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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird Howse Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick, and we have

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Speaker 1: an exciting film to discuss this week and a perfect

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Speaker 1: seasonal selection for Halloween for us is to return to

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Speaker 1: the filmographies of both legendary B movie director Roger Corman

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Speaker 1: and the work of legendary actor Vincent Price, as well

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Speaker 1: as the work of Hazel Court, who was also in

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Speaker 1: Devil Girl from Mars. This one is also an Edgar

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Speaker 1: Allan Poe adaptation, perhaps the finest one of several that

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Speaker 1: Corman helmed, as well as one of the most well

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Speaker 1: regarded films he directed. We're gonna be talking about The

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Speaker 1: Mask of the Red Death from nine. It's kind of

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Speaker 1: amazing to see what Corman was capable of when he

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Speaker 1: had just a little bit more money and like five

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Speaker 1: weeks to direct a movie instead of two or three. Yeah,

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Speaker 1: it's like, what, you know, what if we had a

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Speaker 1: little more time. What if we had five weeks instead

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Speaker 1: of two. What if we had more money in the

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Speaker 1: budget instead of less, And on top of that, what

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Speaker 1: if we had British actors to fill in the rest

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Speaker 1: of the cast as opposed to uh just you know,

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Speaker 1: various actors from California of a varying talent levels exactly.

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Speaker 1: So this one isn't just good in the you know,

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Speaker 1: the since you might normally say some Corman movies are good,

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Speaker 1: they're kind of like scrappy and fun and you can

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Speaker 1: see what they were able to pull off on on

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Speaker 1: bottom dollar. This one, I think is is just straight

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Speaker 1: up a good movie. Yeah, yeah, this, this one's great.

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Speaker 1: I I loved this film. Uh this was my first

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Speaker 1: viewing of it. I've never seen it before, but I've

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Speaker 1: lined it up for us because I knew that it

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Speaker 1: was very well regarded. I knew that it was going

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Speaker 1: to be colorful. I knew that it was going to

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Speaker 1: really showcase Vincent Price, and I was I was not

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Speaker 1: disappointed in the least. This is definitely worth checking out.

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Speaker 1: You don't have to be a like a Corman connoisseur

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Speaker 1: to enjoy this film. And even if you do just

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Speaker 1: want something to go to have in the background, uh

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Speaker 1: you know, you don't want something that requires close viewing,

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Speaker 1: It's still great because it's so colorful. It's so beautiful,

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Speaker 1: especially the the more recent releases of it that have

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Speaker 1: been fully restored. In the movie just looks better than

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Speaker 1: it's ever looked. The colors are amazing, the sets and

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Speaker 1: costumes are amazing, like beautiful. I would also say this

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Speaker 1: is a real standout role for Vincent Price, because, Uh,

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Speaker 1: I think this movie is often classified as as high camp,

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Speaker 1: and it is camp, but it's also more than that.

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Speaker 1: It there is a subtlety to it that I wasn't

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Speaker 1: quite expecting when I went in. I thought it would

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Speaker 1: be just you know, delicious Vincent Price, chewing of the

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Speaker 1: scenery and all that. Uh. And so Price does play

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Speaker 1: in a way a sometimes kind of Hammy Satanist aristocrat,

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Speaker 1: but he but there's a little more to his performance

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Speaker 1: than you would expect. Yeah, everything with really I have

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Speaker 1: to give credit to both Price and the script. Like

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Speaker 1: the script seems really solid. And so there's so many scenes,

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Speaker 1: so many bits of dialogue where they're doing a thing

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Speaker 1: that other films do. Uh. One example that I ended

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Speaker 1: up paying close attention to is having some sort of

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Speaker 1: a wise crack after somebody is viciously murdered at the

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Speaker 1: behest of the of the tyrannical prints. That's something that

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Speaker 1: happens in this film. And often when this sort of

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Speaker 1: thing happens in a movie, be it a like a

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Speaker 1: Freddy Krueger movie, a typical horror movie, or like a

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Speaker 1: James Bond film, you know, it's really hammy, it's a

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Speaker 1: it's a cheeseball moment, it's grown inducing. But when it

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Speaker 1: happens in this film, it's it's not. It feels like

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Speaker 1: just carefully calibrated so that it's not too hammy. It's

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Speaker 1: just uh, it's just sardonic enough and feels off centic

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Speaker 1: within the picture and doesn't throw you out of the

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Speaker 1: movie viewing experience. I think of the moment where Hazel

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Speaker 1: Court does the one of many ceremonies to get married

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Speaker 1: to the devil. I don't know how many devil weddings

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Speaker 1: she she marries Satan like four times in this movie,

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Speaker 1: but I guess in the final one where it's like

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Speaker 1: really for real, now she uh, now it went through.

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Speaker 1: She is a hell bride. Uh. The ritual ends with

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Speaker 1: like a falcon pecking her face off and her dead

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Speaker 1: body is found, uh, and all the guests are standing

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Speaker 1: around in horror. But then Vincent Price, uh, he very

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Speaker 1: coolly just says, uh, oh, there is nothing to worry about.

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Speaker 1: She's just married a friend of mine. Yeah, and it

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Speaker 1: and it, it's so perfect. The perfect delivery of the

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Speaker 1: line doesn't come off as hammy. It just it's it's

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Speaker 1: so good. There are also so many scenes where Vincent

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Speaker 1: Price's character, Prince Prospero, is giving some sort of a

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Speaker 1: monologue about the nature of evil or darkness or pain,

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Speaker 1: and it's become a trope. So any horror films, especially,

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Speaker 1: you'll have some evil character telling us all what pains

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Speaker 1: about or what horror is and and so forth. And

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Speaker 1: in this film, the way it's handled just puts most

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Speaker 1: examples I can think up to shame. It's just handled

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Speaker 1: so perfectly. Yeah, I think I know what you're talking about.

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Speaker 1: That there is a tradition, I would say, going way

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Speaker 1: way back in in fact, even into the literature of

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Speaker 1: the ancient world, of the aristocratic figure who engages in

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Speaker 1: perverse kind of morally undermining philosophical musings. I think this

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Speaker 1: goes all the way back to like the Bible where

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Speaker 1: Pilot asks what is truth? Uh, you know, and you

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Speaker 1: get scenes like this, and you know, stories all throughout

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Speaker 1: the years. This is a really good example of it

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Speaker 1: though it feels actually kind of thoughtful vincent prices musings

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Speaker 1: undermining you know, the the good characters. Philosophical assumptions are

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Speaker 1: actually kind of clever and more thoughtfully stated than usual. Absolutely,

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Speaker 1: and it can. It can. Actually it actually adds to

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Speaker 1: the frightfulness of the film because as a viewer you're like,

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Speaker 1: oh man, Prospero was making some some points here. Now

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Speaker 1: I'm second guessing myself in my worldview. It's it's it's

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Speaker 1: so good. So we'll get into all this some more

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Speaker 1: as we proceed talking about the cast and the plot.

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Speaker 1: As far as an elevator pitch goes, I was the

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Speaker 1: only thing that came to mind for me is what

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Speaker 1: if emotion picture where a stained glass window in a

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Speaker 1: cathedral of horror? Yeah, the colors in this movie are aggressive.

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Speaker 1: There is such use of color and a large uh

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Speaker 1: like blocks of color, you know, where like you have

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Speaker 1: characters who are who are dressed all in red or

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Speaker 1: all in white, and that is complimented by the fact

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Speaker 1: that there are rooms that are entirely yellow or entirely purple,

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Speaker 1: and uh, it's it's just fabulous. Yeah, yeah, you'll you'll

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Speaker 1: question whether you've seen the color red before, if you've

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Speaker 1: seen the color yellow before, because the colors don't seem

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Speaker 1: as bright in the real world as they do in

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Speaker 1: this film, which is something to say. For you know,

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Speaker 1: a gothic horror film, you tend to what you expect,

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Speaker 1: the darkness and the grime and the shadows, and this

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Speaker 1: film also brings some wonderful usage of those elements as well,

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Speaker 1: but also these rainbow colors that are amazing. All right,

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Speaker 1: on that note, let's go ahead and listen to I

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Speaker 1: think just part of the trailer, the original audio, the

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Speaker 1: original trailer for this film, because I don't think it's

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Speaker 1: a good trailer, and I'll explain why I on a second.

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Speaker 1: So let's just let's just hear a little of it

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Speaker 1: to get a taste. So, yeah, I love this film,

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Speaker 1: but this is not a good trailer. It spoils a

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Speaker 1: lot of the film, and it's also just kind of

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Speaker 1: an assortment of clips with minimal dialogue and no narration

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Speaker 1: that doesn't work so good for the show. No, and

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Speaker 1: I don't think I just don't think it's a good trayer.

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Speaker 1: Even viewing it, it's not a good trailer in my opinion. However,

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Speaker 1: The poster art for this film is amazing. If you

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Speaker 1: haven't seen it, look it up. Uh, it's Prices face,

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Speaker 1: you know, full sardonic Price as the Prince Prospero in red,

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Speaker 1: full red face composed. You look closer and you see

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Speaker 1: that he's composed. His face is composed of all these

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Speaker 1: red bodies intertwined with each other. It's poster art by

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Speaker 1: Reynald Brown who lived nineteen seventeen. Who he did magazine

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Speaker 1: covers and all sorts of stuff. But he was responsible

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Speaker 1: for a slew of great movie posters from the day,

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Speaker 1: including Tarantula and Black Sabbath. Also the really iconic poster

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Speaker 1: for Attack of the Fifty Foot Woman. Beautiful poster. Yeah.

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Speaker 1: A quick note on where to find this film. Well,

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Speaker 1: luckily it's widely available in digital form, but we highly

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Speaker 1: recommend the shop Factory screen Factory restored four K blu ray.

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Speaker 1: That's how we watched it. It features both the theatrical

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Speaker 1: cut and an extended cut. And yeah, this is a

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Speaker 1: beautiful looking film. Should be seen in the best quality possible,

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Speaker 1: however you go about it. Agreed, you want the full

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Speaker 1: buffet for your eyes. Yeah, alright, well, let's get into

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Speaker 1: the people involved. Like we said, this one was directed

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Speaker 1: by Roger Corman. He was also one of the producers

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Speaker 1: born as of this recording still with us. Roger Corman is,

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Speaker 1: of course the Wizard of b movies, a prolific generator

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Speaker 1: of late fifties drive in Flix. On Weird House, we

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Speaker 1: specifically discussed n Not of This Earth as well as

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Speaker 1: I'm not sure how many Corman productions films that he

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Speaker 1: produced but someone else was directing. Uh. This film, though,

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Speaker 1: like we've been saying, is a different egg from any

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Speaker 1: of those other films. Shot and five weeks, not too shot,

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Speaker 1: for a higher budget and in England, which also allowed

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Speaker 1: for some tax breaks and I understand, plus access to

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Speaker 1: a better supporting cast. So this is a fine, if

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Speaker 1: not the finest, example of of of Corman's work as

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Speaker 1: a director, showing that he could not only crank out

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Speaker 1: a film on time and on budget, but that he

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Speaker 1: could actually be an artist as well. Yeah, and it is.

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Speaker 1: It is an artful movie. In fact, apparently that was

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Speaker 1: one of the criticisms after it came out, Like it didn't.

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Speaker 1: It didn't perform quite as well as the the the

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Speaker 1: main producers in the production company wanted and they were like, well,

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Speaker 1: it was probably too artsy. It was it was reaching

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Speaker 1: a little too high for the audience, which for weird cinema,

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Speaker 1: that's a good thing. That's a good sign, all right. Now.

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Speaker 1: Obviously this is based on not only one Edgar Allan

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Speaker 1: Post tory, but but two. It's based on both The

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Speaker 1: Mask of the Red Death and Hot Frog Um. Ed

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Speaker 1: Garland Poe lived eighteen o nine through eight forty nine,

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Speaker 1: American writer, poet ed in literary critic, best remembered though

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Speaker 1: for his spooky poems and stories. Um and uh, I

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Speaker 1: was just looking into like some of the adaptations. There's

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Speaker 1: been just so many adaptations of Post stories over the years.

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Speaker 1: The earliest cinematic adaptation of his work was apparently Sherlock

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Speaker 1: Holmes and the Great Murder Mystery, based on pose non

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Speaker 1: Sherlock Holmes novel Murders in the Room Morgue. Um. But

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Speaker 1: the reason that they're though, I do think, uh, I

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Speaker 1: do think it's the case that Arthur Conan Doyle was

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Speaker 1: inspired to write the Sherlock Holmes stories by reading pose

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Speaker 1: Murders in the Room Morgues. So I think Post sort

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Speaker 1: of gave rise to the detective genre in a way.

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Speaker 1: M oh interesting, So they're countless adaptations. Again, they're still

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Speaker 1: cranking out po adaptations. But this is in part due

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Speaker 1: to one key reason, and a key reason that this

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Speaker 1: film was greenlit, and that the other Corman films were greenlit.

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Speaker 1: All the works were in public domain by this point.

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Speaker 1: So I think the other selling factor was, like, they're

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Speaker 1: teaching this in schools. Everybody knows Edgar Allan Poe. Yeah.

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Speaker 1: I think they saw money on both ends, Like, so

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Speaker 1: you wouldn't have to pay for it because now it's

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Speaker 1: in the public domain, and because it's part of school curricula,

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Speaker 1: there's already a built in audience for it. So it's

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Speaker 1: kind of like, you know, the producers today, who would

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Speaker 1: rather make a new entry in an existing franchise than

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Speaker 1: do a totally original film because existing franchise has built

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Speaker 1: in audience, except in this case, they don't have to

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Speaker 1: pay for the rights to that franchise. It's it's public Yeah,

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Speaker 1: and yeah, it's I mean it's still I think it

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Speaker 1: is still taught in schools. I I certainly have a

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Speaker 1: strong memory of encountering Poe in the classroom, and I

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Speaker 1: remember going to see a dramatization of the Telltale Heart

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Speaker 1: as part of a school group and being really impressed

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Speaker 1: by that. Though it's funny, most of this, of the

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Speaker 1: actual narrative content of this film is not in the

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Speaker 1: post story. I mean, this is essentially in original a

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Speaker 1: totally original plot based on UH just kind of loosely

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Speaker 1: based on a scenario described by Poe. So getting into

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Speaker 1: the screenwriters that were responsible for this UH, the the

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Speaker 1: main one really to highlight here is Charles Beaumont, who

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Speaker 1: lived through ninety seven, and he was a pretty big

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Speaker 1: and pretty influential name and speculative fiction of the day.

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Speaker 1: He panned numerous horror and sci fi stories, as well

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Speaker 1: as multiple classic episodes of the original Twilight Zone series

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Speaker 1: titles such as The Howling Man, Static Miniature, Printers Devil,

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Speaker 1: and Number twelve Looks Just Like You, and many of

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Speaker 1: these were adapted from his own stories. He also did

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Speaker 1: film screenplays, including Queen Aouter Space, sixty two's Nine of

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Speaker 1: the Eagle, also sixty two's premature Burial, and The Intruder,

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Speaker 1: which was based on his own novel UH ninety three

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Speaker 1: is the Haunted Place in nineteen sixty four's UH seven

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Speaker 1: Faces of Dr Law. The other writer on This screenwriter

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Speaker 1: is our right, Campbell, who lived seven through two thousand,

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Speaker 1: American screenwriter and author who worked on such films as

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Speaker 1: nineteen fifty seven Man of a Thousand Faces, nineteen fifty eight,

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Speaker 1: Teenage Caveman, and nineteen sixties The Night Fighters. As we said,

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Speaker 1: the screenplay here is very good. Yeah, so yeah, tip

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Speaker 1: of the hat to both these gentlemen. But more than

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Speaker 1: anything else, this movie is about Vince Price. That's right,

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Speaker 1: Vincent Price playing the role of Prince uh Prospero. He

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Speaker 1: lived nineteen eleven through nine, American acting royalty, active on

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Speaker 1: screen from the late thirties to the early nineties. Just

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Speaker 1: I mean everything was great about him. Great voice, great look,

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Speaker 1: great mustache, horror icon but was active in various genres

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Speaker 1: throughout his career, especially early on in his career and

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Speaker 1: then later, you know, especially by the time of these

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Speaker 1: po films, he was really cemented as is the horror guy,

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Speaker 1: and then towards the end of his career he was

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Speaker 1: kind of played more of the celebrity game, doing celebrity appearances,

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Speaker 1: product endorsements, which we've we've had some fun discussing already

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Speaker 1: on the show. And you know, by by this point

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Speaker 1: in his career, he'd very much earned that. Yeah, cameos,

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Speaker 1: you know you could to do the Narration and Thriller,

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Speaker 1: or to be in commercials for the No Jelly Bars. Yeah,

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Speaker 1: the No Jelly Bars, or yeah, go on the Muppet Show,

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Speaker 1: host the Muppet Show. Go for it. So if you

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Speaker 1: want to hear more about Vincent Brice, go back and

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Speaker 1: listen to our episodes on Dr Fibes and also Scream

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Speaker 1: Scream again. Uh. This film, however, is a better showcase

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Speaker 1: for Poe than either of those. He's great in those films,

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Speaker 1: but in this you just get pure villainous price, just

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Speaker 1: top shelf stuff. Totally agree. Now, another actor that's in

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Speaker 1: this one that we've previously discussed in the show, hazel

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Speaker 1: Court plays Julianna hazel Court lived through two thousand and eight.

