doesn't just

1059
00:57:16,720 --> 00:57:20,800
Speaker 3: attack them, he starts beating them, but then he grabs

1060
00:57:20,920 --> 00:57:24,440
Speaker 3: an axe and why is there an axe in the morgue?

1061
00:57:24,880 --> 00:57:28,479
Speaker 3: But he grabs an axe and he decapitates one guy

1062
00:57:28,640 --> 00:57:32,520
Speaker 3: and disembowels the other. The decapitation is single stroke with

1063
00:57:32,600 --> 00:57:34,000
Speaker 3: what looks like a fire axe.

1064
00:57:34,160 --> 00:57:36,680
Speaker 2: Yeah, this sequence is just amazing, just an absolute blood

1065
00:57:36,720 --> 00:57:38,960
Speaker 2: bath of a scene, and the gore effects hit all

1066
00:57:39,000 --> 00:57:41,560
Speaker 2: the right nineteen seventies hard notes. You know what I'm saying, Like,

1067
00:57:41,600 --> 00:57:46,200
Speaker 2: there's just a certain way the blood looks, the way

1068
00:57:46,240 --> 00:57:49,160
Speaker 2: the bodies come apart here absolutely perfect.

1069
00:57:49,400 --> 00:57:52,640
Speaker 3: So Gotho grabs his flower bouquet and he quickly wheels

1070
00:57:52,680 --> 00:57:55,040
Speaker 3: Ilsa out of the morgue. He's going to take her

1071
00:57:55,080 --> 00:57:58,440
Speaker 3: to his secret hideaway. So what is this place. It's

1072
00:57:58,440 --> 00:58:00,320
Speaker 3: a place we have not seen in the movie yet.

1073
00:58:00,760 --> 00:58:04,439
Speaker 3: It is some kind of dungeon or passageways. I think

1074
00:58:04,800 --> 00:58:07,200
Speaker 3: maybe better to call it catacombs. It's just like lots

1075
00:58:07,200 --> 00:58:11,080
Speaker 3: of these passageways and rooms underneath the hospital grounds, which

1076
00:58:11,160 --> 00:58:14,520
Speaker 3: Gotho accesses by way of a hatch under a garden path.

1077
00:58:15,000 --> 00:58:18,280
Speaker 3: So he lowers Ilse's body inside on a rope and

1078
00:58:18,320 --> 00:58:21,600
Speaker 3: then descends himself and he lays her body out on

1079
00:58:21,640 --> 00:58:25,760
Speaker 3: a large table or slab which is covered in cobwebs, chains, rags,

1080
00:58:25,800 --> 00:58:29,840
Speaker 3: and bones, which he awkwardly has to push away. And

1081
00:58:30,560 --> 00:58:32,480
Speaker 3: I don't know. At first, I was like, what is

1082
00:58:32,560 --> 00:58:36,360
Speaker 3: this place? He's got skeletons all along the walls, dressed

1083
00:58:36,360 --> 00:58:40,080
Speaker 3: in robes and hoods, some are in coffins. There are

1084
00:58:40,160 --> 00:58:43,960
Speaker 3: just racks of weapons and torture instruments, and there are

1085
00:58:44,000 --> 00:58:47,439
Speaker 3: torches already burning in here. So somebody must regularly use

1086
00:58:47,520 --> 00:58:50,760
Speaker 3: this place. I think, since Gotha's the only character we

1087
00:58:50,760 --> 00:58:52,760
Speaker 3: meet who knows about it, it must sort of be

1088
00:58:52,920 --> 00:58:53,960
Speaker 3: Gotho's residence.

1089
00:58:54,440 --> 00:58:54,680
Speaker 4: Yeah.

1090
00:58:54,720 --> 00:58:58,080
Speaker 2: I think he puts out fresh straw on the ground

1091
00:58:58,480 --> 00:59:02,480
Speaker 2: and he lights all these torches. Yeah.

1092
00:59:02,520 --> 00:59:05,320
Speaker 3: So Gotho tells Ilsa that she must rest now and

1093
00:59:05,360 --> 00:59:07,320
Speaker 3: he will find a way to take care of her.

1094
00:59:07,520 --> 00:59:10,240
Speaker 3: But first, he says he has some business to take

1095
00:59:10,280 --> 00:59:13,160
Speaker 3: care of. He says, I have to deliver a bouquet

1096
00:59:13,240 --> 00:59:16,160
Speaker 3: of roses to one who doubted your beauty.

1097
00:59:16,960 --> 00:59:19,760
Speaker 2: I love Gotho's outfit here as well. It's kind of

1098
00:59:19,800 --> 00:59:22,720
Speaker 2: like a black poncho, but also like it's kind of like,

1099
00:59:22,920 --> 00:59:26,080
Speaker 2: I guess, like a morgue's a mortician smock or something.

1100
00:59:26,240 --> 00:59:28,520
Speaker 3: Yeah. Yeah, so we're going to go back to the

1101
00:59:28,560 --> 00:59:31,680
Speaker 3: disgusting beer hall. I don't think I mentioned this the

1102
00:59:31,680 --> 00:59:34,840
Speaker 3: first time. Another unpleasant thing about this place is the lighting.

1103
00:59:35,080 --> 00:59:37,880
Speaker 3: This is a bar with off white walls that is

1104
00:59:37,960 --> 00:59:41,760
Speaker 3: extremely well lit inside. Just imagine that for a second

1105
00:59:41,880 --> 00:59:45,800
Speaker 3: for a bar environment. It's the ambiance is bad.

1106
00:59:46,240 --> 00:59:51,000
Speaker 2: Yeah, Like, every sticky surface is gleaming. Most likely you

1107
00:59:51,040 --> 00:59:55,080
Speaker 2: can see every dead insect in this place. It's cross.

1108
00:59:55,800 --> 00:59:58,120
Speaker 3: So all of the med students who beat Gotho up

1109
00:59:58,120 --> 01:00:01,120
Speaker 3: earlier here they're getting beard up up there, being loud

1110
01:00:01,160 --> 01:00:05,360
Speaker 3: and rude to servers. And then we do see one

1111
01:00:05,440 --> 01:00:07,920
Speaker 3: server here who I think was one of the bar

1112
01:00:08,040 --> 01:00:11,200
Speaker 3: maids who was partying with Udo the you know in

1113
01:00:11,240 --> 01:00:13,800
Speaker 3: the earlier scene. She's in the middle of bringing beer

1114
01:00:13,840 --> 01:00:16,120
Speaker 3: to these creeps when she looks out the window and

1115
01:00:16,200 --> 01:00:19,600
Speaker 3: sees Paul Nashi, and she just starts shrieking at seeing

1116
01:00:19,600 --> 01:00:22,800
Speaker 3: paul Nashi's face again. It's just Paul Nashi with the scar,

1117
01:00:22,960 --> 01:00:25,200
Speaker 3: and he doesn't look scary. It's just a guy looking

1118
01:00:25,200 --> 01:00:28,520
Speaker 3: in the window, but she screams. The med students turn

1119
01:00:28,600 --> 01:00:30,640
Speaker 3: and look, but by then Paul Nashy's gone, so they

1120
01:00:30,680 --> 01:00:33,760
Speaker 3: tell her she's hallucinating and they demand more beer. And

1121
01:00:33,800 --> 01:00:38,880
Speaker 3: then the sideburns guy who was leading the mockery earlier.

1122
01:00:39,720 --> 01:00:42,680
Speaker 3: He's once again disgustingly drunk and just glazed with some

1123
01:00:42,760 --> 01:00:45,400
Speaker 3: kind of beer drool. He announces that he has to

1124
01:00:45,440 --> 01:00:49,240
Speaker 3: go home. We learned that his name is Hans and

1125
01:00:49,320 --> 01:00:51,959
Speaker 3: he stumbles out and they say be careful Hans, don't

1126
01:00:52,000 --> 01:00:54,800
Speaker 3: bump into the devil on your way home, And just

1127
01:00:54,880 --> 01:00:57,560
Speaker 3: like in the earlier scene, we watch we watch Hans

1128
01:00:57,600 --> 01:00:59,760
Speaker 3: go down the street and we watch Goto follow him

1129
01:01:00,040 --> 01:01:03,920
Speaker 3: at a distance. Eventually Hans makes it back home. Gotho

1130
01:01:03,960 --> 01:01:07,160
Speaker 3: sneaks in and then murders Hans in his bed by

1131
01:01:07,240 --> 01:01:11,720
Speaker 3: cramming a bouquet of roses into his mouth. And Gotho says,

1132
01:01:11,840 --> 01:01:15,200
Speaker 3: experience the aroma because it will be the last smell

1133
01:01:15,360 --> 01:01:16,040
Speaker 3: of your life.

1134
01:01:17,440 --> 01:01:21,360
Speaker 2: It's this murder is less impressive, but it's you know,

1135
01:01:21,440 --> 01:01:25,640
Speaker 2: the gimmick is nice. He kills them with the flowers

1136
01:01:25,800 --> 01:01:27,919
Speaker 2: that he was bringing to also, so fair enough.

1137
01:01:28,160 --> 01:01:30,640
Speaker 3: Now we're going to check in with some police investigators

1138
01:01:30,680 --> 01:01:32,720
Speaker 3: who I think ultimately don't play that big of a

1139
01:01:32,800 --> 01:01:37,320
Speaker 3: role in the plot. But there's a mustache guy and

1140
01:01:37,360 --> 01:01:39,040
Speaker 3: then a guy who looks like he could be a

1141
01:01:39,120 --> 01:01:42,280
Speaker 3: bishop of some kind, but he's just a police inspector

1142
01:01:42,320 --> 01:01:45,280
Speaker 3: in a suit, and they're talking about the crime scene

1143
01:01:45,280 --> 01:01:47,600
Speaker 3: in the morgue. One of them says, you couldn't imagine it.

1144
01:01:47,600 --> 01:01:52,120
Speaker 3: It was terrible. The two cadavers were absolutely destroyed, and

1145
01:01:52,280 --> 01:01:55,000
Speaker 3: they discuss how Gotho, the clerk in charge of the

1146
01:01:55,040 --> 01:01:58,480
Speaker 3: Morgue has disappeared, but they rule him out as a

1147
01:01:58,520 --> 01:02:03,040
Speaker 3: suspect because their inquiry has revealed that he is harmless

1148
01:02:03,080 --> 01:02:06,840
Speaker 3: and passive. And I was just thinking, wait, did anybody

1149
01:02:06,840 --> 01:02:10,560
Speaker 3: ever follow up on the issue of Udo's body getting

1150
01:02:10,640 --> 01:02:13,080
Speaker 3: chopped into pieces on Gotho's watch?

1151
01:02:13,840 --> 01:02:17,000
Speaker 2: Yeah, no clue. Maybe that one got kind of like

1152
01:02:17,200 --> 01:02:18,360
Speaker 2: swept under the rug, you.

1153
01:02:18,320 --> 01:02:21,280
Speaker 3: Know, Yeah, maybe I don't know. But then the inspectors

1154
01:02:21,280 --> 01:02:25,120
Speaker 3: discuss how ILSA's body has also disappeared, and they say,

1155
01:02:25,160 --> 01:02:27,920
Speaker 3: once again, their inquiry has revealed that Gotho was in

1156
01:02:27,960 --> 01:02:32,720
Speaker 3: love with Ilsa. Where are they getting all this information? Also,

1157
01:02:32,800 --> 01:02:35,600
Speaker 3: this is literally supposed to be the same night. This

1158
01:02:35,720 --> 01:02:38,560
Speaker 3: is all the same night, so the murder has must

1159
01:02:38,560 --> 01:02:41,200
Speaker 3: have just happened within the past few hours and they're

1160
01:02:41,240 --> 01:02:43,280
Speaker 3: here talking about it, and they already know all this

1161
01:02:43,320 --> 01:02:45,320
Speaker 3: stuff about Gotho enough to rule him out.

1162
01:02:45,640 --> 01:02:46,960
Speaker 2: And do they know about Hans yet?

1163
01:02:48,320 --> 01:02:51,240
Speaker 3: Oh, they're just about to find out. So the cops

1164
01:02:51,280 --> 01:02:53,959
Speaker 3: find out about a second crime, this is the murder

1165
01:02:53,960 --> 01:02:58,800
Speaker 3: of Hans with the sideburns rip, and then they find

1166
01:02:58,800 --> 01:03:00,760
Speaker 3: out oh wait, no, they are you know this also?

1167
01:03:00,800 --> 01:03:03,080
Speaker 3: So they've got all this information, they're like, oh, this

1168
01:03:03,160 --> 01:03:07,120
Speaker 3: guy was fighting with Gotho earlier today, so it's got

1169
01:03:07,160 --> 01:03:08,840
Speaker 3: to be Gotho. We got to put out an APB

1170
01:03:08,960 --> 01:03:12,280
Speaker 3: even though we rolled them out. Okay, finally enough evidence

1171
01:03:12,280 --> 01:03:16,640
Speaker 3: has accumulated. Later that night, Gotho comes home to the

1172
01:03:16,720 --> 01:03:21,000
Speaker 3: dungeon to find uh, oh, there are rats swarming all

1173
01:03:21,040 --> 01:03:24,240
Speaker 3: over ILSA's body, taking bites out of her, and then

1174
01:03:24,240 --> 01:03:27,360
Speaker 3: he has to fight them off with fire. And this

1175
01:03:27,400 --> 01:03:29,640
Speaker 3: scene is a bummer because well, Rob, you can talk

1176
01:03:29,640 --> 01:03:32,320
Speaker 3: about it. We know apparently there was some animal cruelty

1177
01:03:32,360 --> 01:03:34,520
Speaker 3: on the set in the shooting of this scene.

1178
01:03:34,800 --> 01:03:37,560
Speaker 2: Yeah, it's unfortunate, but this film does entail scenes of

1179
01:03:37,600 --> 01:03:40,600
Speaker 2: live rats on fire, capping off what sounds like a

1180
01:03:40,640 --> 01:03:44,600
Speaker 2: series of bad production decisions. They apparently set fire to

1181
01:03:44,680 --> 01:03:47,080
Speaker 2: some of the actual sewer rats that were captured for

1182
01:03:47,200 --> 01:03:50,360
Speaker 2: use in these scenes, including the scenes where they attack Nashi,

1183
01:03:50,680 --> 01:03:52,560
Speaker 2: who had to get a bunch of shots beforehand to

1184
01:03:52,640 --> 01:03:56,200
Speaker 2: keep from getting sewer rat diseases. However, I've read that

1185
01:03:56,240 --> 01:03:59,040
Speaker 2: the rats we see on the corpse here of Ilsa

1186
01:03:59,440 --> 01:04:03,560
Speaker 2: are actual guinea pigs that were dyed brown. Okay, I

1187
01:04:04,120 --> 01:04:07,280
Speaker 2: didn't really have the stomach to really analyze these sequences.

1188
01:04:07,360 --> 01:04:09,960
Speaker 2: But this is what I have read. This is not

1189
01:04:10,040 --> 01:04:12,640
Speaker 2: our first film with flaming rats in it would that

1190
01:04:12,680 --> 01:04:16,040
Speaker 2: it was our last. Nash She would later express regret

1191
01:04:16,080 --> 01:04:18,000
Speaker 2: that they filmed the scenes this way, but at the

1192
01:04:18,040 --> 01:04:21,000
Speaker 2: time it was just presented as the way you did things.

1193
01:04:21,880 --> 01:04:24,160
Speaker 2: So we talked about this before. You know, on pictures,

1194
01:04:24,200 --> 01:04:26,160
Speaker 2: you know. Unfortunately you do see this sort of thing

1195
01:04:26,200 --> 01:04:29,760
Speaker 2: turn up and pictures from prior decades, and some of

1196
01:04:29,800 --> 01:04:32,240
Speaker 2: it's not as visible, Like there are a number of

1197
01:04:32,240 --> 01:04:35,600
Speaker 2: things that are now considered animal cruelty regarding horse stunts,

1198
01:04:35,640 --> 01:04:39,080
Speaker 2: for example that not being a horse person myself, I

1199
01:04:39,440 --> 01:04:41,000
Speaker 2: tend to not even notice. So I don't know how

1200
01:04:41,000 --> 01:04:45,560
Speaker 2: many times I've seen horse cruelty without just having the

1201
01:04:45,560 --> 01:04:49,120
Speaker 2: expertise to recognize it. That being said, with this film,

1202
01:04:49,200 --> 01:04:51,400
Speaker 2: there's no doubting what's going on here. These are clearly

1203
01:04:51,440 --> 01:04:52,880
Speaker 2: live rats on fire. Yeah.

1204
01:04:52,960 --> 01:04:56,000
Speaker 3: Now, if not for knowing about the animal cruelty, there

1205
01:04:56,000 --> 01:04:58,720
Speaker 3: would be some pretty funny things about this scene because

1206
01:04:58,720 --> 01:05:02,520
Speaker 3: it has rats like leaping at Gotho from the floor,

1207
01:05:02,560 --> 01:05:04,840
Speaker 3: like as if they're just jumping right off the ground

1208
01:05:04,920 --> 01:05:07,960
Speaker 3: onto his neck to attack him. Obviously there's people throwing

1209
01:05:08,360 --> 01:05:12,520
Speaker 3: either rats or fake rats. But plot wise, Gotho is like, wow,

1210
01:05:12,560 --> 01:05:15,400
Speaker 3: I guess I shouldn't have left her in the rat room.

1211
01:05:15,480 --> 01:05:18,880
Speaker 3: So he relocates her to another room, which is now

1212
01:05:19,000 --> 01:05:21,440
Speaker 3: which the second room is full of torture equipment. It's

1213
01:05:21,440 --> 01:05:23,640
Speaker 3: got a rack. I think I see an iron maiden,

1214
01:05:24,160 --> 01:05:26,200
Speaker 3: and he like puts her on the rack table. I mean,

1215
01:05:26,240 --> 01:05:29,080
Speaker 3: he doesn't stretch her, but it's just that's her resting place.

1216
01:05:29,120 --> 01:05:29,320
Speaker 4: Now.

1217
01:05:38,560 --> 01:05:41,640
Speaker 3: Now, from here we get more of the police investigators.

1218
01:05:41,640 --> 01:05:44,360
Speaker 3: They go to visit a new character who will become

1219
01:05:44,360 --> 01:05:48,520
Speaker 3: a major character, Professor Orla, who has a nice, expensive home.

1220
01:05:48,560 --> 01:05:51,560
Speaker 3: He's got a proper butler. So Orla is an authority

1221
01:05:51,600 --> 01:05:55,560
Speaker 3: figure here, and he admits the police to his comfortable study.

1222
01:05:55,560 --> 01:05:58,520
Speaker 3: He greets them confidently, and we can already see in

1223
01:05:58,560 --> 01:06:01,959
Speaker 3: this kind of cozy environment that Orla radiates a sort

1224
01:06:01,960 --> 01:06:06,280
Speaker 3: of intimidating power and sense of authority. He can he's

1225
01:06:06,320 --> 01:06:08,360
Speaker 3: the kind of person who can talk people out of

1226
01:06:08,400 --> 01:06:12,720
Speaker 3: their suspicions. Like the two police investigators quiz him about

1227
01:06:12,720 --> 01:06:15,760
Speaker 3: Gotho and the murders. He denies Gotho could be involved

1228
01:06:15,800 --> 01:06:18,320
Speaker 3: and says he doesn't know where he is. But from

1229
01:06:18,360 --> 01:06:22,760
Speaker 3: here we follow Orla back to the hospital because of course,

1230
01:06:22,840 --> 01:06:24,440
Speaker 3: you know, the night is long and he has much

1231
01:06:24,480 --> 01:06:27,280
Speaker 3: work to do, and it seems his work is mainly

1232
01:06:27,360 --> 01:06:30,280
Speaker 3: chopping up cow organs with a scalpel and then looking

1233
01:06:30,320 --> 01:06:33,400
Speaker 3: at things under a microscope. But here in the lab

1234
01:06:33,640 --> 01:06:36,800
Speaker 3: Gotho comes into Orla. He actually he starts off hiding

1235
01:06:36,880 --> 01:06:39,320
Speaker 3: under a sheet on one of the cadaver tables, and

1236
01:06:39,360 --> 01:06:42,960
Speaker 3: he pops up like as if you know, a kind

1237
01:06:42,960 --> 01:06:45,080
Speaker 3: of like scene in the fog where the corpse is

1238
01:06:45,160 --> 01:06:49,240
Speaker 3: rising up under the sheet. But then he tells Orla

1239
01:06:49,280 --> 01:06:53,880
Speaker 3: that he needs help, and here begins some negotiation. Gotho

1240
01:06:53,960 --> 01:06:57,960
Speaker 3: has something that Orla could use. He shows Orla his

1241
01:06:58,040 --> 01:07:01,800
Speaker 3: underground hideaway. They sort of tour all the passageways together,

1242
01:07:02,400 --> 01:07:05,440
Speaker 3: and he asked for Orla's help, and Orla says, I

1243
01:07:05,440 --> 01:07:07,400
Speaker 3: can help you, but that means you work for me.