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Speaker 1: British actor and early horror en a star of Hammer

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Speaker 1: Horror as well. There are films include The Curse of

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Speaker 1: Frankenstein for fifty seven, The Man Who Could Cheat Death

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Speaker 1: from fifty nine. Dr Blood's Coffin from six one and

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Speaker 1: sixty three is the Raven She was in a Devil

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Speaker 1: Girl from Mars. Most recently, that's what we talked about her.

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Speaker 1: That's the film we covered where we were discussing her.

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Speaker 1: On TV, she appeared on both The Twilight Zone and

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Speaker 1: Thriller and Yeah, and this. She is the consort of

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Speaker 1: Prince Prospero, who is almost on board with the whole

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Speaker 1: worship the Prince of Darkness thing. But even when she's

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Speaker 1: all in, Prospero is more interested in the corruption of innocence.

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Speaker 1: You kind of get the sense that, uh, well, maybe

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Speaker 1: we should describe her role after we describe Jane Asher.

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Speaker 1: That's right, Jane Asher plays Francesca uh. Asher was born

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Speaker 1: six as of this recording and still still very much alive.

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Speaker 1: British child actress who transitioned into quite a career as

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Speaker 1: an adult. Some of her most notable film wimes include

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Speaker 1: Deep In from nineteen seventy, Alphie from nineteen sixty six,

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Speaker 1: and Death at a Funeral from two thousand and seven.

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Speaker 1: As a child, she also she appeared in such titles

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Speaker 1: as ninety seven's The Quartermass Experiment. She was also pretty

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Speaker 1: famous for being Paul McCartney's muse for a number of years,

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Speaker 1: inspiring such songs as here, There and Everywhere. So in

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Speaker 1: this movie, Jane Asher plays this This peasant girl Francesca,

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Speaker 1: who is brought to the palace of Prince Prospero because

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Speaker 1: Prospero sees her moral goodness, her Christian piety and her

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Speaker 1: innocence and he's like, I gotta corrupt that, I gotta

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Speaker 1: turn her over into Satan. Uh. And she has an

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Speaker 1: interesting relationship with the character Juliana played by Hazel Court,

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Speaker 1: who you get the sense was once in Francesca's place

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Speaker 1: like she herself maybe was once a morally good, faithful,

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Speaker 1: faithful Christian who was who was innocent as well, but

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Speaker 1: has for for some time now been corrupted and turned

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Speaker 1: to to the dark side of the force. Now she

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Speaker 1: is all in for Satan. And when when Prospero shows

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Speaker 1: up with a new innocent person to corrupt and add

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Speaker 1: into the coven, Julian is kind of jealous, you can

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Speaker 1: feel how you can like she feels snubbed and uh.

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Speaker 1: For some reason, I felt kind of like I felt

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Speaker 1: a strong sympathy for her in that that prosper Oh

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Speaker 1: has now that there's somebody more innocent to corrupt and

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Speaker 1: he's just moved on. Yeah, as with everything in this film,

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Speaker 1: there's so much more nuanced than than a lesser film

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Speaker 1: would give this scenario, and so many other films you

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Speaker 1: can imagine, Yeah, here's your villain, here's the bad girl,

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Speaker 1: here's the good girl. Bad guy wants to do bad

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Speaker 1: things to the good girl. Uh, fair enough, that's, I

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Speaker 1: guess a pretty simple recipe for a horror movie or

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Speaker 1: what have you. But in this yeah, it's a it's

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Speaker 1: a bit more complicated than that. Like she's Francesca is

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Speaker 1: not quite a mere damsel in distress. Like as as

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Speaker 1: she's being corrupted, it's like she has agency in her

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Speaker 1: corrupt shin Um. You get the sense with both these characters,

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Speaker 1: it's not like, well, yeah, you know, he overpowered me

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Speaker 1: with his suave evil. It's like, no, there's a sense

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Speaker 1: that they have listened to the argument for darkness and

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Speaker 1: have been overcome by how pervasive that argument is. But

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Speaker 1: if you want a simplistic hero in your film, well

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Speaker 1: this film's got one as well, and that is the

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Speaker 1: character Gino Gino Guino Gino Gino Gino, played by Dave

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Speaker 1: David Weston born Um. We were talking before we recorded

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Speaker 1: about how a dumber version of the same story would

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Speaker 1: have made Gino the main character, because he's sensibly like

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Speaker 1: the the young male hero. You know, he he gets

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Speaker 1: the sword fight, he gets to be dashing and courageous,

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Speaker 1: but he's not the main character of this movie. In fact,

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Speaker 1: none of the good characters are the main character. It's

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Speaker 1: such an interesting way to arrange in the drama that

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Speaker 1: really the main character of the film is the villain,

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Speaker 1: and there are heroes, there are good characters to root for,

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Speaker 1: but they're all secondary characters. Yeah, And it's this is

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Speaker 1: something that I think would definitely work for so many

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Speaker 1: modern viewers because it's what we've actually come to expect

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Speaker 1: with shows like Game of Thrones and so many other

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Speaker 1: properties where the characters in the forefront are the flawed

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Speaker 1: characters and the complicated characters and sometimes the outright villains

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Speaker 1: of the piece. And like on Game of Thrones, for

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Speaker 1: an example, a character like like you know, he Gino

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Speaker 1: here would be would be in the background, would not

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Speaker 1: be the major character. And and that's the case here. Yeah,

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Speaker 1: he's overshadowed by various other uh characters, and the film

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Speaker 1: is largely more concerned with weirder and more complex figures

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Speaker 1: as opposed to this typical baby face. He's still important

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Speaker 1: to the plot, but he is not the main focus. Yeah,

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Speaker 1: and he's likable as a character. I mean, even though

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Speaker 1: he's not as a complex as some of these other ones.

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Speaker 1: But he he's got a kind of righteous defiance in

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Speaker 1: the face of Prospero's tyranny. That's it's hard not to

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Speaker 1: get behind. Like when when you very first meet him,

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Speaker 1: Prosperose in his village, you know, just sort of looking

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Speaker 1: down on everybody and condescendingly saying, oh, thank you for

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Speaker 1: all the grain, and Gino gets right up in his face.

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Speaker 1: He's like, yeah, you're gonna eat all our grain while

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Speaker 1: we starve that. David Weston was a shakespeare was he

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Speaker 1: is is of this recording. He's still still alive. I

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Speaker 1: don't think he's active anymore. But he was a Shakespearean actor,

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Speaker 1: accomplished actor of stage, TV and screen. He apparently acted

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Speaker 1: in twenty nine of thirty seven shakespeare plays. He appeared

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Speaker 1: in the nineteen sixty four film Beckett, as well as

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Speaker 1: multiple episodes of Doctor Who Uh during the William Hartnell

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Speaker 1: era as the human Nicholas Muss and during the excellent

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Speaker 1: Tom Baker era. Is a thrill by the name of

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Speaker 1: beer Rock, which appears to be a kind of lion man.

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Speaker 1: I have and seen these episodes in particular. He was

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Speaker 1: also in the Don Sharp film from nineteen sixty four,

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Speaker 1: Witchcraft opposite Lawn Cheney Jr. Now, most of the scenes

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Speaker 1: that Gino is in, he's sort of part of a duo.

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Speaker 1: They were like the two men that Francesca cares about,

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Speaker 1: and they are Gino but also her father Ludovico, played

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Speaker 1: by Nigel Green. Yeah, Nigel Green is a Ludo here

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Speaker 1: uh Green live through ninety two British actor who appeared

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Speaker 1: in a bunch of films, including sixty four Is Zulu Nive,

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Speaker 1: The Ip Chris File and nineteen sixty three Is Jason

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Speaker 1: and the Argonauts, in which he played Hercules. Other films

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Speaker 1: include nineteen seventy ones Countess Dracula, sixty five The Skull,

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Speaker 1: and his final film was a nineteen seventy three adaptation

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Speaker 1: of Sir Gawain and The Green Night, in which he

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Speaker 1: plays the Green Night opposite. Looks like a really good

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Speaker 1: cast of the likes of Robert Hardy, Ronald Lacey and

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Speaker 1: Richard Harndel Lazy. He's the He's the Nazi and uh

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Speaker 1: and Indian and Raiders. Yes, he's the man in black

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Speaker 1: with the the Peter laure esque character and raiders Yes, yeah, yeah,

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Speaker 1: tote yeah the yeah, the officer who who melts gloriously

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Speaker 1: at the end. Now we've said that, uh, of course

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Speaker 1: Prices Prospero in this movie is thoroughly evil, but he's

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Speaker 1: also kind of complex and kind of interesting and comes

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Speaker 1: off as a more thoughtful brand of evil. On the

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Speaker 1: other hand, there are just like straight up, you know,

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Speaker 1: mustache twirling evil evil creeps in this movie. And a

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Speaker 1: great example of that is Alfredo. Yes, played by the

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Speaker 1: accomplished British stagage actor Patrick McGhee who lived through two. Uh.

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Speaker 1: This guy, this guy has a very recognizable face and build. Uh.

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Speaker 1: Alfredo is a is a blunt object of of a villain,

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Speaker 1: and he has the and the McGhee had the physicality

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Speaker 1: to back that up. Um. He He did a lot

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Speaker 1: of horror films, but he also pops up in a

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Speaker 1: number of other works. He was in two Stanley Kubrick films,

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Speaker 1: A Clockwork Orange and seventy one and Barry Lyndon and

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Speaker 1: seventy five. He was in William Friedkins The Birthday Party

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Speaker 1: from sixty eight nineteen seventies Cromwell. He was in Chariots

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Speaker 1: of Fire, but he also yeah, it was in a

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Speaker 1: ton of horror movies, including uh Lucio folchi one film,

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Speaker 1: The Black Cat nineteen seventy two, Demons of the Mind,

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Speaker 1: the nineteen seventy two Amicus film Tales from the Crypt,

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Speaker 1: sixty five, Die, Monster, Die, and Francis Ford Coppola's Dimentia

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Speaker 1: thirteen from nineteen sixty three. I'm trying to figure out

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Speaker 1: if I've seen Fulchiese Black Cat. I don't think I have.

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Speaker 1: I don't think I've seen that one, But now you

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Speaker 1: have a reason to because Alfredo is in it. Alfredo

423
00:25:05,960 --> 00:25:08,600
Speaker 1: is so slimy, you just you hate him from the

424
00:25:08,640 --> 00:25:10,880
Speaker 1: moment you see him, and then everything he does makes

425
00:25:10,880 --> 00:25:13,680
Speaker 1: it even worse. Yeah, and he has a number of

426
00:25:13,680 --> 00:25:17,840
Speaker 1: of interactions with Vincent Price. But he's also very much

427
00:25:17,880 --> 00:25:20,639
Speaker 1: the villain of our B plot. We have a B

428
00:25:21,000 --> 00:25:24,840
Speaker 1: revenge plot and it involves both Alfredo and a character

429
00:25:24,920 --> 00:25:28,000
Speaker 1: by the name of hop Toad. Hop Toed is great. Yeah,

430
00:25:28,000 --> 00:25:31,239
Speaker 1: hop Toad is really good. And and the thing is

431
00:25:31,280 --> 00:25:33,679
Speaker 1: this whole B plot with hop Toad, which is based

432
00:25:33,760 --> 00:25:39,640
Speaker 1: on the Edgar Allan Poe story Hop Frog this would

433
00:25:39,640 --> 00:25:43,480
Speaker 1: I think be otherwise maybe a forgettable distraction in the film.

434
00:25:43,560 --> 00:25:45,800
Speaker 1: You might find yourself saying, well, this is okay, but

435
00:25:45,840 --> 00:25:47,440
Speaker 1: when are we going to get back to the main plot.

436
00:25:48,280 --> 00:25:52,239
Speaker 1: Except the character playing hop Toad is so good, uh,

437
00:25:52,680 --> 00:25:57,800
Speaker 1: played by Skip Martin, who lived this is a short

438
00:25:57,880 --> 00:26:02,080
Speaker 1: statured British actor born Eric George Horowitz and not to

439
00:26:02,160 --> 00:26:03,879
Speaker 1: be confused with I think there's some other actors and

440
00:26:04,000 --> 00:26:08,000
Speaker 1: musicians who use the moniker Skip Martin, but yeah, he

441
00:26:08,119 --> 00:26:12,960
Speaker 1: plays this character that like so much in the film. Yeah,

442
00:26:13,200 --> 00:26:15,520
Speaker 1: you can imagine a version in which this is just

443
00:26:15,680 --> 00:26:19,560
Speaker 1: a straight up like you know, like like evil Dwarf

444
00:26:19,680 --> 00:26:22,840
Speaker 1: sort of a character or something. But with with the

445
00:26:22,880 --> 00:26:26,880
Speaker 1: Skip Martin's hop Toad, you know, he's charismatic, he's believable

446
00:26:27,119 --> 00:26:29,479
Speaker 1: as a as a is a human character, while at

447
00:26:29,560 --> 00:26:32,720
Speaker 1: the same time being whimsical and of course having a

448
00:26:32,880 --> 00:26:36,560
Speaker 1: just vicious revenge plot in motion. So he's he's he

449
00:26:36,920 --> 00:26:39,600
Speaker 1: ultimately is one of the highlights of the film. Yeah. Absolutely,

450
00:26:39,680 --> 00:26:42,720
Speaker 1: Skip Martin is wonderful in this. It's so hard not

451
00:26:42,920 --> 00:26:45,560
Speaker 1: to love him even when he's even when his revenge

452
00:26:47,080 --> 00:26:51,080
Speaker 1: on a nasty character for a nasty act turns extremely brutal.

453
00:26:51,960 --> 00:26:53,640
Speaker 1: I don't know, it just doesn't really bother you. It's

454
00:26:53,680 --> 00:26:57,040
Speaker 1: just like, good job, good job, hop toad. Yeah, that's

455
00:26:57,080 --> 00:26:59,879
Speaker 1: the Prince Prospero's response as well. It's like, that's the

456
00:27:00,119 --> 00:27:03,920
Speaker 1: good give him a tip, give him a reward for

457
00:27:04,040 --> 00:27:08,600
Speaker 1: burning one of my guests alive. Uh. Skip Martin wasn't

458
00:27:08,600 --> 00:27:10,240
Speaker 1: in a ton of films, but he was active through

459
00:27:10,480 --> 00:27:13,399
Speaker 1: seventy five and during the sixties and seventies he was

460
00:27:13,440 --> 00:27:16,720
Speaker 1: in a number of mostly horror films, the likes of

461
00:27:16,840 --> 00:27:21,200
Speaker 1: The hell Fire Club, Psycho Circus, Vampire Circus, Son of Dracula,

462
00:27:21,240 --> 00:27:24,359
Speaker 1: and Horror Hospital. But yeah, during that time he got

463
00:27:24,440 --> 00:27:28,919
Speaker 1: to work in pictures with names like Price Cushing, Lee Uh,

464
00:27:29,119 --> 00:27:33,600
Speaker 1: Patrick mcnaid, Diana Rigg uh some some great names and

465
00:27:33,720 --> 00:27:35,399
Speaker 1: some in many of these like it's not just he

466
00:27:35,480 --> 00:27:36,920
Speaker 1: was in the same picture with him and he had

467
00:27:37,040 --> 00:27:39,879
Speaker 1: screen time with them. He was interacting with with some

468
00:27:40,200 --> 00:27:43,479
Speaker 1: great actors of the day. Skip Martin is wonderful. Now

469
00:27:43,560 --> 00:27:45,560
Speaker 1: this is Mask of the Red Death, and there is

470
00:27:45,640 --> 00:27:48,560
Speaker 1: a character that is the Red Death or the with

471
00:27:48,680 --> 00:27:52,000
Speaker 1: the the man in Red Um. I think he's referred

472
00:27:52,040 --> 00:27:55,720
Speaker 1: to in different different ways, but this is an uncredited

473
00:27:55,800 --> 00:27:59,040
Speaker 1: performance by an actor by the name of John Westbrook,

474
00:27:59,080 --> 00:28:02,879
Speaker 1: who lived any two through nine. He also worked in

475
00:28:03,000 --> 00:28:05,920
Speaker 1: Corman's po follow up to this film, The Tomb of Legia.