1244
01:07:07,520 --> 01:07:09,920
Speaker 3: Now you must do everything I tell you to do.

1245
01:07:10,360 --> 01:07:13,960
Speaker 3: And then they make the trade more explicit. Orla promises

1246
01:07:14,080 --> 01:07:17,120
Speaker 3: that he can bring Ilsa back to life for Gotho,

1247
01:07:17,520 --> 01:07:21,520
Speaker 3: but Gotho must transfer all of Orla's laboratory equipment down

1248
01:07:21,560 --> 01:07:23,840
Speaker 3: to this secret torture chamber and help him with his

1249
01:07:23,960 --> 01:07:27,400
Speaker 3: work and This is good timing for Orla because we

1250
01:07:27,560 --> 01:07:29,800
Speaker 3: learned that Orla has just received a notice from the

1251
01:07:29,880 --> 01:07:32,320
Speaker 3: university that he's got to stop his research at once.

1252
01:07:32,400 --> 01:07:35,200
Speaker 3: He will no longer have access to the hospital facilities.

1253
01:07:35,760 --> 01:07:38,080
Speaker 3: And there's a scene there are actually many scenes like

1254
01:07:38,080 --> 01:07:40,560
Speaker 3: this in the second half of the film, where Orla

1255
01:07:40,720 --> 01:07:43,280
Speaker 3: is talking with Tauchner, who has been helping him in

1256
01:07:43,320 --> 01:07:46,760
Speaker 3: the project. And Orla is like, these neuro minded fools,

1257
01:07:46,800 --> 01:07:49,880
Speaker 3: you know, they're terrified of anything that's new, beautiful and

1258
01:07:49,960 --> 01:07:53,640
Speaker 3: possesses true genius. So what's the project they're working on

1259
01:07:53,720 --> 01:07:56,680
Speaker 3: that's so important but that the university, the narrow minded

1260
01:07:56,720 --> 01:07:57,840
Speaker 3: fools are afraid of.

1261
01:07:58,200 --> 01:07:58,439
Speaker 4: Why.

1262
01:07:58,480 --> 01:08:01,400
Speaker 3: It's to create artificial life. Of course, what else would

1263
01:08:01,400 --> 01:08:05,040
Speaker 3: it be. Now Orla and Tauchener are debating what to

1264
01:08:05,080 --> 01:08:07,800
Speaker 3: do next, and Orla reveals that he has Gotho working

1265
01:08:07,840 --> 01:08:10,640
Speaker 3: for him. Tauschener is like, wait, you know he's accused

1266
01:08:10,680 --> 01:08:14,040
Speaker 3: of three murders, right, and Orla is I probably didn't

1267
01:08:14,040 --> 01:08:17,960
Speaker 3: do it. Tauchener then says, this is an actual quote

1268
01:08:18,000 --> 01:08:21,480
Speaker 3: I took down. Dealing with a killer is not only repugnant,

1269
01:08:21,640 --> 01:08:23,920
Speaker 3: it might also causes complications.

1270
01:08:25,080 --> 01:08:27,640
Speaker 2: Well, yeah, you'd have to list those in the complications

1271
01:08:27,680 --> 01:08:31,640
Speaker 2: section of your peer reviewed study. Yeah, you know, at

1272
01:08:31,640 --> 01:08:35,080
Speaker 2: the bottom it's like potential complications. We did work with

1273
01:08:35,120 --> 01:08:35,759
Speaker 2: a murderer.

1274
01:08:35,920 --> 01:08:38,960
Speaker 3: Yeah, yeah, he's an evil stain on humanity. Also, he

1275
01:08:39,040 --> 01:08:40,320
Speaker 3: might throw sand in the gears.

1276
01:08:41,600 --> 01:08:41,760
Speaker 4: Now.

1277
01:08:41,800 --> 01:08:44,840
Speaker 3: In the end, Orla puts pressure on Tauchner and persuades

1278
01:08:44,920 --> 01:08:46,960
Speaker 3: him to keep working with him on the Artificial Life

1279
01:08:47,000 --> 01:08:49,400
Speaker 3: project for the time being, and they head out for

1280
01:08:49,439 --> 01:08:53,160
Speaker 3: a tour of the dungeon. There's some quite beautiful location

1281
01:08:53,240 --> 01:08:56,240
Speaker 3: shots here as they go into the nearby abbey that's

1282
01:08:56,280 --> 01:08:59,400
Speaker 3: one of the access points for the catacombs. I wonder

1283
01:08:59,439 --> 01:09:02,080
Speaker 3: where they shout this part because I mentioned earlier that

1284
01:09:02,160 --> 01:09:04,840
Speaker 3: I just watched this other Nashy movie, The Werewolf Versus

1285
01:09:04,840 --> 01:09:07,920
Speaker 3: the Vampire Woman from seventy one, and there is an

1286
01:09:07,960 --> 01:09:12,120
Speaker 3: abbey location in that movie that looks almost identical to this.

1287
01:09:12,280 --> 01:09:14,799
Speaker 3: I wonder if they used the same place.

1288
01:09:15,840 --> 01:09:18,080
Speaker 2: Yeah, I mean, they might have. It also reminds me

1289
01:09:18,120 --> 01:09:20,160
Speaker 2: of some of the ruins from the Blind Dead movies,

1290
01:09:21,400 --> 01:09:24,880
Speaker 2: so likely they use the same Spanish locations here. But then,

1291
01:09:24,960 --> 01:09:26,679
Speaker 2: on the other hand, like this part of the world,

1292
01:09:26,760 --> 01:09:28,960
Speaker 2: there are a lot of castles, a lot of ruins.

1293
01:09:30,400 --> 01:09:32,599
Speaker 2: I looked around briefly, wasn't able to find a good answer,

1294
01:09:32,640 --> 01:09:36,280
Speaker 2: but I did find evidence of In twenty seventeen, there

1295
01:09:36,320 --> 01:09:39,080
Speaker 2: is a tour company called ECS Tours and they did

1296
01:09:39,120 --> 01:09:42,760
Speaker 2: something called Classic Spanish Horror Film Location Tour, a Paul

1297
01:09:42,880 --> 01:09:45,840
Speaker 2: Nashi tribute Whoa. I was like, oh, man, that sounds great,

1298
01:09:46,120 --> 01:09:47,080
Speaker 2: do it again please?

1299
01:09:48,400 --> 01:09:51,400
Speaker 3: So Tauschener gets read in on the whole operation, including

1300
01:09:51,520 --> 01:09:54,599
Speaker 3: Orlo's promises to go Tho that he will cause Ilsa

1301
01:09:54,640 --> 01:09:58,040
Speaker 3: to wake up. This does not sit well with Tauchner

1302
01:09:58,120 --> 01:10:00,519
Speaker 3: for multiple reasons. He says, you know, it's not fair

1303
01:10:00,600 --> 01:10:03,080
Speaker 3: to lie to Gotho and manipulate him like this. Also,

1304
01:10:03,200 --> 01:10:07,200
Speaker 3: he could kill again. And Orla argues, you know, but

1305
01:10:07,320 --> 01:10:10,880
Speaker 3: science must sometimes use dubious methods because the ends will

1306
01:10:10,960 --> 01:10:16,000
Speaker 3: justify the means, and he says success is waiting. So

1307
01:10:16,040 --> 01:10:19,360
Speaker 3: there's more Dark Knight of the Soul with Tauchener. Here,

1308
01:10:19,400 --> 01:10:21,800
Speaker 3: Tauchener goes and talks to doctor Meyer. We learn her

1309
01:10:21,840 --> 01:10:25,000
Speaker 3: first name is Marie. About his work with Orla, I

1310
01:10:25,040 --> 01:10:27,519
Speaker 3: guess they've both sort of been working with Orla, but

1311
01:10:27,600 --> 01:10:31,240
Speaker 3: mainly Tauchner, And he's like, yeah, I've got reservations, but

1312
01:10:31,479 --> 01:10:33,599
Speaker 3: I'm also inclined to push ahead because of the great

1313
01:10:33,640 --> 01:10:37,680
Speaker 3: potential for scientific discovery. But Marie tells him there is

1314
01:10:37,720 --> 01:10:39,960
Speaker 3: something about Orla in his work that has begun to

1315
01:10:39,960 --> 01:10:42,479
Speaker 3: frighten her. He may be a great scientist, but he's

1316
01:10:42,520 --> 01:10:45,519
Speaker 3: willing to destroy anything and anyone who gets in his way.

1317
01:10:45,960 --> 01:10:47,160
Speaker 2: Yeah, that's always a red flag.

1318
01:10:47,400 --> 01:10:52,080
Speaker 3: Yeah, So we get a look after they've been working

1319
01:10:52,120 --> 01:10:53,960
Speaker 3: on setting up the lab in the dungeon. We get

1320
01:10:53,960 --> 01:10:55,400
Speaker 3: a look at it. So there's a lot of beeps

1321
01:10:55,400 --> 01:10:58,519
Speaker 3: and boops kind of equipment, beakers full of pink liquid

1322
01:10:58,560 --> 01:11:02,360
Speaker 3: that's burbling, and then a giant sulfuric acid pit in

1323
01:11:02,400 --> 01:11:02,839
Speaker 3: the floor.

1324
01:11:03,320 --> 01:11:06,599
Speaker 2: Yes, yes, much like the one from nineteen seventy Scream

1325
01:11:06,600 --> 01:11:09,080
Speaker 2: and Scream again, which we previously talked about on the show.

1326
01:11:09,160 --> 01:11:10,160
Speaker 2: It looks wonderful.

1327
01:11:11,080 --> 01:11:14,200
Speaker 3: Also, it appears that Gotho or somebody has hired movers

1328
01:11:14,240 --> 01:11:15,840
Speaker 3: to get all of the equipment. And now there are

1329
01:11:15,880 --> 01:11:18,799
Speaker 3: just other people involved in the like three other guys

1330
01:11:18,840 --> 01:11:22,320
Speaker 3: involved in this. Is this really a top secret laboratory?

1331
01:11:22,320 --> 01:11:23,960
Speaker 3: There's more and more people coming in.

1332
01:11:24,360 --> 01:11:27,200
Speaker 2: Well, it's gonna be as we find out. With this

1333
01:11:27,280 --> 01:11:28,680
Speaker 2: crew of labor as they brought in.

1334
01:11:29,040 --> 01:11:32,320
Speaker 3: That's right. So Orla tries to promise Gotho that he

1335
01:11:32,400 --> 01:11:35,240
Speaker 3: will be famous for his contribution to this very important

1336
01:11:35,240 --> 01:11:38,559
Speaker 3: science project. But Gotho just wants to know when Orla's

1337
01:11:38,600 --> 01:11:40,760
Speaker 3: gonna wake Ilsa up for him, and he's like, oh,

1338
01:11:40,920 --> 01:11:45,320
Speaker 3: real soon, Gotho, Real soon. So we follow Gotho as

1339
01:11:45,360 --> 01:11:47,600
Speaker 3: he goes out still every day to pick flowers for

1340
01:11:48,080 --> 01:11:51,280
Speaker 3: Ilsa in the abbey ruins. So it's still very sad.

1341
01:11:51,320 --> 01:11:53,479
Speaker 3: We follow him and we see his pain that he's

1342
01:11:53,560 --> 01:11:56,519
Speaker 3: you know, he's hoping, he's hoping against hope that she

1343
01:11:56,640 --> 01:12:00,799
Speaker 3: can be revived somehow. Now I mentioned that they the movers.

1344
01:12:00,960 --> 01:12:02,840
Speaker 3: I don't know who these guys are, but we see

1345
01:12:02,840 --> 01:12:05,639
Speaker 3: them later and they're three guys just like playing cards

1346
01:12:05,720 --> 01:12:09,360
Speaker 3: and cursing and drinking schnops in the lab. They seem

1347
01:12:09,400 --> 01:12:12,320
Speaker 3: like real, no good, low life. They're they're complaining about

1348
01:12:12,360 --> 01:12:15,000
Speaker 3: the smell of rotting meat while they're pounding liquor on

1349
01:12:15,040 --> 01:12:19,120
Speaker 3: a torture rack, and they decide to fix the problem.

1350
01:12:19,160 --> 01:12:21,479
Speaker 3: They're like, oh, the problem is this body over here.

1351
01:12:21,479 --> 01:12:24,840
Speaker 3: It's Ilse's body. She's stinking up the place. So they

1352
01:12:24,880 --> 01:12:28,280
Speaker 3: take initiative, and they chuck the decomposing body of Ilsa

1353
01:12:28,760 --> 01:12:30,680
Speaker 3: into the sulfuric acid.

1354
01:12:30,400 --> 01:12:32,960
Speaker 2: Tank because clearly that will smell better.

1355
01:12:33,360 --> 01:12:37,920
Speaker 3: Yes, So of course Gotho walks in while they're doing this,

1356
01:12:38,000 --> 01:12:41,639
Speaker 3: he sees it happen, and then he flips it once again.

1357
01:12:41,720 --> 01:12:44,839
Speaker 3: He's here too late. He flips out and starts attacking

1358
01:12:44,880 --> 01:12:48,360
Speaker 3: the dudes. Two of them get different kinds of deaths

1359
01:12:48,400 --> 01:12:52,160
Speaker 3: by acid. One guy he throws straight into the sulfuric

1360
01:12:52,240 --> 01:12:55,320
Speaker 3: acid tank alive. The other guy gets smashed in the

1361
01:12:55,320 --> 01:12:58,639
Speaker 3: face with a beaker of acid. And then the third guy, Gotho,

1362
01:12:58,840 --> 01:13:00,920
Speaker 3: slams inside an iron maiden.

1363
01:13:01,040 --> 01:13:04,360
Speaker 2: Yeikes, nice, Yeah, this is a great kill. All these

1364
01:13:04,360 --> 01:13:06,600
Speaker 2: were great kills, but the iron Maiden that was the

1365
01:13:06,640 --> 01:13:07,559
Speaker 2: real topping on the cake.

1366
01:13:07,920 --> 01:13:11,720
Speaker 3: So right after this, here comes Maria wandering into the catacombs.

1367
01:13:11,760 --> 01:13:15,360
Speaker 3: She's checking up on the project. So again this place

1368
01:13:15,439 --> 01:13:17,720
Speaker 3: is really not as secret as it first seemed, and

1369
01:13:17,760 --> 01:13:21,880
Speaker 3: she sees some rats and screams and runs away. But

1370
01:13:22,080 --> 01:13:25,439
Speaker 3: also we see Orla and Tauchiner here around the same time.

1371
01:13:25,479 --> 01:13:28,560
Speaker 3: They're getting on with their research. They're making exciting progress,

1372
01:13:28,840 --> 01:13:32,000
Speaker 3: occasionally stopping to wonder what happened to those three men

1373
01:13:32,040 --> 01:13:35,000
Speaker 3: who worked for us hm hm, and Orla says something

1374
01:13:35,120 --> 01:13:36,880
Speaker 3: like the fewer witnesses the better.

1375
01:13:38,000 --> 01:13:39,799
Speaker 2: Yeah, it maintained secrecy.

1376
01:13:40,600 --> 01:13:43,000
Speaker 3: But Maria is still running around in the catacombs here,

1377
01:13:43,320 --> 01:13:47,559
Speaker 3: and she encounters a zombie like creature with a burned face.

1378
01:13:48,040 --> 01:13:51,240
Speaker 3: So I was confused about what happened here. But I

1379
01:13:51,320 --> 01:13:54,439
Speaker 3: think this is supposed to be the guy that Gotho

1380
01:13:54,600 --> 01:13:58,720
Speaker 3: hit with the acid beaker. He's either reanimated or somehow

1381
01:13:58,760 --> 01:14:02,160
Speaker 3: sort of zombified, and he just wanders past Maria. But

1382
01:14:02,160 --> 01:14:04,720
Speaker 3: then Gotho arrives and is like, oh, hey, you know

1383
01:14:04,760 --> 01:14:05,160
Speaker 3: you know me?

1384
01:14:06,040 --> 01:14:08,920
Speaker 2: Yeah, So I think it's the taller of the acid

1385
01:14:08,920 --> 01:14:12,000
Speaker 2: burn guys with one of the other acid burn guys

1386
01:14:12,640 --> 01:14:16,240
Speaker 2: strapped to his back. Yeah, And it's unclear whether the

1387
01:14:16,280 --> 01:14:18,519
Speaker 2: guy on his back is alive or dead at this point.

1388
01:14:18,560 --> 01:14:22,639
Speaker 2: Clearly the zombified guy is barely alive in a very

1389
01:14:24,280 --> 01:14:28,439
Speaker 2: bad state of mind, but it's uncertain whether like tall

1390
01:14:28,479 --> 01:14:31,559
Speaker 2: guy is trying to escape and bring his buddy with him.

1391
01:14:32,560 --> 01:14:35,040
Speaker 2: I'm more inclined to think that what happened here is

1392
01:14:35,080 --> 01:14:39,400
Speaker 2: that is that Gotho, in an act of cruelty, has

1393
01:14:39,520 --> 01:14:41,280
Speaker 2: strapped one to the other and just sort of like

1394
01:14:41,360 --> 01:14:43,080
Speaker 2: kicked him in the butt and send him off to

1395
01:14:43,160 --> 01:14:45,000
Speaker 2: wander the ruins until they die.

1396
01:14:45,560 --> 01:14:48,400
Speaker 3: You know, I noticed this about the werewolf versus the

1397
01:14:48,479 --> 01:14:52,080
Speaker 3: Vampire Woman as well. A lot of Nashy movies have

1398
01:14:52,320 --> 01:14:56,760
Speaker 3: a random zombie type figure with gross face makeup that

1399
01:14:57,200 --> 01:15:00,639
Speaker 3: appears only for one or two scenes and is not explained.

1400
01:15:00,680 --> 01:15:02,760
Speaker 3: It all exactly the same in this other movie. There's

1401
01:15:02,800 --> 01:15:05,080
Speaker 3: like a zombie and the Abbey Ruins in that movie,

1402
01:15:05,120 --> 01:15:06,880
Speaker 3: and we never learn what he is or why.

1403
01:15:07,240 --> 01:15:09,400
Speaker 2: Yeah, you gotta go a little little bit undead in there,

1404
01:15:09,800 --> 01:15:10,519
Speaker 2: part of his soul.