476
00:28:06,720 --> 00:28:10,400
Speaker 1: He was the voice of Treebeard in the animated adaptation

477
00:28:10,440 --> 00:28:12,959
Speaker 1: of The Lord of the Rings, and he also apparently

478
00:28:13,040 --> 00:28:15,440
Speaker 1: did a lot of work and with radio plays and

479
00:28:15,520 --> 00:28:18,159
Speaker 1: audio books, which should come as no surprise because he

480
00:28:18,240 --> 00:28:23,280
Speaker 1: has this really rich, velvety voice. When he first spoke,

481
00:28:23,720 --> 00:28:26,720
Speaker 1: I was like, it's Christopher Lee, and I really thought

482
00:28:26,760 --> 00:28:28,880
Speaker 1: it was him until I looked it up and it's

483
00:28:28,960 --> 00:28:32,359
Speaker 1: not Christopher Lee, but he sounds enough like him. Yeah,

484
00:28:32,480 --> 00:28:36,320
Speaker 1: it's very Christopher Lee asked. It has that that, like,

485
00:28:36,440 --> 00:28:39,040
Speaker 1: that rich quality to it. It's it's a voice that

486
00:28:39,120 --> 00:28:42,560
Speaker 1: can go head to head with Vincent Price in these scenes. Yes,

487
00:28:43,120 --> 00:28:45,680
Speaker 1: and I like the way the character is written as well.

488
00:28:46,040 --> 00:28:50,240
Speaker 1: He uh he. He is very economical with his words.

489
00:28:50,600 --> 00:28:55,240
Speaker 1: He speaks often in very pointed, clipped sentences that are

490
00:28:56,640 --> 00:29:00,920
Speaker 1: extremely ominous and effective. Yeah. Now you mentioned how beautiful

491
00:29:01,000 --> 00:29:04,200
Speaker 1: this film is. Is just wonderful to watch, and a

492
00:29:04,280 --> 00:29:06,560
Speaker 1: lot of that also has to do with the cinematography,

493
00:29:07,200 --> 00:29:09,520
Speaker 1: which is the work of Nicholas Rogue, who lived nine

494
00:29:10,200 --> 00:29:12,160
Speaker 1: through two thousand and eighteen. This is a name that

495
00:29:12,960 --> 00:29:15,840
Speaker 1: that should uh ring a bell with a number of you.

496
00:29:16,200 --> 00:29:19,560
Speaker 1: It totally made sense how good this movie looked when

497
00:29:19,560 --> 00:29:22,800
Speaker 1: I realized he was the cinematographer. Yeah. Yeah, he served

498
00:29:22,840 --> 00:29:25,200
Speaker 1: as a cinematographer on a number of films, and not

499
00:29:25,360 --> 00:29:29,040
Speaker 1: only this, but also nineteen sixty six is Fahrenheit four

500
00:29:29,160 --> 00:29:31,959
Speaker 1: fifty one. But he's probably best known as the director

501
00:29:32,000 --> 00:29:35,280
Speaker 1: of such films as the nineteen seventy one outback thriller

502
00:29:35,400 --> 00:29:38,960
Speaker 1: Walk About nineteen seventy threes. Don't look now, I know

503
00:29:39,120 --> 00:29:42,760
Speaker 1: that's one you've mentioned before, Joe. Oh, yeah, that's a

504
00:29:43,080 --> 00:29:46,640
Speaker 1: horrifying film. Is extremely good. Uh And then on the

505
00:29:46,800 --> 00:29:49,040
Speaker 1: like The Trip or End of the Spectrum. He directed

506
00:29:49,160 --> 00:29:51,400
Speaker 1: nineteen seventy six is The Man Who Fell to Earth,

507
00:29:51,480 --> 00:29:54,920
Speaker 1: starring David Bowie. Other films of note include nineteen nineties

508
00:29:55,040 --> 00:29:57,760
Speaker 1: The Witches and I was surprised I didn't know anything

509
00:29:57,760 --> 00:30:01,520
Speaker 1: about this. But his later career as moves around through

510
00:30:01,600 --> 00:30:05,120
Speaker 1: different genres. I mean there's, for instance, there's some there's

511
00:30:05,160 --> 00:30:07,640
Speaker 1: some erotica in there, but then there's also a nine

512
00:30:08,360 --> 00:30:11,840
Speaker 1: mini series of Samson and Delilah with a really solid cast.

513
00:30:12,760 --> 00:30:15,600
Speaker 1: The production designer on this was also someone of note,

514
00:30:15,680 --> 00:30:19,640
Speaker 1: Daniel Holler born nine. We've talked about him before because

515
00:30:19,680 --> 00:30:23,520
Speaker 1: he directed nineteen seventies The Dunwich Horror Oh with Dean Stockwell,

516
00:30:23,640 --> 00:30:27,200
Speaker 1: Sander d and Ed Begley. Yeah. Yeah, very fun film.

517
00:30:27,240 --> 00:30:29,680
Speaker 1: Go back and listen to the past Weird House episode

518
00:30:29,680 --> 00:30:32,680
Speaker 1: on that if you're interested. That was a Lovecraft adaptation.

519
00:30:32,800 --> 00:30:36,320
Speaker 1: But Holler also directed in nineteen sixty five Lovecraft adaptation

520
00:30:36,440 --> 00:30:40,680
Speaker 1: Die Monster Die, starring Boris Karloff. He did some biker films,

521
00:30:41,280 --> 00:30:44,040
Speaker 1: he did some TV work, but yeah, he was the

522
00:30:44,040 --> 00:30:47,280
Speaker 1: production designer on this film. And then finally, the music

523
00:30:47,360 --> 00:30:49,800
Speaker 1: for this film is the work of David Lee born

524
00:30:49,920 --> 00:30:53,160
Speaker 1: ninety six. Um. This is one of those scores that

525
00:30:53,440 --> 00:30:55,520
Speaker 1: is not necessarily the kind of thing I would seek

526
00:30:55,560 --> 00:30:59,840
Speaker 1: out to listen into in isolation, But for this film,

527
00:31:00,120 --> 00:31:03,960
Speaker 1: it's really solid. I think it's really effective. It evokes

528
00:31:04,000 --> 00:31:07,840
Speaker 1: a nice Gothic cinema sensibility for the time period. Oh yeah,

529
00:31:07,920 --> 00:31:12,120
Speaker 1: especially in the final scenes, like in the confrontation between

530
00:31:12,200 --> 00:31:15,280
Speaker 1: Prince Prospero and the Red Death as the dancers are circling,

531
00:31:16,000 --> 00:31:19,520
Speaker 1: the music gets intense and it's very good. Yeah, Uh.

532
00:31:19,720 --> 00:31:22,960
Speaker 1: David Lee was Slash is a prominent pianist and a

533
00:31:23,080 --> 00:31:25,719
Speaker 1: ranger who also composed for film, TV and a lot

534
00:31:25,760 --> 00:31:29,360
Speaker 1: of television ads apparently, and I think he's also a novelist. Uh.

535
00:31:29,480 --> 00:31:31,840
Speaker 1: This was probably his biggest film that he composed for,

536
00:31:32,600 --> 00:31:35,280
Speaker 1: but he did at least a handful of film scores,

537
00:31:35,960 --> 00:31:39,760
Speaker 1: including nineteen sixty three's The Very Edge, which has been

538
00:31:39,800 --> 00:31:42,200
Speaker 1: sort on my radar before because it's one of the

539
00:31:42,320 --> 00:31:45,880
Speaker 1: very few genre films to to star Jeremy Brett, who

540
00:31:46,520 --> 00:31:50,040
Speaker 1: is famous for his betrayal of his Sherlock Holmes. But

541
00:31:50,160 --> 00:31:53,160
Speaker 1: when you look around for like weird you know, psychatronic

542
00:31:53,280 --> 00:31:55,840
Speaker 1: films that Jeremy Brett was in, there aren't very many,

543
00:31:56,080 --> 00:31:59,920
Speaker 1: uh contenders. The Very Edge is one of the very few.

544
00:32:00,480 --> 00:32:03,520
Speaker 1: Probably not a film we'd we'd necessarily tackle on Weird House,

545
00:32:03,600 --> 00:32:06,120
Speaker 1: but it's it stood out to me before Well, are

546
00:32:06,120 --> 00:32:09,760
Speaker 1: you ready to discuss the plot of this American international picture.

547
00:32:10,120 --> 00:32:13,800
Speaker 1: Let's do it once again? A Corman movie for a

548
00:32:13,960 --> 00:32:17,959
Speaker 1: I p coming in hot with an awesome credit sequence design.

549
00:32:18,560 --> 00:32:21,160
Speaker 1: Even some of his you know, drive in B movies

550
00:32:21,240 --> 00:32:24,800
Speaker 1: had great looking credits, uh, and these are also great

551
00:32:24,840 --> 00:32:28,000
Speaker 1: in a way that I can understand by by uh,

552
00:32:28,680 --> 00:32:30,600
Speaker 1: some of the producers may have been seen as two

553
00:32:30,680 --> 00:32:33,520
Speaker 1: artsy FARTZI, but I think it's wonderful. So we see

554
00:32:33,560 --> 00:32:35,320
Speaker 1: like the mask of the red death title, but in

555
00:32:35,400 --> 00:32:40,600
Speaker 1: the background there is a growing splatter of red, as

556
00:32:40,680 --> 00:32:45,280
Speaker 1: if blood. But the red splatter actually doesn't look exactly

557
00:32:45,360 --> 00:32:47,680
Speaker 1: like blood, because it doesn't look like the splashing of

558
00:32:47,840 --> 00:32:51,400
Speaker 1: round droplets, and instead it looks more like, uh, some

559
00:32:51,560 --> 00:32:56,200
Speaker 1: kind of fibrous growth like hairs or filaments or branches

560
00:32:56,360 --> 00:33:00,920
Speaker 1: of blood. And it gradually spreads and spreads across more

561
00:33:00,960 --> 00:33:04,520
Speaker 1: of the screen until the red holds illimitable dominion. Overall

562
00:33:05,080 --> 00:33:08,640
Speaker 1: very fitting. Now we open on one of my favorite things,

563
00:33:08,960 --> 00:33:13,760
Speaker 1: a spooky indoor for outdoor set. I'm about sure that's

564
00:33:13,800 --> 00:33:15,560
Speaker 1: what it is. I'd say more than ninety This is

565
00:33:15,560 --> 00:33:20,400
Speaker 1: almost definitely an indoor set. But it looks amazing. Fog

566
00:33:20,680 --> 00:33:25,760
Speaker 1: drifting through the darkness, dead tree limbs, uh, and an

567
00:33:25,800 --> 00:33:28,560
Speaker 1: atmosphere that's just like so heavy you can feel it.

568
00:33:29,040 --> 00:33:31,720
Speaker 1: And then you see a peasant woman wrapped in rags

569
00:33:31,880 --> 00:33:36,080
Speaker 1: climbing a hill covered in soft earth. Uh. And what

570
00:33:36,320 --> 00:33:39,160
Speaker 1: ran through my head looking at this is the Thomas

571
00:33:39,240 --> 00:33:44,240
Speaker 1: Hobbes description of life without civilization. Solitary, poor, nasty, brutish

572
00:33:44,320 --> 00:33:48,080
Speaker 1: and short, just a desolate view of life. Uh. And

573
00:33:48,200 --> 00:33:50,600
Speaker 1: then we see the peasant woman walk up to the

574
00:33:50,680 --> 00:33:54,640
Speaker 1: top of the hill and she walks around collecting dead fall.

575
00:33:54,800 --> 00:33:57,760
Speaker 1: She's gathering twigs I guess to burn, until she finally

576
00:33:57,880 --> 00:34:02,560
Speaker 1: wanders past a dead tree and a figure cloaked in red,

577
00:34:02,840 --> 00:34:05,000
Speaker 1: and the man in red is sitting cradled in the

578
00:34:05,160 --> 00:34:08,120
Speaker 1: roots of the dead tree, and he calls out to her.

579
00:34:08,200 --> 00:34:12,480
Speaker 1: He says, grandmother, come closer, and she does, and he

580
00:34:12,640 --> 00:34:16,680
Speaker 1: produces a white rose and then he waves his hand

581
00:34:16,800 --> 00:34:19,840
Speaker 1: over it and the white rose turns to red. And

582
00:34:19,920 --> 00:34:22,120
Speaker 1: then he hands her the flower and says, take this

583
00:34:22,280 --> 00:34:25,120
Speaker 1: to your village and tell the people the day of

584
00:34:25,200 --> 00:34:28,560
Speaker 1: their deliverance is at hand. She bows to the man

585
00:34:28,680 --> 00:34:32,040
Speaker 1: in red, takes the rose, and totters off on her way.

586
00:34:32,719 --> 00:34:37,000
Speaker 1: This cannot be good, but we immediately sorry, no, no, no,

587
00:34:37,200 --> 00:34:39,520
Speaker 1: it's just yeah, it's it's it's such a great scene.

588
00:34:39,560 --> 00:34:43,560
Speaker 1: It's very uh it's it's played seriously, and uh, yeah,

589
00:34:43,680 --> 00:34:45,600
Speaker 1: this does not bode well for the village. We know

590
00:34:45,719 --> 00:34:48,360
Speaker 1: what he's getting at. He's like, here's some here's some

591
00:34:48,480 --> 00:34:51,200
Speaker 1: here's a brand new disease for your grandma. Go share

592
00:34:51,280 --> 00:34:54,440
Speaker 1: this with the rest, right. Uh, you know it's it's

593
00:34:54,440 --> 00:34:58,600
Speaker 1: gonna go viral. Um. You know. The what's also not

594
00:34:58,760 --> 00:35:00,920
Speaker 1: good for the village as a VI it from the Prince.

595
00:35:01,280 --> 00:35:04,040
Speaker 1: He's going to ride in to speak to people. And

596
00:35:04,760 --> 00:35:07,799
Speaker 1: the Prince he's a reckless driver for one thing. I mean,

597
00:35:07,840 --> 00:35:10,239
Speaker 1: I guess he's not driving, but he it seems like

598
00:35:10,400 --> 00:35:15,040
Speaker 1: he has instructed the carriage driver do not mind if

599
00:35:15,080 --> 00:35:18,680
Speaker 1: there are children playing in the street. Yeah, we get

600
00:35:18,719 --> 00:35:20,799
Speaker 1: the great scene where there's a there's a child there

601
00:35:20,840 --> 00:35:24,040
Speaker 1: in the path of the carriage, and our hero Geno

602
00:35:24,120 --> 00:35:26,239
Speaker 1: has to to run into the street and scoop up

603
00:35:26,239 --> 00:35:28,080
Speaker 1: the child to keep the child from me. Just run

604
00:35:28,200 --> 00:35:31,960
Speaker 1: over by the Prospero Express here. And then we get

605
00:35:32,000 --> 00:35:34,719
Speaker 1: a Price reveal. One of the soldiers pulls back the

606
00:35:34,800 --> 00:35:38,200
Speaker 1: curtain from the carriage and there's Price inside, wearing a

607
00:35:38,880 --> 00:35:45,880
Speaker 1: funny hat and glittering gold raiment. Uh, just a beautiful

608
00:35:45,920 --> 00:35:49,919
Speaker 1: outfit standing amidst all these poor peasants. And he comes

609
00:35:49,960 --> 00:35:52,960
Speaker 1: out and he thunders to them, according to my custom,

610
00:35:53,040 --> 00:35:55,600
Speaker 1: I have come here personally to thank you for the

611
00:35:55,680 --> 00:35:58,800
Speaker 1: year's harvest. And to invite you to a feast to

612
00:35:58,920 --> 00:36:02,080
Speaker 1: be held in a fortnite when annually I gather about

613
00:36:02,200 --> 00:36:06,600
Speaker 1: me the nobles of the countryside. So he's being generous,

614
00:36:06,719 --> 00:36:09,440
Speaker 1: it seems he's he's offering that they can come up

615
00:36:09,480 --> 00:36:12,400
Speaker 1: to a feast at his castle. Yeah, and and you

616
00:36:12,480 --> 00:36:14,840
Speaker 1: know they get to look at these fabulous costumes. This

617
00:36:14,920 --> 00:36:17,719
Speaker 1: is the first of so many costumes that Vincent Price

618
00:36:17,800 --> 00:36:21,239
Speaker 1: wears in this film. But Gino is not going to

619
00:36:21,400 --> 00:36:24,359
Speaker 1: stand for this farce. He he uh, you know, he says, oh,

620
00:36:24,480 --> 00:36:26,719
Speaker 1: come to your castle. He gets up in Price's face

621
00:36:26,760 --> 00:36:29,120
Speaker 1: and he says, when you'll throw us the scraps from

622
00:36:29,200 --> 00:36:32,680
Speaker 1: your table as if we were dogs and Prices exactly.