1405
01:15:10,840 --> 01:15:14,479
Speaker 3: Yeah. So anyway, here, Maria joins Orla and Tauchiner in

1406
01:15:14,520 --> 01:15:16,880
Speaker 3: the lab and they talk more about the progress of

1407
01:15:16,920 --> 01:15:20,200
Speaker 3: the artificial life that they are incubating, and Orla says,

1408
01:15:20,200 --> 01:15:21,720
Speaker 3: you know, they're right on the cusp. It will be

1409
01:15:21,760 --> 01:15:25,479
Speaker 3: assuming a definite form any day now. But Meyer points

1410
01:15:25,520 --> 01:15:27,800
Speaker 3: out something. She says, you don't know what form the

1411
01:15:27,880 --> 01:15:30,240
Speaker 3: life will take, which means it could be a human

1412
01:15:30,280 --> 01:15:34,439
Speaker 3: form or a monstrous mutation. And Orla tells her off.

1413
01:15:34,479 --> 01:15:38,040
Speaker 3: He's like, I know what I'm doing. But by the way,

1414
01:15:38,120 --> 01:15:40,599
Speaker 3: the life at this point is in a big vat.

1415
01:15:40,680 --> 01:15:42,519
Speaker 3: It's in like a big glass jar.

1416
01:15:43,080 --> 01:15:45,240
Speaker 2: Yeah. So we begin to see lots of shots of

1417
01:15:45,680 --> 01:15:51,240
Speaker 2: bits of meat and gore, like pulsing and throbbing inside

1418
01:15:51,240 --> 01:15:54,000
Speaker 2: of the vat. Yeah, it's great.

1419
01:15:54,400 --> 01:15:57,479
Speaker 3: It looks like a glass stock pot stuffed with blood

1420
01:15:57,479 --> 01:16:00,479
Speaker 3: clots and huge throbbing oysters. Yeah.

1421
01:16:00,560 --> 01:16:02,839
Speaker 2: And you got to throw some stuff in there, like frogs,

1422
01:16:02,880 --> 01:16:03,559
Speaker 2: live frogs.

1423
01:16:03,720 --> 01:16:07,240
Speaker 3: Yes. So obviously Gotho is really down and out. Now

1424
01:16:07,360 --> 01:16:10,160
Speaker 3: he goes to talk to Orla and he's like, well,

1425
01:16:10,360 --> 01:16:12,920
Speaker 3: Ilsa has been disintegrated, so now I have no hope.

1426
01:16:13,120 --> 01:16:15,080
Speaker 3: I can't work this job anymore. So I'm going to

1427
01:16:15,160 --> 01:16:19,120
Speaker 3: go turn myself into the police. And Orla tells him, no, no, no, no,

1428
01:16:19,160 --> 01:16:22,360
Speaker 3: don't do that. I need you and let's see, I'll

1429
01:16:22,400 --> 01:16:24,519
Speaker 3: create a new Ilsa for you.

1430
01:16:24,680 --> 01:16:24,960
Speaker 2: Yeah.

1431
01:16:25,040 --> 01:16:28,719
Speaker 3: Yeah, that's right, a whole new one. And somehow Gotho

1432
01:16:28,840 --> 01:16:31,439
Speaker 3: goes for this. He's overjoyed. He's like, you do that

1433
01:16:31,560 --> 01:16:35,600
Speaker 3: for me, professor, and Orla says, yes, yes, yes, I

1434
01:16:35,600 --> 01:16:37,400
Speaker 3: will do that, but I need you first to go

1435
01:16:37,439 --> 01:16:39,720
Speaker 3: to the morgue and swipe some fresh body parts for me.

1436
01:16:39,800 --> 01:16:41,479
Speaker 3: I need a head. You've got to get me a

1437
01:16:41,560 --> 01:16:44,880
Speaker 3: human head. So Gotho says, all right, and he goes

1438
01:16:44,920 --> 01:16:47,040
Speaker 3: to the morgue and he saws off a human head

1439
01:16:47,240 --> 01:16:48,800
Speaker 3: and it looks pretty realistic.

1440
01:16:49,600 --> 01:16:52,680
Speaker 2: Yeah yeah, Now I've read that the filmmakers had the

1441
01:16:52,760 --> 01:16:56,519
Speaker 2: chance to use a real corpse here, but nobody ended

1442
01:16:56,600 --> 01:16:58,360
Speaker 2: up having the stomach to go through with the shoot.

1443
01:16:58,960 --> 01:17:01,680
Speaker 2: I'm unsure person if this is true or if this

1444
01:17:01,720 --> 01:17:04,760
Speaker 2: is more sort of movie myth making. So you be

1445
01:17:04,840 --> 01:17:08,320
Speaker 2: the judge, But at any rate, this is a fake head.

1446
01:17:08,360 --> 01:17:11,320
Speaker 2: This is an effect. But it looks amazing like it

1447
01:17:11,360 --> 01:17:13,280
Speaker 2: has the big old Man ears on it and all

1448
01:17:13,439 --> 01:17:14,240
Speaker 2: very well done.

1449
01:17:14,640 --> 01:17:17,559
Speaker 3: So Gotho gets chased with the head by some kind

1450
01:17:17,560 --> 01:17:20,360
Speaker 3: of night watchmen or police who were wearing I don't know,

1451
01:17:20,400 --> 01:17:23,240
Speaker 3: they're wearing sort of those straw hats, like like Harold

1452
01:17:23,320 --> 01:17:27,160
Speaker 3: Hill the music man, and he escapes by climbing onto

1453
01:17:27,280 --> 01:17:30,120
Speaker 3: rooftops and running over the rooftops through the town, eventually

1454
01:17:30,160 --> 01:17:32,080
Speaker 3: making his way I don't know if this was intentional

1455
01:17:32,200 --> 01:17:34,160
Speaker 3: or by accident, but he makes his way into the

1456
01:17:34,200 --> 01:17:38,160
Speaker 3: window of Elki's apartment, and she's here in her night

1457
01:17:38,240 --> 01:17:40,800
Speaker 3: gown reading a book. I was trying to see what

1458
01:17:40,920 --> 01:17:42,439
Speaker 3: book that is. I wanted to look it up, but

1459
01:17:42,479 --> 01:17:44,400
Speaker 3: I couldn't quite make out the title or the author.

1460
01:17:45,000 --> 01:17:48,000
Speaker 3: But anyway, she confronts him. She's like, well, at first,

1461
01:17:48,080 --> 01:17:50,120
Speaker 3: she says, you know, oh, you shouldn't be jumping through

1462
01:17:50,120 --> 01:17:51,920
Speaker 3: my window with a head and a bag at this

1463
01:17:52,000 --> 01:17:54,800
Speaker 3: time of night. But then comes a knock at the

1464
01:17:54,800 --> 01:17:58,200
Speaker 3: door and it's the police, and Elkie hides Gotho from

1465
01:17:58,240 --> 01:18:00,920
Speaker 3: the police. She lies to them cover for Gotho and

1466
01:18:00,960 --> 01:18:04,120
Speaker 3: they leave, and Gotho was appreciative, but he asks her,

1467
01:18:04,160 --> 01:18:06,080
Speaker 3: why did you do it? You heard them I'm a

1468
01:18:06,200 --> 01:18:10,280
Speaker 3: killer now. Remember Elki has a great talent for criminal psychiatry,

1469
01:18:10,280 --> 01:18:13,679
Speaker 3: as doctor Meyer told us earlier, and she says, yeah,

1470
01:18:13,720 --> 01:18:16,080
Speaker 3: you might be a killer, but you're not a killer killer.

1471
01:18:16,320 --> 01:18:18,759
Speaker 3: I know why you did it. If only I could

1472
01:18:18,760 --> 01:18:21,719
Speaker 3: have someone who loved me as much as you loved Elsa.

1473
01:18:22,240 --> 01:18:24,200
Speaker 3: And I was like when I first got to this,

1474
01:18:24,320 --> 01:18:27,080
Speaker 3: I was like, wait a minute, where is this going?

1475
01:18:29,840 --> 01:18:34,080
Speaker 3: But Elkie explains that she doesn't care that everyone else

1476
01:18:34,120 --> 01:18:37,720
Speaker 3: finds him ugly and frightening. She says, sometimes faithfulness and

1477
01:18:37,760 --> 01:18:42,200
Speaker 3: love surpassed beauty. So Gotho kisses her feet once again,

1478
01:18:42,360 --> 01:18:44,679
Speaker 3: and then Elki kisses Gotho on the mouth.

1479
01:18:45,439 --> 01:18:46,320
Speaker 2: They're hitting it off.

1480
01:18:46,479 --> 01:18:50,160
Speaker 3: They're hitting it off, so some more mad science stuff

1481
01:18:50,200 --> 01:18:52,360
Speaker 3: going on into the lab. He goes back, and Orla

1482
01:18:52,439 --> 01:18:55,120
Speaker 3: throws the human head into the vat full of oysters

1483
01:18:55,120 --> 01:18:57,519
Speaker 3: and organs. He just drops it right into the tank.

1484
01:18:57,800 --> 01:18:59,640
Speaker 2: I love how he's like, I should really take the

1485
01:18:59,640 --> 01:19:02,400
Speaker 2: brain out first, but I'm just so excited to carry

1486
01:19:02,439 --> 01:19:04,120
Speaker 2: on with the project, and d goes in.

1487
01:19:04,479 --> 01:19:08,160
Speaker 3: That's right, so Orla quickly sets Gotho to some more

1488
01:19:08,200 --> 01:19:11,520
Speaker 3: grave robbing. They go out digging up graves. While Aurla's

1489
01:19:11,560 --> 01:19:15,320
Speaker 3: standing there making speeches at him, Gotho's digging. They end

1490
01:19:15,360 --> 01:19:19,240
Speaker 3: up killing a security guard at the cemetery, and Gotho

1491
01:19:19,439 --> 01:19:21,479
Speaker 3: is horrified at what he has done, like he hits

1492
01:19:21,520 --> 01:19:23,320
Speaker 3: him with a shovel, kills the guys like, oh no,

1493
01:19:23,439 --> 01:19:27,840
Speaker 3: But Orla says, oh, you know, sweet bonus bodies. They

1494
01:19:27,880 --> 01:19:31,080
Speaker 3: take both of them back now. Next there is a

1495
01:19:31,200 --> 01:19:33,760
Speaker 3: hitch in the project because Orla starts to think that

1496
01:19:33,760 --> 01:19:36,519
Speaker 3: the artificial life's growth is slowing down, and the problem

1497
01:19:36,600 --> 01:19:38,800
Speaker 3: is it doesn't want dead body parts. It needs a

1498
01:19:38,920 --> 01:19:39,799
Speaker 3: live human.

1499
01:19:40,560 --> 01:19:43,559
Speaker 2: And who's going to supply those live humans or at

1500
01:19:43,640 --> 01:19:45,800
Speaker 2: least very fresh humans. Well, you know, it's got to.

1501
01:19:45,720 --> 01:19:48,679
Speaker 3: Be Gotho, that's right. So oh and at some point,

1502
01:19:49,280 --> 01:19:52,960
Speaker 3: kind of without much fanfare, the new creature is suddenly born.

1503
01:19:53,280 --> 01:19:56,160
Speaker 3: Like Orla and Gotho are in the lab and they

1504
01:19:56,200 --> 01:19:59,120
Speaker 3: quickly lock the tank behind a heavy wooden door to

1505
01:19:59,200 --> 01:20:02,600
Speaker 3: one of the cells in the dungeon because Orla he

1506
01:20:02,720 --> 01:20:05,479
Speaker 3: detects that it's about to transform. But we don't get

1507
01:20:05,520 --> 01:20:07,280
Speaker 3: to see what it is initially. We just like hear

1508
01:20:07,280 --> 01:20:09,599
Speaker 3: a commotion inside the room and we see them looking

1509
01:20:09,640 --> 01:20:12,559
Speaker 3: through a little peep hole in the door, and they're thinking, Wow,

1510
01:20:12,960 --> 01:20:15,800
Speaker 3: that's amazing, but we won't see it until the very end.

1511
01:20:16,120 --> 01:20:17,880
Speaker 2: Yeah, they describe a little bit. They're like, oh, it

1512
01:20:17,880 --> 01:20:20,040
Speaker 2: broke the tray, it broke the table, and so forth.

1513
01:20:20,120 --> 01:20:22,960
Speaker 2: And we hear the sounds, which is great because it

1514
01:20:23,160 --> 01:20:25,200
Speaker 2: builds up in our imagination of what this might be,

1515
01:20:25,400 --> 01:20:30,040
Speaker 2: especially when we have sort of conflicting ideas about what

1516
01:20:30,120 --> 01:20:32,800
Speaker 2: it's going to be. It sounds like a monster, but

1517
01:20:33,120 --> 01:20:35,519
Speaker 2: Orla is eventually going to talk about it in terms

1518
01:20:35,560 --> 01:20:39,080
Speaker 2: of some primordial goddess that is being reborn in this

1519
01:20:39,240 --> 01:20:42,840
Speaker 2: artificial biological state.

1520
01:20:43,240 --> 01:20:45,800
Speaker 3: That's right. So we get more scenes of discussing the

1521
01:20:45,840 --> 01:20:49,599
Speaker 3: ethics of the projects between Tauchener and Meyer. Meyer is

1522
01:20:49,680 --> 01:20:52,320
Speaker 3: again the voice of reason here. She's like, there's just

1523
01:20:52,360 --> 01:20:54,720
Speaker 3: something wrong about the way that you are ignoring the

1524
01:20:54,760 --> 01:20:58,160
Speaker 3: impact on people's lives, especially the abuse of Gotho. It's wrong.

1525
01:20:59,080 --> 01:21:01,639
Speaker 3: Meyer says, all the crimes of the Hunchback are really

1526
01:21:01,680 --> 01:21:05,360
Speaker 3: the crimes of Orla. He's the one responsible, which to

1527
01:21:05,360 --> 01:21:08,160
Speaker 3: some extent is true. Maybe not all of the crimes,

1528
01:21:08,200 --> 01:21:09,240
Speaker 3: but some of the crimes.

1529
01:21:09,760 --> 01:21:13,200
Speaker 2: Yeah, I mean Gotho still he has agency. Yeah, you

1530
01:21:13,280 --> 01:21:15,000
Speaker 2: can't pin all of the son Orla.

1531
01:21:15,280 --> 01:21:18,519
Speaker 3: Yeah. Orla clearly shares a lot of the blame, but

1532
01:21:18,600 --> 01:21:21,799
Speaker 3: she breaks through to Tauchner and convinces him to abandon

1533
01:21:21,840 --> 01:21:25,680
Speaker 3: the project. However, whoops. Tauchner goes to Orla and he's like,

1534
01:21:26,080 --> 01:21:28,640
Speaker 3: I'm done, can't do this anymore. And this leads to

1535
01:21:28,720 --> 01:21:34,360
Speaker 3: a fight where Orla gets Gotho to knock Tauchner unconscious

1536
01:21:34,400 --> 01:21:37,160
Speaker 3: and lock him in a cell in the dungeon. Orla

1537
01:21:37,200 --> 01:21:40,120
Speaker 3: tells Gotho that he will have need of Tauchner for

1538
01:21:40,320 --> 01:21:43,120
Speaker 3: a thing. Now Here, we start to see a bunch

1539
01:21:43,120 --> 01:21:45,200
Speaker 3: of these scenes where Gotho has to go out and

1540
01:21:45,320 --> 01:21:50,400
Speaker 3: kidnap living people to bring to feed the artificial life form.

1541
01:21:50,479 --> 01:21:54,280
Speaker 3: So he starts kidnapping women from the women's reformatory. He

1542
01:21:54,360 --> 01:21:57,200
Speaker 3: brings one lady down screaming into the dungeon, where he

1543
01:21:57,240 --> 01:21:59,840
Speaker 3: and Orla throw her into the life form cell. Don't

1544
01:22:00,080 --> 01:22:04,120
Speaker 3: see what's happening, but we hear it eating her. Gotho

1545
01:22:04,240 --> 01:22:07,200
Speaker 3: goes back to Elk's apartment at some point, and Gotho

1546
01:22:07,320 --> 01:22:10,519
Speaker 3: is torn because he not so much about what he's

1547
01:22:10,560 --> 01:22:13,360
Speaker 3: doing on the project. He's torn because he is falling

1548
01:22:13,400 --> 01:22:17,000
Speaker 3: for Elki, but he feels guilty, like he's betraying ILSA's memory.

1549
01:22:17,720 --> 01:22:20,400
Speaker 3: And Elkie tells him that if Elsa could see them together,

1550
01:22:20,560 --> 01:22:23,040
Speaker 3: she would approve, And Okay, I think that's all the

1551
01:22:23,080 --> 01:22:24,320
Speaker 3: convincing Gotho needs.

1552
01:22:24,680 --> 01:22:27,639
Speaker 2: Yeah, because also Gotho believes that any day now he's

1553
01:22:27,640 --> 01:22:30,320
Speaker 2: going to get that new Ilsa and she can approve

1554
01:22:30,360 --> 01:22:30,840
Speaker 2: in person.

1555
01:22:31,280 --> 01:22:35,240
Speaker 3: Oh yeah, that's right. And obviously Elk is super into Gotho.

1556
01:22:35,560 --> 01:22:37,960
Speaker 3: I think Gotho is like, yes, I like Elki too,

1557
01:22:38,080 --> 01:22:40,519
Speaker 3: So yeah, they start kissing and there's like a full

1558
01:22:40,600 --> 01:22:43,200
Speaker 3: Gotho Elkie love scene. I don't know if I should

1559
01:22:43,200 --> 01:22:45,960
Speaker 3: say full there's a brief Gotho Elkie love scene.

1560
01:22:46,040 --> 01:22:49,880
Speaker 2: Yeah, and this is the scene that is a noticeably

1561
01:22:49,880 --> 01:22:53,559
Speaker 2: different film quality. I've read that the original I've read

1562
01:22:53,600 --> 01:22:56,560
Speaker 2: two different stories about the original Newde footage here. One

1563
01:22:56,680 --> 01:22:59,679
Speaker 2: was that it was destroyed by Spanish censors and also

1564
01:23:00,080 --> 01:23:03,760
Speaker 2: at now she had a naked hump effect on his

1565
01:23:03,840 --> 01:23:06,240
Speaker 2: back that ended up not looking all that great and

1566
01:23:06,280 --> 01:23:08,720
Speaker 2: they scrapped it and had to redo it. At any rate,

1567
01:23:09,040 --> 01:23:12,759
Speaker 2: the uncensored version here just features a very brief, poorer

1568
01:23:12,840 --> 01:23:17,320
Speaker 2: quality segment of all this with Elkie topless and Gothos

1569
01:23:17,320 --> 01:23:21,080
Speaker 2: still wearing your shirt, but very brief, especially as these

1570
01:23:21,080 --> 01:23:21,680
Speaker 2: movies go.

1571
01:23:22,080 --> 01:23:24,360
Speaker 3: Yeah, but there's no ambiguity. Now, it's not just a

1572
01:23:24,439 --> 01:23:27,400
Speaker 3: crush like they're having a full on love affair. Yeah.

1573
01:23:27,560 --> 01:23:28,280
Speaker 2: Is it doomed love?

1574
01:23:28,400 --> 01:23:28,559
Speaker 4: Well?

1575
01:23:28,640 --> 01:23:28,800
Speaker 2: Yes?

1576
01:23:28,880 --> 01:23:33,160
Speaker 3: Probably probably. Yeah. Now there's another scene where doctor Meyer

1577
01:23:33,280 --> 01:23:35,240
Speaker 3: comes down to the dungeon. I think she's looking for

1578
01:23:35,280 --> 01:23:38,200
Speaker 3: her fiance who has been locked in a cell, and

1579
01:23:38,240 --> 01:23:40,840
Speaker 3: she confronts Orela and finds out, uh oh, that we've

1580
01:23:40,840 --> 01:23:44,760
Speaker 3: been feeding ladies from the hospital to this creature. She

1581
01:23:45,240 --> 01:23:47,599
Speaker 3: looks through the peepole and the cell door to see

1582
01:23:47,600 --> 01:23:51,320
Speaker 3: the creature and says that's horrible. It has completely devoured her,

1583
01:23:52,320 --> 01:23:55,799
Speaker 3: and Orla starts monologuing about his plot, but Meyer wisely

1584
01:23:55,840 --> 01:23:58,400
Speaker 3: whacks him from behind with a pipe and then runs

1585
01:23:58,439 --> 01:24:02,160
Speaker 3: around calling out for Touchner try to find him. Instead,

1586
01:24:02,600 --> 01:24:05,680
Speaker 3: she finds Gotho. And what does Gotho do with her?