623
00:36:33,040 --> 00:36:35,600
Speaker 1: But these dogs have a loud bark and show their

624
00:36:35,680 --> 00:36:40,080
Speaker 1: teeth why And I love this moment, especially because it

625
00:36:40,200 --> 00:36:43,680
Speaker 1: reminds me of my favorite part of Superman Too, where

626
00:36:43,880 --> 00:36:48,640
Speaker 1: Lex Luthor says something vaguely disrespectful to Tarrant Stamp as

627
00:36:48,719 --> 00:36:52,000
Speaker 1: General's odd and then Zod replies, why do you say

628
00:36:52,080 --> 00:36:54,000
Speaker 1: this to me when you know I will kill you

629
00:36:54,160 --> 00:36:58,919
Speaker 1: for it? But the young man explains why why he's

630
00:36:58,920 --> 00:37:01,480
Speaker 1: got more more bar work than usual. He says, well,

631
00:37:01,880 --> 00:37:04,399
Speaker 1: an old woman from our village. I met a holy

632
00:37:04,440 --> 00:37:06,840
Speaker 1: man up on the hill and he made a prophecy.

633
00:37:07,040 --> 00:37:09,520
Speaker 1: He said, the day of our deliverance was at hand.

634
00:37:09,680 --> 00:37:12,840
Speaker 1: So the stranger and read his message has now spread

635
00:37:12,880 --> 00:37:15,479
Speaker 1: to the village. Yeah, they don't have much to lose.

636
00:37:15,840 --> 00:37:19,400
Speaker 1: Their embolded by prophecy now and so at least a

637
00:37:19,480 --> 00:37:22,920
Speaker 1: couple of them are standing up right, and they interpret

638
00:37:23,160 --> 00:37:29,560
Speaker 1: the prophecy of deliverance as deliverance from Prospero's tyranny. But Prospero,

639
00:37:29,719 --> 00:37:32,400
Speaker 1: Prospero is kind of amused. You know, he's giving them

640
00:37:32,480 --> 00:37:35,360
Speaker 1: the Terrance stamp, and then he just instructs his soldier

641
00:37:35,520 --> 00:37:38,359
Speaker 1: soldiers to garat them. Yeah. Yeah, it turns his back

642
00:37:38,440 --> 00:37:41,560
Speaker 1: on them. It's a what cold moment. He is a

643
00:37:41,719 --> 00:37:45,160
Speaker 1: cold villain in this scene. Yeah, but they're saved. At

644
00:37:45,200 --> 00:37:48,920
Speaker 1: the last moment, a beautiful young woman from the village intervenes.

645
00:37:49,040 --> 00:37:52,200
Speaker 1: She runs to Prince Prospero to beg him for mercy.

646
00:37:52,440 --> 00:37:55,600
Speaker 1: She says, mercy in the name of God, And here

647
00:37:55,680 --> 00:37:58,680
Speaker 1: we get a kind of surprising turn. Prospero so far

648
00:37:58,880 --> 00:38:02,880
Speaker 1: is just a rutal, narcissistic tyrant, So you would think

649
00:38:02,920 --> 00:38:05,239
Speaker 1: he would just say oh, you know Garatta too. But

650
00:38:05,680 --> 00:38:08,040
Speaker 1: when one of his soldiers throws the young woman to

651
00:38:08,080 --> 00:38:11,640
Speaker 1: the ground and Prospero slaps the soldier and rebukes him,

652
00:38:11,680 --> 00:38:15,600
Speaker 1: he says she was addressing me, um, so he seems

653
00:38:15,920 --> 00:38:20,759
Speaker 1: interested by her plea for mercy. She introduces herself as Francesca.

654
00:38:20,840 --> 00:38:25,560
Speaker 1: This is Jane Asher, and Francesca is disheveled and dirty

655
00:38:25,719 --> 00:38:27,680
Speaker 1: to show she's a poor peasant. But she also has

656
00:38:27,719 --> 00:38:29,759
Speaker 1: a huge cross on her neck to show that she

657
00:38:29,920 --> 00:38:32,840
Speaker 1: is pious. Yeah, big silver cross, cleanest thing in the

658
00:38:32,880 --> 00:38:36,040
Speaker 1: whole village, it is yes. Uh. And she she begs

659
00:38:36,120 --> 00:38:40,759
Speaker 1: forgiveness for these two men. But as Prospero going to listen, Prospero,

660
00:38:41,200 --> 00:38:43,399
Speaker 1: he says, you know, he does not forgive. He gives

661
00:38:43,440 --> 00:38:46,359
Speaker 1: a speech about how if my hound bites my hand,

662
00:38:46,600 --> 00:38:50,240
Speaker 1: I cannot you know, let it go on disciplined. However,

663
00:38:50,640 --> 00:38:53,680
Speaker 1: at the same time, having seen the film already, in

664
00:38:53,760 --> 00:38:55,560
Speaker 1: this scene now it makes sense. You can see the

665
00:38:55,600 --> 00:38:58,719
Speaker 1: gears turning in his head. He seems so taken with

666
00:38:58,840 --> 00:39:02,120
Speaker 1: her innocence and her her selfless pleas for for help

667
00:39:02,239 --> 00:39:05,959
Speaker 1: for these two men. Uh. You can see him thinking, Wow,

668
00:39:06,120 --> 00:39:09,680
Speaker 1: this humble Christian would be perfect for my satanic covin.

669
00:39:10,120 --> 00:39:12,719
Speaker 1: So he almost immediately starts playing the mind games here

670
00:39:12,760 --> 00:39:15,720
Speaker 1: with her. Yes, so he tries to negotiate. He's like, okay,

671
00:39:16,239 --> 00:39:17,839
Speaker 1: one of these guys, you want to say, if one

672
00:39:18,000 --> 00:39:20,040
Speaker 1: must die but the other can live, and you have

673
00:39:20,160 --> 00:39:23,759
Speaker 1: to choose, But she explains she can't choose because one

674
00:39:23,840 --> 00:39:27,120
Speaker 1: of them is her father, Ludovico, and the other Gino,

675
00:39:27,480 --> 00:39:29,920
Speaker 1: is the man she loves. Uh. This is also the

676
00:39:30,000 --> 00:39:34,239
Speaker 1: moment where, incidentally, we get the first line from Alfredo

677
00:39:34,400 --> 00:39:38,800
Speaker 1: the Creep. He's this sniveling aristocrat who leans in h

678
00:39:38,840 --> 00:39:41,680
Speaker 1: and he's all excited about the entertainment. He goes, can

679
00:39:41,800 --> 00:39:45,759
Speaker 1: such eyes have evan known sin? And then Price says

680
00:39:45,840 --> 00:39:49,680
Speaker 1: they will, Alfredo, they will. So Francesca has to choose,

681
00:39:49,760 --> 00:39:51,960
Speaker 1: but she can't. And just when you think they're going

682
00:39:52,000 --> 00:39:55,360
Speaker 1: to force her to choose, they're interrupted because a scream

683
00:39:55,640 --> 00:39:58,920
Speaker 1: draws them to a nearby hut in the village. Prospero

684
00:39:59,040 --> 00:40:02,480
Speaker 1: goes to investigate the scream, and oh, boy, guess what

685
00:40:02,560 --> 00:40:05,440
Speaker 1: time it is. It's red death time. He says. It's

686
00:40:05,480 --> 00:40:08,960
Speaker 1: a lady who's like, you know, laying there trembling. She

687
00:40:09,080 --> 00:40:12,040
Speaker 1: turns her head over and screams, and her face is

688
00:40:12,160 --> 00:40:15,719
Speaker 1: splattered with with red blood and pock marks, and this

689
00:40:15,880 --> 00:40:18,400
Speaker 1: is the way the Red Death is depicted in the movie.

690
00:40:19,000 --> 00:40:21,800
Speaker 1: Price knows what he's looking at. He's like, that's the

691
00:40:21,880 --> 00:40:24,839
Speaker 1: Red Death. We've got to get out of here immediately. Yeah,

692
00:40:24,920 --> 00:40:27,880
Speaker 1: he's like, all right, pack these three individuals of interest

693
00:40:27,960 --> 00:40:30,319
Speaker 1: up and just burn the burn the town to the ground,

694
00:40:30,400 --> 00:40:32,920
Speaker 1: burn everything else. Oh yeah, it's almost as an afterthought

695
00:40:32,920 --> 00:40:34,719
Speaker 1: when they're leaving. Well, so yeah, like you said, he

696
00:40:34,880 --> 00:40:37,400
Speaker 1: he says, uh, okay, take these three to the castle.

697
00:40:37,600 --> 00:40:39,600
Speaker 1: These two guys were gonna send them to the dungeon.

698
00:40:39,960 --> 00:40:42,120
Speaker 1: Francesca is gonna come with me, because again I think

699
00:40:42,160 --> 00:40:44,920
Speaker 1: he's thinking, Francesca is a total goody two shoes. We've

700
00:40:44,920 --> 00:40:47,719
Speaker 1: got to get her some heavy metal records, uh, and

701
00:40:48,040 --> 00:40:50,400
Speaker 1: and win her over for for the Lord of Darkness.

702
00:40:50,840 --> 00:40:53,879
Speaker 1: So they're they're leaving, and then Prospero is like, yes,

703
00:40:54,000 --> 00:40:56,680
Speaker 1: by the way, he killed them all, such a villain,

704
00:40:57,040 --> 00:40:59,279
Speaker 1: so cold. So they head off to the castle. The

705
00:40:59,320 --> 00:41:03,040
Speaker 1: poor village is consumed by flames, and here we go

706
00:41:03,320 --> 00:41:06,680
Speaker 1: to the secluded palace of Prospero, where we will spend

707
00:41:06,719 --> 00:41:10,520
Speaker 1: pretty much the entire rest of the movie. Uh. Prospero

708
00:41:10,600 --> 00:41:14,040
Speaker 1: sends out notice to his other wicked aristocratic friends that

709
00:41:14,200 --> 00:41:16,560
Speaker 1: they must come to the castle and shelter with him

710
00:41:17,000 --> 00:41:20,680
Speaker 1: and attend a large festival, a masquerade ball. They're going

711
00:41:20,760 --> 00:41:23,920
Speaker 1: to party through the plague. Yeah, and he warns them

712
00:41:24,040 --> 00:41:25,759
Speaker 1: don't go visit that town that I just had to

713
00:41:25,800 --> 00:41:28,080
Speaker 1: burn to the ground though. If you do that, you

714
00:41:28,160 --> 00:41:41,960
Speaker 1: can't come inside. Yep, yep, yep. Now Prospero here introduces

715
00:41:42,520 --> 00:41:47,120
Speaker 1: Francesca to his consort Juliana again. This is Hazel Court

716
00:41:47,200 --> 00:41:50,680
Speaker 1: from Devil Girl from Mars, and together they are going

717
00:41:50,760 --> 00:41:53,040
Speaker 1: to turn Francesca to the dark side of the force

718
00:41:53,920 --> 00:41:56,200
Speaker 1: Price like. There's a scene where Price says, hey, you're

719
00:41:56,239 --> 00:41:58,479
Speaker 1: wearing a cross around your neck. Are you a true

720
00:41:58,560 --> 00:42:01,480
Speaker 1: Christian believer in French Usca says yes, she is, and

721
00:42:01,600 --> 00:42:03,879
Speaker 1: he says, well, you can't wear that. Nobody is allowed

722
00:42:03,920 --> 00:42:06,279
Speaker 1: to wear across in this castle. You must never wear

723
00:42:06,320 --> 00:42:08,920
Speaker 1: it again. And here in this scene we start to

724
00:42:09,000 --> 00:42:13,520
Speaker 1: get the conflict between Julianna and Francesca. As we talked

725
00:42:13,560 --> 00:42:17,080
Speaker 1: about earlier. Julianna is jealous, I get you know, she

726
00:42:17,280 --> 00:42:20,600
Speaker 1: already got corrupted and turned to evil. And now Prospero

727
00:42:20,760 --> 00:42:23,839
Speaker 1: has a new friend to satan ify, and he's she's

728
00:42:23,880 --> 00:42:26,120
Speaker 1: feeling left out. Now this is where we get that

729
00:42:26,200 --> 00:42:28,560
Speaker 1: scene with the bathtub, right, they take her to the

730
00:42:30,280 --> 00:42:35,480
Speaker 1: most gloriously overdecorated bathtub you've ever seen with what are

731
00:42:35,520 --> 00:42:38,759
Speaker 1: these golden swans or are they angels? I don't know, well,

732
00:42:38,800 --> 00:42:41,359
Speaker 1: they're probably not angels. If they're in Prosperose palace, they

733
00:42:41,400 --> 00:42:44,919
Speaker 1: might be devils. I don't think the probably birds or something. Yeah,

734
00:42:45,760 --> 00:42:50,040
Speaker 1: some sort of winged creatures. It's just splendid a royal

735
00:42:50,280 --> 00:42:53,680
Speaker 1: regal bathtub. And yeah, they're like, all right, you gotta

736
00:42:53,680 --> 00:42:57,040
Speaker 1: get in there and get yourself cleaned up. Yeah. Uh oh.

737
00:42:57,160 --> 00:43:00,360
Speaker 1: And we're also we're in Julianna's and star to to

738
00:43:00,600 --> 00:43:04,520
Speaker 1: you know, dress Francesca basically like make her appropriate for

739
00:43:04,560 --> 00:43:07,560
Speaker 1: the palace, give her a fancy dress and everything. Meanwhile,

740
00:43:08,200 --> 00:43:11,280
Speaker 1: we get to see all of the wicked partygoers hanging

741
00:43:11,320 --> 00:43:14,280
Speaker 1: out at the at the castle here doing odd stuff.

742
00:43:15,360 --> 00:43:18,520
Speaker 1: I didn't quite understand this, but is Alfredo playing a

743
00:43:18,719 --> 00:43:22,680
Speaker 1: game where he sticks a knife in people's mouths? Yeah?

744
00:43:22,760 --> 00:43:25,600
Speaker 1: I guess so. Again it does. It is a good

745
00:43:26,080 --> 00:43:29,640
Speaker 1: introduction to just how brutal and direct. He is, uh,

746
00:43:30,239 --> 00:43:35,960
Speaker 1: Prince Prospero is all about these strange, dark philosophic mind games,

747
00:43:37,000 --> 00:43:40,319
Speaker 1: whereas Alfredo just wants to stick knives in people's mouth

748
00:43:40,440 --> 00:43:43,200
Speaker 1: that sort of thing. And Vincent Price wanders through the

749
00:43:43,320 --> 00:43:46,160
Speaker 1: room and and kind of dis is Alfredo And then

750
00:43:46,360 --> 00:43:50,320
Speaker 1: he gives a monologue about what is terror? And everybody's

751
00:43:50,360 --> 00:43:53,120
Speaker 1: following him around as he's showing off the awesome sets.

752
00:43:53,200 --> 00:43:56,640
Speaker 1: There's like a big, uh, gear driven clock with an

753
00:43:57,080 --> 00:43:59,719
Speaker 1: pendulum shaped like an axe. I think that might be

754
00:43:59,800 --> 00:44:02,799
Speaker 1: an odd to the pit and the pendulum, and people

755
00:44:02,840 --> 00:44:06,280
Speaker 1: follow him around, uh, and he's like, what is terror?