1587
01:24:05,720 --> 01:24:07,679
Speaker 3: I think he just crams her in a cell. Gotho's

1588
01:24:07,720 --> 01:24:09,760
Speaker 3: kind of all in on the evil plot now he

1589
01:24:09,800 --> 01:24:13,360
Speaker 3: wants that new ilsa. Yeah, So Gotho just keeps kidnapping

1590
01:24:13,360 --> 01:24:16,599
Speaker 3: women to bring to the tank. Being in this section,

1591
01:24:16,760 --> 01:24:20,799
Speaker 3: there are some very funny edits because there will be rapid,

1592
01:24:20,960 --> 01:24:24,479
Speaker 3: abrupt cutting back and forth between Gotho, like doing an abduction,

1593
01:24:25,160 --> 01:24:27,360
Speaker 3: and then suddenly we go back to the dungeon with

1594
01:24:27,560 --> 01:24:30,320
Speaker 3: Orla standing at the cell door listening to the creature,

1595
01:24:30,760 --> 01:24:35,639
Speaker 3: and the creature is constantly unleashing these sound effects, these

1596
01:24:35,800 --> 01:24:38,679
Speaker 3: rage groans. It's just in the cell going.

1597
01:24:41,000 --> 01:24:43,920
Speaker 2: Like a rampaging ogre on the Muppet Show, sort of

1598
01:24:43,920 --> 01:24:45,000
Speaker 2: a sound yeah.

1599
01:24:44,760 --> 01:24:49,599
Speaker 3: Yeah, and they just are constant. Elkie. She looks out

1600
01:24:49,640 --> 01:24:52,200
Speaker 3: the hospital window at one point and just sees Gotho

1601
01:24:52,360 --> 01:24:55,320
Speaker 3: taking kidnapped women to the dungeon. So she just like

1602
01:24:55,400 --> 01:24:58,000
Speaker 3: directly witnesses it, and it's like, oh, that's not good.

1603
01:24:58,840 --> 01:25:01,080
Speaker 3: So she climbs down follow him. So I think we're

1604
01:25:01,080 --> 01:25:02,800
Speaker 3: building up to a final showdown, aren't we.

1605
01:25:03,080 --> 01:25:06,840
Speaker 2: Yeah. Yeah, Now we do get a nice villain monologue,

1606
01:25:07,200 --> 01:25:09,599
Speaker 2: one of many villain monologues from Orla, but I really

1607
01:25:09,680 --> 01:25:12,040
Speaker 2: like this one where he's talking about the creature that

1608
01:25:12,200 --> 01:25:17,360
Speaker 2: is growing. He says, quote from the subtitles, the creature

1609
01:25:17,400 --> 01:25:20,400
Speaker 2: is a primordial one of the beings that inhabited Earth

1610
01:25:20,439 --> 01:25:24,000
Speaker 2: before the human race. Her race is the oldest books

1611
01:25:24,040 --> 01:25:27,200
Speaker 2: like the Necronomicon and the old treaties of magic and

1612
01:25:27,240 --> 01:25:30,759
Speaker 2: alchemy are full of references concerning this entity. That creature

1613
01:25:30,800 --> 01:25:34,240
Speaker 2: holds the secrets of every ancient civilization, and she will

1614
01:25:34,280 --> 01:25:37,400
Speaker 2: share them with us. The world will kneel before us. Okay,

1615
01:25:37,400 --> 01:25:40,760
Speaker 2: So it does get a little more into the megalomaniac

1616
01:25:41,080 --> 01:25:42,719
Speaker 2: side of things with you know, will rule the world

1617
01:25:42,760 --> 01:25:45,360
Speaker 2: so forth, But most the last five minutes, yeah, yeah,

1618
01:25:45,400 --> 01:25:48,400
Speaker 2: he's beginning to awaken to that possibility. But mostly they're like,

1619
01:25:48,760 --> 01:25:51,439
Speaker 2: we're going to learn so much from this breakthrough. And

1620
01:25:51,640 --> 01:25:54,599
Speaker 2: I also just love the idea that their eventual peer

1621
01:25:54,600 --> 01:25:57,040
Speaker 2: review journal article on all of this will also reference

1622
01:25:57,040 --> 01:25:57,840
Speaker 2: the Necronomicon.

1623
01:25:58,240 --> 01:26:01,439
Speaker 3: What does the citation on that look like, Well.

1624
01:26:01,760 --> 01:26:06,840
Speaker 2: What's his name? Alhazard reference Alhazzard. And I guess I'm

1625
01:26:06,880 --> 01:26:11,280
Speaker 2: hoping that Gotho would also get an author credit on this.

1626
01:26:11,360 --> 01:26:12,479
Speaker 2: I mean, he's putting in the work.

1627
01:26:12,720 --> 01:26:15,720
Speaker 3: Yeah, but guess what Orla thinks the creature needs more

1628
01:26:15,720 --> 01:26:18,000
Speaker 3: of to reach its final form, needs more food, needs

1629
01:26:18,000 --> 01:26:20,759
Speaker 3: some more living flesh. So oh, and here comes Elki

1630
01:26:20,880 --> 01:26:25,120
Speaker 3: following Gothot into the catacombs. So what's it going to be.

1631
01:26:25,160 --> 01:26:27,000
Speaker 3: He's like, go get me, Elkie. We're going to feed

1632
01:26:27,000 --> 01:26:30,240
Speaker 3: her to the creature. Gotho does bring her to the lab,

1633
01:26:30,360 --> 01:26:32,960
Speaker 3: but when Orla commands him to put her inside the cell,

1634
01:26:33,080 --> 01:26:36,800
Speaker 3: Gotho refuses. He's He's like, no, not her. She was

1635
01:26:36,880 --> 01:26:39,400
Speaker 3: kind to me. I have to protect her. So this

1636
01:26:39,439 --> 01:26:43,280
Speaker 3: turns into a Gotho versus Orla battle. And what do

1637
01:26:43,280 --> 01:26:45,000
Speaker 3: you think. Of course, the monster is going to come

1638
01:26:45,000 --> 01:26:45,479
Speaker 3: into play.

1639
01:26:45,800 --> 01:26:47,840
Speaker 2: Absolutely, that monster is going to get loose. It's going

1640
01:26:47,920 --> 01:26:49,559
Speaker 2: to rampage, and we're here for it.

1641
01:26:49,880 --> 01:26:52,599
Speaker 3: Yeah. So well, actually, first there's an interlude in this

1642
01:26:52,680 --> 01:26:55,880
Speaker 3: fight in the lab where Gotho lets Meyer and Tauchner

1643
01:26:56,000 --> 01:26:58,200
Speaker 3: out of their cells. And she asks them to take

1644
01:26:58,280 --> 01:27:02,920
Speaker 3: Elki to safety. So the three basically good people run away.

1645
01:27:02,960 --> 01:27:05,800
Speaker 3: They get to you escape and be all right. But

1646
01:27:05,840 --> 01:27:09,720
Speaker 3: this is right before the primordial escapes itsel and it

1647
01:27:09,800 --> 01:27:13,519
Speaker 3: attacks Orla and there's this whole fight here. I think

1648
01:27:13,520 --> 01:27:16,879
Speaker 3: it's a pretty awesome looking monster. Kind of a muddy,

1649
01:27:17,040 --> 01:27:19,960
Speaker 3: melted candle slash oily maniac design.

1650
01:27:20,360 --> 01:27:26,280
Speaker 2: Yeah, like a green, brown sludge monster that looks especially

1651
01:27:26,320 --> 01:27:29,280
Speaker 2: great in this setting with this film quality. And it

1652
01:27:29,320 --> 01:27:31,439
Speaker 2: also benefits us that we don't see much of it.

1653
01:27:31,520 --> 01:27:34,519
Speaker 2: We've just been leading up to this moment, and so

1654
01:27:34,600 --> 01:27:36,160
Speaker 2: that we don't see enough of it to where we

1655
01:27:36,200 --> 01:27:39,599
Speaker 2: really begin to see the seams or anything. Yeah, it's scary.

1656
01:27:39,720 --> 01:27:41,160
Speaker 2: It's a great design. I love it.

1657
01:27:41,360 --> 01:27:44,000
Speaker 3: Yeah, I think it's really good. It kills Orla, and

1658
01:27:44,040 --> 01:27:46,800
Speaker 3: then in the final the tragic ending that we probably

1659
01:27:46,880 --> 01:27:50,080
Speaker 3: knew was coming, Gotho and the Primordial sort of lock

1660
01:27:50,200 --> 01:27:53,679
Speaker 3: arms and they fall into the sulfuric acid pit together.

1661
01:27:53,960 --> 01:27:55,280
Speaker 3: Bubble bubble the end.

1662
01:27:55,720 --> 01:27:55,880
Speaker 4: Yeah.

1663
01:27:55,880 --> 01:27:59,160
Speaker 2: In fact, the words the end appear over the site

1664
01:27:59,320 --> 01:28:03,360
Speaker 2: of blood colored sulphuric acid bubbling in the acid vat.

1665
01:28:03,840 --> 01:28:05,840
Speaker 2: I wonder how much we're supposed to read into this

1666
01:28:05,840 --> 01:28:09,040
Speaker 2: this kind of here we have like the tragic masculine

1667
01:28:09,040 --> 01:28:14,320
Speaker 2: figure of Gotho and this perhaps monstrous feminine, pre human

1668
01:28:14,400 --> 01:28:17,920
Speaker 2: deity type figure, if you believe everything Oil has been saying,

1669
01:28:18,520 --> 01:28:21,679
Speaker 2: also falling into the acid with him. I'm probably reading

1670
01:28:21,680 --> 01:28:22,759
Speaker 2: too much into the scenario.