756
00:44:06,360 --> 00:44:08,719
Speaker 1: But eventually this ends in the scene where we first

757
00:44:08,840 --> 00:44:12,560
Speaker 1: meet hop Toad and Esmerelda a k A. Tiny dancer,

758
00:44:13,280 --> 00:44:16,000
Speaker 1: they do they refer towards tiny dancer multiple times they

759
00:44:16,000 --> 00:44:20,719
Speaker 1: do literally yeah yeah, oh yeah, yeah, okay. So these

760
00:44:20,760 --> 00:44:24,840
Speaker 1: are two uh little people who are dancers in the

761
00:44:25,400 --> 00:44:28,920
Speaker 1: in the court uh and uh. And as they're dancing,

762
00:44:29,120 --> 00:44:34,080
Speaker 1: Esmerelda accidentally knocks over Alfredo's wine goblet. First of all, Alfredo,

763
00:44:34,239 --> 00:44:36,200
Speaker 1: why was your goblet on the floor? What was it

764
00:44:36,280 --> 00:44:39,200
Speaker 1: doing there? Yeah? Yeah, that's just asking for you can't

765
00:44:39,200 --> 00:44:41,160
Speaker 1: be mad at a at a child or a tiny

766
00:44:41,239 --> 00:44:43,480
Speaker 1: dancer for knocking over your wine if you're keeping it

767
00:44:43,600 --> 00:44:46,440
Speaker 1: on the floor next to your boot. Alfredo is, of

768
00:44:46,560 --> 00:44:49,960
Speaker 1: course a violent jerk, so he slaps her and instantly

769
00:44:50,320 --> 00:44:52,959
Speaker 1: we we get the look of death from hop Toad

770
00:44:53,160 --> 00:44:56,319
Speaker 1: at Alfredo. There's gonna have to be some revenge here.

771
00:44:56,400 --> 00:44:59,520
Speaker 1: All of the nobles are wicked, but Alfredo just sucks.

772
00:45:00,480 --> 00:45:03,400
Speaker 1: There's no imaginable viewer of this film who's like, I

773
00:45:03,480 --> 00:45:09,160
Speaker 1: think they were too hard on Alfredo. So Prospero announces

774
00:45:09,280 --> 00:45:11,800
Speaker 1: that on the upcoming Sabbath at midnight, there will be

775
00:45:11,880 --> 00:45:15,400
Speaker 1: a masquerade, and he says, all the wardrobes of the

776
00:45:15,480 --> 00:45:18,160
Speaker 1: castle or yours to use. So all the guests dress

777
00:45:18,320 --> 00:45:20,040
Speaker 1: up how you like, but I beg you, even for

778
00:45:20,120 --> 00:45:22,879
Speaker 1: the humor of it, do not wear red. So we'll

779
00:45:22,920 --> 00:45:24,839
Speaker 1: have to remember that no one is allowed to wear

780
00:45:24,960 --> 00:45:28,960
Speaker 1: red at the masquerade. Oh and I forgot about this.

781
00:45:29,400 --> 00:45:33,160
Speaker 1: Price just randomly throws his wine glass in Alfredo's face

782
00:45:33,280 --> 00:45:34,960
Speaker 1: at the end of the scene. I don't know what

783
00:45:35,120 --> 00:45:38,479
Speaker 1: prompts that, but it's really funny, and Alfredo is clearly mad,

784
00:45:38,600 --> 00:45:42,640
Speaker 1: but he can't do anything about it. He makes as

785
00:45:42,719 --> 00:45:44,839
Speaker 1: much of a thread as he can muster, but it's

786
00:45:44,880 --> 00:45:48,160
Speaker 1: not gonna go anywhere. Yeah. So Price again lectures his

787
00:45:48,280 --> 00:45:50,520
Speaker 1: guests on how they're all very lucky to be there

788
00:45:50,560 --> 00:45:52,960
Speaker 1: at his house because otherwise they'd be outside the castle

789
00:45:53,000 --> 00:45:56,160
Speaker 1: walls dying of the red death. And then they present

790
00:45:56,360 --> 00:45:59,319
Speaker 1: Lady Francesca. They have dressed up this peasant girl who

791
00:45:59,400 --> 00:46:02,319
Speaker 1: looked like she the noble herself, and I think they're they're,

792
00:46:02,920 --> 00:46:06,279
Speaker 1: you know, trying to initiate her to the evil debauchery

793
00:46:06,440 --> 00:46:11,360
Speaker 1: of the satanic aristocratic lifestyle. And then Vincent Price walks

794
00:46:11,400 --> 00:46:14,480
Speaker 1: around mocking all of his guests and humiliating them. He like,

795
00:46:14,640 --> 00:46:16,120
Speaker 1: he walks up to a guy and he's like, how

796
00:46:16,320 --> 00:46:19,400
Speaker 1: like a pig you are, b one, and makes him

797
00:46:19,480 --> 00:46:21,600
Speaker 1: crawl around on the floor pretending to be a pig

798
00:46:21,719 --> 00:46:23,879
Speaker 1: and oinking, And then he does this to a bunch

799
00:46:23,880 --> 00:46:26,560
Speaker 1: of people. He's just humiliating all of them by forcing

800
00:46:26,640 --> 00:46:30,960
Speaker 1: them to be animals. But they also for the most part,

801
00:46:31,000 --> 00:46:34,120
Speaker 1: you do see some looks of embarrassment from here and there,

802
00:46:34,280 --> 00:46:36,120
Speaker 1: like one of the characters wives and all, but there's

803
00:46:36,160 --> 00:46:39,120
Speaker 1: also a sense that they're like, yeah, I am now

804
00:46:39,239 --> 00:46:41,839
Speaker 1: liberated to just be a pig. Like, that's that's who

805
00:46:41,920 --> 00:46:46,000
Speaker 1: I am. Do what thou wilt, I will thank you. Yes,

806
00:46:46,200 --> 00:46:48,880
Speaker 1: I like being a worm. Yes, thank you, sir, I

807
00:46:49,000 --> 00:46:51,040
Speaker 1: am a worm. Yeah. He does several of these, and

808
00:46:51,120 --> 00:46:52,960
Speaker 1: he's like, and for the rest of you use your

809
00:46:52,960 --> 00:46:57,120
Speaker 1: imagination animals, and everybody just goes with it. He says,

810
00:46:57,200 --> 00:47:00,839
Speaker 1: show me the lives and loves of the animals. Now,

811
00:47:00,960 --> 00:47:03,160
Speaker 1: one of the next sequences that we have to talk

812
00:47:03,200 --> 00:47:07,200
Speaker 1: about is our introduction to the sequence of mono colored

813
00:47:07,360 --> 00:47:10,239
Speaker 1: rooms like the yellow room, and then the purple room,

814
00:47:10,480 --> 00:47:13,399
Speaker 1: and then the white room and the black room. Yes,

815
00:47:13,640 --> 00:47:17,080
Speaker 1: this these rainbow rooms that are all attached to each other.

816
00:47:17,920 --> 00:47:22,600
Speaker 1: Uh it's these are some of the visually most impressive

817
00:47:22,680 --> 00:47:25,040
Speaker 1: sequences in the film. These are used multiple times. So

818
00:47:25,120 --> 00:47:29,480
Speaker 1: this is our first introduction to it, where Prospero is

819
00:47:29,640 --> 00:47:33,840
Speaker 1: bringing her through and describe it. First describes the yellow

820
00:47:33,960 --> 00:47:36,840
Speaker 1: room is one that was you that his father, I believe,

821
00:47:36,920 --> 00:47:39,960
Speaker 1: had used to drive somebody insane, like put him in

822
00:47:40,040 --> 00:47:42,239
Speaker 1: here for an extended period of time, and when they

823
00:47:42,280 --> 00:47:45,360
Speaker 1: were finally let free, they could not even you know,

824
00:47:45,600 --> 00:47:48,640
Speaker 1: glimpse the sun, Like the yellow of this room made

825
00:47:48,719 --> 00:47:52,120
Speaker 1: the sun horrifying. It drove them in saying yeah, and

826
00:47:53,200 --> 00:47:57,200
Speaker 1: so he's describing these twisted experiments done on people, and

827
00:47:57,680 --> 00:48:01,440
Speaker 1: he explains it by saying, somewhere in the human mind

828
00:48:01,719 --> 00:48:05,040
Speaker 1: is the key to our existence. My ancestors tried to

829
00:48:05,120 --> 00:48:08,520
Speaker 1: find it, to open the door that separates us from

830
00:48:08,560 --> 00:48:12,879
Speaker 1: our creator. So Price is an interesting kind of satanist here.

831
00:48:13,000 --> 00:48:17,600
Speaker 1: He's not just seeking power and pleasure like a lot

832
00:48:17,680 --> 00:48:21,960
Speaker 1: of movie satanists. He is seeking a kind of understanding.

833
00:48:22,080 --> 00:48:28,560
Speaker 1: He wants like a metaphysical discovery about the truth of existence. Yeah,

834
00:48:28,680 --> 00:48:31,279
Speaker 1: it's a much the satanism in this film. It's easy

835
00:48:31,320 --> 00:48:34,680
Speaker 1: to build up your expectator, to build a certain expectation

836
00:48:34,760 --> 00:48:38,200
Speaker 1: for satanists in your your genre movies. You know you

837
00:48:38,320 --> 00:48:42,400
Speaker 1: expect uh, bloodthirsty murder rituals. You expect a little bit

838
00:48:42,440 --> 00:48:46,560
Speaker 1: of monster worship in there. And there's maybe a little

839
00:48:46,560 --> 00:48:48,279
Speaker 1: bit of both of those in this, but for the

840
00:48:48,360 --> 00:48:52,960
Speaker 1: most part it is this more philosophic approach. Like Prospero

841
00:48:53,120 --> 00:48:56,640
Speaker 1: is not really looking to worship any monster gods. Uh,

842
00:48:56,880 --> 00:48:58,400
Speaker 1: he's not caught up in all of that. This is

843
00:48:58,480 --> 00:49:02,680
Speaker 1: not like the Devil rides out, but he seems to

844
00:49:02,920 --> 00:49:06,840
Speaker 1: see this as an avenue toward darkness that makes the

845
00:49:06,920 --> 00:49:10,440
Speaker 1: most sense in a world consumed by darkness. And that's

846
00:49:10,440 --> 00:49:12,600
Speaker 1: a lot of what this whole sequence is about him

847
00:49:12,640 --> 00:49:18,000
Speaker 1: describing this quest, this philosophy, and it's really well executed. Yeah.

848
00:49:18,080 --> 00:49:21,520
Speaker 1: He argues essintially the classic the problem of evil. You know,

849
00:49:21,680 --> 00:49:24,440
Speaker 1: he's trying to disprove her faith, and he says, how

850
00:49:24,520 --> 00:49:27,680
Speaker 1: can you believe a god of goodness rules over this

851
00:49:27,800 --> 00:49:31,200
Speaker 1: world given all of the death and decay and the disease,

852
00:49:31,360 --> 00:49:34,319
Speaker 1: the red death itself. Uh, And he finally says, if

853
00:49:34,360 --> 00:49:36,800
Speaker 1: a god of love and life ever did exist, he

854
00:49:36,920 --> 00:49:42,640
Speaker 1: is long since dead. Someone something rules in his place,

855
00:49:43,200 --> 00:49:45,400
Speaker 1: and this is this is some This feels like some

856
00:49:45,520 --> 00:49:48,200
Speaker 1: hard stuff for the early nineteen sixties, you know, yeah,

857
00:49:48,880 --> 00:49:53,120
Speaker 1: yeah yeah. Um. So Francesca wants to go into the

858
00:49:53,200 --> 00:49:55,960
Speaker 1: final room in the sequence, the Black Door, and he

859
00:49:56,280 --> 00:49:58,919
Speaker 1: suddenly stops her. He says that room is not open

860
00:49:59,000 --> 00:50:01,680
Speaker 1: to you, and she asks, is there's something to fear

861
00:50:01,719 --> 00:50:04,279
Speaker 1: in that room? And he says, for the uninvited, there

862
00:50:04,400 --> 00:50:08,000
Speaker 1: is much to fear, and Prospero himself looks afraid of

863
00:50:08,120 --> 00:50:11,359
Speaker 1: what's behind the last store in the black Room. Now,

864
00:50:11,480 --> 00:50:13,560
Speaker 1: after all this, we go onto a scene between Vincent

865
00:50:13,640 --> 00:50:16,760
Speaker 1: Price and Hazel Court. Juliana, of course, is still jealous

866
00:50:16,840 --> 00:50:20,440
Speaker 1: of the peasant girl. She's trying to, I think, regain

867
00:50:20,600 --> 00:50:23,720
Speaker 1: her spot as like the the the apple of Vincent

868
00:50:23,800 --> 00:50:27,400
Speaker 1: Price's I And she she says, you know, I've been

869
00:50:27,400 --> 00:50:30,319
Speaker 1: an eager student of Satanism, but I've I've held back

870
00:50:30,400 --> 00:50:33,440
Speaker 1: from the final ceremony. I'm ready now for the invocation.

871
00:50:33,680 --> 00:50:37,080
Speaker 1: I am ready to become the bride of Satan. And

872
00:50:37,320 --> 00:50:40,719
Speaker 1: he's he's a little uh sly about this, and this

873
00:50:41,000 --> 00:50:43,040
Speaker 1: is like, oh, of course you are now because you

874
00:50:43,120 --> 00:50:45,960
Speaker 1: want to protect your your status. Yeah, and she's like, no,

875
00:50:46,080 --> 00:50:48,719
Speaker 1: no really, I am, I'm really, I'm ready. I thought

876
00:50:48,719 --> 00:50:51,480
Speaker 1: about it. I'm ready to marry Satan. Yeah. So later

877
00:50:51,560 --> 00:50:54,400
Speaker 1: that night, Francesco wakes up and she wanders from her

878
00:50:54,440 --> 00:50:58,279
Speaker 1: bedroom and wanders about this the spooky empty halls at night,

879
00:50:58,840 --> 00:51:02,439
Speaker 1: until she stumbles and she she goes into the final room,

880
00:51:02,600 --> 00:51:05,920
Speaker 1: the Black Room, and witness is an evil right taking place.

881
00:51:06,680 --> 00:51:10,040
Speaker 1: Uh and uh like Vincent Price is in a coffin

882
00:51:10,160 --> 00:51:13,359
Speaker 1: with his eyes closed like a vampire, and Hazel Court

883
00:51:13,480 --> 00:51:16,720
Speaker 1: is bathed in red light, wearing a crown and sitting

884
00:51:16,760 --> 00:51:19,520
Speaker 1: in a throne next to a raven. And so the

885
00:51:19,600 --> 00:51:22,200
Speaker 1: first time I saw this, I assumed, okay, so this

886
00:51:22,400 --> 00:51:24,120
Speaker 1: is the ceremony, right, this is the one where she

887
00:51:24,280 --> 00:51:27,480
Speaker 1: becomes the bride of Satan. But no, something else is

888
00:51:27,480 --> 00:51:29,400
Speaker 1: going to happen with hazel Court after this, so so

889
00:51:29,600 --> 00:51:32,719
Speaker 1: she's not quite there yet. Francesca just gets freaked out

890
00:51:32,800 --> 00:51:35,239
Speaker 1: seeing all this. I think when Vincent Price opens his

891
00:51:35,360 --> 00:51:38,520
Speaker 1: eyes from the coffin, she screams and runs away. Yeah.

892
00:51:38,560 --> 00:51:41,239
Speaker 1: I was left unsure if this was a dream or

893
00:51:41,719 --> 00:51:44,520
Speaker 1: if this was something that was really taking place, and

894
00:51:44,640 --> 00:51:49,640
Speaker 1: she's she witnessed it um ultimately, Yeah, yeah, this is

895
00:51:49,800 --> 00:51:54,240
Speaker 1: one of the ceremonies perhaps, or this is Satanic naptime.

896
00:51:54,360 --> 00:51:58,040
Speaker 1: This is just what a little little night nap looks like.

897
00:51:58,200 --> 00:52:02,240
Speaker 1: I don't know. There's another scene following this that's interesting,

898
00:52:02,320 --> 00:52:06,040
Speaker 1: where Price is doing falconry, like he has a you know,

899
00:52:06,160 --> 00:52:08,680
Speaker 1: the leather glove and the falcon, and he sends it

900
00:52:08,800 --> 00:52:12,400
Speaker 1: up to catch a bird and he explains to Francesca

901
00:52:12,520 --> 00:52:15,719
Speaker 1: that your God has blinded you like a trainer blinds

902
00:52:15,760 --> 00:52:18,320
Speaker 1: a falcon in order to submit its will to his

903
00:52:19,320 --> 00:52:21,759
Speaker 1: And then he goes on to say, my master and

904
00:52:22,000 --> 00:52:25,600
Speaker 1: his followers look about the world with open eyes, and

905
00:52:25,719 --> 00:52:29,480
Speaker 1: Francesca says, your master, And if it wasn't already obvious,

906
00:52:29,560 --> 00:52:32,880
Speaker 1: he hasn't directly told this to Francesca yet, but finally

907
00:52:32,920 --> 00:52:36,040
Speaker 1: he admits it. He goes, my master is Satan, the

908
00:52:36,160 --> 00:52:40,560
Speaker 1: Lord flies, the fallen Angel, the Devil. His hat in

909
00:52:40,680 --> 00:52:45,920
Speaker 1: this scene, by the way, is good. Yes. My My

910
00:52:46,120 --> 00:52:48,400
Speaker 1: only regret is that I did not count the costume

911
00:52:48,520 --> 00:52:52,120
Speaker 1: changes that Prince Prospero goes through in this film. Each

912
00:52:52,280 --> 00:52:55,520
Speaker 1: each costume is more magnificent than the last. Now, there's

913
00:52:55,520 --> 00:52:59,000
Speaker 1: a scene where a noble arrives at the palace at

914
00:52:59,000 --> 00:53:03,000
Speaker 1: the gates outside, begging to come inside. But I don't

915
00:53:03,040 --> 00:53:05,880
Speaker 1: think I caught at first the reason why Price wouldn't

916
00:53:05,960 --> 00:53:08,800
Speaker 1: let them in. But I think the second time I

917
00:53:08,880 --> 00:53:12,960
Speaker 1: watched it, I realized it's because he and his entourage

918
00:53:13,040 --> 00:53:15,320
Speaker 1: had been to the village where the Red Death was.

919
00:53:15,480 --> 00:53:18,120
Speaker 1: Is that right? That was my understanding. Yeah, They're like, hey,

920
00:53:18,239 --> 00:53:19,800
Speaker 1: we're here for the party. We just came from that

921
00:53:19,880 --> 00:53:24,680
Speaker 1: city with the plague, and Prosperose like, no, you can't

922
00:53:24,719 --> 00:53:27,759
Speaker 1: come in. This guy's name is Scar Lottie. He's got

923
00:53:27,800 --> 00:53:31,440
Speaker 1: a big yellow feather on his hat and he's like, oh, please,

924
00:53:31,520 --> 00:53:35,800
Speaker 1: please let us in. I'll do anything, and Price welcomes

925
00:53:35,880 --> 00:53:39,960
Speaker 1: them with a crossbow bolt. Also, let's check back in

926
00:53:40,120 --> 00:53:42,800
Speaker 1: with our with the men that Francesca was so desperate

927
00:53:42,840 --> 00:53:45,320
Speaker 1: to save, with Gino and Ludovico. They are down in

928
00:53:45,360 --> 00:53:48,799
Speaker 1: the dungeon. They were being trained in sword fighting under

929
00:53:48,880 --> 00:53:50,839
Speaker 1: the premise that they are going to have to fight

930
00:53:50,960 --> 00:53:53,760
Speaker 1: to the death in front of Prince the Prince's guests

931
00:53:53,920 --> 00:53:58,279
Speaker 1: for entertainment, and they obviously don't want to do this,

932
00:53:58,640 --> 00:54:01,719
Speaker 1: but the main yard forces them to by sort of

933
00:54:01,800 --> 00:54:04,480
Speaker 1: like prodding at at Gino with the sword until he

934
00:54:04,600 --> 00:54:08,040
Speaker 1: fights back. There are some moments of very floppy fake

935
00:54:08,120 --> 00:54:10,439
Speaker 1: swords in this scene, and yet at the same time,

936
00:54:10,600 --> 00:54:13,239
Speaker 1: like the scene where the this brutish guard who I

937
00:54:13,440 --> 00:54:15,680
Speaker 1: didn't get the gentleman who played this role, but it's

938
00:54:15,680 --> 00:54:18,799
Speaker 1: a he's effective as a is this brutish guard who

939
00:54:19,280 --> 00:54:21,920
Speaker 1: who's just like like Gina's like, you're not gonna kill me.

940
00:54:21,920 --> 00:54:24,239
Speaker 1: You want me to fight my fight my girlfriend's father

941
00:54:24,320 --> 00:54:26,000
Speaker 1: to the death and he's like, yeah, but I'll cut

942
00:54:26,040 --> 00:54:28,520
Speaker 1: you a little bit. And the scenes where he's cutting him,

943
00:54:28,640 --> 00:54:31,120
Speaker 1: like I feel I felt the sting of those like

944
00:54:31,239 --> 00:54:33,320
Speaker 1: I'm like, they look pretty, they look really good. I'm like,

945
00:54:33,360 --> 00:54:35,560
Speaker 1: that's gonna get infected. But what do you know, Gino

946
00:54:35,680 --> 00:54:38,040
Speaker 1: is kind of a natural at sword fighting. Yeah, what

947
00:54:38,160 --> 00:54:40,520
Speaker 1: could you expect. Yeah, he turns the tables on him,

948
00:54:40,600 --> 00:54:43,279
Speaker 1: and uh, this is when Prospero comes in and he

949
00:54:43,560 --> 00:54:46,120
Speaker 1: he has a as he often does. He wanders in

950
00:54:46,280 --> 00:54:50,399
Speaker 1: and he instantly sums up um the wisdom of the scene. Yeah,

951
00:54:50,520 --> 00:54:53,600
Speaker 1: he says, it is a true fact that the greatest

952
00:54:53,760 --> 00:54:56,960
Speaker 1: swordsman in Italy would not fear the second greatest, but

953
00:54:57,160 --> 00:55:01,920
Speaker 1: would fear the worst, for that one would be unp pictable. However,

954
00:55:02,120 --> 00:55:05,080
Speaker 1: Gino and Ludovico both pledged that they will not fight

955
00:55:05,200 --> 00:55:09,319
Speaker 1: each other, so Prospero resolves to make them to sort

956
00:55:09,320 --> 00:55:11,560
Speaker 1: of punish them or make them face death in some

957
00:55:11,840 --> 00:55:13,960
Speaker 1: other ingenious way. He's gonna have to come up with

958
00:55:14,000 --> 00:55:19,160
Speaker 1: a plan after this. There's more religious and philosophical back

959
00:55:19,200 --> 00:55:22,759
Speaker 1: and forth between Prospero and Francesca on God and the

960
00:55:22,800 --> 00:55:26,200
Speaker 1: devil and so forth. Prospero says that his ancestor who

961
00:55:26,320 --> 00:55:29,239
Speaker 1: lived in this castle was I mean he was for

962
00:55:29,400 --> 00:55:33,239
Speaker 1: the church. He was a torturer for the Inquisition, and uh,

963
00:55:33,320 --> 00:55:35,400
Speaker 1: but and he says, you know, Satan is not a

964
00:55:35,480 --> 00:55:38,040
Speaker 1: god of hate, but a god of reality, a god

965
00:55:38,120 --> 00:55:41,279
Speaker 1: of truth. Yes, it's not a story the Jedi would

966
00:55:41,320 --> 00:55:46,800
Speaker 1: tell you exactly. Yeah, that's a good part. But but

967
00:55:46,880 --> 00:55:48,759
Speaker 1: it is a great that. I mean, both are are

968
00:55:48,840 --> 00:55:52,960
Speaker 1: great scenes of of of subtle and intelligence, seduction to

969
00:55:53,040 --> 00:55:56,000
Speaker 1: the dark side. Like it's it's not just like, hey,

970
00:55:56,080 --> 00:55:58,439
Speaker 1: don't you want to do evil or do evil or else.

971
00:55:58,960 --> 00:56:01,719
Speaker 1: It is let me explain to you the wisdom of

972
00:56:01,800 --> 00:56:05,399
Speaker 1: this alternate point of view. Let me unsow your eyes

973
00:56:06,040 --> 00:56:09,799
Speaker 1: so that you may see the world right. So Price says,

974
00:56:09,920 --> 00:56:11,359
Speaker 1: you know, I don't want to hurt you, my dear.

975
00:56:11,440 --> 00:56:13,880
Speaker 1: I just want to help save your soul so you

976
00:56:14,000 --> 00:56:16,759
Speaker 1: can join me in the glories of hell. Uh he

977
00:56:17,160 --> 00:56:19,000
Speaker 1: there's some great writing in the scene. He says, you know,

978
00:56:19,120 --> 00:56:23,120
Speaker 1: come with me into the velvet dark. Meanwhile, Hazel Cord

979
00:56:23,200 --> 00:56:27,360
Speaker 1: is getting married to Satan again. She says, I inscribed

980
00:56:27,440 --> 00:56:30,239
Speaker 1: the final mark and offer myself to the and she

981
00:56:30,440 --> 00:56:33,600
Speaker 1: like she like, brands herself on the chest with a

982
00:56:34,160 --> 00:56:37,879
Speaker 1: with an upside down cross a hot iron. She says,

983
00:56:37,960 --> 00:56:40,480
Speaker 1: Lord Satan, send me a demon that I might you know,

984
00:56:40,760 --> 00:56:44,520
Speaker 1: wet wedge you in him or something and says she

985
00:56:44,800 --> 00:56:49,080
Speaker 1: she marks herself as one of Satan's hellmaidens. And then

986
00:56:49,360 --> 00:56:51,800
Speaker 1: we get some update on the B plot with hoptoed

987
00:56:51,840 --> 00:56:55,000
Speaker 1: in Alfredo. Remember Alfredo is the nasty creep from earlier,

988
00:56:55,600 --> 00:56:57,920
Speaker 1: and so they're talking about what kind of costumes they're

989
00:56:57,920 --> 00:57:01,040
Speaker 1: going to wear to the masquerade, and uh, hop Toad's

990
00:57:01,080 --> 00:57:04,280
Speaker 1: point is, you know, it's the seventeenth century or whenever

991
00:57:04,320 --> 00:57:06,719
Speaker 1: this is taking place, we have not figured out yet

992
00:57:06,800 --> 00:57:08,920
Speaker 1: that it's not cool to pretend to be some kind

993
00:57:08,960 --> 00:57:12,960
Speaker 1: of foreigner as a costume. So basically, everybody this masquerade

994
00:57:13,080 --> 00:57:15,920
Speaker 1: is going to becoming as a cultural caricature. But what

995
00:57:16,120 --> 00:57:20,320
Speaker 1: will all of them have in common? They'll all be human, Alfredo,

996
00:57:20,640 --> 00:57:22,520
Speaker 1: if you really want to be something cool, you should

997
00:57:22,560 --> 00:57:26,200
Speaker 1: be a non human animal. Alfredo says, well, I could

998
00:57:26,280 --> 00:57:29,520
Speaker 1: come as a demon, and hop Toad has an even

999
00:57:29,600 --> 00:57:33,560
Speaker 1: better idea. Why not dress up in a guerrilla suit? Amazing,

1000
00:57:33,960 --> 00:57:35,560
Speaker 1: this is great. I mean I love a grilla suit

1001
00:57:35,640 --> 00:57:37,960
Speaker 1: in any motion picture, So we're gonna get a grilla

1002
00:57:38,040 --> 00:57:39,840
Speaker 1: suit at this at this point. And I also just

1003
00:57:39,960 --> 00:57:42,680
Speaker 1: love that Alfredo is just such an evil brute. He

1004
00:57:42,800 --> 00:57:46,000
Speaker 1: has just a void of creativity. But he he kind

1005
00:57:46,040 --> 00:57:48,800
Speaker 1: of realizes that that is the case, and he's like, yeah,

1006
00:57:48,840 --> 00:57:51,280
Speaker 1: I'm gonna go with whatever. Hoptoad says, here because this

1007
00:57:51,360 --> 00:57:54,280
Speaker 1: guy's got ideas. This is an entertainer, yes, and this

1008
00:57:54,400 --> 00:58:06,040
Speaker 1: revenge b plot is going to have a great payoff. Uh.

1009
00:58:06,160 --> 00:58:10,680
Speaker 1: So later Juliana comes to Francesca's room h and Julianna

1010
00:58:10,800 --> 00:58:13,920
Speaker 1: is like, hey, uh a few updates. I'm a hellmaiden

1011
00:58:14,000 --> 00:58:17,760
Speaker 1: now I want Prospero all to myself. So here's the

1012
00:58:17,840 --> 00:58:21,040
Speaker 1: key to the dungeon. You can break Gino and your

1013
00:58:21,080 --> 00:58:23,520
Speaker 1: father out of the dungeon. You all escape, then I'll

1014
00:58:23,560 --> 00:58:26,320
Speaker 1: be here with Prospero. Everybody wins. Yeah, and she says,

1015
00:58:26,400 --> 00:58:29,040
Speaker 1: don't mind if I do, Thank you very much. Well,

1016
00:58:29,160 --> 00:58:32,440
Speaker 1: they try to escape and Gino kills some guards in

1017
00:58:32,520 --> 00:58:36,680
Speaker 1: the process, but it doesn't quite work. In fact, it

1018
00:58:36,800 --> 00:58:39,320
Speaker 1: seems it was all a set up. They like, come

1019
00:58:39,360 --> 00:58:43,240
Speaker 1: out to the castle walls and then there's a guard there,

1020
00:58:43,560 --> 00:58:46,320
Speaker 1: and the guard turns around and it's Vincent Price, and

1021
00:58:46,480 --> 00:58:49,760
Speaker 1: Vincent Price says, oh interesting, how in trying to escape

1022
00:58:49,800 --> 00:58:53,600
Speaker 1: you all had to sin because they killed people? Of course,

1023
00:58:53,680 --> 00:58:58,560
Speaker 1: it's checkmate. There you go, who bad? Now? Yeah? Another

1024
00:58:58,640 --> 00:59:02,440
Speaker 1: lesson in Darkness. We got ahead to the banquet before

1025
00:59:03,080 --> 00:59:07,560
Speaker 1: the masquerade, and the nobles are all at their banquet

1026
00:59:07,640 --> 00:59:12,560
Speaker 1: tables like the ske Sias at the feast, and Vincent

1027
00:59:12,600 --> 00:59:16,240
Speaker 1: Price sets up an interesting game. There's a game he's

1028
00:59:16,240 --> 00:59:21,080
Speaker 1: going to play with Ludovico and Gino that has a

1029
00:59:21,200 --> 00:59:24,440
Speaker 1: that has a number of daggers with one of them poisoned. Rob, Rob,

1030
00:59:24,480 --> 00:59:28,720
Speaker 1: how would you describe this scene? Um? So, before he

1031
00:59:28,800 --> 00:59:31,800
Speaker 1: even sets up the game, Prospero is is taking these

1032
00:59:31,880 --> 00:59:35,520
Speaker 1: daggers and embedding them in the table, and then he explains,

1033
00:59:35,560 --> 00:59:39,280
Speaker 1: all right, I've got what five daggers here, and one

1034
00:59:39,360 --> 00:59:42,800
Speaker 1: of these daggers has a deadly poison on it that

1035
00:59:43,000 --> 00:59:46,720
Speaker 1: will take hold of your body and what five seconds?

1036
00:59:46,760 --> 00:59:50,120
Speaker 1: I think five seconds? Yeah, yeah, quick acting poison. So

1037
00:59:50,960 --> 00:59:53,360
Speaker 1: since you two won't fight each other to the death,

1038
00:59:53,600 --> 00:59:55,960
Speaker 1: what you're gonna do is you're gonna take turns picking

1039
00:59:56,000 --> 00:59:59,920
Speaker 1: a dagger cutting your skin and we'll see what happened.

1040
01:00:00,600 --> 01:00:02,520
Speaker 1: One of you is going to cut your skin with

1041
01:00:02,640 --> 01:00:06,760
Speaker 1: the poison dagger and uh and die. So let's let's see.

1042
01:00:06,840 --> 01:00:10,160
Speaker 1: Let's do it start now, and they do take turns.

1043
01:00:10,280 --> 01:00:12,640
Speaker 1: It's it's very tense scene. But they get all the

1044
01:00:12,720 --> 01:00:15,680
Speaker 1: way to the last dagger, and oh, it's like Russian roulette.