1671
01:28:23,040 --> 01:28:26,240
Speaker 3: Oh yeah, what does that mean? The oily maniac goddess

1672
01:28:26,280 --> 01:28:27,920
Speaker 3: and Gotho meet their fates together.

1673
01:28:28,560 --> 01:28:32,719
Speaker 2: Yeah, I mean it's but Gotho. To be clear, redeems

1674
01:28:32,800 --> 01:28:36,880
Speaker 2: himself fully here. He has saved all of humanity and

1675
01:28:36,920 --> 01:28:40,000
Speaker 2: we are in his debt. There can be no argument

1676
01:28:40,040 --> 01:28:40,599
Speaker 2: over that.

1677
01:28:40,479 --> 01:28:42,160
Speaker 3: He did nothing wrong. He's fine, now.

1678
01:28:42,320 --> 01:28:46,479
Speaker 2: Yeah, well he did several things quite wrong, but he

1679
01:28:46,600 --> 01:28:48,479
Speaker 2: saved us all in the end. He came through in

1680
01:28:48,520 --> 01:28:49,719
Speaker 2: the end, and that's what matters.

1681
01:28:50,080 --> 01:28:52,840
Speaker 3: That's right, because who knows what the primordial could have done.

1682
01:28:52,920 --> 01:28:55,519
Speaker 3: If it truly was kind of a Goser type figure,

1683
01:28:55,600 --> 01:28:59,759
Speaker 3: a lost god from ancient times, it could have swept

1684
01:28:59,800 --> 01:29:01,559
Speaker 3: over the earth and ruled us all.

1685
01:29:01,880 --> 01:29:03,519
Speaker 2: Yeah. I don't get the sense that this thing was

1686
01:29:03,560 --> 01:29:07,200
Speaker 2: really interested in sharing ancient civilization secrets like Orla was

1687
01:29:07,240 --> 01:29:09,920
Speaker 2: talking about, Like, it's not gonna I can't imagine having

1688
01:29:10,000 --> 01:29:11,920
Speaker 2: a conversation with it with it where you're like, so,

1689
01:29:12,000 --> 01:29:15,240
Speaker 2: what's up with the Egyptian neck rests? How did they

1690
01:29:15,280 --> 01:29:17,120
Speaker 2: use that those when they slept? And it would be like, well,

1691
01:29:17,200 --> 01:29:18,559
Speaker 2: let me tell you all about it. No, no, no,

1692
01:29:18,600 --> 01:29:21,800
Speaker 2: this thing wants to eat and grow and do god

1693
01:29:21,880 --> 01:29:22,479
Speaker 2: knows what else.

1694
01:29:22,640 --> 01:29:25,320
Speaker 3: It would just eat us all. Yeah, yeah, all right,

1695
01:29:25,360 --> 01:29:26,799
Speaker 3: Well that was Hunchback in the Morgue.

1696
01:29:27,080 --> 01:29:31,080
Speaker 2: Yeah, yeah, you know, rats aside. I think a real

1697
01:29:31,120 --> 01:29:34,840
Speaker 2: strong picture in the Nashi verse filmography here. You know,

1698
01:29:34,880 --> 01:29:36,599
Speaker 2: it's got all the all the elements you want out

1699
01:29:36,640 --> 01:29:40,160
Speaker 2: of a Nashy picture, you know, some great effects, some

1700
01:29:40,280 --> 01:29:42,880
Speaker 2: ridiculous moments, you know, has it all?

1701
01:29:43,400 --> 01:29:47,200
Speaker 3: I would be interested to collect the examples of Nashi's filmography,

1702
01:29:47,240 --> 01:29:50,040
Speaker 3: I guess, especially the movies that he had a hand

1703
01:29:50,160 --> 01:29:54,280
Speaker 3: in writing or directing that don't have an element of

1704
01:29:54,360 --> 01:29:59,400
Speaker 3: doomed love in them, doomed tragic love, like, because it

1705
01:29:59,400 --> 01:30:02,679
Speaker 3: seems like he's almost always doing that. So like, what

1706
01:30:02,680 --> 01:30:05,800
Speaker 3: what were his other main interests? You know, what are

1707
01:30:05,840 --> 01:30:08,320
Speaker 3: what are the characters' emotional motivations when it's not.

1708
01:30:08,520 --> 01:30:11,160
Speaker 2: That well there definitely seemed to be a number of

1709
01:30:11,160 --> 01:30:13,759
Speaker 2: pictures I've seen a few of them recently. Watch Panic Beats,

1710
01:30:14,960 --> 01:30:18,559
Speaker 2: which brings the Warlock all Iraq back in an altered form,

1711
01:30:19,400 --> 01:30:22,559
Speaker 2: but is largely a picture about like how awful people are.

1712
01:30:22,720 --> 01:30:24,640
Speaker 2: But I'm not sure like how much of this is

1713
01:30:24,680 --> 01:30:27,240
Speaker 2: like the example of this film like speaking I think

1714
01:30:27,280 --> 01:30:29,840
Speaker 2: maybe to a certain extent, speaking a where speaking to

1715
01:30:29,880 --> 01:30:32,040
Speaker 2: where like Nashi's mind was at the time, and sort

1716
01:30:32,040 --> 01:30:34,439
Speaker 2: of his views on the state of humanity, but also

1717
01:30:34,640 --> 01:30:37,880
Speaker 2: probably representing we're talking about like early eighties by this point,

1718
01:30:38,080 --> 01:30:42,400
Speaker 2: representing changes in the horror market, and I understand there's

1719
01:30:42,439 --> 01:30:44,920
Speaker 2: like less of a demand for gothic horror at that time,

1720
01:30:44,960 --> 01:30:46,920
Speaker 2: and like clearly, you know, that's where his heart was.

1721
01:30:47,800 --> 01:30:50,400
Speaker 2: So in order to still do a film about undead

1722
01:30:50,720 --> 01:30:53,120
Speaker 2: you know, murderous Nights and so forth, you had to

1723
01:30:53,120 --> 01:30:56,760
Speaker 2: sort of couch it in these you know, newer slasher

1724
01:30:56,800 --> 01:30:57,800
Speaker 2: tropes and so forth.

1725
01:30:58,080 --> 01:30:58,280
Speaker 4: Yeah.

1726
01:30:58,760 --> 01:31:00,439
Speaker 2: Yeah, so at some point in the future, well, maybe

1727
01:31:00,439 --> 01:31:02,479
Speaker 2: we'll have to come back and do a Nashy picture

1728
01:31:02,520 --> 01:31:04,439
Speaker 2: where he's sort of playing against type a bit. But

1729
01:31:04,479 --> 01:31:07,240
Speaker 2: then on the other hand, the ones where he's playing

1730
01:31:07,240 --> 01:31:10,960
Speaker 2: a true Nashy you know, tragic, doomed character, those are

1731
01:31:10,960 --> 01:31:13,720
Speaker 2: so good it's hard to resist though, So it would

1732
01:31:13,760 --> 01:31:16,679
Speaker 2: be very hard to pass up one of his monster

1733
01:31:16,840 --> 01:31:18,799
Speaker 2: roles in favor of one of these other pictures.

1734
01:31:19,120 --> 01:31:22,960
Speaker 3: I'm just imagining a Paul Nashi themed Valentine card that's like,

1735
01:31:23,080 --> 01:31:25,760
Speaker 3: will you stab me in the heart with a silver cross.

1736
01:31:26,360 --> 01:31:27,880
Speaker 2: There's something you could do a whole series of them.

1737
01:31:27,920 --> 01:31:29,880
Speaker 2: I'd love to see it. Someone may have done it.

1738
01:31:29,920 --> 01:31:33,439
Speaker 2: I mean that Nashi's a big enough horror icon at

1739
01:31:33,439 --> 01:31:36,280
Speaker 2: this point, somebody may have created those already. If so,

1740
01:31:36,520 --> 01:31:39,880
Speaker 2: please someone send me a link and in general right

1741
01:31:39,960 --> 01:31:43,880
Speaker 2: into us with your thoughts on a Hunchback of the Morgue,

1742
01:31:43,960 --> 01:31:47,800
Speaker 2: other Nashi pictures, or you know, favorite Spanish horror films,

1743
01:31:47,840 --> 01:31:52,160
Speaker 2: favorite Hunchback movies. Everything is fair game. Just a reminder

1744
01:31:52,280 --> 01:31:54,559
Speaker 2: that Stuff to Blow your Mind is primarily a science

1745
01:31:54,560 --> 01:31:57,360
Speaker 2: and culture podcast with core episodes on Tuesdays and Thursdays,

1746
01:31:57,360 --> 01:32:00,200
Speaker 2: but on Fridays we set aside most serious concerns just

1747
01:32:00,240 --> 01:32:03,040
Speaker 2: talk about a weird film on weird house cinema, such

1748
01:32:03,040 --> 01:32:04,800
Speaker 2: as this picture. And if you want to see a

1749
01:32:04,840 --> 01:32:06,760
Speaker 2: list of all the films we've covered thus far, and

1750
01:32:06,800 --> 01:32:09,439
Speaker 2: sometimes a peek ahead at what's coming up next, go

1751
01:32:09,520 --> 01:32:13,360
Speaker 2: to letterbox dot com. Our user name there is weird.

1752
01:32:13,040 --> 01:32:17,240
Speaker 3: House, Huge Things. As always to our excellent audio producer Jjposway.

1753
01:32:17,520 --> 01:32:18,960
Speaker 3: If you would like to get in touch with us

1754
01:32:19,000 --> 01:32:21,360
Speaker 3: with feedback on this episode or any other, to suggest

1755
01:32:21,439 --> 01:32:23,400
Speaker 3: a topic for the future, or just to say hello,

1756
01:32:23,520 --> 01:32:25,920
Speaker 3: you can email us at contact at stuff to Blow

1757
01:32:25,960 --> 01:32:33,560
Speaker 3: your Mind dot com.

1758
01:32:33,640 --> 01:32:36,600
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1759
01:32:36,680 --> 01:32:39,479
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1760
01:32:39,640 --> 01:32:42,680
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.