1045
01:00:15,720 --> 01:00:17,800
Speaker 1: It's like, if you get to the last chamber and

1046
01:00:18,200 --> 01:00:21,080
Speaker 1: it hasn't gone yet, you're in trouble. And they get

1047
01:00:21,120 --> 01:00:23,320
Speaker 1: to the last dagger and none of them are poisoned yet,

1048
01:00:23,400 --> 01:00:26,240
Speaker 1: and it's Ludovico's turn, so it looks like he's just

1049
01:00:26,360 --> 01:00:28,680
Speaker 1: going to have to commit suicide. But then he pulls

1050
01:00:28,720 --> 01:00:31,480
Speaker 1: the dagger out and he lunges he tries to kill

1051
01:00:31,560 --> 01:00:35,240
Speaker 1: Prospero with it, but he is killed in the process. Yeah, Prospero,

1052
01:00:35,320 --> 01:00:38,280
Speaker 1: I mean, Prospero knew. Prospero knew that this was the

1053
01:00:38,360 --> 01:00:40,000
Speaker 1: likely end of the game, though he's still a little

1054
01:00:40,040 --> 01:00:42,960
Speaker 1: offended that they didn't play it to its uh, its

1055
01:00:43,040 --> 01:00:46,840
Speaker 1: final phase. Oh and a quick little note also, uh.

1056
01:00:47,160 --> 01:00:49,600
Speaker 1: When Prospero is setting up the game, he's talking to

1057
01:00:49,640 --> 01:00:51,840
Speaker 1: all the guests and he says something like, you know,

1058
01:00:51,880 --> 01:00:53,720
Speaker 1: it's come to my attention that some of you still

1059
01:00:53,800 --> 01:00:56,600
Speaker 1: have faith in the Christian God. Stop that at once.

1060
01:00:58,160 --> 01:01:00,560
Speaker 1: So at this point Ludo is dead. Gino is all

1061
01:01:00,640 --> 01:01:03,800
Speaker 1: that's left, and at this point Prospero has nothing else

1062
01:01:03,880 --> 01:01:06,120
Speaker 1: for him. He just kicks him outside the castle. He's like,

1063
01:01:06,160 --> 01:01:09,320
Speaker 1: go out there into the plague stricken world. Uh, you're you're,

1064
01:01:09,360 --> 01:01:11,800
Speaker 1: you're done right. He's not gonna kill him directly, He's

1065
01:01:11,800 --> 01:01:14,480
Speaker 1: going to banish him from the castle, and of course,

1066
01:01:14,560 --> 01:01:17,880
Speaker 1: the assumption is exiled outside the castle walls. He's going

1067
01:01:17,960 --> 01:01:20,880
Speaker 1: to meet the Red Death and Francesca begs to go

1068
01:01:21,000 --> 01:01:23,840
Speaker 1: with him, but Prospero tells her, no, you You're gonna

1069
01:01:23,880 --> 01:01:27,720
Speaker 1: stay here. Uh. Juliana Hazel Cord is once again like, well,

1070
01:01:27,800 --> 01:01:31,600
Speaker 1: I'm ready to get married to Satan now. Um. Getting

1071
01:01:31,640 --> 01:01:35,000
Speaker 1: married to Satan is a multi stage procedure, apparently, But

1072
01:01:35,160 --> 01:01:37,440
Speaker 1: before we get to see how that is finalized, we

1073
01:01:37,560 --> 01:01:40,880
Speaker 1: follow Gino outside the castle walls, where he staggers through

1074
01:01:40,960 --> 01:01:45,200
Speaker 1: that fog soaked forest of dead trees. Wolves are howling

1075
01:01:45,240 --> 01:01:48,160
Speaker 1: in the distance, and he stumbles along until he comes

1076
01:01:48,240 --> 01:01:51,439
Speaker 1: across the figure in red at the foot of the tree,

1077
01:01:52,200 --> 01:01:56,080
Speaker 1: turning over tarot cards on his lap, and uh, and

1078
01:01:56,240 --> 01:02:00,840
Speaker 1: Gino says, my god and then read the figure says

1079
01:02:00,920 --> 01:02:05,000
Speaker 1: who is your God? And it's it's very ominous. It's

1080
01:02:05,040 --> 01:02:09,160
Speaker 1: a wonderful, creepy scene. And Gino is saying, I have

1081
01:02:09,320 --> 01:02:11,280
Speaker 1: to go back and rescue Francesca. But I don't know

1082
01:02:11,360 --> 01:02:13,960
Speaker 1: what to do. What weapon can I use against Prospero?

1083
01:02:14,640 --> 01:02:16,760
Speaker 1: And the holy Man in Red suggests that he could

1084
01:02:16,880 --> 01:02:19,440
Speaker 1: use love. Now back at the castle, we'll get the

1085
01:02:19,480 --> 01:02:22,919
Speaker 1: payoff of some b plots. The masquerade is coming up soon,

1086
01:02:23,000 --> 01:02:26,320
Speaker 1: so we see, uh, we see Alfredo getting into the

1087
01:02:26,440 --> 01:02:30,040
Speaker 1: guerrilla suit, and I think in this scene um hopped

1088
01:02:30,080 --> 01:02:32,120
Speaker 1: out is already like whipping him a little bit to

1089
01:02:32,400 --> 01:02:35,000
Speaker 1: get into the act. And Julianna is getting married to

1090
01:02:35,040 --> 01:02:38,800
Speaker 1: Satan again, and she has this evil dream sequence where

1091
01:02:39,680 --> 01:02:43,400
Speaker 1: the dancers of Hell like mimes stabbing at her, and

1092
01:02:43,560 --> 01:02:47,000
Speaker 1: then she wanders around through the differently colored rooms and

1093
01:02:47,240 --> 01:02:50,160
Speaker 1: she says, I I have tasted the beauties of terror.

1094
01:02:50,880 --> 01:02:54,440
Speaker 1: We see like the pendulum from the giant clock ticking

1095
01:02:54,520 --> 01:02:57,440
Speaker 1: in the foreground, and you you think she's married to

1096
01:02:57,480 --> 01:03:00,200
Speaker 1: Satan now, but she's not quite yet. There's one more thing.

1097
01:03:00,640 --> 01:03:03,080
Speaker 1: It's that she has to die. She gets attacked and

1098
01:03:03,280 --> 01:03:06,840
Speaker 1: killed by a falcon, and the party goers discover her

1099
01:03:06,880 --> 01:03:09,919
Speaker 1: bloody body there after the bird has pecked her face off,

1100
01:03:10,840 --> 01:03:14,160
Speaker 1: and they're all like, oh no. But Vincent Price comes

1101
01:03:14,200 --> 01:03:16,680
Speaker 1: in and this is that that great moment where he says, oh,

1102
01:03:16,840 --> 01:03:19,320
Speaker 1: do not mourn her. She has just married a friend

1103
01:03:19,360 --> 01:03:22,960
Speaker 1: of mine. It's great, it's perfect delivery. Um. Now, did

1104
01:03:23,200 --> 01:03:25,360
Speaker 1: you watch the theatrical cut of the extended cut of

1105
01:03:25,400 --> 01:03:28,960
Speaker 1: the film? Um, I'm not sure. I made a point

1106
01:03:28,960 --> 01:03:31,560
Speaker 1: of watching the extended cut, and it's my understanding that

1107
01:03:32,560 --> 01:03:34,760
Speaker 1: that we in the extended cut. Basically there are a

1108
01:03:34,840 --> 01:03:36,880
Speaker 1: few different bits we get a little bit more of,

1109
01:03:37,280 --> 01:03:42,840
Speaker 1: including this whole weird dream psychedelic sequence with Hazel Court.

1110
01:03:43,440 --> 01:03:46,720
Speaker 1: And yeah, it's there's nothing in it. It's particularly troubling,

1111
01:03:46,880 --> 01:03:51,320
Speaker 1: especially to modern viewers, but it does go on a

1112
01:03:51,400 --> 01:03:54,360
Speaker 1: bit and it is like they're doing this and not

1113
01:03:54,480 --> 01:03:55,920
Speaker 1: in the sense that he gets boring, but it's just

1114
01:03:56,000 --> 01:03:59,320
Speaker 1: a lot of like distortions of her screaming face and

1115
01:03:59,440 --> 01:04:02,880
Speaker 1: slow mo ocean uh content and it is it's it's

1116
01:04:03,000 --> 01:04:06,040
Speaker 1: very trippy. Yeah, but anyway, she's married to Satan. Now

1117
01:04:06,360 --> 01:04:08,000
Speaker 1: she's out of the picture. All right, we're in the

1118
01:04:08,040 --> 01:04:10,360
Speaker 1: final stretch now, so I think we'll skip a little

1119
01:04:10,440 --> 01:04:12,640
Speaker 1: more lightly over what happens. So some more things go

1120
01:04:12,720 --> 01:04:14,600
Speaker 1: on inside the palace. There there's a great scene of

1121
01:04:14,640 --> 01:04:18,080
Speaker 1: Gino trying to sneak back inside the castle with what

1122
01:04:18,320 --> 01:04:23,040
Speaker 1: is essentially an ewok grappling hook Yeah yeah, rope attached

1123
01:04:23,080 --> 01:04:27,320
Speaker 1: to a giant uh tree branch or something. Yeah. He

1124
01:04:27,440 --> 01:04:30,040
Speaker 1: throws it over the walls. He climbs up. He expects

1125
01:04:30,080 --> 01:04:33,160
Speaker 1: to meet guards, but no, instead he just meets the

1126
01:04:33,480 --> 01:04:36,000
Speaker 1: Man in Red again, and the holy Man in Red

1127
01:04:36,080 --> 01:04:38,520
Speaker 1: tells Gino there's no need to fight. He says, you know,

1128
01:04:38,680 --> 01:04:41,880
Speaker 1: just wait here on the rampart shortly after one, I

1129
01:04:42,000 --> 01:04:45,439
Speaker 1: will send Francesca to you. And Gino says, well, wait,

1130
01:04:45,520 --> 01:04:48,280
Speaker 1: what about the guards? But the Man in Red reveals

1131
01:04:48,360 --> 01:04:50,919
Speaker 1: that the guards have all died of the red death.

1132
01:04:51,040 --> 01:04:54,560
Speaker 1: They've got the blood splattered faces. And here there is

1133
01:04:54,720 --> 01:04:58,680
Speaker 1: the final confrontation, the big party. Well, first we get

1134
01:04:58,720 --> 01:05:02,320
Speaker 1: the pay off of the venge plot on Alfredo, where

1135
01:05:02,440 --> 01:05:06,080
Speaker 1: hop toed Hog ties Alfredo in a guerrilla suit, ties

1136
01:05:06,160 --> 01:05:08,440
Speaker 1: him to a chandelier, hoists him up in the air,

1137
01:05:08,520 --> 01:05:11,320
Speaker 1: and then just sets him on fire. Yeah it's horrifying

1138
01:05:11,400 --> 01:05:14,400
Speaker 1: to watch. I mean any it's gotten to the point

1139
01:05:14,480 --> 01:05:16,960
Speaker 1: where just about any burn suit moment in a in

1140
01:05:17,040 --> 01:05:19,800
Speaker 1: a film, old or new, uh kind of gives me

1141
01:05:19,920 --> 01:05:23,800
Speaker 1: the that makes me squirm a little bit, you know.

1142
01:05:24,880 --> 01:05:27,520
Speaker 1: But this one, Yeah, this is horrifying. You know, you

1143
01:05:27,640 --> 01:05:30,760
Speaker 1: almost if you didn't know that, uh Fredo, that Alfredo

1144
01:05:30,880 --> 01:05:33,200
Speaker 1: was such a bad dude, you might think that hop

1145
01:05:33,280 --> 01:05:37,040
Speaker 1: Toed went a little bit too far. It's revenge execution here.

1146
01:05:37,240 --> 01:05:40,600
Speaker 1: But like you said, Prospero's reaction to his friend here

1147
01:05:40,640 --> 01:05:44,080
Speaker 1: getting burned alive is like, oh, quite funny. Guards clean

1148
01:05:44,200 --> 01:05:46,760
Speaker 1: up this mess and give hop Toed to reward. Yeah,

1149
01:05:46,800 --> 01:05:50,200
Speaker 1: I mean, hop Toed knows his audience. He served long

1150
01:05:50,840 --> 01:05:54,080
Speaker 1: uh in the in the court of Prince Prospero. In fact,

1151
01:05:54,240 --> 01:05:56,479
Speaker 1: he has a whole little monologue earlier in the film

1152
01:05:56,840 --> 01:05:59,120
Speaker 1: about that. He's like, yeah, I served Prince Prospero for

1153
01:05:59,160 --> 01:06:01,120
Speaker 1: a long time. But in the middle of all this,

1154
01:06:01,560 --> 01:06:06,160
Speaker 1: Prospero and Francesca are wandering around, and it seems Francesca's

1155
01:06:06,720 --> 01:06:10,920
Speaker 1: zeal for Christianity has sort of been been destroyed. She's

1156
01:06:11,000 --> 01:06:14,160
Speaker 1: just like sort of resigned herself to do well. It's

1157
01:06:14,200 --> 01:06:16,760
Speaker 1: I guess I'm gonna be for Satan now. Oh, and

1158
01:06:16,840 --> 01:06:20,280
Speaker 1: we should mention that Prospero in in this sequence, in

1159
01:06:20,320 --> 01:06:23,760
Speaker 1: the final sequence of the film, is dressed like Lawrence

1160
01:06:23,800 --> 01:06:27,000
Speaker 1: of Arabia, of darkness, like Lawrence of Arabia, but all

1161
01:06:27,240 --> 01:06:30,760
Speaker 1: in black with gold in the end, like the head dress.

1162
01:06:31,320 --> 01:06:34,880
Speaker 1: So it's a great he's just he's like all darkness, yes,

1163
01:06:35,080 --> 01:06:38,520
Speaker 1: and but oh he's looking out over all the party

1164
01:06:38,560 --> 01:06:42,480
Speaker 1: guests and despite his orders, somebody here at the mask

1165
01:06:42,840 --> 01:06:45,440
Speaker 1: is wearing red. Remember they were not supposed to do that,

1166
01:06:46,040 --> 01:06:49,200
Speaker 1: so not just red details a red trim, which I

1167
01:06:49,280 --> 01:06:51,960
Speaker 1: think was maybe allowed. About this guy's inn all red

1168
01:06:52,280 --> 01:06:55,720
Speaker 1: and we know who this surely is. So he's chasing

1169
01:06:55,800 --> 01:06:58,160
Speaker 1: him down. He goes through the rainbow rooms, through the

1170
01:06:58,240 --> 01:07:01,520
Speaker 1: Yellow room, the Purple room, the White room, into the

1171
01:07:01,600 --> 01:07:05,960
Speaker 1: final black room where they have the confrontation. Rob described

1172
01:07:06,000 --> 01:07:08,840
Speaker 1: the scene. It is It's so perfect, oh, it is.

1173
01:07:08,920 --> 01:07:11,600
Speaker 1: It is just a perfect confrontation. You know this is

1174
01:07:11,640 --> 01:07:13,880
Speaker 1: going to happen. There's gonna be this scene where Prospero

1175
01:07:14,360 --> 01:07:18,560
Speaker 1: finally speaks with the man in red, speaks with the

1176
01:07:18,640 --> 01:07:22,920
Speaker 1: red death personified, And um, I mean it's one of

1177
01:07:22,960 --> 01:07:25,920
Speaker 1: these scenes where I I you just have to just

1178
01:07:26,040 --> 01:07:28,160
Speaker 1: to see it to get all of the intricacies of

1179
01:07:28,200 --> 01:07:31,200
Speaker 1: the dialogue because it's just so perfectly executed. It's like

1180
01:07:31,280 --> 01:07:35,200
Speaker 1: this philosophical discussion of of the nature of death and

1181
01:07:35,280 --> 01:07:39,480
Speaker 1: the universe and that the nature of Satan and who

1182
01:07:39,640 --> 01:07:43,360
Speaker 1: rules the universe. It's uh, it's it's glorious stuff. And

1183
01:07:43,440 --> 01:07:47,960
Speaker 1: again in this trippy dark room with this red symbol

1184
01:07:48,240 --> 01:07:50,480
Speaker 1: like on the wall that is sometimes a window in

1185
01:07:50,560 --> 01:07:53,120
Speaker 1: the other rooms that I don't know if you were

1186
01:07:53,200 --> 01:07:54,919
Speaker 1: what you made of this, but it made me think

1187
01:07:55,040 --> 01:07:59,440
Speaker 1: of like some sort of a bacterium or a or um,

1188
01:08:00,080 --> 01:08:04,000
Speaker 1: like a pustule or something transformed into a symbol. Oh well, yeah,

1189
01:08:04,040 --> 01:08:07,200
Speaker 1: it's kind of a hexagon but with but with bubbles

1190
01:08:07,280 --> 01:08:09,960
Speaker 1: at all of the vertices. Yeah. But this is the

1191
01:08:10,080 --> 01:08:14,400
Speaker 1: scene where like everything that Prospero believes in is being

1192
01:08:14,440 --> 01:08:18,360
Speaker 1: put to the test, Like he has he stands apart,

1193
01:08:18,479 --> 01:08:21,040
Speaker 1: or he believes he stands apart from everyone else in

1194
01:08:21,120 --> 01:08:23,559
Speaker 1: the world and in his kingdom because he has privileged

1195
01:08:23,600 --> 01:08:27,320
Speaker 1: knowledge and a privileged understanding of the true nature of reality.

1196
01:08:27,920 --> 01:08:32,960
Speaker 1: And now he stands with this one who um Ultimately

1197
01:08:33,000 --> 01:08:34,519
Speaker 1: it's a little vague about you know who and what

1198
01:08:34,680 --> 01:08:38,439
Speaker 1: this is? Like is this Satan? Is this a god?

1199
01:08:38,880 --> 01:08:42,920
Speaker 1: Is this death? It's it's it's is it the persona

1200
01:08:43,000 --> 01:08:46,639
Speaker 1: merely the personification of one type of death? But clearly

1201
01:08:46,880 --> 01:08:50,640
Speaker 1: it is a superhuman individual. It is some sort of

1202
01:08:50,800 --> 01:08:54,599
Speaker 1: like universal concept made manifest and here he is finally

1203
01:08:54,640 --> 01:08:56,879
Speaker 1: able to confront it, and you go through the stages

1204
01:08:56,960 --> 01:08:59,000
Speaker 1: of who he thinks he is, right, like Price thinks

1205
01:08:59,120 --> 01:09:01,560
Speaker 1: that he's one of the tests. He's like, oh, or

1206
01:09:01,600 --> 01:09:04,080
Speaker 1: you doctor so and so, And then the figure in

1207
01:09:04,120 --> 01:09:06,519
Speaker 1: red says, the doctor Dance is in the white room,

1208
01:09:07,439 --> 01:09:09,920
Speaker 1: you know, next door, so it's not him. And then

1209
01:09:10,360 --> 01:09:12,600
Speaker 1: he gets all excited because he's like, oh, I get it.

1210
01:09:12,840 --> 01:09:16,000
Speaker 1: You're Satan. You're here to congratulate me on being your

1211
01:09:16,200 --> 01:09:19,640
Speaker 1: your best, your most loyal recruiter. But no, he's not

1212
01:09:19,800 --> 01:09:22,800
Speaker 1: Satan either, and he keeps it a little vague. He's like, well,

1213
01:09:23,080 --> 01:09:25,040
Speaker 1: you know, Satan rules the universe and I made a

1214
01:09:25,439 --> 01:09:28,000
Speaker 1: prom and we made a pact with each other over this,

1215
01:09:28,240 --> 01:09:30,839
Speaker 1: and he's like, he does not rule the universe alone.

1216
01:09:31,520 --> 01:09:34,200
Speaker 1: So I love how the film plays it loose with

1217
01:09:34,360 --> 01:09:39,519
Speaker 1: exactly what the what theological system is actually in place

1218
01:09:39,600 --> 01:09:41,880
Speaker 1: in the universe. It's not one of these films like

1219
01:09:42,640 --> 01:09:46,000
Speaker 1: The Devil Rides Out where it's like Satanic threat, Christianity

1220
01:09:46,080 --> 01:09:48,040
Speaker 1: comes and saves the day at the end, like it's

1221
01:09:48,560 --> 01:09:52,880
Speaker 1: everything is ultimately unclear exactly what sort of superhuman forces

1222
01:09:52,920 --> 01:09:56,479
Speaker 1: are at play in reality. Yeah yeah, but of course

1223
01:09:56,560 --> 01:09:59,280
Speaker 1: we get the big reveal. It is the Red Death,

1224
01:09:59,560 --> 01:10:02,960
Speaker 1: and the Red Death spreads to everyone in the palace

1225
01:10:03,439 --> 01:10:06,360
Speaker 1: except Francesca. So we see all the dancers, you know

1226
01:10:06,560 --> 01:10:08,960
Speaker 1: that they're they are splattered with the Red Death. And

1227
01:10:09,040 --> 01:10:13,120
Speaker 1: then finally Prospero himself kind of melts into a red,

1228
01:10:13,439 --> 01:10:16,360
Speaker 1: red puddle. Oh yeah, And there's also the brilliant part

1229
01:10:16,400 --> 01:10:19,439
Speaker 1: where he unmasked the Red Death, and the Red Death

1230
01:10:19,640 --> 01:10:24,680
Speaker 1: has Prospero's own face, which is the the earlier in

1231
01:10:24,760 --> 01:10:26,840
Speaker 1: the In the encounter, he tells him it's like death

1232
01:10:26,920 --> 01:10:29,519
Speaker 1: has no face until you know your very own face

1233
01:10:29,600 --> 01:10:31,639
Speaker 1: at the moment of your death and so forth. It's

1234
01:10:31,960 --> 01:10:35,479
Speaker 1: all the dialogue is just beautiful. Uh, it's it's it's

1235
01:10:35,479 --> 01:10:39,040
Speaker 1: absolutely perfectly executed here. But there is a happy ending

1236
01:10:39,200 --> 01:10:43,840
Speaker 1: for the good characters Francesca and Uh and Gino and

1237
01:10:44,120 --> 01:10:47,240
Speaker 1: Hoptoed and Esmeralda, all all the good characters get to

1238
01:10:47,400 --> 01:10:50,960
Speaker 1: escape Uh and they meet outside the castle walls with

1239
01:10:51,080 --> 01:10:53,680
Speaker 1: a with a peasant child who was spared earlier when

1240
01:10:53,760 --> 01:10:56,040
Speaker 1: peasants came to the gate looking for help and and

1241
01:10:56,160 --> 01:10:59,160
Speaker 1: Prospero had them all slaughtered except for the kid. But

1242
01:10:59,600 --> 01:11:03,040
Speaker 1: we all also get some more perspective on the world

1243
01:11:03,120 --> 01:11:05,240
Speaker 1: at large because it seems like the Red Death is

1244
01:11:05,360 --> 01:11:07,680
Speaker 1: not the only death. We get a white death, a

1245
01:11:07,800 --> 01:11:11,120
Speaker 1: yellow death, a black death. They're all gathering. There's a

1246
01:11:11,200 --> 01:11:14,240
Speaker 1: purple death. They're all gathering by the tree where the

1247
01:11:14,320 --> 01:11:16,840
Speaker 1: Red Death was hanging out at the beginning, all wearing

1248
01:11:16,880 --> 01:11:20,840
Speaker 1: a robe of of their own color, and it's such

1249
01:11:20,880 --> 01:11:23,960
Speaker 1: a spectacular ending. Yeah, I mean, we get the rainbow

1250
01:11:24,080 --> 01:11:27,439
Speaker 1: theme once more. Um and and I guess I felt

1251
01:11:27,479 --> 01:11:30,160
Speaker 1: like some of these were maybe related to the four humors.

1252
01:11:30,240 --> 01:11:32,400
Speaker 1: You know, we have red Death, black Death, yellow Death.

1253
01:11:32,560 --> 01:11:36,000
Speaker 1: I guess the grayish looking one is maybe blue blue death,

1254
01:11:36,600 --> 01:11:39,519
Speaker 1: White Death. I'm less sure about though, though. I mean,

1255
01:11:39,600 --> 01:11:43,559
Speaker 1: I can think of some some fantasy stories that involve

1256
01:11:43,680 --> 01:11:46,960
Speaker 1: something called the White Death. So one can imagine that

1257
01:11:47,040 --> 01:11:49,439
Speaker 1: these are all just different plagues that are running rampant

1258
01:11:49,479 --> 01:11:51,680
Speaker 1: in the world, and they're kind of their personifications are

1259
01:11:51,760 --> 01:11:53,760
Speaker 1: checking in and saying, hey, how's it going, what's your

1260
01:11:53,840 --> 01:11:56,479
Speaker 1: what's your kill right today? Did you make quota? And

1261
01:11:56,640 --> 01:11:58,960
Speaker 1: they're like, yeah, yeah, I'm doing I'm doing great. I hear,

1262
01:11:59,080 --> 01:12:01,800
Speaker 1: I hear. Blue Death is a little behind today. But

1263
01:12:02,720 --> 01:12:04,960
Speaker 1: but man, did you hear about black He's really he's

1264
01:12:05,000 --> 01:12:07,840
Speaker 1: really cranking in the numbers. But it's not like that.

1265
01:12:08,040 --> 01:12:11,320
Speaker 1: It's it's more of a solemn affair, a vague affair,

1266
01:12:11,439 --> 01:12:13,720
Speaker 1: and they don't really know exactly what these entities are

1267
01:12:14,080 --> 01:12:18,880
Speaker 1: except they they're clearly involved in in death. But it's

1268
01:12:18,920 --> 01:12:21,360
Speaker 1: a it's a solemn kind of death. And in fact,

1269
01:12:21,439 --> 01:12:25,720
Speaker 1: we get the final words of of the film are

1270
01:12:25,760 --> 01:12:30,280
Speaker 1: in Latin, what's sit transit Gloria Munday, which translates to

1271
01:12:30,800 --> 01:12:33,720
Speaker 1: thus passes the glory of the world. I think they

1272
01:12:33,840 --> 01:12:37,720
Speaker 1: also quote the ending of the post Story. Don't they

1273
01:12:37,760 --> 01:12:41,200
Speaker 1: say that the darkness and decay and the red death

1274
01:12:41,280 --> 01:12:45,559
Speaker 1: held illimitable dominion overall? Yes, yes they do. And then

1275
01:12:45,600 --> 01:12:47,240
Speaker 1: we also get a kind of go back to the

1276
01:12:47,280 --> 01:12:49,920
Speaker 1: same style as the opening credits, we get the closing credits,

1277
01:12:49,960 --> 01:12:52,439
Speaker 1: which are also splindid. These are this is definitely a

1278
01:12:52,520 --> 01:12:56,360
Speaker 1: credit sequence to stick with for the duration, not because

1279
01:12:56,360 --> 01:12:58,040
Speaker 1: there's any kind of cool stinger at the end, just

1280
01:12:58,120 --> 01:13:00,400
Speaker 1: because they're beautiful to watch, and they they kind of

1281
01:13:00,439 --> 01:13:03,479
Speaker 1: play out in a way that builds and then the

1282
01:13:03,560 --> 01:13:07,439
Speaker 1: film closes. We go red, increasingly red, and then darkness

1283
01:13:07,840 --> 01:13:10,680
Speaker 1: who knew Roger Corman had it in him. This is

1284
01:13:10,760 --> 01:13:14,920
Speaker 1: just a fantastic, stylish horror movie. It is. This is

1285
01:13:15,320 --> 01:13:20,960
Speaker 1: just peak artful Roger Corman, great Vincent Price film, and

1286
01:13:21,080 --> 01:13:25,080
Speaker 1: just just a great Halloween movie. Uh So, definitely worth

1287
01:13:25,200 --> 01:13:28,240
Speaker 1: checking out, even if you don't think you're into Vincent

1288
01:13:28,320 --> 01:13:30,320
Speaker 1: Price films, if you know you think you're not into

1289
01:13:30,600 --> 01:13:34,160
Speaker 1: films from the early nineteen sixties, early mid nineteen sixties.

1290
01:13:34,680 --> 01:13:37,760
Speaker 1: Um yeah, uh, this is this is one that I

1291
01:13:37,840 --> 01:13:41,439
Speaker 1: think holds up exceedingly well for modern viewers. But hey,

1292
01:13:41,520 --> 01:13:43,439
Speaker 1: we'd love to hear from everyone out there about this

1293
01:13:43,560 --> 01:13:45,560
Speaker 1: film as well. What are your thoughts on Mask of

1294
01:13:45,640 --> 01:13:49,120
Speaker 1: the Red Death, What are your thoughts on adaptations of

1295
01:13:49,320 --> 01:13:51,920
Speaker 1: Ed Growan post stories in general? I guess this is

1296
01:13:52,040 --> 01:13:54,800
Speaker 1: the first time we've discussed one on the show, but

1297
01:13:54,920 --> 01:13:56,320
Speaker 1: there are many more out there, and there are some

1298
01:13:56,479 --> 01:13:59,240
Speaker 1: we might come back to. There. I can't think of

1299
01:13:59,320 --> 01:14:01,120
Speaker 1: one off hand that's better than this one. I can

1300
01:14:01,160 --> 01:14:04,760
Speaker 1: think that's they're much ham here, but but there are

1301
01:14:04,800 --> 01:14:06,680
Speaker 1: definitely some other choices, and of course there's some other

1302
01:14:06,720 --> 01:14:10,000
Speaker 1: ones by Corman and company as well. Yeah, as we

1303
01:14:10,080 --> 01:14:12,160
Speaker 1: close out here, we'll remind you that We're primarily a

1304
01:14:12,200 --> 01:14:14,839
Speaker 1: science podcast, but on Friday's we do Weird House Cinema.

1305
01:14:15,240 --> 01:14:17,400
Speaker 1: That is our time to set aside most serious concerns

1306
01:14:17,439 --> 01:14:19,760
Speaker 1: and just talk about a strange film. If you'd like

1307
01:14:19,840 --> 01:14:22,200
Speaker 1: to keep up with the films that we are covering,

1308
01:14:22,320 --> 01:14:26,719
Speaker 1: have covered, and will cover on the show, I chronicle

1309
01:14:26,840 --> 01:14:29,519
Speaker 1: them at some muta music dot com. That's a just

1310
01:14:29,600 --> 01:14:32,400
Speaker 1: a blog that I maintain. But then also weird House

1311
01:14:32,479 --> 01:14:35,960
Speaker 1: has its own account on letterbox dot com. That's L

1312
01:14:36,000 --> 01:14:38,599
Speaker 1: E T T E R B O x D dot com.

1313
01:14:39,280 --> 01:14:41,400
Speaker 1: Our user name is weird House. We have a list

1314
01:14:41,520 --> 01:14:44,000
Speaker 1: there that has all of the films that we've watched.

1315
01:14:44,560 --> 01:14:46,360
Speaker 1: You can see it all in like a nice visual

1316
01:14:46,600 --> 01:14:50,080
Speaker 1: spread of thumbnails, and you can organize them by decades

1317
01:14:50,280 --> 01:14:52,360
Speaker 1: or however you want, and their links there that will

1318
01:14:52,400 --> 01:14:54,600
Speaker 1: take you to the episodes. It's a great way to

1319
01:14:54,720 --> 01:14:58,679
Speaker 1: visualize where we are, what decades we've covered, and I believe,

1320
01:14:59,160 --> 01:15:01,679
Speaker 1: as a scording to my accounting, this was the ninetie

1321
01:15:01,800 --> 01:15:06,599
Speaker 1: film that we've covered on Weirdol Cinema. Huge thanks as

1322
01:15:06,640 --> 01:15:10,479
Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If

1323
01:15:10,560 --> 01:15:12,120
Speaker 1: you would like to get in touch with us with

1324
01:15:12,320 --> 01:15:14,720
Speaker 1: feedback on this episode or any other, to suggest a

1325
01:15:14,760 --> 01:15:16,760
Speaker 1: topic for the future, or just to say hello. You

1326
01:15:16,840 --> 01:15:19,439
Speaker 1: can email us at contact at stuff to Blow your

1327
01:15:19,479 --> 01:15:29,280
Speaker 1: Mind dot com. Stuff to Blow Your Mind is production

1328
01:15:29,360 --> 01:15:32,080
Speaker 1: of I heart Radio. For more podcasts my heart Radio,

1329
01:15:32,320 --> 01:15:34,960
Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever

1330
01:15:35,040 --> 01:15:36,360
Speaker 1: you listen to your favorite shows.